American INEMATOGRAPHER THE MOTION PICTURE CAMERA MAGAZINE VOL. 25 JANUARY, 1944 NO. CONTENTS © A Place Called Stulhorry Street. ...ly Auvne Wrexore, D.Sc, AS. The Academy Stil 5 by Way Hans The Documentary Technique in Hollywo By Janes Woxe Hown, ASC. 10 the New Acme-Dunn Optica! By Liwwoon Dux 11 sh tee Ge By W. G. Cason, Bos Proper Editing Means Better? By Cusvoe W. CaDanerre fae ain Care M. 8 Buasxromr, USMC 14 Motion Pictures" Post-War To By Narmax D. Gouons eens toe Meri © The Front Cover The Staff EDITOR Emery Mase. ASC. AFP CORRESPONDENT N Haythome, ASC MILITARY ADVISOR STAFF PHOTOGRAPHER t Clone cmncuLaTion ast Fred W. Jackman, A-5.C. Viele Milner, A.8.C- Trees, A-8:C, Farcet Edover. A.8.C. Dek 8. We De LA. Je De, Herbert tayon. KS.C. Meyer, A.8.C- De. V.B, Seate, AS. Keweaen on fh ‘Sires. Melbou eee neTROPICAL OVEN Gateway to the Tropics eT DU PONT MOTION PICTURE FILM SeTews, "085 Jost ont there. and news reel man does his stuff the same or not at all! You don’t stop to figure angles and light ing effects ....a battle is fought once. . . and no retakes if you miss! Newsreel cameramen can’t miss. That’s why they choose Eyemo Cameras . .. versatile, rugged, practical Eyemo Cameras... . that get the picture rain or shine war or peace... in New Guinea or New Hampshire! The Army and Navy feel the same way about Eyemos < ++ they're using all we can make . . . and want more You'll have to wait for peace to get your Eyemo and it'll be worth waiting for. Bell & Howell Company, Chicago; New York; Holly wood; Washington, D. C.; London. Established 1907. Prodocts combining the sciences of OPTIcs » electrOMics + mechanICSs A PROMISE TO EVERYONE WHO'S WAITING TO BUY POSTWAR FILM EQUIPMENT The new cameras and projectors that Bell & Howell will produce after Victory will not be hurriedly assembled from leftover parts. They'll be improved by the discoveries we have made in producing secret devices for the armed forces. You'll buy them and ase them with the same pleasure and confidence you've always had i Bell & Howell equipment HELP US PLAN THE FUTURE OF OPTI-ON!American INEMATOGRAPHER THE MOTION PICTURE CAMERA MAGAZINE VOL. 25 JANUARY, 1944 NO. CONTENTS © A Place Called Stulhorry Street. ...ly Auvne Wrexore, D.Sc, AS. The Academy Stil 5 by Way Hans The Documentary Technique in Hollywo By Janes Woxe Hown, ASC. 10 the New Acme-Dunn Optica! By Liwwoon Dux 11 sh tee Ge By W. G. Cason, Bos Proper Editing Means Better? By Cusvoe W. CaDanerre fae ain Care M. 8 Buasxromr, USMC 14 Motion Pictures" Post-War To By Narmax D. Gouons eens toe Meri © The Front Cover The Staff EDITOR Emery Mase. ASC. AFP CORRESPONDENT N Haythome, ASC MILITARY ADVISOR STAFF PHOTOGRAPHER t Clone cmncuLaTion ast Fred W. Jackman, A-5.C. Viele Milner, A.8.C- Trees, A-8:C, Farcet Edover. A.8.C. Dek 8. We De LA. Je De, Herbert tayon. KS.C. Meyer, A.8.C- De. V.B, Seate, AS. Keweaen on fh ‘Sires. Melbou eee ne“Mother, 1s ADEL a// over the world?”A Place Called Mulberry Street By ALVIN WYCKOFF, D.Sc. A.S.C.DN 5 ’The Pocumentary Technique In Hollywood By JAMES WONG HOWE. A.S.C.The New Acme-Dunn Optical Printer By LINWOOD DUNN completely turned over to the machine shop, The result is usually an excelent Jb from. x mechanical standpoint, adly lacking from an operative’ one The evident lack of close association by threen the mechanical designer and prin fr operator is constant” felt, with the tter bearing the burden, as he it ie ultioately responsible for tho qua tity and quality of the work turned out in the Aeme-Dunn Optical Printer I have endeavored to" design a. mach which ‘can efficiently bande all of in this work for the past. fifteen yeacs ‘at RKO Radio Pictures, Ease of opera tion has been the first consideration tu the design of this machine, and throw the untiring efforts of “the engineers of the Acme Tool & Manufacturing Company of Burbank, California, no se fous ‘mechanical diffculties were’ encoun tered in obtaining the features desired The Aeme-Dunn Optical Printer is radically new design, as can be seen by the accompanying illustration. All opers tions and adjustments ean be made from the one ade of the machine without moving more than one step, The camera is designed especially for optical print ing, and is an Integral part of the ma cat iron base and housing, and by the minimum distance between the optia jer and camera base. All the ional optieal printing transitional ef te atch af. lap dissolves, wipe-of sllde-offs, ete, cane easily made sith ieeat flexibility of operation, to fit-any Special footage requirements, and ean be either manually or. mechanically driven. "Automatically focused “zoom” for doliy: shots can be made by. simply turning one wheel, oF engaging it sith the accessory’ (wipe-over) drive for any speed of mechanically: driven dolly. The Fringe ‘of this move-up Js" from. full fcreen to less than the feld of a 16mm frame. The focusing cam can be die connected to make’ out-of-focus dis. Solves, which are often aed for retro pect transitions. ‘These effects can he made by moving either the lens of eam tra, independently of each other, - The camera and lens ‘units are mounted on hall” bearing guides for. maximum smoothness of movement. Printing speeds are 10, 20, 20, and 60 feet "per minute, with stop motion elutehes ‘operating up to 30 feet pet Tminute, The camera and projector have eparate clutches, controlled by a mas ter distributor which can be set for any frame-combination printing within a 12 frame eyele. This distributor can. be atickly set to make three-color separs tions, or to double every second frame inorder to change. film speed from 16 silent to 21 sound speed. The €o bination of both of these operations ean her done just at easily making. three color separations at sound. speed from ‘2 16mm Kodachrome shot at silent speed. Todo. this, the distributor” selector switches ‘would be ‘set to. repeat the three “separation frames from every Skip-frame work can be done whi running continuously at any speed, with fut the tse of the stop motion elutehe The printer is equipped with a 16 frame Selector aviteh which can, be sett jetuate either or both’ stop motion lutches ‘at “any” predetermined. frame is i= invaluable when doing special be used. to the projector on any particular fram for. Uninterrupted. stop-feame. printing luring fades, laps, ‘z00ms, wipes, ee where footage ie short (Continued on Page 29)Unseen Aces Of The Camera HANS (Koney) KOENEKAMP, A. S.C. By W. G, CAMPBELL BOSCOProper Editing Means Better Pictures By CLAUDE W. CADARETTE® submit, the manuseript toa pub~ Tisher, he will, fhe is interested, send it to the "Rewrite Eaters” for their corrections and eviticiams. Tf the book fs published, you vill find many changes from your original manuscript, Word have been changed, sentences added or deleted and paragraphs shortened. This Js dane to strengthen your story and make for easier, clearer reading. Oft ‘whole sequence of the story is omitted to ive the reader @ continuous train ‘of thought. So it is with motion pictures. A good film may consist of a simple plot and by omitting some shots and ‘Shortening some scenes, you weave the slements of the picture into closely Jenit sequences and’ then into smooth Story with perfect tempo. To do a good job of editing, we must forget our reluctance to diseard. those scenes that hold a warm spot in our hearts or have a sentimental value i they donot contribute to the interest fof ovr atidiences. We should try to view our pictures with the same at- e that a stranger would have, that 4s, does the picture have an appeal for creating uninterrupted interest? A poorly edited film will always re- ceive the same reaction from an audi- fence as a poorly written manuscript ‘will receive from a publishing firm. i, like ood exposure, is in any type of film, whether ft i a travelogue, scenario, or doeu- mentary. Each type of picture is telling a story and it is your job to do it and forcefully. After all the necessary scones have been made, they must be compiled in a logical man- her so that the ‘audience will have i fontinuous, uninterrupted train of ‘thought. ‘The initial step in editing in to fa- miliarize yourself with what i contained fa each reel of film as it Is returned from the processing station. Then cut the film into its individual scenes, and place them on a large reel in. their roper positions ‘ax called for in. the feript. ‘At this time, any obvious er- ors, such as incorrect exposures may bbe removed and discarded. After the ‘lm has een assembled in its proper ie you were to write a book and TF Feende, Loe Antsoe Sim. Cah sequence and onder, itis ready for elose ceaiting ‘At this time, the film should be run fon the projector and notations made of fany errors in acenes that should be re- Moved. meanwhile recording. which re take should be used. Also "note the proper place to insert your titles and Special effects. Never trust Your memory im these matters and. you sill Grd. that much time and unnecessary cuttings saved. You are now ready to splice each scene so that the actions” in’ them ean synchronized vith the action in the following scene. "Likewise, it provides 8 good “opportunity to. remove all su Perfluous frames which would “retard the tempo of the pieture, ‘An important funetion in editing film fs the careful splicing of it. It is well to remember that an error of 1/1000 inch in a splice is magnified about 40 000 times on a Iarge screen. Obvious, any slight inaecuraey in the splice will fause & considerable jump in the new seene, and may result in many tor perforations before the projector ea, be stopped. If you have no duplicate scene to replace it, your picture must helved or reworked in some manner yertly made that they are not apparent at they” pass through the gate’ of the projector. Tn travelogues, as in scenarios, you should incorporate a story-telling’ Wea fF some feature to break up a monot fonoue setiee of outdoors scenes. Try to be original and use a new thought for your continuity rather than the old hhackneyed ideas of shots of “the car traveling along. the highway or father continually. fixing flat. tires. Running gues can create a lot of interest in a fravel film when they” are new and unique A common fault of amateur makers is the overdosage of running- gage they force on the audience, 1 ave viewed many’ lms. in sthich’ the continuity of the travelogue je. greatly hharmed by. a constant repetition of stunt and as a result, the film becomes rather boring. Usually gage ean ‘be ed three times at the most unlest the ‘uations in it change or are extremely famusing. One should keep in mind that your film fe a travelogue ‘and. not a comedy. The purpose of combining a light con- tinuity! or afew running gags in travelogue is to provide a means of transporting your audience from one location in your travels to another Io- cation. Neelless to. mention, this p pose should be accomplished ax quiekly ‘and smoothly as possible. "A few laugh Teliefs are always spicy in a picture, Dut don’t make the error of Iuling. the audience to sleep with your efforts, When cutting and editing the trav logue, assemble all of the scenes which ‘cover ‘one location or subject” into the proper sequence of title, long. shots and slose-ups. After doing’ this, you ean fut each seene to its proper tength and completely edit thie sequence. This se= fquence is then ready to be connected t0 the following sequence by inserting your AAs a rule, long shots should short as they only serve’ the ‘of establishing the location while. the medium shots and close-ups bring the details of the location to the viewers These latter shots can vary in length according to the amount of interest they contain and the importance of the subject matter After the film has been completely assembled, rerun it in the projector and make notations of the scenes or actio that need to be trimmed. The more you run the picture, you will become: more conscious of any’ lag or drag’ in tempo and ean correct it before some- tne else calls it to sour attention. Re- peated scanning of a film. will usually Feveal spots in it where it ean be ime proved and. this procedure is. recon. mended. A scene has only one effective length and it should be off of the sereen the fnstant ‘that’ it fails to hold. anyone's terest. Tt is lesa harmful to. your picture to have a few cones cut” too Short, than to have then remain on the ‘ereen too Tong. Titles should be simple and informa tive, The main title can be decorative, and colorful Tike the cover of a. bool, however the subtitles should” be" incon spleous and the use of them held 42 minimum. Subtitles at their best al ways distract the attention and disrupt a person's train of thought. ‘The style of lettering should be in keeping with the type of your picture. AS an ex- ample. a Christmas film can be lettered in Old English type while it would he incorrect to use Old English lettering cn a picture centered around scene of Mexico Action shots should be closely spliced so. that the action of 1 scene it syn- cchronized with the ‘action of the fol Towing scene. Let us assume that in a medium shot we see a man raise fgun to his shoulder to fire at a deer In the closeup. the action should start with the aetuni firing of the gun to tie ein with the preceding, scene. Likes an action ina seene of man striking nother with his fist, should he followed bya scene showing actual contact of the blow. A few frames of hesitation ‘will spoil the effect you are after and {Continued on Page 24) Awnnicas Cixwatocearnen ¢ January, 1944 18alee first thing: to realize little precedent to 0 6 doctrine. The field. of combat The Camera Is A Weapon By CAPTAIN M. S. BLANKFORT, U.S.M.C. oyster. You will m dents and your own doctrine Isa weapon. If you become as. deadly and deste Comb part ferial phot who land. with the brush, of an act mn which ng the enemy as a machine yun, cameramen have a tremendous ‘You four. Intelligence veraphers is thelr contribution work out from fox holes, forward echelons em poreantet el © single human es fan encompass until seen. put. together Through what you record, our ‘Staffs can find their errors and the errors fof the enemy and ean profit. by. both Officers ‘and men who study your film fare. studying something ‘permanent in that ‘the film ean. be shown over and ‘over again” without those inevitable ‘changes whieh occur 80 frequently in re peated verbal and veritten reports. ‘The fEamera isnot subjective. It wasn't frightened when it shot an enemy tank jvancing. Tt doesn't color what it secs, ‘The pictures it takes can be reprinted without change and. shown in places thousands of miles apart, ‘The flm can be studied frame by frame, inch by inch, foot by foot. Tt can be enlarged until objects normally passed over thout for recognition, And, above all, the flm you shoot ean be Used to teach replacements fand save countless hours, For all these reasons and many more your work as cameramen is as impor ‘lac’ in the combat team. And for these reasons too you have been trained in the technique of howe to tae Pictures. ‘But ite a long. haul between Irnowing how to take a pieture—and what to taket Unless you know what to tur jour lens on, all your technical training in photography may be wasted. Unfor tunately, it i extremely dificult to pre pre for the job of knowing what to Shoot, for the one prediction that ean be made about operations against the enemy i that they are unpredictable. In Hollywood things are diferent ymeramen are planted on OUr Sid ‘No man's Land” and on the “enemy side and are instructed hy the dineetor What to shoot. If the “action” becomes askew or the lights aren't right oF a camera breaks down of the tanks. an held up or the “troops” are: not deploy ing as per schedule, the director’ can blow'a whistle and start all over sigan, But a studio {s not Guadaleanal or New Guinea. No one is going to "divect™ the Japs to make their assaults during sunny ‘days #0 that they can be photographed oF ean any’ one “direct” the “Com mander of Task Force to make his landing ‘to "At the needs. of combat cameramen, In short. the difficulties of finding what to shoot and being in 8 pos tion to shoot it are part and parcel of the Aificuties of combat. There can be no trine ae to where a combat camers- man can hest be sited to photograph fiction. What then? Can We let camer hen fo out into the field with our hap hazard best wishes’? Fortunately, there are some general principles evolved out of « common-sense npproach to these problems, which can make your pioneering job a little easier, ind what is more important, make yo." film contribution more effective, ‘The frst of these prineiples Is planning, ‘Too often, combat cameramen are of the opinion that anything filmed in a combat farea In, by. definition, important. They Shoot everything they see. Their Timit i the amount of film they have in their cans. These “triggershappy” eamt- feramen. must stop shooting and start thinking. They've got to take aim be fore firing. "Like unit commanders. who plan ‘carefully before deploying theit Inen, combat cameramen have the e- sponsibility of using their film efficiently to get the desired results. This means finding out ‘what there it oF will be to Shoot and how best to shoot itt This mmeans—planning! As combat cameramen, you must grasp the tactics of the action of which you are fe part, You must understand the Teuson ing behind those tactics. You must know ‘ac much as you ean about the positions of ar own troops; and you must find oxt our Tatelligence estimate of the enemy's positions. In short, you have to. know ‘hat mores we're going to make—oF ty to make—and what our guess is a8 t0 what we are up against. Once you have All the information avaliable to 30U, 908 “your camera tactics. Then ou can lative ata rough estimate of what there ‘wll be to. photograph, and. you will be able to weigh this against the amount of film you have on hand. Suppose you are sith a Marine Corps force preparing to make landing. fctublish « Beschhead on the Island of X-"You should know something of the {Centinied on Pege 18)Motion Pictures’ Post-War Role Surround markets abroad after the wa becomes steadily more compelling. Much thought is being given to 1 movement of actual physical commosites after the war, Much study is heing de- Noted to the conditions that will gover thought. (in relation to its importance) being given to the question of reason- ably. free and equitable flow of that powerful and pervasive “intanpible.” the Imation pleture, which works on a tre ‘mendous scale in the realm of “pleasure ing an increasing thare ofthe atten ‘the general public. As the tide of war moves, more nd more strongly, toward the eventual success of the Allied armies, expanded transport facilities of the f in leisure,” of emotional reactions, and ; OST-WAR planning is today el tion of industry, government, and the urge to study the conditions that 9 ture, especially in the air. But is equal of stimulating thought-patterns? "The ‘one feels strongly, should be mat one hesitates to give that Motion pictures, in the post-war world, ‘ean operate potently az a force for Semocratization, for human feeling, for ‘wholesome impulses, no less than for the falutary benefits of recreation. Through ‘the mind and the imagination they’ ean work cogently. for ood. (The Nazis, Knowing the ‘extraordinary. power and feffectiveness of this mediom, have used picture for evil ends; one will, forgot how, in at least four fapitals ‘whose conquest. the Germans contemplated, they gave a private scree Ing’ of a “tervor film” of Nazi war, po traying. the devastation, the wholesale swereckage and awful suff ‘upon other peoples who ha Hitters will.) Some surveys today show that more han 100,000,000 "people are passing weekly through the doors of the 17,500 American motion picture theaters. ‘The influence of the medium, as here in our ‘country, %> indisputable—and_ growing. Will the post-war era witness a propor” tionate arena of invluence—with fair ‘opportunities and an open eld—for the Hollywood pictures: in. the other ‘coun tries throughout the world? Struggle and Effort Loom In the years before World War IT, our foreign ure markets grew rapidly. ‘Te required tittle if any effort fn our part to control most of the sereen ime of the world. The reasons were ‘that fell, resisted (that fact was never effectively denied) ‘were exceedingly well ‘audiences. Abroad, rmost domestic movie industries were poorly financed, and their films, to put Fe mildly, left a great deal to be desited But—from official reports and press stories now reaching plain that that. picture will be ery perceptibly after this wary and Our American. motion-pieture industry Tay find. itself fighting, as it never fought before, to distribute its products in foreign markets If the postwar contest in this fid is & fair contest—one based ‘upon qual ity oF produet—Hollywood need have 10 fears. “If the fight should prove to be of a different character, Hollywood may Coneeivably find itself dependent almost ‘wholly upon its domestic’ United States market to Keep itself on a sound Sinan cial basis, The situation ix certainly one te induce thinking, and to generate judi ious, skillful, and determined post-war planning. Our American motion-picture industry fs fully cognizant of events that might develop after this war, and has already: sets its sights to recapture its. world markets when the guns of World War IT cease firing. But we are not alone in Such thoughts, nor do we have ansthing resembling an exclusive franchise along those lines. ‘Throughout the world, all countries now realize more than ever the power fand influence of the motion picture. They hhave seen how Amer save had marked effect on the daily lives of their people, how motion pictures have aided greatly in furthering the sale of many Yared American products abroad fand have diverted to American “mana- facturers much trade that was formerly enjoyed by others Teeause of the undoubted influence of this potent” medium, practically. every country of any importance has its own post-war plans for the building of its cture industry, and closely fassociated with this’ is foreign gove ‘fort to combat the influence of ‘American pictures on world merchandise tt Britain, the Soviet Union, Swe- ‘den, Switzerland, and. Latin "American ‘countries, such at Mexico, Chile, Argen- emaclves ‘ect competition for postwar film sales eitish Plans Great Britain, for some time now, as been formolating ite plans to win world sereenstime for ite flms—and this with the encouragement and assistance of the Anunicas Crvestato Government's Board of Trade, as is quite naturally to be expected. In a recent Speech before the British Film Producers Association, Mr. Gaitskell, of that branch of the British Government, said: “There ‘feeling in many quarters that de- velopment of exports generally. will be fsisted by. the successful export of British films. Te hax been said "Trade follows the flms’; I do not know how far that ia an exaggeration, but’ there is something in it. We are’ paying special von to film exports from that ange.” Mr Gaitakel, it may be noted, stated no fact that the American motion-picture industry did not know. Our films have hen silent or sound-aceompanied sales men of American goods and democratic Ideals i world markets for the past 20 years without any assistance from the United States Government ‘The British industry, it is generally realized, has learned much during thie ‘war on how to make good motion pic- tures. True, most of the British industry and ite technicians have been making pictures for their Army and Navy, but they have been acquiring knowiedge fas to how good movies should be made ‘and how to tell the story. If some of the British films made during the past year, under unfavorable conditions may be considered samples of how the Brit {ah ‘technique of ‘lm production te pro- ressing, then the British bid fair to Trecome our greatest competitors in the film markets of the world. Entering the British motion-picture Industry recently have been powerful terests who ave determined that Brit pictures shall be shown throughout ‘World. ‘These interests are well-financed, land their prospects of reaching the en” Yisaged goal look brighter now than ver before in the history of Britain's ‘motion-pieture industry Nazis Making Bro ‘The reverses that the Nazis have been suffering on the various military fronts ‘apparently donot deter them in the slightest from going vight ahead with broad and sweeping plans for the future in the motion-picture field.” The U. 8. Department of Commerce has just re- ceived the iuminating text of an article fon this subject that was published only fa few weeks ago hy « German petiodieal In the film industry, says the Nazi writer, war has tesuited in a closer co” operation of Buropean countries," find- Ing Its outward expression in the estab- lishment of the so-called “International Film Chamber.” ‘That onganization, the Germans allege, comprises 17 eountties Its iden, its primary purpose, say the Germans, is to ill the yawning gap that has developed in numerous continental ropean ‘countries in consequence of the discontinuance of the receipt of films from the United States, ‘The Nazis n= hesitatingly admit (since they could hhardly do otherwise) that cessation of the flow of Hollywood pictures to Europe (Cer 1)‘general plan of the action; what beaches fre going to be assaulted, what oppos! tion is expected. ‘You should know some- thing of the terrain of the beaches and the island and where the limit ‘of the beuchhead (Force Beachhead Line) has been designated. The time set for Peers oyeny. tmusetanl, foe 12 will dee termine to great extent what wave you igo in with. If the first wave comes be- fore daylight, it will be too dark to shoot. ‘The second wave or the third—or even later wave may be better for your pur- poses. Remember that you ean't shoot Your fm while you are running for over, but if you know the general op- trations plan you ought to be able to move to a site, camouflage it and be in 4 position to take effective pictures. Planning your film tacties will belp to liminate a situation where combat feameramen moving in with a landing force have used all their available. film fom the beach and had nothing lett Shoot ‘with when the troops advanced finland to the Force Beachland Line. If ‘two oF more cameramen are attached to the fame assault unit, planning between them is essential to avoid duplication. Planning your ‘lm tacties must alao include the clement of flexibility. In eom- boat situations, ‘unit commanders have reserves, In that manner, too, you must fallow for a margin of reserve dim. You hhave to he prepared to photograph any ‘hing at pens. Your camera, like your knife and ‘carbine fever on the alert. To say you film left is, in most cases, the poorest ‘excuse you can offer. ‘To sum up: You must first get an est mate of the situation, and then plan your ‘own camera tactics ax to what to shoot land where to shoot it from, leaving @ margin of safety of your available An to cover at least part of the inevitable Seurprises” of combat ‘These “surprises,” the unpredictable tums of war, may turn out to be the ‘most important things you photograph. Planning for them as far as you are concerned means only. as we've said, it you have reserve film. But perhaps ff equal importance with the ‘lm is whether or not you are aware of “'sur- prises.” Being aware means to thing knowing the plan of ‘operations —whieh wwe have alreaily diseussed—and, second, having a “nose for news.” This “nose for news” is cliche which is almost be- yond definition. Generally epeaking, it fan mean being alert to whatever is bap- [pening or at the newspaper legends have Hf, being on the spot hefore it happens. Tt rieans being inquisitive and persistent — md ot being satiated with the Firs ans wer you get to a question. Tt is not ‘ality, unfortunately, which can taught; however being aware of its ex- Intence and importance is the frst step toward achieving i 46 January, 1944 @ With combat cameramen, a “nose for news” has special meaning. "Your "news" can't be haphazard. It has to have a purpose behind it. Purpose is the second general principle to follow. ‘There may be months during which you are at some advanced base doing nothing because apparently nothing. is happening. Your film is burning a hole n the cans. You say to yourself: “True, jothing is happening by way of action ‘against the enemy, but there is onside: fle training going on. Training is ac- tion, Camp conditions are unusual. They ‘would be ood. picture material. Let's make pietares.” 1 reasoning is sound. Pictures wade under those. conditions But those pictures must have meaning. Film taken of @ chow line on Guadal- canal is not necessarily either meaning- fal or important. But that chow line broken up bs. an air ral alert becomes Significant. When chow is complicated by ‘alerts it Becomes'a problem both for the men and the mess sergeant. How that prablem i faced and solved would make 4 pleture that would help enormously in preparing the next boys who come out ‘Thus, when you're not in the line of actual combat, make pictures—but with ‘ purpose. Judge every shot by whether It'adde something’ to the understanding cof whatever situation you're in. You are not tourists; you don’t make travelogues. You have a responsiblity to the service for every foot of film you shoot, “And. whenever possible the pure pose for which you shot your film should be explicit in the film itself ‘The third prineiple is clarity. Wherever you take your pictures—on some Jap: fnese-held beach of at some base in New Zealand —you must remember that what the eye sees and what the camera sees fre not the same, Far example: You are fo sited a to give you a fine view of a Tine of enemy emplacements hidden skill fully in the brush and forest-fringe some distance away. You have seen some of them move, You have seen an occasional kK gun, You have guns and. rifles six inch lens on your Eyemo find you say to yourself: “What a shot! jive. dapanese in action on my film!" Carefully you take your picture, and sometime later your flm gets buck to the States for processing and release. We fee i¢ and we say: “What's that man wasting film for? All he's shown is ome pretty seenery, and if there's ans thing behind those trees, we ean" see i.” We don’t see the enemy on your film Doeeatte the camera didn’t see him. You were tricked by what you saw and hear before the camera started rolling. You read into the scene what literally was not visible. To you, the enemy was there beeause you saw and heard im. You probably ad even ducked some of his bullets, But to us who saw your film, he a so well hidden he wasn’t there of all, and nothing: indicated that he_ was fring at our troops. Therefore, in ta Anmnicas CuveatarocnaPiten your pcre, you must constants tar nd that pour im te Sal fogs ‘of the scene in front of you. yan Sh yout." Want wil be viable fa these ho ran my pitren in pres tion tome eer octet ie on shen Tm not around to explain? Wi Teleur to thee presen why taht ths footage? ‘One way of helping to Keo the con- teat owe fm deat aby ping total ary wth Te tell og foe goat urpoles," means ‘having’ bling ‘sieht ort cee eter a hoot You ry act Se able phos rh thm cert oda, but ant Sia of nite eile geal. TH interme of photographing coun ane fect That nel tale oye A ‘See of'en sntearerate pan ation Solereliy aoe sts Sess ge foods although simple, sary ting Two fp may huge fae afer fined The A.A beter pete baa thie to get ibe ling plane. Dane het that wony yo, ifthe Otto tr fiber, tat al that can be expected Sou tbee Uw estates se ete Doar ee oe ae Sy Komi eer ee pie act ne sone Tan fl ont what may mean sierene atcony eee fechas Totny boner ae oe foe al th ofan tay bene Suck cey eve pan ela ecger 1c eay Be a Chee tape ae you keep tying tad pour him to 2a sear, purport try. You fre bound to approximate a more me Fete plotogapii reed of the wel ‘part of the ib of storing comes withthe EN eof sour came ie"you are uning «maton pictare Hees a Caren For ether pnp, 3ou have Jour Hilaen Youre waenyieara feral otto pa fll to sfien That viele veo tt ba Sn” you ect to. know sour camera Detter, But span sot ott Het Sh a the righ sped of movement can Alp Immearaby tall a ar Tamsing pores vl cela ace the thee general principle devel abet vcomtons exes pyres gee prollens Ther ba forth plat eae Benet pepe bet rather’ ude fib coe you fave tela a Sone ‘oul need considerable apf so the mieten oo Sh ee your planning. "oe information Trl ne alvays be scoala fe a San Tes te ye ee ta facture The Te Section ne {algenee) andthe Torce Seton (Pla th Treat) can’ contd ety the tail you eel thee See ro. Wil fod ocers eho adel times. happens, an officer docan’t fully comprehend the Importance and the ne- ceasity of your job Keep hammering away’ ‘at him until he giver you what you need. (Continued on Page 24)J. E. BRULATOUR, INC. and ORGANIZATION PERSONNEL EXTENDS ALL GOOD WISHES fora HAPPY NEW YEAR To CINEMATOGRAPHERS of the Motion Picture Industry and in the Armed Forces of Our Country throughout the World— J. E. BRULATOUR New York L.A. BONN J. L. COURCIER Thos. L. GIBSON Geo. H. GIBSON Wm. J. GERMAN Edw. O. BLACKBURN Fort Lee,N.J. Hollywood, Calif EASTMAN FILMSMotion Pictures’ Post-war Aims (Continued trom Page 18) has left a tremendous cavity in the ‘entertainment of the Rei Tut they have their own plans, whieh they present with typleal” assurance An annual production of 400 to. 500 films (the Germans estimate) is. 're- quired for. the 27,000 -motion-pleture theaters of the European Continent, with their 11,000,000 seats, Can such 2 demand be satisiod, despite the terre ‘and steadily tightening exigencies of the war? The Nazis sound confident, “This Production,” ascerts the Deutsche Zei- tung in Ostland, “will be attained in spite of all diticuties.” "The planned German quota of 110 films will in-any ‘rate he achieved,” holly claims the Nazi writer “This year's Ttalian produetion will nt be ich leat the Net analyst Be tures.” The recent violent explosion ruptions, and incursions in the Ti “thester”—the theater of grimly real faction —make one exceedingly dubious ‘to whether the Nazis will ever witnese the realization of those fond hopes. France, Spain, Other Countries Among the film producers on the Con- tinent other than the Reich and Italy, says the German writer whom we are quoting, France is growing in import- aanee, after the shattering economic dis- turbances to which its once leading Alm industey was subjected in peacetime and after its collapse soon after the begin- fing of World War Il. ‘Considering the “collaboration” with the German and Italian lm industries, it may be ex- pected, the Germans’ calculate, that France will produce about 60 Tong Sims this year. ‘Among the “southeastern countries,” Hungary has developed during the past Alccade a motion-pieture industry of ite fown, which, in the German view, has attained a good reputation in foreign markets and has even been improved in efficiency during the course of the (Of the two large film studios in ‘eapital; Budapest, one is fat present “largely at the disposal. of the German film industry.” Just. the same, it is expected that Hungary will Drodice about’ 50 real Hungarian films uring this twelve month. Spain is endeavoring to reach that same figure (50), though development has heen rather seriously. retarted by the consequences of the civil war and by the element of mounting costs. The Spanish film industry, itis noted, is ‘encouraged ns much as possible by’ the Franco Government, “which is partiew- larly interested in export to the Tbero- American countries," Including sueh n= creasingly significant markets as Argen- ting, Chile, Peru, Veneruela, Colombia, find’ Mexieo, Competition on the part of 18 January, 1944 in is probably going to play a role ‘no mean newligible in the post-war years Slightly lower than that of Spain is the production that may be expected in the Scandinavian countries, which have always had @ large number of motion- picture houses and lively activity in this Feld, but which have (it is noted) paid relatively little attention to. their own produetion for a long time “on account Of the predominating influence of films fromthe United States, ic stated, will produce about ed3, and’ Denmark and Finland about 15 fime each, Switzerland, one of the few lone neutrals in Europe, is being counted on 0 turn out at least 10 films. eich “Counts Chickens” Nazis, not unnaturally, view the nution in the supply of "American in the countries of “Fortress Eu: rope” and its environs with a consider able degree of complacency 0 far as the immediate and ultimate possibilities for Axiedominated Europe are con- cerned. They are setting themeelves to Shape post-war movements in this highly Important. spectalized realm of trade, entertainment, and thought. They are Already manedvering to grasp every on éeivable opportunity to see that motion- picture matters develop in a manner to Atugment their bankeaccounts, The Nazis fare clearly and. resolutely envisaging postwar potentialities and are mani- festing every intention of driving toward their movie objectives with typical Teu- tonic dogaedness. We in America well know that the coming total defeat and collapse of Axis power will leave scant scope for any wworld-embracing — or even Europe: tembracing—scheme of domination by the German sind German-dominated mate picture interests. But the overall pic- ‘clearly discern in such a ‘been cited above may, *0 tage, indicate the neces- Sty for long-range thought and truly forward-looking setion on the part of the Hollywood. industry—thought and faction that take cognizance of the mal- ifarious changes which this war as ‘wrought and ix now inducing, in what may be deseribed as the motion-pieture patterns of many foreign lands. Changes are Constant, Varied Those changes may be discerned not so much in any drastic overturns or re situations tions) and departures, F tions are of every imaginable kind. Tt may be worth while, for a few moments, fo turn the spotlight hither and. yon, fon the foreign motion-pieture. "stage," tnd note Just a few of the odd and as sorted new developments under the im- met of the war. Each of them may ‘mean something in the future in Australia a new law requires that all theaters stay closed on Sundays, In that Commonwealth, to, we find a new AMERICA CrvestatooRAraen movement to establish a cireuit to show Russian films exclusively. In Brazil, all Axis films imported in 1942 or in the possession of distributors were Tater confiscated by the Govern- ment. In Haiti we see the motion-picture theaters reducing the number of per formances given. daily, because of shortage of electricity. "In Afghanistan wwe find a ban clapped down on “any politcal "news “reels” (pretty "broad term). And we learn of untutored na- tives in the wilds of Burma's jungles reduced toa state of mingled cestasy and panie by the sight of their first ‘Turkich citizens, we ascertain, are for- bidden to attend even private screenings of any propaganda films. A. Swedish producing company has displayed the energy and summoned the Specialized skill necessary to embark on the production of a full-length cartoon in the Disney manner. ‘The people in Algeria are making it their motion-picture fare, eally reject “psychological Britain establishes a new and vigor- ‘ous association to promote the predue- jon and use of sclentife films, Staid trade experts elves, upon occasion, irresistibly “en- fgroseed by consular descriptions of the bbchavior of native audiences of the leas developed countries ax those spectators ew (rarely, or possibly for the frst me in their lives) a lifelike picture on fa sereen—their unrestrained shouts of excitement and roars of delight, thelr Slappings and eavortings, and other f48- inating evidences of "audience partie pation.” “Their enjoyment plainly points {to enlargement of markets In the future. ‘The items just cited have not the smblanee of organic unity oF ionship—but “they all. drive hhome one fact: namely, that things are moving swiftly in. the motion-pleture field abroad, that new forces ate being unleashed, and that Hollywood will need, nore than ever, €0 Know, t0 study, and to plan. ims Follow Armed Forces ‘One of the really potent factors now shaping the preliminary stages of the ‘world lm situation that. wil develop fas the war ends is the presence of eon tingents of the armed forces of the United States. in nearly every corer of the world. And American movies f- fevitably follow the flag. Consequently, to. an unprecedented degree in many cases, Hollywood's entertainment “Aime fare being projected on screens in count: ese remote, exotic and previously little: ‘arid Africa, in Silly, and in India and. Ceylon as our forces prepare. ‘0THE NEW EORORESSIONAL JR. WITH REMOVABLE HEAD L Unsurpassed in Quality, Versatility and Rigidity 4 The friction type head gives super-smocth pan of 360° pon and 80° tit. A generous sized pin and trunni dependable service. "Spread-lea” design off Guick, positive height adjustments. A "T" level is built into this 14 Ib od. The top-plate can be set for !émm, EX. Cine Special, wut motor: 35mm. DeVry and B & H Eyemo (with motor), without alignment gouge. Tripod Head Unconditionally Guaranteed 5 Years This shin rerereT rrr AMERA EQUIPMENT (OR Lm LDPost-War Lighting Outlook 742 #aotter HE following highlights of “lamp. [ toes atter the war” are ten from talk delivered recently by. Wand Harrison, director of G. E. lamp de- partments Engineering Division, to froup of lamp sales executives at Nela Park, Cleveland ‘A real market for fluorescent. git. ng after the war will be the nearly to milion stores in the U.S.A. These stores, fecorting to all utility executives con facted by Mr. Harrison, are chiefly In- terested in F-lighting. Incandescents, however, will still have considerable use for spotlighting ‘Chain stores alone, will spend half bil first year after the war for store mod= femization. That divides iteelf into $3, 500 per store, “And. good lighting, Mr. Harrison points out, "has always Sood high upon the list of things frtore should have He pointed to. three objectives in the GE. SA storelighting plan: light- {ng for attraction, appraist, and for Atmosphere, "Of interest to architects fand manufacturers of store-front ma terials isthe allegass. “visual store front” which. reveals the whole “sore from the street. To accomplish this, the ‘sual storefront” store wil require a relatively great amount of light. Among ther markets for greater amounts of fuorescent Tighting will be the theater and the gas serview station. Industrial Market Only one-third of American industry. fas a whole is well lighted today, ‘That Teaver two-thirds of the industrial mar ket (both large and. small plants). yet to be Tighted in accordance with present lighting) practice Sealed Beam Lamps Many types of hermetically sealed lamps are being. used on military ves Wiles, as landing lamps for war planes, for signaling on the ground, in the air fand at tea, An exceedingly” powerful Tamp i heing developed for searchlight {ng and other military applieations t00 sceret to be revealed here.” With slight ‘modifications, sealed-beam lamps shoal find ood post-war applications inthe farm "and railroad. lighting fields. New ‘opportunities for improved lighting for foutdoor sports and for better drying ‘methods throuch Infrared radiation are Wieated ae the result of other lamp fyper developed for war needs, Projection Lamps “The peucctime demand for projeetion amps should expand at a greatly accel= erated rate,” Mee Harrison bliever. The Yale of movies, at an educational me- Alum used s0 extensively by: the armed orees, has been definitely proved. “We shall also doubtless kee a wite peacetime jon of the V-Mail idea for pho ographing and projecting of mieroflmn records,” ‘he iedlared, "Application of e survey shows, dollars in the January, ou 8 this war-born technique, Mr. Harrison Believes, would not only make for much ore effective and compact business ing but would. facilitate «wher dis semination of edveational material etter Photo Lamps Duration developments in the phot flash field has Led to material increases peak Jument of Sve G.E. Mazda Photoflash lamps. War needs have also brought about the perfection of an un- canny photo device permitting Mashes f ‘ormously high eandlepower, each Mach lasting for only a few millionths of second. Obviously, the peacetime applica tions. of this super lighting. “machine seun,” ‘equipped with m. mereury vapor Tight source, holds reat potentialities for the commercial, portrall- nd. ‘ews photo elds Germicidal Lamps One day, the publie will hear speciieal- ly of the role being played by germic cidal lamps in barracks, hospital, sub- tmarines and elsewhere in the war effort. hie. lamp, I believe.” Me. Harrison wll have « big future.” Tee im- ce in school rooms of the country con only to the use in the nation’s hos germicidal fixture pitals. And lamp business equivalent to at least ‘one-fifth that of the Telighting all of the country’s. schools Just as the use of germicidal lamps Ihave been used by sugar refineries to He. cer aterilize a special sugar for canning “and at one-tenth the former cost—and iby. ment packers. to improve sanitary conditions of meat storage places, 0 ‘will these germicidal Tamps more than Tikely find “countless practical utes in other branches of the foods industry Jighting in Homes Ms. Harrison further believes that millions of men and women war work rs, aware of the advantages of 25 to 50" footeandies levels from the. faores cent aystems in their war plants, will ot continue to be satisfied ‘with the relatively Tove levels of lighting in their es. Te is not beyond the bounds of razon to presume that five to ten mil- Tion fluorescent lamps alone for kitchen fixtures will be sold in the fret year after the war ends Street Lighting More safety and lighting: con than ‘ever’ before, “many. munielpaliti have already: made detailed. plans and are setting aside funds for" post-war improved. street Tighting, Mr. Harrison reveals. Development of better street ‘and highseay lighting unita fe underway Tels not too early, Mr, Harrison feels, for utilities to be urging proper author! ties to. map plans for post war street lighting programs and te take an active prt in these activities atthe earliest moment AntmnicaN’ CiNeMAroGRAPHER Cameraman writers, producers, actors and setresses were given credit’ for the greatness of the pietures, ‘Somehow oF other the rm to realize that “Madame Curie” is a great picture, bout one of the most important elements that makes it-so is the mood that Cine= Iatographer Joc “Kuttenberg managed te capture with his camera Had he Iissed fie with his photography picture would have lacked its present Breatness. The same goes for all the feat pictures of the [ast Year 1, personally, feel that itis high time the’ gameramen ere given some Feeoge ition bythe erties, many of whom claim to have uncanny knowledge about ‘what makes a picture great ar bad. Cameramen throughout the years have toncentrated on their art, and to hire press agents to_ publi fand make the pleture-xolng pul Sclous of them.” Perhaps, its thelr own fault that erties overlook them. If so, it might be a good dea for them to got ‘© personal publicity agent to tell the ‘world about the great part they play in the making of successful motion pie~ tures. "Tn the meanwhile, let us hope thatthe crtiee somehow will realize that while a director may decide. on f mood and tell Wt to. his cameraman, ft fe the cameraman ‘who has to under: Stand. what the director wants and pits ton the sereen, Hat Hat OWI Does Three Reels ine Line.” “Yellow Springs” and “emhe Town" have ‘been completed by the OWT Overseas Motion Picture Buc eau. With other documentaries, now fn work, to round. out the program, they will be ready for an invitational Hollywood sereening early next month. Magazine Picks ‘Curie Scholastic Magazine has selected “afadame Curie as best flm for young people in the January, 1944, fase.Motion Pictures’ Post-war Aims (Continued from Page 18) What does this mean in terms of po- tential post-war markets, post-war trade arrangements, post-war planning? These movies that are “breaking new ground” fae they accompany oF follow the armed forces are ardusing wholly new desires for entertainment among. resident popu- lations—they are stimulating interes, creating demands they are opening the dor to future opportunities for even broader geographical distribution of the follywood studios” products than We wave witnessed in the past We have just used the word “geograph- fcal”—and that server to. bring heme the reminder that diferent seographical areas have different political set-ups and governmental jurisdictions. They have, find will have, different trade-contral measures, tariffs, fees—and. possibly re= strictione of nature that are somewhat hhampering. Which brings ‘us to a fea- tre of “motion pictures, postwar,” that fan be diseussed only with a marked de- saree of clreumspection, Competition ‘The American motion: thas alway welcomed fair competition in any market of the world, and it scems ite reasonable to assume that this is the policy to which it wil consistently adhere in the post-war period. ‘The United States is the greatest dollar market in the world for good mo- Motion pictures of real roduced tion. pictures, excellence, whether they were in Britain, France, German ‘other country, have in the ample and generous o pete in the United States the flms from our own studios, ‘Are reciprocal conditions to prevail abroad "inthe post-war" period? Tt Seems scarcely necessary” to. emphasize the troublesome character and_general lundestrability of foreign artificial ba Hers such as quota and contingent tems that gravely impair the oppor ties of our American films to’ compete freely abroad. Tt goes without saying that, in the post-war years, our motian= pictuve industry strongly hopes’ to. see the elimination “of any regulations abroad providing that—as a condition precedent to doing business In a given Tarket—our American companies must fither acquire a number of the domestic films of the country in question or must fause the production, “with American capital, of a'given nuniber of fims there One feels justified in saying’ that it seems diffeult to discern the equity of Such hobbling requirements — under ‘whieh the Hollywood films must struggle ‘over diffcult hurdles. before they can reach the foreign screens and satisfy the ayer entertainment hunger of the for- ign audiences ‘A thoroughly: impartial observer on the sidelines might well ask: Tx it not 22° January, 1944 © true that quality of product is the only ienulne basis and criterion of fair com- Petition? "The foreign patron at the box office, in the post-war period, will he the real and competent judge of qual- ity films and of the types of pictures that he prefers If pictures produced in the United States happen to be bad, audiences i this country will not patronize them mcrely beeause they” are of American make, The sime Holds true in other ‘world markets. Administrative walls ind restraints cannot make unsatisfac tory motion pictures seem good to those who view them. Shackles imposed from above, like’ artifielal stimuli for an fort’ inherently weak, simply serve to distort the normal pattern of things and to impede or frustrate the natural move- rents, Intemational commerce, oF mo- tion pietutes asa. vehiele of entertain- Tt may assuredly be said that the United "States motion-plcture industry feels, unanimously, that the quality stan- dard is the only type of barrier to which four American films should be subjected, fn onder to do business in world markets, For F Opportunity , Between nations, of this powerful “intangible,” them tion pieture, be given consideration the conditions that will surround. the framing of the peace? ‘The American industry hopes so Tt seems virtually certain that the agenda of the peacemaking will em- brace the endeavor to asaure fair condi- tons and circumstances in other activi- ties such as mining, agrieulture, oll, Steel, air transport, and vatioas other fconomie aspects of the modern world. Many’ students of the situation believe ‘that comparable attention and efforts may well be devoted to the motion pie- ture, which may fairly be said to have proved itself a necessary” insteumen- tality in the sucessful prosecution of the ‘war, and which promises to be equally signifiant in the coming era of peace. ‘The morale-value of our pictures ix being attested, at this moment, by care fal observers abroad. AS quickly a8 Axis: ecupied territories are liberated, Amer fean' motion pletures are. sent in for showing to the people who have been freed from the 'Navi-Fascist tyranny. People who had “starved” for years for really entertaining Ameriean films, who hha been forced to look solely at Nazi propaganda pictures, are today crovd- Ing’ the theaters of North Africa and Sicly as never before. ‘The motion-pieture industry has often been referred to as one of the ten Tead- ing American Industries Tts contribuc tion tothe war effort haa certainly ‘been notable. “Te has its share of old stare on ite service fags. Tts personnel fand facilities have been made ‘ava to the Government without prot, and its stars have brought relaxation, and high-spirited pleasure to our fighting Anmnicas: Crsaatooarsien ‘men in the training eamps in the United States and at the front-line posts in all theaters of war, One well-known col- lummisteommentator “made rent, just the other day: fand recreation are vacuumcleaners for the mind: the movies, according to frst- hhand accounts, are making better fighte ing men in the South Seas” Value Amply Attested A recent number of the Department fof State Bulletin cites numerous strik- ing examples. of the enthusiasm with which American films (the writer is Speaking especially "of | non-theatrical pletures, ut his observations apply, ‘one feels, to American movies ingen” feral) are received today by. civilians in remote foreign regions. We are told hhow, in one country to the south of us, the projector used by the United States Embassy in the capital eity during the day was loaded onto a truck and carried ‘outside the eity to the coffee plantations for showings in the early. evening t0 the coffee pickers, many of whom ‘had never seen a motion picture. ‘The films were received rousingly by the laborers. At the other extreme are the semina- ries and schools of the churehes, some: isolated spots,’ whose field Teport, two priests from a sem= nary appeared at’ the American Em- bassy in a leading South American eap- fal one afternoon to request a showing at the school. They wistfully inquired ‘whether a Shour exhibition would. be Asking too much—sinee the students of inarily see films only once a year: Enthusiastic motion-picture audiences abroad. (the State Department writer notes) have become a routine, but never Uninteresting’ nor unimportant, story. Photographs of the audiences show the intense eagerness with which the people attend the exhibitions, Tn one’ cane, “three benches at the rear broke under the weight of the persons standing on then before the show was over.” More than 500 eager townspeople had jammed. into a ting hal “The motion picture,” says the State Department in its general comment, “is 1 Tecojmized instrament. of communica tion capable of presenting clearly. to nillons, iterate oF not, the best-selling: novel of the year, the latest vietory on ‘or, by means of ‘ani- ternal operation of an engine.” Motion pictures, the department stresses, “are serving a long-range need in identity- ing the true spirit of the United States ‘through pictures showing: our people's daily lives, their work, their institutions, fand their land.” ‘Task for Post ‘The endeavor to assure that foreign markets in the post-war period shall be reasonably free of access for our filme (Continued on Page 31) far Planning:A Post-War Reality talkin pictures in the home!AMONG THE MOVIE CLUBS High Speed at MMPC Highlight of the December me of the Metropolitan Motion Picture Ch New ‘York City, was a talkom_ ultra gh speed cameras by Hd. Smith, of the technica! staf of the Bell Telephone Laboratories. Ale. Smith exhibited. imo. ‘fn demonstrating alta slow tmotion photoxraphy ‘An interesting film shown at the reeting war a 1000-foot Kodachrome Picture of the New York World's Fai, nade by Ray Mose with a Bell & Howell tuagazine camers, hand-held, and’ em Ploying a ‘onesinch Tens Frisco Club Elects At the annual dinner meeting of ‘the Cinema Club of San Francisco on De- ember 21" the following alcess were lected: President, TM Perriny.Vieo President, C.D. Hodson; Seeretary, Mise A. Meinert; Treasurer, Jesse Richardson, Following the lection and installa tion of afficers two films were. shown “Weed "Em and Weep” by Dr. J. Ally ‘Thatcher, and “Wertern Lakes and Streams” by Jease Richardson Philadelphia Cinema Club Members of the Philadelphia Cinema Club ‘were given the low-down on how to make animated cartoons at the clul's December meeting. William Bird of the Philip ‘Ragan Associates, producers of ceartoons, was the guest, and he gave the members practical ilusteations of the cartoon work, with sound film to HMostrate his” talk The New York Eight Members of the New York City Eight Millimeter” Motion Picture Club were flven afew glimpses of sunny Cali: fornia at their December meeting. Fred Evans of Hollywood, Calif, loaned then his Kodachrome subject, “Glimpses of Southern California.” They aleo looked fat “Fledglings,” by Dualey “Porter, Beverly Hills, Calif. Also, from Poster, they saw a) makeup test of Darell. Altogether, quite a Calif party in New Southern Cinema Club An old-fashioned “Box Social” tured the Christmas party of the S Gincwa Club on, December 2 Tadies brought box lunches which, were uctioned off The purchascrs ste with the ladies who brought the lunches. The proceeds went into. the club treasury Kn Jack Heletowaki shot 200 feet af Smm. film of the party, which will be shown at the annoal banquet this month, 24 January, 1948 © Asenicas ChvexaTocn Brooklyn Club ‘The Brooklyn Amateur Cine Club held two meetings in December: one on Do- ccember 1, the other on December 15 Four films featured che first meeting ‘They were “Frail Children of the Sun’ by. John Larson, “Summertime” by Charles Benjamin, “Mr. Bug. Plays Cupid by Martin Sternberg and “Aue tumn” by Dr. A. Gortz hing pictures’ of 1942. B. Erle Buckley, ARPS, noted pie- torialit, wax guest speaker’ at the see fond meeting, talking on camposit langle shots, filtering and the i fof basic fundamental techni all prize win- Syracuse Movie Makers An excellent idea was carried out ot the December meeting of the Syracuse Movie Makers. "Members: Brought their old. Christmas ‘lms to show each othe With the idea of finding out what not t shootin their Christmas lms. Sight hea good idea for all clubs to. hold Sch meetings before each big holiday Probably would save alot of precione film during. wartime. Minneapolis Christmas Party Reports from the Minneapolis Cine club indieate that its annual ‘Christmas party was one of the most successful Imeetings in the nine year history of the ‘organization. “A total af fourteen pie tures were exhibited, which should have xiven the members” something to tall aout A Night of Travel Four unusual travel, filme featured the December meeting of the Saint Lois Amateur Motion Pleture Club, ‘Trip to Washington.” “Here, Ther Es “Williamsburg, Vi Brook’ Forest, Colorado” were. the and for a windup an Interest= ing film of the St. Louis Zoo wa shown, Utah Club The spirit of Christmas pre the December meeting of the U Arts Club, Salt Lake City program: “christmas "at Schetiler’s” a 16nim, Kodachrome by Becky Sehettler, and “Merry Christmas,” im. Cage fil. Also on the peo n wat "The Amateur,” an Sim Kodachrome by Mr. und Mrs, At Morton, Following the showing was an open forum, with members showing unedited films for suggestions by. those present This is getting to be quite a feature with the stab who has loved one in the armed service knows that the one thing that means most to him is word from home; letters, photographs, newspapers, anything that ‘wil ee him informed of what is happening. 1 saw a letter from a boy to his mother in which he sald: “Mom, please send me all the Tetters you can, and pictures. Mom, if you sent me a picture of house’ ty find told me that it as on a wall of four home T would love it” When a soldier boy is homesick to soe even a fly you ean figure he wants to sce many. other things, And” that is where our many’ amateur cinema elubs can do. something worthwhile if they will get to work. Here is the idea. Instead of each member of the cab hhotographing odds and ends and bring if them to the meetings to show his friends, why not get together and do cooperative Job and create a film to show the boy overseas just what is going on in your home town! Those oye. want to knox ifthe vegetables inthe market look the same, if the ball inthe vacant lo, BS person in the United States If the members of each amateur elub would get together and work out # pro- ram for a film to send to. the boys ‘overseas they could doa grand job, ‘One member would be delegated to Photograph one sequenee, another an- ‘other and 40-0n. Then & small comunit= ‘tee could be appointed to eit the com Dined sequences "and. the result” would bbe a pieture of life in your home town, ‘Then ‘communicate with the War De- partment and tell them you have such ‘film you want sent to the boys over= Imagine the thrill it would give a boy from your own town if he should suddenly see his mother hanging out the family wash, or his dad clearing. the snow away from the sidewalk infront of HIS house! Tf every elub in America ‘made such a fm, hundreds of thousands ft boys would see how the folks. in ir own home towns are carrying on. it would mean more than a dozem let= ters. I's just an idea, but why not ik it over—and then tet, Hau Ha. Blind ‘See’ ‘Desert Song’ An unusual experiment intended. for national adoption by veterans hospitals was conducted at the Brooklyn Academy ‘of Music recently under the auspices of the Industrial Home for the Blind with Showing of Warners’ “Desert Son.” using Tom Slater of Mutual networkTWO ALL-TIME HIGHS WITH millions of feet required by our Armed Forces for tr and other mili- lary purposes, the total production of E ‘astman motion picture films has pushed into new high ground. And the all-around quality of this huge output has never been excelled. Eastman Kodak Company, Rochester, N. Y. J. E. BRULATOUR, INC., Distributors Fort Lee Chicago Hollywood cA Aa TMAN FILMS” Asmenicas CIvEMATOGRAPHER © January, 1944New Filmosound Releases Films Rate ot the D red at the Ni Theatee in New York City by the Play An im ard this unique transfer of a play, in ite entirety directly into. "the Atreop-flm” (Arlene Franch Lumet, Horace. Braham) Lady ina Jam” (Universal), sound 10 ental. $17.50 comedy in whieh Irene Dunne p an irresponsible New York heiress Toses her the badlan Others ins chiatrist' trying. to Officers of the special services i ilams) — yisten‘ef the arn ‘motion ‘pictures. are by tar the Give to the RED CROSS "The navy titles a year the ‘not. ann facilities in. various but ie has the world FOR LIGHT ON EASTERN PRODUCTION -- c. ROSS For Lighting Equipment East of the Missisippi we latesttype Inkle ond HI-A ‘manufactured by As sole distri complete lino ‘Your requirements for interior or exterior locations taken care of to the last minute detail anywhere * MOTOR GENERATOR TRUCKS SALES * CHARLES ROSS, Inc. MOLERICHARDSON, Inc. Hollywood - California | RENTALS SERVICE d Services’ No.1 Entertainment aking necessary additional. prints Outposts i ote. from the eaten path to ast two or three new films very rare out the world is ‘the South Pacific. P obtained by the army. ( able without © fare flown from San Francisco to” Aus tralia and to” New Caledonia. From there they are distributed to the south ot unusual for me island the very name Tinknown to. its. present fore the war to show two fo three ew films each week Each week prints of three different films are own Alaska from the numbers for the interior Alaska and the Aleutians to. get th ‘quota of motion pieture enter The greatest problem for both the ‘army. and the navy isnot films but projectors, “Small outposts are x0. mi merous that i is sometimes dificult *0 ‘ain enough projectors to go around, even Imm. projectors, which are mostly ‘oted for nal! groups. On board ship it was the navy's pea time. custom to. show movies tops Blackouts prevent. this now. Hower showing movies to large, groupe, faa impractical. ‘The navy has solved eulty wo far as the limited supply of projectors will permit putting on peo- kressive shows on the larger ships, ‘The fen are ascembled in small sroups in arlous parts of the ship and. ae 8 a reel iz finished in one part itis roa to another part for a repeat run, sttempt is made to supply movies to the small ships, but the men on mi small "ships “usually jet ‘ashore. mo atten and'are able to 40 to the mov wherever they” happen to” be BUY MORE WAR BONDS and HELP WIN IN 1944 383 West Stnd St, New York, N.Y. Phones: Circle 6-5470-1 26 January, 1844 © AntmmicaN CrsesarooThe Academy Still Show (Continued from Page 9) Second Prize—Clarence $. Bull Capt. Clark Gable, M-G-M B. Female First Prise—Frank Tanner of Lin Darnell in “It Happened Tomorrow.” ‘Ammold Prod., U. A. Second Prise —Frank Tanner Kathryn Grayson, M-G-M. C. Two Persons First Prize—Gene Kornman of Jobn Sutton and Joan Fontaine from, Jane. Eyre,” 20th Century-Fox ‘Second Prige—Alexander Kahle of Gregory Peck and ‘Taumanova. in “Days of Glory.” RKO. (2) BEST CHARACTER STUDY Pirst Prize—Frank Tanner of Pate cia Prest’ in "Song of Russia,” eM, Second Prizo—Henry Waxman of Sit ney Greenstreet, Warner Bros, (@) BEST POSED PRODUCTION STIL Aclna St First Prize—Hal MeAlpin, of Walter Huston, Walter Brennan, Esther Dale, in "North Stan.” Goldwy Prod, Second Prizo—Jack Woods of Gay Cooper and Ingeid Bergman in ‘Saratoga Trunk.” Warner Bros B, Out-of-Doors Bist Prize— Hal MeAlpin fro “North Star,” Goldwyn Prod. Second Prite—Stax Graves of An: Revere, Jennifer Jones, Blanche Yurka,) in "Song of Bernadette ath Century-Fox: () BEST ACTION PRODUCTION stn Alexander Kable from Sun,” RKO, “ Second Prite—Flosd MeCarty of eatiet somtertal birt Joan Leslie in “Rhapsody in. Blu Warmer Bros B. Outeat-Doors Second. Pre ttewy Woxman. of Dearth of Vacuum Tubes Fin Prine I, Cian trom Jar gn Faces Exhibs intestine?” 20th Centary-Pex ‘Second Prise—Prank Bjerring from (8) BEST PASHION STUDY Exhibitors will have increased compe "Cross of Lorraine,” MGM. Fins Prne—Hlonry Waxman of Jane tition of vacuum tues, during the next GLAMOUR PICTURE Wyman, Warner Br sear unless able to get a ® BEST, First Prize—Frank Tanner of Linda fe allocation for them, Under 2 d Prize—Alexander Kahle Damell in “It Happened Tomorrow Eggers in “Powers Giri” WEE controlled materials rexulatin pee ee sued last month, such materials are a . made more readily” availa uo Second Prite—Whitey, Schafer of (9) WEST PIN UP ART OF THE YEAR repair ‘shops and theatre. supply” and pe rere First Prize—Ray Jones of Rainsey service shops which get an AA? rating © BEST CANDID sor Rin elves Fe ce tv eee arti eae fore cod Pat Ure = Second Prize Habart W. oe ee to Marsilles,” Warner Br Second Prixe—Mickey Mar (40) BEST PICTURE IN RELATION fonder drupe, thet Ts Chinese Baby in “Bssion to A TO THE WAR EFFORT. males Cairn ul ow." Warner Bros. FiestPrise—Ernest Bachrach of niet ure same srctome FEST POSTER AIT Norman Rockwell poster, RKO. ‘supply is bound. to dw it Prise—Clarence $. Bull of Second Prize—Bert Six of Joan an these ahopa service not only sadios, Roddy MacDowell and Laesic '3, Lealle in Red! Cross uniform, Wat- but all sorte of anuplifiers, Joke box "nase me.” MG ner Br Public addreas systems, etDeVry Loans Patents To Armed Forces o subcontractors royalty-free uration. ‘DeVry. is ‘currently rating the receipt of a white star for its Army-Navy "E" pennant, indie cating continued excellence in produc DeVey Corporation was founded by Mr. DeVry’ fa th of hie development eof the works. fest ctor.” which Dr Tulle to" take the aire to the the word, portable motion DeVry designed and 1m addition jeter: design and mannfac ure, Dr. DeVry war also a pioneer sf inual education by mean of motion pic roop training 40 per cent, and ms terially "accelerating the schooling of production ‘workere on new skile and Techniques. “‘To teach radio and el tronics with the aid of motion pictures and in collaboration with Dr. Lae De Forest, often ealled “the father of radio and television.” Dr. DeVry wi iy'acclaimed as the father of visual edie . d DeForest’s Training, Ine 1 responsible. fo Voice Recorded on Hairlike Wire ee SIX minutes of continuous speech can be recorded on 11,500 1D) fect ot hatelike steel wire ona wool no larger than the ordinary dowgh- nt, in a new type of wire sound recorder being built by General Electric Company Operating under a license of the Are rmour Research Foundation. in. Chicago, cngtineers in General Electric's laborator fare now engaged in redesigning the pparatir so that it ean be manufactured mass production to meet the demands of both the Army’ and Navy ‘The recorder, itelf, x contained in a small box, weighing about 9 pounds. Te Ihas many wartime uses, but perhaps none more important than in observation planes. Instead of the eustomary pad and pencil now used by pilote in making 3 of what they see on scouting tips, they can dictate into a small microphone fst ax the busy ofce executive now uses a dictaphone, Instead of the observer's tworls being recorded on a wax eslinder ‘are recorded magnetically on wire ne-thousanths of am whieh i ut four inch in diameter Unlike the breakable, there fe n linder which ts apparent wearoat to the wire. In faet, 100,000 reproduc tions have failed to alter its quality ia any respect. When th longer any use for the recordings, the speeeh can be readily ‘wiped off” magnetieally, and the wire fs ae good as new for future recordings, Magnetic steel wire recording i not a new idea. As early as 1808” Valdamar Poulson, a Danish scientist, introduced the method and used it to teeord high speed are radio signals, “However, suit- ble amplifiers were not available at that time and the quality was poor. With the new method developed by Marvin Camras ‘asistant physicist of the Armour. I stitute, many changes have been male end the quality improved so as to cot pare favorably’ with the ordinary phon raph records. A recent report from England stated that ‘the sound recorder is now ‘being used in the war zones and that.” a Bight talk of a Flying Fortress erew, attacking: Nati airtelds in France, was recorded 0m Sinall spool ot wire” ‘This was brought hack to England, and according to Major “H.-L. Nussbaum, All the conversation of the crew i the Fortress ar well at the sounds of hattle ‘were brought back ns an oral record of the Gé-minute Aight.” GIVE! Remember the Red CrossThe New Acme-Dunn Optical Printer (Continued from Page 1!) ‘The wipe-off device is shown mounted fn the illustration, and is driven. by changeable sprockets which permit prac tically an unlimited ‘range of speeds ‘This arrangement is invaluable for mor: Ingesplitsereen shots, and wipes timed to follow a moving object in the scene. ‘The wipe device is easily moved forward fand back for any softness of edge, and the wipe blade ean be swiveled t0 any angle, ith a. positive Tock in eight positions. Horizontal and vertical lens movements are calibrated to. one-thow- Sandth of an inch by” dial indicators Veeder counters are mounted to count projector frames, camera scene footage find camera cumlative footage. A vari Able audible timer controlled. hy” the 16 frame selector switch is. furnished in the timing of manually effect devices ‘The projector has friction take- land a variable high speed forward. and reverte rewind. The. 3mm tor head ean be quickly interchas 6mm, head for blow-up work. The famera has a right angle’ prism view er with a highly magnified eye piece, and is) Btted with resister pins for ‘work. An easily ace hand fade control ie furnished fas well ae 8 variable nutomatie fale device, if desired. ‘The camera has frie- tion take-upe, and ean be fitted to take any standard type of 1,000 foot maga- ine, An anti-buckle switeh is mounted inside the camera, controlling the motor drive. “A ‘camera color Alter wheel ix fvailable for separation work The printing light is a prefocused Incandescent air-cooled lamp, controlled by a Variae voltage control. Tt can be uted diffused or clear, thereby having great range of light valves covering from the negative stocks, down to slowest ‘fine rain positive stocks. All ‘lectrieal and mechanieal units are easily accessible for servicing and adjustment. Many and varied accessories are avail- able for the printer and are furnished to sult’ the particular requirements of the installation. A small projector head for right ‘angle mounting. is. furnished to make rocking, titing, spioning, and Special ‘process shots, by means of Aexibly: mounted prism, ‘A rear lens in the projector permits aerial image work, focuring at the aper tire any image ‘such. as a. painting matte, animation, ete., which can he set fat any” distance’ behind. the projector head. "Double. printing of two" fms is Accompanied by using. the doable-spindle Projector magazine anges, whieh are {Quickly installed, If itis desired to Take light changes from cut picture 4 film edge roller micro. switch ‘canbe ‘mounted in the printer head, which will fetuate the cluteher where the film is previously notched ‘The Acme-Dunn Optical Printer claims ‘the distinction of being the first. con DEVELOPING MACHINES [Oe MOTION PICTURE FILM These Machines Process 35 MM and 16 MM or 32 MM and 16 MM. MICROFILM PERFORATED or UNPERFORATED SOUND TRACK Film tension rrols are automatic Wide Range of Speeds FONDA MACHINERY COMPANY, Inc. 8460 Santa Monica Blvd. mercially built all-purpose optieal print developed from years of practical e Derience with major studio requirements Our Government's urgent need for ma chines of this type fas made possible the early realization of these new ideas in optical printer design, The machine was enthusiastically. received when pre sented to the Society. of Motion Picture Engineers at_their Fall Convention in Hollywood. The first machine built is now in operation at the United Stater Naval Photographic Science Laborators jn Anacostia, Washington, D. C. Other machines are now being completed for the Signal’ Corps Photographie. Cente Long Inland City, New York, The Co ordinator of Inter-American Affairs Mexico City, and. ‘The Training Film Production Laboratory, Wright Field Dayton, Ohio. Credit for valued. assist. ance in the design of this machine sratefully given to Cecil Love, former Of RKO Pictores and now in the United States Navy, Albert Stofle of RKO Pic tures, Edwant Furer, Bob Shea, atd Osear Jarosch of the Acme” Tool & Manufacturing Company, Burbank, Cal fornia BUY A WAR BOND TODAY! Aninnicas Cisttatocnarnen Los Angeles, 46, Calif. Introducing Ansco MERICA’S oldest manufacturer of Photographic materials hae changed fts name from Agfa. Ansco to Anse, President of General Aniline & Film Corp the parent organization, and &. Harrison Echols, Ansco's General Man ager. The change in the company’s name became elective January 1, 1944 ‘The name change is the final step planned reorsaniza the compan ‘whieh began when its ownership and Management were assumed by the United States Government shortly after Ameriea entered the present War the fact that the organization is not associated in any In recognition way with any other company whi products earry the name "Aifa,” i seas cide to revert to the name “ANSCO,” ty which the company was, known {oe Anseo was founded in New York City more than one hundred years ‘ago. by Edwarl Anthony. In 1002 graphic division of Scovill, Manufacturing C fer th Anse embination AN’ and the "SCO" of SCOvill, was ado Anseo, which today ie supplying sereater part of ite production to the gov ernment and war industries, has recently Started construction of «.$1,000,000.0 fddition to. its lm plant. ‘This new building, scheduled to come into pro: duction in the late spring, will inerease Anse manufacturing capacity and thus make even greater amounts film available for essential uses, January, 19