cinemagic #19 (1983)

7/14/2019 Cinemagic #19 (1983)

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7/14/2019 Cinemagic #19 (1983)


AboVI : The trophies lor 1982 CINEMAGIC/SVA Shan Film Search await the winners Prior to the awards show a1 Xenon's diseotheque In New 'lbrk City lastNovember 1st. Giant blow·ups 01 black &whi tephotos thatllave appeared in past Issues 01 CINEMAGIC and an elght·foot-hlgh blow-up olthl cover 01

CINEMAGIC 116 (the Issue that announced the 1981 wlnllllrs) hang Just bi!Ww the viewing screen Celebrities Maureen Stapleton and Gary S p r l n ~ r were on

hand 10 present lhe awards. Tum 10 page five lor the story on the 1982 CINEMAGIC/ SVA awards show

loft , ",,,;t;;;.;;;5i;;; ;;;;o;c;;;;;;:-horror film RingwOO'IiIn's corpse that comes to life,AIMrII : Entertainment Enterprises'latest release, The 'Itl/Iow Rangerteatures ablind hobo Who Is transformed by amagIC rainboW Intoacrusader lor peace. Right: Bille Films'latest production, Lord 01 rne ~ r e -Jands, Is amedieval adventure. Seethe Producers' Bulletin Board section

on page 14

7/14/2019 Cinemagic #19 (1983)


CONTENTSEditor'sBench __ 4Awards

Night 5

Meet the winners of this year's CINE·

MAGICISVA Short Film Search. By

John Clayton.

Filmmakers'Forum 8A regular department devoted toreaders' comments and correspondence about fanlllsy filmmaking.

CobwebSpinner 10

Spin your own webs with this easy to

make cob web spinner that gives pro·

fessional results. By Matt Greenfield .

Producers 'BulletinBoard 14

Latest news of our readers' productions.

HighSchoolWerewolf 16

-o behind the scenes on the making of

this yea(s CINEMAGICISVA Super·8First Prize winner: An American

WerewoJlin High School. By Jo e Carter.~ 2 0

The life and career of pioneer film ·

maker Georges Melles is chronicled on

a cab le Tv' retrospective.

Issue "'19

Grip Kit,,-_ _ 22Useful accessories for filmmakers .

ElectronicSpecialEffects 24Build your own simple lighting

gadgets. Three projects for construc·ting a dimmer, a chaser and a flasher.

By Chris Stevens.

Books _ _ _ 30Books for filmmakers-valuable

sources of information and technique

for the filmmaker.

CinemagicMarket-place 31Classified advertising and an·

nouncements.

Front LighUBack Light _ 32

AI MagliocheUi reveals the magic lind

mystery of front light/back light anima·

tion.

ClNEMAG/C II J9 3

7/14/2019 Cinemagic #19 (1983)


Issue "19Publishers

Norman Jacobs/Kerry O'Quinn

Associate Publisher

Rita Eisenstein

Circulation DirectorRichard Browne

Editor

David Hutchison

Art Director

Steven J. Plunkett

Managing Editor

Joh n Clayton

Senior Designer

Neal Holmes

Associate Ar t DirectorDiane Cook

Editorial Contributors

Joe CarterMatt GreenfieldAI Magliochetti

Chris Stevens

Designer

Denise Lewis

Production Assistants

Joan BaetzRichard Cebek

Eileen DempseyNorma GarciaAndrea Passes

Clara Urrea

Founder of CINEMAGICDon Dohler

Financial Manager

Joan Baetz

Published byO'QUINN STUDIOS, INC.

475 Park Ave, South

New York, NY 10016

...d.ertl.lng In lo"T>IItion' Rite E""'nsteln(212) 689,2830

A_ th l .... AI ~ 1 l O C M t 1 I , wrlO!ItG lor IN Grand Pm, InIN 1981 C I N E M A G I C I S ~ A Short fnm s..rtn wt\II hIS 1ilnI ,IJiIQ MIIC.Jlu, II. , I 1 I g ~ /NCI11Ig 01 $101'"'1"'\1011 5k11101on

_iOn lor "onmgllVlwocJ<8g/ll riMIofI sequencek"'" £IIIIu MIu/JI. Soo p,!;jJt 32 lor Al'l a.toclt on 1I0Il1-~ b i c k I I g I I l nn.tJon Cover PhOtO Dy Ma:. Kalblekl

4 CiI'lEMAG/C "19

Editor's

BENCHBut What Does it

all Mean ... ?

It's now some months past the Fourth Annual ClNEMAGIC/SVA Film Search; thefilms have been returned with score cards enclosed and the lucky winnersnotified. Now what?

Of course, the winners have gotten what they we re supposed to get out of the con·test-some generously donated merchandise prizes, recogni tion, visibi lity, a publicsc reening of their film and possible future coverage in the pages ofCINEMAGIC. It'sthe beginning of a track record. It's a first step towards getting up to bat with the bigleagues. For most of the winners that chance at bat is still years off. It will take muchmore ha rd work. more filmmaking and good luck. Your chances at bat or getting to

show your stuff to the big boys or the big break actually depends mostly on luck.Whether or not you strike out on your ·'big break·' depends mostly on you . . . on howgood you are . . . on how good what you have to show is.

But what about the vast majority who weren't "winners '· this time around. Well, of

course, there is always next year. But even more important is the fact that there aredozens of other film festivals and contests held around the United States. You shouldenter as many of them as possible. I think you·1I find that if you are any good at all , yourwork will be accepted and win prizes in some contests and not in others.

Why? If it'sa good film, why doesn't everybody think so. Weill have no answer for

that one. I am a member of the Stereo Division of the Photographic Society of

America. There are maybe a dozen competitions that I enter with my stereo slidesevery year. Sometimes the judges like them and sometimes they don·t. A good friendof mine had the experience of having one of his entries rejected by the judges in one

competition, but the very next competit ion he entered the same stereo slide took firstplace,

There is no accounting for taste, of course, but there is more to it than that. Some ofthe things that affect judging are: was your work shown fi rst or last. how good was thework shown just before yours, what are the personal prejudices of the Judges, what arethe phySical conditions of the judging environment. was the projector running per·fectly for your film, was your film the 25th version of the same tired plot that the judgeshad seen that day, . . ? And so on .

All of these things can make the same film a winner one day and a loser the next.Your only defense against this sort of thing is to get your film out as many times as

possible. In the long run, the averages will even out some of these variables.One thing though. Even in the worst of conditions . . . even though the judges

might have been bored by 7 hours of mediocre or worse films . . . films of unusualtalent and originality shine through. rve seen it happen time after t ime-the mostbleary·eyed judge perks to full attention when anything of unusual quality comesacross on the screen. Ifs astounding how a little bi t of original creativity can transforman exhausted Judge Into an eager, excited film fan.

So, Now, what does all this mean? Simply put: "If you didn·t ·make i f this time, butyou·re really turned on by filmmaking, . . then nothing can stop you:·

-Dav id Hutchison

CINEMAGIC lopubllsI>W bl mont hly byO·QUINN STUOIOS,1r1C., Park .....en..., South. N ... V"..k.NY 10016.Th il l .. 1 9 ( V o l , , ~ 4 , N o Conlenl i, _ 1983byO·OUINNSTUOIOS. INC . AllllghlSr_ ' .w Reprln,,,..rq>r<>docllon

al .n y ",."", ..1 n pe n " In whole wlthoul wrlnen pe.ml . on hom the publ1ohc<s I, .uldly f",bldden. CINEMAGIC ac·cept. no ~ . i b ! l l for u"",Ik:lted ""," . scripts. pho tos. art or other ""'Ie.lal, b . II free .. nce submilia l• • e accom·pelllw by a self·ed<j.nsed. IUImpe<1 en .elope. they wUlboo cOIUIk\ered and. If neee . . " .• eIUlnN. PrO<tu<:u itd • ,,,lsedal . not .....:e""rlly endol>W by CINL'I"'GIC. end any vi...... '""pr."""" In edltO'/i,,1 copy.", not necflHrl ly ._ 01CINEMAGIC. Subscription ,oteo, '9 .98 10'/ one yee. (01 . Issue.) dell.ere<! III lhe U.s . Canedo and M,""lco, 1<)<<,llInoubscrlptlon $12.98 In U.S. fundS only. N e. Sub.crlptlon.: send direct!)' \( I ONEMAGIC.cloO·Qulnn 5t<><lloo. Inc .

P.rk "'vell..., Soulh.1'Iew Yo.k. NY 10016. NOII/lcaUon of chanlleofaddre .. or rene•• ..,nd toCINEJII ..GIC,~ . I p l l o n Dept. P.O. 80 . 142. MI . ....orrls. lL 61054. Pon . . . . er: Send o r m l ~ 7 9 10CINEJIIA(jIC . P.O. Box 142.MI . M""I . IL 6 1054 . Printed III U.S ....

7/14/2019 Cinemagic #19 (1983)


1982

CINEMAGIC/SVA

AwardsShoBy JOHN CLAYTON

ThiS year's screening of winners of Inside, CINEMAG1C publisher

the ClNEMAGIGSVA Short Film Kerry O'Quinn greeted the crowdSearch was the most successful an d b r iefly outl ined th e

and exciting in the four years that we've evening's entertainment. Thebeen inviting the public to wotch the work lights went down and the crowd

of talented amateur filmmakers on a large fell silent and settled back to en·screen in a major Manhattan theater. This joy the unique one-time public

year we decided to hold the screening and showing of this year's winners.i!lwards ceremony in a disco instead of a The first film shown wasregu lar theater so we could push all the Fareed AI Mashafs Davie, 8folding cba irs aside after the show, open 16mm fantasy about a you ng

up the dance noor and have a big party. boy who builds his own time

The show took place atXenon's, one of machine in his bedroom to escape

New York City's most ellclusive discos, the present and nee into the ro-and the place was jammed. Xenon's is mantic past. Dauietied for third pr ize

usually a gathering spot for New York's in 16mm.

sodaleliteandthenewspapersusuallyan. Angus Graham's The Subway wa snounce on the society pages what cele· next. A troubled youth boards a New York

brities where there the night before and City subway in this Super·S psycho-

what the partying was all about. On thriller for a journey into terror. The

November first the partying was acelebra· bloody climall caused many an audiencetion of up·and·coming filmmaking talent member to moan in disgust. 7h"W>w,

and the celebrit ies were the winners of the won Third Prize in Super·a.ClNEMAGICJSVA Short Film Search and ,£--------------- 'the show business personalities who were

there to present the awards.

Xenon's isn't usually set up for screen·ing films, so we had to bring our ownscreen and se t it up ourselves. We dressed

the stage with giant black·and·white blow

ups of photos that have appeared in CINE·MAGIC and an eight-foot high co lor blow

up of the cover of CINEMAGIC # 16 (the

issue that announced last year's winners).Some of the fjlmmakers whose faces appeared in the black·and·white blow·ups

were in the audience. Our Contest Coor

dinator, Damon Santostefano, drew a

moustache on the picture in which he ap-peared so people wouldn't recognize him

and beg him for his autograph.

A large crowd gathered outside

Xenon'sand patiently waited forthedoors

to open. The crowd appeared to be a gao

thering of New York's artistic community,

many filmmakers were in attendance.Some of the other filmmakers whose

faces we recognized In the audience were:

Ed Summer. co-producer of Conan; John

Dads. author of many how·to articles for

C1NEMAGIC. special effects director on

the Deadly Spawn and producerfdirectorof several other independent films; make

up artist Arnold Garguilo. who worked

with Dods on creating makeup for The

Deadly Spawn; Animators Mike Sullivanand Peter Wallach; Stephen Parady, di rec

tor of last year's winning Super·B film,

Asteroid; Ted Bohus, producer of TheDeadly Spawn and many others.

The Winners

First Prize 16mm ............. Extended Piay, David A. Cascio Palo Alto, CA

Second Prize 16mm .......... ZyzakisKing. HughStegman, Los Angeles, CA

Third Prize 16mm(Tie) ........ . ..... Bandits, Joey Ahlbum, Brooklyn, NY

Third Prize 16 mm(Tie) ......... . . . ... Davie, FareedAIMashat.Miami,Fl

First Prize Super-B • • . AnAmencanWerewol{inHighSchooJ, Joe Carter(Di rector)North HillsHigh School, Carnegie, PA

Second PrizeSuper·8 ... _.......... UndeJtow, Bill Knowland,Oakland, CA

Third PrlzeSuper-B ............. The Subway. AngusGrahllm. Brooklyn. NY

The other film tied for Third Prize in

16mm. Joey Ahlbum's BandilS, was nellt

on the program. This highly stylizedanimated cartoon about detectives chas

ing bank·robbing cowboys through thestreets of New York City was highly enter·

taining and gota very good audience reac·tion. Joey has already struck a deal for

Bandils to appear on a New York cable TV

station.

Bill Knowland's Undertow. a Super·8

parody of foreign films was next on the

program. Undertow won Second Prize inSuper·B.

Zyzak is King, a USC student film by

Hugh Stegman, was next on the program.Zyzilk is a 16mm fantasy film about a

group of California "beautiful people"

deeply involved in role· playing computer

fantasy games. Zyzak has incredibly highproduction values and the sets and

makeup are as professional looking asmost of what Hollywood has to offer. Two

former CINEMAGICJSVA winners. Ralph

Miller III and Steve Koch, contributed

makeup effects to-the film and helped in

building the elaborate dungeon set. Thesuperb wolfman makeup that Millercreat·

ed for Zyzakcan be seen in the profile on

him in CINEMAGIC "15. Zyzak won Se·cond Prize in 16mm.

Another wolfman was next. The North

Hills High School film class of Carnegie,

Pennsylvania, lead by teacher Ralph

ClNEMAGIC "J 9 5

7/14/2019 Cinemagic #19 (1983)


CINEMAGIC pul*sher Kerry O'OUlnn greets the Kerry O·OUtnn assISts Maween Stapleton in presenting !heaudience allhe 1982 Awards Show 16nm awards after !he SCfe8I'IIng of the WIflI'liln.

O'OUlnn IooIcs on as Maureen StapIeIon gives JoeyAhlbum a oogfaIuIaIory hug lor Bandrls

The audience applaUds alter the SCfeening ot one ot the Winning lilms alUMS year's shOw School ot Visual Arls Aim Oepanmem Chairman Charles Hirsch IS seated

WIth his gorgeous date In the center Gllhe Iront row C,NEMAGIC As$oCl3te PubliSher RIta Bsensteln Is at lar right In the second row

Langer. entered a Super-S parody of

werewolf films entitled An AmericanWerewolf In High School. directed by stu·dent Joe Carter, The film boasts some im·presive makeup effects and is very funny(see "The Making of An American Were·woI{ in High School" in this issue). Thescene in which the lead character trans·fo rms into a werewolf after being

"mooned" by a fellow student in thehallway brought howls of laughter from

the audience. An American Werewolf inHigh School won First Prize in Super·B.

Top honors of the evening went toDavid A. Casci's Extended Play, a riotouscomedy about pinball and video game ar·

6 ClN£MAGIC .,19

cades. Exlended Play is truly a classic

short film could easily gain its own cull

following as It gains exposure throughcable networks and other rilm festivals.Extended Play looks more professionalthan most professional films and is farfunnier than most comedies being

churned by Hollywood. David Casci haswhat it takes to go "all the way" andeveryone who has seen Extended Play isrooting for him. Extended Play won FirstPrize in 16mm.

After all the films had been shown. theawards were presented by our guest

celebrities. Gary Springer. a riSing youngactor who has appeared In the feature

films Dog Day Afternoon and Jaws fI andon TV ill t:pi::.oc..lt::. of 1'1./\.5.11. Gild IltlWiJ

Days, presented the Super·B awards,

Mllureen Stapleton, one of America'smost distlngu shed actresses who isa twatime Tony winner and who recently won a

BestSupporting Actress Oscar for her performance in Red5. presented the 16mm

awards. For the winners who could make

it to the ceremony. it was an exci t inghonor. The winners who couldn't make itto the show (three of this year's winnersare from Calirornia and one is fromFlorida) rece ived their CINEMAGICISVA

trophies and merchandise prizes throughthe mail. SVA Film Department Chair·

7/14/2019 Cinemagic #19 (1983)


man Charles Hirsch made the dosing

remarks lind the Ooor was cleared of the

folding chairs to open the dance floor and

make room fo r the big after-show bash.

Suddenly an incredible array of coloredlights i!md mirror baits were lowerd from

the ceiling of he famous disco which used

to be a legitimate th reater and a wild party

began where on ly moments before a quietaudience had been watching movies.Loud rock-and-roll music blared from the

totl:llly awesome sound system. In corners

of the dance floor and at tables surroun·ding the slithering mass of dancers, peo-pie congregated and tossed back beer and

mixed drinks while they tried to converse

above the din. Filmmakers from the audience came forward to l;OI'9,dtulate tIlt:

winners. mllkeup artists peddled theirportfolios lind independent producerstalked lIbout possible mov ie deals.

We would like to thank the companiesthat suppor ted the 1982 CINEMAG ICI

SVA Short Film Search by donating mer·chandise prizes for helping to make thisyear's contest such a smashing success.Cinelab'of New York City donated $)00

worth of 16 mm reversal processing. Fer·co of New York City donated a Sylvaniadigital footcandle meter. Gepe Broadcast(. EquipmentCo. of Bluff City. Tennesseedonated Gepe non-rewind reels for Suo

per·B. K(.M Camera of New York City

gave a Hahnel mo torized Super·B splicer.Eastman Kodak contributed enough ··Ba·sic Filmmakers' Packets" to go around to

every winner. Lowell·Ught Manufactur·ing, Inc, of New York donated a Lowell K-5

Kit. MlIgnestripe of Passia<: , NJ gave 500feet of sound striping for Super·B, Pioneer(. Co, of Westmont, New Jersey contributed two EWA Matte Boxes and twoEWA Backwinders. Super·8 Sound, Inc,of Cambridge, Massachusetts donatedthree Super·B Sound Blimp Kits-one of

which was for aSuper·B camera with a200

foot cartridge, And the 3M Co. orSt Paul,

Minnesota contributed 15 feet of Scotch·lite front projection material. Again, we

deeply appreciate the support of thesecompanies and their generousity to thenoble cause of encouraging up-and·coming filmmaking talent.

Many of the non-winning entries In th is

year's CINEMAG1C!SVA Short Film

Search also showed a great deal of promising talent. Contests, by their verynature, cannot reward all entrants. We

hope that everyone who entered thisyear's contest will be back with anotherfilm next year. Every film you make

teaches you more about your chosen craftof filmmaking. The budding semi·fina·lists and also.rans of this year's contestcould very easily develop into next year'swinners, Don't get discouraged if youdidn' t win this year's contest. Many films

lost achance of winning th s year's contestby only I) few points on the judges'scorecards, Show the judges (and mostimportantly yoursel f) that you won't letone minor disappointment set you of f

you, choren co",,,,, See you n.>! Y.'" (J f ~

left: Keith PoIlI, who

represented NofIh Hills High

School 01 Erie Pennsytvanla

lor their Super-Slirst Prizl!winning lilm. An Amencan

Werewoff in High SdaJI.

walks 011 WIIh the CINE

MAGtC/SVA trophy . Below:SVA F*n Chairman Char1esHirsch makes tile

,.,,,'" ""'"

lett: O'CUIM (lett. bacI( 10

C<Wnera) ~ s the applause

as aclor Gary Spfinger(center) presenlS the CINE·

MAGIC/SVA trophy to Angus

Graham ICIt hiS Super·S ThirdPrize IUm. The Subway

C/1'EI1A':;/C"19 7

7/14/2019 Cinemagic #19 (1983)


Filmmakers '

EORUMA regular department d",,"oted to readers ' comment . abou t f ilmmaking , the i r problems and solut ions .

Reader Response

...For any skepticolCINEMAGIC readers who think

thlll! Producers' Bulletin Board

merely shows other relldersyour latest production. You'rewronol Since I n i 5 h ~ d my film

St.llfballle 2580 and put it in theProd ucers' Bulletin Board.l

have received letters urging me

to enter con tests and join

organizations.There is no doubt in my mind

tha t there are people who readProd ucers' Bullet in Board to

find talented, young filmm llkerswho someday "go pro" lind

create something fantast ic!

Phil LonghiL.O.C. Studios25 9 Standish Ave.

No. Plymouth, MA 02360

Dental Impressions.. 1 think your magazine is j ustgfeD!. but in the interests of SlIfe·

ty I feel I should respond to your

article, "Seerets o f Graphic Gore"

by John Dads. I'm a pro fessionalm akeup artist and work fo r

sevel(ll mlljor television stations

in New York.In my wor k I have OCCllsion to

I1llIke dental impressions for the

purpose of ma king correctivecaps. fangs, crooked teeth, etc. Iwas shown by II dentist the properwily to take Impressions and I feel

the Information given in the"Secrets of Graphic Gore" IIrticie

Is flOt only Incorrect bu t it cou ld

be dangerous.

The article suggests a card·board contlliner pillced in the

mouth is suffi cient fo r taking im·

pressions. The proper way is to

use II perforated dentlll tray and

not thecardbollrd one suggested.These denllli trays are relatively

cheap lind can be purchllsed from

IIny dental supply house. They

lire specificllily designed for thispurpose and fit the contours of

both the upper and lower ~ I a t e sand prevent the possibility of

choking on the Impression

material.Another point I might add is

that II good deal of suction issometimes Incurred upon the

removlli of the tray from themouth lind caution should be us·

ed when dealing with people who

have capped teeth as it mlly

loosen them. As a makeup artist I

deal with people's faces lind veryoften that's how they earn their

livings. They are in a sense en·

8 ClNEMAG/C "19

trusting you flOt only with their

facial appearance, bu t with theirlivelihood as well. Therefore, you

have the responsibility of taking

the utmost care with that trust.Peter Montagna

22 22 East 7t h St .Brooklyn, NY 11223

North JerseyFilm Group

• . I'm II m usicianlfilmmake r in

GlI rf ield, NJ. I work in Super.8

l ind have done mostly l Inimated

fi lm s. I'm look ing fo r other

f l lmakers in northern New

Jersey to collllborate on mak·

ing films.A lso. I'm a fl l irly good musi·

cian and composer l ind can

ellsily score II film w ith either

cl lI ssical or rock music, I'm cer·

tain a Joint effor t wi th l lnother

tale nted f i lmm aker could pro·

duce some rewl lrding products.

If IInyone is interested, no mat·

te r wha t age , please contllct me

by phone or ~ i t e me at my ad·

dress below.

Andy Halasz

34 WessIngton Ave.

Garfield, NJ 07026

(201 ) 47 8·9206

Bleached Laser Beams...For laser beam or lightning bolt

effect scretched on to the film

emulsion (I use Kodak G·I60 col·ortsllent). Clorox Liquid bleachcan be used to diffuse the hard

edges of t he beamlbolt and give

it the appearance of actual glow·ing energy.

The bleach can be applied to

the emulsIon side of the film

area, Wait 10·15 seconds and

remove with water applied with IIQ.tip. Re pell t the steps to in·

crease the in tensity of the light.Work on one frame at a tIme lind

do not leave the b leach on for

more than 20 second!! li t II time

or the frame may become ruined .It will take some prllctice to

mllSter th is technique so takeyour time lind don't rush. Becareful with the bleach, it can

bum eyes and ruin clothes.David Herfel

3 34 9 PIIrklant. Ave.

Columbus , OH 43229

Makeup Artists Wanted.. 1 am a graduate f ilm student at

New York University and I'm cur·rently involved In pre.production

on Open SeasClil, II short 16mm

IIctloflfthrilter. I would like to hearfrom lInyooe in th e New

YorkJNew Jersey arell who Is in ·volved In special effects. makeup

who would be interested in work·ing liS a mllkeup artist on my

rlIm. Plellse contact me if you're

Interested.Carl M orano

13 Kens ington Rd.Madison, NJ 07940

Miniature Trees. . . Here's a new technIque for

crelltlng cheap minillture trees

that lire very realistic looking. Al l

you hllve to do is buy a bunch ofgrapes and eat them, S/lve the

vine. If you look li t the vine, with

all of its little extensions going

everywhere, i t looks like a tree,Now you can use the whole vine

as one big tree, or brellk or f the

branches to make smaller trees.

You paint the vine brown. and it

looks like a bare tree during thefall or winter seasons. If you wanta green tree, you aln lIdd moss or

whllt ever else you can think of .

I have only hlld two minor

problems with this technique,

The first is that the grapes are not

for sale 1111 year long lind the se,

cond is thllt the vines tend toshrivel up and die aher three to

four days. My solut ion is to freeze

all my vines in the freezer until Ineed them. This way they lirestored up for when I can't buy

them, and they're 11150 kept fresh

and alive.Brian Mine r93 6 W, My rt leSa nta Ana , CA 9 270 3

, . ,See John Dod's article abool

crealing mlnIalure trees In

ONCMAG/C "3 .

Omaha Film Club.. . 'm forming a rlIm club for

the Omllhll, Nebrllskll llrea. If

there are any filmmakers living Inthe Omahlll lrea who would be In·

terested in joining. I'd love to hear

from you.

Crai g Perkins

9604 N. 35th St .Omaha, NE 68112

phone: (402) 45 5 ·8241

Blood Formula. I was reading a recent issue of

l ime magavne and saw an article

on makeup effects. It contained this

formula for blood makeup: I) Kar

Syrup; 2) Yellow Food Dye 15: 3)Red Food Dye 133. You might

have trouble finding the red dye,but nothing else.

A.iso,i 'm making a Viet Nam Wamovie and 1need people to play theViet Cong and Vietnamese. I don'

kflOW anybody with slanted eyes.

Does anybody have a makeup

suggestion? If you live in the Glenwood, Maryland area and are in ·

terested in being in my mOYie.

please contact me.Tony Sco tt

3337 Brantly Rd ,Glenwood, MD 21738

National FilmCorrespondence Club

... Ca lling a l a mateur f11m·

makers! We are start ing a letter

writing club to express ourideas and concerns as film,

mllkers. If you hllve lI ny ideas

please write me, lind I shal l per·sonally wri te each membe r o fyour concerns. If you wish to

join, plellse respond to the lid·

dress below.

Raymy Krumrel

3 056W . L· 4

Lancaster , CA 93534

... Pleasesend

a copy ofyour /el.

letS to F/JmrruJkers'Forum. IJIldgoodltrl!

Norwescon FilmContest

...Nor.vescon 6, Seattl e's ownregIonal science fiction conven·

tlon (held March 17·20, 1983) ishaving its first annual amateur

rlIm contest. En tries should be

8mm silent, Super·8 silent or one

or two track sound, 16mm silentor sourvl, nr VH$ forl"nlll v;t1ffl_

FIlms should be flO longer than

thirty minutes running time. Sendentries In reusable carton. mark·

ed clearly on box, film am and

leader. Please Insure entries for

you own protection. Al l film ·

ma kers no t at tending the conven·

tion must pay a $5 entry fee tocover costs. Norwescon and film

contest personnel lire no t respon'

sible fo r lost. damaged or stolen

properties. If you woold like Infor·

mlltion llbout the contest or

would li ke to enter, send inquiries

and entries to:NWCIFllm Contest

P.O. Box 24207

Seattle, WA 98124

7/14/2019 Cinemagic #19 (1983)


~ aPosterlution

0 00

/T. , jilt' .. ! (iij @0 0 "'. - 0 ' -0 0 ~ - ' 0

0

! 0 " "

0~ . " " , 0

0 • 0o 0 0 0

0

n f'." '(J c•• "- d<"J ~

. . . laser Ught Productions. agroup 01 my filrnffiillking friends. Is

currently working on a short

science fICtion film. We saw aneffect which we 6ked and. with your

help. we 'd to incOl"pOnlte it inloour fdm . We believe the effect is

call1ed "poslerization :' We saw the

effect In WoJfen. Please explain theeffecl and how we can duplicate IIwithout professional equipment.

We are worklng with standard

16mm equipment. If it isn ' t possibleto complete the effect withoutprofe55ional equipment, please

give us an al ternative effect.

Single Sound Stripe...Since I phm to enter II Super·afilm in neJCt ye ll r"s Short f i lm

Search. 1hllve one importll nt

Question: will the re be lIny

changes mllde in your proJec·to r's sound equipmenO .... fter

relldlng the Profile section InCINEM ...GIC 11 16 on ....steroid , twas di stu rbed t o f in d that only

single track sound WII S lIudlble

at the contest lind no provisions

were mede fo r the billanee

treck. I'm sure other fllmmllkerswould be interested In your

enswer to lIvoid the poin of los·lng half thei r soundtrllck at next

yellr's con test.

,. . . . . ... ",orr h, .

s..k, lI.c "'V •• ~ (§ "'k:Mel Barkhausen218 BisOOp St .

Lego Armatures. . . 1would l ike to shere some

Informet tan with other amll teuf

step-motion animators on howto moke" good stop-motion lIf'mature for relatively little ex-

pense. Since I lack the resoucesto bu ild ball·and·socket arme·tu res, I hllve devised II method of

rmlking ormatures from the

parts for Lego construction sets.The diagram shows which

pieces to use. The piece " 1\" lind" B" come In varying lengths, andthey can 01 50 be cut very easily.since they life made of pli!lstic.

There life some drewb&cks,

however. First, the model willhavt to be rethO!T la rge (over 12

Inches). Second, the movementIs limited when compared to

ball·ond ·socketjoints. Third , you

have to buy II whole set of legoparts, which tlfe not chellp com ·

pored to using wire armatures.rve had better re sults with the

Lego armatures than w ith wire ,however, be<:ouse the wi re tends

to break. Good luck. and good

filming]

Horry Robinette580 I Cogbill Rd.

Richmond. VA 23234

. . S n he lJI1.ide on OO/'l5lru(;fing

II wire animation model in

C/NEMAGIC "4 and the article oncons/rucling a pen set baY·and·sockel Mmlliure in c/NEMA GIC

"10.

Staten Island, NY 10306

.. Virtually an y lab /hal handles

16mm op/lcals will poslerize your

{11m for you. II is nex possible 10

creale /he effect. Wi/hOllf professional equipment and /he process

Is relatively e:<penslve. There iso'l

rcally lIny effecf /hal you can

CIc.'Jle on yexsf own /hal will giue

you comparabJe results to pos ler/·

zalion. bu l effects are not encb 10themselves- they 're solely {or

creating a dramatic point /hal

helps fell your stcwy. If you ca n 'f

lIfford 10 haue your films poster·Ized by l I/oca/lab, come up wi/h

II (/OtJJlly) differenl effect /hat youcan afford /hal will enhance your

sloty-nexjust /he visuallmpacl

on the screen.

CINEMAGIC BACK ISSUES

Jeff KImble

260 Eaton

Bettie Creek, ",1 490 17...Unfortunately, we do no l foresee

lilly cfwlges in /he techniclll re-

qu/remenls ~ keepirv:} /heSCXIIldtrack lImIJ.ed to a ~ / e trllck

ffX ne.Q years show. 01

Address lilt corre.sponckn« 10;ONEMAoGIC-rdtrunakers'

Forum. clo O'Quinn Sludi03, Inc. ,4 75 Parle AUI.'. So • New Y()ri(,

NY 10016

Due to fhe f:I 'I()fJ'll()W ooIwne ofma/I received. Ihe editor regrets

IndlvidlJlll reFXies lire Impossible.

. ' -BaS>(: Cartoon Arumaloon Claym,I!Ion ~

w:opo E ~ t X T $ P r o ~ J es . u o ~ e p h c l n o - - - - - - ,I

INEMAGIC 0(1)' Ct. clo O'OIllnn Studios . Inc .

1I' 2 -SDaceshlp Model" ' I I . Bk'lQIl Ma"ellp

SmoI<e G9n6<alor L,g.!!Beam ElteCIs Milk",!! an

SF LC90

. 3 _ RoboI Const....,;toonDev&lOPlOQ an Arwnatoon

Sl)'ie FUel M AnlmaloonEieCI'CJnIC Speoil E I I e c I ~

• 6 -II.m.ull19 Eeclmn.cO.ldlltl"-Clleap aunq

You, AJIIIf1 to Llte-Ldl luM,J'" a ~ ~ O ( : E(lIII"9

TeenrllqUf'" In"'''b>eEIT(!(:ls

. 1 _VIdeO TapeTransfcfs. R e ~ e r H fIlm",!!

EITeCls LBI:I 5eMCe5.Pl'otJe VIIoIls and An la·nllCC' C'ash oIlIle Titan s

P'eVIIrW

- S c " p t ' ~ > 1 1 9 Pat! 2EteelJCJnIC Sp&coal Enecls

LEO C " C I I ~ S . flal ArtE ~ p I o $ o O n Ca'_5Van der Vee' Owkl YOIl'

Own Camera CraneProhle Pol"""" and Rudow

. 1 , - Scroplw_onq Pari 3F'rOOuctlOO maflll9l'l!l lowButIga1. Etect,OIIIC SpecllljElIecIs CINEMAG IC SVAConIes! Ru$es_ Secrets 01

G,i\PhIC Gore F'rotIIeCallitgl'lan and " ~ I I

t18-Maklng 1.4Or4 . . . . n...~ " " A n t m l I I G " I ~A<::cesao!te.1or F"tIrm'8k . ;ElIW;tronie SI:otciII Elfte".

P\-Q101& N MagliOCllfln,

475 Pa. k .loy• . SOllth. New York . NY 100'6

Add pattag4 4nd hand ling 10 your ord"r : $ .80 10 ' II

... l.. HI : $1.14 10' two : $1 .60 10 ' th . . . . S2 .OO 10 'lour : S2.40 lor llV4 : 52 .70 lor t i . : seven eight .

I . . : : ~ ; : •• . . . . . , - ",. I

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I. 5 _ S3.00 1 14_S3 .00 I. 6 _ S3 .00 1I'15_S3 .00

II ::=:: 0:.:=::: INAME

I OC'ESS II cm STATE ZIP I-_____ .

C/NEMAGIC -19 9

7/14/2019 Cinemagic #19 (1983)


Spin Your Own Spider Webs!

Build your own easy to make and very inexpensivecobweb spinner and get professional looking results.

Iecently encountered lh e chcllenging

problem of designing and building 1I

device to spin imitation cobwebs. InHollywood, this task Is accomplished

with large fan·like units thet spew out thinfiliments of the cobweb material (usuallyfiberg ltlss. latex or sugar syrup) whichclings to the set. These devices clln be

rented, but the cost is prohibitive,an d this

particular project (8 Jaycees haunted

house) required the device to be on handfor severel nights. As added complica-tions, the device had to be completed inthe splICe of ll week, end would Nave to be

simple enough for enyone to operete in tin

emergency. My final solution to thisdl1ema was II small device that attllChes to

II power drill, took less than an hour tobuild. and cost under two dollars because Ialready had most of the IleCeSSllry mate-rials on hand. In spite of Its simplicity andlow cost, it delivers an effect of prafes-SiOMI quality.

To build yourown cobweb spinner,youwill need the following materials: 1) asmall, round self·sealing container suchas a margarine or Cool·Wh ip container.Do not use a container made out of brittlematerials, as these tend to shatter; 2) a"reverse" or "thruster" model airplanepropeller. A normal airplane propellercanbe used only if you have a reversible drill;3) along bolt and matching wlng.nut; 4) apairof scissorsor an X acto knife :5) acon·tainer of I'lJbber cement;6)a power drill , ifyou don't already own one.

Spiderman strikes again!

By MATT GREENFIELD

Spread the moterlals out on Il ~ t of

newspaper and begin. With the point of

your scissors, poke a hole ust big enoughto accommodate the bolt in the center of

the lower half of the container. Poke asimilar hole In the center of the lid. Cutthree orfoursmall slit.5(no more than 1116

inch wide or 3/4 inch long) around the rim

of the lid, approxlrM tely 1/4 inch from theedge.

Slidethe

propeller onto the bolt andpush the bolt through the hole In the lid sothat the propeller Is held tightly &gainstthe top. Screw the wing·nut onto the boltso that it is impossible to swivel either theprop or the lid.

Fill the lower half of the container withyour web meterial until the bottom of thecontainer iscovered with up toe 112 inch of

it. 1use rubber cement bealuseof its avail ·ability and low cost. By making the holesin the lid smaller, you could also use thin·ner liquid, such as lalex or Karo SYl'lJP,

which would naturally produ<:e muchfiner webs. IRubber cement can be

thinned with I'lJbber cement thinner

available In art supply houses. EditorJ.Quickly , push the bolt through the hole

in the bottom of the contlJiner and clampthe lid down tightly. The device is nowcompleted and loaded. Sim ply mount it

on your drill as though It was an ordinarydrill bit. To apply webs, press the drill'strigger and it will Instantly begin produc·ing long fibers of cobweb which will stickto everything.

ImpOrlmll:if you hov<: US<:d a r<:gulapropeller, be sure you have switched thedrill into reverse or else you will find

yourself covered with webbing. Spiderman strikes IJgainl

Tips; Try coloring the webs with variouspowders by simply blowing them onFlour or cornstarch suggest very old , dusty w ~ s I plan to use powdered temprapaints to suggest a "membrane" effect in

my next film, Derelk:L Avoid gettingtheweb on your hlJir or clothing, because the

I'lJbber cement is very diff icul t to removeSmall objects (cl'lJmpled balls of tissueplastic bugs, etc .) add a finlll touch o

rea lism.Rubber cement contains a solven

simillJr to those used In many varnishesWhen applying webs to wood furniture,stand further away than nol1T\lJlly to allowa few extra seconds for the solvents to

evaporate into the air.Be very careful of the spinning pro-

peller. At the high speed of most powedrills, It can be very dangerous.

Final ly, experlmentl There are

thousandsof uses forthisdevice. Remember the ovlan ClJCOOns in BaWeslar Galaclica or the brlJin set in FlUltaslic Voyage?

Your only limit is you r imagination. Hap-py Fllmmakingl (11

Wow left: The llllterllls _ee l h' blllldlllC the aIbwtI:Ispinner (noIl1lchlChnc In eItctnc drill). IIeIow: ~ n c the

webs WIth the aJmpIeted robweb spllI/leI

7/14/2019 Cinemagic #19 (1983)


Ript: StIfIlwo. , . . hole In the oetIter oillie top iii/! 01 the web matn! contalntlApon ITI3IwJ Wlf lhalllie td t $l'luA fib the Id t

•

" " ' - : Sttp rife. Fill the lowe!' half of Ilie eontltlnef.rth)lOll' web maleriJI until the bot·

tom IS COI'eI«I .rtll up to • hilt inch of tile web material.

UtI: Step one. I'oI!e I hole 1ft tile centee' of the we r hiliof tile web material conlall1t1 wittl a pall of scissors. Ma'"

tile 00Ie lUst bit tn(iu&h to accommodate tile bolt.

Uft Stefl Three.Cut J 01 • smalI1Iits (no more than II 16"_ 01 J/ 4" 1q ) IIlI1ie lid

~ Step Sil .Qudly pusIi tile bolt throu&h the hall! In

tile bottom 01 tile con!)11ief and damp the hd down Il&fItIy

TIlt IXIbwetI SjlInlief 1$ /lOW completed by attachllll the bolt

101111 electrIC dnll. lIft.: The compitt«l cobweb spinner iI ·Iat/I«IIO a dntl and rod, for lISt.

ClNEMAGfC # f 9 11

7/14/2019 Cinemagic #19 (1983)


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Allow 7 to 9 weeks for first deljvery. Foreign subscrip1ions. U.S. funds only.

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CITY STATE ZI P

7/14/2019 Cinemagic #19 (1983)


CAN YOUOUTGUESSDR. WHO?

The Game of Timeand Space

Doctor Who is a 2-6 player game

based on the classic BBC·TVseries . Each player, as a different

incarnation of Doctor Who, mustsearch the galaxy for the Key of

Ch ronos. Daleks, Cybermen, and

other aliens protect the Key; and

with the help of their scientific

know-how and assistants, theDoctors must fight the aliens,and maybe each ot her, in their

strugg le to save the galaxy.Doctor Who comes with a full

co lor box, full-colormountedplaying board, exceptional art,and clea r, easy-la-follow rules.

~ - - - - - - - - - - - - ..

I Send cash, check,I or money order to:

Starlog Games,475 Park Avenue South,

New York, NY 10016.

Please send me __ Doctor Who

game{s). I enclose $17.98 plus$3.00 U.S. parcel post ($4.00 forforeign su rface) per game.Total Enclosed: $_ _

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techniques, movies, comics, andmuch more!!!

• Complete Inde)( of 3-0 comics &magazines!

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• How to make your own 3-0 photoswith any camera!

• Sources of 3-D equipment andsupplies!

• 3-0 books section!• U st of 3-D clubs worldwide!• NASA/Mars 3-0 photos!

• How 3-D TV works!

• History of 3-D!• Movie special effects in 3-D!

This exciting 96 ·page aook Includesarticles by 3-D expert!:! on state-of·the-arttechnology and is Illustrated with hundredsof photos and special art. "Fantastic 3-0" Isthe one authOfitati'le ' 1 ~ u m e covering every~ s p e c t of this Incredible field.

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7/14/2019 Cinemagic #19 (1983)


Producers'

BULLETIN BOARDPleJJM. (OIWard aAAOW'Icemcnts of Um projects in current

produdlorl or f lelY completion 10 ONEMAGIC, c/oO'Quinn Studios, Inc . 475 pllft Avenue Sou.th, New York,

ffY J0016. PfeMe include /I h o t o g r ~ 0{ some phlJSe 0(lhe produdion 1/possibk.

The Game. A common, insignificant lind mindless pawnin 1I simple game of chess bears II symbolic resemblance

to a common, insignificant and not-so-mindless soldier of

the future. Both lire puppets to be mimipulated in

con fl ic ts. ProducerlDirectorlWriter: Bryan Hughes. Co

producer: Mark Riegner. Cast: Paul Embrey as the

so ldier. FX include: fades, l itho titles, energy and flash

opticals. energy impact pyrotechnics and sound effects.Super-e. color, sound. Running time: 2 minutes, 26

se<:onds. (Bryan Hughes, MO O 3058, Camp Lejeune, NC28542.)

Cosm ic Wa-ewolf. A crew aboard an exploration vessel runsinto trouble when external damage to the vessel forces a crew

member to go outside of the ship during an unusual alignmentof the planets of the solar system which they are exploring.Thealignment of the planets has a mysterious effect on the manand he returns to the ship and murders the rest of the crew, butnol before they can radio for help. When the rescue partyarrives - too late to save the crew - t he fun begins. Producerl

Director/ Writer: Robert Wilson. FX include: transformationscene, pyrotechnics, miniature spacecraft, blood and stop

motion animation. Super·S, color, sound (Impact Films, '%Robert Wilson, 11737 Amherst Ct., Plymouth. Ml48170.)

Ring. Horror. A strange old woman ·s ring has a curse on a

young girl. Surprise ending. Producer: Shock Productions.

Directors: Shawn Sheridan and Jim Mcloughlin, Writer:Shawn Sheridan. FX: Jim Mcloughlin. FX include: a living

corpse. Super-8, color, silent with music soundtrack. Run·ning time: 10 minutes. (Shock Productions, do ShawnSheridan, 3827 Tilden Ave., Culver City, CA 90230.)

14 ClNEMAG/CII/9

Blood, Guts an d Gore . A parody of co m in g attractions

for hor ror mov ies. Producer: Blue Stripe Films. Direc

tors/Writers: J im Wedda and Brian Newal. Cast: Arron

Wyne, John C<!Impanella, Julie Roe , Dan Gastelum, TinaWedda and Roger Decker. FX include: murders commit·

ted by chainsaw, hammer, axe, rifle, dynamite , flame

thrower, bow and arrow, and a car ·'accident" . Super·8,

co lo r, musical soundtrack. Running time: 6 minutes.

(Jim Wedda, 690 Veteran Apt. - I l l . Los Angeles, CA90024.)

The Crystal Chalice. A group of five adventurers quest for the

famed crystal chalice of Arindel. Can they find it? Producer:Vanguard Productions. Director!Writer/FX: David Cavalier. FX

include: bloody makeup effects and slop-mot ion <!Inimation.

Super-B. color. Running time: 14-15 minutes. (David Cavalier,161 West 54th St., New York. NY 10019.)

The Yellow Ranger _ Because God isbusy creating another world, Hesends to Earth a magic rainbow

aimed for a man of the cloth.

Accidentally, it strikes and

transforms a blind hobo Into the

Yellow RlInger, with mission to

maintain peace on Earth. Fo r seven

days the Yellow Ranger bumbles

along In this movie made as a tribute

to the old, silent movies of thrills and

laughter! Produced and directed by:

Entertainment Enterprises.

Cast: Frazier, Jenny Ash!ock. Jo n Teboe, Dan

Grazier, Rene Teboe and Dlno the Dinosaur. Super·a,

color, with old·time music and sound effects. Runningtime: 15 minutes. (Entertainment Enterprises, do Jon

Teboe, 11-05 S.W. 102 Ave., Miami, Fl33176.)

Starshlp: 18. Satire of Balllestar Galaclica. Commander

Roddey leads the remnants of mankind in search of a mysticplanet until everyone gets tired of the empty script. Producers!

Directorsl Writers: Jimmy Wright and Mike Clark. Cast: Jimmy

Wright. Mike Oark, Jeff Guinnes.s and Matthew Wright. FX

include: blasters, pyrotechnics, mattes, multiple exposures,

target computers, computerized end credits and a whole ragtagfleet of miniatures. Video with FX transferred from Super-B.

Running time: 20-30 minutes. (Jimmy Wright and Mike Cla rk,743 Myrtle Dr. Rock Hill, SC 29730.)

Starwarps 3 , A comedy? Yes, thllt's

tigl t t - t hi:;; third cha p ter of the

Slarwarps tri logy is making headwaylSee the evil Dark Elevator give

Princess Layawi!lY the shaft and admit

he's her mother! See Aunt Jemlnll

and Uncle Ben make rice pancakes

for Luke Warmwater! See Luke flee

from the dinner table! See Eat·Three

Cheerios stumble on secret plans andhis dialog! See Governor Tarbaby

""B low·up ·' photogrllphs of Chewing

Tobacco and Layaway on their

honeymoon! See the infamous Count

Balderdash be " de-lighted" as R·U Dumb·2 destroys the

l ight under his fa ce lh<!lt makes him loo k evilJ See the

7/14/2019 Cinemagic #19 (1983)


climactic dogfight between the poodles end the collies!See the ending credits take as long as the film itself! Seee psych ietristl That's right-i t 's al l here, end going al l

there in Slarwarps. Wri tten, directed, starring, edi ted,financed and ruined by : Jeff Menz of Millvile. Unspeclaleffects: Richard A. Kilroy . Super·B, color, sound. Running

time : 10 minutes. (KM Productions, 1245 Nonh Orange

Dr. 1116, Los Angeles. CA 9OO3B.)

Guardian. On ly one man can prevent the Agrons from

conquering the galaxy. He is Dartan. Dartan must endure

dogfights, planet·destroying speceships, asteroid fields. e

fleet of star cl'\Jisers and e friend tumed traitor.Producer/DirectorlWriter/FX: Chris Alexopoulos

Cast:Jefr Showalter, Scott Loranjo. Paul Alexopoulos end

Steve Alexopoulos. Super·B, silent. Running time: 40

minutes. (Chris Alexopoulos. lSO·Sixth Ave ., Troy, NY121SO.)

The Dlilthium Crisis. A Star Trek story in which Kirk endSpack are protecting a shipment of dilithium crystals. TheKlingons. using their new ettack fighters. pose quite aproblem for the Enterprise to overcome. Produer! Director/Writer: Gerald Shea. Explosions FX: Mike Shanu. Cast: MikeMcAuliffe, Roger WelJer and others. FX include: doubleexposures. animated laser blasts and explosions. Super·B.color. sound. Running time: 30 minutes. (Gerald She a. 569

W Crockett Lake Dr . Coupeville. WA 98239.)

Terror House. Three kids are stalked by their mad friend. whowas injured in a football accident Producersl Directors: MarkPoionia. Greg Leis. and John Polonia. Writer: Mark Polonia. FX:Greg Leis and John Poionia. Cast: Mark Polonia. FX include:electric bolt FX, make-up and gore. Super-8, color, sound.Running time: 20 minutes. (John Polonia. RD 2 Box 424.Wellsboro. PA 1690 1.)

Sauced In Space. The last survivor of an attack that destroyedthe starship. Conrad, flees to Earth. There. warrant officer Eliseenlists four D(..D wargamers, a mad sdentist. and anadventurer and gardener help in fighting the attack of the killerspaghetti! An irreverent sendup of recent sdence fictionmovies. UnClisl Writers: Andrew Tuttle and Bartholomew

Brown. Producer: Karen Comstock. Director:Andrew Tuttle. FXinclude: blood. mattes, p l o s i o n s miniatures, multipleexposures, stop-motion animation, rotoscoping. forcedperspective. Super-B. co lor, sound. Running time: 90 minutes.

(TAC.E. Enterprises, % Karen Comstock, 572 f.o\agna Vista,Santa Barbara. Calir.).

Lord of th e Wastelands. Ogres,knights and nomads confront theyoung Brock on his quest for avaluable gold piece. After crossing

the desert, the mighty swordsmanfinds the treasure while encountering

an evil lord inside a medif'val castle.&. Producer/DirectorlWriter : Robert

Hampton. Cast: John Morgan. Jill Hampton and David

Kelly. FX include: stop-motion animation, miniature se ts.perspective shots. Filmed on the dunes of Cape Cod

Super·B, color, sound. Running time: 15 minutes. (Blue

Films, Box 583 Hyannis. MA 02601.)

Video Re\leng e. A teen dies while playing e video game.His younger brother sets out to find out why he died. Hisdiscovery will rock the entire world .. j f the In formation getsout. You never know when it will strike, end when it does.there is no e5ClIpe from VIDEO REVENGEI A new ex·perience in Horror. ProducerlDirectorlWtiter: Charlie Vee.

Videotaped. VHS format. Color. sound. Running time: 25

minutes. Now in Pre·productlon. (Fentasy Films l imited, c/oCharlie Vee. Coral Springs, FL33065.)

Somewhere in l ime After l im e. A psychopath becomesobsessed with the photograph of a 19th century actress andtravels ba ck in time to kill her. Producer: Wombat Productions.

Director l Writer: Bill Hawk. FX: Catherine Searle. Cast: BillHawk. Eden Brandy. Janny and Vicki O·f.\elveny. FX include:matte paintings. hanging miniatures, and some rear-prOiectedopticais, Super-B, color. sound. (Wombat Productions. % BillHawk. 2579 Center Rd. Novato. CA 94947.)

Voyage. The authorities of an alien planet send a robotemissary to explore a nearby desert planet Producerl Director!

Writer! FX: Keith Phillips. Assistant Kit 't/atson. FX include:

models and miniatures, hyperspace flight sequences. stopmotion animation and tilles. Super-B, color. silent (KeithPhillips, 3679. Holly PI • Macon. GA 3 1206.)

Growth. aay. animated fantasy in which a life-and-deathstruggle is waged (in comic overtones) between a hungry littlecreature and a wily planl Producer: The Phillips Company inassociation with David Hu cke Studios. Directorl Writer/Animator: David Hu cke. Technical Consultant: Peter Loft.16mm. color. sync sound. Running time: 6 minutes. (DavidHu cke Studios. N48 W263888 Bayberry Ct . Peaukee. WI53072.)

Hitchhiker's Guide to th e Galaxy. Based on the book byDougla s Adams, about what happened on the worst

Thursday that ever happened on the happy-go-lucky daysthat follow, Producer: Ga laxy Productions. Director/ FX: DavidL Kern. Cast: Ford Prefect and David L Kern. All other partsstill uncasl In preproduction. Super-B. color. sound. (GalaxyProductions. c/o David L Kern. J733 Huy Rd .. Columbus, OH43224.)

The V1slt or . A stranger who drops in on Dr. RichardMatthews--developer of the ultimate weapon---influences him

to about-face his research. To be filmed for the 1983CINEMAGIC/SVA Short Film Search, Producer. AlternateImages Productions . Director: Eric Tolle. Writers : Eric Tolle andGeoff Ni cks. Based on a story by Fredric Brown. Camera: RalphStuart.. Production Design: Leah Battle. Cast: Eric Tolle, JohnWardlaw, Juli Lyon. FX include: mattes, dissolves, electronic

special effects. working props, supered titles and miniatures.16mm, color. sync sound, Running time: 12 minutes. (EricTolle. cia 111B Las OIas Ave . Santa Barbara. CA 93109.)

A Voice f rom th e Past. Twilight Zone adventure. Ateenager hears a pilot's last words over an old World War

II vintage radio. Tracing the pilot's last heading, the

teenager finds the plane. but the federal government is

determined to cover up the plane's long lost secrets.Twist ending. Producer: Illinois Studios. DirectorlWriter:

Kenneth McConnell. Cinematographer: Dave Mahlman.

Continuity/Clapper: Jenny Laypins. Cast: Lynn Miller and

Kenneth McConnell . Super·8, color, sound, Running

time: 20 minutes. (HMH Productions. Illinois Studios. 205

N. Green St" Carpentersville, IL 60110.) (' N

7/14/2019 Cinemagic #19 (1983)


Iwasa

High School WerewolfBy JOE CARTER

A behind the scenes look at the making of thisyear's ClNEMAGIC/ SVA Super·B First Prize winner,

';A.n American Werewolf in High School."

High school student Matt Jack·

son sits in the school planeta·rium watching the sky show. Afull moon rises. Matt breaks

out in a sweat as his neck glows ominous

ly. The show continues. Matt feels astrange sensation. He begins to grow

course black hair on his hands and face.

His fingernails grow two inches and histeeth become fangs. Hisface isno longer

human- i t is wolf· l ike. Within 30

seconds Matt has become a werewolf!

This is just one of the scenes in North

Hills High School film class production,

An American Werewolfl n High School.It is a production that took nine months

to complete-nine months efhard work.The first thing ou r film class, taught by

Ralph Langer. had to do back in Septem-ber, 1981 was to come up with an Idea.

Our class struggled back and forth fo r

three weeks until an idea was settled on

and eventually scripted. We decided to

do a version of a high school werewol f-

something that we had never done in

Super 8. This movie would take more

time and would require more special ef·

fects than we had ever attempted.

We decided to elect special crews to do

certain jobs. I was elected director. and

Keith Pohl was elected director of photo·graphy. The rest of the class was divided

._:::::- - : into the following jobs: special effects, crew, title crew, editing, filming crew and

• various other crews. Each day locat ion

crews filmed while special effects crewscreated props and masks.

LATEX ARMSWe wanted a shot show in g Mall

metamorphosing as claws grew directly

from the Ups of his fingers. We took a

two· part plaster mold of his arm. After at·

tempting to pour latex rubber coa ting

into a mold we found that the seams

would not match and there was trouble

dry ing the latex. After two weeks of hard

work the idea was scrapped!

leI!: Actor Man Jackson in tile loam rubbef werewollmask Cfeated lor An AmeflCJn WereWOlf In HighSchoiN, a parody 01 werewoll iilms produced by thefilm claSs of NOOh Hills High School in Carneg;e,Pennsylvania. The film won Arst Pnze In Super·Blnthis year 's CINEMAGIC/SVA Short Film Search.

7/14/2019 Cinemagic #19 (1983)


WEREWOLF MASKSIn our estimat ion the foam rubber

werewolf mask was the most Important

priority . Our special effe<:ts crew made aplaster positive of Matt's face from amoulage negative mold. Then wesculpted day on the plaster armaturepos it ive to make a werewolf face. After

mo ld ing a negative wolf face in plaster.foam rubber was poured and baked twice

in the mold. The result-two f02lm rub-ber wolf masks to be used on Matt. This

whole process took about a month.

These two masks had to work becausewe

found that during the last foam rubber

baking the mold cracked in the Home

Fronomicsoven. By this timl'! i t was late

December or early January. We hadmany outdoor night scenes to shoot. Iassembled a make·shih crew with an XL

camera and fi lm ed for two hours in 28degree temperatures on ly to find. a weeklater. that the camera wa s not working

properly. Al i i go t back was three and a

half minutes of unexposed film .

We shot the night scenes again. All o four night filming was done under street

lights or in front of store lights. Occa·sionally . we pointed car headlights

toward the 8Ctors and since we used anXL camera and Ektachrome 160 movie

film. our exposures were very well lit.

During the second filming of he outdoor

scenes it was colder than before, and the

camera kept stopping from the cold. Wehad to keep the camera in a heated car.like a bundled up baby. until the shot was

ready to be filmed. Needless to say. we

were lucky to escape the evening without

a severe case of frostbite. Technical pro-

blems hounded us throughout the pro·

duction. Most of our filming was com

pleted by January-but the film classhad by then unfortunately come to an

end. Matt. Keith and I took an indepen-

dent study to complete the movie.

BEAM SPLITTER EFFECTBefore the transformation scene, the

bite mark on Matt's neck glows a bright

red and pulsates. To accomplish this ef·

fee-I we used a beam spl itter. We put a

highly reflective piece of glass at a 45degree angle in front of he camera lense.

Matt faced straight ahead and we put ill

piece of bl8Ck paper with ill hole cut into

our make·shift Schuftan box. Red cello·

phane was taped behind the hole. Thisred hole was reflected onto the gless end

into the camera viewfinder. It was

superimposed onto the bite merk on

Matt's neck when it was lined up proper·

Iy. By moving a light back end forth

behind this hole the illusion was of the

bile mark glowing dull to bright red.

WEREWOLF

TRANSFORMATIONThe hard part was yet to camel A

make·shift crew Including Matt. Keith.

teacher Ralph Langer. myself and a few

ot her students stayed after school to film

,.• ,

The secood hall 01 Man's arm Is readied lor acoal 01plaster to make the latex arms ror the w e r e w o ~ We

couldn't get tile seams to match so we scrapped tile

Idea 01 using latex arms

set up

cameras, each capable of dissolves. Inthe movie Matt had to change Into the

wolf twice bu t in two different places. in

the hallway and the planetarium. Instead

of moving him constantly we sat him up

aga inst some lockers. This provided the

..

,I

The second eml 01 ptas181" Is apptled to Matt 's arm 10

make the latex hand tor the transioonalion shOts.

Because tile seams wouldn ', match. we just appHedcrepe hair 10 Man's arms

;

scenes. For the audience it appears asthough Matt had changed twice, when in

reality he had on ly changed once. Wehad to be efficient because the process

took five hours to film. Our actor, Matt,

had to endure having foam rubber, spirit

CiNEMAGIC It 19 17

7/14/2019 Cinemagic #19 (1983)


•

\ .

~ ~.---- -c.a

Above:The plaster !XJSltlveof Man Jackson's face is cleaned up and readied to feteMl lhe day Ilia! will form the

sculptureof lhewerewolf's face.Below:The plaster positive of Man's ace serves as the base anlo whICh the claysculplUreof Ihe Wflfewtllt'S face is applied. Aplaster negative mold was then made ol\he clay $Cu lplureand twofoam rubber masks were produced 10 be usee In the IiIm.

18 ClNEMAGIC • I 9

gum and smalllumpsofwig hair glued to

his face.We used five makeups on Matt from

normal face to final werewolf makeup,using dissolves between each makeup.Later, we used the same dissolve pro-cedure to make Matt's hands transform

into hai ry claws. That evening we filmed

al l of the d ose-up and medium shot in serts for the entire transformation se·quence. All the otherwerewolf ong shotswere done with a sluch molded latex rub·

ber mask that we made from the maskmold.

The slush molded mask and foam rub·ber masks were dup licates.The werewolfwig was made by painting latex rubberover a styrofoam wig head and attaching

hair from an old Illig starting from theback to the front of the "bald wig" using

latex rubber as glue.

The whole evening was very tedious,but th is wa s just one of the many nightswe put in overtime.

We got back most of the film and wereready to edit. It wa s about the beginning

of Ap ri l when ~ and I spent one Sun·

day editing for nine hours with just alunch break. Ou r ultimate goal wa s to

have the movie completed with sound byMay 23 for our schoo l"s annual art show.By the se<:ond wee k of April we stillweren' t done

KODALITH TITLESWe still had to film the ti tles-we used

black·on·wh ite titles on acetate. We thenmade Kodalith ti t les as described inCINEMAGIC "8.

We taped the Kodal ith titles on a sheetof glass so they appeared in reverse. Weback l it the titles so they would be

ref lected pos itively into a black pho todeveloping tray f illed with water. Thecamera was aimed at the image of theti t les reflected in the water. When we rip·pled the water the titles would disinte·grate. We filmed the ti t les with thedisso lve camera. The titles rippled anddisso lved from credit toc redit. We had to

carefully set our lights and manually setthe proper exposure.

DEADLINEIt was the beginning of May and we st il l

had some shots to film . We were runningout of time! We had less than a mon thbefore aU f premiere shO lliing on M<:IY 23.The sound editing was very time can·suml ng. We filmed three sync soundscenes using Ektachrome 160 single sys·tem sound on fi lm. The sound is 18frames or three inches before the picture,so we had to f jlm our sce nes with this inmind. We fi lmed for two seconds beforethe actors spoke. We tried to arrangepauses in speech to match planned cutsin the film. This helped in later editing

the sound footage. When fi lming synchsound we tied the microphoneon a boom

pole to keep it above the frame l ine andas close to the acto rs' mo ut hs as

7/14/2019 Cinemagic #19 (1983)


TOIl Left : Acomparison ShoI 01 the Slush·moIded l a 1 ~ k>ng ShoI mas\( (modeled I1t Man Jackson) and the loam rubber cIos&-up mask . Top ftlQht : Mall Jackson IOOdeIs

lhe l a 1 ~ hair WlQ lhat was rnacIe lor hlllllO wear WIIh the slush·moIded I a t ~ k>ng shut mask . Abovt (11ft 10 light): Kent PeasIy . Man Jackson . Keith PtlhI and Jason Uttledown around on !he seI 01 An NrIt1tiwI Werew/)'f In HIgh Schod

possible.On May 20th. I sa t in school in the artroom editing while Keith , Beth Ann

Brady and student advisor Ralph Langerput sound on other films for other classesusing the sound mixer In the school TVstudio. At 8:00 on May 20th I walked into

the TV room and announced that thewerewolf movie was complete ly edited.We were happy. but didn 't have time for

celegration because we had to work onthe soundtrack unti l 11 :00 that night. Itcer tainly is a strange. eerie feeling be be

working in your school until 11 :00 atnight pulling II soundtrack on a werewolfmovie.

We spent the 2 1st. 22nd and the mo rn·Ing of the 23rd putling sound on the film

with a borrowed high quality Elmo as12.OOISound projector and the specialDolby sound equipment in the TV room.

The movie wa s ready to be shown thefirst night of the art show-and it was acomplete success!

The art show was held for two even·ings. On the first night the movie waspacked- the werewol f film ws the talk of

the show. ··Did you see the werewo lf

movie?", wa s heard all over the bui ld ing.Keith was even asked by one of histeachers to show the movie to hisclasses

all day. Keith 's teacher wanted to see thenow famous werewolf movie that Keithhad talked about all year. The film wa j

just submitted to the PhotographicSociety of America·s Teenage FilmFestival.

After nine hard months of work . themovie was finished and was worth everysecond put into it. As fa r aswe know. wehave done some things that no ot herSuper·a movie maker has done. Wepulled it off. We made An American

Werewolf In High School and It won firstplace in the Super·8 category o f thisyear's CINEMAGIC/SVA Short FilmSearch! {J f

ClNEMAG/C # I 9 19

7/14/2019 Cinemagic #19 (1983)


MELIES TRIBUTESEEN ON CABLE TV

A recently discovered cache of ilms by pioneerfi lmmaker George Melies becomes a new

series by TeleFrance U.S.A. Network.

GeorgesMel ieswas born in ParisooDecember 8, 1861 , and died on

January 21. 1938. In the enormously ttctive yellrs of his life, he produced over 70 0 films end presided over II

successful international film empire, yetdied Impoverished, with public: re<::ogni.tion 8CCorded him only II few SClInt yellrsbefore his death. In the minds of menyfilm historillnS. Melies left e legacy of In·novation that has con tinued 10 enrich thec inema to this day . In its current

retrospective of a recently-uncovered

In france , meanwhile, Melies suffered adecline in fortune and morele thet led tolin eventualbreakup of e once·prosperousfilm op!:rzIItion.

In II period of ~ t r e m e dejection anddisillusionment, Melles destroyed all hisEutopelln neglltlves. Thus the Vitagrephco llection became the principii I C&Che ofmuch of Melles' production. [n 1925,Vitagraph was bought out by WilmerBrothers. In the 19305, Leon Schlesinger,a producer of short films at Warners(known for his HLooney Tunes and Merrie

for the filmed ffilIgidlin who Wll5 HlirryHoudini's nameSllke), lind beglIn supplementing the shows there with his ownrepertoire . When the Lumiere brothers'HMagic lantem" clime into being liS ahighlight for thelitricli l spectacles, MellesSlIW his clilling. (He would Iliter o ffer theLumlere brothers IO.OClO frllncs for theirInvention. They didn 't selL) Melles WIIS o

become the first director IIrising from IIpurely thelitriCli1 beckground.

Melies' fi rst film ventures followedessentlllily the SlIme line as that begun bythe Lumiere brothers. Initially, he mede

short OIIrratlve films that attempted adirect, plctorilll re-telling of everydeyevents and contemporary occurrences.Soon, however, Meliesdiverged from this" relilistic" school of filmmllking. HebeglIn to record the sophisticated stage JI.

luslons he hIId developed at the Thell treRobert-Houdln, and quickly SlIW that themotion picture cllmera offered II perfectmeans of capturing his magic tricks. I\c-co rding to legend, one dllY, Melles'camera jllmmed,and the resulting footIIge combined two images resulting in the

i first "specIal effec:ts" shot.,; FATHER OF FILMMAKING!- In 1897,despite the conslderllble finan·

cilll risk involved in this infant Industry,Melies completed construction of the firstpermanent film studio, built in MontreuIl.He founded the Star Film Compeny,which was the first firm devoted exclusively to making movies.

Ascene from DOe of MeIies ' Iims. TheGood Luck aI a SouseMelies' first films made little money.

but his sense of showmanship lind Ingenuity propelled his empire through thesefirst yellrs. He creeted an lImazing outputof films, ranging from dramatic lIdaptations of fables and historical events, topure fllntasy. Combining his technical in'

novlltions ind extraord Inary imagination,Melles produced films that quickly

became popular the world over. In the fewshort yellrs to 1903, the Star Film cliUlloglisted over 500 titles, lind sales officeswere subsequently set up in London,Berlin , Barcelorlll, and New York. In theconstruction or his second studio, Meliesutilized many technical innovations thllt

are essential to the industry today: IIrtifielal lighting, interior sets, drum ·typefilm processing: camerll efff!Ct5 such asdissolves, multiple exposures, lind trllvel·ing shots. Even the mechaniCli1 IIpparatushe designed was sophisticated-fo r the

snow creature In Conquest 0{ thePole

cache of Melies' work, TeleFrence USA

pays a tribute to one of the fllscinatingfllthers of the art of the motion picture,

The re-discovery of Melies' films and Itspresentation on American cable televi

sion is the result of a long and fllsclnlltlngodyssey. In 1903, concemed with illegalduplication and pireting of his filmsoverseas, George Melles formed StarFilms, created a New York office, andplaced his brother Gaston at Its head, InFrence, Melies began photographing allhis films with side-by,slde interlockedcameras, and would send one set of theresulting twin negatives to his brother(also IIvoiding export duty on the shipment of mul tiple release prints). In 1912,Gliston, without his brother's knowledge.

sold his American holdings to the Vitll'grllph company, and prompt ly left for the

South SeilS.20 ClNEMAGfC # /9

Melodies"), became interested in Melies'

work, and q u i r e d the collection, hopingit would become an astute investment. In1949, Schlesinger's widow donated themateriliis to the Academy of Motion Pic·

tUfe Arts and Sciences, where fine grainnegatives were made to preserve thefilms. They were there neglected lindforgotten for many yeers.

THEATRICAL ROOTSMeHes was born to II weetthy Parisian

footweer ffilInufacturer. After his school·ing and milltllrycareer and II brief attemptat managing his father 's buSiness, Mellesfirst creatlve urgings took hold. Living inan era where fllntastic lind visually impressive stage entertllinment enjoyed atremendous vogue, Melles became a professional llIuslonist. In 1888, he pur ·

chased the Theatre Robert·Houdin (home

7/14/2019 Cinemagic #19 (1983)


(1912), a crew of twe lve technicians was

needed to operate its rNChinery(70 yearsbefore E.T.I).

Melies' prodigious energy and carefulorganization were certainly fllCtors whichallowed him to carry out his rich end profuse career. In addition to his contribu·tlons in film, he founded e number of

professional societies, and was responsl·ble for some of the first ettempts at esta·blishing uniform filmmeking standerdsthe world over. He was a perfectionist,

demanding dedication and hard work ofall those around him: one of the cinema'sfirst true moguls.

At the end of this century's first decede,Melies ' popularity began to wane . Hisdivergence from the "reallstlc" school of

filmmaking end his inspiration derivedfrom the purely melodramatic theatricaltradition of his time generated the basis of

his success, but his ties to the pastul timately rendered him obsolete and un·popular. Melies was a man caught be·tween two centuries.

MELIES LAST REEL

1911 marked the beginning of hisdecline, when he was forced to borrowheavily from Pathe, his distributor.

Despite the completion of Conquest o{thePole in 1912, perhaps his most technicallyproficient and lively work,he continued to

lose money, and his creditors began toforeclose on his holdings. In 1915 he soldhis estate, o!Ind gradually retumed to thetheater. The war during 1917 claimedmany of his negatives, which were melteddown for their silver content. (Therecleimed cellulo id was used to manufac·ture the heels of soldiers' boots.)

1923 was a ruinous year for Melies. He

was declared bankrupt, and the TheatreRobert·Houdin was demolished. In aperiod of extreme dejection, and in etragic attempt to make more room for hisfamily in his then impoverished surround·ings. Melies burned his remaining negatives and sold his prints by weight to amerchant in second·hand films. A greatportion of Melies' output was thus lost.(Read on for the story of their recovery,)

In 1925, Melies, recently.widowed, reo

married Jehanne d'Alcy, a former lICtressfrom his films, and together they man·aged a small toy concession in the Mont·pamasse train station. Uke his films,

Melies faded from public view.In 1929, Rene Clair, convinced thatMelles was alive, began a quest to honorthe neglected filmmaker. A series of ar·ticles followed, and on December 16 ,1929, a grand retrospective was organized to celebrate Melies. A showman to

the end, theevening wo!lscapped by Mellesbursting forth from e paper screen on thestage. In 1931 ,GeorgesMelies was awarded the Legion d'Honneur by Louis Lumiere for his achievement. An organi·zation of people in motion pictures of·

fered him a modest rent·free apartment,where he lived with his wife and grand·daughter to the end of his deys. His tomb·

Ascene from Mei;es' halld-tlnted !lIm. The ImpoSSIble Voyage (t904).

stone in the Pere Lachaise cemeteryreads, Georges Melies, OealelU de spec-lade dnematographique 1861-1938,

REDISCOVEREDIn 1975, Blackho!lwk Films, guided bythe detective work of the American Film

Institute's chief archivist David Shepard,acquired the commercial rights to thefi lms . Prints were generated by

A,M.P.A.S., and the Library of Congressreceived the original negatives. In 1978,Patrick Montgomery of Archive Film Productions, who represents the Blackhawkcollection, produced a 26-minute compilation film. "George MeJies : cinemamagician," using segments from the col·lection to Illustrate Melies' life and work.

In 1981, Corinth Films, Inc, took on the

technically difficult and noble task ofpreparing the negatives for public release:commissioning an original musical scoreby Curtis Selke; and compiling the te levision version, using an innovative elec·tronic process that realistically slows theformerly rapid pace of the original films.TeleFrance USA, the French cable televi·sion programming network. launched its

fell 1982 season with-among other programs-a retrospective television

premiere of 29 films of cinema pioneerGeorges Melies, representing the first majo r public showing of recently re-dis

covered and newly-released versions ofthese titles.

Many of the films shown were believedirretrievab ly lost for many years, yetareof

an exceptional technical quality. Thefilms are being presented with an originalmusical score, and have been trensferredfor television using a Magnasynch

Videola, an electronic process that ac·curately renders natural the originallyrapid motion of the films-an innovationnever possible before recent advances invideo technology. The materials used forthe TeleFrance retrospective are only afew generations from the or iginal nega·

tive, which represent an ex traordinarylevel of quality for films dating from thevery beginning of cinema.

TeleFrance is pleased to offer this rareopportunity to view these imaginativebeginnings of the motion picture, Theseries of 29 films which began in Octoberof 1982, will continue through the 1983Te leFrance season. Of

BelOw: Ascene from Mel;es' 1908 film . Tile Good Shepard and (lie Evil PrIncess.

7/14/2019 Cinemagic #19 (1983)


UNDERWATER BAG

The fir st universal camera protection,that works underwater liS well as in amotor-cross race or li t III smoky firescene is the "EWA" Housing. developed12 years lIgo by a German company,Hans Goedecke [ , Co. The camera hou s.ing is a tough. double-laminated heat·welded plastic bag.

Unlike other protective devices, it hastwo op tical glass lenses. and can be

closed by saltwater proof stainless steel

rails. The striking simplicity of the produel makes it both safe and practical. Itcan easily be slowed away, or carriedaround. It has no holes or sealed open

ings for controls. The SLR model has abuilt-in glove, which enables directfingertip control of all C8mera functions.Trigger and focus of the movie model

can be operated through the flexibleskin. In canoeing or on small sailboals.the danger of capsizing is always pre·sent. The EWA housing will keep thecamera afloat. Having the camera readyto shoot is part of the fun in sailing.

Most fantastic surfing pictures aredone with tele·lenses. But who would

really want to take the camera to a san·dy bea<:h, unless the camera is an old

wooden box with a hole and glass

plates?One does not have to be a well·equ ipped scuba diver to fall in love withthe underwater world. A snorkel. amask, II pair of fins lind lIny clean lake,river or reef, will revelilaH its beauty, itsexciting colors and variety of creatures.

Underwllter photography in swimmingpools may not show ri ch fish life, yetmore than the eye can see from the sur·face. A movie camerll Clln be the bestassistant of a swim coach.

Many conventional underwater hous-ings have had defective seals and unlessthey can be pressurized water can bedrawn in without waming. Obviously, a

22 ClNEMAGIC" 19

flexible hOUSing can be cut or punchedor burnt, bu t on the other hand it can be

easily tested: Bubbles will indicate eventhe smallest hole and with normal carean a<:cident can be more easily avoidedthan with rigid housings.

The max imu m recommended depthof the EWA housing is 30 ft. It will notburst below 30 ft. but gets st iff and dif·ficul t to contro l. Lead pieces clIn be put

inside with the camera to reduce the

bouyancy. A motor winder is recom·mended but not necessary in shallowwater with less water pressure on thehousing.

In order to bring out bright colors, aflash is recommended underwater and II

filter to increllse red and yellow andreduce blue, might be used.Available in photo stores li t prices

around $69.00.For more information write to:

Pioneer £; Co, Inc.216 Haddon Ave., Suite 522Westmont, NJ 08108

or callBOQ·257·7742

LIGHT STANDSMade of stress proof light metals,

without any pillstic substitutes, the new

extra solid, yet li ghtweight (4 1" Ibs.) Git·

zo light sumds u rre l <I desirable com·bination of sturdy. braced legs with rigidcenter column in black finish. for max ·imum stability with m inimum vibration.F irm ly positioned against the 2 solidcenter rings, the strong tubular legs with

hard rubber tips and the strengtheningbraces can be easily spread to the bestsuitable posi tion. The detachable. rigid(1" diameter) center column comes in 2different lengths, with either 2 or 3 fri c·tion free extensions. which glide

smoothly and lock f irmly-with positivelocking rings-on fiber sleeves (nometal on metal), wi thout any bindingever. The universal tip gives you thecho ice of II 5/8" pin or a reversible 3IS"

·114" solid steel sc rew, with locking nut.

accepting any studio nash (such as Elin·ch rom), as well liS other lights. booms,screens, backgrounds, etc. we ighing up

to 25 Ibs. Just like the world fllmous Git·zo photo. cine lind video tripods. therugged light stands have been designed

for lifelong durability and are covered bythe full 5 year Giuo warranty.

1

I

PACKABLE TRIPODSDesigned to fi t into gadget bogs. sui t·

coses. etc. the eKtra compact GrTZOMini Stu dex tripods are surprisingly stur·dy , even if completely extended. Thesolid. tubular light metal legs lire firmly

positioned against the rigid center part

without torque. to prevent camera vibra ·tion. Friction free telescopic leg exten·sions and center columns glide

smooth ly and lock firmly on fibersleeves (no metlll on metal), without anybinding ever. Combining ruggeddurabi li ty and mllximum stability withminimum length lind weight, GITZOMini Studex tripods are idellily suited forheavy 35mm, Super·S, 2V."" x 21"". 6 x7 cm. even light view. 16mm, and Videocllmeras. up to 30 Ibs. Hand assembledwith rolled threads, nuts ond bolts of

solid steel, without any riveting. they arecovered by the full 5 year GITZO warranty.

•

7/14/2019 Cinemagic #19 (1983)


NEW KODAK FILMSAt the recent SMPTE Conference in

New York City last November Eastman

Kodak lInnounced a new family of East·rn.!ln Color negative films featuring fas-

ter lind finer grained emulsions.The new films stocks are being made

lIvaliable in 35mrn and 16mm widths.Those of interest to CINEMAGIC's16m m users are: Eastman color nega-tive 7294. a new high speed 16mm color

negative film with e recommended EI of

320: Eastman color negative 729 1, anew medium speed 16mm color nega-tive film which is rated at an EJ of 100

( t u n g ~ t e n ) : and Eastman color prim film

7384 which is intended specifically fo r

making contact or optical color releaseprints from original color negatives, co l·or duplicate negatives, or color interne'gatives derived from color reversal

originals.

The new high speed negative 7294

will replelce Eelstman 7293 which israted for eln EI of 250. This new 320 EI ·!'lIted film is Selid to exhibit slightly finer

groin chllflKteristics Hum its predeces-sor. Will iam Koch. general mal"lllg@rofthe company's Motion Picture andAudio Visual Markets Division. says."This new film will rTleIke it easier for

producers who op t for the 16mm formatto produce very high·quality results evenwhen they are working under extremelychallenging circumstances."

The new medium speed negative7291. which replaces Eastman color

negative II film 7247, is finer grllined.sharper lind exhibits measurably im-proved flesh to neutral color reproduc·tlon cilarlKteristics. According to Koch,

NThe high speed and medium speedfilms match up very well. lind Clln be

easily intercut. This means producerslind directors of photography can matchthe appropriate emulsion to eachspecific cinemagraphic challenge."CINEMAGIC readers may want to runtests using the high speed film forgenerlll photography, while reservingthe medium speed film for processplotes when mixing live action and stop.motion anirTleltion a la Harryhausen.Filmmakers can anticipate a bi t morelattitude for duping w ith the slower7291. Contrllst build up may stili be 0

problem. though.The new Eastman Color print mm

7384 is touted by Kodak as "the film

you can take into the future. because itscolor will last for generations." Kodakemphosizes that under normal condi·tions. 7384 will hold its color 10 timeslonger tilan other release print films inwidespread use today. This improvedcolor stability comes from 7384's vastlysuperior cyan dye stability. It also comeswilhoul a premium price. CINEMAGICfilmmakers will be pleased to note thattheir films are less likely to fade away In·to a pink memory; 7384 offers an al ler·native to Kodachrome for dye stability. t1 f

IIIIIIIIII

•I•I

•;I

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LEARN HOW THE EXPERTS DO IT!

EXCHANGE TIPS AND TECHNIQUESWITH OTHER YOUNG FILMMAKERS!

,Scrlptlng

-Storyboardlng

·Set building

-Casting

-Directing-Matte shots

-Puppet

an imation

-final prints

-In-camera

effects

-Animationoptlcals

-front and rearprojection

·Post production

-Make-up effects

-Model

~ ~ : : ~ : ~ ~ : : i ~ l e " c o n s t r u c t l o nIs your

-Video transfer

Join the community of young filmmakers!

CINEMAGIC/Starlog Press

475 Pork Avenue South,New York, NY 10016

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0 One yeor (6 issues) $9 .98

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ONEMAG/C IT /9 23

7/14/2019 Cinemagic #19 (1983)


Electronic

SPECIAL FX

Three Simple Lighting DevicesThree simple (honest!) projects that you can build

to enhance your special effects filmmaking.A Dimmer, a Chaser, and a Flasher.

By CHRIS E. STEVENS

Since necessity is supposed to be

the mother of invention, I hopeshe continues to supply me with

needs. This is how the first project. theFourChannel LampDimmerclIme into ex-istence. It's turned out to be such a usefulitem, I thought rd pass it on to you. Afterall, those of you that read ClNEMAGIC for

the photographic aspects will find this ahandy little gadget. The ability to changelighting levels while doing your photogri!l'phy without having to constantly get upand move the lights around for different"moods" makes for a more hassle-free

situation and allows you to concentrateonthe more important things, like creati vity

lind composition.If you looka! the photos carefully, you'll

see three cords coming ou t from the sockets in the rear of the unit. II wasacluallyin use when I shot those pictures. andsaved a 101 of time in theprocess. Basical·Iy. wh"t I've done is take four lamp dim ·mers and put them in one box. And. if

24 ClNEMAGIC' 19

you'll notice. J only have three variablecontrols and one extra switch. This is of

course op t ional. should the need arise fora Slraight onloff control for a room light.or to operate some additional piece of

equipment. The triac and trigger diodel

capacitor arr"ngement is still in placeshould I later decide to substitute a

variableco

ntrol.If

you want 10do

thesame thing, just substitute a SPST switchfor one of the variable resistors.

HOW IT WORKSOne side of the AC line is connected to

al l four of the panel sockets. The otherside of the line is connected to SW·) andthrough the triac 's main terminal J con·nection. Main terminal 2 connects to theother side of the panel sockets. As thevariable resistor ischanged. itchanges thesla leof the impedance. With a low or near

zero vol tage applied to the gate of thetriac, a high impedance or non·conductive stale exists providing "n open circuit

J

Lelt: All three projects mvered In thiS article areshOwn o;mpIeted ProjecI I I . the Four Channellamp 1Xrnmet, Is IIWntfl:i in the projeCt box. ProjeCt

12 . the BaSiC LED Chaser. appears in the upper rightcorner of the photo (no! connected to batlesv). Pro-

jeCt 13. the Modilled LEO Flasher. Is the one con·nected to the banery Above: TIlt! pans placementall!! c i r c u ~ panerns!of projects "s 2and 3 are

sIlown on a single PC bOard. Circuit pallern "A" Islor projeCt 12, Both clrcul1 pallerns "B" and "C "are 10( project 13 .

between Main terminal one and two. bloc·king the current Row. When a voltage isapplied to the gate of proper amplitude,the triac switches intoa low impedance, orconducting state. providing" currentnowthrough the triac and on to the panel can·nector. As you change the amplitude of

the control voltage through tht:: II i!:l!:lerdiode

with the variable resistor, youchange the conductivity of the trloe.The triacs are ra ted at six amps. but a

safe rule of thumb is to not exceed therating of fifty per cent of the device's

power handling capabilit ies. Or. to put Itin other words, l imitlhe power to a comfortable three ampsofcurrent(300watts).If you plan to go over the three-amp limit.

pltln on using heat sinks to dissipate theheat. As it is. you have 1200 watts (12amps) of total power handling capab ility.which should serve most photographicneeds quite nicely. That is why 1have the

line cord listed in the parts section as a"hardware" item. You'lJ have to get a

7/14/2019 Cinemagic #19 (1983)


lop prOj8CI 10 reveal

!he partschannels.

plugs In the baCk are connected to llle dimmer

on/olf channel is noIin use SchematIc at bottom 01 pagebutton at IBfI)1or a room

IIghlllf extra piece 01 equipment

heavy duty power cord to handle thatmuch current. If you notice, there·s no

fuse in the cit(:uit either. If a triac "opens·'

up , the lamp won 't light. and if It developsan internal short, the lamp will slay li t continuously at full or partial brightness. withno control over it"s brightness range.Since most house wiring is rated at fifteenamps, should you exceed a safe limit, youcan expect to trip a circui t breaker, orblow a fuse.

The barrier strip wa s bolted approx-

51

RI

01

imately in the center of the box and I used circuit comes in contad with the metal boxthe linecord forthewir ing lothe t riacsand In any way!!! This is Important. Your bestsockets. The wiring from the tr igger diode bet is to use a three-conductor powercan be *22 solid, since it doesn· tcarry that cord. Attach the green (ground) wireheavy a load. Also, make sure that you sec urely to thechassisboK. The white andhave good solid conned.lons at the barrier black wires are for the AC power. Anotherstrip termiMls. Remember, you·re play· construction hint: cut away some of theing around with 8 potentially lethal plastic surrounding the lugs on the barrieramount of power. DOUBLE CHECK your strip, so that the triacs mount securelywork and make sure that everything is under the connecting screws. Onceyou ' rehooked up correctly before you apply any sure that eve rything is on the up and up ,power. BecertaJn that nopal1. o{any o{t.he plug it in and go to work.

52 5J 54 AC IN

PROJECT #1

R3 R4

5WI

CI C2 CJ C4

FOUR CHANNEL LAMP DIMMER CIRCUI T

7/14/2019 Cinemagic #19 (1983)


8+

V ~

RZ

:

8-

The top view 01 the completed Modllied LED Aas/1er (projeCIl2). ThiS Cir-

cuit makes an LED llash on arK! oft like an Incandescent light bulb, thushkllng the lacl that the miniature "bulb" Is actually an LED. LEOa boI·tom left The black part Is VR -1 a t Megohm variable reSistor

The bOttom view of the project t2 board Is both the PC and parts ptacernenl side 01

the board . All parts except VR -1 and L-1are mounted on this skle of the board . Bot-10m left 01 this page is the schematic tor this project . Refer to page 24 lor the partsplacement diagram and circuil pattern (PC board "A").

6-9VDC MODIFIED LED FLASHER Project "'2

RL.AAPROJECT #2

hI

e 4 R:3

7 IC-I :3AAA,

~ r 62 (

+~ ( +==C2

26 ClNEMAG/C 1119

LlC7

J

IC-2

R4

2 4(,;

IPCBD.

A

The next project, the Modified LED

Flasher Is a !"e4uest from Josh Shields of

Seattle, Washington. That is, a way to

flash an LED more li ke that of an incan·descent lamp. An LED is a solid state device that has no filament to provide theillumination.Unlike a lightbulb. it is morelike an "instant on , instant off' type of

lamp, as8pposed toa lightbulb that hasabrief time of filament warm-up before it

reaches It's maximum brightness. This iswhat project -2 is al1 about. Ie " I is a 555timer that triggers from ground to a levelclose to the B+ voltage and has a squarewave output. By using the combination of

R·3 and C·2 along with a 741 op-amp as afol lower, it ispossibletoputacurveonthe

rise·time of the output of the 555 timer.simulating the warm-up timeofa fi lamenttype lamp, and when placed nellt to anLED driven by a timer Ie alone, there is avisible difference. Josh, I hope this fill s thebi ll.

7/14/2019 Cinemagic #19 (1983)


B+ G-9 VDC BASIC LED CHASER

RI . . . . PC BD. 16 .3VI?' B;Ch 7

, 2I

"4

IC-I .37

R2

rG

''c2 IC-2 10

2 I I5

+,FC.3 G

Fel9

£r8151311

PROJECT #3

L H ~

R ~ ' A '

A

BC

D

E

FGHIJ

Top 01 jllge: The sclMlmatic <fl3gram IOf projecl l3 ,the Basic LED Chaser. left: The PC board side or thecompIeIed prOfIICI/3 drcUl1boards (PC boards " B"and "C"'), Bottom 01 pIg.: the parts pIacemef1! slOe01 projecIl3 PC boards " 8" and ··C." Note. For

the pans pIacemef1\ and CIrculi pauern diagrams onpaoe 24 (lor botll projects 12 and 13. PC boards" A." " 8" and " C", drill onty al the places WIlli awMe dol Al l OIIlerS aI ' " soIder pads. .

Project #3This project completes the se ries of

chaser projects. There migh t be one moreyet to do; that being a power chaser forhigher powered incandescent lights forD.C. voltage use. Should that happen. it

will be only a high-powered substitute for

board "C," with al l else remaining thesame. Since we did one for the two colored LED, I thought it would be nice to

have one for the regular single colored

lamps. This circuit is much the same asthe last one, but without a Y2 vcc output,

and is a littte cheaper to build. espe<:iallyfor those of you on a tighter production

budget.As for some ofthe things I'd like to do in

the: future, I'm toying around with a sug·gestion for a Cylon speech duplicator, (bythe: way, if anyone has some Cyton voicetracks, j'd appreciate a copy so that I cananalyze it)and also some strobe units: pro·bably high and row·powered systems formodelsand effects lighting, as well as syn·chronlzing them with amoviecamera. Ex·pK1 to see an intervalometer in there too,somewhere. Meanwhile. if you've had abrainstorm, let me know. And, if you wanta reply, be sure enclose a S.A.S.E.

ClNEMAG/C 1119 2 7

7/14/2019 Cinemagic #19 (1983)


THE GOOD

THE BAD

& THE BLOODY!

You may not li ke ALL of th e moviecoverage we've compiled in the firstedition of Th e BLOODY BEST of

FANGORIA. bul we ca n guarantee

that every aspect of FANGORIA's hor·rifying . sensational. astounding ,s tu pefy ing greatness will be rep

rese nted in its pages.We ' ve labo red lo ng an d hard 10

select th ose articles and pictorials that

ha ve provoked th e mosl comment

from our readers. as well as coverageof your favorite filmmakers and effects

artists: Tom Savini, John Carpenter.

Ri c k Baker, David Cr one nb erg .Stephen King. Rob Bottin , George

Romero and many more; and films likePhantasm, Scanners. The Fo g , Th eHowling , and, yes, even Friday th e13th (I and II ),

~ - - - - - - - - - - - - ..YES! RUSH me m y copy of The Bloody II Best; I guarantee that I will be thrilled I

Iand delighted. I ha ve enclosed the following: I

l O An autographed photo of Gary Moore II

(you get NOTHING).a So me o ld ticket s tubs an d a pint of I

I pocket lint (sa me here). I• 0 $2.95 purchase price plus $1.05 1ST IC lASS pstge . for wh ic h I will receiveI The BLOODY BEST of FANGORfA! II Moll To: O 'Quinn Swd/o" IFANGORIA I

I 475 Park ~ n u e South. 8t h fl . II New York. NY 10016 II Enclosed: II Name II Address I

C ityI II Stat e Zip I

I Mln(lri a r . "dvl!iO!d 10 obtain parental : : Q n ~ .. nl . Ior not ' en Mom.&-- ___________1

28 ClNEMAG/C # J9

PARTS LISTProject #1. Four Channel Light Dimmer.

SW-l

C'-40'-4Q'-4R,-4

S,-4Misc.

SPST 10 Amp switch.1 uf metal film capacitortrigger diodes6 amp, 200 volt triacs100 K-ohm linear pots

panel mount AC. socketsproject boxknobs (4)

275-324272-1053

276-1649276-100127J.092

27Q.64227CJ.228274-380

6' 18 Ga. heavydufy line cord. barrier strip connectorwith male plug. 274·679

Project #2. Modified LED Flasher

R-l 100 K-ohm lhwa tt resistorR-2 I K-ohm lh watt resistorR-3 680 ohm lh watt resistorR-4 330 ohm lh watt resistorVR-l 1 megohm variable resistorC-l,2 4.7 uf capacitor at 16VVVDC

IC-l 555 timer IC.IC-2 741 op-amp IC.L-l jumbo LEDMisc. battery connector

271-04527J.02327J.021271.(J17271-229272-1422

276-1723276-007276-041

27()'325(see project below for other miscellaneous items)

R· 'R-2,3C·,C-2,3IC-lIC-2

L 1-10VR-lMisc.

Project #3. Basic LED Ch ase r

1.5 K-ohm lh watt resistor1 K-ohm lh watt resistor4.7 uf capacitor 16WOVC.1 uf disc ceramic caps555 timer IC

4017 Decade counter IC

LED's (Pkg. of 20)1 Megohm variable resistorbattery connectorprinted circuit board, 3" x 6" single sideddry-etch transfersetching solution

271.(J25271-023272-1422272·135276-1723276-2417

276-1622271-22927()'325276-1586276-1577276-1535

All of the parts for these projects are available at your local Radio Shack store unless otherwise indicated. Catalog numbers are listed in italic for your convenience .

D"l.VF

100 K

lett: Please 00111 the correctiOn to thescl\ematic diagram to the Alternating ColorFasher (project 13) tllat appeared in the " I t "article in CINEMAGIC It 6. The arrow poin ts o

where a connection should be madetha

t wasnot noted on schematic as it originally appeared In CINEMAGIC 116. we regrelthe error.

7/14/2019 Cinemagic #19 (1983)


Circuit Board for

the "Light Chaser"

Above : The ab0v9 i 5 1 ~ parts layout and d r c u ~ paI-

tern lor both proj8CIs in Ina "Chasing Light " anlclein CINEMAGIC 117. IhaI was mlslakenly nmlned

lrom that Issue. The PC panem appears actual size

WI! regret the error

Let's Hear From You!I'd really like to hear your suggestions

for electronic special effects pro,iects. If J

can, I'll answer your questions about howsome of the effects are done. Also. I'd liketo know how your projects turn out, and

how you use them. For the next project,

you might see a light "chaser" system,

similar 10 the one used in theBuck RogersTV series, which is used to create the "lightcables·· running to the individual craft in

the launch bay. The lights seem to flow

toward the craft in ripples.(J I

+w.

01

. < .<

I•

0H eretr ip

Chris E. Stevens80m and raised in Hammond. Indiana.

Chris graduated high school in 1967, graduated electronics school in 1968and aI/endedLlncoJnland College (Springfield. /1.) (or one

year In '971.l1p until recently he has had his0Wt1 focal PBS-1V show called ITa 0 (

himself. he says, present I'm nutklng my

1I0ing by custom designing and building

elecflOl1/c specialry equipment I have an

F:c.c. Rltdiolelephone Ucense (or i3rolIdC'lS1Engineering and I am also a licensed pilot. Ihave pursued a career as a radio OJ for theIasI. 12 ye<lf'S and am presently looking 10 get

back Into t he business.

ClNEMAG/C"19 29

7/14/2019 Cinemagic #19 (1983)


PRESERVATION!PrOTect yOUr preCIOUS (XItIIeSot CINE MAGIC,while kee()lng them on har1d for easy re\erence tn

custom.galted lealhereneIlle or magavneboodefs embos5ed In gold with the CINEMAGIClogo. The5e handsome a ~ enable )IOU to slop

)QUf ropoesof CINEMAGIC In-ilndo ot "l(hvod""Uy.while the melal rod binders hold )'OUr copoes ofCINEMAGIC togethef , Intact. like .. large booI<.IIIk)wmg)lOU to leal through l$$Uealter ISSI.IE! If1

chronological order. Each bonder or case holdstYll(l year's Issues!UJrary CII5eS: S5.95 each, J lor $17 ,00& 610fS30.00 Postpaid.~ S7.50eaeh, 310<- S21.75ancl6 for542.00 Postpaid.US ..... ORDERS ON tY- SalIS/action guaranteedor money gladly refunded. Please allow 4 to 6weeks lor deliVery.Ma ll order to aod make thedls payable 10: Je.sse.)c::one$ CorP . P,O. eo.. 5120, Phlla. PA19141.Foreen Orders: Add 52.50 per unit for addll.lOf\iI lpoStage afld handling outSIde the U.S.A. Prepay·ment must be In USlundsoni'y

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Missing copies? Moving? Renewals?

Receiving duplicate Issues? Questions aboul your subscription? Writedirectly to:

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NEWSUBSCRIBERSONLY:Do not sendmoney .n d order

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:Subscript ion inquir ies addressed to :theedi lo r ial offices will on ly delayyour Irequest. :,,NAME ----------------------- :IIODRESS------------------------ '

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~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -30 CiNEMAG/C 1119

Special Optical Effects In FUm. By

Zoran Perisic. Focal Press, London, NewYork. © 1980. 185 pages.

Beginning as a special effectscameraman on the legendary 2001,Zoran Perisic has gained a worldwidereputation in the field of special opticaleffects. He was awarded an Oscar for thespecial optical effects he created in thefilm Superman. which made use of hisZoptic special effects system. He wroteand directed the animated TV series TheMagic Founlain and Caplain Cooks

Travels, which his own company,Courier Films Ltd., produced in coopera·tion with Halas and Batchelor, who

among many other things are known for

producing the first animated cartoon in

3D. Perisic has been a television directorand has worked on over 500 TV andcinema commercials and many

documentaries.Special Oplical £[feeLS in Film presents

the intricacies of this extremelyspecialized field in crystal clear no

nonsense language, as well as beingrichly illustrated with line drawings to

support the text. The book's eightchapters break the field down as follows:

1) in-camera effects; 2) laboratory ef·fects; 3) duplicati ng films; 4) opticalprinter effects; 5) making travelingmattes: 6) the rostrum camera; 7)rostrum camera effects; 8) processprOjection.

ClNEMAG1C readers wil l find of par·

ticular interest the chapter on in·cameraeffects, since such work generally yie ldsthe highest quality at the lowest cost.Other chapters covering laboratorytechniques, while being beyond themeans of most readers, will give them a

good understanding of the processesand equipment with which they will beworking later on in their careers-parti·

cularly the chapters dealing with travel·ing mattes and process projection. Ov erthe years [ have received ennumerable

requests for articles dealing with Super·Sblue·screen traveling mattes. Good bluescreen work takes precision equipment

and lots of money. It's a technique forthe "big boys" but there is no reasonwhy you shouldn' t learn about it now.And while the subject is much too complicated for the pages of CINEMAGIC. it

receives dear, forthright presentation byPerisic.

This book is recommended as thekeystone for any Cinemagician's library.

At least 70% of the questions that I getin the morning mail are answered in thisbook. If your local book seller will not

order it for you. check with Larry Ed·mund's Cinema Bookshop in Hollywood(213·403·3273).~ Q;:::;-,:.-----..::::-8 y ~ - - - - - - -J a c : k i I c ' i r 1 M d ~ ~

. ~ ,.-'I ~ = = *

The Modelmaker 's By

Albert Jackson and David Day. Publish·ed in the United States by Alfred Knopf,New York. 352 Pages. $19.95.

Skillfully constructed miniatures areat the very heart of successful special ef·fects cinematography . A poorly con·structed miniature will stand out like asore thumb and can ruin the illusion of

reality that miniatures can bring to afilm in scenes that would be too costly(or impossible) to film in live·action with

full scale props. Nothing can take awaythe excitement of a scene as much as a

7/14/2019 Cinemagic #19 (1983)


shot that ca uses the audience to com·plain, "That looks fake!"

Fortunately for the spedal effectsfilmmaker, there are several fine bookson the subject of modelmaking that canhelp him avoid the embarrassment of

the obvious and fake· looking effectsshot. Albert Jackson and David Day'sThe Modelmaker 's Handbook is one of

the finest books available on the subject.Beautifu lly designed and profusely il ·

lustrated with excellent photos and

drawings, this book is truly a treasurethat the modelmaker and special effectsfilmml'lkE"T willl' llways enjoy having athand. Aside from discussing all of thebasic modeling techniques. The Model·

maker's Handbook goes into great detailabout hundreds of tips for adding those"finishing touches" that make a modelor diorama seem to come to li fe.

The chapter on creating landscapeswill serve filmmakers well because it

shows you how to create many differenttypes of terrain cond itions and whichmaterials to use for each. It also offersan informative lesson on how to model

miniature trees.The chapter on railroading may seem

to hold little interest for the filmmaker,but actually it is in this chapter that thetechniques for constructing miniaturebui ldings are discussed. The variety of

different materials and techniques formodeling various types of buildings isquite comprehensive and the miniature

CineMagic

ci tyscapes one could construct byfol lowing the tips given here would (i f

executed skillfully ) look astonishingly

realistic. Tips for creating ruinedbuildings and rubble (invariablypresented as World War 11 dioramas)may be of special interest to filmmakersintent upon making films about nuclear

holocaust.The many techniques for painting

models for ex tra fine detail are allpresented. The technique of painting

with an airbrush is fully explored andshould be of value to those who want to

create realistic looking weathering ontheir spaceship models. Tips on cuttingand shaping Various materials arepresented and have much broader ap·plication than the examples used to

demonstrate the techniques. Methodsfor crea ting "battle damage" are alsocovered in great detail.

Although some of the material in The

Mode/maker's Handbook may not in·terest filmmakers. there's a model maker

in every special effects cameraman.You'll have to go elsewhere to learn how

to film your min iatures and how toobserve certain special effects laws forminiatures (such as scaled mass forminiature collisions). but these topicswere never intended to be part of thescope of The Mode/maker 's Handbook. Ifyou enjoy building models. whether forfilming or just for fun, you·lllove The

Mode/maker's Handbook. Of

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I r s HERE !Attention movie makers! I am complllflg a compl'ehenslve directory 01 amateur filmmak(!(s to beused by other a.malem fllmmak9fS. Everyone WOI/ldlike to see his orhef talents used. For more In forma·tlon, send SASE 10: S. South. P.O. Box 529, Pasco.WA99301.

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ClNEMAG/CII19 31

7/14/2019 Cinemagic #19 (1983)


FrontlightlBacklightAnimation

orHow I Learned To Stop Worrying

And Love My Optical Printer

Did you ever wonder why thebackground In stop·mouon

sequences looked grainy andth e models themse lves

d i d n Did you ever wonder what could

be done about it? To answer the lastquestion first, the only two solutions thus

far attempted Involve optical cornpositing and they are: blue sc reening themodel (which J don 't even want to think

i!lbout) and the frontlighVbacklight se·

quencing method.The FIB system has been around for awhile, and occesioni!llly works its way in to a feature or two (Dave Allen's Peterodactyl in Caueman used the FIB system

for someshots). BasiCl!lly, the method in·valves creating a matte while the anima·tion is being shot by sele<:tively frontlighting the model against a black velvetscreen on the odd frames while alsobacklighting the model as a silhouette to

achieve the optical matte on the evenframes, (Confused? Read on, it getsworse,)

Like any other system, this one has its

advantages and disadvantages, On thebad side, FIB can be difficult to shoot

under the best of circumstances, and themany optica l steps involved requiresome precision equ ipment and athorough knowledge of film quality con·trol on the part of the FX meiste r and hisprocessing lab to insure an opt imal 1m·

age. (When In doubt, ask a lab techni·ciano You may have to beat the informa·tion out of him, but his experience willusually be worth it.)

On the plus side , FIB works marvelously well with a variety of set·ups, manyof which would be difficult or impossiblewith a standard rear or front screen rig.

(It's just dandy for wire·brace effects-all

the strings get lost in the optica l steps.)Also, there is virtually no difference bet·ween the pictu re quality of the animation

model and the b(lckground plate,

resulting in a much smoother melding of

the two.For those of you with brave hearts and

a touch of insanity, (if you plan on doing

FX filmmaking, that insanity is a musI),the frontlight/backlight animation sys·tem requires the following : 1) Translucent screen (s tandard rear screen orfrosted glass will do); 2) Black screen(preferrably larger than the rear screen,

J2 ClNEMAGIC "19

By AL MAGLIOCHETII

black velvet stretched over a woodenframe works well); 3) Rear screen projec ·tor with oversized aperture plate (we'll

get to that later); 4) Optica l printer or access to one (must have excellent registration): 5) A compe tent lab; 6)A quantity of

hair to replace your own, after you starttearing it out.

With the exception of the blllCk screenand a few ext ra lights, the set-up is nearlyidentical to a standard rear-screen situa·

tion. The camera is angled to photo·graph the stop-motion figure, which ismounted in front of a translucent screenupon which an image of the backgroundplate is projected from the rear. The dif·ference in the FIB system is that the

background image is there {or line·uppurposes only and is no t re·photo graphed at this time , The aperture platein your projector should be filed down SO

that the FULL imageof the frame is beingtransmitted through the lens, File it sothe sprocket holes are visible, if neces·sary, ust to be sure the ful l frame is being

projected,

ALIGNMENTPosition the model so that it is lined up

with the background. The camera shou ldthen be angled so as to photograph both

the model and the projected image.matching up the camera's frame boun·daries to those of the background plate'sas closely as possible. (If your viewfinderhas a discrepancy, now Is the time to

compensate for it. Also. if you're using aBolex rex or (I similar camera. I would

strongly recommend the use of a gateprism to complete the line·up . ratherthan rely on 0 viewfinder- it ', mueh

more precise. and this step is reasonablycritical. You may now front light themodel, using what ever gels or shadow

ing devices necessary to match thelighting on the background plate. Don't

worry about l ight or shadow spilling onto

the screen and washing out the image,we won 't be using it anymore,

After the lighting is matched to your

satisfaction. turn off the projector andtake a l ight reading of f the animation

model, (preferrably an incident reading,although you can use a reflective meter

in conjunction with a photogr(lpher's

gray card,) Set your f·stop accordinglyand lock i{ of{, Next. l ight the rear screen

from behind with a soft white ligh

source; usually a photoflood bulb in ascoop will work well. either directly or

bounced of f a large white card.Now comes a critical point-balance

the rear light so that a reflective readingtaken of f the front of the translucenscreen calculates as approximately 21/2

stops under what you 've already set your

lens at. Let's try that again-the model isset and lit, you 've come up with a reading

o f oh, let's say f /4. We want the translucent screen to read as a white background, therefore, rather than monkey

around with different f·stops while shooting alternate frames (and thus changedepth of f ield-a definite no-no), we will

l ight the screen from behind so that are/1ect.ive reading taken of f the screen will

calculate as f/8 t/2, The reason for this isthat a reflective meter reads everythingas a middle gray. We want (I white, so wetake the f/8 1J:z thai the meter tells us we

need for a gray. add stops to it in our

mind and come up with f /4 ,which match·es the front lighting on our animation

model. How's that for balancinglightinglAl l set? Good! Now we can start,

SHOOTING THE SCENEFirst, slate the shot corresponding to

the sequence and shot number on your

storyboard (well, I hope you have a story·board, or you may be in trouble later on.)The slate should be in heavy black letterson a white card (or vice versa) and youshould shoot at least ten frames of it. It'll

help later on when you're looking for

it - ten frames are much easier to findthan two or three.

Make sure your model i , ,till in po,i

tlon (you can check it by turning on therear projection. which should still be Inplace.) Turn of f the back lights, turn of f

the rear screen and insert the blackscreen between the model and the rear

screen- taking care not to move either.Turn on the front lights and expose your

first front-lit frame. Turn of f the front

lights, remove the black screen and turnon the b(lcklights no t the rear projection,just the backlights. Expose your firstback·li t frame. Move the model to itsnext position, replace the black screenand repeal the process for the length of

the shot.For slow moving or still backgrounds

7/14/2019 Cinemagic #19 (1983)


AI Magliochettl checks 1M original checkerboard fronl ligtnlbacklighl an imation rootage from shot #27 of Dance Macabre before splitting onto alternate rolls ny skipframing it on the optical printer. The r e s u ~ j n g frootllght fOOlage (duped ontO EGO 7252 )15a sell·maning positive. The baCklight loolage is duped on10 high contrastblack & stock (7362) to make a foreground hoId-out mane thai Is bi-pac.ked in Ihe opllcal printer with tM live-action background plate.

you can periodicallycheck your progress ••••••••••between frames by turning on the rearprojector. Of course. if your backgroundplate has cho reography similar to theskeleton attack in Jason and the Argo·nauts, you would probably do well 10

check your set·up frame for frame. Theresul t should be a strip of f ilm with acheckerboard look to it- theodd framesblack , showing a color front-lit modeland the even frames showing a whitebackground with the model silhouettedas a black shape. Again, please be sureyou're metering the white screen proper·

Iy. If it is overexposed , it will give a softedge to your model and produce a hor rible m(ltte. If it ' , underexposed. you maynot be able to pull a clean matte from it.

FILM STOCKBy the way, we haven't talked about it

yet. but you should know a l ittle about

film stocks before we proceed. (Forsimplici ty's sake. I'm going to speakstrickly in 16mm terms.) For the firststep. as described above, I woul d recom·mend Kodachrome as your shooling

stock for several reasons: A) It registerscolors remarkably well (necessary fo r thefront li t element): B) i t hasa great deal ofcontrast (necssary for the backlit ele·ment) and : C) [t ha s about the densestblack you can possibly get from any co l·

Clockwise from above : 1) Matchmg up the lighting IIIthe Slllp-motllln model and toreground miniature tree

with the lighting III tile live-actioo backgrllund plateand lining up tile shill; 2) Metering the whitlt screen

with the front lights it!. The backlight should be baf·an<:ed SIlthat a rel/e(;llve reading of the while screenreads 2'h I·stops under an inc /den! (or rellectlvereading lilt agray card ) reading III the animalion

mode! fmnllight set-up ; 3) The black screen (in Ihlscase a velWlI draPEt) being put into pclsilion behindthlt animal ion mode! and miniature loreground treefor shooting the lron\-lit element III the Ilriglnal fronl·light/backlight foolage.

7/14/2019 Cinemagic #19 (1983)


The "6 " element of shot 127!s a high coolraslnegative of "A " used as a sky 110ld-out matte .

The' 'C" elernef11 of shol/27 is a high contrastreversal of " 6" used as loreground oold- oUI matte .

The "0 " element of shot #2715 tIme lapse footage 01

the moon and sky, used as a background plale.

or film stock (necessary for both ele·ments.) In addition, Kodachrome has aharder emulsion than most other film

stocks. and can take a little more abuse.Since this strip of film has to go repea·tedly through an op t ical printer , that isan

important factor.However, Kodachrome'scontrast is its

one major drawback. Since that contrastincreases substant ially with each genera-

34 ClNEMAGIC'19

The "G " elemeflt of shot the 61ten (ma tte )frames 01 element " E" aher optical separa tion, used

as a fOfeground tlOId-oul matte .

lion of film, the final composite may betoo con trasy to suit you. [n that case youhave two alternatives-either lessen

your contrast when lighting your front·lit

element (by decreasing your key-to·fillratio) or use another film stock, namelyKodak's ECO 7252. ECO is a low con·trast Ek tachrome stock which was de

signed (believe it or no t) to be printedanother generation. [ normally use ECO

The ' ' I ' ' element is an opllcal combination 01 " 6"and "G." ThIs element is bi·packed with " A" to expose lhe running thieves in the graveyard wh ileholding out the foreground and the sky. Then tlack -wind and expose .oF'· by itself (the black back ·ground creales lis own matte) , This completes lheshot wilh 3 passes on the flnal strip of 111m. Thecompeted shot appears on the next page.

to shoot all my background plates. reo

gardless if the non·optical footage is being shot negative or reversal. If it's nega·tive. the ECO op t icats are re·photo

graphed onto dupe negat ive stock in theprinter. This cuts very well with Kodak's7247 negative stock . If it's reversal, theECO is re-photographed onto ECO andthe resulting optical is hard lydiscernabtefrom Ektachrome reversal stocks 7241or 7242, bo th of which are higher grain,higher contrast stocks and are unsuitablefor op t ical w o

Choice ortilm may also depend on thetype of shot you're compositing. Kodachrome's high contrast may took totally

out of place if the background plate sug·gests a cloudy day, but the same con trastmay work to your advantage (as it did

with us) if your shot takes place in agraveyard at midnight by the ligh t of thefull moon. For the record, we shot thegraveyard plates at high noon and mat·ted the moon and clouds on top of every·thing else-but that's another story.

So much for quality contro l , back tofrontl ghtlbackl ght.

DUPING THE ELEMENTSThe nell t step involves putting the

checkerboard footage from your table·top setup intoan optical printer and spl itting it onto two different rolls: 1) A color

positive and 2) a silhouetted matte. This

7/14/2019 Cinemagic #19 (1983)


is done simply by setting the printer to

reproduce on a I: 1 copy ratio (again, agate prism is advised) and skip framing.After reshooting the slate, print all theodd frames only (the front -li t ones) onto

ECO 7252 film (now you need the lowcontrast). If you 've made any sequenceerrors in shooting (Le., shooting twofront· it frames in a row, etc.) they may

now be corrected by skipping over the

bad frames.

After all of the front lit shots have beenduped (you can do them all at once) youmust go back and strike the matte ele·ment. Re·load the printer with black andwh ite film. but do not change the set·up.This will insure a precise line up betweenthe color footage and the matte.

The matte frames should be duped on·to a high contrast black and white stockknown as 7362 or simply "Hi Con." Thefilm has a very slow ASA (about 6)along

with a dense black, a dear while and veryfew gray tone.;, making it ideal for mattework. However it also has almost no elt·posure latitude (sometimes eltposure is

critical to within 116 of an f-stop) and itproduces a very hard edge to the image,which may not be acceptable if you havean object on film with a lot of hair or insoft focus.

Under circumstances such as theabove mentioned, it is possible to useKodak 's 7361 Release Positive stock in·stead (in some cases only, mind you).Release posit ive is actually a ow contraststock. however, it will give a soft edge to

the matte, resulting in a smoother com

posite. Unfortunately, Release Pas's

black is nowhere near as dense as HiCon's and in certain instances a very light

background plate may print through thematte in the final composite, resultlng ina ghost image or "matte bleed:' (For aclassic example, see snow speederscenes in The Empire Strikes Back.)

Please note: 7361 and 7362 are both

positive film stocks (not reversal- posi·

tive) meaning they were designed to beused with a negative to yield a positiveprint. If they are processed normally, you

will gel a negaliveimage.lt would then beadvisable to have the lab strike a positivefrom this negative to create your finalmatte. I say advisable because it is, infact, possible to process both 7361 and

7362 as reversal f i lms-i.e., with a

positive image. This usually isn't a goodidea because the film 's emulsion can'ttake the elttra reversal processing stepswithout picking up some problems,

namely emulsion shrinkage(or swelling)and haloing (softening of the imageedge). In any case, you'll find that thematte will no longer fit. The extra step of

going negative/positive will cost a fewbucks, but it'l l be worth i t- trust me, I

learned the hard way.Anyway, we 're now at the final step. If

you've followed the hectic process so far ,you should have three pieces of film: l) a

low contrast background plate-shot onECO 7252 or some similar stock: 2) astrip of front·lit animation against ablack background (2nd generation, be·cause of the skip framing, and, hopeful·ly, also duped onto 7252, and: 3)another

strip with a positive matte of the sameanimation (i.e., a black image on a clearbackground-most probably done on7361 or 7362,) Al l three strips should beon separate reels or cores and have

leaders. slates and sync marks at thehead and tail of each.

OPTICAL COMPOSITINGThe rest is easy, especially if you've

gotten th is far. Simply bj·pack the matteelement with the background plate in theoptical printer and re-photograph it.Then rewind the raw stock back to the

sync mark and print the front·lit animation over it on a second pass. Since theanimation was shot against a blackscreen, a background matte usually isn't

necessary. If, however, the black back·ground has lost a l ittle of i ts density due

to all of the optical steps and you thinkthere's a danger of ghosting you can: A)underexpose that element slightly as youre·print it or; 8) bi-pack it with thenegative of the matte element, thus bloc·king out the background entirely.

Well, there you have i t -a completed

optical that would please even the sharpest of critics. Of course, you could jaI l itup a bit by matting out the daytime skyand replacing it with a star field, or

rotoscoping holdback mattes fo r certainforeground elements on your plate for

the animation to actually move behind or

through, , ,b ut that's another story. ( I I

Lelt: AI Magliochetti animates the stop'motionskeleton model with the black screen in place forthe lrontlight/backlight animation footage elementsof shot ff27 in his film , Dance Macabre . He is mov·ing the animation model Into its n e ~ t position beloreshooting the next trontligtll trame. Below : The finaloptical composite (taken from an answer print thathas not been I corrected or timed) at shot 127

' " ! E " . ~ ~ ~

7/14/2019 Cinemagic #19 (1983)


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