HOSE who have written to CINE-KODAK NEws for informa- two will generall y suffice to obtain a filter. The price largely T tion need not be told that their questions receive prompt depends upon the filter mount necessary to the lens being and constructive answers. used. A new Cine-Kodak catalog, now available from dealers, However, there must be hundreds of movie makers with will tell you just what filter you need for your Cine-Kodak, unspoken inquiries who have meant to ask for information on and how little you need pay for it. this problem or that, but who "just haven't got around to it." With 16 mm. "Pan" film, a yellow filter requires your lens It so happens that most of the questions that are received diaphragm to be set at two stops larger than you would use fall into a surprisingly few general classifications, and it may to film a scene without a filter-f.5.6 instead of f .ll; with 8 be that their listing here with the proper answers may ade- mm. "Pan," one stop. With 16 mm. "Pan" and a Wratten A quately dispose of at least some of this unwritten correspond- (red) Filter, allow three stops; with 8 mm. "Pan," two stops. ence. In any event they contain information helpful to any movie maker and so are well worth a brief review. Filters with Kodachrome In general, Kodachrome Filters are only necessary for lending the two Kodachrome Films the proper color balance when used under light other than that for which they are specificall y intended. When regular daylight Kodachrome is used indoors under Photoflood light it should be color bal- anced with a Kodachrome Filter for Photoflood. When indoor Type A Kodachrome is used outdoors under daylight, it ••Will filters increase the beauty should be corrected by a Type A Kodachrome Filter for of outdoor shots-especlally Daylight. These two filters equip you for every picture oppor- m" tunity, no matter which Kodachrome Film is in your camera. scenics?" The Kodachrome Haze Filter is for use with daylight Kodachrome outdoors for snow and high altitude scenes, but not necessarily to clear haze from average scenics. WITH black-and-white movies ... frankly, yes. (Continued over th e page) All users of panchromatic film will find a filter helpful for a great many outdoor shots made under light sufficiently No filter used Yellow filler used Red filter used bright to permit the use of a filter. A yellow or red filter livens up shots by heightening the contrast of monochrome repro- duction of colored objects. Specificall y, filters permit a greater effect from light rays reflected by red, orange-red, yellow, and even from light green objects, and slow down the registration of blues. Costumes of these faster-registering colors are brighter and livelier, as are grass and foliage when filmed with a filter, and sky and water are darker in contrast to clouds, sand, and sails. Scenics, especially, benefit from filters. Your enjoyment of a scenic, in life, is dependent to a great degree upon the beauty of sky and cloud effects. Without a filter, "Pan" film will show some separation between the two -but with a filter, clouds are whiter and sky darker. A yell ow filter accomplishes this desirable end to a modified degree, and a red filter to a most pronounced degree. Filters, likewise, clear haze- lend greater depth and detail to distance shots. And filters are not expensive or difficult to use. A dollar or Kodachrome movies in a rainstorm at j.l.9, which, although not resulting in Model in ideal coloring, are yet quite satisfactory 400 l-in. /.2.5 400 L l-in. /.2 16 ' and certainly far beyond the range of 400 EE 2-in./.2.5 27 and L 2-in. f.l.6 32 an j.3.5 lens. Yet this ability of the EE and L 3-in./.2 "Would it be worth faster lens to admit more light would 400 EE and L 4-in.j.2.5 my while to turn in not be of much value if you couldn't 500 . EE . .f.2.5 500 L 1-in.j.2 19 my f.3.5 camera for focus accurately on subjects filmed in 500 EE 2-in . .f.2.5 . 27 500 and L 2-in.j.J.6 one with an f.l.9 poor light, which is why f.1.9 lenses are ' 500 EE and L .f.2 focusing lenses. There will also be 500 EE and .f.2.5 moments on bright days when you will 750 EE l-in. /.2.5 16 750 L l-in. j.2 19 want to focus sharply on one object so 750 EE /.2.5 750 EE and L 2-in.j.}.6 42 IT depends entirely upon how you use as, perhaps, to deliberately throw an EEand L your camera. unflattering background out of focus . EE and L Furthermore, there are indoor mov- First off, let it be made clear that an Follow this chart for ideal screen illumination j.3.5 lens is as effective from f.3.5 to ies, which many cinamateurs rightly f.16 as an j.l.9 lens-and most outdoor rate of equal importance to outdoor screens-a most popular screen size. pictures are, as you know, made within shots. They can be made successfully "Eight" owners definitely should this range. Too, j.3.5 lens-equipped with f.3.5 cameras, but, as stop j.l.9 acquire a Model 40 or 80 as soon as Cine-Kodaks are fixed-focus-are al- admits over three times as much light convenient. ways in focus on all objects more than a as stop f.3.5, you can readily see that But 16 mm. movies present an en- few feet distant. They are simpler and much less illumination is required with tirely different problem. Here, the equally effective for average outdoor the former lens. Less illumination, that leaning has been toward a bit too much filming. But, besides having definite is, or you can film a far greater subject light rather than too little. In average- outdoor advantages, f.l.9 lenses decid- area with the same amount of illumina- sized rooms a screen four to five feet in edly have the edge indoors. tion. width is certainly large enough-and Let's take up the outdoor advan- And so, if outdoor fair weather mov- screens of this size can be ideally illu- tages, first. ies are the limit of your desires, your minated with a 400-watt lamp. Lamps With anf.1.9 lens you can take good j.3.5 camera has an entirely adequate of 500-, 750-watt, and even greater movies in poor light outdoors when you, lens. But if you want never to miss an wattage do more harm than good nine or the subject, can't "wait" for better outdoor movie opportunity because of times out of ten. In halls or auditoriums light. Early morning, late afternoon, poor light, and desire the utmost free- they are fine. But in the average home, scenes in heavy shade or on cloudy or dom in indoor filming, the j.l.9 lens is on an average-sized screen, they tend rainy days, for example. You can take most decidedly worth the difference. to "burn out" screen images- particu- Twof.1.9lens-equipped Cine-Kodaks, larly Kodachrome. by the way, have recently been reduced in price. The de luxe Cine-Kodak Eight, "Tailor-made Projection" Model 60, formerly $91.50, with case, is now $71.50 without case, $82.50 with Above is a chart for 16 mm. movie case. The famous 16mm. Cine-Kodak K, makers. It refers to Kodascopes EE recently $112.50, is now $88.50; for- and L, only, because even with lamps merly $125 with case, now $100, even. of the same rated wattage, the ratio of wattage to screen lumens (the true gauge of illumination) varies widely among projectors-sometimes as high as six to one. It's the light that reaches the screen that counts- not the amount in the lamphouse. The "EE" and "L" An /.1.9 l e ns sees more on dull days Are high power make the most of their lighting equip- ment. lamps really As indicated by the chart, there necessary for are five projection lenses available for best projection the "EE," four lenses for the "L," and results? three lamps for each-400-, 500-, and 750-watt. By checking desired screen size against most convenient projection THE desirability of maximum illumina- "throw" it is easy to see what lens-lamp tion, regardless of the size of the screen combination is ideally suited to your you use, is a fallacy. individual projection requirements. But As "Eight" devotees will be inter- if you already have a screen somewhat ested in this problem, too, we'll take smaller than the minimum size recom- Large groups indoors arc easier to film care of them, first. mended in the table-39" x 52"-your There are three Kodascopes Eight, screen images, although receiving some- Models 20, 40, and 80. Economy, and what more than adequate illumination, not brilliance, is the chief virtue of the will be quite satisfactory. Inversely, Model 20. The "40," with a 200-watt projectors which will supply adequate lamp producing more than seven times light for an 8-foot screen will not fall far as much light as the Model 20, is a short of perfection on screens nine or definite improvement, and entirely ade- ten feet wide. The table is based upon quate for screens up to 22 by 30 inches. the use of smooth, aluminum screens- Yet the Model 80, with its standard a most efficient reflecting surface. If 300-watt coil-coil lamp, and its even screens of other finish are used, the more powerful accessory 300-watt bi- next smaller screen size is recom- plane filament lamp (25% brighter) is a mended-for there is a decided variance still happier choice because it supplies in the reflective properties of different Street scenes and lighted buildings, too ideal illumination on 30 by 40-inch screen surfaces. 2 I N each issue of the NEWS twelve shots are reproduced from the many film clippings, full-length scenes and com- plete reels sent in by movie makers. For each shot selected, two Etchcraft Junior enlargements are prepared and mailed to the winners. The original movie film is not in any way harmed or cut. All film is returned. So much for successful contestants. Unsuccessful contestants receive a friendly, constructive criticism of their film s. Why not send in your good shots? Pack them carefully and address them legibly to Editor, Cine-Kodak News, Eastman Kodak Company, Rochester, Y. To avoid pos- sible customs delays or complications, Canadian contest- ants will please direct their fi lms to Canadian Kodak Com- pany, Toronto- together with a note explaining the reason why the film is submitted:

First column, top to bottom Hornes, partic ularl y beautiful homes, are certainly d eserving of a fa ir shar e of footage. Our first good shot, b y Mr. R. S. M cFarlane of Vicksburg, Mississippi, is o f one of the Sou th's most b eau tiful houses- "Dunleith ," in Natchez, Mississippi. Particularly season a l is o ur second e nlargem e n t fron1 the 16 n1n1 . Koda- c hrome r eel o f Mr. Owen M. S mith of e w York City. Spring, in the coun- try, is a fe rtile source of rnovic s ubjects. Anothe r black- and-white enlargement fro m 16 K odnchrorne is this pleasing s hot of a h appy h oy, rnude indoors against the colorful b ack- g r o und of play roo m wallpaper b y Mr. Lester F . Shaal of Edgewood, R. I. It's nbout time for an ''Eight'' to c rush this Good S hots colurnn, and h e r e it is- s k yscr aper row, frorn a Stu te n Island fe rry, by Mr . .F. W. Tillistrand of New York City. No. 5 in o ur first column is a n oth e r 16 Kodachrome s h ot whic h , bec ause it was made in close-up, permitted a magnification ordinarily impossible with flower scen es. Its fihnc r-Or. C. S. Newrnan o f Pittsburg,. Kansas. A bly holding its own with its fi ve pre d ecessor s is this e nlargcrne n t fro rn the 8 Kodac hrome of Mr. H. M. Thorsson of C hicago. Pic ture this scen e in its original colo r !

Right column, top to bottom Dr. Newrnan, who made the wa te r-lil y s hot in o ur first column, ope r ates a Cine-Kodak Kanda Special. Dr. New m a n 's daughter does not opernte her father's Special-but s h e looks Capable of it in this "K"-made s hot. Lust s umme r Mr. Nelson Robinson o f Atlanta, Geor g ia, took his ''Eight" to Europe. This nicel y filte r ed s h ot of a Rhinc castle is but one o f the rna n y good shots that resulted. A r epeater in these columns is Mr. T . E. Asb e r g of Tacoma, Was hing to n . In n1 aki n g this winning s hot Mr. Asberg merely lowe r ed his can1 e r u b e hind sorne r eeds to l e nd depth a nd contrast to his water- and-sunset scene- always an effecti ve ruse, and always easy t o a c hieve. Although a bit unde r exposed. the c h arming ly natural 16 mrn. close-up of J oyce H aseltine wins two E t c h c r a ft .Junior e nlargem e n ts fo r h e r fathe r, Mr. Ray F . H aseltine of Rutland, Verrnont. New Yorke r s certainly h ave t h e edge in this issue's Good S h ots contest. The almost b ecalmed, hazy-day, yet altogethe r e ntra ncing s hot of the sail- boats is fro m the 8 n1n1. r eels of Mr. William R. Witherell, Jr., of t h e nation's No. 1 rnetropolis. Concluding our list o f winners is a nothe r 16 rnm. s hot b y Mr. Haseltinc, whic h is note worthy b ecause t h e t rain did not stop just short of the earn- e r a . It went directly over it! Which J>Crturbed Mr. H aseltine not a bit~ h ecuuse, b e ing a railroad man, h e knew the r e was s uffic ie nt clear ance. A dramatic s tunt with automobiles as with trains, movie m aker s are advised to completely forego Mr. Haseltine's application a nd attempt the ruse o nly with a utos a f ter making e ntire l y certa in that the car will clear the camer a b y a comfortable marg in. 3 AT HOME ABROAD

Eastman branches in 45 foreign they were not made when you departed, if you confine these upside-down shots to inanimate objects such as countries ... processing stations in li ghtships, " Miss Liberty," wharves and sky lines. 36 offer friendly advice and ser- At sea v ice wherever your travels may If you're bound for the tropics, arrange to have your film - unexposed and exposed- kept in the ship's refrigerator. take you,. For film 's chief enemies are heat and moisture. Refrig- erators, but not iceboxes, are dry- contrary to the belief USTOMS regulations, unusual light conditions, filming held by many. The moisture in a refrigerator is drawn to opportunities, processing facilities, new film and acces- the refrigerating unit, and not dispelled from it. Wait 24 Csory supplies- these are the problems that come to hours to allow "refrigerated" film to reach normal temper- mind when movie makers contemplate a trip abroad. ature before opening. But away with such anxieties! Eastman has blazed the Watch your exposure aboard ship. Sun deck shots are not trail before you. "average scenes in direct sunlight." There's no grass, no Friendly Eastman service is yours for the asking in every shady trees. Ship scenes are generally light in color, bathed corner of the globe. Expert advice on what to film, bow to in direct light. Follow exposure instructions based upon film it. .. prompt processing that returns your film to you beach scenes- a fair parallel. Film shipboard activities- before you cross another border ... ample supplies of film, not on ly of fellow passengers, but of the crew as well. When filters, lenses- the same dependable counsel and assistance making shots overside, keep so me part of your ship in the that have been yours at home await you abroad. A list- foreground to lend depth and contrast. If a heavy sea kicks ing of Eastma n foreign branches and processing stations up, brace yourself with spread feet, and keep your camera -the Kodak Travel Folder-is your for the asking at your leveled on the horizon. Then the ship will pitch and roll on local dealer's or from Rochester, N. Y. Or, if yours is to be the screen and not the sky line. an extended journey, you may want to send your itinerary to the Service Department, Eastman Kodak Company, Abroad Rochester, N. Y., so that they can advise you at the start on Most foreign countries give free admittance to personal foreign customs regulations and processing facilities. movie cameras and a reaso nable amount of fi lm. Some require a deposit, which is refunded when you leave. Before you leave Eastman foreign branches know not only local customs regu- Movie cameras seldom require servicing, but wise cin- lations, but those of the next country on your itinerary. amateurs will take their cameras to dealers for a check-over Inquire about local sites of interest ... about wh at to fi lm before starting on a prolonged journey. and what not to film. Some countries are rather fussy about If you have yet to make use of filters with black-and- cameras being used near public buildings, railroad stations, white film, shipboard scenes and marine views are excuse harbors, and border lines. enough for adding them to your kit. Take along a plentiful Don't go in too heavily for cathedrals and chateaus. You supply of film, and, for uniform Kodachrome success, obtain can get them on postcards by the carload. Wander away the handy, 10-cent exposure guide now offered by dealers. from the beaten paths. Go where natives act themselves, If your journey takes you to the tropics, have your dealer and not as they have found it pays to appear for tourists. order your film from Rochester in tropical packing. Have your film processed en route whenever possible And don't wait until you're at sea to begin filming. Start rather than waiting your return home- especiall y Koda- with shots at home as you study travel literature, pack chrome. This plan has several advantages. First, you have a bags, bid goodbye to friends or family-one of them will constant check on the quality of pictures you are taking. gladly turn cameraman for the shots. Then harbor views- Secondly, you protect film against loss of clarity due to perhaps you can find time to briefiy tour the waterfront on delayed processing. If you spend a few days in each country, a ferryboat for the making of always-interesting ship and you can likely take your processed film along with you. If wharf shots. If you sai l at night, departure shots will be out not, by the payment of postage charges, you can have your of the question. But you can overcome this gap upon your film forwarded directly to Rochester, N. Y., from which return by shooting your entrance into the harbor with the point it will be redirected free of charge to your home camera in verted- and then reversing these scenes, end for address in the United States. in the processed film. No one but you will know that Bon voyage! 4 SHOTS OF THE SEASON What to film how to film it

Spring is blossom tirne, and blossoms call for Kodachrorne. Don't make many dis tance shots of blossoms, b ecau se the tiny pu ttern of the bloorns Garden movies s hould start OW. Show the early will inevitabl y blur. And n ever panoram with spading, p lanting, transplanting. These initial this t y p e of s ubjec t. step s a r c all part of the garde n s tory and s hould b e part of the garde n movie. Film? Kodac hrorne, of course- and c lose-ups.

Fis hing is a grand subject for rnovie continuity. And rnake lots of close-ups! Rods, r eels, lines, c r eels, lures, la nding n ets. the catch , cooking, eating-film 'ern a ll as y ou see 'ern , up c lose.

Is the r e a bird house on a tree n ca r y our home? This J>i c turc is inte nde d to do more than call your Have y ou a telephoto for your c un-.era? The n tnake utte ntion to unother movie opportunity. It dern- yourse lf one of the rnos t absorbing of a ll films--a onstrates the value of cam e ra ung les. Shot up- rnovic r ecord of bird life. You can u se it as a wards against the s k y, it e liminates an unimpor- ''running gag'' to title the season 's progress. tant background, con centrates interest.

Bikes nrc b ack! The craze for cycling h as won young and old. For it's a h e althful, leisure ly way of e njoy ing s pring's beauty - a pleasure your unobtrusive rnovie carnera will g ladly p e rJ>ctuate.

P e t s are seldom allotted the filrn footage they de- serve. Why not make a SeJ>a rate reel of your pup? You' ll find that following him about with the camera is a good excu se for famil y s hots, too.

Symbolic of spring is this upward angled s hot of a farme r 's bes t frie nds. Filte r with " Pan" filn1 , and s hoot at un a c ute angle so that the plodding horses trudge rig ht up to, and pas t , the carnera.

Golfers r each that covet ed mid-season form" far S pring's the tirne to visit the zoo. Title your Plane models are fascinating n1ovic mate rial. earlie r whe n they s tudy movies made of the m in movie shots with close-ups of the ide ntifying cage You'll add a touc h of novelty if you launch your the spring. The le n g th of the back-swing, position signs. Dodge confusing patterns from cage bars ree l at the airport. Follow the take -ofT of a big o f shoulders and wris t s, the pivot, follow through- by s ighting b e tween them, when possible . A te le- ship into the sky-then switch to a model, as it all these ahow up on the home movie screen. photo lens will fit you to get r eal close-ups. sails about to be caught by it8 youthful owne r. 5 DOW DO YOU USE YOUR

I SHOOT BIRDS- tuary on the ocean. Out I went, and out came my movie camera. Similar to says MR. CLIFFORD B. PAUL most every film er who is presented of Moline, Illinois with a good opportunity to film a gull AMILY, friends, sports, vacations, in flight, I made several shots of the Fspect acl es- I've made my share of more graceful performers-and then shots of a ll these popular movie sub- quit. An alluring subject ... a shot or ject s. But I've discovered a different two ... then another subject- that 's the type of movie reel. accepted filming formula. But then Some people are fascinated by the along came an even more talented water front- whether it be river, lake, soarer, and I could not resist the t emp- or ocean harbor- they spend hours tation t o "bag" him too. And then bewitched by its changing aspects. another ... and another. M y roll of Others dote on trains. Still others on black-and-white being exhausted, I airplanes, or dogs, or horses, or cats, or loaded with Kodachrome. And then, fi sh, or bugs, or butterflies, or build- inwardly censuring myself for being so I TRY FOR EFFECTS- ings. or monuments, or stamps, or free with my film, I began shooting all says MR. AUDRY 0. LANE coins, or flowers, or vegetables- and over again, lured on by the realization of Oakland, California heaven only knows how many other that even though I might be refilming subjects. the same birds, they would look still HAT effects? My leaning is to birds. lovelier in color silhouetted against an W Well- that 's a long story I'm .Just about a year ago, on a visit to azure blue sky and cottony clouds . going to try to tell in a few words. Santa Barbara, I learned of a bird sane- Which film panned out most effec- First- cloud effect s. Any movie tively? The Kodachrome, of course. maker who uses black-and-white film But whenever I hint to friends that I outdoors, without a yell ow or red filter, am thinking of chucking my black-and- is just kicking away half the beauty of white version because the color fi lm is scenics. Most every outdoor distance so much more lifelike, they howl in shot wi ll show sky- sometimes half the protest. " Keep them both," they cho- scene wi ll be devoted to it . . . sometimes rus. "And now let 's see them again ." a third ... sometimes two-thirds. Occa- sionall y, as in the enl argement directly Slow Motion and a Telephoto above made from my reels, almost And so I've found out that, if your the whole picture area is given to sky. subject is worthy, people like to see A desert scene, all its grandeur lies in hobby reels. How you film them is a its impressive cloud formations. Whil e contri buting factor, I imagine. I shot Kodachrome Film would have cap- my gulls at slow motion (64 frames per tured these without a filter, " P an" film second), used a t elephoto lens, plus a would not- to any pronounced degree. filter for my black-and-white shots. I A yellow fi lter helps some. But a red discovered, too, that the best time to filter packs the real wallop. film gulls is when the wind is blowing And filters are so inexpensive and strongly up or down the beach. Then easy to use. A dollar or so will buy them. they sail close to shore against the "Two stops more when using a yellow wind and are easy to follow. And here, filter, three stops more for a red filter," certainly, is one of the few exceptions is the general rule for 16 mm. exposure. that prove the rule of- don't panoram. For, really, this is not panoraming at "Framing" for Beauty all. Distinction should be made be- Another effect to shoot for is good tween panoraming and following action. composition-which simply means fi lm- The latter is often desirable, the former ing a subject from the best possible hardly ever. Don't panoram on sta- vantage point. With the scenic shown tionary objects about sums up the idea. in the other enlargement above, the OVIE CAMERA?

her dating back to her first day home. What a truly wonderful t hing- a movie record of a child's growth. It's not news, I know- but parents so sel- dom realize that their helpless, appeal- The big mome nt- first steps nt 9 months. ing babies have outgrown infancy until their initial solo on a two-wheeled bike or departure for first-grade school. This will never happen with Joan Ann. We have her in movies, in action, exactly as she appeared when we filmed her. And what grand movie stars children are__:_if you use your camera properly. You don't have to pose them. You don't want to, in fact. Laughing, crying, "best vantage point" was back among sleeping, crawling, toddling, running- some trees so that they framed the dis- an observant but unobtrusive movie tant mountain range and lent a sense of camera gets-and keeps- it all. W h oops! T h e first o f countless tumbles. depth to the scene. Had I stood in the The appeal of a child's movie diary open to make this shot, as was done is not confined solely to its elders. Joan with the one previously described, the Ann thinks the movies of herself are the scene would have been flat and bald- very finest screen entertainment. For- there was not a sufficiently interesting tunately, she'll continue to- enjoy her cloud effect to "carry" it. movie diary when she's fu ll y grown, too- for the fi lms she sees today are A T ripodfor Steadin ess duplicates. Those precious originals are Third and last effect-picture steadi- safely stored away. ness. Cinematic jitters don't add a thing to sedate scenics. Some people can All of the illustrations on this page are enlarge- hold cameras steadier than others, but ments from movie film. At years- her fir st o u tdoor swim a tripod tops them all in obtaining rock- steady screen pictures. When I corn- pare the reels I've recently made with those filmed before I purchased an in- expensive bantam-weight tripod, I know for a certainty that my invest- ment was a wise one. What subjects do I film? Anything and everything of promise. But I try to get the best effect of all.

I KEEP A LIVING Just 14 days o ld - a n d home! That mar velous even t - a child's 3rd Christmas. DIARY OF MY NIECE says MISS LUCY SHOEMAKER of Roches ter, New York

HORTLY over four years ago, friends S of my brother and sister-in-law re- ceived announcements of an event simi- lar to those which provide Mr. Winchell with much material for his column. This "blessed event," however, al- though of no interest to America's one-

man newspaper, was mighty important mon t h s a long- a n d pleased u b o u t i t . With h er ador ed "Br own ie" o n l1 er 4th birth day. to relatives of Joan Ann Shoemaker- my brand new niece. At first glimpse, I thought her an un- usually adorable baby-an opinion I How Do You Use Your have not had to revise throughout her four bouncing years. And I, as was also Movie Camera? true of her parents, have almost regret- fu ll y observed the disappearance of her How do you fihn every-day subjects so baby days. .that you obtain b e tter-than-average .Joan Ann's early antics and endear- ing mannerisms, however, will never be results ? The Editor of the N EWS, and lost to us, as is so often unnecessari ly 'its many thousand readers, would.very the case. For I have a movie diary of A still b igger smile at 7 month s. much like to know. Just drop a line 7 . to Cin. e-Kodak. News, Eas tman Kodak Co.mpany, Rochester, N .Y. "STOP ME IF YOU'VE

HEARD THIS ONE"

ou undoubtedly have a friend or Ytwo who can spin yarns with the most devastating effect upon risibilities. "A natural story t ell er" is the popu- lar conception of the gifted raconteur- and this conception is very wrong, indeed. Those smooth-flowing, mirth- provoking, and casuall y delivered recit- als are the res ul t of countless other deliveries, many of which probably went very, very sour, but from which was perfected the present technic. H e has learned t o study each audience in advance, t o drop a line here, add another there, stress an inflection at this point, pause dramaticall y before the climax, then step up the t empo. You've probably heard the same properly eq nipped. In fact , many find st ories told before by careless, catch-as- that editing offers as m uch opportunity catch-can yarnst ers, and t hought t hem for ingenuity as the actual taking of ther d ull. ra movies. Just to show you how easy Why t he diffe rence? editing and titling really are when Your spellbinder has edited his mate- you've the ri ght eq uipment, t he several rial for best effect . Eastman aids t o better cont inuity are The moral is equall y true of movies. illustrat ed and descri bed on this page. E ven though you are without aspira- tions for a genuinely professional finish t o your fi lms, remember that your Cin e - Kodak T i t l e r-With this handy, $6.50 st ory-telling fri end does not earn his KODASCOPE RAPID REWIND d evice you've no n eed of s k i ll with pcn or brus h. living, either, by his better-than-aver- Jus t s lip one o f the cards s upplied with the Title r age yarns. When he spins them , people into a t y p e write r , t a p o ut y our title, cente r the pay attention and appla ud- and cer- curd in the Titlc r 's easel, a nd s hoot- the t yped t ainl y you'd like your movie st ories t o l egend will b e clc url y legible on the scr een . Snap- receive t he same fl attering attention. s h o t prints, s k e t c h es, advertising illus tra tio n s, a nd the like, tnuy b e u sed w i t h e qua l s u ccess. It's not diffi cul t t o achieve. If you simply do not have the time t o Kodascope d unior lle,vind and do your own editing, your Cine-Kodak S plice r-This $7 o utfit, tho u g h a t horoug hly dealer will probably help you out. Sit practical d e vice fo r occasio n a l e diting u nd s plic- down with him in his projection room ing of 8 mn1. or 16 rnm. film , is not s u ggest ed . . . run through your film s ... tell him fo r a n y c ons ide r u ble a m o unt of fi l m g roo ming . what you'd like deleted .. . how you visualize their arrangement on alumi- Kodascop e llaJJid n e,vin d and U ni- num reels . . . where you think a title versal Splicer--This ruggedl y con s truc te d outfit is ideal for rnos t 8 rnrn. a nd 16 mm. editing. would help, and what you'd like t he The r e wind Spindles arc gea r ed for r a pid r e wind- title to say. H e will have many helpful ing to e ithe r le ft or rig ht. T h e c ranking a rms suggestions t o make-and when you r eadily disen gage from the s pindle drive whe n get your fi lms back you'll immedi ately finger pressure is r e rnoved , thus leaving the r eel in perfect balu n ce s o tha t the film r e n1 a ins firm ly be struck by an intangible difference coiled while Spliccs a r e b e ing m a d e with the ver- that spell s i-n-t-e-r-e-s-t. satile U niver sal Splicer. Availa ble as a unit w ith Yet perhaps your dealer will be un- the Kodascop e R a pid He wind, or s ing l y fo r u se able t o cooperat e. If so, send your film with it or u n y horizontal r e winding d e vice, the U niver s al S plicer r educes s plic ing to its s implest directly t o the Cine-K odak Service t e rn1s. Clamps hold the fi l n1 a gains t bot h b lo c k s. D epartment , Eastman Kodak Com- A n a ttach e d double -bla d e d knife s h ear s b o th filrn pany, R ochest er, N. Y. They'll splice e nds c lean and true . A secured scraper quic kly four 100-foot roll s of 16 mm. film onto a r e moves s urplus e muls ion. A touc h o f a cem e nt brus h , a nd a finger lever swings the othe r film e nd 400-foot reel and send it back to you in over u nd dow n - we lding the s plice. The complete a film can for onl y $1.45. $1.05 covers o utfit, $22.50. splicer a lone, $12.50. the same service for a 200-foot 8 mm. reel. Your written suggestions on edit- Kodascope l<'lhn Vie,ve r-This time and ing will also be put into effect for a trouble saving d evice m ay b e u sed with a n y hori- modest additional charge. Cine-Kodak zonta l r e wind. Thread the fi l m into t h e Vie we r 's Titles, ordered at t he same time, will gate, w ind the film for wa rd or backwa rd- filnt images a r e m agnifie d into brillia nt p ic tures o n be made and spliced into your fil m . the Vie we r's illuminate d g round-g lass scr een. B y But most movie makers rightly elect pressing a lever locat ed a t t h e Vie we r ' s gat e a n t o edit t heir own fil m , for there is a not ide ntify ing nic k is m a d e o n the e d ge o f the film , inconsiderable added feeling of satisfac- directly a lo n gside t h e film fra m e s h own on the scr een , w hic h docs not m a r i rnages nor hinde r tion in seeing reels you have both t aken furthe r projectio n a nd is easi ly locat e d b y eye or and edited . b y touc h. S p ecify whe the r y ou w a nt the Vie we r The work is not a chore- if you are for 8 or 16 mm. film . Price, $12.50. 8 KODACHROME,TOO

Here's a brand new field for full-color picture fans

AVE your movie audiences ex- H claimed in regret when an espe- cially pleasing Kodachrome scene is supplanted on the screen? Of course, if your projector has a reverse device, you can back up the film, see the scene again. Or, if it has a "still picture attachment," you can momentarily fix the scene upon the screen. Yet Kodachrome pictures are so beautiful . . . capture so much of life's color ... that you'll often want to ad- mire a single screen image for a minute or more, much as you would a canvas of a celebrated artist. Especially scenics You take Kodachrome stills with these cameras ... Left-The -Kodak Bantatn Special; and close-up portraits of humans. Right--the Koduk Retina. . .. on these films: Kodak Kodachrome Film is available in both the reg ular daylight Kodachrome And now you can. Thousands of cmulsion, and Tyr,e A Kodachromc for Photofloods. Prices on these "still" filrns have just been rcdueed. movie makers have added "still" Ko- dachrome to their photographic fun. Movies tell the story- from start to light Kodachrome; and the Type A finish. "Stills" highlight the big mo- Kodachrome Filter for Daylight-to ments. color balance this indoor film for out- The Kodak Bantam Special, Kodak door use. Retina, and similar miniature cameras, The two Kodaks taking Kodachrome will take Kodachrome pictures. are amazingly capable little performers. Eastman laboratories develop the im- They're only as big as a minute- but ages into color transparencies, and re- it's the little cameras that are doing big turn them to you. Then they're mounted things today. The Bantam Special has in glass to be thrown on your movie a shutter speed up to 1/500 second, a screen by the Kodaslide Projector. Kodak Anastigmat Ektar f.2.0 lens that Kodaslide is a precision-built, ruggedly enables it to keep step with the finest constructed projector built to last a movie camera lens. The Kodak Retina lifetime. Its powerful lamp will flood has an equall y fast shutter, and a Kodak your screen with large and colorful Anastigmat Ektar f.3.5 lens. 8-expo- images that are unsurpassed in over-all sure Kodachrome Film for the former, brilliance and clarity. Slides are in- $1.35. 18-exposure Kodachrome for the serted at the top of the slide holder and Retina, $2.50. Both prices include proc- ... You show still Kodachrome with are gravity-fed by means of a lever. essing. You pop the exposed film into these slides . .. Most still picture fans e lect to One operation cuts off the image just an aluminum capsule, the capsule into assemble their own s lides-a fascinating pursuit. shown, drops out the slide into a cush- a tiny cloth bag already addressed to ioned receptacle, clamps the new slide Rochester, N.Y. Here, the film is proc- into position and projects it. essed, returned to you as a strip of full- color transparencies, ready to be cut Both "Indoor" and apart and mounted between glass for "Outdoor" Kodachrome projection. Slide making is a simple and Available enjoyable task. Masks, cover glass, and tape are all modestly priced, easily As with Cine-Kodak Kodachrome, assembled. But if you haven't the time Kodak Kodachrome comes in two to make slides, your dealer will likely types: "regular"- for daylight use, and do it for you. Or send your selection of Type A- for picture making indoors transparencies to Eastman Kodak Com- with Mazda Photofiood, or Photoflash pany, at Rochester, N. Y., where the lamps. For these two films the same slides will be speedily assembled and three filters are supplied- but in differ- returned for a reasonable charge. ent mounts, of course- as for Cine- There's a world of picture enjoyment Kodak Kodachrome. The Kodachrome in "still" Kodachrome pictures to aug- Filter for Photojlood- for use with day- ment your movies. Your Kodak dealer li ght Kodachrome indoors; the Koda- will give you full particulars. And CINE- ... with this projector: The Kodaslide Pro- chrome Haze Filter- for high altitude KoDAK NEws will continue to keep you jector is built to g ive a lifetime of satisfying, and snow scenes outdoors with day- posted on new developments. flawless performance. 9 TO SPREAD YOUR WINGS-

THE "SPECIAL"

The ultimate in home movie One is its reflex finder-you focus subjects directly onto a ground-glass scree n. When they cameras, it permits every are sharp on the glass, they")) be sharp on the film. Because this ground-glass screen has a ver- advanced effect. tical a nd a horizontal etched line ruled upon it- dividing the fi eld into quarters- it is easy to A singl e exposure w i th the oval mas k in position- ANY cinamateurs, who have long since ce"nter the subject for the first of a double expo- an e ffective use for cente rin g allc ntion. learned to walk, now wish to fl y. And cer- sure on either a vertical or horizontal half of the M tainly there is no camera better suited for finder. The other half is masked out by merely scaling the heights of cinematography than the sliding a vertical or horizontal half mask into a super-versatile I6 mm. Ci ne-Kodak Special. tiny mask slot between lens and film. The first This camera fits you to produce a host of ad- exposure is made, the fi lm wound back, the mask vanced efl"ects with an operating ease comparable supplanted by its opposite, the second exposure to that of the simplest movie camera. framed on the ground-glass. Result- double Fades, for example-fade-outs, or fade-ins. exposure. The Special has an adjustable opening shutter. Besides the four half masks mentioned, oval To fade out a scene you slowly raise the shutter and circular masks are supplied with the Special lever from " Open" to "Closed" while the camera - and masks of heart, keyhole, or a ny other is running- and an automatic buzzer within the desi red design are a vailable on special order. camera tells you that the fade-out is completed. The frequent mention of winding back film To fade in the succeeding scene you merely re- may lead you to believe that the Special is a verse the procedure. hand-cranked camera. Such is not the case. Then there is the dissolve-a combination of While it can be hand cranked, it is essentially a the two in which one scene fades out as a nother spring motor driven machine, running a minute fades in. It's every bit as easy. You fade out the Hal f the correct exposure w ith no musk ... wind and a half with one winding. And when the motor bac k .. , h a l f correct e xposure with circul ar rnask. first scene ... wind the film backwards with its is about to need rewinding- not when it has run eight-frame crank ... resume expos ure and fade down- an aud ible signal is your informant. This in the second scene. The point at which you same signal warns you when it's fu lly rewound. started your fade-out is shown by an individual Animation filmin g is likewise easy with this foot meter- you wind back to that point and camera. For this there is both a single-frame start your fade-in. And, if that is not a sufficiently crank, and a single-frame button connected to the accurate indicator in your belief, the Special is spring motor. likewi se fitted with a si ngle-fra me counter, which registers the forward or reverse flow of each of Eight I nterchangeable Lenses the forty film frames of each film foot. Equipped with a Kodak Anastigmatf.l.9 lens, Double and multiple exposures are equally the Special's double lens turret is designed to good fun , equally easy to achieve. They likewi se carry any two of the eight intercha ngeable lenses call for one exposure, a wind back, and a second available for this fine camera. These lenses are - or third- exposure. If a double exposure is the standardf.1.9 lens, the I5 mm. f.2.7 focusing your goal, it is of course necessa ry to mask out wide angle lens described on page II of this issue, one part of your film on the fir st exposure so f.3.5 lens, lens-also shown that, when the film is wound back for the second on page 3-inch f.3.5, 4-inch exposure, half of the fi lm will not have been a nd 6-inch f.4.5 telephotos. Whe n t wo s ubjects a re fi lmed separatel y against exposed. And the exposed half must be masked dark, u n l ighted backgrounds, no tnas ks are There are two distinct halves to the Special. nee ded for doubl e exposures. against li ght on the second exposure. One contains the "Works" of this splend id cam- Two other unique features of the Special come era-motor, operating mecha nism, and operating into pl ay at t his point. controls for most of its unique and exclusive features. The other " half" is the fi lm cha mber. The 100-foot chamber is standard. Available as a n accessory are 'tOO-foot fi lm cha mbers, or addi- tional IOO-footers. They may be interchanged, when the film is wholly or partly exposed, with- out losing a single fi lm frame by fogging. This is but part of the story of the basic model of Cine-Kodak Special. And, wide though its range, this basic model is made even more versatile by several unusual accessories- such as a n Optical Finder, E lectric Release Control Outfit, E lectric Motor Drive, a nd the like. There's obviously not enough space here to complete our description. So see this camera at your dealer's, or write Rochester, N. Y., for a T h e same r use used for showing one i n d ivid u a l free copy of the de luxe "Special" book wh ich twice in t h e sarnc scene. Expose, wind bac k , and tell s the absorbing story of this amazing camera. expose again. It's easy w i th the S pe cial.

A dissolve from a close-up engineer to a Hear no evil, see no e vil , s p e ak no evil-here's a medium shot o f a Speeding limitcd - a com- triple e xposu re with the expose- win d back- and binution of a fade-out a n d fade- in. re - e xpose technic - g rand for c hild pic tures. 10 T\VO NEW LENSES YOU SHOULD HAVE

-that is, if you've a 16 mm. camera takin.g interchangeable lenses.

HIS brief article should be of especial interest to owners of a Cine-Kodak K, Magazine T Cine-Kodak, or Cine-Kodak Special - and all others considering the acquisition of these capable performers. For it has to do with two new accessory lenses that make a definitely im- portant contribution to the enjoyment a nd range of 16 mm. movie making. One lens is the 15 mm. f.2.7 focusing wide angle lens. You see it at the right. This amazing ex- ample of lens craftsmanship will fit you to make more interesting movie records of co untless cam- era subjects. From left to right: The 2½-inch f.2.7 l e n s, adapter for Magazine Cine -Kodak. mm. The standard f.1.9 lens of Cine-Kodak has a j.2.7 focusing wide ang le lens. focal length of 2.5 mm., which, at a camera dis- tance of 10 feet for example, covers a field of about by 3 feet. This is a relatively wide- Children at play, the fin esse of a crack golfer angled fi eld of view. Yet often- particularly in- on the greens, the antics of pets- here are a few doors- you want to include a larger field. You of the occasions when you'll want to keep your can't back up with the camera because of the dista nce with a camera, yet enjoy close-up images co nfines of the room. on your living-room screen. Or, to sw in g to the A fast lens with a wide-angled view is the ideal other extreme, perhaps your target is again a solution- and the new 15 mm. f.2.7 focusing wide sin gle fl ower. Only this time the center of interest angle lens is the ideal lens. With this lens, at 10 is a gorgeously colored butterfly you wish to fi lm. feet, your fi eld is about 6 by feet. The standard f.1.9 lens focuses down to 2 feet- Consider its advantages out of doors, too. but few butterflies wi ll tolerate such camera in- Perhaps you are making a vacation movie. quisitiveness. With the 2Yz-inch lens, however, you want to film an imposing building in one you can more than double your camera distance rock-steady shot. Although you've retreated as and yet cover the same area. far as you can with your camera-perhaps a hun- dred feet- you are only getting a span of about Panoraming Easily Overdone 37 feet with the standard f.1.9 lens. The dotted line s hows the field of a standard le n s Intelligent panoraming may add to the interest .. . the full illustration, that of the wide angle l ens of your pictures. However, it must be done slowly The wide angle lens will almost double that from the same distan ce. coverage--62 feet, to be exact. and should on ly be employed when the situation Or perhaps your travels take you to crowded seems to demand this particular technic. A tropical native quarters, or narrow Old World steady camera means steadier·, more effective streets. Twenty-fi ve feet may be the maximum screen pictures. Panoraming, an extremely tempt- camera distance you can achieve for a cross-the- ing practice, is easily overdone. street shot. That will only give you about a foot field width with the standard 25 mm. f.1.9 Rental Films lens. A wide angle lens steps up your coverage to For those home movie devotees who have yet feet. When used for a shot looking down the to supplement their personal film by renting pro- length of a narrow street, the wide angle lens fessionally-made reels reduced to 8 mm. and 16 accentuates its narrowness, shows more of the mm. proportions, the catalogs below are rec- nearby buildings on either side. ommended. Most Cine-Kodak dealers stock Yet the advantages of this new lens are no less Cinegraphs, many are Kodascope Libraries. useful for making extreme close-ups-for it Comedies, dramas, cartoons, educational features focuses down to 6 inches, with a field of about -all are available. Catalogs may be obtained by in ches. from your local dealer, or directly from Eastman

A sin gle bl ossom can be made to fill an entire You won't nee d bright lig ht to make close-ups Kodak Company, Rochester, N.Y. screen image. You can make unusual titles of such as this when using the " fast'' 2½-inch f.2. 7 telephoto. hands writing a letter or vacation postcard. Hundreds of e nte rtaining Watch faces, automobile speedometers-all of and instructive films, avail- the innumerable close-ups that aid continuity- because the results of unsteady hands are mag- able fora modest renta l , are can readily be film ed. nified as the focal length of a lens is increased. listed in these free catalogs. There's the problem of centering such nearby A 2½-inch lens is actually the safe maximum for objects, of course. With Cine-Kodak Special, the steady screen pictures by hand-held cameras. ground-glass focusing of its reflex finder dispels And, as this 2½-inch Cine-Kodak lens is " fast" all difficulty. But with Cine-Kodak K and Maga- - its widest aperture being f.2. 7-sportsmen will .. r of zine Cine-Kodak a bit of estimating will be find it particularly useful. Most game is encoun- required. Centering from left to right is easy- tered in the early morning and late afternoon, the finders will show this. But vertical centering and this lens fits you to film under such adverse is another matter- the fi eld shown by find ers is light conditions. not that seen by the lens in such extreme close- But you'll find thef.2.7lens every bit as useful ups. The solution is to measure the distance from at home as afield. the base of the camera to the center of the lens, Movie shots should be unposed ... people and then center vertically on that basis. A ruler, should appear to be unconscious of the presence strapped to camera base, makes a handy guide. of a camera- which is far easier for them to do when they actually do not know that you are filming them. If, as has already been stated in 2½-inch lens an ideal telephoto this article, you are working up close at 10 feet for hand-held cameras with a standard f.l.9 lens so as to cover a small field of about by 3 feet, it is hardly likely that Telephoto filmers know that lenses with focal you can catch them off their guard. But with the lengths upwards of three in ches should only be lens, you can cover a similarly small used when cameras are operated from tripods, field from a distance of 25 feet. 11 IN BLACK-AND-WHITE

KODACHROM

EA LISM? Only the smooth, realistic colors of Kodachrome Small wonder the swing is to color. Ask your Cine-Kodak R can do full justice to your subjects. dealer to show you typical Kodachrome reels. Then you, too, Range? The regul ar dayli ght K odachrome imposes no hand- will add color with Kodachrome. Koda- icaps outdoors- even salvages many a dull day, earl y morning chrome Film, " dayli ght" or T ype for or late afternoon scene by highlighting otherwise lusterl ess Photoflood li ght, is priced at $4 .75 for the subjects with effective color. And fo r amazingly versatile pic- 50-foot 16 mm. roll, $9 for t he 1 00-foot ture making indoors, T ype A K odachrome requires nothing roll , $5 fo r the 50-foot 16 mm. magazine more t han Photoflood lamps in E astman's $5 Kodaflector. . .. for Cine-Kodaks Eight - $3.75 . All Ease? Cine-Kodak dealers now offer a 10-cent exposure prices include processing. guide that di spels the few problems of outdoor ex posure. Right- Ask your dealer for this n ew, )0-cent expo- Indoor K odachrome, even simpler, is amply covered by Koda- sure guide for 8 rn rn. and 16 cameras. It tells y ou ut u glance w h a t "stop" use. ends K o d uchron1.c's fl ector's in struction card s. f ew o utdonr e xpos ure problems.