Americancinematographer13 1933 05
Americancinematographer13 1933 05
Americancinematographer13 1933 05
AMERICAN
CINEMATOGRAPHER
A Technical and Educational publication
of motion picture photography.
Published monthly by the
AMERICAN SOCIETY
OF CINEMATOGRAPHERS, INC.,
Suite 1222 Guaranty Building,
Hollywood, California.
What to Read
L. M. Dieterich, A.
S.
S. C.
by W. H. McCullough 19 Dr. C. E. K. Mees, A. S. C.
A PROFESSIONAL 16 MM. Camera A. Jones, A.
Dr. L. S. C.
by Karl Hale 20 Dr. W. B. Rayton, A. S. C.
Herbert Meyer, A. C.
MONOGRAPHING the Jig Saw Dr.
Dr. V. B. Sease, A.
S.
S. C.
by Lenox R. Lohr 22
KODACOLOR Comes Indoors
FOREICN REPRESENTATIVES
by A. L. Gilks, A.S.C 23 Franklin,
Georges Benoit, 100, Allee
I PRACTICE Correct Exposure Pavillons-sous-Bois. France. Seine. Tele-
by J. R. Nixon 24 phone LeRaincy 13-19. John Dored, Riga,
Latvia. Herford Tynes Cowling, 1430 Mon.
HERE'S How
roe Avenue, Rochester, N. Y.
by A.S.C. Members 26
AMATEUR News 28 NEW YORK REPRESENTATIVE
S. R. Cowan, 19 East 47th St., New York
City. Phone Plaza 3-0483.
ESTABLISHED 1918. Advertising Rates on appli- Neither the American Cinematographer nor
cation. Subscription: U. S. $3.00 a year; Canada the American Society of Cinematograph-
$3.50 a year; Foreign, $4.00 a year; single copies 25c. ers is responsible for statements made by
COPYRIGHT, 1933, by American Society of Cine- authors. This magazine will not be re-
matographers Inc. sponsible for unsolicited manuscripts.
American Cinematographer • May 1933
FILMO
Personal Movie Cameras and Projectors
subject, in
FAMILY MOVIES
—
out so easily
recorded.
Buy
any weather and climate.
— fully
used
capable both indoors and
that natural action is readily
Editorial
Testing Committee
Rejects Inferior Equipment
In several instances, in the past several months, While some may feel that the withholding of
apparatus has been submitted to the Society after an approval by the society on a product which
other organizations have given it their approval others have passed upon as being suitable for use,
only to find that in the final acid test of the is a hardship, still, the more progressive and con-
Cinematographer’s requirements it could not pass structive manufacturers and distributors realize
every condition that is familiar to the cameraman tha+ this action will mean less servicing and less
Fourteen Vears
EDICATING its efforts to the ad-
D
Society
vancement of the science and art
of Cinematography the American
Cinematographers launches
of
into its Its achievements
fourteenth year.
during those years are a matter of his-
tory . . . they are the milestones of the
Drawing by great made in cinematography
strides
Clenn R. Kershner, A.S.C.
. achievements that have established
. .
John Arnold
President
A.S.C.
A. S. C. Re-Elects
John Arnold for
Third Term
A T
a meeting held in the Society’s offices on the
evening of April 3d, 1 933, the members of the Amer-
ican Society of Cinematographers elected a new
Board of Governors, consisting of John Arnold, John W.
Boyle, Daniel B. Clark, Charles C. Clarke, Elmer C. Dyer,
Frank B. Good, Alfred Gilks, Fred W. Jackman, Charles
B. Lang, Jr., Arthur Miller, Victor Milner, Hal Mohr,
George Schneidermann, John F. Seitz, and William Stull.
The officers elected to guide the Society through the
coming year are headed by John Arnold, who was unan-
imously re-elected President for the third successive term.
Victor Milner was elected First Vice-President, having
served several terms in this office previously. Charles G.
Clarke was elected Second Vice-President. Elmer G. Dyer
was re-elected Third Vice-President. George Schneider-
mann was returned for his third successive term as Treas-
urer, and William Stull was re-elected Secretary of the branches of the industry —
a keener general appreciation
organization for his fourth successive term. of the cinematographer and his work —
and better times
President Arnold’s platform for the coming year, as out- in general.”
lined in his inaugural address before the members at the At the first meeting of the new Board, President Arnold
annual installation banquet, at the Bel-Air Country Club, announced the appointment of the following committees:
sponsored by E. O. Blackburn of J. E. Brulatour, Inc., was
PUBLIC RELATIONS COMMITTEE: John Arnold, ex-of-
a pledge to continue his efforts of the past two years.
ficio chairman; Herford T. Cowling, of Rochester, N. Y.
“Now is no time,” he said, “to make fine-sounding prom- Frank Zucker, of New York City; Edwin L. Dyer, of Detroit;
ises —which future events may render impossible of ful-
Charles Bell, of Minneapolis; Charles W. Herbert; Charles J.
fillment. Instead, promise to bend every effort toward
Davis; Mack Stengler; Paul H. Allen; Ross Fisher, of Mexico
I
professional and amateur alike, throughout the world. But MEMBERSHIP COMMITTEE:
our progress in the past, noteworthy as it may have been, Charles G. Clarke, Chairman; Alfred Gilks; and George
can be but the foundation of future accomplishment. What Folsey.
Camera-Carriage being but thirty inches wide and five feet five inches long.
As has already been said, it gives a range of camera-heights
(lens-center measurements) of from 26 inches to six feet
six inches. Being made entirely of duralumin, it is ex-
Saves Time ceptionally light, weighing but three hundred pounds; less
than half the weight of comparable devices of earlier design.
In actual practice, it is extremely difficult to say whether
the device’s greatest utility lies in its application to travel-
by
ling shots, or to its convenience as a substitute for ordinary
tripods. In the former use, it meets the demands of
John F. Seitz, A.S.C.
practically all types of scenes ordinarily encountered, with
a few rare exceptionswhich demand the use of a larger
crane. it is compact enough to be used freely
In addition,
on even very small sets. Due to the narrow width, it will
HE new mobile camera-carriage recently developed by
easily pass through any door. The action is smooth and
while by virtue of its light weight it
T
easily controllable,
the engineering department of the Fox Film Corpora-
does not demand excessive additions to the stage-crew.
tion, and now in use at the Fox Hollywood and West-
wood studios, promises to prove one of the greatest aids to When used as a substitute for conventional tripods, the
Continued on Page 35
May 1933 • American Cinematographer 9
AFERTUHji rGiliuo
1.4
1.8 1.6
3.2 2.8 2.6 2.4 2.3 2.0 1.8 1.6 1.5 1.4
manufacturer, another letter would be placed before the let-
3.3 3.1 2.8 2.6 2.7 2.2 2.0 1.8 1.7 1.6 1.5 1.4 ter indicating color. Let’s take a yellow filter. If it is made
4.0 3.6 3.2 3.0 2.8 2.5 2.3 2.0 1.9 1.8 1.7 1.6 1.4 by Eastman can either be E-Y or K-Y.
it If it is a Scheibe
4.5 4.0 3.7 3.4 33 2.8 2.6 2.3 2.1 2.0 1.9 1.8 1.6 1.4
Filter it could be S-Y, etc., and a Harrison Filter would be
5.8 5.0 4 .5 4.2 4.0 3.5 3.2 2.8 2.6 2.5 2.3 2.3 2.0 1.8
indicated as H-Y.
8.3 5.6 5.2 4.7 4.6 4.0 36 3.2 3.0 2.8 2.6 2.6 2.2 2.0
8.0 7.1 6.5 6.0 4.0
5.6 5.0 4.6 3.8 3.6 3.4 3.2 2.8 2.5 The numbers after the filters could indicate their factor.
11.0 o.e 9.0 8.2 7.8 7.0 6.3 5.8 5.2 4.9 4.6 4.5 3.9 3.5
Of course this is very difficult as the factor is different with
12.5 11.2 10.2 9.3 9.2 7.9 7.2 6.3 5.9 5.6 5.3 5.1 4.4 4.0
16.0 14.3 13.0 12.0 11.3 10.0 9.2 8.0 7.5 7.2 6.7 6.5 5.6 5.0
each film, not only each type of film, but the film made by
22.0 19.7 13.0
—
16.5 13.5 14.0 12.5 11.0 10.3 10.0 9.3 9.0 7.8 7.0 the different manufacturers.
sional, still the future may offer the camera man something
Names of
different in a film base that will be in popular use, or the
film manufacturer might devise something of an important
nature in color sensitivity that would change these factors,
and any factor filters applied now would be obsolete.
Says termine the purpose for which they were designed, the
colors they are to affect and the results to be given.
Elmer Dyer, A.S.C. The aperture ratio table printed on this page could be
used for determining the stop with each given factor. Or
the tables now in vogue published by the different manu-
facturers would still serve their fine purpose.
T
filter
for filters has been evident. And that every filter
manufacturer has his particular nomenclature for each
is also evident.
ing of their film
value of
the value of Supersensitive.
in
Orthochromatic,
tensity across width. With the sharp uniform line the fre-
quency response was 25,000 cycles contrasted with a fre-
quency response of only 9,000 cycles for the line whose
edges were not sharp and the intensity varying across its
width.
This difference is unquestionably due to the fact that
ordinarily when the line of light is not uniform across its
width the variation is a falling off of intensity from the
center to the edges which gives a one half sine wave con-
dition to the line of light, this half wave subtracts from the
sine wave which is being recorded on the film to the amount
of its magnitude, which, of course, depends upon how fast
the intensity falls off toward the edges.
This graph shows a gamma of .45 obtained
by using a .003" and .0006" lines of light This condition of falling off towards the edges increases
in combination width. as the line of light is made finer, particularly as the mechan-
ical stops are brought closer together increasing the ratio
of penumbra or edge shadow to the illumination area so
that attempting to create an extremely narrow line of
in
light you run the risk of not only losing exposure, but also
Opt ical Twin of not gaining the expected high frequency. And, of course,
in the case of the two .0006" lines of light the one falling
Fidelity With Therefore when greater exposure is desired for glow lamp
recording would naturally follow that the
it line of light
should be as wide as possible, consistent with character
OT when Edgar fact that the width increased the film motion
increased
N
since 1880, Fritts patented a means
of recording and reproducing sound vibrations, has tolerances by about three times over a normal line of light.
(The theory of film motion relative to aperture size is
there been anything new in the principle of the I
The accepted practice has been to create as fine a line of Of course, for good recording it is necessary to record
light as possible not only for both recording and reproduc- much higher frequencies than 6000 cycles and further ex-
ing, but also for both variable density and variable area periments were conducted by using a .0006" line of light
recording. The theory being that the narrower the width in combination with the .003" line of light. The result of
of beam the higher the frequency response, and of
the this testproved more than gratifying, the frequency range
course, the better the quality. was extended to 17,000 cycles although maintaining the
same quality in the lower register and the exposure as shown
It should therefore be of considerable interest in the realm
in the accompanying graph gave a gamma of .45 with fifty
of sound when some different principle, namely the use of
per cent transmission with the lamp current still at 5 mill-
two lines of light, is employed in the recording of sound.
amps.
But, before going into a description of the two line principle
let us re-familiarize ourselves with some of the optical The performance of this dual optical system may be lik-
conditions of sound recording. ened tothe dual horn combinations where one horn
Although theoretically the width of the line of light responds from 25 to 5000 cycles and the second horn
determines the frequency response of the optical system, responds from 4,000 to 6,000 cycles, except that the
1
in actual practice, the character of the width of the line, narrow line of light which records the high frequencies is
such as sharpness of edge, uniformity of light across the recording all of the time, adding to the exposure of the wide
width is so powerful a factor in controlling the frequency line of light, although not changing the quality of the lower
portance.
While at this writing there has been only a few thousand
This has been demonstrated by using a .0006" line of feet of commercial recording completed with this system,
light whose edges were very sharp and the intensity of the the first picture was composed of solid string orchestration
light across the width very uniform compared with a .0006" and violin solos, the quality of which can only be appreciated
line of light whose edges were not sharp and a varying in- by actually hearing the sound.
May 1933 • American Cinematographer 1
sprocket filter. This is a mechanical fly wheel consisting 20 to 12,000 cycles on any type of film stock, with a
of a modification of the Robertson patent —
the whole proper lamp and optical system. Any number of micro-
phones or head amplifiers can be coupled into this amplifier
system is mounted on ball bearings.
from a separate mixing panel, which can be supplied where
The DeVry Camera is of the removable magazine type
desired. Normally the DeVry amplifier is equipped with a
and will accommodate either 400 or 1000 feet magazines
as desired. Detached from the tripod, the camera is a single plug input for one dynamic microphone. The mix-
simple metal box equipped with a handle, which makes it ing-panel, which permits the use of several microphones,
as easy to carry as a light grip. It is furnished complete
is naturally recommended for studio recording, or for re-
with pack for monitoring purposes, which makes it possible recording or “dubbing.”
to determine exactly what is being recorded. A tachometer The DeVry amplifier receives all its power from a 12
at the rear shows the operator at all times at what speed the Volt storage battery, so that either on location or in the
film is traveling, and two switches are furnished, one for studio it is independent of line current, and assured of a
the motor and one for the lamp. The speed is controlled uniform power-supply. In studios where it is desired, how-
by an automatic electric governor, which maintains uniform ever, a special DeVry power-panel makes it possible to
speed even with a variation in load or voltage of 5 per cent.
1 operate the equipment from 110 Volt Alternating Current.
12 American Cinematographer • May 1933
Development of
of this crane
in two seconds.
obvious; but in
is, of course,
The operation is
course, was merely to provide a device for the making the light of the more recent designs, it appears that its
of scenes involving the moving-camera technique; but re- construction involved unnecessary size, weight, complica-
cently another consideration has arisen: namely, expediting tion and expense. It is evident, for instance, that a device
production by means of an instantly-adjustable camera- of such dimensions could only be used on an exceptionally
stand, which is also capable of being used for moving- large stage, or out of doors, if its full advantages were
camera shots. This latter consideration, however, has in- to be utilized. Similarly, the use of aluminum alloys of
fluenced only the designs of the past twelve months. high tensile strength, such as Duralumin, would naturally
The earliest “dollies” were, of course, used during the reduce the weight. With reductions in weight and bulk,
silent-picture era. Correctly speaking, they were probably the value of mechanical operation becomes somewhat ques-
not designed, but assembled from such materials as were tionable. Accordingly, in all subsequent designs, there
easily at hand; accordingly, they were very crude. One have been progressive reductions in size and bulk; an
of the more primitive designs —
the Paramount dolly No. increased use of duralumin in place of steel; and, in every
1 —is shown in an illustration. As can be seen, it is simply instance, manual power is substituted for any form of
a low platform of wood, fitted with Model “T” Ford motor-drive.
automobile wheels and tires. The camera was mounted Representative of these economies is the Metro-Goldwyn-
upon its tripod, which was in turn set upon the
usual Mayer crane, designed by John Arnold, A.S.C. It is roughly
dolly-platform, and tied down. The contraption was then half the size of the earlier design; it weighs but one-
moved as requisite by the stage crew, and steered by means seventeenth as much as the larger mechanism; and the
of a tongue, which also enabled the stage-hands to apply cost is but one tenth that of its predecessor. In other
the motive power effectively. These early doilies were words, it elevates the camera to a maximum elevation of
relatively large; but as new ones were needed, it was 24 feet; weighs but 3,300 pounds; and costs approximately
found possible to reduce the size markedly, and to increase $3,500. These savings have been secured, however, with
the effectiveness and controllability. The more recent no sacrifice of either structural strength or operative
types average perhaps four feet by six feet in size, employ The undercarriage consists of a rigid frame-
—
much smaller wheels usually industrial truck-wheels or
efficiency.
work of channel-form steel beams, with solid-tired truck
airplane wheels —
and brake and steer on all four wheels. wheels mounted without springs at the ends. Immediately
Several freak designs have also been evolved, some three- above this undercarriage is a U-shaped member in which
wheeled, others four-wheeled, but all designed to turn in the crane-arm itself is mounted. This is pivoted in order
the shortest possible radius. Even since the advent of to permit the crane to swing through a complete horizon-
sound, these older devices are still utilized to some extent, tal circle, while the arm may travel through a vertical arc
especially for exterior scenes and for interiors which re- of approximately 90 degrees. The arm itself is a tapered
quire only simple movement. cantilever of riveted duralumin, reinforced with tubular
The next step was the development of the big camera radius-rods, which also serve to maintain the camera-plat-
cranes and booms. Probably the first of these was the form in horizontal equilibrium regardless of the angle and
one made for the filming of Universal’s “Broadway,” and elevation of the supporting arm. The camera-platform
—
Mobil
Camera-Carriages
an' d Cranes
by
William Stull, A.S.C.
PHOTOGRAPHY
of the MONTH
and sequences which are most artistically photographed
“THE BARBARIAN’’ especially several light-effects. He has also photographed
photographed by Harold Rosson, A.S.C. Helen Twelvetrees unusually well. Taken all in all, Lang
Egypt— Egypt of the fictionists of the E. M. Hull
the is to be congratulated for making such a fine combination
reel lengths —
and the changes would all come at the reel-
grave injustice to everyone concerned with the production.
The release-prints will unquestionably be better; moreover,
ends. After seeing the picture, queried the sound-engin-
one understands that they will be made very largely upon
I
Some Don t,
are, as they say in Europe, “photogenic”; and John Nicko-
laus and his laboratory know their end of the work so well
that you can go home at night secure in the knowledge that
“Nick” will make the day’s work even better than you
expect it to be. So, as said before, like light sets.
But, I Like Don’t misinterpret this
I
—
I
Light Sets edge in every shot, for light sets are primarily a problem in
lighting. But the results can be such as to make this added
effort decidedly worthwhile; you can achieve a new beauty,
greater delicacy of gradation, more effective compositions
by and lightings, and in a word, express yourself more
thoroughly, on light sets.
George Folsey, A.S.C. When working on light-colored sets, you must pay un-
usually close attention to lighting both set and players, not
merely well enough to make an exposure that shows set
and people tolerably, but to use the magic of light, shadow
LIKElight sets. Some cinematographers don’t, realize;I
(Editor’s Note: This is the first of a series of articles to be One of the light toned sets from “Reun-
written by leading cinematographers of their photographic likes,
dislikes and reasons for them.) ion in Vienna" showing Folsey's decora-
tive set lighting.
16 American Cinematographer • May 1933
WHEELS
OF INDUSTRY
Monotone Viewing Class In numerous midwestern and north- volt motor and 165 W. 30 V. lamp.
• Especially designed for use with Super- western communities of the U. S., many When used on alternating or direct cur-
Sensitive Film, George Scheibe is schools, churches, and homes derive rent of 105 to 120 Volts, a resistance
marketing a viewing glass that is claimed their electric power from 32 volt light- control knob on the base is set to pro-
to give a monotone translation of all ing plants. In these same localities are vide the necessary resistance to reduce
colors into their various black and white towns serviced with 110 volt current, the current to the 32 volt rating of
values. This glass is composed of two with the result that county agents, motor and lamp. When used on 32 volt
units, one for use with artificial light, school superintendents, salesmen, etc., current, the resistance is cut out by a
the other for use in daylight. Scheibe
must provide for both voltages in con- turn of the control knob and full line
claims it will find a wide use with art nection with the use of picture equip- voltage goes direct to motor and lamp.
ment. Heretofore the equipment owner The 56 Watt 32 Volt lamp supplied
directors, as well as cinematographers. 1
found it necessary to buy both 0V and 1 1 is a high intensity light source which
32V. motor and lamps and to inter- provides sufficient illumination for large
Two New Victor Projectors change them when necessary. pictures and long projection throws.
• Two new Projectors have been added claimed the new Victor 10C Pro-
It is In foreign countries particularly, and
to the Model 10 Series by Victor Ani- jector, which is a combination 32V- even in sections of the U. S. and Canada,
matograph Corporation, Davenport, Iowa, 1 1 0V
Equipment, has already been en- one encounters line voltages ranging all
to meet certain domestic and foreign de- thusiastically received in such communi- the way from 105 to 250 volts. To meet
mands. ties. The projector is equipped with 32 this condition Victor has announced the
Continued on Page 38
May 1933 • American Cinematographer 17
AMATEUR
SECTION
V0K
Contents . . .
Next Month . . .
A NYONE who
Audio
has seen even a single issue of the Pathe
Review must surely appreciate the
that can be added to motion pictures by the judicious
use of the coloring processes known as tinting and toning,
either singly or in combination. There is no need, how-
beauty
whose sides, instead of being solid, are made of a number
of parallel bars; the ends may be solid or not, as is most
convenient for the maker. This drying drum should be
revolved steadily by a small motor, though in the smaller
sizes such as suffice for amateur use, it is quite feasible
ever, for the amateur cinematographer to envy his pro- to fit small vanes inside the drum, and use an electric fan
fessional cousin, for both tinting and toning can easily be for the purpose of revolving the drum as well as for cir-
done at home; and while it is true that some of the formu- culating air around the drying film. In a pinch, one may
lae used professionally call for more or less rare dyes and dry the film on a simple, rectangular frame, such as an un-
involve a certain degree of complication, the great majority painted picture or mirror-frame: but this is not to be
of tints and tones ordinarily used can be achieved very recommended strongly, as the film develops rather definite
easily and with little difficulty or expense. The simplest bends where it drys in the sharp angles incident to winding
solutions for this purpose are those prepared by the Bur- on such a dryer.
roughs-Wellcome Company and marketed under the trade- The actual operations of tinting and toning are simple,
names “Tabloid” and “Soloid.” While these preparations and may, of course, be carried out in daylight or ordinary
are intended primarily for the use of photographers in
still
white artificial light. Regardless of the method or process
staining and toning gaslight and bromide prints and lan-
used, the film must first be thoroughly washed, not only
tern-slides, they are none the less excellent for use with
to ensure that it is completely free from all traces of hypo,
cine film, whether reversal or positive. By the use of but to assure that it is uniformly soaked, and therefore
these products, one may easily produce Sepia, Blue, Green, uniformly conditioned to receive the coloring solution. This
and Red-chalk tones, and Red, Green or Yellow tints. In
washing should be for at least ten minutes in order to assure
addition, the Eastman Sepia-toner and the Agfa Gold-tone
uniformity. The film should, of course, be wound on ^ne
solutions may somewhat extend the range of tones easily
drum or rack for this washing. After washing, the film will
available.
be found to have stretched to some extent: therefore it
Here, one must differentiate between “Tints” and should be tightened in order to prevent any overlapping.
“Tones.” Tinting affects the film-base, and not the image, The film is then removed to the solution or solutions re-
giving an effect such as one would get by slipping a sheet quired by the process being used, washed again, and put
of colored glass or gelatine over the lens of the projector. on the drying rack. When doing this, the film should be
Toning, on the other hand, colors the picture itself, but squeegeed by gently passing it between two layers of
leaves the high-lights clear. Tints and tones may be used chamois-skin, in order to remove the surplus moisture,
in combination, with excellent results, as, for instance, a and prevent the formation of irregular water-marks. The
Continued on Page 32
AMATEUR SECTION May 1933 • American Cinematographer 19
When An
Amateur Turns
Professional
by
W. H. McCullough,
Amateur
OT
N
of us care to make our living with the cam-
all
// //
Professiona
16 mm. Camera
From Eastman
by
Karl Hale
The speeds of the Cine-Kodak Special range from 8 to perimental recording, especially by the disc method. While
there is no information as yet forthcoming from the manu-
64 frames a second, in the following gradations: 8, 16,
facturers, the camera should likewise prove easily adapta-
24, 32, 64.
There is a cushioned stopping mechanism for high speeds. ble to sound-on-film recording, using the newly-standard-
There are two film meters. ized R-C-A-16 mm. sound-on-film dimensions.
One, governed by the
diameter of the roll of film, is for indication of the footage However, considered apart from its potentialities as a
left for exposure in the film chamber. The other, geared sound-camera, the Cine-Kodak Special will clearly appeal
and marked in individual feet, is intended as a guide in to a surprisingly large clientele of advanced amateurs, semi-
connection with the winding-back feature. professionals, and professionals, who have been heretofore
T he variable shutter is useful not only for fades and dis- practically disregarded by the manufacturers. Amateur
solves but also as an additional exposure control. It is val- clubs, especially those interested in the serious production
uable for producing sharp images of fast-moving objects. of dramatic pictures, and individual advanced amateurs
It can be used in place of a neutral density filter to cut who have long sought a camera as completely flexible as
down the light in Kodacolor filming. this will naturally find the new Cine-Kodak Special a cam-
The engineers who designed the Cine-Kodak Special con- era ideally suited to their needs. The individuals who work
sider its most important innovations perhaps to be: the in specialized fields, such as scientific and medical films,
eight-frame shaft (moving the film eight frames to one time-lapse studies, and the like, will also welcome it.
turn of the crank, for winding back or for hand cranking) Moreover, it is sure to reveal to the manufacturers an
the one-frame shaft (for special single-frame work such as
;
The Jig-Saw jig saw puzzle would be slowly moved into position and
T interesting stunt
which
similarly interested.
I am
which worked quite successfully and
here recounting for others who may be
was removed, each piece being moved from Va to Va of an
inch for each picture taken. Care was taken that the
movement be not jerky and that if the direction of a
Recently took a strip of film of four children at the
I piece be begun in a straight line or a curve, it must travel
dinner table using two 500-watt lights and an F-1.9 lens. along this path for six or eight frames before making a
When this picture had been printed, cut the first frame
I change in direction. From one to four pieces were in
from the film and sent it to a commercial photographer movement at all times, some of which are removed by a
to have it enlarged to a width of 12 inches. Of course, devious route creating the amusing effect in the finished
it remained in the same proportion as the original picture. picture of searching around for their proper places. When
The size of 12 inches was selected to fit the size of only four pieces were left, they were disengaged, turned
my title board which was used in the process, but any several revolutions on their own centers and taken from
size picture from 4 inches up should be equally satis- the board radially, leaving it entirely black.
factory. Some of the pieces were interlocking while others would
Continued on Page 33
AMATEUR SECTION May 1933 • American Cinematographer 23
Kodacolor should come from above the person’s head, being so posi-
tioned that the shadows cast by the nose (when the light
on the other side is not on) comes down to the corner of
the mouth. The exact arrangement of the lighting, of
Comes Indoors course, will as always, depend largely upon the nature of
the subject.
T
for
color film can
amateur cinematographers.
now be used for making natural-color
movies by artificial light is fraught with importance
It means, of course, that
If you
in
labelled "Photoflood,” you needn’t discard any other equip-
the wrong proportions to give satisfactory results. ment you may have on hand. Ihave found that the
will examine the normal ratio diaphragms that are sup- regular photographic lighting-units, such as the efficient
plied Super-Sensitive Kodacolor film, you will ob-
with “Solite” and Kodalite units give very satisfactory results
serve that the diaphragm reduces the effective area of the with Kodacolor. (The “Solite,” of course, has the added
three filter-strips almost proportionately, having an open- advantage of being adaptable to photoflood bulbs as well
ing roughly oblong in shape. The Photoflood diaphragm, as to the regular 500-watt tubular bulbs.) Since there
on the other hand, leaves the red in the same proportion, are a number of inexpensive lighting units made for use
but practically doubles the green and blue areas; this is with photoflood bulbs — units ranging in price from $5.00
to counteract the yellow-red components of incandescent
light. Since this diaphragm reduces the red area to 6/10
up — it is not difficult to assemble a surprisingly
modest sum
in-
large
Correct Exposure you have because of the location in which you are living,
you will find that you will automatically apply this in your
practice. At least that has been my experience when I
HAVE wasted a great deal of film. But those days I could improve on the guide if opened just a bit more I
are over. I now hit the exposure on the “nose” every or closed down a trifle more than it indicated. felt I I
good luck with them. Possibly they took more pictures fact that the money had paid for the camera was really
I
I hardly think the manufacturer would give me mislead- the price represents in good pictures, we would pay as
it
CINE-KODAK SPECIAL
A PRECISION-MADE, CUSTOM-BUILT Principal Features, Many Exclusive
Cine-Kodak Special has variable speeds, inter-
16 MM. MOTION PICTURE CAMERA changeable film chambers, reflex (focusing) and
OF UNPARALLELED ABILITY eye-level finders, variable shutter, double lens
turret, single frame release, one- and eight-frame
HERE’S HOW
by A. S. C. Memb ers
blows must be slower, and show very per- and then the blur again. The only insur-
ceptible movement; naturally, the partici- ance against this is care in loading the
pants “pull” their punches, so that often camera.
what appears to be a rousing battle does
not actually hurt the fighters at all. In
—
John Arnold, A.S.C.
NIGHT EFFECTS WITH FILTER.
STUNTS AND FIGHTS. “I, and such fights as require the combatants to
“I have tried to get night effects
no doubt- other readers of your mag- break furniture over each others’ heads,
on supersensitive film with a 29-F
azine, would like to know how etc., what is known as “breakaway”
Filter, but overexposed, and got
I
is fighting, rough-house, and falling furniture is used: this looks like the real
nice normal shots. What exposure
off horses and cars turning curves thing, but is made of very light wood
should use, working in bright sun-
I
and so much other action made?” (usually yucca), and further weakened
— H.W.V., Ft. Myers, Fla. where it is to break. Being hit with a
breakaway prop is only a trifle worse
light at the beach?”
— L.F., Beverly Hills, Calif.
As a general rule, this sort of action is
than being hit with a solidly-stuffed pil- Working under such conditions, your
done by professional ‘‘stunt men,” low. normal exposure, without a filter, would
In staging fights, the experience
doubling for the stars. So far as know, of the cameraman is again important in be f:22 or less.
I
Therefore for normal
there is but one star who actually does
selecting effective angles which make the shots with an F filter, you would use
all of his stunts himself: Tom Mix. While
scene look realistic without being danger- f:7.8, and for night effects, f:l or a 1
some of the other ‘‘Western” stars may If in normal work, your ex-
ous to the combatants. little less.
do some stunts occasionally, they gen-
erally use doubles; while of course all the
— Daniel B. Clark, A.S.C. posure without a filter would be f 6, : 1
done by men.) Stunt work takes a high — B.K.D., Newark, N. J. TITLES WITH A MOVING
degree of skill, as the stunt must look This is advisable only as an emergency BACKGROUND. “Is it possible to
effective — and the man naturally wants measure. The colors in commercial cello- make which the white let-
titles in
to break as few bones as possible. Perhaps phane are selected for their decorative ters appear against a moving back-
the best description of the work, life and value, not with any reference to possible ground, using amateur equipment?”
psychology of a stunt man is the book,
‘‘Squadron of Death,” written by Dick
photographic value. In addition, unless — J.R., Chicago.
you have some means of stretching the Yes, and it is quite easy. First, select
Grace, one of the few leading stunt men material extremely tight, you are almost the background you want to photograph,
still living and who, in addition to having
man.
The choice of camera-angles and suit-
—
George Schneidermann, A.S.C. COLORLESS
my last roll of
KODACOLOR.
Kodacolor, there was
“In
able locations is equally important; this STREAKS INSTEAD OF PIC- little color —and what there was
is one of the reasons why certain cinema-
TURES. “I recently got a roll of film
back from the laboratory and found
was in the wrong place — bluish
tographers specialize in the making of faces, pink skies, etc. What caused
“Western” and stunt pictures. In a word, that instead of pictures had simply I
that?”
stunt action demands expert stunt men,
properly-chosen camera-angles,
a blurred streak, without frames or
any clear image. checked the cam- I
— J.E.G., Seattle, Wash.
abso-
era, and made sure that the lens was Your Kodacolor filter had simply come
lutely ideal conditions, and unremitting
loose in the mount, and was reversed
care and experience. O.K., and the shutter in time.
Moreover, my next roll of film was wrong-side-to. If you will also reverse
The same is true of fights. In order to all right. What was the matter?” the Kodacolor filter on your projection-
screen well, the action must be done by
men accustomed to fighting for the cam-
—
A.V.M., Detroit, Mich. lens, the colors will be as they should be.
It is always a good thing to check up on
era: many of the blows that do the most Probably you had the camera loaded your Kodacolor filter before making a
punishment in real fights are so short and had not got-
carelessly or hurriedly, shot: remember that the strips should be
that they would not be noticed in a pic- ten the engaged in the
film properly vertical, with the red section to your
ture. Anyone who has been to real claws of the intermittent. This would LEFT as you look at the camera. An easy
prize-fights undoubtedly has witnessed make the film move continuously past way to remember this is to remember
fights in which the actual knockout came the aperture, and give you exactly the that the filter-bands should correspond
swiftly and unexpectedly, from a blow effect you describe; sometimes when this to the red green and blue stripes on the
which may have travelled but a few in- has happened have known the claws to
I Kodacolor film-carton if the carton is
ches, and was so speedy as to be un- catch for a few frames, and then slip out stood on its left side.
noticeable. In fights for the screen, the again, giving a few acceptable frames, —Wm. Stull, A.S.C.
nE vfTffifin
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acknowledges this unsolicited
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versatile Vallee has
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continued to hold
tribute from the Veteran of the
CAN'T G
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the fancy and favor
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ke World’s Finest 16mm Motion Pictune Equipments^/0
28 American Cinematographer • May 1933 AMATEUR SECTION
Pri ze Winners
Voss in Florida Everglades was photographed by members last sum- was so highly commended and
for which
mer showing Kansas City as the visitor he was given the Certificate of Merit
• H. W. Voss who was given a Certifi-
sees it. As yet no definite plans have recognition, is this year experimenting
cate of Award of the first class for
been made for duplicating the film so in Morgana Color in Africa. He is at-
his Kodacolor try in last year’s amateur that organizations may borrow it for tempting to bring that fascinating corner
competition is active both with Koda-
showing, but the Chamber of Commerce of the world to the screen in its true
color and black and white in the Ever-
has approved the film. Anyone wishing colors.
glades of Florida. Voss is also experi- to learn more about the loan of this
menting with tints and tones on some
new black and white 16 mm. pictures he
Kansas City film should write to the Frisco Club Shooting
secretary, Mr. A. W. Lewis, 307 West
Is shooting. Cable Cars
8th St., Kansas City, Mo.
• As a club activity the Cinema Club of
Greenbrier Club Doing • To complete the program for the eve- San Francisco has been making pic-
ninga play by play picture of the tures of the San Francisco Cable Cars.
Mystery Play entire Kansas University-Missouri Uni- At their recent meeting some of the
• Evidently the Greenbrier Club is fol- versityfootball game of last fall was shots taken by the members were shown
lowing its first love in the production shown by Lloyd Thompson of the F. O. with the idea of developing ideas for
of a new picture. The mystery play is Calvin Co. additional scenes to complete this inter-
“The Thing”, summer’s produc-
for this esting picture.Also those of a mechani-
tion Morey, secretary, is
schedule. Hal cal turn of mind demonstrated a few
rounding out a story of a movie within
Wooley Experiments With scenes in which they used the cellulose
a movie with dark hued villians who will 35mm gum for creation of wipe-offs.
3teal the “proud beauty” and even the • Alan C. Wooley, who recently contrib- G. A. Young, president of the club, is
camera and camera man. Now the mys- uted an illuminating article on “Stop planning a meeting for the showing of
tery is, without camera and cameraman, Motion” with the 6 mm. camera, is now
1 the Prize Winning pictures as selected
"how is Morey going to finish his pic- making experiments in the 35mm. field in the International contest conducted
ture? along the same line. by this magazine last year.
AMATEUR SECTION May 1933 • American Cinematographer 29
PRIZE WINNERS
COMING TO HOLLYWOOD
Name
Street
City
AMATEUR SECTION May 1933 American Cinematographer n
you ARE
NOT AN AMATEUR!
You are a Cl NEPHOTOCRAPHER . . . CINECRAPHER or CINE-
GRAPH ST I or have you a better name.
The word Cine is becoming more and more associated with sub-
standard films . . . Slowlyit is meaning 16 mm. and other small
sized film.
have a new name for the Home Motion Picture Maker Shall . . .
Name
Street
City
— 8
Getting Desired Colors tone until the desired color has been at-
The “Soloid” red, green and yellow tained. Do not make the mistake of re-
stains give very nice tint effects. They moving the film too soon from the ton-
are mixed by dissolving one tablet in ing bath; also, remember that for the
each ounce of water, and tinting until best results you must have properly-ex-
the desired color has been attained. For posed film; overexposed scenes give a
stronger colors, use less water, or im- weak, yellow-brown tone rather than a
merse longer. The final washing re- true sepia. This solution also serves to
quired is brief — fifteen or twenty sec- intensify the image noticeably, and may
considerably improve overexposed shots.
onds, as a rule. The red stain gives re-
sults that are very deceptive, as the film If necessary, the tone can be improved
must be toned quite a bit darker than by treating the film (after toning) with
seems necessary to visual inspection, as the “Tabloid” brown toner.
the projection tends to lighten it. The
Most Beautiful Tones
same is, in a way, true of the green
Probably the most beautiful tones,
stain, which gives an effect which is very
however, are those produced by copper
but not so satisfying
attractive visually,
30% to 60% Cash Savings when projected. The yellow stain re- ferrocyanide toning with the “Tabloid”
on 16 mm. and 35 mm. cameras, projectors Copper Ferrocyanide toner. This bath is
and accessories. Write for Bass Bargaingram. quires an even darker coloring, to be at
Specify size of apparatus interested in. For all effective. a single-solution affair, compounded by
over 22 years Value Leaders of the nation. The “Tabloid” blue toner gives a very dissolving one tablet in each ounce of
Your copy is ready. Write for it.
attractive blue tone. While it employs water. The preliminary rinsing, post-
BASS CAMERA COMPANY a single solution, it is made by dissolving toning washing, and drying are the same
179W. Madison St., Chicago, III.
two tablets separately, and then mixing as for the other toning processes: but
May 1933 • American Cinematographer 33
The copper
/3. 5/4.5
ferrocyanide solution acts very strongly
as a reducing agent, so
startwith very vigorous, contrasty films.
it is advisable to Biotar f 1.4
Because of this action, too, it is surpris-
ingly useful as a means of salvaging Write Carl Zeiss, Inc.,
underexposed scenes. 485 Fifth Avenue, New York
Filtering for Color 728 So. Hill St., Los Angeles
Obviously, with certain of these solu-
tions, the nature of the image dictates
the type of tone obtained; in some cases
it might even be well to expose and
filter your scenes with special reference
to the toning process to be used (espe-
cially for copper
ferrocyanide toning).
CARL ZEISS
There is a little trick to getting per-
fectly uniform results, and the film must
CINE LENSES
be uniformly
dried and carefully
squeegeed if water blemishes are to be
avoided; but these things are not dif-
ficult. In the main, tinting and toning
16 mm. films by these methods is easy
—and
•
incredibly fascinating. Once you We Have Reduced
have mastered these simple processes, The Price of
there is an almost infinite range of dye-
fore the button was pushed for the tak- in processing ... It is gone forever. Agfa’s Personal Processing guards against
ing of a picture. About 3 Vi feet of film this possibility.
WILLO
ture is completely assembled. As the
last piece achieves its place, the whole Professional
immediately becomes animated, the Continued from Page 19
children going on with their meals. With ing considerable footage in newly opened
the shading and the position of the puz- areas of the Mount Rainier National Park.
CINE METER zle film accurately matching those of Mt. Rainier and its surroundings af-
fords literally hundreds of scenic views,
the original film, the only visible break
(The new model with film speed each one so strikingly beautiful that the
is the disappearance of the jig saw puzzle
selection)
lines and the beginning of animation.
camera enthusiasts accept the challenge
to record them on film; that it really is
a challenge to skill those who have taken
I Practice Correct Exposure
movies at high altitudes will agree.
Continued from Page 24
That Joe Yolo has been successful in
I just couldn’t afford an exposure meter. his work of photographing parts of this
I have many friends who have them and “Mountain that was Cod” is attested by
use them to mighty fine advantage. In the fact that he was selected to go again
fact, their photography has improved into this mountain country during the
tremendously since they made their meter dead of winter, and over ten to thirty
a part of their equipment. But in my feet of snow, in order that fireside-
case couldn’t make the investment at
I
hikers like you and me may see something
the time needed it, so
I
proceeded to I new in winter pictures, the settings for
learn correct exposure in the only way which are actually seen by few men.
that came to my mind. It has worked
Advance Preparation
Gives absolute accuracy with out mighty well for me.
Winter pictures on the slopes of great
UTMOST SIMPLICITY Mt. Rainier are not successfully secured
Commends 1933 Plan without much advance preparation. Yolo
No calculating
of Awards started to prepare for this trip last sum-
No adjusting • I.O. Levy, member of the Los Angeles mer by rebuilding an Eyemo camera into
No turning Cine Club and one of the entrants in a compact, housed in and hooded cam-
era which could be packed on his back,
the 1932 American Cinematographer
A ONE-HAND Competition, commends the method to
be pursued by the American Cinematog-
stand much abuse and still be easy to
bring any one of its three lenses into
instant action either by hand or on the
Meter rapher in their 1933 method of con-
specially constructed tripod. The tripod
ducting the contest and giving awards.
• reads correct stop DIRECTLY. In a recent statement, Mr. Levy said:
as well as the largeview finder attached
• shows exact 6 mm picture
1
“It is my feeling that the spirit among
to the side of thecamera had to be light
limits. to pack yet very strong and rigid in order
amateurs should be the joy of achieve-
• is a FINDER as well as exposure ment and not for any monetary or valu- to stand steady against the terrific winds
meter. which almost constantly blow at ex-
able acquisition, by reason of having
• you see where you aim at. reached a higher point in the art in
tremely high altitudes.
• scales permit instant reading of friendly competition.”
Miles up in this mountain region is a
any cine exposure problem. Levy specializes in landscapes featur- cache of food, bedding and film taken
• Adjustable for different film ing trees, mountains, etc. It is his con-
there last October before the big snows
speeds. so that Joe when he starts in some time
tention that he gets more of a “kick” in
It fits
fits
the pocket
the purse.
—and making a successful picture as to beauty
and composition along these lines than
in February, will only pack fifty three
pounds of camera and equipment besides
with any other subject. his snow shoes and skiis.
Preparation and perseverance are
Price SQOO needed for success in any line of en-
Including Sole Palmer Trying Sound deavor, for Joe Yolo these attributes have
Leather Case
• William Palmer who with Ernest made possible the transition from Ama-
Paige won
WILLOUGHBYS 10 West 32nd
first prize for the
can Cinematographer 1932 Amateur con-
test is turning his activities toward the
Ameri- teur to Professional: yet more than ever
for him motion picture work is a Hobby.
1 St., N. Y.
creation of sound equipment for his own
Kodacolor Comes Indoor
Continued from Page 23
pleasure. His experiments are in line
hold several photoflood bulbs (six or
with its use on 16 mm. film.
II eight to the unit, even.) Such units
are most effective if they are slightly
Write credentials to take him into the most that there is small danger of overex-
ROD-AL Film Laboratory interesting sections of the quake zone to posure, at any rate! The Eastman Kodak
2605 Redondo Boulevard secure scenes for his picture of this Co. have published the following ex-
Los Angeles, California event. posure-charts for use with their new $5
May 1933 • American Cinematographer 35
Kodaflectors, which will serve as a guide Remember — when speed —When telephoto lenses
photography was un- were available only to-
when other units or larger areas are used.
known to amateurs a few?
>. lamps Distance from Camera
and many professionals?
lamp to subject speed
2 Normal
2
1 Vi
2 '/2
feet
feet Half
—When a camera fan, fo
3 2 feet Normal
—When night photog- be “up-fo-dafe,” needed
graphy was limited to a wagon-load of ex-
3 31/2 feet Half posed flashlight pictures? pensive equipment?
4 2/2 feet Normal
4 4 Half
feet
Since the efficiency of the different —When precision lenses The LEICA Camera has
types of reflector-units varies consideraly, were seen only in the made these all things of
this can, of course, be taken only as a laboratories of scientists? MODEL D the past!
thing which can have found that such scenes are even
logically be used range of wherever
half-tones, avoiding
to cast either shadow or light pat- possible obvious “early Vitaphone” spots
more effective when done on light sets
than if they were done on more conven-
terns on these walls. Very frequently of light.
you will find a prop — a flower,
tional backgrounds.
a chair, a statuette, or the like —which Art Director Helps
The art-director can, of course, be of
Laboratory Side
can be utilized for this shadow-casting. Of course, the ultimate success of any
Similarly,you will usually find lamps, tremendous assistance to you in this, not
cinematography rests with the compe-
windows, doors, etc., which can be alone in putting in these props, but in
tence of the laboratory; and nowhere is
equally useful for casting or legitimizing giving you the windows and doors which
this more true than in scenes made on
high-lights. If you balance your light- you can use as the ostensible sources of
light sets. As have tried to point out,
your decorative lighting effects. He can
I
KIN-O-LUX
Light- Action
era and a
-
roll
Cam-
of
/ easily than do darker walls; you don’t
have to use nearly so much light to pro-
duce these effects, you don’t get heavy,
sooty shadows, and you can easily get
they
lights,
can block out your high-
easily
your shadows into patches
turn
of soot, and erase half of your inter-
Kin-O-Lux. All the mediate tones. If you can’t have confi-
a far wider range of half-tones than is
ingredients for a dence in your laboratory, by all means
fine and econom- possible on dark, or even neutral-tinted
avoid light sets; if you can trust it, light
ically
are
priced picture
here. No. 1
— settings.
for we
After
are dealing
all, this is
with reflected
only natural,
light
sets offer you new opportunities for
100 ft. in green and distinctive camerawork.
box,
— 100 $3.00;
ft. in red
No. 2 —and light-colored surfaces are the best
beautiful
As remarked at the beginning,
I like I
box, $3.50. Prices reflectors. Just notice, for instance, the light sets!
include Processing, difference in the shadow of your hand
Scratch-proofing and
return postage. when you hold it over some dark surface
such as a table-top, and when you hold
Mobile Camera-Carriages
KIN-O-LUX, Inc.
it over a light surface, like a sheet of and Cranes
105 W. 40th St. New York
paper! Continued from Page 13
minor differences in the
Aside from
Contrasting Light
undercarriage,the chief differences be-
Once your you will find it
set is lit,
tween the M-G-M rotambulator and
mm.
WE WANT 3 5
fight,
travel
thrill and relatively easy to light your people. As the Bell and Howell version lie in the
curiosity films from parts of the all a rule, you will find very little change provisions for panoramic and tilting mo-
earth. Unusual and interesting films from your normal technique is necessary; tion. the latter, the tilt is operated
In
depicting the life and habits of
and that little will probably be in the by hand-lever, and works against
a
Asiatic people as well as others.
direction of greater softness and delicacy. hydraulic resistence, while the panoramic
Send us description and length of
subject. Cash will be remitted for In most shots (especially the closer movement is supplied by the feet of the
any subject accepted. ones), you will probably find it wise to operator, pushing on a fixed, circular
We have for and sale negative make a more specific contrast between track around the base of the device.
positive short ends, both Eastman and the shadow side of the face and the
Dupont.
light side —
and at the same time to do
Reduced Model
The Paramount “Baby Boom” is prac-
Continental Film Craft, Inc. this subtly, with softer lights. At the
tically a reduced-scale model of their
1611 Cosmo St., Hollywood, Calif.
same time, back and line lighting should
larger crane. While it is somewhat
be softened considerably.
larger than the rotambulator, its range
At this point, cooperation with the
of adjustment is the same, except that
director becomes especially important: for
the crane construction naturally permits
you will get the best results if the ac-
IN
IDTERS
WORLD-WIDE USE
tion is played so that you can contrast
the camera to be lowered to the actual
floor-level, or lower. It uses relatively
product (hcooh^bl tni NiqMCffatls in Daytimc-
the darker side of the players’ faces and
large wheels in its undercarriage, also.
Fcq Scenes- Wfojcdlvtus and many ether effects. forms against lighter areas on the set,
WITH ANY CAMERA - It is likewise interesting to note that
IN ANY CLIMATE and vice versa. The same holds true,
GEORGE H.SCHEIBE of course, in respect to costumes.
this device has been designed so that a
ORIGINATOR OF EFFECT FII.TEUS ten-foot extension can be fitted to the
I927-W-76IS ST. LOS ANGELES.CAL. Granted, however, a well-designed set,
crane-arm without requiring additional
properly lit, and proper cooperation from
counterbalancing.
costumer and director, you will find al-
CINEMA SOUND EQUIP- most no change necessary in your usual Minimum Space
MENT COMPANY requirements as to makeup, or your nor-
8572 Santa Monica Blvd., mal technique of diffusion, etc. As is to be expected, the proponents
Hollywood, Calif. of the crane and rotambulator designs
Effect Lightings differ somewhat
in their concepts of the
Sound Recording Equipment For
All Applications.
These lighter sets are ideal for ef- ideal camera-carriage.
small The im-
fect-lightings of all kinds, regardless of partialobserver can, however, easily see
EXPECT A REVOLUTIONARY
ANNOUNCEMENT key. Such lightings are, after all, pri- that they are agreed on the more essen-
May 1933 • American Cinematographer 37
American Photography
•
Issues Annual
IN ITS usual fine style “American Pho-
7Xew Prices
tography” has issued its 1933 Annual
on photography.
While the major portion of this
TRUEBALL
comprehensive book has been given over TRIPOD HEADS
to still photography in its various OF SPECIAL ALLOY
branches, still a half dozen articles have LIGHTER WEIGHT
been designed for the amateur cinema- The Same Efficient Head
tographer.
Whether interested in either still or For follow shots, known
for
their smoothness of opera-
motion photography, there is much in
tion and equal tension on
both types of articles in this annual that
all movements.
will be of great interest to all who have
Unaffected by temper-
to do with photography whether as a ature. Model A for Ama-
business or a hobby. Model B Professional $300.00 teur motion picture
cameras. Attaches
For the Amateur Cinematographer such For Bell & Howell and Mitchell
to any standard
things as light, make-up, and titles are Cameras and their respective STILL tripod. $12.00.
touched upon an authoritative way. R.
in
tripod. With the ORIGINAL
instant release telescopic handle. T rueba 1 1 tripod
Fawn Mitchell of the Bell & Howell heads are unexcelled
for simplicity, ac-
Company authors an article in the Annual curacy and speed of
on “New Developments in the Amateur FRED HOEFNER operation.
Cine Field.” GLadstonc 0243 The Hoefner four-
Famous as this book is for its repro- inch Iris and Sun-
5319 Santa Monica Boulevard shade combination
duction of fine portraits and still pictures, is also a superior
this year’s edition seems to be unusually LOS ANGELES, CALIF. product.
rich in fine specimens.
38 American Cinematographer May 1933
Wheels of Industry
IT NOT SEEM
DID POSSIBLE! Victor 1
Continued from Page 16
0E Projector which
is equipped
George Schneidermann,
A.S.C., On “Pilgrimage”
• George Schneidermann, Treasurer of
the AmericanSociety of Cinematog-
raphers, been assigned the First
has
Complete DeVry Sound Recording Outfit —weighing less than 1 50 lbs. Cinematographer’s berth on the Fox pro-
duction, “Pilgrimage.” This assignment
Write HERMAN A. DEVRY, INC., 1111 Center St., CHICAGO reunites the team of Cinematographer
Schneidermann and Director John Ford,
who made film history some years ago
with “The Iron Horse.”
The number is limited —These books sold for mittee, which tests the various apparatus
DIRECTORY of DEALERS
Handling the American Cinematographer
ARIZONA Danbury: Heim’s Music Store, Inc., 221 Main Iowa City: Rexall & Kodak Store, 124 E. Col-
Street lege St.
Phoenix: Studio of Sound. P. 0. Box 1671.
Hartford: The D. G. Stoughton Co., 1255 S. Sioux City: Lynn’s Photo Finishing, Inc., 419
Tucson: William M. Dennis, 22 United Bank Whitney St. Pierce St.
Bldg.
Watkins
Bros., 241 Asylum St. Eastman Kodak Stores, Inc., 608 Pierce St.
Nogales: A. W. Lohn, 309 Morley Ave. Meriden: Broderick & Curtin, 42 E. Main St. Waterloo: Mack’s Photo Shop.
Middletown: F. B. Fountain Co., 483 Main St.
ARKANSAS New Haven: Eugene F. Clark Book Shop, 343 KANSAS
Elm St. Topeka: Hall Stationery Co., 623 Kansas Ave.
Judsonia: Lee’s Novelty House. Norwich: Cranston Co., 25 Broadway. Wichita: Jack Lewis Film Service, 329 Sedg-
Waterbury: Curtis Art Co., 65 W. Main St. wick Building.
CALIFORNIA Lawrence Photo Supply, 149 N. Lawrence
Berkeley: Berkeley Commercial Photo Co., 251 5
DELAWARE: Ave.
Bancroft Way. New Castle: E. Challenger & Son.
Beverly Hills: Bob Robinson Home Movies, 417 Wilmington: Butler’s Inc., 415 Market St. KENTUCKY
N. Beverly Drive. Wilmington Elec. Spec. Co., Inc., 405 Dela- Lexington: W. W. Still, 129 W. Short St.
Fresno: Potter Drug Co., 1112 Fulton Ave. ware Ave. Louisville: A. L. Bollinger Drug Co., Stilz &
Glendale: Kug Art Photo Service, 205 So. Frankfort Ave.
Brand Blvd. DISTRICT OF COLUMBIA Sutcliffe Co., 225 S. 4th Ave.
Hollywood: Bell & Howell Co., 716 North La- Washington: Columbia Photo Supply Co., Inc.,
Brea Ave. 1424 New York Ave., N. W. LOUISIANA
Hollywood Camera Exchange, Ltd., 1600 N. Eastman Kodak Stores, Inc., 607 14th St.,
Cahuenga Blvd. N. W.
Alexandria: The Newcomb Studios, 324 John-
ston.
Hollywood Citizen, 6366 Hollywood Blvd. Robbins, National Press Bldg., 529 14th St.,
Monroe: Griffin Studios, P. O. Box 681.
Hollywood Movie Supply Co., 6038 Sunset N. W.
Blvd.
New Orleans: Eastman Kodak Stores, Inc., 213
FLORIDA Baronne St.
j. V. Merchant, 6331 Hollywood Blvd.
Morgan Camera Shop, 6305 Sunset Blvd. Clearwater: Courtesy Cigar Store, Post Office MAINE
Universal News Agency, 1655 Las Palmas. Arcade.
Los Angeles: California Camera Hospital, 321 Auburn: Wells Sporting Goods Co., 52-54
Jacksonville: Eastman Kodak Stores, Inc., 129
Court
O. T. Johnson Bldg. St.
W. Adams St.
Portland: Bicknell Photo Service, 43 Exchange
Eastman Kodak Stores, Inc., 643 So. Hill Miami: Miami Photo Supply Co., 31 S. E.
Street. St.
First Ave.
Educational Projecto Film Co., 317 N. Fair- Petersburg: Robinson’s Camera Shop, 410
fax.
St.
Central Ave.
MARYLAND
T. Iwata Art Store, 256 East First St. Tampa: Burgert Bros., Inc., 608 Madison St. Baltimore: Eastman Kodak Stores, Inc., 309 N.
Lehnkering Pharmacy, 1501 N. Western Charles St.
Ave. CEORCIA Stark-Films, 219 W. Centre St.
B. B. Nichols, 731 South Hope St. Zepp Photo Supply Co., 3044 Greenmount
Tappenbeck & Culver, 10958 Weyburn Atlanta: Eastman Kodak Stores, Inc., 183
Ave.
Ave.,
Westwood Peachtree St.
Village. Hagerstown: R. M. Hays & Bros., 2830 W.
Victor Animatograph Corp., 650 So. Grand Washington St.
Ave. IDAHO
Wilshire Personal Movies, 3150 Wilshire Boise: Ballou-Latimer Co., 9th & Idaho. MASSACHUSETTS
Blvd. Boston: Eastman Kodak Stores, Inc., 38 Brom-
Monrovia: Cliff’s Photo Art Shop. ILLINOIS field St.
North Hollywood: Studio City Pharmacy, 12051 Boston Camera Exchange, 44 Bromfield St.
Ventura Blvd. Bloomington: Hawkins Studio, 214 W. Wash-
ington.
Cinecraft Co., of New England, 80 Boyl-
Oakland: Adams & Co., 380 14th St. ston St.
Eastman Kodak Stores, Inc., 1918 Broadway. Chicago: Aimer, Coe & Co., 105 N. Wabash
Ave. Ralph Harris Co., 30 Bromfield St.
Pasadena: The Flag Studio, 59 East Colorado St. Iver Johnson Sporting Goods Co., 155 Wash-
Richard Fromme, 965 S. Fair Oaks. Associated Film Libraries, Inc., Suite 224,
ington St.
A. C. Vroman,329 East Colorado St. 190 N. State St.
Bass Camera Co., 179 West Madison St.
Andrew J. Lloyd Co., 300 Washington St.
Richmond: La Moine Drug Co., 900 Macdonald Pathescope Co. of the N. E. Inc., 438 Stuart
Ave. Central Camera Co., 230 S. Wabash Ave.
St.
Eastman Kodak Stores, Inc., 133 N. Wabash
Sacramento: Frank McDougal, 1017 10th St.
Ave.
Pinkham & Smith Co., 15 Bromfield St.
San Bernardino: Steele’s Photo Service, 370 D Stillfilm Sales Co., 40 Stuart St.
Fair, The, Camera Dept., 7th Floor, State-
Street. Braintree: Alves Photo Shop, 349 Washington
San Diego: Harold 958 Fifth St.
E. Lutes,
Adams-Dearborn Sts.
St.
Ace Drug Co., 820 W. Washington St. Lake Shore Radio Co., 3204-6 Broadway.
Cambridge: E. M. F. Electrical Supply Co., 430
Eastman Kodak Stores, Inc., 419 Broadway. Lyon & Healy, Inc., Wabash Ave. at Jack-
Massachusetts Ave.
San Francisco: Eastman Kodak Stores, Inc., son Blvd.
Lowell: Donaldson’s. 75 Merrimack St.
216 Post St. Stanley Warren Co.. 918 Irving Park Blvd.
Norman Willets Co., 318 W. Washington St. Lynn: Moehring’s, Inc., 490 Washington St.
Hirsch & Kaye, 239 Grant Ave. New Bedford: J. Arnold Wright, 7 S. Sixth St.
San Francisco Camera Exchange, 88 Third Wolk Camera Co., 201 S. Dearborn St. Newtonville: Newton Photo Shop, 92 Bower St.
St.
Evanston: Aimer, Coe & Co., 1645 Orrington
Pittsfield: E. C. Kilian, 411 North St.
Schwabacher-Frey Stationary Co., 735 Mar- Ave.
Hattstrom & Sanders, Inc., 702 Church St. Salem: Pitman Movie Service, 45 Summit Ave.
ket St. Springfield: Harvey & Lewis Co., 1503 Main
Sherman, Clay & Co., Kearny & Sutter Sts. Galesburg: Illinois Camera Shop, 84 So.
St.
Trainer-Parsons Optical Co., 228 Post Street. Prairie St.
Moline: Seaholms Kodak Co., 1507 Fifth Ave. J. E. Cheney & Co., Inc., 301 Bridge St.
San Jose: Webb’s Photo Supply Store, 66 So. Worcester: Harvey & Lewis Co., 513 Main St.
First St.
Rockford: Johnson Photo Shop, 316 E. State St.
San Rafael: Webb & Rogers, 4th & B Sts. Springfield: Camera Shop, The, 320 S. Fifth St.
Santa Barbara: J. Walter Collinge, 1127 State
MICHICAN
St. INDIANA Detroit: Crowley, Milner & Co.
The Camera Shop, 800 State St. Clark Cine-Service, Rooms 203-204 Profes-
Evansville: Smith & Butterfield, 310 Main St.
sional Bldg., 10 Peterboro.
Faulding’s, 623 State St. Fort Wayne: The Howard Co., Inc., 112 W.
Stockton: The Holden Drug Co., Weber Ave. Detroit Camera Shop, 424 Grand River W.
Wayne St.
Eastman Kodak Stores, Inc., 1235 Wash-
& Sutter St. Indianapolis: L. S. Ayers & Co., Dept. 290,
Logan Studios, 20 N. San Joaquin ington Blvd.
St. 1 West Washington St.
Main H. C. Film Service, 12191 llene Ave.
South Bend: Ault Camera Shop, 122 S. St.
COLORADO Terre Haute: Snyder’s Art Store, 21 S. 7th St. J. L. Hudson Co., Dept. 290.
Denver: Eastman Kodak Stores, Inc., 626 Six- E. B. Meyrowitz, Inc., 1516 Washington
Blvd.
teenth St. IOWA Flint: Gardner Photo Service.
The May Co., 16th & Champa Sts.
Cedar Rapids: Camera Shop, 220 Third Ave. Grand Rapids: Camera Shop Stores, Inc., 56
Davenport: Eastman Kodak Stores, Inc., 318 Monroe Ave.
CONNECTICUT Brady St. Photo Service Shop, 44 Monroe Ave.
Bridgeport: Harvey & Lewis Co., 1148 Main Des Moines: Eastman Kodak Stores, Inc., 808 Jackson: Royal Film Service, 125 Michigan
St. Locust St. Ave. W.
6
Lansing: Linn Camera Shop, 109 S. Washing- Ambercrombie & Fitch, 45th & Madison Ave. Marshfield: Mel’s News Stand, Cor. Broadway
ton Ave. Bloomingdale’s, 59th & Lexington Ave. & Anderson.
Saginaw: Heavenrich Bros. & Co., 301 Genesee. J. H. Boozer, 145 E. 60th St. Pendleton: J. T. Snelson, 608 Gardner St.
Columbus Photo Supply Co., 146 Columbus Portland: Eastman Kodak Stores, Inc., 345
MINNESOTA Ave. Washington St.
Duluth: Eastman Kodak Stores, Inc., 3 W. Abe Cohen’s Exchange, 120 Fulton St. Lipman-Wolfe & Co., Kodak Dept., Fifth,
Superior St.
Davega, Inc., 1 1 1 East 42nd St. Washington & Alder Sts.
LeRoy: Ivan E. Meyers, Home Movie Service,
Davgga, Inc., Empire State Building. Meier & Frank Co., Kodak Dept., Fifth, Sixth,
Eastman Kodak Stores, Inc., 356 Madison Morrison & Alder Sts.
215 W. Main St.
Minneapolis: Eastman Kodak Stores, 112-116 Ave. at 45th St.
So. Fifth St. H. & D. Folsom Arms Co.. 314 Broadway. PENNSYLVANIA
Gospeter’s Blue Front, 1006 Nicollet Ave. Gall & Lembke, Inc., 7 East 48th St.
Allentown: M. S. Young & Co., 736-40 Ham-
National Camera Exchange, 5 South Fifth St. Gillette Camera Stores, Inc., 117 Park
ilton St.
Owatonna: B. W. Johnson Gift Shop, 130 W. Ave.
Easton: Easton Sporting Goods Co., 2nd and
Bridge St. Gimbel Bros., Dept. 575, 33rd St. & Broad- Northampton St.
St. Paul: Eastman Kodak Stores, Inc., Kodak way. Erie: Kelly Studios, 1026-28 Peach St.
Bldg., 91 E. Sixth St. Joseph P. Hackel, 1919 Chanin Bldg., 122
Harrisburg: James Lett Co., 225 N. 2nd St.
H. W. Fisher Photographic Supplies, 381 E. 42nd St.
Johnstown: Johnstown News Co., 115 Market
Minnesota St. Hecker’s Camera Store, 1519 Amsterdam
St.
Ave.
Herbert & Huesgen Co., 18 E. 42nd St.
Lancaster: Pugh’s Art Shoppe, 33 W. King
MISSOURI Lugene, Inc., 600 Madison Ave., between
St.
Kansas City: Eastman Kodak Stores, Inc., 916 Langhorne: National Entertainment Service,
57th & 58th. 360 Bellevue Ave.
Grand Ave. Luma Camera Service, Inc., 302 W. 34th St
Eastman Kodak Stores, Inc., 1006 Main St. Lebanon: Harpel’s. 757-9 Cumberland St.
Mogull Bros. Electric Corp'n., 1944 Boston
Hanley’s Photo Shop, 116 E. 10th St. Road, Bronx.
Philadelphia: Klein & Goodman, 18 South
Plaza Camera Co., 218 Alameda Rd. Tenth St.
Newman’s Camera Shop, 1197 Sixth Ave. Camera Shop, 51 N. 52nd St.
St. Louis: Eastman Kodak Stores, Inc., 1009 New York Camera Exchange, 109 Fulton St.
Olive St. G. P. Darrow Co., Inc., 5623-5 German-
Pago, 1095 Sixth Ave.
Inc.,
town Ave.
Famous-Barr Co., M. P. Dept. 6th & Olive St. Pickup & Brown, 368 Lexington Ave.
Geo. D. Fisher & Co., 915 Locust St. Eastman Kodak Stores, Inc., 1020 Chestnut
Rab Sons, 1373 Sixth Ave. St.
Schoenig & Co., Inc., 8 East 42nd St. Home Movies Studio, 20th & Chestnut Sts.
MONTANA Sibley, Lindsay & Curr Co. MacCallum Stores, 1600 Sansom St.
Midland Drug Co.. 23 N. 27th
Billings: St. Frank Tanham & Co., Inc., 9 Church St.
M. & H. Sporting Goods Co., 512 Market St.
Bozeman: Alexander Art Co. Times Building News Stand, Inc., Times Newsreel Laboratory, 1707 Sansom St.
Building. Strawbridge & Clothier, Dept. 201, Market,
NEBRASKA Willoughby’s, 110-112-114 West 32nd St.
Eighth & Filbert Sts.
Richmond Hill: Josephson Bros., 10902 Ja- George W. Tegan, 420 E. Mt. Airy Ave.
Lincoln: Eastman Kodak Stores, Inc., 1217 maica Ave.
O John Wanamaker, Motion Picture Dept., No.
St.
Rochester: Marks & Fuller. Inc., 36 East Ave. Broad St.
Eastman Kodak Stores, Inc., 419 S. 16th St. Smith, Surrey, Inc., 129 Clinton Ave., South.
1
Omaha: G. Kretschmer & Co., 1617 Har- Williams, Brown & Earle, Inc., 918 Chest-
J. Rome: Fitchard Studio, 133-135 W. Liberty St. nut St.
ney St.
Schenectady: T. & D. B. Lyon, 236 State
J. Pittsburgh: Eastman Kodak Stores, Inc., 606
NEW HAMPSHIRE
St. Wood St.
Syracuse: Geo. F. Lindemer. 443 S. Salina St. B. K. Elliott &
Co., 126 - 6th St.
Lebanon: Photocraft Co. Francis Hendricks Co., Inc., 339 So. Warren Joseph Horne Co., Magazine Dept.
Newport: K. E. Waldron, 1 A Main St. St. Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Troy: A. M. Knowlson & Co., 350 Broadway. Ave.
Utica: Edwin A. Hahn, 223-225 Columbia St. Reading: W. F. Drehs. 541 Court St.
NEW JERSEY Yonkers: W. J. Dolega, 242 Nepperham Ave. Scranton: Houser’s, 133 N. Main Ave.
Atlantic City: Eastman Kodak Stores, Inc., Wallace & Cook. Inc., 2-5 N. Washington
1735 Boardwalk. NORTH CAROLINA Ave.
Cl iffside Park: Louis C. Ghiosay, 639 Anderson Charlotte: W. I. Van Ness & Co., 213 N. Scranton Home Movies Library, 316 N.
Ave. Tryon St. Washington Ave.
East Orange: Edmund J. Farlie Jr., 45 N. 19th Shamokin: Jones Hardware Co., 115 E. Inde-
St.
OHIO pendence St.
Hawthorne: Hawthorne Home Movie Service, Wilkes Barre: Ralph DeWitt, 2 South River
52 MacFarlan Ave. Akron: Pockrandt Photo Supply Co., 16 N. St.
Irvington: Wolf Bros., 1340 Springfield Ave. Howard St. Windber: New Arts Feature, 508 - 15th St.
Jersey City: Levy’s Sport Shop, 149 Monticello Canton: Ralph Young News Agency. York: Sweigart’s Photo Service Shop, 278 W.
Ave. The Camera Shop, 531 Market Ave. N. Market St.
Montclair: Edward Madison Co., 42 Bloomfield Cincinnati:Eastman Kodak Stores, Inc., 27
Ave. West Fourth St. RHODE ISLAND
Newark: Anspach Bros., 838 Broad St. Huber Art Co., 124 Seventh St., W. Pawtucket: Thomas N. Simpson, Broadway &
Paterson: Robt. G. Smith, 40 Hamilton St. John L. Huber Camera Shop, 4 1/2 Main St. 1
Exchange St.
Sykes Drug Store, 179 Market St. L. M. Prince Co., 108 W. Fourth St.
Providence:E. P. Anthony, Inc., 178 Angell St.
Summit: Eastman Bookshop, 380 Springfield Cleveland: The Home Movies, Inc., 2025 Starkweather & Williams, Inc., 47 Exchange
Ave. Euclid Ave. PI.
Trenton: Howard E. Thompson: 35 Newkirk Dodd Co., 652 Huron Road.
Ave. Eastman Kodak Stores, Inc., 806 Huron
Westcott, Slade & Balcom Co.. 95-99 Empire
St.
Union City: Heraco Exchange, Inc., 611 Ber- Road. 1862 E. 6th St., 1915 E. 9th St.,
genline Ave. Union Trust Bldg. TENNESSEE
West New York: Rembrandt Studios, Inc., Escar Motion Picture Service, Inc., 10008
526A Bergenline Ave. Carnegie Ave. Jackson: Southern Pictures Corp.
Halle Bros. Co., 1228 Euclid Ave. Knoxville: Jim Thompson Co., 415 W. Church
St.
NEW MEXICO Higbee Co., Dept. 90, Public Square.
Columbus: Capitol Camera Co., 7 E. Gay St. Memphis: Memphis Photo Supply Co., 122 Un-
Santa Fe: Capital Pharmacy, Inc. Columbus Photo Supply, 62 E. Gay St. ion Ave.
Home Movies Co., 234 S. High St. Nashville: Geo. C. Dury Co., 420 Union St.
WEST VIRGINIA
enjoying a brief rest before taking on
another assignment. CRAFT
Wheeling: Twelfth St. Carage, 81 - 12th St.
WISCONSIN CAMERA
Fond du Lac: Huber Bros., 36 S. Main St. Wm. Rees, A.S.C., Acquires CRAFT
La Crosse: Moen Photo Service, 313 Main St.
Madison: Photoart House, 212 State St. Van Rossem Studio
Milwaukee: Eastman Kodak Stores, Inc., 737
N. Milwaukee St. • William A. Rees, A.S.C., recently
Boston Store, Wisconsin Ave. & 4th St. com-
W. E. Brown, 327 W. National Ave. bought the Van Rossem studio, a
CHINA
McGills Agency, 179-218 Eliza-
at
CAMERA CRAFT
9 Ray Jones, formerly with Universal, the present time. PUBLISHING COMPANY
has been placed in charge of the still Yates anticipates making a trip east 703 Market Street
department at the Fox Studio. Otto Dyar, with the view of swinging a large portion San Francisco, California
long head of Paramount’s still section, of the organization’s printing work to
has also joined Fox. the coast.
ga
A
Classified Advertising
Rates: Four cents a word. Minimum charge, one dollar per insertion.
ROY DAV1DGE
FOR RENT— MISCELLANEOUS FILM LABORATORIES
FOR —
RENT- Mitchell Motor, 25 M.M. Lenses, 1000 feet
Magazines, Baby Tripod. Lockwood, Glendale.
Mitchell Negative Developing and Daily Print Exclusively
J. R. Phone
Douglas 3361 -W.
6701 SANTA MONICA BLVD.
FOR RENT — Mitchell high speed gearbox complete. Pliny Horne, CRanite 3108
1318 N. Stanley. HO-7682 or HO-9431.
FOR SALE —
New Price Cut. Complete portable sound-on-film equip- WANTED — Motor adapter.Lockwood,
J. R. Glendale. Douglas 3361 -W.
ment, any projector $198. Brand new, and fully guaranteed.
Dealers write. “DRSCO” 163 Champlain St., Rochester, N. Y. WANTED— High Speed
Mitchell Camera, Silent box only, without
equipment. Must be cheap Box for cash. 140, American Cinema-
tographer.
EXTRA— 16 MM. EARTHQUAKE PICTURES. Taken in Southern Cal-
ifornia’s stricken area 100 ft.
$13.50, each a complete subject.
—
Dealers write,
$4.00; 200 ft. $7.50; 400 ft. SALES AGENTS or representatives for exclusive state distribution for
Straube Film Apex Professional Film for the Amateur. Apex Films, Inc., 23
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EASTMAN
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