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It was one minute and twenty seconds long—no one put any limit on length, and this is how long his song ran! We took the loss. It was really the birth of television commercials. Independent filmmaking in Hollywood was drying up; even educational films suffered. But he really wanted to be a cameraman. If a product could float in mid-air and wrap itself up— boy, that was class!

The most famous ones were the dancing cigarettes for Lucky Strike done by Bob Janess, a Pal animator who preceded me to New York in the late forties. And I could do stop motion and tricks. Our cameramen are only two-dimensional. Bernie introduced me to optical printing, which was very valuable. Now, many commercials were being done in Los Angeles at Hal Roach: they were just beginning to open their doors to them. The agencies loved to come to Hollywood.

But for some reason or other, almost all of the effects that were done in Hollywood were done over by us in New York. Perhaps it had something to do with the bi-coastal cost. Agencies are notorious for changing their mind after the fact. Miles Pike was the head animator who for years brought Speedy to life; John Abbott was the cameraman; Tom Corlett started there as a model- maker; he presently works with Kellison at Coast.

Soon, the two companies merged—Pathways was going broke and Swift-Chaplin wanted to tap the stop-motion market. Those two products kept Swift-Chaplin rich for years. Finally, we were married and left for California in Johnson put Kellison to work on a job making real horsemeat steaks fly through the air for a dogfood commercial. But by the time I got processed and was on the lot, all the model work had been completed!

Since I had been a cameraman, I found myself in the animation camera department. He supplied the talent. The color layouts were dazzling. But the film was never made. He found them so lucrative, he started a new outfit called Storyboards. I was called in as a production manager and stayed on for a few years.

I and thirty people were out of a job. The few who remained formed a company called Quartet, which became a long- running cartoon facility. Kellison did. I would run the printer, doing whatever opticals were re- quired to merge animation with live action jj commercials. We were doing OK. The scorpions all went off to one side of the frame. The Giant Behemoth followed, a hastily- written film reprising The Lost World's brontosaurus attack on London here, a paleosaurus , with live action directed by Eugene Lourie, who five years earlier had done The Beast From 20, Fathoms.

He adhered to the idea that you can lose money on every show and make it up in volume. OBie needed some miniatures made. They were working cranes, yet they were set up so they could be animated and collapse. It was such a long walk from the end of the setup to the camera lens.

OBie was using a 20mm lens. There were no blueprints. There were many vehicles on the upper deck; some were very distinctive. We even had a lumber lorry. Producer Dave Diamond and Rabin looked at it, then cut it into the film! The eccentric miniature was similar to the mechanical brontosaur in King Kong. The base of the neck was fixed to a board, and control cables were worked by three levers. One arched the neck, a second one raised or lowered the head, and a third worked the jaw.

The script called for the monster to arch his head under the boat, turning it over. That was the intention. However, there was a very impetuous technician on the set. He got so excited working the levers that he broke them all! During rehearsal, it worked fine. The tank looked strange. Without my knowing it, matte painter Irving Block put a pile of sand on a table, stacked up a bunch of film cans and took a picture of it. Then he and Rabin doubled in an explosion over it!

Phil Kellison operated second unit camera for fifteen days on an outdoor set erected on an Army barge off Catalina Island. Tom did the original test on one of the creatures. Jim Danforth came in and animated the most difficult scenes. Soundtrack Composer. When 1 watch a film, I believe one of the most powerful forces at work is the music. In it, one can feel action, suspense, romance, beauty, or just about any other feeling. One way or another, the composer knows how to get you there, and keep you locked in a world all his own.

Utilizing the Casiotone CT E. If you are interested in a soundtrack for your film horror, sci-fi, fantasy, adventure, space, romance, etc. This movie is projected to be at least one hour in length, and will be filmed this summer, but I need additional people. Coral Springs, FL Virginia Filmmaker. If there are filmmakers in the Charlottesville, Virginia area who wish to collaborate on a film or just correspond about current film projects, contact me at the address below.

Russell Richards Trailridge Rd. Charlottesville, VA Prized Possession. Also, I would be more than happy to pay back all material and mailing costs. See the back issue ad in the this issue. Super-8 or 16mm? But which one do you think I should get? Maxwell Drain Easy Plex , Camera choice is always a tricky question, but you are really picking between S-8 and 16mm. I suggest that it is a question of how much money you want to invest in filmmaking. Are you thinking in terms of career, or is this just a weekend hobby?

On the other hand you can do more, better and easier. If you have an eye on a pro-career, you will probably have to make your own demo reel in 16mm. Also, the Bolex HI 6 is a great camera and will last a lifetime. A good number of people seem to be looking for budding filmmakers in their area. I live in Hamilton Steel City , Ontario, Canada and I faced the same problem of trying to find other filmmakers in my area.

Within one week 16 people had contacted me. Fourteen people showed up at a meeting. Three close friends and three short films have emerged since then. Keep it in your local area and your general age group. Above all, be well organized in what you plan to do. I have found a time and money-saving way to create latex face appliances without plaster casting.

I am interested in getting in touch with other filmmakers or makeup artists in the San Antonio, Texas area. I am currently serving the last of a four-year enlistment in the Army. They do some of that in the Army, but the majority of it is contracted out to civilian firms. For the most part, the 84C jobs have been phased out. Almost no one in the Army shoots film. Most of us end up developing black-and-white prints in a still photo lab somewhere or driving a jeep.

Most places have been switching over to video. If you are lucky you might get to shoot video. It depends on luck and where you get stationed. You have to sign up for four. There is no easy way. The competition for the good jobs is just as stiff in the Army as it is on the outside. Maybe more so. And there are obstacles that you never dreamed of. And the bad jobs are the pits, to put it mildly. If you join the Army you have no way out for four years.

For me, those four years have been almost a complete waste of time. Wes C. When I watch a film, 1 believe one of the most powerful forces at work is the music. Still, there is not a showcase for most of the tight-budget films in your listings.

Thomas D. I am 17 years old and have been making simple short films for about one year. One method that gives better results is to use bleach. Using a very fine brush you can bleach the color out of the film leaving a white streak that does not have the tell tale sharp edges that one gets when you merely scratch the emulsion off. I recommend you clean the film before running it through your projector. His User I. He can also be reached through M.

Mail Due to the enormous volume of mail received, the editor regrets individual replies are impossible. Each are sensitive enough to produce high quality pictures. Model PK portable video camera features infrared auto-focus, power zoom, and is equipped with an automatic iris and record capability down to 20 lux of light utilizing a Vb-inch Newvicon pick-up tube.

The PK also features a backlight compensator and lines of horizontal resolution. The lightweight 2. Panasonic equips the PK with a Vb-inch Newvicon pick-up tube with 30 lux sensitivity. Model PK is currently available. The suggested retail price is open. The Konica 8mm video tape will be produced in a metal particle formulation.

The Konica 8mm video tape will be available in the fall in two lengths, 60 and 90 minutes. A minute length will be on the market at a later date. The tapes will be available this fall, in T and L lengths. In addition to the dust cover and head-cleaner unit, the pro kit offers customers three extra-high-grade T or L cassettes, giving users a better product for repeated recording and playback, among other advantages over a regular grade cassette.

The system uses a two-inch floppy disk to store still images of what is displayed in the viewfinder. The compact, battery operated Konica Still Video Camera weighs 2. The camera operates in two modes—single and continuous, which allows 50 frames of video images to be recorded on one video floppy. The image is recorded on a V 2 -inch CCD that can record up to , pixels.

The Konica Video Player portion of the system is also compact and plays back what is recorded on the floppy disk in single frame or continuous frames. It also features frame and field playback modes, and forward and backward track selection. The video floppy disk measures approximately two inches and weighs Va ounce. It can also print out any frame of video onto color paper creating a 5" x 7" still print. The printer can be hooked up to any video source and print out the video image from that source onto photographic paper.

Please take a couple of minutes to answer five simple questions that will aid us in planning the kind of science fiction, horror and fantasy weekend that you will enjoy. Thanks for your help! Must be a major city of over , population. He demonstrates—with extensive reference to files kept in the Doctor Who Production Office—how the impact of this extraordinary phenomenon has traveled throughout the world.

He traces the many changes the series has undergone since the first episode was broadcast in November This extensively illustrated special publication, with twenty-four pages of color photographs, is a superb follow-up to the runaway success of W. Who Theme" "Dr. Tomb of Cybermen. After performing as a magician for several years, Chorvinsky decided to concentrate his energies on bringing his magic to the silver screen.

The result of his efforts—after years of work with many pe 9 ple who volunteered their time and talents—is a minute special- effects extravaganza film called Strange Tangents. Strange Tangents is, appropriately, a story deeply rooted in black magic and the occult. Aria has decided not to pursue her magical studies any further and is reluctant to visit him as he lays on his death bed.

A voice calls to her as she is browsing through a museum of occult objects and biological freaks. The voice instructs her to remove a small stone amulet from its exhibit case, which she does by invoking magic. Meanwhile, the wizard is in the throes Above: Director Mark Chorvinsky at the camera.

His face becomes molten and sprouts volcanic fissures. His eyeball pops out with the popping sound of a champagne cork and then rolls down his slime-covered cheek. He groans in agony. He was never dying or even sick. Most recently his skin has become covered with rock platelets. The Master spasms and suddenly becomes rigid. Molten lava pours from his eyes and from between the rock platelets that compose his face.

The poor girl has no choice now but to become a full-fledged sorceress and practice black magic for the rest of her days. Aria furiously grabs the talisman and teleports back to the museum. The special effects play a pivotal role in telling the magical story of Strange Tangents and they are dazzling. Chorvinsky set up his own studio and produced all of the effects in-house.

Newt was in a larger scale than the set he was in. We had to make a in dentritic patterns. Then, we had to animate Newt coming out from behind the Scotchlite matte. In effect, we sandwiched Newt between two elements of the background.

We had a pin- registered live-action plate showing Aria behind a table. Newt comes into the frame and walks over next to Aria and behind the same table. Then, Raven another live-action character comes in and stands next to Newt.

The shot shows a stop-motion character Newt between two live-action characters and also behind the same table as them. It was all done in-camera without having to resort to opticals. The particular scene mentioned above is pure movie magic. All of the optical effects in the film were done in house at Chorvinsky Studios. The illusion created in this shot gives you a valid excuse to go beyond reason and believe in a walking, talking, living salamander that dabbles in magic.

He also machined the armature for Newt and has just finished a fantastic armature for our next film, Creatures of Darkness. Michael Baker—an amazingly talented miniature builder and sculptor—did a great deal of the fine detailing. He did most of the scratch building and original sculptures that we used.

Greg Snook did all of the lighting on the miniature sets and many other people donated their time and talents. Most of the action in the film looks like it takes place on elaborate sets. It actually takes place in front of projected large- format transparencies of our miniature sets. Next, we took the front-projection composited film of the actress and the miniatures and front projected that onto a piece of Scotchlite in the doorway of a second miniature set. In fact, there were no rooms at all.

In effect, we put our actress between two large miniature sets. The wizard has become a mass of jelly-like goo, oozing slime from every pore in his body. Suddenly, his eyeball pops out with a cork-popping sound. When we blew air into the dummy to make it pulsate, the eyeball just popped out because of the air pressure behind it. I loved the effect, so I left it in the film and simply popped my cheek by sticking my finger in my mouth to create the sound effect.

Raven in the miniature den via front-projection process photography. The miniature fireplace is actually six inches tall. A 10 ft. It was selected for the next Filmex in Los Angeles. They saw what we were doing and wanted to get involved. During the final six months of post- production, I hired six people to work full time in my studio and create the effects. If all goes well, I hope to have Creatures of Darkness ready for release in about three years.

Aria throws a magical force bolt into the museum display. Light animation was composited in camera with live-action. S ynthetic flesh! Synthetic flesh! X in a climactic scene from the horror film as he reshaped his features with handfulls of a dough-like, pliant material. With his natural face suitably altered, he would leave his lab to kill in safe anonymity. Modern makeup craftsmen have more cordial intentions when they compound the mixtures they use to replicate human skin. They alter faces, and simulate life with a variety of flexible materials.

Each material has drawbacks and advantages. Makeup and special effects artists live and work in a perilous sea of toxic chemicals. Dont drown. It con- I sists of two liquid components which M react when mixed together at room temperature to produce a flexible, opaque 1 white material.

Please allow 4 to 6 weeks for delivery U S Funds only No foreign orders, sorry. The great elasticity was imparted to the material through the addition of a plasticizer sold by the same company. Smooth-on cannot be applied to human skin and seems to be only suitable for constructions.

The dry sealer must be coated with a suitable release agent such as Sonite Seal Release or a silicone-based release agent; these are allowed to dry before pouring or brushing the Smooth-on into the molds. You must use an accurate scale to insure a successful positive. The is mixed with the paint using a ratio of about one part plasticizer to five parts paint. This will take hours to blend together and will not work if used right away. Smooth-on can also be colored with conventional theatrical makeup materials.

Although nearly odorless and seemingly harmless, the chemicals in the mixture can cause allergic reactions in the lungs leading to ashmatic attacks and respiratory distress. They may cause liver and kidney damage. Do not work with polyurethanes without a respirator approved for use with this material. Do not get it on your skin. Use it only in a vented area. The cured plastisol moves and feels like flesh. And more! New equipment reviews, how to contact other filmmakers in your area, low- budget tricks and tips.

Unlike Smooth-on, Plastisol is translucent when properly pigmented, giving it a realistic skin-like appearance. These are added sparingly to the heated material. Over pigmentation results in an opaque rather than translucent skin. The heated Plastisol is poured into warmed plaster g molds. You can also use permanent ink markers to color the material.

Even when Plastisol cures at a low temperature, it produces disagreeable fumes which should not be inhaled. Use a meat thermometer to monitor the temperature. The solvent in the Plastisol is also toxic. Do not breath the vapors. Some Plastisol pigments contain lead; do not get them on your skin. Like skin, it is slightly translucent.

Makeup artist Kevin Haney created the stretching head for Chud using Skin-flex. PVA is like a water- soluble plastic cap material. There may be problems if the soap is still moistwhenthe Skin-flex is poured into the mold because Skin-flex is moisture sensitive. The Skin- flex had to be cured at room temperature because an oven cure would have melted the materials blocking the moisture in the plaster from the Skin-flex.

He used Crazy Glue mixed with baking soda as an adhesive. Polyurethanes are very dangerous to make. According to the CJ. Exposure can lead to allergenic sensitivity. This material is dangerous. Do not inhale its vapors. The gelatin skin has the translu- cency and weight of real flesh and can be applied directly to human skin.

French told me that the oriental eyelids from the film The Good Earth were made of gelatin. More recently Stan Winston chose gelatin to create an array of robot facial appliances for the big-budgeted but seldom seen picture Heartbeeps. Lance Anderson use gelatin to create the skin of the starchild in Ed French used gelatin to create Hugo—a strikingly realistic corpse for use in the feature film Chud. The bloom gelatin granules are slowly poured into the hot glycerine; they are stirred until liquid—this may take fifteen minutes.

Tints are added at this point. Too much pigment produces opaque skin. Sparing use of the pigments produces skin that has the translucency of real skin. The mold is rotated as the material cools in order to build up an even thickness of about one inch. I used expanding styra- foam to fill the core. The gelatin construction was demolded when it was cool.

This material, however, can melt if it is exposed to high temperatures. The following formula will produce enough synthetic flesh to make one human-sized head: grams of percent-pure glycerine, plus grams of bloom gelatin. A low bloom number is less strong that a high one. Methocel Modeling Material Here is a formula for a synthetic flesh makeup material devised by the master of that art, Academy Award winner Dick Smith. Dick Smith assumes no liability for the use of this material. It can be spread on the skin with a spatula.

It is excellent for making extensive scarred areas. Model roughly, then smooth with water on fingers or brush. You can use it to create features, but since its surface cannot be made really smooth, it is only suitable for characters with very rough skin. Use glycerine on your fingers to get it as smooth as it will go.

The basic formula follows: 20 grams Dow Chemical Methocel K15M premium standard is ok, too mixed into five ounces of boiling water. Add and stir in 50ml glycerine. Add and stir in food color optional. The transparent paste that results will turn moldy unless refrigerated.

It can be preserved by adding 0. That would be one gram of Paraben in grams of liquid. Water use distilled must be heated until the Paraben will dissolve. MMM must be sealed to prevent it from drying out. Plastic cap material works fine as a sealer but it may be picked up if brushed over too much. Pat it on with a piece of white foam sponge. Put a thin sealer on the skin area to protect it from staining.

Apply a thin layer of MMM blood color and blend off the edges. Seal the edge area but not the central part. Use a bit of water on your finger to get a clearer effect. Use Panstik to blend off the edges. Rick Baker chose it for use in the creation of the remarkable apes of Greystoke. There are so many variables to keep track of that there is no alternative but to keep explicit written notes. Now my McLaughlin foam gels.

Sometimes simple materials are the best ones. Nose putty and Derma-wax are made for direct application to human skin. Derma-wax is softer; nose putty is more adhesive. Derma-wax can be shaped and blended more readily; nose putty is more durable. A half- and-half mixture of nose putty and derma- wax eliminates some of the disadvantages of each.

They can be blended in a double boiler and poured into a container to cool. The edges of derma-wax can be blended into the skin using alcohol and a soft brush; putty is blended using cold cream. Synthetic Flesh! Sample about V 2 quart on request. Louis, MO , Alcone Co. BJB Enterprises, Inc. Borge Pharmacuticals: Gelatin. Callahan Chemical Co. Box 29, Ridgefield Park, NJ , Where is the Life of the Monster? The Eyes Have It. Monster makers need convincing eyes to convey life in their creations.

The life is in the eyes, and a fake looking pair is nothing but a dead giveaway. Here is a list of eyeball supply sources. Taxidermy supply houses are a very cheap source of eyes and pupils; animal eyes are painted by hand and the quality will vary greatly with the skill of the artist; the more expensive eyes may not be the best.

You may have to set the pupils into white plastic resin. Corneal lenses cover the cornea only. Scleral lenses cover the white of the eye as well, disguising the entire visable eye. The price includes painting the lenses to specifications. Where is the life of the monster? The eyes have it. Schoepfer, Inc. Prices are high except when ordering in quantity 50 pairs or more. Jonas Brothers, Inc. Animal eyes. Low prices. Strange Tangents continued from page 21 recommends the book.

He has for the last two years attended special effects seminars in London at the Pinewood Studios. And, of course, continue my own films. CM Chorvinsky Studios has its own computer-assisted animation stand. All the opticals for Strange Tangents were done in-house.

The live-action crew readies a shot for Strange Tangents. Entry forms and contest rules are available for the asking. All winning entries will be screened, trophies will be presented and there will be a reception afterwards for winners and celebrities.

Video monitors in the exhibition will show scenes from these and other classic and modern Hollywood movies. The principle is an old one, but still quite magical. You can use theseamazing patterns to create your own brand of visual effects for almost any type of film.

White is best, but you may as well make a few copies on color stock for later use. Bright red and yellow will offer excellent contrast to the bold black lines of the design. The sample pattern sheet is only one type of possible design. You can easily devise alternate patterns and draw them on stiff paper with pen and ink. Featuring: The Magic of Filmmaking. Straight lines, zig-zags, or concentric circles all work well for moire effects.

Step 2: Have the printer make a good transparency copy of Figure 3. A transparency has the design on a sheet of clear plastic instead of paper. Many copy machines will make copies directly onto clear acetate as well as paper. Try color copiers to create color moire line effects. Most printers make them for teachers to use on overhead projectors and they should also be the same size as the paper pattern original.

Varied patterns will form, but Figures 4 and 5 show two possible results. Step 2: Slide the upper sheet up and down. This creates a display of shifting moire lines. You can also slide the upper sheet in a small circular path to generate a wavy, liquid effect. You can make a title sheet with dry transfer letters. The letters are applied to a sheet of clear plastic such as a report cover. Center the title sheet on top of the upper moire pattern sheet.

With the camera on a sturdy tripod, frame the title in the camera viewfinder to make sure the title is properly centered. The moire patterns will seem to swirl around your title like a living background. Figure 6 offers a different approach. The title sheet has a cut-out area, the title itself printed on stiff opaque paper.

You can also backlight the moire display, but be careful to balance the top lighting to avoid underexposure of the title against the bright display. Another use of simple moire displays is creating unusual screens for computer read-outs and alien console displays in full-size sets. You might want to use a clock motor or some other type of slow turning motor to turn the paper disk in such props. With a bit of thought, moire patterns can be applied to many different visual problems.

Available in light or dark flesh, or neutral color. Specify Color Item A 1. Also used as substitute for spirit gum. Item E 1 oz, w. The Blood Boutique is designed to solve that particular problem. We welcome your comments and suggestions for the possible improvement of this service. Includes creme foundations, shadow, cosmetic brushes, latex, pencils, putty-wax, powder, stipple-sponge and more! Rigid Collodion— when brushed on skin, dries to a scarred appearance.

Can be shaped or removed with an acetone solution for instance, most nail polish removers. Flexible Collodion— used to put a seal ing "skin" over latex, wax, or putty. However, the following items are perfect for those special occasions.

Be sure to test it first though! Not to be used in the mouth. Item K 16 oz. We pay the balance of postage on any size order. Bite into 'em—they mix with saliva to produce plenty of you- know-what. They taste good, too! The wide variety of available colors can be mixed to any desired shade, on pallette or on skin. No Teeth! Please include a photograph of some phase of the production if possible. A nightmare on film.

Super-8, sound, color. Running time: 45 minutes. Prairie Ronde St. This film begins in and works its way up to It follows the campaigns of Hitler himself, the rise and fall of Himmler, and the Africa take-over commanded by Rommel. All the main characters do eventually die and it is very accurate. Director: Danny Rodriguez. Producer: Greg LaFollette. Video tape with sound. Running time: About two and a half hours. The Hallucination Examination.

Cast: B. FX in elude: light saber and slow-motion effects. Welcome to the Reel World. Additional humorous material by Glen Teboe. Super-8, color. Running time: 8 minutes. The American Sports Person. FX include: Stop motion, miniatures, explosion. Super-8, color, sound. Running time: about seven minutes. The Final Dub. A young filmmaker struggles to complete a short, horror video film.

Something strange happens, and no one wants to be in the final cut. Theme and underscoring: composed and performed by Mike Koppelman. Super-8, color, two-track sound. Running time: 13 minutes. Mark L. Pederson, Chestnut St. An ordinary film is interrupted by a special bulletin showing numerous UFO sightings around the world. After several commercials and more bulletins, we are taken to the landing site—a junior high school athletic field—for more extensive coverage. An enormous spaceship with flashing lights dwarfs the school building and comes in for a landing.

Makeup: Freddy Carradero. FX include: laser blasts, matte shots, makeup, sound effects, animated glass matte shot. Running time: 15 minutes. Three and half years in the making. Claymation permits the characters to blink and show a range of emotion as well as change from one shape into another. To achieve this effect, sculptured figures are changed twenty-four times for each second of finished film or , times for the ninety-minute film.

Hialeah Vice. A spin-off of the series Miami Vice. A young vice team is after a notorious crime lord who seems to have an escape from every struggle! Director: Jose Menendez. Cast: Alex Barreto and Juan Menendez. Super-8, color, music on seperate cassette. Running time: 10 minutes. Aljogui Productions, do Jose Menendez, W. H, Hialeah, FL That night one of the friends gets killed. Who will survive? FX include: full-size mechanical wolf, blood effects, sound effects.

Running time: minutes. Rigg, W. Glen Park Ave. D, Griffith, IN, Making Canines. Running time: 5 minutes. Pictured are Linwood C. Included are articles by L. Hundreds of rare photos illustrate a volume that discusses effects from the turn of the century through Star Wars. Basic principles are discussed and clearly illustrated before turning to detailed discussions of such films Cleopatra, Fantastic Voyage and Journey to the Center of the Earth.

For many years Abbott was head of special visual effects for 20th Century Fox and he speaks with the certain authority of first hand knowledge. The personal memoirs of Joseph Walker in The Light on Her Face are a virtual history of motion picture photography since the days of hand cranked cameras.

Walker was recently honored for his many contributions to film art and technology among which is his invention of the motion picture and television zoom lens. All books are available from The American Cinematographer, P. Box , Hollywood, CA The fourth edition contains over new illustrations, many in color. Nearly every chapter has been reworked to reflect the latest technical methods concerning this aspect of the industry.

Published by Focal Press, the book is scheduled for September, Gifted makeup artist Vincent Kehoe has been one of the leading professionals in this field for nearly 30 years. His new work is twice the book of any other on the subject. Along with the hundreds of techniques and methods addressed, this volume gives a complete overview of makeup and its role in the performing arts. This unusual and exceptional book will enhance the skills of all those involved in makeup for film, TV or stage.

This book is scheduled for October,

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