Cinemagic #09 (1980)

7/22/2019 Cinemagic #09 (1980)

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Titles That Shine! pg.16

TM

Animatingthe Comics:

AI.IVE!

The

'LangleyPunks'

Exposed!

Special

Newspaper

Props

7/22/2019 Cinemagic #09 (1980)


left: P a r . d l ~ International Pictures presen ts Journe y into Terror the I.ugest production ever to gr.ce the pilgeS of ONE

MAGIC's Producers' Bulledn 1l000rd. Shot

ilt John Marsh-'ll High School In Portlolnd,Oregon , the production Is In black &.

whhe Yideotape. The spedAi effecb opt!

u b were shot at Jefferson High School ,

.Iso In Portl.nd. The SO minute fantasy

..d"enture bo.s ts . 20 person technlul

crew . n d . u.st of 13 . See Producers' Bul

leti n 1I0.;urt o n ~ g e 26 .

CINEMAGIC fe.tures th e m.lklng of I GoPogo. Stowm.r Enterprises ' flrst fe.ture

length production. Animator M.rc Chlnoy

discusses his new anlmOldon technique ,

which he u.lls fledform . Abo"e: two

Stom,u artlsb build. se t for on e of thescenes In I Go Pogo. left: A Stomar

c.mer .m.n focuses In on Howland Owl..nd Churchy laFemm . u . n Olnlm"'tor

looks on . I Go Pog o Is the flrst feature

length, COlor moYie to utilize the Flelll

form technlque,.n ."Im.tlon process

that Incorporates sevoeral d ifferent .n lm.·

tlon t«hnlques . The story begins on

p.ge 6 .

7/22/2019 Cinemagic #09 (1980)


CONTENTSNumber

Editor's 4 FUmmakers'20 Sets On ABench -- Forum Shoe- 28

AnimatingtheComics

Pogo comes to life in a ~ featurelength, color, stop-motion theatrical

motion picture.By David Hutchison.

6

A regular department devoted toreaders' comments and correspondenceabout fantasy filmmaking.

ProfUe _ 22

Titles That 16S h l n , : e ~ ~ : . . . : . : ~ L-odo

,:l I~ ;

~ \~ \

" .

A professiOfl.!lI technique for creatingtitle effe<:tS using lithographic film.By James Ca ldwell.

The infamous "Langley Punks" lire!

exposed as under ground comedy team

working with Travesty Aim Productions."Spa....." of the Suburbs" by Michael

De La Vildis.

Producers'BuUetlnBoard

Latest news of our readers' productions.

string

Almmaker Jeff PoIIizzotto describes hisinexpensive method fO( SF set

construction.

Books _ 32Books for filmmakers-valuable sources

of information and techniques for thefilmmaker.By John Oayton.

ClnemagicMarket- 33placeClassified advertising and

announcements.

Close-up _34

An easy method for creating an old,

yellowed newspaper dipping as a propfor your SF/fantasy epic.By Don Dohler.

7/22/2019 Cinemagic #09 (1980)


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4 CINEMAGIC·9

Second Chance

T

he recent release (or re-release, d e ~ n d i n g upon your point of view) of StevenSpielberg's Close Encounters of he Third Kind: The Special Edition, heralded livery

unique opportunity for the professional f i lmmaker-a second chance. It certainly isveryunusulIl for e director or producer to be able to make significa nt changes in II film after

it has been In release for a year or more.

In this "5pKil i l Edition" of CE3KSpielberg has deleted entire scenes, extended scenes,

added scenes an d shot new material to be used as inserts and entire scenes. Among the

.severalscenes and pieces deleted is the powerstation sequence with Neary (no loss, sincewe do n't need to introduce the character twice) and tl'H!! Ai r FOfCe press conference scene

in which Nearie tries to get answers from the military concerning th e UFOs (also no loss,since the sub-plot of a military cover·up is never fully developed.>

Among the scenes inser ted is a lengthening of the opening domestic sequence with

Neary and his family, which nowemphasize a bit more pointedly Neary's childlikequalities

that he has kept alive in his adulthood,Neary's complete lack ofcynicism and his tendency

to treat his children as equals makes the mashed·potatoes dinner sequence even more

hearNeooering. It is followed by a not previously included sequence of Neill)' in near

m ~ mental breakdown crying In the bathtub, capped with business of Neary's son

screaming "C ry Babyr at his father while slamming the bathroom door-complete!:;unable to deal with the anguish of his father.

And then for fun there are a couple of miniature tracking shots with Neary's t r u c ~speeding across the landscape chasing lights in the sky, one marvelous shot reveals

truck being followed by the shadow of a large UFO.

Emphasizing the world·'W'ide aspects of the UFO incidents is the addition of a new!)filmed sequence depicting an ocean-going freighter lying on Its side in the Gobi desert."

nicely done perspective shot of a miniature ship filmed at Dumont Dunes, adjacent kDeath Valley, CA

Then, of course, there is thefinal sequence with Nearyinsidethe o t h e r s h i p ~ a y i n g tc

rest forever the original confusion about ust who was selected by the friendly E.T.'s for tha

historic trip .Unfortunately,also starts a new controversy, though on a much smaller scale

There are those who believe that the dazzling lights and glitterof the fo'lothership's inteno

transform Nearyinto the Cark:l Rambaldi who comes out ust before the lift .offto smileal'\(wave hands at Truffaut. Frankly, I don' t see it, but rye run into this story li t differen

screenings around the country from a few film-goers and SF fans of various ages.The one overriding quality that I continually sense throughout the film is an in tenSt

feeling oflove from the filmmaker for his subject-the scenes look as if they were lculngl!crafted, intensely so. Perhaps my perception is too subjective, but ust look at the faces 0 1

the people gathered forthe second night on Crescendo Summit to see the UFO's nash by

Unfortunatelythey are blinded and windblown by police helicopters instead;but look at the

faces of the old couple made youthful and glowing as they stand against the wind and 'W'hite

light with child·like hope and eagerness -one detects asense of yearning that underscoresthe emotional theme of the film, "We are no t alone .. .

Finally, during the: closing credits, John Williams' music segues very neatly into the

melody line of "'When You Wish Upon A Star" from Disney's Pinocchio. Before the 1977

original release Spielberg had considered including the original Cliff Edward's vocal partas well , but dropped it entirely believing that it would destroy the sense of " reality" createdand suggest fantasy orfairytaJe. But the melody so evokes the spirit that makes Roy Neary

a special person that Spielberg, apparently, went back to his first instincts and kept the

melody-line.

ClNEMAGIC filmmakers have the advantage ol working on thei r own free t ime-the

costliest element of theatrical motion picture production. I think it is, in part.. keeping with

the spirit of CE3Kthtlt Spielberg has gotten his second chance.

-David Hutchison

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Animating the Comics:

Pogo Comes Alive!Animator Marc Chinoy discusses his phi losophyand technique of stop-motion animation which

he caLLs Flexiform that is being used for thefirst time in an aLL'stop motion, color,

feature length film.

Marc Chinoy and Kerry Stowell,

principals of Stowmar Enter·prises, a small studio just out·side of Washington, D.C. spe-

cializing in stop-motion animation, had

been looking around for a little more thantwo years to find a project that would be agood initiation for their F1exiform animation

"",,", ' ."We had considered several different

characters and types of projects," remem·bers M:lrc Chinoy. "J have been a fan of the

Pogo comic; strip for many years, so we

approached the estate, offered to buy thefilm rights and after speaking with SelbyKelly (Walt Kelly's widow) we ultimatelyreached an agreement to produce a 90

minute, color, fully animated (using theFlexiform process) theatrical motionpicture:'

F1exiform, which is an advanced table

top animation system, was developed byfv\arc Chinoy over the past 14 years. "Istarted experimenting with stop· motionanimation when I was in college. At thattime Icreated a group of experimental filmsin a very rudimentary form of what was tolater become Flexiform. These films wereseen by Jim Henson of the Muppetts whichled to my working with the Muppetts priorto Sesame St.

"I was Jim's assistant and began toproduce a limited amount of animation. Iwas also learning puppeteering, fabricating

and character building, When Sesame Sf..

came along, I was already on my own, since

I had decided I wanted to pursue film in·stead of puppettry, I rejo ined Henson and

the Muppetts, however, in a co·productionto do some of the original letter films forSesameSt Those films were an early formof the f1exiform process.

''These films used mostly day figures,but it was the first time lip.sync was usedand several major technical advances hadbeen made. That was in 1969, It becamedear to me by that poin t that the prospectsof working with characters in stop·motionthat had the fullness of movement of thebest cel animation were very, very good.There really was no reason that it couldn't

6 ClNEMAGIC #9

By DAVID HUTCHISON

Howlol.nd Owl Is m b ~ with tolsteful..,d kMn , c.ve by the .nlm.ltors .ndfolb rluJors" Stowrrw.r. The Rexlform models .n:: .....de from _ I ous motterlill$.

be done, but people just weren't trying todo it.

"I began to try to develop a system to do

this. Because of my work on Sesame St., Iwas invited by ZDF, the German televisionnetwork, to produce films for their owneducational series. Jhad to go to Munich todo it, though, so I spent two years in Ger·

many creating insert films. But J had thetime to work on my animation technique, Ifound that it was necessary to treat stop-

motion animation in the same manner,technically, that eel animation is treated,That is to say, it requires a proper production system-good organization for fabricating and good organization for training,As I trained animators, I began to develop asystem to do volume material."

"Pogo" Comes Alive

The characters in Kelly's Pogo strips areideal for stop-motion animation. Kelly

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DeAcon, who Is YOked by Vincent Prtce, Sets .. gentle tAp on th e hAt.

workedfo r

some years as ananimator for

Disney, so thinking in three dimensions

while drawing in two be<:ame permanently

part of his sty!e as an arti5l The Pbgocomic

strip was created by Kelly In the late 1940"5and ran for more than 20 years. It was one

of the most successful and influential

comic strips on the American scene. Neverone to shy away from controversy, Keltyfound that. some newspapers banned his

strip while others put the same strip on theeditorial page. fbgo WlIS primarily II hu·

morous political and social satire whichbrought to an everyday level the madness

and frivolity that. often surround ou r mega-governmenl Pogo"s nfluenc:e WlIS seen no t

only in the popularity of the comic strip,but

also in the adoption ofavarietyof Fbgo'isms

and Pogo phrases into the American Ian·guage, the most famous of which is, "We

have met the enemy and he is us!"

Not only did Kelly design his characters

in three dimensions. but ~ hlKl also

sculpted them - figurines of all the charac·

ters. "We found that the Kelly·sculpted char·

acterscould be adapted to the requirementsof stop-motion animation quite easily," says

Chinoy. " Also by the nature of our process,

'Ne have tremendous control over the lookof the characters and \lie knew thatwecoulddo them ustice. In fact we could take them

a step further and make them breathe! "

ne.xlfonn: A TotAl System

- '" "~Chinoy considers eel animation to be a

fairly well developed art in comparison to

stop-motion dimensional animation. He

believes that the potential of the stop-mollon

film has not ye t been realized. Certainlythere has been much work combining stop.melion effects with live action as in theclassic King Ki;)ng, but little has been done

to make the art stand on its own in a featurelength film sans live action. The first feature

length eel animated feature was made over40 years ago and many have followed.

Where are dimensionally animatedfeatures?

"In eel animation all technical problemsare solved and worked through by taking

the time. care and planning to make them

look righl We start with the premise," be:-lieves Q\lnoy. "that stop-motion problems

are solvable and we deal with them . Thereare times that we add effects graphically,

after the fact, just as is done In live-action.

Fo r instanc:e, smoke: some types of smoke

we put·on mechanically on the set, but other

times we do it optically."The possibilities for solving problems

in dimensional animation have only just

begun to be: developed. We have SCf!nes In

water. We have splashes. We have shots in

the car chase scene in which cars leave theground and fly over the camera-followed

by the reverse angle shot ci the car coming

do"Wll and hitting the river bank on the other

"We start with th e premise that move·

ment is multidirectional - that an ann

flexes in a living creature; it doesn't just

bend at a poinl The dimension of the arm

has to change. If you flex your arm, your

forearm changes its shape. That is II part ofliving movemenlln our system the charac

teristics have to be resculpted to the m0ve-

ment. So we are using a broad range ofsurfacing materials for our models, every·

thing from plasticene to some of he he<lt-setThe se t p leas .e deillned .. pleus thAt c . \ n be used In sewer .. set-ups,

ClNEMA-GIC"9 7

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side, All of these are traditionally live,actiontechniques, There is a shot in the film look·

ing down in the water watching a fish swim·

ming and we have a shot from underwater

looklng up at the boat, All these things can

be done in stop-motion, And F1exiform

deals with them, but there is no single'magic bullet' in the Flexiform process, It's

a matter of treating each individual problem

as it arises and building an inventory of

special effects techniques,"

Problem Xquences

"A car goes off the bank into the water,

there's a big splash,ln the nextshot two little

bugs on the bank watching the cars try to

protect themselves from a big wave that

comes over them-one of them is holdingan umbrella as the wave splashes over1hem,

"Or, a character stares into the water and

a fish spits in his eye, In the next shot the

character is standing there soaklng .......et:

talklng with another character as water

drips off him, He slowly dries off as thescene progresses,

The [yes H a ~ It

In thecomk strip, Pogo's eyes are drawn

as a white oval with a black pupil. " But there

is one other critical feature," Chinoy pointsout, "and that is that they have a highlight in

them-a glint. In traditional puppet anima·

tion that's either left of f completely so that

you get a little flat black pupil or it's paintedon-a little white fleck of some sort, The

white fleck looks very unnatural when the

eye moves around or the head orientation

changes."We go to great lengths to use shaped

pupils that are surfaced to pick·up a high·

light And we light our stop-motion sceneswith the same considerations as live action,

so that the glint works realistically. Our eyesystems are very sophisticated in order to

SpLlshes In stop-motlon.l1e no t to o SR"t . ch..lliense for tM .Anl_tlon .Artists.At Stowmu. Vulous sh.pes of .O'yllc pLutk u e .Anlm.lted to 5Ussest _ t e r,

gi\le the character a very life·like appearanceof focus and eye contact Even if the char·acter goes cross-eyed, " Chinoy laughs, " the

highlights in the eyes and the surface tex·ture should make it appear to be life-tike."

Ball and Sodd : A Dud End

The ball and socket armature is widely

hailed by animators as the principal means

of obtaining precision animation. Marc

Chinoy disagrees,"Unless there is some type of major

technical breakthrough," Chinoy affinns,"the ball·and·socket armature is a dead end

for certain types of movement You can't getthe precision shape change that you can

get with more flexible mediums. For one

thing, Flexiform, unlike a lot of experimental

systems that flourished in the 60's (andsome people are still experimenting with)has, as I have said. no one 'magic bullet: In

other words, some of our models have

socket armatures at certain points, i{lhat is

what will help the model at that point We

do n't go about this thing religiously sayingthat you have 10 use this one technique and

nothing else,"Ou r models use upwards of 20different

materials and incorporate many differenttechnical advances in order to make them

work. No two models are constructed the

same, necessarily. If it is necessary to put

a latex piece in. we go right ahead and do it.

We wouldn't say that was cheating on anaesthetic. The only aesthetic that's impor·

tant is the way the character looks on the

screen, how it moves and how much life wecan put into i t

"The problem with using ball·joint arma·

tures extensively is the problem of precise

incremental movements-the very smallprecise movements. fllemory and spring·

back are problems inherent to the ball·and·

socket armature, If the tension ona balljoint

should change, the diffkulties of getting in

there under the latex, doing surgery, mak·ing the correction and keeping the surface

unchanged in the process are substantial."We are very well versed here in all the

techniques. We do have many people here

with ball-joint armature backgrounds, but

ultimately, we came to the conclusion that

by sticking rigidly to that one system, we

would never get the klnd of motion and life·like characteristics that would be possible

by selecting from the full·range of technical

possibilities. Flexiform is a total system,"

The Studio System

Porky, YOked by Jonou.... n Winters, b pn:poved b shootins by th e

StowmAr .nlmoAtor$.

Marc Chinoy believes that the secret to

successful stop·motion production is stU'dio organization, He feels that properly

organized stop·motion animation has III

8 CiNEMAGIC #9

7/22/2019 Cinemagic #09 (1980)


production advantage over eel animation.

"There s.!IIn immediacywith AexifOffTl that

you don't have with eel animation in a studiosituo!lltion . If s more like a performance. At

the peak of production our studio tumed

out II minuted raw Pogo footage aday.Ou r

animators could see their footage within

two days at the latest." Chinoy believes the

immed iacy comes from seeing the footage.!liS It is shot rather than merely being ableto

view pencil tests in eel animation before ecom mitment is made . It is indeed more of.!ll

performance, as hesays." In our system no one shot, except for

the very major production shots, should

take more than half a day to set up in thestudio, Generally, a shot in our system ceo

be: set up and ready to rol l in t'W'O hours,sometimes less. The actual animation of

the shot can be completed in three to frve

hours, though of course there are some

quickie shots 'W"flich can be done in 45minutes. We would love to heve e shot

come out great thefirst time,butif t doesn't,

.....-e look at that first shot as e first ettempte test Our quick tum around time allows en

animator to see a shot and if necessary go

beck to redo it and improve it. We take what

WOI"ks .!lind go back and do it again."Long before 'oNe have rolled an inch of

film on the script we have done many tests.

We test the characters, we test the move

ments, we test the sets ... if we have any

doubts abouthow things are going to work,we' ll test it.

" For instance, we may have a swamp

set·up In 'W"flich we are shooting two char·

acters Sitting on the bank and to!IIlking. We

know that at the end of the week we aregoing to want to do a frog jumping Into thewater, At the end of Monday's sho t with thetwo characters talking , we 'll run a test of

how the splash is going to look. We con

sider that test and title might retest it Tuesdayafter some other shot. By the time Friday

rolls around and we aaually .!IInimate the

shot, we've go t the system for the splash

down cold, We just go ahead and do it."

The "studio system" for Chinoy does

away with theone character to one animator

system thathas been the custom with some

other studios on short features. " If)<lu are

truly studio system oriented : ' believesChinoy, "and you have a regular production

schedule that must be followed , then the

one-character-one-anirn.!ttor relationship is

e liability. If you lose that anil"Tlator who is

the only one totally familiar with a given

charaaer, if he gets sick or has to go out oftown, then you have severe schedulingproblems.

"So in our system, as many of the ani

mators, if not all , are as familiar with as

many of the characte rs as possible, thoughsome animators will never touch certain

characters during the length of the production simpfy for logisoci!ll reasons, I fs true

though that certain animators will developaffinities for certain characters and you tryto give preference to those animators. But

I try to have at least several animators with

hands-on experience with any given char-Ushd.. . IM . . . . . ..., Res I_ .. spec:L&I u t . It Is Impon..nt to.- stop-motion

pIIotosr.-ph,. u..t the lIahU malnt.Un klten_..,. ..nd coloc- temperolltuR; to.- 10. . . hours.

ClNEMAGIC"9 9

7/22/2019 Cinemagic #09 (1980)


acter, You always want to have the back·up

capability of having other animators .....tIo

can handle the character, if need be."

Surface Textur6

The Pogo characters present a wide

assortment of problems to the modeler, Asthey are all denizens of the Okefenokee

Swamp in Georgia they are da d in fur,feathers, scales, alligator hide and porcu·

pine quills as the case may be. After all,

there is Pogo Possum, Albert Alligator,Howland Owl, Miz Beaver, etc, "Notice,

though, the way Walt Kellydrew Pogo in the

comic strip. the body is not textured overallin fur. There is just a fringe outline suggest·

ing fur," points out Chinoy. "Across broadareas there is just flat color, like any cartoon

character. When the Disney artists draw an

0'Nt in eel animation every feather isn't there,

When they drawa furred creature. like Pluto

the do g ,the bodyis ust flat color. It's a con,

vention of cartooning that audiences havecome to accept.

The slotted tAble ,l.llows,l. VAriety of C.l.mer,l. ,l.ngles.uK! e.uy ,l.ccess for the ,l.nlm,l.lors. "For us, working in three dimensions, it's

a question of developing acceptable con·

I Go Pogo is fUmed In 35mm usJns: the full frilJDe-.... IowIns: ftexJblllty for optIQII fX .

10 ClNEMAGfC "9

7/22/2019 Cinemagic #09 (1980)


ventions, so that when the audience sees a

stop-motion animated cat it's not us ta fluff·ball that moves. They should come away

with the idea that they saw a furred creature

although perhaps they didn't. They get the

impression of the fur. This is one of the

things that we work very hard for-creating

workable three-dimensional impressions in

the mind of the audience-the illusion of

the th ing."We have a var iety of systems for textur·

ing the models. In some instances we can

use a variety of texturing tools that very

quickly and easily lay on the various texturesthat we are looking for.

.,Let" s say we have a character that's sup·

posed to have a feathered surface and you

have to bend its arm. You have a texturing

tool that puts on the feather texture. Now,the problem traditionally has been with the

surface breathing-that the surface you

touch to bend the character's arm is going

to change from frame to frame (remember

Kong's 'traveling' fur), If it breathes in the

area of the bend-that's normal and natural,

because that's what happens when the arm

that's bending changes its shape, &> try to

see that when a character moves, the breath·

ing takes place at the right point" ,and only

that point"

S t o p m o t l o n Vs. Cel

"I don't think that dimensional animation

requires a stricter adherence to reality than

cel animation. It's a question of developing

the proper conventions or acceptable con·ventions, You know that when Disneyartists

were painting the characters on the cels,

that they developed all sorts of systems to

maintain consistency in the paint from celto cel. However, the convention went by the

boards as the economics of cel animation

became more difficult. If you compare suc

cessful cel animation that 1980 audiences

accept with Disney animation of the 40' s

you would notice great differences. You

might become suddenly aware of the fact

that the surfaces of the recent animation

are all over the place, that It breathes, it

stutters. you see cel noise. There are prob·lems with the line itself.

"In the beginning Disney did everything

with a brushed line that was hard and even,

ArtIsts spend long hours p.lnsLUIngly detoI.lllng tt.e models fo r the 35mm form.\t .

RepLKement .... miltlon un be used fo r s o _ w ...k cydes,.s shown here

with the a.ts.

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_---------;c/NEMAGIC'9 II

7/22/2019 Cinemagic #09 (1980)


but wnen the industry turned to Xerographyto transfer the drawings to eels, suddenlythe line fluttered. People accept that today.The same thing is true to a degreewith stop

motion. The industry accepts certain stan·

dards and certain acceptable modes. But it

really hasn't begun to go far enough to laydown those modes and conventions forstop-motion animation."

Strobing

A common criticism of stop-motion ani·

mation is that fast actions appear to strobeor move erkily. This is because in live·actionphotography fast movements are captured

frame·by·frame with a certain degree ofblur.

W'hen you are animating frame·by.frame

with still models blurring the action is a dif.ficult and time<onsuming process. Some·

times the animator's moves are staggerprinted to smooth out the apparent action,

other times motors are rigged to move the

model during the exposure to blur theaction on a frame·by·frame basis, Both of

these methods cost money.

Marc Chinoy expresses his opinion of

the strobing problem. "It's a mixed bag.

Sometimes we move the model during theexposure to eliminate strobing during a

fast action sequence, but we treat it scene

by scene, It's not that difficult to do if you

really need to , In a fast action sequence, youare going to have very few increments, the

space between them will be pretty big soyou don't have to worry as much about

registration and location."l've found that if the calibration and

WolIk cyde legs used In ~ p I i l u : m e n t .nlrnAtton M e lAid CHIt In order,

positioning of the movement is preciseenough, the strobing disappears or is di·

minished. Sometimes strobing is just badanimation. In some ways though it isa bitof

a mystery, rm sure it could be worked out

mathematically to determineprecisdywhatis going to strobe and what isn't, since there

are a Jot of technkal factors invotved in thestrobing effect. It has to do with the shutterposition, the width of the fteld in relation to

the degree of movement."We find that we can shoot two frames

per position for certain types of movement

We don't shoot that way a lot bu t it helps in

certain situations. But when it comes to

making a consistent move, a car rolling, a

character sliding along or a camera move

of any sort it cannot be double framed ...

automatic strobing, guaranteed, you haveto single frame i t

AWbIetop tntfflor!letwith HowlAnd Owl And Churchy being ilnlrn.Ued.

12 ClNEMAG/C #9

7/22/2019 Cinemagic #09 (1980)


I Go Pogo: The Story

I na dank and evil cave the sinister Molester P. Mole and h is self.righteous associate

conspire to take control of the Presidency. They plan to run a candidate who is

appealing but hopelessly stupid ... n other words, one who is sure to be elected. Theyalso plan to dupe the opposition into running a candidate who is certain to lose,one who

will never receive a vote because he is fair·minded, open and honest The dupe they

want is Pogo.Pogo is a genuine reJuctantcandidate ..he honestly does not want to run. His friends

Albert, Howland and Churchy are seduced into running him by visions of grandeur,

gloty and free meals at the \lJhite House. With boundless energy they embroil them·

selves in fund raising, developing an image for Pogo and polling the populace. The

enti re process is one of misadventure.

TIley are taken by a con man who first helps them extract campaign funds from the

swamp critters bu t ultimately walks of f with all the contributions himself, They set off to

the convention minus their own candidate and bungle an attempt at convincing

Mamzelle Hepzibah to become Pogo's f irst Lady. Despite all of this Pogo wins the

nomination and his popularity rises.

The Mole becomes alarmed, believing that his plan may be backfiring. His worst

fears are realized when Pogo, like a true candidate, does not show upfor his own benefit

dinner. Mole's own cand idate, Fremount Bug, falls into a pot of swamp brew which

renders him rationa! and therefore unsuitable for the election.

Mole and Deacon decide to eliminate Pogo from the race , They seek ou t an evil

specter in the form of Wiley Catt, a villain long since thought dead from the American

scene, As with an major evils orx:e he is tumed loose Catt runs out of control , assumes

dominance over the lesser villains, and sets about hunting down Pogo.

A car chase ensues involving all of Pogo's campaign workers but not Pogo himself.

The chase ends in a spectacular crash which leaves Wiley Catt molassed, feathered and

hung ou t in the corn field as a scarecrow. All other chasers and chasees are similarly

served their due while Pogo and his true friend Porky walk of f nto the sunset contem·

plating the fact that none of them will get elected. It is a comforting thought.

Vow Charaderlzatlons

Jonathan Winters • . , , ............. , . , , . . , . . , . . Mole. Porky and Wiley Catt

Vincent Price ."."., . , . . . , . . . . . . , ." . . . . " . . , .. , .. " .. , . . , . Deacon

Ruth Buzzi . . . . . , ..•....• , . . . . . Miz Beaver and Mamzelle Hepzibah

Alnold Stang . . ,."." .•....•....... " . . , . . , . . , . . , . . " . . , . . , Churchy

Stan Freberg . . ,.".,., • • . . • • • .•.... , . . . , . . , . . , . . . , . " . . , . . ". Albert

Jimmy Breslin "." . . , • • • . . , •. , . . . . . , . . . , . . , . . "." . . , P. T. BridgeportSkip Hinnant ........ , . • , ...• , ..... . . ..... , . . , . . . , . " . . , . . , . . Pogo

Bob McFadden . , • . .... .•... , , ' . . . , , . , . . Howland Owl and Bothered the Ba t

Len fY\axweU , .. , •• , .. , . • . . • , . . . . . . , ." . . , . . . . . . . . . . . Bewitched the Ba t

Bob KaHban , . . ,."., • • • . • •• • • . . "." . . , . . , . . , . . . , . Bewildered the Bat

tv'Iarcia Savella . . , • , , ....••...•.... , . . , . . . , . • ' ...... , . , , . . , . Miz BeetleMike Schultz, ...•... , , . • ' . . , • ' , . . . . . . . . . . . . . . . Cliffmount

"Also if you are shooting a scene and the

camera move is to o fast, bu t the shot was

single framed, you can't double frame it in

the optical printer to slow it down . strobing

again. These are the fundamentals we livewith."

Table Top Sets

Pogo was shot using three custom·

designed shooting tables that incorporate

rear screen capability. "We also have an

8-foot by 10·foot glass top table which is

structured so that there are no supports

except at three sides, It's half·inch thick float

glass. All of our tables are steel pipe with

heary cast aluminum fittings and everything

is modular. We've builtsetsthatare 15by25

feetand we can pull it down and rebuild the

matrix in a couple of hours. The rear pro.

jection capability s used to create projected

skies. We do not use painted flats. All the

skies in Pogo are specially created. that is

they are not photographs of real skies, we've

made some rather broad palette skies,"Flexibility is at the core of almost every·

thing the studio does, even to the models of

the characters using every type of flexible

and non·flexible system to create the de

sired effect Whether ball·and·socket or

replacement animation is called for for a

walk cycle or whatever, we use what works

be>L"I f I had one piece of advice fo r beginning

stop-motion animators it would be to totally

open their minds to the effect they want on

the screen. You should never be tied to a

technique-you should be tied to the visual

effect on screen. That's the secretf' (I f

HERE IT IS!

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Travel through imaginationevery month w ith 5TARLOG

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TIRES THAT SHINECreatingStunningTitl ing Effects with Lithographic Film

By JAMES F. CALDWELL

Ih as been SlIidyou can't judge a book

by its cover-or maybe a film by its

title? You can. however, tell how much

care 21 filmmaker pu t into his film bythe film' 5 titles. Sloppytitles can leave a badimpression 'W'ith lin audience.

A major portion of the professional films

and commerciaJsyou see use high contrastnegatives fo r their titles. These titles <:Ire not

all that expensive and are well within the

lIahtl Some of the ruen ·tW ,.,.uvt.ah fo r -. ldnJIdto dUes <Aft pkturtd

I'tere. You wlU need lithofilm And Ittho dew:loper,

dew:lopins u"ys, opaquesolution ..nd .. c.ontut

pt1ntlns fr.-. TheR m4l '

tuVls should be .. .wI ·able In most _l-stocked

pftoco supply 5tofts.. Youun make your own conUd

prIntInJ fr.une wItI'I ..

she« of pus oiUId SOrM

m4lttn!11 fo.am m . eNI.

16 ONEMA-GIC·9

realm of the amateur filmmaker.

A normal bli!ICk lind white negative con-

tains areas that 8fe very dense and areasthat are relatively clear. In between these

extremes are areas that would fall into theclassirlCation of gray. A high contrast neg&tive is one that contains only the dense and

dear areas.There life no gray areas.There-fore, they make an ideal material for titles.

You may have to shop around to find

litho material In your town, but here aresome hints: camera stores may carry it,

office supply stores, printer's supplies, or

check with li n off·set printer. Two popular

trade names are Kodalith and Polychrome

CML Both of these are used in the printing

industry to allow photographs to be pub-lished in newspapers and magazlnes. In

f&ct,the

photographs in this magazine werescreened and photographed onto litho ne·

gatives. The reasons fo r this are not impor·

tant in this discussion.

In addition to the negative material. youwill also need aa::ess to a darkroom . Abathroom that can be dafi(ened will do fine.You will need some trays to process the

lithos, running (or fresh) water, a contact

printing frame and the proper developing

chemicals. Utho film is orthochromatic, or

l .dt: The first Ik p In

preputnSIIdIo dtieI IIto Afn" your.artwoftl to~ ..cet;ate. ln thll

CA Se , rub-on lettflrl .. e

.. ftxed to .. sheet of~ ufltAte to.- c.ont.\d

pt1ndns onto the IIdIo

film . Cont.\ct prindns Isme e u J e s ( method for

m.ddns lctIo tides, bu t

enIarPns smAkr foonAtposhtYres (35 mm , 110, etc.)

In . v i enL.uJcr I I AlIopoHibIe.

7/22/2019 Cinemagic #09 (1980)


insensitive to .certain wavelengths of red

light, so an ordinary red safeUght will be

needed so you can see 'W'hat you are doing.

If you don't wish to buy a contact printing

frame, you can make one easily enough

with a sheet of plain glass and some mat·tress foam material. Simply lay the glass

over the negative sandwich on the foam. I

wi ll get into this more later and the process

wi ll become se lf-evidenlYou cannot use ordinary d ~ l o p e for

litho film and achieve the desirable high·

contrast results. A special two-part devel·

oper is usually used although I have alsoseen one·part litho developer. You should

be ab le to purchase th is at the same place

you buy the litho film. Ordinary photogra·

phic fixer can be used and stop bath is

optional, though recommended.

Rlsht: The c : o m ~ d op.lI que:d nes . Ive should kH)k

like: th b . BLl.dr. C.lpe W.l5

used to op.lIque the wse....eu ....ound the tide ,The: sm.tJI pin ho6es .. ound

the dde- too doH to

the Idft:rtnS fw C.lpe to

be ..n effklent w .y of

bkKldnS out me I Ipt-.are p.llnkd wIdI opAque

sotudon. The ~ bumet" . ~ d y r t .u your

ReS.lttw. on " IISht 00 •tf you an b.lc:kwlnd. youu n super dM: ddes eweryour fUm'

One final word before I commence withthe procedure. Utho film contains a lot of

silver and is a victim of the recent silver

price hike. In quantity, an 81h .II: I I ·inch

piece of litho negative costs about sixty to

seventy-five cents. You rM) ' be able to talk aprinter into selling you individual sheets fora dollar or so each, and a sheet may be cut

in half. or into quarters to stretch it a bi t

fu rther. Litho film s also available in 35mmsize, so if you have macro capability tofocus onto a 35mm slide, you may wish totry a roll of this. A 36 exposure roll shouldrun around five dollars.

Although there are many ways to produce a litho title, one of the simplest Is a

contact method. You need a sheet of clearacetate (like an animation eel). A thin piece

of glass or clear plastic can also be used,

but put the letterson the backofthe glass in

reverse so that they will be pressed flatagainst the litho and sti ll read co rrectly. Thedesired title can be produced USing p ress

type letters, hand-drawing,clf·out etters,or

whatever suits you and the film you are

making.In the darkroom, place the cel (letters

reading correctly) on the emu lsion side of

the litho film . If you place a comer of thenegative into your mouth, the emulsion

side is the side that sticks to your lip. Now,

Rash a light on and of f as quickly as youcan .Th is exposure is very important to get

agood density in the fina l negative and may

require some experimentation to get goodresults. You may try bouncing a strobe light

fo r one flash off of the ceiling. If you have an

en larger, you can use that for the light

left, Onc:e you t w . . ~ .:onC.la p r l n ~ d )'OtIr.artwork

onto the litho fllm ..ndcte*.1oped me Ittho nes-.. ive, you rudy to

op.lque ttte nq;.uM."""di e _So'ihe on .. tight

&01.1* ()'OIl a n Inilke OM

yourseW) "n d Insped to.-..ny unw .nlf l t Mpln hofe5-MU. e opAque: sokItlon to

flIlln dM: pin holes "n d

odIer ~ m k h H ' " th e~ You an opAque

LJ.rse .uu.s of Ihe ~with b. .u tilpc:.

ClNEMAGIC "9 17

7/22/2019 Cinemagic #09 (1980)


5OUrce.Finlllly,develop the film according to the

developer Instructions. Proper developmentis very importllnt for II good, dense nega·tive. The development time should be two

to three minutes and the tray should be

rocked back lind forth slightly 10 assureeven development When the time is up ,pu t the film in slop bath for a few secondslind then into the fucer. When the film hasfixed fO( a couple of minutes, the lights canbe tumed on. After five to ten minutes, rinsethe film in fresh water for 15 minutes. and

hang up to dry. You should now have II

dense blKk neglitiVI!;, with clear letters.By holding the completed negative up to

a strong light. you may notice small "pinholes" in the dense luell. These clear spotsare caused by dust, Improper or uneven

development. or even defects in the emul·sian. Actually, there is little you can do toprevent them. Therefore. you will need

opaque solution which is available from thesame source as the litho negatives.

Place your negative on a light box.You may use this same light box for

shooting your titles.

With a fine paint brush, paint over theundesired " pin holes" with the op6quesolution, If you have large areas that aren'tdense enough or contain a lot of "holes,"you may use black tape such as electri·cian's tape to hold back the light in those

areas.

Now all that remains is 10 put your crea·tion onto movie film. If shot on a light box.you can shoot it ust as it is. Or, if you have abackwinder or backwlnding capability, you

may wish to superimpose the title over pre-viously filmed footage. The dense areashould hold back. all stray light from hittingthe film and so the title themselves will be"burned·in" over the background footage.The SlIme technique can be used for laserblasts, lightning, or rocket effects, etc.Aiming the negative may require some

trial and error to achieve a propereJtPOSure.so don't be afraid to experiment Once youhave found an exposure gives yougood results, use the manual exposure dialon the camera so that the electric eye isn'tfooled by aJi that darkness surrounding thetitle. With Kodachrome, I have been shoot·ing about 7/5.6, but the slze of the title, thedistance to the camera, and the character'istics of your light box will probably alter theproper exposure for your set up.

Once you hAwe detennlned die proper exposure by trW ...nct.elTor. se t your ume r . on _nu. . ! And shoot die tides . I " n l t .

"Iht boll., You a n d d em . pIu.uE 10 )'OiIrdtfesby plAdnl. colored le i behind the nltl"thoit (whktl adds color to Ihe dUe bu twhkho1.lso requires exposure compenw.don ) ,1,J\d shoodnSlhl"<KlSh • UO$S-SLV nlter,1,S seen here.

18 ClNEMAGIC #9

7/22/2019 Cinemagic #09 (1980)


It is also recommended that you shootthe title in B darkened room. The litho isquite glossy and ma y pick up stray images,

such as a reflection of the camera. If thecamera reflection still proves to be a prob

lem, you may have to mask the shiny por"lions of the camera with black tape.

A Msic black an d white title may not

seem too appealing. Well then, add some

color! By placing colored gels or filters over

the title, you can turn it into a rainbow.However, when using caTored gels, it is

important that the density of he gels match.

To correct mismatches (e.g., .a mediumblue and a light yellow), use neutral density

filters or gels to bring down the density of

the lighter areas or colors. Again. you willneed to experiment to determine correctexposure for the title.

If the titles are still too bland for yourtaste, you can further experiment with filters

on the camera. A good place to start is fogand cross-star filters. A fog filter will cause

the title to "b leed" over the boundary

l ines-as if it were shot through a fog! A

cross·star causes numerous para llel lines,

or rays to flare ou t from the letters. By rotat·

ing the filter, the rays can be made to move.

You can also combine these two filters for

unique effects. The new Cokin and simila r

filter systems can give you unlimited effects.

By masking letters with tape and with·

drawing the tape while filming, a itle can be

made to wipe on . This effect can also be

animated, or several consecuti ve tiUes can

be made as a sequence and animated

under the camera.

By this point. should you decide you

would like to try f ilming a negative litho title,

bu t ack the resources to do it yourself, all is

no t losl Make up your title on a clean sheet

of typewriter paper and take it to an offset

printer. Ask him to make a litho negative of

the title fo r you. He will cha rge you more

than if you did it yourself, but you will havea

litho title. If you opaque it yourself. you can

save several dollars.

Don't be afraid to experiment. Thesenegatives are perfect for slit·scan f ilming

and strobe title effects. They also have uses

beyond titles. I have already mentioned

laser blasts, but how about using pieces for

lighting effects on the control panels for

your next model or live action set. Back·

lighted tithos can also be made to represent

computer screens. Your imagination is the

limit. (J /

Left; b.lmple of • litho

poslttve. You u. n _ke.Ittho posith-e by either

tontAct prtndng or enl.uglng. blAtk &. white nes.·dYe. The high tontl"uC ofItho positives II'Io\kes them

Hlitablc: tor c.ertAin spe

ta.t effects e:thnlques,

th oug h th e ir us e Is Umhed

In ftlmm.ldng (the IImh.of t ourse. l s the ft lmlNlker's

lnw.gln.Adon.)

One tU.ssk e.ump&e of

Ittho tides t lYt sh ould

be famlla.r to.tll a NE·MAG IC. r« de r'S Is the cover

of th e I.ut IHUf!. Photo-

gr.pher Mlth.ael SulllWln

used the Ittflo t it lingtechnique to nw.ke the tov-er lines on a NEMAGIC #8

s h l n e DIfferent to lored

gels were pa .ced behind the

litho neg .dYe.

CfNEMAGIC "'9 19

7/22/2019 Cinemagic #09 (1980)


Filmmakers'

EORUMA. nIIgalar departmen t devoted to readers ' co mmenu about rlimmaJdag. their proble . . . . . .d solution..

Polllzzotto', s tu fighter w.\S bulk for.A plo\nned SF film.

Spaceship Modeler

"fir.; interest in modeling and film-making dates back to the days of

store bought 'PI/Movie model kits

when I olIOUId build the kits and filmmy 0'NI1 2Y.z minute Sf "Epics."

tllany of the ~ I r n o ; contain my ownSf) ( (, (to the neighbors dismay)

explosion effects.

I am roow involved withFfioto"

graphing my own SFX pro;ects and

together with some filmmaker

frieods.1 am designing and buik.1Jngthe models (pictured above) for 11

16mm 51·A thriller."

Jeff PoIIzzotto

11 I Jefferson Ave.Mineola, NY 1 ISO 1

.kff helped design and build Ih c

sets and buill Ihe minia/ures forThe Fantocinni Follies

ClNEMAGIC #8"s Filmmaker Pr0-

file. He is alS() Ihe author 0{ Setson 11 Shoestring, which ajJpedrsin Ihis issue.

Regular-8 Ba.ckwlndlngA friend and I have been making

science fiction films in Regular-8 for

two years and we Mve noticed thatONEMAGIC has neglected to fea-ture Regular-8 backwinding. We

ha...e pelfected the technique an d

have decided to share it with fella.v

ClNE..MAGIC readers.First, remove the cover of the

camera in II very dark room or in 11

changing bag, so as not to expose

the film. Next., pull the feed and take·

up reels outward until both can turn

freely in ethel" direction. To com·

pIete this action, you may have topull back the catch. Now rotate the

20 ClNEMAGI( 119

top reel until you have backwound

as much as you desire. RernerrtJer

that. 'Nhe11 you are ~ n g , doso slowly and CllIefully so as no t to

scratch the film. We hope you are

liS successful in using this technique

as we have been.

""'" R ~5263 Carriage late

Santa Rosa, C \ 9540 1

Alrbu rsh Alternative

. . . For modelrnakers who don't

have (or can' t afford) an airbrush.

there is an inexpensive way to

weather your spacecraft and other

models. Start by painting the

model the color of the highlights

with nat plIints. Ught gray automo ·

tive primer (enamel based) is very

good for this. Take about a half

cup of water and add about four

drops of dish washing detergent to

it. Add to this mixture some dark

gray acrylic paint. You have a

proper coosistency when the mill ·

lure is barely visible when paintedonto the surface of the model. Use

a wide, soft brush and apply the

solution to the surface of the

mode!. It will spread out-setUing

into crevices and seams of the

body. This accentuates these

areas. Do one surface of the ship,

upper or lower, at.a time. You can

use a blow dryer set on low heat tospeed the drying. This method will

give you shadow detail resembling

the surface of the Balliest.ar

Galactica. You can create nash

bums, laser hits, etc., simply bybuilding up the costs in the desired

areas. The way the detergent

spreads will <illiow the edges of

successive coats to blend intoeach other. If the paint beads. add

a few more drops of detergent.

The primary advantage of this

method is that the acrylic color is

fairly permanent, but because of its

water base it will riot. attack thepaint under it If s not lIS good as

an airbrush, but It is an excellent

altemative.

Jerry M. Conner

Rt. 5 Box 367<

Bluefield, WV 24701

Miniature Snow

. . . If you need snowfall for a mini·

ature set, try using spray foam

upholstery deaner (\ use Woolite.J

Just angle the can up and spray. A

small fan some distance aWillj can

tum it into a blizzard. Be warned:

the "snow" disappears after a few

moments, so cover the ground

with white sand O f flour.

Cody Michael

22 9 S tanley

Morton. IL 61550

Shooting TIps. . _Here afe a few filming tips I"ve

discovered through my e1(perien ·

ces in f,jmmaking, When story·

boarding Of pacing out dimen ·

sional space-model animat ionsequences make sure IhaI you

keep the effect within the capacity

of your camera lens. Since most

Super·8 cameras have poor depth·

of·field quality, you will nee<! to

keep the camera as faf back from

the scene as allowable. If you

don't, you will find that stars and

other background will be out of

focus.

Though I have developed more

dramatic explosion effects, none

are more safe and simple than

this: Place a large amount of glitter

of various colors in a cone-shaped

pi le just below the vision of the

camera frame. Place strong light·ing HOOve the pile. When ready to

film. run the camera Ht 36 fps and

shoot a short burst of air from a

blow dryer out of frame. Good

filming.

Rip Russell

14 GlenJake Rd.

Columbia, SC 29204

ject will ~ done In stop lTI(ltion

and optical and visual FX. In thefinal planning stage, looking for

people inlerested in working on SF

and fantasy films. The Mdroid

Cruiser and other space hardware

will be featured in this film. Anyoneinterested in working on this pro ·

ject can contact me by letter at the

address below.

JV\ark Belle

1032 Prospect St.

Westfield, NJ 0709 0

Houston SFX Artist

Seeks Same

. . . 1am planning a science fiction .

movie, but I have a big problem. Ido not have eflO1.lgh equipment to

do adequate special effects. If any

CINEMAGIC reeKIers (about 10 to12 years old) who in the Hous·

ton, Texas area have a fairly goodSFX studio. I would like to corres·

pond wlth them. Please write to me

at my address below.

Hall Houston

4623 Beech St.Bellaire. TX 77401

Allen Designs Wanted

. __ Any readers who enjoy design

ing aliens and wh o would like tocontribute some designs to my

film, 5qoum. are asked to sendtheir designs to me. I will greatly

appreciate all contributions, The

film requires many different types

of aliens and I have run ou l of

design ideas. I am especially fond

of tentacled creatures. bu t I will

accept anything intriguing. Scien·

tific plausability is appreciated

Please make your aliens as weird

and original as possible. I am

especially interested in a very mys.

terious and powerful leader. Draw

your ideas on typing paper and

color with colored pencils Of what·

ever your prefer. Send to my

address below. All designs used

will be credited.

Paul Leitzel

11742 Lakeview Rd.

Newbury, Ohio 44065

Gadget ParalysisI"m passing along a bit of eKlvice to

my fellow CINEMAGIC readers

- - - - - - - - - - - - - 1 onceming the dangers of equipment. No t physical dangers, but

the danger of becoming so

obsessed with buying all the latest

gadgets that you don't make any

films. l"m afraid I speak from expe

rience. If you continually put of f yor

productions until you can afford

Production Company

Seeks FX ArtIsts

. . The Newland and Belle com·

panies are co-produ cing a special

movie. Currently titled The Jour·

ney 0{ Shandor, this special pro-

7/22/2019 Cinemagic #09 (1980)


this item or tN t you'll never ge t

anything done. Eventuolly you'll be

broke, have maybe MIf the

equipment you wanted lind not

one frame of rum lO show for it.Don't lose sight of of the p.,si<;s of

film composition, Kript, character

ization, among other things. ~to improYi5t'! GMgets are great,

but they don't fllIIke the film-you

do .Bob Ttnnel

UttIe B ~ Studios

P.O. Box N IRivesv!Oe,WV 26588

Amen!

Kttdes of the Evening

• . . 111m writing yo u for three r 9 -

SOIlS. The first. is to ~ toJeny Bro<.vn', letter in QNEMAGIC

"7 entitled "ul! for Sf Original

ity." 1 hink that his comments can

be backed up very 6fectively by II

film IIlY"1OUoced In the Producers'

Bulletin Board in the .some issuewhich is o!Ibout the supposa:l nctivi

ijes 01 cats. The name or the film is

Hot Sluff. 'Mlile Ihe Idea r.I cat

postitution is cettal nly original, it isby no mellin, funny or cute. I My

this becllUse my City, Vlln<:OI.I"o'er,

hilS recently enacted III'W'S thatmake it neany I m p o u i ~ for the

poIi<c to IIrrest pl"ostitutes. It is not

that I am against proslitutioo if it is

conducted decently. I am orVy

against it when it hurts young ~

pie ....no should be growing up.going to $ChooI !IIld living happylives. Some young people whohave fled unhapp'j homes areforcl!d to resort to this lifestyle.

This I , the situation in VII!lCOwer

and 111m 5.Ure thll t these condi

tion, exist In virtually every other

big dty in the world.

My second reason for....mJng is

tN t I was rather surprised to $ee

tN t James T. MiUet (ONEMAG/C

"s, F ~ m m a k e f " s FonJm) hM

COfl'le up with an idea for II filmthai is very similar 10 mine. Themain difference between our filmsIs th.!It his chronkles the hJstory dtNlnkincfs actMties in space (start·

ing with the ,A,poIIo program andending IIrith O'NeiI-twe spece

colonies) while my film sl.!IrU with

the spece h ~ and ends with

the ~ u n c h i n g d a ship to Bar·nard's SUlr. Also, I plan to covermy d man 's journey into

space in seven films. no one.So far I have built seYeI1Il mod·

el l d the space shuttle, al"leavy~ u n c h vehicle. an aulOfNIttd

lander and a deep space vehicle

(similar to the one that carries MIIr·tin Gibson to Mars in /vthur C.Clar1l.e·s T1le Sands 0( Mars.) I am

currently buildillQ a second gener·

ation spece shuttle, an Earth orbit·ing ~ e 5I4tioo. a space telescope, VlIrious al.Jtomllltd splICe

probes. a §K"Or"Id genenttion IUI1M

lander and a deep space tNlnned

exploration vehicle.My th ird mlson for writing is

this: Ca n te l me ho\l l lO

construct a fully realistic dish

antenneo like the ~ s thai thespaceship "Dlscovery" NId?

Rez.a Sara2.535 S.W. Marine

VancouYef. B.C.Canada V6P-6C3

Resin Eyes?

. . . Before asking my question,allow me first to your splendid

magazine! Never before have 1

seen one so devoted to want itsr ~ \11101: Specific and

Detailed./rt5tfU(liOf'ts. Through

CINE.M.AGIC I have "Iready begunmaking my first stop-motion ar i ·

mation model (CM"4). an d have

begun acquiring materials to

"bring my tlilens to life"' through

mllsk·maklng (CM"6). Thank you!My question. tiS it turns out,

concerns these mtlsks. I would

to tNlke the kind of eyes uSoed by

John {)ods on Nightbeast(eM") . Just.....tlat is resin? How

does one use It? And lIr"here doesone get it?

Roland Houle68 Dover SI.Lowell, .M.A 0 1851

"Resin" is clear polyester cast1ngresin which is used {or small

pours. Hobbyists U ~ il (Of

embedding flowers coins, d e. It

CINEMAGIC BACK ISSUES

is supplied in tUJO palfS-I.he

resin and II Cd/a/yst·hardener.T1lere are transparent. dyes and

color pigments atJai/abie (Of

coloring the casting resins.Though John Dods says thallhetXastic based paints the ·Vera·thane" coiors "mix righ1 In.

Check a large hobby shop or

plasHes supply house (or materials. "u/O body repair shops cansupply an inlerestlng array 0(

fiberglass re!>in and malerial5.

Though commercial polyesterresin (or boats and car.susually is tinted a pale amber. 0< I(

al l local s o u r c e . . ~ (ail Write I ~ O .Industrial Alts Supply Co., 5724West 26th St . Minneapolis. MN

55416 {Of theirClI/aJog. I( you're

jU51. lnleresled in eyes. checkout

your nearest lilXidermlst shop.Try 10 look at a few places,recommends Dods. "slnce thequality willlJary from place 10

place depending upon who Is

doing the painllng.·· Theyshouldn't C05l more liIan a (ew

doll"rs. The taxidermist suPfXles"an/m,,/"" eyes. that is. fhere is no

"white" Of scelra. burlhe glassan/m,,1 eye can be embedded inwhile polyester resin to "d d theseelfit that is ulsibie In humaneyes tJ f

Due to the volume d mall, thepublisher regrets that indMduaIreplies I:W"e impoSIible.

' l - . . . & c ~ w l n d i n g s."p..a

Film: Forogfooocl Mlliatur.Teetv.lque; Aaria/Brae.C\lll$trudion.

H -SCJacesnip ModeImik ·

""': 8Iood lotiklUP . SmoIo..ilInerlllor: l!QhlBum EI,lee1i: M I ~ i n g 10 SF L .

~ A e r 1lI1. OpIocai

I'filllr. U»g'WiOeWlItI SIII*·l smSCan EIIOCII . GltarrnngEy e 101 Stap.t.Io\iorI

......

H -M luNlg EJedronic

Gadoels--c!leiJ):8""11YOOf Alien to l i l l - latuMask l: BiSle EditingTec/W1i<!ues : hwlS'O!e MinEtlOCIs

t1--8iSit CltIOOl'l A,..IIIIt"Claymation:

I ~ I I o $ C O p e Etleet': I'r&file: Santo5t&pIllno

. ,- W,dro Tlpe III..It u: I\e . .u FilmingWee"; Lab servlCU:l'rol,lt:VitOlJS &Antonua: l; CJuh 01

tI!t m'lI! Prtvitw

f3-11obol COnsllUC1 ion.Oeveloflin; AnimatlollStyli: Fluid Art Aflimll!on:;

EllI!Ctmnk: Special EHeett

M-Aeril/Image: ()p1""

I'rilller Coos!ruttion. Wile"'mat",."" A . . f I I I o U ~ .More ElectrOOlC Special

EHects; FOg aJid Iotitt

Elfects

r---------------------------- CINEMAGIC OEPT CV Ch.ck IHue, . . reeL

c/o O'Quinn Studios Inc . 0 11-13.50 0 '5-13 .00

I 475 Park Avenue S o ~ ' h 0 t2-S3,oo 0 " - 13 .00I New York. N.Y. 10016 0 I l - S3.00 0 '7 - 13.00I 0 '4-$3 .00 0 .. $3.00

IAdd postage.nd handling 10 your order: t.60 foron<! i!sue; ll.OOf«tvoo; $1.40 for three 1-.;

I $1.80 lor foIr. S ~ 1 o r II"", issues; Suo up 10

I eigh! i .ues,

II AME

I ADDRESS

~ n S ~ ZIP

I

7/22/2019 Cinemagic #09 (1980)


~ R O F I L E

Spawnof the

SuburbsBy MICHAEL DE LA VlLDIS

The prestigious Washing/on Post.calls them "slapstick auteurs: 'They cite influences like TheBrain thai Wouldn 'l Die and

Wrestling Women us. TheAzt.ec Mummy.For sill years the LangleyPunks have beenworking an d growing on their own terms,evolving from simple "the camera's on, do

~

somethingf' shenanigans to multi-level B-

movie satire.

The Langley Punks p r ~ e the punk

rock movement Animal Houseand other

examplesofdecadeoc::e as art.. What SOiTIe'-

one outside the Washington, D.C" areawould not expect theLangley Punks to be sII groupofveryserious filmmakers.Yet they

Top l The L a n a J e Punks" (JIm Ph . . . . . Bob Youns. Lolrry Ubeland 'at CA r rol l) tAke.. pause to ~ s h In AlcoholIcs Unanimous. Abow: The boys do ew:ryt hlnS together.

22 CINEMAG/C-9

have won first prize in four out of he last fiveExpose YouBeIf film festivals at the Biograph Theater. They took second place in

the seierl« fiction I6mm category in Unreellast year. As talented and persistent as theyare, however,the Punksdo their best to live

down to their name.They have produced a remarkable series

7/22/2019 Cinemagic #09 (1980)


Mike Kelley In The Phantom 0(&ltui l le Df"loe-ln lensed by 1111 O'Le.vy.

of shorts combining the Three Stooges-type antics of continuing characters PatCarroll, Jim !'helen, Larry Zabel and BobYoung with outrageouss6fi elements liftedfrom the schlocklest films the genre has

turned out In Cloning Around. the Punksbeat back an army of zombie h r i ~ but

only after a buildup wherein they disrupt.

classes at Sci-Fi High with gross behavior.in the Insurance Salesmen from Salurnthey plot to take over Earth by boring I'@O"

pie to death with insurance talk. Walkingaround in suits with moronic smiles per-

manenUyattbched,the Satumi&ns look likea convention of Christian broadcesters.The Punks evenbJlIlly bore them to deathwith bragadoccio about their cars.

The useof he samecharacters from filmto film has notonly made them local celeb-rities but ~ them vast experience in the

intricaciesofensemble acting.The resemb-lance to the Three Stooges is more than asurface element; chief scripter Pat Carrollnot only is til Stooges fan, but actually cor·responded with u,nyFlnefor several years.Their fans Mve come to expect. references

to their herculean drinking habits, 5Ioven1ypersonal hygiene and tines like, "I wouldn't

harm a scab on your face," before the

adventure proper begins ine&eh film.Ca ll it

character development

Up until Inleslines from Space. Carrollwould direct and Bill O'Leary would shoot

the Punks' opus. These films, while in

l6mm, ~ e shot silent with only musicalaccompaniment on the soundtrack. Thisform peaked with Neurotic PsychotiCs. a

supreme offering of film pantomlne. Especially mel'T'lOfabie is the inl"Mtes' escape

ONEMl'tG/C -9 23

7/22/2019 Cinemagic #09 (1980)


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AAlrT\lItion on your ~ stand.Build your own robots with dectroruc

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scene in which the psychotics (played...nthspastic arm waving . . . no Cuckoo's Nestpathos here) overpower the guard, pourLSD down his throat and attach II stereovie\w of Peter (Hollywood Squares) Marshall to his glasses. The guard wanders offaimlessly and one can hear his maniacalscreaming/laughing even if there is no

dialogue.With Inlestinescame sync dialogue and

a new dimension for the Punks. Charactervoices broughtzanyLanyZabel and befud,dled Bob Young out to the ford"ronl with

cool Pat Carroll and <kbonair (sometimes)Jim Phalen holding the c r ~ not exactlydown to Earth but at least within a few feetof it. To m Welsh, co-WTiter, idea man and

supporting cast member from dey one,invisibly handles a number of roles, from

crazed loon to al') actual normal person ,Rich West stepped in as the new Punk:sdirector and brought with him the consid,

erable technical resources ofhis HollywoodTalking Picture Company, Intestines (romSpace is a sound feast with differentthemes for each segment, bigger,than,life

\i

sound effects and a full orchestra behind

the title song, Yes, there's a title SOIl9, '"

lh e latest step in the filmmakers' evoIu '

tion is Alcholics Unanimous. a oolor mus'ical! The Punks visit Captain Scab's bar

(" Best pretzels in townf') and lose the beer,drinking contest to the upbeat tunes ofnouse band Rudy an d the Deadbeats, To

cheer up , they break into a Busby Berkley

rendition of 'When the Red, Red Robin " ,"

complete

withchorus,

choreograph

yamong the lnIshcarlS, Mr, Red Robin andoriginal orchestration by Dave Nuttycombe(also responsible for Rudy and the Dead,beats)

The Langley Punks have what many

filmmakers lack-a focus, They have

pushed forward in a recognizable directionwhich will (along with their personal driveand persistence) ultimately lead them tosua:ess.

And from here, who knows? Academic

recognition may be next Last year the Uni,verslty of Wisconsin fIev.o the LangleyPunksin to speak and show their films and paid

them , , , II Cllse of beer, ( I f

7/22/2019 Cinemagic #09 (1980)


HIII"• • Ouallty~ b I t .. D O ! ~ &III trMI VIIS 111<II1II1 SIAAlOG VKlEO

uU l * WI" ' " dil'0CItf """" . i gN f ......... - .... . . . . ,._1owtPI..,....._ II5Inm 1'1'''''' OOQ$llll . . . . . . . 11'0_ otts _ NtII_. w-.1/lCl1OItIII - ,"'..-qoIIII~ -MO• • ""on a Movie

O. . . . . Oulcldy

''TOM O R . ~ - S P " C I ICADIn'" vol. 1 t3 episodes)B/W - Stilrr!ng fr;aoklt Tnom,l> ~ Tom. tn kseries tlec;wne glgantlt.llty oooular In eJl'lv505, on lour major tv network5, wltn iil'iI(IIO version , ii tOmlt Stria and numl!'l"Ol/1ml!(cn.andISI!'IQ tl e·lm Me<! on O D e nHeln!t! ln, bOO"k Space caG«. th e serlH hadrOCker ,_pen Willy Lev teen a<tYtsor

I n d u d ~ "A(eOftheSQKel.¥'les .. meMarti¥! ~ e Y O l t DiUS lH"emlere 15-mlnute~ I S O d e " At Si»Ct foademy ftommerNls ..TriJllersl

"SPAC. PATROL" Vol. 1(3 episodes)BIW-StMflng Ed Kemmer a5 Buzz COrN &lynn O\;l)Om;J5 caGet Haooy, ....Ith guest stars.SH In tile " t ~ n t tuture. tnll sef11Jtionaj

~ d v e n t u r e serIes W;J5 one 01 tne lOn9est run·nln(! ,nd most OOOUlar Of early TV, WIth the5.OaCe r O I I ) r ~ ~ l n g weekly dangers I '(lve"ft om lOS Angeles) to keeo Interol"",eurvouce "'eluded E¥1V 1S·mlnute epiSOlle,orlor to Buzz corr..-s eme-rgence, Olus two

3O-mlnute eolSOOl!S with co mme-rclalJo.MyStery O 1'W1f!t)( " an d ',MTrao 0f'I Planet x '

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"The FlVlna saucer"

" Hideous Sun Demon"

'Tales Of Tomorrow" VOl. 1

"space Patrol" vol. 1

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Total for tapes ardered: S ~ __PoSt3Qe &handling: S_ _ _TOtal payment enclosed: S:;;-__

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send to: STARLOG VIDEOOEPT. C'

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l*lTE: Please allOW! to S _ ~ for tIeIlve-rv u;os. NeW Yorfo:, N.Y, 10016 .J

7/22/2019 Cinemagic #09 (1980)


Producers'

BULLETIN BOARDPlease forward announcements of 11m projects in cUlTcnt

production or near complelion to: C/NEMAGfC c/oO'QuinnSludios, Inc. 47 5 Park Auenue South, New York,

NY 10016. Please include a photograph of some phase ofthe producUon, ifpossible.

The Force of lendeU. The evil Krillians

have invented a new ......eapon capable ofdestroying- once and for all-their foeson the planet Jendell. Acan Acanephis

and Anita Ranoose go to Krillia to find

and destroy this new weapon. Producer:Pedersen Productions. DirectorfWri·

ter/ FX: Jeff Pedersen. Cast: Erik Sui·onen, Cherri Meyers and others. FX

include: blaster fire, miniature space-craft. smoke, pyrotechnics, full-scale

sets, props. costumes and more. Video

tape (beta 2 type). color. sound. Run·ning time: approximately 90 minutes.

(Jeff Pedersen, Pedersen Productions,

370 Grow Ave. NW . , Apt. "'5-9, Bain

bridge Island, WA 981 10.

Coktnel Sun. Colonel Sun destroys San Francisco andthreatens to destroy other major cities unless all nuclear devic·

es are shut down and/or disposed of. James Bond is sent to

investigate. A spectacular motorcycle chase and the destruc·tion of Sun·s hideout highlight the film. Producers/Direc·

tors/FX: David Buckley and Eric Bugler. FX include: mattes,

miniatures, animation, forced perspective and miniature

explosions. Running time: 10 minutes. (David Buckley, 185McBrown Rd., Petaluma, CA 94952.)

Beyond the DMkest PIolnet. Nathan. an immature navigator

on a cargo spaceship, never thought that he had much

"guts·· - until he destroyed the evil Coronians' underground

battlestation and saved the Allied forces. Producer/Direc·

tor/FX: Rip Russell. Cast: Pat Kilgore, Eugene Lilty.vood,Marsh Seigler, John Robinson, Mark Kiger, Paul £, Walter

Kaufman and Ron Gross as the Emporor. fX include: stop

motion space flight sequences, mattes. special explosion sys.tern. Super-8, color, sound. Running time: 1212 minutes. (Rip

Russell, 14 Glenlake Rd., Columbia, SC 29204.)

11me Trouble. A scientist's time machine goes out of control

and villains from the past and the future plot to kill the

scientist-with the aid of a spy. Producer: Spadak Productions.

Director/Writer: Andrew Osborne. Cast: Scott Botelho (Death-drone), Andrew Osborne (Professor Kaster), Paul Wright (fritz

Heiger), Dan Crogan (Jerome Thompson), Ajit Gokhale

(Black Raven 4), Keith Ryan (Jimmy Baxter) and Jonathan

Osbome (Mysterious Man) . Special thanks to Winthrop Atkins

Company and MJHS. (Andrew Osborne, 88 North St., Middle

boro, MI'\ 02346.)

26 CiNEMAGIC-9

Klnedc Nighan.re. If you wish hard enough . your dreams

will come true. If you wish too hard, a dream·come·true

means death. The story of Br ittney Meredith, whose night·

mares become reality due to her uncontrollable psychic pow·

ers . Producer / Director/ Writer/ FX: Ted Williams. Cast: Angela

Kopp, Barbara Brown, Lendell March. J im Reilly, Mike Frisk,

T im Walton, Doug Srulowitz. Ed Voller and Lori Parish. FX

include: underwater photography, trick angle photography.

stop motion , wipes. dissolves, double exposures and supered

credits. Budget: $850.00. Super·S. color. two-track sound.Running time: 70 minutes. (Ted Williams. TJS Productions.

4849 Vogelsang Dr ., Sacramento. CA 95842.)

The Sp.tu'" Murders. A parody of suspence films such as

Ha lloween and Psycho. A deranged killer goes on a rampage

through a large city and fells his victims with a spatula. Produ·

cer/ Director: Mike Meteger. Script: Mike Meteger and Bobby

Shelden. FX include: blood. Super-B. color, sound. Running

time: 15 minutes. (Mike Meteger. BMD Productions, 2440Murrel. Santa Barbara. CA .)

Super-8 MIn: The Hero. After escapoing the ice age of the planet Cameraton,

Crank·el grows to manhocx.l in CoralGables, Florida. Earth·s alien vitamins

give him Super-B powers. After his par·ents are killed in an auto accident, hedons his costume and becomes Super·S

Man. the hero. He i$ the only superhero

who challQes in a city bus. Producer:Entertainment Enterprises. Director/

Cameraman : Jon Teboe. Cast: Rene

Teboe, Dan Frazier. Steve frazier and

Gale Frazier. Super-8, color, narrated

sound with sound effects. Music by:Rene Teboe: Running time: 27 minutes.

(Jon Teboe. 11B05SW. 102ndAve .

Miami, FL 33176.)

7/22/2019 Cinemagic #09 (1980)


Journey Into Terror. A team of space

travelers lrek through th e galaxy to

make a mil itary aid alliance bet.veen twowarring federations. Their trip is both

adventurous and dangerous. Producer:

Paradise Intemational Pictures. Execu·tive Producer/ Director: David DeCou

teau. Writer: Roland Marty. Makeup: E.Larry Day. Direct or of Vldeography:

Randy Fleming. Production Design:

Brad Eveland. Spaceoaft design and

construction: Gerald Dietze. Coordina

tor: Betty Senter. Sound: Anthony Wakeman Camera Opera·

tor: Gordon Schildan. Location fv\anager. Sarah Splinter. Cos·tumes : Margie Muir. Production Supervisor: Ron Tore Janson.

Assistant Director: VICki Bruch. Associate Producer: Usa

DeWitt. Titles and Opticals: Jefferson High SchooI/TVS. Production Services: John fv\arshaU High School. Art Direction:To m Kitts. ,M.atte Artist :Matt Dennison. Design Consultant:

Connie Cunningham. Explosives: Brian Hardin Cast:Steve

Hardman. Paul Carson. Patricia Senter. Cordell Stahl, Carol

Cassell. LyndaMore, Greg Hardman . Alan Richert. OymaRucker. Mike Caldwell, TIm Lumkin.l...aura Harrison. MikeLabaugh. FX include: Mattes. matte paintings. filmto-tapetransfer, stop-motion animation, rear·screen projection, cd

animation, strobe light effects. black light effects. fiber optks,laser FX, fades, dissolves, supered titles. latex pmsthetics andmasks, miniature and life-size explosions. puppets. robots.miniatures spacecraft and sets, full's ize sets. Ievttation of

actors lind sets. fog and mist FX. fire, creature costumes.blood FX, wind and rain FX, miniature planets and satellites.

B&W video, sound. (Certain segments shot in Super..a.) Run·ning time:.50 minutes. (paradise International Pictures, 11041

S.E. 60th St., Milwaukee, OR 97222.)

future Quest. An evil genius of the year

2268 AD. steals an experimental time

ship and returns to the year 1980 totake control of Earth by using his~ of future events. He is fol·

lowed by a team of terran and alien

chronooauts il a space cruiser c0n

verted to serve as a makeshift time vessel.. Their mission: Stop the villain before

he can seriously ah.er the flow of time

and space. Producer: KA Films. Inc.

Director.~

Hall. FX indude: rear·screen , lasers. stop motion and exp1o

sions. Super..a, cobr, cassette sound.

Running time: 3540 minutes. (Clyde:

Hall, KA Films. Inc . Geo. Deliv . Kell, IL62853.)

VokIr.ker. Two brave warriors are sent by a rebelling planetto diSCO\lel' the secret of the Asteroid City. Their m ission takes

them to many eliefl worlds where they face countless dangers.Producer/Director/Writer/FX: Peter Lam pron. Cast: Larry Hut·

chins, Michael Pollini end Peter Lampron. FX ind ude: Lasers,

miniatures, explosions and animation, Supe r-8, co lor. In p re-

production. Runn ing time: 15-30 m inutes. (Peter Lampron,

Box 173, Wo lfebo ro. NH 03894.)

The Anim.tor. A boy's animation model comes to life"andfights his master In mortal combat Producer/ Director/ FX:Kendal Blose. Cast: Kendal Blose. Super-8. color silent Run

ning time: five minutes. (Kendal Blose. RD4 J8(X Northgate

Rd. , Apollo , PA 15613.)

Seuets. An innocent girl stumbles into a bizarre plot of de

struction after the disappearance of her friend. Producer:

David Giardina. Director/ Writer: Keith J. Bearden. Cast: Ju lie

Riou.x. David Giardina, Angela Erica Fermburger. !n produc·tion. Super..a. color with m usic souodtrock on separate

cassette. (Talisman Pictures. 731 Randolph Rd . Middletown.

CT06457.)

.,.

f.athom 160. While on vacation in ··Atlantica," a glittering

undefwater city, a young couple and four other passengersbecome!Japped in a transport sub when it collides with the

city's outer dome well. Producer/ Director/ FX: Tim Leagje1d.Cest: Ann leagjeld and Mike Valley. FX include: m iniatures

and stop-motion animation. Super-8, color. sound. Running

time: 25 minutes. (Tim lellgjeld. Orift.M:xxJ. Pine River.MN56474.)

SdeFKe ncdon: Th e Ne w W.w . A documentary about reviving popularity of science fiction. Topics covered include ama·

teur end professional motion pictures. literature, merchandise,

fandom and conventions. Host: Luther Yee. O nematographer:

Ricardo Saucedo. Super-8, color. sound. To be blown up to1&n m for airing on local t elevision. Running time :50 m in·

utes. (Infinitum Pictures Corp., Daly City, CA 94 015.)

Stu Cruh . An epic science-fiction adventure from the people

>Mlo brought you Ugly Things Ihal Kill People Producer:BMD Productions. Director: M ike Meteger. Writer: BothjShelden. Super·B, color. sound. Running time : five minutes.

(Mike Meteger, 2440 Murre!, Santa Barbara, CA)

Phone: You c.n't u. U fo r Helpl Telephones mysteriously come to life

s-eeking and devouring all living flesh intheir path. Animated phones pursue and

attack their innocent victims. Comedy/

horror. Producer: RST Productions.Dire<.:lors: Roger Rose and Toby E.rip<.son. Sound: Kelly Ruble. Specia l Assist·ant: Robert Undberg. Regular-8, sound

on separate cassete. Runn ing time: 4 :44m inutes. (Roger Rose, RST Productions,

P.O. Box 67, Richvale, CA 95974. Phone

• (916) 882-4227.)

The 8I.Hk P\anet. An Earth spaceship is flung th rough a

black ho le and lands on an unknown planet that is inhabited

by hostil e robots. Producer: Onon Productions, U. K. Di rec·tor/FX: A. .M.organ. FX inc lude: explosions, animation and las

ers. Regular B. Runn ing time : six minutes. (Andrew .Morgan,

6 1 Thomhill , North Weald, Epping , Essex. England.)

c/NEMAG/C -9 27

7/22/2019 Cinemagic #09 (1980)


SETSONA

SHOESTRING

(OrHow to Build a Set for YourSFBlockbusterWithout Having to Rob a Bank)

By JEFF POWZZOlTO

Srne filmmaking friends and I decid

ed to produce a JO.second SpaceParody in 16mm and t was named

set designer, SO Ideveloped a series

cI sketches for a set that could be built fOf ourset construction budget of $1.5().$200. We

planned to showcase the film, so we agreed

that theentire production should howe a highquality look (witheM straining our bank ac·counts too much)

We had no acces loa studio, so we did thenex1 best thing. We scouted around relativesand friends homes for the "right" location.

We got such relId:ions as: "You wantto build

8 whafT Ultimately,the idea.llocation turnedout to be my O\lrTl two-car garage.

My garage is big enough to house ourentire production corrpany and has its own

built·in advantages. The previous tenant built.lin extensive wood shelving system along theleft and back walls, so we planf"M!d the set

construction around this built·in feature. The

shelving proo.ed to be a valuable asset be-ClIuse it e d us to attach our set to an

existing structure. This sewed us time and

money because the shelving didn'thave to be

bought or buih. The rafters in the garage arehigh ~ h to allow ample filming spaceand are perfect for hanging lighting andsoundequiprnem.

The Set Deslsn

For the space station interior. I wanted II

pure white material that could be accented

with gray and black panels and chromestrips. My design ~ a curved wall section

28 ONfMAGIC -9

with the top lIngled in. The entire unit has 8"one-piece" look.

[ chose foam core sheeting for ~ walls

because d its light weight. low cost and easeof cutting. The basic: design consists d six4'xU panels, built in a semi<:ircuia.r pottem.Each 4'x6' panel is topped with a2' e'<I.ension

that is angled in, giving the set an approxi·mate height d eight feet. This giYes us

enough " air" space to allooN us compose

several different camera angles during fllffi'Ing.

Our first SU!p in building the set was to cut

out the six wall units into the detailed configu

IlItions that my design calls for. The design

was cira.....-n onto each d thewall unitsand cutout n the appropriate places. The pieces thatwere cutoutwere saved and later cut nto the

various shapes that we ~ for e t a i ~ n g theset. I designed this method of ruting and

re-cutting so that every square inch of foamcore could be used, thus eliminating waste

and saving money. As it turned out.we didn'tuse all c:l the cut:«rt pieces and we haveenough left over to 8dd detailing to another

"" ome sections c:l the set that are cu t aWlrj

are backed with transI\.JceR plastic ~ n gto giYe a back·lit effect ~ major cu out

.section in the center d each wall unit isbacked 'Nith no-seam gray paper and tapedinto place from behind. The pieces that we

made from the cut-out sections we saved are

glued into place on the WZIII units and add a

dimensional quality to the design, Certain

pieces are leyered to add even greater depthto the othe:f'\Ir'Ise flat set. Coklred gels are

7/22/2019 Cinemagic #09 (1980)


•

I

I

•

Top of page: The completed se t _. bulk for S 175. Notice tM backUt panels. The center I s Ar e

pAy.5eMft1eu p&per slued klto pYa &om behind. Bottom Left: The se t underwnstructlon . Notice

th e wooden supports.nd the 5heMns: system. Bottom rlshtt Ne.vty complet e.

CINEMAGIC "9 29

7/22/2019 Cinemagic #09 (1980)


taped into place behind some of the smaller

cut-oot sections to simulate lights.

The Skeleton

Mer we completed the cuttil'l) and gluingd the wall units (whidl took tw o days) webuilt the "skeleton" that forms the structure

that holds up our space station interior set.Paul Vitous and I laid out the shope of the

seml-circular set by dnrNing the configura·

tion on the floor with a piece of chalk. The

basic skeleton is made-up of Z 'x3"xS' stripsof wood which brace !he waH sections to oneanother and to the sheMng. The 8' strips arecut into 6' and Z strips at such an angle so

that \\-hen the Z strip is rumed aI'OI.Xld 1&r

and nailed back onto the 6' strip, the properangle for the 2' extension is achieved. Paul

nailed the completed strips into place, brac·Ing each one 8S we worked from right to left.M er all the strips were spaced at the approp

riate 4' intervals (the width of the foam core

sheets/ we test.fit the waU units to the ske-

leton. AI. various JXllnts v.e had to S l J ' l I i g h t e nand r e - n a i ~ but the sheets genemJly fit intopI&ce without &rr'J problem. The bottom 6'

wall units -.were nailed into place first. Theangled Z pieceswere attached after all of he6' pieces were in place. The same kind of

cutting-olA. anddetailing that embellishes the

lower6 panels isused to add character to the

angled Z sections.

Hnlshlns .and Det.tllnS

Once the basic set was constructed, thefinal touches were added. I took lh white tapeand ran it along each seam ...tIere 1I wall

section is butted up against i!lnother. Thistape is also applied 10 theangled top sections.

Black tape and chrome stripping dress upthe front 0( the set. The floor is ccwered with

black ooseam paper and pIoslic stairwelledging is nailed Into place at the p:>int where

u

foam core sheets: ( I0 sheets)

lumber: (for skeleton)

6ght sockets/ bubs (for back1ghts)miscelaneous costs (glue, tape, etc.)

L •

Georse ....Guerre, th e ' : : : : : : : : , : - . ! : : ' 7,;:"::IIJhtlnI crew on IIlbt pkt.ement

JO CINE.MA.GIC ·9

the set meets the f\oa".

Our spaceship irteOOr set was construc:tedfor Ies than our projected budget d $200.

Due to the lucky breaks ci finding shelvingalready In place and the high rafters that gave

us the space we needed (not to mention

having a garage to work with) we were lIble tokeep ou r costs low . Building the set \IIIthoutthe existing shelving 'W'OUld have foo:ed us toi/West more money in wood to brace thestructure to the floor. With enough prepr0-

duction planning and 1I workable design ofyour set you Clln (and should) use v.hl!t·s

lMIilabie to you and purchase ordy enoughraw materials to do the job riyhL ( I f

1 L

l

$65,00

$40,00$30,00$40.00

$175.00

7/22/2019 Cinemagic #09 (1980)


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7/22/2019 Cinemagic #09 (1980)


KODAK'S

ANIMATION

GUIDE

Kodak's. "The Wond Of Anlmathx1,"IS an authoritative guide fo r anyonewho IS Interested In making anImatedfilms. It Is Jam-packed with tIps oneverv asPect of film production andanimation technique. This In-depthguide book was prepared by KOClakespecially for the anImator who wantsto make professlonal-Qualltv animatedfilms on (I MODEST BUOCET.

"The Wand Of Animation"INCLUDES-33 pages of complete blueprints fo r

building your own animation stano.

• A guide to all the KOdak filmsavalfable fo r animation anel when touse them1JJ

• A "how-to" guide fo r achieving allthe major animation technlQueslll

How to find work with a prOClucef"!!!

• HOw to break Imo the business!!!. 152 pages-full color through-outlll

- - - - - ~ - - - - - - - "me WorlO Of Animation" II c /o O'OUlnnStuOlosolnc. II 475 Pant Avenue SOO(fl I

New Yor1c, NY 10016I S1 .95 pet'" COpy, atkl SUS for pOStaQe: and II handUng eacn {S3.25 for FOreign P&H' I

I I• EnctoseaS {checkormoneyorGer I• drawn to O'Qu'nn studios. Irl(J II II II NAM' II II II ADDRESS II II (;!!Y II II IIA ZIP I

..

------------_.12 ClNEMAG/C 69

BOOKS

Photogr .phk Theory for the Modon

Picture ume r .m..n. Compiled andediled by Russell Campbell. ScreenTextbooks, AS . Bames &. Co . Ne w

York 6" x 8/1,154 pages. $6.95.How many backyard cinemagicians un·

derstand the fundamental properties ci

light? Ught is, after the most basicingredient In motion picture p/lotogllllphy.Movies would be impossible without i tl ife itself could not exist without i t \Vhy is

it that the majority of people can takl!: linacceptllble home rnovie lind still ~ totally

in the darX about the processes that are at

work when they lire exposing a roll ci

film? Photography (lind cinematographyin the form ci home movies) is a complex

science that has been so Simplified for the

masses that an eight·year-old can rTIlIlu! II

good home movie. The professional

cinematographer. however, must knowwhat happens when a ray ci light strikes a

piece ci film.Professional filmmaking is an extremely

technical field. Not every scene is fllmed

in bright sunlight The motion picture

cllmeraman must know the limits and fullpotentials of the film stock he is using.

Professional movie making is an expen·sive proposition. A ruined shot costsmore thlIn the price of film and developing. A r u i ~ shot costs the SlIlaries of all

the actors, millis. technicians and equip'

ment rentllis combined. A ruined shot

could mean a ruined career for the

cameraman. Only the best survive and

achieve su<:cess in the fiercely competi·

tive field of professional moviemaklng.Take heart. There is a fine book that

can teach you all the fundamental prlnci·

pies that a professional cinematographer

must know-but brush up on your algebrll because you'Uneed a working knowI·edge of logarithms to understand theexplanations (and graphs) of the ChallllC'

teristics of VlIriOUS types of h o t o g r a p h ~emulsions. Pholographic Theory for the

Motion Picture Cameraman. compiled

and edited by Russell Campbell, is essen·

tial to the education of professional

cinematographers.

Pholographic Theory opens with an

explanation c:I the physical properties ofvisible light and lin introduction to the

fundamentlll principals of photography.

The book should be faSCinating to anyonewho has a consuming interest in filmmak·

ing . The various types of film stocks are

covered in great detail-beginning with

black (. white emulsions and advancing

to colof' emulsions in the latter half of the

book after a thorough explanation of theprincipals of color photography. Thechapters on color photography are trulyfascinating and provide an inspiringexample of the problem solving capacityof human intelligence. 1h e brillillnt scient·

ists who developed color photogllllphy

have made it possible for the rest of us toproduce amazingly life-like Images for our

own entertainment.

Sensitometry, the method by withemulsions are rated according to theirsensitivity to light under different process

ing conditions. is also ccwered in Pholo-graphic Theory. The various methods cImaking duplicate prints are covered incharacteristic detllil-lis are the subjects

of image formation theory and grain

structure and definition. Optical theory isnot covered in this work. Optics is a com·plex subject that would require entirebook. Books on optlcal theory are available.

It is more important for the beginningfilmmaker to concentrate on developing

his own st)ie than to delve too deeply into

the theoretical principles that constitute

the foundatioo of his art. but it is inevita·ble that the serious artist must learn all hecan about his medium. PhOlographicTheory (or the Malian Picture Camera·

ma n is not recommended for the begin·

ning filmmaker. It is, however, required

reading for the serious cinematographerwho is looking to make II career in thefilm industry.

b.per1ment&l Anl"",don. Oy RobertRusset and Cecile Storr. Von Nostrand

and Reinhold Company, New ~ . 8'.4x 9'A , 224 pages, . 9 5 .

The history of r i m e n t l l l animationis a fascinating SlIga of the artists who

pioneered an art form which came intobeing at the beginning c:I this century.The names d most of these artists arefamiliar only to devoted fellow animators

and art historians who recognize the

importance of animation as lin art form.

Experimental Animation: An Illustrated

Anthology chronicles for the first time the

achievements of the unjus1ly obscureartists whose work in lInimation hils giventhe medium II more respectllble reputa.

7/22/2019 Cinemagic #09 (1980)


tion as a serious art form than the more

fl lmous commercilll animators could

have with their entertaining kiddy car·

toons. There is much to be said about the

merits of commercial animation, bu t it

has already been said. It is refreshing todiscover that the truly innovative artists

who nave ~ n d e d the expressive capac·

ity of animlltion are fiM11y being given therecognition that they are due.

Mr. Russet and Ms. Starr llre to be

commended for their work on this

anthology. The animators.....no

are stillalive and working tod.!Jy present theirideas in their own words in essays they

wrote llbout their work and in interviews

skillfully conducted by Mr. Russet. Ms .Starr and other writers whose work OOgi·Mlly appeared elsewhere. The animators

whose- work WillS done during the infancy

of the medium-at the bl!ginning of this

century-are biograpned posthumously

and are a lso represented by their own

essays and by articles about them that

appeared in joumals of their time. Each

animat or recognized in ExperimenLaI

A.nimation is also represented by black £,white i!lrtwork in the form of cells or frame

blow·ups and there is generally a portrait

of the artist at work in his studio alone or

with his colleagues.

ExperimenUtI Animation is skillfullywritten and compiled and deseNeS the

attention of everyone who is seriously

interested in the medium. The stories of

the work done by the various artists who

CineMagic

are given recognition in this book are sure

to inspire any llnimator who reads it.

Anlm . lns Alms Without .. umer .. ByJacques Bourgeois. Sterling Publishing

N@w Yorit. 7112 x 7 1h. ~Animating films without a camera by

drawing or painting directly onto the film

is a genre of animation that gained artistic

recognition through the work of pioneer

animator Norman Mclaren. Animating

Films Wilhout., Cameta. by Jacques

Bourgeois. introduces the reader to thebasic techniques involved in this type of

animation.

Bourgeois concerns himself solely with

the techniques In this genre and m entions

nothing of the history or development of

i l l t is curious that Mclaren 's name is not

even mentioned in the book. The style of

presentation is very simple and there are

no technical terms used. The techniques

should not be above anyone's ability and

for this reason the book has broad appeal

to animators who wish to experiment with

this genre.

Animating by drawing directly onto film

is no t recommended for Super·8 becauseof the difficulty of working with the small

frame size d this formal This should not,

however, discourage Super·8 filmmakers

be<:ause no camera is necessary and infact this genre may be the perfect oppor·

tunity for Super·8 filmmakers to break

into 16mm without spending a relative

fortune on I!quipmenl All you need is

access to a l6mm projector. You can

view your films as soon as you are fin·

ished making them because no process·

Ing is involved.

You can animate on either clear leader

(which is preferable because it is cheaper)or predevek>ped stock that has been

totally overexposed by unraveling it in

strong sunlighl It occurred to this reader

that you can add frame lines to your predeveloped film by running it th rough the

camera and overexposing an out-o/"·fOCU5

white card before you have the film pro-cessed. You can. if you prefer, llnimate on

undeveloped stock by scratching lines inthe emulsion. Another interesting tech·

nique discussed in Animating FilmsWi/houl a Camera is adding an abstract

sound track by painting in an opticalsound stripe. The potential for expression

in this medium is limited only by the

an.ist's imagination.

Animating Films Without a Camera is

a brief but enjoyable reading experiencethat should give animators a fev.' new

ideas fo r avenues of expression. It is

recommended particularly fo r young and

beginning animators and those interested

in experimenting with this type of

animation. (J /

Unless otherwise noted. al l books are

available through your local bookstore.

Books not currently in stock can be

specially ordered by your local

bookseller.

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7/22/2019 Cinemagic #09 (1980)


CLOSE-UP

CREATINGAN OLD,YELLOWED

NEWSPAPERCLIPPINGBy Dan Dahler

In my new feature, Fiend, a key scene calls for an actor to discover somestartling information from an old newspaper clipping. The important

thing to show in the clipping was a photograph ofanother character, sothe clipping had to be created from scratch. Nter some quick thinking

and a bit of experimentation, I came up with a process for making what

appears to be a genuine old, "yellowed" newspaper clipping-the kind you would save in your wallet for many years.

I . The first step It 10 set .. sh.vp bYck &.white photo of ),ollr .etor (o r whAtever) If

there 15 to be .. pkturt In the dlpplns.

Then, take th e photo to .. prlntef".and hAw:

.an as-line su-een poslthoe !HInt m.de of It(uned .. PMT In prklter tuB0R .) This

scnened pos ldve wm alve you the f .mlllar

do t pattern S« R In newspaper photos.

Here Is dte oriS'' ' ' ' ' phOfo of .dOf Don

Leltert (lishl).net P'MT (left).

S. U5e .. pen O f pendl .nd burnish down

toMs Of ' ue.ue IBUU In 1M Xerox. You un

.uso "cum: the fold lines by pencll-m.vklnathem IIpdy.

34 C/NEMAG/C-9

1. Next , uun:.any he.-dllnu or upttonsby uslns rub -on letters (M t stores.) a lp50me real columns of type from .. du.t.1n e ~ • • nd u'Anle .. c LAyoutto.. your mUc:·be l l_ dlpplns_

6. Tar the edles of th e Xerox. e ~ " ' l I yoM th e toads, "nd sme.v It .round on ..

wnuete floor to &Ivre It holt MAttyM took .

3. To help the MslnaR

prouss, hAw: ...su.ndoVd Xerox !tOp)' of)'OUr ...yout m.lde.

The orla1rwl . .yout Is.at left, the Xerox

AI rtaht.

7. The uownlnl touch Is to 1M th edlpp1na thou M y e l l o w e d look. this is

Uoused In mo s ( PAPer 0YeI"" period of dmedue to dlemluJ rucdon!l; to th e . I r. Aleertrylnl U,1.yon!l;. m.ukers, "",d colored

pencils, I fln.tlly dl$Covered tM t l Ight dUM'

In l of yellow spr,1.y .,.Int worb perfedty.

7/22/2019 Cinemagic #09 (1980)


4. Cut your Xt:rollio the size you w . nt

the dlpplna to be .

7/22/2019 Cinemagic #09 (1980)


From the publishers 0' STARlOG

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Documents

Cinemagic #09 (1980)