"Galleon Gold, 1600 ft., 16 mm., produced by the San Jose Players under the leadership of John C. Waterhouse, strikes a more sober note. This entertaining drama of the youth of a venerable Spanish family, who discover the treasure trove of the Conquistadores in time to save the family hacienda from the encroachment of the lime quarries, contains much good photography, a smooth continuity, experienced acting and first rate direction." Movie Makers, Sept. 1930, 569.
"Galleon Gold, 1600 ft., 16mm., produced by the San Jose Players, deserves special mention for its smooth flowing continuity alone. Although the difficulty of securing a lucid continuity is greatly increased in a longer dramatic picture, the producers of this film have achieved perfect clarity. This film was made during a summer vacation at a mountain ranch and it seemed at first that the lack of electric current for lighting would be an insuperable obstacle since the script called for many interior scenes. The problem was finally solved by a portable motor generator driven by a gas engine which, with proper lighting equipment, made ample illumination possible." Movie Makers, Dec. 1930, 788.
"When The Red Gods Call, 1600 ft., 16mm., is noteworthy as an exceptional record of wild animal life in the great north woods and was made by W. H. Dodge. With infinite patience and camera skill, Mr. Dodge succeeded in recording the natural movements of moose, bear and other wild animal subjects and his photography under difficult conditions, as exemplified in this film, is exceptional. The results gained in many of the telephoto shots and in shots taken with fast lenses and superspeed film were made possible by a specialized cine outfit, developed by the maker of the film himself. Beautiful nature shots, as well as exceptional night and flare work, add to the original qualities of this film." Movie Makers, Dec. 1931, 685-686.
"The Eyes Of Science, 3000 ft., 35mm., planned and photographed by J. S. Watson, Jr. and Melville Webber, is exceptional for continuity treatment and photography alike. Conceived primarily as an industrial film of a very high order, the final result is a veritable tour de force in the technical accomplishment of film exposition. Telling the story of lens making and culminating in representation of the impressive and complicated optical machinery which plays an important part in modern art and industry, the smoothness of the continuity is plainly the result of careful calculation of the interest value of the whole as well as of every small part. Multiple exposures, lap dissolves, color and microcinematography, as well as a number of surprising photographic effects, give this film a technical interest much above the average. Of these, some of the exceptional examples are the photography of light rays passing through prisms and lenses; a recording of the phenomenon of Newton's Rings in color; a scene showing a subject, together with its image on the ground glass of a camera; strains in a structure revealed by polarized light and many other remarkable shots. In short, the combination of cinematic art and skill with which this film is composed places it well in the front rank of all existing industrials regardless of the source of their production." Movie Makers, Dec. 1931, 657.
"Made in collaboration with Melville Webber for Bausch & Lomb Optical Co. Included: glass making, grinding, and polishing lenses and prisms, manufacture and principles of operation of microscopes, telescopes, and other optical instruments" (Unseen Cinema, 114).
"The production of the Flower City Amateur Movie Club of Rochester, N. Y., Terror, 400 ft., 16mm., was written and directed by Frank J. Buehlman. It was recently screened as a special, added feature on a week's run at the Little Theater in Rochester. Terror is a psychological study of the effect of fear. Its story is based on a practical joke engineered by friends of the victim who, to the end of the film, remain ignorant of the disastrous results. As the story develops, we see the commonplace incidents of every day life through the eyes of the fear obsessed principal character. The handling of the theme required great care but the producers succeeded in making the highly fantastic reactions of the character seem plausible. With its exquisite lighting effects and the dramatic power achieved in the climactic sequences through cinematography, this film is certainly outstanding." Movie Makers, Dec. 1930, 759.
"Carl Weagant's sea epic, The Cruise Of The Carlsark, 3000 ft., 16mm., is a complete film record of the voyage of the ketch, Carlsark, across the Atlantic. Three Cornell men began the adventurous trip at Ithaca, N. Y., sailing through the Erie Canal system into the St. Lawrence and thence out into the Atlantic. Crossing the ocean in the little yawl, they cruised through the Mediterranean and returned home, stopping at the Canaries. The film record of the trip, made by Mr. Weagant, who was skipper as well as cameraman, is almost as important an advent in the annals of amateur movie making as the trip itself is in yachting circles. Excellent in exposure throughout, the picture contains few of the errors that would have been excusable. The continuity follows the chart of the voyage but the reels of sea scenes in the midst of the film can be considered as a separate subject. These scenes, telling the every day life aboard the ketch and the exciting incidents on the trip, are as interesting and as well photographed as any amateur made sea pictures that have come to the attention of League headquarters." Movie Makers, Dec. 1930, 759.
"The Art of Photo Engraving, 1600 ft., 16mm., filmed by Edward J. Schon, tells the story of photo engraving from the first step to the last. It makes the complete process clear to the nontechnical audience while its interest to the engraver is such that Mr. Schon was invited to attend the recent American Photo Engravers' Convention in Philadelphia to screen the film and speak on his experiences in making it. It is probable that this excellent amateur made industrial has initiated a series of similar films on the same topic. Because of the unusually careful focusing and consistently even exposure, in spite of the wide variety of lighting conditions met with in interior scenes, this film is photographically outstanding. The continuity, presenting the plant's operations in natural sequence, is commendable for its clarity, particularly in view of the numerous complicated processes featured." Movie Makers, Dec. 1930, 759.
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