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    18 views36 pages

    002

    Uploaded by

    Simon Rose

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    © All Rights Reserved
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    of 36
    SF Short Film Search Winners—page 7: Se Step-by-Step Model Techniques Dazzling Special Effects Titles, Makeup: Realistic Blood - eastern United States ‘Above: From Tax! Driver, with realistic blood and gore by the legendary Dick Smith. Smith's own formula for blood makeup and Its use Is described in this lesue on a | Building The Editorial ___ ‘Your 9 Crimson 2 8 | comment about the SF Shor Fim | Spaceship __ | Search entries ‘Step-by-step construction history | Dick Smith’s formula for realistic Contents Number 2 — enibisdDiaeentm oat = oe ee : Don Dohler and Dave Ellis Effect by modelmaker Kenneth Walker | blood Producers’ Bulletin Board ___ 22 | Latest news of our readers productions Filmmakers’ . : Forum _____ a | _ A regular department x > = Fierniang vet proolerstand : Building ies Your Own aa Smoke ; Be Flash Generator 32 | in Space _ A simple method of generating The creation of a new logo for SF | smoke for miniature set and ttle Film Productions effects ie Close-up__ 33 | Put your smoke generator to work | making light beam effects and | Contest | Winners The results ofthe SF Short Film Search | dazzling titles "Dav Hutchison TBonenh Evciaen Elaine Ashburn Siver : Bob Woods Editorial Contributors: "Kenneth Walker Dan Taylor Dick Smith Ast Staff: Laura OBrien Robert Sefcik Associate Publisher: ra Friedman Publisher: Rita Eisenstein GHENAGIC pubes gunned by GON tubo he fis Pa ase Seat Nex Yor FY. oti Ise0000 Se Tec ae ones igure apie sreeadatian i pa fee wha wen emis om ine uate toca, nes rconntoreporsiy unis tnumcepn poton st ober net a ecyieertanie Ocoee sige ea fetta Cath ew ore 108 Paitin Ith lots of publicity generated in STARLOG, FUTURE LIFE, CHEMAGIC and other film magazines, we had only a rough idea of how many entries to expect for the 1st Annual SF Short Film Search, & total of 111 films passed through our mailbox, through our pro- more importantly—through our minds. It was quite an experience, Often exciting, often terribly dull, but when the prejudging sessions ended after ‘ur final, four-hour screening on Sunday, April 8, 1979, one thing was clear: there is & huge interest in amateur, fantastic filmmaking However, as exciting as the actual numbers are, some hard realities must be discussed here. Although the 16mm entries were generally well conceived and executed (probably due to more experience on the part of the filmmakers), the Super‘ entries were another matter. With 80 Super-8 entries to try to judge and score objectively, we saw the same mistakes about 65 times too often. Many of the films ran between 40 ‘minutes and 88 minutes (1) each, with the faults becoming more painfully ob- vious to the point where @ competantly made film was elevated to a rare joy. Next year, we hope that most entries are “rare joys’ and in order to provide some guidelines and helpful hints, here is alist ofthe major problem areas evi dent in the majority of this year's Super & films: ‘Shots Held Too Long—Sure, your miniature looks neat and your animated ‘creature has charm, but don't dwell on it and ruin the pace of the overall scene, Lean to cut to different angles, actions and reactions, Audiences don't care how much work went into a complicated set-up if particular shot is too long, Film Too Long Overall—Stay away from overly long “explanatory” dialogue ("You see, this is how the thing-a-ma-bob overreacted and caused radiation which made the grasshoppers grow so big. ...") Use short, snappy dialogue {and imagery 10 “explain” complicated things: even if they are complicated ex: planations, they won't seem that way. Learn to edit scenes down to only what Is. absolutely necessary, Leam To Light—The biggest drawback to most of this year’s films was fat, Luninspited lighting, Part of this problem may be due to the fast, Ektachrome films and fast camera lenses, but those sort of moder-day advantages should ‘make it easier to get the lighting effect you want, rather than being an excuse to ‘get by” with the least amount of light, It takes some time and experimentation to achieve intriguing lighting effects, but it's worth the extra effort. Use a Tripod—A hand-held camera constantly shaking and jiggling would dive The Crawling Eye a headache! Hand-held shots have their place, but mostly they are out of place in a polished production. Aciing—There' little credibility to 0 13-year-old “professor, or an 18-year-old starship captain! Let kids play kids, and get adults to play adults. ‘Sound—A good soundtrack can enhance a mediocre visual: a poor track can ruin 2 perfect visual! Get used to the basics of recording and try for a uniform level and “feel” to the sound for each film. Try to recognize distortion and do your best to eliminate clicks, pops, wind-noise and other pitfalls inherent to single-system sound movies If you choose to put your soundtrack on open reel (or cassette tape, stick to a simple narration or musical background. Without some sort of syncing mechanism, dialogue will never work on a separate, taped track (and some of our entries proved that) Be Oniginal—Sute, the term "be original” is a cliche, but so were half of the films entered. If you're stuck for a good Idea. find someone else who has one. Filmmaking is usually a collaborative art, and if you're going to work hard for a ‘month, or a year, on a film project, spend a week ot two in advance on an ofiginal, imaginative script. A good film begins with a good story, and if t's not {8 good idea or story it's probably not worth filming Remember, we are not here to discourage creative filmmaking, We only want to see each and every filmmaker improve his craft, tobe proud of his finished. product, and to know that he has done everything possible to create a good ‘amateur movie. The winners ofthis year's Short Film Search didn't have extra fancy equipment, Just extra fancy ideas and imagination, Finally, we'd like to say thanks to George Stover, Gary Svehla, Pam Dobler Don and Mary Leifert, De! Winans, Bill Littman and Sylvia Starshine who, du ing the course of several weeks, helped us to prejudge and select the finalist. —Don Dohler and Dave Elis THE GUIDEBOOK FOR FILMMAKERS The authoritative guide to Super 8 is back in a newly revised edition. With the latest equipment and prices, the latest systems i and techniques for serious users of the Super 8 medium. And ... a sturdy spiral binding! SPECIAL OFFER TO CINEMAGIC GS-0) HANDBOOK THAT WILL HELP IMPROVE YOUR SUSE Get your hands on Super 8 now with the complete guide, a $16.00 investment that will pay for itself hundreds of times ! Handbook of Super 8 Production—the book that gives you Super 8 at its best—is back in a newly revised edition, Gunther Hoos and Mark Mikolas have brought their complete hands-on guide up-to-date with the ‘changing technologies of Super 8 production—all the latest equipment, ‘systems, techniques and prices are here, in more than 300 pages of information on everything in Super 8. And now, a sturdy spiral binding to make the Handbook even handior! You've read about Gunther Hoos and Mark Mikolas in Industrial Photography, Audio-Visual Communications and Super 8 Filmaker, where thelr reports have helped thousands of serious Super & film Producers improve thelr craft. But have you seen the reviws for the Handbook? “The Handbook’s 312 pages contain just about everything there is to know about the craft and business of Super filmmaking, It deserves the attention of anyone seriously interested in the present state and future prospects of professional Super 8 film production."—Matthew Fleury in Millimeter. “it’s only the biggest, longest, heftiest, fullest, most firmly packed ‘compendium of information about the gauge ever to greet our unbeliev ing eyes.”—De! Hillgartner in Filmmakers Newsletter. “The most comprehensive book on Super 8. The authors, who are ‘among the most knowledgeable of Super 8 filmmakers, describe the ‘equipment that is available, tell how to select what's best for an individu- al's needs, and describe how to make inexpensive substitutes. More importantiy, they detail how to use the equipment tits best advantage. It is an amazing compendium of information, much of it unavailable elsewhere, making this a book that Is a must for any serious Super 8 filmmaker” —Elinor Stecker, Gamera column, The New York Times. The second edition of Handbook of Super 8 Production is ready for you. Use the coupon below to order yours today! CINEMAGIC Derr. c2 CIO O'QUINN STUDIOS, INC. 475 Park Avenue South New York NY 10016 Here's my cash, check or money order for $16.00 ‘Send me my copy of the second edition of Handbook of Super 8 Production. Payable to “O;QUINN STUDIOS, INC, ‘one dolar Other areigh orders ada two dallars. No C.0.0- 6 Filmmakers’ OrumM | In Defense of ‘While recently ving in the Los Angeles area, the “tim capital ofthe worl,” Iwas able toree, firsthand, some ofthe professional film modeling fechniques that are currently be ing used in the great profusion of science ietion and fantasy | space films being produced out there. And, to put it blunt, was somewhat surprised at sore Of the professional modelers a titudess thatthe use of state-of theart technology isthe only way te ly. The older. tres. and: tue modelbuiiding techniques, whieh ave been cae "by toothpicks and rubber bands seem to have somehow gone by the wayside, and have been teplaced by the great techno logical improvements of epoxy casting resins, silicone rubber ‘molding techniques and the ike itis aif the current technological boom inthe fl Industry has made italmost ‘mandatory to spend the most ‘money to buy the latest model fabricating technical ad vances... -and In the meantime, practically ebendon the older methods of scratehbuilding, ‘sed with great effect up uni practically the present time by the majority of filmeriented ‘modelmakers (not to mention ‘amateurs, thus effectively leay ing the "oid school’ modelers, with thelr seerinaly old fashioned techniques and ways. ‘ut in the col. Tim sure most people who have this magazine in their hands have ead stories ofthe “old Hollywood,” when many special-effects technicians and todelmakers die their work Inegely bythe “seat of their pants.” Fantastic results were ‘achieved using no fancy com puter controls, no monstrously ‘overblow budgets, just hard ‘Worle and skill These past Tastes prety much did whet had tobe done withthe materials at hand, lathe new Hollywood, a it appears tome, this isno longer the case; itis as Ifthe older materais and techni {ques of yesterday have been laid side in favor of whatever new technology is avaliable 3t the ‘moment. Ofcourse, | admit ‘Aregular department devoted to readers’ comments about filmmaking, their problems and solutions. ‘surface detailing to hla spaceship for CINEMAGIC. ould have received a somewhat | inthe fm the ship which car biased view ofthe current Holly | ried the intrepid explorers to ‘wood trend toward super ‘Skull send, wos created mainly technology, as my touts through | from “cardboard end brass the studios were almost ex. | escuteheon pins."a "oothpickes ‘lusively through the betier-__| and rubber bands” technique If known, better equipped facilities | there ever was one. And this cut there, But very firmly model was superbly realistic on Believe that there itil value in | the screen, whichis really the Using the older techniques and | important thing. But sornehow, | methods, where the quality ef the | don t believe thet the current Tinished product depends on the | Hollywood technology orlented handiwork and ski ofthe in. | syndrome would allow such “in. dividual techniclanvartist, not on | ferior”crefismenship to be used. his materials, Donot mistake | lt makes one feel asf call this for a condemnation of degree in chemistry and elec technical advancement; tronics is what is now cequired to welcome change as muchas | bulld models. And this is quitea anyone else. My quarrel iswith | shame, since excellent modeling, ‘what sense to be a change n at: | isa reflection and a result of the titude among “tmodecn” film | ski ofthe modeler; not of his ‘modelers an attitude which | materials. seems to say that knowledge of |" Ken Walker technical advances is worth, 55421 Silbert Road Perhaps, more than modeling | Norfolk, VA 23509 Skil I disagree with this notion, Teall reminds me ofthe days af | Readers are inited to careful ex (the original) King Kang where, | amine and comment an Mr even though the Kong model | Walker's very delale article on Itself was a product ofthe then- | “The Toounpick and Rubber Band new foar-rubber technology, | schoot of model construction the model of the sea-going ship | chis issue's cover story, | Smoke Effects Try this for a realistic andi expensive way of making Billowy Smoke, Goto your local hobby Shop of chemical distributor ‘and pick up ammonium chi fide, Heat i over an alcohol burner, etc, but not in the direct flame. You can use an old spoon. Also, do not use too ‘much ofthe aramonium chlo Fide, since a tablespoon could fl your house with "smoke"-—never tse indoors, David Kramer 3704 Mount Vernon Rd, ‘Sebastopol, CA95472 Lift-off Technique In the course of my film ex periments, [came upon a way to make a rocket launch thet ‘doesn’ look like i's being pulled lp by a string. This should be the las effect done with the rocket, Build your launch pad fand some sort of baceground. Place the background directly behind the pad and make a thin Incision from the bottom up to five inches from te top of the background. On the side of the rocket glues T-shapedplece found five Inenes long, Now this the tough port: turn the set entirely upsidedown. Find some way’of suspending the set and tack the background, if us ing canvas ora similar material 108 flat board on th floor or your table. Pace the "T” piece ‘through the front ofthe Incision and slide it up, Hold it tight Place your camera upside down ‘and begin to expose. When you tte ready frit off simpiylet {90 ofthe "T” piece. Be sure to place something like a pillow ot the bottom to cushion the impact. ‘A-smoke effects achieved by placing a small smoke bor in {he-end, The smoke should fall down simulating the lighter thamalr effect sen actual lourches the instuctions are fol lowed, you will eceive realistic reauits tha wll eave yout {fiends open-mouthed.| would really like to near about the way {You use this effect ‘Joey Medbala 3288 Skipper Drive Virginia Beach, CA 23452 CONTEST WINNERS The SF Science Fiction Short Film Search hese are the winners of the first annual SF Short Film Contest. Final judging took place at Balticon on April 15 with StAR.0G publisher Kerry O'Quinn, ‘GINEMAGKC editor David Hutchison and Wade Williams of Mossman. Wiliams Productions, Kansas City, acting as final judges. Don Dohier and David Ellisheaded up the team that spent many hours sereening the entries for the frst round of eliminations. Their first hand reactions are the subject for this month's quest editorial on page 4. STARLOG #26 will include a feature on Johnston and Griffith animate Captain Cranston from Promo Spot. the winners with more behind the scenes stills and interviews withthe filmmakers. 16mm: Smm: Grand Prize At The Movies Cari Surges, Grand Prize Abduction Raymond San Milwoukee, WI foros Hokey 16mm Sclence Fiction: ‘8mm Science Fictior First Prize Futuropols Steve Sega, First Prize Nighspeed Mark Sullvan, Ye | Rlcrmond. va Columbus, OH 1 | Second Prize intestines From Space Pat Second Prize Alens William Clyne, 4 | Carroll Siver Spring, MD Fraser, Ml Third Prize Promo Spot Jefirey W. Third Price Dr. Romayo's Zombie Em. ite Richard Geiwitz, Baltimore, MD ‘Bmm Horror /Fantasy: First Prize Godzila’s interview Blade Galentine, Alexandria, VA ‘Second Prize Michighi Fantasy Wiliam, ‘Gowdy, Canoga Park, CA Third Prize Dream Kiler Mark LaRue, Flat Rock, Ml Johnston, Oregon City, OR 16mm Horror /Fantasy: Flest Prize The Fight Game David W. Renwick, Northville, Ml Second Prize Elixir Pat Cannon, Chicago,IL ‘Third Prize Grog John Dods, New Brunswick, NJ ‘16mm Honorable Mention: Monster Monster Steve Segal, Rich- mond, VA 2002: A Space Odyssey Michael H. ‘Okuda, Honolulu, HI The Sleepeater Woody Welch, Los Angeles, CA ‘8mm Honorable Mention: Galactic Wars Mike Lanzetta, Milford, Ml Rigel-7 Syndrome Tery L. Homsey Alton, tL ‘ ‘Soreerer's Duel Marke Hannah, Dalton, Table-top animation set for Rigel Syndrome. Welch animating The Sleepeater. ‘Matte shot set-up. Sorcerer's Duct, Fortin Bucking The Odds These unique creations are the work of Zia (shor for Dz. tars) Mezulis, an artist and sculptor residing in Toronto, ‘Cand. Zin's whimsical eho: racters should be an inspiration {or any of us who fuss and furne ‘over the “rigors” of sculpting a ‘etailed mode! in clay, Because these pieces believe I oF not, ‘are made of stoneware—and they ace al one pice sculptures! “Zin Metuls, brn in Sussex, England, was fest taught to use Inandtools by his father. This led foanunyielding desire to make “things” and entertain local neighborhood kids by creating elaborate puppet shows. ‘Although he attended an art school, Zn found formal educa tion tobe distracting ("Iwas 2 classic truant and under. ‘achiever 7, sohe rejected school Jing in favor of reabife exper Jemce. For sb years Zin traveled throughout Europe, the Middle East, Asia, Afica and Central ‘and South America But his ra ves were abruptly halted: he became seriously il, was putin toa hospital for several months ‘and finally bad to have a kidney teansplant in March of 1976, Zin has bucked the odd, though, and isnow enjoying a thriving demand for his unusual ‘stone and metal sculptures, Tiniilly began in stoneware because ofits recognition asa legitimate art form by galleries tnd collectors, since each piece ye “Dawning of Intelligence’ Stoneware, 9” tall, 1978. is one ofa kind and not repro ducable,” Zin says. "And being seltaught, I developed many’ tricks for rendering in high detall ‘and ve found that because it's technically dificult to fre the Ikind of thing do, | don't realy hhave much competition Tt takes Zin two to three weeks to create one piece and he is swamped with work these days, ‘ne of the main reasons why he ant get heavily into anether Tove—animation and special effects filmmaking. Neverthe less, he hopes that one day the ight opportunity ull come ‘along where his particular bites wil be applicable to.a feature motion picture, Zins sculptures, which are sold to private collections round the world, ave been ex hibited throughout Canada and the dS, ‘Don Dohler Backwinding Flaw? Lj received your premiere issue of CINEMAGIC and love it Butone thing in it disturbed me agreetiy—the article by John Cosentino on bockwinding, Super. {ound all is advice correct Yet when [presented the solution tomy father (ne be nga man who understands the ‘mechanics of how things work). he told me about Mr Cosentino’ and the entire Craven productions one ftal few ‘When you want o super you ‘must put masking tape on the drive disk to prevent from Totating. Now the tape is foribly Stopping the drive gisk, corect? ifs, does this not pute strain con the drive motors Itt true, then, in time, the camera would break, due tothe strain on the system. tray take month, Seasons, a year. who knows? AAlTtke to know i: what can ‘oabout 9 My comers sa felatively cheap GAF XL 120, Secondly when you super Innpose people agaist ite cave se, for instance, must the peo. ple be photographed against 2 Diack scen to prevent 8 hosted image? My camera does not have a through-thedens ewinder, so how on Earth cant bend images without overap ping supered abjects? Remember thavestow budoet Doug Vorisck 12 Arden Lane Matawan, NJO7747 Auhor Join Cosentina replies: Yes, te tape forebly stops he camera's crve disk But a7 lderstara he mechanics of ‘Super8 camera motors, the Imofor’s shat keeps turing feely toh ony @ very minor strain any ata since 3 sip clutch & incorporated it the motor-dive aisle design. The purpose of sip ‘clutch is 1 prevent damage tothe motor should te dive disk ever become jammed ar not a camera designer or repaman and therefore carnot guarantee tat ‘every Super 8 eamera ever made |hasa slip luch capable of pro {ecting ts motor, but tis ogical to assume 80, Personally have tsed tis backunneng technique forthe past ten years th a ‘Super-8 Canon also on occa ‘sion with a Nodak and 2 Bole Ihave never had one speck of row Dlewith the camera's motors. you are stl worried, the best ac bce Fean give you to wie the manufacture concemed o talk ‘Sr

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