Cinemagic #21 (1983)

7/28/2019 Cinemagic #21 (1983)

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7/28/2019 Cinemagic #21 (1983)


Top lett: DeOOt'3h Von Moser, video artist, at \II! i ~ n g conSOle 01 Brooks Harris ' Molor Video CorporabOllMiddle Ie": Acomputer enhanced 'Iideo Imageand acomputer graphic crealed by Debof1!h \A:In Moset Se!lIle Profile on Ms. Von Moser on page 14. lottDm lett: AproducliOn stillrom Sergio SquatDrn's lim. S ~ r ·ship 00.Sergio Is one 01our readers who lives In Italy.Se!!he Producers' Bulletin IIoanI SectIon on paoe26 . Above: Mo production $fils 01 Robef1 Short's M)fII: on the bolil"licll garden sequence !hat appears InSleven Splelbef\1 'S E. . See !he $lOry on Bob Short's carelr as J special eftect5 artist on page 30

7/28/2019 Cinemagic #21 (1983)


CONTENTSEditor 'sBench

Custom

Space-ships

4

6

A. Sharples shows you how to createyour own spaceship models fromfiberglass molds.

Profile 14

i Von Moser talks

abou t her career. By John Clayton.

Filmmakers'

Forum 18A regular department devoted to read·ers' comments and correspondence

about fantasy filmmaking.

Electronic

FX 20

Build your own electronic strobe unit.

By Chris E. Stevens.

Creating A2 3

Monster _

Bringing Frankenstein to lire for a highschool play. By Keith Pohl.

Producers'Bulletin

Board

Issue #21

26Latest news of ou r readers' productions.

GripKit _ 28

Useful accessories for filmmakers.

Cinemagic

MarketPlace 29Classified advertising and announce·ments.

New

Merlins 30A talk with Robert Short . one of thenew special effe<;ts wizards.

Foam rubber build up isan alternativeto latex full body casting. By KennethBrilliant.

CINEMAGIC -21 3

7/28/2019 Cinemagic #21 (1983)


laaue "'21Publlahen

Norman Jacobs/Kerry O 'Quinn

Aaaoelate PublisherRita Eisenstein

Circulation DirectorRichard Browne

Editor

David Hutchison

Ar t Director

W.R. Mohalley

Managing Editor

John Clayton

A• •oclate Art Director

Neal Holmes

Senior DealgnerDenise Lewis

Dealgnera

Daniel Abello

Sook Han

Editorial Contributors

Kenneth BriliiantKeith ,",ohl

A. SharplesBob Short

Chris E. StevensDeborah Von Moser

Production Aaalatanla

Ed Berganza

Richard CebekEileen DempseyNorma GarciaChris Kwiath

Andrea Passes

Flnanelsl Msnsger

Joan Baetz

Founder of CINEJIIlAGlCDon Doh ler

Published by

STARLOG PRESS, INC.475 Park Ave. South

New York . NY 10016

Mvertl"ng Information:Rita E;sen. teln(212)689·2630

__ .. T I a ~ _ i b l n l I e s 1 l l f , " " " , ~0I5pecli1e11eCtS ~ l \ i l " ' ~ In tnl$1$$UI. Dino-~ (*1:1 motion modtIIrIg) canbt IouncI onPlOt 34 C/uIurIsand s... 'rtIP'.,. .. . CtNIIOIIJ 01 RoIlel1 S/Ion,"'- WtIIfas I ~ ellel:ts arlisl is tlM(fld on ~ 30 SpacesIOpS IN

.. rIOdeIed on ~ 8.The ~ is from DIIr 1'\'I:Idutm.IIuIIIIn 80ird sec6ort. onPI!I!I 26.

4 ClNEMAG/C"2 1

Editor's

BENCH

The Doers and

the Do Nots

Aew months ago, I was making my way from department to department inth e Walt Disney Studios gathering material for an article on the specialeffects for the film, Something Wicked This Way Comes. One of my stops

wa s with Disney veteran Harrison Ellenshaw, who took a few minutes from hi sbusy schedule to share some thoughts on filmmaking and filmmakers in general.

"J think the bus iness divides itself right down the middle;' begins Ellenshaw,'There are the fjlmmakersand there are the non· filmmakers. [ don't mean that allthe George Lucases and Steven Spielbergs are on one side and al l the others areon the other. Therearealilevelsof f i lmmakers. Thereare the people who are inbe·tweeners in animation, inbetweeners in FX animation , production assistants ...they are filmmakers . too. They get that same rush out of dailies. even if they were

just on the se t to answer the phone for that day. Just to be a part of it by making acontr ibution in some way-however la rge or smal l . They get the same satisfactionout of seeing a good shot and to be working on a good shot.

'Then there are the non·fi lmmakers-the people who are involved in the busi·ness for a variet y of reasons-either money or for other reasons-but they do not

necessari ly care about the f ilm itself."'[remember speaking to mechanical effects veteran A.D. Flowers who went into

retirement after he comp leted Spielberg's 1941. He observed that too many pevpie today are in the business of f i lmmaking to make a buck. '"Now. don't get me

wrong;' he said ''I'd be the last person to say that people shouldn' t make money.but there are too many people who don't care how it is being made-they want are tu rn on their dollar investment and they wa nt it fast.

'" I began working in what they call the Golden Age of motion pictu res with big

stars and big movie producers-the people that really made the movie industry.Louis B. Mayer is a good ~ a m p of a real motion picture fan. He made a fortunemaking good pictures.

'"I think Coppola and Spielberg are good examples of men whose emphasis isOn making good motion pictures ra ther tha n making dollars. Too many otherswill grind ou t any th ing, just to ge l a return on their dollar.'" Flowe rs concludes.

Ha rr ison Ellenshaw's thoughts are well illustrated by A.D. Flowers. : 'A goodfriend of mine;' con t inues Ellenshaw, "said tha' al l he wanted on his gravestonewere the words: 'He had the spi r i t of a f i lmmaker: This parti cular person may not

have the five top·grossing films of al l t ime. but he does have the sp irit ofa f i lmma·ker. Those are the people who I hope I associate with. Those are the people whoare interesting and those are the people who will advance the ar t form, make it

better, make i t more interesting. Those are the people who take the chances.'"Then there are the other ones:' Harrison pauses for a moment searching for the

right words. " Who cares?'" he asks, dismissing the thought. '"The other ones aretoo busy trying to im itate:'

-David Hutchi son

CINEMACiIC " I " ' I . < I I . I ~ bl mun.hl,bJST"RlOQ PRE3S. INC. 47' P.,k " .. .nue Sou'h . '- ......k , NY 1001(;. Thl' I_

I .. .., w21 (Volume 4. No. 3) . ISSN OOO9O·lOOO. Contenll. 1983 byST"RlOO " II ' I I I , ~ , ~ R.p<intOf p r o d u c U o n of any m " t ~ r l a l pa<t Of In " , h o l ~ ",It/>out ,..."nen I"',ml . . on hom the pul>llW" Is .e,klly ""blddw.CINEM"GIC atnpls no ,uponslbllky "' . unsolicited mlnu",.lp1s, phocos. an armhe, malerl" l. buill f_l"oa: $<Ibml't.ls ., e oKCOmponled by . self·addreSHd. stamped ~ " " " I " P ' " thq-wlll b/: <"On$lde,ed end , II n«UWry. ,,",u,ned. PJOd ·11<:1. adve"l",d ale not neao .. . l1y endo,sed by CINEMAGIC . and ""l' .Irw. ,""p'eoxd In edilo,lai < " O ~ "re not.....,., .. . lIy 1_ of CINEIoV.GIC. SubllC'lption ,.tes: $9.98 "' , one yea,{.I, 1.....s)deli"",...:1 In t"" (J S . CaN"".f\d

MUIco. io,elgn oubs<:flp l lon '1 2 .93 In U.S . I"f\d. only. f'le .. SUblc,lpttonl: ..,nd dl .. <:t ly to CINEi'I!\GIC. doSTMltOO PRESS. INC .. 47 , P.rk "YO..... Soutll. New yo.k. NY 10016. NOl1fkatlon of . " onlle or adclrul 0' rene .ol lsend 10 CINEM"GIC Sub.crlpllon Dept. P.O. Bo, 142, Mt. /oIorrl., It 61M4·0142. Po . tm.. er : Send larm 3, 7910CINEMAGIC. PO. 80 . 142. MI. /oIo"ls. IL 610'-4_014"2. Applkatlon to m,,11 seo:ond d" . is ptndl":ll ~ 1 1 ' i e w Yo'k , NY.n d other locations. Printed In (J.S.A.

7/28/2019 Cinemagic #21 (1983)


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7/28/2019 Cinemagic #21 (1983)


• • •

Custom Built

Spaceshipsand Towers

Iy A. SHARPLES

•

There is now such a wide variety of

plasUc disposable containersreadily at hand that one does not

have to look rar to find a suitable object

to form the basis of a model spaceship.However. when a rounded model design

of precise shape and dimension s isrequired, most modelmakers think in

terms of lathe work or look for the near

est equivalent to their design In the

form of it mode l kit.

This artide offers II simple solution

which will enable you to transform your

own basic spaceship drawing into adurable three-dimensional model.

The method requires a template to beshaped from one half of the drawing.The template Is then used to form theshape of a plaster mold, from which anegative fiberglass mold is made. From

the negative mold a very durable

fiberglass model is formed .For illustrative purposes, I decided to

construct a recognizable model- the

Rocketship XM as featured in Cinema·gic *1, Having no intent ion of using themode l for filming purposes. I have not

concerned myself with accuracy in

reconstruction, as this would have been

too time·consuming . The model can bebuilt in about two weeks of spare time,

including detailing and painting .Although the XM model is repre·

sented here. my intention is to show amethod of model construction which

wi l l enable you to build the basic round

6 ClN£MAG/C ·21

Figure 1

I \

••u

I 'nh n .H " . fr o . 0 ... ~ . l tof T 'U 1p", •M , d.. . . . , \I

" ' I , ,!nd fo r .aliI .. .. . lU "

l 11.. 10 d r ...... t. ..... .n. ce ._ 'n

of ,,... ~ - " ! ' tm11 d " " I .

e . 1ni!lc.tod) . wpa:ratl ... , . ..

'y o llal u l .

_ />rav!n, of ti l. . . . . . pac:.. .

"" , , '. .. l

t" " • , , 1 .. . . I!'"

... od to bo.ek

fro . MnnlU,. .

\Iht . ... I . , . rI . t bo ""nino of tho d .. I ... ' IIT'OUl11 . .. .....n ,.por ont o ,h i

. 10.. ol lol ' .. " l a.. . 011_ ,,"t bo __ t or .h I dl_,n of tl w

",,"por ba r I n " •• 1._. H th o ""apor bar Je 1_ In d l _ t o r . 'hoo .. th o

'_ epla ' ...... » .,Vld ba<.k by t" fr n a .'>0 • • n, , . .H,.. of ' M duvll\!: (..

J l l u t r a t d ) . 1'>.11 ,, 1"0 to '0 .. . "I l l N r . h In I . . ol ""1 010 t . 1_ .. Idu

,t..n 'h i o r lr l na l d•• l " , .

•

7/28/2019 Cinemagic #21 (1983)


structure or fuselage of a model of your

own choice and design.

MAKING THE TEMPLATEOnly the outline of half the drawing is

needed for making the template. I find

that sheet IIlloy (available from anysheet metal works) is most suitable formaking the template , as it is lightweight, does no t ru st and is easily

worked.The sheet alloy should be a l ittle

larger than half the drawing (see Figure

I). A piece of carbon paper is placedbetween the drawing and the template,

then, with the centerline of the drawinglined up to one edge of the underlying

metal. trace half the model's outllne

onto the template. The polished surfaceof the alloy should be gently rubbeddown with fine sandpaper or powderedchalk to allow the carbon tracing to

register.Using a jigsaw fitted with a metal·cu t ·

ting blade, cut round the outline tracedonto the template, cutting close to theline, but not actually on it . The edge Isnow carefully filed down to the l ine.

sanded down with fine sandpaper, thenpolished up with fine "wet or dry" paper(wetted).

The finished surface of the rocket'shull is only as good as the shaped edgeof the template. Extra care at this stagewil l save.ll lot of work at the final stage.Handle the template with care to avoid

damaging its polished edge.

THESHAPERThe plaster rocket shape Is built up on

a hand·turned bar which is fitted on toa stand. For want of a better name,

we will call th is bar the "shaper." The

shaper support stand also supports thetemplate (see Figure 2 and photos No. Iand 2).

As the bar must support the weight o fa two-foot plaster rocket shape. rdecided to make the shaper bar from

steel rod. I fiUed a handle to one end toallow the bar to be turned at a constant(slow) speed. For smlliler models, hard·wood dowelling would serve in place of

steel. End stops are fil led to the bar toprevent slide movement. which wouldimpair the finished plaster shape (seeFigure 3).

If the template used is large, it should

be reinforced at it s rear wi th timber. The

wood backing should be cut to allow 3 /a·

inch cle!Hance at the temp late cutting

edge and side clearance for the tern·plate to be secured to Hie sides of theshaper stand (see Figure 3).

During the final stages of building upthe plaster on the shaper bar, the tern·pla te may have to be removed severaltimes to be washed down between sepa·rate plaster mixes. Figure 3 illustrates asimp le method of removing the tern·plate from the support stand without

damaging the surface of the plaster

mo ld.

~ S h a ~ r bar and , tope

fillure 2. >- '!"emplate lIU:PPOrt een" .

RighI: flnlStling the plas·

lef bulkl'up Note thatthe template 1$ already inplace on the supportstand. The !inal coat orplaster Slloukl be a thin(runnlllll) mixture. The

surplus plaster spillajJecan be re·used whileworkable

figure3.IIolt , .. .Jhe . 5

..W ru t

l et!: StliPS of piasterembedded polystyrenecan be use<! in the initialbuild·up 10 conserveboth weillht and plasterFollow tIlese with plastersoaked striPS 01 heSSIan

--1IoeM! t ' '" l ' lat, boact ll1t

cu t back to ,/8" f:ro.tIM u"'I '1.ta ad"",

Cut Ol>t e lou on beth end, o r th e ttllPlaU .

1!<>W'Id MAd .e .. .. . ar e pe . . . . . .ntly fHtad to beth ,nd, of the

aIIlj»r nand .

" .. . Ctlt ou t l o c . H ~ n . l o t . on beth ,nd, of t!w Ullpl ' te '" plaead

o .. the ..,....... '1M U"'I'lu& h than pu..t",d "p'&!'dl &lid lockad

Into podHon .. lt h the .c .. ....Cut O\lt th b .. tlon or th e t e "Ph t t to anov ro r the aIIRpor ba r

end . top.

" RUNNING " THE MOLDThe term "running" refers to the pour·

Ing of plaster while turning the shaperto form the shape determined by thetemplate's edge. Wi th the shaper bar

secured to the stand-but without thetemplate being fitted at this stage-we

are now ready to build up the plaster onthe shaper bar.

To form a " key" to secure the plasterto the shaper bar. a strip of scrim . hes·sian or similar material Is epoxied to the!ihaper bar within the template's cut out

area. A thin mix of plaster of Paris or

casting plaster Is now worked into the

epoxied hessian strip. The initial shapeis now built up by dipping strips of the

hessian into plaster and wrapping thesearound the shaper bar. Using the shaperbar handle wi ll help to speed up this

stage (see Photo I) . Continue in this

manner until the plaster·soaked ban·dage is within IIz·inch from the tern·plate's edge when fitted.

Now fi t the template into position onthe support stand.

Make another thin (runny) plaster mix

and, while turning the shaper handle,pour the plaster carefully along the

length of the pre·bandaged plaster onthe shaper bar. An old pan is ideal forthis purpose (see photo 2). Th e surplusplaster sp illage can be re·used while

still workable .

CINEMAG/C ·2 1 7

7/28/2019 Cinemagic #21 (1983)


Agure 4. Randle t u r n e ~ in II.

c1oclNh e do i r n : ' : t ~ ' ; o ; n c : ; : : : C : ; : : : : : ; ' - l W o o ~ support stand

~ . L - 7 ~ w 1 t h fi t ted shaper bar

TRE SHAPF:R BAR AND S!'AI:n

' j ~ ~ ~ ~ ~ ~ Sld.e eect10ns are glued. an d screwed. to

the baseboard..

Figure 5.

A simple wooden support stand. is

glassed into position with C. S.M .

on the completed. n e ~ a t i v e ' half

of th e fibre ~ l a 8 8 e d mould.

" 101

Work fast. and remove and wash downthe template between mixes. Always

turn the shaper bar handle in one direc·

lion only, as indicated in Figure 4.When the plaster mold is finished to

your satisfaction. splash the mold with

clean water, at the same time turning

the shape r bar handle. This both

removes excess plas ter caused by swell·ing and polishes the plaster's surface.Remove the template from the support

stand.

If there be any minor faults on themold 's sur face (e.g. scratches or ai r

holes) do not attempt to repair these,they will be dealt with at a later stage,After about half an hou r the plaster

should have set hard and feel dry to thetouch.

With the plaster mold still resting onits support stand , two or three coats o fshellac (available from most paint sup·ply stores) are applied to its surface.A l low each coat to dry. If the shellac

proves too thick, it can be thinned down

with denatured alcohol. To eliminate

brush marks, use a piece of sponge to

apply the shellac. When the last coat isdry and the surface has a hard sheen.wax polish the surface with a non·sili·cone pol ish.

8 C/NEMAGIC "21

FIBERGLASS

MATERIALSBefore we proceed with th e fiber·glassing, I have made a l ist of the vari·ou s materials that will be required.

These can al l be obtained from afiberglass supplier (see Yellow Pages of

your telephone directory). Do not pur·chase fiberglass auto repair k i ts , asthese are expensive and unsuitable forthe job at hand.

For British readers. one reputable

mail order supplier offering a post free(Bri t ish Isles only) price list and freeinstructi ona l booklet is: Glasplies. 2Crowland Street. Southport, lancashire

PR97RL.Release Agent-Usually blue in color.

Meths. based. Dries in about Ih hour. Itforms a barrier between the molds toallow them to be separated.

Ca ta lyst or hardener -Added to theresins to afford a set. Follow the makers 'instructions for mixing quantities andsetting times,Gel Coat-A hick resin. Usually availa·ble in white or clear for adding various

pigments, including metallic. This isthe in itial coat and requires more cata·lyst than laminating resin. Takes up to24 hours to cure,

Laminatlng Resin -Fo r laminating

fiberglass C.S.M. (Chopped Strand

Mat).

C.S.M .-A s stated above.Fiberg la ss Sur facing Tiss ue-Verythin. For reinforcing gel coat.

Acetone-A solvent for cleaning

brushes. etc. Cellulose thinners will do

the same job.There are other materials (fillers,

retarders, accelerators, etc,), which youcan enquire about at your supplier.

Resins should be kept in sealed can·tainers and stored in a cool place awayfrom light. because heat and light wi l lharden them. Catalyst requires carefulstorage. Follow the manufacturer's

instructions carefully. Work in wel/·uen·

Ulaledconditions. Weather permitting, Iprefer to work outside.

GLASS NEGATIVE MOLDThe negative glass mold is cast in two

halves. Clay is formed around one half

of the plaster mold . The edge of this

should lie exactly half way round theplaster mold or you could have diffi·

culty separating the glass molds when

completed. A halfway line can be drawnaround the plaster mold with a felt·

tipped pen as a guide for the clay edge,With a sharp knife. cut two or three

tapering "Vee"' slots on the outer edgeon both sides of the clay, These locationnotches will serve to register the twonegative mold halves together (seephoto 3).

Sponge a liberal coat of release agentonto the exposed plaster half of the

mold, overlapping on to the clay edge.Allow to set.

Next, apply a liberal gel coat over theexposed plaster half of the mo l d,

including the clay edge and the cu t outnotches. A l low to cure.

A layer of glass tissue is then glassedonto the gel coat with laminating resin.First, brush a coat of resin over the gelcoat (you may have to tear the tissue to

form it around the contours); then brusha coat of resin onto the tissue. A lthough

I state '"brush ing:' what is really needed

is a dabbing motion, since, due to theconsistency of the resin, a brushing

stroke would push and lift the tissue.Allow the resin to cure,

Layers of the C.S.M. are now built up

on top of the tissue. There is no need to

wait for each layer to set. TheC,S.M. canbe built up with one mix of laminate

resin to at least I/s·inch thickness.Allow the C.S.M, to overlap and pro·

t rude past the clay edges.When starting to set, the resin turns

to a green color, and in this state thefiberglass can be cut with a sharp knife.Cut o ff the flashing around the outer

edge o f the clay.A simple wooden support stand can

be made. as illustrated in Figure 5, andfiberglassed into position on the now

completed glassed half mold. Turn themold over onto i ts stand and remove the

7/28/2019 Cinemagic #21 (1983)


clay. Wipe the plaster clean with 8 damp

cloth to leave no trace of day (see photo

4) then dry off with a clean cloth.App ly a liberal coat of releese agent

over the top halfof the mold and around

the Quter glass li p surrounding th e

mold .Repeat the glassing o f the upper half

of the mold as before and a llow maxi ·mum curing time before attempting toseplHete the two halves. Failure to do so

cou ld result in distorting the Sh8pe.

The two glassed halves are separated

(see photo 5). If you have difficulty sepa-rating them , pry between the edges and

pour boiling water into the seams.You mi!ly find that some of the skin of

the plaster mold has stuck to the inner

surface of the glllss molds. However, theplaster mold has now served its pur·

pose. Wash down the inner surface of

the glass molds with hot , soapy water to

remove the gel coat and any plaster

remains.Any minor defect in the surface of the

plaster mold -u mentioned earl ierwill now stand out on the inner surfaceof the glass molds. These can now be

gently sanded down with "Wet and Dry"paper (wetted). Dry of f the molds, waxpolish and apply a coat of release agent.When this has set, the two mold halvesare placed together, with the lIid of thelocating notches. Secure them with

belting or something similar. I opted touse 1I tourniquet (see photo 6). Do not

overtighten.Prior to construction, I was unsure

whether the opening at the base of themodel would be wide enough to allow

my arm to reach inside to glass the inte'

rior, so I worked out alternative meth·

ods. The f i rst idea \\,as to fill the inter·io r of the mold with rigid expanded

polyurethane foam. Two l iquids aremixed together to produce 1I foam simi·

lar in texture to polystyrene; bu t

whereas polystyrene melts on contactwith polyester resin, polyurethane foamcan be resin laminated. The mix

expandst025times its original volume.Supplies shou ld be available from yourfiberglass supplier. The finished poly.urethane model hull could be sandeddown, the surface resin laminated andthen painted in the usual mllnner.

A second method was to swi l l athinned gel coat around the interior of

the negative mold and allow it to cure.

Shredded C.S.M. would then be addedto 1I laminate resin, and this would alsobe swilled around the inferior . Layers of

th is would be built up, allowing eachswillillyer to set, to produce a thicknessof about I/a·inch.

For sma ller model s, one of the se twomethods could be use d. Polyurethaneopens up further possibilities. Unusu·ally shllped spaceships could be carvedfrom it . sa nded down and then resin

laminated.As it happened, the opening at the

base of the mold wa s large enough for

l__ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ § ~ halves are separaled

negative molds are bound (ogetller

notches Secure them WltfJ belt or somethlflgSImilar

me to reach Into, but not sufficiently forme to apply a tissue layer. Without this,there is danger of trapp ing air pocketsbetween the gel coat and the C.S.M.

I applied two gel coats to the mold

interior-allowing each coat to cure.The C.S.M. Clln be peeled of f nto layers.I laminated a thin layer of the C.S.M.next to the gel coat, then continued theC.s.M. build up in the normal way. Theflashing protruding from the base of themold was trimmed of f while "green:'

After curing, the negative mold

halves were removed. Apart from minor

flashing on the seam, which is usual.the mold was good (see photo 7).

Using this method of molding, therewill be a small plug of solid glass at theapel( of the model's nose. ca used by theshllper bar. Thisshould be filed down toshape, then san ded down with wetted"we t and dry" paper.

Sand down where necessary. Auto

cellulose putty can be used to fill in anylIreas of the glass hull as required. Sprayprimer. sa nd down, and pain t in the

usual manner.

After curing. the posi·tlve mold is rell1OY!d

ThiS flOW reqlllfe5 theflashing to be trimmedand sarn:led dO'Nn asnecessary. Auto cellu·lose putty can be used

to fill any gaps in the

hull

left: The upperhaH 01 the plas-

ler mold has

""iberglassed

and the clay

"" ".eoremoYed fromthe lower hal!.alter allowingthe fiberglass

klse!.

CJNEMAG/C "21

\

I

9

7/28/2019 Cinemagic #21 (1983)


Le ft: The

Rocketsiup XMhuP has beensanded and

painted in tileuStlal manner

and IS flOW pre·pared to!detailingRi!lh l: ThecompletedRocketsh lp XM

model

Below : The plaster tower mold Dn the shaper stand The template had tleen released. Note the

wooden bObbin end The method 01 transferring the deSign drawrng to the template Is the

Figure 6.

....in 18 formedaround and epoJl1ed

t o the ~ l ahaperbar to He centrally

in th e cu t ou t area

of the template.

10 CfNEMAG/C"21

I

' r Centreline Right

- - -- -

Figure 7.

When deeif11illf lJJly model ....hich

18 to be shaped in plaster ....1t h

a template , avo id ~ l e s vhich

art" 90 deerees t o th e :entreHne •

This vould make i t diff icul t to

aeparate th e template from th e

finished plaster mould.

The detail ing of the model was donein a manner similar to that described Inthe Rockelship XM art icle in CINEMAGIC "1 (see photos Band 9).

PLASTER TOWERSThese are both simple i!lnd quick to

make, and as they are literally throw·aways, they can be cast in plaster wi th ·ou t the need to make special glassmolds. The model tower (see photo 10)can be built at leisure in half a day.

The tower structure was made on the

shaper stand used for the XM model.

For plaster tower construction, the steelshaper bar was replaced with hardwooddowelling. The end stops were made

from a wooden bobbin. This was sawedin half and the two halves then epmded

to the dowel ling shaper bar. Again, hes·sian strIps were epoxied to the shaperbar to form a key for the plaster.

I designed the tower wi th a wide, thin

turret. to il lustrate the versatility of rein·forced plaster. The rein forcement is inthe form of twisted wire epox ied to theshaper bar to l ie centrally between theturret cut out on the template (see Fig.

ure 6). Plaster·dipped strips of hessillnare then wri!lpped around the wire.

At th e drawing stage of the tower

deSign , allow all proj ected angles to

laper slightly inwards as indicated in

Figure 7. or you will have difficulty in

separating the template from the plas.te r mold . resulting in a damaged

model.

The method of transferring the draw·ing to the template is the same as thatdescribed earlier for the XM model.

Also, the plaster build·upon the shaperbar is the same as that applied to thefinal stage of the XM plaster hull.

When the plaster bu ild·up is com·pleted and the plaster has been allowedto set hard, the dowelling directly abovethe tower head is sawed off . This ca nnow be trimmed . either by f itting a pre·determined plastic cap, by shaping overwith plaster, or by any o ther means youmay decide on. The dowelling at the

ba se of the tower is sawed of f to within I ·inch of the plaster base. A hole of thesame diame ter as the shaper bar dowelcan be drilled in the baseboard o f a min·iature se t. so as to support the plastertower.

The plaster would normally take a few

days to dry out, but this would delayfilming. To avoid this. you can pllinllh .tower half an hour arter completion bysponging a few coats of shellac onto Itssurface. When dry, it can be spraypainted in the usual way. You can alsopaint the undried tower with emulsion ,but the first coat should be t h in,

because of suc t ion. and should besponged on.

You wi l l have di ffi cu lty repairing anydefects in the plaster tower's surfacewhile the plaster is wet. In such cases,apply a little thi nly mixed plaster to theoffected area of the tower whi l e t he

7/28/2019 Cinemagic #21 (1983)


tower isslil l damp. Wai t unt il the plasterdries out completely and t hen sanddo wn wi th fine sandpaper f itted to a

sanding block.If you wish to give a coarse fi nish to

the tower"s surface. first seal the surfacewith shellac. When this has dr ied. paint

a coat of gl ue over the tower and sprin.kle f ine. si fted sa nd onto the glued area.Th is can be left as i t is or sprayed asdesired.

To create the effect of in ternal l ight ·ing. Scotchli te strips can be fitted overth e window areas. Frontal l ight ing will

then ma ke the Scotch l i te window stripsappear to be internally lil. With a beam·sp li tter mirror you could even project

images of people in to the Scotch ite

window area.

MODEL SA(JCERSUsing the techn ique described here. I

have built two model saucers, both cus·tom designed.

To have constructed both t he XM

model and a glass saucer for illustrativepurposes would unfortunately havebeen too cost ly and t ime consuming,

Figure 8.THE SA'lCER T ~ ' J ' E S

DR ...... Ilr. OF TR"" '\AIleE!! O'J'l'LII:E

..... wit h th e XI' ltIOdel, only half of th e outl ine of th e Baueer dedrn ia reQull"'d

fo r wi l l i ' th e templ"tu ..... th e .alleer h moulded in twCl h . l v u , centl"'linea

are d ....."" t h r o ~ th e vert ical and horizontal pl"Tlea of th e dr awl""" tIN.

" p a r a t i ~ th e two halv'iII In N'lIparatlon fo r th e template. .

Figure 9,

DI . . . . . . o .. ..... depondem. on ..,del ,h .

REAl! VIE\.' OF S?APER

braee&

ShapeI'

heel

but I will guide you through the variousstages o f model saucer construc t ion

with diagrams.Saucers. domes and similar shaped

objects require a different molding

technique from that men ti oned earlier

for vertica lly shaped spaceships, but themethod of fiberglassing is the same.

The saucer is constructed In two

halves. each half being built separately.On completion. the two halves areglued together. The method of making

the alloy templates for the two saucerhalves is the same as that described formaking the XM template(see Figure 8).

THESHAPERThe XM plaster molding technique

required the template to remain staticwhile the plaster revolved. The method

of plaster molding for saucer modelling

requires a more orthodox 21pproach.whereby the template is turned to form

the required shape and the plaster

remains fjxed.The plaster is 'keyed' on a baseboard,

onto which the plaster Is built up.The Shaper(see Figure 9) is fitted to a

center pin on the baseboard. on which itturns to form the plaster to the shape of

the template .First make the two shapers to support

the templates for the upper and lowerhalves of the saucer. Drill small holes inthe templates and nail the templates to

the shapers with panel pins.The two accompanying baseboards

are now made complete with centerpinsand plaster 'key ' pins interlaced with

string (see Figure 10).

R(JNNING THE MOLDSThe hole in the shaper toe-piece is

' l ; : ~ , > < ' ; ; ; ; ~ ; : ; ; : ; : ; ; : ; : ; ; : ; : ; ; : ~ ; ; ; ' ' ' ' u ,placed onto the centerpin on the baseI board (see Figure 10) and plaster mixesare poured onto the baseboard while

turning the shapero Turn the shaper inone direction only. The side of the

shaper with the template fitted to it

determines the direction of the turn.

Right·handed persons would turn theshaper in a clockwise di rection, so thealloy template would be on the side of

the shaper which pushes against theplaster.

Tb.ber cut ba:k fml l l

th e tel:lplate edpe

'!Irace --:].. ~ I n : : : V P . ; ' ~ ' ('IF S " : A P ~ R l ? a r cre es eection of I!Ihaper~ = II ~ ~ ! ~ ~ ' l ~ ~ l e : n ! n ~ l ~ h ~ r . ~ ~ l o ~ .

A hole 11 drilled In tl>ll

& ~ a p e r \lIt"! panel rln

_ "'---'---' +---'+leel o f shape r

"'oe piece - f O n : l e ~fro", ~ h e e t a l loy .

'l'h!6 .h oul d be f i t t edt o th e shap"'r pr ior

to f l t t i r . r th e te" 'plat t ,

tOI Jllece c lon t o .!,!It,- R 9 l - I - ~ -temJllote , ---- 'timber .....bated Tor

The hole in th e alloy th e tCle pieoe t o

he illece 18 f itted o n t ~ a llClw th e templat eto l i e f b sh wit>:

t he cent"pln on the th e ti", '>er .

bo..ebc.nl,

The cent .. ahgu}d

l ine up nr.ct ly to the

end of the umplate,

ro.m VI£'. '

The initial plaster mixes to build up

the bulk of the shape should not be thin.but as the shape nears completion, usethin mixes. Wash the shaper between

mixes with clean water.As with the XM plaster molding,

when the shape is to your satisfaction.splash the mold with water while turn·ing the shapero If on dose inspection

you notice any pin holes. apply a wateryplaster mix while turning the shaperoRepeat this procedure with the other

baseboard/shaperoAllow half an hour for the plaster to

set hard. then apply 2 or 3 coats of shel·lac. until you have a hard sheen. Allow

the shellac to overlap onto the base·board by around 2·inches.

ClNEMAGJC

#2111

7/28/2019 Cinemagic #21 (1983)


Flgufe 10,'!'fIE 1 ! A ~ ! : ! ' O A R D ~ ~ 1 l C!':JIl'R!:J'JI:

Direction or t\U"l'lFlgufe 11 .

' " ' > " - ~

C.S. l'! .

n ...hi""

viel, ( a pp",,,)

ou tu d . o fMPU " , .. lel.

Dr . . . . tulde 11 .. " . ....y rroa th e ad, . of th e . . ,uld

vl l l h t t he , l a .e I . '!r",n ', cu t thmugtl .1olljJ thle 11ne

vlth a .tu:rdy hobby knife . Pu l ot t an d dhe&l"C! tile

outer r l .. II1\f1:•

...110 . IWI l _ curing It _ boor,,", uparat i"", th e gl...

neo:.tlve .. ,l d fm . th o pla . .e r o u t .

TOP nEIl o r T!'!"!; s!!A}'!-ll BASE!'OIJ'D \ll'I'H '!'l!!: S!UPEJ!

rl'l"!'::D '!'O '!'lIE CENl'R!:PIII ,

' I ' R ~ J N C THE KltllJl

Fgure 12.

c. s .l'!. n . ~ " . __--f-,;1- .. Id e o u ~ e r1 a of

""IP"Uv ..,.,ld . ------,f¥Tho n .. . 1VI: 1e cu t ( ' . ~ I : l

Th . «""'r!" 4 .. . .... bo ...... 1,,,,,,,, In ".'oht , ., . hO< ." . '0 .

r "" . . . . . . On .. . to . of ." . '0"'" ... . n "" . Itlo.,. ' ""'" 'M <on" • "'

• •oa !N .h., _ on .. '. _ ....... &nO . . . .h." , .M ohopo. '" • do < ' -

,, ! . . 0'1"0<"'" , 'M n u.. ""Pl.. . . . . . bo f l u . ' '0 .... ,.ft_l>ano! . . . .• f ,,,. .h . , . . , .. n l ~ ' \ T " " ,., Ih........... .. ",.110 • . , . . ,,. .•• .

pl.".,.M o<......... . . . o. 'M ......" ' . ' " . . . . . 11"" th , "".".p,n "' ... V,. "",.... '110 • ,. ,,'<4 of .... ""PO" r"" ."", 'h ' .h",,, on t b t.o. . >o.,.."

_ .,1.,. .... boo. ·""".f h. _"PO' not on , ho ....."' ."'. n.L. wI ll

. 11"" . 0 ..... .. f.. . f " "" ' " )'Ou run .h . pI .... . 0 • ..,

, . . . .n) to th e level or

th e outer g la . r t. o r

Leu . a •• 1 tw ' o f

\h e naohlll( uncut .

' l 'hh lo uo&d t o auht

In PJlllnt tho pOeltl ..

mould . way rro . th e

negstlv. ""uld . fU r

""'' ' ' ' ' ' ' .t,nIO "'"' ",vo,, ' .110 ...... " . f ,h . " ' ... , . roo•• 10 ", . .

I.,. ""tI." ... _to .. . ..,oo,,,,.allo .1".. """,t . .a c . ln t timo.

THE NEGATIVE MOLDS

When dry, wax polish both plaster

molds. App ly a heavy gel coat, againoverlapping on to the baseboard. Followwith a layer of tissue. Allow to cure, andthen build by C.S.M. to a thickness of atleast I/e·inch on both molds-not for·getting to over lap the C.S.M. onto the

baseboard.

When 'green: cut off the flash ing sur·rounding both molds on the base·boards. Cut th is back to around 1 inch(see Figu re \1).

After allowing maximum curing

time, release the glass mo lds from theplaster. Wash out with hot, soapy waterto remove the gel coat and any plasterremains.

Inspect the inner surface of the molds

and run your f ingertips around to feelthat it Is smooth and f r@e from defects.Any minute pi m ples can be l ightlysanded down with wetted 'wet and dry'

paper.

12 CINEMAG/C·21

POSITIVE MOLDS

The inner surfaces of both molds arenow wax polished. A coat of releaseagent is applied to each inner mold sur·face , overlapping onto the rim su r·rounding each mold. Allow to set.Brush a liberal gel coat onto the releaseagent and allow this to cure.

Continue the glassing of the inner

molds in the normal way. first with a tis-sue layer, followed by a build·up of theC.S.M. Do not allow either of these tooverlap onto the outer rim of the nega·tive molds . The tissue and C.S.M.should protrude past the rim.

When the glass is 'green: cut of f theflashing level with the rim of the nega·tive mold (see Figure 12). It is a good

idea to I@ave an Inch or so of the flash-ing on each of the molds. This givessomething to grasp to pullout the inner

mo lds when cured.Again, allow maximum curing time.

When cured, separation of the molds

will be eased by gently puiling back thetuft of flashing which was left on, andpouring boiling water into the seamsbetween the molds. When separation is

completed, carefully saw offthe remain'ing tuft of flashing with a fine saw.

Now place the upper and lower halvesof the saucer shells onto a level surface,such as a table top. to ensure that eachmold is lying flat. Any protuberant

areas can be carefully filed down. Thetwo sa ucer shells can then be glued

together with glass resin or an epoxyglue.

Apart from any minor fi l ling, sandingdown and painting, the saucer mold Isnow complete. Should you wish to fiteither screw·in legs or support bars (forf1iming purposes), this can be done

before glu ing the two halves together.Holes are dr i l led In the predeterminedareas of the saucer's huli to the diame·ter of the rods to be used . Behind eechhole, a threaded nut Is fiberglassed intoplace with C.S.M.

7/28/2019 Cinemagic #21 (1983)


Designing your saucer with II removable do me wo u ld t ltlew access to fit Interior li ghting (see Figure 13). This cou ld

be done using fiber optics. You couldalso dr i l l portholes around the base of

the saucer and fi t 1I piece of colored gelbeh ind them. Kenne th Walker's verynovel light- flasher circuit, as featuredin CINEMAGIC ·3 , cou ld be used to crea te a rotaling light e ffect behind th e

po rtholes,

The removable dome on one of mysa ucers was sprayed matte white on the

inside and the exterior sanded surfacesprayed wi th clear gloss to show th e nat-ural underlyi ng f iberglass. The effect is

unusual Bnd we ll worth trying.

The size of the shaper is dependenton the size and shape o f t he model youdecide to build . The thickness of thelayer o f C.S.M. is also dependent on

this. The size cou ld vary from a sub·

miniature to a three· oot model.The me thods and mate rials de-

scr ibed in th is art icle are intended to

serve only as a guide l ine. With a little

imagination, you can make a variety of

futurist ic mode ls and props by using

ei ther o f these techniques, or a combi·

nat ion of bo th Imagination is the magi·cal key word in al l departments of

special effects. We all require just that

litt le spark to start the wheels of imagi·

nat ion into mo t ion. That is what our

magazine,CINEMAGIC.sets out

figure 13 , DETACHABLS SAUCER DOMR

SA'J::ERDRA'oIlNC

C O ~ p & r e with DU . S

SAUCER T ~ L A ' l ' E

When it is deBirable to have eccen into th e !JIOdel eaucer ' , interior , 1n

order to f i t U(htl l l f ' :, etc . , th e drawll1g elUl be 'imply amended to allow

f or this. The template fo r ehapin( th e botto . halr or th e taucer remai,.

th e lame .. Ulultrated in DU.&

Riglll: This saucer mode! leaMes screwin legs SI1ouId)9U lles/re 10 fit ~ i t h e tscrew-in legs or supporl bars (for filmingpurposes), this can be done belore glUingthe I'Ml h a l ~ e s together by drilling hOles

and fiberglassing a threaded nut InlOplace With CS M

Above; The wilipleted plaster \oWer. Th is

toNer was designed with awide, thin lUI'ret to Ulustrate tINl v e r s a t i ~ t y and strength

01 relnlorud plaster There is 00 need tomake a iberglass mold in order to createtowers of this sort. Simple detailing wasdone Wllfllflill black adhesive tapeleft: Ckle of the saucers made by tINlmelhod described in Iflis article Each half01 the sallCer is made separately and thenthe two halves are glued together.

7/28/2019 Cinemagic #21 (1983)


EROFILE

Deborah Von Moser:

Video Artist

The video revolution is upon us.Many artists who would havechosen film as their medium in

the past have turned to video in recentyears for a number of reasons. CINEMA·

Gle is keeping up with the l imes bybroadening its scope to include video aswell as film production . This year's

CINEMAGIC/SVA Short Film Searchwill have a special video category forthose working in video instead of film .

Among the artists who have turned to

video as a means of self expression is animportant young video artist named

Deborah Von Moser.

By JOHN CLAYTON

J,

!i,I1

'" started creating visual stories by

making animated Super·S films. begin.ning when Iwas about sixteen:' Deborahbegins. " I worked with both cartoon and

clay animation. using a Super·S Botexthat my family owned, For some reasonIhat I really can't explain, mO'it of my

earl)' work with cartoon animation

invo lved water stor ies-most of the

characters were fish , I even made a nlm

in high school as a class project that

sho'W'E!d how water gets from a reservoir

to your house, Each of the five ani·mated Super·8 films I made in high

school were about five minutes long

and they each took an average of amonth or two to make. Some of theseearly f i lms had feminist themes,

, was an ardent feminist at the time ,

Many visual artists are turning lrom the silver screen to tile smaller 't'ideo screen. Von J

'" got interested in video in college;'Deborah continues, "1got a job working

in the school library at about the time

when pOrlable video equipment wasbrand new-back in the early seventies.The library bought a lo t of video equip.ment-just to be in vogue and keep up

with the times I guess-because no one

else on the staff seemed to be interestedin using it . The equipment just sat in

unopened cartons until I decided tolearn how to use it. I became fascinatedwith the immediacy of video, I automat·

ically became the library's video personand working with the video equipment

became the most important part of my

job. I was studying communication arts

and sciences in school at the time, but

the television classes involved learning

how to operate in a studio situa ti on in

the school's television studio, They

weren't teaching anything about how to

work with ENG (Electronic News Gath,ering) equipment at that time , (ENG is

14 ClNEMAG/C #21

Moser at the video eclillng iacllihes oillfooks Hams 's Mo1or Video CorPQfation In New York City

the term for portable video equipment.) tran computer language. I went over to

" Ahercollege I go t a job at the Mercer Dolphin very late at night after the stu·Arts Center in Greenwich Village. They dio was closed and spentlhe night add·have a performance theatre called The ing al l sorts of colorfu l twirling spiralsKitche,. . I taped live arts performances and keyed computer animation effectsof dancers and musicians, We taped to the black ·and·white tape of the musi·

people like The New York Dolls (a punk dans. One of the engineers at Dolphin

rock band), so I guess you could say that who was very interested in computer

we were among the first people to make animation set up the fortran program

rock videos, Of course, beck in the early for us so we could add the effects byseventies the equipment wasn't nearly turning a console of dials until we liked

as sophisticated as It is today. There the results. I thought the musicians

weren't any portable color VCR's like would love what we had done to the ir

they have today, We shot half· inch black performance tape, They were horri f ied.£, while reel ·to·reel tape. It was even They felt I had ruined lheir music,

before video cassettes were introduced. " I really hadn't thought about the fact"The first tape I made at the Mercer that I may have been using speCial

Arts Center " Kitchen" laught me a lo t effecls just for their own sake and just

about how important content is as because these analog computer anima·

opposed to taping Jus t for visual style;' tion effecls were new and different.

Deborah admits. " I made a tape of a Deborah confesses. " As a result of that

group of Indian musicians that called experience I started to make documen·

themselves Vasant RaL I took the origi. taries, because I became very involvednal black·and·white video tape over to with content as opposed to just making

Dolphin Studios and colorized It with tapes that were just visually artistic. oranalog computer animation on their course I made sure that my documen·

RutVEtra synthesiz.er, This was back in tar y tapes looked and sou nded good

1973, when Dolphin Stud ios was doing and were o f professional quality, but Ianalog computer animation with for· concerned myself more with the subject

7/28/2019 Cinemagic #21 (1983)


matter (nan trying to experiment wuncom puter animation or any of th e other

video special effects that were new atthat time. One of the things that was so

excit ing to me when I became involvedwith video wa s that it was a brand newmedium and you could become aninstant expert. A young artist working

in video at that t ime could be just as

experienced in the medium as a mucholder artist. becau<;e .. II o f the equip.

ment wa s brand new.

" At about th is time I became involvedwi t h a film s tud e nt na med Dimitri

Devyatkin who was studying at the Mos-cow State Film Institute in Moscow;'Deborah continues . " He had a porta-pack when he was a student over thereand he managed to bring some of histapes back with h im . He developed

some opportunities to go back to Ru s·

sia and do more taping. I started work ·ing with him on t he project and werai sed some money with the help of

Nam June Paik. who is considered thegrand daddy of video artists. I becameassociate producer on the project.

which was co· produced by Dimitri andNam June. While we were developingthe pr o ject, it became necessary to

place a lot of phone ca l ls to Moscow. Ibecame convinced that we were beingmonitored by some American intell i·

gence agency, probably the F.B.I. or theC.I.A. We had to call the operator and

say we needed to place a call to Moscow

and the operator would ca ll back and

tel l us at which time that night that thecall could be connected. I'm sure thatAmerican in tel l igence became very

curious about our plans o f br in ging sur·veillance equipmen t-which al l video

eq uipment is-over to Russia and

bringing video tapes back. We didn 'thave any trouble for about two years,but then ou r tapes were confiscated bycustoms at the end of a trip. We had to

go down to customs at the World TradeCenter with resumes. b roch ures and

magazine articles to prove that we werevideo artists and that we were making adocumentary and not involved in anykind of esp ionage. Once we had

explained ourselves th ey gave us the

tapes back , which was very fortunate

because we could have been forced to

wait six to nine months for the customs

"The show we compiled wa s calledMoscow New York Shull/e. because we

jux taposed scenes of everyday life in

Moscow with scenes of evef}day life in

New York City. Although our budget

didn't allow me to go and shoot in Mos·cow, I did a good deal of the New Yorkshooting. rhe show was broadcast on

the National Public Broadcasting Sys·tem network (PBS) as part o f their Visaseries. There was a lot of abstract and

computer imagery as well as live docu·mentary footage in Moscow New York

Shutlfe. We also made another tapecalled Do the Russians Want a War in

which we interviewed people in Gorky

Park in Moscow and asked them if theAmericans wanted a war and we askedpeople in Washington Square Park in

New York City if the Russians wantedwar. We found that most people felt thatthe other side wanted a war.

"In addition to being associate pro·ducer on MoscoUJ New York ShuUie andhelping get the project financed, collab-orating on the script and working on allaspects of developing the project fortwo years, [also did the conceptual edit ·

ing;' Deborah confides. "The final cutwas done on two ·inch tape at the NET

studios. (NET is the New York PBSaffili·

ate .) I worked on Moscow New York

Shu/tie from 1975 to 1977."Du rlr'lg thot time I also made several

o f my own documentaries ' Deborah

continues. "1made a tape ca ll ed Shakeby walking down 42nd Street in NewYork Ci ty and interviewing al l of th ebizarre characters on the street. I talkedto hookers, pimps, do pe addicts andeven little boys who were hust l ing mid·

di e-aged homosexuals so they cou ldmake spend ing money. I also made a

documentary called Why Do WomenHaue Plasfic Surgery in which I inter·viewed women before and after they hadnose jobs. There are some pretty

graphic scenes in this tape showing awoman's nose being meticulously bro·ken by a plas t ic surgeon. I also inter·viewed the plastic surgeon who

performed th e operations and askedhim how he felt about altering peop les'looks and whether he thought cosmetic

surgery was morally defensib le. I alsomadea tape about a body building com·

petition featuring Arnold Schwarzeneg.ger and lo u Farigno .

" [ was also an associate producer on

ano ther show co· produced by Dimi t riDevyat k in and Nam June Pal k th atcame ou t of our Moscow New York Shu/·/Ie work . The show was caJled RussianSoul and it featured reports on experi.mental educational techniques in Rus-sia using psychic suggestion and it alsofeatured a report on the work being

done with Kirllan photography in theSov iet Union. We were invited to showRussian Soul at a seminar on KirHanphotography at the United Nations. I

also acted as a production assistant onNam June Paik 's You Can'l Lick 5lamps

[n China, which shows what everyday lifeis like in the People 's RepublicofChina.

" It 's very important to get your work

shown;' Deborah stresses. "A tape 1made using Brian Eno 's music as asoundt rack (with his fu ll permission, of

co urse) and featuring computer

enhanced color images of New York har·bor was shown at the Museum of Mod·ern Aft in 1977. I've also had shows atThe Kitchen, Global Vi llage, Anthology

Film Archives, the video section of theBerlin Film Festival. many ot her fest!·

c/NEMAG/C ·2 1 15

7/28/2019 Cinemagic #21 (1983)


vals and several of the rock clubs in NewYork City. Showing your work can leadto new opportunities. A producer saw

my Shake tape of the pimps and prosti·tutes on 42nd St reet at a show at

Anthology Film Archives and hired me

· to produce a tape called Slcalebeard

Louer. I was flown to Los Angeles and

spent five aJl ·expenses·paid weeks

making the tape. which featured skate·board champions performing their

remarkable feats on a special course.

The soundtrack of SkateboardLouer is asong of the same title that the recordcompany that commissioned the tapewas trying to promote. The tape wasshown at skateboard conventions. It was

a great experience.

"While Skateboard Lover was being

shown at a skateboard convention while

I was still in California, I happened upon

another adventure that provided the

subject fo r my next documentary,"Deborah reveals. "1 was walking

through the parking lot of the conven·tion center wearing a "f.shirt showing an

elephant on a ska teboard and three

guys ran up to me wanting to knowwhere I got the T-shirt. As it happened,Ringling Bros. and Barnum and Bailey's

Circus was set-up next door to the skate·board convention and the three guys

who ran up to me were the elephant

trainers. I exchanged a fewT·shirts for a

pass to get into the circus show and

behind the scenes that night. They told

me after the show that they were moving

on to San Francisco the next night. On

the spur of the moment I got the bright

idea of asking them if I could go along

with them , and they offered mea ride on

the tmin. I came back the next night

wi th a small suitcase and my black-and·

white portapack, which I had brought

with me to California. (The other pro·ductions mentioned in this article

except fo r those sho t at The Kitchen

were shot in color.) It turned out that the

ride I had been offered on the train wasin the stock car-with the elephants. A

couple of mean·spirited girls who

worked with the circus even told me sto·

ries about how the elephants had beenknown to pu sh people out of the stock

car with their trunks. I sat on the stock

car for the entire 24 hour ride to SanFrancisco with 22 elephants. They did

try to kick at me a few times becausethey cou ld sense that I was afraid of

them, but they were chained in place.

The chains that were keeping the ele·

phants from getting too close to me

really weren't strong enough to hold

them. I fs a good thing that the ele·

phants didn ' t know that!

"1 ended up producing a short docu·

mentary on the elephant act and it s

trainer. Barbara Woodcock. whose famil y had been circus elephant trainers forfive generations; ' Debra con tinues. "1

was with the circus for six weeks, and bythe time I left I knew all of the 22 elephants by name and had traveled all

over the West Coast with them. I had tosell peanuts for the ci rcu s in order to beallowed to ride on the train with them

because they required you to do some·thing for them if you wanted to travel

with them. Other people who were rid·

ing the train would make selling pea·nuts a full time job. Assoon as they sold

a tray of peanuts, they'd go get more. Assoon as I had sold my first few bags of

peanuts I ran and got my portapack and

set·up to tape the show.

"When I got back to New York I did

Ascene from Skateooard LMr. Deb<lrah was Hown to L.A . and spent five weeks makin!l tht program.

16 CfNEMAG/CII21

v,"CorporatiDflln New York City.

some freelance as a camera operator on

some rock video shoots;' Deborah

remembers. "1shot Joan Jett. Meatloaf,The Waitresses, The Ray Beatsand a fewother groups. The rock videos I shot

have been shown on the cable music sta·

tion, MTV."1 also worked for a year from 1980 to

1981 as curator o f the video programming at the Mud Club, which is a rock

club in New York. I set up the video system , showed myown work and go t o ther

artists to show their work. It was a lo t of

fun to have people come down late at

night. havea few beers and watch videoswith a good sound system and a great

socia! atmosphere. I met a lot of interesting people during that period. !t wasthe beginning of rock video and video

in clubs and it was very new and differ

ent at that t ime , although now if s an

expected part o f the rock club scene. Itwas very successful at the time. the cli·

entele was a Soho crowd and it becamea very stimulating social scene. The dif

ference between the Mud Club at that

time and the other rock clubs was that Iwas able to get the artists a decent price

for showing their work and the other

clubs got away with giving the artist a

pass to get in without paying admission

and a couple of free drink tickets. The

Mud Club doesn't even show videos any·

more because it became too expensive

a proposition for the owner. The other

clubs still show video, and rye shownsome of my workat Dan ce teria, but theytinn', W?in' 'n p?iy Vf>ry milch . I m?ikr. apoint of insisting that I ge t paid fo r

showing my work-even if it"s only a

token fee. This is my profession and Ihave to make a livin!1 at it. rYe foundthat if you hold out. even the most reluc·

tant exhibitor will come across with a

small fee. The rock clubs have become a

good forum fo r video artists, but there'sno money in rock clubs for video art·

ists-and there won't be in the future

either. Most of the clubs tr y to get away

with just showing the promo tapes sup·plied by the record companies, because

A

7/28/2019 Cinemagic #21 (1983)


· I started to create computer ani

mated logos for the New York rock

clubs, but I found ou t that they didn't

want to invest the money in that type of

promotion, I created a computer ani·mated logo for the Peppermint Loungeon the paint system of the Dubbner

eBG (computer based graphics) systemat Digital Effects in New York . I have got·ten to know the people at Digital Effectsvery well over the past few years and

they've been very kind in allowing meaccess to their Dubbner paint system atnight-about midnight to six in the

morning-when no one else is using themachine, The Dubbner is a very com·plex and expensive machine-it costsover $100.000-50 it isn't easy to getaC(:ess to one. I want to concentrate on

computer graphics at this point and Iwant to get more t:xpt:! icnce on theDubbner. The Dubbner isn ' t "user

friendly", which means that it 's a verydifficult machine to learn to control. Ittakes at least three to eight month s justto learn how to begin to tap the poten·

tial of the graphics you can create on aOubbner, I'm learning how to fully oper·ate a Dubbner now and I feel that it's adirection I want to explore, The digital

paint system on a Dubbner has about

26 0 diHerenl colors available in the pro·

gram, It' s called a palette because youcan mix colors the

red. green and blue "tablets" on the

color monitor, Th e paint system Isbased on a sensi ti zed grid that you drawon with a sty lus. The computer recordsthe outlines you draw and fills them inwith the colors you program into it.

' 'I'm presently working on producinga one,minute digital children's cartoon:'Deborah continues. " It's about a hero-ine with supernatural powers who canblind her enemies with blasts of light.

Most of the cartoon will be shot as cellanimation on 35mm film and transfer·red to video. but parts of i t - the lighteffects and t i t les-wi l l be created

entirely on the Dubbner paint system.I'm working with an illustrator namedJoseph Nechvatal on this piOject. I'mhoping that I can turn the cartoon into aseries for short spots on cable stations.

"I also edit video. and I may edit aDavid Johanson movie, David Johan-son is the ex- leader o f the punk rockgroup The New York Dolls, who hasembarked upon a solo career. I've

enjoyed working on the rock videos.The performers are generally very pro·fessional people and they're all fasci·

nated with video now because rockvideos have become such II vital force inthe record industry that their careersmay eventually depend on how well theycan promote themselves with their

video tapes, Everyone in the music

industry wants to have a hit video on

MTV.''I've avoided taking a specific job In

the television industry because you areforced to specialize and you become

what you specialize in;' Deborah con·fides. " I had a job fo r a while doing

sound on the Mets games forWQR·TV inNew York City, but I didn't want to be

labeled as a sound engineer, I was alsooffered a job shooting for CBS News,but it would have been 60 hours a weekof nothing but camera work and Iwouldn 't have had time to work on my

own projects. I like producing my owntapes and on al l aspects of the

I

Vldeo documelllillY, Shake

trad es when it comes to producing

video tapes, and I feel confident on

working with al l aspects of product ion

in the 3/4'inch format that I produce in.The larger formats require a higher

degree of specialization, and I'd hire

technicians to work with me if I were toshoot anything in one· nch or two· nch,

but I haven't found it necessary yet. My

emphasis now Is on computer graphicscreated on a Dubbner and producing

my digital video cartoon and hopefu ll y

getting it developed into a series. Eventhough it's basically a children 's car·toon, but J think that the graphics andvideo effects will be exciting enough 10

entertain adults as well. I'm also cur·rently being considered for a fellowshipfrom the National Endowment for theArts that would allow me to go and

make videos in Japan for a year. and ofcourse I'm hoping it comes through

because it would be fantastic to be ableto study the Japanese people and their

culture and record my impressions onvideo. My advice to younger video art·ists and filmmakers is to work as hard as

you can. produce as many programs aspossible and get your work seen asoften and in as many places as you can:'

Whatever lies in store for DeborahVon Moser, one thing is certain; She will

always be a serious artist with a firm

commiltment to her art-and her video

7/28/2019 Cinemagic #21 (1983)


-rFilmmakers'

EORUMA regul . r depu tmen t devoted to re lder . ' comment. . . bou t f l lmmlklng, the ir problem. and solution • .

Miniature Snow Base with blood lind movement of filrr.!: due to mail error or ac· 08108) an d th e Craoen Backwin·• . . I'm producing II James Bond I'm 28 yellrs old lind for the cident. The utmost care will be der (tlvlI!Jabie {rom Halmar. Box

thriller. At the beginning of the pu t 15 year! I've laught given to t!lIch and every film in 474 Lewiston. NY 14092}. Bothfilm an entire Uni ted SillIes post, myself this craft. If there lire ou r possession. Send II S.A.S.E. are {Inc products. See lire article

located in AnlarliclI, ge ts de- IIny IImllt",ur filmmakers In (number IOslle) to: on backwlnding Super.BIn CINe-stroyed by II deadly new Spectre the Michigan area who are No rth eastern Pe nnsylvania MAGIC -I . A review 0{ lhe EWAbomb. I'm going to use a making a film that requires Filmmakers' Society SSB backwinder appt.'lUS In

miniature snow base and mlnill ' the skills of a special effects P. O. Box 61 CINEMAOIC -J.A reolew 0( filetun:: effects. Do yOll have any in- mllkeup artisl , please call or Ashley, PA 187 0 6 Oaven bac/cwinder appears Informlllion on conStructing a write me li t the address ONEMAOIC -18.

minillture snow bllse? below.

Steven Y lgdor Joel Risberg New Film Club Computer Animation20 Delano 'w e. 15376 Wilbur Ct. -7 1 .. ,Attention filmmakers: Now . . ,I 'm interested in finding andRevere, " 'A 021 5 1 Redford, " 'I 48239 forming II club for Individuals communiclltlng with people us·

(313) 53 8 · 1737 wilh specill! interest in science ing computers for nimmaklng.1

· . . Try using baking soda fo r fict ion lind special effects film· used lin Apple l i to create titles,minlalwe snow. Don', use (lour

Mean E.T.making. The club will be involved credits and special effects ani·

because il s poientfaUy explosive, . • . I'm a Super·8 filmmllkerin al l upects of f l Immaking- mation for spacecrllft Instf\lment

Wear II {//Jer mask.so you don'lwho is trying to advllnce Into

writing the story. scripting. set displays In the CINEMAGIClSVA

breathe tile baking .soda dusL See the 16mm format, and I'd lip ' building, elIsting. directing. etc. award winning film, ASl.eroid (see'The Modeimaker's Handbook".precillte any suggestions

The go"lls to produce" fUm CINEMI\GIC -16). If you have anpublished by A. Knopf, (reviewed

from fUmmllkers who'vemllde well enough to be sold to Interest in computer lInlmlltion

in CINEMAGIC -19) for ln /orma'mllde this trllnsition.

network or ca ble TV, Thisisll dlf· lind special effects for fUm·lion on construcllng dioramas o{

I've curren t ly stllrted IIficult gOIlI, bu t with enough in. making, please write to me at

snow scenes or.see ClNEMAGIC16mm fUm (to be shot on Trl·

terested and hllrd working indlvl· the address below.- 14 (o r SIeve SippVJ an d Kevin du"ls this goal can be achieved. J<Jmes Leath<JmSmyth's lIl1icle. ~ L o w ~ e l X) called E. T. Come.s 10 My

If you or someone you know is RD 2 Box 198 Laroe Rd.DeIJ4SlaIIon. aboul creating

TOWI!. It 's not what you'd ell. 'interested, plellse respond to the Chester, NY 10918

miniature city sets lhal appear 10pe<:t. unless you'd eXpe<:t a

address below.

hi!. rauagM by nuclear hoiocaUSl..cute liule adorable E.T. to kill Archi e Delapazof f my fomlly quite 6 7 15 Marianne Dr . Illinois Film Group

Posterlzatlon gruesomely. For this, I'm Suitland , MD 2 0746 .. I need help, One of the great·

Alternative seeking "gore m"keup" ad· (301 )5 6 8 ·5 9 14 est problems of movie meklng

· • . In CINEMAGIC -19Michaelvice such as that offered In Is finding actors. actresses lind

Barkhausen wrote In to Film·ClNEMI\GIC - 17. TV Titles technicians. If there ISlinyone in

makers' Forum esklng fo r anSo far, this film Is scripted ...Here·s an ellsy titling technique the I\iton. Illinois IIrell Interested

alternative 10 p o s t e r i ~ l I t i o n . I\ n

to Include minilltures. mlilte

that's flcxpenslve lind looks great. In IICling or handl ing video equip·alternative does exist. Simply

pelntlngs. lots of P.O.V. shots Take a piece of black construe· ment or lighting. please call me

shoot the scenes you wantand some good gore. Light.

tion paper lind cut out the letters at (618) 259·0161 lind IIsk for

p o s t e r i ~ e d in black f, whi te andIng Is lIlso II mllJor concern, If 10 the titles of your f ilm. Throw Randy.

dye Ihem. A varie ty of dyes andyou have IIny SlJggestions, away the cut out leUers. Next. Randy W. Riley

tints are lIvalil ible at mostplease write to me. tape the piece of paper to your 2 04 Tomli nson

<:ameri! stores lind this process Tim Tyler TV, Now adjust the vertical con· E"st Al ton. IL 62024

will work In any formit from 70 Ash Sl- trol , In on the pllper lind

8m m to 65mm equally well. The Lincoln , RI 02865 film . The results are quite impres·

only other things you'll need "r e sive. Good fi lmlng l New Zealand Film Cluba pan to dye the film in, II pair of NPFS Film Competition Nat ional Film ••• 1 ive in New Zealllnd ond

rubber gloves lind a place to...The Northeastern Pennsylvania

Co rrespondence Club hllve Dn Interest in specilll effects

hang the film while It dries. AndFllmmllkers Society IInnounces

do Raymy Krumrei filmmaking, special effects

there's no wlli l ing for your filmits Super·8 Amateur Film Com·

3056 W. t.4 makeup lind modelmaking . If

to come bllck from Ihe Illb. youpetition. The competition Is

Lancaster, CA 93534 any other readers In New

clln see your results in lin houropen to amllteur filmmakers

Zeallind share these same In·

or two. Fo r further detlliis on thisonly lind only Super,8 film s will Backwlndlng Blues

lerests pleose write , liSnone of

procedure, look up the June be accepted. The entry fee Is . . • 1 heve been trying 10 biltCk · my friends shere tht'se interests1978 issue of Popular $6.00. Al l films must be sent In wind for some time for multiple

lind IlIlways hllve to work II10ne.

Photography ot your localcontlliners that ere suitable for CKposures. Is there anywDy to

Andrew J . Cook

library.return shipment, Film cannot bllck ...ind Cllrt rldge Super·S

12 1 Caversham Vally Rd..

Da vid Bliss exceed 600 feet in length. You f ilm? A ll my previous IIttemptsDuned in

4125 Sequoia will be notified when your flIm(s) hllve been totlll (allures.New Zealand

RIverside, CA 92503 lIrrlve , The deadline for entries Is Jim Hlliliker( J /

October 15. 1983. Films post· 6 191 Finch Lane Address a 1 l ~ I O :Michigan Makeup marked after this date will nOI be Flint. "'11 48506 ONEMAOIC-Fllmmakers'

Man accepted . Please send films ellrly .. . There ar t lwo backwlndk1g Forum. c/o O'Quinn Studios, Inc.., . I'm a .special effects for the Judges' perusal. Sound deuica currenlly on /he marlrel 47 5 ParlrAue So., New Yotk,makeup IIrtist, bu t since r ive films must be magnetic stripe, I fo r 1M sole purpose of backwin· NY 100/6in Mkhlgan I have no wily to or 2 trllcks wil l be accepted. The ding Supu·8 . These are /he EW A

use my skills. I can Cllsl a life Northeoslern Pen nsylvania Film · S8 B Backwlnder (avanable (rom Due 10 file enormous volume ofmask out of foam latex and I mokers' Society w il l not be held PfoneerC Co • 21 6 Haddon Aue., ma n received, file editor regrel.$can lIiso crellte a crellture responsible for damllge or 105s Suile -522. Westmon/. NJ IndltJldual replies are In'!p(»SlbIe.

•8 ClNEMAG/C 21

7/28/2019 Cinemagic #21 (1983)


" 5 - Aerodi tmaqo OpllePun ier U ~ ~ q e WIlH'

~ ' N ' O " 'Wpto, 8 511 Sc3nGIc.,m,"'l Eye I,

"lOCI MOl..,.., MOde'

.1 - 8<1511: C .1t1lOfl A",m"loon C1ayma loon K;.ietdo

SCOPe P'O"1e

SanlO$ lep/kll>()

CINEMAGIC BACK ISSUES

IItS -S C"plWrotong Pa" 2flec lronoc S p e c ~ ElleelS

LEO CuCUOlS. FIlii AI1E.pkl soons . Call1e!S Frank

Van de , Veer, Budd You,Own Camera r ~ 1 W IP<lady and Rudow

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" '- Makong _ ~ n..~ 101 ~ ! l e n Moo;NIt,~ .. or FlIrTwnIIc. . .l ~ SPeeaaI ENeelSProtill .-! MagIoocne1Il

,...... ds Night; Build)'Oll' ownC o b w e b ~ High

SdIOOI WImIwoII. C . . . . .GeorgftMel. . EIIoc\Jo!\lcSpecial E"-<:Is. Fron t Ug hll

lighl "'''''ilIOn"' ..

M ...... Drum ScrMn.PNCISion BaII-and-Soc,,*Armllure Pam , ~

Spec\II E,*,,-; Proia.' Joey....------------,CI NE . ... OIC c/o O 'Quln n S'' ' ' ' i05. Inc; . II HS P.. e South . N_ Vor le , NY 10016

IAdd poII ' i ' .n d " . .. dUng 10 you. or6e. $ ,10 lor I_ In .. . $1 , . lor two : $1 .&0 for Ih ,.. $2.00 for

I lo u•. 52 40 10' I I ~ . $1 .10 '0 ' ai. , My ... eight. I

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I NAME II I

AOORESS II II CITY STATE ZIP I. _ _ _ _ _ _ _ _ _ _ _

ClNEMAG/C "21 19

7/28/2019 Cinemagic #21 (1983)


1

T

Electronic

SPECIAL FX

MORE STROBE SPECIAL EFFECTS

By CHRIS E. STEVENS

The ~ : ' ! : ~ , : ' : ' i ! ~ ~ ~ here COflnected 10 a mne voll banery Tile vollage can vary'rom f Tile rale at Hashing can be cllanged slightly by char.gmg the voltage

I

PRI.

I

SWI C R7/:'1 RB

BATTERYPOWERED STROBE FLASHER FOR

6.3 TO 12.6 VDC OPERATION.

PC board ~ t - b o n o m view Drill all black dots and pads

20 CJNEMAG/C·21

Iknow I've responded to some of

your letters letting you know that asuggestion for a project will be

coming up in the next issue or so. Fearnot. we will get to them sooner or later.It seems that every time [ get of f on atangent, the road divides a few extratimes for no particular reason, other

than it seemed like a good idea al thetime. Well, this is one of "those:' andwe've still got one more to go befon!: wemove on. If you recall, the last article

was about a strobe with sync capabili·

ties for movie cameras. This article willconcern itself with a sma ller (and lessexpensive) strobe unit that wi l l run from

a DC power source. Next issue. expectto find an accessory for the big unit. plus

another goodie for movie cameras.

Meanwhile. this unit can be useful for

creating effects in its own right. Of

course. how you use it is up to you.The strobe unit described here will

fall in the $15 dollar range. and is porta·ble. It has a system that automatically

flashes the unit lit a predetermined rate,which is variable to some extent by

changing the Voltage. It will run from

6.3 VDC up to 12.6 VDC and will drawfrom 80 to 250 mill iamps of current.

depending on the Vol tage. So fa r. every·one who's seen the thing is drawn to itsflashing. and it seems to have a hyponoticeffect on those in its vicinity. I haveto admit. it's caught me a few times too.

I can't take 1I11 the credit for this l ittle

item. A young man from my town. Chris

Tapa. brought it to my attention, as heneeded something for extra credit in

one of his c lasses. And. since we are on

the topic of strobes. it seemed asthough it would fi t right in. I can think of

many uses for this strobe, such li S a

highway safety flasher. or as an "alten·tion getter" etc ..

How it works. is rather straig htfor·ward. 1(.1. which is a 555 timer. Is usedto drive transistor QI in the switching

! mode so that It crelltesa DC pulse in the& ransformer T· l . The transformer is con·.. nected in reverse so that it steps up theI' pulsed DC to a higher lever. Basiclllly.

this is 1I DC to DC Inverter circuit which

t will deliver about 270 volts when oper·ated at 7.5 VDC input. The output from

the trllnsformer is pllssed through a rec·tifier diode which prevents the capaci·to r C·2 from di scharging back through

the transformer.

7/28/2019 Cinemagic #21 (1983)


Ano1tler view 01 the completed Sirobe unit . NOle that the !lash tube lias some plastic sleeving. This helps support the tube and provides some Insulation against arcing .The stro:.e unit should be mounted In aproject box (plastk: prelerred) to protect against accidental shock. Even though C'2 is only 4 ul .. It can deliver anasty littleshock tothe unwary, shook! you acciden tally come In contact with the secondary. Make sure you gel the polarity correct when installing the lIash tube

SWI D I.... ..

...,R4

RIT I

h8 4 SEC. PRI. R5C,T+ ~ 7 Til +

- IC-I ~ ~ ' ~ I lRi! 3 C i! , ~ FTI- ~ 6 R6

Z IL).

R3 '")<F:5CR I+ ~

c.-

• CI

B ~ C4R7 R8••• a I 'i;

A schematic diaoram of the battery pa.wred strobe unit. All resistors ale '/2 watt 10% tolErance .

Resistors R4, 5, 6 and 7 are voltagedivider networks, giving us the proper

trigger vol tage and the operating volt·age for the neon relaxation oscillator.Every time the oscillator fires, it passesenough current to trigger the SCR,which in turn fires the trigger trans·former with the charge stored up in (,3.

- ~ I "mbe ; , mo.e of , oolt'ge

discharge device than it is cur rent oper·ated, ( ,3 need not be of a larger value.However, you may use up to a .05 uf

capacitor if you wish, as it should

increase the brightness of the flashtube.On the printed circui t board layout,

drill al l of the round b lack dots, and

those for the IC as well.Please also be aware that C·2, 3 and 4

are not available through your RadioShack stores. You will probably be ableto order them through a local d istribu·tor, parts outlet house or a local TV

repair shop. If you can't get them , youcan order them through me . The cost is$7.95 for (.2, 3 and 4 which are high

voltage units (450 volt and up) and arenot in Radio Shack's normal inventory. I

ClNEMAGIC "21 2 I

7/28/2019 Cinemagic #21 (1983)


SUBSCRIBE TO

MJ7kVf!f/ft{:

-M_

If you a young filmmaker with aspecial Interest in science: fiction.special dfe:cts and the' limitless

magic of the cinema . . .THIS IS YOUR MAGAZ IN E

ClNIMAGle WILL JlATURI :

Haw to produce profes.s+ooa l tlties that

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Rev 'I!WS or new equIPment, lenses andoptlC6 gadgets for creaung speCial ef·fectsl Re.1IdefS' foWIll-IdlerS lind

QuestoortS exch!lngmg tochnIQues afldproducton secrets! Step-by·steplustratl'd ilrtKIes det<'JII'fl9 methods you

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Enclosfd. ~ ~ - - - ~ _ c _ - c _ StndclSh. a>rd:. at I!'OOt'otV atder d'!IWn toO'Cl",m Sludoo!;, We

\ STATE ZIP ' J........- - - - - - - - - - '

22 C/NEMAG/C #2J

PARTS LIST

SPST swi tch680 ohm if.! watt resistor1 K-Ohm if.! watt resistor

12 75 ·401

271 ·021

271 -023

Sw-l0· 1R-2, 80·3 3.3 K·Ohm if.! watt resistor (use two for a

total of 6.6 K) 271 ·028

271 -059

2 71 -061

1 Meg-ohm l/.z watt resistor

2.2 Meg-ohm if.! watt resistor

R-4 ,5

0·60·7 3.3 Meg-ohm If.! watt resistor (use a 2.2 and

I meg. in series) 271 ·0611059

Col 1 uf electrolytic capaci tor 272-1419

C-2,3,4 See text. •(C-2 is a 4 uf electrolytic at 450 VOC. C-3 is a disc ceramic of .02 uf at 600 VDC andC-4 is a .005 at 600 VDC and also is a disc ceramic.)

T- l 117 VAC primary, 6.3 volt secondary at 300

ma.NPN transistor555 Timer IC.

Q· I

IC· I

SC R-l

T2Ft· l

0· 1

Neon lamp (NE-2) (Do not use 2· H)

273-1384

276-2052

276-1723272-1101

276·1020

272·1 1462 72-11 45

2 76-1114

6 amp. 400 volt Silicon controlled rectifierTrigger transformerXenon flashtube

Rectifier diode

Misc. 3· x 6P printed circuit board. etchant, plastic tubi ng.

PARTS LIST: All items are available at you r local Radio Sha ck store , except thosemarked with an asterisk (*). Radio Shack catalog numbers are listed initalic for your convenience.

try to use Radio Shack parts as much aspossible, because they have stores al lover the country and you can usually get

what you need. On occasion however,

we do get into things that are just out of

. their category and have to make use of

other brands to get the job done. Again,

Wyou can'l find the parts. you can order

th em from me. care of ClNEMAGIC.

Please include a money order in the cor·rect amount. and make sure that youstate exactly what you need. Also, allow

about 3D days for delivery. You can find

the rest of the parts at your local RadioShack stores.

Now. if you'l l refer to the photo·

graphs, I'll tr y to explain a few things

about why it's built as it is. First of all.

you'lI notice that R3 is actually two (2)resistors connected in series. This is sothe proper current level on the base o fQ-J is obtained. It comes out to an odd

value, but if it is changed, there coul d bea major change in the output voltagewhich in turn, could cause damage to

the unit. The resistor R·J is a fixed

instead of variable res istor, as the out·

put v o l l d g ~ of T, I is dl:;U d ~ p ~ n d ~ n t on

the operating frequency. After some

testing, the value for R·I was chosen for

the best overall performance with thevariance in operating vol tages, 9iving

us a wider range for use. As the voltageis increased, the flash rate also

increases. It will flash about once persecond at 6.3 volts, and about once

every half·secon d at 12.6 volts. The

flashtube has some plastic sleeving,

which adds to the support of the tube,and also provides some insulation

against arching.

I'd like to remin d you, that eventhough the capacitor C-2 is only 4 uf.,when it's charged, it can deliver a nastylittle shock to the unwary, should youget your hands across th e secondary.You might consider obtaining a projectbox (plastic pre ferred) and mount it in

that for some added safety.The trigger transformer T-2, can onl y

be inserted in one direction. That is, ifyou drill al i of the l i l l ie dots . It has a dis·

~ r g e of about 4000 volts to the flash·tube. And. for the flashtube. make surethat you get the polari ty correct wheninstalling it. The electrode that is thelargest. is the ncgaliuc electrode . Insta l l·ing the tube back wards will shorten the

tube life. and eventua l ly give you a loss

of performance. That's about all I canthink of at the present time. other than

remind you again that the output candeliver a nasty l ittle shock if you comeinto con tact with il: BE CAREFUL!

Le t's hear from you! Send you rcomme ots and suggestions to me , Incare of CINEMAGIC Magazine, 475

Park Avenue South , N.V. , NV, 10016.It takes a l ittle time for the mall to beforwarded, so be patient. lfiyou want arepl y. be sure to enclose a S.A .S .E. I' ll

try 10 get back soon as po SS ib les>

7/28/2019 Cinemagic #21 (1983)


CREATINGA MONSTER

By KE ITH POHL

Dr. Frankenstein, lell (Steve Hammer), Is conlronted by Frankenstein (Angelo Roman) In the Nortll Hills Hgh School (Pennsylvania) production 01 FrankensreinPHOlO SAllY OL\,QON

Our fjlm teacher, Ralph Langer.came to see Ull on e day and said,

"How would you guys like lodollf08m rubber mask for the school play,

"Frankenstein?" Joe Carter lind I jumped

at the chance.We were presented with our first

chllilenge when we went toconferwith thepllly'sco-director, Mrs. Lindt! Brown. Mrs.Brown wanted an orig inal Frllnkenstelnmonster. Th is w!!Iseasily solved, for when

Jo e went home that night hewhipped up afew sketches. Mrs. Brown liked two of

Joe's designs, SO they were combined.Our first problem 'NtiS solvl!d.

The next step was to makea life mask of

actor Angelo Roman, who was going to

play the Frankenstein monster. We beganby applying mou lage on his face, keepinghis nostrils open, fo llowed by a layer of

plaster bandages. When this negativemo ld was removed it was filled with more

plaster. After the process, Angelo said itwas 0 rci;)Xing Otpcrience wl lieh he wouldenjoy repeating. II also got rid of all facialblemishes. His skin was smooth for days.

We now had a plaster armature of

Angelo from which we proceeded tosculpt the mask in day. Thiss tep proceed·ed re latively quickly with the help of adrawing, although the mask was changeda bi t In the process. A few finishingtouches were added to the mask design

ClNEMAG/C ·21 23

7/28/2019 Cinemagic #21 (1983)


on the plaster positive-a sCllr on the

forehead and the skin texture which wasdone with sandpaper.

A pillster negative was made of the claysculptu re by pouring plaster over it afterputting Vaseline on all surfaces to becovered. When the mold was opened, thecl ay sculpture was removed i!lnd liquidfoam rubber was poured in. The mold wasthen baked at 250° for 5 hours. After thefirst baking, the mold split. Because of theneed to reglue the mold after every bak·

ing, we only got four good masks beforethe mold was damaged beyond repair.Th is is one of the prob lems with molding

plaster vs stone plaster, but on ourbudget

it was all we could afford. The plaster wassu fficient for our needs and fou r maskswere more than enough for one dressrehearsal and the three nights of the play.We used the first mask for the dress

rehearsal and the best one for two of thethree nights of the play.

B e < : a u s e we couldn't find a real wig to fi l

bobbypinsin hair to hold it back ,

what we wanted, and Angelo's real hairwouldn't do, we had to make OU f own wig.To do this, we first made a bald cap of

latex rubber applied to a wig sta nd theshape of a head. We painted it black, andthen attached layers of black hair from

another wig using a paint brush and a litt lelatex rubber, It worked perfectly,

The foam rubber mask just didn't seemto be enough. So, our teacher, RalphLanger, sewed macrame cord toa sheet of

sandpaper in the form of a scar. The sand·

paper would give the latex rubber ap·pliance a skin type texture, A negativeplaster mold was then made and filledwith latex rubber. Three scars were made,one for each wrist and one for the ne<:k,

On the day of the dress rehearsal . Joe

and I stayed after school to watch and he lpMr. Langer demonstrate how to adhereand do the makeup on the mask.Joe and Ipaid close attention to the process;especiallyJoe,who would beapplying themask for two of the three performances,

Angelo's hair is covered and he lies down inpreparation for having a i fe cast t a k e ~

be kept open so lhe subjecttfle negative li fe cast.

! ~ j ,, . t

JI l l " ,, .

7/28/2019 Cinemagic #21 (1983)


Tile Frar*enstein monster as see,;,7.; N;;::-Hil ts Hgh School production 01 F r 3 n ~ e n s t e mbecause Mr. Langer couldn' t be there thethree nights of the play and I couldn't bethere until after the opening cortain on

two nights.We adhered the mask to Angelo's face

with spirit gum and covered the line witheyelash adhesive. Special casts of foamrubber makeup were used and then pow·dered to reduce the glossiness. For thedress rehearsal. we only used the neckscar. We saved the wrist scars for the playnights. When the wig was put on, it waspinned to Angelo's real hair through prepunched holes. We took great care to hidethe bobby pins so that they could not beseen even from dose up.

On the first night of the play I did mostof the work since I would only be there fortouch·ups the other two nights and Joewould have to go it alone. He did have twoassistants. but they had never done any·thing like this before.

Because the mask from the dress reo

hearsal was not salvagable. we used a dif·ferent mask for the play. This mask wassalvaged after each performance andused the next. At the end of the play, themask was presented to Angelo. After ad·hering the mask. the scars were trimmedof all excess latex rubber, glued in placeand colored with magic marker.

The wrist scars presented a problem onthe first night. The spirit gum, whichadhered them to the skin, did not hold thescars on all nIght. One of them felt of f. Forthe second performance, Joe sewed the

two ends of the scars together with blackthread to make them resemble bracelets.The scars came of f no more. Throughoutall three nights of the play no other problems arose except that the mask had tobe powdered between each act becauseAngelo was sweating.

After each performance, some of theaudience stayed to see the characters. Thelittle kids wouldn't come near Angelo.Some asked questions about the mask.All were amaled that we had accom·pllshed a transformation which they hadthought could only be done in the movies.

( ) I

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ClN£MAG/C '"21 25

7/28/2019 Cinemagic #21 (1983)


Producers '

BULLETIN BOARDpteii$('. forwlJl'd iII1ftOW1{"f!I7lenls of ilm projects in current

production or nearcompJelioil to C/NEMAGIC, c/oO'QuInn Studios. Inc . 475 Park Avenue South. New York.NY 100 16. PI . include It phoIograph 0( some phase ofthe production if possible.

Ghost Fear. Drama. An old stone tower is the setting

ca ta lyst fo r a con fl ict between th e normal and the occult in

which man's entire range of supernatural belief is pitted

against a powerfu l and vengeful force. ProducerlDirectorlWriter: Joe Frinzi. Cast: Heidi Ca l l. Charles French . BrentGearan, Bill Binczak and Mark Dietrich. A Sanctum Films

Production. Super·B, color. sllent with an original musicalsoundtrack by Guy StauHer. Running time: 30 minutes.(Sanctum Films, clo Joe Frinzi, 38 S. 12th St., Easton, PA

18042.)

Creepers. How can you hide from something that livesin your hiding places? They come when you ask for them .but they won't leave even if you scream. Producer: S.c.Films. Director/Writer : Bob Cappel atta. Cast: Scott Virzi .Eric Albert. Stop·motion animation: Bob Cappellatlo andScott Virzi. Final editing to be completed for the 1983ClNEMAGIC/SVA Short Film Search. Super·B. color. onetrack sound. Running time: 10·15 minutes. (B.C. Films.

cIa Bob Cappellalto. 1133 Monks Ave., Peru. IL 61534 .)

Company "8" Is Missing. A twilight Zone type of dra·mao During a war game through the forest. four army sold iers are somehow transported from the year 1959 to theyear 2058. Spectacular battle scenes. Director/Writer:

Michael Goulet. Producer: Peter Contreras. Camera: Gre·gory Gedney. Makeup: Rod Matsui . FX: Ken Newberry.Cast: Alfonso Zu rita, Peter Contreras, Victor Montes andGi lbert Cendejas. FX include: exp losions and bul let woundmakeup effects. Super·8. color. Running time: 6 minutes.

(Bizarre Producti ons, clo Michael Goulet. 389 E. RigginSI.. Monterey Park. CA 91754,)

26 ClNEMAG/C"21

Starship TH3, Captain TH3 hasbeen char ged with the mission of

exploring the planet Talos 4. He isattacked by Klingons and a space bat·tie ensues. TH3"s starship is a Cokecan and the Klingon s' ship is a 7-Up

TH3 wins the battle and lands on

Talos 4 for repairs. There he find s a

Klingon base and he attacks. After

doing battle with a couple of dino·

saurs. he returns to space and doesbattle once more with a 7·Up canKlingon ship. He saves a damsel in

distress on a beer can starship. This

film is a parody of many different sci·ence fiction films and TV shows. Pro·ducers: Margherita Pasino (, SergioSquarolti. Director/Writer/Camera:Sergio Squarotti. Cast: Cristina Poz ·zan and Sandro Squarotti. FX in·

dude: Stop·motion animation. ani·

mated explosions(as seen in CINEMAG IC #16). animated lasers and de·materializing effects. miniatures and

more. Super·8, color, luped sound.Running time: 15 minutes. (Serg io

~ ~ ; ~ ~ ~ : : ~ ~ ~ ~ i .. ~ : i : : : / A n t o n y nO 29.10097~ Italy.)

Johnny Flash Meets Captain Astra an d His Nuclear

Toilet Plunger. A group of girls are terrorized by astrangely garbed man wielding a futuristic toilet plunger.Two girls are vaporized. but the thi rd girl manages to contact Johnny Flash. who teleports to the rescue. After

lengthy chases through forests, parking lots and play·grounds. the adventure ends with a laser sword duel be·

tween Johnny and Captain Astra. Producer: H.L R. Pro·ductions. Director: Denis Langlois. FX: Denis Langlois.Running time: 9 minutes. Regular·8. color. music on sepa·rate tape. (H.LR , Productions , clo Denis Langlois . 651Weston Dr. , Ottawa, Ontario, Canada KIG·IV7 .)

Teenage Bloo dbath . What was supposed to be a friendly

B.B. gun war between buddies turned out to be a field dayfor a psycho killer. Surprise comedy ending. Producer/Director/Editor: Todd Murphy. Cast: Kevin Costello, BrianBartolini. Sean Briscoe. Todd Murphy, Craig Gallagher.Matt Cleary. Hugger Connelly. Andrew Grennie and RandalBellantoni, FX include: explosions. fi re effects. blood

effects. sound effects and shadow effects. Super·B. co lo r.

sound. RUnningtime:

10 ·15 minutes. (Murphy Productions . do Todd Murphy. 10 Nashville Rd. Ext.. Bethel. CT

06801 .j

The Soul-Gem or Ekystra . Four travelers searching foran all.powerful gem encounter monsters and a powerfulsorceress in this dungeons and dragons type adventure.Producer/Director: Greg Wright. Writers: Curt Columbus.

Greg Wright and Greg Hannon. Camera and FX: GregWright and Walter Fortner, Pyrotechnics: Greg Hannon.Cast: Greg Hannon. Bonnie Vosburg. Curt Columbus andKaren Cerroni. FX include: animation , explosions. make·up and gore. Running time: 15 minutes. (Empire Produc·tions , cia Greg Wright. 7 W. Hillcrest Ave . New Castle.PA 161Q5.)

7/28/2019 Cinemagic #21 (1983)


Blod lg We eken d (B loody Weekend). A realistic horrortale in which 1'1 group of mlxed·up people come to 1'1 grizzlyend during a weekend of nasty plotting and assassination

in central Copenhagen. Industrial espionage and a thirstfor revenge are among the mlljor plot elements. Producer:Halloween Film Productions . Director : Ken Raven . Script:Nicolas Barbano, Peter Kjaer f., Ken Raven. Original

music: Benni Le Fay. Makeup: Ken Raven . Cast: BrianPedersen, Kim Hansen, Tommy Soerensen and KarinaHenriksen. Super·B, color, sound. Running time : 20 min·utes. tHalioween Film Productions. do Ken Raven,

B l o o g o o r ~ b 9 0 d e 2A 4. t .... 2200 Kbh. N, Denmark.)

The Hitchh iker. A young woman picks up 8 hitchhiker

and offers to drive him to the next town. On the way. shedecides to stop in at her parents· house. Her parents inviteher and the hitchhiker 10 stay for dinner. Shortly after·wards, members of the family are one by one being killed

oH byan unknown assailant. They discover too late that

a psychotic killer has escaped from a nearby mental in·sti tution. Is l i the hi tchhiker wh o is responsible for themurders"? Surprise ending. Producer/Director/Wri ter/FX:Larry HeHner. Special makeup effects: Larry Heffner andRichard Rotelli. FX include: bullet wounds. squibs. sl itthroats, dismemberments, stabbings and disembowl ·menU. Super·B. color, sound. Running time : 15 minutes.

(Dragon Film Studios, clo Larry Heffner. 250] CorningAve. #1, Fort Washington, MD 20744. )

The Space Des troyer. An alien comes to the planet A ..so

and destroys the people. Only a handful of people surviveto fight against the alien invader. Producer: PGP for MovieStar. Director: Paul Guncrles. Writers: Paul Guncrles andMaurice KowalskI. FX: Maurice Kowalski . Stop·motion:

Paul Guncr les. Super·B, color, sound. May be filmed inanamorphic widescreen. Running t ime: 30 minutes. (Paul.Guncrles, 26 Tlenroy-Johann SI., D·8000 Munich 60.West Germany.)

Deadly Silver. An adventure following the- exploit" of

two young modern·day prospectors as they follow a trailof danger and suspense to the final resting place of the

Deadly Silver. ProducerfDirector: John Peate. Writers:Wayne Peate and John Peate. Cast: Ralph DeNogean , Mark

Braun, Paul Peate, FX include: makeup effects and stunts.Super·S, color, sound (narration, dialog and music). Run·ning time: 25 minutes. (John Peate. 5951 East ISth St .,Tucson. AZB5711.)

Flake, MovIe preview adverllsing the r - - - - - - - - ,mythical film Flake. Killer dandruff

is on the loose and killing the publiC:.Monster flakes leave nothing but the

clothes, as they devour e ..eryone insight ProducerlDirectorlWriler: Jim

Taylor. Props: Charles May. FX: Vin·cent Garcia. Cast: Charles May. Jim

Taylor, Mongo Coburn, Adam Hyatt,Noncy Krouse, Beth Taylor. Propsinclude one three· foot.high and one

~ i 9 h t r u o t h I 9 h dandruff flake, and

one puppet flake. FX include: stop·molion animation, rear projection,

bi·pack rear projection, reverse mo· r...----......"'1tion and slow motion. 16mm, black f.,

while, sound. Running time: I min·

ute. (Daybreak Pictures, P.O. Box33S4. Reno NV 89505.)

Macho Squad. In Viet Nam, four buddies are killed in achopper crash. Ten years later, on the hill where they lireburled, their sons meet for the first time. Vowing to carryon that great American dream, they join together andbecome . .'·Macho Squad:' A most unusual comedy. Lotsof high falls and plenty of zany antics. Producer: Furulic

Film Co .. lt d . Director: Larry W. Furulie. Camera: MarlyssFurulie. Cast: Dave Maurantonio. Kent McGee. Larry Furu·

lie and Dan Maurantonio. Super·S. color. musical sound·track Running time : 20 minutes. (Furulie Film Co., Ltd .cIa larry W. Furulie, 230 Nob Hill Terrace ..), Morgan.CA 95037.)

Battle Between the Wizards . Epic story of a youngman's strugg le to save his father"s kingdom from an evilwizard. Producer : Banshee Films. Director: Lionel Smith.

Camera: Mike Dean. FX: Randy Zastrow and David Petri.Musk: Leonard Roscnmcn. rx include: slop·motioll <mi·mation. mattes, glass paintings. complex animation ef·fects, foreground miniatures and much more. (Randy Zas·trow. 901 Drake St., Denver, CO S0221.)

The Keys . Four teenage boys acquire mystical powerswhen they receive mysterious brass keys. The boys· plansto learn how to use the keys are delayed by a hooded crea·ture who does his best to gain the keys for himself. An

Epps·Clemmer production. Producer: David Epps, Co·Pro·ducer: Lee Clemer. Cast: Jim Ireland, Keith Meyer, MattMiller, lee Clemer. Edi tors: David Epps and lee Clemer.

FX include: a shooting fire effect. stop·motion anima·tion, pyrotechnics. CaHgraphic lettering for title sequenceby David Strickland. Super·8 color, silent. Running·time:20 minutes. (Epps·Clemer Productions, do David Epps,3363 Jackson St., College Park. GA 30337.)

Bond Is Back l J.B. in an action·packed mo .. ie trailer. Includes a fast

paced chase on snow skis and under·water hand· o ·hand combat. Pro·ducerIOirector/FX: Randy Saba,Assistant Director/S till Photographer:Mike Jefferies. Ca5t: Scott Worrell,Sl'IbriM KCi'lling an<1 ciOhl o thers FXinclude: animation, underwater pho·

tography and pyrotechnics. Super·B,color, separate sound (music andsound FX) on cassette. Running time:

10 minutes. To be shown at the LosAngeles Studen t Film Festival ·S4.(Randy Saba, 3000 Dona Emilia Dr.,Studio City. CA 91604.) (J f

ClNEMAGfC ·21 27

7/28/2019 Cinemagic #21 (1983)


Make Magical

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As II sync recorder, The MAG IV recordson a special high quality stock cut 8mm

wide lind perforilled with Super 8 or 16mmsprockets. Using this stock The MAG IV Cllnsynchronize Its own running speed to theframe rllte running s p ~ d of most motion

pictu re cameras lind projec tors. The MAG IVis equipped with Its own Internal crystal. lindcan also be synchronized to any piece of

equipment which provides a standllrd 60

cycle piloton e or one pulse per frllme refer·ence. Multiple track recorders or other sync

recorders can be easily synchronized to theMAG IV.

As a location recorder. The MAG IV CIInbe used to record or pillybllck In sync withmotion picture CllmerllS In IIny forml l\. In theprojection room, it can be USEd for doublesystem projecti on, audio transfers to lindfrom souocl on film , lind teledne video tllpetransfers. The Super 8 perforated fullroatstock Ci1n bc u$Cd for tri1dltional doublesystem editing in Super8 . The 16mm perforated stock can be used on benches thataccept split 16 stock. Either stock can betransferred In sync to 16 or 35mm ful1coat.To learn more IIbout the extensive Cllpa·

bilities of The MAG IV, contllct Smllil Formlll

Audio Visual, Inc. at 95 Harvey Street. Cam·bridge MA 02140. phone (6 17) 876-5876, or

send $5 .00 for a MAG IV manu61.

New For LightingBIKkwrap! 1'I II nexible. matte black alu·

mlnum. has been introduced by The GrelltAmerican Mllrket. According to The GrelltAmerican Market general manllger JosephN. Tawil , Blllckwrap is completely malleable

and Clln be used by lighting directors andscenic designers to mask light leaks. shllpebeams. create barndoors, snoot or fillg .Once shaped, Blackwrllp is form.holding. It

Is coil led on bo th sides. is hellt·resistllnt lindexceptionllily tough.

"This unique product from The GrelltAmeriClln Mllrket is an essentilll too l for thealriclIl.leievision, motion picture, lab lindelectric shop IIppliclltlons:' Tllwil sill tes."Blackwrllp uses life almost endless .. .i t canhide cable and hllrdware, keep light bounceof f grip equipment, be used to mllke raincovers•.•whatever the imagination comes upwith;' he concluded.

BllICkwfllP is .002· thick and is availablefrom The Grell l AmeriClln Market in 12 ·lnchby 5O .foot rolls. Price is $18.95 per roll .

For complete Informa tion, contact TheGrellt AmeriQIn Market, P.O. Box 178,Woodlaocl Hills, CA 91365; telephone(213)883·8182; TWX 910·494·1233.

Portable FlagsLowel. milkers of ocation lighting equip·

ment for film , video lind still photography,IInnounce the introduct ion of the first trulyportable flllg frame and mounting systemfor IIqht control. The Frame-up is large-24)( 34 inches. and folds compactly to1 I. )( 34 inches for storllge and trllvel .Riliher thll n being sewn on. light controlmilterlills clip onto the f r a m ~ so they can beInterchlnged in seconds. An opaque blackmilt and trllnslucent diffuser are v a i l a b l ~for the Frame·up as well liS an assortment of

pre·cut gels. The l.owellobo clamp has360 0 multi·altls manipulation lIoc1 precise,dependllble clamping. Becl!luse it clln bemounted on any part of the stand (liS well liSthe top) you can mount a light and FrllmeUp on the SlIme stMd. A lobo Arm elttendSlind IIrticul ates the Frame-Up. In keeping

7/28/2019 Cinemagic #21 (1983)


with l,Qwel'$ philosophy of compa tibil ity. theFrllme·Up and LDbo interconnect ""ith otherLowelo<:Ce$$O ries such as the Space·Clamp,Grip and lowel Weight. The suggested listprices are: Frame·Up(F I ·20) $67.50, LDbo(F I ·)O ) s I6 .50 ,LDboArm(FI ·40) s l l .5O.Black Mat (FI·52) $15.00, Translucent Mal

sI5.00. Pa<:kages of Lowe l Pre·CutGels for the Frame·Up are s29.5O for three.For more information. sen d for LDwers new"Flags, Gels and Umbrel las" brochure.Lowel.light , 475 Tenth Ave .. NY, NY 10018.

Sony 's Compact VideoSony 's new BetaMovie, a prototype one·piece compact c:ameralrecorder. expandsthe e r ~ t m t y of the Betamu home videosystem. Comb ining a color <:amera and 1,7.

In<:h video recorder In a completely self·con·tained hand·held unit, Be ta Movie is arecord·only laplng devi<:e that provides aim·and,shoot convenience. BetaMovle usesconventional Beta format videocassettesand <:M record up to th ree hours and 20

minutes using a standard l -830 vldeocas·se tte at. the Beta II speed. The c:assette IsInserted directly into any standard 8elamax

unit for playba<:k , eliminating the need for

CineMagic

special playba<:k adaptors. The weight of theBelaMovie is less than 5'1.1 pounds. in clud·Ing the rechargeable battery. BetaMovie wiltbe evailable during 1983.

Kodak Film GuidesSigniflc:antly revised and updated editions

of two reference books on motion pi<:turefilm are now available from Eastman KodakCompany.

"EASTMAN Professional Motion PictureFilms" (H· I ) and "Clnematographer's FieldGuide-Motion Picture Camera Films" (H·2)

both contain important new technical Infor·mation for professional and amateur film ·makers. prO<Y!ssing Illbortltory supervisorsIlnd technicians, film distributors, andlibrarians. Each book is designed to satisfysomewhllt different requirements in today'sfilm community,

The new "EASTMAN Professional Motion

Pi<:ture Films" book wil l help fi lm usersselect the most appropr iate EostmelOmotion picture film for ti ny parti<:ular job. It

contains 120 pages of authoritlltive text. 66

line drllwings, and 18 color and 54 blllck·and·white Illustrations. An extensive glos·saryllndex Is 1I1s0 provided .

To help orient readers, the book openswith a short <:hapter that expillins the " lInat·omy" of a film data sheet-l in mportant

first step toward correctly determining thebest film <:hoice for a specific si tuation. Vir ·tually every chara<:terlst l<: of Ellstmanmotion picture films is txomined in depth.lnduding exposure Indl«s. exposure lati·tudes.lnddent· l lght lIIum inotion.lighting

contrast rot los. re<:lproclty <:haracterlsti<:s .filter rlltios, and pr in ting condi tions. Also

induded are sensi lome trk and imoge·stru<:·ture data, fi lm base <:hllraderlsil<:s. storllgeand prO<Y!ssing requirements. filtration

needs, ond sound recording 01d projection

requirements. A flnol se<:tlon deSl:ribes film

processing laboratories. The book's tlppen·

dices cover American National StandardsInstitute (ANSI) motion pidure standards,major trade publicotions of Interest 10 f ilm·

milkers, nllmes and IIddresses of film ossod·atlons. and more.

Produced IlS on IIttractive soft·rover vol ·ume, "EASTMAN Professionlll Motion Pk·ture Films" makes a usefulllddillon to IInyfilm user's library. Cover prl<:e is $9.95.

"EASTMAN Professional Motion Pldure

Films" Is comp lemented by the new four thedition ot "C inematographer's Field Gui de;'which provides con<:ise individual desc rlp·tions ofthe most popular 16 Kodak andEastman motion picture films In a I02 ·page.3 '/z)( 6·lnch soft·cover book. In addition, theGuide hilS helpful tips on filters, illumlna·tion . film ·am label terms, Ilnd how to orderfilm from Kodak. A lso induded are Ideas on

forced processing, essential equipment ando<:Cessorles for on · ocation production, andmethods for extending the useful l ife of

flIms. lind other helpful hints.

This edition of the Guide highlights Eost·mIlO color high speed negative fUm 5293

lind Eastman Ekta<:hrome high speed day·Ught film 7251. and gives a <:urrent listing of

internationlli Kodllk companies and dlstrib·utors to contact for additional technical or

ordering Information, The book evenInclud es a <:hllrt and detlliled descriptions of

the types of cores lind spools currently Inuse for Kodak and Eastmlln motion picturefilm s.

Both '"EASTMAN Professional MOllonPicture FUms" and "C inemlltographer'sField Guide" Ilre Ilvalloble from delliers InKodak lIudiovisualand motion pl<:tu reequipment, and they clln be ordered dire<:tlyfrom Eastmlln Kodllk Com pliny, Depll rt.ment 343 Sttlte SUeet, Roc:he$ter. N.Y,14650. If ordering directly, Indude approprl·li te local tax lind $2.95 per order shipp ing<:harge. Prices lire subject. to <:hllnge withoutnotice. (J I

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7/28/2019 Cinemagic #21 (1983)


The New MerlinsThe Post "Star Wars " Era Is Producing a New Breed of

Wizards-theMovie Magicians.

-

\:Adream sequence from the film. The Slayer features a ivinp severe(! head found In abed Tile makeup was crea1ed by Robert ShOll

Legend tells us that the age of magic

came abruptly to an end after thedeath of Merlin Ihe MagicIan,

sometime in the 6th Cen tury A.D. Scient ific reasoning and thought soon replacedthe mystical rituals, spells and po tionsthat bound together the medieval \WOrld.

However. movie magic is more imagi·native than ever, and if the robed wizardsof ancient times are gone. they are beingreplaced by a new breed of special effects.

makeup and design experts who In manyways resemble the ir mystical ancestors.One of the most ubiquitous. and yet basi·ca ll y a behind· the-scenes person, isRobert Short, a Los Angeles nat ive who1:(."1:ntly I..umpleted work on such mGgiallfilms as Steven Spie lberg's E. T., Clin tEastwood's Fllf!{ox, and l 'NO horror films.

The Slayer and TunewlIlker.

Not only does he design and imple'

ment special effects, strange makeup

appliances and minatures. but Short is

also a writer who has contributed to sev·eral rerent horror films . including Wil ·

30 CINEMAGIC -21

Jiam Malone's critically acclcllmed Scaredto Dealh.. When he Isn't on the set. theyoung magician spends time in his work,

shop al home tinkering . Recently hedesigned a Voda hand puppet for a friend,which so impressed marketing experts atLucasfilm. that they quickly bought theconcept from him. turning an innocent

gifl inlo a merchandizing bonanza. It isonly a brief magiclll moment n the careerof a hard working young man whose

dreams and nightmares have propelledhis career.

Short.31. grew up in Malibu. California,the son of a rea l es tate agent. He attendedSanta Monica College in 1970, majoringin TheGter Arts, and maintain ing strongact ing ambitions. Instead. he found him·

self taking over as prop master during

some local college productions, and hisability behind the scenes soon led him

down an entirely different path.In earl y 1974 he wandered into Don

Post Studios in Glendale. a major fantasyfa ctory of masks. specia l effects and

makeup, lind entered a world that wouldforever fllscinate him . Working with

designer Bm Malone, he began to sculptand paint miniature spiders, sharks (forfua) . and other strange creatu res whichwere feature;d in a number of films of theperiod, When Malone bought the rights toRobby the Robot. the famous automatonfrom Forbidden Planet, Short signed on liS

the; human who operated the machine.Appearances In such shows as Ark 11,

Space Academy, Wonder Woman, andMorkandMindy followed, ~ m e w h ~ l sel11·

aling hi s acting ambitions. But the magicof special effects soon superseded any

dying acting aspirations, and, beginningin 1976, he begun to operate as afreelance designer and makeup specialistin partnership with a young Chris Walas(who went on to do Raiders of/he ...osI. Arklind Revenge of he JedJ).

Together they wo rked long hours on

Joe Dante's Piranha, designing all theunderwater blood effects (filmed in the

Los Angeles Olympic Swimming Poo l

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which was covered with canvas to simu·late the Amazon basin). With enthusiasmlind II keen eye for reli l ism. Short wa s

beginning to crea te wonderful lIpplian<:esthat Illtracted the attention of other specilll·effects experts lind directors. Thatexposure netted him an association withmodel maker Greg Jein on such spec ial.effects spectaculars as The Special &lilion

of the Close EncOUlllers of the Third Kind,1941. and Star Trek: The Motion Picture.

Whether it was designing new vers ionsof thealiens from Close EncoUlllefS (to be

seen by actor Richard Dreyfuss when heentered the mother ship), or building

radio-controlled automobiles used on abusy Hollywood Boulevard in StevenSpielberg's pre·WW II farce. 1941, Shortbrought to his work a willingness to createfrom scratch. Like many special effectsdesigners, Short felt that there should beno limitlltions on his imllginlltlon. Withthis type of attitude. he wa s often movedup In th e ranks to act as troub leshooter on

particularly difficult effects sequences.Wi th 8 good mechanical knowledge. anda strong artistic abilit y (he is a marveloussketch artist). Short began to work in

more responsible positions. so that even·tUtilly, in a work area that was swarmingwith technicians and assistants. his workbeglln to stand out.

''I've lIlways worked freelance;' saysShort. " In th is business, that can be anadvantage or a disadvantage. In my case.there have been times when I haven' t

worked. but when that happens. I just gobtlck in lOthe workshop to cook up some·thing new like the Yoda hand puppet, orwri te II new script. You learn to trellsurethose moments of independence. forwhen you 're working on II studio job.there is never any free time. Specialeffects people are used to working

around the clock to finish a }ab. Some·times you seem to forget about lime alto·

get her. The creative process is thatIntense:'

Following his work with Doug Trumbullon Star Trek: The Motion Pic/ure, Shortworked on the soon to be released Virus;

supervising the construction of two min·iature nuclear submarines for Greg Jein.At the same time. he was hired by lucas·film asa costume repairman, mllintaining

such battle·hardened veterans as C·3POand R2·D2 which would goon to Refurno(theJedi.

On the horror film Alligator, Short went

back to designing blood effects and appli.ances. spe nding much of his time in adank run·off drain in Central Los Angeles.where the film crew was crea t ing the nnalescapades of a giant reptile loose underthe city. In one scqucnc.:. Short hod to fillthe 25-£oot creature with artificial guts. allof which was blown to hell in Ihe terrifyingfinlile.

How does 'NOrking with blood and gorelIffect Ihe average makeup magiCian?Says Short, "It begins 10 get 10 you. You

lead a bizarre ex istence. and you can putup wilh just so many jokes aboul your

•

-

Short holds the prototype ot theI Ir t ~ ; ~ : " ~ : ~ ~ i ~ : ~ ' ~ . ~ , : . , ~ : , ' : : : : 5designed by miniature master Greg Jein . Short supervised Icontrol model.

Ascene !rom G a ~ K } ' o I Terror shOYl'ing ooe of the weapons that Short deslgne<J lor the film .

ClNEMAG/C·21 3 1

7/28/2019 Cinemagic #21 (1983)


on page.work. After Alligator, I was really fed upwith blood and gore, but the clincher

occurred afler our wrap party when Iclimbed into my car and accidentally

drove over a live rat which splattered allover my car, I knew then that I was due fora breather:'

Tinkering in his workshop in SantaMonica, Short decided to make a gift for afriend who was a big fan of Slar Wars.Working with some of his own materials,he designed a Yoda hand puppet. Shortbrought the puppet to work at Lucasfilm,The marketing people saw the toy, andeventuall y bought the concept, workingout a merchandizing deal with KennerToyCompany: a windfall that nets Short a

32CINEMAGIC"21

yearly royalty."It's like having a hit single:' he smiles.

"It was such a flukey thing. Here they have

hundreds of people racking their brainsfor merchandizing tie·ins (and they comeup with hundreds of ideas) and I walk inwith this simple little puppet. It oftenworks that way, I guess,"

Short began 1981 on a small island of f

the coast of Georgia, working on the fan·tasy horror film', The Slayer. where hedesigned and articulated a "nightmare

that comes to life:' One funny story con·cemed his search for worms that 'NOuld

eventually cover the rotted walking

corpse, Unfortunately, worms were out of

season, the water be ing too co ld for them

to be used as effective bait (they wouldquickly freeze to death). So Short had tomake the rounds look ing for any suppliesthat could be had. In tie and business suit,he marched into one typically Southernrural fish.and.game store, and asked for

'NOrms."Going fishin:" said one of the local

denizens, as he gigg led to his equallyamused friends. Short kept a straight faceand accepted a large containe r filled withworms. As he left the store, he could hearthem mumbling about one more suck·

ered Yankee bi ting the dust. Just anotherday in the life of a movie magician.

When Greg Jein, while working with

Zoetrope Studios for One From the Hearl,rece ived the contract to design the Firefoxjet for the new Clint Eastwood thriller,rue{ox. he contacted Short to supervisethe construction of the miniature plane.Shor t created a 5V2·foot by 3·foot mo t ioncontrol model. The final prototype wasthen turned over to John Dykstra's Apo.gee Company which util ized the wo rkingfighter in all special effects sequences.

The Firefox; ' explains Short, "as

designed by Greg, is a combination of the

MIG·2J (codenamed "Foxbat") and a Jap·anese cartoon, It all works though, thanks

to an amaZingly detailed skin whichincorporales li n fall molded on to theplane's appropr iate superstructure, and anew type of epoxy:'

After Greg left the Firefox on Dykstra'srunway, Short took his bag of tricks inhand and joined the staff of a televisionpi lot entitled Nuls an d Bolls, whel"P. hebecame the special art director in chargeof designing three robo t characters.Using his Slar Wars knowledge. Shor t

realized the importance of giv ing theautomatons character liS well liS design

efficiency. Given a free hand in terms ofcomedy. the resourceful art director cre·ated an old, obsolete transistorized robot:a sleek modern version complete wilh

English Gentleman's outfit, and a think·ing, bl inking vacuum cleaner type

machine tha t steals the show.Everything worked admirably, however,

despite good ra t ings. ABC never pickedup the pilot for a series, an event that stillmystifies Short,

Turning to writing. Short, with associ-ate Danny Biederman, spent much of

1981 attempting to sell MGM a newupdate version of the popular Man FromUncle television series as a feature film.

With his good friend Bill Malone, Shortdeveloped t'NO new fantasy film concepts,one for an updated Mum my film , theother a horrifying "creatu re film;' Deadly

Image, He also completed the finishingtouches on a martial arts saga, titled

Spectre, which is curren tly under consid·era t ion at several studios.

Last Fall, he was called in to jo in specialeffects expert Carlo Rambaldi on StevenSpielberg 's top secret project. Shor t wasto create un ique body appliances that

allow the audience to see the alien 's inter-nal organs, especially the heart which

7/28/2019 Cinemagic #21 (1983)


glows during emotional sequences." It WlIS a heart light:' he explains,

"which glows from within the alien show·ing us the warmth and uni ty of the galaxy

he comes from :'The immediate problems were obvi·

ous. Seeing an alien organ. whether it

glowed or not, could be disgusting. espe·cially If it was pulsating in close·up.Spielberg wanted nothing of the kind, soShort, W'Orking closely with visual effe<:ts

coordinator Mi tch Suskin. began design.ing at high speed. wary of production

deadlines that were approaching.Troubleshooting his way. Short crellted

a clear, vacuum· formed replica of thecreature's body In which he placed theglowing, pulsating organs. emphasizingthe heart. Carefully painting the organs to

guarantee their realism, Short broughtthe device to life for the cameras, winning

the approval of Spielberg and the crew.Short also crea ted an alien horticulture

which Is utilized 8S a Galactic Museum by

the inquisitive alien creature. The shipitself was designed by Ralph McQuarrie.conceptual artist for the Slar Wars films.while the greenhouse in terior wasdesigned by Jim Bissell. the show's art

dire<:tor. look closely at the alien garden,and you will probably recognize a famousplant of science fiction history-a Triffid.

"There always has to be an in·joke in thefilm:' says Short, "irs up to the audienceto spot it:'

Back in his garage in Santa Monica.Short has spent a great deal of time

restoring the Man from Uncle car. Thesophisticotcd oulO. onC'C fColurcd in the

popular spy series. was lying in so manypieces on a garage floor in Parker. Colo-rado, when Short scooped it all up. andshipped it back to his own mechanicalW'Orksllop In California.

The one·of.a·kind vehicle remained inhis garage for a short time. Within weeks.he was already test driving the low slung

sportscar. and at this writing. the vehicleis in mint condition, joining his stable of

classic cars which Irn::ludes a 1964 SilverAston Martin DB·5 (similar to the cardriven by 007 In GoJdrll.1ger).

As to his current address. even Merlinwould have been proud of Short's clut-tered tW'O story apartment wedged innoc-uouslybetween the giant structures ofthe

San ta Monica Hospital Complex and vari-

ous local busill6ses that have replaced allother residential buildings in the area.

In this cave . perched on the edge ofhu manity. Short continues to createmovie magic. Whether it is a W'Onderfullyimaginative hand puppet, or a blood

strewn corpse. Short is one of the fewmodern magicians who have. in thei r ownvmj, preserved the skills of that once greatmys tic who prowled the forests of

Eng land. casti ng spells left and right.Would Merlin have survived in the mod·ern world?

Says Short, in all seriousness. "Are youkidding, he'd be under contract in asecond!" (J f

The UNC.l,E car thaI Shorlrestored in hiS garage in hiS spare time alter buying the car in piecestram aman in ColOrado. Now tully rtslored. Ihe car gets Shol1lo his assignments around Hollywood.

Short poses Wllh the three robol chuaclers lie crea ted 101 a eleviSion pilot enlilled Nuts and BollsShort served as the SjJoclal art director in charge 01 creating Ihe robot characters. The pilot never

became aseries,

ClNEMAGIC "21 33

7/28/2019 Cinemagic #21 (1983)


Dinosaurs:From the Inside Out!An easy altemative to full body casting.

By KENNETH BRILLIANT

•.. . 2-3. The bUild-up process begins . Thin strips 01 loam rubber are wrappedarollld the armature and glued in place WIth liquid la tex. Larger foam sheets

are IlSed for me Dody.

. . . 6 Alter Ihe hydrocal has lined, gently pry it IWtlf from the sculpture and cleanour reffia1nlnfl clay

• 9. The completed model. The plates are calVed out 01 balsa wood and appliedWith Krazy Glue. The spikes on Ihe tail and the toenails are made Irom Sculpyclay, Aller all these things ale applie<i to the model. jl Is painted using acrylicpaint mixed with latex (J f

7/28/2019 Cinemagic #21 (1983)


7/28/2019 Cinemagic #21 (1983)


SPECIAL EFFECTS, Vol. 1See the amazing world of miniatUres and model

an imation-from King Kong to Ray Harryhausen and TV'sLand Of The Lost. Special blueprint section includes: the

Nautilus from 20,000 Leagues Under The Sea, Robby theRobot. the C·57D flying saucer from Forbidden Planet.Behind-the-scenes color photos from Batt/estar:Galactica, Space: 1999, The Lost Saucer and SF classicslike Close Encounters, Flight To Mars, Thunderbirds, Warof the Worlds, Star Trek . . . more I .

SPECIAL EFFECTS, Vol. 2Exclusive interviews with masters of mane painting,

effects. makeup and cel animation . A festival of effectsfilms from space epics to splatter movies-pictured in

color photos and technicCiI diagrClms. Special section on

making the giant squid from Disney's 20,000 LeaguesUnder The Sea, the Time Machine from George Pal's

movie, Clnd the Enterprise designs-from TV to theatrical.AI! this . • . plus morel

NEW!HIGH·TECH F ILMMAK ING !

Just published, this newest volume in the

STARLOG Photo Guidebook seri es on Special

Effects takes you on a trip into the gleaming world

of modern film wonders- the technologies that

create Hollywood's special effects fo r science

fiction, horror and fantasy movies. In th is exciting

book you'll read about compute r animation, robot

cameras and new optical processes. SPEC IAL

EFFECTS, Vol. 3 lets you visit the shops of many of

the technical artists who make the "impossible"

their everyday job. Lavishly illustrated with page

after page of photos (many in full color) this new

book takes you on the sets of recent films like StarWars, Flash Gordon, ALIEN, The Empire Strikes

Back, Altered States, The Black Hole, TV's Dr. Who,

Cosmos, and more! Discover the innerworkings of

Doug Trumbull's new ShowScan process and the

new double-70mm 3-D system. If you are interestedin filmmaking, here, in one volume, is your chance

to learn about present-day techniques in special

effects- and also glimpse what the future holds.

SFX SECRETS

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Cinemagic #21 (1983)

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