tint, or half shadow, and the rest may go too clearly defined. A net over a certain '., black. This · postulate we may use as a portion of the camera lens might do it. ' medium. Varying the proportions will Perhaps we might employ the vignette The Zoomar Lens J control the effects we may be creating. for only a portion of the scene. Rem­ The Handling of Quality Elements brandt used this aid extensively. Leav­ In dealing with shadow as an element ing something to the imagination, he G. Back, M. E., Sc. D. the fact found, gave his pictures a quality few ' By Fran~ of our scene, we must recognize that irr interior motion pictures we build artists were able to duplicate in paint­ (Research and Development Laboratory, New York) our scene from a completely unlighted ing. back ground. This is an opposite method 4. Repose to that employed in most of the graphic Another element which promotes emo­ Distance Range: 8 ft. to inf. arts. It resembles wood cuts and their tion is that of repose. The word sug­ HE Zoomar varifocal lens was for 35 mm. film is still in the labora­ 120 mm. - very ( Close-up Attachment for Wide-Angle manufacture; we carve out of blackness gests good taste. It suggests the removal first demonstrated in public at the tory stage but will be available It demands that T Front-Lens permits shooting at any with our spotlights those parts of the of too sharp contrast. Spring Convention of the S.M.P.E. soon. ·, specified distance· down to 2 inches, scene from which we derive an exposure. the scene fulfill its function, and pur­ in May, 1946, and has since then been The technical data of the 16 mm. covering an area as small as a postage vey its ordained effect; not flamboyantly by the motion picture profes­ Zoomar Lens are: Procedure ·acCepted stamp. Lens can be zoomed as usual. by the simulated projection of violent .sion, During the short time it has been 1½". 1. Acquiring a pleasing design for the Length 12". Width 3½". Height color and mass or turbulent line, but use it has proved a valuable tool in Interchangeable Tele - Front - Lens. scene demands that first we visualize a ;in Weight 1 ¾. lbs. nicely, and in the mannerly way. the field of scientific educational, indus­ Zoom Range: 80 mm. to 240 mm. Dis­ two dimensional plan. We mean by this Aperture Range: f :2,9 to f :22. of Line in Photographing ,.t·:trial, and commercial film production. tance Range: 30 ft. to inf. that modeling, or the three dimentional The Nature Range: Interchangeable Wide-Angle Pictures result of Coverage: Difference in field aspect, must be ignored when studying Motion .', · . Though the Zoomar is a Front-Lens. Zoom Range: 17 mm. to Field in any one continuous shot-9 the light and dark scheme. This is ac­ "The simplest possible conception of a ~t,;\1:·1ong, and painstaking research, the final mm. Distance Range: 4 ft. to inf. area 63 in field area in com­ complished by use of a dark glass, or picture is an arrangement of lines cut­ :,;'/:development has been greatly speeded Attachment for Wide-Angle times. Difference (Close-up shot using both front lenses half closing eyes. In this manner the ting into a rectangular space, in such a ' ai1t''uP, by the recent war. By developing Front-Lens permits shooting at any pound zoom the armed ~36 times. mezzotints fade, and we are conscious way as to make it interesting.'' says 'i'-' vai'ious instruments for specified distance down to 1 inch, cover­ forces, which in one way or another in- solely of the black and hot patches. Arthur Hammond in his book on picto­ '.. '. __ ing an area as small as a postage stamp. The general situations under which optical systems, valu- 2. Close-ups demand that we use fewer rial composition. Our motion picture ·;t~t-VolVed varifocal Lens can be zoomed as usual.) the Zoomar lens may be used success­ A longshot permits more com­ 11,t able experience was gained. The Vari­ are scenes necessitating a transi­ elements. scene, though devoid of linrs such as are Interchangeable Tele - Front - Lens fully plexity of the component elements. et cetera, is ' focal Viewfinder PH-532/UF for ex­ form a total view to a medium used in drawing, etching, Zoom Range: 36 mm. ·to 106 mm. Dis­ tion 3. The use of the wide angle lens and governed by the principles ..a'ml)le, designed for the combat cameras plane, or from a medium shot to a nevertheless, tance Range: 14 ft. to inf. the longshot require that the entire scene of linear form. These affect all presenta­ .. ,/of the U.S.A. Signal Corps, used for close-up. In all these situations, where in field be more completely lit, and the darker it be with brush, pencil or 11'· 1~;,,:_-~lie · first time the principle of a single Field Coverage: Difference a trucking shot was required, tion whether shot-9 formerly patches broken up and raised in tone camera. : ,\barrel linear movement to produce a area in any one continuous practically the same effect can be prin­ in field area in com­ value. We must do this in order that the We do not presume to suggest that W{' \·(~t:" ·change of magnification. The same times. Difference achieved with the varifocal lens. in the Zoomar pound zoom shot using both front lenses blacks will not be heavy and break up there should be obvious, unbroken lines .: ciple · is also employed of a dialogue between two distinguishes Any scene the unity of the scene as a whole. running through o u r composition. ~tlens. This principle, which -36 times. or more persons, in which the camera­ Tone or made ttself from every other varifocal opti­ Suggeationa /or Employing Rather, that there should be lines i1-; The technical data of the 35 mm. man plans to start with a total view to Promote the so far, guarantees Quality Elements of points of interest and centers of at­ l'·cal . system produced Zoomar Lens are: of the situation and .then concentrate Aspect 11,e Scene functioning of the instrument Emotional of traction. Such breaks as 3:re necessary v.erfect Length 24". Width 6". Height 2¾.". on one of the persons, can be produced in such a of the inevitable wear of the 1. Unity may be skipped by the eye ;regar4Iess greater speed and less expense a scene in in­ parts. Weight approximately 9 lbs. Aperture with One postulate in rendering way that they provide variety and mechanical by using the Zoomar lens. The usual motion pictures is that the . scene must manner that we Range: f:4.5 to f:32. terest. In much the same ~r \'At the present time the Zoomar lens procedure can be reversed and the the scenes already shot and of light and dark, so Range : Interchangeable Wide-Angle conform to group our masses ,t,for 16 mm. cameras is in production scene can start with a close-up of one which will be shot. Moreover, the the objects and accents in Front-Lens. Zoom Range: 40 mm. to those do we arrange '"and on the market. The Zoomar lens person and then the picture elements of the particular in such a way that the eye speaking individual our picture extend into a medium shot, shot must bear a distinct relationship the contours along the path may quickly may follow bringing the rest of the company with­ toward each other. Whatever the action, we desire it to purSue in observing the in the frame. however the grouping of the actors, scene. REGISTRATION lEVER whatever the background, these diverse The Pyramid Straight Lines In many cases the use of two or more a coherent ­ cameras can be eliminated and an effect elements must be unified into of the most fre­ Straight lines suggest dignity, manli If two masses or groups The pyramid is one Points and an­ similar to cross-cutting can be achieved rhythmic whole. forms. It ness, vitality, security. the scene and the interest, the quently used of fundamental from them suggest excite­ with the Zoomar lens without the costly divide most stable and com­ gles derived spectator is confused. If a large number is the secret of straight lines are used loss of valuable studio time by alter­ In closeups the head forms ment or frenzy. If masses of light and shadow are pres­ pact designs. harshness and irritation are The Zoomar and nating telescopic view and wide-angle of apex to the shoulders. The apex of to excess, ent, the result is to confuse and irritate. the . its Accessories shots. is often placed below the the result 2. Rythm the triangle of some smaller This becomes especially important in introduced into a scene base by the introduction Rythm may be This serves as a link the production of musical pictures where number of ways. Agitating a tree feature of interest. in a the masses together, so that the the necessity of continuous and unin­ which produces a shadow, moving an ob­ to tie triangle becomes a quadrilateral. The terrupted shooting of each scene is even as ~ hanging lamp so that it ject such used the quadrilateral greater. to be swinging in the breeze master Raphael appears shaped plan extensively. of the difficulties of the paral­ the scene live. Life may be intro­ or diamond Many makes to an extreme the quadrilateral and sound of a the scene in even a static Carried lel editing of picture duced into round or oval.