HERE'S APERTURE AID WHICH WILL AVERT CINEMATIC SNOW BLINDNESS

HE previous issue of Cine- News-December There are two aspects of exposure peculiar to the con- -described the making of indoor movies. And so, in trasts encountered in snow filming. One is that you will thisT number, the News goes outdoors. frequently have to decide where correct exposure is most There is no lack of subjects to shoot. They range all the important- for the snow, or for less brilliant material such way from icicles dripping from the eaves to athletes swoop- as trees or houses or snow suits. The decision can largely ing down the ski trails. All are wonderful movie material. be determined by the distance at which you are filming. If All are worthy of a place in our cinematic diary of the season. an object other than snow composes the bulk of your scene But let's first talk snow exposure. And then snow con- tinuity. For when both are right the story is ideal. Regardless of seasons, any average sunlit scene should be given an f /8 exposure in . Snowless winter scenes included, because, during midday filming hours, the sun is just as strong in the winter as it is in the summer. The sun may not be up as long. The day may therefore be colder. But, after the sun is well above the horizon and is playing fully upon your subjects from about the same angle at which you are filming them, you can judge your exposure just as you would in midsummer. This compari- son, let it be repeated, is for winter scenes without snow.

Bright as Summer on the Beach Snow, however, is a tremendously efficient reflector of light. The sun streams down from above and "bounces" right back up at your subjects. Very little of it is absorbed as happens in the summer when grass replaces the snow. So efficient a reflector is the snow, in fact, that a full stop reduction in exposure is recommended for average snow scenes in sunlight. In other words, f /11-the same expo- sure you would use for beach scenes in the summer. This f/11 exposure can be given to almost all snow movies in sunlight. No matter how blindingly bright they are, none will be overexposed at f/11. And, although there is no real need for it, you can occasionally give the most brilliant snow scenes midway between f /11 and f/16, or even f/16, for the express purpose of deepening sky and shadows and bringing out more detail in the white snow. You will find that common sense and the reaction of your eye to light will soon prove amazingly accurate aids for determining exposure adjustments. With Kodachrome, which sees subjects in color just as you do, your eye can calculate exposure allowances if you set the lens back to f /8 for all sunlit subjects, look at your target, think of an average summer lawn scene which calls for f /8, then squint or open the 's eye a bit to compensate for any non-average qualities of the subject before you. as seen in the camera finder, expose your subject, don't make all-climax for it. If snow represents half the pic- movies. In other words, don't confine ture area, split the difference. If snow your snowman shots to the sculptors predominates, expose for it even if admiring their handiwork; your coast- other objects will be a bit "under." ing shots to the whooping toboggan- In connection with shots of this last ists; your skating shots to exponents type, mention should be made of the of figure skating; your skiing shots to use of deliberate underexposure to slalom experts; your ski-jumping shots give added beauty in snow scenes in to record leaps; your hockey shots to Kodachrome-for there is color in the making of goals-or your scenics snow if you properly expose for it. to long-range vistas. Supposing, for example, that your Lead off with a close-up, if possible, subject is a snow-covered hillside and to quickly identify the nature of the a rich blue sky. If you close down to scenes to follow. And be alert for f jll, your sky will be pleasingly rich other close-up opportunities through- .. . your snow will evidence a little out the reel. Close-ups of hands secur- of the blue it reflects from the sky. ing skates, pulling on mittens, waxing Deliberately underexpose another skis-all intimate bits of business that half-stop-to midway between f/ll and will give your audiences a sense of f ,l6, or to f /16-and your sky will participation. And with scenics, don't become a dramatically dark blue ... overlook the significance of eddying your snow will acquire added texture. black water in an ice-bordered brook, The slanting rays of the winter sun rabbit tracks in the snow, or a single are particularly helpful to good movie snow-laden evergreen branch. making. Unlike the summer sun, that of winter is not overhead at noontime WATCH THE ANGLE -thus eliminating any chance of Whenever possible, back up your harsh overhead lighting. Winter's sun subjects with blue sky. Whether the bathes the sides of objects rather than foreground is white snow or the ruddy their tops. It strikes objects more cheeks and scarlet costume of an out- nearly at the same angle from which door devotee, blue sky is the ideal you are looking at them and filming backdrop and happiest color contrast. them. Your subjects acquire round- And then there is the matter of the ness. Shadows stream across your proper camera angle for catching pictures and bring them contrast and action. As near head-on as possible is richness and that all-important third best. Never at right angles if you can dimension, depth. avoid it. Fast-moving objects will in- variably appear blurred if they whip CONTINUITY IN YOUR directly across the line of view. The SNOW MOVIES explanation is simple. Your camera's Whether your snow movies are of shutter is open half the time-while the one activity (snowman building, coast- film pauses for an exposure, and closed ing, skating, skiing, ski-jumping, the other half-while the camera claw hockey) or of scenery, alone-make pulls the exposed frame away. Yet movies. Give your sequence a log- your subject continues to move while ical start ... a climax ... a fitting end- the shutter is closed as well as while ing. If one or more winter sports are it is open, and hence "jitters" across your screen when shot from a right angle. Yet, if you simply cannot achieve a head-on or acute-angle shooting position, follow the action if CHECK YOUR EXPOSURES it is all near by and let the background go hang. Keep the action right in the THERE are six typical winter scenes at the left. What expo- center of the finder. Then it will be sure would you give them in Kodachrome? sharp even if the less important objects The upper scene is in bright sunshine, ordinarily calling behind it are hopelessly blurred. But for l8. And, for contrast between the dark trees and the for the most action filmed from a dis- brighter snow suits and sky, give it just that. tance, hold the camera steady. Don't weave it back and forth or the very Our second scene is also in the sun-but here is real feeling of action will be lost. Even if brilliance. We'd advise lll. the paths of the skiers or tobogganists Still a sunny and snowy day. Yet, although our tobog- or skaters take them beyond the finder ganists are in the snow, they aren't in the brightest sun- limits, hold to rock-steady filming and light. We'd advise midway toward l/5.6 from l j8. merely resight your camera from the new angle necessitated by their prog- Here's a hazy-bright day-but don't open up too much ress. In short, keep the excitement out for days like this. Hazy (not cloudy) days are almost as of your hands. The more thrilling the bright as days of clearest sunshine. To keep the sky and action depicted, the more reason for snow from going "over," film at f, 8 . you to keep steady so that the action will be sharp and true on the screen. Here is sunshine so hard the shadows are almost brittle. One last point. Temperature. Cine- There's a lot of whiteness about, and you must expose for , mechanically, are just about it and not for the skiers. We'd advise l8 f ll, or ll. immune to temperature extremes. Lastly, sundown. The sun is mostly hidden in this scene. There is no need to coddle them when It's misty, in the bargain. F.3.5 or f/.5.6 would do nicely. the mercury is low. 2 SH O RT C UTS TO THE GROOMING O F YO U R ' 41 M O VIE DIARY

OMEWHERE about your house, News in your hand and movies on shots you happened to pick up. So unless you are truly made of your mind, let's do it. Let's edit. mark them for removal from their posi- SpartanS stuff, there is probably a col- First-out with the projector and tions and put them all together later lection of opened film cartons which screen. Next, a pad and pencil. Now on .. . no telling when they'll come contain your movie harvest for the let's run off the rolls ... slowly-so in handy. late fall and early winter of 1941. Like you can jot down a scene-by-scene At about this time you'll really the dripping water tap in the chil- description of their contents. Several begin to get ideas: Two or three of the dren's bath and the balky light switch of the shots may be a little less than sequences, now on different rolls, ob- at the head of the basement stairs, wonderful-let's be frank about it and viously belong together on one larger they are one of those things you have label them as such in your notes. reel. Then there's that sunset you promised yourself to take care of- Others just don't seem to fit in with caught one evening while out for a soon. Now that you have Cine-Kodak their fellows. They're merely chance drive-it will do beautifully at the conclusion of the picnic movie. And there are so many, many shots of the baby that you can lift them out of the different rolls and make a "grow- ing-up" reel of her, alone. Those vacation movies-they only need a little grooming here and there. And what's left of your film collection is a PEAKING again of Kodachrome- beach scene no brighter than a New sort of seasonal diary of your family S for little else is used south of the England beach scene. Lawn scenes, activities, so plan to assemble it as Mason-Dixon Line-expose it in the in sunlight, call for f /8 with Koda- such. Why-you can just see the South or in the tropics just as you chrome-wherever they are. Beach smooth and absorbing movies you'll would at home, subject for subject. A scenes for midway between f /8 and shortly have to project. Florida lawn scene is no brighter than f /11-and f/ll at the smallest. There Fine! But who's going to do the a "northern" lawn scene. A Florida are three factors influencing Koda- editing? chro.me exposure. They are the type If you are, you must have some good of light in the sky . . . the reflecting editing equipment. The little hand qualities of your subject ... the amount splicer most of us have in our pro- of light being reflected by your sub- jector case is all right for repairing an ject from the angle at which you are occasional film break, but it was never viewing it. Use f /8 as your standard. intended for a real editing job. You Close down a bit for bright objects. need a good rewind ... a good splicer Open up a bit for dark objects. It's all . .. and, if at all possible, a movie covered by the exposure cards packed viewer so that you can readily see with each roll of Cine-Kodak Film. 3 what you are about. That's what you'll competing with these other methods, ready help at hand for those who need if you are really going to edit at will gladly help out if you wish. 241 don't care to reel their own-but home, and the investment required Battery Street, San Francisco; 1727 those who command this help will will pay immediate dividends in Indiana Avenue, Chicago; 343 State miss the peculiar pleasure that comes greater movie satisfaction. There are Street, Rochester, N. Y.-these are from the "making" of movies over a several types of Eastman editing equip- the addresses to which you can send splicing block. It takes a bit of time, ment. One is shown on this page, unedited films. They will be assem- admittedly-but it's every bit as much others are available through your bled onto large reels and returned, in a part of the making of a personal Cine-Kodak dealer. Ask him for his film cans, for no extra charge over movie diary as the taking of the raw suggestions. and above the usual cost of the reels material. And every bit as much fun- But some, who bow to none in en- and cans. This service, of course, if you're properly equipped. joying the taking and showing of mov- does not include film editing. Just ies, are simply barren of the urge to assembling. Any desired and de- THE FULL STORY OF edit. Yet you still want your movies to scribed editing, however, will be car- MOVIE EDITING put their best footage forward. The ried out for a nominal additional There's lots which should be said answer, of course, is to have someone charge. And any titles you wish made about movie editing, but there simply else do the job for you. will likewise be prepared, filmed, and is not enough space here to say it. inserted into your reels-see page 10. That information-about 20 pages of READY HELP FOR YOUR And so, as you can see~ there is it-is available in Eastman's 230-page EDITING PROBLEMS "How to Make Good Movies," now Your first contact is your Cine-Kodak The Editor Outfit contains rewind, selling beyond the 125,000 mark. If dealer, one of whose employees may titler, viewer-a cotnplete editing outfit packed you make movies, this book is a movie into a portable case. In two ntodels-one for very well do the work, after a mutual 8-rnm. fibn ... one for 16-nun. "must." If you edit and title the movies screening and discussion of your film, you make, there's even more reason for a modest per-hour charge. Or, if why you will enjoy reading it. this arrangement is not feasible, your But no matter how or by whom the dealer will probably know of some editing job is done, its execution will local movie enthusiast who would assure you of far better and far more gladly tackle the assignment. Too, significant movies. You'll want to show your dealer probably can put you in them more often. Your friends will touch with an editing bureau or serv- want to see them more often. And we ice-an organization whose livelihood hope you'll find time between shows it is to edit and title amateur movie to send them to the Editor of Cine- film. One of these three suggestions Kodak News, who is always anxious should certainly turn the trick. But to see your reels-and always ready there is a fourth "out." The Eastman to make suggestions, if you indicate Kodak Company, while in no sense a desire for them. 4

The Editing Chapter in ''How to Make Good Movies" is but one of many reasons why it should be part of your kit. N this issue of the "News" twelve shots are I reproduced from Kodak 16-mm. Enlarger prints and the many 8-mm. and 16-mm. film clippings (not less than four inches in length, please), full-length scenes, and complete reels sent in by movie makers. For each shot selected, two Etchcraft Junior enlargements will be prepared and mailed to the winners. The original movie film is not in any way harmed or cut. All film is returned. Return postage is unnecessary. Unsuccessful contestants receive friendly, constructive criticism. Why not send in your good shots? Pack them carefully and address them to Editor, Cine-Kodak News, Eastman Kodak Company, Rochester, N.Y. To avoid possible customs delays or complications, Canadian contestants will please direct their entries to Canadian Kodak Company, Ltd., Toronto- together with a note stating that the film is for the Cine-Kodak News "Good Shots" contest.

First Column, top to bottom Contrast and a sense of distance were achieved by Dr. Harry ). Davis of Topeka, Kansas, by framing his Mexican mountain peak with the cross and branches. Always try to have a foreground object in every distance shot. f/11 on 16-mm. Kodachrome This grand movie portrait of a boy was made by Mr. Joseph F. Primack of Brooklyn, N. Y _ Daylight and Daylight Photofloods provided the soft illu- mination that made this close-up attractive. f/1.5 on 16-mm. Type A K odachrome Dan Billman, Jr., of Minneapolis, Minnesota, has wonderful movies of Hawaii, of which this sunset scene is a fair sample. Once again, notice the contrast lent by the foreground objects. f/8 on 16-mm. Kodachrome The restrictions of indoor lighting frequently make it necessary to "pose" subjects-or, at least, to have them stay within the confines of the lighted area. But when subjects are doing something, naturalness is retained-as is ably evidenced by this scene of Miss Hall as filmed by her father, Mr. Clarence Hall of St. Louis, Missouri. f/4 on 8-mm. Type A Kodachrome Mr. Fred A. Deardorff of Los Angeles is a consistent user of accessory lenses for the achievement of true close-ups-witness h is c risp reproduction of the water lily made with a telephoto. f/B-f/11 on 16-mm. Kodachrome Sunsets make wonderful Kodachrome subjects. The sun still being above the horizon, Mr. John E. Madden of Yonkers, N.Y., gave his Lake Contoocook, N. H., sunset a small aperture-and shot through the trees for contrast. f/11 on 8-mm. Kodachrome

Second Column, top to bottom Mr. T. R. Flatley of Los A ngeles had a different type of sunset to film. His western country offered no trees ... no foreground objects- so Miss Marjorie Flatley obligingly filled the gap and Mr. Flatley deliberately underexposed to strengthen the sky. f/16 on 16-mm. Kodachrome Mr. Johnson Potter of Springfield, Mass., caught the kittens a t a cat show at last year's Eastern States' Exposition. Pets-in close-ups-are invariably excellent movie material. l /8 - f/5.6 on 16-mm. Kodachrome Here's still another sunset. This time the sun has all but set . _ . only the afterglow lights the sky. Mr. W . ]. McDonald of Toronto, Ontario, therefore "opened up" for his shot. f/3.5 on 8-mm. Kodachrome Nice composition distinguishes the snow scene by Mr. George I. Donnell of Berkeley, California. Notice the contrast from those tree branches! f/8 on 8-mm. Kodachrome Hundreds of national park shots are sent to "Good Shots." Most of them are excellent-in color. But so similar in tonal values are the sand and limestone cliffs and deserts that little contrast would remain in a black-and- white enlargement. Not so, however, this archway shot by Mr. L. Wilson of Ozone Park, N.Y. . f/8 on 16·mm. K odachrome A late-afternoon sun on a Great Lakes c ruise gave Mr. Harold E. Schade of Chicago the opportunity for this fine sunset scene. Notice that he kept it "on board" by keeping part of his ship in the foreground. f/3.5 on 8-mm. Kodachrome 5 at the time you order the enlarged negative, or by your regular photo- finisher after your negative has been delivered to you. As made by Eastman, negatives from both 8-mm. and 16-mm. are en- larged to standard sizes, and prints from them like- wise to standard sizes. Prints of still greater size, however, can be made from negatives of excep- tional sharpness. The standard prints made by Eastman are prepared in two types-as glossy snapshots with white borders; as Etchcraft Junior en- largements on heavy matte paper, embossed, with wide margins. 16-mm. Enl argements 3- by 4-inch enlarged negatives, $1.05, each. 3- by 4-inch glossy prints, 7 cents, each. Etchcraft Junior prints with 3- by 4-inch picture area, plus wide margins, 75 cents, each.

8-mm. Enlargements by 2 enlarged negatives, 80 cents, each. by :;-inch glossy prints, 6 cents, each. Etchcraft Junior prints with by picture area, plus wide margins, 25 cents, each. 3- by 4-inch* enlarged glossy prints, 45 cents, each. 3- by 4-inch* Etchcraft Junior enlargements, 90 cents, each. '*This size for only sharpest 8·mm. shots.

Order enlargements through your C ine-Kodak dealer. Give him a three- or four-inch strip of film, a complete scene with the perforation threaded ICE FOLLIES of course been corrected with each alongside the frame you wish en- new printing in order to bring its Dear Sir: larged, or a complete reel threaded to Next week I hope to make movies of the Ice facts up-to-date. Plates also have been indicate desired enlargements. It 1s Follies. Do you advise using Kodachrome in a changed when better illustrations Model 25 Cine-Kodak Eight? not necessary for Eastman to cut the have been found. But the bulk of the film while making enlargements. I have your fine book, "How to Make G ood material to be found in its 230 pages Movies." It has scored another hit here!- 16-mm. filmers, however, can make R. H. P ., Lockport, N. Y. is essentially as it was when the book their own enlargements with the help was first brought out. So whether you Kodachrome, Type A Kodachrome, of the Kodak 16-mm. Enlarger, a re- may want a new copy or not i~ dis- vamped still camera with a movie is the best film to use for all colorful tinctly up to you. Its sales, mclden- spectacles such as ice follies. In most film gate before its lens. You merely tally, are about 125,000 copies b y clamp the frame to be enlarged in the arenas and auditoriums, f/2.7 is just now, a truly amazing record whiCh about right for one or two spotlighted gate and point the Enlarger at a bright we think speaks worlds for its worth. light while you press the exposure performers, but f /2 .7 is not fast enough New developments in movie mak- to catch soloists except when they are lever. You get eight movie enlarge- ing are brought to your attention with ments on each 8-exposure roll of in white spotlights. Yellow and red each issue of Cine-Kodak News. "spots" call for f /1.9. Large groups of Kodak 616 Film. Only 42 cents for performers filmed by spotlights irised the snapshot film . . . only a few cents for out to become "floods" require f /1.9 ENLARGEMENTS each by snapshot print. or f /1.9 and half speed. Users of ca~- Dear Editor: eras with lenses slower than f /1.9 will In reading your Cine-K od ak N ews, which do well to film the dimmer aspects of I enjoy very much, I see that it is possible to make enlargements from 8-mm. film. Will you such spectacles with Cine-Kodak please give me costs.-B. M. R. , Chicago, Super-X at f /1.9 and Cine-Kodak Illinois. Super-XX at f /1.9 or f/2.7. Thanks for the bouquet on the book. Black-and-white enlargements can be made from 8-mm. and 16-mm. Cine- Kodak Film, whether the original film NEW EDITION is panchromatic or Kodachrome. The Dear Editor: enlargements, however, are not made I bought your "How to Make Good Mov- directly from the film . An enlarged ies" when it first came out. My dealer tells me negative must first be made, and this that you have had several new printings of it represents the bulk of the modest since then. Would you advise me to buy a new necessary charge. Any desired num- copy?-T. E. L. , Philadelphia, Pa. ber of prints may be made from one of A framed Etchcraft Junior Enlargem.ent is How to Make Good Movies has these negatives-either b y Eastman ideal for use on table, desk, or m.antelpieee. 6 MOISTURE The trouble might lie in any of sev- Don't show movies on walls or Dear Editor: eral directions, although we have a shades or pillowcases or icebox Is it true that you now recommend that the hunch it's your screen. But check first doors. That's really false economy. "humidor" in the old can should not be mois- to see that that brilliant lamp of yours Movie projection is the proof of the tened and that the new can, without the is unblackened and that the reflector cinema tic pudding . Use a good " humidor," is satisfactory? Does this apply to and lens of your optical system are screen. Use a good screen of proper both black-and-white and color film?-D. B., Mt. Vernon, N. Y. clean and free from oil smudges. size for the optical system of your projector-or the right lens-lamp Yes. And again, yes. Proper Screen Essential combination for the size screen you Home movie film, even that shown The News Editor participated in a use. There's no substance in the the- quite frequently, will seldom dry out recent survey of several hundred ory that the brighter the projection to the point where it loses proper readers-a survey made in the homes lamp, the better the picture. It's just pliancy for handling and projection- of movie makers. One incident, in as bad to have too much light as too the only reason for humidification. At particular, comes to mind. The family little. Some projectors will throw this time of the year watch the prox- had splendid movie equipment and a enough light to fill the side of a house imity of your film to heat radiators and film library dating back many years. with a movie image-and if they will registers. Keep film cool, clean, snugly The husband brought out the projector supply enough light for this they will wound-but don't "cinch" it-and and carefully cleaned and oiled the obviously produce too much light for reasonably dry. machine before threading the film. a living-room screen of customary Then he showed the movies on the modest proportions. OFF COLOR wall of his living room-a cream- Ask your dealer to show you screens Dear Sir: colored wall of stippled plaster. White .. . pick out the size and type you like I wonder if you can help me out. My Koda- buildings, of course, turned out yel- best for use in your home .. . and see chrome movies always look fine when I first low; blue skies, a blue-green. We that your projector has the proper see them in my dealer's projection room, but fished a sheet of white paper out of a lamp for producing ideal illumination when I get them home and project them the desk drawer and held it against the on that screen, as is indicated by colors never look the same. It isn't because of too little light. My projector has a very bright wall partly in the projection area- the projection illumination tables with lamp.-E. T. T., Chicago, Illinois. and how that picture improved! which your dealer is equipped.

ERE'S more great news for color ones," or, "Two each . ... He dis- ordered at a later date. All Koda- enthusiasts: Color snapshots with patches the film to Rochester, N. Y., color Prints are made to a fixed width almostH any still camera. Full-color for development and printing. of 2 7/s inches . . . their length is de- prints on paper. Prints. Kodacolor Prints are in full color. termined by the proportions of the Color prints that you obtain by the But the negatives are not like any you picture size of the film. All orders customary negative and print method. have ever seen before. They're color should be placed with the dealer from negatives. Not only are values nega- whom you bought the film. An Entirely New Process tive. The colors, themselves, are re- First off, the Kodacolor Roll Film versed. It may be difficult, therefore, process is quite different from the for you to judge the printability of YOURINDULGENCE,PLEASE Minicolor process, announced in the negatives. Best to leave this to Eastman The Eastman Kodak Company real- last issue of Cine-Kodak News. Mini- experts. If you just order one each or izes that in Kodacolor it is offering color Prints are color enlargements two each, experienced operators will something that almost every picture made by Eastman from 35-mm. or make the best possible prints from all maker wants. A big program of this Bantam still Kodachrome transparen- printable negatives. kind, introducing not only a sensa- cies. The Minicolor process begins tional new product but an equally with an already-finished Kodachrome Kodacolor Prices sensational new processing system, positive. Kodacolor, however, begins Kodacolor Roll Film comes in six- means that peak production cannot be with a roll of Kodacolor snapshot film exposure rolls, only. It is available in realized at the start. and an ordinary roll-loading snapshot the following sizes: Nos. 120, 620, 116, As a result, for the present, the dis- camera. You load it as usual. You 616, 122, and 127. Its price, including tribution of Kodacolor Film must be expose it in sunlight from f /8 to f/ll at finishing {but not prints), ranges from limited . . . retailers won't have all the l /50. Then, as usual, you take your $1.25 to $2.40 per roll, depending Kodacolor Film they want. roll of exposed film to your dealer. upon size. Kodacolor Prints are priced This situation will gradually change Although the cost of Kodacolor is at 40 cents each, regardless of size- for the better, of course, but it will higher than black-and-white, this first and the minimum charge is $1, except probably not be materially affected for cost includes finishing-the develop- when prints are ordered at the time of some time to come; and it is only fair ment of the negatives-in Eastman film processing. You may obtain as to tell you. Consequently, until these laboratories. Prints, again as usual, many prints as you wish from any early limitations have been removed, ·are extra, and you simply ask your negative-and, as with black-and- "Your indulgence, please." We shall dealer to order ''One each of the good white film, additional prints may be do the best we can. 7 WHEN, AND H O W. A BR I EF REVIEW OF TITL E TAC TIC S

HE first stage of titling movies is you choose, a closing title. This, also, the editing of movies. is easier on your audiences. It gives TThis is true because you should not them a chance to get back out of that title in an attempt to "needle" a poor boat before you switch on the room movie, but to improve a good one. lights. Yet, if your movie actually is of Smooth out the film story by editing. a Canadian fishing jaunt, and if the Drop the bad scenes. Trim the long guide who appeared so frequently in ones. Rearrange shots and sequences the early footage betook himself home wherever desirable. Then screen the to celebrate the arrival of his twelfth- reel in the light of its title needs. born and was therefore supplanted in 100 cards supplied . on one ot the What these may be varies widely your movies by another taciturn oars- Typing odak Titler· with the type of movie you have to man, something should be done about with show, and with the audience to whom it. You need another title. And if the you plan to show it. weather kicked up and blew you right Some movie makers get along very off the Bay ... blew so hard you de- nicely without titles. And if they are cided to go fifty miles inland and try satisfied with untitled reels ... if they some river fishing, something should prefer to identify and connect their be done about this, too. You need a movie sequences orally, while they title to reorient your audiences. But show them, there is certainly no rea- don't title a reel just because it would son why they should use titles. be "nice" to have titles in it. Don't use It is nevertheless true that judicious titles such as, "Look at the whoppers titling makes for smoother and more we caught." If they' re whoppers and professional movie shows. Blessed with you filmed them there's really no lt snapshot print or if Lettering on a an attractive or informative opening need to gild the lily with a title. Titles movie enlargement . title, a well-titled reel has the attention must be needed to be justified. of its audiences before the first movie scene flashes on the screen-and it HOW TO TITLE will hold it to THE END if other titles There are two distinct styles of eliminate inexplicable gaps or sudden titles. "Art" and "Type." The former transitions in the film story. has some (but not too much) decora- tion. The latter is plain type, with per- WHEN TO TITLE haps a rule or two. In general, the art Titles perform many duties. And title should be used at the start of a there are almost innumerable ways to reel. Type titles throughout the reel. title. Obviously, all these points can- Some use art titles throughout-and not be covered here. But we can make that's fine, if you have the patience. airline, a good beginning. But titles should not be overdressed, The most important duty of titling is and once a title style has been estab- to introduce a reel .. . to give on- lished for a reel, it should be adhered lookers a foretaste of things to come. to throughout its full footage. Except Then a mental leap from a comfort- when necessary to convey needed in- able living-room chair to, perhaps, the formation and details, titles should be CHERRY HILL stern of a Georgian Bay fishing boat terse and natural. Write them as you will not be too abrupt or too difficult. would say them. And shun self-con- HoRSE SHOW Having thus successfully transplanted scious humor. This tends to go stale your audience, the need for further after a few screenings. titling depends upon your movie. Who is going to make the titles? If its action is smooth flowing, with- You can-easily. Or, you can order out gaps in its continuity, it may not them from a title service known to

fertile need additional titles-excepting, if your dealer. Or, you can order them . an amazingly Wallpaper 1Sf 1 title material- 8 Page 10, Please color 50urce HAS ITS BLESSINGS G. M. L O EB OF N EW YORK C ITY LEARN S " H O M E" MOVI E M AKING ABROAD

LIKE a great many other people, I the right light conditions. suspect, I bought my movie cam- Take India, by way of contrast. era to take on a trip. I would go abroad Sites like Benares and Udaipur. We Mr. Loeb, his mother, and their guide and each year, and, upon my return, the arrived in Udaipur very early one camera toter at Udaipur, India. projector rather than the camera morning on a special train scheduled would be the equipment in use. to pull out that afternoon. There were got started? Follow it, and you lose the Which is a very strange thing, in- only three automobiles in town, and feeling of dusk and sunlight and deed. For, while it may be quite an we had spoken for one months before. heavy shadows-or whatever it is undertaking to get to New Zealand to Udaipur is a movie paradise. A month that has attracted your attention. If shoot the geysers, it's utterly impos- rather than a day would be nearer the you are filming someone in a patch sible to turn back the clock ten years correct time to stay, but for six hours of sun in an otherwise lighttight or so to see your family and your home we rushed about making our pot forest, expose for him and let the town as they were then. And which shots . .. taking scenes in the morning woods go hang. If you don't, you type of subject, I ask you as I asked that would have looked far better in won't see your subject's face for the myself, is more significant? the afternoon, and vice versa . .. all trees. Or take a scene on a beach or a Of course, there is that well-estab- because we had to move on. We even desert or a field of snow. Expose for lished feeling that the man who makes missed a couple of meals, but missing the few dark areas in subjects such as a travel film must be a better cine- meals in Udaipur is probably an ad- these and you might just as well have matographer than the fellow who just vantage. Yet our friends rave about posed them against a counterpane. putters around home with his camera. those scenes we made. Credit Udaipur, Get some black and underexposed Yet many amateur foreign pictures not us. John V. Hanson was about the portions in your films and see how are successes because of their subject only traveling cinamateur I have met they improve. and despite lack of good filming by who could take his scene or come the man behind the camera. back for it. I noticed him one morning GAUGING EXPOSURE It took a war to start me taking films passing up a fine view near Merok in And then there's the one about at home. The real challenge in mov- Norway. "I'll be back next year and giving more exposure to close-ups ies, I now realize, is to film the things take it in the afternoon when it should than to distance shots. It was first on your home grounds that the casual be taken," he said. And he did. That's explained to me on the basis that, in a or blase observer overlooks. And in one reason why his movies are so fine. close-up, you had only a very few many respects it's easier to make good But I've learned. And here are objects reflecting light-but in a dis- movies at home. You have more time some of the things I had to go abroad tance shot, thousands upon thousands than when traveling. You can wait for to learn which I think will make these of objects reflect it. Perhaps so. But home movies just that much better. how much simpler it is to throw this Kodachrome shots made by Mr. Loeb There's the time-honored exposure explanation out the window and just at-top row, left to right-Kenya Colony, Africa; Sydney, Australia; Bali; the Taj Mahal, India. dogma of "Expose for the shadows use your head-or rather, your eyes. Bottorn row-Agra, India; Dutch East Indies; and let the highlights take care of Distance shots generally do require Uganda, Central Africa; Melbourne, Australia. themselves." I wonder how that one less exposure than close-ups because, 9 A BLOCKADE HAS ITS BLESSINGS (Continued from page 9) to get a distance shot, you must tilt the chrome scene, almost as though they water must always be just this blue, camera up a bit and devote a goodly did not believe in the film's ability to but rather the real color of water in area of the picture to the sky. The rest record them. Yet large masses of sin- Funchal harbor reflecting a yellow of the shot will be fields or water or gle colors are always more effective sun hanging low in the sky and ca us- snow or desert-and they're pretty on the screen than are kaleidoscopic ing each wave to sport a bright yellow bright, too. It appears, then, that it's effects. One of the best scenes I took glint on one slope and a deep black the subject rather than the distance in Africa last year might almost have shadow on the other. that requires the exposure reduction. been taken at home, because the The midday sun is not at all the best Just as it would be if the subject were screen is filled with the yellow of a light under which to film. Not even a close-up of a polar bear on an ice Shell gasoline truck-in this case for Englishmen. It's pleasant to walk cake eating a marshmallow. with a native fueling our plane. in the early morning. It's pleasant to Some feel that the sole aim of focus What is it, besides the temperature, walk in the evening. Colors are soft is to get the principal object sharp, or, that makes you love to go outdoors in and diluted. Colors are rich and even more desirable, to get every- the spring? The wide expanses of new, ruddy. And that's a wonderful tirr.e thing sharp. But wait. With the stand- soft greens. What is it that makes a to film. Your eye tells you so. ard lenses on most movie winter's snowscape so clean and in- used at, let us say, f/5.6, focusing on a viting? It's the wide sweep of white THE EYES HAVE IT subject 15 feet away will get every- and blue-white snow against the rich Always I seem to come back to the thing sharp from feet to infinity. blue of the sky. What is it that makes human eye, the final arbiter in things Yet how important is that background? you stand and stare at the blue and cinematic. For what are pictures but Maybe it would be a lot better if it was white of ocean and water, or drink in seeing and shooting, showing and out of focus-as it is to your eye if you the gold and yellow of fall? The seeing again? That looks fine .. . that are chiefly interested in that subject masses of color-with perhaps a looks better. That looks normal . .. 15 feet away. So why not focus at 8 small touch of a contrasting color and that looks brighter. Movies are a feet. Then objects from to 17 feet a bit of a third for accent. Your eye, natural thing. They are not born of are sharp, giving you the natural re- and the eyes of your audiences, will gears and gadgets-not at our end of sult you desired but perhaps did not tell you that this is right. the rainbow. Learn to really enjoy know how to get. (The secret is made them by forgetting your formulas- clear in the "depth of field" tables "CORRECT" COLORING and looking. Look at the image in available from the manufacturer of One of the best of my scenes was the finder before you shoot. Maybe a your camera's lens.) Think of how taken at Funchal, Madeira, perhaps few feet forward or backward, to the your eye sees. In all things cinematic, an hour before sunset. We were about left or right, will improve the compo- think of how your eye sees. Look at a to sail, and the waters around the sition. And what does composition near-by object and then at the same boat were dotted with peddlers in mean? The looks of things. So with time try to look at a distant one in the their skiffs displaying white Madeira exposure. Look at that finder image. same scene. It can't be done. linen tablecloths. The yellow light Is it brighter or darker than average? Maybe I'm just a dreamy-eyed sen- gave the scene a marvelous quality, On what area is proper exposure timentalist, but I simply can't see the impossible at noon. True, the table- most important? Or do you want to distorted depth of focus effects so cloths photographed yellow-but they underexpose a bit to deepen a color? admired by the "F/64" school of looked yellow that evening. And the Don't be ruled by exposu·re calcula- picture makers. blue of the water in my pictures is tors and meters. Grasp the fundamen- Many people try to see how many not the "correct" blue a child selects tals of picture making-and look. colors they can cram into every Koda- in his paint box, because he thinks Your eye will tell you what to do.

TITLING ... WHEN AND HOW (Continued from page 8) This is the story oF three mighty nimrods: through your dealer from the Eastman some of which are also shown. Kodak Company. Others send their films to title serv- George, who seldom iF ever Cine-Kodak owners use the Cine- ices for their advice. After an ex- Kodak Titler, shown atop page 8. change of letters, or a personal misses - conFound it. With it they make all manner of titles, screening and discussion, they turn over the editing and titling problem Bill, who hunts hit or miss -- and to them, kit and caboodle. Still others write their titles and take leans toward the latter. them to dealers to be made into film and returned for splicing into the reel. And Harry, who couldn't hit a Typical of this method are the two Cine-Kodak titles shown on this page. pheasant with a handFul oF rice. But titling, as has been said, is an inexhaustible topic. On page 4 of this As our story opens we see issue you see two pages of the Editing chapter of Eastman's 230-page "How "Boots", George's venerable to Make Good Movies." There's also a full chapter on Titling in this fine book. setter, busily investigating a Fine So many News readers (125,000) bit oF cover. It is Harry's honor. Two styles of type titles. Left-the Cine-Kodak already have this book .. . so many Scroll Title for lengthy introductions. Its wording . others will have it soon, that we think Brace YourselF lor a barrage ... flows upward on the screen~ Above-the simple, it fair and feasible to refer you to it legible Cine-Kodak Card Title. for additional information on the truly absorbing topic of titling. lO A of movie

white-is tori.. ultimate of of of

... mentioned will be the the way we to them.

R. M., New York City R. W., Fulton, N. Y. lighter than average? If it's an open 16-mm. regular Kodachro:rne 16-:rn:rn. regular Kodachro:rne scenic with lots of sky it is obviously Your tropical travel movies were good- We don't see how you could improve your brighter than average-about a half very good. Especially those close-ups of ani- shots of Niagara Falls and Mr. Ford's Green- stop. This calls for midway between mals and natives. But there was a bit too much field Village. Camera steady. Composition f /8 and f/ll. If it's a brilliant snow-and- camera motion . . . moving the camera back excellent. Exposure right on the button. We'll and forth so as not to "miss anything." wager that you studied each finder image sky scenic or beach-and-sky scenic, The same footage devoted to two or three before you squeezed the exposure button. go down one more half stop to f/ll. rock-steady shots would have covered the That's about the limit in exposure re- same territory, and caught it all-clearly. H. A., Mineola, N.Y. duction with Kodachrome-one stop smaller than average. Then, going the 8-:m:m. Type A Kodachro:me 0. M., Lancaster, Pa. other direction, your subject may be 16-:m:m. regular Kodachro:me Your exposure for the spot-lighted a bit darker than average-an olive- horse and rider was fine. You prob- skinned native in a close-up, a dark Stilted, Mr. 0. M. Your subjects ably used f /2.8 or f /1.9, either of brick or stone building, a deep-green merely walked out the front door at a which will generally give excellent bank of evergreens. You should there- signal and milled about the lawn. Type A Kodachrome results for well- fore "open up" a little. It's a perfectly Next time why not try to get them busy lighted performers at indoor spec- natural procedure. It parallels the at something and less aware of the tacles. (Incidentally, f /2.8 or even action of the eye. It is all covered by camera? One ruse would be to make f /3.5 is best for shots of wrestlers or the tiny exposure cards packed with shots of their more animated expres- boxers.) But your other shots of the every roll of Kodachrome. sions upon their arrival-as filmed by un-spotlighted action were "under." One more point-camera motion. a camera wholly or partly concealed Rodeos, circuses, horse shows, bas- Try to curb that almost irresistible on the front porch. They won't be ketball games-these generally call urge to fan the landscape with your fussed about the camera then, any- for at least f /1.9 in Kodachrome, and camera. Shoot a scenic as you look at way. They'll have something to do. can even use the greater speed of it. First this vista, then this, and then They can smile, shake hands, and say, Cine-Kodak Super-X at ! f l. 9 or this-each sharp and distinct. "Hello." And it won't be posed. "Super-XX" at f /2. 7. R. T., San Francisco J. T., Hartford, Conn. Miss H. M.P., Depew, N.Y. 16-:rnnt. Type A Kodachro:rne 8-:rn:rn. regular Kodachro:rne 8-:rn:rn. regular Kodachro:rne You had too much artificial light, Mr. R. T., That was a grand movie of a zoo, but the Your southern cotton field shots were nicely and in the wrong location. From what we could part we particularly liked was the manner in exposed and featured plenty of informative see it appeared that you were using several which you worked in unsuspected shots of the close-ups-but your camera was in motion too Photofloods in wall and ceiling fixtures with spectators. That's half the fun of visiting a zoo much of the time. Steady does it. the result that one of the wall lights, or a reflec- -the wondering, weary, excited, bored faces Those close-ups of the children were fine. tion of them from a window, door, or mirror, of onlookers, young and old. Very fine. Close-ups always tell the story better bounced into the camera's lens with almost Good exposure and steady camera work and more clearly. every shot. Hardly more expensive and far in your roll, too. more effective is the plan of using fewer Photo- floods in reflectors, thus concentrating and en- R. S. C., Ca:mp Hill, Pa. hancing your light and greatly simplifying C. B. C., Westfield, N. J. 8-:m:m. Type A Kodachro:me exposure. 16-:m:m. regular Kodachro:me Some cinamateurs film by a cluster of Pho- Your early lake shots are correctly tofloods in an otherwise unused ceiling fixture. Better have a look at your camera's exposed, but what ever happened to After a test shot or two to learn exposure this gate. That "whisker" you noted at the your exposure marker on those later plan enables you to go into action at a mo- ment's notice at a predetermined aperture. But bottom of each frame was probably scenic shots? They were "over" by a this idea, too, has definite drawbacks. Over- caused by lint in the gate aperture. It country mile. A good exposure plan head artificial light is as harsh as overhead always pays to give frequent inspec- to follow is to set your aperture marker sunlight. It "flattens" objects. They lose round- tion to the gate and lens of a camera. back to f /8 before shooting each new ness and depth. And overhead lamps in a room will overexpose all higher-up heads and faces, A fingerprint or bit of dirt on the lens, subject or series of new subjects. already brighter than clothing, rugs, and fur- a cluster of lint or emulsion in the F/8 is standard for Kodachrome (or nishings, thus resulting in unpleasant and un- gate, and your screen images will be for the Daylight-Filtered "Type A" natural lighting throughout. fuzzy, bewhiskered, or scratched. It you were using) for all average shots There's really no short cut to the good light- ing provided by Photofloods in reflectors. It's takes but a minute to check these in direct sunlight. Then look at your both best and easiest. And the first roll of film points. Your camera's manual ex- scene-just the part you are filming. exposed by this method will convince you that plains how. Is it average? Or is it a bit darker or it's likewise the least expensive plan. ll Indoors, Outdoors, invites your CINE-KODAK NDOORS, and out, wonderful movie material beckons I your camera. Family and social life indoors. Family doings ... winter sports and spectacles outdoors. These are some of the finest movie opportunities of the year. And here are the finest of all movie films with which to shoot them. PRICES Color gets the first call. Regular Kodachrome for out- Kodachrome, regular or "Type A": door use. Type A Kodachrome for use indoors with 8-mm. rolls, $3.65; 8-mm. maga- Photofloods. For a one-color-film plan for roll-loading zines, $4.00; 16-mm. 100-fool rolls, cameras, "Type A" indoors and Daylight-Filtered "Type $8.55; 16-mm. magazines, $5.00. A" outdoors. Cine-Kodak Super-X "Pan": 8-mm. When speed is more important than color, use one of rolls, $2.40; 8-mm.' magazines, the Cine-Kodak Panchromatic Films. Fast, fine-grained $2.70; 16-mm. 100-fool rolls;· $6.40; "Super-X," or super-fast "Super-XX." All uniformly 16-mm. magazines, $3.75. Cine- dependable. All carrying in their cartons individual Kodak Super-XX "Pan," 16-mm. 100- exposure guides. fool rolls, $7.20; 16-mm. magazines, EASTMAN KODAK COMPANY, ROCHESTER, N. Y. $4.30 . Prices include processing.