Cinemagic #24 (1983)

MODEL SPACESHIPS:The

way! S1.95 95P

EYES OF FIRE: Create spoo~ eyes that glow in the night Mist and Fog FX with Filters ~

,

Ammator James Aupperlf uses a gauge tor checking ctl3racter movemenl with this crealllre from the TV series Jason of Star Command See Douglas Bortons article abou t anrmalron techniques on page 22

Right:

f~mmaker Man &Jenca's cast

from A Rock

Noise Christmas SeeBlllletln Board oll~ge 16

lett MotIe!maker JeH PoIllzzotros twin pod lighter IS a deSign based on the twrn-pOd cloud car Irom The EmpNe StflkeS Back See Forum on page 10

CONTENTS Editor's Bench _ _ _

4

Issue #24

Producers' Bulletin Board

IVlor

22

Awards Night

Techniques for improving the ..o';"n- , of both eel and stop-motion animation. By Douglas Borton.

Easy Effects

26

This year's Short Film Search winners are revealed and screened at the big.

gestawards screenIng ever. productions.

Filmmakers' Forum

10

Eyes of Fire

18

A regular department devoted to readers' comments and cor· respondence about fantasy

In-camera mist and fog effects. By Jack Imes, Jr.

filmmaking.

Cinemagic Marketplace

11 Create spooky eyes for masks and special effects makeups that g low in the night. By Micah Harris

Classified advertising and announcements.

Model Spaceships

Grip Kit

Stop MOtion Studio 30

_20

12 Easy armatures-an alternative to high· priced mach ine shop armature cons truction. By John Dods. Useful accessories for filmmakers.

Books Build ships the quick and easy way In three hours or less. By Jack Imes. Jr.

_ 21

Valuable sources o f information and technique for the filmmaker.

Careers

_ 32

Mi llennium: A training ground for talent. Roger Corman's new studio continues his tradition of hiring young people. By Randy [, Jean-Marc Lofficler.

CJNEMAG/C"24

3

Editor's

BENCH Publishers Norml!ln Jacobs/Kerry O'Quinn A ssociate Publisher Rita Eisenstein Circ ulation Director Robert Racho l A s.lstant Publishe r Milburn Smith Editor Dl!!vid Hutchison Art D i rector W.R. Mohalley Managing Editor John Clayton Associate Art D i rector Neil Holmes S eni or DeSi g ner Denise lewis Designe r s Marilyn Pierce Georgia Kanelous Ed i torial Contributors Douglas Borton John Dods Micah Harris Shawn Hodes Jack lmes, J r. Si monI!! Nl!!ss J ean·Marc LoWcler Randy LoWcier S pecial Projects Unda La ias Damo n Santostefan o Produc tion A ssi stants Ed 8erganza Elizabeth Dejesus Eileen Dempsey Nicholas "Moe" Dias Marisol Malinez Shawn Hode. Chris Kwiath Andrea Passes

Breaking the Format Barrier he additlon of videos to the Short Film Search crealed some unforseen prob· lems for the judges. Before the close of l he competition a numberof people had called me to ask If their film could be submitted lisa tape transfer; and if it was accepted assuch would it still bejudged asa film. All callers were told that productions would be judged according 10 their original format regardless of the fact that we were looking at a transfer. Several films were submitted as video transfers. but judged as film . No problem. What we had not foreseen was the full extent of cross media submissions. For exam· pie. we had at least one Super·B submission that just looked too good for Super·B, we suspected that we were watching a 16mm production that had been printed down to Super-B. One entry was shot in 35mm, printed down to 16mm and transferred to video. Other video entries were mixed media-part video part film. All of this. of course. played havock with categories and the judges were forced to makeon.the·spot decisions regarding the cat~ory in which an entry was to be judged. Originally, we had separated the entries into two categories-Super·B and 16mm-for the simple reason that it didn't seem fa ir to force Super·B productions to compete with the basically superior look of the 16mm formaL When video was added last year. we simply added another category. think ing that it would be unfair for original video productions to compete with the special effects and animation advan· tages of film. We didn't even consider the possibility of hybrid productions or crossovers. By the time you read thi s the new entry form s and rules for the CINEMAG1ClSVA Short Film Search 1984 will have been hammered out. Eitheryou will see verycareful. Iy set out categories or no categories at aU . Over the n~l(t few months. the judges and sponsors o f the competitio n will consider the possibility of judging entri es without regard to the look of the format. Irs too early at this time to make an assessment, but we are frankl y soliciting your opinion. The CINEMAGIC nlms are judged in six categories: I) script. 2) direction. 3) visual technique. 4) sound and music, 5) originality, 6) overall Impact. None of these categories are necessarily format dependent. The judges are quite aware of the difference in physical production values of the for· mats involved and may be able to judge a work without regard to the limitations of the format. Can entries be judged without regard to format? Can we judge on the basis of how well that format has been utilized? How effective the film Is as a film? How strong the story is? How well has the story been told? What are the real merits of a given entry as submitted by the maker as opposed to what might have been done in another format? If you have an opinion about the judging of your film In a ··category·less" competl. tion, please let me know.

T

F inancial Manager Joan Baetz

-Oaukl Hutchison

Founder of CINEMAGIC Don Do hler Published by STARLOG PRESS, INC. 475 Pa rk Ave. South New York . NY 100 16

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