Cinemagic #14 (1981)

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"Speed" II for !he d~ 50 he " ' - ' If I>e Is 10 -'>oot .. scene 011 ~ 0.f_ modon. -......... dir«tion" ~ not ......-y apply 10 • do loeb 01 the plain Ift' manent lighting fo< \hi$ sc:_ .nd .... ny otMrsconsistedollK'. (IOOO ..an Ianero 0I"ft' I~ Iigtlls) IniegftsiO match lhe quertz lighting with the incoming surAighL Thne lights ore not diagrammed bec.use It ..... not M0''l at...ays mow: )'0\1' audience With all 01 thilln mind. lake HCh sent· ence 01 ac:tIon and decidI! n it needs i\5 0"n shot 01 Kk should be jnr;1uded in II shot with othe. eo;tlon. The ... most irnpon...nUy, sean:h 101 ..tIM kind 01 anglo would t>ave the most a~ ;mp.:;t. AIlhou{to I tmnbllng

did I00@4l1lolOelllierlhll)'Oll5houldfed' ....t..M is _ . l~ is of course II Larg :')Joiooga_oI .ooleACe by $Iud)W>g ""'"'" fcrm 01 ~ wW _ _ ..tIM rod OfganlliNIand well rnado! film. The key to crellllng $hots that wit truly iii' ab

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CINEMAGIC BACK ISSUES

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Resistors A· n 560 ohm. 271·001 II-II 6$0 ohm. 271-()03 A·II, 2(1, 21, 2::1. 2• • ~ 3.3K O~ .... 11-22 3.\lK on",. 271-(129 A_' 2'2 K ohm. 271·038 11_2l3K otrm. UI·f}4() 114.25 HK c/1m. 2 72-()42 II .... . 15 56K otrmo 271-()43 R... 'OOK onmI271·047 R_I , 13 220K o~m. 271-{l4~ II '" 210K onm. 27 '-050 11 _12 170K onms 271-1)53 II -II . M on",. 271-~g A_l0 2 2M onm1212411 II _11 0 M on .... 271_Q/jg A·III ,7 K on .... 27'-030

Variable ReSIstors VII·I"", l -m&\lOnm fI .... ' IO~' 271 -211 VII·I • • 50 K·onm fI .... r I.per 27,·I7I1J 27r·02~

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

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Club FacultyA;i. mate Running ~me: 80 minutes. Se ; n Q,een •. There""", a couple 01 hur>dred I'f'OI>Ie standing a,ound . .., 1 staned walking over to the crowway piIotform When I ...... the pay -~

cameraS I ,,,,",i,ed thIIt !hey """, rm.klng a movie. 50 Iwent ow:< and asked the comer· arm.n what the name 01 the movie """S. He td me the mcwie """. called The French Connection. I shrugged because I Md ntV::rnero r,lm. If , tentatively called Once Upon ~ Ho4d-(Jp. ·· There were four Pfoduo:eoneoot the subw"Y ~h.se scene. cold cuts. break. Jerry Pari'; has the deler· mlMtion and drive tlla Dre ind Ihr: Ca~a while you·,e ,ooting fOf YOU' favorite local high school Of college te.:lm. F"dming $pOft$ may presenl the golden O\>POfWnrty IOf )'OU 10 su.n ......-king In 16mm. Find out ~ YOU' high school 0' coIege has a prog,am lor r,lming the lenStS from people -10 make them leeland perhaps 10 think. Pernaps thl. emodonal power 01 lilt is tht rellKlfl people are d",..., to it. The otMous ~mple i. the ~Iarity of Alms during tilt depression, People flocked 10 tilt tIltaters 10" escape." Toescape a world in which thinking and feeling were grim; ~ llilowed them 10 feel thing, that tho5t dim· ~uk days did I'lOl allow: k permitted the relief of~ng able lofeel comfort,joyand simple ~ ... rt In existence, ~ g~ people the en>o6onaI fuel ID ... rvIve until tilt ~me came when thes.e feeling. """"Id be pM of theil daily exl5!enWtf 01 a" and fiI m lOt ooe of tilt mot! Inten~ Involving mNium •.

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dows (c~~. end ~ ~re UOOld InslUd). ''1he EI"5II'I" sI~rted out as a bask; kite iIhoope of hoMycombed aluminum. k. greatest stylistic irllua>ce was tl>e SpIrit 01 51. Loulsand ApJIlo'S ElIgleL£M.1 ~nted 10 r'I'IOk II crall th.lI wu ocimtific:elly pI&u. iliblt ~nd thlll looked angular. ungainly. SCIulli-much lik tl>e EIIgledoes.lw_ 10 avoid tilt while ~plook. the..-ty dirty look bee~ust if. t-'Il done and. ""'"' Important. since tht cralt is pmItCIN t.,- a ""rtkle f>eld. ~ doesn't need ""in! and • wouldn't {Itt reolly grubt.,- eith .... I wanted 10 use the cower and bra.. rneterial. 10

warm up the color. Look althe Eagle. Gold foil cailUaUy wrapped on ~ ... rMtal clad· ding SO Ihin and -;ghl consdou. mill il vbibly rippIes. ... Thllls tiegDnCel" .JonH btl~ that film.lik llnyar'l form. should ooxpreH your own personal /etlings_ The Sf film has the ~bility to corwey through poetic Images tilt wonders of scitnce. "I think thai a" can enh~nce the slIIggeIing quantity of Information in sc\ence without being misieaeIi_ In the .~.. /o¥h'that5a)'$ if you really uy and )IO\ive got good Ideas and work hatd enough. then..nen you've got the good. In your hand. you can WIIIk In arid say. 'look, rm not really ""ybody IIOd I don't know anybody. buI rve got these Idea. and I d like jUst a few ""n"""IO!how whaI these Ideas are.' I stili believe !hili.. But you can'tJust h....... 1dea.. you ..... got Iowork hard ... arid you've got to do,.;thou! ......... times. "If you h..... e good Ideas and you work hard. you can make it " didn't bekievoe thaL I wouldn', have done itSe/ore.soetting out with his reel under his armS to m"jor corporlllions to look for underwriting. Jone. began locally 1":1' worIr.. ing Ihrough the programming direg dir'"CIor .... aliiking lor underwrilen 10 helpcom· plete my fdm. "Sometimes my head .. just bursting with idea •• but I have to Lemper that with common sen..... I have a grea ;0...,. ru write ~ down and put ~away lor 8 1~wt1i1e 10 ""'" ff ~ ,.;U stand the rest of time. I """,,'t put money Into it untilllhlnk Ito reallyworth it.. rll make drawings and writ@-oo ~ things that don't cost V'eYe ,IIuWIt>Or'!5 ... 16M", tr_ blow ~pJ.

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