Wednesday 15th June 1938 Page 6 - The Newcastle Sun (NSW)
GROWING HOBBY
HOME MOVIES DEVOTEES
Almost everybody has a hobby. Some collect stamps, match box tops, dried seaweed, or just money. Some delight to excavate their backyards and grow cabbages, whatever the hobby may be, it gives its devotees an extra kick out of life and is, naturally the best of all hobbies.
Acclaimed by its disciples as the most thrilling, instructive and romantic of all pastimes, amateur cinematography is becoming very popular in Newcastle. It is of recent origin, probably dating its popularity back to 1921 when the Pathe Company of France introduced the 9.5mm film.
Although, owing to its cost, the home movie machine will never oust the ordinary still snapshot, its users claim that the added thrill of the animated picture which enables them to see themselves on the home screen as others see them more than compensates them for the extra cost.
They obtain permanent and living records of their holidays and other memorable events. They are able to turn back the pages of time and see their children at various stages of their growth. They can watch themselves at golf or tennis and thereby improve their style and above all, they claim, with some justification, that their friends would rather see movies than be bored to tears by some family album of still prints.
TYPES OF FILM
Standard movie film, used by the professional production companies, is 35mm wide and there are three choices for the amateur of sub-standard film, 16mm, 9.5mm and 8mm and it is manufactured in a variety of emulsions, from the ordinary through the various grades to super-panchromatic and natural color film.
Clubs have already been formed in Newcastle and Cessnock to cater for these enthusiasts. The Cessnock Photographic Society is particularly active and several of its members are now concentrating on the production of natural color films. Shows are held each month and on the last occasion the members were given an opportunity of noting the progress made in the motion picture industry during the past two decades when Mr A.J. Perier, of Sydney, exhibited a color film and a 20-year-old "silent" starring Betty Compson, who, incidentally, to-day plays "bit" parts on the talkies. Newcastle Aero Club pilots use the miniature movie camera to record flights and the performance and evolution of the various planes.
Amateur film-makers claim that their hobby is a science. They point out that practically anyone can go out with an ordinary camera and come back with an excellent snapshot, but it requires a study of conditions, light and subject, to make a good moving picture. "Still" photographers retort that good inanimate pictures are not possible without study of conditions, but the fact remains that with the cine camera a study of conditions is essential. One just cannot take a good picture by just aiming the camera and pressing the button. The lens aperture must be fixed for every shot. The first sub-standard movie camera was hand-turned and mounted on a tripod. The ultra-modern one is runMr T. Byrneby clockwork and has all the accessories of the professional job. It is a fascinating pastime which is catching on in Newcastle.
Saturday 25th February 1939 Page 5 - The Newcastle Sun (NSW)
Amateur cinematography is a hobby which has advanced with extraordinary rapidity in recent years and it would make many more converts but for the mistaken, but very common idea, that it is very expensive. A complete outfit may be purchased for less than the price many people pay for a "still" camera.
Naturally, the first consideration is the cost and in this the intending purchaser has three sizes of film from which to select - 16mm, 9.5mm and 8mm. The relative merits of each are discussed herein. The comments of Mr J.C. Smith, picture theatre superintendent, of Cessnock, who advocates 16mm, are interesting, in view of the fact that in motion picture theatres, only 35mm, or "standard" film, is used. Taking up the cudgels on behalf of the 8mm fans is the Hon.Secretary of the Cessnock Photographic Society (Mr W.H. McClung), who has had considerable experience with this type of machine. Personally, I favor the 9.5mm grade and invested in such an outfit after having examined the merits of the others and bearing in mind always the major question of cost.
SUPPORTING 16mm
Mr Smith comments as follows - Possibly one of the greatest advantages of 16mm cinematography and a feature which may be overlooked by those who are inclined to decry the larger of the sub-standard film sizes on the grounds of expense — is the fact that there is a considerably greater range of cameras and projectors from which the cine worker may choose. The better-class 16mm cameras are capable of practically all the "stunts" that are employed in the standard cinematography of the theatres.
We have yet to see in Australia cameras of the smaller sub-standard sizes that offer a range of equipment such as that employed in the production of "fades" and winding back. The size of the 16mm frame — being four times greater in area than the 8mm frame and considerably larger than the 9.5mm frame — gives greater definition and permits a greater enlargement in projection, the result being a more intimate picture on the screen.
Due to the microscopic nature of the frequency tones, it is extremely doubtful whether we will ever see 8mm or even the 9.5mm, talkie equipment. Certainly we have not seen much 16mm talking equipment in home use in Australia. But the fact remains that it is an accomplished fact produced by the elimination of the perforations on one side and the substitution of the sound track. Reasonably priced projectors on the Australian market have provision for the elimination of one claw to enable talkie film to be projected. The only disadvantage of the projection of 16mm talkie films lies in the fact that the pull of the claw, on the one side of the film, tends to create a twisting or screwing action and may have the effect of deteriorating the film. But this is exactly what happens in the projection of the silent 8mm film. In 16mm silent projectors, the film is moved intermittently by two claws which give the film a "square" pull. It is natural to suggest that the 8mm film, being taken through the projector with the ever so slight twisting action and with one set of perforations taking the strain of moving the strip, will not last as long as the double-perforated 16mm film.
The cost of the film for 16mm projectors as against that of the 8mm or 9.5mm film equipment is of course greater but is more than offset by the more or less permanency of the prints due to their double perforation. In my opinion, the disadvantage of 9.5mm film is in the single perforation to the middle of the strip. Having seen hundreds of feet of this film which has had considerable use, I have noticed that the straining of these perforations has, at times, been visible on the screen. Due to its greater width, the handling of the 16mm film in the apparatus is much easier than that of the smaller sizes. With the 16mm projectors available on the market to-day, there is no limit to the size of the picture which may be procured. I know of instances where 16mm film has been projected to a width of 16 feet. This would be impossible with the smaller films — at least for a number of years to come. Apart from the enthusiast wishing to use his own film for entertainment purposes, the use of 16mm apparatus offers him a much larger variety in library films than is available in either of the other sizes.
Throughout the trade, 16mm film is definitely regarded as the regular sub-standard film. In my opinion, the 8mm film and 9.5mm film are merely novelties. Take as an illustration, the publicity material of our tourist bureaux in the various States. The films are either 35 mm or 16mm and there is a growing tendency to employ 16mm owing to its comparative cheapness. The definition of the 16mm films is superior to that of the smaller sizes, particularly in color work. Having recently been privileged to see about 1000 feet of 8mm color film — which I consider was excellent in view of the small size of the film — I would definitely say that had the same subject been filmed on 16mm film, the results would have been astounding. The 8mm user, or even the 9.5mm fan, must always remember that, when a big projection may be necessary from their film, they will be enlarging, to a much greater extent than in a 16mm film projected to the same size, the minute markings on and the grain of, the film. To prove my argument by means of a practical demonstration, I have a 16mm film in my possession which I photographed with a Model K Cine-Kodak and I am prepared to exhibit it for comparison with 8mm color film, at any meeting of the Cessnock Photographic Society.
ADVANTAGES OF 8mm
And now for Mr McClung: Undoubtedly the matter of expense is the deciding factor which will win popularity for 8mm cinematography. Admittedly the smallest of the three sub-standard size films may have its disadvantages but, for any given expenditure, whether it be in the production of films or the acquisition of apparatus, the 8mm equipment will score.
Let us first consider one aspect that arises in the cost of producing films. The 8mm camera-user may produce natural-color films — and there is quality in the definition — for a price below that at which the 16mm fan may produce black-and-white films. An important argument in favor of 16mm film may be based on the fact that the projection size is bigger. The film, in the first instance is four times the area of the 8mm film but in practice, if the projectors are placed the same distance away from the screen, the image projected by the 16mm apparatus will not be four times bigger than that projected with the 8mm machine.
In the matter of quality, we must remember that, other things being equal, the quality of the 8mm film projection, enlarged to the same degree — though not to the same size — as that of the 16mm film projection, will be equal to that produced with the larger film. There is no reason why other things should not be equal for 8mm cameras are fitted with the same high quality lens as the 16mm cameras. For some use it is questionable whether a big projection is an appreciable advantage. The "eye angle" cannot be widened and if the projection is too great in relation to the position of the observer, the vision of the whole of the picture area will not be possible at the same time.
Projection size can be regarded only in comparison with the position of the observer. A person sitting towards the back of a theatre near the projector is in the same relative position as a person sitting near the projector in a room and viewing an 8mm film. A big projection screen is an advantage for home use, only when the persons seeing the film can do so from a position near or behind the projector. In seeing the film from such a position, he is naturally far from the screen and the relative value of the projection and the covering area of his "eye angle" is no better than conditions were he sitting near the projector and viewing 8mm films from a shorter distance.
At the present time, elaborate 8mm equipment is not available to the same degree as high-class 16mm equipment. Nor is such a variety of films available in the average 8mm library stocked by city houses. But it cannot be denied that the popularity of 8mm photography is increasing and it is not beyond reason to forecast that, in the not distant future, the range of 8mm equipment will be wider than that of the 16mm field.
Eight millimeter photography is based on an ingenious method of photographing on 16mm film, using only one half of the strip. Under the double-run system, the film is then reversed in the camera and run through again so that the remaining half of the film is exposed. In the processing the film is split and then spliced. A 25-feet strip of 16mm film is spliced into a 50-feet length of 8mm film and occupies a projection time equal to 100 feet of 16mm film shown on a 16mm machine. The changing over of the film after the exposure of every 25 feet enables the operator, if he desires, to substitute color black and white film to suit existing conditions.
The split film has, of course, the perforations on one side only and at first glance, this may appear a disadvantage in projection. In practice, the projection is as steady as that of 16mm film. The film is not unduly strained by the single-claw action for it must be remembered that, while two claws are used to pull 16mm film approximately 10mm to place the next frame into position, the 8mm film requires to be moved only 5mm at a time.
This is a feature where the 8mm film scores over the 9.5mm film. The latter film - which has the perforations between the frames and not beside them - must be moved approximately the same distance as 16mm film to place the next frame in position. And one perforation takes the strain each time. Not the least of the advantages of 8mm photography is the accessibility with which the equipment and the films may be moved from one point to another and the resultant case with which the films may be projected at the home of a friend. The 8mm user will not want to deny that the 16mm film is often better than the average 8mm film. On the other hand, however, who will deny that the 35mm film of the theatre is better to quality of projection than the 16mm film? It is a case of the observation of a limit and in the average home, the limit which permits the greatest value for the outlay, is undoubtedly in 8mm photography.
Saturday 4th March 1939 Page 5 - The Newcastle Sun (NSW)
The frequency with which newsreels are being shown in the homes and clubs of amateur movie makers indicates that a great number of enthusiasts are not overlooking the entertainment and documentary material contained in the day-to-day happenings around the city and district. The Show, processions, sporting events and visiting celebrities are being recorded, enterprising amateurs being eager to catch the pathetic, the humorous, the exciting, the odd and even the trivial in a workaday World.
Veteran operators of the substandard cameras point to newsreel photography as far and away the best training ground for the tyro. Unaided by carefully planned scripts, controlled lighting and a fully rehearsed cast, the novice, in filming news whole, is faced with a host of problems to be solved mainly by the hit-and-miss method. Fortunately the novice has some excellent standards to go by. If the event photographed is of some importance the beginner can compare his results with those of the professional camera men by visiting the local movie house. However, experienced hands often remind the learner that what is seen on the professional screen is not always the best of all possible shots. Professional news reels are edited for sound and often the spoken word can turn a doltish story into a lively strip. The hobbyist, on the other hand, must confine his commentary to occasional titles and must therefore prolong or shorten his scenes with that shortcoming in mind. A few non-professionals have adopted sound by adding their own comments through a microphone which is connected to a loud speaker behind the screen. The others depend wholly upon titles and recorded music from a turntable to tell the story.
BEGINNERS PROBLEMS
The beginner's first problem is to seek out a news event which he can attend. The business of earning a living necessarily confines the amateur's picture-taking activities to his spare time, being in most cases the weekend or evening. For week-end news material camera men find many leads in newspapers and the radio. Incoming and outgoing ships provide one perennial source of interesting news items. Other possibilities include, parades, exhibitions, zoos, sports and meetings in city parks. Some amateurs simply roam about town with camera in hand, on the lookout for something to happen. Once on the scene the photographer must select a suitable "camera location", very often he has little choice in the matter. However, if the amateur is free to pick his spot, he should set up on an elevation. During the filming of sport games, for example, photographers shoot from the second and third tiers. Parades also may be dramatically caught from a perch above the street.
SPECTATOR REACTION
One advantage of shooting from above is that it enables the movie operator to photograph spectator reaction. The novice soon learns that there is nothing like a shot of some comic caperings among the spectators to relieve the monotony of the main event. As the essence of a good news reel is variety, many movie fans resort to trick shots to gain unusual effects. The processes are simple and require no extra equipment. Slow-motion shots may be made by increasing the speed of the camera to sixty-four frames a second. The reason for the increase is based on the movie - making axiom that the action as projected on the screen moves inversely to the speed of the camera. It must be remembered, however, that in taking slow motion films, the increased speed calls for a consequent decrease of exposure and a wider opening of the aperture to allow more light to enter. Reverse motion is another trick effect often used to inject a bit of humor into a run-of-the-mill strip. A bit hackneyed, but still entertaining (to judge from the laughter it provokes), is the scene in which a diving star jumps out of the water back to the spring board. To effect reverse motion all the camera man need do is turn the camera upside down. When the film is edited the shot is spliced and turned around again so that the characters project on the screen right side up but moving backward.
MERITS DISCUSSED
Last week lack of space prevented the complete presentation of the controversy concerning the best type of sub-standard movie outfits. The arguments of the Hon.Secretary of the Cessnock Photographic Society (Mr W.H. McClung) are concluded below, with my own comments on 9.5mm machines. The cheapest 8mm equipment on the market will produce films which will give much delight to the parent who wishes to record the highlights in the lives of his children, to the tourist, or to the person merely interested in a record of happy events. If the expenditure is increased, the fact remains that, any given outlay spent on equipment and films - will produce a quantity of 8mm film equal in quality to that of the 16mm film. The quality of 8mm film for a given expenditure may even be better, for reproduction may be in natural color and due to relative costs, much better lens equipment and camera features may be available. The position may be summed up by regarding 35mm film, as it always has been, the standard film of the theatre, by giving 16mm film its place in commercial photography, whether it be used to demonstrate a surgical operation or popularize a tourist resort and by proclaiming 8mm film as the basis for popular home and personal movie photography.
IN SUPPORT OF 9.5mm
Only the most biased person would deny the great value of the 16mm job, which is definitely the substandard machine for commercial work, visual education and the like. The greatest drawback is its excessive cost in every department. The drawback with the 8mm is the extremely small size of the picture, for of the 8mm width, 3mm is taken up by the single side perforation. Above all, it is fiddling to handle and is at its best when only a small screen is used for the projected pictures. Contrary to Mr Smith's assertion that there will never be 9.5mm talkie equipment, the Pathescope 9.5mm talkie outfit is selling freely in London. The sound track is reduced direct from the standard size without being condensed either vertically or horizontally, thus giving undistorted sound. It is a little expensive at present, £60, but cheaper by half than the 16mm as to range of equipment, there are at least six different 9.5 jobs on the market. Mr McClung's contention that in 9.5mm film one perforation takes the strain each time, is not in accordance with fact. Several projectors have two claws which engage two perforations to move the next frame into position. My own has and so has my camera. Very few 8mm cameras and protectors can be bought for as low as £5 and no 16mm The ordinary working man must study costs, bearing in mind, of course, good value. With 9.5. equipment, he may purchase camera, projector and films at a much lower cost than the other two sub-standard makes, 90 feet of raw film for 7s 6d and have it processed for 6s. That same 13s 6d would not provide him with enough 16mm to shoot one fairly long scene. He has at his command, too, a wide range of library subjects and color film too. Putting it briefly, he can combine the major advantages of the other two makes with an advantage they do not possess - economy.
GAEVERT PRODUCTS
Photographers who remember the splendid quality of Gaevert roll films when they were sold here some years ago, will welcome the return of the product to the Australian market. Gaevert roll films in all sizes are now stocked by the Electrical Service Co in Pacific-street, Newcastle. Three grades are available, high-speed Express, Superchrom and super-speed Panchromosa. Arrangements have been concluded for the distribution of all Gaevert products throughout Australia. These include roll films, movie films, plates and papers. The director and sales manager of International Radio Co., Pty, Ltd. (Mr Cliff. G. Salmon), the Australian factory representatives and Mr J. Somers, direct factory representative for the Gaevert Company in Belgium, are at present visiting Newcastle.