Foreground Miniature Magic

Backwinding For Special Effects Do-It-Yourself Aerial Braces

7SP DGS (HI

Above: Mark SulUvan n_ded an aerlaJ. brace for. _quence In .. recent fUm. Ted Rat!I gives step-by-.tep lnatructlona for the construction of Jour aerial b£llce. Right: Joho Dod. KeRe from Farut Star" with apple. suspended from hi. aerial brace. Below: 80me of the very bolented apedal errec:u crew that gathered togethel" to give Rodut.hIp I·M. special effect. facellft.

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Editorial ---::::-:=:c-,-:::::-;-~=:-;OC:;-;--'-.c:::c---;-:- 4 A letter from CINEMAG1C founder Don Dahler and a letter from CINEMAGIC's new publisher Kerry O'Quinn

Filmmakers' Forum ______ 6 A regular department devoted to readers' comments about filmmaking, their problems and solutions

Re.Making 'Rockets hip X·M' _8 An old SF/adventure thriller gets a new special effects facelift

Product Review _ _ -:---=--_--,---,14 Crit ical appraisal and commentary of the filmmaker's tools

Producers' Bulletin Board 16 Latest news of our readers' productions

Backwinding Super·8 Film 20 Backwinding the sound and silent cartridges

Cinemagic Marketplace 24 Classified ads from readers and manufacturers

The Aerial Brace 26 Step-by-step construction feature

Closeup 34 A focused look at tools or techniques for the filmmaker

Number 1

4

hblla"'edby: O'QUINN STUDIOS, lNC. 475 Park Avenue South New York, N.Y. 10016

PubU. be ... : Norman Jacobs/Kerry O 'Quinn

Fou ...... of ClfIEJIlAGIC • •• Edltort.l Co.lMIItaat:

Don Dohler

EdIto .. · la·Chlef: David Hutchison

....... DI ... cto .. : Robert P. Ericksen

0. ....... Susan Stevens

JIb_ .... Ultor: Bob Woods

EdIto~ICoa~aton : Ted R. Rae

John Cosentino James Caldwell

Art SLaff: Laura O'Brien Robert Sefcik

A8e0date .. bl ....... : Ira Friedman

h.l.taat .. blla ...... : Rita Eisenstein

u... .... c_IO""oIlhtrnc>Rr~dtinv_1fI HoII)"'f"Od hioto<y _,,"king pUce 11IIo.r-; AnoldcID lie bIado __ while SF 1ho11er loom I9!iO io get""". '-ce1llt. ,.. Ibm of _ of HoIIywood". ttwptM tIP'" c~e>.peMhMdeci<kd.oglw~)I.M a second dYn.:e. The film ... ill N ,.,....,_ ttw.)"MI"

",Itt. ""' ~!.I·elrect. oeq....,ru::e •. The C ..... f ... l!Iomrn IDO'ile h""", blow·"" loom _ of the -...... CH"iEMAQIC !. pul>Ht/Md quortedy by O'QUINN ST(IDk)S. 1rtC .•• ~ Poon. .... ~.nueSOUth. New YOlk. N.V. 10016. Tnl. Is ..... Numbe< I. v ..... "'" I. Con. IItn1 io <iii COpyl'Ight 1979 by 0'00l1'\l'i STUDIOS. INC ..... 1I .ighto _.-...d. Reprlnl Of f~fO'hx'iOI'Iln 1'0'01 Of In .. hole ... itIoou1 wrft,,,,, pe_ f.om "'" pubI~ 10 SUIC''''' foobJdden. ONEMOC ..c. CIOpU no ~!Il!y foo .......,.1ci~ ..... n....:;''''''". ~ ... , on or oche ...... tef!.o ••• bu1ir"~_ mittelt .,., ~nl'fd by • M~·add.e»td. ,",m~ en""~.lhey ",ill be...noooty """.Ide,.,d $"\d. If ~ry, ,.,1u ..... d. Produclo W.tt1loed ftC not r>«_,ily endOIoed by CtNE./<V.OK:. _rid ony view, t"P"'.....:Iln .dll ...... ' <:q>y are not r>«e ... ';1y \how ofOf'tE1oV.QIC SubKtiption "''';'' U.\l9_ ~,(""" 1_)"I~.edlnU.S .• c.. __ ..,.. ioco; f_gn subooc:flpCoono ".99 in U.s. fundo only New oubtcrlpllotw. 1 __ 11 .nd chrorogr of ..tdresI should be .,nt OI.ectlr 10: ClNEMf\GIC. O·o..!nn StudiOS. I<IC., 47~ P ........ vefHOt South. New V""'. N.V.l0016 Prinl.-d l~(J.S."".

A ward.winning makeup artist Rick Baker once sent me a letter which contained the following statement: "I really like ONEfo'tAGIC •.. 1 wish it had been around when I was starting out!" Such II positive reaction didn't surprise me, nor have countless cries of delight from readers

who have immersed themselves in their first issue of ONE.M.AGIC. That's because ONE.M.AGIC is not new to me, and exclamations of p1'llise (humbly accepted) have been filtering through to my mailbox for the past six years.

Six years! But this is issue -I , isn't it? Let me I!Xplain .. ONEMAGIC began as a full·slzed, lavishly produced fanzine In 1972. It was born

of an idea that came to me much earlier-in 1964-when, like most of you, I was getting heavily into making serious and creative short films in Bmm and Super·B . As I put together such fun and inspired flicks as clay animation, SF comedies Ilnd " twist ending" horror tales-complete with superimposed titles and sync sound-I beglln to notice that o ther folks were doing likewise. Not a Iol of other folks in those deays, but enough filmmakers with a similar fascination for special effects that it seemed like a good idea to start a "network" of amateur prodlJCers to exchange ideas lind share cinemlltic experience. A newsletter or magazine of some type was the logical outlet for such Il coalition.

However, it took eight years and a lot of personal building before I was able to publish the first issue of the original ONEMAGlC. But when I did, I knew that I had started something good; something the fllns needed and wanted. As the word spread, coupled with the ffi3gazine's qUl!lity appellrllnce, ONEMAGIC grew steadily over the years. With my limited time and resources, though, I was never able to

Istarted making "shows" long before I owned motion·picture equip. ment. In the second grade I drew cartoon panels on a roll of white adding·mlKhine paper and forced all the kids in the neighborhood to sit on the floor lind pay close IIttention while I pulled the strip of

paper through II cllrdboard box, outfitted with a light bulb and chellp lens that projected the world's weakest picture on the wall.

I provided the soundtrack-crellting all the voices and sound effects with my childish Texas twang-and even humming bombastic musiClI1 punctuations that frequently caused our maid to wonder whether I WIIS "right bright:'

So what if the presentation lacked a few refinements. As they say, it was a start.

Years Illter I advanced to a Brownie 8mm camera, and in high school my fr iend David Houston and I set out to film the most spectacular movie of the decade-and possibly of all timel Of course, it wasn'l, but all our schoolmlltes who had laughed at our lavish pillns cheered lit our world premiere and told us it was lJ slart.

During the next few yeC!rs Ollvid C!nd I completed several more am· bitious film projects-taking IIfter·school jobs in order to purchllse better movie equipment. The more professional our efrorts, the more our au· diences enjoyed the productions. " Hey, guys," they encouraged us, " th is isjusl the stC!rt."

Now, a few years later, I am lit the start of another project, but this one involves offering help, advise and encou ragement to other young film· makers. Our STARLOO readers have wanted this kind of magazine for years. Although our special effects series in STARLOG is one of the most popular regulllr features, it deC!ls mainly with " how the pros do it," and most o f the time that bears little relC!tionship to the budget and faci lities avai lable to non·pros and " backyard" filmmakers.

1

afford the wide eKposure required for something as unique as a "how to" special­effects magazine.

That will no longer be! a problem now. After pampering my brainchild through II issues worth of tough times and finding it more and more difficult to keep it going, a "guardian anger· emerged in the form of one Kerry O'Quinn.

Kerry is a man with foresight beyond most men and he immediately recog· nlzed the value of CtNEMAGIC-not for the dollars it would bring to him (magazines are a costly and risky investment}-but for the worth of a publication which would enable thousands of filmmakers to find even more pleasure and knowledge in their craft.

It was natural, then, for Kerry and crew, who were Innovative enough to spawn the likes of STARLCX< and FUTUREUFE, to bring to you this new and exciting version of CINEMAGIC.

Equally vital. though, is the fact that the philosophy of the original QNEMAGIC is retained by the new: It's your magazine ....

Be part of it! Leam from it! Share in the excitement of it! But most of all , eryoy it! I know that I will because even though it's my baby. it's been adopted by the most competent group of people I know of. With your help and support QNEMAGIC is certain to grow to be a tall , proud magazine which will undoubtedly benefit the entire special-effects genre.

DonDohler

CINEMAGIC will tell you how to create the same kind of special effects without robbing a bank or breaking into Paramount after hours. CINEMAGtC will provide a forum for quest ions and answers as well as for letters and news. I hope that CINEMAGIC will actually have a hand in educating and aiming many of you toward Hollywood.

You have a dedicated editorial staff working to make this magazine more valuable to you than your light meter.

David Hutchison, our extremely capable special.effects and science ex· pert on STARLOG, will be handling his first assignment as magazine editor, Dave knows 101 ways to use a coat hanger and masking tape for fan· tastic visual tricks, and he is tuned in to the problems and ambitions of young people. He will probably become one of the important people [n your life.

Don Dahler, the young explorer who took the fjrst step. will continue to write and edit for CIN(MAGIC, lending his vast experience and knowledge of film effects to the new STARLOG·produced version o f his baby. Fortunately for you, Don's move into pro·films has no t lessened his love of ·'roll your own" techniques and projects.

And there will be many others- some top professionals and some still struggling upward-who will show and tell within these pages. I am very proud of all the people involved in QNEMAGIC, and I am proud that we, as a company, are able to provide this magi!lZine, Fri!!lnkty. it is no t, for the foreseeable future, a profitable venture, but it is one of the worthwhile things that ou r success elsewhere makes possible.

CiNEMAGIC is the kind of guide that David Houston and I needed back in our school days. It is the kind of guide that you need-today-to assist you with fantastic filmmaking proJects. Use It for all it's worth.

CINEMAGIC: it's a slaJt!

Kerry O'Quinn/Publisher

Dohler, founder of CJJn!M.AGIC.

,

..... Filmmakers'

arum A. regular d • .,.rtmeDt devoted to .... tlers· commenb _bout filmmaking, their problenu; and "lotions.

6

SF In _ Small VUlage

... [am 21 ye8rs old I!Ind lin IImillteur filmmaker. [ have been making SF films for several years now. I enjoy this type of film beoIuse it Is much more of II challenge to moke it believable and Impress an Iludience.

It 1,][ began when I read an artl· de in Super·8 Fllmaker magezlne a few ye<lrlJ ago about 1:1 SF filmmllker. The IIrtlcle showed pictures of $Orne simple effects he h8d done, lind bolIsted how grellt they were. I felt that [ could do much better.

A friend with a slmiltlr Interest in science fiction wrole a scrip! for me. My girl friend made all the costumes for the ,seven cast members, while I built the sets. Using C<lrdboard, masonite, fur· ring strips iIInd plexiglllss. I con· structed the Interior of Il control room, the Interior of the "Aries" spacecraft lind an IIHen ice eav@, as well as miniature sets for special effects, The film Illsted 30 minutes and WIIS entitled Allen, We showed It at summer Cllmps, the locill library and my old high school. Everyone seemed to like It. ll1e tetK:hers seemed to like It most because it showed that someone in this SIT1iIIl villilge did something other than tilke drugs l:md get into trouble, (For .II small village, there is iI lot of drugs, crime ilnd suicide between

FoDed ellff.

the ages of 15 and 25.) We ilre currently working on 8

new film, Tlmesearch, It will run ilbout 90 minutes, Among the original models I built for the film is the 4,fool "AmbaSS8dor" with built-in lights.

I showed pictures we had IiIken of scenes Irom the film to Gerry Anderson ilt the Ohio Space: 1999 e<>nvention, He said that it is too bad filrTlffillkers like myself don't get proper exposure. StudiOs 8re often looking for

•• ,Some time ago, I produced a II bo!:.'fcd:~I::.~ short film entitled The ForgoI.len f'Illleau, which had some intrigu­Ing technical problems to be solv· ed. I had neither the money nor the time to create either plaster or paper·mache cliffs and C!lVems. Further.l had limited space to work In, and then only for short periods of time (my parents WlInted the dining room back every night llround supper· time), pre<:Juding the use of even semi· permanent sets,

The answer, for myself and ilny other fIIrTlffillkers facing the same difficultles, WlIS temporary cHffs. With an evening of 6.perlmentil· tlon, I diswvered iI means of cre­ating them with corrugated C!ud­board, mll.'lking tape and IIluml· num foil (hellvy duty), The follow·

FoIdklll _IDWly ,,,,,,,.rd, '_1>&10 bDU<>m

1 mIIde three more, and I four the neltt morning. ,

plenty of

foil

model builder., set designers and other artists.

I am from Rhode Islilnd, which, I believe, is the most IInti-science· fiction plilO! in the world, There 8re no clubs, organizations or anything. The only interests pe0-ple have In this state are drugs, selt ilnd violence, If you mention seience nction to them, you get a -response like, "Oh ye8, I seen 'Swh Tr<K:k; the show 8bout the guy with the eilTS-that's stupid!" And, believe It or not, the only SF

should be crushed, then genlly unfolded, to CTelite .II look of IVOm granite, before LIIping it to the frame.

Paint your cl iffs with iI grayish metal primer in sprlly form. Do not brush paint. as this will stTilighten the foil. After the paint is dry, use an air brush to ildd 16.' lUre by using different hues of gray i:l Vilrylng llmounts across the entire f~ of the cliff.

To end. I'd like to add iI few noles ilnd tips: 1) Plllnting the ~rdbollrd with flot Iilte/( PlIint strengthens il 2) The cliffs aren't designed to carry weight. 3) Don'l Ielive these where your cat can get into them, All of these Ups are from persornll experience,

HaliOmman 645 NW79St, Seattle, WA 981 t 7

series that was mentioned WlilS Lost In Space. People still wiltc:h il and say that iI's muc:h more believable than Star Trek. This is what I have to live with.

Lew Place 20 Main Street

Harrlsvllle, RI02830

Though t.hi5 /eUer was senI to STARLOOmagazlne, we thoughlll

woukJ. be of inlerest 10 our ONEMAGIC tl!adem.

Asteroids with Twinkle

, . . Now that spece epics are in, like Star Wars .. , , Amoteur filmmakers are pressed to make spectilculor special effects, I found a way to make an asteroid that lights up In different cotors. Take iI chunk of styrofoam, cut pieces of it off, making it the si!e ilnd shape you want. Then buy a string of "twink le" lights used for Christmas decorations, Cut the wires about 8. foot from one light. Stick the light Into the asteroid ilnd hook it up to a 9-voll battery. Change colors to make fantastic seenes.

Steve Cisco Bolt 64Rt *1

Bejou, MN 56516

C .... lc. For Home Study

T~ 1979 Universal·S Films ca\!llog has Just come across my desk. The catalog lists quite a variety of dassk horror, SF, fan· tasy and adyenture films. Everything from The Mummy and BrIde of Frankenstein to This Island Earth and Swash­buckler. In many ways the Ibting b a good start on oS reference library for the filmmaker. Perh;,P5 you lire working on a modem Wolfman epic: or a parody on some SF claS$lc. It would be mighty handy to have the lne)(· pensive 8mm yersions of these to screen forwar<h, ~wards and in slow- motion. You am check details on makeup, character m0-

tion, set prOf)S, etc. Of course. most of these versions are con· densed usually 10 17 minutes. But the editor, tiill Compton, tries to keep key scenes and enough plot material to keep In context. On the other hand, Universal 8 has a series of '"Great Scenes." For example, ""The Destruction of LA." from Earthquake , 'The Complete Showe.r Murder" from Psyeho (for you editing fans), or the Waldo Pep~ dogfight. Very handy for study. The Brot~rs Hildebrandt remllrked to me that they used to try to film sequences with an 8mm camel'll off 111e TV set for fl'llme-by·frlIlTle aNilysis when they were making there own movles as teenagers. UnlYersal-8 and other home film compllnies haYe IT1lIde it easier.

C.11IDgAU

Dayld Hutchison Editor

PA FU-lDIDIIIr.en ... This may be a first for North· eastern Pa .. the forming of the Movie ~kers-Hadeton Film S0-ciety. Moylemaking and Its reo lated fiel<h are kind of a detK1l1rt In NE Pa. and we hope to change thal Focusing on amateur film­making at this point we hope to expand with· the he lp of others in our llret! that are interested In this rleld, from persons who just like to <:ollect fitms to professioMis willing to donote their time to im· prove and expand the IIrt In our areo-Ihf:lltre groups, people who

STARLOG I FUTURE UFE Announce. Short FUm Competition

STARLOG lind FUTURE UFE magazines, sister publlcatJons to ClNEMAGIC, lire sponsoring their first annUIII SF Short Film Search, open to all filmmakers, wMtever their eJtperience lind b_,

Films may be submitted in Smm, Super-8, or 16mm, and IIlthough there is no limit on length, 5-15 minutes Is most desirable. The subject can be

like to write, act, direct, even phases of TV production. Anyone Interested can ;ain and nelp foml something that is and will be something different. Interested parties can write to O.C.E. Films, Box 61 Drifton, PA 18221, or if you live In and around the tUuel· ton. Pa., aree, meetings are every Thursdlly nIght lit 7 p.m., 311 W. Diamond Ave" Hazelton, PII. We need 1111 the help we can get to build an organization that will give people In our aret! with creative talent II helping Mnd.

David Budde

Super 8 For Sale ... The fun and fasclnlltion of producing home SF and fllntasy films are ends in themselves. However, necessity and common sense argue thot getting paid for them wouldn't be bad either. Is a list of indlvtduals, ciubs, and/or

anything that falls within science nction, future, horror and space fantasy; It can be humourous or serious, It can Include animation, stop motlon, live action or any comblnlltlon.

The entries will be ylewed by II panel of film experts, and the win· ners will be announced and screened at t~ Baltlcon (Bal timore) April 13·15, 1979. Deadline for s ubmitting nn!shed

firms who might pay cash for quality Super 8 films aYllllable?

ADd,. Tubbe8b1g 5315~Dr. ~,OH44129

A rtUtTlberof~8I"IlaIeI-f'" /lJms h.we made It. Ihlo the semi· pro market. Consider tIw 'ale 0{ such /Ilms as Hardware Wars, whkh Ms been ~ up by Pyra· mid FIms. There are oBI (ew com· panI£s inktesled 6l/N Super- 8 nw*t>t, but first your fIm must be .seen. The mosl notable euent 0{ IfIJ.! year Is the SF Short Fim SeNCh which offers cash prizes and the chance of c:ommerdaI dis· trlbution: For 1n{0ITTI4ll0n oorJtad David EIJ1s (see above Item).

Miniature World. ForS.le

... When building miniature

films Is April I , 1979. Because of the already ~vy response however, you are strongly urged to get your film entered as fl!lT in advance of this date liS possible.

Provided you \!Ike photos and otherwise document your step­by·step making of the film, this material mlIy be used In lin article on the winning entries In CINEMAGIC, ST ARLOG andlor FUTURE UFE. Best of ali. if the winning entries lire of high pro­fessional quality, STARLOGI FUfURE UFE plans to pockage the films for wide commercial ex· posure-an opportunity to boost you into the motlon·picture limelight lind produce Income In addition to your prize money.

Any films produced within the past two years, 1977·78, are sub­mlttable. For de\!llled rules, fees, releases and entry forms please write today lind enclose a lblmped. HK..-ddr .. Md long envelope:

SF Short Film Search clo Dave Ellis 4221 White Ave. Baltimore, MD 21200 Please note thot you do not

have to IIttend Baltlcon to par. ticipate In the SF Short Film Search, but if you woukllike in­formlltlon on attending, please request It specirlC8l1y when you write.

sets, drop by a hobby shop cater· ing to model railroaders. You will find a wide vllrlety of things to work with at a reasonable cost. Also check out the book flICk there. There are many books on building incredibly detailed =~

Bob WoocIbunI 115., 9tb8t. MeA, AZ 85201

No/. only <i> mocfto1 RR sJvJps have a wkIe IJIIrle!y 01 minial:ures-from parle benches and UJOtb1g /limp post.s to uar1c:w.G bulldlngs-bul they come 61 dlfferent.scales. Thus /I. becomes ~ 10 build sets 61 (orced ~ allow cosL

The !eU.~ lor !his /h4 issue 01 the new ONEMAGIC haue been selected (rom trose received by STARLOG magazine and by Don.

""""" (JI 7

•

• •

• ,('·""1\17111 ... ··-· ......... ' ,." "I.,N -, •

TolD. Sc:bennan bl'llcea hi. re-created .. X .JIIl" spacecraft on It. .tand agaillat tbe 4O.mph wluda that plagued the film crew. The apace sblp wa. paln.UkIDgl,. copied from f ...... e blow.ups of the 01'191Ul foobge. In .. tl Afrarpeoftbe V·2 atoek footage that w •• uaed In the orlglnal1950relea_that wlUbe ....oJ

replaced by •• pec:I.,u,. .sMmbled team of apeclal·effects expert. wbo happeD to love SF and'tantaay fUm. • • --•

..

~ COVER STORY

Re-lnaking 'Rocketship X-Mo'

ROCkctship X-M began in the late 19405 when Kurt Neu­man, ill writer and director, showed Robert LIppert, an

independent producer. II story outline for ill serious science·fiction film. Neuman demonstrated that his story of 1I Journey to the Moon could be made for less than $95,000. lip­pert, oil prolific producer with a good eye for what the public was willing to buy. took note of the current ny­ing SlIucer craze and produced the film.

X-M originally stood for Expedi. tion Moon, but because of the similarity of Neuman's script to George Pal's DesUnation Moon, also in production, Neuman altered the final part of his story so that the five explorers land on Mars instead . Rocketship X-M, filmed in black lind white, made millions of dollars 8 few months after it was released in 1950.

An eight·year-old Wade Wiliams fell in love with the film , but its sue· cess was short lived. The film was sold to television in 1955, and was seen quite often until color program· mlng became common, whereupon the black·and·white adventure fed­ed from view.

Several years ago, Williams insti­gated e netlonwide search for the film. After meny years of detective work, he was able to buy the rights to the film end make a dupe nega· tive of a flne·graln positive 35mm print that War~r's had. The original negative had started to decompose in 1965 and had been destroyed.

Wade Williams wanted to reo release the film, but in the age of Star Wars and CE3K Williams knew that modern audiences would be bothered by the low budget effects, now over 25 years old. The rocket lift·off was stock V·2 footage, there were no exteriors of the ship, the composites were faulty, etc.

Effects Facelift for SF Classic

By DAVID HUTCHISON

Late in 1977 Williams made can· tact with some effects artists In Hollywood, who he hoped might be Interested in what was certainly an unusual plan. Wouldn't it be fun, he suggested, and interesting to im· prove this o ld , little known space adventure story by throwing out some effects footage, re-shootlng It, maybe adding some new scenes and making it available to the public again?

Quite a number of those who at· tended Williams' private screening thought it would be fun and In· teresting to do just that. The team assembled to create and shoot the new Rocke/ship X·M sequences is listed in a special box on this spread. Most of the names will be familiar to readers of STARLOO magezine: They are cameramen, editors, designers, some of whom have worked on such classic SF and fantasy films as Aesh Gordon, CDI(, Sl.ar Wars, Sl.ar T rek- The Motion Pic/ure and whose contributions to SF/fantasy are ex­tensive.

Early meetings of the team were spent deciding exactly what footage to junk. Eventually Tom Scherman designed a storyboard that met everyone's satisfaction. There were

to be 11 new shots: 1) new opening tJtles 2) replace Earth nfl·off 3) replace all V·2 stock footllge 4) replace shot of sun's corona

seen through the ship's port· hole while in space

5) add exterior shots of rocket under acceleration

6) add exterior shots of rocket with engines shut down

7) descent to Martian sutface 8) rernllke long shot of ship com·

ing down on the Martian surface 9) new shot of crew disembarking

10) new shot of survivors returning to the ship

II) exterior shot of rocket escaping from Mars with globe covering 211 of background frollme

Additionally, all the new footage would be shot In color. The color negetive would be printed onto black-and·white stock, so that the color grain in black and white would look like the grllin of the black·olInd· white emulsions of 1949. Also the entire film will be tinted. In the origina l, only the Martian sequences had been tinted a deep red·violet, but the re·release will see color tinted footage throughout. Scenes inside the ship will be printed a soft chocolate brown, exteriors of the ship In space will be bluish to pick up the silver of the ship, bunker in­teriors a light yellow, etc.

It was agreed to first tackle the scenes that were the most com· plicated logisticolltly and involved the most people-the sequence of the five people setting out from the ship on Mars and the shot of the three scrambling back. A foreground miniature had to be built and a model rocket fe·created.

The task of recreating the X·M rocket fell to Bob Burns and Tom Scherman. The rocket would have to be copied from the film. The frame

9

MIke Minor and Tom Scherman_t up the metal framework, which wlU form the "'_ofthe mlnbwre. Denm. MureR, at left, I. _tung the camera tripod. In the proper

I , posldon;.~~~~==~====~~~=:::~;=-=~~~~

! !

Right: MIke Minor and Tom Scher .... n are p .... tering the bue of the foreground rig. Dave Sdpea checka the framing through the camel'll. hnm. MureR'. In the background.

I I " t' I~---_~ .......

Left: Hany W.lton and Tom Scherman anll screwing down plywood over the metal framework. Dennis Muren and Dave Sdpes PHI' pare to mount the camera on the tri .....

selected for study was a matte pai nt· ing of the rocket on the launch pad. Burns removed the f rame from his print of the film. mounted it and projected it as a slide on a blank wall that Tom Scherman had covered with drawing paper. After tracing the image as closely as possible, Scherman took the tracing to his d rawing table and cleaned it up with a French curve and a ruler. "I had to get a perfectly smooth drawing," remembers Scherman, "i n order to be able to make a good pattern.

"We reviewed the finished d rawing by prOjecting the slide over it. When the match was satisfactory, I started the pattern. " But first a decision had to be made regarding the size of the model.

Dennis Muren, the technical con· sul tant for the unit, determined that the rocket should be about 24" high. Muren knew that the model rocket would have to be placed x·number of fee t close to the camera

Below: The view from undel'D_th the fore· ground rig. Note how the edges of the pt.ster nare down and ouL Add.ldonal pieces have been rigged on .tuub to the right.

Above: Mike Minor worD the p"'ter with hi. band. _It _ta to bring up the propel' texture for the base. Jllli.ke Matney ... tat..

10

"The Last shot was the .most difficult and the most satisfying-it's an 11 J,2 second take that required split. second

timing to coordinate the actors, hundreds of feet away, with the modeL. "

(to make it appear very large) and the actors playing the explorers would be x-hundreds of f~t from the camera (to appear much smaller than the model) end both would have to be held in focus. If the model were too small it would have to be placed too dose to the carneTt! and be outside of the range of focus. On the other hand, the larger the rocket, the longer it would take to build-the more time, dieTt and money it would require and so on. Muren thought the shot CQuid be done with a two-foot model.

The basic form was turnl!:d on a lathe from dense styrofoam. When the foem matched the pattern , a negative mold was cast In sections. The positive was cast with 8UtO body putty, slush molded. The casting was then assembled and followed by many hours of sanding to achieve a perfectly smooth and even surface. The sl ightest flew in the surface of the model would destroy the illusion that the foreground miniature

perspective shot sought to create. Finally the model was painted

with fiberglass resin, sprayed with gray primer and allowed to dry. "After a few hours,"' says Scherman, "I sprayed it with a candy apple si lver base and then with spray aluminum pa int. I did it on a half· end·half basis so the rocket didn't shine or glitter too much but stili had thllt dull aluminum look."

The fins were simply cut out of balsa wood and glued into position.

The ledder rungs are ordinary staples ... , very carefully measured how far apart the rungs should be and laid out a pattern in tape on the rocket. Then, with a very fine drill, I made a tiny hole through the resin end into the styrofoam, being very careful not to crack the resin, and drilling , of course, two holes for each staple, up and down the body of the rocket. Then I pulled off the tape and pressed in each staple by hand untll It was within about itS inch of the surface.

Above: Mike JIl.stney sdJusts foreground rocks thst were bunt by Tom Scherman snd JIIltke JIIU.oor."

"I carved out the door opening and Inserted a piece of girder from a toy that looked right for the struc· turel members of the rocket just in· side the door frame. Since the door we, supposed to be open for the shot, I thought it would be nice if you could see Just a little bit of"the interior structure.

"The portholes are dellT plastic doll"s eyes. I drilled a smell hole into the body where the porthole was supposed to go, painted the inside black and then epoxied the clear plastic eye over it. The portholes heve Just a little gtlnt to them and you can just see In.''

The next problem was to find a

Below: The completed. fore · ground minhlture sbowing align. meat of camera minhlture rock plec_ snd rocket ..... Uoned on lbe minbture foreground .t_d. Left to right UtI Sche!"' _ . M\UeD and au ....

•

good location for the scene. Or­iginally, the sequence had been photographed by Karl Struss in Red Rock Canyon, but Bob Burns WtlS

unable to obtain 8 weekend permit to film there. Joe Musso, who had worked with some of the team rnf!mbers on Aash Gordon, remem · bered 8 location neaf Death Valley called Trona Pinnacle. Some of the. Icelandic scenes from Journey (0 the Center of the Earth had been filmed there. as well as a brief sequence in the BalllesLar Galaclica pilot.

Tom Scherman, Dennis Muren, Minor lind Matney S(;outed the area, taking measurements, figuring out the camera angles lind position. Dennis Muren has long been familiar with the requirements for a perspective shot, since many years ago he photographed the tree houses for the David Allen film Raiders of the Slone Ring using the same method.

With the location selected and the model completed, Bob and Kathy Burns began the lengthy process of organIzing the logistics of the shoot -permIts, equ ipment. costumes, 12

Left: Bob Skot.U; appU_ fiaYl c_t of"teJr and u..ue to Brian Mos. man'. back. The I ·N crew " attacked by _ .un· bUatenld MartIan cave' dweUer. Below left: Brian is fitted with plaatJc bald cap. The makeup .... left vel')' rough since only long_hola are Involved.

etc. The costumes proved to be more difficult than anticipated. [n the 1950s you could have gone to any surplus store and bought all the props and clothes for a few dollars, but now .... The only authentic pieces of equipment that they were able to find were the oxygen masks; everything else had to be built.

The costumes and props were clearly pictured in the publicity stills Burns had on hand, so they knew what the finished items had to look like. Close inspection revealed an enormous amount of hand props and equipment that would have to be fabricated. Burns is an expert at scavenging odd parts and shapes and combining them into something else. The oxygen tank equipment was assembled from milk bottle caps, plastic toy bells, wooden dowl· ing and pipe fittings. Even back packs and map cases had to be custom assembled. Driven by the desi re for authenticity, Kathy Burns even built the explorers' caps, with only the photo for a guide.

The day 01 shooting tinally arrived wi th everything ready, having been finished only the night before.

At the pJnnede the weether was dear, the Sun bright-everything perfect for photography except for a strong 40·mph wind blowing in sharp gusts. For a shot requiring e rock steady foreground miniature, this presented a problem. The originel location was abendoned and everything was shifted up to a hillside, hoping to ~in some protec· tion from the fierce wind .

Dennis Muren hed had a frame welded together that resembled an ironing board wi thout the cover and with one leg. The fremework would canti lever in front of the camera, serving es a base for the miniature. It was weighted down with rocks to secure it es fi rmly as possible against the wind.

Mike Minor and Tom Scherman began to build the minieture set after the camera was locked down in position. The foreground minieture wes constructed at the site, since the terrain had to be matched exactly.

Mike MInor describes the process. "First we sterted screwing plywood to the frame. then I stapled an apron of lightweight wire screen on the edges. The scr~ning didn't drape straight down, but flared out around the circumference pa rallel to the ground. We plastered right on top of that-smeered, mixed and painted-right in front 0 1 the camera.

" It took ebout three hours to com­plete the .miniature. We had just barely enough time to get the takes. It was a constant baUle, beceuse as the day went on, the shadows got longer and the colors changed, so there was constant repainting. The 40·mph winds moved the rocket ever so slightly, even with the brace that Tom had built. (Tom drove four nails into a piece of plywood that matched the positions of four holes drilled inside the base finds. The rocket was set on the nails and epoxied down.) Those takes In which the rocket moved, of course, will not be used-it looks like an earthquake had started!"

During the entire shoot Tom Scherman wes no more than ten feet from the rocket. One gust of wind strong enougl1 to rip the model out of its base and damage It would have wasted the day. Without the rocket there would be no sc:ene to shoot.

The camera was tied down on a tripod with e nodal mount. The first shoot included e pan from right to left of about 120D

, following the ex· plorers as they leave the rocket. Without the nodal mount the perspective would shift between the foreground miniature and the baCkground terrain. spoilng the

Below: JIIo.t of the COfJ~ bad to be buUt from .cralch. In the 1950s •• 11 of the_ wen _aUy obtaln.sltle from any aurplua atore. JIIud aca"'_glngwaa required.. For _ample, the oX)'gen boW_: bottle ~rt from kid' . mualul ItelI Nt; hose connections are pipe nWng. from a hardware atore; valve handle. a ... two atodc outdoor faucet handlea put together; val",e gaug .. from milk boWe ulN'; and the gauge face w_ IuInd·d,.wn, The re·creatlon: upa, flrst ·ald kit. and .... p caae by Kathy Bur .. ; amall . hovela, dl.sta.nce gauge, oX)'ge.. bottl_ by Bob BUlIdl Geiger counter by Bob Skotall and plcll _e by Tom 8cherms.n re·create the ~./If exploreQ.

shot. As it was, the shot included a view above the rocket, the land below it and past that onto the real ground-merging together into a solid unit. Mike continues, "We would have been happier if we could hiJVI! shot a IiUle earlier in the day.

'The last shot was the most dif· ficult and the most satisfying. We panned off of Brian Mossman, who had been made up by Bob Skotak to look like the sun·blistered Martian inhabitzlnts. He was standing on is

hill, silhouetted against the sky while hefting boulders at the ex· plorers. We panned down off Brian right through the Sun which flared through the lens just liS the rock Brian WliS throwing hit the ground, making the dust rise. The threE: survivors rush past the camera as we pan following them generally left to right. As they diminish down the hillside, the camera follows. So. the cllmera starts looking up into the sky. pans down the horizon, follows the people down below the horizon as they make their way

(conUnuedonpage 18)

Above: The origl.aalaun from whldl cosw- and props bad to be copied. Beiow l The new coalumea made by Boband Kathy Burn •• Left to right the Intrepid e_plor.,. arel Bob Burna, Elatne Edford, W.da William., irving Lipscomb and Ben JIIoaaman aftar dl • • mbarklng from the~·"rO(:Il.tablp.

'Roc:ketship X-JIll' Re-release Spec:lal Effects Team

Bob Bur ............ Production Manager, Costumes. Supervising Editor and Miniatu res.

K.tby Bu ..... ........ Production Assistant. Costume Coordinator Mille Jlbitae,. ........ Production Assistant Mle..... Mlaor ...... Effects A rtwork and T it le Design ham. Murea ....... Technical Consultllnt To .. Bchenull ...... Storyboard Design, Miniatures and

Spedal Props Bob SlIoblll ......... 5~illl Makeup D •• 14 SUpe •. ...... . Effects Cemerman H • ....,. •• Itoa ...•••. Effects Camerman

13

·-

TbeSuperS Sound Recorder I By JAMES CALDWELL

W hilt! more lind more manufacturers lire com· ing out with sophisticat­ed single system sound

cameras, double system recording for lIrnliteur films seems to be an alter­native not often considered. For the serious worker, though, double system sound can open up III whole new lIverwe of filmmaking. In double system sound, the sound is re<:orded on II medium separate from the pic· ture. The equipment needed doesn't have to be all Ihtlt expensive. A good exllmple is the Super 8 Sound Recorder I by Super 8 Sound, Inc.

The Super 8 Sound Recorder I is II modified Sony TCBOOB portable reel to reel tape I'KOrder. The modifica­tions include guides cut to eccept

14

Super 8 or Split 16mm fullcoat (in. stead of lj~" tape), a logic circuit which controls the s~ of the recorder to match an incoming sIgnal hom a camera, projector. or 8 pilotone sync signal, and III meter to give the sync condition of the IT'I&Chine. Upon first appearance, the modified recorder looks no different from the regullir Sony since most of the modificatlons are internal. The only tell -tale ap­pearance is a five pin DIN plug and two three-position switches on the left side of the IT'I&Chine. The complete recorder will run you about the price of a good quality Super 8 Sound camera: about $795.

In order to use the machine, you need a camera which hlIs a PC or fillsh contact output (or pilotone capability). It is plugged into the DIN plug on the Sony, which is set for ei ther 18 or 24 fps. Then shoot! The recorder will

record your sound track, lind the camera will take the picture. Later, the sound can be resolved to the picture by using a modirled projector. The projec­tor needs to feed a pulse to the recorde'r just as the camera did. The sync meter at the front of the machine will give the sync condition.

Of course, if you have the money, the cables can be eliminated by using crystal sync. At present, only Nizo and Beaulieu cameras can be crystal con· trolled although work is being done to control other models. With the recorder also crystal controlled, camera and recorder will run in sync without the need for connecting c:ebles. Indoors, the Sony can be plug­ged into ill household plug and the recorder will sync itself to the 60 Hz line, eliminating the need for a crystal control. A filmmaker can also resolve his single

•

,

system footage to fullcoat for editing purposes. Or, by recording the pulse from your camera onto a ste~ recorder (one channel recording the sound and the other recording the sync 'Ignel), the sound can later be resolved to fuJ1coat to edit double system. This can be an advantage if you have 1I

stereo cassette recorder which Is lighter than the Super 8 Sound Recorder I.

For fina l mixing, the Super 8 Sound Recorder can mlnsfer up to three trtlCks to a quad tape recorder with one channel left over for the sync signal. Later, the th~ t!'llCks can be mixed back down to fullcoat and transferred to the magnetic stripe on the film.

The Super B Sound Recorder is in· deed II versatile machine and 1 have only touched on what can be done with it. Quite sophistkated sound tracks can be built up. PaSSlIges of film can be redubbed. or sl1ent portions can be dubbed with sound in sync. Although for real versatlllty, a double system editing bench is needed, much can be done without one.

In lICtual use, the Recorder perform­ed flawlessly. I have used one for nearly II year now and Mve had no problems lit lIlI with sync loss. The only problem I hlIve had is with the batteries Sony plICked with the recorder. They leaked and coused extensive damllge. Super 8 Sound repaired it Imd had it back to me wi thin three weeks. I would recom­mend not leaving blitteries in the machine when it is not in use. Also, the remote run plug on the recorder Is not grounded and, should it accidently short out somehow, the fuse will blow-which also means a trip to the repairman.

At 24 fps, the audio frequency response is 3O- 13,()(X) Hz. Wow and nutter is less than . 15% and the signal­to-noise ra tio is 45db. This Is much better sound the:t can be obtained with most single system cameras. By hook­ing a Dolby ENCODER between the recorder and projector, the slgllllV noise I'lItio can be Improved even more,

The recorder has inputs for micro­phone (with remote run) lind auxillary and outputs for monitor. It hlIs a built in electret condensor microphone, tone control. i!lnd battery check meter (which is built Into the VU meter). It

measures 12 112" x 43116 x 10 1/.'

lind weighs 121bs. with ~tterjes(8 D cells).

Of course. the whole p!lrt of this system is not the recorder, but fullcoat. Fullcoat Is j ust like regular recording tape. except it is on II thicker base and has the same dimensions as Super 8 film down to the sprocket holes. The recorder clin " read" the sprocket holes in the tape lind compare them witl;l the signal coming from the camel'll or the projector. If they aren't the same. the logic circuit will adjust the speed of the recorder so that they do match. Hence, the picture end sound are on a one-to­one correspondence and thus in sync!

I have II couple of m inor complaints about this recorder. The sync meter is quite tiny and, placed on the front of the machine, is difficult to see. Although It is better than its prede­cessor, which used the VU meter for sync condition (which means you couldn't use the VU meter), I s.till feel there is room for improvement. Also, with the recorder slung over your shoulder for a one-men shoot, the con­trols are fac ing away from the operator which makes them difficult to use. Finally, the recorder only takes a 200' feel which holds about 380' of polyester fullcoat. That's about 15 minutes of tape at 24 fps. There Is an adaptor so the machine Clln take up to 1200', but It is expensive and bulky.

The Super 8 Sound Recorder is ideal for the filml"l"ldker who wants a piece of equipment thet he can grow with. Super 8 Sound now offers split 16mm fulk;oot. With the recorder set et the origintll 7.5 ips, it will sync with e 16mm camelCl just i!lS It would with Super 8 . A 16mm projector can be modified just as a Super 8 can, and so quick inexpensive mixes can be had as easily with 16mm as with Super 8. I'm sure this will open up a whole new avenue of filmmaking with the Super 8 Sound Recorder working as a "poor man's N&gra".

Although not cheap, double system filmmaking with the Super 8 Sound Recorder end a sophisticated si lent camera (or 16mm) cen open up e whole new area for the serious film· maker. It can overcome the editing dl'llwbacks of single system sound and put the versatility of a professional studio in the hands of the amateur. (If

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The notices for this issue have been received over the past year by Don Dahler's o/fk;e.. Please {0IWaI'd all news 0{ your flJms In CWTeTll prodJx1ion to CfNEMA.CiIC, c/o OQuinn Studios, Inc .• 475ParlrAue. SouLh. New York, NY 10016.

ADarchy. The struggle for power In II post-holocaust soci­ety. Producer: Condor Studios. Director/speci!!1 effects: Alan Lasky. Cast: Robe:rt Cline, Scott Doyle, Mitch Lasky, Mike Maiko. Super-B, sound. Running ti~: 25 minutes. (Alan lasky, 41 S. Compass Drive. Ft. Lauderdllie. FL33308.)

Arellall. Superior race transports Earthman to the other side of the galaxy to do ~tle with a race of 12-foot beings called Atachocrons. Producer: MHFX Studios. Star: John Morris. Super·a color. Specia l effects include: stopomoUon animation, mat· tes, front projection. (Mike Hutchison, 1412 Oakes Ave., Williamsport. PA 17701.)

Carnivore.. Small town attacked by packs of ravenous cmltures that look like reptilian doberman pincers. Shocker ending. Special effects include: ~I animation with rront and rear projection. static mattes, 16mm, color, sync sound. Running time: 45·60 minutes. In preproduction. (Darryl Kid· der, 4010 N. Grllnl te Reef. Scottsdale, AZ 85251.) -

&.We of the ntaJul. Small town is invaded by towering monsters. Stop­motion specilll effects. Producerl spedal effects by Joe Russo. ClIst: John Farino, Victo r Villente, Chris Lynardakis. Running time: 15 m inutes. (Joe Russo, 502 Wakefield Rd. Nep­tune, NJ 07753.)

Cycle Hero. Spece creature comes to Earth and confronts young motorcyclist. ProducerlDlrectorlStllr: Robert Beltz. CinelTlatographer: Bob Pearce. Super·8 color sound. Specilll effects i~lude stop motion lInimation lind front projection compositing. (Robert A. Belu, Merced, CA.)

lbe Collecto .... A ship of Androids trllvels from world to world collecting strange life specimens fo r their privllte lOO.

Stop-motion. Producers: Steve Hustlng, George GaUl, Dean Chiarello. ClIst: 17 lInimated chlllllCters rllnging in height from l·inch to 14- lnches. Many lire oIlIy with aluminum foil armatures. Some robots manufllCtured from plastic model kits, as are portions of the collectors' 3·domed spaceship. Super·B, color to be transferred to video tape before sound effects are lidded. Running time: 20 minutes. (Steve Husting, Fountliin Valley, CA.)

PomlcopLa. Fantasy. Stop-motion. Producer: Glivin Doughtie. 16mm co l· or/sound. Running time: 30 minutes. Special effects models: Scott Ressler. (Gavin Doughtie, 3119 Jarrard, Houston, TX 77005.) 16

The Gnlilt European flaUona. T otlll satire follOWing the instiglltion o f II Mr. Cline. Prod~r: Group Six Produc· tions. Director/special effects: Bob TInnelL Cast: ShlIwn Lucas, Gary Morris, Jerry Satterfield, T.S. $avereno, Joy Shaver. Super·B, color, s ilent. (Bob Tinnell, Box 3 13, Worth· Ington, WV 26591.)

Grlme1k1n. Ave elves struggle for survlval !lIglIlnst lin aid gray cat. Stop­motion. Super-8, sound. ProducerlDi· rector. Clirl P!lIOlino. Originlll music: Wally J . SlInchez. Running time: 5

~ ,~~,- ." .. / -~ .. -/ -

. 00" ~ii{0~ '< I , -minutes. (C!lIrl Paolino, Maspeth, NY.) 1'::;;=""

Klng Klolllk. Kong parody. Producer. Fantastic Clnem!ll. Stop-motion with glass paintings, miniatures and m.mes. (Brylln Henry, 170-30 130 Avenue, Bldg. 11, Se<::. A, 2F, Jamaica, NY 11434.)

Sip of the Stalker. Superhero epic. "A comic book come to life." Producer: Pro-Eight Motion Pictures, Inc. Cast: Mark Monroe, David 'Hubble, Richllrd Payne. Super·B, eplor, double system sound with 4·tracks. Uve action. (Mlirk Monroe, 1635 E. Wlishington 1174 , Escondido, CA 92027.)

1!utb3OOO. Producer: B [, J Pro­ductions. SF thriller. Jeff Jemison !liS Rob with and without his face plate. (B [, J Productions. Acton, ""'0)0 The Memory Stone. A man !lind his portable computer· aid lire chllsed through star systems by an all·powerful Enemy. Film, whIch explores the reilltionship of man lind machine, is !lICtlon·packed with hyper·jumps. blaster Well· pons, fo rce fields. etc. 16mm. co lor, sound. Running time: 10- 15 minutes. (Arthur John Aspromatis, 45 Shoreham Drive East, Dix Hills, NY 11746.)

Laat FlIght. SF short. Producer: Plastic:: Medilltor Films. 16mm. Larry Czach and Bob McKay set up a shot through glass in order to overlay lIirbrushed paintings of laser beams coming from the space<::rllft. (Bob McKay, Houston, TX.)

Sud • • A plIrody of the TV show "Soap." Producer: J ·Pro­ductions. (John McCown, Box 83, Climargo, Ill. 6 1919.)

The DeIllOO Maater. Young !lllIn summons a demon to m urder his enemies. Producer: Hlippydog Productions. Stop-motion effects with live action. RUnning time: 20 minutes. Super·B, color. (Dan Molitor, 606 S. 58th Ave., Yakimll, WA 98908.)

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,

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 and techniques for serious users of the Super 8 medium. And ... a sturdy spiral binding!

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X-M (con1inuedfromf'llg€8)

down the rock-siope, pans up with them as they cross the plain and finally reveals the rocket. Ifs an Il lh-second take that required split second timing to coordinate the movements of actors hundreds of feet away from the camera, running in a 40 mph wind, and their position in relation to the foreground miniature." •

Perspective shots are a very inex­pensive way to increase the produc· tion values of a film. The success of the shot is hHgely determined by both ski l l wi th miniatures and pa­tience. Mike Minor has some pointers. "We took a lot of reflectors along to bounce light into the shadows on the foreground miniature. The shadows on the real terrain lighten up with reflected skylight. We had to duplicate that effect on the miniature with bounce light from the reflectors. In this way, we were able to match the shadows of the peaks in the distance, which were supposedly on­ly a few hundred feet from the rocket, but were in reality miles away.

"AI> I Will> I'dinting the miniature, I was constantly looking through the lens of the camera. I matched the color tones on the landscape either by painting on the plaster or else by sprinkling crushed walnut shell , fine· Iy ground sand and pigments to match the tone. You can paint the miniature, but it will look too hard-the color will be right, but the texture will be all wrong. You have to give the miniature a softness- so that it i!lppears to be photographed from a distance. The sand dunes and rock slopes off in the distance had a soft look to them which had to be matchl!d in the miniature .

'"There were tumbleweeds off in the distance, too, but they were in· decipherable-just dark spots, sell i!lnd pepper. I painted tumbleweed effects Into the plaster, not to give the effect that they were weeds, but to match what was in the back ­ground. I kept the weeds to a minimum, though. They don't show up any more than they did in the original photographed in Red Rock Canyon."

With these two scenes in the can, RocIre.Lship X·M is visibly on the way to getting its facel ift. But there are still models to be constructed for the fly-bys, maUe paintings to do, and many long hours in the studio before tt"le bandages come off. 01

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Backwinding Super8FUm By JOHN COSENTINO

T he purpose of winding back Super 8 film is to accomp­lish multiple exposures, whether they be static

mattes, dissolves, or superimpositions. The foremost factor behind all Super

8 backwinding Is the temporary dis· engaging of either the camera's drive disk when a silent cartridge is used or the hub-lake·up spindle when a sound cartridge is used. This can be done without pur(;hasing any special equip. ment, but bac:kwinders are commer· ciallyavailable.

Bac:kwindlng the SUeDt Cartridge

In order to bac:kwind the silent car· tridge, first open the camera film loading door and place a piece of masking tape over the motor's drive disk, so that it can not rotate. (See figure 1.) This Is the small disk which has a pin attached. It normally (when

'"

the masking tape is not on it) rotates and pulls the exposed film into the bot· tom chamber of the cartridge. Then load the cartridge into the camera and make your first exposure. After this first exposure the cartridge is taken out of the camera end put into a changing bag. A changing btlg is a light-tight bag with sleeves ettached to it so that the exposed film can be safely handled. It is available from any store that sells darkroom photo aids. But, in a pinch, a lint-free heavy winter coat could be substituted. Hold the cartridge in one hand, and then use the forefinger (see figure 2) of your other hand to press down on the film at the cartridge gate and push it back into the upper chamber of the cartridge from whence it came. Each stroke of your finger pulls back approximately four frol!lmes of film. The hub-rlltchet of the car­tridge will automatically stop this win­ding back of the film within two or three frames of the beginning of the

Leftl Both elleat ead eouad eertrldgll tUIU I. beekwouad by pu.blaglbe film dowa .ad •• ek lato tbe eertrldgll .

exposure. But it is always good to dou­ble check this by carefully rotating the cartridge hub clockwise. It should be snug within one revolution, otherwise the film is not completely backwound. Assuming that the film is snug and totally wound back, put the cartridge back into the camera so thai the next exposure can be made. If this is to be the finlll exposure, then the ma~king tape must be removed so that the film can be properly wound up into the bot­tom half of the cartridge. Any number of exposures can be made using this technique, but there are certain pro­cedures lind guidelines that will make them easier to accomplish.

The most important step in backwin­ding is to mol!lke a preliminary "ex· posure" of total darkness. Simply leave the lens cap on and run the film through the camera for the length of the effects sequence. This means that if a double exposure effect is desired then a triple exposure is what actually must be ITIlIde, with the first "expo­sure" being of black. Two significant things are accomplished by this first exposure to black. First, it makes the multiple-exposure images steadier (better registration) as the film tension for each exposure will be more uniform. And, secondly, it lets you know how long your special effect will run before the film "jams" either on the forward exposure run aT during the backwinding. The term "jam" means that the film will no longer move in the desired direction. When the camera's drive disk is taped, its claw does all the work pushing the film into the bottom half of the cartridge. At some point the film will jam. When jamming occurs, the camera's operating noise chol!lnges, usually becoming a high pitched

Aboye: Camera'a driYa dlallie taped eo tbat It cannot rotate. "OrlDan,.. It pulla tbe e. , poeed fUm Into lbe bottom of the lI;artrldge.

Aboye : Hold tbe cartridge In ODe band, uee lbe forefiDger of other band to pre.e down on fUm at artrldge gate, and puab It back Into upper cb .... ber. £.lI;b .trolle pull. bad foar framee,

whine. If the camera is run for too long while the film is jamming, then the claw usually tears the sprockets. Film segments with torn sprocket holes are not useable IIInd must be manually by' passed by turning the hub of the car· trldge until the torn area is moved into the exposed half of the cartridge. The processor should bI!! advised that the film has been damaged.

Although the trial exposure tells you exactly how long your multiple ex· posure effect can be, general guidelines are necessary. When the ex­posed film in the cartridge is in the 0 to 5 foot range or the 45 to ~ foot range, it is best to avoid doing backwind ef­fects. After 5 feet of film has been ex· ~ normally, then you can expect to be able to do a 125 frame backwind ef· feet, at the 10 foot mark to do 200 frames, at the 20 foot mark to do 300 frames, at the 30 foot mark to do 300 frames, and at the 40 foot mark to do 200 frames. I consider these figures to be conservative, as I have done multi· pie exposure effects IIIIsting up to 600 frames and commonly do 350 frames.

Another important consideration that determines the length of your backwlndlng .effect Is humidity.

Moisture in the air makes the film sticky and difficult to move. Even on a cool, dry day, moisture and body heat given off by your hands ClIO raise the humidity within the changing bag. It is best to air out the bag after each ex· posure is wound back. If after filming one part of a multiple exposure and, because of the humidity, you can't wind the film all the way back to its original starting point, do not despair. Take the changing bag, with the film inside it, to the coolest, driest room and let it sit there for at least half an hour. Then try to bKkwind the film again, but first, gently shake the car· tridge to loosen the film. This usually does the trick. Shaking the film car· tridge every once in a while as you backwind the film. is good procedure and should become a habit, since it allows the film to slide more freely over itself.

Sometimes film cartridges will back· wind great distances and then again sometimes they do not. Apparently the manufacturing tolerances on certridges vary enough so that backwinding becomes all that more unpredictable. If one cartridge does not seem agreeable to backwinding, then set it eside and

try a different one. My list of precautions and guidelines

has probably made backwinding sound more confusing than it really is. If so, concentrate on the basic procedure: tape the cameras drive disk, film and wind the film back with your finger in a changing bag. All the rest will come to you with experience.

Backwlndlng the Sound Cartridge

If for some reason you want to back· wind a Super 8 sound cartridge, it is possible to do so by manipulating the sound cartridge rather than by taping the camera"sdrive disk. A ll of the guidelines and precautions explained in the silent backwind procedure also apply to the sound cartridge.

The first step is to place the car· tridge in the camera with the lens cap on and run the film through the camera "exposed" to darkness for the length of the effect Next, transfer the cartridge to the changing bag so that it can be wound back. But to do so re­quires that the hub-ratchet device in the CArtridge be disengaged. The sound cartridge hub has a small hole lilt

21

•

a..ft: The .ollod c:arbidg<ll must be treated dlrfeNntI,. from the .Uent • • pointed object t. used to push the two teeth down I_Ide the c:artrldge'. hub·.pmdJ. c:ent.el" bole. Thls action me-. lite ntcbet.

Rlgbt: Manuany pull the fUm. out of the c:artrldge, pre .. down on tIM! fUm and push It back into the un_poMId chamber of the cartridge. Either the length of film J. puUed back, Of the· strikes _eel to pullil Meil must IN! counted In ordu to bow when to atop back-winding.

its center with two small teeth inside. By pressing lIll1rge n.!lil (or pin) into the hole, the teeth will move down and the ratenet will be released allowing the film to be un. wound. Sometimes the hub will actual· Iy spin around as the nail is pressed in­to the hole and at other times it is necessary to rotate the nail counter· clockwise, with each tum allowing more film to be wound back. Next, manually. pull the film out of the caT· tridge at the sound head opening area. Then, over by the film gate exposure lITe8 of the cllrtridge. press down on the film and push it back into the unex· posed chamber of the cartridge. Either the length of the film that is pulled back, or the number of st rokes used to 22

pull it back must be kept track of in order to know when to stop backwln· ding. If the first exposure of total black was five feet long then the idea Is to backwind the film five feet or 360 frames. The ratchet does not automatically stop at the starting point of the effect as was the case with the silent cartridge. Once the film, by measure, is wound back it can be pll:lc, ed back into the camera. The lens cap is removed and the first part of the mUltiple exposure is carried out. This cycle is continued for as many ex­posures as desired, but keep in mind that about 30 frames on each end of the multiple exposure effect will be ex· posed to light and therefore ru· ined unless the cartridge is taken out

Lett: 35_ aWI repre.eataUoa of the Orgaalan cavern a.nd .huWe aa _a In Paragoa'. Paragon. The people are matted In or double·~ ta Supu-8 u.lng a backwlndlng method.

of the camera in total darkness. Because it is so much easier and less expensive to do multiple exposure ef· fects in a silent cartridge, I should think that it would be the preferred cartridge.

Commercial Backwlnders

Commercial backwinders are small devices into which the cartridge is placed and backwound after the film has been exposed in the camera. They are not uSE:<! inside the camera. Silent film backwinders still require that masking tape be plllCed over the camera's drive disk. Essentially what commercial backwinders do is to eliminate the awkwardness of pulling the film back into the cartridge with your fingers. They also minimize the chance of scratching the film, which I have never found to be a problem. Backwinders are availl:lble for either Super 8 sound or silent cartridges from Craven Elec­tronics, Eastfield House. Scotland Road, Nelson, limes, Eng .• or from EWI:I sa·B BcM:kwlnder, Camera Bazaar, 2747 E. Atlantic Blvd., Pompano Beach, Fla. (Jf

•

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By TED RICHARD RAE

T he term "aerial brace" was coined several years lIgo by Mark Wolf an amateur ani· mator from Iowa. Apparently

there was no standard name before then. Jim Danforth once told Mark that the devices were simply called "flying rigs" and the like,

As with most effects devices, the use of em aerial brace is most successful if it goes unnoticed. It is not limited to flying creatures and can also be used to support miniature set pieces, crea· tures required to fall or jump, objects thrown or kicked, or to support a creature supposedly swimming freely

26

'underwater. When most creatures run, all of their feet leave the ground simu l· taneously making it necessary for the model to be aerially braced throughout the entire running sequence. A good example of this is the run cycles of the Eohippus in The Valley of GwangL The result is so pleasing that it makes one wish that Harryhausen could be given more time to utilize the technique further.

Simple methods of aerial brace: Barring the elaborate braces con·

structed by professionals, which en­compass all possible movements, a variety of devices can be constructed to meet the needs of individual shots. This is illustrated in the words of John Bruce Dods, "My usual procedure is to do a storyboard shot by shot and then construct, set up, or devise a method to create the desired effect for each shol. separaJ.eJy. This means that in· stead of trying to construct an aerial brace that will fly the desired object every conceivable way-one that would be terribly complelt-l will make many devices, each device tailored on· Iy to the requirements of the one shot:'

Same alternatives to building an aerial brace are the use of photo cut­outs on glass, a stationary model and moving background, or simple support by threads. Photo cut-outs work very well for aircraft of all types, such as airplanes, saucers and spaceships. This requires photographing the model, be· ing careful to match the lighting for the shot, having a quality clear print made from the negative or slide, carefully cutting the background away from the model and coloring the white edge of the photo black. The photo cut-out can now be animated on glass against any background (real, miniature set, or rear projected image) as long as the lighting matches that of the cut-out. There are no wires to can· ceal, although unwanted.reflections on the glass should be avoided. The use of a stationary model and a moving

background needs little eltplanation. A model can be affixed to the tripod, by some off·screen method. in front of the camera and can then be panned against a real sky with the camera. Combinations of these methods can also achieve fine results. A photo cut· out on glass against a receding image on a rear projection screen produces the successful illusion of the camera speeding through the sky tracking a flying saucer, spaceship, superhero or whatever.

If these methods do not fit the re­quirements of your aerial brace se· quence, then the Sirnl-'Iifi~ Aerial Brace may be the answer.

The simplified .erlal brace; The Simplified Aerial Brace (here­

after referred to as the S.A.B.) is capable only of two-way movement ("North to South" movement as op· posed to the "North to South" and "East to West," such as is possible with more elaborate designs).

Basically the S'.A.B. consists of a 2·by-4 sliding platform which rides along the top of another 2-by-4 runner. Suspended from the platfonn are four lines, which in tum support the ani­mation model, or whatever is being aerially braced. Materials needed for the construction of the S.A.B. are: a

M.atlZrtala needed to build 8.A..B.: 490- br.cke .... 4 eyebolta, 8 nutll; ", •• her. : 8 regular, 8 lock, 8 pia.' Uc; 8 .crew. and 2:-b,.,4 block,

wood 2-by-4, four metal 9O-degree angle hardware brackets, eight wood screws, four eyebolts and nuts to fit,

eight reguler washers to fit the eyebolts and nuts, eight urethane washers, four spllHlng lock washers, epoxy or "super glue" lind some type of line of your choice.

To construct a S.A.B .• obtain a 2·by·4. (It may be any length desired.) The longer the 2·by.4, the longer the effective fie ld of movement. Also. when selecting the 2·by·4. remember that it should be as straight and free of knots liS possible.) Cut a six· inch block off the end. This will be the sliding platform that rides along the top of the runner 2·by.4. Once this Is done. SlInd

Til. aaaembled slldlDg platform of the Simplified Aer"l Brsce show· I •• the prop.r po.IUoo of the In.talgo - bnck.ta Ob the block .

the bottom of the platform lind the top of the runner as smooth and straight liS possible. It may also be desirable to paint with enamel and then wax each of these surfaces to help eliminate snags and reduce friction.

Take the four metal90-degree angle hardware brackets, and using two wood screws for each brltCket, atnx one to each of the four corners of the top of the Sliding platform. (Actually, as many bli!!lckets-and thus as many lines-as the size of the platform willllilow can be installed.) Place the platform on top of the runner and move it back and forth over its entire length. making sure that the brackets do not sOlIg on

The s.pport .plndl ....... bl,. of SlmpUfied Aerbll Brac. showlDg correct o rder of nuts and wash.rs.

any splinters or knots. It may be neces­SlIry to adjust the bTltCkets to a happy medium. If not already pre-drilled, drill a hole about V." from the bottom of each bTltCket. to accommodate the eye­bol\'-

'Drill a 5rM1l hole in the center of the threaded end of each eyebolt to ltC· commodate your choice of support line. These eyebolts will act as the spindles for the support lines. Take four of the regulllr nuts lind glue one (with epoxy or one of the "super glues" presently on the market) to each of the eyebolts somewhere around the upper third of the threads. After these have dried thoroughly, place a regular washer against the nut and place a ure­thane washer l!Q8inst this. (If urethane washers cannot be found in a hardware or plumbing supply store, you can cut them from an old plastic milk jug or bleach bottle.) Place the eyebolts through the hole in the bracket and place another urethane washer against the open side (one of the split·ring lock washers) and another regulllr nut on top of it all. This assembly allows the eyebolts to turn against the bli!!lckets on the urethane washers.

The split·ring lock washers exert enough pressure on the regular washers to keep them tight against the urethane washer and enough back· wards pressure on the threads of the nut to keep it from becoming loose. If adjusted correctly, the whole assembly will move with relative ease and should never loosen up. Now repeat this pro­cedure for each of the other brackets

and add the support line of your choice by inserting it through the hole In the end of the eyebolt, tying it to itself so that it won't roll off the end while being draWn up.

Slide the platform over the end of the runner and secure the runner by at· taching it to basement cei ling beams., two light stands, or to two step ladders. It does not matter how you support the runner liS long as it is steady. level, leaves room for the platform to slide and spens the set up. You may Illso want to put calibration marks on the runner to measure the amount of movement from frllme to framl!:.

The S.A.B. Is desirable because It Is inexpensive (the materials should not cost over five dollars), does not tllke long to construct, and is easy to set up and store. However, its drawbacks are thIIt it is capeble of two-way move· ment lind does not aflow the object be· ing aerlllJJy braced to tum back in the opposite dir~ion without detaching the support lines.

Th. compl.t.d Slmplifl.d A.rlal Brace rlg •• d with .u.pend.d spider eresture read, for filming .

The line auape_lon aerial bnc:e: The Une Suspension Aerial Brace

(hereafter referred to as the LS.A.B.) is the design I personally employ. The only real advantage of the L.S.A.S. over the S.A.B. is that it allows the model to tum around in mid-air with­out reattaChing the support lines. Also, [ have found that the L.S.A.B. is capable of more pre<:ise movement

27

than the S.A.B. I have constructed only one L.S.A.B.

and some of the materials used may not be available to all. So instead of trying to standardize the construction procedure (which would be nigh unto impossible), I will recount the steps that I took to construct my brace. The finished brace has most of the snags ironed out and has performed quite satisfactorily in all instances.

At first, the idea of the L.S.A.B. was basically that of a nylon cord stretched around two 2·by·4s nailed to basement ceiling beams, and a small piece of plywood with cup hooks on its four corners that rode on the nylon cord. Threads that support the model were to be attached to the model. Originally no support line spindle device was can· sidered at all. However, as the brace evolved from the planning stage to ac· tual construction, it gradually encom· passed more features (and hence more work) than first anticipated.

I had first considered nailing the 2·by.4 (on which the suspension lines are stretched) to the ceiling beams in our basement. However, this was not possible since our basement has a sus· pended ceiling and the brace had to extend below the ceiling. The answer was to have the device capable of swinging up inside the ceiling, out of the way, when not in use. Having de· cided how far down from the seven· foot ceiling I wanted the brace to hang (one foot) and the length of its field of movement (five feet), I picked a spot in the middle of the basement. This way, miniature sets could be erected in rela· tion to the brace since its location would be permanent. I then found two IS" long 2.by·4s, layed them on sides and drilled a hole through each to ac· commodate a V2" x 6" bolt. Two iden· tical·sized holes, 5' apart, were then drilled through the ceiling beam and each 2·by.4. While tightening, I ad· justed them so that neither of the 2·by·4s would wobble, but would still swing up out of the way inside tbe sus-28

pended ceiling. The extra six inches of 2·by·4, three inches on each side of the bolt, eliminated any unwanted side to side movement.

To keep the suspension lines from sagging under the combined weight of the platform and the model I decided to install turnbuckles (most commonly used to straighten screen doors) at each end to stretch them taut. Since the turnbuckles would have to be de· tachable, to permit the 2·byAs to swing up into the ceiling, I put a large screen door hook in the center, at the bottom, of the back side of each of the 2·by.4s. To anchor the turnbuckles I

L.S.A..B. sbowlng the location of screen door book, the turnbuckle and the sc:reweyesln the :Z·by·4.

simply'nai led two small pieces of wood to the ceiling beam about IS inches back from the bolts on each side, and put a screweye in each. I cut ordinary coat hangers to obtain two 12·inch pieces of heavy duty wire (I had found previously that lighter wire stretched or unraveled due to the tension). I an· chored each end of the turnbuckles to the ceiling beam by twisting the ends of the coat·hanger wire through the screweyes in the small wood blocks and one end of each turnbuckle.

Although not absolutely necessary, I put two screweyes in the sides of each 2.by·4 to serve as suspension line guides. My reasoning was that they are inellpensive and prevent the line from slipping off the ends of the 2·by-4 ac· cidentally. I later found an added ad· vantage because the screweyes could

L.S.A.B. sbowlng the IDClltion of the bolt, turnbuckle, anchoring :Z·by·4, wire and screw eyes.

be tumed slightly to raise or lower the ends of each of the suspension lines to keep them level.

After.testing several different types of cord and line to serve as the suspen· sian lines, I chose plastic·coated three· strand wire clothes line. According to the manufacturer, it is not supposed to stretch or break, and so far I have found this to be true.

I took a 14·foot piece of the clothes line (twice the length of the brace and an extra 2 feet to tie with) and looped an end through each of the screweyes. At this point I loosened the turnbuck· les to their fullest extent by unscrewing them as far as possible without coming apart. [ connected the screen door hooks to each of the turnbuckles and pulled the 2·by·4s as dose together as possible. I inserted the clothes line

Plastlc·coated, three·strand clothes Une cable Is used for the suspen slon lines.

through the two remaining screweyes and tied the ends of it as tightly as possible. I inserted a thin screwdriver in the middle section of each turnbuckle, and used the leverage to tighten it up. I repeated this until the suspension lines were taut enough that when plucked with the finger they sounded like a

If the model is well· balanced, only a few lines may be required. However, sometimes it is necessary to employ

an anchor line running from the model to the stage.

low-tuned guitar. Once tightened up In this m~nner, the suspension lines will carry up to three or four pounds. without sagging. If the lines vibrate during animating, I merely wlIlt for them to stop (which usually takes about one minute), since they will stop in exactly the same place every time.

Knowing that a calibration system would be very helpful while anilTl8ting. I decided to affix some kind of ruler to the 2·by-4s. Fortunately, my father happened to have the tape ruler out of an old tape measure, which was broken. I drilled a hole in one end of It to accommodate a small wood S(rew to anchor the rule to a ~·by·4. At the other end, I drilled several holes to allow for the variance in the tying of the suspension lines every time, since the tape would have to be stretched ~ tw~ the 2·by-4s along with the lines.

Vie .. of the .Udlng p"Uona or the L.S.A..B. with the top section of slideI' supporting lower sectJOD.

Much trial and error was necessary to get both the lines and the tape taut each t ime the brace was set up.

To make the top section of the sUd· ing platform, I cut a piece of plywood '/~ ·lnch thick and five inches square, which is the width of the suspension lines. In the center o f each of the four comers, I put a small cup hook. As 8 pointer to the tape measure ruler, I bent 8 2·inch·long piece of tin ('1~·inch wide) at a 90 degree angle and at­tached it with a small wood screw to a corner close to one of the cup hooks.

The bottom section of the sliding

platform was '!z.inch plywood cui five inches square. Making an X from cor· ner to comer to mark the <:enter, I then drilled a hole to ~ommodllte a '1~ .by. l 1h-inch bolt. A regular washer was then put on the head side of the bolt and was inserted through the hole. A split·ring lock wlIsher lind a regular nut were added, and the whole assembly was tightened down SO that the bolt be­came an integral part of the turntable section . .

For preciSion support line spindles, I stumbled onto the idea of using old guitar keys. I Wll$ given 8 few three-spindle sets of keys by a friend who was going to throw them away. Since the spindles of the keys were not very large and would tllke many, many turns to raise the model even a tiny bit, I decided to affix wooden sewing thread spools to eltch of the spindles. To accomplish this, I first enlarged the holes in the center of eacti $pOOl to ac· commodate the spindles of the guitar keys. r then found some small roll pins and drilled a hole just a little smaller than their diameter In both the spindles and the spools, making sure that once affixed in that position that they would still have enough clearance 10 tum. Lining up the holes in each, and using a nail sink, I drove the roll pins into both the spindles and the spools and they became permanently attached. While drilling holes, I also drilled a small ho le in each of the spools, in the end away from the keys, to tie off the support lines.

When assembling the thref! pieces of the sl iding platform, I had to make sure that everything was level and cen· tered with the suspension lines. Tum· Ing the bottom section with one of the components unleveled or off center would cause unwanted slde-ta-side, up-or·down, or t ilting movement of the animated model on the screen.

To attach the support line spindles to the turntable section, I used 4 small 9O·degree angle hardware brackets. The holes In the gul to!lr key mounting

plates were enlarged not only to ac­commodate a I/B-by.ll2 inch bolt. but were made larger to allow for later leveling of the spindles with the turn­table section. The brackets were then temporarily attached to the mounting plllies with l /B-by- ll2 inch bolts, split­ring lock washers and regular nuts.

Low sngle view of uppel' .lIdlng pl.trona. Note the thre.d spools .U.ched to gulbl' key .pIDdle..

Since the sets of guitar keys I had been given had three spindles each, to center them I simply lined up the mid· die spindle of each set with the bolt centered in the middle of the turntable section. Then with the spindles facing in and the keys on the outside, I set the brackets as close to the edge of the bottom of the plywood as r could, to give as much space between each set of spindles as possible. Checking again to make sure the spindles were cen­tered, I attached the brackets and the support line spindles to the turntable section by inserting small wood screws through each bracket and into the ply­wood.

I leveled the spindles with the tum· table section by loosening the bolts in the guitar key mounting plates, then measured and adjusted until all four comers were the same. That Is where the overly large holes in the mounting

29

•

An aerial is only a tool-as is an armature or a tie· down-that helps

make an animation sequence possible. A erial brace sequences should not

be created for the sake of using one.

plates became useful. Two more 9O.degree angle hardwlITe

brackets were used to attach the top and the bottom sections of the sl1ding platform. A small bracket WliS bolted to a larger bracket, so that the two of them together formed a U. The two brackets wen! lined up so that they were straight with one another, and a split·ring lock washer was used to make sure that they couldn't move and throw the alignment of the sliding plat­form out of balance.

A regular and a urethane washer were &dded to the centered bolt in the turntable section. The end of the U formed by the small bracket was laid over the centered bolt; II urethane

The co.pleted L.S.A.B . in U.M

rigged to .upport the flylog delOoQ

f rom J'1M IF .... o/Bla.

washer, a regular washer, a split·ring lock washer and a regular nut were added and the whole assembly was tightened down. Once iKljusted proper· Iy, this 1I110wed the bottom section to tum freely, and it has never loosened .

To center the bottom turntable sec­tion with the top section of the sliding platfonn I laid them both on their edges: Since both sections had been cut 5·i~ sqUare, alii had to do to center them was to make sure their edges were flat on the table, lIlign the sides and push them together so that th~ top of the U fanned by the 11Irge

30

hardwlIre bracket was butted up with the top section. I then marked the holes in the bracket onto the top sec­tion with a pencil and drilled two holes to accommodate two Ikby.Jh inch bolts. I capped each bolt with a nut and tightened them down. The top and bot­tom sections were now centered with each other and the suspenSion lines, even when the bottom section was turned.

Purely for aesthetic reasons, I painted the whole sliding platform (ex. cept the moving perts) silver, and painted a red lip on the tape measure ruler pointer. After slipping the cup hooks over the suspension lines, my Line SuspenSion Aerial Brace, with the

addition of support lines, was ready to use.

The . upport Hne..:

The type of line, cord or wire used for support between the brace and the animation model should be both thin lind strong. The best choice for this Is one of the mono-filament fishing lines currently on the market. I have had good results with 2·lb test line. AI· though the line is tested at two pounds, It will support more weight. In the in­stance of an outer space sequence In­volvIng an aerial brace, the line should

be painted black. The gleam from support lines is a

problem inherent with any sequenc::e involving the use of an aerial brace. While careful lighting and camera placement clln eliminate part of the problem, the use of potariUttion filters may sometimes be required. [t can help to take a very fine grade of sand paper and gently run the line through it to sand off its sheen. Some profes­sional animators have their own line especially mlInufactured, use special dulling sprays, or paint the lines to match the background. Finally, ~OO" or "000" pillno wire is excellent: It is very strong yet thin lind virtually invisible. Be wary of "kinks" in the line while threading up or animating, since they are impossible to straighten and reo quire replacement of the wire itself.

The most common practice of at· taching the support lines to the anfmll­lion model is to tie them directly around the outside of the model. How­ever, this can be a problem if the line contrasts with the skin of the model. It is preferable to obtain a curved needle and Insert the line through the model, around the 1Ill'T\21ture, and tie it off dose to the surface. With this method, the only concern is with the small knot, which can be painted to match the model.

If the model is well balan~, only a few lines mlIy be required.. However, In some cases it is also necessary to employ an anchor line from the model to the stage.

An aerilll brace is only 1I tool-as is an armature or a tie-down-that helps make an animation sequence possible. it should only be considered as such and nothing more. It is not advisable to dream up a sequence requiring the use of an aerial brace simply for the sake of using one. Just as stop-motion is most successful when well Integrated into a story line, the u~ of lin aerial brace is most successful when well incorporated into the needs of.ll stop-motion animation sequence.

Above: Prom .Jobn Bruce Dod'a production of Fo,..at Story. The Big Grog, aupported by an aerial brace, jumpa for joy. Tbe background Imllge b: reIIr ·proJect.ed.

Rlgbt: Animator Eme.t D. Farino worlu with. duoracler for. pro~d g .... e

.bow Utle MIq.ent:e. In the Mlquence, the Bocce BaD (Utle of the .bow) dlAr·

at:ter jumps .top another ball aDd trfMNI. IUog roUer f_blon-no __ y job to

fUm. The br.ce b: mMle of .Iumlnum tubing fo.ad In ... rge bard ..... atore

among their alock of a1undnum .tripplng for ._therprooflDg. The b ... ce'"

.upported by profe •• io_ Dgbt .• bnda and the conter Jolnb we .. found in the _e .to .. •• plumbing section. Overall c_t w_ about *SO. 8pr.y aUJc:one w _ _ JDetImea, UHd to help ell.mlnate fde·

lion .0 the aUdlng pub would lIlove more freely.

Above: Thla h""ce .... d_lgnecland Deed by Tom Woodruff .Jr. The co_tructlon I.a prim.ari1y of wood and reportedly wom. quite Mtlafactorily.

31

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Above: ...... rk SaDlyan's _t·up for flllOlng a 3 · IOlnute Super·S color l eounel. .. Ure. One -.equence Involved. KIng Kong fighUng sirplanes above the Emplre Su.te Bubdlng,

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Stage. of Ernie Farino'. Leemold from Allen Factor. Farino uaea his own band· RUlcblneci armature • •

Above:Skullsbows movable .heet I_d tongue and wire Up slnlcture. Note twisted wire f_t.

Above: The h_d for the Leemold w_ sculpted In clay and ust separately.

Below: The body was buUt up with .oft foam rubber and cemented with PUobond.

Makeup utlst Fred PhllUps show. ua how the late. webbing Is .ttacbed to Patrick Duffy'. banda. Duffy w_ theManFromAtlantlel on TV,.o he waa fit· ted with late_ webbing to lend credence to bb underwater existence. Phllllptl trlnu the lalAD: web to fit, being careful to "f_ther the edges" ao that there fa no bard line between the lalAD: appUance and the actor's akin. The web fa attached with standard spirit gum and aUowed to dry before being powdered. A aRUlII amount of makeup may be atlppled over the .ppliance and the actor'a hands In order to match the color of the lalAD: with the actor's hand. The"telI: fa usually pre·colored, but aome RUltcblng always remalna to be done.

Above: The covered creature fa pdnted with a mixture of acrylic pdnt and liquid latex.

, ,

• Below: TIle aida coverlng wa •• Iuab lIlolded from. clay .... In mold. Tbe c .. t"teJr akin w •• wnopped. around the creature and Mcured with Pllobood.

Above: Eme F .... _ with bI. completed a-moid. The cf'ellture bad to be bunt on vel")' ahort notice. LucidlY. ErnIe w •• able to cr_te. number of ahort cut.. The c..-tun'. teeth were aelNlrately uat •

. ,--............... --------..... --.......... --............................................. --

•

Above: Actor Duffy ahow. off completed web, well blended into the .cto .... real hand.

Right: Duffy aportll wus be· tween all five fingers. VeJ'}' norely wa. thb oet::e ... ry •

Add ~t9 to ypw ordr. SPACESHIPS. .....•... . .•• S2.t5 ~_3n:Ia-............ ' 15_ ~_111 CIaa ... .. ... '1.15_ --"<nign ~. . . . .... 12.0&_ AlIENS . ••.....••.•••••••• S5.t5 ~_3n:I aau ........... ".co_ ~_111 a....... .. ... . UO_ ~AIf.. .... $2.25 ...

FANTASTIC WORLOS ••••.• $5.ts ~_3n:I 01_ ........... ".00_ ~_1111 ca-a.... SUO_ ~_For. AIr ..... . .. $2.25_

SPACE ART ~. Eel.: $7.115. o.IlI~. Eel.: "1.00 ~ d klrl-dIoI""llCIftlotl ~_U.S. 1IooIc RaIl . . •. SUO ... ~_O.s. PrIotIIy.. . .13.30 .. ~_c.n..ta '* P.P .....•. 13.30 .. . ~_o..r-. Air .•....... 16.t1i .. .

TOTAL ENCLOSEa: ~.~=C"O PIeHe lilow .10 8 weeki lor cIeI~ of 3rd a... mall. Fnt aIM deI"""Y ~11y ,""" 2 10 3 """"".

Send to : STAR lOG Guidebooks 475 Park Ave. South DEPT.C1 New York, N.Y. 10016

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