8 mm. KODACHROME

8 mm. Kodachrome is ready- ready without window at life." Smooth, even color- no lines, no fringes, no reservations ... with all of the colorful charm screen pattern. of its 16 mm. contemporary ... equally free While filters are definitely not an integral part of the Koda- chrome picture. there are occasions when their use may be from complexities of taking or showing. desirable- even essential. Outdoors, under certain atmos- NY Cine-Kodak Eight, regardless of lens speed, and with- pheric conditions as described in the direction sheet accom- out a single accessory, can now make full-color movies. panying the film, a Kodachrome Haze Filter is suggested. It Every ''Eight" projector, unaltered, can show Kodachrome necessitates no change in exposure. When filming indoors mOVIeS . under artificial light, it is necessary to use a Kodachrome No filters are required for all ordinary shots. You simply Filter .for Photoflood to offset the ruddiness of artificial li ght. load up with Cine-Kodak Eight Kodachrome. sight and shoot For Cine-Kodaks Eight, Models 20 and 25, ask for these two as you have in the past for black-and-white movies- observ- filters in the U-11 mount. price $1.75; for the Model ing, of course, a few rules of exposure characteristic of Koda- standard lens or telephoto, in the U-8 mount, price $1.50. chrome filming- and make movies in all of the gorgeous color- Prices Processing ings of nature. and The projection of Kodachrome is every bit as effortless. Cine-Kodak Eight Kodachrome (packed with ample and You can splice color sequences right in with black-and-white, comprehensive instmctions) is priced at $3.75- including project them consecutively without even a single adjustment processing. Its projection time is equivalent to that of 100 of your Kodascope. The color is in the film. And on the screen, feet of 16 mm. film. For the present Cine-Kodak Eight Koda- as one movie maker expressed it, "It's like looking through a chrome is processed at .Rochester, N.Y., only. (Continued at top of n ext page) .from precediug page) A few hints on its use you can record it in Kodachrome. Open up the diaphragm to With Kodachrome, keep the sun behind you. Stri ve for light- its widest aperture and enjoy the biggest thrill in picture ing that would make black-and-white movies look flat and making. lack contrast. You get your contrast in Kodachrome from colors- not contrasty lighting. Try for fully illuminated The Swing i s to Color scenes, as underexposed areas will quite naturally lack true "When Kodachrome was first announced some of those with color. Don't panoram and be sure to hold the camera still. cameras for which it was designed "tried'' a tentative roll or When making movies it should be remembered that it is two- somewhat as they might put fork to a new and exotic motion in your subject that you want to save for your screen, dish of tantalizing aroma but doubtful calory content. They not motion in the camera. Again - hold the camera still. regarded it as more suited for a condiment than an.v part of a Give every scene full length- you'll want to enjoy it longer balanced diet. Others, more daring, dipped into the new dish in color. Concentrate on close-ups of people- they're more morning, noon, and night, learned that it agreed with them interesting than full-figure shots. Don't expect true color on very well indeed, that it added not a whit to their girth and shaded eyes and forehead under a wide-brimmed hat if you're their movie guests thrived on it. Every day finds more and exposin g for sunlit cheeks and chin. Remove the hats. Remem- more movie makers "going Kodachrome." ber that backgrounds, and the color of backgrounds, are From sun-up to sunset-and after-Kodachrome gets the important, and that the prize background of all is the easiest picture as you see it in life and as you'd like to see it on the to find- the sky. Shoot upwards past your subjects and frame screen. them with azure blue. And whatever else you may do, don't Add color ... with Kodachrome! The way is now wide open overlook sunsets. If you can look at the sun without eyestrain, for all, at this, the start of the most colorful season of 1936.

that is popularity. And for this- duplicating is again the proved prescription. The very reels you prize most highly, show most regularly, will be the first to show signs of wear from projection. Tiny spots that flicker downward on your screen grow into destructive scratches. Bits of oil from poorly cleaned mecha- nism, smudges from fingertips- all contribute to the loss of the clarity a nd value of frequently shown films. Clean fi lm and a clean projector will forestall much of this. But movie film will inevitably wear from usage- not from time, alone. Do this, please. Run through your reels over the week-end. Collate the best sequences on one or more large reel s. Then take them to your regular dealer and ask him for the cost of duplication. It is not unreasonable, and the film is cleaned before " duping"' so that you will obtain the best possible results. All black-a nd-white fi lm, 8 or 16 mm., can be duplicated. And Kodacolor or Kodachrome films can be dupli- cated in black-and-white. You prize your film li brary today. But you will Clipped frorn the Cleveland Press value it far more as each year fl its by. Duplicate your best reels. Then neither theft. fire, nor con- attached garage, gutted his horne. True, the stant projection can rob you of the memories movie camera and some of the fi lm library were that only movies can fittingly perpetuate. salvaged, but almost a ll of 1935 that had been E wish we could report that Mr. Raper's made into fi lm was. destroyed. W straightforward plea to an unknown second There was, however, one other bitter-sweet story worker produced the desired results. Un- compensation. Kodachrome movies of the fire. An fortunately, however, his films are still missing. enlargement from this reel is shown at the right. This is not the first example of thoughtless There is a very practical and sensible escape plundering of movie fi lms by hea vy-handed from such losses. And that is to duplicate your marauders, attracted to shining film cans resting movie films. Not all of them, perhaps. But cer- on closet shelves, in film cabinets, or on car seats. tainly those which you particularly cherish. Of course, unfortunate happenin gs only occur " Dupes" are indistinguishable in clarity from to others- never to oneself. At least until re- originals, which you can store in a safe or safe cently your Editor cherished this belief of per- deposit box while you project the duplicates. sonal immunity. But there is another destroyer of film more A home - and a year's irreplaceable. Then earl .v one morning, fire, starting in an prevalent and persistant than theft or fire. And film record-going in smoke HIGH

ou have probably read in t he columns of the NEW S, at one time or Y another, of the three important C's of cinematography- Close-ups, Camera Angles, and Continuity. The greatest of these- the high C- is Continuity. It's a note that even a novice at movie making can reach, and hold indefinitely. And it's the note in home movies that lifts your film library out of the ordinary, your audiences out of polite lethargy and their chairs. Continuity, in short, is the distinguishing note between highly interesting and merely fair movies. Let us make a picnic the theme of our etude. At the left you see four views of a group on a beach picnic. Exposure and focusing are uniformly good , but the scenes are merely of people-and self- conscious people at that . Other than a record of a group on a picnic, no story - no continuity-is even attempted. At the right are enl argements from another movie of this same group- enl argements arranged in the order of projection promising the best con- tinuity. These scenes have a logical beginning, and a logical ending. They leave you with a sense of having actually been on a picnic- not merely of having looked at a group on a picnic. Long shots, medium shots, close-ups, shots angled down, shots angled up, group shots, shots of hands alone, shots of a few seconds' duration of highlighting cl ose-ups, shots of ten seconds or more t o introduce the locale and "cast "- the :wHoLE makes one movie of one subject . And it's just as easy to make. Certainly you'll find it better f un to make- and far more fun to see. Continuity can be introduced in every subject- no matter how brief. You may, perhaps, only be making a hurried record of a visitor to your house. What is an outstanding cha racteristic of your sub- ject? Is he an inveterat e cigar or pipe smoker, a change jingler, wat ch swinger? Does he invari ably rub his chin and gesture, or clasp hi s hands behind him and rock on his heels, wh en talking? Let 's assume it's the pipe. M ake a close-up of his hands, pipe, and tobacco pouch only ; another of hands, match, and pipe; another of smoke clouds being puffed beyond the pipe-then your subject's head and shoulders. That 's continuity, audience interest , and good sense. And it's easy. So hit the High C of Continuity every time you pick up your movie camera. Hold it as long as the number demands. Then strike a few chords with a title, and hit it again in your next number.

On the s creen these shots These s hots do n1ore -they merely s how a g roup on a take you right along on the pic nic. picnic. will be almost indistinguishable. It's no fault of "Pan" film. There just isn't much monochrome contrast between these three subjects. The shot at the left, of the two-masted schooner under sail, was made wi.thout a filter. If I hadn't had an interesting subject, it would have been valueless. Now look at the shots below it of the iceberg and the view through the ship stanchions. The berg shot would have been a wash- out had not a yellow filter darkened up the blue of the water in contrast with the lighter blue of the sky- which itself was toned down to snap out the white -answeredbyMr.M.C. Treadway, of the berg. And the harbor scene from Jr., of BrisLol, Connecticut. shipboard, made early one very hazy morning, would have been completely negative in character if a red filter had not been used to heighten the contrast LATE in June, 1935, l had the good between murky sky, water, and the fortune to be one of a party which brilliance of the white paint-work. left Portland, Maine, en route to More than this- the same filter pene- Dr. Grenfell's hospital at Northwest trated the haze so effectively that the River, Labrador. I had been interested distant ship, which otherwise woulcl in social service work for a good many probably have been utterly lost, had a years. And so, when the opportunity chance to enter the picture. presented itself for me to visit Dr. A filter for all shots except close-ups [Sir Wilfred] Grenfell and see at first of humans (makes 'em look anemic) is hand the excellent work he is doing with a sound technic to which to cling. And the natives of Labrador, I eagerly this applies on land every bit as much packed up and went along. With me as it does at sea. went my Cine-Kodak K, a red and yel- Several of the scenes enlarged by the low filter for my "Pan" film, and some NEWS Editor are from my first attempts of the newly introduced Kodachrome. at Kodachrome, for which I did not There is no need for me to attempt to have a haze filter. Perhaps the use of sing paeans of praise for the activities one would have improved them. I of the famed Doctor. My topic is can't say. For certainly they hold their amateur movies- what I took and how own, even in black-and-white enlarge- I took it. ments, with any of the filtered "Pan" The illustrations with this article, shots. The very type of shots which are enlarged from my modest films by the difficult for unfiltered "Pan" film are Editor of the NEWS. wi ll have to serve duck soup for the colors of Kodachrome. to answer the first half of my topic. And Rlue-green water, blue sky, white my previous mention of filters for my clouds, spots of red water line, and fun- Panchromatic film largely explains nel on a black steamer- just slightly whatever excellence may be attributed varied tones of gray with "Pan" film , to some of my shots. For, having been a they're a color symphony in Koda- movie maker over a period of years, l chrome. have long since discovered that filters I guess that about sums up. Oh yes- with black-and-white film have more to always keep some bit of your ship in do with determining the quality of the foreground when shooting any dis- scenes than any other single factor. An tant object. It gives the scene depth. unfiltered marine scene may be per- fectly exposed, clear in every desirable detail, yet be flat as the proverbial pan- cake. Sky is reproduced in what might be termed an unhappy white, water in All of the illustrations on this page are enlarge- ments from Mr. Treadway's Cine-Kodak Panc hro- a characterless gray, and cloud effects matic or _Kodachrome films. The uppermost shot - unless they are most pronounced- is of the author. A tempting object for pets makes a te rnpt- ing s ubject fo r a rnovie cam e r a .

Don't lo ok at the e r a, Don't smile" -unposed naturalness is prescription.

Brighl swimming s uits , h e althy eomplcxions, blue waters, azure sky-movie making a t the h cuch for Koduc hron1c.

Fo r t h e h est o f huma n inte re st stuff, t a k e :v our m o vie cu n1er a to the c irc u s .

" Fra ming" scenics with tree trunks a dds depth and c on trus t.

A nic ely b acklig hte d s hot for " P a n " filtn-but if you plan to r e pro- duce a similar s ubject in color, keep the s un at your b ack.

Fis hing. whe the r e xpe rt or a mate u r is h, Too little a t tention is g ive n to the s h eer b eauty and c harm of pas - C hildre n a nd p e t s are unbeat a ble s ubjects. promises (l ) good lig hting, (2) action, (3) toral scenes s u c h as this. Kodachrome is b e s t-but if black-and- Note that this s h o t w as made in ope n s hade c o m e d y , a nd-pe rha p s- (4) fish. white is y our c hoice. a lways u se a filte r with " Pan" fi lm. -pre fe rre d t echnic fo r o utdoor portrai t s . Left : Mr. W. .J. Adams of Ric hrnond Hill, N. Y ., madc the best s hot of the n1onth with his Cine-Kodak Eig ht.

A 16 good s hot a t Stoney Lnke from the camera of Mr. C. S porlc A simple rus e-" framing" with of Peterboro, Ontario. Canada. trees-wins a place for Mr. Willia rn Hlad of Bayonne . N . .J.

Another C anadian e ntry! A genuine nicotine C e rtainly you'll agree that Lbis second scene hound caught in the act b y the "Eight" of from the ~~Eight" reels of Mr. Hlad might easily Mr. L eo As hby of Ve rdun , Quchec, Canada. h e t e rme

DOZEN more good shots from the films of A CINE-K ODAK NEws readers. And a dozen pairs of Etchcraft Junior enlargements have gone to those who made them. How about your good hot s? If you like them in movies you'll like them in "still " enl argements- and if they are as good as you think they are, you will receive two attractive enlargements of each accepta- A Splendid surfboard action shot from the 16 ble shot with the compliments of CINE-KODAK One tnore c halle n ge to 16 mm. cinamateurs- :mn1.camc ra of Mr. Ric hard B. S tith of Burbank, this d e lig htful interior made with the "Eig ht"' California-of whom more n e xt issue ! NEws . If they are not as good as you bel ieve of Mr. F. A. Lindlie f of White fi s h , Monta na. them to be, the Editor of the NEWS will write to you frankly, tell you wherein they fall short of excellence, what co uld have been done to improve them. Fair enough? Send in whole reels of film, individual scenes, or film clippings- hut no clippings less than four inches in length. Address them to Editor Cine-Kodak News, E astman Kodak Company, R ochester, N. Y. They'll be returned to you quickly and safel y.

And anothe r good s hot b y a n '"Eight"-this Mr. William Pug h of Pittsburgh, Pa made time by Mr. Z . W. Abrams Syracu se, N. Y ., of this s hot of the Soldie r s' M e morial from atop his y oung and very ale rt niece. the 42- story U nive r s ity of Pitts burg h . ..

Although this s hot is from his firs t roll of movies, Mr. Hla d of Bayonne places his third e ntry with this at- while Mr. Russe H L . Paxton Roanoke, Va., Mr. T . E. Ashe r g of Tacotna, Washing ton, ob- trac tive silhouette and sunset s hot-a worthy contribution took his stan ce to the right of the M e morial for viousl y has a g ood eye for compos ition. to the June-July "Good Shots" page . this nice ly "framed" shot of the U nive r s ity. SEEING THROUGH

ILTERS. to the uninitiated, signify the first By ARVIN OLSON , WAUKEGAN , ILLINOIS. Fstep in a painful transition fro m a carefree cina mateur to a gadget-laden cinematographer. " But nothing," he co utinued, imperturba bl y. "Why," cry the contented film ers, " mess " You then click it over into the nex t larger open- around wi th bits of colored gelatin of dubious in g to a ll ow for the slight loss of light stopped by qua li ties and promi sing doubtful results>" the fil ter. " Please believe that I wo uld be the last to ca rry ·'F .5 .6 instead of fo r example?" I queried. the torch fo r fil ters if there was an iota of justifi- " E xactly. Now-if you want a real wallop in ca tion in such mi sgivin gs. But there isn't. Filters .vour scenics, you use a red fil ter instead of the do not add a whi t to the minor complexities of yell ow filter and push the diaphragm marker movie making. over another notch. " I use a Cine-Kodak Eight, Model 60, and am "And then ?" I said eager·ly. so blessed geographically that so me of the most " And then you get cl ouds, and co ntrast, and beautiful lake co un try in the world is practically snap, and beauty that will thrill you to the core at my doorstep. Fully aware of its charm, I of your cinematic so ul. ., he concluded, and swept devoted many reels to its glorification, and with- majestically from my humbled presence. out the use of fil ters. So last summer I took a yellow filter and a red Then I saw so me film s made by a friend of mine filter back to my lakes and, other tha n this, of the ame subject that had been favored with buzzed merrily away with all of my old abandon the benefits of a $1. 50 yellow fil ter-and eagerl y at every wort hwhile vista that turned its face demanded that he tell me "all about" the myste- to me. Some of the movie shots I bagged have rious device. been enl a rged fo r this article. "First, said he, "you stick the filter· on the Did you expect a mass of fi lter data? lens like t his." Sui ting the action to the words, I'm sorry-but you don't need it to shoot the he had il on my ca mera. shots you'll be proud to show. Besides, I've "Then you look at your exposure guide and alread y told you all I know about the subject - sel the diaphragm just as you always do," he excepting perhaps that I use filters for all out- continued. door shots except close-ups of people. And the " But- ," I in terrupted. results fully justify my faith in filters.

A CHAPLIN BIOGRAPHY HOSE of us who can harken back to the 4021 The Adventurer T " never dar·k en our door again ., a nd custard pie 4022 days of the cinema- the era when a grimace was a 4023 The Floorwal1

WITH THESE EASTMAN HEADLINERS

Magazine Cine-Kodak is the new 16 mm. camera that loads in 3 seconds. No threading- thefilm comes in magazines. Magazines of "Pan," Super Sensitive "Pan," regular Kodachrome, and Kodachrome, Type A, for artificial light, are instantly interchangeable-even when but partly exposed. Magazine Cine-Kodak may be operated at half speed, normal, or slow mo- tion. Its new design finder system competently serves the standard lens and 2-, 3-, and 6-inch telephotos. These, and its many other advantages, have made it the fastest-selling 16 mm. camera almost over night. Price- $125, with Kodak Anastigmat ].1.9 lens, at Cine- Kodak dealers'.

Kodascope E, amazingly low in price and pos- sessing exceptional brilliance and adaptability, already paces the 16 mm. projector field . It may be used with your choice of four "fast" lenses (l-inch to 4-inch), and three brilliant lamps (400-, 500-, and 750-watt). Little wonder that wise movie makers are buying the "E" at only $54.50 or slightly higher, depending upon lens-lamp selection.

EASTMAN KODAK COMPANY. ROCHESTER, N.Y.