Cinemagic #14 (1981)

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..._ . : ClliII'l" W. JO<1"

Wllh. >eel.,., of Il i .. ."'.nlha t " I'INdlnglor "endelVOUO wnh .... Ien c ... llU

100<1

In h . film . AI LIr/'"Story 0<1 page 30.

A ",o<IuctlO<1 0' ll iromChip G a l b < a " ~ . I r . e . t film .rha Ra",.. . l.IIV . Thefi:m " 0<1. of Ihl, ......e· .Produce . Bulletin Soardenl,,". See Pa2e 22

7/22/2019 Cinemagic #14 (1981)


CONTENTSNumber 14

Editor's Electronic Books 28

Bench 4 Special16 ....... "'m

....- = : ; : .

..1 information w>d \eC1riq'-"'5 for lIMo

S b dEffects " m ~ ••."''''''. """""

tory oar - -ing 6 ( . . . . . : ; ' l l ; l ; l lIt ! I Cinemagic

, ,

! 5 ! f , : ' 8 t ~ ~ ! 5 t_ .. • ' . . !

...." ,

_ TKW

,

Fihn Contest

Rules - 12

TM 19a1 or£JIoAGICIs-JA Short P e

s.:wch ~ i t d<-v.g.- Eligibility~ w>d f\IIe$ . e on P"II" 12.eoIorIg with toone 01 IllS! yeao-',...-...DonI n'IISI o.A!

Fihnmakers'Forum _ 14

' ' ' ~ ' W I . t ~ 1Market- 29_. - - ' ~ ~ ~ f r - place_,. ' ~ ~ . - . d

Bui ' j ) , ow .. . . . . -eo. F . I oI$ound."ChIlI SteYens Iohows )011 how to build

)'OUr-.. <IIIt\d .tr1l!ClS ~ a t D f

Producers'BulletinBoard _ 22

-Low BudgetDevasta-tion 30

F ~ r n r n a k « f ~ Sippon""'" KeW\

SmyIh ......... )OU how to C f N l ~ a deoms·t/leW <:it)' In mlniato.n-cheap!

Charles 33Jones _

7/22/2019 Cinemagic #14 (1981)


(q///I/'Irfl/f= =j •._--Issue #14

......hed.,.O'OONN STUDIOS, INC.

475 Park Ave. SouthNew York, NY 10016

Pabllah .. .Norman Jacobs/Kerry O'Quinn

A.Mdate PubII....RIte Eisenstein

Ckcalatlo. Dlrecto .

Richard Browne

EdIto .

David Hutchison

D• • . . ..,..-ectoI'Cheh N. Low

De .......

Robert Sefcik

M.agI.g EdItoI'

John Clayton

EcBtodaI CoDtdltuton

Charles JonesJerry Parisi

Damon Santostefano

Steve SippinKevin Smyth

Chris E. Stevens

Art8taft

Laura O'BrienKaren L Hadell

......... A. . . aDbJoan Baetz

Eileen DempseyDavid GilmanCindy Levine

Nancy Reichardt

. . . . . . . . . ofCUlDlAGIC

Don Dohler

AdvII1IIIng1nformIIIIon: RIAl EiHnIteIn(212) 652830

About .... cover: Charles W. Jones ofKnishtstown, Indiana poses with twoof the p a ~ u i t s that he made for hisfilm, At Light. The story begins on page30. eover'photo by Jan Skipo.

9

4 ClNEMAGIC #14

Editor's

BENCHIt's ContestTime!

This is the last issue of ClNEMAGIC thatyou will read before the deadline of his year'sShort Film Search. The complete rules are printed on page 12, but be sure to sendin for your official entry form (information and address on page 13).

The sponsors of the contest, New York's prestigious School of Visual Arts and CINEMAGIC, have introduced a number of changes in this year's competition. Many of thecontestants expressed a desire to know how their scores ranked among all of the entries.According ly, this year we are instituting a " report card" that will be mailed to each entrant.The card will show scoring in points in each of he udged categories. Entrants will be ableto determine how close their film came to being accepted in the finalists' competition.Ranking of the finalists will of course only be revealed at the awards screening in

November.Additionally, there will be a notation on the card indicating that you and your film are

being considered for coveragein the pages of CINEMAGIC.This may have no bearing on

the status of your film as a finalist. You may be selected whether or notyou actually qualify

as a finalist. As I've often pointed out, contest requirements and editorial requirements arenot the same.

Last year the screening was held at the Beacon Theatre (an old, restored giant moviepalace). This year, in spite of the fact that nearly one thousand spectators attended lastyear's finalist screening and awards ceremony, we will be located in amuch smaller house,in the interest of a better projection environment for Super-8 and 16mm. We would ratherhave to turn people away from the door in order to insure top quality projection than to

have poor projection in an enormous theatre. I think that filmmakers will be pleased to seetheir efforts projected under the best possible circumstances. Other than those changes,the format is generally the same as lastyear-so get those entry forms and films tu rned in.

• • •Eastman Kodak has recently announced that there are new Ektachrome movie emul

sions available in Super-B. We have not received test samples, and we would appreciate

comments from individual filmmakers regarding the differences-if any-and improvements that they have found with the new Ektachrome emulsions. Letterswill be printed in aspecial section of Filmmakers Forum

-David Hutchison

CINEMAGIC is published bi-monthly by O'QUINN STUDIOS, INC ., 475 Park Avenue South , New York. NY10016. ISSN0090-3000. This is issue Number 14 (Volume 3, No.2) Content is C> Copyright 1981 by O'QUINNSTU DlOS, INC . All rights- reserved. Reprint or reproduction in part or in whole without written permissionfrom the pl,lblishers is strictly forbidden. CINEMAGIC accepts no responsibility for unsolicited manuscripts,photos, art or o ~ e r material , but if freelance submittals are accompanied by a self-addressed, stampedenvelope, hey will be seriously considered and, f necessary. returned . Products advertised arenot necessarily endorsed by CINEMAGIC. and any views expressed in editorial copy are not necessarily those of

CINEMAGIC. Subscription rates $9 .98 one year (six issues) delivered in U.S., Canada and Mexico. foreignsubscription $12.98 in U.S. funds only New lublcrlptlonl: send directly to CINEMAGIC. c/o O'QuinnStudios, Inc ., 475 Park Avenue South , New York, NY 10016. Notification of change of addre.. or renewall

send to CINEMAGIC. Subscription Dept. , P.O. Box 142, Mt. Morris,lL 61054.POltmalter: Send form 3579 to

CINEMAGIC, P.O. Box 142, Mt. Morris, IL 61054. Printed in U.S.A.

7/22/2019 Cinemagic #14 (1981)


THE GUIDEBOOK FOR FILMMAKERSThe authoritative guide to Super 8 is backin a newly revised edition . With the latestequipment and prices, the latest systems

and techniques for serious users of theSuper 8 medium .And ... a sturdyspiral binding!

second ed ition

SPECIAL OFFERTO CINEMAGICREADERS: THE

HANDBOOK THAT WILLHELP IMPROVE YOUR

SUPER 8 CRAFT.

Get yoYr hIndi on SYper 8 nowwith the compole" guIde, . $16.00 in " stmllfll

th l lwill

paylo r

l iMI th ~ of

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H.ndbooI< 01 Super8 Pfoductlon - tlH! book that gives you Super8

it. best-Is block In • newly • ...tsed edItion. Gunltlef Hoos and MMIkol.. have bfoughl their complete tlands-on guide up-to-date with tcllanoglng technologies01Super 8 producUon-.11 the lates, equipme

.yllems. technique. In(l prices ' " ' h.'a. In more th,n 300 P'O"Information on everything In Super8, And now, I sturdy splrtll)lndlng

mIke the Hlndbook eo.n hlndl"'l

you ...... , ." 'bOIlt Gunlhe< Hoos In d M,r1< Mikol.. I,. IndustF'notog.l.jlI'Iy, Audio-Vi . . . COmmunication. and So.Iper 8 Fllmakw,,*, the!< .&POrts " 've heJptd thotJ$IInds 01 serious Super 8 f

producers Improve 11\eI. eralt. Bo.II have you """ the reviews for

Handboolt?

" The Handbook's 312 pag" eontaln Just about e Y e f Y l n l ~ tllMe Isknow about the cra lt and buslnus of 5<Jper 8 filmmaking. Itde_aattention of anyone se,lO!Jsly Interested In the present StSle and futprospects of profalll lonil Supe, 8 film producllon: '_ Matthew FleuryMlll lmetM.

" It 's only the blQQe8t , longest, heft iest , fullell , moll firmly packeomP«llllum of InforTTlll tion aI:Ioutlhe gauge . . . . to IIraet our unbellIng &y e.. -DeI H il lganner In Fllmmakllfs Newl lel ' ...

"The most comprehensive book on Super 8. The authors, whoamong the molt knowledgeable 01 Super 8 IIImmakerl, describe tequipment that I I avail able, tell how to select what'l bell IOf an Indivl

II ' I needs, and describe how to makeI n e ~ p e n l l v e

aubsl ltutel. MoImponantly, thaydelall how 10 use the equipment to ltsbelt advantageI I an amazing compendium 01 InlOfmation. much of It unavailallsewhllfe. makl"l lthlS a book Ihllt Is a mUSt tOf any ""Ious SupeIIImmaker" ,- Elinor Stecker, camera column. The New York TlITI8$,

The seo;ond edit ion 01 Handbook 01 Super 8 "'oduct lon Is ready

)'01.1. Use the eotJpon below 10 Ofder)'Ol.lr$ today!

>

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Here' s my caSh, Check or money order lo r S16,OOSend me my COpy 01 the secood edit ion01Handbook of Super 8 Producllon.

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7/22/2019 Cinemagic #14 (1981)


Storyboarding

The Key to Success

SOI)t>o&rding i. the I><Ick.booe ofarty film production. whetl>er ;s

ft """IIIiYe. do<;umftllary, 0 / ex·

I " ' n ~ n t a l Good 51ol)'boards.properly ....... during shooting an d e<liIlng.,.;11 m a k ~ for a more infO/med and eff1ci<tnl

C''''''. f .. and more creative editing. an dlower production COSIs. IIIhen '""""Yand

tim<! 1Mtte<. SIOr)t>o4rds or . essential.SIotyboarding i. the most enjoyable

phase of preproduction: il is the time givento bralnotormlng theimagesthal h!rve beend6rting about In )'OUr h ~ alld co;wnmitting them to PIIp<!r. You begin 10 build

mommlum as )'OU c ~ t e the sound aM

Images for....,;h SCene and s I o w I y ~ n d theu..nsitioos I.hM will visU/l11y bind the plot\ogethe< into a whole film. K Is the- !'nO$!

Cl'MtM! and exciting P"rt of preprodu<:l ion-the reot of )'OUr time will be !.Pen!finding equipment, buying mater\ll"" pre.poring forms, permit$. papewori< "" d end·Ies, phoot \211$.

N. Ihe completion of your S10ryb0ardlng.

you ";11 h""" created a bookcontainlng the'"how" fOf e v e r y " ~ of 1M film-from

the di<llogue to the mood l;ghtlng. k will be

.,.,., of Ihe ITlO$I lmpor1Mrt pif:cM <.I I .....rmrtion you will refer 10. right up to whenyou bring your malCnM ~ Into the

6 ClNE:MAGIC ·1 4

By DAMON SANTOSTEFANO

lab 10/ pnnUng . I. your bibde.Surprisingly. in film ....odu ctioo today. In

feMure as well a. SlU<ien! fi lm•• manydi'K

(Of. fond S10ryb0ard'ng ....poeJfloous to theprod..ctlon_ ThIs is bec .use they ~possess the Hr\IInciaI meaM to """"'" thou·sands of feet to cove< " " t " ' I ~ pops intotMir head on the $el. 0< they think they """"

m o < ~ c r ~ _ f r ~ in resp«!- 10 Cam ·e ra ang ies .lYIO"o'emenl 11.-.:1 blocking. Willey

not reslrided 10 preyisualiled ideo • .~ d i ~ probobly lad< "biWI)' 10commit Iht-I' a s 10 pl lpet bee ...." , eitherIhey have """" during pr"l'fO"luc:tlon. 0<

lhey thai praying for $pOI"IIar"le

ou s 1 J ~ l u on location the ~ wily 10ohooI - · ·wha\ ~ cornes,·· I. the le<mI ·

-.his i. nOl the wily 10 ma"" a film. Tos hoot withOlJ! Slotyboards I. a bask viole·

tion 0( f\IIITlIIive filmmaking. f i lm as an artmedium hIr. endless ~ n I i o r l an d flcxibil ·il)'. an d like any art form requi" '. the a";",

10 e.erdse" cO"ltain amotlnt 0( d i " ' i p i l ~during the w r" procns of the mcdlum· .

c..."ru.,.,. Only in this wily can the artist " " " "

control 0"'" the prnmtation of hi. rnes""ge 10 that i . Slructured an d ~ In a"'7JY thaI the au-dicncc ca n understand an d

identify with hi . ide<ts. Even a film ideo th. .

i. ~ around a single strong r\IIO"r,,1i-Iepk>t ca n ~ sc attered in hundred. of diffe< ·

ent dirt<:tion. without discipii"" an d goodpi>lnnlng.

SkIpping the SlOIybooording proCess sig.na ls an artist". diSlegard toan essential plitt

0( 1M film· , o<ganiurtion. ond lhi. un ulti·

rmolO"ly lead 10 many problems during 1Mproduction an d poot.prod.xtlon pMi16.

Wrth no m e < e t I C ~ It $ to how shots shouldookand how theywilil/Jlercut togethe>. 1Mdange<s of o.eI/l.-.:Iulgen<:e IINJ! o< Ins-e<:ur·

il) ' on the dlr«tor"s pM ~ f n to cau",

problems. Scenes fM)I ~ 0VCf"5h0t byadding unnecessary angles an d lICIion 10

them. Or 1M", maybe a lackofo ~ " 9 " -

lhftt ; '. la lling 10 ohooI a certoIin action or

pioece of d",log"" from lhe corred number

of angles. rewlting in a piece of unshotK ript and the hIr!Sle of reshooting it. once

th e IJlIIl i$ discovered in the editing room.

Li leS .......

With these dangers. in s i g h ~ there arclou, essentiIII. lile-1oaVing qUillitics 01 th0-rough S l O I y b o o o r ~ 10 keep you lrom

making m I ~ One." complete st0ryboard book that coriains ev-ery shot in 1MDfcier that will ~ --" n the flnil-hed print;

should allO contain the lighting layouts

7/22/2019 Cinemagic #14 (1981)


,,i1

Abo.", O.mon Of' th e set ofsr."og·, Smhdly Fln,uyw"h (from tett to roth!) 111mcrew ~ m b e t Ch .. . es ~ . u t m . n crnemato£'apllet Jrm So1<lnko and STARLOG I>JI).

Irshe, M.. y O·Ouonn . ...no d"ec1ed the I,tm Bolow: A .tory!)Oard Olmon prePJfe<l •him he directed 'or Ihe New Yor k Hor _ Oevelopment CorporatlOf'

So! ! tJ ]) Slbh tT ';{

fBAME OIRFcrJON

'15'6 /"rc" - 90'1.. E.R.

SHOT DESCRIPTION

D/5S0I-V£ ro:

CtaS<' to HI' of m ~ ~ l , o I t , , ~ J f ... ~ C u l k r $A J t " u J ~ skQJj 4ooFl..Dnrt ~ A S T ~ T.C '. -to"",.Js-as/: R",u

& 1 X > ~ & n SIoOf't/,.,e (I>l JI 't'en; i" " /qr,, v,e'oJ-

*-'0/<1 o f frQ",e r ~ J r t - CUT

, ) secondS

and oct and prop k a \ l o o s . 10 e<W>IeBnyono: to know exa<:Ily whaI ~u 5 e d I O C " ' - ~ B c ~ n l o o k f o < MCh SCeM.

The S\O<yboard book becomn the com·plett $(IUI'O'> book 10< aU of the tnlllngible

p<odvction valuH. such a . mood. otyIiza.lion of the oct. costumes etC-

Two. the ~ of Slo<ybor"d. i. ~ r . e n Ito f!YO'I)' crew position on the oct and

good ide . i$ to m a k ~ ""'" fltCh ~member geu a production book with a~ W i of tht: storyt>oel'd. for hi, QWJ1 p r i v a t ~

Thls,..;11 enoble fltCh ~ s o n to Sludy

the storyboard.caccfully the night before ashoot 0< they have a fn:e ~ on

the oct. Your c,.,... ohould know what ~ " " hshot InYOl__ and what the day's schedule

consists of. 50 they can WOtk on their """.efficiently and coriIoently. This p<ooc:tice

gains you a little pe<>Ct of nWId b e c l I ~you know your crew "",mben "';11 know

what they a" , doing and you ,..;y not hIrve

tht:m onking you oiIly questions ~ f ~minutes thIot are a l ~ an,,, .. .ed In theS I ~ r d .. Good stor)oboards a" , the key

to an eff"1(;if:nt oew, which >aVes you P"'"dou. time. $a";ng time helps you am""'"t h e ~ $ I ~ .

Threoe. ~ n o u g h problem! occur duling

shooting without n"edless misur!<cs causedby poor storyboarding. With the film com.

pletely vlsuaU.ed on p a ~ . the cho"" .. offo<gettir'lg a prop 0< making a cootinuitymI ....ke , , '" grMtJy redu<:ed. Without these

",., ....kH , th e ha . e ..nd cost of rethootir'lg

I. ke!>t urKle< control. Along with a Mpp)I

and well info<med c,.,.... thorough .toryboardi"9".;11 help you in the rY>O$I \ ~ .tant way-MoepI"9 your prodvction cmts

toa mi ...mumFour. In o<df:r for you to c c u r ~ dr .. .

your stor)oboards. you must first v\sit yourpo(entilll location•. Once there. you can

' ~ ~ . t i c a l l y ~ e r m i n e what you can and

cannot shoot 1M"', taking availabIlity. <Ie-

sIred <:amera angles andclean $(lUnd urKle<

consIde<alion. Then you can begin to ad

ou t the C ~ n e ,..;th the help 01 othtts, andpIotout the difl'eu-nt e . . -aangle possIbIl·ities. Its a good Ideo to take I'oIIIroId _poshoIsoi the ..ngle. you hove <Iedded upon.leav\ng you ".;th a clear reference 10< $Iorr

t>QIord iHusuations. NI of the technical and

logistical detail. of the location. such asace . . . to sufficient eIec\riciol CUlTtnt fo<

lighu . . . . . . . 10< O!<\uipment set-t.rp and $10< '

" 9 ~ . a neartoy hMdwlrre $lOll: fo< emtt'gen·d . . . can be noted on your storyboard. 0<

location breakdown lIst

Kyou do no t take the trouble to do al lofthis. you mayencountet tndt.. . unfo .......problems causing you to reo;rite some

action on location-plus retwe_ the newmaterial. Besides puohlng the prodvction

behind schoedu'" and causing the pos5ibleloss 01 til;, 0< ~ r locations, y o u " ' ; ~ also

a n g ~ r and fatlg"" y o u r ~Storyboard. r ~ i ' " you to become syS

tematically familiar with your Iocatioru.

TIley htlp you to otganize th e hundreds 01t ~ t h M g o l n t o t h e m . ~ ·lion. enabling you to main\.!lin a .mooth

! ' O - " ' ' - - _______________ _ _______ ..J productIon lind a reasonable bu<Iget.

ClNE/>VoGIC " / 4 7

7/22/2019 Cinemagic #14 (1981)


StOf)'booord lng Form ato , - - - - - - -- - - - -- ------:--;:;;;;;- - -,.llhefe Ofe different besi<: types of story- >oa,d lot"'O 10 use doper.ding on whcIiler

y<>UGre mol<ing"nIIl'fo\Noeotdo<:umentary Iilm.These O l m u ~ n o t standard (in fl>Cl. , I

everyone ha . thei< own ~ ~ G story-

bottrell, but they all consi>!. oIlhe 0lImo:infO<Tn<>tion . lhe fQrm$ iliustr<tled here ..

my own ...".,;on of a storyboIJrd form. Ag.

u ~ o n e Is for .. " r r ~ r.lm and f'9u"" twois for " docu"",ntal)' film

The diff ..en a ~ th e two fotm. I.

~ I m p o r t a n t lhedocumemaryformhas

,,16s organized o r m a ~ c o m p l j m e n U n g the~ style In whk:h a docummtary

Is she!. The narrative f"rm, (fogu,," one) ismore intricllte with much more ioformation

10nn in.yet kept os simpIe OS possible . N"'"

there i . " SloryboII,d Irame as ......., as aspGCe IOf " fIoo<vIM of elldl iocllllon.

The 'KOrding of l s on .. doalnwn·

ti l l)' shoot is to whll( r hiopp"n5 On

the location. since the director h.os only aha.ic of whl>l "';11 be dra",," illl" each

Ir."",. In 1M documenutry form. the .toty-

boerd frame i tsd is ....rge and "" n be used

fOfd,awingsof ~ c o ~Of , after you " '" done shoolmg. lor quicksketches d one .hot or a whole scene.Thew are la ler used as a reference by the

e d ~ o r NoIe!hat the spa<:'" ~ for

technlca) inforl\'lZltion ate cle.'lr. t>:::>Id and

clo!.e together . . , Ihat 1M director Of f><O"

duction ""'nagct C4fl eas;1y jo t down ormark Information during or after shOOllRg.

Eff>df:n<:y and speed are esMr1MI on adocument.lry shooc. a crew cannoc aIIo«jto mi•• Import.'InI <tction tMt "';U ~ rhappen agllin.

n.... ;nformMion aero5$. the top of theform combillH notes recorded and

used t, ' th e dirKlor. the d""matogropMt.

production manager arld the «iotor. For

"location" you i l l l n , . n " , ~ the scene is 10 be

.I lol "Shoe r " ' ~ applies in a documen·

tary unless you shooting a pre-.. "'Y'

boarded Imernew. ''"<l.,;,.. . the.nor: num-

ber lhat you are IIIklng within a ..:elM!."S«ne" applie5vuyotlfllandc an ber.lled

In with ~ a number or a " " r n ~ . ForInSUln<:t. "Na:d R.dIy. Speak .. On. " or

"Comrnlssooner InteMew:' erc.

•

One of lhe slltC •• tllects s . c ~ n e S in $'.'10(/'. Blr,hday ' ."' . 'Y IUlu,ed I •" e. pIes"",s,n the o n f ~ " , f I ( ; e room. whOCh .. und,.. Mlack by • SQuaa,on olTIE fiihl ..... The e. pJo..0(\<1. were cre.ted w.th twQ " ' i ~ C. ,bon a.",de lank . and . "I ihlnlng" macn,ne

Abo •• The f,nal effec\. 8 010w: fh e storybo. .a Note the placement floor plan shaws the

PC .. ;"" oflhe tank•. the 8 h l n , " ~ moch.1\e and the aclors.

· l C l ' ' ' ' ' .&b l) AV':P l1,fTtJI'5"N

",.n,

Lt-

,,

Jj

,

"B

~ ~c. . . t.. >et'O"_ &/, JJ,..fc.J, E.lu" ,t-4 ............ "

. '..r II.. dlr_I,,,,, To r.C. r ' 9 ~ I ..... ' 1 j , ~ !o.su J..ts OnA ~ . ' JQ b k u l ~ t « . ~ ; j 1 . . - i!<I_(Q J... t rL> I.5","':> ;"'p"d. D. . . . . _ '::1 T

U o & f ~ . " J/orm4/. all 1.k'5 " " ~ / , fVL L&" "E ,

E ' F ~ ' OWE.)K ""It, VEL,-"W &EL

LJ6/fWW& ;111CH!HE:

"Roll .. .. Is wheo-e the 1IS5isIano: cinemato

gr apherwrilts dowrlon what roll the p<IftIcular shot or sce"" is r«ord«i. Then, the«iilor upon assembling Ihe scene.., i<r>oIos

what roll to search through for the partir»

lar shoI. "Edge number" Is strIcd» for

16mm and 35mm. Thi. il where the «iilor.a ~ r \ from his logs. might wMrt to ma rk

down lhe code numbers that the st"'Y'

boarded ""ene fans betwe<en . The<e code

numben are prim«i onto !he d !he

film slock, ocrurring " " " "y 20 frames and

are used t,' ediIots and ~ cutters as

a coded referen ce point for eYery shot thai

waS filmed . " P"9" - - Is for !he ""rip! page

number on .m id> !he storybolrrded shot

occurs. The c 'ew can refer to !he ""rip! by ,,,. .. . ' . '"'''II>8!I"rlUmber if lhtyare confused. (REC<> /?D 1111-,() SIJ.o f FX ; o)MULT

To Infor m theflltirecrew, I t y t h e fOr s..r.l:> j ' 1 3 S4!i:S lMIFI1 rilN6

sound man. W !he shot Is """"",f' 0 ' " ' b , . : . ~ . : : : : : ___ :._____ ~ ' : : ~ = - - " - : ' : : " ~ ~ ~ ~ ~ ~ _ J.IIem." (siler( is al.., known as M.0.5.). V,86DIE'S !If f -r E

8 CiN£MIIGJC '14

7/22/2019 Cinemagic #14 (1981)


y o u ~ ~ ~ ~ ~ o n e ~ . ~ ~ r--------------------------------------------------------,"Speed" II for !he ~ 50 he

" '- ' f I>e Is 10 -'>oot .. scene 011 ~ 0.

f _ modon. - ......... dir«tion" ~ not

......-y apply 10 • do<:urne rCoty &hoot. but_1mBIed In IhII perticularformbeaouMI _ <bng - 'o i l ~ a p h y from •hekople WId .-.:led 10 nVIIk <btm whoe-u - l h e ~ w h o _ ~Ing DIll 01me lick 600<. would be shootingI«w .d () t tit <h.nIg fight. • _ aIso.-d

10 note I<I'hidl dioeclloi,lhe possing lends

<:ape would be ITICI\IIng. (/rome Idtorframeright) to preYent rriltekH In frame <irec.

Iion..tlen IheMNII shots """" CUI t ~k can alto ~ ~ s i n g thelra"",

dlrectlon while sholtIng other trawlingthots or pans.

" FOCMage" lib !he . . . . . . . .", . . . . . . . . .0-

grapMr to m«k down. ..,.iQe from hi Iearner. repons.lhe.mount oIfOOUlogetNtelapsed hom !he end d the I!tSI shot 10 theend dlhe ""'YI-rded Ihat. The little grid

and code 1)'11 .... 1« "taka - II • V<!f)I fast

w-r 01 .eco.ding. for the tdito<. - -I ~ ~ ~ ~ ~ ~ ~ ~ ~ i ;ood enough to '*' n the ~ Ide:tiof,

PfO(est. Fln/IIty. - """" ~ hoIps!he ~ b) ' des<:rlbing 1M ft"Itir1! _

oIlhe thot. camet. ~ what to I••• ;;;;'~ , i6u. on whllllKtion to manipulatelor dHired effK\a and. f t ~ D y . notes on .,..oa / rleUL I<!"I

what happened and who! wItS caplu.ed duro ~ L

1119 shootIns;.The organilllliof'l 01 a narratiw! story

boafd form can VfJtY drl$i<:oiy. but hi5 WltI

p r ~ to be .. V<!f)I coo'opod"oel'- and

effic\etII type /tom ""I ~ ~ " ' ... TheI ...MIII Is detao1f:d and D f ~ and themIuIng lriormetlon I I mNnt to *'" !he>r o u g h l y ~ o u t b d ' _ ~ l t t o~ u n I i " ' l h e ~ o r m . S i ....IIIIf IOtne doaImauryform, the tMnks.e

meant10 be Iec0060:d " " " rcfcned 10 by!he

endre crew.The empty boo; on the top is the storyboiord frame. kIIIIMII but r e s e n o u g hroom !Of .. rl"tlkulous <tnrw;ng of !heKIion. Al>oYe \he fr"""" I. "Props and!pe

de l dfecu.:' ~ !he dif'KlOr ., . produc·tion mIInlger fiR, In what p"rticuloor props.rod special effecu. madlinery are to be

uM!d in this ponlcuIar Thi5 penicula'IIC1J}'bo11<d is 01 • spt<:Ial eff«u sane inSwlog5 fJirIh<Uy F . ~ a l a l l ~15-rn/nuI.e 1M tction _ aonimaIed manI8geof ocience fIc(ion. $ 9,..,.,.0, through the

) ' ! I f " produced by STARLOO MIgazIr.e.Note IhM the two""""e uM!d 10 cn!ate a

bright 10.000 _ fta$h and simulated bitIo\oIing IImOke and debriI; ateliotNand . . . . .dra"", in P l l c e m e r o l

-Pleeemene- ill the

""""",,,

,.

-o.ar,,'or •• ,, - f(t,ry, J ~ " " ' l f l l ! ' I f" ", ~W,,. e . c . . . n * " C ' O c J : . . w

a' p 1 ~ 5 1 " j ""lE

mJ,U/Ol Lens sJ,.f Ootly uF r _1" r1-

SWI":;

UI·"""'."- F'''.shl''J tHY eM fl,U

4

7/22/2019 Cinemagic #14 (1981)


s c_ horn STARI..OG"s /IS an eumpIe. )OU.:on _ how simply aoch elerrwent

II plotted. The IhMo ........ ~ e d ~..cto<s' the ma<:t>ine (contI$Iing 01

two M ~ , buI (uoc\kJn<ll carbon Me

rods) "n d two 50 poIInd c .<bon dioloidI:.... " (Cfe.u"ij . . . . . s;... gust 01 mist) " '"pIoI!ed bd>ind a c t c n OVIoIfr ...... II .fIIOOd ~ " " - ~ the can- ., 10

dolIw In ...... the IIOgIo: CI'ICO<T'IPOHeS , !hisW rj wh<> loeb 01 the plain I<rI<>ws

whet will and will not be in f ..me , The I>ft'

manent lighting fo< \hi$ sc:_ .nd ... .nyotMrsconsistedollK' . ( IOOO . . n Ianero0I"ft' ~ Iigtlls) Ini<Iog the .,.;Iing.co.nd

~ " " ; n d o o ; s wiIIIn. bk>egftsiOmatch lh e

quertz lighting with the incoming surAighL

Thne ights ore not diagrammed bec.useIt ..... not M<6sory 10 plot th e lighu the\

WOIJId not be touChed oncetl-..y_e nung.

The .ymbol ....... oed "21\ is an effect 10lIIII>I*o,oe.( the ightning.....mine: ""-

the eo<pIosioo ~ ~ the 2000 ....,." " - 0 with • yellow gel w/IS ILHhed on andof f 10 add • hot "foeti' look.

The I"'ormalion along the top and down

the right hand .-:Ie 01 the lor, .. I. ,.millr 10

whM was ~ i n e d p < ~ eJOCepI

-Llne!SeHlp , ...toOth rftorslO _.,. . .ucu.'- -RC ...p" or urOque group 01I/'00I$ th e

storyboofd II .. part 01, To er u l e . set-up.you Ulke, soy. till shots ou t 01 SC:lip! order.(!he order In which tI-..y will be oeen) ondgrOlJflIhern KWtding to then timo!;riiM

into -$I'o()(lijng oran " n..:... sb. thoU ""'Y

MYe • large"";ndow in the background. oran i rt'lp<>lUln\ ef I« l in cor ,omor , requiringIl\tnI to be $hot all III once to _ brne.

Each go-ouping 01 ohot. must "Iso beor!}llniLed InlO • 1ogic,,1 ohoolIng order,lhne group ' .e l l l ~ " !Oft.ups" I>t<:ause

thf:y usuaItv require . lighong...-.d e_ .set-up IhM. is ditf_ rom oUter t7O<JPS 01

Voo\S. The RC"'I"I .r e given .. o d e ~or leller. 100 a per - . can tIM:n look . . 1Mstorybolord for Ihe RC-up "nd refer 10 theset"" , list. it nKeSSIItY- On ttus form "Shot~ p I i o n Is brokefl into th<ee major

clllagOt'if:t to keep the $hot de"",,,"strllighlforwardend org<rired. "1"IOfe -.:on_ many ImpoIUInt .oIes .. . In th e doco

u..-ury fotm.Here, for exa"""",bee ... .,

this shot ..... f,lmed fIrOS. (!he d!..ru Itwot

""""e .--de<! 10 mokc the ..ction .....nd

.... 1herItic ha d 10 be rew<ded ~ " " d yoond tIM:n laid .. by the edtor. In "Notes thehI 01 r -oed IOUAd ...as.....-.tten down <b .Ing p < ~ sothlotthf:yYoOUid not be

forgotter\.

From Script to BoardNow !hili )'OU ~ famiNt...Mh lh e layot.II

end funcIion oIlhe o o : u ~ and ....

f i tM! !ilOtyboiIrd. the nell. ~ 11 10 ~the SlOf)'boafds " om . scripllU" !ICripI

example $1111109"$ Borfhd"!J FdrtlJlsy wi .

be used (figure )) ."The flrst is to visit your ioclllJOn with

)IOUf script on I'wond.Me. sIoeI<:horog the ""'"plan oond maIdng other noIes . . . , dis

cus-=!, beginlO . . . . . . . . . uc:h octne. Youmight MYe ..,.,oeor",' 10<:'1 out .. you "n d

Abo.. A blow UP trom Sr.flog. BII/May F.n/a.y._ .. TIE g l 1 l ~ r ...." , n l

doIon P.r. Avenue outs,de Slarloa', ,...... V",. ol ',ee B_ : A "Of"1board ot the •• ne$tQuence ._ . _ lh e sc_ oo"e<:I ,, ' lhe !)Iann,na Slajle The tloOl pion on lh e JetII t an lCluai K ~ e " ' ...onl of S",k'I:"' conlerenc:e room .n ...n" h lhe """"'" wn ._The "'_ n l 0111. . TIE h,l1Ier IS lh e t o r y _ d I' .me

Cu.r ...... .. ."

c_ ...... ( ....U A ;'.'''.5 TIE II I . / lY'ys r.,U fo

- "17£ UI.r'r: rs . ( " " , . . , ~ , ~ - f - f r ( r ll ",e left:TI£ f its fa.s;' .. ,Iw. .. pM

Up""""_ 3 stC- 72 fr ..s

-Q

S { ~ h l D C/y$ r!J J.j

)IO<Ir cinematogr .phc.- .. >\ch 10 _ h o w ~ L ___________________________-'

10 ON£M/IGIC ' /4

7/22/2019 Cinemagic #14 (1981)


'""U be ~ by the Cameril. Take e.:haction and uy to find . . . . . . angle feels best.is 11 ~ IOf the action? IJoes 11 help~ !he IftIing thitt ~ be p<- .n t

to . . . .kethe ICeOI: WOtk?n..."""Y)'OU place

• ~ . o c l e ' In !he frame is cruc;.I, _

sure )'OU_chfoo- the rlght..mytopr8HI I

" ~ W'hiIe ~ your &hots• .....,;d ..,mat·IvIllNl camera angles or ~ For

oampIo, IMlid p.nning a<;fO&'I an KIIon

leu In orderlOg8lOyour subject., ~ is noIhing 10 follow. don t pen

simply 10 show an ..mpty N>c8tion. 11 ";11w,eIyprovetobebonng. TrytoltVOid".....,·producing your Came-a Ih'O/k as ~ Ithere is no motNe to move the cameraduring • scoene. If:! the action carry the

moonent A¥OId ..-.Ing atOUnd for thetake 01_ . ,__ bec....- the CIOmef'wort< ,.;II cal IItImtian to bel' and yourOt>ditn<:'e I"iI be disuoaed from the per

'<lfn'WOCei .,.;I ""'og"".Ute _. to help d f_

you. ~ e into whIII the dwIr.ocle' isfeding In the siw.tiOn. fo r e x a ~ 81 IIpoint 01_ horTi¥ng retlliultion.q.jtIdy_1I<

the c ....... from II medium shot 01 the

c;haraclC'r 10 an ~ c ~ 01 ..tmnbllng I ~ . Thit wi. 111I'l'>0''l at...ays

mow: )'0\1' audienceWith all 01 thilln mind. lake HCh sent·

ence 01 ac:tIon and decidI! n it needs \5 0"nshot 01 K k should be jnr;1uded in II shotwith

othe. eo;tlon. The .. most irnpon...nUy,

sean:h 101 .. IM kind 01 anglo would t>avethe most a ~ ;mp.:;t. AIlhou{to Idid I00@4l1lolOelllierlhll)'Oll5houldfed'....t..M is _ . ~ is of course II Larg<e

.moun! o I l ~ ~ ..,

CfNdng..... o m t h e ' " f i t l c n w o < d ~" ' l*\clthecrM i,de> : ')Joiooga_oI.ooleACe ._enesI by $Iud)W>g ""'"'" fcrm01 ~

wW __ . IM <"In<llionaI

'""'"'0< uarnple. In the St.-flog scnpt. th e

rop ,eads. "No<man .. t.;. eyn .reInlenH. TIleYefYn ...ureofthedncnptk>nImpl\el th . we shoukl _ hi. floCe In II

cloM-up lOS he WMct\H I n _ ~ 101 ap

proaching dangl'l. would not ~ a")'other wily be<auR In a ~ ; l I m Of long

shoe)'O\l WOIIId not beableto " " " ' " hioeyes WCfe looking and you could not """"

deled that hileyeswe<e n t ~ III'IItCipMing \he enemy. n.-t*Ig \he impIIct d \he>hot. /I.noIIler ~ fact is that the

nm lohoIos 1M ftrst III'PfOI'Ch01 a 5 C I ~ .Ing11E I g ~ from &iII "ars. ~ ant . > . p o o ~ i w e e v d P a r k ... .. MT1Eiwoop l from the sky .. . ~ up d Nor·mIlO I ..:.ww.g eyes j u > d . a ~ with tIM!punch d • last moving _ shoe ha i •

~ C ( l . l m p a c t foIlhe bf.ginningd D

acene and will t i l l logootho-r .... 1. f"oIIowingIhl. I"r\IInne' d r:otI$IruCtion. Ihal is. con·sldering I>ow .. shol. wotI<s on it s own aowell

how cuts with !he M.<I. >hoi. IMIW'es

imoolh and ~ i s t i < : rutting.

Each llescripllon lasl$ IOf only a lewword. bdOft going on 10 the .....1

action. TN. t¥e. aIIhough choppy in " " "

IIMI IOfm. when property ~ onIO

the soeen&hould erNIe a 5pKlaculll, fast·pa«d twnIe ~ n... key is to seethM. the thort . . e n ~ Imply thort each

action IhouId not sQyon h e ~ ~than ~ I < > 1OO«Onds. v,,'ith tlusin mind.)OJ

IhouId awtY a ~ feeling to the~ ) O J " - byadding st-phigh Of

low angles. ~ close-ups """ ener·~ c ; a m e " . ~ I O f e v a y a c t i o n , l O~ " " " ' " 1M quo:kCUlling.

Two panIcuIo, IIdjooning ""*" can be

\/sed as an ~ d carTl!'fa ~ m I M I Iadding power toeach $hoi """ aIsomaking

the CIIt between two shou kinetic and.mooIh. f"Of uample. !he senteACf .

w,,", down the page. th<>l ,eads ··DlrectlyilCfOIS the sued. .11£ sweeps right to Iefi.p"st !OWl 01 windowo:· This shot could beinlerptfleci al re<>ds. b u t ~ would be a w.rystatic .. nln!ereoIlng II r e o ~ In the batI.Ie tolimply h_ the l1E " " " ' " in and OUI of

""me. In Ofdc< 10 g..-e it a u I feel .ac_. was added inthest ..

~ d I n g ' O f thot animatorlO n:ecute. The

Iohot l\0III ..... the TIE r r g ~ lMIter ITa"",righI and quoddy "",ke tIS "'""'1 <r<:n:I!6 th e

IT...... as IMc_aanempcstopan with

it. n... l1E acreeches pas! !he building

behind Ii.m it the c;amcra ClII"""" pftn fasten<>II9h to kHp up .. th h flyby. it soonloomli 0lIl Ira".., Iefl a. !he c;arne-a c .... no

fonoet uao:!< it in centfl I",,,,,,. This 5IIbtle:n _ ' ~ t add .. grelll amoont d rcall.m

10 the shoe while also hdp ng the ani I1"\Mion

look larger than lifeThe e > 1 l m m e d ~ e shot is ··KflT)'tracki

fiGURE . J

the T1E.liring III .. . bIInts. • f!he TIE moved

fight to left. then KeITy .....st also Iwing 1m

chal' from right I<> loft as he trackt the TIE.ThIs shot aIJo needoed rTlO<e ~ I<>

enhoona! Keny"' ot«ons10gd adinect hit. ...Camotr. mo>elhellt was added lor tIvft,UIOnS; to make the >hot ~ djnamk .

to Iet"" 'e 01 K e f J y " f ~ . ( h i s b a d < ~be to the <:amc<. too long if the camenododn·t . . - . . . ! t I l hi m ). and 10 match and

cany through the flghllO loft pan f.om the~ $hOt. The :IhoI was ~ wi\tlthe camera dollying right to IcIt behind

K"'"Y '" he ~ countorclockwiR In hitchal. 10 calch the TIE. The dolt)'. when CIIIt o g ~ with the pftn 01 the 11E. gives the

.mooth and capltllatlng ..tied of one con~ n \ l O l l right to Iefl sweep th"""9h the

action. See the SIO<)'t>oard!.

KeepIng the dcIaib d crutJng !he lIP"p<oprn.te angles and c_rnera ~In Mit>d wI"OIe p<actiting e I f ~ .ndO f ~ . !he Sjoryboording pnxes.slOOn be<omn oecond nlll>.weas lOtK0eli·\Ne abilitles ..-.d irnagjr\IIbon room 10...........

loryboards"e__ o HrrwnakIng.

Mer )'011 storyboard)'Oll' r ..... 1iIm JII'OIect..

)'011 ",II dllCOYt"f how storyboards are thekey to a >rod OfganlliNIand well rnado! film.The key to cre llllng $hots that wit truly iii'ab

) '00 ' u d ~ and .-.ever iellhem go.lie-I in

ullng Slorybolo,d! ••• diKiplinllt)' 1trUC·

lure IOf ) '00 ' croWe thoughts lOS )'011

design !he Il)'Ie and mood of yoor film on~ ~ ~

"

~ N . . . M . "Yo. a u Inton... _only , ._ up

• • k A ¥ o ~ ••• Tl . f l g ~ t • • eooe. rwoopl"9 down ou t ofth o . ~ . ~ ~ •• tboob. 1 9 9 1 . ant le lp . t lon ov.rtile ." " r.. ••• Connon t<l990 ' INt ton •• 0001 h. . . . roqo h h

chol . arO\lnd and l u n . In t o U. . vi . . . . . . ' .000 up h rk

Av.nu. th o TIE too-. r l ~ h t a t u• • Ilrll>q 0 .proy of I • • • •b l o . u __ .. Id . a t f l .o t . thon .-19M Into th o ~ I " " " " .~ and tWO 0 .01 ,•••• .o. . . . a bll""lroq •• plo. lon .nd

bi l l "" . of • ...,t<e ro<:k t ho .. Indo.. _ behind th u . dob. l .

.n d 9 1... f ly about. All th. . . dlv . fo r floor. HUTCH

. "" 0 atoffar h it tho f loor•• k•• d dob.1o foi l orounllt ~ . thol r foe••• •• • 1 ponle. ~ . f l •• • • • pld

Lo .o . b lo . t• . DI.ect ly aero• • th o ...... th o TIE . . . . .,.

'I <;rht to lo l t . po . ' ~ . 0 ' .. Ind""•• ~ • • .oko t he TIE.fl. "" I n e e bt..... Lo<>klng . . . . . .h, . . . . TI. __ Up"o ' "

...y f r o . th o d . f . n . l .. I• • • bo • • ogo. KERaV f I r • • 00 . I• • •

.h o••• • • • • • and turn•• r l l y t O ~ " " h o . t l l 1 coyo • •

und4. th o conf.r .nco toblo.

" ... no t 901f1C1 to u• • tha t ' ~ ' r o q .91vo I t to ono of tho q l r l al

~ " 90 ' . h i . no.v. up .n d ~ I n o to ot.nd up . 9 ••opln9th . bI ...... """""N turn . f.ora lookln9 I t IIJT'C1I to th o

vl . . . . . Se._ehl"" f . ooo ov. . t ho t OP 0 ' tlwl Pan""bulldlroq •• ot bo . T n .....,. _n , .. th o oky.

7/22/2019 Cinemagic #14 (1981)


CINEMAGIC/ SVA SHORT

FILM SEARCH CONTEST RULESClNEMAG/C and New York's School of Visual Ms

have once again combined resources to create aunique annual competition for science fiction.

horror and fantasy filmmakers. Read these

rules carefully . .. and good luck!

EU<lIBIUl't' ~ <:an IUbmiI an orIg.

lnal film. no matt"" ..tIM their deog_ 01

eoperien<:e or ~ indIope. o d t i ~~ IIChooI c\as5et. .n d Hmi-pfo. " ' "~ I O ~ . buI only one film C<I<\

be loom lOlly group 0 ( indMcboI-

10 pK::k)'OUr best fdm musI twr.... t - ncompleted ~ t h l n tilt ", ,11th .... )'9f11 [79.'80. '61)

TECHNICAL REQ(JIREMENTS-Supo:<.fI

Of l6rnm foIm fOfmau only-ullin" """"octJon. MiINlCion cr any combINtlon 01

spea.I rirects technicp.lH-1i1ent cr sound(obviously sound It deW . . . . . . optiaII or

~ . a g n c 6 c \I.e!< on folrn,orsoepwiIMca_,,..... 11 de_ 'yn<: mat1c$ and InW\ldlonS)

p I " Q / o e d l o n ~ . 01 18 Of 24 ,,,met ~s«ond-color Of &.W. P r o d u c ~ using

opedaIientet {well as _ ' ...pI ....1 mugbe to 1tIppIy" lIO'eening lens for

tilt judgn. r ~ "" ' other t«J>n;.cal questioJN m.c arise should be ....1><riI.

ted to !he ClNEMA-OIC MitorioI oIIloet.

PROTECilNG VOO RSElJ'-A Ishould dIspIaoy a t!Op)righl ncti« (10,101.•

1961 Wondetfull'r'o<luctloM) In !he till<!fr .mo!. and Ifyou "';011 , III theme! of he film.~

SUBJECT REQWREI'\EI'ITS-AII ~ PRI.Z£S AND AWARDS -c . .h prizes wi ImuM.w:.I wid! ocIMI:e fICtion. IMusy Of be _ded In two <:OI;tgOrie$. Supot.flho<ror .. . Of any comI>inIIbon 01 and 16mm. as I"..,..,.:

tIMeR categOr\e$.

RIOHTS MD CI.EARANCES-f"CO' judgIng p.orpo:tSeS. the '"""" Qtigi"ll/ the . ......... of rour film. !he ~ Wt are

_ d I i I o g t o ~ . - 1 a I m t o n l h e w a yup - no! Just Ihox ..no <:en snip an d liIIclemenu from V ~ n d O l h e f 1IOUt<:eS. Whichi . no! to say thlll. you Canno! fOf

instance.library musk .llImdips. C . - ) ' O UCan. ~ • good prcI-w approadI . ~ N t )'011 oWl.., III thenKf tUf ) I fighl$ and clta.ances (fof prerecorded music. brand o.lOrM uoes. Of

Il l '" you cuotom;u, we h things as .sto<e

boug/ll JTIOdooI kiI$. The uN 01 uflOf"lglmln'IIO\erioII will norllff«l p<lr:e eligibility Mall.buI could 1Iff«l f'*""""P uses 01 )'OUt

fWn on CUi' . , "" c:YI 0U1II:u..

"'''''''a nd Prize . . . . . . . . . . . . . . . . . . . . . $200lSi PrIze . ••• . . • . . • . . • . . •• . • . . . . $ I ~2nd PrUe . • • . . • • . •• . . • . . • . . • • . • . $100

Jrd PrUe . . • . . • . . • • • • . . . • . . • . . • . $ !IO

'6mmGrand I'IiIe . . . . . . . . . . . . . . . . . . . . . $4001 I. Prize • • . . . . . • . . . . . • • . . • . . • . . $2002nd PrIze • • . . • . . • • . • . . • • . • • . . • . . $l!1O

Jo-d PrIze . . . . . . . . . . . . . . . . . . . . . . . $100

In addnloro there "". be ~ I .ward uopt-oies fOf \he ""nners. m t < c h a n d l ~ priu:s

1lUppi;ed by film com"",,",s and .......-...fk\.....".. and 0Ihtr ~ IIo'IrorOtIg f1Inu",II be re.uted In apeciIII Midelin ONE,MAGIC m.ga.dne.. The judges will _dHonoo-abll: i"ooentIon pri<a to. ~~ o O l l l e r m m s lheyfind noIewo<Ihy.

7/22/2019 Cinemagic #14 (1981)


JODGlIiG-..... ~ . I I be ~wid pre ~ by. nom tho: sct...cI01'-"'-' 1'M.,..d 1 f ' l E I " V I G I C ~ "i t t : ~ , o I l \ r 1 1 1 i o U .. I I ! ~ n e d t > e f c l t• ~ ~ (open 10 th e public)on th e ._m eveninO,lIO"OIlhe Iir>eI judg'inO ..... taI<I! ~ \hen 1"1 • ~ blue-ribt>O" porwI. ~ 01 (1\arid t1Ir1ch.~ A F " ~ " , CNim'""; t:NMd ~ Edi-to t <J a i ~ t'ia1'Y O '(;Iun'\. put..iiher 01 STAAUJG PRESS: and ~,;onals In the ~ focIi«\. tocnO< lOllfaoUlY ~ kid. IlP>IP ..... be~ on 010< crMf\Io ' I) ScrIpt. 2\

aod Ted'ri<I ... ' ) 1 •. 4) 5CJund and

...,....;c. ~ ~ . - . d ~ . . - . l6) Ooof.

~e.ch ,.""."......

. . ._eM a cwd returned..;ltl hiS film ...,.;ngh d ~ I n ~ " " I h e ( l l l h o J - -"wlJU)S pRES£NTATlON-To be ~- " . ~ ~ ~ . ElI8C\~ ~ 10 be ~ 1MeI'.~ ..;ll be free. A seIect\OII aI the

f\r'IIIIblI .... be ....eooed. tdeOC" f\cIiOf\..,d larPIY ( , l tiles" be on t>aro<IlO~ the wIr\I'Itft and \he ._ctsDOn . . . . be",...:le.. flo ••• "" en "'"bepretenlln ordef ' " win. btJl • Ar>aiMf. . . .be rdiI\fd • .....ed< Of twO In ..:Mo n<.'e if It>eif

1iIrn5 .... be ...-oed ..... rf4t....

Send /if'" I () :

"""""",0 9 ~ 2J<dSLI'\tWv.,.".N.V 10010

"TTt'!: LehmanS e n d ~ \ O ) ;~ ......41:; " - " ". . . , . - 5ou'hr- 'foci<. N.V. 10016

O£ADLlI'iE FOR AL'I Ef'(TRIES: FI'MY.

Qctobef \6. 1961.(The ___ you gd. yOJIf film ..... the meR

_ the u < I g i n g paneI ...... 1wo'e 10 COO'"~ it ~ u I I Y ,

for Entry Fonns

For YOU' cavi oIlhe oft\ciIII rukt ao

th e ofFKW ~ fom\, o.tOdo ""'"' .~ your film entrY. .end • -a d d < ~ t u l m p e d ~ ~· \0_)11>:~ s v "

Short AIm SoI'dl- I361

415 'P1rI<""- South..--'\CWYon< I f f 10016

7/22/2019 Cinemagic #14 (1981)


FlJmnuikA!rs'

RUMN J d _ ~ 1 ~ I I C . I I > :

C / N £ M A G I C _ F l I m m . o ~r"",,,,, do OQullln Shod.,.,

Inc. 415 Parlr At>.. So. Nrw I'or*.M'10016

"" ' ....... """""" ' " rnhJ .... 01

Note From Down Under

.. . o n . ~

..- II ~ enltOIOinInG .

..... _ of .. dooc.o-bIod< ......P ' _ ~ f o t _ ......Itw ond prd__-ho """' 01 ptO<t.odng • ptoIa_don .omenWy, in . . . . . . . . . . . ....... ..w-.. '1 '* ...... IIioI

boddnO ""'" "" "01""", . . - . .

. . . . . . . . . . . . .1Mlr:ull1or~ ~ d e o . ptoduan10.,.,. _ IN n """""ut> tho_·

--.1 ~ o I I t n , o"""""" omot . .. JiImrnoIo.on tho

..._''' ' ' '010(._1_"""",,-...110 build f<><. produaf • __ n ~ __ .....d"¥- pIooti<___ o .. . ~ t h o-,. too (1hc..-lel .q;o.....a

l...-.ylO aonooeun ""............,,octonq.o.s I«wr>od Jrorn)'OiO" . . . .

cIeo.liopeIuIy •__ t>em

Ii> buId .. pr\r*< r_• • . . . . . . . . . . . . goeo..... (loooo

"2) _ IhefI modI/Iy .......10"•~ ... rio,., . . . . . ""'_.........,.1hougtoI of 1 , . . , . .-. .....,,.,..----~ " " po .............. eor.g..w.__ on. line pooblc .......N.

pod ' I M O I ~ _ 1 w OfiImoo /Ctvyo.ol/s.-.d 1M 0/01 11"110

Was D i I f ~ / " i J . ! ' " .......,_o:Iot< tho job )<>0.1 .. . doing~ ""- ...

~ C I I d . ~ 7 0

-h,onI<s 10< ~ ~Super-8 RotOKOfH'

" " ' o d ~IP1 ~ ' O PIem! 801''''''.

" " " " " ' ClNEMAGIC " 12.t..reio..... -. W> for Nm__

oInce !he ~ of 5upe<-3_1 I Im 1Tho _ Coo;>or.-,...._..,.---

It ....... .a..noo .-.d _ maIIon ...

addition. • <Pel<.- buIIon~ . r - _ d ) . > t l __Iooc.goo. ""'"' JNye<. tOOl .. . . . .. . .ntho _Von _ ..... E.8.

"" ..._,: ... ..

Writer Seeks fl lmmaket". I often . - ii i CIttfJoIAOIC".

JIIrnmaIo.m' fonm MCtIoo I iriol.I . . . . . _CU , ..kor_d<oIgnt. Sf"X _ . . . .

v... do • --,.11""'1 jrob""""""Gpo t l, .-.d goeaInjj -../'ic>oI'_. requeol; c..)0011put • ...- ... . " . , - . . . ." . . . .

moI<eto? iod< tho """" i> ptO

ducc IT"oCl'IIIs but I doo . . . . . . .

rnyod . . . . . . . . . . . . . . . . . . . .- . ..onen, on "'1I"f*OIIOn ihot ......wrIiots..., foImrnoI.. .. ., .-of

" " " ' * ~ """""" "'1... . . . . . . , _ I I _ ~____ I )or . . . . .-.""""'"" Cl'lronlctft.-.d ~IriIra BKIf__ _~ . . _ _ I__ i>

_ .............._..-li"ii0.,.,." J 1 I w f t . . , . . , ~ . . . . j~ - . . . ..........~ -

e.,...l.I"IcUni20th CMI"')' Aopo-100SW)Zo..Hoi) , FL) )OZ)

)o<Ia<wlfh_•.-. (...... 8rlUoFXft. . . . ) u . . .U,"U.. _1_-..Io!'II_oI.- -A.)oon""''''' a 1 E . " Y \ C K ~ " ' " . , ._....... on ..... _, . , ._. _ _ MIQOlino '-'i t .........-..

- - . . . o tho ..... <' ' : . . )00. I om _ WIllIng. ~ l ip lo t

- " " ' " ' , --==--'-';":'-:-, -,..1 ,. ........ho __ • _ boo I- I I « ~ • ., .......... oI!«o . . . . .,..,

...w. buIIono f ~ l r " " " " , , UM ' ·Bowl FIlm F ~ t l v a l b< _qu i re tMiIy. - .q>1 I Ie

..., ... ,...........,oNp) .... be

~ . , . c _ " ' _ . _Dooo\d D. _ .I<.D&E _" " 8 ~ a .~ &.do. Vii 2)456

OUIc"",,, to ~ FItoI, film I~ o t pIontI Of _

_ "-10 be In !he o/Iect. Then_od ho 111m _111m. piece

"'_pod.00_"""'"_l*llho_Io IO_"'"pod ""-<I h 'toe . . . . . . . . . ._ ~ " " " " . .e d _ p o d1n1Olll_--. tho

pood-. '*'" ................ .is pooaionod In .......... fromep<I&flon " tho fino oIIject ~VO<J .... _ tho elf.." 01 -""

1r...Nng ornund .... pM • th o

...... _ 10 IocMI)t " " " ' "-'will bum 1onQotr. Mt<)'O" '- "' "111m .... ,1 'ped. """ .... _ tho

>pK....t.p or pI.ooI_""'''''''.. . bo .. _ ..........

........._- ',. ....--"" .... ........ ...oWn_.__ 1 I~ 1 O \ l y Y ...."-_0<l0! 10 _ . . object 1 - ._ .

board, ote.) .-.d )<>0.1 w .... " " _

<M<IIy on ~ AnI fIIm!l>e poet

"' " I1fowing !I>e _ PIn !h ec._I>e _ .-.d IlCp

1_1__t>ockgraInII.,.... i__

itIgs. ec.) Then pIoa!l>e _

on <OOg<C. Soor\ IiInWIg .... oom

7/22/2019 Cinemagic #14 (1981)


.,_.....-.-...... -..___ O<!>-

---2-S - - _

......"'11_ 101• •_

S_.a.-_og'" _ .. (_II,

. . . ,.... Sf 1.090

. a-_OonoI"",·" O " , ~ n g o n

..."' .. ._ "ylo

"" "'"1",,'_ E_" ..... s- ; . ' (N ....-""""- - ~..""-.W" ..._

.........·8-.,- ~ [_fog_.. .. . E_ .

IV'fO'I"t. r..on.fd In ~ ""..... -..1IIrnrnoOc!ng po_i.! h o y . - ""-. "l 'O" '-" .

good S f ' X ~ . ."*'"" ' ........ Io ••• ooIdo"'FXIn_ . ~ _ ...me_indudo . . . . . . 'e d ~-.---7 1 3 l . - ~- . m31341

,I>e fdmI> ddin""4l*"Ittd"'fJdto< rclUJ<' CINEMAGIC "..011/ "'"

. . I . ~ k ' " 0 t I 1 I I ~ . ~ _rid .rt,ob

..- . . ~ " ' " « ... td IGo PogoU!I!/I .. I I . 0/ llor ptCdu<1"'" ~Is . CIN(MAGIC ' P l u ' ~ . nIlOIttIi/ .... 0/1_

Chlnoy. ,,,"" dtJ(u»c> rllr pIt/k>

. . ." . . , _ !«I\nlqu<' cI"" ""'"- ~ -....- •

I"ti friend end1_ ... «1mpImd ...-. IIl 't o N end 11_ ~ f o < . n e wrn<>o"ir "' " ." , ....... 11 Plc!ured_ ks one 0I1Iloo I« _

made from . . , . f" " " )'CUI - . . .' Zen> ~ Sett, . itI CINE

" " " O C l o . T h t ~ - c"*,,,!rom )'OUI' ......... "" _ 10...- ~ p s l n ONEMAOC· L

...... v .. Dyk.8(l61_St.

C)puo. CA _30

CINEMAGIC BACK ISSUES

•• _0..._ .""....u.. b_ .~ O g . " ' . . . . . - --_ ..""... O:'OCII . . . . . . ._

. - ~ ~ : ~ : , - - -----,CIIC""O'C_ cu. 010 0·0 . . . . .. . - . 1 .. .0 " . . . . . . .. . -. V - . NY1001•

• <1<1__ . . . . . . . . . . . . . . . . . . . . . ."'-. ao 1<1<0000

11-." jJ ... _1! . t Ofo< _ $2 .00 .. . -'"-010 . . . _"' , . . . . . . : _.. . . . . IC__ . . . ~ . . . . I

0 • •-1'.00

o. '_ n .oo' 0 - S ~ O O

0 . ,1_1 ' .00

O U 2 _ " ' O O

0. ,._13.00

7/22/2019 Cinemagic #14 (1981)


Electronic

SPECIAL FX

A BoxFull ofSoundBy CHRIS E. STEVENS

. - - - -- -- - ---- - -- I

- --- ! I I -- --- -! ~ I I --=- IlIdlldlll -/

:::SIIIIIIIIIIIr;-I/rR'I I~ -V - --- - --- - -- - -

- - -- - - -

M<Me soundttadls .e b<okcn

Into Ihr ... rNin < : ~ -\he diiologuc. ""'iii<:. and thesou r><:! effects. ~ n \he be$lo/

rnov\n would be dead they didn't h ~thne bHka. you l '-9ine what •~ be I o o ! • you didn 't ,-,\he ighl$ab-~ In the Slar Wa", ~ . ? What 'I they

forget 10 add the ....,.;,c m.t helps t<el1hf!

mooda . poni<:uIor O ( o : n e 1 E ~ lhough

16 ClND4ItGIC '"/4

. .

an 01 thne b.. es must be cornt>.nN $UC;'

cHSfullyto make upthe sound por1iond.

good 1T>O'Vie; ,",!ualty .a , the I .ck 0( .. par·ticutM sound In 1M righlloPOt can blow the

pie<I"""'" 01 .. good """""' right ou t thedoor. When I become_e hot .. scene Is

miHing the p<op!r .-xl ro«essIJry ..,...-"k

thol add aedibility. I uWIIIIy . . . . . out. dlsgust . . . . the Lack 01 (ere.-.d 1 I l i o n .Nr! . ~ , production wiI be ....

.

I

~/"-

\ !

I I .han«<!.mtI the proper dfeclS. One 01 thedowrlal ll 01 amata.r r.1mt i t INC allhoughhoors and hours ar t s.p<ent on the ~ IeffeCll, linleOf no time II spent on the l'Udio

ponlon. I petSQnlltIy think \hot this kill ..mm IllS!,", thon anything, .nd .' 1 all 100obriolJs in mosI CIl56Ihot the tound pot

lion <lID rusMd .. ~ togtChet. ' " 1

last min"'e Ihought In • last ditch effort 10_ wIwK might ...... _oe beflI •

7/22/2019 Cinemagic #14 (1981)


I,II

- - ~you've ""'" taken !he time \0 price ..

romrntl'da! JOUnd ~ e c t s libr . y. you "ve. I rudy dllK'O'l'etl!d that tt-.: i . . betterchane<! oIllnd1ng llIe on !he moon. And inmoot e.. ,. , IheIe lib . ,;.,. ...., .........,. ftw

.. ..-e",• .- .__ •• ;0

._ ,.

" "

;.._ "

. ---:.e,. ._ ""- , "- - ,," ----OCJO -1

• • ___CJ'

the commerd.1 pm6uction hollon, andoff", ~ lillie In the "'flY 01 !he sound.~ 101' .good scHI ~ mostCIlSeJ,

you ~ !he ti..... searchng throught«Ofd, re-runs d SIN Trdc and otl>t<plKnfor particulor fX . W.,. """see- 8rMIh,

.,

1,• ' - "- ,.0

". i

.

.

_ ' ... oo/IIoNI your problem. IiowW'OUlcl you~ k e \ o " - . ( , " 'ijJellC ! I O U n d ~ " I l l .

)'OUt wmmand. ~ four hours .. dIoy.

and no I haw: to ~ " " * ?I chooe IN . project for _ Ioimple , . . .

...... Flnl. tho: "" ' one that I C<:ddthinkolforlhls .......... I ~ . . . ...condIy.Idoappoeclou!!he . . . . . . budgfU IbM ITIOIlarTlllltun ~ to work witt\. and Iasdy •••bee..,." in spce 01 . . dille wI/'n thaI.)'OU

__ n !he photos of this Is euyto....rm gob'9 to tf y \0 bum up .. f ..... pages

with , descrlptlon on how to build thlsI h l n g ~ . 1 O \ \ h o u I ~ i n g ) ' O U I IIIf'UI RI>"

torS , Tlle meW Im pOrt"'" thing to ~ inmind at all time. I,!hat you can'1 rush !hI.Pfoject. • does \.like ~ m o : : to build, and you

might M well M:ttIe In ..... plan yow """"""in advence. bdo«: you '"""'" thftn. Den',wony about all 01 !he _ and thingL r ...

.. ~ ~'Ii'I'I

.0. en ( l , _., en

0'

J J

- ~- . -,« ,

" "'" , . .

L ~ )J.llii1II!- ~ ,- ~

."

1 ,1.1 ! " j "

I 1 1 ~ t J J l f J t - ~eo '

"'.; ,'. /, . . - ~ •

!( ...

o. ," '.--, ...:. :. . .

I,

,- co;:; . _ 0"

, <

.-----'. :•_ __ ;1'

.,; - - - .. .."!

, - 0 . i - - - . . c- . .:.:3 - fi "- "._ " ' 1- .

" _ c", - . .• .- . , i -" 0 • •

__ c' __ a

-, , ,_ A'

U H ' ~ t I 5Ct.em.tic 101 ~ placement. SM 'M Pam loti on !>IKe 20 lor odeIIt,hcatoon.no R I d I O $ I I I c CM .... numbet

CJN£MM:iIC · / 4 17

7/22/2019 Cinemagic #14 (1981)


,e-dulgned the urut without .. 01 the un. -d tr4S . . . manvolwl'oic;il.,eon theunit pIctufed WhtfI I build sornetI*Ig IOf

the 1Inl1ime. I aI<e k to !he lmils. _ I hm~ b«k _ elin*late!he lIu1f!hlll wIIIedd

t o o m u c h 6 t r ~ ~ . _ t h e i l e m s ' M Idon'l function as o.d _ 11hki< thot 1My

should. You migh' $a) ' thai IWU ...... !he~ . s rrr.><:h as possIbie.IO!hIII thfte is

less chaoceol failurealong the II...... In anyene.the howd work (1a)<>uI o:Ic.) II al'ead)I

done. AI you MYe 10 do. is drill sb: zillion~ t U e hoI6 . , . mount !he pM I ;and '-"

.-'Iow. 1eI'1 ~ to ......t<. The boll is (Ie.

Iigoed wound the srHS477.fi coo,. . . .IoOUOd oer-aotOf chip. l 'l very lImiliof to theonetO used in the . r c d g.IIffIft. an d _

we 're doing. il p<Og' ....mrog ......nuoIlysothat . , . ; I I ~ the sounds IhIIIwe need IIIthe Hlp 0/ a switch. AI P.esenI ~ ShackII marko:ling IWO sound chlpo, Thilis the

Ie.. &perl"'''' 0/ the tvoo. and In myoplnIon. ~ to bethemOfe _ile,ln any

case. make ...... that you the right chip.

ContrIllY'O popular oponion, the two unils

oM! R.dio SNod< ~ not 1rUr,

changNbIe. And siro« • lot 01 the paRS

come tvoo to a poekage. you moght . .ant [0o/rOei ........ o/)"C'Jr COSU I>v thanng \With!IOmeOI . . eb e who W1Irts ' 0 bulK! his own

ControlFunctions

Con',01 Funchonln, . . I,. ' ' ' ' "w"ch_ ana ,n, .. ... ,hi 'co,,..pond '0 In l Ihdi<klull "",'cn _.",onl 1I. . . . .mber, Ih . lmal i . "n . CIP.COI

."ea.h. nign., In l IOu Rd ••nl lowe"h.

clplcllonce, ,hllowl' ,nl tound o,'cn

I'll' Amo"'' ' ' ' ' A.. "'or, ., ~ .3U_. ~,,-t '50_1220_

8210.

SW 2 Aiio<:i<lDa<:ly llm,ng CIl)aCItO', O,m'

205m.3 'm l

• 11m.,m l

t . lm .

1 H'ml

• 22m'

!I'll 3 Nor.. Folie< Cll)aCOiO'

, 1000'2220pl

3170p'

• 00,",1! ~ m lt O,ml105, " '

• , ml

" ~E""" though \his proj«t frWI)' _m a

IiltIo ~ MI o.d worth it. r ..an.dylose hours 0/ IIeep blasting a/;Ms out of

spoee · · ~ m t o o m p i l l n e . n d ! h e l i k e .l ' .1N'II&ling '- many.......os \his oHngwiII ......he. You mighl ab o \OIaf'It to keep Inmind mao! W 'OUr budget. lim.. tight. youC'"" . I w ~ build K. little a, a t i "" , until

~ n , s h e d , AnylhIng thai', worth bu ilding. I.worth takJng the Ume n e < : ~ to do K

-)"C'J buiIlthe po - . ouppiyin Ia..

article you can ..... lhal, akhough r . . . pn>~ ro. a oeIf'COfUined power ouppIy, fyou do ..... the e o 1 ~ u.... connect

your . . . . . . . and ~ COIw..aor aI

poontl - ,., ( i e- In the P"""""" ouppIy oection

01 the pc board. Make sure to keep thepoIaritln COf'eet. and u"" the highest te l ·( a ~ 9 voItl) on Ihe powe' ilUppIy. Wyou wllh. you c,,"also u" " . 9 volt \nI"listor~ 100, 110.._ . aU of the partS aIIer

u . . . . . . ~ \ N i B ) m u . . beuoed(lhe2009trllrUistor _ t h e _ dIOde and ,niotor.R·17.)

Very probotbIy. the ....... tediouo " " " ofotus jo b Is dI'oIIong the hoIa. Mer lhal,

QOM Oft)' fl$. _ yoo.i. find that themounlIngof the parts is veryeasy. W ou .....

the photos a ~ . !hey'U 9""')'OU some

SW I V C 0 Con"ol CIO"","O ', 10001

""""410pt100ml5 ,,.,.

6 11ml

1 'm l• I 7ml

SW 5 V C 0 Con"0 ' " . . . . 0 ', Ground

, ~ .,,-2 2 O ~. . ~" - 2.2 "'"'II,,-SW &S l F o..:,'looor Connol CIO"","OI, 17001

2 O'ml305mlI Iml

5 17ml

6,,,,." 1m ."OMS!

!lW 7 0-- . I ' l0 l C.PlCOiorl105m.

2 'm'3 I7ml

"'m'517ml

6 'Om'122m.._,

Idea 01 how things l ite p U . ~ . JuSI.remember that!he unillhat you'", buildingIt no ( the III"'" as one pIclured. Iwantyou 10 keep lhat in mind. FOf ~ r .. .

rimi,,",,1N! the _n .o I "joophOl . !rOd

Soe¥eral OIM' -....I1r4>uU- ~ I pU.mturOt togethe<. IcouIdn', _.- .y real reasonfor aU d ~ .......",. ;and ~ IIllll thebask unll Is th e ~ A.noIher oampie is

0110 In the I"""ef supply. M e' ~ n g ohI.ohIng together, I te/tlited lhaIthe 2009 Ir .. .~ . 410 nt CllplKilor II04Ihe r ~ $ l O I ' .R 17 proYIdoo<Ilor ~ f\1Ierlng of

pcI'IO'ft supply. and mean! thot I could u""one if,ss IiIler capacitor, 8QIIin -'nil .......

""did ........ for "" n!ernaI 0UIp.L n..,best Ihing to ..... is the -phono- ~ jade....tvdI is compatlbIo: with nlOlll _ mill·

er s an d Mere<> S)Sterns. k ha t er-ooughpo - . so haI donn ' l t-.-:I • prNf\"9Iifier.but wiU no ! drive a speaker. h l ~ _ ' r e o nlh e ilUbject of the opeakef. Kwa . mountlN!with cabIo!. damps lhaI I got from RadioShad<. TheH are WIe metal cia""",,. and Ifitted them..,lhaI iI-..y juSI caught h e ~of the . and bolted them down with4-40 sc:rews _ boll$. I 8110 used grun

~ ro. the insUators on !he po; b:wd. IC '- four lhaI W6e ~ ' o th e s l l ~ 01,h e $Crews.

SW ' VI,..,.., u..o, E"'.101)e S-, '2 Eh.. OI)e Se!Kt 2

3 M".. A

I " " '_ 8

$ "" ".. Ct V CO log'c7 0 .... Shot A . . . o'• OK.III'O' ContrOl " '" ,"or

SW 0 V.riOUI U ,"

, P"Cn Conlrolll . . . p.2 V C 0 ContrOl _ ' l i o r

' 0_.a-'a-t NO,.. 0..:,'1aI0I A_I I ..7 _ F,II_ A_I ' ' ' '

• D«oy A. . . . ' ' '

SW 10, .""ck 1'1.. 110'2 S"," _er FlIfHlblCkl .u . Oulp ..I Inl.'nll Spel;,a,50l)en

.0_'0_

.-O. . bIoI " , " , l i on

VR' , M ~ Noo.. F,'' ' '- _ .. or

VR2' Mogohm o.clY _'liorV1I3, M"'IJOnm A n I C ~ Aelillor

YR. 1 M"'IIonm O"" .M ' 11"'110'YAS' M"IIonm Otc,lllIor 00"1001 A. liI10'

YAG , "'"'II"nm V C 0 eor.nOiReoio'OIVA 7 !1Ok OfOm P ~ c n eonnOl R . . . or

VR.50_ ....... V,CO E>.1erMlC",,1r0l.... .

7/22/2019 Cinemagic #14 (1981)


•!IItn e tomOIe\t P\: _<110< 1M sound e!Iect. pn e r _ . . . . . .1p.o<I" .nIChed. Note, , , . "bbotI ublft._h na"" _'nee"Off UM _ hH ""fa a t U f n . .

wtw:n mctJlllIng th e pans. m au surethat all aI the perU. induding th<e )ump8

....... afe mourud from the top . .de 01 theboatd. Be .... 10 di p th e ><I\!'M off as close10 the board flo you can Mer)lOU ookIor!hem In pIKe.

The MOCllhir>g to 'like Into O C C o u n ~ li e

th e switches tN t make up the front !Wild!panel. Ichow the cornput ... 1yp! of .witch·

u , e < : . ~ d. the smaI """""', 01 ~that lhey ute Alto. you had to .,..,choHeo ~ I I I C : JWilches, would probC>ly

take " goocI_ ) 'N f l 10 """ ' " up with the

lK'atd\. s..ilches ~ Ihrough seven li eotraogh1f_d. £a<:h one has....., ......a-cne «>mmon. _ ftgI'IllCO' the indMduoll

posoOOn$. I . .-d he ribbon 0IbIe.. t>o:<:ause

CiOn be,..,.,....ate<! inIo SClS aI n i ~ difnt.Mbng • lot 01 confusion. and ,,100 l ,;eerns

len IUKeptabie to bf . . . . . . .. III the longrun 1,''hen looking from the foil $ide 01 the

boord, the poJItion. ", e f,om right to Idt.and the potiIIons "';11 COffnpond on !he

ITIIOln pc board """en the wi..,. " 'e In..,-tedhorn Ihe lop. Each w i t d l ha $ $iJd.... ~ .ar>d then Ihfn • .,Ihe i t t - " ' ~ c,rc ... 1MI.

Indi<:ale solder - pads." 00,,1 dnN ~ .inltNd ..tIeo plllklltlng the board circuliI)'.

"'It I owa *""'"'''')'011 totKk tho: wirelOIhe boIIrd. Study lh e phott>s 10 ge l " ben .......

Ar>othIet lem for e<>nsiMr"""", "'" Ihe~ b I e UIoII$hI.cn. 01 pcU (potot1liomelen) if you 0.\1. Ead1 one .... ~ IIweeIoIp5 on it. and w\Ih Ihe shah !King you . Ihe5Ido! thM should go\O lheground is t h e _

on the oight. ..ou. the ' * - " 'I / 'e bI dgio OS

.em . heone on Ihe far IdtMldthecenter~ Thi.","i,YOU oo/yr>eed two ....... . bu \

" - " t (lIlth,.,., laps «If100aed. The e:<ap

lion to thlal.the I .. . pots that ha¥e 10 na....th ree Ml""lIIe -.ires. (VR 7 r. 8) Tlle~ I, """ the rlghl tap IsT · and the idttap

is "H·A few"""dsol caution: The .,..;trn par..t

is _ted from the IN! and ~ ..-...I.

mroke ..... thIIt under no ~

you . .10. . '0 ' ~ ~ 0touclllhe

10<0' '' ''..... """,IoiI 006e} c.

"

PI-otOCl _ . . . . . , . , . . ._ or CU' ' ' ' ' 'IGIC._ ,_tIIOm,.,_"'__ "'''..__ l10.,._,,,__ • _ . . . , . . " OIl t!IoC. .EM.OGlC

....----""',., ..._ IC .E .WG IC _ ..... , "'>i_lI>tOlOlOl_____

CI'IUI.,,(ltC . . . . . . . . .. . . . . . . . . . . . . . . . . - . . .- . . ... ,.,'-" IIwa<cJo___ .

do . . ' . . . 01 . . . . . . (.odI_ ...-_...._...1AIt.,c-. ~ ~ _ l .. . I L1.oo , 6 ""UtOO_.-.. 11oOMd>. 3 .. . U L1S _ 6 .. .~ O O _U.$ .... OIIDlIISONl.V _ S . . . tt : ,__.. ~ _ __ "'6

_.--..-"'--- .......""....... IIooO" ... PO 8005l20. _ , PAm.L' .....O . o . iOddIHO".. ._ . .. ______ roooU.s.A."'-

. . , . ."" bO" US ...""' ' ' ' ' ' '

r---------------------------------,

i SUBSCRIBER SERVICES \, ,: MIssing oop,es? MovIng? ~ a l a ? I

: Reee;.lng duplicate l$Sues? 0....:I tions allOtII your SUb$Cription? write :

directly to: !

I

CI NEMAGIC

"''''''''''....-..O. 1. 2Mt. Mon1.,IL 61Q54

, ~i SU I SC IIIIERS

: ONLY:

: DonO l_~ - 10 . . . .__:- .s . .: OiIbKtIp lion 8CI.IN _.1n--

,----,i

,,

i!. . ._. . . . . -J

iSvl)scrlptlon Inquiries addressed to:

tneed itorial oUices will onlydelay your :reQuest :,,

,,l ~ ___..... _ ~ : ~ ~ ________ _____

ClNCMAGIC 114 19

7/22/2019 Cinemagic #14 (1981)


- - - - --- •yI-r-

Tile l)OIlom vi"" 01 ~ compleled PC b<>ard alt .. all part. "" ve been IoOlOered In ,

line here 10 CIN E/>\.o',GIC, describing yout

",obIem as o I y lIS you can, and rl l

tryitouton fT\)' unit and see if l can come upwiIh .... ~Don ', be anaid 10 e>:perimem ~ .

Another fe{ l$Ol l for usll>Q the ~ I t ftype 'wUch6 Is bee . . . . . unlike a rotary.Yolt<:h.you CIIn oeied mol'<! than on e value10 program In. antving ... son ci an "in~ •• VIIIue.1n oomeca .... )'IIU can gettwo ~ V l l I u e s working Indeptoclaldyaro::! y« toget/1a. with oome ~ l e f e t ir ..... l f . I ~ n g the f \ e x i b i l i t y ~ rno«:.

K ~ In mind 100. !/wit """n ) Q ' . i ~ pr0-grammed in the "one-iIhoI" mode ~ nportions will not be used and will "- l i t t le0 / no ~ e < : I . When ptOg1ammed for c0n

tinuous ~ the "one-th<;JI;" portions

will be IMCtMo. I might 0150 .. .",1ioI , that In

photograph crllhe compleled unil.

programmed for a one-shoI; pMser ~ "thOl lasts about ~ ___ n duration.

For your first test, youmight """'" o try todupli<:a\e !he settings shown !line., this will

prodUCt a sound the lim time, if things " '"In working ordeI, I):xil be ourprlsed either,that alW' )IOU you'voe programmed ..

,___________________________ _ - , sound.)OII don', get one. Because ci the

way the poru ""lues illtltfoct. Is pouible toprogram QuI of the range cf the Ie. • thisParts List

All cl paru h.led ar. v a l l a ~ ' " al you. lccal Aadio Shock SICI • . Aadio Sfloo kPlrl numbera ar. tltlad In Iialic 101 YOUI con ••n _ c .

Resistors

A· n 560 ohm. 271·001II-II 6$0 ohm. 271-()03A· II , 2(1, 21, 2::1. 2 • 3.3K .... 2 7 r · 0 2 ~11-22 3.\lK on",. 271-(129A_' 2'2Kohm. 271·03811_2l3K otrm. UI·f}4()

114.25 HK c/1m. 2 72-()42II .... . 15 56K otrmo 271-()43R .. 'OOK onmI271·047R_I , 13 220K 2 7 1 - { l 4 ~II '" 210K onm. 27 '-05011_12 170K onms 271-1)53

II -I I . M on",. 7 1 - ~ gA_l0 2 2M onm1212411II _11 0 Mon ... 271_Q/jg

A· I I I ,7K on ... 27'-030

Capacitors

Co t . 14. l t .elm ! 272· ' 31

C_Z. 15. ZI . 30. '0 .05mI211_134Col. IS . 20 . 21. 311 .1ml 272-135C_4. 11. 28 . 3If . llm l 272_1417Cos. II . 27. 31 I ml 272'11 IPC .. . n . 28 . 3If 1,lm I 272_14UC_I. 25. 35 IOmI 272-1423C .. . 34 22m! 272-10M

C-l. to lOOpl 272·123C_tO. 23 220pt 272-/21

C-I t . 22. n .470pt 272·125C_12 .00 1ml 272·1l(}C-13.00:;mI 272·13OC ... t 170ml 272- 1030C·42 IQOOmt272·1032c_n 50ml 272-1021

Variable ReSIstors

VII·I"", l -m&\lOnm fI. . . . I O ~ ' 271 -211VII·I• • 50 K·onm fI. . . . I.per 27,·I7I1J

Switches

SW· t_IO 8-pOtitlcn mInI-dip 275- /301SW_II . 12 SPST 275·82'

SOlid State Devices

IC S N 76177 N Comple. Scun<1 Genlr. tor

IC 276-I7M

Bridge Reeliti", A.. . 276-ll/J1

0_1 . 2 n l n l iltorl2009

Ae<! L.E 0 276·033\I I Voll Z I_ [1;", ," 276·562

H8rdware & M iscellaneous

8_0hm ,pe .ke< ' 0·262hne cord 27e·1255

o.lu . e PrOjecl 80 ' 27fJ.270

T,"nslorme<. 2<,vOlt Me. I l l_volt pri273·1386F . . . II-amp. 270_1271fu oenoldef 270-3e5

IC 28 p in (O l>li on.ll 2lfJ.1997

Sn"loed phon o IIC ' ...u. Oul.,..l Ja ckl27'-31S

Elcnlng S,"ulion 276· 1535Prinled C i r c u ~ BoI'd 3"" , 6" 276·1566P,in!1t<I Circuit Boord 6" ,S - 276'1587

Macnlne Sere"'. '-10 84·301/

He . Nuts 1. .0 ~ · 3 0 1 8Mell i Cobl. I . m ~ 61-3023KnOI>i. Illlht 2 71 ·413

~ b c n C . ~ l e . ' (l-con<111Clor 276_171

happens. experimenLOsu<IIty by changingthe value d one d the VIIMbIe ,esmors,Y"'in be able to gel going. and then )'OU

can corrK\ from there, I do u'lic that ) 'I IUexperimoon, with th e unll an d ge t the fed dthe thing. flip . wil.che$ and tum those c0n

trol•. \Vhoon)'IIU get some\t'Iing thort you'd

Iike1" be able tooollg/lirL If"oIIke a og d. the

sound for l u I u ~ ~ " I ( " . " good e</I,.,.,.

"'" is Included in the " ' - t er>dos-ed wiIh~ <Well. Igoo.. go now. IkNr th e 5<)O.U"I(b cI.

an al .. . ~ hcwenng at>out Ihrff

f_ o/fthe fIoorcl. mylMng room. andi f l ' ,

.an urirlendly. rm gon ... t..a..... to blastoutt.alhuky.Good hurulng! f'If

Let's hear from youlSome! in your ~ for proj<!<:ts

you'd like to _. questions rnrl«llling

electronic s.peciol eIIects. ru I/)' 10 sriect

the besl projects fOf use and answer- • •......11)1 q.-t ion. I I will allowmonth, Slnce IknowmosI cI. you at e o n .

tight prodUClion budge\. and thI. projectnight seo:m a little expensive, rH try tocome up with . lot cI. i llie "!hing>n" fOf

!lie r"reI<t issue in the "d>eop 10 build"'c a ! ~ _

Chris E. Stevens

8 o m _ " _ i " H o _ I n r I ~ C M o f P d u..«I /UgIl _,,"_ in 1961. ~ _ ~ " ' "",00,,1 "" 1Sl66___ l<><oInillTId eon.,.

I S p r r ~ , , - IL) /01 """ _ ' " 197'. q, ......f < C r t " I 1 ~ " " "-> """ I>i> "" ' " 100. I ' I IS- IY . <.II ...UC 'O f_ .. _ , . ~ r .. mok

log " '" I" 'og .. .<_ " " .ncr build"",<1- """''''"1/ _Ifwn<nt I .... .n FCC__ )<""" , "" _ .. .

.ncrl ... I _ p d o C . l ' * " ' ~ . < _.,. _Ie D.J""""'''" IZ!IN".TId ...._"'41looIdIrj;I<O ~ I>I<l . . . . " " '__

7/22/2019 Cinemagic #14 (1981)


_Save $$$$_ Get Anniversary Issue _Get FREE Back Issues

_Get TwO special Bonus ISsues

_ Cet Exclusive Discount MailingsSubscrlbo10 SHIR tOG 1110 mos l popul a. science licllon ma{ll'Zlna In OUt sola .5151l1n. and10u will root only saya 10lSBbucks. you will Dlso ga l tllings nobody

..I .. g,,15

1. The r ~ u l " _ prH:. 01 51 I I I . O G 1 1 l 2 . ~ &aen. .n o II VOl) l>Uy 11 ' llt", "" W·st.no II COl" over S30 00. y,•• A ,. luOl(:.IDtI'. you PlY only $23 .99

2. SubKfloer. "to II'llne annuli AM"""IIr)' I I I ~ II r>O ' ~ I " cost.

3. 5uM(.loerl gel" IeUI 2 lpeel.1 Bon u I I _ ucn yo. For ...mple. lni,pt." yo. _11_ conlll.....,.ylnyl record .•no ,nottler Incl_ ' mo<Iullt k' l. I>UI

subscrlboQ 1_ u ... flllitea rlgnl 10 IMI. names II no "Ira COS I

4. II you sut>tc<10I "ont .....y .... 11,1"" _ you ••• u,1IIe r ~ " ' O G Back lS$ut

t o u r ~ ) I O I o I u I . t y FREEl Our g,lt 10you

5. DurIng In . "-')'lit ... 1'1... _111>''''"1 OU. . . O subS(;"oers tn.at '!IOW In.....ailcourtl UP 10 ~ ~ on ••cltlng_. ielion fTIIfCI'IMICI,1I There', no obti!la tion10 tIuy. out only IUblQlbIf••_1_ " . .1 11'''''' .... , ~TlIIIW1I ..... SUOICriOlIon"""'OS. tn . AM_II . . , 1 , _ . 1M Bonus Issues. In .

FREE Back1,_. _ the I>'MllldilCOUnt """Iing'-ln . . . aM upIO• •C't1ng .....lno;rs tor .. 1 ' I I I - t J t ~ SF I,,,,50.11 you ... t I I 1 O ~ _ up ...ltn tnelll__ 1 SF ' ' ' ' ' 'I _lV_int..-.-_

_181 I n ee l . 1tl1C'--I.n I'Iappen,ngl _ oornmunicallOl'l l_' lnlasllC cotorpho«>s.no Irt-_ I, I". 10.... 10 JOIn 1M tnousanas 01 ot_ Sf I.ns _ , r ,""""'" on 1M mag ...... thll 1._ you on • monlhly Inp Into pUr, imlglnII.lion _S T .....oa.......• - - - - - - - - - - - - - - ~ - - ' - ' •..........

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"you If • YOU" ! fi lmn'llkltf with .fPC<1II Int . ra l In Kie ne. fleTen,fPC<1II cI'I« U and IIIe 11",11_

magic " ' Ille cl....... . . .

THIS IS YOU. MAGAIINI

_10 0tQ0uc. ""'*"'<nIl ,,1c!.1I'II!11'0« cl"oOn9C color ..-d. IM'IJt _

<'Ito .......... ltIOr'1 <'10 w:»r:e .. ot I~ ~ ~T _ 01 fOW. !C-. . . . . . lam IOO\Il III~ 1fnIeI__ to ........

'fW' oct...., IVI{)(S<_U '"8 r . ~ _ fot - . . . " r'jN " ' ~_0 " " 'fW' _ . " " "

&..oIcI ....... own 'OI:ICt> _ n ~ ' ¢ n r (..."'"

y()rjr' own low<" ~ _ O ' <...,.,... """"" ............. ...a . . ,..... 1"t""I ~ _ GoOIS1»"'...,.._ I n ~ ' Iorrt tc'ft<"Co1Itvotwo0l

___

0Clt0I 'Of cr«t..., sot<. '""" '" ~ foo\.OoI - .. " . . ..,~ « ~ , « ~ . . . ,P'QO.rC!O"JUfr.> !o<OPOrWP .~ ....... o a O f ' ~ _ ,.,....... _ IOC__ ' ! < c t \ , ~..,_Ill

-------------X ) r . r < y o _ " , Of.PT. C"....____ .... ' lJOl6

-"" _

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__ 'i". . .c..- ,an.__ . ..<.r:1" 12.00

I",,,,,,,, I

...."" '"'" "" ", '" "''' ' ' <>_10o a . . . r ~ , " , , " , ...-

®

: : : : : ~ : : : : : : : \ s ...1t z,. J.......

ONfMAOlC · /4 21

7/22/2019 Cinemagic #14 (1981)


Producers '

BULLETIN BOARD~ _ t o r u - d ~ o I f i m ptqj«b., c:um.nrprooU;tion or TWar ~ !o : ONEMAGIC. ( /0O'Qum $I ....... .he:. 475 PmA>mue Sourh. f'Ww y«*.

NY 10016. PI<t..... hdudo IIphotogt"aph 0{_ p h u e o l

1M ptO<kIlon. t possiIM.

DOjjI of Doom. Comedy/ Horror. The IrteilectUIII Mr . YQWUl.....ai\J the delivery 01 hls newdog, YabbIa", , - hlJ broIhe<Millon I I I f fyft with Yabblel. the fun begins. Produca/ Din!c;tor:JoI\n """'9.....n Cast :J . Mong..aro. f". ~ lind PIenIeC. frh. C - . D. Mortanez and A. Mortj ...... S u ~ c:oIor.with • rnuliall Running lime: !j rnirua ~22 F1 ..... J o h r o ~ 23-lOJI Rd. ,UQy, NV111()6.)

The . - n ~ " grOUp d ~ e s I N I t>oeinfI~ tlWI\'.1Ime for Eanh 10 ~ ( M " ' " nle"obeI 01 theircounc:l The 111m 1oIows .... /IIien ' I5e. . :h for .... Unh .rorm best sUted 10 reprtHI'It E¥rh. 8iwTerejG.l

br..." Ptoductions. Oirt<:tot:Chip GIIIbr-.n. F'oImed In wi(In.

qe e n , ~ « I tIC '1.600. . a . stfftO tound. black IIfId..tIIte. RunnIng til'l"Oe: 12 .........es. (Chip c.tw.iIh, 14427 BIlleSkIK, IJvooIa, I'll 8 1 ~ )Beyond: The Beginning of th e End. A 0 ,.... of AYe MU QUI

to d l ~ • new pWw:t for humM 10 Il'\I'Iabil after the 8M 10

nNrI)o ~ by World War 11 On their journey !hey

encounta • black hole and II r ~ of alien being. ""'" dtriYepltewrt from torture. They AMIIy find a . l kb l t pIan<!t. butthe. spIIeeShlp II ~ ~ the. 1If'fIoIaI. They try 10

IIeI>d • fI'Il'UIOge bad< to ~ t6'IIt. I'!oduo::e': CenluryI"roductIor.. ~ Doug ~ . and I ~ ~ c..:Jot t . . .M . Dido. C.-.y. Doug TiO)4ot IIfId SIeYe Monow.s...>tr.a. c:oIor, I<ItIfId. Running time: about 4' I'I'IinuIa Ie,..,.tuty Pro6.octiona. c/o SleYe 1'IDrmw . P.O. '* 25. EI< Pon.SO'7Oa)

G. -n a . . . . . . . . . ~ h 116u. The rOU$Ing \ale fA • ~rious young IM'SY girt. hunted .:cows .......,.. England In

1890 by 0\IlIawt and ...too ~ ~ her on.IChr u ~ Iegoeno;Iary gypsy e r 01 g ~ value, " )'OUIlg

AITIftIcan ~ I1Ies to ('()I'OI! to her ~ - o n I y I O ftrod

tIwM """ MltIIe "poIIIef" to ""'" cal" 01 hersd'. The Hlm~ " " ....... Iop with rnysOcism. Prcd.>c:e': Altemalelmega PI'odUdlont.OI=tor/ Editor: ~ Osborroe. WrtIer:Eric GUrTlllrtin. CamMI and F ) l RobM a r ~ . .'Irtwori<:Battle. Cast: Sccfan K1akoYkh. Roxanne ....... """. DowId Arm

strong. Eric Gilmonin. ..v.dyTuttIe. Eric T .... rod Gfeg

Edere< . FX IroctucW : titIo:s.. sh i fq ") '8 . blood. rnror:teJ.

n:K . fiIng. rod pn>pS. S u p e r - & . ~RlInr*Ig dme: 18 rniru.a.

22 CII'fENAGIC · /4

Doctor Jd<yII an d 1'\1". Hyde. " dr.·rTIIIlk: re\dling of Ihe classic 1M b)o

Robert L.ouiI Steva!son. " man.chlt.n --... dlhe good

end "'" In " " " " ' " ....cure. yd /IlI.IIinsuncontroIitIIe r-..ItJ. Ptoduoer Oite<:-lJ;iI/Wrker:Scott Ciibton. Cast: ScoaGlbJ«t rod Tom i'lansf1Sl. FXindude:u. . . . IfTTYIlon ~ 1 I a m i n g 1itItIand gore dfeas. Super-3. color. sound.R\lrWng bm e: 1!j rninules.. ~ poIt.

ptOductlon. (F ......... f1cks Pfodue.tlonI.. c/o Scoa Gibson. J06 BumwIck

Rd.. Richmond WI 23227.)

Renegad. "'una 0 ." Wh . . . . CoII"II!dy. Four very strlIngen d M d ~ l . with equally lIrenge n a ~ (U>on. Huh. Wings to

Wha) ~ . Tra ... Am v.ith Ighl: opeed capability. Prod ..

cer/ Oir«1Dl/Wrill:t:Miloe Sefreed. F ) l Mike Sefrced <md D.Md

Lambert. Cast: Mike s.Ereed. SeU'I PllsIcIn. 5teYe Seward. TanySeoo·atd. ~ Turnbu!oh. Scoa foI\eyft ond Ed Swann. FXincIudo,: Yidfo F ~ ' - k music byw-t bk.- erbsls. Super-8and . ~ I o O W > d RlInr*Ig time.]I) rninules.. irI ptOduco

lion (MiIoP, SaIrftd. Jr lMe Scotch ~ Of . ~ Ott4$432. )

..,.,

Ior": John o.v!s. Write,,: PhW Ptuee ondJohn DIrMt. Art!Of:Robcn EIIiol Sound ElIecu Mo'IIIOf : Do>1d Tumblin.F ~ Club FacultyA<Mso<:Clndy CDnJm. Some Equ;pmmr:supplied by: Jad< ClnglnollCOf1! rKOfded b)o IheCeJltrai High School Band. Conductor: Jo.ck Mallard. Addj .

~ ( I f ' \ / I I music re<:orded ...-.cIft Ihe ~ t I o n 0/ Chor1es Send·

ers . FUmed on Ihe land 0/ Mal< lind .Juanh Zube<. FX in<:Iude :gla" shots. law ttop motion anImMK>n. pyrcUChricI..

lu i KlJIe spacecraft mockotJPS and . . . . . . . . . . . spacecr. cernposilM..til ~ «tion. (e_a I High F ~ Club. c/o Cen-tral High ScnooL ~ 1 J..::kaboro PIke. KncuMIe. 1N 37918.)

7/22/2019 Cinemagic #14 (1981)


The Encounter. A man out for a Sunday dl"ive notices"small. white f l g u ~ waII<Ing along the iIide of the rood. He giveschas<e. and the a8en lead, him 10 " ~ i p where the

e><dltment INII)' ~ I I I $ . P n x I ~ , Se<:ond Unit I'\"odu<:tions.Director: oYOch&eI HooYtr. Story: O.E. and oYOch&eI HooYtr.Soipt: O . E . ~ . M a ~ and <:<»tur"l"leS: D.E. Hoover.CaM: RIck Van Hem. t.or..n Keth (iuIMn$Or"I. F 1 ~ on Ioeto·lion in Balboa I'IIrII. San rMg-o. CaWomia. 16mm. coIof. Running time: not est.llbIished. lSKond Unit Productions. c/o~ Hoover. 6029Mak:<>rn Dr . San DIego. CA 92115.1

San F.. dtco ' . AnUL An

R·rlll.ed pol« """'$U$ mad

1-tIi,- story. Au.lgMdIO theCaM: is InspKtOr T..J. McHe."y.

a Iw<l-nosed cop wh o takesthe CaM: as a pe<sonai veri'

d&o after his wife and daugh·

It< are murdef-..:l by the snipe<.

Produ<:er/ Director/ Writer:

Thoma. G. Knowlton. CaM:Thomas G. Knowtton. CDrtBenson.. PU Joseph. TammieAllen MId LNa [email protected] f)(; Thomas O.KnoIwIton and Paul KnowttonFX Include: bloody gunshot

wounds. bHtings. CM chasesand action Muru. Super·8,

color. souod. Running time: 90

minutes. (lhotrna G. K""",,"t o n . 2 ' 5 4 1 1 3 t l l A ~ . N . W .•Rochester . I-V'l 55901.)

Firtt Goal. A t>ockey fdm starring Bobby Orr concerning

Orr's belief tIIaI tha"e Is too mu<:h ~ in ywth ~on ";nnlng and not enc:oJgh on having fun. l'I"oducer: BillTrao..<vener for September ProdK:tions. Dir«1ot: Dan Driscoll.SUlnding left 10 right in the photo IKe, Dan Driscoll: Bill Traut·

v d t ~ i'\eIIInie flrdjnsky. admirUtretor. commercwd...-lations.5«Jndard Bt""'<is, Inc.: Bobby Orr, and ..a..-.e &lrden. accoume > < ~ Newsome (, Company. "Thef<im ...... funded by5«Jndard Btand" Inc. l6mm. color. sou nd. Running time: 12minut .. . (September Produ<:tlon$, 171 Newbury St . Boston.,.....02116.)

Pannenr. The 5to<y of two psy:hie cr'itics ...no haW' tt-..lrown WI!eIdy teIeWIion show on the PBS net\toOOrI<. Each -..It.they review the Iat.est o/ferlngs from the JTIO'IIe Industry-whi<:h include such films as: Yod . Goe< 10 Chicago. -"1lerN

Dales. The MrlktrlanlVW<lJ/S Rings Once; Bul if You Donl

ArlSWt'rHe L ...ues and the ever populilr Samurai God/arhu.

Unfonunate/y. they dof,t ~ agl« .. . PnxIu«n/Dire<:·lOtS: a.:n Jone$ aod Wade R ~ Written by: SelIn Jones.Ben Jones and Wadi: RocI<dt. Cast: SelIn Jones. Wadi: Rock·ett. M i ~ Heath. Carl Hess and Am!Ioda TlIrtt. FX Include: rearptOjectioo, rising blood veins. and much. much 1 1 ' l O I l : . ~ .8. coIoi. wund. (ElM Jone5. 5617 Troo:lp@f. lAs Vegas. NV89120.)

The Third Foret.. Part O ne: Th e Stard . . JolI.. on . Thi$film It the fiJ5t pan of a pI<Inned trloIogy. k i. an authmtic:

1>d/I;:Mtlon of the flrst PetTy Rodlln book ("""liable In German.c o n t ~ l I r u n g the f" ... five adventures in C<>r1denoed fom\. "'"book has the .. .me title lIS the foim.) P r o d ~ : CLl PnxIu<:'lions. Director: Harold K. link. Soipt/PnxluctIonManager·{Publication Re.ations: Norbe<t O. Czernoch. Model construe-

tor/ [)e,.igner: Werner Usc"",,,. ell$!: H.elrQld K. link. Norben O.Czernoch. Vildor Fari<a5. Werner Uschkll. Werner A PIItz.Thomas Breit. RoI<ond Stainer. Eva Mag"""", Pet. . Breitner

and Amull' D. KrauSL Special Guest Slar.: WaH. . Emstlngand Ernst Vkek (two Perry Rodan wril. . f)( include:mlrtte5. mini.otu<e$. Mimlltion• ."..;aI image optical FX. stockshots Gnd double exposures. l6mm. color. sound. /Ippro>;i.

mate Running ~ m e : 80 minutes. S<:hedu1ed <dea .. date:...... tumn of ·82. (HarGid K. nnk. EliSllb<;th 51. 5. 1010 Voenna.Austria.)

~

The Unearthed. Millions of rears ago an alien being _ castout f,o m its home world lo r comrritting heinou. crimes

~ I n s t its people. "The "lien "'IIS sernenced to a limbo of ..-.:l.less drifting in space for all time. However. the gilllnt starcruiser caJf)'ing th e "lien i. dragged iOOl the gravhtJonal pullof the newly formed Earth. The ship <:nO . . . . . . MId $ink5

~ a t t t the molten Mace for coun1less ceo\uriu. " KYCfeeaJtlo.qWlke In southern CatIomia iorces the a<>cient starshlpupward through a " " , ~ - w I t h the n t stili aM! The following day$ bring a series of horrible deaths in the ar"" an d

o ~ man', bo'JttIe tJglIinst the evil <:l"eeturt_ Prodl.lCO'f/Direc·tor {Soipt: d ~ r n Craft and Lee Murphy. FX include: l>U.omated creature. miniatures. m&tIes. Qraphic make-<Jp effects.Supe<-8, color, dubbed soundtrack includes roosic. Runningtime: "I'P'''''''''''te/y 40 minutes_ (6IoodIust Film 1'I"oduction5.c/o Wuliam Craft. 19538 ArmintlI St. Re$eda. CA 91335.)

ClNEMAG!C · ' 4 2J

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I2ROFILE

Jerry Parisi:

Super-BSleuth

Actor/ Filmmaker Jerry Parisi has created his own stellar vehicle. It's a detectiveseries called Caroonero, which he writes, directs and p lays the leading role .

T" cleon-up commol\ee has ju"

a,,;Ye<! . A homicidal " ' ' ' ~ is on

the k>ose and he s O)'5Iermti<:ally

mu rdering all oI the r o s ~ t u t e s inNewYori< City. The onlydescriptionlh8\the

paliu M...e of the mad "",n ;illlG, e ~ r 'a long coe\ and .. Dig hIot. D o : t e < : \ l ~ TerryCarbone<o i. hOi on the ki lle" , trail. k' ,

typical police drama, 1!>Cc¢'\ C . bonelQ

.",,', the Tuesday M<Me of the W l / d < - ~ · .an .."",leur 55"""'11<: shot I n Super-8, single oysIeM sound. cart:>onero WIIS

cor.ce;ved. ",Titten M d dirf:C\f:d by ~Parisi, who ..1so SUlrs as Carbone<'o

Parisi IS)'CIUng!lClOr detemlinffi tOrMke

bOg. In shon, "" _i l lS to be a " " " " " stilI.Gorbon"",.hows that Parisi can dl'ectandproduu .. . "'"I .....ct. Themm. h o v g h ~ · .hardly Academy A .... d ""'leMl, is a good

r.lm and ohows IIOrne pl omislng talent

developing by making Su!-B m<>'o'ies.Porio! In particular ha s a I'III1Il,al otYoe ofacti"9 ,""1". neither ~ ~ /'lOt ..,H<an-lthough Jerry Parisi thinks of himsd

24 CINEMAGIC '"14

By JOHN CLAYTON

prim/lil ly as an KIa< and only r i t yas .. filmmake.-. hi , filmmaking taJeo\-

pMiculllriy h is ~ t > i l i t y to get rm.ny I'f'OI>Ie

involved In production ! h ~ t offers no- ~ attention_

"I rorst go t ~ i d e ~ to rr;ako, Carbonero""ayback ln 197)," JerryNgln•. "I ha d just

go nen off !he subway and was """Iklnghome from high schoof...men I ...... a br ......car come n i n g M""nd thecomer and

srm.1oh Into the posts that suppofl ~ .....vatK! subo,o'ay tracks whe,e 1 i>e ; n Q,een .

There""", a couple 01 hur>dred I'f'OI>Iestanding a,ound . . , 1staned walking over

to the crow<:f to 5e e ... wn '10M going on.Befo,e I ,eached !he crowd oono\her bro«T1co, came ope-eding around !he comer and

.rm.shed into the '0-1' poolS. lIfT curiooilywas ,,,,,lIy a,,,,,oed . . , 1 an the ,est of the

wa y 0 ,,", ' to the crowd to fond out what """.

going on. When llookt d around the comer1 """" a Ml f do.<en ~ brO'om <:afl-aHidentical with the .. .me liccnst numbet-

lined up and """ iurog 10 speed off and eralohinto the sul>way piIotform When I ...... the

cameraS I ,,,,",i,e d thIIt !hey """ , rm. klng a

movie.50 Iwent ow:< and asked the comer·

arm.n what the name 01 the movie """S. Het<>d me the mcwie "" ". called The FrenchConnection. I shrugged because I Md

ntV<!r h"",d of ill said ·'A'har. kind of a lillieCClmpany is thi • .,. The cameo-arm.n ans·werK!. 'Twertieth Century Fox, that' . the

little company doing it · Then somebody

...misp!red "There' , the _ .'1 tUlned .. .ou nd

and IooI<ed at theguy.1 had 1Ie"e' seen him

before. _ ""'" Gene Ii<>d<man.1 had ......"Y 'wlM'Ited 10 be an actor. and after thIIt experience of seeing a movie being made In my

own ncighborhJod I cIe<:ided to rm.kt Ill)'own ar:tIoo pocked police rncwie.

"1 ~ n prepro<luctioo on ~ original

C.rboneroon 1974. t o o k m e u n t i l 1 9 7 6 t o~ n i l o h putting the mcwie together. Mostpeople S\.lIn ou t try rm.klng short r.tm•.but I

thought rd stan at the top with a future.The cast lor ~ original Catbonero had

at>out 170 people In iL Most of them weree !<lrM_ There were lour rm.in parts and

at>out 20 supporting ,oleo and bit pans.··After I fini$hed the fll'$l. Ca/bol1ero 1

decided to rm.ke anothe, Him u$lng the

....me ' l a r ~ t < I stanK! making the OK'and Carbonero in 1979. I "'as "",,","ng inseveral dille",nt plays during the pre?"'"duction and the ItCIUliI productioo of the

second Carbonero. Each play lasted aboutI i. 0 ' seven months In Pfacticeand a cou·

ple of weellends 01 performance. IworI<edan the ocript with Jeff PoI liuotto everychance I got. We finally fi nished the scriptand were ,eady 10 begin shooting.

"The oecood C./boI1ero i , totally different otory t h ~ n t h e f o r s t one. Ew:n though Iplay co p named Carbone.-o in both I m s .

! ~ h l l r a " ' ~ i5 ~ in tho:se<:ond film from the ch" racter In the first. Iptan On doing ~ IT\OIl: C .rt>onerofilms. rll us e the dew:Ioped chIIract ...thaI ~ f I in the se<:ond fdm in the lutu,eepisodes_ rm presently iRYOlYed In prepr0-duction on the third Qrtl>::rnero r,lm . If ,tentatively called Once Upon Ho4d-(Jp. ··

There were four Pfoduo:e<s 01 the sec·ond C.rbonero ~ I m : Jerry; SIeve Shane.

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who plays Sargent Joe Kelly; Jeny Borg,

who plays Bill PW>ody. and Ro i"IcGcwem,Jeny's girlfMnd. who plays Cat!>one<o'.we who Is alsoa nurse, Thefilmcostabou\

$6.000 lor film an d procmng. Ea<:I'I pu t

up a roughly ~ u a l s h a ~ . ~ took up

collections be."., Nch shoot and bought

thefolm In bulk. Other costs, such .. 9"" fOfthe petrol <:IN'S, costumes and uniforms.props and lets an d food IOf the cast and

crew "' " not Included In the $6.000 figUfe"We shot 8 IotIII of 11 9 50 foot roll. of

Supo:r·8, sound film \0 make th e ~c"rbonero, " ~ reveels. ."That ""Ofksout to about a 6 to 1 shooting ratio. Wemade some mistakes that _ s t ~ someftlm, buI mostly we used so much film

because we had \0 shoot some scenes

from many difffltflt angles and we "" '"_ng ...I!h IIIngle S)'SIem SCU>d, whidl

requires shooting e.tra f<>Otago! at thebeginning cl Nch \like to 6p sync thesound with the picClXe.

" j ediled the film myself:' JerTy COl'>

UnU8. "Some of the cutting looks just a

little slow, but that ..... the ody wrry \0

make sure that the s o u ~ k would be

pI"Opfl1y syncM. Supo:r·8 sound film has

an 18 ha"", separMlon between the picture aOO the sound, .so you have to Ie""",the 18 f" '""," cl sounCtrad< on the frontcl each uoke to en$Ure that thoe K"tor'

voices will be 'p synced. The ",Ie we

followed when we were shooting ..... torun about second. worth cl film throughthe camera belOfe the IOCt(:Q were cued to• \lI1t talking. That left me with some e.tra

footage \0 play ...I!h in the editing room.but also used up a fair amount d filmwhen you consider that ead'I scene ....q u ~ _al UOkes. In my opioion

one of the main d.awbacks cl oIloodng InSuper·8 -f you have to shoo! with "';ng'".ystem souOO. I didn't M ~ aa the neces·

SII<Y ~ u i p m m l to shoot and edit doublesystem sound and ge t 1O(.!I1 lrame-fOfIra"", ~ i t I n g eortrol. bull don'tlhlnk

detta<:\$ too much from the film.The<e's •lotcl Ktion to tany most d Ihf! sur.es. SO

i t'. no ! Uke the actors . . . . a/WII)'S sittingaround lor a lew seconds III the beglnning cl each cut bel."., they start uolklng.Besides, who can alford to sink all their

money into producing a I e a t u ~ lengthf,lm In 16mm double S)'SIem sound?

Oubonero would nf:YeI' hove been made Ifweren'\ lorthe rdatively Ioweostd Ihooo;.

Ing in Supeo-·a··There', a brothel SCtne in Carbollero

that shows • group d very scandly dIIdyoung Ia<Ies (p<OSIitutet) sitting around In

Pat Claus.en p l ~ Me Of ~ lor" mu rM r victIms in P.",,· , film.

Robin Sh.ne " ~ " " ' ' ' .. ~ ; ; ; ; ; ; ; ; ; ; ; ; ; ;

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a parlo< .... ting lo r cu!llOlTICfS. Corbontro

biI,geo In. looking lor one of1he prostituteswho may Information about the 1dI1o-r.~ Car_o an""""", .. hlmsdf as aco p the prOSli!utn 1111 run ou t of 1he buildIng Into 1he street. The parlo< in1erior wasact",,11y the Iron! porch of a housoo tI\iI\ ha d

to "" <I,.. .oed !o look like a living roomi n ! ~ r i o r . V",id newt know thai wasn ·!

aaually an Interior rOOm.-We had to build some ch!lirs in f O f < : ~

puspective to rni>ke 1he p,,,10< look deepef

thon it actually ....s : e r r y ~ . ··1 al. . .had to c o r l Y i n c ~ a bunch 01 young girl" 10pa,ade around In ~ r u n d ~ •. ~ I ~ ~ ·ally Slopped Ir""k when ~ SIlo! 1he $<:"","

whe<e 1he prOstilut .. run oul into 1hew_ .

A couple of ca , load. 01 young guys ........<lrMng by when 1he girl" went runningwearing only u-.e;, urderwe ... The cars

K r e K ~ to a and almost slammed

into elKh <KlIer as 1he guy> inside forgo!aboul <lnving to g .. agood look", who! .....

hawening··"We SIlo! many 01 Inleriors at.klf

PolliuQllo·s t.ous..:. Jt.rTy contin"", .

hving room WIIS shot on a SulldaylOfs c ~ n e 1>01.-., Ro i'IcGove,n·. charae·

I,,, and Carbanero. l.a!er the bedroom WII Sp a i n l ~ green 10 ohoot the oo.prUli K"",".

W ~ dressed the roomlo look like a hoopiUlI.We - . . , '0 grea, detail to ensu,e ,ealism.51,""" Shane and I conwuctood the ~ .boa,d with the bedligh! and !h e nursepager. k looks very realisti<:. Im<>cIe up-\hegirl who ..... h o s p i u r l " , ~ be<:<lUSC she ha d

been Deatefl up by!he m u r d ~ ~ , 00\ h8d

..supoed before he could kill her. Igave he 'a very ugly black ¥ with stage makeup.

Jeff m<><le the I.V. pole thIot ....s used in the

scene. Aillhuttentioo to <leU il ,,,,11yP")"!'d

of f 'HI"" looks like a hospiUlI room.W ~ had \0 find anothef Ioc<llion to $hoot

the pr«incr imerior scenes be<:aulS" noneof the rooms in.klfs h ~ were appropri..... 1or the ..,.Iism we weo-e lIIler. We P")'ed

a ~ we knew '30 for a one clayshoot in hi . houlS" when ~ decided it was

the right location. We had to $hoot fou'scenes using the precinct n t ~ r i o < We $hot

them a ll in \hoot one clay that ~ .ented the

house. We arrived al aOOut sb< In the mo m

ing and d .. .sed the seI and maMQNI to

finish by the..nd ofllle day. The ~ , 0 1the house was very nice in lelling uS ulS" "'S

houlS". TheS30'H'1y o n l y c ~ e d t h e U I S "of his electric"(y. f ~ had been for<;ed to

ohoot In a studio ~ wouldn·' have been

able 10 alford the .enlal. We had '0 go out"n d ge l the old typewriters. the desks. the

Roliode><es. the phones. the paypnone. themaps. theHling cabinelS-the"""* works.

looks authentically like the inlf:rior <:A a

police precinct station. We tried 10 piI)I

lIItention !o all the minute cle!alls in ~K<!f le that would make the story a s I i s t i ca. could "" .

· ·1 oe-eded to cas l 234 people to fill all the

pans. Including extr8$ln Carbone"' .. e.ry

reveals. ··1 natu,ally starlM with ITl)' best

friends. I found some people In a shopping

mall where I workM. I asi<M ~ to f,nd<KlIer people fOf me. Icast most d the girls

26 ClNEMI'oGIC '14

for moYIe by haYing them come to

I T l ) ' h o u ~ _ r i n g bathing suits. f lheyt....dnice bOOies. I cast them as proSIit!.les.

b e < : a u ~ the girls playing the prostitutes

had 'o.....ear skimp)" outf"rU an d they h8d to

look good in them. Ialso did some castingthrough one 0I1Tl)' agents.0.. .. Kennedy.sru. went ou t 01 her way to he lp me. I gotmost 01my betterpIayen through he<. Mostof the ,ough pans h8d to De played by

prof . . ional actors. My advice to Super·8

movief"Mkers aboulcasting would belo be'otally hor- r with everyO<Ie. Tell them

whether Of not h e y . ~ "" paid for theI, oeM·c .. . Obviously. I couldn·, alford to pay pe0-

ple to play in G1rl>oncro. T )lOUr actors ifthey get a bog pari they·1I De expected '0 bea.allable wheneve< they"re needed. 1\1.

though I couldn"! pay ITl)' actors. I did payfor ~ . lood when we t>roI<e for lunch duroing a shoot. I took up a coj ject ioo among

the prod....:ers """ _n t out and bought

P."si & Tony Styles p.eo."n8to s!>oot thesubw"Y ~ h . s e scene.

cold cuts. b<ead Md loda and we se t up 0buffet table where everyone could make

theI. own sandwiches. You "" '" 10 do III

lea" thlll m....:h for your actors and crew.o t h e r w l ~ nobody...;11 wont togi"" h,. bme.~ don·, work wei iflhey·re hungry... ... cas t 01 234 people is a huge caot:·

Jerry admrU ··Of COU""" moot oIlnos..~ _ re eJClras and bit ~ ~ EYe<)'"

body In the cast wa . g'HI """ could De

d e p e n d ~ on to be ""oilable lor ohoot'ng al

any i m e - e x c ~ one penon"''' ' ' unforw" " ' ~ had a fairly major par\. Mer we werewell Into shooting the fohn and t....d '00much in the can !o ,eplac<! him with some

one ellS". he t a r t ~ '0 skip shooting dates

wher@ he was A!QUlred becoux he hadlines. He was one of the lew .uppo5t<lly·"",,"esslana)" actors inthe n ~ . e cast Allof

the others. the union professionals and theafNll<:Urs. """e great. We eveo!",, 1y had '0.sUIrIwriting him out 01 ma ny scenes he wo .suppooed,o De in. a shame when one

penon our oIlirerally hundr-eds Can c " " ~so many problems. I\sicIe from the pr0b

lems "' " ha d with !hili one actor. the enUre

production IIIn .mootIlIy.··Another source I uoed to fond actors lor

Ca'bonero were the amateur theatregroups that Iworl<edwith in Quc.ena. . JerrywYUi9ts. -I told ITl)' friends in the the>Mtegroups that I ..... making 0 ~ and

asked W they wanted to De in i t I>'£ISI

regional theor:re actors are very happy ,0work on a boecause they·-eoniybeen

I!IIpOsed 10 SUtge work. and lthey s ~ r e ,0

be<:ome "...,...., lICIOrs. they need 10 get the~ . I InJsted these peopIe·sabilitietmore than the totally inexperienced people

I e < : r u i t ~ from ~ I sou'ct$ """ Iwound up giYing them bigger partJ becaUlS" I felt they could handle them"

Jerry spent a great dl!\Ol 01 p....paring his script. He had the help 01 JellPoIliuoto and a girl named Esler Bi<>k:>

broda during various 5IoIges r:J scripfrlg. Hemade r"", d.1II\s of the script bel'ore hearrived II I the final shooting script. Evena'ter all this u.dul r ~ p a r l l l i o n . he s t i ~ had

10 change the K"ript during shooting becau.., of the actor who lailed to!ohow up forseveral shoots and h8d to De written out 01

seYe<,,1 scenes.

··The "...,...., took two ) 'HIs 10 shoot:...Ie<r; contin"",. ··During the course 01shooting Ihad '0 fT\iIke ...."'!hIII the leadingcharacters didn·' their "PPI!IOran<:tS,00 much. or I would have had continuityproblems. You can·1 hove a h M a c t ~ w e ...

'ng " moustache in one sc""'" and not inthe next wi!h(U.an explanation. Tony Styles.wh o plays Carbonero·, partner. g,ew a

""ard altt< we ha d r . n i s h ~ shooting. bu t

after ~ i t i n g became apparertl th .. "'1!

ha d 10 reshoot a few ecenes be<:aulS" they

didn·' work out the '""Y we had planned

them. I ha d to ask Tony to shave oft" hisbeardforlhe retakes. Hedl dn·,want o d o i ~bu , f O l l u f l l l l ~ "" didn·t refu,,",. • a film

,akes tha,iong to shoot bee"",,", everyoneirl'o'O!w:d ha s <KlIer ro m rnittmenttyou "" ' "

to keep an ~ ou t to make sure that

oobody '8dicaly changes their appe"rtIfICe.··k look about seven or eIgh, months to

au..mble all 01 the footage Into the finalcut:· Jerry confides. ··1 s c : , ~ the roughcUI on ""'.,,01 differen, occaolo ns to i l f ~ ·en t g.oups-reLatives. lriends. cost members and the like - to get feedback from

them abou! wh", they ,houghl of the"""'Ywas cur logether. When you spend so

much time on a project you begin ' 0 loseyour ot>;ectivity and your ¥ can·, _

some flaws as readily a. someone who·s

seeing it or the first me. IU5ed tt>.,;. lI<M<:e'0 llim out the f<n and make the story """"tfaster and with more ~ .

··One of the . " """ ' " ) wanted to make

Carboncro is be<:<lU1S" r" " always admi.ed

"nd rapec1ed ,he I'Iew York Oty p o I i c ~Jerry CQ(If"ues. ··When I actually began

making the film lfound tI\iI\ they......., more

than I I ~ n g 10 help. They aecomod<ned usin eve<)' way they could. We spoke !o the.. .me twodetective"thlll look SIlllone and 8i.1y DeW,lIiams on patrol for a

week 10 !ohow !hem what to "" an

ant;..:nme policeman fOf tMir roles in

Nighthawk. .. "J"ht,y offered 10 do the .. .me

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thing for us.·'BKau .. __ e o n s a , . ~ a ~ u ,

fIImmakefs, _ didn't bother to g ~ a film·

Ing permit thal" s r e q u i . ~ of professional.In New York. In New York. you.tlOOl ""Ih atripod. you'.e o n s i ~ a p r o f " , , ~ , Of

c o u r s e " " ' u s M t h e t r i p o d l o r m a n y ~ .bot no one ~ . I>cJIhered u. co ,,>ked lorOUt permiL Wu>ked manypoli<:emen who"" ' ....... on the _ where....,....,..., shoot·ing to help u. OO! by letting us f,lm OUt

lIoCton In Iront oIthei. squad cars. We .eal,Iled that """ couldn't ....,.... them, thel.badg . number's or the p!I!roI ca . numbers

In the film, bot Ihey helped us In e",'Y ' ilrj

they could. They explained tI\III they wouldhaVl: \0 H h e y g o t ~ c ~ l I . but thcy'd beglad \0 help if they """""1 busy. We......,shooting one scene wher . the mu.<iem"cha .. . an ufldercover pofi<:ewoman dis,guiloCd a. prostitute down the street an d

"' " run..tler him 'With OUr guns d.awn. Wen e g ~ ~ \0 inform the police !hilt ...,would De shoo!Ing In the a.ea, Someonecalled them \0 .q»r t a man with a gunchltsing a g'o1 down the Slrcd. 1\ pIIt.oI

wagon came Speeding down the stred towhere..., ....""e shoo!Ing.1'fy r c w a l i l o o l < ~at me an d .. . d 'You',e in lrout>lo:: I f'\.C.

down my gun and "",nt 0" " to the plllroi

wagon arid tr>e<! to explain tll1l\ ....-e _ . e

making amovie, The police were really niceabout They .....en agreed to speed thetruck through a lew sce""s with the light>Ha$lling, the c ~ m a J < of the 1flO'o'ie. lIndhaving " real pat,oI ""'9on come speedingto the scene 'With its lights Iioshing really

add. a "P"(ial touclllO the~ I m . Of

course.you'd -. in " prof"".."..,1 proouction.bot you wouldn't think .... amateu, proouc·!Ion would h"", svch ,,,,,Iism. """'es thefrlm look ~ professional."

Jwy has looned fIlm ((lfI1p11ny (allMTakc One Pi<:ture. "'th II,. fnends that heworked on Cafbonero ...ith. He has recentlybeen joined by Paul Vilou. (se-e the Profilein CINEMIIGIC ·8 ) and Jeff PoIlluotto.

f ' ~ r i s i i . sc:hedufe.d 10 play the lead in The

C""lil"" EncotorNl!f. an independent filmthat was KTipted byl'tlil Goldberg Md willbedifecled y V r t o u s _ ~ l h e y c a n f 1 n d afilm

""ngel" who'lI prOduce a (see l'Yoc:fucers'

Bullet", &<r,d. CINEMIIGIC "12.) They'",

al,,,,,dy made a t'ailer thai theycan ""0 ...' oprospective angel •. The (, Im will De shot In

16mm in color with $O<lnd and h""'" a lIaKhou, runnong time.

Jerry,slloprng thai Corbonerowill 50""'"

1>0... get aired on c ~ b I e tv or ""'kc back

oome 01 the money it COSIto prOduce. He'sbeen working on the s c n ~ 10. Once {Jpon

" /-hId,up building the rnonialures lo r

the !opeCiitleffects$CqllCflCe$ in the planned

CarbonCt'O sequel. He's uying to find anangel to help him prOduc . 0"" . , Upon aHold,up. In the meantime he's .eceotly

become a SAG (5<:r.-o Actor. Guild)member and he' . been making his round.

ns an octor looking for work in f i l ~ . He was

r e c ~ n t l y cHI lo r a ,mall bit pa n in a ""'jot

folm that i . soon to beg,n shoo!Ing. but he

.....a . tat'" informed thai the Ie""" he ...·"Sto

bein was CO!I.om the r.lm. He', lookingfor III. big t>reak. Jerry Pari'; has the deler·mlMtion and drive tlla Dre <lbsoiult essenHalslor svccess in the film busiocs$. With

luck his deiermioalion may P<'Y 011 and hemay ach ....... the sUCcess he longs lor. (J I

ONEMi".GIC "/4 27

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KODAK'S

ANIMATION

GUIDE

O I U I < S. "The WOrl d Ofk an a<.i t l\Q(ltat lvt guiOe for anvoneWIlO k Int trtsttCl In making n l m . J l ~films Jam·paCkeCl With t,ps ontverv awec t Of film p.oaUCI,on anaanlmUlon tt(MI(Jue rn il; In·oemhgUIClt 0000: was c.eca.ea ov l(oa.JI<

e s c t C l ~ I I V fo r l he animatorwno W¥lIS10 mao::e oro ft$$lOrl.ll-QUiIIIt'/ a n ' m a l ~f ilms on MOOfsr BUDGET

"Tilt WOrld Of Animation"INClUDES-33 0<i(ItsOf tomcoele DlueP/'lntS fo r

OUilOl1'I9 your ow n n l m a t l O n SIan(!

• ... gUiDe 10 M koo.1l< ~ m s1Y",1a01e IOf anlInoIDOfl ana _ t o

UW Intm'"

. " now·IO 9U1Oe fO f achiI!Ylng all1M m.lJIor anllN l lOn lecnniQuts"!

HOW to tono wor\( WlIM C'Odvcer'"

• HOW 10 Oreal< IntO th e Ousinew"

• 1S2 Cages- full ~ o o o r Ih.ougn-oul'"

-------------roe wona <If ""''''''''1OfI

CloOQuonnSlU<liOlOEPT C". '5 , ,_ O U I ~_ YOt'o. NY '0016

S1!1!i j)trCOCI'/ ~ S ' lS .... """_an(!~ N C n ' S J l S f c w _ P . "

BOOKS

T ... S..per-a BooILIIy Lenny Upton.. A

F1ruIcIe Book, put>bhed by SImon (,Schustltf, /'lew V ..... 6- .. ' " , lO8poogu. '1 .95

Lcnny LIpIon if; ~ ~ .. onealtho......ncr. fooe<loost .....chorities on

Supor-8H.........&dng. His prev'ous boak,

Irnle()6ldefll FlImm.okll1g is one of the

""* WoI .. .bIe bookJ ...........bIe to thobad<yard dno:omagldan.. shouIdn\ comeas .. tIII'J>f\R !hat his Super-8 Bookls one

of !he most o m p < ~ books on thesubjea ....allable to ~

Supt.·8 ftlmrnoldng is Lcnny IlpCOl""

life Hoe ""'" ..- many IKdairned filmsNl $upef-8 and IS one d the....:wtd'.Ieod·Ing propoo i tnu rJ pod'nsIonaI " '" d the

fotrnat 0Nrly. he kJ"on """"" hie'. doing" " " _ 10 ~ !he jar 01 Supe"4i/iImmIIIQng '""'" IlnJOlW. . . . . . . . . . . . . . ., " , - I . . . . . . he does In 1M Super·S

-he Super·8 Book i t bfcRro down o-co

te'o'er\ cn.pCers: f'ormet, Camoras.Sound.PtOCftting WId StnppIng. Editing. Pritua n d ~ E6c:h ~ Is .. wo:ahhoIlriormMlon on its pIlrtkuIar 01

Super-8. The d\aptef on Came,u wlU teU

I you wNo!' . avail/lbO! and how U p t o n ~oonally feels "boot moot cameras on the

I marl<et. The chapter on sound is ~I dally helph.iI to the f'llmmllkoef ........ 10. . . .I good w asp on the techniques IrNcIYecI inI Iilmng b.A nef:ds 10 on his

I ....-..:I recording ~ SimiIerty.1ho!EdIcing dwoptor II an irMIIuabIe /lid In~ S l<'rIf<_orrnorw.or_ 1 ...- - ' - Ibe .......- ' - - 0 1 - - - ~ t o O O U o ' l n _ InC ' I -,-v - . ~ - •

......., ....----I Perhaps !he most aspect 01

I ~ St.tper>8Bookil the ~ In whIct!I Upton his own p m ~ Ie< _.

I 1ou.1ooIt and ted'lniquH. You '""'" a s .y o u ' r e h r . i n g . ~ ~I with Upton and he kHpI saying, "Look,

I you don't haYl! to do this wllj. but tills ItI the ~ I do lind k ......t<s YeI)' well forI m e : ' H o e c a n _ ) ' O U . l o I o f ~ " " , a n d

• Q!Y I trouble by teIIrog you tIM! results 01 his

I I 0 W ' I l ~ ~Although _ oIlhe $Ub;e<:U In " ' "

I m-l'f ntI' I ~ Book_ ,otI>et tKhniotaI and...,~ _____________ a InOI l ellen poaerUd else ....." In

28 ONfMIIGIC · /4

a w m e I y ~ . - . d ~ ~ INsis not the <;aM ~ Upton ""'" ~thAn • iIIIe bII altho artist In him. He /$

an IIftist ..no 10 Wftle eobouI~ kI ~ 10 being an

KCIoI.-d ~ lind auI;ho< on the~ r ; I ~ . a he',alsoa songwrIIe'.

He ......ate Puff. Ihe Magic Dr3got1. ..t.k:h. . . . . . big Nt O f ~ . Paul lind Mary

back In the -'Y He Iaketopportunity he can find 10 ~ B lillie witand ""'tdom Into the ~ n i c a l t < J ~he·,.:OIIering. So. if you're II'ItOfeSIed InIelIming loS much _ you <2In obouI~ buC hoYe been bored to tears by

the dry tect.n;caI manuals you' ... found.try lentIy lipton' , 11M! Supor,aBook. lind also I ' i I I t I d ~ m I ,.lim·.....king. CooI.,eoed...;ct, _altheocI'wr boob . . . . . . . . on the subject. 1M

Suptr>8 Book It . braoth aI fresh 1Iir.

Sound, MagMtk: Sound Recordingf .... Motion Plctura. Publshed byKodak.I'Iodon Pkton an d Au<IooItUII1'\ark£U OM . . . . Rochester. f'If:w YorI<.

8 \!o" I( I 1". 56 paees. ' 6. 2.5.Kodok publillhel rnIiO)' ted>niaooIlT'llln.

I,I{II, and handbookl lot the profeHional.. I .. amac"". ftlmmaker, and theql,l{llity al lhne pubIicMIonI has _omovery high In <e«f1I )'IefQ. A casoe In ""*'"Is Sound: Mllgndic Sound R«otdingfOI' Mot/oll PICIutU. _It an d I o ~handbook !hat II; c;hodc fuI 01 WOI'fI'IaIIon1ibouI.......t leccwdiog. An)ocne i ....e>led

In being • toUndman ~ rNd It.

T h e ~ . . : k l t ~ ! h e __at EIemEnI aI . . . . . . . . . . . . . . . producIIono..Thit It _lOUSe ...... 1WnIIIE<n consIdI!r

the toUndlradt 10 the visualElEmenI aI a 111m. _ no! be IhII

way . 'MIlle grEal ..,;....a a .. immEnHIyImportant. boId.......t wi. ruin !he ..-811

Impact 01. 111m almost .. hMically asbIId visuals Of bold IICIIng. k's no t only tIwot

IOfTIethmg', missing ...ner. the sound

tnock It gurgly ---."u, lng'a otnnoyfngl• you'", one 01 the people who den

from bod IIOundi.nocks, you ~ do

.......tNng ooboui: k liEf",... ) 'CU audiencedecIdet not 10 -..d your nullCiftO oOog!

7/22/2019 Cinemagic #14 (1981)


One thing you can do 15 leam """" aboutmaklog ooundt,ocks. Kodak·. book can".,.

Maybe you can·, afford to go ou t andbuy an ~ 16mm ..noIsele . .ca. . -a lor double :system sound ~tog. but you can II:am how to make theprinciples that make ~ Camef1l. SO

attnoctiYe 'I<IOfl< for )'0\1. So yoo... .e stud<

with a cheep slogle-syS\lem Supeo-.fIc a ~ a with a bUM . . mi<:tophor>e? c...,)'00 tab mlcrophonl' oft the c ~ m t r ~with an e<leflSion cord? Can·1 you lasNon

YOU' own boImcy or blimp out of Ine><pen .sive fNIIeriIIls? Can·t YOU' ",place !hatbuik-in mike wiIh one more U ~ e d toshooting a p"rticula, 5CftIe)'O\l have in

mind? In ~ imtances you can.Although the book concem5 i l .d

mainly with p r o f ~ t '"dmiques lor16mm double :system """nd rec:ording.mafl)' 01" the principals a", the same forS u P f t " · 8 - ~ stngle or double J)'S"

'em. 00 you know when to use .. shoIgunmike or an o m n i d i ~ 1 mik,,?Canyou read a vtJ me t ...? Do rou know howto splice and..crt mag film? t<.od/Ik .•

Soundbook wiU ohow you how. You

Co'I' have to senle fa the the hasslr$ 01"editing SuPft"·8 single system. You cantrans( ... )'OW" single system original tomag film and ..crt In doo.>bIo> $)'$tern- .. . if

you """ shat In double sysu,m to beginwith! This will give you total editing con·trol and you·U get used 10 the teclmiques

used In editing profesoional theauicaIm_

You·U also learn how to =ord ··wild""

"""nds and build up YOU' own pe<sonal

CineMagic

sound effects bbrary. Even "I you don·,have the. - 10 get Into double .ys.

oound. wli help you In the flAu", (i fyou plan on a career In film) to under·stand the mechanics 01 double msynchronitation.

One 01" th e most Mlpful aspects 01

Kodak"s Soond book is that ""'" you\IIhat '0 expe<:t lrom a sound swdio ortrans/" ... lab. This can $1M! rou bom I i "" ,

and ~ and help you 10 plan )'OUf

dubbing S6Sion SO you Can use to}'OU'lullest a d v I I n ~ e . umether you·,e looking

lor a coO,....... a soundman Of you joustwam to make Oil'" that YOU' ~ tfilmmaking efforts have the best possiblesoundtn'ck. Kodak·. Soond book canhelp you acMive YOU' goals.

FUming Sport... Published by Kodiok,/I\oIIon Plctu,e and A u ~ /l\llrker.sDMsIon. R o d ' u l ~ . New Yon.. 8y,w "

I I 286 pages. SolI bound. $ 19.9S.Ha ,d bound $29.9S

Filming $pOfIlng events can t.. apIee .....able and ff:WIIrding el<P"';" ",e. fyou.", both a filmmaker and a sports Ian.this ........... 01 ~ I m m a k i n g will prO'o'O! 10 be

both =,utionol and educational Yo,..-Hbe ga'ning ""1",,bIe el<P"""""" t>el>ind Ihr:

C a ~ a while you·,e ,ooting fOf YOU'

favorite local high school Of college te.:lm.F"dming $pOft$ may presenl the golden

O\>POfWnrty IOf )'OU 10 su.n ......-king In16mm. Find ou t YOU' high school 0'coIege has a prog,am lor r,lming thele<om In 1K"IIOn. Maybe tm)- r- . : I a

CIImtrGlTIIIrl or GiISlun!. f )'OIl ~ xnousabout c",""'" in filmmaking. you should

get lIS much ~ lIS )'OU can. any"'IIi you can. You·U leam how 1O......nr.within the schooI"o filming b u d g e t . ~ .haps you·n be a.ked to help In a fund ,eisIng ac!Mty. This I, valuable to afl)' m ....maker ..no has a project In mind and

needs 10 know how to budget and rIIlsethe money to ge t produced.~ a tedlnlqueto I m i o g s.porU.

and Kodak·, inforrY\lltiYe book Fi1m1r"19

Spotts. will ohow you how .• o:\or'le. EvenIf YOU.[l! Ilol. Bsports flln.the ~ tyou gain by gftting inv<:IIvN In filming

your schoofsleam will come In ""'Yhandy. L. ...mlng how to shoot the IO(tk)n

01 a lootball game can I...tp you on

when you·,e , ~ to stan filming )oOUt

......, a c t i o n ~ advenI"", ntm. Maybeyo.ill 9f t YOU' hands on the schoof,Bole>< (Of athr:r l6mm ca..-a). Maybethe coach win let )'OU borrow theCame'a - i f you pr<nIC yoursd tnIsI·\OIOf\hy The poWtoilities a", limlde . .

KodIIk· , FUming Spo.u wlU iii'" youpojrn.,..s on filming most kinds of sportingevents •. • also ohowyou how to usel6mm splicing equipment. " " " " - \heright film lor the lighting (onditions at the

event. Mal with the lab. work within YOU'lootage allolment and much . f you'eally "",nt to make fTIO<IIes, ...tJy not

make some at the ~ 01 )'OU'

school? Vooin t.. able to use the CJ<pC

ricnce you gain in \he /utu",-maybe

hcip )'OU land a job with a local ftlm comP"fl)'. f you.", going to br ...k into the filmbusiness. th e time to su.n is now. Kod/rk·,Inlormmivi' booII5 can I...tp you 00 )'OU'

..,. '"

MARKETPLACEFO' 00 ""_ o. $" 00 ,..,.. cron ' ' ' 0" OH ,..,.., __ . "'oc" '''' f,ro' ,."" ""'y W",d lOl 0 ' YOU' el>OOOo (u..,.rlinO ""'ml

.. .n bO "nn '" ,n SOLD CAPS

L O " ~ FOI c' ..r ....G.c " S " 0"' 0"'''' '»' s.o,...._ goo" ' ' ' 'C.H( ....G'C . ' ~ . n "'" bY No-.__

n G O R . . . . . . . . . . . .Uf i [ '0 . . . .C . . . o c ' ' ' ~ VOl' . . n' 'ObOh._un'"M £ H T C .... e" '" 0' ",_. " '.. . Mutt 0 «__ " 1' "

.....IIC T£ : $ . 00 f* ' ' ' ' ' L''' ' ' '___ . . . . ' ' ' ' ' ." per , . . . ..n.",u", le__ . . . . . . . 0 0 0",,,,, S,,,'OO. '''''.1,n'H """. Pu",,'u.'' ' ' ' '. "'"tooO•• " •__ ooon' . .c . . . . . . . . . . 5",.11 d ••pl.oy .<10_$<000 per OOOumn 'OC"" " " " ~

w . c TO: I " U " ~ G ' C . 0·00 '" S,"''''''. 'ne./ S P" . .. . . . . . . 500,,"N_ 'OR. HV'oo, S

CATALOGS

ot : : l r- 1 . ,-- .....__ ____ .r "" 1 _ _ 1__

'- ,-..----" . - n n ___...- • ..::>____ 0:.0_

MERCHANDISE

e cu lPA IHT . Of THl 1 .1 . VAll NDA C l ~ 5 SIU PER C .ROO SPACESH'.

12 '''\10_. 14 022 "" ' , " "" Co,,,,,•• ' ' ' ' 'SlO""''' . . . . . .Onf_,, ' ' ' ' '_>gns 1n .. . _

_ ...... """'0,,,,.'"0_ no' ,." ...",,_IO'y ." ,g"""'" Iono< l_ .. n '0'0 Com",...H' O' "'...""n" "'U. """1'<'>\1 ""' ._ ' ' ' '"",.$$115 oru' $2 00'", _00110 & ,..nohng Send

'0 SUAlOO ....""Z'' ' 'EOO.' C,<

<IS " SO "' . . VOf' . . . '00'6

SPACE INVADERS

...=L-..-='"f , .. _. "_._1",,,_....," .. ,." ...-.... ,.... ' ' ' ' ' - ..,., ...." .. ...:' ..•• • •",

<>0 00 .. . .. . c .... ._ .......... . o o ~ . u " "

WANTED

" ' ~ N b . . . . ."' So,,", S.no ,em . Shon. ' ' ' '100"0"01 8'00""'" "" eo"," TV. eon"" r,...m . .'"". 80. '53. ~ o " . : 1 N 5 2 PI> ee,-on.

=

7/22/2019 Cinemagic #14 (1981)


Low Budget DevastationBy STEVEN SlPPlN and KEVlN SMYTH

TM amera pans O'>'e< Gburnt out

land5cItpe. stn:wn withbuildir>g5 an d piles 01 soot an d

debris Not a pleasant soce........,. is

And it's I:VI'!n Ies:s pIea:;am 10 think offrom II technical s ~

We re<;ct'lUyMd 10 crNle this scene for IIfilm we were making as pa n 0111 SoChooi

Pfoject. Sir.ce not many cities we know 01

h""" been by nudear bombs We

nearby an d Mfe for filming ....... dcddcd 10

erNte the scene. Mr.<:ftorth refCOTed to as

trn: city. in m i n ~ " ' ' ' .Even you M" not skjlled in the an <:J

model makJng you will find it ea.ylo make

buildings In such silf'9le (and inexpensive)

mediums as balsa ......ad an d styrofoam.Even you ha"" a knKk lor buildiJ>Q minia·lu,e•. you win stJII be confronted wlih the

Pfoblem 01 creating the illusion 01 depth .

Y""tI have to usc forced pcrspectn.oe (see

CINEM.O.GlC "5) to aeote!he illusion <:JdoepIh in a .......Iklw minlalure set.

The ba .. 01 OUr city is II S' by 4' piece of

plywood. The f,rst Slep Is \0 cover th e ba ..

with plaster an d contour !he pl.aster 10

make it ook likea rocky terrain. You t odo this befOll: !h e plaSIe< oeI$. I'ie1<t. ""imtM plaster after has dried. A mt.-\ure 01

greys. tans an d black will give !he plaOl.e< a

r c ~ l i s t l ~ rocky look. Now)'O\l have to ~your se t with various forms 01 dK>ris. Thi.

c .n be doo<e with ash. charcoal and sand.

fo r added rulism add little bits 01 twistedwire or $tJIfene guitde<s suitably ".,..]ted for!hat "charred"' look.

Nowc o I ~

various bits01

bal . . ......ad.K'ap wood and styrofoam. These bits wiU

become your buildings. S i r . c ~ these build·Ings ""II only be vI_ from one ang'"

(un"'")'0\1 have 0Ihe< plansJ)OUon.Iy have

• ; ' ; K ~ " ' ~ n : ~ . O U ' - s i d e d buildings. A:' in mind is: styroIoam

,.. mlnilture SPICe colony set

30 CINEM'IGIC "14

The I»CkSrouM plintina lor Itle ,urned city ...as ""rnled "" I shllM.

equals bricl<. balsa wood or plastic equalsmetal or gla" .You can carvethe styrofoam""th an X·acto W e to make it look like •brid< wall .

M1;lny Interesting brl<:k/a<:es can be 0b

tained with iust a few minutes 01 careful

carving. D<rmeged offlce buildings can bem.ode from b a ~ . catdbolltd an d plaS(i(:

sheeting. To create effective "'r'Idows forth .... buildings. use a grating. M1;lke sure

you have given th e building Its undercoat 01point {grey. 5 l ~ . brick Ie<.!, et c.) Now holdthe g' ating O'>'e< the buildingOf rest IIon !h e

building Itself an d SP""'I palm the windows

through trn: Q'ating. Remember 10 alwaysu'" a daO<e, color for the "'ndows.

All !h e buildings in )OU' devaSlllted city

should have bumt out portions and:lOme

oIthe buildings should be buinon an ¥IQ'"

:10 they seo:m to be buried In the eaM . tiowse t upthe building •. You really don'l have to

Know anything IIbou\ venous >d SoCMs

(]/72. ]/ 24 . etc.) S i ~ piece )"'"'' buildIngs In decreasing ..... orde<. Your eyeshould be a good mough judge for trn:proper 01 trn: buiklings 10 make

them app.w In depIh.

M er you 've~

an your buildings.p '" send up on th e side th e wind hits. li nempty Elmer's Glue container rTIIIkes egood $lind dispenser. The ftnal touch Is abackground painUng. f you ca n ""In!. or JIIny of your hiends can I*m ~ Ihcm

pain!. a continuation 01 the I e d citywith buildings smaller tl\lIn trn: J.rnaIlestones you'W! built for th e set. li n old window

"hade ~ an ~ and ~ can.vas. If you don' \ know "")'OM who Canpaint. mako! It a night SC«M! by uoIng a blackwlw:t backdrop. ......ke holes in the

backdrop and placea light SOUrce behind k10 <:rUle II SUI<Ty night sI<y. (J f

7/22/2019 Cinemagic #14 (1981)


7/22/2019 Cinemagic #14 (1981)


10 _ if It <:0I"I'Ie out all ~ Then wIIh

editing. - .nd. eI<:. the ~ b a d < you ~ II.."" olin.... ~ . YOtI h.eYo:o 10~ . ijIOOd _ 01 <bdpIine 10 """" '

In thII mt<IuIn. F.OI me it 1OCk....t.ile.Bull,uIIy don 't mind aI the COIIiItI_ou.. be.:...oetheft I . < e ' I I I n ~ 1 n s i d e alol

1h a IhII you C",,' I ~ ~ me."..IoneI rfIbed the ~ for his pro;.ct.

...nich he II ftmlng In 16mm. by workinglong houn on .. , ~ . . . . OI a ne.by

&utomObIIt factOlY. , \tIOI\wI arod SI'Jedmy money: to fa,. no ! <O\.Inting my owntime the ftlm has coli ",en iNn $1 ~ o o o . Idldn't ~ the " " " " 10 ask anybody 10

bKk me "ntlil <O\.Ik:I J>I'OY" 10 myxIf that

wh{II t""udoing rNIlyhad val ..... ,., friend 01

mine tills a small production <:OnlPI'ny inIndianapolL 1 put up the ~ 10 rent •

c a ~ a f r o m V l c t o r D u n c . . , . . - d h e ~h l a p t d ~ ~ f o r f __ Tha t g 0 6f O l ~ d'IIthas hdped .....onthefim.k·. ~ . gamble 10 pu t out,. , . . ercire

IoIVIngI for equIprTIItnI.-.d . . . . . . iab on •" l i t ' K""'-)OJ 're ruDy po.cong ~on the ......

" Bur. )'OU h.eYo:o 10 fon:e ~ 10 do

u- kinds 01 things. ~ it is the oNy

""rIj)OJ can e><tend)'OU,IObititia You havf:10 hIM! lh e " " " " 10 \.like thai step. 10 say.l.oak. ~ going 10 invtsI thi$ ...........". inthI, ..-d are going 10 \Jy 10 do i t Thill"

the only way you c"" get ~ .Knight.. In Spacesuitsi'

"In ] 976. I detigrOng the spacetub. I knew from reading NASA ..tides

!hat JUits 101 ~ ~ woukI t I_ 10 be. . . . . . . . 10 prc:u<:t the _er f rom hard

,acIIllIon_1ong period. 01 use. Also. the

1ft ItIppOII ..,.sterno would """"lObewoe<1 ' - ......... ...,.....,." - ' n Sf fIImI""I lhink ~ IoUil$ d be Ii<e aut0mo

biles. ••• On«: nwny a", mak·Ing them. thefe wlM be aI kinds 01 IUItS.

SuIts wli be ....au"bIe with 10 "witty 01

opI.OoN dtptrdIng ~ p o n the buyer' , ....qul'e ....nI I .n d how much """ ' Ie) ' he h ..

10 tpend. Sulll will Indicate "", , ' , IOrioISUIt'" .nd. like c .... will fluctuate in s1)ltand c:oIOI.1..any Niven lias written .bout thepoqIbllily that a penon 's wlJI havf: M

" .. \be_thing K. declaring the WMref's per '......_.

"Some 01my Mlitslook &ke 15thCfi'oIury

. . . . . . . . fOi • ""'Y ijIOOd .....,...,-1 ~ o c d1'IuI00.S knigIuIldls 10 maIoe them. NotbeelUlt It _ ......... r__ 1). but be-

c ..... I had been 10 the Movopolilen ,..,.,......,., 01 M In NtwYOIt< lind IooI<ed at thdr

coIIecIIon 01...,...,.,..WIIen)'OU look III thiJIUI', 'OU realil.e that Ihtfe ..... only"" """'Y""1rjI 10 tovet" the h ~ m I I I l fOlm <with ngidplllitH and thIt the 1laI*" lind NOIthernEUfopeanl lied down 10 a nne an a ""'Ylong m e ago ...."

The medieval knights....;.uIdn·1 «ogl"i«!their spo<:e luited dectl'ldlltU at ..u. ho:>w-

cveI' .Jones 1111 lIoddtd things Uloe ...on<.lights end hli roncepI fOicommunicMlons- - - . ontshas intotht

IouICUI"ed lUIf..:tI oIthe ~ouitt mlNMuril.ed - * -0 I1ong

12 CINEMAGJC ·14

dish .ntennM 10 proooidt mutkliredlonalfKepIion c ~ The helmell - r ndesign KCOtdIng 10 ~ n d i o n . ... think bills~ IunctionIoI on I\eImIeU, btca_ theyprcMcIt • proI«IM , . . or the f ~In front 01 the >iIor end they sIliI!Id the__ eyes from gIIrt."

The ercire ftItn iJ cItIIgntd 10 look IIIeHt pllulibl)' lCCU'ale. ., don 'l think peCI'

pIe ...... O _ 1 h i n g l t h a t ~ S O ~that they dOl111ook 1unc:tionoI.. Jones C'Of\'

dnuts. """ the wOrld 01 the SF film IS inn\lrty other " 'eM btIu(y Is function and

f ~ 1 \ C 1 I o n I I I things beaUliful5peaking 01

htlmelI and Ji.O.SI'I designs. I think thef'iI'ISA helmets are Just bt.tIWf ....

" In the future. I think htimeu l l ~ ·bty "" '" the capobWty 10 dbpIey f'I\IIPS 01

any kind 01 vItuaf rtght on the >!tor. much

like the Iiqvid (I)'IUII .........t>en on " digUIwatc;h they I.tII $ttM IOIIoatIn theg." ,

"""'* 01 the Yilullliook 01 the lim liasbeen ~ by mv knowlt<lgc 01 MMcory-tomt 01 the things r ~ done in

Pl'iriWIg and some the IIWIgs my fIitndshaove done In painting N f. as the bt(h .

noIogy end 01_ ooes. I h.eYo:o ruBy IrItd 10

follow the liIerllure I gO! from tif'ISo\ and

Irom reIding 0Ihtr ~ books."YrIhat I think ...... sIriIdng about SW

W."'_uunilyol ...... and.. _

KJrtol 'Ca!ifomII h.ri<y. ' buC. _origInIoLl

think U\II' , why • look off the WI)' It cId. I

think George Lucas ' - t4ktn myth .-.d

'llify l i l t end putM 1nIo . """" r ~ "One 01 the mlniIllure ~ cnft U\II

Jones h it <:OnIIrUCttd '01 the &on II the

.m.a .-.:h COUI elfUldn. ...nich h it

the clPlbilitylo tr ...... jusl. ~ n d M h e speed01 light. Jonet ""PlaInt the basi. 01 the

-"'The ship _ _ utilizing ~gleaned from" transmls5ion from an ad·

v.need : u M ~ , e . k 1pOfII" relined venionol

the 6u_d '''rr;tI-" ~ fusiondtIYt. uhIltlng dectromIIgnetic sails 10~ free hydrogen. The craft Is pnlttdIed

In I1i!Iht by ... dt<:tr0lnllgl"ltbC porticIe fieldgerIO'lled by the drive and disptrMd

through ¥WIous strengths 01grids (eoppeI'

and brlSl co/Iotaj na.g on the model).

dept . . . "" upon,""" needs proCecting the

mot!. The crlilt II ~ IIf.engint wid'!the ~ 01 the pilaf, cn.mber (.

7/22/2019 Cinemagic #14 (1981)


coffiM/'wlped form) which is without ""n

dows ( c ~ ~ . end ~ UOOldInslUd).

''1he EI"5II'I" I ~ r t e d ou t as a bask; kiteiIhoope of hoMycombed aluminum. k.greatest stylistic irl lua>c e was tl>e SpIrit 01

51. Loulsand ApJIlo'S ElIgleL£M.1 n t e d10 r'I'IOk II crall th.lI wu ocimtific:elly pI&u.

iliblt thlll looked angular. ungainly.SCIulli-much li k tl>e EIIgledoes . lw_

10 avoid tilt while p l o o k . the..-ty

dirty look e e ~ u s t i f . t - ' I l done and. "" ' " 'Important. since th t cralt is pmItCIN t.,- a

""rtkle f>eld. doesn't need ""in! and •wouldn't {Itt reo lly grubt.,- eith ... I wanted10 us e the cower and bra.. rneterial. 10

warm up the color. Look althe Eagle. Gold

foil cailUaUy wrapped on . .. rMtal clad·ding SO Ihin and - ;gh l consdou. mill il

vbibly rippIes. . . . Thllls tiegDnCel"

.JonH t l ~ that film. lik llnyar'l form .should ooxpreH your own personal /etlings_

The Sf film has the ~ b i l i t y to corweythrough poetic Images tilt wonders ofscitnce. "I think thai a" can e n h ~ n c e theslIIggeIing quantity of Information in sc\ence without being misiea<iing.- Jonesadds "Ith,nk peopIego to ..... films and alt.

!>Kau"" k hoIps them put ""'" e><pe

rierl<:e inoo a framework thIII they dealwith. This ""rticuIa< po-cjectdeYciopedfrommy feelings about technology, I extrapo-

Ialed my""'" viewpointsabout rMn·stoois.

the limitations ofloois and th t role tools

play In _n ' , 5trugg1e 10 ourvIvt In th t un!v t IV . The sto<y I, about /I hero. A hero isSOmMr>t who is IsoiatN. sometimes rldiculed. beaten down. but thtn is still able 10~ strength and ""IL I think evtr,<>r>e

has an affinity for that kind of ImIJgt.becau"" we are all s t r u g g ~ n g . . . whe\he<we lIle frlmmake" or _ ~ . any 0«:\1.

pa1Ion. We are struggling 10 achieve OUr

personal goals; "'I! are aU ~ n g 10 SUr.M.

"When you are making II film and A . I ~ n gII story you enh"""" th t struggle and youenhance the .-ktory and !hat In tum n -

the audiences resporl""." Art ha.the

power to evoke emotional resp>nStS from

people-10 make them leeland perhaps 10

think. Pernaps thl. emodonal power 01 l i l t isth t rellKlfl people are d",..., to it. The

otMous m p l e i. the ~ I a r i t y of Ams

during tilt depression, People flocked 10

tilt tIltaters 10 " escape." Toescape a worldin which thinking and feel ing were grim;llilowed them 10 feel thing, that tho5t dim·

days did I'lOl allow: k permitted the reliefo f ~ n g able lofeel comfort,joyand simple~ .. .r t In existence, g ~ people the

en>o6onaI fuel ID . . . vIve until t i l t ~ m ecame when thes.e feeling. """"Id be pM of

theil daily exl5!en<:e1lQ1lirt. Sur:h is t i l t posI.

tIve pc>Wtf 01 a" and fiIm Ot ooe of t i l t mot!

I n t e n ~ Involving mNium•.

Do Your Homeworkl

The Neal Armstrong Mu5tUm i . in Ohioand I'lOl far awrry from ...ntre Jones

lived 11\ Indillr'la (aboula four hour drivt) Kbeea"", ooe 01 th e for$! places 10 go 10 scoe

the real thing a5 far as ~ h ~ r d w l l r e isconc:tn'IN. Jones be\ieve$!hat making agood SFr.lm requires a Jot 01 homewotk. "I

looked 111 th t space .. . ts and machlMry In

the ITlUSftlm. j watched all Apollo andSk)o\IIb films " ' ' 'ilable. In ""rtirula, tilt16mm r.lms thlll were actually taken inopace. Then booksand magazine 1IrtIc1es

Including STARLOG and FUTURE UFE.You just h ..e to do the research; you ha.e

to do YOU' he",""",",- ks important to twr;o,

th e information, btcau"" you have to know

what you' re doing. ""rtkularly if you .. ,

going 10 make fascinating fa ~else: '

Dep;ctlng alien c ; . . ; l i _ and hardware.

partkularl)' alien Mldwarethlllis supposedto be far in advance of CUI own. Is always a.

~ h a H e n g ~ . 0-1I1y speakng. tht """'"

abstract design. the ben .. of t you'lI be.Jones solution ...... 10 go to abstract imag'ery. which Is perhaps th t logical choIc<. forsomeone whose background Is In ""lnUngand """Ipture. " P u r ~ light and pure ~ O I O r~ be very powerful <WId beautiful. The!ealt several filmm4kers!hat realize this. sor t - ' I l working along that¥t 'l0l110

different In principle from many othermakers. but we all have different w...,.. 01

doing things. I think 1hIIt Douglas TrumboWs imagery In Androm(da Strllin when

the scientists are looking III the E.T.virus In

aDstract geometric form is a ""rtirularlypower/ullmage-both tht colorlltion and

ONEMAGIC 1/4 JJ

7/22/2019 Cinemagic #14 (1981)


eF\Ces were 1E.UI. LEM

the way rnovo:d, IIndromedll S/.raln I. avery underraled film.··

In order 10 manipuime pure lighl and

pu .. color 10 depict the alien /orlYl$ Jone.

used anlm!01ion. "11 101 01 the anlmation

ledmiques r ~ made use 01 are very old.Because 1 don't have a 101 01 expemi>'e

equlpmern. rYe ~ a 101 01 rIeIIi

te<:hnlquesfor applying the old ways. \\/henyou are "",king a Him. espKiaIly on a lowbudget. you n_ 0 ...meml><'< that ito no t

the ,001. !hal. are the most ImportIImthing_its the Image. _n your tooisare

rather on the p r i m ~ i v e "de. if you havep.atiencearld go,.;th 50metimes ~ .But you have to have that original image inyour mlrId.

""Nter much 111111 arid ~ I was verypf"sed ,.;th the final models. th e mi""'·

tures and the pur" ...-.ergy alien aotifacts. InZOOI Kubrick u!led a very dense blackob7Kt for the alien ani/lid. I wamed to .Iay

away from tML to Ia"" a new approach.

Then In CEJK Dougla. TNmbull com·

blned Iwdwareand lighl. bull_nted togo

beyond thllt. I _mcd something that just

looked Ii"" structured energy that didn',~ any son of hardware look to Ill. III.L

Think of mlni"",'ist at>5tr<><:t piOinUng.Structured...-.ergy in lighlandrnl<>r Impliesvas! supaiority to our o o i . - ~ Iook.o alienand very advanced"

The prolli<:ms of the low budget Inde

pendent filmmaker U$UIIIIy r ~ aroundmoney, The constant agony 01 ~ n ghow 10 spend the few dollars you have.-.d

how 10 raise more to pay the e n d ~. . .... molbilla can_Ma tlmulustotheimagination. "My philosophyls that you get

yourseJf in ! > o t w a I ~ and you ko!ep ~In h o ( w a t ~ : ' Jones "" ' ...1• "Then you are

fo<red to e><tend yourseJf. You .::an·1 be

IIfraid t.o asI< for help. N>d jUst be<:ausc

34 ClNEMA.GlC "14

50me big guys u .. a lot 01 expensiveequipment. ~ mean you c",,'1 try

something your O'M"I way. I<:e!"lainly don'thave a lot 01 money. buI that doe",,'t me""

that Icon', do or can't try. 'YOU h ...... yourbock up agains,a _ II and you're forced 10

think 01 other w&y$ todolhlng•. sometimes

those IICW w&y$ a"",', bad III ttli arid .........~ m e s lurn. out looking pretty good.'T0 raise money for the projed IIfI'Dfked

on "" a»embly ~ n e . 'MIen the aLto 00,,'ne.S look a down tu m I was laid 0/1. But I

had -.gh n i o r i t y SO thai benefits COIl

~ n u e d for time. I hDd money to spend .-.d

could WO<I< fullll"", on the film. f I h<odo 't

work'" fuD time In the factOl)' for 2 Y.r ye..r. itwouldn't haw: been po.. tk; o m e t l ~ I

put In 12 hours 5hifts just to get the OYeI'

Ume.1 was tivlng In "" old school house that

didn't h ...... running water.buIonly CO$I. me

$5Oa month.1 cutdown on my COII"iortabiee r w I r o n m e n ~ bull knew thlll ~ ~ Mwould

_ii i<: meto dowhat IMaIIy wanted 10 <10."*I!>eIi_ In the . ~ .. o¥h'that5a)'$

if you really uy and )IO\ive go t good Ideasand work hatd enough. then..nen you've

got thegood. In your hand. you can WIIIk In

arid say. 'look, rm not really ""ybody IIOd Idon't know anybody. buI rve got these

Idea. and I d like jUst a few ""n"""IO!how

whaI these Ideas are.' I stili believe !hili.. Butyou can'tJust h ......1dea . you .... got Ioworkhard . . . arid you've go t to do,.;thou! .........

times."I f you h ....e good Ideas and you work

hard. you ca n make it " didn't bekievoe thaLI wouldn', have done i t-

Se/ore.soetting out with his reel under his

armS to m"jor corporlllions to look forunderwriting. Jone. began locally 1":1' worIr..ing Ihrough the programming dire<:tor at

his IocttI PBS-lV IIffdillle. The program·mlr>g dir'"CIor . . . . alii<: tog;..., him the leadsand Introductions he . -ded to make COl\"

I&Ct in Wa.hingtOn and I"iew York. Hi .efforts did notgo unrewarded. t ~ poundIng on" nurnbe.-01doors in Washinglon hefound oorneor-.e who would agree 10 put

$15.000 in ..... ching lund . if he could get

o t h ~ privllle SOUrCes to invest. Jones em

phaoitet the m ~ 01 rrrst looking Inyour O'M"I biH:kyard M/ore pounding on

doors in Ihe big cities. "1 ....-rote leners IIOd Imade p/"Ione calls, it hDdn', been formy Ioclll program diff:Ctor here Ill. oome. Iwouldn', have been able 10 'pfay balr withthe people in WaohingtOn and that· . very

Important very Important10 play ball inthe Iocttl ball p"r1< first "n d ge t the help you

can locally . . . """'" l " little ball"...k. halw&y$ imporUlnl 10 hIM: " " " irleraction

with the people at home. Then..nen youget up your cour"9" and you think you'vego t somethIng to show somebodyyou Clrngo ou t and show them • you have peOple III

home that Me bdlind you, you can do it.Jones i. bad< in IndilIflII. as we go to

pre •• looking for privDre investors, so th1r!he ";11 qUlrlily for the PBS ..... ching grant

He supports hi!Mdf on the income from a

Nrttl newspaper route """ r:oven severalhurldred SQlUlre miles ..k"s very inleresting,I u!led 10 have one when I WltS a IittJe kid..

The g ..."t thing about it is that I have to get

up at "boo, 2:30 in the morning and rm

flnished at 5:30. "Then Ica n put on my suit

80 0 go lalk to s.orne 01 the oompanies Intown kx>king lor underwrilen 10 helpcom·

plete my fdm."Sometimes my head .. just bursting

with idea•• but I have to Lemper that withcommon sen . . . . I have a grea ;0...,. ruwrite down and put a w a y 8 ~ w t 1 i 1 e10 ""'" ff ,.;U stand the rest of time. I " " " , , 'tput money Into it untilllhlnk Ito reallyworthit.. rll make drawings and writ@-oo ~things that don't cost V'<!fY much to do.

There'. no senseln laking a big leap unleu

you've rNiIy go t something that'. good . ..something "",, ' . original, k lakes )'f:fIrs. 1m

SUre i($laken I o r «1)'bodythal·s made

it with Irny amount of SUCO:elS. You can't be

impatient; you've go t to have confidence In

yourself. That·. all the<e is to it. M', simple....ally:' (7 f

7/22/2019 Cinemagic #14 (1981)


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'" am interested in imageswhich visually convey a

beautiful 'perfect' technologythat is beyond the reach of

our present-day tools_ The

images themselves do nothave to be ' p e r f e c ~ ' , cannotmake them so, nor can any

other filmmaker no matterhow sophisticated, One can

only make an image thatroughly indicates the 'perfect'

, __ hints at a sense of perfection."le lt cr.nt'S W .Ion. . an,mahon the , I en Irt,tact trat 0'broaac.SI'I\IY,' """"nc ".rlmtlJ'O<I to hrt" or any soli"eie!1 ' 'Y ..,.,r.isticated CIY" lallon .

R" hl J""",, ' In matoon afH,• •1 .... cube In PUP'I" ,ef on r Iv.e ot color, Iorm Ind mOl on . Note lh ' mew",",,,": 01 tr." UNorand liJM from If,,,.. to In","

.... _ , Tre:>llol tllat U__ In . E,""""10 the" en

. . Jfact N I tor_ h'" tIOd\I C I ' " ~ - ' I ~ e d to L.J'" ..... Ire\I.p. Nearly I . . . . ,1". bO<!y .. " ' ~ th e 111101 be<:ome••

1>0"1 I boll, 10 _ 10,.qu ,eY... , I !lie' h l l I U ~

The.:>eYe,IIuWIt>Or'!5 . . . 16M", tr_ blow ~ p J .

7/22/2019 Cinemagic #14 (1981)


• Quallly hlgh-g!o . _ .

II g , y.nd ! " ~ " " m c r Itare pIIo!o_ and valuabl

.-. . . . . . . da ta . . A muot ....• v.ry oc.....,. IIc"an nbfaryl• A\/<I1abIe ot Woldenbaokll,. . Dalton _MIle . and

<>"* .... baokflo< .. Or. . . . .. dlreelly, utlng thec " " " " , , , _ .

Add postooe to VOUI Old8l ,

•• Ae . , ".=-.. ; ; ~.... ;;;.or., ..J ' :

~ ~51N1i.CXi ~ D""" .el '.,&"'" --...-""'"

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Cinemagic #14 (1981)