Class TR &4 Book -/". '.-■ r^ Copyright^. COEXRIGHT DEPOSED Scanned from the collections of The Library of Congress AUDIO-VISUAL CONSERVATION at The LIBRARY of CONGRESS E f ' f Packard Campus for Audio Visual Conservation www.loc.gov/avconservation " o ** € ^ V \A I Magazine of the /Imateur Cinema League, Inc i HAYDEN PROJECTOR THREADING LIGHT No wiring — No additional lamp Put on in less time than it takes to tell about it PRICE $1.50 tf ^5 OPEN FOR THREADING FILM S CLOSED WHEN PROJECTING WATCH NEXT ISSUE A NEW HAYDEN PRODUCT FOR YOUR FILMO CAMERA THAT WILL SURPRISE YOU HAYDEN AUTOMATIC PANORAM With this Automatic the amateur can panoram without experience better than any professional can by hand panoraming. It just simply insists on taking the picture right regardless of your patience. // you don't use an Automatic don't panoram Price *35.00 in Case Sold by the Best Dealers OTHER HAYDEN PRODUCTS PROJECTOR STANDS, HUMIDORS, 200 and 400 ft. SELF-THREADING REELS, SELF-THREADING FINGERS, VIEWER, SPLICER and REWIND, EDIT- ING REELS, SPLICER, SPRING FILM CLIPS, BROKEN FILM CONNECTORS, TABLE TRIPODS, REEL HOLDERS, HUMIDOR SPRINGS, CURTAIN STANDS, CURTAINS, and CURTAIN ATTACH- MENTS. A. C. HAYDEN CO., Brockton, Mass., U. S. A. SEND US YOUR NAME AND ADDRESS FOR OUR FREE MAILING LIST nnouncin FAMOUS DMY AC RAY STUDIOS are the inventors of the ANIMATED CARTOON PRO- CESSES and pioneers in production of ENTERTAINMENT and IN- STRUCTIONAL FILMS. For more than ten years Bray pictures have enjoyed great popularity in theaters throughout the world. Bray now offers the most extensive Library of films in existence, especially edited for Home, Church, School and Club. / i i i i i OVER FIVE HUNDRED SUBJECTS CARTOONS COMEDIES DRAMAS SPORTS TRAVEL SCENIC HISTORY ART INDUSTRY ANIMAL LIFE POPULAR SCIENCE Writ© for Complete Descriptive Catalogue SPECIAL RELEASES FOR JUNE Bobby Bumps Cartoons No. 501— On the Doughnut Trail 100 ft $7.50 No. 502— Office Boy 100 ft 7.50 No. 503— Baseball Champion 100 ft 7.50 No. 504— Caught in the Jam 100 ft 7.50 Sunkist Bathing Beauty Comedies No. 1001 — The Cannibal King's Chorus 400 ft $28.00 No. 1002 — That's My Mummy 400 ft 28.00 McDougall Alley Kid Comedies No. 1013 — Big Pie Raid 400 ft $28.00 No. 1014 — The Deuce 400 ft 28.00 Nature Pictures No. 2001 — Chumming with Chipmunks 100 ft $7.50 No. 2002 — Adopting a Bear Cub 100 ft 7.50 No. 2003 — Hummingbirds 100 ft 7.50 No. 2004 — Springtime in Nature's Nursery 100 ft 7.50 Ifc not available from your dealer, write BRAY STUDIOS 72 9 ~ 7- AVE:; NEW YORK 363 Index to Advertisers DALLMEYER, iike a cat, your "movie" camera will be able to "see in the dark" J-. with one of these remarkable new Dallmeyer Lenses. . This "F-1.5" is faster than most lenses used by professional producers; with it you can make wonderful indoor and night pictures. New Guide Book on the correct use of lenses sent gratis. HERBERT &> HUESGEN CO. Sole United Stales Agents 18 East 42nd Street - New York USE OF CORRECT LENS INCREASES SUCCESS AND INTEREST New Lens Book is Complete Guide to the Selection of Right Lens Equip- ment for all Photographic Conditions Valuable Guide Offered Without Charge by The Herbert & Huesgen Company, American Distributors of Dallmeyer Lenses .■&»■ tfRr" Every amateur movie maker will 'find the explanation of his lens problems, clearly treated in a fascinating new book published in England by the makers of Dallmeyer lenses. The principles of optics, as applied to motion picture cameras, are shown by diagrams. The proper uses of lenses of various focal lengths are described and the wonderful field for ultra-speed and telephoto lenses is revealed in this very thorough text -book. A copy of this book is being sent gratis, upon request, to every owner or prospective owner of a motion picture camera, by the Herbert & Huesgen Company, 18 East 42nd Street, New York. Aloe, A. S. Co. . Arrow Screen Co. .414 .416 Bass Camera Co 414 Beckley & Church, Inc 409 Bell & Howell Co 398-9. 428 Bray Studios 363 Cinematic Accessories Co 413 Clark Cine Service 416 Classified 421 Closeup 410 Columbus Photo Supply Co 415 Corcoran, Inc., A. J 425 Couillard, Henry 425 Cullen, W. C 411 Dealers 424-5 DeVry Corpn 371 Drem Products Corpn 415 DuPont Pathe Film Mfg. Corpn.. .372, 423 Eastman Kodak Co 349-5, 403, 427 Eastman Kodak Stores, Inc 414 Empire Safety Film Co 368 Eno's Art Titles 418 Film Arts Guild 410 Filmlab, Inc 416 Filmo ■ 398-9, 428 Fischer's Camera Service 416 Fotolite 417 Ganz, Wm. J. 422 Gillette Camera Stores 425 Goerz American Optical Co., C. P 422 Hattstrom & Sanders 416, 420 Hayden Co., A. C 362 Herbert & Heusgen Co 364 Holmes, Burton Laboratory 414 Home Film Libraries, Inc 366 Home Movie Service Co. 425 Home Movies 405 Japanese Water Color Co 410 Kodascope Editing & Titling, Inc 410 Kodascope Libraries, Inc 426 Koloray 409 Levoy, B. M 419 M.A.C. Co 418 Marshall, John G 414 Metropolitan Film Libraries 421 Meyer & Co., Hugo 419 Monarch Theatre Supply Co 416 New York Institute of Photography . 420 New York Camera Exchange 417 Pathegrams 367 Pathex 367 Photoplay Magazine 407 Picture Talk 425 Pilotlight 410 Plasmat Lenses 419 Reynolds, Ernest M 420 Rice, Sue 416 Ridgewood Stamp Co 410 Scheibe, Geo. H 420 Sept Cameras 407 Stone Film Laboratory 420 Testrite Instrument Co 417 Thalhammer, K. W 418 Twinark 416 Van Liew, D 423 Victor Animatograph Co., Inc 370 Williams, Brown & Earle, Inc 410 Willoughby Camera Stores, Inc 369 Wollensak Optical Co 408 Wyko Projector Corpn 407 Zeiss, Carl, Inc 409 364 f 31 1928 Cl B 7 9 0 2 8 6 ! MAGAZINE OF THE AMATEUR CINEMA LEAGUE, INC. "Heralding The Motion Picture Oj Tomorrow" Volume III JUNE, 1928 Number 6 ... Qontents ... Cover Design '.- De Bellis Index to Advertisers 364 Featured Releases, For Home Projectors 366 The Viewfinder, A Department for Our Guidance by Our Readers 368 Editorials, The Significance of the First Amateur Film Contest 373 The Snowy Mantle of the Alps, A Photograph H. Armstrong Roberts 374 Weather By Projection, Notes on Choosing Your Climate From Your Film Library Paul Pridham 375 Making Your Own Home Movies Talk H. Syril Dusenbery 378 Ironinc Out the Jerks A. W . Kammerer 379 How Fades, Dissolves and Filters Are Bringing Smoothness to Amateur Films A Climactic Development in Education ' 380 Million Dollar Organization Formed by Eastman Kodak Company to Further Educational Films Helpful Hints for Home Shows Epes W . Sargent 381 The Clinic Conducted by Dr. Kinema 382 The First Symposium, Announcing the Result of the Photoplay Magazine Contest Roy W . Winton 383 Portraits of Pioneers, /. R. BRAY E. Locke Lewis 384 The Old Lens, A Cinema Autobiography Told in Vienna To Carl M. Kotlik 386 Illustration by Patricia Novlan Olympus, 1928, What Holland Holds for Filmers Who Visit the Olympic Games Dr. W. Nolst Trenite 388 Amateur Clubs Edited by Arthur L. Gale 390 Critical Focusing, Technical Reviews to Aid the Amateur 392 Photoplayfare, Reviews for the Cintelligenzia 393 Hiram Percy Maxim, Inventor and Fan Katherine M. Comstock 396 First of a Series of Portraits of Leaders of the Amateur Cinema League The Closeup, A Poem Clarence E. Flynn 397 Screen Surface Characteristics F. H. Richardson 400 An Article to Aid Amateurs in Selecting or Making the Right Screen for Th,eir Particular Purposes The Idyl of a Cinefilmescope K. L. Noone 401 Illustration by Patricia Novlan Will Yours be a Movie Summer Katherine M. Comstock 402 New Developments in Home Movie Field Simplify Summer Movie Problems Educational Films, News of Visual Education in Schools and Homes Edited by Ruth Hamilton Kerr 404 And So to Bed, An Art Title Background - 406 Annual Meetinc of the Amateur Cinema League 409 News of the Industry, For Amateurs and Dealers .- 412 Classified Advertisements 421 Index to Dealers Who Carry Movie Makers Magazine 424-5 President AMATEUR CINEMA LEAGUE, INC. DIRECTORS Vice-President HIRAM PERCY MAXIM Hartford, Conn. EARLE C. ANTHONY President of the National Association of Broadcasters ROY D. CHAPIN Chairman of the Board of Directors, Hudson Motor Car Company Treasurer A. A. HEBERT 1711 Park Street, Hartford, Conn. LEE F. HANMER Director of Recreation. Russell Sage Foundation FLOYD L. VANDERPOEL Scientist, of Litchheld, Conn. STEPHEN F. VOORHEES Architect, of New York City W. E. COTTER 30 E. 42nd St.. New York City C. R. DOOLEY Manager of Personnel and Training, Standard Oil Co. of N. J. Managing Director ROY W. WINTON, 105 W. 40th Street, New York City MOVIE MAKERS is published monthly in New York, N. Y., by the Amateur Cinema League, Inc. Subscription Rate $3.00 a year, postpaid (Canada $3.25, Foreign $3.50); to members of the /Amateur Cinema League, Inc. $2.00 a year, postpaid; single copies, 25c. On sale at photographic dealers everywhere. i : , < i^-ciass matter August 3, 1927, at the Post Office at New York, N. Y., under the Act of March 3, 1879. Copyright, 1928, by the Amateur Cinema League, Inc. Title registered at United States Patent Office. Xl Advertising rates on application. Forms close on 5th of preceding month. Editorial and Publication Office: 105 West 40th Street, New York, N. Y. Telephone, Pennsylvania 3715 WALTER D. KERST, Technical Editor and Consultant ARTHUR L. GALE, Club Editor and Consultant K. L. NOONE. Advertising Manager JOHN Editor BEARDSLEE CARRIGAN ^^^kr^^^y^^sAFT/xsr^ A^^T7^VA^AX7AX7/J Whether at camp in the mountains — or at home — let us send movies to you this summer. They are good movies, — clever, enter- taining, up-to-date, and selected to be as much fun for the children as for you. Just write or call to see the dealer be- low who is nearest you. He has a com- plete list of recent releases. DEALERS: BUFFALO Buffalo Photo Material Co. HOUSTON Star Electric & Engineering Co. BOSTON Solatia M. Taylor Co. PANAMA, R. P. George L. Price EASTERN MASSACHUSETTS Alves Photo Shop, Inc. Braintree 0372 PHILADELPHIA Williams, Brown & Earle, Inc. SPRINGFIELD The Harvey & Lewis Company REPUBLIC OF MEXICO American Photo Supply Co., S. A. Mexico, D. F. WORCESTER The Harvey & Lewis Company NEW YORK CITY Wm. C. Cullen 12 Maiden Lane PLAINFIELD Mortimer's PITTSBURGH United Projector & Film Corp. LOS ANGELES Leavitt Cine Picture Co. ERIE Kelly & Green NEWARK Schaeffer & Company 103 Halsey St. PORTO RICO Mundial Film Exchange San Juan WATERBURY Curtis Art Company SYRACUSE Lindemer's ALBANY E. S. Baldwin SAN FRANCISCO Leavitt Cine Picture Co. BROOKLYN Fred'k Loeser & Co. FLORIDA Tampa Photo & Art Supply Co. MINNEAPOLIS American Film Corp. Loeb Arcade CHICAGO Aimer Coe & Co. ST. LOUIS A. S. Aloe Co. LONG ISLAND B. Gertz Inc. 162-10 Jamaica Ave., Jamaica ROCHESTER A. H. Mogensen University of Rochester PROVIDENCE Starkweather & Williams, Inc. NEW HAVEN The Harvey & Lewis Company WESTERN CANADA Regina Films, Limited Regina, Sask. BRIDGEPORT The Harvey & Lewis Company NEW YORK CITY Gillette Camera Stores, Inc. Park Avenue at 41st FALL RIVER Smith Office Equipment Co Home Film Libraries FEATURED RELEASES For Home Projectors AN important development for the ama- teurs is the announcement of the Bray Studios, New York, N. Y., of over 500 of their subjects available in 16 mm. A com- plete catalog is furnished. The films cover a wide range, cartoons, comedies, dramas, sports, travel, scenic, history, art, industry, animal life and popular science. The Metropolitan Film Libraries (Metro- politan Motion Picture Co.), New York, N. Y., also have an important announce- ment in that they have greatly augmented their 16 mm. activities, and are furnishing complete entertainment and educational pro- grams for an extended rental period. Regu- lar weekly releases are now being issued which include sensational thrillers, a nat- ural history series, living books of nature, comedies, westerns, travelogues, juvenile comedies, etc. Specific information as to the leading releases this month of both these producers will be found below. Kodascope Libraries, Inc., announce an epochal expansion of their distribution ser- vice. They are now granting franchises to prominent equipment dealers for their in- dividual distribution of Kodascope Libraries subjects. SALE Bray Studios, New York, N. Y. Opening re- leases are four Bobby Bumps Cartoons, 100 ft. reels, two Sunkist Bathing Beauty Comedies, 400 ft., two McDougall Alley Kids Comedies, 400 ft., and four nature pictures, 100 ft. Empire Safety Film Co., Inc., New York, N. Y. Here are offered four one-reel Billy West Comedies, five one-reel Empire Comedies, seven one-reel Charlie Chaplin Comedies, five one-reel Bathing Girl Comedies, and six one- reel Charlie Chaplin Animated Cartoons made by Pat. Sullivan, of Felix the Cat fame. Wm. J. Ganz Co., New York, N. Y. The 200 ft. reel of the Photoplay Magazine amateur eon- test, "Quail Hunting with Gun and Pointers," with which Mr. B. V. Covert won the $500 prize, forms the high note of Ganz features for June. "Highlites from the News" continues, of course, to function as a film news courier. Home Movie Service. Co., Norwood, Ohio. The unusual medical film offered by this company to members of the medical and surgical professions is still available. P'athe Exchange, Inc., Pathegrams Depart- ment, New York, N. Y, Heading Pathegrams' announcement this month is 'The Golden Clown," a 400 ft. picture of circus life. Others are "The Country Doctor," a Cecil B. De Mille 400 it. production featuring Rudolph Schildkraut "Hubby's Quiet Little Game" (Mack Sennett— 400 ft.), "Rough Riding" (Lee Maloney — a Western— 400 ft.), "The Beach Club" (Mack Sennett — 2 reels, 100 ft), and two 100 ft. reels on the Bremen flight. Pathex, Tersey City, N. J., offers "The Bremen Flight" (scenes at Greenly Island), "Welcoming the Bremen Fly- ers" (scenes at New York), and a travel pic- ture, "Chunking — The Unknown City," taken in China. These 9 mm. films all 60 ft. Ernest M. Reynolds, Cleveland, Ohio. Here can be obtained a 100 ft. compilation of two subjects, "Among Giant Redwoods," and "Mir- ror Lake, Yosemite Valley." RENTAL Home Film Libraries, Inc., New York, N. Y. Leading feature for June, Charlie Paddock (The Fastest Human) in a five-reel sport pic- ture, "Nine and Three-Fifths Seconds." Kodascope Libraries, Inc. See important no- tice in the first paragraph of this column. Five hundred library films are available through these libraries. (Sales can be arranged.) SALE— RENTAL Bell & Howell Co., Chicago, 111. Two 400 ft. sport pictures, "Taking Game Fish in the Flor- ida Gulf Stream," and "In the Land of Big Muskies," are prominent this month in the Filmo Sales Library. Also there is offered in the Rental Library a one-reel scenic made by Robert C. Bruce, "A Typical Tropical Sky," which is stated to have unusual quality. Com- edy offerings are "Hot Feet," with Cliff Bowes (one reel), "Howdy Duke," starring Lupino Lane (two reels), and "Framed," headed by Lloyd Hamilton (two reels). Eastman Kodak Co., Rochester, N. Y. The major announcement, a five-reel picture featur- ing Adolphe Menjou and Florence Vidor, "The Grand Duchess and the Waiter." Cinegraphs stressed are: "My Stars," a 400 ft. reel with Johnny Arthur and Virginia Vance, "Kings of the Turf," with close-ups and action pictures of various famous horses, and a panoramic horse race— 200 ft., "Felix Finds 'Em Fickle," 100 ft., "Sawdust and Spangles," a circus film — 100 ft., "A Dutch Treat," 100 ft., and a special re- lease of the Grand National Steeple Chase, 100 ft. Metropolitan Film Libraries (Metropolitan Motion Picture Co.), New York, N. Y. Fea- tured in the first offerings of this organization in its new activities are the following, to be released on the dates set: June 8, "Battling a Lion for Life," (Animal Series); June 15, "Playtime in Movieland"; June 22, "Wild Babies' '(Animal Series); June 29, "All Aboard for Joyland" (Comedy of Coney Island). All 200 ft. Stone Film Laboratory, Cleveland, Ohio. An unusual announcement, "Liquid Air!", a film of experiments with liquid air, by Dr. Franklin of Leland Stanford LTniversity. Other films: "It's a Bear!", a 100 ft. reel (bear antics in national parks), and the "Call of the Open Road!", two 400 ft. reels covering a tour of national parks, including a side trip to Alaska. INC. 100 East 42nd St., New York City LEAD OFF All of Your Movie Programs with AN A.C.L. LEADER for your films. A TWENTY foot animated leader to head all of your films and to tell your audiences that you belong to the Amateur Cinema League. Stamp your films with the emblem of your organization. These leaders are for sale, at actual cost, to League members only, at a price of ONE DOLLAR. A service to members without profit to the League. CASH OR CHECK REQUIRED WITH ORDER A ddress THE TECHNICAL CONSULTANT AMATEUR CINEMA LEAGUE, Inc. 105 West Fortieth Street New York, N. Y. 366 New Pathegrams "THE GOLDEN CLOWN" A great love drama of the circus life well acted and directed. Ho. 6004 one 400 ft. reel. Cecil B. DeMille production featuring Rudolph Schildkraut. "THE COUNTRY DOCTOR" A true story full of thrills that will appeal to all. Ho. 6002 one 400 foot reel PRICE $30.00 PRICE $30.00 A MACK SENNETT COMEDY, entitled "Hubby's Quiet Little Game" With Billy Bevan and Madeline Hurlock. Good story, with pep and funny situations. Xo. 6005 one 400 foot reel. PRICE $25.00 "ROUGH RIDING" with Leo Maloney A drama of the West. Story, action, thrills, scenery all is there. Ho. 6006 one 400 foot reel. PRICE $25.00 "THE BEACH CLUB' A Mack Sennett Comedy in two reels. The bathing girls are there of course, and plenty- new gags. Ho. 1009 two 100 foot reels. PRICE $13.00 No. 1007 "THE BREMEN FLIGHT" No. 1008 "AMERICA WELCOMES BREMEN FLIERS" Each a 100 foot reel. PRICE EACH $6.50 till // not available thru your dealer — Write direct to us PATHE EXCHANGE, Inc., pathegrams department 35 West 45th Street, New York City EG r "THE BREMEN FLIGHT" Scenes at Murray Bay and Greenly Island Ho. E-40 one 60 foot reel. PRICE $1.75 "WELCOMING THE BREMEN FLYERS" The great reception to the air heroes at New York City. 7s[o. E-41 one 60 foot reel. PRICE $1.75 V. No. T-66 CHUNKING— The Unknown City A beautiful travel picture taken in China. One 60 foot reel. PATHEX, INC., No. 1 Congress Street, Jersey City PRICE $1.75 J 367 COMEDIES! Charlie Chaplin Animated Cartoons Made by the celebrated Pat Sullivan, creator of Felix the Cat Charlie at the Circus 1 Reel Charlie takes a trip to the circus and surely has a wonderful time. Charlie's African Quest 1 Reel Did you ever hear of the Goofus bird? Charlie heard of it and finally captures one. Charlie at the Beach 1 Reel Charlie is in France and spends an afternoon with a French girl on the beach. Charlie Chaplin Comedies Charlie's Big Fight 1 Reel Who ever refereed a fight better than Charlie. Think of Charlie as referee. Charlie counts before the man falls, not after he gets to his corner. Charlie the Waiter 1 Reel Charlie is waiter in a bowery restaurant but a gentleman at five o'clock teas. Mable Normand helps him out until she discovers that he is a Jekyl and Hyde. Charlie in His Lucky Day. . . 1 Reel Charlie believes in horse shoes for luck, especially when they are in a boxing glove. Charlie in Training 1 Reel Charlie is an athlete and he sure can fight and run. Charlie and the Villain 1 Reel Imagine Charlie putting it over on a villain in his own comical way. It's a scream. Charlie and His Dog 1 Reel Ever see Charlie in the prize ring? He sure can fight with everything but his hands. Tunney has nothing on Charlie for class. Charlie as the Janitor 1 Reel You never saw Charlie half so funny nor half so clumsy. Picture Charlie jan- ltor of an office building. Bathing Girl Comedies Powder Puff Pirate 1 Reel The Painter 1 Reel Harem Scarem 1 Reel Hot Dogs 1 Reel His Watch Hound 1 Reel Charlie in the West 1 Reel A tenderfoot in the West, shoots In- dians and captures a beautiful maid. Charlie in Russia 1 Reel Charlie is suspected as being a spy in Russia and sure has a time of it until he gets back to the U. S. A. Charlie on the Farm 1 Reel Charlie is a city man and imagine the trouble he gets into when he spends a day on the farm. Billy West Comedies Newlywed's Breakfast 1 Reel The Newlyweds have their troubles getting their first breakfast together. Strong on love but weak on cooking, re- sults in a visit from the doctor. Believe Me 1 Reel The cook seems to be feeding the entire neighborhood. Hubby in trying to do detective work gets the worst of it, be- fore the cook marries the Chief of Police. In Love 1 Reel Romeo sure has it bad and so has his sweetheart. Dad and the dog object but all live happily ever afterwards just the same. Jokes On You 1 Reel Billy is a country boy and returns from the city with his bride to spend a honeymoon on the farm. Empire Comedies Raizin Trouble 1 Reel Who couldn't have some fun with Rai- sins in prohibition time and the hero is no exception. Hey Taxi 1 Reel Talk about taxi drivers without a con- science! How about the doings of a taxi without a driver? A Night with Home Brew. . .1 Reel Making home brew is bad enough — drinking it is worse, but imagine spend- ing a night with it. So Simple 1 Reel A special reel for all automobile drivers who have been fined or are going to be fined. Did you ever hear about a fire hydrant, Mr. Auto Driver? Hop to It 1 Reel Two bell hops in a phoney hotel. Pic- ture what could, would or should hap- pen. Then see it on the screen. SPECIAL! The Bremen Flight Hop off from Ireland, "New York or Heaven," Greenly Island, and New York celebration that cost $60,000 to clean up. One reel. ALL 100 FT. REELS SAFETY STOCK $450 ALWAYS ONE PRICE AT YOUR DEALER EMPIRE SAFETY FILM CO., Inc. 723 Seventh Avenue New York City Please Mail Me An Empire 16 mm. Subject Catalogue T^ame - - Address _ City State THE VIEWFINDER A Department for Our Guidance By Our Readers Good Idea "/THREAT work! Keep it up. How about ^"^ a Wanted, For Sale, Exchange, Etc., Classified Department?"— P. E. Wilder, No. Weymouth, Mass. (Editor's Note: You will find it in this issue. ) More Suggestions "A 35mm department should be worth while in your field. A still department should be worth at least a column occa- sionally. Articles on the home making of lantern slides would find some interest. How about some scenarios covering light comedy and written from a "sure-fire" screen view standpoint? As you know (and maybe this is a good point of the game), most of the amateur productions today on the 16mm have been truly awfully amateur- ish. Articles on the building and painting of simple sets (no futuristic stuff) should find interest. Hints on interiors that could be readily interchanged with flats, doors, and window pieces would also be helpful." — William McGreiv, Los Angeles, Calif. From Abroad "IV^AY I congratulate you on your really remarkable journal? Its value cannot be expressed in cash. I am glad to say that I have introduced it to several people; two, at least, are writing you to become sub- scribers."— John F. Leeming, Owlpen, Bow- don, Cheshire. Wants Weekly Issue T WANT to tell you that your magazine continues to hold one's interest. It would be difficult to criticise it destructive- ly. About the only comment I can make is that it ought to be bigger and be issued weekly." — Henry Bennet, La Cubana Com- pania Nacional de Sequros, Havana, Cuba. From Singapore "V^OUR Movie Makers Magazine is in- deed a very useful magazine. It gives to the amateur cinematographers many new hints and ideas on motion picture photog- raphy. I have now acquired all of the is- sues and I think that it is the best maga- zine I have ever read. I also wish to ex- press to you my thanks for the knowledge you have given me. I am trying to have my friends join the league also." — Lo Chiu Wong, Singapore. Admires Co-Operation "T WANT to congratulate your organiza- tion on the thorough manner in which you handle inquiries and follow up matters which come to your attention." — W. C. Arkell, Canajoharie, N. Y. From the Coast '""THE magazine has proved invaluable by keeping me posted on all of the latest developments. I always look forward to receive my copy each month. Let the good work go on" — Robert I. Barkley, Lute's Kodak Store, San Diego, Calif. Note on Make-up "/**\UR Movie Makers Magazine is a ^~^ marked success. It contains full infor- mation for both the beginner and the ad- 368 It's Here! THE BEAUTIFUL, NEW, WATCH-THIN MiUUkiiJJJt 75 Bell & Howell's Latest 16 mm. Movie Camera, at an attractive new price — $120 with case Features Exceptionally thin — easily slips into coat pocket. Your choice of three beautiful colors — Walnut Brown, Ebony Black, Silver Birch. Key is an integral part of camera, folds against side. Camera can be held and operated in one hand. Fitted with f-3.5 Cooke lens in Universal focus mount. Size — iygx4x83/4 inches. Weight — 31/2 pounds. Case supplied is of genuine Scotch grained embossed leather, plush lined. THE WILLOUGHBY MOVIE LIBRARY enables the owner of a 16 mm. Home Projector to vary his movie program at home each night if desired — and to show the newest releases of the best known stars, on a unique rental basis. Call or write for complete details. The CINE-CHEST A strongly made case having the ap- pearance of a library book, devised to provide a convenient and practical place to keep your 16 mm. films. Each Chest holds two 400-foot humidor tins, is light in weight but substantial- ly built to insure long service. The fin- ish resembles grain walnut. Price $2*50 Price $35.00 The KINO PANO TRIPOD Combines the best features of a tripod especially made for the amateur movie maker. Extremely rigid, yet light in weight — only 4 lbs. Has tilt and pano- ram locks and re- versible steel ex- tension legs, rubber tipped on one end. Plates are now sup- plied, enabling pro- jecting machines to be mounted on tri- pod. Tilt and Panoram Head only, $17.50. Plates for projector use, $6.50 and $7.50. Canvas Shut- tite Case, $4.00. 1 1 0 WEST 32 nd STREET, NEW YORK 369 With these features The Victor Cine Camera — has won world favor! 1. SLOW MOTION— the first and only camera taking both normal and slow motion pictures 2. DUPLEX SPRING MOTOR— with automa- tic speed control, insures uniform smooth run- ning at all speeds 3. CUSHIONED START AND STOP — no noise, jar or strain on the mechanism 4. INTERCHANGEABLE LENSES — Cooke, Zeiss, Dallmeyer, Goers, Hugo Meyer, Wollen- sak and other makes, I- to 6' focus 5. HAND DRIVE CRANK— for trick and title work 6. FOCUSING LENS MOUNT— 3 to 30 feet and infinity 7. COMPENSATING VIEW FINDER— serves all lenses without extra finder lenses or attach- ments 8. AUTOMATIC FILM REGISTER— tells at a glance amount of unexposed film in camera 9. LIGHT IN WEIGHT— 43/4 pounds, measures only 6x8 inches 10. GUARANTEED— for 2 years against defects of material or workmanship. All these are features of the regular equipment of the Victor Cine Camera PRICE COMPLETE tt,»fth F-3.5 Velostigmat Lens USEK "' !" ! ':■ «i« /at $125. s? ASK YOUR DEALER for a demonstration of the Victor Cine Camera— the only spring driven 16 mm Camera combining in one model all these features and SLOW motion. Victor Animatograph Co*, inc. 340 VICTOR BUILDING DAVENPORT, IOWA, U. S. A. vanced amateur. For this reason it must be studied carefully and placed in the archives for future reference. Therefore the pages which are devoted to reproductions should not have printed matter on the reverse side, as when one removes the page he destroys valuable information of which he often has need. Would it not be better to adopt a new plan for the future; that is, insert a loose leaf, with no printed matter on the opposite side? Then we could re- move the picture without doing any damage to the magazine." — T. Madariaga, Vera Cruz, Mexico. (Editor's Note: Unfortunately the ex- pense of this plan prohibits its adoption. However, it has occured to us that a solu- tion of the problem may lie in backing up the title backgrounds with advertisements as done in this issue.) A Reply To Mr. Johnson TTHE following letter is a reply to Mr. Johnson's letter, which was printed in the February number of Movie Makers Magazine. "As to covers, there are, of course, many different tastes. I, too, would like to see a more cinematic cover. For instance, a pic- ture of some amateur club photographing one of its most interesting scenes, a photo- graph of a new camera, or some important movie reel. But this must be left entirely to the publishers. We cannot judge the magazine by its cover, but by what is in it. "Mr. Johnson is correct in his comment about the articles being concluded on some other page. I read Movie Makers Magazine like a book — from cover to cover — and I have found it rather annoying, after read- ing one or two pages of an interesting article, to find that it is 'concluded on page 127'. However, 'this must be done for sev- eral practical reasons,' as the editor says in the next column. But there is a remedy. Glance at the bottom of the page and find out whether the article is concluded on some other page. If it is, turn to that page and hold your hand there, or place some other suitable object (a pencil, a book- mark, or piece of paper — anything you can reach) on that page. Now turn back and begin the article. When you come to the end of the page, you will be ready to read on without breaking the interest, because you will have the exact page ready. "Now about the ads that 'are all catering to the beginner.' Let the professionals, or those who use the 35mm (and I do), re- member that the majority of companies now offering the 16mm equipment have started out with the standard film, and that by writing to those companies they will gladly furnish catalogues and prices of their stand- ard equipment. Even their ads often read, '16mm and 35mm Service.' " — Richard Lit- zenberger, League Member, Manheim, Pa. (Editor's Note: We might add in com- ment that we have been trying to make our covers more definitely cinematic, as ex- am pled by May and June. However, pho- tographic covers are not strong enough to hold their own against the brilliantly col- ored magazines of the present day, and part of the success of our magazine has been due to recognition of this fact. In regard to carrying over articles into the advertis- ing section, we are glad that our readers appreciate the practical reasons for this; however, we have been trying to conclude as many articles as possible in the main body of the magazine, and to meet the spe- cial problem of carrying reading matter with advertisements by the use of short articles, departments, indexes, etc. As time goes on ive hope ive will come closer to perfection on this count.) 370 So Easyw*> In expulsive Hollywoods Own DeVry 35 mm movie camera $150. NOW you can make amateur mo- vies that are clear, sharp, and full of life and personality. You, too, can permanently record scenes that will bring you joy through the coming years — the big parade, a picnic, the golf tournament, and vaca- tion events. Thousands of amateurs are making perfect movies with the DeVry 35 mm amateur movie camera. All prints in the large 16 mm film libra- ries — like Pathegrams — are made from 35 mm negatives. Now this is possible for the amateur as well. Then, too, there is the new DeVry projector for 16 mm film. Many peo- ple have wondered how it was possible You are taking per- fect movies. for any manufacturer to build such a fine projector to sell for only $95. Fourteen years of experience with amateur movie equipment have gone into the making of the DeVry Type G 16 mm projector. This is why pictures it shows are clear, sharp and flicker- less. If you own one of these new DeVry 16 mm projectors, you can have your choice of many fine feature produc- tions of famous stars, produced on 16 mm film. Through an arrangement we have made with the Pathegram Li- brary for you, jolly, rollicking Alice Day will bring laughs and sighs; Will Rogers will star as only Will Rogers can. Pictures of these and other stars of comedy, drama and travel pictures are now available for your use in this new DeVry projector. Your DeVry dealer has a complete list of Pathe- gram movies that you can rent, buy or exchange. Let him help you arrange a well-rounded program in your own home tonight. Invite all of your close friends, because they, too, should have that pleasure. May we send you our free literature on amateur movie mak- ing ? Write the DeVry Cor- poration, Dept. 6 - MM, 1111 Center Street, Chi- cago, Illinois. 371 372 EDITORIALS The Significance of the First Amateur Film Contest « THE Amateur Cinema League may justly be proud that two of its members were among the four prize winners in the Photoplay film contest. The prize in the 16mm division went to B. V. Covert and in the 35mm division to Russell T. Ervin, representing the Motion Picture Club of the Oranges. Mr. Covert and Mr. Ervin are pioneer League members and have supported our organization enthusiastically. The Motion Picture Club of the Oranges achieved its national publicity through achievements related from time to time in MOVIE MAKERS MAGAZINE. The League has aided the Photoplay contest in every way and is happy that its own members won prizes in two of the three classes. The 9mm prize winner, although an amateur movie maker, has been an advertiser in our pages, C. R. Underwood. The floating prize winner is not, as yet, a League member. It is significant that various commercial enterprises have been seeking the winning films for exploitation purposes. These should shortly appear either on theatre screens or in amateur library offerings. Here was a stern test for amateur accomplishment. Com- mercial firms are not primarily interested in aiding amateurs, but in making legitimate profits. They want material that is profitable rather than that which may be significant as marking the progress of amateur art. They wish amateurs the best of luck, but they will not buy amateur product unless it is salable. Certainly the proof of art is not that it is salable. Amateur contributions to the art of motion picture making will be important — or, we had better say, is important — chiefly because of its freedom from the necessary restrictions of obtaining a market. Ama- teurs can do new things because they need not depend on a traditional public taste for support. But al- though art and sale are not interdependent, amateurs can find a very homely and solid satisfaction in know- ing that their best is of commercial value. All of the films submitted to the Photoplay con- test— reported elsewhere in this number of MoviE Makers Magazine — will form the basis of a study already under way. A group of experts are examining their virtues and faults. The material for this study is not fully representative of amateur accomplishment, because many amateurs failed to enter films in the contest; but for the first time a fair number of ama- teur cinematic efforts have been assembled. Through the courtesy of Photoplay the League is privileged to conduct this important pioneer examination into amateur movie making. We are grateful to Photoplay for its fine co-operation in the development of the amateur movement. We commend its amateur de- partment to our members. It was the first of the "fan" magazines to enter this field and it has main- tained a dignity and serious attitude that are admir- able. All of this leads us to urge on our members the importance of making film experiments that are artis- tically significant. Filming for purposes of record always constitutes a large part of amateur activity. But that record need not be devoid of artistic quality. A straightforward tale may be told in sprightly and racy fashion and a practical film record may be made in a truly "cinematic" manner — that is, in a man- ner no other medium except a movie camera could use. If our members would resolve never to shoot a foot of film to catch a picture that would be better caught with a still camera; if they would determine that their filming would all be done with foreknowl- edge of the essentials of cinematography, as different from still photography or spoken drama (if a photo- play is attempted) and if they would study what pro- fessionals call "continuity," "cutting" and "editing," we would have more amateur film of the kind that would carry the art of motion picture making for- ward by leaps and bounds. This does not call for great expense. It is not necessary — ■ indeed not desirable — that amateurs should try to outdo professionals in elaborateness. What the art needs is a re-birth of film simplicity and film subtlety; these things are not found in elaborate- ness. A scenario of very limited scope but one that rigidly excludes everything that could be better done by a still photograph or by a spoken playlet is the es- sential. Such a scenario is readily devised if one has imagination to make the little things of every day cinematically interesting through catching their mo- tion picture significance. If our amateurs can produce films of simple scope, of subtlety, of cinematic quality, and if they try to get as far away as possible from the professional in subject matter and as close to him as possible in workmanlike technique, the eighth art will hasten forward. Professional subject matter must be geared down, most of the time, to the tastes of the multi- tude if professional films are to make money through wide distribution. Wide distribution is, at present, the sales method of these professional films. Amateurs should hunt for subject matter of a totally different type — subject matter that would be too lacking in "box office" for the professional to attempt. They should keep clear of the grotesque and the horrible; they should be sane and not sensational. Their lit- erary parallel — for the amateur film can be compared to the short story — should be Edith Wharton rather than Edgar Allen Poe. This applies to the film essay — if we may so dub the motion picture that is not a photoplay — as well as to the film play. Lastly, if amateurs can produce artistic films there is little doubt that the rapidly increasing number of Little Cinemas or Little Picture Houses will give these films to the public. Not only will the amateurs find remuneration enough to cover a part of their expenses in film experimentation, but they will also find a channel through which their experiments may be dis- tributed. This is a direct appeal to League members to un- dertake filming that will be artistically significant. The Photoplay contest films point the way to a very rich development. We, as League members, must be the leaders in it. — R. W. W. 373 ®t|p §>ttowg ilatttlr of % Alps A Wintry Scene from a Summer Film 374 THE MAJESTY OF THE JUNGFRAU From the Railroad Ascent. Photographs by H. Armstrong Roberts WEATHER by PROJECTION Notes on Choosing your Climate from your Film Library IT was a hot day in Paris — one of those days that defy the weather man and makes everyone say "it couldn't be like this at home!" We sat idly at the table 'neath the cool shadows of the brick wall which bor- ders the Ritz gardens, and sipped our drinks. I mopped my forehead and sighed, "Oh, for one of those delight- ful days in Switzerland. We never thought in cold July that we would be here in hot September!" "Is that all you want? To be cooled off by another Jungfrau trip? Well, come along with me." He called the garcon, and after settling our bill we sauntered through the dim interior of the hotel out into the square. "If you think you can drag me across the Place Vendome, just for a walk, on a day like " "You wanted to be cooled off," he interrupted, doggedly. After dodging several taxis we went into a very small shop and sud- denly were surrounded by every con- ceivable kind of camera. My friend said, in his best French, that he want- By Paul Pridham *8 ed his Jungfrau films, Nos. 1 and 2. The chic little Parisian answered in better English, "Yes, sir." A small boy accompanied us with the two rolls of 16mm film under his arm. We returned to the square. It began to dawn upon me what we were doing. We went around the cor- ner and followed the shops until we were soon in the shadow of the beau- tiful old houses. About opposite the Vendome column, au milieu de la place, we entered a quiet courtyard through two big wooden doors with- out waiting for the concierge to ap- pear. We followed the boy up the steps and on the premiere etage watched him insert a key into the double doors. We entered a room still darker than the stairs. He turned on a light for us to locate two com- fortable gilt arm chairs. While we were lighting our cigarettes, sudden- ly he flicked off the light, and with the purring of a projector we were in Interlaken. Again, suddenly, on the silver screen the great horse-drawn busses rumbled up to the Victoria Jungfrau hotel, that enormous relic of Queen Victoria's time, and the seven of us were off for Jungfrau, ""on location." We had hurriedly consumed an American breakfast of eggs and fruit with our Continental fare, to be pre- pared for our strenuous day, and to our surprise the concierge had seen to it that we arrived at the Interlaken Ost station early. However, Jung- frau was out in all her glorious ma- jesty— not a cloud for a halo. After final assurance from the chef de gare that the train would not be ready for ten minutes, the director shot some glorious views of her snowy pinnacles. We were fortified with several kinds of still cameras and extra loads of films, and, above all, our heavy wraps. Seeing our- selves in retrospect as we looked that day, for the first time, in the land of 375 TEARS OF THE MOUNT Lauterbrunnen Falls From the Train. smartly dressed people, our Swiss mountaineer effects seemed ludicrous. We were attired in all our own wool- ens and those we could borrow, cov- ered by shiny slickers. Even so, we discovered that our costumes were in dire contrast to the villagers from nearby cantons — with their suede shorts, woolen socks, climbing boots, and Alpine hats with never-to-be for- gotten chamois tails stuck at the back. There were stocky Germans who looked as if they were well fortified against cold by years of sausage con- sumption, and a few English done up in tweeds to the nth degree. When the little electric cars rolled into the station we embarked in a car- riage marked "Lauterbrunnen," and comfortably settled ourselves on the bright-red plush seats, quite far from one another in our successful attempt to each be seated by a window. Our director, a portly old gentleman who had done Europe many times but was paying his first respects to a "young wife"; and the hero, the heroine, a villain, a sweet young thing, the count and the photographer — all were seated far apart when our "extras" (Germans and English) came in. The director shot an "inside" of the car and we wondered if minus "Sol," our best kleig, we could do our stuff. But here was the proof on the screen. We craned our necks to see the view — first on one side, and then, hopping over our tourist friends, on the other side, of the car to get a final glimpse of a beautiful waterfall, the deep green of a forest, or a chalet perched high on a hillside with cattle grazing all around, and an occasional view of Jungfrau herself. Interlaken is 1,865 feet high. After crossing two streams and on through the woods, by the time we reached Lauterbrunnen we had climbed near- ly a thousand feet higher, a fertile plain all along the way. The train wound slowly up the valley. We looked back at the village lilliputian- ized below, hardly realizing that the pygmy buildings could be the shops and hotels and the charming old wooden houses, with overhanging eaves and shingled roofs, of Inter- laken. At Lauterbrunnen we got out of the carriage in a rush, crossed the walk and started to board the waiting train with "Wegernalp" on the side. But alas! the "extras" who had sat by the aisle seats (these were not the usual European cars with an aisle along one side, but designed with a central passage) naturally got in for the win- dow seats this time. This railway was a narrow gauge, electric rack- and pinion-line, and the station sign said "Maximum Gradient, 25 Per Cent." As we pulled away from the station we got a magnificent view of the Staubbach (spray-brook), the best known of the falls (Lauterbrun- nen itself means "nothing but springs") ; also the Trummelbach fall, which comes splashing down a narrow gorge in five cascades. The meadows were dotted with trees. Cat- tle grazing everywhere made one think it was truly the home of Swiss milk chocolate. Swissly enough, there were not grotesque billboards shrieking at us along the way. Then the tunnel part of our jour- ney began. We went through four short ones and a long curved tunnel. Each time as we emerged the clouds would break and show Jungfrau be- coming less an austere majesty; would show more vast expanses of rock and glaciers, all covered with fresh snow. Then the clouds would gather again and we would become more interested in the scenery close at hand. Chalets were perched above and below us, the brown-stained wood making a vivid contrast against the bright green meadows. The habita- tions extended to timber line, where they disappeared as abruptly as the trees. Above the timber line we as- cended a very steep grade; the grassy mounds seemed barren after such abundant verdure. At Wengernalp the view of Jung- frau is superb and the two-and-a-half mile distance seems as nothing. The day was splendidly fair; there were only billowy white clouds sailing around the summit. The train as- cended gradually to Schiedegg, where we changed carriages for the last time, and where, instead of being in a secluded Alpine station with few peo- ple about, there were more "extras" swarming for seats in the small train, which had accommodations for only 80 people. One of our tempera- mental stars stopped for a ham sand- wich and a glass of beer, so the whole party was upset as the train pulled away with whistles blowing, every compartment (European style this time) full. However, we were re- lieved to hear that in Summer there were seven trains daily, and the guard assured us there soon would be an- other one along. 376 While he bought chocolate inside at the buffet, the director regaled us with the wonders of the Jungfrau Railway, on which we were at last about to begin our final ascent. We gathered around to listen, amused at the evident interest of the guard. There were few details that Baedeker had failed to impart to the director; if he had had a megaphone and a cigar stump to chew on, it would have been perfect. The railroad is a triumph of mod- ern engineering, built between 1896 and 1912 from the plans of a Swiss engineer at a cost of twelve million francs. It has the unique right of making the average tourist feel like a mountaineer because it ascends up into the heart of the peaks. The tun- nels are cut through hard rock ( lime- stone and gneiss), so there is no ne- cessity of masonry lining. It is a rack-and-ninion system and the loco- motives are 300 horse power. When another train appeared and we were off at last the train seemed like an animate object, crawling up the rock and pausing for a breathing space at several stations, when we would get out for a view from a plat- form built in the rock. At Eiger- wand we looked down upon the Lake of Thun, with Interlaken nestling at one end. At Eismeer, a thousand feet higher, we reveled in wonderful views of the surrounding glaciers, now fully understanding why we were cold hidden away in the caver- nous rock. The carriages were sup- posed to be heated by electricity, but the air was so cold that though inside the car the temperature was at only 50 degrees it seemed positively warm. Up, up, up we went, sinking far- ther in our warm woolens, until final- ly we arrived at Jungfraujoch — 11,340 feet, only 2,330 feet before the very summit — the climb done in a leis- urely and comfortable way. Jungfrau- joch is situated in the glacier-covered saddle between the Monch and the Jungfrau, where it is easy to ascend to the summit. We went first to see the magnificent view of Aletsch gla- cier, a wooden gallery leading to the level neve of the Jungfraujoch. At the upper level of the station we found a comfortable Berghaus Jung- fraujoch, Europe's highest hotel, with several dining rooms and from ex- pensive table d'hote to a place where you can buy beer and coffee and eat what you bring in your own knap- sack. We stopped in a little anteroom, finished, like the rest of the place, in pine, and for 1 franc 50 exchanged our shoes for stout mountain boots A FRAME OF LIVING ROCK Jungfrau Filmed from an Arch in the Railroad Tunnel. with iron nails. Armed with ski poles we started out on the snowbank. After adjusting my amber glasses I took several pictures, and for the first time in hours I began to feel warm. Sud- denly the sun's rays penetrated with such intensity that I felt stifled. Quickly I unbuttoned my slicker and sweaters. For a moment I felt a bit dizzy, and I was frantic with fear that I should succumb to mountain illness, but I soon realized that it was only the heat and rarity of the atmos- phere. Standing still for a few min- utes, I completely revived and could see the ineffable beauty of the glori- ously awful scene. Saddening, some- how— where no soft strains of a violin playing Grieg are needed to make one register emotion. Someone called. Ahead of me, on the path, I saw the "hero"! "We're ready to make a big scene, and are waiting on you," he said. I went along, slowly, realizing that my heart would pound again if I went up the hill with my former speed. Artificial rain was not needed on this lot, for a dense mist was en- veloping the jagged, rocky mountains ahead. I quickly buttoned my coat, for now I was as cold as I had been hot a moment before. When I reached the pinnacle I saw everyone laughing heartily, for we were ready for a shot {Continued on page 418) 377 Making Your Own Home By H. Syril Dusenbery THE day of the talking movie has arrived! All over the coun- try theater-goers flock to see pictures that sing and talk, and they marvel at the completeness of the il- lusion. In almost every city theaters are installing the necessary equip- ment, at no small expense, to enter- tain the ear in addition to the eye. Y ou have become so accustomed to the march of progress that you take much for granted. The unusual has become the usual. What is novel to- day becomes commonplace tomorrow. When you go to a theater and see flashed on the screen a picture that talks and sings you are no longer par- ticularly startled. But suppose you invite your friends to your home and in the midst of one of your own pictures shown in your parlor one of the characters suddenly begins to sing and his voice fills the room — what then? Impos- sible? No! If you possess an ordi- nary phonograph and have a little patience, it can easily be done. With the limited equipment within the reach of the amateur movie maker you cannot hope to make the kind of talking picture that you see in the theater; but, with nothing more than your own movie outfit plus a phono- graph, you can produce some very startling results. In comparison with the elaborate equipment of the pro- fessional talking movie backed by years of experiment and research, this method is crude; yet by its ap- plication some one known in your circle as not being able to sing a sin- gle note now bursts forth on the screen apparently singing a grand opera selection. The amateur jazz band can be made to sound like Paul Whiteman. Such phonograph char- acters as "Cohen and the Telephone" and "Two Black Crows" now appear on the screen in the guise of some of the family. These are mere suggestions of the marvelous effects you can secure with your phonograph along with your movie outfit. Perhaps as you read this light is dawning on you as to the modus op- erandi of the home-made talking movie. The idea came to me while watching a Vitaphone production. Its simplicity should appeal to every amateur movie maker who yearns to try something off the beaten path and at the same time surprise his friends. So far as I know the idea is original and therefore has never before ap- peared in print. 378 There is nothing particularly re- markable about the theory of this home-made talking movie, but con- siderable ingenuity is required to put it into actual operation. It is sim- ply this: A phonograph record is played while you take your movie. The subject sings or talks along with the phonograph the entire time the camera is in operation. Later, when the movie is finished and projected on the screen, the same phonograph se- lection is played and, if properly done, the illusion will be complete. That is all there is to it. Now let us go into the practical details. The basic idea is certainly simple enough, but the application — well, it requires just a little patience and experimenting. The first step is the selection of a suitable phono- graph record. Select a familiar song for your first attempt; one with clear- cut words and little orchestra accom- paniment, if possible. Clarity is im- portant. Avoid jazz effects in your first attempt. Let them come later. The length of the selection is limited by the particular camera you own, as will be explained presently. Once you have decided on a rec- ord and have found a subject to sing it, have the subject practice singing with the phonograph. This becomes easy if he is perfectly familiar with the record. Play it over several times and have him listen carefully. Then get him to try to say the words along with the phonograph. It is not neces- sary that the subject actually sing or carry the tune; speaking the words along with the record is all that is required. He should move his lips freely as if actually singing, but care must be taken not to overdo the lip movement or the naturalness of the illusion will be spoilt. With about a half hour's practice he ought to be able to speak the words in perfect time so that anyone looking at him and hearing the phonograph without seeing it would think that he was ac- tually doing the singing. He should be letter-perfect before the camera is brought to the scene. It is not necessary to have him standing still while singing. He should be careful to avoid stiffness and move about naturally and gracefully. After all, you are taking moving pictures and the singer should constantly re- member this. The next step is to determine just Movies Talk how much of this record your camera can photograph with a single wind- ing. Remember, during the actual taking of the talking picture the cam- era must run continuously. You can- not hope to keep the picture and phonograph in step if the camera stops during the filming, or if you make any cuts and splices in the fin- ished film. If you happen to own a camera that can be hand-cranked, like the Cine Kodak Model A or the Vic- tor, you do not have to worry about this. You can make a scene run just as long as your film holds out, pro- vided your arm doesn't give out be- fore then. It is of special importance that the speed of cranking be uni- form throughout the entire scene. Spring-driven cameras, like the Cine Kodak Model B and the Bell and Howell Filmo,run for certain, definite, but different, lengths of time with a single winding. You must therefore determine just how much of the rec- ord your particular camera can take with a single winding. None of the spring-driven cameras will run long enough to enable you to photograph a full record. You should, however, endeavor to take a definite portion of a record, such as a single verse or a single chorus. You can find out just how much you can take by running your camera (without a film) while the record is playing. You may have to try out several records before you locate one that will enable you to do this. Once you have discovered the most suitable portion to use you are ready to proceed. Mark off the section of the record you are going to use by placing the tiniest possible daub of white paint at the exact start and fin- ish. A small dot will do — just some- thing to indicate to yourself the exact point to start and stop the phono- graph needle. You are now ready to load your camera and proceed with the actual taking of the scene. You will want to work out of doors and you must take the phonograph with you. Here is where a little portable phonograph comes in mighty handy. If you haven't one it would be wise to bor- row one, as you must have a phono- graph alongside the camera. Any phonograph that is not too bulky to move outside will do. The camera should be mounted on a firm support, a tripod preferred, but any solid ob- ject will do. Talking pictures must be rock-steady to be successful. {Continued on page 417) mmmmmmxmmmmiijmmmimmiimmmmrmMwsmmmmmmKmmmm^mmmmmmamB ■I FOG FILTERED Photographs by George Scheibe. IRONING OUT the JERKS How Fades, Dissolves and Filters are Bringing Smoothness A THREE letter word— art. Di- vide by three and reduce it to cinematic terms — the eye, the mind and the emotions. Add one — smoothness — and the answer is cine- art. None of the senses likes to be jarred, least of all the eye. The be- ginning of better professional movies came with the adoption of fades, which are such an important factor in making dissolves. Their smoothness affected our three component parts in this manner : took all thejumpinessout of pictures, put apparent continuity where continuity wasn't and increased the pleasure of watching a movie about a thousand-fold. And now, through recent invention of an auto- matic device, securing these same pro- fessional effects has been made far more easy and practicable for the amateur. Is that all? No, that's just the beginning! Allow me another sage word about professional movies and then I'll tell you. "Effects" are use- less if they are noticeably apparent. You cannot jump from a clear-cut picture of the heroine receiving the letter of dread tidings, to a soft back- lighted diffused iris effect simply be- cause she weeps! It's too apparent. But by fading out on the clear cut to Amateur Films By A. W. Kammerer and fading in again no change is no- ticed. What does that mean? It means that all the professional effects and tricks, obtained by filters and screens, have also become easy for the ama- teur, if these filters are used in con- junction with the fading apparatus. Next you'll want to know about filters. First and most important, they do not alter the focus, speed or cor- rection of your lens. Attacking these magic workers promiscuously, let's take the diffusing screen. Think of Lillian Gish (cinematically) as she sits by the fire-side thinking of her loved one who is far, far away. You visualize a soft, hazy scene with her face framed in a corona of golden hair. The scene in reality is bril- liantly highlighted and backlighted but a diffusing screen tempers it to just the right emotional intensity. With its use the amateur may achieve "softness" — which is not just a first cousin but one of the "smoothness" family. The diffused iris is similar but has a clear-glass circle or oval in the center thus bringing the main object into clear perception with the balance of the picture in "soft-focus". Here- with we gain smoothness by subtract- ing the lesser parts from a picture, and we also reduce the eyestrain of following a moving object or a per- son in a crowd by keeping our main subject within this clear, focused area. The white iris is the same idea but with the picture fading into absolute white at the edges leaving the object "spot-lighted". This intensifies and adds smoothness to the theme and therewith to the emotions. The grad- uated iris differs only in that it vig- nettes to black at the edges, intensi- fying to a greater extent. You have seen the title which ap- pears on a hazy moving background. The picture has been fog filtered and the title inserted by double printing. Consequently the jar produced by having to read a dead-still title im- mediately after a swift bit of action is greatly reduced, and smoothness is again enhanced tremendously. The real use of this filter is of course to produce fog and rain effects under ordinary clear-day light conditions. Irinettes are a series of screens hav- ing oval, diamond, heart, panel and {Continued on page 408) 379 A Climactic Development in Education Million Dollar Organization Formed by Eastman Kodak Company i Further Educational Films ORGANIZATION papers were filed in May for Eastman Teaching Flms, Inc., a subsid- iary of the Eastman Kodak Company, the purpose of which is to develop a program of motion pictures to be used for instruction in schools, col- leges, universities, technical institu- tions, and medical schools. The capi- tal stock of the new company is $1,- 000,000. Dr. Thomas E. Finegan, for many years connected with the New York State Education Department and for- mer head of the state school system of Pennsylvania, is the President and General Manager of the new com- pany. Dr. C E. K. Mees, Director of the Eastman Kodak Research Lab- oratories, is the Vice-President. Mr. L. B. Jones, Mr. M. B. Folsom, Mr. E. P. Curtis, Dr. C. E. K. Mees and Dr. Thomas E. Finegan are the direc- tors. In announcing this important move on behalf of educational films tribute was paid to the 16mm film, developed by the Eastman Kodak Company, and so familiar to amateurs, as it is said to have made possible the extensive use of motion pictures in teaching. The incorporation, according to Dr. Finegan, follows two years of exten- sive experimentation by the Eastman Kodak Company in the field of vis- ual education, including ten weeks' use of teaching films by schools in twelve cities. The decision to go ahead with a large film program is the result of tests recently given to 6,000 children who had been taught with films and an equal number who had been taught the same subjects without films. The tests were formulated and su- pervised by Dr. Ben D. Wood of Columbia University and Dr. Frank N. Freeman of the University of Chicago. The cities in which the teaching film experiment was made were: Chicago, 111.;. Denver, Col.; Detroit, Mich.; Kansas City, Mo.; Lincoln, Neb.; Newton, Mass.; New York City; Oakland, Calif; Roches- ter, N. Y.; San Diego, Calif.; Atlan- ta, Ga.; and Winston-Salem, N. C. Dr. Finegan made the following statement when the incorporation pa- pers were filed: "Two years ago the Eastman Kodak Company undertook an extensive experiment to determine the value of motion pictures as an aid to the teacher in daily classroom work. The company believed that the most practical method of ascertaining 380 H the service which films could render would be to use them in the estab- lished courses of study given regular- ly in the schools. "The National Education Associa- tion approved the general plan and urged the teachers of the country to co-operate in the enterprise. Twelve cities in various parts of the country readily consented to participate in the experiment. "The program which has been com- pleted was based on a course of study covering a period of ten weeks. Ap- proximately 176 teachers and 12,000 pupils have been engaged in it. Six thousand of these children received instruction without the use of the films. In each group the same area of instruction was covered. "The Eastman Kodak Company employed practical teachers of long experience and known achievement to prepare the material for the films. These films were correlated with the standard courses of study in geogra- phy and in general science in use in the schools of the country. "In order that the experiment should be conducted without preju- dice and under established standards, the Eastman Kodak Company em- ployed Dr. Ben D. Wood, of Colum- bia University, and Dr. Frank N. Freeman, of the University of Chica- go, to formulate and supervise the tests to be given. These men are two of the outstanding experts of the country in the field of tests and meas- urements. A final report containing a complete tabulation of results and evaluations thereof will not be avail- able until July next. When the final report is received it will be published and made available to the teachers of the country. "The data already available on this experiment, however, has enabled the experts to make a preliminary report on many of its vital aspects. Dr. Wood and Dr. Freeman stated in their report on the school tests: "We are making a preliminary re- port at this time because we believe that enough evidence is in to war- rant a continuance of the production of classroom films and because a de- lay in production until after the com- plete report is prepared would seri- ously interrupt the preparation of a film program for the schools. Our own observation of the classes in operation with and without the films convinces us that the films con- tribute elements to the experiences of the children which it is difficult and often impossible to secure by any other method available to the school. "This preliminary survey indicated that the teachers are much pleased with films as instruments of instruc- tion, that they consider these particu- lar films to be excellent, and that it is their judgment that films should be made permanently available to the schools. This is our opinion, based on the testimony of the teachers and on our observation of the classroom work. "We are convinced that the produc- tion of these films, together with the guides" (each film is accompanied by a teacher's guide to the subject) , "and further production of other films, makes a decidedly valuable contribu- tion to educational procedure. The indication is that there is a strong demand for properly planned and well organized educational motion pictures of the character used in this experiment. "Many suggestions have come to us concerning new ways in which mo- tion pictures may be constructed. The use of these instruments of instruc- tion is in its infancy. Further experi- mentation will make it possible still further to adapt motion pictures to the distinctive demands of the class- room." Dr. Finegan also said, "We shall proceed at once to develop a film program adequate to the needs of the teaching institutions of the country. Forty films are already completed and others are on the way. We shall plan one hundred additional films for the schools immediately and shall be- gin a development in other lines. "We shall have the co-operation of a large number of the distin- guished scholars and specialists on the faculties of leading universities and technical institutions, and of well known teachers connected with public school systems in the development of this film program. "We are gratified to announce that Mr. William H. Maddock, for many years the Sales Manager of the G. and C. Merriam Company, of Spring- field, Mass., publishers of Webster's Dictionaries, has already taken up his work as Sales Manager of the Eastman Teaching Films, Incorpor- ated." "A FEW WRINKLES AND BULGES WILL GIVE A DiafTINCTLY NOVEL TWIST TO YOUR PROJECTION" HELPFUL HINTS for HOME SHOWS By Epes W. Sargent ALWAYS remember that the true test of a performance is attendance. No real manager feels that a show is a success unless he plays to standing room. When you give a home show ask everyone you know. Never mind whether you have chairs enough. Look at the long lines in the foyers of the big movie pal- aces! They'll appreciate your show the more if they have to 9tand up. Pack them in until it hurts (them) and they'll go out and talk about your show for weeks. Be careful of your seating ar- rangements. Put the tall men and women in the front rows and the short ones in back. If they can't see over they can stand up, can't they? In setting up, arrange to throw across the short side of the room. This will not only give your projector a shorter throw, but you can place more persons where they have to view the screen at an angle. They'll enjoy seeing people ten feet tall and six inches wide. That's something they don't get at the movie theatres. Patent screens are not necessary. That may be all right for the man whose pictures are so dim that he needs every help he can get, but yours are different. A sheet will be plenty good enough. The regular theatres may spend big money for patent screens. What do you care? Just sneak a sheet out of the linen closet. Don't bother to stretch it taut. A few wrinkles and bulges will give a dis- tinctly novel twist to your projection. Never mind overhauling the pro- jector. It was all right the last time you used it, wasn't it? What makes you think anything could have hap- pened to it? And that goes for the extra lamp. What's the use of having a lot of extra lamps kicking around? If a lamp burns out, or the filament breaks, you can take up the rugs and turn on the phonograph. Examining the reels you intend running is a waste of time. So is ar- ranging them in the order in which you intend to run them. Just pile them in a heap on a stand near the projector. When you change reels you can turn on the lights and pick the one you want. If a couple roll off onto the floor it won't hurt them any. Put the reels out before your crowd comes. People are curious and will be glad to look them over. There are plenty of places where you can re- move finger marks after the show, and probably the scratches won't show — much. Be sure to have a couple of reels that have not been rewound. Start- ing off with the tailpiece is always good for a laugh and adds a touch of informality to the proceedings. It will emphasize the fact that this is a jolly little party and not a formal show. Keep the splicer upstairs. Then you can run up if the film breaks, and give the spectators a little rest. If you need new titles, don't be in a hurry about them. Put in a rush order, and if they don't come you can talk the title and cuss out the title maker. Never be in a hurry to start your show. They came to see the pictures and they'll have to wait for you. If you want to show a brother fan a new piece of equipment, let the others wait. They'll find something to talk about. It may be you. Music really isn't necessary, but you can turn on the phonograph or the radio. If you have the radio and someone juggles the controls and brings in a prize fight, that will be another laugh. If you are shy on comedy this will help a lot. Sound effects will help. You can get a small boy to work them for you. If he works the lion roar when you're showing a sleeping baby the crowd will enjoy it. If you have a production in three or more reels it will help consider- ably to run the third reel second. It's a good test of the intelligence of the spectators — and your own. Run your best films first, while the audience is fresh and better able to enjoy them. Tail off to the finish and they won't ask you for more. Keep up a running fire of talk. Tell them all about the picture you're go- ing to show next, and the trouble you had in getting it. If you have a rural scene, tell them it was made up at Aunt Mary's. Tell about Aunt Mary and her farm; tell all about it. Work in all the amateur movie jokes you read. Drag them in some- how. You may not be as good as a professional monologist, but you'll improve in time. It's always helpful to have a couple of imperfect reels. You can kill time threading up and it gives you a chance to tell all about how much they cost and how easily they break. Work in that old one about it not being the cost but the upkeep. They know when to laugh at that one. Use a short connector cord to the outlet; one that can be accidentally pulled out at the most interesting scenes. With a little practice you can pull the cord every time. If anything happens, tell them you'll have another show next Wednesday, and express the hope they'll all be sure to come. Probably they won't, but it sounds hospitable. 381 Photograph by Metro. "MOVING CAMERA" TECHNIQUE FOR THE AMATEUR This Idea From the Making of Quality Street Calls for Only a Pair of Skates and Amateur Camera to Produce Those Unique "Moving Camera" Effects of the Big Movies THE CLINIC Conducted by Dr. Kinema Experience TTAVING "shot" many, many rolls ■*■■*■ of 16mm film without an error I began to get a bit cocky. However, I did not take all the credit to my- self, as the present precision instru- ments for taking and showing the films, coupled with the latitude of exposure, makes the taking a com- paratively simple matter. I had taken some very beautiful wedding pictures, but I was not at all pre- pared for what followed. I was asked to make pictures during the wedding of a very good friend of mine and was a little puzzled as to my lights. I finally decided to do the work with two twin arcs drawing a total of 60 amps. This light as the film showed carried ample illumination using a 1-8 lens wide open. In changing the three-fifth lens for the one-eighth a remarkable thing happened. I screwed the lens, as I thought, "home," or until I could not screw it further. Chump that I was not to look at it! When it was within a scant eighth of an inch of home it stuck — and there remained during the taking of the picture. The result? Every scene was out of focus and a bitter disappointment. Immediately upon screening the film I rushed for the camera, which was now carrying the three-fifth lens. I unscrewed same and replaced with the one- eighth. It turned to the position where it seemed home. Then by tak- ing a pair of pliers I was able to force it beyond the sticking point and into its proper setting. 382 A microscopic examination showed no abrasions on either the lens or camera threads, so the two will not have to go to the factory for exami- nation. But never again will I screw a lens in a camera without looking to see that it is what the experts call "home." — C. Bond Lloyd. Animated Titles PROM League member W. H. Mc- ■■■ Cullough, Yakima, Wash., comes the following novel method of mak- ing animated titles: "One of our local amateurs, who is official cinematographer for the American Legion Post here, recently devised a very effective animated title. The title on the screen moves upward, disclosing the lettering line by line, while the background shows an aeroplane flying in back of the letters. "He did not use the double-expo- sure method, but took a short piece of positive, which he had previously taken, of an aeroplane cavorting around the sky. This he spliced the proper length to fit in his camera and go around the outside of all the film guides and under the aperture plate, making an endless piece of film which went round and round. The camera was then loaded the regular way with a roll of negative stock, which was threaded behind the loop of positive film. The lettering was shot through the positive aeroplane print. "The titles were typed on an ordi- nary typewriter, using the capitals only, on a continuous strip of white paper. The exposure, which was reg- ulated by the stop used, was doubled in this particular case, but is always dependent, of course, on the density of the piece of positive used." (Continued on page 407) FOR THE HOME NEWS REEL A Cine Kodak Records Details of the Stone Mountain Memorial Unveiling. Photograph by Wide World. 3 5 Millimeter Division Russell T. Ervin, Jr., East Orange, N. J. WINNERS OF THE PHOTOPLAY MAGAZINE CONTEST 16 Millimeter Division Special Award B. V. Covert, Kennin Hamilton, Lockport, N. Y. Toronto, Canada 9 Millimeter Division C. R. Underwood, St. Louis, Mo. THE FIRST SYMPOSIUM Announcing the Result of the Photoplay Magazine Amateur Contest THE first amateur film contest has ended and four amateurs are richer by S500 each. The contest, conducted by Photoplay, an important national motion picture magazine, was begun in June. 1927. It offered a S500 prize to the pro- ducer of the best film in the 16mm division, the 35mm division and the 9mm division, and another prize of the same amount to be awarded with- out reference to division entry. The contest closed February 15 of this year. Films were judged bv Hiram Percy Maxim, president of the Amateur Cinema League: S. L. Roth- afel ("Roxy"), theatre owner and radio favorite: Nickolas Muray, well- known artistic photographer: and James Quirk, editor, and Frederick James Smith, managing editor, of Photoplay. The winners were the Motion Picture Club of the Oranges ( Russell T. Ervin. director i in the 35mm division. B. V. Covert in the 16mm division. Clarence R. Lnder- By Roy W. Winton wood in the 9mm division, and Ken- nin Hamilton, special award without reference to division. Honorable mentions were given to \K illiam George Taylor. Hollvwood, Cal.. and Thomas Fisher. Pittsburgh. Pa., in the 35mm division: B. V. Covert, Margaret L. Bodine. Phila- delphia. Pa., and Clyde Hammond, l oungstown. Ohio, in the 16mm divi- sion, and A. F. Weymeyer, Coving- ton, Ky., in the 9mm division. Films submitted covered a wide variety of subjects. There were photo- plays, travel scenes, nature studies, ethnological records, family movies, news reports, ironical film comments and sport pictures. The photoplays outnumbered any one other class, al- though there were not so many photo- plays as there were films of all other types. In spite of a general amateur shvness to exhibit, a goodly number of films were received. There was a general tendency to attempt the un- usual, which too frequently was con- ceived in terms of the grotesque and horrible. In the main the photo- graphy was good: some of it was excellent. There was an encouraging evidence of cinematic experiment and serious efforts were made to use the amateur camera as a distinct artistic medium. In general, the architect's plan was larger than the house and one had a sense of being hurried in viewing the films. Only a few of the contestants caught the proper relation between limited footage and comfort- able story telling. From these films the Amateur Cinema League will produce a seri- ous study of amateur accomplish- ment as revealed in the largest collection of amateur films ever assembled. A committee of experts, under the chairmanship of the League's managing director, is view- ing the films and analyzing them, and (Continued on page 422) William G. Taylor, Hollywood, Calif. 35 Millimeter Division WINNERS OF HONORABLE MENTION Margaret L. Bodine, Thomas Fisher A. F. Weymeyer, Philadelphia, Pa. Pittsburgh, Pa. Covington, Ky. 16 Millimeter Division 35 Millimeter Division 9 Millimeter Division Clyde Hammond, Youngstown, Ohio 16 Millimeter Division 383 PORTRAITS of PIONEERS WHEN one talks with J. R. Bray and hears the story of the Bray Productions, Inc., its pioneer work in industrial and educational filming and its expedi- tions into the hitherto unknown re- gions of the Colorado River, one be- gins to realize the enormous possi- bilities of motion pictures as a vital factor in every day life and just how far those possibilities have already been realized. Mr. Bray, from the start, has been a pioneer in the development of pic- tures along constructive and non- theatrical lines and, according to his estimate, has probably spent more money on special subjects than any other producer up to the present time. Although Mr. Bray is quite modest and reluctant to talk about himself, a brief outline of some of his achieve- ments gives a picture of the man. He is the inventor of the animated car- toon process and his is the mother studio of all cartoon enterprises. The first ventures in animated cartooning were made before 1912 and since that time his studios have developed not only film cartooning but animated technical drawing and other branches of visual cinematography, a system of filming that has greatly aided the es- tablishment of motion pictures in the educational and industrial world. Recently he made a series of reels called "The Science of Life" which 384 J. R. BRAY By E. Locke -Lewis provides a course of visual instruc- tion in the subjects of biology, com- municable diseases and personal hy- giene. By means of cinematography it is now possible to visualize on the screen phases and reactions of bio- logical life that the human eye is un- able to catch. This series of films is a notable example for it establishes a new and high standard as an in- structional moving picture and is in- estimably valuable as a contribution to health education. "The Science of Life" was produced under the direc- tion of the Surgeon General of the United States Public Health Service and the most advanced knowledge and equipment were used in its mak- ing. Under the auspices of the War De- partment his studios produced twelve reels visualizing automobile mechan- ices for the benefit of the Motor Transport Division. As in hygiene and biology, the camera has proved to be of great value in all fields of mechanical instruction. All the in- tricacies of motor construction which the eye cannot discern have been clearly demonstrated by these films. This picture has proved its worth as an educational factor through many months of test of its pedagogical value by the Educational Department of the United States Army and thirty- five sets of prints purchased by the government were distributed to im- portant U. S. Army posts in this country and abroad. It consists of twelve reels and, among other sub- jects, there are reels describing the functions of transmission and igni- tion. Previous to the production of this picture it was out of the question to be able to follow the part that electricity played in automotive me- chanics but his studios have been able to show the electrical current in action thus making it possible to see with the eye that which hitherto had been left to the imagination. Not only have they visualized through pictures the motion of elec- tricity, the functions of gases and mo- tors and the nervous system of the body but they have actually made a picture in which sound waves are visualized. It is a picture of Rosa Ponselle making a phonograph rec- ord. It depicts Miss Ponselle sing- ing into the recording instrument and the sound waves are shown as they are recorded on the wax disc. During the war he did much film- ing under the supervision of the gov- ernment. A sample six reel picture dealing with the training of soldiers was made at West Point and was in- tended to speed up the military train- ing of men throughout the States. The course was submitted to the gov- ernment and after trying it out in six stations it was authorized to be used in camps. At the time immediately following mobilization there was a shortage of officers and this course was of great help as a quick medium for training the men. These reels ex- plained the construction and use of machine guns, the operation of hand grenades, how to read military maps and the functions of all ordnance pieces used in the war, and there were special reels devoted to aviation. Since the war these films have been used in many Army automobile train- ing stations. In addition to animated cartoon- ing, industrial and educational film- ing, he is specializing in adventure and sporting pictures. It was in No- vember and December of this year that he organized an expedition to explore and film the region around the Colorado River. In speaking of this trip Mr. Bray remarked that the vast and unexplored region of the Colorado Canyons are less known than the wilds of Africa or Asia. The river crew of the expedition was lost for a period of three weeks and the United States Government sent an aeroplane to locate them. When they were exploring the Colo- rado River, for the first three hun- dred miles there were no connections whatsoever with the outside world. The only means of communication in their possession was valuable radio equipment which had been loaned by the Government. The portable ra- dios were carried by the boats and the central equipment was put up on the Shenemo Altar in the painted desert of Arizona. Once started on the journey there was no possible turning back, because of the sheer canyon walls and the speed of the water. It was necessary to run more than three hundred dangerous rapids where any accidents would be fatal, but, though there were many escapes and upsets, there were no casualties. This is a remarkable record. All A COMBINATION CARTOON This Most Difficult of AH Animation Work Was a Bray Invention. previous expeditions through the canyon have ended disastrously and with heavy toll of human life. The picture taken by the Bray ex- pedition is said to contain some of the most unusual and thrilling scenes ever filmed. It is now being pro- duced and will be released early in the fall. During the past fifteen years, Mr. Bray stated, his studios have built up one of the most extensive film li- braries in the country of films de- voted entirely to non-theatrical use. This catalogue includes films for both entertainment and instructional purposes. When asked for his opinion re- garding the future of non-theatrical pictures Mr. Bray said, "The future of 16mm. is going to broaden the non-theatrical field. I think that it will be bigger than the theatrical field. The size of the film makes it practicable and greatly reduces the cost. It is only a matter of time when the use of films will be as ex- tensive as that of automobiles. Mov- ing pictures now are the most vital things in every day life." 385 THE OLD LENS A Cinema Autobiography Told in Vienna to Carl M. Kotlik WHEN I was once strolling in town I stopped by chance in front of the dusty win- dow of a second-hand dealer and looked, a bit philosophically, at the goods stored therein: old boots, hats, bonnets, old candlesticks, dirty and broken china — in a word, the usual motley pell-mell of a second-hand shop. I was just thinking about the "rum stories" the dusty little things in this shop might be able to tell, when my eyes caught sight of some- thing which was lying modestly be- tween a pair of lady's shoes and an old dirty cigar-case. Entering the shop, after some hag- gling, I bought the little thing, a sadly used 50mm. lens, such as is used especially for movie-cameras. It must have been lying in some clay ditch, for its last owner had not deemed it worth the trouble to clean it. When I reached home I cleaned the poor little thing carefully; when I scrutinized it more closely it seemed as if I caught a thankful glance out of its now clean eye. After all, I had not made a bad bargain, and I was pleased to have added a new piece to my collection of lenses, although it would not quite match the other neat and shining ones. Meanwhile it had grown late and I looked, with that ease known only to the eager collector, at the lenses which so far had come into my am- ateur hands. (I seldom had use for them; but what collector has use for all the things he gathers?) Suddenly I seemed to hear a low murmer from my row of lenses! "Who are you, and where do you come from?" Distinctly I heard my "Tele" ask the question. "How fast are you?" my facile 1.5 queried somewhat saucily. And now such a murmur and questioning started that hardly a word could be understood. "Silence!" cried my Tele. "Let us hear his story. Perhaps the thing is older than all of us together." I listened attentively. My old lens started to talk, first with a low and trembling voice, then clearer and clearer: "Thanks!" he said. "I will will- ingly tell you my story, as I am hap- py to be again among my equals. For many years I had been lying in the 386 IS dirty shop window of a second hand dealer and was forced to stare con- tinually at the ceiling. "But let me start at the beginning. My native town is Jena! As soon as I was found "able," off I went, prop- erly and carefully packed, as is fit- ting for a decent lens. Paris was my destination. At that time movie mak- ing was just beginning, but I was in luck, as I was destined for the then biggest firm in the world — Pathe Freres, of Pathe. Yes, the Pathe Brothers! They understood at once that something great could be made out of the 'toy' with which Lumiere had produced his first 'movies.' I was soon fitted in one of the first Pathe cameras, got a master, and the day of the first shot came! My master must have been satisfied with me, as in the evening he fondled me ten- derly. So it went on, day after day, month after month. "It was now the beginning of the year 1905. I traveled over the whole of France with my master. Before my eye many a coming star made his first movie steps. The not-to-be-for- gotten Max Linder acted for the first time before me; Andree Deed, known as Lehmann, with his merry jokes; then the famous dancer Napierkow- ska delighted me with her art, and the very popular Maurice Prince was a good friend of mine. I felt ex- ceedingly happy and could hardly wait for the day when Pathe was to start shooting the largest film of that time, 'Les Miserables.' "But my master again took me on his travels. This time we journeyed far. I saw much of the world, but also I passed through many a bad hour with my master. After three years' wandering we returned to Paris, but what changes had taken place since I had left! Pathe had been right, for the movie industry had gained much ground. "One day a stranger visited my master. After a long talk the stranger took me with him to Berlin. Here they were not as generous as in Paris. Still, I was happy to be again in my native country. My new master seemed to be in great demand. We were busy all the time and thus I was enabled to participate in the de- velopment of the German movies. Henny Porten was soon my favorite actress, and sparkling Dorrit Weixler and many others were my friends. Paul Wegener, Albert Bassermann and everybody who helped to build the German industry acted joy and sorrow before us. "It was now the early part of 1914. One evening my master came home in a simple gray uniform. I did not know the meaning of it, but had little time to reflect for early in the morn- ing we were off. Where were we going? What would I get to see? Finally, after endless weeks, I was taken out of the trunk with the camera. What had happened? What sort of colossal film was being produced? Who was the manager of these masses that passed me, singing and with bands playing? I was enthusiastic! "But soon I was in grave doubt at the awful sights I saw! Was this manager mad? I had seen many a grand battle scene, but this was piti- less reality. Surely the people had gone mad. Days and months passed .... I saw nothing but sorrows. One day a shell broke close to me and I flew with a piece of the camera through the air ... . fell .... remained somewhere in the dirt . . . unnoticed, forgotten, a useless piece of glass. "What had happened to my mas- ter? I never heard of him again. After a long time a soldier found me and put me in his bag. I wandered about with him for many months. Sometimes he took me out and pen- sively looked at me. He did not seem to know what purpose I had served. "When I saw the light again my rescuer was in mufti and took me to the second-hand dealer in whose shop window I have been lying till today. "This, my friends, has been my life, sometimes checkered and with many changes, but sometimes dull and monotonous, serious and cheer- ful, like many a movie that is pro- jected on the screen at the cinema .... But I trust I still have many things to see, and best of all, that we shall remain good friends." The old lens became silent, fa- tigued by its long tale. ... No answers came. . . . Had the other lenses fallen asleep? ... Or per- haps I had awakened from a dream? I do not know. However, the "old lens" is now the favorite piece of my collection. "When I Saw the Light Again My Rescuer Was in Mufti and Took Me to the Second-Hand Dealer in Whose Shop Win- dow I Have Been Lying Till Today." 387 FLAMING YOUTH- HOLLAND VERSION FILMED ON THE ISLE OF WALCHEREN OLYMPUS, 1928 What Holland Holds for Filmers Who Vk'-t the Olympic Games AMATEUR movie makers, you are welcome! Of course you are always welcome, but this year, the year of the Olympic games to be held at Amsterdam from July 28th to August 12th, you are espe- cially welcome. These games will be held in the new Olympic stadium ex- pressly built for the occasion. Dele- gates from all nations will be present. One year ago the ground for this stadium, offered by the Town Coun- cil of Amsterdam, was a vast swamp. Today the buildings and grounds are ready to admit crowds from all parts of the world. More than a million cubic meters of sand, were necessary By Dr. W. Nolst Trenite to convert the swamp into a suitable foundation for building. The contest promises to be a huge success and offers excellent oppor- tunities for the amateur movie maker to film many exciting events. You probably know that a large American delegation will be present and that members of the International Olympic Committee are William M. GROWING PAINS An Historic Achievement to Be Filmed Is the Draining of the Zuider Zee to Make Room for a Greater Holland. Photograph by K. L. M. Royal Dutch Airlines Garland of Los Angeles, C. H. Sher- rill of New York, and Ernst Lee Jahnke of New Orleans. Holland! Land of windmills, wooden shoes, cheese and chocolate! This is the impression in the minds of those who have never seen my native land. It is true that Holland has windmills and wooden shoes and the finest cheese and chocolate in the world, but how many know that Hol- land is a land of modern energetic enterprise as well as a land of an- cient quaintness? Holland has been for me a movie makers' paradise, an endless source of cinematic subjects which have resulted in a film sym- 388 phony that I would not part with for any price. Perhaps you do not know that Hol- land is now one of the most industri- ous countries of Europe. The greatest enterprise at the present time is the draining of the Zuider Zee. From the earliest times the Dutch people have had to fight against the sea because the larger part of my fine country is below sea level, protected only by dunes and dikes. After the World War, when it became clear that our country was too small for the entire population, the Government decided to increase the space — not by taking land away from our neighbors, but by following the old plan of our an- cestors and taking the land from the sea by means of dikes. Enormous pieces of land are being drained by employing all the power of modern science to wage the war against our old enemy. I have taken many effec- tive pictures of the building of the dikes, the pumping of the water, the hundreds of dredgers and other ves- sels— a kaleidoscope of rhythmic motion that serves as a vivid contrast between the old Holland and the new. The same opportunity awaits all movie makers who visit Holland to produce original and artistic results of their own. There is so much to see in Holland that I can relate only some of the ex- periences which have made my film- ing such a rare delight. There are the docks at Rotterdam, which is the largest and most beautifully situated port on the European continent. Here I have obtained some of my finest and liveliest films. Every year more than 14,000 vessels of twenty mil- lion tons' capacity enter the port. The rhythm of the harbor, with its ships, cargo and passengers, is a tantalizing inducement for the kinematographer to set his camera whirring. Small passenger boats which make round trips every hour through the docks have given me opportunities to ob- tain unusual and striking pictures I could not have secured otherwise. This trip through the docks ends at the airport of Rotterdam, where another unusual opportunity awaits. A trip by air over Holland is the most interesting adventure you can imagine. Our airplane lines, very ALL SET FOR THE CAMERA The Canals of Amsterdam well managed by the Royal Dutch Airlines, Ltd. (K.L.M.), using the world-famous Dutch Fokker planes, give in safety and comfort a fine and thrilling impression of our flat coun- try. I have filmed the meadows that lie below sea level with their millions A BIRD'S-EYE VIEW OF HOLLAND The Modern Cine Traveler Films the Windmills From an Aeroplane. Photograph by K. L. M. Royal Dutch Airlines of black and white cows, the canals bordered by windmills, and other characteristic sights that stamp Hol- land as one of the strangest countries in the world. Then there is the province of Zeeland, composed of islands in whose villages I have filmed rare character studies of the inhabitants, who still wear the ancient garb of cheir ancestors. There are the quaint old fishermen and the fishing boats, and, of course, the little children — - always a delight. There are our sea- side resorts, Noordwyk and Scheven- mgen, with their broad, sanded beaches and chairs constructed like beehives. I have taken some unusual shots of bathing carts as they were being pulled into the sea by horses. When you are in Amsterdam or Rotterdam you must not forget to visit our museums, with their old and modern paintings. Here the amateur movie maker will rejoice. Here he can learn many things, especially from the old Dutch painters, who, all authorities agree, were incomparable masters of composition and lighting. In my own filming I have employed the Rembrandt style of lighting as an aid in enhancing my own Dutch symphony. Those interested in architecture will find that Holland possesses modern architecture on a scale that can be found nowhere else in Europe. During the last ten years the progres- sive Government of Amsterdam has erected buildings valued at millions of dollars, which contrast strikingly with those built in the sixteenth and seventeenth centuries. In summertime in my native land there is plenty of light for "shooting" all the day. I am sure a visit to Hol- land will only increase your pleas- ure. 389 SCENE FROM A PRIZE WINNING CLUB FILM Alfred Fontana and Beatrice Traendly in "And How!" which Won the 35MM Award of $500.00 in the Photoplay Magazine Amateur Contest for the Motion Picture Club of the Oranges. AMATEUR CLUBS A BAY STATE REPORT By R. K. Winans WHEN a bunch of ambitious and ignorant amateur movie fans get together, something is bound to happen. That sentence accounts for "Plenty of Jack," the two-reel comedy production of the Movie Club of Western Massachu- setts. This club now boasts an active membership of fifty-five dyed-in-the- wool fans. They opened their sea- son's festivities with a banquet; then for several meetings they rather con- centrated on viewing amateur come- dies and dramas produced by other clubs and groups which generously loaned their films. When this volun- tary board of censorship could find no more amateur productions to tear to pieces vocally it was considered appropriate to announce that they could better anything they had seen. They then proceeded to make good on the boast. With great enthusiasm the various mechanical and other departments of a dramatic division were appointed, elected and drafted. A boiler-plate scenario was secured, a great hurrah was raised — but nothing happened. Later another false start was made. Came a club member with an idea for a scenario, who collaborated with another member in writing it out in 390 Edited by Arthur L. Gale workable form. A cast was quietly brought together one Sunday morn- ing and work was actually started on filming the epic of laughs. Despite the speed with which the scenario, the cast and, in fact, the whole pro- ject was thrown together and worked out, things ran smoothly from the start. THE SMALLEST MOVIE THEATRE In Philadelphia is Visited by the Amateur Motion Picture Club of That City. The scenario deals with a youth who aspires to the hand of a fair lady, but is told to go peddle his pap- ers until he proves himself a hero and is admitted to the Heroes' Club. The girl, who really loves him, con- spires with her brother and other members of the hero organization to put Jack through his paces on a fake stunt. Here the thing becomes in- volved with a desperate gang of crim- inals, and by a curious twist of fate Jack rescues the entire Heroes' Club, captures the thug gang, gets a big re- ward in cash, not to mention the girl. Jack's "car" gave an opportunity for comedy action. While he is call- ing on his girl, for instance, her five- year-old brother does some mechani- cal research work, almost completely dismantling the car at the curb. The juvenile star, the baby son of A. F. Smith, director of the dramatic divi- sion, proved a find of the first water. Much of the production was a prob- lem of interiors. For these a club member's home was used. A camera equipped with an /1.9 lens was used with bright sunlight coming through the windows and one arc light. Some of this action was not well lighted and was retaken, using four arc- lights, at night in order to avoid un- pleasant back lighting from the win- dows. No small contribution to the fin- ished film will be art titles by An- drew Phillips, club member. These Mr. Phillips hand-lettered and embel- lished with skeleton cartoon figures. His method may interest other clubs. Ordinary sign card stock was cut 11 by 14 inches, painted black with Duco and the lettering and sketches put on with white water color. This can be washed off and the same cards used for other titles. All the photography was done by Karl Wilhelm. The leading role, "Betty," was played by Miss Winnie Howard. Edwin Vincent played "Jack." Other members of the cast included William Rudy, Ruth Kemp- ton, Roland Tacy, Jack Shea, Nor- man Fraser, Jack Winans, Ray Wi- nans, Henry Lewis and Joe Niles, not to mention two Fords, one knocked down and the other more or less in- tact. The scenarists are already working on their next offering, which will be a melodrama to be enacted in the rugged, rock-studded mountains of the Berkshires, where scenery is plenty and untainted with those tricky signs of civilization such as stray smoke from trains, telephone poles and au- tomobiles. If "Plenty of Jack" pays for itself the new "meller" will run four reels and plenty of thrills. There is nothing quite like a club produc- tion to knit the members close to- gether in bonds of intense interest and bring them out to meetings in flocks. All clubs that are young and feeble or old and tottering are urged to try out this method of inspiring or re- newing life and vigour. Manchester Movies A LOCAL legend furnished the plot for the scenario now being filmed on 35mm by the Manchester Film Society, Manchester, England, under the working title, "At the Black Bear." "The Wizard of Alder- ley Edge" was the first production of this active British club, which was formed under the leadership of Peter Le Neve Foster, formerly the Honor- able Secretary of the Cambridge Uni- versity Cinema Club. This university, so far as we know, was the first to produce an amateur photoplay. Mr. Foster was also the cameraman for the recent production of the students of Manchester University, "Flashing Garters," which, released under this astounding title, paid expenses and cleared over £100 for Manchester hospitals. Des Moines Box Office /"\VER two thousand persons at- ^-^ tended the first public screening of "Framed," the production of the Roosevelt Amateur Movie Club of Des Moines, Iowa. The box-office re- ceipts of the premiere paid for the cost of production and in addition netted the club $348, reports Charles Luthe, Jr., cameraman of the club. The group is now planning to enlarge its membership and extend its activi- ties. A STAR OF "NAZIRA" E. Hirschfeld as "Mussa" in the Opus of the Zutto Players of Philadelphia. Over Obstacles THE Cumberland Amateur Motion Picture Club of Vineland, N. J., has finished shooting its current pro- duction, a farce comedy as yet un- named, and the film is now being - «^E\ titled and edited. The scenario, an adapted burlesque of the typical "western," was substituted for "111 Wind," work on which was post- poned, after several scenes had been shot, because of the absence of one of the leads. In spite of the dis- arrangement of their plans the club members went forward with the new project in splendid spirit, curtailing all other leisure activities. This, we feel, deserves special note because such accidents are bound to occur in amateur groups, and the stability of the Cumberland Amateur Motion Pic- ture Club in the face of difficulty augurs well for the quality of its work. Greek Jinx Filmed HPHE Satellites in Brooklyn, N. Y., ■*■ are finishing their first produc- tion, a two-reel comedy entitled "Blind Man's Bluff." The plot is built around the incidents in the ini- tiation of a fraternity candidate who is forbidden to speak to anyone dur- ing initiation week. The Satellites have not yet made plans for their next production. Club members now number thirty. Murray London is president and Jesse Cohen is camera- man. From Stockton FOTO-CINE PRODUCTIONS, an amateur photoplay producing company, was formed during the lat- ter part of March at Stockton, Cali- fornia. The scenario of the first pro- duction, a one-reel comedy, is now being written. It is planned that work on it will begin some time this month. Wallace W. Ward is cameraman of the new organization and Robert Durhans is the director. Homer Har- vey, Edwin Fairall and Stiles Martin are in the cast of the first picture. (Continued on page 410) X. 9 THE WILD WEST IN NEW JERSEY Production Stills from a "Western" Now Being Filmed by the Cumberland Amateur Motion Picture Club of Vineland, New Jersey. 391 COMPOSITION WHICH INTERPRETS The Little Victim of the Police in Street Angel Is so Placed that her Helplessness Is Accentuated. CRITICAL FOCUSING The Last Moment Zakora Film Corp. Directed by Paul Fejos Photographed by. . . .Leon Shamroy, A. S. C. The Idea: An unexcelled plot for cinematic treatment is involved in this experimental photoplay. It is based on the theory that the out- standing events of a man's life flash through his mind at the moment of death. The film opens with the scene of a drowning man's hand slowly disappearing beneath the water. This dissolves into a con- fused sequence of multiple expo- sure of the climactic moments which are flashing through his mind. This confusion gradually evolves into a connected story of his life, with one scene dissolving into another, and the film ends with a reversion to the con- fused dissolves of the opening se- quence, with a final scene of the drowning man's hand disappearing for the last time beneath the black waters. As handled in this production, the beginning and ending are excellent. The connected story may be chiefly criticised for its slowness of tempo, which loses the desired effect, to- gether with a banality of subject mat- ter, which is astonishing in view of the freshness of the general concep- tion and the excellence of the tech- nique employed. One is led to feel that these faults were occasioned by a left eye on the box office, which its makers probably felt demanded a cer- tain amount of hokum in the story, and certainly required a picture of program length. 392 Technical Reviews to Aid the Amateur Dissolves: This device, so essen- tially cinematic and possible to no other art form, is used with consum- mate artistry. Multiple Exposures : Several scenes superimposed on one another well ex- pressed the confusion of flashing thoughts. Split Screen: Several scenes being enacted at once on segments of the screen, but not superimposed, also served a similar purpose. Elimination of Titles: Only one title was used, others being unneces- sary owing to the cinematic skill used in development of the story. Closeups: A keen appreciation of the effectiveness of closeups for em- phasis is shown throughout the pic- ture. Moving Camera: The camera was used with great freedom in following the points of focal interest. In one instance the camera, focused for a closeup of a watch being kicked about a dance floor, followed the watch in closeup — an unusual use of these two methods in combination. The Secret Hour Paramount Directed Rowland V. Lee Photographed by . . . Harry Fischbeck Thought Photography: As we have frequently pointed out in these columns the motion picture is the only art medium which can effective- ly visualize thought processes of the human mind as they actually occur, and in this photoplay there are some simple instances of this use of the medium. Instead of using a title to establish the fact that Louie, the old orange grower, desired a wife and children, we see the Chinese Cook, whom he is watching, dissolve into the longed for housewife, and a baby appear in the empty high chair. Eliminating Space: The journey of Annie from San Francisco to the orange groves is cleverly shown, without the need for explanation, by a short series of dissolving closeups, which lead us from her original lo- cation in a spaghetti parlor to her new home among the oranges. Closeups: Again we were im- pressed with the cinematic quality of the closeup, in this instance applied to such inanimate subjects as spa- ghetti or oranges. Street Angel Fox Directed by Frank Borzage Photographed by ... . Ernest Palmer, A. S. C. Photography: Street Angel should be seen many times by those who are sincerely interested in securing the maximum beauty from photography. The work of Ernest Palmer in this medium, as evidenced in Street Angel, reaches such a high level as to be an inspiration to every lover of the mo- tion picture. Fog Scenes: Whether obtained by the use of fog filters, smoke screens, glycerine sprayed before the lens or other means of securing fog effects, (Continued on page 416) PHOTOPLAYFARE Reviews for the Cintelligenzia The Man Who Laughs WE recommend to the persis- tent photoplayfarer that he go to see Universal's "The Man Who Laughs," because we should like to cite it to him as proof that the photoplay should develop its own lit- erature. There are also other reasons why he should see Paul Leni's hand- ling of the Hugo story. Stage plays based on books and stories have always been hampered in dramatic freedom. The spoken drama's technique — or, better, its es- sential medium — cannot translate the full flavor of another art. Such translation becomes ever more diffi- cult when the screen essays it, because printed words must be turned into motion and not into vocal sounds. Box-office guardians relinquish, with stubborn tenacity, the idea that any- thing successful in one art can be transposed into another. These trans- positions are often commercially suc- cessful, but they are always artisti- cally unhappy. Victor Hugo's novel, "L'Homme Qui Rit," in attitude, plot, character- ization and manner is a pretentious shocker, full of the nineteenth cen- tury equivalent of present-day screen big scenes. It is essentially the sort of thing thrill-hunting nursemaids want. Literary critics have placed the novels of Hugo in the very mod- est niche to which they are entitled. That they are in a niche at all is due to the peculiar flavor of Hugo's lit- erary manner — not to call it style. His language rescues them from the Nick Carter category. Stripped of that language, the skeleton of "L'Homme Qui Rit" is what the flapper critic would call "goshawful." If fidelity to a novel is a photo- playfare virtue, Messrs. Laemmle and Leni — should one term them the Lugubrious L's — have achieved it. This is literally true in the first half of the film and spiritually true in the second half. The cavortings in the House of Lords are not precisely the things Hugo put in his tale; Mr. Leni branched out into extravagance of his own in this instance. But Hugo would probably have included the comedy of peers if it had occurred to him. His taste ran to the same sort of grandiosity, and, like Mr. Leni's, ex- hibited the same lack of a sense of proportion and of the ridiculous. "The Man Who Laughs" has the spirit of Hugo to a "t." It is macabre, de- pressing, horrible, vague, full of pathos that is nearly bathos, doctrin- naire about DEMOCRACY, as bad on the poor aristocrats as "Ivan the Ter- rible," and altogether the sort of thing that would make any self-re- specting reactionary die of auto-in- toxication and throw a Communist KING JAMES' ENGLAND There is Convincing Characterization and Authentic Atmosphere in this Scene from The Man Who Laughs. Photograph by Universal. into a frenzy of oratory, if not homicide. The Soviet ought to annex "The Man Who Laughs" as a mem- ber of the propaganda trinity — "Ivan" and "The Last of St. Peters- burg" being the other two. But this is mostly an enumeration of the reasons why Hugo's art is a pretty poor art, after all. If we state forthright that Universal's predelic- tion for Hugo is something beyond the ken of the cintelligent we can, having rid our artistic consciences of this irritation, see "The Man Who Laughs" with real pleasure. The ac- tion is well-timed, the scenario is workmanlike; the actors are satisfy- ing and several are excellent. For ex- ample, Josephine Crowell as Queen Anne gives a great interpretation. She must be added to the collection of American screen royalties, along with Beery and Jannings. Parenthetically, Clare Eames as the Grand Duchess in "The Swan" ought not to be forgot- ten. Sam de Grasse, in the limited footage allowed him as King James II, gives a very clear and delightful performance. He is as unforgettable as Czar Ivan. The rest are not notable. Conrad Veidt hampered himself with a make- up that was too unrealistic. Any per- son mutilated from youth would ac- quire a mobility of facial muscles de- nied him by the literally "frozen grin" Mr. Veidt affected. If he had plastered his face less and used his (Continued on page 416) 1 \ ' " , - '^5 wmmnmm [ 1 [ ?/ ^ \ "^BHU i ' **' £* III ; mmp>. mm III % 1 % i% \ : . . ■ If |* t W-J&-& &¥&■ / ^HH*~~ I -:- '■■' ■'--.. ' : - - - *BNP ~ - "I 1 393 Eastman Aids to Better Forty Years' Experience in Serving the Amatt Kodascope Screen No. o t: The Kodalite to splice film is to 1 a splicing block. T may be convenienl mounted on the board the Kodascope Rewind. Accurate alignment the film ends, where the splice is made, is assui and pressure during the drying of the cemen evenly and correctly applied. The Kodascope Film Splicing Outfit compl is priced at $1.50. Eastman K( Rochest 394 tome Movie Enjoyment lotographer is Behind Every Eastman Product SEW! ok you have been 7S for — a b°°k °f "ios written espe- for production by en. ome Movies" ie way of scenario many of the "short ruction and contains g from a simple ver- and the Spider, to a ed and twenty-two operties, costumes, :d so that all the di- )n to his satisfaction :r published. Priced Kodak Cinegraphs For Tour Movie Library T^odak Cinegraphs are recognized as the finest short subjects available any- where at any price. Quality, both of subject and photography, is the first consideration in the preparation of these little screen classics. You may be sure that every Kodak Cinegraph is suitable to every audience and that the photography is the best that expert cameramen of long experience can produce. New Cinegraphs are released each month. The following is a partial list of recent Cinegraph releases: MY STARS No. 4515; 400 feet; price, S30 Featuring Johnny Arthur and Virginia Vance HER BOY FRIEND No. 451 1; 400 feet; price, S30 Featuring Larry Semon FUN'S FUN No. 4512; 200 feet; price, $1 J Featuring Cliff Boxes and Virginia Vance SHIP SHAPE No. 4510; 200 feet; price, %\\ Featuring Cliff Boxes and Virginia Vance SCHOOL PALS No. 4505; 400 feet; price, S36 One of the funniest pictures ever filmed A REAL RODEO No. 1513; 100 feet; price, $7.50 Broncho busting, steer bulldogging, riding and roping Cine-Film Cleaning Outfit Frequent projection causes par- ticles of dust, dirt and oil to col- lect on the surfaces of your film and detract from the quality of the pro- jected picture. Occasional cleaning of your films with the new Cine-Film Cleaning tfit corrects this and restores the original beauty and brilliance to your tures. The outfit consists of a four-ounce bottle of cleaning fluid and a strip of t white plush — enough to thoroughly clean from four to eight 400-foot reels of Cine-Kodak _ Film. The complete outfit is priced at 75 cents. w York k Company Some " 'stills " from recent Cinegraph comedy releases- (/) Johnny Arthur and Virginia Vance in "My Stars". (2) Larry Semon in "Her Boy Friend", (j) Cliff Boxes and Virginia Vance in "Fiat's Fun" . (j) Cliff Boxes and Virginia Vance in "Ship Shape". 395 Eastman Aids to Better Forty Years' Experience in Serving the Amateur Home Movie Enjoyment Photographer is Behind Every Eastman Product k dttSi ope iS The Kodalite q-iHE Kodalite is Eastman's contribution to the ■*• lighting requirements of the amateur cinematog- rapher who desires to make motion pictures indoors or at night. Kodalite transforms the rooms of the home, the office, or the club into an amply lighted "lo- cation" for almost any type of photography that the amateur may desire to attempt. Thus, the intimate picture of the children in the playroom, the weekly bridge set-to, or the elaborate scenes from an amateur scenario are equally simple to produce, at any time of day or night. The Kodalite employs a 500-watt lamp instead of the usual 1,000-watt type. This is made possible through the design and construction of the special re- flector which utilizes the maximum illumination fur- nished by the lamp. An appreciable saving in current consumption is thus effected, and two Kodalites may be used on one current outlet in the ordinary home, without special fusing. The Kodalite is priced at ?2C. This includes a con- necting cord and switch. The 500-watt lamp, either 100- or 1 10-volt, is priced at 54.85. The Kodalite Dif- fuse!' is priced at $1.50. NEW! 'd book you have been •jailing for— a book of cenarios written espe- . 1 A, reflecting surface ;;o x 40 inches (rit:i.l) Price $15 No. 1, reflecting surface 30 \ 40 inches (collapsible). Price c1:,- N«. 2, reflecting surface 39 \ 53 inches (collapsible), Price $35 ihe only correct way to splice film is to use a splicing block. This may be conveniently mounted on the board of the Kodascope Rewind. Accurate alignment of the film ends, where the splice is made, is assured and pressure during the drying of the cement is evenly and correctly applied. The Kodascope Film Splicing Outfit complete is priced at $1.50. Eastman Kodak Company Rochester, Cine-Film Cleaning Outfit t-vrequent projection causes pa tides of dust, dirt and oil to col- lect on the surfaces of your film and Si i . • CBV detract from the quality of the pro- ^^^^g^^U Occasional cleaning of your films with the new Cine-Film Cleaning Outfit corrects this and restores the original beauty and brilliance to your pictures. The outfit consists of a four-ounce bottle of cleaning fluid and a strip of soft white plush — enough to thoroughly clean from four to eight 400-foot reels of Cine- Kodak _ Film. The complete outfit is priced at 75 cents. Mew York Some" stills" from recent Cinegraph comedy rcleases- (/) "Johnny Arthur and Virginia Vance in" My Stars". (2) Larry Semon in" Her Boy Friend", (j) Cliff Bowes and Virginia Vance in" Fun's Fun" . {./) Cliff Bowes and Virginia Vance in" Ship Shape", 1 Hiram Percy Maxim - - - Inventor and Fan First of a Series of Portraits of Leaders of the Amateur Cinema League THE latest edition of "Who's Who in America" records Hiram Percy Maxim as a mechanical engineer and inventor, President of the Maxim Silencer Company, Presi- dent of the American Radio Relay League, President of the International Amateur Radio Union, member of the Hartford Municipal Aviation Com- mission and Lieutenant Commander of the United States Naval Reserve. It was published too soon to record him in the role best known to the movie-makers — President of the Ama- teur Cinema League — but next year's edition will undoubtedly rectify that. Mr. Maxim is the son of Sir Hiram Stevens Maxim, inventor of the Max- im rapid-fire gun, and a nephew of Hudson Maxim, inventor of Maxim- ite. Mr. Maxim invented the Maxim Gun Silencer; also, with the aid of his son, Hiram Hamilton Maxim, the Maxim Industrial Silencer, which is one of the greatest boons to health and serene nerves that has ever been produced. This industrial silencer has 396 By Katherine M. Comstock been developed until in 1926 there were eleven models and fifty sizes, so that machines as small as 10 c.f.m. and engines up to 4,000 horsepower can be effectively quieted. The above-mentioned are the out- standing inventions of these men; they are but a few in a long list each has to his credit. Mr. Maxim now lives in Hartford, Conn., where the Maxim Silencer Company is located. In his spare time he turns his creative genius to the development of amateur movies and amateur radio, and to the band- ing together of people interested in these hobbies. Regarding this band- ing together of interested amateurs he says: "My idea in pushing these enter- prises was to bring together all those interested in these amateur hobbies, so that by orderly, organized effort the most good might be got out of them. Nothing can be done by play- ing lone hands. Anything can be done by systematically organized effort." The term inventor frequently brings to mind the adjectives absentminded and eccentric. Neither of these can be applied to the President of the Amateur Cinema League. His mind is very keen and continually on the alert; he is filled with boundless en- thusiasm for his many hobbies, which include, besides movies and radio, cruising and fishing and exploring in the wilds. Hudson Maxim, in his book "The Rise of an American Inventor," says of his nephew: "Hiram Percy Maxim inherited much of his fath- er's inventive genius and fine qualities. Percy and I always have been fast friends and I have been strongly at- tracted by his work and personality. He has won wide fame from his ra- dio work and has rendered great ser- vice to the public in extending the range of the amateur radio operator. The versatility of his genius is re- markable. Above all, he is a thor- oughly fine fellow." So much for the man who heads the Amateur Cinema League. "The desire to take my own mo- tion pictures goes back into remote antiquity," was Mr. Maxim's reply to a question. "I fancy the old nickleo- deon poisoned me. I waited a lifetime — nearly — for George Eastman to de- velop a film that would be within the financial reach of the amateur. And when he announced the 16mm rever- sible film and a camera and projector to go with it I bit — taking bait, hook, sinker, line, and most of the rod. "Bell & Howell also nicked me im- mediately thereafter. Then all the trick screen builders lured me on and the accessory people followed them. I was hard hit, all right, and today I am keeping the Eastman Kodak plant at Rochester working day and night making film and processing it for me, and making titles. 'The Cotter's Satur- day Night' is a joke compared to my nights. I'm cutting and splicing and making a mess in our library every night, until Mrs. Maxim has given up remonstrating." Undeniably Mr. Maxim has a keen sense of humor and is not averse to slight exaggeration. But he is, as he himself states, "a hopeless amateur movie addict" — that is, hopeless as far as relinquishing his interest is con- cerned, but very hopeful as to what he, as part of a banded organization of interested experimenters, can ac- complish. And fortunate it is for the organization that Mr. Maxim feels as he does and works as he does in the interest of the movie amateur. He has been very successful in his movie making, and has in his large library of films some very beautiful scenic studies of New England coun- try. He likes to depict nature and thinks it well for the amateur pho- tographer to pick some similar field and to devote himself to it, rather than to encroach on the well-devel- oped field of the better-prepared pro- fessional producer. In other words, a really clever cameraman might bet- ter concentrate on filming scenery, or animals, or some scientific study, none of which are dependent upon human actors. These fields are equal- ly open to all. The value of the fin- ished film will depend upon the skill of the cameraman, but a tragedy or comedy will depend more upon the skill of the actors, and in this field the amateur cannot hope to compete with the professional producer. "I am most interested in working out pictures that depict the drama of natural things: the stupendous power of nature and the struggle of intelli- gence to successfully battle against it; the sea — and the struggles of phys- ically weak but mentally powerful man in overcoming its fury; Winter, with its death-dealing cold and mys- terious silence, deep snows and in- vigorating hardships. I really like to depict the struggle of man and beast against nature. Some day I'm going to make a film with some good, vigor- ous drama in it, with all the rules of the game observed strictly, but in which the hackneyed man-and-woman plot will be absent altogether." Here Mr. Maxim sets a new stan- dard for movie makers to strive for. What possibilities such an idea of- fers! But you'll have to hurry up if you want to be first in the field, and so will Mr. Maxim, for already the professionals are reaching out for new worlds to conquer, for new ideas to interest the jaded movie-goer. Only the other day at a New York theatre the writer saw a picture which was the story of two days in the lives of a couple of puppies. The picture had no titles; humans appeared only as they affected the destinies of the two dogs and were shown only up to the waist. No human face appeared throughout the picture, and yet the interest and applause of the audience exceeded by far that given the fea- ture picture, which was the vehicle of a popular star. THE CLOSE-UP. By Clarence E. Flynn. There are many angel faces, Viewed from, places far away, Which, upon a near vision, Very quickly turn to clay. There are many matchless heroes Who can hold us in their spell, But who fade away to weakness When we really know them well. There are many hissing villians Who, on closer view, are found To possess a kindly spirit And an honor quite profound. So it runs throughout the picture, As it probably is best, That the close-up tells the story Whether one can meet the test. The man-and-woman plot is not ab- solutely essential to a photoplay, but drama is essential. Therefore your story must be carefully conceived and developed. In the old days, before the inven- tion of the 16mm film had given Mr. Maxim a chance to try his hand at making movies, he turned his atten- tion to writing them. Even then his interest was in humans versus nature. Here is his own account of a success- ful early effort: "You know, I once wrote a profes- sional movie, Fox produced it, with Pearl White as the star. It was billed under the awful name of 'The Virgin Paradise.' (I disclaim all responsi- bility for the name! ) It really was a big success — played a week at the Capitol on Broadway and ran for a couple of years. It started out to be an example of the tremendous amount one must learn in order to keep one's place in modern civilization. A young woman of the best ancestry grows up in savagery and has to learn every- thing." In direct contrast, Mr. Maxim has written another tale in which he de- picts a young woman brought up in the lap of luxury, where it is bad form to know the practical things of life. She is thrust into the wilderness and must either do everything for herself or die. She comes of good stock — and she survives. "And," ex- claims her enthusiastic creator, "her struggle against nature makes a peach of a drama!" Last June Mr. Maxim sent a mes- sage to radio fans throughout the world through the medium of "Radio Broadcast," and in closing his mes- sage he said : "Our amateur transmit- ting brotherhood is organized on a world-wide basis, and is fast build- ing up national and international friendships that are of very great value, indeed." He might send out at this time a similar message in regard to amateur cinematographers, for the scope of the Amateur Cinema League is inter- national, and common interest makes for friendships. Mr. Maxim is an internationalist and fully believes in the free exchange of ideas among all interested peoples. His own personal bigness, his foresight, his devotion to his hobbies, and his tremendous en- thusiasm as to the progress and pos- sibilities of amateur cinematography, make Hiram Percy Maxim a particu- larly happy choice for the presidency of the League. What does he really think the League can accomplish? Let him an- swer: "Our American Cinema League, by systematically organizing cinematog- raphy, can hasten the day when all the wonderful possibilities of the mo- tion picture can be made available to mankind. The professional screen can never do it. Its workers have that aw- ful spectre, the Box Office, chained around their necks. We amateurs do not have to consider the box office. We are free to do anything — every- thing that brains, money and enthus- iasm can produce — and these three things can turn the world upside down." 397 ^ under all conditions, with Bell & Howell The B 8C H Filmo Iris Vignetter produces circle -ins and circle -outs This is the positive action Iris Vignetter that closes up entirely, permitting a complete circle-in or circle-out, accomplished by a small shutter which drops over the pin-hole opening which remains when the iris shutter is closed to its limit. Vignetter is quickly attached to the Filmo camera by screwing into lens in place of sunshade. In this position it is easily operated with the thumb and finger with camera in action. Gives variety to your movies by opening or closing your scenes in an interest- ing way. Or focuses the attention upon a particular figure or bit of action. Price, for 1 in. F3.5 lens in either mount, $10.50. Mark coupon. Better use a tripod with telephoto lenses With the Bell & Howell series of telephoto lenses the objects are brought so close and prominent in the field of vision that it is best to use a tripod to prevent the slightest "wobble" in your showing. We recommend the Type "E" Tripod for all telephoto work with Filmo, providing a most rigid support. Height extended, 53 inches — folded, 18 inches. Weighs but 24 ounces. Price, without carrying case, $7.50. Other excellent B & H tripods carried by Filmo dealers include the "TRIAX", black enameled, all-metal, at $5.00 and $7.50. Legs automatically unfold and lock in position by releasing spring catches. The HEART-FORM is another excellent tripod at $6.00. Cross-section of leg is heart- shaped. In five sections, 56 inches high extended. Many find this extra height desirable. See dealer or mark coupon for tripod details. The NU-TIRAN tilting and "pammin^ head for any B & H tripod The Dremophot reduces all exposure problems to quick, easy, direct readings jttNCY 16 32 64 8 ttNZ4|4S| TT I ' I ■ I ' Tfl$ 8K6 16 1 1-3 H 56 4 Vi iEMOPD Fits practically any tripod not equipped with tilt and swivel arrangement. Very valuable for getting slow, steady, up-and-down or sidesweep movie views. Pamming motion control- led by a crank. Should be in every movie-maker's kit. Price $12.00. For the laugh of your life use the Filmo Lens Modifier Imagine these screamingly funny movies in which your friends grow short and fat — or tall and thin — as they move across the screen. Secretly accomplished when shooting the scenes with the Filmo Lens Modifier screwed into the regu- lar F3.5 lens in place of the sunshade. A simple turn by the fingers varies the effects — which you may gauge by guide lines visible through the Filmo spy- glass viewfinder. The first laughs will be worth the price, $13.50 ready to use. Mark coupon. This little instrument is the quick guide to accurate aperture setting under all light conditions. Readings taken direct from tube after sighting. No computations to make. Correct expos- ures given for each speed of Filmo Camera — 8, 12, 16, 24, 32 or 128 exposures per second. A lifetime instrument. Nothing to get out of order. Price with sole leather, hand-sewn case, $12.50. BELL & 1828 Larchmont Ave., New York, Hollywood, Established 398 Filmo Cameras and Accessories We solicit questions from all amateur movie makers who encounter technical problems in making better movies. Tell us what effects you are striving for and we will tell you if they can be achieved, and how. For wonderful "night movies" use Meteor Photo Flares These are slow-burning flares approximating in bril- liance the fiashpowder used by still photographers. Placed at strategic points in relation to your night ,i.i..„„ ,„m. .1 iiih,mji scenes you can achieve beautiful silhouette, half- lighted or full lighted effects. Indispensable to the ne'er-to-be-forgotten beach party, camping trip or other vacation outing. Sized for ', i minute to 4 k fi^Ty-- minute burning. Priced from 90 cents each to $6.25 each, with special dozen rates. Inquire. Bell & Howell Filmo 70 (See back cover for information on new Filmo 75) An improved 400 ft. reel and humidor can The new B & H reel is a sturdy beauty. Hub is eight-slotted, enabling operator to fasten film-end instantaneously. No turning reel to find slot. A quarter turn engages film firmly after slotting. Price, each reel, 75 cents. The new B & H Humidor Can, companion piece to the reel, is light and strengthened by encircling ribs. Cover removes easily. Nickeled brass, dull finish. Price each 75 cents. Both together $1.50. Remarkably Low Priced — These genuine T-H. C. distance lenses 4 in. F4.5 Telekinic—only $60.00 Such prices have heretofore been unknown on telephoto lenses of this superb quality. Taylor-Hobson Cooke lenses have gained universal respect. Here are two of the outstanding values of the season. The F4.5 lens shown above will prove of wonderful value picking up distant shots on yachting, traveling, hunting trips, etc. Price $60 includes sunshade and matched viewfinder lenses. The 33/4 in. F3.3 is priced at $85.00. 6 in. F5.5 Telekinic — only $65.00 Another big value for those seeking a tip-top telephoto, reasonably priced. Power of magnification is six times normal. A wonderful lens for picking out the detail in sporting events, travel, capturing movies of shy animals and birds, etc. Price $65.00 complete in focusing mount, with sunshade, matched viewfinder and eyepiece. The 6-inch F4.5 is priced at $95.00. Mark coupon for complete lens catalog showing these and many other beautiful lens values. The season for beautiful effects with a color filter The print at the Jeft shows how, by using a color filter, beautiful cloud and detail effects bloom into your picture where otherwise you would get only dull monotone. The color filter shown, for 1 inch F3.5 lens, is made of natural colored glass and is extraordinarily efficient in snapping up all your beach, water and cloud scenes. Price $2.50. Other filters available for all lenses. Get our lens catalog. See your dealer — or mail this HOWELL CO. Chicago, 111. London {B. & H Co., Ltd. ) 1907 I Bell & Howell Co., 1828 Larchmont Ave., Chicago, 111. Please send me booklets or complete information on the following: ....Iris Vignetter; ...Tripods; ....Nu-Tiran Head; ....Dremcphot; Telephoto and other lenses; ....Color filters; Meteor Photo Flares; ....Improved Reels and cans; ....Lens Modifier. Name _ Address City State ~I 399 SCREEN Surface CHARACTERISTICS An Article to Aid Amateurs in Selecting or Making the Right Screen for Their Particular Purposes IN a recent article I told you in a general sort of way something about screens and screen surfaces. I shall now set forth certain charac- teristics of screen surfaces and other information having to do with screen illumination. As I said in the previous article, when light from the projector lens strikes the screen surface a certain percentage of it is reflected back and a certain percentage is absorbed by the surface and lost. The amount absorbed will depend upon the char- acter of the surface and whether it be pure white or tinted. It must be remembered that the light-source of non-professional pro- jectors is limited to a much lower value than those used in theatrical projection. Hence they provide only a part of the light available to the- atre screens, particularly in view of the fact that the losses in the optical systems of the two types of projector are essentially the same. Of course, the amateur projectionist requires less light with 16mm. projectors, as the area of the film illuminated is only about one-sixth that of 35mm. film. Generally speaking, however, it is well to avoid anything which tends to a loss of light in non-profes- sional projection. It must also be remembered that a certain, definitely limited, amount of light passes through the projector aperture to the surface of the screen. This amount is further reduced by approximately 50 per cent, by the projector rotating shutter. This light will be distributed by the lens, pre- sumably evenly, over the whole sur- face of the screen. If you project a picture six feet wide, that picture, if undistorted, will have an area of By F. H. Richardson about twenty-seven square feet. If you project a picture four feet wide, it will have a total area of about twelve square feet. You thus see that by increasing the picture width from four feet to six feet you have more than doubled its area. Your avail- able light, therefore, must be spread over more than double the surface, with consequent greatly diminished brightness of the picture. From this you learn that picture size has much to do with the bright- ness of screen illumination when the amount of available light is a fixed quantity. The projectors designed for home use have light-sources of fixed quantities within certain limita- tions. When used in the average room in the average home these limitations are not exceeded. It is when a larger picture for a special purpose is de- sired that the light-source provided is not sufficient; therefore the screen surface must be looked to for the ad- ditional brilliancy required. If you want a bright picture you must select a white surface of good reflection power and renew that sur- face with reasonable frequency. Every ninety days is not too fre- quently if it be constantly exposed to the atmosphere. White paint, white kalsomine, white cardboard and white plaster are all good sur- faces; or you may choose one of the many patent screen surfaces. Now another important equation enters: the direction in which the surface reflects the major portion of the light. Some surfaces are very bright to those immediately in front of them, but at the same time very dim to those at one side. This is known to professional projectionists as "fade away." It is due to the fact that different surfaces reflect light at different angles, as shown by the ac- companying drawings. A perfectly polished reflection surface reflects all incident light directly back. Hence in a mirror you see perfect images. A perfect diffusing surface reflects incident light in all directions, or angles. A surface which is not suf- ficiently polished to produce an im- age may still reflect a very great pro- portion of the light more or less directly back. In figure A we see the action of the mirror, in which all light from point X will be reflected straight back to point X. In figure B we see a surface which reflects most of the light from X more or less directly back, but not all of it directly back; hence no reflection is formed. To one seated directly in front of it the sur- face will be much brighter than to one seated far to one side. In figure C we see an approximately perfect diffusion surface, such as non-gloss paint, kalsomine, dull-surface paper, or white-finish plaster. Such a sur- face will appear much less bright to one seated directly in front of it than would surface B, but it will appear almost equally bright to persons seated directly in front, or far to one side; whereas surface B would have "fade away" and appear very dull to the one seated at a wide angle to its surface, but very bright to one seated directly in front of it. Taking the reflection power of a scraped block of magnesium carbo- nate (which is a perfectly smooth, textureless surface) as 100 (its reflec- (Continued on page 420) FIG> A FlCr £ TIGC 400 "Whew, I Can't Keep My Lens from Blinking Through the Shutters At Her!" The IDYL of a CINEFILMESCOPE A SPLENDID little cine camera, fresh from the hands of the manufacturer, sitting on a shelf: "Oh, I know I'm in for a wonderful life. I simply can't wait. Gee, I'm glad that old grump didn't take me. Old fossil of a doctor! I'd see nothing but bones with him, or ... , perhaps . . . Ugh! That won't bear thinking about ... I wonder what my first picture's going to be? "Ah, who comes here? Gosh, she's pretty! Right this way, Sister! No, no, don't stop to look at that Russian calf thing! Whew, I can't keep my lens from blinking through the shut- ters at her! I think I like 'em fair . . . Get the light behind that hair . . . Yes, just my idea of an angel, that's all! She's taking me! She's taking me! What do you think of that, Russian Calf? Better luck next time! Perhaps that old guy of a doctor'll take you. Try to catch on to him. Ta! Ta! "This looks like the real thing! By K. L. Noone % Rolls-Royce, chauffeur in green . . . Home, James. Life, come on! "Gosh, dearie, why don't you let 'em tell you at least SOME of the high spots about me. Not that I won't stand by you, but you know I can't do anything when you jerk me around the whole sky line in one wild swing. You just aren't going to get a thing worth while. . . Keep away with that oil can! Keep away! ! ! !!!... Oh, didn't you listen to a word when they told you never to oil me yourself? S Q GGG UGGGG UGMP. ... As sure as I'm equipped with an exposure guide, that's thick machine oil all over my sprockets! Oh. mi gawd! ! ! "Come another day. Perhaps this one won't be so bad. But, just be- tween friends, it couldn't be! Thank the Lord that film's over, anyway! I pity the poor screen, but to the pro- jector belongs the spoiled! "Careful, now, Light of my Eyes! That's no way to load me. Don't you think you'd better take me off into the shadow somewhere? Why . . . Oh, whyinell don't you look at your instruction book? What do you think I am, anyway? . . . Oh, all right, all right ... if you want to load me in bright sunlight, go to it. . . . "Chasing a bird up into the top of a bush so she can get him jumping, and the whole thing with the glare right into my lens! . . . Stars and Garters and All the Things that are Rolled and Unrolled! I want to go home from here! "What was it they called me? 'Foolproof?' It ain't so, Gustave! Nothing could be foolproof against a dame with the oil can mania. She thinks I'm a lawn mower! Great, Hon! That's great! Lovely! Do you get it? Her finger's on the but- ton with me set four feet for the last picture, when this one's to be taken at least fifteen feet away from those darned chickens! Foolproof! But (Continued on page 420) 401 Will YOURS be a MOVIE SUMMER? New Developments in Home Movie Field Simplify Summer Movie Problems VACATION time is almost here. Where are you going to be — abroad with your camera, at home, in the mountains, or at the shore? Wherever you may be you will find lots of use for your camera in recording for all time the joys you are experiencing day by day. Your movie camera will make it a truly un- forgetable summer. And how about the evenings? Not so much chance to take pictures then, you say. No, but a wonderful time to see the ones you have taken, and under ideal conditions. You'll have your projector with you, of course, unless you are traveling abroad, and what could be more delightful than an outdoor movie show in your own garden or on the porch, where cool breezes will add to your comfort. Daylight saving makes darktime come late, so that after a day filled with tramping, tennis, swimming or business, you and your friends will all be glad to relax and let the silver screen do the entertaining. And here is your chance, lucky projector own- er, to make yourself a very popular member of your colony. Have a care- fully planned movie program once or twice a week. "That's a good idea," you say, "but how can I do it that often? I won't be making new films that fast, and I can't lug with me all the films I own." Quite right. That would be foolish. Besides, probably it would not give you enough variety, because the chances are that the films you have bought are mostly travel, or war films, Lindbergh pictures or cartoon comedies. They wouldn't offer enough variety for many evenings. When you come right down to it, if you are giving a regular show you probably want a good feature picture like the regular theatres have. Then for your surrounding bill you can introduce one or two news, travel or cartoon films, and also your own lat- est record of the things you and the other spectators have been doing. You see, if you show a four or five-reel feature that will use up an hour to an hour and a quarter, and since a two-hour show is legitimate, you can arrange quite a varied program from among the films you have on hand, including the ones you have taken yourself. Your rental library can, of course, supply the feature films for you. As the latest development in home mov- ies, you can now make arrangements 402 By Katherine M. Comstock before you go away for a feature film or any other type of shorts you desire, to be sent you on a definite night, or alternate nights, each week. Rest assured that it will be there on time. This dealer service is constant- ly improving; it will continue to im- prove as the demand for service grows. Rental libraries are equip- ping to keep you supplied all sum- mer with entertaining films, whether you are in the mountains or at the shore; whether you prefer travel pic- tures, comedies, features, or sports studies. All you have to do is to talk it over with your dealer. Ask him to keep you informed about the new films that are constantly being re- leased in 16mm size. Tell him to ship you a weekly or semi-weekly program. You may make your own selections from the descriptive cata- logues or the dealer will be glad to do this for you. Let him know the type of subject you and your family enjoy most; inform him whether there will be children in the audience, and if so about what age. Then leave it to him to prepare a carefully bal- anced program of the length you de- sire. On Friday evenings or on Tues- days and Saturdays, as the case may be, your films will be on hand and you can start your show assured of a highly pleasant evening for yourself and your guests. All this can be ar- ranged at a minimum of trouble for you and at an almost negligible cost above the regular rental rates. You lucky folks who are going abroad will be seeing so much that you won't want to watch movies in the evenings, but how about the mem- bers of your family who can't get away? To an extent you can arrange for them to travel with you. Study that itinerary of yours and inform the family just where you will be each week. Then they can order travel films of that particular coun- try and visualize the interesting places your letters describe by actually see- ing in movies the countries you are visiting. How much more interested they would be if they could follow you in this way! And when you get back home with the films you have taken while abroad the family will be even more anxious to see them. They have become ac- quainted with the country through films they have procured, but yours will show the things that interested you most; and, besides, you your- self have taken them. Though it is frequently stated that "comparisons are odious," they are nevertheless dis- tinctly human and sometimes very in- teresting. Along about August probably will come 0the annual tennis tournament in your particular community, and al- ready some of you are working to improve your game. Why not get additional help by studying actual strokes used by professionals — such men as Vincent Richards or William Tilden 2d? You can either rent or buy such films, which contain slow- motion shots of these stars in action. Or if your hobby is golf there are available films which analyze the strokes of Bobby Jones, Frances Oui- met, Harry Cooper and other stars in slow motion. You will find a study of these films a most effective form of coaching. As for the children, three or four months' vacation is a long time away from school, and of course they love movies. All children do. Well, why not combine the two? Educational movies are abundant — the ways of children in foreign lands, nature studies of animals or flowers, science, outdoor sports, etc. Probably the best way to educate them painlessly is not to give them too much at a time, but to run in one or two educational or travel films, and perhaps a comedy, in the early part of your show, and then send the youngsters off to bed while you enjoy the feature. You will find that you enjoy the educational film just as much as they do. At most camps for both boys and girls the educational film is a regular part of the weekly program. Once or twice a week they have a movie show — out doors in fair weather and in the recreational room if stormy. Popular comedies or a feature picture vary the program, but >_ne good travel picture and at least one educational are sure to appear. The children love them. So if your youngsters don't go to a regular camp don't deprive them of this opportunity to be as well posted as their schoolmates when they get back in the fall. The things they learn now through authentic films they will never forget. Various film companies, realizing how popular {Continued on page 419) Duplicate Your Valuable Films CINE-KODAK duplicates so closely approach the originals in quality that even the expert can scarcely distinguish between them. These du- plicates enable you to enjoy your valuable films today, at the same time insuring your enjoyment of them in the future. Both Cine-Kodak originals and Cine-Kodak duplicates are remarkably free from undesirable grain. This is due to the reversal process by which both are made. Between the original and the duplicate, in this very essential quality, no dif- ference whatever exists. In making Cine-Kodak duplicates it is not neces- sary to print from a negative. Expensive steps are done away with and a substantial saving results. Specifically, Cine-Kodak film and the reversal process offer the most economical means known of securing both an original and a duplicate. No other method or material can compete with Cine-Kodak film and the reversal process in the home movie field. Select from your library today those films which are of most interest to you. Have Cine-Kodak dupli- cates made at once. The originals can then be stored for safekeeping through the years, and the duplicates used for everyday showing. Cine-Kodak duplicates are priced at $5.00 for 100- foot lengths and $3.50 for 50-foot lengths. They should be ordered through your dealer. Eastman Kodak Company, Rochester, N. Y., The Kodak city The Cine-Kodak Original and its Cine-Kodak Duplicate are so alike in every essential quality that it is virtually impossible to distinguish between them. 403 EDUCATIONAL and SCIENTIFIC News of Visual Education in Homes and Schools Clearing the Air OUTLINING three chief reasons why motion pictures have not yet come into general use for classroom purposes, Dr. Thomas E. Finegan, Educational Director of the Teaching Film Department of the Eastman Kodak Company, in an ad- dress delivered before the Society of Motion Picture Engineers recently stated that the unfamiliarity of teach- ers with the use of both apparatus and film has held back the develop- ment of this branch of visual in- struction; that so far few motion pic- tures designed primarily for class- room use have been produced, and that cost of equipment, production and distribution until recently has led to the lack of interest on the part of educators. In the course of his address Dr. Finegan said: "The general use, therefore, of classroom films resolves itself into the solution of these questions: Is it possible to produce the character of films which will yield measurable results in classroom work of suffi- cient value to make their use a profitable investment? If such films can be produced and this result can be achieved, is it possible to produce them at a cost which will make it practical and feasible for the schools to provide them? May teachers be trained to use motion- picture apparatus and to evaluate film service?" It was to try and solve these prob- lems, he stated, that the Eastman edu- cational film experiments, the out- come of which is reported elsewhere in these columns, were undertaken. Film Marvels MICRO-CINEMA for the study of living cells has opened up new fields for research, according to Dr. Heinz Rosenberger, physicist at the Rockefeller Institute for Medical Re- search, where films of this type have been in use for four years. The eye looking through the micro- scope perceives only the apparently motionless images of microscopic phenomena while the motion pictures are magnified almost 50,000 times. In pictures shown recently by Dr. Ros- enberger at a meeting of the Ameri- can Chemical Society there were mi- cro-cinematic views of the blood coursing in a rabbits ear, the cells in a culture of a still-living chicken Edited by Ruth Hamilton Kerr ■w heart, and cell division and activity in rat fibreblasts. In recent pictures Dr. Rosenberger states there is a still higher magnifi- cation and that these micro-cinematic productions are the most detailed yet recorded. Film- Ratings? VJ77RLTING of the use of films for ^* educational purposes, Louis A. Astell, of the Natural Science de- partments of West Chicago Commu- nity High School, says there should be ratings of films available for class room use. "My experience with 35mm film has led me to the idea that if educa- tors were given ratings of rental and loan material these would serve a most beneficial purpose in all direc- tions," he adds, pointing out that "these ratings could be based on ex- pert opinions, with films suggested for primary, elementary, secondary and collegiate work. If applied to the 16mm field it would serve to elimi- nate unsuitable material that is now listed for educational use." Newspaper Film THE first showing of the newspaper motion picture, "A Day With the Sun," produced by the Fox Film Corporation, was given before stud- ents of Journalism at New York Uni- versity recently. The film was pro- duced primarily as a historical rec- ord of twentieth century newspaper production, and presents an accurate picture of every process in the gath- ering and printing of news. The Fox Film Corporation filmed the picture in different departments of the New York Sun. German Educational A FILM of educational value for advanced schools and univer- sities has been produced by Ufa's Department for Cultural Productions, depicting the development of life and illustrating the evolution of man. It is called "Nature and Love" and was filmed under the direction of emi- nent scientists of Germany. The film has been sanctioned by the approval of critics, school and church authorities in Germany, but at present it is not determined if it will be shown in this country. Filmo Educationals rT"lHREE groups of films with defi- ■*• nite educational value are in- cluded in the Filmo Library offerings. These are: the Pillsbury "Explora- tions in Plant and Flower Life", the Ditmars "Living Natural History Series" and the Tolhurst "Popular Science Series". These films are said to have that rare quality of education- al value plus absorbing interest for every age group. Educating Trade STARTLING evidence of the mo- ^ tion picture's influence upon trade in American goods throughout the world is received daily, it is declared editorially in The Motion Picture, published by the Motion Picture Pro- ducers and Distributors Association of America. "For every foot of film exported from this country, the Department of Commerce estimates, American busi- ness secures a return of at least $1.00 in trade," the editorial continues. "The film has become an 'animated catalogue' for American goods. Peo- ple the world over are turning to the screen for direction in their pur- chases of goods, with the result that millions of dollars are being poured annually into the pockets of business men, whether they deal in soap, auto- mobiles, harness, dressgoods, cosmet- ics, or what not. "Last year foreign exports of film from this country amounted to 231,- 995,018 feet, for distribution in the 30,000 motion picture theatres out- side of this country. "Because of motion pictures, a cer- tain type of California bungalow has come into wide use in South Ameri- can countries. Because they have formed a pleasant background for so many pictures, swimming pools at private houses have come into very general use. Because they were being forced to install new machinery to make shoes like those the American movie queens wear, shoe manufactur- ers of Great Britain protested not long ago. Because stenographers of Paris saw the well lighted and well ventilated, roomy offices as shown in American films, Dr. Toulouse, a dis- tinguished French psychologist, says they demanded, and are getting, simi- lar comforts." 404 *p V\OKVt >f~ir-ir-n Si. ^ *«• \9 »» WITH rHC CCMPLIMENTS CP yOUC DEALER a corking publication containing one hundred and one ideas and suggestions that he thinks will make your films more perfect, more exciting and more distinguished. Shots to take — equipment to use — news, gossip, scenarios — and almost entirely in pictures. Write to any of the following dealers or call on them. They are the only ones that can supply copies in their respective cities. HOME MOVIES appears once a month and copies are free on request. NEW YORK CITY— Gillette Camera Stores, Inc. 117 Park Avenue— 16 Maiden Lane PHILADELPHIA— Williams, Brown & Earle, Inc., 918 Chestnut Street CHICAGO— Aimer Coe & Co., 105 N. Wabash Ave.— 18 So. La Salle St.— 78 E- Jackson Blvd. EVANSTON, ILL.— Aimer Coe & Co., 1645 Orrington Ave. LOS ANGELES— Leavitt Cine Picture Co. 3150 Wilshire Blvd. SAN FRANCISCO— Leavitt Cine Picture Co., 564 Market Street SAN DIEGO, CALIF.— Leavitt Cine Picture Co., 1202 Kettner Blvd. ST. LOUIS— A. S. Aloe Company, 707 Olive Street SPRINGFIELD, MASS.— Harvey & Lewis, Co., 1503 Main Street NEW HAVEN, CONN.— Harvey & Lewis Co. 849 Chapel Street BRIDGEPORT, CONN.— Harvey & Lewis Co., 1148 Main Street SYRACUSE, N. Y.— Geo. F. Lindemer, 443 So. Salina Street PLAINFIELD, N. J.— Mortimer's 317 Park Avenue EVANSVILLE IND.— Smith & Butterfield, 310 Main Street ERIE, PA.— Kelly & Green, 116 West 11th Street SEATTLE, WASH.— Anderson Supply Co., Ill Cherry Street HARTFORD, CONN.— H. F. Dunn Motion Picture Co., 410 Asylum St. MINNEAPOLIS, MINN.— Cine Salon, 49 South Ninth Street DETROIT, MICH.— Detroit Camera Shop, 424 Grand River West TAMPA, FLA.— Tampa Photo & Art Supply Co., 709-711 Twiggs St. MILWAUKEE, WIS.— H. W. Brown & Co., 87 Wisconsin Street BUFFALO, N. Y— Buffalo Photo Material Co. 37 Niagara Street TOLEDO, OHIO— Gross Photo Supply Co., 325 Superior Street ST. JOSEPH, MO.— Wm. F. Uhlman, 716 Francis Street COLUMBUS, OHIO— Columbus Photo Supply, 62 E. Gay Street GALEiSBURG, ILL.— Illinois Camera Shop 84 S. Prairie Street BRA1NTREE, MASS.— Alves Photo Shop, Inc., 349 Washington Street SIOUX CITY, IOWA— Visual Education Equipment Co., 208 Wright Building FORT WAYNE, IND.— The Biechler-Howard Co., 112 W. Wayne Street HOUSTON TEXAS— Star Electric & Engineering Co., 613 Fannin Street WHEELING, WEST VA— Twelfth Street Garage, 81 Twelfth Street CLEVELAND, OHIO— Stone Film Laboratory, 8807 Hough Avenue WATERBURY, CONN.— Curtis Art Company, 25 W'. Main Street ALBANY, N. Y.— E. S. Baldwin 32 Maiden Lane W1LKES-BARRE, PA.— Ralph E. DeWitt, 60 West Market Street, EL PASO, TEXAS — Fred J. Feldman Co., 308 San Antonio Street BINGHAMTON, N. Y — Austin S. Bump Co., Inc., 180 Washington Street NORWOOD OHIO— Home Movie Service Co., 2120 Slane Avenue UTICA, N. Y— Edwin A. Hahn, 111 Columbia Street MEMPHIS, TENN— Memphis Photo Supply Co., S6 S. 2nd St.— 52 S. Main St. SOUTH BEND, IND.— Ault Camera Shop, 122 S. Main St.— 309 S. Michigan St. REGINA, SASK., CANADA — Regina Films Limited Banner Building SANTA ANA, CALIF.— Forman-Gilbert Pictures Co., 1428 W. 5th Street MIAMI, FLA. — Red Cross Pharmacy, 51 East Flagler Street ROCHESTER, N. Y— Allan H. Mogensen, University of Rochester TORONTO CANADA— The Film & Slide Co. of Canada, Ltd., 156 King Street W. MONTREAL, CANADA— The Film & Slide Co. of Canada, Ltd., D'rummond Bldg. WINNIPEG, CANADA— The Film & Slide Co. of Canada, Ltd., Paris Bldg. VANCOUVER, CANADA— The Film & Slide Co. of Canada Ltd.. Credit Foncier MEXICO CITY— American Photo Supply Co., S. A., Av F. I. Madero, '40 r 405 ■■.>:"'-■:■.■ THE CLINIC (Continued from page 382 ) ON THE FACING PAGE An Art Title Background to Open or Close Your Films Which? T^OR some time we have been print- *• ing diffused and dark background photographs suitable for art title work, but with this issue are sub- stituting, on trial, a pastel type of background of the type frequently favored in professional productions. Which type do you like best, the photographs or the pastels? We will be guided in future selections by the vote of our readers. Your reply will be a service. Tips 'TT is proper to use a filter in the •*■ tropics when light conditions permit, the same as anywhere else. There is an idea that the light is gen- erally stronger in the tropics, but I have not found that to be true. The air is more or less hazy and often cloudy. I believe that exposures should generally be the same as in most of the United States in the sum- mer time. "In place of a tripod I use a wood- en staff with a ferrule on top that screws into the camera and holds it at eye level, thus supporting the weight of the camera but allowing more freedom than a tripod. "On a recent trip I took all except interiors at about 20 frames a second (35mm.), and I project at about 70 feet per minute. This gives sharper pictures where there is much mo- tion, especially when pamming." — Paul Franklin Johnson. THE LEAD TITLE OF B. V. COVERT'S WINNING 16 MM FILM IN THE PHOTOPLAY MAGAZINE AMATEUR CONTEST PHOTOPLAY MAGAZINE THE NATIONAL GUIDE TO MOTIOH PICTURES First Rational Magazine in the Field of Amateur Movies Are you reading PHOTOPLAY'S Amateur Movie Department? It presents new and fresh suggestions each month. It offers amateur ad- vice from the best professional minds. It tells you interesting tricks of cinematography, how to get pro- fessional effects with your amateur equipment. 250 Pictures on $1.00 roll of negative 35mm Show by: Contact Print Enlargement Projection J~EVT ^Jn^l 1 If ^ Motion Pictures Snapshots Time Exposures at your Dealer WYKO Projector Corp. 33 W. 60th St. New York, N. Y. CAMERA 407 Your Victor Cine- Camera Deserves Good Extra Lenses Maybe its some small creature that you wish to photograph or an object in the distance that you de- sire to record on the film, but you hesitate because it would appear too small or obscure on the screen if a lens of short focus is used. This fear is eliminated if your equipment includes a W o 1 1 e n s a k Telephoto Lens It Brings the Distance to You These lenses are thoroughly cor- rected,— they magnify — and ren- der films that are sharp in every detail. Made in 3", 3%", 4" and 6" foci to fit Victor, DeVry, Cine- Kodak Model B f-1.9, Bell & Howell Filmo and Eyemo Cam- eras. Cine-Velostigmat /-1.5 When Lighting Is Poor Towards evening when the sun sinks away and dusk comes on, or in the woods where the dense fo- liage does not admit the sunlight, movies can be made. Try a Cine- Velostigmat /-1.5 which is more than five times faster than /-3.5 and permits motion pictures to be made under these and other ad- verse conditions. This lens will fit the Victor, DeVry, Bell & Howell Filmo and Eyemo Cameras. It is made in one inch focus at $50.00 and two inch focus at $75.00. Other Accessories for Better Movies VIGNETTERS COLOR FILTERS CINE-VERITO LENSES AND SHUTTERS for studio and commercial use. Whether your needs are amateur or professional, we have lenses for every purpose. Send for a catalog. optical co:m:p-A.ny 985 Hudson Ave. Rochester, N. Y. Manufacturers of Quality Photographic Lenses and Shutters since 1899 Thi A PERFECT SUNSET Is the Result When a Graduated Filter Is Used. IRONING OUT THE JERKS (Continued from page 379) many other clear-glass centers which fade to black. These are for close- ups mostly. They substitute by sym- bolism for the necessity of breaking continuity to insert an explanatory title. The graduated filter has often been called the professional's best friend. It is made in 25 grades for all pos- sible combinations but only 5 are recommended for amateur use. It transforms daylight scenes into per- fect night scenes. Only in rare cases are night scenes ever actually shot in darkness. Raising this graduated filter before the lens so that the glass lower portion covers the foreground, permits a full exposure. The cen- tral portion is graded just enough to take the haze from distant landscape and the upper portion corrects highly actinic blue rays of the sky and "holds" cloud effects in detail. Should there be no clouds at the time it will truthfully reproduce the tones and shades of blue seen in a cloud- less sky, thus preventing "bald- headed" pictures with a flat white un- interesting portion above the horizon. The monotone filter gives to the human eye what the lens will re- produce on film. It is the only method devised to reduce deceptive color values to terms of black, white and half-tone, and is therefore used extensively by cameramen, technical directors and costumers. There is no cameraman in my entire acquaintance who does not carry with him at all times a monotone filter to get correct color values. A focusing filter is used where a ground-glass reflects the scene for ground glass will reduce highlights and shadows much as the monotone does to colors. It removes the guess- work of light control entirely. The latter two filters serve to ward off beforehand the two extremes of eye strain : over subdued point of in- terest produced by the incorrect color surroundings, and glare of over- accentuation. And so we have exposed — yea, over-exposed — the synthetic secrets. Fade-out on jumpiness, slip in the correct filter, and fade-in on cine-art. FOCAL EMPHASIS Is Secured With a Graduated Iris. focusing. Placing it before the Aerial Amateurs? THIS magazine is interested in compiling data on the number of amateurs who are addicted to the aeroplane habit. It will be greatly appreciated if our readers who either pilot or own planes will so advise us, or, if you know of other amateur cinematographers who do so, we will also be indebted if you will advise us of their names. 408 ANNUAL MEETING of the AMATEUR CINEMA LEAGUE ALL of the present directors of the Amateur Cinema League, Inc., were re-elected for an- other year of service at the annual meeting of the League held in its headquarters in New York City May 9, 1928. At the annual meeting of the Board of Directors of the League, which immediately followed the an- nual members' meeting, no officers were chosen, as they had been elected for a two-year term at the 1927 an- nual members' meeting and as all of the officers had been re-elected as di- rectors. The present executive com- mittee of the Board, Messrs. Maxim, Voorhees, Hanmer, Hebert and Win- ton were re-elected by the directors for the ensuing year. The reports of officers disclosed the fact that the progress of the League is highly satisfying. There are members, or subscribers to Movie Makers, in close to fifty countries, outside of the United States. The League is recognized as the international headquarters for amateur cinematography. MoviE Makers has made a conspicuous success in quality and in the number of its readers. An effort is now in progress to secure a greater number of members for the organization. The technical consultation service and the club and photoplay consultation ser- vice are aiding about three thousand persons annually, it was estimated. The League has offered League film leaders and Movie Makers binders to its members at cost. A study of amateur films is in progress under League auspices to determine the average quality of amateur pictures, as made by individual amateurs. The operations of the League and Movie Makers, it was disclosed through the report of the treasurer, presenting the audit of a firm of cer- tified public accountants, are con- ducted at a monthly profit and a sub- stantial cash balance is in hand. These profits are being used to in- crease the scope and quality of League services to members, to im- prove Movie Makers wherever prac- ticable and required, to secure a larger League membership and to re- duce the pioneer organization ex- pense. The managing director recom- mended that all League members be prepared, when the tariff question is again presented in Congress, to make adequate representation for a re- moval of the existing customs duty on amateur films brought into the country from abroad. CARL ZEISS CINE LENSES For standard and 16 mm movie cameras. Zeiss Tessar f2.7 and f3.5 Tele-Tessar f6.3 Finders Filters Sun-shades CARL ZEISS, INC. 485 Fifth Ave., New York 728 So. Hill St., Los Angeles A Letter about Koloray from W. STERLING SUTFIN Foreign Publicity Manager Remington Typewriter Company May 12, 1928. Beckley 6? Church, Inc. 326 Cutler Building Rochester, New York Dear Sirs: Pictures which I have projected countless times have taken on a startling new beauty when projected with a KOLORAY. When using the two-color feature of the KOLORAY it is sometimes difficult to convince spectators that the films themselves are not hand'tinted so perfectly do the colors blend — in fact the pictures often have a stereoscopic quality which makes it appear that more than two colors are being used. Over-exposures are automatically cor- rected and the amber filter reduces eye-fatigue and gives pictures a profes- sional quality. Certainly I have never spent $7.50 for a motion picture appliance which has given me greater satisfaction and pleasure than your KOLORAY — I use it in one way or another on every film I project. Very sincerely yours, (Signed) W. STERLING SUTFIN, Foreign Publicity Manager. K OLORA 'Professional color effects for home movies" Y Descriptive literature on request. BECKLEY and CHURCH, INC. Cutler Building - Rochester, N. Y. Dealers — Use a Koloray on your dem- onstrating projector — It pays. 409 THE W. B. & E. "PILOTLIGHT" A convenient light on your Filmo Projector that enables you to operate and change your reels with plenty of illumination that does not attract the attention of or annoy your audience. I Makes operating your projector a pleasure. No extra wires needed. Just pull the switch and the Light is there — When and Where you need it. Easily attached to your machine in a few minutes and projector can be packed away in case with' out detaching. Price $6.00 From your Dealer or Direct WILLIAMS. BROWN & EARLE, Inc. "The Home of Motion Picture Equipment" Filmo Motion Picture Cameras and Projectors 918 Chestnut St., Philadelphia, Pa. Let us edit your Commencement Pictures Commencement Day is a red- letter day in the life of your son or daughter. Commencement movies, whether of grade school, high school or college, will grow in value with the passing of the years. Both future and present- day enjoyment of these pictures demands that they be properly edited and titled. Bring your commencement pictures to us. Let us arrange them in order, insert suitable titles and return to you a film that you will be proud to show to any audience. Our work is done by experts and our prices are. reasonable far beyond your expectations. KODASCOPE Editing & Titling Service, Inc. Room 917, 350 Madison Ave. New York,N. Y. AMATEUR CLUBS (Continued from page 391) British Contests npHE Amateur Cinematographers' ■*• Association in London, England, has held a series of contests and elim- inations to choose directors and act- ors for its forthcoming productions during the summer months, writes G. S. Sewell, publicity secretary. The contests were conducted in an unusual and thorough fashion. Each prospec- tive director was instructed to draw, by lot, one of six brief scenarios. He was then allowed time to study the scenario, pick a cast from among the dramatic aspirants present, and in- struct them. Then, in turn, each was given an allotted time to direct the episode with a camera in action. A committee of members present dis- cussed, criticized and voted upon the various efforts. The competition committee has also offered a prize of £5 for the best story submitted by one of the members. The winning story will be produced by the Amateur Cinematographers' Association and the winner has the option of directing it himself or se- lecting a member to direct it. The as- sociation holds weekly meetings fea- turing screenings of member films and talks of interest to amateur cine- matographers and photoplay pro- ducers. The Leeds (England) branch of the association has started shooting a melodrama, "The Gleaning," written by E. F. Aiken. D. Erlston, of the Famous Lasky Film Service in Eng- land, is scheduled to give a lecture on makeup at the next program meet- ing. P. G. Peacock is secretary of the Leeds branch. Hartford Competition HpHE first of a series of cine con- ■*- tests to be conducted by the Hartford Amateur Movie Club was held at a recent meeting. Five films were submitted by club members for the critical appraisal of Rene Cheruy who was selected as judge. Of these, a film of Indian scenes taken by B. H. Blood was adjudged the best. The club will conduct these compe- titions every two months in order to obtain definite, constructive criticism of local amateur film. Prizes will be awarded. Golf Movies MOTION pictures analysing golf strokes were shown at the last meeting of the Movie Makers Club of Chicago by Joe Davis, editor of the Chicago Golfer, and Charles A. Ziebarth, of the Bell and Howell Company, who also interpreted the films for the benefit of the golfer Color Photography For Everyone PEERLESS JAPANESE TRANSPARENT WATER COLORS In 'ZBooldets, tyilm Leaflets and in Qoncentrated Liquid 'tform The STANDARD PHOTO COLORS FOR MORE THAN TWO DECADES SOLD EVERYWHERE As\ your dealer or write us for information JAPANESE WATER COLOR CO. PEERLESS BLDG. DIAMOND PLACE ROCHESTER, N. Y. Have Your Titles PRINTED! Black title cards (white letters) ready for photographing 2x/i cents per word. Minimum order $1. Quick service — mailed same day order is received. Free title "The End" with each order RIDGEWOOD STAMP CO. Ridgewood, N. J. — Special Announcement! — AT LAST! YOU can keep in close touch with world deveU opments in motion pictures by reading CLOSE UP An International Monthly Magazine — approaching films from the angles of art, experiment and development. — not highbrow, but progres- sive. — r eporting the major achievements. — a searchlight on new film- forms. — distinguished thinkers and writers as contributors — Havelock Ellis, Andre Gide, Arnold Bennett. — news of all countries with correspondents in Paris, London, Berlin, Moscow, Rome, Hollywood, etc. Annual Subscription $3.50 Single copies 35c Vol. 1 July-Dec. 1927 $5. bound Advertising rates on request American Publishers FILM ARTS GUILD SYMON GOULD, Director 500 Fifth Avenue Dept. MM. New York 410 wishing to improve his game. The programs of earlier meetings of the club have featured demonstrations of lighting apparatus, and the projec- tion of members' films. The Movie Makers Club announces its varied and well-balanced programs in a monthly program sheet, which is mailed to all members. Sheffield Showings AT the last meeting of the Ama- teur Movie Club of Sheffield, England, branch of the A. C. A., the projection of a two-reel film, "Through Unknown Africa," taken by Mr. Challoner, club member, was fea- tured. The film, a record of the most interesting events on an arduous jour- ney through Central Africa, was tak- en on 16mm. An additional attraction on this program was the screening of a film depicting the manufacture of lenses. At a previous meeting Dr. J. Pringle, president of the club, gave a practical demonstration of the pro- cessing of cine film. Members sub- sequently made experimental shots of the process by arc light. On the club's technical advisory committee are G. W. Mcintosh, J. W. Berry and Robert F. Unwin. News Notes tt/f EMBERS of the La Jolla Cinema ■*■*•*■ League, La Jolla, Calif., are constructing a 16mm step printer and building the necessary racks so that the club can make experiments in de- veloping its productions. The Washington Cinema Club is making plans for production this summer. A scenario has been pre- pared by club members and at a re- cent meeting screen tests were taken with the aid of arc lights, reports John W. Thompson, president. This active club holds semi-monthly meet- ings and is conducting an energetic membership campaign. Bad weather has held up the shoot- ing of "Freshman Days," now being produced by the Flower City Ama- teur Movie Club in Rochester, N. Y. However, the club is going ahead with other work incidental to produc- tion. The first production of the Culver Amateur Movie Club will be a scen- ario built around incidents in a day of a student's life at Culver Military Academy. Duke N. Banks, member in La Paz, Bolivia, is making plans for the for- mation of an amateur movie club. Club organization is under way in Miami and Miami Beach, Florida, and clubs have been planned in Madi- son, Indiana; Enhaut, Pa., and Shep- herdstown, W. Va. Theron S. Shep- herd, member of the League, is pre- paring the way for New Hampshire's first club. SERVICE LIBRARY RENTAL SERVICE SPLICING AND TITLING SERVICE SUMMER RENTAL SERVICE BY MAIL PROJECTION ROOM AT YOUR DISPOSAL 48-HOUR DEVELOPMENT ON CINE FILMS ALL APPARATUS FOR THE AMATEUR MOVIE MAKER We are the exclusive downtown rental headquarters for the Filmo Libraries and the Home Film Libraries, Inc. We now maintain a rental service that embraces the very best and widest selection of films for home entertainment. Complete pictures: comedies, dramas, newsreels, animated cartoons, scenics, educa* tionals — everything. No fuss, no red tape, no deposit required. 4 Our Rental Service also extends to customers who go away for the summer months. Let us know and we will send suggested programs and will parcel post your selections wherever you go. % Films for Sale: BURTON HOLMES TRAVELOGUES GANZ NEWS HIGHLIGHTS CINE-ART VITALUX EMPIRE PATHEGRAMS CINEGRAPHS CULLENS Special Filmo Carrying Cases CULLEN'S Permanent Metal Screen Made of heavy sole leather with plush lining. Compartments for four 100'foot Cine films, telephoto lens, fast lens, color filters, finders, etc. Very little larger than the regular Filmo case but convenient to the last degree. Duplex Case is identically the same but made specially to carry the Filmo camera with Dup' plex Finder attached, a decided advantage. Slightly more space for additional accessories or film. Regular Case Duplex Case BLACK ..$20 BLACK ..$22 TAN 25 TAN 28 Allowance on old case Our latest development of projection surfaces — an all metal screen with an aluminum sur- face — that is permanent, smooth, washable and will neither crack nor crease. It has brilliance and illumination. We will gladly give you a comparative demonstration in our projection room. Call and see it — you will appreciate its many features of improvement. In hardwood black frame 24"x30" $10 CULLEN PHOTO SUPPLIES 12 Maiden Lane, N. Y. C. SINCE 1882 Cortlandt 8424 411 NEWS of the INDUSTRY For Amateurs and Dealers THE NEW Q.R.S. CAMERA AND PROJECTOR Left: The Camera. Right: The Camera Converted Into a Projector. The New Q. R. S. MARKING a new departure in the home movie field a combined camera and projector has been an- nounced for distribution in June by The Q. R. S. Company of Chicago., which has been notably successful in the manufacturing and merchandising of music rolls, radio tubes and recti- fier tubes. Although complete speci- fications for this new equipment have not yet been received by this depart- ment the accompanying photographs give a graphic idea of its interesting character. The camera is converted into a projector by the addition of the light unit and motor base and by change over from the taking shutter to the projecting shutter, the same lens being used for both purposes. This combination equipment is to be sold for $98.50. Through its exten- sive affiliations with music and radio stores the entrance of Q. R. S. into the home movie field presages the entry of these new factors into the merchandising of amateur motion picture goods. Thomas M. Pletcher is president of Q. R. S., and H. H. Roemer, who has wide experience and a wide acquaintance in the amateur motion picture field, is manager of the Q. R. S. Camera Division, which has developed this new equipment and is in charge of its national mer- chandising campaign. A large volume production is planned. It is the con- viction of this big organization with its long experience that the amateur motion picture camera and projector is going to be accepted by the con- sumer public on a par with that of radio and the phonograph. The com- plete specifications of the Q. R. S. Camera and Projector will be pub- lished in our next issue. 412 Olympic Travelers A CORRESPONDENT in Amster- dam, Holland, advises us that among the dealers who are planning special services for the cine amateurs who attend the Olympic Games which A CINE CORSAGE Irene Rich with Her DeVry will be held in that city in July and August of this year, are: Capi (Ivens & Co.) Kalverstraat 115; Wed. Wm. Hoist, Haringpakkerssteeg 10-18; Kodak Ltd., Kalverstraat 126 and Schaap & Co. (W. H. Brandsma) Spui No. 8. New Accessories NEW devices to aid the amateur, devised by the new M. A. C. Cine Accessories Company, are a tripod Projector Clamp and Canvas Shelf, and a Single Exposure Clamp for Filmo and Eyemo cameras. With the Projector Clamp and Canvas Shelf, any tripod, whether of wood or metal, may be turned into a rock-steady stand for the projection of pictures with any make of 16 mm. projector. In addition, the Canvas Shelf (or shelves, if desired), serves to hold the film and film cans during projection, eliminating groping in the dark for reels. The Single Exposure Clamp en- ables the operator to get in the pic- ture himself without loss of film, and is also ideal for making closeups of birds and wild animals without the aid of a telephoto lens. Winning Cameras IT is a signal testimony to the gen- eral high character of the equip- ment being offered to the amateur market that there was such a wide representation of available cameras among the prize winners in the Photoplay Magazine amateur contest. Russel Ervin, cameraman of the win- ning 35mm. Orange Club film, used a De Brie, an Eyemo and a De Vry. B. V. Covert, winner in the 16mm. division, used a Filmo. C. R. Under- wood, 9mm. winner was, of course, a Pathex user. Kennin Hamilton, winner of the special award, is a Cine Kodak owner. Among the honorable mentions, Margaret L. Bodine em- ployed a double speed Filmo. W. G. Taylor used a Pathe 35mm. Thomas Fisher cranked a Universal 35mm. Albert F. Waymerer is a Pathex owner, and Clyde Hammond used the Cine Kodak Model B. All of these manufacturers are to be congratulat- ed that their equipment turned out films of prize winning excellence. THE HAYDEN PROJECTOR LIGHT Projector Light HPHE latest convenience devised by ■"■ the A. C. Hayden Co., of Brock- ton, Mass., for the home movie field is a projector threading light, which is the acme of simplicity, efficiency and cleverness, in that it utilizes the projector light itself. Consisting of a simple shield which is fastened to the condenser, with sliding arms attached to the projector plate, it rests against the projector and out of the way when not in use. When required, the shield is pulled out about an inch, carrying the condenser with it, and thus throwing the light through the condenser on the inside of the shield and reflecting it to the aperature plate where it is required. Correction TT was stated in this department in ■*• May that an all risk camera floater insurance policy was now being is- sued by the Aetna Life Insurance Company of New York City and Hartford, whereas this should have read that the policy was being offered to amateur cinematographers by the Automobile Insurance Co. of Hart- ford, Conn., which is affiliated with the Aetna Life Insurance Co. Scenarios ONE of the most attractively pre- pared books on a cine subject which has yet been offered the ama- teur has just been published by the Eastman Kodak Company and is en- titled "Junior Scenarios for Home THE WHOLE PROFESSIONAL "BAG op tricks brought to the amateur through the simple, efficient, inexpensive AUTOMATIC DISSOLV which gives the fade-in and fade-out effect — the most common and useful of all professional effects. The prin- ciple is identical but this amateur device is greatly simplified. It clamps in an instant over any lens on any camera which projects one-half inch or more from the camera. It operates automatically by simply pressing a conveniently located button. A timing indicator sets easily for fades any- where from two to eight seconds. One quick half turn of a small per- manently attached key winds the en- tire mechanism for a fade-in and fade-out. Light, easily carried and sturdily constructed. Attached in an instant without tools to FILMO EYEMO CINE KODAK A or B— /-1.9 VICTOR DE VRY $27.50 (Patent Applied For) DIFFUSING SCREEN By fading out and in any of the professional trick effects obtained by filters and screens may be used with- . out detection. A special attachment on the Automatic Dissolve makes possible the use of all SCHEIBE FILTERS — famous throughout the professional field. We supply these filters and also the well-known RAM- ,'■ STEIN 0PT0CHR0ME (optical ". glass) FILTERS in the proper size to fit the Automatic Dissolve attach- ment. There is absolutely nothing difficult in their use and they do not . require any change of focus. To complete the entire scope of professional movie effects for the amateur we have equipped ourselves to do any double printing for ef- fects which the fade-in and the filter make possible in addition. Just send us your films with proper notations. If there is any professional effect not mentioned that you want to dup- ■ licate our Service Department is at your service without charge for per- sonal instruction and to answer any and all questions. Diffusing Screen: Softening — Toning down — Backlighting ■ — "Mystery element1' effect — Beautiful close-ups. FOG FILTERS Fog Filter: Fog, rain, smoke scenes taken in sunlight. Mov- ing title backgrounds — Minia- ture set work. GRADUATED FILTERS Graduated Filter: Night scenes in broad daylight — Use the sun for moonlight — cloud effects in detail. DIFFUSING IRIS Diffusing Iris: Clear-glass center for main object or close- up, balance of scene diffused. WHITE IRIS White Iris: Spotlight effect vignetting to white at edges — for accenting point of interest. GRADUATED IRIS Graduated Iris: Spotlight ef- fect vignetting to black at edges — for very forceful, posi- tive accentuation. Sheibe Filters single color (yellow, red, green), each $3.50 Sheibe Trick and Graduated Filters, each 5.00 Ramstein Optochromes (optical glass) 4.00 Ramstein Optochromes, set of four 12.50 Filter Holder attachment 2.85 Developing Ordinary Film, per ft -02 Developing Panchromatic, per ft -03 Single contact printing, per ft .03% Double printing, per ft -06 Minimum developing or printing job 1.00 Secure it Through Your Dealer or Direct (DISTRIBUTORS OF SCHEIBE AND RAMSTEIN FILTERS) " "^ ™* T DESIGNED S AND MANUFACTURERS 1 ^E_ f"You describe it We'll design it"'"^ "^ 117 WEST 461" ST.fN.yC. 413 VANITY KODAKS TNCOMPARABLY beautiful ■*- in color and design, the Vanity Kodak is all that the modern Commencement, Wed- ding, Birthday gift should be. A small, highly efficient camera, beautifully gotten up in colored leathers and enclosed in cases so fascinating that one yearns to carry them. AT OUR STORE NOW IN FIVE COLORS Eastman Kodak Stores, Inc. The Kodak Corner . . . Madison at 45th Branch Store, 235 West 23rd Let the BURTON HOLMES LABORATORY DO YOUR MOTION PICTURE WORK Contact Printing of 16 mm. scientifically tested and correctly timed CAREFUL DEVELOPING 35 and 16 mm. * * REDUCTION PRINTING * * ENLARGING TO 35 MM. MASTER POSITIVES and DUPES Both sixes on duplicating stock with proper wratten filters on special copying printers. 7510 N. Ashland Avenue Chicago Movies." The jacket of pink and yel- low is as inviting as its subject matter, short scenarios suitable for children to enact, based largely on nursery rhymes and fairy tales. Par- ticularly valuable is the tabulated form in which the scenarios are pre- sented, which reduces, the problems of production to a minimum. There is also a valuable foreword of prac- tical advice on how to make movies from these outlines. The book is il- lustrated with silhouettes, in keeping with the subject matter. Its sale price is $1.50 at photographic dealers. Universal Gallery ' I *HE list of users of the Universal ■*• Camera contains the names of many distinguished cinematographers and leaders in many walks of life, and these cameras have been em- ployed on many important expedi- tions, according to data recently re- ceived from the Universal Camera Company of Chicago. Among these users are: Martin Johnson, Burton Holmes, the Ford Motor Company, the U. S. Signal Corps (for world war battle front pictures), the Chi- cago Surface Lines, Packard Motor Car Co., Professor W. R. Harkins of the University of Chicago (winner of the Willard Gibbs gold medal for 1928), the University of Chicago Palestine Expedition, Captain Barnett Harris, famous explorer and inventor of the "mercy bullet," and many oth- ers. The "Cruise of the Speejacks" was also filmed on a Universal, and a recent achievement of this camera was the filming of the American Le- gion Convention in Paris. Expansion 'T'HE rapid growth of home movie ■*- business in New York City is evidenced by the announcement just received of the opening of a branch store of Eastman Kodak Stores, Inc., at 235 West 23rd Street. Our con- gratulations are extended to Mr. Thomas Roberts, Jr., president of these New York stores, with cordial wishes for continued success. Volume Saving T OWER production costs due to •*— ' volume have made it possible to reduce the price of the Goerz 15mm. Hypar lens from $75.00 to $64.50, according to announcement from the C. P. Goerz Company, whose policy, it is stated, is to pass on all such sav- ings to the consumer. The speed of this lens, originally, / 3, has also been increased to / 2.7. The feature of this lens is that it increases the angle of view from 24 degrees, given by the regular one-inch lens, to 38 degrees. It is interchangeable with other lenses for Filmo and Victor cameras. Ah . . . ! Mr. J. Potter Pancake is in a dilemma. For now he must buy the "watch thin" Filmo 75 . . . for Mrs. Pan- cake. Sophisticated and keen buyers will obtain their "75" from Bass where motion picture apparatus has been sold for over eighteen years. Interesting sixty-page catalog is yours for the asking. May we send you a copy? Bass Camera Company 179 West Madison Street Chicago, Illinois "Yes We Swap Cameras" COMPLETE EQUIPMENT FOR AMATEUR MOVIE MAKERS Artistic Titles Suggested and Made A. S. ALOE COMPANY 707 Olive St. St. Louis, Mo. St. Louis Agents for Kodascope and Home Film Libraries NIGHT MOVIES Flare Showing Detachable Handle Light a Meteor Flare (Powerful Firework Torch) and take a movie of the party — no equipment necessary. The same flare the pro- fessionals use. Five sizes, '/£, 1, 2, 3 and 4 minutes of light. Also electrically fired flares for special work. John G. Marshall 1752 Atlantic Ave., Brooklyn, N. Y. 414 CLASSIFIED ADS EQUIPMENT FOR SALE EQUIPMENT FOR SALE KODASCOPE, Model A, good as new, list $180.00, sell $95.00; act quickly. Howard Hite, 95 East Baltimore St., Detroit, Mich. FOR SALE — SEPT 35mm Camera maga- zine leather case, excellent condition, $23.00; Model G DEVRY 16mm projector, nearly new, $62.00. F. H. Boyd, Ashton, 111. Lee Co. "BUFFALO'S MOVIE HEADQUARTERS" — A complete line of Motion Picture Cameras and Projectors, Screens, Humidor Film Storage and Carrying Cases, Lenses, Lights for Interior Photography, Acces- sories. United Projector & Film Corp., 228 Franklin St., Buffalo. N. Y.; Ill Keenan Bldg.. Pittsburgh, Pa. MODEL A KODASCOPE, 56 watt, $110, used. Detroit Camera Shop, 424 Grand River W.. Detroit, Mich. FOR SALE— Eastman Cine Kodak, Model B, with /.1.9 Lens and Eastman Model A Kodascope; Kodak new last fall. Both machines in excellent condition. T. C. Bright, 306 Elm St., Rome, N. Y. FOR SALE — DeVry 16mm projector, com- plete with 5 reels film, including Our Gang and Lloyd Comedies, $85.00. Box 485, Rochester, N. Y. NO matter what make of camera, lens or binoculars we have it. We are agents for Bell-Howell, Eastman, DeVry, Carl Zeiss, etc. Trade in your equipment for newer models; we also take good firearms in trade. National Camera Exchange (est. 1914), 5 So. 5th St., Minneapolis, Minn. 33/4-INCH DALLMEYER TELEPHOTO for Eyemo, $63, used. Detroit Camera Shop, 424 Grand River W., Detroit, Mich. 100-FOOT 16 MM TWIN REEL Develop- ing outfit. Suitable for amateur labora- tory. Details on request. Leonard Cordell, 58 West Washington Street, Chicago. FOLDING HALLDORSON TWIN ARC, list $65, condition like new. $40 net cash. Herman Liebes, 315 Central Park West, New York. ICA KINAMO, 3.5 Carl Zeiss, 80 ft., 35mm, $40, used. Detroit Camera Shop, 424 Grand River W., Detroit, Mich. FILMO 70 3.5 lens $125, used. Detroit Cam- era Shop, 424 Grand River W., Detroit, Mich. VICTOR 16mm Cine Camera, old model, $30. Detroit Camera Shop, 424 Grand River W., Detroit, Mich. MODEL A KODASCOPE, 200 watt, $125, used. Detroit Camera Shop, 424 Grand River W., Detroit, Mich. FILMO Camera 3.5 lens and accessories. All practically new. At one-third discount. For details write Arthur Flores, Texon, Texas. COMPLETE Universal (32mm) Camera Outfit, consisting of 200 ft. Universal automatic dissolve camera with 2 in. /-3.5 Goerz Hypar — 6z/2 in. B. & L. /-4.5 Tessar — six magazines — six masks — Universal pan-tilt tripod — cases. Camera almost new. Tripod used but in first-class condition. Price $495.00 complete. Thomas Baker, 605 W. Mercury St., Butte, Montana. EQUIPMENT WANTED WANTED— Low priced Printer 16mm for amateur. A. Clemby, Spanish Village Hotel, Miami Beach, Fla. FILMS FOR SALE EASTMAN'S "America Goes Over" com- plete war picture extra special $100. John R. Gordon, 1129 South Mariposa Ave., Los Angeles, California. SHARKEY-HEENEY FIGHT FILM— 100 ft. roll 16mm film showing few rounds of this fight and also shows first round of Loughran-Lomski fight. Regular $10.00. Special at $3.00. Mail orders filled to any part of New York State only. Willoughbys, 110 W. 32d St., New York City. ONE second-hand 16 mm copy, in good condition, of Douglas Fairbanks in the "Americano," approximately 1700 ft., $35 net cash. Herman Liebes, 315 Central Park West, New York. PERSONAL OPPORTUNITIES AMATEUR movie makers wanted to organ- ize clubs in every locality. Also to repre- sent our complete line of visual equipment goods in your territory. Ideal Pictures, 26 East 8th St.. Chicago, 111. TRADING OFFERS SWAP cameras. Stills for movies or movies for stills — amateur and professional. Bass Camera Company, 179 West Madison St., Chicago. WE BUY, sell and exchange everything pertaining to amateur movie making. Trade what you don't want for what you want. Get our prices on your needs. Ideal Pictures, 26 East 8th St., Chicago, 111. WE BUY, SELL, RENT Good Films, Pro- jectors, Cameras and Lenses in 16, 28 and 35 millimeters. Send list of what you have for sale. Maxwell H. Hite & Son, Harris- burg, Pa. METROPOLITAN FILM LIBRARIES Large Selection of the Latest and Best in 16 mm KIDVILLE GANG — Juvenile Comedies Extraordinary Complete entertainment and educational programs for an extended period at a nominal rental fee Regular Weekly Releases of Sensational Thrillers NATURAL HISTORY SERIES, LIVING BOOKS OF NATURE, COMEDY, WESTERN, TRAVELOGUE, ETC. Descriptive Catalogue on Request METROPOLITAN MOTION PICTURE COMPANY 108-110 WEST 34th STREET, NEW YORK CITY READY CLASSIFIED ADVERTISING at your disposal in MOVIE MAKERS Beginning with this issue, classified space in this magazine is open to you under these conditions: 10 Cents a word (figures, abbrevia- tions and initials counted as words). 20 Word minimum. No classified advertising with less than 20 words is accepted. Cash must accompany order. No discounts of any kind, including cash discount. Advertising for the Classified De- partment accepted for these classifications: 1. Equipment wanted. 2. Films wanted. 3. Equipment for sale. 4. Films for sale. 5. Trading offers. 6. Personal opportunities. Classified advertising will be pub- lished only in the Classified Sec- tion of MOVIE MAKERS All copy will be scrutinized with greatest care, but Movie Makers will not be responsible for errors nor for statements made by classi- fied advertisers. No proofs and no checking copies will be furnished to classified ad- vertisers. Send copy to : CLASSIFIED ADVERTISING DEPT. MOVIE MAKERS Magazine of the Amateur Cinema League, Inc. 105 West Fortieth Street New York, N. Y. 421 $500 PRIZE WINNING PICTURE! After six months' review of an almost unlimited number of entries covering practically every theme, the Contest Committee of PHOTOPLAY MAGAZINE selected "QUAIL HUNTING WITH GUN AND POINTERS" By B. V. Covert as the most attractive and interesting of the 16mm pictures. This exceptional picture of bird and dog life has been re-edited by Mr. Covert, reduced to a 200 foot reel at $15.00 HIGHLITEC N»- FROM THE NEW O 13 Lindbergh turns the Spirit of St. Louis over to the Smith- sonian Institute. The Ken- tucky Derby, America's Turf Classic. All on one 100 ft. reel $7.50 Have you ordered your five reel FILM CHEST? . . $6.50 AT YOUR DEALER— OR ORDER DIRECT FROM "GANZ" *07 5th AVE - NEW YORK "A GANZ production is a guarantee of QUALITY" YCLP CAMERA'S Reflects the Wisdom of Your Choice in the Results it Obtains KINO-HYPAR tINEGOR-TELESTAR Are known for their fine corrections, their speed and fine workmanship — the best assurance of tone atmosphere, correct perspective and wealth of detail from the scenes at which you point your camera. Goerz lenses are made in a variety of speeds and focal lengths. Our service department will gladly advise you as to the best selection for your camera and the particular work you are most interested in. C.P. GOERZ AMERICAN OPTICAL CO. MANUFACTURERS OF LENSES AND PRECISION INSTRUMENTS TO AID CINE-AMATEURS 317 East 34th St. New York City THE FIRST SYMPOSIUM {Continued from page 383) will evolve from its work a funda- mental evaluation of the status of amateur cinematography as it now stands. The members of this commit- tee, in addition to the chairman, are Kenneth W. Adams, writer and for- mer technician in continuity and editing in various professional studios; J. M. Fisher, film critic and member of the Will Hays organiza- tion; Arthur L. Gale, photoplay con- sultant of the Amateur Cinema League; Professor Carl Louis Greg- ory, F. R. P. S., author, teacher and authority on motion picture photo- graphy; Walter D. Kerst, S. M. P. E., technical consultant of the Amateur Cinema League; Herbert C. McKay, A. R. P. S., author and Dean of the New York Institute of Photography; Carl L. Oswald, author and authority on photographic processes; John W. Scott, technician with the Eastman Kodak Company; Frederick James Smith, editor and motion picture critic, and Stanley A. Tompkins, authority on photographic and cine- matographic processes. This committee, which combines the best eastern authorities on ama- teur cinematography from many points of view, will, it is expected, produce a monograph as a result of its labors. The Amateur Cinema League claims two of the prize winners as its members. Russell T. Ervin, direc- tor of "And How", the prize-winner in the 35mm class, early joined or- ganized amateur cinematography, to- gether with others of his fellow club members in the Motion Picture Club of the Oranges, which organization produced this photoplay. Mr. Ervin is a resident of East Orange, N. J., and is a mechanical engineering ex- pert whose business is in New York City. The Motion Picture Club of the Oranges is well known to readers of Movie Makers Magazine. It is a pioneer organization in amateur photoplay making. B. V. Covert, of Lockport (N. Y.) and Pinehurst (N. C), 16mm winner, is a charter League member. He is a retired automobile parts manufacturer and a cinematic traveler. Clarence R. Un- derwood, of St. Louis,- Mo., who bore off the 9mm prize, has used Movie Makers Magazine as an advertising medium. Kennin Hamilton, of Toronto, Canada, winner of the spe- cial award, is a bond salesman of that city. "And How", winner in the 35mm class, is a photo-comedy, done in the professional manner so far as sub- ject matter is concerned. Its technique is admirable and has most of the 422 finish of the product of our best pro- fessional studios. It is chiefly re- markable for its fine adherence to cinematic standards throughout, and next to nothing is told in the still camera fashion. One is conscious that a motion-picture-minded person has directed it. It is full of shots that make fullest use of the particular posses- sions of cinematography, as distinct from other arts. "Quail Hunting," Mr. Covert's win ning entry, is chiefly noted for its subject interest, its smooth contin- uity and its finished photography. There are photographs of dogs point- ing that are unique of their kind, we believe. The scenario is well planned and comfortably fitted into its foot- age, so that the viewer has a sense of leisure in enjoying it. The photog- raphy is fine throughout and Mr. Covert exhibits a good taste in com- position and in light and shadow that one does not often see equalled. Mr. Hamilton, who won the spe- cial award, gave the "Dream of Eugene Aram" in a film the subject interest of which was well sustained, the photography high class and the continuity, in the main, satisfying. Mr. Underwood, 9mm winner, gave excellent shots of Forest Park, St. Louis. Amateur cinematography has been exceedingly well served by the Photo- play contest. Amateurs may rightly express gratitude to that magazine for the effort it devotes to the develop- ment of personal movie making. This contest might well have been con- ducted by the Amateur Cinema League had not the League been too new and too occupied with the or- ganization of amateur cinematog- raphy to take up the many details of the task. League members may thank Photoplay that the contest feature has been introduced into the amateur movement. Photoplay has through- out shown the League a courtesy and a consideration that could not be ex- celled by the most exacting formalist in etiquette. The friendship between Photoplay and Movie Makers Mag- azine has deepened, and that jour- nal and this are active co-workers to- ward a common end. A yardstick has been made for amateurs. This yardstick will grow year by year. Its exacting markings must await the monograph of the committee of experts now at work. But amateurs have had established for them by this contest a means of estimating the progress of their art from time to time. Certainly this con- test is the first of a long series and the herald of an international cine- salon where the greatest offerings in cinematography will periodically be collected for review. IllilllllllllJIlffllllllllllUIII! IBS HOME MOVIE RELEASES ^s* "\ HE 35mm picture, "AND HOW," as produced by Russell Ervin of the Orange Motion Picture Club. This interesting picture compares most favorably with standard productions and is re- plete with varied effects such as fade-outs, double exposures, etc. Reduced in its entirety to 16mm. 400 ft. reel— $27.50 The 16mm prize winner, "QUAIL HUNTING DOWN SOUTH AND ALLIGATORS IN THE EVERGLADES," of B. V. Covert also in its full length. This picture shows the remarkable quality that may be ob- tained by an amateur and sets a standard for YOU to shoot at on your next vacation trip. 400 ft. reel— $27.50 MERICA'S famous army school. See future generals in the mak- ing giving a thrill to every beholder. This picture gives you an intimate glimpse of the daily routine of the West Point Cadet, — studies, athletics, drill. From classroom to mess hall, from the athletic field to the world famous dress parade, you see it all with plenty of action, splendid views of the imposing building and beauti- ful surroundings, this featurette is full of interest from beginning to end. $24 per 400 ft. reel WILL OAKLAND'S NIGHT CLUB HAT do New York and its visitors see in the night club? This picture shows you. The whirl and zip that is Broadway revealed in one of its famous night clubs, with well known theatrical celebrities and Will Oakland himself. Enjoy Broad- way entertainment in your own home. 400 ft. reel— $22 EARN to swim the six-beat racing crawl. Slow motion movements / U/7' on land, demonstrated also by actual swimming. A detailed set of printed instructions comes with the reel supplementing the subtitles. " 200 ft. reel— $8.50 These films are available through most dealers. If not, write: DU PONT PAT HE FILM MANUFACTURING CORPORATION 35 West 45th Street New York City Have you seen the VAN LIEW FILM FILE at your dealer? For 12 Reels §15. For 6 Reels $8.50 423 You will find Movie Makers Magazine and a Progressive Dealer at each of the following addresses* Visit them I CALIFORNIA Fullerton: Hardy's Drug Store, 110 N. Spadra. Hollywood: Fowler Studios, 1108 N. Lillian Way. Hollywood Movie Supply Co., 6058 Sunset Blvd. Long Beach: Winstead Bros., Inc., 244 Pine St. Los Angeles: Eastman Kodak Stores, Inc., 643 S. Hill St. Roland J. Giroux, 223 W. Third St. Leavitt Cine Picture Co., 3150 Wilshire Blvd. Earl V. Lewis Co., 226 W. 4th St. B. B. Nichols, Inc., 731 S. Hope St. Schwabacher-Frey Stationery Co., 734 S. Bdwy. X-Ray Supply Corp., 3287 Wilshire Blvd. Oakland: Davies, 380-14th St. Pasadena: Flag Studio, 59 E. Colorado St. F. W. Reed Co., 176 E. Colorado St. Pomona: Frashers, Inc., 158 E. Second St. Riverside: F. W. Twogood, 700 Main St. San Diego: Bunnell Photo Shop, 414 B St. Harold E. Lutes, 958 Fifth Ave. San Francisco: Eastman Kodak Stores, Inc., 545 Market St. Hirsch if Kaye, 239 Grant Ave. Kahn 6? Co.. 54 Geary St. Leavitt Cine Picture Co., 564 Market St. San Francisco Camera Exchange, 88 Third St. Schwabacher-Frey Stationery Co., 735 Market St. San Jose: Webb's Photo Supply Store, 94 S. First St. Santa Ana: Forman-Gilbert Pictures Co., 1428 W. Fifth St. Santa Barbara: J. Walter Collinge, 1217 State St. COLORADO Denver: Eastman Kodak Stores, Inc., 626-16 St. Ford Optical Co., 1029-16 St. Haanstad's Camera Shop, 404-16 St. CONNECTICUT Bridgeport: Fritz if Hawley, Inc., 1030 Main St. Harvey if Lewis Co., 1148 Main St. Greenwich: Gayle A. Foster, 9 Perryridge Rd. Hartford: H. F. Dunn Motion Picture Co., 410 Asylum St. Harvey if Lewis Co., 865 Main St. Watkins Bros., Inc., 241 Asylum St. New Britain: Harvey if Lewis Co., 79 W. Main St. New Haven: Fritz if Hawley, Inc., 816 Chapel St. Harvey if Lewis Co., 849 Chapel St. Reed Film Corp., 126 Meadow St. Stamford: Thamer, Inc., 87 Atlantic St. Waterbury: Curtis Art Co., 25-29 W. Main St. DELAWARE Butler's, Inc., 415 Market St. DuPont Bldg. DISTRICT OF COLUMBIA Washington: Reid S. Baker, Inc., 1322 F St.,N.W. Cinema Supply Co., Inc., 804 Eleventh St. Columbia Photo Supply Co., Inc., 1424 New York Ave., N.W. Eastman Kodak Stores, Inc., 607-14th St., N.W. Fuller if d'Albert, Inc.. 815-10th St., N. W. FLORIDA Lake Wales: Morse's Photo Service, Rhodesbilt Arcade. Miami: Miami Photo Supply Co., 36 W. Flagler Street. Red Cross Pharmacy, 51 E. Flagler St. St. Petersburg: Robison's Camera Shop, 115-3rd St., N. Tampa: Tampa Photo if Art Supply Co., 709-11 Twiggs St. GEORGIA Atlanta: The Camera Exchange, 7 Auburn Ave. Eastman Kodak Stores, Inc., 183 Peachtree St. IDAHO Boise: Ballou-Latimer Co., Idaho at 9th Stt. ILLINOIS •Chicago: Bass Camera Co., 179 W. Madison St. Aimer Coe if Co., 78 E. Jackson Blvd. Aimer Coe if Co.. 18 S. LaSalle St. Aimer Coe if Co., 105 N. Wabash Ave. Central Camera Co., 112 S. Wabash Ave. Eastman Kodak Stores Co., 133 N. Wabash Ave. Fair, The, Dept. 93, State, Adams cV Dearborn Sts. * Fischer's Camera Service, Rm. 202, 154 E. Erie St. Ideal Pictures Corp., 26 E. 8th St. Lyon if Healy, Jackson Blvd. if Wabash Ave. Seamans, Photo Finisher, 7052 Jeffery Ave. Wilmington Frost Bros Decatur: Haines if Essick Co., 121-128 E. William St. Evanston: Aimer Coe if Co., 1645 Orrington Ave. * Hattstrom if Sanders, 702 Church St. Galesburg: Illinois Camera Shop, 84 S. Prairie St. Rockford: Quality Photo Shop, 316 E. State St. Sterling: Ray Hart, 8-10 E. 4th St. INDIANA Evansville: Smith y Butterfield Co., 310 Main St. Fort Wayne: Biechler-Howard Co., 112 W. Wayne St. Rogers Optical Co., 824 Calhoun St. Indianapolis: L. S. Ayres y Co., Camera Dept., 1 W. Washington St. H. Lieber Co., 24 W. Washington St. South Bend: Ault Camera Shop, 122 S. Main St. Ault Camera Shop, 309 S. Michigan St. C. A. Wunderlich, 1234 Diamond Ave. Terre Haute: Whitney- Allison Co.. 681 Ohio St. IOWA Eastman Kodak Stores, Inc 318 Brady Eastman Kodak Stores, Inc., 808 Kodak Stores, Inc., 608 Davenport: St. Des Moines: Locust St. Sioux City: Eastman Pierce St. Visual Education Equipment Co., 208 Wright Bldg. KANSAS Topeka: Hall Stationery Co., 623 Kansas Ave. KENTUCKY D. Gatchel ySons, 431 W. Walnut W. Louisville Street. Sutcliffe Co 225-227 S. 4th Ave. LOUISIANA Eastman Kodak Stores, Inc., 213 New Orleans: Baronne St. Shreveport: Film Arbor Studio, 305 Yi Texas St. MAINE Bangor: Francis A. Frawley, 104 Main St. MARYLAND Baltimore: Amateur Movie Service, 85 3 N. Eutaw St. Eastman Kodak Stores, Inc., 223 Park Ave. MASSACHUSETTS Eastman Kodak Stores, Inc. 38 Bromfield Boston: St. Ralph Harris y Co., 30 Bromfield St. Ivgr Johnson Sporting Goods Co., 15 5 Washing- ton St. Andrew J. Lloyd Co., 300 Washington St. Montgomery-Frost Co., 40 Bromfield St. Pathescope Co. of the N. E., Inc., 260 Tremont St. Pinkham y Smith Co., 15 Bromfield St. Solatia M. Taylor Co., 56 Bromfield St. Braintree: Alves Photo Shop, Washington St. Lowell: Donaldson's, 77 Merrimack St. Springfield: Harvey y Lewis Co., 1503 Main St. Worcester: J. C. Freeman y Co., 376 Main St. L. B. Wheaton, 368 Main St. MICHIGAN •Detroit: Clark Cine-Service, 2540 Park Ave. Detroit Camera Shop, 424 Grand River, W. Eastman Kodak Stores, Inc., 1235 Washington Blvd. Fowler if Slater Co.. 156 Larned St. J. L. Hudson Co., Dept. 290. Metropolitan Motion Picture Co., 2310 Cass Ave. E. B. Meyrowitz, 1516 Washington Blvd. United Camera Stores, Inc., 14611 Jefferson Ave., E. Jackson: Royal Film Service, 178 Michigan Av. W. Lansing: Linn Camera Shop, 109 S. Washington Ave. Vans Cine Service, 201 American State Bank Bldg. Muskegon: Beckquist Photo Supply House, 885 First St. Saginaw: Hesse's, Genesee at Jefferson MINNESOTA Duluth: Zimmerman Bros., 330 W. Superior St. Minneapolis: Eastman Kodak Stores, Inc., 112 S. Fifth St. E. B. Meyrowitz, 825 Nicollet Ave. Sly Fox Films, 49 S. 9th St. Owatonna: B. W. Johnson Gift Shop, 115 W. Bridge St. St. Paul: Co-operative Photo Supply Co., 381-3 Minnesota St. E. B. Meyrowitz, Inc., 358 St. Peter St. St. Marie Cigar if News Co., 96 E. 5th St. Zimmerman Bros., 320 Minnesota St. Winona: Van Vranken Studio, 57 W. Fourth St. Meridian: St. MISSISSIPPI Hammond Photo Service, 2115-21 Sixth MISSOURI City: Z. T. Briggs Photographic Supply 916 Grand Ave. Briggs Photographic Supply Co., 1006 Main Kansas Co., Z. T. St. Z. T. Briggs Photographic Supply Co., 21 E. 11th St. Hanley Photo if Radio Shop, 116 E. 10th St. *St. Louis: A. S. Aloe Co., 513 Olive St. ErkerBros., 707 Olive St. Hyatt's Supply Co., 417 N. Broadway. NEBRASKA Hastings: Carl R. Matthiesen if Co., 713 W. 2nd St. Omaha: Eastman Kodak Stores, Inc., 419 S. 16 St. NEW JERSEY Camden: Parrish if Read, Inc., 308 Market St. Cranford: Home Movie Service, 32 North Ave. Newark: L. Bamberger if Co. Schaeffer Co., 103 Halsey St. Plainfield: Mortimer's, 317 Park Ave. NEW YORK Albany: E. S. Baldwin, 32 Maiden Lane. F. E. Colwell Co., 465 Broadway Binghamton: A. S. Bump Co., 180 Washington St. Buffalo: J. F. Adams, Inc., 459 Washington St. Buffalo Photo Material Co., 41 Niagara St. United Projector if Film Corp., 228 Franklin St. Whinihan Bros, if Co., Inc., 746 Elmwood Ave. Jamaica: B. Gertz, Inc., 16210 Jamaica Ave. New York City: Abercrombie if Fitch, ,45th if Madison Ave. American News and its Subsidiaries, 131 Varick St. J. H. Boozer. 173 E. 60th St. Brentano's, 1 W. 47th St. City Camera Co., 110 W. 42nd St. Abe Cohen's Exchange, 113 Park Row. * Columbus Photo Supply, 146 Columbus Ave. * Cullen, 12 Maiden Lane. Davega, Inc., Ill E. 42nd St. Devoe if Raynolds Co., Inc., 34 E. 42nd St. * Eastman Kodak Stores, Inc., Madison Ave. at 45th St. Eastman Kodak Stores, Inc., 235 W. 23rd St. H. if D. Folsom Arms Co., 314 Broadway Gall if Lembke, Inc., 7 E. 48th St. * Gillette Camera Stores, Inc., 117 Park Ave. Gillette Camera Stores, Inc., 16 Maiden Lane Gloeckner if Newby Co., 9 Church St. * Herbert if Huesgen Co.. 18 E. 42nd St. * B. M. Levoy, Inc., 127 W. 42nd St. Lowe y Farley, News Stand, Times Bldg. Lugene, Inc., 600 Madison Ave. E. B. Meyrowitz, 520 Fifth Ave. George Murphy, Inc., 57 E. 9th St. * New York Camera Exchange, 109 Fulton St. Pickup if Brown, 41 E. 41st St. C. F. Ray, 296 Fifth Ave. Schoenig if Co., Inc., 8 E. 42nd St. Seiden Films, Inc., 729 Seventh Ave. H. F. Waterman, 63 Park Row. * Willoughby Camera Stores, Inc., 110 W. 32 St. * Wyko Projector Corp., 33 W. 60th St. Rochester: Marks if Fuller Co., 36 East Ave. Sibley, Lindsay if Curr Co., Camera Dept. Stamford-in-the-Catskills: E. S. Burtis. Utica: Edwin A. Hahn, 111 Columbia St. OHIO Akron: Dutt Drug Co., 7 E. Exchange St. Pockrandt Photo Supply Co., 16 N. Howard St. Cincinnati: Ferd Wagner Co., 113 E. 5th St. Huber Art Co., 124-7th St., W. L. M. Prince Co., 108 W. 4th St. Cleveland: Bueschers, 10602 Euclid Ave. Eastman Kodak Stores, Inc., 1126 Euclid Ave. Escar Motion Picture Service, Inc., 12804 Su> perior Ave. Fowler if Slater Co. Fowler if Slater Co., Fowler if Slater Co., Home Movies Co Solomonson Optica 806 Huron Rd. 347 Euclid Ave. 1915 E. 9th St. 1501-7 Superior Ave. Co., 735 Euclid Ave. Stanley- Warren Co., 908 Irving Park Blvd. Watry if Heidkamp, 17 W. Randolph St. 'Indicates dealers who are advertising in Movie Makers Stone Film Laboratory, 8807 Hough Ave. Columbus: Capitol Camera Co., 7 E. Gay St. Columbus Photo Supply, 62 E. Gay St. Dayton: Dayton Camera Shop, 1 Third St., Arcade •Norwood: Home Movie Service Co., 2120 Slane Ave. Toledo: Franklin Print, if Eng. Co.. 226-36 Huron St. Gross Photo Supply Co., 325 Superior St. Lawrence's, 1604 Sylvania Ave. Youngstown: Fowler y Slater Co., 7 Wick Ave. 105 WEST 40th ST. MOVLb MAlvh/Kb, new YORK CITY $3.00 a Year (Canada $3.25, Foreign $3.50) 25 Gents a Copy (Foreign 30 Gents) 424 DEALERS - Continued OKLAHOMA Oklahoma City: Roach Drug Co., 110 W. Main St. Tulsa: Camera Shoppe, 519^4 Main St., S. OREGON Corvallis: Lynn's Photo Shop, 15 5 5 Monroe St. Pendleton: Floyd A. Dennis. Portland: Eastman Kodak Stores, Inc., 345 Wash- ington St. J. K. Gill Co., 5th is Stark Sts. Lipman Wolfe is Co., Kodak Dept., Fifth, Wash' ington is Adler Sts. PENNSYLVANIA Erie: Kelly is Green. 116 W. 11th St. Johnstown: F. W. Buchanan, 232 Franklin St. Philadelphia: Amateur Movies Corp., 2114 San- som St. Eastman Kodak Stores, Inc., 1020 Chestnut St. Jos. C. Ferguson, Jr., 1804 Chestnut St. Strawbridge & Clothier, Market, Eighth is Fil- bert Sts. John VVanamaker, Dept. 56. * Williams, Brown cV Earle, Inc., 918 Chestnut St. Pittsburgh: Eastman Kodak Stores, Inc., 606 Wood St. B. K. Elliott 6? Co.. 126-6th St. Kaufmann's Dept. Store., Dept. 62 Fifth Ave. Reading: Alexander Kagen, 641 Penn St. Wilkes-Barre: Ralph E. DeWitt, 60 W. Market St. Zwiebel-Stenger Sales Co., 203 S. Main St. RHODE ISLAND Newport: Rugen Typewriter is Kodak Shop, 295-7 Thames St. Providence: E. P. Anthony, Inc.. 178 Angell St. Starkweather is Williams, Inc., 47 Exchange PI. TENNESSEE Memphis: Memphis Photo Supply Co., Hotel Pea- body, 86 S. 2nd St. Nashville: G. C. Dury is Co.. 420 Union St. TEXAS Dallas: Cullum is Boren Co., 1509 Elm St. E. G. Marlow Co., 1807 Main St. El Paso: Schuhmann Photo Shop, P. O. Box 861. Ft. Worth: Chas. G. Lord Optical Co., 704 Main St. Houston: Star Elec. ii Eng. Co., Inc., 613 Fan- nin St. San Antonio: Fox Co., 209 Alamo Plaza. E. Hertzberg Jewelry Co., Houston at St. Mary's Sts. VERMONT Burlington: Robert T. Platka, 231 S. Prospect St. Rutland: Geo. E. Chalmers Co., Inc. VIRGINIA Norfolk: S. Galeski Optical Co., 209 Granby St. WASHINGTON Seattle: Anderson Supply Co., Ill Cherry St. Eastman Kodak Stores, Inc., 1415-4th Ave. Motion Picture Service, 903 Lloyd Bldg., Sixth Ave. and Stewart St. Spokane: Joyner Drug Co., Howard is Riverside Ave. Tacoma: Shaw Supply Co., Inc. E. W. Stewart is Co.. 939 Commerce St. Yakima: Bradbury Co., 19. S. Second St. WEST VIRGINIA Wheeling: Twelfth St. Garage, 81-12th St. WISCONSIN Eau Claire: Davis Photo Art Co. Fond du Lac: Huber Bros., 36 S. Main St. Green Bay: Bethe Photo Service, P. O. Box 143. Madison: Photo Art House, 212 State St. Milwaukee: Boston Store, Wisconsin Ave. tf 4th St. H. W. Brown is Co., 87 Wisconsin St. Eastman Kodak Stores, Inc., 427 Milwaukee St. Gimbel Bros., Kodak Dept., Wisconsin Ave. if W. Water St. Photoart House of Milwaukee, 220 Wells St. Waukesha: Warren S. O'Brien Commercial Studio, 353 W. Broadway. FOREIGN AUSTRALIA Melbourne: Charles W. Donne, 349-51 Post Office Place. Harrington's Ltd., 266 Collins St. Sydney: Harringtons, Ltd., 386 George St. Kodak (Australasia) Pty. Ltd., 379 George St. CANADA Montreal: Film y Slide Co. of Can., Ltd., 104 Drummond Bldg. Gladwish y Mitchell, 147 Peel St. Ottawa: Photographic Stores, Ltd., 65 Sparks St. Toronto: Eastman Kodak Stores, Ltd., 66 King St. T. Eaton Co., Dept. V.-6, 190 Yonge St. Film y Slide Co. of Can., 156 King St., W. Vancouver: Eastman Kodak Stores, Ltd., 610 Gran- ville St. Film y Slide Co. of Can., Ltd., 319 Credit Foncier Bldg. Winnipeg: Eastman Kodak Stores, Ltd., 472 Main St. CANAL ZONE Panama City: Lewis Photo Service, 1 Fourth of July Ave. CHINA Shanghai: Chiyo-Yoko, P 470 Nanking Rd. DUTCH EAST INDIES Java: Kodak, Ltd., Noordwijk 38, Weltevreden ENGLAND London, S. W. I.: Westminster Photographic Ex- change, Ltd., 119, Victoria St. London, W.I.: Bell y Howell Co., Ltd., 320 Re- gent St. London, W. I.: Wallace Heaton, Ltd., 119 New Bond St. E. B. Meyrowitz. Ltd., 1 A Old Bond St. Westminster Photographic Exchange, Ltd., 62, Piccadilly. Westminster Photographic Exchange, Ltd., Ill, Oxford St. Sheffield: Wm. Mcintosh (Sheffield) Ltd., Change Alley. Sheffield Photo Co., 6 Norfolk Row (Fargate). HAWAII Honolulu: Honolulu Photo Supply Co., P. O. Box 2999 HOLLAND Amsterdam: Foto Schaap is Co., Spui 8. Nijmegen: Capi, 13-17 Van Berchenstraat INDIA Calcutta: Army y Navy Coop. Soc, Ltd., 41 Chowringhee St. JAPAN Kobe: Honjo is Co., 204-5 Motomachi 6-Chome Kyoto: J. Osawa is Co., Ltd., Sanjo Kobashi. Osaka: Fukada is Co.. 218 Dojima Bldg. Tokyo: Heme Movies Library, 515 Marunouchi Bldg. MEXICO Mexico City: American Photo Supply Co., S. A., Avenida F. I., Madero, 40. NORWAY Oslo: J. L. Nerlien A/S, Nedre Slotsgate 13 University Book Shop REPUBLIC OF PANAMA Panama: Geo. L. Price, Laboratory No. 12 Ave. Norte SCOTLAND Edinburgh: J. Lizars, 6 Shandwick'Pl. Glasgow: Robert Ballantine, 1 0 3 ]/2 St. Vincent St., Nr. Renfield St. J. Lizars, 101 Buchanan St. SPAIN Barcelona: James Casals, 82, Viladomat St. Madrid: Kodak Sociedad Anonima, Puerta del Sol 4. STRAITS SETTLEMENTS Penang: Kwong Hing Cheong, lc Penang St. SWITZERLAND Winterthur: Alb. Hoster, Marktgasse 57. Zurich: Zulauf (Vorm, Kienast if Co.), Bahn- hofstr, 61. BOTH MOVIE AND STILL CAMERA FANS READ "PICTURE TALK" IT'S WRITTEN IN TERMS AN AMATEUR UNDERSTANDS PUBLISHED MONTHLY— 30c A YEAR PICTURE TALK CO. Box 98M, Lebanon, N. H. (N.B. — Ask about our Camera Exchange.) EVERY EDUCATOR SHOULD SUBSCRIBE TO eJKovie e^jfCakers THREE DOLLARS THE YEAR 105 West 40th Street, New York City We Are Now Distributors For Kodascope Libraries You will find a large st' lection of these Popular subjects.at our P ar\ Avenue Store together with the latest releases of HOME FILM LIBRARIES Gillette Camera .Stores MAIDEN "LANE ARK AVENUE AT 41st ST. THE FILM CEMENTER (for your film cement) The handiest device for the amateur ever invented. It holds about V2 ounce of cement which it spreads even' ly on the splice with the bent end of the rod. It seals itself automatically and is always ready when wanted. A solid brass nickel plated article which will last indefinitely. Developed and patented by a moving picture projectionist after years of experiments. $1.00 POSTPAID (the introductory price) HENRY COUILLARD 449 S. HHl St. Los Angeles, Calif. CORCORAN TANKS For 16 mm. Film Development Send for Circular A. J. CORCORAN, INC. 758 Jersey Ave., Jersey City, N. J. UNUSUAL FILM For members of Medical or Surgical Profession only CAESARIAN OPERATION 100 Ft. Price $15.00 Only orders on letterheads of physi- cians, surgeons or hospitals filled. Home Movie Service Co. 2128 Cathedral Ave., Norwood, O. Everything for the Home Movie Maker. 425 "PICTURES THAT PLEASE" KODASCOPE LIBRARIES announce an important expansion of their distribution service—- For the greater convenience of our Library Members, franchises have been granted to prominent equipment dealers for their individual distribution of Kodascope Library subjects. This expansion of Library Service will be appreciated by all present and prospective mem' bers of the Kodascope Libraries in those cities. Membership in Kodascope Libraries entitles its owners to exclusive privileges not available to others. Film Service may be obtained by them from any Branch Library or Distributor in the United States or Canada. KODASCOPE BRANCH LIBRARIES Atlanta, Ga., 183 Peachtree Street Boston, Mass., 260 Tremont Street Buffalo, N. Y., 228 Franklin Street Chicago, III., 137 North Wabash Avenue Cincinnati, Ohio, 110 West 8th Street Cleveland, Ohio, 1126 Euclid Avenue Detroit, Mich., 1206 Woodward Avenue Kansas City, Mo., 916 Grand Avenue Los Angeles, Cal., 643 South Hill Street Minneapolis, Minn., 112 South Fifth Street New York, N. Y., 33 West 42nd Street Philadelphia, Pa., 2114 Sansom Street Pittsburgh, Pa., 606 Wood Street San Antonio, Texas, 209 Alamo Plaza San Francisco, Cal., 241 Battery Street Seattle, Washington, ill Cherry Street Toronto, Ontario, 156 King Street, W. Montreal, Quebec, 104 Drummond Bldg. Winnipeg, Manitoba, 205 Paris Bldg. Vancouver, B. C, 310 Credit Fourier Bldg. KODASCOPE DISTRIBUTORS BIRMINGHAM, ALABAMA Bromberg & Company, 218 North 20th Street CHICAGO, ILLINOIS Bass Camera Company, 179 West Madison Street Aimer Coe & Company, 18 South La Salle Street Aimer Coe t? Company, 78 East Jackson Boulevard Aimer Coe c? Company, 105 North Wabash Avenue Marshall Field & Company Watry & Heidkamp, 17 West Randolph Street CLEVELAND, OHIO Marshall Drug Company, 200 Superior West Marshall Drug Company, Euclid and East 9th DENVER, COLORADO Eastman Kodak Stores, Inc., 626 — 16th St., nr. Calif. St. DES MOINES, IOWA Eastman Kodak Stores, Inc., 810 West Locust Street DETROIT, MICHIGAN Eastman Kodak Stores, Inc., 123? Washington Boulevard DULUTH, MINNESOTA Eastman Kodak Stores, Inc., 330 West Superior Street EVANSTON, ILLINOIS Aimer Coe & Company, 1645 Orrington Avenue HARTFORD, CONNECTICUT Harvey & Lewis Company, 852 Main Street Watkins Brothers, Inc., 241 Asylum Street INDIANAPOLIS, INDIANA The H. Lieber Company, 24 West Washington Street LOS ANGELES, CALIFORNIA B. B. Nichols, Inc., 731 South Hope Street MEMPHIS, TENNESSEE The Memphis Photo Supply Company, &( NASHVILLE, TENNESSEE G. C. Dury Company, 420 Union Street NEW HAVEN, CONNECTICUT Fritz 6? Hawley, Inc., 816 Chapel Street South 2nd Street NEW YORK, N. Y. Eastman Kodak Stores, Inc., 346 Madison Avenue Gillette Camera Stores, Inc., Park Avenue ii 41st Street NEWARK, NEW JERSEY L. Bamberger ii Company OMAHA, NEBRASKA Eastman Kodak Stores, Inc. PITTSBURGH, Pennsylvania Joseph Home Company PORTLAND, OREGON Eastman Kodak Stores, Inc. ROCHESTER, NEW YORK Marks t? Fuller, Inc., 36 East Avenue Sibley, Lindsay & Curr Company ST. LOUIS, MISSOURI A. S. Aloe Company, 707 Olive Street Hyatt's Supply Company, 417 North Broadway Schweig-Engel Corp., 4929 Delmar Boulevard ST. PAUL, MINNESOTA Eastman Kodak Stores, Inc. 419 South 16th Street 345 Washington Street Minnesota Street SAN DIEGO, CALIFORNIA Harold E. Lutes, 958 Fifth Street SAN FRANCISCO, CALIFORNIA Eastman Kodak Stores, Inc., 545 Market Street Hirsch & Kaye, Inc., 239 Grant Avenue Schwabacher-Frey, Market opp. Grant Avenue Sherman, Clay & Company, Kearney at Sutter Street SEATTLE, WASHINGTON Eastman Kodak Stores, Inc., 1415 Fourth Avenue Lowman t? Hanford Company, 616 First Avenue SPOKANE, WASHINGTON Joyner Drug Company, Riverside and Harvard SPRINGFIELD, MASSACHUSETTS Harvey ii Lewis Company, 1503 Main Street 426 'Presenting — Cine-Kodak Panchromatic Film A material that, in black and white, gives your movies a new naturalness, a?i added attractiveness. A decidedly forward step in better screen results. NEW realism . . . new beauty . . . new fidelity to nature's colors . . . new quality . . . absolute elimination ot halation! These are the paramount characteristics of the new Cine-Kodak Panchromatic Film, ready now at your Cine-Kodak dealer's. Cine-Kodak Panchromatic film marks a de- cided forward step in the quality of the pictures that you film. It places at your disposal a very definite means of improved screen results. Ordinary films are sensitive chiefly to blue and violet light, while to the eye green and red are brighter colors. As a result, there is a great difference between the brightness of colors as re- produced in photographs and as seen by the eye. Color-sensitive Panchromatic films, on the other hand, are sensitive to light of all colors so that with Cine- Kodak Panchromatic Film the monochrome reproduction on the screen shows all colors more nearly in their accurate relationship. The advantages of Cine- Kodak Panchromatic Film will be found in all fields of motion picture photography. In portraits, and especially in close-ups, the rendering of flesh tones is greatly improved. Colors, whether occurring in costumes or in landscapes, are rendered with much greater fidelity in their appearance to the eye; and the quality of distant views, especially when the color filter is used, is much improved. Clouds assume a beauty that ordinary film cannot pos- sibly produce. The Cine-Kodak filter is recommended for general use with Cine- Kodak Panchromatic Film. It should be used for landscape work and the photography of clouds, as well as for all cases where a definitely correct color rendering is de- sired. It is not absolutely necessary to use a filter with panchromatic film. Marked improvement will be noticed at once when this film is used, but this improvement is greatly increased by the use of a filter. Halation eliminated Another advance has been made in the pack- ing of this new film. The paper leader has been eliminated and the protection of the film is as- sured by an opaque coating on the film itself, which disappears during processing. This opaque backing is more efficient than the paper leader as a protection from light during loading. The most noteworthy feature of this backing, how- ever, is the entire elimination of halation, which invariably results, when, with ordinary film, pictures are made of white clothing in direct sunlight. The elimination of halation also makes for better rendition of distant scenes. Easily used The amateur encounters no difficulties when using Cine- Kodak Panchromatic Film; the film is daylight loading, packed ready for insertion in the camera, and is processed by the famous re- versal process. Prices Cine-Kodak Panchromatic Film is priced at $7.50 per 100-foot roll, at your Cine-Kodak dealer's. The special filter is priced at $2.50 for the Cine-Kodak Model B/.1.9, and $1.50 for the Model B f.3.5 or f.6.$. Because of the construc- tion of the front of the Model B/.3.5, a special attachment to accommodate the filter is neces- sary. This is priced at $1. At your Cine-Kodak dealer s Eastman Kodak Company, Rochester, N.Y. camera Jvr making your vacation movies! .:■■:■■■ -,;:. ■ ■ Uie new Bell &Howell "Watch-thin" as compared with others. Flat, handy, fits the pocket. Attractive new price. Get details ERE is the camera that at last brings within reach of the average movie amateur and family all the pleasure, enter- tainment and satisfaction of having quality motion pictures. It is the new Bell & Howell Filmo 75, costing one-third less than the famous Filmo 70, yet retaining many of its features of adaptability and precision. You hold the Filmo 75 in one hand, the index finger falling naturally on the automatic release button —look through the spy- glass viewfmder concealed within the frame — press the but- ton.That'sallthereistodo. What you see, you get — with mirror- like fidelity — motion and all. The Filmo 75 is jewel-like in its beauty. It is "watch-thin" as compared with all others. Readily slips into the coat pocket. So simple a child may successfully operate it. Ideal for field, travel, vacation and sport use. The reg- ularly equipped F 3.5 lens may be readily inter- -cr*J- FILMO 70 "What you see, you get" The most flexible and highly perfected movie camerama.de at any price for amateur use. Adaptable fo all conditions of light, speed and distance. Optional mechanisms for making s-l-o-w movies. Described in free booklet " Home Movies of the Better Kind.' Write for it. "What you see, you get' ELL & OWELL changed with a wide variety of speed lenses and telephotos to meet any need. Filmo 75 is built to the same high standards of quality as the Bell & Howell standard professional cameras costing up to $5,000, with which prac- tically all the world's finest theatre motion pictures are made. Among amateur cam- eras it is excelled only by the Filmo 70, the finest amateur movie camera made at any price, as any user or dealer can tell you. BEAUTIFUL COLORS The Filmo 75 comes in three beautiful colors — Wal- nut Brown, Silver Birch, and Ebony Black. Price includes plush lined, genuine Scotch-grained leather cariying case. Distinctive equipment for the most exacting user. This summer have a Filmo 7 5 or 70 for your vacation — for taking movies of the chil- dren— for the thousand other pleasant things you would perpetuate for all time. Mail the coupon for further information. BELL & HOWELL CO. 1828 Larchmont Ave., Chicago, 111. Please mail full descriptive information on your new Filmo 75 and send name of nearest, store where I may examine and try it. Name A ddrcss City Stale. BELL & HOWELL CO., 1828 LARCHMONT AVE., CHICAGO, ILLINOIS ■ NEW YORK. IIOLL YWOOD, LONDON (B. $ H. Co., Lid.) ■ ESTABLISHED 1907 Tripod Device THE Kino-Projector Plate, with which camera tripods can be converted into convenient projector stands, is now offered by the K. W. Thalhammer Company of Los An- geles. The plate takes the same posi- tion as the camera on the Kino-Pano- Tilt and Tripod, also manufactured by this company. The projector is then clamped to the plate. The verti- cal tilt and panoraming features of the Kino-Pano-Tilt, plus the rigidity of the Thalhammer Tripod, provide a projector stand of the greatest flex- ibility, and with complete safety. A plate for each style of projector is available. New Name CINELAB, INC., is the name under which the Frederick F. Watson Film Laboratories, Inc., of 33 West 60th Street, New York City, will be known in future, according to an- nouncement just received. Officers of Cinelab are: Herbert Smith, presi- dent, J. Harold Smith, vice president, and William McAdoo, treasurer. Our best wishes go to an old friend under this new name. Books HPHE growing interest in photo- ■*■ graphic subjects has recently been definitely indicated, according to the Falk Publishing Company of New York City, by receipt of the largest single order for photographic books ever placed. This order was for $5,000 and was placed by Herbert & Heusgen of New York City. Among the most recent publications of the Falk Company are: the revised addi- tion of Carl Louis Gregory's "Motion Picture Photography", Herbert C. McKay's "Handbook of Motion Pic- ture Photography", and his "Amateur Movie Making." Victor Turret A NOTHER lens turret planned for **■ the Victor Camera, in addition to the one mentioned last month, has been called to our attention. It was developed for Mr. E. C. Hammond of Auburndale, Massachusetts, by the Eastman Kodak Stores of Boston. Cementer Improvements CHANGES in the Couillard Film Cementer, just announced, which make for its greater convenience, in- clude: a packing in the nozzle to pre- vent the cement from flowing too freely: a notch on the rod which scrapes off the hard cement that seals it, as the rod is pulled out; and a groove on the threaded end of the nozzle to relieve the pressure inside the can before using, and to prevent pressure when the nozzle is being screwed in. This cementer will work properly under any conditions. JUST ARRIVED! A New Model Drem Exposure Meter the NEW GINOPHOT 1/32— /-1.8 The CINOPHOT gives INSTANTLY correct exposure for ALL Amateur and Professional motion picture cameras. This NEW CINOPHOT reads DIRECTLY for still cameras and CINE-KODAKS AND ALL motion-picture cameras of similar speed, like the 16 m/m DeVry, etc. Is — at the same time — a meter for still cameras and TIME EXPOSURE Point to the scene. Look into this: HOW SIMPLE TO USE: Just the numeral appears. N.0 confusion with extraneous light. N.o colored fields to blend or merge. Nothing to guess at. N.0 seconds to count. Toothing to wait for. At the instant the Numeral becomes visible, the ITiDEX points to the right stop, or between the stops, just as the LIGHT condition demands, and EXACTLY as you should place the diaphragm index on your camera lens. THAT'S ALL Over 100,000 Drem Exposure Meters, in use all over the world, have demonstrated the perfection of the Dr. Mayer invention. And now the NEW CINOPHOT — on the same proven principles — comes with closest application and wider usefulness to CINE PHOTOGRAPHY. The price of this great Exposure Meter is about the same as TWO rolls of Cine Film, yet — it saves so many spoiled rolls and disappointment. WE ENDORSE AND RECOMMEND THE NEW CINOPHOT Complete with Drem Sole Leather Case $12.50 DREM PRODUCTS CORPORATION 152 WEST 42nd STREET NEW YORK, N. Y. ASK YOUR DEALER [IS MONTH ONLY— WE WILL ALLOW: $ 60 on your Kodascope C projector 100 on your Kodascope A 200 Watt 50 on your Kodascope C projector 90 on your Kodascope A 200 Watt 50 on your Cine Kodak B f-6.5 70 for Cine Kodak B f-3.5 in trade for MODEL B in trade for BELL & HOWELL for FILMO 70 or 75 or Cine Kodak B f-1.9 Private projection room on premises. Patronize this store and let us help you better your Movie. Complete assortment of ACCESSORIES AND LENSES FOR 16 MM EQUIPMENT DISTRIBUTOR OF BELL & HOWELL RENTAL LIBRARY PLENTY OF BARGAINS IN USED PROJECTORS ALL MODELS Every used projector bears an Iron Clad guarantee just as if you bought a new machine MAKE THIS STORE YOUR HEADQUARTERS FOR ALL YOUR REQUIREMENTS PERSONAL ATTENTION Co m p etent — Technical Cine Films purchased from us receive 48 hour Finishing Service Free COLUMBUS PHOTO SUPPLY 1 146 COLUMBUS AVENUE NEW YORK \j OPEN EVENINGS AT 66th ST. & B'WAY 415 FISCHER Buys — Sells — Exchanges Motion Picture Equipment WRITE FOR BARGAIN LIST FISCHER'S CAMERA SERVICE, Inc. Everything Known iniMotion "Pictures " 154 EAST ERIE STREET CHICAGO WHY NOT Have a living Portrait of the little ones at play? MOVIES IN THE HOME The Innovation of the Day! SERVICE for the Amateur by a Professional SUE RICE 300 West 12th St. New York City Wat kins 10130 WE BUY All Makes of Recognized Quality 16 M/M and 35 M/M Cameras and Projectors CINE KODAK KODASCOPE DE VRY EYEMO FILMO VICTOR Also PATHEX & SEPT Give All Details in First Letter Monarch Theatre Supply Go. Box 2042 Memphis, Tenn. (amateur movie dept.) TWIN ARK a portable arc con- sumes 8 amperes and operates on lighting circuit. Weighs 6 lbs. Ideal for Cine Work $37.50 Send for free circular TWINARK 434 Larkin St. San Francisco, Calif. Dealers and Jobbers write for discount Try FILMLAB SERVICE Once and you will come back for more Negatives Developed Positive Prints Titles of all kinds 16mm or 35mm rimmmp [o ITOOO oTTOO 0 D 0 o pood ooooooooocoooooot 130 WEST 46th STREET New York City. Tel. Bryant 4981-2 CRITICAL FOCUSING (Continued from page 392) the results attained in Street Angel are not only technically perfect, but of an artistic quality that is breath taking. Color: Although color is used with the greatest economy, its addition greatly enriches certain sequences, and the manner of its employment is entirely practicable for amateurs. In some of the waterfront scenes, for ex- ample, where an old lamp or lantern is part of the composition, this light has been colored yellow. Although a bright spot in the full scene of gray, it seems an integral part of the pic- ture, because applied logically. For the amateur this would mean hand coloring each frame of the sequence, and this method will be discussed fully in an article, "Coloring Film With Brushes," in our July issue. Shadows: There is excellent shad- ow work, heightening the mood which it is desired to invoke. Atmosphere: Street Angel estab- lishes and maintains the atmosphere of its locale with the easy perfection which bespeaks great artistry. Composition: The intelligent use of composition in interpretation of the story is illustrated by the scene in which the girl is brought before the court. She is small and weak and the court is powerful. Therefore, the camera placed behind the judge shows the judge and bench looming large in the foreground, while the unfortunate defendant, scarcely able to see above the bench, is placed in the middle ground, and by contrast with the mass of the foreground seems very small and insignificant. Note: For the above reasons and many which do not so readily lend themselves to comment every reader of Movie Makers should see Street Aneel. PHOTOPLAYFARE (Continued from page 393) muscles more his eyes would not have had to carry the too-heavy interpreta- tive burden. We thought the Duchess Josiana — Miss Olga Baclanova — too "utterly utter" for even her frank period and Hugo's psychopathic per- sonage. We recommend to Mr. Laemmle that he turn Mr. Leni as director and Mr. Warrenton as photographer loose on something that is designed for the screen. He has a valuable pair of cinematic artists, and if he keeps them in progressive channels and lets Vic- tor Hugo rest under his time-frizzled laurels, we shall all be thankful. ARROW PORTABLE Motion Picture Screens (Patent Pending) Screen Ready for Use Screen Rolled in Case for Carrying Composed of millions of tiny round glass beads, firmly embedded on a strong fabric in a pure white composition. Has a wonderful reflective surface and will not glare like the silver metal- lic surface. Can be easily cleaned with soap and water. Complete with dustproof mahogany finished case into which it is drawn by a metal spring. PRICES No. 0 — Size 16x3x2'/2 — pictuTe surface 9'/4X 11% in. Weight 3 lbs $10.00 Ho. 1 — Size 3 3'/2x3V4x4 — picture surface 22x30 in. Weight 6 lbs $15.00 No. 2 — Size 451/2X41/2X5 — picture surface 30x40 in. Weight 15 Ibs $25.00 No. 3 — Size 57x43/4x5 — picture surface 39x52 in. Weight 18 Ibs $35.00 No. 4 — Size 72x51/)x5I/2 — picture surface 51x68 in. Weight 40 Ibs $75.00 At Your Dealer MANUFACTURED BY Arrow Screen Company 6725-55 Santa Monica Blvd., Hollywood, California M. TITLES f r'm'l Complete editing and titling I YESTERDAY t service. (16 mm. or stand- 1 ~w ard.) Cinematography. CLARK CINE-SERVICE | 2540 Park Ave. CAdillac 5 260 1 DETROIT, MICH. FREE 100 Ft. Roll, 16 mm Cine-Kodak Film Value $6.00 With every order for A NU-TIRAN TILTING and PANORAMING HEAD The Nu Tiran Tilting and Pamoraming Head $12.00 Compact and light of weight. Easily and quickly manipulated. Fits all standard tripods. We make this offer in order to widen our ac- quaintance with movie owners. This 100 //. Eastman Cine Film absolutely free with every NU-TIRAN Head ordered before July 31st. Hattstrom & Sanders 702 Church St. Evanston, 111. 416 MAKING YOUR OWN HOME MOVIES TALK (Continued from page 378) After you have gone to all the trouble to have your subject learn the song you are going to use, be sure that his lips will appear clearly on the film. He should be quite close to the camera, which should be care- fully focused by measuring with a tape the exact distance from it to the subject. Pictures showing 'close-ups" are most effective. It is not necessary to take a full-length picture; from the waist up is plenty, and the head alone is very effective. Now all that remains to be done is to start the camera, then start the record at the predetermined point, and let the subject do the rest. Promptly at the end of the verse the phonograph is stopped and the sub- ject permitted to make a bow before the camera is stopped. You must allow plenty of leeway between the camera and the phonograph so that he will not have to rush to make the final bow. Bear in mind at all times that you are taking a movie and that your subject should show more signs of life than simply by moving his lips. The final step is the projection. Here is where the fun begins. You will have to do a little experimenting to get the projector and the phono- graph to run in absolute synchro- nism. As each has a speed adjustment you should have little difficulty in regulating them once you start them together. The whole trick is to start them together. A little practice will enable you to do this. You will soon detect the proper instant to start the phonograph so that the first words will be heard exactly when the lips first begin to move. The phonograph should be concealed directly behind the screen, ready for instant opera- tion. Experiment with both a loud and soft needle and decide which you prefer. The talking scene should be carefully spliced into the middle of an appropriate reel and should come as a complete surprise to your audi- ence. Just before the talking scene is about to appear on the screen you should stand at the phonograph and carefully watch the picture. When the proper point is reached, set the phonograph in motion and your pic- ture will talk! Once you have mastered the tech- nic of the home-made-talking-movie you can attempt more elaborate scenes. Considerable comedy can be injected into your pictures by having non-musical persons play musical in- struments. Records are available of nearly every sort of solo, from banjo Look/ ...the NEW " WATCH -THIN" BELL & HOWELL 15 i^OW, after three years of intensive development comes the new Filmo 75, affording the finest personal movies and costing one-third less than the Filmo 70! It is "watch-thin" compared with other movie cameras. Beautifully embossed, wear-proof metallic finish. Weighs only three pounds — fits into the coat pocket. Winds like a watch, the permanently-attached key folding flat against side of camera. Retains the familiar spy-glass view-finder concealed within the frame. Held and operated easily in one hand. Regularly equipped with Taylor Hobson-Cooke /-3.5 anastigmat lens, quickly interchangeable with Telephotos and speed lenses for special use. Spy-glass view-finder has auto- matic field area adjustment for use with all optional lenses. FAIR ALLOWANCE MADE on your old STILL CAMERA— MOVIE CAMERA — PROJECTOR in trade for the NEW BELL & HOWELL 75 Full Line of — LENSES — ACCESSORIES — FILMS — — LIBRARY RELEASES — Free developing service on 16 mm Films. Expert repair department at your service. N. Y. CAMERA EXCHANGE 109 Fulton Street, New York City BEEKMAN 2387 FOTOLITE -.. Dark Days ?•■ MOST LIGHT y l»ER AMPIEB ASK YOUR DEALER FOR A DEMONSTRATION TESTRITE INSTRUMENT CO. NEW YORK 417 YOUR TRIPOD BECOMES A PROJECTOR STAND Simply screw a M.A.C. clamp on any tripod as you do a camera, fasten the base of your projector into place, secure the legs with the shelf brace and you have the neatest, han- diest and most rigid projector stand possible! Leg brace is absolutely essential to prevent tipping and spread' ing. It is canvas covered to act as shelf for reels. Clamp of cold rolled steel, brace solid brass. Both are light and compact. Clamp for Koda- copes, DeVry, etc. Clamp for B. y H. Filmo Outfit complete $14.00 (Kodascope B $14.60) Extra shelf and brace $11.00 M.A.C. Single Exposure Clamp for Filmo and Eyemo simplifies animated movies of inanimate objects, title mak- ing and makes closeups of subjects with a one-inch lens ordinarily ob- tained only with telephoto, and takes your place at the camera while you are in the picture — starts when you step into focus, stops when you step out of focus, no waste of film. In- stantly adjusted to camera. For Filmo $3.75 Entire outfit for indoor and out- door work $4.65 Write for detailed booklets *':"•£«•-£§? THE "M.A.C." COMPANY CINE ACCESSORIES 159 Remsen St., Brooklyn, N. Y. New and Popular KINO-PANO-TILT and TRIPOD Acclaimed finest tripod and camera head for 16mm cameras. Write for projector plate, stat- ing style of projector you use, which makes this tripod and camera head into the finest projector stand on the market. $35.00 Projector Plates $5.00 to $7.50 DEALERS WRITE MANUFAC- TURER K.W.Thalhammer Go. 121-3 S. FREMONT AVE. Los Angeles, Calif. 'The Better Kind" ENOS ART TITLES Something New!!! For those who prefer to make their own titles; a beautiful Art Border, with your name or initials inset. Sent upon receipt of $2.00. Pennsylvania 2634 Pioneer Art Title Builder RALPH R.ENO 117 PARK AVE. NEW YORK, to trumpet and from violin to drums. Foreign-language records can also be secured. These can be used for com- edy effects. As you become more skillful you can attempt two or even three talking scenes in one reel. Duets and quartettes are quite diffi- cult, but highly effective. Do not be discouraged if your first talking-movie is not a success. Anal- yze your troubles and correct your mistakes in your next effort. The seek- er of novelty will find that this idea of the home-talking-movie opens up an almost unlimited fiield of enter- tainment off the beaten track of the usual home-made movie. WEATHER BY PROJECTION ( Continued from page 377) of the slide. We plumped down on the snowy hillside; then, after pull- ing our slickers tightly around us to ward off what wetness we could, with gales of laughter we lunged down the hundred-foot snowbank while our photographer clicked away. Amidst flying snow and more laughter we did it over again. The hero and the villain had in- sisted on wearing Heidelberg caps, the former a violent purple and the latter a mustard yellow, so we caused much comment among those not Americans. Americans are calloused to antics of their fellow-countrymen abroad. Descending the snowy hill toward the Berghaus again, we explored sev- eral ice caves. They were hung with electric lights and were so high that almost everywhere one could stand upright. The lights on the ice walls made them pale blue, like myriads of star sapphires. The lights shining through icicles seemed eerie and fan- tastic. As we emerged again the whole scene suggested a glacier-filled valley in the Ice Period. We looked through the telescope and saw wonders far and near. Entering one of the intermediate variety of lunch stations, we enjoyed our omelette, cheese sandwiches and beer, with a pastry, coffee and cognac for dessert; then watched our fellow- travelers hastily write cards, to be stamped with the high-postal cancel- lation of "Jungfraujoch, 11,340 feet."' * * ~ * * Boarding the train, ready for the descent, we — suddenly, click! The room was flooded with light, and in- stead of being on a mountain climb we were in a brightly illuminated room of a house in Paris. But we had been "on location," and instead of hot September it had been cold July. 418 WILL YOURS BE A MOVIE SUMMER {Continued from page 402) and important the visual educational movement is becoming, are producing interesting and authentic films which are available in 16mm size. Managers of many summer hotels and boarding houses, remote from towns boasting moving picture thea- tres, depend upon the 16mm movie to keep their guests contented. They find it a most popular type of entertain- ment. And why not? A glance at the catalogues of libraries now oper- ating discloses an amazing wealth of material from which to choose. Prac- tically all of the celebrated stars — the darlings, heroes and comedians of the screen — in some of their most pop- ular film successes are already avail- able, and their number is being con- stantly augmented. Whoever has spent his vacation at the typical mountain resort before the introduction of mov- ies will realize what a welcome im- provement "movie night" has been. These managers have also found that films made the previous year, or earl- ier, of their guests participating in tennis tournaments, water sports, etc., are extremely popular not only with those returning guests, but with the new arrivals, who anticipate similar good times. While you are vacationing in that small town to which you sometimes go, tell the "ladies-aiders" that in- stead of your regular contribution to their cause this year you will stage a movie show at their strawberry festi- val or summer fair. Then note how your popularity increases. Your pro- jector can also assume a very impor- tant place in the program at garden parties and various impromptu en- tertainments. You will find that your own films will be keenly appreciated and favorably compared to the other films you show, whether or not they are professional stock. Movies in the open are delightful. Adding to the delight is the assurance of a program that contains only the types of pictures that you especially like. Sharing the program with friends who have similar tastes makes your entertainment ideal. Send for the catalogues of the various libraries and see what a variety of films and stars there is from which to select. Talk with your dealer and learn what easy arrangements you can make with him about having your films mailed to you at stated times. Consider the entertainment and pleasure it will mean to your friends as well as to yourself. Then go ahead and make this a movie summer. the fastest lens in the world MEYER Formula of Dr. Rudolph it's the fast lens that does it! You've seen the pictures; you've envied the man who took them. The soft twilights, the sunrises, the rainy day pavements, or cheery inte- riors. The pictures taken under difficult lighting conditions — indoor shots of the family or the kiddies at play. Your camera can take them too — with an /-1.5 lens. The PLASMAT /-1.5 is the fastest lens in the world — and its speed does not exclude the plasticity and depth found in the work of all PLASMATS. or FILMO or VICTOR in micrometer focusing mounts 2x or 5x focus price Jena glass filters that inches lens ,screw '? between lens and sunshade $4.50 greater depth 54.00 4.50 Usual standard equipment 85.00 7.50 Increased perspective — moderate telephoto Hugo Meyer J. New Releases! Liquid Air! An exceptional film of remarkable ex' periments performed with liquid air by Dr. Franklin of Leland Stanford Uni' versity — $21. It's a Bear! A short film of bear antics taken in the National Parks. 100 ft. that's chuck full of laughs — $7.50. Call of the Open Road! A tour of our National Parks including a side trip to Alaska. Two very inter- esting 400 ft. reels at $30 each. Stone Film Laboratory 8807 Hough Avenue, Cleveland, Ohio •*S ,!«>•• EXTRA FINE A deluxe compilation of two beautiful subjects. Among Giant Redwoods Mirror Lake, Yosemite Valley Length, 100 feet Price, $6.00 FADE-IN; FADE-OUT with Simplex fading glass, no attaching neceS' sary, just hold in front of lens. Sent postpaid upon receipt of $2.00 Produced by ERNEST M. REYNOLDS 165 E. 191st Street Cleveland, Ohio Men and Women Everywhere! Make Big Money 1 FREE BOOK Explains opportunities as Motion Picture Camera Man, Portrait, News or Commercial Photographer. You can learn at home or in our New York Studios. Spare or full time. N.Y. Institute of Photography, IO W. 33rd St., N.Y. Dept.— - EXCHANGE YOUR 16 MM LIBRARY FILM Send any good usable film to us and receive an equally good or better one of approximately the same length in exchange. Include a list of all your pictures so you will not receive a duplicate. Indicate your preference; comedy, drama or edu- cational. Enclose ONE DOLLAR check or money order for each 100 ft. reel you send. HATTSTROM & SANDERS 702 Church St. Evanston, 111. ^Pboto-Fillcp Specialties^ piodcce Fog Scenes ^Moonlight and Njght Effects ^'/tffa'^ere^^^t/me. AlfO'Soft Focus and t/arious other effects, just like they mahe 'em m Hollywood. Its easg *. qou mate •em. too. HI tell goubcxu ~ ■» GEORGE H. SCIIEIBE PHOTO-KILTER SPECIALIST THE IDYL OF A CINEFILMESCOPE (Continued from page 401) you wouldn't think they could come that way, now would you? . . . "Why don't you set me on a tri- pod? Isn't there one grain of in- telligence in this cosmic. . . . How can I take a picture when I'm swing- ing like something on a hinge? They'll be handing around Mother- sill's when that poor projector's groaning over this! '"Of course, Mr. Atkins, I'll be around this afternoon to take the Sunday school children. Why, no trouble at all. I shall be delighted!' Get that inside your shutters and be haughty! We're going to take the Sunday school children and I'll bet the thirty cents we're going to look like when we're through that we'll take the whole bunch standing off at twenty feet with a six-inch lens waving at our masthead! "And I'm not talking through my diaphragm. I know. Didn't we do just that little thing on Tuesday of this very week with the wedding party at Holcomb's? And when the whole thing was shown on the screen wasn't it going backward, and didn't this dame claim she did it that way for fun? Intended to do it! And some- body asked her to do it again, for fun, when they had that picnic and she couldn't repeat? My film was turning white with mortification! No, she won't do, even if she has the pret- tiest eyes that ever looked through a finder. I'm through, I tell you . . . through . . . and I'm all clogged up with that . . . that . . . oil! I guess the oil you get these days, anyway, isn't the oil it used to be. It's boot- legged. "I'm not going to go through that Sunday school orgy ... I'm going to pass out. ... If I could just edge off this seat going at seventy miles. . . . She can drive. I suppose that's why she's always wanting to panoram. . . . The thought of it makes my shut- ters shiver! Just a little nearer the edge of this seat and I could make it. . . .Wonder what kind of a camera that doctor got? The Russian calf, I sup- pose.. . .Heigho, no use thinking.. . . He had sort of a nice face, at that. One shouldn't jump at conclusions just be- cause of a whisker or two. What's a whisker or two between friends? . . . No use thinking. . . . One minute more .. .just as she's going around the next curve I'll try it What's that, you chattering, shutter? 'Perhaps I'll get a panoram of my life as I go over?' Say another ivord like that . . . JUST SAY IT! I WANT YOU TO.... !!! SCREEN SURFACE CHARACTERISTICS (Continued from page 400) tion power is actually only 98, but for the purpose it is assumed to be 100), we find that, by comparison, flat white paint especially mixed for the purpose of a screen surface has 80, 79, 78, 77, 76, 74 and 70 per cent, reflection values when viewed respec- tively at 0, 5, 10, 20, 30, 40 and 50 degree angles. On the other hand, we find a very smooth, highly reflective metallic (some sort of white bronze powder) surface to have 450, 417, 324, 150, 67, 35 and 22 per cent, re- flection value when viewed at the same angles. In other words, the latter surface would appear as much brighter from straight in front than the former, as 450 compared to 80, and that means more than five times as bright. When viewed at 55 degrees, however, a very different tale is told. The lesson conveyed by this is that if you purpose to seat your audience all within a twenty-degree angle you will do exceedingly well to have the type of metallic surface above de- scribed. Of course, all metallic sur- face screens do not have this same characteristic in so marked a degree. For general purposes, however, card- board, kalsomine, or paint mixed from zinc white, one-third boiled lin- seed oil and two-thirds turpentine, with just a dash of cobalt or ultra- marine blue — enough to give it a slightly bluish tinge while in the paint pot — will serve very well in- deed, and produce a soft-toned white picture. However, it will require more light for equal illumination value within a twenty-degree angle than will the head surface or some of the metallic surfaces. Of course it will be clearly under- stood that whatever surface you may use it must be perfectly flat and have its plane at right angles, both vertical and horizontal, with a line drawn from the lens center to the screen center. Such a line is called the "axis of projection." The amateur who may wish to pro- ject through the screen may secure excellent results by obtaining a piece of ordinary draftsman's tracing linen, of suitable size. It may be had at any store dealing in draftsmen's supplies. It is not expensive. You have only to support it in a suitable frame, place the projector the proper distance from it, on the opposite side from your audience, and project through the screen. Caution: In doing this, thread the film into the projector with the opposite side to that used in front projection away from the light source or everything will be reversed to the audience, including all the titles. 420 Magazine of ioe Anal tM This Unique Camera Study Combines the Semi-Silhouette with an Effective Camera Angle to Give an Entirely New Impression of a Famous Paris Landmark, in Whose Shadow Was Born the First Little Cinema Theatre, as Told on the Facing Page. HANS ANDERSEN IN THE MOVIES A Scene from the Paris Little Cinema Production of "The Little Match Girl." The Story of the First Little Film Theatre IT is a long span from the Eiffel Tower to the Statue of Liberty, but in the realm of ideas distance is nothing. And so it happens that there is flowering in America today a Little Film Theatre Movement which had its first practical expression in the shadow of the Eiffel Tower in 1924 through the efforts of a lanky young Frenchman who earnestly believed that moving pictures were really a new art form and should have an in- ternational repertory cinema. That the honor of the first actual establishment of a little film theatre would therefore seem to belong to France may come as a surprise to those most closely associated with the movement in this country, for in a publication of one of the most active groups, the honor is otherwise as- signed, and no mention is made of the Parisian venture which is, neverthe- less, still flourishing. According to this booklet the idea was first sug- gested by the National Board of Re- view Magazine in May of 1922. The first trial of the plan it notes, how- ever, was not made until November of 1925, more than a year after the establishment of the French little film theatre. But since these corollary efforts are of equal interest it is of importance to cover them briefly. In 1925 the By Marguerite Tazelaar It Honorable Ivor Montagu formed the London Film Society, which gave five showings a year to a thousand sub- scription members. Shortly after this, announcement was made by Mr. Joseph R. Fleisler of the formation in New York of the Screen Guild. Before it began showings, however, THE LITTLE MATCH GIRL As Interpreted in the Tedesco Film. Mr. Symon Gould sponsored a series of Sunday programs at the Central Theatre. In March of 1926 Mr. Mont- gomery Evans followed suit in the Klaw Theatre. In the same year Mr. Tamar Lane formed a Hollywood Film Guild, with similar aims. In March of 1926, however, the first definite and continuous program seems to have been undertaken by Mr. Symon Gould using the Cameo Theatre. Then in the Fall of 1926 Mr. Michael Mindlin, associated with Mr. Fleisler, took over the Fifth Ave- nue Playhouse and established the first link of a chain of similar thea- tres, which is rapidly growing in the metropolitan centers. The most re- cent announcement in this field is that Mr. Symon Gould is also establishing a chain of little film theatres. It can now be seen that the movement in America is taking on national signifi- cance. But to return to the story of the first of these unique theatres, it in- volves a tale that goes back to the time when Jean Tedesco, the tall blond son of a Paris publisher, was student at the college of Henri the Fourth. There he delved into philos- ophy, the history of literature, com- position, and so on, while moving pictures had no meaning to him what- soever. 441 SCENE FROM 'THE ROAD," A FRENCH PRODUCTION OF ALBERTO CAVALCANTI, SOON TO BE SEEN IN AMERICAN LITTLE CINEMAS And then suddenly, one day, into this quiet reflective life of his, broke the monster-war. Reality of a horri- ble nature and deathly swiftness snatched him out of his retreat of books and thoughts and flung him into soldiering. But finally this ghastly intrusion stopped and Ted- esco was free once more to think in- stead of fight, and to return to his beloved Paris. Like hundreds of other young men in this same position life seemed to him a tangle of broken dreams, per- haps, certainly of chaos and confu- sion. Turning restlessly from one thing to another he decided that he could reach the thing he was fum- bling after best through writing. So he wrote two novels, "The First Illu- sion of Captain Tramp" a Canadian war story, and "The Wine-Grower in the Vat." It was during this time that he be- came actively interested in the the- atre, and presently moving pictures. And it was the distinguished Mon- sieur Jacques Copeau who inspired him to throw his lot with the drama, as expressed in moving pictures, for good and all. Monsieur Copeau for years occu- pied a unique position in Paris. One of the outstanding figures in the con- temporary dramatic world he origi- nated and developed a theatre in the Latin Quarter just off Boulevard Ras- pail that among discriminating the- atre lovers of the past decade stands for romance and adventure, daring and truth. Vieux Colombier! a name of magic to those who followed Copeau as he rang up the curtain each season with the choicest, and often, most auda- cious plays the theatre world had to offer. Never stooping to commercialize his stage, never compromising, never entering into a combine, notwith- standing the tempting offers to him- self and his company, the Vieux Colombier gradually came to mean to the public dramatic art at its best and most genuine. Over there on the Left Bank, night after night, students, artists, and writers, gathered in the rough little auditorium sitting on hard chairs or benches, and with beating hearts in that dark tense moment just before the curtain went up, waited for M. Copeau's new play. Into a myriad of new worlds, imaginative and fan- tastical these followers were swept. New pieces, gripping, daring plays were presented at these gatherings, with an art that only French acting and French taste can make flawless. In 1924 young Tedesco took over the Vieux Colombier, but let him speak for himself in the following quotation from "Cinea-Cine" in which he tells of his work in the beautiful and memory-haunted old theatre : "Three years ago when I asked Jacques Copeau to open the doors of his theatre to me, and allow me to work there, the founder of the Vieux Colombier grasped at once the in- tention which was behind the request. The objective toward which we were driving seemed to him to correspond to the one which he had set for him- self. The dramatic company of the Vieux Colombier had clearly func- tioned directly against the commer- cial morals of the Boulevard, declin- ing to enter into any combine, play- ing repertory, and independently putting on new plays which had never been shown elsewhere. That would also hold good in the domain of the cinema, our own plan being to build up as far as possible an international repertory cinema and show on our screen new works which had been rejected by the large dis- tributing companies. From the very outset it appeared that the tradition of the Vieux Colombier would be upheld. That was what interested us and gave us confidence, because it is better in the difficult field in which we are engaged to lay more impor- tance on the spirit of the thing than on anything else, and the main object was to show ourselves capable of maintaining, so to speak, a pathway to the spiritual. Since 1924 that has, therefore, been the tradition that we have steadfastly sought to keep up, changing our programs with great frequency, declining to play beyond the success frankly attained. "The result of this work during the first two years was that we brought together on the same screen more than fifty films which have become classic and which, in the spirit of each, have constituted a sort of cine- matographic repertory. The demon- stration has been made. It was not impossible to interest the public in a collection of such works, to stimu- late the critics by means of offering comparisons, to sustain interest and a regard more worthy of the motion picture than curiosity, passing en- thusiasm or merely contempt." But he has not stopped with the idea of releasing pictures, for he is too much of an artist for that. He has turned producer as well, and hopes the time will come when, as a creator, he can present his own pic- tures to an eager public which will find in them all the best drama in history as well as in contemporary offerings of the day. As a producer he is aiming at the newest, but at the same time, sound- est in technical methods, as well as the best to be had in story material, along with the finest art in direction, settings, and acting. His first picture, "The Little Match Girl" from Andersen's fairy tale, was produced as a special offering of the Vieux Colombier, and it is hoped the Little Film Theatres here will find a place for it. 442 An EDITING DESK for AMATEURS By C. A. Starkweather AFTER editing films for several months upon an ordinary table and being subject to fre- quent interruptions by the demands of a business that furnished the money for my film, I decided that an editing desk was as essential a re- quisite as my camera outfit itself. After some of my carefully planned films had been disturbed for the nth time and I had just about given up film editing in despair, I determined to take drastic measures and prevent it from happening again. Accordingly, I drew plans of what I believed was a suitable editing desk. Drafting the plans was very much like building a house, as invariably I saw room for improvement, but after much careful thought and selection I decided on the model that would ex- actly fill my needs. I then ordered some Wisconsin birch (sold by many honest furniture dealers as mahog- any) and started actual construction. I found that this wood works easily and takes any stain or polish with wonderful effect. The result is shown in the accom- panying illustrations. I am very well satisfied with it. For compactness andj| convenience I find it superior to any- thing I have ever seen or used. By following the blueprint you will gain a clear idea of the desk's unusual features: % Amateur Editing Desk Of CA. Starkweather A. Ten pigeonholes convenient for supplies. They are handy for films, an extra projection lamp, a spring belt, picture outlines, title sug- gestions, etc. B. A battery of small switches. One is for the desk light, one is for the editing light, and one is for a red light. C. A drawer useful for title back- grounds, such as those printed in Movie Makers. D. A small drawer for a card in- dex where information can be filed on anything pertaining to movie camera equipment and supplies. Un- der subdivisions can be listed "Title Suggestions," "Camera Lens Informa- tion," "Trick Pictures," "Tinting," "Enlarging," "Film Rental," "Film Sale," "Film Exchange," "Amateur Clubs" and numerous other interest- ing items, the details of which we so often forget. E. A drawer the same as "D," which is useful for still picture in- formation or anything else that the amateur may desire. F. Sections to accommodate forty- six film humidor cans, under each of which is a space for a title. Most of us have had the experience of search- ing through a pile of twenty-five or Red l.ighi ~i i r ! ' * ! J i \ / DtxK Light ip:...:' i/n i i I i i ■1 <"'£'. ill'.1 E 15 » F/iiJ inn Light/ \ gJaght/ \TrosIid Glass. more cans only to find that the reel we wanted was on the very bottom. The film index precludes all possi- bilities of such annoyance. G. A double cupboard for movie magazines and catalogues which ac- cumulate so rapidly. WORKING PLANS FOR THE EDITING DESK THE EDITING DESK WHEN COMPLETED SHOWS MANY CONVENIENT FEATURES H. A cupboard for the projector. J. A cupboard in back of the pro- jector and opening on the side, which can be used for title boards or other equipment. On the bed of the desk inside is a splicer and rewind. The film for edit- ing runs across an illuminated frost- ed glass, where it can be examined with a magnifying lens. Just back of this glass is space for the splicer ma- chine, and on the backboard are round colored tacks which serve to hold the numerous strips of film in proper order for splicing. The desk is five feet long and four feet six inches high. Being narrow in width, it can remain unobtrusive in a crowded room and when closed serve as a warning "Don't Disturb" to those persons who have the quaint habit of meddling in other people's affairs. The folding arrangement is ex- tremely simple, as can be seen from the illustrations, and the various compartments are readily accessible. Of course, when one goes in for movie making he never has enough space for all the paraphernalia that continually collects, but for compact- ness and convenience I doubt whether the same amount of service could be secured in a model otherwise ar- ranged. Editing pictures becomes a pleas- ure with an editing desk, as there is a place for everything. One can leave when called away and know that everything will be left intact. 443 Photograph by Pathe Hews Reel FAMOUS PERSONAGES, SUCH AS HEROES OF THE BREMEN FLIGHT, CAN FREQUENTLY BE FILMED BY AMATEURS You May Be the Only Cameraman There When Some Big Event Occurs NEWS REELING Professional Advice for Amateurs Reported by Katherine M. Comstock THE newsreel, under various names, has definitely taken a very important place in the moving picture theatres throughout the country. Features may come and go, shorts have their place, but the newsreel is ever present and ever popular. This pictorial newspaper is based on some of the same requisites as a printed newspaper, primarily news interest and priority value. In a newsreel office a scoop is just as im- portant as in a newspaper office, so that much attention has been placed on the use of speed methods in de- livery. During 1927, when the Lindbergh, Byrd and Elder flights were made, pictures of the take-off of each group were being shown in the theatres on the afternoon of the day on which their flight started. Scenes of the American Legion in Paris were shown in this country within a week of the event, and pictures of various catas- trophes were screened in almost phe- nomenal time. Perfection of organi- zation, air mail transportation and efficiency and alertness on the part of the cameramen have all contributed toward making possible the screening of these world events while they were still news. Inasmuch as interesting events are apt to happen without warning in all parts of the country, and since, ob- viously, it would be impossible to have regular cameramen in all of these spots all of the time, there is a tremendous opportunity for the free- 444 lance cameraman to sell bits of film provided he takes a clear picture, has news sense, and knows the speediest method of getting his film to the edi- tor. Amateur movie makers can be- come free-lance cameramen provided they have the desire and the equip- ment. With the thought of stimulating that desire and paving the way to an early success in the newsreel field, three veteran cameramen have contributed the results of their experience as a guide to the amateur. They are H. D. Blauvelt, Pathe News camerman, one of the best known oldtimers, and con- sidered by the profession to be one of the most expert cameramen in the United States (his experience dates back to the Dayton flood and the earthquake in Kingston, Jamaica, in 1908, and he spent three months in Africa as chief cameraman in Theo- dore Roosevelt's expedition and has filmed many world events) ; Charles P. Morrison, a cameraman located in New York City, who is in close touch with the great newsreel companies and gives us a very comprehensive view of the workings of these organ- izations, and Edgar J. Fulcher of On- tario, who is the cameraman for the Canadian News throughout northern Ontario. Before going into the subject of qualifications and equipment it will be both interesting and instructive to get a picture of the organization back of the newsreel. Mr. Morrison gives us the following: "The staffs of the various newsreels are built and operated on the same order as the city dailies, and are com- posed of editorial and reportorial staffs. Each company has its own laboratory and develops and prints film. There are six nationally re- leased news films operating in the United States. Besides these national reels, there are several local reels be- ing regularly produced. The national reels are issued twice weekly, and each has a circulation of about two hundred and fifty copies. When an event of great importance takes place the newsreels issue an extra just like the city dailies. "The editorial department of a newsreel is composed of an assign- ment editor, who assigns staff camera- men to the stories which arise during the day; an editor who selects the film which is to be used and captions each subject; and a film editor who edits and cuts the film to its final form. The reportorial department has perhaps thirty staff cameramen, as well as nearly one hundred and fifty free-lance cameramen who are de- pended upon to use their best judg- ment in covering stories which may present themselves in their territory. The regular staff men are employed on a flat salary, while the free-lancers are paid on a footage basis for ac- cepted film." Having absorbed this picture of the similarity between this organization and its big brother, the newspaper, and having acquired a more compre- hensive understanding of its work- ings, it is evident that the free-lance cameraman must depend upon him- self for his stories. And here enters the prime requirement for a success- ful news cameraman. He must have news sense — the sense that tells him what really is a story, how to transfer it to the screen, whether it be of local or national interest, etc. Having filmed what he considers a real news story, he should send it posthaste to the nearest newsreel office, by air mail if possible, otherwise by first class, special delivery, for speed is essential in this business of publish- ing news, either printed or pictured. From out of his vast experience in this field Mr. Blauvelt culls this: "There is a tremendous opportun- ity for amateurs who want to get into the newsreel field. They must be equipped with courage, a taste for adventure, and the faculty to act in- stantly in the midst of disaster. Per- fection of technique will come with experience and observation. "My advice to the beginner is to experiment constantly. I believe the best results come from close-ups at first, then a gradual working out to intermediate shots, and, finally, dis- tance views. Excellence in photog- raphy alone will not bring success. Nerve on the part of the cameraman is essential, and he must also be alert and have judgment. His job is to get the required picture, no matter where it may be or at what cost, and it often involves both danger and dis- comfort. The way to get practice is to watch the newspapers for tips and clues. Keep a date book and jot down "futures" [dates of events or spectacles that will interest the pub- lic]. He should keep his ear to the ground for accidents or catastrophes, and when he hears a fire whistle he should grab his camera and run. His own ingenuity will have to be his guide in getting telling shots. A news sense and love of excitement and ad- venture will point the way to getting the best angle and the finest picture." As to equipment, Mr. Blauvelt ad- vises a good standard camera, tripod and three lenses — 2-inch, 4-inch and 6-inch. Filters for cloud effects and an exposure meter are also desirable. Mr. Morrison counsels: "If you want to become a free- lance, first cover stories which do not require speed. Practice on pictures of a trick dog or cat, using many close-ups. Subjects are often found in a zoological park which will sell successfully when the regular run of news is bad. Frequently there is a call for such pictures, especially in local releases. "The free-lance is often called upon to film a parade. He should en- deavor to get elevation shots from the highest possible points, lower eleva- tion and street level shots of views of the same group marching toward and away from the camera. It is im- portant also to get the grandstand, officials, and colors passing. "The newsreel companies issue small booklets in which certain rules are set forth. These may be had on request. They tell the kind of pic- tures needed and the kind to be avoid- ed. The companies will also supply address labels and caption sheets to cameramen. On the caption sheet should be detailed the scenes as pho- tographed, each scene specified with some particular action which took place. In photographing personali- ties, they should always be named from left to right. "When taken from the camera the film should be placed in the regular film can, bound with adhesive tape, and placed in a wooden box with the address label of the newsreel com- pany attached to the cover." Mr. Morrison's suggested equip- ment is a standard camera in perfect working condition and a 2.5 and 3.5 Photograph by Pathe ?iews Reef UNUSUAL CHILD FILMS ARE GOOD NEWS REEL SUBJECTS A Kite Tournament in Detroit lens. It is generally conceded that a standard camera is almost necessary for this type of work. There are very few known instances in which 16mm film has been accepted by the big companies. But since the advent of the new automatic standard-size ma- chines at a nominal cost this should not prove a barrier to the enthusiastic amateur. From his Canadian experience Mr. Fulcher has contributed the follow- ing facts: "A cameraman must never fail to turn in acceptable material on any assignment or big story. He must be something of a diplomat, as not every sought-after person takes kindly to the presence of a movie camera, but a really diplomatic cameraman can usually get his picture. He must be something of an athlete so that he can get from place to place with his equipment, regardless of crowds or other obstacles. He must have 'news sense.' "Nerve, also, is an essential quality for the cameraman, for his work may require shots from the beams of a skyscraper under construction, from an airplane, or from a mountain top. Ingenuity is an asset in dull seasons. There is the fat bear at the zoo, the funny cat, or some human interest story that can be looked up. Not all stories are assigned by the editor, so a successful cameraman must have a seeing eve and must kee" everlast- ingly on the job." Further hints from Mr. Fulcher in- clude: "Long shots and close-ups to match, both taken from the proper distances, make for acceptance. "Focus and proper exposure are most important. Large letters, as the headlines of newspapers, are useful for getting the proper focus, and an exposure meter indicates the proper diaphragm opening. "Don't have your scenes too short. The editor can cut them as much as he likes, but he can't stretch them. "Don't pan or tilt in a jerky man- ner, and don't use unnecessary pan- orams or tilts. "Keep your camera clean. Scratched scenes are caused from a dirty aper- ture gate. Small particles of film emulsion catch in the film channels and scratch the film." Some of the most frequent causes for rejections are: Fogged, scenes too long, scenes too short, marked with static, scratched scenes, film unsteady, pan or tilt too quick, pan or tilt jerky, unnecessary panorams or tilts, scenes not connected, picture does not show story, out of focus, under- exposed or overexposed. Keeping this list in mind, it should be possi- ble for an amateur cameraman to check up on his own faults during the period of experimentation. All amateurs who are really in- terested in newsreeling can write to the companies for their booklets of instruction, their rates, methods, etc., and while awaiting their replies can profitably study the current news- reels for the quality of accepted film. Following the suggestions and ad- vice offered by these three veterans, practicing newsreeling in your own locality, and bringing to your work a keen interest and a vast amount of patience and determination, the news- reel field may offer world-wide op- portunity. 445 DID YOU EVER TRY ANIMATING ANIMAL DOLLS? There is a World of Humor in Their Grotesque Gyrations Photographs by H. Armstrong Roberta ONE MAN MOVIE TROUPES How the "Stop Camera" Flan Can Add to Your Film Fun By Taylor White MAKING movies "just like Hollywood" is a lot of fun, provided it does not land you in the bankruptcy court, the in- sane asylum, or both. It might do both if you are of a nervous tempera- ment. However, if you have an at- tachment on your camera permitting you to make a single exposure at a time you can have your own stock company, work when you want to, as long as you want to, and just the way you want to. Your leading woman won't talk back at you, the hero will not display his temperament, and the entire company will be on the job the instant you want them, with no wait- ing for some minor, but still essen- tial, character to show up for work. And you'll have something to show that will be novel and worth while. If you have arrived at an age where you either are interested in hair tonic or resigned to baldness, or if you are beginning to mentally quote "A woman is as old as she looks," you will remember some clever trick work presented now and then on the one-reel programs. It was known as "stop-camera" work, because the turning came to a halt between the taking of each successive frame. You get little of this work today because it will not pay a profit when offered commercially. Now and then you get some of it, often without 446 realizing, so cleverly is it worked, but you will identify one good ex- ample in the prehistoric animals in "The Lost World." For commercial use it is cheaper to use animated car- toons, in which the drawings often can be used over and over. Straight "doll pictures" will not sell for enough to pay for the time — or at least the producers so think. But they are clever and entertaining, and the amateur will appreciate them because he can work when he pleases and leave off when he pleases. It takes plenty of time. It takes even more patience. But when it is done you have something you may well be proud of. In addition to a full stock of pa- tience you will need a wooden table in some place where it is not likely to be interfered with, some dolls, paste- board and cigar boxes for scenery and furnishings, and a few lights. By "lights" we do not mean spots but regular incandescent bulbs. If you have direct current the lighting is very simple, but if you have alter- nating current you will experience a little trouble unless you take the pre- caution to stop down well. Just what we mean may be best explained by the experience of a pro- fessional cameraman some eighteen years ago. He started to make a doll picture at his home, working eve- nings. When he brought his first film over to be developed and run the re- sult was depressing. Some frames were almost blank film. Others ranged all the way from that to the properly timed exposure. As he had given each picture the same expos- ure, he could not understand until the studio electrician took him over in a corner and gave him a lecture. He had been working with alter- nating current. Most city supplies are AC because a given diameter of wire will carry a much heavier load. DC moves in one direction over the wire, but AC shuttles back and forth between the end of the line and the generator. To the eye they look pretty much alike, but actually the DC is a constant illumination, while in AC the filament is heated and cooled from 60 to 120 times a second. If you happen to make an exposure when the pressure is off you get prac- tically no illumination, and it is pos- sible to get so "in step" with the cycle that the exposure is made in virtual darkness, since the lens, un- like the human eye, is not endowed with persistence of vision. Making the exposures at just about the speed of the light, the cameraman had no two frames exactly illumi- nated. Unless you want to share his fate do not use too much light and stop down to give the longest possible exposure in reason. Then you will run through two or three cycles and get approximately the same amount of exposure on each frame. To this end you do not use heavy lighting. Experimentation will show you whether two or three 25-watt bulbs will be better than one 60-watt lamp for overhead, and whether to use in- side frosting or blue bulbs. You will want overhead illumination and some side lighting. For the latter, make miniature floods by setting a small bulb in a box painted either white or silver. Two or three of these on a few feet of flexible cord will be very useful. For the top lighting use a similar reflector, but preferably of tin. Smooth aluminum paint is bet- ter than white, and it is well to have the outfit on a cord so you can raise or lower the light to get the best effect. The stage is a wooden table, and its proper size you will be able to determine from the size of your actors. The larger your troupers, the larger the stage, but for convenience it is suggested that you use dolls about six inches high. This leads you to the troupe. You will start with a few dolls, since you will use small casts. Wooden dolls are better than china or bisque. If you don't mind exaggeration, circus toy dolls which have overlarge feet will be the easiest to work. They can be made to stand without fastening, and if you put a brad in each shoe you can plug these into your stage and get greater immobility. It might be a good idea to repaint them. Most surely they will need new costuming, which is where the women of your family will be helpful. A couple of rolls of crepe hair will give you wigs enough for an army. Get a roll of black, and another of light red for blondes. Unplait an inch or two of the hair and comb it out. Paint the doll's head with glue. When the glue becomes tacky put on the hair, and when it dries trim it with a pair of embroidery scissors. The dolls should be jointed at wrist, elbow and shoulder, hip, knee and ankle, and have mobile heads. If there are no elbow and knee joints, make a straight angled "Z" cut at the elbow and either rivet or bolt. Bolts are the better, since they can be tight- ened when necessary. If you use cloth-bodied dolls, copper wire can be sewn to the arms and legs. This can be bent to give the necessary motion. For your stage settings get large pasteboard boxes from dry goods stores or tailor shops. You can use corrugated paper, if you prefer to buy it, or wallboard. Wallboard will stand by itself. Cardboard or cor- rugated paper must be stiffened. The cheapest material is lath, but you can use any light wood material. You can build full sets, but it will be better to use sections, the same as used in the modern theatre. These can be built up into any sort of in- terior. For back-drops, for exteriors and backings for doors and windows you will need unbroken sheets. You will also need a couple of doors and a window or two, made from any light wood and of proper proportion to match the scale to which you are working. For interiors you will need to do very little painting. On exteriors, which need not be very elaborate, you will need to do some brush work, but here you can often save detail by pasting on trees, houses and the like cut from old pictures or lithographs. If you are weak on drawing, use the square method. Pick out the scene you want to reproduce. Sup- pose your drop is four feet wide, by 30 inches high. On your copy make forty-eight squares across the picture and thirty up and down. Then mark your drop into inch squares. Draw in each square the lines you find in the similar square on the copy. Even without much skill you'll get good enough results. Use water color and keep to a light blue for whites, deeper blue for gray, and dark green for the blacks. It may not look as pretty as a full-colored drop, but it will photograph better. It will save time and film if you can test your drops with a still camera. For your camera, make an exten- sion to the table with holes at vari- ous points. Have the most distant hole just far enough away to permit your lens to get the entire stage. Make other holes for semi-distant and close-up shots. Use a pine board rather than hardwood, and when you make a set-up tack small cleats as close as possible to the sides of the camera. Then if you should want the camera for field work you can use it and return it to precisely the same position. Make your camera tests with one or two dolls, to be sure they are of proper size. If the dolls are too small you cannot focus properly. If they are too large you have to move the camera too far back. Now all you need is the furniture. ANIMATED DOLLS MAKE IDEAL ACTORS WHEN FILMING FAIRY TALES 447 You may pick this up at the toy shop or the five-and-ten, or you can make much of it out of cigar boxes. Paint with a good flat paint; a medium gray for whitewood and yellow for mahogany. Do not use enamel, and even with flat paint it is well to go over the surface with very fine steel wool. Ask for No. 0. The furniture need not be elaborate, though you can spend as much time as you care to on the work. That's entirely up to you. Now you are all set to enter pro- duction. You won't need either a megaphone or puttees, and the actors won't want music to inspire them. Pick out a small-cast idea and work out your scenario. Suppose you use the old French joke about the near- sighted husband. This will require three players and two sets— one very simple. The scenario should look something like this: "THE NEAR-SIGHTED HUSBAND" Set I. — A Boudoir. (Sofa, couple of chairs, a table.) Set II. — A wall with a door. CAST Janet, a young woman. Henri, her fiance. Jean, a tenant on the floor above. 1 Boudoir. Janet reclining. Stretches her arms as though yawning. 2 Hall. Henri stands there, knock- ing. 3 Boudoir. Janet rises and goes to door. Opens. Henri enters. They embrace. They move their arms and heads, as though talking. Sub-title— "Tomorrow will be OUR WEDDING DAY." Back to scene. They move toward the sofa. Sit. Continue conversa- tion. 4 Hall. Jean enters, carrying suit- case. Puts suitcase down. Looks at door. Nods. Takes key from pocket. Tries door. Won't work. Puts key in pocket. Pounds on door. 5 Boudoir. Janet and Henri rise. She goes toward door. He follows more slowly. Cut halfway to door. 6 Hall. Jean pounding on door. Very angry. 7 Semi-close shot of Janet at door. She listens, puts hand to ear. Shakes head vigorously. Points up- ward, turns to Henri. Points to door and then points upward. Get over the idea it is the man on the floor above. 448 8 Hall. Jean still pounding on door. 9 Semi-close of Boudoir. Jean shakes head. Again points upward. Turns away from door, followed by Henri. 10 Hall. Jean crashing against door. 11 Boudoir. Janet and Henri by sofa. Janet waves hand at door as though telling Jean to go away. Door falls in. Jean almost falls in. Recovers. Points arm at Henri. Sub-title — "Destroyer of my home!" Back to scene. Henri waves hand from side to side as in denial. Jean fumbles in coat. Draws gun. Shoots. Henri falls. Shoots again. Janet falls. Jean goes over to them. Looks. Bends down. Straightens up. Puts hand to head. Sub-title— 'Mow Dieu! I am on the wrong floor. this is not my wife's apartment!" Back to scene. Jean shoots him- self. Falls over other bodies. Cut. This may sound impossible, but you'll find you can get the idea over. The scene opens with Janet on the couch. You take a few frames; then you raise her arms a little, turn one frame, raise them again, turn an- other, still higher, and make a third shot, come back to the second posi- tion, and then the first. You raise her body slightly and make another exposure, then still higher, and an- other shot. It may take four or five exposures to get her on her feet. A very fine silk thread may be used to hold the doll partly erect. Human hairs once were employed, but in these bobbed-hair days you will use silk. Once upon her feet it may take two or three shots to head her to- ward the door, and each stride will take about four shots. After each ex- posure you bend the body into the next pose. Until you have gained skill through experience it is a good plan to have an undressed doll off stage with which to experiment. Don't just move the feet. Move the arms, too, and change the slant of the body. When she gets to the door put one hand on the knob, then move her backward as the door opens and at the same time introduce Henri into the room. The return to the couch is made with the same speed, but now you must alter the position of both dolls for each shot. When you come to the end of that scene cover the lens and run down six or eight frames without exposing. Then make Scene 3, following with Scene 5, and so on, making all of the scenes in that set before you change to the hall. If you have a sub-title, leave two frames blank to show just where the title should go. You will get a surprisingly good sug- gestion of conversation if there is head and arm movement of the doll supposed to be speaking. The shooting may seem a bit diffi- cult, but this is easily done. Get a length of the rubber tubing such as photograph supply shops sell for shutters. Get a five-foot length. Get a bulb, too. Bore a hole in the stage where Jean stands when he shoots. When he raises the gun run the tube up his body and down the arm on the side away from the camera. Then put a pinch of white powder in the tube. When you expose, blow the powder out. Put in another pinch and make a second exposure, then re- peat with a third. Don't experiment with smoke. It will be too thin. Use the powder. You need a fresh pinch of powder for each exposure, and you should wait until the first puff is dissipated. When Jean shoots him- self, you plug the first hole and bore a second in the new position. When he bursts the door in, you merely take it off the hinges and lower it with a thread, using about five frames. The first two frames Jean leans against the door; for the third you hold him up with a thread and on the fourth and fifth bring him into an upright position, while the door goes on down. With these hints you can work out your own effects along the same lines. Don't try to make the picture all in one evening. Cover the stage with a cloth to keep out the dust, and work at it when you feel like it. You should aim to leave your players in a position where they will be reason- ably certain to remain set, but you can stop almost any time and resume action the next evening or the next month. Don't expect to turn out a masterpiece the first time. You'll have to learn by experience, but in time you can create some wonderful effects, and you'll come to enjoy the work. If you want to work in daylight hours, darken the room. Use only your stage lighting when you are turning. Don't work with varying lights elsewhere in the room. If you need more light, have one you can turn off before each exposure and turn on again after the shot. Start your prepaartions now and you'll have a wonderful sport for long evenings. PIONEER PORTRAITS WILLARD B. COOK By E. Locke -Lew is FEW men have contributed more consistently and materially to the development of moving pic- tures in the home and the industrial field than Willard B. Cook. Nor has his work involved only these fields of activity. With Mr. Cook the cinema is a hobby, thus making him one of those rarely fortunate individuals who have been able to transform one ol their chief pleasures into business. He goes to see pictures several times a week and enjoys a personal acquaint- ance with a large number of stars. Mr. Cook studied engineering at the University of Virginia and for several years followed that vocation. Then he decided to go into business and for sixteen years he was western sales manager for a large packing company, having under his control all of the territory west of the Rocky Mountains. In 1913 he left the pack- ing company for a year to travel abroad. It was in France that events occurred which later, coupled with his training as an engineer and his natural interest in cinematography, laid the foundation of one of the most useful careers in the picture industry. There Mr. Cook became much in- terested in the Pathescope Projector, which was being manufactured by a French company with factories in Paris, and which used a narrower and less expensive film than the stan- dard width. This is said to have been the first important step towards the present economical home films. After a short stay in France he returned to the United States as American licen- see for this equipment. In that same year, 1913, the Pathescope Company of America was organized with Mr. Cook as its first president, an office that he still retains. It was during the war that Mr. Cook invented the Premier Pathe- scope. This was necessitated when the French Government took over the factories making the French machine, consequently making the demand for an American-made projector impera- tive. The invention of the Premier Pathescope established the complete independence of the American com- pany as it no longer had to rely on France for projectors. For nine years the Pathescope Company of America developed its product, experimented and expanded, and by 1922 had formed a large and extensive organi- zation. Then came the 16mm amateur film, with appropriate cameras and pro- jectors. Quick to realize its greater possibilities, Mr. Cook at once swung the entire resources of his organiza- tion to this new and broader field of activity. The experience gained in the home library field was now placed at the disposal of the Eastman Kodak Company which organized the Kodascope Libraries with Mr. Cook as treasurer and general manager. The growth of this enterprise is well known to our readers. Branches are established in over 50 cities extending all around the world. Its slogan — "Pictures that Please" — was selected, according to Mr. Cook, because its large repertoire features over 200 of the world's leading stars in their best known productions, exceeding one thousand different reels. In addition to his duties as exec- utive of the Pathescope Company of America and general manager of Ko- dascope Libraries, Mr. Cook is at present serving his third term as pres- ( Continued on page 474) THE The Present Expression of IVIRNA Mr. Cook's Yachting Hobby 449 CINEMATIC DESIGN An Examination of the Foundations of Motion Pictures WHAT is a design? A design is a combination of various motifs harmonized to form a rhythmic pattern. Motifs are designs in themselves composed of curves, horizontals, verticals, and diagonals, which when applied in their simplest forms become circles, ellipses, squares, rectangles, triangles, etc. Each of these lines has its own aes- thetic significance. Curves suggest graceful movement; horizontals, peace and calm; verticals, idealism; diagonals, force and vividness. Thus, a predominance of any one of them gives a desired effect. All of these forms have their ori- gin in the cosmos, the harmony of all things of which we are a part. Geometry, a study of lines, is cosmic unity in an abstract form. Nature, man and material things are cosmic unity in concrete form. Every de- sign is a manifestation of something greater than itself. As the universe was created, so man creates. He fashions pottery, weaves cloth, con- structs machinery, builds skyscrapers. All of which is a designing process, growth, or evolution. Since the earl- iest times man has manifested design in everything he uses, unconsciously deriving the principles from nature. Throughout the ages these designs be- came conventionalized and their ori- gins hidden, due to the influence of different superstitions. The psychology of a nation can be analyzed through its artistic expres- sion. For example, the designs in a Chinese rug are unintelligible to one who has not traced their origin and evolution. The grotesque expression in Gothic art is evidence of the type of people living in the Middle Ages. The art of the "futurist," which is considered new and is much misun- derstood, is nothing but the expres- sion of a new era of intelligence in which superstitions have been cast to the four winds and a return to nature has been manifested. The refreshing spirit exuded by modern art proves that true art is simplicity of line ob- tained through conscious application of the principles of cosmic unity by contact with nature. Until the advent of the motion pic- ture all art expressed in permanent form by man had been static. Unlike these previous mediums, the motion picture can record design as it is be- ing created, forming lines and blend- ing moving motifs to complete the unit, or composition. It is true that very little art is revealed in present- 450 By Leonard Hacker day motion pictures, because produc- ers distort the medium by applying the technique of the speaking stage rather than by exploring fields of their own. The motion picture is a visual medium and not a literary one, although a knowledge of everything is necessary in any chosen work or hobby. Scenes in which characters stand about and carry on action by means of subtitles is not cinematic, although subtitles are necessary in scientific or educational films. Move- ment is a story in itself more inter- esting and powerful than all the superficial plots and emotions con- trived by story tellers. Another trouble lies with the "star system," by which famous actors and actresses are exploited to the detri- ment of the story and design. Of course we will always be interested in individual personality, but if people are used at all they should represent motifs in a design just as they do in real life, where everyone is part of a greater design called the universe. True motion picture art, then, is pure design skillfully applied to the full resources of the medium. The first requisite necessary for cinematography is observation. One must develop a picture-eye which shall observe the forms of things as though they were silhouettes, always remembering that the camera repro- duces only in monotone. Subjects in which color is the main attraction should be ruthlessly discarded. The next step is to observe the lines of which all things are composed, and how they blend to form various ob- jects. The more one looks the more one will become impressed with the fact that everything existing is a de- sign composed of definite lines which, if arranged in other ways, become entirely different manifestations. It is necessary to notice, too, how the predominance of a certain line gives a desired effect. Such a teapot as I now have before me is an excellent example of this, being composed en- tirely of curves and circles. The knob on the lid is round, as is the lid it- self. This broadens out into the main curved body, which culminates in the base and which also is round. The handle is an ellipse and the spout an S-curve. Thus, if the outline of the teapot is traced in any direction, curves are apparent. A skyscraper, on the other hand, is composed mostly of verticals, sug- gesting idealism. The building shoots up straight, but when observed from below or above the lines converge and form a triangle, suggesting vivid- ness. The windows are rectangles in which the panes of glass are usually squared off. There may be curves in the details, but one can easily see that verticals are the predominating lines. After observing lines in static form the cinematographer should photo- graph them in motion, choosing sim- ple subjects for expression — a motor- boat leaving graceful curves in its wake, a train on the rails, parts of machinery, a moving vehicle going around an S-curved road, etc. The next step is to photograph simple mo- tifs in rhythmic motion, such as re- volving wheels (without spokes — ■ spokes will not appear to move on the screen), piston rods, a clock pen- dulum, the ocean pounding on the shore, swaying trees, etc. Of course, before one can become proficient in cinematography he must study still photography and painting, in which the principles of pictorial composition, light and shade, and va- rious other factors, are more easily understood. A complete understand- ing of still and motion cameras is es- sential in order to obtain the best re- sults. As the painter learns to use his brushes, so must the cinematographer learn to wield his camera, using movement instead of color to give life to his work. The most effective way of applying design to the motion picture is to start with a simple motif in rhythmic motion, followed by others in logical sequence until a crescendo or climax is reached. In this way individual scenes remain designs in themselves, yet serve as motifs in a still greater design. Motifs can be repeated at in- tervals in order to give additional emphasis to the composition. This method of making a movie can be likened to a child solving a picture puzzle. The nearer he comes to the solution, the more rapidly he puts the pieces together. In true cinema, background, middleground, and fore- ground move in rhythmic motion. All the elements in a scene must correlate with one another so that the structure of the scene moves rather than the in- dividual figures. An excellent exam- ple of this is a rowboat being pulled against the tide. Here the oarsman, the boat and the water correlate, the tide serving as an opposing force. (Continued on page 474) "As the Universe Was Created, So Man Cre- ates. He Fashions Pottery, Weaves Cloth, Constructs Machinery, Builds Skyscrapers, All of Which is a Designing Process, Growth Or Evolution." [AN INTERPRETATIVE ILLUSTRATION, TO ACCOMPANY THE ARTICLE "CINEMATIC DESIGN"] 451 "ALL YOU NEED IS SOME INTERRUPTION" This Time It Is Mary's Friend Who Would a-Sailing Go ANIMATING Your TRAVELOGUES How to Make Them Interesting to Everyone By Epes W. Sargent IF you take your camera on a joy ride, th*. probabilities are that some day you will want to assem- ble your shots into a travelogue. Why not plan in advance to give it a more intimate touch; to make it more than "just a travelogue"? And if you plan the right way, you can also have the straight travelogue. In an earlier issue of Movie Mak- ers, Vera Standing made some valua- ble suggestions on enlivening straight scenic shots with bits of action. You probably have discovered that this lends an indefinable "IT" to your otherwise dead landscapes. But if you have company on your trip you can go a step further and carry a thread of story right through the film. Twenty years ago this writer and Arthur D. Hotaling, one of the veteran directors of those early days, wasted a cubic mile of breath, more or less, trying to persuade the late "Pop" Lubin to send Hotaling abroad with a couple of comedians to make a se- ries of animated travelogues. "Pop" couldn't see it. He got nine cents a foot, net, for his pictures no matter where they were made. He suspected that Hotaling was trying to work him for a costly vacation, and that was that. Some years later Frederick J. Has- kins, the well-known Washington cor- 452 respondent, came to me for a script for an animated tour of Washington and was surprised to learn that his idea had been anticipated. For some reason the Haskins reel was not made, and it remained for Will Rogers to put the idea into actual execution. It was rather awkwardly done, but it seemed to help the pictures. If you have some- one to help you, you can get even bet- ter results with very little acting by your cast. You will need a central idea, a start and a finish, and an elastic middle action. The sole trick is to get the middle action elastic enough to stretch all over the world, if necessary, and be able to snap back to the finish. You don't want heavy acting. You don't want involved plot. And, above all, you don't want action that is continued from one scene to the next. Your situa- tions must all be self-contained, so that you will be given proper latitude in assembling your reel. If your action matches up, you must follow your plot. If you use mere episodes, then you can use or omit any scene, reject- ing imperfect photography without de- triment to your thread of plot. The best practice is to first run down a sufficient footage to give you a scenic by merely eliminating the last foot or two of the scene. In other words, you don't start your action until your spec- tator has had time to enjoy the scene. The best way to illustrate is with illustration. Suppose that you are traveling with a party, two of which might be a young man and a girl. There should also be a third person, who can be old or young and of either sex. This will give you the necessary three sides to your story — the protag- onist, antagonist and objective. In other words, it gives you your hero, villain and heroine. Let's suppose you are going to Ber- muda. It would be just as cheap to take you to Europe — on paper — but Bermuda will do. Your story is mere- ly that John meets Mary on board ship and falls in love. But Mary has a small brother, Tommy, who horns in each time John starts to propose. John doesn't get his chance until they are nearly home, but eventually he wins the girl. Not much of a plot, perhaps, but it possesses the neces- sary elasticity and it will enliven your straight scenic. If there is no small boy along you can change the idea slightly to make the antagonist John's rival, Mary's rival, or Mary's mother or father. All you need is some interruption. But we'll suppose that "Tommy" is along. You can clean up your start and finish the first long day at sea, if the weather is right and your friends do not get seasick. If they are sick, or the sun is in hiding, you can try on the way back. Here is the scenario, or working script: Characters John, an ardent swain. Mary, the object of his effections. Tommy, her brother. 1 Deck scene. Mary stands by the rail. Tommy is with her. They chat a moment. Tommy moves away. Mary drops a book. John comes into scene. Picks book up. Gives it to her. She thanks him. He passes a remark. She responds. Nods and passes out of scene. John looks after her. Feels pulse. Hand on heart. Shakes head. He has it bad. Sub-title — "Dan Cupid makes a bull's-eye of John's heart." Back to scene. John leans against rail. Smiles fatuously. Fade. 2 Another deck. John and Mary coming down deck. Pause at rail near camera, converse animatedly. John tries to take her hand. She draws it away. He recaptures it. She lets him hold it a moment. She draws away hurriedly as Tommy rushes into scene and points off, ex- citedly. Tommy draws Mary out of scene. John registers disgust. Fol- lows more slowly. 3 Another deck. Tommy drags Mary into scene and up to rail. Points off. 4 Shot of passing steamer, or any- thing you can shoot from the deck. 5 Back to No. 3. Mary nods and smiles. Shows interest. John en- ters. Tommy shows him what they have been looking at. John not specially interested. Tommy and Mary exit. John disappointed. Fade. 6 Another deck scene. This might be moonlight, to give variety. John and Mary very much wrapped up in each other. John about to pro- pose. Takes her hand. Tommy rushes in. Button missing. Wants it fixed right away. Mary looks apologetically toward John. Exits with Tommy. John disgusted. Fade. 7 Deck. Ship passing St. George. John points. Says: Sub-title — "We are almost there, Mary, but there is something i want to tell YOU. I " Back to scene. Tommy rushes in. Points off. 8 Telephoto shot of shore line or shoot; over side with quarantine boat with boarding officer. 9 Back to No. 7. Tommy keeps on talking. Urging Mary to come with him. He finally drags her off. Mary looks back. Sorry for John. 10 Dock at Hamilton. Passengers coming from boat. John helps Mary and Tommy into carriage. They drive out of scene. John looks at trip ticket. Says: Sub-title — "Well, I've got five days in which to win her. And I'll do it!" Back to scene. John walks out, folding up ticket. Now insert your middle action and conclude with: A Deck. John and Mary looking over side. Tommy comes in. John turns. Says: Sub-title — "Tommy, there's a box of chocolates in my stateroom. Go get them." Back to scene. Tommy delighted. Out of scene. John proposes. Ac- cepted. Looks cautiously around. Kisses her. B Deck. Tommy coming along munching chocolates. Passes through scene. C (Same as A.) John and Mary on. Tommy comes in. Offers candy. They do not notice. Tugs at John's coat. John looks around. Sees Tommy. Raises foot and pushes Tommy out of picture. Arm around Mary. Kiss. Fade. There is your plan and its climax. In Bermuda you work the three char- acters into each scene taken, or at least in most of them, but you vary the action as much as possible. One time you have John meet Mary. Again she is on the scene and he en- ters. Sometimes they come on to- gether. But always he starts to pro- pose and is interrupted by Tommy or others. Very often you can get others to walk in. That's all that is needed. In some scenes you can work Mary into the composition of the scene, but always carry this important fact in mind: No matter how unimportant the character, any motion in the scene will distract attention from the back- ground. Notice the best motion pictures and you will find that when an important action is being carried out the player carrying the action is the only one in motion. If there is a decided move- ment on the part of another this will detract from the more important player, and so the director holds the others quiet to center attention on the star. Primarily you are making a scenic. Give the spectator ample time to en- {Continued on page 485) "ALWAYS JUST AS HE STARTS TO PROPOSE HE IS INTERRUPTED' And This Time John Was Just About to Speak for Himself 453 "MRS. HETTIE INCHBALD, AGE 92, WHO HAS SAVED THE LARGEST BALL OF TWINE IN KENOSHA, WIS." The AMATEUR NEWS REEL Or How Mr. Feeber Rocked the Foundations of Fast Teabone, N. J. WE have just returned from witnessing the pre-view of a film which undoubtedly marks the most important epoch in motion picture history since the in- vention of the folding camp-stool, — and a couple of aspirin tablets will fix us up all right. It is, so far as we know, the first amateur news-reel which has ever been produced, and it is the work of Mr. Feeber, motion picture director of the East Teabone Literary and Sunday Afternoon Hik- ing Society. k The glimpses of current events furnished each week by the ubiqui- tous cameramen of Pathe, Interna- tional, and other large concerns, are recognized as an indispensable part of every well-balanced theatre pro- gram. After gazing at marshmallowy close-ups of Hollywood professionals for seven reels, it is a relief to look into the healthy, weather-beaten face of the latest aviation hero, and the annual baby parade at Oskaloosa, Iowa, is a pleasant anti-climax to the harrowing grimaces of war-torn "buddies" in the shell-holes of Fort Lee, N. J. But it has remained for Mr. Feeber to elevate the newsreel from the ranks of sordid commercialism, and give it amateur standing. His film starts off in brisk journalistic fashion with: 454 By Weare Holbrook DAVIS CUP AWARDED AFTER GRUELING CONTEST. The scene is the breakfast room in the home of J. Osbert Davis. Osbert, Jr., age 2%, and his sister Barbara, age 4, are eat- ing their gruel as fast as they can. Barbara finishes first, but is disquali- fied for a foul, having spilled some of her gruel on the tablecloth, — so Mr. Davis presents the cup of orange juice to Osbert, Jr. The latter ac- cepts it eagerly, and his sister, with true American sportsmanship, flies into a rage and kicks over the table. This is followed by: UNEMPLOYED STAGE PARADE OF PROTEST. RIOTING QUELLED BY POLICE. The porch of Mrs. Van Swack's country house. Delia, a maid who has just been discharged for dis- honesty, walks out of the house with her suitcase. Mrs. Van Swack, sus- picious, demands a look into the suit- case. Delia refuses indignantly. Mrs. Van Swack insists. A struggle en- sues, during which a dozen solid sil- ver salad forks tumble out of the suitcase. Mrs. Van Swack calls a policeman. Then we have a brief flash en- titled: WINSTED, CONN., HEN LAYS EGG ON TOMB OF UN- KNOWN CONTRIBUTOR TO G. 0. P. CAMPAIGN FUND— followed by WELL - KNOWN MAN - ABOUT- TOWN, BLINDFOLDED, RECOG- NIZES OLD GOLD CIGARETTE IN PRESENCE OF TWO IRRESPONSI- BLE WITNESSES. In this scene, an aged snipe-hunter with a battered derby hat pulled down over his eyes, is groping in the gutter in front of the Eureka pool hall. He picks up one cigarette stub after another, sniffs at it, and throws it aside. At last he finds one which seems to suit him. He lights it, takes a few puffs, and immediately bursts into song. Human interest is provided in a view of: MRS. HETTIE INCHBALD, AGE 92, WHO HAS SAVED THE LARG- EST BALL OF TWINE IN KENO- SHA, WIS. This is a slow-motion study of Mrs. Inchbald saving her twine. For those who love animals, there is a charming little close-up entitled: COCKROACHES AT WORK AND PLAY. (It is understood that this is the first of a series of wild life pic- tures which have been made by Mr. Feeber and his petite and pretty wife, Mrs. Feeber, during an apartment- hunting expedition in the Bronx. Other releases which will follow this are: COCKROACHES IN THE PAN- TRY, COCKROACHES ON A GUN- BOAT, COCKROACHES ON THE MISSISSIPPI, COCKROACHES ABROAD, and COCKROACHES DAMN NEAR EVERYWHERE. The scene is a kitchen sink. Mother Cock- roach is romping about the drain- pipe with her children, Antennae and Cleopatra, utterly unconscious of the proximity of the camera. They slith- er hither and thither, waving to each other gayly, and pausing now and then to examine some quaint old piece of garbage, with an air of busy futil- ity that is almost human. The next view takes us into the world of sport, where: SCHOOLGIRL PRODIGY BREAKS ALL RECORDS IN STANDING BROAD JUMP. The scene is Mrs. Lefhngweirs parlor, but Mrs. Leffmgwell is not there. Her daughter, Letitia ("Tootsie") Leffing- well, age 6, has spread the contents of the victrola cabinet over the floor, and is enacting "Eliza Crossing the Ice," — Letitia being Eliza, and her mother's red seal records being the cakes of ice. Mrs. Leffmgwell has heard her Wagnerian Cycle for the last time. This is followed by a very moving picture entitled : INTREPID COMMUTER HOPS OFF AT DAWN IN NON-STOP FLIGHT FROM JAMAICA TO PENN TERMINAL. Here we recog- nize Mr. Feeber himself, combing his hair with one hand, and drinking a cup of coffee with the other, while Mrs. Feeber laces his shoes. Then, still buttoning his vest, he dashes to the railroad station, and in the final fadeout we see him, somewhat flus- tered, taking a bite out of his com- mutation ticket and handing a piece of buttered toast to the conductor. No newsreel would be complete without a few fashion pictures to ap- peal to the feminine element in the audience, and in closing we have an elaborate style show condensed into a few feet of film under the caption: WHAT THE WELL-DRESSED WOMAN IS WEARING. This title is not exactly correct. It should read, WHAT THE WELL - DRESSED WOMAN WORE LAST WEEK— for in filming this feature, Mr. Feeber has dispensed with models and given us intimate glimpses of various back- yards in East Teabone on Monday morning. We see a succession of clothes-lines, each one laden with a gaudy assortment of frocks, pajamas, nightgowns, chemises, and other dain- ty articles of feminine attire too bloomerous to mention. What Mr. Feeber has done, others can do — and probably will. Current events do not necessarily involve famous personages. There are things happening to your next-door neigh- bor which are just as current, and no less eventful. Watching Walter Hagen make an eight-foot putt isn't half as exciting as watching Uncle Alec not make an eight-inch putt, and after seeing Mrs. Challis drive her new Buick through the west wall of the garage, it is impossible to generate much enthusiasm over the spectacle of the Prince of Wales falling off his horse for the twenty-ninth time. Mr. Feeber is certainly a pioneer in his field. And like most pioneers, he is about as popular as a piece of Camembert cheese in a dumb-waiter. HERE lies the BODY OF TwrE CONTRIBUTOR ~G-0.P~ CAMPAIGN/ FUMD "HEN LAYS EGG ON TOMB OF UNKNOWN CONTRIBUTOR G. O. P. CAMPAIGN FUND" 455 W .'■'■ "■:■. .: ON LOCATION FOR THE FAST MALE Production of the Stanford Studios, Stanford University, California AMATEUR CLUBS Stanford Technique THE FAST MALE, the sixteen hundred foot 16mm production of the Stanford Studios, the Amateur Motion Picture Club of Stanford University, is now being titled and edited. The picture is a rollicking comedy based on the con- ventional movie interpretation of col- lege life. How the most beautiful co-ed that ever flunked out of college remodeled the countryfied and bash- ful freshman only to discover that A TENDER FAREWELL In the Stanford Film Edited by Arthur L. Gale he was the "Fast Male," holder of in- tercollegiate records on track and dance floor form the sinews of the collegiate comedy. Complications are produced by the rivalry of the foot- ball captain and the mystery of Wanamaker's (The Fast Male) pres- ence at Stanford incognito. "We found it quite a time saver," writes Ernest W. Page, director, "to use three and sometimes four cameras on each long scene so as to obtain several angles of the same action for variety. This complicated the editing but it was worth it. We found a sys- tem of keeping the scenario in card form very satisfactory. The cards, one for each scene or subtitle, were numbered and filed in a small port- able box. Before each day's work the scenes which were to be shot were picked out, and as each scene was taken a brief note was made on the reverse side of the card of the foot- age, lighting and other details. In one scene several cars were raced over a camera placed in the middle of the highway. One man almost fainted from the excitement of this scene. He owned the camera." "The director wishes to admit that he made one fatal error. Angie, the co-ed lead, steps out of the sorority house in one dress and walks down the steps in another. Other amateurs, who have taken such scenes two months apart, please sympathize." Burt L. Davis was the chief photo- grapher of the film. Marion La Fol- lette played Angela, Powell Carpen- ter, Wanamaker, the "Fast Male", and Biff Hoffman the villain football captain. The Stanford Studios de- veloped the film in their own labora- tories. A ero-Cinematics ' I 'HE Program Committee of the ■*■ Movie Makers Club of Chicago recently provided club members with an opportunity to shoot scenes of Chicago's busy airport, under the guidance of members who had al- ready familiarized themselves with its cinematic possibilities. Airplane trips were also available to members at a small charge. The last meeting of the club was devoted to the screen- ing of members' films. DREAM SEQUENCE Wanamaker Dreams He Is a College Hero in THE FAST MALE 456 Amalgamation BOSTON is the scene of lively ama- teur activity. Mrs. H. H. Freeman and G. L. Ludcke, who have been or- ganizing a Boston amateur movie club, have amalgamated their efforts with the Little Screen Players of Bos- ton, one of the first amateur photo- play producing groups in the country. Commander Byrd and Professor Oak Ames of Harvard are honorary mem- bers of the new organization that will be known as the Little Screen Guild of Boston. Over fourteen hundred amateurs have been invited to join the new club and Arthur L. Race, manager of the Copley Plaza Hotel, has offered a suitable hall for the first meeting. The merger of the prospective Bos- ton amateur cine club and the al- ready well organized Little Screen Players will combine all of Boston's amateur movie interests in one or- ganization. Ample quarters and facilities for technical experiments, suitable projection rooms for 16mm subjects and constructive programs for the amateur cinematographer are planned. The dramatic division of the club will absorb the equipment and organization of the former Little Screen Players whose founder and director, Herbert F. Lang, will con- tinue as the director of the photoplay producers of the new organization. This coordination will offer a greater opportunity for the development of amateur cinematography in all of its phases. Boston 16mm and 35mm workers are cordially invited to com- municate with the temporary secre- tary, Mrs. H. H. Freeman, Hotel Brunswick, Boston. Blood and Sand UTNDIAN RIVER PIRATES," the ■*■ second annual production of the Indian River School, New Smyrna, Florida, was enthusiastically received when it was screened at the school's farewell banquet during the last of May. A treasure trove buried in the sand dunes, the ruins of a Franciscan Mission and a sail boat form the colorful background for an adventur- ous melodramatic farce that runs four hundred feet. The picture was planned as an in- cident in school life. When wander- ing through the ruins of an old Fran- ciscan mission, the boys find one of their number somewhat gullible on the subject of buried treasure, so a CINEMATICS AT PRINCETON There Is Advanced Technique in Such Scenes as These from the Princeton University Film plot is hatched to provide thrills for the susceptible one on the following day. As a result the unsuspecting student digs for treasure in the sand dunes and is captured by his erst- while companions disguised as sea rovers. But when the villains compel him to walk the plank, they find to their amazement, that they are being pursued by the River Police. Things take a serious turn until it develops that the hoaxers themselves are being hoaxed. From Riverside YV/TTH the adoption of by-laws and * * the selection of temporary offi- cers the formation of the Amateur Movie Club of Riverside, Calif., was recently effected by eighteen active amateurs of that city. Dr. L. Frasher will serve as president and 0. B. Ormiston as secretary until the club is permanently organized at the next meeting when the year's officers will be selected by the board of governors. The board is composed of LaMonte Simms, Chairman, Milton Castelman, L. B. Caldwell. Glenn Chapman and Hudson Martin. The purpose of the club is to encourage and promote amateur movie photography in River- side. Included in the amateur films projected at the first meeting were scenes taken of the Olympic Club Junior college track meet and local scenes taken of the Mission Inn. A mateur Realism /~»LYDE HAMMOND, producer of ^-* the "Dragon Fly," that won an honorable mention in the Photoplay Magazine amateur movie contest, is planning to form an amateur movie club in \oungstown, Ohio. "The Dragon Fly," based on a psychologi- cal study of a self-centered boy re- turning from college to the environ- ment of his father's farm, is a film of unusual cinematic merit. It is one of the first amateur attempts at un- alloyed realism. The contempt of the selfish son for his home life and the circumstances of his father's death are given with excellent film economy and a use of cinematic devices that demonstrate the possibilities of the amateur. The film was directed by Clyde Hammond who played the son. Harry Smith played the part of the farmer, Daisy Smith, the farmer's wife. Charles E. Spurr. a doctor and Anne Haney. a girl. (Continued on page 482) THE PRINCETON FILM IN THE MAKING Above: Shooting a Scene; Left: Cutting and Editing 457 Rock Bottom Thrills, chills, love, and action galore An Educational comedy featuring Cliff Bowes. Ship Shape An Educational comedy. Marital problems solved by a hard-boiled mariner. KODAK C For Your JVodak Cinegraphs are recognized as the : short subj ects available anywhere at any price. ^ little classics for the home screen are the crea hundreds of available pictures, reduced to 16 form and released to you at the lowest cost consi with the fine quality for which they are famoi Quality is the watchword in the preparati< Kodak Cinegraphs . . . quality of photogr . . . quality of subject. When you purchase a K Cinegraph you know you have a film that yoi show to every type of audience. You know ths photography is the best that expert camera me] produce. You know that the film upon whicr printed is Eastman Safety stock, made by the pi( manufacturers of 16mm. motion-picture film, word, you know that no better pictures are avai anywhere. iT At Your i EASTMAN KODAK 458 Dizzy Daisy The inimitable Louise Fazenda as a dumb but capable housemaid who fights for and wins EGRAPHS ne Library Current Cinegraph releases, in keeping with the ison, feature clean, sprightly comedies. Some re- nt comedy releases are illustrated here. But there t other subjects, too — subjects that are new and vel and engrossingly interesting — subjects that will rill and entertain the most critical of audiences. Kodak Cinegraphs are furnished in 100-, 200- d 400-foot lengths. Every Cinegraph is complete itself and offers four, eight or sixteen minutes of lightful screen entertainment. With few excep- )ns all Kodak Cinegraphs are priced at $7.50 per >o feet. Your Cin6-Kodak dealer can supply any Cine- aph that your movie needs of the moment may quire. Ask him for a complete list of Cinegraph leases or write direct to Rochester for the new inegraph catalog. dak Dealers IPANY, Rochester, N.Y. Home Cured Another Educational comedy, featur- ing Johnny Arthur. The trials and tribulations of a hypochondriac. 459 - Rock Bottom Thrills, chills, love, and action galore. An Educational comedy featuring Cliff Howe.. / ; ■ - « ffzi accent Comedy Releases Dizzy Daisy The inimitable Louise Fajenda as a dumb but capable housemaid who tights tor and n the heart and hand of her empli '-J.JZ ^ «"*- Ship Shape An Educ V < omedy. Marital id by a hard boiled KODAK CINEGRAPHS For Your Mroic Library iX(ii) \i< ClNEGRAPHS arc recognized as the finest short subjects available anywhere at any price. These little classics lor the home screen are the cream of hundreds of available pictures, reduced to 1 6mm. form and released to you at the lowest cost consistent with the line quality for which they are famous. Quality is the watchword in the preparation of Kodak Cinegraphs . . . quality of photography . . . quality of subject. When you purchase a Kodak Cinegraph you knots you have a film that you can show to every type ot audience. You know that the photography is the best that expert camera men can produce, You know that the film upon which it is printed is Eastman Safety stock, made by the pioneer manufacturers of ] 6mm. motion-picture film. In a wind, you know that no better pictures are available anywhere, Current Cinegraph releases, in keeping with the season, feature clean, sprightly comedies. Some re- cent comedy releases are illustrated here. But there are other subjects, too — subjects that are new and novel and engrossingly interesting — subjectsthatwill thrill and entertain the most critical of audiences. Kodak Cinegraphs are furnished in too-, 200- and 400-foot lengths. Every Cinegraph is complete in itself and offers four, eight or sixteen minutes of delightful screen entertainment. With few excep- tions all Kodak Cinegraphs are priced at S7.50 per 1 00 feet. Your Cine-Kodak dealer can supply any Cine- graph that your movie needs of the moment may require. Ask him for a complete list of Cinegraph : releases or write direct to Rochester for the new Cinegraph catalog. ■kodak Dealers Howe Cured Another Educational corned) . featui ing Johnny Arthur. The trials and tribulation, of a hypochondria! . EASTMAN KODAK COMPANY, Rochester, N.Y. PHOTOPLAYFARE Berlin PICTURING the dynamic spirit of a great modern city is an artistic task which only the motion pic- ture could even hope to attempt. Ef- forts to accomplish this for New York and Berlin have recently been made, the latter film being in many respects the more successful. "Berlin, the Symphony of a Big City," is the work of the famous German, Karl Freund, assisted by Walther Ruttman, and based on the idea of Carl Mayer. Per- haps its most significant difference from the New York film, "The Twenty- Four Dollar Island," of Robert Fla- herty, creator of "Nanook," and "Mo- ana of the South Seas," is that it holds to a very definite, although unobstru- sive, continuity. It starts with the breaking of dawn, carries the city through a day's activity, and ends with the night, a simple enough con- cept, but one which leads the eye and mind onward with a satisfying order- liness, an element which is lacking in the New York film. This seems to be merely a succession of unrelated shots of the city, without any basic theme connecting them. "Berlin" also has a sub-theme, the constant rush of traf- fic of every sort and kind. This forti- fies the flow of continuity. In "Berlin" there is also dramatic development and a rise through inten- sification of mood to a climax. This again was not present in the New Reviews for the Cintelligenzia ft.^ A York film. In Freund's study interest is constantly heightened, from the first sleepy shots of empty streets at dawn, with only a scrap of paper blowing in the wind, through the ac- celerating life of the day, until the picture ends in a burst of brilliant fireworks. Even before seeing "Berlin" the feeling persisted that continuity of some sort was essential to the success of a film which set out to interpret the life of a great city, and it seemed that the New York effort would have been far more pleasing had some such theme as traffic, smoke or the rivers, been used as a thread with which to connect the whole. As for the photography of the two pictures Robert Flaherty is remark- able as a creator of exquisite pictures. In this, "Berlin" probably stands sec- ond. However, for cinematic interpre- tation of the subject, as contrasted with the methods of still photography, Ber- lin is again outstanding. This phase is touched on in "Critical Focusing." Such a study as "Berlin" would not be classed as a photoplay in the pres- ent generally accepted understanding of the word, but in the true sense it is a photoplay of the greatest subtlety, and is probably the forerunner of many other fascinating excursions into the undiscovered possibilities of the motion picture. TF you like Whistler's nocturnes, •*■ you'll like "Street Angel." Photo- graphically this Fox picture is the most exquisitely conceived and exe- cuted screen product this reviewer has seen. Frank Borzage, its director, and Ernest Palmer, its photographer, cre- ate their effects with unmatched deli- cacy. Many, but not all, of the loveli- est scenes owe their wistful and brood- ing charm to Neapolitan fog, which either pervades the scene, or trails in feathery wisps before the camera. New York critics have discovered a fond- ness for such fog effects on the Fox lot in Hollywood, and have good humor- edly derided it. However, if one for- gets that the stench of burning auto- mobile tires pr.obably accompanied the recording of these fog scenes, their intrinsic beauty amply justifies the Fox absorption. The story is of little importance, and the motivation of the chief charac- ters is frequently unsound, but the charm of the photography, fortified by the appealing personalities of Janet Gaynor and Charles Farrell, have the rather surprising effect of making these factors seem unimpor- tant. After all, it is purely a question of nocturnes. If you like them, you'll be moved to write to Mr. Fox that all. else is forgiven. THE CINEMATIC BEAUTY OF STREET ANGEL IS SUGGESTED BY THIS LOVELY SCENE WITH ITS UNDERLYING NOTE OF TRAGEDY Photograph by Fox. 460 A New Beauty, A New Quality in the Movies You Make ^^r "-ffl ^\?MlBfc ^V *r*'^JBfe 5 *^y ■ W' ^ sdHf? uM g^M w.m The photograph on the left was made on ordinary film, while that on the right was made on Panchromatic Film. Note the difference in the reproduction of the flowers, which are a deep red in color. Those on the left are a heazy black, scarcely distin- guishable, while those on the right are a delicate gray , shading to white. Note also the marked difference in the rendering of the girl's face and dress, as well as in the background. These photographs were made with the same camera within a few moments of each other. The difference is due entirely to the use of Panchromatic Film in the picture at the right. Cine-kodak. Panchromatic Film marks a decided forward step in the quality of the pictures you make. It places at your disposal a very definite means of improved screen results. Unlike ordinary film, Cine-Kodak Panchro- matic Film is sensitive to light of all colors. Hence, the screened image, in monochrome, shows all the colors of the subject more nearly in their actual relationship, one to the other. Cine-Kodak Panchromatic Film is used to great advantage in all phases of amateur cine- matography. Colors, whether occurring in cos- tumes or in landscapes, are rendered with striking fidelity in their appearance to the eye: and the quality of distant views is much im- proved. Clouds assume an almost unbelievable beauty. It is not necessary to use a filter with Cine- Kodak Panchromatic Film but a marked im- provement in landscape and cloud photography is at once apparent when this is done. Except for portraiture, the Cine-Kodak Filter is rec- ommended for general use with Cine-Kodak Panchromatic Film. A filter should not be used for portraiture. The amateur encounters no difficulties when using Cine-Kodak Panchromatic Film. It is daylight loading, and is processed by the famous reversal process. Of course, duplicates can be made from Cine-Kodak Panchromatic Film originals. In a word, Cine-Kodak Panchromatic Film provides you with a material just as easily used as regular Cine-Kodak Film, but gives to your pictures a new realism, a new beauty, a new qualitv that you will not want to miss. Cine-Kodak Panchromatic Film is priced at $7.50 per 100-foot roll. The filter for the Cine- Kodak, Model B,/.i.q, is priced at $2.50; for the Model B, /.j.5 or 7.6.5, $1.50. A special front required to equip the Model B,f.^.^, with the filter, is priced at $1.00. Cine-Kodak Panchromatic Film is now supplied with paper leader and trailer strip, instead of the opaque backing. Eastman Kodak Company, Rochester, N. Y. 461 EVERY MONTH TT-,TT r oomethine NEW Heart matte. Viewfinder for same 2. Keyhole matte. Viewfinder for same 3. Cloverleaf matte. Viewfinder for same NEW "SHAPES" for your movies through Look to these Bell & Howell pages each month for the really new innovations in movie-making equipment. Here is a typical Bell & Howell creation with which you can give artistic outlines to any action, greatly increasing the interest in your pictures. The new Filmo Vignetting Mattes for this purpose come to you in a set ol six, with corresponding set of six viewfinder mattes as illustrated above. In each "pair" shown, the matte to the left is the one which fits over the front of the Iris Vignetter, in the groove provided there for color filter. The matte on the Make sure of having adequate lens equipment 6. Vision matte. Viewfinder for same Remarkably Low Priced High Quality Telephotos i For Poor Light —an Fl.5 The new Taylor-Hobson Cooke 1-inch F 1.5 lens is 40 per cent faster than an F 1.8, heretofore considerd so speedy. It is five times as fast as the F 3.5 with which pictures under all average light conditions can be secured. This is the lens to get pictures on very dark days or after sundown. In many tests excellent results have been secured indoors without artificial lighting. Price, in micrometer focusing mount, $65.00. Only $65 — 6 in. F 5.5 Telekinic A big value for those seeking a tip-top telephoto lens reasonably priced. Power of magnification is six times normal. A wonderful lens for picking out the detail in sporting events, travel, capturing movies of shy animals and birds, etc. Price, $65.00 complete in focus- ing mount, with sunshade, matched viewfinder and eye- piece. The 6-in. F 4.5 is priced at $95.00. Mark coupon for complete lens catalog showing these and other beauti- ful lens values. Only $60—4 in F 4.5 Telekinic Such prices have heretofore been unknown on tele- photo lenses of this superb quality. Taylor-Hobson Cooke lenses have gained universal respect. Here is another of the outstanding lens values of the season. The 4-inch F 4.5 lens shown above will prove of wonderful value picking up distant shots on yacht- ing, traveling, hunting trips, etc. Price, $60.00, includes sunshade and matched viewfinder lenses. The 3K-inch F 3.3 is priced at $85.00. New 400' Reels and Humidor Cans The new B & H reel has an eight-slotted hub, enab- ling operator to fasten film -end instantaneously. No turning reel to find slot. A quarter turn of reel engages film firmly after slotting. New beauty in design adds to appearance of Projector. Price each reel 75 cents. The new B & H Humidor Can, com- panion to the reel, is very light and made strong by encircling ribs. Cover removes easily. Nickeled brass, dull finish. Price each, 75 cents. Reel and can together, $1.50. Famous SESAMEE Lock now available for Filmo cases — or furnished as optional equipment Here is the widely known SESAMEE Combination Lock — - now available for Filmo protection on your carrying case. The three-number combination is easily set or changed by the owner. No one not knowing this combination can open the case and tamper with your camera. Nor will you ever suffer the annoyance of losing a key. Any Filmo case may be purchased already equipped with a SESAMEE lock. Cost of case so equipped, $3.00 extra. SESAMEE Combination Lock alone, $3.00. Installed on the case you own, $3.50. BELL & 1828 Larchmont Ave., New York, Hollywood, Established 462 from Bell & Howell Triangle ynatte. Viewfinder for same Viewfinder for same NEW VIGNETTING MATTES right in each "pair" is the viewfinder piece with which you locate the action as it will appear in your film. This matte fits quickly over end of Filmo spy-glass viewfinder. Divergence of light rays through the vignetter mattes makes the action take the exact shape seen through the viewfinder matte. Price per set of six mattes — Heart, Keyhole, Cloverleaf, Triangle, Binocular and Vision — complete with corresponding viewfinder mattes, $7.50. This is an example of the effect you get using .„- the Binocular matte — the subject ap- / pears 'as if viewed through binoculars. Mattes shown ready for use on the Filmo 70 camera. Note the vignetting matte in place on Iris Vignetter — the viewfinder matte snapped in place over end of view- finder. Filmo Iris Vignetter This is the Vignetter you will use with the Vignetting Mattes described above. Quickly attached to Filmo camera by screwing into lens in place of sunshade . Easily operated by thumb and finger with camera in operation. Shutter closes completely, permitting complete circle-in or circle-out when used without mattes. With this equipment you have practically everything the professionals have for opening, closing and shaping your scenes. Price for 1-inch F 3.5 lens in either fixed or focusing mount, $10.50. Color Filters This is the season when beautiful sky, water and landscape effects are obtained by using a color filter. The filter separ- ates all elements of the picture into proper tone values, giving that sharp- ness and depth so sought for in fine cine- matography. Filter shown, for 1-inch F 3.5 lens, is made of natural colored glass and is extraordinarily effective. Price $2.50. Other filters available for all lenses. Get our lens catalog. For Fun •— the Filmo Lens Modifier Even your best friends won't know when you are taking movies of them with this Modifier over your Filmo lens. The big laugh comes when your movies are shown — your friends growing fat, thin, tall, short as they move. The distortion is controlled at will by a simple finger turn of the Modifier with the camera in action. Price ready for use, $13.50. Mark coupon. Filmo Library Rental and Sale Releases for July Here are the new Filmo Library summer films that you will want to splice into your own pictures or run as highly entertaining separate subjects. M-120 — "Taking Game Fish in the Florida Gulf Stream". Brimful of action. Includes battles with barracuda, bonita, dolphin, tuna and sailfish. Approximately 400 feet of film. Price $30.00. M-121 — "In the Land of Big Muskies." The thrills of landing muskies in the Ontario Lake of the Wood country. Approximately 400 feet. Price, $30.00. M-116 — "A Day With a Forest Ranger" — Glorious western mountain scenery interspersed with forest ranger action. Approximately 100 feet. Price $6.50. M-122 — "Outstanding Events". Some fine Lindbergh high lights with other historical events of the day. 100 feet. Price $7.50. Filmo Rental Library Films for the Month A new "first run" theatre release each week, rented to you on the basis of $1.25 per 400 ft. reel, 24 hours. July 2nd, No. 625, "Felix the Cat" in "The Cold Rush"— 1 Reel. July 9th, No. 1030, "Big Boy" in "Open Spaces"— 2 Reels. July 16th, No. 362, "Slow Down"— Cameo Comedy— 1 Reel. July 23rd, No. 734 Lupino Lane in "Maid in Morocco" — 2 Reels. July 30th, No. 626-A, "Felix the Cat" in "Eats are West"— 1 Reel. See Your Dealer — or SMail Coupon HOWELL CO. Chicago, 111. London (B. &H. Co., Ltd.) 1907 I Bell & Howell Co., I 1828 Larchmont Ave., Chicago, 111. [ Please mail me booklets or complete information on the i I following: □ New Vignetting Mattes; D Telephoto and [ J other lenses; □ SESAMEE Lock; D New Reels and I Humidor Can; □ Iris Vignetter; O Color Filters; I I □ Filmo LensModifier;rjCurrentFilmo Library releases. | j Name _ i Address I 463 CRITICAL FOCUSING Photograph by United Artists A STRIKING CINE SILHOUETTE As Filmed in Ramona The Man Who Laughs Universal Directed by Paul Leni Photographed by, Gilbert Warrenton, A. S. C. Economical Use of Atmosphere: In the opening scenes the atmosphere of the story and the period is given the audience by the moving camera focused on the medieval wall carv- ings and hangings in the King's bed chamber. This is economical and ef- fective and can be easily used by the amateur. Cinematic Symbolism: In one se- quence the empty chair reserved for the Duchess at the Queen Anne's con- cert dissolves into the gaily painted chair of a carousel at the country fair where, presently, the Duchess dis- guised as a peasant is seated. In an- other instance when the clowns are attempting to simulate a clamorous audience in order that Dea, the blind girl, will believe that the show is go- ing on, double exposures are used cinematically. Closeups of a number of the clowns are presented in double 464 exposure against the background of the whole group, symbolizing both their attempt to make themselves sound like a crowded audience and Dea's realization that they were but the few clowns of the company that she heard. Double exposure is now possible for the amateur, although still difficult, and this illustrates its best usage: In another scene the breaking of a musician's viol, as he hurriedly escapes through the musi- cians' exit at the end of the Queen's concert, tells the whole story of the concert's boredom. This simple and effective device suggests many possi- bilities to the amateur seeking sub- tleties. Camera Treatment: The camera follows the eyes of "The Man Who Laughs" as he focuses them on the Duchess who is attending the per- formance at the fair. The camera here is used realistically and effec- tively to convey the scene to the spec- tator as it appears to the protagonist in the story, and it is one of the cine- matic possibilities available to every amateur. In the same sequence this Technical Reviews to Aid the Amateur effect is again secured, probably by the use of a trick lens, with a succes- sion of ripples down the screen, re- producing the dizziness of a per- former watching the swaying move- ment of his audience. We Americans Universal Directed by Edward Sloman Photographed by, Jackson J. Rose, A. S. C. Introduction of Character: The character of the Jewish immigrant is introduced by a closeup of a hot iron steaming on a pair of trousers. The next shot is of the iron in motion and then we are given the picture of the head of the Jewish family at his work. This simple cinematic device, focus- ing the spectator's attention on the most influential factor in the environ- ment of a character, is open to all amateurs and it is one of the practical bits of cinematic technique that al- ways invites amateur experimenta- tion. Dream Technique: One sequence gives us the two leads who are in love, dancing together at a party; next, the same scene empty of everyone save the boy and girl dancing together; then they are presented, still dancing, on the turf at the side of a lake. Here the change from one scene to another was secured with dissolves. However, the amateur could handle similar transitions from reality to a dream world by means of cuts or fade-outs. Berlin Produced by Karl Freund Walther Ruttman Theme: "Berlin, the Symphony of a Big City," may well serve as a model to the amateur who wishes to make an atmospheric and revealing film study of his own city. Treatment: The amateur camera- man can learn much from the splen- did work of Karl Freund in every de- partment of filming. Cinematics : Berlin uses the dissolve, the fade, multiple exposures, the close- up, and other cinematic devices with consummate artistry. Composition: There have been fre- quent discussions of composition in motion pictures, that is moving com- positions, and Berlin offers an oppor- tunity to study the results which can be obtained by careful consideration of this new art problem. KODASGOPE LIBRARIES ANNOUNCE ii The Qrand Duchess and the Waiter" Featuring Adolphe Menjou and Florence Vidor — one of Menjou's greatest and most popular screen triumphs. FIVE HUNDRED SUBJECTS NOW AVAILABLE World-wide distribution, an adequate num- ber of duplicate copies and an established organization offer you a program service that you can depend upon. DESCRIPTIVE CATALOG OF 176 PAGES FURNISHED GRATIS TO MEMBERS KODASCOPE LIBRARIES Are Established At: Atlanta, Ga., 183 Peachtree Street Boston, Mass., 260 Tremont Street Chicago, III., 137 North Wabash Avenue Cincinnati, Ohio, 110 West 8th Street Cleveland, Ohio, 1126 Euclid Avenue Detroit, Mich., 1206 Woodward Avenue Kansas City, Mo., 916 Grand Avenue Los Angeles, Cal., 643 South Hill Street Minneapolis, Minn., 112 South Fifth Street New York, N. Y., 33 West 42nd Street Philadelphia, Pa., 2114 Sansom Street Pittsburgh, Pa., 606 Wood Street Rochester, N. Y., 343 State Street San Antonio, Texas, 209 Alamo Plaza San Francisco, Cal., 241 Battery Street Seattle, Washington, 111 Cherry Street Toronto, Ontario, 156 King Street, W. Montreal, Quebec, 104 Drummond Bldg. Winnipeg, Manitoba, 205 Paris Bldg. Vancouver, B. C, 310 Credit Fonder Bldg. And in Thirty-three All Around t h Pictures That Please' 465 COLORING FILM with BRUSHES COLORING a film by hand, with colors and brushes, is not nearly so difficult as it at first appears to the novice. While requir- ing careful handling, a steady hand, keen eyesight and a sense of color values, it is not beyond the reach of any person willing to apply himself faithfully to a pleasant, interesting and profitable line of work. The charming effect of a well-col- ored cinema film when projected, as compared with the monochrome film in black and white, is so marked as to need no comment here. There is in- spiration and satisfaction in viewing a beautiful landscape in nature's own colors, a group of children in their vari - colored clothes and health- shaded skins; a sprightly seashore group, or a dazzling array of flowers, that is lacking in the monochrome views of the same. I will try, as briefly as possible for a subject of this nature, to give a summary of what I have accom- plished. The owner of a moving pic- ture camera should certainly learn how to add color — the element needed to complete his photographs. All will admit that a black-and-white picture is only a partial representa- tion of what created the urge to take a photograph. Was not color one of the most stimulating reasons? To consider the materials required, water colors in a larger variety than for toning will be needed. Boxes of assorted colors are sold by dealers; a china water color slab, or slant, one with five wells and the same number of slants; a few good water color ' brushes from a reliable dealer in ar- tists' supplies. I use red sable and Jap-Art brushes. In the sable brushes I use one-eighth inch and one-quar- ter inch, each with flat, chisel edges. In the Jap-Art brushes I use L-l, D-l, D-3 and N-l, the latter for fine detail work, and the sable brushes for larg- er areas, such as sky, water, foliage and foreground. The coloring box shown in the ac- companying sketch can be made by anyone with a few tools and some planed lumber stock. I used half- inch stock for the sides and bottom of box and three-eighth inch flooring for the two top pieces. The box is By Charles F. Nicholson thirty inches long by. six inches wide and deep, inside measurements. On each side of the thirty-inch pieces bore six one-inch holes at regular in- tervals for ventilation. Also bore a small hole in the middle of each end- piece, close to the bottom, to admit wires for the electric lights. (Note sketch.) Fasten the box together with screws, with the channels of the boards forming the top, toward the center and just far enough apart to permit inserting a strip of window glass into these grooves. If your film is the regular commercial size for moving pictures, measure care- fully so that the film will fit snugly, yet will move easily over the opening which admits light through the film. When the small amateur films are used, moving one of the top pieces and using a narrower strip of glass is all that is necessary to change from one to the other. The glass strips should be thirty- one inches long and of a width suffi- cient for the film, plus the two chan- nels into which it is inserted. Both ends of the glass strip should be cov- ered with tape to insure against scratches when the film is drawn over the ends. The box is now ready for finishing. A coat of flat white will assist the reflecting of the light, if put all over the interior of the box. Smooth the outside with sandpaper, take off all sharp corners and stain any desired shade. A coat of spar varnish will make an attractive fin- ish. Insert wires in ends of the box to receive sockets and lamps. I use 25- watt Mazda bulbs, frosted inside. Pro- cure a piece of mirror glass and place in the bottom of the box, under the lamps. The lamps should be slightly raised from the glass with a wire bracket to insure against over-heating. Connect the wires with a two-way fixture, as shown in sketch. Lamps should be placed in the middle of the bottom, about ten inches apart. Select colors needed for the subject and be sure that sufficient color is mixed to complete the film; other- wise, if another mixture is made, it may not be the same shade. What this will mean on a garment, for in- stance, is easily imagined. Pour a few drops of the concen- trated color into the wells of the china slab, lifting the color from this to the slant with one of your brushes. Thoroughly rinse the brush with clear water after each color. This is very important. Do this each time a color is mixed or used on the film. Next dilute with clear water the color that has been placed on the slant. The degree of depth must be decided by thecolorist; but as colors are diffused in projecting, a deeper shade is used than appears on the film while col- oring. If you have ever handled a colored lantern slide you will note the apparent glaring colors, yet when projected these are greatly softened. If colored in too subdued tones, the effect will be hazy and rather disap- pointing. Always work from the slant for flat coloring. If for bright detail work, lift a little color to the edge of the wells and use this. Never over- load the brush; use just enough to color a few pictures. Use water only to dilute the colors; depth of tint is easily graded on the slant or slab. A peculiar and valuable quality in the water colors I use is that while they may be superimposed — one color covering a former — there is absolute- ly no opacity and the last color ap- plied neutralizes any former tint. Thus, a group of foliage may be col- ored a brilliant green, but if an au- tumnal effect is desired, then red may be applied over the green, here and there, the red covering the green and changing the entire effect of the pic- ture. Still another is the fact that they will not "run" one into the other on the emulsion. A brush, not overload- ed with color, may be brought into contact with any other color, edge to edge, yet no "creeping" of one color into its neighboring color will ever be observed. The brush of color should have just sufficient moisture to color the object — and it is surpris- ing how far a brush of color will go when it comes into contact with a gelatine surface. (Continued on page 475) COLORING bOX ,,'^t-J- •' gagSZg /v i- / / i A-t- T*be E WORKING PLANS FOR A COLORING BOX r.,-n/-./-, -.-■—- ^=sx^ £ -SKeet £f_G_[ci£5 / 3o inches lor\o'~ 6 irvches wide and deep 'to double .socket to 4oubl & *>J> W7' M£°>VX» / J-' / PLEASE MENTION MOVIE MAKERS WHEN SENDING INQUIRIES 467 THE CLINIC The Teeming City THE following synopsis of a scenario for a film depicting the life of a great city is offered as a general suggestion to amateur cine- matographers who are searching for a subject to film. It holds many ideas for interesting pictorial treatment. "At ever increasing speed we near the city on a train in the early morn- ing. The intensity grows and grows! At last, the station! Then the streets at the first glimmer of dawn — desert- ed and bare. First, one or two lonely workers, then more and more. The factories begin — wheels, pivots, belts! The office workers come! Traffic, faster, faster, faster! Lunch hour, food being crammed down innumer- able throats. Work again. After work, sport — running, hockey, box- ing. Evening — electric signs, fever- ish jazz, drunken orgies. At last, to bed. The moon over the city." Homemade Titles TO make my own title outfit, I procured a board about eight inches long and three and a half feet wide, and at one end fastened the top from an old tripod. This has a screw in the middle which holds the movie camera securely. I then meas- ured off three feet from the lens of the camera and placed the title board at the other end of the long board. On this board I screwed two brackets, such as are used in fastening a shelf to the wall. I fastened two hooks in the title board to hold it in position firmly on the brackets. At the dis- tance that the camera is from the title board, as given above, and if the fS0t Conducted by Dr. Kinema Art Title Background The picture on the facing page can be used as a title background for appropriate films with any of the many methods of lettering. MISS BETTY SHANNON Of San Francisco, Films the Snow at Lake Tahoe With Her DeVry camera is a Filmo, the title board will be an inch and a quarter too far to the left when the title is sighted through the finder. Move the title board an inch and a quarter to the right and thus center the title on your film. UNIVERSAL APPEAL of the Cine Camera Is Illustrated by These Clippings from Foreign Language Newspapers Commenting on the Eastman Amateur Roadshow S8£ «W3£ x -V-' X' fc? tt • } Jf.\fl m- a m ft® h ili- I The title card is now set up on the title board and you are ready to shoot. Hold down the button which operates the film mechanism while you read the title through slowly and then release, and your title is made. When using the Filmo camera, unless you have a focusing mount when taking captions at this distance (30 inches), you should unscrew the lens one complete turn. If one arc light is used at twenty amperes, the lens opening should be f.4.5 at nor- mal speed. H. L. P. Cruising Movie Makers POINTERS on movie making on a trip around the world are given in the following letter from Mr. Joseph E. Dunipace, League member of Toledo, Ohio: "On a cruise of three months the winter before last I took with me thirty rolls of films, and, being rather inexperienced at the game. 1 was always concerned as to whether the three thousand feet of film would last until my return. As a result. I was afraid of wasting my film and spent too little time on many of the subjects, so that when the pic- tures were projected they were on the screen too short a time for one to get an intelligent idea of the subject. Last year I started out with eighty rolls so that I could feel that I could make my exposures long enough for the projected pictures to be really worth while. None of my pictures were less than eight seconds and, in many instances where there was much action, the exposures were very much longer. As a result, frequently one hundred feet of film went through the camera in an exceedingly short time and my eight thousand feet of film was rapidly transferred to the pile of exposed rolls. mW P<\\ *' .. ja«otv. vai'TP ,To\s a oft*1 \nft a\\e ISM*9 ce 0\p V*lv' d»ftv ^£<£V ,tet. 469 Ah . . . ! Mr. J. Potter Pancake is in a dilemma. For now he must buy the "watch thin" Filmo 75 . . . for Mrs. Pan- cake. Sophisticated and keen buyers will obtain their "75" from Bass where, motion picture apparatus has been sold for over eighteen years. Interesting sixty-page catalog is yours for the asking. May we send you a copy? Bass Camera Company 179 West Madison Street Chicago, Illinois "Yes We Swap Cameras" ARROW PORTABLE Motion Picture Screens (Patent Pending) Screen Ready for Use Screen Rolled in Case for Carrying Composed of millions of tiny round glass beads, firmly embedded on a strong fabric in a pure white composition. Has a wonderful reflective surface and will not glare like the silver metal- lic surface. Can be easily cleaned with soap and water. Complete with dustproof mahogany finished case into which it is drawn by a metal spring. PRICES Ho. 0 — Size 16x3x2Vi — picture surface 9'Ax IVA in. Weight 3 lbs $10.00 Ho. 1 — Size 33!/2x3!/4x4 — picture surface 22x30 in. Weight 6 lbs $15.00 Ho. 2 — Size 45I/2x4,/2x5 — picture surface 30x40 in. Weight 15 lbs $25.00 Ho. 3 — Size 57x43/4x5 — picture surface 39x52 in. Weight 18 lbs $35.00 Ho. 4— Size 72x5'/4x5I/2 — picture surface 51x6S in. Weight 40 lbs $75.00 At Your Dealer MANUFACTURED BY Arrow Screen Company 6725-55 Santa Monica Blvd., Hollywood, California "My great concern was whether I could carry the films through the tropics for several months without having them affected by the heat and the humidity. All of my films were packed in tin containers and after exposure were placed in my trunk. Some of the metal containers hold- ing film exposed in Celebes Island and Java were slightly rusty when I repacked them in Singapore, after having them in storage for over two weeks. The developed films, however, showed that they had not been in the least affected by the tropical humid- ity. A few rolls that were purchased in Java and had been in stock for three or four months gave as good results as the films I had taken with me. "The secret of obtaining good pic- tures, of course, is the proper use of the diaphragm and there seems to be a general tendency to over-expose. A slightly under-exposed picture is always better than an over-exposed one. In the bright sunlight of the tropics I nearly always used dia- phragms /ll and /16. I found a 3x filter very useful and with it I ob- tained some excellent surf pictures and distant mountain views. On sev- eral occasions a telephoto lens was found very useful, but in order to obtain good results with a lens of this sort a tripod should be used. "It is a great satisfaction to return from distant parts of the world with good movie films as a record of your trip and to feel that you can bring home to your friends living pictures, as it were, of the many scenes you yourself enjoyed. To see your pic- tures projected is like living over the many interesting days spent on the tour." Acting Technique ii /CHILDREN and animals are V_^ the best screen actors; they are themselves, and the camera is re- lentless," Fairbanks is reported to have said on one occasion. This statement is so true that the success of the greater screen actors can be determined by the amount of their di- vergence from the theatrical manner and their approach to spontaneity. Faced by a world of silent forms and bringing people to a contempla- tion of them, cinema focuses the at- tention on the visual character of its figures in a way impossible in or- dinary life and on the speaking stage. Where personality has to register it- self, within the limits of shape, mass and muscular movement the race is obviously to those who are distinc- tive and pleasing in these matters and who in the ordinary course of events express themselves and have greatest character in physical terms. They very naturally include children, animals, athletes, men at their craft, primitives and the like. As movement is the lifeblood of cinema, it has to be alive, that is, it must be both coherent and varied if it is to achieve the wonder one may reasonably expect of art. In a cin- ema actor this involves so many subtle and uncontrollable effects ap- preciable only under cinematic con- ditions that the rendering of one vivid personality is as much as may be expected of any one. It is possible, of course, for a cinema personality to be either plainly natural or partly created. Fairbanks is with his chil- dren and animals in the first class. He is himself, as are Nanook and King Yberr. IT'S A BEAR Says William H. Finley, of the American Nature Association, Meaning, Of Course, His Eyemo The argument points to the useless- ness of stage methods to cinema. The trouble with an acted part is that it tends to be visually shallow; and all the emphases of gesture in the world, be they as violent as the emphases of Mayerhold or of Lang, only make it more apparent that the final source of visual personality and visual drama — the subtle, uncontrollable nuances of movement to which in or- dinary life and on the stage one need not pay attention, has not been drawn upon — John Grierson, in the Herald- Tribune. Film in the Tropics THE life of a film may be divid- ed into four periods: (1) be- fore opening the sealed unit which comes from the manufacturer, (2) between opening the unit and placing the film in the camera, (3) while the film is in the camera, (4) between exposure and development. 470 Experienced travellers and ex- plorers adopt a unit system of pack- ing and avoid opening any of the film as originally packed until re- quired for use. The unit system of packing employs a series of three containers. A supply of one-inch width adhesive tape should be car- ried for sealing the film in cans after use, also new blank photographic wrapping paper in a sealed roll suf- ficient to rewrap the film. Film should always be kept in a cool, dry place. In an extremely hot climate, like Central Africa, and on long marches in the sun, a good precaution to take would be to protect all film with a waterproof cloth. The best time to open the film is at night when it is often cooler than during the day. Changing in a moist atmosphere should be avoided whenever possible. When working near salt water, addi- tional precautions against exposure to the atmosphere should be taken owing to a more rapid deterioration of the film emulsion from contact with the chemicals which are carried in suspension in the air. After film has been exposed in the camera it should be repacked in the original container and sealed with the tape. It would be a good idea to dry out the inside of containers with the flame of a candle, so as to remove all moisture prior to repacking the exposed film. — Herford Tynes Cowling, A. S. C, in the American Cinematographer. (The foregoing precautions were written with standard size, negative film in mind, but it is reprinted here with the idea that many hints con- tained in it would be of use to all amateurs who wish to use the utmost precautions in assuring best results.) Sport HPHE NATIONAL SPORTSMAN ■*■ Magazine, which some time ago organized a department for amateur cinematographers, sends word of a distribution plan for films for sports- men's clubs. Any club may join this co-operative plan by adopting the National Sportsman Magazine as its official organ, and the club must own or have the use of a reliable projec- tion machine. The films are avail- able only on 16mm. film stock. There are at present thirty-four sub- jects available for distribution, of which at least three may be borrowed each month. New films are being added from time to time. The li- brary already includes a wide variety of subjects on hunting, fishing and kindred sports dear to the heart of every out-door man. i^ji> Uniform Smooth Performance at All Speeds' — insures Perfect Motion Pictures! If you've never filmed a picture with a Victor Cine Camera — you have a surprise in store for you! Not until then — can you fully appreciate the truly remarkable perform- ance— the many little refinements of operation — the convenience — the simplicity of the Victor Cine Camera. Once you've witnessed a Victor Cine Camera in operation and noted its vibrationless, smooth-running action even though set at ultra speed for SLOW-motion — you'll agree it's a real instrument — a masterful crea- tion. Almost human in its sensitive response to your wishes. Almost uncanny in the manner in which its construction has anticipated your every need. You've heard a lot about this Camera — its many superior features. Now put them to the test by calling at your dealer for a demonstration. PRICE COMPLETE with F-3.5 Velostigmat Lens $125.oo Victor Animatograph Co*, inc. 340 VICTOR BUILDING DAVENPORT, IOWA, U. S. A. 471 You will find Movie Makers Magazine and a Progressive Dealer at each of the following addresses* Visit them! CALIFORNIA Fullerton: Hardy's Drug Store, 110 N. Spadra. Hollywood: Fowler Studios, 1 108 N. Lillian Way. Hollywood Movie Supply Co., 6058 Sunset Blvd. Long Beach: Vinstead Bros., Inc., 244 Pine St. Los Angeles: Eastman Kodak Stores, Inc., 643 S. Hill St. Roland J. Giroux, 223 W. Third St. Leavitt Cine Picture Co., 3150 Wilshire Blvd. Earl V. Lewis Co., 226 W. 4th St. Marshutz Optical Co., 518 W. 6th St. B. B. Nichols, Inc., 731 S. Hope St. Schwabacher-Frey Stationery Co., 734 S. Bdwy. X-Ray Supply Corp., 3287 Wilshire Blvd. Oakland: Davies, 380-14th St. Pasadena: Flag Studio, 59 E. Colorado St. F. W. Reed Co., 176 E. Colorado St. Pomona: Frashers, Inc., 158 E. Second St. Riverside: F. W. Twogood, 700 Main St. San Diego: Bunnell Photo Shop, 414 E St. Harold E. Lutes, 958 Fifth Ave. San Francisco: Eastman Kodak Stores, Inc., 545 Market St. Hirsch y Kaye, 239 Grant Ave. Kahn ii Co., 54 Geary St. Leavitt Cine Picture Co., 564 Market St. San Francisco Camera Exchange, 88 Third St. Schwabacher-Frey Stationery Co., 735 Market St. San Jose: Webb's Photo Supply Store, 94 S. First St. Santa Ana: Forman-Gilbert Pictures Co., 1428 W. Fifth St. Santa Barbara: J. Walter Collinge, 1217 State St. COLORADO Denver: Eastman Kodak Stores, Inc., 626-16 St. Ford Optical Co., 1029-16 St. Haanstad's Camera Shop, 404-16 St. CONNECTICUT Bridgeport: Frits 6? Hawley, Inc., 1030 Main St. Harvey ii Lewis Co., 1148 Main St. Greenwich: Gayle A. Foster, 9 Perryridge Rd. Hartford: H. F. Dunn Motion Picture Co., 410 Asylum St. Harvey ii Lewis Co., 865 Main St. Watkins Bros., Inc., 241 Asylum St. New Britain: Harvey ii Lewis Co., 79 W. Main St. New Haven: Fritz ii Hawley, Inc., 816 Chapel St. Harvey ii Lewis Co., 849 Chapel St. Reed Film Corp., 126 Meadow St. Stamford: Thamer, Inc., 87 Atlantic St. Waterbury: Curtis Art Co., 25-29 W. Main St. DELAWARE Wilmington: Butler's, Inc., 415 Market St. Frost Bros., DuPont Bldg. DISTRICT OF COLUMBIA Washington: Reid S. Baker, Inc., 1322 F St.,N.W. Cinema Supply Co., Inc., 804 Eleventh St. Columbia Photo Supply Co., Inc., 1424 New York Ave., N.W. Eastman Kodak Stores, Inc., 607- 14th St., N.W. Fuller ii d'Albert, Inc., 8 15- 10th St., N. W. FLORIDA Morse's Photo Service, Rhodesbilt Lake Wales: Arcade. Miami: Miami Photo Supply Co., 36 W. Flagler Street. Red Cross Pharmacy, 51 E. Flagler St. St. Petersburg: Robison's Camera Shop, 115-3rd St., N. Tampa: Tampa Photo ii Art Supply Co., 709-11 Twiggs St. GEORGIA Atlanta: The Camera Exchange, 7 Auburn Ave. Eastman Kodak Stores, Inc., 183 Peachtree St. IDAHO Boise: Ballou-Latimer Co., Idaho at 9th Sts. ILLINOIS ♦Chicago: Bass Camera Co., 179 W. Madison St. Aimer Coe ii Co., 78 E. Jackson Blvd. Aimer Coe ii Co., 18 S. LaSalle St. Aimer Coe ii Co., 105 N. Wabash Ave. Central Camera Co., 112 S. Wabash Ave. Eastman Kodak Stores Co., 133 N. Wabash Ave. Fair. The, Dept. 93, State, Adams H Dearborn Sts. * Fischer's Camera Service, Rm. 202, 154 E. Erie St. Ideal Pictures Corp., 26 E. 8th St. Lyon ii Healy, Jackson Blvd. ii Wabash Ave. Seamans, Photo Finisher, 7052 Jeffery Ave. Stanley- Warren Co., 908 Irving Park Blvd. Watry ii Heidkamp, 17 W. Randolph St. Decatur: Haines ii Essick Co., 121-128 E. William St. Evanston: Aimer Coe H Co., 1645 Orrington Ave. * Hattstrom ii Sanders, 702 Church St. Galesburg: Illinois Camera Shop, 84 S. Prairie St. Rockford: Quality Photo Shop, 316 E. State St. Sterling: Ray Hart, 8-10 E. 4th St. INDIANA Evansville: Smith ii Butterfield Co., 310 Main St. Fort Wayne: Biechler-Howard Co., 112 W. Wayne St. Rogers Optical Co., 824 Calhoun St. Frankfort: Pathex Agency, 206 E. Walnut St. Indianapolis: L. S. Ayres ii Co., Camera Dept., 1 W. Washington St. H. Lieber Co., 24 W. Washington St. South Bend: Ault Camera Shop, 122 S. Main St. Ault Camera Shop, 309 S. Michigan St. C. A. Wunderlich, 1234 Diamond Ave. Terre Haute: Whitney- Allison Co., 681 Ohio St. IOWA Davenport: Eastman Kodak Stores, Inc., 318 Brady St. Des Moines: Eastman Kodak Stores, Inc., 808 Locust St. Sioux City: Eastman Kodak Stores, Inc., 608 Pierce St. Visual Education Equipment Co., 208 Wright Bldg. KANSAS Topeka: Hall Stationery Co., 623 Kansas Ave. KENTUCKY D. Gatchel tfSons, 431 W. Walnut Louisville: W. Street. Sutcliffe Co. 225-227 S. 4th Ave. LOUISIANA Eastman Kodak Stores, 213 Euta New Orleans: Baronne St. Shreveport: Film Arbor Studio, 305 '/j Texas St. MAINE Bangor: Francis A. Frawley, 104 Main St. MARYLAND Baltimore: Amateur Movie Service, 853 N. St. Eastman Kodak Stores, Inc., 223 Park Ave. MASSACHUSETTS Boston: Eastman Kodak Stores, Inc., 38 Bromfield St. Ralph Harris ii Co., 30 Bromfield St. Ive.r Johnson Sporting Goods Co., 155 Washing- ton St. Andrew J. Lloyd Co., 300 Washington St. Montgomery- Frost Co., 40 Bromfield St. Pathescope Co. of the N. E., Inc., 260 Tremont St. Pinkham ii Smith Co., 15 Bromfield St. Solatia M. Taylor Co., 56 Bromfield St. Braintree: Alves Photo Shop, Washington St. Lowell: Donaldson's, 77 Merrimack St. Springfield: Harvey ii Lewis Co., 1503 Main St. Worcester: J. C. Freeman ii Co., 376 Main St. L. B. Wheaton, 368 Main St. MICHIGAN ♦Detroit: Clark Cine-Service, 2540 Park Ave. Detroit Camera Shop, 424 Grand River, W. Eastman Kodak Stores, Inc., 1235 Washington Blvd. Fowler ii Slater Co., 156 Lamed St. J. L. Hudson Co., Dept. 290. Metropolitan Motion Picture Co., 2310 Cass Ave. E. B. Meyrowitz,' Inc., 1516 Washington Blvd. United Camera Stores, Inc., 14611 Jefferson Ave., E. Jackson: Royal Film Service, 178 Michigan Av. W. Lansing: Linn Camera Shop, 109 S. Washington Ave. Vans Cine Service, 201 American State Bank Bldg. Muskegon: Beckquist Photo Supply House, 885 First St. Saginaw: Hesse's, Genesee at Jefferson MINNESOTA Duluth: Zimmerman Bros., 330 W. Superior St. Minneapolis: Eastman Kodak Store6, Inc., 112 S. Fifth St. E. B. Meyrowitz, Inc., 825 Nicollet Ave. Sly Fox Films, 49 S. 9th St. Owatonna: B. W. Johnson Gift Shop, 115 W. Bridge St. St. Paul: Co-operative Photo Supply Co., 381-3 Minnesota St. E. B. Meyrowitz, Inc., 358 St. Peter St. St. Marie Cigar ii News Co., 96 E. 5th St. Zimmerman Bros., 320 Minnesota St. Winona: Van Vranken Studio, 57 W. Fourth St. Meridian: St. MISSISSIPPI Hammond Photo Service, 2115-21 Sixth Kansas Co., Z. T. St. Z. T MISSOURI City: Z. T. Briggs Photographic Supply 916 Grand Ave. Briggs Photographic Supply Co., 1006 Main Briggs Photqgraphic Supply Co., 21 E. 11th St. Hanley Photo ii Radio Shop, 116 E. 10th St. St. Louis: A. S. Aloe Co., 513 Olive St. Erker Bros., 707 Olive St. Hyatt's Supply Co., 417 N. Broadway. NEBRASKA Hastings: Carl R. Matthiesen ii Co., 713 W. 2nd St. Omaha: Eastman Kodak Stores, Inc., 419 S. 16 St. NEW JERSEY Camden: Parrish ii Read, Inc., 308 Market St. Cranford: Home Movie Service, 32 North Ave. Newark: L. Bamberger ii Co. Schaeffer Co., 103 Halsey St. Plainfield: Mortimer's, 317 Park Ave. NEW YORK Albany: E. S. Baldwin, 32 Maiden Lane. F. E. Colwell Co., 465 Broadway Binghamton: A. S. Bump Co., 180 Washington St. Buffalo: J. F. Adams, Inc., 459 Washington St. Buffalo Photo Material Co., 41 Niagara St. United Projector H Film Corp., 228 Franklin St. Whinihan Bros. H Co., Inc., 746 Elmwood Ave. Jamaica: B. Gertz, Inc., 16210 Jamaica Ave. New York City: Abercrombie H Fitch, .45th if Madison Ave. American News and its Subsidiaries, 131 Varick St. J. H. Boozer. 173 E. 60th St. Brentano's, 1 W. 47th St. City Camera Co., 110 W. 42nd St. Abe Cohen's Exchange, 113 Park Row. * Columbus Photo Supply, 146 Columbus Ave. * Cullen, 12 Maiden Lane. Davega, Inc., Ill E. 42nd St. Devoe ii Raynolds Co., Inc., 34 E. 42nd St. * Eastman Kodak Stores, Inc., Madison Ave. at 45th St. Eastman Kodak Stores, Inc., 23 5 W. 23rd St. H. ii D. Folsom Arms Co., 314 Broadway Gall ii Lembke, Inc.. 7 E. 48th St. * Gillette Camera Stores, Inc., 117 Park Ave. Gillette Camera Stores, Inc., 16 Maiden Lane Gloeckner ii Newby Co., 9 Church St. * Herbert ii Huesgen Co., 18 E. 42nd St. B. M. Levoy, Inc., 127 W. 42nd St. Lowe ii Farley, News Stand, Times Bldg. Lugene, Inc., 600 Madison Ave. E. B. Meyrowitz, Inc., 520 Fifth Ave. George Murphy, Inc., 57 E. 9th St. * New York Camera Exchange, 109 Fulton St. Pickup ii Brown, 41 E. 41st St. C. F. Ray, 296 Fifth Ave. Schoenig ii Co., Inc., 8 E. 42nd St. Seiden Films, Inc., 729 Seventh Ave. H. F. Waterman, 63 Park Row. * Willoughby Camera Stores, Inc., 110 W. 32 St. * Wyko Projector Corp., 3 3 W. 60th St. Rochester: Marks ii Fuller Co., 36 East Ave. Sibley, Lindsay ii Curr Co., Camera Dept. Stamford-in-the-Catskills: E. S. Burtis. Utica: Edwin A. Hahn, 111 Columbia St. OHIO Akron: Dutt Drug Co., 7 E. Exchange St. Pockrandt Photo Supply Co., 16 N. Howard St. Cincinnati: Ferd Wagner Co., 113 E. 5th St. Huber Art Co., 124-7th St., W. L. M. Prince Co., 108 W. 4th St. Cleveland: Bueschers, 10602 Euclid Ave. Eastman Kodak Stores, Inc., 1126 Euclid Ave. Escar Motion Picture Service, Inc., 12804 Su- perior Ave. Fowler ii Slater Co., 806 Huron Rd. Fowler ii Slater Co., 347 Euclid Ave. Fowler ii Slater Co., 1915 E. 9th St. Home Movies Co., 1501-7 Superior Ave. Solomonson Optical Co., 735 Euclid Ave. Stone Film Laboratory, 8807 Hough Ave. Columbus: Capitol Camera Co., 7 E. Gay St. Columbus Photo Supply, 62 E. Gay St. Dayton: Dayton Camera Shop, 1 Third St., Arcade 'Norwood: Home Movie Service Co., 2128 Cathe- dral Ave. Toledo: Franklin Print. H Eng. Co., 226-36 Huron St. Gross Photo Supply Co., 325 Superior St. Lawrence's, 1604 Sylvania Ave. Leo MacDonough, 1103 Detroit Ave. Youngstown: Fowler ii Slater Co., 7 Wick Ave. •Indicates dealers who are advertising in Movie Makers 105 WEST 40th ST. MOVJLb MAlVcKo, new YORK CITY $3.00 a Year (Canada $3.25, Foreign $3.50) 25 Cents a Copy (Foreign 30 Cents) 472 DEALERS — Continued OKLAHOMA Oklahoma City: Roach Drug Co., 110 W. Main St. Tulsa: Camera Shoppe, 519J/2 Main St., S. OREGON Corvallis: Lynn's Photo Shop, 1555 Monroe St. Pendleton: Floyd A. Dennis. Portland: Eastman Kodak Stores, Inc., 345 Wash- ington St. J. K. Gill Co., 5th y Stark Sts. Lipman Wolfe y Co., Kodak Dept., Fifth, Wash- ington y Adler Sts. PENNSYLVANIA Erie: Kelly & Green. 116 W. 11th St. Johnstown: F. W. Buchanan, 232 Franklin St. Philadelphia: Amateur Movies Corp., 2114 San- som St. Eastman Kodak Stores, Inc., 1020 Chestnut St. Jos. C. Ferguson, Jr., 1804 Chestnut St. Strawbridge y Clothier, Market, Eighth (f Fil- bert Sts. John Wanamaker, Dept. 56. * Williams, Brown cV Earle, Inc., 918 Chestnut St. Pittsburgh: Eastman Kodak Stores, Inc., 606 Wood St. B. K. Elliott y Co.. 126-6th St. Kaufmann's Dept. Store., Dept. 62 Fifth Ave. Reading: Alexander Kagen, 641 Penn St. Wilkes-Barre: Ralph E. DeWitt, 60 W. Market St. Zwiebel-Stenger Sales Co., 203 S. Main St. RHODE ISLAND Newport: Rugen Typewriter & Kodak Shop, 295-7 Thames St. Providence: E. P. Anthony, Inc., 178 Angell St. Starkweather y Williams, Inc., 47 Exchange PI. TENNESSEE Chattanooga: Englerth Photo Supply Co., 722 Cherry St. Memphis: Memphis Photo Supply Co., Hotel Pea- body, 86 S. 2nd St. Nashville: G. C. Dury (i Co., 420 Union St. TEXAS Dallas: Cullum (i Boren Co., 1509 Elm St. E. G. Marlow Co., 1807 Main St. El Paso: Schuhmann Photo Shop, P. O. Box 861. Ft. Worth: Chas. G. Lord Optical Co., 704 Main St. Houston: Star Elec. y Eng. Co., Inc., 613 Fan- nin St. San Antonio: Fox Co., 209 Alamo Plaza. E. Hertzberg Jewelry Co., Houston at St. Mary's Sts. VERMONT Burlington: Robert T. Platka, 231 S. Prospect St. Rutland: Geo. E. Chalmers Co., Inc. VIRGINIA Norfolk: S. Galeski Optical Co., 209 Granby St. WASHINGTON Seattle: Anderson Supply Co., Ill Cherry St. Eastman Kodak Stores, Inc., 1415-4th Ave. Lowman if Hanford Co., 1514 — 3rd Ave. Motion Picture Service, 903 Lloyd Bldg., Sixth Ave. and Stewart St. Spokane: Joyner Drug Co., Howard y Riverside Ave. Tacoma: Shaw Supply Co., Inc. E. W. Stewart y Co., 939 Commerce St. Yakima: Bradbury Co., 19. S. Second St. WEST VIRGINIA Wheeling: Twelfth St. Garage, 81-12th St. WISCONSIN Eau Claire: Davis Photo Art Co. Fond du Lac: Huber Bros., 36 S. Main St. Green Bay: Bethe Photo Service, 125 Main St. Madison: Photo Art House, 212 State St. Milwaukee: Boston Store, Wisconsin Ave. y 4th St. H. W. Brown y Co., 87 Wisconsin St. Eastman Kodak Stores, Inc., 427 Milwaukee St. Gimbel Bros., Kodak Dept., Wisconsin Ave. y W. Water St. Photoart House of Milwaukee, 220 Wells St. Waukesha: Warren S. O'Brien Commercial Studio, 3 5 3 W. Broadway. FOREIGN AUSTRALIA >Jeu> South Wales Sydney: Harringtons, Ltd., 386 George St. Kodak (Australasia) Pty. Ltd., 379 George St. 7{ew Zealand Wellington: Kodak (Australasia) Pty. Ltd., Box 1474, G.P.O. Victoria Melbourne: Charles W. Donne, 349-51 Post Office Place. Harringtons, Ltd., 266 Collins St. CANADA Montreal: Film y Slide Co. of Can., Ltd., 104 Drummond Bldg. Gladwish y Mitchell, 147 Peel St. Ottawa: Photographic Stores, Ltd., 65 Sparks St. Toronto: Eastman Kodak Stores, Ltd., 66 King St. T. Eaton Co., Dept. V.-6, 190 Yonge St. Film y Slide Co. of Can., 156 King St., W. Vancouver: Eastman Kodak Stores, Ltd., 610 Gran- ville St. Film y Slide Co. of Can.. Ltd.. 319 Credit Fonder Bldg. Winnipeg: Eastman Kodak Stores, Ltd., 472 Main St. DUTCH EAST INDIES Java: Kodak, Ltd., Noordwijk 38, Weltevreden ENGLAND London, S. W. I.: Westminster Photographic Ex- change, Ltd., 119, Victoria St. London, W.I.: Bell y Howell Co., Ltd., 320 Re- gent St. London, W. I.: Wallace Heaton, Ltd.. 119 New Bond St. E. B. Meyrowitz, Ltd.. 1 A Old Bond St. Westminster Photographic Exchange, Ltd., 62, Piccadilly. Westminster Photographic Exchange, Ltd., Ill, Oxford St. Sheffield: Wm. Mcintosh (Sheffield) Ltd., Change Alley. Sheffield Photo Co.. 6 Norfolk Row (Fargate). HAWAII Honolulu: Honolulu Photo Supply Co., P. O. Box 2999 HOLLAND Amsterdam: Foto Schaap y Co., Spui 8. Capi, 115 Kalverstraat Den Haag: Capi, 124 Noordeinde Groningen: Capi, 3 Kleine Pelsterstraat Nijmegen: Capi, 13-17 Van Berchenstraat INDIA Calcutta: Army y Navy Coop. Soc, Ltd., 41 Chowringhee St. JAPAN Kobe: Honjo y Co., 204-5 Motomachi 6-Chome Kyoto: J. Osawa y Co., Ltd., Sanjo Kobashi. Osaka: Fukada y Co., 218 Dojima Bldg. Tokyo: Home Movies Library, 515 Marunouchi Bldg. MEXICO Mexico City: American Photo Supply Co., S. A. Avenida F. I., Madero, 40. NORWAY Oslo: J. L. Nerlien A/S, Nedre Slotsgate 13 University Book Shop REPUBLIC OF PANAMA Panama City: Lewis Photo Service, 1 Fourth of July Ave. Geo. L. Price, Laboratory No. 12 Ave. SCOTLAND Edinburgh: J. Lizars, 6 Shandwick PI. Glasgow: Robert Ballantine, 103 Vi St. Vincent St., Nr. Renfield St. J. Lizars, 101 Buchanan St. SPAIN Barcelona: James Casals, 82, Viladomat St. Madrid: Kodak Sociedad Anonima, Puerta del Sol 4. STRAITS SETTLEMENTS Penang: Kwong Hing Cheong, lc Penang St. SWITZERLAND Winterthur: Alb. Hoster, Marktgasse 57. Zurich: Zulauf (Vorm, Kienast y Co.), Bahn- hofstr, 61. BRIEF CLASSIFIED ADVERTISING m MOVIE MAKERS SELLS GOODS 10 Cents a word (figures, abbrevia- tions and initials counted as words). 20 Word minimum. No classified advertising with less than 20 words is accepted. Cash must accompany order. No discounts of any kind, including cash discount. Advertising for the Classified De- partment accepted for these classifications : 1. Equipment wanted. 2. Films wanted. 3. Equipment for sale. 4. Films for sale. 5. Trading offers. 6. Personal opportunities. Classified advertising will be pub- lished only in the Classified Sec- tion of MOVIE MAKERS All copy will be scrutinized with greatest care, but Movie Makers will not be responsible for errors nor for statements made by classi- fied advertisers. No proofs and no checking copies will be furnished to classified ad- vertisers. Send copy to : CLASSIFIED ADVERTISING DEPT. MOVIE MAKERS Magazine of the Amateur Cinema League, Inc. 105 West Fortieth Street New York, N. Y. 473 EDITING . . . TITLING Home Movie Makers May Now Obtain this Service Through Either of our Stores HERE your favorite reels can be edited, titled, spliced and in- spected by expert movie technicians of professional experience. This service enables you to drama- tize the reels you've made ... to give them continuity and pleasing arrangement ... to enhance their present value many, many times. The remarkable part about it is that the cost for any of this work is surprisingly little. Get the com- plete facts and price lists at either of our stores today. Come in and make arrangements to have your reels edited. Use the store that's most convenient Eastman Kodak Stores, Inc. The Kodak Corner . . . Madison at 45th Branch Store, 235 West 23rd THE W. B. & E. "PILOTLIGHT" A convenient light on your Filmo Projector that enables you to operate and change your reels with plenty of illumination that does not attract the attention of or annoy your audience. Makes operating your projector a pleasure. ( No extra wires needed. Just pull the switch and the Light is there — When and Where you need it. Easily attached to your machine in a few minutes and projector can be packed away in case with' out detaching. Price $6.00 From your Dealer or Direct WILLIAMS. BROWN & EARLE, Inc. "The Home of Motion Picture Equipment" Filmo Motion Picture Cameras and Projectors 918 Chestnut St., Philadelphia, Pa. CINEMATIC DESIGN (Continued from page 450) If a scene is composed of a single element it should so completely fill the screen that it has no background. Camera angles play an important part in securing effective results, as subjects can be photographed from different angles according to the ef- fect desired. A horizontal composi- tion suggesting calm can be made diagonal, suggesting vividness, by turning the camera about. These an- gles should not be employed haphaz- ardly, however. There must be a definite purpose in view, every scene contributing to the unity of the whole. If scenes are framed in various forms it is preferable that the frame be in motion, an integral part of the scene rather than a static form through which an action is observed. There are two ways by which con- tinuity can be accomplished. First, by moving the camera to form vari- ous lines or follow moving motifs. Second, by continuing the rhythm of the first scene in all succeeding scenes as the tempo mounts to a crescendo or climax. A combination of both methods, employing each one as oc- casion arises, allows of interesting variety. There are three ways of sep- arating scenes — by using the dissolve, the iris, or the fade. Of the three, the dissolve is probably the most effec- tive, as scenes can melt one into the other without impairing the rhythm. The iris is usually employed to sep- arate sequences, although it can be used in other ways. The fade is al- most always used at the beginning and end of a picture, but, like the iris, it can separate sequences. Scenes should not jerk from one to the other as in most of the present- day motion pictures, unless some novel effect is wanted. In this way a motion picture can be perfectly timed to a musical composition — something that has not yet been accomplished. There are many camera tricks by which films can be made more inter- esting. One of these is masking the lens in order to obtain multiple ex- posures. In this trick, two or more motifs can be shown on the screen at once, the movements of each motif correlating with the others. This ef- fect is difficult for amateurs to obtain, but it reveals just one of the many motion picture possibilities that have been scarcely touched upon. The motion picture imparts to things a super reality that they do not ordinarily seem to possess, because it focuses our attention upon them. A revolving wheel becomes a thing of titanic power on the screen. By draw- ing the camera away, its greatness and insignificance are realized at the same time. This gives us a complete sense of cosmic unity by showing that all great things are small and all small things are great. In size com- parison, then, lies one of the most fascinating uses of the motion picture camera. A wheel is also one of the numer- ous examples of a manifestation greater than itself. Planets are round and revolve in orbits. Electrons re- volve about protons. The sun rises and sets. The tides ebb and flow. Thoughts move in cycles. The motion picture is essentially a dynamic art capturing the rhythm of nature on a strip of film. The successful motion picture design should give the specta- tor a sense of completeness — as though what he is seeing is the only thing in the world. If it does this, then it has captured cosmic unity. Even after the last fade-out the spec- tator should retain a sense of perpet- ual motion. From all this it can be seen that cinematic subjects are endless, de- pending only upon the taste of the cinematographer in choosing a worth- while theme and his skill in applying it to the medium of the camera. PORTRAITS OF PIONEERS (Continued from page 449) ident of the Society of Motion Pic- ture Engineers. During his incumb- ency, the Society has achieved an in- ternational prominence and at its re- cent convention in Hollywood, the entire producing industry united to honor the Society with the most lav- ish hospitality ever extended to a sci- entific organization. There is still another side to this very active and energetic man. If the motion picture is his hobby, yacht- ing is his obsession. For twenty-one summers he and his family have lived aboard the rather extensive fleet of yachts that he has owned and always personally commanded. He is an expert navigator and his cruising activities have embraced the Atlantic and Pacific Coasts, from Se- attle to Alaska, and from Canada to the Chesapeake; also the Canals and Great Lakes. Last summer he covered over 2,400 miles, narrowly escaping the August 24th hurricane at Grand Manan, while crossing the Bay of Fundy in Nova Scotia waters on his present yacht, the "IVIRNA," well known to the Cruising Club of Amer- ica, of which he is a prominent mem- ber. 474 THE SHRINERS IN FLORIDA A movie record of the recent Miami Convention. A 16 m.m. film reduced from pro- fessional negatives of the follow- ing subjects: High Priest Float Parade Building Pharos Main Parade Dancing Girls Murat Temple Search Lights Garden of Allah Rosie. the Elephant Imperial Potentate A 400-foot film Price 828.00 The Cook Products Co. (Not Inc.) 320 So. Honore St., Chicago. 111. Please send 400-ft. reels of Shrin- ers Convention. I enclose check for S Have your VACATION PICTURES Edited and Titled by Experts Motion pictures keep your vaca- tion fun alive forever. Your vaca- tion pictures are the outstanding pictures of the year. You'll have a lot of fun on your vacation, and you'll want to keep those happy moments alive for the years to come. Proper editing and titling of these films makes the reel of random vacation shots a picture- story of your fun that any and every audience will enjoy. Our experts have been editing and titling amateur films since the very birth of home movies. Bring your vacation films to us. Let us show you how we can make a de- lightfully interesting movie story from them. Kodascope Editing & Titling Service, Inc. ROOM 917, 350 MADISON AVE. New York COLORING FILM WITH BRUSHES (Continued from page 466) Good brushes are absolutely nec- essary. I use red sable brushes for flat washes, Jap-Art brushes for detail work. These brushes are excellent for all small miniatures and for detail in any size films. For a start I suggest that you put into the wells yellow (brilliant yellow], red (carmine or vermilion I. blue (sky blue), brown (burnt sienna), and violet (mauve). Should more colors be desired, a few butter chiDS are excellent for holding the concentrated colors. They may be allowed to dry on the slab or chips, after using. Water will again bring out all their brilliancy when needed. While on the subject of colors I might tell of the possibilities of ad- mixtures, as these colors mix and blend in a marvelous way. I will mention but a few. Brilliant yellow and sky blue will make a variety of greens; an excess of yellow will turn them to warmer tones, while the blue will make dark tones. Burnt sienna may be modified to meet any shade for roads, buildings, fences and the like by adding either yellow, red or blue. Orange shades are made by adding vermilion to brilliant yellow. Flesh tints may be made by adding just a little rose madder to orange. Sky blue and carmine will make vari- ous shades of violet and purple. It is a most interesting and instruc- tive way to spend a few hours, just trying out how many distinct shades of color may be compounded from the primary and secondary colors. A wash of each new shade on a pad, with notations with a pencil to re- fresh one's mind, may save a vast deal of time when a certain color is desired, not among the assortment at hand. Do not handle the film unneces- sarily while preparing it for coloring. The hands should be perfectly free from perspiration or any suggestion of oil or grease. Of course, it is un- derstood that the emulsion side of the film is up while coloring. Should the film seem to be over-hardened and re- pellant to the fluid color, sponge over with a damp, soft sponge, mois- tened in a weak solution of sizing. This will neutralize the effects of the alum hardening bath and colors will flow freely. Stretch the first thirty inches across the glass-covered opening at the top of the box, fastening the end with a tack and weighting down the spool end with a book, to hold it taut while coloring. The brilliant light will show through the film, outlining every minute object in relief. If the eyesight is sufficiently keen to see Select Your Lens Equipment from This Complete Line Your movie camera deserves extra lenses. They increase the field of possibilities and help to produce pictures that are professional in appearance. Cine-Velostigmat /1.5 A speedy lens that permits pictures to be made on dull days and in the interiors where lighting is poor. 1" Focus /1.5 in Micrometer Focusing Mount, $50.00 Will fit Filmo, Victor and other 16mm. Cameras. 2" Focus /1.5 in Micrometer Focusing Mount, $75.00. Will fit Filmo, Victor, Eyemo, DeVry and other 16mm. and 35mm. Cameras. Telephoto Lenses /3.3 — /4.5 The type of lens that should be included in the movie equipment. You cannot hope to get movies of objects far off in the distance unless a lens of longer focus than the regular camera lens is used. A telephoto lens magni- fies and makes distant objects appear as close-ups when projected on the screen. 3" Focus M.5 Wollensak Telephoto $55.00 3%" Focus J3.3 Wollensak Telephoto 75.00 4" Focus /4 5 Wollensak Telephoto .... 60.00 6" Focus /4.5 Wollensak Telephoto 75.00 Made in mountings to fit the Bell c? Howell Filmo, Eyemo, Victor, DeVry and Cine-Kodak Model B with f 1.9 lens equipment. Cine-Verito /3.5 To get away from the common-place quality in motion pictures, use the Verito. It pro- duces films with a delightful softness, beauti- fully blending the highlights and shadows and suppressing the harsh, wiry detail — a quality of which you will be proud. 1" Focus Cine-Verito in Focusing Mount $25.00 2" Focus Cine-Verito in Focusing Mount 27.50 Made to fit Filmo, Victor, Eyemo and DeVry Cameras. 2X Color Filters A decided difference in the contrast of the films is noticed when a color filter is used. It also eliminates over-timing and re- duces halation to a minimum. Made in sizes to fit all Cine lenses and are priced from $2.50 to $5.00. A catalog will be sent to you upon request. LENSES AND SHUTTERS for studio and commercial use. Whether your needs are amateur or professional, we have lenses for every purpose. Send for a catalog. OPTICAL CO>I 3?^VNY 986 Hudson Ave. Rochester, N. Y. Manufacturers of Quality Photographic Lenses and Shutters since 1899 475 Color Your Home Movies ii • GET BEAUTIFUL SINGLE OR TWO TONE EFFECTS /%:^?\ // • Without the Necessity k\) * j r— -J of Tinting or Toning The illustration shows KOLORAY attached to a Model A, Kodascope and a Filmo Projector. KOLORAY is made for Kodascope, Models A, B and C, Filmo and De Vry 16mm. Projectors. It can be attached in 30 seconds. No machine work or alt- eration needed. Price $7.50 At your local dealers or sent postpaid. In ordering please be sure to specify the kind and model of projector on which Koloray is to be used. K OLORA "Professional color effects for home movies" Y A KOLORAY on your 16 MM pro- jector enables you to give each pic- ture your own individual artistic touch. As you have the shades of amber, blue, green, and red, and also two-color combinations, to work with, you can produce the effects of moonlight and sunset. You can show the greens of the ocean or forest with a sunset sky; or the soft ambers of the woodland against the blue sky of a perfect day. The color possibilities with KOLORAY" are almost limitless. Use KOLORAY for kaleidoscopic effects playing through the main titles and to get the emphasis that color alone will give to certain scenes; then add the finishing pro- fessional touch to your home pic- tures by showing the final fade out in beautiful single or double tones. In addition KOLORAY by toning down the glaring white of the screen will save the over-exposed scenes which otherwise would be worthless. Descriptive literature on request. BECKLEY and CHURCH, INC. Cutler Building - Rochester, N. Y. Dealers — Use a Koloray on your dem- onstrating projector — It pays. Special Cinema Coloring Outfit as above, including all materials requisite for coloring Moving Picture Film, Lantern Slides, Photographs, etc., with instruction booklet. Mailed postpaid to any address for $5.00. Color Photography For Everyone PEERLESS JAPANESE TRANSPARENT WATER COLORS In Boo\lets, Film Leaflets and in Concentrated Liquid Form The STANDARD PHOTO COLORS FOR MORE THAN TWO DECADES SOLD EVERYWHERE As\ your dealer or write us for information JAPANESE WATER COLOR CO. PEERLESS BLDG. DIAMOND PLACE ROCHESTER, N. Y., U. S. A. ~T1 n "Vi rV ' >f ■The Better Kind' ENO'S ART TITLES Something New!!! Genuine Hand Lettering For those who prefer to make their own titles; a beautiful Art Border, with your name or initials inset. Sent upon receipt of $2.00. Pennsylvania 2634 Pioneer Art Title Builder each small detail in the picture clear- ly, a magnifying glass will be unnec- essary. Otherwise use a four-inch glass with a handle, and color the pic- tures while magnified. The glass is easily held above the picture while it is being colored. In a picture where sky is present, color this first, start- ing at the beginning of the film with sky blue and color each picture showing any sky, all the way through the exposed thirty inches. This meth- od is carried out as each color is ap- plied. Finish all colors on the thirty- inch strip before starting another. Sometimes there are objects in a picture that were better left without coloring, as an old barn or fence. This will bring into strong contrast the objects that are colored. A little practice will show that thirty inches of film can be colored in a few min- utes. Any careless work in applying the colors will react in disappoint- ment; follow carefully each object that is to be colored with the same color all through the film. They will easily be picked out as the film is shown on the illumined space of the coloring box. Do not overlap colors. A hair line must be followed abso- lutely. When the person who took the photograph can also color it, many an intimate touch of color may be added, which would not be possible were the coloring done by another. Coloring does not by any means re- quire that a oerson must be an artist. Many excellently colored films have been submitted to the writer, colored in this way by young people just out of school. Some autumn scenes, with wonderful color effects — even to a gorgeous sunset in yellow, orange and crimson — have been obtained. A peculiar and valuable feature in the water colors I use, not found in stains or dyes, is the fact that water will remove a portion or all the color from a tinted or colored film. No films need be lost in trying out this coloring. This is explained in the article on tinting a film. See that the water is clean and very cold, so as not to soften the emulsion. Becoming an expert in this fascinating as well as profitable work is well worth seri- ous consideration by anyone seeking a pleasant occupation. To the owner of a moving picture camera it opens a new and novel field for exploration, and to the cine fan an entirely new vista of pleasure, as the possibilities of color are unlimited. And what will your friends say when they see your very own pictures reproduced in color, all your very own work? Is it not worth a serious effort? You can do it with a mini- mum of application, once you get started. NEWS of the INDUSTRY New Footage Meter A DEVICE for accurately meas- uring the footage of any scene made with a movie camera is available this month to the users of the Filmo 70. This meter, a product of the A. C. Hayden Co., will be ready for other makes of 16mm. cameras in the near future. This audible footage meter, as it is called, can be attached to the camera in a few seconds time, with- out any alteration of the camera. In use it operates with the utmost sim- plicity. One click, which can be clearly heard, indicates that one foot of film (two and a half seconds pro- jection time) has been exposed. When re-setting footage dial, the meter may be disengaged. This help- ful device for all filmers should be indispensable for individuals or ama- teur clubs making short or lengthy photoplays, as their scenario scenes can be measured by clicks and hot by inaccurately counted seconds. Furthermore, it will prevent waste of film. For those advanced amateurs who are doing lap dissolve and double exposure work, this counter will be of help in registering exposed foot- age. As far as this department can ascertain, this is the first time that a device utilizing sound for counting film footage has been perfected for a motion picture camera. Q. R. S. 16mm. nPHE complete specifications of the ■*■ new Q. R. S. combined 16mm. camera and projector, announced last month, follow: This new equipment in green, brown or black, two coat, Frostine finish, comes in a carrying case measuring 8% inches high, 12% inches wide, and 8X4 inches deep. Either spring motor or hand crank operates the camera, the latter giving fast and semi-slow motion. When the spring motor is used, the only adjust- ment for taking pictures is the set- ting of the iris diaphragm to one of three stops, for bright days, gray days, or dull days. The lens, a special /3.5 Graf, is of universal fo- cus. The camera has eye-level and waist-level finders. PHOTOPLAY MAGAZINE The National Guide to Motion Pictures 1 he Hcst j\ lotion 1 icture Interview liver Written Of course you are reading the Amateur Movie De- partment of PHOTOPLAY. It is always interesting, informative and authoritative. Remember that PHOTOPLAY was the first national magazine to appreciate the importance of amateur movies and to devote a regular department to the amateur cine- matographer. PHOTOPLAY MAGAZINE 750 N. Michigan Avenue, Chicago, 111. 250 Pictures on $1.00 roll of negative 35mm Show by: Contact Print Enlargement Projection .TEPT Motion Pictures Snapshots Time Exposures at your Dealer WYKO Projector Corp. 33 W. 60th St. New York, N. Y. CAMERA 477 '"■"TRAVEL at home with the celebrated -*- author-globe-trotter, Myron Zobel, whose years of wandering to the far places of the earth produced these astounding films: zodHjogs HUMOR AND ODDITIES FROM THE FOUR CORNERS OF THE EARTH New subjects made especially for 16 mm showing. Twenty 100 ft. reels to the series at $4.50 each. <&PkH SPECIALS In the Land of the Cherry Blos- som — Geisha Girls dancing — Buddha — Carnival time — Wood carving of idols in Nikko — Reli- gious rights — Japan, Modern yet Pagan and always beautiful. SOUTH SEA ISLANDS SPECIALS See the weird dance of the Samoan Chief, the South Sea maidens and the Cannibals in their daily life. GLOBE TOUR SUBDIVIDED JAPAN 3 reels HONOLULU 3 reels ANTIPODES 2 reels FIJI ISLANDS 3 reels SAMOAN ISLANDS 4 reels SOUTH SEA ARTS 2 reels SOUTH SEA SPORTS 3 reels PANAMA CANAL 1 reel In 100 ft. reels or spliced in series. ALL 100 FT. REELS SAFETY STOCK $4.50 ALWAYS ONE PRICE AT YOUR DEALER EMPIRE SAFETY FILM CO., Inc. 723 Seventh Avenue New York City Please Mail Me An Empire 16 mm. Subject Catalogue J^ame .... Address.. City.. State The projector operates from an at- tachable motor of special design, on either 110 volts AC or DC current. The attachable lamphouse operates on the same current and uses a 110 volt, 200 watt lamp. When in use as a projector the lens, as on the camera, is also of fixed focus. The projector can also be operated by the hand crank for fast or semi-slow motion on the screen. THE HONORABLE WM. McCORMACK Premier of the State of Queensland, Australia, Filming Lieutenant Hinkler with a Cine Kodak, on the Lat- ter's Arrival After a Sixteen-Day Flight from London New Panchromatic HPHE Eastman Kodak Company re- ■*• cently announced the appearance of a new 16 mm. film emulsion, Cine- Kodak Panchromatic Film. With this film, and a special filter, colors are translated into their true monachrome values, thereby greatly enhancing the beauty and fidelity to the subject of the screened picture. Even without a filter this film is superior to the ordinary film in its translation of color values. It is ideal for portrai- ture, for it reproduces flesh tones ac- curately. Cloud effects are registered on the film as seen by the eye. The film comes packed similarly to the regular Cine-Kodak film and is daylight loading. It is processed by the well known reversal process and duplicates can be made with the same ease as with their regular film. The special filters are available for Cine- Kodak model B fl.9, f3.5 and f6.5. Window Displays TN connection with the introduction ■*■ of the new Cinephot exposure me- ter, made for direct reading of the stop with all Cine-Kodaks, some of the well known dealers of the coun- try are putting in attractive window 478 displays, it is reported by the Drem Products Corporation. The Eastman Kodak Store in New York has cen- tered its display around this new me- ter, and twenty-five Kodak stores throughout the country have sent out circulars recommending and endors- ing the product. The company will shortly introduce a model for use with the new Filmo 75. It is particularly pleasing to League headquarters to learn that some dealers are basing their win- dow decorations on the dominating colors of Movie Makers' covers. The New York Fifth Avenue store of E. B. Meyrowitz, Inc., attracted much attention recently with a window display built around the May num- ber of the magazine, the silver, red and black making a striking keynote. Vignetting Mattes NOW the amateur can add variety to his pictures by the use of the Filmo Vignetting Mattes. These mat- tes come in sets of six, with six cor- responding mattes for the viewfinder so that the action can be properly located on the film. The matte thru which the picture is taken fits over the front of the iris vignetter on the Filmo in the groove provided for the color filter. The shapes available at present vary the usual rectangular screen picture to the following forms: heart, keyhole, cloverleaf. triangle, binocular and vision. Dealer Service A N interesting plan for dealers to **■ consider is announced by an en- terprising insurance company, the Automobile Insurance Company of .^Etna Life Group. It is believed that many owners would be glad to pro- tect their cameras and equipment at the time of purchase if facilities were provided for doing so. This com- pany suggests that the dealer's insur- ance broker can readily make ar- rangements so that upon a phone call from the dealer immediate protection can be placed on the camera the in- surance policy being later mailed or delivered to the customer. While this is something new as ap- plied to the camera business, the plan is said to be rather freely in use among automobile sales agencies and to be regarded as a valuable service feature tending to keep customers. Correction IN June Movie Makers, through typographical error, credit was not given to Mr. Ralph R. Eno for the example of the sort of beautiful art title which might be made through use of the full page art title back- ground on the page which faced it. CARL ZEISS CINE LENSES For standard and 16 mm movie cameras. Zeiss Tessar f 2.7 and f3.5 Tele-Tessar f6.3 Finders Filters Sun-shades CARL ZEISS, INC. 485 Fifth Ave., New York 728 So. Hill St., Los Angeles THE NEW DREM CINOPHOT FOR CORRECT EXPOSURE Motion Picture Cameras are so Perfect and Simple that only the Exposure Problem remains open, as a Question of Right Lens Aperture. The Cinophot supplies the answer automatically ANYWHERE — ANYTIME — IN ANY LIGHT Camera Makers and Dealers recommend the Cinophot Complete with Drem Sole Leather Case $12.50 DREM PRODUCTS CORPORATION 152 WEST 42nd STREET NEW YORK, N. Y. ASK YOUR DEALER 479 JO/. /CHNEIDER 6 CO XENON F2 -/"PEED plus QUALITY „to**nrtse,f?e'.9'ra' *<> 1> 2, 3 and 4 minutes of light. Also electrically fired flares for special work. John G. Marshall 1752 Atlantic Ave., Brooklyn, N. Y. FISCHER'S CAMERA SERVICE, Inc. Everything Known in<7Wotion Pictures" 154 EAST ERIE STREET CHICAGO PHILADELPHIA NEWS REEL LABORATORY 1707 Sansom Street Exclusively 16mm Developing, Printing, Titling, Editing, Rush Service. Cameramen available for all occasions — Industrial and Medical Productions. Another Free Stanley Film "In the Service of Transportation" six reels of highly interesting film showing the many activities of the American Car and Foundry Co. Available only through STANLEY Educational Film Division 220 West 42nd St., New York CORCORAN TANKS For 16 mm. Film Development Send for Circular A. J. CORCORAN, INC. 758 Jersey Ave., Jersey City, N. J. event be as different as possible, but always head off the proposal. When you are ready to assemble your shots you can put them into any order you desire without regard for the action, for each scene is complete in itself and may be shifted to any point in the reel that seems most suit- able. It is a good plan, however, to have the characters always exit to one side and enter from the other. You can get a laugh out of a pair of men who are known to be inveter- ate card players. In each scene the camera is swung slightly at the end to show the two men playing cards, whether it be on the Pyramids, the steps of the Bank of England, or a German beer garden. Here the kick scene would be back home, with the players still at it. One looks up and says: "Florence? Oh yes. That's where I beat Henry five games straight/' These ideas will serve to give a general idea. It isn't possible to be more definite without knowing just what you have in the way of dra- matic material, but you can plan your story to suit your cast and pull the monotonous travelogue into a new classification. Any time you want a straight trav- elogue, you merely have the shots duplicated and cut out the acting. UNUSUAL FILM CAESARIAN OPERATION 100 Ft.- Price $15.(0 Take the Shake Out of Your Pictures USE STEDISTRAP Price $5.00 Home Movie Service Co. 2128 Cathedral Ave., Norwood, O. Everything for the Home Movie Maker. BOTH MOVIE AND STILL CAMERA FANS READ "PICTURE TALK" IT'S WRITTEN IN TERMS AN AMATEUR UNDERSTANDS PUBLISHED MONTHLY— 30c A YEAR PICTURE TALK CO. Box 98M, Lebanon, N. H. (N.B. — Ask about our Camera Exchange.) The handiest 16mm rewinder made, clamps to table — no base boards required. The fastest and rest working film cement, 2^c per bottle. Lowest rates on 16mm developing and print' ing and duplicating. TITLES boh 16 and 3 5mm. Either for re- versible or positive film. Watch for announcement in the next issue of this magazine. Dealers Write for Discounts CINEMA PRODUCTS CO. 405 Elm St. Buffalo, N. Y. NOW READY Movies of New York The kind you would make and The scenes you would take If you were here And took them yourself. THE SKYLINE— THE BIG BUILD- INGS—BIG SHIPS— WHARVES —LIFE— PEOPLE— GHETTO —PARKS— BROADWAY BY NIGHT Beautiful Prints Guaranteed 1 REEL 100 ft. - $7.50 Buildings — Parks — People — City Life 4 REELS 400 ft. $28.00 Four Complete Subjects Emerson Motion Picture and Supply Co. 117 WEST 46th STREET New York City Empasco Pictures Bryant 5190 Dealers Write for Attractive Proposition The Latest "CINE-NIZO 16" MODEL B Three world records: The smallest — the lightest — lowest in price. 16 m.m. Movie Camera with motor drive. NIEZOLDI & KRAMER MUNCHEN 23 GERMANY £50.to *250.aWeek EE BOOI You can quickly qualify for big-paying positions in Motion Picture, Portrait, Commercial or News Photog- raphy, or start your own business. No experience needed. CAMERA GIVEN WITH COURSE Learn at home or in our great New York Studios. Earn while learning. Write today for Tree Book, Job Chart and Free Camera offer. NEW YORK INSTITUTE OF PHOTOGRAPHY Dept. 105 10 West 33rd St. New York CRIPPLE CREEK The treasure vaults of America Board a train and visit the Cripple Creek min- ing section — real gold and silver mines — see the ghost city — it is all contained in A TRIP TO CRIPPLE CREEK 100 ft. (16 m.m.) $6.00 FADE-IN; FADE-OUT with Simplex fading glass, no attaching necessary, just hold in front of lens. Sent postpaid upon receipt of $2.00 Produced by ERNEST M. REYNOLDS 165 E. 191st Street Cleveland, Ohio 486 HAYDEN AUDIBLE FOOTAGE METER Better Movies --- Eliminates All Guesswork THE EYE FOLLOWS THE PICTURE— THE EAR TELLS THE FOOTAGE Price Complete, Only $7.50 This is without doubt a tremendous step forward towards better movies by the Amateur When you first use the Hayden audible footage meter you will wonder why a 100-ft. film seems longer. THE ANSWER All pictures properly timed to en- joy seeing. The absence of short, unintelligible subjects will sur- prise you. The PERFECT DE- VICE for amateur photoplays. Measure your scenario scenes by "clicks" and not by inaccurately counted seconds. Recommended to every amateur club. We suggest that you buy directly from your dealer, but if he can- not supply you as yet, send check or money order direct and ask for our trial refund return blank. We expect to have same adaptable to all makes Movie cameras in a short time; now ready for Filmo 70 ATTACHING AND HOW USED To attach remove one short screw and replace with the longer one furnished with the HAYDEN AUDIBLE FOOTAGE METER. There is no alteration whatever to your Filmo 70. Anyone can attach same. In use — One click means one foot of exposed film or two and one-half seconds when projecting. A picture worth taking should have at least ten seconds of projection, or four clicks on the HAYDEN AUDIBLE FOOTAGE METER, anything less than four clicks spells disappointment and wasted film. The HAYDEN AUDIBLE FOOTAGE METER saves its cost in a short time, preventing film waste. Children can now take good pictures of grownups ; all you say is, "release the button when you hear four clicks." When loading the camera and setting, lift up lever and release the clicker. OTHER HAYDEN SPECIALTIES Projector Stand $18.50 10 Reel Humidor 12.00 Curtain Stand 16.00 3x4 — 4x5 Curtain 14.00 Table Tripod 2.50 Viewer, Splicer and Rewind $37.50 Splicer 7.00 Automatic Panoram 35.00 Editing Reels 5.00 Broken Film Connectors, 1 pkg 25 Projector Threading Light $1.50 Self-threading reels, 400 ft 75 ea. Self-threading reels, 200 ft 50 ea. Self-threading fingers 10 ea. Spring Film Clips 25 ea. Get our new booklet, Second edition PLEASE READ If you cannot get our accessories at your dealer, write and we will tell you why and how to get them. All our Products are guaranteed as repre- sented. Refuse substitutes and save disappointment. To High Class Dealers we will accept your order subject to return in ten days, on any article we manufacture which our records show you have not previously purchased. A. C. HAYDEN CO., Brockton, Mass., U. S. A. A Self-Threading M Motor Rewind — New Framing Principle — Light in Weight — Compact — Low ■ Center of Gravity- The Projector that's Almost ^ Human A New Era In Projection KODASCOPE, Model B, embodies the latest develop- ments in present-day home movie projection. It is everywhere recognized as the finest 16mm. projector ever conceived. Yet, with all its mechanical perfection, its almost un- canny ability, it is an instrument of rare beauty, a welcome and pleasing adjunct to the furnishings of the finest home. Sooner or later, there will be a Kodascope, Model B, in your home. See it now, at your dealer's, and acquaint your- self with the new thrill it holds for you. At Your Cine-Kodak Dealer's Eastman Kodak Company, Rochester, N. Y. > P Kodascope, Model B, complete with velvet lined carrying case, one extra lamp, two 400-foot reels , one humidor can, one splicing outfit, and one oiling outfit is priced at $Joo. C. LAZELL NORTHROP PRESS, N. Y- i€*\ ■ Bl«l up ur Cinema League, Inc 5? ^ ^ 0 <# tf % £>, ± 25c X 192§ ^ HAYDEN AUDIBLE FOOTAGE METER Better Movies --- Eliminates All Guesswork THE EYE FOLLOWS THE PICTURE-THE EAR TELLS THE FOOTAGE Price Complete, Only $7.50 - Cine Kodak, Victor or Filmo 70 THE QUESTION Why does 100 feet of film seem longer? ? THE ANSWER All pictures properly timed to enjoy seeing. The absence of short, un- intelligible subjects will surprise you. The PERFECT DEVICE For amateur photoplays. Measure your scenario scenes by "clicks" and not by inaccurately counted sec- onds. Recommended amateur club. to every C orrespondence Invited. VERY EASY TO ATTACH. There is no alteration whatever to your camera. Anyone can attach same. In use — One click means one foot of exposed film or two and one-half seconds when projecting. A picture worth taking should have at least ten seconds of projection, or four clicks on the HAYDEN AUDIBLE FOOTAGE METER, anything less than four clicks spells disappointment and wasted film. The HAYDEN AUDIBLE FOOTAGE METER saves its cost in a short time, preventing film waste. Children can now take good pictures of grownups ; all you say is, "release the button when you hear four clicks." Note — Full directions with each and a three-year guarantee card for you to fill out and return to us. OTHER HAYDEN SPECIALTIES Projector Stand $18.50 10 Reel Humidor 12.00 Curtain Stand 16.00 3x4 — 4x5 Curtain 14.00 Table Tripod 2.50 Viewer, Splicer and Rewind $37.50 Splicer 7.00 Automatic Panoram 35.00 Editing Reels 5.00 Broken Film Connectors, 1 pkg 25 Projector Threading Light $1.50 Self-threading reels, 400 ft 75 ea. Self-threading reels, 200 ft 50 ea. Self-threading fingers 10 ea. Spring Film Clips 25 ea. Send for free booklet, Second edition PLEASE READ If you cannot get our accessories at your dealer, write and we will tell you why and how to get them. All our Products are guaranteed as repre- sented. Refuse substitutes and save disappointment. To High Class Dealers we will accept your order subject to return in ten days, on any article we manufacture which our records show you have not previously purchased. A. C. HAYDEN CO., Brockton, Mass., U. S. A. rvrClTTIilNf, TCP TUf SPLICING AND TITLING SERVICE (Films Edited & Serviced ready for your library) PROJECTION ROOM (Always at your disposal with operator) LIBRARY RENTAL SERVICE (Efficient system without fuss or red tape) (■SI IHilHI JP#//# 48 HOUR DEVELOPING SERVICE (Your cine films in 48 hours, no extra charge) FILM DELIVERIES (To New York offices, without charge) SUMMER RENTAL SERVICE (Movie-shows to your summer home parcel post) JzL MFYEP ^■NdCO-FI AIMAT Fir» the fastest lens in the world Formula of Dr. Rudolf Ever notice that always just as an interesting shot presents itself the lighting conditions are at their worst? Equip yourself with a Meyer F/1.5 lens and take those soft twilights, sunrises, rainy day pavements, cheery interiors, and all pictures under difficult lighting conditions. 3/4" focus. ...$60 1" focus.... $54 2" focus. .. .$85 TFF NFH'DADIANT^NF HOICN JCPFF^ The Radiant is an exceptionally efficient folding screen. Brace-arms automatically unfold and lock firmly with just one opening pull. Closes by simply pressing catches and let- ting screen slowly collapse back into case. White surface of glass particles, washable, strong, dur- able, goodlooking, mahogany finished case. 22" x 30" $17.50 30" x 40" 25.00 36" x 48" 30.00 TFF FFF*4 CTNC^FFOT AND . ■ I J f TD PFC1T Obtain instantly the correct exposure to use before taking your pictures. At the instant the Numeral becomes visible, the INDEX points to the right stop, or between the stops, just as the LIGHT condition demands, and EXACTLY as you should place the diaphragm index on your camera lens. CINOPHOT Complete, with Drem Sole Leather Case $12.50 JUSTOPHOT Complete, with Drem Sole Leather Case.... 10.50 we endorse and recommend these products to the Amateur TFF n IIFS FIBV4F f ADDYINfi TAIFf I i A place for everything and everything in its place! Not just ! "room" for it but a space designed for each individual item. Carry your Filmo with all the accessories you will ever want to use, in a handsome case only 5 J/4" wide, 8J/4" high and 9^4" long, very little larger than the camera itself! Regular Case (For Filmo 70) BLACK $20 TAN $25 Duplex Case (70 with Duplex Finder Attached) BLACK $22 TAN $28 Allowance made on your old case. NFHFIT ANF FFJT IN FFA4F M€VF Fll/Vif For Rental: We take pleasure in announcing that KODASCOPE LIBRARIES has been added to our extensive rental library which includes: FILMO LIBRARY HOME FILM LIBRARIES, INC. CULLEN 12 Maiden Lane, N. Y. G. For Sale: PATHEGRAMS - CINEGRAPHS CINE-ART - VITALUX EMPIRE GANZ NEWS HIGHLITES BURTON HOLMES' TRAVELOGUES f> fj c^ t r^ r i f r ■ ■ f f jinc^f iee2 491 yj H3 See Ifiurself as Others See You for $98& ($9950 WEST OF ROCKIES) a & s Combination Movie Camera and Projector COMPLETE WITH CARRYING CASE •St As You See the Movies Your Camera Your Choice of Three Beautiful Colors As You Take the Monies Brown Green Black Your Camera with Projector Attached The same Lens that takes the picture pro- jects it on the screen, insuring perfect reproduction through duplication. Carrying Case for Complete Outfit i ■'■ Equipped with Special F. 3.5 Graf. Lens. No focusing necessary either for taking or projecting pictures. Uses Eastman or other 16 mm. Reversal Safety Films. Original price includes developing and return postage. Easy to understand— to operate and take and project quality pictures without experience. Can be used with hand crank for faster or slower than normal pictures, if desired. See Your Dealer or Write Us for Particulars The Q-R-S COMPANY Established 1900 san francisco 333 N.Michigan Ave., Chicago new york 306 7th Street Refer to Dun, Bradstreet or any Bank 135th St. & Walnut Ave. Guarantee Every Q* R • S Movie Camera and Projector is guaranteed for one year against any de- fects in material and workmanship, and , there will be no charge S for adjustment to .' either the owner / or dealer. / *dS&& a sl_. 8 •••■• 9 ,,„ ••».... a_ ... a. • .~ _vy c? ^J> . *?4 QJmf -#*& PLEASE MENTION MOVIE MAKERS WHEN SENDING INQUIRIES 492 AUG -1 1928 Vok 1IAC/UIIWE OF I »■ «ve %■ ■ 9 IE ( l\l 1l I ueaoue, IMC "Heralding The Motion Picture Of Tomorrow" AUGUST, 1928 Number 8 ... Qontents ... Cover Design, The Amateur Movie Game Jorge Palomino The Viewfinder, A Department for Our Guidance by Our Readers 494 Camps and Canoes, A Vacation Art Title Background 496 Featured Releases, For Home Projectors 497 Editorials 499 "The Picturesque Charm of the Old French Quarter," An Etching 500 City Cinematics Louis Miller Bailey 501 How to Make Significant Movie Portraits of American Towns With Notes on the Filming of New York Elliott V. Bell Hans Anderson in Modern Dress K. R. Edwards 505 A Glimpse Into the Future Wonders of Animated Cartooning Photographically Speaking Paul Rodman 507 Around the Clock with a Beginner Who Had Studied Exposure Film Flam ' Edited by Creighton Peet 508 Stills for Movie Makers Carl L. Oswald 509 Microscopic Movies Herbert C. McKay, A.R.P.S. 510 How Wonders of the Unseen World May Be Filmed by Amateurs Harnessing the Sun Don Bennett 512 How to Put Its Light Where You Want It Talking Movies and Cinematic Art Roy W. Winton 513 The Movie Makers' Cruise, A Group of Photographs Gardner Wells 515 From Badinage to Worse Weare Holbrook 516 Amateur Clubs Edited by Arthur L. Gale 518 Summer Hails the Cinema, Photographed Suggestions for the Amateur H. Armstrong Roberts 520-1 Photoplayfare, Reviews for the Cintelligenzia 522 Educational Films, News of Visual Education 523 Depth of Focus, Discussion of a Vital Factor in Better Movie Making Walter D. Kerst 524 Critical Focusing, Technical Reviews to Aid the Amateur 525 Stephen F. Voorhees Katherine M. Comstock 529 Second of a Series of Studies of Leaders of the Amateur Cinema League Out of the Tropics Herbert C. McKay, A.R.P.S. 531 The Romantic History of the First Amateur Home Developing and Printing Apparatus The Clinic -. Conducted by Dr. Kinema 532 News of the Industry, For Amateurs and Dealers 536 Classified Advertising 542 A Home Made Incandescent Light Don Bennett 546 Index to Dealers Who Carry Movie Makers Magazine 552-3 AMATEUR CINEMA LEAGUE, INC. DIRECTORS President Vice-President Treasurer HIRAM PERCY MAXIM STEPHEN F. VOORHEES A. A. HEBERT Hartford, Conn. Architect, of New York City 1711 Park Street, Hartford, Conn. EARLE C. ANTHONY w E COTTER LEE F HANMER President of the National Association J0 £ 42nj gt _ New York City Director of Recreation, of Broadcasters Russell Sage Foundation ROY D. CHAPIN C. R. DOOLEY Chairman of the Board of Directors, Manager of Personnel and Training, FLOYD L. VANDERPOEL Hudson Motor Car Company Standard Oil Co. of N. J. Scientist, of Litchfield, Conn. Managing Director ROY W. WINTON, 105 W. 40th Street, New York City MOVIE MAKERS is published monthly in New York, N. Y., by the Amateur Cinema League, Inc. Subscription Rate $3.00 a year, postpaid (Canada $3.25, Foreign $3.50); to members of the Amateur Cinema League, Inc. $2.00 a year, postpaid; single copies, 25c. On sale at photographic dealers everywhere. Entered as second-class matter August 3, 1927, at the Post Office at New York, N. Y., under the Act of March 3, 1879. \ Copyright, 1928, by the Amateur Cinema League, Inc. ) Title registered at United States Patent Office. Advertising rates on application. Forms close on 5th of preceding month. Editorial and Publication Office: 105 West 40th Street, New York, N. Y. Telephone, Pennsylvania 3715 WALTER D. KERST, Technical Editor and Consultant ARTHUR L. GALE, Ciub Editor and Consultant K. L. NOONE, Advertising Manager Editor JOHN BEARDSLEE CARRIGAN i A Quality Combination CINE CAMERA equipped with DALLMEYER, ULTRA-SPEED LENS $ 150 COMPLETE Using 16 mm. Cine film, the Victor is an instrument of high quality and fine precision, with a number of features not found in other makes, such as: Nor- mal Speed — Half Speed — Super Speed and S'L'OW MO- TION. /-L9 With this ultra-speed Dallmeyer lens, the Victor be comes an ideal outfit for making beautiful, fully-timed pictures under those adverse light conditions where photography is impossible with the average lens. MAIL ORDERS SHIPPED PREPAID Herbert & Huesgen Co. 18 EAST 42nd STREET NEW YORK Sole Dallmeyer Distributors for the TJnited States 00 sJOS. /CHNEIDER 6 CO XENON P2 /PEED elMs QUALITY FOR THE NEW CINE CAMERA r IT IS NOW LISTED AND RECOMMENDED BY THE VICTOR ANIMATOGRAPH CO. A Perfect Combination! The three-speed Victor camera and the super-speed Xenon F :2 Lens. Each designed for flexible use and quality results. Combined, they offer the best value in cine-camera equipment. // your dealer is not stocked we can supply him immediately from New York. Write for full particulars. Price Complete $145 TPI/I\ PANORAMING & TILTING L \VI*TLIN FILTER RIF-OO OP The Rams tein-Op to- chrome equalizes the ex- posure between sky and foreground. For color cor' rection, cloud effects, and to bring out detail in the distance. The only sky filter made of optical glass, ground and polished, and that con- tains no gelatine or cc ment. Made in all di' ameters to fit any lens. Send for new catalogues and prices. Write for complete cine catalogue Locks for panoraming only or for tilting only. Panorams without jerks, tilts smoothly, locks firmly. Professional qual- ity, sturdily constructed, mech- anically perfect. Price $7.50. BURLEIGH I I C t hS Sole Agent U. S. A. 136 LIBERTY STREET NEW YORK CITY VIEW FINDER From Out West "T WISH to compliment you on the in- creasing excellence of Movie Makers. All of your stuff is 100% good and is just exactly what the motion picture enthusiast is looking for. I do not see how anyone with a movie camera can afford to miss an issue." — Charles J. Belden, Pitchfork, Wyo- ming. Technical Information "TT gives me much pleasure to inform you that our Movie Makers Magazine is becoming most interesting and full of val- uable technical information every month. I wish every success to it." — D. L. Mistry, Bombay, India. Likes Leaders "' I "HE five leaders ordered last week ar- rived, and I wish to compliment you on the artistic effect of these novelties. I am enclosing $20 for 20 more of the same and wish to thank you for the opportunity you give the amateur to improve the finish of his product." — P. Medicus, New York, N.Y. Helpful "T THINK you have a great magazine and one which should be helpful to the fans." — Walter L. Roche, Chillicothe, Ohio. Wants it Weekly " A LL amateur movie makers ought to be thankful to those who have managed to get up such a helpful and entertaining monthly as Movie Makers. My only regret is that it is not a weekly, and the mails do take such a long time to come to such a God-forsaken place as Penang." — Lim Kean Chuan, Penang, S. S. From France "^^0 one can afford to miss the stimula- tion of a single number of Movie Makers, always toning up the amateur to produce work of professional quality and to record the remote and unique at its best." — Wm. S. McClure, Lyon, France. Professional Praise "V^OUR magazine is by far the finest piece of printed matter which has ever been issued in the film field — either theatrical or non-theatrical branch of the industry." — Henry Bollman, Motion Pic- tures, New York, N. Y. On Coverage " A S for your magazine, I am quite sure that there is none other in the world covering its ground quite as completely and successfully as Movie Makers, without even considering its age. It seems to me that those people who are complaining about such things as covers are uncon- sciously admitting the perfection of the major parts." — W. Melvin Crook, Montclair, N.J. From an Aviator "CORRY I delayed my renewal, but the follow-up letter to me was worth it. Of course, life wouldn't be worth while without your magazine. Seriously — it's good and improving all the time." — Lieut. R. C. Wriston, Montgomery, Alabama. Welcomed in England u~\ZO\] realize that amateur movie work in England is far behind in progress compared with the United States; also that those who are interested in this delightful pastime will have to look to America for suggestions, films, and equipment. I think that your journal is excellent; I read it from cover to cover every month." — W . R. Stein way, London, England. 494 HEADQUARTERS FOR && A SALE s7 HOME MOVIE CAMERAS ^PROJECTORS / ESser Held. • Cameras «~<* projectors complete *33. FORMERLY 897.50 IU We secured from the Pathex Go. a limited number of these outfits to sell to the public at a price much below the actual cost of production to create a wider market for Pathe Library Films to show in the home. Not only can you take your OWN MOVIES but you can also show pic- tures by such stars as Harold Lloyd, Will Rogers, Snub Pollard, Our Gang comedies and other popular stars. Naturally, at this astonishingly low price, these outfits will be speedily sold. Quick action on your part is necessary if you want to avail yourself of this wonderful opportunity. Pathex Camera, latest model uses 9 MM. Pathex Films — easy mag- azine loading — 30 ft. length. Fitted with first quality imported F-3.5 Anastigmat Lens and ac- curate View Finder. Leather case, folding metal tripod and case. Cost of film is $1.75 per roll, Including Developing. Pathex Camera, Case & Tripod only— Our Sale Price $18.00 Pathex Projector Latest improved model with Double Claw Movement and geared Re- wind. Increased illumination. Op- erates on any house current. Uses either 30 or 60 foot Reels. 9 MM. (Price $1.00 and up) shows a clear brilliant picture — Thousands of subjects available in Pathex Film, Our Gang, Harold Lloyd Comedies, etc. Projector Outfit Consists of Pathex Projector Electric Cord, socket and plug Mazda Lamp Film Splicer Repair and Cleaning Outfit Instruction Book Catalog of Pathex Pictures Projector Only — Our Sale Price $20.00 llOWEST 32 nd STREET, NEW YORK 495 Titled by Ralph R. Eno. A SUGGESTION FOR LETTERING THE ART TITLE BACKGROUND ON THE FACING PAGE FOR USE WITH VACATION FILMS. FEATURED RELEASES For Home Projectors SALE Bell & Howell Co., Chicago, 111. This month's announcement includes: Charlie Chaplin in "Be- hind the Scenes," two 400 foot reels; "Thurman the Great," an animated doll picture of 400 feet; "U. S. Open Golf Championship of 1928," a 200 foot reel, and four 100 foot reels, "Outstanding Events," the latest Lindbergh activities, "Japan- ese Sports," and two new subjects of "Pillsbury's Explorations in Plant and Flower Life." (Also si;e Rental.) Cine Art Productions, Hollywood, Calif. Six new films are offered, including; "Kidding the Kidnapper," "Love, Law and Loot," comedies, "The Mother," a photoplay, all 400 foot reels, "Capturing a Shark," "The Man in the Moon," 100 foot shorts, and "The Big Show," a 200 foot Klever Kid Komedy. Eastman Kodak Co., Rochester, N. Y. August Cincgraphs include: "The Iron Mule," a 400 foot comedy with Al. St. John; "Frogland," an animated fairytale in 200 feet; "The Dog and the Ducks," a 100 foot animal subject; "Goldi- locks and the Three Bears," a 100 foot animated fairytale; and "Felix Gets His Fill," a new 100 foot subject in the famous Felix series. Empire Safety Film Co., New York, N. Y. Travel reels are emphasized tKis month with "Switzerland," "Palestine," "Yellowstone Park," and "Coney Island" pictured in 100 foot reels. Announcement is also made that 400 foot sub- jects will soon be available from this library. Wm. J. Ganz Co., New York, N. Y. "Highlites from the News," this month features "The Re- publican and Democratic Conventions," with in- timate scenes of Hoover and Smith. Burton Holmes Laboratory, Chicago, 111. Sixty-nine travel reels on 16 mm. are offered from the famous Burton Holmes Library. Home Film Librafies, Inc., New York, N. Y. Announcement is made that special programs for the Fall are now in preparation and will be announced in September. Home Movie Service Co., Norwood, Ohio. A special film for the medical profession is the current offering. Kodascope Libraries, Inc., New York, N. V. (Primarily rental, but sales can be arranged. (See Rental.) Metropolitan Film Libraries, New York, N. Y. "A Trip to India," and "The Balky Mule," each 100 feet, are this month's specialties. Pathe Exchange, Inc . New York, N. Y. At- tention is directed to the high class of the product of this library, which includes: Our Gang Come- dies, Cecil B. De Mille Productions. Mack Sen- nett Comedies, Grantland Rice Sportlights, Pathegram Reviews, etc. Ernest M. Reynolds, Cleveland, Ohio. Four specials are listed: "The S'-ndown Dancer," "Runaway Special," "Falls of Yosemite," and "Among Giant Redwoods." RENTAL Bell & Howell Co., Chicago, 111. The Filmo rental features include: "Dodging Trouble," a Christie Comedy featuring Neal Burns in two 400 foot reels; "Magical Movies," a Lyman H. Howe Hodge Podge, a 400 foot reel; "Pink Elephants." a Mermaid Comedy in two 400 foot reels and "Plumb Goofy," a Sterling Cameo Comedy, a 400 foot reel. Eastman Kodak Co., Rochester, N. Y. (See Sale Section.) Rental and Sale. Home Film Libraries, Inc., New York, N. Y. (See Sale Section.) Rental and Sale. Kodascope Libraries, Inc., New York, N. Y. "The Code of the Sea," with Rod la Rocque, Jacqueline Logan, George Fawcett and Maurice Flynn, is featured for August. This sea thriller of romance and regeneration is one of 500 sub- jects available. Metropolitan Tilm Libraries, New York, N. Y. (See Sale Section.) Rental and Sale. PATHEGRAMS A wide variety of subjects in 100 200 - 300 - 400 - 800 ft. lengths with new additions every month OUR GANG" COMEDIES CECIL B. DeMILLE PRODUCTIONS MACK SENNETT COMEDIES GRANTLAND RICE SPORTLIGHTS PATHEGRAMS REVIEWS WESTERNS - DRAMAS RELIGIOUS - TRAVELOGUES DANCES - ANIMAL LIFE EEC, ETC. i i 1 Price 86.00 and up COMPLETE LIST ON REQUEST Pathegrams pictures are recognized by all experts as being the best prints for the 16 m.m. projectors If not available thru your dealer — write direct to us PATHE EXCHANGE, Inc. Pathegrams Department 1 CONGRESS STREET JERSEY CITY, N. J. 497 498 THIS is a talk to infrequent movie makers. If you don't fall into this class please pass this on to someone who does. •I Not so long ago you invested a fair amount of cash money in equipment for taking and showing personal movies. Admitting that you responded to the good salesmanship of your photographic dealer, the desire to make movies had been growing slowly with you before your dealer had his innings. You had de- termined that there was a solid satisfaction to be gained from this absorbing recreation. C| You had the good sense to know that an amateur movie outfit was something more than a toy, that it had the two essentials of a good hobby — a need for care in using it and fine results, if you used it rightly. Having got far past the child's attitude of wanting a continual series of new playthings, you do not invest in something unless you intend to get a reasonable return from it. <]J You did not go into personal movies blindly. You checked over your other recreations first and made a place for movie-making in your pleasure budget. You considered it as a possible hobby and not as a tem- porary time-killer for a month or a season. You were willing to give it a place with your reading, your golf, your motoring, your hunting and fishing, your hik- ing, your music, your cabinet-making, your drawing or whatever your other hobbies might be. » 2* Section Through "A" DETAIL OF REFLECTOR CONSTRUCTION. should not shine into the lens. The positions of your subjects, the sun, and the camera are so changeable that rules are useless. Trial will show you that you can judge with the eye when the reflectors are correctly placed, and a "blue glass" (or No. 49 filter) will show conclusively when your light is properly distributed. This does not (Continued on page 546) 512 Talking Movies and Cinematic Art OUR good but often nervous friends, the professional mo- vie people, have been afflicted for some years by a series of alarms. Radio, motor cars and paved high- ways, personal movies and, lastly, television have been predicted as the dreadful things to decimate picture theatre audiences. Each of them has been good for a fine funk on the part of "the industry." But this industry has lately devel- oped its life-saver, if we accept the statements of its higher command. Talking movies are not only to offset whatever danger radio, television and the amateur movement have created, but are to carry the professional screen to a future even more marve- lous than its marvelous past and pres- ent. There is new hope in Hollywood - — -that is, among the owners — and there is rosy dawn to replace the doubtful shadows. And — so run the hopes — the "talkies" may, in some happy fashion, compensate for the mounting production costs of the si- lent pictures and balance income with outgo much more to the liking of everyone in the movie business. The motion picture industry is to be congratulated on having found this occasion for optimism. As one of the former perils, all of us amateurs are heartily glad to know that we may film and project, now, to our hearts' content without taking profits from producers, distributors or exhibitors of professional films. We did not like being a menace and we never could see precisely how we were a menace. We hope that talking movies and the synchronization of sound and image will bring great prosperity to their owners and lessees. It is quite evident that the larger producing units and amalgamations in the professional motion picture field are committed definitely to sound and image synchronization and that they are open-minded about complete talking movies. At present the three leading synchronization methods are the Photophone of the Radio Corpora- tion of America, Movietone of the Fox Film Corporation, and Vitaphone of Warner Brothers Pictures, Inc. All of the leading producing companies have arranged or are arranging to lease one of these methods, although other devices are also being offered in rapid succession, and the final re- sult may show a different alignment. In Photophone and Movietone the sound is photographed on the margin of the film. Vitaphone uses phono- graphic records synchronized with the pictures. By Roy W. Winton The "Jazz Singer," with Al Jolson singing incidental songs in the film, marked the beginning of the definite photoplay appearance of synchroni- zation. "Tenderloin" had some spoken lines; then came "The Lion and the Mouse" with a liberal proportion of speech. Warner Brothers have now produced "Lights of New York" which makes use of speech in its entirety. This rapid development has come within a year. All of which indicates several things. Evidently the public on which synchronization and talking movies have been tried out has responded favorably; the large producers have made this favorable response the basis of definite plans which are said to involve, for the whole industry, a probable expenditure of some thirty millions of dollars in synchroniza- tion equipment. The talking movies are soundly financed to whatever ex- tent the movie industry is soundly financed. There is every reason to be- lieve that a new development in the- atrical motion picture exhibition is definitely here. What, then, may the picture theatre audiences — the two hundred and fifty millions a week — expect from this new development? What may be the immediate results and what the more distant? Sound and image synchronization should first affect the number and size of picture theatre orchestras, the av- erage piece cost of which is sixty dol- lars a week. Movie-goers will prob- ably hear less orchestral music and more of the synchronized. Organs now installed will function as at pres- ent and may, possibly, be given a greater share of the musical task of the program. It should not be hastily concluded that this will be an irre- parable loss because the synchroniza- tions have been carried to a high de- gree of excellence and, often, are more satisfying than second rate local or- chestras. Also, the vaudeville fea- tures which have, in some instances, blanketed films in the great picture theatres of the country may be ex- pected to disappear, their places be- ing taken by sound and image syn- chronizations of all kinds. These two results may be expected with as much celerity as the public will permit. Producers of pictures have been un- friendly to vaudeville encroachments and theatre owners have been close to despair at orchestral costs. The new synchronization will be made to do full service to the whole industry in eliminating these dangerous and costly program features. The more distant effects of this truly ephochal development in the movies depend upon several factors, chief of which are the public recep- tion of complete "talking photo- plays," the limitations which such a type of film would place on present studio technique and the possible low- ering of production costs, eventually. Unless there comes an unmistak- able public aversion to talking movies — and there has been no such aversion to the efforts at synchronization up to the present — it is safe to predict that they will become general in a short time. Each producer is hunting for production formulae that will make the largest profits and none is unwilling to copy what others have found to be good money-makers. This is the case, — lest such an attitude be placed to the discredit of the screen magnates — with the producers of legitimate drama. In faqt, we get our entertainment in cycles because en- tertainment purveying is a business and business seeks safe channels. To theatre audiences, complete talking movies would mean a greater similarity between the product of movie studios and that of theatrical producers. The voice would again be a thing of value to the theatre-going public. Standards of theatrical ex- cellence that have lain dormant for a quarter century, except in a few large cities, would be revived. Photoplays would become fairly close approaches, to spoken drama, because speech places an automatic limit upon cine- matography. If an effort should be made to combine the element of phan- tasy that has always been inherent in the imaginative movie with the real- ism of speech, something would re- sult that could be compared to the absurdity of the stage animals in "Chantecler." Talking movies — meaning complete speech and action synchronization throughout the entire film — would produce photoplays for the millions that would keep fairly clear of what we have termed "cinematics" — that is, camera work and direction based on the element of motion and other spe- cial functions of the motion picture as an art. There would be a return to the more melodramatic "human in- terest" type of film story, a greater realism than we have been accustomed to see, of late, on the screen. Sub- tleties would be dangerous, because they would have to be subtleties de- signed both for the eye and the ear. 513.' The educational process of the last twenty years of moving pictures, which has trained movie audiences to see such indirections as "Dr. Cali- gari," "Variety" and others without being irritated by their complex ef- fect, would stop and audiences would be given very simple stuff indeed. There would be many more "Way Down Easts" and fewer "Strange In- terludes" in the talkies unless movie audiences should turn out to have a large supply of the kind of taste that is, at present, insufficient to support more than a small number of subtle and intelligent spoken dramas in our large cities. This is a rough and very general prediction of the type of theatrical offering the great public would find in the talkies. If the great public, then, accepts this type of film eagerly and whole-heartedly, there must be certain modifications and limitations of existing studio technique in direc- tion and cinematography. These would, in turn, modify the screen product in manner as well as in mat- ter. To combine the existing concept of a feature picture such as "Wings," "Ben-Hur," "The Man Who Laughs" and "Drums of Love," in which much of the appeal to the audience is found in "big scenes," employing the forces of nature, mechanical devices, great crowds and the like with the new con- cept of a spoken film would be some- thing of extreme difficulty, if it avoid- ed the absurdities of the thrillers of the "ten-twenty-and-thirty" variety of forty years ago. Those absurdities would strike the great public now as laughable. Here lies the chief source of disaster: speech and image com- bined create a definite mood in the audience, which is a mood of intimacy and this mood, if once destroyed by a "big scene," can be recaptured only with difficulty. Actors can scarcely be expected to shout over a battle, a train wreck or a snow-slide. In general, the mise en scene of talkies would have to be contracted to something approaching the limits of the proscenium arch, if the talking film were to preserve verisimilitude enough to keep the average audience interested. A whole new technique would be required from directors and actors. Directors have managed very well to move voiceless stars and extras through their pantomimes and they have rated that actor best who offered least resistance to being used as a marionette. All of which is as it should be, with the motion picture what it now is — a unitary expression of directorial ability. But, the actor in the talkies would be depended upon to carry much more of the pic- ture on his own back. We can move, walk and smile to order, but it is something more than the most exigent director could hope for to find an actor who could be utterly plastic yet speak dramatically. Directors would have to provide an actual script for their cast and the script would have to be memorized. The cutting and editing departments would be shorn, at once, of most of their power, be- cause any amendments they might make to a finished film would re- quire highly costly re-takes, involv- ing rehearsals, line-learnings and the whole bag of tricks of the spoken stage. Actors would be required to develop voices and diction would come into its own. Some of the present stars are already equipped but many would have to learn a new technique. Mo- tion picture mimes would have to speak, act and "film" — that is, to have the elusive quality of reproducing satisfactorily on the screen. A new type of screen performer would de- velop who would be partly legitimate actor and partly pantomimist. If the talkies in their entirety are accepted by audiences, the industry may be expected to make every ef- fort to offset the cost of installing the synchronization equipment. If "big scenes" do not fit with the intimacy of spoken films, they will disappear; if existing directors and actors prove unsuited to the new technique, they will be replaced and — unless pro- ducers have learned nothing in the last ten years about salaries — they would be replaced at much less than their present inflated remunerations. The industry will do all that it can to produce saleable entertainment at smaller cost. The talkies, then, should simplify the cinema amazingly, so far as the general run of theatres is concerned. They will offer the modern equivalent of the old-fashioned melodrama of twenty years ago, because their audi- ences will not care for nor understand spoken movies that go much beyond that simple stage. The audiences will get what they have been wanting — sound — the producers will be getting better profits and the exhibitors — those nervous thorns in the industry's flesh — will be supplied with depend- able "box-office." This might appear as if we ama- teurs regretted the advent of "talkies." Far from it. We should welcome them because they will liberate the cinema from the necessity of pleasing the great crowd. The millions will be so interested in talking films that they will not set an unconscious, but very real, veto on the production of mo- tion pictures and a few photoplays for what we have called, in MoviE Makers, the cintelligenzia. At pres- ent, the silent drama must be pro- duced down to the level of the simple, because it is supported by the great hordes of the simple. The more sub- tle get a much smaller proportion of screen fare than they wish, yet they have — or should have — the good sense to see that the majority pays the profits and should be pleased rather than the minority. With the wedding of the crowd and the "talkies," the silent screen can go forward to a free artistic develop- ment. Motion pictures without speech will become the unusual thing within another ten years; they will be pro- duced as exotics and not as hardy per- ennials from the studios. Such as are made will be for an admittedly limit- ed audience composed of people hon- estly interested in movies as movies — • mostly the little picture house groups. A silent motion picture will become "caviare to the general." Here, amateurs will have their inn- ings. Unquestionably talking movies will be available for home presenta- tion and unquestionably the mechan- ism of taking them will be offered to amateurs. But it seems pretty cer- tain that those amateurs who are not interested in producing photoplay3 will not acquire that interest over night and make use of their families and friends as actors in home-made playlets. A great part of amateur filming will always be done for silent pro- jection. Into amateur hands, then, will come the heritage of the silent movie. Rejected by the professional industry as an old story, amateurs will make of it an art. What of the Vidors, the Borsages, the Flahertys, the Murnaus, the von Sternbergs, the Pudowkins and the rest of the directors who have been discovering the real meaning of the motion picture as an art form? We hope that the little picture houses will grow rapidly enough to absorb their carefully made product and that they will stop making anything that is not carefully made. What of the cameramen ? Some of them will turn to the "talkies," as will directors, in order to make a living. Smaller com- panies and special production units of silent films in the great companies will absorb some of them. Let us be generous in advance. We invite them all over into amateur cine- matography. They can, many of them, retire and live comfortably on what they have already made in pro- fessional films. As amateurs they can take the silent film up to the real heights it will reach when its only "box-office" is to be found among the cintelligenzia. 514 THE MOVIE MAKERS' CRUISE THIS INTERESTING GROUP OF PHOTOGRAPHS WAS CHOSEN FROM THE PICTORIAL RECORD OF THE MOVIE MAKERS' MEDITERRANEAN CRUISE, RECENTLY COMPLETED, IN WHICH THE AMATEUR CINEMA LEAGUE CO- OPERATED WITH JAMES BORING'S TRAVEL SERVICE IN ARRANGING THE MOST UNIQUE TRAVEL FILMING OPPORTUNTY IN THE HISTORY OF AMA- TEUR CINEMATOGRAPHY. Photographs by Gardner Wells. Upper Left, On Location in the Court of the Lions in the Beautiful Alhambra. Upper Right, A Mosque in Damascus. Center, Seventeen of the Movie Makers on the Cruise Snapped at Funchal, Madeira. Lower Left, An Exquisite Carxera Study made in Granada. Lower -Right, Filming in the Pyrenees. 515 FROM BADINAGE to WORSE By Weare Holbrook THE professional motion picture magazines devote pages every month to gossip from the stu- dios— chatty little paragraphs giving the great outside world glimpses of what the leading screen stars laugh- ingly call their "private life," and relaying snatches of the scintillating repartee which flashes back and forth on the lots. Here is a sample of the mad give-and-take which renders film- fandom partially agog at least once a month: ' 'Nice weather,' said the visitor to Richard Dix's set. ' 'Yes,' replied Richard, 'I've heard it very highly spoken of.' " Here is another, selected at random from a fan magazine: ' 'I checked up on myself and found I had been smoking fifteen or sixteen cigars a day,' Al Green, the director, told a group of his friends at lunch. 'A fellow has to ring a lot of canes to get that many cigars every day,' Carl Harbaugh re- marked." And so its goes, until the credulous reader imagines that life in Holly- wood is just one long Oscar Wilde first-act. But there are always a few old meanies who refuse to believe what they see in print. One of these is Mrs. Challis, president of the East Teabone Literary and Sunday After- noon Hiking Society. "You can't tell me," said Mrs. Challis (just as if anyone would try to), that the movie stars think up all these clever remarks themselves. Why, I know a man who knows Delysha Damour intimately — they both patro- nize the same Chinese laundry, so they have a great deal in common — and he tells me she is so dumb that she thinks Galsworthy's 'White Mon- key' is a sequel to 'Tarzan of the Apes.' The Hollywood idea of a snappy comeback is, 'And how!' It's the press agents who make up the conversation that gets into print. Even the extras have what they call 'personal publicity managers.' I tell you, if we expect to make a success of our home-talent movies in East Teabone we must have a press repre- sentative to arouse public interest in the personalities of our players." So — out of her own husband's pock- ets Mrs. Challis hired a high-powered publicity director to take charge of the private lives of the local film art- ists. His name was T. Pulsifier Snook. When he arrived they were at work on a two-reel comedy enti- 516 "I," REPLIED THE RED HAIRED ONE GRIMLY, "AM HER HUSBAND" tied, "Hip, Hip Horatio," having al- ready completed "Love's Awaken- ing," "The Freedom of the Shes," and last, but not released, "The Repentant Chiropodist; or, I'm Sorry I Knocked Over Your Piano Lamp, So Please Don't Cry," a Restoration tragedy by Beaumont and Fletcher. Snook lost no time in getting his typewriter into action. He arrived on May 15. On May 16 the follow- ing story appeared on the front page of the Teabone Daily Fertilizer: ACTRESS LAUDS NAVARRO TYPE Loretta Jane Cramp, pretty in- genue of the silver screen, is undoubtedly the most popular lady in Teabone. Since her first appearance in pictures she has received more than two thousand "mash notes" and proposals of marriage. "But I shall never marry," she declared yesterday, with a winsome smile, "until I find the 'right man.' My ideal is the tall, dark-haired type, like Ramon Navarro, only larger. I adore big men Next day a wizened, bow-legged little man with flaming red hair, called upon T. Pulsifier Snook. "Are you the feller who wrote that story about Loretta Jane Cramp?" he de- manded. "Yes," Snook admitted, "Who are 9" you : "I," replied the red-haired one, grimly, removing his coat, "am her husband." The Fertilizer of May 19 contained the following item: T. Pulsifer Snook, publicity director of the E. T. Film Play- ers, is nursing a discolored eye as a result of an accident which occurred last night. Mr. Snook states that while hunting for the electric light switch in his office he bumped against a half-open door, bruising his face severely. The same issue of the paper, how- ever, flaunted this first-page story: MACKEREL OWES ALL TO SPOUSE Wilfred Mackerel, of the lo- cal film players' group, believes there is no place like home."Per- haps I am old-fashioned," stated Mr. Mackerel in an interview with reporters yesterday, "but there is nothing I enjoy more than a quiet evening by the fire- side, with my wife and darling kiddies. Mrs. Mackerel and I are like two love-birds, and our mar- ried life has been one long honeymoon. She is my best pal and my severest critic, and it is to her inspiration and encour- agement that I owe my present success * * * " Two days later Wilfred Mackerel visited the office of the publicity di- rector. "Mr. Snook, you write for the pa- pers, I believe?" His tone was omi- ously quiet. Snook admitted that he did. "But apparently you don't read them," complained Mr. Mackerel. "If you read the papers you'd know that my wife — my third wife, by the way, and a blankety-blank so-and-so, if there ever was one — is now in Reno, suing me for divorce and alimony, and everyone in town knows it. Also, I have been living in hotels and res- taurants for the past seven years, and all the 'home life' I have you could stick into a dumb-waiter. Further- more, there are no 'darling kid- dies,' thank Heaven. And in case you may forget these facts," contin- ued Mackerel, rolling up his sleeves, "I'm going to impress them upon your consciousness, if any." The following day this item brightened the newspaper: T. Pulsifer Snook, publicity director of the E. T. Film Play- ers, suffered the loss of several teeth yesterday when he fell down three flights of stairs in the First National Bank Building, landing on his face. He will be confined to his home for several days. It was not until a week after this painful incident that the following jolly little anecdote appeared in the Daily Fertilizer: George Jibble, local film comedian, is as amusing off the screen as on, and his wit is a by- word around the studio. Some- one said to him the other day, "George, I hear you are leading a double life." "Not I,'" replied Jibble, in his inimitable drawl, "but my wife is leading a double chin." Next morning T. Pulsifer Smith received a telephone call. "This is George Jibble," said a faint voice. "Where did you get that wise-crack that was in the paper yesterday?" "MR. SNOOK LEFT LAST NIGHT FOR CALI- FORNIA IN THE HOPE THAT A CHANGE OF CLIMATE MAY IMPROVE HIS CONDITION." "I made it up," said Snook, not without pride. "Clever, wasn't it?" "My wife doesn't think so," replied Jibble. "And what's more, she be- lieves I really said it. I wish you'd go and see her, Mr. Snook, and tell her that it was just a little press- agent story that you invented. Will you do that?" "Why — er, yes, of course," as- sented Snook, with some misgivings. "But why don't you tell her your- self?" "I tried to last night," explained Jibble, plaintively, "but she inter- rupted me. And now I can't." "Why not?" "I'm in the hospital." Snook placed the receiver quietly on the hook and tip-toed away from the telephone. The next issue of the Daily Ferti- lizer contained this item: The many friends of T. Pulsi- fer Snook will be sorry to learn that he has been forced to resign from his position as publicity di- rector of the E.T. Film Players, because of ill health. Mr. Snook left last night for California in the hope that a change of climate may improve his condition. His successor has not yet been chosen, and applicants for the position are advised to see Mrs. Challis as soon as possible. But so far no applicants have ap- peared. One would think that a gen- eration like ours, with its transatlan- tic flyers, flag-pole sitters, glass-eat- ers and pedestrians, would produce at least one or two reckless mortals who would be likely candidates for the job. Are we mice, or are we men? I don't know. One fact, however, is quite evident: we are not publicity directors. '*=t*r.?.2r--., fe4fiill*? V;v€sM -^T^^: ***%$ /it ^4 ^HM 517 THE COLOR GUARD A Scene from the News Reel Being Filmed by the Amateur Movie Club of Culver Military Academy. AMATEUR CLUBS Edited by Arthur L. Gale Critics to Prove Ideas New Cleveland Club THE Herald Cinema Critics' Club of Syracuse, N. Y., has made plans to produce an amateur photoplay putting into practice, as far as possible, the cinematic the- ories that it has developed during its activities in appraising professional motion pictures, writes Chester A. Bahn, motion picture critic of the Syracuse Herald. Under the plan an- nounced by Walter P. Mcintosh, chairman of the executive committee of the club, a story contest will be held and the winning story will be scenarized by a club member and adapted for production as a one reeler on 35 mm. The production staff and cast will all be members of the club. Arrangements have been made for the presentation of the finished picture at a Syracuse theatre for a week's run. This is the first critics' group to pro- duce a photoplay and the result prom- ises significance. 518 T TNDER the leadership of E. J. ^-^ Wohlfeld, League member, ten enthusiastic amateurs formed the Cleveland Movie Club during June in Cleveland, Ohio. Officers were elect- ed and the production of a civic film showing Cleveland's progress, film- ing a weekly newsreel and producing a photoplay were discussed. The ad- vancement of amateur movie making in Cleveland is listed as the principal purpose of the club. Meetings will be held the first Tuesday of each month and, during the early period of the club, special meetings will be called on the third Tuesday of each month. The program for the next meeting will include a screening of members' films and a talk by a manufacturer's representative on the extent of the possible uses of amateur equipment. D. S. Campbell, vice-president of the Pocohontas Oil Co., was elected presi- dent, Robert F. Stone, president of Stonelab, secretary, and H. D. North, vice-president of the Ferry Cap & Set Screw Co., E. C. Higbee, of the M. A. Hanna Co., and E. J. Wohlfeld, presi- dent of the Amalgamated Lamp Co., were chosen as directors. Mr. Wohl- feld reports that the first meeting was marked by fine spirit and enthusiasm. Interesting programs are promised and Cleveland amateurs are invited to get in touch with any of the club's officers. Australian Triumph WE are indebted to Charles W. Donne, distributor of Movie Makers in Melbourne, Australia, for this interesting account of the pro- duction of the Kooringarama Films Club. "Formed during October, 1927, in Eltham, Australia, under the leader- ship of E. C. Lyall, the Kooringarama Films Club announced as its object the production of unusual amateur photoplays. The first production, 'Borrowed Plumes,' was the first 16 mm. photoplay to be screened in Vic- toria. It runs three thousand feet with both interior and exterior scenes. The scenario, written by Donald H. Mather, who also directed the picture, is based on a story of intrigue and impersonation. E. C. Lyall was cam- eraman and film editor, and N. C. D'Arcy wrote and photographed the titles. "Many cinematic effects were in- troduced. In one sequence a moving camera was used to come to a close- up from a long shot and to return to a medium shot without a cut. Some of the scenes were shot from a plat- form rigged on an automobile so that various camera angles could be se- cured with a moving camera. No ef- INTERIOR FILMING Making a Scene for the Culver Film rs fort was spared to secure realistic at- mosphere and technical smoothness. The production required five months and it was enthusiastically received at several public screenings in Eltham and Victoria." Poulson Thrillers TPHE first production of W. R. Poul- ■*- son, "The Sign of the Vampire,"' which was submitted to the Photoplay Magazine contest, has been followed by another, "The Quest of the Stego- saur" and plans have already been made for a third, to be set in Poland, entitled "Djabelo." "The Sign of the ON LOCATION WITH THE FLOWER CITY MOVIE CLUB OF ROCHESTER, N. Y., ABOVE, AND, LEFT, CLINTON BUEHLMAN, A FEATURED PLAYER IN ITS PRODUCTION FRESHMAN. DATS. Vampire" is an adroitly handled and racing detective tale in film, running to over 400 16 mm. feet. A murder- ous maniac at large, a train wreck and an athletic detective of the Fairbanks type furnish elements for a hurricane action. The train wreck was secured by the use of models and by cutting in shots of an actual train in motion in a scene similar to the set used. A very convincing effect was obtained. ACHIEVEMENT IN GREAT BRITAIN Scene from The Experiment Recently Produced by Members of the Amateur Cinema Association of Great Britain. Interiors were secured by an outdoor set made of canvas stretched on framework. Excellent camera angles were used in the fight scenes and the chase sequences are praiseworthy. John MacWilson played the role of Meryl Morrison, the villain, Nancy Lee Warner played Marion Stansbor- ough and W. R. Poulson, Detective Martin. Direction was shared by the three and one of the three acted as cameraman in all save one or two scenes. The results are very good evi- dence of what can be accomplished with a very small cast. We are prom- ised new lighting and camera effects in the forthcoming production. Denver Amateurs TWENTY amateur movie enthusi- asts lately formed the Colorado Cinema League in Denver. At the (Continued on page 547) 519 SUMMER 'CVERY Outdoor Sport Awaits Your Camera This Summer. And the Pleasure You Have in Making Your Films Will Be Re- doubled As You Live Again the Happy Summer Hours When Winter Shuts You In With Your Projector. Above: THE CALL OF THE OPEN ROAD IS ALSO A CHALLENGE TO YOUR CAMERA Above: BEAUTY AND GRACE WILL MARK YOUR FILMS AT THE SHORE. Left: THE SWIFT AND SILENT PASSAGE OF A CANOE IS A PERMANENT FILM DELIGHT 520 HAILS the Cinema /T1- ,:- ' — Above: EVEN "FISH STORIES" HAVE AD DED ZEST IN FILMED RETROSPECT. Right: SUMMER DAYS ARE THE KIDDIES' HAP- | PIEST HOURS AND WILL BE THE BRIGHT- EST SPOTS IN THOSE PRECIOUS FILM BIOGRAPHIES YOU ARE MAKING Photographs bv H. Armstrong Roberts. 521 FINE LIGHTING IN A PORTRAIT OF ONE OF THE PEASANTS IN THE END OF ST. PETERSBURG. Photograph by AmJ(iiio. PHOTOPLAYFARE Reviews for the Gntelligenzia The Fir st "Talkie" A PHOTOPLAY, which many persons believe will be as epoch marking in the history of the motion picture as "The Great Train Robbery," has been released by Warner Brothers' Vitaphone Com- pany under titles that have eventuated for the New York presentation, at least_into "Lights of New York." Probably this will be shown in other places under other names, since its western presentation was otherwise titled. As a piece of motion picture art or even as a conventional photoplay this film is totally without merit and would be classed as a distinct rever- sion to an earlier and abandoned style of photoplaymaking, were it not for the innovation of complete speech accompaniment. As a photoplay and as motion picture art "Lights of New York" has forgotten everything and has learned nothing. It is useless, therefore, to comment on it from that approach. 522 As the first complete "talkie," this film gives us an opportunity to note the advantages and the limitations of speaking photoplays as entertainment for the cintelligenzia. Our first im- pression is that the talking movie is not at all for the cintelligenzia, except as an interesting and amusing scien- tific toy. Far different, of course, is the possible employment of synchron- ized sight and sound in recording his- torical events and personages, but, so far as art is concerned, the "talkie," in its first example, lacks it complete- ly. Hence,' we conclude that the cin- telligenzia may look for but little from this new and much heralded de- vice of the professional screen. One notices, at once, that the spe- cial technique which has enabled the photoplay to develop as a new art form, which is its capacity to achieve independence of both space and time in telling its tale, is absent from the spoken parts of the first talkie, except as straight and hard "cuts" — by which is meant the abrupt change of scene, not accompanied by fading or dis- solving. These cuts give the whole film a jumpy and broken effect which would not be permitted, for one min- ute, in any stage presentation. They are unconvincing. We are whisked from one scene to another so quickly that we scarcely have time to blink our eyes before a new voice assails us. Of course, the scenes are much too long from the standpoint of motion picture art and they are much too short from the standpoint of stage art. Yet the cuts and jumpiness of the movement are all that remain of the photoplay technique that has been built up in the last thirty years. The action, the settings, the camera angles, the continuity, the tempo, all of the things that have marked fine direction in silent films disappear to make way for a photographed and phonographed stage play with a be- wildering number of scenes in which characters shout or mumble a few words and then flicker out. The voices were all adequate to their parts as crooks or underworld characters. Not a single lady or gen- tleman was called for in the cast. Hence, one gets no impression con- cerning the adaptability of silent stars to well-bred roles. The voices reproduced very well and onc^bon lost any sense of great distinction be- tween the film and barn-storming melodrama of thirty or forty years ago. It seemed a fairly complete and convincing return to the subject mat- ter and treatment of the "sob-stuff" and "thriller" popularities of a by- gone age. No, the "talkie" shows very little promise of being motion picture art and in developing an art form of its own, it must work hard before it can equal, if ever, the legitimate stage with its thousands of years of tradi- tion and experiment and realization. Veterans of the Movies TEAN A. LeROY— himself a veteran J producer and exhibitor of the early dawn of the movies — has released his second short subject in the last two years, the first being "When Old New York Was Younger." Mr. LeRoy's second offering is called "Veterans of the Movies" and has that antiquarian interest with which even the newest of arts is becoming invested. We see a few feet from the very early Lumiere comedy, "The Card Game," which is, perhaps, the first French screen farce; this is followed by the "Enchanted Basket" cutting, an early Melie thril- ler, based on magic and made possible by double exposure. The projection is astoundingly good and clear in these antiques. Harry Houdini is handcuffed and jumps into the Gen- (Continued on page 546) The Eastman Kodak Company presents KODACOLOR Amateur Motion Pictures in Full Color are Here! History repeats itself — glamorously! Forty years ago, in 1888, we announced still pictures in black and white for the amateur. The whole story of the system was told in the one line, KKYou press the button; we do the rest." Today we announce motion pictures in full color for the amateur, and the whole story is told in the one line, ^You press the lever; we do the rest." All the amateur needs to do is to load his Cine-Kodak with Kodacolor film instead of with the usual film and then slip the Kodacolor Filter attach- ment into place. He then proceeds to take the pictures just as he would with the regular him. It's all as simple as that. KKYou press the lever; we do the rest." Pictures in Kodacolor are amazingly brilliant and remarkably clear. /^OLOR — the dream of scientists and ^^ the hope of cinematographers since the very birth of motion pictures — is now at your finger tips, awaiting the pressure of the release lever on your Cine-Kodak! Kodacolor is here! An amazing and spectacular achievement in the history of photography. Motion pictures, in all the gorgeous colors of nature, are now as easy to make as ordinary pictures in black and white! Eastman Scientists find the ivay Kodacolor is an optical attainment that has been years in development. Countless obstacles have been overcome. Millions upon millions of dollars have been expended in the quest lor color fidelity. Now, the last barrier has been swept away. The goal has been reached. And you and thousands of other amateur motion picture makers reap the harvest, easily, inexpensively. With your Cine-Kodak Model B,/.i.q, a small, easily attached filter and a special film, you can make motion pic- tures in true colors. No extra lenses are necessary. No costly tinting or toning. Just an inexpensive color filter, a reel of Kodacolor film, plenty of bright sunlight and Cine- Kodak Model B, /. 1.9. That's all and FULL-COLOR ' PHOTOG- RAPHY is yours. As simple as simplicity itself To obtain Kodacolor pictures it is only necessary to load the camera in the usual way with Kodacolor film and to slip the special filter into the lens barrel of the Cine-Kodak, Model B,/.i.q. The camera is then used in exactly the same way as for black and white, the only restriction being that it is necessary to take pictures in direct, bright sunlight Motion pictures in full colo is told in the one line, was made it was designed so that all that is necessary in order to convert it to a Kodacolor camera is the attach The exposed film when taken out of the camera, for the ment of a special filter holder which slips into the lens present is returned to Rochester for special processing. The barrel. Both the Model B Kodascope and the Kodascope cost of this processing is included in the price of the film. When the film is returned by the Rochester processing station, it is projected in a Model A or Model B Kodascope especially equipped for that purpose. Pictures in Kodacolor are amazingly vivid, remarkably clear. They represent very accurately the colors of the Model A may be adapted to Kodacolor work The modification of the camera and the projector for the Kodacolor process in no way interferes with their use for ordinary black and white motion pictures. When the Cine-Kodak is used for taking, or the Koda scope is used for projecting, a color filter is employed on originals. The only restriction on the projection is that the each. When you again want to use them for black anc color filters absorb a great deal of light, and it is necessary white you simply take off the filter — elapsed time, one to be content with a small picture on a special Kodacolor second screen. The largest picture that will be satisfactory is 163/2 x 11 inches. A privilege only Cine-Kodak owners may enjoy Owing to the optical requirements of the Kodacolor process, the only camera fast enough for this work is the sion with which the film is coated, that give the colo Cine-Kodak Model B with/. 1.9 lens. When this camera picture The Kodacolor Process The Kodacolor film has embossed on the back of the base a large number of minute cylindrical lenses, and it i; these lenses, in combination with the Kodacolor filter or the Cine-Kodak lens and the special panchromatic emu Kodacolor — a privilege only Cine-Kodak owners may enjoy. IS here! he amateur, and the whole story ess the lever; we do the rest." The film itself is not colored, but when used in a proper rojector — fitted also with filters which are, in effect, exact ^plicas of those through which the picture was taken— le original scene is reproduced upon the screen with uth and brilliancy. Making the Picture It is necessary in making Kodacolor pictures to use the ine-Kodak, Model B, with the /'. 1.9 lens wide open, and is also necessary that the subject be in direct, bright Unlight. The operation of the Cine-Kodak, Model B, camera r color is, therefore, the same as for black and white tcept — i) It must always be used at f. 1.9. No matter how bright the light, it cannot be stopped down or it will destroy the color ratio of the filter, b) Pictures can be taken only in bright sunlight. ) When the light is so intense (seascapes and distant views in brilliant sunshine) that one would cut down to Stop 16 for use with black and white, a neutral densityattachmentisscrewed on in front of the filter. With these three simple things under- stood, one shoots away just the same as in taking pictures in black and white. So much for taking the picture. The film is sent to us for processing, but at present the only station operating for Kodacolor is at Rochester. The other stations have not as yet the facilities for handling Kodacolor. Equipment Necessary The pictures are projected with either a Model A or a Model B Kodascope, on a special Kodacolor aluminum screen- size, 163^ x 22 inches. Those having a Model B Kodascope Series "K" will require no further equip- ment for projecting except a Kodacolor Filter Unit which slips on to the lens. Model A Kodascopes and Model B Kodascopes, other than Series "K," re- quire an alteration in the illuminating system in addition to the Kodacolor Filter Unit. The Model C Kodascope cannot be used for Kodacolor. A complete outfit, with all the essen- tials for Kodacolor pictures, includes — Cine-Kodak Model B/.1.9 Si<;o.oo Kodacolor Filter and neutral density attachment for Cine-Kodak Kodascope Model B, Series "K" .... Kodacolor Filter and compensator for Kodascope Kodacolor Screen Total S508 . 00 Kodacolor Film, per 50-ft. roll, includ- ing processing and return charges to customer within the United States 5 6.00 Present Cine-Kodak Owners From the foregoing it will be seen that those already having a Model B Cine-Kodak,/. 1.9, and a "K" number Model B Kodascope can fully equip for Kodacolor pictures as follows — Kodacolor Filter Unit for Cine-Kodak $ 15.00 Kodacolor Filter Unit for Model B Kodascope 18 .00 Kodacolor Screen 25 .00 Kodacolor Film — 50 ft 6 . 00 Total S 64 . 00 To equip for Kodacolor with other than the above apparatus requires more radical changes. The Cine- Kodak B must, of course, be equipped with the/.i.9 lens; and the Kodascope — either Model A or Model B that is not of the "K" series — requires a change in the illuminat- ing system. This change does not interfere with the pro- jection of pictures in black and white — indeed it improves such pictures. The complete price list for making such changes appears on next page. 15 00 300 00 18 00 25 00 Pictures in Kodacolor are amazingly brilliant and rkal'ly clear. ( ~\M OR the dreani o\ scientists and ^^ the hope of cinematographers since the very birth of motion pictures — is now at your ringer tips, awaiting the pressure of the release lever on your Cine-Kodak! Kodacolor is here! An amazing and spectacular achievement in the history of photography. Motion pictures, in all the gorgeous colors of nature, are now as easy to make as ordinary pictures in black and white! Eastman Scientists find the "way Kodacolor is an optical attainment that has been years in development. Countless obstacles have been overcome. Millions upon millions of dollars have been expended in the quest for color fidelity. Now, the last barrier has been swept away. The goal has been reached. And you and thousands ot other amateur motion picture makers reap the harvest, easily, inexpensively. With your Cine-Kodak Model B,/.i .9, a small, easily attached filter and a special film, you can make motion pic- tures in true colors. No extra lenses are necessary. No costly tinting or toning. Just an inexpensive color filter, a reel of Kodacolor film, plenty of bright sunlight and Cine-Kodak Model B, /.I.9. That's all— and FULL-COLOR ' PHOTOG- RAPHY is yours. As simple as simplicity itself To obtain Kodacolor pictures it is only necessary to load the camera in the usual way with Kodacolor film and to slip the special filter into the lens barrel of the Cine-Kodak, Model B,/.i.g. The camera is then used in exactly the same way as for black and white, the only restriction being that it is necessary to take pictures in direct, bright sunlight. The exposed film when taken out of the camera, for the present is returned to Rochester for special processing. The cost of this processing is included in the price of the film. When the film is returned by the Rochester processing station, it is projected in a Model A or Model B Kodascope especially equipped for that purpose. Pictures in Kodacolor are amazingly vivid, remarkably clear. They represent very accurately the colors of the originals. The only restriction on the projection is that the color filters absorb a great deal of light, and it is necessary to be content with a small picture on a special Kodacolor screen. The largest picture that will be satisfactory is \6yi x 22 inches. A privilege only Cine-Kodak owners may enjoy Owing to the optical requirements ot the Kodacolor process, the only camera fast enough for this work is the Cine- Kodak Model B with/. 1.9 lens. When this camera B^V ▼ ■ • K r f ■nil M'fM Kodacolor— a privilege only Cine-Kodak owners may enjoy. Kodacolor is here! Motion pictures in full color for the amateur, and the whole story is told in the one line, "You press the lever; we do the rest." was made it was designed so that all that is necessary in order to convert it to a Kodacolor camera is the attach- ment of a special filter holder which slips into the lens barrel. Both the Model B Kodascope and the Kodascope Model A may be adapted to Kodacolor work. The modification of the camera and the projector for the Kodacolor process in no way interferes with their use for ordinary black and white motion pictures. When the Cine-Kodak is used for taking, or the Koda- scope is used for projecting, a color filter is employed on each. When you again want to use them for black and white you simply take off the filter — elapsed time, one second. The Kodacolor Process The Kodacolor film has embossed on the back of the base a large number of minute cylindrical lenses,. and it is these lenses, in combination with the Kodacolor filter on the Cine-Kodak lens and the special panchromatic emul- sion with which the film is coated, that give the color picture. The film itself is not colored, but when used in a proper projector — fitted also with filters which are, in effect, exact replicas of those through which the picture was taken — the original scene is reproduced upon the screen with truth and brilliancy. Making the Picture It is necessary in making Kodacolor pictures to use the Cine-Kodak, Model B, with the /. 1.9 lens wide open, and it is also necessary that the subject be in direct, bright sunlight. The operation of the Cine-Kodak, Model B, camera for color is, therefore, the same as for black and white except — (a) It must always be used at/. 1.9. No matter how bright the light, it cannot be stopped down or it will destroy the color ratio of the filter. (b) Pictures can be taken only in bright sunlight. (c) When the light is so intense (seascapes and distant views in brilliant sunshine) that one would cut down to Stop 16 for use with black and white, a neutral densityattachmentisscrewed on in front of the filter. With these three simple things under- stood, one shoots away just the same as in taking pictures in black and white. So much for taking the picture. The film is sent to us for processing, but at present the only station operating for Kodacolor is at Rochester. The other stations have not as yet the facilities for handling Kodacolor. Equipment Necessary The pictures are projected with either a Model A or a Model" B Kodascope, on a special Kodacolor aluminum screen size, \6'/i x 22 inches. Those having a Model B Kodascope Series "K" will require no further equip- ment for projecting except a Kodacolor Filter Unit which slips on to the lens. Model A Kodascopes and Model B Kodascopes, other than Series "K," re- quire an alteration in the illuminating system in addition to the Kodacolor Filter Unit. The Model C Kodascope cannot be used for Kodacolor. A complete outfit, with all the essen- tials for Kodacolor pictures, includes — Cine-Kodak Model B/.1.9 Si 50. 00 Kodacolor Filter and neutral density attachment for Cine-Kodak Kodascope Model B, Series "K" . Kodacolor Filter and compensator for Kodascope Kodacolor Screen Total Kodacolor Film, per 50-ft. roll, includ- ing processing and return charges to customer within the United States $ 6.00 Present Cine-Kodak Owners From the foregoing it will be seen that those already having a Model B Cine-Kodak,/. 1.9, and a "K" number Model B Kodascope can fully equip for Kodacolor pictures as follows — Kodacolor Filter Unit for Cine-Kodak 5 1 5 00 Kodacolor Filter Unit for Model B Kodascope 18.00 Kodacolor Screen 25 . 00 Kodacolor Film — 50 ft 6.00 Total S 64.00 To equip for Kodacolor with other than the above apparatus requires more radical changes. The Cine- Kodak B must, of course, be equipped with the/. 1. 9 lens; and the Kodascope — either Model A or Model B that is not of the "K" series — requires a change in the illuminat- ing system. This change does not interfere with the pro- jection of pictures in black and white — indeed it improves such pictures. The complete price list for making such changes appears on next page. 15.00 300.00 18.00 25 .00 S508.00 Making Your Cine-Kodak Outfit A Kodacolor Outfit Necessary Alterations Model B Kodascopes not having the "K" number and Model A Kodascopes can be modified so as to use the Koda- color process successfully as follows: Modifying Model B Kodascope not bearing the "K" number — $75.00. In order to make the changes on the Model B's, it will be necessary for them to come to the factory at Rochester, and to the above price is to be added transportation in both directions. Model A Kodascope "with 56-watt Lamp ~t To utilize this for Kodacolor it is necessary to have a new rheostat and lamp house, and a new Kodacolor lens *jfcJ . ' unit which can be instantly put into the place of the pres- ent lens and as instantly replaced with the present lens iy W!-::t '- when one again wishes to use black and white. ,?|3§8P* S r .t,,?,;,,*",-- '*"' ,^ The combination price of the rheostat and lamp house is... $ 40.00 '$ife|§|f**' ' , -^ j The price of the Kodacolor lens unit is $ 20.00 ** **" ' -- ***' Kodascope A, nvith 200-watt Lamp *►* » * - "'■ v^"* This equipment requires only a new lamp house $ 25.00 0tt - •» '3 ■%'■'• and a new Kodacolor lens unit, as above. $ 20.00 The Model B Cine-Kodak 7.6.5 can only be adapted to the Kodacolor process by the substitution of an/. 1.9 lens, Duplicates plus the price of filter attachment. The price for change of At the present time, it is not practical to make dupli- lenses is. $ 85.00 cates in Kodacolor. In this connection, however, it should Similarly> the Model B Cine-Kodak/.3.5 can be converted , 1 , , 1111 j i_- /-'■ / t> j 1 to/. 1.9 at $55.00 be noted that when the black and white Line-Kodak: pictures came out four years ago, it was necessary to use Equipping the Outfit for Kodacolor originals for sample print work. Today, it is almost im- From the foregoing it win be seen that those having a Model possible to tell the difference between an original and a B Cine-Kodak,/. 1.9, and a "K" number Model B Koda- "dupe." scope can equip for color pictures — including Kodacolor If the user of the Kodacolor process, however, gets some fiJter and neutral density attachment for the Cine-Kodak, • . 1 ■ 1 r ± 1 <_u u • Kodacolor filter and compensator for the Kodascope, picture which, for a sentimental or other reason, he is . , T, , , K, „ r£1 r <* c r. ljr 1 / 1 1 • 1 special Kodacolor screen, and one roll or film ror $ 64.00 anxious to have duplicated (even though it cannot be Total cost to those having above Kodascope and Cine- duplicated in color), satisfactory black and white dupli- Kodak B,/.3-5 $119.00 cates may be made. Total cost to those having above Kodascope and Cine- Two Essentials Kodak B>/-6-5 , $14900 -li c Those having a Model B Cine-Kodak/. 1.9, and a Model B lhere are two essentials to the success of your koda- Kodascope of an earlier series can fully equip themselves color pictures which might not seem to the amateur to be for Kodacolor for $139.00 as important as they really are. These essentials are a Total cost to those having above Kodascope and Cine-Kodak Kodacolor screen and a Kodascope with its illuminating B>/-3-5 .•••."•'• T ; ' ; ' ' ' '.' ',' *I94'°° /^l t\/t j 1 r> c • <> u \ Total cost to those having above Kodascope and Cine- system (the Model a benes K requires no changes) KdkB/'6c $224 00 adapted to the Kodacolor process. _ Those having a Model BCine-kodak,/.i. 9, and a Model A You can get colored images without this special Koda- Kodascope with 56-watt lamp can fully equip themselves color screen and without the properly equipped Koda- for Kodacolor for $106.00 scope: but they would fall far short of Kodacolor photog- Total cost to those havin§ above Kodascope and Cine- t T„ , y- r ■ ,-n „■ 1 -u a Kodak B,/.3.5 $161.00 raphy. Its glorious gamut or scintillating color, rich and T .. , .'i J,l l • u v A„ „ „a „„a r;„& " J & .1, <-!-,, & n c Iotal cost to those having above Kodascope and Cine- eye-filhng, would be lost. The gorgeous yellow of the Kodak B, 7.6.5 $191 .00 daffodil . . . the rich red and yellow and blue of a pansy bed, Those having a Model B Cine-Kodak /.i. 9, and a Model A the restful green of foliage in the background ! The delicate Kodascope with 200-watt lamp can fully equip themselves shade of a gown... the yellowish halo of sun-swept hair. . . for Kodacolor for ;■■■•"-■ ■■■■/■/ $ 9IO° , , , °r. . ., , J , • , j , , , ^ , r w Total cost to those having above Kodascope and Line- the bloom or irresistible youth in ruddy cheeks! Color — full Kodak B / -x c $14600 color— rich and true and glorious! For these you must have Totai cost 't0 thOSe having above Kodascope and Cine- the full Kodacolor equipment, not a makeshift. Kodak B,/.6.5 $176.00 EASTMAN KODAK COMPANY, Rochester, N. Y. EDUCATIONAL FILMS News of Visual Education in Schools and Homes Movies of the Mind FOR those to whom delving into the realm of the unknown is a means of better understanding the phenomena of psychic reaction and the resultant behavior of man, Dr. Pavlov's film, Mechanics of the Brain, should be enlightening. Pro- duced in Russia with the financial as- sistance of the government, it has recently attracted attention in educa- tional and medical circles at special showings in New York City. It is be- ing distributed in America by Amkino Corporation of 723 Seventh Avenue, New York, N. Y. In it, by means of special apparatus, the unconscious reaction to a given stimulus is photo- graphed without the subject knowing that he is under observation. One learns in watching this unique study that growth is the selection and com- bination of associated ideas from the simplest to the more complex and their motor execution, which amounts to no more than the ability to re- ceive impressions coupled with the power to give them significant form. The greater one's ability to do this, the greater is his capacity for de- velopment. While knowledge of the libido and its allied psychic activities is common property of the medicos everywhere, it remained for the Russians to pre- sent it graphically in a comprehensive manner. So well are the materials organized, the subjects chosen, and the mechanics of photography util- ized to achieve educational clarity and make the film vitally interesting that it may well serve as a model for those in America who are striving to produce educational pictures of out- standing merit. Health Education 'Ftfl'ORE than twenty state depart- *■**■ ments of health are using health education films produced by Carlyle Ellis for the New York State Depart- ment of Health, of which the seventh in a series of short films has just been completed, with an eighth in process of production. Many of these successful health films designed by Gilbert M. Tucker, Jr., Supervisor of Exhibits for the State, were produced by Mr. Ellis primarily to appeal to children. Film Congress HPrlE second Continental Educa- -*- tional Film Congress was held at the Hague, early in May, following various smaller conferences held in Germany and Russia. At the sessions of the Film Congress representatives of European countries where educa- tional films are of great interest met together for special study and discus- sion of this newly developed method of visual education. Mexican Primitives MOVING picture films taken with a 16 mm. camera among Aztec and^ Mayan ruins in Mexico have been bought without solicitation by the visual education division of the Board of Education of San Diego, California. They are the records of Mexican and Indian life among an- cient ruins taken by Emma Lindsay Squier while gathering legends for her recently published book "The Bride of the Sacred Well." Miss Squier took the pictures for non-com- mercial purposes and was not aware of the market for them until she was approached by school authorities after a showing at the San Diego museum of natural history. The films were specially edited into four reels entitled: Mexican Children and Pets; Mexican and In- dian Customs; Mexico, Ancient and Modern, and Ruins of Ancient Mexico. Miss Squier is now in the very primitive panhandle section of Guate- mala among Mayan caves in the neighborhood of Lake Peten tracking down legends for a sequel to "The Bride of the Sacred Well.' She is also taking moving pictures of modern Mexican and Indian life in their an- cient settings with special considera- tion of their use as educational films. Historical ANEW "Curiosities" subject re- leased by Educational Films in- corporates motion pictures taken in 1898 and 1905 in the sequence. The film, called "New York's Sweetheart," shows a curious contrast in methods of motion picture production as well as in the New York of today and yesterday. Films for Farmers LAST year the Department of Agri- culture made 8,266 shipments of films for agricultural education to borrowers in communities throughout the United States, and this year, with nineteen new pictures completed and twelve in process of production, a much larger circulation is expected. The pictures are produced and dis- tributed by the Department of Agri- culture, with C. W. Warburton as Director of Extension Service. Preventive Film /^NE of man's most deadly enemies, ^•S carbon monoxide, which has been called "the universal poison gas," will form the subject of a new educational motion picture film to be produced in the near future by the United States Bureau of Mines, De- partment of Commerce, in coopera- tion with one of the large automobile manufacturing concerns. It is said that more than a thousand human lives were claimed by this deadly gas during the past year, and that 700 deaths were due to drivers of automobiles being overcome while their engines were idling in closed garages. In photographing this film, not only will the peril of carbon monoxide contained in automobile engine exhausts be emphasized, but attention will also be given to the hazards due to the presence of carbon monoxide under certain conditions in factories, in homes, and, in fact, any- where that there may be possibility of exposure to the products of in- complete combustion of fuels. The film will show how, by proper ventilation, accumulations of carbon monoxide may be prevented. There will also be picturized methods of first aid treatment and resuscitation which may be administered to a vic- tim of carbon monoxide if found before death has occurred. The film will be given wide circulation by the Bureau of Mines in the hope that, through the universal language of visualization, knowledge of this dead- ly enemy of mankind may become widespread, thus serving to diminish the annual heavy death toll from this cause. Forest Film A NEW picture, "The Forest— and **■ Health," has just been released by the United States Department of Agriculture, as a companion film to "The Forest — and Water," issued last year. The new film, contributed by the Forest Service, shows how essen- tial the forest is to man, who from time immemorial has gone into the "green mansions" for rest and recrea- tion. It was made largely in the mountains of New England and in the Southern Appalachians. Copies of United States Department of Agri- culture Films are available for loan without charge other than cost of transportation, and are on standard 35 mm. stock. For information apply to the Office of Motion Pictures, United States Department of Agri- culture, Washington, D. C. 523 DEPTH of FOCUS Discussion of a Vital Factor in Better Movie Making By Walter D. Kerst MANY of you have no doubt often heard the terms "hyper- focal distance" and "depth of focus," and presumably thought that it was a lot of theoretical bunk that did not concern you. True, the short focal lengths of the amateur camera lenses cover a multitude of sins, but when working with wide aperture lenses such as /-1.5, /-1.9 and /-2, depth of focus becomes very important if we want to have good sharp pictures. The distance between those points which represent the nearest and farth- est points in sharp focus is known as the depth of focus or depth of "field" of a particular lens. As the focal length of a lens increases, the depth of focus decreases and the nearer the ob- ject to the lens the shorter the depth of field. Also, the larger the diaphragm, the less the depth of focus. In order to ascertain the depth of focus the hyperfocal distance must first be found. This distance must be determined for each stop used. If we focus on infinity, (anything beyond a hundred feet) then with a given stop, all objects from a certain distance to infinity will be in sharp focus and this distance is known as the hyperfocal distance. You will note in the second column of Table I a heading, "circle of con- fusion, 1/500 inches. This term is an optical term used to denote the nearest approach to an absolute focus of a point of light. For ordinary movie work, a circle with a diameter of .002 *8? of an inch will give a sufficiently sharp image on the screen. In Table I all the stops are listed, and opposite each will be found its hyperfocal distance. Suppose that we want to shoot a scene in which we wish everything beyond a hundred feet to be in sharp focus. Because of certain conditions we find we must use a stop HYPERFOCAL DISTANCE TABLE Diaphragm Apertures sir. of conf. 1/500 inches f 1.5 27.7 feet 1.8 23.2 - 2 20.8 - 2.5 16.6 - 3.5 11.9 " 4 10.4 " 4.5 9.25 • 5.6 7.4 " 8 5.2 • 11 3.8 - 16 2.6 - Above: TABLE I. Below: DEPTH OF FOCUS TABLE FOR A 1 INCH LENS (Circle of Confusion, 1 /500 inches). of f-2.5. Looking at the table opposite f-2.5 we find that everything from 16.6 feet from the lens to infinity will be in sharp focus. This is when we are focusing on infinity. If we now focus on 16.6 feet, (the hyperfocal point), we find that everything from half that point from the lens to infinity will be in sharp focus. This shows us that we should not include any important ob« jects nearer to the lens than half the hyperfocal point or they will be out of focus. We have another problem, however, when we want to focus on any object less than the hyperfocal point from the lens. Objects at infinity are then no longer in focus. Looking at Table II you will see, in the first column, dis- tances from two feet to twenty-five- feet. Reading opposite each distance you will find the nearest and farthest point in sharp focus at each stop when the focus is set on an object less than the hyperfocal point for that stop. For example, looking at the table, if we are- shooting an interior at / 1.5, and the object focused on is six feet distant, we must be careful not to include any prominent objects nearer than 4.9 feet or farther than 7.6 feet, or they will be out of focus. This fact can often be used to advantage when we wish to have the object focused on in front of a diffused or blurry background. We can place the object, at the proper dis- tance from the background, so that this background will appear out of focus and give the desired effect. Distance/ Diaphragm Apertures. Focused On / f 1.5 1.8 2 2.5 3.5 4 4.5 5.6 8 11 16 2 feet 1.8-2.1 1.8-2.2 1.8-2.2 1.8-2.3 1.7-2.4 1.7-2.5 1.7-2.6 1.6-2.8 1.5-3.3 1.3-4.4 1.1-10;7 3 * 2.7-3.3 2.7-3.4 2.6-3.5 2.5-3.6 <&• ^•"TC' 2.3-4.2 2.3-4.4 2.1-4.9 1.9-7.1 1.7-15.9 1.4-inf. 4 * 3.4-4.6 3.4-4.8 3.3-4.9 3.3-5.4 3-6 2.9-6.5 2.8-7 2.6-8.4 2.3-173 2-inf. 1. 6-inf . 6 « 4.9-7.6 4.8-8.1 4.6-8.4 4.4-9.3 4-12.1 3.8-142 3.6-17.1 3.3-28.5 2. 8-inf , 2.3-inf 1. 8-inf. 8 » 6.2-11,2 5.9-122 5.7-12.9 5.4-15.3 4.8-244 4.5-39.6 4.3-59 3.9-inf 3.2-inf 2. 6-inf. 2-inf. 10 - 7.3-15.6 7-17.5 6.7-19.2 6.2-25 5.4-62.5 5.1-inf, 4.8-inf 4.3-inf 3.4-inf 2.7-inf. 2-inf. 12 " 8.3-211 7.9-248 7.6-283 7-43 6-inf. 5.5-inf 5.1-inf 4. 6-inf 3. 6-inf 2.9-inf 2.1-inf. 15 " 9.7-32.7 9.1-42.4 8.7-537 7.9-inf 6. 6-inf 6.1-inf. 5.7-ini 5-inf. 3.9-inf 3.1-inf. 2. 2-inf. 25 • 13.1-inf 12-inf. 11.3-inf 9.9-inf 8-inf. 7.3-inf, 6.7»4n£ 5.7-iaf 4.3-inf 3.2-inf. 2.3-inf. 524 CRITICAL FOCUSING The End of St. Petersburg SOVKINO Directed by W. J. Pudowkin Photographed by A. Golownia Cinematics: This photoplay is en- tirely free from the technique of the legitimate stage. It is subjectively epic and its continuity does not de- pend on the treatment of the individ- ual characters but on the cinematic representation of the forces present in Russia just before the fall of the old regime. Tempo : In the opening scenes rep- resenting the life of the Russian peas- ants the tempo is slow, in harmony with the monotony of their lives and the endless struggle for existence. The tempo increases as we are brought with two of the peasants to St. Peters- burg and it reaches its climax with scenes of feverish activity on the steps of the stock exchange and in the mu- nition plant. In the midst of this swift moving tempo, shots that are almost still photography are used to give dramatic emphasis. This is an un- excelled example of the relation of tempo to subject matter. Camera Angles: Throughout, the camera angles chosen are those that convey the greatest possible signifi- cance of the scene. In one sequence two peasants are wandering past the equestrian statue of one of the Czars. The scenes are shot over the statue so that it fills the foreground and dwarfs the figures of the two peasants. The owner of the munition plant and his manager are shown in an elevator that rises past the camera. The next scene is taken inside the elevator, showing the owner giving instructions to the manager. The camera was placed beneath the faces of the two men, pointing upward, thus still giv- ing the effect of upward motion and emphasizing the commanding position of the commercialists. Cinematic Symbolism: When the Czar's cabinet is depicted, only the feet and legs of the men are in the scene, thus ironically conveying the idea that the men themselves were only lay figures. Shots of the statues round the winter palace of the Czar are used to symbolize the wealth and luxury of the old order. Both of these are economical and fertile in ideas for the amateur. Cinematography: This photoplay is cinematic throughout. The tech- nique used is generally open to the amateur. Few dissolves or double ex- posures are used. A number of short shots of the same subject from differ- ent angles give the camera the effect of a restless all seeing eye, and the Technical Reviews to Aid the Amateur film as a whole has a dynamic quality impossible in any other medium. A choppy effect is avoided by almost perfect continuity and excellent cut- ting. An amateur interested in secur- ing these qualities for his own film should not miss this picture. Photograph by United Artists. A SECRET METHOD FOR SECURING DOUBLE EXPOSURE EFFECTS AT ONE SHOOTING IS SAID TO HAVE BEEN PERFECTED ON THE UNITED ARTISTS LOT AND IS ILLUSTRATED BY THE ABOVE EXAMPLE FROM THE TEMPEST. Tempest United Artists Directed by Sam Taylor Photographed by. . . .Charles Rosher Introduction: A moving camera is used to bring the opening scene of the story to the audience. The camera, at street level, sweeps past houses and streets shrouded in mist. It then moves down the street that leads to the barracks of the Russian soldiers where the story opens with a shot of the bugler blowing reveille. The ef- fect is that of the narrator of the story arriving on the scene in the early morning. Character Introduction : The protagonist, who is studying for his commission in his quarters near an open window, places an unlighted cigaret between his lips. A hand hold- ing a lighted match comes through the window and the young sergeant unconsciously lights his cigarette. The camera then follows his eyes as he looks up to see who provided the match and we see the communist agent. This simple method of intro- ducing a character can be adapted to fit the plot of an amateur photoplay and could serve to vary the introduc- tory close-up. Fazil Fox Directed by Howard Hawks Photographed by. . .L. W. O'Connell Visualized Psychology: Fazil makes at least two contributions to photographic technique which are worthy of emulation. One occurs in that scene in which Fabienne is told Fazil has gone to take an additional wife. Consumed with jealousy, her thoughts of the ceremony at a strange court and the accompanying festivi- ties are visualized by use of the dis- solve, the action then continuing, thus achieving film economy and simplicity of development which would have been lost by a repetition of the actual events. Restraint: Again, in the gondola when the lovers first kiss, the light is shut out in passing under an arch, which greatly intensifies audience re- action to the situation in that sugges- tion is always more effective than complete revelation. Atmosphere: The opening desert shots were superb in choice of setting, composition, photography and light- ing, ranking with those of Beau Geste in their perfection. The Magnificent Flirt Paramount Directed by . . H. D'Abbadie D'Arrast Photographed by. . . .Henry Gerrard Models, Dissolves, Atmosphere: In the opening sequence of this fra- gile and sophisticated photoplay the Parisian atmosphere in which its events are largely to occur is admir- ably suggested by a series of dis- solves, the one melting into another, of various scenes in the French capi- tal executed with models in the mod- ernistic manner, animation being given to the sequence by double ex- (Continued on page 545) 525 Timely BELL& Accessories add The Pocket Size Jilmo 75 Turn to back cover for further description of this beautifully embossed, pocket size Filmo. Has 100 ft. film capacity, inter- changeable lenses. Mark coupon for descriptive booklet. When Bell & Howell turned attention to making a simplified movie camera for amateur use, they also pioneered in providing the means for getting, with the Filmo Camera, many of the effects possible with their professional equipment which has been standard throughout the world with most of the better producing com- panies since 1907. Only by superior design, material and workmanship is this remarkable Filmo variety in effects made possible. Every amateur movie maker should possess the accessories featured on this and the opposite page. Only $65 — 6 in. F5.5 Telekinic Only $60 — 4 in. F4.5 Telekinic Why you should have at least one good Telephoto lens Examine These Extraordinary Values Some of the most remarkable "shots" in your entire library of films will be made with one of these high quality Taylor-Hobson Cooke telephotos. By focusing down tofrom2 to 4 feet you can greatly magnify small insects or animals, making them fill the whole screen when projected. Or by focusing them down on a small toy, for example, and exposing only one or two frames at a time (as you can with a Filmo Camera), moving the toy slightly between shots, you will create on the screen a close-up illusion of objects coming to life and moving about unassisted. The long-range value of T-H.C. telephoto lenses is well known to travelers and sportsmen desiring to get enlarged movies of sub- jects impossible to approach closely. Movies taken of horse races, showing the progress of the races around entire course, for example, are taken with a telephoto lens from some elevated position. Four excellent telephotos from which we suggest your choosing are mentioned here — the two illustrated and priced above; the 3H in. F 3.3 priced at $85.00; and the 6 in. F 4.5 priced at $95.00. Each price in- cludes focusing mount with sunshade, matched view- finder eyepiece and objective. Mark coupon for our Special Lens Catalog which describes the peculiar merits of each of these lenses and many more, all quickly interchangeable in Flimo Cameras. The DREMOPHOT 70-75 Exposure Meter-Showing Direct Readings for either Filmo 70 or Filmo 75 J 16 32 64 128 ■ [I2N24I48I96I l'4-sl3'5lM, ;mopi |h 221611.) 8 S-S45- . 1 I .4-5! II 18 5-5 4 35 i Easy to read— No computations to make At the left you are shown a close-up of the readings on Dremophot 70-75 tube. The Dremophot is held to the eye and pointed at scene to be photographed. The knurled diaphragm collar is then revolved by thumb and finger until a let- ter "N" is just plainly recognizable with- in. The index mark on knurled ring will then point to correct Filmo 70 and 75 exposures for operation at normal speed. Readings for other speeds are given by the ring at the extreme end of Dremophot. The Dremophot previously described in these pages and still available, provides readings for Filmo 70 only. Illustrated here is the new Dremophot expressly designed to indicate scientifically correct exposures for either Filmo 70 or Filmo 75, at a glance. Readings for either camera at normal speed are taken directly from tube after sighting, as are readings for many of the speeds at which the various Filmo 70 models may be operated — 8, 12, 16, 24, 32 and 128 frames per second. Stop numbers are marked to corres- pond with stops marked on all lenses standard for both Filmo 70 and 75. The Dremophot measures not merely the general light conditions of the moment, but the volume of light reflected from the subject to be photographed. An instrument that will insure your getting proper exposure — that all-im- portant factor — for every inch of film. Built for lifetime use. Price, with sole-leather, hand-sewn case, $12.50. BELL & 1828 Larchmont Ave., New York, Hollywood, Established 526 HOWELL unusual interest to your movies The Filmo Iris Vignetter shown at right is far more valuable than its price indicates in securing startling effects for your Filmo movies. Quickly attaches to Filmo lens in place of sunshade. It is easily operated by thumb and finger with camera in operation, to secure complete "circle-in" or "circle-out" for introducing or closing a scene just as professionals do. Price, for use with 1 in. F 3.5 lens in either fixed or focusing mount, $10.50. You will surely want this Vignetter also for use with Vignetting mattes shown and described below. Filmo Vignetting ana* iewfinder mattes shown in place on Filmo 70 camera. The vignetting matte is attached to Iris Vignetter — the matching viewfinder matte clasped on front of spy-glass viewfinder. 1. Heart 2. Keyhole 3. Clo'verleaf 4. Triangle 5. Vision 6. Binocular Filmo 70 acquires another professional trick — shaping your pictures by new Vignetting Mattes Here's another effect often used by professional camera men and now made possible to Filmo owners through the set of Vignetting Mattes shown above. There are six "pairs" to the set — one of each pair to do the actual vignetting (shaping) when attached to Iris Vignetter, the other to fit over spy-glass viewfinder so that you may see your scene exactly as it will appear in the film. Each of the six shapes shown suggests an appropriate use for scenes of various characters. For a scene that would be viewed through binoculars, use the Binocular Matte. The Keyhole Matt is valuable in mystery or comedy scenes in homespun plays. The Heart shape is appropriate in love scene fadeouts. The Triangle shape will eliminate unnecessary overhead background, focusing on the important foreground action. The Cloverleaf shape will suggest on occasion the shamrock or the impression of verdant meadows. The Vision Matte is for obtaining "vision" or dream effects through double exposure of film. Complete instructions given with each set of mattes. Price, set of six objective mattes with viewfinder mattes as named above, $7.50. Golfers! — Movies of your favorites in National Open Cham- pionship Tournament in new Filmo Library sale film Here's a film you will want in your golf movie library and refer to for years. It portrays the interesting action and tense situations attending the 1928 winning of America's highest golf crown. Here are your favorites: Farrell (new champion), Armour (1927 champion), Jones, Hancock, Von Elm, Hagen, Cuici. and Sarazen. See how Jones is saved in the first day's play by sensational work on the greens while Farrell had appar- ently lost his putting touch. It's all hem in 200 feet of fine cinematography, well sub-titled. Price $15.00. Other excellent films for the month (outright purchase) are: OUTSTANDING EVENTS— The last flight of Lind- bergh's famous plane, "Spirit of St. Louis," and its final resting place in Smithsonian Institute. 100 ft. $7.50. JAPANESE SPORTS— Closeups showing the intricacies of Jiu Jitsu, Sword Dancing, and Fencing. 100 ft., $7.50. THURMAN the GREAT— Sam and Henry— those re- markable animated dolls. 400 ft., $30.00. COLOR FILTERS This is the season when beautiful sky, water and landscape effects are obtained by using a color filter. The filter separ- ates all elements of the picture into proper tone values, giving that sharp- ness and depth so sought for in fine cine- matography. Filter shown, for 1-in. F 3.5 lens, is made of natural colored glass and is extraordinarily effective. Price $2.50. Other filters available for all lenses. Get our lens catalog. Filmo Rental Library Films for August Rental Basis, $1.25 each 400 ft. reel, 24 hours Aug. 6- Aug. 13- Aug. 20- "Dodging Trouble," featuring Neal Burns, 2 reels. 'Plumb Goofy," Cameo Comedy, 1 reel. "Pink Elephants," featuring Al St. John, 2 reels. Aug. 27 -"Magical Movies," a Lyman H. Howe Hodge- podge, 1 reel. See your dealer — - or mail this HOWELL CO. Chicago, 111. London (B. & H. Co., Ltd.) 1907 Bell & Howell Co., 1828 Larchmont Ave., Chicago, 111. Please mail me booklets or complete information as checked here: ....Filmo 70 Camera Filmo 75 Camera Com- plete Lens Catalog Dremophot Exposure Meters including the 70-75 Iris Vignetter Vignetting Mattes Filmo Rental Library Filmo Sale Library. Name - Address [± rd 527 L D ! K! 3 VOORHEES, GMELIN AND WALKER, ARCHITECTS Photograph by Pirie McDonald STEPHEN F. VOORHEES Second of a Series of Studies of Leaders of the Amateur Cinema League THE members of the Amateur Cinema League may feel that Mr. Stephen Voorhees' fame lies in the fact that he is the vice-presi- dent of the League, but to the world at large he is known as the senior partner in the distinguished firm of Voorhees, Gmelin and Walker, the architectural firm responsible for such buildings as the New York Times, the New York Telephone, the Brook- lyn Edison, the Travellers' Insurance at Hartford, Conn., and the State Street Building at Syracuse, New York. They are the architects for the Associated Companies of the Bell Telephone Company, the Salvation Army, and the Consulting Architects for the American Telephone and Telegraph Company. They also plan- ned the largest building for the West- ern Union Company. These are but a few of the buildings which Mr. Voorhees and his associates have to their credit, but they in themselves constitute a mighty record of achieve- ment and place the reputation of the firm at the forefront of the world of architects. Mr. Voorhees utilizes his hobby in By Katherine M. Comstock his work. In other words he takes movies of construction problems, or of particularly interesting bits of con- struction, so that he can keep a rec- ord of them. These films are shown to the men in his office to aid them in solving similar problems in con- nection with other buildings. He has also taught some of the men to handle a camera thus enabling them to add to the growing library of film. Mr. Voorhees says that the work has not yet been systematized but that he hopes when it has been they will be able to have a definite record not only of the most difficult work in con- nection with each building, but also a record of the growth of the build- ing, and that these films can be used for instructional purposes within the organization. "There is a tremendous scope for moving pictures in this field," said Mr. Voorhees. 'Already different manufacturers are grasping their op- portunity and producing 16mm. reels of their particular product. This aft- ernoon I am projecting some reels of valves for the benefit of my co-work- ers. Boilers, water systems, heating systems, elevators, etc., can all be dis- played in this way right in the office, and decisions made with a great sav- ing of time to all concerned." Probably all Amateur Cinema Leaguers are curious as to how Mr. Voorhees first became interested in taking his own movies. Like many other pioneer fans he had been for years a keen user of the still camera. Taking snapshots had long been his hobby. Replying to the question of his first interest in movies he said: "During the war, I served in the Sur- geon General's office in charge of the design of army hospitals. Next to my drafting room was located the moving picture laboratory where instruction- al pictures were made for use in the medical training centers. Through con- tact with the officers in charge, I de- veloped a strong desire to make my own moving pictures. I was deterred for a time, however, because of the cost involved and the cumbersomeness of available equipment. Sometime lat- er when the 16mm. home movie cam- eras and projectors were introduced I 529 purchased an outfit, and became quite proficient as a cameraman through practice in my home, on my family, the golf links, etc. Then one day I filmed a very interesting phase of con- struction work. The film turned out well and I began to realize the possi- bilities of using the camera to advan- tage in connection with my work. After that whenever I knew some par- ticularly interesting work was to be done I tried to be there with my cam- era. It wasn't always possible for me to be on hand so I instructed some of the men in the use of the camera, and aroused their interest. We have shot several reels of in- teresting film which have proved of great value to us, but, as I say, we have not as yet organized any system. That will come when we have a bit more time to work it out and I hope it will be soon." In 1921 there was founded in New York a rather unique organi- zation called the New York Building Con- gress, and of this organ- ization Mr. Voorhees was the first president, in which capacity he served for five years. The Congress is com- posed of the five major elements of the build- ing industry — finan- ciers concerned with building, architects and engineers, contractors, mechanics and manu- facturers of materials. The New York Build- ing Congress is the first organization to bring all of these five ele- ments together. One of the interests of this Con- gress is an apprentice- ship training system for mechanics, and of this Apprenticeship Commission Mr. Voor- hees is now president. To this work also he brings his belief in the educa- tional power of the movie and is pro- moting an educational film library for the school of apprentices. All parts of the Congress are contributing to this library either through suggestion or actual films. Manufacturers of mate- rial display the uses of their wares via the film, labor contributes its sugges- tions, construction problems are film- ed by architects and engineers and the contractors also pass along valuable information, so that the apprentice may become thoroughly conversant with the various problems. The Board of Education cooperates with the Ap- prenticeship Commission by placing teachers of manual training, mechani- cal drawing, etc., who have been re- commended by the Congress, into the various schools so that the pupils will have only the best preparatory instruction. Mr. Voorhees is tremend- ously interested in this work and es- pecially in the building up of a com- prehensive film library which will aid the apprentices in visualizing the rHE NEW TRAVELERS INSURANCE BUILDING, HARTFORD, CONN Voorhees, Gmelin and Walker, Architects Promoting the use of motion pic- tures in the Engineering Department at Princeton is another of this ama- teur's movie interests. He is helping the department to build up a library of films, and also to make contracts for borrowing films relating to man- ufacturers' products, and so forth. In talking with Mr. Voorhees one is impressed with the integral part movies assume in his various inter- ests, and of how convinced he is of their growing power to educate along almost every line. He believes, of course, that to reach their zenith they need guidance. He believes that today their crying need is to be taken up seriously in the univer- sities, and that if some- one could be found to do for the movies what Professor Baker has done for the drama in the famous "47 Work- shop" at Harvard, and is now doing in the Yale Theatre — that is, train future dramatists not only to write, but to produce, to design scenery, direct, cos- tume, and to thorough- ly know the business from all sides — their progress would be rap- idly upward. Undoubtedly that day is coming. Educa- tional moving pictures are claiming more and more recognition, and as they come to be stud- ied generally in col- leges and universities, they will win for them- selves a more important place, and will rapidly become a part of the curriculum. This event can be hastened by the recommendation and backing of the officers problems to be met on all sides. Mr. Voorhees is the secretary of his class at Princeton, and in this con- nection his interest in films again stands out. "I have been getting films of each reunion since our twenty- fifth," he said, "and adding a few feet each year to the original film. I also piece in short shots of interesting college events. For instance, last year I was fortunate in obtaining a film recording Slagle's run at New Haven in slow motion. Such bits add greatly to the interest and historical value of a cumulative film." and members o f t h e Amateur Cinema League. There is nothing like publicity to force an idea into the minds of the right officials and the way for each individual to help is to spread the idea whenever he has a chance, as Mr. Voorhees has done. The League is to be congratulated on having for its officers men who are outstandingly successful in both their vocations and their avocations, and who are enthusiastically interested in the present development and the future of the amateur movie. Such a man is Mr. Stephen F. Voorhees. 530 OUT of the TROPICS The Romantic History of the First Amateur Home Developing and Printing Apparatus By Herbert C. McKay, A.R.P.S. IT is a far cry from steaming jungles to the modern American homes of amateur movie fans but the twain are strangely joined to- gether in the unique history of the development of the first economical apparatus devised for the developing and printing of 16mm film by ama- teurs themselves. When professional cinematograph- ers began to travel to the far corners of the world they were faced with a seemingly unanswerable problem. Atmospheric conditions were such in many tropical countries that films had to be developed shortly after ex- posure or they would be ruined. It was manifestly impossible to carry the bulky equipment then available into uncharted jungles and over lofty mountain ranges. Nor, in most cases, could the film be shipped out to civilization for development. So the problem of devising a compact and portable developing outfit for ex- plorers and scientists was attacked by R. P. Stineman, a cameraman of many years experience. After many discouraging experiments he finally perfected a system of spiral racks and compact tanks. With this easily portable equipment it was possible to develop one hundred feet of motion picture film in a tank about twenty inches in diameter and some three in- ches deep, using only two gallons of bath. This device met with immedi- ate welcome by traveling cinemato- graphers, and was adopted by the United States War and Navy Depart- ments. Since its invention, it has been used by practically all of the major expeditions to every part of the world, and results with this equipment have proven satisfactory in every way. The developing apparatus thus proven, a demand was made for a successful portable printer. Such a printer required several characteris- tics which are difficult to combine. It had to be continuous to avoid the bulk and complexity of the intermit- tent printer; able to handle 100 foot lengths of film, at least; so designed that it would give good prints from green film without creeping, and, above all, had to be small and light. To meet these requirements Mr. Stinemann designed his portable printing machine with the patented curved printing platen which makes possible the printing of stretched film without creeping. The printer is de- signed for use with hand or electric drive. The light is controlled by a small lever which changes the size of the light aperture. Two detachable magazines on the top of the printer hold the raw positive stock and the negative, while the exposed film and negative may be caught in baskets or taken up on a special take-up device. It is axiomatic among cinemato- graphic technicians that neither a continuous nor a portable printer will give satisfactory results, yet this printer which is both, has innumer- able times made positives which could not be distinguished from laboratory prints. The printer was adopted by those who had used the tanks, with the result that travelers were enabled to print their positives, make a trial run and, when necessary, make re-takes before leaving their territory. Such was the status of the Stine- man equipment, when the 16mm movement began. Mr. Stineman be- came interested and started work on a small scale outfit. The result was that soon after the announcement of 16mm negative and positive film the Stineman equipment was ready for the market. The new equipment is identical in every way with the stand- ard equipment except in the changes necessitated by the small film gauge. Thus the apparatus called into being by the difficulties and perils of jungle exploration has proven the founda- tion for the first complete equipment offered the home laboratory man. The developing rack is a spiral of metal ribbon. This ribbon is made of a metal especially alloyed for this purpose. It is chemically inert, yet it has the necessary physical qualities for its purpose. This spiral is sold- ered to supporting cross arms. In use, the rack is placed upon a rewind and the film rolled into the spiral. The two ends of the film are secured to the spiral, and the rack is ready for the tank. The tanks are merely shallow, cylindrical pans holding about two gallons of solution. The rack of film is grasped by the handle in the center and lowered into the developer. It is raised and lowered a few times to clear the film of air bubbles. It is then left in the de- veloper for the proper time. It is then rinsed and placed in the fixing bath where it remains for about fif- teen minutes. It is then placed in the water tank and washed in running water for from fifteen to thirty min- utes. At the end of this time the ends of the film are freed from the rack, a circular metal screen, which is a part of the outfit, is placed over the film in the rack and the whole reversed. The rack is now lifted off leaving the film loosely coiled upon the screen. One end of the film is now secured to the drying rack and this rack turned until the film is wound upon it. When dry, the film is polished by rubbing the celluloid with a chamois pad moistened in C.P. wood alcohol. This film is then placed in the rear magazine of the printer and a roll of positive stock in the front magazine. The two films are passed over the (Continued on page 545) A SUITCASE It Holds a Complete Dev LABORATORY eloping and Printing Outfit. 531 T Exposure Test Chart THIS department has seen a lot of film lately that has been either under-exposed or over- exposed enough to keep it from being "just right." Here's a stunt that will serve to tell you from now on whether you are exposing correctly or not. Load your camera, go out and pick some subject, and carefully calculate the correct exposure for it. Let us suppose that the correct exposure is at stop /-8. Shoot a foot or two at this stop. Then shoot another foot or two of the same subject at each of the following stops: /-4; f-5.6; /-ll and /-16. Have this film developed, if a negative, or if it is reversible film, have it processed only to a negative, with instructions to the laboratory or finishing station to make no compen- sation for differences in exposure. When the film is returned to you, clip about five frames from each of the differently exposed strips and mount them, side by side, in a cut-out cardboard frame, labeling each with the stop at which it was shot, and whether correct, over or under-expos- ure. Now, when you shoot any film, you can match the results of the vari- ous shots with this test chart and, be- sides being able to definitely tell cor- rect, over and under-exposure, in a short time you will be getting corking good shots almost without an excep- tion. Music With TO put the final touch to your shows that will lift them above the ordinary and make them more enjoy- able and theatre-like, bring into use the following Vitaphone-like device which requires only a radio and phonograph. Since the advent of electrically reproduced records an electrical sound-box or pick-up has been put on the market that makes the sound from the records go through the amplifying unit of any radio and come out of the loud speaker. With this pick-up, as it is called, put on your phonograph, preferably a port- able, put it right next to the projector so that the operator can make the orchestration follow the film, run the two wires from the pick-up to the ra- dio and then put your loud speaker behind the screen and turn on the music. When a picture of a parade with the brass band coming down the street flashes on, put on a band rec- ord and a truly Vitaphonic sensa- tion will be experienced. The possi- bilities are unlimited and the im- provement given your films by a musical accompaniment is well worth the time and money used in the in- stallation.— Charles Luthe, Jr. 532 HE CLINIC Conducted by Dr. Kinema THERE is available this month, free of charge to members only, a bulletin giving as completely as pos- sible a descriptive list of cinematographic and photo- graphic books and periodi- cals. Every amateur should have a library, for the pos- session of good books on his hobby pays dividends in in- creased pleasure and finer quality in results. Drop a line to the Technical Con- sultant, Amateur Cinema League, 105 West 40th St., New York, N. Y ., and one of these bulletins will be sent you by return mail. A PICTURE SHOULD BE WELL BALANCED TO BE EFFECTIVE A Sand Title COR those who want to use an art *• title that is different for their beach scenes to be made this summer, the following is offered for their ap- proval : Select a spot of smooth, sandy beach over which the waves are roll- ing. Your assistant should be pro- vided with a stick for writing the title. Hold your camera pointing directly down on the sand, at such a height as to include the amount of writing desired. If it is to be only a word or so, a few feet above will be sufficient, but if there are several lines it may be necessary for you to stand on a chair. Start the camera and after a few frames of blank sand the assistant begins to write a title with his stick. The title may be written in long hand, but usually shows up better if printed with plain block letters. Nature now takes her part, but oc- casionally misses her cue and enters at the wrong time. The whole trick is just as the last word of the title has been written and a few frames of the finished wording made, the waves roll up, wash out the writing, and roll back again, leaving the sand smooth and even as before. — H. M. Daniels. Now You Tell One TN France, it is said, a professional -*- photographer, noticing how sensi- tive the iris diaphragm of his cat was toward variations of illuminations* fitted a hood over its head with two windows for the eyes, and rigged in front a simple apparatus for measur- ing the diameter of the pupil. He now takes the cat with him in a satchel when on a photographic tour. He sets- the cat beside his camera when mak- ing a shot and reads off the number of the stop the animal is using. Then he times his exposure accordingly. To date, cats have never been con- sidered to be listed in the long list of movie accessories, but this seems to- indicate that we may some day be ask- ing our dealer for a light Maltese, dark Persian or nice furry exposure meter. Easier Splicing ON the ordinary type of rewinder and splicer I find it difficult tc* hold both pieces of film in the correct place and apply the cement at the same time. It is necessary to place a weight of some kind over one piece of film as both of your hands are busy other- wise. To remedy this fasten a rubber band to one side of the base of the rewinder with a thumb tack and on the other side tack an ordinary carpet tack. To hold the film in place, stretch the rubber band across the guide plate and loop over the carpet tack. Two- rubber bands may be so placed in or- der to take care of both sides of the guide plate. Enlarging CAMERA Craft Magazine tells of a method of making still enlarge- ments from motion picture film, de- vised by Mr. Carl Siegel of the Cali- fornia Camera Club. Mr. Siegel's en- largements are noted particularly for their absence of grain and he is able to make prints up to 11x14 inches. from sections of negatives smaller than postage stamps. In order to make these enlargements the amateur must develop his film either in whole or in part. One way is to make the first shot and the last shot on a roll of film the ones to be used for enlargement. It is then a simple matter to clip off a few frames in the darkroom. If you then send the balance of the roll to a processing station, be sure to indicate to them what you have done. The following formula, used by Mr. Siegel, gives an extremely fine grained negative: Water 16 ozs. Pyro 17 grs. Glycin 70 grs. Sodium Sulphite (Anhydrous) . . .230 grs. Sodium Carbonate (Anhydrous) . . .230 grs. This is a tray developer and the time of development is 20 minutes at 65 degrees F. Since artificial, cold dry- ing cuts down the grain, an electric fan should be used. After drying, the negatives are enlarged in the same manner as still negatives. Scenario Writers SUCH of our readers and their friends who may feel that they have the capacity to write motion pic- ture scenarios which will be accepted by professional producing companies are advised that the National Better Business Bureau, whose national headquarters are at 383 Madison Avenue, New York, N. Y., and of which body the Amateur Cinema League is a member, has issued a bul- letin "Writing for the Movies" which may be secured upon request. This bulletin analyses the occupa- tion ef scenario writing and gives un- prejudiced and valuable advice to anyone who contemplates this kind of work. After reading it, the person of average intelligence will probably feel a very specific kind of prepara- tion must precede writing scenarios that will really be saleable. REELS? WfHAT do you do with the light 100 foot reels on which your processed film is returned to you? Have you found some clever use for them, or do they just pile up? One of our members be- lieves there must be some good use to which they can be put, and has offered to provide a membership in the Amateur Cinema League to whoever sends in the best suggestion. Address your so- lution to the Technical Edi- tor, Movie Makers, 105 West 40th St., New York, N. Y. Show Window Display of the New CINOPHOT By Eastman Kodak Stores, Inc. CORNER MADISON AVENUE and 45th STREET, NEW YORK CITY The Sign Reads: The new Cinophot for the Cine-Kodak gives you the Right Exposure. Under any light — at any time — anywhere. It matches the Cine- Kodaks and is absolutely dependable. We Recommend the Cinophot Cinophot, complete with sole leather case $12.50 DREM PRODUCTS CORPORATION 152 WEST 42nd STREET NEW YORK, N. Y. ASK YOUR DEALER 533 Gets the Action'"\n SLOW MOTION! LIKE a flash — it happened! A brief vision of madly dashing ponies — a reckless clash of thun' dering hoofs and men — then the little white ball went soaring to- wards the goal posts — the win- ning score of the game. What a colorful picture of strength and endurance — hu- man courage and heedless dar- ing— with which later to enliven the quiet of an evening's fireside — if only mere words could tell the story. No need to try. Today with the aid of the Victor Cine Camera, every detail of such a memorable occasion can be carefully pre- served and recorded, not only as it really happened in the space of perhaps a second, but likewise with studied slow- ness of movement, if desired. Requiring no other adjustment than a quick turn of a button, the Victor Cine Camera is the only 16 mm. motion picture camera made that permits the taking of both normal action and SLOW-motion pictures in the same film, without the need of a special attachment. Modestly priced, the cost of the Victor Cine Camera is $125.00 — less than is asked for any other high grade motion picture cam- era, complete with an f-3.5 anas- tigmat lens, ready for service. To those who would enjoy the thrill of taking their own mo- tion pictures, the se- lection of the Victor Cine Camera is an assurance of endur- ing, satisfactory ser- vice and brilliant performance. Victor Animatograph Co*, inc. 340 VICTOR BUILDING DAVENPORT, IOWA, U. S. A. Pathex Titles A TITLE device for use with the **• Pathex camera is described in a letter from League member Milton H. Bernstein, of Brooklyn, N. Y. Mr. Bernstein describes his device as fol- lows: "The entire length of the title stand over all is 16% inches. It is 5 inches wide and the card holder is 4% inches high. The camera lens is placed ex- actly ll1/^ inches from the title card and the body of the camera (without the motor) is sunk % inch into the baseboard. In order to bring the card on a level with the lens, it is necessary to raise the card % of an inch from the board. A small holder is placed on each corner of the card holder to keep the cards in place. To make it all look neater, place four short legs, one on each corner of the baseboard. When ready to take titles, place the board so that the sun strikes the card at about an angle of 60 degrees. If it is more convenient to use artificial light, as I am doing, simply attach a small piece of wood under the board, with a piece sticking out about two inches, and place a socket on either side. Use two hundred watt lights in each, with reflectors." The drawing reproduced is ex- plained as follows: A: Camera. B: Base. C: Lights. D: Card Holders. E : Legs. F : Lower part of holder pro- truding to keep card from slipping. G: Wingbolt holding camera. Summer Shooting TPHE summer months are here and •*• a few suggestions on what and how to shoot may not be amiss. At the Seashore. — Watch your light here. It's very powerful and your trouble will be over-exposure rather than under. A color filter will enhance the effect you get and at the same time cut down excessive light caused by the glare from sea and sand. Get some beautiful wave effects. Place the camera low to exaggerate the height of the waves as they come rolling in, showing the tremendous power of the sea. Get moonlight effects at sunset by under-exposing sea and sky so that dark tones predominate. F-ll or even /-16 with a filter will do it. If you have a surf board, get a real cinematic effect by shooting the riders 534 from a speed boat. Be sure to protect your lens from water and flying spray, as one drop will nine times out of ten spoil your picture. If you have a camera that operates at half speed, you can exaggerate the pace at which the board is traveling and the effect on the screen is thrilling. In the Mountains. — Very high altitudes, 5000 feet and up, call for smaller stops, as the air is like crystal, little haze being present. Color filters are a necessity here. You can use the regular yellow filters as well as the graduated ones. In using graduated filters, be sure that no object in the landscape is projecting into that area of the sky covered by the yellow por- tion of the filter or that part of the ob- ject will be under-exposed. PHOTOPLAY MAGAZINE MILTON SILLS WITH HIS CINE KODAK For snow-covered mountain peaks, filters are absolutely necessary to get good results. If not used, the sky, unless it is a very dark, intense blue will photograph almost as white as the snow. Panchromatic film is ideal for the mountains, not only for the beautiful cloud effects, but also for the details it gives in dark forests. Ordinary film will not give detail as will pan- chromatic with a filter. Subjects to shoot should be plenti- ful. You could make a short film of various wild flowers. For the neces- sary motion a character could be in- troduced and carried through each scene. A film showing waterfalls is extremely cinematic. Even if there is only one waterfall in your vicinity it could be shot in an unending variety of angles. With verses from some poem used as sub-titles, it would prove a most attractive scenic. Then. of course, there are the host of moun- tain sports such as climbing, hiking. horse-back riding, etc., any of which might be used successfully as picture subjects. The National Guide to Motion Pictures Why Mary Pjcktord Bobbed Her Hair '/ PHOTOPLAY announces its Second Ama' teur Movie Contest. First announcement and details will appear in the September issue of PHOTOPLAY, on all newsstands on August 1 5th. Follow the Amateur Movie Department of PHOTOPLAY each month for suggestions and advice. PHOTOPLAY MAGAZINE 750 N. Michigan Avenue, Chicago, 111. Special Cinema Coloring Outfit as above, including all materials requisite for coloring Moving Picture Film, Lantern Slides, Photographs, etc., with instruction booklet. Mailed postpaid to any address for S5.00. Color Photography For Everyone PEERLESS JAPANESE TRANSPARENT WATER COLORS In Booklets, Film. Leaflets and in Concentrated Liquid Form The STANDARD PHOTO COLORS FOR MORE THAN TWO DECADES SOLD EVERYWHERE As\ your dealer or write us for information JAPANESE WATER COLOR CO. PEERLESS BLDG. DIAMOND PLACE ROCHESTER, N. Y., U. S. A. 535 WHY MEN LEAVE HOME (for summer camps) Perhaps it is not wholly due to the fact that they can now have moving picture shows at their summer camp. We won't take too much credit. But, at any rate, a summer camp is a little more fun of an evening with an up-to-date comedy or feature picture scheduled be- fore the youngsters have to turn in. We wish you would try it. You can very easily and, incidentally, at a low cost. Let us tell you about it. WATERBURY SYRACUSE Curtis Art Company Lindemer's FALL RIVER Smith Office Equipment Co HOUSTON Star Electric & Engineering Co. BOSTON Solatia M. Taylor Co. PANAMA, R. P. George L. Price EASTERN MASSACHUSETTS Alves Photo Shop, Inc. Braintree 0372 PHILADELPHIA Williams, Brown & Earle, Inc. SPRINGFIELD The Harvey & Lewis Company REPUBLIC OF MEXICO American Photo Supply Co., S A. Mexico, D. F. WORCESTER The Harvey & Lewis Company NEW YORK CITY PLAINFIELD Wm. C. Cullen M„tl_„., 12 Maiden Lane Mortimer s PITTSBURGH United Projector & Film Corp. LOS ANGELES Leavitt Cine Picture Co. ERIE NEWARK _ SchaefFer & Company Kelly & Green i<)3 Halsey St. PORTO RICO Mundial Film Exchange San Juan ALBANY BROOKLYN E. S. Baldwin Fred'k Loeser & Co. SAN FRANCISCO Leavitt Cine Picture Co. FLORIDA Tampa Photo&Art Supply Co. MINNEAPOLIS American Film Corp. Loeb Arcade CHICAGO ST. LOUIS Aimer Coe & Co. A. S. Aloe Co. LONG ISLAND B. Gertz Inc. 162-10 Jamaica Ave., Jamaica ROCHESTER A. H. Mogensen University of Rochester PROVIDENCE Starkweather & Williams, Inc. NEW HAVEN The Harvey & Lewis Company WESTERN CANADA Regina Films, Limked Regina, Sask. BRIDGEPORT The Harvey & Lewis Company NEW YORK CITY Gillette Camera Stores, Inc. Park Avenue at 41st BUFFALO Buffalo Photo Material Co. Home Film Libraries NEWS of the INDUSTRY For Amateurs and Dealers Console Movies THE Bell & Howell Company, pioneers in the 16mm. field, an- nounce this month the develop- ment of motion picture console cabinets, beautiful pieces of furniture comparable to the finer radio and phonograph consoles. The model "E" is a small cabinet adaptable to the smaller home and measures 13}/2 inches deep, 23% inches wide, by 47 inches high. Sturdily constructed of solid walnut veneer matched panels with tilt-top compartment above for projector. Equipped with two shelves for storing camera, title writer, and other acces- sories. Provides velvet lined drawer for lenses; four drawers for 10-400' reels each; three drawers for 12-100' reels each. It is a well constructed cabinet of unusual beauty, finish and design. When equipped with camera, projector and a representative assort- ment of accessories, this cabinet pre- sents a complete amateur motion pic- ture outfit. The model "G", measuring 18% inches deep, 36^ inches wide, by 46^2 inches high is a complete cabinet of beauty and sturdy construction made of the finest quality solid walnut veneer with matched panel fronts. Capacity: projector, cameras and all INC. 100 East 42nd St., New York City accessories in general use. Also pro- vides conveniently arranged storage space in four drawers for 40 — 400' reels of film; five drawers with total capacity of 60-100' reels; two velvet lined drawers for lenses and small accessories. Two shelves in lower compartment allow room to add four drawers for 400' reels, increasing the total capacity to 80-400' reels. A de- pressed compartment in back of the cabinet provides storage space for 22"x30" projection screen. Cabinet is electrically equipped with two plugs for projector and film editing machine by title writer. New Screen ANEW glass surface screen is pre- sented to amateurs this month by the Truvision Screen Corporation, 120 West 20th Street, New York, N. Y. Several sizes and styles are avail- able. The screen surface is composed of myriads of tiny pieces of glass, re- flecting a picture of great depth and definition, giving natural perspective and a stereoscopic effect. Certain types of these screens come in port- able boxes of metal or wood with a device permitting the screen to be erected in a single movement by the pulling of a ring. They are so con- structed that all possibility of dam- age to the screen is excluded and the entire operation takes about one sec- ond's time. The company is also offering screens for projection from the rear for showing the picture through the screen. This type comes in three surfaces, fine, medium or coarse, the use of each depending on the size of the picture projected. Both front and rear surfaces of this type are of glass. Above: One of the New Bell if Howell Cabinets Below: The Cabinet Opened to Show Its Conven iences. Center: Another Type of Combined Cabi net and Editing Desk. 536 a new cinema star I mmuiM Hurt) Meyer /-4.5 Plasmat 3 focus lens set — For Filmo, Victor, De Vry, etc. A Plasmat lens set — a Plasmat for all telephoto needs, the latest achievement of Dr. Paul Rudolph, embodying all the Plasmat qualities, with 3 different focal lengths. The set consists of: Complete lens f: 4. 5 j1/^" focus Rear element f:8 4%" focus Front element f:6.5 6" focus The complete range of 3 focal lengths in one outfit, will meet all your requirements in lenses for telephoto effects. Each element a perfect Plasmat by itself, giving Plasmat results in your pic tures. For its excellent results and its economy, this set should be included in every cinematographer's equipment. A 2x Meyer filter of yellow Jena glass makes the set complete. The complete set comes packed in a convenient leather covered case, ready to screw on to your camera, and for a little more than the price of one lens. Price Complete, $125.00 Hugo Meyer & Co., 105 West 40th Street, N. Y. taken from the same point of view showing the effect with differ- ent focal lengths. with 4%" focus with 3x/i" focus 537 TRU-VISION Rollable Glass Motion Picture Screen (Patent Granted) Portable box — neat mahogany finish. Erected with one hand in one single move. Collapsed with one hand in one single move. No springs to pinch your hands. (Patent applied) Screen rolls up evenly into the box — can not be damaged. Picture with Stereoscopic effect — exceptional illumination effi- ciency. Great Depth, definition ( — Natural Perspective. Easily cleaned with soap and water. Screens in standing cases; Projec- tion surface (inches). 22x30 ...... $15.00 30x40 20.00 39x52 30.00 Screens in portable hanging boxes 22x30 $12.00 30x40 15.00 39x52 25.00 Screens in Frames; 2 inch mahog- any finished — for hanging or stand- ing. Mounted on non - warping back-board. High grade canvas car- rying case included. 22x30 $10.00 30x40 15.00 Also rollable glass rear-projection screens. Dealers ask for special proposition. Manufactured by TRUVISION PROJECTION SCREEN CORPORATION 120 West 20th Street, New York Phone Chelsea 8543 The various sizes of Truvision screens now ready for distribution are as follows: beaded screens in portable hanging boxes, 22 by 30, 30 by 40 inches, and 39 by 52 inches; the same size also in standing boxes; in frames with standers, mahogany finish, with this cover, .22 by 30 and 30 by 40 inches. Interchangeable rT"'HE complete line of C. P. Goerz ■*■ lenses, from focal lengths of .6 of an inch to 9^ inches can now be used by owners of the Cine-Kodak, model B. No changes in the camera are necessary other than the replace- ment of present lens mount plate and the screws with which it is fastened to the camera. The change is made easily and quickly, and now enables Cine-Kodak users to do telephoto work and other work that calls for special lenses. New Cinema Star ' I 'HE puzzling question that often ■*■ arises in the cinematographer's mind, "what sizes in long focus lenses shall I buy?", is answered with the advent of the new Plasmat /4.5 three focus lens set, developed especially for motion picture work by the emi- nent Dr. Paul Rudolph. This com- plete outfit gives the purchaser three different long focus lenses at very low cost. The purchaser of such an outfit has a complete telephoto set, as the range of the focal lengths in- cluded covers every possible need. The set consists of a triple convert- ible Plasmat /4.5 lens, which gives three different focal lengths as fol- lows: the complete lens of 3% inch focus; the rear lens of 4% inch fo- cus; and the front lens of 6 inch focus. Each element is a perfect Plas- mat in itself. The outfit also includes a Hugo Meyer 2X yellow Jena glass filter and matched finders for those cameras which require them, all in a leather covered carrying case. The lens is fitted in a micrometer focusing mount especially adapted for most of the popular cameras. It is said that both for its economy, and the excellent results obtainable with any Plasmat, this set should be included in every completely equipped outfit. The complete range of the three focal lengths will meet all the requirements in long focus for telephoto effects. The Plasmat, because of its improved color cor- rection, according to Dr. Rudolph, is of great advantage in the type of work where such a set should be used. The Plasmat has great sharpness of depth, and delineates space pictures with great uniformity. The object striven for by the Plasmat is to de- pict not only the flat surface, but the entire space with good definition. FLORIDA The Sunshine State The sunshine, climate and environ- ment of BURWYN PARK, at DeLeon Springs, Florida, make it the ideal place for the camerist. High rolling land; bathing and boat' ing every day in the year; fishing and hunting in season; golf, trap- shooting, horse-back riding; a half mile race track; a circus has winter quarters nearby; an up-to-date University town within ten min- uates' drive, and, Daytona Beach may be reached in forty minutes comfortably. The possibilities for interesting shots for the amateur movie enthusiast are mutitudinous for wild life, local color and sports. Those contemplating the purchase of a winter home in Florida right now when prices are low should write for particulars to FRED. N. BURT Owner of Burwyn Par\ at DeLeon Springs, Florida WHEREVER YOU ARE Our Home Movie Service is Always Available WHEN you're away for the sum- mer there are more opportu- nities for making interesting home movies than at any other season. But you'd suppose that home movie ser- vice in the wilds of Maine or the rug- ged Adirondacks would be a mighty difficult thing to get. It really isn't. Just a line or two telling us what you need will bring you your filled order by return mail — whether it's a hun- dred feet of film or a Cine-Kodak. No matter where you've gone for the summer — no matter what kind of home movie equipment or supplies you write for — our mail order service will efficiently take care of your needs. Let us forward your Cine-Kodak films for processing, and assure yourself of prompt delivery. Eastman Kodak Stores, Inc. The Kodak Corner . . . Madison at 45th Branch Store, 235 West 23rd i t < New York City 538 This is attained by spherical correc- tion for all the colors of the spectrum so that the yellow and blue rays por- tray objects with equal sharpness at the same distance. The chiaroscuro of the Plasmat picture, it is said, thus gives an enhanced plasticity and a picturesque atmospheric perspective is obtained. Footage Meter THE HAYDEN COMPANY re- ports that its audible footage meter for the Filmos, announced in these columns last month, is now also available for the Cine-Kodak, Model B and the Victor cine cameras. Victory for 16! BECAUSE a little amateur movie reel showing Rochester's trolley busses in operation was made on short notice and travelled across the country in record time, Salt Lake City was scheduled to begin a similar transportation service about July 15, according to information received at the Eastman Kodak Company re- cently. The Salt Lake City Commission was hesitant to permit "trackless trolleys" without an opportunity to see them in operation in some other city. With five days left before the franchise hearing, the Utah Light and Traction Company telegraphed to Rochester where a film was made of the local trolley bus operation. The picture reached Salt Lake City by air mail in time for the hearing and the franchise was granted. Religious Film FILMS of religious nature, hereto- fore hard to find on 16 mm. stock, are soon to be available to amateurs. The Rev. Bernard H. Wildenhues. special representative of the Oberam- mergau players in America, has filmed pictures of Anton Lang and his fellow players in their native town of Oberammergau, Germany. These films are on 35 mm. stock, but have never been publicly shown, and will be released in the narrower width by Albert Teitel of 105 West 40th Street, New York, N. Y. The Rev. Wildenhues's film is called "At Home with the Passion Players," and depicts incidents in the daily lives of these people, with the fascinating background of the town of Oberammergau. The film will be released as two 400 foot 16 mm. sub- jects. A second film, "Fallen Gods," a biography of the life of St. Francis Xavier, will be released on four 400 foot 16 mm. reels. It was filmed in Germany by a Dr. Schamoni, for the Leo Films Company, and was two and a half years in the making. There is contemplated a third production of the Eucharistic Congress. // your dealer cannot supply any item write: CBNE ATIC ACCEMADRE' DESIGN EPS AND MANUFAC You describe it- -We'll desigi 106 WEST 46™ ST.fNXC. IE.* CAM ACTURERS f »ign Jt""lc ' PANY 'The Better Kind"! ENO'S ART TITLES I Genuine Hand Lettering f Something New!!! For those who prefer to make their own titles; a beautiful Art Border, with your name or initials inset. Sent upon receipt of $2.00. Pennsylvania 2634 Pioneer Art Title Builder 539 STUD FITS ANV STANDARD CAMERA t New and Popular KINO-PANO-TILT and TRIPOD The BEST Tripod and Top in the world for all 16 mm. Cam- eras. $35.00 Projector Plates $5.00 to $7.50 ASK YOUR DEALER K.W.Thalhammer Go. 121-3 S. FREMONT AVE. Los Angeles, Calif. WlMm F<^< Cloudiest Days or Darkest Nights the Sun is a/ways Shining with 0^N FOTOLITE Interiors" are famous For their Beauty and Clarity FOTOLITE gives MOST LIGHT perAmpere Ask your Dealer for a Demonstration TESTRITE INSTRUMENT CO. lOdEWSLNewYork City GUARANTEE Your Program's Quality with AN A. C. L. LEADER for your films. A TWENTY foot animated leader to head all of your films and to tell your audiences that you belong to the Amateur Cinema League. Stamp your films with the emblem of your organization. These leaders are for sale, at actual cost, to League members only, at a price of ONE DOLLAR for 16mm width. 35mm leaders also available. A service to members without profit to the League. GASH OR CHECK REQUIRED WITH ORDER A ddress THE TECHNICAL CONSULTANT AMATEUR CINEMA LEAGUE, Inc. 105 West Fortieth Street New York, N. Y. Errata IN the Bell & Howell double page advertisement in this issue it is stated that the telephoto lenses focus down to from 2 to 4 feet. This is a typographical error and should read from 3 to 6 feet. Exposure Instruction FOR those who are using the Drem- ophot exposure meter for either the Filmo 70 or 75 the following in- structions should prove very helpful : BEFORE USE: Focus sharply upon the letter "N" (Fig. 2), pointing at bright sky or a strong light, and with the diaphragm wide open, INDEX at stop number 1.2. The set-screw will secure permanently sharp focus for your individual eye- sight. The Dremophot is hereafter always ready for instant use. HOW TO USE: in good light: Turn the Instrument ring head to the left, clockwise, until the Index moves exclusively on the white scale. For FILMO 75 with regular /3.5 lens, always leave in this position. In dull light: Turn ring head to the right, counter-clockwise, until meeting with final resistance and the INDEX moving on the black scale. Point to the scene, as in Fig. 3, diaphragm wide open, INDEX on white scale. APERTURE 5CALE5 70—75 70 MM I IT 221611 3 8 5-5 4'5 ' 5-5 28 2 1-5 12 75 11-3 8 5-5 4 :) P 42»2 15 12 FOR USE IN BRIGHT LI6HT FOR USE IN DULL LIGHT Figure 3 Figure 4 If the letter N remains invisible, then the illumination is insufficient for FILMO 75 with regular /3.5 lens. For FILMO 70 or when equipped with lenses of greater light power, switch to the black scale by a quarter turn of the ring end. If N remains invisible even when rhe INDEX points to /1.2, then the light is insufficient for a cine picture under any condition. Close the diaphragm by turning the knurled collar counter-clockwise. This causes the letter N to disappear, as in Fig. 4. Re-open the diaphragm slowly until the letter N FAINTLY reappears, just emerging from the 540 darkness, and cease when the "N" becomes just recognizable again. Note the position of the index, which is the white mark on the col- lar, against the aperture or stop scale. For FILMO 70 read on the scale marked 70, which is adjacent to the Iris collar. For FILMO 75 read on the scale marked 75, which is imme- diately below scale 70. Place the diaphragm (stop) pointer on the camera lens in ex- actly the same position— TH A T'S ALL. J. L. HERRMANN With his DeVry at Westwood, Calif, logging camp in the West. largest Novelty ft/TR. CLIFTON ADAMS, League *■»* member and staff photographer for the National Geographic Maga- zine, sends the following interesting news item from England: "Imagine on the screen a pastoral scene of some contented cows grazing peacefully by the meadovvbrook. Of a sudden, the cows grow enormously in size, with legs 20 to 50 feet high, their bodies compressed against the top of the screen. Coming back to normal, the scene changes to what might be called a group of Dachs- hund cows, with extremely short legs and torsos near the ground. "All this just described is now be- ing done in England by means of the "Distortograph," a device designed by Mr. H. G. Ponting, famous British photographer and explorer. Not a great deal is known, as yet, of this in- teresting accessory, but it is under- stood to resemble the bellows of a still camera, with a lens in one end which is placed in front of the movie camera lens and revolved to get the distorted effect. It is built only for 35 mm. equipment at present, but will Y^7~E all want to travel this world over, and plan to some day. Yet how many of us ever really do? Take a trip now and then with Empire's: |[(IU MES|(j SWITZERLAND PALESTINE \ Every mile within its borders is a thrill of beauty. This is a powerful reel showing some of the scenes of this lovely country. Every traveler sees Switzerland no matter how far he has to come. PALESTINE The Holy Land. Jerusalem, Beth- lehem, the Birthplace of Christ, the Tomb, the Church of the Nativity, the Wailing Wall where Jews of today bewail the fall of the Jewish nation are all shown. YELLOWSTONE PARK The Wonder Park Few places rival our famous na- tional park. Wonderful geysers, wonderful trees, wonderful falls, wonderful scenery, truly everything that is wonderful. CONEY New York's Playground The country's playground as well, for everyone that comes to New York takes in Coney Island. Take a trip with a New Yorker to Coney Island. Be a child for today, ride with him on the various rides, tak- ing a real switchback ride. Land of Geysers There are many forms of geysers and Yellowstone Park has many of them. The different types of gey- sers are shown, bringing to your home a wonderful nature study. ISLAND Amusements Everybody that has been at Coney Island talks about the various types of rides. See them all in this reel. You will then know what your friends are talking about after they come back from the big city. ALL 100 FT. REELS SAFETY STOCK $4.50 ALWAYS ONE PRICE AT YOUR DEALER EMPIRE LIBRARY First releases of the new Empire Library of full length pictures will be available soon. Real features for your home library or to rent for an evening's entertainment from your dealer. Prices are consistent with all Empire Prints: 400 ft. subjects $18.00 DEALERS! Our system will enable you to serve your customers with a real ex- tensive rental library without entailing the usual excessive overhead! Write us for details EMPIRE SAFETY FILM CO., Inc. 723 Seventh Avenue New York City Please Mail Me An Empire 16 mm. Subject Catalogue J^ame - - Address - City.. State 54L Photo Near Range Finder "Instafocu" (Instant Focus) for MOVIE - CAMERAS Features of "Instafocu": 1. Correct Distance instantly: abolishes time' consuming and unreliable tape-measure. 2. Equally Important for Amateur and Profes- sional. 3. Absolute assurance of perfect sharpness in "Close-Ups." 4 . The tape fails for * l Shots ' ' from platforms and balconies — kTnstafocu,, never fails — . 5. "Instafocu1' determines the "Hyper-Focal" Point easily and unerringly. 6. "Instafocu'1 does away with an Assistant for measuring distances with tape. Rangefinder "Instafocu" is constructed on the coincidence principle, known as the most re- liable method of correct rangefinding. A second or two establishes the coincidence and the ac- curate distance is read off the dial. The "Instafocu" determines distances within a fraction of the focal depth of any lens — there fore unfailing reliability. Price $17.50 Write for descriptive literature No. 2090 (M) E. LEITZ, INC. 60 EAST TENTH STREET New York, N. Y. Agents: For Pacific Coast States: Spindler & Sauppe, Offices at San Francisco and Los Angeles, Cal. UNUSUAL FILM CAESARIAN OPERATION 100 Ft.— Price $15.C0 Take the Shake Out of Your Pictures USE STEDISTRAP Price $5.00 Home Movie Service Co. 2128 Cathedral Ave., Norwood, O. Everything for the Home Movie Maker. no doubt in future be made available for 16 mm. cameras." Staff A ddition HPHE New York Institute of Pho- •*■ tography recently added to its staff Mr. Eric J. Cederberg, as head of the Motion Picture Department. Mr. Cederberg has been actively en- gaged in motion picture work for several years, having made a trip around the world for Kinemacolor, filmed the great Indian Durbar and later shot some of the greatest screen successes. His later work includes such favorably known productions as "The King of Kings," "In Old Kentucky," and other outstanding features. This addition to the staff of the Institute insures thorough, up- to-date instruction to its students. Service Stations T70R the benefit of our traveling *- amateurs we print here a list of Cine-Kodak finishing stations, pro- cessing the well-known Eastman re- versible film: United States Rochester, N. Y., Eastman Kodak Company. Chicago, 111., Indiana Avenue and 18th Street. San Francisco, Calif., 241 Battery Street. Jacksonville, Fla., 315 W. 8th Street. Europe London, England, Kodak Limited, Kingsway, W. C. 2. Paris, France, Kodak Societe Ano- nyme Francaise. Milan, Italy, Kodak Societa Anonima, Corso Vittorio Emanuele, 34. Rome, Italy, Kodak Societa Anonima, Corso Umberto I, 399. Madrid, Spain, Kodak Sociedad Ano- nima, Puerta del Sol, 4. Copenhagen, Denmark, Kodak Aktie- selskab, Ostergade I. Geneva, Switzerland, Kodak Societe Anonyme, Rue de la Confederation 11. Berlin, Germany, Kodak Ges. m. b. H., Markgrafenstrasse 76. . Africa Cairo, Kodak (Egypt) Societe Ano- nyme, Elfy Bey Street. Capetown, Kodak (South Africa) Limited, 38 Adderley Street. Asia Bombay, India, Kodak Limited, Ko- dak House, Hornby Road. Singapore, Kodak Ltd., 3 Battery Road. Australasia Melbourne, Kodak Australasia Party Ltd., 284 Collins Street. South America Rio de Janiero, Kodak Brasileira Ltd., Rua Sao Pedro, 270. Buenos Aires, Kodak Argentina Ltd., Calle Paso, 438. Have you ordered YOUR BINDER? Sold at cost $1.50 MOVIE MAKERS 105 West 40th Street, New York, N. Y. CLASSIFIED ADVERTISEMENTS EQUIPMENT FOR SALE EASTMAN Cine Kodak Model "A", new, with tripod. Sell for $175. List $225. Cinema Supply Co., 804 Eleventh St., Washington, D. C. PROJECTOR— Model A Kodascope with carrying case; list price, $205.00 new, for cash, $147.00. A. S. Aloe Company, 707 Olive St. Louis. CINE-KODAK— Model A, with F-1.9 lens and tripod, $225.00 outfit, new, $175.00 cash takes it. A. S. Aloe Company, 707 Olive St. Louis. NEW Sept Spring Movie Camera, $25. Negative 2% cents foot, 16mm. Camera, $45. Projector, 16mm. 200 watt lamp, $70. Apparatus bought. Ray, 296 Fifth Ave., New York. USED VICTOR CINE CAMERAS, one fit- ted with Schneider Xenar F:2 lens, $110.00; one fitted with Meyer Plasmat F:1.5 lens, $120.00, fully guaranteed. WIL- LOUGHBYS, 110 W. 32nd St., New York. 1A GRAFLEX, roll film, Bausch and Lomb Zeiss Tessar /-4.5 lens. Excellent condi- tion, $75. Also lea Atom, Carl Zeiss /-4.5 lens, case and film pack adapter. As new. Write for particulars. Eugene L. Bulson, 4301 Pembroke Lane, Fort Wayne, Ind. PATH EX 9MM— Complete equipment used in making prize winning film Photoplay contest, cost $200.00; will sell for $75.00. Details on request. C. R. Underwood, 3838 Kennerly, St. Louis, Mo. Second-hand 3-speed Fiimo or Model 3 Victor Camera in good condition only. Give full details. Lehman, 111 Curtis Ave., Collingswood, N. J. TRADING OFFERS~~ SWAP cameras. Stills for movies or movies for stills — amateur and professional. Bass Camera Company, 179 West Madison St., Chicago. SEND 500 feet for 400 feet good usable 16mm. film. For equal footage swap send $1.00 per hundred. NEW films and equipment cheap. Stewart Marshall, Rome, Georgia. NEW Automatic Pathex Camera and motor driven Projector, with accessories; will swap for anything photographic of equal value. Box 98, Lebanon, N. H. EQUIPMENT WANTED WE PAY highest cash prices for all makes of 16 and 35 mm Cameras and Projec- tors. Give full details first letter. Monarch Theatre Supply Co., Memphis, Tenn. 542 STILLS FOR THE AMATEUR (Continued from page 509) touch with scientific achievement along mechanical, photo-optical and chemical lines. Many amateurs who are not in a position to develop their own motion pictures, because of the equipment and skill necessary, will find the little still camera a helpful means for getting a desirable knowl- edge of the mechanics of laboratory work. Its film is easily handled, even by beginners, so that they can develop their own negatives, print and enlarge them and thus become more familiar with what actually happens when a picture is made. Such knowledge is bound to reflect itself in better results all around. One of the features in which the amateur is always interested is his title work. A title background, hav- ing the same setting which appears in succeeding scenes, will, without ques- tion, enhance the coherence and charm of the picture. With the small pocket camera referred to, shots can be made of the set or location. These shots can be selected later, enlarged and lettered to suit the artistic taste of the maker. After this is done, the title can be made on the copy board in the usual way, and a better film will be the result. Another use to which the strip of still negative can be put is the making of positive transparencies for projec- tion from a still projector either alone or in connection with the movie pro- jector, as is done by many lecturers. In the latter case, it is possible to make all titles on the still camera and project them at proper intervals with the still projector, thus devoting the entire footage of the motion picture projection to motion pictures only. By the use of a shunt circuit, a pleas- ing dissolve effect between still and movie projection can be produced. Another pleasing and valuable fea- ture of one of these cameras under discussion is a distance meter which reads off distances with precision and speed. At first glance, the camera user may decide that distances are easy enough to measure by tape or guess- work, but this is not always true. For a level shot, distances are often easy to gauge or measure by tape, but for angular shots, as from an elevation, distances are confusing even to the expert. Even in the level shots the speed with which the distance can be calculated makes this device well worth while. Its value is best attested by the fact that it is offered as regular equipment on a popular 16mm. mo- tion picture camera now on the mar- NOW You Can Insure Your Movie Camera and Equipment Against Practically ALL Risks For a small sum you can now insure your outfit against loss or damage by fire, theft, robbery, earth- quake, tornado, flood, collision, derailment and other risks. The policy covers while at home, in transit and at other locations. Your local camera dealer or your insurance agent or broker will be glad to tell you all about this new protection. DEALERS! You car be in a position to assist your c astomers in insuri 'ng the equipment you have sold. Your in- sarance agent or broker will be glad to tell you how he can provide this service. ASK HIM TODAY AUTOMOBILE INSURANCE COMPANY OF HARTFORD. CONN. Affiliated with ^TNA LIFE INSURANCE COMPANY ^TNA CASUALTY AND SURETY COMPANY BOTH MOVIE AND STILL CAMERA FANS READ "PICTURE TALK" ITS WRITTEN IN TERMS AN AMATEUR UNDERSTANDS PUBLISHED MONTHLY— 30c A YEAR PICTURE TALK CO. Box 98M, Lebanon, N. H. (N.B. — Ask about our Camera Exchange.) 3 and Women Everywhere! Make Big Mcmey! : FREE BOOK Explains opportunities as Motion Picture Camera Man, Portrait, News or Commercial Photographer. You can learn at home or in our NewYork Studios. Spare or full time. N.Y. Institute of Photography, 10 W.33rdSt.,N.Y. Dept. jog NO MORE Dried up cement Sticky Corks Loose Brushes Upset Bottles with THE FILM CEMENTER As it is a solid brass nickel plated fountain brush of about >/. ounce capacity which seals itself after use. Moderately priced at $1.00 At your dealer or postpaid direct. HENRY COUILLARD 449 S. Hill St. Los Angeles, Calif. 543 ARROW PORTABLE Motion Picture Screens (Patent Pending) Screen Ready for Use Screen /tolled in Case for Carrying Composed of millions of tiny round glass beads, firmly embedded on a strong fabric in a pure white composition. Has a wonderful reflective surface and will not glare like the silver metal- lic surface. Can be easily cleaned with soap and water. Complete with dustproof mahogany finished case into which it is drawn by a metal spring. PRICES Ho. 0 — Size 1 6x3x2 '/i — picture surface 9Vix ll3/4 in. Weight 3 lbs $10.00 Ho. 1 — Size 331/2x31/tx4 — picture surface 22x30 in. Weight 6 lbs $15.00 Ho. 2 — Size 45!/2x4!/2x5 — picture surface 30x40 in. Weight 15 ibs $25.00 Ho. 3 — Size 57x4%x5 — picture surface 39x52 in. Weight 18 lbs $35.00 Ho. 4 — Size 72x5!/4x5'/2 — picture surface 51x68 in. Weight 40 lb* $75.00 At Your Dealer MANUFACTURED BY Arrow Screen Company 6725-55 Santa Monica Blvd., Hollywood, California Ah . . . ! Mr. J. Potter Pancake is in a dilemma. For now he must buy the "watch thin" Filmo 75 . . . for Mrs. Pan- cake. Sophisticated and keen buyers will obtain their "75" from Bass where motion picture apparatus has been sold for over eighteen years. Interesting sixty-page catalog is yours for the asking. May we send you a copy? Bass Camera Company 179 West Madison Street Chicago, Illinois "Yes tVe Swap Cameras" ket. The combination of camera and distance meter, the whole compact enough to go easily in the ordinary coat pocket, gives to the amateur movie maker a universal and an auto- matic notebook in which magic pen- cils of light record a sketch or a com- plete story to which he can refer at any time for expansion into a movie. There has always been a latent in- terest on the part of the amateur movie maker in the use of stills, but that interest has usually been dulled by the assumption that bulky equip- ment was needed, and it is for the pur- pose of overcoming such an assump- tion that these random notes are of- fered. A coat pocket of normal ca- pacity is ample room for all the equipment needed to make stills of professional quality, and if one wishes to try the subsequent steps of development and enlarging, he can easily do them in the limited space of an ordinary bathroom. The time re- quired for such work is small and the results secured usually justify the time, not only for the results them- selves, but for the more complete un- derstanding and "feeling" of the sub- ject which is certain to eventually show itself in better movies. PHOTOGRAPHICALLY SPEAKING (Continued from page 507) another type of picture a little more difficult than the others. I composed a scene that included on the left the trunk and lower branches of one of the trees, in the center and left fore- ground the shadow cast by its foliage, and in the middle distance and be- yond a beautiful landscape in bril- liant sunlight, with those fluffy white clouds against a sky of azure blue. It was a scene to delight the heart of any camera enthusiast. Here was a problem. The deep shadow and the detail in the tree called for one ex- posure, and the sunlit scene beyond for another. What should I do? I could do one of two things. I could disregard the foreground and expose for the rest. But this would give me a silhouette effect of the foreground objects, and the mass of the tree seemed to be too heavy for this. If I exposed only for the foreground the distance beyond would be so burnt up, as it were, that I would get terrible over-exposure and nothing but white- wash on the screen. So for this shot, the solution lay in a compromise. Calculating the full exposure for the deep shadow at /-4, and the middle distance and beyond at /-ll, I set the diaphragm at a point half way be- tween /-5.6 and /-8, and fired away. I had wandered away from the stream for this last shot and my path now brought me to it again. Here it was much wider than before, with no foliage on the bank. On the far side of the stream was a tiny sail boat, in full sunlight, skimming its way over the brilliant sheen on the water. Here was an opportunity to use my two- times color filter, because the white of the sail, in a picture, would not show up with enough contrast against the blue sky. Blue is a very active color photographically, and shows up so light on the film that it can hardly be distinguished from white. I cal- culated the exposure without a filter to be /-16, plus, because the water re- flected the light so strongly. The filter cut down the light entering the lens two times, so I set the diaphragm at a point between /-ll and /-16, one stop wider than without the filter. I found out before I started to take any pictures that one stop larger increases the exposure twice. After the last shot I decided to call it a day, reserving a bit of film for a sunset that evening. I was rather puz- zled about what exposure to give, for a sunset has predominant rays of red and yellow, which are weak photo- graphically, and the scene still came in the class of distant landscapes, with nothing but clouds and perhaps objects in silhouette in the fore- ground. 1 was fortunately rewarded with a sky that evening that seemed to be made for a picture. Red, yellow and violet intermingled like a huge pas- tel painting. If I were using pan- chromatic film, I knew that I would not have to worry about the colors, for it is strongly sensitized to the red and yellow. But I was using the ordi- nary emulsion film and had to take a chance. I decided not to use a filter because the contrast seemed to be strong enough and there was not enough blue and violet to have any effect. I set the diaphragm at /Tl, for I figured that /-8 would over-expose my film and /-16 not be enough time to give me a well exposed film. Click- ing off the last few feet, and running the motor to take up the protective black and red paper covering on the end of the film, I opened the camera and quickly slipped the protective metal cover over the spool so as to allow no light to strike the edges of the film. When the film was returned from the processing station, it was with fear and trepidation that I threaded my projecter. But my fears were short lived. I really got some things with excellent photographic quality. I had kept an exposure record of the scenes shot, and now checked up with the results as they were screened. This would be of great help when I shot my next roll, for I could profit by these first experiences. On my next photographic (and cinematic) walk, 544 you can bet I'll use the same system. The motion picture end of it will come later. It pays to think about photography as well as cinematog- raphy. OUT OF THE TROPICS (Continued from page 531) circular platen of the printer, thread- ed over the sprocket and the light turned on. Now if the crank is turned, the two films will be run past the light inside the printer and the positive printed. This is then de- veloped just as the negative was, and it is ready for cutting. In threading the printer, the dull sides of both negative and positive stock must be together and the nega- tive must lie between the light and the positive stock. To test exposure, a foot or so should be run through the machine and developed. A "safe" window is provided, so that the operator may watch the film as it runs through the machine, and compensate for changes in the in- tensity of the negative. For the experimenter who has any inclination toward home develop- ment, the writer believes the Stine- man apparatus opens the way to new cinematographic enjoyment. CRITICAL FOCUSING {Continued from page 525) posures of actual scenes against the model backgrounds. The same plan is used in suggesting the events of the honeymoon in Venice. In this latter sequence it would appear that some of the models were attached to revolv- ing drums, thus providing animation in themselves, and the double expos- ures of rushing trains were particu- larly effective. The modernistic touch in the design of the models added greatly to their smartness, which was in harmony with the mood of the story. Kaleidoscopic Mirrors: One of the telling devices used by this direc- tor to emphasize certain details, as a relief from the usual close-up meth- od, was the multifold reflection of the desired object, a silk hat, a wineglass, etc., in a mirror which seemed to be divided into many triangles, each re- flecting the subject, much as the kalei- doscope multiplies reflections in geo- metric formations. It seems probable that this was done by means of some kaleidoscopic apparatus in connection with the camera lens, the image being split and reflected by means of prisms and mirrors, the whole pattern being in motion. While a difficult problem for amateur attack its results would justify experiment. SALEo/^EPT still and MOVIE CAMERAS IDEAL FOR VACATIONS Takes 16 ft. Roll Standard 35 M, M. Film 250 Snapshots with Sept cost but $1 Formerly sold at $50. Double Spring, Motor Type. Com- plete with Tan Russet leath- er case and six magazines. Special at U/IUMJGHByS ▼▼110 West 32"-St..Ncwyoik,N.y.** Movie Camera Headquarters $29 50 FUNNY. ^M M GROTESQUE 4fe*> .USEFUL CAN BE MADE AT THE RATE OF 20 TO 30 FRAMES PER MINUTE WITH THE M. A. C. SINGLE EXPOSURE CLAMP! After focusing camera, devote entire attention to subject, pulling cord for single exposures from where you are wording. Animate everything — toys, dolls, titles, maps. Loads of fun for you to make some very clever reels. Clamp for Filmo $3.75 Complete outfit for outdoor work, $4.65 Small clip which automat i' cally grips trigger arm once cord is pulled from distance assures continuous picture 'tiding. Length of shot can be regulated by turns of key when winding. Price, 25c. MAC CONVERTS ANY TRIPOD INTO A STURDY PROJECTOR STAND Simply screw on any tripod as you do a camera. Leg braces are provided with the M. A. C. Clamp, making it safe to use a tripod for this purpose. Let your dealer demonstrate. For Kodascopes, Filmo, DeVry, etc., Senior Model $14.00 Junior Model (Identical except finish; without canvas for shelf) (Will cost about half Senior Model) For Kodascope B Senior Model $14.60 Extra Shelf and Brace $11.00 These items and detailed booklets available at your dealer or direct from: THE "M. A. C." COMPANY" p SWW.C EXPtfURE: CI AMP- cine ACCESSORIES 159 Remsen Street, Brooklyn, N. Y. 545 Let the BURTON HOLMES LABORATORY DO YOUR MOTION PICTURE WORK Contact Printing of 16 mm. scientifically tested and correctly timed CAREFUL DEVELOPING 3? and 16 mm. * * REDUCTION PRINTING ENLARGING TO 35 MM. * * MASTER POSITIVES and DUPES Both sizes on duplicating stock with proper wratten filters on special copying printers. FILM REELS OF TRAVEL 69 Releases on 16 mm. Film 7510 N. Ashland Avenue Chicago Let Us Make an Interesting Story of Your VACATION MOVIES Vacation movies are at best a series of "random shots," made here and there during your wan- derings— a shot of this or that — the highlights of your trip. To you they mean much. But, un- less they are properly edited and titled and worked into logical sequence, they are just another lot of pictures to those friends whom you will invite to see them. Our staff is qualified, by years of experience in the amateur field, to do this work for you. And our prices are surprisingly reasonable. Write, or come in and tell us your problems. KODASGOPE Editing and Titling Service, Inc. Room 917 350 Madison Avenue New York City A Home Made Incandescent Light By Don Bennett THE light box illustrated here is inexpensive to make and oper- ate. The box itself may be an adapt- ed soap-box or may be a manufac- tured article of plywood, nicely fin- ished with hardware and even cov- ered with imitation leather. This is a matter entirely in the hands of the individual. The dimensions are not- ed on the sketch and need not be fol- lowed exactly. Any size box at hand may be used but it is suggested that the lamps be kept at least six inches from center to center. The important feature of this unit is the mirror reflector which throws an intense beam of light over an angle of approximately forty-five de- grees. The inside ends are painted aluminum, as is the top, and the top should be furnished with a sliding bracket to allow it to be set at any angle. The tray, not shown in the drawing, should fit snugly and rests on the cleats shown on the inside end piece. This tray is to hold the con- nection wire and stands or tripods for transportation. The connecting cord should be at least number ten, rubber and asbestos insulation and may be broken into several pieces with a GE or Hubbell cord connec- tor at the end of each piece. A switch, preferably of the "snap" type is mounted on the back of the box and this may be further refined by having what is known as a three-way which permits the selection of a pre- determined number of lights. Two toggle switches may be substituted for this and will be somewhat lower in price. The two ends and the cen- ter lamp are connected to one switch and the other two lamps are connect- ed to the remaining switch. This ar- rangement allows you to select either two, thice or all five lamps. The two lamps make a nice "working light" the other three being switched on when you are ready to photo- graph. The lamps used are manu- factured by the General Electric Company or the Edison Lamp Works and are known as T-20, 400 watt, 115 volt. If your local voltage is differ- ent from this, consult a photographic dealer or lamp supply house for the equivalent lamp. These lamps come in three colors, clear, daylight blue and photo blue. The lamps suited to our purpose are either the clear or photo blue. The daylight blue is not to be used for photographic pur- poses. It looks the same as the photo blue but it affects the film in an en- tirely different manner. Following is a list of materials needed to build this lamp: Three-ply wood to make box 12"xl0"x36". Two piano hinges, 36" long. Reinforcing strip. Five porcelain sockets. One carrying strap for lid. Seven feet asbestos covered wire, No. 8. One 30 ampere snap switch. Fasteners for top and lid. Thirty foot armored cord and plug. Five T-20-C-3 400 watt projec- tion lamps. PHOTOPLAYFARE {Continued from page 525) esee River at Rochester, N. Y., to the bewilderment of the local constabu- lary. This news story is given in enough length to tell the whole tale and is as sound news film reporting as one would care to see. We go over the Brooklyn Bridge in 1902, on the pilot of a locomotive, a truly cinematic trip and we note the Brooklyn sky- line which is, to our sky-scraped eyes, almost prehistoric. Lastly we see all of the famous Fatima — the original "cooch" girl of the Chicago World's Fair — which was left by 1928 cen- sors in Mr. LeRoy's filming of a less sensitive decade. Decidedly, one should either see less of Fatima — or more. HARNESSING THE SUN {Continued from page 512) mean that you should concentrate all the light your reflectors will deliver into the eyes of the subjects. Tone down the light as much as possible, just using enough to put snap and bril- liancy into your pictures. The construction of the reflectors is very simple, a piece of beaverboard 546 three feet square or larger being the easiest to handle. Where portability is desired, an improved type, the con- struction of which is shown in Fig. 2, will appeal to every amateur. The frames, two to each reflector, are made of any soft wood l"x2". A triangular piece of plywood, measuring six inches on the short sides, is screwed at each corner of the frame with %"x6" flat-head screws. Each frame is cov- ered with beaverboard secured with flat-headed nails at about three-inch intervals. The two frames are joined by two flat hinges, and then the sur- faces of the beaverboard are either painted or covered with leaf alumi- num. As each frame measures two by four feet, when in use you have a re- flector four feet square. Due to the folding feature, the surfaces are al- ways bright and ready for use with- out preliminary dusting off. The mechanical - minded amateur will readily devise a folding leg to fit each half of the reflector, the leg when extended forming support for it. Try out a set of these reflectors and see for yourself if the results do not justify the labor expended in making them. The quality of your films will show such improvement that you will wonder how you ever got along with- out them. P. S. A box-type screen makes a good reflector in an emergency. Note: Book rights reserved by author. AMATEUR CLUBS (.Continued from page 519) organization meeting Stanley McGin- nis addressed the club on the possi- bilities of amateur movie making in Colorado. The promotion of the in- terests of the amateur cine worker and cooperation with the city in film- ing Denver events and local scenes are among club plans. M. Allen Barth was elected president. Other officers chosen were Ted Syman, vice- president, S. M. Robison, secretary, W. R. Jolley, treasurer, A. A. Haan- stad, J. W. Graham, E. D. Van Bradt, F. E. Smiley and W. F. Blanchard, directors. French Symbolism TPHROUGH the Societe Francaise ■*■ de Photographie, which is organ- izing a section of amateur cinematog- raphers in Paris, we learn of an ambi- tious film produced on Pathex film by Monsieur Jacques Henri-Robert, a French civil engineer and a member of the Societe Francaise de Photog- raphie. M. Henri-Robert, who has also built a projector for his own use, is said to be the first French cine-amateur to present an amateur photoplay in pub- lic. M. Henri-Robert's offering bears the title, "Cruelties" and is a series of CINE ART RELEASES FOR AUGUST "KIDDING THE KIDNAPPER" A rural comedy featuring Milburn Morante, a fast moving comedy with plenty of funny situations. No. 166— Length 400 feet $30.00 "LOVE, LAW AND LOOT" A Milburn Morante comedy, that will drive the dull cares away, it is filled with action and comedy gags galore. No. 167— Length 400 feet $30.00 'THE MOTHER" A beautiful photoplay that has as the theme Mother, an intense drama of the home, gripping in its appeal. No. 165— Length 400 feet $30.00 "CAPTURING A SHARK" A thrilling short subject that will appeal to all. No. 163— Length 100 feet $7.50 "THE MAN IN THE MOON" A fantastic novelty subject in which our hero encounters prehistoric animals while visiting the moon, not an animated comedy, but life figures in shadowgraph. No. 164— Length 100 feet $7.50 "THE BIG SHOW" Another Klever Kid Komedy in which the village gang stage a circus. No. 168— Length 200 feet $15.00 Distributed by CINE ART PRODUCTIONS 1442 Beachwood Drive, Hollywood, California To Dealers in New York and Surrounding Territory: — Our office, located at 311 Fifth Avenue, New York City, Telephone Caledonia 2641-2618, will be glad to demonstrate Cine Art films. 547 NIGHT MOVIES Flare Showing Detachable Handle Light a Meteor Flare (Powerful Firework Torch) and take a movie of the party — no equipment necessary. The same flare the pro- fessionals use. Five sizes, l/i, 1, 2, 3 and 4 minutes of light. Also electrically fired flares for special work. John G. Marshall 1752 Atlantic Ave., Brooklyn, N. Y. CORCORAN TANKS For 16 mm. Film Development Send for Circular A. J. CORCORAN, INC. 758 Jersey Ave., Jersey City, N. J. M ETROPOLITA FILM LIBRARIES N Released Wednesday, August 8th "A TRIP TO INDIA" Views of the weirdly fantastic processions and strange customs of the people in India. 100 ft. Reel Price $6.00 Metropolitan Motion Picture Company 108-110 W. 34th St., New York City LOS ANGELES HEADQUARTERS DeVry Cameras and Projectors Educational Project-O Film Co. 214-18 American Bank Bldg. Los Angeles, California service. (16 mm. or stand- ard.) Cinematography. CLARK CINE-SERVICE I | 2540 Park Ave. CAdillac 5260 1 DETROIT, MICH. PHILADELPHIA NEWS REEL LABORATORY 1707 Sansom Street Exclusively 16mm Developing, Printing, Titling, Editing, Rush Service. Cameramen available for all occasions — Industrial and Medical Productions. EVERY EDUCATOR SHOULD SUBSCRIBE TO <£M.ovie (fJXiakers THREE DOLLARS THE YEAR 105 West 40th Street, New York City M ETROPOLITA FILM LIBRARIES N Released W ednesday, August 22nd "THE BALKY MULE" Not so vicious, just a little nervous to have anybody on his back. A Roaring Comedy. Complete subject, 100 ft. Price $6.00 Metropolitan Motion Picture Company 108-110 W. 34th St., New York City 550 chinery and shots of thunder storms and burning houses were accom- plished by miniature work. New lighting effects were introduced and the whole picture has something of the atmosphere of "Metropolis." The story was written by F. N. Andrews, founder of the A. C. A., and B. Carl- ton. Mr. Andrews directed the pro- duction and J. Ahern was cameraman and arranged the model work. In- cluded in the same program were shots taken from an airplane by L. Isaacs and "All by Hand" produced by Mr. Brice. The story of this film is unfolded entirely by shots of the hands and feet of the dramatis per- sonae. At this meeting, G. H. Sewell was announced as the winner of the Association's scenario contest who said that the production of the scenario would begin immediately. At a previous meeting of the A. C. A. a contest was held for the selection of the best feminine director which was won by Miss Andrews. An im- promtu farce was produced at this meeting by the members present. T. J. Wilson, Hon. secretary of the Amateur Cinematographers' Associa- tion, has extended a cordial invita- tion to all League members traveling in England to visit any of the Asso- ciation's meetings in London. The ad- dress of the Association is 59 Old Bailey, London E. C. 4. Program meetings are held weekly. Plans for the production of a com- edy under the working title of "Alad- din's Lamp" have been made by the Amateur Movie Makers Club of Shef- field, England, branch of the A. C. A. The plot of the farce, written by Arthur D. Hobson and R. F. Unwin, is laid in misty antiquity and leads up to the present. The Derbyshire moors have been chosen as the loca- tion. Recent meetings of the club have been devoted to the projection of member's films, among them a newsreel scoop of the visit of the King of Afghanistan to Sheffield. The scenario of "The Black Bear" now being filmed by the Manchester Film Society, Manchester, England, is based on an old Cheshire legend. Three tramps who stop at the Black Bear Inn, stolen jewels and false ac- cusations furnish enough excitement for fifteen hundred (standard) feet. Three cameras are being used and the club is planning to do part of the laboratory work. The film is being directed by Peter Le Neve Foster. Ruth Tonge is camerawoman, H. W. Greenwood, assistant director and Arthur Bromley, assistant camera- man. The mistress of the inn is played by Mrs. Le Neve Foster and the three tramps by J. K. Clayton, Jack Twee- dale and T. Alfred. The Manchester Film Society is an A. C. A. affiliation. ^cA^lX)/ GOERZ ' ENSES By popular demand the com- plete line of Goerz Lenses has been made available to owners of the Model B Cine-Kodak F-1.9. Wide-angle, high-speed, telephoto! With no changes to be made on the camera other than replacement of the present lens mount plate and permanent screws with a spe- cial plate and thumb screws, al- lowing quick interchanging of the various focal length Goerz Lenses. HYPAR— CINEGOR— DOGMAR— WIDE-ANGLE or W. A. HYPAR— TELESTAR Focal lengths from 0.6" to 9l/t" New worlds to conquer for the Cine-Kodak user. Another host of enthusiasts to add to the ever increasing popularity of Goerz Lenses. Ask your dealer! Descriptive Circulars sent on request. C. P. Goerz American Optical Co. Manufacturers of lenses and precision instruments to aid cine amateurs 317 East 34th St., New York City P&jS CINE KODAK Color with Koloray And your pictures will take on a startling new beauty. You will get two' tone effects that it is hard to believe can be produced from any but hand- tinted films. You will find over-exposures are automatically corrected and that the amber filter reduces eye fatigue and gives your pictures a profes- sional quality. KOLORAY is the successful light filter which you can attach to your 16 mm. projector in 30 seconds. It has amber, blue, green, red, and clear polished optical glass lenses which are used for the single and two-tone effects. KOLORAY is sold for $7.50 at your dealers or will be sent post paid with the understanding that if it does not do all we claim you can return it. Be sure to specify the kind and model of your projector when order- ing— and be sure to try one if you want to give your pictures new life, interest and beauty. Descriptive literature on request. BECKLEY and CHURCH, INC. Cutler Building - Rochester, N. Y. Dealers — Use a Koloray on your dem- onstrating projector — It pays. The illustration shows KOLORAY attached to a Model A, Kodascope and a Filmo Projector. KOLORAY is made for Kodascope, Models A, B and C, Filmo and De Vry 16 mm. Projectors. It can be attached in 30 seconds. No machine work or altera- tion needed. K OLORA 'Professional color effects for home movies" Y 551 You will find Movie Makers Magazine and a Progressive Dealer at each of the following addresses* Visit them I CALIFORNIA Fullerton: Hardy's Drug Store, 110 N. Spadra. Hollywood: Fowler Studios, 1108 N. Lillian Way. Hollywood Movie Supply Co., 605 8 Sunset Blvd. Hollywood Music Co., Camera Dept., 6019 Holly wood Blvd. Long Beach: Winstead Bros., Inc., 244 Pine St. Los Angeles: Eastman Kodak Stores, Inc., 643 S. Hill St. Roland J. Giroux, 223 W. Third St. Leavitt Cine Picture Co., 3150 Wilshire Blvd. Earl V. Lewis Co., 226 W. 4th St. Marshutz Optical Co., 518 W. 6th St. B. B. Nichols, Inc., 731 S. Hope St. Schwabacher-Frey Stationery Co., 734 S. Bdwy. X-Ray Supply Corp., 3287 Wilshire Blvd. Oakland: Davies, 380-14th St. Pasadena: Flag Studio, 59 E. Colorado St. F. W. Reed Co., 176 E. Colorado St. Pomona: Frashers, Inc., 158 E. Second St. Riverside: F. W. Twogood, 700 Main St. San Diego: Bunnell Photo Shop, 414 E St. Harold E. Lutes, 958 Fifth Ave. San Francisco: Eastman Kodak Stores, Inc., 545 Market St. Hirsch y Kaye, 239 Grant Ave. Kahn y Co., 54 Geary St. Leavitt Cine Picture Co., 564 Market St. San Francisco Camera Exchange, 88 Third St. Schwabacher-Frey Stationery Co., 735 Market St. San Jose: Webb's Photo Supply Store, 94 S. First St. Santa Ana: Forman-Gilbert Pictures Co., 1428 W. Fifth St. Santa Barbara: J. Walter Collinge, 8 E. Carillo. COLORADO Denver: Eastman Kodak Stores, Inc., 626-16 St. Ford Optical Co., 1029-16 St. Haanstad's Camera Shop, 404-16 St. CONNECTICUT Bridgeport: Fritz 6? Hawley, Inc., 1030 Main St. Harvey 6? Lewis Co., 1148 Main St. Greenwich: Gayle. A. Foster, 9 Perryridge Rd. Mead Stationery Co., 249 Greenwich Ave. Hartford: H. F. Dunn Motion Picture Co., 410 Asylum St. Harvey 6? Lewis Co., 865 Main St. Watkins Bros., Inc., 241 Asylum St. New Britain: Harvey y Lewis Co., 79 W. Main St. New Haven: Fritz ii Hawley, Inc., 816 Chapel St. Harvey y Lewis Co., 849 Chapel St. Reed Film Corp., 126 Meadow St. Stamford: Thamer, Inc., 87 Atlantic St. Waterbury: Curtis Art Co., 25-29 W. Main St. DELAWARE Wilmington: Butler's, Inc., 415 Market St. Frost Bros., DuPont Bldg. DISTRICT OF COLUMBIA Cinema Supply Co., Inc., 804 Eleventh St. Washington: Columbia Photo Supply Co., Inc., 1424 New York Ave., N.W. Eastman Kodak Stores, Inc., 607- 14th St., N.W. Fuller y d'Albert, Inc., 815-J0th St., N. W. FLORIDA Jacksonville: H. & W. B. Drew Co., 22 W. Bay St. Paramount Cine Service, 32 W. Adams St. Lake Wales: Morse's Photo Service, Rhodesbilt Arcade. Miami: Miami Photo Supply Co., 36 W. Flagler Street. Red Cross Pharmacy, 51 E. Flagler St. St. Petersburg: Robison's Camera Shop, 115-3rd St., N. Tampa: Tampa Photo y Art Supply Co., 709-11 Twiggs St. GEORGIA Atlanta: Eastman Kodak Stores, Inc., 183 Peachtree St. IDAHO Boise: Ballou-Latimer Co., Idaho at 9th Ste. ILLINOIS ♦Chicago: Bass Camera Co., 179 W. Madison St. Aimer Coe 6? Co., 78 E. Jackson Blvd. Aimer Coe d Co., 18 S. LaSalle St. Aimer Coe & Co., 105 N. Wabash Ave. Central Camera Co., 112 S. Wabash Ave. Eastman Kodak Stores Co., 13 3 N. Wabash Ave. Fair, The, Dept. 93, State, Adams y Dearborn Sts. * Fischer's Camera Service, Rm. 202, 154 E. Erie St. Ideal Pictures Corp., 26 E. 8th St. Lyon y Healy, Jackson Blvd. y Wabash Ave. Seamans, Photo Finisher, 7052 Jeffery Ave. Stanley-Warren Co., 908 Irving Park Blvd. Watry y Heidkamp, 17 W. Randolph St. Decatur: Haines y Essick Co., 121-128 E. William St. Evanston: Aimer Coe y Co., 1645 Orrington Ave. * Hattstrom y Sanders, 702 Church St. Galesburg: Illinois Camera Shop, 84 S. Prairie St. Rockford: Quality Photo Shop, 316 E. State St. Sterling: Ray Hart, 8-10 E. 4th St. INDIANA Evansville: Smith y Butterfield Co., 310 Main St. Fort Wayne: Biechler-Howard Co., 112 W. Wayne St. Rogers Optical Co., 824 Calhoun St. Frankfort: Pathex Agency, 206 E. Walnut St. Indianapolis: L. S. Ayres y Co., Camera Dept., 1 W. Washington St. H. Lieber Co., 24 W. Washington St. South Bend: Ault Camera Shop, 122 S. Main St. Ault Camera Shop, 309 S. Michigan St. C. A. Wunderlich, 1234 Diamond Ave. Terre Haute: Whitney-Allison Co., 681 Ohio St. IOWA Davenport: Eastman Kodak Stores, Inc., 318 Brady St. Des Moines: Eastman Kodak Stores, Inc., 808 Locust St. Iowa City: Rexall 6? Kodak Store, 124 E. College St. Sioux City: Eastman Kodak Stores, Inc., 608 Pierce St. KANSAS Topeka: Hall Stationery Co., 623 Kansas Ave. KENTUCKY Louisville: W. D. Gatchel ySons, 431 W. Walnut Street. Sutcliffe Co., 225-227 S. 4th Ave. LOUISIANA New Orleans: Eastman Kodak Stores, Inc., 213 Baronne St. Shreveport: Film Arbor Studio, 305'/2 Texas St. MAINE Bangor: Francis A. Frawley, 104 Main St. MARYLAND Baltimore: Amateur Movie Service, 85 3 N. Eutaw St. Eastman Kodak Stores, Inc., 223 Park Ave. MASSACHUSETTS Boston: Eastman Kodak Stores, Inc., 38 Bromfield St. Ralph Harris & Co., 30 Bromfield St. I vex Johnson Sporting Goods Co., 155 Washing- ton St. Andrew J. Lloyd Co., 300 Washington St. Montgomery- Frost Co., 40 Bromfield St. Pathescope Co. of the N. E., Inc., 260 Tremont St. Pinkham y Smith Co., 15 Bromfield St. Solatia M. Taylor Co., 56 Bromfield St. Lowell: Donaldson's, 77 Merrimack St. New Bedford: J. Arnold Wright, 7 S. 6th St. Springfield: Harvey y Lewis Co., 1503 Main St. Worcester: J. C. Freeman y Co., 376 Main St. L. B. Wheaton, 368 Main St. MICHIGAN ♦Detroit: Clark Cine-Service, 2540 Park Ave. Detroit Camera Shop, 424 Grand River, W. Eastman Kodak Stores, Inc., 1235 Washington Blvd. Fowler y Slater Co.. 156 Larned St. J. L. Hudson Co., Dept. 290. Metropolitan Motion Picture Co., 2310 Cass Ave. E. B. Meyrowitz, Inc., 1516 Washington Blvd. United Camera Stores, Inc., 14611 Jefferson Ave., E. Jackson: Royal Film Service, 178 Michigan Av. W. Lansing: Linn Camera Shop, 109 S. Washington Ave. Vans Cine Service, 201 American State Bank Bldg. Muskegon: Beckquist Photo Supply House, 885 First St. Saginaw: Hesse's, Genesee at Jefferson MINNESOTA Duluth: Zimmerman Bros., 330 W. Superior St. Minneapolis: Eastman Kodak Stores, Inc., 112 S. Fifth St. E. B. Meyrowitz, Inc., 825 Nicollet Ave. Sly Fox Films, 49 S. 9th St. Owatonna: B. W. Johnson Gift Shop, 115 W. Bridge St. St. Paul: Co-operative Photo Supply Co., 381-3 Minnesota St. E. B. Meyrowitz, Inc., 3 58 St. Peter St. St. Marie Cigar y News Co., 96 E. 5th St. Zimmerman Bros., 320 Minnesota St. Winona: Van Vranken Studio, 57 W. Fourth St. MISSISSIPPI Meridian: Hammond Photo Service, 2115-21 Sixth St. MISSOURI Kansas City: Z. T. Briggs Photographic Supply Co., 916 Grand Ave. Z. T. Briggs Photographic Supply Co., 1006 Main St. Z. T. Briggs Photographic Supply Co., 21 E. 11th St. Hanley Photo ii Radio Shop, 116 E. 10th St. St. Louis: A. S. Aloe Co., 513 Olive St. Erker Bros., 707 Olive St. Hyatt's Supply Co., 417 N. Broadway. NEBRASKA Hastings: Carl R. Matthiesen y Co., 713 W. 2nd St. Omaha: Eastman Kodak Stores, Inc., 419 S. 16 St. NEW HAMPSHIRE Lebanon: Photocraft Co., 41 Hanover St. NEW JERSEY Atlantic City: Eastman Kodak Stores, Inc., 1735-37 Boardwalk. Camden: Parrish ii Read, Inc., 308 Market St. Newark: L. Bamberger y Co. Fireman's Drug Store. Market and Broad. Schaeffer Co., 103 Halsey St. Plainfield: Mortimer's, 317 Park Ave. NEW YORK Albany: E. S. Baldwin, 32 Maiden Lane. F. E. Colwell Co., 465 Broadway Binghamton: A. S. Bump Co., 180 Washington St. Brooklyn: Geo. J. McFadden, Inc., 202 Flatbush Ave. Buffalo: J. F. Adams, Inc., 459 Washington St. Buffalo Photo Material Co., 41 Niagara St. United Projector y Film Corp., 228 Franklin St. Whinihan Bros, y Co., Inc., 746 Elmwood Ave. Corning: Ecker Drug Store, 47 E. Market St. Jamaica: B. Gertz, Inc., 16210 Jamaica Ave. New York City: Abercrombie y Fitch, .45th y Madison Ave. American News and its Subsidiaries, 131 Varick St. T. H. Boozer, 173 E. 60th St. Brentano's, 1 W. 47th St: City Camera Co., 110 W. 42nd St. Abe Cohen's Exchange, 113 Park Row. Columbus Photo Supply, 146 Columbus Ave. * Cullen, 12 Maiden Lane. Davega, Inc., Ill E. 42nd St. Devoe y Raynolds Co., Inc.. 34 E. 42nd St. * Eastman Kodak Stores, Inc., Madison Ave. at 45th St. Eastman Kodak Stores, Inc., 235 W. 23rd St. H. y D. Folsom Arms Co., 314 Broadway Gall y Lembke, Inc., 7 E. 48th St. * Gillette Camera Stores, Inc., 117 Park Ave. Gillette Camera Stores, Inc., 16 Maiden Lane Gloeckner & Newby Co., 9 Church St. * Herbert (i Huesgen Co.. 18 E. 42nd St. B. M. Levoy, Inc., 127 W. 42nd St. Lowe y Farley, News Stand, Times Bldg. Lugene, Inc., 600 Madison Ave. E. B. Meyrowitz, Inc., 520 Fifth Ave. George Murphy, Inc., 57 E. 9th St. * New York Camera Exchange, 109 Fulton St. Pickup y Brown, 41 E. 41st St. Rab Sons, 987 Sixth Ave. C. F. Ray, 296 Fifth Ave. Schoenig y Co., Inc., 8 E. 42nd St. Seiden Films, Inc., 729 Seventh Ave. H. F. Waterman, 63 Park Row. * Willoughby Camera Stores, Inc., 110 W. 32 St. Wyko Projector Corp., 3 3 W. 60th St. Rochester: Marks y Fuller Co., 36 East Ave. Sibley, Lindsay y Curr Co., Camera Dept. Stamford-in-the-Catskills: E. S. Burtis. Utica: Edwin A. Hahn, 1 1 1 Columbia St. OHIO Akron: Dutt Drug Co., 7 E. Exchange St. Pockrandt Photo Supply Co., 16 N. Howard St. Cincinnati: Ferd Wagner Co., 113 E. 5th St. Huber Art Co., 124-7th St., W. John L. Huber Camera Shop, 144 E. 4th St. L. M. Prince Co., 108 W. 4th St. Cleveland: Eastman Kodak Stores, Inc., 1126 Euclid Ave. Escar Motion Picture Service, Inc., 12804 Su- perior Ave. Fowler y Slater Co., 806 Huron Rd. . Fowler (f Slater Co., 347 Euclid Ave. Fowler y Slater Co., 1915 E. 9th St. Home Movies Co., 1501-7 Superior Ave. *Indicates dealers who are advertising in Movie Makers 105 WEST 40th ST. MOV1L MAxvLRo, new YORK CITY $3.00 a Year (Canada $3.25, Foreign $3.50) 25 Cents a Copy (Foreign 30 Cents) 552 DEALERS — Continued Solomonson Optical Co., 735 Euclid Ave. Stone Film Laboratory, 8807 Hough Ave. Columbus: Capitol Camera Co., 7 E. Gay St. Columbus Photo Supply, 62 E. Gay St. Dayton: Dayton Camera Shop, 1 Third St., Arcade *Norwood: Home Movie Service Co., 2128 Cathe- dra! Ave. Toledo: Franklin Print. & Eng. Co., 226-36 Huron St. Gross Photo Supply Co., 325 Superior St. Lawrence's, 1604 Sylvania Ave. Leo MacDonough, 1103 Detroit Ave. Youngstown: Fowler (i Slater Co., 7 Wick Ave. OKLAHOMA Oklahoma City: Roach Drug Co., 110 W. Main St. Tulsa: Camera Shoppe, 5 19 J4 Main St., S. OREGON Pendleton: Floyd A. Dennis. Portland: Eastman Kodak Stores, Inc., 345 Wash- ington St. J. K. Gill Co.. 5th 6? Stark Sts. Lipman Wolfe ii Co., Kodak Dept., Fifth, Wash- ington ty Adler Sts. PENNSYLVANIA Erie: Kelly tV Green. 116 W. 11th St. Harrisburg: Maxwell H. Hite 6? Son, 422 S. 13th St. Johnstown: F. W. Buchanan, 232 Franklin St. Philadelphia: Amateur Movies Corp., 2114 San- som St. Eastman Kodak Stores, Inc., 1020 Chestnut St. Jos. C. Ferguson, Jr., 1804 Chestnut St. Strawbridge ii Clothier. Market, Eighth ii Fil- bert Sts. John Wanamaker, Dept. 56. Williams, Brown & Earle, Inc., 918 Chestnut St. Pittsburgh: Eastman Kodak Stores, Inc., 606 Wood St. B. K. Elliott fcV Co., 126-6th St. Joseph Home Co., Magazine Dept. Kaufmann's Dept. Store., Dept. 62 Fifth Ave. Reading: Alexander Kagen, 641 Penn St. Wilkes-Barre: Ralph E. DeWitt, 60 W. Market St. Zwiebel-Stenger Sales Co., 203 S. Main St. RHODE ISLAND Newport: Rugen Typewriter tV Kodak Shop, 295-7 Thames St. Providence: E. P. Anthony, Inc., 178 Angell St. Starkweather & Williams, Inc., 47 Exchange PI. TENNESSEE Chattanooga: Englerth Photo Supply Co., 722 Cherry St. Memphis: Memphis Photo Supply Co., Hotel Pea- body, 86 S. 2nd St. Nashville: G. C. Dury ty Co., 420 Union St. TEXAS Dallas: E. G. Marlow Co., 1807 Main St. El Paso: Schuhmann Photo Shop, P. O. Box 861. Ft. Worth: Chas. G. Lord Optical Co., 704 Main St. Houston: Star Elec. & Eng. Co., Inc., 613 Fan- nin St. San Antonio: Fox Co., 209 Alamo Plaza. E. Hertzberg Jewelry Co., Houston at St. Mary's Sts. VERMONT Burlington: Robert T. Platka, 231 S. Prospect St. VIRGINIA Norfolk: S. Galeski Optical Co.. 209 Granby St. WASHINGTON Seattle: Anderson Supply Co., Ill Cherry St. Eastman Kodak Stores, Inc., 1415-4th Ave. Lowman c? Hanford Co., 1514 — 3rd Ave. Motion Picture Service, 903 Lloyd Bldg., Sixth Ave. and Stewart St. Spokane: Joyner Drug Co., Howard & Riverside Ave. Tacoma: Shaw Supply Co., Inc. Yakima: Bradbury Co., 19. S. Second St. WEST VIRGINIA Wheeling: Twelfth St. Garage, 81-12th St. WISCONSIN Eau Claire: Davis Photo Art Co. Fond du Lac: Huber Bros., 36 S. Main St. Green Bay: Bethe Photo Service, 125 Main St. Madison: Photoart House, 212 State St. Milwaukee: Boston Store, Wisconsin Ave. (f 4th St. H. W. Brown y Co.. 87 Wisconsin St. Eastman Kodak Stores, Inc., 427 Milwaukee St. Gimbel Bros., Kodak Dept., Wisconsin Ave. if W. Water St. Photoart House of Milwaukee, 220 Wells St. Waukesha: Warren S. O'Brien Commercial Studio, 353 W. Broadway. FOREIGN AUSTRALIA 'Hew South Wales Sydney: Harringtons, Ltd., 386 George St. Kodak (Australasia) Pty. Ltd., 379 George St. ?{eiv Zealand Wellington: Kodak (Australasia) Pty. Ltd., Box 1474, G.P.O. Victoria Melbourne: Charles W. Donne, 349-51 Post Office Place. Harringtons, Ltd., 266 Collins St. CANADA ALBERTA Calgary: Boston Hat Works, 109 Eighth Ave. BRITISH COLUMBIA Vancouver: Eastman Kodak Stores, Ltd., 610 Gran- ville St. Film f/ Slide Co. of Can., Ltd., 319 Credit Foncier Bldg. MANITOBA Winnipeg: Eastman Kodak Stores, Ltd., 472 Main St. ONTARIO Ottawa: Photographic Stores, Ltd., 65 Sparks St. Toronto: Eastman Kodak Stores, Ltd., 66 King St. T. Eaton Co., Dept. V.-6, 190 Yonge St. Film S> Slide Co. of Can., 156 King St., W. QUEBEC Montreal: Film cV Slide Co. of Can., Ltd., 104 Drummond Bldg. Gladwish 6/ Mitchell, 147 Peel St. DENMARK Copenhagen V: Kodak Aktieselskab, Vocjroffsvej 26. DUTCH EAST INDIES Java: Kodak, Ltd., Noordwijk 38, Weltevreden ENGLAND London, S. W. I.: Westminster Photographic Ex- change. Ltd., 119, Victoria St. London. W.I.: Bell 6/ Howell Co., Ltd., 320 Re- gent St. London. W. I.: Wallace Heaton. Ltd., 119 New Bond St. E. B. Meyrowitz, Ltd.. 1 A Old Bond St. Westminster Photographic Exchange, Ltd., 62, Piccadilly. Westminster Photographic Exchange, Ltd., Ill, Oxford St. Sheffield: Wm. Mcintosh (Sheffield) Ltd.. Change Alley. Sheffield Photo Co., 6 Norfolk Row (Fargate). HAWAII Honolulu: Honolulu Photo Supply Co., P. O. Box 2999 HOLLAND Amsterdam: Foto Schaap & Co., Spui 8. Capi. 115 Kalverstraat Den Haag: Capi, 124 Noordeinde Groningen: Capi, 3 Kleine Pelsterstraat Niimegen: Capi, 13-17 Van Berchenstraat Capi, Broerstraat 48. INDIA Calcutta: Armv ty Navy Coop. Soc, Ltd., 41 Chowringhee St. JAPAN Kobe: Honjo & Co., 204-5 Motomachi 6-Chome Kvnto: T. Osawa & Co.. Ltd., Sanjo Kobashi. Osaka: Fukada &? Co.. 218 Doiima Bldg. Tokyo: Home Movies Library, 515 Marunouchi Bldg. T. Uyeda, No. 4 Junkeimachi Shinsaibashi-suji, Minami-ku. MEXICO Mexico City: American Photo Supply Co., S. A., Avenida F. I., Madero. 40. Pathe Baby-Agency for Mexican Republic; Latapi Y Bert, Av. 16 de Septiembro 70, El Globo. NORWAY Oslo: J. L. Nerlien A/S, Nedre Slotsgate 13 University Book Shop REPUBLIC OF PANAMA Panama City: Lewis Photo Service, 1 Fourth of July Ave. Geo. L. Price, Laboratory No. 12 Ave. SCOTLAND Edinburgh: J. Lizars. 6 Shandwick PI. Glasgow: Robert Ballantine, 103!/2 St. Vincent St., Nr. Renfield St. J. Lizars, 101 Buchanan St. SPAIN Barcelona: James Casals, 82, Viladomat St. Madrid: Kodak Sociedad Anonima, Puerta del Sol 4. STRAITS SETTLEMENTS Penang: Kwong Hing Cheong, lc Penang St. SWEDEN Stockholm: A. B. Nordiska Kompaniet, Photographic SWITZERLAND Winterthur: Alb. Hoster, Marktgasse 57. Zurich: Zulauf (Vorm, Kienast & Co.), Bahn- hofstr, 61. AUTUMN OFFERS CLASSIFIED ADVERTISERS EXCELLENT OPPORTUNITIES Summer is the season of test and trial, of aroused desire, of determi- nation to buy, to sell, to trade IN THE AUTUMN USE OUR CLASSIFIED ADVERTISING PAGE 10 Cents a word (figures, abbreviations and initials counted as words). City name counted as one word; state name counted as one word; dollar sign and figures, in quoting prices, counted as one word (Ex- ample, $14.75) ; 16 mm., and other widths counted as one word; /-1.9 and other lens descriptions counted as one word; trade- marks counted according to number of words or abbreviations (Example, L. & Z. Reelem — four words). 20-word minimum. No less accepted. Cash with order. No discounts. No proofs or checking copies furnished. All copy will be scrutinized carefully, but Movie Makers will not be responsible for errors nor for statements made by classi- fied advertisers. Classified advertising accepted for these classifications : 1. Equipment wanted. 2. Films wanted. 3. Equipment for sale. 4. Films for sale. 5. Trading offers. 6. Personal opportunities. Send copy to : CLASSIFIED ADVERTISING DEPT. MOVIE MAKERS Magazine of the Amateur Cinema League, Inc. 105 West Fortieth Street New York, N. Y. 553 a yy KODASCOPE LIBRARIES, Inc. 33 WEST 42nd STREET, NEW YORK Announce The Code of the Sea Featuring Rod la Rocque, Jacqueline Logan, George Fawcett and Maurice Flynn A Sea-thriller of Romance and Regeneration. Ships buffeted by mountainous waves. A yacht riding the tempest like a cockleshell until it grinds itself to pieces on a sabre-toothed reef. And what a rescue! BRANCH LIBRARIES and DISTRIBUTORS In Forty Leading Cities of the United States and Canada Have available for your enjoyment over 500 subjects MORE THAN 1000 DIFFERENT REELS Featuring the world's greatest stars in their most famous productions Kodascope Libraries can always be depended upon to furnish rt Pictures That Please" 554 Seventy Per Cent of All Professional Movies are Now Made on Panchromatic Film NEGATIVE OX EASTMAN PANCHROMATIC FILM Cloud scenes assume an almost unbelievable beauty when made with Panchromatic Film. In 1924, when Cine-Kodaks first came into general use, less than three per cent of pro- fessional motion pictures were made on panchro- matic film. Today, this ratio has increased to seventy per cent and is steadily mounting. Pro- ducers know that panchromatic film gives to their pictures a distinctive quality that contrib- utes definitely to screen success. They want to give their public the best, and that's "Pan." Panchromatic film is now available to the amateur. As far as material is concerned, he may now have the same advantages that the pro- ducer enjoys. The same opportunity exists for him to immeasurably improve the photographic quality of his films. Cine-Kodak Panchromatic Film, unlike ordi- nary film, is sensitive to light of all colors. In other words, all the colors of the subject appear in monochrome on the screen more nearly in their actual relationship one to the other. The colors, whether occurring in costumes or in land- scapes, are rendered with striking fidelity and the quality of distant views is much improved. Clouds assume an almost unbelievable beauty and flesh tones in portraiture receive vastly better rendering. While it is not necessary to use a filter with Cine-Kodak Panchromatic Film, there is a fur- ther gain in quality in landscape and cloud photograph v when a filter is employed. A filter should not be used for portraiture. Cine-Kodak Panchromatic Film is just as easily used as regular Cine-Kodak Film. There is no difference in manipulation; there is decided difference in results. Cine-Kodak Panchromatic Film is priced at S7.50 per 100-foot roll. The filter for the Cine- Kodak Model B,/.i.9, is priced at S2.50; for the Model B,/. 3.5 or/.6.5, Si. 50. A special front re- quired to equip the Model B,f.2-S with the filter when there is no projecting ring in front of the lens, is priced at $1.00. Cine-Kodak Panchromatic Film is now ready at your Cine-Kodak Dealer s Eastman Kodak Company, Rochester, N. Y. FILMO 75 The bca a tifu I, pocket sized cam- era that has revolu- t ionized amateur movie making. Holds and operates easily inone hand. Wonder fu I for vacation, field and sports use. Price $120 with case. Isrit it a beauty? Thousands have said so — and purchased ! Only to dis- cover as all Filmo owners do — that the hidden beauties of a Bell & Howell camera are most remarkable of all. For in the mechanism that propels each frame into place behind the fast F 3.5 Filmo lens there is an accuracy measured to one ten-thousandth of an inch. An accuracy that makes the pictures frame perfectly on the screen. Assuming, of course, that you use the Filmo Projector, engineered by Bell & Howell to the same remarkable standard of measured precision. This is the standard that prevents errors of photog- raphy which would be magnified many thousand times when projected. It is the standard of accuracy de- manded by the professional motion picture producers, and supplied by Bell & Howell over twenty-one years for making theatre movies. Only in a Filmo, among amateur movie cameras, will you find such precision. Isn't it worth paying just a little more to get? See a nearby Filmo dealer. Or write us for latest descriptive Filmo booklet. BELL & HOWELL FILMO 70 The original auto- matic Filmo. The finest amateur mo v ie camera available at any price. Adaplablelo usual and excep- l ional conditions of weather , light, speed and dis- tance. Price $180 with case. BELL & HOWELL CO., 1828 Larchmont Ave., Chicago, Illinois New York, Hollywood, London Established 1907 C. LAZELL NORTHROP PRESS, K. If ^ RICE 2*5c iEPTEMBER 192 BELL & HOWELL —your guide to minutest accuracy in making your own movies FILMO "Why does a FILMO Camera cost more than other makes of movie cameras and why do all movie cameras cost more than 'still' cameras?" This question is asked daily by thousands of prospective purchasers. Here is the answer: The "still" camera is merely a lightproof box — in one form or an- other, equipped with a lens and shutter to admit light from the object photographed. A FILMO Camera, on the other hand., is a finely constructed precision instrument, with moving and registering parts as mechanically perfect as a watch. In fact, Bell & Howell Cameras and Projectors are built to a measured precision of one ten-thousandth of an inch. The lenses used are the finest offered by the craftsmen of the world who have spent gen- erations in perfecting the art of focusing light. Construction of this kind is expensive but produces results not otherwise obtainable. Bell & Howell have for 21 years been the recognized leaders in building professional movie cameras for most of the big producing companies of the world. This background has made possible the building of a machine for the amateur that is just as outstanding in its field as the big camera is in professional work. The price of FILMO equipment should be of secondary consideration. This equipment is guaranteed for two years against faulty work- manship and material and with reasonable care will last a lifetime. It will pay big dividends in the added quality of movies possible only with Bell & Howell products. See a FILMO dealer or write us for descriptive booklet — "What You See, You Get." Address BELL & HOWELL CO. 1828 Larchmoiit Avenue, Chicago, Illinois • New York, Hollywood, London (B. & H. Co., Ltd.) Established 1907 for Telephoto Cinemo Work The HUGO MEYER / 4.5 Plasmat 3-Focus Lens Set (For Filmo, Victor, DeVry, etc.) Set consists of Complete lens, /:4.5, 3 \ 2 " focus Rear element /:8, 4 94" focus Front element /:6.5, 6" focus Eye pieces for each lens included The complete range of 3 focal lengths in one outfit, will meet all your re- quirements in lenses for telephoto effcts. Each element a perfect Plasmat by it- self, giving Plasmat results in your pictures. For its excellent results and its economy, this set should He includ- ed in every cinematographer's equip- ment. A 2 x Meyer filter of yellow Jena glass makes the set complete. The complete set comes packed in a convenient leather covered case, ready to screw on to your camera, and for a little more than the price of one lens. Price complete $125.00 the Kino-Pano STUD FITS ANY STANDARD CAMERA AND 16m™ AMATEUR CAMERAS A Sturdy, Wood Tripod with Aluminum extension leg Extremely Light in Weight Length, Closed 33U in. Height. Extended 58 in. Tilt and Panoram Head only 7.50 Plates for Projector Use, $6.00 and $7.50 Canvas Shut Tite Case $4.00 Weighs but 4?4 lbs. Has tilt and panoram locks and reversible, rub- ber tipped aluminum ex- tension legs. Plates are obtainable, enabling pro- jecting machines to be mounted in tripod. the ArrOW Portable Motion Picture Screens (Patent Pending) With a surface com- posed of millions of tiny glass beads, embedded in a pure white, strong, fab- ric, brilliancy cf projection is as- sured. Surface can be cleaned with soap and water when soiled. Screen comes complete in dustproof mahogany case and is with- drawn like a win- dow shade. Screen Ready for Use Can also be used for Kodacolor Pro- jection. Screen Rolled in Case for Carrying PRICES No. 0 — Size 16x3x2'z — picture surface 9'/4xll34 in. Weight 3 lbs $10.00 No. 1 — Size 331/2x3^x4 — picture surface 22x30 in. Weight 6 lbs 15.00 No. 2 — Size 45'/2x4'/2x5 — picture surface 30x40 in. Weight 15 lbs 25.00 No. 3 — Size 57x43^x5 — picture surface 39x52 in. Weight 18 lbs 35.00 No. 4 — Size 72x5,/ix5l/2 — picture surface 51x68 in. Weight 40 lbs 75.00 Distributors for Greater New York WILLOUGHBYS HEADQUARTERS TOR AMATEUR MOVIE MAKERS' SPECIALTIES HO WEST 3tND STREET, NEW YORK 559 ■ :-" ■■-■ ; ■"■; ■ -■-■■"-.■' ■&- See Ifiurself as Others See Wu for $98& ($9950 WEST OF ROCKIES) a ^ s Combination Movie Camera and Projector COMPLETE WITH CARRYING CASE M %■ As You See the Monies Your Camera Your Choice of Three Beautiful Colors As You Take the Movies Black Your Camera with Projector Attached The same Lens that takes the picture pro- jects it on the screen, insuring perfect reproduction through duplication. Carrying Case for Complete Outfit Equipped with Special F. 3.5 Graf. Lens. No focusing necessary either for taking or projecting pictures. Uses Eastman or other 16 mm. Reversal Safety Films. Original price includes developing and return postage. Easy to understand— to operate and take and project quality pictures without experience. Can be used with hand crank for faster or slower than normal pictures, if desired. See Your Dealer or Write Us for Particulars Guarantee Every Q* R ♦ S Movie Camera and Projector is guaranteed for one year against any de- fects in material and workmanship, and / there will be no charge S for adjustment to . either the owner / or dealer. / •«► " 333 N.Michigan Ave., Chicago new york ^ 4&+Kf&&- Refer to Dun, Bradstreet or any Bank 135th St. & Walnut Ave. /t^O .^ ^o^ w <&&* ,v&* ■ r jr PLEASE MENTION MOVIE MAKERS WHEN SENDING INQUIRIES 560 1 ^' Stf ~® CI R7o„/_ 67991 53 Voli • III ' ^^^^^/^y^sr^sr^srzk. MOVIE MAKER§ IIMGAZIKE OF ■■■■ 1M1III It A Electric Research Labora- tories: Leo H. Baekeland. inventor of Bakelite: Sir James Irvine, Vice-chan- cellor of St. Andrews University, Scotland: G. K. Burgess, director of the L nited States Bureau of Standards: John J. Tigert. L nited States Commis- sioner of Education; Adolph S. Ochs, publisher of the New \ ork Times, and several other obvious- ly distinguished men of whose identity I was not sure. My first thought, as I realized the make-up of Mr. Eastmans audience, was, "I'm jolly well glad it is not I who must run off these new films." Ones soul fairly recoiled at the thought of a broken splice in such a companv. And I suspected that Mr. Eastman was up against something considerablv more complex than a sixteen mm. splice. After breakfast we all moved out onto the beautiful lawn of the club into the brilliant sunshine. In a jiffv a tremendous horde of photograph ers descended upon us. They were armed to the teeth u ith Graflex, stills, enormous panorams, complicat- ed news reel movies, our own little movie cameras and Kodak Model B"s, with queer looking colored glass in their fronts that fascinated and took one's mind off his troubles. It was very real trouble indeed. Ima- gine being brought face to face with an army of photographers, armed to the teeth, utterly devoid of any feel- ing of delicacy, who press their ma- chines up under one's very nose, and then ask him to smile while they shoot. General Pershing, himself, quailed before the attack, and if he quailed the rest of us had a perfectly good right to take to our heels. But in Pershing s presence, and as Mr. East- man's guests, we stuck and saw the thing through. SAGES OF THE CINEMA George Eastman and Thomas Edison Discussing Kodacolor, in Which the Dreams of Both Are Realized. It is my impression that these gen- try kept us against the wall, pop- ping away constantly for upwards of an hour. Mr. Edison was their favorite victim. They used mono- chromatics, panchromatics. coloro- matics. rheumatics and pneumatics on him until I should have thought he would have ached all over. After using up what would appear to any amateur as a scandalous amount of film of one sort and another, we were led off to motor cars and taken to Mr. Eastman's residence. There in one of the main drawing rooms the lights were low and there were chairs arranged before screens so the guests naturally gravitated there. In the center was a large lantern slide pro- jector, which always promises inter- esting things to me. On each side of the lantern slide projector was a fa- miliar Series K Kodascope projector with a suspicious looking gadget on its lens. Bv this time we began to wonder. Mr. Eastman had volunteered noth- ing up to now and we were all guess- ing. After seeing the queer colored things in the lenses of several of the small Kodak movie cameras on the lawn at the club, I guessed "col- ored movies." After seeing more of the queer colored things in the lenses of the Kodascope projectors. I be- came downright suspicious. 559 When we all were seated, Dr. C. E. K. Mees, head of the Research Department of the Eastman Kodak Co., arose and said in part: "Mr. Eastman has asked me to describe to you the new development in photog- raphy which we have asked you here to see. From the very beginning of photography it has been the dream of every worker to produce pictures in natural colors instead of in mono- chrome, and an enormous amount of work has been done in this field. "The processes of color photog- raphy depend upon the fact first demonstrated in 1861 by Clark Max- well in a lecture at the Royal Insti- tution that colors can be duplicated in photography by taking advantage of the fact that any color can be matched by a mixture of three prim- ary colors — red, green and blue-vio- let. Maxwell took three photographs of a colored ribbon — one through a red solution, another through a green solution, and a third through a blue, and from the three negatives he made three lantern slides and projected them on the same screen in register from three lanterns, placing the col- ored solutions in front of the lan- terns so that the picture taken through the red solution was pro- jected through the red solution, the one taken through the green solu- tion was projected through the green solution, and the one taken through the blue solution projected through the blue solution. In this way, he got a reproduction of the colored ribbon on the screen. Maxwell had great difficulty in getting these re- sults because in 1861 there was no way known of making the material used in the camera sensitive to green and red light. It was sensitive only to violet light, and in spite of enor- mous exposures, Maxwell could get only a very unsatisfactory result. With the use of the gelatine bro- mide emulsion and what are known as sensitizing dyes which make the film 'panchromatic,' that is, sensitive to all colors, there is no difficulty in getting good records through red and green filters, and Maxwell's experi- ment can be repeated today with the greatest ease and will give photo- graphs of extraordinary beauty. In the development of processes of color photography the name of Mr. Ives, whom we have with us today, will be associated in all our minds. "The processes of color photog- raphy are divided technically into those which are similar to Maxwell's experiment — so-called additive pro- cesses, in which three pictures are projected simultaneously upon a screen, and those in which three prints are made and superimposed upon each other, these being the sub- tractive processes. The additive pro- cesses give the best results and are the easiest to work, but they have the disadvantage that the results can be viewed only by projection. The sub- tractive processes give results whicb can also be viewed in the hand. "For motion picture work, addi- IN THE SPOTLIGHT The Amateur Movie Maker Held the Center of the Stage at the Recent Kodacolor Demonstration in Rochester. The Official Representative of the Amateur Cinema League, Hiram Percy Maxim, President, Is Shown (left) with E. E. Slosson, Editor of Science Service. tive processes would appear to pre- sent great advantages, but they ha\e one serious disadvantage; they re- quire a modification of the projec- tion apparatus, and this has hind- ered their introduction into the mo- tion picture theatre field. The very beautiful Gaumont process of color motion picture photography, for in- stance, involved the taking of three pictures for every frame. These were taken one above the other through three lenses fitted with three filters, and were then projected through a triple lens also fitted with filters, the three pictures being sup- erimposed on the screen to give a picture in color. "The processes which are in use at the present time for the produc- tion of colored motion pictures for the theatres are subtractive processes, and they usually take advantage of the fact that a film has two sides, so that one picture can be put on one side and the other on the other side of the film in register. We our- selves experimented with processes of this kind and have obtained some excellent results from a process which we term 'Kodachrome.' While these two-color processes represent a practical compromise, which may be useful in connection with the motion picture theatre, the quality of the re- sults is not satisfactory for outdoor scenes and both the taking and the printing is too complicated for use by amateurs. A process of amateur color cinematography to be success- ful must be extremely simple, as in the present black and white amateur cinematography. "The process which we have to show you today and which we have termed the 'Kodacolor' process ap- pears to us to fulfill this necessary condition. It is the introduction of a process of color photography by which any photographer can obtain motion pictures in color of the very highest quality and with as much ease as pictures in black and white. In order to do this, a photographer using a standard Cine Kodak fitted with an /1.9 lens, only has to insert a color filter into the lens and thread the Kodacolor film in the camera. After the film has been exposed, it is sent to us for processing and comes back to the photographer as a roll of black and white film which can be projected in an ordinary pro- jector and will give a black and white picture on the screen. But if the projector is fitted with a special color filter like that which is used in the camera, then a colored picture will be obtained on the screen. "It will be seen that from the pho- tographer's point of view the mat- ter is simplicity itself, but I think 570 Scientists Hail Color Film I o Amateur Use Eastman Shows Notables I Action Scenes in Natural Tint Developed Through Filter in Camera Lenses that you will like to learn somewhat more fully how the result is achieved. The color filter is com- posed of three separate areas — red, green, and blue — and it slips into the lens in the place of an ordinary hood, which is removable. But the secret of the Kodacolor process is in the film. The film surface is em- bossed by running it through steel rollers with tiny cylindrical lenses composed of the film base material and extending lengthwise of the film. The lenses on the film are about seven times narrower than the dots making up the illustrations in a newspaper, and they are therefore invisible except under a microscope. They cover completely the surface of the side of the film opposite from the sensitive emulsion. That surface faces the camera lens, and the emul- sion is away from the lens. "When the trigger of the camera is pressed, light reflected from the subject passes selectively through the three-color filter, on through the camera lens, and thence through the tiny embossed lenses on the film to the sensitive emulsion coating on the opposite side, where it is recorded. The function of the lenses embossed on the film is to guide the rays of light falling upon each tiny area and lay them on the sensitive emulsion as three distinct impressions corre- sponding to the three filter areas so that the three colors covering the lens are imaged behind each tiny cylindrical lens as three parallel ver- Geuerations' Labor Ends With Triumph Process Leaves Way Open for Radio Development With Picture Projected^ By Richard Watts jr ESTER. N. V-, Jul* 30.— TJ of motion pictures in ccj hrust into the backgroj ush ot the talking rst importance agal distinguished p: ther public ngUj rge Eastm h full natu, Id he tical strips, drical lenses stripes of color on the the width of each of because the tiny are parallel cylin- to the filter. Thus the minute areas of emulsion is subdivided into three parts related to the three filter areas and affected by light that is able to pass through the different colors. The sum of these invisibly small affected areas of film consti- tutes the whole photographic image. "A red ray from an object in front of the camera, for instance, reaches the sensitive material of the film at a spot related to the red area of the filter. The 'reversal process' turns this affected spot into a trans- parent area, leaving opaque the ad- joining unaffected areas related to the green and blue segments of the filter. "So, also, with the green and blue and with combinations of colors. The sum of the points on the scene containing red makes a photograph from red light on the emulsion areas related to. the red filter area, the sum of the blue also makes a separate photograph, and similarly with the green. "Now, in order to project the pic- tures, the developed film is put in the projector, which contains exactly the same optical system reversed. Be- hind the film is the condenser and the source of light. The color filter consists of the same three primary colors — red, green, and blue. The reverse of the fact that white light divides up into the colors of the spectrum is that light coming evenly out from the three colors of the fil- ter on a projector and superimposed on a screen appears white. "But cover up the green and blue segments of the filter and the screen will turn red. Cover up the red and blue and the result will be green. "With the red and green areas both left for the light to shine through, we get yellow. White minus red gives blue-green. White minus green gives magenta. Varying the areas of each color through which the light may shine will give infi- nite shadings between these colors. Black is the total elimination of light. "Now, when we have a picture on the film, the opaque areas of the film cover up, in effect, certain of the filter areas; they prevent the light from going through where it is not needed, by cutting off, at the film, rays which would otherwise pass out through the embossed lenses, through the projection lens, and through the filter area in question to the screen. "For any point on the scene, the 571 only colors which are permitted to be projected are those which, on the screen, blend into the corresponding original colors of the scene photo- graphed. The pattern of these rays from all the cylindrical lenses on each frame projects a picture on the screen, with each ray contributing its speck of light to the color or blend of colors at one point. "The film itself is not colored. The colors of the subject are repro- duced merely by the transparency of the film, or by black metallic silver deposited in various degrees of opa- city, so as to permit light to shine through one of the three areas of the filter as directed by the tiny film lenses. "Owing to the absorption of the light by the color filter used in pro- jection, it is necessary to be content with a small picture on the screen, and for this reason we must use small screens so that the illumination can be sufficient. "This process, which was an inter- esting development of the known principles of color photography, was invented in France and covered by patents in the United States as well as in many foreign countries, but the technical difficulties in its reali- zation are very great, and it did not attain any commercial success. "Now the Kodak Company has been experimenting on color photog- raphy for 25 years. It has studied process after process, and has ex- pended enormous sums of money in the hope that it might find a process which would meet its requirements and enable the amateur photograph- er to make colored photographs. When this French process was brought to its notice it was thought to offer possibilities of success, and it was somewhat akin in its require- ments to the methods used for the DR. C. E. K. MEES Head of the Research Department of the Eastman Kodak Co., which Perfected the New Color Process. process of amateur cinematography which the company had already de- veloped with such great success. We, therefore, purchased rights in the process and proceeded to develop it experimentally. This development was directed towards the perfecting of the process for use with amateur 16 mm. film. It involved a great deal of study. It was necessary to standardize the methods of making the lenses on the film, to design and make a suitable emulsion strongly sensitive to green and red light and yet have sufficiently fine grain to en- able the minute structure of the sep- arate color elements to be resolved, and, especially, to work out suitable methods by which the film could be developed and reversed while retain- ing the rendering of color. "All this work has been accom- plished and, today, history repeats itself. "Forty years ago, in 1888, we an- nounced still pictures in black and white for the amateur. The whole story of the system was told in the one line, 'You press the button; we do the rest.' "Now all that the amateur needs to do to obtain motion pictures in color is to load his Cine-Kodak with Kodacolor film instead of with the usual film and then slip the Koda- color Filter attachment into place. He then proceeds to take pictures just as he would with the regular film. It's all as simple as that. 'You press the lever; we do the rest.' It is to view the results of that accom- plishment that you have been asked to come here today and have so gra- ciously assented." (Continued on page 614) PART OF THE FIRST KODACOLOR AUDIENCE Among the Distinguished Guests at the Kodacolor Demonstration Were, Left to Right, Adolph S Ochs pub- lisher of the New York Times, General John J. Pershing, George Eastman and Sir James Irvine, Vice- chancellor of St. Andrews University, Scotland. 572 "NOW, BRUCE, IUST WHAT HAS THIS REEL GOT TO DO WITH OUR HONEYMOON FILM DIARY?" FILM -FLAM Desire 'Neath the Kleigs CHAPLIN wants to play Napoleon. John Barrymore's efforts to dis- play his legs at every opportunity sug- gest a hidden passion for Mae Mur- ray's laurels. And, if the truth were but known, probably Louise Fazenda is languishing to do Ophelia; Ben Turpin sees himself most perfectly cast as Don Juan, and Wallace Beery covets the role of Little Lord Fauntle- roy. This multiplication of personality is both interesting and amusing, for, while the range of an actor's ability is determined by the number of types he can imagine himself as being, the aforementioned people have so defi- nitely established themselves in the publics mind as comedy, heavy drama, burlesque or slapstick stars that any departure from these accus- tomed roles is not likely to stand in favor, regardless of the fact that Chap- lin would probably make a good Ham- let, Fazenda a Lady Macbeth and John Barrymore a stunning Ziegfield beauty. Thus life goes in Hollywood "where a tragedy lies deep in every heart, though a smile may cover the pain of hidden yearnings." Certain celebrities may have noticed, however, that, while tragedy gives a thrill, comedy pro- vides the alimony, which is a compen- sating factor not to be overlooked. Churchmen Jealous? "T>EING a special Clara Bow fan," *-* writes a constituent in Photo- play's agony column, "I read with avidity the first installment of her life story. Who can doubt or hesi- tate to say that Clara is, indeed, pure gold, and a more worthy example to be copied than is found in many of our best church audiences." Ironic Laughter T^OR movie goers who chuckle ■*■ gleefully at those moments meant to be serious, and who seldom so little as smile at those supposedly funny, the sad experience of a fellow fan should serve as a lesson. A Chicagoan was recently ejected from a movie house for laughing at a sub title not intended as comedy. A better solution of the situation might lie in the manager's rejection of pictures whose seriousness pro- duces such gems as one seen the other day which introduced a char- acter played by a sophisticated woman obviously approaching the girlishness of forty with, "The elfin charm of a girl brightens a lonely household," otherwise there may arise occasions when the whole aud- ience will have to be ejected. Worse and Worse SO Sally Lilley broke into the mo- vies?" "Yes, she landed a big contract playing opposite George Marion's subtitles." — College Humor. Caterwaul Cure TN response to the "clever use for old ■*■ reels" contest announced in Au- gust Movie Makers, C. Bond Lloyd of Chicago sends the following solution, "I keep the reels on nails in my kitch- en. During the concerts which are usual these moonlight nights I stand on my back porch and cleverly skim the reels at the cats. My record, one cat in fourteen skims." We might suggest that he also in- clude in his bombardment, practicing opera aspirants, parrots and ( parents please skip) such babies as are de- serving. Inquiry FALLOWING is one of those let- *■ ters that every technical consul- tant on the use of any camera knows. The postscript is the sort of answer usually required to solve the pro- blem : Dear Dr. Kinema: I have just bought a camera and I can't understand the instruction book. Will you please let me know how to thread the film in the camera and also why it won't run the other way, also why I pay for a piece of paper and I don't get any picture on it and I took a roll of film the other day and made some wonderful pictures of the baby at least they looked wonderful but when I took the film out of the camera and tried to show it I couldn't get anything but a yellow light on the screen should I send this roll back to East- man and get a new one for it because I was very careful with the ex- posure card and put the little jigger on the front just where the card said to and then I pushed the button and saw a dandy picture in the finder and then when I ran it there was nothing on it and all their advertise- ments say "What you see you get" and I saw it but didn't get it and I think something must be wrong with the film because I saw it in the finder but I didn't get it on the screen and I followed instructions very carefully so what do you think I had better do. Very truly yours, P. S. I just read the instruction book again and I see where I should have had the film developed before I showed it. So never mind the above. 573 SIZING UP THE TALKIES ONE night not so very long ago, the motion picture makers of these United States went to bed as sane as motion picture mak- ers ever are. Anyhow, all they had to worry their slumbers was block booking, Federal investigations, high salaries, supervisors, French, Ger- man, English, Italian and Spanish "quotas", State Censor Boards and a few little things like that. 1: s. ,..Mm$l "?*^jl -TTfffiW^^^MJ^^^^K "'_.. ■ ':3lftSB • £& 1 : „ ,j^Pf K; --■ fe^' THE PIONEER SOUND FILM A Clipping from a 1913 Film of Eugene Lauste, in which the Sound Track Covered Half the Film, as Contrasted with the Narrow Track of the Modern Photophone Shown on the Right In the morning they woke up stark, staring crazy; babbling about sound and synchronization, about discs and tracks and bitterly regretting that their names were neither Fox nor Warner, the sound pioneers. The movies had gone sound mad over- night, and all because Al Jolson in the Vitaphone production, "The Jazz Singer" was, in the language of the business, "packing 'em in." Even the conservative New York Times has been moved to observe that the talking picture will spread the use of the English language to the furtherest corners of the world, and Fred Niblo (or his press agent), has more or less seriously suggested that the talking pictures be made with some international tongue. "Crazy" is scarcely the word for it. It's worse than that. To hear them talk you might imagine that talking pictures were something new; something very re- cent, but they're not. Edison had scarcely invented the Kinetoscope when he began to think about the phonograph attachment, and the per- 574 By Epes W. Sargent fection of the projection machine was shortly followed by the talking pic- ture. The commercial phonograph records were fitted with appropriate gestures, and the machine was turned at a speed to correspond as closely as possible with the voices on the record. About the same time the Camera- phone came into being. Here the per- former "did his stuff" before the camera and came back a few days later to make a phonograph record to match. The records were made to fit the film and not vice versa. About the only man to make money out of either device was C. F. Zittell, ("Zit"), now a publisher, but then a vaudeville critic. He was paid $1,000 for each Cameraphone act. If he paid the act less than that, he kept the difference. THE PHOTOPHONE "FIXED DENSITY" 'SOUND FILM The Sound Track is Shown to the Right of the Pictures The Cameraphone languished, but many exhibitors did their own talk- ing, or rather hired two or three actors to do it for them. These play- ers sat behind the screen and supplied their own dialogue. The idea has been revived to meet the present craze. About 1908 Edison again revived the talking picture, this time follow- ing the Cameraphone method of making proper records, but making them at the time the action was re- corded. The "perfected" device in- cluded a double disc in the projection room, one actuated by the phono- graph mechanism and the other by the projection machine. If the projec- tionist kept the machine turning at a speed which enabled the spot on his dial to travel evenly with the spot on the phonograph dial, the synchron- ism was more or less exact. But it was just a picture machine and a phonograph, and the craze was ex- pensive and short lived. Meanwhile a Frenchman, Eugene Lauste, who had worked with Edison on the Kinetoscope and later with the Lathams on the Eidoloscope, had taken out patents (in 1906) on a machine for the photographic record- ing of sound by the varying intensity of an electric current influenced by sound waves from a microphone. When he was only ten years old Lauste had oiled the pictures in his Zoetrope and had projected them through the magic lantern, using his hand for a shutter and getting the crude suggestion of motion. This antedates Huyl and other pioneers, but naturally the ten year old boy was not competent to develop the idea commercially. He made and pro- jected sound-pictures in 1913 but never put the machine on the market. In 1926 Warner Brothers an- nounced their "Vitaphone" sound pic- tures, and the first of these, "Don Juan", with music and some sound, was presented in August at the War- ner theatre in New York. This con- sisted chiefly of the musical accom- THE MOVIETONE "BAND" TYPE OF SOUND FILM The "Band" Can Be Seen Between the Pictures and the Sprockets. The Important Differences Between the "Fixed Density" and "Band" Types is Explained in This Article paniment, but was preceded with an opening address by Will H. Hays and some orchestral and operatic num- bers by Anna Case, Marion Talley. Martinelli, a jazz orchestra and a couple of vaudeville specialties. This device was based on an idea developed by sound engineers seek- ing to increase the tonal volume of long distance telephone messages. The idea was of no use for telephone transmission so it was passed on to other members of the experimental staffs of the Bell Experimental Lab- oratories and the Western Electric Company. The device was largely based on the use of electric regeneration, much the same as you will find in your radio set, and used in what is known as the "public address system", which amplifies speeches at public meet- ings. Adapted to the motion picture, the device took the sound off phono- graph records, converted sound into electrical impulse, steeped it up by means of tubes and projected it as sound in any desired volume. Synchronism between the sound source and the sound itself was at- tained by operating the camera or projector machine and the phono- graph from opposite arms of the same motor. Since the phonograph marked so that precisely the proper frame is in position at the aperature. The discs are specially made with 400 lines to the inch. They run ten minutes, or the same time as the sin- gle theatre reel. If the film is broken and spliced, there is a slight loss in synchronism, but every ten minutes a new reel starts, so that these slight gaps are not cumulative. The disc can be run up to about 18 times, so that two or more discs are supplied The Recording and Projection of Vitaphone Sound Film. and the projector shared the common source of motion they were bound to keep in step. Recording can be done at the point of origin of the sound, it can be made at a distant point, by wired transmis- sion, or it can be added, if desired, at a later time. In such a case, the pic- ture is run off, the sound is timed to fit, and recorded on the disc operated, as before, by the other side of the motor arm. Thereafter sound and sight are bound to be in harmony. The discs are cut to permit the nee- dle to slide into precisely the proper point on the groove. The film is Center: Taking the Picture in a Sound Proof Booth; Left: Re- cording the Sound on a Wax Disk; Above: the Synchronised Projection of Film in the Pre Jector and of Sound from the Disk in a Theatre Projection Booth for each week's engagement. They will respond longer, but the tone is not clear. The film is more lasting, since it is nothing more than the regu- lation film such as is used for silent pictures. The pictures are run at a uniform speed of 24 frames per sec- ond. To run slower or faster will af- fect the tone, just as running a Vic- trola above or below 78 turns per minute will affect the pitch. But while the Warners were per- fecting the Vitaphone, T. W. Case had succeeded in interesting William Fox in a device for the photographic re- cording of sound, and Warner Bro- thers, who at that time held the exclu- sive right to use the "public address system," licensed the Eox-Case Com- pany to employ the device for its Movietone. A press demonstration of Movietone was held in October of 1926, but it was not until March that the first public exhibition was given in offering the musical accompani- ment to "Seventh Heaven." But at the October showing Fox-Case offered a number of short lengths with talk including a series by Racquel Mel- ler and a bit by Chic Sale. Movietone is what is known as a "sound track" machine, as distinct from the "disc" form, represented by Vitaphone. The sound is imprinted on a band to one side of the frame eight hundredths of an inch wide. For this reason the Movietone screen does not show a picture as wide as Vitaphone, since the sound must be masked off. The sound track is merely a suc- cession of bands of varying density, which gives another classification. Movietone is of the "band" type, in- stead of the "fixed density," which will be explained in a moment. The sound is photographed on the film by means of a light beam. This light comes from a special form of light tube, known as the AEO light, the letters standing for "alkaline earth oxide." In recording, one or more micro- phones are placed close to the action stage to receive the sounds. The vi- brations of the sensitive disc of the microphone are conveyed into an am- plifier. The higher the tone, the greater number of vibrations. The higher the vibration, the greater the intensity of the light. And this light, shining through an almost micro- scopic slot, imprints the film with greater or less force. The brighter the (Continued on page 603) 575 Home DEVELOPING and PRINTING THE average amateur will be satisfied to let film manufac- turers and professional labor- atories do the processing of his 16mm. motion picture films. For those amateurs, however, who insist upon doing their own work, the fol- lowing method requires the mini- mum of equipment and will produce excellent results. Developing the negative is no more difficult than developing an ordinary "still"; the only complication is the length of film which must be han- dled. Reference to one of the books noted at the end of this article, or to the September, 1927, issue of Movie Makers, will give you the de- tails for building a rack to hold the film during the developing process. I have found it advisable, however, to purchase a professional flat-tank developing outfit consisting of a spiral metal reel and three compact- ly nested tanks. These, while fairly expensive, are well worth the money in the end. These flat-tank develop- ing outfits can be obtained in sizes to take 200, 100, 50 or 17-foot lengths of film, and they are accom- panied by full directions. The world-famous "Number 16" formula is probably unexcelled for general use and the amateur would do well to stick to it for developing both negatives and positives — the writer always returns to it after flirt- ing with other less constant formu- las. Also, it is well to select one brand of negative and positive stock and stick to it. Here is the Number 16 Water Metol Sodium sulphite 5 Hydroquinone Sodium carbonate Potassium bromide Citric acid Potassium metabisulphite formula : 1 gallon 18 grains 1/3 ounces 352 grains lYz ounces 50 grains 40 grains 90 grains By W. Sterling Sutfin Foreign Publicity Manager Remington Typewriter Company THE OVER-ZEALOUS DIRECTOR By Charles Abel Snarling lips — a muttered curse, "That's the stuff, boys, not so worse!" Lowered face and beetling brow — "Camera! Snap to it now!" Wary circling, inch by inch, "Make it faster, start that clinch! Grab him 'round the neck, let's go! Faster! Smash him — not so slow!" Left, then right, straight to the jaw! "Wow! Two real ones! Not too raw!" Back and forth across the hall, Lurching sideways. "Nasty fall. Hurt yourselves, boys? That was tough. Can't be helped — it's movie stuff. Smash that table! Break a chair! Easy now — come up for air." "Roll him over. Hold him pinned! Gasp for breath now — get your wind. Up and at him! Ten more feet. Near the finish, boys! Toot sweet! Wreck the set now — save the child! (This will make the audience wild!) Set yourselves for this last punch, Let me hear some knuckles crunch!" "On the button! Knock him out! (Holy Moses! What a clout!) Blasted fool, you've queered the scene! How'd YOU come to hog the screen? You're the one that loses, see, Too enthusiastic, Gee! That last blow sure took the cake, Now we'll need a whole retake!" . DIAGRAM I Winding Negative and Positive Films Together in Preparation for Printing with Cine Kodak When your film is exposed take it into the darkroom and wind it on your rack, taking care that the emul- sion side is not the side in contact with the pins — if you use a home- made rack — or with the spiral ribbon if you use a professional reel. Wind the film quite tightly since it has a tendency to expand during develop- ment. The most satisfactory method of development, and the surest, is the time and temperature system. First break off a few inches from the end of your film and develop a trial strip without agitating it unduly in the solution. Note the time of devel- opment required at a temperature of 65 degrees; then proceed to develop the whole roll. It has been my experience that ar- tificially lighted interiors developed with the Number 16 formula at a temperature of 65 degrees require 3^ to 6 minutes. Rinse, fix in an ordinary acid bath and wash in the usual manner in running water. A simple drying rack can be made from four pieces of cypress 28 inches long, fastened together by means of four iron braces in the form of a square. The two top and bottom pieces should be rounded on the edges where the film passes over them and brass staples driven in three-quarters of an inch apart to separate the turns of film. Bore holes in the center of the side pieces and run a solid brass curtain rod through the rack which will act as a shaft on which the rack revolves. When the film is thoroughly washed — in about twenty minutes — reel it on the rack taking care that the emulsion side is out. It is very important that the film le squeeged through a piece of wet chamois held fairly tightly between the fingers while you are winding it on the rack. If this is not done your finished neg- See, also, "How to Make a Developing and Titling Outfit," page 33, April Movie Makers, 1927, and "Building a 16 Printer,'" page 15, June, 1927. 576 irron. ! i i ^*mm 15 WATT FtOUND FROSTF-D ' Walter D. Kent. COLOR TRUTH IN FILM These Studies Are of the Same Three Flowers Colored, Left to Right, Violet, Yellow and Red. With Ordinary Film, Left, the Color Values Are Lost. With Pan- chromatic film, Center. Without a Filter, There is a Slight Improvement. However, with Panchromatic Film and Proper Filter, Right, True Color Values Are Shown on the Film. The What, Why and How ^/Panchromatic THE normal trend of progress has of late brought about a greater facilitj" and a greater assurance of constant good results in both the manufacturing and the pro- cessing of panchromatic motion pic- ture film. The indefatigable efforts of a hand- ful of scientists scattered in the dif- ferent research photographic labora- tories have finally resulted in giving to the amateur "movie maker" this film which, we dare say. will to a great extent supplant in a very short period of time the film prepared with the so called "ordinary emulsions." Since the introduction of panchro- matic film in the amateur field three questions have been present in the minds of those sufficiently interested in the art not to content themselves merely with the taking of pictures, but who aspire to take good pictures. The three questions are summarized in the title of this article, "What, Why and How?" "What is panchromatic film?" "Why should I use panchro- matic film?" "How should I use pan- chromatic film?" To thoroughly understand what panchromatic film is one must retrace in his mind the workings of photog- raphy and the limitations imposed upon him by photographic processes in general. A clear understanding of such limitations and natural rulings is essential to success. The ideal scope By Joseph A. Dubray Technical Editor of A merican Cinematographer of photography is to obtain the image of an object similar in all its aspects to the object itself. First a similarity in shape or form, second a similarity in color. The exact reproduction of the shape of an object includes, of course, the exact reproduction of several objects which together form a scene and con- sequently the exact reproduction of their relative position in the scene it- self. This first requirement of photog- raphy pertains to the optical branch of the science. Let us suppose, for in- stance, a pastoral scene with a tree in the foreground, a grassy field beyond it, cattle in the field and a ridge of hills in the background. It is the lens designer who devises the optical com- bination which creates the image of the tree, the field, the cattle and the hills with such perfection of form and proportions of size that the whole image when collected on the film is a miniature of the actual scene, even more perfect, physically speaking, than the image formed in the human eye, because all of its component ob- jects are brought together with an al- most equal degree of sharpness which power the eyes do not possess. The image of such a scene as de- scribed above is formed by the lens not only In true rendition of form f size may be considered as an attribute of form) but also with all the glory of the infinite range of colors which is the other most important attribute of the scene itself and of any one object pertaining to the scene. The photo- graphic film captures with marvelous fidelity the attribute form and has just recently, through Kodacolor, been able to capture the attribute color. The general effect that light has upon the film is the same for light of any color which is susceptible to bring about such effect. The emulsion spread upon the film undergoes a chemical change when acted upon by light, which chemical change results by- processing in the formation of a silver deposit more or less dense in proportion to the amount of light that has produced the change. Colored rays which bring about such changes are called actinic rays. The degree of actinicity varies with the quality of the light, in other words with its color. Now, colored lights do not affect the photographic film to the same ex- tent and in the same manner in which they affect the human eye. Red colors for instance are perfectly discernible by the eye. but have no influence 583 Photographs by Metro THE CAMERA SAW NO CLOUDS ON ORDINARY FILM WITHOUT A FILTER whatever on the photographic emul- sions of the older type, called ordi- nary emulsions, and yellow light which is very bright to the eye has very little effect on these same emul- sions. The processing of the film transforms the component parts of the sensitive material into layers of metallic silver. This transformation is always of the same order, that is to say, metallic silver is always the re- sult of the reaction irrespective of the color of the light which has caused it, but its density varies according to the color of the light as well as according to its intensity. The photographic image is then only a translation of the colors in layers of silver of different densities which, when looked at by transparency, gives the impression of the lights and shades of the scene which has been photographed, as the sensitive emulsion sees it. The mentioned intensity factor of light we will dismiss from our mind because it is very elemental for any- one who has been even a little famil- iar with photography that a certain amount of light is necessary to make an impression on the film. The color factor is the one that con- trols the chromatic or color rendition of the scene or object photographed and it is the one which is of present interest. All colors are distinguish- able through the impression that they make upon the eye. Some of them ap- pear brighter than others and vice- versa. This we will call the visual rendition of the colors. The yellow, for instance, is the color which pro- duces upon the eye the effect of great- est brilliancy; the green appears less bright, the blue still less, while the orange and the red affect the eye with different degrees of brightness if com- pared with the yellow, but we will al- 584 ways find a certain color which pre- sents to the eye the same brightness as another color such as, for example, a green and an orange which are dis- tinguishable by the eye only through the difference in their hue. We may then visualize the different colors ranged on a band having the yellow in the center, the greens, the blues and the violets fading away in brilliancy on one side and the oranges and red fading away on the other side. Such band would appear approxi- mately as illustrated in the center of Figure 1, if abstraction is made of color and brightness only is consid- ered. To obtain a correct rendition of all colors the photographic film should so react under the different colored lights that the layer of silver should have its greatest density in the yellow, a lesser density in the green and orange and a still lesser density in the blue and red, so that when a positive is printed or obtained by reversion of the image, the yellow would result as the most transparent and consequent- ly the brightest on the screen during projection, as shown in the right hand band of Figure I. But this does not happen with ordi- nary orthochromatic emulsions. The sensitive material is affected in greater proportion by the blue light than by any other one included in the whole range of colors, so that when the posi- tive print is obtained the colors are translated in shades of grays which are the brightest in the blues and grad- ually shade away on each side of it so that the oranges and reds appear black and some of the colored lights which are even invisible to the eye be- yond the violet range of colors are photographically reproduced as shades of grays, as shown in the left hand band of Figure 1. It is quite obvious that such rendi- tion is contrary to the true appear- ance of an object or scene to the eye and that it entirely depends upon the quality of the sensitive material used in photographing such object or scene. As far back as 1873, Vogel, one of the early experimenters in the then newly developed science of photog- raphy, discovered that if a photo- graphic emulsion were treated with special dyes, its sensitiveness would increase for lights of a yellow color. This discovery which brought about a correction in the photographic rendi- tion of colors prompted Vogel to call "orthochromatic" the photographic plates prepared with the incorporation of the dye. Orthochromatic is a word derived from the two Greek words "orto" and "chromo" which mean re- spectively correct and color. This ap- pelation was quite pretentious. Al- though a great improvement in the photographic color rendition was brought about by Vogel's discovery, it was far from corresponding to the exact visual impression that the colors have upon the eye. But it was a be- ginning, a great beginning. It came to be one of the cornerstones upon which the great and complex edifice, to which modern photography can be compared, was built. And so, the cor- nerstone firmly laid in position, scien- tists busied themselves in their labora- tories with the discovery of the rea- sons and physical laws underlying and controlling the sensitiveness of photographic emulsions for the dif- ferent colors. Through constant ef- fort and patient research new dyes were discovered, difficulties of treat- ment were little by little eliminated and gradually the new emulsions left the experimental realm of the re- search laboratory, went into the world and began their glorious career. At first these emulsions required a great amount of precaution and skill in their use, which difficulties did not permit their adoption outside of a limited professional field. But these difficulties were gradually ironed out and the sensitiveness of the emulsion for all colors was constantly increased without damaging its other essential qualities. From the yellow the sensi- tivity was gradually extended to the orange and then to the reds and the appellation, pan-chromatic emulsion, was finally adopted because its mean- ing, "pertaining to all colors," was in true keeping with its qualities. The improvements in the quality of the emulsion and the minimization of the difficulties encountered in its use have brought this product of human intelligence to the door of the amateur photographer possessing no unusual scientific knowledge nor skill and it enables him to obtain photographic results nearing the coveted goal which can be expressed as "a perfection of photographic rendition which not only presents similarity of form with the object photographed, but also a color reproduction in conformity with the impression that each color makes upon the human eye." The problems inherent in panchro- matic film are extremely complex if expressed in detail, but what precedes may be sufficient to give an idea of its reasons for existence and briefly answers the questions what and why? The next question is how? When an attempt is made to explain the functions of any human endeavor vol- umes could be written without ex- hausting the subject. The same applies to panchromatism as well as to any other step that marks progress in any art. It is the spirit with which the in- novation is accepted that guides the true enjoyment in its use and there- fore the true value of the innovation. Panchromatic film offers the possibil- ity of more adequate and more artistic photographic results. The degree of artistic perfection is solely dependent upon the nature of the individual who is called to express it. The normality of results is purely physical and we shall confine ourselves to this material entity. In the first place, the amateur who is going to adopt panchromatic film should discard from his mind the thought that this film is more difficult to use than ordinary film. In the use of the two kinds of film there is the same necessity of protecting both from extraneous light and from undue ex- posure to excessive atmospheric con- ditions, such as excess of heat or cold and excesses of dryness or moisture. In regard to exposure to light, if pan- chromatic film should for any reason be unwound from its spool (which very seldom the amateur does (it must be unwound in complete darkness or under a special green light furnished by the film manufacturer. The reasons for this exceptional precaution are obvious when it is considered that this film is sensitive to all color radiations. If panchromatic film should be ex- posed in the dark room to the red light which has no effect on ordinary or orthochromatic emulsions it would be affected by the red radiations and fog would result, just as ordinary film would be fogged if unduly exposed to a light to which it is sensitive. The development of the image of the film so successfully carried on by the finishing laboratories frees the amateur from all the manipulations necessary in the processing of the film ALL THE TRUE BEAUTY OF THIS SCENE WAS RECORDED " ON PANCHROMATIC WITH PROPER FILTER and relieves him of the details that such processing involves. The concern of the amateur is then reduced to the matter of properly ex- posing the film so as to increase the chances of complete success in his un- dertaking. The main principles un- derlying the use of ordinary emul- sions are to be applied to the pan- chromatic ones. The same judgment of the value of the intensity of the light and, therefore, the proper setting of the lens diaphragm is to be observed, as well as all other detailed precau- tions one has to keep in mind in any kind of photographic work, such as the focusing for the proper distance, the avoiding of the rays of the sun striking the lens directly, etc. The difference between ordinary and panchromatic films lies simply and solely in the difference of sensi- tivity for the different colors. In this respect it must be clearly understood that the sensitivity of panchromatic film represents an increase in sensitiv- ity over the ordinary emulsions to the orange and red rays and not a diminu- tion of sensitivity to the blue rays, so that panchromatic emulsions, while giving a brighter reproduction of the warm colors, still reproduce the blues as a range of grays much lighter than the visual interpretation of the blue colors. This result is untrue to nature and therefore unnatural. In other words, if no special precaution is taken, panchromatic film will give pic- tures very similar to pictures taken with ordinary emulsions and its use will not therefore be justified. It is evident then that if correct color ren- dering of the object is to be obtained the sensitivity of the film for the blue and violet colors has to be diminished. This cannot be accomplished in the preparation of the film and therefore the next expedient is to reduce the amount of blue light which concurs to form the image on the film. This reduction is obtained by filtering the light through especially prepared col- ored transparent sheets of gelatin or glass. All objects are seen by means of the light that they reflect and this reflected light is a composite of practically all of the colors that characterize the ob- ject itself. Blue light is existing in greater or less quantity in practically all the lights reflected from colored objects. It is well known, for instance, that a green paint is obtained by mix- ing a blue and a yellow paint. It is evident, therefore, that if such green paint is photographed so that the ef- fect of the blue rays which it emits is over pronounced in respect to the yel- low rays the green will appear photo- graphically lighter than it appears to the eye. If this excess of blue is filtered out and an ordinary emulsion is used to photograph it the effect that the little amount of remaining blue and the yel- low rays have on the emulsion is very slight, due to its lack of sensitiveness for the yellow part of the composite color, but as panchromatic emulsions are much more sensitive to the yellow rays than the ordinary emulsions the filtered light will have a much strong- er and more prompt reaction on the film and consequently the exposure which is necessary for producing the reaction is greatly reduced. Now, we can consider any scene as composed of an innumerable quantity of different colors which react on the film according to their particular hue and brightness. By filtering out the ex- cess of blue light from all of these col- ors a truly balanced exposure will be secured from each one of them and a 585 true rendition will be obtained, for the two reasons that the excess of sensi- tivity of the panchromatic emulsion for the blue rays is checked and its sensitivity for the warm rays remains unaltered. The filtering of the blue rays is ac- complished by the means of light fil- ters which are, as explained, especi- ally colored transparent materials de- riving their name from the action they have on the light rays. Light filters are made either of gelatin colored with special dyes or of glass into which the color is melted during the process of fabrication. Gelatin filters are very often cemented between two pieces of good optical glass. The dyes which are chosen for the making of light filters have the pro- perty of absorbing the blue rays to an extent dependent upon the nature of the dye and upon the degree of sat- uration at which the dye is incorpor- ated in the gelatin or glass. It is evi- dent that if such a filter is placed be- tween the object and the photographic lens, or between the lens and the film, it will impede the excess of blue light to reach the sensitive emulsion. There are on the market several makes of excellent light filters all based upon the same principle and it would be impossible and unnecessary to describe all of them in this article. We will then, for example, only men- tion three of the most useful filters belonging to one group. These three filters bear the trade denomination of K 1, Kiy2 and K 2. They are yellow in color and each one of them absorbs blue rays to a different degree. The K 1 filter absorbs approximate- ly 60% of all the blue radiations and lets through approximately 80% of all the radiations pertaining to all the other colors. It, then, corrects the excess of exposure from the blue rays which would be inevitable otherwise. Such filters not only absorb the unde- sirable blue rays, but a certain amount of all other colored rays is also evenly absorbed so that the general intensity of the light that concurs to form the image is somewhat less than it would be if the filter was not used. It is then necessary, when using such a filter, to increase the time of exposure which would be normally given for obtaining a good density of image without the use of a filter. The increase of expos- ure for each filter is given by the man- ufacturer in the form of the filter fac- tor which is the number by which the normal exposure must be multiplied to obtain the necessary correction. In amateur moving pictures came- ras the time of exposure can be regu- lated only by means of the lens dia- phragm. Therefore, as the filter factor for the filter is K 1, is 1.5, the dia- phragm should be of an aperture 1.5 times greater when using the filter than when the same scene is photo- graphed without any filter. Let us suppose, for example, that through experience, or by measure- ments derived by the use of an expos- ure meter, we know that a lens aper- ture of /8 would give a correct ex- posure for a certain scene without the FIGURE I The Band on the Right Indicates the Color Visability of the Eye, with Yellow the Brightest Color Value. The Band on the Left Indicates the Far Different Sensitivity of Ordinary Film. Panchromatic Film with Filters Gives Results Approaching the Natural filter in position. When using the K 1 filter this aperture must be increased 1.5 times or, in photographic par- lance, it must be greater by a half stop. The necessary increase of ex- posure is then reached by photograph- ing the scene at /6.3, instead of at /8. The filter K-l1/^ reduces to a great- er degree than the K 1, the admission of the blue radiations, but also pre- sents a greater diminution of the gen- eral light than the K 1. The filter fac- tor for the K V/z filter is 2. and, there- fore, if we consider the same scene as mentioned before which would give a good exposure at /-8 without filter we shall, when using the K V/i double this exposure. Instead of working at /-8 we should open the diaphragm up to /-5.6 which is the next larger stop in the regular diaphragm progression. The K 2 filter is another yellow fil- ter absorbing the blue rays in a still more pronounced way. Its filter factor is 3 which, of course, means that it is necessary when it is used to give an exposure three times as great as the exposure which would produce a good image without the filter in position. Using the same example as before, the diaphragm aperture to be used in con- junction with the K 2 filter should be the aperture of /4.5. The question which naturally arises is : "When shall each of these filters be used?" As a general rule it can be stated that the greater the influence of the blue rays in the general light flood- ing the scene to be photographed the deeper should be the absorption pow- er or the density of the filter. For ex- ample, to cite three generic cases: in a city-street scene the K 1 filter would give a sufficient color correction; in an open air field where the view ex- tends considerably, and thus the blu- ish color of the atmosphere is more pronounced, the K 1% should be used; and the K 2 whenever the blue influence strongly predominates, as, for example, at the sea-shore or when taking views of distant mountains or of subjects and scenes which include great portions of sky. Of course, there can be no definite rules for the use of these filters. The judgment and experience acquired by the operator of the camera is the best and foremost guide. The more highly developed are the innate artistic feel- ings of the operator, the quicker will he acquire the ability to judge light conditions. It is quite easily understood that fil- ters may be made which over-correct the rendition of the different colors or in other words, filters which absorb such color radiations that the operator may at will distort the photographic rendition of the different colors and thus obtain weird and interesting ef- fects. But we enter here into a similar but quite different field of photogra- phic possibilities, which we may dis- cuss at a later time. The beginner in the use of panchro- matic film should familiarize himself with the light conditions under which he is photographing. He should keep a constant and keen watch on the re- sults he obtains on different occasions. This work incites a certain interest in the psychological effects of pho- tography which is replete with charm and agreeable surprises and which, be- sides the satisfaction of obtaining bet- ter photographic results, add zest and pleasure to that wonderful pastime which is now sweeping the nation — amateur cinematography. 586 HOW HOLLYWOOD DOES IT WHEN in Hollywood lately, 1 succeeded, by merely jug- gling the place-cards, in getting myself seated beside Douglas Fairbanks at dinner. "How is it," I asked, "that you can jump from hundred-foot buildings and across man-eating chasms and not spend eleven of the twelve months slowly recuperating from painful in- juries in some out-of-the-way sanita- num t He laughed, setting up a row of white teeth against a nut-brown com- plexion, which is a daily unpaid testi- monial for the California sun. "Well, I'll tell you," he confided. "You see, whenever I leap from an emotional cliff, I am always lucky enough to land in a technician's arms. Does that answer your question?" I nodded. "I suppose so," I said. "I suppose that's the secret of the whole business — technique." And I remembered a phrase heard back home from Will H. Hays to the gen- eral effect that "nothing happens; it's all brought about." Once we come to that conclusion, half the game is won. We look at the motion picture on the screen and won- der how, in the name of flickering fantasies, some of the wonders came about. And if we are amateurs we may be a bit discouraged when, as a matter of fact, we should be encouraged, be- cause most of the things possible for the professional producer are possible for the amateur. It is simply a ques- By Lamar Trotti tion of finding out how Hollywood does it, taking hold of that informa- tion, and reducing it to practical ap- plication at home. Every amateur in the world to-day should not only be applying what he can of Hollywood's technique, but each one should be an experimenter in his own right, thinking, as does Hollywood, in the technician's terms of motion picture technique. Right now, all of Hollywood is in- terested in what the scientist is doing in experiments of one sort or another. The actors and producers talk about "sound" pictures. The cameramen ex- periment with lighting effects. Direct- ors spend hours planning new tricks with the camera. There is a general inclination to study and to experi- ment, with the technician, the man who actually does things, serving as the pivot about which all of these ef- forts revolve. An outstanding example of this technical interest is found in the search for new lighting methods, a factor little recognized by the general public, interested only in the enter- tainment qualities of the completed film, but a problem in which the pro- fessional producer, as well as the ama- teur movie maker, has a vital con- cern. Carbon and mercury vapor lights have been developed over a period of years, to a high degree of efficiency, so that now it is possible to make "ex- terior" scenes indoors, with results even more pleasing than those achieved outdoors; but there is ever the serious matter of the cost involved. A general belief also persists that the same excellent results might be ob- tained, or even improved on, by other lighting devices, and at a smaller cost. Early this year the studios, under the auspices of the Academy of Mo- tion Picture Arts and Sciences, under- took a series of experiments in light- ing to find out if such changes would be practical and economic. The im- pending war between the old lighting methods and filament lights broke with a flourish. During a period of two months, approximately 70,000 feet of film were used in experiments with the new filament lamps, both in- teriors and exteriors being included. The film was developed as it was "shot." Excitement ran high among cameramen. Out of this footage, two films of 12,000 feet in length each, were assembled and made available for purposes of comparison to all the studios and companies supplying film and lighting equipment. The result has been that several companies are now making pictures with the filament lights. Paramount- Famous-Lasky has four such pictures under way at this time, and the entire industry is eagerly awaiting a glimpse of the completed productions. The Photograph by War THE ARK IS READY IF IT SHOULD RAIN IN CALIFORNIA. A Scene From Hoah's Ar\, The Making of Which Is Discussed In This Article. 587 advantages of this system of lighting are claimed to be many. The portabil- ity of the equipment is one factor. Its ease on the performers' eyes is an- other. Its silence, as compared with the sputtering arcs, is vital in making talking pictures. And, possibly most important of all, the number of elec- tricians needed to operate the new equipment, as compared with the old, is said to represent a tremendous sav- ing in overhead. So, it is believed by its proponents, this new method devel- oped by technical experiment, al- though requiring a large investment to install, will result in the produc- tion of better pictures at a consider- able saving. The close attention paid to lighting methods is also devoted to other prob- lems. One cannot visit Hollywood and fail to be impressed by the careful handling of details in preparation for shooting of scenes. Before a set is built artists visualize what they are to con- struct and make careful drawings of what the camera is to see. In making The Cossacks at Metro-Goldwyn- Mayer studios, for example, detailed sketches were made of the interior of a Cossack's home. The property man needed to know exactly what type of Sketch from Metro-Goldwyn-Mayer. HOW A MOVIE SET IS VISUALIZED ON PAPER. Every Detail Was Clearly Set Forth and Then Carefully Followed in This Scene for The Cossac\. furnishings to use, and sort of cos- tumes to supply. Extensive study and research were required. The little inti- mate details of the Cossack's home life, the types of drinking cups, the Photograph by Metro-Goldwyn-Mayer. HOLLYWOOD'S ATTENTION TO DETAIL IS DEMONSTRATED BY THIS SET IN THE COSSACK, THE ORIGINAL SKETCH FOR WHICH IS SHOWN ABOVE. pictures on the walls, the rugs on the floor, all of these were important. They would go to make the difference between a good picture and an indif- ferent one. After the sketches were made, the architect was enabled to fashion his blue prints from them, the carpenter could make his furniture, and the property man could provide the prop- er accessories. In arranging your own sets, no mat- ter how simple, you should follow the same degree of caution and selection. Get the habit of being accurate. Don't make the mistake of believing that no one will know the difference between what is right and what is wrong. They will. And even if they don't, it is a good thing for you to know you are right. Psychologically, the fact that you know you are right is important. How true this is in regard to clothes. If you are conscious of being well dressed, you accomplish more. You are not forced to think continuously of how you look. And so it is with pictures. I remember passing a deserted set one day at the Paramount Studio. There was an altar scene and on the altar was a book. No one could pos- sibly have seen the book. It might as well have been a dictionary or tele- phone directory, but I was curious to know just what it was. I went up and looked at it, and found that it was somebody's Concordance of Holy Scriptures. The studio had gotten the habit of being accurate in small de- tails. And you can form no better habit. I remember having heard it said that Sarah Bernhardt made her Ca- mille incomparable by the use of her 538 Photograph by Metro-Goldwyn Ma- A GROUP OF THE NEW FILAMENT LIGHTS Contrast These With the Old Types Below. hands; that when she walked out of a door and left only one hand clinging inside, Camille's tragedy was com- plete. These little things are important in dramatic art just as the proper book on the altar was important in set ar- rangement. Especially is this true in motion pictures, where a flash often must convey a meaning powerful enough to carry the burden of the en- tire story. Amateurs should observe how little incidents, an expression on the face, for instance, often reveal more than the presentation of a full scene, and they should strive to dis- cover how these effects are achieved. F. W. Murnau, the director of The Last Laugh and Sunrise, gave a fine illustration of the extreme limits to which directors, at times, are forced to go to get exactly what they want. He was completing Four Devils, a Fox picture, not yet released. Its final scene is laid in a Paris circus. A girl and boy, Janet Gaynor and Barry Nor- ton, the sweethearts, plunge from a trapeze to their death before the eyes of the audience. Murnau had a theatre filled with extras. And he wanted to show by the expressions on the faces of the specta- tors what had happened. To do this there had to be a sudden shock, a rapid change of countenance — horror, fear, excitement! Time after time he tried to get exactly the right expression and each time he was dissatisfied. Finally an idea came to him. The scene was ordered again. The cameras began clicking. The director shouted. His assistants waved their arms and gave instructions. Suddenly there was a deafening crash. The expressions of the audience changed instantly. There was confusion, alarm, fright! And still the cameras clicked away, — get- ting an ideal result. The truth was that Murnau had had fifty revolvers fired simultaneously back of the audience. This may be going a little too far for amateurs, but it is not unimpor- tant, because it signifies that with pa- tience and with thought, any result can be achieved. As you go through Hollywood, ex- periences pile up. One day I walked onto the Noah's Ark set. This is a big special which Warner Brothers are making with Do- lores Costello and George O'Brien in the leading roles. Miss Costello was wearing a slave girl's outfit — a straight, coarse dress slit up the side and held together in the middle by a narrow yellow sash. Her feet were protected by sandals, and her hair fell down in golden profusion. At her side was another girl, similarly dressed — Miss Costello's double. I was rather surprised, for I could see no possible reason for a double, as all the scenes being taken that day were close-ups. To my query, the reply was made that the double was known as a "stand-in. "Never having heard of a stand-in before, I asked what her duties were. "You see, much of the rehearsing is done through the camera," I was in- formed, "because that is what is ac- tually going to be seen. It is impor- tant, therefore, that the lighting be perfect, the camera distances accu- rate, and the scene dressed properly before any film is exposed. Sometimes it takes long periods to make sure that everything is in its place. If the star had to go through the tiring task of standing in it all day, while the camera's eye is being properly focused she would be too exhausted for photo- graphing. , "For that reason, there is always a stand-in, someone who looks like the star, who is dressed like her, of the same size and general appearance." The significance here for the amateur is not the "stand-in," but the implica- tion of care in rehearsing for the cam- era. On another day, I remember, there was considerable excitement outside one of the office buildings. I leaned out of the window to see what was happening, with the result I almost had my head knocked off by a small elevator which was being shot down the side of the building at a terrific speed. The apparatus was exactly like the small rope elevator used to deliv- er bricks and mortar to workmen on a building. (Continued on page 607) Photograph by Paramount-FamouS'Las\y . LIGHTING A MOB SCENE— OLD STYLE. Note the Elaborate Batteries of Mercury Vapor Lights. 589 Repeat AT CINE-KODAK 590 Exclusively Eastman: Only with the Cine-Kodak can you make KODACOLOR Pictures. Only with the Koda scope can you show KODACOLOR Pictures. f DEALERS NOW/ 591 EDUCATIONAL FILMS Visual Education in Schools and Homes Edited by Louis M. Bailey schools, it should not be forgotten that the text which is the most valu- able is the one which holds the eager interest of the student. Application of this principle in filming will go far to popularize and make effective the whole program of visual education. News of State Movies ' I 'HE Daughters of the American ■*- Revolution are back of a move- ment which has an excellent inform- ative motive. It proposes to film the story of each state so that the chil- dren in its schools may become bet- ter acquainted with the community in which they live and also that they may know the characteristics of the other states in the Union. These films are to include a pic- turization of significant historical in- cidents, the natural resources, geog- raphy, industries, cities and other features of interest. Such films will do much to bring about a better un- derstanding between the various sec- tions of the country, for knowledge and appreciation of the good quali- ties of each will break down what- ever prejudice might exist. Of course this filming should be done from a purely educational point of view in order that commercialism may not exert an influence. They should be the property of the D. A. R. or on completion be turned over to proper visual education authori- ties to be loaned for use in keeping California poppies with their purpose. Blooming on a Pillsbury Film Teutonic Achievement Flomers and Film JUDGING from German and Ameri- can educational pictures recently observed we have much to learn from the former concerning the skillful use of film in visual education. In a series of nature studies in which the nuances of psychological appeal have been very wisely respected Ufa has achieved the success of producing educationals at once both accurately informative and highly entertaining. In Life of the Twilight, for instance, in which the subject is botanical and zoological, a human interest element is secured, which both heightens its attention value and strengthens its educational content, by translating the activities of lower forms of vege- table and animal life into correspond- ing human values. That such a picture, in which the material is more readily grasped and longer retained, carries its message with greater force is readily seen, since its appeal is naturally much stronger for all age groups than a film whose subject is treated in a coldly scientific manner. In the effort to differentiate clearly between the theatrical and the educa- tional, when producing films for the 592 OR. A. C. PILLSBURY, whose ■!■»■* film, The Birth of a Flower, is now on world tour under the super- vision of Mr. Clarke Irvine, has opened a field of fascinating interest, the latent possibilities of which rival in dramatic incident anything offered in the drama of human endeavor. This has largely been accomplished through the invention by Mr. Pills- bury of the "tandem microscope" camera, the use of which permits the most intimate details of flower life to be photographed, and compresses into a moment's time growth which actually may have required days. The drama of plant life is as in- tricate and complex as humanity's own. The poignant and fragile beauty of the anemone, with flaming senses pulsating to the growth, love, tragedy and decay of life, furnishes a subject of startling and profound interest. Because the continuity of such a story can be so perfect the use of subtitles is eliminated, thus making possible a picture completely cinematic. The educational value of such films, especially when translated into their relationships to human life, can not be over estimated. Young Russia Revolts TPHE semi-educational pictures be- •*• ing shown in special houses for boys and girls in Leningrad under the auspices of Professor Byelsky, of the Institute for Children Hard to Educate seem to have rather strenu- ous competition in the form of the regular movie houses. The children somehow prefer pictures of the "Wild West" to those meant for im- provement of the mind. In fact, it has been found that the favorite star is Harry Piel with Douglas Fair- banks a close second, and that most of the young fans do not wish to grow up like Lenin, Trotsky and other great chiefs of the Commune but look forward to being cowboys, acrobats or even croupiers in big gambling resorts. In view of some of the events of the past decade in Russia's history this normalcy of taste in the present generation seems almost hopeful, as even Russian children should not be expected to give up all sense of pleasure in life even when confront- ed with a choice between that and in- tellectual advancement. Thus it will be seen that educa- tional films in order to cope with the drawing power of films made purely for entertainment, must include qual- ities of entertainment as well as edu- cational values. Farm Films RECENT 35 mm. film releases by the United States Department of Agriculture include a one-reeler on the principal of selective breeding as practiced at the Sin-a-Bar Farms, Grain Valley, Missouri. The film shows improvement in the beef type of cattle brought about by breeding ordinary cows with pure bred bulls. Results gained through years of ex- perience are compressed into a fif- teen minute film, one scene showing by a series of fadeouts four succes- sive generations of calves whose ac- tual breeding and growth required nearly ten years. The successful results in animal husbandry demonstrated at this farm have hitherto been available for study only to the few who could make the trip there. Now that the project has been filmed the benefits may be seen anywhere by anyone in- terested in the matter. Bookings for the picture may be arranged by ap- plication to the office of the U. S. Department of Agriculture, Wash- ington, D. C. HOME PROGRAM BUILDING Edited by Louis M. Bailey THE most satisfactory home movie program of sale or rental films is secured when the three factors, age of audience, interests of audience and the season of the year are the basic guides for its selection. This summarizes the opinions ex- pressed by amateur projectionists in the contest announced in July Movie Makers for the best discussion of the home program question. The age consideration was stressed as fundamental, three general age groups being named, children, young people and adults. Meeting the spe- cific interests of the audience to be entertained was similarly emphasized. The question of fitting the program to the season would seem to be held sec- ondary in importance to these two factors. Various other elements which make a home program satisfying touched upon were: length, musical accompaniment, elimination of waits between reels, comfort of seating fa- cilities, and other environmental in- fluences. Concerning the age of audiences, Jesse S. Cohen of Brooklyn, N. Y., said: "For an audience consisting partly or entirely of children, it is best to lead off with a 'Felix Cartoon.' This may be followed by a feature such as the Kodascope Library pres- entation, 'Behind the Front,' with Wal- lace Beery, Raymond Hatton and Mary Brian. "Where the audience consists of adults it may be better to substitute a scenic for the comedy, while the fea- ture presentation may well be a film of the type of 'The Grand Duchess and the Waiter,' from the Kodascope Libraries. "Finally, where the audience con- sists of young people of high school or college age, a most appropriate or at least a most satisfactory program would be a 'Snookums' comedy and 'California Straight Ahead' from the Show-at-Home Libraries. An equally good feature would be '9 3/5ths Sec- onds' with Charlie Paddock, from the Home Film Libraries." Writing on the same point, Howard Winner, Jr., of Sharon Hill, Pa., said: "If the audience is comprised mostly of children you will do well to select a comedy program, that is, a five-reel feature comedy, a two-reel comedy featuring animals or children and a one-reel travelogue or educational subject, or perhaps an animated car- toon. "If the audience is made up of older children, the best show you could possibly present would be a 'Western A SYMPOSIUM of amateur opinion expressed in the letter contest announced in July Movie Makers, and which was won by Dr. Paul Appleton of Providence, Rhode Island. thriller' feature, a two-reel comedy and a one-reel miscellaneous. "Then there comes the entertain- ment for the 'grown-ups.' This should consist of a five-reel drama, a two-reel comedy and a one-reel travel or in- structive picture." Discussing the second factor, the interests of the specific audience, Paul Appleton, M.D., of Providence, R. I., demonstrates forcefully how indivi- dual the desires of different projec- tionists and their friends may be. To quote, "the projectionist represents the comparatively well-to-do type of person, or he would not spend his money on this individual sort of pleas- ure which is expensive for the average man. He is therefore the type who has travelled, who is educated and who is well read. He cares little for 'slap- stick comedy' or the frivolous love story films without literary back- ground that he cannot avoid finding in the motion picture theatre, because those are the films that satisfy the mass of people. "He wants to live over again the scenes of his travels. He wants travel films of the highest order similar to the Burton Holmes' films. "He wants historical films or films based on historical literature, such as Drinkwater's 'Abraham Lincoln' or the recent Roosevelt Memorial Film, which go well with the projectionist, for he is not only interested in bio- graphical fact, but in historical sig- nificance. The projectionist is the large patron of war films for the same reason. "The projectionist from the very nature of his training and education is at least distantly interested in science. He therefore watches with comparative enthusiasm any scientific depiction. Also with the human in- terest in 'the other fellow's job' and a fairly broad technical and scientific knowledge unconsciously acquired from reading and human association, he is always pleased with industrial films descriptive of mechanical and manufacturing processes. Such films as the recent Gorham Company's re- lease, semi-popular medical films, and almost all of the so-called 'edu- cational,' if not too juvenile in sim- plicity, appeal to the average pro- jectionist." Another very specific and personal reaction was voiced by Mr. Cohen, who said, "The most important ele- ment lacking in the present day li- brary is the sophisticated drama, as represented, for instance, by the airy French comedy drama. It is possible that the library founders have over- looked the fact that the home projec- tionist is able to select his audience in a manner quite impossible to the aver- age theatre manager. For that reason I see no cause for the lack of such films as 'Potemkin,' 'The Last Laugh,' 'Tartuffe,' 'The Cabinet of Dr. Cali- gari' and many others in the libraries of amateur films. Their drawing pow- er in theatrical circles may have some- thing to do with the reluctance of their owners to release them for home showing, but I fail to see how that is true." In regard to the question of type of audience, Joseph A. Schlitt, Jr., of Jersey City, N. J., said: "In reference to the type of film, I should say that it depends upon the taste or liking of the program director or the people that are to view the program. As for myself, I never show 'Westerns,' as my friends do not care much about them. Heavy drama, such as 'Merry Go Round,' comedy, such as 'Poker Faces,' and pictures of that type are what I use. The field is limited, how- ever, on pictures of this sort and I think the libraries should get more out in time for the coming season." H. Syril Dusenbery of San Fran- cisco, Calif., declared on this point, "The exact nature of the short sub- jects to be used depends on the par- ticular interests of your audience. Most people enjoy short comedies, yet there are those who abhor them. Others like travelogs and scenic pic- tures. Generally speaking the average audience in the home will enjoy a short reel most of all when it is made up of a one-reel comedy, a nature or sport picture and an unusual scenic or foreign travel picture." The third factor, that of the season of the year, is stressed by Milton Davis of Washington, D. C. He wrote, "As a lover of home programs I find one should choose his programs according to the season of the year. I have at least two home programs a week and the first thing I consider is the fea- ture. If it is summer I never rent a long heavy drama to tire my guests, but look for something of a light na- ture. Then come the short subjects 593 which I build around my feature. A newsreel always opens a program sat- isfactorily. Then, if the feature is light, fast or brilliant I follow the news with a scenic, travelogue or car- toon, but seldom a comedy. If the feature is a bit dry or heavy, then a comedy will brighten the program. "For winter programs I look for the heavy dramas, never forgetting a newsreel and some odd shots, such as scenes from Hollywood, etc. My motto is 'light programs for summer and heavy ones for winter,' and always build your program around your fea- ture.' " Various opinions as to the ideal length of programs were advanced by the writers. Dr. Appleton declared, "Like all people, the projectionist does not care to, and will not, sit through too long a program. I be- lieve it to be a correct analysis of the projectionist's unconscious program 'complex' that the ideal program should last but one and a half hours at the most, which is approximately twelve to sixteen hundred 16 mm. feet, allowing for film change and projec- tion technique. Of that, I believe, one- quarter of travelogue, one-quarter of historical drama, one-quarter of science or quasi-scientific filming and one-quarter of industrial exposition represent the ultimate desire of the av- erage projectionist's program at a single showing." Charles Luthe, Jr., of Des Moines, Iowa, also urged a program not longer than an hour and a half to consist of a five-reel feature, an animated car- toon, and a combined sport and news- reel, or, as substitute for the last two reels, a two-reel comedy. Mr. Cohen recommended a program to run two hours. "Where a shorter program is desired," he declared, "it is best made up of comedies, since they are naturally short subjects, whereas many dramas for home show- ing are either short films made years ago or else they have been condensed from modern pictures and lost much in the condensation." Mr. Dusenbery stated that he be- lieved the average theatrical program of an hour and a half of motion pic- tures to be too long for home showing. "For home movies the ideal amateur show should not last over one hour," he said. "A longer show is apt to tire the audience. In general, amateur pro- jection is more of eye strain than the professional, which is all the more reason for not prolonging the home show over one hour. The secret of good showmanship is to leave the audience wanting more rather than tiring them with too much." From these quotations it can be seen that various amateurs seem to plan programs from one to two hours in duration, with an hour and a half's program the average. As Mr. Dusenbery said in his letter, "there are probably as many different opinions as to what constitutes an ideal program for the amateur projec- tionist as there are amateurs," but the compilation of possibilities presented here indicates some of the trends in this field and it is hoped that these frank expressions of amateur opinion will aid libraries in offering and ama- teurs in developing programs to their mutual satisfaction. From the general tenor of the letters received one can best sum up the pro- gram requirements which the libraries must meet by considering the three general age groups and the demands of each. Children, it would seem, chiefly desire clean comedy and films in lighter vein; young people desire action pictures of which the "West- ern" type is representative, while adults, as a rule, lean toward the more sophisticated subjects, whether choos- ing those of purely entertainment qualities or ones of more instructive content. The idea of offering films in keep- ing with the seasons should be given thought by the libraries with an eye to making appropriate seasonal re- leases. Also if the libraries are to meet the specific demands of amateur projectionists, as this group grows in importance and more definitely states its wishes, consideration must be given the fact that the amateurs represent a highly selective group, far different from the average movie theatre audi- ence. The libraries must therefore be increasingly prepared to offer films which not only appeal to children and young people, which are comparative- ly easy to procure from present sources, but must include such films in their offering as will satisfy a cul- tured, critical adult whose general background has included travel, edu- cation beyond the average and a gen- erally higher standard of living than that of the great mass of average citi- zens. This means in plain words that the amateur projectionist wants a type of film that is not suitable to the mass audience of the movie theatre. Re- ductions to 16 mm. from theatrical releases and shortened versions of screen successes are not what the ama- teur wants most, although he takes them failing other offerings. The desires voiced in this sympo- sium on the subject of films appro- priate to adult showing thus bear out the opinion of the Amateur Cinema League and Movie Makers that in the not very distant future, special films must be made to meet the re- quirements of this very special ama- teur audience. AN AMATEUR SCOOPS THE WORLD A 16-MILLIMETER camera in the hands of an amateur cameraman has scored the biggest newsreel scoop of 1928. The subject was the rescue of Aviator Frank Courtney in mid-ocean and the picture was shown by Pathe News in hundreds of theatres throughout the country. The cameraman was F. A. D. Hancock of New York City, who was a passenger on board the Minnewaska. He used a cine camera which is his companion on all of his travels. After a photographically uneventful tour of Europe Mr. Hancock began to doubt that his trip would yield the golden vein sought by all prospect- ors, whether in mining or photography. Then over the radio came Captain Courtney's faint S.O.S. The gallant British aviator and his companions had been forced down in mid-ocean with their seaplane in flames. For eighteen hours they rode the broad Atlantic before the Minnewaska arrived. The lucky hour had struck and as the crew low- ered the lifeboat over the side, Mr. Hancock started shooting. He continued shooting as the boat pro- ceeded over the tossing waves and drew alongside the plane. The camera was still going as Captain Courtney and his companions were taken off the plane and hauled up the side of the friendly Minnewaska. Upon arriving in New York, Mr. Hancock turned his film over to Pathe News. It was developed, raised to standard size and immediately released to its large clientele of theatres in all parts of the world. Pathe News showed its deep appreciation of Mr. Hancock's clever work by giving him full credit in the newsreel for taking the picture. Besides that, the story of how the big scoop was accomplished was told in all of the publicity sent out by Pathe News. But Pathe News did not confine itself to glorifying Mr. Hancock. It sent him a substantial check as well. . 594 You can ta\e movies of your family and friends that are al- most as perfect as those you see at the theatre? Remar\ably inexpensive! Read be- low how the DeVry amateur movie equip- ment ma\es this pos- sible. The DeVry Model— G 16 mm. Projector, $95.00 WHAT fun! A movie party at home for the little friends of your youngsters. Your own all-star cast! Your own children and their playmates as actors! Your own story! How priceless these pictures will be ten years from today. The DeVry 16 mm. projector, illustrated above, is very popular with amateurs. Fourteen years of experience went into the building of this projector. That is why the DeVry 16 mm. port' able projector is a little different. . .a little better. The pictures it shows are clear, brilliant and flickerless. Vibrationless and silent, this little projector enables you to have a real movie program of your own, with your family and friends as actors. It transforms your home into a theatre beyond compare. Baby Mary . . . Qives a Movie Party AT HOME Mary, three years old, gives a birthday party. Big brother Dic\ helps enter- tain the ladies. Feature pictures are available for use with it too, in addition to your own movies Through an arrangement we have made with the Pathegram library, jolly, rollicking Alice Day will bring laughs and sighs; Will Rogers will star as only Will Rogers can. Pictures of these and other stars of comedy, drama, and travel pictures can be had at low rental rates, or, if you prefer, they may be bought outright and ex- changed. Your DeVry dealer has a complete list of Pathegram movies. He will help you select films for a movie party for the children. Die flits ch White now ten for the Sox. Mary and moth er are among those cheering for them. Harold Wilson calls on our Mary now sixteen. Dic\, with the De Vry, "shoots" a movie of them Hollywood's Taking movies is a fascinating sport. With the DeVry camera, it's easier than taking still pic tures. Just point the camera, press the button, and you are tak' ing perfect mov- ies. Many diffi- cult scenes in feature films are made with this cam- era because the pictures it takes are so perfect. . .the results so sure. You should use this better amateur camera because it uses theatre siz,e film, and the pictures it takes are clear and sharp. Reduction prints made from these 3 5 mm. negatives for use in the 16 mm. projector have much more detail than those taken with a 1 6 mm. camera. The price of the DeVry 35 mm. camera is only $150.00. Own Write today for our free literature on amateur movie making. DeVry Corp., Dept. 9-MM, 1111 Center St., Chicago, 111. 595 Bell & Howell Co. lly fi rea me FILMO DESK AND oA Desk Model Holds Fihuo Projector, both Filmo Cam- eras— TO and 75, and all the accessories in general use. Has two velvet lined drawers for lenses and small accessories. Total film storage capacity/, in drawers to fit both 400 fl. and 100 fl. reels— 22,000 feet of 16 mm. film. gain Bell & Howell pioneers in the interest of amateur movie makers. This time in the development and pro- duction of beautiful motion picture Console Cabinets, combiningprojection, desk and storage features. Well designed, sturdily constructed, finely finished — these solid walnut veneer cabinets are beautiful pieces of furniture, ready to be placed among the finest furnishings of any well appointed home. Upon opening the Console your Filmo Projector is found practically in position to show your movies. There is storage space conveniently arranged in drawers and compartments for cameras, acces- sories and large quantities of film, on reels or in storage cans. ^^Q>[\- New Filmo Library Films (16 mm.) for Outright Purchase New Filmo 250 Watt PROJECTOR Always noted for their picture brilliancy, the 200 Watt Filmo Projectors in general use now have this exception- ally brilliant companion Projector equipped with 250 Watt lamp. A new type variable voltage unit is used to insure against slightest current variation. Danger of overload is eliminated. Porcelain housing for Resistance permits good ventilation, and guards against short cir- cuit. New, special ammeter shows exact current use at all times. Readings in both watts and amperes. A very quiet-running motor, new style cooling fan, improved bearings, feed and pulley actions, enlarged semi-auto- matic, instantaneous raising pedestal base with screw to tilt up or down for minute adjustment, combine to make this Projector one worthy of the best Bell & Howell traditions. At $240, unquestionably the finest home movie projector the market affords. See your dealer or mark coupon. M-129 Hunting the Wary Black Mallard on Long Island. A 400 foot epic on taking the wariest of all wild ducks, $30. M-130 Hunting Prairie Chickens in Saskatchewan. 400 feet, showing sport with "square-tails," "sharp-tails," pointer and setter dogs — and a party of real fellows. Price $30. M-131 Wild Animals of the Rockies. Wonderful close-ups of deer, porcupine, antelope, bison, beaver, badger, elk and coyote. 400 feet, price $30. M-132 A Goose Safari on the Lower Mississippi. The most remarkable goose hunt ever photo- graphed. Great habitat, great geese, great action. 400 feet, price $30. M-133 Bonefish of the Bahamas. Filmed on one of those rare trips when this fighting, speedy saltwater gamester comes thick and fast. 400 feet, price $30. Comedy Rental Releases Rental basis $1.25 each 400 ft. reel, 24 hours. "Hold Still." Christie Comedy featuring Jack Duffy. 2 Reels. "Sweet Baby," Cameo Comedy. 1 Reel. "Navy Blues," featuring Dorothy Devore. 2 Reels. "Felix the Cat," in "Busts a Bubble." 1 Reel. "Funny Face," featuring "Big Boy." 2 Reels. <5^H- BELL & 1828 Larchmont Ave., New York, Hollywood, Established 596 introduces the first Home Movie Furniture CONSOLE CABINETS Model "G," shown at left, is the larger Cabinet. It provides an editing desk and storage space for 22" x 30" projection screen. Is electrically equipped with two plugs for Projector and Film Editer or Character Title Writer. The price is $135 ready for your equipment. Model "E" (at right) is a beautifully designed Cabinet for the apartment or smaller home. Holds Projector in tilt- top compartment. Has two lower shelves for storing Camera, Character Title Writer and other accessories; velvet lined drawer for lenses; seven drawers for 400 and 100 ft. film reels — total capacity 16,800 feet of 16 mm. film. The price is $105 ready to equip. See your Filmo dealer for all particu- lars on these beautiful Console Cabinets. Or mark coupon and mail to us now for fully descriptive literature. Unequaled as a fine furnishing to house your Filmo Projector, mak- ing it immediately available for use. Most effective when situated opposite spot reserved for screen when you entertain with movies. •i@%U> New Walking Stick Tripod for Telephoto Shots Here is personal style combined with movie making utility. Assembled as a Malacca handled or Manila cane, the Jaki tripod- cane passes any inspection as an item of personal accoutrement. When ready for movie use the handle is screwed off in a jiffy and tripod pulls out, ready for adjustment to height and immediate use in taking telephoto shots . The Malacca style (No. 1) is priced at $10. The Manila (No. 7) is $12.50. Mark coupon for full information. THE DREMOPHOT 70-75 Exposure Meter Camera I THpod ! in fashionable' Walking Stick ' This is the new Dremophot meter providing, at a glance, scientifically correct exposure readings for both models of Filmo Camera — 70 and 75. All the speeds at which various models of Filmo 70 may be operated — 8, 12. 16, 24, 32 and 128 frames per second — are provided for in direct readings as well as normal speed for both cameras. The Dremophot measures not only the general light conditions of the moment, but the volume of light reflected from the subject to be photographed. Here is highest quality picture insurance for every inch of film. An instrument for lifetime use. Price with sole- leather, hand-sewn case, $12.50. See your dealer- -or mail this coupon HOWELL CO * Chicago, 111. London (B. & H. Co., Ltd.) 1 Bell & Howell Co., | 1828 Larchmont Ave., Chicago, 111. I Please mail me complete information on items I checked here: D New Console Cabinets. D New 250 Watt ■ ' Projector. □ 70-75 Exposure Meter. □ Walking- j I stick Tripods. □ Filmo Libraries. Name_ 1907 Address. 597 CRITICAL FOCUSING The Racket Paramount Directed by Lewis Milestone Photographed by Tony Gaudio, A. S. C. Lighting: This film is a splendid example of the care given to the min- utest detail of lighting. A sample of Technical Reviews to Aid the Amateur Lonesome Universal Directed by Paul Fejos Photographed by Gilbert Warrenton, A. S. C. Cinematic Idea: The theme of the story, the utter lone- iness possible to an individual making his way in a great city without family or intimates, is one that can best be con- this is in one night scene where the camera is panned and tilted up and down buildings from roof to basement, showing the members of a bootlegger's gang laying in wait in dark recesses and corners for members of a rival gang to pass by on the street below. The lighting of these characters is superb, it having been used sparingly, showing ugly faces, dim and just barely dis- cernible, leaning over their rifles and revolvers as they peer down at the pavement. An air of mystery and suspense is secured through this light- ing that greatly aids the dramatic ef- fect. The lighting in the police sta- tion sets has also been carefully han- dled and no trick lighting is evident, which might destroy the reality of such a set. Cinematics: This word can be used all through a description of this pic- ture. The camera has been used with intelligence and definite cinematic ef- fects put in only where the use of them aids in getting over the story in a more telling manner. This is a warning to amateurs to use the camera as a means to an end and not as the end itself. One shot deserves mention. It is where an enormous closeup shows a back view of Nick Scarsi, the gangster, seated at a table with automatic lev- eled under the cloth. The camera Is placed near the floor and through the table legs is seen the victim of Scarsi's bullet as he drops dead over a table at the opposite side of the room. This scene could be shot in fifty different ways but the novel angle used, com- bined with the action, makes for a tre- mendous climactic effect. Tempo : Many short scenes are used to picture the reactions of the boy and the girl to the city about them. When they meet each other the tempo is accelerated and swift action is crammed into short scenes to aid in the expression of their joy in the escape from loneliness. This is an ex- cellent example for the amateur of the most subtle usage of tempo. Economy: The simple central theme permits great economy of set- tings. The majority of the shots were exteriors and the interiors used were very simple. Amateurs filming a simi- lar theme could further simplify the settings. The Red Dance Fox Directed by . . . Raoul Walsh Photographed by Charles Clarke & John Marta. A. S. C. Moving Camera: When the lead returning from the front enters the Czar's palace he is followed with a moving veyed by the me- dium of the mo- tion picture. The single emotion, loneliness is em- phasized through- out and it is brought home to the spectator by a cinematic study of a day in the life of each of the film's two char- acters. We see through their eyes the happy and carefree world from which they are excluded. This theme with its possible elasticity of treat- ment opens the way for the many cine- matic subtleties of film and full free- dom in the use of the camera. It sug- gests, for amateur ingenuity, a wide variety of similar cinematic studies based on a single emotional theme. For example, the amateur could film a study of joy in life, hatred or fear. The film could be built up of the ordi- nary incidents in life seen through the eyes of a central character who was preoccupied with a given emo- tional attitude. APPARATUS Methods of the Professionals Are Revealed In These Production Stills. Above, All the Wagon Isn't In the Finished Picture; Center, It Takes a Harness to Keep Some People in Front of the Camera; Right, Reflectors Everywhere. camera through the maze of court functionaries and court guests. This use of the moving camera follows the dramatic action without break, intro- duces movement and effectively brings in the atmosphere and background of the sequence without extra scenes to establish it. Dissolves: A series of scenes, rap- idly dissolving from one to the other and featuring one or two individuals in the midst of a crowd, were used to tell the story of the extravagant and brilliant court life. 598 Opening New Fields of Interest for the Amateur The KODALITE MOVIE makingin daylight is enthrall- ing sport. But if you have not added the Kodalite to your equipment, so that you can make movies at night in your home or club, you are enjoying but part of the fun that your home movie camera can provide. Kodalite opens a wholly new field of home cinematography — easily and inexpensively. Kodalite operates direct from the home lighting circuit. Its 500-watt lamp makes possible the use of two units on the same current outlet, without special fusing. The specially designed reflector utilizes the maximum power of the lamp so that two Kodalites, properly placed, provide ample illumination for ordinary work at f.% 'j • This grained fibre carrying case accom- modates two Kodalites, complete with tripods, d iff users and spare lamps. It is priced at $15.00. The Kodalite, together with connecting cord, switch and tripod, is priced at $2j.oo. At your Cine-Kodak Dealer s Eastman Kodak Company, Rochester, N. Y. 599 1 fi - n M'- •?.'/ ■ i THE CLINIC New Contest PHOTOPLAY MAGAZINE an- nounces a second amateur movie contest, opening on October 1 and closing midnight of March 31st. This will allow amateurs six whole months to shoot, edit and submit their contest films. New rules have been developed from the experience in con- ducting last year's contest and they will take into consideration club pro- ductions as well as individual amateur work. The new rules and the judges will be announced at an early date. Following the decision of the judges the winning films in this con- test will be shown to all of the fore- most motion picture executives in New York and Hollywood. Photoplay hopes, through the contest, to help bridge the gap between the amateur experimentalist and the professional field. The Amateur Cinema League will co-operate with Photoplay Maga- zine throughout this contest. Screen Steadiness |^\NCE more we take up the cud- ^-^ gels in behalf of the tripod. Again and again we have urged "use a tripod or some firm support for the camera wherever possible." Just make this test one of these days : shoot a scene while holding the cam- era in the hand and then shoot the same scene with the camera on a tri- pod or some solid support. When you project the results on the screen watch the bottom of the picture closely. In the hand-held camera shot, in most cases, there is a jiggling of the whole picture that is most annoying. Be- sides, it destroys definition and gives a blurry picture. But now look at the shot made with the camera on a solid support. It's as steady on the screen as the famous Gibraltar. No sharp- ness lost and what a blessing to the eyesight ! Of course it is not always possible to set up a tripod or find a convenient solid support for the shot on hand. In this case, before you press the trig- ger take a deep breath and hold it until you finish the shot. Even a shot made in this manner is not as good as one when the camera is solidly sup- Conducted by Dr. Kinema IDEAS WANTED T1T4 VE you a new scheme *■ '■for using your lens, mak- ing titles, using color filters, focusing or what not? Any one who sends in a sugges- tion which is printed in this department will receive a Movie Makers' binder free. This is a standing offer, un- til notice of discontinuance is given. Send your contri- butions to the Technical Consultant, Amateur Cine- ma League, 105 West 40th Street, New York, N. Y. ported, but it is far better than when the camera is allowed to wobble. Proof of this can be found in many professional productions. A great number of shots are made by profes- sional cameramen holding the camera in the hands, particularly the unusual camera angles. They are far steadier than the shots most amateurs make. Why take a chance on ruining a per- fectly good exposure? It may take a little longer or be a little trouble to concentrate on getting steady screen pictures but the results are so superior that they are worth the time and trou- ble expended. Closeups Again ' I '00 many amateurs are missing a ■*- whole lot of fun by not using more closeups in their films. By a closeup we mean a large head that fills the screen or a head and shoulders only. A shot that takes in figures to the waistline is a medium closeup, but does not give the intimate touch of the closeup. If you are using a camera that has a universal or fixed focus lens do not attempt to get a head that fills the DO YOU TITLE YOUR FILMS? IF so, on the facing page is an art title background, particularly ap- propriate for seashore or vacation films. If you haven't tried titling yet, why not start by experimenting with this picture and one of the many ways of lettering"? screen. Working this closely will necessitate opening the lens to a wide aperture and the result will not be sharp. A head and shoulders, how- ever, can be obtained beautifully with a fixed focus lens. With a lens of this type work in full sunlight on all closeups so as small a diaphragm opening as possible can be used. With a lens in a focusing mount, large closeups of beautiful quality can be made and a few of these inserted at the proper points in your reel will pep up the interest to a surprising de- gree. Let the audience know what is going on in the picture. The screen is small enough without making detailed action difficult to understand. As a general rule long shots should be con- siderably shorter than closeups and should be used merely to establish the setting or surroundings for the action. League Membership TPHAT members of the League en- ■*• joy advantages which non-mem- bers do not is evidenced by a recent incident when League member Duke N. Banks of La Paz, Bolivia, intend- ing to visit Havana, Cuba, for one short day, wrote to Henry S. Bennett, League member of Havana, asking him to tell how he could get repre- sentative views of Havana during his day there. Mr. Bennett replied with a two page letter in which he told ol the lighting conditions to be expected, how to proceed in getting the best angles and in general gave most de- tailed information on getting a good reel of Havana. Think of what ser- vice like this made possible by League membership means to the amateur. It is of inestimable value to any movie maker to get first hand information of this sort, and it can be gotten for any part of the world, for the League is international in scope. Radio Movies 'HE world's first demonstration of radio motion pictures was given recently in the laboratory of the Westinghouse Electric Manufacturing; Company at Pittsburgh, Pa. The pic- tures were broadcast on radio waves and picked up on the receiver in the television laboratory and reproduced. 601 First Announcement of the Model 3 Victor Cine -Camera - - - TURRET EQUIPMENT! Providing still another professional feature this new Model of the Victor Cine'Camera is offered, — the first and only 16 m/m Camera with a multiple4ens turret. The turret equipment offers many advantages over the single lens camera. — having the correct lens instantly ready for every emergency, — taking SLOW-motion and normal speed scenes on the same film, under all light con- ditions, — alternating long distance shots and close-ups, — saving many important scenes requiring other than the general-duty lens. — no time lost changing lenses. A one-third turn of the turret snaps a new lens in place. The Victor View-Finder, without adjustment or attachments, is uni- versally adapted to all lenses. The Turret Equipment may be used with one or two or three lenses, and may be purchased with one lens, or with any combination of two or three lenses, to suit individual pref- erences. Zeiss, Dallmeyer, Goerz, Wollen- sak, Hugo Meyer and Schneider lenses, of many speeds and focal lengths, precisely fitted, are avail- able with the Model 3 Victor Cine- Camera Turret Equipment. Adding the lens turret to the many other exclusive and useful Victor features, makes the Victor Cine-Camera the most complete all- purpose Camera ever offered the dis- criminating movie photographer. 'fclOTE — Regular equipment of the Model 3 Victor Cine-Camera now in use may be rebuilt into turret models. Several lens combinations, tested in service, are recommended. WRITE FOR INFORMATION Victor Animatograph Co*, inc. 242 West 55th St., New York Davenport, Iowa, U. S. A. The signals traversed a distance of four miles, two from the laboratory to the broadcasting station on tele- phone wires and two back to the lab- oratory by radio. No statement was issued as to the size of the pictures reproduced. Officials of the company state that the experiment foreshadows the time when the radio owner will sit at home and have motion pictures projected by his radio receiver. Of interest to the amateur is the fact that when this invention is fur- ther developed an amateur movie maker may be able to take movies on the Pacific coast and have them pro- jected by radio on the screen in his living room in New York. It is still in the laboratory stage but real prog- ress is predicted for the near future. A rt Titles TJTERETOFORE the making of art ■*■ *■ titles from scenes in your own processed reversal film has involved the need of making a negative from your film, making an enlargement from the negative, lettering the title, photographing it, and again reversing it to a positive. The method outlined below is simplicity itself and has the added advantage of costing very little. First thread the film through your projector and select the picture you wish to use for your title background. The projector must be one which per- mits stopping on a single picture. Next fasten a sheet of white paper on the wall and adjust the size of your pro- jected picture so that it is about a quarter of an inch larger all around than the size title card you ordinarily use. Focus the projector sharply — or if you want a very "soft" title it may be slightly out of focus. Now darken the room and replace the sheet of white paper with a sheet of a mat sur- face developing-out paper such as Velox. The small amount of light which leaks from the projector will not fog the paper if no direct rays are allowed to strike it. Then flash the light of the projector onto the sheet of paper. A little expe- rimentation is necessary to get the proper exposure but with a 200 watt projector lamp an exposure of ten or fifteen seconds is usually sufficient. Develop the enlargement and you will find that you have a negative on paper. Next letter the title in black, set the title card in position for photographing and make your expo- sure on negative film. It is possible to use positive film but being consider- ably more contrasty the quality of the finished title is not as good as that obtained when using negative film. 602 The negative is then developed and spliced into your film in the proper sequence. It is possible to use reversal film to make titles by this method but do not send it to the manufacturer for pro- cessing. Reversal film should be de- veloped as though it were straight negative stock and the reversing pro- cess should be omitted. Art titles made by this method need cost no more than ten to fifteen cents each. — Sterling Sutfin. SIZING UP THE TALKIES (Continued from page 575) light, the blacker the negative band and, conversely, the brighter the pos- itive strip. The tone is not printed on the film at the point of action. The frame re- ceiving the photographic impression of the action is at a momentary halt. The action is recorded in the form of 24 photographic impressions per second. To secure a continuous record of the sound, the light slot is placed either above or below the loops which make possible the intermittent mo- tion of the film being exposed to action. Above and below these loops the movement of the film is contin- uous, so at either of these points a continuous record of the sound may be made. In Movietone the sound track is printed at a point several inches above the scene it is recording, being placed at the rear of the cam- era, near the lower magazine. Each frame carries the sound for one- twenty-fourth of a second, and not merely the sound being made at the instant that scene is being exposed. In projection, the sound light is placed below the exposure gate at a point corresponding to the point in the camera. The light shines through the sound track with greater or less force, according to the amount of sil- ver deposit in the positive. This light of constantly varying density acts upon a selenium cell, which converts light vibration into electrical vibra- tion, which is stepped up in the same machine used for Vitaphone, and re- layed to the stage where, in the case of either device, the electric vibra- tions are changed into sound vibra- tions by means of the familiar loud- speaker. It has been found that to be illu- sive, the sound must come from be- hind the screen, so these horns are placed, generally four, at the back DREM AUTOMATIC EXPOSURE METERS JUSTOPHOT, for STILL cameras and color photography. Gives directly selective readings for 1/25, 1/5, 8 seconds and Two Minutes. Compares directly all stops from fl to f45 with time from 1/1500 second to 30 minutes. Exposure adjustment for emulsion speed and filter factors. Complete, with sole leather case and instruction hook, $10.50 GINOPHOT, for ALL Motion Picture Cameras, Movie Titles and Time Exposures. Direct reading for CINE-KODAK, etc. Direct selective observation for 1/32, 1/4, 4 and 30 seconds, and stops from / 1.8 to / 16. Compares all stops from fl to f45 with exposure time from 1/1000 to 30 seconds. Adjustment for variable taking speed from 8 to 128 exposures per second, for s-l-o-w and superspeed. Exposure for variable shutter opening from 10 to 270 degrees. Universal meter for Amateur and Professional. Complete, with sole leather case and instruction book, $12.50 DREMOPHOT, for Amateur Motion Picture Cameras. Specially designed for Bell 6? Howell Filmo 70 and FlLMO 75. Direct and in- stant exposure from /1.2 to /32 for Filmo 70, and from /l to /22 for Filmo 75. Correct lens aperture for VARIABLE SPEED from 8 to 128 expo- sures per second. Complete, with sole leather case and instruction book. S12 50 AVAILABLE EXPOSURE-METER MODELS AND MARKINGS Eyesight condition: Continental Stop marking: 1, 1.2, 1.4, 1.8, 2, 2.4, 2.8, 3.5,4.5, 6.3, 9, 12, 18, 25, 36 Amer. Eng. stop marking: 1, 1.2, 1.4, 1.8, 2, 2.4, 2.8, 3.5, 4, 4.5, 5.6, 8, 11.3, 16, 22.6, 32, 45.2 For normal or near- sighted vision Justophot Mod. 1 Cinophot Mod. 5 Justophot Mod. 3 Cinophot Mod. 7 Dremophot Mod. 1 1 Standard for all vision except very nearsighted Justophot Mod. 2 Cinophot Mod. 6 Justophot Mod. 4 Cinophot Mod. 8 Dremophot Mod. 12 Every Instrument is identified by a register number on the outer box and leather case flap. The first numerals designate the model. For example: Instrument No. 1201745 is model 12, namely standard vision Dremophot with English Stop marking. Mail us registration card for protection. Ask your dealer. DREM PRODUCTS CORPORATION 152 WEST 42nd STREET ASK YOUR DEALER NEW YORK, N. Y. 603 ! J for your 16mm films ri the Van Liew Film File Comprised of six book-units holding two seven-inch reels in tins, and numbered on the outside from 1 to 12 for indexing. Sturdily built of wood, covered with deep green Spanish water-proof artificial leather, unit faces in imitation red leather with lettering and figures engraved Price includes index. in gold If not available from your deal- er we can sup- ply you direct. D. VAN LIEW MANUFACTURER 110 EAST 23rd STREET, NEW YORK CITY Em PRICE 15 SHOOT NATURE with your CAMERA Let Nature Magazine be your guide to wild life and its habits. Each issue is a lesson in photo- graphy. The illustration here was taken on one of the American Nature Association's Expeditions that have brought back many photo- graphic prizes and fascinating stories. Nature Magazine is a 70-page monthly, profusely illustrated in halftone and color. Send for a Sample Copy or CLIP THIS AD and attach three dollars for one year's membership including Nature Magazine, and send it to American Nature Ass'n 1214— 16th ST., WASHINGTON, D.C. of the screen, this screen being com- posed of a material permeable to sound, such as scrim. It was at first thought that ampli- fiers might be used throughout the house, but it was found that at points remote from the stage, the sound from the house horns was just slightly be- hind the sound from the stage horns It takes the barest fraction of a sec- ond for the sound to travel, but this is sufficient to cause a confusing over- lap. For more than two years the Vita- phone and Movietone had the field practically to themselves. A year or so prior to 1926, Dr. Lee De Forest sought to introduce his "Phonofilm" device, and this was shown in a num- ber of theatres but was withdrawn. It is now announced that the Phono- film is about to sue the companies presenting the other devices, claim- ing invasion of basic patents, but the Lauste patents, which have expired, may be found to cover the basic idea. One other device made its debut and retreat during this time. This was the "Vocafilm," a disc device. After the first showing it was also with- drawn but has now been improved and is at present being used for the showing of short subjects in houses unable to pay the heavy costs of the "public address" installation. It costs $2,000 to put either Vita- phone or Movietone on a projector, and you can have one or both on the same machine. There is a variable cost for wiring and the amplifiers, which brings the cost from $6,000 up to around $15,000. This cost is not a purchase, but a rental of the device for a period of 15 years. Recently the General Electric Com- pany, ostensibly a rival to Western Electric, has brought forward the "Photophone" which uses the "fixed density" principle. In this the sound track does not carry bands of varying density, but varying areas of light and shadow. The higher the tone, the wider the clear portion of the sound track, and the greater the amount of light passed. It is claimed for this form of de- vice that fixed density gives better results than the band, since greater latitude in exposure and development are permissible. A band sound track too lightly printed will at all stages pass more light than a normal expos- ure, and the entire pitch will be raised. If it is printed too deep, the light passed will be less and the pitch will be lower. In the fixed density, the width of the light band and not its density determines the amount of light passed, and within reasonable limits the tone will remain the same whether the print be "light" or "dense." 604 Originally Photophone carried a sound track of one-tenth of an inch. Because it is difficult to run this on the Movietone projectors, it has heen announced that the track can be had in the eight hundredths of an inch width. This is an important step to- wards standardization and inter- changeability. In Photophone there is another es- sential difference. The Movietone frames are but 92-100 of an inch in width instead of the full inch. The picture on the screen shows a similar reduction in width. Photophone al- lows for this by reducing the height of each frame, as well as the width, so that the picture is still in the fam- iliar 3:4 proportion, and can be shown full size by proper masking and a change of lens. The Photophone idea is said by ex- perts to be superior, but Movietone and Vitaphone as pioneers, now have the inside track, and most of the companies are now using either Mov- ietone or Vitaphone, as may be most convenient. They will probably use the disc for most of the product to which sound is added. At present on- ly Pathe and F-B-0 are said to be contracted to Photophone. First Na- tional, Paramount, Metro, United Artists, First National, Hal Roach and Christie are said to plan use of Movietone. Sennett, it is believed, will use Photophone. Universal has recently been reported as using the Western Electric devices, and the so- called "independents" are shopping around for prices. At the moment the price seems to be 5% of the gross rentals on all pictures where sound is supplied. This applies to those companies not building their own sound studios. Taking licenses are around $100,000. Each company in the major rank will make its own sound films, and each company will spend between $1,- 000,000 and $3,000,000 for sudios. Victor is making the disc records for both Vitaphone, which is the Warner trade name, and "Firnatone," which is the same thing when it comes from Western Electric. Sound can be put in on discs by the Victor company, which will use its own studios. Photophone can put in a photogra- phic track after a picture has been made, as was done for "The King of Kings." This is accomplished by means of double printing. Fox can do the same thing with Movietone, though it is easier to take sound and sight at the same time. Where the disc method is used, the sound must be added after the picture is cut for exhibition, since the groove must be continuous and cannot be pieced out. For the most part it will be mostly sound this season; the orchestral ac- FAMOUS BRAY LIBRARY OF MOTION PICTURES ANIMAL LIFE / BKAMAS / SCENIC i INBUSTMY POPULAR SCIENCE RAY STUDIO? are the inventors of the ANIMATED CARTOON PROCESSES and pioneers in production of ENTER- TAINMENT and INSTRUCTIONAL FILMS. For more than ten years Bray pictures have enjoyed great popularity in theatres throughout the world. Bray now offers the most extensive Library of films in existence, especially edited for Home, Church, School and Club, i i -t i i ■/ i RELEASES FOE SEPTEMBER Length 400 feet each approximately — Price, $28.00 12 SUNKIST COMEDIES 12 McDOUGALL ALLEY COMEDIES 12 FISTICAL CULTURE COMEDIES 39 DELUXE NATURE SPECIALS 12 BRAY ROMANCES Length 100 feet each— Price $7.50 6 BOBBY BUMPS CARTOONS 6 HOT DOG CARTOONS 12 BRAY NATURE SPECIALS THESE releases and descriptive circulars obtainable at your dealer or direct on request from BRAY PICTURES CORP. 729 7th Avenue, New York 605 §§I§!h^ ^cyVow/ By popular demand the com- plete line of Goerz Lenses has been made available to owners of the Model B Cine-Kodak F-1.9. Wide-angle, high-speed, telephoto! With no changes to be made on the camera other than replacement of the present lens mount plate and permanent screws with a spe- cial plate and thumb screws, al- lowing quick interchanging of the various focal length Goerz Lenses. HYPAR— CINEGOR— DOGMAR TELESTAR— W. A. HYPAR Focal lengths from 0.6" to 9'/2" New worlds to conquer for the Cine-Kodak user. Another host of enthusiasts to add to the ever increasing popularity of Goerz Lenses. Ask your dealer! Descriptive Circulars sent on request. C. P. Goerz American Optical Co. Manufacturers of lenses and precision instruments to aid cine amateurs 317 East 34th St., New York City GOERZ ■ENSES CINE KODAK Another Letter about Koloray This one is from HERBERT C. McKAY, A. R. P. S. Director New York Institute of Photography Cine Editor Photo-Era — Cinematographer t7\ '*~~ BECKLEY 6? CHURCH, INC. Rochester, N. Y. Dear Sirs: I gave the KOLORAY the most severe tests I could think of and it proved entirely satis' factory. In fact my friends have been some- what amused at my enthusiasm over the two- color effects possible with this filter. I use it constantly and never project a film any more without this valuable little device. I have given many of my "fan" friends a very en- joyable surprise by showing them films with a rosy sky and green foreground with a per- fectly blended effect. You are to be congratulated upon this color filter and I certainly recommend it to every owner of a projector. Yours very truly, (Signed) H. C. McKAY. K 0L0RA "Professional color effects for home movies" Y The illustration shows KOLORAY attached to a Model A, Kodascope and a Filmo Projector. KOLORAY is made for Kodascope, Models A, B and C, Filmo and De Vry 16 mm. Projectors. It can be attached in 30 seconds. No machine work or altera- tion needed. Descriptive literature on request. Price $7.50 at your dealer or postpaid BECKLEY and CHURCH, INC. Cutler Building - Rochester, N. Y. Dealers — Use a Koloray on your dem- onstrating projector — It pays. companiment, the theme song and perhaps the sound effects. Just how to handle the talking feature is what is making old men out of young ones in every studio from coast to coast. In addition to these standard meth- ods there are a number of other de- vices, including the Cortellaphone, which is supposed to carry a phono- graph record on a hairline between the edge of the frame and the sprocket holes. A number of French inventors are also working on the sty- lus impression on the film, the film being sent through the machine in a softened state and later hardened. Cortellaphone is advertising for busi- ness. In addition to these there are in the market the Cinephone, the Mada- laphone, Bristolphone, Han-A-Phone and one or two others. And in the offing there are 87,953 inventors who claim to have a prac- tical proposition which they will per- fect if you will keep them from starv- ing while they labor. Just what the talking pictures will eventually become is something that no one knows. Fox, who has perhaps conducted the most exhaustive experi- ments, has not yet made a long "talk- er," though his shorts are excellent and the "Movietone Newsreel" puts a new charm in this branch. On the other hand Warner Brothers have shown the first "100% talker" in "The Lights of New York," which is inter- esting as an experiment but is very far from being a finished product. As good a guess as any is that there will be a host of one and two reel talkers. Here Fox can claim the "first" with his two-reel "The Family Picnic," which is not only the first all talking picture, (antedating the Warner "Lights" by several weeks), but is also the first picture ever made outside the sound-proof studio. These talking shorts will be well received, but the talking features will probab- ly either be too sketchy or too long, for you can get about four reels of story in a seven reel talker, the other three reels being the retarding hand- icap of talk. For this reason, most of the immediate features will be "sound" rather than "talk." Event- ually we may work up to the three- act play, all talked. Al H. Woods is planning to make "The Shanghai Gesture" and let the censor boards hew where they may. PHOTOPLAYFARE (Continued from page 582) man did in the Faschingsschwank with the Marseillaise. He has played a fine joke on the Soviet bureaucracy with one title. In the beginning we see the hero and his friends eating noth- ing but potatoes. After all the tumult 606 and the shouting has died and the whole jamboree has been thoroughly won for the PEOPLE, we see the wife of the chief agitator going into the Winter Palace with a tin full of baked potatoes. Whereupon Mr. Pudowkin's one bit of irony in the whole film and his one glorious title, "Potatoes still!" On guard, censors of the Soviet! MORE LEROY ANTIQUES JEAN A. LEROY is rapidly winning the title of the world's chief anti- quarian film producer. His third re- lease in the last twelve months, "Ye Movies of Ye Olden Days," was shown first on the occasion of the last program at the historical old Keith's Theatre in Boston, and is now on cir- cuit in the East. Starting with "The Charge of the Cuirassiers," made in 1893 in France — which is full, incidentally, of what we have come to call "cinematics," that is, a most intelligent use of the movie as an independent art form — Mr. LeRoy has added what he calls "the first colored movie," showing the renowned — in its era — Baby's Bath, featuring an African infant and enough soap-suds to drown any child less vigorous. Other cuts from the thrillers of a by-gone period com- plete the film. HOW HOLLYWOOD DOES IT (Continued from page 589) In the bottom of the elevator was an aperture and over this a camera's eye had been set. By dropping the elevator swiftly, with the camera working, a sensation of falling was developed. That scene on the screen gave the au- dience the feeling that it was moving with the falling body. This sort of "gag" can be easily employed by amateurs with interesting results. I am frequently asked, "Do moving picture actors actually speak lines when they are talking to each other?" The answer is that in nine cases out of ten they do, and the lines they speak are pertinent to the action of the play. I heard Noah Beery one day speak the same lines over and over again, even in rehearsals. The camera is so quick to catch the movement of lips that it is important that the words be accurate. George O'Brien and Dolores Costello also invariably spoke lines. Probably it is not always necessary to have any set speeches, but in this, as in the small details of sets, the speaking of lines has a psycho- logical effect that is important to the actor. The gist of this whole article, it now becomes clear, is that Holly- wood's way is that of paying attention to details, of experimenting, and of study. New Amateur Movie Contest Read About It In the October Photoplay Magazine The full rules of PHOTOPLAYS Second Amateur Movie Contest appear in the October issue, on all newsstands on September 15th. The Second Amateur Movie Contest offers extraordi' nary opportunities to the amateur cinematographer. The most important of these opportunities is a hearing by all the leading makers of professional pictures. Thus your contest contribution may open the gates of Holly' wood to you, as it did to winners of the first contest. PHOTOPLAY MAGAZINE 750 N. Michigan Avenue, Chicago, 111. STUD FITS AW STANDARD CAMERA AND AMATEUR CAMERAS New and Popular KINO-PANO-TILT and TRIPOD The BEST Tripod and Top in the world for all 16 mm. Cam- eras. Projector plates make it an ideal pre jector stand. $35.00 Projector Plates $5.00 to $7.50 ASK YOUR DEALER The Thalhammer Corporation 121-3 S. FREMONT AVE. Los Angeles, Calif. 607 THE MODERN MOVIE-SOW STANDS CN ITS OWN TEET-ANE FEATURES RAISES TO SEVEN FEET HIGH .ClKWTM.ua! ''Ray- FLEX'' comes in a dust - proof metal tube case; light in weight. P ro j ection surface 30" x40". Stands on its own feet — independent of tables, walls, etc. — no re-arranging of your furniture to show movies. The "RAY-FLEX" is adjustable — extreme height 7' and lowers to within one foot of the floor. "RAY-FLEX" is beautifully beaded with glass — looks like a sheet of seed pearls — each bead is securely em- bedded in a perfect diffusing surface. The "Ray-Flex" has many desirable fea- tures ; portable ; easy to erect ; fine pro- jection surface; use on porch, lawn, in any room ; washable, adjustable, com- pletely encased ; screen on tension roller. Upon receipt of your check for $30.00 we will send you a "Ray-Flex" charges prepaid anywhere in United States. If you wish, simply write your name and address on the margin of this page — send to us — and we will return to you a booklet and sample of "RAY-FLEX" screen surface without obliga- tion. Dealer connections solic- ited— write us on your letter- head. Dealers will be protected in their territories. m oo At UNIVERSAL SCREEN COMPANY NAPPANEEINDUN\ A. A. HEBERT (Continued from page 581) they are all anxious to join with oth- ers who are interested in the hobby that fascinates them. At its present rate of development it would sound improbable if I, or anyone else, should attempt to prophesy the size or importance of the Amateur Cinema League when it shall reach its four- teenth birthday. The direction and the development of the two organiza- tions has to be along entirely differ- ent lines for each appeals to a dif- ferent type of people, but they are alike in that they are both non-com- mercial organizations, their mem- bers are people who are interested in the development of their favorite hobby, and each has a wide human appeal." Mr. Hebert finds amateur movies an asset in his work with the Radio Relay League. This work involves his officiating as the main speaker at di- visional Radio League conferences in different parts of the country, and he attends twelve or fourteen of these a year. It is a comparatively easy mat- ter to better acquaint the members of the various divisions, not only with the work being done at Hartford, but to introduce them to the actual members of the Headquarters staff by means of the screen. Such a film has been made and results in conference members from all parts of the coun- try being able to actually visualize the offices at Hartford and the vari- ous officials with whom they are in constant communication. This film invariably evokes a great deal of en- thusiasm and interest wherever it is shown. Mr. Hebert says that he never has to take a projector with him for he always finds an Amateur Cinema League member somewhere in the town, and interest and coopera- tion are offered him on all sides. This is one of the fine things about such a League. You find members, and consequently friends, wherever you go. At least that has been Mr. Hebert's good fortune on his various trips. "The possibilities are so tremen- dous that I don't dare visualize what the Amateur Cinema League can, or could, do. It is a leadership that can go anyway we so desire, and it is bound to be for the good of all those who are interested in the motion pic- ture industry from any angle. The stronger we grow the greater will be- come our influence, and the more A NEW CREATION {Individual Containers in Library Book Style for 400 Feet Cine Film Humidors) This Library acquisition corresponds in construe tion, quality and distinctive appearance with books in finest libraries, and includes Volume Numbers and Film Indexes to facilitate the exhi' bition of Films. Sold by leading firms in following cities: New York, Chicago, Philadelphia, Baltimore, Wash' ington, D. C., Cleveland, Detroit, Toledo, Cm- cinnati, Columbus, Dayton, Louisville, Ky., Lex' ington, Ky., Indianapolis, Pittsburgh, Buffalo, Rochester, Syracuse, Utica, Boston, Springfield, Mass., Hartford, New Haven. Also now being established in all other principal cities throughout the United States. PARK MANUFACTURING CO. 19 Park Place New York City TITLES // better titles can be made WE MAKE THEM Hand Lettered, Illuminated, Bor- dered, Illustrated and Trick-Effects A good title dresses your picture, tells your story and makes it professional in appearance. Artistic Animated "Presentation Leaders" and "The End" Trailers We supply the Producers and Theatres WHY NOT YOU? F. A. A. DAHME, Inc. 145 W. 45th ST., N. Y. CITY M ETROPOLITA FILM LIBRARIES N Released Wednesday, Sept. 26th "MONKEY LAND" Was Darwin right? These fellows are almost human and remarkably intelligent. Their peculiar traits are exceedingly funny. Complete subject, 100 ft. 16 mm, $6.00 Metropolitan Motion Picture Company 108-110 W. 34th St., New York City NO MORE Dried up cement Sticky Corks Loose Brushes Upset Bottles with THE FILM GEMENTER As it is a solid brass nickel plated fountain brush of about Vi ounce capacity which seals itself after use. Moderately priced at $1.00 At your dealer or postpaid direct. HENRY COUILLARD 449 S. Hill St. Los Angeles, Calif. 608 rapidly will the amateur motion pic- ture advance in its development for good. "I absolutely believe that the Ama- teur Cinema League will eventually be the leader in the field of educa- tional motion pictures. "I think it probable that the time will come when motion picture clubs will be requested to act as censors for the professional houses in their respective communities. This is logi- cal for members of these clubs will be well posted on picture values, they will be vitally interested, they will have no ulterior motives, and they will be able to recognize and will de- sire the best in professional pictures for their communities." Mr. Hebert also believes that the professional motion picture pro- ducers will eventually call upon League member to act on committees when questions of propriety arise. These producers will naturally feel that a non-commercial organization will give unprejudiced judgment and that if its members are interested in, and continually experimenting with, motion pictures they will be the bet- ter able to give an understanding and unbiased criticism. This is undoubt- edly true and as amateur movies ad- vance through study and experimen- tation, and the League develops, it should attain a vital and recognized power in this field. From the amateur dramatic clubs grew the little theatre movement which has assumed such a recognized place today; so from the amateur movie club the little movie theatre of the future will probably be born. Al- ready high school, college and com- munity groups are founding their movie organizations. Recently a large insurance company decided to make a photoplay which could be preserved for future years, rather than to pro- duce its annual stage play which could last only in memory, and every- one knows that memory is tricky and apt to be fleeting. So it goes — new groups developing, new ideas being tried out, new uses for the home movie being discovered almost daily, and with each development the need for the Amateur Cinema League, and its chance for service becoming a little greater. It is small wonder that Mr. Hebert does not "dare to visualize what the League can do." But with his fore- sight and comprehensive understand- ing, and his optimism and faith in its power, it has an ardent champion and builder. With his experienced hand guiding its financial destinies it will steer clear of the rocks on its trip to success. You can safely put your trust in Rear Commodore Hebert. Supplied with finder mask and screws for attaching. DOROTHY DWAN Setting up her ARROW BEAD PORTABLE SCREEN Arrow Bead Screens Give Better Pictures At your Cine-Camera Dealer's Manufactured by ARROW SCREEN COMPANY 6725-55 Santa Monica Blvd. Hollywood, California 609 NEWS of the INDUSTRY For Amateurs and Dealers HEADED FOR CHINA General Smedly D. Butler of the U. S. Marine Corps Is Presented DeVry Automatic by Metro-Goldwyn-Mayer. ith a For Projection ANEW screen, the Ray-Flex, made of very fine glass beads makes its appearance this month. It has many valuable features that should appeal to all amateurs desirous of possessing a 30 by 40 inch projection surface screen that can be set up, taken down, and transported with a minimum of trouble. The Ray-Flex comes in a dust-proof metal tube case of very light weight. It is lifted from the case by an instantly accessible ring handle and a few adjustments sets it on its own stand or legs, ready for projec- tion. The stand, which is a unit with the screen, is adjustable so that the screen may be used at a height of seven feet or one foot from the floor. The screen has an excellent projection surface, is washable, and a strong ten- sion roller assures its always being held at the proper position for pro- jection. Tribute TPHE telephoto and /1.5 cine-velo- ■*■ stigmat lenses manufactured by the Wollensak Optical Company, lens makers for thirty years, are now listed in a new catalog just issued by the Bell & Howell Company of Chicago, 111. The manufacturers consider this a recognition of the genuine merit that these popular lenses are said to pos- sess. New Library A T a recent meeting of the Protecto **■ Films Inc., Albert Teitel was re- elected President and H. H. Brody, who was elected Vice-President, named Executive Manager. Miss Clara Hollinger, a pioneer amateur movie maker, was appointed librarian. She has installed a system of checking all minute details assuring quick service to Protecto library members. Three side car motor vehicles will distribute films to all points in the city to insure prompt delivery. The company has just completed a large purchase of films comprising all Universal specials on 16 mm. stock. Among them are included such stars as Lon Chaney, Wallace Beery, Regi- nald Denny, Laura LaPlante, and Snookums. The company will shortly release the "Passion Players of Ober- ammergau" on both 16 and 35 mm. stock. The 35 mm. print will be syn- chronized with some of the greatest religious music of all time. International TPHE New York Institute of Photog- ■*- raphy sends the interesting infor- mation that there is hardly a country in the world where students of its home division cannot be found. China. Sumatra, Java, India, Australia and New Zealand all have their quota and students are found in many other dis- tant lands. The cosmopolitan nature of the student body is also found in the Institute's resident classes. Re- cently two students registered within an hour's time of each other, one from India and the other from the British West Indies. Often ten or more coun- tries are represented at the school at a given time. Industrial HPHE William J. Ganz Company, ■*• producers of "Highlites of the News" and industrial motion pictures, announce that they have sent Mr. Harold Noice, formerly with Pathe The Handsome Quarters of the Bell &. Howell Company's New Eastern Office in the Salmon Tower, New York City. 610 Review, to Colombia, South America, for the purpose of photographing the major industries of that country. Mr. Noice will be gone four or five months during which time he will cover the entire country, spending much time in the interior. The pictures will be made for distribution among the clients of the Ganz Company. Lens Turret ' I 'HE Victor Animatograph Com- ■*- pany offers to amateurs thismonth a multiple lens turret for the Victor cine camera. The turret accommo- dates three lenses at one time and greatly facilitates the taking of all kinds of pictures. A one-third turn of the turret snaps a news lens into place. The turret equipment may be pur- chased with one lens or with any com- bination of two or three lenses. Most of the popular makes of lenses of VICTOR LENS TURRET many speeds and focal lengths, pre- cisely fitted, are available. Those Vic- tor cameras now in use may be rebuilt into turret models. A turret on a cam- era enables the amateur to make tele- photo shots, wide angle shots, and normal scenes, one after the other with great ease and rapidity. Screen Table ' I 'HE Eastman Kodak Company an- ■*- nounces the appearance of the Kodacarte, a combined bridge table and projection screen. The playing surface of the table is of artificial leather delicately embossed in a gold and black design. Pyroxylin coating makes it exceptionally durable and proof against fading, stains or scuff marks. The Kodacarte meets the tech- nical requirements of good projection just as completely. The table top is hinged and snaps into projection po- sition in a moment's time. The top snaps to an exact right angle making- focusing easy. The screen is I8J/2 by 25 inches in plain aluminum finish. In the closed position the screen is pro- tected from dust and injury by a floor of light-weight board. CARL ZEISS CINE LENSES For standard and 16 mm movie cameras. Zeiss Tessar f2.7 and f3.5 Tele-Tessar f6.3 Finders Filters Sun-shades CARL ZEISS, INC. 485 Fifth Ave., New York 728 So. Hill St., Los Angeles SALE of SEPT still and MOVIE CAMERAS IDEAL FOR VACATIONS Takes 16ft. Roll Standard 35 M, M. Film 250 Snapshots with Sept cost but $1 Formerly sold at $50. Double Spring, Motor Type. Com- plete with Tan Russet leath- er case and six magazines. Special at $29 50 U/IUXKIGHByS ▼▼110 West 32-Sr..Newyork.N.y.** Movie Camera Headquarters 611 Titling Adds Credence to Your Vacation Movies What do your friends, who sweltered at home while you had the time of your life, care about a lot of random "shots?" The answer is obvious. But when Kodascope Edit- ing and Titling Service makes a vacation reel of these "shots" that is as realistic as the vaca- tion itself, then everyone sits up and takes notice. Prices for this service are surprisingly reasonable and the work is done by a staff long experienced in the amateur field. Let us help you make a co- herent story of all your movies. KODASCOPE Editing and Titling Service, Inc. Room 917 350 Madison Avenue New York City KODACOLOR Home Movies in Full Color You've read about them and heard about them now you can SEE them at either of our stores COLOR that is nature's own — rich and gorgeous — is now as easy to record, and show as ordinary black and white movies. A Cine-Kodak, Model B, f. 1. 9, a reel of Kodacolor film, an inexpensive color filter — and full color photography is yours. Either Kodascope Model B, or Koda- scope Model A may be adapted for Kodacolor projection. We invite you to witness a personal exposition of this spectacular home movie development — one that will surprise and fascinate you. Visit either of our stores today. Ask to see a Kodacolor demonstration. It obligates you not at all. Eastman Kodak Stores, Inc. TWO STORES Kodak Corner . . . Madison at 45th 235 West 23rd, near 7th Ave. rODA« New York City Lens Turret A PRACTICAL multiple lens turret **• has also been designed for the Victor cine camera by Mr. B. Chadkin of New York, N. Y. It does not ex- tend beyond the present lens shoulder and does not add to the weight or bulk of the camera. In operation it is only necessary to slightly lift a small knob and rotate the turret until the lens of the desired speed and focal length clicks into place. It is claimed that the turret is so constructed that the lenses will be in focus even after long and continued use. BROCKTON RIVALS The Three Daughters of A. C. Hayden Are Shown With Their Favorite Cameras: Left, Audrey with Her Victor; Center, Virginia with her Filmo; Right. Bertha with Her Cine Kodak. Film Container ' ■ 'HE Park Manufacturing Company ■*■ of New York, N. Y., announces the presentation of an individual film container in library book style for 16 mm. 400 foot reels and humidor cans. Each container is designed to give long service and is made most attrac- tive by the use of red and green labels on the edge of the binding giving a space for the identification of the reel contained. The edge of the container is attractively tooled, giving a sem- blance of a rich binding and is worthy of being placed on a library book shelf with well bound volumes. The reel contained is easily accessible by pulling out a separate container into which the reel and can fit. Appointment MR MAXWELL HITE, projection- ist of 26 years 'practical experi- ence, has been appointed special sales representative for Harrisburg, Pa., by Williams, Brown and Earle, cinematic dealers of Philadelphia, Pa. NIGHT MOVIES Flare Showing Detachable Handle Light a Meteor Flare (Powerful Firework Torch) and take a movie of the party — no equipment necessary. The same flare the pro- fessionals use. Five sizes, l/z, 1, 2, 3 and 4 minutes of light. Also electrically fired flares for special work. John G. Marshall 1752 Atlantic Ave., Brooklyn, N. Y. land Women Everywhere! Make Big Money! FREE BOOK Explains opportunities as Motion Picture Camera Man, Portrait, New3 or Commercial Photographer. You can learn at home or in our New York Studios. Spare or full time. N.Y. Institute of Photography, lO W. 33rd St., N.Y. Dept. 105 UNUSUAL FILM CAESARIAN OPERATION 100 Ft.— Price $15.00 Take the Shake Out of Your Pictures USE STEDISTRAP Price $5.00 Home Movie Service Co. 2128 Cathedral Ave., Norwood, O. Everything for the Home Movie Maker. PHILADELPHIA NEWS REEL LABORATORY 1707 Sansom Street Exclusively 16mm Developing, Printing, Titling, Editing, Rush Service. Cameramen available for all occasions — Industrial and Medical Productions. High grade training in Motion Picture and Still Photography. All branches fully covered. Learn at home, in spare time, under direction of an inter- national authority. Send at once for free book Opportunities in Modern Photography and full par- ticulars. AMERICAN SCHOOL OF PHOTOGRAPHY Dept. 1496, 3601 Michigan Ave. Chicago, U.S.A. 612 Talkies IT is interesting to note what King Vidor, one of the foremost direct- ors in the professional field, has to say about talking pictures. Following are a few excerpts from an article by Mr. Vidor in a recent issue of Motion Picture News : "Sound pictures, those with dia- logue that runs continuously, will do away entirely with the art of motion pictures. It will no longer be an art and I think dialogue will really de- tract from the entertainment value in films. W hat was left to the imagina- (EMPIREk 72 3 -7th. AVE. N.Y. QUALITY First Full Length Pictures FOR SALE OR RENT AT YOUR DEALER AL ROCKETT A Distinguished Director with His Cine Kodak. ©Jfl/ •© SIMPLE L HPHE hazards of driving an automo- ■*■ bile. How to have a "fine" time with the police. Lesson No. 1 for the wife if you're teaching her to drive. Two 400 foot reels ▼ iZZ. II '< II II i TTT ii . ..,0 ^* how/ ■£M=d. npHIS will stir fond memories of the •*• last time you had the decorators. Everything true to life — boss, paper, plaster, paste, and a real assistant. Two 400 foot reels tion of the picture patrons will be en- tirely lacking in the talking films. You take some of the sequences in 'The Big Parade' and they would be entirely ruined if dialogue was sup- plied to them. "\S hat is it that makes Charley Chaplin the great artist he is? It is his genius at pantomime. A shrug of the shoulder, a hitch of the leg, a twirl of the cane; by these and many other methods he gets over to you the idea of the thing and you can draw your own conclusion as to just what he is thinking. That is the sort of thing that makes entertainment for all classes. Each one can do his thinking for himself. Chaplin would lose a lot ot his art if explanatory words were put into his mouth. "An occasional line of dialogue for contrast or to explain a situation might not be amiss. It would do away with sub-titles, which are our great weakness in pictures as they are now constructed. But I think pictures were Hearing such perfection that we would have dispensed largely with subheads m the near future. "Sound effects, however, will un- doubtedly help many pictures." rT1HE adventures of two bell-hops in a phoney hotel. Anything can hap- pen and most of it does. A four hun- dred foot side-splitter with a laugh to every foot. Two 400 foot reels EACH 400 FT. REEL SAFETY STOCK 00 ALWAYS ONE PRICE AT YOUR DEALER ■DEALERS!- Our system will enable you to serve your customers with a real ex- tensive rental library without entailing the usual excessive overhead! Write ns for details EMPIRE SAFETY FILM CO., Inc. 723 Seventh Avenue New York City Please Mail Me An Empire 16 mm. Subject Catalogue l^ame .... Address.. City.. State.. 613 CONVERTS ANY TRIPOD INTO A STURDY PROJECTOR STAND J8i M- A- c- pPfJ PROJECTOR A CLAMP Simply screw on any tri- pod as you do a camera. j.jT ', a IWf^^^ Leg braces are provided with the M.A.C. Clamp making it safe to use a light tripod for this pur- pose. Heavy, substantial tripods do not require shelf and brace. Let your \\\ dealer demonstrate. For all projectors, Senior Model Outfit complete $14.00 Clamp only : 3.60 Junior Model (Identical except finish; without canvas for shelf) 7.50 For Kodascope B Senior Model 14.60 Extra Shelf and Brace 11.00 M. A. C. SINGLE EXPOSURE CLAMP i After focusing camera, devote entire attention to subject, pulling cord for single exposures from where you are wor\ing. Clamp for Filmo $3.75 Complete outfit for outdoor work 4.65 These items and detailed booklets available at your dealer or direct from : THE "M.A.C." COMPANY CINE ACCESSORIES 159 Remsen Street, Brooklyn, N. Y. Q. ?8- R. 50 Complete Combination 16mm. Camera and Projector s. Camera is spring motor run with fixed focus f-3 5 anastigmat lens. . . . Projec tor attachment is quiet 110 V. A.C., D.C. motor drive. Use 16mm. East' man Reversible' Daylight Cine films. Outfit complete in Carrying Case, $98.50. 100 ft Rolls Eastman Cine Film, per roll $5-00 Order your outfit. Satisfaction Guar- anteed. Catalog free. Bass Camera Company 179 W. MADISON ST. CHICAGO COLOR COMES TO THE AMATEUR (Continued from page 572) Dr. Mees then nodded to assist- ants and for the first time in my life I was looking at 16 mm. colored movies. I am not quite sure why, but it was very stirring. I think most of us were a bit moved. We were looking at results which might only be achieved by an organization made up of brilliant and experienced minds backed by unlimited financial support. Those of us who knew something about making moving pictures at once realized the great ingenuity that was exhibited in the selection of subjects. The pictures were of those things in which color is a dominat- ing factor. After an appropriate title a trick leader was shown that consisted of an amazing kaleido- scopic effect in which all sorts of figure designs worked themselves out. And each of these figures was in colors. Then the actual pictures began. Gold fish were shown swimming about in a glass aquarium. Thev were the indescribable pink which we see in fine specimens of these fish. And it was at once apparent that we were looking at them through water which had a touch of delicate color in it, as all water has. The background of rocks and vegetable things were in exactly the browns and greens that one recognized as the right ones. None of us had ever be- fore beheld such a true picture of gold fish in an aquarium. A parrot appeared. It was a very highly colored parrot. He was stand- ing upon someone's gloved hand. The need of the glove was apparent, because he was doing his best to bite, and parrots know how to bite. The effect was astonishing. It was a real parrot. I began to get the sense of the thing about this time. I could call up a movie in black and white of a parrot. It would be interesting enough, probably, if the parrot did something unusual. But this parrot was interesting if he did nothing at all but wink, because he was a real parrot. The thing had departed from a picture. It was to all intents and purposes a real, living parrot, and not at all a picture. I began to acquire the ability to appreciate accurately colored mov- ing pictures about this time and I have not changed my ideas since. There seemed to me to be two effects that are outstanding. One is the ability of the colored movie to get entirely away from the picture idea. One can lose himself with the great- EDUCATIONAL FILMS for SCHOOL and HOME We are exclusive distributors for Neighborhood Films in the New York territory. Literature describing the courses will be mailed on request. Gillette Camera ^Stores M A I DEN LANE Inc., PARK AVENUE AT 41st ST. xauchA . LAUGH '/..£■■ . ..LAUGH/% [*/:/Wf/Af/f7Tr/f in thejfolloYfing . . . 16M.M. FILMS ■THE MUSKETEER- • GREENWICH VILLAGE- • THE NIGHT OWL • • BUTTS IN • I •THE KNOCKOUT' I PROTECTO FILMS me I05 W. 40™ St NewYorkJ** LOS ANGELES HEADQUARTERS ~T)p W\7 Cameras and Projectors Educational Project-O Film Co. 214-18 American Bank Bldg. Los Angeles, California The Latest "GINE-NIZO 16" MODEL B Three world records: The smallest — the lightest — lowest in price. 16 m.m. Movie Camera with motor drive. NIEZOLDI & KRAMER MUNCHEN 23 GERMANY 'Photo-Fillci Specialties oraduce Fog Scenes ^Moonlight and t Effects ■^m/wheiv^-Sfoc/time. > -Soft Focus and c/avious other ;, just like they make 'em in .iiwi^^ood. It's easg « uou make Iymx em, too. Ml tell you hooj - ■» 1 SndersriJ iy AMERICAN SOCIETY OF C1MEMAT0CHAPKE! cAsfe your> dealer, or tuiite to GEORGE H.SCIIEIBE PIIOTO-FII/TEIi SPECIALIST 614 est ease and feel that he is really in the presence of the actuality. No monochrome movie ever succeeded in making me do that. The other thing is a curious poig- nant satisfaction that one enjoys in looking at them. For example, in the picture of the parrot I extracted the most intense satisfaction in look- ing at the color of the glove which the person holding the parrot was wearing. It was not a new glove. It had been worn, had that glove. And it possessed the dear old familiar brown of a glove that had not just come out of the shop. It accented evervthing in the picture and strange as it may sound, it helped to make the parrot lifelike. I think this prin- ciple is the basis of the tremendously greater effect the colored movies have. Lots of other details, besides the glove, leap into recognition, and the effect of all is to make the pic- ture utterly convincing. Thev showed us lots of things like this, selected with the greatest clever- ness. Then they threw onto the screen a close-up of a woman's face. I know I ought to know who she is, but I do not, notwithstanding she was a lovely person. It was our first portrait of a living nerson. It struck us dumb, even the most loquacious of us, and some of us were quite loquacious. Silence fell but for the whir of the projector. Then a burst of applause. I have thought about that moment since. It was not the beauty of the lady. God save my brutal frankness. It was not because we wanted to be polite to Mr. Eastman, or to the lady herself, or to her husband. It was because of the startling effect of see- ing living, breathing flesh and blood there on that screen. It was a real, live woman, with healthy red blood coursing her veins that we were re- garding. It was not a picture. As we looked, we were led to lose our- selves, and forget the mechanism and think onlv of the woman herself. Were she to speak to us from the screen, which we might easily make her do. it would have been uncanny. It makes me wonder, if we were to throw onto the screen, in this fashion, the face of a loved one who had de- parted, could we endure it? Would it not be too near to coming back from the grave to health, vigor, and life? I wonder about this. It would take altogether too long to tell about the other pictures that were shown. There were outdoor scenes, seascapes, and flowers and fruit and all manner of things hav- ing color. In all of them the same effect of actuality was present. \^ e were then taken to the East- you should get Plasmat f-1. 5 for your camera: _ __ _ because the Plasmat is \j1*>" the lens having the highest correction for color. three important reasons why a Hugo Meyer A UNIVERSAL LENS You add a universal lens to your equipment which has its working pow- ers greatly sharpened and intensified when stopped down for ordinary work. Elimination of flare is complete and the crisp definition secured by a stopped-down Plasmat is a thing at which to marvel. Hugo Meyer & Company 105 West 40th Street, New York two because the Plasmat has greater depth at full opening than any other fast lens at the same open- ing. three The Plasmat /-1.5 is not limited to ex- treme speed work. For Filmo or Victor in micrometer focusing mount Vaniiuiiw//,,-? w Fi?©c'ey|? ,ocai ie"s'h t>rice each gg \>vi"7"y $60.00 .. 60.00 .. 85.00 JO/. /CHNEIDER 6 CO XENON F2 /PEED ptvs QUALITY Has Proven Itself the Logical Equipment FOR THE NEW %J/CINE CAMERA IT IS NOW LISTED AND RECOMMENDED BY THE VICTOR ANIMATOGRAPH CO. A Perfect Combination! Price Complete The three-speed Victor camera and the super-speed Xenon F :2 Lens. Each designed for flexible use and quality results. Combined, they offer the best value in cine-camera equipment. // your dealer is not stocked we can supply him immediately from New York. Write for full particulars. $145 PANORAMING & TILTING XRIPOE) TOP FWISFMS FILTER m Locks for panoraming only or for tilting only. Panorams without jerks, tilts smoothly, locks firmly. Professional qual- ity, sturdily constructed, mech- anically perfect. Price S7.50. The Ramstein-Op to* chrome equalizes the ex- posure between sky and foreground. For color cor- rection, cloud effects, and to bring out detail in the distance. The only sky filter made of optical glass, ground and polished, and that con* tains no gelatine or ce- ment. Made in all di- ameters to fit any lens. Send for new catalogues and prices. Write for complete cine catalogue BLFtEICH BROCKS 136 LIBERTY STREET Sole Agent U. S. A. NEW YORK CITY 615 Ah . . . ! Mr. J. Potter Pancake is in a dilemma. For now he must buy the "watch thin" Filmo 75 . . . for Mrs. Pan- cake. Sophisticated and keen buyers will obtain their "75" from Bass where motion picture apparatus has been sold for over eighteen years. Interesting sixty-page catalog is yours for the asking. May we send you a copy? Bass Camera Company 179 West Madison Street Chicago, Illinois "Yes We Swap Cameras" Don't Be Bothered With a Tripod TAKE ii ALONG VESPOD" The Vest-Pocket Tripod Screw it into your camera and it STANDS. On the Ground, on a Table, on vour Auto, on a Slanting Surface, ANYWHERE. Then get into the Picture Yourself ! Complete with tilt, $5.00 Postpaid Plain Model, without tilt, $2.50 From your Dealer or Direct from Us AMATEUR MOVIE SERVICE 853 N. EUTAW ST. BALTIMORE, MD. Have you ordered YOUR BINDER? Sold at cost $1.50 MOVIE MAKERS 105 West 40lh Street, New York, N. Y. 616 man works at Kodak Park, where we had lunch and it was a remarkably good lunch, suggesting celluloid in no way whatever. Afterward we were shown through the works, or at least that part of them which it was hu- manly possible to visit in a couple of hours. The place is impossible to see even superficially in three weeks' time. However, I did see where we all send our little square yellow boxes. There they were, by the truck load, yours and mine and all the others. I have often wondered what sort of people handled my precious films. Here I was looking at them face to face. They were quite attractive young women in the majority of cases. They appeared to have super speed fingers. They would take our little yellow boxes, whip out their contents, slap on a sticker, perform a series of op- erations which the eye could not fol- low, slam a cluster of them into a metal container and presto, they dis- appeared through the very walls. On the other side of the wall they seemed to reappear and young men, in this case, performed a lot more motions over them, which has to do with identification, I imagine, and spliced them onto the tail of some miles of other fellows' films which were on their way through the pro- cessing baths. Without ever pausing they were completely processed in these baths, and passed through the wall again into a drying chamber, whence they passed through another wall into the room beyond. In this room we saw young men separating our films and rolling them up onto spools ready for return to us. A certain percentage of the films are taken away for inspection. They are distributed to a group of young ladies having projectors which are going at prodigious speed. They are inspecting the processing, not our ex- posures. I looked awhile to see the sort of stuff some of us were sending in. The exposures were not so bad in point of timing. They were good enough pictures as pictures go. But some of us are evidently still labor- ing under the impression that cam- eras are garden hose, and intended for spraying the landscape. While I looked, an entire valley was being panorammed by some poor creature whose friends are going to curse him bitterly when he makes them view his trip. I fell to wondering what these young ladies think of us amateurs and our pictorial tastes. In the evening Mr. Eastman had us to dinner at his house, and, after another remarkably good meal which in no way suggested emulsions nor PROFESSIONAL CINE SERVICE Pictures taken, and directed, on your estate, or in your home. Interesting and amusing stories made from the film shots you have already taken. SUE RICE 300 West 12th St. New York City Watkins 10130 FISCHER'S CAMERA SERVICE, Inc. Everything Known inDWotion Pictures " 154 EAST ERIE STREET CHICAGO M ETROPOUTA FILM LIBRARIES N Released Wednesday, Sept. \2th "FRIENDS OF MAN" There are far corners of the earth where the auto hasn't entirely replaced the friends of man. No flat tires to annoy the traveler of the desert. The old horse and dog power still exists. Complete subject, 100 ft. 16 mm, $6.00 Metropolitan Motion Picture Company 108-110 W. 34th St., New York City A TITLES - u's Complete editing and titling! YESTER.DAYI service. (16 mm. or stand- 1 ard.) Cinematography. CLARK CINE-SERVICE I | 2540 Park Ave. CAdillac 5 260 1 DETROIT, MICH. MOVIE FILMS For Your Library Many subjects from which to choose. If you are not already on our mailing list, write us today. ASCENDING PIKES PEAK 100 feet 16 mm. Price, $6.00 FADE-IN FADE-OUT The Simplex Fading Glass will produce this effect when making your own movies. Sent postpaid upon receipt of $2.00 Produced by ERNEST M. REYNOLDS 165 E. 191st Street Cleveland, Ohio nitro solvents, we were shown the colored films which were taken of us in the morning by the army of pho- tographers. Again I was tremendous- ly impressed. This time the pictures were of people I knew, one of them being myself. It was as though each person were being viewed through a window, while he stood in the sun- shine. Now for the practical detail limi- tations, which are always present with everything. These Kodacolor pictures, as they are called, must be taken in bright sunlight with an /-1.9 lens wide open. This means many things, as the practicing ama- teur will at once recognize. If the object is anything inside of fifty feet from the camera, the focus must not be casually guessed. It must be care- fully measured. It means that if the distance to the principle object is accurately measured and the focus properly set that the principle object will be nice and sharp, but there will be no particular depth of focus. Again we must not attempt larger pictures when projecting than around 18 inches by 22 inches, or there will not be sufficient light. This about finishes my report to my fellow amateurs. In concluding. let me say that the Eastman Kodak Co. have again given us a most val- uable contribution to the photogra- phic art. We have in the new Koda- color a means to bring to our homes the actual thing we go out and pho- tograph. And, what is nothing short of epoch making, we amateurs are given the means by which we may render immortal our loved ones, for portraits made with Kodacolor bring the living person directly before us. I cannot but repeat, that these new pictures give the effect of looking through a window at our object bathed in God's pure sunshine. AMATEUR CLUBS (Continued from page 579) ing impure water, sprained ankles from high shoes, inexpert boat-hand- ling, poison-ivy and the like. But, woven into a frankly youthful plot, the propaganda is made more effec- tive by the story interest. By mak- ing the film a school venture, assess- ing the cost against various school organizations and doing the filming in the course of a specially devised picnic, general interest was aroused and the whole school received the finished product with enthusiasm and — one certainly hopes — profited by the judiciously presented health pro- paganda. To Miss Gail Conaway, chairman of the faculty health com- mittee, goes the credit of inspiring the whole enterprise. There is an obvious inference to be LJV3 PRICE M *~ $27.50 (Patent applied for) The Automatic Dissolve, simplified and spe- cially designed for the amateur, gives the real professional fade-in and fade-out as well as the dissolve effect. The whole operation is simply: Clamp the Dissolve Disc over lens, set time in- dicator, focus camera as usual, press fade-in button simultaneously with camera button. After shooting your scene press button again for fade- out, then release camera button. A simple one- hand operation. For ffa^ t* %& flLTEIV Slide filters in the Dissolve Filter Holder. Change nothing on the camera. Do not alter focus or exposure. SCHEIBE FOG FILTER: For moving scenes used as background for double printed title. Creates perfect fog, rainy or smoke scenes from clear daylight. SCHEIBE DIFFUSING SCREEN: Gives diffused or softened effect. Soft characterization in close-ups; "mys- tery element." SCHEIBE GRADUATED FILTERS: Absolute night scenes taken in daytime. Sunset used for moonrise. RAMSTEIN OPTOCHROMES: Yellow optical glass, four degrees of density. SCHEIBE DIFFUSING IRIS: Has clear-glass center circle for main object or close-up in sharp detail, leaving balance of scene diffused. SCHEIBE WHITE IRIS : Clear glass center vignetting to white edges. For spotlight effect to accentuate point of interest. SCHEIBE GRADUATED IRIS: Spotlight effect vignet- ting to black at edges. For forceful positive accentuation. NOTE: Diffused and Fog Filters come in four degrees of density. Ratio of '/2, 1, 2, 3. The 1 and 2 are recommended for general use. Fog -H$r ,ri'*f Scheibe Trick and Graduated Filters, each $5.00 Ramstein Cytochromes (Optical glass) 4.00 Ramstein Optochromes (Optical glass), set of four 12.50 Filter Holder Attachment 2.85 «* .«**«■ /CCEC* In two sizes at present: 10" x 14" $8.50 20" x 27" 15.00 Non-inflammable, Washable, Convenient Sizes, Non- Breakable, Finest Screen Surface, Lowest Prices, Here is the all-purpose screen for every use. Small size is ideal for editing without the annoyance of darkening the room. the be/*»* ^h V <& If your dealer cannot supply any item write: CINE GNERS AND MANUFACTURERS !MATI 1 DESh MMPAiiy You describe it---We*ll design it 106 WEST 46™ ST.Tn.XC p^rsp' noA** perspective, ITACOLOR Truly, Vitacolor creates an entirely new world for the amateur — new pos' sibilities, new standards, new ambitions, new triumphs. Yet there is nothing new in the procedure for making Vitacolor instead of ordinary black and white! All your experience, all your knowl- edge, all your ability for making good movies are utilised to the last detail. And best of all, any scene, any lighting, any time of day and any weather which you know will give you black and white movies will give you Vitacolor. A simple revolving Vitacolor filter is geared to your camera and projector, operating automatically. But the equip- ment— your present camera, your pres- ent lenses, your present projector remain otherwise unchanged. Full-siz,ed projec- tion and duplicate prints, of course, for there are no limitations to Vitacolor. The world we live in is the new world of Vitacolor — a myriad of colors, vivid and scintillating or delicate and subdued. Every season of the year, every scene that tempts the movie maker has the siren call of Vitacolor — full original color with a natural third dimensional depth. At your dealer, waiting for your ask- ing, is the creator of this new world of new values, new horizons, new perspec- tives— Vitacolor. MAX B. DU PONT Sikmlcr CORPORATION Main Office 207-09 N. Occidental Boulevard Los Angeles, Calif. Eastern Branch Southern Branch 11 West 42nd Street 610-12 Baronne Street New York City New Orleans, La. 629 OCTOBER 1929 DeVry 16 mm. Home Movie Projector — $37.50 up. DeVry 35 mm. Movie Projector — §195.00 up. See DeVry 35 mm. Movie Camera — $150.00 up. ,»* DeVry Still Pro- jector $15.00 — for use with pocket camera film to show picture in home. Moving Picture Cameras w Projectors DeVry 16 mm. Home Movie Camera — $39.50. Results will surprise you. —have you ever seen a eamera like this? — here's a pocket size camera which takes forty pictures at a loading — cost a little over four cents. — ordinary falls and j olts and j ars won't hurt it — practically indestructible. — and whatever size picture you prefer, it's yours with the DeVry Pocket Camera. — when you want to take a picture — no fuss — no bother — no maneu- vering— just point the DeVry and photograph — — double exposure is impossible. And it's impossible to duplicate what the DeVry offers you for $22.50. — you can also project your pictures on the wall at home with a DeVry Projector. task your dealer QRS-DeVRY CORPORATION Established 1900 Dept. E-10, 333 N. Michigan Avenue New York CHICAGO, ILLINOIS San Francisco 630 MOVII: MAKERS EVERY NIGHT A HOLIDAY! THE PERFECT BIRTHDAY GIFT THE lOME- IALRI1 UNIT ONLY $49 NOW IN PRODUCTION "HOME -TALKIE REVUE" A COLORFUL KALEIDOSCOPE OF SONG, DANCE AND COMICS, FEATURING A SCORE OF TALENTED KIDDIES! COMING: OPERATIC STARS IN POPULAR ARIAS! AVAILABLE NOW: SIXTEEN HOME -TALKIE PRODUC- TIONS, WITH AMERICA'S FOREMOST ENTERTAINERS- SUCH AS EDDIE DOWLING, MISS PATRICOLA, PHIL BAKER, ERNO RAPEE and OTHERS, ATTACHES TO 16 MM. PROJECTORS— PLAYS THRU ANY RADIO SET. AT LEADING D EALER S -WRITE FOR LITERATURE HomeTalkie Machine Corr iC£2o£ 631 OCTOBER 1929 Stop Guessing Be Certain of Your EXPOSURES The Drem Cinophot makes your Cine-Kodak exposures ACCURATE RELIABLE UNIFORM In Any Light Any Time Anywhere The Cinophot matches the exposure speed and lens markings of the Cine-Kodak The Cinophot indicates lighting for Kodacolor exposures Cinophot, with leather case, $12.50 For sale at all EASTMAN KODAK STORES Eastman Kodak Stores, Inc. Two Stores in New York The Kodak Corner, Madison at 45th 235 West 23rd St., near 7th Ave. Classified Advertising EQUIPMENT FOR SALE COMPLETE PRINTING OUTFITS for movie titles; presses, type, ink, paper, supplies. Write for catalog. Kelsey Co., D-50, Meriden, Conn. 3 5 MM. CAMERA, regular snd trick crank, reflex focusing, 200-foot magazines, canvas case for camera; heavy tripod with panoram head; Cinophot with case; 100-foot roll of unexposed 3 5mm. positive; 3 5mm. Optica pro- jector with carrying case; two reels ani- mated cartoons. All for $13 5. ALEX WEIR, 3 2 Colby St., Albany, N. Y. DUOGRAPH PROJECTORS— Motor-Driven Model — complete with case and one 400 ft. reel — $50.00. Eastman Kodascope "B" K Series, complete with case, extra 200-watt lamp, splicing outfit and one 400 ft. reel — $210.00. This outfit has been used for counter demonstrations only. Exceptionally fine Art- Titled Picture of Hoover's Inaugural — 100 ft. reel — $5.00. Slightly used Filmo Model 75 — in good condition — $85.00. Stumpp & Walter Company, 3 0-3 2 Barclay St., New York. LENSES FOR SALE— Still and cine; private collection; fine condition; all sizes; commer- cial, portrait, Graflex; list furnished; examine before purchasing; no deposit required. Might consider a trade for either 16mm. or 3 5mm. camera in perfect condition. Harry Luczak, 2610 West 23rd Place, Chicago, 111. FOR SALE — Professional Debrie camera, six magazines, precision ball-bearing tripod, two carrying cases, new condition, $42 5.00. Holmes Standard Projector, new condition, $22 5.00. Darling Motor-Driven 3 5 mm. Step Printer, $150.00. DeVry 5 5 mm. Automatic Camera, with Carl Zeiss /: 2.7 lens, new, $150.00. Filmo 70 — New, $12 5. Will accept new Eyemo on any of above. D. D. Monaco, 2434 Leaven- worth St., San Francisco, Calif. BASS offers unusual values in rebuilt and trade-in cine cameras. Victor 16mm. cine camera, three speed, including slow motioi combination, carrying case, fitted with 1 f: 3.5 lens; price, $85.00. Victor 16mm. cine turret front with 1 /: 3.5, 3 '/: 3.5 and 4" /: 4.5 telephoto lenses, carrying case; price, $174.50. Bell & Howell Filmo Model 70 with Cooke /: 3.5 lens, carrying case; price, $97.5 0. Bell & Howell Filmo Model 70, equal to new condition, Cooke /; 1.8 lens, carrying case; price, $110.50. All the above fully guaranteed subject to ten days' money back trial. Still cameras taken in as partial payment. BASS CAMERA COMPANY, Mo- tion Picture Headquarters of America, 179 West Madison Street, Chicago, Illinois. DE VRY 16mm. projector; stop feature; fit- ted with 3 extra light lens and 2" standard lens, $70.00. Cine-Kodak Mod:l A (brand new case and four rolls of unexposed 100 ft. film are included), $98.00. Motor for Cine-Kodak Model A (run by battery), $2 5.00 gets it. Talkie unit, used a few times (300 ft. of talking films included), worth $74.00 — $45.00 gets it. All of the above are brand new. M. De Martino, 533 Paige St., Schenectady, N. ,Y. BARGAINS in used and demonstrating equip- ment— A few Model 70 Filmo Cameras, in perfect condition, complete with lens and cases, $100.00 each; Model B Kodascope Pro- jector with case, demonstrated only a few times, $175.00; several Model A Kodascope Projectors, 200 watt, perfect condition, $90.00 each; Model A Kodascope, small lamphouse, $75.00; several Model C Kodascope Projectors, $3 5.00 each; DeVry Continuous 16mm. Pro- jector, demonstrated few times, $135.00; Capitol Continuous 16mm. Projector, demon- strator, $175.00; Model B Cine Kodaks, /: 3.5 l»ns, $5 0.00 each; Model B Cine Kodaks, /: 6.5 lens, $3 5.00 each; Model B Cine Kodak, /: 1.9 lens, new condition, $100.00; few Filmo Projectors, 200 watt with cases, $75.00 each and up; Cooke /: 1.8 lens for Filmo 70, old style, $30.00 each; Dallmeyer /: 1.9 lens for Filmo 70, old style, $2 5.00. All of the above equipment guaranteed to be in excel- lent working condition. Williams, Brown & Earle, Inc., 918 Chestnut Street, Philadelphia. DE VRY Cine-Tone talkie outfit with case; complete in every way; used a few times; worth $250.00; will sell for $190.00. Brand new deluxe model projector. M. De Martino, 533 Paige St., Schenectady, N. Y. TWO KODASCOPES MODEL C— $40.00 each; 1 Cine Kodak B, /: 1.9 — $105.00. These are slightly shop-worn; one second-hand Filmo 70 — $100.00; good condition. Lugene, Inc., Opticians, 600 Madison Avenue, Bet. 57th and 5 8th Streets, New York. FOR SALE — 2 Universal Cameras, 200 and 400 ft. models; 1 Wilart, 200 ft. model and tripod, cheap; 1 six inch Wollensak 4.5 lens for Eyemo; 1 Type C90 DeVry Standard Projector; 2 Eastman Kodascopes; 1 Eastman Cine-Kodak, new; Filmo Projectors; 2 Graflex Cameras; tripods, screens, films, etc.; makeup kits; 1 six inch lens, DeVry; Pathex films and accessories. 1 complete motor-driven Pathex outfit, cheap. Send stamp for list of cameras, guns, etc. We buy, sell or trade. F. W. Buchanan, Johnstown, Pa. BRAND new motor-driven Pathex Projector with extras for sale at less than half original price. Photocraft Co., Lebanon, N. H. DUOGRAPH Motor-Driven Projectors, 400 ft. — $35.00; Duograph Hand-Driven Projec- tors, 400 ft. — $22.50; DeVry Model G Projector, 200 watt — $60.00; Kodascope Model B Projector, black finish — $150.00; Used Bell & Howell Character Title Writer — $20.00; Victor New Model $200 Projector — $140.00; Cine Kodak Model A /: 1.9 lens and Kodak Tripod — $7 5.00; Filmo Camera Model 70 and case — $90.00; Filmo Projector Model 57A — $110.00; used matched Schneider Lens set for 16mm. camera, complete, regular $175, spe- cial— $115.00. We have specials in all types of lenses for 16mm. cameras at greatly reduced prices. All used items sold with Willoughbys usual 10-day trial privilege. Willoughbys, 110 W. 32nd St., N. Y. PERSONAL OPPPORTUNITIES EXPERIENCED SALESMEN WANTED— Openings, full or part time, on the Hayden Quality Line of Moving Picture Accessories. Good selling items backed by international advertising. Give past and present connec- tions. Hayden Sales Co., 11 W. 42nd St., N. Y. CAMERAMAN will undertake assignments for travel or industrial film on 3 5mm. stock in Venezuela. Newton Bernard, Apartado 722, Caracas, Venezuela, South America. SALESMAN (traveling) for motion picture accessories. Must be fully conversant with 16mm. field. Write giving full particulars to Box 101, Movie Makers Magazine. WANTED REPRESENTATIVES for each city to sell the RWK ALL-MOVIE-CABI- NETS. Must be owner of 16mm. equipment. Write for our proposition. NATIONAL ALL- MOVIE-SALES CO., 33 3 No. Michigan Ave. Room 60 5, Chicago. FILMS FOR SALE PANCHROMATIC and regular film stock for DeVry and Eyemo 3 5 mm. Cameras — Daylight Loading — 100-foot rolls — $3.50 per roll — sent C. O. D. any place. Quantity quotations on request. Educational Project-O Film Co., 129 West 2nd St., Los Angeles, Calif. SAVE 10 to 50% on late 100 ft., 200 ft., 400 ft., 16mm. Scenics, Comedies, Cartoons, Novelties. Complete list for stamp. (3 5 and 9mm. films also.) EASTIN FEATURE FILMS, Dept. D, Galesburg, Illinois. 632 MOVIE MAKERS &*= x> nsist on *% Original ^ITj r ret Camera T -X. HE HE 16 mm. Turret Camera was created by Victor and presented to the public as the Model 3'T Victor Cine Camera. The original Victor design remains unmatched in its simple efficiency, requiring no compli- cated calculations nor confusing adjustments to determine the right lens, correct exposure and desired speed of the camera. There are three desirable speeds of exposure: HALF speed for exposures in poor light and for comedy quick action; NORMAL, for 95 per cent of all average ex- posures; SUPER speed for true slow motion. This full range of speeds is at the command of the Victor user at a slight turn of the operating button. Variable speeds are practical only when steadiness of the film can be accurately controlled at every speed. The secret of the Victor Camera's peculiar ability to accom- plish this delicate feat lies in an exclusive film tension control which automatically provides the correct tension for each separate speed of exposure. The Victor Turret Camera, with its wide range of speeds and instant accessibility of 3 different lenses, repre- sents the ultimate in 16 mm. cine equipment. No lost shots because of inadequate lens facilities or the neces- sity of making time-consuming calculations and adjust- ments! If it is at all possible to get a picture, the 3-T Victor will "Film It for the Future" to best advantage. Your dealer will be glad to show you. Cine Cameras have a speed range of 8 to 64 exposures per second -a speed for every need. Normal Action, Comedy Quick Action and Slow Mo- tion may all be made on the same film. Victor Cameras may also be hand cranked. Victor Animatograph Company VICTOR BUILDING, DAVENPORT, IOWA, U. S. A. Branch Sales Office: 242 W. 55th St., New York, N. Y. Don't fail to see the new Model 3-B Victor MASTER Projector, the last word in 16 mm. Projection Equipment. ilSfe^lc 633 OCTOBER 1929 SpMfifSSS ' . , * ™°^~ .* .'-V-1 -1 ■ - -^sr^-^-^i Available in Every Desired! Screen Type PORTABLE FOLDING SCREENS (TYPE C) The De Luxe in portable screens. Designed to match your finest camera and projector equipment. Compact, swift-set, special materials, patented features. In brown or black, light weight, fibre cases. 1-C... 22"x30"..( IVz lbs.).. $17.50 2-C 3O''x4O"..(10y2 lbs.).. 25.00 3-C 39"x52"..(13% lbs.).. 35.00 PORTABLE FOLDING METAL SCREENS (TYPE B) tra B m Rugged, all-metal, transportation- proof construction. In a neat, com- pact, black crystalline metal case. The Truvision swift-set feature and screen surface at an unusually low cost. 1 -B 22"x30" $15. 00 2-B 30"x40" 20. 00 .rJ-B 39"x52" 30.00 REAR PROJECTION SCREENS (TYPE RP) Gives great brilliance in daylight projection. Furnished in permanent hardwood frames, folding standards and canvas cover. 1-RP 22"x30" $12.50 2-RP 30"x40" 17.50 &&i%3£-.X&s£& THE NEW TRIPOD SCREEN (Type H with Tripod and Carrying Case) This special tripod has wide spread leg supports, telescopes to 7 feet high, nickeled finish. A unique support holds the Type H screen tube in rigid, dead-centered position. Adjustable fitting on base bar keeps the screen surface always taut, smooth and flat. Pric, l-T. 2-T. 3-T. 4-T. 5-T. Carrying case Type H Sere of screen including tripod: .22"x30" $13.00 .30"x40" 15.00 .39"x52" 23.50 ,48"x64" 33.50 .54"x72" 43.50 with separate compartments for folded tripod and fittings. Excel- lent neat appearance, light-weight, sturdy fibre, $6.00. SEE THEM AT YOUR DEALER Write for Descriptive Booklet to: 841 Tiffany St., Bronx, N. Y. C. HANGING SCREENS FOR WALL OR TRIPOD (TYPE H) Representing the least bulk of any portable screen. A neat dustproof cylindrical metal case (only five pounds complete), with fittings for both wall and tripod hanging. Ac- tion is smooth, no "cupping" at edges, no wrinkles, no bulges, no creases. 1-H 22"x30" $ 7.00 2-H 30"x40" 9.00 3-H 39"x52" 17.50 -H 48"x64" 27.50 5-H 54"x72" 37.50 FRAMED SCREENS (TYPE F) Representing the standard Truvision Screen in a peimanent hardwood frame with folding standards and can- vas cover. Built for rugged wear and permanence of top grade selected ma- terials. 1-F 22"x30" $12.50 2-F 30"x40" 17.50 3-F 39"x52" 25.00 SPECIAL SIZES IN ALL TYPE MOUNTINGS For Home, School. Church. Club, Theatre or Studio. Any size, hanging, framed, or on rollers. Made to spe- cifications. $1.25 per square foot. < TRUVISION PROJECTION SCREEN CORPORATION 634 »10* ■■ MAKERS EDITORIAL I F a manufacturer bought a new machine for his factory to turn out a new product and then, finding that this new product re- quired a further investment of money in another type of machine to finish it for the market, declined to make the additional invest' ment and kept filling his shelves with the manufac' tured but uncompleted articles, it is pretty likely that his banker would be on his neck before very long. ^ If a housewife bought a fine, new phonograph, a set of records and a package of needles and refused to change the needle in the machine because she thought the old one was good enough, it is probable that her family and friends would very soon find excellent excuses whenever she proposed that they listen to some of her records. C The average movie maker will unhesitatingly say that this manufacturer and this housewife are unin' telligent; yet a large enough number of movie makers to give dangerous validity to the term "average" are doing the precise equivalent of these foolish acts. In golfing language, they are neglecting their "follow through" and, because of that neglect, they are play ing as poor a game of amateur movies as they would of golf if they let "follow through" go hang. C This "follow through" of amateur movies is, of course, editing and titling — preparing films for proper projection. There is no denying that it is a chore, compared to the ease of taking movies, and there is also no denying that it is a chore which cannot be turned over, in toto, to anyone . except the person who made the pictures. There must be a decision as to the order in which scenes will appear and as to the titles, if any, that will be in- serted. The actual labor will be gladly done by any number of excellent laboratories. C This chore, by a happy paradox, can become a pleasure and delight if every amateur will realize that movie making is both a recre- ation and an art. The recreation comes in the excitement of hunt- ing good subjects and scenes and m the competent handling of a mechanism that is not too complex and yet not too simple. It may be compared to driving a motor car into new country. The art comes in planning, in advance, the continuity of a definite amount of footage, in planning each shot for composition, lighting and focus and in arranging the rough material, thus secured, into a finished product for screening. C The camera owner who neglects the factor of art and who is satisfied with the factor of recreation is in the same class with the manufacturer who loads his shelves with half-finished products and the house- wife who renders her records worthless and tortures the ears of her family and friends with scratchy re- production on her phonograph. CL Of course, the ideal amateur will plan before film- ing and edit as well. This requires a generous amount of leisure. Most of us will find that our actual film- ing is often done hastily, because of the pressure of other circumstances. Frequently we can only achieve the planning before each shot and we must depend on editing to pull our footage into some continuity and order. At the time our scenes are recorded we have the firm intention to edit and title. When we get back to town for the winter, dinners, theatres and bridge have a way of crowding into our editing time and we wind up with our films having jelled into an amorphous shape that satisfies neither our- selves nor our friends. C This October resolution is offered for the consid- eration of every amateur : d. I solemnly promise myself to do one night of editing each iveek from now until Christmas. Amen. A Word About the Amateur Cinema League THE Amateur Cinema League is the international organization of movie amateurs founded, in 1926, to serve the amateurs of the world and to render effec- tive the amateurs' contribution to cinematography as an art and as a human recreation. The League spreads over fiftv countries of the world. It offers a technical consult- ing service; it offers a photoplay consulting service; it offers a club consulting and organizing service; it con- ducts a film exchange for amateur clubs. Movie Makers is its official publication and is owned by the League. The directors listed below are a sufficient warrant of the high type of our association. Your membership is invited. Amateur Cinema League, Inc., Directors President HIRAM PERCY MAXIM Hartford, Conn. EARLE C. ANTHONY Director of the National Association of Broadcasters ROY D. CHAPIN Chairman, Board of Directors, Hudson Motor Car Company Vice-President STEPHEN F. VOORHEES Architect, of New York City W. E. COTTER 30 E. 42nd St., New York City C. R. DOOLEY Personnel Manager, Standard Oil Co. of N. Y. Managing Director ROY W. WTNTON, New York City Treasurer A. A. HEBERT 1711 Park St., Hartford, Conn. LEE F. HANMER Director of Recreation, Russell Sage Foundation FLOYD L. VANDERPOEL Scientist, of Litchfield, Conn. Address Inquiries to AMATEUR CINEMA LEAGUE, Inc., 105 West 40th Street, New York, New York =J 635 ■ > i .... .. ■ ,-. ■;- .. ■ V" . Mownm MIA\MIEIE§ OCTOBER, 1929 FILMING FOOTBALL A Sensible Summary Of A Seasonable Subject FALL is football season. Nothing makes a more exciting movie than a hard fought game. Foot- ball filming is not particularly difficult — it is all in knowing how. Unfortu- nately, the game does not wait for the movie maker. He must be alert to what is going on and shoot whatever and whenever he can. Once the final gun sounds, the game is history — there can be no retakes. This fact greatly adds to the fascination and sport of filming a game and the movie maker who does not take his camera along is missing a great deal of fun. While it is seldom that you have much choice in the selection of seats, the most desirable ones from the stand- point of picture taking are those close to the center of the field and about half way up. Seats at the end of the field behind the goal posts are not to be recommended unless they are very high up. End seats are theoretically ideal for shooting a touchdown but in actual practice it may happen that the only scoring is done at the opposite end of the field. Try to get your seats on the side, as near to the center of the field as possible. During the shooting of the game, the light must be carefully watched. As the game progresses the light at this season of the year slowly wanes. In the excitement this fact is sometimes forgotten and the same lens setting is used all afternoon. The result is that, very often, the pictures taken in the second half of the game are dark and underexposed. If your seats are on the sunny side of the field be sure to shade the lens, otherwise, especially late in the afternoon, you are likely to find the sun shining directly into the camera. This will cause white flare marks and perhaps even fog the film entirely. Hardly do we begin to discuss the By H . Sy nl Dusenbery subject of football when someone men- tions telephoto lenses. A great deal of misinformation exists about these long range lenses and many a movie maker regrets spending considerable money for a six-inch telephoto when a two or three-inch one would have given better results. Many excellent football films have been made from the bleachers without any special equipment whatso- ever! If you own a six-inch lens leave it home. It has many good uses but they are not at a football game. If you use a lens larger than three inches a tripod is absolutely essential for good results. This is seldom possible or prac- tical at the usual football game. The field of a larger lens is quite small and one or two players will fill it complete- ly. These long range lenses are excel- lent for taking closeups of the players from the bleachers but the most desira- ble pictures are those that show the entire team in action, or the line for- mation at least. With a large tele- photo lens it is very difficult to follow rhe players as they move rapidly, mak- ing it necessary to keep the camera in constant motion in order to keep them in the field of view. How this would look on the screen we shall leave to your imagination. On the other hand, a small telephoto, like the two-inch lens, will bring you near enough to the players and, yet, enable you to include most of the line formations. With a little care such a lens can be success- fully used without a tripod. Natural- ly, the camera must be held more firm- ly and moved less than when the cus- tomary one-inch lens is used but, with reasonable care, quite passable results can be obtained. If a three-inch lens is used endeavor to rest the camera on some firm support. There is a combi- nation cane and tripod on the market that is just the thing for this sort of work. However, unless you are seated some distance from the players, try to get along without any special lenses and your results will be more satisfactory. The first thing to do at a game is to get some atmosphere into your film. Shoot the crowds with their flags and banners. Take some pictures of the bands as they enter the field. Film the entrance of the teams with the cheer- ing crowds in the background. Take a few feet of the rival captains meet- ing, in the middle of the field with the officials, to select the goals. A tele- photo lens may be used on this scene if a real closeup is desired. Then comes the kick-off! Of course, you will want that. Then, it would be a good idea to pause for a few minutes until the game gets under way. It is not necessary nor desirable to shoot every play. Watch out for the spectacular ones. In football the teams are con- stantly moving from one end of the field to the other. Sometime during the course of the game the line of scrim- mage will be directly opposite the point at which you are sitting. Watch for this opportunity and then shoot the play, A pass or kick usually shows up better on the screen than a line play. It is not very difficult to follow the ball on a forward pass showing both the passer and the receiver but, when a kick is made, be satisfied to get a good shot of the kicker and forget the ball. Keep your wits about you and don't get ex- cited. Be ready at all times in case some unexpected spectacular play de- velops. Intersperse your action pictures with a few side-line shots. Shoot the score board as it is changed after a (Continued on page 671 ) 637 PROPS «»«■»»■ IC 1»2» 411 That Story Filmers Need Know About Him — And Them OF all unsung and unseen heroes of the movie lot, perhaps the most valuable aid to a director is the Master of Properties, otherwise, Props. With hard work you can make raw material into a passable leading man but a real prop man is a gift of the gods to a sorely tried director. No amateur company should be with- out one, but pick him care- fully and cherish him. Un- less he is fat enough to qualify for a sideshow ex- hibit, he's worth his weight in gold. And he's as neces- sary to a small troupe as to a big one. A property, as you prob- ably know, is anything used on the stage that is nei- ther scenery, nor costume. The stage carpenter knows pretty exactly what he is required to supply. The costume department makes clothes. Props gets any- thing from an ant to an elephant, from a pin to a pineapple, and he has to make it snappy. He must be a jack of all trades and master of each, or else know how to get someone else to do it for him. The wranglings of five hundred years have re- sulted in a practical ruling on props, for there are times when props and cos- tumes are more or less de- batable. Here's the stage rule. If it is something necessary to the action, other than straight dress- ing, it is a prop. For example, if your hero is a military man, he may wear a revolver in a holster as part of his costume. If he has to shoot it, then it is a prop. If a coat lies on a chair, it is a prop. If it is donned by one of the characters, it becomes costume but, if two or more wear the coat, it again becomes a prop. In the same way, the stage carpenter builds a room or an exterior set, but Props dresses it. He supplies and hangs the curtains, he gets the clock and vases for the mantel, he brings on the tables and chairs, rustles the bookcase and then digs up the books. He generally has a staff of helpers, technically known as clearers, who work under his direction. Properties are divided into set and hand props. The latter are articles By Epes W. Sargent brought on the stage or carried off by some player. The revolver and the coat, mentioned above, are both hand props but furniture and general dressings are Loui Photograph by Warner Brothers AN ESSENTIAL PROP Fazenda Would Look Even More Startled If Props Forgotten Her Ouija Board set props. It is up to Props to see, before each scene, that the hand props are given the proper player, that the hero has his trusty gun and the villain his cigarette. On the stage there is also the classification, perishable props. The cigarette is a perishable prop, as would be food to be eaten, articles to be broken or anything which must be replaced for each performance. It is important that the director sup- ply Props with a property plot as far in advance as possible. As soon as possible after that, he should provide a property plot by scenes and sets. It is permissible to generalize the stage dressing, as, "fashionable drawing room" or "cottage interior," but, if that drawing room must have a violin on the piano, it must be written in, as, "fashionable drawing room. Essen- tial, a piano with violin on top." If this is not done, it is no fault of Props that the violin is lacking. Lots of fashionable drawing rooms lack violins. The best way to make out the plot is to describe the room or the set and then follow with the essentials and add the hand props. It should run something like this: "Fashionable drawing room. Essential: violin on piano, book on table, two cigars in humidor on side table, matches, tray with afternoon tea, six cups. Hand props: sure fire gun for Jack (specify just what sort of gun, whether rifle, shotgun or, if re- volver, what type), cigar- ettes in May's case and bloody handkerchief for George." A "sure fire" is a gun that will shoot. It must be loaded with black, and not smokeless, powder. If there is more than one scene in the set, it is a good plan to specify in what scene the hand props are to be used. This can be done by putting the scene number in paren- theses. Then Props makes certain that the article is supplied just before that scene. If some things are used in one scene and not in another on the same set, specify this. When he gets the first, Had or full plot, Props begins to assemble the things re- quired. When amateur companies work in the open or use actual homes, he is not required to procure much furniture or dressing but he may be required to have a rustic bench or an invalid chair for an exterior and it is up to him to make arrangements accordingly. He borrows a bench from someone and rustles the invalid chair from the hos- pital, the railroad station or wherever he can locate one. For amateur pro- duction it is better practise to make as- semblage only of the material needed for immediate work, but he should have everything marked down. He must know, in advance, just where to go for it. Then, if the director suddenly changes his mind and wants the rustic bench for next Saturday, instead of making the scenes calling for the in- valid chair, Props hustles off to the' 638 MOVIE MAKERS owner of the bench instead of going after the chair. These lists should be itemized to the slightest detail. Do not trust to chance that someone will have cigarettes for use in the play. Probably someone will, but don't take a chance. In the same way, call for a pin if a pin is needed. Don't trust to luck; look to Props. That's what he's for. Before setting out for location he should check over the list and make certain that he has everything. More than this, it is up to Props to see that things are just right. If he sets the stage for an evening party he wants to look at the clock and check the time. Not one person in a thousand may note that the party starts at two o'clock and that they go in to supper at four but that thousandth person is precisely the sort who will advertise the fact to the world. Props needs to be care- ful of little things. If a candle is supposed to have been burning through the night he wants to whittle it down to match the lapse of time. A character should not leave a room with a freshly lighted cigar and appear on the porch in a scene timed a moment later with the stogie half smoked. Props should note, from the script and from observation, the condition of the cigar in each scene and provide one to match. At the end of a scene he should report these details to the script clerk who makes a note against the proper scene. It's a sort of divided responsibility but the burden rests on Props. It is part of Props's job, when work- ing under the lights, to see that noth- ing halates. Highly polished surfaces, such as china vases, should be rubbed with putty to kill reflection but not so heavily as to leave a dead surface. Mirrors should be "killed" and other faults corrected, generally with the co- A HAND PROP A Diamond Engagement Ring Is Probably The Ingenue's Favorite In This Prop Classification operation of the cameraman. As soon as a set is constructed, Props dresses it. As soon as it is ready to be struck, he clears it. In between, he SET PROPS The Atmosphere Of This Cottage Scene Is Established By Their Authenticity Photograph by Warner Brothers In an amateur company there prob- ably will be little building but even an amateur production requires some work. One picture called for a polo helmet for the hero. That was costume but they came to Props after failing to find a helmet anywhere in town. He made one from the crown of an old derby hat, a pasteboard brim built up with papier-mache and a can of white paint. It looked great in the picture. Much can be done with papier- mache, which is nothing more than bits of news- paper soaked in a thin flour paste. The object is built up, bit by bit, and permitted to dry before being painted. Much can also be done with model- ing clay and the composi- tion of whiting, glue and varnish known as gesso. It would take a volume to give directions for making props and it probably would not be needed much. However, in an emergency, Props will generally man- age to come through. He may be required to make rubber and cork imitations of sledge hammers, pistols, crowbars and the like. You can't very well brain the hero with a crowbar; you'll need him for the final fade out. You can make a sub- stitute crowbar out of a piece of rubber hose, stiffened with a dowel or a cut- down broomstick and provided with a wooden point. A sledge hammer may be trimmed from a rubber bath sponge if you do not come so close to the camera that the honeycombing (Continued on page 669) 639 OCTORER 1929 WATCH YOUR STOP The Importance of Correct Exposure For Film Reversal IN presenting a note on the subject of exposure it is necessary that the reader know the theory of the film reversal process. To those who are not acquainted with this, the infor- mation in the next paragraph will offer a brief resume of the reversal process. The photographic emulsion consists of gelatine containing silver bromide crystals. When developed, the silver bromide, which has been acted upon by the incident light, is reduced to metallic silver. In the usual chemical treatment the negative, after develop- ment, would be placed in a hypo batli to remove the unreduced silver bromide. In the reversal process, instead of be- ing placed in a hypo bath, the negative is given a bleach bath which removes the metallic silver and leaves un- affected the silver bromide crystals which are still light sensitive. At this stage the film has the milky appearance of an unexposed emul- sion, but, viewed by transmitted light, it shows a weak positive image. In those portions of the film which received the intense light from the highlights of the subject photo- graphed, a large percentage of the silver bromide will be reduced. This gives considerable density on the nega- tive at that point. When the silver is bleached out, only a few silver bromide crystals are left at that particular area. In those portions of the film which re- ceived the light from the shadows of the subject, only a few grains are acted upon by the developer and, conse- quently, after bleaching, a great pro- oortion of the sensitive crystals are left in the emulsion. If, then, these two areas of the film are exposed to light and developed again, that portion of the film that had a high density in the negative is now of low density because there were very few grains left in the emulsion for the second light to work on. That part of the negative which was originally represented by a very light density thereon is now an area of high density. The original densities of the film are thus reversed. A series \ \ ' ' ' * <■ - . \ ' v - < '-' . 0 >. ' ,'" , '^"i ' - . <■ . v , f _.- s, 1 - V ( < I , 4 -• v. ■ ~\.-. X \ "<■v > - » - _» . r; ■ ' - -■ y ~~> > " r^ - — T -, w^A'» ■'-.•*' - * '* 7 ^ ■ ~- ■» ■ FIGURE 3 In figure 3, the developed grains have been removed by the bleach, leav- ing the sensitive crystals previously un- affected by the light. FIGURE 1 FIGURE 4 Figure 4 shows the appearance of the image after the remaining silver bromide has been reexposed and de- veloped, the densities now being re- versed. Many people using cine cameras do not have much knowledge of exposure and shoot all their film at the same stop or follow some simple rule given them by the camera salesman. These procedures may be followed with a still camera but not with reversal film. The drug store finisher may choose be- tween thirty different chloride papers for the proper emulsion to fit a cer- tain negative, but, in the reversal proc- ess, the finisher has only those grains to work with that were left after the bleach bath removed the negative image. There must be an exact balance between the grains exposed on the film in the initial camera exposure and the grains that are unaffected. When your films come back from the finisher too flat or too "contrasty,"' do not blame anything but the exposures you gave the film. The manufacturers of re- versal emulsions have spent many thou- sands of dollars on research, perfecting delicate instruments for use in finish- ing to help correct, as much as pos- sible, errors in initial exposure. When exposures are very far off, it is next to impossible to correct them in finish- ing. Diagrams, a little more elaborate than the preceding, will show why over and underexposure will not give satis- factory positives. We will use the same type of figures as before but represent the densities by a straight line, with the shadow intensities on the left grad- ually increasing up to the maximum density of the film on the right, which represents the highlights. The figure, therefore, represents an infinite number of tones in the negative instead of the two tones we had in the preceding figures. In figure 5, showing the appearance of the negative after it has been given a correct exposure and development, we see that the black area of the film is evenly balanced with the unexposed grains left in the emulsion. After bleaching, if the unreduced grains are given a normal reexposure and a second normal development, the result will be a positive of good quality, with clear highlights and deep shadows. (Continued on page 668) FIGURE 5 640 MOVIE MAKERS HOW To GOVERN EXPOSURE An Answer To Every Beginner's Prayer By Carl L. Oswald THE PRODUCT OF BRIGHT LIGHT The Shadows Are Heavy And Black THE modern amateur movie camera is provided with every- thing possible to make good picture-taking automatic. However, there is one adjustment that must al- ways be dependent on the operator of the camera, and that is the adjustment governing exposure. This means that the amateur must become accustomed to the proper interpretation of light conditions. Many cameras are fitted with expo- sure guides on which an indicator can be set to correspond with the prevail- ing light conditions. This device con- trols an opening which increases or de- creases the amount of light passing through the lens, so that on bright days the opening can be made smaller and on dark days larger. If set proper- ly, the amount of light reaching the film is, thus, always of the quantity necessary to insure proper exposure. Exposure guides on cameras usually have three main divisions — ""bright." "gray"" and "'dull" — to correspond with the daylight conditions most commonly met. There are also intermediates such as "'very bright," "cloudy bright" and "'very dull." If, however, the camera user will understand the three main di- visions the rest should be simple be- cause the intermediate designations are then self-explanatory. These main di- visions can be rather clearlv defined as follows: bright — a clear, cloudless sky with the sun shining brightly and cast- ing heavy shadows which appear black when the eyes are squinted; gray — sky overcast but no heavy clouds and with the sun shining through strongly enough to produce a faintly visible shadow: dull — sky overcast and no shadows being cast but with not enough mist or fog present to seriously ob- scure distant objects. The above conditions apply to ordi- nary daylight between about two hours after sunrise and two hours before sun- set. When mist or fog are present it is better to avoid shooting if possible. Obviously there are conditions which are between the ones defined but, with these main points well in mind, the am- ateur should secure a high average of satisfactory results. Experience helps and, after a short time, he will find him- self deciding his exposures as a matter of course. Most cameras are equipped with lenses having a variable opening or diaphragm, the lens mounting being marked with numbers to indicate the exact diameter of the opening and. therefore, the relative amount of light being passed through the lens to the film. The brighter the light condition, the smaller this opening must be. Also. remember that large numbers are used for bright light and smaller ones for dull light. These numbers are known as / numbers and the lens openings are so designated as, for example, /:11, which corresponds to the opening for bright. If you have such a lens and have determined your light condition by the above definitions you will find that the diaphragm or / numbers correspond roughly as follows: bright, /:11; gray, /:8; dull, /:5.6. Placing the indicator above /:11 at about /:16 will take care of unusually bright conditions such as are found at the beach or on the sea when the sun is shining brightly. Num- bers below /:5.6, if your lens provides for a lower / number, will take care of unusually dull conditions. There will undoubtedly be a certain amount of trial and error in all this, but the meth- od given, if followed out logically, will supply a dependable means of making the important basic determinations. Variations in exposure requirements are well covered in charts which may be had on application at any well sup- HERE THE DAY WAS GRAY The Shadows Are Only Faint plied photographic store. These charts are a dependable guide to the exposure needed for a specific case under the main conditions here outlined. For ex- ample, you may have determined that your basic light condition, as above de- fined, is gray. Reference to your ex- posure chart will then give you all of the variations of subject such as close- ups, long shots, beach scenes, etc., with the corresponding stop or / number. If in doubt between two basic light con- ditions, it is generally better to err on the side of the darker of the two. On those cameras which provide only the three basic indications on the ex- posure guide it is well to confine one's picture-taking to those conditions and to leave the more unusual shots to those who are equipped for making them. TV hile the foregoing is written in an effort to set the feet of the amateur in the right path, it is not intended as a cure-all for every exposure problem. Unquestionably the best way to deter- mine exposure is by means of a de- pendable exposure meter. However, the amateur who wants bright, snappy pictures should confine his shooting to bright or, at least, gray light. Pictures made in dull light are inclined to appear flat and lifeless and shooting under these conditions should be avoided by the beginner unless he wishes to shoot on chance. 641 OCTOBER 1929 THOSE GOOD OLD DAYS A Sentimental Film Story Of Two Ages Rose A. modem flapper Jack The boy friend Grandma as a Girl Grandma of Today Grandpa as a Swain Grandpa Today Mother Scene 1 : A porch or a bench in the open. Grandma sits in chair, resting. Rose enters from house. She carries golf clubs or tennis racquet and is in sport clothes. The typical flapper. Kisses Grandma. Waves toward camera and past it. Exits toward camera, down walk. Grandma smiles after her. Mother comes from house and looks. Scene 2: Curb. Jack, in sporty roadster, waiting. Rose enters. Gay greet- ing. Climbs in car, waves back to house. Car out of scene. Scene 3: Return to Scene 1. Grandma and Moth- er smilingly look after car. Grandma looks up. Shakes head. Says — Spoken title: "It was differ- ent in my day, my dear." Return to scene: Mother nods. Exits to house. Grandma nods, dozes. Iris or fade. Scene 4: Another house, . should suggest 1860. Grandpa comes into scene, dressed in style of the '60's. (Get costume data from library or old prints.) Grandma, now about eight- een, comes from house. White dress in old style. Grandpa greets her very ceremoniously. They exit. Scene 5: Woodland or park walk. Grandpa and Grandma stroll in. Her slipper ribbon is unfastened. Timidly she asks him to tie it. He kneels and ties ribbon. Grandma terribly fussed that he should see her ankles. Grandpa rises. She thanks him. He carries her hand to his lips. They exit. Scene 6: Another walk. Grandpa and Grandma enter. She shrieks. He is alarmed. She points excitedly. Scene 7: Closeup of any innocent bug or worm on Grandma's skirts. Scene 8: Return to Scene 6. Grandpa plucks off offender. Shows her. She shudders. He throws it on ground 642 By Epes W. Sargent and stamps on it. She looks at him admiringly. Isn't he the big, brave man! Puts arm confidingly through his and they exit. She has his coat over "GRANDPA STARTS TO LEAD HER ACROSS" Scene 9: Rrookside. Stepping stones, if possible. If stepping stones, Grandpa starts to lead her across. If stones not available, they merely move along the bank. Scene 10: Middle of brook. Grandpa helping Grandma across. He claims a kiss. She resists. They both splash into brook. If there are no stepping stones, play scene on bank and they slip into water. Scene 11: Closeup of them floundering in the water. Scene 12: Brookside. They come out of water, drenched. To get clinging effect, Grandma should be very light- ly underdressed. They exit from scene. Grandma humorously reprov- ing. Scene 13: Country road. Grandpa and Grandma, still bedraggled, trudge through scene, her shoulders. Scene 14: Porch as in scene one. Grand- pa and Grandma enter scene. She is about to enter house. He begs her to wait a moment. They sit on steps. Scene 15: Closeup of couple on steps. Grandpa is talking very earnestly. Proposing. Grandma coy. She blushes but says, "Yes." Grandpa takes ring from finger and slips it on hers. Their lips meet. Iris or fade. Scene 16: Return to Scene 3. Grandma, now old again. She should be in much the same attitude as the young girl in prev- ious scene. Grandpa en- ters. Kisses her. She opens eyes. Smiles. Takes his hand and holds against cheek. Scene 17: Curb as in Scene 2. A car comes in. Stops. Rose gets out. Jack says, "Good-bye." She grabs him by hair, pulls him toward her and kisses him carelessly. He exits in car. She waves. Turns to house. Scene 18: Return to Scene 16. Rose enters quickly. Dances gaily up to Grandma. Kisses her. Mother enters. Rose kisses mother. Shows engagement ring. All delighted. Rose looks down at Grandma. Says — Spoken title: "Gee, Grand- ma, I bet yon never had the fun we have, when you were young." Return to scene: Rose enters house with mother. Grandma looks at Grandpa and smiles knowingly. Note: Beautiful scenery will greatly improve Scenes 5 to 13, inclusive. If possible, get idyllic woodland vistas for the background. However, do not let the scenery obscure the action. -Be sure that Grandpa and Grandma are close enough to the camera so that expres- sions on their faces can be recorded. If a brook or pond is not available for Scenes 9, 10, 11 and 12, an accident in a high swing, hung from a large tree, could be substituted. While Grandpa is swinging his future wife, she could slip out and sprain her ankle. The proposal could take place when Grandpa was carrying her home. MOVIE MAKERS FORWARD With MEDICAL FILMS How Improved Film, More Flexible Fquipment Ajid The Talkies Are Ad-i mcing Medici?te A?id Surgery WITH the recent rapid in- creases in technical scope of amateur movie equipment the usefulness of this medium of visual in- struction has greatly enlarged for the medical profession, with resultant ad- vances in its effectiveness, according to reports received by Movie Makers from many doctors and surgeons among the thousands now employ- ing the camera in their work. Panchromatic film, for instance, it is stated, has made possible the registra- tion of true chromatic val- ues, a factor of vital import in the study and diagnosis of filmed surgical cases. Here the distinction between tissue, blood clots and dis- eased matter in incisions must be clearly indicated if the record is to be of value. This was not possible with ordinary orthochromatic film on which an incision registered a uniformly dark area. However, since the introduction of "pan" a true rendition of actual conditions is achieved and the elements revealed by the incision are made clearly distinguisha- ble. Concerning this use of film, Dr. Paul Appleton, as- sistant visiting obstetrician of the Providence, R. I., Ly- ing-in Hospital and member of the Amateur Cinema League, says, "One of the greatest difficulties in the photography of surgical op- erations has been that blood stains show in monochrome black smudges. By Louis M. Bailey this new development is to be utilized in reproducing these intricate and deli- cate operating room activities with life- like reality for surgical students. provide A SCENE FROM A MODERN CASE RECORD MADE WITH A CINE CAMERA as ugly This, however, is now overcome by panchromatic film and the use of various degrees of ray filters which give colors relatively true rep- resentation. Too, the average motion picture lens is so fast, /:3.5 up to /:1.5, that the addition of the filter does not require such an increase of expo- sure as to interfere with indoor hos- pital and laboratory photography." Another epochal step in the progress of medical photography, made possible by development of amateur cine proc- esses, is reported by the Post-Graduate Hospital, New York City, where a se- ries of color films on plastic surgery is being made under direction of special- ists in this field. Here, again, a true rendition of color values is vital and Nor is surgery the only branch of medicine to benefit by the camera's growing flexibility. Dr. Smith Ely Jel- liffe, eminent neurologist of New York, says of his work, "No phase of medi- cine has found the cinema of so much value as the field of nervous and men- tal disease. The student of the ner- vous system is almost exclusively guided by his studies of sensation and motion. Behavior is primarily found- ed on sensation and sensation is essen- tially represented by some form of mo- tion. This simple principle is the basis of all behavior. "There is no movement that is mean- ingless. Every movement, even one that outwardly seems as slight and in- consequential as the manner in which a man twiddles his fingers, raises his eyebrows or taps his foot, tells a story that can clearly be read, provided one has the appropriate training. Motions demonstrate what a man really is — his actual status — and, consequently, noth- ing is so valuable to the neuropsy- chiatrist as adequate records of such motion. Cinematography is able to and establish these records and, therefore, modern mo- tion picture equipment is proving to be of infinite aid in the interpretation of, and hence in the treatment of, mental and nervous disor- ders." And, of course, in this field the variable speed cam- eras are invaluable, having been developed to such a high dregree that, in one, seven different speeds are available to the student. Further indication of the interest of the medical pro- fession, fundamentally a con- servative and intensely prac- tical body, in the newest phases of motion pictures is contained in a letter from Dr. Joseph B. De Lee, Chi- cago Lying-in Hospital, who writes. "One of the great developments in educational motion picture films is the talking picture. We are go- ing to wire our new hospital for the eventual talkie." This progressive viewpoint is in- valuable to modern medicine and undoubtedly instruc- tion of the future will wide- ly utilize films of actual surgery, later synchronized with the desired comment by eminent authorities, to replace the old and nec- essarily ineffectual operating-room surgery lesson. The value of the closeup here can truly be appreciated in contradistinc- tion to the occasional glimpse of the subject now permitted the distant stu- dent, required to keep away from the operating table in deference to neces- sary antiseptic measures. Nor should the highly developed equipment now available for micro- cinematography be overlooked in a con- sideration of the intensive uses being made of the motion picture in medicine. The recording on film of the activ- ity of micro-organisms provides study material of the greatest value and the (Continued on page 664) 643 OCTOBER 1929 POINTERS On PLANNING Recipes For Making Interesting Film Fare WHILE the amateur is master- ing the rudiments of camera technique — exposure and focus — he takes pot shots of any sub- ject near at hand which strikes his fancy. Subject interest and the story- telling possibilities of the camera are, rightly, not considered be- cause his first step is to learn to handle his camera. However, the amateur will certainly lose a great deal if he accepts this method as a precedent. He will miss as much as if he had bought an expensive acces- sory and did not learn how to use it. The second step in mak- ing films more interesting is to avoid splicing to- gether shots on dissimilar subjects. A first reel might include, in succession, a long shot of the Washing- ton Monument, a closeup of the baby and a dramatic scene of a fire engine rac- ing past your house, but your later reels should not. Putting it briefly, your sec- ond step is to get all of your scenes of the same, or of a similar, subject together in one reel. This can be done by editing. However, it will soon be found that scenes which would greatly add to the interest of the reel are missing and hence you will come to the third step as you make progress in add- ing interest to your films — you will make a mental plan of your film before you begin to shoot. Just as you figure out your exposure, focus and lighting, you should figure how each scene will fit in the reel in relation to other scenes, that is, you should plan the film as a whole. When you are planning a film, look at the subject as a unit, remembering that, in order to avoid a scramble of pot shots in all of your reels, you are going to splice all of the shots on this subject together. The first thing that will strike you is that you will have an opportunity to tell a connected story. Whether the subject in question be a day's outing, the baby, a football game or an extended tour, a connected story will make it more interesting than an unplanned scramble of scenes. Search for some connecting thread to hold the story together. If you jot 644 By Arthur L. Gale down a few notes of shots that you would like to get or shots that you have already taken, perhaps some connect- ing thread will suggest itself which will Photograph by H. Armstrong Roberts CHOW! An Intriguing Moment In A Film Story Of The Baby's Day guide you in selecting additional shots. This connecting thread is called con- tinuity. In some cases a possible con- tinuity is quite obvious. For example, if you are about to make a film of a trip, you could use the itinerary for continuity. Thus, the film would begin with a shot of your friends entering the railroad station or piling luggage in the car, then follow with the high lights of the trip in the order that they were presented and end with a scene of the return. This, you might complain, is quite obvious but how can one arrange a connecting thread or continuity for a reel of scenes of the baby? The answer is that there are devices for such subjects that are just as obvious and even more interest- ing. For example, you could use the time of day as your connecting thread. You might begin with a shot of sun- rise and then you could show scenes of the baby waking on the sun porch, follow with the major events of its day in their proper order and close the reel with the baby being put to bed. There are innumerable continuity themes. The seasons might furnish the connecting thread for a long film of a ranch, or the rules of a game might serve in mak- ing a sport film. The use of a simple plot opens wide possibilities and adds enormously even to a reel of exceptionally fine photographic quality. For example, a League member who wished to present a reel of exceptional, but otherwise unrelated, fishing shots made use of this simple plot. A veteran sportsman, out with his rod, finds a youngster fishing a little stream and, after making his acquaintance, tells the boy of his fishing experiences over the world. On the screen come scenes of fishing in Maine, in the Gulf of Mexico and in. the West. At the end, the scene returns to the vet- eran of many waters and the little boy side by side on the bank. Additional dramatic emphasis would have been given if, just at the close of the reel, the boy had caught a brook trout. The amateur who filmed this had studied his theme and had found a continuity that fitted his purpose and brought human interest to his shots which they did not have before. It was no more difficult than planning his exposures. He simply figured out a connecting thread that would fit the general nature of his shots and used this central idea to assemble his ran- dom fishing pictures more interestingly. This could have been planned in the same manner before any of the shots were made. Besides planning a film as a whole, individual scenes and groups of scenes or sequences should be planned to make the best use of them. There are many bits of simple technique that gradually will be learned as you strive to make your films more interesting. First of these is the closeup. It is so (Continued on page 666) >««»«■■ MAKERS FILM FLAM By Louis M. Bailey Foiled WE have noted with interest that picture companies frequently send out statements of the birthplaces of their stars in the expec- tation, we suppose, that local pride will induce publication of the items. With this thought in mind we took a census of our amateur company in East Tea- bone, N. J., the other night, in the hope that we might be able to secure enough data for publicity notes in the neigh- borhood columns of our local newspa- pers. Much to our horror, we found that Lily La Rooke, our lovely star, had been born in a district which had been enveloped by the stockyards, years after her family had moved. She in- sisted on secrecy. Following this, Timothy Tantrum, our juvenile, firmly requested that no mention be made of where he first saw the light of day but gave no reason. The villain drew per- sonal sympathy when he then admitted that his birthplace, still the family home, was scheduled to go on the auc- tion block the following week, due to financial reverses. And so it went. Our final conclusion was that the pasts of our particular luminaries would bear no inspection and, certain- ly, their futures no prophecy. Loyalties THE triumphal entry of profession- al movie art into the American home is recorded by Variety in the fol- lowing note: "A promoter has approached a num- ber of studios for permission to photo- graph film stars and use the pictures for wall paper prints. Plan is to cre- ate a vogue for homes. Special com- binations are being arranged for many moods and fancies. The Shebas may have a John Gilbert room or a group of panels carrying portraits of many screen idols. Movie-struck shiek can have his selection of screen flaps. Hoot Gibson is being sought to fill the de- mands of the kid lovers of Westerns, and the prominent child players are being sought for decorating the nurs- eries. Chaney will look after the bad little boys and girls." The idea back of this may be part of the national conservation program — to make the paint and calsomine on Hollywood faces do double duty. Personally, however, we still prefer the conventional wall coverings and to confine movie art in the home to amateur films. Home Movies Through the Ages THE inaccuracy of historians is no- torious and it is with the feeling that Film Flam is contributing to the eternal verities that we present the above reproduction of an ancient wood- cut. This unique relic of the heyday of the Roman Empire has lain for nearly a score of centuries immersed in the depths of Lake Nemi, that smart watering resort for the elite of ancient Rome. It had evidently been a decora- tion of one of the imperial pleasure- galleys, which, it is believed, was sunk one night when the gang was making whoopee, and only revealed again upon the recent draining of the lake by the [talian government. 645 OCTOBER 1929 Splicing and Cutting NOW that the summer footage is about completed, it is high time to consider cutting it into a reel or two which will be worth see- ing from the point of view of your friends. And this means that you should not only consider continuity but should also provide yourself with the facilities which will enable you to turn out a workman-like film that does not jump or break during projection. ^ In cutting and editing, a rewind is desirable in which both rewinding ele- ments are provided with geared spin- dles. Q Tin typewriter-ribbon boxes are very useful for the storage of short lengths of film. Most of them are just the right height and, for a protracted storage period, they may be converted into miniature humidors by inserting a one-inch square of slightly moistened blotting paper, separated from the film by a sheet of waxed paper. 4I_ For temporary classification of film while being spliced, some amateurs have suggested egg boxes of which the small squares are labeled or numbered. Others employ pegs on a board or pill boxes. The main thing is to keep the little film rolls from uncoiling and becoming unidentified. Nothing is more annoying than carefully to com- plete a fully-spliced reel only to find that you have left out one or two se- quences that have slipped away into a dark corner. Lacking anything else, the rolls may be coiled and clipped firmly with a paper clip to which has been attached an appropriate label. ^ The convenience of an illuminated magnifying device in editing film is so great that it is almost a necessity when splicing up more than a few short lengths. ^ Take care to scrape the emulsion off cleanly when making a patch. Cement will not adhere properly on a moistened surface. Therefore, if you use water to soften the emulsion, be very sparing with it and make sure that the film is dry before applying the cement. Experts in splicing seldom use moisture but scrape the dry emulsion. ^ Do not apply too much cement to the patch. A single dexterous wipe of the half-filled brush is enough if pressure is applied immediately. ^T Do not leave the bottle of film cement uncorked as the cement evap- orates rapidly. ^ Do not be afraid to test the splice thoroughly, a moment after it is made. This is done by applying a good steady THE CLINIC By Russell C. Holslag pull to both sides of the splice, then bending it slightly to see if the edges are secure. If the splice is properly made it should not be affected at all by this treatment. If one edge comes loose, it is an indication that the cement has not been uniformly applied. Take a bit of cement on the end of the brush, touch it to the uncemented edges of the film and press tightly together with the fingers for a moment. This applies only to the edge of the film; if the uncemented portion extends into the picture, place the film again in the splicing device, supply cement where needed and apply pressure. ^ A piece of soft cloth that is not linty, doubled into a pad, should be kept handy to remove surplus cement from both sides of the film immedi- ately after the splice has been made. This will prevent the embossed finger prints that sometimes occur on care- lessly spliced film. ^ Thin white cotton gloves, worn while rewinding and splicing, keep hands and film clean. Q A piece of soft, lintless cloth, mois- tened with any of the liquid film clean- ers now on the market and held with a loose pressure in the hand, is useful in cleaning film. The film is passed slowly through the folds of the mois- tened cloth so that it may have time to dry before being rewound. It is a good idea to do this with a newly spliced reel, since the separate pieces have probably accumulated dust and dirt through handling and splicing. Be- sides, this is a good final test for de- tecting open or poorly-made patches. Amateur Enterprise AN alert amateur, not infrequently L heard from in these columns, has again demonstrated his enterprise by making a 16mm. film record of the huge Universal camera crane. Hyman M. Fink, of Los Angeles, has, thus, demonstrated the possibilities of topical filming that lie within the capabilities of amateur camera workers. The fa- mous camera crane, which was recent- ly described in Movie Makers, was taken to a prominent Los Angeles theatre for a demonstration in con- junction with the showing of Broadway, the feature in which the crane was first used. Mr. Fink appeared as the ap- paratus was being set up, made friends with the operators and secured his film. His subject is appropriately announced by a closeup of the huge banner, de- scribing the crane, which was flaunted over the theatre marquee. Next comes a shot of the completed apparatus, mounted on two trucks, one of which supports the crane while the other carries its power plant. As the action progresses, the crane is shown in mo- tion, carrying the camera and operator with smoothness and rapidity in any di- rection. The surprising flexibility of the huge device is well shown and the final shot from its "crow's nest" is most effective. Mr. Fink states that the op- erator of the crane is really as much in control of the camera angle as the cameraman himself and that the two work in unison; the operator panorams and tilts in conjunction with the pre- arranged motion of the crane. Mr. Fink is fortunate in having achieved this outstanding amateur subject, a copy of which has been given to the League Club Film Library. Asked and Answered Question: In taking pictures of crowds from a distance, I sometimes desire to select individual closeups. For this purpose I use a six-inch telephoto lens but often find that the magnification is not enough. Could I use a nine or twelve-inch lens for this work with any better results? Answer: I would advise against the use of lenses of nine or twelve-inch focal lengths for this type of work. It is possible to secure, on special order, lenses up to twenty-four inch focal length, but they are so large and clumsy that they may only be used with camera and lens clamped rigidly to a special support. The work of photo- graphing crowds calls for mobility and a quick set-up, which would be out of the question with this type of lens equipment. Furthermore, it is difficult to follow and "spot" a small moving subject with lenses of such high mag- nification. You will gain much more satisfactory results by approaching the subject more closely, and employing a lens of moderately long focus only. (Continued on page 672) 646 PROCESSIONAL Illustrating The Sad Plight In Which Professional News Reel Cameramen Find Themselves Nowadays At Any Public Event Worth Filming «£«rro«Eai 1929 MR. PEEBLE'S "PERDUCTION" A Short Story For Cinemakers CLARENCE was stumped. His older brother leaned again on the megaphone, which came nearly up to his waist, and eyed his partner. "Who's directin' this perduction, me or you?" '"I know, Bill, but you gotta think of the s'nario! Burt and me and Jim all crawl into the secret hut together and then you sneak up behind us." "Then who's going to run the camera?" The Ellis and Ellis Superart Studios were temporarily in a dead- lock. "Don't you see?" con- tinued Bill, "you have to be killed off in the next scene or we won't have a cameraman." ""How about me?" piped up Burt. "You don't count," the director decreed. "Dad says only me and Clarence can run the camera." The chief scenario- man sat swinging his foot from the top of the piano box. Strictly speaking, it was no longer a piano box, for it had been changed, after much hammering, into a secret hut. Standing alone in the center of Mr. Peeble's lot, it made quite an im- posing edifice — too much so, according to the lot's owner. In the estimation of the Super- art Studios, Mr. Peeble could easily have won the medal for the neighborhood's all- champion grouch. Why should he have kicked about using one board from his fence for a door to the hut? Clarence stopped swinging his foot and sat engaged in deep thought. "Bill," he said, "what we need is more men ! " "Where'll we get 'em?" "Well, there's always a mob of kids over in the schoolyard, but I don't know just how we'd get them over here." "I know," said Jim. Jim was always full of ideas, but no one paid any at- tention to them. He was too young. "Why not take the camera over there and pretend to make movies and get them interested and everything?" By Ernest W. Page There was a moment's silence, then Bill spoke up. "I got an idea. Let's all change location to the school-yard and fake some action. You see, Clar- ence, we'll shoot a fake scene and then, when they want to know what it's all about, we'll tell 'em to come over to "—A RTLLIONAIRE'S SON WHO IS TIED AND S'PENDED FROM THE CEILING—" Mr. Peeble's lot and we'll feeture all of 'em in the movies!" "Good idea, Bill. I'll run the cam- era and you direct and Jim and Burt will fight each other." If Mr. Ellis could have been in- formed of this new expansion program of the Ellis and Ellis Superart Studios, he might have been tempted to call back the loan of his new home movie camera. And certainly if Mr. Peeble could have known about the proposed increase in the size of the cast, he would have shut down on the use of his lot next door. In fact, he had already told the rising young movie makers that they were not wanted and that he would burn down their piano box if it wasn't taken away at once, all to no avail. What was a vacant lot good for, anyway, if you couldn't use it for a movie studio? Bill reached the school yard first, and sat down in his folding canvas chair in the center of the baseball dia- mond, thus interrupting a game which was in its third inning. He turned his cap around backwards and, with one elbow resting on the top of his megaphone, wait- ed while Clarence set up the tripod and fast- ened the camera to it. Burt and Jim trailed be- hind, lugging with them a slate on which to number the scenes, a box containing two false moustaches and some borrowed make- up, a thick notebook, a large sign bearing the name of the corpora- tion with a notice to the effect that there was to be positively no han- dling of properties, and four reels of standard size scrap film. What these last were for, Bill and Clarence had not yet decided. All protests against the interruption of the baseball game ceased and the scattered young- sters began to form a circle of interested but puzzled spectators as Burt and Jim donned the mustaches and be- gan to wrestle on the ground. Clarence busi- ly panorammed with the camera, while the director called upon the bystanders to wave their arms and register excitement. After a few mo- ments of fighting, Bill stood upon his canvas chair and held up his hand for silence. "Men, this is just one of the scenes from a moving pitcher which we are now perducing called The Trail of Blood. The fighters which you have just witnessed — " Burt, covered with dust, blew his nose. "The fighters which you have just witnessed," re- peated the director, "were battling to save the life of a billionaire's son who is tied and s'pended from the ceiling of the secret hut which is in Mr. Peeble's lot." At the mention of the lot, all eyes 643 HOVIE MAKERS "OH, ITS A MOVIE COMPANY turned toward the corner a block away. Not only did they see the rude struc- ture in the center, but they also no- ticed a wisp of black smoke arising from it. With shouts of "Fire!" the crowd broke into a run and headed down the street, leaving Bill standing on his canvas chair. Clarence took one look and sat plump down on the ground. "It's the hut, Bill. Mr. Peeble has set fire to it. It'll only last a minute on account of all that packing straw I left in it." The crowd of boys had now reached the lot and were running around the hut. "Why not take pitchers of it?" sug- gested Jim. Bill turned his cap around to shade his eyes as he looked down the street. Suddenly he jumped down off the chair. "Grab the camera, Clarence. I've got an idea. Burt, you and Jim pack the stuff and follow us back to the lot." So saying, he whirled his cap around again, seized his mega- phone and his chair and was off. Within two minutes, Bill had a small mob besieging the rendezvous of the dastardly gang. He had succeeded in dividing the crowd into two factions, the kidnappers and the rescuers, and each began to attack the other with clods of dirt, empty cans and what- ever else was loose. The smoke from the hut rolled in billows and the flames fed by the packing straw leaped sky- ward. Clarence was kept busy wind- ing the camera and running around to obtain different an- gles on the big "fire scene." The noise made could be heard for blocks around and occasionally the parent of an unfor- tunate participant appeared and with- drew her offspring from the fracas. During the peak of the battle, a stray clump of dirt found its way into Mr. Pee- ble's garage by way of a closed window. Really only a small matter, but the sound of shattering glass must have dis- turbed Mr. Peeble, far his head ap- peared over the board fence and nar- rowly missed making connections with a somewhat battered orange. Operations were suspended for the time-being. "Young man," he called to Bill, "I want you to know that I am going to stop these monkey- shines immediately!" "Yes, sir. We'll be through in about five minutes." "You'll be through in less time than that, young man! Your noisy crowd is a menace to the well-being of the com- munity, and, unless my lot is vacated in- stantly, I'll phone the Chief of Police! Your father, if no one else, should curb this nonsense!" "Yes, sir. I'll or- der a change in lo- cation right away." Upon Mr. Pee- ble's departure, a conference was called for the board of di- rectors. The entire cast attended. The worries and cares of a director's responsi- bilities seemed to show upon Bill's face. "Men," he said, "there has been a re- quest put in for a change of location on account of noise. Before we go any farther, will the Chief Photographer give a report on the footage shot?" Clarence looked at the dial on the camera. "Twenty feet left," he announced. "I took six flashes of the fire and everything, which took twelve feet, and we shot sixty-eight feet this morning." "Then we've only got a few more scenes to shoot?" "Yes." "H'mm." Bill crossed his legs and rested his chin on his hand. By this time, the hut was only a smoldering mass of ashes, and the smoke began to clear away. One of the boys looked thoughtfully into the remains and then turned to the direc- tor. "Say, Bill, didn't you say we was rescuing a billionaire's son from the hut? Well, what happened to him? Did he burn up?" Bill turned to Clarence. "You're s'nario editor. How about it? What's happened to the hero?" Clarence hesitated. "Well, I kind of forgot about him temporarily, but I guess he must have escaped. Don't you think so, Bill?" "He must have got out some way, but how?" Everyone began to rack his brain for an idea. That is, everyone except Jim. Jim never did have ideas. "Let him crawl out alive from under the ashes," suggested someone. This solution was soon ruled out and fur- ther deliberation followed. "Secret passage," suggested Jim. There was a moment's silence. "Clarence," said Bill, "we gotta have (Continued on page 667 J A KIND OLD LADY MET MR. PEEBLE COMING OUT OF THE GROCERY STORE" 649 OCTOBER 1929 MASKING Your MOVIES A Diverting Answer To :' What To Film Next f " THE SPIRIT OF FRIGIDAIRE? Now It's Your Guess MASKS have been used all over the world for hundreds of years by various groups from medi- cine men to dancers and actors. Of late, due primarily to the wonderful masks made by the famous illustrator, W. T. Benda, they have had quite a vogue in this country. They are now used in dances, the theatre, pageants and motion pictures. Nearly every artist has one or more of these masks hanging on the wall to add a decorative note to his studio. The cinematogra- pher could make an odd picture by having the entire cast wear masks. The picture could have a fantastic or impressionistic theme or could be a grown up, glorified, Doodlebug com- edy. The actors wearing the masks could be simply dressed in long cloaks reaching to the ground, thus centering the interest of the audience on the masks, which should be symbolic of the types with which the story might deal. If the picture were made indoors the background could be draped or made modernistic. In any case, the results would be sure to be unusual. It is a good idea to show the scenario to the people you wish to include in the cast and to let each one make his ma,!: according to his fancy. When all the masks are completed, assemble the cast. As an amusing variant of the carefully planned scenario, an im- promptu story could be made up as the picture progressed and the theme built around the character of the masks. In any event, use of masks is likely to awaken more interest than the usual photoplay because, as the actors are all masked, they are placed on the same footing. The homely actors are now as photographically good as the more favored ones. Masks may be made of various mate- rials. They can be carved from a block By C. W. Gibbs Masks Designed and Executed By The Author of wood, molded in paper or built up by utilizing tiny pieces of gummed tape. The simplest method is to buy a cheap false-face and cover it with ges- CAMEMBERT AT DAWNING? Or Perhaps Just A Whimsy so or plastic wood, afterwards painting it with oil colors. The making of masks does not require any art training and a lot of fun can be had doing them. The most common method of making a mask is by the use of gummed paper. This may be purchased in rolls about two inches wide. The first step is to take a piece of tape about two feet long and cut it through the middle so there are two strips one inch by two feet. One piece is then shaped in the form of an oval large enough to fit the face. The other long piece is stuck around the first so as to strengthen it and form the oval shape. Another long, narrow piece is fastened at the crown and bent, following the oval lines of the sides, down to the chin. Shorter strips are cut and fastened to either side of the frame and to the center strip. These pieces should be shaped carefully, as it is this part of the process that can cause failure in the mask. If the sides are not shaped evenly, the mask will look lopsided. Smaller pieces are fastened in a crisscross manner over the framework. These pieces are cut one quarter of an inch by two inches and are termed fin- ishing strips. When the mask is cov- ered with these, the interesting part of the work arrives. Holes are cut for the eyes, the nose is built on and any other embellishments, thought neces- sary, are added. After these things have been put on, it is best to go over the mask again with a layer of finishing strips. The mask is then ready for a coat of gesso. Gesso is a substance that can be obtained in art stores. It is put on with a brush and allowed to dry and may then be painted with oil colors. In the process outlined, the cost of materials will be about two dollars. Some may prefer modeling in clay and then making a cast of the model in plaster of Paris, after which a mask is formed from plastic wood in the cast, but this requires a greater outlay of money and the results are not as fan- tastic as when paper is used in fashion- ing these interesting accessories. The making of masks will consume very little time and their use will result in unusual movies. Then the masks will make pleasing ornaments for the den. AND THIS IS PROBABLY A HIGHLY STYLIZED ADOLPHE MENJOU 650 MOVIE MAKERS CONTROL of LIGHT And SHADE A Beginner's Sailing Chart To Photographic Quality HAVING mastered his camera to the point where he is reasonably sure that each shot will give a well-exposed picture, the amateur mo- vie maker may properly consider the question of how best to manage light and shade so as to give the pictures a more pleasing quality or "balance." The first consideration is the direc- tion from which the light is coming and its relation to the direction in which the camera is pointing. This relation has five main divisions — front lighting, forty-five-degree front lighting, cross lighting, forty-five-degree back lighting and back lighting. Front lighting is that condition in which the light is falling full on the subject from a point directly in line with the camera and from the same side of the subject as the camera. Forty-five-degree front lighting is produced when the light is coming from a point on the same side of the subject as the camera so as to produce a shadow slanting about forty-five de- grees from a straight line between the camera and the subject. This shadow is thrown in a direction away from the camera. Cross lighting is produced, as its name implies, by light striking the sub- ject from such a direction as to cast shadows directly across the picture from right to left or vice versa. Forty-five-degree back lighting is the reverse of forty-five-degree front light- ing and, therefore, the shadow is cast at forty-five degrees from a straight line between the camera and the subject, but, this time, it is cast on the side toward the camera as the source of light is back of the subject. Tfc ' $pH By Carl L. Oswald Photografhs by H . Armstrong Roberts Back lighting is the reverse of front lighting and the shadow of the subject is cast in a straight line directly toward the camera. Front lighting is generally unsatis- factory because everything is evenly lighted and there is a minimum of that combination of light and shadow best suited to a pleasing pictorial effect. There is also danger that the photog- rapher will get his shadow in the pic- ture unless the light is high enough. Forty-five-degree front lighting is perhaps the most generally satisfactory average lighting and it is recommended that the amateur use it whenever pos- sible, although cross lightings may also FRONT LIGHTING SIDE LIGHTING be made with safety, thus giving a more pleasing variety to the finished film. It is obvious that any angle of front light- ing, from direct to almost cross light- ing, may be used to produce varying effects from minimum shadows with di- rect light to maximum shadows with cross light. However, all back lightings should be used with extreme care and with special precaution that a lens shade of some sort be used. Never allow direct light to strike the glass of the lens. It is also advisable that a white sheet or other good reflecting sur- face be placed facing the subject on the side farthest from the light so as to reflect some of this light to the shadow side and, thus, prevent black shadows in which no detail is present. In a di- rect back lighting it is advisable to open the lens at least one stop larger than fijjps^. - A *xF ^ Ejte3\^ — ^3 ^M, " E^' 3 H&te^ ^ ■ ■"^X^B V^*-- j_\.J E5^ J*M \. jx&K H* \ ■' m v ' /-' Wk |^^^^# 1 ll m " W Mi It^ \%\ -/ P**2>? £ ' A wXr*J\~ " sjfr - \ !bWv\ y~\ J imam ■'^L BACK LIGHTING the one which would normally be used, under similar conditions of illumina- tion, for a front lighting shot. The lightings previously mentioned have had little reference to the alti- tude of the sun and have rather sup- posed a light source at about camera level, but the same relations can be seen to hold in connection with the sun for all times of the average photo- graphic day. that is, from two hours after sunrise until about two hours be- fore sunset. When closeups are being made, espe- cially out of doors, and special lighting effects are desired, a few small mirrors will be found to be very useful. With these the light can be reflected to the subject from several angles and many pleasing effects can be secured. The means are merely suggested here. It is up to the user to make the most of them that his own ingenuity may suggest. However, a warning should be noted. Avoid heavy shadows. Such shadows as you may have in the picture should be rather light to the eye because they will appear darker on the finished film. If no reflectors are used in photo- graphing a person or group, it is well to have the individuals remove their hats because the shadow of a brim, especially when the sun is high, will produce hard, heavy shadows devoid of detail and generally unpleasant. Frequently in photographing action, especially on the spur of the moment, one is forced to confine himself to securing proper exposure. In many other cases, however, the balance of light and shade may be considered and used in securing excellent pictorial (Continued on page 670) 651 OCTOBER 1929 AMATEUR CLUBS Mrs. Hoover Belongs THE letter from Mrs. Herbert Hoover to Waterloo Movie Makers, reproduced elsewhere in this department, indicates that the President's wife has entered the ama- teur cinema club movement. Mrs. Hoover's interest in personal cinema- tography has long been known and Movie Makers felicitates the Waterloo, Iowa, organization on the honor which it has been given and also upon the fact that it may look forward to the participation of a high-grade amateur technician in its future activities. Nippon Reports THIS department is very happy to present the first definite informa- tion of the activities of the Nippon Amateur Cinema League whose head- quarters is at 509 Marunouchi Build- ing, Marunouchi, Tokio, Japan. We are indebted to Masao H. Kawamoto, consultant, and to Masami Nishimura, editor of Amateur Movies, the publica- tion of the Nippon League, for the news reports here presented. Regular news is promised to Movie Makers by these gentlemen. ^ A recent contest of the Nippon Amateur Cinema League awarded prizes as follows: Masuji Tejima, first prize, 125 meters, 16mm., a cinematic review of Tokio covering an entire day's time of visiting, which is said to compare favorably with Ruttman's Berlin; Koji Tsukamoto, second prize, 94 meters, 9y2mm., a study of snow scenes and winter sports, including scenes of athletic performances of visiting Norwegian skimen ; third prize, Class A, awarded to The Little Film Producing Association (cameramen, K. Yomada and H. Kameda, titles by H. Morita), 63 meters, 16mm., a motion picture study of Osaka, Japan's great industrial center; third prize, Class B, awarded to Sakunosuke Kiyo- saka, 35 meters, 16mm., a sketch of a zoological garden. News Of Group Filming By Arthur L. Gale THE WHITE HOUSE WASHINGTON July 25, 1929. The Board of Directors, Waterloo Movie Makers, 225 West wifth St., Box 26, Waterloo la. Gentlemen: Mrs. Hoover wishes me to thank you for your letter of July 19th and for the honor which you have done her in making her a life member of Iowa's First Amateur Movie Club. I am sure when in Waterloo again, she will enjoy meeting with the movie makers and even in the direction of a scenario. Your isincerely, Secretary to Mrs. Hoover. Q Under the sponsorship of the Jiji Shimpo, a great Japanese daily news- paper, a public showing of amateur films was held at the newspaper's audi- torium by the Nippon Amateur Cinema League before an audience of 1,000 persons. Kodascope and Bell & Howell projectors were used and the prize films referred to previously were shown, together with films by S. Kawai, a film review of Tokio, S. Nakamura. an excursion to Hakone, and Y. Mochida, a study of camera magic. The evening was completed with showings of com- mercial pictures in 16mm. editions. TYPES OF AMATEUR STILLS DESIRED FOR THIS DEPARTMENT Left, Scenes From Productions (Example From Trustworthy, Filmed By The Birmingham Amateur Movie Association); Right, Production Groups At Work (Example From The Same Photoplay) ; Center, These Two Types Combined (Example From Opportunity Knocks, Filmed By J. V. D. . Bucher, Peekskill, N. Y. Civic Film Ready WITH Inherited Money, 400 ft., 16 mm., the Flower City Ama- teur Movie Club of Rochester, N. Y., has made a very definite contribution to the well-being of its community. This film, produced with the coop- eration of the Chamber of Commerce and the Rochester Better Business Bureau, is designed to warn audiences against the wily ways of sellers of worthless securities. The cast in- cludes Bernard Heatherly, Helen Kim- pal, Clete Lochner, Marion Cushing, Howard French, L. W. Murat, Row- land Potter, Mrs. Davis, Captain Stein- miller and William Cushing. Frank J. Buehlman, member of the Amateur Cinema League, directed and photo- graphed Inherited Money with the as- sistance of William Cushing. Mrs. Rowland Potter also aided in the direc- tion and Blanche Rexicker was script clerk. The club's last meeting featured the screening of educational films. Followed Paul A FLORIST of Dorchester, Mass., F. W. Holbrow, submitted A Modern Ride of Paul Revere, 400 ft., 16 mm., to Photoplay's last contest. Getting the help of his friends, Mr. Holbrow took his audience over the route of the his- toric ride and showed the modern ap- pearance of the old New England trail of freedom. Tried New Medium HAVING won prizes in the still photographic field, Ralph Oggi- ano's offering to the last Photoplay contest, The Dreams of an Artist, 400 ft., 16 mm., was his first venture into the field of pictured motion. This film, completed in eighteen days, was made by Mr. Oggiano at small cost with the assistance of S. Finocchiaro as camera- man and Miss Gerry Gaines as leading lady. The entire production was filmed in Mr. Oggiano's studio in New York. (Continued on page 673) jpj^ 652 >•«»*■■ MAKERS THE MOST BEAUTIFUL AMATEUR STILL OF THE MONTH As An Example Of The Quality Of Stills From Amateur Film Stories Desired For Publication In This Department, Movie Makers Presents This Study From Bayou a" Amour, Production Of The New Orleans Cinema Club OCTOBER 1929 This picture was taken with ordinary film. Note the absence of well de- fined clouds, and the lack of contrast in the color tone of the trees. CINE-KODAK PAI brings new beau EVEN movies that would be good if taken with ordinary film, would be surprisingly better if taken with Cine-Kodak Panchromatic Film. This holds true in practically every type of amateur motion picture photography — for "Pan" has picture possibilities not present in ordinary film. Ordinary film is chiefly sensitive to blue and violet. Green and red, colors that to the eye are brighter than blue and violet, are not recorded correctly on ordinary film. Consequently, there is a great difference between the brightness of colors as seen by the eye, and as reproduced on the screen. This difference is largely corrected by Cine-Kodak Panchromatic Film, because it, like the eye, is sensitive to all colors. EASTMAN KODAK COMPANY 654 H4»VII': MAKERS This picture was made with Panchromatic Film and a filter. The clouds are now brought out sharply, and there is much more color con- trast in the foliage. IROMATIC FILM wiateur movies Except for portraiture, the use of a filter is recommended for general use with "Pan." A filter should not be used for portraiture. Cine-Kodak Panchromatic Film is $7.50 per 100-foot roll, S4.00 per 50-foot roll, including processing and returning to the sender at any point in the country in which it was processed. The Color Filter for Cine-Kodak, Model B,f. 1.9, is S2.50; for Model B,/'. 3.5 orf.6.5, S1.50. A. Special Front to accommodate the Color Filter on suchy. 3.5 models as do not have a projecting ring in front of the lens is 3 1.00. You can get Cine-Kodak Panchromatic Safety Film at Cine-Kodak dealers everywhere. ROCHESTER, NEW YORK 655 654 OCIOBEK 1929 This picture was taken with ordinary film. Note the absence of well de- fined clouds, and the lack of contrast in the < ohr tone of the trees. \ b « » * ■ ■ >i v h i rt •. This picture was with Pan, hromatic Film and a filter. 7'.. . are > y drought out sharply, and tl much more color con trasl in the J CINE-KODAK PANCHROMATIC FILM brings new beauty EVFN movies that would be good il taken with ordinary film, would be surprisingly better if taken with Cinfi-Kodak Panchromatic Film. This holds true in practically every type of amateur motion picture photography — for "Pan" lias picture possibilities not present in ordinary film. Ordinary film is chiefly sensitive to blue and violet. Green and red, colors that to the eye are brighter than blue and violet, are not recorded correctly on ordinary film. Consequently, there is a jrreat difference between the brightness of colors as seen by the eye, and as reproduced on the screen. This difference is largely corrected by Cine-Kodak Panchromatic Film, because it, like the eye, is sensitive to all colors. EASTMAN KODAK COMPANY to amateur movies A filter 'hiding Except for portraiture, the use of a filter is recommended for general use with "l'a should not be used for portraiture. Cine-Kodak Panchromatic Film is §7.50 per 100-foot roll, 54.00 per 50-foot roll processing and returning to the sender at any point in the country in which it was processed. The Color Filter for Cine-Kodak, Model B, /'. 1.9, is < 2.( ;o; for Model Q./.^S or/6.5, $1.50. A Special Front to accommodate the Color Filter on such /'. 3.5 models as do not have a projecting ring in front of the lens is 5 1.00. You can get Cine-Kodak Panchromatic Safety Film at Cine-Kodak dealers ever) where. ROCHESTER, NEW YORK OCTOBER 1929 CRITICAL FOCUSING Bulldog Drummond United Artists Introduction : An unusually good in- troductory sequence opens the story which uses the idea of carrying the scene from the general to the particu- lar, which we have frequently recom- mended to the amateur. A long shot of London streets is first given, followed by a closer shot of a city square, then a building is picked out by the camera which moves to a closeup of the door of the building. The next scene is the in- terior of the club and, from a closeup of a "Silence" placard, the camera moves through the club's reading room, passes by groups of drowsy club members, reading or dozing in their chairs, and finally we come to a semicloseup of Bulldog Drummond. This sequence lo- cates the story in time and place, it establishes the atmosphere that moti- vates the first plot development and it brings to the audience the feeling that the story is being selected out of actual current events. Shadows: In many instances shadows are used to heighten the effect of mys- tery and danger and to provide, at the same time, a decorative and semi-sym- bolical background for the action, but the atmosphere thus created does not overwhelm the action. This picture contains the best examples of the cine- matic use of shadows that this reviewer has ever seen and many of these exam- ples could be duplicated on a smaller scale by the amateur. jljchting: The film is well lighted throughout and, since the story takes Technical Reviews To Aid The Amateur By Arthur L. Gale place largely at night, many different lighting effects are presented. Al- though it would be difficult, through seeing the film, to discover the arrange- ments of the lights which were used, this picture supplies the amateur with excellent and varied criteria of good lighting. Continuity: Smooth flowing action dis- tinguishes Bulldog Drummond through- out. One sequence fits into the next in even progression. In general, amateurs will find this picture a splendid exam- ple of good continuity, direction and editing. Betrayal Paramount Camera Stunt: In filming a slide down a toboggan, the camera substi- tutes for the eyes of the merrymakers, giving the spectators the sensation of being on the toboggan as it darts down the mountainside. When the sled is suddenly swerved from the tracks to avoid hitting a child, who has fallen in the course, and hurtles through the for- est, finally crashing against a tree, the camera records the approaching doom of the riders as seen through their eyes, even to the moment of the THE MENACE OF SHADOWS This Is Powerfully Exemplified In Bulldog Drummond Photograph By United Artists ■ impact. While the latter part of this sequence was undoubtedly made with an automatic camera strapped to an empty sled, its dramatic reality on the screen is startling. Similar epi- sodes are possible to the amateur cameraman, although to film accidents of this type might mean the expendi- ture of a camera. However, modifi- cation, without this requirement, can be planned and the idea suggests many dramatic and thrilling scenes. Four Feathers Paramount Photography: The remarkably dra- matic shots of wild animals and the excellent compositions in movement contained in Four Feathers will be of value to all amateur cameramen in- terested in photographing wild life. Although the animals in this picture were controlled and stimulated by ar- tificial means, many of the cinematic compositions could be duplicated by ambitious amateurs. Continuity: The major portion of the dramatic action of this picture takes place in four episodes in the latter part of the film. Here, too much action and too many major incidents are com- pressed in the footage allowed. The story in book-form was too long to be told in the length allotted the picture. This results in lack of dramatic pauses and explanatory scenes, which, although not confusing, detract from the in- terest and realism of the story. Ama- teurs will be interested in studying, in a professional picture, this defect which is too common in amateur work. 656 >■<»%■■ MAKERS PATHEGRAMS PRESENTS FOR OCTOBER ANOTHER 7 REEL FEATURE WILLIAM BOYD AND BESSIE LOVE IN DRESS PARADE »_:. a visit to West Point, "Vic" Donovan, famous all-around athlete is attracted bythe charming daughter of the comman- dant. In order to be near her, he forsakes his championship hopes and enters the Academy. Keen rivalry for the hand of Janet soon develops betweenVic and Stuart Ha ldane,an upper classman,with bitterfeeling on both sides. Arguing during a sham battle,Vic and Haldane forget their duties and Vic's life is endangered by shrapnel fire. Haldane saves him, and then, in orderto clearHaldane before acourt of inquiry,Vicexposes himself to expulsion by assuming the blame for the mishap. Janet intercedes with her father. Vic is punished but not ex- pelled, and in the fade-out seems well on the way to winning the heart of his lady. A splendid picture for home projection because of its wholesome plot and the emphasis laid upon West Point traditions and its high code of honor. Rent it from your dealer for projection on any 1 6 mm. projector. OUR GANG COMEDY OF MYSTERY" HOUSE 400 FT. fT ' The Gang is out on an Indian hunt. Taking refuge from a severe storm, they prepare to pass the night in what ap- pears to be a vacant house. But what a surprise they get! The house is really owned by an inventor, and is simply crowded with all sorts of electrically operated trick devices. Every step the AESOP'S FABLES Outspeeding Speed . . 100 ft $7.50 A cat and a mouse in. a flivver, a speed cop, and farmer Al provide the fun in this fast moving fable. The climax finds Al spilled head first into a puddle of mud when his rattletrap car goes wild. $30.00 Gang takes seems to let loose some new hair-raiser! What with trap doors, queer looking figures and weird noises, it's a night of terror for the young ter- rors! The entire 400 feet of film are packed with uproarious fun that will keep you laughing every minute. A worthy addition to your film library! THRILLS AND City Slickers 200 ft. Old Al goes to town to see the sights, fol- lowed by faithful Danny Dog. Adventures come thick and fast. Al gets into trouble with a taxi driver, loses his wad to a pick- pocket, gets mixed up in a gambling den, and finally loses his clothes in Chinatown. Coast to Coast . 200 ft. . $15.00 Old Al, Slick Slim and Henry Cat are well up front in a coast to coast race until Al has tire trouble, Slim's car blows up, and Henry is sideswiped. Making up lost time, Al and Henry are neck and neck on the final stretch. Then the great surprise finish takes place! You must see it to appreciate it ! $15.00 Old Iron Hides. 200 ft. .$15.00 |. ip.wr- I T| P C A comedy of domestic life in the jungle, | \J ^^^ y Lm L I I L_ ^J played entirely by animal actors — Old Man Elephant, the barber, Mrs. Elephant and the Baby, Mr. and Mrs. Monk and Baby Monk, and a couple of mischievous dogs. An exceptionally enter- taining picture to show children, because the antics of the animals are hilarious and the parts most cleverly played. Breath Takers . 100 ft. $7.50 Action shots! A man getting out of a straight- jacket in mid-air, hanging head down from a plane — "broncho-busters" at work — upside down flying — refuelling as it looks to the men who do it — the new Dornier passenger plane in flight — and a shot of Ray Keech's fatal smash at Altoona, Pa. PAT H E G R A M S ASK YOUR DEALER OR WRITE FOR CATALOGS -:- PATHE EXCHANGE -:- 35 WEST - 45th STREET, NEW YORK CITY 657 OCTOBER 1929 THESE FILMO will help you make t^. /^ t£^ Put Punch in Your Films with B&H Film Editer Out in Hollywood they pay men fabulous salaries to cut films up in little pieces and put them together again. You see the result on the theater scteen. There's no secret to putting punch and interest into your films. Half a dozen random shots, uninteresting, perhaps, by themselves, can be made into a regular movie hit with Bell & Howell film editing equipment. With the B&H Film Editer you can run your film from one re-wind arm to another and through the picture viewer where the frames are illuminated and enlarged nine times actual size. When you've selected and separated the sections you want, the splicer, right below, cements them together in sequence (and with titles, if you have them). There you are. It's easy. It's fun. And it makes real movies where you might have had just "shots" be- fore. Mark coupon. B&H Film Editer Complete. Price $40.00. Code MISPB. Picture Viewer Attachment alone, $21.50. Code MISPD. Combination Rewinder and Splicer outfit, $14.00. Code MISPA. Convertible Film Splicer alone, $7.50. Code MISBU. The B&H Character Title Writer has a dozen other uses The Bell & Howell Character Title Writer for Filmo 70 Cameras is composed of camera mount, titlecard holder, and two special-light- bulbs with reflectors, mounted on a sturdy base. In addition, there is furnished an auto- matic prism compensating focuser to mount on the camera. Filmo 70 is quickly adjusted to exact focus and fastened firmly in correct posi- tion. Lamp cord, switch, white ink, penholder, ball pen-point, and 12 title cards are also fur- nished. The whole devicefolds up neatly into its attractive leather carrying case. Beside film- ing titles, the Title Writer forms a setting for scenes in mi niature, for cartoo n movi e sketches, and for scores of scientific and trick exposure subjects, such as walking dolls, moving toys and plants that grow before your eyes. Illus- trations and clippings from papers and maga- zines— in fact anything that illustrates your story can be filmed with the help of this Title Writer. Mark Coupon. CodeMISIO. Price complete, $36.00. B&H Character Tale Writer % B&H Enlarger on Filmo projector Make a Library of Stills with Filmo Enlarger Sit down at a table and take snapshots? It's easy . . . snapshots of anything you've ever taken with your Filmo . . . snapshots you couldn't get with a still camera! The new Filmo enlarger enlarges any scene from a 16 mm. film up to 2}i" x 3X" in size. The operation of the Enlarger is simple in the extreme. The Enlarger, containing a special enlarging lens, is attached to the Filmo Pro- jector as illustrated. It is automati cally focused for sharp reproduction of any frame in your movie film on the film pack which you insert in the holder at the large end. The hinged cover is raised and you see your movie film projected on the white surface of thefilm pack adapter slide. When the desired scene is se- lected, the projector clutch is disengaged, the Enlarger shutter closed,andtheslideremoved. Then, the mere pressing of the shutter gives al/25th of a second exposure, producing a properly exposed negative from any correctly exposed frame of your movie film. The Filmo dealer or your local photo finisher will develop the film and make prints foryou. With sharp pictures on your film, your 2>^"x 3>2 " prints will rival the best you ever made with a still camera. Mark the coupon. Prices: Filmo Enlarger, complete $28.50. Code CARDA. Extra film pack 50c. CodeCARDC. :<£r Catch Those Football Plays With These Telephoto Lenses When the Graf Zeppelin sailed over Chicago, the roof of one building looked like a "forest" of telephoto lenses. What an opportunity! And thousands of Filmo owners took advantage of it! A close-up of one of the motor gondolas showed a news-reel man grinning and waving at the throngs below. Few of them saw him . . . but the telephoto-equipped Filmos did! A whole new realm of photography is yours with telephoto lenses. And you can start in this fall on football, a great subject for telephotography. You'll learn a lot about football you never knew before if your Filmo is equipped with a Taylor-Hobson Cooke telephoto lens. Mark coupon. Prices: T-H. C. 3%-inch F 3.3 telephoto lens for Filmo 70, $85. Code IDBUA. T-H. C. 4-inch F 4.5 telephoto lens for Filmo 70, $60. Code IDEYD; for Filmo 75, $55. Code GLIMD. ^= = 658 T-H.C.4- inch F 4.5 telephoto lens Paint Your Own Autumn Pictures — in Kodacolor Autumn, that superb artist in color, will not be lost to the Filmo equipped for Kodacolor proc- ess. It takes a special speed lens and filters to catch the glowing hues of this colorful season — and the Taylor-Hobson Cooke Special 1-inch F 1.8 lens does the job to perfection. With a formula especially corrected for Koda- color photography, this new lens permits the Filmo owner to take full advantage of the new- est and most interesting of photographic arts. Results are achieved that cannot be obtained with lenses designed primarily for black and white work. Yet, with the filters for Kodacolor re- moved, this lens cannot be surpassed for black and white photography. Prices— Special l"F 1.8 T-H. C. Lens for Koda- color, for Filmo 70. Code IDPKA. Price, $60.00. Same for Filmo 75- CodeGLIKB. Price, $62. 50. Same, special 1"F. 1.8 Lens, for Filmo 70, including Kodacolor Filters, complete. Code IDPKB. Price, $82.50. Same, for Filmo 75. Code GLIKA. Price, $85.00. T-H.C. "Special" 1 inch F 1.8 tens for Kodacolor HO^ili *■ *■»■ !(<• ACCESSORIES better fall movies - - - Your movie isn't really finished until it's on the screen, each scene titled and in sequence. Get busy this fall and work thoselongd istance shots and your Kodacolor films into the kind of movies you see at your theater. Only half the fun is over when you've made the shot; the other half comes in your home editing studio. And have you really tasted the sport of telephotography or of movies in color? The Filmo movie maker who owns T-H. C. telephotos and the special lens for Kodacolor is set for turning out autumn movies that can rival the best on the professional screen. Read about these Filmo fall accessories on this page. You can make better movies with any of them. The New B & H Humidor Can Tells You When It's Dry No need to tell you to keep your films in a humidor, but how were you to know when your humidor was dry — that was the problem! And it has been solved very simply, without extra cost to you. In the center of the colored blotter has been inserted asmaller disc of hard, non-porous material. When you moisten your blotter, this center disc stands out sharply in a lighter color than the wet blotter. But when the blotter is dry, it assumes the same color as the center disc. Thus, a glance at the disc tells you immediately whether your humidor needs water or not. This arrange- ment(patentpending)is now standard on all Bell & Howell humidor cans, already famous for their strong, ribbed construction and for ease in removing the lid. Price, 400' humi- dor can, 75c. Code PROAC. With one Bell & Howell 400' reel, $1.50. Code PROAB. For Kodacolor Projection— the "Bub"North Screen "What you see you get" is never so true as when you see it on the "Bub" North Screen, for its high reflective power gives every advan- tage to the film you're showing. This screen is ideal for Kodacolor, and of course, equally fine for black and white. Special metallic alu- minum powder, applied to a 14-gauge sheet aluminum base, gives an unmatched brilliancy and clearness to your pictures. Projection surface can be faced in for protec- tion while not in use. Pivoting feet fold flush for storing screen. Mark Coupon. 'Bub " North Screen Wet Blotter Dry Blotter No. Size Code Price 1 12"xl6" SKODL $15.00 2 18"x24" SKODM 21.00 3 24° x 32" SKODO 27.50 4 30" x 40" SKODP 39.00 "Bill" Hart in "Square Deal Sanderson" is Filmo Library feature for October Any of these nine October Filmo Library releases may be rented or purchased from your dealer. Mark coupon. "Square Deal Sanderson." "Bill" Hart in a superb western thriller with horse thieves, gunmen, a pretty girl, valuable water rights, and an incomparable villain. 5-400 ft. reels, $200. Code SFABD. "The Dome Doctor. " Larry Semon turns beauty specialist. The results are screamingly funny. 2-400 ft. reels, $70. CodeMUFHK. "Howdy Duke." Lupino Lane in a burlesque on some of our visiting nobility. 2-400 ft. reels, $70. Code MUFHS. "The Story Teller." A Lyman H. Howe pictorial travelogue linked together by the story an old fisherman tells his boy com- panion. 1-400 ft. reel, $35. CodeMUFJC. "Felix the Cat Ducks His Duty." Felix tries war and then marriage. He chooses war. 1-400 ft. reel, $35. Code MUFFZ "Felix in The Cold Rush." Felix has some high adventures in Iceland. 1-400 ft. reel, $35- Code MUFGD. "The Prince of Whales." Nibbins and "Pal," his dog on a whaling expedition. 1-400 ft. reel, $35. Code MUFJH. "Who's Which." Phil Dunham in an elaborately staged comedy of mistaken identity. 1-400 ft. reel, $35. Code MUFJP. "Dodging Trouble." Neal Burns in a big laugh, dodging a subpoena server on the eve of his trip to Europe. 2-400 ft. reels, $70. Code MUFKB. BELL & HOWELL Gfilmo WHAT YOU SEE, YOU GET BELL & HOWELL CO., Dept. J 1828 Larchmont Ave., Chicago, 111. Please send particulars on: □ Character Title Writer □ Film Editer editing equip- ment □ Telephoto Lenses D F 1.8 Lens for Kodacolor □ "Bub" North Screen □ Filmo Enlarger □ New Humidor Can □ October Library Releases Bell & Howell Co., Dept. J, 1828 Larchmont Avenue, Chicago ^ Name.. New-York, Hollywood, London (S. & H. Co., Ltd.) Street.. Established 1907 j, City.... State.. •Vfrl 659 OCTOBER 1929 Photograph by Metro SIMPLE BUT EFFECTIVE This Set And Lighting Effect From A Man's Man Could Be Duplicated By Any Clever Amateur PHOTOPLAYFARE A Mans Man THE combination of James Cruze, William Haines, a lo- cale that both know intimately and an absence of "big scenes" — pos- sibly due to production economy and possibly due to what the producers have learned from the talkies — suc- ceeds in making A Mans Man a photo- play of sincerity, not lacking in subtle- ties, that the intelligent movie hunter will find pleasing. Haines is either rescuing himself or is being rescued from the "smart aleck" roles that have made him unpopular with all photoplaygoers except cheap youths and silly girls. He is not an eagle as an actor but he has an un- doubted capacity for portraying those characters of which the American woods are full — the heedless, vain and dumb but well-intentioned boys who take a whale of a lot of beating from life either to come out average Babbitt successes or inconspicuous failures. Since there are so many of these youths in the country, a study of them in any art medium is desirable. Vidor accomplished a fine one in The Crowd but Vidor's concept of the American performance is full of irony. Cruze, in A Mans Man, if at all ironic, is ironic in so subtle a fashion as to leave the audience guessing about what may have been in his mind. It is quite certain that the author, adapter and scenarist had no hint of the irony that resides in the tale. That Cruze was able to stir up doubt of the prevailing Hollywood sac- charinity is much to his credit. A Hollywood youth has a screen- struck wife. Both carry their stupidity to the verge of farce. The youth hopes Reviews For The Cintelligenzia By Roy W. Winton to acquire "personality" and the wife is pretty sure that she has "it." Both get tricked by a villain of manifold parts and the trickery is about to break up the marriage when the youth dis- cards "personality" and depends upon a "punch" which lays out the villain in fine style. This is a simple tale and, without the intelligence of Cruze, would have produced a syrupy and inconse- quential film. Cruze gave it something of the generality of application that is found, in overdoses, in Sinclair Lewis's stories. One will find no cinematics in A Mans Man and only photography of the ordinary type. It is not a tech- nical acomplishment at all. This film proves that any director, who is as in- telligent as the average American busi- ness executive of the third or fourth rank, can take an unimportant story and can tell it so that the telling gives meaning to the whole thing. This type of business executive would extract the ironic quality in the events of his associates' lives and he would convey that ironic quality in any discussion of them. His life experience would provide him with the quality of ironic appreciation. Mr. Cruze — a director of first rank — happened to do this film, but a hundred others could also have done it if they had been told to do it sincerely. Metro - Goldwyn - Mayer — the pro- ducers— Mr. Cruze and Mr. Haines will remember, let us hope, that Amer- ica is full of incidents that can be treated in the fashion of A Mans Man. Ceorge Horace Lorimer has built the Saturday Evening Post into a great magazine by remembering this. It is at least a fifty-fifty bet that Soul Romances will prove, in the long run, a poorer model for Hollywood than Mr. Lorimer's weekly commentary. Bulldog Drummond THIS reviewer's stubborn insist- ence that the talking movies are of the stage, that silent pictures are of the cinema and that never these twain shall merge has been badly shaken by United Artists' Bulldog Drummond. In this all-talking photoplay the oil of speech and the water of sight — reverse the figure if you want to — have been whipped into some kind of emulsion which, if not an authentic art form, is at least a pleasurable experience as en- tertainment. In Bulldog Drummond one finds the values of the cinema, varied angles of vision, closeups — for emphasis and not for sex-appeal — dissolves, moving cam- eras, play of light and shade, ubiquity of locale. Here are also the values of the stage, selected situations of climac- tic possibilities presented with moving speech and gesture. Here also is a technical achievement in good photog- raphy and good voice presentation. There is lacking a great story or an austerely dramatic treatment of the story and the critical film-viewer re- grets that the fine cinematics, stage (Continued on page 670) 660 MOVHE MAKERS Although an integral part of the Li- brary Kodascope, earlier models of Kodascope B do not have the Thread- lite. It gives ample illumination for changing reels. Price, $6.50. The metal, imitation leather covered Kodascope Film Humidor will keep eight ^oo-foot reels of 16 mm. film in proper condition. Price, $10.00. I Overhead View Finder for Cine-Kodak, Model B, only. Fine for use when crowds obstruct the eye- level view. Price, $7.50. HELPFUL ACCESSORIES for Amateur Movie Makers THE proper accessories not only add tremendously to the pleasure of mak- ing and showing amateur movies; some of them also make possible better movies and more varied and interesting projec- tion results. The accessories shown here are as practical for the novice as they are for the advanced amateur. They are all de- signed to help the amateur movie maker get the greatest satisfaction and enjoyment from his equipment. They are neither complicated nor expensive. Each is de- signed to fill a definite place in any ama- teur's movie-making outfit. These and other accessories, together with Cine-Kodaks and Kodascopes, are described in detail in the booklet "Equip- ment for Taking and Showing Home Movies," a copy of which may be ob- tained from any Cine-Kodak dealer, or from Rochester, upon request. EASTMAN KODAK COMPANY Rochester, New York The Kodascope Rapid Splicer and Rewind. A new accessory that greatly speeds up and simpli- fies editing. Price, $25.00. Splicer only, $15.00. Thef. j. 5 long-focus lens is instantly interchangeable with thef. /.p lens on Cine-Kodaks A, B and BB. Ideal for movies of football games. Price {specify camera), $./j.oo. Excellent indoor movies can be made at night with the Kodalite. Price, $25.00. A Kodacolor Screen is essential for good Kodacolor projection. Bril liantly surfaced, beautifully mounted. Price, $25.00. 661 «M IOHI Mt 1929 EDUCATIONAL FILMS News Of Visual Education In Schools And Homes New Civic Servant USING a Cine-Kodak for educa- tional propaganda, the Provi- dence, R. I., Safety Council has filmed violators of motor traffic regula- tions in that city and has presented the evidence, thus secured, to the Board of Police Commissioners as the chief exhibit to prove that additions to the police force are essential to prevent disregard of the city's ordinances. In addition to using this effective testi- mony in behalf of police increase, it is said that the silent witness will also be employed in trying the cases of those violators who were filmed in flagrante delict u. Museum on Wheels TWO large delivery trucks equipped for the transportation of motion pictures and other visual aids from a central "Educational Museum" to the various schools constitute an important feature of the visual education project of the St. Louis Public Schools. "Our slogan,"' said Amelia Meiss- ner, speaking at the De Vry Summer School, "is to make possible in the school room just the illustration which is wanted at the time it is wanted." To fill this demand, it is said, there have been issued, since the inaugura- tion of the service, approximately 2,210 reels, mostly 16mm., and ten 16mm. projectors are in use. Fifty per cent of the schools are equipped with 35mm. projectors but, while there is a By Louis M. Bailey distinct appeal in this type of machine, the museum is said to prefer the sub-standard size because of the dif- ference in expenditure from the first cost all down the line. Miss Meissner considers 16mm. projection the solution of supplementary visual aid instruction. Another interesting feature of the St. Louis school-film service is the em- ployment of a school photographer who takes pictures of such work as the supervisors select. Great possibilities are foreseen along this line of visual education. Color Films SURGICAL films, employing the Vitacolor process, recently re- viewed by this department indicate the alertness of the medical profession in employing color to record, for future study, the technique of the unusual surgical case. The films were each two hundred feet in length, compressing the operation time into, approximately, only eight minutes screen time and, yet, tell- ing the complete story of the operation. The methods of the surgeon could be followed closely and in detail and the color reproduction was nothing short of startling. On viewing the films the operating surgeon remarked that the diseased tissue was clearly recognizable on the AT THE DE VRY SUMMER SCHOOL Miss Amelia Meissner Of The St. Louis Public Schools, Left, Discusses Visual Education screen by its difference in color from the surrounding tissue. That color films are of infinite value in supplementing previous methods of study is a fact which both medical and teaching professions are rapidly recog- nizing. Summer School A STIMULATING and very helpful session is indicated in letters from various educators who attended the De Vry Summer School, convened at the Medical and Dental Building, Northwestern University, Chicago. The session included lectures on va- rious phases of educational film work delivered by authorities in their partic- ular branches of activity. Demonstra- tions of and instruction in the opera- tion of projection mechanism were given and tours to motion picture pro- duction laboratories and the Depart- ment of Visual Instruction of Chicago Public Schools with a trip on Lake Michigan, as guests of Herman De Vry on his yacht, gave variety to the course. Religious Film ANEW religious film, Cristus, in seven 16mm. reels, is a valuable addition to available religious library- film subjects. This authentically-cos- tumed and well-acted feature was filmed in the Holy Land and, as nearly as pos- sible, in the locations where the events portrayed actually occurred. The film is offered by The Arc Film Company, 729 7th Avenue, New York City. 662 i I K A J r # OCTOBER 1929 Foresight, Not "Luckl Lt was certainly a lucky thing that I took out this 'all risks' policy on my movie camera. As it was, I didn't lose a cent." L QU.S one amateur movie en- thusiast explained to another how insurance reimbursed him when his movie camera came to grief during a week-end trip. Lt wasn't luck ... it was fore- sight. For a small sum, you, too, can insure your complete outfit against "all risks" except wear, tear, depreciation, and war un- der an "All Risks" Camera Floater Policy DEALERS! You can do your customers a favor by assisting them to insure the equipment you have sold. Ask your insur- ance agent or broker to tell you how he can provide this service. AUTOMOBILE INSURANCE COMPANY STANDARD FIRE INSUR- ANCE COMPANY of Hartford, Conn. Affiliated with 7ETNA LIFE INSURANCE COMPANY A FALL TITLING AID The Art Title Background On The Preceding Page May Be Useful In Titling Your Summer Films. Photograph By Arthur Hebert; Titled By Ralph R. Eno. FORWARD WITH MEDICAL FILMS (Continued from page 643) possibilities of this field may truly be said to have so far merely been glimpsed. Concerning camera work in the op- erating room, Dr. Appleton also pre- sents data which will be helpful to other medical cinematographers. He says, "Operating room pictures require the extra fast lens equipment. Most op- erating rooms are well lighted and the walls are usually white. Dressings and drapery of patients', surgeons' and nurses' gowns are also usually white which provides additional helpful light reflection. During many opera- tions an artificial spot light is also used by the surgeons on the field of opera- tion. This light, while constructed es- pecially for surgery and not for pho- tography, is, however, of considerable actinic value and enhances the bril- liance of the operative field to be pic- tured. The so-called 'Scyalitic Light,' which is almost universally used today in operating rooms, will be found to have very good actinic value. Other light supplied by the photographer is not only unnecessary but undesirable and, in most cases, if the daylight is brilliant, regardless of the season, the lens should be stopped down to /:2 or /:2.5. If the day is extremely bright, especially in summer, /:3 is usually enough lens opening. A dull day in winter or late afternoon of any season, with waning daylight, will require /:1.8 or /:1.5 — the full opening. If possible, the cameraman should stand on a fair- ly high stool quite close to the table and point his camera down upon the field or subject. In surgical work, me- dium closeups are much more effective than medium or long shots, the latter being of no value in this class of pho- tography. An accurate focus is very necessary because one is using a high speed lens at, or nearly at, full aper- ture and the depth of focus is there- fore very limited. It is here that a fo- cusing microscope is a very helpful ad- FILMO 70D To you . . . advanced movie workers . . . Bass offers this astonishing new Filmo 70 D. A super 16 mm. Camera made by Bell 6? Howell, master cam- era builders. A camera which in- corporates these astonishing features . . . seven speeds from eight per sec- ond to s-l-o-w motion ... a finder variable for six different focal leneths of lenses ... a compact new style of turret front for three lenses . an attached winding key ... a carry- ing case to carry the complete outfit A remarkable value including 1" Cooke F: 3. 5 lens and carrying case at $245.00. Telegraph your order for immediate de- livery or write for full information to Filmo Headquarters. BASS CAMERA CC. 179 W. MADISON STREET CHICAGO, ILL "Movie Headquarters for Tourists" HOME MOVIES Now Easier Than Ever New Cine-Kodak equipment and our service features increase home movie pleasures TTERE are some items that make •"--'- home inovies more enjoyable than ever: Library Kodascope Cabinet: a splendid piece of living room furni- ture of modern design, providing storage space for all you need for both taking and showing pictures, thus concentrating it at a single spot. Telepholo lens: an f.4.5 lens that gives you clear, sharp close-up pictures of scenes in the distance — interchangeable with the f. 1.9 lens. Excellent for use at football games. Enlargements of interesting "shots" from your movie films at very little cost. Keep posted on these advances in home movie convenience. Pay fre- quent visits to either of our stores. All Cine-Kodak equipment on con- venient terms, if desired Eastman Kodak Stores, Inc. TWO STORES The Kodak Corner— Madison at45th 235 West 23rd, near 7th Ave. New York City 664 MOVIE MAKERS junct in getting accurate results and in saving much film. "Surgical motion pictures cannot be staged to any degree. The photog- rapher must be ready at a moment's notice and extreme care is essential as to exposure and focus, not only because one does not wish to waste film but because it is equally easy to waste an opportunity. A really good picture of an interesting or rare operation under good surgical teamwork is not the easiest picture to get. It will pay the photographer to practice a little in the operating room in which he is expect- ing to work, if it is possible. A few test exposures under various conditions will give the observant worker information enough to assure him of very creditable results thereafter, whenever the oppor- tunity presents itself. It is most reas- suring when the important time comes to have the satisfaction of knowing what one may expect in results." In conclusion Dr. Appleton states, "Amateur motion picture making for the doctor is simpler than it sounds. Extremely helpful in teaching, it is a fascinating activity. No elaborate scenarios, makeup or costuming and no expensive sets are required. The bulk of the expense is in the first cost of the apparatus, which is not great, and needs no further outlay save for the occasional addition of needed ac- cessories and for film supply. "And picture making is no mean hobby. It leads to all sorts of interest- ing by-ways and experiments which re- lieve one's mind from the trials of his usual vocation. The work may be taken up at any time to be left again until another chance presents itself. One needs no partner in this game but any number may play. The knowledge acquired in the making of a film is helpful and interesting and the maker is amply repaid by the pleasure de- rived and the general advancement which he gains. "The accurate medical teaching to colleagues as well as to lay audiences through this medium is excellent edu- cational propaganda and reacts favor- ably to the reputation of the maker of the pictures. Boards of trustees that are alive to modern trends are encour- aging motion picture production in the hospitals over which they benignly reign, realizing, as they do, that good clinical movies reflect credit upon the institution and properly advertise its character and influence." Thus, the medical profession, ever alert to new scientific developments, is finding in the amateur motion picture an ally which is constantly growing more effective. It is a tribute to the amateur motion picture industry that a profession with such high ideals of perfection has found its products so helpful and so worthy. The screen is sirri' ply lowered like a window shade. I t's a Projection Screen for Your Films Patent Applied For When the picture is over, the screen is raised out of sight. (XYld a Beautiful Panel for Your Wall! NOW you can simplify and beautify the showing of your films. You can have a permanent projection screen — completely concealed in a beautiful Coutard Wall Panel. Before the showing of a film, you simply lower the screen like a window shade. And when the picture is over, you simply raise the screen out of sight — revealing in its place a wall panel of tapestry beauty! Think of the convenience of a Coutard Projection Screen Panel! Think of the atmos- phere of dignity and charm it will lend to every performance in your home! From a wide range of motifs, colors and fab' rics you can choose a panel that is in perfect harmony with your decorative scheme. Write today for full information. B. Saubiac 6? Son, 30? E. 46th Street, New York Manufacturers and Distributors COUTARD Projection Screen Panel 665 OCTOBER 1929 AMATEUR MOVIES given professional technique and finish in our up-to-date motion picture laboratory. We are experts in 16 MILLIMETER negative developing, contact and reduction printing, artistic titles. Prompt and Reliable Service EXPERT FILM LAB., INC. 130 West 46th Street "In the Heart of J\[ew Yor?(" MOVIE MAKERS SNAPPED US UP! /CAMERA enthusiasts enthusi- ^■^ astically welcomed us... The photographic fraternity flocked to us. . .Daily, new friends are mak- ing themselves at home in this headquarters for photo-fans. Come in yourself .. .Come in and chat with Joe Maggio and Morry Luxenberg about your problems. See our complete still and cine equipment. Easy to get here — a block from Penn Station; across the street from the New Yorker Hotel. Expert service on cine and still films Luma Camera Service, Inc. 302 West 34th Street New York City POINTERS ON PLANNING (Continued from page 644) obvious it can hardly be called tech- nique, yet so important that it is dramatically, perhaps, the most impor- tant device of the motion picture. "Take plenty of closeups" like "eat plenty of sugar" is good but indiscriminate advice. Closeups should be used much more freely than they usually are but they have specific uses. They should be used for emphasis, to bring out details, to identify characters and par- ticularly to give an opportunity to the spectator to fix his attention on an in- teresting subject in the same way he would do it if he were himself looking at the scene in real life. The closeup should fit with the other scenes pre- ceding and following it. Thus, it would be jarring to come from a very long shot of a building to a closeup of one of the pillars supporting it and then return to a medium distance shot of the same building. In each group of scenes on a given subject, plan to lead up to your dramatic or superlative scene with ex- planatory scenes which give the back- ground of the situation and answer the questions "why" and "where." Then the dramatic scene will have even more interest because it will be better understood. Titles can add a great deal to a film but they can greatly detract if they but serve as labels. For example, The Eiffel Tower, preceding a shot of the tower in a travel film, answers no purpose and detracts from whatever feeling of pleasant recogni- tion the audience may have in seeing the structure. It is doubtful if anyone in your audience would fail to recog- nize the tower without such a title. Use titles only where some explanation is really needed either for record or for the information of your audience. Foreign travel films are almost always over-titled if they are edited at all and films of other types are generally not sufficiently titled. You can do much to make your films more interesting by editing them but you can do even more by planning them before you shoot, by thinking of some continuity or connecting thread to give interest to the reel as a whole and by arranging each shot in a sequence witb consideration for the other shots in that sequence. This will add more to your films than you imagine. The chief point to remember is that, after all, whether in a film of the baby, a trip, a game or a fire, you are telling a story with your camera and if you do not tell that story connectedly and dramatically your films will have little interest. You've Tried the Others Now Try the NEW FILM CEMENT Applied and used just as any other cement on the market. Film adheres quickly and splices are permanent. 3 5c per bottle postpaid. At your dealers or direct from us. Animated titles and trailers COMPLETE LABORATORY SERVICE In both 16 and 35 mm. BUFFALO CINEMA LABORATORIES 405 Elm Street, Buffalo, N. Y. Exchange your 16 mm Library. Film rpKADE in your old Library Films. Send them 1 -1- to us and we'll send back to you equally good I or better ones approximately the same length for exchange. Indicate your preference — Comedy, Drama or Educational. Enclose check- (mo ft. length, exchange for $1.00) (400 ft. length, evrh^nge for $2.50) JNAVILIO FILM EXCHANGE '1757 Broadway Brooklyn, N.Y.C FISCHER'S CAMERA SERVICE, Inc. Amateur Motion Picture Equipment 154 EAST ERIE STREET CHICAGO NIGHT MOVIES 2 Min. Flare, showing Detachable Handle Light a Meteor Flare (Powerful Fire- work Torch) and take a movie of the party — no equipment necessary. The same flare the professionals use. Five sizes, '/j, 1, 2, 3 and 4 minutes of light. Especially for outdoors. Also electrical flares fired by a flash-light battery, for special work. Several flares may be fired simultaneously. John G. Marshall Meteor Photo Chemicals 1752 Atlantic Ave., Brooklyn, N. Y. 666 IMOV1C »■ .% ■*. 1 . ■« ** MR. PEEBLE'S "PERDUCTION" (Continued from page 649) him escape through a hidden tunnel. From how I see it, that's the only way out." "Where's the tunnel?" "We'll dig one. Listen, fellows. All of you go home and rake up some picks and shovels, but when you come back, don't make any noise so we won't bother Mr. Peeble." The order was quickly carried out and, although some could not find a pick or a shovel, everyone returned with at least two tools. Included among the implements were several saws, two or three hammers, a wedge and an axe. Work began and, since there was not enough room for all to work on the tunnel itself, some began to make braces for the walls of the trench. Within five minutes everyone was so busily engaged that no one noticed a red automobile stop on the other side of the street. In fact, it was not until a man in a blue uniform tapped Bill on the shoulder that work stopped. "Are you the boss of this construc- tion gang?" Bill turned and stammered. "Well, me and Clarence are together. It's a movie company." "Oh, it's a movie company. Where is your camera?" Clarence pointed to the case under his arm. "It's here, sir." "I see. And you're just digging trenches for a war." The Chief of Po- lice smiled. "Something like that. You see, it's this way." The director reached for the notebook containing the scenario. "A billionaire's son is kidnapped by this gang and they tie him up in the secret hut. He leaves a trail of blood which a detective discovers " Jim interrupted. "Too bad we can't use a p'leeceman in the movie." Bill hesitated. "Say! I got an idea. . . ." Two weeks later, a kind old lady, who resided in the neighborhood, met Mr. Peeble coming out of the grocery store with a pile of bundles. "Good afternoon, Mr. Peeble. Nice day." "Oh, it might rain," he answered. "I thought I would drop in at the school-hall tonight and see your movie. I think it's so nice for you to encour- age the children that way." "My movie!" exclaimed Mr. Peeble from behind his bundles. "Why, yes. I was just reading a large sign on the telephone pole in front of your house. It announced a local photoplay — something about blood — and it said that the picture was filmed on your property and featured the Chief of Police." ZEISS CINE LENSES lead the world BIOTAR F1.4, TESSAR F2.7 and F3.5, TELE-TESSAR F6.3 ■ FINDERS ■ FILTERS ■ SUN-SHADES ■ FOR STANDARD and 16 MM MOVIE CAMERAS TRY US WITH YOUR PROBLEM The Service Departments of the Amateur Cinema League are busy, up to the neck, answering queries from thousands of mem- bers who want personal service for their personal problems in movie making. Here is a challenge to cautious non-mem- bers who will not buy a pig in a poke. Don't send us your application and your check for $5.00 until you discover what League membership can do for your spe- cific needs. Ask us a sample question and get a sample answer with no obligation of any kind. AMATEUR CINEMA LEAGUE, INC. 105 West 40th Street New York, N. Y., U. S. A. 667 OCHTOHEK 1929 WATCH YOUR STOP (Continued from page 640) To Show Home Movies The Gundlach Projection Stand sets up quickly, takes little room, stands solidly, enables you to get close to projector for focusing and changing film, looks professional. Height adjusts from 32 inches (3 inches higher than average table) to 46 inches. Has revolving top which sets instantly. Removable top measures 9x12 inches. Stand folded takes up less room than small golf bag and can be put in corner of closet. Strongly con- structed of selected cherry, finished in hand rubbed mahogany. If your supply house does not have it, send your order direct giving us their name. Price, $20.00 f. o. b. Rochester. Gundlach Manufacturing Corporation 729 Clinton Ave. So. Rochester, N. Y. BRITELITE Glass Beaded Movie Screen Mode I A _*^1 Model B 36x48" 175P 30*40 15«-0 "Just half the price of the nejct best screen" Brite-Lite is the most brilliant screen made. It gives maximum reflection without eyestrain. Brite-Lite gives stereoscopic ef- fect; it is automatic, self-con- tained, collapsible; weighs only 8 to 11 pounds according to size. Also made in metal case roller type, 26 x 34 ,$7.50; 30 x 40, $9.00. Brite-Lite can be obtained from, your dealer or direct from the manujacturer. Freight or express charges prepaid. Send for details. Beaded Screen Corp. 438 West 37th Street, New York FIGURE 6 In figure 6, showing overexposure with a normal development, too many grains are reduced. The negative image shows the highlights without detail and the shadows covered by a veiling density. The second exposure has such a few grains left to work with, even in those portions of the film that received the least intensities, that, no matter what intensity of reexposure is given, it is not sufficient to build up any great density on the positive. The resultant image will be flat and lacking in detail. The contrast is flattened out by the heavy reexposure intensity and the re- sult is a positive that has no deep shadows nor highlight gradation. A short reexposure, though giving slightly higher contrast, would give a positive of too weak character for projection. Figure 9 illustrates the effect of a short reexposure on underexposed films. On underexposures, consider- able silver bromide has been left in the emulsion after bleaching. If the bleached image were given a normal reexposure the positive would be cor- rect in contrast but too heavy to use for projection. As the shadows have had very little or no exposure there are many of the larger and more sensi- tive crystals left and the normal ex- posure would affect these areas very strongly. The short reexposure is in- sufficient to overcome the inertia of the smaller grains left in the highlight re- gions, so there is a falling off in the density of the positive corresponding to these areas. This results, as seen in figure 9 as compared with figure 7, in a positive of high contrast. FIGURE 7 Figure 7 illustrates the effect of underexposure. This does not affect enough grains to give sufficient density in the negative; thus too many grains are present to receive the reexposure. In the finishing of films which were underexposed it is customary to give them a very short reexposure. The positive resulting from this procedure is one of very high contrast. The drawings mentioned previously do not take the effect of the compen- sating reexposure into consideration. The silver bromide crystals in a photo- graphic emulsion are not all of the same speed or size. The larger grains in an emulsion are usually faster and are hence the first to respond to the camera exposure. In cases of extreme overexposure, where the densities are very heavy, there are always some small crystals that are not affected by the camera exposure and yet are sensitive enough to respond to the reexposure. The density of the image on the posi- tive is represented by the black area on figure 8. The arrangement of the tones is different from what we would natu- rally expect from seeing the extent of the developed silver in the nega- tive image as shown in figure 6. FIGURE 8 The effect of exposure may be tried experimentally if desired. On a scene where the exposure meter reads /:8 or /:11, shoot some film at the indicated stop. Then shoot a few feet with the lens wide open and a few more with the lens stopped down as far as it will go. This experiment will give a prac- tical illustration of the effects I have spoken of in this article. If the cine user is interested in obtaining prints of the best quality he should not think of an exposure meter as a useful accessory but an essential part of his outfit. Personally, I would not shoot a foot of film without re- course to a meter. FIGURE 9 668 MOVIE: IHAHEK5 PROPS (Continued from page 639) is noticed. If it is painted black this will help to conceal the counterfeit. Breakaway bottles are not difficult to make. Get the properly shaped bot- tle and a box very little larger. Make a bed of wet plaster of Paris and let the bottle sink into the mass exactly halfway. Let this set, then remove the bottle and grease the mould. Now re- place the bottle and pour in plaster to cover. This will harden without adher- ing to the greased half. You now have a bottle mould. But before the first cast hardened you should have stuck four four-inch pieces of wooden dowel exactly upright into the plaster. These, too, should have been oiled. When the second half of the mould hardens, these pins fit in to hold the cast steady. Cut an inch-square vent in the bottom. Tie the two halves of the cast together, after oiling the second cast, and pour in rosin mixed with lamp- black. Use just enough to give a coat- ing about an eighth of an inch. This is done by turning the mould. When it cools you will have a cast of the bottle, plus the vent plug. Cut this plug off with a hot knife blade and you have a bottle that can be bounced on the most sensitive cranium without even causing a headache. Special furniture that cannot be bor- rowed from some family may be hired from a furniture store for from five to ten per cent of its value, plus any unusual wear. If there is room at the club head- quarters a property room should be established and a nice line of prop- erties can be accumulated in the course of time by inculcating in the minds of the members the thought of using the prop room instead of the rubbish pile. Old clocks, furniture, hangings not too badly worn and the like will all come in handy some time and the wise Props will always ask, "Do you want it back, or can we keep it?" when borrowing anything, from a cup to a cookstove. There is not much glory in being a property man, at best just a line on the credit title, but if you get the right sort of a man he'll love the work and his property room will be as dear to him as a flock of old masters are to the wealthy collector. We recall in the good old days "putting the Indian sign" on a packing box that had posed as a gas stove in a dozen comedies in six months. The box went out in the alley, after an argument, but Props went on a three-day drunk. His heart was in his work. That's the sort of man you want to get for your cinema club, or as close to him as you can come, minus the thirst. kNAP your favorite 'players in action with a Wollensak Telephoto lens and see them on the screen whenever you wish — of course Wollensak Telephoto lenses have many other possibilities. Try one and convince yourself. WOLLENSAK 989 HUDSON AVENUE ■'WOLLENSAK TELEPHOTO LENSES" 3 in. to 6 in. foci $55 to $75 OPTICAL COMPANY ROCHESTER, N. Y., U. S. A. Manufacturers of Quality Photographic Le?ise id Shutters since 1899 THE W. B. & E. "PILOTLIGHT" A convenient light on your Filmo Projector that enables you to operate and change your reels with plenty of illumination that does not attract the attention of or annoy your audience. Makes operating your projector a pleasure. No extra wires needed. Just pull ttic switch and the Light is there — When and Where you need it. Easily attached to your ma- ^ chine in a few minutes and pro- \ jector can be packed away in case without detaching. \ Price $6.00 From your Dealer or Direct WILLIAMS, BROWN & EARLE. Inc. "The Home of Motion Picture Equipment." Filmo Motion Picture Cameras and Projectors 918 Chestnut St., Philadelphia Pa. Save 25% to 60% on Practically New Motion Picture Cameras 35mm. Institute Motion Picture Cam- era with f =1.5 lens $ 82.50 Halldorson Cinema Arc Lamp 41.75 4" focus Dallmeyer /:4.5 telephoto lens, will fit Filmo 70 40.50 Eastman Model B Projector with case 192.50 35mm. B. & H. Eyemo with Cooke /:2.5 lens, carrying case 185.00 16mm. Victor Cine with /:3.5 lens, old model, with crank 37.50 Filmo No. 70 with /:1.5 lens and case 167.50 35mm. Pathe Studio Model Camera with /:3.5 lens, precision ballbear- ing tripod. This outfit is in good second hand condition, complete with case 325.00 200 ft. capacity Stineman, three nest- ing tanks, to hold 16mm. film. . . . 42.75 6'/2x9cm. Mentor Reflex Camera with Prolinear /:1.9 lens, complete with plate magazine, film pack adapter and carrying case. 215.00 9x12cm. Ernemann Sportsman with /:3.5 Ernon lens, film pack adapter and carrying case 97.50 Send for Our Bargain Book listing Motion Picture Cameras, Lenses and Still Cameras of every description. Liberal Allowance made on your Filmo or Cine Kodak towards the purchase of a new Filmo 70-D Central Camera Company 230 So. Wabash Ave., Dept. MM-lOc, Chicago, 111. 669 OCTOBER. 1929 and NOW— Inexpensive PRINTED TITLES IN response to an increasing demand for printed, as well as distinctive handlettered, titles I have added a complete line of printed titles to my service. These titles are now available in several different styles — and all at very moderate cost. Samples and prices will be sent upon request — without obligation. Also, in- formation concerning art titles and handlettered titles that con- form to the latest professional mode. Write today. P. Ingemann Sekaer 1472 Broadway, New York HOW to find what films exist and where they can be obtained. The new Sixth Edition of "1001 Films" answers in 144 pages of educational and entertainment films, each title with brief description, all classified by subject, with directions where each may be secured. Special section devoted to 16mm. films Per copy, 75 cents The Educational Screen 5 S. Wabash Ave., Chicago Good Titles- 1. Add interest to your films. 2. Make it unnecessary to ex- plain the pictures. 3. Preserve names, places, dates and essential informa- tion indefinitely. 4. Show that you are an up- to-date amateur movie maker. ++--*-*^*+*. Our prices are as reasonable as is consistent with the best quality of titles. An illustrated circular, describing the different kinds of titles, ivill be gladly sent upon request. Ask for it! KODASCOPE EDITING AND TITLING SERVICE, Inc. 350 Madison Ave., New York Citv CONTROL OF LIGHT AND SHADE (Continued from page 651) effects. While it is beyond the scope of this article to discuss this matter in detail, a few leading points may serve as a suggestive guide. Avoid extreme contrast of light and shade. Balance your contrasts, that is, have your picture, at most, one-third shadow and the rest light, or vice versa. So arrange light and shade in the pic- ture space that the principal part or area of the smaller ingredient (light or shadow as the case may be) will be above or below and to the right or left of the center of the picture. This spot or area is called the center of interest. It should be placed at the mathematical center very rarely, as, for example, when an effect of utter quiet is desired in a pastoral scene. It is dangerous to discuss art rules like the above in a short article of this general nature because it is diffi- cult to generalize without promptly meeting an exception. However, it is hoped that a suggestion of the factors involved in securing pictorial effect by means of light and shadow will lead the amateur to the production of pic- tures which will be increasingly pleas- ing to him as time goes on. PHOTOPLAYFARE (Continued from page 660) and picture technique could not have adorned something with more meat in it. Yet Bulldog Drummond is not pre- tentious and honestly advertises itself as a "comedy-melodrama," making good the advertisement in an honest and in- telligent way. Incidentally, Ronald Colman is admirable in a new and much improved manner. This film stands out for two reasons. First, it is the only satisfying mixture this re- viewer has seen combining silent pic- tures and speech by machinery, as it does not jar one's critical appreciation by abrupt jumps from one medium to another. It achieves a synthesis of two art forms that is convincing and pleas- ing. Second, the story is a mild bur- lesque and it presents its incredibilities not as things the audience must take seriously but as things that are essen- tially fantastic without being broadly farcical. Art must be something more than painless and pleasing. The previous "'talkies" have been neither whenever they attempted any cinematics whatso- ever. Bulldog Drummond shows us that cinematics and dialogue can be mixed in such a fashion as not to give offense to the critical and to provide pleasing entertainment. To this reviewer the only artistic uplift or esthetic thrill in "There must be some reason for it — " The popularity of Burton Holmes' Travel Films can be attested to by millions of people through- out the world — people who know that when they purchase any of the 16 millimeter "Film Reels" which are sold in 100 ft. lengths, or the "Special Releases" in lengths up to 400 ft., they are adding to their library a masterpiece in movies — Travel Films which are artistic, allur- ing and entertaining. Film Reels #6.50 and #7.50 Special Releases #14.00 to #25.00 Purchase them outright or rent them from your dealer Burton Holmes Lectures, Inc. 7510 N. Ashland Ave., Chicago, 111. News Reel Laboratory 1707 Sansom St., Philadelphia, Pa. Exclusively 16 mm. Developing, Print- ing, Titling, Editing, Rush Service Cameramen Available for All Occasions — Industrial and Medical Productions I cAlotion- picture films deteriorate: I 1927-W-78 12 ST. LOS ANGELES.CAL. 91 Go/d 5t?fl/ Pictures OFFER National Air Races HELD IN CLEVELAND A thrilling spectacle showing many prominent people. 100 ft., 16 mm. Price $6.00 Many other subjects from which to choose. Simplex Film Gleaner A much needed accessory for all film users. Remove the oil, grease or fingerprints from your 16 mm. film; it's all done in one opera- tion. Price $8.00 {Including can of cleaning fluid) Simplex Fading Glass produces the Fade-in, Fade-out Contained in durable case with instructions. Price $2.00 We are equipped to do your reduction print- ing, title work, 16 mm. contact prints, etc. Ernest M. Reynolds 165 E. 191st Street Cleveland, Ohio Special Theatre THE last regular meeting of the St. Louis, Mo., Amateur Cinema Club was held in the private theatre of Robert Laughlin, a club member. This theatre in Mr. Laughlin's home is completely equipped for the screen- ing of both 16mm. and 35mm. silent and talking films. The club's program featured the projection of amateur and professional talking pictures and a short business meeting at which plans were made for general club activities for this fall. Far South FROM New Orleans, La., comes the report of the organization of the Orleans Cinema Club, the first ama- teur movie club to be formed in the state. The premiere of the club's first two productions, Bayou d'Amour and Air Buddies, each running 400 ft., 16mm.. was recently held in the club's studio. In the cast of Bayou d'Amour, a love story of an artist and a country girl, are Janice Pixley, Michael Luizza, Ernestine Watkins, Dumont Paul, Mrs. Charles Richards, Mrs. J. A. Guillot and Elise Levy. The leads in Air Bud- dies, a story of the world war, were played by Maurice Paillet, Polly Leitch and John Luchessi. Plans have been made for the club's third picture. Toledo Contest IN Toledo, Ohio, the Toledo Cinema Club has its contest under way and many films have already been submit- ted. Other departments of the club are active and a short film story is now being produced preparatory to filming a newspaper feature story planned by the club in cooperation with a Toledo daily. The Fall of The House of Usher was screened at a recent meeting. Jllawarra Starts FROM George K. Aldersley, its di- rector, comes word of the formation of the Illawarra Film Society in Hurst- ville, Sydney, New South Wales. "We are commencing shooting," writes Mr. Aldersley, "in a week or so on 35 mm. film and, so far, our story is entitled The Love Test. We find the climate here excellent for exterior work which the story, in the main, demands. Apart from the general fun of making a mo- vie, a very fine sense of sportsmanship seems to prevail among the members. We hope to make Australia known to the movie makers of the world through our activities." Here is an excellent statement of purpose which shows very clearly some of the many-sided values of amateur movie club organizations. Young Laurels FOUR productions are already to the credit of an ambitious, youth- ful, amateur group in Grosse Point Park, Mich., working under the leader- ship of Jack Navin. Their last picture. Sophistication, 400 ft., 16mm., has been submitted to Photoplay's contest. The story is a modernized Cinderella tale wherein Prince Charming is a tabloid newspaper. The lead is delightfully handled by Elizabeth Sutherland with perhaps an unconscious satire of profes- sional roles of this type. The group is now producing Ali- mony Mary, in which Catherine Anne Currie is playing the lead. The plot concerns the back stage life of a danc- ing team. Previous pictures are The Tragedy. The Devereau Diamond, There's No Place Like Home and The Mael- strom, the latter running 1200 ft.. 16mm., and based upon the effect of the world war on a group of young people. In the cast of this feature were Theodore Newman, Elizabeth Sutherland, Margaret Newman, Vir- ginia Simmons, William Laurie and Jack Navin. Photography and direc- tion of all productions of the Grosse Point Park unit are to the credit of Jack Navin. A ccessions RECENT accessions of the Club Film Library: Headlines, 700 ft., 16mm., a tale of two boisterous youths who become reporters on a city daily and their subsequent adventures; has a well-planned continuity and inter- esting story, produced by the Palisades Picture Players, Grantwood, N. J.; Freshman Days, 1200 ft., 16mm., a story of the competition between two boys, with an abundance of local color, some excellent photography and good direction, produced by the Flower City Amateur Movie Club, Rochester, N. Y. ; Universal's Camera Crane, 50 ft., 16 mm., scenes taken from Universal's camera crane, used in the professional production, Broadway, and The Grebe Radio, 400 ft., 16 mm., a film record of radio construction, an excellent exam- ple of an entirely amateur made indus- trial, both filmed by Hyman Fink of Los Angeles. Rushes Q Progress is reported on Muddy Waters, the production of the Haw- thorne Club of the Western Electric Company of Chicago. ^ Freshman Days was screened re- cently before the Neighborhood Movie Club of Amarillo, Texas, formerly known as the Amarillo Movie Club. Q D. A. MacNair, of Johannesburg, South Africa, has taken steps to bring about the formation of an amateur movie club in his city. ^ Hugh V. Jamieson in Dallas, Texas, recently screened The Lugger and the Fall of The House of Usher for mem- 676 MOVSE MAKERS bers of the Dallas Little Theater who are planning with Mr. Jamieson to or- ganize a movie club and to begin pho- toplay production. The Dallas Little Theater has a most enviable reputation among amateur dramatic groups and their entry into the amateur movie field holds rich promise. Q The Heart of Texas Cinema Club in Waco, Texas, recently screened Nug- gett Nell, 800 ft., 35mm. production of the Cumberland Cinema Club, at a program conducted on Baylor Univer- sity campus. BRITISH AMATEURS A. C. A. Programs LATE programs of the Amateur Cinematographers Association in London include the projection of Safe- ty First, produced by S. J. Meadows, Standing the Raquet, made by the pro- duction sub-committee of the A. C. A., Sibford, a film of school life made by a group at Sibford, a Quaker school, and various professional industrial films designed as models for amateur industrial producers. Technical dis- cussions on various subjects have been presented and program projections have been interspersed with the clin- ical screening of members' films. Railway Location TWO stories, One Week, to run 1600 ft., 16mm., and In The Neck, a farce to run 400 ft., 16mm., have been placed in production by the Bristol Amateur Film Production Society. Both are being directed by H. Leadbeater and photographed by J. Leo Rippin. One Week involves a railway station location and the club has been at work at the Bristol station. The first production of this very active unit, Queer Island, was written and directed by Horace W. Gwilliain and photographed by J. Leo Rippin. The plot is based upon the ingenious and mysterious tale of an old fisherman concerning a sudden death at a pic- nic party on "Queer Island." Use Trams SHEFFIELD tram cars have been used as settings in the recent pro- duction, Adventures, by the Sheffield branch of the A. C. A. Conduc- tors and motormen obligingly played their roles as the action went on, under the direction of R. E. Marshall. The sectuence involved a scrap between two would-be Romeos for the attention of a chic young lady who complicates mat- ters by meeting her husband in the tram. J. W. Berry, the cameraman, had to avoid registering the large audience that appeared when the Shef- field producers took possession of the car. A Place For Everything and Everything In Its Place ALL-MOVIE-CABINET, PATENT PENDING PAT. APPL'D FOR ALL -MOVIE CABINET AND SCREEN UNIT for your home movie outfit. A beautiful cabinet finished in matched walnut and designed especially for keeping your movie outfit and accessories altogether. The screen unit is the removable back of cabinet and weighs but fourteen pounds. The movie outfit in cabinet illustrates placement and is not included, but cabinet will accommodate Filmo, Kodascope and other 16 mm. outfits. Cabinet size, 40 inches high, 35 inches wide, 18 inches deep. Screen size, 24 x 30 inches. Write for full particulars. Price $110 f.o.b. Chicago National All-Movie-Sales Co. 333 N. Michigan Ave. Room 605 Chicago, 111. "TWO -PURPOSE ACCESSORY As a multiple viewfinder it does away -*- • with the inconvenience of changing in- dividual finder masks. By the mere turn of a knurled ring this finder is adjusted for any local length lens from 1" to 4" you intend using. O As a field selector it enables you to pre- ■"• determine the size field or the size ob- ject you wish. You turn ring as you view the scene. When desired field is selected merely read off the nearest focal length lens to use. GOER NOTE: The varying view sizes are obtained by a moving" lens sys- tem within the tube, in relation to a station- ary window. Hence the field is always magni- fied to the eye and plainly visible even with the longer focal lengths. The Goerz Viewfinder slips into place within the finder tube of the Filmo 70. Price $27.00 A supplementary lens to take in the field of 15 mm. wide-angle, and also for 6 in. tele- photo, can be supplied at small additional cost. GOERZ MOVIE EFFECT DEVICE For any details or information write: VARIABLE FIELD VIEW FINDER C. P. GOERZ AMERICAN OPTICAL COMPANY 319-A East Thirty-fourth Street New York City. 677 OCTOBER. 1929 NEWS Of The INDUSTRY New Camera THERE is shortly to appear on the market a radical development in the 16 mm. field. The Kodel Electric and Manufacturing Company of Cincinnati, Ohio, already well-known in the radio field, is the protagonist of the new apparatus, which consists of both camera and projector. In opera- tion, the camera divides each present 16 mm. frame into four pictures, which are exposed consecutively, the process being repeated for each frame. Each picture is, therefore, one-quarter the area of the present frame, but it is claimed the apparatus has such lens and mechanism refinement that the defi- nition is entirely satisfactory. The pro- jector, in addition to the projection of the small-size picture film, will also project 16 mm. film of normal framing at the turn of a lever. The apparatus will be known as the Kodel Homovie, and, while this department has not yet had an opportunity to examine its actual construction and working, the plan offers prospects of opening the field of home movies to those who desire less expensive operation. The Cine-Nizo ANEW importation makes its ap- pearance in the form of an ex- tremely well-built and carefully de- signed 16 mm. camera. This is the lat- est model of the Cine-Nizo, which is made in Germany and seems to possess the customary German thoroughness and precision. Among the important points of this camera are listed the following: special features to insure rapid and ac- Johnny Downs, Young Professional Movie Star, Who Is Known As "The All-American Boy,' With His Birthday Cine Kodak. 678 For Amateurs And Dealers curate loading of daylight 100 foot spools; spring motor with minimum of vibration, which exposes thirty feet of film at one winding; hand-drive at standard speed, or one-turn-one-picture, used at any time without letting the. spring run down; three speeds, from eight to sixty-four; dustproof open- ings for the various drives; safety lock- ing device; two sight finders, one of which may be corrected for lens dis- placement; starting lever may be locked in operating position; direct focus-on-film device available and a number of other features which can- not fail to commend themselves to the serious worker and to all those who wish to realize the utmost from a motion picture camera. Burleigh Brooks, 136 Liberty Street, New York City, is importer of the new Cine-Nizo and expects an enthusiastic response to the product in this country. Eastman Accessories THE Eastman Kodak Company this month emphasizes the value of accessories with specific examples of some of its well-known and valuable products. These include the Thread- lite, now available separately, which is invaluable for rapid threading and in- spection of the projector; the metal Kodascope Film Humidor which con- tains and preserves eight reels; the /:4.5 telephoto lens and finder for sport work; the overhead viewfinder for the model B Cine-Kodak, which locates the image when crowds obstruct the eye- level view; the efficient Kodalite for indoor movies and the Kodascope Rapid Splicer and Rewind for film editing. New DeVry Filters NEW Orthoplan filters in special Rhaco holders have been added to the DeVry line of still and motion picture equipment. These filters are made of optically flat glass, the color being a part of the glass itself. This means an absence of distortion and as- sured permanency of performance. The graduated filters are made by fusing two pieces of optically flat glass, one white and one yellow, which are ground in such a manner that a wedge is formed, beginning with clear glass and gradually merging into yellow. The Rhaco spring holders, made especially for these filters, can be used on lenses of varying diameter, and the holders for the graduated filters may be rotated about the lens. Telltale Humidor BELL and Howell this month offer a new feature in humidor cans which will be found to be of great ad- vantage in the proper preserving of your valuable films. This is a clever "telltale" humidor blotter, that, when moistened, shows a white disc in its center which is invisible when dry. Other seasonable accessories recom- mended are the well-known Bell and Howell Film Editer, the Taylor-Hob- son-Cooke Special /:1.8 lens for Kodacolor, and the 3% inch /:3.3 and 4 inch /:4.5 telephoto lenses for sport work. Hayden Sales in New York EXPANSION of the Hayden Sales Company, announced in these col- umns last month, has now been fur- thered by the opening of New York City offices in the Salmon Tower, 11 West 42nd Street, that city. Pathex Improved NINE and a half millimeter has taken a new lease on life with the recent Pathex reorganization and the redesigning and improvement of the well known Pathex camera and pro- jector. The Pathex Motocamera is now extremely compact and includes, among its other features, an accurate built-in viewfinder, safety lock for the starting lever, lens cap with fastening which may be seen in the viewfinder field, improved gate, double claw in- termittent and special "Motomaga- zines" which make loading extremely (Continued on page 681) Karl Von Wiegand, Famous Whose Filmo Accompanied Hi Zeppelin World Flight. Correspondent, On The Graf MOVHE Hthl K«> There are no lost shots when yon use the all-weather all-purpose 16'"/.., cine film ! j SERS of Agfa 16 Mm. Cine Film make their ^-^ movies confident in the knowledge that Agfa means sure results. This fact is convincingly empha- sized by the large number of perfect rolls processed in our Binghamton Laboratory. Sunny, cloudy, and rainy weather, earlier or later in the day — all these varied light conditions are ade- quately cared for by the unexcelled speed of Agfa. Even when the exposure is not perfectly timed the re- markable latitude allows for slight differences in light values. Agfa 16 Mm. Cine Film has a rich super-Ortho- chromatic emulsion that registers colors in their truest relation to visual values. It has been said to compare favorably, in many ways, with a Panchromatic emulsion. Many movie-makers are interested in making tele- photos, long-shots, close-ups, interiors, home-made titles, etc. Agfa 16 Mm. Cine Film is particularly suitable for this class of photography as all shots have a beauti- ful smoothness with everything clearcut and distinct. It is in projection that the real value of Agfa 16 Mm. Cine Film is recognized. All details from the darkest shadows to the highest lights are reproduced with outstanding faithfulness. This insures the most pleasing effect of life, tone and naturalness. No matter what movie camera is used, Agfa signi- fies the difference between good and better brilliancy in the screen projection of amateur movies. It is the basis of all-around better movie-makimj. m V £ blVN0nflamSafev'ln,) „, U5em ^-Cameras ""BSffBfflBBSf-" peed latitude color value adaptability brilliancy detail they solve nil amntenr movie-making problems £6.00 per 100 ft. roll (daylight-loading) Including free processing and return transportation UNITED STATES FINISHING STATIONS Agfa Ansco Corp'n, 29 Charles St., Binghamton Agfa Ansco Corp'n, 205 W.Wacker Dr., Chicago Agfa Ansco Corp'n, 223 W. 3d St., Los Angeles and 12 Finishing Laboratories Abroad. AGFA ANSCO CORPORATION. RINGHAMTON, N. Y. 679 OCTOBER 1929 AROUND THE WORLD WITH MOVIE MAKERS An International List of the Dealers Who Carry This Magazine VISIT THEM! CALIFORNIA Berkeley: Berkeley Commercial Photo Co., 2515 Bancroft Way. Fresno: Potter Drug Co., 1112 Fulton St. Glendale: Mowry's Photo Service, 223 S. Brand Blvd. Hollywood: Fowler Studios, 1108 N. Lillian Way. Hollywood Movie Supply Co., 6058 Sunset Blvd. Pacific Film Service, 6306 Sunset Blvd. Long Beach: Winstead Bros., Inc., 244 Pine St. Los Angeles: California Camera Hospital, 356 S. Broadway. Eastman Kodak Stores, Inc., 643 S. Hill St. Fitzgerald Music Co., Motion Picture Divi- sion, 727 S. Hill St. John R. Gordon, 1129 S. Mariposa Ave. T. Iwata Art Store, 256 E. First St. Leavitt Cine Picture Co., 3150 Wilshire Blvd. Earl V. Lewis Co., 226 W. 4th St. Marshutz Optical Co., 518 W. 6th St. B. B. Nichols, 731 S. Hope St. Schwabacher-Frey Stationery Co., 734 S. Broadway Oakland: Davies, 380-14th St. Russell-Carlon Co.. 3259 Grand Ave. Sherman, Clay & Co., 14th and Clay Sts. Pasadena: Flag Studio, 59 E. Colorado St. F. W. Reed Co., 176 E. Colorado St. Pomona: Frasher's, 158 E. Second St. Richmond: LaMoine Drug Co., 900 MacDonald Ave. Riverside: F. W. Twogood, 700 Main St. San Diego: Bunnell Photo Shop, 414 E. St. Eastman Kodak Stores, Inc., 419 Broadway Harold E. Lutes, 958 Fifth St. San Francisco: Eastman Kodak Stores, Inc., 545 Market St. Hirsch & Kave, 239 Grant Ave. Kahn & Co., 54 Geary St. Leavitt Cine Picture Co., 564 Market St. San Francisco Camera Exchange, 88 Third St. Schwabacher-Frey Stationery Co., 735 Market St. * Sherman, Clay & Co., Kearney & Sutter Sts. Trainer-Parsons Optical Co., 228 Post St. San Jose: Webb's Photo Supply Store, 94 S. First St. San Pedro: Sunset Photo Supply, Inc., 319 W. 6th St. Santa Ana: Clyde H. Gilbert, Jr., 1428 W. Fifth St. Santa Monica: Bertholf Photo Finishing, 1456 Third St. Sierra Madre: F. H. Hartman & Son, 25 N. Baldwin. Stockton: Peffer Music Co., 40 S. California St. Whittier: Maxwell C. Peel, 226 E. Philadel- phia. Yosemite National Park: Best's Studio. COLORADO Denver: Eastman Kodak Stores, Inc., 626-16 St. Ford Optical Co., 1029-16 St. Haanstad's Camera Shop, 404-16 St. CONNECTICUT Bridgeport: Fritz & Hawley, Inc., 1030 Main St. Harvey & Lewis Co., 1148 Main St. Danbury: Danbury Elec. & Radio Shop, 155 Main St. Greenwich: Gayle A. Foster, 9 Perryridge Rd. Mead Stationery Co., 249 Greenwich Ave. Hartford: Harvey & Lewis Co., 852 Main St. D. G. Stoughton Co., 255 S. Whitney St. Watkins Bros., Inc., 241 Asylum St. Middletown: F. B. Fountain Co., 483 Main St. New Britain: Harvey & Lewis Co., 85 W. Main St. New Haven: Fritz & Hawley, Inc., 816 Chapel St. Harvey & Lewis Co., 849 Chapel St. Norwich: Cranston Co., 25 Broadway Stamford: Thamer, Inc., 87 Atlantic St. Waterbury: Curtis Art Co., 25-29 W. Main St. Wilhelm, Inc., 139 W. Main St. DELAWARE Wilmington: Butler's Inc., 415 Market St. Frost Bros., duPont Bldg. DISTRICT OF COLUMBIA Washington: Reid S. Baker, 1429 H St., N. W. Columbia Photo Supply Co., Inc., 1424 New York Ave., N. W. Eastman Kodak Store, Inc., 607-14th St., N. W. Fuller & d'Albert, Inc., 815-10th St., N. W. FLORIDA Jacksonville: H. & W. B. Drew Co. Lake Wales: Morse's Photo Service, Rhodesbilt Arcade. Miami: Miami Photo Supply Co., 12 N. E. First Ave. Red Cross Pharmacy, 51 E. Flagler St. St. Petersburg: Barnhill's Camera Shop, 17-3rd St. N. Robinson's Camera Shop, 115 Third St., N. Tampa: Burgert Bros., Inc., 608 Madison St. Tampa Photo & Art Supply Co., 709-11 Twiggs St. GEORGIA Atlanta: Eastman Kodak Stores, Inc., 183 Peachtree St. Visualizit, Inc., Erlanger Theatre Bldg., 581 Peachtree St. Rome: Macon A. Brock, 231 Broad St. IDAHO Boise: Ballou-Latimer Co., Idaho at 9th St. ILLINOIS 'Chicago: Bass Camera Co., 179 W. Madison St. Brentano's, Inc., 63 E. Washington St. Camera Exchange, 68 Washington St. Aimer Coe & Co., 78 E. Jackson Blvd. Aimer Coe & Co., 18 S. LaSalle St. Aimer Coe & Co., 105 N. Wabash Ave. * Central Camera Co., 112 S. Wabash Ave. Eastman Kodak Stores Co., 133 N. Wabash Ave. Fair, The, Dept. 93, State, Adams & Dearborn Sts. * Fischer's Camera Service, Rm. 202, 154 E. Erie St. Ideal Pictures Corp., 26 E. 8th St. Illinois Radio Appliance Co., 1426 E. 70th St. W. W. Kimball Co., 306 S. Wabash Ave. Leonard Lynn Co., 302 S. Wells St. Lyon & Healy, Jackson Blvd. & Wabash Ave. Post Office News Co., 37 W. Monroe St. Seamans, Photo Finisher, 1953 E. 71st St. Stanley-Warren Co., 908 Irving Park Blvd. Von Lengerke & Antoine, 33 S. Wabash Ave. Decatur: Haines & Essick Co., 122-128 E. Wil- liam St. Pfile's Camera Shop, 240 N. Water St. Evanston: Aimer Coe & Co., 1645 Orrington Ave. * Hattstrom & Sanders. 702 Church St. Freeport: Hartman's Camera Shop, 17 S. Chi- cago Ave. Galesburg: Illinois Camera Shop, 84 S. Prairie St. Rockford: Johnson Photo Shop, 316 E. State St. Springfield: Camera Shop. 320 S. 5th St. Sterling: Ray Hart, 8-10 E. 4th St. INDIANA Anderson: Reed Drug Co., 37 W. 11th St. Evansville: L. E. DeWitt, 613 Monroe Ave. Smith & Butterfield Co., 310 Main St. Fort Wayne: Biechler-Howard Co., 112 W. Wayne St. Frankfort: Pathex Agency, 206 E. Walnut St. Indianapolis: L. S. Ayres & Co., Dept. 290, 1 W. Washington St. H. Lieber Co., 24 W. Washington St. Kentland: Boone Pharmacy, on the Square South Bend: Ault Camera Shop, 122 S. Main St. Ault Camera Shop, 309 S. Michigan St. Schilling's Photographic Supply, 329 S. La- Fayette Blvd. Terre Haute: Snyder's Art Store, 21 S. 7th St. IOWA Burlington: Sutter Drug Co., 307 North 3rd St. Cedar Rapids: Camera Shop, 220 Third Ave. Davenport: Eastman Kodak Stores, Inc., 318 Brady St. Des Moines: Eastman Kodak Stores, Inc., 808 Locust St. Hyman's News and Book Store, 407 Sixth Ave. Grinnell: Child Art Rooms, Cine Dept. Iowa City: Rexall & Kodak Store, 124 E. Col- lege St. Sioux City: Eastman Kodak Stores, Inc., 608 Pierce St. Lynn's Photo Finishing, Inc., 419 Pierce St. Waterloo: Macks Photo Shop, 225 W. Fifth St. Seehawk Camera Shop-Studio, 189 W. 4th St. KANSAS Coffeyville: Dale Movie Shop, Dale Hotel Bldg. Topeka: Hall Stationery Co., 623 Kansas Ave. KENTUCKY Lexington: W. W. Still, 129 W. Short St. Louisville: W. D. Gatchel & Sons, 431 W. Walnut St. Sutcliffe Co., 225-227 S. 4th Ave. LOUISIANA Bogalusa: Dixie Motion Picture Co., 446 Harper St. New Orleans: Eastman Kodak Stores, Inc., 213 Baronne St. Harcol Motion Picture Industries, Inc., Har- col Bldg., 610-612 Baronne St. Shreveport: Southern Cine Co., Inc., 310 Main St. MAINE Bangor: Francis A. Frawley, 104 Main St. MARYLAND Baltimore: Amateur Movie Service, 853 N. Eutaw St. Eastman Kodak Stores, Inc., 223 Park Ave. Stark-Films, 219 W. Centre St. Zepp Photo Supply Co., 3044 Greenmount Ave. MASSACHUSETTS Boston: Dadmun Co., 1 Washington St. Eastman Kodak Stores, Inc., 38 Bromfield St. Eastman Kodak Stores, Inc., Hotel Statler. Ralph Harris & Co., 30 Bromfield St. C. F. Hovey Co., 33 Summer St. Iver Johnson Sporting Goods Co., 155 Wash- ington St. Jordan Marsh Co. Andrew J. Lloyd Co., 300 Washington St. Montgomery-Frost Co., 40 Bromfield St. Pathescope Co. of the N. E., Inc., 260 Tre- mont St. Pinkham & Smith Co., 15 Bromfield St. Solatia M. Taylor Co., 56 Bromfield St. Braintree: Alves Photo Shop, 349 Washington St. Brockton: Raymond C. Lake, 218 Main St. Lowell: Donaldson's, 77 Merrimack St. New Bedford: J. Arnold Wright, 7 S. 6th St. Salem: Robb Motion Picture Service, 214% Essex St. Springfield: J. E. Cheney & Staff, Inc., 301 Bridge St. Harvey & Lewis Co., 1503 Main St. Worcester: J. C. Freeman & Co., 376 Main St. Harvey & Lewis Co., 513 Main St. L. B. Wheaton, 368 Main St. MICHIGAN Bay City: Bay City Hdw. Co., Sporting Goods Dept., 1009-15 Saginaw St. ^Detroit: Clark Cine-Service, 2540 Park Ave. Crowley, Milner & Co., Sixth Floor, Dept. 124. Detroit Camera Shop, 424 Grand River, W. Eastman Kodak Stores, Inc., 1235 Washing- ton Blvd. Fowler & Slater Co., 156 Larned St. J. L. Hudson Co., Dept. 290. Macumber-Smith and Co., General Motors Bldg. Metropolitan Motion Picture Co., 2310 Cass Ave. E. B. Meyrowitz, Inc., 1516 Washington Blvd. United Camera Stores, Inc., 14324 Jefferson Ave., E. Lansing: Linn Camera Shop, 109 S. Washington Ave. (Continued on fage 6S2) 680 MOVK MAKLRi simple and sure. Standard equipment is an /:3.5 lens in universal focus mount. The projector has been im- proved along similar lines, with special attention to improved electrical equip- ment for the domestic current supplv. All Pathex users henceforward are to. receive a copy of the new Pathex organ, to be called Pathextracts, which will appear regularly and will be de- voted to information specifically for nine and a half millimeter film work- ers. A new library of current releases is being built up and Pathex projector owners will now be able to enjoy, by rental or purchase, special film features similar to those found in the best 16 mm. libraries. The New York office of Pathex is located at 35 West 45th Street, with M. H. Schoenbaum as eastern sales manager and R. H. Horn as manager. Canadian Q. R. S. APPOINTMENT of F. Holmboe, Chicago, as sales manager of the Q. R. S. Canadian Corporation of To- ronto, the Canadian distributors of all Q. R. S.-DeVry products, has been an- nounced. Mr. Holmboe was formerly sales manager for the DeVry Corpora- tion and is widely known for his prac- tical and thorough knowledge of dealer and consumer requirements, gained by twenty-five years of intimate contact with the motion picture field. His new address is, Q. R. S. Canadian Corpora- tion, Ltd., 310 Spadina Avenue. To- ronto. Kodascope — First National THE Kodascope Libraries, Inc., 33 West 42nd Street, New York City, announce a series of special fea- tures for home projection during the coming season that rank among the top-notchers in entertainment. It is an- nounced that Kodascope Libraries have arranged with First National Pictures to reduce to 16 mm. some of their famous feature films. The first of these releases is the remarkable film. The Lost World. New Fotolite ANEW design of interior lighting unit is claimed for the Fotolite No. 15, recently announced by the Testrite Instrument Co., 108 East 16th Street, New York City. It is said that this unit is so efficient that its light value compares favorably with that furnished by the usual 1000-watt de- vices. It is finely finished and comes complete with stand and carrying case. Prices for this unit, and also for Foto- lite No. 10. a 1000-watt unit, have now been revised so that it is possible for the amateur to possess one of these complete interior lighting outfits at a very reasonable figure. No. 10 now sells at $19.00 and No. 15 at $16.00. (Continued on page 683) VACATION MEMORIES will live again if Eno's Art Title and Film Editing Service is commanded! NOW IS THE TIME Send $2.00 with copy for 3 short titles and get your try- out, all ready to splice into your films FREE A beautiful hand-lettered "THE END" — in color — with every order **;eL£ £> 1425 Broadway, New York City METROPOLITAN OPERA HOUSE STUDIOS Phone Penn. 2634 «6mm) Ait Title Bu.U" ^VlUn National City Bank Bldg. Hotels Biltmore and Roosevelt Grand Central Station Hotel Commodore Chrysler Building z o n 50 E. 42 Lincoln Building _ C S B x s m < EAST 42nd ST. Pershing Sq. Bldg. fcs Chanin Bldg. Come in and discuss your movie problems with us — whether you bought your equipment here or not. Our men represent seventeen years' experience in this field. Gillette Camera Stores Inc. Park Ave. at 41st St. Caledonia 7425 NEW YORK CITY 681 (Continued from -page 680) Vans Cine Service, 600 Prudden Bldg. Marquette: Ray's Photo Service, 335 Harrison St. Muskegon: Beckquist Photo Supply House, 885 First St. Saginaw: Heavenrich Bros. & Co., 301 Genesee Hesse's, Genesee at Jefferson. MINNESOTA Duluth: Eastman Kodak Stores Co., 330 W. Superior St. Louis Frerker Co., 12 E. Superior St. Minneapolis: Eastman Kodak Stores, Inc., 112 S. Fifth St. E. B. Meyrowitz, Inc., 825 Nicollet Ave. Sly Fox Films, 49 S. 9th St. Owatonna: B. W. Johnson Gift Shop, 115 W. Bridge St. St. Paul: Co-operative Photo Supply Co., 381-3 Minnesota St. Eastman Kodak Stores Co., 380 Minnesota St. E. B. Meyrowitz, Inc., 358 St. Peter St. Ray-Bell Films, Inc., 817 University Ave. St. Marie Cigar & News Co., 96 E. 5th St. Winona: Van Vranken Studio, 57 W. Fourth St. MISSOURI Kansas City: Eastman Kodak Stores, Inc., 916 Grand Ave. Eastman Kodak Stores, Inc., 1006 Main St. Eastman Kodak Stores, Inc., 21 E. 11th St. Harold Edwards Radio & Cinema Co., 6239 Brookside Blvd. Hanley Photo & Radio Shop, 116 E. 10th St. St. Louis: A. S. Aloe Co., 707 Olive St. Eastman Kodak Stores, Inc., 1009 Olive St. Erker Bros., 608 Olive St. Geo. D. Fisher & Co.. 915 Locust St. Hyatt's Supply Co., 417 N. Broadway. NEBRASKA Hastings: Carl R. Matthiesen & Co., 713 W. 2nd St. Omaha: Eastman Kodak Stores, Inc., 419 S. 16 St. NEW HAMPSHIRE Newport: K. E. Waldron, 1 A Main St. NEW JERSEY Atlantic City: Eastman Kodak Stores, Inc., 1735-37 Boardwalk. Camden: Parrish & Read, Inc., 308 Market St. East Orange: Main Radio Company, 142"4 Main St. Elizabeth: William C. Golding, 219 Broad St. Jersey City: Hugo Bermann, 13 Exchange PI. Montclair: Edward Madison Co., 427 Bloom- field Ave. Newark: Anspach Bros., 838 Broad St. L. Bamberger & Co. Fireman's Drug Store, Market and Broad. J. C. Reiss, 10 Hill St. Schaeffer Co., 103 Halsey St. Plainfield: Mortimer's 317 Park Ave. Trenton: Barlow's— Music, 130-132 E. State St. H. E. Thompson, 15 Newkirk Ave. Union City: Heraco Exchange, Inc., 611 Ber- genline Ave. NEW YORK Albany: E. S. Baldwin, 32 Maiden Lane. F. E. Colwell Co., 465 Broadway. Binghamton: A. S. Bump Co., 180 Washington St. Brooklyn: Geo. J. McFadden, Inc., 202 Flat- bush Ave. * J. Navilio, 1757 Broadway. Buffalo: J. F. Adams, Inc., 459 Washington St. Hauser Bob Studio, 11 W. Tupper St. Buffalo Photo Material Co., 37 Niagara St. United Projector & Film Corp., 228 Franklin St. Corning: Ecker Drug Store, 47 E. Market St. Glen Falls: M. Lapham's Sons, 2 Rogers Bldg. Great Neck: Lovett Cinema Studio, 66 Middle Neck Rd. Haverstraw: E. H. Vandenburgh, 3 Broadway. Ithaca: Henry R. Head, 109 N. Aurora St. Treman, King & Co., care of Geo. E. Hough- ton. New Rochelle: Ye Little Photo Shoppe, Inc., 457 Main St. New York City: Abercrombie & Fitch, 45th & Madison Ave. American News and its Subsidiaries, 131 Varick St. J. H. Boozer, 173 E. 60th St. Brentano's, 1 W. 47th St. City Camera Co., 110 W. 42nd St. City Radio, 42 Cortlandt St. Abe Cohen's Exchange, 113 Park Row. Columbus Photo Supply, 146 Columbus Ave. * Cullen, 12 Maiden Lane. Davega, Inc., Ill E. 42nd St. Davega, Inc., 152 W. 42nd St. * Eastman Kodak Stores, Inc., Madison Ave. at 45th St. Eastman Kodak Stores, Inc., 235 W. 23rd St. H. & D. Folsom Arms Co., 314 Broadway. Gall & Lembke, Inc., 7 E. 48th St. * Gillette Camera Stores, Inc., 117 Park Ave. Gloeckner & Newby Co., 9 Church St. * Herbert & Huesgen Co., 18 E. 42nd St. Lowe & Farley, News Stand, Times Bldg. * Lugene, Inc., Opticians, Main Store, 600 Madi- son Ave., bet. 57th and 58th Sts. Uptown Store, 976 Madison Ave., bet. 76th and 77th Sts. 682 * Luma Camera Service, Inc., 302 W. 34th St. Medo Photo Supply Corp., 323-325 W. 37th St. Meta Photo Supply Co., 122 Cedar St. E. B. Meyrowitz, Inc., 520 Fifth Ave. New York Camera Exchange, 109 Fulton St. Parker and Battersby, 146 W. 42nd St. Pickup & Brown, 41 E. 41st St. Rab Sons, 1373 Sixth Ave. Schoenig & Co., Inc., 8 E. 42nd St. * Stumpp & Walter Co., 30 Barclay St. G. Tankus, 837 Seventh Ave. * Willoughby Camera Stores, Inc., 110 W. 32nd St. Poughkeepsie: Marshall's Gift Shop, 27 Mar- ket St. Willheide Movie Service, 281 Main St. Rochester: Marks & Fuller Co., 36 East Ave. A. H. Mogensen, Dept. of Mechanical En- gineering, University of Rochester. Sibley, Lindsay & Curr Co., Camera Dept. Schenectady: J. T. and D. B. Lyon, 236 State St. Syracuse: Francis Hendricks Co., Inc., 339 S. Warren St. Geo. F. Lindemer, 443 S. Salina St. Utica: Edwin A. Hahn, 111. Columbia St. Watertown : Edson E. Robinson, Inc., 111-113 Washington St. OHIO Akron: Dutt Drug Co., 7 E. Exchange St. Pockrandt Photo Supply Co., 16 N. Howard St. Alliance: England Drug Co., cor. Park and Main Canton: Ralph W. Young, 139 S. Cleveland Ave. Cincinnati: Burck-Bauer, Inc., 11 W. Seventh St. Fountain News Co., 426 Walnut St. Huber Art Co., 124-7th St., W. John L. Huber Camera Shop, 144 E. 4th St. Movie Makers, Inc., 110 W. 8th St. L. M. Prince Co., 108 W. Fourth St. Clhveland: Conger-Latta Co., 735 Euclid Ave. Dodd Co., 652 Huron Rd. Eastman Kodak Stores, Inc., 1126 Euclid Ave. Escar Motion Picture Service, Inc., 10008 Carnegie Ave. Fowler & Slater Co., 806 Huron Rd. Fowler & Slater Co., 347 Euclid Ave. Fowler & Slater Co., 1915 E. 9th St. Halle Bros. Co., 1228 Euclid Ave. Home Movies Co., 1501-7 Superior Ave. Lyon & Healy, Inc., 1226 Huron Rd. at Euclid Ave. Columbus: Capitol Camera Co., 7 E. Gay St. Columbus Photo Supply Co., 62 E. Gay St. Dayton: Dayton Camera Shop, 1 Third St. Arcade. Norwood: Home Movie Service Co., 2128 Cathedral Ave. Salem: Butcher's Studio, 176 Jennings Ave. Toledo: Franklin Print. & Eng. Co., 226-36 Huron St. Gross Photo Supply Co., 325 Superior St. Lawrence's, 1604 Sylvania Ave. Youngstown: Fowler & Slater Co., 7 Wick Ave. Zanesville: Zulandt's Drug Store, Widney, cor. Seventh and Main. OKLAHOMA Durant: B and B News Co., 142% W. Main St. Oklahoma City: H. O. Davis, 106 S. Hudson St. Veazey Drug Co. Tulsa: Camera Shoppe, 225 Atco Bldg., 519% Main St. S. Alvin C. Krupnick, 9 E. 6th St. OREGON Corvallis: Lynn's Photo-Art Shop, 1555 Monroe St. Eugene: Steven's, Inc., 764 Willamette St. Pendleton:' Floyd A. Dennis. Portland: Eastman Kodak Stores, Inc., 345 Washington St. Lipman Wolfe & Co., Kodak Dept. PENNSYLVANIA Allentown: Geo. E. Phillips, ^6 N. 6th St. Bethlehem: Arthur F. Breisch, 527 Main St. Erie: Kelly & Green, 116 W. 11th St. James Lett Co., 225 N. 2nd St. Johnstown: F. W. Buchanan, 320 Walnut St. Lancaster: Darmstaetter's, 59 N. Queen St. Mt. Carmel: Stecker's Book Store, 20 N. Oak St. Philadelphia: Amateur Movies Corp., 132 S. 15th St. Eastman Kodak Stores, Inc., 1020 Chestnut St. Jos. C. Ferguson, Jr., 1804 Chestnut St. Strawbridge & Clothier, Market, Eighth & Filbert Sts. John Wanamaker, Dept. 56. * Williams, Brown & Earle, Inc., 918 Chestnut St. Pittsburgh: Eastman Kodak Stores, Inc., 606 Wood St. B. K. Elliott & Co., 126-6th St. Joseph Home Co., Magazine Dept. Kaufmann's Dept. Store, Dept. 62, Fifth Ave. Root's Kamera Exchange, 11 Fifth Ave., Arcade. Reading: Alexander Kagen, 641 Penn St. OCTOBER 1929 Scranton : Jermyn Bros., 205 N. Washington Ave. Wilkes-Barre: Ralph E. DeWitt, 60 W. Market St. RHODE ISLAND Newport: Rugen Typewriter & Kodak Shop, 295-7 Thames St. Providence: E. P. Anthony, Inc., 178 Angell St. B. & H. Supply Co., 116 Mathewson St. Chas. S. Bush Co., 244-246 Weybosset St. Starkweather & Williams, Inc., 47 Exchange PI. TENNESSEE Chattanooga: Englerth Photo Supply Co., 722 Cherry St. Knoxville: Jim Thompson Co., 5 Journal Ar- cade Memphis: Memphis Photo Supply Co., Hotel Peabody, 86 S. 2nd St. Nashville: G. C. Dury & Co., 420 Union St. TEXAS Abilene: W. C. Cosby, Box 338. Amarillo: C. Don Hugues, 1019 Oliver-Eakle Bldg. Beaumont: Thames Magnolia Store, 2599 Mag- nolia St. Dallas: Jamieson Film Laboratories, 2212 Live Oak St. E. G. Marlow Co., 1519 Main St. El Paso: Fred J. Feldman Co., 308 E. San An- tonio. Schuhmann Photo Shop, P. O. Box 861. Fort Worth: Hodges & Co., 806 Main St. Chas. G. Lord Optical Co., 704 Main. Houston: Camera Shop, 1310 Walker Ave. Star Elc. & Eng. Co., Inc., 613 Fannin St. Paris: R. J. Murphy, So. Side Square. San Antonio: W. C. Allen, Rialto Theatre Lobby. Fox Co., 209 Alamo Plaza. E. Hertzberg Jewelry Co., Houston at St. Mary's Sts. Huglies-Combes, Inc., 407 E. Houston St. UTAH Salt Lake City: Salt Lake Photo Supply Co., 271 Main St. Shiplers, 144 S. Main St. VERMONT Burlington: Robert T. Platka, 231 S. Prospect St. Rutland: Geo. E. Chalmers Co., Inc. VIRGINIA Norfolk: S. Galeski Optical Co., 209 Granby St. G. L. Hall Optical Co., 257 Granby St. Richmond: S. Galeski Optical Co., 737 E. Main St. G. L. Hall Optical Co., 418 E. Grace St. WASHINGTON Seattle: Anderson Supply Co., Ill Cherry St. Eastman Kodak Stores, Inc., 1415-4th Ave. Lowman & Hanford Co., 1514-3rd Ave. Motion Picture Service, 903 Lloyd Bldg., Sixth Ave. and Stewart St. Frank B. Wilson, Inc., 319 Pike St. Spokane: Joyner Drug Co., Howard & River- side Ave. Tacoma: Shaw Supply Co., Inc. E. W. Stewart and Co., 939 Commerce St. Yakima: Bradbury Co., 19 S. Second St. WEST VIRGINIA Wheeling: Twelfth St. Garage, 81-12th St. WISCONSIN Eau Claire: Davis Photo Art Co. Fond du Lac: Huber Bros., 36 S. Main St. Green Bay: Bethe Photo Service, 125 Main St. Madison: Photoart House, 212 State St. Milwaukee: Boston Store, Wisconsin Ave. & 4th St. Eastman Kodak Stores, Inc., 427 Milwaukee St. Gimbel Bros., Kodak Dept., Wisconsin Ave. & W. Water St. Photoart House of Milwaukee, 220 Wells St. Oshkosh: Coe Drug Co., 128 Main St. Superior: Greenfield Photo Supply Co., 1328 Tower Ave. Waukesha: Warren S. O'Brien Commercial Stu- dio, 353 Broadway. AFRICA Cape Province Cape Town: Kodak (South Africa) Ltd., "Ko- dak House," Shortmarket and Loop Sts. Lennon, Ltd., Adderley St. AUSTRALIA New South Wales Sydney: Filmo Stores, 142 B King St. Harringtons, Ltd., 386 George St. Kodak (Australasia) Pty., Ltd., 379 George St. New Zealand Auckland: Frank Wiseman, Ltd., 170-172 Queen St. Invercargill: New Zealand Book Depot, 49-51 Esk St. Wellington: Kodak (Australasia) Pty., Ltd., Box 1474, G. P. O. Waterworths, Ltd., 216 Lambton Quay. (Continued on page 684) MOVIE M/%Hr:K« Heinz Details *N announcement from the Movie J^\_ Specialty Manufacturing Co., Ltd., 1361 Flower St., Los Angeles, California, concerning the new Heinz mask box and effect specialties, states that widespread interest in the actual working of the device has been aroused. The Heinz Micro-Focus-Meter at- taches to any 16mm. camera hav- ing a focusing lens mount. It picks up the image thrown by the camera lens on a ground glass, erects the image, corrects it as to right and left and so provides the operator with a view of the photographing, fifteen times enlarged, permitting very ac- curate focus. It also has a magnifying device enabling the operator to secure a magnification of twenty-two times for exceptionally exacting subjects. By turning a button an exposure meter is thrown into place. This new device for exact focus and correct exposure can also be used advantageously with the Heinz Matte Box which is equipped with every device necessary for secur- ing special effects. This box is adjust- able vertically or horizontally, close to the lens or extended for centering and governing the size of a "spot" filter. It is made to use with any lens of 1 to 9 inch focal length and has three filter holders and an eccentric iris open- ing on any spot in the picture field. It is also equipped with horizontal and vertical frame dividers, making double or multiple exposures a simple matter. The third of the Heinz devices is the Title Hood, a pre-aligned, instantly attachable device for making titles as the picture is photographed. Titles are written, printed or drawn on trans- parent paper of special pattern or upon special optical glass transparencies per- mitting straight titles, titles that fade in and out and titles with moving at- mospheric backgrounds. A feature of this title hood which should appeal is that titles written in the spirit of the moment can be photographed in place directly on each reel so that subse- quent separate titles are not neces- sary. These three Heinz attachments are rapidly being distributed to dealers throughout the United States and Canada, it is said. Lios in the Air BURLEIGH BROOKS, 136 Liberty Street, New York City, has again demonstrated his enterprise by placing an order for a shipment of Lios ex- posure meters, which were sent to him via the Graf Zeppelin. Mr. Brooks has found that these meters are greatly in demand. They are packed in a special box and stamped "Via Graf Zeppelin," thus combining an interesting souvenir with a useful exposure meter. Signtac ANEW, simple and effective titling device has made its appearance. It provides a title board with a felt background to which may be affixed a great variety of characters and de- signs, supplied with the outfit. These characters are made of composition material, with sharp-pointed backs, which enable them to be fastened easily to the felt. A black ground with white letters is normally furnished, but black letters on a white ground are available for direct positive work. The Signtac is featured in this month's Movie Makers by Willoughbys and by Her- bert & Huesgen of New York City. Bing Abroad IN a recent letter to the League's technical consultant, Joseph M. Bing, General Manager of the Drem Prod- ucts Corporation, with offices at 152 W. 42nd Street, New York City, sent from Vienna his best regards and com- pliments to all his American friends. Mr. Bing has made a study of amateur movies in most important European countries and states that the time is now ripe for a spontaneous, rapid de- velopment in the foreign field. As an illustration of the rapid adoption of accessories designed to improve the amateur cinema, Mr. Bing states that Houghton-Butcher, Ltd., of London, makers of the "Autokinecam" camera, the Pathescope Co., of Great Britain, and J. H. Dallmeyer, Ltd., the famous lens makers, have all officially endorsed the Cinophot. Their endorsements, moreover, have been quite as emphatic as were those of American firms on behalf of this well-known meter. New Sekaer Service PINGEMANN SEKAER, well # known title-maker for amateurs, with studios at 1472 Broadway, New York City, announces that he has now adopted facilities for producing moder- ately priced printed titles in addition to his complete line of hand-lettered and distinctive art titles. Mr. Sekaer will be glad to answer inquiries and give advice on the most suitable titles for vacation or other films. Eno Complimented ""D UTLAND B0Y is a Pioneer JJ^_ Title Builder." So runs a two column headline in a recent issue of the Springfield Sunday Union and Re- publican of Springfield, Mass. To say that a prophet is without honor in his own land is, therefore, without founda- tion in the case of Ralph R. Eno, well- known figure in the 16mm. title build- ing field. A complete account of Mr. Eno's entry into the industry is given, together with just praise for his fore- sight and ability. (Continued on page 685) MAKE PERFECT, BRIGHT INDOOR MOVIES At f:33 Easy to Do With LITTLE SUNNY TWIN Your /:3.5 lens and one Little Sunny Twin carbon arc lamp will make bright, clear, evenly lighted, professional quality movies indoors at night i Picture above shows results obtained at /:3.5 nor- mal camera speed with Little Sunny Twin 10 feet from sub- ject. This amazing: lamp de- livers 20,000 candle power and draws only 15 amps, at 110 volts, AC or DC. Double the illumination given by other lamps drawing" more current and costing twice as much. No special housewiring or fuses required. Operates semiauto- matically. Starts by pull-down knob. Read what users say, then act on FREE Trial 10 Day Guarantee Offer at once. $25.00 COMPLETE Outfit includes lamp, nickeled extension stand, long cord, and six "Pan" or "White Flame" 'carbons. (Spe- cify kind wanted). Extra carbons $2.00 a dozen. Complete, weighs only 11 pounds. Collapsible reflector makes Little Sunny Twin easy to take wherever you go. Thousands Would Use No Other "I think Little Sunny Twin will be the favorite of the ama- teur movie cameraman as it is sturdy, efficient and gives more light than others using more cur- rent."—A. F. S., Berkley. Ill, "Little Sunny Twin is essen- tial to the production of superior industrial motion pictures." — J. S. , Director, Graphic Art Film Co., Hollywood, Calif. "Little Sunny Twin eminently fills the need of amateur cinema photography." — J. I.. Salt Lake City, Utah. "Little Sunny Twin is plenty fast for home movies." — H. B., Muskegon, Mich. "Little Sunny Twin is a per- fect wonder. All its possible tests have proven Al." — R. B., President, Kino Club, Clare- mont, Calif. FREE 10 DAY TRIAL Order Little Sunny Twin at once. Try it 10 full days. Make large group shots, closeups, double ex- posures, titles. Put Little Sunny Twin to every test. If you are not more than pleased, money refunded instant- ly. Send check or money order. We pay expressage. Indoor movietime is here. Clip coupon. Mail today. LEONARD WESTPHALEN 438 Rush Street Chicago, 111. r Leonard Westphalen 438 Kush St., Chicago, 111. I-] $20.00 enclosed. Send Little Sunny Twin with n "Pan" H "White Flame" carbons on 10 day money back guarantee offer, n Send me dozen □ "P a n" carbons □ "White Flame" carbons at $2.00 dozen. □ Send me literature on Little Sunny Twin. City . J 683 Children enjoy these! You can entertain the youngsters and further their education at the same time by showing Pathe Educa- tional Pictures right in your own home. These films are unusually in- teresting and stimulating to the young mind. Many of the world's leading educators helped in their preparation. Subjects on 16mm. films include na- ture study, human and physical geog- raphy and the famous Children of All Lands Series. If you have children of school age, be sure to write for com- plete details. Use handy coupon below. PATHE MOTION PICTURES Local agents now being; ap- pointed. Appli- cations invited. Pathe Exchange, Inc. (D<-pt MM 10.) 35 West 45th St., New York City. Please send me complete information con- cerning- Pathe Educational Pictures for home projection. Name . . Address Autumn's her el Filmo Rental Library Releases provide ideal entertainment for these first cool evenings. 4 big feature releases Representative of our complete 16 mm. library are four dramas selected from the Bell &? flowell Filmo Library. These were chosen from a group of the best Thomas H. Ince productions. Powerful and gripping in dramatic story, they provide excellent vehicles for character portrayal by some of our greatest cinema stars. Each film is in five 400 ft. reels, 16 mm. No. SF-1 The Bus7ler — a baseball story with Colleen Moore, Clias. Ray and John Gilbert. No. SF-2 Soul of the Beast — Madge Bellamy, Cullen Landis and Noah Beery starred in a distinctive Canadian north woods drama. No. SF-3 The Cut of Life— Hobart Bos- worth, Madge Bellamy and Tully Marshall in a story of the sea and the Orient. No. SF-4 Square Deal Sanderson — William S. Hart in one of his best western "thrillers." A completely equipped Motion Pic- ture Department and Library facilities to serve you. Send today for rental and sale prices. Hattstrom & Sanders, Inc. 702 Church Street Evanston, Illinois (Continued from fage 682) Queensland Brisbane: Kodak (Australasia) Pty., Ltd., 250 Queen St. South Australia Adelaide: Harringtons, Ltd., 10 Rundle St. Kodak (Australasia) Pty., Ltd., 37 Rundle St. Tasmania Hobart: Kodak (Australasia) Pty., Ltd., 45 Elizabeth St. Victoria Melbourne: Charles W. Donne, 349-51 Post Office PI. Harringtons, Ltd., 266 Collins St. Kodak (Australasia) Pty., Ltd., 284 Collins St. Kodak (Australasia) Pty., Ltd., 161 Swanston St. W est Australia Perth: Kodak (Australasia) Pty., Ltd., Hay St. CANADA Alberta Calgary: Boston Hat Works and News Co., 109 Eighth Ave. British Columbia Vancouver: Eastman Kodak Stores, Ltd., 610 Granville St. Film & Slide Co. of Can., Ltd., 319 Credit Foncier Bldg. Manitoba Winnipeg: Eastman Kodak Stores, Ltd., 472 Main St. Film & Slide Co. of Can., Ltd., Paris Bldg. Strain's, Ltd., 345 Portage Ave. Ontario Hamilton: W. Hill & Bro., 90 W. King St. Toronto: Associated Screen News, Ltd., Tivoli Theatre Bldg., 21 Richmond St., E. Eastman Kodak Stores, Ltd., 66 King St. T. Eaton Co., Dept. V-6, 190 Yonge St. Film & Slide Co. of Can., 156 King St., W. Lockhart's Camera Exchange, 384 Bay St. Quebec Montreal: Associated Screen News, Ltd., 5155 Western Ave., at Decarie Blvd. T. Eaton Co., St. Catherine St., W. Film & Slide Co. of Can., Ltd., 104 Drum- mond Bldg". Gladwish & Mitchell, 147 Peel St. CENTRAL AMERICA Canal Zone Ancon : Lewis Photo Service, Drawer B. CHINA Shanghai: Chiyo Yoko Photo Supplies, 470 Nan- king Rd. Eastman Kodak Co., 64 Kiangse Rd. CUBA Havana: Havana News Co., Neptuno 2-B. DENMARK Copenhagen V: Kodak Aktieselskab, Ostergrade 1. Copenhagen K: Kongsbak and Cohn, Nygade 2. EGYPT Alexandria: Kodak (Egypt) Societe Anonyme, 23, Cheriff and Pasha St. and Ramleh Sta. ENGLAND Bristol: H. Salanson & Co., Ltd., 20 High St. Harrogate: A. R. Baines, 39 James St. Liverpool: J. Lizars, 71 Bold St. London, S. W. I.: Westminster Photographic Exchange, Ltd., 119, Victoria St. London, W. C. 2.: Sands, Hunter & Co., Ltd., 37 Bedford St., Strand. London: W. 1.: Bell Howell Co., Ltd., 320 Regent St. J. H. Dallmeyer, Ltd., 31 Mortimer St., Ox- ford St. Wallace Heaton, Ltd., 119 New Bond St. Wallace Heaton, Ltd., 47 Berkeley St., Pic- cadilly. Westminster Photographic Exchange, Ltd., 62, Piccadilly. Westminster Photographic Exchange, Ltd., Ill Oxford St. Sheffield: Wm. Mcintosh (Sheffield) Ltd., Change Alley. Sheffield Photo Co., 6 Norfolk Row (Far- gate). FRANCE Paris: Grande Librairie Universelle, 84 Boule- vard Saint Michel, Vie. HAWAII Honolulu: Honolulu Photo Supply Co., P. O. Box 2999. HOLLAND Amsterdam: Capi, 115 Kalverstraat. Foto Schaap & Co., Spui 8. Den Haag: Capi, 124 Noordeinde. Fotohandel Ter Meer Derval, Fred. Hendrik- laan, 196. Groningen: Capi, 3 Kleine Pelsterstraat. Nijmegen: Capi, 13-17 van Berchenstraat. Capi, Broerstraat 48. * Indicates dealers MOVIE MAKERS, 105 $3 a Year (Canada #3.25, Foreign #3.50) OCTOBER 1929 Rotterdam: Bollemeijer & Brans, Korte Hooj:- straat 25. HUNGARY Budapest, iv: Pejtsik Karoly, Varoshaz U-4. INDIA Ahmedabad: R. Tolat & Co., Bawa's St., Raipur Bombay: Continental Photo Stores, 253 Hornby Rd. Hamilton Studios, Ltd., Hamilton House, Graham Rd., Ballard Estate. M. L. Mistry & Co., 46 Church Gate St., Fort Bombay 4: Movie Camera Co., Walker House, Lamington Rd. Burma: Y. Ebata & Co., 200 Phayre St., Ran- goon. Calcutta: Army & Navy Coop. Soc, Ltd., 41 Chowringhee St. Photographic Stores & Agency Co., 154 Dhur- amtolla St. Lahore: Watch Materials & Tools Supply Co., Gondiwali St., Delhi Gate, Chauk Wazir Khan. ITALY Milan: Kodak Societa Anonima, Via Vittor Pi- sani N. 6. Lamperti & Garbagnati, Piazza S. Allessandro N. 4 (105). JAPAN Kobe: Honjo & Co., 204 Motomachi 6-Chome. Kyoto: J. Osawa & Co., Ltd., Sanjo Kobashi. Osaka: Fukada & Co., 218 Dojima Bldg. T. Uyeda, No. 4 Junkeimachi Shinsaibash-suji, Minami-ku. Tokyo: Home Movies Library, 515 Marunouchi Bldg. Osaka: Fukada & Co., 2 Chome Kitakyutaro Machi, Higashiku. MEXICO Mexico City: American Photo Supply Co., S. A., Agenda Postal 25. Kodak Mexicana, Ltd., Independencia 37. "La Rochester," Av. 16 de Septiembre 5. Pathe Baby-Agency for Mexican Republic; Latapi Y Bert, Av. 16 de Septiembre 70, El Globo. Puebla: Casa "Hertes," Av. Reforma 109. NORWAY Oslo: J. L. Nerlien A-S, Nedre Slotsgate 13. University Book Shop. PHILIPPINE ISLANDS Manila: Denniston, Inc., 123 Escolta. SCOTLAND Edinburgh: J. Lizars, 6 Shandwick PL Glasgow: Robert Ballantine, 103% St. Vincent St. J. Lizars, 101 Buchanan St. SIAM Bangkok: Bangkok Central Book Depot, Sikak Phya Sri, New Rd. Prom Photo Studio, New Rd., Cor. Chartered Bank Lane. SOUTH AMERICA Argentine Buenos Aires: Connio, Gattamorta & Cia, Maipu 456. Rosario de Santa Fe: Enrique Schellhas Y Hijos, San Martin 764. Chile Santiago: Casa Heffer, Estado 150. Valparaiso: Eckhardt & Pieper, Casilla No. 1630. Laverick & Co., Casilla 244. Venezuela Maracaibo: MacGregor & Co., Apartado Postal No. 197. SPAIN Barcelona: James Casals, 82 Viladomat St. Madrid: Kodak Sociedad Anonima, Puerta del Sol.4. Kodak Sociedad Anonima, Avenida Conde Penalver 21. STRAITS SETTLEMENTS Penang: Kwong Hing Cheong, lc Penang St. Y. Ebata & Co., 77 Bishop St. Singapore: Amateur Photo Store, 109 N. Bridge Rd. Y. Ebata 8: Co., 33 Coleman St. Kodak, Ltd., 130 Robinson Rd. Singapore Studio and Photo Co., 55-3 High St. SUMATRA Medan: Y. Ebata & Co., 69 Kesawan. SWEDEN Stockholm: A. B. Nordiska Kompaniet, Photo- graphic Dept. SWITZERLAND Basel: H. Strubin 14 Co., Cine Service, Ger- bergasse 25. Geneva: Lewis Stalder (Photo-Hall), 5 Rue de la Confederation. Lausanne: Kodak Societe Anonyme, 13 Av. Jean-Jacques Mercier. Winterthur: Alb. Hoster, Marktgasse, 57. Zurich : Ganz and Co., Bahnhofstrabe 40. M. M. Gimmi & Co., Merkurstrasse 25. who are advertising in West 40th Street, New York City 25 Cents a Copy (Foreign 30 Cents) 684 MOVIE MAKERS Important Merger A COMBINATION which is of great importance to the home movie trade has recently been formed. Its component firms are the Atlas Radio Stores of Cleveland, Detroit and Akron, the City Radio Stores of Greater New York, the well-known sporting-goods firm of Davega, and Abe Cohen's Cam- era Exchange, of 120 Fulton Street, New York City. It is interesting to note that this latter firm will be the headquarters for buying and servicing all the photographic goods sold in the fifty-nine stores of the chain. Goerz Effect Device THE C. P. Goerz American Optical Company, of 317 East 34th Street, New York City, announces certain im- provements in the well known Goerz Effect Device, the pioneer before-the- lens device for 16 mm. film. This ap- paratus clamps rigidly to the tripod and forms an integral part of the camera, providing for extremely critical focus- ing, for all kinds of masking effects, for dissolves and iris-in and out, for title making, for special filters and, in short, for all kinds of work which can be accomplished by a rigid device which will provide before-the-lens ef- fects. Dallmeyer Superspeed Lens Company. tures of this machine include enlarge- ments from 16mm. positives to 35mm. negatives, or the reverse; reduction prints from 35mm. negatives to 16mm. positives; contact prints from both negatives and positives, and a number of other points which are convenient and exclusive. Correction THROUGH a regrettable error, the address of the Buffalo Cinema Laboratories, makers of the new B. C. L. Film Cement, was listed incorrectly in this department last month. The cor- rect number is 405 Elm St., Buffalo, N. Y. Also, the price of the cement is thirty-five cents per bottle, instead of twenty-five cents. William E. Burau, head of the laboratory, will be glad to advise amateurs on special treatment of their film. Nor disk a Catalog MOVIE MAKERS has received from one of its Stockholm, Sweden, dealers the Nordiska Kom- paniet, a very attractive cine catalog. This well printed booklet, with a blue and silver art cover, contains the ad- vertising of both Eastman and Bell & Howell, in prominent positions, as well as that of various English and German manufacturers, among them the Agfa THIS department has just received information direct from Messrs. J. H. Dallmeyer of London that this well known firm of lens makers has brought out a new 16 mm. lens working at the unheard-of speed of /:0.99. Several samples of the new lens are to be ship- ped to the United States in the near future and will be distributed by Her- bert and Huesgen, 18 East 42nd Street, New York City. All-Movie-Cabinet ANEW and beautifully made con- tainer for one's entire home mo- tion picture outfit is found in the R. W. K. All-Movie-Cabinet which is marketed by the National All-Movie Sales Com- pany, of 333 North Michigan Avenue, Chicago. The cabinet is nicely finished in walnut and is large enough to hold projector, film, splicing outfit and all accessories. A novel feature is an in- corporated screen, twenty-four by thir- ty inches in dimension, which may be set up independently. Depue Advances THE last word in optical and con- tact printers is claimed for the new Depue daylight and darkroom models. The daylight feature of the reduction printer is now well-known throughout the world. The special fea- Low Price Outfit INTERNATIONAL TALKING FILMS, Inc., of 11 West 42nd Street, New York City, has entered the 16mm. field with a small and in- expensive movie outfit. This consists of a camera and projector, each of which is made to sell for ten dollars. Both are of the simplest possible construction compatible with simple photography and projection, but are satisfactory for their purpose. The camera holds a fifty-foot spool of film and is hand-cranked. The lens is of the simple fixed-stop, fixed-focus type, which, of course, limits the taking of pictures to reasonably bright scenes. Although the outfit is of simple con- struction, successful motion pictures on 16mm. film may be taken and pro- jected. The projector is equipped with a special lamp drawing very little cur- rent, a rheostat being incorporated for this purpose. The drive is by hand and there is no shutter, which permits the fullest possible utilization of the availa- ble light. This principle, of course, in- troduces "travel ghost," but with a rea- sonably small picture, this effect is neg- ligible, it is claimed. Our idea of an ideal use for this outfit would be as a present to some youngster, who could then film and project pictures of his '"gang" at the least possible expense. ANNOUNCEMENT A shipment, slightly in advance of regular stock delivery, will place a dis- play model with a limit- ed number of prominent dealers early in October. 16S Introducing six impor- tant new and exclusive features in addition to those already popular on domestic cameras, among which is a feature held by professional camera- men to be of greatest im- portance— that of focus- ing directly on the film and observing the picture directly on the film all during the time of expo- sure by means of a mag- nifying finder tube with prism. BURLEIGH BDOOKS AGENT U.S.A. 136 LIBERTY ST., NEW YORK CITY 685 OCrrOBEK 1929 Introducing First National Pictures To Kodascope Library Patrons Imagine a group of explorers discovering a spot where animals the siz,e of fifteen elephants and flying reptiles the siz;e of aeroplanes — monsters of 10,000,000 years ago — still live! In this remarkable picture one sees them fiercely battling each other and their discoverers, who capture one of the monsters and bring it back to London, where it escapes and, after raising havoc in the streets, plunges into the Thames and swims off to sea! NEW (THIRD EDITION) DESCRIPTIVE CATALOGUE contains many new subjects, drops many of the older ones and reduces rentals of many others. More than 400 reels at average rental of less than $1.00 each! Average rental entire library (nearly 1000 reels) only $1.22 each. You can rent twenty to forty reels for the cost of one! ATTRACTIVE PROPOSITION To Dealers who desire Profits from operation of their own Film Rental Libraries. Our Experience and Re- sources assure Success of our Distrib- utors. No risk. LIBRARY MEMBERSHIP NOT REQUIRED But recommended because of extra advantages and economies afforded KODASCOPE LIBRARIES, Inc. 33 WEST 42nd STREET, NEW YORK Branch Libraries and Distributors in Forty Leading Cities of the United States and Canada 686 Cine-Kodak, Model BB,f.i.p, equipped with Kodacolor Filter. The filter is substituted for the regular lens hood. Kodacolor Assembly for Cine-Kodak, Model Bf.1.9. Kodacolor Assembly for Koda- scope B. It takes just a moment to adapt Kodascope A or Bfor showing Kodacolor. KODACOLOR (Home movies in full color) Color — brilliant \ accurate — is brought to your screen by Kodacolor ivODACOLOR has two outstanding characteristics — the ease with which the pictures are made, and their truthful beauty when projected on the screen. It is just as easy to make Kodacolor as it is to make black and white movies. All you need is Cine- Kodak, Model B or BBy!1.9, Kodacolor Film, a Kodacolor Filter and bright sunlight. With Model BB/! 1.9 you can even make Kodacolor in the open shade by using the half-speed device. Kodacolor reproduces colors as they actually are, from soft flesh tones to the vivid coloring of costumes and flowers. It brings all of nature's beauty to your screen — the deep blue of sun-lit lakes, the riot of reds, greens and yellows in autumn foliage. Kodacolor may be shown with Kodascope A, Kodascope B or the Library Kodascope, equipped with a Kodacolor Filter. The Library Kodascope, shown below, projects Kodacolor on either the small translucent screen that is an integral part of the pro- jector, or on a regular Kodacolor screen. To realize the true beauty of Kodacolor you must actually see the pictures yourself. Any Cine-Kodak dealer will gladly give you a demonstration. The Library Kodascope. The most complete amateur movie projector made. It is instant- ly adaptable for showing Kodacolor. EASTMAN KODAK COMPANY ROCHESTER, NEW YORK Used by Charles Chaplin personally and professiona ^v • A derby, a mustache, big boots, a cane . . . the Charlie Chaplin America loves has been brought to us for twelve years by Bell & Howell Cameras. For making personal movies outside of his studio, it is but natural that Charlie Chaplin should also choose a Bell & Howell Camera — his personal Filmo. Benefit from his experience, and from the j udgment of most of Hollywood ' s leading producers. Choose the personal model of the camera that professionals have used for twenty-two years. Choose Filmo. Every Filmo motion picture camera is guaranteed for two years against defects in materials and workmanship. That is the best expression that Bell & Howell can possibly make of its confidence in the craftsmanship, the precision machinery, and the sturdy, scientific design which combine to make the Filmo camera. Amateur movie makers need no intro- duction to Filmo 70- A and Filmo 75. And now is offered Filmo 70-D, "master of them all," with seven speeds, three- lens self-locking turret, relative exposure indicator, variable spy-glass viewfinder, and aristocratic Mayfair Case. The great - It is only just, after twelve years faithful service in my studios here, that I now say a word in commenda- tion of the Bell & Howell cameras. That lam now using three of them in filming my latest production, "City Lights", is evidence they have given me entire satisfaction. With best wishes, I am Cordially, flexibility of this instrument under every conceivable photographic condition makes it the one camera every amateur movie maker would own. Ask your dealer to show you the new Filmo 70-D, or write for literature. BELL & HOWELL COMPANY Dept.J 1828 Larchmont Ave. Chicago, 111. NEW YORK - HOLLYWOOD • LONDON (B. & H. CO., LTD.), ESTABLISHED 1907 Filmo 70- A, the original per- filmo 75, pocket size and of sonal movie camera, surpassed patrician smartness, $120 only by Filmo 70-D, $180and and up with carrying caie. up with ca>r>ing case. Your choice of three colors. J-ti/mn ~7f) 7~) com,s complete with one Taylor-Hobson rnrriV /V-LS Cooke l" Fi.5 lens and smart May fair carrying case of English saddle leather, equipped with SESAMEE loci, at $245- Eight other models with various lens combinations, range upward in price. (See pages 608 and 659 for information regarding Filmo Accessories) >* ^ BELL & HOWELL WHAT YOU SEE V O U GET Magazine of the /Imatenr Cinema League, Inc ^.^^.^C^.^^.^^.^"^!&^^^^^ .. the Gift made by the recognized leaders in motion picture equipment W^HEN you select Bell 6? Howell »* equipment for the amateur movie maker, it is with the foregone conclusion that the gift will both please and be lastingly useful. Filmo cameras and projectors are built to the highest standards of mo- tion picture precision. People high- est in social standing prefer them for this reason. Bell li Howell have for 21 years been the recognised leaders in build- ing professional movie cameras for most of the big producing companies of the world. The great feature pic tures you see in the leading theatres are made with this equipment. This experience has made possible the building of a camera for the ama- teur just as outstanding in its field as the studio camera is in professional work. In a Filmo Camera, for instance, is exemplified the wonderful degree of perfection achieved through this experience. It is a finely constructed precision instrument with moving and registering parts as mechanically perfect as a watch. In fact, Bell £•? Howell Cameras and Projectors are built to a measured precision of one ten-thousandth of an inch! Every Filmo accessory, devised to broaden the usefulness of these two famous machines and to enhance the pleasure of their use, is built with the same scientific accuracy. Such equipment naturally costs more. But the better results make it price-worthy. The beauty, clarity and brilliance of Filmo are astonish- ing to those viewing them for the first time. Results are what count. They unfailingly justify the price. So put Filmo on your gift list. Go to your Filmo dealer. Look over the many interesting items available and desirable for the amateur. And order at once or write for descriptive book- let—"What You See, You Get1 and for Filmo Accessory cata- log— a wealth of gift ideas. Filmo 75 The beautiful, pocket-sized camera that has revolutionized amateur movie mak- ing. Holds and operates easily in one hand. Wonder fid for vacation, field and sports use. Price $120 with case. BELL & HOWELL £ BELL 6s? HOWELL CO., 1828 Larchmont Avenue, Chicago, Illinois liewTork, Hollywood, London (B. & H. Co., Ltd.) Established 1907 What you see, you get" Filmo 70 The original automaticFilmo. The finest amateur movie camera available at any price. Ada ptableto usual andexcep- tional conditions of weather, light, speed and distance. Price $180 with case. MOVIE MAKERS «^° &SS& we MB^ER vSMA"1 £*P -■"■js***** drEM ClM°P HOTS raise dtbe stan dard at out ating the "e*" sly- lthas-:byCU^cto0pe ,tomet ctures equip**1* 34" focus--;;;;;: v 2" $60-00 60-00 85.00 becau cus' rate, , shot is lot. am $12.50 10.50 12 Ma^ HOtO SlTSCE sorPuEss'-;VoIkCM RAD1 BE^ED EE^S AJ*T :ueebN ^COtnn,ev^GCASBS we , cUstotnets e dur. use they *» °UieV * ^^ beca !!-otv results- ,\ o0Vdng, eaS>L s0 little able, v,aS„rV around, -dt:ect"oy^benn - • -*£5 storage1 - 22" * 3°" 36" * 48 - $17.50 25-00 J0.00 lir customer* , W,U l°r ° . so very se tbey & ^eW bandsome' S ses, becaU * so extremely c tor by^.;ettbeyP^,ucy,^aV colour *»«» I necessary- &VtCtS'odds and ends n d.*i« ^ck ;;;;;;:: 28.00 tan i%JO%'EMDER I92« *■ - - ■-: ..- - ::■. ■ ■ ■: -., * ' «-,. ' .,,■:( ' See iQurself as Others See You for $98& ($9950 WEST OF ROCKIES) a ^ s Combination Movie Camera and Projector COMPLETE WITH CARRYING CASE As You See the Movies Your Camera Your Choice of Three Beautiful Colors As You Take the Movies Brown Green Black Equipped with Special F. 3.5 Graf. Lens. No focusing necessary either for taking or projecting pictures. Uses Eastman or other 16 mm. Reversal Safety Films. Original price includes developing and return postage. Easy to understand — to operate and take and project quality pictures without experience. Can be used with hand crank for faster or slower than normal pictures, if desired. See Your Dealer or Write Us for Particulars The Q-R-S COMPANY Established 1900 san francisco 333 N- Michigan Ave., Chicago 306 7th Street Refer to Dun, Bradstreet or an Your Camera with Projector Attached The same Lens that takes the picture pro- jects it on the screen, insuring perfect reproduction through duplication. Guarantee Every Q- R * S Movie Camera and Projector is guaranteed for one year against any de- fects in material and workmanship, and there will be no charge / for adjustment to S either the owner / or dealer. / Carrying Case for Complete Outfit Jtt NEW YORK Bank 135th St. & Walnut Ave. / (^°\«» \0i a20minute home show without changing fieels , VV7ITH the New Super Pathex films you can now obtain 20 min- ** utes of home movie entertainment on a single reel, at the regular Pathex price of #9.50! These new Super Pathex Pictures are all over 300 feet in length. Due to a special patented system of titles, each picture is equivalent to a 400-foot picture on 16mm. film or a 1,000-foot picture on standard film. The following new releases are now available in Super Pathex 20- minute single-reel pictures. They will make delightful additions to your film library. WESTERN Harry Carey in "THE FRONTIER TRAIL" - - - 1 Super Reel #9.50 The thrilling romance of a U. S. Army Scout in the days of Indian fights on the old frontier. Leo Maloney in "ROUGH GOING" 1 Super Reel #9.50 The famous Western star in a fast-moving, red-blood tale chuck full of action and real thrills. DRAMA "THE GOLDEN CLOWN" -------- 1 Super Reel #9.50 The gripping tragedy of a celebrated musical clown whose antics kept all Paris laughing while his own heart was slowly drained of all joy. Buddy Roosevelt in "RIDE 'EM HIGH" - - - - 1 Super Reel #9.50 The story of a plucky cowboy who rode into Happy Valley to enter the rodeo, and stayed to rid it of its bad man and win its sweetest girl. COMEDY Douglas MacLean in "THE YANKEE CONSUL" - 1 Super Reel #9.50 One long crescendo of chuckles involving Doug MacLean in a sue- . cession of highly amusing situations. Our Gang in "LOVE MY DOG" 1 Super Reel #9.50 A hilarious comedy in which these famous and loveable kids sharpen their wits to save their pet and pal from the dread clutches of the Dog Catcher. // not available through your dealer, write direct to us. /NC. \ 1 CONGRESS ST., JERSEY CITY, N. J. 690 H O % I I VI % ■«. I It «• Releases PATHEGRAMS are edited in the Editorial Rooms of Pathe by the same staff who edit Pathe Pictures for the big theaters. PATHEGRAMS are printed in the Pathe laboratory by the same skilled experts who print standard Pathe releases. To these two factors, PATHEGRAMS owe their uniformly high entertainment value and the superior quality of their photography! All the more reason why you will wish to add several or all of these new Pathegrams releases to your home film library! They are note- worthy for their technical quality and interesting object matter. No. 6013. THE MAKING OF A CHORUS GIRL— One 100 ft. Price £6.00 Beautiful apprentices in the craft of the pointed toe and the supple body appear in this really educational and entertaining picture of chorines in action under the tutelage of a past master. No. 6014. CARAVANS OF THE SAHARA— One 100 ft. - Price £6.00 A thrilling visit to the desert homes of the wildest, most picturesque denizens of the great sandy wastes of Africa. All the color and romance of the Sahara are concentrated in this beautiful camera study. No. 6015. LOVE AND KISSES (Mack Sennett Comedy with Alice Day)— Owe 400 ft. Price £25.00 The delightful tale of a poor little rich girl who was coaxed out of the kitchen by the town's best "catch." No. 6016. BIG GAME HUNTING IN AFRICA— One 400 ft. Price #25.00 Exclusive and sensational views of the great royal sportsman. Prince William of Sweden. The hunt for strange, wild animals in the darkest jungle will thrill you to the marrow. If not available through your dealer, write direct to PATHEGRAMS, 1 Congress Street, Jersey City, N. J. 691 -. . . .,'. . .. MOVIE MAKERS TRY THIS ART BACKGROUND FOR THE LEAD TITLE ON YOUR MOUNTAIN FILMS On the Facing Page Is An Enlargement on which You Can Place Your Own Lettering. The Photo- graph is from the Collection of League Member Charles J. Belden of Pitchfork, Wyoming. The Titling is by Ralph Eno. FEATURED RELEASES For Home Projectors Bell & Howell Co., Chicago, 111. Filmo Library again stresses in its straight sale an- nouncement four films for children, each 100 ft. The individual films are "The Story of a Little Native Boy," descriptive of a child's ad- ventures with jungle animals; "The Jungle Samaritan," the story of a hermit in the jungle, and a sequel to the latter, "An Elephant's Gratitude." "Trapped by Tigers," the story of the rescue of a girl trapped in an African hut, completes the announcement. The last Filmo Library rental releases fea- tured were Big Boy in "Funny Face"; Bobby Vernon in "Don't Fire"; Felix the Cat in "Hunts the Hunters"; "Drama de Luxe," with Lupino Lane, and "Hot Cookies," a Cameo comedy. Bray Studios, New York, N. Y. A Christmas Special is offered called "A Little Friend of the World." It is the story of a little boy who plays Santa Claus to the wild creatures of the woods. Also a listing of 500 quality subjects is called to amateur attention. Cine Art Productions, Inc., Hollywood, Cal. and New York, N. Y. Here the outstanding offering is "Carlsbad Cave," 400 ft. of filming said to be out-of-the-ordinary in interest. "Jack and the Bean Stalk" is another 400-ft. film produced for the pleasure of children and grownups as well. There are three new mini- Ders in the Major Hammond Adventure Films, "Birds of North America," "Fleet Wings," and "Nomads of the Ocean," 100 ft. each. Christ- mas films having early announcement are: " 'Twas the Night Before Christmas," 400 ft., and "The Story of Santa Claus," 100 ft. Eastman Kodak Company, Rochester, N. Y. List month a series of especially prepared Cinegraphs for children got under way with three releases. Now come the second three: Snap the Gingerbread Man in "Mush On"; Snap's adventures in the Arctic in search of the North Pole; Chip, the Wooden Man, in "The Land of the Wooden Soldiers," a sequel to his October feature, and "A Doodlebug Romance," all 100 ft. A travel film which should be unusual is "China," as it is said to touch on comparatively unknown places in the interior as well as the great cities better known to the casual traveler. "Unreal Newsreel No. 3" follows the path laid out by reels No. 1 and No. 2, said to have been well received. Empire Safety Film Co., Inc., New York, N. Y. A feature of especial interest to war veterans is announced this month, "Official War Films, listed especially for the buddies of yes- terday." You may wish to go to the Cannibal Isles on a personally conducted "Zobelog." These are available for the Fiji, Hawaiian and Samoan Isles. Travel films for Switzerland and Palestine are also offered, as well as the following general films: "So simple," "Hey Taxi," "Believe Me," "The Joke's on You," and "Raizin Trouble." The announcement con- cludes with Charlie Chaplin comedies, Tom Mix films, cartoons, Lindy's historic reels, "The Bremen Flight," "Oh! So Simple," "Paper- Hanger's Helper," "Hop To It, Bellhop," "Newlyweds," "Uncle Tom's Cabin," and "The Great Arctic Seal Hunt." (Continued on page 694) How to Have Winter Enjoyment from your Movie Outfit 1 A GOOD Screen easily opened — compactly stored — brilliant THE "ONE MOTION" SCREEN Prices: No. 20, 22"x30 ", $17.50 ; No. 21, 30 "x40 ", $25 ; No. 22, 36 "x48 ", $30 II- Well TITLED Reels You can do it yourself with any of the standard titling outfits, which we will gladly show you how to use, or you can simply bring us your reels with a few "editorial" suggestions, and we will GUT— EDIT— TITLE just as it is done for the big producers, by professionals. Ill Equip your Camera for SHORT Days and LONG Shots For Football Games, Winter Sports and Waning Light — Fully timed exposure and double sized image with this new DALLMEYE& 2 in. f-1.9— $75.00 With Matched Finders DOUBLE-DUTY LENS IV Qet your MOVIE Equipment where Service is based on 20 Years' Experience Herbert & Huesgen Co. 18 EAST 42nd STREET NEW YORK Sole Dalhneyer Distributors for the United States 693 IW\EHBEK I92M Still Another Valuable Feature Is Added! PHE Victor Cine-Camera was the first and is still the only Camera which at a turn of a button takes SLOW' MOTION pictures on the same film with natural action shots. And now again the Victor Cine-Camera leads with another new feature heretofore confined only to professional studio cameras — a Multiple-Lens Turret. The Model 3 T Victor Cine-Camera, turret equipped, in- cludes all the features of the original Model 3; but, in addi- tion, provides for three different lenses being in position on the camera at the same time. The Model 3 T Victor Cine-Camera is by all standards of comparison, the most complete, most universally serviceable amateur motion picture camera ever built. The Model 3 T Victor Cine- Camera may be purchased with but one lens, — a choice of several different makes. The Camera may be used indefinitely with one general-duty lens, and an- other lens or two may be added any time. Several combinations of three lenses may be used to great advantage — one for general duty, preferably of a speed of f-3.5, — another of greatest possible speed for slow-motion and interiors, — and a telephoto for long distance shots. Selection according to individual preference may be made from the many interchangeable lenses of six different makes, Zeiss, Dallmeyer, Hugo Meyer, Wollensak, Goerz and Schneider. Victor Animatograph CoM inc. 242 West 55th St., New York Davenport, Iowa, U. S. A. FEATURED RELEASES {Continued from page 693) Burton Holmes Lectures, Inc., Chicago, 111. This company adds to its long list of travel films: "Estes Park, Colorado," "Rocky Moun- tain National Park," and "Yellowstone Park Revisited," and is prepared to supply a com- plete catalog upon request. Home Film Libraries, New York, N. Y. On the rental side are William Russell in "Big Pal"; Leo Maloney in "Across the Dead Line," and Jobyna Ralston in "Pretty Clothes." The company is stressing particularly its series of fifteen 1929 Feature Releases in 5 and 6 reels, of which series "Brooding Eyes" is a part. On straight sale are the Gardner Wells travel pic- tures, 100 ft. lengths. I "CONGRATULATIONS ON YOUR NEW MOVIE HOUSE, FOXEY, OLD MAN;- I DON'T KNOWN A TEA ROOM THAT CAN TOUCH IT." Kodascope Libraries, Inc. A new 192-page descriptive catalogue (third edition) is to be had, with additional subjects listed. It is said that it calls attention to substantial reductions in rental prices and that many earlier subjects have been eliminated. The particular features stressed this month are "The Lucky Devil," starring Richard Dix and Esther Ralston, and "Dancing Mothers," with Clara Bow, Alice Joyce and Conway Tearle. Pathegrams, Jersey City, N. J. Announced this month is the 400-ft. film "Big Game Hunt- ing in Africa," through which amateurs may "stalk" Prince William of Sweden, the royal sportsman, through the jungle in his thrilling hunt. Other offerings are: "The Making of a Chorus Girl," a 100-ft. film showing chorus girls in action under tutelage; "Caravans of the Sahara," also 100 ft., which takes one to the desert homes of Africa, and "Love and Kisses," a 400-ft. Mack Sennett Comedy, fea- turing Alice Day. Path ex, Inc., Jersey City, N. J., calls atten- tion to the New Super Pathex films, 20-minute single-reel pictures. Westerns are: Harry Carey in "The Frontier Trail," a story of a United States army scout in the old days, and Leo Maloney in "Rough Going." The dramatic of- ferings are "The Golden Clown" and Buddy Roosevelt's film, "Ride 'em High." In comedy are Douglas MacLean in "The Yankee Consul" and Our Gang in "Love My Dog." Due to a patented system of titles, each picture is stated to be equivalent to a 400-ft. picture on 16mm. or a 1000-ft. picture on 35. Each is over 300 ft. in length. Ernest M. Reynolds, Cleveland, Ohio. A num- ber of films are available here but the special offering of the month is "Speed-boat Thrills," a 100-ft. film which is evidently filled with^ ac- tion. It is described as "60 miles an hour in a boat." Travel Movie Films, Inc., New York, N. Y. The 100-ft. film stated in the October issue of Movie Makers to be available November 1st, "Tarpon Fishing Off Boca Grande," may now be had. New travel offerings are: "A Pacific Cruise." "Streets of London," "A North Cape Cruise," and "London From the Thames." Zenith Cinema Service, Chicago, 111. This company, in its introduction to Movie Makers film users, offers a see America first "Auto Camping Tour," which takes one through the west by means of twelve 400-ft. reels of 16mm. film. A descriptive catalogue is available. 694 MOVIE MAKERS II O WEST 32^ STREET , N.Y.C 695 t»t 1 llltl |{ I92S ft HVE OUR Christmas spirit is at work early and, inspired by holi- day thoughts, we present this special two months' privilege of securing entrance into the inner arcanum, the veritable illuminati, the exclusive group of the world's best cinema- tographers, the Amateur Cinema League, of course. All you need is the following blank, legibly and promptly filled out, and your check, like the inviting sample below. The League membership card you know already. The leader is a special animated twenty-foot certificate of your membership in the great international movie organization. And if a member sends in a gift membership to a friend, not only the friend but the generous member, as well, will receive a leader. fey£-X/U.sr>J*. y. . 3^.fiUud^Mi)^UUA-«-^-(it — AMATEUR CINEMA LEAGUE, Inc. 105 WEST FORTIETH STREET NEW YORK, N. Y. AMATEUR CINEMA LEAGUE, Inc., 105 West 40th Street, New York City. I accept the invitation of the Amateur Cinema League, Inc., to become an annual League member. My check for Five Dollars payable to Amateur Cinema League, Inc., is enclosed in payment for the dues, $2.00 of which is the special member- ship rate for a year's subscription to MOVIE MAKEKS (Non- member rate $3.00; Foreign $3.50.) It is understood that immediately upon my election I am to become entitled to all the privileges of the League. It is also understood that there are no duties or obligations connected with this membership other than those which I may voluntarily assume from time to time. Name-. Street. City State. 696 MOYIE MAKERS AS noted in last month's MOVIE MAKERS, Mount Vernon is now open to movie ama- teurs. For some six months the League had been waiting to make the announcement. Our hearty thanks to the Grand Council of the Mount Vernon Ladies' Association of the Union! Our congratula- tions to the League and to amateurs in general. t| Where else should bars be let down? Are there historic shrines, places of local and national interest, great public works in your vicinity to which movie amateurs are not admitted? The League wants in- formation concerning each of these. We believe that our organization is strong enough and dignified enough to secure proper recognition for movie makers and that, once the question is stated clearly and in a friendly way, all governing bodies will act with the generosity and courtesy that animated the Mount Vernon Ladies' Association of the Union. ■\yfOVIE MAKERS records two interesting facts. ■*■•*■ Our foreign members, subscribers and dealers have increased fifty per cent since July 1. Our for- eign circulation is now one-seventh of our entire reader list. This forecasts a great world interest in amateur cinematography and definitely establishes the Amateur Cinema League as the newest of the great international organizations that have capacity, through mutuality of interests, to bind nations to- gether. <§ The League is truly international and it must look at everything broadly. But our members in the United States may well ask themselves whether their country, which established leadership in amateur cinematography, will keep that leadership or will let it pass elsewhere. How long, they may pertinently inquire, before the preponderance of League member- ship will lie outside of the nation of its birth? Our or- ganization is completely member owned and must be ever responsive to the majority of member sentiment. If that majority passes to foreign lands, what will be the language of the League and what the tongue in which Movie Makers shall speak? PHOTOPLAY magazine has announced another amateur movie contest. The Amateur Cinema League urges its members to send entries. These con- tests are dignified, the judges are men who under- stand amateur movies, the prizes are suitable and the renown which comes to winners is the amateur's best payment for effort. Let us double the number of entries from League members this year and keep League leadership here as elsewhere. Particularly are the members of the League resident outside of the United States urged to compete. You are getting stronger and stronger in our association. Let the works of your hands cross the water to be seen by your fellow amateurs here. 'TTHE true artistic liberty of movie making is to be -*- found in two of its phases — composition and cinematic treatment. Technical intangibles, vague areas where the tools are not precise, are no more de- sirable in this art than are uncertain pigments and un- dependable brushes in painting. Therefore, amateurs should welcome every device that makes exposure, focus, various effects such as masking, fading and dis- solving, capable of precise decision on the part of the artist to be followed by equally precise action after decision. MOVIE MAKERS welcomes the tendency of manufacturers to improve devices for automatic focusing, automatic exposure setting and automatic effect-making. We urge amateurs everywhere to abandon the guess-work attitude concerning these technical parts of our art and to use every device that can turn vagueness into precision. There remains plenty of opportunity for the artist's self-expression in composition and cinematics. A Word About the Amateur Cinema League HpHE Amateur Cinema League is the international organization of movie -*- amateurs founded, in 1926, to serve the amateurs of the world and to render effective the amateur's contribution to cinematography as an art and as a human recreation. The League spreads over fifty countries of the world. It offers a technical consulting service; it offers a photoplay consulting service; it offers a club consulting and organizing service; it conducts a film exchange for amateur clubs. Movie Makers is its official publication and is owned by the League. The directors listed below are a sufficient warrant of the high type of our association. Your membership is invited, if you are not already one of us. Amateur Cinema League, Inc., Directors President HIRAM PERCY MAXIM Hartford, Conn. EARLE C. ANTHONY President of the National Association of Broadcasters ROY D. CHAPIN Chairman, Board of Directors Hudson Motor Car Company Vice-President STEPHEN F. VOORHEES Architect, of New York City 697 IOVEHBER l«»Jt*» L 3 'Now, far beyond all language and all art In thy wild splendor * . ♦ The secret of thy stillness lies unveiled In wordless worship." HENRY VAN DYKE GIAHT DOMES IK CARLSBAD CAVERKS Photographs by Ray V. Davis MOW IE MAHIRi FILMING With FLARES "T1 'T must be seen to be appreciated" is a slogan applied to various things ranging from bargains in clothes and apartments to the greatest marvels of the world. A tourist re- turning from the west will say. "The Grand Canyon is marvel- ous, but I can't describe it. You'll simply have to see it to appreciate it." It is true! You can't catch all its grandeur, color and beauty in a camera — not even with the new de- velopments in color pho- tography. The same state- ment applies to the Carls- bad Caverns, for the movie camera cannot de- pict its vastness, nor the beauty of its coloring. Nevertheless, the movie camera has caught much of the wonder and del- icacy of its limestone for- mations, and, by means of a carefully lighted and cleverly titled film, you are enabled to obtain an e x c e l'l e n t conception, right in your own home, of one of the marvels of the world. I could write a long and graphic description of these wonderful cav- erns which are situated in the Guadalupe Hills in the southern part of New Mexico. At the end of several pages you would know that such caverns do exist, that they contain marvelous formations of limestone and marble resulting from calcium carbonate deposited by drops of water, that many of these stalac- tites and stalagmites are gigantic in size, resembling various objects, but the 400 feet of this film will give you a more definite and lasting picture of the Caverns as they really are than a bookful of descriptions. The film, "Carlsbad Caves", is one of a series entitled "Marvels of the World" which is being made by Ed- ward Ferguson, a well known author and explorer, especially for 16 mm. release. Mr. Ferguson has hit upon a clever idea of filming places of in- terest that he comes upon in his tra- vels and, by means of careful and in- structive titling, is turning out a series of very worth while educational films. Here is a suggestion for the interested and painstaking amateur photogra- pher. There are little known places of By Katherine M. Comstock interest in all parts of the country, near where many of you live. They may be caves, or mines, or canyons, Indian villages or any number of Photograph b> H. Armstrong Roberts WINTER IN THE FAIRYLAND OF FLARES A Snowy Silhouette Which Illustrates Their Outdoor Use other things, but they are places that people who can't visit them would thoroughly enjoy seeing and be- coming acquainted with through the aid of their home projectors. Mr. Ferguson utilized this knowledge and marketed his set of films, nor has the market for this type of unusual, yet universally interesting type of subject yet become surfeited. In this particular film the greatest problem was lighting, for the caverns which extend for many miles go to a depth of 750 feet and only a few of the smaller caves are lighted at all. They have electric flood lights advan- tageously placed for displaying par- ticular formations but of no use for movie lighting, and the Big Room which is three-quarters of a mile long. 625 feet wide and reached a max- imum height of 348 feet, is totally dark. How then could a motion pic- ture be filmed successfully there? While traversing the seven miles of cavern trails already open to the pub- lic last June I remarked to "Jim" White, the discoverer and official guide, "What a pity more people can't see this wonderful place. You could never make people believe it really existed without showing it to them." "Soon can," said Jim, "we have a movie of it." "How could anyone take a movie here," I queried. "Flares," he answered. "You'll soon see." I was skeptical. It seemed impossible to get sufficient light from flares to film a satisfactory pic- ture of that vast place. About mid - afternoon, however, all the tourists were called to a halt while one of the left-over flares was used to light up a section of the Big Room, which up to that time we had seen by lantern light only. We marveled at the beauties we had missed, which were vividly brought out by the flare. I began to be hopeful about the possibilities of a film, and when in Holly- wood tried to see Mr. Fer- guson but was not suc- cessful in locating him. A few days ago, how- ever, I did see the film and was amazed at its success in "portraying not only in- dividual formations but in giving a very comprehensive idea of the cav- erns. It shows the gypsum walls, the King's Chamber (a room of great beauty, more like an ornate ice palace than anything else that I can recall ) , the Baby Hippo, Totem Poles (which rise to a height of 50 feet ) , Twin Domes (which scientists say give evi- dence of having been forty or fifty million years in forming), Lily Pads, Fairy's Pool and many other interest- ing formations of marble and lime- stone. The pastel shades of yellow and pink onyx cannot be recorded but the almost lacelike delicacy of rock roses, grapes, and other forma- tions are portrayed in detail. It is an excellent film and will prove a great joy to any of you who are interested in seeing nature's marvels. Mr. Fergu- son's titles locate and detail the dis- covery of the caverns, and describe the formations without being either 699 verbose or trite. One of the very interesting things suggested by this film and one to which the amateur can well afford to give some study, is the effect of light- ing by flares. In practically all of the scenes the flares are kept out of sight, or at least behind the object which is picture people and with good results. In all probability this type of flare was the one employed by Mr. Fergu- son in filming the "Carlsbad Caves." New developments, first with incan- descent and later with filament lights, have done away to a large extent with the need for flares in the professional H A MAGIC UNDERWORLD IS REVEALED BY FLARE PHOTOGRAPHY These Stills Show How the Weird Beauty of the Carlsbad Caverns Has Been Caught in Motion Pictures Through the Use of Flares. being photographed, and the effect is one of a steady light which brilliantly illuminates the picture. In one or two instances a man carries the flare be- tween the object and the camera. While this gives a new and interesting angle to the picture it would be very tiresome if used to any extent, mainly because the camera photographs the bright light and the smoke to a greater degree than it does the actual objects that are desired. Deeply impressed by the different effects obtained by the lighting in this film I went to talk to an authority, Mr. John G. Marshall, about flares — their uses in general and how practi- cal they are for an amateur. He says that they are as practical for an ama- teur as for anyone else since they are absolutely simple to use. All you have to do is touch a match to the fuse, wait ten seconds until the white light blazes and then begin filming. Besides the match-ignited flare there is a flare ignited by electricity. The advantage to this is that the white light comes instantly, and for a bril- liantly lighted scene fifteen of these flares can be hooked up in sequence to one small battery and set off by one man. Except in cases where a number of flares are needed, however, the match ignited one is sufficient. They come in five sizes — %? 15 2, 3, and 4 minute lengths. Before these were available for amateur cinema lighting they were used almost ex- clusively by the professional moving WOIEIIBER ««»_!% fumes, except in very large fire- proof buildings, such as foundries, or forges, and that carnivals or sport- ing events are also good subjects for night filming. The coming election with its political meetings and torch- light parades, should give plenty of opportunity for practice in night photography. Night snow scenes and sports can now be filmed and it should be remembered that in snow pictures one flare does twice the work that it would ordinarily do because the snow reflects the light, while the darker colors of earth and trees ab- sorb it. Ordinarily the flare burns with about the steadiness of an arc light during filming of objects in a cave or any similar spot, Mr. Mar- shall suggests two or three lights placed on one side of the object, and one on the opposite side to soften the shadows. He further advises that for straight lighting effects one flare should be placed on each side of the scene, and far enough to the side so they will not shine into the camera, and that placing one light a little further back than the other will do away with flat effects. The use of reflectors aids greatly in obtaining professional results and increasing illumination. With a /3.5 lens one flare at eight feet gives ample illumination out- doors. If the distance is doubled use four times as many flares, and so °$ field, but to the amateur who cannot afford such expensive lighting equip- ment, they are a great boon. They still have an extensive use among the newsreel cameramen in the filming of night events. Mr. Marshall suggests that ex- cellent campfire scenes can be filmed at night with the aid of flares; that interiors can be filmed by allowing the light to shine through the window (it is not safe to use the flares indoors because of the smoke and the sulphur forth. With a /2.7 lens use one flare at twelve feet and with a /1.8 one flare at sixteen feet. This practice of filming with flares should prove an interesting and bene- ficial game, and the cost is far from prohibitive. When the amateur photographer obtains results that even approximate the beauty of detail of the scenes in "Carlsbad Caves," he will feel that the cost is very small and the experiment worth while. 700 4 » « ■ I MAHER§ EDUCATIONAL FILMS Painless Education BY far the most interesting sub- ject on a typical theatrical program recently seen was a short Ufa offering entitled, "Good Old Times." The slight story, that of two children on a summer vaca- tion in the country, was delightfully handled with a sense of its true value in relation to the more important theme, the insect life about them as seen through a microscope. No at- tempt was made, as is so often dis- astrously the case, to give a pedanti- cally scientific presentation of the subject. Rather it was shown, al- though faithful to fact, through the eyes of the children. For example, the evolution of a butterfly was traced. Its various stages of develop- ment from caterpillar, creeping and feeding in the grass, to a gorgeous moth, with heavy downy wings, re- posing in a slumbrous existence until launched upon its career as a fully developed butterfly, had the effect on this reviewer, because of the way the film was planned, of creating keen appreciation where he had formerly felt not even the slightest interest. Through allied adventures among bees and flowers and bugs of various sorts the film leads to a delightful conclusion. The children finally spy News of Visual Education in Schools and Homes Edited by Louis M. Bailey an old woman with her cat as she gathers sticks in the forest, and, thinking she is a witch, they scurry away. Photograph by Victor TEACHING DANCING WITH A CINE CAMERA Ivan Tarasoff, Famous New York Ballet Master, is Author of this Successful Plan Photograph by Paramount BUILDING THE TIGER TRAP A Scene from Chang, a Film Worthy of Its Theatrical Success and of Wide Educational Use The entire picture is done with a light touch and a consummate artis- try whose sole excuse for being is but to give pleasure, so that one comes to appreciation subtly un- awares and to knowledge painlessly. This is in itself an achievement to be encouraged and rightly gives rise to the paraphrase, at least where "short subjects" are concerned, "Ufa uber Alles." Success of Chang CHANG, that marvelous film of the struggle of man against na- ture in the Siamese jungle, has to date been shown, unaltered, com- pletely around the world. The title has remained Chang, or an equiva- lent of that word so spelled as to preserve the original pronunciation. The appeal of this film seems uni- versal and its success should be very gratifying to those interested in the potential possibilities of the motion picture as an educational force. It is also a proof that films can be pro- duced in which the subjects are so elemental that they may be readily grasped by the great mass, without the necessity of the conventional concessions to the groundlings, thus combining artistic achievement with valuable informative content. College As Producer l^EPORT of the use of motion pic- *^ tures as a medium of instruction both among teachers and students at The Agricultural and Mechanical College of Texas is conveyed in a recent letter from D. Scoates, head of the Agricultural Engineering De- partment. For several years a stand- ard projector has been used for showing educational films secured from the various film rental libraries and the U. S. Department of Agri- culture. This summer, however, a decision was made by the college to produce films itself of the agricul- tural methods employed there, and a 16mm. camera was purchased for that purpose. Several pictures are now in production and have so far greatly stimulated interest among the students, who hail the cinema as an ideal method of recording agricul- tural data for out of season reference and study to supplement regular text book instruction. Sennett As Educator T TIS publicity agent informs us ■*■ ■*■ that through the influence of Max Sennett's well known bathing beauty comedies the slim hipped, flat chested, boyish profiled bodies of the (Continued on page 730) • *-■*> AIDED TO FAME BY FILM Mary Eaton, Lovely Musical Comedy Star, is One of the Many Dancers Who Have Been Helped by Tarasoff's Cine Method 701 KO«EMBEK l«»^* PHOTOPLAYFARE Reviews for the Cintelligenzia Four Walls IN recommending theatrically shown photoplays to our readers this department requires that any offering here reviewed shall, because of one or more of its general char- acteristics, be of real in- terest to the cintelligen- zia. One film will have this interest because of its excellent direction, an- other because of its cine- matic and photographic quality, a third because of the scenario, a fourth on account of the action. The great photoplay will be superior in each of these fields. "Four Walls" belongs to the fourth category. This Metro - Goldwyn - Mayer film is adequately but not strikingly direct- ed; the cinematic quality is thin; the photography is satisfying but without specific interest; the scenario is well written but has no outstanding merit. But John Gilbert, Carmel Myers and Vera Gordon, supported by a very excellent cast, make it possible for the M.G.M. casting director to pre- sent his breast confidently for a medal-pinning. The story is New York gang melodrama — very popular this year on stage and screen — honestly told and minus hokum. Bits of metropoli- tan Jewish life are splendidly present- ed. The objective of the tale is clean and the triteness of plot is relieved by an apparently deep sincerity. There are big moments, but big moments of action and not of n-atural catas- trophes, mobs and Hollywood gran- deurs. It is much to the credit of the producers that every action is in- telligently and honestly motivated and that no character performs any of those incredible feats which movie audiences are1 too often asked to accept as proceeding from the normal psychology of the average person. John Gilbert is happily freed from the "plush horse" roles to which he has lately been condemned. We see this young actor, whom we had about made up our minds to consid- er as one of those impossible film 702 °$ asses hired to give the nursemaids of the nation a vicarious sentimental shake-up, doing a fine and sincere bit of straight acting in a role that calls Photograph by Columbia PICTORIAL POWER IN POTENTIAL TRAGEDY The Men in the Sunken Craft Beg for Air in this Stirring Scene from Submarine for much mimetic intelligence. It is the best work we have seen him do since the days when we watched him march on with a spear or a tea tray as stock company stage manager and utility actor in Spokane some fifteen years ago. We hope M.G.M. will set him at more work of this kind and leave to John Barrymore and Ronald Colman the picturesque role of male mush-vendors. Carmel Myers did excellently — as well as in "Sorrel and Son"; Vera Gordon exhibits her successful "Humoresque" technique. The roles of Bertha and Sully, a de- tective, are in the hands of two ac- tors— whose names we could not get from the quick program screen flash — who should be and possibly are renowned. This reviewer has not often writ- ten of photoplays chiefly from the point of view of the actors. Frankly, he does not often find this possible. Therefore, a tribute to M.G.M., their casting director, John Gilbert and his companions in "Four Walls" is of- fered with genuine pleasure. Stark Love and Moana ' I 'HIS reviewer recently ■*■ saw two of the well- known racial films on the same program, "Stark Love" and "Moan a." Both are products of Par- amount and both were made by directors of in- dependence and good taste. Karl Brown's "Stark Love" is less epi- cal than Robert Flaherty's "Moana" but it catches the essence of a people just as successfully. These are both films that have been widely ex- hibited but they are films which, if you have missed them and get a chance to see them, you should not omit. Chiefly they are in- teresting because they present graphically the daily life of out-of-the- way minorities. Secondly they are natural pictures with a minimum of posed and directed action. They are photographically ex- cellent and both show in- dications of cinematog- raphy, which is not car- ried to the extent to which we have become accus- tomed in later films. Flaherty had a clearer concept than Browne of what he wanted as a com- pelling motif for his offering. He shows us a Polynesian people, giving us their daily life in an almost un- selective filming until he wishes to record their outstanding perform- ance which is the stern test they re- quire before a youth is admitted to manhood. We see these islanders gay, laughing, casual and uncompelled by any force beyond the desires for food, activity and compensating rest and sleep. Next we are shown the tribal ordeal of tattooing and we see that the entire population is stirred by it. The film then recedes to a peaceful close. Here, the drama is impersonal and epic. Browne was more interested in se- curing a tale of specific human be- ings under dramatic pressure and he (Continued on page 740) MOVIE la I h I It J^'-l V— --~~ -:-■- - .^K ^SSS^ - ^ >*£pr. ^ S>-'vdr>';":" ~ -v.<- -T;.-v.^x-^ Vftjl 4: ' g^ ^^fe^ b . ^■tf-ss<—. -W^-"" -^Bttf -■'J-iffiSrir'1"'""- ■ZtSS&rSi .,:.,. A SIMPLIFIED GUIDE TO CINEMATIC COMPOSITION .F/rs* o/ a Series of Practical Diagrams By Walter Martin Figure 1 shows the cross on a vertical plane. Used in a composition it denotes mechanical resistance. Example a shows the principle applied to workmen drilling in a rock. Example b indicates a variation of the plan with the two boats forming a double resistance to the sky and water. Figure 2 illustrates the principle of the cross used on the perspective plane. Example a interprets this rule through a composition of machin- ists laboring to overcome mechanical resistance of their lathes. Example b shows a ship trying to overcome the resistance of the sea, and is shown on both the vertical and perspective planes. Figure 3 represents the form known as the radii which symbolizes concentration and radiation. Example a indicates the principle applied on the vertical plane and places the airplane as the center of attraction with the other factors in the composition pointing towards it. Example b is a good illustration of this plan. Figure 4 shows the radii symbol as it appears on the perspective plane. Example a demonstrates the rule with the sun as the center of attrac- tion and all other elements converging towards it. Example b uses a woman as the center of attraction. The Second Plate of This Series Will Be Published in December. 711 NOVEMBER ««»»*. IT is not assumed that the average man or woman buys a 16 mm. camera with the idea of earning money, though it is only reasonable to believe that of the scores of thou- sands who are purchasing these fascinating instruments there are bound to be developed some who may graduate into the professional cine- matic ranks. Most purchasers merely seek the enjoyment of making movies of their own chosen subjects without thought of any financial return. Yet it is only human to want appreciation and the sincerest form of apprecia- tion is the willingness of others to pay money to enjoy one's product. Budding authors get a powerful kick out of five and ten dollar checks, not so much because the magic bit of paper is worth that much money, but because it proves that they can write articles and stories that are worth buying. The girl whose paint- ings sell at the Women's Exchange thinks more of the fact that her art sold than of anything else. And it is only natural that the amateur cine- matographer should cherish the am- bition to exhibit, not to a hand- picked group of personal friends, but to outsiders. If other people will pay to see what you have done, and pro- nounce it good, you have applied suc- cessfully the same test to which Cecil De Mille or D. W. Griffith put their massive productions. Naturally you don't want to go into the exhibition business in a big and troublesome way. You could not if you wanted to. And you wouldn't enjoy it if you did. Ask any movie manager. But you can put on a charity show, 712 By Epes W. Sargent Author of "Picture Theatre Adver- tising" and co-author of "Building Theatre Patronage. " Illustrations by Alejandro de Canedo and some clever amateurs have done very nicely with their 16 mm. films, though this size is not designed for exhibition in a large way. They simply scaled their enterprise to match the area of their film, and have been able thereby to subscribe sub- stantial sums to some favored charity while enjoying that glow of satisfac- tion which is the reaction to popular applause. You cut your garment ac- cording to its cloth and plan your exhibition hall to fit the size of the picture you can project. When you give an exhibition at home, you use the drawing room. If you give a charity show for a church don't try to project across the audi- torium. Most modern church build- ings have smaller apartments which more closely duplicate home condi- tions. Use one of these. Perhaps the best plan is to make your camera exhibition a special feat- ure of a church fair, charity ball or similar event. If there is no small room available screen off a corner of the auditorium. Set up the screen, provide an adequate number of chairs, and run a program for ten or twelve minutes for an admission fee of a dime or a quarter, depending upon local conditions. Even at a ten cent admission you can make a good contribution to the organ fund or buy quite a few bricks for the new recessed chancel. It might seem that this article could stop here. You know the rest. All you have to do is run the show. Perhaps so, but showmanship counts for much even at a church fair and you will need to plan to get the full- est results. If you can turn in double the money you'll feel more than twice as proud, so perhaps these hints from an "old timer" will help you to a greater "gross." One amateur who had added near- ly a hundred dollars to the charity fund of his church was asked to re- peat the performance for the benefit of a hospital drive a few weeks later. Figuring that if he could do so well with his home-made pictures he could secure even larger takings with pro- fessional work, he rented some of the newest features from a library, and each night he presented some of the best things from professional sources. The fair was to run a week and the first four nights he averaged about what he had made in two at the church fair. As he was paying for his films the net was still smaller. He figured that if he could not do better than $25 a night, he might as well save money by using his own material. The next evening he put on a series of local views he had made himself. The receipts went to $60, and for the last night, with a better selection, influenced by what he had heard his patrons say, he took close to ninety dollars with what he had first thought would prove too old, scenes of the High School football team, the volunteer fire department, the dedication of the Soldiers and Sailors Memorial Tablet and similar stuff. He showed to nearly 900 people. In spite of the fact that the change M O » I I * I % *i I I C <* was made in response to inquiries, he could not quite understand it. The football picture had been made more than a year previously. None were very recent. Even when one woman told him she had seen the show three times because "My Henry was on the team," he did not realize that, while people could get professional films on a large screen at five local the- atres, not one of these could offer them a chance to see themselves and their friends on the screen. Even the local scenes seemed to please more than a splendid travel picture he had shown the second night and of which he had been inordinately proud. Any one of the five professional ex- hibitors could probably have told him that the greater interest lies in "local stuff," which is why so many clever exhibitors make a small local newsreel to go with the regular ser- vice. If you want to make your show a success, play up the locals. In- clude local scenery and local people. If you can afford to donate a little film, make some special shots a little while be- fore the showing. Get the crowds at the ball park. The management will permit you to shoot the stands during the in- termissions of a football game or between innings, if it is base- ball. It's a simple matter to shoot the players from the side lines. If you make your shots only a couple of weeks before the showing do a little adver- tising. Paint a sign big enough to be read by the people in the stands. Announce that the pic- tures can be seen at the Junior League Charity Fair and give the dates. After you have made the picture, park the sign at the main exit gate to remind them again. If you can't film a ball game or track event, get the local paper to announce that you are going to shoot City Hall Park at a stated time, or visit the schools and film the children at dismissal. If the char- ity is a prominent one you might get the Principal to call a fire drill, if you explain that it will help to re- assure the parents. A hundred feet of this will sell more tickets than any famous feature photoplay. Every mother will have been told of the event and the whole family will come to see little Willie perform. Of course you want to pick your crowd. It will do no good to shoot a bunch of mill hands if you want to interest society. Pick what you think will sell the best. Professional showmen are making money with these stunts. So can you. But remember that the better you ad- vertise the event, the better you will draw. For charity the newspapers will give you mention, the schools will make announcements, you can get Rotary and similar business clubs to help you, and it might pay to spend a couple of dollars for inex- pensive handbills. You'll not only swell your own audiences but you'll help draw people to the fair itself. They'll pay a quarter to get in just to have a chance to pay a dime to see your pictures. Carry showmanship into the ex- hibition room. Show your pictures to the best advantage. If possible pick a room without very light walls. This may not be possible in a public building where light is generally sought. If your walls are too light to give the best production results, bor- row dark drapes to cover the wall against which the screen rests and the side walls at least two thirds of the distance toward the back. Nothing is more disturbing than too much light, either from light plaster or naked lights. But don't get the idea that you want the room dark. That would be fatal. Keep the room light enough to discourage "necking" and its equiva- lents, and if you anticipate a large juvenile patronage have a couple of watchers in the guise of ushers. Mask your lights with shades that reflect the light downward. You'll have to take whatever lighting you can get, but you can do a lot with crepe paper and shoe boxes. This is not meant to be facetious. Shoe boxes make excellent shades. Cut out a decorative design, back this with fairly dark paper, and let the light shine through the open bottom end. Don't put crepe paper directly against the bulb. It may char or possibly flame up. A shoe box will give a realistic lantern effect and has been the basis of more than one professional lobby display. Have more light for the "breaks" or changes between the shows, but put these out be- fore you start again, keeping on only the lanterns for the run of the pictures. Try to get uniform chairs. Place them so that patrons can reach their seats without crowd- ing, and sacrifice a row or two for the sake of comfort if nec- essary. Providing the room is wide, do not throw the chairs all the way across. Hold the seats to where the spectator can enjoy proper projection. Don't let your early patrons go out and tell the others that the show is not good just because they have been uncomfortable. Make a good "flash" outside the entrance. You can do won- ders with a few strips of dyed cheesecloth, preferably red and yellow, or red, yellow and green. But here's a little tip. Unless your local exhibitors are all hard- shell crabs, you'll find one who will loan some of his lobby material. You are "opposition," and he may not welcome the fact, but the average ex- hibitor has been trained by the trade papers to realize that it pays in the long run to help rather than oppose. (Continued on page 733) 713 XOIEMBER !«►_»•» Photograph by Metro SUGGESTION FOR A NOVEL WATER SHOT To Secure This Camera Angle the Professional Requires Elaborate Equipment; th? Amateur Need Only Lie Flat on the Shore or River Bank Do You Focus Critically: ? I WONDER how many amateur cameramen or amateur move club members give any at- tention each month to a department of this magazine called Critical Focusing? After looking over the technical reviews of professional photoplays which have appeared since the first of the year the un- bounded wealth of practical, work- able material came home to me with such force that I lost no time in dusting off the typewriter to start emphasizing and amplifying the wonderful suggestions there which can be used in amateur camera work. I have very little doubt that the individual worker, busy with his travel films, record films of friends and the family and types other than the story film, never thought there would be any practical assistance for him in Critical Focusing. He prob- ably said that those reviews were all right for club members and others making story films but that for the life of him could not see how they might be applied in the making of one's personal movies. I believe, however, that examples of professional camera work as given in Critical Focusing may be applied with equal success in the majority of cases to one's own filming prob- lems. Whether the equipment con- sists of only a fixed focus lens and no tripod, or ten lenses and three tripods, all that is really needed is a camera and an active imagination. For instance, in the January Criti- cal Focusing, there are two sugges- tions that obviously can be made use 714 By Walter D. Kerst Technical Editor Movie Makers individual of on many occasions. The first is to tint and tone film two or more different colors and thus enhance the beauty of a scene and add emphasis to it. With water colors and a brush, colored film base, or tinting and toning solutions, color may be added to a sunset in any of one's travel films, using this shot as the final fade-out of the reel. Or suppose a shot of the baby in his morning bath is taken. Use the imagination and let this tinting note suggest the use of bright, glowing yellow, thus increasing the beauty and warmth of the sunlight on the screen. Storm tinted blue-black, woodland green, the deep blue of moonlight and many other colors used occasionally will add a new note to personal filming. The second instance in this issue pertains to the use of close-ups for suggestion. The example in part re- calls a close-up of two champagne coolers, close-up of a point of light making an arc against complete blackness, then a dissolve to, first, a cigarette, then a holder, then these and a woman's arm, and finally, a full close-up of the character. One doesn't need to make a photoplay to use the camera in a similar way. In a home film why not, for example, show Dad at the telephone, using the same technique? Instead of filming just one close-up of him phoning, first make a close-up of the bell ringing. Having no means of dis- solving, use a fade-in and out, an iris in and out, or just a direct cut to the next scene which is Dad's hand picking up the telephone, then to an- other showing the receiver being lift- ed and finally a full close-up of him talking. The original example also suggests an application for a travel film. Suppose it is desired to show the quaintness of a certain town. In- stead of the usual shots here and there of different well-known spots, use a close-up of a bell or door knocker, then the door itself, and finally a shot of the house of which they are a part. This effect may also be applied in many other instances. Now let's look at some suggestions in the February issue. The first is headed "Ideas from Music." Art titles suggesting bars of music are used in a film dealing with music. The suggestion here is obvious. Make Photograph by Fox CAN THIS BE DONE BY THE AMATEUR? "Trucking" or "Moving Camera" Shots Are Favorites with the Professional. See the Facing Picture for a Practical Adaptation of the Plan to the Amateur MO\ 1 I »l % ■» I IE •» art titles emphasize the atmosphere of the film, whatever its main theme may be. The next suggestion is the use of repetition in a film. This idea can be adapted in many ways. Sup- pose that one is visiting a spot fa- mous for its beautiful fountains but also having other interesting attrac- tions. Without having to resort to a title stating that the place is famous for its fountains, repeated shots of the same fountain from various angles and a major portion of the film devoted to them, will register the idea effectively. Of course, this application of the idea of repetition is a long way from that in the Critical Focusing review which suggested the repetition of marching feet to achieve a feeling of montony. This is simply a question of degree of emphasis. The third suggestion in this issue recalls several shots of a crowd at a prizefight in which the cameraman achieved a mosaic pattern by elimi- nating the third dimension, thus making everything harsh and brutal as it should be in this particular scene. This immediately suggests, as example, how to film a desert scene on certain occasions. Stop the lens way down, shoot in a flat light and thus eliminate depth. This will give a mosaic effect and add atmosphere to that particular scene. The ex- ample also emphasizes in a general way that depth and lighting should be regulated in every scene possible so as to achieve the result desired. In the March issue there is sug- gested moving of the camera along with the characters in a scene. The amateur can use his camera more easily in this way than the profes- sional who has to build an elaborate Photograph by Metro THE STAIRS THAT HAVE NO ENDING This Picture is Reprinted from April Critical Focusing Where It Was Used to Demonstrate the Psychological Possibilities of the Camera Angle "trucking machine'' to carry his heavy camera and tripod. With the hand-held camera, cuts can be elimi- nated from scene to scene by follow- ing the action with it. One can shoot the peasants of a quaint vil- lage from a motor car as it proceeds slowly, or follow Junior's first tod- dling steps as he is initiated into the complexities of walking. In April is given a splendid sug- gestion on the use of camera angles, with the warning not to use them merely for novelty but only where they are of definite value to a film. The forceful example given is of an angle shot down a long flight of stairs which a little boy is slowly Photograph by Metro THE MOVING CAMERA SIMPLIFIED Exactly the Same Effect Sought by All the Elaborate Equipment in the Facing Picture Can be Secured by Any Amateur as Suggested in this Photograph Reprinted from June Critical Focusing and fearfully mounting. This treat- ment emphasizes the mood of the scene. In another the camera is tilted so that one is looking straight up to the top of a very tall building, its height thus being stressed. When mak- ing a city film, it is to be concluded, one should not take just the usual postcard views. When filming a rush- ing stream shoot the water's edge at an acute angle. Shoot lying prone on the ground or from the branch of an over-hanging tree. This rather un- usual suggestion of the use of camera angles brings home how necessary it is to carefully consider the angles used in making every single shot in order to get away from the stereo- typed forms of camera work and achieve an interesting individual use of camera technique. Another example, that of a herd of stampeding cattle rushing towards the camera, suggests the employ- ment of all sorts of violent motion towards the camera to increase dra- matic effect. This can be applied to crowds of people, a roaring cataract, engines going to a fire, the 5.15 ex- press, and so on. In May the elimination of titles by the use of a map is described. In the example given the camera swings over a map of the United States, pausing above one particular state which becomes a medium shot. Next there is a close-up bringing the state to full screen size. The next scene shows the characters preparing for departure from this particular state. This example can be lifted bodily by all travelling amateurs. Or it can be varied. It suggests animating a map of one's travel films. This idea could also be used in home films in (Continued on page 732) 715 I'OVEIIBER 1928 AMATEUR CLUBS Filmo Makers Unite APPROXIMATELY one hun- dred and twenty-five execu- tives and employees of Bell & Howell Company's main office and factory in Chicago, 111., have formed the Filmo Movie Club. The club's purpose is to provide an opportunity for co-ordinated activity in all phases of amateur movie making. The initial effort of the new club will be the production of an amateur photoplay to be entitled "The Widow's Might." The scenario was prepared by a com- mittee of club members. The casting committee has already selected the eight leading characters and several sequences will be com- pleted this month. The story involves a foursome of golfers who annually desert their wives throughout the golf season and who are finally cured of this American habit by the lonesome spouses. News of Group Filming Edited by Arthur L. Gale shots in Northwestern scenics. On the same program, Dorsey B. Smith, president of the Portland Rotary Club, gave a brief talk on the devel- opment of amateur filming, illustrat- ing his talk with the screening of some of his film. The projection of natural color film with an explana- tion of the process closed an inter- esting program. Ray La Fever, secretary of the club, recently addressed the Portland Camera Club on amateur movie mak- ing and projected "Princeton," pro- duction of the Princeton Undergrad- uate Motion Pictures, for the still photographers. Maracaiban Movies THE Caribbean Club Dramatic Society in Maracaibo, Venezu- ela, has just completed the produc- tion of the "Scarlet Woman," a 1200 ft. 16 mm. drama of mystery and intrigue. Several 1000 watt mercury vapour lamps supple- Advance Art Plans TWENTY amateurs in Young- stown, Ohio, have formed the Youngstown Cinema Club. The first activity of the new organization will be the production of "Disappoint- ment," a subtle story film that will run about 400 ft. 16 mm. The plot, developing a single emotional theme, frustration, will be told in film with- out the use of subtitles. A moving camera, dissolves and other cinematic devices will be used. Clyde Ham- mond who produced "The Dragon Fly," winning an honorable mention in Photoplay Magazine s first ama- teur movie contest, has been elected president of the Youngstown club and will direct "Disappointment." The other officers of the club are Alex- ander Reeves, secretary, and Ralph Pincus, treasurer. How Bruce Filmed ROBERT BRUCE, professional pro- ducer of scenic and travel film, addressed the last meeting of Port- land Cine Club, Portland, Oregon, on his experience in securing unusual 716 "MASQUE" Three Scenes Enlarged from Frames of the New Production of the Peabody Cinema Club of Nashville, Tennessee. mented by a battery of spots were used in shooting interior scenes. Miniature models were built for complicated effects. The production was directed by W. F. Stewart-Singer and photographed by John S. Ridley who also wrote the script. The leads were played by Elaine Hall and Nor- man McLeod. Freda Webb wrote and designed the titles. The members of the Caribbean Club Dramatic Society are officials on the staff of the Caribbean Petro- leum Company and the picture will be screened at the various clubs of this company and the Dutch Shell Company at the oil fields in South America. It will also be projected for the British and American colonies in Venezuela. The first production of this active club was a farce also running 1200 ft.. 16 mm., entitled "Mary and Mike." Local scenery was used as a background for a plot dealing with pirates and revenue men. Tri-C Films Football A FTER the very successful public **■ screening of their first produc- tion, "Six Appeal," the Herald Cinema Critics Club is planning a second amateur movie venture. This time a photoplay with a football background is scheduled and both story and cast will come from outside Tri-C ranks. A photoplay synopsis contest with awards of $15, $10 and $5, open to all Syracuse high school students has been announced and after the selection of the story, high school students will be invited to en- roll for screen tests which will decide the cast. Plan Reno Reels T TNDER the leadership of Walter *-' Stevens, amateurs in Reno, Ne- vada, have held the initial meeting in the organization of a Reno ama- teur movie club. At the next meeting Anita Stewart, now in Reno, will ad- dress the club and permanent officers will be elected. Mr. Stevens is producing an ama- teur feature that will run 6,000 ft. 16mm. when completed. The film is a drama laid in the early mining days of Virginia City, Nevada. 1500 ft. have been shot and for several se- quences the whole population of the little town turned out to act as ex- tras. We are promised a detailed story of this amateur superrfeature. Princess is Star LATE meetings of the Sheffield Amateur Movie Club, A. C. A. affiliation in Sheffield, England, fea- tured the screening of a newsreel of the visit of H. R. H. Princess Mary to Sheffield, filmed by Harry Motter- shaw; scenic shots of Norway fjords, MOVIE H/IHCR§ taken by Robert Unwin and "West- bourne Preparatory School Sports," made by H. Gerald Toothill. The Sheffield club has made a record of member's films available for ex- change with other members. Cine Service A T the next meeting of the Chi- ^* cago Cinema Club officers for the forthcoming year will be elected. This pioneer amateur movie club is filling a distinct nitch in the civic life of Chicago through a series of special programs well worth the at- tention of other clubs. The plan is to make it possible for amateur movies to serve special groups which are not necessarily composed of ama- teur movie makers. For example, the Chicago Cinema Club recently held a golf program, screening studies of golf technique and presenting talks by leading golfers. Members of golf clubs and representatives of sporting goods stores were invited to the meet- ing. Similarly, the club plans to con- duct a Princeton evening, projecting "Princeton," the production of the Undergraduate Motion Pictures of Princeton University and to invite the Chicago Princeton alumni. Plans for "FIREPROOF"' A Production Still from the Photoplay of the Shad- ows Studios of Minneapolis, Minnesota. a film evening devoted to the inter- ests of the medical fraternity have been made. In this way the club has not only provided programs of varied interest for its members but it has also made itself a widely known and respected Chicago organization. Casting System ' I 'HE Amateur Cinematographers' ■*■ Association in London, England, is making a photographic record of all members so that an indexed file will be available for the amateur producing member seeking a cast. A recent meeting of the Association was devoted to the projection of the first amateur movie efforts of mem- bers. Moving Minutes AT a recent meeting of the Colo- rado Cinema League in Denver, Colorado, S. M. Robinson, secretary of the club, evaded the time honored custom of reading the minutes of the previous meeting. He made them into movie titles and projected them in- stead. "Fortunately," writes Mr. Robinson, "they were accepted as projected." The club has already completed its first scenario film, a short comedy shot in Washington Park in Denver. The last meeting was devoted to a demonstration of movie making with interior lighting. With the aid of three thousand watt lamps portrait "MUSHROOMS"" A Scene from the Latest Film of the Cine Court Players of Brooklyn, New York. films were made by club members. The scenario staff of the Colorado Cinema League is at present working on a story of the North that will be filmed near Denver this winter. In the meantime, two enthusiastic club members, Clarence L. Meyers and W. R. Jolley, Treasurer, are filming "The Climb to Long's Peak," a travel scenic which will run 600 ft. 16 mm. and will require a month in filming. Sequences showing the dangers and hardships of the climb will give the film dramatic interest. Airplane shots of the climbers will be included. The whole is being taken on panchromatic film with an / 3.5 lens. News Notes ' I 'HE Birmingham Amateur Movie ■*- Association has selected "Man Shy," scenarized by Mrs. W. H. Yenni from the story "Personally Abducted," by David R. Solomon, both club members, for its first pro- duction. At the club's next meeting a cast will be selected and actual work begun, reports Jack London, president. If The Outing Committee of the Cali- fornia Camera Club plans to make an amateur movie record of all of the future club outings. Club members will scenarize the trip in advance so that a film record with continuous interest can be economically made. Raymond V. Wilson, president, has already filmed one of the club's out- ings. |f Milton J. Benjamin writes that the Miami, Florida, amateurs have or- ganized the Motion Picture Club of "SIX APPEAL" Clever Framing Is Shown in this Still from the Pro- duction of the Herald Cinema Critics Club of Syracuse, New York. Miami which will hold weekly meetings. If Fineart Film Production, Ltd., in Sydney, Australia, has fitted a build- ing, formerly the Sydney Public Chambers, as a studio. The equip- ment is complete and elaborate in- teriors have been built for the club's current production, "Pearl of the Pa- cific." Approximately two thousand pounds is being spent on this tropical island story. Club members devote every Sunday to production work. |f Camera work on "The Three Bud- dies" current production of The Dramatic Art and Movie Club in New York City, which has been de- layed, owing to the director's illness, will be resumed this month, reports Marie Davirro, secretary. |f Shooting on "The Black Bear," the film version of a sixteenth century Chester legend, now being produced by the Manchester Film Society, Manchester, England, has almost been completed, writes Peter A. Le Neve Foster, director. The finished film will run 1,000 ft. 35mm. and will be publicly screened in Man- chester theaters. L 717 SOYENBER 192S *.** '■*.$£*■ >>*- t^*-' f- "">» ;"»r« :K"«» ar, <"U«, - "a out,, « J"" «.«,"•"■• """ *«•« I*?1 an.,..,, " '" I*. * « •»» *""•<• r*:r. ^^^^^^ MSP" Cc SEP) "5"' »e?ri**. •««»4*,«aj»s1"«e». ' laborii-.jrj. t -stH* •«* ' Otoe's . 1 li"1'' 0 5W\»** >oi 5' jo) t ie°^B , tor jr» »»« ' , titf of ^»(" .it w * i fee' ,uW» Wi°*' -v.* . Si*' ' tec*1"-' .Ida ■» _ , „4 •=»" ,„°«a* 1 *Oj ^V9 rerS' ' ope of «**; rW ,o4 ' . ao<" seco"1 ©en ,«*<■ rAt»B*- Low l&a' tlW -MV.W Kodfti Co. 5oc>ie»t«r, r i' 3«u- ;!r. 7RvA,„r_ • .ill ice" Ii«** ai«- s,o°i oora in- , Utf ^° -^mke f or . StAi I' **"tO,^" "^'^r, ^"&,^rseh K"' eor'"'" B8 «>'eI '"•«.., fterrlce Departeent, MltD>ri Kodalt Company. Koeheater, ».I- ' a*^.t*° ""•■> 'aai of r«Bi of Kocueolor film came rr« i I had obtained with the r©« The exposure w»» made < Mid »t cert«ln tloeB di « oloud- The»« change .hoc the rii» ■*« Pr°J the euhjeot sxpected beo»uoe the ind I did not ob«i«e would h«*« been even ho -rrlval e laboratory. I my first attempt noon on a day "hen the flun ina the expoeure the but. we. in inteneity of llluminatiw ted aa I had expected then 11 reproduned and the sharpneee subjects frequently moved a dl the Cine-Kodak. I belie* „ ««„ been aore brilliant -ine-Me*e Hy ft: be very tjTBtll'led lth iioaaeolor film, hown lntertalttently pwtlally hidden by col or J o of 718 They Speak — excerpts from letters recei KODi Home Movi From Trenton, New Jersey: "I was surprised and delighted at my first attem will not be my last." From Tecumseh, Michigan: "As usual, Eastman has made simple, for the m the street, one of the most wonderful things evei duced in photography ..." From Chicago, Illinois: "The film is even better than I had anticipated." From Philadelphia, Pennsylvania: " I f I had ;i m ill. on dollars, I 'd quit work and do no but take these pictures • • ." Thos From Lowell, Massachusetts: "My film has been shown many times i see it praise it highly ..." From WilkeS'Barre, Pennsylvania: "The more we. see of Kodacolor, the more we ar pressed with it. We have yet to hear one disparagii mark about the fidelity of the colors rendered From Binghamton, New York: "I was certainly very agreeably surprised at the r I obtained and can assure you the colors were much to nature than I had anticipated . . . The entire is very cleverly assembled and about as fool-proof a; thing I have ever seen . . . Every 16 mm. camera < will eventually want to have it." From Dorset, Vermont: "To say I was well pleased with my first Kodacolc would be putting it mildly indeed ... I had no i would prove so perfect in the hands of an amateur To be able to think in color, instead of black and : has added to amateur movies a new charm that an alone must possess when doing a painting.9 From New York City: "I am very enthusiastic about Kodacolor. At lea of my friends have purchased complete outfits as a of the pictures we have shown them." From Denver, Colorado: "... We are amazed at this wonderful discovi would seem that Aladdin and his Lamp have come and brought with them the magic of Kodacolor. IN bian Night story is half as marvelous or enthrallio reel of Kodacolor." EASTMAN KODAK jeoted. -~^io, ?;,.'"t"«i i iritJi £ am *ery well ploaeod and reel taftt 70U have opofTad tleld Tor aoatour oorle ran* 1. over two years l.lhii la cortalr greatest advances In photoerapr ten Tsara or mora. !■ It at all lively tnat lodi »• aaaptwd to .^j lodaoolor fil= ttoael and lit" « «o *e»l I do n to buy tba hlaher priced Milne the oolor rllter ueed In uUnj tne projector Ion* i c«-. t»»t rail •■tall pioture and do not aee why I a&ovOd appreciate your opinion Slnoerely r¥4 L ff # fl » « I I »1 % »t ■ IC «• II J / ft I ''■■**.$■ IJMSesS^— js. sfes) w,»« ». WM- njass; Themselves ie innumerable first users of OLOR ull Color/ 31 Providence, Rhode Island: . . The process is marvelous, both in its technical alicity and in the wonderfully accurate color values." m Ardmore, Pennsylvania: • . To say the least, I am well pleased with the re- 3 ... I think the colors are as nearly true to the inal as it is possible to get them ... I feel that the man Kodak Company has attained the ideal in mo- picture photography and I predict a tremendous zlarity for the Kodacolor film." n Coronado Beach, Cal. . . These pictures will be a delight forever to any- fortunate enough to see them, and this wonderful process is a tremendous step in advance." n Malvern, Pennsylvania: *ermit me to extend my sincere congratulations to Eastman Kodak Company for their accomplishment utting into the hands of amateurs the means of ob- ing such satisfactory results in color photography. re is nothing more pleasing to me than to see the pic- before me in its own natural color — which lends so h more charm and satisfaction that mere expression to define." Q Jackson, Michigan: • The resulting picture was a most happy surprise he reason that the picture was shot extremely hastily ie writer due to his keen interest in Kodacolor and his ety to get a roll taken and developed. None of the s were planned nor was the focusing carefully done as mon sense would direct. This neglect was not ap- at when the film was projected on the screen. In view is fact, the writer is looking forward to truly remark- results and many happy hours with Kodacolor." a Shelbyville, Indiana: his film pictures members of my own family and it d be hard to describe in a letter our pleasurable sur- when we first screened it. I might better tell you of appreciation by letting you know that my wife and :lf both agreed that this one fifty-foot roll of film was h to us the price of the entire outfit." a Dunkirk, Netc York: . It is a wonderful improvement over what the s exposures in black and white would be. You have e a revolutionary advancement in amateur picture Y, Rochester, n. Y. „j&t~ <*'. 'A LH.inh *'*<)-. J& '****. d2^*-*^ 'fit °*£, . -■"in,/'-!.. •'*£* SEP 1 ■? K? 'ork. 8*Pteab<,r 15 ^^ :,*i-o J%ae " s».io limn.. ""*" >>°, 'fiat , B1P Ve^ ^^ «„,.. b t« . >tH!mMi OABOQlt "™,4 tla4 t» • ,„4 ;ret*B "***» ,.-.-:^ ^O,'*, a.v pllclM ' tfta. ^oS & «■ ■"»..' * ' °°t, '«»,„ *«. * oV/^^ta, «, tf, !0j. -^, '0, ta1"^'^!^^^ V ^ - ore**617 - -!». »•"» *™ „,. ti» 81"* „. »«l» •^•t4' j « or*"-"1 'ft* -'^ / ^» =Vs ' ■'»*» a>o»j._ M»"""- i* ?1" f* ^>^'^\?.'^C' ^ .at'r- ,,.//'.-:"■ ^ •■**'''.i* " „. vP to 719 do • trt-t 17JIN fcj*., » SjjRV'ji.i.,','.!,,, '■ ••'^•'•"'.£".~., IILHBER | >VIE w T/zey Speak for Themselves — excerpts from a few of the innumerable letters received fjrom first users of KODACOLOR Home Movies A FULL COLOR/ From Trrnton. Neu> Jersey: "I was surprised mill delighted at my first utter will not bo my last." From Tecumaeh, Michigan: "As usual, Eastman has made wimple, fi>r the n the street, one of the most wonilt-rfi.il things evi From Philadelphi "Iflhadamillio hut take these pic r than I had anticipated." mylvania: rs, I'd quit work and do nothing Front />tiiell. Mfuwftcliimetts: "My film litis boon shown many times > • . The see it praise it highly . . ." From Wilkes- Barre, Pennsylvania: "The more we see of Kodacolor, the more wo , pressed with it. We have yot to hear one disparag murk about the fidelity of the colors rendered . . From Bittghamton, JVetO York: "I was certainly very agreeably surprised nt the I obtained and can assure you the colors wore nine to nature than I had anticipated . . . The cntir is very cleverly assembled and about us fool -pro of thing I huve ever seen . . . Every 16 mm. cumen will eventually want to have it." ■y From Dnrm "To say I would be pi would prov. To be able bus added t alone must ■f, Ferrr From Providence, Rhode Island: ". . . The process is marvelous, both in its technical simplicity and in the wonderfully accurate color values." From ardmore, Pennsylvania: ". . . To say the least, I am well pleased with the re- sults ... I think the colors are us nearly true to the original as it Is possible to get them . . . [fool that the Eaitmnn Kodak Company lias attained the ideal in mo- tion picture photography and I predict a tremendous popularity for the Kodacolor lilm." .m Walvei do Beach. Cal. ■so pictures will bo a delight forever o enough to see them, and this wo it u tremendous step in advance." the Eastman Kodak Compan' in putting into the hands of amateur iben-Unl.'thin'L '.nor.- 'plea'mg to me I lure before me in its own natural col. much more charm und satisfaction that fnil- to define." congratulations to ir accomplishment s the means of uli- color photography. than to see the pic- ir— which lends so 1 New York City: o have shown them." From Denver, Colorado: , ". . . We are amazed at this wonderful discovery. 11 would nern. thai Aladdin and his Lamp have come to life and brought with them the magic of Kodacolor- No Ara- bian Night Story is half us marvelous or enthralling us u reel of Kodacolor." EASTMAN KODAK COM 'ANY, Rochester, n. Y. From Jackson, Michigan: "■ ■ ■ Tin- resulting picture- wan a most happy surprise for the reason that the picture was shot extremely hastily byllie writer due to hit. keen interest in Kodacolor and his anxiety to get a roll taken and developed. None of the ihots were planned nor was the focusing carefully done us common sense would direct. This neglect was not aii- ...ir-itwheii the lilm wax projected on the screen. In view . ftiM fact, the writer is looking forward to truly romurk- nlilc results and many happy hours with Kodacolor." From SI„ll.Yiillc, Indiana: wn«hM i'"' l1>i,tu,r"H "',mE,crH of m>- own f"miI> «"« ^ would be hard to describe in a letter our pleasurable sur -» -ben wc first screened it. I might better tell you of ing you know that my wife and -™.„vihis one fifty-foot roll of film was i rice nftlinnntim outfit." f appreciation by leu...,, ivsrlf both agreed that thi. stho price of thee From Dunkirk, TVeto York: •»_'. ' ' '" u wonderful improvi -■•»..■ .-vpuNurcs in black and ubite ""'.l<- ■■revolutionary advancement ■ what the You have — s*7 - r <.... - - • ,.-» ***^ °*' "■■ '", "** ai ,l1" ,l"" " hi ■*,t— -"•"::, — ■,".'. ■*<..,, — •- *-.., ■ XOIEHBCR 192§ An Amateur Achieves Compactness By. E. G. Stillman, M. D. AS I travel long distances to attend meetings at which I wish to show 16 mm. movies I have designed a light, compact outfit to carry with me which may be of interest to other amateurs faced with the problem of in- creasing portability. Picture A shows the complete carry- ing unit made up of the projector box, with an extra aluminum container strapped beneath it, and the long blueprint can which carries the lengthy items, such as tripod legs, screen, etc. This has a wooden bottom, as the tripod legs would soon break through the ordinary tin. Picture B shows the smaller blueprint tube, con- tained in the larger tube, to protect the screen, which is made of uncoated blueprint linen. As seen from Picture C the aluminum container carries the two tripod heads, a twenty-five foot extension cord and emergency splicing equipment. Ten 400-foot reels can also be carried. In Picture D are seen the three tripod legs made of square brass tubing for the projector and the lighter tripod legs for the screen. Picture E, superimposed on the screen in Picture G, shows the detailed construction of the tripod head, and Picture F illustrates how the pro- jector rests on its tripod. This tripod is firm and is made tall enough to easily project pictures over the heads of a seated audience. Finally, in Picture G, the screen is illus- trated. The small springs attached to strings from the ends of the screen, prevent any movement of the screen. If any readers of Movie Makers would like further de- tails of this original equipment I will be glad to furnish it to them if they will write me at 45 East 75th Street, New York, N. Y. 720 MOVIE «■%■«.■■€•» When the Amateur Scoops Professionals How the DeVry Movie Camera From a frame of the film of the wreck of the Dauntless as caught by Allen Fraserwith the DeVry. Can Be Made to Pay Its Way . . . DeVry Standard 35 mm. Movie Camera Easy to operate. You merely point the camera and press the button. The DeVry meets pro- fessional requirements so com- pletely that expert camera men of Hollywood use it for their "difficult shots." The 4MATEUR movie making is destined to become as y\ much an art as professional movie making. In fact the effects found in featured theatre movies are now the only standards by which the amateur can judge his own work. Through Bell & Howell, who have provided the professional motion picture industry with cameras and equipment for twenty -one years, the amateur may approach equal results for his own movie endeavors. Bell & Howell know the needs of movie making, and simplicity of operation is the keynote of every B. & H. item suggested for your use. New!— Correctoscope This device obtains, simultaneously, accurate focus and correct exposure for either Filmo 70 or Filmo 75 cameras. May be used either with the regular camera lens, or as a complete unit when purchased with a special matching lens which remains permanently in the Correctoscope. Used in the latter man- ner, corresponding focus and exposure settings are quickly made on camera lens and you are ready for safe and certain movie making. What you see through the eye-piece determines settings. Price, Correctoscope Attachment alone, $25. With separate lens, $37.50 complete. Mark coupon for complete description. CORRECTOSCOPE attached to Filmo 70 Camera Kodacolor Filter for 1 Taylor-Hobson Cooke F1.8 Lens Kodacolor Lens Unit Assembly for Filmo ^gr^ Projector Kodacolor Filters for Filmo Cameras and Projectors Under license from Eastman Kodak Co., Kodacolor, the natural color movie pro- cess for amateurs, is now available to owners of Filmo Cameras and Projectors. The Kodacolor filter has been specially adapted by us for use with the Taylor- Hobson Cooke F 1.8 lens on Filmo Cameras. If you have an F 1.8 lens of the type we are now distributing, send it to us for adaptation for Kodacolor use. The price, $24.00, covers adaptation of the F 1.8 lens, the special Kodacolor filter, and the neutral density filter. Price of a new T-H. C. F 1.8 lens complete with set of Koda- color filters ready to use on Filmo 70 Camera, $77.50. Price for adaptation to T-H. C, Hugo Meyer, or Wollensak F 1.5 lenses on application. For projecting Kodacolor with Filmo Projector an entirely separate lens unit assembly is used. It is, in itself, complete with objective lens, Kodacolor filter and compensating lens in special non-rotating focusing mount. Price, $30.00 complete. Mark coupon for all Filmo Kodacolor particulars. B. 8C H. Character Title Writer To express your own individuality in movie titles use the Bell & Howell Character Title Writer. Dozens of tricks heretofore used only by professionals are made possible through its use. The Character Title Writer is in reality a miniature movie stage before which the camera is clamped, with powerful electric lamps to give proper illumination. You photograph your own hand in the act of writing the title. You can produce animated cartoons. Small figures may be used and shifted between exposures to give them motion. Drawings or magazine illustrations may be used as title decora- tions for wonderfully artistic effects. Price of Character Title Writer outfit com- plete, with materials for title writing, $36. y i 1 ■> See your dealer or mail this coupon -hs HOWELL CO. Chicago, Illinois London (B. & H. Co., Ltd.) 1907 Bell & Howell Co., 1828 Larchmont Ave., Chicago, 111. Please mail me completely descriptive literature on the following: | DFilmo 70 Turret Head. DExtra-Lite Projection Lens. DFilm [ Editer. D New animal films. □ Correctoscope. nKodacolor details. DB. & H. Title Writer. Name Address.. 723 NOVEMBER 1928 HOW to Make A FOLDING SCREEN MY bosom swelled with pride. I had just pulled my home made movie screen from its case and the automatic supports snapped instantly into place, holding it ready for use. "Clever," "pretty slick," were the remarks from my audience, a local service club which had asked me to project some movies for them at one of their weekly meet- ings. They had undoubtedly experi- enced delays and difficulties in the past when seeking a place to hang their screen in preparation for an event of this kind. If you enjoy making things with your own hands, you will feel a great deal of satisfaction in building this folding screen. It can readily be as- sembled in one afternoon if all mate- rials are secured before starting. The materials needed are as follows: 1 board, size %"x31/4"x4'l", for the bottom of the case; 1 board, size %"x3%"x3'll%", for the top of the case; 2 boards, size %"x4%"x4'l", for the sides of the case; 2 blocks, size %"x3:|4"x3%", for the ends of the case; 2 cleats, size %"x%"x2^4", to support the lid when case is closed; 1 cleat, size 1//2"x%"x3'91/2", to fasten screen to lid; 1 forty-eight inch shade roller with inside fixtures; 1 case handle by which to carry case; 1 flush ring for top of case, with which By C. L. Kepler to open screen; 1 screen, size 45V2"x 45^2"; 3 pairs of hinges %" wide by about 3" long when open; 1 pair of springs (see note below) ; 4 pieces of wood, %"xl"xl9%", for supporting rods. When this material has been se- cured, first assemble the two ends of the case as shown in figures 2 and 4. This consists of screwing the two small cleats A flush with the front and %" from the top of the end block. Then attach the shade fixtures in the position shown. Note that by drawing diagonal lines as shown in the diagram, you can determine the place to set the shade fixtures, allow- ing even clearance all around for the shade when it is rolled up. Next screw the bottom of the case to the ends as shown in figure 3. Do not attach sides of the case until last, after the entire mechanism is as- sembled. Next the supporting rods are assembled preparatory to attach- ing them to the case. Take two of these pieces and fasten them together with a hinge, screwing the hinge to the %" size as shown in the side view of figure 2. This same view gives the proper measurements for drilling the small holes into which the ends of the springs are inserted. It requires some force to insert the ends of the springs into these holes, but with a couple of pairs of pliers it can read- ily be done. It may be easier to do this if you remove the hinge B dur- ing this operation, and then replace it. Now attach hinges C and D to the ends of the rods on the opposite side from hinge B, making sure that they are flush with the ends of the rods when opened at right angles. The lowering and raising mechanism is now ready to assemble. You will note in figure 2 that there is a 14" clearance between the back of the case and the supporting rod. This is to allow for the spring when the case is closed. However, the sup- porting rod rests tight against the end of the case when the case is open and the supporting rod is erect. Place the rod in this position and screw hinge D to the bottom of the case. Next, screw hinge C to the top of the case, making the rod flush with the end and %" from the back edge of the top, as shown in the side and end views in figure 2. When both sup- porting rods have been attached in this manner you will be able to close the frame by pushing in on the B hinges. The rods should fold into the (Continued on page 731) LID OF CASE PETA1L OF MECHANISM WITH CASE.' CL05ED Fag 3 OPPOSITE INSIDE END CLEAT SWPORTiNS-UD OF CASE /ff CLEARANCE nnweeN rod * f.ftiE FOP. SPHIING- HEN CASE IS CLEAT TO SUPPORT; LID OP CASfc WHEN CLOiep. Figl 724 MOVIE VI % *t ■ IK •» From Bridge To Horn vies In Five Seconds! , The KODACARTE An innovation in screens Home movie entertainment need never compete with other pleasures; it amplifies and supplements them. And in the Kodacarte, a combined bridge table and Kodascope screen, this fact is properly recognized. After a few rubbers or in between hands, the guests sit back and enjoy the movies without delay or disturbance. The table top is hinged and snaps into projection position in a moment. Far more than a bridge table, the Kodacarte will be regarded as a permanent addition to the living room. It is substantially constructed and stands firmly. The playing surface is of artificial leather embossed in gold. Pyroxylin coating makes it exceptionally durable, proof against fading, stains or scuff marks. It is finished in black with a gold stripe around the table edge. The Kodacarte meets the technical requirements of good projection. The top lifts to an exact right angle, making focusing easy. The screen is 18^»" x 25", plain aluminum finish and in the closed position it is protected from dust and injury by a floor of light-weight board. Priced at $30.00 the Kodacarte will find favor with all amateurs. Its dual value gives the ultimate in good projection and its beautiful playing surface and fine finish add greatly to the pleasure of cards. See your Cine- Kodak dealer. EASTMAN KODAK CO. Rochester, N. Y. Ready for Projection Open for projection the Kodacarte projection sur- Jaceis isy2" x25". Ready for Cards The Kodacarte playing, surface is beautifully fin- ished and softly padded. 725 mW% EMBER !«»_»•» Glossary of Movie Terms A Dictionary for Beginning Amateurs [Continued from October) Leader Strip — A strip of opaque black film attached to the begin- ning of a reel of film, for the pur- pose of threading the projector. Lens Hood — A box, tube, or shade placed around the lens, to keep strong side and front lights from affecting the sensitive film. Location — A place away from the studio, where scenes are photo- graphed, usually exteriors. Long Shot — A photograph of a dis- tant scene. Loop — A "slack" or "loop" of the film which must be used when threading the camera or projector so that the intermittent movement will not tear the film perforations and cause the film to buckle. Magazine — The light-proof container which holds the film in the camera. Masks — Discs, usually of metal, with various shaped apertures which are placed in front of the lens or the film to change the shape of the picture recorded on the film. Mask Box — A hood or box fastened to the lens of the camera in which masks are inserted for special ef- fects. Matte — Synonymous with mask, used for special effects in a mask box or affixed in front of the film or lens. Meter, Exposure — An instrument used to test the light to determine the proper setting of the diaphragm for correct exposure of a scene. Microscope, Focusing — A device at- tached to the camera which en- ables the cameraman to focus the image directly on a ground glass. Multiple Exposure — An exposure made by running the same film through the camera several times recording a different scene each time. o. Negative — The image made^j yfi on a film by the exposure Dj-^M / of negative stock in the /^V, camera. x^f~( Negative Stock — Raw film to be exposed in the cam- era for making a negative image. Nitrate Film — Inflammable film base differing from the non-inflammable or acetate of cellulose base. Objective — A photographic lens. 726 By Walter D. Kerst Optical Printer — A photographic printing machine in which an im- age on a film is projected to raw photographic stock for purposes of reproduction. Panchromatic — A film emulsion sensitive to all the colors of the spectrum. Positive Stock — Raw film on which a positive image is printed from a negative. The emulsion on positive stock is usually of slower speed than negative emulsion. -A positive used for projec- tile PROJECTOR Portrait Attachment — A supple- mentary lens placed over the regu- lar lens to make possible the photo- graphing of objects at much closer range than normal. Positive — The image obtained for projection by printing from a negative image made in the camera or secured by the reversal process. SPLICE Print tion. Projector — A machine for showing of motion pictures. Reflector — A device used to reflect the light source for a scene to any desired place in that scene. Re-take — The re-photographing of a scene that is unsatisfactory because of poor photography, bad print- ing, etc. Re-wind — To wind the film back to an empty reel after projection so that it will be in its original posi- tion for the next showing. Scene — Any picture made by the camera from one viewpoint. Sequence — A series of connected in- cidents in a motion picture. Slow Motion — The exposure of the film in the camera at the rate of 128 frames a second instead of the usual 16 frames per second. Throw — The distance of the projec- tion lens from the screen is said to be the throw of the lens. Tilt — To move the camera up or down vertically while shooting so as to include more of an object being photographed. Time Condensation — The taking of motion pictures, one frame at a time, at infrequent intervals so as to compress, for example, the mo- tion over a period of months in the actual subject to a few seconds time on the screen. Tint — The coloring of films by ani- line dyes. Tinting colors the ace- tate or nitrate base as well as the emulsion. Tone — The coloring of film by chemicals or aniline dye compound in which the supporting base of the emulsion is not effected. Trailer — A strip of film at the end of a reel usually denoting The End, etc. An opaque piece of film placed on the end of the reel for projection is also called a trailer. Ultra-Speed — Used to denote super - speed, commonly known as slow-motion. MOVIE *(%■«.■■<«* ^M/^y PROJECTION SCREENS JS^othing like them was ever expected for home movies- DEPTH Known as "the third dimension screen" Truvision is the first surface to give a round- ed, moulded quality to near subjects and a natural perspective in background without special projection or viewing apparatus. DEFINITION Definition is crisp and detailed. The Tru- vision surface eliminates the grotesque card- board-like appearance usually expected from any off center angle. Fading at the edges is done away with also. COLOR MOVIES It has been said that what color adds to movies Truvision adds to color movies. METAL CASES Truvision is housed in a metal case, artistic in design and finish. Reinforced snug fit at all points defies damage from transit or acci' dental knocks. Crystalline surface in a choice To the professional projectionist the mere mention that the screen surface known for years to be the best had been carried to its highest efficiency by Tru- vision's exclusive and patented methods was revolutionary. To the uninitiated a side by side test was a revelation. Now to home movies comes the Tru- vision Screen, not alone as the ultimate in projection possibilities but with every feature that home use demands : Swift-set action, complete portability, sturdy all- metal construction, beauty of line and material, durability, and with all — at a price substantially lower than any other glass surface screen. Consult your dealer and write us for booklet "B Type Portable" of three colors: Black, Olive Green, Maroon. BRILLIANCY Even diffusion of light is secured by the sur- face which is composed of millions of glass crystals. These crystals are in effect micro- scopic convex mirrors reflecting evenly in every direction. Washable, therefore perma- nently brilliant. MATERIALS The special glass crystals are imported. Body Cloth is the finest and best obtainable; Cases and Folding Arms sheet steel; Catches at four points for security. PORTABILITY Truvision's patented swift-set feature re- quires just one opening pull — and one only, to snap automatically into open position. Re- lease ring is placed outside the case for con- venience of operation and for protection of the fingers. PRICES For portable model pictured here: Screen No. Picture Surface 1-B 22" x 30" 2-B 30" x 40" 39" x 52" Price $15.00 20.00 30.00 1 TRUVISION PROJECTION SCREEN CORP. 11 East 44th St., New York City t 727 XOtEMBEK 1928 DR. SMITH ELY JELLIFFE The CINEMA in NEUROPSYCHIATRY An Interview with Dr. Smith Ely J ell iff e By E. Locke Lewis NO phase of medicine has found the cinema of so much value as the field of nervous and mental disease, according to Dr. Smith Ely Jelliffe, eminent New York neurologist. This, he states, is so be- cause in no other sphere of non- theatrical cinematography can film be more practically applied than in the interpretation of nervous and mental disorders where the study of continued motion constitutes so im- portant a factor. "The student of the nervous system is almost exclusively guided by his studies of sensation and motion," Dr. Jelliffe said. "Behavior is primarily founded on sensation and sensation is essentially represented by some form of motion. This simple principle is the basis of all behavior. Of the vari- 728 ous forms of motion those not ob- vious or those which are indirect are the most important. Take, for exam- ple, an animal. Offer an ape a ba- nana and as he walks forward to take it, if this is his first experience, he advances in a straight line. Then give him a clap on the head with a stick. Whereas his first approach will have been direct, on offering him the banana a second time he will remem- ber the clap on the head and be wary. Since he fears another crack with the stick, his progression will be indirect. He will zigzag from side to side as he comes nearer the fruit, and be- come more alert so that he will be better able to avoid the stick. "This basic principle of awareness in motion is applicable not only to animals but to each and every human being. There is no movement that is meaningless. Every movement, even those that outwardly seem as slight and inconsequential as the manner in which a man twiddles his fingers, raises his eyebrows or taps his foot, tells a story that can clearly be read provided one has the appropriate training. Motions demonstrate what a man really is — his actual status — and, consequently, nothing is so val- uable to the neuropsychiatrist as ade- quate records of such motion. Cine- matography is able to provide and establish these records and, therefore, the moving picture projector is prov- ing to be of infinite aid in the inter- pretation of and hence in treatment of mental and nervous disorders. "Man's motor apparatus has been developing so many million years that it will be years before it is com- pletely and properly interpreted. Ev- ery individual motion is a complex factor. One of Ford's factory belts is ABC compared to one single move- ment of the arm. The movements of a child playing on the beach for a half an hour could furnish material for study that would fill the entire span of a lifetime." Before the advent of the cinematic projector still photography was used in making such studies. This, how- ever, was never adequate inasmuch as it afforded merely a limited series of pictures of a single posture or posi- tion. To perpetuate all of the move- ments of the patient was the real need and this can be done only by moving pictures. The advantages of their use can readily be seen. Take, for in- stance, a case wherein the manifesta- tions of the nervous disorder are ob- vious. In order to ascertain the un- derlying cause of that disorder the neurologist must study the move- ments and the mannerisms of the patient. To do this properly he should have a complete record and such a record certainly cannot be culled from still cameras. Not only has cinematography been of value in the study and treatment of serious nervous disorders: it has also depicted to great advantage the movements of persons and groups of persons with various mental quirks, portraying disturbances in gait, pos- ture or position, thus making possible more precise and accurate analyses of diseases of the spinal cord and complexes of dissociated movement. With the arrival of the motion pic- ture projector has come, especially in the field of mental and nervous dis- ease, greater possibilities for scienti- fic research. Hitherto it has been quite difficult to establish an accur- ate comparison between a post mor- tem examination and the more or less inadequate records of the patient's MOVIE »■*■*.■««» is CoWare — " I Huso Moycr * Co. ■'/!» A -°UnCi:^c and absolutely P-ueal as P°SUremTthe button on a camera. EXPOSURE as pressing the d b*r determmed FOCUSING The correct ^ ^through the spe- ^ vou view yof b vieW1ng the odj is ^ne by ^X^O x _ right £ llght filter. object magged nts _ charts or guesswork 1 ^ No more scales rmea^^xcuscforpoor pictures. ^ cmbECT EXPOSURE i<* '- X ■ ■■.■ *M % ■ f .* "■.'«': ■' PI v, r.ct lenses; t°r For aoseuP--;^^ '- ^ the tekph0t0ces^rSyeSrectoscope beco.es. more necessary Kodacolor. Absolutely essential fo ^^^^ tically— the two gr Wws, m r mnlete with special /-1-9 ffUOO ^37.50 #> ,.@H£e .« ^ %i Hugo Meyer orr^ «qPe FOCUSING 6 pOSURF- MFTER- 5= VTT'/ 3afei ■ ^v^v:^- ■ H«GO M E Y E K & NEW CO YORK CIT^ 105 WEST 40th STREET Works GoerliU Germany 729 lOtEHBEK !«►»•» EMPIRE HAS R EVERYONE IFOR WAR VETERANS^ OFFICIAL WAR FILMS For the Buddies of Yesterday. You can always show these war films, especially on Armistice Day and then relate your personal experiences on the ocean, in the air, in the rear, and in the trenches. Some of the pictures were taken so close to the front that you can see the men actually fall. FOR THE TRAVELER For those who would but can't, and for those who can but didn't get to the Cannibal Isles. ZOBELOGS personally conducted tours to the Fiji, Hawaiian and Samoan Isles. SWITZERLAND for those who have been there. PALESTINE for everyone. CHARLIE CHAPLIN COMEDIES Always funny, never tiring. TOM MIX'S and the CAR- TOONS. In an endless variety and theme. |FOR OLD AND YOUNG SO SIMPLE for autoists. HEY TAXI for those who believe in safety last. BELIEVE ME for those who have a servant prob- lem. THE JOKES ON YOU for the newlyweds. RAIZIN TROUBLE for those who want to brew it themselves. LINDY'S HISTORIC REELS they can never lose their thrill. THE BREMEN FLIGHT the first east-west flight. GRAF ZEPPELIN FLIGHT Equal in interest to Lindy's. ALL 100 FT. REELS SAFETY STOCK H.50 ALWAYS ONE PRICE AT YOUR DEALER THOSE RUNNING LIBRARIES Excellent comedies of which your customers want more. OH! SO SIMPLE— PAPER-HANGER'S HELPER— HOP TO IT, BELLHOP- NEWLYWEDS. UNCLE TOM'S CABIN THE GREAT ARCTIC SEAL HUNT for the children for those who like adventure EMPIRE SAFETY FILM CO., Inc. 723 Seventh A venue New York City Please Mail Me An Empire 16 mm. Subject Catalogue 7<[ame — - Address — City.. State.... movements. By means of cinematic apparatus it is now possible to record permanently the minutest detail with the utmost accuracy. Dozens of films describing the various mannerisms of people with nervous or mental dis- turbances are used and great profit is derived from careful contrast. The different methods of such contrast and comparison are endless. Dr. Jelliffe cited as example a case of sleeping sickness which lasted for about ten years, the recorded move- ments of which present a perfect mu- seum of nervous disorders in various phases. According to Dr. Jelliffe it is im- possible to foresee the ultimate use- fulness which will be found for cine- matography in the field of neuro- psychiatry— so enormous are the pos- sibilities. Years ago and even today it would need fifty or sixty pages to describe the complex movements of an infant in the approach to and com- plete act of nursing. With film at hand it is needless to attempt descrip- tion, so exact and replete in detail is the recording of the most complex movements. It is also interesting to recall to mind that Muybridge, one of the ear- liest pioneers in cinematography, made a series of pictures depicting apoplexy in horses and various phases of animal epilepsy. It might even be construed that from its origin the cinema was destined for the medi- cal profession and is only beginning to find itself. At any rate, it can truthfully be said that in no other field has cinematography been more practicably or legitimately applied. It would be out of the question to enumerate here in full all of Dr. Jelliffe's activities and positions. They are listed in "Who's Who." Among other things he is the editor of the Journal of Nervous and Mental Dis- ease; co-editor with Dr. W. A. White of the Nervous and Mental Mono- graph Series and the Psychoanalytic Review and the author of numerous neurological and psychoanalytical works which include a volume entit- led "Psychoanalysis and the Drama." EDUCATIONAL FILMS (Continued from page 701) accepted standard of feminine beauty for the last five years, are on the way out and that the public is being taught by the new Sennett releases to prefer the more voluptuous curves of a newer taste. It must be admitted that Mr. Sen- nett in this role of professor is rather amusing, nevertheless his inference that the movie is a powerful educa- tional force is significant, coming as it does from a producer whose knowl- 730 MOVIE MAKERS edge of mass psychology is tardily being hailed by the intelligenzia, and whose work with the motion picture is almost as old as the medium itself. Thus from every side, and from the most unexpected sources, comes testimony of the growing realization of the power of the projector. Judg- ing from the advancement already reached it seems safe to say that within five years the schools of the country will be using complete sys- tems of visual aids as a matter of course. In short, while feminine curves may come or go, it is our opinion that in other fields the motion pic- ture is destined to be a permanent moulding force. HOW TO MAKE A FOLDING SCREEN {Continued from page 724) case as shown in figure 3. Lifting up on the lid will open the supporting rods and they will be held in upright position by the springs. Now screw on the sides of the case as shown in figures 2, 4 and 5. Next, put the flush ring in the lid of the case as shown in figure 5, letter E. Now take the shade roller and cut it to the proper length to fit the brackets in the case. This can be done by pulling out the pin on the end opposite the spring, cutting the roller and then driving the pin back in. When this is done take the spring end of the roller and remove the two little dogs which keep the spring from unrolling. These are soft metal and can be pried up with the point of a screw driver and pulled out with pliers. When these pieces are re- moved the spring will unwind. Now lay your screen face up on the floor. Be sure the top and bottom edges are square with the sides. Fasten the bottom edge of the screen to the roller with the spring end of the roller to the left as you face the front of the screen. When this is done roll the screen up on the roller with the front of the screen on the outside and slip several rubber bands around it to hold it. Now insert the roller in the fixtures in the case. Since the catches have been removed from the shade roller, there is no tension on the spring. Wind the spring up by twisting the roller in the case. Face the front of the case and give the shade roller fifteen complete turns, turning the top of the roller away from you. Hold the roller and cut the rubber bands. Take hold of the top edge of the screen and pull it up to the lid of the case and attach it to the lid as shown in figure 2. You will probably need some one to hold the screen to keep it from roll- THE SUNSHINE of SUMMER for WINTER MONTHS "Interiors" are HALF the FUN! Start now to take BEAUTIFUL Interiors— even on the darkest days and at night—with this marvelous new 1000'watt FOTOLITE! ' I "HE children at play, parties, dances, family events — you can live again those happy hours, in your own films! With the un- matched brilliance of Fotolite, you can take interiors with all the sparkle and vividness of outdoor films — and with the subtle tones and shadings you have admired in professional pictures. Fotolite can be plugged in on any electric light socket! It eliminates the sparks, the sputtering and the "light fright1' of the arc lamp. And, in addition, it gives most light per ampere! Let your dealer demonstrate Fotolite for you. See for yourself its clear, powerful, beautiful light. Learn why it has won such high praise from professionals — why it is giving amateurs a new source of pleasure. See the powerful No. 10 Fotolite, pictured above, a remarkable new 1000' watt lamp — ideal for close-ups and % views. See the Fotolite No. 5 — an excellent auxiliary for full-figured views; see the stand equipped with two No. 5 lamps, a powerful auxiliary for group pictures. Fotolite No'. 10, complete without bulb, costs only $22.00. No. 5, complete [ithrjutr^Dulb, $12.00; stand with two No. 5 lamps, complete without bulbs, $20.00. Get your Fotolite today. Double the fun of amateur movies — for a small fraction of what your- camera costs! TESTRITE INSTRUMENT CO., 108 East 16th St., New York FOTOLITE Most Light Per Ampere - Lowest Equipment Cost 731 WOVEIMDER 1929 Lionel Barrymore and an all star cast in "Brooding Eyes" — a mys- tery drama adapted from John Goodwin's well-known novel. VX^E think this is a mighty fine picture. It's a mystery story sprinkled with a little love, and topped off with a "father- daughter" situation that you can't help getting worked up about. Lionel Barry- more portrays the lead character in true Barrymore fashion, and the all-star cast supports him splendidly. This picture is one of a series now avail- able through Home Film Libraries. You can rent them separately or, if you prefer, arrange for a "block booking" to bring the whole series to you at regular intervals. The rental cost is unusually low. In addition, there are our short subjects including Pat Sullivan's "Felix" cartoons. See the dealer nearest you or get in touch with us direct. LOS ANGELES Leavitt Cine Picture Co. BOSTON Solatia M. Taylor Co. CHICAGO ST. LOUIS Aimer Coe & Co. A. S. Aloe Co. LONG ISLAND B. Gertz Inc. 162-10 Jamaica Ave., Jamaica WATERBURY SYRACUSE Curtis Art Company Lindemer's FALL RIVER Smith Office Equipment Co HOUSTON Star Electric & Engineering Co. PLAINFIELD Mortimer's PHILADELPHIA Williams, Brown & Earle, Inc. SPRINGFIELD The Harvey & Lewis Company REPUBLIC OF MEXICO American Photo Supply Co., S.A. Mexico, D. F. NEW YORK CITY Wm. C. Cullen Gillette Camera Stores, Inc. 12 Maiden Lane Park Avenue at 41st PITTSBURGH United Projector & Film Corp. ERIE Kelly & Green NEWARK Schaeffer & Company 103 Halsey St. ALBANY BROOKLYN E. S. Baldwin Fred'k Loeser & Co. SAN FRANCISCO Leavitt Cine Picture Co. FLORIDA Tampa Photo&Art Supply Co. MINNEAPOLIS American Film Corp. Loeb Arcade ROCHESTER A. H. Mogensen University of Rochester PROVIDENCE Starkweather & Williams, Inc. NEW HAVEN The Harvey & Lewi6 Company WESTERN CANADA Regina Films, Limited Regina, Sask. BRIDGEPORT The Harvey & Lewis Company BUFFALO Buffalo Photo Material Co. Home Film Libraries 100 East 42nd St., New York City ing up until you have fastened it to the top of the case. By pushing in on the hinges B you can lower the screen into the case, and the extra tension on the shade roller will hold the case closed. Lift- ing upward on the flush ring will open the screen into position for use. Use good wood for a strong case. The writer used mahogany. Any kind of a roller screen can be used. A piece of white, opaque shade cloth makes an acceptable screen. If you have a beaded surface roller wall screen you can vary the length of the case and height of the supporting rods to fit your screen. Aluminum finished shade cloth can also be se- cured from the manufacturer through a local window shade dealer. Note: — These special springs can be obtained by writing to the Lycom- ing Ladder Co., Picture Rocks, Pa., as they are used on a folding clothes dryer of this firm's manufacture. They are very inexpensive. The hinges are also the same as used on this dryer, and can be secured at the same time you get the springs. DO YOU FOCUS CRITICALLY? (Continued from page 715) many other ways. The lapse of days, months or years in that film record of the life of the baby, for instance, could be shown by swinging the camera over the days, months or years of a calendar, pausing on the desired one and then, using the same technique as in the professional ex- ample, bringing this particular date to a close-up followed by a shot of the youngster himself. In this issue there is also suggested the use of tempo, giving as an ex- ample the sequence of an approach- ing storm in which the shots become shorter and shorter and finally mere flashes as the storm reaches its cli- max. The same can be done in one's film of a storm at home or at sea. Apply this method of shooting and editing film to any sequence in which a climax is to be reached. A big fire in town, or a film of water rushing from a tiny brook to become a crash- ing Niagara, all these and many others can be enhanced by the use of tempo. In the July issue is another in- teresting suggestion. In this instance is told how the character of a Jewish immigrant is introduced by a close- up of a hot iron steaming on a pair of trousers. The next shot shows the iron in motion and one is thus made acquainted with his work. An adaptation of this idea is possible in any film. For example, there might be a close-up of the engagement ring You've missed half the fun of home movies . . if you haven' t "shot" photoplays! ♦ ■ ♦ Try the 20 SWELL PLOTS in HOME MOVIE SCENARIO The scenarios it contains are all brief, amiable and workable, with corking titles, complete directions, and a lot of fun for ama- teur movie makers. ♦ ■ ♦ At all dealers . . $2.50 ♦ ■ ♦ RICHARD MANSON Publisher 535 FIFTH AVENUE New York City 732 «» X ■ I makers in Bill's hand, then Bill slipping it on Janet's finger; or a close-up of a basin piled high with dishes, and a pair of hands starting to work on them. In travel subjects, the market woman weighing out her fruit, the peasant weaving his straw and many other examples could be quoted. This idea could also be applied to inani- mate objects. First the close-up of a quiet stream is shown. There is a splash and a line, bobber and sinker drop in. Next comes the tug at the line and the fisherman's fight is on. An endless number of examples could be quoted which would show the great value of Critical Focusing reviews in getting more interesting films. While many of the sugges- tions could be lifted bodily, others would call for deeper study. The majority of them, even though they concern photoplay production, could be applied by every amateur at some time or other during his filming career. A helpful plan would be to look over past Critical Focusing re- views for inspiration and practical suggestion which could be applied in solving current filming problems. Better still, go see the pictures in question, if possible, and study them for the effects noted. It's often been said that there's nothing new in the world. I think this is largely true, but why not present the old in an interesting new way? By intelli- gently applying the best professional methods to one's filming is a prac- tical way to lift results from the commonplace to the unusual. FOR CHARITY'S SWEET SAKE (Continued from page 713) As a matter of fact most managers are glad to help a real charity. They'll loan material and perhaps do special wiring for you. If you want to say "thanks" in the most practical way, let him put ud a couple of frames of stills for some coming at- traction. He'll appreciate that, and it won't hurt your show. As a matter of fact, good stills will attract atten- tion. If you can, build a shallow box with three or four electric lights in- side, according to its size, face this with paper or tracing cloth and paint out all the space but that which forms the letters, MOVIES. If you can arrange for the loan of flasher buttons, you can get an on-and-off sign that will get many times the at- tention of a fixed one. If your local dealer carries 16 mm. cameras and projectors, let him put one or two on display in a showcase by the entrance. They will attract at- Use of Drem Exposure Meters for KODACOLOR Successful Kodacolor photography requires very good light conditions. Kodacolor can be made with a wide open /-1.9 lens only, whenever the GINOPHOT, reading 1/32, or the DREMO- PHOT, showing the letter N, indicates a lens opening of at least /-8 or preferably /-11.3, for regular black and white cinematography. Should the illumination be so brilliant that the Meters call for /-16, then the neutral density filter is required for Kodacolor. Whenever the Drem Meters call for an aperture larger than /-8, — for instance for /-5.6 — , then there is not adequate light available for Kodacolor. GINOPHOT, for ALL Motion Picture Cameras, Movie Titles and Time Exposures. Direct reading for CINE-KODAK, etc. Direct selective observation for 1/32, 1/4, 4 and 30 seconds, and stops from f 1.8 to f 16. Compares all stops from / 1 to /45 with exposure time from 1/1000 to 30 seconds. Adjustment for variable taking speed from 8 to 128 exposures per second, for s-l-o-w and superspeed. Exposure for variable shutter opening from 10 to 270 degrees. Universal meter for Amateur and Professional. Complete, with sole leather case and instruction book, $12.50 DREMOPHOT, for Amateur Motion Picture Cameras. Specially designed for Bell ii Howell Filmo 70 and Filmo 75. Direct and in- stant exposure from /1.2 to /32 for Filmo 70, and from /l to /22 for Filmo 75. Correct lens aperture for VARIABLE SPEED from 8 to 128 expo- sures per second. Complete, -with sole leather case and instruction book. $12 50 DREM PRODUCTS CORPORATION 152 WEST 42nd STREET NEW YORK, N. Y ASK YOUR DEALER 733 \0\EMBER !«»_••» for APPEARANCE as well as CONVENIENCE OICH looking yet unobstrusive, the Van Liew Film File is as handsome a cabinet for your home as you could want. As a snug harbor for your loose reels it has no equal. Handy, convenient, practical and good-looking. Six book units, each holding two 400 ft. reels in tins. Case is made of sturdy wood, lock jointed and cov- ered with deep green Spanish water- proof artificial leather. Unit faces in imitation red leather, numbers stamped in gold for indexing. If not available from your deal- er we can sup- ply you direct. DEALERS: If you are not as yet display- ing this popular item we solicit your corre- spondence. D. VAN LIEW MANUFACTURER 110 E. 23d Street New York City 15. 6 units (pic- tured above) for 12 reels. #8.50 3 units for six reels. SHOOT NATURE with your CAMERA w Let Nature Magazine be your guide to wild life and its habits. Each issue is a lesson in photo- graphy. The illustration here was taken on one of the American Nature Association's Expeditions that have brought back many photo- graphic prizes and fascinating stories. Nature Magazine is a 70-page monthly, profusely illustrated in halftone and color. Send for a Sample Copy or CLIP THIS AD and attach three dollars for one year's membership including Nature Magazine, and send it to American Nature Ass'n 1214— 16th ST., WASHINGTON, D.C. tention to your show and possibly do him some good. Make him pay for it by either putting an advertisement in the program, if there is one, or by buying tickets to be distributed to his prospects. Your success may lead others to purchase. In any event make him give you a window card in his store calling attention to your show. He can make a display of cameras and accessories with a card reading: "Be sure to see the movie show at the Junior League Charity Fair at (time and place here). Made with a Blank camera purchased from us by John G. Smith." Another good ballyhoo for the front will be a peep show. Cut three or four windows in a cardboard box, just large enough to display four or five frames of film. Back these with ground glass or tissue paper. Use one or two lamps, so placed that persons view the picture by indirect light. In other words put your lights against the inside front of the box and not at the rear where the filament may show through the film. If the event is a large one do a little bill posting. Have one sign at the entrance urging incoming patrons to be sure and see the movies. Then circulate a couple of girls as "sand- wich men" with cardboard signs front and back. An equally effective idea would be to let them wear slickers painted in collegiate style, but with water color instead of per- manent pigments. It can be washed off afterwards with no trouble. And be careful to have an attrac- tive and affable ticket seller. Get a pretty girl and convince her that the face with the smile wins. It should not be necessary to issue tickets. Your audiences can pay at the box and pass directly inside, unless you have a large capacity in which case the de- lay in selling to a hundred people will cause a wait more costly than the price of a roll of tickets. In that case sell as many as possible while the show is going on, and have patrons ready to enter as soon as the last "house" clears. You can get a roll of stock tickets from any theatre supply house for very little. Some local theatre can order them for you. These tickets are numbered, which will facilitate the counting up. Have your doorman hold the first and the last ticket. If the first ticket is 10,001 and the last sold 10,192, your cashier should have ticket 10,193 on the roll and $10.20 cash at a ten cent rate of admission. All the other tickets go into the door box and are destroyed without counting. Work for quick turnover. It is better to give a twelve minute show four times an hour for a dime than 734 MOVIE MAKERS to give a twenty minute show for a quarter. If you have enough film for two programs a night give a double show. Announce before each showing that those who desire to re- main for the second show (which will be entirely different) may re- main in their seats and pay another dime. Collect these admissions before you let the new house in. In any case have a clock face with movable hands at your entrance and announce that "The next show will start promptly at ." As soon as a house is in, reset the hands for the next show. Make the clock face of compoboard with an eighteen to twenty-four inch dial and with wooden or metal hands of proportionate size. Set the hands on a bolt with a thumbscrew instead of a nut. Loosen the thumbscrew slightly to move the hands and tighten up when the change is made. If you make a success of your show, you'll probably be flooded with requests for a repetition. Don't let them run you off your feet. If you respond to every request you'll quickly exhaust interest and people will fail to respond. Space your shows at least ten weeks apart. Longer will be better. There are other ways of making the camera do its bit for charity without waiting for a fair. Offer to make a ten foot strip of anyone for $5. Run it off once for him on your projector and then give him the strip. Let the members of the society being aided do the canvassing for you and deduct your costs from the sum turned over to the society. There will still be plenty of profit. Make an extra charge if you have to use lights. Many people will want to see themselves and parents will be glad to get portraits of their children. If you have a 35 mm. machine you can make some wonderful Christmas greeting cards to sell. Get fairly heavy stock about four by six inches. Cut a hole in one corner about the size of one frame, cement a single frame of some familiar scene in the opening, supply a suitable inscrip- tion and get some artistic friend to put on the necessary decoration with water color or oils, not on the film, but around the legend. You can give these a personal touch by using a picture of the sender, his house, fam- ily, or some other belonging, but start early so that you do not have to rush the orders through. There are many other ways but try these first because they are the simplest. Do them in the best pos- sible manner and you'll spread in- terest in amateur movies and lead others to share in this delightful pastime. fAMOU/gRAYllBRARY BRAY LIBRARY FILMS are breaking records in the 16mm, field. SPECIAL FOR CHRISTMAS aA LITTLE of ALL the 400 Ft. Reel Price #28.00 BEAUTIFUL story of a little boy who plays Santa Claus to the wild creatures of the woods. T7VERY 16mm. owner will want to add this remarkable and beautiful film to his permanent collection. In addition to this Christmas Special BRAY OFFERS OVER 500 QUALITY SUBJECTS FOR YOUR SELECTION At your dealers or direct from 729 SEVENTH AVE., N.Y.C YOU'LL BE GLAD YOU DID! If you bind your MOVIE MAKERS each month HANDSOME BINDERS ARE NOW READY . . . AT COST! Volume I and II (1926-1927) or Volume III (1928) $1.50 each (In one binder) To Binder Department MOVIE MAKERS 105 West 40th Street, N. Y. Inclosed is $ for the binder ^s) noted below: Vol. I & II Vol. Ill Name Address City ^ State 735 10«EHBER 1928 Photograph by De Vry HIGH HAT NO END Ben Lyon Demonstrates That He Can Balance a Camera as Well as a Topper or Teacup. Mary Brian Obviously Approves NEWS of the INDUSTRY For Amateurs and Dealers Kodacolor for Filmo UNDER license from the East- man Kodak Company the Kodacolor process is now available to users of Filmo cameras and projectors. The Kodacolor tak- ing filter has been especially adapted for use with the Taylor-Hobson Cooke / 1.8 lenses. Amateurs using this lens on Filmo cameras may have it adapted by the Bell & Howell Company at a nominal cost. This company is also ready to adapt the Taylor-Hobson Cooke, Hugo Meyer, or Wollensak / 1.5 lens with the Kodacolor filter. For projecting Kodacolor pictures with the Filmo 200 or 250 watt pro- jector a complete lens unit consist- ing of objective lens, Kodacolor filter and compensating lens Is used. When it is desired to show Koda- color pictures the assembly above is used in the projector lens mount in place of the ordinary black and white projection lens. Progress ' I 'HE Correctoscope, a device ■*• which secures accurate focus and correct exposure almost simultane- ously, is now available for amateur use. This most ingenious accessory was designed by Dr. A. J. Ginsberg for the Hugo Meyer Company, man- ufacturers of the well known Plas- mat lenses. Dr. Ginsberg, who is President of the Meyer Company, found the need for an extremely ac- curate focusing and exposure device for use with his motion picture cam- era in surgical work and the Correct- 736 oscope was devised as the answer to this need. The Correctoscope is simple in construction, is but little larger than a pocket match box and can be at- tached to all 16 mm. cameras. A lens in its front enables the image to be focused on a ground glass with splendid magnification, giving an ac- curate reading of the object distance on a scale marked on the focusing ring. To determine the exposure a specially prepared blue glass, which is an integral part of the device, is inserted in front of the aperture by which the image is viewed through a finder in the top of the attachment. A diaphragm is rotated until the shadow detail is lost, then slowly re- versed until the shadows just re-ap- pear and the correct stop to use for the scene is read from the stop scale marked on the diaphragm ring. $100 Reward THE photo supply store of Ralph E. DeWitt, 60 West Market Street, Wilkes-Barre, Pa., is posting a reward of $100.00 for information which will lead to the identity of the thieves who burglarized his store on July 2nd, 1928. The stolen equip- ment consists of a DeVry Standard 35 mm. Camera, number 2780, with a Wollensak f 3.5 Velostigmat lens, two Kodascope projectors, Models B and C, and a Model B Cine-Kodak, f 1.9. Special request is made to cine supply dealers and jobbers to look over their sales records to see if they show purchase of a DeVry camera with the above serial number. WBHBBBK^^^ Photograph by Eastman OFF FOR THE SOUTH POLE Commander Byrd and George Eastman Confer on Cine Kodakery in Rochester, Prior to the Recent Departure of the Famous Explorer MOWIE MAKERS Kodacolor Exposure HPHE attention of amateurs is di- ■*- rected to the fact that the Drem exposure meters, the Dremephot and Cinophot, are useful for judging whether there is enough light avail- able for the successful taking of pic- tures in Kodacolor. Despite the fact that the exposure problem connected with Kodacolor film is simplicity it- self, the use of a meter for determin- ing the possibility of successful ex- posures is recommended. A NEW MEMBER OF A FAMOUS FAMILY The 2 50- Watt Bell 6? Howell Projector Cine Florists nPHE well known house of Stumpp ■*• & Walter, horticulturists, is in- stituting a retail photographic and cinematographic section in its New York store in the heart of the down- town business section of the city. A complete line of cine equipment as well as still photographic supplies and an amateur finishing department will be maintained, with the desire to give cordial, prompt and efficient service. Silver. Bead Screen TPHE "Silver Moon," a screen of ■*■ tiny silvered crystal beads, is called to the attention of amateurs this month. It is manufactured by Kilduff, Brooklyn, N. Y., and is available through cine dealers. This new screen is said to be especially ideal for pictures in natural colors since it is extremely brilliant and re- flects a large percentage of the light projected on it. This screen, as well as the Radiant screen made by the same manufacturer, is available in a number of styles and sizes. There are two types, the wall screen in a metal case and the portable box screen with attractive leatherette covering. Three sizes are available, 22 by 30, 30 by 40 and 36 by 48 inches. Those of the box type are $5,000 in Cash Prizes Exposing Occult Hocus-Pqcus in Hollvwood Photoplay Magazine Presents unusual rewards to amateur movie makers and ama- teur authors. Solve "The Studio Murder Mystery", an absorbing serial of the Hollywood studios, and you will get one of the nineteen prices, totalling $3,000. Win Photoplay's Second Amateur Movie Contest and you will share in the division of $2,000 in prizes. Besides, you may have a chance to get to Hollywood, in a position to which you are best fitted, signed by one of the big motion picture pro- ducers. The winner of last year's contest captured a five-year studio contract. Full details in every issue of Photoplay. PHOTOPLAY MAGAZINE 750 N. Michigan Avenue, Chicago, 111. MAC TRIPOD PROJECTOR CLAMPS ELIMINATE the fuss, the bother, the adjusting and the make-ready of set- ting up your projector. Screw the clamp on any tripod as you do a camera, set your projector into place, turn a thumb screw and you have a perma- nent, sturdy vibrationless projection stand always the same height, easily moved about, to be stowed away in a corner of the room or closet. Clamp for FILMO, KODASCOPE C, DE VRY $3.00 KODASCOPE B 3.60 Leg brace for light tripods, wtih canvas reel shelf... 11.00 Have your dealer demonstrate or write THE "M. A. C." COMPANY— CINE ACCESSORIES 147 Pierpont Street Brooklyn, N. Y. 737 lOtEHBER !«►_»•* YOU BE THE JUDGE! You have been disappointed with the definition and correction of extreme speed lenses. We claim the: is the only extreme speed lens that gives exquisite definition to the corners and perfect correction when used wide open. Your dealer has instructions to allow a free trial and comparison with other lenses, without obligation. The defini- tion of the XENON has proved a revelation to many and will to you also if you take the trouble to try it. For Filmo and Victor Cameras 25mm. in adjustable focusing mount #37.50 35mm. in adjustable focusing mount $50 Send for literature on cine-lenses and equipment BURLEIGH BROOKS Sole Agent 136 Liberty Street New York City THE W. B. & E. "PILOTLIGHT" A convenient light on your Filmo Projector that enables you to operate and change your reels with plenty of illumination that does not attract the attention of or annoy your audience. \ Makes operating your projector a pleasure. No extra wires needed. Just pull the switch and the Light is there — When and Where you need it. Easily attached to your machine in a few minutes and projector can be packed away in case with- out detaching. Price $6.00 From your Dealer or Direct WILLIAMS. BROWN & EARLE, Inc. "The Home of Motion Picture Equipment" Filmo Motion Picture Cameras and Projectors 918 Chestnut St., Philadelphia, Pa. easily and quickly set up and are extremely light in weight. The glass surface is washable, thereby insuring a screen of maximum brilliancy at all times. Kodacolor Exhibit HPHE Eastman Kodak Company ■*■ will- give a public Kodacolor ex- hibition at the New York Biltmore Hotel, Room 127, during the period of the New York Horse Show, November 8th to the 14th. The prin- cipal feature of the exhibition will be a 250-foot reel taken last month on Kodacolor film by a group of amateurs at the Rochester Horse Show. The pictures, perfect in every detail, are said to be typical of the many thousand feet of Kodacolor film being sent to Rochester daily for processing. Free Film Clip THE A. C. Hayden Company, man- ufacturers of cine accessories, Brockton, Mass., are offering, free, a Spring Film Clip to each amateur sending in to the company the name of his dealer, if the dealer does not carrv Hayden accessories, as well as a list of such accessories desired by the amateur. New 9 mm. Model ANEW model of the Cine-Nizo 9 mm. camera, the model H, is offered to amateurs this month by its manufacturers, Niezoldi & Kramer, of Munich, Germany. Their Ameri- can representative is Burleigh Brooks, New York, N. Y. The new model H weighs 4 ounces and measures 4-11/16 by 4-5/16 by 3 inches. It is equipped with a high grade lens of German manufacture in a fixed focus mount. A portrait DOWNTOWN HEADQUART£RS TRADE IN YOUR OLD CAMERA Liberal Allowance CDET DEVELOPING ri\LL SERVICE PREP DEMONSTRA- TIVES TIONS DAILY We carry the most complete line of Movie apparatus Downtown. STOP | IN MOVIE CAMERS i PROJECTORS A NEW YORK CAMERA EXCHANGE 109 FULTON STREET Mew v o a k city FISCHER'S CAMERA SERVICE, Inc. Everything Known inMotion Pictures " 154 EAST ERIE STREET CHICAGO FILMS DETERIORATE The Teitel New Li/e Patented Process Will Save Them ALBERT TEITEL, Film Expert 105 West 40th St. New York City PHILADELPHIA NEWS REEL LABORATORY 1707 Sansom Street Exclusively 16mm Developing, Printing, Titling, Editing, Rush Service. Cameramen available for all occasions — Industrial and Medical Productions. High grade training in Motion Picture and Still Photography. All branches fully covered. Learn at home, in spare time, under direction of an inter- national authority. Send at once for free book Opportunities in Modem Photography and full par- ticulars. AMERICAN SCHOOL OF PHOTOGRAPHY Dept. 1498, 3601 Michigan Ave. Chicago, U.S.A. FILMING WITH FLARES PROFESSIONAL producers use extensive electrical equipment or flares for shots in dark places or at night, but the amateur does not have hundreds or thousands of amperes available but the flares are accessible to him at a reason- able price. Use these powerful firework torches to secure professional results either on straight or special lighting effects. They may be used to light a cave, film a party or shoot an African native dance at night, for fireplace and camp- fire effects, and in all special lighting effects to secure the same results as seen in the leading theatres. Many other uses are indicated from time to time in various issues of Movie Makers. No equipment necessary — Flare Showing Detachable Handle the same flafe ^ professionals use_ five sizes, l/z, 1, 2, 3 and 4 minutes of light. Also electrically fired flares operat- ing on flashlight batteries for firing several flares at once. JOHN G. 1752 ATLANTIC AVENUE MARSHALL BROOKLYN, N. Y. 738 MOVIE HAHERi attachment is supplied so that satis- factory close-ups can be made at a distance of less than 4% feet. The viewfinder is the direct type located on top of the camera. An advance in design over the older model is the inclusion of a double drive spring motor. One winding is sufficient to run off the entire film in the magazine with uniform speed and practically no vibration. A hand crank is also supplied for trick work and one to one movement of the film. A change- over from spring motor to hand crank or vice versa can be made with- out releasing the tension of the spring. The starting button may be locked in position so that the camera- man can include himself in the scene. A footage meter indicates the amount of film exposed and a thread worm in the bottom of the camera makes possible its use on a tripod. a Moving Picture — But — A Picture of a Moving Picture Company Moving CLEVER PUBLICITY This is the Effective Card used by the Escar Motion Picture Service, Inc., of Cleveland, Ohio, in Announcing a Removal. New Lens Turret A LENS turret for the Filmo 70, ** accommodating any three lenses designed for 16 mm. cameras, is in- troduced to amateurs this month by the Bell & Howell Company. In a second's time either of the three lenses can be flipped into position over the aperture, ready to take pic- tures. The Filmo camera must be sent to the Bell & Howell factory for installation of the turret. Special carrying cases are also available to hold the camera with turret and lenses in place. Cine Instructor AFTER an absence of five months Karl A. Barleben, A. R. P. S., has returned to active direction of the motion picture department of the New York Institute of Photography. Mr. Barleben, in addition to having received honorary recognition from the Royal Photographic Society of Great Britain, is a well-known member of the Society of Motion Picture En- gineers. In addition to his work in the Institute with the motion picture de- partment, Mr. Barleben will be a member of the faculty staff adminis- tering the Home Study Course in Motion Picture Operating and Pro- jection which has recently been added to the curriculum of the school. ECT f ILTEi should be used in the taking of every roll of home movie film. TF you pride yourself in taking good movies think a moment how you might ■*■ have used these filters on your last few rolls: SCHEIBE FOG FILTER: For moving scenes used as background for double printed title. Creates perfect fog, or smoke scenes from clear daylight; SCHEIBE DIFFUSING SCREEN: Gives diffused or softened effect. Soft characterization in closeups; "mystery element;" SCHEIBE GRADUATED FILTERS: Absolute night scenes taken in daytime. Sunset used for moonrise; SCHEIBE DIFFUSING IRIS: Has clear-glass center circle for main object or close-up in sharp detail, leaving balance of scene diffused; SCHEIBE WHITE IRIS: Clear glass center vignetting to white edges. For spotlight effect to accentuate point of interest; SCHEIBE GRADUATED IRIS: Spotlight effect vignetting to black at edges. For forceful positive accentuation. Now pick the ones that attract you most, get them and use them! tW \t& HOLDEJ? $27.50 We expect in a very short time to have filled all orders received up to but not including October Fifteenth. The Filter Holder like the dissolve clamps over any lens on any camera in an instant. Effect Filters simply slide into place as d'y cycz you want them 5.JU Ramstein Optochromes (Optical <-/-! <~y e?s\ glass), set of four r • -'v CINEW Sole distributors for Scheibe Filters to fit the Dissolve *rif Mrr«iiPir< gin DESIGNERS AND MANUFACTURERS "You describe it—We'll design it 106 WE ST 46 ™ ST.TN.yC PAN? r Classified Advertisements EQUIPMENT FOR SALE TYPE G DeVRY PROJECTOR, complete with Carrying Case; brand new. Also 30x40 DeVry Rollable Screen. Will ac- cept any reasonable offer for this equip- ment which is new. Carl K. Frey, 247 Genesee Street, Utica, N. Y. SPECIALS— 6 in. /4.5 Dallmeyer Telephoto for Filmo or Victor, 145.00; 1 in. /1.5 Wollensak Velostigmat for Filmo or Victor, §35.00; Eyemo 100 ft. standard film auto- matic with /2.5 Cooke and case, $185.00; 50 ft. standard film hand driven lea M. P. camera /3.5 Carl Zeiss lens, one magazine. $20.00. Willoughbys, 110 W. 32nd St., N. Y. KODASCOPE, MODEL B, complete with case, extra lamp, splicing outfit, oiler, two reels, etc. Has filter and neutral density attachment for showing Kodacolor. List $300.00; sell $195.00; brand new; act quickly. Howard Hite, 95 East Baltimore, Detroit, Mich. SEVERAL USED BELL & HOWELL PROJECTORS in exceptionally good condition, $90.00 up. Herbert & Huesgen Company. 18 East 42nd Street, New York City. BELL & HOWELL FILMO. complete with special pig skin case, 3%" T.-H.-C. tele- photo f.4.5 lens; has run only 34 reels. Filmo projector with case, variable resist- ance and geared rewind; also a lot of other 16 mm. material. Am changing from 16 mm. to 35 mm. Floyd L. Vander- poel, Litchfield, Conn. BELL & HOWELL PROJECTOR, fitted with 45-50 condenser and extra one-inch lens; used twice. Model B Cine-Kodak f.3.5, with carrying case; in perfect con- dition; best offer takes the outfit. Carl K. Frey. 247 Genesee Street, Utica, N. Y. FILMS FOR SALE WISH TO SELL the complete War Film "America Goes Over," in perfect condi- tion. Make us an offer. Carl K. Frey, 247 Genesee Street, Utica, N. Y. MOVIES of Yellowstone's Newest Giant Geyser; 100 feet, 16 mm., $7.50; also available in 35 mm. Scientific Recreation, Inc., 6451 Vk Santa Monica Blvd., Los Angeles, California. TRADING OFFERS CASH for amateur or professional cine apparatus. Send full description. Old apparatus taken in exchange. Bass Camera Company, 179 W. Madison Street, Chicago. © TITLES H EltE.s — Complete editing and titling ] YESTLR-DAYt service. (16 mm. or stand- ard.) Cinematography. CLARK CINE-SERVICE | | 2540 Park Ave. CAdillac 5260 DETROIT, MICH. See AMERICA First AUTO CAMPING TOUR All thru the West 12 — 400 ft. reels 16 mm. Film $30.00 PER REEL, POSTPAID Special price on complete set. Descriptive catalog on request ZENITH CINEMA SERVICE 5011 N. Sawyer Ave., Chicago, 111 -739 \W% I Hill K !«»**. Film Reels of Travel Edited and Titled by Burton Holmes $7.50 per 100 ft. Reel 32 — Rolling into Rio 33 — The Great Cataracts of Iguassu 34 — Kauai — The Garden Island of Hawaii 35 — Surfing — The Famous Sport of Waikiki 36 — Hawaiian Shores 37 — Paris from a Motor 38 — Nine Glories of Paris 39 — A Trip on the Seine 40 — The "Great Waters" of Versailles 41 — Paris Markets 42 — Cafe Life in Paris 43— The New York Way Called Broad 44 — Fifth Avenue and the Forties 45 — Canals and Streets of Amsterdam 46 — Diamond Cutters of Amsterdam 47 — Going to Volendam 48 — The Cheese Market of Alkmaar 49 — Fjords of Norway 50 — Yosemite Vistas 51 — Waterfalls of the Yosemite 52 — Reykjavik, Capital of Iceland 53 — Down the Danube 54 — The Lake of Lucerne 55— Alpine Vistas from the Zugspitze 56 — Picturesque Salzburg 57 — Up-to-date Alpinism 58 — Glimpses of Vienna 59 — A Cloud-Land Fantasy 60— The City of Algiers 61 — Teak Logging with Elephants 62 — Canals of Venice 63 — Stones of Venice 64 — Two Ends of a Rope 65 — Cocoons to Kimono 66 — The Damascus Gate 67 — Crossing the Equator 68 — Deck Sports in the Celebes Sea 69 — The Gorge of Pagsanjan 70 — Alexandria 71 — Real Streets of Cairo 72 — Bazaars of Cairo 73 — Suburbs of Cairo 74 — The Road to the Pyramids 75 — Calling on the Sphinx 76 — The Pyramids 77— The Nile Bridge 78— The Upper Nile 79 — Mecca Pilgrimage 80— Estes Park, Colorado 81 — Rocky Mountain National Park 82 — Yellowstone Park Revisited See Your Dealer or Send for Complete Catalog The Burton Holmes Lectures 7510 N. Ashland, Chicago No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. Distribution HPHE Universal Screen Company, ■*■ manufacturers of the Ray-Flex beaded projection screens, announce that the DeVry Corporation of Chi- cago, Illinois, will in future handle practically their entire output. Exposure Meter HT'HIS department has recently had ■*■ the opportunity of testing the Milner Cinemeter manufactured by G. M. Milner, San Francisco, Cali- fornia, and has found it accurate in its indication of the proper dia- phragm stop to use and a simple, efficient means for obtaining correct exposure of a scene. Its operation, which is simplicity itself, consists of holding one end of the meter toward the light falling on a subject and by rotating a dial varying shades of red on this dial are matched with a standard red shade directly above on the meter. When the shades match, a direct reading is made for varying stops. Clouds and distant sea scenes, open landscapes, average shots, 6 foot close-ups, title work and work with a filter are all indicated, a di- rect reading giving the proper stop to be used with these subjects. The meter is small and compact, measur- ing one and three-eighths inches in diameter and fits easily in the vest pocket. Injunction Notice ACCORDING to the Law Journal of October 4th, the Drem Prod- ucts Corporation, manufacturers of exposure meters, have been granted an injunction, signed by Judge Henry W. Goddard, United States District Judge, against the firm of Bernard Ropfen & Company, importers of the Lios Actinometer, enjoining this firm from infringing on Reissue U. S. Patent Number 16879 held by the Drem Products Corporation and covering their exposure meters Drem- ophot, Cinophot and Justophot. The injunction prevents infringement on the above patent in any manner and in particular by continuing to sell or handle the Lios Actinometer in any way. PHOTOPLAYFARE (Continued from page 702) tells a worth-while tale adequately and honestly. Unfortunately for the fullest success of "Stark Love" the milieu is so unfamiliar that the audi- ence shares a continually divided in- terest between characters and set- ting. The director could have handled his theme as Flaherty did "Moana" and have kept the drama im- personal. Treating it personally, as he did, it is impossible to build up The Amateur Cinema League, Inc. and WO VIE WA1LEKS will open a Classified Adver- tising Club on Thursday, November First, Nineteen Hundred and Twenty-eight, the membership of which will be closely restricted to those having equipment, films, or trading opportuni- ties for the amateur cine- matographer, or who wish to secure equipment, films, or trading opportunities. For the idea we are much indebted to the Dinner Club of New York, but we can- not emulate that organiza- tion so far as to offer oppor- tunities for luncheons, teas and bridge — unless the "bridge" be the point of contact we offer between amateur and amateur, or amateur and dealer — tolls, ten cents a word and twenty passenger-words as a mini- mum to cross. No . . . No . . . not at all — no restrictions as to number received into the club. Simply apply for reserva- tions to WO VIE WA1LERS 105 West 40th Street New York, N. Y. NO BLACK BALLS . . . ... IF YOU QUALIFY 740 0% ■■ IHAKERS enough audience knowledge of the background — so strange are the mountain people of Tennessee to the modern American — to make it possi- ble for the beholders to fix their chief attention on the actors in the story. There are so many fascinating bits of local color, so many incidental characters over which we should like to pause for reflection that we feel rushed away from our enjoyment of the unusual when we are asked to fol- low the very honest and sincere tale of the chief characters. On the whole, Flaherty's method is sounder, al- though it lacks box-office value. Both he and Browne have contributed to the small number of racial and geo- graphical film epics, such as "Grass" and "Chang." These films are not en- tirely ethnological documents like the Smithsonian "Pygmies" or Haeseler's Berber study, neither are they com- fortable dramas. They have a distinct place in the film world and it is hoped that the supply will increase rather than diminish. CRITICAL FOCUSING (Continued from page 703) it illuminates his face. Against a background black by contrast the face stands out alone, well illus- trating the effectiveness of spot lighting. Symbolism: When the wife hiding from her husband's vengeance is shown climbing up the stairs of a rooming house her terror is conveyed by a distortion of the set representing the flight of stairs. The scene is shot from the head of the flight and they appear very long with the bottom in distant perspective. Although ama- teurs would find the construction of this set difficult, the general idea of showing a set as it would appear to a character with a given emotional preoccupation is open to wide ama- teur experimentation. After shooting her husband, the wife sees a shadow of what appears to be a gallows noose on the wall. The shadow is cast by an electric light cord tied by the husband. Here symbolism is motivated by one of the characters in the film. Moving Camera: When the wife, making her escape, falls from the broken ladder the camera appears to accompany her falling body in a con- tinuous closeup almost to the ground. Although in this case the effect was probably secured by the upward movement of the background past a stationary camera focused in a close- up on a stationary body suspended on fine wires, amateurs can secure similar illusions by skillful cutting of a series of closeups made, for ex- ample, by repeatedly dropping a dummy before the camera. We are pleased to announce that the "The Universal Lens" "The Universal Lens." is now available for KODACOLOR on your Filmol The first essential for Color Photography is a lens of highest correction for color. Dr. Rudolph's PLASM AT, having the fullest correction for color, is the ideal lens for KODACOLOR. In black - and - white photography the "Meyer PLASMAT renders truest color values pos- Kino-PIasmat sible; in color photography you get the F:1.5" maximum benefits from this fuller chroma- tic correction of the PLASMAT. "Meyer Kino-Plasmat F.-1.5" . fcNSfc-,. VskiiiiiiWK? _ .Hugo Meyer. \n"7'7 "CARLSBAD CAVE" Brings these marvelous caves for the first time to your screen . . .pictorially perfect. . .magnificent photographic effects. . . weird. . .unusual. 400 ft $35.00 New Cine Art Releases "JACK AND THE BEAN STALK" An exclusive Cine Art Release that will delight the grown- ups as well as the little ones. An old, old story in a very modern way. No. 180—400 ft $30.00 MAJOR HAMMOND ADVENTURE FILMS NO. 177— "BIRDS OF NORTH AMERICA" NO. 178— "FLEET WINGS" NO. 179— "NOMADS OF THE OCEAN" 100 ft. each $7.50 Christmas Films that will prove popular again this year " 'TWAS THE NIGHT BEFORE CHRISTMAS" No. 125—400 ft $30.00 "THE STORY OF SANTA CLAUS" No. 124—100 ft $7.50 CINE ART PRODUCTIONS, Inc. General Offices and Studio, 1442 Beachwood Drive, Hollywood, Calif. Eastern Branch, 311 Fifth Ave., New York 741 *4»% I llltl IC !«►_!*» Light! and More Light! from the INGENTO TWIN ARC ONLY $ 15 A fifteen dollar Twin Arc Lamp that beats them all. This fully automatic lamp will burn for forty minutes without any attention. Operates on 110-120 volts A. C. or D. G. house current. This low priced lamp repre- sents months of experimentation and testing. It is just what is needed in the photographic studio and for home portraiture. The movie man will welcome this wonderful and powerful lamp. It is a compact unit that quickly folds up in its own case and can be packed away in a small space. Size when closed 2%x4*4x7 inches and weighs only 30 ounces. Folding Wings or reflectors direct the light in the proper direction. The concave reflector in- side of the lamp assists in throwing all the light on the subject. The lamp produces a soft pure white lgiht that gets good pictures every time. The body is built of heavy gauge satin finish aluminum that will give long service. Fifteen feet of cord is supplied with each lamp. Try this lamp for better pictures. PRICES Ingento Twin Arc Lamp #15.00 Nickel plated 6 foot folding stand 2.50 Diffusing Screen 2.50 Double length white flame carbons per dozen 1.25 Double length Panchromatic car- bons per dozen 1.25 BURKE & JAMES, Inc. 223 W. MADISON STREET CHICAGO EXCHANGE YOUR 16 MM LIBRARY FILM Send any good usable film to us and receive an equally good or better one of approximately the same length in exchange. Include a list of all your pictures so you will not receive a duplicate. Indicate your preference: comedy, drama or edu' cational. Enclose ONE DOLLAR check or money order for each 100 ft. reel you send. HATTSTROM & SANDERS 702 Church St. Evanston, 111. PHOTOPLAY CONTESTANTS! To obtain artistic "professional" lighting in your exterior "shots" you must use sunlight reflectors. GAVIN REFLECTORS are same type as used in Hollywood. Per Set $12.00 Sold separately $6.00 each At your Dealer or send direct to ARTHUR E. GAVIN 214 West Acacia Glendale, Calif. TITLED FOLKS {Continued from page 705) ton, was sensitive about her weight and still more sensitive about her legs. She did not realize that the title had been intended for a shot of the Pan- theon. Still more cruel was Lula Kendig's "Here the mob took its mad pleas- ures. Now all is wrack and ruin." That was the Coliseum, and Bill had written it with no thought of Lula, who had been a bit sporty in her younger days and was still unreconciled to her mid- dle fifties. It seemed to anguished Bill that the devil himself had spliced those titles in. Not every one was a bullseye, but most shot with unerring aim, as when Tom Halsey, the town's star toper, drew "A camel can go eight days without a drink, but not when he does not have to." That was one of the gems of Bill's collection; a shot of a well in the desert with half a dozen camels tanking up for another eight-day pe- riod. But the best was saved for the last. There was just one more. It ran : "This grand old ruin has endured for cen- turies. The only woman who ever kept her mouth shut for two thousand years." That, of course, was the Sphinx, but everyone knew that Mrs. James Horton-Horton held her posi- tion as leader of Ferndale society as much by virtue of her sharp tongue as her wealth and family position. Mrs. Horton-Horton had stalked from the room before the film flick- ered through to leave the screen white to dimly illuminate the red faces of the victims and the smiles of the im- mune. Disregarding Sam's urge to "Run her again, Bill. The Rialto never had anything half as funny." Bill made a little speech to explain how it all hap- pened and to express regret and apol- ogies. But if Bill talked for the next ten years, he would never convince the crowd. The hits were too happily pat to have been the result of acci- dent. Mrs. Horton-Horton even con- tended that Bill had made up the travel reel merely to have an excuse for his insults, and Lula Kendig vis- ited four different lawyers before she was finally convinced she could not sue for libel. If you are not interested in Bill's camera — at your own price — how about Bill's house? But you'll have to see William B. Crone about that. He bought it in at the foreclosure sale. Bill insists he was going to move back to the city anyhow. Nothing in these small towns. Just the same he longs to sneak quietly back and catch Sam Crone. He's likely to do it yet. Now! Mrs. J. Potter Pancake, don't look so cross. . . . The temptation to monopolize your Filmo 75 . . . is irresistible. Filmo 75 . . . newest of the Bell & Howell Automatic Movie Cameras . . . comes in choice of colors . . . as smart as Paris . . . and as precise as a micrometer. The Filmo 75 will make for you the sharpest . . . most brilliant motion pictures you ever saw on 16mm. film. Surprisingly efficient. Bass will take your old still or movie in trade. 66 page Catalog free . . . Write. Bass Camera Company 179 W. MADISON STREET CHICAGO, ILL. "Filmo Headquarters for Tourists" KEEP IT Your film cement in its original formula with THE FILM GEMENTER An all metallic, nickel plated, long last' ing fountain brush which seals itself immediately after use. NO MORE sticky corks and dried up cement. Moderately priced at $1.00 each At your dealer or postpaid direct. HENRY COUILLARD 449 S. Hill St. Los Angeles, Calif. 742 A H ■ : R S THE CLINIC (Continued from page 707) 9. Name one cause for buckling of film in a camera. 10. What kind of film is 16 mm. film made from, nitrate or acetate? 11. Are there such things as mov- ing pictures? 12. What makes us believe that pic- tures move on the screen? 13. What constitutes the best clean- er for camera and projector lenses? 14. Should chemicals be used in cl eaning lenses 9 15. Which side of the film should face the lens in a camera, the dull or shiny side? 16. Is a tripod necessary when us- ing a hand-driven camera? 17. Are titles best made on nega- tive or positive film? 18. What are perforations? 19. What is the usual shutter open- ing of the average amateur cine cam- era? 20. With the camera operating at normal speed, 180 degree shutter be- ing used, what exposure does the film receive ? 21. May pyro be used successfully in developing motion picture film? 22. What is a Cinophot? 23. What is a blue glass? 24. How many pictures are ex- posed in a second when the camera is operating at normal speed? 25. In making slow-motion pic- tures, is the camera operated faster or slower? 26. How may clouds be obtained in a scene? 27. What is a talkie? 28. What is the focal length of the lenses usually supplied on 16 mm. cameras ? 29. What is meant by multiple ex- posure? 30. What duty does the intermittent movement perform in either the cam- era or projector? 31. How are standard 35 mm. films reduced to 16 mm. films? 32. Name the two general types of printing machines. 33. What is halation? 34. What is a graduated filter? 35. What are the names of the big five in professional production cir- cles? 36. What three cameras are used almost exclusively in professional studios? 37. What do the letters A. S. C. stand for? Doris Dawson First National Star, says "ARROW BEAD SCREENS GIVE BETTER PICTURES" ARROW BEAD PORTABLE MOTION PICTURE SCREENS give Better Results to your own movies At Your Cine-Camera Dealer's ARROW SCREEN COMPANY 6725-55 Santa Monica Blvd. Hollywood, California WILLOUGHBYS, 110 W. 32nd Street, Greater New York Distributors When the Days are Short . . . and the shadows of night fall fast is the time when speed in a lens is imperative. With your camera equipped with the Wol- lensak Cine-Velostigmat fl.5 you can con- tinue the pleasure of movie making during the dull, dreary winter with the same success that you enjoyed in the sunny summertime. The Cine-Velostigmat is made in mountings to fit the Filmo 70 and 75, Victor, Eyemo, Cine-Kodak Model B /1.9 and other 16 mm. and 35 mm. movie cameras. Send for our complete movie accessory catalog. WOLLE\§Ali OPTICAL CO. 990 Hudson Ave. Rochester, N LENSES AND SHUTTERS for studio and commercial use. Whether your needs are ama- teur or professional, we have lenses for every purpose. Send for a catalog. 743 WOVEIMIBER l«»J«» OERZ &'■■': TF your choice is Victor, you are attracted by ultra-speed, unique features and quality construction which, being also the outstanding factors of Goerz Lenses, will naturally make yours a purchase of: a Victor Camera with Goerz Cinegor (Series B) /1.5 — a special ultra-speed lens which sacrifices none of the quality per- formance which has made the Goerz Cine- gor group famous — Camera and Lens, $165. a Victor Camera with Goerz Wide Angle Hypar /2.7 — the lens which gives one-third greater field of vision at the close quarters of interiors, narrow streets, sports side lines and the like — Camera and Lens, $160. All other Goerz Cine Lenses can be fit- ted to the Victor. i All Goerz Lenses may be used interchangeably Filmo, Victor and Ci Kodak /1.9 be** .'" u me t- ,v(i< .':\^x^ % CINE CAMERA By special arrangement with the Wictor Animatograph Co. we are now supply- ing the Victor Camera with Goerz Lenses, through dealers or direct. For details and literature ask your dealer or write: G. P. GOERZ AMERICAN OPTICAL CO. Manufacturers of lenses and precision instruments to aid cine amateurs 317 EAST 34th STREET I NEW YORK CITY r ^ Color All Your Movies USE KOLORAY WITH YOUR REGULAR FILM After you have used the new Kodacolor film your plain black and white pictures will seem lacking in character unless you also add color to them with Koloray. Koloray is the successful light filter which you can attach to your 16mm projector in 30 seconds and which gives pictures, made on regular film, startling new beauty. With Koloray, for example; you have the shades of amber, blue, green and red, and also two-color combina- tions, so you can produce the effects of moonlight and sunset. You can show the greens of the ocean or for- est with a sunset sky; or the soft ambers of the woodland against the blue sky of a perfect day. Ask your dealer to demonstrate and you will agree that the $7.50 spent for a Koloray is a wonderful investment. If you order by mail be sure to specify the kind and model of your projector. Descriptive literature on request. BECKLEY and CHURCH, INC. Cutler Building - Rochester, N. Y. Dealers — Use a Koloray on your dem- onstrating projector — It pays. J The illustration shows KOLORAY attached to a Model A, Kodascope and a Filmo Projector. KOLORAY is made for Kodascope, Models A, B and C, Filmo and De Vry 16 mm. Projectors. It can be attached in 30 seconds. No machine work or altera' tion needed. K OLORA "Professional color effects for home movies" Y 38. Is equipment available where- by the amateur may finish his own films at home? 39. What does hypersensitizing mean? 40. Name three of the six national newsreels in America? — American Photography. ANSWERS TO QUESTIONS 1. 16. 2. 40. 3. Fox-Case Movietone, Vitaphone and Phonofilm. 4. Because there are but 16 pictures per foot of standard film, and 40 with 16 mm. film, hence the difference in footage needed for the same number of pictures. 5. The distance between the projection lens and the screen. 6. Acetate. 7. No. 8. Orthochromatic film is sensitive mainly to blue and violet light, while panchromatic film is sensitive to practically all the colors. 9. Faulty threading of the film in the cam- era gate or sprockets. 10. Acetate. 11. No, it is merely an optical illusion. 12. Persistence of vision. 13. Japanese lens cleaning tissue. 14. No. Dull or emulsion side should face the 15 lens. 16. 17. Yes. Positive film. 18. The holes running along the sides of the film. 19. 180 degrees. 20. About one-thirty-second of a second with the shutter open at 180 degrees. 21. Yes, but it is not commonly used. 22. An exposure meter. 23. A visual or monotone filter. 24. 16. 25. Faster. 26. By using a filter. 27. Talking picture. 28. 25 mm. or one inch. 29. Exposing the same strip of film two or more times. 30. It jerks the film down before the lens, one frame at a time. 31. By optical printing machines. 32. Step and continuous. 33. Overexposure on certain portions of the picture. 34. A filter that is clear glass at one end and gradually deepens in color at the other end. 35. Famous-Paramount-Lasky, Universal, Metro-Goldwyn-Mayer, F. B. O., and Fox. 36. Akeley, Bell & Howell, and Mitchell. 37. American Society of Cinematogra- phers. 38. Yes. 39. Rendering the emulsion of the film more sensitive. 40. Paramount, Pathe, M-G-M (Metro- Goldwyn-Mayer). The other three consist of Fox, Kinograms and International. Karl Barleben in American Photography. Easy Movie Titles THE amateur cinematographer generally sticks close to straight sub-titles, since his technique is more or less limited and the small camera does not permit much trick work. Usually he contents himself with double exposures and art slides. Here, however, are a couple of easy methods, within the scope of anyone who can make film good enough to be worth a title. 744 MOVIE H/IKERS Trick titles should not be used for serious plays or scenes unless they can be made to enhance the effect of the scene, but now and then some light subject will work up well with a little different title. Perhaps you have seen the title which gradually takes form, apparently by itself. Much of this work is done with a stop-camera, but here is a plan which uses only straight turning. It requires only a slide of proper proportions, a soft brush and a little lampblack. Working on glass, you make your slide by any method you elect. It may be drawn with a fine pen, lettered in with pencil on the mat surface of a bleached dry plate, or scratched through a thin coating of opaque if you desire a white letter on a dark ground. You will need a frame for the glass, backed by a sheet of white cardboard or silver paper and set at an angle of about 45 degrees, to serve as a reflector. Your slide is made so that the glass side is away from the reflector. Before you set the slide into the frame you smoke the clear glass side. This can be done conveniently by setting fire to a spoonful of gasoline in a metal container and holding the glass in the smoke so that it is evenly and completely covered. A little prac- tice with a sheet of clear glass will enable you to catch the trick. The glass should be covered so that it presents a perfectly black surface. Start your camera and at the same time brush off the soot. Using a fine brush you can clear one letter at a time, or you can use a heavier brush and clear in a second or two, or you can wipe the entire surface at once. Each will give an effect. By the first method the title will come up a letter at a time. By the second a larger sur- face is uncovered. By the last the title seems to spring onto the screen. Another simple trick causes the let- ters to spring in from the four sides and arrange themselves into a neat title. This is done with the title set up on a flat surface and the camera held directly above. By setting the title upside down you do not have to reverse the motion of the film. This is best done with white let- ters on a dead-black background, preferably lustreless velvet. Each let- ter is fastened to a thread, or about one-fourth of the letters may be fas- tened to one long thread, spacing them loosely and making sure that the surplus thread is flat against the background. Start the camera and run down the usual footage; then pull the threads until the letters are all clear of the camera field. As this is made in reverse, the effect will be that of letters sliding into place. — Epes W. Sargent. CARL ZEISS CINE LENSES For standard and 16 mm movie cameras. Zeiss Tessar f2.7 and f3.5 Tele-Tessar f6.3 Finders Filters Sun-shades CARL ZEISS, INC. 485 Fifth Ave., New York 728 So. Hill St., Los Angeles A "Professional" Screen gives "Professional" Results. BEADED SILVER And for that reason, the Minusa Box Portable Screens are more in demand for home movie use than all others. They are scientifically designed and built exactly as are the thousands of Minusa screens in thousands of the largest theatres all over the world — and yet they cost no more than the ordinary screen. Furnished for home use in more than fifty styles and sizes. At your dealers — or write MINUSA CINE SCREEN COMPANY BOMONT AT MORGAN SAINT LOUIS For seventeen years — the world's largest producers of Motion Picture Screens. 745 NOVEMBER I92S A New Idea for Christmas "It occurred to me that a great many of my friends who do not now have Cine-Kodaks will eventually have them. Most of these friends are" young people with children. All of them like to have pictures taken of their children. In- asmuch as the children are growing older every dav, the films naturally cannot be replaced.' I, therefore, conceived the idea of both pleasing my friends and at the same time, relieving myself of the worr of what to give these friends for Christmas "At various times throughout the year I take pictures of my friends children. In December I am going to take all these various strips, splice them together pu in dates and titles, and give the roll to the parents as a Christmas gift. I feel sure that ft will make a hit. When they become owners of projectors in the future, they will alwaysP have these very interesting films to look at." Clipp'md courtesy of "Cite Kodak A/ews Specializing in editing and titling pic- tures of this nature, we are able to get all that is natural, lovable and sweet into these intimate reels. And the cost is surprisingly reasonable. Phone, write or stop in to see us so that we can carry some of your burden this Christmas. KODASCOPE Editing and Titling Service, Inc. Room 917 350 Madison Avenue NewYork, N. Y. Two Popular Film Libraries to supply you with reels of unusual merit ON these late fall evenings you turn to home movies for enter- tainment. But how enjoyable these movie parties are depends on the pictures you show. To be sure these evenings will be thoroughly enjoyed, make use of our film rental facilities. Our own store library reels and the Kodascope Library films which you may obtain through us comprise a vastly wide range of pictures of every type. Drama, comedy, animated cartoons, travel, history and many other sub- jects are well represented here. Make your next home movie party a "huge success." Write for a list of our latest releases. Or better still, drop in and look them over. Eastman Kodak Stores, Inc. TWO STORES Kodak Corner . . . Madison at 45th 235 West 23rd, near 7th Ave. New York City. Filter the Light ' I 'HE cloud picture on this page ■*- was made at 3:45 P. M. without the aid of a filter, and shows what effect can be obtained when lighting conditions are appropriate and an ex- posure is given that will get the de- sired effect. When using red filters similar effects can be obtained at any time, providing the subject, whether it be sky, sea or landscape, is bathed in brilliant sunlight. For daytime cloud effects in clear atmosphere the K-3 or any good 4X filter with pan- chromatic film serves admirably. When the air is hazy a Wratten 23-A will cut through the haze and give the desired results. For night effects, shoot the scenes in brilliant sunlight Photograph by G FILTERED CLOUDS OhI through a Wratten F filter or a com- bination of Wratten filters, 23-A and 56. Similar effects can also be ob- tained by using the red and yellow graduated filters in which the sky por- tion of the picture is exposed through the red part of the filter and the land portion through the yellow part. These come in varying depths which give various effects to the resultant picture. Every amateur should look into the possibilities of using these filters for special effects. The pro- fessional uses them with telling re- sults and with them the amateur can do much to enhance the beauty of his films. There is little difficulty in using these special filters as little or no compensation need be made for difference in exposure as is necessary when using yellow color filters for color correction. Judgment must be exercised in picking the scene for reproduction and the quality of the existing light must be studied and learned, but, aside from this, one or two trials will show you how easy it is to get stormy sky, moonlit surf and many other interesting effects. Emergency Splicing YY/HEN showing pictures away »* from home and the film breaks, upon being asked to show that reel over again, what are you going to do about splicing it, having left the splicer tucked safely away at home? Here is a simple, efficient way to splice a film without a splicing de- vice, submitted by League member, "Tarpon Fishing Off Boca Grande" 100 feet of thrilling strug- gle with the giant Silver King! (Special introductory price of $5.50) Other subjects now available at $7.50 per hundred feet are A PACIFIC CRUISE STREETS OF LONDON A NORTH CAPE CRUISE LONDON FROM THE THAMES Travel Movie Films, Inc. 983 PARK AVENUE NEW YORK, N. Y. "16mm. Films of Merit" TITLES // better titles can be made WE MAKE THEM Hand Lettered, Illuminated, Bor- dered, Illustrated and Trick-Effects A good title dresses your picture, tells your story and makes it professional in appearance. Artistic Animated "Presentation Leaders" and "The End" Trailers We supply the Producers and Theatres WHY NOT YOU? F. A. A. DAHME, Inc. 145 W. 45th ST., N. Y. CITY 746 MOVIE >■«■«■ It *» SPEEDBOAT THRILLS Another movie packed with thrills and action. Did you ever ride 60 miles an hour in a boat? Here is your chance. 100 feet 16 mm Price $6.00 Many others on our list. FADE-IN; FADE-OUT The Simplex Fading Glass will produce this effect. Can be used on either the camera or projector. Instructions accompany each glass. Sent postpaid upon receipt of $2.00 Announcing— SNOW-WHITE The Screen Supreme No glare, no grain; a pure white surface resulting in a clear natural picture. On plain roller, picture size 18"x25". Price $5.00 Ask for prices on 16 mm. titles. Produced by ERNEST M. REYNOLDS 165 E. 191st Street Cleveland, Ohio •Photo-Filter Specialties- produce Fog Scenes « Moonlight and Night Effects iAkga/heie~-/Tncftime. Also Soft Focus and uaiious other effects, just like then matte em in Hollywood. Its easy » cjoa make -em, too. Ml tell qounoca ■» -° SndarMV ty AMERICAN SOCIETY" OF CINEMATOGRA J cAsfe youp dealcp. op ujrite to GEORGE H. SCI-IEIBE PHOTO-FILTER SPECIALIST Ramstein-Optochrom (Optical Glass) SIMPLEX FILTER SETS to fit all movie cameras. Made of genuine Ram- stein Optochrome optical glass (no gelatine) ground and polished as the finest lens. Round type for f3. 5 lenses on Victor and Filmo: Complete set of four fil- ters in density of l'/2 to 8 times, in individual holders and neat pocket case - $7.50 For other lenses, $5.80 and upward. For new filter literature on graduated and simplex filters see your dealer or write Sole U. S. Agent BURLEIGH BROOKS 136 Liberty Street New York THE GILLETTE FILM LIBRARY Contains over four hundred reels of COMEDIES, CARTOONS, FEATURES, TRAVELOGS and EDUCATIONALS Many of them are priced as low as SEVENTY-FIVE CENTS No red tape. One reel or an even- ing's entertainment at a moment's notice. Gillette \ Camera / -?■ / .Stores, / William D. Gibson of Lakeside, Michigan. Figure I shows the end of the film to be scraped. Cut the film with a razor blade or scissors as indicated by the dotted line. Figure II shows how to scrape the emulsion. Scrape only to the frame line. Figure III shows how to cut the end of the film that is to be lapped over the scraped piece. Cut right on the frame line. All that now remains undone is to apply the film cement to the scraped end, lap the other end over this by matching the frame lines, exert pres- sure for a few second and the splice is finished, as shown in Figure IV. RAIiESTOttVfNfEn tllM -3 Direct Titles "T HAVE built a title board for my ■*■ camera and for illumination use two 250 watt, tubular bulbs placed within regular reading lamp brass shades or reflectors. I place the lights on either side of the title card, about nine or ten inches from the card and two or three inches ahead of the cam- era lens. With this equipment in daytime, five or six feet from a win- dow, I find an exposure of / 5.5 at sixteen pictures per second gives a good film when photographing white cards with black letters, which are in turn projected as white letters on a black card. Using positive 16 mm. film and the camera operating at a speed of eight pictures per second (half speed), I use aperture / 8 to get a well-exposed finished title of white letters from a black lettered original title card. In order to effect a fade-in from abso- lute black I start my title making with the lens wide open (/ 3.5) which greatly over-exposes my title card which appears black when developed. At eight pictures a second, diaphragm of / 3.5, I shoot about a foot of film, then start to slowly close the dia- phragm to / 8 where it remains until I judge the title card has been photo- graphed long enough for easy read- ing. The fade-out is obtained by re- versing the procedure on the last foot of film, slowly opening the lens to / 3.5." — Arthur C. Flores. ! OR ICWEUS TO ON I i fCOT f RON THE MM This Newest Screen is Amazingly Easy to Use YOU'LL be surprised at the difference. There is no more moving, and shifting, and piling up books and all those other trying inconveniences, when you use a new Ray-Flex screen. It's amazingly simple to set up, it is easily adjusted to the desired height, it stands on its own feet independent of walls, tables, chairs, etc., and best of all it is col' lapsible and can be set up or taken down in less than fifteen seconds. Investigate This New Marvel Screen Place your projector right where you want it. You can quickly adjust the Ray-Flex screen to any desired posi' tion or height. Seven feet from the floor if you want it, enabling you to shoot over the heads of your audience, who can sit comfortably where they please. It abso- lutely eliminates any annoyance or waste of time. See the Wonderful Projection Surface You probably already know the advantages of a beaded screen. The Ray-Flex has a beaded surface that acknowl- adges no peer. The tiny round beads are imbedded into a perfect diffusing surface allowing you to view the pic ture from wide angles without distortion. The ability of the surface to produce excellent light quality and effect wonderful character detail, has been pronounced unequalled in beaded surfaces. Observe how carefully and accurately the beads are forced into the practically untearable specially prepared fabric. See how easily the surface is cleaned; notice the pliability of the projection surface, and remember that Ray-Flex costs no more than ordinary screens. The Ray-Flex beaded screen is completely protected with a metal container, that takes up less room than a golf bag. Model B has a projection surface of 30 in. x 40 in. Model A has a projection surface of 22 in. x 30 in. Write Today for Free Booklet Fill in your name and address on the coupon below. Send it to us today. We'll send you a booklet that gives complete information together with the name of your nearest dealer. Manufactured by UNIVERSAL SCREEN COMPANY Nappanee, Indiana Distributed by DE VRY CORPORATION 1111 Center St., Chicago, III. DeVRY corporation, 1111 Center St., Chicago, Dept. 11MM. Without obligation to me, send the name of the dealer nearest me handling the Ray-Flex. Also your FREE booklet. T^dme Address City 747 ■ OVEMBER !«»_»«, You will find Movie Makers Magazine and a Progressive Dealer at each of the following addresses* Visit them! CALIFORNIA Berkeley: Berkeley Commercial Photo Co., 2515 Bancroft Way. Fresno: Potter Drug Co., 1112 Fulton St. Hollywood: Fowler Studios, 1108 N. Lillian Way Hollywood Movie Supply Co., 6058 Sunset Blvd. Hollywood Music Co., Camera Dept., 6019 Holly- wood Blvd. Long Beach: Winstead Bros., Inc., 244 Pine St. Los Angeles: Eastman Kodak Stores, Inc., 643 S. Hill St. Roland J. Giroux, 223 W. Third St. John R. Gordon, 1129 S. Mariposa Ave. T. Iwata Art Store, 256 E. First St. Leavitt Cine Picture Co., 3150 Wilshire Blvd. Earl V. Lewis Co., 226 W. 4th St. Marshutz Optical Co., 518 W. 6th St. B. B. Nichols, 731 S. Hope St. Schwabacher-Frey Stationery Co., 734 S. Bdwy. X-Ray Supply Corp., 3287 Wilshire Blvd. Oakland: Davies. 380-14th St. Pasadena: Flag Studio, 59 E. Colorado St. F. W. Reed Co., 176 E. Colorado St. Pomona: Frashers, Inc., 158 E. Second St. Riverside: F. W. Twogood, 700 Main St. San Diego: Bunnell Photo Shop, 414 E St. Harold E. Lutes, 958 Fifth Ave. San Francisco: Eastman Kodak Stores, Inc., 545 Market St. Hirsch y Kaye, 239 Grant Ave. Kahn & Co., 54 Geary St. Leavitt Cine Picture Co., 564 Market St. San Francisco Camera Exchange, 88 Third St. Schwabacher-Frey Stationery Co., 735 Market St. Trainer-Parsons Optical Co., 228 Post St. San Jose: Webb's Photo Supply Store, 94 S. First St. Santa Ana: Forman-Gilbert Pictures Co., 1428 W. Fifth St. Santa Barbara: J. Walter Collinge, 8 E. Carillo. Whittier: Maxwell C. Peel, 226 E. Philadelphia COLORADO Denver: Eastman Kodak Stores, Inc., 626-16 St. Ford Optical Co., 1029-16 St. Haanstad's Camera Shop, 404-16 St. CONNECTICUT Bridgeport: Fritz tV Hawley, Inc., 1030 Main St. Harvey ii Lewis Co., 1148 Main St. Greenwich: Gayle A. Foster, 9 Perryridge Rd. Mead Stationery Co., 249 Greenwich Ave. Hartford: H. F. Dunn Motion Picture Co., 57 Farm- ington Ave. Harvey ii Lewis Co., 852 Main St. Watkins Bros., Inc., 241 Asylum St. New Britain: Harvey y Lewis Co., 79 W. Main St. New Haven: Fritz 6? Hawley, Inc., 816 Chapel St. Harvey 6? Lewis Co., 849 Chapel St. Reed Film Corp., 126 Meadow St. Stamford: Thamer, Inc., 87 Atlantic St. Waterbury: Curtis Art Co., 25-29 W. Main St. DELAWARE Wilmington: Butler's, Inc., 415 Market St. Frost Bros., DuPont Bldg. DISTRICT OF COLUMBIA Washington: Cinema Supply Co., Inc., 804 Eleventh St. Columbia Photo Supply Co., Inc., 1424 New York Ave., N.W. Eastman Kodak Stores, Inc., 607-14th St., N.W. Fuller y d'Albert, Inc., 815-10th St., N. W. FLORIDA Jacksonville: H. ii W. B. Drew Co. Paramount Cine Service, 32 W. Adams St. Lake Wales: Morse's Photo Service, Rhodesbilt Arcade. Miami: Miami Photo Supply Co., 36 W. Flagler Street. Red Cross Pharmacy, 51 E. Flagler St. St. Petersburg: Robison's Camera Shop, 11 5- 3rd St., N. Tampa: Tampa Photo y Art Supply Co., 709-11 Twiggs St. GEORGIA Atlanta: Eastman Kodak Stores, Inc., 183 Peachtree St. Rome: Macon A. Brock, 231 Broad St. IDAHO Boise: Ballou-Latimer Co., Idaho at 9th Sts. ILLINOIS •Chicago: Bass Camera Co., 179 W. Madison St. Aimer Coe y Co., 78 E. Jackson Blvd. Aimer Coe ii Co.. 18 S. LaSalle St. Aimer Coe y Co., 105 N. Wabash Ave. Central Camera Co., 112 S. Wabash Ave. Eastman Kodak Stores Co., 133 N. Wabash Ave. Fair, The, Dept. 93, State, Adams y Dearborn Sts. * Fischer's Camera Service, Rm. 202, 154 E. Erie St. Ideal Pictures Corp., 26 E. 8th St. W. W. Kimball Co., 306 S. Wabash Ave. Leonard Lynn Co., 302 S. Wells St. Lyon y Healy, Jackson Blvd. y Wabash Ave. Seamans, Photo Finisher, 7052 Jeffery Ave. Stanley- Warren Co., 908 Irving Park Blvd. Von Lengerke y Antoine, 3 3 S. Wabash Ave. Watry y Heidkamp, 17 W. Randolph St. Decatur: Haines is Essick Co., 121-128 E. William St. Evanston: Aimer Coe y Co., 1645 Orrington Ave. * Hattstrom & Sanders, 702 Church St. Freeport: Hartman's Camera Shop, 17 S. Chicago Ave. . ,| Galesburg: Illinois Camera Shop, 84 S. Prairie St. Rockford: Johnson Photo Shop, 316 E. State St. Springfield: Camera Shop, 320 S. 5th St. Sterling: Ray Hart, 8-10 E. 4th St. INDIANA Anderson: Reed Drug Co., 37 W. 11th St. Evansville: Smith ii Butterfield Co., 310 Main St. Fort Wayne: Biechler-Howard Co., 112 W. Wayne St. Rogers Optical Co., 824 Calhoun St. Frankfort: Pathex Agency, 206 E. Walnut St. Indianapolis: L. S. Ayres y Co., Camera Dept., 1 W. Washington St. H. Lieber Co., 24 W. Washington St. South Bend: Ault Camera Shop, 122 S. Main St. Ault Camera Shop, 309 S. Michigan St. IOWA Cedar Rapids: Camera Shop, 220 Third Ave. Davenport: Eastman Kodak Stores, Inc., 318 Brady St. Des Moines: Eastman Kodak Stores, Inc., 808 Locust St. Grinnell: Child Art Rooms, Cine Dept. Iowa City: Rexall y Kodak Store, 124 E. College St. Sioux City: Eastman Kodak Stores, Inc., 608 Pierce St. KANSAS Topeka: Hall Stationery Co., 623 Kansas Ave. KENTUCKY Louisville: W. D. Gatchel ySons, 431 W. Walnut Street. Sutcliffe Co., 225-227 S. 4th Ave. LOUISIANA Eastman Kodak Stores, Inc., 213 310 Milam St. New Orleans Baronne St. Shreveport: Southern Cine Co., Inc MAINE Bangor: Francis A. Frawley, 104 Main St. MARYLAND Baltimore: Amateur Movie Service, 85 3 N. Eutaw St. Eastman Kodak Stores, Inc., 223 Park Ave. MASSACHUSETTS Boston: Eastman Kodak Stores, Inc., 38 Bromfield St. Ralph Harris y Co., 30 Bromfield St. Ivjr Johnson Sporting Goods Co., 155 Washing- ton St. Jordan Marsh Co. Andrew J. Lloyd Co., 300 Washington St. Montgomery-Frost Co., 40 Bromfield St. Pathescope Co. of the N. E., Inc., 260 Tremont St. Pinkham y Smith Co., 15 Bromfield St. Solatia M. Taylor Co., 56 Bromfield St. Braintree: Alves Photo Shop, Washington St. Brockton: Raymond C. Lake, 218 Main St. Lowell: Donaldson's, 77 Merrimack St. New Bedford: J. Arnold Wright, 7 S. 6th St. Pittsfield: E. J. Curtis, 397 North St. Salem: Robb Motion Picture Service, 214J-2 Essex St. Springfield: Harvey y Lewis Co., 1503 Main St. Worcester: J. C. Freeman y Co., 376 Main St. L. B. Wheaton, 368 Main St. MICHIGAN Bay City: Bay City Hdw. Co., Sporting Goods Dept., 1009-15 Saginaw St. ♦Detroit: Clark Cine-Service, 2540 Park Ave. Detroit Camera Shop, 424 Grand River, W. Eastman Kodak Stores, Inc., 1235 Washington Blvd. Fowler y Slater Co.. 156 Larned St. J. L. Hudson Co., Dept. 290. Metropolitan Motion Picture Co., 2310 Cass Ave. E. B. Meyrowitz, Inc., 1516 Washington Blvd. United Camera Stores, Inc., 14611 Jefferson Ave., E. Grand Rapids: Camera Shop, Inc., 16 Monroe Ave., N. W. Jackson: Royal Film Service, 178 Michigan Av. W. Lansing: Linn Camera. Shop, 109 S. Washington Ave. Vans Cine Service, 201 American State Bank Bldg. Muskegon: Beckquist Photo Supply House, 885 First St. Radium Photo Service, 320 W. Western Ave. Saginaw: Hesse's, Genesee at Jefferson MINNESOTA Duluth: Zimmerman Bros., 330 W. Superior St. Minneapolis: Eastman Kodak Stores, Inc., 112 S. Fifth St. E. B. Meyrowitz, Inc., 82 5 Nicollet Ave. Sly Fox Films, 49 S. 9th St. Owatonna: B. W. Johnson Gift Shop, 115 W. Bridge St. St. Paul: Co-operative Photo Supply Co., 381-3 Minnesota St. E. B. Meyrowitz, Inc., 358 St. Peter St. St. Marie Cigar y News Co., 96 E. 5th St. Zimmerman Bros., 320 Minnesota St. Winona: Van Vranken Studio, 57 W. Fourth St. MISSOURI City: Z. T. Briggs Photographic Supply 916 Grand Ave. Briggs Photographic Supply Co., 1006 Main Kansas Co., Z. T. St. Z. T. 11th Briggs Photographic Supply Co., 21 E. Hanley Photo y Radio Shop, 116 E. 10th St. St. Louis: A. S. Aloe Co., 513 Olive St. Erker Bros., 707 Olive St. Geo. D. Fisher y Co., 915 Locust St. Hyatt's Supply Co., 417 N. Broadway. M. F. Rudi Drug Co., 15 at Cass Ave. Springfield: Hurlburt Supply Co., 315 St. Louis St. NEBRASKA Hastings: Carl R. Matthiesen y Co., 713 W. 2nd St. Omaha: Eastman Kodak Stores, Inc., 419 S.- 16 St. NEW JERSEY Atlantic City: Eastman Kodak Stores, Inc., 1735-37 Boardwalk. Camden: Parrish y Read, Inc., 308 Market St. Newark: Anspach Bros., 838 Broad St. L. Bamberger ii Co. Fireman's Drug Store, Market and Broad. Schaeffer Co., 103 Halsey St. Plainfield: Mortimer's, 317 Park Ave. Trenton: Barlow's — Music, 130-132 E. State St. NEW YORK Albany: E. S. Baldwin, 32 Maiden Lane. F. E. Colwell Co., 465 Broadway Binghamton: A. S. Bump Co., 180 Washington St. Brooklyn: Geo. J. McFadden, Inc., 202 Flatbush Ave. Buffalo: J. F. Adams, Inc., 459 Washington St. Buffalo Photo Material Co., 41 Niagara St. United Projector y Film Corp., 228 Franklin St. Whinihan Bros, y Co., Inc., 746 Elmwood Ave. Corning: Ecker Drug Store, 47 E. Market St. Ithaca: Henry R. Head, 109 N. Aurora St. W. R. Tompkins, 140 E. State St. New York City: Abercrombie y Fitch, 45th y Madison Ave. American News and its Subsidiaries, 131 Varick St. J. H. Boozer, 173 E. 60th St. Brentano's, 1 W. 47th St. City Camera Co., 110 W. 42nd St. Abe Cohen's Exchange, 113 Park Row. Columbus Photo Supply, 146 Columbus Ave. * Cullen, 12 Maiden Lane. Davega, Inc., Ill E. 42nd St. Davega, Inc., 152 W. 42nd St. Devoe y Raynolds Co., Inc., 34 E. 42nd St. * Eastman Kodak Stores, Inc., Madison Ave. at 45th St. Eastman Kodak Stores, Inc., 235 W. 23rd St. H. y D. Folsom Arms Co., 314 Broadway Gall y Lembke, Inc., 7 E. 48th St. Frank Garfinkel, 141 Avenue A * Gillette Camera Stores, Inc., 117 Park Ave. Gillette Camera Stores, Inc., 16 Maiden Lane Gloeckner y Newby Co., 9 Church St. * Herbert y Huesgen Co., 18 E. 42nd St. Lowe y Farley, News Stand, Times Bldg. Lugene, Inc., 600 Madison Ave. Medo Photo Supply Corp., 323-325 W. 37th St. E. B. Meyrowitz, Inc., 520 Fifth Ave. George Murphy, Inc., 57 E. 9th St. " New York Camera Exchange, 109 Fulton St. Pickup y Brown, 41 E. 41st St. Rab Sons, 987 Sixth Ave. C. F. Ray, 296 Fifth Ave. Schoenig y Co., Inc., 8 E. 42nd St. Stumpp y Walter Co., 30 Barclay St. *Indicates dealers whose services are more fully described in our advertising columns 105 WEST 40th ST. MOVIE MAKERS, new YORK CITY $3.00 a Year (Canada $3.25, Foreign $3.50) 25 Cents a Copy (Foreign 30 Cents) 748 »■«»%■■ MAKERS H. F. Waterman, 63 Park Row. • Willoughby Camera Stores, Inc., 110 W. 32 St. Olean: Don Seele Studio, 150 N. Union St. Rochester: Marks y Fuller Co., 36 East Ave. Sibley, Lindsay y Curr Co., Camera Dept. Stamford-in-the-Catskills: E. S. Burtis. Syracuse: Clark Music Co., 416-20 So. Salina St. Utica: Edwin A. Hahn, 1 1 1 Columbia St. Watertown: Edson E. Robinson, Inc., 1 1 1 ' 1 1 3 Washington St. OHIO Akron: Dutt Drug Co., 7 E. Exchange St. Pockrandt Photo Supply Co., 16 N. Howard St. Canton: Ralph W. Young, 139 S. Cleveland Ave. Cincinnati: Ferd Wagner Co., 113 E. 5th St. Huber Art Co., 124-7th St., W. John L. Huber Camera Shop, 144 E. 4th St. L. M. Prince Co., 108 W. 4th St. Cleveland: Dodd Co., 652 Huron Rd. Eastman Kodak Stores, Inc., 1126 Euclid Ave. Escar Motion Picture Service, Inc., 12804 Su« perior Ave. Fowler y Slater Co., 806 Huron Rd. Fowler y Slater Co., 347 Euclid Ave. Fowler y Slater Co., 1915 E. 9th St. Home Movies Co., 1501-7 Superior Ave. Solomonson Optical Co., 735 Euclid Ave. Stone Film Laboratory, 8807 Hough Ave. Columbus: Capitol Camera Co., 7 E. Gay St. Columbus Photo Supply, 62 E. Gay St. Dayton: Dayton Camera Shop, 1 Third St., Arcade *Norwood: Home Movie Service Co., 2128 Cathe- dral Ave. Toledo: Franklin Print. 6? Eng. Co., 226-36 Huron St. Gross Photo Supply Co., 325 Superior St. Lawrence's, 1604 Sylvania Ave. Leo MacDonough, 1103 Detroit Ave. Youngstown: Fowler y Slater Co., 7 Wick Ave. OKLAHOMA Oklahoma City: Roach Drug Co., 110 W. Main St. Tulsa: Camera Shoppe, 519J^ Main St., S. Alvin C. Krupnick, 9 E. 6th St. OREGON Pendleton: Floyd A. Dennis. Portland: Eastman Kodak Stores, Inc., 345 Wash- ington St. J. K. Gill Co., 5th cV Stark Sts. Lipman Wolfe tf Co., Kodak Dept., Fifth, Wash- ington tV Adler Sts. PENNSYLVANIA Erie: Kelly y Green, 116 W. 11th St. Harrisburg: Maxwell H. Hite tV Son, 422 S. 13th St. Phila. Amateur Movie Corp., 132 S. 15th St. Eastman Kodak Stores, Inc., 1020 Chestnut St. Jos. C. Ferguson, Jr., 1804 Chestnut St. Strawbridge tV Clothier, Market, Eighth if Fil- bert Sts. John Wanamaker, Dept. 56. * Williams, Brown tV Earle, Inc., 918 Chestnut St. Pittsburgh: Eastman Kodak Stores, Inc., 606 Wood St. B. K. Elliott y Co., 126-6th St. Joseph Home Co., Magazine Dept. Kaufmann's Dept. Store., Dept. 62 Fifth Ave. Reading: Alexander Kagen, 641 Penn St. Wilkes-Barre: Ralph E. DeWitt, 60 W. Market St. Zwiebel-Stenger Sales Co., 203 S. Main St. RHODE ISLAND Newport: Rugen Typewriter & Kodak Shop, 295-7 Thames St. Providence: E. P. Anthony, Inc., 178 Angell St. Chas. S. Bush Co., 244-246 Weybosset St. Starkweather 6? Williams, Inc., 47 Exchange PI. TENNESSEE Chattanooga: Englerth Photo Supply Co., 722 Cherry St. Memphis: Memphis Photo Supply Co., Hotel Pea- body, 86 S. 2nd St. Nashville: G. C. Dury tV Co., 420 Union St. TEXAS El Paso: Schuhmann Photo Shop, P. O. Box 861. Ft. Worth: Chas. G. Lord Optical Co., 704 Main St. Houston: Miller Studio, 1321 Capitol Ave. Star Elec. ii Eng. Co., Inc., 613 Fannin St. San Antonio: Fox Co., 209 Alamo Plaza. E. Hertzberg Jewelry Co., Houston at St. Mary's Sts. UTAH Salt Lake City: Salt Lake Photo Supply Co., 271 Main St. Shiplers, 144 S. Main St. VERMONT Burlington: Robert T. Platka, 231 S. Prospect St. Rutland: Geo. E. Chalmers Co., Inc. VIRGINIA Norfolk: S. Galeski Optical Co., 209 Granby St. G. L. Hall Optical Co., 257 Granby St. Richmond: G. L. Hall Optical Co., 418 E. Grace St. WASHINGTON Seattle: Anderson Supply Co., Ill Cherry St. Eastman Kodak Stores, Inc., 1415-4th Ave. Lowman 6? Hanford Co., 1514 — 3rd Ave. Motion Picture Service, 903 Lloyd Bldg., Sixth Ave. and Stewart St. Spokane: Joyner Drug Co., Howard y Riverside Ave. Tacoma: Shaw Supply Co., Inc. E. W. Stewart y Co., 939 Commerce St. Yakima: Bradbury Co., 19. S. Second St. WEST VIRGINIA Wheeling: Twelfth St. Garage, 81-12th St. WISCONSIN Eau Claire: Davis Photo Art Co. Fond du Lac: Huber Bros., 36 S. Main St. Green Bay: Bethe Photo Service, 125 Main St. LaCrosse: Moen Photo Service, 313 Main St. Madison: Photoart House, 212 State St. Milwaukee: Boston Store, Wisconsin Ave. y 4th St. H. W. Brown y Co., 87 Wisconsin St. Eastman Kodak Stores, Inc., 427 Milwaukee St. Gimbel Bros., Kodak Dept., Wisconsin Ave. y W. Water St. Photoart House of Milwaukee, 220 Wells St. Waukesha: Warren S. O'Brien Commercial Studio, 353 W. Broadway. FOREIGN AUSTRALIA T^ew South Wales Sydney: Harringtons, Ltd., 386 George St. Kodak (Australasia) Pty. Ltd., 379 George St. Hew Zealand Wellington: Kodak (Australasia) Pty, 1474, G.P.O. Queensland Brisbane: Kodak (Australasia) Pty. Ltd. St. South Australia Adelaide: Kodak (Australasia) Pty. Ltd St. Tasmania Hobart: Kodak (Australasia) Pty. Ltd., beth St. Victoria Melbourne: Charles VV. Donne, 349-51 Office Place. Harringtons, Ltd., 266 Collins St. Kodak (Australasia) Pty., Ltd., 284 Collins St. Kodak (Australasia) Pty., Ltd., 161 Swanston St. Technical Journals Pty., Ltd., Temple Court, 422 Little Collins St. Western Australia Perth: Kodak (Australasia) Pty. Ltd., Hay St. Ltd., Box 250 Queen 37 Rundle , 45 Eliza- Post CANADA Alberta Calgary: Boston Hat Works, 109 Eighth Ave. British Columbia Vancouver: Eastman Kodak Stores, Ltd., 610 Gran- ville St. Film y Slide Co. of Can., Ltd., 319 Credit Foncier Bldg. Manitoba Winnipeg: Eastman Kodak Stores, Ltd., 472 Main St. Ontario Ottawa: Photographic Stores, Ltd., 65 Sparks St. Toronto: Eastman Kodak Stores, Ltd., 66 King St. T. Eaton Co., Dept. V.-6, 190 Yonge St. Film y Slide Co. of Can., 156 King St., W. Quebec Montreal: Film y Slide Co. of Can., Ltd., 104 Drummond Bldg. Gladwish y Mitchell, 147 Peel St. CHINA Shanghai: Chiyo-Yoko, P 470, Nanking Rd. DENMARK Copenhagen V: Kodak Aktieselskab, Vodroffsvej 26. DUTCH EAST INDIES Java: Kodak, Ltd., Noordwijk 38, Weltevreden ENGLAND London, S. W. I.: Westminster Photographic Ex- change, Ltd., 119, Victoria St. London. W.I.: Bell y Howell Co., Ltd., 320 Re- gent St. London, W. I.: Wallace Heaton, Ltd., 119 New Bond St. Wallace Heaton, Ltd., 47 Berkeley St., Piccaddilly. Westminster Photographic Exchange, Ltd., 62, Piccadilly. Westminster Photographic Exchange, Ltd., Ill, Oxford St. Sheffield: Wm. Mcintosh (Sheffield) Ltd., Change Alley. Sheffield Photo Co., 6 Norfolk Row (Fargate). HAWAII Honolulu: Honolulu Photo Supply Co., P. O. Box 2999 HOLLAND Amsterdam: Capi, 115 Kalverstraat. Foto Shaap y Co., Spui 8. Den Haag: Capi, 124 Noordeinde Fotohandel Ter Meer Derval, Fred. Hendriklaan, 196. Groningen: Capi, 3 Kleine Pelsterstraat Nijmegen: Capi, 13-17 Van Berchenstraat Capi, Broerstraat 48. INDIA Bombay: Hamilton Studios, Ltd., Hamilton House, Graham Rd., Ballard Estate Calcutta: Army y Navy Coop. Soc, Ltd., 41 Chowringhee St. JAPAN Kobe: Honjo y Co., 204-5 Motomachi 6-Chome Kyoto: J. Osawa y Co., Ltd., Sanjo Kobashi. Osaka: Fukada y Co., 218 Dojima Bldg. T. Uyeda, No. 4 Junkeimachi Shinsaibashi-suji, Minami-ku. Tokyo: Home Movies Library, 515 Marunouchi Bldg. MEXICO Mexico City: American Photo Supply Co., S. A., Avenida F. I., Madero. 40. Pathe Baby-Agency for Mexican Republic; Latapi Y Bert, Av. 16 de Septiembro 70, El Globo. Puebla: Casa "Hertes", Av. Reforma 109 NORWAY Oslo: J. L. Nerlien A/S, Nedre Slotsgate 13 University Book Shop PHILIPPINE ISLANDS Manila: Denniston, Inc., P. O. Box 255 REPUBLIC OF PANAMA Ancon: Specialty Shop, Box B. Panama City: Lewis Photo Service, 1 Fourth of July Ave. SCOTLAND Edinburgh: J. Lizars, 6 Shandwick PI. Glasgow: Robert Ballantine, 103 Vi St. Vincent St., Nr. Renfield St. J. Lizars, 101 Buchanan St. SPAIN Barcelona: James Casals, 82, Viladomat St. Madrid: Kodak Sociedad Anonima, Puerta del Sol 4. STRAITS SETTLEMENTS Singapore: Y. Ebata y Co., 3 3 Coleman St. SWEDEN Stockholm: A. B. Nordiska Kompaniet, Photographic Dept. SWITZERLAND Winterthur: Alb. Hoster, Marktgasse 57 Zurich: Zulauf (Vorm, Kienast li Co.), Bahn- hofstr, 61. STATEMENT OF THE OWNERSHIP, MANAGEMENT. CIRCULATION. ETC.. REQUIRED BY THE ACT OF CONGRESS OF AUGUST 24, 1912, Of MOVIE MAKEBS, published monthly at New York. N. Y.,*for October 1. 192S. State of New York, County of New York ss. Befora me, a notary public in and for the State and county aforesaid, personally appeared J. E. Carrigan, who, having been duly sworn according to law, deposes and says that he is the editor of the MOVIE MAKERS and that the following is, to the best of his knowledge and belief, a true statement of the ownership, management, etc., of the aforesaid .publication for the date shown in the above caption, required by the Act of August 24, 1912, embodied in section 411, Postal Laws and Regulations, printed on the reverse of this form, to wit : 1. That the names and addresses of the publisher, editor, managing editor, and business managers are: Publisher, Amateur Cinema League, Inc., 105 West 40th Street, New York, N. Y. : Editor, J. B. Carrigan, 105 West 40th Street, New York, N. Y. ; Managing Editor, none: Business Managers, none. 2. That the owner is: Amateur Cinema League, Inc., 105 West 40th Street, New York, N. Y. Mem- bership corporation with no capital stock. President, Hiram Percy Haxim, Capitol Building, Hartford. Conn; Vice-President, Stephen F. Voorhees, 101 Park Avenue, New York, N. Y. ; Treasurer. Arthur A. Hebert, 1711 Park Street, Hartford, Conn.; Secretary and Managing Director, Roy W. Winton. 105 West 40th Street, New York. N. Y. 3. That the known bondholders, mortgagees, and other security holders owning or holding 1 per cent or more of total amount of bonds .mortgages ,or other securities are: None. 4. That the two paragraphs next above, giving the names of the owners, stockholders, and security hold- ers, if any, contain not only the list of stockholders and security holders as they appear upon the books of the company but also, in cases where the stockholder or security holder appears upon the books of the com- pany as trustee or in any other fiduciary relation, the name of the person or corporation for whom such trustee is acting, is given; also that the said two paragraphs contain statements embracing affiant's full knowledge and belief as to the circumstances and conditions under which stockholders and security holders who do not appear upon the books of the company as trustees, hold stock and securities in a capacity other than that of a bona fide owner; and this affiant has no reason to believe that any other person, association, or corporation has any interest direct or Indirect in the said stock, bonds, or other securities than as so stated by him. J. B. CARRIGAN, Editor. Sworn to and subscribed before me this 26th day of September, 192S. WARREN B. SHELDON, Notary Public. (My commission expires March 30, 1930.) 749 I01UIBEK 1928 "Pictures That Please" Richard Dix and Ester Ralston Come to the Home Movie Screen Kodascope Libraries present two of the screen's most popular stars in "The Lucky Devil" a thrilling comedy-drama of love and the great open spaces. One of the Five Hundred Subjects Now Available New 192-page Third Edition "Descriptive Catalog of Kodascope Library Motion Pictures" just issued. Contains many additional subjects, substantial reductions in rental prices, and eliminates many of the earlier subjects. KODASCOPE LIBRARIES, Inc. 33 WEST 42nd STREET, NEW YORK BRANCH LIBRARIES AND DISTRIBUTORS IN FORTY LEADING CITIES OF THE UNITED STATES AND CANADA More than 1000 different reels featuring the world's greatest stars in their most famous productions are available for your enjoyment. THE LUCKY DEVIL Bill Phelps is the proud owner of a beautiful speed car. At a tourist camp he meets a girl and falls in love with her. But she and her aunt mistake him for a notorious bounder, and leave without a word to him. He follows them all over the country. In financial straits, he enters his car in an auto race for a $10,000 prize. The race thrills are tremendous. Never has the screen seen the like. Cars turn turtle, drivers are thrown out, there are col- lisions, spills, a fire, hair- breadth escapes, laughs and gasps by the dozen. Finally, Bill wins the race, but that is not all, for the girl says "Yes," and he and she de- cide to go on with their tour — together. 750 Projector Stand Any Model $18.50 Interchangeable Arms, Four With Stand Humidor Attachable To Stand $12.00 Humidor Springs 100 & 200 Ft. Film 10 in set 75c Broken Film Connector 12 in Package 25c Self Threading Reel 200 ft. 50c; 400 ft. 75c Reel Holders for Filmo Projector, Pair 15c HAYDEN ACCESSORIES "Movies in the Home" Manufactured under Hayden Patents and Patents Pending HAYDEN AUDIBLE FOOTAGE METER The Eye Follows the Picture — The Ear Tells the Footage BETTER MOVIES— NO MORE GUESS WORK They are now obtainable for CINE-KODAK, VICTOR FILMO 70 & EYEMO PRICE $7.50 Remember no alteration to your Cam era WORTH READING When you press the button on your Kodak you get the Picture. Not so with the Movie Camera, it is the footage of film that counts. One audible click of the Footage Meter tells you that one foot of film has passed through the camera, or two and one-half seconds for projec- tion. A picture worth taking should have ten seconds of projection or four clicks or as many more as you desire. Saving film while avoid' ing disappointment will pay for the Hayden Audible Footage Meter in a short time. FREE If you have called on your dealer asking for any of the Hayden accessories and find they do not carry same but try to substitute, or refuse to get same for you for your inspection, send us his name with the accessories you are interested in and we will send you free a 25c Spring Film Clip. Offer for 30 days only in the U. S. A. YOU ARE UNDER NO OBLIGATIONS TO PURCHASE A. C. HAYDEN CO., Brockton, Mass., U.S.A. Please send free your booklet with Film Log for my films. Name A Curtain 3x4 or 4x5 Ft. and Stand $30.00 Viewer, Splicer & Rewind $37.50 Editing Reels Set of 12 and Base $5.00 Table Tripod Fits All Cameras $2.50 Threading Light $1.50 Address Automatic Panoram Price with Case $35.00 V PARKLING BEAUTY— ACCURATE (2/ TONE VALUES— NEW REALISM CINE-KODAK PANCHROMATIC FILM GINE-KODAK Panchromatic (completely color sen- sitive) Film gives you the proper tone values in hlack and white of all colors before the lens of your camera. Ordinary film does not give you this tonal reproduc- tion. Only blues, violets and utlra-violets are repro- duced in their correct tone values with ordinary film. This film is not sensitive to reds, greens and yellows, which to the eye are brighter colors. As a result these colors are considerably darker in the projected image than the eye really sees them. Panchromatic Film has no such limitations. It is sensitive to all colors — reds, greens, blues, violets, yellows, and ultra-violets. Therefore, Panchromatic Film brings out everything in the picture in its proper black and white relationship. The result is a full and complete black and white photograph of surpassing quality. You will encounter no difficulties when using Cine- Kodak Panchromatic Film. It is daylight loading, and is processed by the famous reversal process. Of course, duplicates can be made from "Pan" originals. It is not necessary to use a filter with Cine-Kodak Panchromatic Film, but an even greater improvement in landscape and cloud photography is at once ap- parent when this is done. Except for portraiture, the Cine-Kodak Filter is recommended for general use with Cine-Kodak Panchromatic Film. A filter should not be used for portraiture. In a word Cine-Kodak Panchromatic Film provides a material just as easily used as regular Cine-Kodak Film, but gives to the resulting pictures a new real- ism, a new beauty, a new quality that you will not want to miss. Cine-Kodak Panchromatic Film is priced at $7.50 per 100-foot roll. The filter for the Cine-Kodak, Model B, /.1.9, is priced at $2.50; for the Model B, /.3.5 or /.6.5, $1.50. A special front required to equip the Model B,/.3.5 with the filter, is priced at $1.00. These photographs were made with Panchro- matic Film {at top) and with ordinary film {at bottom)* The brilliancy of "Pan" is immediately appar- ent. ISote the hat, which is a bright red in color, as is the scarf, with the exception of several blue figures. The sweater is a brilliant yellow* EASTMAN KODAK COMPANY, ROCHESTER, N. Y. ,:ih, Projector Stand Any Model $18.50 Interchangeable Arms, Four With Stand Humidor Attachable To Stand $12.00 Humidor Springs 100 : 200 Ft. Film 10 in set 75c Broken Film Connector 12 in Package 25c Self Threading Reel 200 ft. 50c; 400 ft. 75c Reel Holders for Filmo Projector, Pair 15c •vT77 * v.J Threading Light $1.50 HAYDEN ACCESSORIES "Movies in the Home" Manufactured under Hayden Patents and Patents Pending HAYDEN AUDIBLE FOOTAGE METER The Eye Follows the Picture — The Ear Tells the Footage BETTER MOVIES— NO MORE GUESS WORK They are now obtainable for CINE-KODAK, VICTOR FILMO 70 & EYEMO PRICE $7.50 Remember no alteration to your Camera WORTH READING When you press the button on your Kodak you get the Picture. Not so with the Movie Camera, it is the footage of film that counts. One audible click of the Footage Meter tells you that one foot of film has passed through the camera, or two and one-half seconds for projec tion. A picture worth taking should have ten seconds of projection or four clicks or as many more as you desire. Saving film while avoid- ing disappointment will pay for the Hayden Audible Footage Meter in a short time. Yes, They Are Coming A CAMERA THAT WILL SURPRISE YOU A PROJECTOR THAT WILL SURPRISE YOU A FILM THAT WILL SURPRISE YOU . And That Is Not AIL A. C. HAYDEN CO., Brockton, Mass., U.S.A. Please send free your booklet with Film Log for my films. Name.. Curtain 3x4 or 4x5 Ft. and Stand $30.00 Viewer, Splicer & Rewind $37.50 Editing Reels Set of 12 and Base $5.00 Splicer $7.00 Table Tripod Fits All Cameras $2.50 Address . Automatic Panoram Price with Case $35.00 MOVIE 1*1 /%. K C it •» Announcing ▼ ▼ ▼ Talking Movies for the Home DeVry Presents the First Synchronized Sound Movie Outfit for Amateur Use TALKING movies in your own home. Sound per- fectly synchronized with the pictures. As simple to operate as an ordinary projector. And the price so surprisingly moderate as to permit of general use! These are the high points in our Chistmas message to the Movie Makers of America — an announce- ment of exceptional interest and vital importance to everyone interested in amateur movies. Here, in one compact, easily operated, and thor- oughly dependable unit, is the complete equipment necessary to bring this newest thrill, talking movies, into your home. All the skill, experience, and resources of the DeVry Corporation, world's largest manufacturers of standard motion picture cameras and portable projectors, have been brought to bear in the pro- duction of this equipment. We are proud of this achievement as another indication of the progress- iveness which has always been linked with the sound manufacturing policy of DeVry. The outfit includes a DeVry Type G 16 mm. pro- jector mounted upon the same base with a phono- graph turn-table, the two connected by a shaft which makes them synchronous in operation. The sound is carried from the phonograph record by means of an electric "pick-up" device, directly to your radio or to an independent loud speaker. Consider what this means! Clear, flickerless movies of exceptional brilliance, projected by the famous DeVry Type G unit. Voice arid sound accompaniment equal to a fine radio. The films supplied are produced in the same synchronized way as in the professional studios. You project them just as sound movies are projected in the theaters. The machine will operate any of the electrically repro- duced phonograph records, such as Victor, Columbia and Brunswick. It may beused individuallyasamotion picture projector, as a phonograph with electric reproduction through your radio, or as a synchronized talking motion picture from our own laboratories. Regular releases of the talking and singing movie films will be issued each month. These will include dramas, recitations and songs by well known actors, singers and orchestras. As they appear in action on the screen their voices and music will be heard as clearly as if they were in your room. The DeVry Talking Movie Outfit comes to you com- plete with connections for light socket and for your radio, and including one film and synchronized record. The attachment for synchronizing the sound with the movie can also be furnished for any DeVry Type G 16 mm. pro- jector, and can be operated with the DeVry projector only. See and hear this newest sensation in home movie equip- ment. Your DeVry dealer will gladly demonstrate it. Or write direct to the factory for further information, includ- ing the name and address of the nearest DeVry dealer where you may examine the outfit. Orders will be filled in turn as received. To be assured of your outfit for Christmas act now. DeVry Corporation 1111 Center St., Dept. 1 2MM. Chicago, 111. y litis mi &2?&*J ■'•-'■■^''•^jfiswaft ■ UECEMBEK I92S POR a Christmas gift that's really different nothing could be more *- appropriate for the friend who has a home movie projector than one of these latest Pathegrams releases on 16 mm. film! And why not enrich your own library for holiday entertaining purposes with a selection from this new list? MERRY WEDDING BELLS"— No. 6017 Price #13.00 Two 100 ft. reels This is a Mack Sennett Comedy featuring Billy Bevan and Vernon Dent. It concerns a wedding party which is considerably gummed up by the antics of Billy as best man. "THE CRUISE OF THE GRAF ZEPPELIN' Price #6.00 -No. 6019 . One 100 ft. reel The entire thrilling story of the flight of the Graf Zeppelin, including the take-off at Friederickshafen. A film that will become increasingly desirable because of its unique historical interest. Two 100 ft. reels "WHAT PRICE TOUCHDOWN"— No. 6021 . . Price #12.00 This is a Grantland Rice Sportlight which shows details of football plays and formations in both slow and normal motion. Two Interesting New Educational Subjects "THE LITTLE INDIAN WEAVER— No. 6018 . ... One 400 ft. reel Price #35.00 The tale of Bah, a little Indian girl, who lived in her native Navajo village and learned from her mother the arts and crafts of her tribe. Ban's ambition was to have one of the dolls of the white people, but the trader would not take her rug in exchange for the treasured toy. The trader's little boy buys it for her and the white boy and little Indian girl become firm friends and playmates. "HOUSES OF THE ARCTIC AND TROPICS"— No. 6020 Two 400 ft. reels Price #70.00 This two-reel picture, which shows how man builds his home and gets his food and clothes in the eternal cold of the Arctic regions and in the warm, balmy climate of the Tropics, presents an interesting contrast in adaption to environment. enew )]L Releases ^^"» ^^^ «» If not available thru your dealer, write direct to us Pathegrams Department 1 Congress Street, JERSEY CITY, N. J. DEC 4 1928 r (L. CrB 7 84 0 VOLUME III *■ 14. «.#■%■ OF I Oil AMjITEUK 4 IXI VI « I I %4.l I . li%IC. DECEMBER, 1928 NUMBER 12 CONTENTS Cover Design, Two Years Old H. O. Ho f man Featured Releases, For Home Projectors 760 Index to Advertisers 762 Anniversary Editorial, Inventory Hiram Percy Maxim 767 A Word About the Amateur Cinema League 767 The Perfect Christmas, A Camera Study Patricia Novlan 768 Portrait of the Pioneer, George Eastman John Beardslee Carrigan 769 Vitacolor Movies, Reporting a New Color Process for the Amateur Earle C. Anthony 771 This Second Anniversary K. L. Noone and John Beardslee Carrigan 773 The March of the Clubs Arthur L. Gale 774 How Organized Groups Contributed to Cinematic Art During 1928 The Advancing Amateur Walter D. Kerst 775 Perfecting of Cinematic Tools in 1928 Brings Marked Progress in Technique What'll We Shoot Now? An Answer to a Pressing Problem of the Amateur Carl L. Oswald 776 The Clinic Edited by Walter D. Kerst 778 Amateur Clubs, News of Group Filming ". Edited by Arthur L. Gale 780 Film Flam 782 Lee F. Hanmer, Sixth of a Series of Studies of Leaders of the Amateur Cinema League Louis M. Bailey 783 Cutting School Costs With Talkies Dr. Joseph J. Weber 784 Caring for Your Films Sydney Armstrong 786 Anniversary, A Camera Study Patricia Novlan 787 Introducing the Dramatic Accent Alexander Bakshy 788 Critical Focusing, Technical Reviews to Aid the A mateur 790 Photoplayfare, Reviews for the Cintelligenzia 791 Home Made Sound Pictures Epes W. Sargent 792 Educational Films, News of Visual Education in Schools and Homes Edited by Louis M. Bailey 796 Stunts For Your Projector Howard E. Richardson 800 Solving Prodliction Problems, Suggestions from Current Amateur Photoplays Arthur L. Gale 802 Winter Flowers, An Art Title Background Warren Boyer 804 News of the Industry, For A mateur and Dealer °1- Dealers Who Carry Movie Makers 830-31 Index of Contents for 1928 83^-33 ♦ ♦ ♦ MOVIE MAKERS is published monthly in New York, N. Y., by the Amateur Cinema League, Inc. Subscription Rate $3.00 a year, postpaid (Canada $3.25, Foreign $3.50); to members of the Amateur Cinema League, Inc. $2.00 a year, postpaid; single copies, 25c. On sale at photographic dealers everywhere. Entered a/second-class matter August 3, 1927, at the Post Office at New York, N. Y., under the Act of March 3, 1879. V Copyright, 1928, by the Amateur Cinema League, Inc. \ Title registered at United States Patent Office. Editorial and Publication Office: 105 West 40th Street, New York, N. Y. Telephone, Pennsylvania 3715. Advertising rates on application. Forms close on 5th of preceding month. K. L. NOONE, Advertising Manager WALTER D. KERST, Technical Editor and Consultant ARTHUR L. GALE, Club Editor and Consultant Editor JOHN BEARDSLEE CARRIGAN DECEMBER 1928 FIVE OUR Christmas spirit is at work early and, inspired by holi- day thoughts, we present this special one months' privilege of securing entrance into the inner arcanum, the veritable illuminati, the exclusive group of the world's best cinema- tographers, the Amateur Cinema League, of course. All you need is the following blank, legibly and promptly filled out, and your check, like the inviting sample below. The League membership card you know already. The leader is a special animated twenty-foot certificate of your membership in the great international movie organization. And if a member sends in a gift membership to a friend, not only the friend but the generous member, as well, will receive a leader. £~&.}\&4>dte\ J5T VtfL #^s6r^sr^^^^k))M&^^ AMATEUR CINEMA LEAGUE, Inc. 105 WEST FORTIETH STREET NEW YORK, N. Y. To the Date AMATEUR CINEMA LEAGUE, Inc., 105 West 40th Street, New York City. I accept the invitation of the Amateur Cinema League, Inc., to become an annual League member. My check for Five Dollars payable to Amateur Cinema League, Inc., is enclosed in payment for the dues, $2.00 of which is the special member- ship rate for a year's subscription to MOVIE MAKERS (Non- member rate $3.00; Canada $3.25; Foreign $3.50.) It is understood that immediately upon my election I am to become entitled to all the privileges of the League. It is also understood that there are no duties or obligations connected with this membership other than those which I may voluntarily assume from time to time. ISame. Street. City State. 758 MOVIE 11 > K I EC «> (fifty JfaggejgtfoQgr Jhr the Amateur ^Mov/e Maker KINO-PANO TRIPOD STUD FITS AN> STANDARD CAMERA AND 16 ">™ AMATEUR CAMERAS TO LOCK m PANORAMA Wood Tripod, Aluminum Extension Legs, only 4% lbs. Plates for Projector Attachment use, $6 and $7.50. Canvas Shut Tite Case $4.00 For KODACOLOR WITH FILMO OR VICTOR and the Ideal Combination for Interior Shots with the No. 5 FOTOLITE FOR KODACOLOR Particularly adapted for Koda- color due to its speed, quality, and its construction for fullest color correction. 1" Fl. 5 Plasmat for Filmo or Victor $60. Kodacolor Filter and Adapter $24. WITH THE FOTOLITE this lens enables you to make perfect interior shots. The Fotolite, consisting of a 500 watt lamp, encased within a specially designed aluminum reflector, furnishes the utmost in illumination from this wat- tage. Two Fotolites with the above lens is sufficient for a 7 foot square area. No. 5 Fotolite with Stand and Bulb $16. NEW RENTAL RATES FOR LATEST WILLOUGHBY HOME MOVIE LIBRARY 16 mm. Films ARROW PORTABLE BEADED SCREEN Composed of millions of tiny round glass beads, firmly embedded on a strong fabric in a pure white composi- tion. Has a wonderful reflective surface and will not glare Jike the silver metal- lic surface. Can be easily cleaned with soap and water. Complete with dust- proof mahogany finished case into which it is drawn by a metal spring. Screen Rolled in Case for carrying SCREEN No. 1 Size 33^x3J4x4 ins. with picture surface of 22x30 irts. Weight 6 pounds. Price $15. SCREEN No. 2 Size 4Sy2x4y2xS ins. with picture surface of 30x40 ins. Weight 15 pounds. Price $25. SCREEN No. 3 Size 57x4)4x5 ins. with picture surface of 39x52 ins. Weight 18 pounds. Price $35. WILLOUGHBYS HEADQUARTERS FOR AMATEUR MOVIE MAKERS SPECIALTIES 110 WEST 32nd STREET , NEW YORK iliV &7 m# DECEMBER l«>-i«* The PHANTOM EXPRESS v 4 \i'l>« -till wuMl |Bw .-■ .^B f^^€ *l S^; . ^ g'^L^' £ jj ■usbh "- ■ TJERE'S a thrilling story of a thrilling subject — railroading! No wonder every real boy some time in his life wants to be an engineer. An all-star cast including some real railroad men. A race with a "hoodoo" train — a real wreck — another near one — a touch of romance — and a clever youngster who solves the mystery of "The Phantom Express". This is but one of a series of up-to-date feature pictures now available. By using our "block-booking" system, you can have the entire series come to your home at regular intervals. Or each one may be had separately. See any of the dealers listed below: BOSTON Eastman Kodak Stores Solatia M. Taylor EASTERN MASSACHUSETTS Alves Photo Shop, Braintree FALL RIVER Smith Office Equipment Co. PROVIDENCE Starkweather & Williams NEW HAVEN The Harvey & Lewis Company BRIDGEPORT The Harvey & Lewis Company HARTFORD The Harvey & Lewis Company SPRINGFIELD The Harvey & Lewis Company WATERBURY ALBANY Curtis Art Company E. S. Baldwin OSSINING Hudson Radio Laboratories LONG ISLAND B. Gertz, Inc., Jamaica NEW YORK CITY Wm. C. Cullen Gillette Camera Stores Eastman Kodak Stores, Inc. BROOKLYN NEWARK Fred'k. Loeser & Co. Schaeffer Company PHILADELPHIA Williams, Brown & Earle PLAINFIELD WHEELING Mortimer's Twelfth Street Garage PITTSBURG United Proj'ector & Film Corp. UTICA SYRACUSE Cunningham's Lindemer's BUFFALO Buffalo Photo Material Co. ROCHESTER ERIE A. H. Mogensen Kelly & Green FLORIDA Tampa Photo & Art Supply Co. HOUSTON Star Electric & Engineering Co. CHICAGO ST. LOUIS Aimer Coe & Co. A. S. Aloe Co. MINNEAPOLIS Ideal Film Corporation LOS ANGELES SAN FRANCISCO Leavitt Cine Picture Co. CANADA Photographic Stores Ltd., Ottawa Regina Films Ltd., Regina MEXICO CITY American Photo Supply Co., S. A. JAPAN Honjo & Co., Kobe Home Film Libraries FEATURED RELEASES For Home Projectors I 100 East 42nd St., New York City m % 760 Bell & Howell Co., Chicago, 111. "Pied Piper of Hamelin," professionally produced, is now of- fered by the Filmo Library in two 400 ft. reels. New Pillsbury Flower subjects of the series "Ex- plorations in Plant and Flower Life," each 100 ft., are: F-ll, containing photographs of the blossoming of the Tiger Lily, Vesper Iris and Chinese Lily; F-12, The Passion Flower, Ruby Lily and Blackberry Lily; F-13, Chrysanthemum, Yellow Rose, Lotus and Cotton. "Cracked Ice," and "Santa Claus' Toy Shop," approximately 200 and 100 ft. respectively, are animated doll features to which attention is called particularly for the holiday season. "The Fury of a Florida Hurricane," about 200 ft., is said to picture a Florida hurricane in action. All these releases are from the Sales Library. Big 4 Film Corporation, New York, N. Y. Of- ferings here are of Vitalux Movies in 100 ft. comedy subjects by Christie, cartoons by Mc- Crory, and 1600 ft. lengths such as "Stranded," "Robinson Crusoe," "Golden Stallion," "Fight- ing Failure," and "Oh, What a Night," make up the month's announcements. A catalogue is avail- able. Bray Studios, New York, N. Y. The special announcement for Christmas is a 400 ft. reel, "A Little Friend of all the World," the tale of a boy who plays Santa Claus to the Woodland "Folks". The Bray Library offers over 500 sub- jects (cartoons, sports, history, animal life, comedies, travel, popular science, art, dramas, scenic and industry) of which a catalogue may be had. Cine Art Productions, Inc., Hollywood, Calif., and New York, N. Y. The two films, " 'Twas the Night Before Christmas," (400 ft.) and "The Story of Santa Claus," (100 ft.) had early announcement last month. The company con- tinues to stress them in view of the holiday sea- son. "Movie Mad," a 400 ft. release featuring Patricia Patrick, is also featured. De Vry Corporation, Chicago, 111. Naturally the School Film Lesson Courses sponsored by this company are well known generally to audi- torium and classroom. For this month, however, attention is directed especially to their Nature Study 18-reel course by G. Clyde Fisher, Ph.D., LL.D., of the American Museum of Natural History. Various units of the course are "The Sky," "Our Earth, " "How Living Things Find a Home on the Earth," "Butterflies and Moths," "Ants," "Bees and Spiders," "Seaside Friends and Their Country Cousins," River," "Down at Our Pond,1 and so on. "A Day at the ' "In Birdland, Eastman Kodak Company, Rochester, N. Y. Here are the stressed Cinegraphs for the month: "Down the Colorado River in a Rowboat," 200 ft. This is descriptive of a thrilling trip down the dangerous Colorado by a group of young college men in especially constructed boats. "Un- real Newsreel No. 4," 100 ft., is a continuation of a series of which Numbers 1 and 2 have pre- viously been announced. The Christmas releases of the series of special Cinegraphs for small kids and kiddies are made up of "Chip the Wooden Man in the Cave of the Wobbly Wizard," which is said to rank high in the series, "Snap the Gingerbread Man in the Moon Special," the title of which seems to presage much fun for the young people, and another description of Doodle- bugville happenings, "A Doodlebug Elopement." These three special Cinegraphs are in 100 ft. Empire Safety Film Co., Inc., New York, N. Y. "Uncle Tom's Cabin," in six 100 ft. reels, each a complete story in itself, leads this com- pany's announcements for the month. Here are the chapters of the story: "On the Plantation," "Eliza's Flight Down the Mississippi," "Uncle Tom and Little Eva," "Slave Market," and "Whipping Post." "Uncle Tom's Cabin" is also offered in three 300 ft. reels. A 400 ft. reel of Niagara Falls and two 400 ft. reels, "Great Arctic Seal Hunt," are also members of this Santa Claus film family. As usual, a wide range of films is available here, including Zobelogs, "Lindy" and "Bremen" films for the boys, travel pictures, comedies and a war film. Home Film Libraries, Inc., New York, N. Y. The high lights of the December announcement here are "The Phantom Express," a "mystery" film which is advertised as containing a real wreck and a race with a hoodoo train (one of a series of up-to-date feature pictures which this company is offering), and a 100 ft. release, "Felix Monkeys with Magic." A "block-booking" system has been devised, particulars of which may be had at dealers representing this library. 4JCr * "I've Changed My Mind About the Graf Zeppelin — I'd rather have a mil/ion feet of pitchers instead."' Burton Holmes Lectures, Inc., Chicago, 111. This well-known producer is offering such a wide range of travel films that they seem to cover the world. A complete catalogue will be supplied at request. Kodascope Libraries, Inc. The principal re- lease of the holiday season is "The Wanderer," a story of the Prodigal Son, a five-reel picture said to have been lavishly produced. Another stressed feature is "Dancing Mothers," with Alice Joyce, Conway Tearle and Donald Keith. A new and revised 192 page descriptive catalogue listing 500 features is available. Lande Cine Pictures Co., Hollywood, Calif. This producer, new to Movie Makers, is releas- ing "Hollywood," a 400-ft. picture, in reels of 100 ft. This is described as a travelogue of the studios and methods of making movies. We are informed that it introduces stars, their homes, and night life in Hollywood. Pathegrams, Jersey City, N. J., and New York, N. Y. A long list is offered for Christmas purchase, including "Merry Wedding Bells," a Mack Sennett Comedy featuring Billy Bevan and Vernon Dent, two 100 ft. reels. The "Cruise of the Graf Zeppelin" gives the entire story of the flight including the take-off at Friederichshafen. "What Price Touchdown," a Grantland Rice Sportlight, shows in two 100 ft. reels football plays and formations in slow and normal motion. Two new educational subjects are "The Little Indian Weaver," a 400 ft. reel, and "Houses of the Arctic and Tropics," two 400 ft. reels, the latter showing how a man builds his home and secures his food and clothes in the Arctic and the Tropics. Two specials are "War Machine," produced in cooperation with the Department of War, TJ. S. Navy and LT. S. Marine Corps, and the Prince William jungle hunt picture, "Big Game Hunting in Africa." Ray-Bell Films, Inc., St. Paul, Minn. Here is a newcomer to Movie Makers. Introductory films, the "See America First" series. This is the Burlington-Northern Pacific-Great Northern Library. It includes "Bird and Animal Life of Yellowstone Park," "Above the Clouds on Mt. Rainier," "Mountain Climbing in Glacier Na- tional Park," "Rocky Mountain National Park," "Magic Yellowstone," and "Two Thousand Miles of Startling Beauty" (from Chicago to Seattle). Ernest M. Reynolds, Cleveland, Ohio. A special holiday release, "Through the 1000 Islands," a 100-ft. film, is offered by this producer. Stone Film Laboratory, Cleveland, Ohio. Via "Around the World in Forty-five Minutes," the screen traveler may tour far-off places, with film stop-overs at Havana, Honolulu. Yokohama, Nikko, Tokyo, Shanghai, Calcutta, Cairo, Athens, and other interesting places. Three reels — 400 ft. each. Travel Movie Films, Inc.. New York, N. Y. December brings the first Mediterranean releases from this library of the well-known Gardner Wells, who has pictured Madeira and Gibraltar, and Spanish Native Life. The recently issued "Streets of London," "London from the Thames," and "Tarpon Fishing Off Boca Grande," are also available. 1926 - > V-x, X 11 O t ■ ■ *■*■«.■■£•» HERBERT & HUEKSEN CO. $U1 * •* I BE •» DECEMBER 1928 i^ mUfflk i"1 Free no ^ >-> ipa* Holiday Gift Offer MakeYour Selection now/ HERE'S an extra value opportunity you affords clear, flickerless pictures of excep- cannot afford to miss; a rare holiday tional sharpness and detail. Safety stop-on gift offer for yourself or for someone you film feature; rapid geared re- wind. All-metal wish to remember in a handsome way! construction, black lacquer finish, weight, With every DeVry Type G projector onlY seven pounds. Holds 400 feet of 16 purchased from a DeVry dealer between mm- film> equivalent of 1000 feet of stand- December 1, 1928, and January 15, 1929, we will give, free, $10.00 worth of Pathe- grams from the list on the opposite page, provided the guarantee card, which accom- ard 35 mm. film. Pictured above at left. Take advantage of this generous holiday offer now. Go to the DeVry dealer and see the panies the projector, is properly filled out, superior feature of the Type G projector and sent to us. Think what this means! You may, for example, select the Douglas MacLean, 200 foot reel, "Introduce Me," listed at $12.50 — but you can get it for $2.50, as you are allowed a $10.00 credit on films, with the purchase of your projector — a clear saving to you of $10.00. The brilliant illumination of the Type G demonstrated and you will appreciate fully the extra value it embodies. When making purchases your dealer will, upon request, send in your guarantee card to us properly dated, with order for films. Only such orders will be given the $10 credit. Denote second and third choices in view of heavy demand. If you do not know nearest DeVry dealer, write us for name and address. DeVry Corporation, 1111 Center St., Dept. 12mm CHICAGO, ILLINOIS, U. S. A. n WORLD'S LARGEST MANUFACTURER OF STANDARD 764 >■% ^:^v 1926 »> MOVIE MAKERS W Sj Worth of Pathegrams Svery DeVry 16 mm* Projector Your Choice of These Titles PATHEGRAMS Subject Length Price The Night Before Christmas.. 100 ft. $7.50 The American Legion in Paris 100 ft. 7.50 With Will Rogers in Dublin.. 100 ft. 6.50 Hiking Through Holland with Will Rogers 100 ft. 6.50 Niagara Falls 100 ft. 6.00 The Memorials of a Nation . . 100 ft. 6.50 Old Forts of Florida 100 ft. 6.00 Bethany in Judea 100 ft. 6.50 An Oriental Album 100 ft. 6.00 With Will Rogers in Paris. ... 100 ft. 6.50 Reeling Down the Rhine (Will Rogers) 100 ft. 6.50 Pathegrams Review, No. 1. . . 100 ft. 7.00 Pathegrams Review, No. 2. . . 100 ft. 7.00 Pathegrams Review, No. 3. . . 100 ft. 7.00 Pathegrams Review, No. 4. . . 100 ft. 7.00 Pathegrams Review, No. 5 .. . 100 ft. 7.00 Spuds (Larry Semon) 200 ft. 13.00 Golf Form 100 ft. 6.00 Swimming Form 100 ft. 6.00 Baseball Form 100 ft. 6.00 Tennis Form 100 ft. 6.00 Boxing Form 100 ft. 6.00 Winter Sports 100 ft. 6.00 Alien Antics 100 ft. 6.00 Monty Banks in "Play Safe". 200 ft. 13.50 Douglas MacLean in "Intro- duce Me" 200 ft. 12.50 Safety Last 300 ft. 21.00 Our Gang in Tire Trouble 200 ft. 14.00 Mabel Normand in "Raggedy Rose" 200 ft. 13.50 Theda Bara in "Madame Mystery" 100 ft. 7.00 "It's a Gift" with "Snub" Pollard 100 ft. 7.00 Glenn Tryon in "The Early Bird" 100 ft. 7.00 "Flirty Four Flushers" with M. Hurlock 100 ft. 6.50 Alice Day in "The Plumber's Daughter" 100 ft. 6.50 PATHEGRAMS Subject "Smith's Candy Shop" (Mack Sennett) Alice Day in "Kitty from Kil- larney" Alice Day in "The Soap-Suds Lady" "From Rags to Britches" (Mack Sennett) "Smith's Picnic" (Mack Sen- nett). Ben Turpin in "When a Man's a Prince" Alice Day in "Gooseland" . . . "Love's Last Laugh" (Mack Sennett) "The Iron Nag" (Mack Sen- nett) "A Sea Dog's Tale" Ben Turpin in "The Jolly Jilter" "Smith's Holiday" Alice Day in "A Dozen Socks" Pacific Seals Tree- Top Nurseries Hollywood's School for Dogs. Sea Gulls The Spirit of Play The Phantom Ballet Jack the Giant Killer Thumbelina Eenetrating the Stream of Life Stretch and Keep Well \ Harry Carey in "Satan Town" "White Mice" with J. Logan and W. Powell Buddy Roosevelt in "Ride 'Em High" Leo Maloney in "Two-gun of the Tumbleweed" "Run, Girl, Run" (Mack Sen- nett) "The Frontier Trail" (Harry Carey) Length Price 200 ft. $13.50 100 ft. 7.50 200 ft. 100 ft. 100 ft. 200 ft. 200 ft. 100 ft. 100 ft. 100 ft. 200 ft. 100 ft. 100 ft. 100 ft. 100 ft. 100 ft. 100 ft. 100 ft. 100 ft. 100 ft. 200 ft. 100 ft. 100 ft. 200 ft. 200 ft. 200 ft. 300 ft. 400 ft. 400 ft. 14.00 7.50 7.50 13.00 13.00 7.50 7.50 7.50 13.00 7.50 7.50 6.00 6.00 6.00 6.00 6.00 6.50 6.00 12.00 6.00 6.00 13.50 13.50 13.00 18.50 25.00 25.00 Other DeVry Products for Your Own Use or Holiday Qiving What finer gift for your own family or your movie maker friend than one of the DeVry products shown on this page? For amateur pictures with that professional touch, the DeVry 35 mm. movie camera is unequalled. Using standard size film, it :s ideal for news reel work, a field open to amateurs everywhere, that offers opportunities for profit. Reduction prints for 16 mm. projec- tors insure clear, brilliant pictures of unusual sharpness. Write to us now for the name of the nearest DeVry Dealer. DEVRY CORPORATION, 1111 Center St., Dept. 12MM CHICAGO, ILLINOIS, U. S. A. DeVry 35 mm. Movie Camera Professional in results but amateur in simplicity of operation. Just point the camera and press the button; you get perfect movies from the start. Reduc- tion prints may be made for 16 mm. projector. Price of camera only $150. DeVry Type E 35 mm. Projector Self-contained in suit-case type carry- ing case, Type E DeVry is the simplest, and lightest motion picture machine procurable using standard 35 mm. film. Gives brilliant, flickerless pictures. Price $250 and up. Film Footage Meter ( 16 mm.) Fills a long felt want in the amateur field. Up to the DeVry standard in ac- curacy, durablityand finish. Price $30. A Rayflex Movie Screen The truly modern home movie screen, Rayflex affords a perfect, beaded pro- jection surface. Takes less room than a golf bag when stored, and may be set up on its own feet in a few seconds. For gTeater satisfaction in projection use the Rayflex. Three sizes, Price, $25, $30 and $35. MOTION PICTURE CAMERAS AND PORTABLE PROJECTORS II iUm &7M DECEMBER 1928 They Said: Too Good for Home Movies, by the time you make a real Truvision Screen in a quality-made portable case the price would be excessive." But we assumed that the amateur must appreciate Truvision's surface, we gave every possible feature and quality, based prices on mass produc- tion— prices that are actually lower than other glass-surface screens and it is already proven that we were justified! ' I 'RUVISION'S surface is a revelation for natural perspective, crisp and detailed definition, and with a rounded, moulded quality for near subjects that is unique. Truvision's washable surface is composed of millions of glass crystals each of which is a microscopic convex mirror that reflects evenly in every direction. It has been said that what color adds to movies Truvision adds to color movies. Truvision's patented swift-set feature is in itself a point of excel- lence for convenient home use. The Metal cases too, reinforced to defy damage to the screen, in crystaline surface with a choice of three colors: Black, Olive Green, Maroon. Consult your dealer and write us for booklet "B Type Portable" N%? >?*# TRUVISION PROJECTION SCREEN CORP. 11 East 44th St., New York City 766 m m k e ic * INVENTORY By Hiram Percy Maxim President of the Amateur Cinema League WITH this December issue we amateur cinema- tographers enter upon the third year of our association with each other through MOVIE MAKERS. It is always good for all concerned on these yearly occasions to draw apart and take a detached view of one's self and one's place in the general scheme of things. Two years ago organized amateur cinematography was little more than an idea. A few hardy souls be- lieved it would be a good thing for amateur cinema- tographers of the future and also a good thing for the cinema movement . Today, the Amateur Cinema League is a highly efficient, prosperous and rapidly growing association of most of the earnest amateurs of every civilized country on earth. From an idea, floating around in the minds of a forward looking few, to the recognized leadership in international amateur cinematography is a long jump indeed. A heap of difference exists between these two extremes and a lot of water had to flow over the dam to bring it all about. Nevertheless, this water has flowed over the dam quite safely and surely. As we detach ourselves and regard this picture from afar we see an important significance lying back of it. Such a rapid and sound growth signifies that there was a real need for such an organization as ours. It also signifies that wise, businesslike management and sound policies were at work somewhere in the back- ground. And so, as we contemplate this spectacle of ourselves, we become distinctly heartened to pick up the burden for the coming year and carry on with a firmer stride than ever. If it is given to us to carry- on in the future as we have carried on in the past, we see a very bright pic- ture on glancing ahead. It entourages accurate tim- ing in our exposures and skillful handling in the de- velopment of our problems as we confront them. We see wider and better results from co-ordinating the supply of cinema product and the demand of amateur consumption. We see a combination of interests that can have an extraordinary efficiency and an amazing capacity for rapid development. This picture leads us to ask ourselves the question : "If the past two years of co-ordinated demand and supply brought such epoch making advancement as our latest equipment, panchromatic film, full natural color film and home talking movies, what may we have when December 1930 rolls around?" The answer is: "We shall have made so many things possible that cinematography will touch, exert an influence and have a place in every impor- tant human activity. If the past is an indication of the future, it can be nothing less." A Word About the Amateur Cinema League THE Amateur Cinema League is the international organization of movie amateurs founded, in 1926, to serve the amateurs of the world and to render effective the amateur's contribution to cinematography as an art and as a human recreation. The League spreads over fifty countries of the world. It offers a technical consulting service; it offers a photoplay consulting service; it offers a club consulting and organizing service; it conducts a film exchange for amateur clubs. Movie Makers is its official publication and is owned by the League. The directors listed below are a sufficient warrant of the high type of our association. Your membership is invited, if you are not already one of us. Amateur Cinema League, Inc., Directors President Vice-President Treasurer HIRAM PERCY MAXIM STEPHEN F. VOORHEES A. A. HEBERT Hartford, Conn. Architect, of New York City 1711 Park St., Hartford, Conn. EARLE C. ANTHONY President of the National Association of Broadcasters ROY D. CHAPIN Chairman, Board of Directors Hudson Motor Car Company W. E. COTTER 30 E. 42nd St., New York City C. R. DOOLEY Manager of Personnel and Training, Standard Oil Co. of N. J. Managing Director ROY W. WINTON, New York City LEE F. HANMER Director of Recreation, Russell Sage Foundation FLOYD L. VANDERPOEL Scientist, of Litchfield, Conn. Address inquiries to AMATEUR CINEMA LEAGUE, Inc. 105 West 40th Street New York, New York A Merry Christmas to Every Amateur DECEIIBER 1928 ..::■ ii yMip% ©tip fprfrrt Glljriattttaa MOVIE IH J*. ■*. E K S PORTRAIT of THE PIONEER QEORGE EASTMAN By John Beardslee Carrigan Drawings by Alejandro de Canedo ALADDIN rubbed his magic lamp and the genie bore him to the land of the lotus. A magician of modern science created and produced the first motion picture film and all of the people of the earth may now be transported nightly to those dream worlds of their hearts' desire. One meets great men, but seldom a magician. I had often wondered what manner of modern genie George Eastman would prove to be. And here he was, standing beside me! We were alone in the curtained dusk of the perfect miniature projection room high up in his great mansion in Rochester. An amateur projector purred beside us and on the screen bloomed iris and orchids in all the exotic glory of their colored brilliance. I was naturally thrilled, for these were the first Kodacolor pictures I had seen. And it was additionally stirring to realize that I was seeing them projected by the hand of the man who had made them possible for the whole world and that, in fact, these very pictures had been made in his own gardens by Mr. Eastman himself. However, I had not expected to find that he would be as keenly fascin- ated as myself — but he was. This I came to understand when I stopped to realize how deeply George Eastman loves beauty — the beauty of flowers and color and music. The reel came to an end; the projector stopped; lights were switched on and the paneled walls and vaulted ceiling of the little theater again assumed reality. I had watched the magician performing his miracles. As he awaited my comment on his films, I realized that he was a man as well as a magician, a kindly man, shy and very human. Just like any amateur cinematog- rapher, the genius who has made the pleasures of movie making possible for all other amateurs was eager for praise of his filming. I was mighty glad I could tell him that his flower studies were splendid. It would have been rather difficult otherwise. We had just had breakfast in the conservatory, a large flower banked room, in the center of which the blos- som covered breakfast table seemed part of the garden- er's plan. And as we breakfasted, the great organ, spreading throughout the house like a melodious octopus with golden tentacles, played softly. It was evident that, among the other things which George Eastman has ac- complished during his busy life, he has also learned to live with a restrained magnificence and in a luxury which is the epitome of taste. I was frankly hungry, having arrived by early train from New York, and ate everything set before me. Mr. Eastman contented himself with fruit, coffee and cigar- ettes (a great many cigarettes, I was relieved to note, be- ing myself an inveterate smoker), which he carefully fitted into one of the new ejector holders. Then, break- fast finished, he settled back in his chair and looked at me expectantly. I do not know, of course, but I rather suspect that he, lacking egotism and rarely grant- ing interviews, was as nervous as I, facing as I did my first interview with the man who had made the amateur motion picture possible. "Well, young man," he said, "about what is it you wish to interview me?" "I'm sure every amateur would be interested in your thoughts concerning the past, present and future of amateur movies," I suggested. He thought for a moment. There were to be many long silences in this pleasant conversation, filled with the soft obbligato of the organ and with the color and fragrance of the flowers to muse upon. "Well," he replied, "as for the past, I have been away a great deal while this amateur movement has been growing. (I remembered his African hunting trips with the Martin Johnsons.) "You at the Amateur Cinema League headquarters probably know more about its present development than I, and none of us knows what the future may hold." I realized, then, that Mr. Eastman was an extremely cautious man, and that he took good care that no hastily uttered opinion should later come back to plague him. I decided to approach the problem from another angle. "What do you think of sound pictures?" This time there was no delay. The question had struck a responsive chord. Sound connotes music and music is the great inspiration of his life. Even without the organ (which, by the way, is also his alarm clock) this would have been obvious after one glimpse, caught from the taxi, of the great Eastman School of Music. "The sound movies will bring the best in music to all of the people, even in the smallest hamlets. That will be an achievement of vast importance. But it would be a great pity if talking movies limited the distinct art of the motion picture. Personally I do not believe the DECEillBER 1928 producers want this to happen. I believe the artists in the industry will try to prevent its happening. But in the end it will have to be decided by the people." I gathered from his tone that, in common with other thinking men, Mr. Eastman was not too hopeful about the future of the spoken parts of this hybrid form of the cinema. "But isn't it splendid," he continued, "to know that those who have seen motion pictures only to the accom- paniment of a tinpan piano will soon be hearing syn- chronized accompaniments by the greatest of the world's orchestras?" "Will there be sound pictures for the home soon?" I asked. Mr. Eastman paused. Again there was a silence into which the mellow notes of the organ floated wistfully. "Sound pictures for the home are possible," he said. "One side of the frame can be utilized for the sound track. Yes, sound pictures for the home are perfectly possible." "Will equipment become cheaper?" "Equipment is constantly changing. New methods of manufacture are being perfected. As time goes on this will all tend toward cheaper equipment." "How about cheaper film?" "There are many problems involved. It is not merely a question of the film but of processing as well. I see no immediate prospect for that." "Would paper film, such as is now being tried out in Europe, make for cheaper footage?" "Paper is merely a substitute base for the celluloid. Much more goes into the cost of film than the base. There is no hope there." "Movie Makers is mightily interested, Mr. Eastman, in the use of films in education. We believe that 16mm. equipment and film have opened up a development of tremendous importance in that field. Are we right?" This time my question was not quite so innocent as in the case of the sound movies, for I knew that it was Mr. Eastman's philanthropy which had made possible the first great educational test of the motion picture. "Yes, we are on the right track there at last. When the reports of our tests are made public they will show positively that such a visual aid as the motion picture is a great help in education. Motion pictures in the schools have a big future." "And what do you, yourself, think of Kodacolor?" This was the last question I had to ask Mr. Eastman. I had struck fire. He was obviously enthusiastic. His enthusiasm might have seemed mild in a less austere per- sonality, but, by contrast, it was overwhelming. "Color pictures revived my interest in the movies," he exclaimed. The full import of this statement left me speechless. It had never occurred to me that the greatest figure in the history of the motion picture might have become bored with his own achievement — and then I remem- bered that thirty-two years is a long time, and that, quite possibly, the candy manufacturer may also weary of his sweets. "I believe that color films will be the making of the amateur cinema movement. Without them it could never have been so great. With them it has limitless possi- bilities." He pointed to the graceful silver vase in the center of the table, filled with roses of an exquisite pink. "Every bright morning I carry the table flowers out on the terrace and take their pictures," he confided. The discussion of color cinematography continued. Mr. Eastman expressed it as his opinion that colored motion pictures by artificial light would soon be possi- ble. He prophesied that the problem of duplication of color films would be solved and that larger color pic- tures were coming, although he believes there is little need for the latter in amateur projection. "But you haven't seen any of my color films," he suddenly exclaimed. He rose and led the way. As we passed the library door I glimpsed a massive table on which, ready for the reader, reposed the latest copy of Movie Makers. We entered a miniature elevator and were carried up to that magic chamber, the vaulted projection room beneath the roof. With eager hands he searched through piles of neatly stacked cans for his latest color reel. A button clicked and the projector threaded itself. Another button and the projection room was darkened. So it was that iris and orchids bloomed before us on the screen that morn- ing, as colorful and exquisite as in the glass gardens where they grew. A magician was gazing into fairyland — a fairyland of his own making. j I MOVIE «l%lvllC<» VITACOLOR MOVIES Reporting a New Color Process for the Amateur By Earle C. Anthony President of the National Association of Broadcasters IT was a politely incredulous group which made up Vitacolor's first audience. Physicists, professional photographers, newspapermen, deal- ers' representatives — all who were in- vited for this private viewing sat about with an air of expect- ancy tinged with cyni- cism. They had lived in Hollywood too long to grow enthusiastic about a thing on the mere say-so of another. The scene was the private Hollywood pro- jection room of Max B. Du Pont, inventor of Vitacolor. To imagine a more eloquent setting one would have to go far. It was in this crude, barn-like struc- ture that Mr. Du Pont labored for many con- scientious years to per- fect his process for making motion pictures in natural color. In this time his hours of de- spair had far outnum- bered those moments of surging joy when suc- cess seemed just around the corner. And, to- night, his brain-child was to stand the test of cold-blooded criticism. There was tardiness among the guests. Those who had arrived were growing slightly fidgety. They were not easily blamed. There are so many views more to the liking of the human mind than the blank sides of a make-shift projection room. One could almost imagine their thoughts to run in uni- son such as this: "Why am I here? This is prob- ably just another one of those 'flops' with which somebody is always try- ing to revolutionize the poor, down- trodden movies. Can't I think of some excuse to leave without causing offense? Oh, I suppose I'll have to stick it out." And so-on and so-on. The newspapermen were more at their ease. They, at least had some- thing to occupy their time in the in- terim of waiting. Back in the operat- ing booth Mr. Du Pont was patiently explaining his process to the accom- paniment of their excited exclama- tions. Bits of conversation floated out to the group in front: "But the film is black and white! . . . Where does the color come from? What's this for? II ow does it go: You mean to say that all the Max B. THE INVENTOR AND THE AUTHOR Du Pont Demonstrating the Vitacolor Attachment for Amateur Cameras to Earle C. Anthony. work is done by these gadgets on the camera and projection machine! . . . And there's absolutely no color on the film? ... Is it a special kind of film? . . . Do you take the pictures at ordi- nary speed? . . ." At last, a hushed quiet came over the long room. The lights were ex- tinguished and the projection ma- chine set up a whine, which settled down to a low, rhythmic purr. A few fitting titles flashed onto the screen. Then a group of bathing girls appeared in one of the most amazing motion picture revues I have ever witnessed. Every color of the spectrum was represented in the com- bined shades of their swimming suits. Not all glaring colors, mind you, but exactly as they would appear to the eye in reality — some "noisy," others subdued. But the fact which im- pressed me most was that while one of the girls had red hair and wore a green suit and another along the line had on a red suit, yet neither of these brilliant colors persisted in the eye of the observer to draw his attention away from the other girls, any more than if he were peering at a row of "sunkist" specimens along Santa Monica's ocean front. The flesh tints were exact, ranging from a carefully nur- tured "peach and c i e a m" complexion down to a deeply tan- ned skin. There followed what I feel no hesitancy in describing as the first news-reels in natural colors to be shown any- where. One scene was the Tournament of Roses Parade at Pasa- dena, California; an- other, the Herbert Hoover Notification Ceremony at Palo Alto. While the former was by far the most colorful, the latter was an interesting and suc- cessful experiment in showing how the usual monotony of the news- reel may be turned in- to an entertaining spectacle for the movie fan. The Hoover reel had a depth and perspective beyond the capability of black and white film. The drab stands were sur- mounted by a sky of the purest ceru- lean blue. A patch of frayed, faded grass in a surrounding field of bright- er green looked so natural that one was caused to wonder if he could not step across the threshhold of the mov- ing picture screen onto the very ground of the famous stadium where Stanford's heros have fought many a gruelling battle. The Pasadena picture defies de- scription of any sort. One might as well try to depict the wonders of Ari- zona's Grand Canyon with pen and ink as to attempt to reproduce this gorgeous, colorful event in black and white. In one instance, particularly, this was all too apparent. Mounted on a flower-laden float in one scene was a huge revolving world, the land spaces marked with white roses and the water areas with blue flowers. None of this beauty could be repro- duced on ordinary film. There such DECEMBER 1928 » a globe would appear as a mere flat, white surface. Equally impressive were scenes taken along California's famed Mon- terey Coast in early morning, with a high fog obscuring the sun. Through the mist, the color values were deli- cate and faintly discernible, like tints of the old masters. There was depth to the water, which churned about the rocks and, far off, the haze could be seen lazily lifting before the warming sun. Until this time little had been said about the possible availability of Vitacolor for the amateur. It was generally believed that the process was intended mainly for the profes- sional screen since all of the pictures shown had been of standard projec- tion. So it occasioned no little sur- prise when a small screen was placed before the audience in line with a standard make of home projector. But the big surprise was yet to come. Not even remotely aware that such a thing was possible, the guests found themselves looking at sixteen mm. re- ductions of the pictures that had pre- viously been shown on the standard screen. The bathing girls, the Hoover ceremony, the Tournament of Roses Parade, all of the full-size subjects were reproduced on amateur film without loss of color, perspective or detail. These were followed by a series of pictures taken with amateur cameras, each one clear and true in color values. At the conclusion of the showing there was a silence which I can best describe as of profound approval. Vitacolor had scored. No doubt of it. This was simply another demon- stration of the fact that silence is sometimes the most eloquent form of applause. VITACOLOR FILM Eugene Overton, President of the Du Pont Vita- color Corporation, Examining the New 16mm. Color Film. With the subject of Vitacolor now more clearly defined, new questions arose in the minds of newspapermen and others which busied Mr. Du Pont in answering for the next hour. Dur- ing this aftermath, Dr. Alexander Goetz and Dr. E. H. Kurth, physicists A COLOR SCREEN TEST Mr. Du Pont, the Inventor, Is at the Camera. of the California Institute of Tech- nology and themselves experimenters with colored motion pictures, took oc- casion to pronounce Vitacolor a most practicable method of transferring natural color to the screen. And now a word about the evolu- tion of Vitacolor. It is logical to as- sume that Mr. Du Pont inherited his color faculties from his father, the late Leon B. Du Pont, one of the fore- most scenic painters of France and an officier (Tacademie. From his mother, who invented a system of reading and learning the French alphabet in one operation and who devised a method of teaching the metric system now in use in deaf and dumb schools through- out France, it is only natural to con- clude that he came by his inventive instincts. To carry the inventive theme further, his great-grandfather, Francois Jean Baptiste Du Pont de Bourgneuf, invented the first double- action water pump and organized the first military band under Napoleon I. Under his father's tutelage, Mr. Du Pont learned the science of color com- bination and harmony. Thwarted financially in his desire to make scenic painting his life's work, he turned to photography for a liveli- hood. The desire to improve motion pictures with natural color came to him one day while examining some Pathe hand-colored film. The World War prevented his progress in this di- rection until 1917 when, chronic bron- chitis bringing about his discharge from the service, he came to Los An- geles and was soon established as one (Continued on page 826) THIS SECOND ANNIVERSARY Musings in Agate Measure K. L. NOONE, Advertising Manager A NNIVERSARIES ... for the worry **■ of the usual man, who must carry them in mind weeks ahead lest he fail to remember a day of confusion and orange blossoms way back in nineteen something or other. No, this isn't that kind of an anniversary. It's rather a stock-taking time. Now perhaps the twelve firms that placed their advertising contracts in the cradle of MOVIE MAKERS stood behind the child because it came of good stock and they thought it would eventually make a worthy citizen. Perhaps they simply liked the lustiness of its young cries. Any- way, there they laid the contracts. The baby grew and before it was a year old was showing precociousness in the selling of cinematic goods. Now with adolescence past it is talking for the industry to the amateur in the world's far corners and selling cinematic goods where in other days the seven league boots must have provided means of circulation. Are we stock-taking? Then let us get out our agate rule and measure advertis- ing. Here's December, 1926, 3003 lines. Place that side by side with this issue of December, 1928. Where would it stand against a lineage of 14,951? AMATEUR MOVIE MAKERS was the sort of sonorous name often given a child in the first burst of fond parentage. It pro- gressed to MOVIE MAKERS right speed- ily, and I suppose that some day or other, not so far in the future, either, when we must go to press weeks in advance of publi- cation date to make ready a heavy foreign edition, it will be "popularized" still fur- ther and we will be hearing of it as M. M. For our pioneer advertisers, we are proud that MOVIE MAKERS has shown their faith well founded, proud that it is proving a super-cinematic salesman for them in its monthly trips around the world, proud that it is now a catalog for the amateur and for the dealer. We are appreciative of our new advertisers be- cause only an harmonious, united industry can reach its highest destiny. Now we may set our faces toward an- other anniversary. And what shall we name the first trans-atlantic airship edi- tion for, perhaps, 1930? A Statement of Editorial Policy JOHN BEARDSLEE CARRIGAN, Editor COR two years MOVIE MAKERS has *• been striving unremittingly to find it- self— to reflect in its pages the desires and to fill the needs of its readers. During those two years it has more than doubled in size, added many refinements which will have been observed by its readers and it has greatly increased the scope of its circulation, nationally and internationally. With this growth has come a consequent increase of responsibility to the field which it is striving to serve effectively. We have found our readers to be of many interests, all allied, of course, with the fundamental avocation of movie mak- ing. There are those who are chiefly in- terested in securing family records. An- other large group centers on travel film- ing. Many individuals and organized bodies are devoted to the production of photoplays. An ever growing number is primarily concerned with achieving ad- vances in the technical and mechanical phases of movie making. Many are ab- sorbed in the motion picture as a remark- able new art form. Physicians, educators, scientists and industrial executives have all been utilizing the motion picture me- dium for the advancement of their pro- fessions. Again, we have in each group the beginners, those with average experi- ence and advanced amateurs. Each of these many widely diversified interests looks to MOVIE MAKERS for aid and encouragement in its efforts. To give this assistance and inspiration is our goal. In practical terms, however, this means that MOVIE MAKERS must contain material helpful to each group. It can- not be specifically directed to the com- plete satisfaction of any one of these dif- ferent interests to the exclusion of others. As in the past, we must aim to serve them all, that the whole broad field of amateur cinematography may be truly represent- ed in the publication through which it has became articulate. And in addition, MOVIE MAKERS is the chief news medium of the amateur movement in all its related phases and must faithfully fulfill this function. To these ends we pledge our renewed efforts as we enter on our third year. May our next anniversary find MOVIE MAKERS tripled in service to the ama- teurs of the world. < DECEMBER 1929 . •' » P The MARCH of the CLUBS How Organized Groups Contributed to Cinematic Art During 1928 By Arthur L. Gale, Club Editor THE last year has seen one hundred and fifty per cent increase in the number of amateur movie clubs, de- velopment of two new League services for clubs and the completed production of approximately eighty amateur photoplays. The membership roster of almost all the older clubs has been greatly aug- mented. The growth of the amateur club and photoplay movement has not all been numerical. The clubs are increasing their services to members, they are preparing better constructed programs and they are securing more important speakers. In several instances clubs of amateur camera- men and women have become important civic institutions and have made amateur movies serve educational, social service and recreational purposes outside of the immediate scope of the club. Through comparative screenings of members' films, technical lectures and the exchange of amateur ideas and experiences, the clubs have undoubtedly contributed much toward the progress of amateur technique. Club equipment has also been greatly supplemented. This year has been one of comprehen- sive experiment for the film story produc- ing groups. Almost every photoplay form has been tried. Farces, comedies, dramas, melodramas and film documents have been produced. Nor has the amateur been without his super-feature. Such films as "Caste" and "The Crown Jewels" involved the cooperation of military and naval forces, railroads and, in some cases, whole towns and cities. Here the amateur, faced with the obvi- ous lack of material available to him in scenario form, unlike community players groups, has concentrated a great deal of his energy on the fabrication of plots. The amateur photoplay producer has not yet completely realized that all of the written story material of the world is available to him, that his logical contri- bution is the complete translation of this material into terms of the motion pic- ture, and that his true artistic achievement will lie in enlarging these terms in the process. However, it is evident the ama- teur producers are learning the working value of a well planned script. They are learning to use their photographic tools skillfully and the production organization of the average group has become much more effective. The value of selecting officers and cast on the basis of ability rather than popularity is an old story. Even with this diversification of effort and the use of hackneyed story material, film story producing groups are well on their way toward making the original con- tribution to the progress of the motion picture as an art form that was prophe- sied of them, early in the movement, by far-visioned critics and professionals. This year has seen notable achievements. Amateurs have reached professional heights in standard photoplay technique, as in "Narrow Paths." They have made full use of motion picture possiblities, as in "And How." They have, through cinematic experiment, reached new artistic levels, as in "The Fall of the House of Usher." Recognition of the amateur photoplay movement has become general. The pro- fessional motion picture world drafted the director-cameraman of "And How" solely upon the basis of his ability demonstrated by that film. In the last year, public screenings of amateur productions have been held gen- erally. The box office receipts, in some cases, have been turned over to charity and in others have been devoted to the purchase of equipment. Not only have these public screenings demonstrated solid public interest in amateur photoplays, but they have also shown that greater efforts obtain adequate support. An interesting aspect of the amateur motion picture club development is its growth in colleges. The movement has also become strongly rooted abroad. There are over thirty clubs outside of this country and in England, where interest in ama- teur photoplay production is particularly keen, local organizations are now linked together by the National Amateur Cine- matographers' Association. As the two new League services in this department, bulletins containing specific material for clubs of amateur cameramen and film story producers are issued peri- odically and the Club Film Library made up of amateur productions is operated for the benefit of organized groups. There can be no doubt that these clubs will contribute materially to the progress of the motion picture as an art form. MOVIE MAKERS i I The ADVANCING AMATEUR Perfecting of Cinematic Tools in 1928 Bring* Marked Progress in Technique By Walter D. Kerst AS the forms for the twenty-fifth issue of MOVIE MAKERS, its second anniversary number, are locked on the presses, my mind reverts to the first issue published in December, 1926, when the movement was just getting well under way. A glance through the past issues of the magazine brings home with great force the rapid strides forward the amateur mo- tion picture industry has made in its tech- nical aspects. In the early days of the magazine, and preceding that, back to the successful introduction of the 16 mm. cam- era in the summer of 1924, most of the persons actively engaged in the hobby were content with the limitations placed upon them by the available equipment. Unlike the first 35 mm. film, the early 16 mm. amateur films were excellent in qual- ity, but they were, nevertheless, limited. The first 16 mm. camera on the market had a lens that could not be interchanged with others, nor were there then lenses adapted to this end. However, this condi- tion did not exist for long. When the first issue of the magazine made its appearance, a camera with an interchangeable lens fea- ture was being sold, cameras and projec- tors were being made more compact and lighter in weight, and accessories were being rapidly introduced. A vignetter for irising in and out was available, well known lenses were being made for 16 mm. cameras and each month thereafter saw the introduction of some new feature for the amateur to enrich and enlarge his movie activities. It is probably true that the large mass of amateurs will always be content with merely the necessities for producing a picture in motion, but there is a group, now in the making, which can be termed "advanced amateur." It is this group which has kept the manufacturer on the jump and will continue to do so until amateur equipment has equaled and possibly even excelled in scope that of the professionals. It is this class of amateurs which is di- rectly responsible for spreading the use of 16 mm. equipment from record making and recreation alone to science, industry and many other fields. Comparing the amateur equipment of today with that of the professional, there is little lacking on the amateur side. From a mere box with an immovable lens, ama- teur camera design and the design of ac- , Technical Editor cessories have progressed so rapidly that there are now available: lens turrets, color and effect filters and filter holders, mask- ing mattes, automatic dissolves, profes- sional-like tripods, hordes of telephoto lenses, titling devices, ultra speed lenses, excellent projection screens, simplified fo- cusing and exposure devices, artificial lights, both arc and incandescent, and many others too numerous to mention here. There is already hardly a single de- vice available to the professional that is not also available in some form to the amateur. The technique of amateur films is bound to be improved by the use of such splendid tools. These tools have been laid in the lap of the amateur so fast that there has as yet been very little time to make the fullest possible use of them. In connection with the development of accessories, the improvement in the film is no less noteworthy. Starting with the then new reversible film, an exclusive amateur development, negative and positive film was introduced a short time afterward. This made possible the handling of a film in the same manner as the professional. It was evident that panchromatic film would soon follow and that is now becoming widespread in its use by amateurs. Thus the amateur again kept pace with the pro- fessional. Besides the introduction of new types of films and emulsions the quality of processing steadily improved from the be- ginning. By taking the human factor out of film development and using in its stead highly perfected heat and density measur- ing instruments the manufacturers have made the finishing process fully automatic and nine-tenths foolproof. This is evident upon a comparison of the reels made in 1924 with the amateur films of today. It is fitting to close this very brief re- sume with a mention of the greatest scien- tific advance in cinematography since the discovery of photography itself, and that is the development and successful intro- duction of a practical method for making motion pictures in natural colors. This very month there comes a second great develop- ment— talking movies for the home. There is also every positive indication that the near future will see other practical color and sound methods, new cameras, new pro- jectors, and an acclerating sense of the value of amateur cinematography in nearly every activity of mankind. I DECEHIICR 1928 WHAT'LL WE SHOOT NOW? THE average movie amateur, like the average citizen, exists largely in the minds of harassed publicity inventors who must, from the very nature of things, have a col- lective mind to address. Generally speaking, there is no real "average movie maker" for the simple reason that a suspicion of suggestion that he is one will, in most cases, remove him from the class with speed and indignation. Suggest to the "average" movie camera owner that his cinematic ideas are limited to trick shots of the baby, grotesque shots of the dog and possibly, a few standard shots at his favorite golf course, and you have at once lost a friend. He is willing to admit his lack of tech- nique; he will never admit publicly, and seldom privately, his lack of ideas. Why, then, are the bulk of the films made by amateurs divided roughly into "baby," "pet" and "sport" pictures? In the latter class I am willing to include the casual shots made at the shore during the summer and the somewhat more val- uable shots made on a lowering November day during the last few seconds of play when the ball is car- ried over the line to the tune of wild yells from the assembled lunatics and to the everlasting glory of dear old Whatsit. Incidentally, such a shot is likely to come nearer to being authentically thrilling than anything else easily accessible to the amateur. Having shot the baby and other members of the family up to several hundred feet of well-photographed incoherence, having upset the dignity of the dog to the point where he is wistfully contemplating digging up his bone from under your pet rose- 776 An Answer to a Pressing Problem of the Amateur By Carl L. Oswald bush and striking out for some spot where life is less complicated, and further having seriously reduced your popularity at the nineteenth hole by too persistent movie click- ing on fairway and green, have you decided that there are no further worlds to conquer and without much thought on the subject either for or against, put the camera away to be resurrected only on birthdays, Christ- mas and, occasionally, in the ex- pansive spirit induced by the visit of an unexpected but unusually wel- come guest? Of course you show the pictures from time to time and, if you are at all alert to the reactions of those who are viewing them for the first time, you slowly come to a realiza- tion that something is wrong. The lucky shot of the baby when he calmly ignored all directorial bland- ishments and proceeded to chew the puppy's ear is good for all sorts of repetition, but surely something should be done about the next shot, which is simply an uninspired por- trait done in the early tintype man- ner. And so scene follows scene, some good enough to stand as shown, some attaining a certain vitality by your running comment, and some simply hopeless. The film, you feel sure, has genuine entertainment value but, somehow, it doesn't seem to click. What is needed? Titles and intelligent editing? Ah, here is a challenge. At the club and else- where you rather fancy yourself as a wit and at home you take on the added role of oracle. Here is your chance to shine. The actual tech- nique of editing and titling is sim- ple; the results depend on your in- genuity. Get out the old films and examine them. Surely a shift in the position of the scenes will help toward co- herence. Run the picture, note the scene sequence, and then decide how a change in that sequence will lift the picture from the purely per- sonal to one having a general ap- peal from the standpoints of coher- ence, good taste, universal under- standing and (if you think you are that good) humor. Preliminary preparation of a scen- ario, no matter how simple the sub- ject, is to be advised whenever pos- sible and here again lies a challenge to your ability to plan ahead and to visualize the finished picture as an expression of your ideas. The tech- nique is so thoroughly covered in the various instruction books now available that there is little excuse for failure in the matter of ex- posure. In composition, grouping of your subjects and lighting you will find fascinating chances to try out novel ideas which, while not always successful, are bound to be interest- ing and, what is more to the point, will indicate what is to be done the next time. The importance of amateur cine- matography as a cultural hobby is not to be overlooked. To those of a philosophical turn of mind there is bound to be a continued fascination in the contemplation of the immense resources of science which have been concentrated on the production of this little whirring mechanism by means of which ideas can be visu- alized, stories told and memories faithfully recreated. To those of a more practical turn of mind the MOVIE MAKERS movie camera becomes a magic note- book in which pencils of light re- cord quickly and permanently those elements of modern business which are found most useful for purposes of instruction, advertising or direct sale. There are probably few mod- ern industries or businesses in which the motion picture cannot be used to advantage under at least one of the headings mentioned. Therefore, get out the camera and see what you can do with it in your business. It is quite likely that the very use of the camera in this way will suggest possible improvements. Then, too, your community may be interested in securing an appropria- tion for some needed civic improve- ment. Comparative shots of similar work elsewhere are more valuable than the most silver tongued orator. Further, a compilation of shots of various civic activities is an excellent basis for a film of unusual interest. For downright fun, there is prob- ably no better vehicle than the ama- teur photoplay. With a congenial group, all sorts of stories may be worked out from current fiction to the immense amusement of all con- cerned. As a matter of fact, the fun of making an amateur movie of this kind makes the viewing of the film later a most hilarious occasion as various mishaps and incidents of its production are recalled. During the intervals of rest which are bound to come in any sport or hobby there are always the progress pictures of the baby, the new house and other matters more or less inti- mately connected with the household and family. Some of these shots may seem trivial but, in later years, it is often interesting to note the dif- ferent emphasis brought about by a passage of time. It is not at all a bad idea to combine many shots which, in themselves, have little pres- ent value, and to splice them into what may be termed a supply reel from which individual shots may be cut as they are needed in other films in the interest of continuity or im- proved appeal. The impression that the winter months mean a cessation of photo- graphic work is still rather wide- spread. Quite the contrary is true. Where snow is common, many thrill- ing shots of skiing, toboganning and skating can easily be secured and "tied in" with your personal sequences with results which will surprise and delight you. The win- ter months, further, give you a better opportunity for indoor work on titles and general editing and, if your talent lies in that direction, anima- tion. Animation can be done with drawings, plastic clay or dolls. The first two require definite ability either as a draughtsman or modeler, but with dolls of the jointed variety, many amusing and interesting stories can be worked out by almost any- body. Further, the interest of the film can be improved by means of double - exposed backgrounds in which the title appears over a pic- ture or drawing suggesting to a greater or lesser degree the scene or sequence of scenes immediately fol- lowing. Here again one may exer- cise his ingenuity to produce results which will enhance the quality of the finished film and give lasting satis- faction in a job well done. We often hear the complaint, "I've shot evervthina; in sight, now what do I do?" Rather plaintive and, for the amateur who is definitely average, not to be wondered at. I assume, however, if you have read this far, that you are already on your way out of the average class and are all set to establish yourself as an individual able and anxious to express yourself in your own idiom through the medium with which you are working. That you will make mistakes is just as inevitable as the fact that you will have unlimited amusement and constructive satisfaction, construc- tive in that the results you secure through intangible, almost mysteri- ous light action and chemical reac- tion have not the evanescent quality usually associated with hobbies but, on the contrary, have a permanence which makes the occurrence of today the vivid memory of tomorrow and a whole procession of tomorrows. Finally, there is constantly at the call of any amateur movie maker a small army of experts of varying de- grees of ability and experience, any one of whom may be called on for advice in the solution of some prob- lem which may come up in the pro- duction of even the simplest picture. These and the magazines cover the ground so thoroughly that the "how" of the movies is rapidly being reduced to a routine. Therefore, there is noth- ing required but exercising of wits, taking advantage of the numberless opportunities for interesting shots which constantly present themselves and thus changing "What'll we shoot now?" from a plaintive admission of defeat to a triumphant announce- ment of a job well done and a pleased realization of new and big- ger opportunities of self-expression just around the corner. fclwig 19 26 DECEMBER 192 S THE CLINIC Panchromatic and Filters IT seems that quite a bit of con- fusion exists among amateurs as to the use of filters with panchro- matic film. Although much informa- tion on this subject has been stressed recently in the magazine it would do no harm here to give a brief resume. Because panchromatic film is sen- sitive to all the colors of the spec- trum, the factors of the two and four times filters, the K series of filters and the special red and yellow filters given for use with ordinary film do not apply when panchromatic film is used. Panchromatic film is faster with filters than is ordinary film. When using a filter with panchro- matic film that is rated as two times with ordinary emulsion, the dia- phragm is opened only a half stop wider instead of one full stop. This, of course, is an approximate factor because filters of various manufac- turers vary in respect to the depth of color in them. The factors for filters should always be ascertained from the manufacturer in reference to the type of film to be used. With the yellow filter rated as four times with ordinary film, the factor of two with panchromatic film has given excellent results. With the K series of filters, the factors with panchro- matic emulsion are: K-l, 1% times; K-2, 3 times; K-3, 4% times. The red A filter has a factor of approximately 10 times with panchromatic film and the yellow G filter about 7 or 8 times. Varying a factor slightly either way will do no harm as the latitude of the emulsion is usually sufficient to take care of such variations. Remem- ber that when using strong filters such as the K-3, G, A or any with a factor of 4% or more it is im- portant that a full exposure be given. Under-exposure with these heavy fil- ters will exaggerate the contrasts in the resulting picture. This is desir- able for special effects, but for straight shots, guard against this danger. A Kodacolor Xmas T^ODACOLOR amateurs should not ■*-^- fail to take advantage of the many colorful subjects available to 778 Edited by Walter D. Kerst Editing and Titling TPILTING a film is greatly facil- ■*■ itated by projecting it and stick- ing a tiny piece of white adhesive tape at each point where a title is to be inserted. The number of the title is written on this tab. The film may then be run through a rewind and a title spliced in each place where a tabbed frame is clipped out. Con- fusion and possible errors are avoided because the numbers on the tabs correspond to those on the titles. The best way to number the adhesive tabs is to write a series of numbers along a strip of tape and clip off one number at a time as it is needed. Don't throw away the long strips of film which you clip out when editing a picture. These strips may be soaked in hot water and the emul- sion removed by scraping or brush- ing with a stiff brush. After wiping with a cloth and drying they make excellent leaders and trailers when spliced onto the ends of a reel. A leader not only protects the end of a film from being damaged but is very convenient for threading the pro- jector since the first scene of a lead- erless film will be used in threading the machine and will thus be lost in projection. If black leaders are pre- ferred, the celluloid strips may be blackened by dipping them in India ink. Howard E. Richardson '-TECHNICAL Bulletin ■*• No. 2, "Reflections in Color," is ready for distribu- tion free to League members only. It concerns color cine- matography in general and Kodacolor in particular. Send for your copy today. Address the Technical Consultant, Amateur Cinema League, 105 West 40th Street, New York, N. Y. them during the Christmas season, even in some instances to shooting the Christmas tree with its bright little globes of gay colors. Of course, bright sunlight is needed and if there is snow on the ground it will help all the more by serving as an excellent reflector. It is the custom of many people to decorate an evergreen on their lawn with electric bulbs for the holidays. Why not go a step further and add the tinsel and all the other trimmings, turn on the lights and make a close-up in Kodacolor? Then there are the brightly colored fire engines, express wagons and other things for the sturdy youngster, the big blue-eyed doll with the flaxen hair for his sister and all the other toys that will photograph beautifully in color. These are but a few of the many ways in which the worker in color can use his camera to advan- tage during the coming holiday sea- son. Remember to shoot only in bright sunlight, with the sun shining full on the subject. On a very brill- iant day with snow on the ground it may be necessary to use the neutral density filter to overcome the strong glare reflected by the snow. A few trials will show where the neutral density filter can be used to advan- tage. Film Standards rT"'HE standardized taking and pro- ■*- jection speeds for 35 mm. film as used in the professional field were announced recently in a transaction of the Society of Motion Picture En- gineers. When normal speed on the screen is desired a camera taking speed of 60 feet per minute, with a minimum of 55 and a maximum of 65, is used. The projection speed is 80 feet per minute with a minimum of 75 and a maximum of 85. For the amateur with 16 mm. equipment who wishes to conform to these standardized practices the pro- jection speed should be twelve and one half minutes for a 400 foot reel and about three minutes for a 100 foot reel. The taking speed is, of course, fixed by the spring motor in the camera. 1926 *&«»«■■ VI % ■* I « «» Trouble Saver A POSSIBLE annoyance concern- ing the rewinding of films may be very simply avoided. Projected reels are often put away without re- winding. The next time they are shown the operator may not remem- ber that a particular reel has not been rewound until he gets it thread- ed into the projector. Having to re- move and rewind it then, perhaps with an audience waiting, is very dis- concerting. This aggravating exper- ience may be prevented, however, by writing on the last few inches of the trailer or blank strip of film at the end of each reel, the words "To Be Rewound" or simply "Rewind". This can be written with India ink and should there be any question as to whether or not the reel has been re- wound it can be decided easily. It is convenient also to write, "Ready to Project" at the beginning of the leader strip of each reel. Hoivard E. Richardson Enlarging 16 MM. AN interesting method of prepar- ing the "glycerine sandwich" as described on page 641 of the Novem- ber, 1928 issue of Movie Makers, and for making still enlargements from 16 mm. frames is submitted by the Rev. William F. Bumsted of Columbia, Virginia. "The materials required are micro- scopic slides, three inches by one inch, number two cover glasses, a simple microscope, a still camera, and the media in which the frame to be enlarged is immersed. There are various suitable media in which the frame can be placed and these are as follows: A, glycerine; B, castor oil; C, glycerine and cadmium chloride; D, glycerine and sulphocarbonate of zinc; E, glycerine and chloral hy- drate. Mixtures C, D and E have a refractive index practically the same as glass and mixtures A and B slight- ly less. "Select the frames for enlarging, cleanse the cover glasses and slides in alcohol and dry thoroughly. Place a small quantity of one of the mix- tures on the slide by means of a med- icine dropper. The frame is then care- fully immersed in the mixture, ex- cluding all air bells, and a further supply of the mixture dropped on top. The cover glass is then placed over all. To eliminate all air bells warm the slide before mounting to a temperature of 100 degrees Fahrenheit. If it is desirable to pre- serve the frame for the making of future enlargements a small quantity of glycerine jelly, made by mixing 1% parts of glycerine with one part of melted gelatine may be painted on the slide around the edges of the cover glass. "The enlargement is made as fol- lows: the completed slide is placed on any microscope using an ordinary 2 or 2V2 inch objective. Light is re- flected up the tube of the instrument by the mirror. Above the microscope is mounted a still camera with a ground glass for focusing. The lens of the camera is removed. The picture is focused in the usual way and ex- posed, either on a new plate from which an enlarged negative is made or directly onto enlarging paper. In the latter case the paper must be placed in a suitable printing frame so that it will be held parallel to the plane of the film being enlarged. It is to be noted that the camera at the plane of the ground glass must be at right angles to the microscope and that the field of view be evenly illuminated." Against the Sun \V7HEN making pictures with the ** sun facing the lens there are certain precautions that should be observed if success is to be achieved. Always use a long lens hood to shield the lens from the direct rays of the sun. After adjusting the hood around the lens look closely at the lens and note where the shadow cast by the hood falls. If the shadow covers the glass of the lens there is no danger of fog. The hood should be at least three inches long and shaped like a cone so that the sides will not cut the corners of the pic- ture. If possible place the camera in a shadow cast by an object in the field of view. This will further help to shade the lens. Remember to in- crease the exposure when shooting this type of picture. Do not worry about the high-lights but take care that the shadow side receives suffi- cient exposure, for this side comprises the major portion of the picture. Use reflectors whenever possible t o lighten the shadows. The Cine Kodak Stance How best to hold your camera, if a Cine Kodak, is outlined in the follow- ing directions compiled by the East- man Kodak Company. "HPHE waist level position, for -*- photographing children and other objects below the adult level of vision, is a very natural camera posi- tion. One simply holds the camera in two hands, braced against that part of him of which he has more if he doesn't play golf, and presses the trigger. "But persons are frequently seen using the eye-level position with the camera held awkwardly. A charac- teristic of the Cine-Kodak is that the shape of the camera lends itself to an absolutely steady position. "Let the Cine-Kodak photographer emulate the military rifleman. He should plant his feet squarely and apart. He should put his left hand at the front of the camera, with the palm toward him, and with the index finger or the next one on the trigger. The right hand, palm down, should grasp the rear of the camera, with the index finger on the spring that releases the winding handle, ready almost auto- matically to "crank up" for the next scene when a few feet have been taken. Incidentally, the thumb of the left hand is in a position to manipu- late the portrait attachment of the / 3.5, or to focus the / 1.9. "The two arms, if the elbows are braced rather solidly against the sides of the body, make two-thirds of a very steady anchorage triangle, and press- ing the back of the camera against the right cheek gives the third point of firmness." Twsm TO ALL Amateur Mask Box MR. Hyman Fink, inventive ama- teur of Los Angeles, California, sends the following interesting ex- planation of how he uses a home- made mask box for his Cine-Kodak Model B, / 1.9 camera: "I have made up a little device which is used on the front of all pro- fessional cameras, a mask box with four slides and a funnel shaped sun- shade. I use the box for double ex- posure work, for making novelty (Continued on page 818) DECEMBER 192 » MAKING UP FOR Heroes All, PRODUCTION OF THE DRAMA CLASS OF NEWPORT NEWS, VIRGINIA HIGH SCHOOL. AMATEUR CLUBS MAKE-UP BULLETIN THE second bulletin is- sued by the League's Club and Photoplay Con- sultant, "Makeup for the A mateur Movie Maker," is now available to League members. The bulletin cov- ers makeup for cine port- raiture and for straight or juvenile parts in amateur photoplays. It gives some basis for experiment in makeup for character roles and includes makeup for panchromatic film. The bul- letin is sent automatically to all clubs and to all League members who have regis- tered a request that these bulletins be sent them as is- sued. The bulletin is avail- able without charge to any League member who cares to write for it. Address re- quests to Club and Photo- play Consultant, A mateur Cinema League, 105 West 40th Street, New York, N. Y. News of Group Filming Edited by Arthur L. Gale Yachts and Magnolias T 'HE Amateur Motion Picture Club of Miami, Florida, lately formed with a membership of fifty to provide programs for the amateur movie enthusiast and to pro- duce amateur photoplays, developing the abilities of members in the various departments of production, has al- ready begun activities with the pro- duction of "The Hero." The picture, 780 LEADING AMATEUR PHOTOPLAY PRO- DUCERS OF CHARLESTON, VV. VA. Left to Right, John MacWilson, Nancy Lee Warner and W. R. Poulson. filmed on 16mm., was shot in two Sundays of work and is now being titled and edited. The club holds weekly meetings and plans several other short productions to gain ex- perience before launching its first major effort — an amateur photoplay for Photoplay Magazine's amateur movie contest. The club contemplates doubling its membership shortly and Miami city officials have offered every possible cooperation. A number of fine estates, yachts and airplanes, as well as the tropical background, will be available for settings and prop- erties. Dr. Milton J. Benjamin directed "The Hero" and will direct future productions. Other club officers are: PHOTOPLAY CONTEST A LL amateur movie clubs ** and amateur photoplay producing groups are urged to submit films to Photoplay Magazine's second amateur movie contest. There are four awards for the best amateur photoplay. They range from $500 to $100. But far more worth striving for is the honor and renown of placing in the contest. The winning films will be screened for professional directors, producers and critics. The contest ends March 31, 1929, .90 you still have four months in which to produce a film, if you have not already started. We all have a justifiable pride in the progress that has been made in amateur photoplay technique. The contest en- ables us to demonstrate it to the world at large and to ob- tain general recognition for our ever growing standards. F. H. Arcularious, president; Willard C. Brown, secretary-treasurer and Nathaniel Stewart, cameraman. With these, Dr. Leon Rex Felt, Joseph John Orr, Virginia Rich and Karl Neun- schwander complete the board of di- rectors. Vineland, "B. O." THE Cumberland Amateur Motion Picture Club in Vineland, N. J.. recently held the first public screening MOVIE M/IKERS of its last production "Nugget Nell," a Western comedy running one thous- and feet 35mm. "And How", a pro- duction of the Motion Picture Club of the Oranges, and "Princeton", pro- duced by the Undergraduate Motion Picture Club of Princeton University, were also featured on the well bal- anced all-amateur film program. The \ ineland theatre was packed to capa- city and the box office receipts have enabled the club to continue pur- chases of laboratory and lighting equipment. Two 35mm. productions to be sub- mitted to Photoplay Magazines amateur movie contest are under way. The camera work on one of them, an underworld melodrama, with the working title. "Judgment Fulfilled", being directed by Roy C. Erhardt, is more than half finished and sixteen hundred feet of exposed film have been developed by members in the club's laboratory. Research work has been completed and the scenery and costumes have been designed for the other production to be directed by John B. dTppolito, Jr. Neither title nor plot of this all interior film has as yet been released, but Mr. dTppo- lito writes that scenic backgrounds will be used symbolically to evoke the story's mood, although not in the same way that they were used in "The Cabinet of Dr. Calagari." The same color scheme will be carried out con- sistently in all settings, costumes and properties. Extensive film tests were made in selecting the color grada- tions. Lakeside Working T TNDER the leadership of D. ^■J William Gibson the Motion Pic- ture Club of the Lakes has been re- cently formed in Lakeside, Mich. A scenario that will run twelve hundred feet, 16 mm, entitled "Her Refuge," Cup Offered AN EXPERIMENTAL CINE STUDY FROM THE FOTO CINE PRODUCTIONS OF STOCKTON, CALIFORNIA. has been selected for the club's first production. The story is a fast moving tale of the eventual triumph of a falsely convicted man who escaped prison. The cast is now being se- lected and work will start next month. IN PRODUCTION The Silver Screen Club of St. Paul, Minnesota, Filming a Comedy Scene. ' I 'RAVEL films taken by club mem- •*■ bers were screened at the last meeting of the Hartford Picture Club in Hartford, Conn. An exhibition of natural color films concluded the pro- gram. Plans have been made for an an- nual competition for the best amateur reel on any subject. A cup will be awarded which will be held by the winner of the contest until the com- petition for the following year. This is a simple and practical method of introducing an annual cine contest and is worth the attention of other clubs. A Stockton Overseas POTO-CINE Productions, an ama- *■ teur movie club in Stockton, Cali- fornia, is producing a 16 mm. film under the working title, "Three Episodes." for Photoplay's contest. The plot of the scenario, written by Robert Burhans, is based on an in- cident in the World War and the motion picture treatment, while novel, is entirely within amateur limitations. A moving camera will be freely used and the storv will be completely told in film without the use of sub- titles. In the club's recent reorganization, Wallace W. Ward was elected presi- dent: Edwin Farrall, vice president: Robert Burhans, director, and Alice Buckle, secretary. A monthly club bulletin will be issued. (Continued on page 819) I ^ FILM -FLAM DECEMBER 1928 Completely Crippled? THE fact that vaudeville vendors of synchronized smart cracks and Broadway witticisms in the "talkies" are not struck instantly dead by lightning leads one to be- lieve that justice is not only blind but quite deaf as well. Deception AN irate lady entered a bookshop not long ago and in words none too polite denounced roundly literary sales policies in general. She had purchased a certain book, it seemed, on the strength of having liked a movie of the same title and, upon subsequent reading, found the book totally unlike the picture. "It's not the same thing at all," she explained hotly, "and I want an exchange slip or a refund." "Drop In Anytime!" IT is planned to erect a 7,000-seat movie theatre in New York, to be the biggest in the world, possibly the biggest in the entire cosmos. It is not likely, however, that this will in any way effect even one of the thirty-odd persons who scramble for roosting space on your davenport when you turn on your amateur films. The only thing we can suggest is that you get a bigger home to take care of all the neighbors. Qualified "T'VE half a mind to go into the ■*■ movies," said Alice. "That's all you need!" said the Red Queen. "Loo\, Mummy, Wouldn't Daddy Be Surprised If He Knew I Was Gonna Ta\e Movies of Santa?" Publicity TN preparation for her next picture, •*- "The Woman Wanted," Gloria Glanson, to quote her press agent, is training "her naturally melodious and cultured voice" to register in character the speeches of the little East Side girl whose rise from dish- washing to the opera Gloria is to portray. Her voice teacher is said to report remarkable progress in his student. Gloria herself says, "It aint enough for a goil to be just charmin' and culturated. For the talkies she's gotta be voicatile as well." Explanation pONALD COLMAN tells this one: ■*^- An author had written and sold to motion pictures a brilliant story called "The Optimist." "Yeh, it's a darned good story," said the producer, "but we gotta change the title." "I thought it was a fine title," de- murred the writer. '"Snot that. It's the public. Of course, you and me would know that an 'optimist' was a fellow where you go to have your eyes tested, but the public don't." — Photoplay. "Oh, Don't Use the Blue Camera, Ethelbert, I T^ever hoo\ Well in Blue, you Know." Sounds True A PERSON, later identified as a certain producer of movies, walked into a bookshop re- cently and asked for a novel, "some- thing snappy." The clerk thereupon ran down the list of Cabells, Glyns, Lawrences and writers of like tradi- tion. The film magnate paused mus- ingly over a certain title. "Guess I'll read this one," he said, "started making a picture of it out at the studio yesterday." Hollywood Housing TF the New York Morning Tele- •*- graph is sued by Miss Davies the following item, found in a recent edi- tion, will doubtless be the reason: "Marion Davies sails for Europe. Beverly Hills and beach home closed. Thousands now homeless in Holly- wood." Beware Posterity ^JOW that Mr. Eastman's magicians *• ' have given color photography to the amateur we shall have a record of just how pink the baby was at eighteen months, how brown were the eyes of the terrier pups and how red was Uncle Joe's face when he re- turned from Asbury Park. Winter Garden ladies had better wear a heavy makeup when leaving Tex Guinan's these bright sunshiney mornings. MOVIE MAKERS LEE F. HANMER Sixth of a Series of Studies of Leaders of the Amateur Cinema League AMATEUR movie making as rec- reation offers greater possi- bilities for meeting the demands of the individual of many interests than any other hobby with which he is fa- miliar, according to Lee F. Han- mer, nationally known recreation expert of the Russell Sage Foundation and member of the Board of Di- rectors of the Amateur Cinema League. "While other forms of recrea- tional activity find an outlet for the expression of one and some- times more than one inclination," Mr. Hanmer con- tinued, "amateur moving making requires a com- bination of me- chanical, motor, artistic and men- tal capabilities not often de- manded by any one hobby. It most completely meets the needs of the well bal- anced personal- ity in which no particular phase of character has been developed to the exclusion of others." Few men are better equipped to evaluate the motion picture than Lee F. Hanmer. From the earliest days of the movies he has used them in the development of his own work, or been associated with significant movements in the motion picture field. As early as 1907 he inspired production of one of the first edu- cational pictures on record. It was entitled "Charlie's Reform" and was taken for him by the old Edi- son Company. Its purpose was to secure public interest in the estab- lishment of community centers and illustrated the direction of youthful interests from destructive into con- structive channels, for, Mr. Hammer points out, around this point the By Louis M. Bailey whole problem of juvenile delin- quency revolves. Given free play, unrestricted by social consciousness, the criminal instinct frequently de- velops unhampered. This point was admirably portrayed in "Charlie's Reform" and the picture was instru- mental in making a success of the community center campaign. Again in 1912, still in the pioneer- ing days of the movies, he demon- strated their educational power on a national scale. The alarming casu- alty list resulting from Fourth of July celebrations had occasioned in- auguration of a safety campaign. The slogan, "A Safe and Sane Fourth," was coined and he arranged for the production of a picture by that title in which the dangers of explosive fireworks were powerfully demonstrated. By nationwide exhi- bition of the film in professional theatres its message was brought home so successfully that legal re- strictions on the sale of dangerous fireworks were widely established. As a result the number of deaths from fireworks decreased great- ly, have con- tinued to do so each succeeding year, and the in- fluence of this safety first film has not yet ceased to be felt. During the war Mr. Hanmer was associated with the develop- ment of the greatest motion picture distribu- tion system which the world has seen before or since. As a member of the Commission on Training Camp Activities of both War and Navy Departments he aided in the pro- vision and distri- bution of suit- able motion pic- tures for mil- lions of service men both at home and abroad. Thus he came into close contact with the professional mo- tion picture field and secured a wide knowledge of its workings. A still more intimate association with motion pictures came as the re- sult of his selection as head of the Public Relations Committee of the Motion Picture Producers and Dis- tributors Association of America from March, 1922, until March, 1925. And now, as a director of the Amateur Cinema League, he is aid- ing in the guidance of the movement for personalizing the motion picture, which may prove to be the most significant and important develop- ment in the history of this new medium of human expression. But while motion pictures and amateur motion pictures, especially, (Continued on page 818) DECEMDER I93S / /0V"7 <£^l Cutting School Costs with Talkies NOW that theatrical talkies are the rage, what about talkies for use in educational insti- tutions? Will the time come when demonstration-lectures from the lead- ers of research can be seen and heard in every college and university audi- torium in the world? Will the time come when current events of notable importance will be edited annually and syndicated for history students in every civilized country? Will the time come when the common ele- ments of our curriculum will be pre- sented in talkie form by master teachers and made available for every school in America? These are questions that bear contemplating, and they in turn will arouse many others. School costs are increasing. Take the high schools for example. The main complaint heard at the Boston meeting of superintendents last March was that secondary education costs too much. President Lowell of Harvard University fired the opening shot. While the writer is not alarmed over the complaint, the idea comes to mind that here is a field in which progress in the direction of economy would not be out of place. Does the talkie film hold out any promise for reducing the costs of formal educa- tion? There are reasons for believing that the talkie film would effect economies in classroom instruction. At present every topic or lesson is prepared individually by several hundred thousand teachers, and the quality of instruction is necessarily mediocre except in rare instances. With the new medium in vogue, many of these lessons would be taught in syndicated form by a small number of master teachers in the service of the regular classroom teachers, and, of course, with a much higher quality of instruction assured. 784 By Dr. Joseph J. Weber Author of "Picture Values in Education" and "Comparative Effectiveness of Some Visual Aids." We have an analogous situation in the use of text and reference books. Centuries ago, before the days of movable type, each teacher was the primary source of information to his pupils and the information was nec- essarily limited and in most instances raggedly presented. Today most of the subject matter of the curriculum can be studied from the printed page and the writers of these books are authorities and experts in exposition. Printed and illustrated books now constitute indispensable aids to the classroom teacher. This fact has economic signifi- cance. Instead of spending most of the class time giving pupils the facts, the teacher can assign refer- ences to be studied outside of class time and thus use the recitation period for true teaching, enriching what the pupils have studied, bring- ing out new meanings, giving indi- vidual help, checking up on the learning, and arousing new and more far-reaching interests in the tasks to be faced. Without the aid of books the instruction would necessarily be incomparably impoverished so far as subject matter is concerned, and teacher and class would have to spend at least twice as much time in the classroom as they do now, both of which facts might mean a tripling of the cost of schooling. The reasoning applies equally well to the talkie film. Talkie films, like text and reference books, can be made to assume part of the respon- sibilities for actual instruction. This will relieve the teacher, who is already badly overburdened, from the task of gathering and organizing facts and materials for explaining certain topics, and enable him to spend this energy preparing the pupils for the talkies, and working out lesson procedures for adapting these aids to actual classroom needs, and, last but not least, give him more time to engage in such humanizing activities as supervised study, educa- tional guidance, personal confer- ences and similar services. Syndicating a few master teachers to do part of the work of many would save money; instructing pu- pils more quickly and interestingly would save us money; consequent re- duction in failures and repetition would save us money; liberating teachers Xrom the slavery of cram- ming to exercising humanizing per- sonal leadership would save us money, and all these arguments should not fail in convincing pro- gressive boards of education either to make arrangements with neigh- borhood theatres for the showing of occasional talkie films or to provide the necessary funds for installing talkie-film equipment in the audi- torium or some specially assigned visual instruction room. No matter how critically we con- sider it, we can not escape the in- ference that the talkie holds out a big promise of reducing the costs of formal education both directly and by giving us more for our money. Neither can we escape the inference that the shadow screen teacher would by example challenge our hundred thousand high school teachers to strive for a higher quality of in- struction. That example is the most powerful stimulus to change in con- duct is known. Talkie films may thus accomplish more in teaching teach- ers to teach than many of our so- called "education" courses in normal MOVIE MAKERS schools and teachers' colleges. Objections will of course be raised. Perhaps the first of these is that in- struction should come from the liv- ing personality of the classroom teacher rather than from a mechan- ically enlivened shadow screen. In answer it may be said that the same objection can also be raised against the text and reference book. But the objection is based on a misun- derstanding, namely, that the talkie film is meant to displace the class- room teacher. This is not the case. The talkie film is to be merely an- other aid in the hands of the teacher who will use it with silent films, text- books, and other aids to the best ad- vantage. A second objection is the fear that the talkie film will tend to produce a deadening uniformity in instruc- tion, with all the social and political dangers that go with such a state of affairs. The fear is well grounded, for we have just passed through a great war which may have been largely the product of nationally controlled educational systems. But again the objection is based on a false assumption, namely, that the entire curriculum is to be presented by means of talkies. As a matter of fact, only the so-called fundamentals of the curriculum lend themselves to such presentation and they only inso- far as they can not equally well be presented by more economical means, such as the oral explanation, text or reference books, silent educational films, lantern slides, stereographs, object materials, and the like. It is not impossible that the talkie film will find its most obstinate op- ponents, not among leading educa- tors, but among the purveyors of silent educational films. These will at least be tempted to minimize its possibilities from self-interest. But, if so, their attitude is due to misun- derstanding and fear. The facts do not warrant an attitude of animosity. At present silent educational films are more promising than talkies in the elementary schools. Here they serve in the role of a reference work rather than that of a substitute teach- er. In the high school and college, too, there is plenty of need for the silent films. If talkie school films come into vogue, they will be more likely to supplement the silent films where these are weak, rather than to sup- plant them altogether. Eventually we may expect the silent films to be- come small units, each devoted to a particular topic, process, or event, together with an identifying title and perhaps a few printed sugges- tions for correlation and interpreta- tion. In this form they would at least be most convenient for the classroom teacher. The educational talkies, on the other hand, may be- come the true instructional films or- ganized by and produced under the direction of recognized authorities and masters of exposition. In such films the speaking accompanying the photographic realism would give every scene a richness of meaning which is now only made possible by the presence of the master teacher. A final objection against the talkie film is that it involves a conflict of two appeals — visual and auditory. The objectors maintain that a pupil can not study effectively what he sees because of interference from what he hears. This notion has an interesting history. Muensterberg, in an experiment long ago, found that if an auditory and a visual appeal are made simultaneously the learner is likely to become confused; but he also had the good sense to add "unless one appeal is subordinated to the other." In a true talkie film the talking would of necessity be subor- dinated to the pictorial continuity, or vice versa. This would be as true of a Vitaphone production of The Merchant of Venice as of a movie- tone record of the signing of the Kellogg peace pact in Paris. Then, ten years ago, David R. Sumstine of Pittsburgh in his famous pioneer experiment found that after showing the film Farming with Du Pont Dynamite silently he got better results in a written examination than after he showed the film and simul- taneously read a lecture to the class. Of course in such a situation it would have been a miracle had the lecture been perfectly synchronized with the fleeting imagery on the screen. One can not help imagining the annoyance of having to listen to a lecture the while one tries to follow the film continuity. Fortunately we have some experi- mental evidence on this point. While the evidence does not deal exactly with the talkie film, it concerns a situation that is so much like it that it applies almost a hundred per cent. When the experiments were per- formed there were no electrically produced talkie films, and so they dealt with oral comment which the teacher synchronized from the floor with the shadow imagery on the screen. In my Columbia University inves- tigation of 1920 I ran a quadrangu- (Continued on page 805) DECEMBER I92S CARING FOR Your FILMS SINCE the advent of amateur movies much has been written about taking and projecting them. Several articles have recently been published giving instructions on editing and titling the pictures after they have been returned from the processing station. But very little has been said about the care of these completed films. This is probably one of the most important phases of an amateur's movie career, as the proper preservation of film deter- mines the degree of future enjoy- ment. In the first place, several things may happen to film to damage it. If such damage is not serious it may be repaired. If the projectionist is care- less, however, and continues to pro- ject a partially damaged film with- out either mending it or taking it to a dealer to be serviced, whole sec- tions will, in time, have to be re- moved, very often necessitating the deletion of some priceless bit and practically ruining the entire film. If the damage is not too great it may be desirable to have a duplicate print made, but with the new Kodacolor film it is impossible to make dupli- cates and hence greater care should be taken of these than of ordinary black and white pictures. One thing that can happen to a film is improper threading on the projector. When threading be sure that the perforations are engaged squarely on the sprocket teeth. Other- wise the film will run off the sprocket and ruin from sixteen to twenty-four frames by making a ridge through the center of them. This can be easily avoided by releasing the motor after threading the film and turning the mechanism by hand for a few frames until the film is properly threaded. If anything is amiss the mechanism will turn with difficulty and there will be a cracking sound made by the film running over the sprocket teeth. When film is allowed to dry out it becomes brittle. In this state the pull-down claws crack the corners of the perforations. On each sub- sequent projection these cracked per- forations tear down a little more until finally the bottom piece tears out. This is more likely to occur on pro- jectors having a single claw pull- down than on those having two claws, due to the additional strain on the one set of perforations. When this happens the top or bottom film loop at the gate will disappear making the picture nothing but a blur on the By Sydney Armstrong screen. The projector will also make a loud clicking noise. Stop the pro- jector immediately and readjust the film loops. Also it is well to locate the broken perforation at the time and mark it by sticking on a small piece of adhesive tape so that the torn perforation may be taken out later when the film is rewound. denotes po&ition of fop of picture in projector oate tz V D 3 3 J perfect perfora.t~.ot as or,f,n»t/j punched. partially torn ' tvith pfece bent up broken pa r. Complete 1^ Shormj area, between tvo ILLUSTRATING FILM DAMAGE Films should be inspected occas- ionally to see if all the splices are sticking and also to see if the film has become torn. By doing this a break may often be avoided which, happening, might ruin anywhere from a few inches to several feet of film and possibly spoil an other- wise pleasurable evening of pro- jecting. Scratching is another potential trouble, although the possibility of scratching film may be materially les- sened if it is cleaned at regular in- tervals. No matter how careful you are, dirt is bound to collect on film during projection as the moving film catches dust particles floating in the air. These particles in time pile up at the gate and scratch the film as is is drawn over the hard pile. Scratches usually appear as thin black lines on the screen running in one place for varying lengths of time. It is im- possible to remove these scratches and eventually, if they become too numerous, they ruin the film. To reduce the possibility of scrat- ching, the projector gate should be cleaned frequently with a brush or soft cloth. This will remove all lumps and particles of dirt that have lodged there. The film itself should also be thoroughly cleaned. A small bottle of Carbona and a piece of can- ton flannel are good materials for this purpose. Place the film on a rewind, attach the free end to the empty reel and give it a couple of turns to hold it. Moisten the canton flannel with Car- bona and hold it around the film with one hand in such a way that a slight pressure may be exerted on the front and back with the thumb and forefinger. Rewind the film slowly so that the Carbona will have a chance to evaporate. Upon comple- tion of the operation, a glance at the flannel will show a surprising quan- tity of dirt. Films should be cleaned at least twice a year, or more often if they are projected frequently. When films are allowed to stand for any length of time some of the solvents of the film base evaporate and the film dries out and becomes brittle. This brittleness causes breaks during projection or, what is still more serious, perforations will tear out at intervals. Then the film must be looked over carefully before pro- jecting again else the loops between the sprocket and film gate will dis- appear and the picture become a blur on the screen. The film can be kept in a soft and pliable condition if it is stored in the cans for regular 400 foot reels. These cans have an absorbent pad in the bottom and the cover fits on securely enough to keep the moisture in close contact with the film. The pads may be moistened either with water or a humidifying solution. If water is used this must be done frequently as the water evaporates quite rapidly, though too much water will cause the emulsion side of the film to become sticky. It also be- comes necessary to look at the film each time it is projected to see if more water is required on the pad. On the other hand a humidifying solution gives a balanced atmosphere and the pad only needs moistening about every three months to keep the films in good condition. After humidifying, film should be allowed to stand in the closed can for twenty-four hours before pro- jection so that the moisture will have a chance to penetrate it completely. Neglect of these precautions is the chief cause of blurry pictures and broken film. I am sure, if you give your films only the reasonable care suggested above, paying especial at- tention to their cleaning, that they will give you satisfaction for years to come. i^mi^>s «»■»!! >1 \ *v » Anniunsarg DECEMBER 192S the DRAMATIC ACCENT By Alexander Bakshy THERE are many features in the movies of today which are apt to rouse the ire of the artist. Fortunately there is also one feature which makes, or at least should make, the artist thank his stars for living and working in our time. This fea- ture is the youth of the movies — their limitless possibilities, and the creative stage of development through which they are still passing. In fifty or a hundred years the movies will be an old art with established tradi- tions and a whole Pantheon of fa- mous names. Today they have no traditions, and though there are names famous enough, one feels it is more tactful not to examine their achievements too closely. It is this freedom from the neces- sity of following in the footsteps of other people, side by side with the never-ceasing incentive to experiment with new methods and to search for new forms in order to find expression for one's creative impulse, that gives the modern movie artist the glorious feeling of having a world to conquer as well as the power to accomplish the task. There is scarcely a direction in the motion picture as a medium which does not open a vista of new, hither- to unexplored resources. The novelty and the multiplication of resources, however, cannot in themselves be the object. They are a means to an end, and in the movies as a form of dra- matic art (using the term in its gen- eral sense and not as applying to the stage) there can be no other end than that of dramatizing the motion picture material. It is from the point 788 ". . . All Drama Is Merely the Means of Con- ducting the Spectator Through a Balanced Series of Emotional and Intellectual Experiences." of view of the ultimate dramatic ef- fect that one has to consider both the methods in current use and such in- novations as may be made or sug- gested by the more venturesome spirits in this new art. At the outset it is well to remember that all drama is merely a means of conducting the spectator through a balanced series of emotional and in- tellectual experiences. Drama's special method of appealing to the spectator is to place before his sym- pathetic observation a number of conflicting forces which gradually reach their greatest stress, or climax, and thereafter either completely can- cel each other out or form a result- ant of the remaining forces. Drama, therefore, in the first place is a dy- namic pattern. But the forces that go to make this pattern in the motion picture drama are not real human beings or objects, but mere visual images, and very incomplete and very fragmentary images at that. Hence, as compared with the ordinary drama on the stage the screen drama is faced with a special problem of its own — the problem of conveying the correct relative value of each sepa- rate force in the dynamic pattern, and of giving the required accent to this or that particular scene. It will be realized that very little effort is made to tackle this problem of structural dramatic design in the commercial practice of today. All Illustrations By Alan Dunn the more reason, therefore, why it should attract the special attention of the non-commercial movie-maker — the experimentalist par excellence. What does it actually mean to give an accent to a scene or a character? Obviously this means giving a scene or character a certain amount of prominence. The problem sometimes arises on the ordinary stage when, for greater emphasis, assistance is sought in visual effects. The spot- light is the solution resorted to on such occasions. In the motion pic- ture, however, with the prevailing naturalistic settings, the spotlight prominence is hardly practicable, though it might make an interesting experiment to apply the method con- sistently in some fantastic subject. To find a method of a more general ap- plication, one has to turn to a differ- ent factor, viz, the factor of size. Here one is surprised to find that the problem is not nearly as simple as it looks. To begin with, one has to differentiate between two dissimilar factors: the relative size of objects within each single picture, and the relative size of pictures within the complete sequence. Where we deal with the relative size of objects it is obvious that the larger the objects look the more prominent they are. Thus, by using various shots, from long-shot to close- up, one may develop a fixed scale of dramatic accents with the close-up as the most emphatic of all. This would certainly constitute a great ad- vance on the present very indiscrimi- nate use of the close-up. particularly in speaking scenes. But it would »• « » 1 I Ittpvie Ulaker itfO III.' lll-l. ImIhIIIUIII llllllll- nli I'...- milking vloain- nl hi Mini. i. Ulllliva the Iiowor.niull ,„„,l ..1 i.... i... I'll,. . i.l.l, - ,..,! 1,..„„, SS5. Mi,....lv.,,ir,i„B.,.~.„ l.i.l. ncoommoilatotwooomploto h,..l,.Iii.-... i,iili Difttisors, ■pure lamps, olo. l'rli.,1 .,i fTIHERE'S a joy that is lasting and I genuine that comes with the givim and the receiving of a Cine-Kodak or ac- cessories for Cine-Kodak equipment. Know this joy this Christmas. Give to your movie -maker friend any of the numerous Cine -Kodak accessories— a few of which are illustrated on this page. Give a Cine-Kodak to your friend or relative who does not know the pleasure of owning his own home movie equipment. There are Cine-Kodaks and accessor- ies for every purse and purpose. See them at the store of your nearest Cine-Kodak dealer. .. I ..-. iikc I • ...... i.- ....„.,. ritl. |.ri...l „l >IIMI. „,, Eastman Kodak Company, Rochester, N.Y. Kodascope, Model B— '♦The Projector Tlml's Almost Human." Equipped with self- threading device, motor rewind, and reversible feature. Easily adapted for the projection of Kodacolor pic- tures. Price, complete With carrying case, $300. g and titling, ling reels dur- . Price. COIU- >ek and l.olllo ii clear, sharp, fullv ilium i ■10-ini-h |>i< tore. Am. ill. 1. 1. nous "silver-surfaced" Kodaso ■ the curtuin principle; collapses ptucle. hltrii not in .„. . Two sllc N . relic. Ii.ifs.urf ... .SI.',-, N...2.:i'»x.-.J-i og surface, t55. Other models ut ?10 Currying < use Koil .1 H idi ■■> -ii 10 i f.1 1 it il ii " I.I* Is I ul - i I ••- K...I,.-.o|.c Film Splicing o.hi.i. Everything needed for proper splic- ing, Including block, guides, •• meal I brush. Prli "I nl M. >0 oomplote. Cine-Kodak Panel matli i lint. Por i ■park lelitj color bo deslrahli even film. Sansltl*. ,.ii colors. Ii ■■ i. J- i black ..I vl.,1. ductlon thai 1- si Ingh be ifol. II ■ r llllt-fo. mi -iKr-f-r DECEMBER I92S EDUCATIONAL FILMS News of Visual Education in Schools and Homes Tests A Success MARKED superiority of chil- dren taught with films over children taught by other classroom methods was demonstrated recently when the most extensive ex- periment ever undertaken in educa- tion was formally completed. A thirty-three per cent gain in geog- raphy and a fifteen per cent gain in general science were scored by ap- proximately 5,500 children taught with films over 5,500 taught the same subject material without the aid of motion pictures. The trial was di- rected by Dr. Ben D. Wood of Colum- bia University and Dr. Frank N. Free- man of the University of Chicago, in the public schools of twelve widely scattered cities. If properly planned classroom films can raise pupils' marks by an average of twenty-four per cent as was done in this experiment, the re- port indicated many failures can be turned into passing marks, since the great majority of failures are by less than twenty-four per cent. Thus the time required in repeating courses will be saved for many children and the large costs thereof be eliminated from the school budget. The average expense of keeping a child in school for a year is one hundred dollars. In Chicago, for instance, where there are 30,000 failures a year, this would mean a saving of $3,000,000 annu- ally if each failure could be com- pletely eliminated. Edited by Louis M. Bailey The experiment, which represents the first time a nation-wide investiga- tion has been made into the contro- versial question of the value of films in classroom teaching, was sponsored by the Eastman Kodak Company un- der the sanction of a committee of the National Education Association. The superiority of the class work done by children taught with films was determined by Dr. Wood and Dr. Freeman on the basis of 107,870 test papers written by the 11,000 children before and after the ten weeks of the experiment and periodically during the course of it. Both the classes taught with films and those without, used the same "study guides" and were given identical tests. The school authorities in the twelve cities cooperated with the investi- gators by selecting classes of children and teachers for the two groups equal as nearly as possible in ability, and the experiment was a regular part of classroom work. The films used were 16 mm. size and of "safety" material so that they could be shown in the classrooms without the use of pro- jection booths. "In this experiment," the report said, "we have studied the films not as a panacea to be substituted for pres- ent instrumentalities of the schools, THE IDEAL COW As Conceived for Childhood in the Eastman Juvenile Films. nor as a means to revolutionize the aims of education, but as an addition to the present padagogical devices which may help in the attainment of currently accepted goals." In addition to the final advantage that the written tests showed for the film-taught children, reports from the teachers who used the films in their classes demonstrated that a large majority believed the use of class- room films to have been "more effec- tive in arousing and sustaining the children's interest, in improving the quantity and quality of their reading, and in aiding them to correlate fea- tures of the lessons with personal ex- periences and community conditions." The twelve cities that participated in the experiment were Rochester, N. Y.; New York City; Chicago, 111.; Detroit, Mich.; Newton, Mass.; At- lanta, Ga. ; Winston-Salem, N. C; Lincoln, Neb.; Kansas City, Mo.; Denver, Col.; Oakland, Cal., and San Diego, Cal. Juvenile Films A SERIES of motion pictures for children done from the nursery point of view, has been an- nounced by the Eastman Kodak Company. In them the fantasy world of child psychology is given free play. Restrictions in the form of titles, meaningless to the juvenile mind, are eliminated.- The actors themselves (Continued on page 825) VI O * ■ I H A K E R § Q*R*S* does it again A JO-SHOT "STILL" RAMRA at $ with superstigmat speed lens — the present that will make the Xmas of 1928 famous. ^ So small in size, so low in price it fits everybody's hand and pocket- book (only TA" x 3Vs" x 2%") ^ a gem to look at, a joy to use ^ made in special unbreakable Bakelite-canvas composition ^ takes pictures of such marvelous sharpness of line that you will leave your big camera at home and take the QRS Kamra j*. uses special QRS Kamra film at only 85c a roll of 40 pictures. ^ Dealers and users, wire or write QRS Company, Chi- cago, at once for full particulars. ^ Be the first to profit from this greatest QRS achievement in KAMR Adorn. i V f ft is ; mM ■ *4 i ^M^ DECEMBER 1928 Write for the of movie HERE you are offered an illustrated, descriptive handbook which will guide you to the most appropriate Christ- mas gift selections for movie -making friends or relatives. It is the most com- prehensive, complete listing of ac- cessories for making better per- sonal movies ever compiled in this convenient form. . . No matter what you desire to pay for a Filmo Console Cabinets Bell & Howell Character Title Writer A gift any movie maker will welcome. This is, in reality, a miniature movie stage illumi- nated by two powerful electric lights. Back of the lights a clamp is provided for fixing the camera firmly in place. Upon the "stage" all manner of effects may be produced while they are photographed. Animated cartoons, the autographs of friends, titles illustrated by pictures cut from magazines and many other unique movie variations are possible with this accessory. Price complete, ready to use, $36. Attractive carrying case included. See it at your dealer's. Bell 8C Howell Film Editer This gift will make a sure-fire hit with every one who makes movies. Pictures as originally taken should be edited and titled to be of greatest interest to others. With this device it becomes a joy to examine the film, cut out unwanted frames, correct the order of scenes, put in titles and other- wise perfect the films for showing. Looking through the elevated eye-piece of the B. & H. Film Editer each film frame is enlarged nine times and a prism causes each image to appear right side up. A lamp within gives the necessary illumination. Price of Film Editer complete with splicer and rewinder is $40. Or Picture Viewer attachment alone for your own rewinder and splicer, $21.50. See a Filmo dealer. With personal movies assuming major importance as a feature of home enter- tainment it is appropriate that they should be represented in the home by the finest of movie furniture. As gift suggestions along this line Bell & Howell offer two beautiful console cabinets, both housing the projector ready to show movies. Other compart- ments provide space for cameras, movie accessories and thousands of feet of film. Model "G" provides a movie maker's work desk and is equipped with two electric plugs, for projector and accessories. Model "E" is a beautiful console of smaller dimensions for apart- ments and smaller homes. Price, ready to equip — Model "G", $135; Model "E", $105. BELL & 1828 Larchmont Ave. New York, Hollywood, London MOVIE » s \ »». 1 • t - Bell & Howell book making gift suggestions Christmas gift of this kind, you will find in this book a variety of suitable presents at the chosen price. Many excellent gifts are priced below $10. Many more range from $10 to $25. There are others from $25 to $50 and a number from $50 up. Bell & Howell's twenty-one years of lead- ership in the professional motion picture industry are quality assurance on their offer- ings for bettering the movie-making en- deavors of the amateur. Mail the coupon and receive this 48 page booklet packed with illustrations, complete descriptions and prices covering a great variety of high quality gift selections. Then see your Filmo dealer. He will gladly show you the movie devices in which you are interested. For speed and convenience mail the coupon W Telephoto Lenses in leather cases Every amateur movie maker aspires to have a first class telephoto lens. A Taylor-Hobson Cooke telephoto lens is invaluable for taking movies of distant objects at sporting events, while traveling, or for "camera hunting" shy animals and birds. No gift could be more satisfying than one of these excellent telephoto lenses with a color filter, both in a beau- tiful hand-sewn fabric-leather, plush-lined case. A few example prices: T-H.C. 4" F 4.5 Telekinic lens.— $60. With filter and case.. T-H.C. 6" F 5.5 Telekinic lens 65. With filter and case.. T-H.C. 3%" F 3.3 Telephoto lens.... 85. With filter and case.. T-H.C. 6" F 4.5 Telephoto lens. 95. With filter and case.. ..$65 .. 70 .. 90 .100 ^ftw*it**a*a' • -• HOWELL CO. Chicago, Illinois (B. &H. Co., Ltd.) Established 1907 Bell & Howell Co., 1828 Larchmont Ave., Chicago, 111. Please mail me your Filmo gift suggestion book and leaflets , describing new movie items appropriate for Christmas giving. | Name.. DECEMBER 192S STUNTS for YOUR PROJECTOR Mli/itt wz ^ 4* .A MOVIE «■ % K F It » f WTER fOTEg *»:. < f^ THERE IS AN EXQUISITE ART TITLE BACK- GROUND FOR YOUR WINTER FILMS ON THE FACING PAGE. GUTTING SCHOOL COSTS WITH TALKIES (Continued from page 785) lar rotation experiment vhich in- volved four successive lessons and lasted four weeks. Six hundred sev- enth-grade pupils of Public School No. 62 in the Bowery served as sub- jects. They were divided into four approximated equal groups, each of which was taught in a slightly dif- ferent way. The first week's lesson was on mountain glaciers, and it was taught to Group A orally by their regular classroom teacher. Group B was given a mimeographed version of the lesson to study in their seats. Group C saw the lesson presented on the screen silently. Group D also saw the lesson on the screen, but in their case the presentation was ac- companied by explanatory oral com- ment from the floor. The first two methods are imma- terial here, the third needs no special comment: only the fourth requires a word of explanation. I myself did the commenting, and in doing so I spoke in short, choppv phrases which never interfered with a subtitle on the screen. Neither did I talk about the "birds"' when the "bees" were busy on the screen. I had carefullv prepared this comment and made it at the exact moments when in my opinion it would prove most advan- tageous. The situation, it will be noticed, was roughly like that of the talkie film. Before giving the results let me stress a few facts. In the first place there were four successive experi- mental units in this investigation. In the second place, for each unit the pupil groups were shifted along, i. e., that group which was taught orallv the first week studied the printed page the second and saw the film silently the third, and so on. This rotation made it possible for the final four averages to be the product of identically the same six hundred pupils. Trade in yo u r old auto Trade in your old radio SO WHY NOT IBADtW you r o Id CAMERA, One would hardly enjoy being seen in an automobile a vintage of the year 1902. J\or would he invite friends to his home to listen to a crystal receiver, a relic of the early radio days. Why tolerate an old out of date movie camera or projector when Abe Cohen's exchange will give such a liberal allowance for your old outfit toward the purchase of new equipment. m Filmo 70 with Turret Head fitted with 1 . 2 and 4 inch lenses — an ideal equipment for an ama- teur. In one second either of the three lenses you choose can be turned into position for near or dis- tant movie matting. Filmo cameras and equipment ma\e excellent Xmas gifts for either others or yourself. Better get your order in early — for the de- mand promises to exceed the supply. A new member of the famous Bell and Howell family New 250 Watt projector — spe- cially adapted for Kodacolor work. Abe Cohen's Exchange has the latest in amateur movie equip- ment— your inquiries invited. Abe Cohens Exchange 113 PARK ROW. NEW YORK "Filling the camera needs of ?\ew Tor\ers since 1907 JT Mail NOW For^ "\ Prompt Estimate] TRADE-IN ESTIMATE COUPON I desire to trade in my old movie equipment. Send me a prompt estimate of how much you will allow for it in trade. I understand this does not obligate me. TYPE OF EQUIPMENT SERIAL No SPEED AND MAKE OF LENS OTHER INFORMATION I AM GOING TO PURCHASE A NAME ADDRESS CITY and STATE (Tour still camera also accepted in trade — give description.) j|My J mm DECEMBER 1928 Show All Your Pictures in Color All projector owners, especially the Kodacolor user, will enjoy the new live and beauty KOLORAY gives, by adding color, to their plain black and white pictures. Attached to your projector in 30 seconds, KOLORAY is the successful color filter of which Mr. McKay writing for Photo Era says in part : "The colors are remarkably transparent, giving a clear tint with little intensification of the shadows, so that any film may be projected with them. However, most novel effects in color' ation may be obtained. The red and green filters are adjacent. If the dividing bar be placed squarely in the center of the path of the light-ray while projecting a landscape, the sky will be red, toning down into pink, salmon, and golden yellow, and then this yellow merges into the green which covers the foreground. On watefscenes the green and blue are used in a similar manner, and the transparent and blue together give a remarkable twilight effect with a suitable subject. These effects arouse the en' thusiasm of hardened amateurs." KOLORAY is an ideal Christmas gift for any projector owner. Price $7.50 at your dealers or by mail. In ordering by mail be sure to specify the kind and model of the projector. Descriptive literature on request. BECKLEY and CHURCH, INC. Cutler Building - Rochester, N. Y. Dealers — Use a Koloray on your dem- onstrating projector — It pays. «£"' The illustration shows KOLORAY attached to a Model A, Kodascope and a Filmo Projector. KOLORAY is made for Kodascope, Models A, B and C, Filmo and De Vry 16 mm. Projectors. It can be attached in 30 seconds. K OLORA "Professional color effects for home movies" Y To MOVIE MAKERS" 44 On your Second Anniversary we extend to you our appreciation of your past perform- ance . . . and best wishes for your continued success. CINE ART PRODUCTIONS INCORPORATED ff~ v ^HOLLYWOOD— NEW YORK A New Idea for Christmas "It occurred to me that a great many of my friends who do not now have CirJ-Kodaks will eventually have them- Most of these friends are" young people with children. All of them like to rave Pictures taken of their children. In- asmuch as the children are growing older every day, the films naturally cannot be I^ced/i, therefore conceived the.dea ofPboth pleasing my friends and a^ the same time, reliev.ng myself of the worn, of what to give these friends hr Christmas "At various times t roug out h year I take pictures ot my menus ;^r^r-;^Sei^S TwiU make a hit. When they become oJrs of projectors ,in the fa««Jg will always have these very ..m,^."', films to look at." 5S£* "Cine Kodak Specializing in editing and titling pic- tures of this nature, we are able to get all that is natural, lovable and sweet into these intimate reels. And the cost is surprisingly reasonable. Phone, write or stop in to see us so that we can carry some of your burden this Christmas. KODASCOPE Editing and Titling Service, Inc. Room 917 350 Madison Avenue NewYork, N. Y. In the third place, the testing was unique in that it provided evidence of pictorial learning as well as verbal. Hitherto the efficacy of pic- tures had invariably been measured by means of language alone, a situ- ation not unlike that of comparing a novelist to a hod carrier by requir- ing each to carry a load of bricks up the ladder. There were three dif- ferent groups of test elements. One was designed to measure primarily verbal learning; another aimed to test for pictorial impressions; and the third was a sort of middle-ground test which dealt with principles, in- ferences, and other abstract mental products. Stated another way, we may say that the first two tests meas- ured concrete learning, while the last one searched out evidence of abstract learning — deduction, induction, generalization, interpretation, or whatever you care to call the process. Now the results. The average amount of relevant knowledge which the six hundred pupils brought into the experiment was calculated to be about 32 units. After the four orally taught lessons their knowledge had risen to 48.6 units; after studying the four printed-page lessons, it was again 48.6 units; after seeing four successive silent film presentations, it was 50.3 units; and after the four film-talk presentations, it was 52.6 units. Subtracting, to get the net improvement, gives us 16.6, 16.6, 18.3 and 20.6 units, respectively. Converted into percentage, the fig- ures become 100 for oral talk and printed page, 110 for silent film, and 124 for film-talk. But let us forget the figures and percentages as soon as possible and remember only the fact that "film- talk came out highest, and this not only in the final averages but also in all four experimental units separ- ately. The trial just described is only one among many. McClusky in several of his experiments found the film- talk from three to thirty-five per cent more effective than the film alone. The two McCluskys later on conducted a more accurately con- trolled experiment in which several hundred pupils from Chicago and Cleveland participated, and here the results showed 118 per cent for the film-talk against 100 per cent for the silent film. An English study which appeared in 1926 showed also a decided su- periority for the film-talk method over film alone. The results were 123 per cent and 100 per cent, re- spectively. The study had been made by three psychologists — Spearman, Burt and Philpott — in the University College of London. Approximately MOVIE 1I/IKER§ Professional standard of excellence in screen result, is now available to the user of 16 m.m. film, with the new ♦ ♦ . Model 3 Victor Cine-Projector Every known feature of value and many new advantages have been built into this new Victor instrument. Of great importance to the movie maker, is the fact that the Victor Cine Projector will show his prised and irreplaceable pictures, hundreds of times — without the slightest damage to the film. The new Victor shows a clean-cut, rock-steady image, al- ways! It operates forward or reverse — rewinds by hand or motor, even while a film is showing — frames the picture accurately in the aperture — attaches to lamp socket on all lighting currents — is small, compact and light in weight — is sturdily built for a life-time of excellent service. $ 1 Other details and complete information will be |^ sent immediately by the manufacturers, rr$ upon request. Victor Animatograph CoM Inc* MAIN OFFICE & FACTORY Davenport, Iowa, U. S. A. BRANCH SALES OFFICE 242 West 55th St., New York 807 ■Mmmm 1926 • »• « I Hill IE 1928 Film Reels of Travel Edited and Titled by Burton Holmes $7.50 per 100 ft. Reel 16 mm. No. 32— Rolling into Rio No. 33 — The Great Cataracts of Iguassu No. 34 — Kauai — The Garden Island of Hawaii No. 35 — Surfing — The Famous Sport of Waikiki No. 36 — Hawaiian Shores No. 37 — Paris from a Motor No. 38 — Nine Glories of Paris No. 39 — A Trip on the Seine No. 40 — The "Great Waters" of Versailles No. 41 — Paris Markets No. 42 — Cafe Life in Paris No. 43 — The New York Way Called Broad No. 44 — Fifth Avenue and the Forties No. 45 — Canals and Streets of Amsterdam No. 46 — Diamond Cutters of Amsterdam No. 47— Going to Volendam No. 48 — The Cheese Market of Alkmaar No. 49 — Fjords of Norway No. 50 — Yosemite Vistas No. 51 — Waterfalls of the Yosemite No. 52 — Reykjavik, Capital of Iceland No. 53 — Down the Danube No. 54 — The Lake of Lucerne No. 55 — Alpine Vistas from the Zugspitze No. 56 — Picturesque Salzburg No. 57 — Up-to-date Alpinism No. 58 — Glimpses of Vienna No. 59 — A Cloud-Land Fantasy No. 60 — The City of Algiers No. 61 — Teak Logging with Elephants No. 62 — Canals of Venice No. 63 — Stones of Venice No. 64 — Two Ends of a Rope No. 65 — Cocoons to Kimono No. 66 — The Damascus Gate No. 67 — Crossing the Equator No. 68 — Deck Sports in the Celebes Sea No. 69 — The Gorge of Pagsanjan No. 70 — Alexandria No. 71 — Real Streets of Cairo No. 72 — Bazaars of Cairo No. 73 — Suburbs of Cairo No. 74 — The Road to the Pyramids No. 75 — Calling on the Sphinx No. 76 — The Pyramids No. 77— The Nile Bridge No. 78 — The Upper Nile No. 79 — Mecca Pilgrimage No. 80— Estes Park, Colorado No. 81 — Rocky Mountain National Park No. 82 — Yellowstone Park Revisited See Your Dealer or Send for Complete Catalog We also offer a complete motion picture laboratory service for amateurs and profes- sionals in both standard and sixteen milli- meter film. Burton Holmes Lectures, Inc. 7510 N. Ashland Ave, Chicago a hundred pupils constituted their subject groups, and the investiga- tions was conducted with consider- able care and acumen. Thus, with the exception of the Sumstine study mentioned earlier, the evidence is convincingly in favor of oral comment synchronized with the changing imagery on the shadow screen. And now that synchronized and amplified sound has reached a stage where the public considers it satisfactory, it may not be unreason- able to believe that there is a big future for the educational talkie. How the educational talkie will come into use no one knows for sure. It will probably begin with the uni- versity and work down to the high schools and eventually into the ele- mentary schools. In the university a renowned physicist can deliver a demonstration-lecture on the latest discovery; a famous traveler can tell and illustrate what he saw and heard in a foreign country; events of great significance can be recorded in word and deed for all time; history can re-live itself for our education and guidance. These are a few thoughts. Others will come with increase in the number of people becoming in- terested. Then, in the secondary schools, the usefulness of the talkies will be con- tinued and extended. Here the em- phasis will probably shift from the creative artist to the master interpre- ter, from the authority to the expert teacher. I should like to leave the elementary school on the shelf for the time being, but I can not help thinking how the kiddies would take to a talkie film on Alice in Wonder- land, for example. By way of summary, the talkie film has obviously a place in the scheme of education. It promises to supplement the present silent film and other teacher aids. It may func- tion best in syndicating the authority in higher education and the master teacher in the lower schools. If adopted, it will undoubtedly raise the standards of classroom pro- cedure. And finally, in serving in these diverse ways, the talkie film will ultimately effect material econ- omies in formal education. HOME MADE SOUND PICTURES (Continued from page 793) tive just starting is imitated with the same blocks, but starting with two slow rubs, a pause and two more, in- creasing the speed as the engine moves. For a better effect add a metal brush struck against the thun- der sheet laid on a cloth. Here the metal is struck between the twin noises of the sand blocks. The brush may be of the kind used for fly swat- ters, or a dozen lengths of wire nailed to a flat stick. The wires should be about three inches long. For spinning wheels on a slippery track, rotate the sand blocks rap- idly. In any event, follow the pic- ture. Don't use your imagination. Wind Machine: This requires a little skill with tools. Make two discs about a foot in diameter, of one or two inch lumber. Fit with a square axle, rounded where it rests in the supports. Make a crank for one end. Bind the two discs of the wheel with slats of hard wood one inch square and spaced an inch apart. Eighteen inch slats will be amply large. Nail a strip of canvas, slightly narrower than the wheel, firmly to the base of the machine or to a batten in the frame below the axis. Bring up over the wheel and allow enough to fall below the axis on the free side. Nail a loose bat- ten to this end. When the wheel is rotated, the canvas is brought in contact with the slats by pulling down on the free end. Varying the speed will give a range from a zephyr to a hurricane. For gusts of wind, relax the pressure on the free batten. Note that "canvas" does not mean the stuff Aunt Mary uses for sofa pillows. Heavy awning cloth might work. Wood Crash : This is a cousin to the wind machine. However, you use a solid barrel. A batten is placed in such a position that when the wheel rotates hardwood slats fastened to the base and rising slightly above the batten are forced away from the batten by pins or cleats on the barrel to snap back of their own elasticity when the pin passes. The pin or cleat should be "staggered" so that the slats are snapped back in rotation and not all at once. The barrel of an old- fashioned music box will give you the idea. Use six to eight slats and arrange the barrel so that each slat is worked twice to one revolution. Three or more cleats or pins may be used to each slat, if desired. More useful in comedy than serious plays. Other Crashes: The glass crash is secured with a pair of soap boxes and some broken china. Pour the glass from one box to the other. China Crash: Same as above, but with broken crockery. Tin Crash: Fasten six or eight cans of varying size on a string and drop or kick as the action seems to demand. Whistle Effects : A full line of whistles may be obtained from music instrument stores, but you can pick up some at the ten cent store or make your own from cartridge shells and old bottles. Shells are useful for ,% *%. I it •» OUTSTANDING ACHIEVEMENTS the success of the for GENERAL WORK for DIFFICULT LIGHT and now available for movies' latest de- mask. Y HUJ I^r.-Kudolphjl i,~- X BiH KiS^fi velopmenf. Hugo Meyerl Mr -^— ^^^^^^^^^^™ wmXmJr KODACOLOR with your FILMO A crowning climax for this popular lens. Its fuller correction for color, such a welcome feature for black-and-white photography makes it the ideal lens for Kodacolor. The first essential for any lens to obtain good color movies is color correction. In the PLASMAT you get the maximum benefits of fuller chromatic correction. And Panchromatic Film, with its improved rendition of color values, is aided materially- by a lens with the improved color corrections of the Plasmat. Truly the Kino-PIasmat F:1.5 is an outstanding achievement for each of its many uses. Well named and deservedly: "The Universal Lens." '. \L Hugo Meyer FOCUSING & EXPOSURE METER for CORRECT FOCUS and for CORRECT EXPOSURE VICTOR Correctoscope is slipped into place right on your camera. Correctoscope banishes forever the two greatest difficulties of amateur movies. CORRECT FOCUSING is done by direct vision — you view your object magnified about 10 x — right side up! CORRECT EXPOSURE stop to use is determined by viewing the object through Correctoscope's special light filter. Both operations are simply and quickly done. For Close-ups . . . when working with fast lenses . . . telephoto lenses . . .industrial use . . . visual education . . . surgical operations . . . wherever good pictures are wanted. Correctoscope is absolutely essential for Kodacolor. The focusing lens matches your camera lens, insuring sharp focus — so necessary for good Kodacolor results. NO MORE EXCUSE FOR OUT-OF-FOCUS PICTURES Price: Complete with special f-1.9 focusing Correctoscope lens 37.50 HUGO MEYER & CO. 105 WEST 40th STREET, NEW YORK Works: Goerlitz, Germany i •r :. M m mm uil'A Mi DECEMBER I92S IMPORTANT ANNOUNCEMENT WE take pleasure in announcing that we have made arrange- ments with Mr. Gerald J. Badgley, expert mechanic and well- known designer of professional and amateur moving picture equipment to handle exclusively for us, special lens fitting jobs, custom built apparatus and camera repair work of all kinds. If you have any problems Mr. Badgley will be able to solve them for you. This service department is for your con- venience— technical advice gladly given without charge. CINE MATI 1 PES'1 GNEPS ANP MANUFACT L C AMPA URERS r*1 PAMY You describe it—We'll design 106 WEST 461" ST.Tn.XC GOERZ — a special ultra-speed lens which sacrifices none of the quality performance which has made the Goerz Cinegor group famous — VTCTOT? THREE-SPEED HIGH SPEED PICTURES (Camera and Lens, $165) {Mai fittc turr Cin Many other Goerz Lenses can be fitted to both the single and rret Victors. Also to Filmo and Kodak F/1.9 > By special arrangement with the Victor Animatograph Co. we are now supply- ing the Victor Camera with Goerz Lenses, through dealers or direct. For details and literature ask your dealer or write: C. P. GOERZ AMERICAN OPTICAL CO. Manufacturers oj lenses and precision instruments to aid cine amateurs 317 EAST 34th STREET NEW YORK CITY 1^^?^> the lighter sounds and bottles for steamboat, railroad and factory whistles. The tone of bottle whistles can be altered by partly filling them with water to obtain the correct tone. For shells, use chewing gum, tamped down. In either case blow across the top. One whistle you cannot make is the siren. This can be obtained for a dime or so at sporting goods stores. Bells and Chimes: For church bells use crowbars, hung from a sup- port by a cord, rods of metal or brass tubing. Strike with a small wooden mallet or xylophone handle. For high pitched chimes tune up a set of heavy glass bottles, using water, as suggested for whistles, but striking them with the xylophone hammmer. For the telephone use a two-gong electric bell. Arrange to cut one gong out for doorbells by mounting one gong on a movable arm that can be pushed out of the way. The outfit with a push button and dry battery can be mounted on a board for convenience sake. Gongs can be imitated by striking a metal tea tray with a wooden mallet cov- ered with heavy felt. A mallet with one felt and one wood face will be a handy instrument for working these props. Use whichever face will give the best effect. Gunshots: Cannon can be imi- tated on a bass drum. If you have none, stretch a drumhead over a barrel and use a felt beater. Rifle shots are imitated by striking a rat- tan cane against a hard leather cush- ion. For a whole war use two canes. A machine gun can be imitated by rapidly beating a cigar box with the lid nailed down. A single tap on the box will suggest a pistol shot with sufficient fidelity to suit the ladies in the audience. Dancing Effects: For soft shoe dances use the sand boards, follow- ing the steps. For tap steps use a pair of wooden mallets on a board. To improve the tone, raise the board by cleats on the underside at either end. To muffle, put the board on a folded bath towel. For the "jingles," used in some hard shoe dances, fasten a couple of small iron washers to the head of each mallet with round head screws. The head should be larger than the hole in the washer. Automobile Effects: For the motor put two ounces of fine shot into a round tin can, such as a small baking powder tin, and shake. For the horn get the toy horn or siren sold for children's autos. Animal Cries: Music and sport- ing goods stores sell animal calls, but you can pick up many at the toy 1926 MOVIE MAKERS counters at a lesser price. Large dogs are worked on the lion roar. Small dog barks can be done on a ten cent toy to be found almost any- where. A bird whistle will cost a dime. For chirp effects and young chickens use a cork on a sheet of glass. The cork should be about two inches in diameter and of good qual- ity. Wet the cork in vinegar and water, but avoid surplus water. Straight and circular motions will give a variety of effects. For trumpet calls you can use the Victor record of U. S. Army calls. These calls are separate and may be played in- dividually. Mark each cut-in with a dab of white paint and drop the needle just there. Lift the needle at the close instead of shutting off the machine. Have the turntable speeded up before you require the effect. Closing Doors: Any heavy wooden box with a hinged cover will give this effect if you gauge the sound, or you can close the lid of the piano or phonograph. Use the effect only when the sound will give dramatic result, as when the hero goes out of the heroine's life "for- ever. Torn Clothing: Very useful in comedy. It is achieved merely by tearing a strip of stiff cloth. Trac- ing cloth, such as is used by archi- tects, will give the best results. In any event make half-inch scissor cuts every half inch along the edge to make it "sure fire," or you may have a delay in starting the rip. Wood Blocks: Two blocks of wood to be clapped together for a variety of effects, including ap- plause. For handclapping they should be struck loosely together. They should be about three by five inches and thick enough to be easily grasped. This by no means exhausts the list but these should be more than ample for your needs. Use them sparingly. The aim should be to heighten the effect, not merely to make a continuous din. Watch the screen for your cues and time prop- erly. You will find that you should make the sound a fraction of a sec- ond before the picture calls for it or the sound will follow the sight, which may be like effects you see in the present hurried sounding of reg- ular releases. Never try to sound a picture until you have carefully re- hearsed it and if you have not sounded a picture for a long time run through it to refresh your memory. And make a hang; on the a big one, to behind which sign, ici un lhvj screen you work. The text should be: Watch the Picture. A Wonderful Xmas Gift! THE NEW for the CINE KODAK ^sves you the ^Ri^ht Exposure UNDER ANY LIGHT AT ANY TIME ANYWHERE WE RECOMMEND THE CINOPHOT From a Window Display of EASTMAN KODAK STORES, INC. COR. MADISON AVE. and 45th STREET NEW YORK CITY CINOPHOT, for ALL Motion Picture Cameras, Movie Titles and Time Exposures. Direct reading for CINE-KODAK, etc. Direct selective observation for 1/32, 1/4, 4 and 30 seconds, and stops from / 1.8 to f 16. Compares all stops from / 1 to f45 with exposure time from 1/1000 to 30 seconds. Adjustment for variable taking speed from 8 to 128 exposures per second, for s-l-o-w and superspeed. Exposure for variable shutter opening from 10 to 270 degrees. Universal meter for Amateur and Professional. Complete, with sole leather case and instruction book, $12.50 Use For KODAGOLOR: Kodacolor can be made with wide open f-1 .9 lens only, whenever the CINOPHOT, reading 1/32, indicates a lens aperture as small as about f-1 1.3, for regular black and white Cine-Kodak film. Should the illumination be so brilliant that the Meter calls for f-1 6, then the l\[eutral Density Filter is required for Kodacolor. Whenever the Drem CINOPHOT calls for an aperture larger than f-8, — for instance for f-5.6 — then there is not sufficient light available for Kodacolor. DREM PRODUCTS CORPORATION 152 WEST 42nd STREET ASK YOUR DEALER NEW YORK, N. Y. mm 1 m m 1926 s NEWS of the INDUSTRY DECEMBER 1928 • Talkies for 16 mm. THE amateur follows closely in the footsteps of his professional brethren it is again evidenced by the advent this month of 16 mm. talk- ing movies for the home, presented by the De Vry Corporation, Chicago, Illinois. The outfit includes a De Vry Type G 16 mm. projector with a phono- graph turn-table, mounted upon the same base, the two connected by a shaft which makes them synchronous in operation. The sound is carried from the phonograph record, by means of an electric pickup device, directly to a radio or independent loud speaker. The voice and sound accom- paniment are equal to that of a fine radio. The films supplied are pro- duced in the same way as in the pro- fessional studios. The machine will operate any of the electrically pro- duced phonograph records such as Victor, Columbia and Brunswick. It may be used individually as a motion picture projector, as a phonograph with electric reproduction through your radio or as a synchronized talk- ing motion picture machine.. Regular releases of singing and talking films will be issued each month. These will include dramas, recitations and songs by well known actors, singers and or- chestras. The unit is moderately priced and is compact, easily oper- ated and thoroughly dependable. Service and Repair nPHE Cinematic Accessories Com- ■*■ pany of New York, N. Y., has made arrangements with Gerald J. Badgley, expert mechanic and well known designer of professional and amateur moving picture equipment, to handle, exclusively for them, special lens fitting jobs, custom built ap- paratus and camera repair work of all kinds. This Service Department is for the convenience of the amateur movie maker. Technical advice will gladly be given without charge. For Amateurs and Dealers New Still Camera New Victor Projector ' | 'HE Victor Animatograph Com- •*- pany of Davenport, Iowa, an- nounce the appearance of a new 16 mm. Model 3 Victor cine projector. Among its up-to-date features are found a hand or motor rewind, ac- curate framing in the aperture and attachment to lamp socket on all light- ing currents. It is small, compact and light in weight. A TYPICAL EXAMPLE OF TROPICAL OVEREXPOSURE The Cameraman is W. E. Kidder of Kalamazoo, Michigan. New Catalog TTHE Bell & Howell Company of ■*■ Chicago, Illinois, request that amateurs write for a copy of a new, comprehensive accessory catalog. It is bound in an attractive cover and contains descriptions and illustrations of all Bell & Howell accessories on the market. AN IDEA FOR EVERY DEALER The Leavitt Cine Picture Co. Is Now Better Serving Its Customers and Greatly Increasing Its Business by the Rearrangement of Its Los Angeles Store. Left, the First Arrangement, with Only One Screen and Projector. Right, the New Plan, with Three Projection Booths. Center, A Closeup of One of the Ideal Demonstration and Service Rooms. A NEW forty shot rapid fire pocket ■**■ size still camera, the Kamra, de- veloped by the Q. R. S. Company of Chicago, Illinois, is available to ama- teurs this month. This camera can be swung into action in an instant and can make forty still pictures in twenty seconds. Tests show a remarkable sharpness and definition of line both in 35 mm. prints and in enlargements up to eight by ten inches. The Kamra uses special Q. R. S. 35 mm. film, forty pictures to a roll, available at small cost. Focusing is unnecessary. The Kamra comes equipped with the Q. R. S. Red Seal superstigmat lens and can be used with equal efficiency and speed from almost any position. The size of the camera is seven and one-quarter by three and one-eighth by two and three- eighths inches, and will fit in a pocket ma handbag. Pictures with the Kamra are made without adjustment of film or lens. Simply turn the crank and a dual mechanism cocks the shutter and turns the film on to the next blank frame, catching action as fast as the eye can catch it. The Kamra is excellent for making motion picture title back- grounds. Shoot a still of each scene wanted for a title background. Then enlarge from the 35 mm. frame to the size of the title device in use, place the lettering on top and the result is a pictorial title of the scene following it taken by the movie camera. In addition to the Kamra a small Kamra projector will soon be avail- able for the showing of Kamra-made pictures in the home, enlarged on the screen from about eleven by fourteen inches to nine by twelve feet, the lat- ter size at a distance of approximately sixteen feet. Change ["OTICE is received by this depart- ment that the Automatic Movie Display Corporation has changed its name to the Big 4 Film Corporation. » I « > % ■ ■ MAKERS Removing the line between A MATEUR films are a gold mine of material for really •** excellent theater-type movies. This is not meant as flattery — it is the sincere opinion of experts in motion picture production. Have you ever seen a feature picture before it is edited? It is a jumble of scenes: good, bad, too short, too long, some shots superb, some utterly dull and flat, photographically perfect, cinematically impossible — just a mass of raw mater- ial, a tangled skein of film from which the editing and titling staff spins the most brilliant, smooth and finished picture. Where does the amateur film differ? Nowhere but that the amateur stops with merely raw material. Just a step away from absolute perfection; just a fine line remains be- tween amateur movies and professional movies — the lack of proper editing and titling! Movie Editors, Inc., is an organization of men with long experience in the motion picture industry. Its owners: Arthur H. Loucks and John A. Norling, are partners in the firm of Loucks & Norling, Inc., New York, one of the largest and best known producers of business and educational motion pictures in the United States. These men throw open their doors to the amateur. Movie Editors, Inc. — a company within their company, created solely for amateur needs — has at its service their entire staff of editors and title makers, men and women of the top-notch ability so necessary for professional productions. The list of well-known producers and large corpora- tions for whom this organization has done work will perhaps not interest you. Suffice to say that to Loucks & Norling, Inc., have been entrusted during the past year such well-known amateur film productions as Frederick B. Patterson's remarkable animal picture, "Shooting Big Game with a Camera;" Harold Talbott's "Safari;" Ray- mond W. Brook's "Mining Areas of South Africa" and many others of equal merit. The creation of Movie Editors, Inc., is an honest and sincere effort to bring Amateur Movies into the realm of professional standards at a cost that will encourage the amateur to put every roll of home movies on a par with professional motion pictures as we know them today. The booklet "How to Edit Amateur Movies" is a message of interest to every- one. It will be sent without cost or obli- gation to all who ask for it. INC. 245 WEST 55TH ST., NEW YORK, N. Y. Telephone: Columbus 6974 AMATEUR MOVIES PROFESSIONAL MOVIES This booklet is free to all who ask for it. It is simply written, informative and in- teresting. DECEMBER I92S World-Wide MR. GARDNER WELLS, well- known cinematographer and Foreign Representative of Travel Movie Films, Inc., New York, N. Y., will start for the Mediterranean in the early part of 1929, for the purpose of taking one of the most comprehensive sets of Mediterranean films ever made. Mr. Wells will cover approximately sixty subjects of all countries visited and will also make many hundreds of still pictures. Other cameramen of Travel Movie Films, Inc., will thoroughly cover the West Indies and South America and, it is announced, will accept a limited number of assignments for both stills and motion pictures from industrial concerns or individuals interested in securing any and all types of films of the places visited. Color TVyfODEL B / 1.9 Cine-Kodaks in *■**■ color, a new lens for telephoto effects and a Kodascope in bronze are announced this month by the Eastman Kodak Company. The Cine-Kodaks are in brown and gray, of grained goatskin finish, with metal parts in brown and black enamel and chromium plate. The cases are covered with the same ma- terial as the cameras, in matching colors. A 3" / 4.5 Kodak anastigmat is available for the Model B / 1.9. The front element of the telephoto finder is part of the lens barrel and the rear sight fastens to the side of the camera. All Model B / 1.9 cameras now going out from the factory have interchange- able lens mounts. Earlier Model B cameras must be adjusted. Expansion THIS department is in receipt of the latest copy of the Willoughby Rental Library Bulletin which an- nounces a new rental schedule at re- duced prices and the addition of new subjects to an already comprehensive list. The Library contains multiple reel dramatic and comedy subjects, scientific and educational films, juve- niles and westerns. THE VISCOUNT DE SIBOUR USES HIS CINE KODAK FEATURING THE VICTOR A striking Window Tieup for Cine Cameras with the Stanford-California Football Game, Devised by William B. Rawling of the Motion Picture De- partment of Keek's x uarmacy, San Francisco. A Message THE Agfa Ansco Corporation of Binghamton, N. Y., manufac- turers of 16 mm. reversible and nega- tive film, has directed the following message to all amateur movie makers through this magazine : "As far as Agfa reversible film is concerned, we have been more or less limiting distribution to states rela- tively close to our factory here. This has precluded the possibility of mak- ing a general announcement to ama- teur cinematographers regarding our cine products, but it has enabled us to maintain the exceptional processing service we have inaugurated at Bing- hamton. "We would like to know that our good friends among amateur movie makers will bear with us during the present period, with the assurance that as soon as it is considered feasible ad- ditional finishing stations will be opened in other sections of the coun- try. We will then have plans perfected to efficiently serve amateur cine- matographers in every territory, and it will be a pleasure indeed to tell our story through the medium of Movie Makers. "In addition to the 16 mm. revers- ible film, we can also supply at pres- ent a 16 mm. negative, and a 35 mm. negative film for use in automatic cameras taking 100 feet of standard- width film. Other items will be added from time to time so that eventually we will be in a position to serve the amateur movie maker on all of his cine requirements." New Arc HPHE Little Sunny Twin Arc, a fif- ■*■ teen ampere arc which uses two pairs of carbons and gives sufficient light to make fully exposed movies, sixteen exposures per second at /3.5 with light eight to ten feet from sub- jects is available this month. Being of the semi-automatic type, its operation is extremely simple. Pull- ing down on the knob at the bottom of the lamp brings the carbons together. When the knob is released the carbons separate and the lamp burns steadily for about four minutes giving a sur- prising volume of light. For continued operation it is only necessary to pull the knob once every four minutes or so. Designed primarily for amateur movie making it gives the light of a bulky studio arc. Its smallness (9x 51/2x4 inches) makes it a portable lamp for both the amateur and pro- fessional. The Little Sunny has a folding four- sides reflector. When erected the re- flector is perfectly rigid and, besides throwing the light forward, protects it from currents of air. The reflector is hinged to the lamp without any loose parts to get lost. For Titles HPHE Kelsey Press Company of ■*• Meriden, Connecticut, offers to amateurs this month the Excelsior Press for printing motion picture titles. This press, which is small, com- pact and moderately priced, enables the amateur to set his own type in varying styles and sizes. Such a print- ing press should be of practical as- sistance to the amateur who desires to make his own titles but who has been prevented from doing so because of his inability to do readable lettering. THE VISCOUNTESS DE SIBOUR POSES FOR THE MOVIES NOIIE MAKERS Editing and Titling ANEW editing and titling service for amateurs, Movie Editors, In- corporated, is offered this month. This new firm is headed by Mr. A. H. Loucks and Mr. J. A. Norling who for many years past, under the name of Loucks and Norling have been most active in professional production of business and educational films. Their new aim will be to add the profes- sional touch to amateur films by the application of professional editing and titling methods. During the past year they have edited and titled such amateur films as Patterson's "Shoot- ing Big Game with a Camera", Tal- bott's "Safari" and many others. Film Inspection HPHE Barre Film Inspection Glass, ■*- as an aid in editing, cutting and splicing films, is offered to amateurs this month by the firm of Hirsch & Kaye, San Francisco, California. The Barre glass is a most attractive unit with magnifying glass, electric bulb for viewing, cord and plug, two film idlers for 16 mm. film and a ground glass. The unit is most compact and can be screwed to a rewind and splicer, thus giving the amateur a complete editing outfit. The whole unit is finished in attractive black crystalline lacquer and measures ap- proximately two by three by four inches. Titles ANEW title service is offered to amateurs this month by the Bucheister Studios of New York City. The Bucheister Studios have for many years handled the title work for D. W. Griffith, the Cosmopolitan Studios, Famous Players and other well-known professional companies. The studios are equipped to supply the amateur with hand lettered titles of all kinds, art title backgrounds of paintings in pastel to fit any title, and printed titles at a moderate price. A forty-eight hour service prevails for the printed titles as well as the more elaborate ones. In addition to title work an editing, title writing and splicing service is also offered. Patent Rights Jt/f R. JOHN BRASSINGTON, presi- ■»■▼ A dent of the Arrow Screen Com- pany, announces that he has recently acquired the entire right, title, and in- terest in the Lazarus, U. S. Patent No. 1,399,566, dated December 6, 1921. This patent is said to be very broad, and to cover any projection screen having its image display surface com- posed of a layer of glass beads, no matter how the glass beads are ar- ♦ ♦ ♦ and here he is LITTLE SUNNY TWIN the light you've been waiting for especially for amateur movie makers which gives fully exposed movies 16 per second at f 3.5 with 1 light 8 to 10 feet from subjects. Little Sunny Twin is of the semi-automatic type; pulling the knob at the bottom of lamp and releasing it lights the arc, which burns steadily for about four minutes. For long continued burning it is only nec- essary to pull the knob once every four minutes. The four sided reflector, aluminum finish inside and black crystal outside, is not only good looking but intensely practical throwing the light, that is wasted in most arc lamps, forward to do its share in lighting the picture and protecting the arc from air currents. The reflector, perfectly rigid when in use, folds over the front of the lamp when it is not in use. You'll note we have said nothing about lumens or candle power. We believe the statement "fully ex- posed movies, 16 per second at / 3.5 with 1 light 8 to 10 feet from subjects" to be much more definite and satisfactory. For regular orthochromatic film use White Flame Carbons, for Panchromatic use Panchro- matic Carbons, which yield better color correction than incandescent bulbs. We recommend this light where speed and porta- bility are desired as it is in a distinct class by itself in these two respects. Its extremely low price is made possible only by volume production and modern meth- ods of manufacture. We invite your comparison of Little Sunny Twin with any light or series of lights on the market re- gardless of price. We claim he gives more light with the same current consumption, and less bulk. If you don't agree with us, or for any other reason, you can return him within 10 days and we'll cheerfully refund your money. PRICE $25.°=£ Price $25.00 complete with heavy folding nickel plated stand 6 feet tall, 15 feet of cord, one trim White Flame carbons, 1 trim Panchromatic. Post- paid anywhere. Extra Carbons, $2.00 per dozen; $15.00 per hundred. Sold only direct to the Consumer LEONARD WESTPHALEN i , 438 RUSH STREET |ifel$| CHICAGO ILLINOIS ^0f$$S Little Sunny is true to his name. We're proud of him. Specifications: 15 Ampere A C or D C 100 to 125 volts without change. Light Strength: Movies 16 per second at F 3.5 at 8 to 10 feet from subjects. Size: Lamp housing 4x5'/2x9" with reflector folded. Reflector opened 9"x9". Carbons: 8x305 mm. National White Flame or Panchromatic. Finish: Aluminum inside, black crys- tal outside. Can be used on any home circuit. '(■ft? DECEMBER 192 St •:■;'<# R» O 6 B* K.T F-. '/aroum: #e wo?. 45 MINUte*$7 STONe-LAB'*- GLE-V&LAND Globe Trotting . . . in Your Home VISIT Havana, Honolulu and Hilo, Yokohama, Nikko, Nara and Tokyo, Shanghai and Hongkong, Batavia and Bangkok, Calcutta, Delhi, Bombay and Agra, Cairo, Athens and the Rock of Gibraltar — all in forty-five minutes — in your own home. This film contains, in three reels of 400 feet each, the unusual features of an exclusive world cruise. Its educa- tional and entertainment features are unique. The price is $30 per reel. Your dealer has the film or will order it for you. STONELAB, Inc. 8805 Hough Avenue Cleveland, Ohio 1HE w. B. & E. "PILOTLIGHT" A convenient light on your Filmo Projector that enables you to operate and change your reels with plenty of illumination that does not attract the attention of or annoy your audience. A Makes operating your projector a pleasure. No extra wires needed. Just pull the switch and the Light is there — When and Where you need it. Easily attached to your machine in a few minutes and projector can be packed away in case with' out detaching. Price $6.00 From your Dealer or Direct WILLIAMS. BROWN & EARLE, Inc. "The Home of Motion Picture Equipment" Filmo Motion Picture Cameras and Projectors 918 Chestnut St., Philadelphia, Pa. Third Dimension THE Truvision Screen Projection Corporation, manufacturers of glass bead screens for amateur and professional use, informs this depart- ment that it installed one of its pro- fessional screens in the Roxy Theatre, New York, N. Y., when that theatre was opened to the public some time ago. This screen, an invention of Ludwig A. Wilczek, gives the optical effect of the third dimension or depth without the use of two lenses in photo- graphy and special apparatus for the spectator in viewing the picture. Mil- lions of tiny glass particles, each no larger than the head of a pin, make up the surface of this new third dimen- sional screen and practically all flickering and distortion have been eliminated. Note for Advertisers ADVANCE in the closing date for acceptance of advertising copy and cuts was recently announced by the Advertising Department of Movie Makers, effective December 1st. Ab- solute deadline for the copy and cuts, either display or classified, has been advanced from the 15th to the 10th of the month preceding issue. For the January number this will mean that no copy or cuts will be accepted after December 10th. This change has been made necessary because of the im- possibility under the former schedule of producing and mailing the mag- azine in time to provide a distribution which would be either fair or satis- factory to the more distant parts of the United States and Canada, and in rec- ognition of the importance of Movie Makers' rapidly growing circulation in more than fifty foreign countries. Additional necessity for immediate change was emphasized by the produc- tion problems incident to the Christ- mas holidays. Effective at the same time, double column space will be limited to two sizes, either one column set two col- umns wide or two full columns. Also advertisements calling for space other than one column, two columns or one full page must be in multiples of one inch (fourteen agate lines). For in- stance, advertisements of twenty-one lines, etc., can no longer be accepted. Popular Camera npHE interest in Industrial Motion ■*■ Pictures is rapidly increasing. Firms in all parts of the country are adding motion pictures to their pub- licity, training and welfare depart- ments. Among the more recent addi- tions to this class of organization, are the public utility companies. The New York Institute of Photography announces it has placed the Institute Standard motion picture camera with many of these companies within the past year. The Detroit Edison Com- pany, one of the first to enter this field, is now using six of these professional cameras. Not only is the Institute Standard said to be in demand for in- dustrial work, but, it is stated, New York Institute trained men are in de- mand in this field, due to thorough technical training. Color Projection BECKLEY & CHURCH, manufac- turers of the Koloray attachment for projectors, suggest that those in- terested in projecting their films in colors give some thought to the vari- ous color discs now on the market which serve this purpose. In some cases the amateur can get an approxi- mation of natural color. Those ama- teurs for whom a natural color process would be too expensive will find it fascinating to experiment with these discs in projection and will find that such experiments will help to satisfy the craving to see their films in color. Photograph by Bell & Howell WHEN STAR MEETS STAR Bobby Jones, Golf King, Meets Grace Moore, Opera Queen, and Adds to His Film Library 1MOWME IHAHtKS Flares IN order that the cinematographer may have absolute control over the time of ignition of flares, John G. Marshall of Brooklyn, N. Y., has de- veloped an electrically-fired flare which develops its full brilliancy the instant the circuit is closed. Each flare is about 30,000 candle power. Motion pictures may be taken at night as easily as in the daytime and in caves, mines, etc. The flares are made in several lengths to burn from one-half to four minutes and weigh about a pound per minute of burning time. The electrically-fired flares are placed on some suitable support and con- nected in series to a flashlight or radio B battery, one and one-half volts per flare being required; a battery meas- uring only five-eighths inches in dia- meter by two inches long will fire one flare. Meteor match-ignited flares have been in use a long time but the elec- trically-fired flares while on the market for only a short period have found wide application in regular work as well as in wild animal night motion picture photography in which the animal starts the camera and fires the flares by touching the bait. They will also be used on the Byrd Antarctic Expedition. Chance to Help A MINISTER in a small Southern town has come into possession of a 16mm. projector to aid him in his tiny parish. Situated fifty miles from a city and thirty miles from the nearest movie this projector repre- sents the entire motion picture facili- ties of the town. However, he writes, "I am unable to purchase films for it and wonder if the League might be able to help me in getting donations of library films which would be inter- esting to my boys? I am very keen on Scout work and would also like to take pictures for them of the hikes and football games at our local school, but again cannot do so on account of lack of funds. Is there any possible chance of someone donating a cine camera that is second hand and yet usable?" Still another one of his ambitions, should he receive aid in his filming efforts, would be to encourage the interest of his young parishioners in making microscopic films. The League hopes that some mem- ber will be in a position to offer a camera in response to this worthy appeal, and that many will contrib- ute from their library of film sub- jects. It is suggested that such kindly offers be first made by letter through the League office, to avoid duplication. GIFT SUGGESTIONS for the amateur cinematographer who would appreciate using the professional touch in all his films. \\kw:xAi\Mtwjmm gives the real professional fade-in, jade-out and dis- solve effects — the most use- ful, common and effective known. Identical principle, greatly simplified in appa- ratus construction and op- eration. Dissolve clamps over any lens on any camera in an instant without tools. Half turn of permanent key winds for fade-in and out. Time indicator sets fades from 2 to 8 seconds (prof, standards). Release button operated same time as camera but- ton. Aluminum casing, crystalline finish, small, light, sturdy. For Filmo, Eyemo, Cine-Kodaks, Victor, De Vry. The A-B-C simplicity of the Automatic Dissolve be- lies the tremendous benefit it achieves for the ama- teur. It may be difficult at first to realize that the extreme ease of using the Fade-in and Fade-out, and "effect" filters, actually opens the flood-gate of all professional possibilities. :KfiCOEEZHimiEM This filter holder has been acclaimed by the professional as well as the amateur as the only filter holder adaptable for general use. Like the Dissolve it clamps over any lens on any camera in an instant — making available a full set of ray, trick and effect filters for all lenses. Filters slide into place before the lens as needed and do not require any change of focus or exposure set- tings. Same filters as used by profes- sionals. There is absolutely nothing to learn to use effect filters — except the most propitious time for various effects in pictures which is a matter of taste and opin- ion. Holder made of aluminum, crystalline finish. Can be carried with complete set of filters in the pocket or carrying case. rfl4«Etsft< SCHEIBE FOG FILTER : For moving scenes used as back- ground for double printed title. Creates perfect fog, rainy or smoke scenes from clear daylight. $5.00 SCHEIBE DIFFUSING SCREEN: Gives diffused or softened effect. Soft characterization in close-ups; ''mystery element." $5.00 SCHEIBE GRADUATED FILTERS: Absolute night scenes taken in daytime. Sunset used for moonrise. $5.00 SCHEIBE IRINETTES: A stationary iris. Comes in dif- ferent sizes and shapes. $5.00 SCHEIBE DIFFUSING IRIS : Has clear-glass center cir- cle for main object or close-up in sharp detail, leaving balance of scene diffused. $5.00 SCHEIBE WHITE IRIS: Clear glass center vignetting to white glass edges. For spotlight effect to accentuate point of interest. $5.00 SCHEIBE GRADUATED IRIS : Spotlight effect vignetting to black at edges. For forceful positive accentuation. $5.00 ALL OUR PATENT RIGHTS See these items at your dealer, or write: Sole distributors for Scheibe and Ramstein Filters to fit Dissolve and Filter Holder ^■" ■ ^""" *r"\c-cir^MC-r-)c; a tvi rs rv^Arwiir— atti mrrnc !■■ ^^»^w ar 1 PES I " rg<«gmag<& fOMp GNERS AND MANUFACTURERS f^ You describe it -We'll design it'"^ \~ 106 WE ST 46™ ST.flOIC. DECEMBER 192S HOME MOVIES for CHRISTMAS! CHRISTIE COMEDIES and McCRORY CARTOONS 100 foot subjects with a laugh in every foot Dramatic Feature-Plays 1600 foot subjects full of adventure, thrills, suspense Such as "STRANDED" "ROBINSON CRUSOE" "GOLDEN STALLION" "FIGHTING FAILURE" "OH, WHAT A NIGHT" and others Fun and education for every member of the family. Surprise them on Xmas morning! Send for Catalogue. Big 4 Film Corporation 130 WEST 46th ST., NEW YORK Progressive dealers — Write for our special offer THE CLINIC {Continued from, page 779) titles in which the title appears line by line, and in many other ways. It can be used to narrow down the pic- ture to call attention to one line of lettering and also to cut part of ^"71 , \ And so we suggest KODACOLOR for Christmas FOR those who already own Model B Cine-Kodaks with/. 1.9 lenses, a Kodacolor filter and a couple of rolls of Kodacolor Film will be a most welcome gift. What could please a Cine -Kodak owner more? This equipment makes it possible to take vivid, realistic movies in full color, as easy as those in black and white. Here, then, is an excellent oppor- tunity to give what you, yourself, would like to get. Decide on Koda- color now. Then put us on your shopping list. Our stock of photographic sup- plies is exceptionally complete — from Brownies to Model B Koda- scopes, from, Kodak Film to Cine-Kodak Panchromatic Film. What's more, you'll find our spa- cious sales rooms and adequate staff of salesmen will add a great deal to your shopping comfort. Eastman Kodak Stores, Inc. TWO STORES The Kodak Corner— Madison at 45th 235 West 23rd, near 7th Ave. New York City. ■ IIWIWIIIIHHIIIIIIIIIIIIIIIIIIIIII'IMIMllWHWIlf THE IMPROVISED MASK BOJ one side or more of the frame when filming in tight places. Here is one example of how it is used. Assume that a subject moves out of the pic- ture from the right to the left hand aide. By sliding the right hand slide in the box while shooting, the picture will fade from right to left, following the subject out of the picture and leaving the screen dark. Or the ac- tion can be reversed and a fade-in made from left to right. The char- acter enters from the left and stops at the left hand side of the picture. The slide is held so that only the character is seen, the rest of the screen being dark. He registers sur- prise, looking to the right, and the slide is then pulled out the rest of the way disclosing the reason for the sur- prise. "The mask box will accommodate a color filter and is so made that it fits an iris vignetter fastened to the lens. The addition of the vignetter in- creases the number of effects that can be obtained. For double-exposure a mark is made on each slide and on the slide holder so that the dividing line across the picture formed by the edge of the slide will register accur- ately when making the two ex- posures.." LEE F. HANMER {Continued from page 783) are one of Mr. Hanmer's greatest in- terests his work in the Russel Sage foundation is primarily concerned with the development of opportunity for all forms of recreation. Nation- al in scope, his activities include the promotion of adequate play- ground facilities for every commu- nity, the establishment of commu- nity clubs, aiding such movements as the Boy and Girl Scouts, and placing the resources of the great founda- tion which he represents behind any worthy efforts which will make for a healthier, happier nation. As a minimum community pro- gram for places of recreation Mr. Hanmer believes there should be a play center every half mile, as the maximum drawing power of a cen- ter does not extend beyond a quar- ter of a mile radius. To be ade- quately supplied, however, he feels there should be a play center every quarter mile, as the effective radius of drawing power is but one eighth of a mile. The size of the ground itself, he states, will depend upon the population of the area it is to serve. Knowing that the number of children on the ground at one time is rarely greater than twenty-five per cent of the possible total, and that each child should have one hundred square feet of play space, the desirable area can readily be determined. "Formerly," Mr. Hanmer stated, "parks sprang up very haphazardly. Their existence was looked upon as a luxury, rather than as meeting a social need. Today, in the develop- ment of new real estate districts in progressive cities real estate com- panies are voluntarily setting aside space at regular intervals for parks and playgrounds. This idea was fought very strenuously by realtors when first advanced but its applica- tion showed a faster sale of land in developments so handled and that a greater return could be realized from the sale of properties thus served, as the increased values of the property made up for the amount lost by the area contributed for play purposes." Even in his recreation and play- ground work Mr. Hanmer is a strong believer in the varied power of the motion picture. At present its most widespread use is for entertainment purposes at community centers, or, in summer for outdoor shows in parks and playgrounds. Playground instructors are also beginning to use the amateur motion picture camera in recording their activities, the films being employed in educating the tax- payers to the values of recreation programs. Another use is found in training children in games and sports through the use of slow mo- tion pictures which help them to correct their faults and become more skillful. Coming as it does from a man whose life work has dealt with recre- ational values and whose experience with the use of motion pictures is nearly as old as the medium itself, Mr. Hanmer's belief in the worth of amateur movies should convince every camera owner that he is shar- ing in the greatest of hobbies. HOVIE »L % I* ■ it •» AMATEUR CLUBS (Continued from page 781) Coming! MARKARD'S 100% All Silent Picture SEE How the underworld operates SEE How the police work SEE How virtue triumphs — and — Give your brain a chance to function WITHOUT the distraction of sound. Our 1929-30 program will be entirely synchronized with SILENCE This announcement, unique in the annals of the motion picture, comes from Mark- ard Pictures, the amateur group in Brooklyn, N. Y ., which produced "Narrow Paths." Chicago Film Screened 66/^HICAGO." the composite film ^-^ study of that city, co-opera- tively produced by members of the Chicago Cinema Club, met with an enthusiastic reception when it was re- cently screened at a club meeting. Members contributed shots of the city which were edited by a committee into a complete film narrative of the civic and industrial life of Chicago. On a later program, "Princeton." produc- tion of Undergraduate Motion Pic- tures of Princeton University, was projected. At the last business meet- ing of the Chicago amateurs, Joe Symons was elected president: Oscar Nugent, vice-president; Dwight Fur- ness, secretary and Frank T. Farrell, treasurer. Finances From Films CAMERA work on "Freshman Days," current production of the Flower City Amateur Movie Club in Rochester, N. Y., has been finished and the film's premiere will be shortly held in Rochester. A second produc- tion that will run four hundred feet, 16mm., in under way and the club has also made plans for a short comedy to be filmed by the junior members. This active club has reenforced its treasury by producing advertising films for Rochester retailers. Short film lengths of windows, store in- teriors and, in some cases, special pro- ducts in use, are made by the club and screened at the club's public pro- grams. The films are retained by the A Christmas Qift - that DOUBLES the FUN of Amateur Movies all year 'round! The films you'll cherish most of all are the Beautiful Interiors you can take in your own home — with FOTOLITE FOTOLITE provides an all-year-'round, and almost unlimited, source of pleasure. Its steady, powerful light enables you to take perfect pictures right in your own home — even on dark, wintry days, and at night. The scenes you have longed to take — the children at play, parties, dances, family events — can be stored away in films that you will want to look at over and over again; films, too, that you will prize for their sheer beauty and artistry. Fotolite can be plugged in on any electric light socket. It eliminates the sparks, the sputtering, and the "light fright" of the arc lamp. And, in addition, it gives most light per ampere! Let your dealer demonstrate Fotolite for you. See for yourself the clear, powerful, brilliant light which has won unstinted praise from professionals. See the remarkable No. 10 Fotolite, pictured above, a new 1000-watt lamp — ideal for close-ups and % views. See the Fotolite No. 5 — a splendid auxiliary for full-figured views. See the stand equipped with two No. 5 lamps — a powerful auxiliary for group pictures. Fotolite No. 10 (without bulb), complete, with stand and carrying case, costs only $22.00. No. 5 (without bulb), complete, with stand, $12.00; two No. 5 lamps (without bulbs), complete, with stand, $20.00. Anyone who owns a moving picture camera will be delighted to receive a Fotolite. This Christmas, why not give yourself one, also! To your collection of beautiful outdoor films, let it add a treasure of fascinating interiors. For only a fraction of what your camera cost, let it double the fun of amateur movies! TESTRITE INSTRUMENT CO., 108 EAST 16th ST., NEW YORK FOTOLITE gjgj Most Light Per Ampere * Lowest Equipment Cost fc. Iti •■/ ■•'" ■'■■•-•VvV>''.<' DECEMBER !«►_»*» mm nn^s Aladdin Travel Pictures First New York Showing A series of twenty-six 100 foot 16 m. m. films, taken in every quarter of the globe. Both educational and entertaining. $4.50 a Roll Catalogue sent upon request We are authorized agents for Bell & Howell ami Eastman Kodak Cameras MOTION "PICTURE AND CAMERA DEPT. , \ 30-32 Barclay St., New York Motion Picture Film — Whether professional or amateur, de- serves careful development and print- ing. The best results will be obtained thru the high class service given by a motion picture laboratory of distinction. CINELAB, Inc. 33 WEST 60th STREET New York City TELEPHONE COLUMBUS 9750 A ^M W Now! Mrs. J. Potter Pancake, don't look so cross. . . . The temptation to monopolize your Filmo 75 . . . is irresistible. Filmo 75 . . . newest of the Bell & Howell Automatic Movie Cameras . . . comes in choice of colors . . . as smart as Paris . . . and as precise as a micrometer. The Filmo 75 will make for you the sharpest . . . most brilliant motion pictures you ever saw on 16mm. film. Surprisingly efficient. Bass will take your old still or movie in trade. 66 page Catalog free . . . Write. Bass Camera Company 179 W. MADISON STREET CHICAGO, ILL. "Filmo Headquarters for Tourists" 820 club and the advertiser is charged whenever the film is projected. The Rochester group reports that produc- tion costs can be kept very low and that by charging five dollars for a screening the club can make a good profit. The merchants have found that the use of film is of real value to them. Eugene Curtis, vice president of the club, will direct the new produc- tion, and Frank J. Buehlman will act as cameraman. Other officers of the club chosen at a recent business meet- ing are: R. Clemons, supervisor; Mrs. F. J. Buehlman, treasurer; Lee White, secretary; W. Cushing, business mana- ger; J. Appleton, publicity, and E. Streb, cameraman. Plan Novelties T 'HE Cinetrix Club, made up of a ■*• small group of amateur camera- men interested in amateur photoplay production, has been formed in New York City during the last month. Moving cameras, split screens, mul- tiple exposures and dissolves will be introduced in their first production, a fantasy, the title of which has not yet been released. The film will run ap- proximately one thousand feet 35mm. and is to be reduced to 16mm. The club's primary purpose is to experi- ment with motion picture technique and to work out new cinematic de- vices. Dr. A. L. Walsh is president of the new group. Stewart Hufford, treasurer, and Don Bennett, director. Noted Guest MR. WILLIAM L. FINLEY, author and photographer of wild ani- mal life, addressed the last meeting of the Portland Cine Club in Port- land, Oregon, illustrating his talk with film. The projection of "Prince- ton" completed the program. Psychological DR. H. A. HEISE of Uniontown, Pa., is planning the production of a film study of hysteria. The story will be developed about a girl afflicted with hysteria and the camera will de- pict her life as she sees it, and at the same time a comparison of the girl's imagined world and the world of ac- tuality will be made. The finished film document will demonstrate one of the most fertile possibilities of the motion picture — its use in represent- ing an emotional process not through mimicry but by presenting it through suggestion and cinematic symbolism. The scenario will be written by Eu- genia R. Heise and the finished pic- ture will run approximately four hundred feet 16 mm. "The Soul Thief," Dr. Heise's first production which runs four hundred feet 16 mm., will be available through the Club Film Library. This picture tells an exciting yarn of a mad doctor who by a complicated operation re- moves the soul of one of his patients with disastrous results. Dr. Heise plays the mad doctor and Minnie Bacher, Ellsworth Caton, Eugenia Heise and Jean MacDowell are in the cast. Stamford Premiere SLIM DOOLITTLE, the Light- house Keeper," production of the Cinematograph Committee of the Comedy Club of Stamford, Conn., was presented at a late meeting of the Comedy Club. John Ten Eyck, III, reports that the Cinematograph Com- mittee is making preparations for a second production, an all interior story for which a studio is being equipped. R. C. Montgomery will act as cameraman for the forthcoming film. Fast Work DURING the last month the South- ern Movie Makers Triangle has been formed in Summerville, South Carolina, under the leadership of Joseph E. Braid. The new club has already finished its first production, "Dawn of a Sailor's Day," a romantic farce running 400 ft. 16 mm. Some excellent scenes of U. S. Navy Cruis- ers in action, obtained at Charleston, S. C, were included giving the film an authentic background. Interiors were made on an outdoor stage. The production was directed by Joseph Braid and filmed by George Lanneau, Jr. The cast includes C. H. Smith and Whaley Mackey. Unique Settings THE Amateur Movie Club of River- side, Calif., is completing care- fully laid plans for the club's first production, a comedy drama that will have the scenery in and near Riverside as its background. A wedding scene will be shot in the well known St. Cecilia Chapel of the Mission Inn of Riverside. The production committee has selected director and cameramen who will be named at a later date. The scenario is being written by P. S. Castleman and the production com- mittee has selected M. L. Castleman to direct the production. E. N. Fair- childs is assistant director and L. B. Caldwell is publicity secretary. Sev- eral club members will shoot the scenes. "Narrow Paths," production of Markard Pictures, was screened on a recent program of this lively organi- zation. Palisades Producing THE Amateur Motion Picture Club of Palisades has been formed in Grantwood, N. J., with a large and m 1926 MOVIE JlKERi enthusiastic membership. "The Life of a Hobo," a four hundred foot 16 mm. comedy, has been produced and preparations are being made for a more serious second production. A. W. Stellfflug is president of the new group and the other officers include: William A. Sturm, Charles Eber- hardt, Edward Shaas, Jack Houst- worth, Jack Fraley and George Lin- denmeyer. Active Plans AT the last business meeting of the Shadows Studios in Minneapolis, Minn., Donald Booth was elected president for the forthcoming year, Marion Bell, treasurer and Marion Booth, secretary. A membership drive has resulted in twelve new members and semi-monthly meetings have been arranged. This year's production plans call for a four hundred foot 16 mm. comedy and a twelve hundred foot 16 mm. drama. "Fireproof", last year's production, will be retitled and extra prints made. The last program featured a demonstration of makeup by Margaret Ball. Elaborate Set PRODUCTION of "Mushrooms", the 16 mm. comedy drama of the Cine Court Players in Brooklyn, N. Y., has been completed. An attempt was made to take scenes on location at an old abandoned mine that is fea- tured in the plot, but, owing to the poor ventilation of the mine, the smoke from the flares used caused dark and foggy pictures, so the club was forced to construct a set repre- senting the mine. However, with the more satisfactory lighting conditions some unique spot lighting effects were introduced. "The entire experience," writes C. A. Kelting, cameraman, "has afforded the members opportunity to study set-ups, lighting and other production details." The premiere of "Mushrooms" was held in Brooklyn, N. Y., November 21 and 22. General TPHE Motion Picture Club of New ■*■ Haven, Conn., has resumed ac- tivities with a program featuring "And How", production of the Mo- tion Picture Club of the Oranges. The club has built up a technical library for members and owns a 16 mm. cam- era that is available to all members who do not own one. H. W. Greenwood reports the for- mation of the Cine Players' Club in Stockport, Cheshire, England. C. Tindell plans a club at Long Beach, Calif., A. W. Pollum in Ann Arbor, Mich., Frank A. Seitz in Yonkers, N. Y., H. L. Ide in Spring- field, 111., and Macon A. Brock in Rome. Georgia. fAMOU/gRAYtjBRAPY RAY STUDIOS offer the most extensive Library of films especially edited for Home, Church, School and Club. OVER 1000 SUBJECTS CARTOONS SPORTS HISTORY ANIMAL LIFE COMEDIES TRAVEL ART DRAMAS SCENIC INDUSTRY POPULAR SCIENCE Write for Complete Descriptive Catalogue SPECIAL FOR CHRISTMAS A LITTLE FRIEND ALL the WORLD n 400 Ft. Reel Price #28.00 A beautiful story of a little boy who plays Santa Claus to the wild creatures of the woods. Every 16 mm. owner will want to add this remarkable and beautiful film to his permanent collection. At your dealers or direct from 729 SEVENTH AVE, NYC TRIPOD PROJECTOR CLAMP Simply screw on any tripod as you do a camera and you have a sturdy, handy, vibration- 1 e s s projector stand. Clamp is light in weight, models for all pro- jectors, and folds small enough to be carried in the pock- et. Attached in a jiffy. Outfits from $3.00 to $14.60. SELL THESE TWO MAC ITEMS AT YOUR DEALER OR WRITE TO SINGLE EXPOSURE CLAMP Single expos- ures by just a tug at a cord from where you are working on animating titles, maps, dolls, etc. i Also for taking ; automatic con- L tinuous shots < while you are in ■<■ the picture and without wasting a single frame. For Filmo, $3.75 HE MAC. COMPANY CINE ACCESSORIES Mik 0 FILM LIBRARY Now Offers Our first Mediterranean Releases MADEIRA AND GIBRALTAR SPANISH NATIVE LIFE Photography by Qardner Wells y y -f ALSO Streets of London i 1 1 London from the Thames (All at $7.50 per 100 feet) i 1 1 Tarpon Fishing off Boca Grande (Special offer of $5.50 holds good for December) Travel Movie Films, Inc. 983 PARK AVENUE NEW YORK, N. Y. "16mm. Films of Merit" Write us for the new combined Exposure-Filter Chart and 1929 celluloid pocket calender. Free for the asking HOLLYWOOD! You have often wondered what it looks like and how movies are made. If you can't go there the next best thing is to have Hollywood come to you in the form of 16mm. movies. This new and unusual film is now ready. You will learn the truth about Hollywood. You will see every angle of picture making. And you will see: AIR VIEWS, THEATRES, BOULEVARDS, STARS, BUILDINGS, HOMES, STUDIOS, NIGHT LIFE and other surprises $7.00 per 100 ft. or $25.00 400 ft. complete. At your dealer or direct from Lande Cine Picture Go. 1558 VINE STREET Hollywood, - California PHOTOPLAYFARE {Continued from page 791) manipulated, it would seem, by hid- den threads, as, only too frequently, is the cutting room version of the plot. One cannot believe that the Von Stroheim who conceived the con- cluding scene of the Iron Man, end- ing the film on a note of satanic laughter, ever saw this mechanical prop. Or perhaps we are unfair to the cutters, after all, and Von Stro- heim, for all his genius, falls short of greatness by just such maudlin moments. But to make the fourth and last test, that of the quality of the act- ing, seldom, if ever, has a film been more superbly cast. Von Stroheim, himself, Grace George, Fay Wray, George Fawcett, George Nichols, Za Su Pitts, Mathew Betz, Dale Fuller and the others, to the least of the characters, are all magnificent. On three major points of judg- ment, then, the "Wedding March" is great cinema. It is only to be re- gretted that, whatever the reason, it was not permitted to stand forth in its full stature as one of the greatest of all motion pictures. And, an interesting reflection for the amateur, having become used to the chromatic scale offered by Koda- color, the magnificent scenes of the Corpus Christi processional in Tech- nicolor proved quite unsatisfactory and disappointing, although this has been so far the best method available commercially to the professional. The "Wedding March" is indeed a photoplay worthy of the attention of the thinking amateur, if he be sweet natured. Otherwise its compromises with that which is truly great will serve as an irritant of unpleasant proportions. The Movies Repay TPH'IS is an "amende honorable." It ■*- is written with real pleasure be- cause nothing can be more thrilling to a sincere reviewer than to witness and to record the emergence of a new art form or a vital modification of an old one. In August Movie Makers the writer discussed the first "talkie" and ex- pressed a belief that talking movies would never appeal to the cintelli- genzia. Here, he urges the cintelli- genzia to see "Interference," the first Paramount all-talking picture, for two reasons. There will be seen at first hand a distinct advance in the art of the legitimate stage coming to that stage as a gift from the movies, an ad- DECCIIBEK 1«»2S» Motion Pictures of Your Foreign Business 35 mm. or 16 mm. Sources of raw materials — foreign uses of your product — your foreign factories, branches or agencies — all these we can film for you this winter. Gardner Wells is making an extended trip for us, cover- ing all Mediterranean coun- tries and Western Europe. Another cameraman is going through the West Indies and Central America. And a third experienced man will cover fully all the large cities and historical points of interest of South America, both coasts. We will accept a limited number of assignments for 35 mm. or 16 mm. film, or stills, in any of the above localities. Further details on request Travel Movie Films, (Incorporated) Industrial Development Dept. 246 FIFTH AVENUE New York City Learn the Fine Points of MOVIE PHOTOGRAPHY Our home study course in Professional Motion Picture Photography will enable you to get better results and greater satisfaction. We have, for 18 years, successfully taught Motion Picture, Portrait, Commercial and News Photography in our great New York studios or in spare time at home. Write or call for Free illustrated book. N. Y. INSTITUTE OF PHOTOGRAPHY 10 W. 33rd St. Dept. 105. New York, N. Y. 'Photo-Filter Specialties^ pioduce Fog Scenes .Moonlight and Night Effects ■'JTni/aihere^JJngt'nie Also Soft Focis and uavious other effects, just like they make em in Hollutuood. It's easy <■ qou mate •em. too. HI tell qou hocu « ■» I cAste ljoup dealep, or write to GEORGE H. SCIIEIBE PHOTO-FILTER SPECIALIST l£ v:r \ h FAMOUS PLAYERS and others Specially Printed 16mm. TITLES 25c. UP TO 8 WORDS For eight word maximum — Extra words, 3 cents — Minimum order, $1.00 HAND LETTERED TITLES with border— up to 12 words 60 cents (Extra words, 5 cents — Minimum order, $1.20) ART TITLES— Hand Lettering— up to 12 words $1.50 100 Appropriate Paintings in Pastel to Fit any Title. (Extra words, 5 cents) 48 HOURS SERVICE EDITING TITLE WRITING - - - SPLICING SPECIAL FOR CHRISTMAS A BEAUTIFUL art animated motion picture, opening with carol players, ■l *■ changing to several interesting Christmas scenes and ending with the mes- sage— Merry Christmas. Price $2.00 We Are Suppling All New York Leading Stores with Our Title Service DECEMBER I92S FILMING with FLARES Flare Showing Detachable Handle Professional producers use extensive electrical equipment or flares for shots in dark places or at night, but the ama- teur does not have hundreds or thousands of amperes avail- able but the flares are acces- sible to him at a reasonable price. Use these powerful fire- work torches to secure profes- sional results either on straight or special lighting effects. They may be used to light a cave, film a party or shoot an Afri- can native dance at night, for fireplace antl campfire effects, and in all special lighting ef- fects to secure the same results as seen in the leading theatres. Many other uses are indicated from time to time in various issues of Movie Makers. No equipment necessary — the same flare the professionals use — five sizes, ^4, 1, 2, 3 and 4 minutes of light. Also elec- trically fired flares operating on flashlight batteries for fir- ing several flares at once. JOHN G. MARSHALL 1752 Atlantic Ave., Brooklyn, N. Y. "SNOW-WHITE" The Screen Supreme A pure white screen with a surface which will produce a clean-cut natural picture. Picture size 18"x25". Mounted on plain roller. Price $5.00. A Special Release For The Holidays THROUGH THE 1000 ISLANDS A picture of rare beauty and crystal clearness. 100 feet 16 m.m. Price $6.00 Reduction Printing is Our Specialty So Get Our Prices First. FADE-IN; FADE-OUT with the Simplex Fading Glass. Used on any camera, any time, anywhere. Sent postpaid upon receipt of $2.00 Produced by ERNEST M. REYNOLDS 165 E. 191st Street Cleveland, Ohio in a small city to almost empty seats during a winter blizzard. He sat in the third orchestra row with nobody nearer than the tenth, seeing the stage, as Ludwig of Bavaria saw Wagner's operas, in complete solitude so far as he was aware of others of the audi- ence. That was a high spot in his play- going because the identification with the action was almost perfect and he felt almost forced to intervene with apologies for being present in situa- tions of dramatic intimacy. It was dis- tinctly Dionysian — with the audience living in the play and becoming a part of it — and not Appolonian — with the audience as reflective and impersonal critics. Which is the higher aim of the theatre is not to be discussed here, but, by a combination of close-ups and sound, the talking movie can give a super-Dionysian quality to the spoken drama. One must keep a stern grip not to react too harrowingly to what goes on so close at hand. It is possible to eliminate those non-essentials of set- ting, proscenium arch, other char- acters silent for the moment, a half- visible audience and the like which make us, at best, Appolonian outsiders when we view the legitimate stage. This may envisage a triumph for the Dionysian school. The abolition of time and space is, of course, an old tale for the silent drama. In stage technique it has heretofore been a dream and a hope toward which hun- dreds of experiments have aspired, such as the new stage settings of Gor- don Craig, Norman Bel Geddes and the whole expressionistic school of play writing. In "Interference" we follow characters into houses and buildings, up stairways, to windows whence they call out and from which we see and hear the answer just as we should always have followed stage characters had this been possible. One rough place is left for later smooth- ing. The lowered curtain of the stage is still paralleled by the abrupt "cut" and a sound-movie equivalent of the dissolve is yet to be offered. We un- derstand it is even now being per- fected. Realizing seriously the possible ef- fect of sound pictures of the "Inter- ference" type upon the whole future of the spoken sjage and seeing the possibility of their eventually remov- ing actors from public contact at all, making them studio artists completely — and we must, before condemning this as an absurdity, recall that all poets once were declaimers and not authors and were seen and heard in person and not through the medium of print — this reviewer presents the following artistic theorem, with full confidence that the future of the talk- ing movie can defend it if producers will but give us as many intelligent plays as has the spoken stage: The "talkie," while not motion pic- ture art, can be, with directors and actors of high quality-, a more inti- mate, a less limited and a more uni- versal means of artistic expression than the spoken stage. Again we have to record another Paramount achievement. Our Dancing Daughters TT is astonishing how rapidly word ■*■ of a good motion picture travels, even if these occasions for movie tele- pathy unfortunately are infrequent. This is as true in a "town" the size of New York as in Pataskala, Ohio. No less than a dozen persons, most of whom never think to mention a photoplay, had advised us, in spite of its name, to see Metro-Goldwyn- Mayer's "Our Dancing Daughters," assuring us comfortingly the title had nothing to do with the picture. We did, and can now join in broad- casting the good news that, even if it were billed as "Their Petulant Par- ents," the film would still be ex- ceptional entertainment. Much of this exceptional enter- tainment, it must be admitted, is due to the delightful presence in the cast of Joan Crawford. In this photoplay she reveals herself as a sensitive art- ist, and as delightful a person to look upon as the screen can boast. The cast and acting throughout are above reproach. The direction of Harry Beaumont is exceedingly astute and indicates a degree of familiarity with the milieu of the picture, the haunts of smart Burlingame society, which is as refreshing as it is unusual. To this department of production and its allied forces must also be given the credit for the remarkable interiors in the modern manner, executed by Ced- ric Gibbons. Only in one other pic- ture with which we are familiar, Paramount's "The Magnificent Flirt," has modern decoration been so seriously attempted, and it must be admitted that the Metro designer car- ries off the honors. We venture to say that nowhere in America has the spirit of modern decoration been more successfully expressed. There is a chasteness and simplicity of line in these settings which bring the mod- ern very close to the classic. This is well illustrated by the beautiful arch- way pictured in the current "Critical Focusing" department. Also the choice of locations, a directorial task, has seldom been more effectively dis- charged. The scenes at Pebble Beach near Monterey (one is also illustrated in "Critical Focusing") are of mem- orable beauty. MOVIE M /*. K E K 9 The photography of George Barnes is largely straightforward, little more being required by the subject, aided as it is by its unusual settings. The scenario, we joyfully an- nounce, seems to have no moral. We doubt if it even has any social sig- nificance. One shudders at the thought of how much of both a less skillful director might have injected. If anything but an entertaining story, it might be termed "a slice of life," to borrow the terminology usually reserved for the cumbrous tragedies of the Russias. The purpose of this department is to discover and recommend photo- plays which will, within reasonable measure, satisfy the cintelligenzia. As you may have suspected before this, "Our Dancing Daughters" is recom- mended. EDUCATIONAL FILMS (Continued from page 796) are not marred by the limitation of being human. They are modeled fi- gures of people, animals and witches, characters who are more often real to children than actual people. These pictures, which might well fit into a kindergarten or home edu- cation program for the very young, are in the form of serials. A new epi- sode is to be issued each month. Each episode is four minutes in length, the first of which was released in October. Three separate stories, each with four parts, make up this pene- tration of the movies into Peter Rabbit's field of activities. "Snap, the Gingerbread Man," heads the cast of one; "Chip, the Wooden Man," leads another, while the third records "The Doings of the Doodlebugs." In- telligent treatment of the subject mat- ter in respect to the fantasy world of childhood should have a particular appeal, as a visual representation is, of course, more easily grasped than word symbols, hence the entertain- ment and educational values are greatly increased. Interpretation of these films in terms of the personal actions of the little ones might well prove of genuine educational im- portance. CRITICAL FOCUSING (Continued from page 790) whole story from his arrest to his final imprisonment is told in a few brief scenes. Shots of the gangster in the patrol wagon, at the trial and in his cell rapidly dissolve from one to the other. This treatment is econom- ical in both settings and film and its value to the amateur producer is obvious. Now Released I For Your Use • SEE-AMERICA-FIRST Se ries Famous Burlington-Northern Pacific-Great Northern -Lib rary- "BIRD AND ANIMAL LIFE OF YELLOWSTONE PARK" "ABOVE THE CLOUDS ON MT. RAINIER" "MOUNTAIN CLIMBING IN GLACIER NATIONAL PARK' "ROCKY MOUNTAIN NATIONAL PARK" "MAGIC YELLOWSTONE" (Either 1 or 2 reels) TWO THOUSAND MILES OF STARTLING BEAUTY" (From Chicago to Seattle) Add to your personal library these perfectly photographed Panchromatic 35 mm. negatives reduced to 16 mm. tinted positives. Any of the above subjects 400 ft *24 00 /'"'/'"/»'« reel, *±\f\J 11. ^i"*. can ana1 postage Order now front RAY-BELL FILMS, Inc. 817-23 University Ave., Saint Paul, Minnesota ARROW BEAD SCREENS Give Better Pictures At Your Cine-Camera Dealer's Manufactured under U. S. Patent, Number 1,399,566 by ARROW SCREEN COMPANY 6725-55 Santa Monica Blvd. Hollywood, California WILLOUGHBYS, 110 W. 32nd Street, Greater New' York Distributors a II DECOIBER I92S Send $2.00 and copy for 3 titles (10 or less words per title) and get Your tryout ' "Americas Piaieertxm*Arf7it/et>uilderma'fj/infdifor tot*** Jm Tlltes ENLARGEMENTS from 16mm. positive movie film are now perfected by our new pro- cess. Clip the best frame of the scene you want enlarged and en- close $2.00. Subsequent prints: 8x10 50c 4x6 20c 3x4 15c 2x3 10c STONELAB, Inc. 8805 Hough Ave., Cleveland, Ohio FILMS DETERIORATE The Teitel New Life Patented Process Will Save Them ALBERT TEITEL, Film Expert 105 West 40th St. New York City DOWNTOWN HEADQUARTERS TRADE IN YOUR OLD CAMERA Liberal Allowance CDrC DEVELOPING rI\EX SERVICE FRFF DEMONSTRA- 1 IXEiLj TIONS DAILY We carry the most complete line of Movie apparatus Downtown. MOVIE CflMERS A PROJECTORS k NEW YORK CAMERA EXCHANGE 109 FULTON STREET MEVY YORK CITY -<>B5 .„<,.. WE offer for sale a few demonstrating models of 16 mm. Cameras and Projec- tors, at special prices. Perfect condition and fully guaranteed. FISCHER'S CAMERA SERVICE, Inc. Everything Known inO^lotion 'Pictures " 154 EAST ERIE STREET CHICAGO VITAGOLOR MOVIES (Continued from page 772) of Hollywood's star cinematograph- ers. He immediately set up a crude laboratory in his home and went about the task of building reality out of his dream of colored motion pictures. If the keynote of Vitacolor as it stands perfected today is simplicity, innumerable trials, experiments and discouragements have made it so, for Mr. Du Pont worked ten years on his process before he was able to look the world in the face and say, "I have succeeded." He sums up the results of his lengthy endeavors in the follow- ing technical account : "The Vitacolor method impresses upon the emulsion of panchromatic film the various colors of the scene be- ing photographed in substantially the same manner as the artist blends his colors in painting a picture. This is accomplished by recording the color vibrations reflected from various ob- jects through a special arrangement of color filters of a determined wave- length and transmission factor. For better understanding this, it is advisable to refer to a paragraph of the Young-Helmholz theory of color vision, originally suggested by Thomas Young about the year 1807 and slightly modified by Helmholz. "According to this theory, there are three types of nerves in the retina, each tuned to respond to one of the primary color sensations — red green and blue-violet. By decomposi- tion of the three photo-chemical sub- stances stored up in the retina, the nerve fibres are stimulated to respond to the frequencies of vibration corre- sponding to these colors. These vi- brations generate impulses in the nerve ends which are conveyed to a visual center in the grey matter of the brain and the mind perceives the colors. "So, knowing that to create color sensation is just a matter of proper vibration irritating the nerves of the eye, it is easy to understand that a certain vibration transmitted by a me- chanical means and in synchroniza- tion with the receptive optical nervous system will create natural color sen- sation. The Vitacolor method of nat- ural colored photography is a contin- uous, synchr mous system from the exposing of the negative to the pro- jection of the positive film. "The method of distribution on a panchromatic emulsion of the inverse vibrations of various frequencies of the spectrum is successfully demon- strated by Vitacolor. Not only is the spectral value reproduced with exact- ness, but the greatest obstacle, here- tofore, to colored cinematography — the exceptional lighting conditions or excessive time exposure required — is overcome in Vitacolor to the degree that pictures may be taken by this method on cloudy days, in foggy weather, from early morning until late afternoon and under many other adverse conditions. This has been accomplished by the novel Vitacolor method which exposes the panchro- matic emulsion by a succession of vibrations which have the property to penetrate deeper into the layers of the emulsion in a shorter exposure space. "From the beginning, I did not confine my attention to that class of photography in which color appears on the film, but rather I desired to produce a film which was in its ordi- nary form of lights and shadows in black and white. Thus, with Vitacolor, the picture may be projected in the ordinary manner through any stand- ard projection machine in black and white, or in natural color. Such a system presented numerous difficul- ties, not the least of which was elim- inating flicker. "One of the chief obstacles has been that certain colors seem to per- sist in the eye of the observer with the result that these colors overlapped in subsequent scenes. My greatest tri- umph was in overcoming this tendency of persistency in color vision by the Vitacolor system. "Briefly stated, Vitacolor is a filter system capable of impressing upon a film certain color reactions. By so balancing the different color densities with respect to the size density of the filters, one is enabled through Vita- color to utilize all of the visible colors of the spectrum and cause these colors to photographically affect a negative to the end that a reversal of the proc- ess by color filters allows each varia- tion of density in the black and white negative to again select its proper color, allowing natural colors to be projected upon the screen. "At first glance it may appear that this process would require innumer- able color filters. But this is not true. Vitacolor filters are so arranged as to produce all colors, or all colors within the visible spectrum, by only utilizing certain colors in a certain relation to produce given color light effects. The balancing of the colors in accordance with the subject to be photographed is a very simple matter and does not require an expert, making the process available to the amateur." Despite Mr. Du Pont's assurance at the close of his remarks, the amateur might still hold some doubt as to his ability to make good natural color pictures with Vitacolor. Let me set his fears at rest. Shorn of all tech- nical dress, Vitacolor pictures are as easily taken as good black and white pictures and practically the same con- imm ii «■ « *& ■ ic S ditions prevail for both. The follow- ing summary may make my point clearer: The amateur cinematographer merely loads his camera in the usual way and he is ready to take Vitacolor pictures as he would with regular film. A small filter attached to the camera selects its color vibrations, which are recorded on the delicate emulsion of the film. The same is true when he projects his picture. The light vibrations re- corded on the film pass selectively through another filter attached to the projector and, lo! there is his picture in color exactly as he saw it in reality. But I think Vitacolor's chief inter- est lies in the following points: Any lens regularly employed for taking ordinary black and white pic- tures may be used, under similar light- ing conditions favorable to ordinary cinematography and at normal stops. The pictures may be projected upon any screen acceptable to black and white pictures. Innumerable copies may be made from the original film. The pictures may be taken on thirty- five mm. and reduced to sixteen mm. film. The film used is Vitacolor pan- chromatic and will shortly be sup- plied by all leading dealers. Vitacolor is controlled by the Max B. Du Pont Vitacolor Corporation of Los Angeles, a closed corporation of which Eugene Overton is president, C. M. Kellogg, Vice-President; Har- old S. Ryerson, treasurer and general manager; William R. James, secre- tary, and William De Mille, noted di- rector and scenarist, and Max B. Du Pont, directors. Prominent stockholders of the firm, which has established production headquarters, offices and test labora- tories in the old Lasky Realart Stu- dios, Los Angeles, are: Dr. Rae Smith, A. F. Kales, Alphonzo Bell, T. T. C. Gregory, A. D. Schindler, Albert Ruddock, Ralph W. Lewis, El- liot Church, Rufus P. Spalding, E. D. Lyman, Roy D. Chapin and Earle C. Anthony. STUNTS FOR YOUR PRO- JECTOR (Continued from page 800) Have you ever tried projecting at an angle to the screen? The results are unique. As the projector is •moved more and more to the side, the picture becomes narrower and characters in the film are made taller and slimmer until they become like walking bean poles. If, however, the projector is below the level of the screen and facing up toward it, the phenomenon is reversed and we see our friends as plump as rubber balls and hardly as tall as they are broad. The distance between the projector CARL ZEISS CINE LENSES For standard and 16 mm movie cameras. Zeiss Tessar f2.7 and f3.5 Tele-Tessar f6.3 Finders Filters Sun-shades CARL ZEISS, INC. 485 Fifth Ave., New York 728 So. Hill St., Los Angeles ^ 146 Columbus Aut,AT 66^ &. B'way NEW YORK CITY COMPLETE STOCK /, LUMB PHOTO SUPPLY BELL & HOWELL Filmo Cameras and Projectors including latest model 250 Watt equipped for Kodacolor EASTMAN KODAK Full line of 16 mm. cameras and projectors DE VRY Projectors and 35 mm. equipment VICTOR Three-speed camera <• PERSONAL ATTENTION We specialize in com- petent, technical, per- sonal attention to your movie requirements. Editing and title service for your special films. Private projection room on premises. Store open evenings until 9 P.M. Also Complete Assortment of Accessories and Lenses HIGHEST TRADE-IN ALLOWANCE on your 16 mm equipment toward Kodacolor outfits. SHOW-AT-HOME LIBRARY No security required in renting films from us once you purchase your outfit here. BARGAINS IN USED OUTFITS We always have plenty of bargains in all models of used outfits. Every projector bears an Iron Clad guarantee just as if you bought a new machine. State your wants. ^iiiiiiMr^^i^'lu^Mm^h DECEMBER 1928 H & K Film Inspection Glass A convenient and practical device for film editing. Smooth running rollers keep the 16 MM. film in proper position for convenient in- spection, and a Mazda lamp enables you more plainly to view the pictures. The magnifying feature of this accessory makes it easy to detect faults in the film, correct the order of pictures, and quickly determine where titles are to be inserted. Price $8.50 postpaid. Sold subject to ten days trial. HIRSCH & KAYE 239 Grant Avenue, San Francisco Where motion picture apparatus is sold in the West. TITLES // better titles can be made WE MAKE THEM Hand Lettered, Illuminated, Bor- dered, Illustrated and Trick-Effects A good title dresses your picture, tells your story and makes it professional in appearance. Artistic Animated "Presentation Leaders" and "The End" Trailers We supply the Producers and Theatres WHY NOT YOU? F. A. A. DAHME, Inc. 145 W. 45th ST., N. Y. CITY High grade training in Motion Picture and Still Photography. All branches fully covered. Learn at home, in spare time, under direction of an inter- national authority. Send at once for free book Opportunities in Modern Photography and full par- ticulars. AMERICAN SCHOOL OF PHOTOGRAPHY Dept. 1498, 3601 Michigan Ave. Chicago, U.S.A. THE GILLETTE Micro-Focusing Viewfinder is an ideal gift for it improves the Filmo Camera in these three ways lOx MAGNIFICATION OF IMAGE ACCURATE FOCUSING NO CHANGING OF FINDERS FOR TELEPHOTO LENSES It fits inside the finder tube. The price is $45 including fitting -i Gillette \ Camera / Stores/ Inc. and screen should be as great as pos- sible in order to allow sufficient depth of focus. Projecting through the blades of an electric fan is also worth trying. If, by varying the speeds of either or both, the two can be made to run "in phase," the action will appear very mechanical and people will walk like toy dolls on the screen. This experiment requires considerable pre- cision and may not work satisfac- torily without a bit of experimenting. All these things require moving the projector from place to place which may be facilitated by setting up your equipment on top of a tea wagon. It can then be wheeled all about the room with great ease. It is a well known fact that a transparent colored substance placed in the path of the projected image produces the same results as tinting the celluloid base of the film. Sev- eral devices employing sheets of divers colored gelatine are now on the market and are used extensively for producing tinted effects. There is a distinct difference be- tween "tinting" and "toning" a film. "Tinting" as generally understood, means dyeing the gelatine base of the film with an even color. The re- sultant screen image appears black plus that color. The same result is obtained artificially by the method just described. "Toning" a film generally signifies dyeing the image in such a manner that the metallic silver takes on a color and the gela- tine base of the film remains white. The resultant screen image is white plus the color of the toning. Toned effects may likewise be created arti- ficially, not by intercepting the pro- jected beam by a color filter but by projecting an independent beam of colored light on the screen. This illuminates the blacks in color but will not affect the whites. At first thought this might seem a contra- diction, but experiment will prove it to be the case. This is because the blacks of the projected image on the screen merely represent absence of light. So when the colored light falls on these unilluminated places, it is really falling on the white screen minus other illumination and the blacks therefore take on the color of the light. The white light of the projector is so powerful, however, that it "dilutes" the color until it is invisible on the whites of the image, unless the colored light be of very great intensity. This can be easily demonstrated by throwing a colored light on a white screen in daylight. The color will be nearly invisible unless the daylight is very dull or the projected light very strong. PHILADELPHIA NEWS REEL LABORATORY 1707 Sansom Street Exclusively 16mm Developing, Printing, Titling, Editing, Rush Service. Cameramen available for all occasions — Industrial and Medical Productions. PROMPT SERVICE BEST QUALITY OF PRINTS Now available from Chicago We specialize in the developing and printing of 16 mm. negative and use the late type positive contact HUTTON 16 mm. Printer. A trial will convince you on your own screen as to our quality. We ma\e prompt shipment of raw negative CHICAGO COMMERCIAL PHOTOGRAPHIC COMPANY 108 N. Dearborn St. Chicago, 111. AMATEUR FILMS Published by the Amateur Cinema- tographers' Association Price seven pence. Post Free 59 OLD BAILEY, LONDON EXCHANGE YOUR 16 MM. LIBRARY FILM Send any good usable film to us and receive an equally good or better one of approximately the same length in exchange. Include a list of all your pictures so you will not receive a duplicate. Indicate your preference: comedy, drama or edu' cational. Enclose ONE DOLLAR check or money order for each 100 ft. reel you send. HATTSTROM & SANDERS 702 Church St. Evanston, 111. SOUTHERN QUALITY Titles, Editing and Cinematography Exclusively 16 mm. PARAMOUNT CINE SERVICE P. O. Box 4618 206 Hildebrandt Bldg. Jacksonville, Florida CHRISTMAS SUGGESTIONS: LITTLE RED RIDING HOOD Beautifully acted — A treat for old and young 200 feet $14.00 Postpaid 'VESPOD'— The Vest Pocket Tripod Complete with tilt $5.00 Postpaid Write for our Specials to Club Members Everything needed by the Movie Maker AMATEUR MOVIE SERVICE 853 N. Eutaw St., Baltimore, Md. EDITING — TITLING 3SMM and 16MM Films and a Complete Laboratory Service H. DILLINGER ROOM 306 33 WEST 60th ST. NEW YORK CITY Telephone Columbus 9750 Stationery, Cards, Bookplates, 1 advertising, greeting cards etc. Easy rules furnished. Complete Outfits $8.86 up. Job Presses $11 up. Print for Others, Big Profits. Sold direct from factory only. Write for cataloprand all details. The Kelsey Company, W-48, Meriden, Conn. TITLES [VE.S — Complete editing and titling I yesterday I service. (16 mm. or stand- [ ard.) Cinematography. • W CLARK CINE-SERVICE I | 2540 Park Ave. CAdillac 5260 1 DETROIT, MICH. MOVIE MAKERS If an old stereopticon machine is available it is an excellent means of flooding the screen with light which may be colored by gelatine slides. Where two projectors are available, one may be run with the film. The other, running without film and pro- jecting merely a colored light, acts as a "toner," giving many beautiful color results. If neither a stereopticon machine nor a second projector are available, place an electric light bulb inside a box wherein a small hole has been bored. This acts as a small pro- jector and can be made to flood a light through the hole (which is cov- ered with a colored gelatine) onto the screen. A little experimenting along this line will reveal not only its simplicity but also its many pos- sibilities. Now let me go one step farther and suggest a tinted and toned effect combined. That is, the use of one color tint produced by a gelatine filter in the path of the projected image and of an independent color tone produced from an outside floodlight source. Obviously both colors must never be the same. Let it suffice to merely make men- tion of these color experiments. Your own experiences with them will con- vince you of the limitless range of combinations which may be obtained. Finally, for the ingenious amateur who likes to experiment with weird effects, if a small mirror is placed directly in front of the projector at an angle of 45 degrees to the pro- jection axis, the beam will be bent 90 degrees from the normal and will travel straight up. Another mirror directly above the first and parallel to it will bend the light rays back to their original direction. Now if a glass dish is inserted between the two mirrors as in the accompanying dia- gram, the image must travel through the glass bottom of the dish. Next place a small amount of water in the dish and allow drops of various col- ored oil paint, well thinned with turpentine, to slowly spread over its surface. Care should be taken to avoid ripples on the surface of the liquid as each undulation produces a distortion of the image. Very little skill is required to produce by this method some weird color behaviors, as the pigments of the oil paints blend themselves into a myriad of hues. These are but a very few of the suggestions which could be made. No doubt you have some others in mind, yourself. Try them out and become really acquainted with your projec- tor. You will find it is well worth knowing. And now. the new . . BEADED SILVER MINUSA DE LUXE AUTOMATIC SCREEN The last word in "Home Movie" projection surfaces Merely raise the top — and the automatic side arms snap into place, holding the screen taut — always. And the lowering is just as simple. There's no inserting of side arms; no straightening of side arms; no adjusting of tension at the sides — it's all automatic. Made in a beautifully polished walnut finish that harmonizes with the best of appointed furnishings, and furnished in four popular sizes in either the "profes- sional type" silver or beaded surface. MINUSA CINE SCREEN COMPANY BOMONT AT MORGAN SAINT LOUIS For seventeen years — the world's largest producers of Motion Picture Screens. M ssSSsa MAtWC* FULL THEATRE-LENGTH J REEL FEATURES Ready for OUTRIGHT SALE to private and RENTAL LIBRARIES Perfect reduction prints from finest quality professional producers' standard negatives Dealers may stimulate their 16% trade wonderfully and SEND FOR DESCRIPTIVE LISTS AND PRICES HOLLYWOOD MOVIt SUPPLY CO.... 6C58 SUNSET BLVD. HOLLYWOOD, CALIFORNIA CAMERAS* PROJECTORS IN THE WEST I mi $£?$?? I DECOIBER 192S LET MOVIE MAKERS' DEALERS WISH YOU A MERRY CHRISTMAS —VISIT THESE STORES i.: .d m l&Z'SZf CALIFORNIA Berkeley: Berkeley Commercial Photo Co., 2515 Bancroft Way. Fresno: Potter Drug Co., 1112 Fulton St. Hollywood: Fowler Studios, 1108 N. Lillian Way * Hollywood Movie Supply Co., 6058 Sunset Blvd. Hollywood Music Co., Camera Dept., 6019 Holly- wood Blvd. Long Beach: Winstead Bros., Inc., 244 Pine St. Los Angeles: Eastman Kodak Stores, Inc., 643 S. Hill St. Roland J. Giroux, 223 W. Third St. John R. Gordon, 1129 S. Mariposa Ave. T. Iwata Art Store, 256 E. First St. Leavitt Cine Picture Co., 3150 Wilshire Blvd. Earl V. Lewis Co., 226 W. 4th St. Marshutz Optical Co., 518 W. 6th St. B. B. Nichols, 731 S. Hope St. Schwabacher-Frey Stationery Co., 734 S. Bdwy. X-Ray Supply Corp., 3287 Wilshire Blvd. Oakland: Davies, 380-14th St. Pasadena: Flag Studio, 59 E. Colorado St. F. W. Reed Co., 176 E. Colorado St. Pomona: Frashers, Inc., 158 E. Second St. Riverside: F. W. Twogood, 700 Main St. San Diego: Bunnell Photo Shop, 414 E St. Harold E. Lutes, 958 Fifth Ave. San Francisco: Eastman Kodak Stores, Inc., 545 Market St. * Hirsch 6? Kaye, 239 Grant Ave. Kahn fj> Co., 54 Geary St. Leavitt Cine Picture Co., 564 Market St. San Francisco Camera Exchange, 88 Third St. Schwabacher-Frey Stationery Co., 735 Market St. Trainer-Parsons Optical Co., 228 Post St. San .lose: Webb's Photo Supply Store, 94 S. First St. Santa Ana: Forman-Gilbert Pictures Co., 1428 W. Fifth St. Santa Barbara: J. Walter Collinge, 8 E. Carillo. Santa Monica: Bertholf Photo Finishing, 1456 Third St. Whirricr: Maxwell C. Peel. 226 E. Philadelphia Yosemite National Park: Best's Studio. COLORADO Denver; Eastman Kodak Stores, Inc., 626-16 St. Ford Optical Co., 1029-16 St. Haanstad's Camera Shop, 404-16 St. CONNECTICUT Bridgeport: Frit? & Hawley, Inc., 1030 Main St. Harvey & Lewis Co., 1148 Main St. Greenwich: Gayle A. Foster, 9 Perryridge Rd. Mead Stationery Co., 249 Greenwich Ave. Hartford: H. F. Dunn Motion Picture Co., 57 Farm- ington Ave. Harvey & Lewis Co., 852 Main St. Watkins Bros., Inc., 241 Asylum St. New Britain: Harvey & Lewis Co., 79 W. Main St. New Haven: Fritz & Hawley, Inc., 816 Chapel St. Harvey &? Lewis Co., 849 Chapel St. Reed Film Corp., 126 Meadow St. Stamford: Thamer, Inc., 87 Atlantic St. Waterbury: Curtis Art Co., 25-29 W. Main St. DELAWARE Wilmington: Butler's, Inc., 415 Market St. Frost Bros., DuPont Bldg. DISTRICT OF COLUMBIA Washington: Cinema Supply Co., Inc., 804 Eleventh St. Columbia Photo Supply Co., Inc., 1424 New York Ave., N.W. Eastman Kodak Stores, Inc., 607-14th St., N.W. Fuller 6? d'Albert, Inc., 815-10th St., N. W. FLORIDA Jacksonville: H. 6? W. B. Drew Co. * Paramount Cine Service, 206 Hildebrandt Bldg. Lake Wales: Morse's Photo Service, Rhodesbilt Arcade. Miami: Miami Photo Supply Co., 36 W. Flagler Street. Red Cross Pharmacy, 51 E. Flagler St. St. Petersburg: Robison's Camera Shop, 115-3rd St., N. Tampa: Tampa Photo &? Art Supply Co., 709-11 Twiggs St. GEORGIA Atlanta: Eastman Kodak Stores, Inc., 183 Peachtree St. Visualizit, Inc., 21 Peachtree Arcade. Rome: Macon A. Brock, 231 Broad St. IDAHO Boise: Ballou-Latimer Co., Idaho at 9th Sts. ILLINOIS 'Chicago: Bass Camera Co., 179 W. Madison St. Camera Exchange, 26 Quincy St. Aimer Coe if CJo., 78 E. Jackson Blvd. Aimer Coe &r Co.. 18 S. LaSalle St. Aimer Coe & Co., 105 N. Wabash Ave. Central Camera Co., 112 S. Wabash Ave. hastinaii Kudak Stores Co., 133 N. Wabash Ave. Fair, The, Dept. 93, State, Adams & Dearborn Sts. * Fischer's Camera Service, Rm. 202, 154 E. Erie St. Ideal Pictures Corp., 26 E. 8th St. W. W. Kimball Co., 306 S. Wabash Ave. Leonard Lynn Co., 302 S. Wells St. Lvon fy Healy, Jackson Blvd. ty Wabash Ave. Post Office News Co.. 37 W. Monroe St. beamans. Photo Finisher, 7052 Jeffery Ave. Stanley-Warren Co., 908 Irving Park Blvd. Von Lengerke &r Antoine, 3 3 S. Wabash Ave. Watry & Heidkamp, 17 W. Randolph St. Decatur: Haines & Essick Co., 121-128 E. William St. Evanston: Aimer Coe (i Co., 1645 Orrington Ave. * Hattstrom cjf Sanders, 702 Church St. Freeport: Hartman's Camera Shop, 17 S. Chicago Ave. Galesburg: Illinois Camera Shop, 84 S. Prairie St. Rockford: Johnson Photo Shop, 316 E. State St. Springfield: Camera Shop, 320 S. 5th St. Sterling: Ray Hart, 8-10 E. 4th St. INDIANA Anderson: Reed Drug Co., 37 W. 11th St. Evansville: Smith &f Butterfield Co., 310 Main St. Fort Wayne: Biechler-Howard Co., 112 W. Wayne St. Rogers Optical Co., 824 Calhoun St. Frankfort: Pathex Agency, 206 E. Walnut St. Indianapolis: L. S. Ayres & Co., Camera Dept., 1 W. Washington St. H. Lieber Co., 24 W. Washington St. South Bend: Ault Camera Shop, 122 S. Main St. Ault Camera Shop, 309 S. Michigan St. IOWA Cedar Rapids: Camera Shop, 220 Third Ave. Davenport: Eastman Kodak Stores, Inc., 318 Brady St. Des Moines: Eastman Kodak Stores, Inc., 808 Locust St. Grinnell: Child Art Rooms, Cine Dept. Iowa City: Rexall &? Kodak Store, 124 E. College St. Sioux City: Eastman Kodak Stores, Inc., 608 Pierce St. KANSAS Topeka: Hall Stationery Co., 623 Kansas Ave. KENTUCKY Louisville: W. D. Gatchel &?Sons, 431 W. Walnut Street. Sutcliffe Co., 225-227 S. 4th Ave. LOUISIANA Baton Route: Ewing, Inc., P. O. Box 905. New Orleans: Eastman Kodak Stores, Inc., 213 Baronne St. Shreveport: Southern Cine Co., Inc., 310 Milam St. MAINE Bangor: Francis A. Frawley, 104 Main St. MARYLAND *Baltimore: Amateur Movie Service, 853 N. Eutaw St. Eastman Kodak Stores, Inc., 223 Park Ave. MASSACHUSETTS Boston: Eastman Kodak Stores, Inc., 38 Bromfield St. Ralph Harris 6? Co., 30 Bromfield St. Ivgr Johnson Sporting Goods Co., 155 Washing- ton St. <-* Jordan Marsh Co. Andrew J. Lloyd Co., 300 Washington St. Montgomery-Frost Co., 40 Bromfield St. Pathescope Co. of the N. E., Inc., 260 Tremont St. Pinkham &? Smith Co., 15 Bromfield St. Solatia M. Taylor Co., 56 Bromfield St. Braintree: Alves Photo Shop, Washington St. Brockton: Raymond C. Lake, 218 Main St. Lowell: Donaldson's, 77 Merrimack St. New Bedford: J. Arnold Wright, 7 S. 6th St. Pittsfield: E. J. Curtis, 397 North St. Salem: Robb Motion Picture Service. 214^4 Essex St. Springfield: J. E. Cheney 6? Staff, Inc., 301 Bridge St. Harvey 6? Lewis Co., 1503 Main St. Worcester: J. C. Freeman & Co., 376 Main St. L. B. Wheaton, 368 Main St. MICHIGAN Ann Arbor: University Music House, 601-5 E. William St. Bay City: Bay City Hdw. Co., Sporting Goods Dept., 1009-15 Saginaw St. •Detroit: Clark Cine-Service, 2540 Park Ave. Detroit Camera Shop, 424 Grand River, W. Eastman Kodak Stores, Inc., 1235 Washington Blvd. Fowler 6? Slater Co., 156 Larned St. J. L. Hudson Co., Dept. 290. Metropolitan Motion Picture Co., 2310 Cass Ave. E. B. Meyrowitz, Inc., 1516 Washington Blvd. United Camera Stores, Inc., 14611 Jefferson Ave., E. Grand Rapids: Camera Shop, Inc., 16 Monroe Ave., N. W. Jackson: Royal Film Service, 178 Michigan Av. W. Lansing: Linn Camera Shop, 109 S. Washington Ave. Vans Cine Service, 201 American State Bank Bldg. Muskegon: Beckquist Photo Supply House, 885 First St. Radium Photo Service, 320 W. Western Ave. Saginaw: Hesse's, Genesee at Jefferson MINNESOTA Duluth: Zimmerman Bros., 330 W. Superior St. Minneapolis: Eastman Kodak Stores, Inc., 112 S. Fifth St. E. B. Meyrowitz, Inc., 825 Nicollet Ave. Sly Fox Films, 49 S. 9th St. Oak Island: Oak Island Shop. Owatonna: B. W. Johnson Gift Shop, 115 W. Bridge St. St. Paul: Co-operative Photo Supply Co., 381-3 Minnesota St. E. B. Mevrowitz. Inc., 358 St. Peter St. * Ray-Bell Films, Inc., 817 University Ave. St. Marie Cigar 6? News Co., 96 E. 5th St. Zimmerman Bros., 320 Minnesota St. Winona: Van Vranken Studio, 57 W. Fourth St. MISSOURI Kansas City: Z. T. Briggs Photographic Supply Co., 916 Grand Ave. Z. T. Briggs Photographic Supply Co., 1006 Main St. Z. T. Briggs Photographic Supply Co., 21 E. 11th St. Hanley Photo & Radio Shop, 116 E. 10th St. St. Louis: A. S. Aloe Co., 513 Olive St. Bennett 6? Dailey Enterprises, 1502 N. Union Blvd. Erker Bros., 707 Olive St. Geo. D. Fisher & Co., 915 Locust St. Hyatt's Supply Co., 417 N. Broadway. M. F. Rudi Drug Co., 15 at Cass Ave. Springfield: Hurlburt Supply Co., 315 St. Louis St. NEBRASKA Hastings: Carl R. Matthiesen & Co., 713 W. 2nd St. Omaha: Eastman Kodak Stores, Inc., 419 S. 16 St. NEW JERSEY Atlantic City: Eastman Kodak Stores, Inc., 1735-37 Boardwalk. Camden: Parrish &? Read, Inc., 308 Market St. Newark: Anspach Bros., 838 Broad St. L. Bamberger & Co. Fireman's Drug Store, Market and Broad. Schaeffer Co., 103 Halsey St. Plainfield: Mortimer's, 317 Park Ave. Trenton: Barlow's — Music, 130-132 E. State St. NEW YORK Albany: E. S. Baldwin, 32 Maiden Lane. F. E. Colwell Co., 465 Broadway Binghamton: A. S. Bump Co., 180 Washington St. Brooklyn: Geo. J. McFadden, Inc., 202 Flatbush Ave. Buffalo: J. F. Adams, Inc., 459 Washington St. Buffalo Photo Material Co., 41 Niagara St. *Indicates dealers whose services are more fully described in our advertising columns 105 WEST 40th ST. JVlOVlJb JMAlvJblVO, NEW YORK CITY $3.00 a Year (Canada $3.25, Foreign $3.50) 25 Cents a Copy (Foreign 30 Cents) 1926 ■•>.\\\ >\v\v\ MOVIE !M/%K.EK«» United Projector ft Film Corp., 228 Franklin St. Whinihan Bros, ft Co., Inc., 746 Elmwood Ave. Corning: Ecker Drug Store, 47 E. Market St. Haverstraw: E. H. Vandenburgh, 3 Broadway. Ithaca: Henry R. Head, 109 N. Aurora St. \V. R. Tompkins, 140 E. State St. New York City: Abercrombie ft Fitch, .45th ft Madison Ave. American News and its Subsidiaries, 131 Varick St. I. H. Boozer, 173 E. 60th St. Brentano's, 1 W. 47th St. City Camera Co., 110 W. 42nd St. * Abe Cohen's Exchange, 113 Park Row. * Columbus Photo Supply, 146 Columbus Ave. * Cullen, 12 Maiden Lane. Davega, Inc., 1 1 1 E. 42nd St. Davega, Inc., 152 W. 42nd St. Devoe ft Raynolds Co., Inc., 34 E. 42nd St. * Eastman Kodak Stores, Inc., Madison Ave. at 45th St. Eastman Kodak Stores, Inc., 23 5 W. 23rd St. H. ft D. Folsom Arms Co., 314 Broadway Gall ft Lembke, Inc., 7 E. 48th St. Frank Garfinkel, 141 Avenue A * Gillette Camera Stores, Inc., 117 Park Ave. Gillette Camera Stores, Inc., 16 Maiden Lane Gloeckner 6? Newby Co., 9 Church St. * Herbert ft Huesgen Co., 18 E. 42nd St. Lowe ft Farley, News Stand, Times Bldg. Lugene, Inc., 600 Madison Ave. Medo Photo Supply Corp., 323-325 W. 37th St. Meta Photo Supply Co., 122 Cedar St. E. B. Meyrowitz, Inc., 520 Fifth Ave. Mogull Bros., 2025 Boston Rd. George Murphy, Inc., 57 E. 9th St. * New York Camera Exchange, 109 Fulton St. Pickup ft Brown, 41 E. 41st St. Rab Sons, 987 Sixth Ave. C. F. Ray, 296 Fifth Ave. Schoenig 6? Co., Inc., 8 E. 42nd St. * Stumpp ft Walter Co., 30 Barclay St. H. F. Waterman, 63 Park Row. * Willoughby Camera Stores, Inc., 110 W. 32 St. Olean: Don Seele Studio, 150 N. Union St. Rochester: Marks ft Fuller Co., 36 East Ave. Sibley, Lindsay ft Curr Co., Camera Dept. Stamford-in-the-Catskills: E. S. Burtis. Svracuse: Clark Music Co.. 416-20 So. Salina St. Geo. F. Lindemer, 443 S. Salina St. Utica: Edwin A. Harm, 111 Columbia St. Watertown: Edson E. Robinson, Inc., 111-113 Washington St. OHIO Akron: Dutt Drug Co., 7 E. Exchange St. Pockrandt Photo Supply Co., 16 N. Howard St. Canton: Ralph W. Young, 139 S. Cleveland Ave. Cincinnati: Ferd Wagner Co., 113 E. 5th St. Huber Art Co., 124-7th St., W. John L. Hnber Camera Shop. 144 E. 4th St. Movie Makers, Inc., 110 W. 8th St. L.'M. Prince Co., 108 W. 4th St. Cleveland: Dodd Co., 652 Huron Rd. Eastman Kodak Stores, Inc., 1126 Euclid Ave. Escar Motion Picture Service, Inc., 10008 Car- negie Ave. Fowler ft Slater Co., 806 Huron Rd. Fowler ft Slater Co., 347 Euclid Ave. Fowler ft Slater Co., 1915 E. 9th St. Home Movies Co., 1501-7 Superior Ave. Solomonson Optical Co., 73 5 Euclid Ave. * Stone Film Laboratory, 8807 Hough Ave. Columbus: Capitol Camera Co., 7 E. Gay St. Columbus Photo Supply, 62 E. Gay St. Dayton: Davton Camera Shop. 1 Third St., Arcade Norwood: Home Movie Service Co., 2128 Cathe- dral Ave. Toledo: Franklin Print, ft Eng. Co., 226-36 Huron St. Gross Photo Supply Co., 325 Superior St. Lawrence's, 1604 Sylvania Ave. Leo MacDonough. 1103 Detroit Ave. Youngstown: Fowler ft Slater Co., 7 Wick Ave. OKLAHOMA Oklahoma City: Roach Drug Co., 110 W. Main St. Tulsa: Camera Shoppe, 51954 Main St., S. Alvin C. Krupnick, 9 E. 6th St. OREGON Pendleton: Floyd A. Dennis. Portland: Eastman Kodak Stores, Inc., 345 Wash- ington St. J. K. Gill Co., 5th ft Stark Sts. Lipman Wolfe ft Co., Kodak Dept., Fifth, Wash- ington ft Adler Sts. PENNSYLVANIA Erie: Kelly ft Green, 116 W. 11th St. Harrisburg: Maxwell H. Hite ft Son, 422 S. 13th St. James Lett Co., 225 N. 2nd St. Phila. Amateur Movie Corp., 132 S. 15th St. Eastman Kodak Stores, Inc., 1020 Chestnut St. Jos. C. Ferguson, Jr., 1804 Chestnut St. Strawbridge ft Clothier, Market, Eighth ft Fil- bert Sts. John Wanamaker, Dept. 56. * Williams, Brown ft Earle, Inc., 918 Chestnut St. Mt. Carmel: Stecker's Book Store, 20 N. Oak St. Pittsburgh: Eastman Kodak Stores, Inc., 606 Wood St. B. K. Elliott ft Co., 126-6th St. Joseph Home Co., Magazine Dept. Kaufmann's Dept. Store., Dept. 62 Fifth Ave. Root's Kamera Exchange, 11 Fifth Ave. Arcade. Reading: Alexander Kagen, 641 Penn St. Wilkes-Barre: Ralph E. DeWitt, 60 W. Market St. Zwiebel-Stenger Sales Co., 203 S. Main St. RHODE ISLAND Newport: Rugen Typewriter ft Kodak Shop, 295-7 Thames St. Providence: E. P. Anthony, Inc., 178 Angell St. Chas. S. Bush Co., 244-246 Weybosset St. Starkweather ft Williams, Inc., 47 Exchange PI. TENNESSEE Chattanooga: Englerth Photo Supply Co., 722 Cherry St. Memphis: Memphis Photo Supply Co., Hotel Pea- body, 86 S. 2nd St. Nashville: G. C. Dury ft Co., 420 Union St. TEXAS Beaumont: Thames Magnolia Store, 2599 Mag- nolia St. El Paso: Schuhmann Photo Shop, P. O. Box 861. Ft. Worth: Chas. G. Lord Optical Co., 704 Main St. Houston: Miller Studio, 1321 Capitol Ave. Star Elec. ft Eng. Co., Inc., 613 Fannin St. San Antonio: Fox Co., 209 Alamo Plaza. E. Hertzberg Jewelry Co., Houston at St. Mary's Sts. UTAH Salt Lake City: Salt Lake Photo Supply Co., 271 Main St. Shiplers, 144 S. Main St. VERMONT Burlington: Robert T. Platka, 231 S. Prospect St. Rutland: Geo. E. Chalmers Co., Inc. VIRGINIA Norfolk: S. Galeski Optical Co., 209 Granby St. G. L. Hall Optical Co., 257 Granby St. Richmond: G. L. Hall Optical Co., 418 E. Grace St. WASHINGTON Seattle: Anderson Supply Co., Ill Cherry St. Eastman Kodak Stores, Inc., 1415-4th Ave. Lowman ft Hanford Co., 1514 — 3rd Ave. Motion Picture Service, 903 Lloyd Bldg., Sixth Ave. and Stewart St. Spokane: Joyner Drug Co., Howard ft Riverside Ave. Tacoma: Shaw Supply Co., Inc. E. W. Stewart ft Co., 939 Commerce St. Yakima: Bradbury Co., 19. S. Second St. WEST VIRGINIA Wheeling: Twelfth St. Garage, 81- 12th St. WISCONSIN Eau Claire: Davis Photo Art Co. Fond du Lac: Huber Bros., 36 S. Main St. Green Bay: Bethe Photo Service, 125 Main St. LaCrosse: Moen Photo Service, 313 Main St. Madison: Photoart House, 212 State St. Milwaukee: Boston Store, Wisconsin Ave. ft 4th St. H. W. Brown ft Co., 87 Wisconsin St. Eastman Kodak Stores, Inc., 427 Milwaukee St. Gimbel Bros., Kodak Dept., Wisconsin Ave. ft W. Water St. Photoart House of Milwaukee, 220 Wells St. Waukesha: Warren S. O'Brien Commercial Studio, 3 53 W. Broadway. FOREIGN AUSTRALIA T^ew South Wales Sydney: Harringtons, Ltd., 386 George St. Kodak (Australasia) Pty. Ltd., 379 George St. l^ew Zealand Wellington: Kodak (Australasia) Pty. Ltd., Box 1474, G.P.O. Queensland Brisbane: Kodak (Australasia) Pty. Ltd., 250 Queen St. South Australia Adelaide: Kodak (Australasia) Pty. Ltd., 37 Rundle St. Tasmania Hobart: Kodak (Australasia) Pty. Ltd., 45 Eliza- beth St. Victoria Melbourne: Charles W. Donne, 349-51 Post Office Place. Harringtons, Ltd., 266 Collins St. Kodak (Australasia) Pty., Ltd., 284 Collins St. Kodak (Australasia) Pty., Ltd., 161 Swanston St. Technical Journals Pty., Ltd., Temple Court, 422 Little Collins St. Western Australia Perth: Kodak (Australasia) Pty. Ltd., Hay St. Manitoba Winnipeg: Eastman Kodak Stores, Ltd., 472 Main St. Ontario Ottawa: Photographic Stores, Ltd., 65 Sparks St. Toronto: Eastman Kodak Stores, Ltd., 66 King St. T. Eaton Co., Dept. V.-6, 190 Yonge St. Film ft Slide Co. of Can., 156 King St., W. Lockhart's Camera Exchange, 384 Bay St. Quebec Montreal: Film ft Slide Co. of Can., Ltd., 104 Drummond Bldg. Gladwish ft Mitchell, 147 Peel St. (Fargate). Co., P. O CANADA Alberta Calgary: Boston Hat Works, 109 Eighth Ave. British Columbia Vancouver: Eastman Kodak Stores, Ltd., 610 Gran- ville St. Film ft Slide Co. of Can., Ltd., 319 Credit Fonder Bldg. CHINA Shanghai: Chiyo-Yoko, P 470, Nanking Rd. DENMARK Copenhagen V: Kodak Aktieselskab, Vodroffsvej 26. DUTCH EAST INDIES Java: Kodak, Ltd., Noordwijk 38, Weltevreden ENGLAND Harrogate: A. R. Baines, 39 James St. London, S. W. I.: Westminster Photographic Ex- change, Ltd., 119, Victoria St. London, W. C. 2: Sands, Hunter ft Co., Ltd., 37 Bedford St., Strand. London, W.I.: Bell ft Howell Co., Ltd., 320 Re- gent St. J. H. Dallmeyer, Ltd., 31 Mortimer St., Ox- ford St. Wallace Heaton, Ltd., 119 New Bond St. Wallace Heaton, Ltd., 47 Berkeley St., Piccaddillv. Westminster Photographic Exchange, Ltd., 62, Piccadilly. Westminster Photographic Exchange, Ltd., Ill, Oxford St. Sheffield: Wm. Mcintosh (Sheffield) Ltd., Change Alley. Sheffield Photo Co., 6 Norfolk Row HAWAII Honolulu: Honolulu Photo Supply Box 2999 HOLLAND Amsterdam: Capi, 115 Kalverstraat. Foto Shaap ft Co., Spui 8. Den Haag: Capi, 124 Noordeinde Fotohandel Ter Meer Derval, Fred. Hendriklaan. 196. Groningen: Capi, 3 Kleine Pelsterstraat Nijmegen: Capi, 13-17 Van Berchenstraat Capi, Broerstraat 48. Rotterdam: Bollemeijer ft Brans, Korte Hoogstraat 25. HUNGARY Budapest, IV: Pejtsik Karoly, Varoshaz U-4. INDIA Bombay: Hamilton Studios, Ltd., Hamilton House, Graham Rd., Ballard Estate Calcutta: Army ft Navy Coop. Soc, Ltd., 41 Chowringhee St. ITALY Milan 29: Kodak Societa Anonima, Via Vittor Pisani 6. JAPAN Kobe: Honjo ft Co., 204-5 Motomachi 6-Chome Kyoto: J. Osawa ft Co., Ltd., Sanjo Kobashi. Osaka: Fukada ft Co., 218 Dojima Bldg. T. Uyeda, No. 4 Junkeimachi Shinsaibashi-suji, Minami-ku. Tokyo: Home Movies Library, 515 Marunouchi Bldg. MEXICO Mexico City: American Photo Supply Co., S. A., Avenida F. I., Madero, 40. Kodak Mexicana, Ltd., Independencia 37. Pathe Baby-Agency for Mexican Republic; Latapi Y'Bert, Av. 16 de Septiembro 70, El Globo. Puebla: Casa "Hertes", Av. Reforma 109 NORWAY Oslo: J. L. Nerlien A/S, Nedre Slotsgate 13 University Book Shop PHILIPPINE ISLANDS Manila: Denniston, Inc., P. O. Box 255 REPUBLIC OF PANAMA Ancon: Specialty Shop, Box B. Panama City: Lewis Photo Service, 1 Fourth of July Ave. SCOTLAND Edinburgh: J. Lizars, 6 Shandwick PI. Glasgow: Robert Ballantine, 10il/l St. Vincent St.. Nr. Renfield St. J. Lizars, 101 Buchanan St. SIAM Bangkok: Prom Photo Studio, New Rd., Cor. Char- tered Bank Lane. SPAIN Barcelona: James Casals, 82, Viladomat St. Madrid: Kodak Sociedad Anonima, Puerta del Sol 4. STRAITS SETTLEMENTS Singapore: Y. Ebata ft Co., 33 Coleman St. SUMATRA Medan: Y. Ebatat ft Co., 69 Kesawan. SWEDEN Stockholm: A. B. Nordiska Kompaniet, Photographic Dept. SWITZERLAND Lausanne: Kodak Societe Anonyme, Av. Jean- Jacques Mercier. Winterthur: Alb. Hoster, Marktgasse 57 Zurich: Zulauf (Vorm, Kienast ft Co.), Bahn- hofstr,^61. |i||; ^7 M 1926 » DECEMBER 1928 MOVIE MAKERS INDEX VOLUME III-1928 SPECIFIC ARTICLES Page ANIMATION: Animated Movie Making for Amateurs 28 Animated Cartooning (Move 'Em Pitchers) . . . 224 Hans Anderson in Modern Dress 505 One Man Movie Troupes 446 ANIMAL FILMING, WILD: Filming the Fleet Footed Antelope 297 Natural History Natural, Making 330 Shooting With a Shutter 98 CAMERA WORK: Brains Make the Movie 23 3 Child and the Cinema, The 15 3 Cinematic Sins, My 240 City Cinematics 501 Close-ups, Nothing But 648 Drama At Your Doorsteps, The 232 Focus Critically, Do You 714 Mirror Movies . 95 Nature Is Your Star, When 158 News Reeling 444 Photographically Speaking 507 Primer, A Movie Maker's 238 Shoot Now, What'll We 776 South Sea Cinematics 635 Synthetic Cinema 18 CINEMATICS: Close-ups, Nothing But 648 COLOR FILMING: Color Comes to the Amateur 569 Coloring Film With Brushes 466 Color Photography 709 Rainbow, The End of the 15 Tinting Motion Picture Film 314 Toning Your Film 646 Vitacolor Movies 771 COMPOSITION: Cinematic Composition 82 Cinematic Composition (Part 2) 161 Cinematic Composition, Simplified Guide To. 711 Cinematic Design 450 Value of Values , The 13 Compactness, An Amateur Achieves 720 Depth of Focus 524 Developing and Printing Outfit 5 31 Developing and Printing, Home 576 Diaphragm Stops (Movie Maker's Primer) 238 Dissolves (Professional Tricks with Amateur Cameras) 248 EDITING: Aids In Editing and Titling 180 Aids In Edition 656 Art In Editing 176 Editing Desk for Amateurs 443 Make Them Intriguing 309 EFFECT FILTERS: Ironing Out the Jerks 379 EXPOSURE: Photographically Speaking 507 Primer, Movie Maker's 238 Value of Values, The 13 FADES: Professional Tricks With Amateur Cameras.. 248 FILMS, CARE OF: Films, Caring for Your 786 Film Storage, A Solution of 122 FILTERS: Color Filters, Concerning 637 Filtered Beauty of Hawaiian Skies 27 Ironing Out the Jerks 379 Panchromatic, The What, Why and How of. . 583 Shooting With a Shutter 98 South Sea Cinematics 63 8 Flares, Filming With 699 FOCUSING: Close-up Work for Advanced Amateurs 39 Depth of Focus 5 24 Shooting With a Shutter 98 Glossary of Movie Terms (A to L) 660 Glossary of Movie Terms (M to Z) 726 Hollywood Does It, How 587 INTENSIFICATION: Saving the Image 229 KODACOLOR: Color Comes to the Amateur 5 69 Color Photography 709 LABORATORY WORK: Home Developing and Printing 576 Saving the Image 229 Tinting Motion Picture Film 314 Toning Your Film 646 Tropics, Out of the 531 LIBRARY FILMS: Movie Summer, Will Yours Be A 402 Block Booking for Home Films 42 Program Building, Home 593 LIGHTING: Flares, Filming With 699 Harnessing the Sun (Exterior) 512 Housing the Home Hollywood 204 Incandescent Light, A Home Made 546 Lighting Fundamentals 580 Makeup, The Truth About 172 832 MICROSCOPIC FILMING: Fleas, Ants and Flies, Featuring 23 Microscopic Movies 510 News Reeling 444 NIGHT FILMING: Flares, Filming With 699 PANCHROMATIC: Color Filters, Concerning 637 Panchromatic, The What, Why and How of. . 583 South Sea Cinematics 638 PHOTOPLAY PRODUCTION: Amateur Club Department, Pages 32, 100, 164, 244, 310, 390, 456, 518, 578, 652, 716 and 780 Pre-Historic Ages, Filming 328 (See Scenarios) PROJECTION: Folding Screen, How to Make a 724 Home Cellar Movies De Luxe 171 Screen Surfaces 324 Screen Surface Characteristics 400 Stunts for Your Projector 800 REDUCTION: Saving the Image 229 REFLECTORS: Harnessing the Sun 512 SCENARIOS: Cats Is Cats 106 Doubling In Wyoming 170 Golf Ball Cupid, The 639 Johnny's Snowman 105 Scenarios, How to Write 243 Travelogues, Animating Your 453 SCENIC FILMING: Artist Who Uses a Camera, The 168 SHORT SUBJECT FILMING: Dramas At Your Doorstep, The. 232 Life of the Party 316 Sound Pictures, Home Made 792 STILL PICTURES: Enlargements from Movies, Still 640 Stills for Movie Makers 509 STUDIO, HOW TO BUILD A: Housing the Home Hollywood 159 TALKIES: Home Movies Talk, Making Your Own 378 Talkies, Sizing Up the 575 TELEPHOTO WORK: Shooting With a Shutter 98 THEATRE, HOME: Home Cellar Movies De Luxe 171 Home Shows, Helpful Hints for 381 TINTING: Coloring Film With Brushes 466 TITLE WORK: Aids In Editing and Tilling 180 Art Titles, Making Your Own (Part 1) 21 Art Titles, Making Your Own (Part 2) 91 Art Titles, Making Your Own (Part 3) 156 Art Titles. Making Your Own (Part 4) 227 Make Them Intriguing 309 Titled Folks (Humor) 704 Toning Your Film 646 TRAVEL FILMING: Cinematic Sins, My (Filming in England)... 240 Filming the Magic Pacific Isle (Catal.na) . . . . 230 Galapagos Notes from a Cine Diary 79 Jewels of the Caribbean 221 Olympus, 1928 (Holland) 388 Travel Cinematically, How to 37 Travelogues, Animating Your 452 Weather By Projection (Switzerland) 375 TRICK CINEMATOGRAPHY: One Man Movie Troupes 446 Professional Tricks With Amateur Cameras. . 248 WHAT TO FILM: Life of the Party, The 316 GENERAL ARTICLES Actor, How to Be An 320 Amateur, The Advancing 77 5 Anniversary, This Second 773 Badinage to Worse, From 5 16 BIOGRAPHY: Artist Who Uses a Camera (Robert C. Bruce) 168 Bray, J. R 384 Chapin, Roy D 708 Cook, Willard B 449 Dessez, Elizabeth Richey 661 De Vry, Herman A 104 Dooley, C. R ' 643 Eastman, George 769 Hanmer, Lee A 783 Hebert, A. A 581 Maxim, Hiram Percy 396 Voorhees, Stephen F 529 Camera Courtesies 321 Charity's Sweet Sake, For 712 Cinefilmescope, The Idyl of a 401 Civic Cinema, The 254 Clubs, March of the 774 Dramatic Accent, Introducing the 788 EDUCATIONAL: Education, A Climactic Development in 380 Films in the Forum 3 38 Natural History Natural, Making 330 Photography and Education 261 Pictures As Professors 86 Pre-Historic Ages, Filming 328 Reviewing the Past (Metropolitan Museum Film) ■ 258 Say It With Pearls (Dental Hygiene) 182 School Costs With Talkies, Cutting 784 University Film Foundation, The New 3 34 Erstwhile Sally 96 FICTION: Cats Is Cats 106 Lens, The Old 386 On Friendship's Altar 137 Film-Flam (Humor), 26, 94, 166, 228, 508, 573, 642 and 782 INDUSTRIAL: Silver Craftsmen on the Silver Screen 16 Little Film Theatre, The Story of the First 441 MEDICINE, FILMS IN: The Cinema in Neuropsychiatry 728 MICROSCOPIC FILMING: Featuring Fleas, Ants and Flies 23 Music for Amateur Films, A Common Sense View of 188 Nature Is Your Star, When 158 News Reel, The Amateur 454 Photoplay Magazine Contest (The First Sym- posium) 383 Road Show, The First Amateur 303 SPORTS: Cinders, Surf and Celluloid 313 PHOTOPLAYFARE Adventures in Pygmy Land 307 Berlin 460 Crowd, The 237 Czar Ivan the Terrible 235 Dancing Daughters 822 Drums of Love 236 Four Walls 702 Helen of Troy 89 Last Command, The 236 Lights of New York 522 Man Who Laughs, The 393 Moana 702 Mother Machree 306 Movies of Ye Olden Days, Ye 607 Patriot, The 650 Seventh Heaven 160 Sorrel! and Son 25 Stark Love 702 St. Petersburg, The End of 582 Street Angel 460 Sunrise 89 Ten Days That Shook the World 82 3 Underworld 186 Veterans of the Movies 522 Way of All Flesh, The 53 Wedding March, The 791 Wings 306 CRITICAL FOCUSING AIR CINEMATOGRAPPHY: Wings 234 ANGLES, CAMERA: The Crowd 2.34 The Battle of the Sexes 790 The End of St. Petersburg 525 ATMOSPHERE: Street Angel 416 The Man Who Laughs 464 The Magnificent Flirt 525 Tempest 525 CAMERA, USE OF: Four Sons 304 The Man Who Laughs 464 CHARACTER INTRODUCTION: We Americans 464 CINEMATICS: Wild Geese 24 The Fair Co-Ed 24 Under Tropic Seas 126 The Last Command 163 The Crowd (Translated Motion) 234 The Man Who Laughs 464 Berlin 464 The End of St. Petersburg 525 The Racket 598 Lonesome .... 1 598 The Mysterious Lady 650 Telling the World 826 CINEMATOGRAPHY: Street Angel 392 The End of St. Petersburg 525 CLOSE-UPS: Wings 234 The Noose 305 The Last Moment 392 The Secret Hour 392 The Trail of '98 304 COMPOSITION: The Main Event (Mosaic).. 126 Four Sons 304 The Noose 305 Street Angel 416 Berlin 464 Beggars of Life 703 COLOR, NATURAL: Street Angel 416 1926 *\v. MOVIE MAKERS Page CROWD SCENES: The Fair Co-Ed 24 The Last Command 163 The Gaucho 234 CUTTING: Beggars of Life 703 The Last Command (Moving Screen) 163 DISSOLVES: The Main Event 126 The Gaucho 234 The Last Moment 392 The Secret Hour 392 The Magnificent Flirt 525 The Red Dance 598 The Mysterious Lady 651 The Actress 651 DOUBLE EXPOSURE: The Fleet's In 703 ECONOMY: Four Walls 790 FADE-OUT: The Fleet's In 703 FOG SCENES: Street Anngel 392 IDEA: The Last Moment 392 IDEAS FROM MUSIC: Serenade 88 INTRODUCTION: Tempest 525 Beggars of Life 703 LIGHTING: The Gaucho 234 Mother Machree 305 The Noose 305 The Racket 598 Forgotten Faces 703 MAGNASCOPE: Wings 234 The Trail of '98 (Phantom Screen) 304 MASKS: Beggars of Life 703 MIRRORS, KALEIDOSCOPIC: The Magnifi- cent Flirt 54 5 MODELS: The Magnificent Flirt 525 MOTIF: The Enemy 88 MOVING CAMERA: The Last Command 163 The Crowd 234 The Trail of '98 304 The Noose 305 The Last Moment 392 The Red Dance 598 The Actress 651 Forgotten Faces 741 Four Walls 826 MULTIPLE EXPOSURE: Wings 234 The Last Moment 392 PANCHROMATIC: Wings 234 SCENARIO: Wild Geese 24 SETTINGS: The Main Event 126 SHADOW WORK: Street Angel 416 SNOW SCENES: Body and Soul. 163 SUGGESTION: Sorrell and Son 24 The Battle of the Sexes 790 SYMBOLISM: Four Sons 304 The Noose 305 The Actress 679 Forgotten Faces 741 TEMPO: The Last Command 163 Mother Machree 305 The End of St. Petersburg 525 Lonesome 598 Beggars of Life 703 THEME: Berlin 464 THOUGHT PHOTOGRAPHY: Legion of the Condemned 304 The Secret Hour 392 Tempest 525 TINTING AND TONING: Wild Geese 24 TITLES: The Chinese Parrot 126 Wings 234 The Trail of '98 304 Mother Machree 305 Last Moment 392 The Fleet's In 703 CLINIC ACTING: Acting Technique 470 ANIMATION: A Sand Title 532 Animated Titles 382 CAMERA WORK: Winter Work 179 Moving Pictures (Use of tripod) 3 52 Cine Kodak Stance 779 Experience (focusing) 382 Film Standards 778 Professional Tips 707 Amateur Mask Box 779 Aids to Amateurs 645 Summer Shooting 534 Screen Steadiness 601 Against the Sun 779 CLOSE-UPS: Telephoto Close-ups 706 Close-ups Again 601 EDITING: Odds and Ends 108 Cutting and Editing 706 Enlarging 16 mm 779 Editing 644 Editing and Titling 778 EXPOSURE: Exposure Test Chart 5 32 Fade In and Out 108 Film in the Tropics, Care of 470 Film Tariff 645 FILTERS: Filter the Light 746 Panchromatic and Filters 778 Tips (Filters in the Tropics) 407 INTERIOR FILMING: Handy Light 3 52 Kodacolor Xmas, A 778 LABORATORY WORK: New Printing Marvel 352 LENSES: Flexibility (Revolving lens mount)... 134 Focusing, Easy 706 Focusing Fixed Focus 706 Music With Films . 5 32 Panchromatic and Filters 778 PROJECTION: Better Projection 179 Motor Rewind 3 52 Daylight Screen 3 53 Film Standards 778 Screen Steadiness 60 1 Good Projection 644 For Projectionists 644 Rewinding 779 Screen Stunt 645 Shadow Movies 707 SCENARIOS: The Teeming City 469 Scenario Writers 533 SPLICING: Easier Splicing 532 Emergency Splicing 746 TELEPHOTO WORK: Telephoto Close-ups 706 Telephoto Hints 645 TITLING: Art Titles 108 Animated Titles 382 Editing and Titling 778 Home-made Titles 469 Sand Title 5 32 Pathex Titles 5 34 Shadow Titles 706 Art Titles 602 Easy Movie Titles 744 Direct Titles 747 TRAVEL FILMING: Cruising Movie Makers.. 469 The KINO-PANO-TILT and TRIPOD CLASSIFIED ADVERTISING (Closing Date for Classified Copy for January — December 10th.) EQUIPMENT FOR SALE SEVERAL USED BELL & HOWELL PROJECTORS in exceptionally good condition, $90.00 up. Herbert & Huesgen Company, 18 East 42nd Street, New York City. FOR SALE, ONE BELL & HOWELL superspeed 16 mm slow motion picture camera, especially made for this type of photography, taking pictures at the rate of 128 frames per second. For full particulars write R. L. Gregory, 205 East 22nd Street. Kansas City, Missouri. KODASCOPE MODEL B, in practi- cally new condition, in case, extra lamp and two reels. Used only a few hours, $215.00. John B. Hadaway, 120 Elmwood Road, Swampscott, Mass. ACME STANDARD PROJECTOR, $150, Stereopticons single and double dissolv- ing, almost new, $65. Screens, Cameras, Film, 35 and 16 mm. Michigan Film Library, Detroit. CINE KODAK, MODEL A, / 3.5 with new leather case, $75. Bargain. Ralph Wildes, 710 Main Street, Haverhill, Mass. FOR SALE— One Kodascope Model B. not K, series; $175. Boyd's Studio, Fayette- ville. N. C. BARGAINS in slightly used 16 mm. equip- ment. One-inch F2.7 Carl Zeiss Tessar lens, $22.50; one-inch F 2 Schneider lens. $21.50; one-inch F1.9 Dallmeyer lens. $17.50; one-inch F3.5 Verito lens, $15.00; one-inch F1.8 Cooke lens, $30.00; 3%-inch F3.3 Wollensak Telephoto lens, $42.50. Any of the above lenses will fit Filmo 70 or Victor cameras. One Victor Camera with Schneider F 2 one-inch lens, $110. Complete set, 2000 feet, Cinegraph War Pictures, 16 mm. with case, $98. Willoughbys, 110 W. 32nd St., New York. FILM WANTED WISH TO BUY OUTRIGHT a titled 16 mm. reel of the recent West Palm Beach and Florida hurricane — September, 1928. P. 0. Box 3, West Medford, Boston 56. Massachusetts. TRADING OFFERS CASH for amateur or professional cine apparatus. Send full description. Old apparatus taken in exchange. Bass Camera Company, 179 W. Madison Street, Chicago. Only a tripod will steady a motion pic- ture and the Kino-Pano-Tilt and Tripod is the ONLY tripod equipment that is 100% successful for use with all home movie cameras. It has been accepted by amateurs, critics, dealers and the camera manufacturers as INCOMPARABLE. It is the tripod you will eventually buy, priced at $3 5.00. Above photograph shows Cine-Kodak mounted upon Kino- Pano-Tilt and Tripod. Height when ex- tended, 56>4 inches. Price, 135.00. PROJECTOR PLATES With the addition of a Thalhammer Kino-Projector Plate, which takes same position any camera would, the Kino- Pano-Tilt and Tripod becomes the ideal projector stand; a style of plate can be had for practically every popular 16 mm. projector, from $3.50 to §8.50 The THALHAMMER CORP'N 121-3 SOUTH FREMONT AVE. LOS ANGELES, CALIF. Ask your dealer wllr DECEMBER I92S Charming CLARA BOW in "Dancing Mothers" with Alice Joyce, Conway Tearle and Donald Keith One of the FIVE HUNDRED Available (t Pictures That Please" KODASCOPE LIBRARIES, Inc. 33 WEST 42nd STREET, NEW YORK BRANCH LIBRARIES AND DISTRIBUTORS IN FORTY LEADING CITIES OF THE UNITED STATES AND CANADA More than 1000 different reels featuring the world's greatest stars in their most famous productions are available for your enjoyment. New 192-page Third Edition "Descriptive Catalog of Kodascope Library Motion Pictures" just issued. Contains many additional subjects, substantial reductions in rental prices, and eliminates many of the earlier subjects. :fmm$ 834 KoDACOLOR— the One Gift for all the Family No matter what the other gifts may be, you can be sure that a Kodacolor outfit will bring lasting joy to all the family — always. How the family thrilled to the "preview" of that first intensely personal home movie that you made a year or so ago, with everyone from Grand- dad to the tiniest of the tots in the cast! The enjoyment that you and yours have known with your Cine-Kodak and the projection of your own movies in black and white is a positive indica- tion of the increased pleasure that a Kodacolor out- fit holds in store. For, with this latest Eastman achievement in the motion picture art, your screen not only springs into life, but the picture radiates with color — full color — nature's own. Every hue in nature yields to the amazing power of Kodacolor. Every tint and tone, whether in baby's rosy cheeks or in a steely blue winter landscape, is caught and held. Kodacolor registers all scenes with utmost fidelity, clear, sparkling, full of COLOR. Why not equip for Kodacolor as a Christmas gift to your loved ones — a gift that will bring a full measure of year 'round happiness and enjoyment to all? No other gift possesses such potential power to please today, tomorrow and in the years to come. No other gift can possibly duplicate the wonderful ability of Kodacolor to turn back the pages of the book of Time and show you happenings of yester- day and yesteryear just as your eyes saw them. Kodacolor — home movies in full color. With the Cine- Kodak B,/.i.9, a small, easily attached filter and Kodacolor Film, you are ready to make them. With a properly adapted Kodascope B or Koda- scope A, you are ready to show them. You simply use a color filter when making or projecting Koda- color. Let your dealer prove by actual screen demon- stration how easv it all is — and how wonderful. Eastman Kodak Company, Rochester, N. Y. I imo - the Qift made famous by its quality '"' '■^■'^''^'''^'■^'^vC.:-'^'' HERE is the gift that records and 1V produces, with mirror-like fidelity, the playtime of the children— the people places and events one especially loves remember, in beautiful action pictures. A royal; welcome awaits your gift of either the famous Filmo 70 camera or the newer, pocket-size Filmo 75. Both are made by Bell 6? Howell to the high- Undards of motion picture precision. Bell .: & Howell's twenty-one years of leadership in the professional motion ;pictufe field is your lasting guarantee of highest quality and satisfaction for years to come. The unique designs of Filmo 70 and 75 allow great adaptability in obtaining professional effects. Twenty -six special lenses are interchangeable. S — 1 — o— w movies are made with the Superspeed Filmo 70. Kodacolor, the natural color mOvie process for amateurs, is now avail- able to 'owners, of Filmo Cameras and Projectors under license from the East- man Kodak Co. The new 250 watt Filmo Projector,, fitted at your option with the new Extra- lite lens, delivers more illumination to the screen than any other "projector made. See your dealer for demonstration, or write us immediately for full de- scriptions'. BELL & HOWELL "~i %rjm MJHHHHI BELL Sc HOWELL CO., 1828 LARCHMONT AVE.. CHICAGp, ILL. New York. Hollywood, London (B. & H. Co., Ltd.) Established 190"7 o4 ccessories L. Filmo accessories include many ingenious devices to aid in gaining professional effects in home movies. They include Exposure Meters, B 4k H Film Editer, Title Writers, Screens, Splicers and many other items — each a fine gift in itself. Write for Filmo Accessory Cata- log, a wealth of gift ideas for Camera and Projector owners. & u \ LBFe30 C. LAZELL NORTHROP PRESS, N. V LIBRARY OF CONGRESS 0 011 794 273 9