H m m H il ■HliyiMMTTmilBHITI mm WmVSKKk ■■H ■ H ■ I ■■;.:■ ^^^^^F ^ i awn ral Hi fffl Eli Class JT_E_&45* .Ao OopigM?_ COPYRIGHT DEPOSm Scanned from the collections of The Library of Congress AUDIOVISUAL CONSERVATION at The LIBRARY of CONGRESS ■VTI Packard Campus for Audio Visual Conservation www.loc.gov/avconservation 2- MOVIE *£AKERC ITI JAN. 1^18 ITT PRICE Iff V t -r ^5 s* T/?£ Filmo owner commands all known movie making resources When you purchase a Bell 6? Howell Filmo Camera and Projector you become allied with the world's leading authority on producing fine motion pictures. Most movies featured in best theatres the world over are made with Bell & Howell Cameras and equipment, as they have been for twenty -one years. Allied with Bell & Howell, through Filmo ownership, you command all the resources for fine amateur cinematography known to professional movies. Filmo Camera itself is adaptable to practically all conditions of light, speed and distance pro- vided for in Bell & Howell professional cameras costing up to $5000. Filmo Projector combines compactness and beauty with a dazzling array of superior features. Accurate to one ten' thousandth of an inch. Filmo Library offers hundreds of exclusive, un- usual films for home entertainment. Purchase or rent them from any Filmo dealer. Filmo Accessories, for use with Filmo Camera and Projector, equip the amateur for getting every effect known to professional movies. Our long established personal service department assists you on any movie problem. Join the Filmo family. Make bet- ter movies. "What you see, you get" BEJr LL ^Automatic Motion Picture Camera and Projector Library Accessories VrYlt6 for new descriptive Filmo Booklet, "Home Movies of the Better Kind." Bell &? Howell Co., 1828 La rchmont Avenue, Chicago, 111. ~Nevo Tor\, Hollywood, Low don (B. 6? H. Co., Ltd.) Established 1907. These Dealers ..->», C*#1G # /* V T ^> r •Kr^l To) s^y* I V* PUBLISHED BY THE AMATEUR CINEMA LEAGUE, INC. "Heralding The Motion Picture Oj Tomorrow" Volume III JANUARY, 1928' / Number 1 ... Qontents . . . Cover Design Carroll Kelly Contributors 6 The New Films For Home Projectors 8 Cinetorials, New Year's Resolution and a Challenge (or 1928 11 Beyond Lies Romance, A Photograph Ralph Young 12 The Value of Values Walter D. Kerst 13 Credo Carl L. Oswald 13 The End of the Rainbow, Possibilities of Color Photography for the Amateur. Carl L. Osivald 15 Silver Craftsmen on the Silver Screen Don Bennett 16 Synthetic Cinema, Drawings by Alan Dunn Weare Holbrook 18 On the Wings of the Storm, An Art Title Background Warren Boyer 20 Making Your Own Art Titles Ross F. George 21 Featuring Fleas, Ants and Flies Grace D. Elder 23 The Romance of the Tolhurst Microscopic Films Critical Focusing, Technical Reviews to Aid the Amateur 24 Photoplayfare, Reviews for the Cintelligenzia 25 Film-Flam Edited by Creighton Peet 26 Filtered Beauty of Hawaiian Skies Photographs by Franklin La Varre 27 Animated Movie Making for Amateurs Marguerite Tazelaar 28 Special Illustrations by Pat Sullivan Studios of Educational Film Exchanges, Inc. Amateur Clubs Edited by Arthur L. Gale 32 Who's Who Among Dealers 34 How to Travel Cinematically W. Sterling Sutfin 37 Closeup Work for Advanced Amateurs Herbert Abraham 39 Block Booking for Home Films Joseph DombrofJ 42 News of the Industry, For Amateurs and Dealers 43 Asked and Answered 61 Our Birthday Bouquet 62 Index to Advertisers 65 AMATEUR CINEMA LEAGUE, INC. DIRECTORS President HIRAM PERCY MAXIM Hartford, Conn. EARLE C. ANTHONY President of the National Association of Broadcasters ROY D. CHAPIN Chairman of the Board of Directors, Hudson Motor Company Vice-President STEPHEN F. VOORHEES Architect, of New York City W. E. COTTER 30 E. 42nd St., New York City C. R. DOOLEY Manager of Personnel and Training, Standard Oil Co. of N. J. Managing Director ROY W. WINTON, 105 W. 40th Street, New York City Treasurer A. A. HEBERT 1711 Park Street, Hartford, Conn. LEE F. HANMER Director of Recreation, Russell Sage Foundation FLOYD L. VANDERPOEL Scientist, of Litchfield, Conn. AMATEUR MOVIE MAKERS is published monthly in New York, N. Y., by the Amateur Cinema League, Inc. Subscription Rate $3.00 a year, postpaid (Canada $3.25, Foreign $3.50); to members of the Amateur Cinema League, Inc. $2.00 a year, postpaid; single copies, 25c. On sale at photographic dealers everywhere. Entered as second-class matter August 3, 1927, at the Post Office at New York, N. Y., under the Act of March 3, 1879. \J Copyright, 1927, by the Amateur Cinema League, Inc. otitic registered at United States Patent Office. Advertising rates on application. Forms close on 5th of preceding month. Editorial and Publication Office: 105 West 40th Street, New York, N. Y. Telephone, Pennsylvania 3756 WALTER D. KERST, Technical Editor ARTHUR L. GALE, Club Consultant K. L. NOONE, Advertising Manager Editor JOHN BEARDSLEE CARRIGAN >THT>>HT;f>TTTTtTTTTTtTTtrT '"inniiHTMirTt ■rrt; O.B.S. NOTE: MOVIE MAKERS MEDITERRANEAN CRUISE SCENARIO CONTEST CLOSES JANUARY FIFTH— WINNER WILL BE ANNOUNCED IN FEBRUARY ISSUE. f-1.9 Let It *ainl Don't "put up" your Filmo for the winter. Poor light conditions need not stop you from making clear, perfectly timed pictures. For with the Dall' meyer Ultra Speed Lens you need only one'third the light required by the regular Filmo lens. In New MICROMETER Mount $54.00 DALLMEYHZ ULTRA-SPEED LENSES 300% Faster Compare the two lenses at the right and you will readily see that the Dallmeyer Ultra-Speed lets in three times as much light. Ideal for Close-ups ^3*^ Sole United States Distributors HERBERT & HUESGEN CO. Herbert Abraham, of New York City, is President of the Ruberoid Company and an advanced ama- teur technician of wide experience. Joseph Dombroff is Manager of Willoughbys, New York City, and thoroughly conversant with every phase of the photographic indus- try. Grace D. Elder, of Chicago, Illinois, is Secretary to the President of the Bell & Howell Company. Ross F. George, of Seattle, Washing- ton, is a leading American author- ity on hand lettering and allied arts. He is inventor of Speedball Pens and author of authoritative texts. Ralph Young, of San Francisco, California, is a member of the firm of Lothers and Young, and a dis- tinguished photographic artist. Other Contributors previously announced in this column are: Don Bennett of the Stanley Educational Film Division, New York City; Warren Boyer, photographer, of Westport, Conn. ; Weare Holbrook, author, of New York City; Walter D. Kerst, Technical Consultant of Amateur Movie Makers; Frank- lin La Varre, cinematographer, of Burton Holmes Lectures, Inc.; Carl L. Oswald, of Agfa Products, Inc.; Sterling W. Sutfin, Assistant Pub- licity Manager of the Remington Typewriter Co.; and Marguerite Tazelaar, author, of New York City. 18 EAST 42nd STREET Six {near Qrand Central) ^ .NEWYORK TjV listing the Pillars of the ■*• League in our December an- niversary number there was omitted, through one of those strange and unusual — in Ama- teur Movie Makers — errors which every now and then cause us all, by the perversity of cir- cumstance, to appear to over- look our best friends, the name of one who is not only a pillar of the League, but a veritable foundation stone of our organi- zation. I wish to record here Mrs. George C. Kolb, as a founder member of the Ama- teur Cinema League and to ex- press to her our sincere grati- tude for her interest and prac- tical aid in the early days of our great adventure in amateur cinematography. — Roy W. Win- ton, Managing Director. •> You can driv< the bh With "BIGtim^c^^ ji new Bell & Jfowell Library Rental Feature >LL PROJECTOR The projector that means greatest en- joyment of your home movie films. You may now obtain it fully equipped with variable voltage resistance and ammeter, geared rewind and speedy automatic rewind feature for $236. Very quiet. Runs backward, forward, stops on single frames and does every- thing you want a projector to do — and as only a Bell & Howell unit can do it. Write for particulars. Felix the CAT Laughs, laughs, laughs — the world's greatest theatres (first run houses) have rocked with the merriment created by these greatest of fun- makers. The antics of Lloyd Hamilton, Felix, the Cat, Lupino Lane, "Big Boy" and many other comedy classics are now immortalized in 16 mm. film ready for your Filmo Projector, through the new Bell & Howell RENTAL LIBRARY. A Filmo dealer near you will have these films for rental — new releases from the well known EDUCATIONAL PICTURES, "The Spice of the Program." They are one and two reel comedies, rented to you on a twenty -four hour basis — at a very nominal rental. Through this low cost plan you can keep your entertainment ever fresh, new and laugh- provoking. FIRST RELEASES NOW READY New releases every week No. 2m— 1 Reel. FELIX, THE CAT, in "PEDIGREEDY" Felix "crashes" an exclusive barn-yard night club and goes away back to the Ark for ancestors. Rental (24 hour) $1.25. No. 1836—1 Reel. HOLD THAT BEAR, Cameo Comedy Featuring Phil Dunham and four funny assistants. A mixup that includes a girl, a hated rival and a bear that tears men's pants but eats out of the girl's hand. Don't miss this one. Rental $1.25. No. 1861—1 Reel. THE PRINCE OF WHALES, Life Cartoon Comedy A riot of fun on a sea-going ship. Whales are sighted and chased — and do some chasing in turn. They are finally trapped in a fashion only a Cartoon Comedy could depict. A sure-enough laugh. Rental $1.25. No. 1863—1 Reel. NORTH OF NO- WHERE, Life Cartoon Comedy Tom Bones and Nibbin take some hair tonic into the Arctic and get some fast repeat business for their barber shop. A scream from beginning to end. Rental $1.25. No. 369—2 Reels. LLOYD HAMILTON in "His Better Half" In which Hamilton dons feminine attire as a bogus bride and makes the hit of his life. Rental $2.50. No. 457—2 Reels. LUPINO LANE in "Monty of the Mounted" Monty, the recruit Northwest Mounted Policeman, cuts some thrilling capers in tracking down Black Joe, the desperado. But he gets his man — and the girl. Rental $2.50. No. 1032— 2 Reels. "BIG BOY" in "Grandpa's Boy" The baby actor "Big Boy" in a plot which involves a dignified millionaire and an undignified dog. A great juvenile comedy. Rental $2.50. No. 24.33—1 Reel. FELIX, THE CAT, Ducks his Duty War has been declared. But Felix prefers peace. He gets married to avoid war and finally seeks peace on the battlefield. Try to look serious while you watch this one. Rental $1.25. No. 1841—1 Reel. THE MOVIE HOUND, Cameo Comedy Wallace Lupino is the hero of an Alaskan melo- drama. Bathing beauties, circus lions, dog biscuits, a dwarf, some pepper and a lazy dog create laughs by the yard. Rental $1.25. Late December releases include No. 741 — A Christy two-reel comedy "Uppercut," and No. 1952, Lyman H. Howe Hodge Podge "A Merry-go- round of Travel." Many more great things to come. If your dealer cannot supply you, fill out coupon and mail BELL & HOWELL CO., 1828 Larchmont Avenue, Chicago, 111. Please mail me complete information on releases for the new Bell & Howell Rental Library and send name of nearest dealer who can supply me. Name. Address . City. . . . State . Seven SPEED SPEED SPEED The Wollensak CINE VELOSTIGMAT / 1.44 times faster than f 1.8 ■ ~i [^ 1.60 times faster than f 1.9 *1-**D 1.11 times faster than f2.5 5.44 times faster than f 3 .5 FOR EXTRA ILLUMINATION in MOVIE MAKING Cloudy, dull days and poorly lighted interiors are no longer barriers to cor- rectly timed movie films. Just attach one of these high speed corrected anastigmats to your Filmo or Victor Cameras, and other sub-standard makes, and you are prepared to make movies under all lighting conditions. 1" Focus /1.5 in Micrometer Focusing Mount $50.00 2" Focus /1.5 in Micrometer Focusing Mount $75.00 TELEPHOTO LENSES FOR CINE KODAK {with fl.9 lens equipment) Why be handicapped with your short focus lens when Telephotos will greatly increase your range. A lense of this type will give three to six times greater magnification than the regular lens. 3" Focus f4.5 in Micrometer Fo- cusing Mount $65.00 324" Focus f3.3 in Micrometer Focusing Mount 75.00 6" Focus f4.5 in Micrometer Fo- cusing Mount 85.00 Our Other Movie Apparatus Includes CINE VELOSTIGMAT /1.8 PORTRAIT ATTACHMENTS VIGNETTERS COLOR FILTERS Let us tell you more about them. Wollensak OPTICAL COMPANY 980 HUDSON AVENUE Rochester, New York Manufacturers of Photographic Lenses and Shutters for the past thirty years. Eight THE NEW FILMS for Home Projectors Bell & Howell, Chicago, 111., announce- ment in this issue of a new Filmo RENTAL Library is an outstanding development in the Library field which greets home projector owners on the New Year. To be released as "Big Time" Comedies, the first series is selected from the pictures of the Educational Film Ex- changes, Inc., famous short subject pro- ducers, their product being familiar as "The Spice of the Program." This also marks the release for the home field of the product of another great producing or- ganization. Included in the first issue are: "Lloyd Hamilton," "Lupino Lane", "Big Boy", "Life Cartoon", "Cameo" and "Felix the Cat Comedies". They will be rented through Filmo dealers everywhere at a nominal rental of $1.25 a reel for a 24 hour period. The Filmo Library sale films fea- ture the well known Bray "Bobby Bumps" Series of animated cartons. Amateur Movie Service, Baltimore, Md., announces as its major films of the month: "Atlantic City Pageant of 1927," "The Fair of the Iron Horse," and "Little Red Rid- ing Hood." The Burton Holmes Lectures, Inc.. Chicago, 111., name as leading features of the month: "Down the Danube," "Up To Date Alpinism," and "Teak Logging With Elephants." Cine Art Productions, Hollywood, Cal., are advertising: "Ruins of Pompeii," "Vesuvius," "Around the World in Four Minutes," and "The Adventures of 'Tony the Cub.' " Empire Safety Film Company, Inc.. New York, N. Y., stresses among its cur- rent releases: "Raid Over London" and a new series of Zobelogs, photographed by Myron Zobel in far corners of the world. Especially noted are Number 7 and Num- ber 19 ,"The Honolulu Hula" and "Cock Fighting" in the Dutch East Indies. William J. Ganz Company, New York, N.Y., announce a "Lindbergh in Mexico City" film for both the "Reel of the Month Club", and for its "Highlites of the News, Number 8," release. Speed in this release again marked the Ganz Service, in that the first negative to arrive in New York by aeroplane was secured and 16mm prints were dispatched to the home field at the same time the film first appeared on Broadway, thus providing a pre-release of one week for the "Reel of the Month Club" members, and enabling all Lind- bergh fans to have this film in their homes on Christmas day. Home Film Libraries, Inc., New York. N. Y., prominently feature their three se- ries of animated cartoons, among them, "Krazy Kat," "Alice," and Pat Sullivan's "Felix." Kodascope Libraries especially feature four releases of the last sixty days: "The King on Main Street", "The Spanish Dancer", "Manhandled", and "The Night Club". Pathegrams, distributed by Pathe Ex- change, Inc., and the DeVry Corporation note among their releases: "Will Rogers in Paris", "The Iron Nag", featuring Billy Bevan, "Love's Last Laugh", and Alice Day in "Gooseland". The Westerns include "Ride Em High", featuring Buddy Roosevelt. Ernest M. Reynolds, Cleveland, Ohio, lists: "Ascending Pike's Peak", "Feather River Canyon", "Yosemite Valley", and "Sundown Dancer". Show-at-Home Movie Library, Inc., New York, N. Y., through its distribu- tors, releases "Outside the Law", starring Lon Chaney, and on January 15th, "Cali- fornia Straight Ahead", featuring Reginald Denny, will be ready for amateur pro- jectors. Stone Film Laboratory, Cleveland, Ohio, announces: "Around the World in Thirty Minutes", which shows high lights of the Belgenland World Cruise. Sectional releases may be had of 100 ft. reels. Vitalux Movies (Automatic Movie Dis- play Corporation), New York, N. Y., in- clude: Bobby Vernon in "All Aboard", Dorothy Devore in "College Capers", and "Going to the Animal Fair", a McCrory Carton. AMATEUR MOVIE GRAFT A New Book for the Owner or Prospective Owner of an Amateur Movie Camera or Projector. This Book will be found invaluable to those wishing to get that professional touch and finish when taking or projecting their pictures. It covers all phases of Amateur Cinemato- graphy. A Boo^ you will find both interesting and instructive. In Heavy Paper Cover In Cloth $1.00 1.50 SB— ^ftuTuBUSHlNGfJlc CAMEKUH MANHATTAN BEACH.N.Y. ASK YOUR DEALER FOR IT (or direct) Cameron Publishing Co., Inc. MANHATTAN BEACH, N. Y. The Most Popular HOME MOVIES Via Coupon! A Convenient Time Saving Idea. Through the Use of WILLOUGHBYS MOVIE LIBRARY — you may obtain the newest, most popular movie dramas, comedies, etc., for showing at home. Books contain from 5 to 57 coupons and are priced at from $12.50 up. All you need do is fill in and tear out coupon to rent your choice of movies for a 24'hour period. Among the many films available now are those featuring such STARS as : REGINALD DENNY HOOT GIBSON LAURA LA PLANTE PATSY RUTH MILLER NORMAN KERRY SNOOKUMS ANDY GUMP and numerous others Also Filmo Library newest releases featuring the most interesting comedies, cartoons, etc. NEW SUBJECTS ARE BEING ADDED WEEKLY Also Available are the following: FOR RENTAL WORLD WAR SERIES "AMERICA GOES OVER" 2,000 feet of actual, thrilling scenes at the front. — U. S. Gov't Release. FOR SALE BURTON HOLMES' TRAVEL SERIES GANZ' HIGHLITES OF THE NEWS KODAK CINEGRAPHS PATHEGRAMS VITALUX Send for illustrated circular explaining the rental proposi- tion on the WILLOUGHBY MOVIE LIBRARY The ARROW PORTABLE Beaded Screen Composed of millions of tiny round glass beads, firmly embedded on a strong fabric. Surface is washable. Affords exceptionally brilliant sur- face. In dust-proof mahogany case. SCREEN No. 1 Size 33"/2x3^x4 ins. with picture surface of 22x30 ins. Weight 6 pounds. Price $15. SCREEN No. 2 Size 45'/2x4'/2x5 jns. with picture surface of 30x40 ins. Weight 15 pounds. Price $25. SCREEN No. 3 Size 57x4%x5 ins. with picture surface of 39x52 ins. Weight 18 pounds. Price $35. The New Schneider XENON V focus A highly corrected anastigmat lens of very good definition and high speed selling at an unusually low price. In focussing mount to fit Filmo camera and does not have to be specially fitted. Price, complete $ O ?H 50 ready to attach SJ i U/IUOCJGHByS ▼▼110 West 32n-dSt.,Newyork,N.y.«* Nine D on't miss HALFfiTHE FUN your Christmas camera can give you ^let Fotolite be your Sunlight for Interiors Fotolite Models No. 5 Hand Foto- lite, shown at right, :omp!etely wired and equipped with special 500 Watt bulb, price $10.00. Without bulb, $6. One No. 5 Foto- lite, held by heavy nickel'plated stand (see left of illustration at top of page), complete, $16.00. Stand is 8 feet high; tilts lamp in any position; folds into 24'inch space. Two No. 5 Fotolite lamps, as de- scribed above (see right of illustra- tion at top of page), complete with bulbs, $28.00. Beautiful carrying case, for two or three lamps and stands, $7.50. Number of Lamps Required FOR F 1-8 LENSE Group up to 3, standard exposure — 2 lamps Group of 4 to 6, standard ex- posure— 3 lamps FOR F 3-5 LENSE Group up to 3, standard exposure — 3 lamps Group of 4 to 6 standard ex- posure— 4 lamps YOU'VE got the camera — a beauty! Now don't miss half the fun it can give you. But you will — unless you have proper lighting for indoor "shooting." On rainy days, dark, dreary days, and at night — you can flash on Fotolite's cheery rays, start your camera clicking, and chase gloom from the house with lively, wholesome fun. The records of family events, the children, parties, dances, amateur plays, social affairs of every kind — you can store them away, like treasures, in the beautiful films Fotolite makes possible — vivid, iife-like films that you will want to look at over and over again. Fotolite gives brilliant, radiant lighting, which has earned the unstinted praise of professional photographers. And now it is available to amateurs at small cost! With Fotolite you eliminate the sputtering, the spar\s and the "light- fright" of the arc lamp. You get all the brilliance of a 20 ampere arc and all the convenience of 3 incandescent Fotolites. Fotolite sends a steady, lustrous glow over the subject before your camera — creates the delicate tones, exquisite shadings, colorful high-lights which are the secret of the most beautiful profes- sional pictures. Indoor pictures with outdoor clearness — pictures at home with professional beauty! For a small fraction of what your camera cost, Fotolite practically doubles the fun you can get out of amateur movies! Ask your dealer to show you Fotolite — he will gladly demonstrate it for you. If he can't supply you, order direct. The two Fotolite models are described at the left. Start now to take correctly- lighted pictures, and you will cherish them for years! Get your Fotolite today! 108 East 16th Street, New York, N. Y. Testrite Instrument Co. Fotolite The Sunlight for Indoor Pictures Ten CINETORIALS New Year's Resolution and a Challenge for 1928 THE way of us — we, ye, them — editors is hard! (This high-hat plural always did spell trouble, because we are essentially democratic and sim- ple.) There have come to our ears rumblings, all too plain, of discontent about what we have been saying here. We have been accused of "plugging" for League memberships in this page which is supposed to be devoted to higher things. / J .' Well — in the first place, we do believe in League memberships and we are even a member ourselves (isn't this plural absurd; the more you get tangled up with it!). But, we are a good sport. We make new resolutions. I J I I We strongly advise you not to join the Amateur Cinema League if you want to stand by that New Year resolution to keep firmly away from anything pleasant and enjoyable. If you are going to strictly discipline yourself, and if you want to "cleave to the dime and let the dollars mature while they may" you are going to take your old five dollars and put it out at interest and have a nice new nickle next Christmas. But — and this is not "plugging," it's just what "we" really think — we bet you'll lose that nickle down a sidewalk grating. Of course, we hope you don't, but — We Mount Pegasus NOW, our conscience is clear about this and we have turned over a new leaf and advised you all not to join the League and us are all happy; let's away to more lofty sentiments. Cine'Salon TPHE Club Editor has asked us to "plug" a bit for •*■ his pet idea. He is one of those single-track enthusiasts and he believes that these United States will, before long, be thrilled from Lake Mompola- boggog to Santa Iznyriaga by the first Cine-Salon. He explains that a cine-salon is an exhibition of the best amateur films of the world, of the year — further genitive phrases fail us. And why not? There is a new art in films. This art is finally in the hands of individuals. Let us drag out the work of these individuals from the seclusion of their modesty and let the world see what a motion picture really is. What Is It? MOW, you ask one! We have been driven out of ■L^ three clubs, five bridge parties and one and a half dinners because we insisted on asking everyone present whether the motion picture is an independent art or whether it isn't. We are collecting our ideas and we promise an explosion in a few more months. This is an invitation to the slaughter. If you have any ideas, we crave their exposition. We Drop the 'Wire Curtain HPHIS is not safe but the stage manager said he'd ■*■ drop the vegetable net quickly. We hazard the statement that the amateur has not yet analyzed the motion picture and arrived at any definite conclusions as to just what constitutes the heart of cinematics. There are many earnest amateurs who are working toward this goal, but we cannot help feeling their work which we have seen reveals that many have strayed into the by-paths of the "arty," and become bogged in the cinematic morass of half or very nearly still pictures, expressed with a mechanism intended for motion. That, we believe, is the crux of the prob- lem. There is a very real danger of the seeker for cinematic truth overlooking the basic thesis that the cinema must have motion first and foremost. And secondly the truly cinematic must be that which cannot be so well done in any other artistic medium. The motion picture is capable of eliminating time and space, it can mirror the inmost convolutions of the human brain, its miracles are endless in their potentiality. But how much of this has yet been demonstrated by those best in the position to experi- ment and create — the amateurs? No, we must still wait for an amateur reel that will be cinematic throughout. But speaking of vegetables, we par- ticularly resent rutabagas. Page the Professional THOK that matter, we still wait for a professional ■*■ short subject or complete photoplay that is wholly cinematic. The carefully maneuvered replica of a very "arty" still photograph with just enough motion to keep it from being completely static in- trudes into the best of the professional short sub- jects. It's art but not cinema. And in the photoplay, when the unlimited possibilities of the camera could express all that is going on in the minds and hearts of the character, we find suave and prettily groomed closeups of the beautiful screen star, registering every- thing from the first pains of appendicitis to a grouch because her ensemble, just come home from the mo- diste's, does not match her latest hair, and of the manly hero expressing desire under the rubber tree in the palatial sanatorium. Why Crab? \y/E dodder. It's unsafe for an editorial writer to ^* have opinions. But, if this page does not bring in enough protests for us to write six others on the dissenting opinions about it, we shall propose a Grouch Contest to the editorial board. We were a cheerful writer when we could sing the virtues of League membership. It's plain to be seen that, shorn of that right, we languish glumly in our sanctum. Yea, we languish — And How! Eleven I Photograph by Ralph Young Hfogonh ICxph iUramttr? Rare Charm Is Expressed with the Utmost Simplicity in this Study Because of a Keen Appreciation of Photographic Values ATMOSPHERE Is Achieved in this Study by Delicate Manipulation of Values Photograph by Walter D. Kerst The VALUE of VALUES VALUES may be defined as the varying intensities of light re- flected through the lens to the film from objects in a scene. The light is the brush of the cine- matographer, the silver emulsion of the film the pigment which he ap- plies, poorly or skillfully, depending on the knowledge he has of the me- dium with which he is working. It is the values registered by this silver emulsion with which we are con- cerned in this article. For upon knowledge of them depends much of the success of our efforts. The ribbon of film that runs through the amateur's camera is a non-inflammable substance called acetate of cellulose, on which a gelatin, holding in suspension minute particles of silver bromide, has been coated. This substance, after being acted on by light of varying intensi- ties, is reduced to a metallic silver by the action of chemicals, and forms the tones of the image we project on the screen. These areas of metallic silver range from black to white, their differences depending on the in- tensity of the light reflected from each point of the actual scene, the color of each point, and the length of time the light is allowed to act. By Walter D. Kerst 3 am an Amateur. 3 atrtue nrttljpr for tljr rrmnn of uiealth, nnr ttjr arrntrr nf union*. 3 mork for tljr jnu, nf tlje nntng — to firto rrlraar from ttje humnrum, ann an nutlet for mu, oratrr tn rxnrraa mnarlf. 3 nrntur? alnng untrnn uattja — natna rlnarh tn urnfraatnnala fnr ernnn- mtr reaanna. 3 am ttjr leatnm tn ttjr in- ouatrtal lump. 3 am an Amatrur. (Sart £. (Douialii There are very few cases where the actual values of a scene can be reproduced, for the range of tones in most scenes is far greater, from deep- est shadow to highest light, than can be registered by the silver emulsion of the film. For example, assuming that we are photographing the sun, with its millions of candlepower of light, the brightest value we have at our command to represent it is the clear cellulose of the positive film which, in turn, lets through all the light from the projection bulb to the screen, a value far removed from the sun's actual intensity. Likewise, black velvet, the blackest known substance, presents a value far deeper than any that could be rendered by the silver of the film. So we see that we have to re-adjust our scale of value, making them relatively true to the actual scene, so as to get a satisfactory representation of the scene photographed. At first glance this might seem to be a great handicap, but in reality certain ad- vantages are to be gained. It is very often not desirable to impress the actual values of a scene, but to falsify them for more pleasing pictorial representation. For this falsification, the amateur has certain things at his command, such as the use of color filters, which change Thirteen tone rendition, the adjustment of ex- posures so as to give certain definite values to certain parts of a scene. For example, in shooting an autumn scene consisting of a tree in brilliant red foliage against a background of rich green, the red, on non-color sen- sitive motion picture film, without a filter, would be reproduced as dark gray, even black, while the green would register itself much darker in value, than its actual value translated into monotone. Now assume that a panchromatic film is used, with a color filter that gives full correction, in this particular instance, the red and green, when translated into their Photograph by Robert C. Bruce A DELICATE TRACERY OF GRAY TONES correct monotone values, are the same. Full color correction would thus show this scene as a gray indis- tinguishable mass. So we see that the tones must be falsified for pic- torial representation. Our original shot gave us tone values utterly false and unsatisfactory, and so we choose a filter that gives a slight correction, but falsifying the tones, and giving us a satisfactory image on the film. The adjustment of exposure for the registration of good values requires great skill and much practical experi- ence for successful achievement, but should be pursued relentlessly by the amateur who wants to improve his filming. It might be said, that there is no such thing as one correct ex- posure for a scene. If the values, in every scene photographed, were care- fully studied before shooting, some compensation could be made which would give a better image than if the reading of an exposure meter were Fourteen taken for the entire scene. This is not a plea to discard meters. For the amateur who works only occasion- ally, a meter will teach him more about the correct judgment of light than he could learn in any other way and will save him hundreds of feet of wasted film. But it must be used with judgment. It is not fool- proof by any means. Remember, light is a most intangible quantity, and it could hardly be assumed that a me- chanical device, by itself, would com- pletely and correctly, every time, cap- ture that elusive quality of light. In judging the exposure of any scene before shooting, it must be real- ized that light, of all different intensi- ties, is coming through the lens to the film, instead of one definite amount of light from the entire scene. We therefore see that each scene receives a series of different ex- posures. The delicate adjustment of exposure is most necescary if we wish to secure excellent pictorial repre- sentation. To illustrate, let us assume that we are shooting a scene showing a figure in white, in brilliant sun- light, walking along the shore of a pond surrounded by trees through whose leaves the sun's rays are shin- ing, flecking the waters of the pond Photograph by Burton Holmes FROM SILHOUETTE TO DISTANT SUBTLETY as if tipped with molten metal. In such a subject we have a tremendous tone range from shadow to highlight, with many intermediate values. Such a scene taxes to the utmost the ability of the emulsion to render a pleasing pictorial representation. If we ex- pose for the highlights our shadows will have no deposit of silver on the negative, and we will get a contrasty positive in which the shadow detail is missing and all the values of the scene completely out of line. On the other hand, if we expose for the shadows only, our highlights will bring down so much silver that we will get halation and a negative so dense in the highlights that no de- tail will print through to the positive. Therefore, a compromise must be made, and an exposure given that would render enough shadow detail and still obtain some gradation of tone in the lighter values. Some val- ues must be sacrificed and an expo- sure given that will register a pleas- ing scale of tones. A plan that Avould teach one much about values and, incidentally, culti- vate the habit of observation, is to study a subject for pictorial possi- bilities at varying times of the day and, if possible, the year, under vary- ing light conditions. Observe how the morning and evening sun's slanting rays change the intensity of the re- flected light from that of a brilliant noon-day sun; how a clouded sky will give a softness and subtlety of tone differentiation, which will have an emotional response in its audience, suggesting calm and quie- tude. A most interesting short sub- ject could be filmed, because of this ability of the medium of cinematog- raphy to render beautiful tonal quali- ties in monotone. Visualize the moods of a beautiful lake, in all its fury, all its calm, from dawn till sunset; how with delicate tracery of gray tone on its expanse, the wind-swept clouds pass above it; how it mirrors nature in its bottomless depths! All this is capable of pictorial representation if the values are carefully adjusted for the scene. From the preceding it is (Continued on page 56 1 AN EXTREME RANGE OF VALUES Photograph by Robert C. Bruce THE END of the RAINBOW Possibilities of Color Motion Photography for the Amateur By Carl L. Oswald OF HISTORIC INTEREST Scene from the First Color Photoplay Toll of the Sea THE enormous increase in the number of amateur cinemato- graphers has brought with it an insistent demand for information on all sorts of problems relating to the making of pictures; and this is as it should be. The amateur works for the joy of the doing and, in the case of the motion picture, for the lasting reward of results which he can view in after years with amuse- ment and satisfaction. Beyond this, however, the efforts of the amateur in the motion picture field, as in all other fields, lead to advances which the commercial organizations cannot afford to anticipate by the establish- ment of experimental laboratories. Therefore, the questions of the ama- teur always merit careful considera- tion and, so far as is possible, help- ful replies. One of the most common inquiries received by those of us who try to be of help to the beginner is: "Are color motion pictures practical and, if so, when will I be able to make them in my camera?" Many of these questions originate in the fact that the inquirer has seen color in some of the productions currently shown on the professional screen and he is pardonably curious to know the how and wherefore. To such in- WITH talking motion pictures .for the home a development promised for the near future, the question of when colored movies will be possible for the amateur becomes still more reasonable inquiry. Mr. Oswald, who is an authority on color photography, analyzes the problem in this important contribution. Photograph by Metro'Goldwyn-Mayer. BABY BATHED IN COLOR An Intimate Scene in Natural Hues. quiries we can say that there is no physical reason why color movies should not be made available for the amateur but the question of cost is likely to be a deterrent for some time to come. Strangely enough the color motion picture, in the hands of the amateur, Photograph by Metro Goldwyn Mayer should give less trouble than in the hands of the professional because the amateur is not likely to be bur- dened with expensive studio equip- ment purchased solely with the re- quirements of black and white pho- tography in mind. Rather, the ama- teur is forced to work with daylight or, in some cases with portable lights of the arc or mazda variety. With any of these illuminants color pho- tography is simplified and the next consideration is the camera. Here the matter is not quite so simple. It is quite generally agreed that the most satisfactory methods, up to date, have all used some modification of the "two-color" separation method, in which the red and blue of the spectrum are combined with yellow to embrace the three necessary pri- mary colors in such a manner as to make them printable on the two sides of a positive film in the form of an orange-red and a blue-green image respectively. This requirement makes necessary a camera having two dis- tinct but synchronized mechanisms, operating in conjunction with a light- splitting device to enable the camera to record both color separation nega- tives simultaneously. Building a camera such as this for 16mm film {Continued on page 56) Fifteen SILVER CRAFTSMEN on the r ~»V* SILVER :. / SCREEN " By Don Bennett SOMETIME ago Mr. Walter Kerst, technical editor of Amateur Movie Makers, indicated that he would like to see some educational films. I made arrangements for him to see "Fine Arts in Metals," a five reel picture made for the Gorham Company, Silversmiths of Provi- dence, R. I. Now, Mr. Kerst is a very critical cinematographer, but when the last reel had been run off, he delivered himself of this comment, "That is the most beautiful industrial film that I have ever seen or heard of. It's won- derful.'' Of course I agreed with him and asked him if he thought that League members would like to see it in their own homes. He thought that you would and also thought that you would like to hear how it was made. It was suggested to the Gorham Company that they make this film available to owners of 16 mm. pro- jectors. This proposition had never before been attempted, so far as I know, with either the amateur or standard film, but they agreed that it was a worth while form of distribu- tion and authorized the making of a number of prints of the three reel version on 16 mm. stock. All the de- tails of distribution have been ar- ranged and Amateur Movie Makers has been selected as the medium for reaching the greatest number of ama- teurs. There is no charge for the use of this film except the actual shipping expenses. You can determine what this cost will be by applying to your local express agent or postmaster, for the rate on a package weighing seven pounds. On page 47 you will find a cou- pon. Fill it out and mail it at once. Sixteen Photographs by Stanley Educational Film Division BIRTH OF "THE VINE" A Scene from a Film Version of the Modeling of a Masterpiece WHEN the Gorham Company decided to re-create on the silver screen the beauty of Gorham metal ware, the work of craftsmen known all over the world for superiority of design and execu- tion, the Stanley Advertising Com- pany was honored with the assign- ment. When all preliminary arrange- ments had been completed, a produc- tion unit went to Providence. This unit included B. K. Blake, a director famous in the educational field, Frank Zucker, a cinematographer of note and an expert on lighting and composition, their assistants and a staff of electricians. A production schedule had been worked out be- forehand which allowed the picture to be "shot" without disrupting the nor- mal routine of the Gorham plant. Thousands of feet of film were made, showing graphically the creation of large and small statuary in bronze, and tableware in silver. The subjects range from a tiny statue, only eleven inches high, called "The Vine," by Harriet Frishmuth, to a life sized statue of "Bill" Hart and his horse, from teaspoons to silver waiters three feet in diameter. By a lavish use of dissolves, processes that require days to complete are shown on the screen in a few seconds. An instance of this is the modeling of "The Vine" where Miss Frishmuth starts with a lump of modeling clay and works it up to the finished statue. This required several hours but on the screen it is all shown in a few minutes. We follow "The Vine" through all its stages and see it finally as a wonderful piece of bronze statuary, now adorning the Grand Central Art Galleries in New York City. Another place where we shortened time was in showing the making of a sugar bowl. This starts as a flat sheet of sterling silver and, under the hands of the craftsman develops in form and design until it is a thing of beauty. The artisan, using hundreds of special hammers of different shapes and sizes, works this flat sheet first into a cup shape, then closes the mouth where the lid will be in the finished article, brings up the relief of the design, fills the bowl with pitch, then executes the delicate work created by the designer. This process actually requires three weeks but, by the use of the dissolve, it is shown on the screen in less than three min- utes. The sheer beauty of his bowl, as it develops before the eye, holds one spellbound. The creation of a new series of sil- ver tableware is shown in detail, spe- cializing on the development of a teaspoon; first the plastilene model, then the handmade silver model, the making of the steel dies, the punch- ing and forming of the blank, the impressing of the design by the steel die and the many polishings and scourings the spoon receives before it is packed. As the picture unfolds, we realize that the romance of the an- cient crafts and guilds has not de- parted from our modern life because these Gorham Craftsmen are devoted to the same principles and methods that prevailed centuries ago, ever since man learned to work with sim- pie tools. The work of these men does not vary a whit from the prin- ciples laid down by ancient silver- smiths, and their lives are dedicated to the creation of beautiful objects for you and me. A part of this film that will ap- peal to every housewife, is the clos- ing scene, where we see the silver tableware and objets d'art, that were created in the previous scenes, dis- played in a home. A charm- ing dining room, beautiful furniture, and most exquisite effect of all, the table completely set with Gorham tableware and decorations. Now every woman delights in find- ing an error in the movies, and they will find one in this scene. The butler discovered it, too, and corrected it, but let's see how many women will discover it before he does. This scene is of interest to every amateur from a cinematographic view- point as it was taken in a home, not in a studio. You can study this scene and see how easily a room can be perfectly lighted. While we are on the subject of lighting, it might be well to suggest that you study each scene of this pic- ture from the viewpoint of cinema- tography. Lighting of the closeups was accomplished with only one or two lamps and will reveal to the ama- teur what possibilities there are with only limited equipment. The long shots of course required more illumi- nation, but few amateurs will be CASTING BILL HART But this time it is not for a "Western" but for a Life Si?e Statue THE CREATION OF BEAUTY A Craftsman at Work on a Silver Showpiece called upon to take similar scenes and therefore you need not worry over your lack of equipment. The composition of all the scenes in this film is worthy of study. Mr. Zucker is noted for his beautiful camera ef- fects and it can be truthfully said that he uses no trickery in accom- plishing such perfect work. You might also study the effects gained by tinting and toning of the prints. Much of the beauty has been enhanced by judi- cious selection of color in after treatment of the positives. A general tone of bronze prevails all through the parts of the film depicting the work in bronze and a silver blue tint colors the silver section. This film was not made primarily for adults, because it has great educational value for the children as well. Few children know the steps neces- sary in the manufac- ture of the knives and forks which they use every day and this subject is one feature of the film. Children interested in modeling will find much of interest to them in the scenes showing the development from the drawing of the designer to the first model, which is made of plastilene. They will discover new tricks that will be useful to them in their own modeling. (Continued on page 47) Seventeen SYNTHETIC CINEMA WHEN the East Teabone Lit- erary and Sunday Afternoon Hiking Society decided to make home-talent movies for the benefit of the starving Armenians, they appointed Mr. Feeber director, because he had been a second lieu- tenant at Plattsburg and owned a pair of leather puttees. Also, he had a camera. The project had been instigated by Louella Mae Hod- kins-Prouty, other- wise known as the laurel-crowned poet of South Walling- ford Avenue. Lou- ella Mae had a per- fectly gorgeous idea for a scenario (which she was al- ways at great pains to call a "shanay- rio" — backing her Webster's Un- abridged against all Hollywood and hoi polloi) . "It is called 'Love's Awaken- ing,' " she explained as she showed Mr. Feeber the script. "The heroine, Phy- lia Armityge, is a nervous, high-strung orphan with a fond- ness for one-legged men. She is the ward of an eccentric millionaire — " "A sort of psycho- pathic ward," sug- gested Mr. Feeber. " — who insists that she must marry a one- legged man or be cut off with- out a shilling. A handsome young brush salesman named Her- man Delash- mutt comes to sell her some brushes, and she falls in love with him, but as he has two legs, she realizes that her passion is hopeless. He continues t o Eighteen By Weare Holbrook Drawings by Alan Dunn comes the war " "What war?" inquired Mr. Feeber, waking up with a start. "The World War," replied Louella Mae. "Herman enlists and is sent overseas " "Listen, Mr. Feeber protested. "We can't possibly get together a cast of more than fifty, and I doubt whether the property man can lay his hands on a single battleship. Can't you make it a Kentucky mountain feud?" "And Phylia becomes a Red Cross nurse," continued Louella Mae com- placently. "Many months laier, on the battlefields of France, she finds a sol- dier's leg which has been cut off " "Without a shilling," added Mr. Feeber. "As soon as she sees it, she realizes that here is the man of her dreams — or at least part of him. She picks up the leg and- call on her, however, and every time he calls, she buys a brush from him. At last, when all his brushes are gone, they say farewell, and he goes to Cincinnati. This is very sad. Then "ORVILLE LANDED AMONG THE KNIGHTS OF PYTHIAS, WITH DAPHNE ON TOP OF HIM". "Really," interrupted Mr. Feeber, "don't you think that's a bit gruesome? Besides, where are we going to get any loose legs?" "Old Mr. Entwhistle has an arti- ficial limb," Louella Mae confided. "And I'm sure he'll be only too glad to lend it to us, if we tell him it is for a patriotic cause. . . . Well, as I was saying, Phylia picks up the leg and sets out across No Man's Land to find the soldier to whom it belongs —like the Prince with Cinderella's slipper. And when at last, after many hours of searching, she finds the owner of the leg — guess who it is!" "Old Mr. Entwhistle," said Mr. Feeber. "No, no," protested Louella Mae impatiently. "I mean, in the story." Mr. Feeber closed his eyes. "The six of spades," he said presently. "Mercy, no!" exclaimed Louella Mae. "You're not even warm." "You're not so hot yourself," re- torted Mr. Feeber. "Who is it, then? I give up." "Why, it's Herman Delashmutt, the man she has always loved! And so they get married, and Phy- lia inherits her fortune." It was some time before Mr. Feeber recovered from his surprise at this unex- pected denouement, and he was still rather dazed when the first rehearsals commenced. The difficulties of cast- ing were simplified by Louella Mae Hodkins- Prouty, who selected her niece, Daphne Ginsberg (weight 185 pounds ring- side), to enact the role of Phylia, and Orville Tim- mins, who volunteered to play opposite her in the role of Herman, the brush salesman. Old Mr. Entwhistle very generously donated the use of his leg, and also offered them a set of false teeth, which were declined with thanks. Everything went along fairly well until the filming of the final scene — and the most important scene, from a spectacular standpoint. It depicted the triumphal climax of a military wedding, with Daphne Ginsberg and Orville Timmins as bride and groom, coming down the steps of the First Presbyterian Church beneath an arch- way of crossed swords held by the drill team of the local lodge of the Knights of Pythias dressed in uni- forms,, borrowed from the Teabone Post of the American Legion. The crowd of wedding guests about the church was made up of everyone who might otherwise have been offended at not being gjyen a part in the picture. But as Orville (playing the wounded hero, with one leg strapped up out of sight, in the Lon Chaney manner) hobbled out of the church, his crutch snagged the train of Daphne's wed- ding gown, and the happy couple did a Jack-and-Jill down the stone steps. Orville landed among the Knights of Pythias, with Daphne on top of him — and when the battered, blushing bride was removed, it was discovered that he had sustained a fractured collar-bone in the cause of art. Upon recovering consciousness, Orville announced that he was through with the movies forever, and Daphne, whose left eye was al- ready in mourn- ing, added that those were her sentiments ex- actly. Whereupon the two principals TEN LITTLE FINGERS AND TEN LITTLE TOES. departed, leaving Mr. Feeber and the assembled company in the First Pres- byterian lurch. It began to look as if "Love's Awakening" might never reach the screen — and in the meantime the Ar- menians were starving. For several days Mr. Feeber was in a quandary; it wasn't much better than the lurch, but anything for a change. Then one evening he dropped into a theatre to see a new German pic- ture. He marveled at the deftness with which the director had made use of symbolism and suggestion — elim- inating unnecessary details, and leav- ing much of the action to the imag- ination of the spectator. A closeup of a slowly turning door-knob gave an effect of impending menace more terrifying than a whole mob of "ex- tras" disguised as desperados; there was more pathos in a crushed rose- bud on the floor than in a dozen hys- terical heroines dripping glycerine tears. Mr. Feeber felt inspired. The following day he dismissed the members of the cast and, with the help of the property man, commenced work on a revised version of "Love's Awakening." Within forty-eight hours the film was ready for showing. It went something like this: "LOVE'S AWAKENING" Title: From earliest childhood, Phylia Armityge had been taught to worship a one-legged man as her ideal. Scene: Close-up of child's toys scattered on floor. Iris out on wooden soldier with one leg broken off. Orchestra Cue: "March of the Wooden Soldiers." Title: And by the terms of her FATHER'S WILL SHE MUST MARRY A ONE-LEGGED MAN OR REMAIN PENNI- LESS. Scene: Closeup of legal document and beaded purse (empty). Orch. Cue: "Poor Little Rich Girl." Title: One rainy April after- noon, Herman Delashmutt, a hand- some young brush salesman, calls at the armityge man- SION. Phylia loves him at FIRST SIGHT, BUT, ALAS ! HE HAS TWO LEGS. Scene: Medium shot of a pair of rubbers, size 9^, on the front porch. Orch. Cue: "Ten •Little Fingers and Ten Little Toes." Title: But for the sake of seeing herman, Phylia buys a brush every day, to soothe the pangs of unrequited LOVE. Scene: Medium shot of a pile of assorted brushes. Iris out on teardrop on a brush. Orch. Cue: "Lonesome Blues." Title: Then cruel fate separates THE LOVERS, AND THEY SAY FAREWELL. Scene: Closeup of picture postal of City Hall, Cincinnati, 0., with in- scription, "Having a fine time. Wish you were here. Hermie." Orch. Cue: "Beautiful Ohio." Title: The grim shadow of war LOOMS ON THE HORIZON, AND HER- MAN ENLISTS. Scene: Closeup of can of salmon. Orch. Cue: "Over There." Title: While Phylia becomes a Red Cross nurse. Scene: Closeup of bottle of iodine and box of C. C. pills. Orch. Cue: "She's More Like a Pal Than a Mother." Title: On the shell-torn fields of France. Scene: Medium shot of a lot of mud. Orch. Cue: "Madelon." Title: Phylia finds a leg which some poor soldier has lost. Oh, goodness! * (Continued on page 56) Nineteen and on thc stage HERMIJ KING and his Qrtabw IbaniL wtih Oscar Gfatflor *f. And Janchort-Qftlarco'S lit* DANCE DEMONS" TITLE SUGGESTIONS YOU COULD MAKE YOURSELF. Lettered by the Author °\tV ILL1AM S HAINES A o ^° ■> OPJEUNC ^EVER' Ql Whirlpool Of CMirik, wlUxj, dOAN CR.AWFOR.D & CEORCE K ARTHUPo MAKING your own ART TITLES rr,HIS is the first of a series of ar- ■*- tides containing a few sugges- tions from a professional standpoint which will make titling more inter- esting for the amateur. Copyright by Ross F. George. ANY ambitious amateur who has a movie camera, whether it be small or large, can get a lot of real enjoyment and a profit- able education in the art of lettering by making his own titles. There are few hobbies that develop a sense of balance and proportion like the art of titling. The further you ride the more interesting this hobby gets. And for those fortunate enough to possess a camera with which double exposures can be made the possibili- ties in illustration and atmosphere are limited only by ability, time, or knowledge of the art. We grow by doing and this development is far more important than any immediate results achieved. The practice of lettercraft, involving as it does the fundamental principles of design, trains the eye and the hand into closer harmony and a finer sense of tech- nique, grace and tone quality. No one will dis- count the importance of these elements in the pro- duction of motion picture titles. The value of working into the art titles some of the atmosphere of the Note — The pen styles referred to by the author of this article are vari- ous types of Speedball Pens, of ivhich he was the inventor. By Ross F. George picture is emphasized by the im- portance the big producers place on this side of the art. After a motion picture has been shot, the art staff is called in for its initial run. These title letterers and artists spend sev- eral hours in the projection room with the directors working out the art titles. These must radiate the proper feeling and "fit in" or become "^ZOU will find the Art Title Back- ■*- ground on the facing page ideal for your marine films. The lettering is purely suggestive. a part of the picture itself, and noth- ing is left undone that will enhance their effectiveness. Personally, I get a lot of added enjoyment out of a movie when the titles are cleverly and artistically handled and I notice that the average theatre patron ap- preciates good titles. We mention this so that the ama- teur will not underrate the impor- tance of the art side of titling when it is worthy of the same study and execution that the picture received. However, in the preparation of these articles we have tried to keep in mind the limitations and handicaps of the amateur movie producer both in time and in equipment, so we have used only the simplest mediums and meth- ods. In this first article we shall try to confine ourselves to the prepara- tion of the "main" or "lead" title, as it is called. The production of con- versational or descriptive titles known as "sub-titles" will be dis- cussed later. Perhaps the first ques- tion to get settled is the all important one of tools and materials. The best of these need not be ex- pensive. Any fair-sized slant top desk will do, as this will permit of a free arm movement and result in more graceful letter- ing. If you do not possess a slant top desk, an old kitchen table will serve the purpose by resting the two back legs on a low box or against the base- board. An adjustable let- tering board can be quickly made by hinging two drawing boards to- gether and using a can or a small box to regulate the slant. Do not tilt up the board too far as this will cause your ink to puddle at the base of the letters. A yard stick Twenty-one tacked on to the lower edge of the desk prevents the cards from sliding off and proves helpful when laying them out. Four-ply black railroad cardboard cut into quarter sheets 11 x 14 can be used for art titles and slide lettering. There are many different blacks, most of which are only dark grey even though they appear black to the eye. And where double shooting is necessary it is safer to rub down these cards with thin letters. It is seldom desirable to use a pen larger than size 3 for title lettering. Size 4 is the best for gen- eral work. Use white ink specially prepared for pen lettering. It should be stirred well before using because any good opaque ink has a tendency to separate a little. The heavier and usually the best covering pigments will settle to the bottom after the jar has stood some time. Where it is de- Slant Position of hand when, making Italic lettes with either the. Stule'Cor Stjlel)"^' a little black or red ink before at- tempting to letter them. This is not hard to do. Just moisten a small rag with India ink and rub it over the surface. When it is pos- sible to secure dark red railroad card this extra coating should not be necessary. Where pictures or scenes are worked into the background on the same sheet with the letter- ing, the copy is usually laid out with chalk and filled in with a small brush. Where pen letter- ing is desirable, the scene should be airbrushed or sprayed with shellac to give it a lettering sur- face, or the copy can be done on an appropriate panel and mount- ed upon the scene. Some nice effects are obtained by spacing this panel away from the picture with corks or spools, etc. In this way, when focusing to bring out the lettering sharply, the illustration is thrown enough out of focus to soften the tones and add imaginative interest to the finished title. A soft chamois is used to rub off the chalk lines after the copy is dry. The use of a red pencil to lay out black cards is recommended because red has the same photographic value as black and does not have to be erased before shooting. Always allow a liberal margin around the card, at least the width of your T-square and preferably more. Use a Style D pen for heavy letters and a Style C for thick and Twenty-two SHOWING -HOW -TO -HOLD- THE -SPCePBALL-PCN- GOTHIC ALPHABET • CLIPPED FROM THE SPEEDBAU. TEXT BOOKS"- ELEMENTARY PRINCIPLES1) OF LETTER CONSTRUCTION/ Arrows indicate direction of strokes and . . — , — — , ,— ", i — - numbers the order in which they are made: Note- When joining circular elements OVERLAP strokes- Th"-- letters were made with the style"LV' round point Speedball pens.Broken strokes show construction ♦FIRST > TRY > THESE 'ELEMENTARY > PRACTICE > EXERCISES ^ WITH^STYLE"B" PEN* IIIIW/#IIII = = ==HHHHEEEBE NMNM VAVAVA WXWX KYZYK THE GOTHIC ALPHABET AND SUGGESTED EXERCISES sirable to use the ink a little thicker than ordinary, the addition of a few drops of alcohol will considerably increase its flowing qualities and pro- duce a more opaque letter. Never al- low the ink to dry on the pen because this clogs the feeders and prevents a free flow. It is advisable to keep an old tooth-brush handy and scrub off the crusted ink occasionally with water. If you desire to try a brush (No. 4 Red Sable show card) on your let- tering, pour some of the liquid off of the ink and use the thicker pigment from the bottom. A brush requires heavier ink to keep it from splitting and to help it to hold its shape after it has been worked out on the pallet. It takes a long time to learn how to manipulate a brush cleverly, due mostly to the complete absence of a "feel of contact" which is so helpful with the pen. Until you have trained your hand to behave, there is a ner- vous, uneven effect that makes the letters hard to read and brands them as the work of an amateur. It takes from two to three years to develop a good brush man and only a few really "arrive" then. For these rea- sons it would hardly be fair to rec- ommend the brush to anyone not gifted with unus- ual talent unless he had the advan- tage of super- vised practice at his command. Those who de- sire to letter their own cards will find it worth while to practice a little, and this first lesson offers some constructive exercises de- signed to develop the control of the hand. Practice these in the order shown, making a full line of each exercise or group. Use a size 2 round point (Style B) pen. Work with a careful, even stroke on any white (coated) card or paper, using black let- tering ink. As soon as you can control your hand on these practice strokes you can tackle the Gothic alphabet shown with them. The Gothic alphabet is shown first because it is the simplest for the beginner to learn. All its elements are of uniform width and can be made in a single stroke with the Style B pen. Work on a slanting desk with the card held at a slight angle so that the natural downward pull of the arm will be in line with the vertical axis of the card. Sit erect and close to the desk (see illustrations for sitting and for holding the different style pens). Rule three guide lines about a half inch apart for each line of lettering. Dip the pen deep enough into the ink to fill both reservoirs and then drain off the surplus by drawing it across the neck of the bottle. Hold the pen like you would a pencil, (Continued on page 49) FEATURING FLEAS, ANTS and FLIES And the Denizens of a Waterdrop The Romance of the Tolhurst Microscopic Films By Grace D. Elder BESIDES being tall, good looking and interestingly shy, in the well-known manner of scientists, Louis H. Tolhurst of Los Angeles is one of the world's few — very few — - microscopists. you may ask, And what, you may ask, is microscopist? On a piece of glass one inch by two, Tolhurst has staged, and screen- ed, some of life's most thrilling dramas. Love, hate, wisdom, indus- try, all are paraded before the fasci- nated observer, with an intensity and veracity beyond the capabilities of any human movie star. And without the aid of the micros- copist the stage would appear to hold but an empty drop of water. Not a single actor of possi- ble millions would be seen! Tolhurst is the inventor of the combination of the mi- croscopic motion picture camera (which operates at a speed of 32 exposures a sec- ond) with a cool light of in- tense brilliance. This latter makes it possible to photo- graph insect life without cooking the tiny performers. Not only has this clever young scientist made it pos- sible for us to see the un- seen. He has fixed upon the screen the fascinating life drama of the seemingly ordinary, even repulsive "bug." The flea, the ant, the fly, all play their parts with never a shade of artifice. The civic efficiency of an ant settle- ment makes an attention holding reel. Governed by a queen, the ants are divided into gangs. Some of them clean the streets, others "farm." Still LOUIS H. TOLHURST, MICROSCOPIST others bring up the young. A startling feature of Tolhurst's studies is the accurate revelation of the ant's amaz- ing strength, which has no equivalent in human life. The microscopist's almost too real- istic photographs of the well known, THE PRISMATIC EYE OF A FLY Magically Used by Tolhurst as a Lens in One of His Films but elusive, flea leave one with di- vided feelings. The equipment of this insect is certainly efficient when it comes to holding on to any available fur. But to see the little thing propel a miniature motor car is to fill one with unalloyed admiration. Tolhurst arranges and films this unusual "act" with consummate skill. One of Tolhurst's "stars" is Bill, the trained fly. His antics amaze and delight, for he does nothing less than lie on his back on a pedestal and juggle tiny furniture with his feet! Unbelievable, of course — but the proof's in the picture! And the man who is giving us this knowledge of science in sugar coated doses was educated to be a lawyer! It was a happy piece of luck which gave him a never-to- be-forgotten glimpse of the world of the scientist. His father presented him with a microscope on his twelfth birthday. From that time for- ward every spare moment of his boyhood was devoted to his improvised laboratory. Here he discovered marvels beyond his imagination, and laid the groundwork of a career which was to make him famous. Though Tolhurst studied for the law, and actually practiced, his heart was never in it, and after a year's trial he gave it up. He then turned to the more lucrative work of garage managing, for he needed much money in his scientific experiments. In fact, (Continued on page 48) Twenty-three CRITICAL FOCUSING Technical Reviews to Aid the Amateur Wild Geese Tiffany-Stahl Directed by Phil Stone {Max Dupont Earle Walker Jos. A. Dubray Cinematic Moment: If we con- sider that truly cinematic which no other artistic medium can do so well, then the night scene in which the grim farmer is seen gloating over his corn crop as he passes between gigan- tic stalks, lantern held high to reveal each precious cob, is truly cinematic. The theatre could never approach this stark realism. Still photography could never express the fine grada- tions of covetous pride revealed by his mobile features. In short, for a brief space of time this film breathed cinematic essence. Tinting and Toning: Color added further strength to this scene. The cornstalks were blue in the shadowy blue of night. The lantern, with its yellow glow, cast a warm light on the grain-miser's face. This is an out- standing example for study of the value of color emphasis. Scenario: The story of "Wild Geese" is of the new school,- which gives truth its due. It is life, one DIFFICULT SHOTS intense motion, not formalized or used geometrically, an example to amateurs of how a film may be given an exciting quality and a very real emotional appeal by filming crowds which are available to him so fre- quently. Rapid Camera Work: An ener- getic and mobile camera followed a basket ball game, keeping the prin- cipal characters well in focus without giving the appearance of a carefully arranged closeup. This is very prac- ticable for an amateur hand-held camera. Sorrell & Son United Artists Director Herbert Brenon Photographed by. . James Wong Howe Explanation by Suggestion : This photoplay ( which is reviewed else- where in these pages from a non- technical point of view) offers an admirable example of briefing an explanatory portion of the scenario. We are asked to understand that the juvenile has been offered and has partially indulged in a gay week-end in London. Here is the continuity: close-up of two champagne coolers; long-range shot of a row of dancing {Continued on page 47) AS SOLVED BY THE PROFESSIONAL kind of life, and its genuineness feeds the desire of this movie-goer for more pictures of equal merit. The Fair Co-ed Metro-Goldwyn-Mayer Directed by Sam Wood Photographed by John Seitz Crowd Effect: The crowd scenes give an extremely vivid sensation of SCENES (ABOVE) FROM "THE LOVELORN," (LEFT) FROM "THE CROWD" AND (BELOW) FROM "ROOKIES." Twenty-jour Photograph by United Artists. A NOCTURNE FROM THE CINEMA, SCENE IN "SORREL AND SON" PHOTOPLAYFARE Sorrell & Son THIS United Artists release, directed by Herbert Brenon, is the existing photoplay at its best. It offers the universal appeal of parental and filial devotion and in- terests the most simple playgoer; it is directed with an understanding and a delicacy that lift it to the high level of Shaw or O'Neill in spoken drama or of Galsworthy and Edith Wharton in current literature. It is what James Joyce terms "dramatic", in that it is produced by an artist conscious not Reviews for the Cintelligenzia only of himself but of the universe. And it lacks, entirely and completely, any descent to the vulgar or to boob- catching "hokum". It is a photoplay that a cultivated and complex man or woman of the modern world can see without irritation. Sorrell & Son gives us the story of an English world war veteran captain returning, a wounded invalid, to find a deserting wife and a jobless world. He makes a pal of his six year old son, finally gets employed as a por- ter, educates the son, who becomes a famous surgeon, rises to something like his: former pre-war economic and social status and then makes a gentle- man's exit from a world of physical suffering, aided by an overdose of anesthetic given him, sorrowfully, by the son. He is shown to us as ex- traordinarily decent to his disreput- able wife, patient with an impossible and amorous employer, restrained and wisely friendly with his son and (Continued on page 53) Amateur Movie Makers offers this new re- view department for the benefit of those photo-playgoers whose interest in the cinema coincides with a constitutional dislike for any- thing, on stage or screen, which painfully dots every "i" and crosses every "t" so that the "play faring man, even though a fool, will not err therein." These criticisms are designed to tell the in- telligent movie fan of those photoplays which will appeal to the intelligent person. Wher- ever a photoplay also appeals to the great audience of Mr. and Mrs. Everybody, this department will cheerfully record the fact, because we believe that art can be produced which will have charm both for the simple and the complex. Here is no effort to state the social, educa- tional, moral, ethical or religious values of the pictures reviewed. All of these things are laid aside. These reviews try to indicate photoplay entertainment for fairly critical persons of good taste. Neither are these notes written from the standpoint of cinematic in' terest, which is covered specifically in "Criti- cal Focusing." We subscribe to the belief that the photoplay has only begun to be truly cine- matic and that it is still too much under the domination of the spoken drama's technique. If any screen play does emphasize the true art of the cinema, that will be noted with whole-hearted approval. But, taking the photoplay as it is and as it develops from day to day, these reviews will give the answer to the discriminating per- son's frequent question, "What movie shall I see?" This critical approach, purely in behalf of the intelligent audience, we believe to be particularly suited to the readers of Amateur Movie Makers. Twenty -five FILM -FLAM Poem of the Month TO ANY MOVING PICTURE DIRECTOR You may cut, you may title The film as you will, But the flavor of hokum Will cling to it still. — Life. By Any Other Name — THE month's most valuable les- son in showmanship is afforded by the producing company which retitled its film "Annie Laurie," "Ladies From Hell," when they found that the first title didn't seem to pro- duce spontaneous combustion in the box office. The obvious suggestion to the ama- teur is that he too, re-issue his old films under more incandescent titles. Thus, "Deep Sea Fishing" could easily become "Trapped in the Toils," while "Our Trip to Paris" would of course be "Nests of Iniquity." And the neighbors would fight for the chance to so much as sit on your windowsill if you told them you were showing "Slaves of Sin" or "Pas- sion's Puppets." How could they know you made these reels in the Maine woods last summer? To which discussion, H. I. Phillips in the N. Y. Sun contributes the fol- lowing: ' 'Uncle Tom's Cabin' has now been placed in the movies, and what puzzles cinema students is what pow- erful influences were brought to bear to prevent the magnates from calling it 'Sex Versus Souls,' 'The Whip of Dishonor,' or something like that." All of which reminds us that over in Europe they frankly call it the Sinema. "Now When I Was Operated On—" HPALKING movies will never be a -*• success. There's too much com- petition in the audience. — Judge. Saving Grace THE salaries of many Los Angeles film stars are to be severely cut. In this circumstance several forth- coming divorces are to be very quiet affairs. — Punch. Twenty-six Edited by Creighton Peet Not Such Dumb Friends SOME German scientists (probably related to those boys who go about putting drops of nicotine on a dog's tongue) have been showing movies to animals with very distress- ing results. Most of them were bored. The cats and the owls alone seemed to take them seriously. Oh, well, come to think of it, cats and owls aren't such bad company. One Meets So Many People A HOLLYWOOD film actress has remarried her first husband. Either the supply of husbands is run- ning short at Los Angeles, or else the lady presumably had an indifferent memory for faces. — Eve. Oft on a Rainy Night T TUMBLE reminder to movie pal- *■ -^-ace directors — "They also paid admissions who only stand and wait." Brrr-r-r-r-r! A SILENT tribute to our sunniest **■ state's most vocal climate is evi- denced in an agreement between the Universal Film Company and a firm which recently contracted to install a heating plant for its studio stages. The understanding was that if the actors' breaths showed on the screen in the finished pictures, Universal would not have to pay for the in- stallation. Which seems fair enough. Westward Ho! And don't forget the earmuff s ! So It Is! pvIRECTOR: "We gotta new scen- •*-' ario here called 'Justice'." Cameraman: "Sure, I know. Slow motion stuff." — New York Post. Yes, Usually 1TVIRECTOR: It really ain't a ■*— ' drama, and you couldn't call it a comedy or a spectacle Producer : Guess we'll have to ad- vertise it as an epic. — Princeton Tiger. Triumph! PORTLAND, Oregon, has recently * distinguished itself by an achieve- ment all too rare in American com- munities— it has actually succeeded in laughing its censorship board to death! At the same time it effected a saving of $20,000 a year ! The decision to fire the censors came as the result of continued ridi- cule by both the press and the com- munity in general, which entirely failed to see that the changes the board was making were a "vital bene- fit to the community" as it intimated. The public stood for the tinkering a long while, but when the mention in a subtitle of the word "guts" was changed to "intestinal stamina," and the somewhat childish gesture of thumbing the nose was declared to be a cardinal sin, then Portland abol- ished the censors and went to the bad, whooping and cheering. In Chicago, on the other hand, it is now proposed to have the movie censorship board appointed by Mayor Thompson himself. Which makes things look pretty black for the struggling British film industry. Titles in Movie dom WHEN you think of Mae Mur- ray you think of a tall prince. When you think of Gloria Swan- son you think of a tall marquis. When you think of Estelle Taylor you think of a long COUNT. — Life. FILTERED Beauty of Hawaiian SKIES Photographs by Franklin LaVarre of Burton Holmes Lectures, Inc. Twenty-seven Animated MOVIE MAKING for AMATEURS By Marguerite Tazelaar Illustrated by PAT SULLIVAN STUDIOS ACCORDING to Pat Sullivan, creator of Felix the Cat car- toons, the amateur can make animated movies by providing him- self with proper equipment, and by choosing the right kind of scenario or story. While it is necessary to recognize certain limitations in making animat- ed pictures, they may, on the other hand, serve as a vehicle for particu- lar types of entertainment which nothing else suits so well. The amateur, Mr. Sullivan be- lieves, should choose at the outset either a comic strip or a mechanical device for his animation. The comic strip, such as Felix represents, hinges on burlesque or take-off for its ef- fect, and often achieves a sharpness and satire in which living actors fail. For purely educational purposes the animation of complex or detailed types of machinery serves as no other medium can. It shows step by step the details of a machine and the way it works. Most of the equipment the ama- teur needs he can make himself. He must have, first of all, a camera that will enable him to expose one frame at a time, because when he comes to photograph his drawings, he will need for each change one or more single exposures according to the ac- tion. For instance, a man rubbing his head necessitates a single exposure, then double, then single again, in order to get the movement smooth Twenty-eight r~T'HIS article treats in a general ■*• way of the principles on which animated cinematography are based, and of the steps necessary for the preparation of the drawings as far as the actual work of photographing them. That step will be discussed in detail in a later issue of the maga- zine. and life-like. Felix, walking normal- ly across the screen, takes two ex- posures for each drawing. If too many drawings are made, the picture lags; if too few, the picture is jerky and stiff. To hit upon the right amount is an art, gained only from experience. A good plan is to make a short film for the first at- tempt, judging as best one can the requirements of the drawings. When this is screened the amateur will find many points where he can correct his faults and thus build up his films, by degrees, to perfect animation. The first step is the making of an animating stand on which to place the drawings as they are being made. This is simply a wooden frame, rather like a triangular box on which the cover is at a slanting angle to the base. In the centre of the cover a hole is cut, about 12 by 9 inches in which a piece of glass is inserted. Beneath it is an electric bulb. The paper or celluloid upon which the drawing is to be made is now placed over the glass and attached to the frame by brass pins. The animating stand will have, of course, the same dimensions as the title stand. After the electric light has been switched on in the animating stand, the ama- teur is ready to begin his drawings, which he will later place on his title stand to be photographed. Next, the camera or title stand must be ob- tained. This may be horizontal or vertical, as shown in an accompany- ing photograph. In the vertical stand, the camera is supported above the drawings (see "Animation Data," Amateur Movie Makers, August, 1927, page 35). The drawings are placed in a frame similar to the ani- mating stand already described, with the exception that the frame is per- fectly flat, so that it will lie parallel to the camera lens. A horizontal stand may be used if it is more con- Learning How with Felix PLATE I THE important steps in the making of an animat- ed cartoon are graphically shown in these photographs and those on the following page, which were especially made for Amateur Movie Makers in the Pat Sullivan Studios, home of the famous Felix, by Educational Film Exchanges, Inc., distributors of Felix the Cat Cartoons. Above: PAT SULLIVAN Creator of Felix MAKING THE OUTLINE DRAWING IN PENCIL OUTLINING THE PENCIL SKETCH IN INK FILLING IN THE OUTLINE This Completes Any Single Drawing Twenty-nine venient. The basis of construction is the same, the only difference being that the camera is placed at one end of a base board and the stand to hold the drawings parallel to it at the other end. The size of the stand and distance of drawings from the cam- era are governed by the type of cam- era the amateur uses and the dis- tance he must place the lens from the drawings to insure proper size and focus on the film. With reference to the plan of his drawings, Mr. Sullivan says, that, first of all, the characters must be deter- mined upon. He has found after years of experiment that a small, doll-like figure is best for an animal character. He should have a head about the size of a nickel, a pear- shaped body about the size of a dime, legs and feet that resemble rubber hose, squatty, thick, and stubby. He should be black in color for black gives solidity, other characters will vary. Having figured out a character, it is now necessary to plan a story for him. Felix is motivated always by his desire for food and comfort. He is the most ingenious cat in the world when it comes to finding means to these ends. He can make a black-jack out of his tail, or a fiddle, or an air- plane. He can pull lanterns, sealing- wax or kettles out of his pockets, but never food; for this he must always forage. It is better, according to Mr. Sulli- van, to use an animal as a central character or hero, for this gives him the power to do things people can't do. and to burlesque the human race, generally. Such a hero can go to Mars in the twinkling of an eye, or tunnel through the earth to China, at the drop of a hat. If mechanical type of animation is to be made, such as the inside of an engine or a piston, there is no story, of course. Drawings need simply to l»e made of each movement of the mechanism. Now comes the actual work of making the drawings. The amateur must decide first which portions are to be stationary, that is, to be used for backgrounds, or scenery, and which are to be straight action draw- ings. Of course, the action drawings will always be those in which move- ment is shown, which means gener- ally, the action of the central figure across the screen. The stationary drawings, making up the back- grounds, must be drawn on celluloid. They should also be drawn high on the screen so that the central charac- ter can pass below or above them. For instance, when Felix walks over a bridge in front of a school- house, the schoolhouse is drawn on a celluloid screen, and is drawn high on the screen, leaving the lower por- tions of it empty, unless a few scat- tered objects are put at the extreme lower edge, such ac- stones or a bit of shrubbery. In this case Felix will pass between the schoolhouse and the shrubbery as he walks over the bridge. The straight action drawings, that is the movements of the central figure, are always made on paper, and for each movement a separate drawing is made. Therefore Felix walking across the bridge will mean a set of drawings, each showing prog- ress in his movement, and all made on paper. All drawings should be made in black ink, and it is better, as was noted before, to make the central character in solid black. \^ hen other figures are used (this will make the picture more complicated for the amateur) the same rule will be fol- lowed as that already laid down : stationary figures, or objects, must be made on celluloid, and moving figures must be made on paper. In the illustration showing Felix reading about card tricks, the head is drawn on paper and the eyes, hands and book on celluloid, be- cause in this closeup his head re- mains in the same position through- out the scene while his eyes rove up and down the pages and the book changes positions. Much labor in drawing is saved in this way. Sometimes two celluloids need to be used in making up backgrounds. Two may be used, but never three 01 four because of the difference in the density between the celluloids and the paper drawing when the two are being photographed on the title stand. Mr. Sullivan estimates that an in- teresting animated story could be told in about 75 feet of 16 mm. film. This footage should be divided into approximately twenty scenes, which means the average scene would be about three and one half feet. To give an idea of the amount of work which this will involve it should be (Continued on page 49) Thirty ILLUSTRATING the labor saving use of celluloids, the book and hands, in this in- stance, are to remain stationery so they are drawn on the celluloid. This is then superimposed over each of a series of draw- ings of the head only which are so drawn for each exposure as to provide animation of the ears, eyes, etc. This device saves making the complete drawing each time. THIS picture shows the celluloid, which was detached in the above picture, in its proper position on the brass pins, completing the paper drawing beneath it. TWO celluloids are to be used above the paper drawing in this instance, each of them having fixed portions of the cartoon. One of them, having served its purpose, will be removed shortly, and the photographing will con- tinue with the other. THE camera stand illus- trated in this picture is of the vertical type, with the camera shooting down on the drawings. When Felix reaches this stand, all that re- mains is for him to be photo- graphed, draiving after draw- ing, with or without celluloids, in the rotation indicated by the drawing numbers. Thirty-one MOVING DRAMA As Interpreted by the Roosevelt High School Amateur Movie Club of Des Moines, Iowa, with Charles Luthe at the Camera, G.lbert Carr, directing, Clarence Cooper and Charlotte Thomas in the Bood light AMATEUR CLUBS The Film Exchange THIS department tries to point out, each month, a specific ser- vice to the cause of amateur cinematography which amateur clubs are in a particularly advantageous position to perform. This month, we suggest the development of an international film ex- change. In the early days of the Amateur Cinema League, an effort was made to build up an individual film exchange among amateurs. Since many movie makers have only one reversed print of their films, which they guard jealously against possible loss, prac- tical and sentimental reasons have so far operated against the success of a film- ex- change between individuals. Then, too, many films made by amateurs are very per- sonal and do not lend them- selves to exchange. - Amateur clubs are doing an increasing amount of impersonal filming and are pro- ducing film lengths of sound enter- tainment value and photographic in- terest. The cost of an extra print of such club productions is slight, when it is pro-rated among all the club Thirty-two Edited by Arthur L. Gale members, basis for Here, evidently, is the an initial amateur film ex- rr- ANNE HOW OF "AND HOW!" Margaret Ervin of the Motion Picture Club of the Oranges in its Latest Photoplay change. Clubs are in existence all over the world; interchange of their films will bring about an easy and intimate knowledge by the people of one nation about the habits and cus- toms of another. That greatly to be desired international sympathy can best be built up by visuali- zation and not by propagan- da or political argument. The Amateur Cinema League is so impressed by this possibility that it has set up the machinery to develop a world-wide club film ex- change. To the Little Film Guild, of Philadelphia, must go the honor of having taken the initial step to make this scheme practical. That club has offered to the League a free print of its next produc- tion, the League undertaking to circulate it among the clubs of the civilized world. We suggest that every club write into its budget a provision covering a print of each of its films to be sent to League head- quarters, there to be- come a part of the International Club Film Exchange. If this is done and a club film library is thus provided, the League will pay all expenses of its circulation. Lions TV Everything! ORIENTAL banquets, tribal war- fare and wild lions proved sur- mountable obstacles to the Zutto Players, of Philadelphia, whose lat- est release is now in the cutting room. This film, as yet untitled and un named, is based on a true tale told to the director, Harry Zutto, by a Moroccan effendi in the Orient. Elaborate props were required and assembled. Costumes were devised in spite of discouragements. From the photographs in this month's Amateur Clubs, one can see that this film, of professional magnitude, has been completed because of amateur ingenuity and persistence. Harry Zutto directs this club, Philip Moss is production manager and G. C. Zollers, secretary. This club carries a League membership, through its secretary. Visual Propaganda TPHE value of amateur films to in- ■*■ dustry is excellently illustrated in a New England cinema saga. The members of the Movie Club of West- ern Massachusetts were not slow to realize the unusual cinematic possi- bilities of the floods in the Connecti- cut River valley. A film more than 1500 feet long was assembled from the best shots of various club mem- bers and projected at the club's De- cember 6 meeting. A film record, made by a club member, of the water pounding the Holyoke dam at a crucial moment in the flood season, proved so valuable that 18 duplicates were immediately requested by the directors of the company owning the dam, to illus- trate graphically the severe test given the structure. THE DESERT'S COME TO BROAD STREET The Zutto Players of Philadelphia Are Filming a Tale of the Sheiks So successful was the first im- promptu" cooperative film of the Movie Club of Western Massachu- setts that its members have voted to establish a monthly newsreel cover- ing the events of the western part of their state. Members in the different cities and towns in the club's terri- tory will film news events of inter- est. These films will be assembled at club headquarters in Springfield for showing at club meetings and copies of these joint productions will be available to members. This active club is also assembling the cast for its first photoplay, a short comedy, "Home cooking." Robert White is dramatic director for this film, William H. Mitchell, tech- nical director, William G. Edwards and Ray Winans, cameramen, An- drew Phillips, title writer and Arthur Payette, editing and cutting super- visor. A permanent dramatic di- vision is in formation. Three come- dies produced by the Motion Picture Club of New Haven were shown at the last meeting of the Massachu- setts group. These club interchanges are on the increase. Those Active Anzacs HpHE antipodes are again to the ■*- fore with the projected amateur movie club for Auckland, New Zea- land. R. G. H. Manley, of that city, has laid extremely well thought out plans for this organization, the pri- mary purpose of which will be ama- teur photoplay production. An ex- tensive prospectus has been prepared, setting forth detailed purposes and noting future difficulties to be over- come. The organizers intend the Auckland Club to be the first of a chain of clubs in the Dominion that will produce amateur photoplays for international exchange. We have al- ready recorded the live Mosman Cine (Continued on page 57) CAMERA AND CAVIARE Russell Ervin Is at the Camera; Alfred Fontana at the Plate. A Still from "And How, Production in the Oranges, (New Jersey) Thirty -three LIW/HOr WHO A f W7E TURN to "Who's Who" when we want to locate the lead- ers in national life. So, the movie amateur searching for the high class cinematic dealers of the world turns to this section of Amateur Movie Makers. Why? Because he knows that lead- ing dealers will have Amateur Movie Makers in their place of business. If you are a member of the Amateur Cinema League Abercrombie ii Fitch, 45th St. and Madison, New York City J. F. Adams, 459 Washington Street, Buffalo, N. Y. A. S. Aloe Co.. 513 Olive St., St. Louis, Mo. Amateur Movies Corp., 2114 Sansom St., Philadelphia °a. The American News Co., and its Subsidiaries, 131 Varick Street, New York, N. Y. ^ _ American Photo Supply Co., S. A., Av. F. 1, Madero 40, Mexico D.t. Anderson Supply Co., Ill Cherry St., Seattle, Wash. Army cV Navy Co-Operative Society, Ltd., 41 Chowringhee, Calcutta, Reid S. Baker, Inc., 1322 F St., N. W., Washington, D. C. E. S. Baldwin, 32 Maiden Lane, Albany, N. Y. L. Bamberger tV Co., Market St., Newark, N. J. B. (i G. Shop, 1104 Main St., Lexington, Mo. *Bass Camera Co., 179 West Madison St., Chicago, 111. Beckquist Photo Supply House, 885 First St., Muskegon, Mich. A. L. Bollinger Drug Co., Frankfort and Stilz. Louisville, Ky. Book Shop, 119 N. Michigan St., South Bend. Ind. J. H. Boozer, 173 E. 6nth St., New York, N. Y. Z. T. Briggs Photo Supply Co., 916 Grand Ave., Kansas City, Mo. H. W. Brown 6? Co., 87 Wisconsin St., Milwaukee, Wis. Bueschers, 10602 Euclid Ave., Cleveland, Ohio Buffalo Photo Material Co., 37 Niagara St., Buffalo, N. Y. E. S. Burtis, Stamford-in-the-Catskills, N. Y. Camera Exchange, 7 Auburn Ave., Atlanta, Georgia. Central Camera Co., 112 So. Wabash Ave., Chicago, 111. Cinema Supplv Co., Inc., 804 Eleventh St., Washington, D. C. City Camera Co., 110 West 42nd St., New York, N. Y. *Clark Cine-Service, 2540 Park Ave., Detroit, Mich. Aimer Coe 6f Co., 18 So. La Salle St., Chicago, 111. Aimer Coe 6? Co., 78 E. Jackson Blvd., Chicago, 111. Aimer Coe 6? Co., 105 No. Wabash Ave., Chicago, 111. Abe Cohen's Exchange, 113 Park Row, New York City Columbia Photo Supply Co., 1424 N. Y. Ave., N. W., Washington, D. C. Columbus Photo Supply, 52 E. Gay St., Columbus, Ohio Co-Operative Photo Supply Co., Inc., 381-383 Minnesota St., 5t. Paul, Minn. *William C. Cullen, 12 Maiden Lane, New York City Curtis Art Co., 25 West Main St., Waterbury, Conn. Dayton Camera Shop, 1 Third St. Arcade, Dayton, Ohio. Floyd A. Dennis, Pendleton. Ore. Det'roit Camera Shop, 424 Grand River W., Detroit, Mich. Devoe r>> Raynolds Co., Inc., 34 E. 42nd St., New York, N. Y. Donaldson's, 77 Merrimack St., Lowell, Mass. H. F. Dunn Motion Picture Co., 366 Sigourney St., Hartford, Conn. Geo. C. Dury (i Co., Nashville, Tenn. Eastman Kodak Stores, Inc., 183 Peachtree St., Atlanta, Ga. Eastman Kodak Stores, Inc., 22 3 Park Ave., Baltimore, Md. Eastman Kodak Stores, Inc., 38 Bromfield St., Boston, Mass. Eastman Kodak Stores Co., 133 North Wabash Ave., Chicago. Ill Eastman Kodak Stores, Inc., 1128 Euclid Ave., Cleveland, Ohi< Eastman Kodak Stores, Inc., 318 Brady St., Davenport Iowa Eastman Kodak Stores, Inc Eastman Kodak Stores, Inc Eastman Kodak Stores, Inc. Eastman Kodak Stores, Eastman Kodak Stores Eastman Kodak Stores, Eastman Kodak Stores, *Eastman Kodak Stores, Inc. Eastman Kodak Stores, Inc., Eastman Kodak Stores, Inc., Eastman Kodak Stores, Inc., Eastman Kodak Stores, Inc. Inc. Inc. Inc. Inc. Mont 626 Sixteenth St., Denver, Colo. 808 Locust St., Des Moines, Iowa 1235 Washington Blvd., Detroit, Mic 643 So. Hill St., Los Angeles, Calif. 427 Milwaukee St., Milwaukee, Wis. 112 South Fifth St., Minneapolis, Mi 213 Baronne St., New Orleans, La. Madison at 45th St., New York Cit; 419 So. Sixteenth St., Omaha, Neb. 1020 Chestnut St., Philadelphia, Pa. 606 Wood St., Pittsburgh, Pa. 345 Washington St., Portland, Ore. Eastman Kodak Stores, Inc., 545 Market St., San Francisco, Cal. Eastman Kodak Stores, Inc., 1415 Fourth Ave., Seattle, Wash. Eastman Kodak Stores, Ltd., 610 Granville St., Vancouver, B. C. Eastman Kodak Stores, Inc., 607 Fourteenth St., N. W., Washini D. C. B. K. Elliott Co., 126 Sixth St., Pittsburgh, Pa. Erker Bros., 608 Olive St., St. Louis, Mo. Farre 6r Serra S. en O, P. O. Box 166, Santiago, Cuba Jos. C. Ferguson, Jr., 1804 Chestnut St., Philadelphia, Pa. Film & Slide Co. of Canada, Ltd., 104 Drummond Bldg. Que., Can. Film y Slide Co. of Canada, Ltd., 156 King St., W., Toronto, Ford Optical Co., 1029 Sixteenth St., Denver, Colo. Fowler & Slater Co., 806 Huron Rd., Cleveland, Ohio 347 Euclid Ave., Cleveland, O. Union Trust Bldg., Cleveland, O. 156 Larned St., W., Detroit, Mich. 7 Wick Ave., Youngstown, 0. Fox Company, 209 Alamo Plaza, San Antonio, Texas Franklin Printing cr Engraving Co., 226 Huron St., Toledo, Ohio. Frasher's, Inc., 158 E. 2nd St., Pomona, Cal. Francis A. Frawley, 104 Main St., Bangor, Me. J. C. Freeman cV Co., 376 Main St., Worcester, Mass. Fritz cr Hawley, Inc., 816 Chapel St., New Haven, Conn. S. Galeski Optical Co., 209 Granbv St.. Norfolk, Virginia Gall & Lembke, Inc., 7 East 48th St., New York, N. Y. W. D. Gatchel rV Sons, 431 Walnut St. W., Louisville, Ky. Gift and Art Shop, 115 W. Bridge St., Owatonna, Minn. "Gillette Camera Store, 117 Park Ave., New York City Gimbel Bros., Kodak Dept., Wisconsin Ave. &r W. Water waukee, Wis. Gloeckner ii Newby Co., 9 Church St., New York, N. Y. Gross Photo Supply Co., 325 Superior St., Toledo, Ohio Haanstad's Camera Shop, 404 Sixteenth St.. Denver, Colo. Edwin A. Hahn, 111 Columbia St.. Utica, N. Y. Haines is Essick Co., 122-128 E. William St., Decatur, 111. Hammond Photo Service. 2115-21 Sixth St.. Meridian, Miss. Fowler 6r Slater Co. Fowler cV Slater Co. Fowler Gr" Slater Co., Fowler ii Slater Co., St., ] AMATEUR MOVIE $3.00 a Year (Canada $3.25, Foreig AMATEUR MOVIE MAKERS SENDS A HEAR T hirty-j our or a subscriber to Amateur Movie Makers, visit these dealers. They are service agents, in their localities, for amateur cinema- tography. If you are not a member or a subscriber let these dealers tell you why you ought to be. The newsdealers in this list are leaders in their business. Visit them to secure your general magazines. ;P. lint Main St., Lexington, Mo. ( ... 17" Ve.t Madison St., Chicago. 111. oto Sunplv House, 88! Fitst St., Muskegon, Mich. Co.. Ftanklott and Still. Louisville, Ky. II. nil Bend. Ind. ith St., New York, N. Y. ■ Co.. 916 Grand Av, Wis .St.. Mil , Wis .eland. Ohn llnli.il., I'!. '" M .1 Co. )7 Niagara St.. Bullalo. N. Y. I 5, Until.. Siaiiiloid-iivthe-Catskills. N. Y. Camera Ex, hang.-, 7 Aulium Ave.. Atlanta. Georgia. Central Camera Co., n.' s., Wabaib Ave.. Chicago. III. I menu Supply Co, Inc., 804 Eleventh St.. Washington. D. C. City Camera Co., lid West 42nd St.. New York. N. Y. l.l.nl i in. s ., mil |'.,,k Ave.. IViioii, Mich. A i .- I- Co., 18 So, La Salle St.. Chicago, 111. Alma Coe B Co., 78 I' lacltaon Blvd.. Chicago, III. M Coe W Co., 105 No. Wabash Ave., Chicago. III. Ah Cohen'i Bxelianje, in Park Row. New York City Columbia PI Supply Co., I«4 N. Y. Ave., N. W.. Washit ii t: Columbus I'h,. i,. Supply, !) I Gaj Si . Columbua, Ohio CoOpetative Photo Supply Co., In,, 381-383 Minnesota St. Paul. Minn. « illiam i t ..II. is. I' Maiden I...... New York City t'.iiiis Ait Co., H West Mam St.. Waterbury. Conn. Ilaviun t'liuria Slu.p. 1 Third St. Atcade. Dayton, Ohio. Floyd A Dcnnia. I'.n.ll i, Hi, ii.ii..,. Camera Shop, 424 Grand Rivet w.. Detroit, Mich Dcvoc (■' Reynolds Co., Inc., )4 E. 42nd St., New York. N. Y. 1' ..,.1,1...., ,, " M.liiiiia.l St . Lowell, Mass. H b ."";'" Motion l' Co., Sigourney St. Hartford, C c t .. . Nashville, Tcnn. 1128 Euclid Ave., Cleveland, Oh: )18 Brady St., Davenport Iowa 626 Sixteenth St., Denver. Colo. 808 Locust St., Des Moines, lot 12)? Washington Blvd., Detfoit, 64) So. Hill St., Los Angeles, 427 Milwaukee St., Milwaukee, Wis. 112 South Fifth St., Minneapolis, Minn. 21) Baronne St., New Orleans, La. Madison at 4!th St., New York City 419 So. Sixteenth St., Omaha, Neb. 1020 Chestnut St., Philadelphia, Pa. 606 Wood St.. Pittsburgh, Pa. )4! Washington St.. Portland, Ore. !4i Market St., San Francisco, Cal. 141! Fourth Ave., Seattle. Wash. 610 Granville St., Vancouver, B. C. 607 Fourteenth St., N. W„ Washington, tsbutgh, Pa. 166, Santiago, Cuba it St., Philadelphia, Pa. 104 Drummond Bldg., Eastman Kodak Stores. Ine Eastman Kodak Stores, Ine Eastman Kodak Stores, Ine Eastman Kodak Stores, Ine Easrman Kodak Stores, Ine Eastman Kodak Stores, Ine Eastman Kodak Stores, Ine Eastman Kodak Stores, ine Eastman Kodak Stores, Ine !T:astman Kodak Stores, Ini Eastman Kodak Stores, Ine Eastman Kodak Stores. Inc. Eastman Kodak Stores. Ine Easrman Kodak Srorcs, Ine Eastman Kodak Stores, Ine Eastman Kodak Stores, Ine Eastman Kodak Stores, Lrc Easrman Kodak Stores, Ine D. C. B. K. Elliott Co.. 126 Sixth St Erker Bros.. 608 Olive Sr., St. Farre fy Serra S. en C, P. O. Jos. C. Ferguson, Jr.. 1804 Che Frlm fy Slide Co. of Canada, I Que., Can. Film ty Slide Co. of Canada, Ltd., 1S6 King St., W., T Ford Oprrcal Co., 1029 Sixteenth St., Denver. Colo Fowler ty Slater Co.. 806 Huron Rd., Cleveland, Ohio Fowler t> Slater Co., )47 Euclid Ave., Cleveland, O Fowler ty Slater Co.. Union Trust Bldg., Cleveland. O Fowler ty Slater Co., 156 Lamed St.. W. Detroit Mich Fowler ty Slater Co.. 7 Wick Ave., Youngstown 6 Fox Company. 209 Alamo Plaza, San Antonio. Texas branklin Printing ty Engraving Co., 226 Huron St., Toled Frashets, Inc., 1S8 E. 2nd St., Pomona, Cal. Francis A. Frawlcy, 104 Main Sr.. Bangor. Me. i ■=.„"," ^ Co" 3'6 Ma,n Sl • Worcester, Mass. Frit: 6r Hawley. Inc., 816 Chapel St.. New Haven, Conn S. Galeskr Optical Co.. 209 Granbv St.. Norfolk. Virginia Gall & Lcmbke Inc.. 7 East 4Sth St., New York, N. Y. W D. Gatchel ty Sons. 4)1 Walnut St. W Louisvill Git and Art Shop. 115 W. Bridge St.. Owatonna, Ml J17 Park Ave.. New York City .sin Ave. ty W. Water St or a subscriber to Amateur Movie Makers, visit these dealers. They are service agents, in their localities, for amateur cinema- tography. If you are not a member or a subscriber let these dealers tell you why you ought to be. The newsdealers in this list are leaders in their business. Visit them to secure your general magazines. Hanky Photo ty Radio Shop. 116 East 10th St.. Kansas City, Mo. j Hardy's Drug Store, 110 N. Spadra, Fullerton, Cal. I Harringrons, Ltd., )86 George St., Sydney, Australia I Ralph Harris ty Co.. )0 Bromfield St.. Boston, Mass. Ray Hart. 8-10 East 4th St., Sterling, 111. Harvey ty Lewis Co., 86! Main St.. Hartford, Conn. Harvey ty Lewis Co., 849 Chapel St., New Haven. Conn. Harvey ty Lewis Co., 1503 Main St.. Springfield. Mass. "Hattstrom ty Sanders, 702 Chinch St., Evanston, 111. Wallace Hcaton. Ltd., 119 New Bond St., London. W.I., England ■Hctbett ty Hitesgen Co., IS East 42nd St., New York City Htrsch ty Kaye, 239 Grant Ave., San Francisco, Cal. Honolulu Photo Supply Co., P. O. Box 2999. Honolulu, T. H. Alb. Hosier. Wrntctthur. Marktgasse !7. Switzerland Huber Art Co., 124 Seventh St., W., Cincinnati, Ohio J. L. Hudson Co., Department 290, Detroit, Mich. Hyatt's Supply Co., 417 North Broadway. St. Louis, Mo. Ihnois Camera Shop, Weinberg Arcade, )4 S.Prairie St..Galcsburg. 111. Iter Johnson Sporting Gds. Co., 1!! Washington St., Boston. Mass. Alexander Kagen, 641 Penn Sr., Reading, Pa. Kaufmanns Dept. Store, Dcpt. 62. Fifth Ave., Pittsburgh, Pa. Kelly t, Green. 116 W. nth St., Eric, Pa. Kodak Aktiesclskab. V„dr..U,vci 26, Copenhagen, Denmark K"d.ik (Australasia) Pty., Ltd., 379 George St.. Sydney, N. S. W„ Australia Leavitt Cine Picture Co., 3110 Wrlshire Blvd., Los Angeles. Cal. Learnt Cine Picture Co.. !64 Market St., San Francisco, Calif. n. Lieber Co., 24 W. Washington St., Indianapolis, Ind. Camera Shop, 109 S. Washington Ave.. Lansing, Mich. '"- Dept. Store. Kodak Dept., Ltpman-Wolfe Bldg., Port- Lepra n-Wolft land. 0,_. Andrew , j L|oyd Co ^ ;00 Washi „ g, Bostoni )vfass. erne tf Farley, Newsstand, Times Bldg.. New York, N. Y H,,'-',Vi-"", ' ' M.J.-.... Ate , New Y..tk. N. Y. Lv, „' £ L"S' 9i8 F'<<" St" S"> DicEO, Cal. Go ,8, h"? SIv.P, "" M'"""' S< • Crvallis, Ore. * M,Si SS,^'." i.«l«c«i ?l.a.,.ChicW. 111. Marks ty Full, (Sheffield) Ltd., Ky. »< SMarlow Co., 1S07 Memphis Photo Supple C Metropolitan u M '> mbel Bros.. Kodak Dept. Gloecknt Ba lak St,,,,,, In, . Kodak Storea, Ini . Kodak St,.,, . Ini . Kodak Srorel Co , IS) Peachttec St.. Atlanta, Ga. 223 Park Ave , Baltimore. Md. 38 Bromfield St.. B,iston. Mass. 33 North Wabash Ave.. Chicago. ukec. Wit H Newby Co., 9 Church St.. New York. N. Y. -now Supply Co.. 32! Superior Sr.. Toledo. Ohio ids Camera Shop. 404 Sixteenth St.. Denver. Colo. A. Hahn, 111 Columbia St.. Uttca N Y 9 Essick Co., 122-128 E. William St.. Decatur, 111. md Photo Service. 211s. 21 s,.„h St., Meridian Miss Change Alley, Sheffield, England, t Ave.. Rochester, N. Y. in St., Dallas. Texas ■".. Memphis. Tcnn. ~b"m'"°" Mo"on Picture Co.. Film Exchange Bldg.. Detroit, lv F n ™=yrow,u, 1116 Washington Blvd., Detroit, Mich. as. Ltd., 1A Old Bond St., Cor. of Picadilly, F. B"u '"' '" E"gland. Meyrowits, 120 Fifth Ave.. New York City ■'!°V'~- ,InL'" :'58 s<- pctcr St.. St. Paul. Minn. 'Oto Supply Co.. 242 N. Bayshore Drrve. Miami. Fla. M. i, ,„'„ ?„""'«. Rhodesbilt Arcade, Lake Wales, Fla. George Ml',i00 ,P"rt A™ - PlainCeld. N. J. 9th St.. New York. N. Y. New York Camera Exchange, 109 Fulton St.. New York, N. Y B. B. Nichols. Inc., 751 So. Hope St., Los Angeles, Calif. J. Osawa ty Co., Ltd.. Sanjo Kobaihi, Kyoto, Japan Parrish cj Read, Inc., 308 Market St., Camden, N. J. Pathescope Co., 260 Trcmont St., Boston, Mass. Photoart House. 212 State St.. Madison. Wis. Photoart House ol Milwaukee. 220 Wells St.. Milwaukee, Wis. •Pickup ty Brown. 41 East 41st St.. New York. N. Y, Pinkham ty Smith Co., 1! Bromfield St.. Boston 9, Mass. »C. F. Ray, 296 Filth Ave., New York, N. Y. C. F. Ray, 296 Fifth Ave., New York, N. Y. Regina Films, Ltd.. Banner Bldg.. I lth Ave., Regina, Sask., Can, Red Cross Pharmacy. II E. Flagler St.. Miami. Fla. Rugen Typewriter if Kodak Shop, 2"! Thames St., Newport. K. I. Schoenig ty Co., Inc.. 8 East 42nd St.. New York, N. Y. Schwabacher-Frey Stationery Co.. 73! Marker St., San Francisco, Cal. J. H. Seamans. 70!2 Jedery Ave.. Chicago, III. Shain's Drugs. 119 W. Maple Ave., Birmingham, Mich. Shaw Supply Co., Tacoma, Washington Sheffield Photo Co., 6 Norfolk Row (Pargatel , Sheffield. York's, Englant Smith ty Buttetfield Co.. 510 Main St., Evaiisville, Indiana Starkweather tr Williams, Inc.. 47 Exchange Place. Providence, R. I. E. W. Stewart ty Co.. 9)9 Commerce St.. Taenia. Wash. Tampa Photo ty Art Supply Co., 709-11 Twiggs St.. Tampa. Fla. Twelfth Street Garage. 81— 12th St., Wheeling. W. V... P. W. Twogood, 7111. Main St., Riverside, Cal Wm. F. Uhlman. 716 Francis St., St. Joseph, Mo. United Camera Stores. Inc.. 14611 E. Jefferson, Detroit, Mich. •United Projector fy Film Corp.. 228 Franklin St., Buffalo, N. Y Visual Education Equipment Co., 2118 Wright Bldg.. Sioui City, lov H. F. Waterman. 6) Park Row. New York. N Y Watkins Bros.. Inc.. 241 Asylum St.. Hartford. Conn. Watty ty Heidkamp. 17 W. Randolph St., Chicago. Ill Webbs Photo Supply Store, 94 So. First St.. San Joic, Cal. L. B. Wheaton, 368 Main St., Worcester, Mass, •Williams. Brown ty Earlc. Inc., 918 Chestnut St . Philadelphia, Pa •Willowghby Camera Srorcs. Inc.. 110 West 12nd St., New York, N. V Winstcad Bros.. Inc.. 244 Pine, Long Beach, Cal. Zimmerman Bros.. 330 West Superior St.. Dulutli. Minn Zimmerman Bros.. 380 Minnesota St., St. Paul. Minn. 'Stars indicate dealers who are securing lb benefit of manufacturers' and distributor:.' national ad- vertising by registering their names with readers o) Amateur Movie Makers through its advertising columns and thus increasing their local and trade territory Sides. AMATEUR MOVIE MAKERS $3.00 a Year (Canada $3.25, Foreign 0) 25 Cents a Copy (Foreign 30 Cents) AMATEUR MOVIE MAKERS SENDS A HEAR^fW YEARS GREETING TO ALL OUR DEALERS 105 WEST 40th STREET NEW YORK CITY T.hirty-j ivc PHOTOPLAY ]\|AGAZINE was the first national magazine to recognize the im- portance of the movie amateur. Its interesting monthly department for the ama- teur cinematographer has been the talk of movie enthusiasts everywhere. This department is one of the regular features of PHOTOPLAY. Its Shadow Stage Department— with its accurate and fearless reviews of all professional films — is of service to everyone going to motion pictures. In no other way can you guarantee yourself an entertaining evening in the theater. Every month PHOTOPLAY offers all the news and gossip of the film world. It presents fresh slants upon the new, as well as the established, personalities of the screen world. If you are a real amateur, you must follow the activities of the professional movie maker. PHOTO- PLAY is the one magazine for you. PHOTOPLA Y announces an extension of its $2,000 Amateur Movie Contest. This contest was scheduled to close on De- cember 31, 1927. At the request of hundreds of interested amateurs, the closing date has been moved to February 15, 1928. Full contest rules may be found in every issue of PHOTOPLAY. T birt y-six HOW to TRAVEL--CINEMATICALLY By W. Sterling Sutnn TO travel cinematographically is something of an art, but, hap- pily, one of the simplest of all arts to master. As to equipment, if you intend to make pictures solely for your own pleasure and for the pleasure of your friends a camera using smaller than standard film will be admirable. Not only is the cost less but the weight and bulk of equip- ment and films is appreciably cut down. However, if you are going to a spot in the world little frequented where you will be in a position to get films of commercial value, then you will probably want a camera using stand- ard-width film. If the pictures you ob- tain are of startling interest it is quite possible to sell a certain amount of footage for a good price — a price which will easily offset the increased cost of standard film. The faster your lens the better. In these days of really remarkable development of amateur cinematographic equipment high-speed lenses have been so sur- rounded with fool-proof devices that they may easily be used by amateurs. An /. 1.9. lens will do all that a slower lens will do and at the same time will make picture-making pos- sible under nearly every condition of light you will encounter. The frequency of rain, in Europe particu- larly, and the fact that the average traveller visits a place but once makes it imperative that you either get your pictures the day you are there, regardless of the weather, or go without them. A telephoto lens is a useful addi- tion to your kit but be sure to ex- periment with it before leaving home since you are likely to expose many THE experienced amateur is, after all, the most helpful guide to fellow amateurs, and Mr. Sutfin, whose latest cinematic wanderings have been in Northern Africa, in this article shares much of the knowledge gained by long familiarity with ama- teur filming. SHRINE OF THE GONDOLIERS An effective Cine Composition DOMES OF MARSEILLES CATHEDRAL Made More Interesting by the Frame of Rigging CAUGHT UNAWARE Natives in the Pottery Market of Kairouan, (Tunisia) reels of film before you see the first one projected. Also, take along a color filter. If there are fine banks of clouds you will often get beauti- ful pictures by using a filter — pic- tures which would be merely flat, hazy streaks with uninteresting patch- es of sky, without one. Also use your filter when there are great extremes between sunlight and shadow, a con- dition you will find to be the usual state of affairs in the tropics. But do not abuse your filter — when con- ditions are normal remove it for it is no doubt true that while a filter makes certain pictures possible, at the same time it has a tendency to cut down definition appreciably. 16 mm. film can be obtained more cheaply in the United States than abroad so it is a good plan to buy your stock of film here. Your films may conveniently be placed flat along one side of a suitcase — thirty 100 foot rolls take up only an inch of thickness. Processing may be done at home or abroad. There is a duty of 2c a foot on exposed but undeveloped film and of lc a foot on positives brought into the United States, but I have never had any difficulty bringing film in and Customs Officers are inclined to be lenient if they are fully con- vinced that you are an amateur and intend to make no commercial use of your films. Standard-width film undoubtedly should be developed abroad, and should be sent home in bond. You will find that color is every- where— far more so than in the United States. But your pictures will be in black and while only so however vivid the color you must visualize it all in shades of grey. A monotone filt- er is helpful in this connection. Often you will at once realize that the charm of a spot is solely due to color — and color does not photograph. A flower market show- ing flowers alone makes a very dull picture, but photograph a single old flower girl proudly arranging a bou- quet while she bargains with a cus- tomer and you have made up for your loss of color through action. Needless to say the key to an in- teresting picture is action. Too many travellers merely photograph famous buildings and cathedrals and as a re- sult bring home far less effective pic- tures than those they could buy on {Continued on page 59) Thirty-seven Protect Your Valuable Originals; Project Cine-Kodak Duplicates ALL your movies are interesting to you and to yours. They -**-are interesting, else you would not have made them. But some of your films are of more than passing interest; some, in- deed, will become absolutely priceless, as the years go by. These valuable films should be preserved for posterity. It is quite possible to enjoy these films today, at the same time preserving them for future showing. Cine-Kodak Film and the reversal process make this a very simple matter. None but an expert can tell the difference between a Cine- Kodak original and a Cine-Kodak Duplicate. Frequently, he is deceived. The marked lack of graininess peculiar to Cine-Kodak originals is just as apparent in Cine-Kodak Duplicates. The reversal process, by which Cine-Kodak Duplicates are made, eliminates this undesirable grain, and produces clear, sharp, sparkling screen images that retain all the quality apparent in the original. Between the original and the Duplicate, in this very essential quality, no difference whatever exists. In making Cine-Kodak Duplicates, it is not necessary to print from a negative. Expensive steps are done away with, and a very substantial saving results. No other method or ma- terial can compete with Cine-Kodak Film and the reversal process in the home movie field. They provide the most eco- nomical means known of securing both original and duplicate. Go through your movie library today. Select those films that are of unusual interest to you — films that will be of un- told value to your children and your children's children. Have Cine-Kodak Duplicates made of them, at once, and store the originals for safe keeping through the years. Cine-Kodak Duplicates cost but $3. 50 for 50-foot lengths, and $5.00 for 100-foot lengths. Order through your dealer Eastman Kodak Company, Rochester, N. Y., The Kodak aty Thirty-eight CLOSE UP Work for Advanced Amateurs EVEN the most elaborate amateur cameras are purposely made to operate as simply as possible. The constant speed mechanism and the fixed-focus lenses supplied with these instruments, leave but a single variable factor, namely, the dia- phragm. This serves to reduce the problem of taking moving pictures to its simplest form. It becomes merely a question of varying the diaphragm to compensate for different conditions of lighting. But the very simplicity of the instrument serves to introduce some compensating disadvantages and limitations in its use. To obtain clear and sharp pictures on a 16 m.m. film, it is of primary importance that the object should be in exact focus — otherwise, the pro- jected picture will appear blurred and hazy. With a fixed-focus 1-inch lens, critical sharpness can only be obtained if the object is located be- yond a predetermined distance from the camera, known as the "hyperfocal distance." Professionals aim to take pictures with the greatest possible degree of sharpness, or as they ex- press it, the image is photographed with "circles of confusion" not ex- ceeding 1/1000 of an inch. Expressed in other words, this implies that each individual light ray is photographed as a dot measuring not more than 1/1000 of an inch in diameter. How- ever, in good amateur work it is pos- sible to obtain fairly sharp images with circles of confusion approxi- mately 1/500 of an inch. The figures given in Table 1 fur- nish some idea as to the minimum distance from the camera (i. e. "hyperfocal distance") that an ob- ject may be photographed to obtain pictures in sharp focus. H^cY^otaZ, ~X>Cs\.tMJU.l - 1— Ius. UskC QrCtiaO. "WbrK (Ci'tcle 0e ffo*UiSu>K OroUVaA* "Wo**; '/too'-) Fig 46 + a 23.2, Ft P. a^ 3J3 IC-fc F.a.T 3o-1 IM F.3-r ij.g II-1 P. 4 20-8 lo-4 F.4-S" l8-r 12S- F.S5 IS--I" *IL F.8 Ml |04 3-8 RH sa. It. TABLE 1 Note — The Filmo camera was used in these experiments and the de- scribed attachments were designed by the C. P. Goerz American Opti- cal Co. By Herbert Abraham With Illustrations by the Author Thus the larger the diaphragm that is used, the further away from the camera the object must be. This makes it practically impossible to use the fixed-focus lens to take "close- ups", unless the object is taken in the strongest sunlight with the smal- lest diaphragm or stop. Even under the most favorable lighting conditions permitting the use of an / 16 stop, the object must be at least 5.8 ft. from the camera to obtain maximum sharpness, or 2.6 ft. away to obtain fairly good results. To overcome this limitation, some manufacturers are prepared when specifically requested, to furnish the lenses in focusing mounts. But this introduces another complication — the operator must estimate the distance of the object being filmed. This is not always as easy as may at first appear, unless the object is suffic- ently far from the camera, or unless the light conditions permit a small diaphragm being used, when the depth of focus will permit of con- siderable latitude in the distance' set- ing of the lens. Table 2 shows the depth of focus for a 1-in. lens giving a circle of confusion of 1/500 of an inch : Etprtv ot T"ocu,3 IS Li.!. (Ccrelt ol Cow£usi»>* 'As»Uf). D.«U-£e Ob. FI-6 F2S- F17 F3-5" F4 F4.S- FST.5- F8 fii If it oo Wot.. itta 00 IS4S CD CO 1045 CO T2SE. 00 7-te CO 5-.2C CO 3BB CO 2t«^- 00 *»i£ OO lev 00 loa. oo 85- 00 >-8 00 To 00 tor 00 44 OO 34 00 K-4 00 lo-7 I45-. 1-J CO 81 oo IAS CO t.sr 00 4-3 00 ST OO 4.15- 00 31 CO 23 CO *afc 1-1 42.4 11 (Ft. Ii 578. tfc CO ^7 CO for 00 CO J.I 00 2-1 CO '** {{£. 7J y-o 4J.0 t.75- 34 J- to OO 00 r-ir CO 4.tr 3-t OO 2-1 00 21 00 '<>* iz To I7J- t2r 2SO (■1 2g-r R45 Or S-l 240. 4-8 OO 4,3 CO 3.4 CO S.-W CO 2.05- OO 8 a fp*~ 122 S-4 1S3 •T3 lt-7 4-8 24.4 *■£■ 34 1 4-3 3? CO 32 00 2t CO 2-0 CO 6B K~ 4.8 81 44 7-3 4.3 40 /»-l 3-8 142 3-tr 171 3.35- 28-r 2-8 CO 2-3 CO 1.8 00 4.1 fe.4 3. or 7-ir 3 8 7.4 8-£ 3.4 9 7 3-2T lo-l Jo I4.t 2.5- 130. 22 00 1.73- OO 4A- w 3.8 Rt 35T t-s, 3-r t-4 3J 31 3.0 8-73" 28 11 2-4 33.4 2-I OO IT 00 43 1 Km 3-4 44 3-3 SA 3-2 3o to tr 2-8 To Jt 5-4S- 2-3 17-3 2-0 CO It 02 3a ] Mol, 2-7 3 + 3-tS" 3-7 54 4.0 2-3 4.3 2-3 44T 2-15- 4-?5- 1-1 7-/ I 7 ir, 14 00 z*± \ NW I8r 4-2 1-8 S-3 53 IT »4 IV 5 5" 1-7 2t l-t 2-8 l-i" 3-3 I -3 44 115- 10.7 msl *cw IM'i 113 IHIS 11-1 ll.4a 2o-6 1MB 2.1-4 IIAB 210 Ito'J! »-t is-ta •at, IMIS 3S2 fat 1ft SUu* lit | II-4 I2s 11-3 III 152 M'O 1335" 101 13-t lo-l 14.0 102 11 i<\ lit J20-t • H^-pt-vfocal Dtstan^t. TABLE 2 It will be noted that the depth of focus is reduced under the following conditions: (1) The nearer the object is located to the camera, and (2) The larger the diaphragm that is used. Thus on taking a close-up of a person estimated to be 3 feet from the cam- era, using artificial illumination re- quiring a stop of / 1.8, sharp focus will be attained if the subject is act- ually between 2.7 and 3.4 ft. from the camera, or within a range of .7 ft. If the subject is closer than 2.7 ft. or further away than 3.4 ft. then the image will be blurred. On photographing objects closer than 3 ft. the latitude becomes even smaller, so that is becomes necessary to use a range finder or measuring tape, otherwise the chances of ob- taining the proper focus will be pro- vokingly remote. Moreover, if the object is nearer than 4 or 5 feet, another complica- tion will arise, in consequence of its being photographed out of center. This is due to the fact that the view- finder tube is parallel to the axis of the lens, and located 1% in. to its left. As a result, the nearer the ob- ject is located to the camera, the more it will be photographed out of center, if taken through the usual view finder. Fio.l o .-j To overcome the foregoing uncer- tainties, two simple attachments have been developed, known as the "focus- ing microscope" and the "compensat- ing-base," illustrated in Figs. 1, 2 and 3. 0 Thirty-nine The focusing microscope consists of a tube A (Fig. 1) which conveni- ently slips inside of the view-finder tube as illustrated in Figs. 2 and 3 respectively, where it is held in place by screwing on the eye-piece B. When in position, its forward rim C is ex- actly in the same plane as the outer rim of the threaded receptacle in which the lens is ordinarily attached to the camera. The focusing micro- scope is provided with a ground glass located in the same plane as the camera film, a reversing lens midway between the ends, and the adjustable eye-piece B projecting a short dis- tance to the rear of the camera. This eye-piece, similar to the eye-piece of an ordinary microscope, serves to magnify the image so that it appears approximately the same size as though viewed with the naked eye. Moreover, the image is seen right side up and not reversed — in other words, precisely as viewed by the eye. The eye-piece B may be adjusted to adapt it? elf to the particular eyesight of the user, so that the image will appear perfectly clear. Any lens intended to be used with the camera, regardless of its focal length, will screw into the front of the focusing microscope, which will accommodate itself to equal advan- tage with the usual 1-in. lens, the 2-in. lens, or any of the various tele- photo lenses supplied for use with the camera. As the lens is focused on an object, the image is cast on the ground glass, where it is viewed through the eye-piece. It is thus a simple and positive means of de- termining when the object is in sharp focus. A most convenient attachment— although somewhat more expensive— is also illustrated in Fig. 1 and 2, consisting of a pair of matched Zeiss "Tessar" 1-in. / 2.7 lenses mounted together and focused by means of a single focusing screw D which has a Forty distance scale engraved on the rear side, where it can be readily viewed when the camera is in operation. One of the lenses E projects the image on the ground glass in the focusing mic- roscope where it is viewed by the ob- server. The second lens E slides in and out of a grooved light-proof ring F, which is screwed into the threaded lens receptable of the camera. When the object is in sharp focus to the eye through the focusing microscope, it will register equally sharp on the film. There is no chance or guess work involved. If the object moves towards or away from the camera, the focusing screw D is slowly turned to the left or to the right, as the case may be, so that it may be continuously main- tained in focus. A little practice makes this a simple operation. If the user has two lenses which do not happen to be "matched," they may be attached to the camera and focusing microscope respectively as illustrated in Fig. 3, which shows a Taylor-Hobson-Cooke 1-in. / 3.5 lens attached to the camera, and a Taylor- Hobson-Cooke 1-in. / 1.8 lens at- tached to the focusing microscope. The object is first brought in sharp focus to the eye through the focusing microscope, whereupon the other lens is set at the same distance marking. To use the "compensating-base" G (Fig. 2 and 3) it is attached to the camera and in turn screwed on the tripod. By moving the lever H, the camera is shifted a distance to the right or left equal to the distance be- tween the axes of the finder tube and the lens, namely, l1/^ inch. The focus- ing is done while the camera is at the extreme right of the base, whereupon it is shifted to the extreme left and the object is photographed. The base finds a ready use in taking close-ups inside 5 to 6 feet of the camera, and assures the object being exactly cen- tered on the film. Thus, in taking titles or printed matter at close range, there need be no guess work or ar- bitrary shifting of the object to the right. Table 3 gives the horizontal and vertical distances covered by the pic- ture when using a 1-in. lens at ranges closer than 6 feet: A.VC*. Covtrtol "•>£ "Pictu**- 1- JjtMt X>lstawM Sefctwu. 4 3 % % 1 310 '-* Hi H* •4-31 (••IS- 4-41 20-8 '*. I-7-3 137 10-22. 1.-12 4?t 3-a\ The foregoing figures show the necessity of accurate centering, as without the use of the compensating- base the picture would be chopped off li/4 inches at the left and extend- ed an even distance to the right, thus being entirely out of center at close ranges. Now let us consider some of the difficulties attendant upon the use of the so-called telqphoto lenses. In the following discussion the writer will confine his remarks to a 4-in. lens, for the dual reasons that he has found this focal length to give the most satisfactory all around results, and also because the same comments would apply to lenses of any other focal lengths recommended by the manufacturers of the camera, includ- ing the 3%-in. and the 6-in. lens. In using telephoto lenses great dif- ficulty is experienced in obtaining proper focus when the object is closer than 50 feet to the camera. The rea- son for this will be apparent on re- ferring to Table 4 and comparing the depth of focus of a 4-in. lens at any given distance with the corres- ponding figures for a 1-in. lens in Table 2. 3DL«iavn:« Ot>«t: M-: FSF Ft-3 F8 F II FI4 Faa lMx,. I4«.03 oo lai-S* oo 10*1? oo &3& 60- k' OO oo 41-78 OO 30-3^ 00 *°B fc 374 35-1 8E--I 34o 141 31* 1248 27-4 2s4. 227 OO I8-! 00 3»B BE 241 37r 24.1 31-1 234 ■H-l 21. 1 44-1 tto-l S7-4 i7-r l°7. IBTI OO *» 8S 43-3 17-2. 540 its 247 141 24-3 IS-I 21-1 135- 3er I2-C5- SS-f '*■ fc 133 111 I3| 11-5- 12-1 18-3 >2-o 11-1 ll-o 234 lo-o 21-7 ■*» tz. III ni l°-1 13 3 lo-B I3-J- ic~r I40 loo ISO 13 148 84 11-7 ">a fc 1-4 /o-v 1-25" lof 1 14- Jl-os- s-1 11-3 81 120 t-os- 131 T-5- 14-1 )|LU, 74 ir e-ss- 745" 8 46" 73 8SS~ 7-oJ- 47 1-1 b-3i- 110 4-i •MS" 44 745- 4-ss- 7i- 445" 7-4S- 4.-3 V-1 fc-o S-4 ^7 11 fa** 4.25- S--7S- 4-35" 4-4 s-(, t-s- 6-V 5-J-S- 7l fi"oS- 7-t 485" STI4 481 P23 4-71 J-24 4-73 5^34 4fc4 S--48 4-41 5-73 4 34 fcol 45 fa~ 34o 4- la 3-88 4-ir 384 4 >r 3-62. 4al 3.1, 4-3o 3-47 4.-U. 3.5-4 4 44 1-44 3-81 3-41 3-0,1 3.40 3-4.3 3-37 447 3-3a 3-73 3-25" 385" 314 4-oo 3t - (kw 3?4 'i 34-8 37-0 3SI« 37-15- 3+fl'i Slsr 34,r'i >8.( 33-8'? 311 23-1 B 4CV4 So- jiw 21& 3ct 2lsr 3o-1 21-4 3og 21-2 ill 2lo 31-4- 28-5- 3 2-| 26-0 331 238 24,4 23-7 2+3- 23-4 244 23-5" 2*7 234 2Fo 23 1 25:4 22-7 24o 18'-. M~ H.8S- 18-21 n-83 l$-2t 17-80 IS 31 17-73 l84o 17-45- I8JS- 17-48 18.8% 17-33 l*. S. RB-6 — Some Rocky Mountain Wild Folk . $7.00 Indispensable to "seeing America first" in movies. M-10k — Conquering Cypress $7.00 See how giant trees are taken from cypress swamps of Florida. MAIL THIS for complete information Filter for Snow Scenes This filter over your lens snaps up your snow scenes — absorbs the excessive ultra- violet rays and results in pictures clear, sharp and true to life. For use with TH-C 1 in. F 3.5 lens, price $2.50. For F 1.8 lens in focusing mount, $4.50. For either 3% or 6 in. telephoto lens, $5.00. Mark coupon. B & H Crystal Pearl Bead Screens Bell & Howell Crystal Pearl Bead Screens are available for every need and every purse in five types — five sizes each, ranging in price from $7.50 to $40.00 each. The Minusa Box Portable is a "theatre surfaced" screen, of handy collapsible type, really underpriced at $21.00, in 3' x 4' size. Mark coupon. B & H Character Title Writer A miniature movie stage on which almost any- thing can happen. The camera, clamped firmly in place, films animated cartoons, signatures and titles in infinite variety, using pictures from maga- zines. Complete with lamps and carrying case, $45.00. BELL & HOWELL CO. 1828 Larchmont Ave., Chicago, 111. Please send full information on items checked: DArc Lamps D Mazda Lamps D Screens D Rewind and Splicer C New Library Releases Q Color Screen Q Title Writer D Filter. Name. Address. City . Stale . F or t j - on e BLOCK BOOKING for HOME FILMS EVERYONE from the United States government, through producers, distributors and ex- hibitors, down to the elusive but as- suredly numerous ultimate consumer has been interested in photoplay block-booking. The movie industry has reached an agreement on this moot point, which it hopes will give producers a fair revenue, exhibitors a freedom of choice and the public quality pic- tures of the kind they want. We learn that block-booking is good business for all three. Hence, it is not surprising to find that block-booking, to all intents and purposes, has recently been establish- ed as a method of distribution to the home projector field. This is a nat- ural development, because the amateur industry has been looking for a distribution system for films that will clarify and stabilize this part of its service to home users. The outstanding feature of the year 1927, for the home movie industry, has been the wide increase of film print sales and rentals. It is evident that home projectors owners are liberal print users and that they want plenty of subjects beyond those they make themselves. Amateur Cinema League members and Amateur Movie Mak- ers readers have demonstrated that a market, and a generous market, is at hand. Present indications, I believe, point to the growing popularity of film rental systems. While film rentals are still in their infancy, the time is approaching when every projector owner will want films from film lib- raries. It is now possible to secure the rental of regular releases featur- ing productions in from one to four hundred foot reels, and in combina- tions of these film lengths. A majority of these films are reductions from standard productions that have been used in the theatres of the coun- try. Eventually we can look forward to special productions for the home field. Amateur movie makers and amat- eur home projectors are primarily in- terested in securing films of high quality and clean and wholesome plays or motion picture subjects that can be shown at home to their families and friends. Amateurs will support firms that offer films of this type. In order to make it possible to secure this type of picture, it naturally follows that the producers must find it profitable to release good reels; a ready market must be available for them. The rental fee must be moderate and with- in the reach of the great number of Forty-two By Joseph Dombroft projector owners, if these owners are to be consistent and steady users of the library offerings. It is just here that the block-book- ing plan enters the home field. In the recent conferences of the motion pic- ture industry, producers contended that the cost of production is consid- erably lessened if bookings can be made over a yearly period and that assured distribution enables them to make the increased investment re- quired for quality pictures. Exhibit- ors held that yearly bookings placed an unnecessary hardship upon them, unless thev had a ranee of choice in THE GOVERNOR'S LADY Mrs. A. Harry Moore, wife of the Governor of Nee Jersey, is a Cine Fan weekly bookings. These two divisions of the industry then agreed on a mutually acceptable formula that re- tains a modified block-booking as a trade practice of the motion picture industry. They decided that the modified block-booking serves pro- ducer, exhibitor and public better than proposed changes. If this prin- ciple is sound for the theatrical exhibition field, it can also stand for the home field. Based on this belief in block-book- ing as the solution of the too chaotic home library conditions of the past year, one of the libraries catering to the home projector owners has worked out a coupon system, whereby it is possible to rent 800 feet of 16 m.m. film for a minimum of $2. A sub- scriber to this library is assured of a new release every week and can, for a total yearly fee fixed in advance, (or shorter periods if he so desires) plan his entire year's program and film rental budget. This system is one that insures to the producer, or his agent, a definite and predictable vearly income. Within the security of these advance bookings, the producer can not only provide a good grade of standard releases but can also occa- . sionally offer more costly films at the same low rental. The purchaser, once convinced of the general relia- bility of a block-booking producer, is relieved of the concern which he might have if he were guided by no other indication of library offerings than price. Such a block-booking system, to appeal to the home projector owner, must contain provision for substitu- tion of a wide range of subjects for the weekly releases. This is possible if the distributor backs up his block offerings by a fairly large catalog of good films, not necessarily late re- leases, but films of sound general interest, well made, artistically and photographically. The coupon system is merely a convenient method of contracting for a block of films. However, it has the advantage of giving the purchaser a tangible delivery order for a whole vear. He carries off something de- finite in return for his advance pay- ment. It offers a ready bookkeeping system, of advantage both to buyer and seller. This coupon and block-booking system is only one of the methods now in use for film distribution to the home projector market. Others are in operation that are serving the public effectively and excellently. This system, however, offers so many advantages in the way of stabilizing this whole business that it suggests a wider adoption by both the in- dustry and the public. Every reputable producer and dealer wishes to maintain the public's confidence unimpaired not only in his {Continued on page 49 J NEWS of the INDUSTRY For Amateurs and Dealers Cine-Nizo, Model B, 16mm. THE Cine-Nizo 16mm. camera, a new German product by the firm of Niezoldi & Kramer, Munich, Germany, is now offered to the amateur cinematographer. This camera, said to be the smallest 16mm. camera made, measures four and three-quarters by four and three- eighths by three inches, including a spring motor, and weighs 45 ounces. A new idea in 16mm. camera con- struction is the use of metal film magazines, which are easily loaded in a darkroom in a few moments time. The use of magazines eliminates an- noying edge fog. The capacity of the magazines is 33 feet. The camera may be hand cranked at the normal rate, or for trick work one frame at a time. An exclusive feature is the ability to change over from hand crank to spring motor or vice versa without the necessity of releasing the spring tension. The motor exposes 15 feet of film with each winding. Zeiss or Heinkel lenses are supplied in fixed focus or focusing mounts. A direct view- finder and footage meter are also included. THE CONVENIENCE OF SPEED Is illustrated in the design of this De Vry Screen A PROFESSIONAL AS AMATEUR An amateur cinematographer is the hero of a professional motion picture, the Pathe Serial, "Mark of the Frog." Frank Miller plays the amateur and J. Anthony Hughes, his son New f 2 Lens THE Xenon f 2 lens made by Jos. Schneider & Company is now being nationally distributed for use on Filmo cameras by Burleigh Brooks, of New York City. In the construction of this lens, six elements are used in the half-cemented form. Tests revealed the absence of coma and well-nigh perfect color cor- rection for the spectrum. This latter feature makes this lens particularly valuable for use with panchromatic film. The correction for spherical aberration is such that the lens can be used at an angle of 55 degrees at full aperture and 72 degrees stopped down to only f 3.5. A feature of this lens is a patented adjustable focusing mount, worked out by Mr. Brooks. It is known that in fitting high-speed lenses there are often slight variations in the focal point of the lens and in the mount- ings, causing the lens to register im- properly with the film. On this mount there is a knurled knob that enables anyone to properly focus the lens for the infinity point after the lens is screwed into place. The infin- ity marker is then placed in position and the adjustment locked by means of small screws. This automatically places the focusing scale for all other distances in the proper position. An- other adjustment permits the focusing and diaphragm scale being placed so they will be most easily seen. De Vry Quick-Set Screen JUST pull up the lid — screen is automatically rigid as soon as it reaches its full height," the De Vry Corporation says of its new Quick-Set screen. "Time for set-up, one second. To take down, press button in the middle of each side support — pull both supports towards the center uni- formly, and screen cannot wrinkle. The Quick-Set comes in two surfaces : Lumiday (metallic), and Beaded (crystalline) . The screen is supplied in three sizes: 22 by 30, 30 by 40, and 39 by 52 inches." Film Clip and Motor Rewind A SIMPLE, effective film clip has recently been devised by Mr. J. W. Robbins, manager of the mo- tion picture department of Williams, Brown & Earle, Philadelphia, Pa. An ordinary piece of %-inch wide adhesive tape, 3% inches long, is taken and one end folded back three- quarters of an inch so as to prevent it from sticking. The other end is stuck on the film leader, covering about three-quarters of an inch of the leader. The adhesive tape remains on the end of the leader at all times and by simply pressing down on the center portion of it, it will hold fast the end of the leader. To take off the film, it is only necessary to take hold Forty-three HOME THEATRE MOVIES AThrill a Second for Sportgmen-Foui* Bisf Specials Now Showing Prom Field cV Stream. Library ! I6m/m.l00ft reeltf Quality Prints Guaranteed HUNriNb VVIUD TUR.KEV^ HUNTING OREAT G.RIZZLIES / 7.S"P BoewHiTe in the pjn£ wooos *7.So Cartoon Comedy P.PERCY PIG No. 150 -$7.50 ALL „ ABOARD WITH ROLLICKING BOBBY VERNON FULL OF LIFE ANp LAUGHTER, 4 7.50 Our Complete Prograjor^ \l Big pp.eCial Featured. ,New Prof e $ $ ional Production^ EXIT BOH OFFICE Cartoon Comedy^ "ONE- HOR.SE I750 1ADMISSI0N OWE 1SMIUE entrance: Gii* toon Comedy "ONLY A BUTCH FR BOY1 fl 7. go CARTOON COMEDY "animal fair!' 4 7.50 CHARMING Dorothy Devore „ ii\, COLLEGE CAPERS' Pretty Girls/ Pajamas/ Chafing Dishes! Tne Principle! # 7.50 AUTOMATIC MOVIE DISPLAY CORPORATION 130 West 46 tk Street, New York. City (6Vya,rvt 63*l) Forty-four of the folded end of the adhesive, which is always loose, and peel it off. In addition to using this with the leader strip, the film, instead of be- ing inserted into the hub of the pro- jection reel, may be fastened to it by means of the tape, a much simpler and quicker operation. It was quite a coincidence that some time ago Mr. Robbins, and Mr. W. Woodcock, of Charles Willoughby, Inc., New York City, although work- ing separately, came upon the idea of having the Filmo projector rewind its own film by motor power, with no attachments other than an ordinary Filmo projector spring belt. All that is necessary is to slip off the top and bottom belt on the projector, place the extra belt around the top pulley, bringing it down in a half turn around the shaft connected with the motor. Simply turn on the start- ing switch and you will find that it does a nice job of rewinding. Of course, this method applies only to those Filmo projectors that have the shaft projecting. The projectors are now being supplied equipped this way, with an extra spring belt for rewinding. A Correction nPHROUGH a proof error the fol- •*- lowing paragraph in the Show- at-Home Movie Library advertisement in December Amateur Movie Mak- ers should have been placed beneath the name of the Metropolitan Motion Picture Co., Film Exchange Building, Detroit, Michigan, instead of beneath the name of Regina Films, Ltd., where it appeared: "Dealers and home pro- jector owners please communicate with them for complete details." The Metropolitan is exclusive agent for Show-at-Home Movie Library for the State of Michigan. Dealer Enterprise /"\NE of the most interesting plans ^-^ for extending sales of cine equip- ment which has come to our attention is that of dealers reprinting special articles from Amateur Movie Mak- ers and sending them to the list of local citizens to whom the particular articles would directly appeal. Arti- cles on the use of cine equipment in medical and surgical work have so far proved most popular for this pur- pose, the reprints being sent to all of the doctors within the dealer's trade territory. However, there have been many special articles in Amateur Movie Makers which would apply as directly to other specific groups, and it is obvious that this clever sales plan should be followed when- ever an opportunity presents itself. Among the dealers who have pioneered in this salesmanship have been the Eastman Kodak Stores, Inc., of Baltimore, Md., and Butler's, Inc., of Wilmington, Del. Another interest- ing variation of this plan has also been evolved by Kelly & Green, of Erie, Pa., who mailed several hund- red postcards to medical men offer- ing them a copy of Amateur Movie Makers, if they would like to read the medical article in question. Film Progress AT a meeting of the American Col- lege of Surgeons in Montreal some time ago, a committee was formed to formulate procedures for the development of the cinema as an adjunct to medical teaching. In De- cember, 1916, the committee met in Rochester, New York, with Will H. Hays, president of the Motion Pic- ture Producers and Distributors of America; George Eastman, head of the Eastman Kodak Company, and several other representatives of that company, and initial working plans were adopted. Mr. Eastman offered the technical resources of his com- pany and the cooperation of the School of Medicine and Dentistry of Rochester for experimental efforts. On December 15th, 1927, in the office of the Motion Picture Produc- ers and Distributors of America, in New York, a medical film, "Infec- tion of the Hand," the first of this series, prepared under the supervision of Dr. Finnegan, head of the educa- tional department of the Eastman Kodak Company, was given a private showing to a group that included Will Hays and Dr. J. B. Squier, famous surgeon. A group represent- ing the public was invited, its repre- sentatives being Roy W. Winton, Lee Hanmer, and Walter D. Kerst, of the Amateur Cinema League. The picture shown, which depicts important methods of operations for treating hands, is expected to be of great value to surgeons who treat men and women who are injured in acci- dents in industrial plants. This will teach surgeons everywhere the most modern ways for saving hands and fingers that under many conditions would be amputated. It is expected that many other med- ical films will be produced, with the cooperation of some of the foremost surgeons of the world. Such films will be of untold value to student surgeons, opening up to them the most modern methods of surgery, be- sides preserving for future genera- tions the work of eminent surgeons of the present day. The showing was concluded with the projection of classroom films made by the Eastman Kodak Com- pany for visual instruction in the public schools of the country. Make*Vbur Own Movies of this MEDITERRANEAN CRUISE Gardner Wells, the fa- mous expert in amateur movie making, will be along to help you film many strange and beau- tiful scenes. YOU can come along on this cruise which a limited number of Movie-Makers will take to the Mediterranean, leaving New York February 8th. The party will go on James Boring's Third An- nual Mediterranean Cruise sailing on the White Star Liner S. S. Doric. Every travel comfort has been arranged by experts so that you can devote full time to filming the quaint customs and thrilling beauty of the colorful Mediterranean countries. As much or as little companionship of other Movie Makers as you want. Expert filming advice from Gardner Wells. And the whole 62 day cruise for one reasonable fee. A Cruise You Can Never Forget No other part of the world is more attractive to traveling Movie Makers than the Mediterranean. Blue skies and a faithful sun. Beautiful remnants of past civilization. Strange and wonderful natural scenes. Odd peoples with interesting habits and dress. Every hour will have its thrill. And each thrill can be re- corded in your camera to entertain you and your friends when you return. Think what a diversity of scenes this itinerary will give you: Madeira, Gibraltar, Granada, Algiers, Blidah, Tunis and Carthage, Malta, Athens, Con- stantinople, Beirut, Damascus, Jerusalem, Cairo, Luxor, Syracuse, Naples, Amalfi, Capri, Monte Carlo and the Riviera. And you can stop over in Europe if you wish. Send Now For Full Details Reservations are going fast. So decide now to join Gardner Wells and his party of Movie Mak- ers. Mail the coupon today for full particulars. Gardner Wells JAMES BORING'S TRAVEL SERVICE, Inc. DEPT. M-271 45 Astor Place, New York City "Assistants to the traveling movie maker" gardner wells, James Borings Travel Service, DEPT. M-271 45 Astor Place, New York City. Please send me details of the Movie Makers' Mediterranean Cruise under your personal di- rection, sailing from New York, February 8th, 1928. Name Address City State Forty-five EDITED and TITLED BY Burton Holmes 100 Foot Rolls For your 16m.m. Projector SOLD OUTRIGHT $7.50 Per Roll Last Month's Releases Surfing at Waikiki. Kauai, Hawaii's Garden Island. Hawaiian Shores. '"Great Waters" of Versailles. Nine Glories of Paris. Paris From a Motor Car. Cafe Life in Paris. Parisian Markets. A Trip on the Seine. Canals and Streets of Amsterdam. Diamond Cutters of Amsterdam. Going to Volendam. The Cheese Market of Alkmaar. Fjords of Norway. Rolling Into Rio. The Great Cataracts of Iguassu. The New York Way Called Broad. Fifth Avenue and the Forties. Yosemite Vistas. Waterfalls of the Yosemite. Burton Holmes' Film Reels of Travel January Releases THE LAKE OF LUCERNE DOWN THE DANUBE GLIMPSES OF VIENNA PICTURESQUE SALZBURG ALPINE VISTAS FROM THE ZUGSPITZE UP TO DATE ALPINISM TEAK LOGGING WITH ELEPHANTS REYKJAVIK CAPITAL OF ICELAND THE CITY OF ALGIERS A CLOUDLAND FANTASY This Scenic of Accelerated Clouds can be used to Intersperse with your own Scenics. Complete Catalogue on Request THE BURTON HOLMES LECTURES, Inc. 7510 N. ASHLAND AVE., CHICAGO, ILL. LATEST MODEL yEPT Double Spring Adjustable Speed Direct Focus on Film 35 mm Motion Pictures Snap Shots Time Exposures California, Hollywood Kinemart, Inc. 1426 Beachwood Drive California, Los Angeles Eastman Kodak Stores, Inc. 510 South Broadway California, San Francisco Hirsch 6? Kaye 239 Grant Avenue D. C, Washington, ?i. W. Cinema Supply Company 804 Eleventh Street Georgia, Atlanta Eastman Kodak Stores 186 Peach Tree Street Illinois, Chicago Bass Camera Company 179 West Madison Street Illinois, Chicago Central Camera Company 112 South Wabash Avenue Kansas, Emporia Eckdall 6» McCarty DEALERS: Maryland, Baltimore Eastman Kodak Stores 223 Park Avenue Massachusetts, Boston Pinkham & Smith Company 292 Boylston Street Michigan, Detroit Metropolitan Motion Picture Co. 2310 Case Avenue Hew Tor!;, Little Falls F. E. Abbott 501 Burrell Building Hew Tor\, Hew Tor\ Abe Cohen's Exchange 113 Park Row ?{ew Yor\, H?w Tor\ G. Gennert, Inc. 24 East 13th Street Hew Tori;, 'Hew Tor\ Herbert & Huesgen Company 18 East 42nd Street \ew York, j^ew Tor\ Medo Photo Supply Company 323 West 37th Street Hew Tor\, Hew Yor\ New York Camera Exchange 109 Fulton Street Hew Tor\. Hew Torlj C. F. Ray 296 Fifth Avenue Hew Tor);, Hew Tor\ Willoughby Camera Stores, Inc. 110 West 32nd Street Ohio, Cleveland The Fowler & Slater Co. 806 Huron Road Pennsylvania, Philadelphia Williams, Brown S5 Earle 918 Chestnut Street Washington, Seattle Anderson Supply Company 1 1 1 Cherry Street {Wyko Projector Corporation T, 130 West 46th St. - New York, N. Y. J Pathex Rental Service A RENTAL service for Pathex **■ 9mm. film is being opened this month by the Bailey-Cole Electric Company, Brooklyn, N. Y. Eight Amp Arc ' I 'HE Actin orator, an extremely ■*■ portable, compact, continuous- feeding eight ampere arc light of high efficiency, designed to meet the requirements of the amateur, will soon make its appearance on the mar- ket. It will burn continuously up to a maximum of forty minutes. At / 3.5 one lamp will give excellent light for a closeup. Steady Pictures TPHE Stedistrap, a strap designed ■*- to support the camera to give tripod-like steadiness when the cam- era is held in the hand, is offered to amateurs this month by the Home Movie Service Company, Norwood, Ohio. The Stedistrap passes around the neck and across the shoulders of the cameraman. It is adjustable for various heights and is made in two styles. Model A has a leather cup to take the end of the average tripod when folded. Model B has a socket instead of a cup and comes with a supporting rod fitting this socket on one end and a camera screw on the other. By simply lifting the camera from the supporting strap it can be used in the usual way. New 15mm. Lens TPHE Hypar / 3 lens, of 15mm. ■*- focus, will be available to 16mm. amateurs in the near future. This lens, a product of the C. P. Goerz Company, opens up new possibilities for shooting sporting events, interiors and in cramped quarters. The angle of the standard one-inch lens, which is about 24 degrees, is increased by this lens to 38 degrees, with no loss of sharpness to the corners of the film. The depth of field is greatly increased, making focusing an easy matter. Syndicated AND now, at length, amateur movie making has reached that high and important estate where it will be given its proper recognition in the newspapers generally. As has been noted in these columns upon other occasions, there are al- ready easily a half-dozen or more newspapers in the country now offer- ing regular amateur movie depart- ments edited by their own staffs. But. with the offering of a regular syn- dicated service on the subject, begin- Forty-six ning with the first of the year, it is expected that the number of such de- partments will take a big step for- ward. The new service on Amateur Movies is known as: "The 'Reel' Hobby — Amateur Movies" and is of- fered by King Editors' Features, 1170 Broadway, New York City. Cooperation A mateur Movie Makers is being **■ boomed by Fowler and Slater, of Cleveland, Ohio, who are putting •on a special campaign to secure sub- scriptions for the magazine. They are arranging a special direct by mail campaign designed to secure as a reader every amateur movie maker in the Cleveland district. This is the sort of cooperation from progressive dealers which has made the League and the Magazine so suc- cessful, not only as service agencies for the amateurs of the country, but as business builders for the industry and the nation's dealers. Amateur Movie Makers will be happy to provide other dealers with subscription material for such sub- scription activity. We hope many dealers will see the practical value of such cooperation. Bead Screens "TpHE Arrow Screen Company sends ■*• word that it has just completed installations of its bead screens in the homes of Carl Laemmle, Marion Davies, Colleen Moore and Estelle Taylor. The company also declares that fully half of the studios in Hol- lywood are using these screens in their projection rooms. Liquid Makeup A MATEUR cameramen who want ■**■ to photograph their subjects in makeup will be interested in a new liquid makeup manufactured by Cam- eron & Ross, of New York City. This liquid, which serves the same purpose as grease paint, is applied with a sponge and rubbed in with the tips of the fingers until dry, and then powder applied over it. It will not rub off on clothing and is not affected by perspiration. It can be easily removed with soap and water or cold cream. This liquid form of makeup is used by many prominent stars in the professional field. A mateur Studio 4 I 'HE facilities of a professional •*- movie studio, completely equipped for the production of all kinds of filming, is now available for use for amateur cinematography. The studios in question are the Cosmo- politan Studios, in New York City, Free Film operated by the International Film Service Company, Inc. In this huge studio there are four stages, each 200 feet long, varying in width from 57 to 80 feet, with a height of 40 feet. There is also a large aquatic pool for water scenes. In addition, there are three cutting rooms, two projection rooms, three dark rooms, two fireproof storage vaults and a carpenter and machine shop fully equipped. Several very large and magnificent sets originally executed by Joseph Urban could be used by those ama- teur photoplay groups which wish to go into production on an elaborate scale. There is lighting equipment available for all types of work, and experts in camera work, scenarios and directing are on hand to advise the amateur, should he so desire. Full service could be furnished at mod- erate cost, and if the rental of stage space was more or less continuous, the cost would be considerably less than for single jobs. This announcement should be of interest to amateur photoplay groups which want to film their productions in a professional atmosphere in a professional manner. SILVER CRAFTSMEN ON THE SILVER SCREEN (Continued from page 17) So you see, this film is interesting to the whole family; Mother will see beautiful tableware, Dad will like the machinery, and the authentic glimpses into a big industry, and the children will enjoy and learn from the whole film. In closing, let me suggest again that you tear out the coupon on this page and send it in immediately. You are afforded an opportunity to see beautiful photography of beautiful objects, a picture that you will want to view many times. The writer has seen this film on innumerable occa- sions, but never tires of looking at its sheer loveliness, beauty and ro- mance woven into a story on cellu- loid. CRITICAL FOCUSING (Continued from page 24) . , .,1 .. .i i-. i j- „ Stanley Educational Film Division, Inc., girls, in silhouette, the white bodies ' ' °u • ■ » WoK, ki,.„i, 220 W. 42nd St., New York City. Dept. G showing against a completely black ' ' r background, with the whole row of ^ wli.^* l.° show, the film "FINE ARTS « . 9j • i .1 • ii i IN METAL in my home on ponies moving rhythmically, al- j use a y l6mm projector. most as some wierd machine might function ; closeup of a point of light, Name making an arc against complete Address blackness, dissolving into, first a cig- arette, then cigarette and holder, then y " ' ' •■•••••-••••■•••■ ' " , i ? ,1 . , (I understand that the only charges are to be these and a woman s arm, then into for shipping both ways). AMM-J full closeup of juvenile's mother and ^.^^.^.^^^.^.^.^^^ -^—. Forty-seven IT is NOT often THAT something new IS offered; BUT now ALL amateurs HAVE opportunity TO see absolutely FREE IN their OWN homes A real picture SHOWING how SILVERWARE and other FINE metal pieces ARE made. THROUGH the courtesy OF the GORHAM COMPANY WE offer FINE ARTS IN METAL THREE reels in length AND the MOST beautiful INDUSTRIAL film EVER produced AND all for ONLY the shipping costs. JUST fill in THE coupon AT the bottom WITH a preferred DATE and the name of YOUR projector. THAT'S ALL. (With profuse apologies to KCB) JOS. SCHNEIDER & CO. XENON SUPER SPEED f 2. lens for the Filmo. The only lens of this high speed where definition and cov- ering power is not sacrificed in order to obtain speed. Exquisitely fine and brilliant detail to the extreme corners of the picture, wide open. A unique arrangement permits each lens to be readily ad- justed to each individual Filmo camera and insures perfect registry. Another device permits of the focusing and diaphragm scale being turned to the point easiest seen and locked in place. Let your dealer demonstrate this lens and be convinced that it is at last possible to obtain high speed and fine detail with the same lens. XENON, 25mm., /2 lens, in adjustable focusing mount for Filmo $37.50. FREE TRIAL GLADLY GIVEN. Write for the new catalog of accessories for the Amateur Movie Maker. BURLEIGH BROOKS, Sole Agent, 136 Liberty Street, N. Y. C. /fn n n n n n" i; " ri~~ n ~"m nA RALPH R.ENO 117 PARK AVE. NEW YORK. THE PIONEER ART TITLE BUILDER AND FILM EDITOR presents^ TWO UNUSUAL FEATURES SEND $3.00 with any portrait and I will make an exact reproduction ready to splice into your family reel. Photos returned in perfect condition as received MAIL me $2.00 with copy for 3 titles (10 or less words) and I will make you 3 of the smartest ART TITLES you've ever tried, entirely HAND LETTERED. PHONE WISCONSIN 4020, EXT. 3 ENO'S ART TITLES! SHOOT NATURE with your CAMERA Let Nature Magazine be your guide to wild life and its habits. Each issue is a lesson in photo- graphy. The illustration here was taken on one of the American Nature Association's Expeditions that have brought back many photo- graphic prizes and fascinating stories. Nature Magazine is a 70-page monthly, profusely illustrated in halftone and color. Send for a Sample Copy or CLIP THIS AD and attach three dollars for one year's membership including Nature Magazine, and send it to American Nature Ass'n 1214— 16th ST., WASHINGTON, D.C. juvenile having supper together. This last complicated dissolve is poig- nantly cinematic. These are all pos- sible, for amateurs, using fadeins and fadeouts instead of dissolves and us- ing short footage to express action. Closeups of Details : This photo- play gives us a number of examples of one of the things that the cinema can do, which the spoken drama can- not do, and which still photography cannot do without undue emphasis. Wherever the thoughts of the actors can be indicated by a shaking hand or a wavering foot, we have a closeup of very short footage. The spoken drama cannot focus attention on one part of the actor's body without ridic- ulous posturing. Here the cinema is supreme. FEATURING FLEAS, ANTS AND FLIES {Continued from page 23) to operate his microscopic motion picture machine costs Tolhurst $2.40 a minute at the very least! Some of the titles of Tolhurst's series will give you an idea of their unusual scope. For instance, "Our Ant Gang," "Bee Bread" and "The Fly's Eye." Regarding this last, Mr. Tolhurst has accomplished the re- markable feat of photographing. through the fly's eye, which is pris- matic in character and multiplies the object seen through it perhaps thou- sands of times. Other titles in this singular library of films are "Grunion — the Mystery Fish," "The Fleamobile," "Tickle- Bill, Trained Fly" (we have already told you something of the wonderful little "Bill"), "The Sea Urchin," and "Living Stars." "Living Stars," as you may guess, is the life story of the deep sea star fish. Though some of Tolhurst's films are known in the theatre, it is only recently that they have become avail- able in the 16 mm. field. Their in- stant popularity is a fine tribute to. their remarkable interest value. Through this most unusual work in scientific enlightenment for the gen- eral public, Tolhurst has fulfilled Edison's purpose in inventing the mo- tion picture machine, an enviable pinnacle, indeed, for any man to. attain ! Final Version IT seems there were two Irishmen named Ole and Sven, who had just seen the widow drop her mite in the collection box. Ole started to appropriate it. "Bedad an' bad cess, lay off," counseled Sven. "Thot mite be Lor* Chaney." — Life. Forty-eight BLOCK BOOKING FOR HOME FILMS {Continued from page 42) own products, which is a relatively simple matter, but in the whole group of film subjects offered to home users. He is eager that this phase of the amateur business should be regular- ized as early as possible in order that film users may not be doubtful of film offerings. We all know that film rentals to home users will greatly in- crease in number and that a field for special home productions will open as this number increases. The whole industry is concerned. Home block- booking offers a practical step for- ward and there is every indication that it will become more and more general. ANIMATED MOVIE MAKING FOR AMATEURS (Continued from page 30) remembered that there are forty frames to a foot of 16 mm. film, so each average scene would require about 140 exposures, although this does not mean there must necessarily be 140 different drawings or parts of drawings, as has been pointed out above. For such a seventy-five foot story the total number of exposures required would be 3,000. This pro- gram can, of course, be varied with the individual plan. In beginning it would be quite sufficient to animate one scene only, splicing this short piece of film into any reel for con- venience in projection. Mr. Sullivan advises against over production for the amateur. He says, the motive or skeleton of plot should always be in mind before work on the picture starts. The location should be decided upon, and the whole thing written out for clarity. The animated movie has become possible only during the last decade. It was Mr. Sullivan, in fact, who per- fected it and made Felix famous in the animated field. It is still difficult to secure experts in this work. The amateur experimenting with animat- ed cartoons may eventually find rich awards awaiting him, should he switch over into the professional ranks, and especially if he should hit upon a character whose antics take the public's fancy. MAKING YOUR OWN ART TITLES (Continued from page 22) keeping its marking tip flat on the paper while making a stroke. Work with a full arm movement, maintain- ing an even pressure on the pen. Rest an instant at the finish of each stroke to insure sharp terminals. Make a complete line of each exer- cise, starting with the vertical strokes downward, then the oblique strokes downward ( left to right and right to left) and then combine them. Now make a few lines of horizontal strokes (left to right) then combine these with the vertical in the order shown and you will have the various letters built with straight elements. As soon as you can handle these you will be ready for the circular exer- cises and letters. Start with a few lines of half- circles to the left, carrying the stroke well past center. Now add the cir- cular stroke to the right about half size and gradually increase its diam- eter until it equals the size of the first element. In this way your strokes will just grow into a perfect letter O. Note how the two strokes are lapped over each other at the start and finish. This is done to give a clean stroke and to eliminate breaks or joints. Practice often the circular arm ex- ercises, using the left movement first and then the right. After O, the letter Q is next in order. Then by combining these circular elements with the straight strokes you will get all the letters of the alphabet. The letter S and the figure 8 are about as difficult to learn as any. Note the illustration of an arm exer- cise which develops the figure 8 stroke very quickly. To further sim- plify the construction of these two characters, two helpful diagrams are shown. You will see that the center stroke of the letter S is more or less straight, while the top and bottom elements are only parts of the letter O. Also note the similarity of the S and the 8 in the second diagram and also note how closely the figure 8 resembles two ovals placed one on top of the other. As soon as you can handle these exercises, try the entire alphabet and various combinations of words and sentences. Do not attempt to work too fast. Next learn the figures. You will then have a splendid foundation for the Roman alphabet which is uni- versally used in some form or modi- fication on practically all movie titles. GOERZ LENSES are being used by thou- sands of professional and amateur movie makers. "Because THEY SATISFY Their crisp definition and re- markable covering power makes them the standard lenses in al- most every branch of the photo- graphic art. For 16 m/m and standard width amateur cameras we make lenses in a wide variety of speed and focal length, and all these lenses can be supplied in our precision focusing mounts, so necessary for really accurate work. To the super-critical worker we offer various devices such as VIGNETTERS REFLEX FOCUSERS FINDERSGOPE and FOCUSING BASES MASK BOX and TITLE-DEVICES for Filmo and Victor cameras, all designed by our experts to facilitate exact focusing and positioning of the object and for the improvement of the finished picture. Our newest product is the Wide Angle Hypar F/3 OF ONLY 0.6" (15MM) FOCUS for the Filmo Camera, opening up a new field in tak- ing sport pictures, landscapes, interiors and movies in cramped quarters. We ivill gladly send you our literature and if you have any special optical problem ive offer our experience and help to solve it. C. P. Goerz American Optical Co. 319-AEast 34th St., New York, N. Y. Forty-nine A few comments on Little Sunny "Little Sunny is the ideal artificial lamp. Of all my artificial lamps, yours is the handiest." Warren S. O'Brien, Waukesha, Wis. "It is a corker and the best all around lamp in our shop." Sanborn Studios, Lynn, Mass. "I think Little Sunny is a wonderful little giant. Together with a more powerful (20 amp) arc light it serves beautifully to light up shadows in taking groups, etc. For still life and genre at homes I use Little Sunny only." Dr. George Richter, St. Louis, Mo. "Little Sunny is splendid. I am more than pleased. It's equal to any $140 light." Geo. Barrett, Cleveland, Ohio. "This little lamp is the best thing of its kind I ever had, don't know how I could get along without it." Paul Fallen, Mt. Oliver, Pa. Little Sunny pulls 8 amps., works on A. C. or D. C. 110 volts. The aluminum reflector and handle fold back for compactness. Uses 6.4 mm. x 6" carbons, size folded 7 x 5 x 2J/2 inches, weighs with 15 feet of cord 50 ounces and costs $ 1 5 complete with cord and six double carbons; 6 ft. folding stand $2.50. If you don't li\e Little Sunny, you can return him within 10 days and we'll cheerfully refund your money. LEONARD WESTPHALEN 438 Rush Street - Chicago, Illinois (ft D& tftllc lOizariti y /ZftUrcraft* Drawing^LetteringPenS As you practice, study the action of your pen. If it produces a ragged stroke perhaps you are not holding it so that the marking tip glides flat over the paper. There is a tendency at first to use a finger movement which raises the lower side of the marking tip off of the paper before the stroke is completed, resulting in a ragged lateral stroke or a poor ter- minal. This should never happen with an arm movement. If you have failed to drain off the surplus ink or if the pens are crusted with hardened ink and need cleaning your work will not be uniform. "A good work- man knows his tools." Time spent in learning the latitude and limitations of your pens is most profitably in- vested. You will also save much time and effort by studying the construction of each letter before you apply the pen. Draw out the strokes with a pencil in their consecutive order, re- tracing them with the pen. Note where they start and where they ter- minate and try to complete each ele- ment in a single movement. The num- bered arrows indicate their order and direction. When you handle your pen properly it will not be nec- essary to "patch up" strokes. Good spacing is as important as find it necessary to fit them closer together and where straight letters occur together more space must be allowed between them. Note also that all the letters do not consume the same space. E-F-L-P-S-T are consid- erably narrower while M and W are proportionately wider. The circular letters C-D-G-0 and Q look best when allowed full width. After you have become familiar with the construction of the alphabet with the larger pen practice it with the smaller sizes, ruling the guide lines a little closer together. Those who are interested in learn- ing how to letter will have all they can handle in the way of practice this month if they master the use of the pens and the construction of the upper and lower case Gothic as made with the Style B pen. Time spent learning the fine points of the Gothic will make it easier to learn all the other alphabets. On a basis of com- parative construction there is quite a marked similarity between the Gothic alphabet and the Roman. To avoid disappointing those who will want to take up the lettering of art titles at once we have included in the illustrations a plate showing the Art Title Roman and Italic alphabets designed for the Style C or Style D ART TITLE ROMAN ABCDEFGHIJRLMNO PQKST U VWXYZ &$%$, (Designed for Shh "G* CAHjD>> St\ih'» -tfrf^ ^\e*c* ^jVV ">t. c^>^ itf vi o^ -As^" &e-v _vlc ^aF* ~vi*7 v^ Demand the Best and you'll get D u P o n t ' **v*: >t>*v^>< ^ A^V^' 4*^*0*^ ^^ a> 10 w *«* &fi & to* V»^ Each reel a complete picture. New film, fresh subjects never before shown on any screen. Made especially for 16 mm projection Also: WAR PICTURES — CHARLIE CHAPLIN — SCENICS COMEDIES — CARTOONS — LINDBERG — TOM MIX All 100 ft. reels at $4.50 ASK YOUR DEALER EMPIRE SAFETY FILM CO., Inc. 723 Seventh Avenue BRYANT 5437 New York City 5736 - 2180 EMPIRE SAFETY FILM CO., Inc. 723 Seventh Avenue New York City Name ... Address City Please Mail Me An Empire 16 mm. Subject Catalogue State I Am Also Interested In Your Laboratory Service I | Fifty-jour after failing to disclose himself to his family. Here is certainly melodrama and here are all the possibilities for "hokum" to the most extreme degree. Yet this photoplay avoids all the pit- falls and gives us melodrama that seems to us inevitable and convinc- ing. The theme may bore us but the treatment is dignified and admirable. If we can separate manner from mat- ter, which, supposedly, the intelligent movie goer has learned to do, we shall enjoy the manner of "The Wav of All Flesh." It is unquestionably a play for intelligent adults. The director's mind has been clean throughout and one finds no appeal to the salacious for its own sake. It is an honest "thriller" done with fine scenario, directorial and cinematic technique. It is recommended for non-theatrical showing. CLOSEUP WORK FOR ADVANCED AMATEURS {Continued from page 40 i more imperative to emplov a more positive means of focusing with tele- photo lenses than when using the usual 1-in. lens. As it is not only difficult to obtain an exactly matched pair of telephoto lenses, but also an extra expense, one telephoto may be used in the follow- ing manner. The telephoto lens is first screwed into the focusing micro- scope, brought to sharp focus, then carefully unscrewed (without disturb- ing the focus) and transferred to the threaded lens receptable of the cam- era, when used in this manner, the compensating-base must also be em- ployed, for the reasons alreadv stated. A far more convenient telephoto attachment is illustrated in Fig. 4, known as the reflex focuser. This consists of a Goerz-Dogmar 4-in. / 4.5 lens (J) attached to the "reflex focuser" (K). The latter is operated by causing a small prism to be in- troduced between the lens and the film. The prism is attached to the knob (L) by which it is slid into position when focusing, and off to one side while the picture is being filmed. The prism reflects the image at right angles to a ground-glass, where it is viewed under magnifica- tion through the adjustable eye piece (M). Accurately controlled focusing thereby becomes possible. The de- vice operates similarly to a reflex camera, in which the mirror is re- placed by the small prism. Fig. 5 shows the lens and reflex focuser at- tached to the camera. Critically sharp focus may be ob- tained by viewing the object through the eye piece M, which eliminates all guesswork in focusing, and at the same time assures the object being correctly centered on the film. How- ever, should it be necessary to pam the camera to follow a moving ob- ject, this can be readily done through the view finder in the usual way, after the object has once been focused. The reflex focuser is also supplied with extension tubes measuring %, 1 and l1-) inches, etc. These serve to increase the extension of the lens in accordance with the increase of effec- tive focal length, up to 8 inches and thus give a range of focus from in- finity up to within 8 inches of the diaphragm. F&6 O Fig. 6 shows the reflex focuser equipped with two of the extension tubes N and 0, and the camera at- tached to the tripod by a ball-and- socket head so as to point in a down- ward direction, as would be used in photographing small insects or other objects on the ground. The writer has obtained some excellent results with this device in photographing ants, spiders, caterpillars and other small insects under conditions which would have been impossible with the ordinary telephoto lenses. There is no difficulty whatever in obtaining objects in sharp focus even when lo- cated as close as 8 inches to the lens diaphragm. Table 5 shows the horizontal and vertical distances covered by a pic- ture using a 4-in. lens at various ranges from infinity to 8 inches. Area Covtrei fcg ^Ectur-e -4--L***. "CKltawtt a£ Cty«i x4o**Cy i*x-oX VttiCcot £«,«. 1)C»13cmjt- (*) "EUU TVeU ee U^> +o oo 11^ +0 00 looo B Ion. izra 73oo ft So B Sov& 3-ti» 30 S S.03S 2-I7& 20 & *.oi a I-44S 15" » |.s»e l«7& IJSt 1+.4 « /0.3 a lot' Mia as- a SB 14'" fc7* 7* 8-/B!! FS5* 4" l-ISS Ton je Sf^a. 41 H 45 4-j-is S-aS 3'/te s-iSra UU 3feS 5*7 a SW*B 3o* Ml a l-70fi 24* 2-04'- l-44'i ' Igfi 1.43 IS i-oa a IS.2! 0-8I5U . o-res-a II a o-fise on a io e O.tl'1 0.435 a am osjis o-3«Ji 8a 0408?^ 0. 202o'i(t) xr) tor Qh-uds *£,&«. t\*- doA^vin, , TA-. Xiifru*ec (f) l?«^>Tcsc*Ct Ortvo-U dUM*ci*inhii of. £&*+ t«f rf«4 } q+Jl q£ tVJ eListfr.*c« o"btf£h, <^u. ~rty-n&"-uJ- "Ufie Svjjl. TABLE 5 In close-up work of this kind it should be borne in mind that the diaphragm markings are altered as the focal distance of the lens is in- creased. The "stops" as engraved on the lens are only strictly correct when the lens is focused at infinity. They represent in each case the equivalent focal length of the lens divided by the diameter of the diaphragm aper- ture. As the focal distance is in- creased, it follows that the correct Corrtdruvl ot Sto-pS Km. CLost5a^.^e W^UC- otop -MarK.«~uj? oit i tus- F-4-s- P5-E- F to | F8 F II Pit. 41N F45- FffS" Ffc-3 . F8 Fll Fit 4H FF-i Fl-2. F7-2 I F.) FOA F 18 r F*4 *H F8 : Flo FI3J7 F2o Si. F til F8& i Fll F IK| F2* L F t 8 P8-3 FU ! FI2. Fll-S- f24^ t'i P7-3 F1 | Fio-4 i FI3 FI7.<) Fit 1 F1-] F*t FlU i F14 Fll-S 1^28 Ik F&4 Flo-3 FIX FMS- P3fe F3o 8 M F II F1H Flfc F2*. *31 Get the Most Fun from your Home Movie Projector There's Adventure . . . Comedy . . . Drama in Kodak Cinegraphs MOVIES of famous explorations into the four corners of the world. Gripping . . . educating. Hollywood's renowned comedians in side-splitting snatches of their fun- niest pictures. Moviedom's star actors and actresses at their best. All the very latest Cinegraph re- leases are here for you to flash on the screen with your i6m/m projector. There's a wide variety to choose from. Come in today and make your selec- tions. Write for our list of the most recent Cinegraph releases. Headquarters for Home Movie Equipment Eastman Kodak Stores, Inc. Madison at 45th St. New York City TABLE 6 HUMIDIFYING SOLUTION for Motion Picture Films This solution will keep your films flexible and in good condition continu' ally if applied occasionally to the pad in the humidor can. Dry and brittle films may be softened by moistening the pad and allowing them to remain a day or so in the closed can. Send $1.00 for a 4 pz. bottle {Dealers write for prices) STANLEY A. TOMPKINS 350 Madison Avenve New York City F if t y -f iv e PROFESSIONAL SERVICE for MOVIE MAKERS A complete titling and editing service. An exclusive personal border supplied FREE with all title orders. We make all kinds of animated, trick and Art titles of highest quality at reasonable prices. Pioneers in reduction printing from 35 mm. to 16 mm. — negatives or positives. Films rented, sold and exchanged. Get our rental prices. Complete stocks, always, all makes Cam- eras, Projectors and Accessories. Phone for a demonstration in your home, no obligation of course. ESGAR MOTION PICTURE SERVICE, INC. 12804 Superior Ave. Tel. Glen 2362 Cleveland, Ohio SERVICE in New York City Our movie experts will gladly give you instructions and denv onstrations on all kinds of equip- ment. We have a complete line of Cameras, Projectors and acces- sories. LUGENE, Inc. OPTICIANS 600 Madison Ave., N. Y. C. Near 58th Street TELEPHONE PLAZA 6001 Underwood Titling & Editing Service for Pathex 9m/m Film TITLES — TILTING — EDITING Photographs Reproduced Write for samples and price list The C. R. Underwood Company 3838 Kennerly Ave., St. Louis, Mo. The NEW DeVry 16 mm. Projector $85.00 Liberal Allowance on Old Projectors PICKUP Cine Kodaks Pathex & BROWN, Inc. DeVry OPTICIANS ; Motion Picture Accessories 41 EAST 41st ST., NEW YORK, N. Y. Phone Murray Hill 0041 Write or phone regarding SHOW-AT-HOME MOVIE LIBRARY SERVICE stop number is increased. This will be made clear from Table 6. A correction of this kind should always be made to determine the proper stqp for close-up work when using a telephoto lens. The attachments described in this article will prove of considerable value to the camera user who aspires to be more than an amateur. They will not only eliminate guess work to a large extent, but will extend the range of the cine camera and en- able the non-professional user to ap- proximate many of the best profes- sional results. THE END OF THE RAINBOW {Continued from, page 15) would increase the bulk somewhat and would increase the cost consid- erably. The mechanical difficulties involved are relatively slight. Having produced a camera of the type described, it now becomes nec- essary to provide means for develop- ing and printing the positive. Here the maker of the equipment or the film must supply the means because the machinery needed to make a color print can be produced economically only when it can be used to print enormous footage. That, however, is no serious drawback, as most ama- teur film now is sent to some distant point for finishing. With the print finally finished, the next problem is one of projection, and again the amateur has the advan- tage over the professional. One of the real troubles of all motion pic- ture color prints to date has been the difficulty of securing sufficient trans- parency to give a brilliant screen image in the theatre where projection distance is usually extremely long. Projection distance and image size in connection with amateur machines are relatively small and brilliancy is correspondingly increased. Further, almost all amateur projectors have a higher projection efficiency per unit of illumination than do the large theatrical machines. One of the difficulties to be ex- pected involves exposure. All ex- posures in any color process must be accurate, but exposure tables are so easily available that comparative charts for quick computing of ex- posure by any method are easily pre- pared. Another difficulty which the amateur may encounter is the ques- tion of lighting. Contrasty lighting is to be avoided always in photo- graphic color work, as some of the early experimenters discovered after considerable labor. However, the general data concerning the produc- tion of pictures in a pleasing scale of colors approximating those of nature are available and there can be little question but that the manufacturers have already given the matter a con- siderable amount of thought. The difficulty of judging the probable de- mand, together with the expense in- volved in preparatory work have more than likely been strong forces against embarking on the field of color. Nevertheless, it is a fascinat- ing thing to look forward to as an achievement which will add to the beauty and charm of an already ab- sorbing hobby. When we, in later years, can re-create on the screen our visit to the Grand Canyon and can see the lovely strata of color as we first saw it — or when we can retain the charming color of long dead gar- dens or other memory-laden spots — then indeed have we achieved the true pot of gold at the end of the rainbow. THE VALUE OF VALUES {Continued from page 14) evident that a theoretical and prac- tical knowledge of values enters into every type of cinematography. In the film just depicted, it is its very life's blood. Only an attempt has been made here to urge the cinematographer, be- ginner or advanced, to think about this question of values. It is a subject that is so vast and has so many rami- fications that a complete issue of this magazine could not do justice to it. Suffice to say, in closing, that sincere thought and determined effort to achieve masterpieces in monotone, through the medium of light and sil- ver, will fully repay all the effort expended. SYNTHETIC CINEMA {Continued from page 19) Scene: Medium shot of Mr. Ent- whistle's artificial limb wrapped in a khaki puttee. Orch. Cue: "Just Tell Them That You Saw Me." Title: Phylia sets out across Flanders Fields in search of the soldier who lost the leg. Scene: Feminine footprints in the mud. Orch. Cue: "Boots, Boots, Boots!" Title: "Phylia!" "Hermie!" she finds her Cinderella man, and he is minus a leg. Scene: Medium shot of one foot- print and the mark of a crutch-tip in the mud. Orch. Cue: "Hero Song from The Chocolate Soldier." Title: Came the dawn. Scene: Medium shot of a pair of slippers, 4A, and a single shoe, 9%C, outside door of hotel bedroom. F i f t y - s i x Orch. Cue: "Yes, Sir, She's My Baby." Thus Mr. Feeber, with sounding brass and tinkling symbols, adopted the light Teutonic touch, and went the Germans one better by eliminat- ing actors entirely. And in an era distinguished by meatless beef stew, nicotineless cigarettes, painless den- tistry and childless marriages — what could be more in keeping with the synthetic spirit of the times than actorless drama? AMATEUR CLUBS {Continued from page 33) Club. The Auckland group are for- tunate in having a photographically intriguing harbor, with many yachts which will provide the milieu for the first production. Stars Orbit Enlarges TPHE Amateur Movie Club of the •*■ Roosevelt High School, Des Moines, Iowa, lost its star in the mid- dle of production of its last release "Framed". Mary Currier left for Los Angeles to become secretary of her cousin Richard Dix. But Direc- tor Charles J. Luthe, jr., undaunted, carried "Framed" to a successful conclusion and now has it in the club's cutting room. This photoplay tells the story of an awkward coun- try youth's visit to city cousins who plan to have fun with him. In a series of amusing incidents, the coun- try lad triumphantly turns the tables on city sophistication. Twenty-five members of the club took part under the direction of Mr. Luthe. Clarence Cooper, Charlotte Thomas, Mary Carrier, Gilbert Carr, Harry Martin and Frederick Bauder, took leading roles. Advanced Amateurs OPIDER film studies, produced at a **^ distance of only six feet from the subjects, analyses of cloud motion and filter experiments occupy the at- tention of the Motion Picture Di- vision of the Cleveland Photographic Society, according to its chairman, Lloyd Dunning, League member. This prominent photographic body owns a completely equipped cinematogra- phic studio in which its members conduct experimental work. The Motion Picture Division has experi- ments under way in nearly every phase of amateur motion picture making. Lighting studies are to be taken up next. Pictorial composition with movies occupies the attention of one of its members while J. Sydney Green, member of the League, has just completed a 2000 foot film of his own business operations. REEL OF THE MONTH V y h. y CLUB, Estrada, Lindbergh and Ambassador Morrow in the Foreign Relations Office After his Successful Flight from Washington to Mexico City A VIVID THRILLER OF LINDBERGH'S FLIGHT TO MEXICO CITY Here is a film bound to be one of the most treasured possessions of thousands of amatuer projector owners ... an authentic eye-witness log of Colonel Lindbergh's flight from Washington, D. C, to Mexico City. Thrilling scenes . . . close-ups of Lindbergh tuning his plane . . . making up his flight map . . . pulling the Spirit of St. Louis from the mud for a bird-like take-off ... a comprehensive animated map showing the course of his plane . . . his arrival in Mexico City . . . and the glorious, rousing welcome given him by our neighboring Republic. LINDBERGH IN MEXICO WILL BE RELEASED AS HIGHLITES OF THE NEWS No. 8 (single pictures obtainable at retail stores for $7.50, 100 feet, 16 mm. film). This reel will come to all members of The Reel Of-The-Month Club who join NOW . . . and to those who now know the benefits of a membership. JOIN THE REEL-OF-THE-MONTH CLUB The Reel O-The-Month Club is the solution to a vexing problem that confronts owners of home projectors . . . how to get the choice, outstanding reels without the trouble of viewing inferior films. The Club sends you the best reel of each month (delivered to you by postman on the first day of each month) . . . for the duration of your membership. FORMER RELEASES OF THE CLUB Highlites No. 1 — Lindbergh's Hop-Off on his great Atlantic voyage. Lindbergh's arrival in Paris and the big welcome. Lindbergh en route home after his famous flight. Lindbergh's rousing New York welcome. Commander Byrd's memorable hop. Maitland's flight over the treacherous Pacific. The inter-collegiate boat races. 2. The ring classic . . . the Sharkey-Dempsey fight.* 3. Thrills in the air. Parachute jump from dizzy heights . . . thrills furnished by an interpid airman and his fearless partner. 4. The heavy-weight battle . . . Dempsey-Tunney bout.** 5. A reel of thrill of thrills . . . fire on a storm tossed oil tanker and a rescue on a mountainous sea . . . thrills and spills in a series of hair-raising rodeo stunts . . . the steeple chase ... 40 horses in the sport of kings . . . big auto classic, cars in death defying race . . . accidents and intense excitement. 6. Anti Aircraft guns at Fort Tilton, N. Y. 7. Highlites of the Army-Navy and the Yale-Harvard game. Big moments from the gridiron classics of 1927. A filmed record of crucial moments of the two big foot- ball games of the year. THIS IS THE TYPE OF FILMS THAT THE REEL-OF-THE-MOXTH CLUB PROVIDES FOR ITS MEMBERS EVERY MONTH. *Sold in New York State only. **Sold in Illinois only. Join today! Fill out the membership application blank printed below and send to the Club address, or ask your dealer to forward your application for membership. AND REMEMBER, THE REEL-OF-THE-MONTH CLUB IS NOT A RENTAL SERVICE . . . YOU OWN EVERY FILM THAT YOU RECEIVE. APPLICATION Reel-of-the-Month Club, 507 Fifth Avenue, New York City. Gentlemen: Please accept this application for membership in the Reel-of-the-Month Club. Enclosed find check for ($20) 3 months' membership — ($75) for 12 months' membership. In return you will send, postage prepaid, one 100 ft. 16mm reel on the first of every month. Write on white margin NAME ADDRESS STATE CITY Fifty -seven Take the Shake Out of Your Pictures — USE STEDISTRAP Freedom of movement with the steadiness of a tripod, that's STEDISTRAP's great feature. TWO MODELS A — To Take End of Tripod when Folded. B — Complete with Supporting Rod. Price #5.00 Home Movie Service Co. 2120 SLANE AVE., Norwood, O. Everything for the Home Movie Maker. NOW READY The first 400 feet of in. T Follow the "BELGENLAND" ON ITS WORLD CRUISE Released on 100 foot reels $7.50 each FOOTBALL Stanford vs. California Your dealer has them for sale or for rent Stone Film Laboratory "Exclusive 16 m/m Productions" 8807 HOUGH AVENUE CLEVELAND, OHIO Under the White Dome HPrlE formation of a Washington, •*- D. C, amateur motion picture club is well under way, according to information from its prime mover, John W. Thompson, of that city, Amateur Cinema League member. The outlook for this club is decidedly bright as the national capital has a large movie making population. The organization meeting was held De- cember 12. All officers have not yet been elected nor has a name for the club yet been chosen. We congratu- late Washington in that it does "choose to run". Rochester Pundits VV7ITH such organizers as George ** Eastman, film magnate and prominent member of the Amateur Cinema League, Eugene Goossens, noted composer and director of the Rochester Community Orchestra, Dr. C. E. Mees, world-wide cinematic and photographic authority, Eric T. Clark, director of the Eastman Thea- tre, Dr. Sibley Watson, Professor Clarence H. Moore and Mrs. Harold Gleason, Amateur Cinema Leaguer and amateur scenarist, a new ama- teur motion picture club has come into being in Rochester. This club, designed to realize the full possibili- ties of motion pictures as a medium of community expression, plans to cover all phases of amateur cinema- tography; it will conduct experiments and give its members the benefit of exchanging both films and ideas; it plans the production of at least one photoplay a year. These are to be new departures from the conven- tional. Mr. Goossens promises musi- cal settings written especially for them. Many of the organizers of this promising body were connected with the production of two notable ama- teur photoplay achievements, "Fly Low Jack and the Game" of the Rochester Community Players and "Mauve Passion" of the faculty of Rochester University, this being a satire on a number of things that these collegiate producers found worthy of humor. Calif or nians Circularize A TWO page circular letter ex- plaining the purposes of the Amateur Movie Makers of Califor- nia, signed by Charles S. Morris, chairman of the organizing commit- tee, has gone out to more than 600 Bay City amateurs. San Francisco will be the headquarters of this new body and the club will cover a fifty mile radius in central California. There are some 2500 amateurs in this region who should provide a solid backing for this fine venture. A monthly news letter, a film exchange, a projection room and photoplay production are promised. Hartford Players TPHE Hartford, Connecticut, Ama- ■*■ teur Picture Players, organized in September, are now shooting the in- terior scenes of "Mischievous Betty", from a scenario written by club mem- bers. Louis Tamiso is president, Steven Tamiso, secretary and Vir- ginia Perry, treasurer of this earnest group. Hamlet Left Out A PHOTOPLAY completely cine- **• matic — that is, telling its story in a way that nothing but motion pictures could achieve — is under way at Colgate University, Hamilton, N. Y., under the direction of Howard E. Richardson. "A Day in College" presents twenty-four hours — not of the James Joyce, type, however — out of the life of a Colgate student, with- out giving pictures of any faces. The whole film will consist of closeups of hands and feet and it will follow the hero, in this way, through his entire collegiate day. Continuity will be indicated by clock closeups. The purpose of this film, aside from its being a distinct cinematic experiment, is to enable the spectator to identify himself completely with the hero and live, in imagination, the colle- giate routine, without disturbing this identification by seeing on the screen a face, not his own. This is the type of amateur experiment we may expect increasingly from clubs. Devry Program HPHE Movie Makers Club of Chi- -*• cago was given a complete pro- gram in December by the DeVry Cor- poration with talks by H. A. DeVry, president, A. P. Hollis, advertising manager and author of "Motion Pic- tures for Instruction" and R. V. Weart, illustrated by unusual ama- teur camera screenings. At an ear- lier meeting, the Movie Makers view- ed "Hey Hay", produced by the Mo- tion Picture Club of the Oranges and "A Trip Through Film Land", de- picting the manufacture of motion picture film. Siegfried Does Comedy CARRIED on simultaneously with its serious film "Repentance", the Amateur Motion Picture Club Siegfried, of Jersey City, N. J., has "Don Carlos's Studio" under way. This tells of the adventures of two tramps posing as motion picture di- rectors in a rustic community. Carl Ihrig plays Don Carlos and C. Petro- vitch plays Von Wonder. This club Fifty -eight Introducing the AGTINORATOR for making INTERIOR MOVIES of PROFESSIONAL QUALITY PRICE Including Adjustable Metal Tripod of Collapsible Type $16.50 Combines EXTREME PORTABILITY, COM- PACTNESS, SIMPLICITY, HIGH EFFI- CIENCY, and is a valuable adjunct to the equip' ment of the Amateur Movie Maker. This 8- Ampere Arc Lamp, continuous-feeding, produces a steady, brilliant white light rich in actinic quality. Burns continuously for as long as 40 minutes, if desired. With F 3.5 lens, one lamp is ade- quate, for close-ups. Operates from any 110 V. house lighting outlet and one circuit will accommodate as many as 3 lamps. PROJECT YOUR MOVIES in any color of the RAINBOW with the Automatic COLORATOR Unlimited color effects at your fingertips. Supplied for Kodascope Models A or B, or for Filmo and De Vry 16mm. projectors. At' taches to your machine in ONE SECOND with- out marring finish. See your dealer for a demonstration, or write us jor descriptive literature. MFD. & GUARANTEED BY American Cine Products Co. Argyle & Sawyer Aves., Chicago, 111. SAVE MONEY 16 mm. Cameras and Projectors and Films Bought, Sold, Exchanged or Rented 16 mm. Films Developed and Printed 16 mm. Titles Made 5 5 mm. Negatives Reduced to 16 mm. RAY— 296 5th Ave., New York, N. Y. You Can't make perfect movies without the help of The Cine Miniature monthly monographs. Subscribe for them today — $2.50 per year or 25c per copy at all better dealers, or Leonard Cor dell 1636 N.Washtenaw Ave. Chicago, Illinois had a gala meeting December 17, screening several photoplays produc- ed by other clubs. Montreal En Route THE first Canadian amateur mo- tion picture club is under way in Montreal, under the guiding hand of Colonel L. J. Des Rosiers, with the assistance of J. Purkess and others. A capacious hall in the Mechanics Institute has been provided for the first meeting. The club intends to own its own studio eventually. How to Cinetravel GARDNER WELLS, world cine traveler and member of the Amateur Cinema League addressed a special meeting of the Philadelphia Amateur Motion Picture Club, De- cember 1. Mr. Wells spoke illumi- natingly on planning one's travel shots and outlined difficulties of cine travel and how to overcome them. From Earth's Four Corners CARL M. KOTLIK, active Ama- teur Cinema League member in Vienna, Austria, reports the forma- tion of two European associations, the Bund der Film-Amateure Deutsch- lands (German Alliance of Film Amateurs) and the Club der Kino- Amateure Oesterreichs (Austrian Cine- Amateurs' Club), their head- quarters being in Berlin and Vienna, respectively. In Stockholm, Sweden, Waldemar Thyssel is making preparations for the first Swedish amateur photoplay. Sioux City, Iowa, promises a club soon. Students of the Cleveland High School, in Georgetown, Seattle, Washington, have produced "Over The Goal Line", written by Melvin G. Winstock. The production is sponsored by the Georgetown Parent Teacher Association. HOW TO TRAVEL CINEMATICALLY (Continued from page 37) penny postcards. As a matter of fact, most postcard pictures are taken from some angle inaccessible to the average amateur cinematographer. You will get far more interesting pictures if you forget vistas and long shots and, instead, photograph un- known nooks of world-famous build- ings, incorporating a bit of native life. Also with a cine camera it is quite possible to take unusual pic- tures showing close-ups of the carv- ings of a doorway or even the whole set of arabesques on a dome through ARROW PORTABLE Motion Picture Screens (Patent Pending; Screen Ready for Use Screen Rolled in Case for Carrying Composed of millions of tiny round glass beads, firmly embedded on a strong fabric in a pure white composition. Has a wonderful reflective surface and will not glare like the silver metal' lie surface. Can be easily cleaned with soap and water. Complete with dustproof mahogany finished case into which it is drawn by a metal spring. PRICES Ho. 1 — Size 331/>x31/4x4 — picture surface 22x30 in. Weight 6 lbs $15.00 Ho. 2 — Size 45'/;>x4,/2x5 — picture surface 30x40 in. Weight 15 lbs $25.00 Ho. 3 — Size 57x43/4x5 — picture surface 39x52 in. Weight 18 lbs $35.00 At Your Dealer MANUFACTURED BY Arrow Screen Company 6725-55 Santa Monica Blvd., Hollywood, California SCHEIBE'S Photo -Filter Specialties Endorsed by AMERICAN SOCIETY OF CINEMATOGRAPHERS roduce novel screen effects. Ask your dealer, or write to GEORGE H. SCHEIBE PHOTO -FILTER SPECIALIST 1027 \V.78th St.. LOS ANGELES, CAL. FILMLAB PRINTS have come to be known as The Best Obtainable Ask your dealer for them and obtain better results without extra cost. 130 WEST 46th STREET New York City. Tel. Bryant 4981 fifty-nine THE W. B. & E. "PILOTLIGHT" A convenient light on your Filmo Projector that enables you to operate and change your reels with plenty of illumination that does not attract the attention of or annoy your audience. ght j) you ) Makes operating your projector a pleasure. No extra wires needed. Just pull the switch and the L is there — When and Where y need it. Easily attached to your machine in a few minutes and projector can be packed away in case with' out detaching. Price $6.00 From your Dealer or Direct WILLIAMS, BROWN & EARLE, Inc. "The Home of Motion Picture Equipment" Filmo Motion Picture Cameras and Projectors 918 Chestnut St., Philadelphia, Pa. THREE GOOD REELS Atlantic City Pageant of 1927 Strikingly Beautiful Film. Including the Baby Parade, Bathers' Revue, Selecting Miss America. The Fair of the Iron Horse Spectacular Historical Pageant showing the His- tory of Transportation since the days of the Indians. Interesting, Amusing, Instructive. Little Red Riding Hood Delightfully Acted. A film the children will be wild about and grown-ups will enjoy too. Price $7.50 each. $21.00 for all three. Postpaid AMATEUR MOVIE SERVICE 853 N. Eutaw St. Baltimore, Md. sOiHomeMovie TicenarioBook 20 Brief, Amiable and Workable Scenarios with Complete Directing Notes. Second Printing — $2.50 — at all dealers RICHARD MANSON, Publisher 535 Fifth Avenue New York City pointing the camera straight up- wards and panoraming very slowly. Make close-ups generously — they are the very spice of a travel film, or any film for that matter. A word as to panoraming. Ama- teurs are warned against it because beginners have a strange impulse to "climb buildings" and sweep the landscape with every shot. Until the beginner learns to hold the camera rigidly, which takes experience, his panoramas are likely to be failures. But panoraming is by no means impractical with a hand camera and it is only through panoraming that you will be able to get certain pic- tures. Suppose a donkey laden with water jars comes into view suddenly and your position is not advantage- ous— it means panoram or no pic- ture. Keep the donkey in the center of the finder and follow him with the camera. You will find that you can move the camera in a case like this with far greater speed than you could possibly use while panoraming a distant view since the camera is centered on an object which, though moving, in practical application is standing still. When photographing people in other countries, if you let them know it they will stand stock-still, so ac- customed are they to the warnings of owners of ordinary cameras, and if you speak the magic word "cinema," they will move all over the place, in- variably out of the lens range and you will soon find yourself pano- raming if you are to keep them in the picture. The best way is to let them think you are using an ordinary "still" camera and while they are getting ready to be photographed, photograph them. Naturalness is a prime requisite if your film is to be interesting. In making street scenes it is well to par- tially secrete yourself in a door-way and make brief shots of the people passing — or sit down and have your shoes shined^or sit at a table in front of a side-walk cafe. You will probably waste a few feet of film through little accidents, people pass- ing in front of the person you are photographing, sudden changes of direction, and that sort of thing, but a few wholly natural pictures are worth a reel of stiffly posed ones — particularly if you want to give your "lookers" an honest picture of native life. When making street scenes you must work fast. The moment people know you are taking motion pictures you will find a small crowd gather- ing and chances for further natural pictures in that street are gone. In certain places, such as in the souks of Tunis, people have amazing mem- ories and if you have ever made pic- tures there your very appearance in the bazaars, with or without a cam- era, will cause a group of street Arabs (literally "street Arabs" in this case) to follow you wherever you go. There are many places in foreign countries where photographing, par- ticularly motion picture photograph- ing, is strictly prohibited. It will be useless to attempt to get official per- mission, but small tips to the guards are usually enough to obviate some of the "strictness." One rule must always be observed however and that is to make your pictures inconspicu- ously. Fussing around will not be tolerated, so it is well to plan what you want to take in advance, make your exposures quickly and get out. The element of excitement adds much to the game. Photographing the interiors of most mosques is fanatically prohibited, but it is pos- sible to make these pictures if you choose your time carefully. I have made photographs in mosques in Tunisia totally unobserved through visiting them on fete days when all the population was congregated in the market place of the town — leav- ing the mosques deserted. In Moslem countries there is often an objection on the part of the Arabs to being photographed. Sometimes they will cover their faces with a handkerchief or they will run from the camera which, after all, is as fascinating a picture as you could get! It is well not to go against this objection when it is pronounced, but their objection is often only a de- mand for payment in advance. The canny Arabs have too often been fooled by tourists who took their pictures and gave them nothing. Tossing a few coins in the street will always give you a picture. Of course no one would photograph a beggar without putting a few coins in his bowl. You will find that the great crowds which assemble in foreign countries when an event of unusual interest takes place will make it difficult to get pictures unless you have a vant- age point and hold it for hours. It is possible, however, to get right in the crowd, hold your camera in the air, and shoot blindly over their heads. When you have your films developed you will invariably find that you have an interesting strip of film — pictures of things which you did not see yourself! When you return home and see your films run off it is well to take out the shots which are of so unique a nature that they can never again be Sixty duplicated, splice them together tem- porarily and have a duplicate film made. In the future you may again visit the scene of your present travel film and may want to incorporate these unusually good scenes in the new film. In any case they are pre- served permanently. Writing the titles and editing your films is as much fun as the actual taking of the pictures. It is in this part of the game that you can make your pictures distinctive. Much of the success of a travel film depends upon the titles; observe any professional travel film and you will see that the title usually paints a word-picture before the actual scene appears. Following are a few titles which are interest-stimulating without a picture being seen: A JOURNEY TO THE LAND OF 1000 YEARS AGO. WITHIN THE WALLS OF THE HOLY CITY OF KAIROUAN. TUNIS— WHERE EAST MEETS WEST AND THE EAST IS THE VICTOR. THE ANCIENT STREETS OF ORIENTAL SOUSSE. Sequence is an important thing in editing your films; like most people, you undoubtedly will find a hodge- podge of non-related subjects when you first run off your films. To see a well-balanced film emerge from your mass of random shots is a new creative pleasure. If you have photographed a walled city, follow your title with a picture of the city walls, then show people entering the gate. Take your audi- ence inside the gate and show them the city. This is the order in which you would prefer to see a city although it is usually true that your pictures as you took them will show the city "inside-out." Also, when you leave one town for another, depart on a title, or you will leave your audience stranded in the city you have just visited! It is a good idea to follow your main title with a sub-title, "PHOTO- GRAPHED AND EDITED BY ," particularly if you intend to lend your films to other members of the Amateur Cinema League. For those of us who cannot pro- duce and photograph amateur pic- ture plays, the travel film, capably photographed, interestingly titled, and skillfully edited is hardly second in interest. ASKED and ANSWERED Edited by Dr. Kinema Q. Are titles made in direct sun- light of better quality than those made in artificial light? — R. L. A. Providing you have enough ar- tificial illumination on your title card and proper exposure given, your titles should be the same in quality when shot by either method. When the title card is in bright sunlight, stop down to /16, which will give you pure white letters on a dead black ground. In artificial light, one must, as a rule,, use the lens at about /4 or /5.6, to insure correct exposure, and there is a greater chance for er- ror in focusing. A small stop in- sures maximum sharpness. Q. I have gotten very flat results when taking scenes on a beach or bathers in the water. Should I use a color filter? — W. A. A. Due to the extreme intensity of the light on beaches, caused by re- flection from the sand and water, the film is overexposed because smaller stops than /16 are not provided on the average amateur camera. This over-exposure flattens out the con- trast in the picture. Generally, this type of shot calls for a stop of /16 with a two or four times filter. OUR NEW FORMAT In harmony with our ef- forts to constantly improve Amateur Movie Makers, this first issue of Volume III comes to you in an en- larged form, which will aid in its typographical enrich- ment by providing more lib- eral margins, and permit- ting of more generous use of white space, with its at- tendant beauty. The Editor. 6E YOUR CWN BROADCASTER FOOL YCL« f FIENDS Just plug the adapter in the detector tube socket of any radio, conceal yourself in an- other room with the microphone and broad- cast anything you want — the sky's the limit. Fun? Try it! It's the New Idea for a Radio Party HomeBroadcaster Price $7.50 Complete $1 with order. Balance to postman on delivery BROOKLYN METAL STAMPING CORP. 724 Atlantic Ave., Brooklyn, N. Y. 5 times more light. . . . Fits the Filmo! Made by Wollensak . . . the master lens maker. In fine micrometer mount. Ready to use. $50.00. Your interior "Shots" easily made with this highest high speed lens. Get yours now. 60 page Cinema Catalog free! Order To-day! BASS CAMERA COMPANY 179 West Madison Street Chicago, - Illinois SUBSCRIBE TO cAmateur <£M.ovie (£7Y(.akers THREE DOLLARS THE YEAR 105 West 40th Street, New York City CINE ART Home Library Releases for January "RUINS OF POMPEII" A great Picture showing Pompeii as it looks today after being uncovered from its grave of nearly two thousand years! No. 128. Length 100 feet. Price $7.50. "VESUVIUS" Belching forth his infernal fires. A spectacular picture of the eruption dur- ing 1926. On the same reel are scenes of Pompeii. No. 129. Length 100 feet. Price $7.50. AROUND THE WORLD IN FOUR MINUTES" A picture that gives you glimpses of virtually every land. A wonderful travel film. No. 130. Length 100 feet. Price $7.50. THE ADVENTURES OF "TONY, THE CUB" A series of Animated Cartoons, one each month. Each a complete story. No. 201. "Adventures of Tony," Reel No. 1. Price $7.50. Write for complete list of subjects. Let us place your name on our mailing list for data on new subjects to be re- leased each month. All Leading Dealers Now Sell CINE ART FILMS 1442 Beechwood Drive Hollywood, California Sixty-one PHOTOPLAYS For HOME use Complete Library — Rental Basis. 16 m.m. Subjects — 12-minute length Comedies, Cartoons, Westerns, Ani- mal Dramas, etc. — 75c each. Park A venue Store Regional Library of HOME FILM LIBRARIES • TITLES A.E*S Complete editing and titling ] YESTERJAYt serv cc. ( 6 mm. or stand- ard.) Cinematography. CLARK CINE-SERVICE I | 2540 Park Ave. CAdillac 5 260 1 DETROIT, MICH. BMbHJ n jjHm SB EH BUB •Hffl IHIlHv Laboratory Finishing of the Highest Quality Reduction Printing from 35mm. to 28 mm. or 16mm. by the pioneers of the narrow width field. Thirteen years of experience in our own carefully planned Motion Pic- ture Laboratory, with the finest machinery and equipment and a large force of skilled specialists, enables us to do the best wor\ in the shortest time and at min- imum cost. Capacity One Million Feet per Month Dupe Negatives (35mm.) on special duping stock by the firm which has made mil- lions of feet of the finest dupe negatives ever produced. The Pathescope Co. of America, Inc. 33 W. 42nd St., New York Laboratory, Long Island City Our Birthday BOUQUET ON the first anniversary of the founding of Amateur Movie Makers, which was observed with our December issue, it was our honor and pleasure to receive many letters expressing hearty friendship for the magazine and the Amateur Cinema League, with congratulations on the year's efforts and achieve- ments. While praise is always warm- ing, to us the real import of many of these kindly greetings lies in their demonstration of the cordial relation- ships existing between the amateurs of the nation, as represented by the League and Amateur Movie Makers, and the great industries which the amateurs have built and are now building. This realization of mutual interest and appreciation of the value of mutual service is a signal example of the spirit of cooperation which has placed America in the forefront of the nations of the world. FROM L. B. Jones, Vice-President Eastman Kodak Company, came this felicitation : "It's always 'Hats off' to the pio- neer who blazes the way. Amateur Movie Makers entered a new field when others were afraid. In twelve months its courage and foresight have already been justified. Congratula- tions." FROM J. H. McNabb, President of the Bell & Howell Company, comes this greeting: "May I be privileged to express to the Amateur Cinema League and the amateur movie makers all over the world my hearty congratulations on your first birthday, which has been marked by the first anniversary num- ber of Amateur Movie Makers? "It must be very gratifying to the officers of the League to look back over issues of this excellent magazine from its first issue to the last, and to observe the steady, healthy growth, culminating in a 1927 anniversary number twice the size of the first issue. "I congratulate the League officials upon their commendable year's work, which has contributed so much in giving the movie amateur enthusiasts ao helpful a publication. And I con- gratulate also the League members upon their splendid cooperation, with- out which the League could not have shown this remarkable progress. The Latest "GINE-NIZO 16" MODEL B Three world records: The smallest — the lightest — lowest in price. 16 m.m. Movie Camera with motor drive. NIEZOLDI & KRAMER MUNCHEN 23 GERMANY ANIMATED & LEADERS As the Theatres Send for illustrated catalogue v PLAIN & ILLUSTRATED TITLES -THE PROFESSIONAL KIND FA'ADAHME,inc 145 W. 45 ST. N.Y. BRYANT 6796 READ Sports Afield America's First Outdoor Monthly Magazine ESTABLISHED 1887 for the best outdoor stories by such famous writers as BOB BECKER — CAL JOHNSON — EDGAR A. GUEST— EL CAPITAN— JOE GOD- FREY, JR.— OZARK RIPLEY. Our 50,000 Readers Say that Sports Afield's Departments are the best in the field — including — FISHY FISH STORIES WATERCRAFT— MOTORCAMPING BINOCULARS FOR SPORTSMEN CAMPS. RESORTS tf TRAVEL AT THE TRAPS KENNEL AND LAIR Our #2,000.00 Fish Foto Contest has attracted thousands of new readers — if you have any photos of your catch, send to us for entry blanks. Our Advertisers Get Results Set Send $2.00 for 1 year subscription — with each subscription we will send you a Gold Autostrop Razor Complete. Sports Afield Magazine 542 South Dearborn Street, Chicago, III. Sixty-two MOTION PICTURES of every description Shots and stock scenes of most anything LARGE CATALOG LISTING of short subjects for the home in standard or 16 mm. Special Exchange Arrangement Metropolitan Motion Picture Company 108-110 West 34th Street New York City GRIZZLY BEAR The most thrilling sport America has to offer the Camera Operator or Big Game Hunter is found in the Interior of British Columbia, hunting the famous "Silvertip" Grizaly, the most ferocious and one of the most cunning animals of the family; shots at Grizzly with either camera or rifle guaranteed; rates reason- able; write TODAY for particulars. J. H. MUNRO, or Secretary Board of Trade Revels to ke, B. C. Just What You Wanted A new film cement prepared for use on your safety films. Makes a rapid and permanent splice, and is far superior to a cement made for any film. Only 25c a bottle at your dealer or if he can't supply you, send 25c in coin or stamps and we will mail you a bottle. Dealers write for discounts, use letterheads. Also toning, tinting and title service. Special rates on titles to persons doing film editing and titling for others. We also make negative from reversible film, contact prints and duplicates. Write us about dissolving and fade in and out titles, we make them. CINEMA PRODUCTS 405 Elm Street Buffalo, N. Y. 16 M.M. Picture Films 100 FEET TO ROLL Reduced from standard negatives ASCENDING PIKES PEAK FEATHER RIVER CANYON YOSEMITE VALLEY SUNDOWN DANCER AND MANY OTHERS Price (outright) $6.00 per roll Three rolls for $15 Postpaid anywhere in 0. S. Produced by ERNEST M. REYNOLDS 165 E. 191st Street Cleveland, Ohio Free 30Day Trial— Why pay $125? . 1 u ... I " il BUY DIRECT FROM FAC- TORY—SAVE $40 Use Leoti's Portable Arc Lamp (New Type) Cuts Your Light Bills in Half. Try it 30 days, if not greatly pleased, trial costs nothing. Lightest Weight, Most Powerful lamp made; quick as a flash; 5 times faster than any in- candescent lamp using same amount of current. Works from any ordinary lamp socket. For amateur and professional moving pictures, home portraits, commercial and studio use. Price with case, $80. Write LEOTI'S ELECTRIC CO. Dayton, Ohio. "Please accept my cordial good wishes for the Mew Year. Your splen- did spirit of cooperation will inspire its own tribute from the industry in perfected home movies, and by the perpetuation of ties through that modern family album, the amateur movie film." THE DeVry Corporation extended its good wishes through Mr. A. P. Hollis, Advertising Manager, who wrote : "Amateur Movie Makers seems to have arrived full-orbed, like Min- erva from the head of Jupiter. There were no painful appeals and years of slow grinding. "The DeVry Corporation was among the first of the larger adver- tisers to see its possibilities and use its service and from the beginning the returns have been satisfactory. "As for the amateur, he accepted it at once as an unquestioned gift of the gods, and has been using it amaz- ingly ever since." THE A. C. Hayden Company, through Mr. Hayden, President, wrote: "My conception of advertising used to be that if it created an initial interest in a product it had done its duty and that the actual sale would have to be completed by personal contact, but Amateur Movie Makers has educated me in that regard. It has built up my business. It is the only advertising medium I have ever used that creates the demand and sells the product. In fact, the A. C. Hayden Company has not yet had to employ a single salesman, and we therefore credit our large cinematic business entirely to our messages to the amateurs through Amateur Movie Makers. "Your magazine has brought us business from all over the world, and in this connection, a recent order from the Far East leads me to the belief that the product in question is destined for the Palace of the Mikados. "Really, my interests are so tied up with those of this young publication that in sending a greeting to it, I am simply wishing myself good luck. Notwithstanding that, my congratula- tions in the fullest measure possible." OUR first birthday occasioned this prophecy for the future from H. Neuwirth of the Testrite Instrument Company: "We feel secure in our belief that the New Year, more than ever before, will bring happiness to all amateur movie makers because of the greater knowledge and additional mechanical aids which help the amateur operator. "We wish for you all, happiness and health in 1928." NIGHT MOVIES So many events happen at night that we would love to film — next day we have the light but the party is over. METEOR FLARES will provide the light — 30 sec- onds and up. The leading professional flare now available to the amateur. John G. Marshall 1752 ATLANTIC AVENUE BROOKLYN, N. Y. V A X Complete Laboratory Service TVS NEGATIVES DEVELOPED FIRST PRINTS AND REPRINTS IN ANY QUANTITY ON STANDARD OR 16mm ^ STOCK j FREDERICK F. WATSON 74 SHERMAN STREET LONG ISLAND CITY, N. Y. The KINO-PANO TRIPOD and TOP This new tripod has met with the highest approval of every dealer and camera owner who has seen it. By far the most rigid of any four pound tripod on the market. An instrument of pre- cision. Constructed of highest grade material throughout. Revers- ible tips. Tripod, $35.00, com- plete with Top. Top only, $17.50. F.O.B. Los Angeles, Calif. K. W. Thalhammer 123 SO. FREMONT AVE. Los Angeles, Calif. Sixty-three MR. CINE DEALER-, This is a message to You! AMATEUR MOVIE MAKERS is the magazine of the movie amateur. It has no other mission in life. But through the fact that it MUST kee.p amateurs advised of all services, acces- sories and films available to them, it has developed into a builder of business for cinematic dealers which has no rival. Why, then, do you not take into consideration the fact that AMATEUR MOVIE MAKERS, although it is a NATIONAL medium, is as valuable to you in your own bailiwick as it is to the manufacturer or national distributer who is backing you up by national advertising in the magazine through which he can best aid you, AMATEUR MOVIE MAKERS Take advantage of the money that is being expended in your behalf by manufacturers and national distributers to make their goods known to the amateurs! ADVERTISE to your local cinematographers WHERE those goods are on sale! Warning! Destruction ahead— Proceed at your own peril! Will you continue to endanger the existence of the especially prised original direct positives in your collection by repeatedly running them through your projector? How can you ever replace precious views of loved ones gone beyond recall? Events of historic import cannot be re-enacted for your benefit. One showing may injure these pictures irreparably. Don't take chances! Let SUPERLAB make a negative from your direct positive, now, before the damage is done. It is a safeguard you cannot afford to overlook. SUPERLAB prints from SUPERLAB duplicate negatives are always as good as the original, — and often better! Our laboratories offer a comprehensive, up-to-the-minute professional service to the amateur movie maker. It is available through your dealer. Write us for further information. Superlab Corporation 233 West 42nd St., New York City Laboratories, Palisade, N. J. Wisconsin 4020 Sixty-jour JOINING in these friendly greetings, Mr. Sidney Delmar of the Wyko Projector Corporation wrote: "It is now time to contemplate the progress made by Amateur Movie Makers during the first year of its existence. Its first birthday has just been observed. "For a yearling, it is a very lusty youngster. In fact, it looks to us as though it had cut its teeth, learned to crawl, tested its legs, and suddenly found itself in its youth — and all in the space of a year. "May we, therefore, extend our heartiest congratulations to your mag- azine, and wish you many happy returns of the day." /CHARLES BASS of the Bass Cam- ^-* era Company, Chicago, wrote: "This morning I received the twelfth number of Amateur Movie Makers. It seems like yesterday when the first number reached my desk, and here the first year has rounded out its course, and with what mingled feelings of surprise and en- thusiasm I glanced through the re- markable contents. To me who has devoted eighteen years dabbling with the tools of the movie makers, both professional and amateur, to me who has read reams upon reams of tech- nical articles pertaining to the motion picture industry, thousands of peri- odicals dating from the very infancy of the motion picture industry, I am rather proud to say you have hit the keynote and blazed a trail which makes the course of the amateur movie maker easy, indeed. In all industries there is a leader, and I am rather proud to say that Amateur Movie Makers is a leader in its field. "While it is not in order to speak in mercenary terms on occasion of your first birthday, may we add that our advertisements which appeared in each issue of Movie Makers have been a financial success from the first. "Members of the Cinema League from every part of North America have visited our store during the past year. Inquiries for our literature have been mailed to us from the four corners of the earth. Keep up the good work. You are on the right track. You are giving the amateur what he needs. Your technical depart- ments are superior and more prac- tical than any ever published, and the price for the magazine — a modest two bits — makes the best buy on the news stand. "More power to you and success!" WflLLOUGHBY'S of New York ** City sent a cordial message through Joseph Dombroff , Secretary : "Greetings to Amateur Movie Makers on its first anniversary. Ever since the first issue we all felt the magazine was destined to play an im- portant part in the development of amateur movies. The magazine has made wonderful strides and has been a great source of satisfaction to those of us who have been working for its growth and prosperity. "Amateur Movie Makers is the courier that goes into the home of every 16 mm. enthusiast, carrying the message of Amateur Cinematography. "The day is not far distant when the home will not be complete unless an amateur movie camera and pro- jector are in it, and Amateur Movie Makers, with its first issue of thirty- three pages, and at this writing over double the number, will be just as much a part of this necessary equip- ment. "Best wishes to Amateur Movie Makers, and congratulations on your first anniversary. May your life be ever so long." ROBERT S. CULLEN of William C. Cullen, New York City, ad- dressed the following salutations: "On the date of your first birth- day, allow me to present my compli- ments and best wishes. "I feel that Amateur Movie Mak- ers has done more toward bringing the manufacturers and dealers to- gether on common ground with the movie amateurs than any other agency. William C. Cullen has made many friends whom we would not have met had it not been for your magazine. "May your good work continue as effectively in the future as it has in your first year of movie making." RALPH R. ENO, maker of Eno's Art Titles, writes: "As a pioneer in the building of Art Titles for the amateur, I feel much indebted to the good offices of the A. C. L. It has been my pleasure to be associated with the A. C. L. from its very birth. The League has cer- tainly done a splendid work. "It has been my pleasure to have advertised in Amateur Movie Mak- ers from the very first issue. Words fail to express my appreciation of that magazine. The valuable assist- ance it has rendered, the courtesy I have received at the hands of its man- agement and the straightforwardness of its methods surely are a credit to the League. "I doubt not that I am voicing the opinion of its thousands of friends when I wish Amateur Movie Mak- ers the happiest of birthdays and, if possible, even greater success." INDEX OF ADVERTISERS Page Actinorator, The 59 Amateur Movie Service 60 American Cine Products Company .... 59 American Nature Association 48 Arrow Screen Company 59 Automatic Movie Display Corp 44 Bass Camera Company 61 Bell & Howell Company 2, 7, 41 Boring's Travel Service, Inc. 45 Brooklyn Metal Stamping Corpn 61 Burleigh Brooks 48 Burton Holmes Lectures, Inc 46 Cameron, James R 8 Cine Art Productions 61 Cine Kodak 38, 68 Cine Miniature 59 "Cine-Nizo 16" 62 Cinema Products Company 63 Clark Cine Service 62 Cordell, Leonard 59 Cullen, W. C 53 Dahme, F. A. A 62 jjpo]p|"c 34 Du Pont-Pathe Film Mfg. Corp 51 Eastman Kodak Company 38, 68 Eastman Kodak Stores, Inc 55 Empire Safety Film Company 54 Eno, Ralph R 48 Escar Motion Picture Service, Inc 56 Filmlab, Inc 59 Filmo 2, 7, 41 Fotolite 10 Ganz Co., Wm. J 57 ' Gillette Camera Stores 62 Goerz American Optical Co., C. P. . . 49 Hayden & Company, A. C 67 Herbert & Huesgen Company 6 Home Film Libraries, Inc 3 Home Movie Scenario Book 60 Home Movie Service Company 58 Hunt Pen Company, C. Howard . . . .50, 55 Kodascope 68 Kodascope Libraries, Inc 66 Leoti's Electric Company 63 Little Sunny 50 Lugene, Inc 56 Manson, Richard 60 Marshall, John G 63 Metropolitan Motion Picture Company. 63 Meyer & Company, Hugo 65 Munro, J. H 63 Nature Magazine 48 Niezoldi & Kramer 62 Pathegrams 4 Pathescope Company of America, Inc. 62 Photoplay 36 Pickup & Brown 56 Pilotlight 60 Plasmat Lenses 65 Ray, C. F 59 Reynolds, Ernest M 63 Scheibe, Geo. H 59 Show-At-Home Movie Library, Inc 52 Speedball Pens 50, 55 Sports Afield 62 Stanley Educational Film Division .... 47 Stedistrop, The 58 Stone Film Laboratory 58 Superlab Corporation 64 Testrite Instrument Company 10 Thalhammer Company, K. W 63 Tompkins, Stanley A 55 Underwood Company, C. R 56 Vitalux Movies 44 Watson, Frederick F 63 Westphalen, Leonard 50 Williams, Brown & Earle, Inc 60 Willoughby Camera Stores, Inc 9 Wollensak Optical Company 8 Wyko Projector Corp 46 Me\ier "Synonymous with the highest quality the lens maker can offer." Lenses It has been freely admitted that, in the series (f:4 and f:5.5) Dr. Rudolph has actually attained an increase in depth, giv ing your pictures a most pleas- ing modeling . . . plasticity . . . sense of form ... a distinct advance in present day lens construction . . . In this — latest of the ^Rfa&mat series Formula of Dr. Rudolph the fastest lens in the world these qualities are of para- mount importance and value in so speedy a lens! 1 in. in focusing mount for FILMO or VICTOR $54.00 2 in. in focusing mount for FILMO or VICTOR $85.00 At your dealer — or write to HUGO MEYER & CO., Inc. 105 W. 40th St. New York Works: Goerlitz, Germany. Sixty-five The largest 16 mm* film library in the world — KODASCOPE LIBRARIES, Inc. NEARLY FIVE HUNDRED (500) SUBJECTS ALREADY AVAILABLE Ranging From One to Seven Reels in Length OVER ONE THOUSAND DIFFERENT 400-FOOT REELS READY FOR YOU TO RUN The most popular stars, such as: JOHN BARRYMORE WALLACE BEERY CHARLIE CHAPLIN JACKIE COOGAN BEBE DANIELS DOUGLAS FAIRBANKS RAYMOND GRIFFITH EMIL JANNINGS MAY McAVOY POLA NEGRI RIN-TIN-TIN NORMA SHEARER GLORIA SWANSON CONSTANCE and NORMA TALMADGE will play for you in their most popular successes any night you wish. World'wide distribution, an adequate number of duplicate copies and an established organization, offer you a program service that you can depend upon. Descriptive catalog of 176 pages furnished gratis to subscribers KODASCOPE LIBRARIES Are Established At: Atlanta, Ga., 183 Peachtree Street Boston, Mass., 260 Tremont Street Buffalo, N. Y., 228 Franklin Street Chicago, III., 137 North Wabash Avenue Cincinnati, Ohio, 1407 Walnut Street Cleveland, Ohio, 1126 Euclid Avenue Detroit, Mich., 1206 Woodward Avenue Kansas City, Mo., 916 Grand Avenue Los Angeles, Cal., 643 South Hill Street Minneapolis, Minn., 112 South Fifth Street New York, N. Y., 33 West 42nd Street Philadelphia, Pa., 2114 Sansom Street Pittsburgh, Pa., 606 Wood Street San Antonio, Texas, 209 Alamo Plaza San Francisco, Cal., 241 Battery Street Seattle, Washington, 111 Cherry Street Toronto, Ontario, 156 King Street, W. Montreal, Quebec, 104 Drummond Bldg. Winnipeg, Manitoba, 205 Paris Bldg. Vancouver, B. C, 310 Credit Foucier Bldg. And in Thirty Foreign Cities All Around the World S i x t y - s i x C. L*ZELL NORTHROP PRESS. N. Y. ADJUSTABLE^ FOLDING STANDS ^ CURTAINS^ PROJECTORS PROJECTOR STAND, any model. Price without Humidor, $18.00 All Humidors attachable to Stand. Moisten felt Price $12.00 HUMIDOR in bottom to condition all Films. CURTAIN STAND and CURTAIN Special cloth, dark green back, does not show wrinkles. 4x5 ft. and 3x4 ft. Price of Stand with Curtain either sije $30.00. Stand alone $16.00 Curtain alone either size $14.00. HAYDEN AUTOMATIC PANORAM Automatically take those beautiful Panoram Pictures that fit in so wonderfully with outdoors views. Any one can oper- ate it. Price, #35.00 HAYDEN VIEWER, SPLICER AND REWIND Films may be inspected and viewed without the use of Projector. The picture right side up. Picture enlarged four times. Film removed, inserted, cut or spliced. Rewind either direction, one frame or high speed either handle turning away from you. Price, $35.00 HAYDEN SELF-THREADING REEL The wonderful new Self'Threading device comes on all our Reels, both five and seven inch, no additional charge. Upper half of reel showing the little fingers taking hold of end of film. Price, 7 inch, 75 cts. Price, 5 inch, 50 cts. HAYDEN SPRING FILM CLIPS This holds the loose end of film, taking up expansion and contraction of same, and preventing curling. Note in lower picture the clip holds a short piece of film and also the self' threading fingers shown closed around the hub. Price each, 25 cts. TABLE TRIPOD Very handy when you want to set your Camera on a table or box, fits any Standard Camera Socket and Cine Camera. Price, $2.50 TO THE CUSTOMER, Best service comes from the High Class Dealer, Go to him. TO THE DEALER, We offer you the same guarantee on our goods as you would expect from any High Class Manu- facturer. Only by pleasing your customers can we please you. // not available through your Dealer, write the Manufacturer A. C. HAYDEN CO., Brockton, Mass., U. S. A. OUR NEW 24 PAGE BOOKLET NOW READ Y— L ET US SEND YOU ONE FREE Ready Kodascope, Model B The new self- threading projector that you will want on sight T^ODASCOPE, Model B, the latest and greatest in -L^ home projection, is ready — ready to bring to your home a new realization of personal movie enjoyment. For Kodascope, Model B threads itself! The operator merely slips the film into a slot and clicks on the switch. That's all there is to it — the film streams smoothly through and winds itself snugly on the take-up reel. And when the show is over, presto! — the mechanical rewind quickly spins the film back on the supply reel. Humorous and novel effects are easily produced by running the mechanism backward. The motor does not have to be stopped — just a turn of the switch does the trick, instantly. When you want a "still" picture, merely shift a lever, and it's done. However, mere words and pictures cannot begin to do justice to Kodascope, Model B. Go to your dealer's today. See this great new projector. Use it. Learn whv it is known as V. K?Y> •^V"' ^ PUBLISHED BY THE AMATEUR CINEMA LEAGUE, INC. "Heralding The Motion Picture Of Tomorrow" Volume III FEBRUARY, 1928 Number 2 ... Qontents ... Cover Design Walter Kumme Contributors 70 The New Films, A List of the Latest Library Releases 72 The Viewfinder, A Department for Our Guidance by Our Readers 74 Editorials 77 Enchanted Isles, A Cine Silhouette from the Galapagos Islands 78 Galapagos Notes From a Cine Diary Barclay H. Warburton, Jr. 79 Recording a New Camera Trail Blazed by an Amateur Cinematic Composition, A Guide for the Advanced Amateur E. G. Lutz 82 Educational and Scientific Films 85 Inaugurating a Department For News of Visual Education in Schools and Homes Pictures as Professors, A Historical Review of Visual Education Raymond L. Ditmars 86 Critical Focusing, Technical Reviews to Aid the Amateur 88 Photoplayfare, Reviews for the Cintelligenzia • 89 "When Do We Eat"" An Art Title Background for Pet Films 90 Making Your Own Art Titles Ross F. George 91 Film-Flam Edited by Creighton Peet 94 Mirror Movies Don Bennett 95 Erstwhile Sally K. L. Noone 96 Shooting With a Shutter Arthur Newton Pack 98 Amateur Clubs Edited by Arthur L. Gale 100 Portraits of Pioneers— H. A. DeVry 104 First of a Series of Interviews with Interesting Personalities in the Amateur Motion Picture Field Johnny's Snowman, A February Scenario for a Children's Party .... Marion Norris Gleason 105 Cats Is Cats, A Home Scenario In Story Form Edna MacDonald Serrem 106 The Clinic Edited by Dr. Kinema 108 A Bas la Bunk! Jane Budden 110 News of the Industry, For Amateurs and Dealers Ill A Solution of Film Storage W. T. McCarthy 122 On the Altar of Friendship Dr. Kinema 137 Index to Advertisers 137 STEPHEN F. VOORHEES Architect, of New York City W. E. COTTER 30 E. 42nd St., New York City C. R. DOOLEY Manager of Personnel and Training, Standard Oil Co. of N. J. Treasurer A. A. HEBERT 1711 Park Street, Hartford, Conn. LEE F. HANMER Director of Recreation, Russell Sage Foundation FLOYD L. VANDERPOEL Scientist, of Litchfield, Conn. AMATEUR CINEMA LEAGUE, INC. DIRECTORS President Vice-President HIRAM PERCY MAXIM Hartford, Conn. EARLE C. ANTHONY President of the National Association of Broadcasters ROY D. CHAPIN Chairman of the Board of Directors, Hudson Motor Company Managing Director ROY W. WINTON, 105 W. 40th Street, New York City AMATEUR MOVIE MAKERS is published monthly in New York, N. Y., by the Amateur Cinema League, Inc. Subscription Rate $3.00 a year, postpaid (Canada $3.25, Foreign $3.50); to members of the Amateur Cinema League, Inc. $2.00 a year, postpaid; single copies, 25c. On sale at photographic dealers everywhere. Entered as second-class matter August 3, 1927, at the Post Office at New York, N. Y., under the Act of March 3, 1879. Copyright, 1927, by the Amateur Cinema League, Inc. Title registered at United States Patent Office. Advertising rates on application. Forms close on 5th of preceding month. Editorial and Publication Office: 105 West 40th Street, New York, N. Y. Telephone, Pennsylvania 3756 WALTER D. KERST. Technical Editor ARTHUR L. GALE, Club Consultant K. L. NOONE, Advertising Manager Editor JOHN BEARDSLEE CARRIGAN 'MurriiMtnnHt TT rFTf, D.B.S.- Thotographed by Mr. and Mrs. Martin Johnson with a Dallmeyer Telephoto Len : This Telephoto Lens gives "close-ups" at 200 feeti Made Specially for FILMO At some time on any trip you will wish for a Telephoto Lens, and if you have one, it will give a brand new z;est to picture taking. So many views that are now too far off to photograph at all, will become the subjects of fascinating "close-ups", when you give your Filmo this telescopic eye. Not only for nature studies but for views across valleys, from mountain tops, of the distant shore from aboard ship or of shy children from a distance, you need a Dallmeyer Telephoto Lens to complete the enjoyment and usefulness of your Filmo. DALLMEYER. TELEPHOTO LENSES 4 inch $80.00 6 inch $95.00 This lens will fill the frame at 130 feet distance. Camera can be held in hands. This lens will fill the frame at 200 feet. A tripod must be used for good results. At Your Dealer or By Mail With Full Guarantee HERBERT & HUESGEN CO. Sole United States Distributors 18 EAST 42nd STREET — {near Grand Central) — NEW YORK Seventy Don Bennett is an authority on amateur cinematography associat- ed with the Educational Division of the Stanley Advertising Co., New York City. Jane Budden, whose satiric pen has frequently enlivened these pages, is an author residing in Dedham, Massachussets. Raymond L. Ditmars is a distin- guished scientist and cinematog- rapher as well as Curator of Mam- mals and Reptiles of New York Zoological Park. Ross F. George is a national author- ity on lettering and titling, invent- or of the Speedball Pens and au- thor of the Speedball Text-Books, living in Seattle, Washington. Marion Norris Gleason is Director of the Rochester Community Play- ers, Rochester, New York, author of a book of home scenarios soon to be published, and was director of the famous amateur photoplay, Fly Low Jack and the Game. E. G. Lutz is author of "Animated Cartoons, How They Are Made, Their Origin and Development," "The Motion-Picture Cameraman," "Practical Pictorial Composition, a Guide to the Appreciation of Pictures" and other works. His home is in Dumont, New Jersey. W. T. McCarthy is an architect of Brooklyn, N. Y., and an advanced amateur cinematographer whose practical suggestions are always of great aid to fellow amateurs. K. L. Noone, as well as being an author of delightful fantasies, is also the very practical and suc- cessful Advertising Manager of Amateur Movie Makers. Arthur Newton Pack is President of the American Nature Associa- tion, and Associate Editor of Nature Magazine. His residence is Princeton, New Jersey. Edna MacDonald Serrem of Rari- tan Arsenal, Raritan, New Jersey, reports that she was born in the Army and has always lived in the Army, traveling with it over much of the world. Her hobby is writ- ing. Barclay H. Warburton, Jr., of New York and Philadelphia, is one of the country's most skilled amateur cinematographers, and contribut- ing to the advance of the motion picture is one of his major inter- ests. He assisted Allan Dwan in the direction of East Side, West Side. Home Film Libraries announce the addition of 5 -reel features of a quality in keeping with our present high standards — and at our usual low rental prices I PHILADELPHIA Williams, Brown & Earle, Inc. SPRINGFIELD The Harvey & Lewis Company REPUBLIC OF MEXICO American Photo Supply Co., S.A. Mexico, D. F. WORCESTER The Harvey & Lewis Company NEW YORK CITY Wm. C. Cullen 12 Maiden Lane PLAINFIELD Mortimer's PITTSBURGH United Projector & Film Corp. LOS ANGELES Leavitt Cine Picture Co. NEWARK SchaefFer & Company 103 Halsey St. BOSTON Eastman Kodak Stores, Inc. PORTO RICO Mundial Film Exchange San Juan See these leading dealers for details: CLARA BOW and DONALD KEITH in "My Lady of Whims," a 1927 "Gold" Arrow Production ROCHESTER A. H. Mogensen University of Rochester PROVIDENCE Starkweather & Williams, Inc. NEW HAVEN The Harvey & Lewis Company WESTERN CANADA Regina Films, Limited Regina, Sask. BRIDGEPORT The Harvey & Lewis Company NEW YORK CITY Gillette Camera Stores, Inc. Park Avenue at 41st BROOKLYN Fred'k Loeser & Co. BUFFALO Buffalo Photo Material Co. WATERBURY Curtis Art Company SAN FRANCISCO Leavitt Cine Picture Co. HOUSTON Star Electric & Engineering Co. The names of the dealers asso- ciated with Home Film Libraries are best evidence of the popularity of our releases — a popularity de- served not only because of the qual- ity of the subjects, but due likewise to our reasonable rental fees. And now, in addition to cartoons, comedies, westerns, and animal pic- tures, there will be 5-reel features of the same high quality. Clara Bow in "My Lady of Whims," a picturization of the delightful Sat- urday Evening Post story "Protect- ing Prudence," and James Oliver Curwood's "Broken Silence," are ready for distribution. Both are ex- cellent pictures, entertaining for children as well as adults. Home Film Libraries are build- ing an organization adapted to serve home movie enthusiasts in any size town. New dealers are being added from time to time. If there is no dealer at present in your city, write us direct for further in- formation, and for a catalogue of new releases. Home Film Libraries INC. 100 EAST 42nd STREET, NEW YORK CITY 16 MM RELEASES FOR RENTAL FROM LEADING DEALERS Seventy-one REEL OF THE MONTH \ xl:- v y. CLUB, NOW! "Highlites of the News," No. 9 Official Pictures of PRESIDENT GOOLIDGE AT THE GREAT PAN-AMERICAN CONFERENCE The latest release! Calvin Coolidge arrives at Havana Harbor aboard the massive dread- nought Texas to attend the Pan-American Con' ference. Scenes of an unparalleled demonstra- tion. .. .pictures of the foreign dignitaries from Latin- America. . . .guns booming their welcome from Morro Castle. ... 100 feet alive with his- toric interest. .. .filmed from various choice vantage points by famous newsreel cameramen. This event, destined to go down in the annals of history, is recorded on 16 mm. film. .. .ob- tainable at $7.50 per single reel at your near- est dealers. .. .or with a subscription to the Reel-of-the-Month Club. THIS IS THE ONE OUTSTANDING REEL FOR THIS MONTH! TO BE CERTAIN OF GOOD REELS JOIN THE CLUB TODAY Owners of home projectors who are anxious to receive the best reels are joining the Club. The Reel-of-the-Month Club sends to its mem- bers the best reel of each month. . . .delivered by postman on the first day of every month. NOT A RENTAL SERVICE Each reel sent to members of the Club is their property valuable additions to film libraries. .. .pictures to be treasured and viewed with interest year after year. Write for a list ot past releases! JOIN THE CLUB TODAY! Join today! Fill out the membership applica- tion blank printed below and send to the Club address, or ask your dealer to forward your application for membership. AND REMEMBER, THE REEL-OF-THE- MONTH CLUB IS NOT A RENTAL SER- VICE . . . YOU OWN EVERY FILM THAT YOU RECEIVE. APPLICATION Reel-of-the-Month Club, 507 Fifth Avenue, New York City. Gentlemen: Please accept this application for membership in the Reel-of-the-Month Club. En- closed find check for ($20) 3 months' member- ship— ($75) for 12 months' membership. In return you will send, postage prepaid, one 100 ft. 16mm reel on the first of every month. Write on white margin NAME ADDRESS STATE CITY Seventy-two THE NEW FILMS for Home Projectors THE February Library offerings are en- riched by the addition of three new film libraries to the field of dis- tributors for home projectors, The Fowler Studios of Los Angeles, California, The Stanley Library of New York, N. Y., and the Neighborhood Motion Picture Service, Inc., of New York and Chicago. The offer- ings of these companies are listed below. This rapid increase in the scope of the home library field is a further evidence of the wealth of screen material from which the amateur may choose real entertainment values. Automatic Movie Display Corporation, New York, N. Y. (Vitalux Movies), feature this month "The Animal Fair" (a McCrory car- toon), "Sweet Revenge" (a Christie comedy), "Hunting Wild Turkey in Maryland" (a Field and Stream subject), and a release from Flor- ida, the Enchantress Series, "Tarpon Fishing." Bell & Howell, Chicago, 111., announces for their Filmo Rental Library: two Christie Com- edies, "Uppercuts" and "Soup to Nuts"; two Felix Comedies, "Two-Lip Time" and "Trifles with Time"; two Hodge Podge Travel Stories, "A Merry Go Round of Travel" and "The Story Teller"; a Larry Semon Comedy, "The Cloudhopper", and a Cameo Comedy, "In Deep." The Filmo Sales Library releases in- clude six new Bray Studio Comedies, "Red * Riding Hood," "Bryce Canyon National Monu- ment," and "Zion National Park." Cine Art Productions, Hollywood, California, invite attention to a 100 ft. subject, "Ruins of Rome," a companion to the Pompeii and Vesu- vius films, and to the' new release, "Tony's Punctured Romance," in the series of animated cartoons being produced especially for 16mm. projectors, one of which will be issued each month during 1923. Empire Safety Film Company, Inc., New York, N. Y., calls attention to the new series of Zobelogs, Myron Zobel photography, which will take the amateur to many out of the ordi- nary spots in the world. Stress is laid on Nos. 7 and 19. Then, also, there is the "Raid Over London." Fowler Studios, Los Angeles, California, an- nounces releases to the amateur world for the first time through Amateur Movie Makers, and offer one film "Mojave Desert" without cost other than carrying charges. Their golf reel, "MacDonald Smith Coming In Ahead At The 3rd Annual Los Angeles $10,000 Open," also figures in the opening announcement. Wm. J. Ganz Co., New York, N. Y., announces the "Official Pictures of President Coolidge at the Great Pan American Conference" as the current "Highlites of the News," and this his- torical picture has also been chosen as the February "Reel of the Month Club" release. Home Film Libraries, Inc., New York, N. Y., plan to release 5-reeI features within the next few weeks which they will rent for the same price as their present shorter features. Among their current offerings attention is drawn to James Oliver Curwood's "Broken Silence," and '"My Lady of Whims," with Clara Bow and Donald Keith. Burton Holmes Lectures, Inc., Chicago, 111., have ready for the amateur projector "Canals of Venice," "The Damascus Gate," and "Two Ends of a Rope." International Educational & Scientific Film Library, Hollywood, California, offers as its leading feature the "Beautiful Floral Parade As Held At Pasadena, California, Jan uary 2nd, 1928." Kodascope Libraries, Inc., present as their latest "Pictures That Please": "The Covered Wagon," "Behind the Front" (Beery-Hatton), "Grass," and "Miss Bluebeard" (Bebe Dan- iels). Amateurs may also look forward to early release of Larry Semon Comedies, in one and two reels. Neighborhood Motion Picture Service, Inc., New York, N. Y., this month inaugurate the release of educational courses to the home of which eight complete courses are now in readiness. "Film Lessons in Nature Study," an eighteen reel course, is featured for Feb- ruary. Full details of this educational plan are announced in the pages of this issue. Pathe Exchange, Inc. (Pathegrams), New York, N. Y., pushes Westerns particularly this month and calls attention specially to their Leo Maloney film, also introducing a new reel "Hygiene" (known as "Stretch and Keep Well"). In the comedy line is "The Jolly Jitter," featuring Ben Turpin. "Winter Sports" is the Grantland Rice Sportlight feature, and there is an addition to the Smith Family. Ernest M. Reynolds, Cleveland, Ohio, in- cludes in his February offerings to the amateur "Rough Weather" and "Sundown Dancer." Stanley Library, New York, N. Y., lists among its first offerings: "The Nonsensical News Reel," originally edited and titled by Bert Green, "America Fights for Freedom," a war film, "Chicks," showing the first day in the life of a baby chick, "Hey, Hey, Ukelele" (Sophie Tucker and others), "Net Results," a tennis instruction film with Vincent Rich- ards, and "A Day in a Studio," showing amateurs how the professionals work. These films have been edited by Don Bennett, well known to readers of Amateur Movie Makers. Show-at-Home Movie Library, Inc., New York, N. Y., follows its plan of two super- features a month. This has resulted in the releasing of Skinner's Dress Suit (starring Reginald Denny and Laura La Flante), "Lor- raine of the Lions" (starring Norman Kerry and Patsy Ruth Miller), "Outside the Law" (with Lon Chaney and Priscilla Dean), "Cali- fornia Straight Ahead" (Reginald Denny and Gertrude Olmstead), and "The Still Alarm" (Wm. Russell and Helene Chadwick). West- erns and comedies, 2 reelers, are released one each week. Stone Film Laboratory, Cleveland, Ohio, has for the sport lover or alumni college clubs football films "Pittsburg vs. Stanford," and "Pennsylvania vs. California." Other releases are "Around the World in Thirty Minutes" and a special filming at Pasadena of the "Tourna- ment of Roses of 1928." CINE ART Announces THREE NEW 16mm. HOME LIBRARY RELEASES EACH MONTH FOR 1928 Let us place your name on our mailing list for free descriptive folder to be mailed each month. CINE ART PRODUCTIONS 1442 BEAGHWOOD DRIVE Hollywood, Calif. Beyond your Wildest Dreams ---wherever you see this sign displayed you'll find a source of entertainment that staggers the imagination. Home projector users are cordially invited to write to their nearest dealer (see list on this page) or direct to SHOW-AT-HOME-Movie Library, 730 Fifth Ave., New York, for in- formation as to how they may obtain this new miracle in home entertainment. Gimbel Brothers NEW YORK Gimbel Brothers MILWAUKEE, WISC. Gimbel Brothers PITTSBURGH, PA. Willoughby's 110 WEST 32 STREET NEW YORK, N. Y. Pickup and Brown 41 EAST 4 1ST STREET NEW YORK, N. Y. Regina Films Ltd. REGINA SASK., CAN. Leavitt-Cine Picture Go. (Exclusive distributors for California) 3150 WILSHIRE BLVD., LOS ANGELES, CAL. 564 MARKET STREET, SAN FRANCISCO, CAL. ALSO SAN DIEGO, CAL. Metropolitan Motion Picture Go. (Exclusive Agents for Michigan) FILM EXCHANGE BUILDING DETROIT, MICH. Hattstrom & Sanders 702 CHURCH STREET EVANSTON, ILL. "North Shore's leading Cine Dealers." Erker Brothers 610 OLIVE STREET, ST. LOUIS, MO. Ye Little Photo Shoppe 457 MAIN STREET NEW ROCHELLE, N. Y. Movies-at-Home, Inc. (Exclusive Distributor for Brooklyn) 1340 FLATBUSH AVE. BROOKLYN, N. Y. J. G. Freeman & Go. 376 MAIN STREET WORCESTER, MASS. wu There's Never a "Dull Hour in the Home That Uses SHOW AT HOME Mo-Vie^ asMus~ well explain it in a mimtte // We are sending our authorized representatives on a D E A L E R S get-acquainted trip which will take them to every PLEASE NOTE ! Part °f '^ country. Please communicate with us so that we may add your name to their calling list. Everywhere! Your copy of "The Greatest- HOME PROJECTOR Stars in the Greatest Pictures for Your USERS ATTENTION!! Home" — is ready. We will mail it to you on request. Or ask your dealer. There's Never a Dull Hour «n the Home That Uses SHOW- AT-HOME* Movie Library*. Seventy-three The VIEWFINDER A Department for Our Guidance by Our Readers This Is Hot and Heavy! I AM prompted to write on receipt of the November number. To tell you the honest truth, I am getting darned tired of the magazine. Look at that cover. I never would buy at a news stand any magazine with such a nightmare of a cover. Next: I read one page and "Con- tinued on page 64." That is about as far as I get with an article. Most of them not so far and many not past the title. I know this is a common fault with "common magazines." but I am growing increasingly disgusted with the practice, especially since a number of better periodicals have stopped the practice and read right through like a book. At least three of the periodicals — come to think of it, I can remember at least six — I take either never had or have discontinued the practice and are greatly improved for it. I like to read the ads but not when hunting for or reading the tail end of an article. Often I glance over the ads first and that would be more convenient if they were all to- gether in the back pages. I think hob- byists all do about the same. "And that brings me to the next grouch. The ads are all catering to the beginner or at least to the 16 m.m. user. I know they are in the vast majority, but some of us have long outgrown 16 m.m. We may come back when 16 m.m. negatives and printing become well established and the cameras more versatile. To- day I saw one of the new cameras and was almost tempted to buy one. Haven't time to use it though, just now. Then our maga- zine caters almost entirely to "Ama- teur Movie Makers" and not to KlNEMATOGRAPHERS. Well, I suppose that is what it was started for. But I don't care "what the cat brought in" for Amateur Fummadiddles. Looks as if I got into the wrong pew. "Lastly, we waste too much space tooting our own horn as a magazine and a society. If we can't have a nor- mal healthy growth without such a racket, we'd better quit trying to grow and admit we are grown up al- ready."— Paul Franklin Johnson, League member, Altadena, Calif.) We recognize that tastes in covers naturally vary. However, we find more enthusiastic comments in favor Seventy-jour Amateur Movie Makers is your magazine. We want it to inti- mately reflect your wishes, and to fulfill your thought of what the mag- azine of the world's cine amateurs should be. This department has been instituted to provide a clearing house for ideas, to guide us in fulfilling the needs of our readers, and to provide a stage for discussion between ama- teurs. It is our sincere hope that many constructive criticisms will be directed to this department. Address THE VIEWFINDER, Amateur Mo- vie Makers, 105 W. 4Qth St.. New York, N. Y. H SCHOO C£s>-Lua<*y & . SUK t, A tt> L«f a_ /ho[j A xt\ /J- at" /77tSlrLU*ii, WW ULO Art*. /jOU. Wsn\ . Wsndti 0(a*d A. "JUST A NOTE" But It Exemplifies the Interest of Young Amer- ica, Whether Sixteen or Sixty, in This New International Sport of our covers than protests. There are several very practical reasons for carrying over articles, and this pub- lishing practice is followed by the largest and most popular magazines. In answer to a considerable demand Amateur Movie Makers has begun to publish regularly a series of arti- cles especially designed to interest the advanced amateur, which we hope will serve you experienced cinemato- graphers, although the majority of our articles must continue to serve the average amateur who is in the vast majority. We have declared a moratorium on tooting our own horn as our particular New Year's resolu- tion. Lastly, let us have more genu- inely sincere letters like this from others of our members and readers. We want them and need them. The Other Side "T CAN only find one fault with the •*• magazine, and that is they are too small, because when I get them I do not let them go until I have read everything in them, even to the ads. I think your magazine is the very best thing that could be put out, and here is hoping it will last forever." — R. Hodgkins, Los Angeles, Cal. Thanks. From an Authority YOUR magazine occupies a prom- inent place in our library and is being read by a large number of our members. Incidentally, we want to congratulate you upon its make- up and upon its quality." — Karl A. Baumgaertel, President California Camera Club and Editor Camera Craft. From Abroad YOU will be interested to know that I have purchased about four hundred and sixty dollars worth of accessories and finished films from a number of concerns since I have been abroad for the past six months. Every dollar's worth was purchased because of their advertise- ments which appeared in Amateur Movie Makers, my only means of getting the latest news of the indus- try's progress." Leo E. Levy, Antibes, France. Requests HERE are a few items I'd like to see some dope on in the mag- azine: How to get moon light effects in movies, with exact data on stops, light conditions, etc., and actual photographs to illustrate the various types of moonlight effect pictures that can be made; how much make- up and what sort has been found ad- visable for amateur production casts; technical articles on color filters of various sorts, when and how to use them and how to figure stops to be used with them." — R. K. Winans, Springfield, Mass. Articles on night movies and color filters appeared in December Ama- teur Movie Makers shortly after your letter was written. The article on makeup is in type and will appear shortly. Glad our thought was in har- mony with your needs. o/Jrinouncln^ A New Editing and Titling Service Recognizing the need for a compe- tent editing and titling service for 16 mm. film, we have engaged the services of Mr. Stanley A. Tompkins, the well- known technician, and have installed ample laboratory facilities at our new location in the heart of downtown New York. We are now prepared to take over your editing and titling problems, and to render quick, accurate and eco- nomical service on your film. Mr. Tompkins, under whose personal management the service will be con- ducted, has specialized in editing, titling and allied work since the very inception of home movies. Hundreds of movie makers in New York and vi- cinity are acquainted with his work, and know it to be of peerless quality. We have prepared a price list which explains fully the wide variety and scope of our service. We will gladly mail it on application. Expert Editing Titling Copying Splicing Continuity Writing Conveniently located at ROOM 917, 350 MADISON AVENUE NEW YORK Kodascope Editing and Titling Service, Inc. Seventy-five made by YOU in your own home! LL you need is your camera and Foto- lite — Fotolite, the wonderful new lamp for amateurs that has won such high praise from professionals; the lamp that floods a room with rich, mellow radiance; the lamp that will give you films of real beauty right in your own home. Why miss half the fun of amateur movies — inter- esting indoor pictures — when you can secure them so easily and at so little cost with Fotolite? Family events, the children, parties and dances at your home or elsewhere, amateur plays, social affairs of every kind — there is scarcely any limit to the va- riety of things you will want to see all over again — in your own films. With Fotolite you eliminate the sputtering, the sparks and the "light fright" of the arc lamp. You get all the brilliance of a 20 ampere arc and all the convenience of 3 incandescent Fotolites. Ask your dealer to show you Fotolite — he will gladly demonstrate it for you. If he can't supply you, write us and we will send you the name of the nearest dealer. The two Fotolite models are described at the right. Why be without Fotolite — and the fun it will give you — any longer? Get your Fotolite today! Testrite Instrument Go. 108 East 16th Street, New York, N. Y. DEPT. M Fotolite Models No. 5 Hand Fotolite. shown at left. Com- pletely wired and equipped with special 500 Watt bulb. $10. Without bulb, $6. One No. 5 Foto- lite, held by hea- vy nickel - plated stand. Complete, $16.00. Stand is 8 feet high; tilts lamp in any pos- ition; folds into 24-inch space. Two No. 5 Fotolite lamps, as illustrated, com- plete with bulbs, $28.00. Beautiful carrying case, for two or three lamps and stands, $7.50. Number of Lamps Required FOR F 1-8 LENSE Group up to 3, standard exposure — 2 lamps. Group of 4 to 6, standard ex- posure— 3 lamps. FOR F 3-5 LENSE Group up to 3, standard exposure — 3 lamps. Group of 4 to 6, standard ex- posure— 4 lamps. Fotolite The Sunlight for Indoor Pictures Seventy-six EDITORIALS Co-Workers — Not Competitors 50ME concern over the possible effect of home movies on the- atre attendance having been expressed from time to time in the outstanding motion picture trade publications, it appears to us that this concern is not only unneces- sary, but reflects certain oversights in analysis of the entertainment business. In this the motion pic- ture plays an important, but, as we shall point out, lone hand, whereas all of the other popular and commercialized entertainments have their millions of amateurs actively engaged in those sports, and, at the same time, because of their amateur interest, furnishing the commercial support which makes them practicable for the financier. Take baseball, perhaps the most commercialized of the sports. Have the thousands of school, playground, athletic club, and sand lot teams injured the baseball box office? Every baseball magnate will tell you they are the feeders which fill his stands to see the big stars perform. Have the little theatres injured the THEATRE? Benjamin de Casseres in January Theatre points out that there are more and better dramas being produced today than ever before in the history of the American theatre, this in spite of the fact that there are probably a thousand little theatres now func- tioning. And there are now hun- dreds of commercial stock com- panies in the same communities where these little theatres have de- veloped a taste for the spoken drama. In fact it might be truth- fully said that loyalty of the ama- teur in the theatrical field saved the theatre from near oblivion and pulled it through the terrific pe- riods of competition with the mo- tion picture, the automobile, and other counter attractions. And now that the motion picture, in turn, has been threatened by radio, television and other different types of entertainment, it might be timely to suggest to the motion picture magnates that, instead of fearing the amateurs in their own field, they should encourage them, A mateur Movie Makers has **■ the pleasure of announc- ing that the Scenario Contest, conducted in these pages in co- operation with the First Movie Makers' Mediterranean Tour of James Boring's Travel Service, Inc., has been won by Mrs. Orton H. Hicks of New York. The prize, a twenty-one-day cruise to the West Indies, start- ing February 11th, also con- ducted by James Boring's Travel Service, Inc., and sold by them for $425.00, was awarded for the scenario, A Knight On the Mediterranean. The winner also has the op- tion of applying the value of the West Indies Cruise as a cash equivalent toward pur- chase of a reservation for the First Movie Makers' Mediter- ranean Tour, which sails on the SS. Doric from New York City February 8th, a 62-day cruise. The judges of the contest were: Gilbert Seldes, the au- thor; Frederick James Smith, managing editor of Photoplay Magazine; E. J. Montagne, supervising production editor of Universal Pictures Corpora- tion; Gardner Wells of James Boring's Travel Service, Inc., and John Beardslee Carrigan, editor of Amateur Movie Makers. thus building up a great body of adherents who will fight for the movies because they themselves are movie makers, just as the little the- atre enthusiasts have won through for the theatre. It should never be forgotten that the amateur of any activity means a lover of that ac- tivity. The true interpretation of the home movie maker is a co- worker, not a competitor. Most recently, in fact, trade publication comment has been cen- tered upon the possible effects of television upon the motion picture theatre, this being the latest news in the field of impending compe- tition. It is generally pointed out, however, that this invention will not be a definite factor for at least five years, but this future danger to the theatres has inspired intelli- gent foresight on the part of the Film Daily, which has declared ed- itorially, "the entire industry might well devote some time, thought and money toward en- dearing the institution of motion pictures in the hearts and lives of the public on which it depends, rather than take such support for granted. The business has not one, but many economic problems that cry for readjustment all to the end that if adversity in the form of bad times or the quick rise of an- other form of mass entertainment should develop, the bulwarks will already have been reared to with- stand the offensive." That is sound advice, and we believe that the only sure way for the movies to draw close to the lives of the people is for the peo- ple themselves to become integrated with the motion pictures through personal contact with their mak- ing, just as music is close to the hearts of a great part -of the peo- ple through personal experience in its creation. This personal equa- tion is true of the whole gamut of popular entertainments which have lasted and will last. Only the motion picture stands alone, an entertainment industry without roots in the related activi- ties of its audiences. For, as the New York Times recently pointed out editorially, "in most arts and professions the procedure is from the amateur to the professional. The movies, which have turned various things, habits and people upside down are topsy-turvey in their advancement." It is then pointed out that the fabulous mo- tion picture industry of the pres- ent is only now beginning to de- velop its logical foundations, the amateur motion picture. In fact this lack of amateur background accounts for many of the difficulties in which the pro- ducers today find themselves. It is possibly one of the greatest weak- ness of this big modern business. The amateurs want and need this great industry for the fullest en- joyment of their hobby, but it should also be obvious to those who have the future of the indus- try most closely at heart that the industry needs, and to a far greater degree, will need the amateur. John Beardslee Carrigan. Seventy-seven GALAPAGOS NOTES from a Cine Diary Recording a New Camera Trail Blazed by an Amateur By Barclay H. Warburton Jr. ROM my porthole I get glimpses of truly desert islands, the most deserted I have ever seen. It scarcely seems pos- sible that distant by a few score miles is Panama, and that last night, as we came to anchor, myriads of twinkling lights greeted us, confiding in us that here was our Pacific fleet hidden from an imaginary foe, tracking it down dur- ing these annual maneuvers. But that was last night. The fleet left at daybreak and we are monarchs of all we survey. Getting dressed means scrambling into a bathing suit, and it is no time before one is on deck to be greeted by the hail, "Morning! I just saw a big hump- back whale blow over there about two miles. Like to go after him?" Five minutes later we, Charley Thomson, the fisherman, Harry, the launch man and myself, were in the big Port Launch, speeding for where the whale was last seen. It was great ! Think of going after a whale, to try to harpoon him — the weapon Charley was rigging on a long harpoon pole seemed pitifully inadequate. With trembling hands I was mounting our treasured movie cam- era. We felt so secure in our sturdy iuunch. Charley was whistling con- tentedly, perched on the bow. "Fella," he said over his shoulder, "better grab as many of those air cushions as you can lay hands on. "Case his tail hits us a crack, they make good life preservers." I'd never thought of that. Anyhow, we never got to the whale. He blew once or twice in front of us, then sounded for good. We circled one of the islands after that. I have never seen so many birds in my life. The water was veritably black with cormorants — "nigger geese" as they are called by some. GALAPAGOS — with or without the accent — still spells for me the nearest terrestrial approach to those eerie lands that Dante created. The appearance, in a recent newsreel, of some hundreds of feet of films I took there in 1926, brought a request from Amateur Movie Makers for the story of this amateur adventure. These diary notes will, I think, fT^ have more interest to my fellow mem- bers of the Amateur Cinema League than a tale, written now about the Galapagos Islands. The diary repro- '.^™* duces something of the intense effect g< that those weird isles had upon me and the members of our party. I hope that they will serve to direct other amateurs to that filmers para- dise in the Pacific Ocean. By Permission of William Bcebc THE BRIARY BUSH A Galapagos Version The boat seemed not to disturb them a whit. They moved only to make room for us. I got four hundred feet of excellent film here. I did not get the picture of a whale but I did get a whale of a picture. Here it was that one of the most astounding events of the trip took place. Harry, the launch man, was standing on the bow of the boat, keeping his weather eye out for hid- den reefs. To have run on one of these after having seen the sharks that were about — well! Anyhow, Charley was steering and myself and another were trolling. "Back, Charley, back," yelled Harry. "We're going on the rocks!" "Too late now," Charley returned excitedly, "can't stop! We're on! Holy Ike, man, they're not rocks — why they're— they're FISH!" And at that moment each of us fishermen had a terrific strike! What had seemed a reef with waves pound- ing over it was, in verity, a school of tremendous bright orange red-snap- pers, feeding on a shoal of small fry. Astounding! But there they were right under us. Four of these we caught, then sped back to the yacht in order that the artist might record faithfully their gorgeous colors. Cocos Island — What a place! To me in retrospect, the most gorgeous, most enchanting spot seen during the entire trip. As the shores of Cocos drew nearer, we sighted another yacht and great was the conjecture, until it was finally agreed that these were the hunters after the fabled Cocos trea- sure who had set out from England some time before. We dropped anchor in a beautiful cove. The water was so blue that it didn't seem real. It was crystal clear. One could see sunken reefs and sea gardens with attendant rock fish of extraordinary brilliance swimming about indolently. A great, gaunt, grey shape — a shark — accompanied us to anchor. On three sides were we girt by the rocky shore of the island cove, fringed by cocoanut trees. Directly in front a tiny beach gleamed white Seventy -nine From the Arcturus Adventure by William Beebe, with Permisson of G. P. Putnam's Sons. AN ISLAND SEA The Saline Crater Lake in the Center of Tower Island in the tropic sun, divided by a fresh water stream that was in turn shaded by two tall palms. In the shadow of these were barely discernible the fallen-in roofs of two tumble-down shacks, built evidently by forgotten treasure seekers. Ages ago, on that white sandy stretch before us, pirates had ca- reened their ships, while their mates had entrenched chests of pearls and precious stones. The history of Cocos in the days of the Jolly Roger and the "gentlemen of the sea" is well known. But it is certainly well sub- stantiated by the records found on these astounding shores. Everywhere, carved in rocks, and even on tree trunks, is found the mute testimony of their visits. One finds graven in granite such legends as: "Bruce James, 1787, seaman on 'Ye Hispanola'," then a skull and cross bones and a nondescript letter- ing "His Mark." And here abound swarms of truly fit companions to the rovers of the Main and here, I believe, is in prog- ress one of the greatest submarine conflicts. Everywhere in sight lurk the wolves of the sea — huge, malevo- lent sharks. It was impossible to fish. Not that fish were lacking but it was a ten to one shot that once hooked, a trophy could be brought whole into the launch. Sharks would appear, as if by magic, from every direction. By virtue of the clarity of the wa- ter, they could be seen swarming many fathoms below. A snap of evil jaws and one would reel in merely the head of an amber jack or a tuna as a grim warning of what would occur should one chance to tumble Eighty into the lovely sapphire depths. But we had our revenge on the vindictive hunger that roamed beneath these beautiful seas. I hooked a big fish. He fought hard, but of a sudden the line went dead. I hauled in the remaining fragments of a great blue tuna. "We'll fix 'em," said Charley, and handed me a forty-five calibre pistol, taking the rod. The head of the tuna dangled at the end of my line. Below us, dozens of grey monsters were milling about. Charley low- ered the tuna head until it was di- rectly above them. One ten footer drove for it and the bait was pulled away. Circling warily, he came up for it again, only to have it snatched almost from his snapping jaws. This time he came for it with a furious rush, head on, not turning over — as the scientists claim he should — while Charley raised the bait until it was just under water. On came the mad- dened shark and, as his blunt nose rose partly out of water five or six feet from the boat, I discharged the pistol straight into his ugly skull. Dead, and with blood streaming from his head, he sank slowly, turn- ing over and over. In thirty seconds, before he disappeared from view, it seemed as if every shark in the world, attracted by the gore, had rushed to that spot. The water boiled; he was de- voured. In a flash he ceased to be utterly. Gorged, rent to shreds, man- gled and swallowed by his mates. This was repeated eleven times. * * * Well named by the old Spaniards were these sea-girt rocks, "Las Islas Encantadas," the "Enchanted Isles." BARCLAY H. WARBURTON, JR. They are, and the enchantment lies within them. From whence did they come? What are they? The moun- tain tops of an ill-fated lost Atlantis? Who knows? One sees but these desolate great fortresses of rock, bar- ren, raw, poking ungainly heads into the air from depths impossible of conception. GALAPAGOS ! We cruised slowly along in mirror-like water between two of the islands. The sun rose over the port quarter, breaking the com- bined mist and smoke which rose from lava, flowing red hot and burn- ing five miles or more into the sea. I got good films of them. Away from the hot water, a curious sea lion poked his head inquiringly out as if to determine what adventur- ous soul was disturbing the sanctity of his islands. With an apologetic cough he was gone. "Ash heaps of the Pacific" the Galapagos have been called. I pre- fer to think of them as the mountain tops of lost Atlantis — the Enchanted Isles. We came to anchor at Tagus Cove and immediately were in small boats, exploration bound. "Lizard, sir," sang out the launch- man. Four feet long, black, disdainful, stupid looking and incredibly repul- sive was one of the giant marine iguanas. That he was a throw-back to prehistoric monsterdom was in- disputable. One had but to magnify him several hundred times to have a veritable iguanadon. It likewise seemed incredible that these indo- lent looking reptiles could move with such rapidity as to make their cap- ture difficult, but this was true. We got only two that morning. My film record of these unearthly earthlings I prize highly. The rocks swarmed with the most brilliantly colored purple and red crabs imaginable. They had no fear of us and we captured many. Here it was, at Tagus Cove, that the submarine battle for existence was again horribly apparent. We started fishing. When we saw a dis- turbance in the water we headed for it, thinking we had sighted a school of fish. Everywhere overhead, were birds of all kinds diving into the swarming thousands of their marine victims. When we arrived we did not find merely a school of fish but a vast ocean slaughter house. A school of tiny red fish, about the size of sar- dines were feeding on smaller fry. The birds took what the red hunters did not. Presently slightly larger fish arrived to feed on the smaller ones. Still larger ones came to the grisly feast. We counted fifteen different kinds and sizes, the greater preying on the lesser. On the edges were sharks, craven and cowardly cautious, waiting to attack and devour only the victims which were wounded too badly to fight or to escape. True sea jackals and hyenas! Here it was that we landed the movie camera by means of a breeches-buoy arrangement on a shore where the seas swept so vio- lently as to indicate total destruc- tion to the launch if we got too close. This provided opportunity for film- ing with truly novel camera angles. We made this difficult landing be- cause we got a glimpse of thousands upon thousands of the repulsive igu- anas sunning themselves on the rocks. The venture well repaid any risk in- volved. These strange lizards were, literally, three deep. And unafraid! I was able to get motion pictures of them in all their activities: feeding, sleeping, carrying their young and, apparently, merely existing, waiting for Lord knows what — death, per- haps. This was at Tagus Cove, Albe- marle and San Fernandino Island. The Humboldt Current, cold from the Antarctic, wound its tortuous way among these massive rocks, bringing with it thousands of seals and sea lions, and strange penguins. It is conceivable that the seals could with ease swim the three thousand miles (Continued on page 129) fiy Permission of William Beebe SEINING FOR THE SECRETS OF THE SEA Eighty-one Plate 1. DESIGN FOR A TYPICAL SETTING IN THE FUTURISTIC MANNER CINEMATIC COMPOSITION A Guide for the Advanced Amateur THERE isn't a scene of a cine- matographic play that hasn't had thought given, before it was taken, as to how it was going to look on the screen as a pictorial arrangement. Even if some directors and cameramen pay no attention to rules of composition, as such, they take good care to have the figures grouped well and that the static ele- ments in a scene — the settings and property — are effectively placed. When putting the figures into a group, say three characters with the principal one in the centre they, per- haps without realizing it themselves, applied a rule of pictorial composi- tion. And if they have this character dressed in a light colored, or con- spicuous costume, another applica- tion of compositional principles was made. Again, if any particular ar- ranging of property in a scene is not to their liking they will be quick to detect it. It is because their own sense of artistic harmony, even with- out evoking a rule of composition, has been offended. Of course, acting figures in screen pictures do not stay in any fixed re- * Book rights retained by the author. Eighty-two By E. G. Lutz* Illustrated by the Author lationship. They necessarily move. Here is where, respecting the employ- ment of laws of composition, that screen pictures differ from paintings and still pictures. On the screen there are, to be sure, some elements that are fixed and when they are planned as to position in a scene the rules of composition are similarily applied as in still pictures. And at the same time some attempt is made, even though there is a constant in- stability of position in figures, of using the canons of artistic arrange- ment. Besides, all the rules, laws, or precepts by which craftsmen in the fine arts produce their works are ap- plicable in some or all departments of cinematography. A profitable activity for those in- terested in the technic of cinematog- raphy is the studying of works from the hands of recognized masters of pictorial art. But at the outset it is well to understand that this study is not to be prosecuted for the purpose of finding examples of good arrange- ment so as merely to copy them. Spe- cific cases of such copying are the Rembrandt effects in lighting some- times attempted in screen work. These imitations are not always suc- cessful because those making them worked mechanically without knowl- edge of the principles operative in effecting such pictorial matters. The idea in studying paintings is to find out the underlying principles of good arrangement. And the endeav- or, furthermore, is to see how paint- ers applied the laws of composition for the attainment of artistic effects in specific cases. By grasping the significance of what good composi- tion is and fully understanding how to apply the rules, motion picture sets and scenes always will be ar- ranged successfully. We know, of course, that it is inopportune when a scene is to be "shot" with all the attendant multiplicity of things to think of, to stop and discuss art com- position. Whatever is done then must be done almost, as it were, with the quickness of an intuitive act. Some have an instinctive knowledge of what is a good arrangement in mat- ters of art and a certain sure way of achievement. But most of us need to study. At this point we would mention a practical help in seeing if a particu- lar scene, set, or grouping of objects forms a good picture. It is that of procuring a small piece of cardboard and making an opening in it, cut out in the proportion of the frame on the film; namely, 1 inch by % inch. This is held before the eyes toward a view and then moved and adjusted so that the view is framed by the opening. The card is moved from side to side until the most effective and satisfactory view is found. This, when it is found, is that which the camerman tries to get on his ground- glass. The cardboard had best be black. If it is not, painting it will be advisable as the black margin brings the view out very clearly by this contrast. It is feasible, though not the best way, to examine a view for composition on the camera groundglass or in the finder. But as the camera is not so easily moved around in seeking an effective com- position the little cardboard frame is used. Another way, if no cardboard frame is at hand or procurable, is to hold up the hands between the eyes and the view with the thumbs stretched out to form right angles with the forefingers. With the digits of the hands so held the ends of the thumbs are brought in contact and a sort of frame is formed within which the scene is viewed. Moving the hands away, from, or toward the face the extent of the view taken in changes. With this movement, a side to side one is also made, which dis- closes at the right point, after sev- eral trials and considerations, a properly composed picture enclosed within this finger-and-thumb frame. This is a manipulation borrowed from the practices of the landscape artist. Coming back to pictorial composi- tion and how its rules may be used in cinematography we could give a number of precepts that would be available when planning scenes or grouping figures. But to do so with- out understanding why they are ap- plied would only be going about things in a wrong way. What should be done first is to see how all rules resolve into one — the fundamental law upon which all are founded. It is simply this: the eye must be in- terested and the mind satisfied as to unity. Now if we start with this one law and consider its two phases — eye interest and a feeling for unity — we have two points from which we may take up serious pondering upon the facts of composition. Eye inter- est has to do with the repetition of particular kinds of details and unity has to do with their distribution. It is the way a picture — still, or mov- ing— is composed of details that first attracts the eye. In a sense it is a mere physiological functioning of the eye as an optical instrument. But the other matter — unity — brings into Plate 2. A PICTURE BY REMBRANDT RE- DUCED TO ITS SIMPLEST TERMS OF LIGHT AND SHADE play the mind and under it, as a study, we come to all the precepts re- specting composition. We may call this particular of unity by a number of names; a feeling for balance; harmony; or an insistence on sanity. It is the regular order of life to have things arranged and not deranged. Of course, for some purposes, cer- : ' a •*/'■■. % " -y 1 "MHH Plate 3. A PAINTING BY PIETER DE HOOGH WHICH ILLUSTRATES GRAPHIC DETAIL ARTISTICALLY HANDLED. tain degrees of disarrangement are deliberate as in the settings for some of the modern stories (Figure 1). With their disregard for the tradi- tional, the non-adherence to formal rules in the settings is not out of place. But a close scrutiny of some of these works will, on analysis, show that there is a great deal of planning in the apparent disorderli- ness. Usually there is an obvious and distinct repetition of similar strange outlandish characteristics. And often when these forms appear jumbled up there is, on further examination, a method shown in all the madness. Generally these settings — futuristic, cubistic, exotic, or whatever they are — have special effects of illumination forming part of the pictorial plan. Before going into how the laws of artistic composition are, or could be, applied to film production, we will group scenes and settings considered as pictures under three broad heads: 1. Those in which light effects pre- dominate and show as the spe- cial features. (Figure 2.) 2. Those in which a simple graphic expression of details is the char- acteristic, as in plain ordinary good photography, to put it in other words. (Figure 3.) Plate 4. Di THREE TYPICAL COMPOSITION FORMS Plate 5. Converging Lines. Plate 6. Circular. Eighty-three 3. Landscapes and general views in which the figures are nearly always small, though they may be important to the story un- foldment or the sole reason for taking the scenes. Landscapes are placed in a third and separate group mainly for con- venience of explanation of princi- ples. There are landscape views with broad effects of light and shadow which could be included in the first group and many, if not the greater number of landscapes, have the graphically expressed details of the second group. The application of compositional rules, moreover, is easily fitted into landscapes. Their manner of presentation, too, more nearly resembles still pictures and paintings. For these reasons we will deliberate upon landscapes first — and as if belonging to a separate group. A landscape picture must first of all attract and hold the attention of the eye. Of course, this is by details : flowers, herbage and trees. Then there are fields, hills, and moun- tains in the distance, as well as clouds. Architectural bits here and there as spots of interest have fur- ther command upon the eye. But mere details is not all. To hold con- Plate 7. A CONTRAST OF WHITE AGAINST BLACK IN A GAINSBOROUGH PORTRAIT tinued interest they must be disposed in a way to appeal to the mind. They should show a plan, "or in other words, have a definite construction in their placing. One of the simplest ways of composing a landscape is on the Diagonal Plan. (Figure 4.) A picture of this kind usually has some mass of detail separated from an- other part by a diagonal line. The Eighty-four example is a typical case, as it slants from an upper corner to the opposite lower one, defined by a mass of trees, foreground, and perhaps some com- ponent like a building. This mass, triangular in shape, is generally con- spicuous as to pictorial interest and Plate 8. CONTRAST OF BLACK AGAINST WHITE, AFTER TERBORCH tones or color. The other triangle holds the middle distance, shows the horizon and sky, or clouds. To bal- ance the heaviness and predominance of the large and heavy-toned -details of the lower mass some noticeable, even if small, object is shown in the middle ground or in the distance of the triangle where the lighter toned details occur. This object may be a sailboat on an expanse of water, a vehicle in a road, a group of cattle grazing, or a figure or group. There is a great diversity of arrangement possible in making diagonal compo- sitions. The division between the two parts of the picture does not al- ways need to follow the exact line of a diagonal. Often a detail of one side, or the other, breaks through. For instance, a tree form or foliage mass projects beyond the line. Then sometimes the sky cuts into the de- tails of the other triangle. It is well to show a glimpse of the distance. It is seen here in a diagonal com- position in the upper triangle, con- trasted by line and tone against the heavier mass of details in the lower triangle. The Converging Line Type of landscape composition (Figure 5), by the very nature of its construc- tion, gives this glimpse into the dis- tance. As a simple plan such a land- scape shows the details forming a series of lines receding to one point on the horizon. In general this point is off to one side. Rarely does a photographer place it in the exact middle of the picture. Cinemato- graphic scenes built on the converg- ing plan can have as part of their construction moving details trending toward the focal point. They may be horses, vehicles, or figures. An arrangement of natural objects in scenes most often taken in cine- matography is that built on the Cir- cular Idea (Figure 6). This as a first item of interest, has a view with- in the circle. It may be a mountain, the glimmer of the glistening waters of a lake, or a glimpse of the ocean or surf. A view of this kind is very effective when framed by curving trees on both sides when, of course, such tree forms are to be found. The artist when he sketches a picture of this circular type of composition ex- ercises his right to change, and makes the tree forms encircling a view curve a little more than they do in actuality. The cinematograph- er, however, must take a view the way it is. Nevertheless it is surpris- ing how frequently Nature's forms show a vista in a circular opening of foliage or tree masses, between tree trunks, or between rocky forma- tions. A variation of the circular type of arrangement is that in which Plate 9. CONTRAST OF PATTERNS OF WHITE AND BLACK, IN A FRAGONARD foliage or bushes form a tunnel, with a path leading to an opening. Fig- ures may be combined with these arrangements, being very striking when they are seen through these tunnel-like constructions. Proceeding now with the investi- gation of the principles of composi- tion, as applied when effects of light and shade are the features, we must {Continued on page 133) EDUCATIONAL and SCIENTIFIC Inaugurating A Department for News of Visual Education in Schools and Homes FILM COURSES FOR THE HOME— A NEW FORCE IN AMERICAN LIFE THE mighty role which educa- tional and scientific films are destined to play in schools and homes is at last being widely recognized and Amateur Movie Makers, be- lieving this movement is of vital in- terest to every amateur movie making family, offers as its contribution to its development this department which will be dedicated to reporting the latest news of visual education and to frequent presentation of im- portant articles dealing with its sig- nificant phases. Frequent reports will be given of the activities of the agen- cies which are pioneering in this field, among which can be listed, among others'. Yale University Press, the Eastman Kodak Company, the DeVry Cor poration,Pathe Exchanges, Inc., Neighborhood Motion Picture Service, Inc., Fox Film Company, Bell & Howell Company, Y.M.C.A., Burton Holmes Lectures, General Electric Company, Bray Studios, Car- penter Goldman Laboratories, Edited Pictures Corpn., fifty State Universi- ties, the United States Departments of Agriculture and Mines, and many others. IT is with the feeling that Amateur Movie Makers is participating in the launching of one of the great advances in educational pro- cedure of modern times, that in this issue we have the honor and privilege of making the first announcement that educational film courses, pre- pared by leading edu- cators, are now avail- able for home study. In fact such courses, carefully planned, painstakingly prepared in the light of the best educational methods and with the assistance of skilled motion pic- ture technicians, have been available for schools and colleges for so short a time that it represents a forceful tribute to the rapidity of cultural advance in the United States that such a treasure trove should so soon be available to American homes. The value of motion pictures in education, when properly applied, is now clearly understood, and this potential force is being har- nessed effectively to other significant movements for the modernizing of educational methods. Something of the history of this movement, its vicis- situdes, and its present bright prom- ise is related in the article, "Pictures as Professors," in this department. Were this new force to be limited to the schoolroom alone, it would still be a topic of major interest. Now that it is within easy reach of the home and the family, its importance and its possibilities become unlimited. Specifically, the first step in this Illustrations by Louc\s & JvfoWing. THE MOUNTAINS OF THE MOON As Visualized by Educational Films Above: A Telescopic View. Below: An Artist's Conception. movement, is the announcement of the Neighborhood Motion Picture Service, Inc., of New York and Chicago, that the film courses, in use in some of the finest schools in the country, can now be secured on 16 mm. film for home use with the great- est ease and simplcity. Eight complete courses are ready for release. The first of these comprises eighteen les- sons in Nature Study, each of four hundred feet in length. Subscribers to this course (others vary in length) will receive one reel a week for eigh- teen weeks, and the study films may be used for three days. A pamphlet to supplement each film in included in the service. Contemplation of the developments which this new departure envisages, suggests the fascinating possibilities of the home motion picture school as a great national institution, sup- plementing and enriching the regular school systems. Parents and children alike will find absorbing interest, in- creased knowledge, and genuine pleasure in this new power invested in the home projector. For example, every member of the family will be interested in some of the eighteen Nature Study lessons which include: The Sky, Our Earth, How Living Things Make a Home, Butterflies and Moths, Ants, Bees and Spiders, Sea- side Friends and their Country Cous- ins, A Day at the River, Down at Our Pond, In Birdland, Pirates of the Sky, Pets, Furry Creatures, Friends to Man, Preparing a Garden, Growing Things and Fruit and Flowers. The printed matter will supplement the es- sential titles of the films and can either be read before or after viewing the films. The latter course has been found the most effec- tive. The student then has a visual picture of the subject. A new force has in- deed been loosed by this new plan. Its fu- ture can only be sur- mised. Today, how- ever, we can rejoice that a start has been made. E i g b t y - } i v e THE DE VRY SUMMER SCHOOL OF VISUAL EDUCATION PICTURES As PROFESSORS A Historical Review of Visual Education By Raymond L. Ditmars WE hear much about visual education in the schools. What does it mean? How far has it progressed? How is it be- ing handled? The problem is one that bids fair to produce a definite change throughout the world in the instruction of youth. For many years visual education was a subject dear to some, but re- garded by the majority as barely worthy a name. Then it began to assume important proportions and is now extensively discussed by boards of education and by colleges, large and small. What has produced this world-wide discussion, this broad growth of the idea within approxi- mately fifteen years' time? The answer is: The motion picture. Educators say that motion pictures have revolutionized humanity, and that this same power can be applied in teaching. One of the early attempts at visual education, long before the term was used, consisted of illustrations in the old geography Books. Besides map"-'. there were pictures of cwamps, coral islands, volcanoes, monkeys swing- ing from trees, tigers slinking through the jungle and other scenes designed to assist the text in conveying ideas concerning the characteristics of vari- ous countries. That this crude phase of visual instruction gained the in- terest of students was attested by the attraction of the geography book for the average child. Another earlv de- velopment was the use of natural his- tory cabinets and of large wall charts relating to biology. E i gh t y - s i x Through the Courtesy of the New York "Times With the fairly general use of skill- fully prepared charts — and this might be dated back about thirty years- w HY Motion Pictures, The Greatest Educational Force Devised Since The Invention Of The Printing Press, Are Taking So Long To Win Their Rightful Place In Mod- ern Schooling, Is Explained In This Absorbing And Authoritative Article By The Famous Scientist Whose "Liv- ing Natural History" Films Are Among The Finest Educational Pic- tures Yet Produced. Especially Im- portant Is His Estimate Of The Tre- mendous Part The Film And Equip- ment Developed For Amateurs Will Play In Educational Methods Of The Future. Photographs by Louis H. Tolhurst. NOT A GHOST An Ant Larva as Shown in an Educational Film. visual education was actually under way to a feeble start. Progress brought into use the projecting lan- tern or stereopticon. The early drawback of the stereopticon — the necessary darkening of the class- room— was later remedied by more powerful lighting devices and the translucent screens. The classroom lantern was a bit slow in taking on, but it came to stay and its use is becoming widespread. The rapid development of motion pictures and the accumulation of varied films aroused a new and en- larged interest in visual education. Hopes were entertained of coopera- tion with the motion picture industry about fifteen years ago, when films were still spoken of quite formally as moving pictures. The rather flip- pant term "movies" had not yet come into being, and short "educational" films were regularly a part of the- atre programs. Subsequently, the educational film began to lose favor among the the- atres and was bolstered up for en- tertainment purposes by the intro- duction of slangy titles, which made most of the later subjects unfit for school use. A graph or chart indicating the de- velopment of visual education would show an abrupt downward dip about twelve years ago. But since then the graph would indicate a steady rise in the progress of discussion of methods and of hopes, until now there are few city boards of education lacking a de- partment of visual education, either for the handling of actual work or of othe for investigation communities. The motion picture, presenting op- portunities of bringing before the eyes of the class manifestations of animal and plant life, reconstructing phases of history, physical features of the earth's surface and demon- strations in chemistry and physics, was a subject too powerful in appeal among educators to be set aside by a few early disappointments. Some of the older teachers remained cool as to any disturbing changes, but the majority in whose departments the films would be of help kept the ve- hicle of visual education rolling, and much was accomplished during the next ten years. The old bugaboo, elimination of text-books, was thoroughly thrashed out. It was generally decided that the broad adoption of visual educa- tion would not interfere with the use of books but would, on the contrary, stimulate a keener interest in books, and that printed details were neces- sary to the student to supplement visual aids. This has been broadly and clearly demonstrated. The value HIGHWAYS OF ANTVILLE All the Marvels of Community Life Among the Ants Are Revealed by Tolhurst's Microscope greatly reduce the cost over past mechanism, and at the same time eliminate the danger from fire. Of even greater importance is the per- fecting of small, motor-driven projec- tors to run narrow-gauge film, also non-inflammable. Machines have been produced that transfer and print, by "BRINGING HOME THE BACON" The Tolhurst Films Prove That the Comparative Strength of Ants Would Put the Strongest Men to Shame of the printed page, to be studied at leisure, is in little danger of further dispute. In the last two years more has hap- pened to advance visual education than in the whole previous period. Another wave of interest has come from the manufacturers of motion picture equipment. Portable ap- paratus has been designed for class- room use and non-inflammable film has been perfected — innovations that reduction process, motion pictures on the narrow film, from negatives of the standard width. The narrow-gauge projectors throw a clear and brilliant picture of more than ample size for classroom use. Particularly encouraging has been the bringing together and re-editing in systematic order of valuable exist- ing material and the insertion of suit- able academic titles by competent authorities, who are also arranging this material for courses of study. This development has especially in- spired the workers for up-to-date edu- cational measures with new confi- dence, and there is no educational conference that does not discuss vis- ual instruction. A number of our larger education- al institutions, desiring to broaden their work, are drawing on income from their invested funds to estab- lish film libraries for free distribu- tion to the schools, reels being circu- lated very much as books are. The writer has charge of the film library owned by the New York Zoological Society, which contains close to 100,- 000 feet of film, arranged in the se- quence of zoological classification and presenting a course on animal biology. The American Museum of Natural History has an extensive pro- jection library of subjects covering American history, natural science and geography, which is in use daily in schools. Institutions in a number of other cities are doing similar work. But the schools are not yet quite out of the woods. Despite the long struggle for visual education a com- paratively small number of schools are only fairly well equipped, and probably less than a dozen colleges are utilizing the instructional mate- rial and apparatus now available. Confidence in systematically ar- ranged material and accessories is too recent to have brought about ap- propriations for purchase. The na- tion-wide consideration given to these revised methods of teaching still en- counters a lack of provision for properly trying them out. Still another development may have much to do with education in (Continued on page 118) Eighty-seven CRITICAL FOCUSING Technical Reviews to Aid the Amateur Serenade Paramount-Famous-Lasky Directed by. .H. D'Abbadie D'Arrast Photographed by. . .Harry Fischbeck Ideas From Music: Particularly appropriate to the musical character of its plot, the director of Seranade has drawn upon various traditions of the related art of music to achieve cinematic harmony and emphasis. Most obvious of these borrowings, the art titles frequently suggested bars of music, the titles themselves lines of a lyric. More subtly, mus- ical terms such as Stacatto, Largo, etc., were used as titles to convey the spirit of the action. And, most delicate of all these interesting ex- periments, the tempo of cinematic movement was indicated by and syn- chronized with the indicated musical tempos. This diverting experiment suggests the possibility of a variance of the usual photoplay plot form, for, as the drama has its traditional forms, so with music, as illustrated by the sonata or symphony. Carrying the idea flirted with in Serenade to its logical conclusion, perhaps some musically trained amateur will give us a motion picture in true sonata or symphony form, synchronized in every detail with a musical composi- tion in the same form. JUST THE THING Here Is a Simple Little Hint for Amateur Filming, If You Have Any Girders Handy. Photograph by Paramount DEVICE FOR DIRECTING Dorothy Arzner Gives Her Megaphone Double Use; Its Cardboard Frame Serving as an Aux' iliary Finder to Aid in Selecting the Portion of the Scene Desired. Photograph by Metro-Goldwyn Mayer THE METRONOME IN THE MOVIES King Vidor Uses This Musical Aid To Achieve Rythmical Quality. Success of This Method Is Attested by The Big Parade. The Enemy Metro-Goldwyn-Mayer Directed by Fred Niblo Photographed by Oliver Marsh The Underlying Motif: In De- cember this department pointed out the possibilities of development of the plan of carrying an underlying motif throughout a photoplay, as partially illustrated in A Woman of the World, White Gold, and as sug- gested but neglected in Uncle Tom's Cabin. In The Enemy we see this thought carried to a logical conclu- sion. The subject of the picture be- ing the drab horror of war, as con- trasted with its fictional glory, the director has chosen as the symbol of this drabness, monotony and horror a closeup shot of the feet of march- ing men, and drab, monotonous they certainly are, while the element of (Continued on page 126) Eighty-eight Photograph by Metro-Goldwyn Mayer PHOTOPLAYFARE Reviews for the Cintelligenzia Photographs by First J^ationa] Helen of Troy IT is a theory of Pat Sullivan, the cartoonist, that humans can be satirized more scathingly if the characters be represented as animals, and this theory can be extended to include, with four-footed characters, the men and women to whom my- thology has lent a certain glamour of unreality. For this picturization of John Erskine's famous novel, di- rected by Alexander Korda for First National Pictures, is a most scathing satire on the recent World War and many of its chief idols. America's martial gymnastics of recent date are transferred back to the days of Ilium, and everyone seems to have an uproarious time laughing at the gyrations in which they undoubtedly took part in 1917-18. Which is all to the good, although we rather im- agine that Helen of Troy in modern dress, or rather World War dress, would cause a riot of outraged pa- triots. The chief distinction between the novel and the photoplay in this instance might be said to be the fact that Erskine in the novel brought Troy up to date, whereas the photo- play has made the World War date- less. Then there is the small matter of the plot, which one reviewer noted the producers had supplied in view of the fact that Mr. Erskine had overlooked that detail. But since the scenarist seems to have had easy ac- cess to the Iliad, the only damage done is possibly in the billings which might read — Helen of Troy, Erskine- Homer. The great photoplay discovery of the past year, registered so that every exhibitor could read, was fhe fact that the public is not antipathetic to the truth, even though unpleasant, a "THE ARMY, NAVY AND MARINE CORPS" In Helen of Troy. revelation sealed by the success of such pictures as The Way of All Flesh and Underworld. And, this" early in 1928, we are able to note that Satire, hitherto shunned, has proven good box office. Helen of Troy will probably be able to add to her ship launching reputation, in- spiration for the production during the coming year of a flotilla of sa- tiric motion picture comedies. Nor would we be surprised to see a Trojan War, a la Hollywood, over the future services of Maria Corda, the Helen in the case. She is quite an authentic reason for any old kind of war. In short Helen of Troy is our im- mediate enthusiasm for the routing of the most ingrowing grouch. Sunrise "OUNRISE" is well worth the at- ^ tention of the intelligent photo- player. The story motif, based on one of the oldest and most abused themes, the involutions of man, wife and another woman, is treated in an unusual manner in this Fox produc- tion. The reconciliation and after- math provide the emphasis and the greatest dramatic interest. From the crisis, when the man, at the instiga- tion of the other woman, tries to drown his wife, the real story begins. Although of cinematic interest throughout, it is from the drowning episode, forward, that the story is markedly designed for the cinema. The interplay of emotions of peasant man and peasant wife, before the background of their harrowing ex- perience, carries them to the city and, through a half-bewildering and ad- venturous day and evening, they find happiness. Here the cinema comes into its own; feeling and emotion are translated into movement that tells more of the story than the pan- tomime. Of course there is a happy ending which is not an integral part of the theme and which can be ig- nored. "Sunrise" is not a typical "star play." The directorial excellence of E. W. Murnau has submerged the leads. Both Janet Gaynor and George O'Brien are a bit wooden and unreal as the peasant man and wife and something intangible seems to escape in their attempt to play char- acters unsuited to them and they are too obviously puppets. F. W. Mur- nau has translated the feeling of a novel of Suderman into terms of the existent cinema in a fine manner, avoiding the pitfalls of melodramatic hokum. There is a sound anticipa- tion of what can be done with this medium. The technical excellence of "Sun- rise" is more than laboratory crafts- manship. The camera has been used in a new way that tells the story with an imminence that differs from all other previous photoplay technique. One has no feeling of the limitation of a set in a studio or on the lot. One feels that the camera has been used as the focal point of an artist's imagination, nor is the effect im- paired by conscious camera angles or stilted effects. THE ELOPEMENT One of the Many Lovely Scenes in Helen of Troy. Eighty-nine MAKING your own ART TITLES HAND lettering the sub-titles for a professional feature picture is quite an undertak- ing. They average twenty or twenty- five to a reel and as the feature pic- ture usually has six reels. This makes about one hundred and forty or more titles to letter. Titles for an amateur film involve the same prob- lems in a modified degree. Titles are sometimes the last thing added to complete a production and as a result are often demanded in such a rush that it means burning the midnight oil to get them out on time or else turning the job over to the printer to set up in type. Printed titles always look "printed" because they lack that interesting individual- ity which the trained craftsman in- jects into his work. Price is another factor that must be considered. Where the hand lettered sub-title sells for fifty cents or a dollar, a printed card will probably cost about half that much. In recent years big improvements have been made in the methods of printing titles, thus solving to some extent the problem of delivering a large number of sub-titles on sched- ule time so as to make good on early release dates. But while the substitution of printing for hand let- tering means an increase in speed and uniformity, the results thus far have shown a sacrifice of variety, novelty, beauty and individuality, and it is doubtful if the press will *In the heart of the virgin pine* Out Where the big trees are big giants ever be satisfactorily adapted to se- cure these. Methods of printing and photo- graphy vary considerably. Large studios in New York and Los An- geles now specialize in printing art titles. They use an opaque white ink on a special black card called title board. Their type faces are cast af- ter some of the most beautiful styles of present day hand lettering. These studios are designed to produce any- By Ross F. George Illustrated by the Author I~JPH1S is the second of a series of ■*- articles containing a few sugges- tions from a professional standpoint which will make titling more inter- esting for the amateur. Copyright by Ross F. George. Titled by Ralph R. Eno A MAIN TITLE FOR PET FILMS The Art Title Background on the Facing Page Can Be Lettered According to Individual Wish-. thing from a slide to a motion pic- ture, specializing in trailer service and feature advertising. They have spared no money in equipment. News reel companies keep their sub-titles universally uniform by supplying their local laboratories, scattered throughout the country, WALL PAPERS of soft ridb. ton.es iix> trowns and grqys ate best suited! for letfcefoie marry Art Titles upon Left: 1. TITLE WITH WALLPAPER MAT. Above: 2. TITLE ON TAPESTRY PAPER. Below: 3. USE OF OUTLINE INITIAL. Right: 4. THE PANEL INITIAL. ;he simplest form of 'sub-title decoration is the illuminated capital two or three lines in heieht- outlined in light frayj with a hand press and their standard type face. The difficulty of printing with white ink is avoided by using aluminum ink and dusting the letters while still wet with silver bronze powder. After drying, the loose bronze is all dusted off with a piece of cotton. This method produces fairly good titles but they lack the brilliance, on the screen, of titles lettered or printed with pure white ink. However, the amateur who pos- sesses a hand press may successfully employ this system until he has learned how to use a pen. Five by seven black railroad card has been standardized for the print- ed news reel service. At times, when a local release is to be rushed out on a few hours' notice, white cards with black letters are used. The nega- tives, being a reverse of the original card, is spliced on to the news pic- ture. Using the negative in this way saves the time necessary to print and develop and dry a positive. This photographic "short cut" of shooting white cards lettered in black has never produced entirely satisfac- tory results, due to the whiteness of the title cards and the reflection from the film. For a shot of this kind the film must be reversed and the ex- posure made through its shiny back in order to have the lettering read from left to right when spliced on to the regular positive film. This shiny side acts like a mirror and the abundance of reflected light illumi- ij^jecorative panels or fc±3 similar design can be copied Irom examples in. Type Specimen Books and from books on Decoration, and Theory of Design^ nates the inside of the camera box during the exposure producing what is technically termed "halation" or a fogging of the film. Reversing prisms are now em- ployed that make possible the ex- posure on the emulsion side of the film, giving somewhat better results. However, the most successful way to make these "direct shots," as they are called, is to print or letter with black or opaque ink on a transparent Ninety-one I sha.Il never be quite a.bj[ev- to a_ch_nowlegc my trufcx". appreciation for thes&'.j-kihid' expressions, howeyjQr ■ '■' tho -'■ only way 1 Kn6w.:„.how 'to:.; comply is to er-aiit the requests : and re-a.rra.ne'c ymy ■plinSi a.ccordinglvJ____3'V\ .,: ;..;.;; 5. PLAIN INITIAL WITH DIAGONAL SPATTER onion-skin paper, frosted celluloid, frosted glass or opal glass and direct the illumination from behind through this transparency into the camera. A special frame or box must be built to hold the transparency and the lights in back of it must be so ar- ranged as to illuminate the entire title evenly, using condensers if nec- essary. This brief survey should give the student a fair working knowledge of the various methods common to the production of art titles. Now let us center our attention on the profes- 6. CUTOUT LETTERS WITH SPATTER BACKGROUND. sional manner of hand lettering a large number of these titles. Uniform spacing of lines, the size of letters and margins are of the ut- most importance. Titles should be spaced and lettered so that they can be read easily and quickly. Nor should they call too much attention to themselves by any glaring lack of system in the arrangement or style of the letters. To facilitate this task of preserving uniformity throughout a number of title cards, a stencil mask, plate eleven, may be used to advantage. This is cut from thin cardboard, size 11x14 inches. The top margin being two inches, the bot- tom two and a half inches, and the sides one and three-fourths inches each. The spaces between the lines are three-fourths of an inch high and the opening for the letters slightly over one-fourth inch. The use of a letter space of this height permits of five average words in lower case letters of normal pro- portions to the line. The seven lines Ninety-two make possible approximately thirty- five words to a title, and it is rarely ever that a sub-title will be longer than this. Line 4 gives you the optical cen- ter of your card, a point a little higher than the actual or mathemati- cal center. Balance your lines of let- tering around this line as it is the natural focusing point. To balance two or four lines it may be necessary to shift the mask a bit. Three lines balance nicely using the second, fourth and sixth lines of the mask. ft * * i ' \w ste ntMk pattern^ spa .iter ech;s jri with a. tooth oru sh diPP^ thin whi .: .v.- ;^-3 1 : . • te '■%■ 7. SPATTERED STENCIL BACKGROUND This all may seem entirely mathe- matical and outside the province of art, but for the amateur taking his first steps in lettering and design it will prove a most helpful device for securing uniformity. This spacing may be varied as different copy de- mands. Effective titles are lettered with only three or four words to the line and with larger borders, etc. Roman lower case letters are used on ninety per cent of all sub-titles. « Italics are used for subordinate copy and where emphasis is desired on one particular word. Old English finds an occasional use on the film-' r(j)he hanging Pyramid always is a popular form of layouf- on sub-titles of short 8. THE HANGING PYRAMID TITLE associated with the Church, Colonial days, etc. Flourished letters are recommended when used sparingly. In fact they often add just that touch of grace that raises hand lettering above the best type effects. However, it is advisable to confine these little freehand touches to the initial or to the last line in the form of a sweep- ing tail to the "y" or other descend- er. A little of this sort of freedom goes a long way and while one or two sweeps are graceful, a larger number is likely to make your work look affected and fantastic. The rectangle shape in layout on sub-titles is most practical but your wording can also be arranged in the form of a hanging pyramid. The lat- ter form requires a little more care in counting words and spacing and in balancing the form as a whole on optical center. Now as to background effects for the lettering, double exposure effects using soft-toned backgrounds such as wall-paper, burlap, grained wood, pastel and opaque water color paint- ings, etc., give the most interesting and pleasing results and harmonize nicely with the general tone of the motion picture. This harmony of tone accounts for their present day popularity and the consequent fall- ing off in the use of straight black white sub-titles. Double exposure gives one an almost unlimited choice of illustrative material such as photographs, drawings of various kinds and a number of materials such as dress goods, ribbons, etc. Imported box cover papers are gen- CJ takes are, rarity us id on jub -Lilts txcipi for impkasis or for ju.oorai.nait. httturiqon mam Idlic^ "^=7*»-«. *9 9. AN ITALIC ARRANGEMENT erally superior to wall paper both as to the quality of the design and as a surface for lettering. A good method of determining the photographic value of different col- ored papers, etc., is to mount scraps of various patterns and colors on a card, letter the card with a few white letters and then photograph and de- evelop for white letters. This test piece will prevent a lot of blunders as the photographic value of various 10. CARTOON TITLE A touch of humoi IX-I • is 61V CVCJ en to a. title by the : populs ir movie cartoon ■ y&^ J^> ak . JM«* wM.'S ,V-"f Sfm&mll Vr*. -J colors on the ordinary standard film is very deceiving. By double ex- posure both art work and lettering can be timed for an exposure that will bring out their best qualities. Sometimes a longer card than usual must be used, as in the case of a long cast of characters or a lengthy foreword. The standard width of card is used but of much greater 11. A LAYOUT MASK length. The camera is focused as on the usual title card and after the re- quired footage is exposed the card is pulled slowly and steadily upward so as to show the rest of the wording. Grooves or guides are used to hold the card in line while it is being moved upward. Some studios use a long strip of window shade, painted black, instead of cardboard, for these long announcements. An apparatus called a panning machine is used to roll up the strip of cloth. This ma- chine consists mainly of a framework with two brass cylinders, one at the top and one at the bottom. The cyl- inders are designed to receive the ends of the cloth and the upper cyl- inder is so geared as to roll the cloth slowly upward when turned with a &3& J <37 72,6 3TALIQS An o.do-p frtest Ul ation of nllin 2 Vvi \fnnck wnlino majkrr abed if a h / Umnop qrs,tu xi~wx 12.34 567 d90yz& 3IJ8S D699^JX£MH 09SL &SV7 uxnjQxijz@E nscindzr maj oi lttujln.in.tci> Tor QraCP ■>, J J C±f) 1 J ^-J 12. ART TITLE ITALIC ALPHABET hand crank or attached to an elec- tric motor. All mechanical devices of this kind must work steadily to insure good results as any false movement is greatly magnified on the screen. The usual footage given a title is one foot to a word. Short copy needs the full amount of footage but longer Gud FAMCHON- MAR.COJ" CJAOE IDEA" Ol fantary inspired by thai pneiouf. covvtuL....Gtm offers a Seattle j^girl an opportunity to fT> ;$jfcri the GolcUXrn. Pictures x Cbrp. ior six montlis or ^5.00.2? in. gold 15. WELL BALANCED ILLUSTRATED TITLE very often experiences a lot of un- necessary trouble with the spacing, which would not be the case if a little more effort were made to equal- ize the blank space between the let- ters while learning their construc- tion. There is a sense of relative val- ues born in almost everyone which, (Continued on page 127) Ninety-three FILM -FLAM Mammy!! WE see by the papers that eighty-five-year old Mrs. Wilhemine Alff, mother of twelve, of Cherokee, Iowa, has seen a movie every night for the past eight years, which means that she has survived 2,920 feature films. Our suggestion to Will Hays is that he get her to sign a testimonial to the effect that her long life has been due to avoiding tobacco and alcohol and seeing a movie every night. The old lady further adds that she has seen a "moral" in every picture, which shows that her eye-sight is now well-nigh superhuman. A New Angle WE'RE thinking of writing a scenario with a novel twist. A war story. The hero goes to France and his regiment stops at a farm- house. The farmer has no daughter. This makes the hero so mad he goes out and wins the war. — Judge. Big Game Hunt ACCORDING to the "Film Mer- cury," a Hollywood weekly, old American films are now much in de- mand in India, Thibet and West Af- rica, particularly the old serials we used to see years ago, such as, "The Perils of Pauline," — which the na- times devour whole, all ten or twelve episodes in one showing. Lloyd, Chaplin and Jackie Coogan are also popular. In our opinion the perfect ending for one of those African jun- gle hunt pictures would be a scene in which the intrepid explorers, stealthily sneaking through the lion-ridden jun- gle, suddenly come upon a native vil- lage which is watch- ing Harold Lloyd in "Safety Last." The bloodthirsty savages are so ex- cited that they en- tirely fail to see the big game hunters until they accident- ally come between the projector and the screen, causing Ninety-jour Edited by Creighton Peet them to yell in chorus, "Down in front!" upon which the intrepid ex- plorers scuttle into the underbrush 'and cable back to New York that they have been attacked by a tribe of head-hunters and are taking the next boat home. Copyright Life Publishing Co. Movie Director: WHAT DOES THIS HERE WORD "SUBTLE" MEAN? Assistant Moron: OH, THAT'S AN ABBRE- VIATION FOR SUBTITLE. Ride 'Em, Cowboy! ' I 'WO items this month are con- ■*- cerned with attempts to make Texas movies sweet and clean. In Houston the censors so mutilated that excellent but earthy soldier film, "What Price Glory," in the process of making it reeefined, that it was almost unrecognizable. And then there was B. B. Crimm, an evangel- ist who went about thundering, "I'd rather see a saloon on each street corner than a picture show." Which seems a bit intemperate. Why not compromise and have two of each? All God's Chillin A CALIFORNIA movie theatre **• has illuminated its usherettes' costumes with radium paint — there- by increasing its celestial appearance by several thousand per cent. A few sets of white plush angel's wings and the place would no doubt be practi- cally indistinguishable from Heaven. Sympathy BUT all this is trivial. What our movie houses really need are squads of Soothers, who will go up and down the aisles every few min- utes with dry handkerchiefs for the girls who are enjoying themselves "seeing Dolores Costello suffer," and Maxim Silencers for those inclined to gurgle about "how ivonderful John Gilbert is." Heh, Heh, Heh! A HIGHLY localized earthquake swallowed up the Gahdahful Features Studios, leaving nothing save a gaping cleft in the ground. "One of the wisest cracks I've ever made," declared Beelzebub to in- quiring reporters. — Life. Critique I N order to know exactly how the public will react to a film before it is released gener- ally, D. W. Griffith follows up reviews, (usually single showings in small California towns) with a staff of door- to-door canvassers, who go about the next morning to gossip with the townspeople and listen to their im- promptu comments on the picture. This is one detail of pro- duction which never troubles the ama- teur. He never has to wait for or ask for an opinion on his cinematic mas- terpiece. It comes to him immediately and spontaneously — like a clap of Courtesy of Judge. "IT'S ALL RIGHT, MISTER: WE'RE MAKING AMATEUR MOVIES." (Continued on page 127) MIRROR MOVIES By Don Bennett A BEAUTIFUL way of framing a closeup, so simple and yet with a few pitfalls for the unwary cinematographer, mirror photography offers a new field of ex- periment to the amateur. The camera is so placed that it is not reflected from the mirror back to the lens. Space must be allowed for the operator to move around without showing, the allowance be- ing best determined by the trial method. The subject takes his place so that he can see the camera clearly, facing towards the camera's reflec- tion, regardless of whether or not he can see his own reflection. Then in acting he looks at a point to one side of the camera reflection, not into the lens. Whatever lighting equipment you use should be placed so that it will not be reflected into the camera. The next step and the most important of all is that of focusing. If your lens is equipped with a focusing mount, accurately tape the distance to the mirror, from the lens, and then measure on to the face of the subject. For example, your subject is placed three feet from the mirror, your camera is five feet from the mirror, the total focal distance is therefore eight feet, set your lens at that mark and you are ready to Photograph by Metro-Goldwyn Mayer GRETA GARBO IN LOVE shoot. If your lens is a fixed focus no adjustment is necessary. The diaphragm stop is governed of course by the light conditions at the time you are shooting for natural lighting and should be calculated from your exposure card the same as any other scene. The illustrations of Ramon Na- varro on this page shows another actor in the background. The sketch Photograph by Paramount-Famous-Las\y Above: POLA NEGRI IN A WOMAN OH TRIAL. Below: RAMON NAVARRO 1H THE STUDENT PRINCE. Photograph by 'MetrO'Goldwyn Mayer at the bottom shows how he is placed and you will notice he is nearly in a line with the actor in the fore- ground in relation to the mirror. The illustration of Greta Garbo shows her in line with the mirror and the camera. This picture has been very cleverly made and it is impossible to tell the exact location of the camera. It is in either one of two locations, she may be shielding its reflection with her body, or, and this conclusion seems more logical, the camera is concealed by the par- tition visible in the background of the reflection. Having the camera placed in the open room would ham- per her movements considerably and we may assume that the lens is focused through a concealed aper- ture in the partition. The photograph of Pola Negri is clearly explained by the line draw- ing which shows how to place the camera and subject in relation to the mirror. Ml HH OR. t) CAMERA SUBJECT*! SU&JECT*2 O Ninety-five ERSTWHILE SALLY By K. L. Noone Illustrated by Alan Dunn PERHAPS, Susan, you want to say that Edward indited that unspeakable thing to Mrs. Ames. But don't tell me! He always liked Mrs. Ames. Your husband's family always did come first any- way, even with you! Just listen to this, Susan : 7 0 WD TO A GRANDMOTHER No thoughts of rosemary or rue Disturb a mind so chaste. She drapes a goivn of virgin blue About her ample waist. How did a man ere dare to woo So stern a maid — so iron-cased — Had Grandpa tired of honey-dew, Or was he tripped in haste?' "Just tell me he meant that for Mrs. Ames!" "Mother, please don't be silly. But I must say that the children would have been fonder of you if you weren't always finding fault with them." "Finding fault! Finding fault? If I Ever started to do that! . . . This younger generation. . . ." "There's very little difference in children, Mother. When Tom and I were only ten I can remember you going to Father and . . ." "Oh, I'm very far from arguing about that! I've certainly been be- set all my life. Your children came by this sort of thing quite naturally. I'll never forget finding that scrap in your sewing basket: 'Is there a sting Remembering When glances came Unbidden? Or is her night Made starry bright Because her age is hidden?' You were more than ten then! You were twenty-four, and you wrote that undutiful thing after you had seen me. . . ." "Using a lipstick, Mother!" "No, indeed! Trying the effect of one to show your Uncle Tom. He was thinking of going into the manu- facture of that particular kind of lipstick. And it Did help him, too. I remember his exact words. He looked at me and said he'd surely need a lot of capital to put it over! I'm sure I've always done everything / could to help my family!" Ninety -six 0* "JUST LISTEN TO THIS, SUSAN!" "If only you wouldn't continually find fault with the children. Mother. . . ." "You're always trying to excuse them, Susan, but their conduct is dreadful. They're absolutely lacking in respect. What this generation . . ." "There's very little to choose, I say again, Mother, between genera- tions. Of course if you go back to the Victorian Era . . ." "You think I'm Victorian? Victo- rian, when you know perfectly well I was married in 1927 and that I was . . . Well, never mind what I was . . . You needn't smile. I simply couldn't make up my mind, and even the night Earnest proposed . . . Well, Father had said to me 'It's now or never, Sarah!' Ernest said afterward he never was so sur- prised in his life. You see, my little brother Henry told him that Father had said he'd never be able to sup- port a wife anyway, and Ernest got into one of his terrible tempers and said to me 'Why, I could keep even you!' And I told him I was sure he could — that I had the utmost confi- dence in him and that we'd be mar- ried in the fall. I Knew he'd just been afraid to ask me. Young peo- ple were different then. They were modest. They didn't run around at night like some daughters I could mention. . . ." "Mother dear, I know from what you've told me a thousand times that the girls had chaperons in your day, but 1974 is different from 1927, and people spoil Betty anyway, she's so pretty!" "I was pretty, too, but I never left the house without telling Mother where I was going — and / never touched a cigarette, though I must say they were pretty general. But look at the things your daughter smokes — not to mention the horrid little pipe hanging on her jeweled chain, and every girl carrying per- fumed tobacco in her vanity case — an electric lighter — all the rest of the horrid things. Why, the men are so disgusted they aren't smoking at all. They say it's feminine! HOR- RIBLE! And the Clothes! I Never wore a skirt higher than two inches below my knees! Look at your daughter's! Look at it? You can't see it! When we were walking be- hind her to church Sunday did you hear what young Beachman said? No, I wouldn't even repeat it — but I can tell you I stared at him until he got so confused he backed into the public gasoline tank. By the way, I wish your husband would take some interest in civic affairs and get that thing away from this neighborhood." "But it's convenient, and hasn't any odor now. It's non-inflammable, too." "I know all that, but it's so near the house, and there's such conges- tion around it. I don't think the tax- payers should stand any such calls on them. And the public airplanes! Ten cents from Fordham to the Bat- tery! My New York Interurban Air- plane stock hasn't paid a cent of dividend for . . . Oh, everything's all wrong. I'm afraid to go up in our plane for even a short trip. Now in my day, when everyone used an automobile there was no congestion at all — no accidents — the drivers obeyed traffic rules implicitly. Why, there wasn't a single person run over by an automobile in the whole year of 1927 in New York City!" "Mother, please don't think I want to change the subject, but I have a lovely surprise for you. When Dick had to go through Father's . . ." "That's another thing, Susan ! Why your father should have deliberately made your husband executor while I was alive and available . . ." "NOW FOR THE FILM, FOLKS." "GRANDMA, WHAT IS THE MATTER?" "Please, Mother, let's not go into that again — I just want you to know something because it will make you so happy. You'll be able to let us see at last how lovely you were in 1927." "What!" "Yes, dear. Father left a film marked — oh, never mind about that." "How was it marked, Susan?" "Why — er — Well, you know what a sense of humor Father had." "Don't remind me, Susan! He told me once a sense of humor was the constitution of the state of matri- mony. When I think of certain things, it's all I can do . . . But he's beyond the pearly gates now and I must be forgiving. My only hope is that he won't have gotten in with any more disreputable company until I get . . ." "Mother!" "Don't MOTHER me! How was that film marked, Susan? Don't keep me on tenterhooks. I never did trust a sense of humor anyway. It's . . . it's a most unsafe possession. How was it Marked? Did anyone run it off? Tell me at Once!" "Why, Mother! And I thought you'd be so pleased!" "I Am pleased. Of course I am, Susan— but HOW WAS IT MARK- ED? And Where IS It?" "Well, Dick says it has a label 'YEAR 1927. Snapped Sarah and escaped with the spoil. Some foot- work!'" "I Knew It!" "What's the matter, Mother?" "Nothing, Susan. Yes — I don't feel well. Not at all well. It's the heat. I'm going to lie down. Oh, Susan, I want them to be sure to bring the film to me and let me project it first. You know there's something so touching about these old things." (Continued on page 131) Ninety -seven SHOOTING With A SHUTTER By Arthur Newton Pack THERE is no closed season on camera hunting. There are no closed areas either. Just the same, the man or woman who brings back a good motion picture of a wild animal not held by a trap or con- fined by a fence has likely expe- rienced every thrill that the hardened Nimrod can boast, and probably a few more besides. A good shot from a high powered rifle will bring down a moose or a bighorn sheep at several hundred yards and one good glimpse of the game is enough. Not so in camera hunting. The modern port- able hand movie camera bears the same relationship to the old heavy professional apparatus as the high powered rifle does to the bulky blunderbuss. The rapid working telephoto lens extends the range won- derfully, but it has its limitations in effective working distance and, con- sequently, the camera hunter faces a more sporting proposition than the man out merely to kill. In Africa the hunter may enlist a safari to carry his apparatus for him; may employ a whole native village to beat up game, build shel- ters and blinds, drive the victims to the studio or the slaughter, as the case may be. In America the hunter usually goes alone or with a guide, and does his own toting up hill, down CINE STALKING Success On the Trail of the Rocky Mountain Goat. hill, across streams, and through the brush. Accordingly, the camera hunter after big game will quickly discard his tripod and must depend upon his hand camera alone. Last August the author set out from Glacier National Park in Mon- tana with a party dedicated to photo- graphing Rocky Mountain goats for Nature Magazine. We knew that this animal had only once or twice been successfully photographed in the wild, because of his predilection for the rocky edge of space and his abil- ity to escape rapidly over territory impassable to a human being. In common with many others I had tried to photograph goats with an ordinary reflex camera, but had "SO THAT'S A CINE CAMERA!" Well, Maybe, That's What This Big Boy Thought. largely failed. The answer, we thought, lay in using the hand movie camera; and it did. Accurate aiming is, of course, one of the secrets of such successful tele- photo pictures, just as it is with a high powered rifle. Lenses longer than the 3-inch for the 16 mm. cam- eras and the 6-inch for the standard film size we had previously found impractical, as the hard going made tripod toting out of the question. Anyone who has used a telephoto lens will recognize that if the camera is not held very steady the picture will jump all over the screen when projected. The longer the lens, the more serious the difficulty, so that three times magnification was all that we felt competent to handle. The reader will also appreciate that a 6- inch lens on a standard film camera gives only the same relative degree of magnification that a 3-inch lens does on 16 mm. film. To obtain a picture of an animal the size of a goat or deer, large enough to fill the screen means, that the hunter must get within 15 to 25 feet with an ordinary lens and 50 to 75 feet with a telephoto lens mag- nifying three times. Mr. William L. Finley, who is the most successful professional photographer of Ameri- can wild life, and I (an amateur) did succeed in getting within the re- quired 50 feet once and 75 to 100 feet several times, and brought home the pictures which Mr. Finley is lec- turing with this winter. We were suc- cessful because of the remarkable adaptability of the modern hand movie camera to this work. The subject of accurate focusing Ninety-eight is so important in telephoto work that a few extra hints may be desir- able. The eye trained for compara- tively good distance judging in level or smooth rolling country is apt to prove a poor guide in the rarified atmosphere of high rocky mountains or amid the dense trunks of a virgin forest where Nature does things on a large scale. Wild life photography does not permit distance checking with a tape measure, and seldom gives time for the employment of a range finder. The photographer must be ready for instant action at any distance or lose the picture entirely. I took with me last summer a dis- tance meter which I had practised with at home and carefully checked. As we entered new territory I amused myself by guessing the distance to rocks and trees and then proving my guesses all wrong by means of the distance meter. Very soon, however, the new scale of relative values be- gan to soak in and I could guess much more accurately. This prelim- inary "target practice" helped great- ly and not only saved me out of focus shots, but also helped to over- come that natural nervousness of the hunter suddenly confronted with the game, which old timers call "buck fever." Other amateurs have repeatedly asked regarding the use of color fil- ters in wild animal photography. Un- questionedly a color filter is a good thing, but not usually necessary for big game. The animal will most like- ly appear in poor light, shaded by the forest or by a rocky cliff, early in the morning or late in the evening, and require a pretty wide open lens. We photographed beaver at work on a dam as late as seven o'clock in the evening. As the best 6-inch telephoto lenses have a speed of /4.5 only, a color filter which would in any way cut down the exposure frequently does more harm than good. In this connection my experience indicates that the supposed effect of high rari- fied atmosphere on exposure is fre- quently over estimated. An exposure meter is, of course, the sure test; but I have seldom used one. The camera hunter who returns from a trip with good close-ups of the game may nevertheless have a pretty unsatisfactory picture for pro- jection. In the excitement of the hunt one may easily forget that a picture requires some sort of scenario and neglect to shoot the "leads" which add so much to the completed pic- ture. The start of the trip, various exciting thrills and adventures en route, the difficulties of precipice and thicket are all part of the hunt. Be sure to take close-ups of the camera man posed in action (with a spare camera) and edit the films with proper cut-ins suggested by the story. The taking of this lead material of- fers opportunity for the refinements of iris vignetting, cloud effects (taken with an adjustable sky filter — half orange and half white), and comedy interest. It may be interesting to note that a fine still camera of the reflex type, equipped with a 17-inch telephoto lens, did not bring home the bacon as compared with the movie outfits. When extended to take the big lens, the reflex camera could not be car- ried along narrow ledges on the mountain peaks or through the brush below. Furthermore, at 50 to 75 feet it required extremely accurate focus- ing and objects a few feet more or less than the given distance were thrown out. Our movie cameras, focused by guess work, generally produced pictures of much greater depth and so satisfying that indi- vidual frames were enlarged up to 4x5 inches to make illustrations for this article, for Nature Magazine, and for the rotogravure section of the New York Times. VACUUM CUP HOOFS It Is Said a Rocky Mountain Goat Could Find Footing On a Wall Paper Pattern. The movie camera has another point of excellence as a weapon for big-game hunting. In any wild ani- mal picture the pose is the thing. The photographer never knows just what his wild actor star is going to do. He may snap a picture, thinking it his best and last chance, and the very next moment miss the picture of (Continued on page 129) Ninety-nine COLLEGIATE ROMEOS In The Sporting Chance, a Production of the Amateur Motion Picture Club of the University of Southern California. AMATEUR CLUBS Uncharted Seas THE Cinema Crafters of Phil- adelphia are making pioneer experiments in new field of photoplay production. They are ap- proaching the motion picture from an entirely new angle, to discover its artistic possibilities. In their first film, "Transition," emphasis was laid upon the scenic background that evoked and sustained the pic- ture's moods. Their second film, "Mobile Composition No. 1," is dy- namic in both scene and structure. Pantomime, for its own or the story's sake, is disregarded. Stress is laid on the mobility of the scene as a whole, its time, movement and value in re- lation to other scenes. By this means, rather than by a story in film, the idea of the composition is conveyed. We learn that "varied ryhthms of the scene as a whole, contrasted with repetitions and pauses, with con- tinued change from subjective to ob- jective and from participant to spec- tator, all contribute to expression." However, unlike the Ballet Mechan- ique, the episode of the picture is an integral part of the film. One-hundred Edited by Arthur L. Gale "Our club is composed of painters, dancers, and illustrators," writes Lewis Jacobs, its president. "We are working on 35 m.m. film. It is our aim to emphasize direction that will result in cinematic form. Such stuff as story, acting and sets are merely contributing factors to the more im- portant element, form. We are trying to make of the film something rest- less, fluent and dynamic. "The cinema," continues Mr. Jacobs, "has, as yet, with the excep- tion of the Russian film, Potemkin, given us chiefly conventions. It re- mains for the Amateur to create cinematic traditions. We believe that to use a true angle is more important than to use a camera angle. We be- lieve it of more value to tap the emotions of our audience with images than with sub-titles. We think that the movement of the whole scene, rather than that of individual figures, should provide the structural form of the scene. We are investigating the pos- sibilities of variation in both the size and place of the projection image. These variations have not been used by the professional cinema except in the naive use of the magnascope. "A pictorial plan annotated with technical notes supplants, with us, the usual movie script. The advantage of such a plan lies in its consolidation of the functions of novelist, scenario writer, art director, camera man, director, etc. It saves us considerable time and money, first, in the actual scene shooting and, later, in film editing. Because it is visual and al- most as concrete as the film itself, this system facilitates organization and aids considerably in determining mood, tempo and other directorial functions. Of course, for the prep- aration of this plan, one must have a trained visual sense so that the artist supplants the writer. "At present, we are at work on a film, the nature of which is yet secret. However, these cinematic theses are embodied." This is a bold amateur challenge to professional accomplishment. Not all of these ideas are new but they have much of revolutionary vigor about them. They illustrate the dis- tinct contribution that amateurs can make to the progress of cinemato- graphy. The Cinema Crafters can produce their own type of photoplay without fear of box-office verdict and, with such definite ideas, they are bound to produce something novel and constructive. California Collegians UNDER the leadership of Arthur R. Brearly, of the Amateur Cinema League, a group of under- graduates at the University of South- ern California, Los Angeles, have produced, "The Sporting Chance," their first film venture. For produc- tion simplicity, the author of the scenario", Paul H. Kiepe, confined the action almost wholly to exteriors in which local scenes could be used. The club has a full battery of ama- teur equipment at its disposal. Spe- cial reflectors were made of battened vernier board, painted with alumi- num paint and then varnished; be- fore the varnish was dry, it was sprinkled with semi-metallic dust. The rivalry of two college swains and a mad automobile race to win the girl form the theme of the plot. The car used by the hero, an antique affair, was sold during the course of the production. Despondency settled on the cast, when someone thought of the idea of registering the destruc- tion of the car and the hero carry- ing on the race on freight cars, al- falfa wagons and other vehicles. These complications furnished many amusing situations. Arthur Brearly directed. Paul Kiepe photographed and Matt Barr managed the production. Miss Billie Walker played the lead, supported by Lafayette Taylor and Walter Outler. Josephine Campbell played the comedy lead and Tom de Graf- fenried, the father. This group plans a second production. Portland Progresses A CINE contest is planned by the Portland Cine Club, Portland, Oregon. A substantial award, not yet announced, will be given for the best reel. Experienced judgment of ama- teur films is being developed by this western club. At each meeting, mem- bers' films are projected; a printed score card, giving space to grade the films on human interest, photog- raphy, story continuity and title work is passed round. Each person present grades the films as projected and the results are averaged. An educational address on some phase of amateur movie making is featured at each meeting. The club is encouraging making film records of events of civic and historical in- terest. George N. Black is president, Fred G. Meyer, vice-president, and Ray La Fever, secretary. These, with Benjamin H. Davies and Dr. Merle Moore, constitute the board of di- rectors. Washington Shoves Off TPHE scope of the Washington, ■*■ D. C, Cinema Club, organized January 9, of this year, is wide. Be- side presenting cinematic programs, including addresses, film showings and technical discussions, this club plans an amateur photo- play, enlisting the serv- ices of prominent Wash- ingtonians, having expe- rience on both stage and screen. John W. Thomp- son is president of this club, Henning C. Nelms, first vice-president; Ralph E. Woltz, second vice- president; Miss Clara Martin, secretary ; Lan- don Van Ness Burt, treas- urer, and Henry B. Del- lett, technical director. Messrs. Thompson, Woltz, Burt and Dellet are League members. Viennese Importation OUR library for amateur clubs has received its first European addition, one hundred and ten feet of Viennese scenes made by Carl M. Kotlik, of the Club der Kino- Amateure Oesterreichs, of Vienna, Austria. Every member of the League visiting Vienna will find a hearty welcome from Mr. Kotlik and the members of the club of which he is president. Vienna, the city of music and beauty, offers much to the cine- amateur. Mr. Kotlik may be found at 21 Justgasse, Vienna. Flushing Organizes HPHE Amateur Movie Makers of ■*- Flushing, N. Y., had their initial meeting January 6, sponsored by the Y. M. C. A. of that city. Some thirty members signed the rolls and an ex- ecutive committee of Ronald Kounts, Arthur Gartelman, William Schulz, Alfred Ziegler and Charles Stanley was elected to prepare for the pro- duction of a one-reel comedy. Photo- plays produced by other clubs were shown. This club is fortunate in having excellent equipment. (Continued on page 124) "THE SPORTING CHANCE" Involves Motor Cars, Freight Trains and Alfalfa Wagons, As Well As the Famous Los Angeles Climate. One-hundred-one A New Era of I The new self-threading projector that has taken the home movie world by storm IT does about everything but talk," was one man's comment the first time he saw the new Kodascope, Model B,in operation. "That thing's human," observed another. And these two remarks give yo'u a pretty good idea of how you are going to be impressed whenjyoz* see this new projector in action. For Kodascope, Model B, is new. It involves new principles; it brings new home movie enjoyment to your fireside; it opens a new era of home projection. Consider, for example, the self-threading mechanism, that new, exclusive feature that immediately stamps the Kodascope, Model B, as a spectacular engineering achievement. By virtue of its loop guides and threading arm, the film threads itself in much less time than it takes to describe the operation. Another exclusive feature is the new framing device which centers the image on the screen without shifting the illuminated area. This refinement eliminates adjustment of the elevating lever after the pic- ture is properly framed. Kodascope, Model B, is equipped with a motor-driven rewind. When the picture is over, presto! — the rewind spins the film back on the supply reel. "Still" pictures are achieved at the touch of a finger, and a heat absorbing screen is inserted between the lamp and the film, insuring adequate protection to the film while the "still" is being shown. Humorous and novel effects may be obtained by running the pic- tures backward. The motor does not have to be stopped. Simply turn the direction switch from forward to reverse and the picture imme- diate! vr starts the other way. Kodasco "The Projector Self -threading Reversible Low Center of Gravity Light in Weight "just slip the film in the slot — Kodascope, Model B, threads itself One-hundred-two >me Projection Model B ilmost Human'' Motor Rewind Compact New Framing Principle Easily Portable Simple and easy to operate — efficient and dependable beyond your fondest dreams KODASCOPE, Model B, is designed to meet the most exacting requirements of the amateur. Combining entirely new principles with that simplicity so characteristic of all Eastman projectors, it sets a new precedent in home projection, and represents the ultimate in projector quality, performance and beauty. With its unusually low center of gravity and broad base, undue vi- bration is prevented, and movement out of position while in opera- tion is rendered practically impossible. The mechanism is entirely enclosed, and the few controls are readily accessible. The elevating lever is quick-acting, within easy reach. Fittings are chromium plated, and will not tarnish. Kodascope, Model B, is easily carried, its weight being but 13 34' pounds. The upper reel arm folds and locks firmly to the frame, form- ing a convenient carrying handle. When folded, the size is but slightlv larger than that of the well-known Model C. (See comparative illustration below.) Pictures of this new projector, and mere words describing it, can- not do justice to this marvelous contribution to entertainment in your home. Go to your nearest Cine-Kodak dealer's and see the new Kodascope B. Use it, marvel at its almost human abilities — and increase your home movie enjoyment a hundredfold by adding it to your equipment. Kodascope, Model B, complete with velvet-lined carrying case, two 400-foot reels, one humidor can, one extra 200-watt lamp, one splicing outfit and one oiling outfit, is priced at $300 at your Cine- Kodak dealer's. Comparative size of Kodascope, Model B {left) and Kodascope, Model C {right) One-hundred-three A New Era of Home Projection The new self-threading projector that has taken the home movie world by storm II does about everything but talk," was one man's comment the in .1 time he snw the new Kodascope, Model B, in operation. "That thing's human," observed another. And these two remarks give yo'u a ,1,11, good idea of how you ore going to be impressed when you see i In,, new projector in action. For Kodnscopc, Model li, is new. It involves new principles; it brings new home movie enjoyment to your fireside; it opens a new era of home projection. Consider, for example, the self-threading mechanism, that new, exclusive feature thatimmediatelystamps the Kodnscopc, Model II, as a specta< ular engineering achievement. By virtue of its loop guides and threading arm, the film threads itself in much less lime I han it takes to describe the operation. Another exclusive fenture is the new training device which centers tl ii" on tin screen without shifting the illuminated area. This fcfincmcnl eliminates adjustment of the elevating lever after the pic- ture is properly framed. Kodascope, Model B, is equipped with a motor-driven rewind. When the pi. mi. is over, presto! the rewind spins the film hack on the supple reel. "Still" pi. inns are achieved at the touch of a finger, and a heat absorbing screen is inserted between the lamp and the film, insuring tidi qunte protection to the film while the "still" is being shown. 1 lulM " i »"yrU ' > Kodascope, Model B, is easil) cnrried.it. hi b< I P°"nf-The.uPl '-""fcU Hot I h, cfoVn ngaconvenient carrying handle. W folded, th, li/ei bul ightl illustration below.; ' Pictures of thi new projector, and mere word di icribino il . in notdojust.ee to this marvelous tribul ,,, ',„ ,„ your home. Go to your nearesl t ..,.' Kodak dealer's and th Kodascope li. I se „, marvel al its almo . I .,„ ,|.ilii increase yo„r home movie enjoyment ., hundredfold b) nddin it r.. your equipment. 1 "I". Model B, complete with velvel li I two 40o-lo.it reel , om I doi in splicing outfit and om oiling o .,, , ,,, Kodak deali i CompTdn* thi '/ K MM t One-hundred-lhree PORTRAITS of PIONEERS H. A. DeVry First of a Series of Interviews with Interesting Personalities in the Amateur Motion Picture Field THERE is one man who could if he would write a thrilling and romantic story of how motion pictures were made safe for democ- racy; that is, how they were kept from becoming the exclusive mono- poly of the theatre and were re- leased for the use of the home, the school, the church and the world of business — a story that would read like a fairytale. But this man's modesty stands in the way of getting the story in his own words. The story would begin with the conquering of seemingly insurmountable difficulties and it would end with a modern example of the survival of the fittest. This manufacturer - inventor prefers to work either at his table or with his engineers, where some of the most original and ingenious apparatus for motion pictures has been worked out by him in the past score or more years. The man is H. A. DeVry, bet- ter known to his many friends and employees as just "H. A." Notwith- standing the fact that "H. A." could long since have retired from busi- ness, he is the very active head of the DeVry Corporation. He and the night watchman, the only employee on a 12-hour shift, just about divide honors on the time each puts in on his job. There are times however when the call of the water gets too strong for him and then he lives with his family on his yacht — a beautiful 82-foot Diesel-powered craft named "Typee" a variation of the name of his pet portable motion picture machine "Type E." Unlike most men of his age, he does not spend his surplus energy in golf, but polishes brass and mahogany on his yacht, which he navigates so successfully that he has repeatedly carried away the principal efficiency prizes in naviga- tion on Lake Michigan. The distinction of having made the first practical portable projector, the suitcase projector, the first portable motor-driven projector, all belongs to "H. A." It was conceived back in 1912 while he was a free lance movie camera man and exhibitor, and made with his own hands in his basement workshop of his home — "And be- One-hundred-jour HERMAN A. DEVRY lieve me," says "H. A.," when speak- ing of that time, "I worked the mid- night candle in those days, with my good wife to keep me company and give me the steady encouragement I needed." How "H. A." started his business with a foot-power lathe, a work bench, a few tools, a completed model and cash capital assets of $125.00 in a 16x18 foot room at 117 Wells Street, Chicago, in the face of dozens of concerns which were working in the same line, with from $2,000 to unlimited capital; how he persisted until today he is the only one to survive in the portable and non-theatrical field of all those who were in business at that time, is a story of real romance. There is still another story which would deal with "A. H.'s" perfection of the DeVry Automatic 35 m.m. Movie Camera, which created a sen- sation on its appearance by accom- plishing for $150 the essentials of the job which had previous required professional movie cameras costing up to $5,000. Its great contribution was the double counter-balanced spring, which had so much power to spare after the film was unwound, that it stopped with the snap of a start. Although designed for the amateur, Hollywood studios and newsreel men have used it widely with unqualified success. When once set it takes pictures under water, up- side down, dropping from aero- planes, facing gun powder and dyna- mite explosions, or what have you? It is said to have outsold every standard movie camera made in the history of the industry. Nor would Mr. DeVry say much about his new creations — the Type G 16 m.m. Projector, and the De Vry Continuous Projector for the ad- vertising world. "Look at 'em," he said, "isn't that enough?" And what I saw in the projection room, was a dainty little machine, with its large silvery discs gleaming in the dim light like butterfly wings. When he pressed the button, its gentle hum could scarcely be heard. He picked it up and held it perched like a pigeon on the palm of one hand. Twenty seven feet from the screen where we stood the pictures were almost life size, and clear as cry- stal. He pressed a button — one of the moving pictures suddenly stop- ped dead "frozen" stiff on the screen — giving one the uncanny feeling of a ghost suddenly caught from a weird processional. "Over here", said "H. A.," "I don't have to press a button to make it stop. This one is self stopping. The built-in clock and Mercoid switch does the work". Now he was show- ing me the Continuous Projector, built on the same base and lines as the Type G. It possessed the further marvel of continuous uninterrupted projection, hour after hour, the same picture story over and over again — until the hands on the clock reached the predetermined time, then a tiny mercury tube tilted a little — and the thing became in- stantly dark and motionless. And Moviedom is now watching for the promised De Vry 16 m.m. camera. Will it have three speeds? Will it have the double counter bal- anced spring of the De Vry 35 m.m. camera? How much will it cost? These questions are interesting many. I was shown a model of it, but I can only say that it will be out in April and will measure up to all of the high expectations for it. (Continued on page 118) JOHNNY'S SNOWMAN A February Scenario for a Children's Party Synopsis JOHNNY is going to have a George Washington's Birthday party. As his share of the entertainment he makes a little George Washington out of snow, puts the proper hat on his head and a hatchet under his arm. He is called in for his nap and dreams that his guests are arriving. As they come up the walk the snow- man comes to life and runs over to a little tree which has suddenly blos- somed out into leaves and cherries, and starts to chop it down. The chil- dren run up and try to stop him but he chases them away with his hatchet. Johnny makes an attempt and the snow man runs after him and almost catches him. He screams for help and wakens to find he has rolled off his couch and nurse is try- ink to wake him up as it is time for him to dress for his party. Cast : Johnny Little boy to play snow man. Mother or nurse. Children guests. Properties: Cotton flannel suit for boy to wear as snow man. A snow man made so that the suit will look like it. Paper hat with cockade and a hatch- et. Imitation cherries and leaves for the tree. Length: 100-200 ft. Locations: Exterior of home; one window — lighted interior. By Marion Norris Gleason 13. 1. Ti7/e— /ohnny's Snowman. 2. Near view of Johnny in the gar- den putting the finishing touch- es on a snow man about as large as himself. He puts a George Washington hat on the head and a hatchet under the arm, then stands back to admire his work. 3. Close-up of Johnny smiling and saying — 4. Title — "When the children come to my party won't it s'prise 'em to see George Washington out here." 5. Near view of mother at the door calling. 6. Near view of Johnny turning, listening, then running. 7. Near view of Johnny and mother at the door. Mother says — 8. Title — "You've just time for A NAP BEFORE YOU GET DRESSED FOR THE PARTY." 9. Near view of the two going into the house. 10. Near view of Johnny on couch, bed, or curled up in big chair by a window just going to sleep. 11. Long shot of children going up path toward house. They stop and point to the snow man. 12. Near view of Johnny sitting up and looking out of window. He jumps down excitedly and runs out. Long shot of children with Johnny running up in his out- door things and joining them. They point to snow man in amazement. Johnny looks and sees — 14. Close-up of the snow man. The real snowman has been removed and the little boy in the flannel suit is in his place, standing in the same pose and with the hat on head and hatchet in hand. He slowly takes hat off his head and bows low to the children. 15. Near view of the children look- ing astonished and running to- ward the snow man. 16. Near view of the snow man. As the children come toward him he jumps up and down excited- ly, points off and runs away. The children look puzzled and then follow him. 17. Near view of a small bare tree. The snow man comes up beside it. Stop the camera. Mark the place from which this shot was made. Tie some of the imita- tion cherries and leaves on it, make a short picture, tie on more cherries and leaves, make another short picture and repeat until the tree is covered and the finished film will look as if the tree blossomed and grew fruit before your eyes. {Continued on page 134) One-hundred-iive CATS IS CATS A Home Scenario in Story Form By Edna Mac Donald Serrem NO, of COURSE not, darling! I haven't the slightest intention of keeping a cat. Not the slightest. I know the idea worries you, but I remember, Precious, what we agreed. We agreed I wouldn't have any more cats, for a while, any- way. Yes, I remember, Peter, I re- member. I said I wouldn't, and I won't. But this isn't a cat, it's a kit- ten, the cunningest little thing you ever saw, Peter, don't growl like that, darling. I've said I wasn't going to have a cat. and I'm not. I ALWAYS keep a promise. What? Now, I ask you, dear, seriously, have you ever known me to break my word? What . . . ? 0, of course, you're jok- ing. Do you know, Peter, when I married you I hadn't the least idea you had such a sense of humour. It's delicious. Only the other day Mrs. Van Arnum was speaking about it. She said, "My dear, you certainly are a lucky woman. If I had a man like Peter Love for a husband, life would look different to me, I'll tell you. My husband is just the opposite. He never sees a joke in anything. I tell him its because he doesn't WANT to . . . he always thinks he smells a mouse. . . ." But speaking about smelling a mouse, darling, reminds me about this darling little ca . . . itten. It COULD be made into a lovely cat. It has been so neglected. Hmm? No, it isn't, Peter. It's a LOT different from those last two cats. They were both such colorless cats I don't blame ->'^ you for . . . having done some- thing with them. But this one is all white ... or he would be, if he had a nice bath. Even the best cats can't keep themselves clean when they haven't any home. And he has one . . . two . . . yes, FIVE red spots. . . . 0, we could call him Spot! Hmm? Ha! Ha! I was sure you'd ask me that, darling. But I'm already for you this time. I'm not going to give you the tiniest hint where he is. When you hear all about him, you'll feel just like I do. \ou can see the sad side of things, Peter, as well as the funny side. You know, dear, you told me to take walks. \ ou said I needed a tonic of some kind. Ha! Ha! What you really said, do you remember, Peter, was, "It will act just like recharging a battery, Jessica. Tuning in on a new circuit, or something. . . ." You funny boy. It's splendid to have the sense of humour you have, Peter. But, as I was saying, while I was out walking along Cramp Street, you know, where all those shops are strung along, one after another . . groceries, bakeries, barber-shops . . well, right in the doorway of a gro eery store was this poor little ca . . itten. It was starved, simply starved crouching down in that wet snow, and shivering. So I picked it right up. 0, NO, dear, of course I didn't intend to keep him. I just pitied him is all, and I could see what a lovely cat he WOULD make when his fur wasn't all dirty with wet snow and coal dust. And, Peter, the poor little thing had the toothache. 0, of COURSE cats have the toothache, just the same as you do, only worse, for all you know. You remember that time you had the toothache you said you wouldn't ask a DOG to suffer what you suffered. If dogs can have the tooth- ache, I guess cats can. Well, I was sure the grocer didn't know his cat was out in the snow suf- fering with a terrible toothache, so I opened the door just a crack, and started to put the poor little thing inside, but, Peter, I was never so sur- prised or mortified in my life ! A big, horrid woman was the grocer, and she just pounced on me. {Continued on page 118) J An M yr' I : > One- hundred-six PHOTOPLAY MAGAZINE thanks the members of the Amateur Cinema League and active ama- teur cinematographers everywhere for their splendid cooperation in making a success of its $2,000 movie contest. A substantial number of amateur films have been received and they are still coming in. The contest closes on February 15th. Full announcement of the awards will be made as soon as pos- sible in PHOTOPLAY MAGAZINE. Unusual interest has cen- tered in this contest — the first international amateur competition ever held for movie enthusiasts. All the competing films, before their return to their owners, are to be used by the Amateur Cinema League in creating a standard of amateur cinematography. Never before has it been possible to study amateur films in a sufficient number for their use in making a complete study of the amateur film movement. Further announcements of this will appear in PHOTOPLAY MAGAZINE, together with interesting plans for showing the win- ning films. Watch future issues of PHOTOPLAY MAGAZINE. Incidentally, every enthusiast should read the amateur movie department of PHOTOPLAY every month. PHOTOPLAY, too, is invaluable in watching the activities of the professional world of motion pictures. PHOTOPLAY is the foremost magazine of its field. Its Shadow Stage Department — in which every film is given fearless and careful critical considera- tion — is famous among the millions of film fans. It is your only insurance against a wasted evening in the theater. PHOTOPLAY MAGAZINE, 750 N. Michigan Avenue, Chicago, 111. One-hundred-seven - THE CLINIC - Conducted by Dr. Kinema Late News EXPERIMENTS have been made to determine the effect of the movie on the human eye. The tests showed that more eye fatigue was caused by 45 minutes reading than by looking at black and white motion pictures for an hour and a half. Pic- tures in natural colors are said to be even less of a strain. Furthermore, after the test, a gain in aucteness of vision was noted after the pictures were run. This seems to point to the unexpected moral that if your eyes are tired, go to the movies and rest them. The motion picture camera has been used to determine the melting point and record the liquefaction of graphite in the electric furnace. A camera has been designed for micro- cinematography having an auxiliary shutter between the lamp and the microscope, making possible focus- ing from the rear through the film. A new, low priced standard film projector has recently been placed on the market. Designed for a theatre or hall seating about a thousand peo- ple or less, it is equipped with a Mazda lamp and will project a six- teen foot picture at distances up to 135 feet. A lens working at /l has been pat- ented in Germany recently. It has seven separate elements, three of which are cemented together. This, to date, is the fastest lens in the world. Photograph by Pathex UP TO DATE SLEUTHING Even Sherlock Holmes, as played by Franklin Pangborn of Pathe-De Mille, Needs a Cine Camera. One-hundred-eight X-ray motion pictures were suc- cessfully made in England recently. Bone movements of the hand, foot and knee were clearly shown, as well as the beating of the heart and move- ment of the ribs in the process of breathing. A battery of four single exposure motion picture cameras was installed in a county courthouse recently, to make photographic records. The cam- eras were suspended vertically over the records to be photographed, and exposures were made by means of foot pedals — 40,000 pages can thus be copied per day. — Film Daily Odds and Ends OFTEN in editing my films I run across bits of film I want to save for future use, but do not care to keep on a reel. I take one of the one hundred foot tin reels on which the film is returned from the finish- ing laboratory and remove the side with the round hole in it by prying up the four lugs. This permits the side of the reel to be removed. I then bend two of the lugs, opposite each other, into the center of the reel. There are now two lugs pro- jecting and two bent in. Bend the two projecting lugs so that by a slight pressure the side of the reel can be put on them. Place the reel on the rewind take up spindle, the film to be wound on the other, and rewind in the usual way. When the one hundred foot reel is full, take it off the spindle, remove the side of the reel, and the film may be easily slipped from it and stored in a tin box. Art Titles A METHOD of making double- exposed art titles, of which the background for the lettering is a mo- tion picture, is described in a letter to the League from H. S. Shagren, of Cleveland, Ohio. "One day last summer I went out with my camera and a hundred feet of film, looking for attractive land- scapes that would serve as good background illustrations for my art titles. I shot some twenty different scenes, slightly under-exposing so as to get a picture in a low key, that is, one with but little contrast in it. After shooting the hundred feet, I took my camera in a dark-room, re- wound the film and re-threaded it. Photograph by Bell 6? Howell FILMING IN THE FAR NORTH William L. Finley and Irene Finley, Naturalists on the American Nature Association Expedition to Alaska and the Aleutian Islands. Next I photographed a white lettered title on a black card, with the normal exposure, on each of the five feet of film of the twenty different land- scapes I had already obtained on the film. In this way I obtained twenty beautiful art titles, with rich, living backgrounds." Easy Fades A NOVEL and simple method of making fade in and fade out effects has also been devised by Mr. Shagren. "An easy method of making effec- tive fades is to take a fixed out lan- tern slide plate and color the gela- tine with Japanese photo color. The color should be evenly graduated from clear glass, through a light pinkish orange, to a deep red, and finally absolute opacity. "In use, the clear glass part of the plate is placed over the lens and moved slowly, up or down as the case may be, past the lens until the opaque part covers it. To make a fade in the procedure is reversed." (Continued on page 134) % % ?4< i: tlsFvSwda£ ^ ^ T/y/J ' ' "' The DeVry "QUICK-SET" SCREEN 'fy//f? ////>■ '"''' '' The new ter and the screen rolls itself up into a DeVry Quick-Set Screen beautiful, compact, walnut-finished carry- is the most simple, easiest to handle ing case. Quiok-Set comes in two surfaces, of all motion picture screens for the home. Lumiday and Beaded. Three sizes are on One quick motion (you just pull up the display at your dealer's — 22" x 30" (picture lid) and the screen is set. Press a button, surface), 30" x 40" and 39" x 52" — at prices pull the two side supports toward the cen- of $20.00, $30.00 and $35.00. o. The Improved DeVry MODEL G PROJECTOR Regardless ofthekindofa movie earner a you own, here is theprojectoryou want. The new DeVry 16 mm. projector is the product of fourteen years' experience devoted exclu- sively to themanufactureof amateur motion picture equipment. None other is so simply built, so light in weight or so compact. None The Famous TYPE J PROJECTOR other is so quiet, so dependable, so amaz- ingly easy to operate. The pictures it shows are sharp, brilliant, flickerless — due to the highly perfected DeVry system of optics. A host of new features — many of them ex- clusive— are to be found in this new DeVry. Price $95.00 More DeVry 35 mm. portable projectors are used in schools and churches than all other makes combined. This famous DeVry product is ideal for showing movies before large gatherings in the home, church, school or little theatre. It is completely automatic and entirely self contained. Holds 1000 feet of standard theatre size film and projects brilliant, rock-steady pictures up to 12 feet wide. Price only $195.00 The DeVry STANDARD FILM CAMERA "There isn't a studio in Hollywood that doesn't use the DeVry for difficult shots," writes one famous cameraman. While another says : " 1 1 is so simple in construc- tion and operation that any amateur cannot fail to take excellent motion pictures." Combining professional fea- tures with amazing simplicity the DeVry is the only practical movie camera for critical amateurs. Holds 100 feet 35 mm. film. Has three view finders, loads in daylight — has positive action lock, interchangeable lens mount and many other essential features not found in other portableautomatic movie cameras. Price $150.00. *<* 1 1 Pathegrams' Film Library Pat he g rams (new releases monthly) embiace a wide va- riety of comedies, dramas, scenics, travelogues and news reels. A long list of titles and /a starstochoosefrom '// i Pathegramsaresold rented o r exchanged at low cost by DeVry 'ty. dealers. See your //, dealer for February list. w//A One- bund red-nine (Adagio; doloroso) (piu e piu animato) (a tempo; fortissimo) (Shake the rafters!) A BAS LA BUNK! By Jane Budden Mine ears have heard the promise of the Passing of the Pie That heretofore and up-to-now has served the Purpose High Of mussing up the features of the movie Comic Guy ! — A bas la Custard Pie! Glory, glory Hallelujah! Glory, glory Hallelujah! Glory, glory Hallelujah! Passee la Custard Pie! I hear that movie actresses in truth at last have seen The error of their ways, and now they really-really mean No more to drip their sorrowings upon the Silver Screen In gobs of Glycerine. Glory, glory Hallelujah! Glory, glory Hallelujah! Glory, glory Hallelujah! A bas la Gliss-ser-reen! Tired Bus'ness Man, pray hurl at me what names you'd wish to hurl: Pray dub me Sour Pickles — Lemon — Grouch — Crape-Hanger — Churl ! I would a flaming banner to a Grateful World unfurl: — A bas la Bathing Girl! Glory, glory Hallelujah! Glory, glory Hallelujah! Glory, glory Hallelujah! Let's drown that Bathing Girl! Let's hope Will Hays, the Man-on-Top, will sometime place a ban On starting off a picture with the name of Ev'ry Man Who had a Finger in the Pie, — and those who Also-Ran! "A bas!" — shouts Ev'ry Fan. Glory, glory Hallelujah! Bill, don't let the Authors fool yuh! Hordes will holler hallelujah When you stick up this ban. As lies the body of John Brown, long since gone to his rest, So dead and buried lie ere long la Awful Heaving Breast, That Standardized Emoting of a Movie Heart distressed! — OF CR-R-R1MES LA GOL-DERN-DEST! Glory, glory Hallelujah! Glory, glory Hallelujah! Glory, glory Hallelujah! A bas la Heaving Breast! This rank, unholy plagiarism comes to ending now. (I'll bet there're corrugations on the high and noble brow Of her whose Mighty Pen her Muse did mightily endow :- Yes, Ju-lee-a Ward Howe.) Glory, glory Hallelujah ! Shout apologies to Julia; Stamp the feet to beat peculiar To Ju-lee-a Ward Howe ! One-hundred-ten NEWS of the INDUSTRY for AMATEURS and DEALERS Panchromatic THE Du Pont 16m.m. panchro- matic negative introduced to the amateurs some two months ago opens up certain new phases of cinematography that should be extremely interesting. Panchro- matic film, being sensitized strongly for the red end of the spectrum, is faster than the ordinary emulsion when used with incandescent light and in the yellow and red light of the setting sun. It is extremely val- uable for registering on the emul- sion beautiful cloud effects, and for distant landscapes it cuts thru the ever-present haze and makes distant objects much more clearly defined. Makeup of the amateur actor or actress can be practically eliminated, so well does this emulsion reproduce the color values of the face in mone- chrome. Daylight Printer A FILM printing machine which works in full daylight, prints optically from 35 mm. negative to 16 m.m., and vice versa, as well as from 16 m.m. negative to 16 m.m. positive, is announced this month by its manufacturers, Depue and Vance, Chicago, Illinois. A complete unit includes an auto- matic light change board, which has a giant control of 152 light changes and 22 different densities. This board can also be used with all types of optical printers, as well as the Bell & Howell continuous printer and the Duplex step printer. The camera end of the printer is easily detached and either a 35 m.m. or 16 m.m. reduction size can be used as desired. The reduction of a thousand foot 35 m.m. negative to a four hundred foot 16 m.m. positive can be accom- plished in 40 minutes. The standard size unit will reduce or enlarge the positive print for special effects in making closeup sections where taken as a long shot, and will reduce to a Ph olograph by Wide World OFF FOR AFRICA WITH A CINE CAMERA George Eastman, Photographed Just Before Departing to Hunt Big Game With Mr. and Mrs. Martin Johnson. miniature for special and title effects. A unique feature of the machine is an instantaneous stop with closed shutter, thereby eliminating dark ex- posures on the film during the print- ing process. This makes splicing and cutting unnecessary in the finished print. New Library WITH this issue, the Stanley Film Library joins the fast growing family of 16 m.m. libraries offering films for home projection. The Stanley releases for February which are a hundred feet in length, include a burlesque on the theatrical newsreel, a new type of war film, a nature subject and others. The films are edited by Don Bennett, a fre- quent contributor of technical sub- jects in Amateur Movie Makers. The Right Spirit TT is with great pride that the •■■ League has the honor to announce this month that the well known firm of Charles Willoughby Inc., of New York, N. Y. presented a membership in the Amateur Cinema League to every purchaser of a certain type camera and projector during the month of January, 1928. Such splendid co-operation is deeply appreciated, as such action has many benefits, and also goes to show the liveness of one of the leading cine dealers of the country. This procedure is not a subscription or membership getting stunt, as such a gift to a new cine amateur is the finest he could receive. It brings to him the services of the League and its magazine, Amateur Movie Mak- ers twelve times a year, packed full of helpful and interesting cinematic pointers from cover to cover. May we suggest that all our other dealei friends give careful thought to this step taken by the firm of Willough- by and give the amateur a gift that will help him enjoy his new equip- ment to the utmost? Credit Line npHRU a proof error, Ralph R. *- Eno, Pioneer Art Title Builder, should have been given credit as the designer of the title, "On the Wings of the Storm", which appeared on page twenty-one of the January issue of this magazine. Show-At-Home Releases THE Show-At-Home Film Library's first great super releases are now available. The first of these, "Skinner's Dress Suit," with Regin- ald Denny and Laura La Plante, "Lorraine of the Lions," featuring Norman Kerry and Patsy Ruth Mil- ler, "Outside the Law," with Lon Chaney and Priscilla Dean, "Cali- fornia Straight Ahead," with Regin- O n e - hundred-eleven Experts and Beginners ACCLAIM the Accomplishments of the Victor Cine- Camera Quick adjustment of speeds, half-normal, normal and high speed for SLOW-motion; absolute steadiness and sharpness of pictures at all speeds ; convenient location and accuracy of the view-finder ; smooth "velvety" action of the control button ; full start and dead stop with- out jar; simplicity of threading film; quiet vibrationless mechanism; silent light running crank wind; hand crank feature; perfect SLOW- MOTION, — all are features emphasized in the enthusiastic com- ments of users. The Victor Cine-Camera marks the beginning of a new era in ama- teur motion picture photography. Price $ 125, Complete with f. 3.5 V elostigmat lens (USES CINE-KODAK AND OTHER 16 M/M DAYLIGHT LOADING FILM) Ask your dealer or write direct for further information Victor Animatograph Co*, inc. 340 VICTOR BUILDING DAVENPORT, IOWA, U. S. A. One-hundred-twelve aid Denny and Gertrude Olmstead, and "The Still Alarm" with William Russell and Helene Chadwick, are enjoying great popularity. Two reel releases of Westerns and Comedies, comprising a 30 to 45 minute enter- tainment, are being released one each week. The Super features are being released at the rate of two a month. This department has received a New Year's greeting from the lib- rary, which pledges itself to work towards giving its consumers, thru its associated dealers, clean pictures, quality productions and reliable ser- vice for the year of 1928. The New York branch of the well known department store firm of Gimbel Brothers has recently been added to the list of concerns handling the Show-At-Home films. Editing & Titling Service INDITING, titling, copying, splicing *-* and continuity writing are of- fered to the amateur this month by the Kodascope Editing & Titling Service, Inc., of New York City. It is under the direction of Stanley A. Tompkins, well known technician and 16 m.m. expert in title work. This service is most comprehensive and is backed by all the modern facilities for this type of work in the 16 m.m. field, and is ready to give quick accurate and economical ser- vice on all amateur films. A leaflet explaining fully the scope of the service will be mailed on request. Flares For Night K^ETEOR Photo Flares, which are ■*■»■! particularly adaptable for ama- teur use in night work where no electric source is available, are made in five sizes, burning for one-half, one, two, three and four minutes, by John G. Marshall, 1752 Atlantic Avenue, Brooklyn, N. Y. The manu- facturer gives the following facts about his flares: "absolute safety; very high in candle power; great uni- formity in the time between ignition of the fuse and appearance of the bright light; universal handle for holding in the hand or by a mechan- ical support; protective coating, pre- venting the absorption of moisture." Cine Revelry TTUNTING and fishing with cam- *• *• era, rod or gun, plenty of ski- ing, tobogganing and snowshoeing, and some of the finest scenic gems of the earth await the amateur cinema- tographer who accepts J. H. Munro's invitation to visit in Revelstoke, British Columbia, Canada. In the higher altitudes the oppor- tunities for both still and motion pic- ture photography are unexcelled, af- EMPIRE FILMS GUARANTEED PERFECT PRINTS All on Safety Stock, 100 //. reels $4.50 Our latest releases: ZOBEIPGS JAPAN SPECIALS No. 1. The Land of the Geisha Girls No. 2. The Life of a Japanese No. 3. Sacred Beauties of Japan PANAMA CANAL SPECIAL No. 4. The Panama Gateway HAWAIIAN ISLANDS SPECIALS No. 5. On the Beach at Kaikiki No. 6. The Honolulu Hula AUSTRALIAN SPECIAL No. 7. The Boomerang NEW ZEALAND SPECIAL No. 8. Rubbing Noses in New Zea- land SOUTH SEA ISLAND SPECIALS No. 9. Chasing the Cannibals No. 10. Kannibal Kids No. 11. A Cannibal Holiday No. 12. A South Sea Coronation No. 13. The Tattooed Chief THE FAMOUS ISLES OF ROMANCE No. 14. Dancing Daughters of Samoa No. 15. Eat 'Em Alive No. 16. A South Sea Kitchen No. 17. Why Dressmakers Go Broke No. 18. Man's Paradise No. 19. Cock Fighting No. 20. Black Bottom i Each reel a complete picture. New film fresh subjects never before shown on any screen. Made especially for 16 mm projection. } Also: WAR PICTURES — CHARLIE CHAPLIN COMEDIES — CARTOONS — LINDBERG - All 100 ft. reels at $4.50 - SCENICS TOM MIX ASK YOUR DEALER EMPIRE SAFETY FILM CO., Inc. 723 Seventh Avenue New York City bryant 5437 . 5736 - 2180 I EMPIRE SAFETY FILM CO., Inc. 723 Seventh Avenue New York City Name ... Address City Please Mail Me An Empire 16 mm. Subject Catalogue # _ State I Am Also Interested In Your Laboratory Service \Z\ One-hundred-thirtee, WE WERE SWAMPED fording wonderful wild life and scenic subjects. One may take an automobile to an altitude of 7000 feet and revel in a paradise of beauty with wildflowers, snowfields and glaciers on every side. The province of British Columbia offers unlimited opportunities to the amateur cine- matographer, inviting him to come adventuring in the depths of its for- ests and on the peaks of its giant guardians. Racks Tanks and Drums ATTENTION of the amateur who is doing his own developing, or wishes to experiment with it, is called to the film racks, tanks and drying drums of the A. J. Corcoran Co., Inc., of Jersey City, N. J. This company has recently manu- factured a developing rack especially for 16 mm. film. At considerable expense they have built a special room for paranning the racks, which makes the bars on which the film is wound very smooth and prolongs the life of the rack. with requests for the film "Fine Arts in Metal," the story of Gor- h a m Silver, which was de- scribed and advertised in this col- umn last month. If you did not read "Silver Craftsmen on the Silver Screen," by all means turn back to page 17 of the January issue and then hasten to fill in the coupon below and get on the list of delight- ed amateurs who boast of having Exposure Meter shown this film in their own homes. T^ Rexo cine exposure meter, an ■*- efficient, economical, easily Just send in stamps to cover postage manipulated meter, is called to the on a package weighing seven attention of amateurs by the Burke „-, „ j„ n„ -r r -tt & James Co., of Chicago, manufact- pounds, or if you prefer, we will urerg of ^ weU ^ ;„ lme of ship express collect. "Rexo" photo materials. The meter is composed of two There are no revolving discs that work against strings attach- each othf m^inS e"ors Poetically ° impossible. Ihe various light con- ■ ed to this of- ditions are divided into four general fer all we ask classifications. These four classes , cover all light conditions generally IS that you en- met wjtn m cinematography. Only joy this two figures are visible to the user at any one setting. These figures, one w i V ^ ♦ ^ for summer and one for winter, are 1H "#• f\ /ZSk ri "^ I "^Y^ widely separated so that there is no A- JL h»^ ^^ JL JL JLJLJLJL chance for error. (Available Only in the United States) The meter has been especially designed for the amateur by H. Syril Dusenbury after months of testing tyS and checking and is absolutely ac- curate for all settings. Its handy- Educational Film Division gize and H ht weight enables it t0 220 WEST 42nd STREET be slipped into the vest pocket. new york, n. y. Service Department TO meet the demands of 1928, a new employment and service de- 220 W. 42nd St., New York City. Dept. "G" partment has been added to the many I would like to show the film "FINE ARTS facilities offered by the New York IN METAL" in my home on Institute of Photography, so that ade- I use a 1 6mm projector. quate assistance may be given to every student, resident as well as Name , J , home study. Address Preparations have also been made to increase the efficiency of the de- y partment which handle the cor- (I understand that the only charges are to be respondence of the many students for shipping both ways). AMM-F wno live outside the United States, ^^.^^^^.^^^^.^. 4r~^r~; and particularly of those who live One-hundred-jour teen at such a distance that the mail trans- port time is a matter of consequence. The many students resident in Asia, Australia and the islands of the Pa- cific have made this step necessary. It is interesting to note that after his graduation from the Institute, Mr. M. Gallo opened a portrait studio in the new Savoy-Plaza Hotel, on Fifth Avenue. Film Cementer A HANDY little film cement can, which greatly simplifies the operation of applying cement in splicing film, has been designed for the amateur by Henry Couillard, Los Angeles, California. This little container, small enough to fit in the vest pocket, has a patent- ed stopper that seals the cement in the can when not in use, and pre- vents evaporation. All that is nec- essary to start the cement flowing is to pull the plunger from the nozzle, tip the can in proper position over the splice to be made, and press gently on the sides to force the ce- ment out. The operation can be per- formed with one hand, leaving the other hand free to manipulate the film. This device should greatly in- crease the speed and cleanliness in splicing. Projection Screen A SCREEN which has been re- cently called to our attention and which has not yet been an- nounced in this department is the compact Minusa box portable screen. The silver screen is on a spring rol- ler, enclosed in a box, and when set up has no sags or wrinkles in it. The box is decorated with nickel trim- mings and has a hinged cover. Film Cleaning Machine npHE Filmedor, a sturdily built but ■*• compact light-weight machine for cleaning either 35 or 16mm. film was placed on the market recently by Movieads, Inc. The Filmedor, used in connection with a rewinder, en- ables the amateur to thoroughly clean and renovate his film with a minimum of time and trouble. The film to be cleaned is placed on two pads and rollers, the pads pre- viously having been saturated with Filmite. Another set of pads is clamped down on the lower ones, over the film, and the film then wound through. An additional fea- ture is an electric bulb, fastened to the machine, about an inch above the film, which insures the film being thoroughly dry before it passes to the takeup reel. With this machine many old films can be reconditioned and new ones preserved to give much longer service. rorward^with these new BELL 8C HOWELL better movie accessories Talk about laughs — these screamingly funny effects are obtained by the new FlLMO LENS MODIFIER Did you ever view yourself in those funny curved mirrors they have at amusement parks? Then you know exactly the ex- cruciatingly ridiculous effects you get in your movies by simply screwing the new Filmo LENS MODIFIER into the regular Filmo F 3.5 lens in place of the sunshade. By giving the Modifier a half turn your subjects are made either short and fat NOW you can examine your films comfortably without stretch or strain Film inserted for viewing The New Filmo Picture Viewer, Rewinder and Splicer All tiresome effort and eyestrain in examining your films for editing and titling are now elim- inated by this picture viewing attachment for Filmo Rewinder and Splicer. Seat yourself at a table and with this unit before you, your eye is near the level of the magnifying eyepiece. A small mazda lamp within furnishes illumination for film and splicer block. An adjustable prism causes the pictures to appear right side up, instead of on end as they would otherwise appear when viewed from this position. Polished round-cornered guides, touching film on mar- gins only, positively prevent scratching of film. Price of complete viewing, splicing and double rewinding unit as shown $40.00 Picture Viewer attachment alone, for Filmo Rewinder and Splicer or for Rewinder only $21.50 Geared reel-arm ' support for converting present rewinder to rewind either direction $4.50 or tall and thin. Or you can make the half turn with camera in operation and cause your subjects to grow tall, short, thin or fat as the movie pro- gresses. Guide lines can be seen through the Filmo spy-glass viewfinder. Absolutely the funniest innovation in ama- teur movies. Filmo LENS MODIFIER, Price $13.50. Filmo Rental Library CURRENT RELEASES Each reel approximately 400 feet No. 741— UPPERCUTS, A Christie Comedy — In which Jack Duffy settles a disputed election in a rib-rocking funny fight. 2 reels; base rental $2.50. No. 1952— A MERRY-GO-ROUND OF TRAVEL — A Lyman H. Howe Hodge-Podge full of foreign scenics and characters. 1 reel; base rental $1.25. No. 721— THE CLOUDHOPPER— A Larry Semon Comedy in which Larry cops the cash in some breath-taking airplane leaps. 2 reels; base rental $2.50 (24 hours). No. 2413— FELIX the CAT in "TWO-LIP TIME." The ups and downs of Felix in winning a pretty Dutch sweetheart. 1 reel, base rental $1.25. No. 436— SOUP TO NUTS— A Christie Comedy of funny, swift-moving domestic complications. 2 reels, base rental $2.50. No. 376— IN DEEP— A Cameo Comedy featuring a speed cop, an alibi and an irate wife. 1 reel, base rental $1.25. No. 703-A— THE STORY TELLER— A Lyman H. Howe Hodge-Podge travel story of "the old fisherman." 1 reel, base rental $1.25. No. 620— Felix the cat "TRIFLES WITH TIME." Father Time turns the clock back and gives Felix a taste of "the good old days." 1 reel, base rental $1.25. New FILMO LIBRARY Films Six new Bray Studio Comedies — #7.50 each Bobby Bumps and the Hypnotic Eye Bobby Bumps — Throwing the Bull Bobby Bumps' Amusement Park Bobby Bumps — The Surf Rider Bobby Bumps — The Office Boy Bobby Bumps and the Speckled Death All great fun M-108— Red Riding Hood The familiar nursery story beautifully enacted for the little folks— 100 feet, price $7.50. Bryce Canyon National Monument The pictorial splendors of this beautiful National Park in Utah. 100 feet, price $7.50. Zion National Park Indispensable to your "seeing America first" movie collection. 100 feet, price $7.50. ASK YOUR FILMO DEALER Showing film-block open The New Super-speed Lens — aT-HCookeF 1.5 In the many months of testing before plac- ing this lightning-speed lens on the market, excellent daytime indoor pictures were made without artificial light. The new Taylor- Hobson Cooke F 1.5 is 40% faster than the F 1.8, and five lime!: as fast as the F 3.5. For most difficult light conditions, get the pic- ture with this lens. Price, in micrometer focusing mount, focusing one foot to in- finity, $65.00. New Pigskin Case for Filmo Rugged and beautiful. Has that distinct "class" so desired by those who travel. Identical in size and shape with regular Filmo case. Equipped with both suitcase style handle and removable shoulder strap of same material. Price $21.00. Mail This for Complete Information Bell & Howell Co. 1828 Larchmont Avenue, Chicago, Illinois NEW YORK HOLLYWOOD LONDON (B. 8C H. Co., Established 1907 I Bell & Howell Co., 1828 Larchmont Avenue, Chicago, 111. Please mail complete information on items checked: I □ Lens Modifier. □ Picture viewer, rewinder and splicer. I D New F 1.5 lens. □ New Pigskin case for Filmo. Ltd.) □ Filmo Rental films. Name.. □ Filmo Library Films. Address.. City . State.. One-hundred-fijteen The AUTOMATIC COLORATOR Enables you to easily and quickly PROJECT TOUR MOTION. PICTURES IK AKT COLOR OF THE RAIN- BOW with maximum brilliancy. Provides the artistic, pro- fessional touch which will greatly enhance the pleasure of your movies. Available for KODASCOPE Models "A" or "B'\ and for FILMO and DEVRT 16mm. projectors. REQUIRES OKLT OKE SECOND TO ATTACH, does not mar projector, and permits black and white projection also focusing, while attached. The Colorator is dustprocf. light in weight, compact and durable, and has the same finish as your projector. See vour dealer and witness the superiority of this instrument. Price — including Case $15.00 The AGTINORATOR PORTABLE ARC LAMP Is designed for the home movie maker and combines EXTREME PORTABILITY, COM- PACTNESS, SIMPLICITT, HIGH EFFICIENCY and SAFETT. It is a protected, 8-Ampere, continuous-feeding lamp which produces a steady, brilliant white light rich in actinic quality — burns continuously for as long as 40 minutes, if desired. It operates on 110 Volt D.C. or A.C., from any house lighting outlet, and one circuit will accommodate three lamps. The Actinorator is the most practical inexpensive lamp on the market — an exceptional value. Price complete, with folding metal tripod and 15 ft. extension cord, $16.50 Manufactured and AMERICAN CINE PRODUCTS CO. Guaranteed by 50H N. Sawyer Avenue, - Chicago, 111. LATEST MODEL yEPT Double Spring Adjustable Speed Direct Focus on Film 35 mm Motion Pictures Snap Shots Time Exposures At AllX WVko Projector Corporation \ Dealeri K 33 West 60th St. - New York, N. Y. J "FILMITE" The one and only guaranteed cleaning lotion for all makes of film, negative, positive, and reversal. Sixteen (16) ounce bottles — ,$1.25. In larger quantities if desired. "THE FILMEDOR" The only automatic film cleaning and polishing device for 35 or 16 mm. film. Constructed in the simplest manner conceivable. Price $15.00 "FILMITE-HUMIDIFIER" Placed in humidor containers will positively prevent film from getting brittle. Four (4) ounce bottle — 50c. Larger quantities if desired. ALL ORDERS F. O. B., NEW YORK "Our products are endorsed by the leaders of the Cinema Field." FOR SALE AT YOUR DEALERS OR DIRECT. 507 Fifth Avenue Inc. New York City A new product, "Filmite-Humidi- fier," has also been developed by Movieads. It is a humidor lotion, which according to reports, promises to be an article of merit. When used in humidor cans it prevents film from getting brittle. This company also announces that in the near future other new accessories will be placed on the market. Photograph by Wy\o OUTWITTING OLD SOL The Youngest Amateur Saves His Snowman for Summer With His Cine Camera Child Specialist SUE RICE, a former vice-president of the New England Photograph- ers Association, now of New York City, who possesses a fine back- ground of experience with children, their moods and tenses, this month announces that she will, if desired, study children in their home sur- roundings, with their playthings and pets about, write a scenario to fit each special case, and then carry the film- ing through all stages for preserva- tion in the film archives. New Travel Films MR. W. H. SCHMIDLAPP, who recently organized Travel Mo- vie Films, Inc., has announced that he will soon release for the home movie market some of the more de- sirable films taken on his travels. Mr. Schmidlapp has just sailed on a West Indies trip in order to visit some of the less known islands of the Leeward and Windward groups, and his film records of these adventures will be offered by Travel Movie Films, Inc. Unique Offer Anew film of the Mojave Desert is offered absolutely free as an introductory offer to the productions of the Fowler Studios of Hollywood, California, which are announced to the amateur market for the first time in this issue of Amateur Movie Makers. This generous offer should prove a happy introduction to the amateur field. The offer is good for thirty days only, and the amateur need only pay postage charges. One-hundred-sixteen \ ,*<°°ot rff* "--.*• ^>.Sv*eV^>^ „*> * d? , t«£ "^ c^V* .e^ H V* SV <&■ (**& oi ^:1>°' a*.:^° ^ ^ ^r>?' >r?«" ML 'Demand the Best and you'll get D u Pont' One-hundred-seventeen Formula of Dr. Rudolph Fastest LENS IN THE WORLD NOW you can take fine clear pictures under the poorest of light conditions. With an fl.5 Meyer Kino J^tOSTIUlt on your Filmo or Victor, light values that formerly caused your camera to stay in its case will not stop you in the future. This lens, made according to the formula of Dr. Paul Rudolph, gives great depth despite its enormous speed. (44% faster than /1.8). Originator of the first anastig- matic lens ever made, the famous Tessars and Protars, Dr. Rudolph is acknowledged as being one of the leading lens scientists of this age. Naturally his /1.5 possesses every precision quality ever found in a lens developed by him ; and the J Xa&nUlt is considered his crowning achievement. For FILMO or VICTOR 1 in. in focusing mount $54.00 2 in. in focusing mount 185.00 Instantly adaptable At your dealer — or write to HUGO MEYER & CO., Inc. 105 W. 40th St. New York Works : Goerlitz, Germany. PICTURES AS PROFESSORS (Continued jrom page 87) the sciences and arts. This is the per- fection of talking pictures — no longer an experiment, but an accomplished, practical thing. The two better known kinds of talking pictures are produced by markedly different meth- ods. One is to synchronize a phono- graph record to the film; the other is to record the voice on the edge of the film, in an extremely narrow track, by means of the photo-electric cell. The usual method is to eliminate the printed titles and then to project the picture. The phonograph turn ta- ble, carrying its wax disc, is coupled with the projector by an extremely delicate and accurate mechanism. The speaker watches the motion pic- ture and carefully describes it, talk- ing into a microphone. The wax rec- ord is electrically cut, and subsequent copies of it produce the voice with clear and perfect resonance at any volume desired. When the film is pre- sented for regular showing and a hard record of standard construction is placed upon the coupled turntable the arm carrying the transmitting needle is of microphonic construc- tion and its vibrations are amplified and carried by an electric cord to a special radio type loud-speaker near the screen. As teachers cannot be expected to specialize in a great variety of sub- jects, the voice of a known authority, carrying through a reel or series of reels, will bring to some extent not only the personality of the specialist to the classroom but also increased conviction that all details of the les- son are authentic. PORTRAITS OF PIONEERS (Continued jrom page 104) Nor does the professional inventor despise the day of small things. "Don't go before seeing my 'Jack in the Box,' " Mr. De Vry said, and he stepped over to a long narrow box lying on the table. He stuck his fingers in two holes in the top of the lid, and gave a quick pull up- ward, the lid carrying with it a beaded screen. The same second I heard a "click" and the screen stayed in the air as stiff and taut as a painters canvas. More Hindu magic. Two little hinges and two little springs were all that were necessary to make the screen self-supporting. "The biggest job I have ever tackled", said "H. A." in closing the interview "and the most gratifying also, is maintaining the work of the association of interests known as The Neighborhood Motion Picture Ser- vice, Incorporated, in New York City. This organization after years of deep plowing is now nearing the completion of its great work; namely, the correlation of motion picture films with regular textbooks and courses of study in the classroom. These film courses comprise a care- fully worked out series of film lessons covering the complete school year. Their editors have collaborated with pedagogical experts in pro- ducing teachers' manuals to go with film courses on Citzenship, American Statesmen, Nature Study, World Geo- graphy, Health & Hygiene, Electric- ity, General Science and Vocational Guidance. To see these lessons put on in a classroom, especially Citizen- ship, American Statesmen and Voca- tional Guidance, will stimulate the pulse beats of any good American as he observes the response and in- tense interest of every child in the room. Here at last we can see what is possible to accomplish with motion pictures in the fields of civic and moral responsibility." CATS IS CATS (Continued from page 106) "Here . . . here . . ." she yelled," don't you put that dirty little beast in here again. I've been throwing it out for three days, and now you come along and stick it inside ..." I didn't wait to hear any more, Peter. I just slammed the door and went right on to the next place. It was a baker's. They had cakes and pies in the window, and you know how mice . love pie. So I knew they would need a good cat, and I walked right in this time and said to the nice-looking young man who came up : "Don't you want a good mouser?" But, darling, he wasn't as nice as he looked. I didn't like his laugh at all, it sounded so funny. And his eyes had such a queer expression in them. I always did think baking was the wrong business for men, anyhow. I could plainly see it didn't agree with this young man. When he kept on laughing and said: "No thanks, I believe not. We've got quite a supply on hand just now," I hurried right out. People are so selfish. They never think of anybody but themselves. But I wasn't discouraged. There was a butcher shop next door, and I was awfully glad of that. Butchers are always so jolly, aren't they, Peter? And they always need a good cat. You can easily understand why, dear. When I opened the door, the butcher One-hundred-eishtet / £ P/^¥ AT • 100 ft COMEDY RELEASES. KFJr£wV/lr\JU» Prints 0Ni€MMStfETYFiLM Quality Prints Guaranteed — $ *[• 2? Each. At your dealer FIELD and STREAM SPECIAL |A REAL THRILL FOR FISHERMEN, IN F^R'DA- Field&$tream Special 'Hunting Finest hunting" pictures ever filmed. cl0se-uf5.'.' Send for oar catalog of more New Professional Productions. ill \ PUU*C^CARTOOH UJ I* FULL OF KICK.'/ STRAIGHT FROM THE HOOF/ cAutomatic Movie Display Corporation. 130 West 46th ^Street. New York.(Bryant 6321). One-hundred-twenty-jive $L THE W. B. & E. "PILOTLIGHT" A convenient light on your Filmo Projector that enables you to operate and change your reels with plenty of illumination that does not attract the attention of or annoy your audience. Makes operating your projector a pleasure. Ah No extra wires needed. W Just pull the switch and the Light \ is there — When and Where you *• need it. Easily attached to your machine in a few minutes and projector can be packed away in case with- out detaching. Price $6.00 From your Dealer or Direct WILLIAMS, BROWN & EARLE.lnc. "The Home of Motion Picture Equipment" Filmo Motion Picture Cameras and Projectors 918 Chestnut St., Philadelphia, Pa. Take the Shake Out of Your Pictures — USE STEDISTRAP STEDISTRAP transfers the weight of the camera from your hands and arms to your shoulders, giving rock steady pictures while allowing perfect freedom of move- ment. TWO MODELS A — To Take End of Tripod when Folded. B — Complete with Supporting Rod. Price 0.00 Home Movie Service Co. 2120 SLANE AVE., Norwood, O. Everything for the Home Movie Maker. CRITICAL FOCUSING (Continued from page 88) suffering is carried by the knowledge that these feet are those of husbands and lovers who are marching away probably for once and all. These short motif scenes are introduced at intervals, and carry the thread of the story's grim message from beginning to end with deadly significance. Nor are they merely jammed in at the director's fancy; each introduction of this motif is logical, justified by the action of the story. No higher compliment to the di- rector of the picture could be paid than the comment of one reviewer, who declared that these repeated scenes of marching feet were mo- notonous. Evidently they got under the reviewer's skin. Since that was the purpose of their injection into the picture, and since their drab, monot- onous tramping was the chief impres- sion the reviewer took away from the picture, we believe our point is proven, that such thematic treatment has great power. Study of the method of the direct- or of The Enemy will be of material assistance to amateurs who are in- terested in further developing this plan, in their own pictures. The Main Event De Mille Pictures Corporation Directed by. . . .William K. Howard Photographed by. . . .Lucien Andriot Movie Settings: Substituting set- tings in tones of gray and tan for those in brilliant colors, formerly used to a great extent in professional production, provides better effects of contrast. Different graduated shades of these two hues are used. A better effect is secured because, during the painting and decorating of the set, one can see exactly how the finished product will appear after it has been photographed. These tones of color correctly applied produce depth. This tonal application blends softly and makes the figures of the actors stand out in actual relief, giving them a startling effect of reality. Mosaic: In several shots of the crowd in the fight scenes, the photo- grapher has produced the effect of a human mosaic, sacrificing the third dimension in order to secure what appears to be an animated map. This is an interesting variation of the un- usual depth secured in other scenes. Novel Dissolves: The central character of a scene remains in ex- actly the same position during a dis- solve which, when completed, gives him an entirely new background. A highly satisfying method of indicat- ing change of scene which preserves continuity admirably. The Chinese Parrot Universal Pictures Corporation Directed by Paul Leni Photographed by Ben Kline Novel Title: In this picture of sinister deeds in a desolate Cali- fornia desert mansion, there are sev- eral episodes where a single sentence disclosing the name of a murderer to the inhabitants of the house, is ut- tered by a macaw, or huge parrot. The effect on the screen is that of the words, very small and barely dis- tinguishable, double-exposed on the picture, coming forward as if from the darkest depths of the house, growing tremendously in size as they disclose the name of the criminal. Coupled with the eerie light and the vague, mysterious shadows, this method was much more effective than if the usual subtitular insert had been used. While this stunt in- volves animation and double-expo- sure combined, it can be performed by amateurs, particularly those in the advanced group. The same idea could be applied to comedy as well as dramatic films. Under Tropic Seas n. ii, (William Beebe Photographed by. . . ^FioydCrosby William Beebe's last series of un- dersea pictures, taken off the Haitian coast last year, was shown, accom- panied by a lecture by Mr. Beebe, at a recent meeting of the New York Zoological Society to an enthusiastic audience of some two thousand per- sons. The story of their filming ap- peared in Amateur Movie Makers, for August, 1927. These pictures are remarkable be- cause of the conditions under which they were made and would interest amateurs for that reason, if for no other. As a matter of fact, they pre- sent some of the most cinematic movies that one could find. There is continuous motion, of a very satisfy- ing fluidity and they are a study in cinematic forms and rhythms. They appear almost like abstract studies of pure motion, because of our com- plete unfamiliarity with their milieu. This cinematic quality is doubtless more inherent in the subject than in the direction, because there could be little of the latter. As has been de- scribed in these pages, the whole camera was enclosed in a brass box, which permitted only releasing and stopping the motor. Measurements and focusing were of the most sim- ple. In spite of these things, Mr. Beebe and his accompanying pho- tographer, Floyd Crosby, achieved in these pictures a notable advance in the definition of what the real art of the motion picture is. O ne-hundred-twenty-stx FILM FLAM (Continued from page 94) thunder or a ton of brick picking its way through space. And there aren't any "yes-men" about to weaken his morale, either. With A Telephoto Lens? A SCIENTIST claims he has made -**• a moving picture of a thought. Which is more than any of the popu- lar producers have been able to do. — Arkansas Gazette. All Nice Girls, Too A NOTHER of the fascinating •** things about the old-time West- ern dance hall, as depicted in the movies, is that every one there danced the fox-trot, twenty years be- fore it was invented. — Detroit News. MAKING YOUR OWN ART TITLES (Continued from page 93) if cultivated, from the beginning, ex- presses itself as unconsciously in the spacing of letters as it does in pen- manship. For correct spacing does not mean measuring the distance be- tween each letter with a ruler. When letters are spaced thus mechanically, that is, when each letter is made to occupy the same area and the spaces between them also are of equal width, they never appear uniform. Such lettering is always hard to read. But while spacing is worked out optically in practice, it is based upon principles that give something tangi- ble to work with. And these princi- ples are so simple that anyone can learn them in a few minutes. In the accompanying chart you will find the laws of letter spacing worked out in a way that you can understand. Block "A" represents the full spacing area as it appears between two straight letters. "B" shows how this area ap- pears between two circular letters. Note how the letters cut into it. "C" illustrates the dividing area between a circular and a straight letter and "D" the area between an irregular and a straight letter. In studying this chart note that the space at the top and bottom of a circular letter equals approximately the space the letter cuts out of the dividing area. This is most clearly shown in the smaller diagram at the top. If this space at the top and bot- tom of a circular letter is not reck- oned with and the added space equal- ized by subtracting a more or less proportionate amount from the divid- ing area the line will look uneven or spotty. The irregularly shaped let- ters—A, V, F, L, T, J, P, Y and W BURTON holmes FILM REELS OF TRAVEL 100 FOOT ROLLS for your 16 M/M PROJECTOR EDITED AND TITLED BY BURTON HOLMES February Releases Sold Outright #7.50 Per Roll CANALS OF VENICE From a wandering gondola STONES OF VENICE Round about San Marco TWO ENDS OF A ROPE The story of Philippine hemp FROM COCOON TO KIMONO The story of Japanese silk THE DAMASCUS GATE Passers-by at the north portal of Jerusalem Complete catalogue on request THE BURTON HOLMES LECTURES, 7510 N. Ashland Ave., Chicago, 111. SHOOT NATURE with your CAMERA Let Nature Magazine be your guide to wild life and its habits. Each issue is a lesson in photo- graphy. The illustration here was taken on one of the American Nature Association's Expeditions that have brought back many photo- graphic prizes and fascinating stories. Nature Magazine is a 70-page monthly, profusely illustrated in halftone and color. Send for a Sample Copy or CLIP THIS AD and attach three dollars for one year's membership including Nature Magazine, and send it to American Nature Ass'n 1214— 16th ST., WASHINGTON, D.C. One-hundred-twenty-seven ARROW PORTABLE Motion Picture Screens (Patent Pending) Screen Ready for Use Screen Rolled in Case for Carrying Composed of millions of tiny round glass beads, firmly embedded on a strong fabric in a pure white composition. Has a wonderful reflective surface and will not glare like the silver metal- lic surface. Can be easily cleaned with soap and water. Complete with dustproof mahogany finished case into which it is drawn by a metal spring. PRICES l\o. 1 — Size 331/2x31/4x4 — picture surface 22x30 in. Weight 6 lbs $15.00 >Jo. 2 — Size 45l/2x4l/2x5 — picture surface 30x40 in. Weight 15 lbs $25.00 -No. 3 — Size 57x43/tx5 — picture surface 39x52 in. Weight 18 lbs $35.00 At Your Dealer MANUFACTURED BY Arrow Screen Company 6725-55 Santa Monica Blvd., Hollywood, California XlUnkrl^ C™m.re,d^rtirfs,«r4/Bn«,.m,m»J.uo,,,ra ^.iwrocri... ^..c^,^ 5,ua.„„.p,^,.,. en., c»u.„„ i r^l ICAl OTieSpc«lballT«tBoo!i-ov«r2S0ewmpbi-Ji:W^. 4VJFSLJ IB Speedball Fens -assorted sues . styles A U c D ; ,1 f -apmluetfospveklii>emb!tai MINNETWATA FALLS "This line illustrates the uneven, result produced by the Mechanical Spacing' of circular combinations^ POODLE -DOG "CLOWN Note, how the Gaps (marked x) hone, ieen eliminated by Optically '(Balancing both the letters and the spacay- POODLE - DOG - CLOWN This line illustrates by comparison how letters of the same dimensions will read -when'spaced-mechanically' and. vhen spaced."optiealLy " DOOMING vs SPACING CHART AND EXERCISES dividing areas are likewise the same. By comparing this line with the sec- ond, which has been optically equal- ized, you will notice that the letters M, N, W and A require more space to keep them from appearing blacker than the rest, and that the spaces be- tween the letters (marked X) are too great in area, due to the irregular shapes. That is, the faults in the first line were remedied in the second line by fitting the letters closer to- gether and expanding the wide let- ters. The third and fourth lines, "Poodle-Dog-Clown," offer a com- parative example embodying circu- lar letters. In the third line the let- ters are all of uniform width and the spaces between them are also uni- form. The result is rather irritating and difficult to read, the letters ap- even tone. The fifth line further il- lustrates the spacing principle ap- plied to letters of like dimensions. The unbalanced dividing areas cre- ated by the irregular shapes of the letters in their different combina- tions are marked with an X. The examples (taken from the Speedball Textbook by courtesy of the C. Howard Hunt Pen Co., Cam- den, N. J.) illustrate most effectively this method of letter spacing. Other letter styles may be readily substi- tuted for the Gothic alphabet. It will be found that the flexibility of the serifs on the Roman alphabet affords considerable assistance in securing an even tone quality on the title as a whole. These articles will be continued, showing more advanced specimens next month. GRIZZLY BEAR The finest grizzly and other bear hunting (within one day from railroad) combined with the most thrilling canoe trip on the continent. Arrangements made now for the month of May. J. H. MUNRO, or Secretary Board of Trade Revels toke, B. C. NEW PATHEX Cameras and Projectors both for $59.50 ALL ACCESSORIES WRITE FOR LIST L A G AU L T 116 West 65th St., New York City 16 m. m. Picture Films We Wish to Call Special Attention to These Pictures ROUGH WEATHER A thrilling picture of the Pacific Ocean pounding the rocky shores. 100 ft $6.00 SUNDOWN DANGER A snappy revue of stage dances, done by people who know how. 100 ft. $6.00 Produced by ERNEST M. REYNOLDS 165 E. 191st Street Cleveland, Ohio HERE IT IS! The best safety film cement ever put on the mar' ket. Will stick safety film better than anything you ever used before. Only 25c a bottle at your dealer, if he can't supply you, send us his name and ad- dress together with 20c stamps or coin, and we'll mail you a bottle postpaid. We also make titles of all kinds at the lowest rates. Plain, art or novelty, and if you like that profes- sional touch, we can fade in or out or dissolve the titles at an additional 5c for each title so treated. Tinting and toning service, a touch of color will improve a dull picture. Heard of our 16 m/m developing machine yet? Other 16 m/m equipment. "Every Thing for the Movies" CINEMA PRODUCTS 405 Elm Street Buffalo, N. Y. FILMLAB PRINTS have come to be known as The Best Obtainable Ask your dealer for them and obtain better results without extra cost. FILMLim 130 WEST 46th STREET New York City. Tel. Bryant 4981 SHOOTING WITH A SHUTTER (Continued from page 99) a lifetime. But the movie camera purrs steadily on. It gets the animal lying down and two seconds later shoots him in that instant poise of beauty before he is gone. One cannot "drive" game for a movie as for the head hunt. The se- cret lies in catching the animal un- afraid and going about his business of eating, moving, fighting, or what- ever it is that he may do. We caught one billy jumping down a cliff — not because he was afraid, but because he saw a particularly juicy bit of moss below. As far as the goats were concerned, we learned that their nat- ural characteristic was to be ever on the watch for anything approaching from below. We never got within 300 yards from below any of them, but when we had once climbed the mountain and gotten above them un- seen, we could work with reasonable caution and secure really good pic- tures. But the climbing and the nar- row ledges — well, they "got my goat." GALAPAGOS NOTES (Continued from page 81) from their usual haunts to these dis- tant isles, but wherefore and why, the full-dress-coated penguins with rudi- mentary wings? The riddle of these equatorial isles under tropic, boiling sun, with icy currents and frigid wa- ter population is inscrutable. The tropic environment seems to tame them. We captured and kept alive on shipboard about fifteen of the lizards, four seals, of various sizes, three penguins, two flightless cormorants and many birds. We got them all without firing a shot. At Galapagos, the sea angling was free from depredations by sharks. Alto- gether, a contrast to our previously encountered water shambles. From Tagus we cruised back to our island of the active volcano. Lava was flowing right down into the sea. It was a lively experience to go in a small boat — a boat, mark you — to within thirty-five feet of an active and erupting volcano. It seemed that the lava flowed underground from the erupting crater to the edge of the sea and debouched into it. The molten mass of rock was white-hot, or better, red-hot, as it bored its way into the water, flinging great clouds of steam, molten rock and gases high into the sky. YouCan'Shoof the Marvels of NORWAY With This Movie Makers Tour FANTASTICALLY dress- ed Lapps and their strange mud houses . . . flowers blooming on the edge of glittering glaciers . . . the fjords, found in no other region in the world, with their spectacular moun- tains and waterfalls . . . new scenes every minute . . . long days without nights in which you and your camera can capture it all. This is the unusual movie "set" offered you by the North Cape Movie Makers Tour personally directed by Gardner Wells, fa- mous expert in amateur movie making. The tour sails from Montreal, June 21st with James Boring's Cruise to Iceland, the North Cape, Scandinavia and North Europe on the specially chartered White Star liner, S. S. Calgaric. James Boring's Cruise Staff will relieve you of every travel worry. Mr. Wells, in addition to helping you find the best "shots" and giving you expert advice, will carry along for your use special lights and re- flectors. The Tour may be made in forty days, but stop-over privileges allow you to remain in Europe for further travel. One fee covers every necessary expense, including shore ex- cursions. It is the sort of vacation trip you can take home to your friends and enjoy again as often as you wish. Membership is strictly limited. We sug- gest that you make early reservations. Write for details today. Gardner Wells JAMES BORING'S TRAVEL SERVICE, Inc. Dept. N. 272, Heckscher Bldg. Fifth Ave. at 57th St. New York "Assistants to the Amateur Movie Maker" gardner wells, James Boring's Travel Service, Inc., 730 Fifth Ave. at 57th St., Dept. N-272, New York. Please send me details of the Movie Makers* North Cape Cruise under your personal direction, leaving June 21st. Name Address City State One-bundred-twenty-nine Amateur Producers RENT PROFESSIONAL BELL dC HOWELL CAMERAS AND LIGHTING EQUIPMENT To Make Your MOVIE PRODUCTIONS PERFECT EXPERT ADVICE FOR BEGINNERS Write Us Your Problems Seiden Camera Exchange 729 SEVENTH AVE., N. Y. C. Phone 3951 Bryant The KINO-PANO TRIPOD and TOP This new tripod has met with the highest approval of every dealer and camera owner who has seen it. By far the most rigid of any four pound tripod on the market. An instrument of pre cision. Constructed of highest grade material throughout. Revers- ible tips. Tripod, $35.00, com- plete with Top. Top only, $17.50. F.O.B. Los Angeles, Calif. K. W. Thalhammer 123 SO. FREMONT AVE. Los Angeles, Calif. NIGHT MOVIES So many events happen at night that we would love to film — next day we have the light but the party is over. METEOR FLARES will provide the light — 30 sec- onds and up. The leading professional flare now available to the amateur. John G. Marshall 1752 ATLANTIC AVENUE BROOKLYN, N. Y. Miles further we dropped anchor at another island and went ashore, James, I think it was. We landed in rowboats which were swamped by the surf on a great wide beach, fringed with thick underbrush and palm trees. It was here that chroniclers had indicated the presence of once domestic goats, dogs and pigs. It was evident from the first, that part of their story was fact, for we could hear the braying of wild asses from the yacht, anchored a good mile off shore. Once on land we went exploring. An old chart indicated the location of an inland lagoon, thirty-odd yards from the beach, and we made for it. A breathless party of adventurers burst through the bush, found the lagoon and saw, dumb-founded, the most beautiful sight imaginable. Standing, swimming, sleeping, were flocks of rare flamingoes, contrasted against the verdant foliage. Their vivid pink plumage against the green of the background was startling. They were all entirely and completely tame. Never having known man, they were utterly unconcerned at our pres- ence. It was almost with reverence that we withdrew from this beautiful scene after securing some of the most priceless footage of the cruise. Once back in the launch, we swept round past the gaunt rocks which formed the usual background. It was but a question of moments until we spied, perched breathlessly on crags, the once domestic goats of the historian. There they were, magnifi- cent great black and white fellows, larger and with bigger horns than any I had ever seen, even in British Columbia. I fired at them, but it was impossible to register a hit from the tossing launch. But I had determined to secure one of these heads, so if was agreed that one of the ladies and myself should be landed the follow- ing morning in an attempt to find the fresh water that must be on the island and there, to get a shot at some of its wild dwellers. At daybreak, the lady and I set out on our hunting trip. We carried a movie camera, a rifle and a thermos bottle. But all, except the rifle, had to be abandoned before we started in- land and upland. We could not climb the cliffs encumbered. And our skiff was upset on landing. How we crawled up the bold face of a twenty- foot cliff, I don't know. But we did. We found ourselves in a ravine — de- cided to give up — then elected to go on. We clambered the side of that ravine for the 900 feet indicated by the chart, and how ! But we got there. Lava fell on us, rolled about our pre- carious footholds and hand holds but we hung on. We had to. At the summit we expected to see wild goat. But there was nothing. Another glance, just across the ra- vine, three hundred feet away, showed a flock of goats. But what nonsense to shoot them! They were inaccessible, even dead. I couldn't get down and up on the other side of that crevice. It was obviously impossible to at- tempt a descent of those rock faces, so we decided we would walk the three miles round. This would bring us out opposite the anchored yacht. At first the going was easy. We followed animal trails as far as we could. We couldn't get lost because we knew where the sea was. But, al- though we couldn't get lost, the point is that we did get lost. In all my hunting experiences — and this in- cludes war marches — I have never put in three such miles. In the first place, I had to go ahead, holding my rifle in front of me like a flag pole, to knock down the huge red spiders, fully two inches across, that had woven a solid net- work across our questionable trail. The heat was terrific. The brush be- came thicker and thicker and we ended by doing the last mile on our hands and knees. This isn't fiction; it's the solemn truth. We crawled a mile. Try it some time and you can realize how I felt when I really knew that I was lost. The sea was there — yes, of course — but how the devil to get to it! We sat on a log and smoked a cig- aret. I knew I didn't know where to turn next and my companion knew I knew it. Ten feet away was a dove. I picked up a stone to throw at it, knowing it would make a good addi- tion to our collection. Something cold squirmed against my hand. I felt a sharp sting and saw a red- throated lizard dart away. I also saw that it was one of the kind that I had been most emphatically told was immediate and deadly poison. The lady did not see what had happened. I got up and walked, or rather, crawled a few feet and, when she could not see what I was about, I slit the wound with my penknife. Then I sucked it hard. I could not tell her. I had to go on, but where? Suppose I was poisoned and lost con- sciousness, leaving her alone in a tropical jungle on a desert island. This situation had all the correct elements of a movie scenario — to any- one else but me. We forced on. We were hot, tired, cut and bruised but the lady never whimpered. At last, we rested again — and then! Behind us, not more than thirty yards from us, a donkey brayed with One-hundred-thirty the vehemence of a Big Bertha. I could just see it and that was enough. I fired and we dashed forward. There it lay — about the size of a polo pony — grey and dead? Others had heard them bray but none had seen them. We had killed one. I tried to skin him and I managed to get his heady ready to separate from the body but I couldn't go it further. My hand, my arm and my shoulder were aching acutely. Yell- ing, "Let's go!" I grabbed the rifle and, caring nothing for brush, spi- ders or lizards, we dashed down hill through the purple brush. And, as one comes out of a night- mare into comforting reality and with all of the suddenness of a dream, we burst forth from the jungle onto the rocks and, directly in front of us, gently tugging at anchor, was the yacht. Sharks or no sharks, we took a header into the cool sea. ERSTWHILE SALLY Continued from page 97) "Really, Mother. Why I never knew you to be sentimental before. But I'm afraid it can't be managed. It's a peculiar kind of film. You know how Father was always experi- menting. We'll have to have an ex- pert to project it. It's so old they say it will have to be carefully han- dled for fear it wasn't in the right atmosphere all these years. It's up in my room. Let me go upstairs with you, Mother, you look so strange. "No indeed, I'm perfectly well . . . Perfectly. . . . Oh, dear, * * * * * # * "What was the matter with Grand- ma, Mother? I just met her in the hall and she smiled at me and didn't ask me where I'd been. Is she sick?" "Don't be impertinent, Betty!" "I didn't mean it that way, Mother, but you know how Grandma is. I'll go up and see if I can get her some- thing." ******* "Is that you, Betty? I . . . I . . . just stopped in your mother's room to see if my glasses were here. I've mislaid them. 'I'm wearing them?' Isn't that queer, dear? Oh, this? It's an old film your mother told me about. . . ." "I know, Grandma. Oh, look out! You nearly dropped it! If I hadn't been so quick! What's this on the floor? What are they, Grandma?" "They're — they're matches, Betty. Some — bod — body must have been smoking, Betty." "But Matches, Grandma! I won- fnL ii n i RALPH R.ENO 117 PARK AVE. NEW YORK. THE PIONEER ART TITLE BUILDER AND FILM EDITOR presents^-' TWO UNUSUAL FEATURES CEND $3.00 with any portrait <-) and I will make an exact reproduction ready to splice into your family reel. Photos returned in perfect condition as received CJYfAlL me $2.00 with copy QyoL for 3 titles (10 or less words) and I will make you 3 of the smartest ART TITLES you've ever tried, entirely HAND LETTERED. PHONE WISCONSIN 4020, EXT. 3 s- SUE RICE Have a living portrait of the little ones at play. Movies in the home, the innovation of the day. Their lives are little stories, little fairy tales of fun, Catch them with the camera, entertaining every one. Engage a professional photographer experienced in child photography, to write your scenario, direct the picture, com- plete your film. Photography in the home. 300 W. 12th STREET, NEW YORK CITY GREENWICH village Phone Wat. 10130 The REXO Nitro Lamp Clean, Economical, Convenient A real handy light for motion picture photography. The light is a concentrated soft white light from a 1000 watt nitrogen bulb, properly reflected to give the maximum light. This lamp will do the work as well or better than lamps costing three or four times our price. The lamp weighs less than two pounds and the reflector is 10 inches in diameter. The REXO Nitro Lamp is an excellent light for any studio. It will give beautiful negatives of close ups or large heads at one-quarter to one-half second exposure at F4.5 on fast film or plates. For motion picture photography, this lamp will give wonderful results. One lamp is ideal for close ups and two for small groups, etc. Three lights in one. It is a hand lamp or can be used on a stand or suspended from a hook where a permanent installation is desired. Uses less than nine amperes. Will burn on either A. C. or D. C. 110-125 volts. PRICES ^L REXO Nitro Lamp with 10 feet of cord and plug net $15.00 View Showing the Nickel Plated Stand net 2.50 Rexo Nitro Lamp in Use 1000 Watt T 20 Clear Bulb net 6.50 A POWERFUL LIGHT AT A LOW PRICE BURKE & JAMES, INC., CHICAGO Gives THE GREATEST ILLUMINATION WE HAVE ONE IN THE POPULAR FOLDING STYLE 30" x 40" $ 20 .00 SBRO INC. OPTICIANS SHOW-AT-HOME MOVIE LIBRARY Super Release REGINALD DENNY and LAURA LA PLANTE in Skinner's Dress Suit (7-400 Foot Reels) Write for Circular 41 EAST 41ST STREET, N. Y. G. TELEPHONE MURRAY HILL 0041 One-hundred-thirty-one FILM LIBRARY CHICKS, starring thousands of baby chicks. 1 reel. NONSENSICAL NEWS, a riot of wit and humor. 3 reels. AMERICAN FIGHTS FOR FREEDOM, a new type of war film. Reel 1 A Graphic Resume of American Wars. Reel 2 Over the Top. Reel 3 Big Guns Cracking the Hinden- burg Line. HEY, HEY, UKELELE, a musical novelty. A DAY IN A STUDIO. How big pictures are made. Secrets of the craft revealed. 100 ft. 16mm. £7.00 each Prepared especially for amateur release. Each reel sold separately. Write TiOW for catalogue and special offer. Dealers — Write, phone or wire for special proposition. Stanley Educational Film Division 220 WEST 42nd STREET New York, N. Y. INC MANHATTAN BEACH.MY. The difference between good and poor screen results rests in a reading of AMATEUR MOVIE CRAFT The book will be found invaluable to those wishing to get that professional touch and finish when taking or pre jecting their pictures. It covers al] phases of Amateur Cinematography, and in a language that is easily under- stood. A Boo\ you will find both interesting and instructive. AT THESE LOW PRICES In Heavy Paper Cover . . . $1.00 In Cloth 1.50 ASK YOUR DEALER FOR IT (or direct) Cameron Publishing Co., Inc. MANHATTAN BEACH, N. Y. der where they came from? Nobody's used them for smoking since crepe went out — Oh, I'm sorry, Grandma — I didn't mean . . ." "It's all right, darling. Betty, you'll remember, dear, that every- thing I've said to you has been for your good. . . . You'll remember, after I'm gone, that I — that I — " "Grandma — what Is the matter?" "Nothing, dear. I think I'll lie down. I must be getting very feeble." "Feeble, Grandma!" "Yes. Kiss me, dear. There, there. Are . . . Are . . . Put the film there on the table, darling, where I can look at it." "I must take it down to Dad, Grandma — that's what I planed home for. . . ." "Oh, dear ... Oh dear . . ." ******* "Mother, you'd better go right up to Grandma. I can't understand. She looks all right, but she didn't scold a word, and called me darling, and . . ." "Snap the radio for the doctor, Betty. There, don't cry, but some- thing must be wrong. ... I noticed it too." ******* "Dick, the doctor says she's all right, but I'm making her stay in bed. You mean thing! Well, you needn't ... I can't even get her to eat. . . ." "I'm sorry Suze. . . . Can I do anything? I'll take a look at the old bir ... I mean I'll run right up. . . ." ***** * * "You're right Suze. And the funny thing is she's so damned nice, dear. . . . Oh, now I didn't mean ANY- THING!" "You might Try to remember she's MY mother, Richard." "Yes, dear. ... Oh, hell! Any- way, the old film'll cheer her up. They tell me it's all right and we'll project it on her birthday." ******* "Yes, Mother, so far as the expert can tell, without running it off, it's in splendid condition. Are you in pain, dear? A lawyer! What on earth for, Mother? You disinherited Ned and Betty? Well, I must say, Mother! Oh, you want to make a codicil giv- ing them their inheritance? All right, dear. Do you feel pain anywhere? No? Just feeble? You worry me, talking that way, Mother. What's this? What on earth? 'Films OF Other Days. Methods Used In Preservation.' I — I. . , . Mother, were you actually reading this? How did you get it?" "Why, even an old person who isn't wanted by anybody can be in- terested in general topics, can't she?" "But General Topics! . . . There, there, Mother. Please don't cry! Why, I never saw you cry before! You DO worry me so. Never mind, dear. You're going to have a lovely birthday celebration with all the neighbors here and they're all going to see how lovely you were when you were young." "Susan! What Do You Mean?" "That we're going to have a party, just for you, because you're ill, and everyone's been invited to see the old film. . . . Mother, you're so pale . . . are you faint?" "I can't possibly go through with it, Susan — I can't have any party. 55 "All right, Mother darling. She shall stay up in her own room, but all the folks shall see how sweet and good she was when she was young. It will be an example, too, dear. . . . Oh, Mother, Mother, I know you wouldn't moan like that if you didn't have a pain somewhere." "I want to sleep, Susan. I want to sleep. Go away! Go away! But — - but — Susan, don't be too hard on Ned and Betty!" "Hard on them, Mother! I never f 55 was! "Well — I mean — Much has to be forgiven youth — and — and — I don't believe there's any difference at all in the young people of now and any other time — Youth is youth — Oh — ■ oh — oh — Go away!" ******* "Dick, how can I help crying — I know she's been hard and everything — but she's my mother, and . . . What Was That?" ******* "Mother, what Are you doing up, and in my room? What is in that bottle? For your headache? It smells fearfully. Give it to me. Careful! You've spilled it all Over the Film. Oh, I know it dropped ! Is it spoiled, Dick? Don't cry, Mother. Dick doesn't think it's hurt at all. . . . Don't cry so, dear! Didn't you hear me say Dick doesn't think it's hurt? What shall I do? What Shall I do?" ******* "Mother, when this is your own party, do try to eat something. Yes, Mrs. Sharpe, she insisted on getting up! Don't let her know you think she looks so ill." ******* "Now for the film, folks. Mother, darling, you ought to let us take you upstairs. 'Get it over?' What do you mean, Get It Over? Nothing! Oh, Mother, you worry me so. What's — One-hundred-thirty-two Sailing from New York? OUR MOTION PICTURE EX- PERTS will describe everything from exposure conditions to cus- toms regulations in FOREIGN LANDS. Four Projection Rooms Always at Your Disposal Regional Library ni HOME FILM LIBRARIES, Inc. Complete Photoplays 75c Gillette MAIDEN LANE Camera Stores. Inc. PARK AVENUE AT 41st. ST. NEW YORK CORCORAN RACKS For 16 mm. Film Development We are Specialists in TANKS AND RACKS Send for Circular No. 8 A. J. CORCORAN, INC. 758 Jersey Ave., Jersey City, N. J. ANIMATED & LEADERS As the Theatres , Send for illustrated use them .-*. catalogue \PLAIN & ILLUSTRATED TITLES %* \ — THE PROFESSIONAL KIND vl FAADAHME.inc. 145 W. 45 ST. N.Y. BRYANT 6796 You Can't make perfect movies without the help o£ The Cine Miniature monthly monographs. Subscribe £or them today — $2.50 per year or 25c per copy at all better dealers, or CINEMATOGRAPHIC PUBLISHERS 1636 N.Washtenaw Ave. Chicago, Illinois What's The Matter Dick? . . . What! All Destroyed By Acid! What acid? . . . 0-H— 0-H! Don't whisper to me, Ned. It's so impolite. You're disrespectful to your grand- mother, sir. I shall speak to your father. How can you say such a thing? What do you mean 'Look at her!' What did you say, Mother? Something to Eat! W-h-y, wh — y . . . isn't that lovely? Hush, Ned! Go away! Yes, Mother, right away!" "Susan, I want you to send for that lawyer again." "Why . . . Mother!" "Yes, Why Mother! Do you sup- pose two whippersnappers are going to spend my money who'll write ribald rhyme about me? I SHALL say ribald. ... I heard it myself whispered in the hall last night. . . . 'But, Oh, her thoughts were not of heaven Way back in Nineteen Twenty- Seven.' Coming right on top of my terrible disappointment about that film. Your dear father. . . . Your dear. . . . Your. . . . Susan! Are You Sure He Didn't Leave Any More Film?" CINEMATIC COMPOSI- TION (Continued from page 84) note one thing first respecting them; namely, they are characterized by contrast. Two elementary examples are: white against a black ground and the direct opposite, or placing black against a white ground. Typ- ical cases of the first are portraits, either painted or the work of the camera, in which light-colored cos- tumed figures are set against shad- owy masses of trees, dark colored walls, or backgrounds or tapestry. (Figure 7.) In the other arrange- ment a simple silhouette of a dark robed figure placed in front of a light toned background is an exam- ple. (Figure 8.) Generally, how- ever, effects of light and shade are called, in the technic of art, chiaro- scuro, and have the contrasting ele- ments in scattered patches so that they are neither simple effects of white against black, or black against white. (Figure 9.) But a successful picture in chiaroscuro — a cinemato- graphic scene, a still photograph, or an easel picture — does not have the lights and shades scattered haphaz- ardly but apportioned according to a plan. Sometimes the plan shows a gradual change, as to strength and size, in a subtle gradation. On the other hand, as in Rembrandt's pic- COERZ For Filmo Cameras The Goerz Wide Angle Hypar lens adds 14 degrees to the ordi' nary focusing angle. It makes pos- sible the shooting of a broad scene close at hand without the usual necessary increase in focusing dist' ance. Sport pictures from close sidelines; broad interior scenes in small rooms; industrial pictures — buildings photographed in narrow streets; and for all pictures usually made impossible or greatly hamp' ered by cramped quarters. OTHER GOERZ PRODUCTS Lenses in a w.'de variety of speed and focal length. Crisp definition, remarkable covering power, accurate precision focusing mounts. VIGNETTERS FINDERSCOPE REFLEX FOCUSERS MASK BOX-TITLE DEVICES FOCUSING BASES C. P. Goerz American Optical Co. 319-A East 34th St., New York, N. Y. One-hundred-thirty-three Now f>1.5 FOR FILMO for $50.00 5 times more light. . . . Fits the Filmol Made by Wollensak . . . the master lens maker. In fine micrometer mount. Ready to use. $50.00. Your interior "Shots" easily made with this highest high speed lens. Get yours now. 60 page Cinema Catalog free! Order To-day! BASS CAMERA COMPANY 179 West Madison Street Chicago, - Illinois for FILMO, CINE-KODAK PATHEX — DE VRY Complete stoc\s of all Cameras, Projectors & Accessories LUGENE, Inc. OPTICIANS 600 Madison Ave., N. Y. G. Near 58th Street TELEPHONE PLAZA 6001 Owners of 16 M. M. Apparatus Send us your name and ad- dress on the coupon below, and you will receive expert advice, FREE HEDWIG Motion Picture Laboratories Inc. 48 CONGRESS AVENUE FLUSHING, N. Y. T^ame Address Apparatus tures, there is a forcible contrast of light and shade. We cannot help bringing up this artist's name as it is so often applied — not always ap- propriately— to effects where there is one centre of brilliant light on a conspicuous detail, with an extreme- ly dark background. This is thought to be a Rembrandtesque arrange- ment of lighting. We should remem- ber, however, in observing reproduc- tions of this master's pictures that the mechanical process, even of the best, does not get all the subtlety of the lesser lights or the details in the shadowed part of the originals. Re- productions get the strong lights in their full strength, perhaps, but the dark shadows with intermediate sub- dued lights and tones come out in one general murky mass. This gives the wrong idea of the originals and leads imitators, using reproductions as copies, to make the effect of one strong light and a dark obscure back- ground. There is a gradation, as orig- inals will show, in Rembrandt's pic- tures of the brilliant light, passing through various half-lights to sub- dued lights and tones, and then to the deepest shadow. In arranging things and lights in a cinemato- graphic scene there is a placing of lamps of various strengths and a stragetic adjusting of reflectors. This latter is important as it is by the di- verse lights they throw on objects and backgrounds in shadow that the series, or chain, of lesser lights vary the flatness of shadow left by the in- tensity of the special lamps. (To be concluded) JOHNNY'S SNOWMAN (Continued from page 105) 18. Near view which includes the tree, snowman and children. The children eye the tree in be- wilderment. 19. Close-up of Johnny rubbing his eyes to be sure he is seeing cor- rectly. 20. Semi-closeup of snow man get- ting ready to chop down tree. 21. Near view of group. Johnny calls to children to stop the snow man and they all run up to tree. 22. Semi-closeup of snow man jumping up and down and wav- ing the hatchet at the children. 23. Long shot of the snow man waving hatchet at the children and the children jumping back and running. The snow man chases them about. Finally he makes straight for Johnny who runs wildly. 24. Near view of the snow man about to catch Johnny and the later screaming, "Mother. Mother!" 25. Near view of Johnny thrashing about in his sleep and nurse or mother leaning over him laugh- ing. She has his party clothes over her arm. 26. Close-up of Johnny opening his eyes, rubbing them bewildered- ly then smiling and saying, "Oh, boy!" (In a happier variation the chil- dren might dissuade the snow man from chopping down the tree by in- viting him to join in winter sports and outdoor games. If interior lighting apparatus is available a more charming and elaborate picture could be made by having the chil- dren at the table with its gay decora- tions when they see the snow man start to move as they look out of the window. ) In the above scenario scenes 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 16, 17, 25, 26, should be made separately when the children guests are not there. THE CLINIC (Continued from page 108) Flexibility A REVOLVING lens mount, for his Filmo camera, holding four different lenses, is a recent invention of Leslie S. Gordon of Chicago, 111. Mr. Gordon describes it as follows: THE REVOLVING LENS MOUNT "The mount is a revolving turret holding a four inch F:6.3, a two inch F:3.5, a one and a half inch F:3.5, and a one inch F:2.7. This assort- ment can be changed to suit individu- al requirements. "The lenses drop into the camera only when exactly opposite the lens mount opening, being at all other times held out of position by a flange on the center disk. The lenses fasten into the camera with a bayonet catch, requiring only a one-eighth inch turn of the mount. "I have used this assortment of lenses to take golf and football pic- tures and find the ability to shift lences rapidly of great benefit. I use the same viewfinder for all the lenses, merely having it marked for the re- spective fields." One-hundred-thirty-four Book Review The American Annual of Photoc- raphy FOR 1928: 224 pages; paper, $1.50; cloth, $2.25, Published by the American Photographic Publish- ing Company, Boston, Mass. — With 87 full page illustrations and a wealth of interesting and informative articles, the American Annual is pub- lished this year in a new, enlarged format that greatly enhances its ap- pearance. The articles cover a wide field, in- cluding some of the latest develop- ments, such as the use of super-speed lenses, amateur movie work, hyper- sentizing plates and others. There is ■also included a criticism of the pho- tographs printed in the volume, which should be of much practical value to all those interested in the art and science of photography. Swaps "A Study in Clouds"— 1 reel— 100 feet — 16mm. "A Little of This and a Little of That"— 1 reel^OO feet— 16mm. "Chardon Maple Sugar Festival" — 1 reel — 125 feet — 16mm. Name: L. W. Dunning, Address: 16710 Endom Road, Cleve- land, Ohio. ''Quo Vadis"— 1 reel— 1000 feet— 35mm. "'Kinograms" Radio — 1 reel — 1000 feet — 35mm. "Burton Holmes"— 11 reel^lOO feet — 16mm. "Studios and Stars"— 1 reel— 200 feet — 16mm. Two hundred reels cf Pathex film — 1200 feet— 9mm. Name: Fred Niemann, Address: 1540 Lake Shore Drive, Chicago, 111. "Yale- Army; Yale-Dartmouth; Yale- Princeton; Dartmouth - Brown Football Games, 1927—1 reel— 300 feet— 16mm. Name: Frederic G. Patience, Address: 25 Plainfield Street, Berlin, Conn. "The Americano", with Douglas Fairbanks — Five reels — 2000 feet — 16mm. "Felix in the Swim" — One reel — 400 feet — 16mm. Name: Herman Liebes Address: 315 Central Park West, New York City. The Fivst DAYLIGHT OPTICAL PRINTER TC Ty jC1 A T") "V7" A LL operations performed in full white ■**• light with absolute safety! A complete unit includes a .152 automatic light board. FULLY AUTOMATIC The Light Change Board can also be used on all optical printers, Bell & Howell continuous printers and Duplex step printers. Continuous Printing Is Speeded Up 50% The Printer prints optically from 35mm. negative to 16mm. positive. Enlarges from 16mm. to 35mm. It is a 16mm. step printer, printing 16mm. nega' tive to positive. Optical printing of 35mm. to 35mm. Its mechanical features include: 1. Throw out mechanism on 16mm. head. 2. Indication for setting frameline when making 35mm. negatives from 16mm. positives. 3. Instantaneous stop of machine with closed shutter, eliminating dark exposure on the film during printing. Tvjo splices necessary. 4. Machine mounted on ball bearing roller wheels, and is easily portable. LABORATORIES! Write for details. You will marvel at the ease and inexpensive operation. AMATEURS! Insist on DePue & Vance prints from your laboratory! -r>v m>T t-w-^i c* ■» t a -*.t>-^«-«-i Depue & Vance Prints Are Best ! ! DEPUE & VANCE 7512 N. Ashland Avenue Chicago, 111. One-hundred-thirty-jive You will find Amateur Movie Makers and a Progressive Dealer at each of the following addresses* Visit them! CALIFORNIA Fullerton: Hardy's Drug Store, 110 N. Spadra. Long Beach: Winstead Bros., Inc., 244 Pine St. Los Angeles: Eastman Kodak Stores, Inc., 643 S. Hill St. Leavitt Cine Picture Co., 3150 Wilshire Blvd. B. B. Nichols, Inc., 731 S. Hope St. Schwabacher-Frey Stationery Co., 734 S. Bdwy. X-Ray Supply Corp., 3287 Wilshire Blvd. Pasadena: F. W. Reed Co., 176 E. Colorado St. Pomona: Frashers, Inc., 158 E. Second St. Riverside: F. W. Twogood, 700 Main St. San Diego: Harold E. Lutes, 958 Fifth Ave. San Francisco: Eastman Kodak Stores, Inc., 545 Market St. Hirsch & Kaye, 239 Grant Ave. Leavitt Cine Picture Co., 564 Market St. San Francisco Camera Exchange, 88 Third St. Schwabacher-Frey Stationery Co., 735 Market St. San Jose: Webb's Photo Supply Store, 94 S. First St. Santa Ana: Forman-Gilbert Pictures Co., 1428 W. Fifth St. COLORADO Denver: Eastman Kodak Stores, Inc., 626-16 St. Ford Optical Co., 1029-16 St. Haanstad's Camera Shop, 404-16 St. CONNECTICUT Hartford: H. F. Dunn Motion Picture Co., 366 Sigourney St. Harvey 6? Lewis Co., 865 Main St, Watkins Bros., Inc., 241 Asylum St. New Britain: Harvey i£ Lewis Co., 85 W. Main St. New Haven: Frits if Hawley, Inc., 816 Chapel St. Harvey 6? Lewis Co., 849 Chapel St. Waterbury: Curtis Art Co., 25-29 W. Main St. DISTRICT OF COLUMBIA Washington: Reid S. Baker, Inc., 1322 F St.,N.W. Cinema Supply Co., Inc., 804 Eleventh St. Columbia Photo Supply Co., Inc., 1424 New York Ave., N.W. Eastman Kodak Stores, Inc., 607- 14th St., N.W. FLORIDA Lake Wales: Morse's Photo Service, Rhodesbilt Arcade. Miami: Miami Photo Supply Co., 242 N. Bayshore Drive. Red Cross Pharmacy, 51 E. Flagler St. Tampa: Tampa Photo y Art Supply Co., 709-11 Twiggs St. GEORGIA Atlanta: The Camera Exchange, 7 Auburn Ave. Eastman Kodak Stores, Inc., 183 Peachtree St. ILLINOIS *Chicago: Bass Camera Co., 179 W. Madison St. Aimer Coe 6? Co., 78 E. Jackson Blvd. Aimer Coe & Co., 18 S. LaSalle St. Aimer Coe 6? Co., 105 N. Wabash Ave. Central Camera Co., 112 S. Wabash Ave. Eastman Kodak Stores Co., 133 N. Wabash Ave. Lyon y Healy, Jackson Blvd. y Wabash Ave. J. H. Seamans, 7052 Jeffery Ave. Watrv y Heidkamp, 17 W. Randolph St. Decatur: Haines & Essick Co., 122-128 E. William St. Evanston: Aimer Coe y Co., 1645 Orrington Ave. Hattstrom &? Sanders, 702 Church St. Galesburg: Illinois Camera Shop, 84 S. Prairie St. Sterling: Ray Hart, 8-10 E. 4th St. INDIANA Evansville: Smith 6? Butterfield Co., 310 Main St. Indianapolis: H. Lieber Co., 24 W. Washington St. South Bend: The Book Shop, 119 N. Michigan St. IOWA Davenport: Eastman Kodak Stores, Inc., 318 Brady St. Des Moines: Eastman Kodak Stores, Inc., 808 Locust St. Sioux City: Visual Education Equipment Co., 208 Wright Bldg. KENTUCKY Louisville: A. L. Bollinger Drug Co., Frankfort & Stilz Ave. W. D. Gatchel 6? Sons, 431 W. Walnut St. LOUISIANA New Orleans: Eastman Kodak Stores, Inc., 213 Baronne St. Shreveport: August W. Fitzpatrick, 423 Crockett MAINE Bangor: Francis A. Frawley, 104 Main St. MARYLAND Baltimore: Amateur Movie Service, 853 N. Eutaw St. Eastman Kodak Stores, Inc., 223 Park Ave. MASSACHUSETTS Boston: Eastman Kodak Stores, Inc., 38 Bromfield St. Ralph Harris 6? Co., 30 Bromfield St. Ivgr Johnson Sporting Goods Co., 155 Washing- ton St. Andrew J. Lloyd Co., 300 Washington St. Pathescope Co. of the N. E., Inc., 260 Tremont St. Pinkham &? Smith Co., 15 Bromfield St. * Ind Braintree: Alves Photo Shop, Washington St. Lowell: Donaldson s, 77 Merrimack &t. Springfield: Harvey y Lewis Co., 1503 Main St. Worcester: J. C. Freeman y Co., 376 Main St. L. B. Wheaton, 368 Main St. MICHIGAN Birmingham: Shains Drug Store, 119 W. Maple Ave. *Detroit: Clark Cine-Service, 2540 Park Ave. Detroit Camera Shop, 424 Grand River, W. Eastman Kodak Stores, Inc., 1235 Washington Blvd. Fowler y Slater Co., 156 Larned St. J. L. Hudson Co., Dept. 290. Metropolitan Motion Picture Co., 2310 Cass Ave. E. B. Meyrowiu, 1516 Washington Blvd. United Camera Stores, Inc., 14611 Jefferson Ave., E. Lansing: Linn Camera Shop, 109 S. Washington Ave. Muskegon: Beckquist Photo Supply House, 885 First St. MINNESOTA Duluth: Zimmerman Bros., 330 W. Superior St. Minneapolis: Eastman Kodak Stores, Inc., 112 S. Fifth St. Owatonna: Gift & Art Shop, 115 W. Bridge St. St. Paul: Co-operative Photo Supply Co., 381-3 Minnesota St. E. B. Meyrowitz, Inc., 358 St. Peter St. Zimmerman Bros., 320 Minnesota St. MISSISSIPPI Meridian: Hammond fhoto Service, 2115-21 Sixth St. MISSOURI Lexington: B y G Shop, 1104 Main St. Kansas City: Z. T. Briggs Photographic Supply Co., 916 Grand Ave. Hanley Photo & Radio Shop, 116 E. 10th St. St. Louis: A. S. Aloe Co., 513 Olive St. Erker Bros., 608 Olive St. Hyatt's Supply Co., 417 N. Broadway. NEBRASKA Omaha: Eastman Kodak Stores, Inc., 419 S. 16 St. NEW JERSEY Camden: Parrish ii Read, Inc., 308 Market St. Newark: L. Bamberger y Co. Plainfield: Mortimer's, 300 Park Ave. NEW YORK Albany: E. S. Baldwin, 32 Maiden Lane. Buffalo: J. F. Adams, 459 Washington St. Buffalo Photo Material Co., 37 Niagara St. United Projector 6? Film Corp., 228 Franklin St. New York City: Abercrombie (i Fitch, 45th & Madison Ave. American News and its Subsidiaries, 131 Varick St. J. H. Boozer, 173 E. 60th St. Brentano s, 1 W. 47th St. City Camera Co., 110 W. 42nd St. Abe Cohen's Exchange, 113 Park Row. * Cullen, 12 Maiden Lane. Devoe 6? Raynolds Co., Inc., 34 E. 42nd St. * Eastman Kodak Stores, Inc., Madison Ave. at 45th St. Gall y Lembke, Inc., 7 E. 48th St. * Gillette Camera Stores, Inc., 117 Park Ave. Gloeckner y Newby Co., 9 Church St. * Herbert 6? Huesgen Co., 18 E. 42nd St. Lowe is Farley, News Stand, Times Bldg. * Lugene, Inc., 600 Madison Ave. E. B. Meyrowitz, 520 Fifth Ave. George Murphy, Inc., 57 E. 9th St. New York Camera Exchange, 109 Fulton St. * Pickup is Brown, 41 E. 41st St. C. F. Ray, 296 Fifth Ave. Schoenig y Co., Inc., 8 E. 42nd St. * Seiden Films, Inc., 729 Seventh Ave. H. F. Waterman, 63 Park Row. * Willoughby Camera Stores, Inc., 110 W. 32 St. * Wyko Projector Corp., 33 W. 60th St. Rochester: Marks & Fuller Co., 36 East Ave. Sibley, Lindsay & Curr Co., Camera Dept. Stamford-in-the-Catskills: E. S. Burtis. Utica: Edwin A. Hahn, 111 Columbia St. OHIO Cincinnati: Ferd Wagner Co., 113 E. 5th St. Huber Art Co., 124-7th St., W. Cleveland: Bueschers, 10602 Euclid Ave. Eastman Kodak Stores, Inc., 1126 Euclid Ave. Escar Motion Picture Service, Inc., 12804 Su- perior Ave. Fowler is Slater Co., 806 Huron Rd. Fowler ii Slater Co., 347 Euclid Ave. Fowler ii Slater Co., 1915 E. 9th St. Columbus: Columbus Photo Supply, 62 E. Gay St. Dayton: Dayton Camera Shop, 1 Third St., Arcade Hamilton: Halperin & Son. *NorwoCu: Home Movie Service Co., 2120 Slane Ave. Toledo: Franklin Print. 6? Eng. Co., 226-36 Huron St. Gross Photo Supply Co., 325 Superior St. Youngstown: Fowler &? Slater Co., 7 Wick Ave. icates dealers who are advertising in Amateur Movie Make OREGON Corvallis: Lynn's Photo Shop, 1555 Monroe St. Pendleton: Floyd A. Dennis. Portland: Eastman Kodak Stores, Inc., 345 Wash- ington St. Lipman- Wolfe Dept. Store, Kodak Dept., Lip- man-Wolfe Bldg. PENNSYLVANIA Erie: Kelly & Green, 116 W. 11th St. Philadelphia: Amateur Movies Corp., 2114 San- som St. Eastman Kodak Stores, Inc., 1020 Chestnut St. Jos. C. Ferguson, Jr., 1804 Chestnut St. Strawbridge ii Clothier, Market, Eighth H Fil- bert Sts. * Williams, Brown 6? Earle, Inc., 918 Chestnut St. Pittsburgh: Eastman Kodak Stores, Inc., 606 Wood St. B. K. Elliott y Co., 126-6th St. Kaufmann's Dept. Store., Dept. 62 Fifth Ave. Reading: Alexander Kagen, 641 Penn St. RHODE ISLAND Newport: Rugen Typewriter y Kodak Shop, 295-7 Thames St. Providence: Starkweather y Williams, Inc., 47 Ex> change PI. TENNESSEE Memphis: Memphis Photo Supply Co., Hotel Pea- body, 86 S. 2nd St. Nashville: G. C. Dury y Co., 420 Union St. TEXAS Dallas: E. G. Marlow Co., 1807 Main St. Houston: Star Elec. y Eng. Co., Inc., 613 Fan- nin St. San Antonio: Fox Co., 209 Alamo Plaza. VIRGINIA Norfolk: S. Galeski Optical Co., 209 Granby St. WASHINGTON Seattle: Anderson Supply Co., Ill Cherry St. Eastman Kodak Stores, Inc., 1415-4th Ave. m Tacoma: Shaw Supply Co., Inc. E. W. Stewart y Co., 939 Commerce St. WEST VIRGINIA Wheeling: Twelfth St. Garage, 81-12th St. WISCONSIN Fond du Lac: Huber Bros., 36 S. Main St. Madison: Photo Art House, 212 State St. Milwaukee: H. W. Brown y Co., 87 Wisconsin St. Eastman Kodak Stores, Inc., 427 Milwaukee St. Gimbel Bros., Kodak Dept., Wisconsin Ave. (s W. Water St. Photoart House of Milwaukee, 220 Wells St. FOREIGN AUSTRALIA Melbourne: Charles W. Donne, G. P. O. Box 877 G. Sydney: Harrington, Ltd., 386 George St. Kodak (Australasia) Pty. Ltd., 379 George St. CANADA Montreal: Film y Slide Co. of Can., Ltd., 104 Drummond Bldg. Ottawa: Photographic Stores, Ltd., 65 Sparks St. Regina: Regina Films, Ltd., Banner Bldg., 11th Ave. Toronto: Eastman Kodak Stores, Ltd., 66 King St. Film y Slide Co. of Can., 156 King St., W. Vancouver: Eastman Kodak Stores, Ltd., 610 Gran- ville St. CUBA Santiago: Farre 6? Serra S. en C, P. O. Box 166. DENMARK Copenhagen: Kodak Aktieselskab, VodrofFsvej 26. ENGLAND London, W. I.: Wallace Heaton, Ltd., 119 New Bond St. E. B. Meyrowitz, Ltd., 1 A Old Bond St. Sheffield: Wm. Mcintosh (Sheffield) Ltd., Change Alley. Sheffield Photo Co., 6 Norfolk Row (Fargate). HAWAII Honolulu: Honolulu Photo Supply Co., P. O. Box 2999 INDIA Calcutta: Army y Navy Coop. Soc, Ltd., 41 Chowringhee St. JAPAN Kyoto: J. Osawa y Co., Ltd., Sanjo Kobashi. MEXICO Mexico City: American Photo Supply Co., S. A., Avenida F. I., Madero, 40. PHILIPPINE ISLANDS Naga, Carmarines Sur: Eusebio Contreras, P. O. Box 83. STRAITS SETTLEMENTS Penang: Kwong Hing Cheong, lc Penang St. SWITZERLAND Winterthur: Alb. Hoster, Marktgasse 57. Zurich: Zulauf (Vorm, Kienast y Co.), Bahn- hofstr, 61. AMATEUR MOVIE MAKERS, i^^V^S $3.00 a Year (Canada $3.25, Foreign $3.50) 25 Cents a Copy (Foreign 30 Cents) One-hundred-thirty-six ON FRIENDSHIP'S ALTAR By Dr. Kinema THE day is done. Will holds the evening paper in his mouth while he removes his coat and hangs it and his hat in the hall closet. Looks at collection of tire, necktie and real estate letters bearing IV2 cent postage stamps which he notices lying on the stand. Chucks them into waste basket and walks in to join Marion. Marion is plainly Will's wife. Also plainly they have been married a long, long time. Marion asks if he has had a hard day. Will grunts. Not entirely clear to Marion whether Will's day has been hard or soft, but makes no difference anyway. Will sinks exhausted into the evening paper. Dinner announced. Marion imme- diately rises and indicates to Will to come along. Will sunk in the paper. Marion takes seat in dining room. Calls to Will. Calls again. Maid brings soup. Marion registers firm- ness— calls sternly that the soup is on. Will struggles to his feet, drops paper on floor, dejectedly enters dining room and slowly settles into his chair. Dinner commences. Conversation heavy. General atmosphere of having been married a long, long time. Marion doing most of the talking. Will in low gear with spark retarded. Marion remembers something — "Jess phoned this afternoon and asked us to come over to a movie party this evening." Traces of in- terest from Will. One quick furtive glance and he returns seriously to the last of the soup. "Did she say anything about my bringing over any of my films?" Keen but tired in- terest, waiting for Marion's answer. Marion answers calmly — she is in- nocent and does not understand the cine amateur — "Yes — she wants you to bring over your Mediterranean Trip." Will shifts to second and advances spark. More silence. "What time did she say to come?" Marion, still in- nocent and quite normal as to tem- perature, respiration, etc., "Oh, about © TITLES Complete editing and titling | service. (16 mm. or st ard.) Cinematography. CLARK CINE-SERVICE! | 2540 Park Ave. CAdillac 5260 1 DETROIT, MICH. eight o'clock, I suppose." Will improving rapidly. Dinner proceeds, Will shifts to high and is coming along rather well. Dessert served. Will steps on the gas. Eats so fast Marion starts driving from the back seat. Tells him about indigestion he will have tomorrow. Will finishes, im- plores Marion not to be so slow with her vittals. Marion indignant. Will hustles her out of dining room. Things have become hectic. Will pulls out four humidor cans and deposits on table in living room. Gets out rewinder and splicer and goes to work. Marion surprised. Argues. But, she doesn't understand the cine ama- teur. She expostulates that the Medi- terranean Trip films were done weeks ago. Yes — they were, but — well, Marion just does not understand the cine amateur. Finally it is five minutes of eight and Marion gets mad. Insists they start. Will scrabbles things together and they leave. Jess and Purse in their living room are getting ready. Purse putting screen on table. Jess objecting to things generally. Purse gets projector set up, cord connected to lamp socket, etc. Friends begin arriving. Finally Marion and Will arrive. Everybody shakes hands all around. Will carries his films clutched to his breast. Everything all set. Will expects Purse to begin the show. But Purse, looks to Will for his films. Will can- not understand. Expects Purse to show his stuff first. Purse indicates Will's films are the ones to be shown. Will overcome. Rises, wipes his brow, is on the verge of tears, stag- gers up to Purse, grasps his hand and shakes it fervently. Profoundly af- fected. Announces to rest of com- pany, "Talk about sacrificing your- self— this is the finest example of self-sacrificing friendship I have ever beheld in all my life. One amateur asking another amateur to come and show his films, and first!" w Tournament of Roses — Now Ready- Beautiful Floral Parade as held at Pasadena, Calif., Jan. 2, 1928. Two 100 ft. reels 16 mm. One reel $6.50. Two reels $12.00. Remit With Order. Discount to Dealers. Write for important information & list of subjects International Educational & Scientific Film Library 830 No. Genesee St., Hollywood, Calif. INDEX TO ADVERTISERS Page Actinorator, The 116 American Cine Products Co. 116 American Nature Association 127 Arrow Screen Co 128 Automatic Colorator 116 Automatic Movie Display Corp 125 Bass Camera Co 134 Bell & Howell Co 115-140 Boring's Travel Service, Inc 129 Brooklyn Metal Stamping Corp 122 Burke & James, Inc 131 Burton Holmes Lectures, Inc 127 Cameron Publishing Co 132 Cine Art Productions 72 Cine Kodak 139 Cine Miniature 133 Cinema Products 129 Cinematographic Publishers 133 Clark Cine Service 137 A. J. Corcoran, Inc 133 Cullen, W. C 120 Dahme, F. A. A 133 Dealers 136 Depue & Vance 135 De Vry Corporation 109 Du Pont Pathe Film Mfg. Co 117 Eastman Kodak Company. .102-3, 121, 139 Eastman Kodak Stores, Inc 124 Empire Safety Film Company 113 Eno's Art Titles 131 Filmite, Filmedor, Filmite-Humidifier. .116 Filmlab, Inc 129 Filmo 115, 140 Fotolite 76 Fowler Studios 123 Ganz Co., Wm. J 72 Gillette Camera Stores 133 Goerz American Optical Co., C. P 133 Hayden & Co., A. C 66 Hedwig Motion Picture Laboratories . . 134 Herbert & Heusgen Co 70 Highlites of the News 72 Home Broadcaster 122 Home Film Libraries, Inc 71 Home Movie Service Company 126 Hunt Pen Company, C. Howard 128 International E & S Film Library 137 Kodascope 102-3 Kodascope Editing and Titling Service 75 Kodascope Libraries, Inc 138 Lacault 129 Little Sunny 122 Lugene, Inc 134 Marshall, John G 130 Meyer & Company, Hugo 118 Movieads, Inc 116 Munro, J. H 129 Nature Magazine 127 Neighborhood Motion Picture Service. .119 Pathegrams 67 Photoplay Magazine 107 Pick-up & Brown 131 Pilotlight 126 Plasmat Lenses 118 Reel of the Month Club 72 Rexo Nitro Lamp 131 Reynolds, Ernest M 129 Rice, Sue 131 Seiden Camera Exchange 130 Sept. Cameras 116 Show-at-Home Movie Library, Inc. ... 73 Speedball Pens 128 Stanley Educational Film Division. .114,132 Stedistrap, The 126 Stone Film Laboratory 124 Testrite Instrument Company 76 Thalhammer, K. W 130 Tompkins, Stanley A. 68 Victor Animatograph Co., Inc 112 Vitalux Movies 125 Westphalen, Leonard 122 Williams. Brown & Earle, Inc 126 Willouahby Camera Stores, Inc 68 Wyko Projector Corporation 116 One- bund red-thirty-seven One of the Five Hundred Subjects Now Available World-wide distribution, an adequate number of duplicate copies and an established organization, offer you a program service that you can depend upon. Descriptive catalog of 176 pages furnished gratis to subscribers KODASCOPE LIBRARIES Are Established At: Atlanta, Ga., 183 Peachtree Street Boston, Mass., 260 Tremont Street Buffalo, N. Y., 228 Franklin Street Chicago, III., 137 North Wabash Avenue Cincinnati, Ohio, 1407 Walnut Street Cleveland, Ohio, 1126 Euclid Avenue Detroit, Mich., 1206 Woodward Avenue Kansas City, Mo., 916 Grand Avenue Los Angeles, Cal., 643 South Hill Street Minneapolis, Minn., 112 South Fifth Street New York, N. Y., 33 West 42nd Street Philadelphia, Pa., 2114 Sansom Street Pittsburgh, Pa., 606 Wood Street San Antonio, Texas, 209 Alamo Plaza San Francisco, Cal., 241 Battery Street Seattle, Washington, 1 1 1 Cherry Street Toronto, Ontario, 156 King Street, W. Montreal, Quebec, 104 Drummond Bldg. Winnipeg, Manitoba, 205 Paris Bldg-. Vancouver, B. C, 310 Credit Fourier Bldg. One-hundred-thirty-eigtt CINE-KODAK, MODEL B,/CI.9. VAILABLE to all Filmo owners The Bell & Howell Personal Service Debt. HOW many times have you wanted to get a certain movie effect without knowing how to go about it, or whom to ask? When you purchase Filmo motion picture equip' ment you become entitled, immediately, to the advisory service of the world's greatest staff of motion picture technicians. At your disposal at all times are the men who invented the cameras and equipment used in stand' ardizing the world's professional motion picture industry. Men who have been in constant touch with the movie studios of the world for twenty-one years. Men who designed Filmo, the original auto' matic movie camera for the amateur. Men who have made possible nearly all the known devices for making better motion pictures. Use Filmo first to take ordinary scenes under average conditions, as you would with any movie camera. Then learn the finer points of taking Filmo movies approaching professional quality under the most difficult conditions imaginable. Or of doing the professional movie "tricks" possible to the amateur only with Filmo equipment. Ask us. We will help you with any personal movie problem as we have helped many thou' sands. Simply write the serial number of your Filmo Camera or Projector at top of your inquiry. BELL & HOWELL CO. 1828 Larchmont Avenue, Chicago, Illinois New York, Hollywood, London (B & H Co., Ltd.) Established ic,oy BELL & HOWELL C. LAZELL NORTHROP PRESS. N. \V\ \l \x ■wv Strategy for the Amateur Movie-Maker Bell & Howell equipment is the sure way Results are what count! Clearness, beauty, brilliancy of picture, steadi- ness! Not the pains put into the making! Good strategy on the part of the Amateur calls for equipment that automatically takes care of this essential — that minimizes the effort yet insures the result — and that equipment is made by Bell & Howell. 'What you see, you get With a Bell 8C Howell Filmo Camera and a Filmo Projector you can take and show motion pictures that will dazzle all with their quality and beauty. Pictures neither duplicated nor equaled by any other apparatus. Pictures vivid in detail — rich in depth — unflickering — gloriously natural. And why shouldn't these instruments give better results? The Bell 8C Howell men who make them are motion picture specialists. They helped develop the pro- fessional motion pic- ture industry, pioneer- ed almost everything new and worthwhile in the mechanical end of it, invented the cameras and equip- ment that standardized it. In this more simple though equally efficient equipment you get the unique benefits of this specialization. With the Bell & Howell Filmo Camera, look through the spy-glass viewfinder and press the button — "what you see, you get." With the Filmo Projector press the button and the pictures flash on the screen — focused sharp by a mere turn of the lens — incomparable! A vast Filmo library, ever kept up- to-date with the latest pictures, in- cluding many first run theatre re- leases, the cream of comedies made under the banner, "The Spice of the Program," awaits your selection at moderate prices or low rental. See your Filmo dealer. Meanwhile send for our new book. It tells things you should know about making and projecting better pictures. BELL & HOWELL New York BELL & HOWELL CO., 1828 Larchmont Ave., Chicago, 111. Hollywood - London (B. & H. Co., Ltd.) Established 1907 C. LAZELL NORTHROP PRESS, N. Y. * *^£l» With a Direct-f rem- Hollywood 0//er ^ a MAIN TITLE cAbsolutsly FELEE / to all 16 MM. Users — No Matter Where You Live ^\?ith E\)ery Title Order Regardless of Size This amazing offer is made possible by the FOWLER STUDIOS due to the fact they are one of the oldest and largest professional title studios in Hollywood. Your title order will be given the same professional attention we would accord one of the large producers, whose major film productions we regularly title as part of our daily work. Make your titles simple and to the point. It is an art to put a whole story in a few words — but it adds just the necessary touch to your picture to "put it over" with your friends. We will be glad to advise you on the subject of "Title Writing. " MAIN TITLE $1.50— FREE to You With This Offer! Quantity Production Makes Possible These Low Prices This is a Sample of a ^Direct Title". DIRECT TITLE 55c EACH Write in Fpr Description of Subjects For Sale or For Rent A few of the many interesting, fascin- ating and instructive films now in our 16 mm. library include Comedies, Dramas, Travels, Indians, Cartoons, Modelling, Botany, Visual Educational Films, Animated Life, Insect Life, Golf, Fishing, Hunting, Aeroplanes and many others too numerous to mention. Write for this list. -v^V ■B^fe. £r rr*"' m a sample Negative and Positive Title with Diffused Background. ~* NEC & POS. ART BACKGROUND 90c EACH NEC & POS. TITLE 90c EACH FOWLER STUDIOS t ONE OF THE OLDEST ESTABLISHED STUDIOS AND LABORATORIES IN HOLLYWOOD 11 1108 N. LILLIAN WAY (Corner Sank Monica Blvd.) HOLLYWOOD, CALIF. FOWLER STUDIOS, 1108 N. Lillian Way, Hollywood, Calif. Gentlemen: I herewith enclose my order, together with my check or money order (or we will send C.O.D.) for one or more titles, together with wording to be used on FREE MAIN TITLE (not to exceed 12 words). IT IS MY UNDERSTANDING THAT THIS MAIN TITLE IS ABSOLUTELY FREE TO ME WITH MY FIRST TITLE ORDER. Sign on This Line and Enclose With Tour Order on Which Tou Have Written Tour Name and Shipping Instructions IF YOUR DEALER CAN'T SUPPLY YOU WRITE DIRECT One-hundred-forty-three An Announcement to Dealers* who want a profitable rental library Home Film Libraries are proud of their position as pioneers in the home movie field. Dealers ourselves, we were the first to see the merchandising advantages and profit-making possibilities of a film library owned and operated by the dealer in his own store. We appreciated that the primary requi- site for the success of such a service was the establishment of a library that would make money for the dealer. Dealer profit therefore has been assured as follows: 1. A minimum investment puts a com- plete library on your shelves. Then there is an arrangement whereby dur- ing a heavy rental season you make proportionate profit; but during a slow rental season you do not take a loss. And after a certain number of rentals, the films become your property. 2. We secured a source of supply of pic- tures that are in demand, and will rent readily. Only after careful study and actual trial are pictures added to the library. The name of a star does not necessarily mean that Home Film Li- braries will take the picture. The dealer committee that passes on new releases, the special scratch and water- proof Mackler process which doubles the life of prints, a contract which permits the dealer to put in any other subjects he chooses, are but evidence of our ability to assimilate the dealer's point of view. A letter to any of our dealers will disclose how far we have carried our cooperative features. The flexibility of the proposition is at- tested by the fact that our regional libraries are operating profitably in cities of 25,000 to 6,000,000 population. The dealers listed below who are associated with us are the best evidence of the merit of our plan. The Home Film Library franchise is given to only one dealer in each com- munity. We suggest you write or wire us for more detailed information. PHILADELPHIA Williams, Brown & Earle, Inc. SPRINGFIELD The Harvey & Lewis Company REPUBLIC OF MEXICO American Photo Supply Co., S.A. Mexico, D. F. WORCESTER The Harvey & Lewis Company NEW YORK CITY Wm. C. Cullen 12 Maiden Lane PLAINFIELD Mortimer's PITTSBURGH United Projector & Film Corp. LOS ANGELES Leavitt Cine Picture Co. DETROIT Detroit Camera Shop ERIE Kelly & Green * TO CONSUMERS— We are addressing this advertise- ment in a consumer's publication to dealers, because by establishing a still more complete chain of exclusive deal- ers we can better serve you as a user of home motion picture equipment. If our subjects and low rental price appeal to you you may care to commend it to the atten- tion of your photographic dealer. NEWARK Schaeffer & Company 103 Halsey St. BOSTON Eastman Kodak Stores, Inc. PORTO RICO Mundial Film Exchange San Juan WATERBURY Curtis Art Company SYRACUSE Lindemer's ALBANY E. S. Baldwin HOUSTON Star Electric & Engineering Co. SAN FRANCISCO Leavitt Cine Picture Co. BROOKLYN Fred'k Loeser & Co. BUFFALO Buffalo Photo Material Co. FLORIDA Tampa Photo & Art Supply Co. MINNEAPOLIS American Film Corp. Loeb Arcade CHICAGO Aimer Coe & Co. ST. LOUIS A. S. Aloe Co. NEW YORK Parker & Battersby 146 W. 42nd St. at Broadway LONG ISLAND B. Gertz Inc. 162-10 Jamaica Ave., Jamaica ROCHESTER A. H. Mogensen University of Rochester PROVIDENCE Starkweather & Williams, Inc. NEW HAVEN The Harvey & Lewis Company WESTERN CANADA Regina Films, Limited Regina, Sask. BRIDGEPORT The Harvey & Lewis Company NEW YORK CITY Gillette Camera Stores, Inc. Park Avenue at 41st HOME FILM LIBRARIES INC. 100 EAST 42nd STREET, NEW YORK CITY O n e-hundred-jorty-four ©CI B 766996 ig7l_ GH ^ I1IW "6 1928 7 ^ ;**~*r*# ^D^*^*s ,4-v \ tNr> K. (T*^ .*~~^« * # V tvyj* T ^vy?v PUBLISHED BY THE AMATEUR CINEMA LEAGUE, INC. "Heralding The Motion Picture Of Tomorrow" Volume III MARCH, 1928 Number 3 ... Qontents ... Cover Design Jorge Palomino The New Films, For Home Projectors . , . . 146 The Viewfinder, A Department for Our Guidance by Our Readers 148 - Contributors 149 Editorials .'. 151 Sunshine and Shower, A Photograph 152 The Child and the Cinema As Told By Sue Rice 153 The Secrets of Successful Juvenile Cinematography All Wet, A Background for Amateur Art Titles 154 Making Your Own Art Titles, Part 3 Ross F. George 156 When Nature Is Your Star Rutgers Neilson 158 And All Outdoors The Amateur's Studio Housing the Home Hollywood Kenneth E. Nettleton 159 Photoplayfare, Reviews for the Cintelligenzia 160 Cinematic Composition, A Guide for the Advanced Amateur, Part 2 E. G. Lutz 161 Critical Focusinc, Technical Reviews to Aid the Amateur 163 Amateur Clubs Edited by Arthur L. Gale 164 Film-Flam Edited by Creighton Peet 166 Filming the Fair, A Page of Photographs of Amateurs in Action 167 The Artist Who Uses a Camera ' . .Katherine M. Comstoch 168 A Story of Cinema Achievement and an Inspiration to the Amateur Doubling In Wyoming, A Four Man Scenario With a Two Man Cast Carl L. Kahn 170 Home Cellar Movies De Luxe, The Story of the Ashcan Theatre A. Rowden King 171 The Truth About Makeup Kenneth W. Adams 172 Art In Editing John Adams Ten Eyck, 3rd 176 Suggestions from an Artist who is also an Amateur Movie Maker The Clinic Edited By Dr. Kinema 179 Aids in Editing and Titling W. T. McCarthy 180 Say It With Pearls Katherine M. Comstock 182 How the Motion Picture Is Serving the Cause of Visual Education In the Field of Dental Hygiene A Common Sense View of Music for Amateur Films James E. Richardson 188 Educational and Scientific Edited by Ruth Hamilton Kerr 190 News of Visual Education in Homes and Schools News of the Industry, For Amateurs and Dealers 192 Index to Dealers Who Carry Amateur Movie Makers 202 Index to Advertisers 205 President AMATEUR CINEMA LEAGUE, INC. DIRECTORS Vice-President HIRAM PERCY MAXIM Hartford, Conn. EARLE C. ANTHONY President of the National Association of Broadcasters ROY D. CHAPIN C. R. DOOLEY 30 STEPHEN F. VOORHEES Architect, of New York City W. E. COTTER E. 42nd St., New York City Chairman of the Board of Directors, Hudson Motor Company Treasurer A. A. HEBERT 1711 Park Street, Hartford, Conn. LEE F. HANMER Director of Recreation, Russell Sage Foundation FLOYD L. VANDERPOEL Scientist, of Litchfield, Conn. Manager of Personnel and Training, Standard Oil Co. of N. J. Managing Director ROY W. WINTON, 105 W. 40th Street, New York City AMATEUR MOVIE MAKERS is published monthly in New York, N. Y., by the Amateur Cinema League, Inc. Subscription Rate $3.00 a year, postpaid (Canada $3.25, Foreign $3.50); to members of the Amateur Cinema League, Inc. $2.00 a year, postpaid; single copies, 25c. On sale at photographic dealers everywhere. Entered as second-class matter August 3, 1927, at the Post Office/at New York, N. Y., under the Act of March 3, 1879. y Copyright, 1927, by the Amateur Cinema League, IncV Title registered at United States Patent Office. Advertising rates on application. Forms close on 5th of preceding month. Editorial and Publication Office: 105 West 40th Street, New York, N. Y. Telephone, Pennsylvania 3715 WALTER D. KERST, Technical Editor ARTHUR L. GALE, Club Consultant K. L. NOONE, Advertising Manager Editor JOHN BEARDSLEE CARRIGAN •> '> M f T T T ¥ >TTTf TTTTHftTTtrMT f TTTTTTfTTTTTTTTTrTTTr TTTft D.B.S.- -**4P- ALASKAN ADVENTURES A SPECIAL PATHEGRAMS RELEASE Two 400 Foot Reels — Price $65.00 "Alaskan Adventures" records the experience of Capt. Jack Rob- ertson, noted explorer, and Arthur Young, world's champion bow-and- arrow shot and big game archer, who set out across the rim of the Arctic pledging themselves to carry no weapons save bows and arrows and to kill for actual necessities only. Capt. Robertson with the camera photographed giant Kodiak bears charging Young as he waited with drawn bow. They shot scenes of bears catching live salmon in the streams, and a huge bull-moose brought down with a single arrow. Down rushing streams that run north, they were carried by canoe and raft. On a bleak rock island in an Arctic Harbor they found Eskimos living in frail Walrus hide houses on the very edge of the cliff. The little known parts of Alaska proved a land of mysteries. They filmed the ice break-up in the Yukon, the Valley of Ten Thousand Smokes, and many other rugged scenes of nature never before revealed by the eye of the camera. RELEASED MARCH 1st If not available thru your dealer — Write direct to us PATHE EXCHANGE, Inc., Pathegrams Dept. 35 West 45th Street, New York City THE NEW FILMS MARCH brings to the Amateur field offerings from three additional sources: the Hedwig Picture Labora- tories, Inc., Flushing, N. Y. (outright sale), Hollywood Movie Supply Co., Hol- lywood, Cal. (rental and outright sale), and the Seiden-Hodes Films. New York, N. Y. (industrial). Specific information follows. Automatic Movie Display Corporation', New York, X. Y. (Vitalux Movies), feature two McCrory cartoons, "Going- to the Animal Fair" and "Why Percy Left Home." They also offer "All Aboard," with Bobby Vernon, and "Sweet Revenge," a Christy comedy. Bell & Howell Company, Chicago, 111. (Filmo Rental Library), have for release in March: Howe's Hodge-Podge, "On A Run-a-way Train"; a Movie Side Show, "All Star Freaks"; "The Radio Bug," a Christy Com- edy, and "Open House," a Tuxedo comedy. "A Briny Boob" and "Hoot Mon!" are also recent offerings. Cine Art Productions, Hollywood, Cal., send an interesting description of a. 400 foot edu- cational film, "The Volcano Kilauea," and also their "Ruins of Rome," "An Elephant Caravan Through India," "Our Xavy In Action," and "Bits of China," all 100 foot subjects. Eastman Kodak Company, Rochester. X. Y. (Cinegraph releases), feature: "Ten Years After," a war cinegraph, and "America Goes Over," the complete history of American par- ticipation in the World War. Other offerings are "Ship Shape," featuring Cliff Bowes and Virginia Vance; an Out of the Inkwell song cartoon, "My Old Kentucky Home"; "A Real Rodeo," photographed at the Pendleton Rodeo in 1927; "An Aerial Trip Over New York"; "Grief In Bagdad," a comedy featuring a group of chimpanzees. Empire Safety- Film Company', Inc., New- York. N. Y., lay stress on their gobelog re- leases in which the South Seas are well rep- resented, as well as Japan with three releases, the Panama Canal with one, two for the Hawaiian Islands, and two for Australia. Fowler Studios, Hollywood, Cal., tie in with the educational movement with films on model- ling, botany and insect life. They also an- nounce "Macdonald Smith in a Series of Golf Lessons." The lessons are in eight parts, each approximately 200 feet of 16 mm. film. The series may either be rented or purchased outright. Wm. J. Ganz Co., New York. X. Y.. feature the "Reel of the Month Club." Hedwig Motion Picture Laboratories, Inc., Flushing, N. Y., first offerings include: "Metro- polis" (Charles Chaplin), a Mother Goose car- toon, "Humpty-Dumpty." and three films fea- turing Victor Moore: "Camping," "Wrong Mr. Fox," and "Seeing Things." Hollywood Movie Supply Co., Hollyw-ood, Cal., announce the production of advertising pictures as well as their own special films. They handle Filmo and Cine Art films as well. Burton Holmes Lectures, Inc., Chicago, 111., ask for requests for their catalog of 65 re- leases: "Film Reels of Travel." Home Film Libraries, New York, X. Y.. are to issue this month "Blazing Barriers," a Lew Cody 6-reel feature, in addition to augmenting their library with new comedy and cartoon releases. Kodascope Libraries, Inc., have a Hatton- Beery film for the amateurs this month, "Be- hind the Front." Xeighborhood Motion Picture Service, Inc., Xew York, N. Y., feature their second series of home study courses, nine reels of world geography, available to homes and schools. Pathe Exchange, Inc., PathegTams Depart- ment, Xew York, X. Y., announce as their major new feature "Alaskan Adventures," re- cording the experiences of Captain Jack Rob- ertson and Arthur Young in the Arctic regions. Ernest M. Reynolds, Cleveland, Ohio, offers "The Runaway Special," a film of the rails, and "A Busy Harbor." Stone Film Laboratory, Cleveland, Ohio, has ready for release Reel Xo. 2 of the Cruise of the Belgenland, "Around the World In Thirty Minutes," including side trips and ports of call in 13 countries. Stanley Library-, Xew York, X. Y., again feature the war films this month: "A Graphic Resume of American Wars," and "Over the Top." Seiden-Hodes Films, Xew York. X. Y., signal their first approach to the amateurs by an offer to lend, free of charge except postage, a series of 16 mm. films dealing with a story of American industry. One-hundred-jorty-six All These Stars and More - * * On Your Own Movie Screen At Home for only $12^ IF YOU JOIN THE WILLOUGHBY MOVIE LIBRARY For $12.50, you may rent for a 24 hour period each, Ten Reels of 400 ft. each. Films made from original theatre productions, reduced to fit your 16mm. Home Projector. You may also obtain the newest Universal and Educational releases of BARBARA KENT NORMAN KERRY LON GHANEY FELIX, THE GAT LLOYD HAMILTON PATSY RUTH MILLER and many others Visit our Movie Department, or, write for circular explaining rental proposition on WILLOUGHBY MOVIE LIBRARY. Distributors for VITALUX 16 mm. MOVIES 100 ft. Reels $7.50 Bobby Vernon "All Aboard"; Charlotte Mer- riam in "Sweet Revenge" ; the McCrory Cartoon Film "The Animal Fair" and others. U/ILCKIGHByS ▼▼110 West 32n-dSt.,Newyork,N.y.«^ We Recommend the ARROW Portable Beaded Screen -because it imparts an added brilliancy to your home movies, due to its surface of tiny, round glass beads. Surface is washable. Packed in dust-proof ma- hogany case. SCREEN No. 1 Size 33!/2x3'4x4 ins. with picture surface of 22x30 ins. Weight 6 pounds. Price $15. SCREEN No. 2 Size 45'/2x4'/2x5 ins. with picture surface of 30x40 ins. Weight 15 pounds. Price $25. SCREEN No. 3 Size 57x4 %x5 ins. with picture surface of 39x52 ins. Weight 18 pounds. Price $35. V, NOW A Only 4. per reel NEW YORK in MOVIES A highly interesting and instructive movie feature, showing all the "high- spots" of day and night life in the great metropolis. For Bringing In Distance — TELEPHOTO LENSES 3%" Wollensak Speed, F:3.3 for the F:1.9 Cine-Kodak, Model B $75.00 4" Telephoto Speed F:4.5 for the F:1.9 Cine-Kodak $50.00 Unexcelled for "close-up" work. One-hundred-jorty-seven NOW 2 h Formula of Dr. Rudolph Fastest LENS IN THE WORLD FuHy corrected for color value — and noticeable ab- sence of flare! For FILMO or VICTOR in focusing mount $85.00 1 inch .$54.00 Instantly adaptable to your camera 2x or 5x FILTERS for ABOVE WHICH SCREW IN BE- TWEEN THE LENS AND THE SUNSHADE for 1 in. lens $4.50 2 in. lens 7.50 Made of special quality Yellow Jena Glass, our fil- ters are ground down till their surfaces are perfectly smooth and parallel; and are then polished and cen- tered. At your dealer — or write to HUGO MEYER & CO., Inc. 105 W. 40th St. New York Works : Goerlitz, Germany. The VIEWFINDER A Department for Our Guidance by Our Readers A Word From the Ayes