Super8Filmaker - Volume Five Number Five - Final Issuu

This Is Eumig...

Unveiling the Remarkable

824 Sonomatic

And Bringing Dual 8 Projection

A Few Steps Closer to Perfection

First we gave Super 8 film makers:l chance to edit Super 8 mag sound w ith the precision of a computer in our revolutionary 820 Sonomatic projector. Now the new 824 Sonomalic Dual 8 projector gives you that benefit-and more. Here's what we've done to make Super 8 and Regu lar 8 projection more precise and professional than evcr!

• Your choice of automatic or manual sound leve l control with a profession:1 1 VU meter to tel l you exactly when your input level is optimum.

• Eumig's exclusive High Qu ali ty Sound system with a 10 watl RMS (IS -watt music powerl amplificr ­ performance assured by a factory issued Test Certificate on each projector.

• Fail-safe accuracy in the recording mode with Programmable stan and stOp at the exact frames you select. That means you can crasc nubs and clicks, record musical transitions, or add narration with spli l-second precision.

• Double-Track Recording on either the regu lar sound stripe, the balance stripe, or bmh snipes simultaneously. Now you can mix sound without diminishing your existing sound track.

• A Mu lti- Coated £/1.2, 12.5-25mm Eumig Suprogon zoom lens that delivers am:1zingly sharp and bright images, even at the fringes of the screen. A Hi·Low intensi ty lamp switch is also provided with:1 blue indicator light.

• Sononull ic Prog ramm ing Sulton. and true fram.. coun ter.

• Profusion.. l VU meter.

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(eumig~

And, of course, a host of carefully planned convenience

features, all geared to make it easier to obtain the

resul ts you want, whether recording or projecting.

Features like a master on/off swi tch; stand,ITd remote

control microphone; multiple voltage settings for world­ wide usc; automatic threading with 60Cl ft. reel capa­

city ; universal recording jack; optional Daylight Preview

Screen; :1nd an optional heavy duty carrying case.

See the projector that leaves 1ittle room for improve­ ment at your Eumig dea ler today. And own it tomorrow!

Eumig (U.S.A.) Inc. , Lake Success Business Park, 225 Community Drive, Great Neck, New York 11020 CIRCLE IN FOCAR D 11

,

Bauer.

One of our best •IS our name.

on your sound source, and get perfect recordings. You can morutor the sound via earphone or with a light signal in the viewfinder.

intervals, from 1 per second to 1 per minute, giving you automatic time-lapse photography.

• Instant slow­ motion. With silent cartridges, the touch of a button doubles filming speed for slow-motion photography.

o

o You know who we are.

We've made our reputation by

5x Mocro Neovallln Lens.

The S 105 XL has a super-fast f: 1. 2, zoom lens that gives

offering the best in Gennan

engineering and technology. And the most advanced design ideas.

So when you see the Bauer name on a super 8 sound camera or projector, or any Bauer product. yoo know you're getting the best.

8

The Bauer look and feel. Bauer

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you razor sharp focus from infinity right down to the surlace of the front lens element.

Automatic recording level. Lets you concentrate on creating your film.

Set the switch to rugh or low, based

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Automatic m exposure control.

With full manual override for total control.

GTwo

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motors• Allows power zoom operation without filming.

OpflolMll Accessories. Bauer boom mike, rechargeable battery system, carrying cases, etc.

• Bauer Sound Projectors. Each projector perlonns flawlessly. You get a reaDy bright image on the screen.

Completely silent running motor.

Precise, careful handling of your film.

Easy operation. And most of all, perlect sound quality and equally good tonality in playback.

cameras and projectors look

professional. Because they are. The minute you hold a Bauer in your hand, you sense the quality. Solid and serious, yet comfortable. The unique grip folds away allowing a [ower,

steadier tripod support as weD as more compact carrying.

• Built~in creativity. If you want a Bauer, you want to do more than record events on film. Up to 73 ~lectronic components, including 6 Ultegrated circuits, assist you in adding the professional touch ... automatically.

Consider our 5 105 XL Model Probably the perfect, existing light sound camera.

1be fi\e time macro zoom adds un­ believable excitement to your movies.

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Automatic fades. The touch of a button creates a fade-in at the start of your film. Or a fade-out at the end of a scene. (FuD manual exposure control aDows you to manually create fades of varying length, too.)

• Single frame control. Shoot one frame at a time for animation.

o BuRt-in intervalometer. A timer that shoots single frames at regular

BAUER·

lAIC] AIC Photo. Inc., Carle Place, N. Y. 11514

So".., i.. Rei. TM of Robert Bo..,h rt..\okinoGmbH.

InCanada. write to: Kingsway Film Equipment. Ltd .. Ontario M8Z5G8.

CIRCLE INFOCARD 16

Publisher Paul M. Sheptow

Editor~

Page

Editor Bruce F. W. Anderson Assoc iate Editor Joanne Jacobs Design Co ns ult ant Chris Blum Production Artist Hideo Iwata Ed itorial Consultants Gunthertloos Mark Mikolas Contributi ng Editors Yvonne Andersen MikDerks Dennis Duggan Rod Eaton Lenny Lipton Betty McAree Jim Piper Elinor Stecker Donald Zimmerman Ty pesetting Lehmann G raphics Advertis ing Patr icia Corbett Edi torial and Advertising Offices 3161 Fillm oreSt. San Fra ncisco, Ca . 94123 (415) 563-4630

Subscript ion Inqu iries Super-8 Filmaker P.O . Box 10052 Palo Alto, Ca, 94303

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The response to our rece nt Tools and Tric ks contest was tremendous . If we ' d known so many of you had fi lmmaking tricks up your sleeves, we'd have run len contests, Nearthe ent ry dead line, we we re besieged by special deli very letters and phone call s te lling us, " It's o n the way." We'd like to than k all of you w ho took t he time and effort 10 s hare your fil mmak ing inventions with the rest of us. A special than ks also goes to Magnetone , Eumig , Kodak and Fuj i fo r generously donat ing Iheir products as pri zes, Grand prize winners ofthe Magnelone and E umig Juwel st ri pi ng mac hines were C leg Holiman of Boulde r, Coloradoand l oel Kauffmann o f Elk hart, Indiana. If you' re ti red of waiting for splices to dry , C leg's design fo r an inexpen sive hot splicer a ppea rs in thi s issue' s Tools and Tricks, Joe l se nt us a "clapboard " signal device that fire s a light and sound signal simultane­ o usly, mak ing it possible to put picture and sound in penect sync w hen you ' re sound filming . Look fo r it in the September issue , T he six o the r winners we re each awarded te n rolls of Kodak o r Fuj i mo vie film . Kennet h Gu llekson of G lendale, Californ ia had the most unus ual entry, a special effects "blood pellet" that makes a realistic looking gu ns hot impact. Steve n Young of Fresno , California built an elect ronic frame counter to keep t rack offootage for edit ing. Gary Seals o f Garland , Texas created a mini-effects box that mounts o n your camera lens , and Dale EngleofNew York C ity came up with a camera-mounted device fo r shoot ing ti tles against a moving bac kgrou nd. A microphone boom with a homemade s hock mount was devised by Robe rt Moore of Long Beach, Cal ifornia, and James Nartker of Napoleon, Ohio gave us his bright idea fo r the canopy light refiecto r that appea red in t he May issue.

Congrat ulations. a ll of you!

Your e nt husiast ic response to t he Tools and Tricks contest unde rscores what this magazi ne is all 'lbou l.

SUPER-8 F I LMAKE R is written by fil mmakers li ke you , people who want to s hare what t hey know , so we all can better enjoy making fi lms. We'd like to hear fro m you and always welcome you r com me nts. suggestions and crit icism, E njoy the s um mer !

SUPER·S FILMAKER

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VOLUME FIVE NUMBER FIVE JULY/ AUGUST 1m

FEATURES

46 Directing a T V Film with Harry Falk Larry Sturhahn A n inside look at w hat it' s like directing a fil m fo r an episode ofth e s uccessful T V series The S treets ofSan Francisco. Yo u' ll find out how scenes a re set , cameras positioned and the s hooting done to make maximum use ofeach set-up.

Filmmakers of the Frozen North 19 Beverly Ensom Icy temperat ure s in C anada' s Northwest Territories freezes up film so t hat it s na ps li ke potato chips. F ilmmakers in thi s forbid­ ding climate have to fin d ingenious ways to beat t he cold , for it' s not every day you get to film a walrus hunt.

Instant Movies from Polaroid 22 Le nny Upton Will you soon be making in stant movies?

Fi nd out how the new Polaroid system work s, w hat t he fi nis hed fi lm looks like and how instant movies may change filmmaki ng .

COLUMNS Tools and Tricks: Build a Hot Splicer C leg Holiman Home Movies: Low Cost Titles, Effects Michael O. La Rochelle Animation-8: Movement in Spaee Y vonne Andersen Special Effects: Make a Film from Slides Rod Eaton Filmer-aft: A New Wonder Film Lenny Lipton Product Probe: Minolta XL-660 Dennis D uggan

How to Buy Your Camera 26 Denni s Duggan Autho r Denni s Duggan offers dozens of good camera buying tips along with a Super-8 test c hart you can tear out oft he magazine and take with you to the camera store. With the charls, you can test d rive your new camera befo re you buy. You can avoid making a w ro ng dec ision and save yourself some money .

A J oyous Toronto Film Festival

51 54 56 58 62 64

DEPARTMENTS

32

Beverl y En som

T he Toronto Super· g Film Fest ival isone of t he biggest in Nort h America. What ' s ha p­ pening in Super-8? Find out in Beverly Ensom's report .

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Making a Spine-Tingling Thriller 34 MikDerks T he mysterious Dr. T hriller t raps two young filmmakers in a ch illing plot with unexpected t wists that will kee p yo u on the edge of you r s eat. They will also te ll you a lot about how to plot your own t hri ller. Tu rn to page 34 . . . if you dare !

40 Microphone Tips fo r Better Sound Gunther Hoos Which microphone shou ld you use to get the best sou nd for you r so und camera or re­ corder? G unther Haas reviews what he cons iders t he best mics fo r filmm ak ing, and tell s how to use t hem to get a high q uality sound t rac k. There a re (ips on bu ilding your o wn windscreens, booms and other acce s­ sories.

6 10 12 14 24 60 65 66

Headliners Letters Q ueries Readers Tips Take One T he Collector Calendar Super Services

Cover Art: Before you buy acame ra, you should take it for a le st drive (see page 26).

Illustrator Victor Moscoso puts you in t he drive r's seat !

SUPER·a FllMAKER iI pJblilhed II tllTl&S each year (Jat'llFeb. MallApr. May, JL.fWI, JIAy'Aug . SepvQct. NO¥. Dec) by the PMS Pubkshing Company. Inc .• 3161 FIllmOre St.. S", F,...:eco, Ca. 94 123. Copyr ;g,1 © 1971 by tne I'MS Publishing Company. II\C, All rights Repr<Xlvc1"", " nher ;" _ or in ~rt wllhoul the consem (II lhe copyrigtlt owner is stric~v prOhibited.

Edlt"''''1 contriOOtion• ..-:omlld. bul must be a<:com~rWed by ,e!um postage and wiN be hancJlfld W11h ,easonablo car. : _ _ f . ""blrshe< assumes I'K) responsibility lor , ilium or sllfety of an worI<.. p/IoIog,apns. lilms 01 m.I'IIJIICI'~ • . M aI'llJSCfip!s, ~ .ocoopled..... bit paid a l ",esent rile Ind " I r911S. ......ss OIili aly s poICiI;ed c tMrwISe. remain with In. pubiiS/>8t. ProducI, advertiMd art no! _ i y encIorseo:I by SUPER-II FIL.MAII ER. and all)' .......' pressed on edil<>'''' oopy ... no! """essarily 1 _ cI SUPER-a FILMAKER. All _eased Ie SUPER·a FILMAKER 01 II!J ..:Idor-t are . - e d to be W1t......s..a lor pulllicAlIOn. SUPER·II FILMAKER is tNt ',ldIomark 01 PMS Publitnng ~. ne. Moc:mI..... dt;on. can be OIOefoO!rom UNIVERSITY MICROFl.MS. 80.

Am AIbot. Mi. ~8106. ISSN 00.9-2S7'. Seccnd-dass posIlIge I*d a l San Franc""". Ca. .-.;l a' _ _ mailingol1icel. u.s. newsstand and pIIDIO su ... di ....buIIon

by EASTERN NEWS DlSnlIBllTORS. INC•• " , Eoghlh " .... H.Y.• H.Y. 10011 . C _ diSlfibulion by CAPIT..... DISTRI6UTING CO.. LTD•• 2$ 1 ~ Rd. . Oakville. 00lIn.~. su~ SIloo. _ ye.s $17.00; _ , ..... $25.00; u.S.A. _ $1 .00 ,",' yNr. Subsaiploon irlorrneloon a."bIot Irtm SUPEFI-6 FlLMAKE R. 3161 F41m.... St.. San f,...,;"co. Ca. 94 , 2:) p,~., u.s A. Post"",...,: PIM_...,d lonn 3579'0 SUPER-6 FL MAKER. P.O. Bo. l00S2, P.1o "ho. Col. 94303.

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Super-8 reading list Want to curl up with a good book or pamphl er~ Here are a number of pu bliclltio ns that will be of interest 10 filmmak­ ers, and many of them are free.

Aspiring sc reenwriters will apprec iate Film SaipllI"ril­ ill~'s practical advice a nd many detailed exumples. The autho r. Dwight V. Swa in . is a veteran screenwriter. It 's available from H astings House. Communications Arts

Every face from "robust oid . to " Ru ssian peasant" to or witch" is covered in ",,,',,, ,, M ake-Up Gllidl' fo r Professioll. a free 32·page booklet on movie. stage and photogmphic make-u p. Write M. Stein Cosmetic Co" 430 Broome St.. New York. N.Y. 10013.

simply remove the Super-S reel from the cassette. The single-system film (V7- !20) se ll s for $40. w hile the double-system film (V7-121) li sts at S47. Write Eas tman Koda k Co.. Depl. 454-SS. 343 State St .. Rochester. N.Y. Mark Mlkotas and Gunthef Hoos !4650.

Super-S replaces scalpel Super-S seminars C utting up cadavers is old­ Seminars for educators. au­ 1 ,1· 1 . 11~~11111 1 <: ) fashioned mediclll students diovisualists and independent Ii .- . S,!';JE : jillll at EmoryforUniversity.

Fifty fil mmllkers are plilnned for Super-8 movies and an as­ September and October by ~ sonment of slide-tape and SUPER-8 FILMAKER editoriHI Books. 10 E. 40th 51" New er programs consultants f\.·lark Mikolas and slide-comp ~.~ demonstrateutanatomical York. N. Y. 10016-$14.50. "" I ,~ prin­ Gunther Hoos. New York. hardcover: $7.50. paperback. ~~~lJ ciples at Emory. allowing stu­ C hi c.lgo. Los Angeles Hnd Write the same address fo r the dents to work at their own several other cities will be lit les of Hast ings House's pace. sites fo r th ree o ne-day semi­ M edin Mllllllll h.

Ma ny 11'."tlo, •. test ing Althoug h Emory student s nars on Super-S equipment wOrlhw hi Je topics lire cov­ Is your equipment r unn ing spend onl y four days in a dis­ selection . production budget­ ered. properl y? The Society of Mo­ section labomtory. they score ing. shooting. sound reco rd­ lion Picture and Television just as well on standardized ing. edit ing and video tr.lOsfer.

Another source of pmetical Engin ee r s (S M PTE) now Registnltion fee is $75 for advice for writers is The provides test films for Super-8 tests as classmates taught with each seminar. Write Super 8 scalpel and fo r­ tmditional Basics of M otio/l Pic tllre' projectors and sound record­ Film Group. 37 W. 20th 51.

Serif)t Writing. a three-part ar­ ers. The registration film tests ceps. Since st ude nts learn #805. New York. N.Y. 10011 more quickly with the au­ ticle focu sing on the pl'lnning. for steadiness. ape rture for informHtion kits and regis­ resea rch and w riti ng of alignment. focus. resolution. diovis ual progrilm. Emory has tration. been ab le to Hdd more client-sponsored fttms. Pub­ shutter adjustment and fie ld anatomy subjects.

A reduced lished by Motion Picture fla tness. A series of milgnetic Beaulieu moves on Labomtories. Inc .. the arti­ sound test films check fre- need for cadavers. sometimes Improving Beaulieu service cles are available for free by quency response.

Ieve.I a rare commodity. and the is one of the top priorities ease of offering refres her writing Lynn Bigbee. Editor. fl utter lind aZimutf;::~~1i;~"ir courses to pmcticing physi­ for Bell & Howell/Mam iya.

Box 1758. Memphis T enn. For a free 1977 I cians are also cited as ben­ which has taken over from 38101. Ask for Ta/)I(' Talk test materials. write Hervic as U.S. distributors of 86:! Scarsdale Ave .. Scars- efits. About half the movies the French line of camems #10. #11 and #l::!. are produced by the National More than 800 Kodak refe r­ dale. N . Y. 10583.

Medical Audiovisual Center. Hnd accessories. If yo ur ·ence books and pamphlets are F k while Teaching Films. Inc. Beaulieu is ailing. send it to ilms on filmma ing listed in the new 1977 Index to provides the rest. Anatomy Beaulieu Service. 623 Rodier Kodak Illforlllatioll. Single Single-sys tem or double­ departments :11 the Univer­ Dri ve. G lendale. Calif. 91201. system. that is the question Additional service centers in copies can be obtained free of two new instructional films sities of Texas. Colorado and c harge by writing Dept.

Puerto Rico have begun using C hicago and New York ilre in 412-L-514. Eastman Kodak from Kodak try to answer. audiovisual milterial s and the the planning stages. For in­ Co.. 343 State St.. Rochester. The 9-minu te fi lm . M Olioll National Library of Medicine rormation. write Robert N.Y. 14650.

P ic/Ilr1' Prodlll'tiOIl--Supt'r~ now offers a computerized Lundquist. Beaul ieu Prod­ SOlmd Ellilil1}; Sing/e-Sys/I' III. listing of audiovisual medical ucts. Bell & HowelVMamiya "Careers in Film and T elevi­ stresses in -camera editing. materials. called AVL IN E. Co .. 7100 McCormick Rd .. sion" and "Student Fi lm Fes­ cutting for sound and picture Chicago . [II. 60645. tivals lind Awards" :Ire two of and post-recording sou nd onto All-American films the first grou p of File/file re­ edited fi lm. T he II -minute ference publications from the double-system film. catchil y The Council on Internat ional American Film Insti tute. titled MOIioll Pil'tllrl' Pmdllc­ Non-theatrical Events (C INE) Each Factfi/e is publ ished in tioll--Suf}er-8 SOlllld El/i/ill}: is accepting entries of short looseleaf forma t so it can be DOllbll.'-Sys/elll. emphasiZes subject s in Supe r-8. liS well as periodically updated to in­ pre-editing plann ing. co n· 8mm. 16mm and 35mm. to clude current information. tin uity and sound track splic­ represent the U.S. fi lm indus­ The publ ications cost $:! for ing techniques. Both film s try in international festivals.

AF I members. $3 for non­ come in Kodak Supcrmat ic The entry deadline is August members . Write AF I Na­ Clissettes for use in cassette­ 15. For further information. tional Ed ucat ion Serv ices . loading projectors or film write C IN E. 1201 16th St. Kennedy Cen ter. Washing­ videopillyers. To show the NW. Was hington. D .C. ton. D. C. 20566. film on a standard projector.

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SUPER·8 fILMAXER

CONGRATULATIONS,

YOU'RE ABOUT TO BECOME

A DIRECTOR.

5X Zoom. The 8·4Qmm lens has separale"lMde"and"Tele"power zoom switches plus a manual control ring tOf complete flexibility in framing the

Image, changing Image size

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Sound Monitor ing. When you can check the sound level before yoo sian shooting. you aVOid wasung film (and money). Not aU super B's lei

you Bu1.lhe 505XL does

Action. Creating it. Controlling it. If that's your goal in super 8 filmmaking , the GAF!I SS-S05XL is your camera.

Automatic exposure control , a fast f/1 .2 lens and a 22(J' shutter give you the freedom to explore the poss ibilities in almost any "avai lable light"situation,wheth er indoors or out. An exposure compensation feature leIs you vary automatic expo­ sures ± 1 stop whenever shooting conditions-or your own creative instincts-call for it.

There 's also an earplug to moni· tor sound before and during record· ing. A remote control switch on the microphone so you can star in your own movies. And a bright, Ihrough·the-Iens viewf inder that not only shows you exactly what you're shooting before you shoot it, but also f/stop, over/under exposu re warning, a recording signal, film advance and end of film signals.

What's more, the SS-505XL has a price tag that's remarkably low for such a great camera.

Lower, in fact, than many other sound super 8's with comparable features.

Ask your photo dealer for a demonstration soon. It 'll convince you Ihallhe SS-505XL gives you everything you need to stop just fil ming and start directing

CIRCLE INFOCARO 65

How to difference a

an

·

Ii

ker.

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You don'l have to look al a 101 of films to lell the difference.

Just look allhe equipment.

AI any level of filmmaking from super 8 all the way up to studio Mitchells in 35mm, the pro足 fessionals aiways pick the best.

In super 8, there's only one camera that Is unequivocally the best . .. the Beaulieu. Here is a technical explanation

si;';ple

filmi diagram really tells the story. It's a simplified drawing of the Beaulieu super 8 viewing, focusing, and shutter system. It's also a simplified drawing of the viewing, focusing, and shutter system you'd find in professional 16mm and 35mm motion picture cameras which sell for $8.000 to $30,000.

Almost all amateur movie cameras use a beamsplitter prism. It's an inexpensive solution to the problem of directing light to both the viewfinder and the film . But the light loss will be as much as 50% at the film plane.

And even the finest prism will in some way degrade the image.

In super 8, only Beaulieu uses a reciprocating mirror shutter system that transmits 100% of the light to the viewfinder and the film. There is nothing between the lens and the film.

Aside from vastly superior light transmission, there's another impor足 tant advantage to this design. The Beaulieu can use any C-mount lens or movie or still lens with C-moun\

a big bonus.

Another professional feature of Beaulieu cameras are the highly acclaimed Schneider power zoom lenses that have zoom ratios upto 11.7to 1.

When it comes to sound, Beaulieu is again uniquely superior with the most sophisticated high fidelity single system sound. Plus the capability of using double-system sync sound.

You can even use both systems, simultaneously. The frequency range is 50 to 12,000 Hz:t: 1.5 dB at 24fps.

Two Beaulieu super 8 Multispeed cameras are available. Bolh have the widest range of filming speeds available in super 8 plus single

frame as well as rewind capability for super-impositions. Both cameras allow the use of all filming speeds when using either sound or silent super 8 film cartridges. The top of the Beaulieu line is the 5008S Multispeed.

The 3008S Multispeed allows you to buy a Beaulieu at a lower price.

And, of course, for the professional who only uses double-system sound

recording, there is the extremely versatile 4008ZM4 with speeds from 2-80 fps. See the whole line of Beaulieu super 8 motion picture cameras at your Beaulieu dealer.

They're the only super 8 sound cameras you can still use when you turn professiona!. For a beautiful cata足 log, write to A. Lundquist, Dept. S8, Bell and Howeli/Mamiya Company, 7100 McCormick Road, Chicago, Illinois 60645.

Beaulieu

BEll' HOWElUMAMIVACQMPANV

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CIRCLE INFOCARO 10

From Cilia to the Stars I've taken some ofthe most phenomenal footage you' ve ever seen using my Nikon R-IOand Beaulieu4008ZM IV ,special lenses and a $7 ,000 Zeis micro­ scope (on loan). Imagine para­ mecium as big as s harks on a 7-foot screen with the cilia and internal body funct ions visible. Or euglena as large as footballs with their flagella w hipping around like an exc ited puppy's tail and vinegar ee ls larger than boa constrictors.

With a55 mm macro len s, I was able to fi ll the frame with the image ofa fl y. Then I zoomed in on the head of the fl y. Wo w! I used a 105mm macro lens to photograph a drop of water on a bud. On a 7-foot scree n, the drop is almost 6 feet in diameter and you can see the life in it.

Beautiful s hots are possible at long di stance, too. I filmed a pair of ospreys court ing and mating at 200 yards. Then I reall y got ambitious.

Mounting my Beaulie u on a 2oo0mm "Celestron" lens, I filmed the moo n at three frame s per second. It was a bsolutely in­ credible! Not only can you study the moon 's surface, but you can see it s greenis h cast.

To C lean or Not To Clean Thanks for the rem inder (" Queries," Jan .lFeb. 1977) t hat "sound heads on both projectors and cameras s hou ld be given the same care as tape re corder heads." Since the instruction manuals for my Bole x and Eumig were totally s ilent on cleaning and de magnetizing heads, I wrote to the Bolexdistributor. E PO I. They said that cleaning and demagne­ tizing was rarely necessary and quoted Eumig as saying: " ... the danger of s hifting o r misaligning the heads is much greater than any possibility o f problems which might occur due to dirt y heads or magnetization of the sound pick­ up," When I pers is ted. EPO l 's Bolex projector repairman showed me how to take out and re place the head asse mbly. Th e process is extremely s imple , taking less than fi ve minute s for disassembly , cleaning and replacement. The heads are so inserted that there is in fact no danger of mi salignment

Ofcourse, not eve ryone can afford this kind of equipment-I'm a pro­ fe ssional photographer-or gain access 10 a suitable microscope, but if you can, remember Mo ther Natu re. with normal swabbing. I feel t he Gene Zehring, Sr. manual s should be revised.

Mis hawaka, Ind. Readers may also be intere sted to hear that EPOI has facto ry in­ Look with Your Mind's Eye structions on how to correct a Jos huaM. BeckerC ' Leuers," defect in the sound system ofthe MarchlA priI1977) is absolutel y Bolex SM-80 projector wh ich right when he tells filmmakers to causes crackling and buzzing think before they s hoot. Before you press t he trigger in your mo vie sounds d uring project ion. To fix this, a coating is applied to certain came ra, look at the panorama. contacts; it takes less than five C lose your eyes and imagine w hat minutes. Write EPO ), 101 Cross­ it wou ld look like on the sc reen. If ways Park West, Woodbury , N. Y. it looks good in your imagination , 11797 fordetai ls. s hoot. Ifit doesn 't, but you sti ll StevenJ. Gold smith want the s hot, move from where Wh ite Plains, N.Y. you are (that means changi ng the

ca used he'ldachesa nd eyestrain in the '"3-D Era "" (1953-54) and eve n­ tually he lped to kill commerc ial 3- D. Lipton' ssystem is not new. It is "Natuml-vision" reincarnated in Super-So What we need is fo r someo ne to wi den the aperture of a Double Super-8camera so that it reaches fro m s proc ket hole to s procket hole. allowing room for s id e-by­ s ide left and right view s. A s ingl e 16mm len s could be used along wi th a mirror-deflector on the fro nt 10 give the two di ffere nt points of view . A 16mm projector co uld be co nve rted to pull down Su per-8 perfora ti ons and the mirror­ deflector(wi th left and right polarized filters) positioned in front of the len s. This system is so s imple s urel y so meone co uld pro­ duce it.

Bill Schmidt Los Angeles. Calif.

My dOl/hle-balld stereo sy.Hl' lII works very 11'('11. especially/or Super-8, becal/.\"(' the ("(1111('1'(1.1' lire Jmall alld call he place(/ ChHl'Iy to!!i'ther witlwllI thl' ait/ ofmirmr del·ices. Mort'ol'er. ~;ill("(' thl' cameras lIre.w Ii!!hl. Ihe shooti" g package is very pleOS(II1I. You're righl ill sayillg my OI·erall .\·Y.I'lelll i,~ 110/ flew. HI har' s lIell' is that il prodlfce.~ .\·t ('reo.~c(}pic ill/(/g(' .~ tlrllt are etHy to look (It (llId lire ex­ traordinarily hi'autiJIII.

angle) and loo k again. Yes, it's true 3-D Doldrums that HolJywood filmmak e rs s hoot The problems inhere nt in Lenn y a thou sand fee t and use only a Lipton's 3- D system ( Head liners, hundred, but you're an amateur Jan .l Feb . 1977 )a re legion. Forone and probably broke , so w hy waste thing. s ince eac h frame is seen film and money? three times. sync must be perfect.

Carolus Galan

notju sl fra me fo r frame but fl icker Whittier, Calif.

for flicker. A lackofperfect sync

YOl/r idea for COIII'l' rtill1! D Ollble­ S uper-8 c(llI/era is a w)O{/ olle lI'hich l a m sure hosoccllrrt'd 10 11/(111), people. I II /953. both Bolex (llId Eigeer offered siereoscopi<' /(' IIS pairsforl6mm Cllmera.l· th(lf could ht, lIIadl' to work with (I wide aperture D Ollhle SlIper-8 camu(I .

M allY /1/achini.\·U· or repair perSOIlS could UlldOllbu'dly m odify the p llll-down of(l16mlll projector to m ake il workforSllper-8. I cOIHid­ ered (lfld rejected Ihis approach becl/llse 1 II'{IIlfed to im'i'stigate

what is clllfed (l •• stereoscopic

tr{/I/smi.uion" system. and Ihe

ol/Iy way to do t his is 10 hav(' e{fllipmellf with l'ariablecOII­

l'ergel1ce a nd illferaxial cO/lfroh­

and afllll r(lllge offocallell!!1hs.

which simply are 1I0t (II'ai/able ill

your COlI l'er.\·iOIl sch eme.

Get to work, Mr. S chmitll . / ·d like

10 see the results ofyour stereo­

scopic experiments-Le I/ II)'

Liptoll

lO

SUPER·8 FILMAKER

•

,

•

Introducing

the sankyo XL-600S.

If you're not quite ready

for an Arri or a •

As a serious cinematographer, your first concern should be with optics. Sankyo's are superb. An incredibly sharp f/ 1.2 lens with 220 0 shutter opening for true low light capability.

Even with our big 6 -to -l zoom range_ Sankyo doesn't sacrifice speed for range_ And when the lights are low, you'll see what you're shooting through Sankyo's large, bright, total information viewfinder. You've never looked through a brighter one. Or one that told you more.

To save you the expense and bother of going to an optical house and a recording studio, Sankyo gives you fades with a touch of a button. The sound fades along with the pic­ ture. Simultaneously and automatically.

As for sound, it's Hi-Fi. Sankyo offers you

a choice of filming speeds. The standard

18 fps ior economy. The professional 24 fps

for movies that sound as good as they look

And, because you're creative, Sankyo

provides manual overrides for all of its auto­

matic systems. It makes you the boss .

The Sankyo XL-600S. Super·8 has never been better.

Sank 0 Y The Movie People

149 Fifth Avenue, New York. New York 10010 (212 ) 260.0200 • 13000 S. Athens Way. Los Angeles. Calif. 90061 (213) 321.0320 CIRCLE INFOCARD 17

Wl

or U he r 4000 IC tape recorder and an y II F projector. SuperS So und (95 H arvey St., Cambridge, Mass.

02 140)and Optasound (25 E. 26t h Curtis J. Potsic, Patrick AFB, Fla. St.. New York. N. Y. 10010) se ll . . . . Unless your projector is sync hro­ modifie d recorders that will run in ...-- no us wit h A C house current or is sync with a projector. C ine ma ..... crystal-cont ro lled , it probably Sync Syste ms (14261 Ave . Men ­ runs betwee n 23.8 a nd 24.3 fram es doc ino. Irvine , Ca lif. 927 14) a nd _ pe r second (fps). Variations in the Elmo Manufacturing Co . (32-10 cu rrent, drag on the mOlor and 57th St., Woodside, N. Y. 11377) how long it 's warmed up w ill make also offer resolving recorders. a difference. It's easy to make However, the re is no dev ice that ~ you rselfa piece o f liming leade r. can hold a projector a nd a n unmod­ . . . , . Scratch a frame o f blac k leader, ified ta pe recorder in sync. To count or measure with a sy nchro­ conve rt your projector for sync nizer 1440 fra mes (20 fee l) and work . see" H ow To Build and sc ratc h another frame . When yo ur In stall a ifF Switch" ("Tools a nd projector runs from one mark to Tric ks, " May/J une (976). the othe r in precisely one minute. you' lt know it 's running al 24 fps.

How do I make a n invisible splice?

If yo u're a big s pender, you could When proj ected, tape splices reveal send $9 .75 for a Projecto r Speed tiny bubbles and cement splices Test Film to Raga Product ions. leave a black line on the screen.

P.O. Box I I. Leth bridge. Alberta, Also, would there be any problem

W

How can I check to make sure my projector is really running at 24 frames per second?

p..

=

Canada.

My movies always seem to flicker , Would it help iff had my 18 frames per second film converted to 24 fps?

AI Rau, Hastings, Mich.

A tl S fps, the inte rminent motion offilm is smooth ly fused and o ur eyes should not detect fl icker.

Converting to 24 fps wi ll not solve yo ur proble m. What you call fli cker could be "picketing," a c hoppy effect thai makes it look as though you were watch ing the image through a picke t fence. Th is can occur when somethi ng mo ves left -to-right or right-to-Ieft across the sc reen and can be eliminated by s lowing you r pans and avoiding rapid moveme nt very close to the camera across the fie ld of vis ion.

Anothe r possib le source of yo ur prob lem is a n out-of-sync pro­ jector. Ask your deale r to c hec k that the sh utter blades a re in pe r­ fect sync w ith the film movement.

How can you check magnetic re­

cording stripe to see if it's in good condition before applying it to the film ? Is there a machine which can take ofT stripe without damaging the film?

Kwok Wai Chiu, Hong Kong

There 's no way to chec k the stripe befo re appl ication. but o nce it's on .t here are seve ral things you can do to establish if the st ripe is causing your record ing proble ms . First. inspect the stripe for prope r adh e­ s ion. The n reco rd sound and play it back seve ral times. l fdro pouts always occ ur at exactly the sa me place in the fi lm, the s triping is probably at fault. H owe ver, if dropout varies each time. the pro­ jec tor recording system is s uspec t.

The tape itself is rare ly defective.

Improper applicat ion of stripe , such as too much or too little ce ment or twists in the stripe, are the most common source of prob­ lems. The"Cut-A- R uC' splice remover di stributed by Superior Bulk Film (442-450 N. Well s St., C hicago , 111.60610) is des igned to remove un wanted stripe .

Will processors handle film which includes nude scenes? How far can I go?

Glenn West. Chatanooga, Tenn .

striping fi lm that has been cement spliced?

ChesterD . Campball. Nashvilte, Tenn .

A great deal offi lm a nd lab work these days involves nudit y and sex in film , but mostof it is "arti stic" or strictly "soft -core. " Call up the lab you have in mind and ask abo ut their polic y.

If you' re projecting original film. no splic ing tec hniq ue will re main totall y invisible. Ta pe splicescan s how bubbles, trap d irt a nd stretc h. Stretching can produce a w hite fla s h a t the frame line whe n the butt end s of your s plices sepa­ rate slight ly. H owever. a well­ made tape splice, especiall y one that is four or six frame s long, can avoid most of these prob lems.

Is there a gadget I can buy or make that will keep my movie projedor in When using ce ment s pl ices wi th partial frame overla ps, there is no sync with my ta pe recorder? way to avoid a black line. To our George Mueller. Milwaukee, Wisc. know ledge, there is no s pl ice r Sync hronizing is po ssible if your wh ic h can sc rape e m ulsion and projector comes w ith a once-per­ ove rla p an e ntire frame. On the frame (II F) switc h and the re­ brigh t side, you' ll have no prob­ corder has control circu itry (e lec­ lems striping over properly-made tronic sync hronize r). Not all tape cement splices as long as they a re recorders are s uita ble . The Film beve l-edged, s uc h as those made Grou p ( Box 9, Wethersfi eld , on a Bolex, Hahnel or Braun s plic­ Conn . (6109) makes a Recorder ers . For more information, see Resolver which works wit h a mod­ " Tips fo r Better Splici ng," May, ified Sony TC-S008 , Uher4oo0L 1977.

Cutting on act ion is a n edit ing tech nique w hich ma kes cu ts less obtrus ive by c utting in the midd le of move ment , ins tead of be tween two s tatic s hot s. An example might be s tart ing with a man throwing a ball in a medium s hot a nd c utting to ac lose-up as it leaves his ha nd. Eliminate one or two fram es of ac tion at the cut for a s moother effect. It 's a bad idea to ma ke your cuts in the camera.

Film the e nt ire action in a medium shot and repeat the last part fo r the close-up. Known as "overlapping ac tion ," thi s gives you so me op­ t ions to work with w hen you s it down to edit the film . Kodak put s out two pa mphlets called Motion

12

SUPER·S FILMAKER

What is mea nt by "cutting on action?"

Leslie Meek, Grand Rapids, Mich.

Pictllre Prodllctioll-Colltilluity I & /I (VI- 17 and VI-IB, Eastman

Kodak Co ., Dept. 454, 343 State St.. Rochester, N. Y . 14650) for45 cents each which explain all the bas ic continui ty tec hniq ues.

Whcrecan I get a Super-S dis­ placement recorder?

Ralph Chesek, Harrisburg, Pa.

Dis placement recorders re-record sync sound on striped film 18 frame s behind its original position. so that it's d irectly in lin e with the picture frame correspo nding to it.

80th picture and soun d can be . ' straight cut" exact ly together wit hout the 18 frame gap of single syste m. When edit ing is com­ pleted , the displace ment recorder re-records the sou nd 18 frames ahead for proper sync playback on a projector. Th e Moserdisp lace­ men! recorder. marketed by Fi lm­ kraft (6850 Lexington A ve., Suite 217, Hol lywood. Calif. 90038) cost about $1. 200. Apart from the cost, you s houl d conside r that the so und trac k will be thi rd generat ion on the final print with a res ulting loss in qualit y. In addition. once the track is displaced , neither a stan­ dard ed it or nor a projector can pla y the picture and track in sy nc , so you never get to see your fi lm with sy nc sou nd wh ile ed iting.

T his can be a greater handicap than worki ng with th e sound in it s normal 18 frame advance .

In Yvonne Andersen's article on creating animated monsters ("Animation-S ," July/Aug.1976), I'd like to know which of the four techniques she describes produces t he most realistic effect. Also, how do I get flowing movements?

8artAikens, Eugene, Oreg.

The fourth technique I described using liqu id foam rubber to build the creature has the possibility of producing the most realistic effect.

Butrealistic is not always what yo u want. You might want acomic effect for your ani mation . You can get smooth movement s from yo ur animated characters by moving the m forward about !4 inch every t wo frames.

-Yvon/le Andersell Query replies preparui with the help afMark Mikolas, Gunther Haas, and Dennis Dugga n.

SUPER·B F1LMAX£R

Super 8 Matte Box

Now you can have the ultimate professional camera

• KeyholelBinocular Masks • Superimposed Tilles • WipesiVigneltes • Fog EffectlSmeared Images • A Lens Shade Adjustable for any Focal Length of

Your Zoom Lens

Universal mount fits most Super 8

cameras, and can be used on 35mm

SLR's as well. Unconditional guarantee.

From the Super 8 Profes sionals . . SuperB SounCl, Inc. !ISS Har""l" St ... et. Cambridge, Mass.02140

CIRCLE INFOCARD 61

CIROSuper8 film splicer and tape: FOR SOUND-ON-AlM " N(I SIlENT MOVIES

Perfect registration fast. The CJ RO makes its own perforations in the splicing tape, and trims the edges automatically.

T he CIRO joina Ihe film with apedal tran s parent tal"'. It punch... holes in the lape that exactly match the film 's own I"'riorations. POI!ition pins hold the film straight and Aat. It"s last, easy and. ahove all. prec"".

The s trongest splice You ~et a much s tronger and lon ge r-l uting join than with a cement splicer. And CIRO-edited film rultll more smoothly through your projector than press ta]>ed or cemented film.

Invisible lapa edgn When you attach the CIRO tape, if. automatically positioned 80 that hoth its edg.. are betl"''''''' fram... of your film. Since the tape itself is transparent. this adds up to aplices that are practica lly invisihle on the screen. With bOlh cement and prellA tapes, you can see the edges go by in mid·screen.

No lOl l 111m tra me.

II you cha n ge your mind about a c ut. just peel the splice apart and tape the film tORethe r the way it was ""fore. 11181". not pos.

Aib le with cement. You lose one frame of the movie with every splice change you make.

' l'I' m 'I'I'

,: !:!:I:!:I:!:,1.:

InYls lbl . tapa e dgea, p,eclH pol illoning. trock not coy.. ed.

Repal, damaged tltm You can u"" the CIRO and its transparent t81'" 1o mend tom film and broken sprocke t hole.. II's a. easy as mnking a "plice.

8 0lh , Id.. _ one . tep Press tape splicers require you to tape one .ide. then lum the film o'"er and do il again. And you have

CIRCLE INFOCARO 39

to position each preas tape ju.t right. by hand. With the C t RO wraparound met hod. it'. all one step _ and precise pos itionin g i. automatic.

S.ve lhe soundtrack C t RO wraparound tape stop" sho.t of the sound stril'" on that .ide of the film-so yourllOund con ­

tinu,," unintel1'"Upted. p""", lapel!

cove r the track. clusing a sound

dropout; and with cement splices.

you get a click;n~ noise.

Tape 5 11m.. cheape rl A roll of CIRO Super B tal'" will give you about 350 splice • .

Press tape splices COIIt ""tween 2 and 3 cen ts each . For 2'h cents, you get "round 5 CIRO 'plices!

Tape pey, lor s plice r?

CIRO tape i. lOp quality.

(E very roll i''Iuara"teed not to telescope. for example. ) It cos", far les.<> beea""" it comes in a roll ami b""au.~ ;/', nat nlr~ady ~rlara/ed.

Soone, or laler, you r tape savings will. in eft...d . oftset the COIIt of the "plice r itself. It'. worth con.iderinK! It·. nvailahle at your camera slore. Or write to 118 at· CitO Equipment Corp 6820 Romol.... SI,"I HOllywood. Cali f. 90038 Ph...... : (21 3)466-35111

elRO

......Ie Wl

II

I!IIII W

II

Rubber-finger When I first got hooked on

Take a Closer Look

yO ll can rill th c sc reen w ith a

One of the mOSllI scf ul items on my

subject area Y.! by Yo! inches . If you

filmm aking, 1 tried to do all the

ed it ing tab le is a sma ll $uper-8 projcclion len s I pi cked u p at a

ha ve t he patie nce, and your bugs arco" , \oo acti ve . who know.. the possibil ities? Maybe the villa in in

" right " Ihings . like wearing s pecial"li nt-frec" colton glove s for e diting. I wonde re d w hy m y tape

spli('; cs were so lousy till I looked at my glo ves under a microscope.

They looked like a furry Pers ian cat. de posit ing lo ng lengt hs o f C0110n fib e rs all over t he place.

I admire Le nny Lipt o n' s courage w he n he says . .. U se your ba re fin gers ," and I think he' s probably right , but I j ust do n't ha ve the nerve. And rubbe r glo ves a re no good . They're hot. swe aty, c umbe rso me a nd ha rd to get o n a nd oIT. But l did discover somet hing tha I' s inert. fi be rless a nd about as clea n as ca n be: medical fin ger cots. The cots, rubber finger le ls covering th e cnd s of t he fin gers. are used by doc tors fo r exam ination s. You can orde r t hem by the hundre ds fro m a ny s urgical supply hou se. If the cots come powde red. rin se the powde r off a nd le t t hem dry in th e air . The n 1'011 a cot o n the fi rst t wo finge rs and thum b of each hand. With t he cots. you can press e ac h s plice ha rd a nd t ig ht wit hout worrying a bo ut finger prints o r fi be rs. I have exam in ed vario us s plices closely both o n the editor a nd unde r a disse c ting m ic roscope a nd I can verify tha t a rubbe r finge r cot is definite ly c leane r lhan an e dit ingglove .

L.B . Willia ms . M . D .

Santa Ba rbara. Calif.

Baby Pants Screen You can ma ke you r own low-cos t re ar projec tio n sc reen for creating ho memade spe cia l effect s. A lmo sl e very d rug s tore carries a ma teria l ca lled surgical ru bbe r shee li ng. whic h is used for ma king baby pa nt s, amo ng other things. To ma ke the sc reen . ju st be nd a clo thes ha nge r into t he shape yo u want. stre ich t he s heeting ove r it tightl y a nd ta pe it in place. The s heeting is free o f grain a nd ho ts po ts . and fall-oITcan be co ntrolle d by varying the te ns io n of t he screen . The re is virtua ll y no color c ha nge from the o rigina l. I unde rsta nd tha t th is type o f sc reen was used in scenes in K i ll p K Oll p a nd 5011 of K Ollp. so you know it ' s got to be good .

Scott Law rie Penticton . B.C. , Canada 14

camera shop a few years ago. I can gel a remarkabl y sharp Hnd finel y deta ile d view of a si ngle frame of fil m by plac ing the fron t of the

lens up to my e ye a nd holding the film tothe back o f the le ns. A fi uore sce nt lamp a ime d away fro m

my eye and lOward ~ a pi ece of re fi e c ting w hi te p;l pe r is t he bc ~ t light source. Unlike incande scent ligh t. nuore scent light Ic ts me view the a c tual colorof thc fi lm . I' vc used thi s simple te c hnique to exa min e origi na l footag e fo r edgeto-edge sharpne ss a nd co rre ct e xpos ure . II is espec ia Jl y use ful in comparing origina l footage to prints for properd e n ~ it Y, gra in bu ild up, e rc. l f yo tl ca n路lfind a simple 8mm o r Super路S projector len s at your own ca me ra de a le r.

you ca n o rde r one fo r a ro und S3-5 from pla ces like Edm und Sc ien ti fic Com pa ny. Ed sco rp Building.

Ba rringto n . N .J . 08007. A lthough you can use a zoom le ns fo rthe same purpose. they te nd to be difli c ultto cont 1'0 1 and ha rder o n Ihe e ye in my op inion .

Steve Beers Wet hersfi e ld . Conn.

Bug Your Audience I nsec ts make colorful and unus ua l s u bje(,~ t :. f(l r the ama te ur filmma ker. Th e y're ncver camera s hy. and they work free! If you r Supe r-8 camera ha :. through-Ihele ns re n cx viewing. here 's an inexpe nsive way to bri ng a strange a nd fasc inat ing "m a<.: ro -wo rld"to your sc ree n. Remo ve the lcns from a magnifying gla<;s and epo xy il into it sc rew-in le ns hood . or improvise a mea ns of sec uring il ovc r your ex isti ng o ptics . Le nsto- subjec t distance be comes infl ex ib le (about fOllr inc hes) and dept h offield is very s ha llow. but

your next drama will have it zillio n

legs. Or l he leadi ng mantid mig ht get the lad ybug .

Mik e Wi lmo th To le do. O hio Scarrace

Ru bbe r ceme nt is a ll you need to make realis tic scars. Brus h a thin layer on the skin, let it d ry a nd the n just fold your s ki n togethe r to form a crease . A da y-old c ut ca n be made with s imila r tec hn iq ue. Ru b blue-green an d vio le t watercolo rs o n your a r m a nd wipe wit h wet tissue to leave a fain t di scoloration rese mbli ng a bruise. N ow a pply the r ubbe r ce me nt. let it dry a nd fold the s kin toge the r. Fo r a mo re serio us injury, add some thea trical blood o r food c olo ring mi xed wit h a little fl o u r. When you're through shoot ing. yo u can ru b o ITt he ru bbe r ce me nt o r w ipe it off with gasoli ne.

H o u man Sabah i Vancouver. Was h.

InstantArmature H e re's an eas y. inex pe ns ivc a rma颅 lUre for a nimated characters . A ll yo u need are three s izes ofdowe ls . a li ttle do uble-s ided carpe t tape. a nd a bo ut 20 inches of be nd able wire, s uc h as 18 or 20 gauge annealed stove pipe wire. First cut the dowels into body pa l1 s . I use d ~ -i n c h dowe l fo r the bod y, head a nd feet. \tl-inc h dowel fo r the uppe r arm. thighs a nd calve s a nd % -inc h dowel fo r the for ea rm and ha nds. Dr ill holes about \-7-inc h deep in lo the parts at the points where they will be a tta c hed . Now , sa nd otTt he sharp e dge s a nd s and the head . ha nds a nd feet to t he proper forms . A 5- or 6-i nc h sa nding d isc fo r your powe r d ri ll o nly COSIS abo ut $2 a nd makes this ste p eas y. Next. cut 13 length s o f wire IY.z-inc hes long. U se needle nose plie rs to be nd th e e nd s of the wire over sligh lly. Thi s will keep t he wire from s li pping o ut o f th e body pa rt s . Ca refull y s tufTt he e nds of the wires inlo the a ppro pr ia te bod y pa rt s. The las t s le p is to c ut o ut two pi eces of two-s ide d se lfadhes ive c arpe t tape to fi t t he bo ttom of the fee t. Th is w ill a ll ow yo ur c hara c ters to sta nd still in SUPER路S FILMAKER

>

<

,

virtually any pos ition and will en­ sure against accidental shift s in position during filming.

I have found these creatures to be exce ptionally wel l-mannered ac­ tors which a re lightweight , eas ily repaired , flexible a nd su rprisingly durable.

V. Bria n Pe tersen Encino , Calif.

Split-screen Titles You can create impressive titles using a matte effect seen fre­ quently on television commer­ cials . The effect starts wit h a frame-filling pi ct ure w hich the n pulls back to one corner of the screen , leaving the rest ofthe space blac k as a background for a printed message. Ordinarily, this is done in a la b, but here' s a Super-8 substitute that doesn't require backwinding.

Start with a sheet of some cheap material , s uc h as 11I- inch "Upson" board. A 4- by 8-foot sheet wi ll cost about $5 at your local building suppl y store. C ut the board in half with a matte knife or sheet rock knife, making a 4-fool square pi ece. Then cut a 14-i nch squa re wi ndow at least 6 inches in from the top and th e right side. Paint the board flat black. Place a s heet of clear glass in front ofth e matte board----di stance will be deter­ mined by zoom a nd camera position-and write your title s with white vinyl stick-on leite rs on the glass. I fthe glass causes reflec­ tions that are hard to elimina te, co ns ider using colored light s a nd mak ing the reflect ions part of the effect.

You can position a li ve actor in the wi ndow or use a rear project ion screen. Start your sce ne with a shot of the window filling the e ntire frame and then zoom back and pan to the left, moving the window into the uppe r right corner of your viewfinder revealing your title over the black pa rt of the picture.

Make su re you r depth offi e ld e ncompasses both board and glass .

Rod Fisher Idaho Falls, Idaho We will g ive a Iree, one-year subscription to

readers whO submit tips that we publish.

Send your tips with a sell-addressed.

stamped envelope to: "Tips," SUPER-8

FILMAKER, 3161 FilimoreSt.,

San Francisco, Ca. 94123.

The Revolutionary ~ Bmm Non-Rewind

Reel System No need to ever rewind a film again!

• Film guide picks up film

lead and guides it out from

core of reel onto the adapter.

• Special adapter holds reel

and guides film smoothly ;nt,o ~-f-l!-----If

projector.

• Snap-on cover keeps film

from "spilling" off reel during

projection.

Now you canv iewatl Super 80r

S ingle 8 li lms without tedious film

rewind ing between each showing.

Simply snap a 400 It. NoI1-Rewind

Reel onto the take-up reel arm of your

projector. After each projection. film will

be ready for the next showing. Saves lime.

and film is never subjected to the stress. strain.

and possible damage that may be caused by fast rewinding.

Initially an adapter and two Non-Rewind Reels (one serving as take-up.

the other as feed reel ) are needed. Then add Non-Rewind Reels to

your film library as required Gepe Non-Rewind Reels work wi th most

projectors having sprocket film drive and reel arms. Write for more in fo .

~

HPMarketing Corp,

98 Commerce Road Cedar Grove. N.J. 07009

CIRCLE INFOCARD 13

SUMMER

FILM

INTENSIVE FILM MAKING WORKSHOP 4 weeks of hands-on screenwriting, lighting, directing, and editing. All students will write, shoot, and edit a film. All equipment will be supplied by the school.

MASTER FILM MAKER WORKSHOP

The opportunity for advanced film students to study with celebrated professional film makers: screenwriters, cinema­ tographers, directors, and editors.

ALSO'

35mm CINEMATOGRAPHY WORKSHOP All classes begin August 1, 1977.

For information ilnd brochure contact

SHERWOOD O4KS

EXPERIMENTAL COlLEGE

6353 Hollywood Boulevard Hollywood, Celifornia 90028 (213) 462-0669

A Non·Profit EduCiitionill Organization CIRCLE IN FOCARD 37

SUPER·8 FILMAXER

Please begin my su bscripti on as soon al poasible:

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o this Is a ranawal

Rstes and credit apply on ly to U. 5., U.S. Poss., APO- FPO addresses.

All othars please add $1.00 per year postage.

Plell$e begin my subscription

as loon as pOlllble:

0 2 years/$17

o bill me later

o payment enclosed

03 years/$25

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Rates and credit apply only to U.S., U. S. Poss., APO- FPO addresses.

All others please add $1.00 per year postage.

5 2282

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PLEASE CIRCLE YOUR INTEREST IN SUPER-8; A. Professional B. Educallonal C. Student D. Hobbyist

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o Bill me $9 lor a 1 year subscription to Super-8 Filmaker.

PLEASE CIRCLE YDUR INTEREST IN SUPER-S: A. Professional B. Educational C. Student DO YOU PLAN TO PURCHASE SUPER·S EQUIPMENT IN THE E. Yes F. No

ARE YOU INTERESTED IN VIDEOTAPE INFORMATI ON?

G.Yea H.No

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First Class

Permit No. 19939

San Francisco, Ca.

BUSINESS REPLY MAil No postage stamp necessary it mailed in the United States Postage Will Be Paid By

P.O. Box 10052 Palo Alto, California 94303

First Class

Permit No. 19939

San Francisco, Ca.

BUSINESS REPLY MAIL No postage stamp necessary if mailed In the United States Postage Will Ba Paid By

P.O. Box 10052 Palo Alto, California 94303

Place

Siamp

Here

P.O. Box 13069 Philadelphia, Pennsylvani a 19101

Place

Stamp

Here

P.O. Box 13069 Philadelphia, Pennsyl vani a 19101

50 YOU THINK YOU'VE GOT PROBLEM5:LOOK AT FILMMAKERS OF FROZEN NORTH BEVERLY ENSOM Few Super-8 cameras can boast a sealskin barney. Terry Pearce's can. What' s more, he somet im es

take s his came ra to bed with him.

Not startli ng when you consider thai Pearce is fi lming Es kimo life 190 miles north oflhe Arctic C ircle in Canada' s Nort hwest Territo­ ries. In his home town of Igloolik (population 650). the average F e bruary temperature is - 35 de­ grees Fahrenheit (F .).

Te rry Pearce is one ora handful of fi lmmakers using Super-S in the Canadian north . In addition (0 coping with the ext reme cold, they

must fa ce the c hallenges ofa ter­ rito ry whose vastness and isola­ tion are hard to comprehend.

When the icy temperature s freeze up film so that it snaps like po(ato chips or the minus-degree weather causes batteries to drain instan­ taneously, there's no neighbor­ hood camera shop to provide new film or friendly advice.

Yellow- knife. the capital ofthe Northwest Territories. has one camera store .

•

SUPER,S FILMAICER

If you' re 1,400 miles away in 15 years . Snowmobiles have, fo r Frobisher Bay, you might the most part, replaced dog sleds, as well deal by mail with the people li ve in houses not igloos and they no longer bu rn whale the ex perts in Montreal blubber to provide light and heat. or Toro nto- I ,250 and Si nce the launchingof the gov­ 1,450miles away. ern ment communications satellite T he latte r are also A flik in 1972, tele phones are a part the closest places o flife in half the communities, for processing.

But then there's and , for beneror worse, so are Police Story and the late movie. the q uestion

of mail

•• Nomadic camp life has almost service disappeared and permanent vil­ and lages dotted overthe north are now ' home' to the Canadian Eskimos," ex plains Pearce. " Igloolik is one of these vill ages, where I now live with my wife and so n. A small plane comes twice a wee k, weatherpermi !ling, carry­ ing passengers, mail and fre ight."

whether there will be any that week.

The Canadi an govern ment sponsors mos t filmm aking in the Northwest, as the territory has little private industry.

However. with cutbacks in federal spend ing, the gove rn men t can on ly encourage Super-8 efforts in a limited way.

Terry Pearce, fo rmerly an English photojou rnalist. has fi nanced his own fil mmaking in the north for the past two years. When he is not fi lmmaki ng, he earns his living as an audio-visual consultant.

H is most recent ass ignment was with the Inuit Cu ltural I nsti­ tute, advisingon design, eq uip­ ment and staff training fo r a darkroom fac ility.

Pearce points o ut that Es kimo life in the Nort hwest Terril ories has c hanged dramatically over the past 20

Pearce's Super-8 fi lmmak ing centers around day-to-day life in the nort h. In the villages. he fi nds it possible to fi lm at al most any ti me ofthe year because there is always a warm building to step into after a few minutes in the cold. O n hu nt­ ing trips away from the se ttlement

in winter, he fi nds fi lmmaking

practically impossible .• ' With

temperatures of -60 degrees F .

and wind-ch ill factors of -120 de­

grees F ., you have enough to do

keeping yourself warm . "

Even when it is " warm " enough to fi lm, the working parts ofa normal camera can't be expected to func­ tion smooth ly fo r any le ngth of time. Pearce describes his fur bar­ ney , a rather sophisticated solu­ tion to the prob lem of extreme cold : " It 's made in three pieces.

T he bod y part has a zip at lhe back so that the camera can be reloaded witho ut removing the barney. T he sealskin covers o n the le ns and the grip do not have to be removed for normal operat io n o f the camera.

On the left side of the barney, small sem ici rcular ve nts have been made to faci litate viewing the foot­ age counter and o perating the ex­ posure meter override" (see photo).

To the east of Pearce. in Frobisher Bay , other Super-8 fi lmmakers are producing a 15-minute television show each wee k for the Inuit people. in their nalive language.

With he lp from the Canadian Broadcasting Corpo ration (C BC) and the Natio nal F il m Board , the Nu natsiak miut group is prov iding TV programs of specifi c interesl to native people and trying to he lp them preserve their c ultural heri­ tage . N unatsiakmi ut has used Super-8 to record a typical day in a northern day care cent er, Ihe use of Eskimo tools and tec hniques in skinning a seal and drying the sk in ,

and the care of snowmobiles.

Their show is run bac k-to-back

with anot her 15-minute prog­

ram prod uced in Mo ntreal.

T his half- hour once a

week is the only nat ive

conte nt in 112 hours of

nort he rn programm­

ing.

T he e BC plans to use Super-8 as the basis for all its northern TV

•

who has assisted the Nunatsiak­ miut group. found that his hands were numb afte r a few minutes without glo ves in February weather. His solutio n is to remove

•<.> j~

most of his handwear only for the

actual shooting, and Ihenjam hi s hands back into his mitts as soon

L _ _ _ _ _"--_ _ _ _ _~! as he's fini s hed .

T err)' Pearce's ~a lskin barney Is not for soundproofing his camna: Il'sfor keeping Ihefi lm insldl'from rr~1.ing!

se rvice. with N unatsiakm iut as o ne ofth ree production units.

While N unats iakm iut now trans­ fers Super-S footage to ~-i n ch video cassette tape in Montreal and the n edit s in that form, the C BC hopes to make the nort he rn se rvice completely Super-8 in o p­ erat ion , with every aspect of pro­ duclion done by northerners.

Egan also discove red that north­ ern light can be tricky. While view­ ing footage, he noticed that the images oft e n had a blue cast. H e took his color meter wit h him the next time he we nt to Frobisher, and su re e nough , Egan foun d the color temperature 200 degrees Kelvin higher than he was used to in Ott awa. From then on , the N unatsia kmi ut people kept #1 haze filte rs on their cameras.

"With my Super-S Mos ha Michael quit his job as an apprentice carpenter to join the Nizo in one hand , I Nunatsiakmiut group in Frobis her continued filming ..

Bay. His interest in film was a ro used by an animation work­ I used my other hand , shop he attended in Cape Dorse t. covered with blood Michae l has de vised a few of his own met hods for dealing with the and walrus fat, to ext reme cold and special northern help my Eskimo lighting problems. To preve nt his Bole x 280 from freezing to his nose companions. " and cheek, he stuck foam rubber to the back of the camera. Si nce the Most of the northern filmmakers dazzl ing snow fools a camera's agree that the extreme cold of automatic ex posu re control into January a nd February make work underexposing, he finds manual almost impossible then. A ndrew ex posure a mu st and says he al ­ Steen , a Yellow knife fi lmma ker ways opens up the s hutter a t leas t working for the Canadian gov­ oneJlstop more than his meter ernment 's Northern Career Pro­ indicates. gramme , does all of his s hooting in t he s ummer and his editing in the Michael also says he lea ves his winter. Steen is producing a series camera outdoors during coffee oflO-minute film s depicting jobs breaks, because condensat ion can now held by w hites that could be form on a cold camera brought done by native s, includi ng forest­ indoors and then freeze up very ry, land-use operations a nd parks quickly when iI's brought o ut s ide. jobs. The series wil l serve as an The filmm akers a t Frobishe r Bay orientation a nd training tool. have also found that the working Even though it was springtime , part s ofa normal human body David Z immerl y's nose fro.ze can't be expec ted to function while he was fi lming at Ran kin smoothly for a ny lengt h of time Inlet. ([he skin turned blac k and under such cold condit ions. Tom peeled ofT a few days later.) Zim­ Egan, a C RC Super-8 s pecialist me rl y is a n eth no logist working for the National Museums of Canada These ph otos by Terry Pea rce show (from top to boll om); Esk imo c hildren a t school in a nd has lived with a n Eskimo fam­ 1 ~loolik ; Nuna tsiakmlut filmmakers ~evee ilyat Ra nkin Inle t on and ofT for No wdluk , Corinne Cor ry and David Hoisey the past four years. Zi mme rl y car­ in Frubisher Bay; twilight In Igloolik a nd a pair of icl'-frosli'd bicycles: Terry Pea rce 's ries two Beaulieu cameras with wife and their child; filmmak er Mos ha him , using the m to record daily life Michael and the filming orday- to-day a nd the hunting a nd fi shing trips Esk imo life.

SUP ER-8 FlLMAXER

that provide most ofthe fa mily's food. Whe n traveling by sled, Zim merly carries only one came ra in aseals kin bag tied around his neck so that his body will c us hion it on the rough terrain.

That kind of portability is a n important reason Super-8 is pre­ ferred for o utdoor work in the North west. Few peo ple use double-system sound-the re­ corde r isj ust o ne more thing to carry arou nd unde r your coat. T he northern subject matter also see ms todictate the use ofSuper-8, as ev idenced in the follo wing account

by Terry Pearce ofa walrus hunt.

"The hunt took place on the ice floe s in Foxe Basin. A lthough these e normous islands of ice a re quite stable, they do s hift a round the Basin as the winds c hange, and you have to be pre pa red to move you rse lf and yourequipme nt quickly. " We had been hunting walrus for about 10 ho urs, and by the time my Es kimo frien d s had s uccessfull y s hot three of them and hauled our canoes up onto a large piece of floating sea ice, it must have been about three in the morning. But the hour of the day was the least of our worries. It was Jul y, a nd in t he high arctic a t that time of year, t he s un never sets. There is perpetual daylight.

"W ith my Super-8 N izo in one hand , I co ntinued filming , w hile occasiona ll y, in between 'cut s.' I used m y other hand , covered with blood and walrus fat , to he lp my Eskimo companions to bu tcher o ne of the 2.000-pound a nimal s.

"One problem I have discovered in bei ng a -s ingle- handed' film ­ ma ke r with the Esk imo hunte rs is that everyone partaki ng in a hunt must sha re in the hard work. Any man w ho j ust stands and watches (or films) is not on ly frowned upon but will probably also get cold .

A nd so I have found th at be ing able to fi lm with my camera in o ne ha nd and a knife in the ot he r, and at the same t ime being adept at jumping from o ne moving ice Hoe to another , is a defin ite asset for th is kind of filmmaking. " 0 B everly £IIS0/1/ lilies ill 011(111'(1, Cal/ada (llid is (ljreel(l1/ce IIIriln ollfilm (jill/ filmmaking ill Canal/a.

21

POLAVISION= WILL IT

BE THE "BIG MAC" OFSUPER-S?

LENNY LIPTON Needham, Massac husetts, April 26, 1977. Nobody cou ld accuse it of being an ordinary day. Forthi s is t he day tha t Dr. Edwin Land C hairman of the Board of Polaroid demonstrated what the company

call s "i mmediately visible living images" (their new instant movie system). And it isn' t every day that 3,800 s hareholders a nd mem­

bersof the pre ss ge t ac hance to film , fo r eight seconds each , an y o ne of 42 sets fi lled with perform­ e rs , laid out in a footba ll field size

warehouse.

An air or near hysteria was created by anticipation of this much­ awaited product and by the crowd­ ingof nearly 4,OOO soul5 into this converted ware house. That' s not to suggest that the event went anything but smoothly. In fac t , o ne would be ha rd pressed to or­ c hestrate a better run participatory event , given the great num be r of persons and thei rexpectatio ns .

The s pecifications of the Polavi­ sion camera may not seem impres­ sive to ma ny diehard filmm akers.

It's a ve ry simple box-type mac hine ru nning at IS frame s pe r second only, wit h a reHex (through-the-Iens) viewfinder and a n automatic exposure meter that cannot be man ual ly overridden .

T his early model is not a sound recording came ra, although t he si­ le nt film "cassette" (Polaroid does not call it a cartridge) doe s carry magne tic s lriped film . The camera has a2 :1 zoom rat io wit h a modest IIl.S len s, and fa r a nd close focus­ ing ra nges. The exposure meter itse lf is not through-the-lens , but rat he r a n adjacent type, look ing th rough the camera's upper hous ing.

T he loading door is on t he right side , lens fac ing you, like Fuji Single-8 cameras (see Figure I).

That 's because the fi lm cassette 22

w ith its mave rick dimen sions can­ itself more nearly rese mbles the Fuji cartridge than the Kodak unit. not be used in a nything bu t a The camera also has an adjustable Po lavision camera, As I men­ eyepiece, w hich is par for the tioned before , the stock is magnet­ cou rse. Powercomes from four ically sound s triped so that film type AA batteries located in the s hot in a silent camera w ill nOI pistol grip , w hich a company have to be sent back to a lab for striping if the user wants to add spokes man claimed would run 50 cassette s. The came ra has a built­ narra tion or mus ic. in type A fil te r, like all Su pe r-S I asked Dr. Land if a new cas sette cameras and recently Fuji Single-8 that wou ld allow direct so und re­ machines, a nd there 's also a pl ug cording was planned , a nd whether fora movie light s itting atop the it could be used wit h prese nt s ilent body, Based on my few seconds Po lavision cameras. Hi s re sponse with the machine , I can tell you was an openi ng or " port " could be added to the present cassette , so a camera 's sou nd head cou ld record o n the stripe. In all proba­ bil it y the sound cassette would fit in silent mac hines, and in lime , on ly one casse tte, the so und ported ve rs ion, would be o ffered.

vision Instant movie camera.

At the moment the re is o nly one fi lm stock available , a type A (bal­ anced for tungsten light) mate rial wi th an ex po sure index (E. I.) of 40, like Kodac hrome 40. When used w ith the built-in daylight filter outdoors t he fi lm has t he usual25 E, I. The film con tained in t he cassette is onl y 43 feel long , not the 50 feet we' re used to. This playsj ust u nder 3 minute s at 18 frames per second (fps). The ultra thin emuls ion is coated on polyes­ termaterial, like Fujic hrome Single-8 film.

that the viewfinder was bright and cris p and the came ra comfortable to hold. However, it runs very noisi ly by t he sl andard s I appl y to even bottom-of-the-line Super-S equipment.

T he film cassette it se lf resembles the Fuji co re to core (reel to reel) unit , but it is la rger than the F uj i device, measuring so me 5 v.. x The Polav is ion "player" isa 12­ 2* x !I.z inches (see Figure 2).

Unlike the Fuji cartridge , the cas­ inch diagonal rear-screen pro­ jector the s ize ofa small portable sette has a built-i n pressure pad TV. It has absolutely no cont rols . muc h like the Kodak Super-8car­ Presumabl y fo c us a nd fra me line tridge. And unl ike both Fuji o r are faclOry preset a nd never need Kodak products , the film actually travels from a feed to a take-up to be adjusted. The playe r offe rs reel. The film within is Super-S, rapid rewind at about 400fps, accord ing to Land. When you a re However, it is nol intended for fini shed filmin g, you in se rt the cas­ projection o n anything but the Polavision " player. " The fi lm selle in the playe r, a nd after a minute a nd a half of processing, neve r leaves the came ra cassette w hich also serves as the projection t he image is projected. Po la ro id did not reveal details about w he re cassette. Ofcourse , thecasselie SUPER·8 f1LMAKER

,

,

screen.

and how t he process ing was ac­ compli shed, and it was not possi­ ble to examine any ofthe equip­ ment zealously guarded by the Polaroid staffe rs.

It was a great thrill to see movies a minute and a half afte r yo u shot them. It's a tremendous selling point , and that 's the way all movies o ught to be , if you want my opinion. Can anybody di sagree?

Howeve r, there are for now some serious drawbacks to the system.

The processed film itselfisex­ tremely den se , so dense , in fact, that it cannot be projected with an o rdinary Super-S projector. T he image would be too dim. That's why the system uses a small 12­ inch rear scree n and an inten se ly bright optical system with a 150­ watt lamp. The projected image was bright, but it was ext remely grainy, with very high contrast and what (judged to be washed-ou t skin tones in many cases. I would also judge the grain to be more noticeable than that of any of the Ek tac hrome film stocks now avai lable. However, it was quite difficult tojudge the quality since I wasn' t conducting tests myself and because the subject matter had been rigged. As I've mentioned , the re were 42 sets with bright backdrops, and these were peopled by brigh tl y costumed clow ns, dance rs, mimes and j ugglers, many of whom wore make-up . This made any effort to evaluate the pictorial quality ex­ ceed ingly difficult.

Despite the fact that the film was very grainy and contrasty, it did appear to be rather sharp, and the SUPER -& FiLMAKER

colors were very saturated and bright . The image was ce rtai nly on a pa r with a similar size T V image.

However, I also not iced marked mottli ng or blotches of color on a great deal of the footage I inspect­ ed, wh ich I assume is due to un­ even processing. I expect that the

Figurt 2: UnUkfSuper-8 111m cartridge!!, tht ntw insta nt 111m In tht Polavlsion casSfttt runs from a fffll loa take-up rtft.

defects can be minimized and even cured in time for the full scale national distribution of Polavision, which is actuall y a year or two away by my estimate. Initial test marketing will take place at C hristmas time , probably in Florida where Polaroid has used the same strategy fo rthe introduc­ tion of the SX-70 products. No prices were announced.

The major techn ical defec~ofthe system , the unusual densit y ofth e processed film 's image, has been turned into its major advantage by an inge nious stroke. Perhaps it was the o nly viable approach Land could ha ve taken give n the tech­ nology into whic h he is loc ked.

G iven the densit y difficulty, it' s only natural that a bright rear­ screen type player wou ld have to be employed. Theadvan tage is that the playerremains in the

li ving room like a TV set , to be enjoyed without turni ng lights out and se tting up a screen .

The Polavision sys tem isn't really aimed at serio us fi lmmakers, or even home movie makers. It 's aimed at people who want to see the unedited version of baby 's first step, and they will get to see it almo st immediately afte r filming.

It' s aimed at people who don't want to edit their fi lm , who want acassette library offamily high­ lights-picnics.t he beloved dog, and so forth. And Polavision is a imed at the TV accJ imated Amer­ ican who is used to look ing at a rear-projected color image in le ss than optim um condi tions in a full y lit room.

Dr. Land may have scored , but are we to take seriously his opin­ ion that he is offeri ng us "a new mechanism for re lating to life and each otherT' Pe rhaps he's right; maybe thi s is. as he put it , " 'iving photography." In a ce rtain sense, I be lieve La nd 's hand was forced.

Afterall , each year that goes by, TV tape recording(videotape) gets a little bit nearer to the con­ sumer home mov ie level. The handwriting is on the wall for fi lm if it can't compete with instant tape.

Still , a se lf-process ing film in the usual Supe r-S cartridge, not a special cassette , would have had vastly greate r a ppeal to millions of users who already own Super-S cameras. Mo reover, ifthe film were ofthe usual density there would be no problem in projecting it in existing Super-S projectors.

The next move may be up to East man Kodak. 0

"

You'lI be dressed fit to fi lm in aclap­ boilrd FI.LMMAKER'S T-SHIRT from Alan Gordon Enterprises. The snappy clapboard is o ne of 17 different film· making designs. whic h come in eight colors and four sizes. The all-cotton shirts are pre-s hrunk to withstand repeated washings . A free illustrated brochu re giving details on designs. sizes and prices is available from Alan Gordo n Enterprises. Depart· ment T-S. 1430 N. Cahuengil Blvd ..

Hollywood. Calif. 90028. LiJI price: $5.98 to $6.95.

CI RCLE INFOCARD 26

Support yo ur screen in style with the .

EKS SCREEN SUPPORT STAND, en­ gineered for fu ll use of the one-piece molded Kodak "Ektalite" sc reen.

You can easily adjus t the screen's heigh!. placing the bottom of the screen from 38 inche s to 53 inches fro m the floor. Large knu rled loc k knobs faste n the screen at Ihe besl viewing angle . The siand is con­ strucled of aluminum wilh a square tu bular frame for the screen and a rou nd lelescopingcolumn with a heavy du ty base. A set ofcasters is optional at addit ional cost. Finished in basic black. the support stand comes complete with all fi tlings.

Available from Welt/Safe-Lock. Inc. 2400 w. 8th Lane. H ialellh. F la. 33010.

List price: $49.95.

CIRCLE IN FQCARD 28

You like roughing il . bUI yo ur camera is a sissy . Next time you go hiking. cycling or just communing with nature. treat your equipment toa CAMERAPACK rid e. The seeret of the lightweight unit is an "Et ha-foam" liner cut to accept your camera and lIuxiliary equipment. The semi-rigid Etha·foam maintains its shape when the unit is uscd as a backpack. pre­ venting equipment from knock ing to­ get her. Soft. convoluted foam holds the conte nts in place. Order an une ut 14- by 16·inch liner. and cut your own

custom-made compartments to pre­ cisely fit yourS uper·8equipment. The water-proof nylon pack comes in royal blue. orange. and green. Shou lder stTiIPS liTe padded for comfort.

Camerapacks. P. O. Box. 2607.

Framingham Center. Mass. 01701.

Li.VI price: $49.95.

CIRCLE IN FOCARD 29

Settle down for a big show. You Clm scree n filrn continuously fo r over two hours with the2.200-foot EXTEND­ A-REEL from Ra-Cine Produc ts.

Completely portable. the unit is self­ powered so there is nodrain on the projector motor. You rewind on the unil: noother equipmenl is needed.

Extend-A·Ree l works with almost all sprocketed Super-8 and Regular-8 si· lent and sound projectors. A vailable from Ra-C ine Products Co.. 1687 Perry Ave .. Racine . Wise. 53406.

List price: $89.95.

CIRCLE INFQC ARD 27

SUPER-! FlLMAKER

When time is of the essence. a good stopwlltch is essential . If yo ur movies require tight pacing. the ETI05 elec­ tronic digi tal sto pwatch will time you r takes to a tent h ofa second with quartz crystal-controlled accuracy. Bright light-emitting diodes let you read the stopwatch in dark screening rooms.

On location. you can hold the six­ ounce ET105 in the palm of you r hand or use the neck strap. which comes with the stopwatch. Three replace· able AA heavy du ty batteries. also included. prov ide 12 hours of cont ino uous operation. Available from SOS Photo-C ine-Optics. Inc. 315 W. 43rd St.. New York. N.Y . 10036. List price: Stopwatch: $49.95: Leather carrying case: $3.95.

Animation is easy with a FLUID ART STAND. Touch colored grease pencils to the backlit opal glass. wanned by five40·watt bulbs. When the grease penci ls melt enough to become fluid. paint your pictures with a brush. Since the grease paint can be removed with a rag or a metal sc rape r. yo u can change the painting slightl y every few frames for an animation effe ct. The stand holds most Super-8 cameras and lets yo u move you r camera up and down or choose from five horizontal positions.

The incl ine of the light box.,is also adjustable. You can also use the stand fo r other animation techniques. copy­ ingor titling. A Fluid Art Kit includes :til the tools and s upplies needed for fluid art animation except fo r rags and paint thinner. A vail;lble from Fluid Art Division. Sun shine Camp. 8363 Trenton Rd .. Forestville. Calif. 95436.

List price: Stand: $132: Ki t: $20.

CIRCLE INFOCARD 31

CIRCLE INFOCARD 30

Ri vendell has come up with the PANALUXE, 1m affordable fluid head that lakes the jerks and jiggles out of panning . Use of silicone-based lubri· cant and a specially designed bellring system enabled Rivendell to simplify the gears without losing the silky­ smooth action fluid heads are known for . The touch ofa finger on the level allows the camera to glide around al a constanl rate. floating to a stop when pressure is released. The Panaluxe does not require servicing and is guaranteed for three years. Designed

A smile will be you r o nly umbrella when you discover compact. light­ weight ROSCO PAK BOUNCE LIGHT KITS. Each kit contains II 48­ by 56· inch sheet of metallic polyester. which can be used 10 control reflec­ tions in hard-to·get·at s pots. suc h as the interiorofacar. Only Ihe weight of tissue paper. the material is extremely tough. The metall ic surface will retain light control properties even after the sheet has been washed, sc rubbed clelm. crum pled in a bag and straight­ ened out again and again. Pak F,

SUPER·S F1LMAKER

for horizontal panning. the fluid head can be used with or without aconven­ tional pan-and-tilt head. The \4·i nch bush and stud will fit all standard cameras and tripods. Halmar Enter­ prises. P.O . Box 793. Niagara Falls.

Ontario , C anada L2E 6 V6. List price.' $69.95.

CIRCLE INFOCARD32

highly reflective silver. provides maximum light output, while Pak W, soft wtlite. d iffuses light for softer shadows. To cool a wann light. use PakD, metallic blue: PakG, metallic gold. will wann acool light . Avai lable from Smith· Victor Corp.. Lake and Colfax Streets. G riffith. Ind . 463 19.

List price.' SIOper ki t.

CIRCLE INFOCARD 33

25

HOWTOBUY

YOUR CAMERA

TEST DRIVE BEFORE YOU CRASH

DENNIS DUGGAN Test Driye Your Camera You want to buy a camera. You've read all the Product Probes and every other review and report you could lay your hands on. Y ou' ve talked to other filmmakers, a nd

you've separated the fact s from the hype in the camera ads .

You've weighed all this informa· tion against your bank balance,

of today will probably look like primitive antiques. Imagine 110 10 second "Dial-a-dissolve" or au­ tomatic colorcorreclion in any kindoflight. minute-long zooms, or voice command controls.

Y our came ra should have every s ingle fe at ure that you anticipate needing, and probably a few more .

Favoring extreme close-ups of and now you're read y to take ... wildflowers should lead yo u to The Multiple Choice Test look for a lens that has a macro Super-8 abounds with choices. capability over most. ifno t all, Does the convenience ofa s ingJe­ of its zoom range . If you plan to shoot indoor dialogue scenes with system (sound recording)camera actors , you'll need a very quiet outweigh the advantages of au­ tomatic lap dissolve s and other camera. orone that can easily be refinem ents found on the more quieted with a soundproof "bar­ ney ," without making the controls sophisticated double-system (si­ lent)cameras? Will I s hoot at 18 or inaccessible. If you see you rself 24 frames per second (fps)? Do I directing action film s with fight s need an XL or a normal shutter? and car chases. you may require a Will a short but fast (6 to 1zoom, speed like 12 fp s to make it all look fast without getting anyone killed . /11.2) lens serve me as well as a longer but slower(1 2 to I zoom.

A friend who's new to Super-8 /1 1. S) lens? These are some ofthe proudly showed me a new camera questions you ask yourselfand with all the features he's heard me anyone else you can get to listen . lout- but it also had an eyepiece And to help you make your deci­ that stuck out a full inch . This sions. some " expert" is always protrusion wouldn't have upset me willing to tell you the "best" so much if he weren', making a choice. It seems to me that it' s sports film. Handheld. Skiing in always best to leave yourself an downhill races. The first time he alternative. [fthe camera you falls with that camera up to his eye select has many options, you're may be the last time he skis with a free to choose each time you film. camera.

And that's too bad.

Automatic everything is great. but manual override options give you Getting What You Want more flexibility.

You've given it a lot ofthought , Your choice ofcamera, of course, and now you know what features you want in acamera. But how do should reflect your individual you tell a superb optical instru­ needs and be built to withstand your normal usages. It doesn't ment from a plast ic and glass gim­ mick box? Even more difficult, need to be built to last 20 years. how do you tell a good camera Super-S technology is improving from a so-so model?The answer is at a tremendous rate ; automatic to pay a visit to your local camera focus and instant movies are al­ store and put your top choices to most upon us. Five or 10 years the test. Eventually, you'll have to from now , the magical marvels SUPER-8 FILMAXER

pay for a few cartridges of film and processing. but it' s worth a few dollars to know if your chosen camera can make the grade. Buy­ ing a lemon can cost you plenty in ruined film , repair bills and as pirin.

And if you suspect yourcurrent came ra is a lemon, see how it scores on our tests .

Niceness Counts You'll need cooperation at your friendly. neighborhood camera s hop . The kind you won't get if you sail in some busy Saturday afternoon, push everyone aside and start pinning up those snazzy SUPER-S FILMAKER te st charts (see insert box) that have made you the envy of all. On the other hand, if you're sensible and con­ sidera te , you'll probably get the help you'll need . First, you should have a pretty good ideaofwhich camera you want. Then talk to the salesperson and explain what you want to do. Try to set up an appointment to make your tests when the store isn't bu sy. Some stores are reluctant to let you step outside the door without an armed guard, while others will let a famil­ iarcu stomer take acamera home overnight. Having cash or credit cards on hand for the store to hold can usually relax the tensions .

Tactile Maneuvers The heft of a camera pressed close to your face ... the way your fingers naturally reach out to the right controls ... the ability to follow focu s with moving action by feel as well as by eye ... all are important and often underrated considerations. Filming should be as smooth and graceful and natural as playing a musical instrument or making love. Case in point: I bought a Bolex Rex.4 Regular-S camera and had it converted to 27

ChartA

Double S uper-S to use on my J. K .

Optical Printe r. Although I put its work ings th rough rigorous te sting.

I ignored its " feeL" Th is Bolex is one oft he fi nest came ras eve r made in terms of qual it y construc­ tion . It has excellent registration . grou nd-glass focus ing, mUlt iple speed s, and total backwi nd. I thought I'd probably s hoot my next fi lm in Dou ble Super-S. I was wrong. After working with we ll­ ba la nced S upe r-S ca meras w ith big, brig ht. c lear view finders. easy cartridge Imlding. lo ng zooms and automatic everything. Ijust co uldn't , or wou ldn't , readjust to the c umberso me produc t ofa bygone e ra. The Rex4 sta ys on the opt ical pri nter. Case c losed.

The Dry Run Before you c heck ou t a ca me ra . adj ust the viewfind e r for yo ur eyesight. This is usua ll y done by turn ing a litt le wheel. called a " diopter.·· on or ne,lr the view­ finde r to a plus or m inus pos ition. de pe ndi ng o n your partic ular vi­ s ion. If you normall y wear glass­ es. leave them o n wh ile you make th is adju stment a nd use the eye that fe e ls most na tu ral. Ma ny of us a re right-handed bu t le ft -eyed.

The s imples t W<lY to make th is dio pt er correctio n is to view a plain piece of white pa per through the camera and turn the whee l until t he fo c usin g grid it self (range­ fi nder. mic ro pri s m, (,fe.) co mes into sharp foc us. Forget about focu s or zoo m se ttings. On ly the lines that make up the focusing grid matter. T here a re many myths noati ng a round about how to make th is adjustment. The y usua ll y start with " Pick 11 subjec t at infinity ," whe revert hat is. Forget them.

Use the pl a in whi te pa pe r and be close enough so tha t it fill s your view finde r. Failure to take this basic ste p prope rly is responsible for mos t of t he o ut-of-foc us foot­ age I've see n.

Now se t the zoom at it s lo ngest focal le ngt h (highest number and narrowest field of view). and turn the focusi ng ring (usua ll y the front portion of the le ns) until the range ­ find e r or o the r foe using aid ind i­ cates prope r foc us. I f yo u d id eve ryt hi ng right. yo ur subject shou ld also look in foc us a nd the distance set on t he focu s ing ri ng shou ld agree with your estimate of t he ac tual di stance .

SUPER·B f ILMAXER

Using Your Test Charts

Totest frame alignment , c ut o ut SUPER-8 F ILMAKER test c hart A o n the fac ing page and pin it o n a wall . Set up t he camera so that the c ha rt fi lls the viewfin der. U se a tripod or place your camera o n a fl a l s urface to hold it absolute ly steady. F ilm t he c hart for 5 to 10 seconds, When the fi lm is processed , compare the pro­ jected image to the image you saw in the viewfin der (see F igures I, 2 a nd 3). Iflhe image is poorl y aligned (F ig­ ure 3), t his can se rio usly affec i your movie s .

You can use c hart A wi lh c hart B to test registration, if your camera is capable of backwinding fi lm. CUi out both c ha rt s a long the c heck­ e red borde r. Faslen chart B to t he wall a nd place chart A direct ly o n top of B, carefull y lining up the c hec kered bor­ ders. Then tape t he top edge of c hartAto thewal l. Now film Chart A for as many seconds as you ha ve bac kwind capabi l­ ity. Flip up chart A on the ta pe hinge and fasten it to the wall so it'soutof the way. Bac kw ind as muc h as you can a nd fi lm c hart B, creating a double ex posure. Whe n projected, the image should rese mb le F igure 4. Both pai rs of a ngles s ho uld remain stead y hori­ zontall y a nd ve rt ically in re la­ t ions hip to each other. Of course, you can't expect perfeci steadiness from a cart ridge-load came ra , but move ment s hould be mini ma l.

If a11 fo ur a ngles bob and weave as a unit. the projector registration is probably a l fau lt , so don't blame thecam­ era. The borde r s hould a ppea r w hite in t he double exposure; ac heck palle m indicates your placement oft he c harts is slightly off.

Now work t he zoo m bac k a nd fort h. both manua ll y and au tomat­ icall y. Is the move me nt s mooth over the e ntire range o r does it ha ve st icky places? Is the man ua l contro l capable of doing fluid zoom s, or only good enough fo r

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Hgure I : Image as s«n throughthe vie...· findt'r and p rodu~ed on film by a fe... e)t· trcmely cucllng cameras. This le"elof Ilccuracy is nl.'C:e!'lsary for tightly cropped copy work and animation,

.

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Figure 2: Imageas produced on fil m by mM ' arceptablecameras. The image includes mOl'e than yousee in the vie...fi nder, but t gatenn most proj«tol"$ masks this pari of the (rame. so theinacruracy is not critical.

Uo...e'·er, ,'oushou ld beurd ul not to lei a light or mieintrude on Ibe edges ofthe frame .

'"

U

".

F1l:ure 3: !'oorly positioned image is intot able for all but the most casualfilmin g.

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Figure 4: Image as seenfor registration t~ Thts is a double exposure of both sides of therhart.

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c hanging foca l 1cngths betwee n s hots? Here again it's a mailer of whatyo/l need. The manua l zoom mo ve ment on my N iko n RI Ois so free t hat it mig ht a nnoy ot he r filmmakers by it s lack of res is­ tance . but fo r me it's pe rfec t.

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Chart B

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Aside from changing focal lengths between shots. I use it mainly to zoom very quickly between ac­ tors ' lines in sound takes. That way we don't have to stop and use the clapboard every time I move to a close-up or a long s hot . Of course. the 4 or 5 frame s of zoom a re later cut out. along with 4 or 5 frames of magnetic recording tape (fu11coat). It's a great time sa ver.

Try all the speeds and controls .

Does everything work co ns is­ tently and without strain? Pan across areas of different light levels. Does the meter re spond instantly to light change s? As you go into orout of instant slow motion. does the meter com pen­ sate for the different speed ill1­ medi(l/e/y? If itdoesn't, the dynamics of this feature wi ll be ruined by a few inches ofimprop­ erly ex posed footage at the begin­ ning orend ofthe effect. Ju st how easy is it to fade while you zoo m. orto use any other comb ination of effects you might want si mult a ne­ ously?

If the came ra you're considering is s ingle -syste m sound . how quiet is it indoors? Use a good (optional accessory) mic an d put on a pa irof earphones matched to the cam­ e ra's impedance. then listen to the response. How quickly does the automatic gain control res pond to changes in the sound le ve l? Does the camera bring the amp lifier up to strength before shooting film?

Is it possible to monitor sou nd between shots? Does it have a flash sy nc a11achment in case you want to do some double-system recording of mu sic or someth ing that's outside the range and capabil it ies of the camera' s own sound system? D oes it handl e s i­ len t cartridges and s hoot the m at the same speed? Or doe s that mat­ ter to you? How about th e light­ emitting diode s (LED) and other indicators in the viewfi nd er. Do they give you all the information you' ll need. or are some of the m just di stracting nui sances that you'll neve r learn to live with?

After you've answered all of these ques tion s for yo urself and you fee l familiar with the workings of the came ra, it 's time to give it The Final Exam Check the battery condition. Load the camera with a film cartridge.

Set the filter key or sw itch for SUPER,S F'ILMAICER

tungsten lighting (assuming you're ins ide a camera store). Set the lens at its longest focal length (te le­ photo). Foc us. Now move the zoom bac k to it s shortest focal length (wide angle) and begin s hoot ing. While you' re s hooti ng. zoo m to telephoto and keep filming for a few second s after you get the re. Go outside the ca mera store (wit h permission. of course) . a nd ru n the sa me test. being su re to switch the fill er to the correct pos ition. Now use eac h of the cam era's feature s and pote ntial s one by one while you record the resullson film. T est the camera' s low light limits with high speed film, and keep s hooting eve n after the indicators say it's hope less .

For s ha rpness and color rendit ion te sts. use Kodac hrome 40 in day , light (wi th the fi lter in place) or under light s that have a Kelvin temperature of3400° (movie lights) . Photograp h skin tones and nature, if there is any in sig ht. If the camera allows a n automat ic ex posure ( + or -) adj ustment. try a tes t at about a half stop under­ exposed . You might like it be11er th an the manufacture r' s idea of "normal" exposu re .

Centu ry Prec ision Optics (10659 Burban k Blvd .. Nort h H olly­ wood. Calif 91601 ) will let yo u have a poster-si ze zoom lens focus te st chart free. Get it a nd film it.

Whe n your film is processed. you canjudgejust how s ha rp the con­ tending cameras a re . N ow, c ut out the special SUPER-8 Fl LMA KER test chart wit h thi s artic le. You can use our c hart to test fra me lines in all cameras and regist ration in ca meras w ith double expos ure capabil ity . See the in se rt box for de tailed in structio ns on how to fi lm the chart and what to look fo r.

Use a tripod for these tests to make sure th at any un steadiness yo u seei s no tyourownfaull. lf yo u ho ld your shot s to about 10 seconds each, you can run 20 indi­ vidual tests on a s ingle cartridge.

Ofcou rse. ifyou' re looking at a sound camera. you'll also want to run some sound film through.

Again, these test s s hou ld be made both in side a nd outdoors . but this time don't be too concerned about the vis uals . Concentrate on what you hear. D oes the camera sound louder with fi lm running through it ? Does the mic pick up came ra no ise or vibrations from it s top-

mounted position . a nd does the extended mic boom make the camera unbala nced or unwieldy?

Is what you hear through the headphones reflected acc urate ly by the blinking LED or the VU meter?

If you plan to purc hase a better mic later, try it now . It may not match the impeda nce of the cam­ era you've c ho sen . or. on the other hand , it might radi call y improve the response. Either way. this is th e time to find out. You can ' t ex pect mirac ulous sou nd in a cam­ era s hop . but w ith close miking. it should be more than intell igible .

Graduation Day In a few days your film will come back from the lab . If you don't have your own projector, go back to t he came ra s tore to screen the resu lts. They s hould be delighted to show yo u a projector.

Does t he len s stay in foc us over the entire zoom range? Ifi t goes out offoc us as you zoom up to telephoto. you probabl y didn't set the eyepiece d iopte r correctly, or else you d idn' t focus acc urately.

Ifan object th at's in focu s at the te le photo se tting slips out offocus as yo u zoom to a wide r angle . the le ns eleme nt s are probably set im­ prope rly and t he camera s ho uld be avo ided.

The registration a nd alignment diagrams explain ing our test c hart wi ll show you what to look for in those tests. Whether or not the in-focus s hots are reall y sharp and sound is of high qualit y, is so me­ thing you' ll have toj udge for your­ self. Fortunate ly, mo st po pular brand s ofSuper-8 equipment pro­ d uce beller th an acceptable res ult s for people w ho plan to show the ir original footage , If you intend to have your work printed. you s ho uld be loo king for top opt ical quality (w hic h usuall y-but not alway s-costs a few extra bucks).

The Happy Ending If the camera flunk s . yo u'll have saved yo urselfa lot of money and heart ac he. while learning more abo ut equipment in general and yo ur needs in particular. If yo u' re happy w ith the re su lt s. o n the othe r hand, you'll have gOllen some worthwhile practice with the camera a nd confide nce in its abilities. Buy it. You' ve found a friend . 0 31

TORONTO FESTIVAL CELEBRATES

SUPER-8

MIl

BEVERLY ENSO M

What made the Toronto Super-8 Film Festival so festive? Wet l. there was every kind ofcinema from Len ny Li pton' s 3- D movies to ind us trial tra ini ng. docu me n­ tary. com m uni ty action, drama. humor and ' 'experimental" film s.

There was every kind o ffilmm akcr from Eskimo doc um entari ans 10 Venezuelan s urrealists . And it

neve r slopped happening. When participa nt s we ren', watc hing fi lms. peppering workshop leaders with quest ions. louring labs or s iz­ ing up new equipment. th ey were dancing to th e beat ofa rock band or munching s trawberries and Quiche Lo rraine at the snac k bar.

The organ izers did a n excellent job. attend ing to the li llie details (like free. hot buttered popcorn in th e sc reening room) as we ll as the big things (Ii ke projectors that worked (III t he time). One of t heir fi rst dec is ions was to ma ke the festiva l non-competiti ve . No prizes were given, but the festival committee did screen every e ntry and c ho se 32 fi lm s for pre se ntation at a downtown the atre eq uipped with a Xenon-converted Elmo ST- 1200 projec tor. Ano the r la rge selection o f films was s hown a t H arbou rfro nt. the site of the fest i­ val. whi le the remainder pl us late entries were sc reened in im ­ promptu fa shion by the filmmak e rs in a noth er room . T his meant Super-S was rolling from noon to night for the three days o f the fest ival, A pril I ,2 and 3.

it was called bac k for an e nco re the next day. A lso repeated was Suzanne Swibold a nd Elizabe th Garsonnin' s disc uss ion oft he ir na ture a nd ecology docume ntaries. in o the r works hops. Arnold Schieman of the N a tion al Film Board of Ca nada discu ssed researc h in elect ro nic blow-u p of Super-S a nd Mos ha Mic hael of the Nunat s iakm iut Es kimo sett leme nt talked about fi lmmaking in Cana­ da's North wes t Territorie s (see " Filmmake rs of the Frozen North" thi s iss ue). Ju lio Ncri of the Fest iva llnt e rn ac iona le de C ine de Vangardia Super-S (Au­ gust 13-21 in Caracas. Vc ne z ucla) talked a bout the growing popula r­ ity ofS uper-S in Venezuela . Pro­ fessionals Mark Mikolas and Al Lindo d iscussed their work_ Elmo Canada Ltd . co nducted a mini­ sc hool a nd C anadian Filmtronic s Aid let part icipant s tour their Toronto lab wh ic h s pecialize s in Super-S. Through it all. the en thu sia sm of the participant s was overwhelming.

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If you had se t out to demo ns trate the divers ity of the Super-S gauge. you could not have come up wit h a more va ried collect io n o f film s .

Among my personal favorite s were the avant-garde works of Ross Mc La re n . a graduate s tude nt at Onta rio College of Art in To­ ronto w ho has won prize s at the Ann A rbor Supe r-S F il m Fe s ti val in Michigan and t he Oberha use n Short Film Festival in West Ger­ Le nny Lipton's 3- D film s were the many. Although none of hi s "diffi­ mos t exciting segment ofthe fe sti­ cu lt ·· films were c hose n for the val. acc laimed by c he eringcrowds public scree ning , Mc Laren isone weari ng spec ial polari zed glasses . of the real a rti sts of t he Super-S Lenn y' s worksho p was so popular medium.

Man's brululity Is Ih~ Iheme or Eugen e Fedorenko '-, po"'erfu l Sea/hun' .

SUPER·8 F1LMAXER

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Another un usual entry came from Eugene Fedorenko, a 25-year-old Toronto student , who spen t a great deal of lime but very little money ($15) on a st riking 4-minute ani­ mated film cai1ed S ealJlIInt. His stark , ee rie drawings ofthe annual seal killings on the ice floes off the Canadian coast silenced a restless, giggly audience .

Sixteen-year-old David F ine of Toronto submitted a 3-minute film starring a beautifully-fashioned plasticene stereo system whic h takes on a malevolent personality , beats up it s owner and eventually sucks him into a speaker. Not until the speakers started to st retch and gyrate to the music did I realize that the entire set was crafted of plasticene.

Encyclopedic research went into a 20-minu te documentary on gold by Ephraim Horowitz, 60 . of Flush­ ing, N ew York. Horowitz held the audience's interest with a well­ edited mixture of still s, stock footage, shots ofgold jewelry and relics and original footage.

Glimpses of sardonic wit lightened his info rmation-packed narration.

Excrement ojthe G od.\· was made on a budget of$ IOO. Of the ed ucat ional film s, the standout came fro m Concordia Un ive rsi ty in Montreal. Thin Film T echnology, an int roduction to mic roelectronics. used extensive special effects and microphotog­ raphy to explain procedure s for making s ub-miniat ure th in fi lm resistors and capacitors. No lecture cou ld have dupl icated shots of stude nts working in the "clean room " with close-ups of delic ate laboratory procedures.

of view was shot in blac k-and­ white with fla shbacks dramatizing events leading up 10 his mental breakdown. Color is use d so lel y for other characte rs' points of view. The only sound throughout the film is a slow heartbeat, which links the action and flas hbacks and b uilds suspense. The movie ends in black-and-white-the camera looks straight down the muzzle of the gun , t he screen goes red and there is silence. The same group filmed a light-hearted "auto ,. race without autos. Thanks to single­ frami ng, the racers in Grand Sp ree zi p down the hallways ofthe school, knocking overgarbage pails, t rave ling on top of lockers and passing miraculously throll gh pillars to collapse of exhau stion just before the fini sh line.

Exhaustion was what I felt when the festival was over. but it was mingled with a sense of exhilira­ lion . The energy, im agination and skill shown at Toronto made it an experience I wouldn't have missed for the world. 0

Ross McLaren a ppears in his own ex perimentallilm, I.E.

A klller stalks the halls of Erin District High Schoot. The Ontario students used a science department cart for a dolly (left) tolitm The Dep(1I1ure. At right , a potential victim runs toward thecamera as th e killer takes aim.

The vis ual detail was backed by a sound track dialogue in whic h an articulate lecturer answe rs a stu­ dent 's questions. Credit goes to Peter Krug and George Mihalka of Concordia.

Trevor Haws and Company , a group of high school stude nts from Erin, Ontario , submitted two very different film s, both of which have been televised in Canada as part of aseriesofstudentfilms. In Th e Departure, a disturbed student takes a gun to school and shoots a teacher , another slUdent and, finall y, himself. The killer' s point SUPER·B FILMAICER

MargiUai~'d~j~":,,:;:;"~g~"~"::;;;~~~~~,

George Mihalka frames a shot of Agnes Concordia Uni versity's Thin FUm Tech nology.

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hadn 't seen e ither o ne. T hat's why you were more worried than he was eve ry time he got close to Olivier in thei r fin al scene .

MR . F ILMM A K ER So it drove us crazy waiting for him to fin d o ut what we already knew.

DR . THRILLER My, you two learn fas l. How's the tea?

In Endangered Species, a Super-8 spy thriller by Dennis Duggan, agent Frank Dismus (Gene Bregman) has his every move watched by counter­ agents who are determi ned to keep him from talking to the Senate Committee. it was hi s brother again , fa iling to knock that time because he was dying. Only the third time, after you've finall y let you r defenses down , is it actuall y someone ou t to get Hoffman.

MS. FILMMAK ER I see . .. it builds the sus pense and catc he s the audience off guard at the same time.

MR. FILMMAK ER ljlfmpillg to hisfeet ) There's somebod y out in the hall! I saw their shadow.

Dr. Thriller hurries oUlfor a look.

With him gone. (llld Ms . Film ­ maker imem on the empty do or­ way. Mr. Filmma ker is able to pour the contents ofa small vial into the cups oftea without being seen. H e hasjllstfinis/It' d whell Dr. Thriller return s.

DR . THRILL ER It must have been your imagina­ tion , not that there 's anything wrong with a fal se alarm. It 's an exce llent way to keep people guessing. But back to the lesson.

You should know that not hing could happen to yo u ye t. because the audience still doesn' t have any more information than you have.

MS. F I LMM AKE R What audience?

DR . THRIL LER Any audience! The fi rst time Si r Laurence Olivier used his wrist saber . we saw only the effec t. The second time he used it , we saw both the effect and the sabe r itsel f. though Dustin Hoffman still 36

MS. FILMM A KER It's very good . There's a hint of win terberry or something in there that I really li ke .

DR . THRILL E R Good , good. Take you r time and enjoy it. Noth ing build s suspense like taking your time.

Something about to happen is far more thrilling than the actual hap­ pening itself. Especially when the person it' s about to happen to is in a situation with which the audi­ ence can readil y identify. Du stin Hoffman trapped in his bathroom. for instance. The bathroom is a very vulnerable place, and proba­ bly everyone has worried about be ing trapped there at one time or another. So when Hoffman was struggling to get his pants o n and screaming in night mari sh pa nic and trying to escape out a window that didn ' t lead anywhere, it was almost unbearable to watc h be­ cause we could so eas il y see our­ selves in th e same situ at ion.

MR. F IL MMAK E R It was even more frightening be­ cause we couldn' t see who was after him,just that bar prying the door away.

DR . THRI LLER Right again! An unk nown danger is fa r worse than one co nfronting us fac e to face. Now. I believe you're ready fo r th e big lesson .

M S. FILMMAK ER (lIen'ollsly) Which lesson is that '?

DR . THR I LL ER Pain ! If you reall y want to thrill your aud ience, you have to s how someone in pain , and you have to do it in a way that allows the audience to suffer right along with that person. That means you ha ve to show a variety of pain that the audience has ex perienced th em­ selves. Being tortured with a hot

iron may look bad , but not ve ry many people know firsthand what it fee ls like. The scene in Mararholl Mall where Olivier plays dentist, on the other hand , is chillingly effec ti ve because nearly everyo ne knows what it' s like to have the ir teet h worked on. And the thought of a dentist actuall y trying to hurt you is enough to se nd c hills up even the bravest of s pines! (1 0 M S.) Do you fee l any pain?

M S. F I LMMAKER No. thank goodness . . I don ' t even like to th ink about pain! Isn ' t t here so me other way to make a thriller?

D R. T HRILLER Ofcourse there are ot her ways, one of them be ing theadvelltllre Ihriller. T he mai n element here is the scope oft he adve nture . Ifit' s a group of people climbing a mo un ­ tain . make it the tallest mountain in the world ! Ift hey· re fighting for survival, make their struggle the toughest ever! Ifthey're searching fora monster, make it the biggest they've eve r seen!

MR. F ILMM A K ER Like Killg KOllg.

DR . T HRILLER The biggest ofthe m all! That mon­ key is so big, all you have to do is look at him and you get a th rill. But remembe r that one thrill does not a t hrille r make!

M S. FILMMAKER I was wonde ring about that. I understood how the movie bu ilt sus pense with t he mystery o f that uncharted island , and how it cashed in on the excite ment ofour fi rst look at Kong, but how did it keep me so inte rested afterthat?

DR . THR I LLER It kept th ings moving, that" s how.

Fi rst it showed you everyth ing there was to see o n the island , then it took you on an ocean c ruise, and before you could ge t tired oft hat. it put you right dow n in the midd le of New York C ity. But it was also very clever abo ut the way it kept things moving, charging along at a hec tic clip one moment , then slow­ ing down the next to le t you catch your breath , and then s peeding up again when you we re ready for SUPER·8 FlLMAICER

He.-e, L. Martin Hunte.- (Emmett Dunm'an-while hair) and his SeleCl lntelligence Committee (S .I. C.) team (Geni Stack , Hob Stuck, Andre deSt. Phalle) use wi.-eless mics and ot he.- s un'eill ance equipment to eavesd.-op on Dismus's conve.-sation with a co.-.-espon­ dent fo.- t he Washington Post. marc. Th at's call edpacill,l.'. and it's the way good thriller-makers keep you on the edge o f your seat.

More tea?

MR . F ILMM A KE R No. thanks. How do you know when to speed upand when to slow down?

D R. T H RI LL E R T here' s not hing to it. When some­ thing exciting is happeni ng, you move fa st ... that's ca ll edaclioll.

Re me mber when Kong was chas­ ing Jeff Bridges and Jessica Lange ac ross hi s island? The camera put you righ t in the middle of t heir struggle. so close that you couldn't get a good look at eve ryth ing that was happe ni ng. whic h was abso­ lutely nerve-rac king because yo u kn cw t hut Kong co uld reappear at any moment. It 's terri fyi ng 10 move as fa st as you can and still not know if you're going to make it to sa fety.

You move slow when something's gett ing ready to happen .. . I al­ ready told you thaI. When Ki ng Ko ng is cha ined up in Yan kee Stadium . we know good and we ll he can break loose wheneve r he has a mind to . Thus . by the time he ge ls aro und to it , we are already excited from anticipation. But fa st o r slow, you have to keep things mov ing to ever greater ad ven tu res and unknowns.

dreamed o f happe ning there, lik e Kong climbi ng up the World Trade Center. Whenever possible. set your action in a location t hat is fa miliar to everyone in your aud ie nce .

MS. FILMM A K E R How cou ld I eve r get permission to shoot in t he Wo rld Trade Ce nte r?

DR. TH RILL ER You don't have to. Your audience is more fa mi liar with the court ­ house up the st reet here than they arewit h anyt hingin ewYork.

And when you've got them in familiar surround ings. it 's eas ier to catc h th em off their guard.

MR . FIL M MA KE R Ki nd ofl ike a do uble-c ross?

DR . T H R I LL E R Oh. yes. the double -c ross is a very import ant element in thrillers. espec ially for staying one step ahead ofaudience expectation s.

Just when they t hi nk they have everyt hing figured Oul. you th row the m a nast y curve. You can also use the double-cross to manipul ate your aud ience into a desired emo­ tional response. How else could you ever get people c hee ring fo r King Kong instead oflhe United States Arm y? (to MS .) Aren't you feel ing well. my dear?

M S. F I LMM A K ER What'sso unknown about New York?

M S. F ILMM A K ER It makes me sad eve ry time 1 t hi nk about what they did to that poor ape.

D R. T HRIL L E R Precise ly! The more famili ar you arc wi th a location , th e more thrill ing it is to see somet hing un­

M R. F ILMMAK ER T hat poor a pe had j ust fini shed stepping on a bunc h o f people , you might remember.

SUPER·8 FI LMAKER

sz UCS Hystanders come to Dismus's aid aft er he is knocked to the sidewalk by an S.Le. truck, t he fi rst of several apparent

~

§

L-a_tt_' _m_p_(_S_O_n_h_;s_I_;'_e_· ________

~i

M S. F I LMM A K E R Well . he certainly didn ' t ask to come to A merica!

DR . T HRI LL ER Hold on j ust a minute ... some­ thi ng you should never do with a t hri ller is take it too seriously o r analyze it too deeply. The plot detail s have to make sense , of course, so that people can fi gu re out what' s go ing on and what's going to happen next. Ot herwise . you coul d never foo l t hem when it doesn't tu rn out that way. But those plot elements should neve r take precedence over t he thrills. I t hink it would be be st if we forgot about K ill g K mig and talked about the comedy thriller.

MS . F ILMMA K ER Good ... I prefer la ughing to cringing when I' m th rilled .

D R. THR IL L E R There may be more laughs than gasps in a co medy thrille r, but the methods for de li ve ring the thrills are the same. If you remembe r Sillier Streak, you wi ll notice that it kept itse lf moving right along like any good th riller. But in addit ion to taking th e aud ience from place to place during the train ride . it moved them from o ne new charac­ ter to another which is equall y exciti ng.

MR. F I LMM A KER And sometimes it int roduced the same character more than o nce .

DR . T H R I LL E R That' s right. It 's always a thri ll to ha ve one of yo ur favorite c harac­ ters, like Richard Pryor. drop out of sight at some point in the movie so he can come bac k unexpectedly J7

.. -­

M S. F ILMM A K ER The re's one thril ler device you forgot to me nt io n. D on't you re­ member t he vitamin salesma n?

D R. THRILLER So ... t he innocent bystande r w ho turns o ut to be an FBI agent.

My compliments!

network in an effort to break Dismus. to bail Gene Wilder out of t rouble a1acritical mo ment.

MR. FILMM AKE R And sometimes it tu rns out thai one character is reall y another character , and nOI who you

t hought he was a t all.

DR. THRIL LER That's right again .. . the old ··who·sgood. who's bad, who' s reall y who" tec hn ique. But why do you know so much about

thrillers all of a sudde n?

MR. FI LMMAKER Because I'm not really Mr. F il m­ make r. a nd you might as well stop waiting for us to pass out. I slipped a n a nt idote into the tea when you were out c hasi ng t ha t shadow in the hallway, M S. FILMM A K E R T he tea?

DR . TH RILLE R O f course. Why do you think I ke pt men tioning it? A ny li me yOll introduce an im portan t element. you have to keep bringing it to t he a udience's attention . so they ' ll reme mbert he irony whe n they learn its true s ignifica nce. O n the ot her ha nd , it's equ all y legitima te to introduce some co mple te s ur­ prises, like this gun I ' m pointing a t you. (10 MR .) Now maybe you' ll tell me w ho yo u really are.

MR. V ICTI M I ' m a fr ie nd ofone of your earlier vic ti ms. You framed me so it would look like I killed he r.

DR . THRILL ER Pe rfec t .. . the " double c hase."

The police a re aft e r you for mur­ de ring your fri e nd , w hile you' re after me to prove tha t I was reall y the one w ho did it.

38

M S. FILM MA K ER Ju st like the police c hasing G e ne Wilde r while he chases Patric k McGoohan.

DR . THRILL ER What a pit y. You lea rn your le s­ sons so q uick ly. lI 's a s hame you won ' t have a c ha nce to make use oft hem.

MS . F I L M MA K ER What do you mean?

DR . THRI L L E R I 'm afraid you' ll have lo j oi n that other filmmaker out in the s hed , and I 'll have to turn ou r poor friend he re over to the police for the double murde r.

MS. F ILM M AKE R But w hy?

DR . THRILL ER Because you home fil mmakers a re dangerous! You can see fro m w hat I' ve told you today that t he ingre­ die nts a re basicall y t he sa me fo r a ny th rille r. Now , ifeverybody with a movie came ra sta rts maki ng t hrille rs. pretty soon t here won' t be a ny thril lers left to make . I' m doing th is for th ~ sake oft hl'iller lovers everywhere.

M S. FILMM A K ER You' re w rong, Dr. Th rille r. The ingredie nts may be the same, but there are infi nite way s to modify and rearrange them . T he re wi ll always be new and ex.citing thrill­ e rs as lo ng as t here is a nyone w ho wants to watc h them. By the wa y, that gun isn't loaded.

DR . THRIL LE R We' lljust sec about tha t. good-bye. Ms. Filmma ker.

GU N C lic k. C lic k. C lic k, cl ick, clic k !

MS. F BI We 've been on to you for a long ti me, but we needed some hard e vidence. T hat 's why we s taged this little dra ma to trap you into confes sing.

D R. THRILLER But it can' t e nd thi s way.

MR. V ICTI M Why not ?

DR . T HRILLER T he re hasn' t been a big e nough payoff, that's w hy ! W hen you s pe nd a n en tire movie build ing sus pense and te ns ion , you have to release your audience wit h a payoff that's spectacula renough to ou tdo eve rything tha t's come before. Whe re's Maratho n Man throwi ng all those d iamonds around? Where' s King Kong bat­ tl ing the helicopters? Where 's the Silver St reak c ras hing through the train s tation?

MS. FB I You're fo rgett ing some thi ng, D oc­ tor ... t his isn't reall y a thri ller.

This is a lesso n abo ut how to ma ke a th rille r.

D R. TH RILLER Cu rses!

Fade 0111. 0

The constant psychological tor­ ture inflicted on Dismus by the S.I, C , forces the agent into a terrible decision, He makes his c final choice in the film 's climactic scene at the railing of the

!

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r-.lar k Mikolas miking with II Sennhdser eledut mini-shotgun on location for Supt'r Ii "'ilm Group'sHow/o Mpke It film series. Arthur Gager is on umer a with M~ Ginsberg acting.

FROM CRIES TO WHISPERS

TIPS ON BUYING AND USING MICROPHONES GUNTHER HOOS If you're alread y adding sound to yo ur fi lms. or are about to start. you should examine the micro­ phone you're using before yo u record another sy ll able . It may not be the right mic for the sou nd you want. The type ofmic yo u choose and how you use it will de termine how good the dialogue, music or effects wi ll sound on you r fi nal track.

Here then is an evaluation ofmics I' ve found most useful in Super-S work , and some miking tips that shou ld enable you to get the cleane st possible sound for your fi lm trac k. First, let's examine the various types ofm ics you' ll be using.

Dynamic YS Electret Condensor Microphones There's reall y no controversy be· tween the two; they j ust fun c tion diffe rent ly. Dynamic micro· phones produce their ow n electri­ cal curre nt and as such are self­ powered . Incoming sound vi -

brates the microphone diaphragm wh ich, in turn, cau ses a coil to move through a magnetic field.

Thi s movement produces a small electrica l current corres ponding to the frequ ency and inten sit y of the original sound. Becau se the c ur­ rent is re latively weak, you shouldn't run cab les from these mic s for more than 25 feet witho ut amplification .

The sound quality o f good d ynamics is excellen t with a te n­ denc y towards more mellow or soft so und. Most dynamic s are extremely rugged and not subject to breakdown . In adverse situa­ tions (where both microphone and sound person are in danger o f be ing trampled , for instance) the dynamic wou ld be the microphone of choice. Because dynamics re­ quire no batteries, they wou ld be your best be t if you plan to fi lm in remote areas. You'll fin d dynamic mics tend to be somewhat bulkier and heav ier than e lectrets , and are

also le ss sensit ive to handling.

Good dynamics are usually more expensive than good elect rct s.

Electret microphones contain a diaphragm that ma intains a per· manent e lectrica l charge . Mi cro· phones of thi s type require suc h a small diaphragm mass that they can rival more expe nsive electro­ stat ic conden so r micropho nes or d ynamic mics in frequency re­ s ponse wh ile costing a fraction of the price . Elec trets require power to operate, and even though bal­ terie s tcnd to last for hundred s of hours, you mu st keep spare bat ­ teries on hand. Without batterie s, these microphones won't ope rate.

Electre ts are more sensitive to high frequency so und than are dynamics. The increased sen siti v­ ity makes cleaner sound possible-so und that is pure wi th its frequencie s and harmo nic s in­ tact. On the other hand, greater sensitivity to sound tha t youdo 11'(1111 al so means greater sen sit iv­ SUPER-8 flLMAKER

,

Chinon wireless microp h(l nes an d re<:eh'er mount ed on C hin on sound ca mera.

ity to sou nd that yo u tloll' t \Ill/III. such as camera noise. and mic hand lingo r people breat hing.

Physicall y. elect rets are more fragi le than dynam ics. and you must ta ke grealercare in handling them. They are also liable to di s­ tort high inten sity sou nd s more quickly than dynamics. E lectrets are exce llen t for use where long cab le runs withou t inte rmediate a mplification are requ ired. Runs of 75 feet or eve n 100 feet pre sent no problems in high freque ncy loss.

For the same given price. electrets tend to have a grea te r range than dynamic mic rophones. That is. they can more easily reproduce without distortion sound s from a wh isper to a s hout.

Microphone Pickup Patterns Omnidirectiollal: As the name im­ plies. microphones wi th t his pat­ tern pick up sound in a 360 degree s phere--even up the wire of the microphone (see F igure I). For fi lm use "om nis" a re fa r from the ideal microphone since cameras a re st il l very noisy. H owever. there is o ne variation of t he om ni that is very useful. T his is the "Iavalier" or "tie tack" micro­ phone. Because the lavalier mic (attached to clothing or worn arou nd t he neck) is usuall y le ss t ha n 12 inches from the mo uth , ot her sound sources, no matter w hat their d irectio n, have very li tt le infl uence on the primary

sound.

Cardioid: T he cardioid pattern is SUPER·S FlLMAXER

somewhat pear-shaped (Figure I).

It is designed to favo r sound pick­ up fro m t he front and to rejec t sound from the rear. Con­ sequently, if you position it cor­ rectly (point ing away from your camera), it wi ll not pi ck up camera noise or other sound from behind t he mic. Because its pickup pat­ tern is more direct ional. it can be used at agreate r distance from the sound source. T hi s sound pickup pat tern is the most useful for fiim work.

Hypercardioil/ or shotgllll: This pattern differs from the normal card ioid pattern in that it is even more directional. In additio n to sound fro m the rear, t he s hotgun mic also rejects much of the sou nd from the sides. It does thi s by havi ng a specially des igned and perforated tube a head of the dia­ phragm which effec tive ly cancels

."igure 1; MicropholM' picku p pallerns: cardioid (lo p). om nid irectio nat (m iddl e) a nd shlltgun (bOllom).

tor wh ich bounces the sound back to the mic head. This type of system great ly extend s the record­ out sound from the side s. A s hot­ ing dista nce from t he so und gun mic permits working at much so urce. It's not imposs ible to reo greate r dis tance s from the s ubject. cord the talk offootbnll players Even though shotguns are among from the stands. Don 't expect the most expensive microphones. mi racle s, however. When yo u use their sound quali ty ra re ly matc hes a parabolic reflector. you sacrifice that ofa closely positioned a nd some fide lity and sound volume cheaper cardio id. T hese micro­ s implv because the sound has to phones are superb in s ituations trave l all that distance. The range where it is difficult or impossible to a nd qual ity o f the sou nd yo u get get close such as in c inema verite depends on how we ll you " focus and newsfi lming. in" on the so und source.

P(jfabolic Reflectors: The ulti­ To illustrate the variety of high q uality but moderate ly priced mi­ mate in directionality. if nOt so und quali ty, is ac hieved wit h a para­ c rophones, I've c hose n the prod­ ucts of t hree manufac ture rs as rep­ bolic dis h and almost a ny type of microphone. The princ iple of resentative. T he re a re other the parabolic microphone reflector eq ually good microphones made, but the fo ll owing have bee n in is to gather so und co ming from a constant use at the Super S Film distant source and focus it all into G roup, givi ng me a chance to test the microphone. T he micro phone poi nts into t he ce nter of t he reflec­ thei r overal l perform ance .

Son)" PBR -400 parabol ic reHec lor.

41

looming. Rocker glvas smooth_es·sllk power looms over e 6·10-1 range. spot I

Ible

. - -·WII""H,r.cordlng. FM receiver picks up 91gnel9 from subject holding wireless microphone. Or It can be tuned to FM stations to record music or background on your soundtrack (optional).

II II

II. properly.

Get yourM!llnlo the acen•• Filming trigger locks In shooting position.

Th.r.', mora on Ih. o'''.r .fd••

F.d... One button give. you perfectl y limed, prolesslonally smooth Isde· lna and fade-outs 01 both pic lure and sound. Ch,nll' mt" .. nollllm. Use Indoor 111m outdoors by switching the bulll·ln filter. Focu, .s clo...s Ih, 'ronl ollh. I.n,. Macro swllch ,hlfta loom lena lor extreme close-up ,hooting. Monitor Ih. ,ound. Earphone plugs In 10 let you IIslen to sound 88 Ills recorded . Chao.. from Ihr., mike.. Plug In standard mike, or optional boom or loom mike. Supp,.... und..l"bl. blckground nol ... Sound selector has normal and low settlnga. Light In vlewllnder tella you wh ich level to use.

Minolta CIRCLE INFOCARD 21

Chinon Wireless Microphone The wireless microphone unit is a combination microphone, FM radio transmitter and receiver.

The microphone picks up the sound and transmits it to a care­ fully tuned receiver. The output of the receiver is then plugged into the input of your recorder or sound camera . Th is eliminates the need for a cable between the micro­ phone and the recorder. Since you don't have to follow the action with a mic (th e wireless micro­ phone is usually mounted on the subject), you can record sync sound while your subject is in motion.

Sony ECM-2S0 cardioid microphone.

recorder or single-syste m sound camera as long as you have the right adapter. The microphone has a low impedance (200 ohms) and a specified range of65 feet. In prac­ tice, 50 feet is about tops for the best sound. Minolta is introducing a similar microphone.

Sony Electret Microphones Sony produces a series of high quality and moderately priced Chinon is introducing a set of radio microphones which are excellent microphones including a lavalier, a for film use. cardioid and the receiver for under The ECM -16 is a very small tie $175. But before you rush out con­ tack microphone with an excellent sider the following. Radio micro­ frequency res ponse. It has a built­ phones are specialty microphone s. in bass roll-offfilter to compensate Sound people use them only when for sound recorded so near the they have to. Wh y? Because chest cavity. Because of its small they're the most unreliable micro­ size , it 's easy to conceal under phones around. Whether they jackets or sweaters. These mics cost $175 or$2,000, radio micro­ are sensi tive to rubbing and, there­ phones are subject to interfer­ fore, require careful mounting on ence, which can come from radio the speaker. You might try taping stat ions, motors, cars, anything, in gaffers tape to the subject's c hest fact , that is capable of producing and then taping the microphone to some sort of radio frequency (RF) the gaffers tape. The ECM -16 has noise . When you least expect it, low impedance (250 ohms) and suddenly your local disc jockey works very well with all Super-8 comes through on your film cameras and recorders. At $34.95, sound track. the ECM-16 orone like it is a must The Chinon microphones work for any sound equipment arsenal. very well and with astonishingly TheECM -250 is a good bargain­ good so und quality when they priced cardioid microphone with a work. They suffer interference built-in windscreen. Its directional easily. Consequently, you must pattern does agoodjob of rejecting monitor the sound closely at all most sound from the rear. Its sen­ times. This is especially true of sitiv ity is a little limited, so for best single-system (sound-on-fil m) re­ results you s hould use it within cording where you won't know about four feel of the sound until the film is developed whether source . The ECM-250 works well or not the sound was satisfactory.

These microphones will work well with a boom that can hold the mic and without too much interference close to the so und sou rce . For most film work , a roll-off filter is outside of heav ily populated and recommended because of the RF intensive areas. They worked best for me in the middle ofa lake in Kentucky.

Although the Chinon wireless is designed to work with C hinon cameras, you can use it with any

~"I;:~~~ : :,~.' _~~~;;;;;3;;;;s.,;;;\; Iii)

Sennhelser eledrel microphone sys tem with powering modules (rig ht), telescopic boom (bottom left), and Interchangeable mic heads.

SUPER·8 FILMAIER

mic's sensiti vity to handling noise (Sony does not supply these-see ., Accessories" under Senn­ heiser). Like all electrets the ECM-250 is battery powered. Its impedance is compatible with all cameras and recorders. The list price is $59.95.

The ECM-280 is one of the finest all-around microphones for the money. If you can only afford one microphone, this one may be it.

The li st price is $99.95. The ECM-280 is an extremely sensi­ tive and directional microphone and contains a switc h that acti­ vates a built-in roll-off filter to help reduce handling noise . Used with a windscreen on a boom, this mic wi~l work well even if you can't get in close. Sony also makes a porta­ ble parabolic reflector , the BPR­ 400. You can mount your own microphone at the focu s ofthe dish. The list price of this unit without a mic is $59.95.

Sennheiser Electret Microphones This name in microphones has always been synonymous with high quality and high price. Their series415 and805 condensor mi­ crophones have long been the workhorses offilmmakers across the world. Unfortunately, the price ofa fully equipped Model 805 usually exceeds the cost ofmost Super-8cameras.

This spring, feeling the competi­ ti ve sting from Sony no doubt , Sennheiser introduced an out­ standing series of microphones with consumer prices. The basic electret microphone set consists of a common powering module and three interchangeable microphone heads. The powering module K2 U costs $79. The microphone heads are the omni (ME20) at $55, the cardioid (M E40) at $78, and the shotgun (M E80) at $108. There's also a telescopic boom (MZS 802) for $56 that mounts on top of your camera. The whole set may be purchased as a unit, or you can buy each module separately. I've found very few applications for the omni head. I've used the shotgun 43

microphones is pure Greek to the average Super-8 filmmaker.

Electro. Voice OL 42 cardiline shotgun micropho ne ...ith ...indscn t' n.

head ex te nsive ly o utdoo rs and use the cardioid primarily fo r interior studio and narration work. The micro phones produce clear, sharp and clean sound and are more sensit ive than any of the Sony microphones. As excellent as these microphones are . there are a few drawbac ks to their use . One of these is the high cost of requ ired accesso ries, and anothe r is the lack of inform ation provided with the microphones.

A cceHo ries: Although thi s series of microphones is con sum er orien ted, all the accesso ries are drawn from Sennhe iser's profes­ sionaleq uipment and are di spro­ portionate ly high priced. The windsc reen costs $17 and a si mple pistol grip/s hock mount costs $86, Because the microphones are so sensitive, they will tolerat e almo st no handlin g without passi ng noi se on to the recorde r. Conseq uently you mu st purchase a ro tJ-offfi lter to attenuate base freq uencies below 200 Hz. The Sennheiser filter costs $82. You can shop around and buy shock moun ts for $50 from SuperS Sound (95 Har­ vey St .. Ca mbridge. Mass. 02140) and for$ IS from Shure (see man­

ufacturers list for address). Sh ure also makes a roll-offfilterth at costs less than $25 (S hure A 15HP high pass filter).

These Sennhei ser microp hones are al so sold without a connecting cable. The cab le can cost you an add itional $30. Also, the wiring and use bookle t shipped with the

sive o r a very cheap microp hone, much of the quality of sound de­ pendso n how y~ u do the mi k in~.

That said , howev er, these units In film situatio ns where the aCllon are st ill highly recommended. is usually flu id and often uncon­ They will work except iona ll y we ll trollable, the best syste m is to use with all Super-S recorde rs and a sound boo m with a shock mount. single. system cameras. They are batte ry powered by a 5.6 volt mer­ Boom s can be made of many mate­ cury battery (hard to get , so buy rials . Some people have used two). Don't try to use eithe r the bamboo fi shing poles, and ot hers shotgun or the cardioi d head out­ have cann ibalized lightweight light doors without a windsc reen and a stands. Oneof the most useful roll-off filter. These se nsitive boom s can be made from tubular heads will pick up all kinds of 12-foOl extend able painter 'sor unwanted noise. Howev er, both window washer 's poles which can the shotgun and cardioid head are be purc hased at many hardwa re virtuall y deaf to sou nd s from the stores . These extend from three rear and co nseq uentl y are ideal for feet to 12 fee t and cost le ss than use with noi sy Super- Scame ras. $25. Yo u can mount your micro­ phone to the boom with a shock Some Other Microphones mount, such as the Sh ure mount Here are some other microp hones mentio ned previou sly. Run the that I've not used ex tensive ly but are of high quality. A KG offers an mic cab le alo ng the boom pole and elect ret micro phone system si mi­ extend the pole to whatev er dis­ tance is needed for best miking. larto Sennhe iser's. It 's based on theSE-S powering modu le ($60) In most miking situations , the wh ich can be used with the CEo} so und person holds the boom om ni mic head ($45). the C E -5 overhe ad, betwee n 12 and 36 cardioid head ($55) and the CE-8 inches from the subjec t' s mouth interference tube to make a mini and locates the micju st outside the shotgu n ($S5). A KG furnis hes ca­ frameline . Unless framin g dictate s bles an d wind sc ree ns with the ot herwise , the mic is best above mics and offers shock mo unts as the subject . This genera ll y gives optiona l equipment. the cleane st sound. Of course . you should always face the micro­ TheElectro-Voice DL-4Z Cardi­ phone away from the camera. line dynamic shotgun is an exce l­ lent microphone with a frequency You shou ld always mo nitorso und re sponse of50-12.000 H z. Forthe recordi ng with headph one s. The $342 li st pric e, yo u get a shock headph ones shou mount , wind screen and cable. The isolate you from ld fit well and the sound of the Slwre 5 MBZ unidi rection a l con­ surrounding area. Keep the vol­ densor mic rophone isone o f the ume good and loud so you can hear most rugged co nden sor mics every sound being picked up by made . It features a built -in "pop" the mic. Only in this way can you and wind filt er and include s a

posit ion the microphone fo ro p­

windscreen and lock ing stand timum sound. Unfort unately , adapte r for $176. Shure' s low most Super-8 single- system pricedS M610m nidirec tio nai cameras have misera ble monito r­ d ynamic micropho ne ($79) has ing facilities. For the most part, good noi se iso lat ion and good fre­ the so und is ba rely audib le , and

quency response with a bu ilt-in qualita ti ve judgme nts are im possi­

"blast filter" that cuts win d, ble . A solution is to buy a small breathing and pop noise s very ef­ pre-a mp from an electro nics store fective ly. (s uc h as Radio Shack) and con nect The lis t co uld go on, of course , but it into the headpho ne line. These

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Go 'm ."~

HARRY FALK TALKS ABOUT DIRECTING THE STREETS OF SAN FRANCISCO

BY LARRY

STURHAHN

::>

z

came up the ha rd way , starting as a 88: Tellm e howyolI slagedlh e studio elec tric ian , t he n wo r king as dog show . staged with so me 75 dogs a nd their a pro p pe rson. H e fou nd be ing a HF: It wasa ve ry diffi cult da y. prop person was t he best ed uca­ owners packed in a roo m at Sout h T he sc ri pt called fo r it to be s hot San F ranc isco' s Cow Palace. tion he could ha ve had. " Yo u' re indoors , and we could on ly do it right be side t he camera. wo rking There was one ac tion chase to Saturday , a day we co uld asse mble w'ith the director, ma tc hing props shoot o ut s ide the Cow Palace a nd all the dog owne rs. But s ince it a nd be ingawareof continui t y. You seemed almost im possible­ a nothe r ins ide , c ulm inating in a pic k up a se nse of c uning. " F alk knoc k-down , d rag-o ut fight be­ because of light ing-to do all t hat twee n two stunt doubles. T he soon made the dec is ion to direct . in one day indoors we thought of fi e took the oral a nd writte n tes ts. going to a pa rk. The n we cons id­ w hole thing had to be staged , lit and filmed in o ne day , and it pro m­ passed, a nd was voted into t he e red wea ther a nd daylight , a nd ised to be a long o ne .

D irector' s Gu ild of A me rica. that seemed impo ss ible also. T he " The Canine Collar" is one of ow Palace was s uggested . a nd C It was the fi fth da y of t he shooti ng many e pi sode s he has direc ted for w he n I looked a t it I s aw the sc hedule for " The Canine Col­ T he S treets ofS an Francisco fl uorescen t lighting. In essence , it la r," a n e pisode in the long run· se ries . was lit , so we dec ided it co uld be ning and popu la r televisio n series do ne if we had two ca meras. a nd a Th e S treets oj Sal! Francisco .

T he plot of " T he Ca nine Co lla r" ve ry long da y. I had decided to In production fro m May to D e­ concern s a smuggle r. coming into ha ve pa rt of the c hase o uts ide, the cember, eac h indiv idual epi sode in San F ranc isco on ac ruise s hip, rest of it and the s tunts inside. That the series is shot on a se ven-day who has hidde n a fortu ne in require s more cut s. c rashing into sched ule. It 's 12 to 14 hours a day, dia monds in his dog' s coll ar . things , a nd I wanted to be able prima ri ly on locatio n--e xte riors A ware of th is. th e ship ' s purse r to move all a round . It co uld have and interiors bot h. O nl y Mike murde rs the smuggler to get the been ve ry dull w ith just static s ho ts Stone' s ( Karl Malde n)and D a n diamon ds. T he n, in a veteri na r­ of the dogs.

Robbins' (Ric ha rd H a tch) offices ian' s office, t he coll ar is inadver­ a re pe rma ne nt se ts in the st ud io o n tently switc hed to a nothe r dog.

88: Y o// had a womall who was San Francisco ' s Kearny Street.

With seve ral more ki ll ings a long like a dog wra ll gle ,.?

Sc ripts a re de velo ped and ap­ t he way , a kind of ch ase within a HF : We met wi th he r earlierand proved in t he Q uinn Ma rtin office s c hase re sults . The pu rse r pu rsues fou nd o ut the s ize of t he rings, how in H oll ywood where the principal the col lar, a nd the po lice purs ue the y do shows normall y, but s he actors a re cast a nd the film , s hot in the purser. The ac t ion c ulminate s didn ' t know how to pos ition things San F ra ncisco , is turned into the in a fina l c hase scene d uring t he fini s hed l-hou r TV program . staged dog s how (the in se rt box on fo r the camera. t he next page desc ribes how Falk The direc tor fo r " T he Canine Col­ s hot the o utdoor c hase sequ e nce) . 88: H ow do yOIl make the deci­ sion abollt whllt shot to dofir sl ? lar" e pisode is Ha rry Falk . H a rry I followed Falk thro ughout the day HF: You think how to mini mize LarrySturhahn has spent oller watc hing how he a nd his c rew set t he numbe r of camera moves.

15 years infilm produ ction, has up eac h series of shots . It was a Normally, once you ' re lit. yo u hectic day , but H arry so me how w llg/It film alld creatille writing try to do as muc h in that a rea as courses and is c/l rrently fin ishing found time to share his thought s on possible. Not all directors work direc ting a succes sful TV se r ies. a work offictioll. that way, but I fi nd it easier. Lighl­

were IO v.z pages of script T heto reshoot , a nd a dog sho w to be

"

SUPER·8 F1LMAXER

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3

" OnuTVsl'r;u YVl. /I(II·t'.slly . 49mim.usand 37 . , 1 stalled/or an /lollr. ".ilh CQmmucilitsfilted in. It's gQt 10 come ill exaclly. ·'

ing takes up more ti me than any­ thing e lse . I wanted a high shot, an overall establishing shot. but rather than go up there and then come down agai n, I waited unt il I knew where all the people were going to be. After I saw how it was go ing to layout, including the chase, then I went up to do three o r four cuts from that high angle.

S8:

Allhe etldoflhedoy,yolf were lJickillg liP bils and pieces l"al had 10 clll in all the way II!roligh. H owdo yO/I remember al/lhat ?

HF:

We have a shooting sc hed­ ule and a "call sheet. " Wh at they li st are the scenes and a brief de scription from the sc ript of what the sce ne is about. That mayor may not be different from what the di rector wants , so the notes I make pertain to part ic ular pieces o f action-the chase, the fight scene.

I know I have to bring people in and out , have to tie things up and connectt hem. When I first started I made extensive notes, even what lens I was going to use. I' d dia­ gram everyt hing because of in se­ curity and time pressure. Now, with an idea about the staging, I can change in the middle if il's necessary , ifthe actors come up with somet hing that seems more interesting.

Now, if Ilay out a " master" (a comprehensive shot includ ing the major action ofa scene) and start shooting it , and then have to go wayouto f cont inuity , I make

SUPER-& F1LMAKER

quick notes on the spot to cover depends o n whom you're working such and such, get aclose-up here , with, it varies from company to company. Still , very often, I get an insert there. Usuall y I' m mak­ my way. A nd I co me in with a ing this up on the run. so towards the end of the day, if there' s a lot of list of people. loose ends, I find a minute 10 sil 88: H owfaraheaddoyoll get down and make a shot li st of what fhe script , so y011call decide who I must not overlook. the Cllst is going to be?

88: A re scenes rehearsed before HF: You shoul d get it seve n you go on rhe sel? days prior to shooting. Somet imes HF: Rehearsals are prac tically you don't ; acouple of times I got nonexistent until we ge t on a script the day before shooti ng. the se t. Again , I think I work a But usuall y you get the scri pt little differently from most direc­ when you report, and sometimes tors. I rare ly give a direction until three day s before that. So, I' ll go I've rehearsed it acouple of ti mes through it two or three times, and to see what the actor brings to it. make up my ow n caslli st. Some­ Then ifh e's off, I'll try to guide times I' ll have five , maybe ten him. But very often he may have candidates for each role, because brought in something I hadn 't you don't have much lime. The thought of, and it might be better. actor yo u want may be busy. He Second , Ij ust like to look at it may not want to do it. He may before I start chipping away. You not be do ing TV. He may be too have to remember that if an actor expensive~r maybe the pro­ is walking in col d, and he hasn' t ducer hates hi m! And the director worked in acouple of months, and producer have to agree on it. maybe he 's nervous. If you come I think cas ting is one ofthe most down on him , th at's on ly going to important things adirector has to make him more nervous, and you do, one o f the most importan t may not get the best perfo rmance element s in fi lmmaki ng. As a di­ out o f him. So, yo u try to size rec tor, when you read the sc ript , him up. Some you work with in a you see the characte rs and their humorous way. Another you ch ip actions and you envision certain away at a little at a time, to keep types. Maybe the producer and the feeding him and preve nt him from executi ve producer o r the network blowing up. And sometim es, you see it di ffe rently, but the di rector is guess wrong. You rehearse three the one who's going to pu sh for orfour times, then you start shoot­ certain nuances that he's seen. ing, and you start changing.

With the rig ht acto r yo u're half way home .

S8: H owmuchdoyollhaveto do with the casting?

S8: T histakeskllowinRalotof aclors and their work.

HF: Quite a bit l Of course, it 47

m

you don't want 10, I like to s hoot .. show tha t' s maybe 2 m inu les ove r. but that 's somet imes another bat­ tle with the prod ucer who wants to have 5 or6 min utes so he can control it, pace it the way he wan ts.

88:

Slill, bec({use ofthe sched­ IIle, ),olllwl'l' 10 be right thae, lille lip Ihl' call/era, gn il dOlle, Yall dOll't hm'l' time lo shoot /ollg m({~' ­ las lI';lh lots ofclose-lips 1I11d rel·erSl'S. YOII hal'e lokllOIll screell direction. II1t11chillg ({cljoll, Ihill gS like lhlll, so how did )'olllea/'ll ?

Cmlll'rllS (rig/II ami It'fl If,)/Io'" Kflrl Molden (lnd Ric/wrd Hmd, ill Ilu' oIlIJ""r "lllls,' sn'lll' dl'S( 'ribl.'d in Ihe bO.f be/un' .

:J ~~s~~ I

>

The Final Chase A dog owner with the collar full of smuggled dia monds exits from the Dog S how. He is (al· lowed by the Purser who can· fronts him in the pa r king lot.

For this 6rst shot , camer as " A" and " 8 " fuel.' toward them covering the action .

Arc lamps right a nd lert add fill light. The police arrive (car coming down ramp), a nd cameras "A" and " 8 " reverse directions 10 s hoot their en­ trance with two additional cars (dOlled lines) added for this shot only. The conclusion of the cbase (see photo Ihis pa ge) where the police purs ue the

HF:

Rig ht ! Knowingthe ir work, watc hing the m on TV or in fil ms, on stage o r w ha tcver. Or whe n yo u cast someone you do n 't know, then you read t hem, a nd ve ry often you ca n te ll by that. It 's the way they come in, th e way they inte rpret the pa rt-eve n in a co ld read ing. Eve n tho ugh it may not a ll be there, ce rtain aspec ts o f t heir pe rsona lity will come through that you may wan t to utilize .

z

88: Watching )'011 shOOI I Il'(ls aware of11011' a series direclOr defines Ihe clIl1ing, Ihe fi llalform ofthefilm . A /I edilor doe.\·II '1 hllve m uch more to do Ihall pili )'0111' ~'''ol s together, HF:

.

We ll , they can sc rew it up

HF:

I learned a lot of it t hrough os mos is , I wasa pro p man . the n I beca me a n ass ista nt di rector, a nd I lea rned as muc h as I cou ldj ust keepi ng my eyes open, observi ng how it was done. Whe n I thought I migh t become a director. I started tojust th ink aboul it a lo t. a nd look at good fi lms-and bad fi lms, See­ ing how fi lms were put logether, o r what went wrong, Then a lso, it's havi ng a kn ac k for it: it comes easier to some peo ple than il doe s toot hers, I think. T here a re people w ho can inle llec tua li ze abou t per­ fo rma nce. Wh ile they can speak about it very we ll. they ju st can't execule il. Edit ing in the camera see med very na tu ral to me, a nd w ha t I didn't know I learne d by making m y own mistakes.

I was ass istant director on Faif Safe, directed by Sid ney Lu mel.

That was a very co m plicated fi lm Purser back into the Dog Show done w itho ut a lot o f mo ney , so was filmed while the cameras once somet hing was lit everyt hing were set up for the fir st s hot. poss ible was s ho!. The script s uperviso r a nd I had to matc h a ll the aclion, more and mo re people com ing in, but Ihrough it I learned so me t imes, because a director has a lot, I can work totally o ut of to give a certai n a mount ofcover­ c on tinui lYnow, keeping il a ll in m y age. Of course it' s still very differ­ head. And without knowing ii , Sid· e n! from a feature where you don' t ney taught me a lot. 1f t hat' s not have the rigid t im e lim itat ions, w ha t direct ing is a ll about. it' s part where you can mo re or less be of it. and OU I of it comes a fl ow, flex ible in th e le ngt h. Wi th a fea­ You ge l absorbed in it, [ rea ll y don't know a head of time how I am tu re, whe n you feel you have t he best picture, and it' s pared down going to cove r a scene. For me 10 the bone. you s a y: " Tha t 's it !" that's good , 10 be s hoo ting Ihe and walk away . Ona TV se ries mas ter or on the las I re hearsal to you have, say, 49 minules and 37 be work ing o ut the coverage. For a seconds, an d t hat' s il. Because it's se rie s you really don't want actors s lotted fo r a n hour. with the com­ going a llover the place, because mercials fi tted in, It's got to come then you e nd up having twice as in exact ly. So you have to ha ve ma ny c lo se-ups, Yo u have to thi nk some co ve rage, c lose-ups. things econo micall y, a nd still get lo ts of tha t th e ed)tor can put in o r take move me nt. s how the sets, show out to control t he t ime, Ge nera ll y the actors. Th a I comes wi th ex­ perience, I th ink. you s hoot a little padd ing, e ve n if SUPER·' FlLMAKER

GODl

LITTLE ACRE

S8:

eWI )'01/ talk a lillie abol/I Ihe SI)('CijiCl' oj /}I'l'/wrillg a sholll?

HF:

Yea h, I think most peopl e in T V do. The process is the same. but on a se ries, you ha ve 10 do a HF: The way it works on this show in seven days, with all the one, with a seven day sched ule , production, the moves. the ac tion, the director has seven days prep­ getting the sc ript on short notice. aration. You report in L.A . on the How different it wou ld be to do a first day, go th rough the sc ript s for sc ript you have selected. that you obvious production problems . dis­ feel totall y involved wi th . It's a big cuss Ihe cast. bot h o f which we c hu nk of your life where you take tal ked about. On the second day I six mont hs to prepare. twoor three come up here. The guy s usually month s to shoot it. working with meet me al the airport. Dick Ga l­ people who've had time to work on legley.the production manager. their part s. II seems. in that sense.

George Chan. the art director. much eas ier to do a feature. and I also the fir st ass istant direc tor an d think anyone working in TV would the location manager. They will like that. It's a more refined pro­ have roughed in some locations to cess: it' s like a Rolls Royce as show me, so we' ll ju st goout and opposed to a Chevrolet. My plan is start looking for location s. to take some time off and go look­ ing for a sc ript , rewrite it or work On th is show you're out on the with the writer and get it offt.he st reets. and sometime s it' s very ground.

Youneedtimetodot hat, difficult because the script has and that's very diffic ult when locked you into s pecific s-yo u you're working in telev ision. need a fire escape with an alley, a Normally you' re exhausted. You particu lar view. If you can '( come have a few days off, and then you up with it then you ha ve to get on start another one. At the moment, the phone, start compromi sing, I don' t have the energy to get into rewrite some ac tion , somet hing, so 1 don't look for it.

88: R emlillg a scripl, do )'01/ see it ill I'i sl/al terllls?

88: What 's)'ouratJ"icetolhe JOllllgjilmmaker?

HF: Some 1 do , but if there are scenes between ac tors, dramatic, HF: If I we re to start offagain , then I'm not th inking so much with the same incentive I have visually as I am emotionall y. I now , I wou ld get a Super-8 camera look for what Ih e emotion of the and make films. Start with that. sce ne is. Probabl y, when I started and maybe go to 16mm but one directing, I thought morc visual ly. way or anothe r get a film made and Because of the time pressure, I pre sent it. Then you can say: thought of how I wou ld do it. But "Thi s is what I' ve done. I' m a now I want to get the emotiona l filmmaker, and I've made this impact of what the script is all fi lm . " about.

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T haI SOl/litiS like a good place to stoP--(/fuJ slart. 0 CIRCLE INFOCARD 46

.01

Position Kodak Moviedeck projector. lift timed dustcover.

• (The amacti ve low-profile design makes many owners want to leave their Moviedeck projector on display, ready fo r use at a moment's notice.)

Select sc reen. Most Kodak

.20 •

Moviedeck projectors offer a

unique pull-our viewing screen.

O n o ur top three models, the puH-our screen is now 3\12 by 5 inches-more than r\Viet! as large as before. And it lets you sho w movies in normal room light. Of course , you can also project on a conven· tional screen.

Choose film format. All Kodak Moviedeck projectOrs • show either super 8 or 8 mm film-at the flip of a switch .

Thread the film . Actuall y, the projecrof does the threading­ • automatically and safely (with 5prockedess film drive), )'Ou just feed the leader into the slo t. Rewind is auto matic, tOO, o n all but the lo west-priced mo del.

Select projection speed. On • some models, o ne sim Ie control handles both forward and reverse at various speeds.

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There are six Kodak Moviedeck p rojectors to choose from, including four n ew models. A ll except the two lowest­ p riced models no w feature a pull-out screen. All models are available with a normal or a zoom lens. And all have the distinctive styling that makes the projector as beauti ful as your ~ movies. See your photo dealer ~ for a demonstration.

Kodak Moviedeck~ • '~b''''pm;.a'' ;_.

projectors

CIRCLE INFOCARD 40

1 1 1 1

[0 [

Some splice it hot-now you can convert your chemical splicer to a 'hot one'

1

,I 1

When I got ti red of waiting a ro und fo r my ce ment splices lo d ry. 1 made a few calls to local elec­ tro nics pa rt s s ho ps. put in abou t three hours ofwark and cam e up

hole" to avoid e lli ptical. ragged holes. For ins tance. to d rill a MI-inch hole. ma rk the ce nle r a nd d rill with a n \.ii-i nc h bit. The n ta ke II !,4-inc h bit a nd d rill out the ys-inc h hole. Fina ll y. drill o ut the !,4-inc h hole with a MI-inc h bit fo r a perfec tl y centered. round -HI-i nc h hole . T o be o n the safe s ide. use a slow d rill s peed .

wi th a ho t splice r tha t cost me o nl y seve n dollars. I started wit h a Bolex. but the idea w il l work for a ny ceme nt splicer that has e no ugh room fo r a res istor 10 fit under the mai n c la mp plate withou t interfe r­ O nce the holes are d r ille d. go over ing with s plic ing. to the le rt o r e mul sion s ide c la mp (fig ure I . L ) a nd remove the ny lon An elect ronics store should be re lease key that is fastened by a able 10 su pply you wit h a ll t he long screw on t he s ide (Figure 2. part s you need. A sk for a 10-waH. #3). File a sma ll no tch in th is key 1500-oh m res is lo r (85 cems). a so that t he res is to r can s it underJ-am p mi ni -switch 117vAC ($1.~5). a neon pi lot lig ht w ith a res istor 117vAC ($ 1.30), a n A C powe r cord w ith female end re­

neath the cla mp pla te with a little breathing room be tween the key a nd the res isto r (Figure 2. # 4).

You will also have to fil e away a small po rtion of t he a luminum support ridge ( FIgu re 2. #7) to ge t ~ the resistor to tuck into the corne r. ~ T his fi lmg ca n be a bit tedious. but IIiII it's wo rth 11. Next. fi le two deep ...-­ notc hes through the wall s ofthe ce nte r compa rtm e nt ( Fig ure 2. #6) . . . to run wI res fro m the n ght com­ part me nt (switc h and pi lo t) to the left com part ment (resis tor unit ).

Ma ke su re the no tches are deep enough a nd wide e no ug h to pass rour wires e asil y. Moun t the s witc h a nd pil ollig ht in the irre· specli ve hole s a nd run the powe r leads thro ug h th e rubbe r retaining grom met. Connect o ne power lead toa s witc h terminal and the othe r lead to the closes! res is tor te rmi­ nal. T he o the r resistor term ina l

rA

KEY: Figures 1 & 2

moved ($1 .50), I WO feel of copper

1. Mini-s witc h

tele phone wi ring (60 cent s). a rub­ be r retaining grommet fo r the power cord (30 cen ts) a nd a kit of two-part epoxy in !,4-ou nce tubes ($1 .10). The tools I used were a va ria ble speed d rill . me tal drill parts. center punch. smal l c res­ cent wrenc h . solde ri ng gun and solder. screwd river. me ta l fi le a nd s il icone dioxi de sandpape r.

2 Neon pilot

o

On the rig ht end ort he Bolex splicer. unde rneath the base side c lam p {see Fig ure 1. R). ma rk holes for the neon pilot lig ht and the mi nia ture sw itc h. See F igure I. #1 a nd #2 for placeme nt. If your s plicer is not a Bolex. take a good look a t it to ma ke su re there is e no ugh room to install the pilot light and sw itc h witho ut anything ha nging oul from unde r the splicer.

O n the bac k o f the splicer. ce n­ te re d under the right cla mp. se t a nd drill a ho le to accept the ru bbe r retaining grommet (F igu re I. #5).

Place the switch be hind t he neo n pilo t lig ht so tha t it will be closest to the po we r source wi res. Ma ke sure yo u leave eno ug h room to work ins ide the space tha i hou ses the neon ligh t and switc h . (F igu re 2. # 1and # 2). Re me mbe rthat you' lI be solderi ng w ires. running leads. ma king co nnections . etc . in thi s space.

Wghl with built -in resistor 3 Nylon release

k,y

4 . to- wa11. tSOO-ohm resis­ to!

5. Rubber re­ lalnlng grommet

alld powel cord

6 Centel com­

partment with notches and leads 7. Filed-off sup ­ port ridge L Lelt side or emulsion side clamp R Right side or base Side cla mp

FlgLirt I; Coo.-erlt d Rolex "hoi" splictr.

o

Be carerul whe n you drill the holes. Because al uminu m is a very sort me tal. it's best to drill a "pilo t SUPER·8 FILMAXER

"

••••••••• •••: ~()W :",••

should be connected to the other

switc h terminal with a copper tele­ phone wire . Run two leads from the pilot light to the two res is tor term in als and you have created a parallel circuit (Figure 3) . You can not connect the ci rcuit in a series because the buill-in 'res istor on the pilot will soak up so much voltage that the heating re sistor won' t function at all . Don't use a re sistor with a diffe rent watt or ohm rating or you ' ll either get no res is tance, or the voltage will burn up your res istor .

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After you've checked you r cir­ cuitry, epoxy the re sis tor into place (Figure~, #4) . If you don't wan t to use epox y , you can make a screw-type clamp to hold the res istor on. I used epoxy on my machine becau se it conducts heat very we ll and very eve nl y. Re­ member that the res istor will do a lot of wo rk and it won't burn out for eigh ty years. Once the e pox y orcla mp is set , solde r your con­ nection s and put the nylon re lease key (Fig ure~. #3) back into place.

The nylon is tough and can take an y heat it get s from the re sistor .

Now you ' re ready to start splicing .

When you tlick the switc h, the res istor will heat up and dry your cement splices within seconds.

The pilot light will tell you when the heat is on . When your splice is dry. turn the heat affright away. so the entire splicer won't heat up and damage your film.

Not only wi ll your hot splicer save time . but the fa s ter your s plice s dry. the s tronger they ' ll turn out to be. - Cleg Holim an , BOlilder.

C olo . 0 We wi ll g ive a free. one·year subscriptiO n to reade rs who submit Tools & Tric ks that we publish. Send your Tool & Trickw ith a self-addressed. stamped envelope to : "Tools & TrickS." SUPER-8 FllMAKER, 3 161 Filimore St. , San Franci sco, Ca. 94 123.

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CIRC LE INFOCARD 42

SUPER·a FILMAKER

ItiI

BEll " HOWElL

Make titles, props and special effects from inexpensive children's toys For my four-yea r-old daughter , Jennifer, Daddy's dedication to filmmaking is a constant battle.

Whenever I buy her a new toy. I e nd up borrowing it far one pro­ duction or anothe r, and I've gotten some exciting effects with IOYs.

P•• _

E I:

My affection (army daughter's toys began wh ile I was struggl ing to come up wi th a new method to title one army films. While search­

ingforth esolution.1 noticedJ e n­

~ nifer was playing with her" Lite­

' - ' Brite.···· Lite-Brite" is a light box containi ng a 25-watt candelabra bulb and agrid of hole s (F i gur~ I).

You place a shee t of constructIOn ......J W paper that comes w ith the set on W -J the grid. Each paper has a different ~ .........:l picture out lined that tell s you what W color pcg to place in what hole.

U There are 400 pegs included with - U the set in eight colors (pink . clear, green,orange. purple. ye llow, ~ blue and red). When you in sert a ~ peg into a hole , it transm its the ~ lightbehi ndthegridandglow s in its own color. By filming one peg per frame. I spelled out my title just as if it had been written with a n invisible pen. You can make eac h letter a different color orcause the whole title to blink on a nd off. and yo u're not limited to t he blac k construction paper that the manufacturersupplie s. I even used "Lite- Brite" to dress up one of my o ld t ravel film s by plac­ inga map of the area I trave led on the grid and then lighting the route I took with colored , flashing pegs.

::r::

box unti l s he pul led o ut the" Mag­ netic Read ' n Rite Board. " Made

by Child Guidance (Questor Edu· cation Products Co., Bro nx, N. Y. 10472),t his toy co nsist s ofa metal board wit h 36 I \h-inch plast ic up­ percase lelle rs. in vario us colors, wit h magnetic backs. The lette rs will st ic k to anyt hing metall ic. I told my daughter I'd help her s pell , so I placed the le tters on our brigh t ye llow refrigerator, and I had my ne xt set of titles. The" Magnetic Read 'n Rite Board" costs on ly $4,95. and extra lette rs can be

:r::

2: 0

You can use a brighter bul b than the 25-watt one suggested, but be careful of heat bu ildup. It's best to stic k to the lower wall bulb and s hoot with Ektac hrome 160.

"Lite-Brite" is made by H asbro Toys , P.O. Box 660, Pawtuc ket , R.1. 02861 a nd retails for $9.95 (check your local toy store). You can get extra picture pages (suc h as a snowman for your C hr istmas fi lm) for $1 per set ofe ight, and extra pegs for 50 cents per bag of 45 pegs of any one color.

When I was looking fo r ano the r method to title a birthday fi lm , I watched Jen ny go through her toy

ordered from Ch ild Guida nce.

By now. every time Jennife r we nt to hertoybox. she'd look at me suspiciously out of the corne r of he r eye. I confirmed her fears when she started to play w ith her " H oll y Hobbie Light Up Drawing De sk" ($9.78 from Lakes ide In­ dustries, Minneapol is, Mi nn.

55435). The "Drawing De sk" isa light box wit h a9- x l1-inc h opaque plast ic top, I find it useful fo r looking a t sli des or tracing figure s for a nimated film s. I 've also used the opaq ue top to light small ob­ jects I wanted to film wh il e on nature walks. You can interpose the lighted top between the hars h sunl ight and your subject. c reat ing a soft diffused light.

My next movie undertaking was a film about a day in the life of the average house mouse. Many of the scenes called for a very low cam­ e ra angle to simu late the mouse's point of view. and I was finding it hard to get smoot h movement that close to the ground, This time, the toy that solved my problem was a n old one that J e nny had di scarded cal led a "Pus hapotamus" (C hild Guidance makes it for $9.75), It 's a round plastic dish w ith a hippo­ potamus' head that a youngs ter

lies o n and uses to glide across the li ving room, With the help of a n ass is ta nt, Ilay down on the" Pus hapota mus" and was pulled around the house w hile keeping the camera near ground leveL O ne scene called for our cat to chase the "mouse" a round the kitchen. By placing the eat's favor­ ite toy on the end ofthe " Pus ha­ potamus, " I got some dramatic footage as the cat repeatedly lunged at the camera.

T he biggest proble m I found with the" Pushapotam us" was its small size and small caste rs (after all, it 's supposed to support a IO-pound kid, not he r 170-pound father).

When I tried to film a street scene . the smal l casters got stuck in eve ry c rac k in the s idewalk . I solved the problem with a trip to the hard­ ware store, where I bought a set of large r casters for $7.98. After at­ tac hing the m to a piec e of sc rap plywood cut to fit my body , I had my own custom designed "low­ rider" dolly, Toy makers must have been think­ ing ofus filmmakers when they brought out the " MovierrV Ho r­ ror Make-Up" and " MovierrV Monster Make-Up" kits (Press­ ma n Corp., New York, N. Y.).

T hey were des igned by Dick Sm ith, make-up a rtist for s uch

Figure Z: Although hardly a toy for children, this replica ora Luge r looks like the rra l thing but is un shootable.

fil ms as The Exorcist and Th e G odfllther. The" Horror" make­ up kit has all the ingredie nt s you'll need to make scars, wounds, boi ls and other nasty feature s for $8.86 (c hec k toy stores a nd costume shops). Along the same line, the "Monster" make-up kit ($ 13.95) is designed to make an actor resem­ ble acert ain type ofmonster . suc h as the Frankenstei n creat ure.

While not your ordinary toy store, Edmund Scientific Company (300 Edscorp Bldg. , Barrington, N.J. 08007), has a free catalogue that SUPER·S FILMAXER

lists everything from a $1 ,200 mi­ croscope to a toy balloon, all avai lable through the mail. One of my favorites from Edmu nd is their handmade mirrored balls , the type that used to be popular in dance halls during the 1920s and 30s. I bought one for a children ' s party and have been using it for special effects ever since. Focusingon the reflection of your subject in the facets oft he turning mirrors creates an exciting effect when your subject is brightly lit against a dark background.

Edmund also has an amazing sub­ s tance called "Super Foam."

Mixingequal amounts ofcans "A" and "8" will give you a plas tic, rigid mass that expands to 30 times its orig inal volume. You can use it to fill molds or let it harden in a mass and s and and paint it to your needs. Two 16­ ounce cans ($7 .95 for a two-can set) make up to 20 square feet, equal in vol ume to 150 pounds of plaster but at much less we ight. I used the slUffw make some con­ vincing looking bou lders that we re easy to lift.

Replica Models Inc . (800 Slaters Lane, Alexandria, Va. 22314) makes an unusual line of " to ys " for the fi lmmaker-replica guns.

The models that Replica make s look and disassemble exactly like real firearms but are made from "pot" metal and are unshootable.

Forthis reason, there are no regu­ lations imposed on their sale by the federal governme nt. Replica has everything from western style re­ volve rsand "Dirty Harry" mag­ nums to World War II German Lugerpi stols (Figure 2).

Replica even makes unusual arms s uch as the Thompson sub­ machine gun and the Israeli Uzi submachine gun, with dummy bullets to match. The Replica catalogue is free , but a word of caution ... these "guns" look exactly like the real thing , so be­ fore you go running down Main Street with your Replica sub­ machine gun, you'd best check wit h the local police to avoid em · barrassing confro ntations.

CIRCLE INFOCARD 41

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SUPER·S FILMAKER CIRCLE INFOCARD 47

How to make your animated characters

move through three-dimensional space

The easiest movement in ani ma­ tion is across the sc reen . A man walks from righ t to lef1. ·A ball

bounces from left to right. l fyou are working wi th cut-oUl figure s (see" An imation-S.·· June . 1977) . yOll only need one man, hinged al thejoinl s with tape and thread. and one ball . Movement in three­ dimens ional space (toward or away from the camera) is more difficutl. but the resu lt s are often s pec tacula r. (fyou want the ball to roll from a place in the distance toward the camera, yOll need to make a series ofballs. each onejusl a little larger than the one before. A man doing the same thi ng wi ll also have to be made in a se ries. getting bigger as he appears to walk toward the camera. With the man , there is the added problem of arm and leg movement .

Th is can be so lved in two basic ways for cut-Ollt animation. One way is to rotoscope the man. With thi s process. you firs t fi lm. in live action. a person wa lking toward you. T hen put the film in a pro­ jectorwh ic h can show one frame at a time. Project the image onlO a

wall and trace the outline oft he man o n a piece of whi te paper for each frame. or every other frame.

Cut out all these characters and use them to animate you r walking man (see Figure I ). You can also use a Super-S editor/viewer sc reen for thi s. trac ing the man onto small s heets of acetate cut to fit in the viewscreen of the editor. Vie w­ screens which are large and brightly lil are eas ier for thi s.

My favorite way to rotoscope is to s hoot t he live action footage in Super-S and load it into the). K. Optical Prinler(J. K. Camera En­ gineering Inc .. 5101San Leandro St .. Oak land Ca lif. 94601). The printer is like a projec tor w hich can show one frame at a time. I set the pri nter on the floor. aiming the picture at a piece offront-surface mirror. which is set al a 45-degree angle. lilting upward. This mirror bounces the im age upward to a piece of ground glass se l in the top ofa table . I can si t at the table and trace the image projecled on the ground glass. I have a cable re­ le ase runn ing to the printer that I can pre ss each time I want a new pictu re to appear o n the ground glass. Ground glass can be pur­

chased at your hardware or glass s tore. The fro nt-surface mi rror is availa ble from Edmund Scient ific Co .. 300 Edscorp Bldg .. Bar­ rington. N.J . 08007.

We used a non-rotoscoping technique for a man and a lion walking away from the camera. arm in arm into the di stance. We made abou t 12 different s ize bodies with head. torso and arms in one pi ece. The 12 different size pairs of legs were left loose. As the couple walked away from the camera. the alternate legs were slid up under eac h body. Aftereach se t oflegs had stepped fo rward. a s maller set of legs and bodies were s ubsti­ tut ed. The camera photographed the seq uence like this: I) Body" A" wilh legs" A." 2) Righi leg " A" slid lip under the body \4 inch.

3) Left leg" A" slid up under the body \4 inch with the bod y

sliding upward . and being sub­ stituted by body" B." w hich isjusl a li llie s maller.

4) Exchange righlleg" A" for next s ma ller s ize leg" S," and slide il up a lillie under the bod y.

t' igurf I: rotOSl:oping tHhniquf starts wi th li vf IilCUon roota~ (hfre a walking man)

",-hic h is thfn projHIN. lind Ihf image IracN on pape r for cul-oul IInimalion (man from I Ne.·u Siup by Y'-onne Andersen).

cars ""en drawn to create rorward movl'­

menl in space.

56

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5) Exchange leftleg" A"for "B " a nd s lide it up slig htl y unde r the bod y, mo ving the body up s lig htl y a nd e xc hang­ ing it for bod y " C, " a nd so forth .

In a rec ent fi lm by Ka re n Warscha ue r, D a rk Na rro \\' Streets , based on a poem by Dominic Falcone, a ma n is stand­ ing in an alleyway . A ca r roa rs around the corner (th rough a slit in the s ide of t he corne r building) a nd drives down the sireet toward the audie nce . ge tting la rger until the head light beams fill the scree n (Figure 2). T here were about 12 di ffe rent cars in t he series . each paint ed th e same color , but a littl e largerthan the one befo re it. Ir s a very effec tive scene , and did not requ ire the 80 diffe rent drawings of a wa lk ing man I made fo r my film I N el'er Sleep (Figure 1) .

In I NeverSleep , I rotoscoped my ma n o nto a nimat ion " cels" (s heets of clear acetate) and t raced these onto typing pa pe r. T he shad­ ing on the edge of t he c haracter was produced by airbru shing with blac k ink, An ai rbru sh is a tool whic h s pray s fine dot s of color onto art work so you can get shad­ ing effect s w hich look almost pho­ tographic . The ai rbrush itself looks like a fat pe n with a li tt le c up of paint on th e fro nt. Th e pen is a ttached by a hose to a tank of compre ssed air. When yo u pre ss a button on the pen, a spray of air fo rces the ink to spray .

Move me nt toward the camera is always more work, but it' s also more impress ive on the screen.

It gives flat an imat ion a t hree­ dime ns ional look. 0

CIR CL E INFOCARD 44

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How to make films from your slides with split screens and multiple images LastJanuary. the production company I work wi th was given an inleresting assignment which led me to di scover a way 10 film slides that gives a s harp image. plu s al­ lows all kinds of split-screen ef­ fects. The City of Saint Paul was mounting a mass ive public educa­ t ion program on Dutch Elm Dis­ ease. a beetle-carried fungus that is rapid ly destroying all our elm trees. As pari of the cam paign, the City wanted a "slide-show" ex­ plaining the disease. There were hundreds of slides to work with .

However, slide-shows require several pieces of hardware. mak­ ing presentation s le ss than porta­ ble. difficu lt to set up and fre­ quently undependable. As an alt ernative. we chose to produce thes howonfilm.

The script for the Dutch Elm proj­ ect was very tight . entertaining and suggested a fast-paced. ex­ tremely visual show. Our prob­ lem : how to film the slides retain· ing as much quality as possible. while at the same time give move­ ment and interest to a 10-m in ute series of sti ll photograph s. We de­ cided to employ extens ive split­ screen technique-having two. three and fou r images on the screen at the same time.

In my article" HowTo Make Your Own Optical Effects" (Jan.lFeb. 1976). I discussed us ing front- and rear-screen project ion and repho­ tography tec hn iq ues. At that time .

I ex pressed my preference for rear-sc reen copyi ng. Thi s tech­ nique makes it easy to mask images by pos itioning strips of black paperon the camera side of the sc ree n. You can crop, reposi­ tion and c reate split-scree n and mUltiple image compo si tes easily and quick ly. But a rear-projection sc reen softens the image and adds a "screen grain"-bot h unwanted c haracteristics. Front-screen pro­ jection elim inates these problems. but makes masking more difficult.

O r so I thought!

method. We then turned to the problem of mas king. Although it would be possible to mask the slides directly (using tape or s pe­ c iall y prepared Kodalith available at photo stores). that method had several lim itations. First. al l of the slides had to be returned un­ harmed and unalte red. Second, the process of masking dozens of s lides-many in the exact same way-is tedious and time­ consu ming .

We began experimenting with var­ ious ways ofdoing our masking directly on the front-projection screen (a 12-inch piece or matte white art paper). Fortunately, we di scovered a black paper cal led "Velour" at a local art supply store. The paper is reasonab ly inexpensive and resembles black velvet. It cu ts easily. can be taped to the screen and is incredibly light absorb ing .

slides that fell on t he Velour mas ks were quite visible (to the eye they appeared on ly slight ly le ss intense than the picture on the wh ite screen), so me testing was in order.

Careful light metering (using a handheld meter with a spot at­ tachment) indicated that im ages on the Velou r averaged fivej/stops below images on the white sc reen.

Super-8 color film doesn't have a very wide latitude- if yo u go three j/stops below t he proper exposure. the film will be greatly under­ exposed. Therefore. even though the mas ked portions were vis ible to the eye. we assumed they wou ld not record on fi lm . A test roll proved our assumption correct­ the masked areas fi lmed dead black.

Encouraged by our test ro ll. we began production. Above the matte white sc ree n , we taped a plastic" Acme" reg ist ration bar in order to use a field guide to align came ra, slide s and masks. If you're not fam iliar with the Acme registratio n system or fie ld guides, it' s worth looking into. The Acme system is used in animat ion to register cels for drawing and film­ We cut various masks from s heet s ing.

The field guide s hows the of Velour. placed them over our correct aspect ratio (width to projection screen (the matte wh ite height) for Super-8 and 16mm film. pape r) and projected slides from and is used in the preparat ion and two or more slide projectors into filming oftitl es. art work and ef­ the white areas framed by the fec ts.

These item s are available masks. In this way. we co uld film two images s ide by s ide or spl it the through animation mate rials screen into multiple images. As we su ppliers suc h as Heath Pro­ filmed. we could change one of the d uct ions. lnc .. 1627 Scott Ave ..

West Islip. N. Y. I [795. o r Camera images at a time. projecting a new s lide into one of the masked areas, Title Studio . 2052 SI. Clair Ave., or seve ral images at once. By vary­ 51. Paul Minn. 55101. ing the speed and sequence in On a table in front of the sc reen. which images changed. we cou ld we placed two. three orfour slide set the pace ofthe film. projectors. depending on the Since portions of the projected composite we were making. We

Since keeping as much quali ty as possible in the s lide-to-film pro­ cess was a major concern, we decided to use the fron t-screen 58

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T his process worked well for most of the composi tes we wanted, but there was o ne prob lem. Si nce the slide proj ectors were at an angle to the screen , the images were slight ly di storted or" keystoned. " In most cases, the straight lines of the mask hid t he problem-t he slides looked straight. O ne co m­ posite, however, in volved project­ ing slides of historica l scenes into a "picture frame." The frame had been drawn and photographed with the center area black soother slides could be projected inside.

Wit h the keystoning problem. it wasn' t possible to get the picture frame's edges parallel to the fi lm frame.

CIRCLE INFOCAAO 43

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We solve d thi s problem by placing a beamsplitter glass (see "Special Effec ts," Jan.lF eb. 1976 for more o n beams pli tters) in front of the camera's le ns at a45-degree angle (see F igure I). The projector with the frame slide was placed at a right angle to the camera. T he slide was re fl ec ted off the fro nt o f the beams plitler and onto t he sc ree n.

The historical slides were pro­ jec ted by a second mac hine placed next to the camera. To get t he his torical slides positioned inside the frame, we cut an oval hole in a small piece o f black card and placed it in the light path of the second projector. We could , thus, vignette or mask the historical slides to fit inside the frame (Figu re I).

Using the se tec hn iques, it 's poss i­ b le to produce a ve ry inexpe nsive fi lm that co mbines the be st of slide shows and fil m. 0

••

v 10001

Write for NEW movie catalog l CIRCLE INFOCARD 18

mounted t hecame ra firm ly on a tripod pushed lip to the side of t he table. Our fil ming process was rea­ sonably simple. To fi lm a quarter­ sc reen form at. for examp le, we fir st d ivided the sc ree n int o fo ur sect ions wit h thin strips of the Ve lour. Slides were projected into each sectio n, t he maski ng strips hidi ng t he edges ofthe slide s.

Each sec tion of t he composite was metered separately. Us ing the bright/dim lamp switc h on each slide projector and neut ral de nsity fi lter ge ls (available at photo stores) in front o f the projectors' lenses, we would balance each im age to the same de nsity-o ne ex pos ure would be rig ht for t he entire composite.

•

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Mutiny on board a Ru ss ian battleship sparks the 1905 rev­ olution in Sergei Eisenstein' s masterpiece. Potemkin (1925) .

Included is the fa mous " Odessa Ste ps" sequence , w hic h s parked a revolution in film with its use of montage.

B/W/Silent- I.OOO ft.

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It' s hard to imagine a comedy set in occupied Poland, but Jack Benny and Carole Lom­ bard (in her last role) pull it off.

In Ern st Lubit sc h ' s To Be or Not To Be (1942). Benn y and Lombard playa mi smatched pair of Shakespearean actors who tweak Nazi noses.

Shirley Temple shows her pluck, as well as her dimple s and curis, in T he Little Prin­ cess (1939). Reduced to scrubb ing fl oors in the board­ ing school she once attended , Shirley refuses to be lieve her father has been killed in the war and searche s the hospital s every night to find him.

Color/Sound-I. 780ft.

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Dumbo the Flying Elephant, a de light for children and heavy drinkers, contains the best seq uence s from Di s ney's 1941 favorite. Dllmbo. The happy-go-lucky elephant takes to the air with the help of a magic feather and a faithful 60

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John Barrymore created one of his mo st memorable charac­ ters in the title role ofS vengoli (1931). A sinister but sexy dude, he makes agirl into a successful actress and then dominates herto distraction,

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Lykens, Po. 17084 SUPER·S FILMAKER

The first book to outline how to set up a complete

Super-B production studio-with expert advice on

the equipment, supplies & services you really need.

Finally .. . a book on Super-8 filmmaking that answers all your questions. When to consider using Super-S . .

Aerial cinematography Useful filters for cinematography Processing the film What you need to sel up shop . . . How to budget .. . How Do-it-yourself processing to shoot, edit and record Super-S films ... How to release your fi lm in any format (including 16mm and video) ...

To work print or How to teach filmmaking with Super-S .. . The many ap­not to workprint Shoulder pods plications of Super-8 in all fields . . . and that's not all! It is Organizing for a s hoot the HANDBOOK's lotal approach to Super-S filmmaking Animation that makes it unique. Interspersed throughout the sec­ tions are interesting and helpful anecdotes describing the Titling MARK MlKOlAS and GUNTHER HOOS ways in which others have used Super-B. What emerges Resolvers and resolving then, is a tola l picture: A synthesis of the technology and law and order in the editing room practical experience needed to conceptualize, produce and release films in Super-8, Sound effects Splicers and Splicing Super-8 Is a film medium that does It ail! And lar less When to Use What Splice expensively than the other media, Why? Because Super-8 Selecting a sync-system equipment is inexpensive, , , because super-a film stock Scriptwriting, storyboard and processing are inexpensive , because a large and shooting script number of outside fitm services are not necessary lor Selecting a film stock production, The super-a producer can shoot, record, re­ Selecting a recording medium solve, edit, mix, title, animate, do special effects and trans­ Selecting a microphone fer to stripe-all by himself! Since less money is spent on Field recording outside services and resources, more can be pu t into the Basic lighting PARTIAL CONTENTS: fi lm project itself, and exposure control Production systems flow chart

Batteries Illustration; For under $500, anyone can buy the Five basic shooting and

Tripods minimum equipment needed for shooting and editing co lor editing systems Super-8 blowups to 16mm sync Super-8 films, For under $5000, it's possible to set up Cost of materials Striping and cartridglng a complete, fully professional Super-8 production studio!

Budgeting production expenses Front Projection So that for the price you'd pay to have one or two small Purchase of production equipment Rear screen; Production films made outside, you could set up your own Super-8 Teaching youngsters filmmaking and projection production center and use it on an ongoing basis , , . for Televisio n newsgatherlng Vldeography and broadcast sales, training and promotional films .. . or for whatever Super-8 production houses Super-8 to videotape transfer use you can dream up!

The film you always dreamed Videotape editing ofmakmg

You can heve freedom of medie choice and link Slldes-to-film Selecting a camera

Super-8 with other media, II up until now, your budget Frame enlargments Selecting a single-system

has limited you to an Sl R camera and cassette recorder, The basic tool kit sound camera

to slide presentations and fiip charts-then the HAND­ Wldescreen Slating

BOOK is a must for you. It will show you how you can legal considerations Shooting logs

when filming prepare a more effective presentation, via Super-8, for Selecting editor/ viewers

tittle more than it costs you 10 do a slide show. Even il your Underwater filming Single-system editing

lab services directory budget can accommodate an occasional 16mm film , or if What Should You Pay

you have a complele in-house video facility, super-a will Optical printing, effects for Your Camera? and blowups add to and improve your media capabilities, Double-system editing A&Brolling Good news for the Independentt If you 're an indepen­Oller 350 pages Selecting a sound projector dent filmmaker, a modest investment in equipment allows Many charts, tables Recording on a projector you to produce almost any film you dream of, with tittle and diagrams Mixing on a projector more than an investment in time!

81,h x 11, soflcover Mixing wild tracks to a projector Contact printing Only $14.95 Who Is the HANDBOOK geared for? The HANDBOOK will be useful to anyone working independently or in busi­ ness, industry, media, education, government, the arts, medicine and the p!olessions . . . who use--or want to SUPER-a FllMAKER use---film for sales, training, promotion, documentation, HANDBOOK recording , single purpose, television news, documen­ 3161 Fillmore Street taries, cable programming, film schoois, field units for San Francisco, Calif. 94123 video centers, concept testing for a larger fiim, and for an infinite number 01 uses. In short, the HANDBOOK is for anyone and everyone interested in making films that are Please rush me the new book, Handbook of Super-8 Production. effective yet inexpensive-down to earth or innovative.

Enclosed is a check or money order for $_ _ ''''_ _ copies at $14.95 About the authors. Recognized as leading authorities in each plus 75 cents each for postage and. handling.

Super-8 state-of-the-art, Mark Mikolas and Gunther Hoes have over 15 years com bined operating experience in this fast-grow ing medium. They are consultants and frequent Company (if any) contributocs to SUPER-a FILMAKER, National Educational Street Address _ _ _ _ _ _ _ _ _ _ __ _ __ _ _ _ __ Film Center, Modern Photography, Memorial Art Gallery of City _ _ _ __ _ _ _ _ _ State _ __ _ Zip,_ __ Rochester, Industrial Photography and American Cinematographer. They operate th eir own Super-8 pro­ duction studio in New York City, and presently are working California residents please add 90 cents each book lor tax. Outside the on a series of five fi lms about Super-a filmmaking.

U,S.A.: Add $2.25 each book for postage and handling, Please allow up to 3-4 weeks for delivery.

Not available In bookstores .. , only through the mall,

Handbook

ofSu~r8

Production

Nam, -;~~~====================================::

Discovering Super-8's new wonder film and a fresh idea from the French New Miracle Film There's a fi lm that's c loser to Kodachrom e 40 ( K40) in pictorial quality than any other Super-8 material presently on the market.

It' s with in a hair of K40 in terms of sharpne ss and granu larity, a nd it has beautifully saturated colors.

Un like K40, it 's very easy to inter­ cut this fi lm unobtrusively with Ektachrome 160 (EI60) and Ekta­ chrome G, bot h with an exposure index (E. I .)ofI60. l naddition, this film. which like K40 has a

daylight E.!. of 25. has a color latitude fa r superior 10 Koda­ chrome . By "co[or latitude" I' m referring 10 the film's ability to produce good color ren dition in a varie ty oflighting s ituation s . This remarkable film can produce bet­ ter resu lts. or more pleasing color. when shot under fluorescent ill u­ mination, or under m ixtures of tungsten a nd daylight. o r tungsten and ftuorescentlight. Resu lts are also good when the film is exposed late in the day in the light of the setting sun, or even when exposed with improper filtration.

With thi s film, s kin tones are truly fine, rich and healthy and natural for peop le of all racialtypes I've tried it with. If Kodachrome has a neutral look, this film can be said to have a hearty appearance, with ric h , glowing color, even under overcast skies. In the past few months, it has become my pre­ ferred camera film. I use it in combination with Ektachrome G practically all of the time. Got you guessing?

Thisgreat new fi lm is none other than Ektachrome 40 (E40). When it was introduced five years ago. or thereabo uts, as part ofthe XL movie system, it was meant to round out Eastman's line of raw stock for photofinishe rs handling Ektachrome 160. Except for the firs t developer, it uses exactly the same process as that e mployed for E160. I tried E40 the n an d found it lacking in many ways. It was grain y. It had unpleasant, muddy sk in tones . It had what I would call arbitrary co lors, like the weirdest 62

glowing reds, especially under cloudy skies.

Without fanfare and w ith abso­ lutel y no notice of any ki nd . the film has been impro ved to the point whe re it is an enti rely viable alter­ nat ive to K40, and. as I have me nt ioned, it hasa numberof distinct advantages that make it superior. From con versations with people at Kodak , I' ve learned eve n they don't know about the magnificent transformation of E40.

Since E40 is of softer contrast than Kodac hrom e, and since it is Ekta­ chrome film which traditiona ll y prints better than Kodachrome, I have great hope that this film may well turn outto be the state-of­

the-art material for Super-8 print making.

For whatever technical reasons, it has generally been taken as a n artic le offaith that Kodachrome type films, of which Fujic hrome is a notable example, are supe rior in image characteristics to Ekta­ chro me type films .

Well , it a in't so. And Ektachrome 40-t hat slee per amongst Super-8 fi lms--can give Kodac hrome a run fo r its mo ne y any day ofthe week.

Why, you ask, doesn't Kodak speak loudl y of the virtues of Ektac hrome 40? Why don't they st ripe it a nd pack it in the so und cartridge to make it a mor e useful material, one whose colo r c harac­ teristics wou ld very nearly match that of so und striped E160? I really can't give you the answer for su re, but I su ppose it has to do w ith the fact that Eastman wou ld be com­ peting with itse lf in regard to Kodachrome40.

If a rival manufacturer were offer­ ing the material, he'd be beat ing the drums for the wondrous E40.

As it stands now , you're luc ky to find it at your local camera store.

It s most important drawbac ks are its lack of distribution, ils slightly greatercoslthan K40 and the fact that it isn 't packaged in Ektasound cartridges .

Try it. You' llli ke it.

Sail from France French inventor and came ra de­ signer Jean-Pierre Beauviala sent me a letter includ ing details of hisS(lil sound system as applied to Supe r-8. Hisorgan ization , Auton of Grenoble. origina lly a ppli ed the concept to the ir Auton 16mm documentary came ra, but 16mm workers have s hown very little interest in this innovation.

Beauviala has perfected a method for recording soun d at the fi lm gate area oft he camera. and playing it back at the gate area of the pro­ jector. As you know. the sou nd recording head in Super-B cameras and projectors is placed a fulllB frames (or I second at [8 fps) be hind the film gate ape rture where the picture is being ex­ posed . In the Sail system. the sou nd head is located wit hin a frame or two of the apert ure. and so und is recorded almost imme­ diately adjacent to the corre spond­ ing frame. T his would e liminate the gap between image and sound. vastly simplifying single-syste m edit ing.

Ve ry s im ply, here's how it works: A tachometer measures the s peed ofthe film as it goes through the gate. Remember, the film here is be ing advanced interminentl y. one frame at a time. The speed is therefore not constant. To com­ pensate for the varying speed of the fi lm. digital e lectronic s pro­ cesses the audio signal to instan­ taneou sly raise and lower the fre ­ quency of the so und signal. The sound signal, stored in digi tized form, is then released at a fre­ quency for recordi ng that will matc h the actual film s peed at a given moment. If the res ult ing s ingle-system film is played back on a vertical or horizontal editing table , the sound head can be mounted rig ht al the gate of th e viewer. T he ed itor can then see and hear, in sync, movies w hic h SUPER·8 F1LMAKER

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Figure I: l\lic plugs intoSail 1 unit , which oSl'S digitalmcmory lostore sound for one second. Sail. which is powered by 12" '011 battery pack, then sen ds the sound signal 10 II single-system ca mera's sound input. The result isso und recor ded imm edia tely adja­ cent to the image. without th e usual 18.frame ad,'a nn.

in U.S.A.

See your deale·'-......... ., · Still at 1976 prices.

can be cut with ease right at the frame.

SOLAR

Beauv iala pla ns an adapted form of Sai l t hat would use present

CINE PRODUCTS , INC. "Serving The Nation For Over 30 Years"

424 7 S. Kedzie , Chicago. III. 60632

Su per-S single-system cameras.

It would enable you to place the so und head on yo ur editor/viewer allhe film gate, but you wou ld need to use a displacement re­ corderto move the so und ahead 10 the standard image-sound separa­ tion (18 frames) to prepare it for playback on a conventional pro­ jector. When filming, the Aaton

)

CIRCLE INFOCARD 20

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IlIiI

WELT I SAFE - LOCK, INC. 2400 W Bth Line, Hialeah. Fla 33010 CIRCLE IN FOCARO 24

MAKE FRIENDS THE SUPER-8 WAY: ONLY $4.95.

The perfect way to meet fellow fi lmmakers on vacation, in class, on t he go lf course or in the super­ Sail I unit, powered by a long-lived market. Now, you can rep lace your l 2-volt baHery, would delay the old bowling shi rt with avant-garde wearing apparel. sound recorded by the camera head by one second, so that image Only $4.95 gets yo u (or yours!) a and so und would correspond fine quality 100% T-sh irt with the classic SUPER-a FILMAKER logo without the IS-frame delay (see emblazoned on top of the famous Figure I).

Hinrichs' "good luck" sun symbol.

The Sail system will probably be Shirt is blue with bright yellow and of most interest to TV stations and orange design . filmmakers in a big hu rry to edit Just the gi ft for the filmmaker who film and screen it . ForTV applica­ has nothing. tions, it see ms to me that it wo uld Send check or money order (no be a relat ively simple matter to cash please) with the coupo n and place a playbac k head right at the you'll have your shirts in several gale area of the Kodak V ideo­ weeks. player, since its film drive is con­ tinuo us. In th is way. Super-S TV IRTo~~f;---------------news footage shot wit h the Sail I FRAN CA. 94123 system could be sent out on the air I I Please send me_ _ shirt(s) at $4.95 without having to be processed by a di splacement recorder that I 0 Sm. 0 Med. 0 Lg. 0 X-L g.

Address would se parale sou nd and image II each.· · California residents please add 6% City by l8frame s. 0 I ta)(. Outside the U.S.A. please add 50 State

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-----------------------------1

The X L-660 is the top QfMin olta' s new li ne of sou nd-on-fi lm cam­ eras. followed by the X L-440 and the XL-::!::! 5. with the zoom range bei ng the main di stinction between them. Let ' s see what one of the wortd's leading s till cam era manufacturers has done for Super-8 s ingle-system sound.

En Garde!

The X L-660 look s muc h li ke mos t of today' s Super-8 sound cameras , e xce pt fo r the s word guard des ign of it s gri p and the radio receiver for a wireless mic shown in advert is­ ing photographs . I n term s offea­ t ures and capabi lities. it' s agai n not unlike mo st of the competition. with automatic expos ure. auto gain forthe sound level . spl it­ image range finder foc us ing. a 7 .5­ 45mm ,f/1.7 macro zoo m le ns and an X L 020 degree) s hu ller. Even the X L-660' s automatic picture and sound fade de vice has ap­ peared on a few othe r " top of the line" came ras . I fth e re is anything that se ts the l'v l inolta apart from it s genre, we'll have to find it in more s ubtle attribu tes . s uc h ll S the Rok­ kor lens. long admired by s till photographers . and the heft and fee l of the X L-660 as you ShOOL By holding the grip with your right hand (if you're right -handed) and the front guard with your left, it' s possible to get extremel y stead y handhe ld res ult s even with the lens at its longest telephoto se tt ing.

The unusua l shape of the grip also lends itself to using the camera on an y flat su rface s uc h as a table or coun tertop. or bette r yet. on the floor for a pet' s e ye view oft he world .

Th is two-handed method of hold ­ ing the XL-660 make s it easy to manually move the zoom ring with one fin ger to c hange focal lengths .

Zoom ing automatically requires ho lding the camera in " more con­ ventional fashion s ince the auto­ zoom rocker switch is placed on to p of the Minolta bod y, The s ingle s peed zoom functions o nly w hen the camera is running. so zooms cannot be rehea rsed . How­ ever. movement o f the zoom mechan ism is s mooth and without uneven starts or staggered s tops.

The lack ofa zoom leverdi scou r­ ages manua l zoom ing. w hic h is too Thos prOduct e_aiualon IS base<! UpOn l)r8CtlCa1 tteld

use ralllfW man latx>ratory cia!;' oec_. .... be.....

.

• practICal a pproach.s t~ mot.! , _..... 10 1~ ....,, ~ "'O

bad since here again the movement is s ilky smooth .

On the impro ve ment le ve l. imag­ ine how exciting it would be if a s hort (3-second ) backwind were possible wilh th e X L-660 . With its exi sting picture/sound fade r. thi s wou ld open up the poss ibilit y of visual dissol ves coupled to sound .

Although the M inolt a X L-660 may be a di sappointment fro m an R& D a pproach. it does w hat it was in· tended to do wit h great ea se. De­ pressing the trigge r halfwa y 10 the ~ound test pos it ion acti vates the amplifier and caps tan ro tatio n .

Thi s ass ure s good sound even at the beginning ofa s hot. U se of thi s feature comple te Iy e limin ate s start-up sound problems.

Al though the X L-660does not have a manual ove rride fo r eit her it s automatic sou nd le ve l or it s expos ure. high and low le ve l mic input s and a bac klight sw itch that open s the len s I Y2 s tops provide acceptable alt ernatives . To shOal a " day-far-night" seque nce (see ··Q uerie s.·· Sept .!O ct. 1976 for more o n da y-for -night sho oting).

I was able to foo l the system by cutting the cart ridge note h on

MINOLTA XL-660

Kodac hrom e 40 10 match the nor­ mal notc hing on an Ek tachrome 160 carlridge . T hi s tricked the met er into undere xpos ing the film two stops. making the da ylight seque nce a ppear like a night scene . Shoot ing the rest of th e cartridge w hile hold ing in the bac klight switc h gave me a more or less norma l (da y-fo r-da y) e xpo­ s ure . The picture/sound fade on the X L·660 pro vided a pleasant way toe nd a sequence. It might be used as an intere sting fi lmic punc­ tuatio n that says "en d o f para­ gmph. " T he Extras M inoha offers several alt ernat ive s to the mic that comes with the ('<Ime ra (whic h. like mic s and ea r plugs sold with almos t all sound cameras, s hould be immediatel y gi ve n to a small child or otherwise di spatc hed) . Firs t. there is a tele­ sco ping boom mic with a ca rdio id (un idirect ional) head . This per­ fo rm s very we ll. particularl y when handheld fai rly close to the sub­ ject. I t' s des igned for mounting on the camera. but like other tele­ sco ping boom mic s set in thi s pos i­ tion , th e unidirec tio nal head will face the bi rd in th e tree. or worse

--:::=:::~: adlUSler r ' room control --:::::: :...

:: ~::::::::::~ contacts allachong socket

1/17 Rokkor maCrO ,~~ '''''-

_-=::::::,';:.

SOCket seleClor

"

sockel

,-'3;"". chamber cover The Facts in 8rief it y (normall11ode ); in macro mode

Lens: 7 ,5-4 5mm,fl l. 7 macro zoom Rokkor lens . from lens s urface to rfoot.

Exposure: Autowith l Y2sto p

Shutter: 220 degrees (X L) backlight adju stment.

ty pe wit h 1129.5 sec. s peed fo r sou nd or s ilent cartridges .

Sound : Automatic leve l control

Speed: 18 fp s sou nd and silent . with :! inpu t le vels . 15 db apart .

Drive : O ne motor for film transport. s hutl er and power zoom. Anotlle r motor for sound capstan .

Focusing: Split-image spot focu ses fro m 3.5 feel to infin­

Power: 6 AA-s ize alkaline bat­

terie s.

Optional Accessories: T elescoping

boom mic. FM wireless mi c and

receiver.

Suggest{'d Retail Price: $400

Supe..ti iIImmaker

SUPER·8 FILMAttR

yet. a passing 747, rather than the subject. Ofcourse, ifyou're not too concerned about appearances, the head can be forcibly bent on its boom pole to an angle that will a im the mic back at the s ub­ ject. M inolta also offers a non­ telescoping mic for mounting on top of the camera which COli be properly aimed. Thi s mic also has a narrow pickup (unid irect ional ) pattern. which is made even more directional by its tubular design.

The resu lt is a modest shotgun mic with a built-in shock mount. This arrangement allow s the best re­ cording of the subjec t in th e view­ finder with the greatest reduction of ambient sound. Forthe price. it' s a phenomenal microphone.

The las t. and least. of the X L­ 660' s poss ibilities is it s FM re­ ceiver and companion wireles s mic. Wirele ss mics are very lim­ ited in their usefu lne ss (see "Tips on Buyingand Us ing Micro­ phones" in this iss ue). and are not Ihe an s wer to your general recording problem s . unle ss you plan to shoot in the mos t deserted part s of the Himalayas .

Test Results Picture and sound tes t result s with the !'vi inolta X L-660 were con sis­ tently good. and the operation of the camera was trouble-free. The Rokkor macro zoom lens lived up to it s re putation in resolution. and s eemed di stortion-free over it s 6-to-1 range. The recorded sound was high enough in quality to hold up to transfer to magnet ic fulleoat for editing. then back to stripe while retain ing its integrity through the generat ion s. Last. but not least im porta nt to any begin­ ning filmmaker. Minoha's inslruc ­ tion manual isclear and well writ­ ten. The no vice who takes time to read it will be pleased with the results ofthe first film cartridge.

The Minolta X L-660 is certainly in the running for the buyer looking for a simple sound-on-film camera that performs well and consis­ tently. and s hould not be over­ looked by the ownerofa multi­ featured s ilent machine who's search ing for an easy way to do sync takes. 0

Avant GlU'de Internatklnal Film Festi· val. Aug. 13·21 in Caracas. Ven· ezuela. EmryJelld/itl(, July I , Con­ tact:J ulio Neri, A ve. Rio de)aneiro, Ed. Lorenal B, Apt. 52. Chuao, Caracas. Venezuela, Ul·'A Conrerence. August 1·5 at University of Maryland. R egisl ra· lioll (/l'/ullilleJuly 15. Speakers. sc reenings. panel on" Documentary Impulse: Film and Video. " Contact: Cal Pryluck, University of Maryland.

College Park. Md. 20742, Residential Course: Film Making, Jul y 16·2411t MarylandCoilege, Woburn, Englarod. Super·Sand 16mm produc­ tion, $120tuition, room and board.

Contatt: The Principal , Maryland College. Woburn, Milton Keynes MKI79JD, England.

AFI Symposium, July 17-:~9 in Beverly Hills. California. Seminars. field trips in production. screenwriting. cine· matography, directing, analysis for tilm educators. S~75 tuition. Contact: AFI Center for Advanced Film Studies. P.O . Bo!\24901. Dcpt. K. Los Angeles, Calif. 900~4.

Motion Picture Seminar, Jul y 29·30 at Memphis State University in Mem· phis. Tennessee. Contact: Frank McGeary, Bo!\ 1758, Memphis, Tenn. 38101.

• Summef' Fesllval of the Arts Film Fes­ th·al. Aug. 15-16 in Redding, Califor· nia. £mry deudlineJuly 20. Super·g, 8mm, [6mm. Amateurs, students only. Ca tegories incl ude documen· tary, humor, spans. animation. $5 entry fee. Contact: Dean Munroe, Shasta College, 1065 N. Old Oregon Trail. Redding, Calif. 96001.

,­

36th Australian Internationnl Film FH· tivai. Sept. 12·13 in Sydney, Australia.

Emry Jeadliu.' July 30. AII8mm g:wges, 9.5mm, 16mm. Amateurs. students only. S3 entry fee. Contact: BarbaraCook, Australian Amateur Cine Society, 491 Bla!\land Rd..

Eastwood 2[22 N.S. W., Australia, Festlvallrltef'nallonal du Film Amateur. £nlrydeaJlil!eJllly 31.

Contact: Cine Club Amateur de Can­ nes, Palais des Festivals, La Croiselle, 06403 Cannes·Cede!\. B. P. 279, France.

14th Yorkton International FUm Festival. OcL 11-15 in Yorkton. Sas­ katchewan, Canada, Emry dl'lldline Aug. I. Super·8.16mm. 6O-minute time limit. Contact: Don Humphries.

Bo!\477. Yorkton. Sask., Canada S3N 2W4.

National Film and Vide-o CompetllioD. Em0'JI!'I/JIi/U'Aug.l. Super·8. 8mm,

For more informal ion aboullhe Minolla XL·660 cam era , wrileto: MinoitaCorp.. 101 Williams Dr , Ram·

sey, N. J . 07446.

SUPER·S FILMAKER

16mm. lII·inch and *·inch videotape.

Contact: Audiovisual,Office. 740 Jackson Place, NW, Washington.

D.C. 20006.

8rlilsh Film InstituteSummef'School, Aug. 1·12 in London, England.

Screenings, seminars on film theory. $120tuition. Co ntact: Summer School Secretary, British Film Insti· tute, 81 Dea n St. , London WIV6AA, England.

Focus'77. August 8·1 1in Baltimore.

Maryland ... Focus on Education of the Biological Photographer. " Con· tact: Focus '77, P.O. Bo!\ ~69, JOppli Md. ~1085.

•

ElIposurePadfic '77. Aug. 19·11 at Univcrsity of British Columbia. Van· couver. Canada. S~akers. panels, bus tour. S~O registration for singks .

S-'O for couples. Contact: Crawford McCrone. Society ofCanadian Cine Amateurs. Suite 111. 4175 Grange St ..

Burnaby. B.C .. V5H IN B. Canada.

West orEngland FUm Festinll. Oct. 8 in Pl ymouth. Devon. England, EJllry J('aJlin<,AuR. 31. AIISmmgauges.

16mm. Amateurs. students. interna· tional. $~ entry fee plus return post· agc. Cash prizes. 30·min. time limit.

Contact: A.J. Dawson. ~S Belle Vue ' Road. Sahash, Cornwall. PLI~6 E5.

England.

SEPTEIOEB Renaissance .' lIm Festival. Oct, 1·1 in Turners Falls, Massachusetts. Emry (/,mdline Sepl. 15. Super-8, 16mm. $25 entry fee . Emphasis on lifestyles. re­ [igion, psychic phenomena. Contact: Gary Cohen. 7t Avenue A, Turners Falls. Mass. 01376.

Christchurch Intl'rnallonal Amateur Film 11estival in New Zealand. Emry Jt'flJline Sf'pl, JO. $2 entry fee. Note that surface mail to New Zealand takes upto 12 weeks, ainnail about 10 days. Contact: Emma Basche, 248 MI. Vernon St" West Newton, Mass.

02165.

Golden Knight International Amateur l' nm Festival. Nov. 9-12 in Valletta, Malta. Emf.\' deI/dUm' Sepl. 15.

Super·S. 8mm, 9.5mm. 16mm.

AmateuN;only. Fiction. documen· tary. tmvel. e!\perimental. animation.

S3 entry fee. Contact: Hon, Secre· tary. MaltaAmateurCine Circle.

P.O. Bo!\450, Valletta. Malta,

Il9th SMPTE Technical Conference and Equipment Exhibit. Oct. 16·21 in Los Angeles. California. Fee for technical sessions. E!\ hibit ofprofes· sional motion picture and television equipment. Contact: Je lTrey B. Friedman, SM PTE. 862 Scarsdale Ave., Scarsdale. N, Y. IOS83.

Scollish International Film Festival in Glasgow, Scotland. Novembe r. 1977.

Em,.)' J('IIlIliIlI.' 0("/. 17. A1I8mm gauges.16mm.35mm. Amateur, stu­ dent. professional. internatio nal. 54 entry fee. Contact : Peter Broughan, Scottish Film Council.l6-17Wood· side Terrace. Glasgow G3 7XN. Greal Britain .

65

C lassified ad vt'rtis ing is II vll ilable fo r 60 cems per word with a S9.00 mi n imum . Pos t Office Box numbers cou m as two word s; abbn: via tions a nd zip codes one word.

Dis play s pace is avai lable for S55 per column inc h. min imu m one inch. All classi fied and display ads mu st be accompan ied by a check or mOlley o rder. Any display typesenillg will be billed. T here is a 10% di sco um 011 all classified an d di splay ads pa id in advance fo r eight consecutive issues. Class ified and classified d isp lay ads are nOI agency commis· sio na ble. All ad s are ~u:cepted at the discretion of the Pu blisher. All ads must be received by the 1st day of the month. two months preceding the first month of the iss ue.

For issue month s. scc 00((0111 paragraph on the T able of Co ntents page. Thus. to be in the J a n./Feb. issue. you r ad mu st be received by N ovember 1st. Advertisi ng lind inquiries should be sen t 10: SUPER·8 FIl.MAKER. Super Services. 3 161 Fillmore St.. San F rancisco . Calif. 94123.

Unus ual Movie Supplies. tlmm. Super-tl a nd 16mm. Free ca ta logu e. ESO- K. 47th & Holly. KansasCi ty, Mo. 64! 12 .

HOME MOVIE ITEMS tl ollyl"ood 's O ld~t Film School. T wo· week evellillg courses ill mo lio n pi clure produc lion. Cameras. lighting. edi ting. etc. RO UZ ER STUD IO. 7022 Me lrose Ave.. HollywoOO. C alif. 90038. )"i lmmakers: OIlC of tho: most unique apprentice-study programs in the US spec ializing in directing. cinc mlllog· rap hy. production aest helics. NEA grunted. 6th ye~lr . See J uly 1976 SU PE R-S. Open to bo:gin ning men. women. ATELIER . Box 70. Hoosic k Falls. N.Y. 12090.

Kodak Molion PiClure Camera Him. Wholesale prices to everyo ne. guaran ­ teed not to be m;.tched an ywhere. Write for prices. please s pecify your needs: A.V.S .. P.O. Box.248~. Mer iden. Conn .

06450.

AUTOMATIC DAYLIGHT PROCESSOR : ~~~~·:"t'ouf~!OOFt. • MO~I.- lC" ,y

-.

U

SUPER 8 El A 160

fOACE 1 STOP oeVElOPING

S!..OO/CART .- NO MIN tMUM

-C Olo r

Sl98andup

0 0 0 LEO DINER 0 0 FILMS, INC 0 0 0 0 0 J3 ~

3SO Gold"" G~rr /I...r

Sin Fionc ,oeo. CA 94102

O!'6MM

487..38

New Sup er· 8 Cl nemascopr mo,·ies. thou sands o th ers. Also 16mm. TV s hows. Beatle s: acce sso ries. projection lenses. posters. still s. Super-S An a mor­ phic lens for s hooti ng and projecting.

Specify S uper-II or 16mm. GA INES F IL MS (SF), 15207 Stagg. Van Nuys.

Cal if. 9140~.

IAUl..

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UtO'."....

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• Microlllm • Mo . o< Drl .. n- Por',f>1<r

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SUPER

alo

).' ilm cleaning, waxing and preserving: IImm. Super-8. !6mm . D iscount prico: 2 cents per fool. Ju ly/August s pecial FILM LAB. S2! North 7t h St.. Allen­ town. l'a. 18 102.

Super 8 Services • fullcoat transfers • sound mixes videocassette transfers • equipment rental Send for free brochure

.-~

ICIIIEM.mGPEI ala.lr~~lc IIISIS

FILM RENTilLS Renl a nd save (Super-S sou nd film s).

Yearl y members hip on ly S I. OO. SU P E R-8 1\-IQV IE C LUB . 521 North 71h SI.. Alle ntow n. PlI. 18102.

FOR SIlLE Un usua l Super-8 mO"ies, tape s, 35mm s lides. Catalol!;ue 50 ccnts. HS P. Box 2187. Bram<llea. Ontario. C<lnada.

Bea uli eu 4008 ZM II . 11:1 zoom. Flaw­ less. Sacrifice S67S . Sce in Pasadena or Fresno. (209) 264,6331.

New! Ch inon a nd Elmo so und movie prod uc ls at low. low prices. New prod­ uc ts now avai lable-Chinon wi reless microphone. ballery mov ie ligh l : Elmo ST l200 HD 2- track projector. New! Chinon top-of-line 12SMR Pitcific with sound. lap di ssolve. 12:1. and more!

AUD IO S. 246-17 J:tmaica Ave.• Be lle­ rose. N.Y. 11426. (2 12) 347·8887.

Kodak-Kodachrome 40 s ilent movie fi lm (KMA 464). S2.65. with processing $4.25. Ju ly/August special! F ILM LAB. 521 North 7t h St.. Allo: nlOwn. Pa. 111102.

"

SuperB Souna, Inc.

..

9!i HIII4\I St'HI. cambridge . MasI.02MO

Super-8 Sound Tr andrrs. S u per-8 ful1coat. sy nc sound. stereolmono--llo; ce nl s/f!. Wild sound-3 1o; cents/ft. In· el ude s Pyra l stoc k. Price list 50 cent s.

C.S.S.. 14261 Ave. Mendocino. Irvino:, Make crrllivr sound tracks usin g the (A­ C<ll if. 92714. (714)551·09117. elusive Film;.uf. Only 549.95. wri te fOi brochure. AUTOMATED SOUND .

Kod ak's New # 7244 Ektachrome proces­ 1119 17t h Ave .. Re d",'ood C ity. Calif. sed in only one day. E xclusively in the 'l4063.

Ellst at STAD I UM MOTIO N PI C· TURE LAB. 12246 Frankstown Rd ..

Pitts burl!;h, Pa. 15235. 52.5 0/c artridgc ; Sl.75each SIO.ool200 f\. Indude 35 ce nts postage tCali!. reSidents, add applie<r.btesat es tax) and ha nd lin g. Pe nn sy lva ni a reside nt s 'mm include 6% tax. (412) 371-1211.

Super-8 2 X 2SIide Pre-engineered MIlGNETlC SOUND

,,--­ . . . . _o.

,~

Simple tns.ructlons

Satlslaclionor Mone\lBack.

TITLES sell·conlalned package includes simple instruc tions . Type, wr il e. prinl, pas te-u p. draw on pre-engineered com­ posing Irame. No 11m II on words or color.

In'dlcate 2K2 slide, Smm or Super-S. Mall 10 TIT LES for processing. Custom lit le In lull color returned . See \lour loca l phot o dealer or wrlle to TITLES, Bo x. 1151 .

Holl ywood , CA 90028.

STRIPING

Precision Magnelic Siriping si nce 1958.

Supe r-818mm. 3 cen tslft. Fast service.

AERCO. Sox 41 5. Med ford. N.J. 08055.

Boln Magnelic Siripe. S20 fl. S10.50 ex.­ c h<lnge s poo l. Bolex ce ment-4 Ol. $9.95. FREE ce ment with purchasc of 5 spools. Pos tpaid. e.S.S., 14261 Ave. Mendoc ino. Irv in e. Calif. 92714. (7 14) SSI-09117.

SUPER·8 FILMAlCER

*

N~w Walt Disney Supu·S movies at di s· count prices ! F IL M LAB. P.O . Box 2691. Lehigh Valley. Pa. IKOOI.

*

G ra nd Opening! F ree catalogue of Super·S sound and silent feature s a nd short s. Spec ial prices on selec te d movies to celebrate our o pen ing. STU DI O S EN T ER PRI SES. P. O. Box 1327 . Stone Mo untain. Ga. 300S6.

PROFESSIONAL SUPER·S SERVICES Ekt achromll developing to ASA 500 nymbetlng * ASB printing lor disso lVIIs and ladea * soynd striping and transl er * ptole ss lonal l,mln,led VITATQNE s lrlplng * Pte-stri ped Prints * Low Cont,ul Mutets Re dyctlona :;Blow· ypa ::; Silaot 0; Soynd SEN D FOR NE W PR ICE LIST

* wotkptlnts with edge

NL

(213 ) 46 2·681 4

NEWSFILM LABORATORY, INC. 51. No. Larchmont StYd.

LOl Ang.'.I, C.lIfolnia 8QOOot

Professional magnell c striping, 8 and Supe r-S with balance stripe. C BS liquid oxide, will not pee l. 12 hour service. no myla r film . 3 cents/ft. postage paid.

C INE-MA G NAT ONE. 2S3 Baymead· ows Dr.. Naples. Fla. 33942.

'Ii"

~i 1< III. M....t~ ............ IDRNOIA U T.. "",

...._ . • ;,0 " " .. ,,~ " • . ' IAMN~TAAe.· ........, _ . ..

,.,...... '_'.. ... iIIo.~

t ... iUI"'"

12000 ft. 100'eel _ k09O S 120.00 6000 It. 5-,..1 _k09O $ 72.00

1~ . 11 ' 41

Ht ·IZJO

::.magnet@ne~.:::. ' 11i! D. Co.... A.... e......... l .. ~ , 0.... "'W tN' . Co.u•• •

Laminated " Qualis tr ipe"-highesl fldel­ ity. lowest so undhead wear. 4 cents,lft.

Detail s from QUALlSTRI P E LABS. 300East40thSt..N.Y .. N.Y. 10016.

Free " The End" title with order. La mi· nated sound striping 2\tl cents/ft. plus 50 cents postage. Regula r-S and Super-S. Quality work. B U FFALO F I LI\·1 SERV ICE. Box 793 . Sun VaHey. Calif.

9[352.

Profession al laminated str ipin g 21<2 centslft. F ree samples. 24 hou r se rvice.

SU P ER-S STU DI OS. 220 Pierce. San F ranc isco. Calif. 94117.

Quality sound striping I cent per foot.

J u[y/August special. F [ LMLAB. 521 North 7t h St.. Allentown. Pa. 18102.

MOVIE FILMS C inema Classics-Finest in [6mm and SSmm features. shorts. docume ntaries.

4S-page catalogue $2. 16mm dealer in­ quirie s invited. ST O RAC E F IL MS. P.O. Box 4337. Scollsdale. Ariz. 8525S. Super-8 or Standa rd 8 film s exchanged for $1.50 pe r reel. Sound and color at same low fee. M IL LER'S MOV [ E MA RT , Rt. I. Box 246. Bums, Tenn .

37029.

Super-8 sound home movies. Full length featu res. cartoons and shorts. Fast service_big selection-lo w. [ow prices.

Hund reds of exciting title s featuring every big star from Bugs Bunny to Joh n Wayne. Send 25 cents fo r our deluxe cata logue .

B R ENDA'S MOV [ E H OUSE, 3609 German town Av e..

Dept. SFS. Philade[phia. Pa. 19140.

Free list! N ew and used Super-8 so und and silent mov ies. R [ DD LE ENTER­ P RI SES , P.O . Box 186. Normal. JlI. 6176 1.

SUPER·8 FILMAKER

Special offer on Super-S so und feature fl[ms: ··Stagecoach.' · B&W- $ I24. 95; "[t's A Wonderful L ife ." B&W­ S104.95; .. Battlefie[d"' and exciting "Star Trek" e pisode in color-$1 04.95. All film s postpaid. N .Y. residents add sales tax. Send check. mon ey order or Ba nk· Americard number. expiration date. and signature. Offer ends August 31. [977 .

Bes t selection sou nd/sile nt features and s horts. Over [.000 title s m Super-8.

Catalogue 25 cents. C IN E V[SION. Box 366-S7. Larchmont. N.Y. 1053S. Hundr eds of Super·8, 16mm sound-silent fl lms. Discount ho use . Catalogue free.

Specify size. ENTERPR [SE F ILr. IS. 561 N .E. 79th St. , #245. Mi:tmi. F[a.

33 138.

Su pe r-8 sound films, ne w and used. Send for free catalogue. CONTI N EN T A L F [ LM SALES. Bird Bay Plaza. Route41 Bypass. Venice. Fla. 33595.

I~~ SUPER 8MM FILMS ( AT LOW, LOW PRICES from MAllMASTER FILMS LTO

Buy from Britain's leading Mai l-Order Super-8 suppliers and save SS on favourable currency exchange. We send films by airmail all over the world . Hun· d reds of tilles lrom Shorts to Features.

Sound & Silent; Color & B[ack/White.

When in London visit Our Movie Stores at 61 Oxlord S t, 55 Shaflesbury Ave. & 35 Coventry 51. London, W.1.

Send $1 bill fo r catalogues by airmail.

Mallmaster Films Ltd (Fr),

69 Long Lane,

London EC1 A 9EJ, England.

L----------------" I Large listing of Supe r.8 sound films. Fea­ tures. s horts, new & used. discount.

M ID WEST F [ LM SERV IC E. Box 195 .

Sh"wnee Missio n. Kan s. 66201.

Film of the Month Club: no gimm icks. no min imu m purchase re qui re d. Largest selection a nywhere. Mem be rsh ip enti­ tIes you to unmatched savi ngs. also in­ cluding 25 pe rce nt 01T on equipment.

Swapping privileges. cartridging and mo re. Yea rl y membership SI 0.00. A must for every collector. F ILM O F T H E MO NT H CLUB. P.O. Box 2485, Meriden. Conn. 06450. A D ivision of Audio Visual Systems. Inc.

Winning Tennis! Teaching pros say, "Fine st instructional fllms made .

Color. Forehand. Backhand, Volle y, Serve. Super-S silent (l00 ft. ). $[0.95 each, $39.95 complete (400 fl.) . Super-S sou nd , 51 4.95. $54.95 set (400 fl. ). 16mm sound . $39.95 each (200 ft .). 5129.95 comple te (SOO ft.). Vide oc assette.

5139.65 . Shipping S5 ce nt s. FO RE ST H [ L LS PRODUCT IONS. Box A 619.

Madison Square Station. New York.

N.Y. 10010.

Super·S, 16mm sound and silent film s .

Maste rcharge and BankAmericard ac­ cepted. Write for free catalogue and de­ tails on special [o ng·term discounts.

D ERBY F I LM D[ ST R [B UTO RS. P.O. Box SOl. Cheraw. S.c. 29520. " H e)' look! " The Lone Ranger. Sgl.

Pres ton of the Yukon in Super-K color. sound-featu re s . T V classics. canoons.

Over 1.000 films to select from. Get ac­ quainted offer- "' Li!lle B[ack Samba:' Super-8 color. sou nd. Reg. $29.95 . v.: price spec ial $ 15.00. Offer ends Aug liSt 31. 1977. Free catalog ue. R E D FOX FIL1'.·IS . Mt. Rd .. Dept. B. L ykens . Pa. 1704K. FAMO US! T he first name in Super-8 sou nd ho me movie e ntertainment. We have largest sele ction of films originally mad e at W.B . . Universal. RKO. Fox. Columbia , etc. H undred s of featu res. digest prints . comedies. cartoons. TV s how s an d countless reel s of trai lers .

Send 25 cents for catalogue. F AMOUS F[ L MS CO .. 103 N .E. 79th SI., Miami.

Fla. 33 [3S.

Fi[ms! Direct from producer to you! Send 25 cents now! WFW. 0-2. Box 23663.

Oakland Park. F[a. 33307.

Super-S So und Fi[ms. Send for free tist.

NORT H WEST CUSTOM MOV IES , Dept. SF. 4600 Union Bay Place. N.E.• Seattle. Wash. 98105. ,

PRODUCTION AIDS Reso[ ving Sync Cassett e Recorde r , C.S. S./Supersco pe C-l05S. 4 head s, manual volume. PC sy nc pulse cabte­ S285.00. Brochure 50 cents. C.S.S..

[426[ Ave. Mendocino. Irvine. Calif.

92714. (714) 551-0987.

CREATIVE TIME LAPSE PHOTOGRAPHY Free inlormative " T[ps for Tlme­ Lapse, " plus detailed brochure on mech. and electronic intervalometers.

SCIE NCE DIMENS IONS

Box 582SF

Costa Mesa. Calil. 92627

(714) 545·4498

Sync and edit sound tracks on quarter­ inch Hatchmark Synetape. H AT C H ­ MARK . INC . . Box 9 1. Morrison, Colo.

S0465.

67

SUPER SERVICES

Aut o-C ue ' Cassttte: $99.95. Automati­ ,ally stops and readies ea,h sound placed sequentially on standard ,assetle tapes! Best sound tra,k production aid yet. AU T OMATED SOUND. 584 Cortez St. . Salt Lake City, Utah 84[03.

~

:;-;,;:. ~" ,.

FREE CATALOG

:..~~

HARD · TO · FIND PRECISION TOOLS L,sts mo," than 3000 'tem - pl,e's .

Iwee,e" . opt,eal eQu' pment .

1001 ~ , t, AlSO cont~'ns " Too l r,ps" 10 ~,d In 1001 seleehon .

till] JENSEN TOOls

411 7 N 44th SI Pho"ni.

7800 'ONSER PLACE SHAWNEE-MISS IO N. KANS. 6UO'

SITUATIONS Sales men, deale r s, distributors for superior line of sync sound equipment.

Prefer individuals who can demonstrate.

ADVERTISING AS­ A LL EN SOC IATES. 17376 Via Calma. Tustin.

Calif. 92680.

'WANTED

------------_.

I enclos. $10,00 ($t2.ooC.nada / Forelg"l . F'1Mse enroll me n a membe ' 01 me NATI ONA L FILM SOCI ETY tOday_ I unaerstand that th e minute you ,ecelveln ;, . you will.., nd me my memberohlp cI,d.

NFS '"new membe," pac~ e t, AM my lirst copy 01 AMERICAN CLASSIC SCREE N m ag.' lne Name' _ _ _ _ _ _ _ _ _ _ _ __

Add'e••' _ _ _ _ _ _ _ _ __ _ __ City' _ _ __ _ _ _ _ _ _ _ _ __ St ote' _ _ _ _ _ _ _ _ Zip _ _

_

_

_ _ _ I n eed more intormOlion, Send me you.

Att ' activ. broch ure.

16mm Bolex Refl ex Ca meras, stereo ,ameras. old Leica cameras. Send description and price wanted. LLOYD'S CAMERA. 1612 Cahuenga. Holl ywood.

Calif.

50_foot Super-8 plas ti c ree ls and ,overs-5 cents for each sel in good ,ondition. Payment either credit memo or cash, FILMLAB. 521 North 7th St. .

Allentown. Pa. 18102.

MOI'ie photographs from Paramount' s with Norma Des­ mond. Gloria Swanson and William Hol­ den. State pri", PAUL DAV I D PEREZ. 2810 10th St.. Berkeley. Calif.

947[0.

SUl1!iel Boule..ard.

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I

I SUPER SERVICES

I I I I

Full color Super-8 poster. Designed by artist Paul Bruner for SUPER-8 FILM AKER. Measures 22 x 18 inches; printed on glossy, heavy-duty stock.

Suitable for framing. Only $3.95. Please add 50 cents for postage and handling.

(Outside U.S.. add 75 cents.) Send check SUPER-8 or money order to FILMAKER, Poster OlTer, 3161 Fillmore St.. S.F.. Calif. 94123.

SUPER-8 FILMAKER T-shirt- the per­ fect gift for yourself and the filmmakers you love. T-shirt is blue. with yellow and orange SUPER-8 FILMAKER logo an d sun symbol emblazoned across front.

Specify small. medium, large or X-large.

Only $4.95 (includes postage and han­ dling); ou tside U.S .. please add 50 cents.

Send check or money order and size to SUPER-8 F I LMAKER, T-shirt OlTer. 3161 Fillmore St.. San Frandsco. Cal if.

94123 .

'" NATIONAL FILM SOCIETY

Automatic "Theater" Light Dimmer re­ captures the warm. magical nostalgia of the old time theater. Single swit,h starts velvet smooth fade to full brilliance, or to desired golden glow preset level. $49.95.

AUTOMA T ED SOUND. 584 Cortez St.. Salt Lake City , Utah 84103.

Py ral Super-8 rullcoat, 500 f1./511.oo. postpaid . e. S.S .. 14261 Ave. Men­ docino. Irvine. Calif. 92714. (714) 55 1­ 0987.

Join The NATIONAL FILM SOCIETY

• .. 'n6 ,.11• • th • .up 01 Hollywood', "Gol den ERA. You'll be Joi ni ng with thouu nds 01 111m bull. o,ouM the wO,ld wM study. enloy ona /or col l",,1 class ic moyles f,om the day. of Ed ison to Iha ,~ •.

AMERICAN CLASSIC SCREEN. oU ' luxuriouslyprinted bl-month ly mog.zine contains exclusive inte",i.... (like Chap lin . "'amoulian. Flooney, F. ye) ond Incis ive artie'.' on movl " indu.lry nl'tory. member n ew. , l ilm OIle•• memorobill• •uction •• vld""dloco aM mOr"_ YOU'LL ENJOY SE RVI CES. th e R....rch Bur.au. Loc.1 Ch.pt.... Study Unlta fo, member specialties , the 1... FILM BUFF'S HANDBOOK, Hollywood Hotline ~w'lett .r. alld moral F'1u. 1M eMnca to come to Hollywood 10' Our annual M OVI E/ EXPO con .... "t io" l ..turlng lCad . 01 st'f$ In p.".on , Join NF Stod OY . orwrite lormor.lnlo,matlonlll you love old movi.. you c. n·"llord not to belong to NFS. ONLY St o-dU.. ($1 2" C.n ad./Fortlgn)

d,,,"'S,

Super-8 editing tape is a special pre­ pulsed '4-inch magnetic tape with pulses the same width as Super-8 film perfora· tions. After transfer of a striped film sou nd track. the tape is wrapped up in sync with the film for double-system bi­ directional editing using most '4 track stereo open ree l recorders and any Super-8 film viewer. An extra plus is double band sync projection! Complete kit consists of 600 feet of spe,ia[ tape. neon strobe. and capstan speed changer.

Complete detailed instructions. $30.00.

Extra tape. 600 ft. $6.00. Write: SUPER-8 TA PE PRODUCTS, 1168 So. Washington St .. Denver, Colo.

80210.

"CLASSIC

FILM" LOVERS!

SUPER-S FILMAKER 3161 FILLMORE ST. SAN FRANCISCO, CA 94123

Here is my ad. I am enclosing $ per word; $9_00 minimum_)

for___ words. ($.60

o I am taking a 10% discount by enclosing payment for eight consecutive issues_ Please run the following ad in the next available issue.

COPY, _____~----------------------

SERVICES Complete Super-S production services: C INESTHESI A. Moving pictures­ synchronous sounds. Andre de Saint Phalle. [n San Francisco telephone 566-1791.

Cash With Your Camera! Earn $5.000­ $15.000 yearly selling to 4.000 clients.

Sell photos 15 or more times. Guaran­ teed. Details: 13 'ent stamp. PIC­ TUREPROFITS. Dept. 299-SFM. Holtsville, N . Y. 11742,

"

NAM.~E====~:5~nA~.D~D~RE~S~S~~~======= CITY _ STATE_ ZIP

I

I

I I I I I I I

I I I I I I I I I I I I I I I I

I I L __________________________ I Post Office I>Dx number and telephone number COUr1t as two words each abbrevialionll and lip codes as one word each. Classmed disptay available at 555 PI' colurm net> with • 10% discount on eigflt consecutive inser1ior1s_ Add~ional inl00mation and a"""rat Advenlslng rat.. ...m upon request.

~

SUPER·S FILMAXER

We've made hearit}g Y9!H movies

as easy as seentg lllem.

Showing sound movies should be a simple pleasure. That's the whole idea behind all Kodak Ektasound Moviedeck projectors.

They're designed to make things as easy as possible-without sacri· ficing the niceties that help your movies look and sound their best.

Easy screen options.

These Kodak projectors give you a crisp, brilliant image on your cho ice of screens. For small groups, w;e the unique 3 1/2 x 5· inch pull-out screen. (It even lets you show movies in na nnal room light.) For larger groups, project on a conventional screen.

Easy film handling.

Kcxlak Ektasound Moviedcck projectors in· dude automatic thread­ ing and automatic rewind.

Si~lply insert the film lead­ er into the slot and the projector lakes over. At the movie's end. the film is rewound automaticall y so it's ready for the next showing.

Kodak Ektasound Mr~ Simulated projected image.

Easy speed control. You can adjust rhe speed

continuously between approximately 17 and 24 fps ­

so th."1t the sound is played back just as you heard it

during filrning.

Easy format change. To switch

from super 8 film to 8 mm film, flip

a single switch.

The on ly difficult thing about

Kodak Ektasound Moviedeck

projectors might be choosing the

model that's best for you. The

Ektasound Moviedeck 265 projector offe rs playback features. The 275 projector has playback and automatic full recording- for total recording or adding an entirely new sound crack.

The 285 model gives you playback as well as both hIll and sound-on-sound recording capabilities. Dub narration or music onto existing tracks, or record a whole new track.

All three projectors arc available with a 22 mm f/ 1.4 lens or a 20-32 mm J! 1.5 zoom lens.

See your photo dealer soon . A demonstration can make your d ec ision a little easier.

projf:ctors

CI RC LE INFQCARD 14

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