American cinematographer (Jan-Dec 1952)

Amateur CINEMATOGRAPHY Fred W. Jackman, executive vice-presi¬ dent of the American Society of Cine¬ matographers, will chairman the com¬ mittee of judges who this year will evaluate the entries in American Cine¬ matographer s 1952 Amateur Motion Picture Competition. Jackman, who has served as committee chairman in previous years, is an avid champion of the amateur movie maker. He is himself one of the industry's most renowned cinematographers, having for many years directed the photography of Mack Sennett’s famous Keystone Come¬ dies. His own early -day experience as a cameraman parallels that of many of today's serious amateur filmers, in that he learned to accomplish with his camera the cinematic effects which today the professional leaves to the process and special effects department. Jackman is credited with developing use of variable camera speeds, split frame, multiple ex¬ posure, etc., as means of creating unique comedy effects in Mack Sennett’s films. The committee of six fudges for the 1952 Competition will be selected from among leading directors of photography in the major Hollywood studios. Most of these cameramen also are cine camera enthusiasts, and understand the ama¬ teur s filming problems and his limita¬ tions. No other national film competition offers the amateur the opportunity to display his work before the men who know cinematography best — the profes¬ sionals — and who again this year will select the TOP TEN amateur films to re¬ ceive American Cinematographer Gold T rophy A wards.— editor. * * * * * * * * * * * * * * * * * * * * * * * * American Cinematograph e r March 1st Is Deadline For Contest Films Six Hollywood cameramen will select the Top Ten amateur films to receive Ameri¬ can Cinematographer Gold Trophy Awards. By FRED W. JACKMAN, A. S. C. Less than sixty days remain for amateur movie makers to put the final polish on their films and enter them in American Cinematogra¬ pher’s 1952 Amateur Motion Picture Competition. This competition closes at midnight, March 1. Already, twice as many entry blanks have been requested as last year and at this writing a formidable number of films already have been received by the contest chairman. This nation-wide competition is open to any amateur-made 8mm or 16mm film, silent or sound, providing it was completed after January 1, 1950. It is necessary, of course, to place a footage limit on all entries, and this has been announced as 800 feet for 16mm films and 400 feet for 8mm films. However, because many contestants planning to enter pictures with sound on film have objected that 800 feet limits their entries in actual screening time as compared to silent films made at 16 f.p.s., the committee has decided to change this specification and allow the entry of 16mm sound films (or any film which must be projected at 24 f.p.s.) up to 1200 feet. Perhaps no other competition the world over offers amateurs the oppor¬ tunity to display their movie making ability before the most critical of judges — the professional cameramen of the motion picture studios. To have your film chosen to receive one of American Cinematographer’s Gold Trophy Awards is to receive the highest professional accolade for your efforts and artistry — which may not be without significance. It could mean greater rewards ahead for you as a cinematographer. Whenever I have opportunity to address a group of amateur movie makers, I am invariably asked how one should go about putting the finish¬ ing touches on a contest film. This is a subject for a comprehensive article in itself and I have often answered the question with a lengthy discourse, which may not have been without some professional aspects. However, 1 think the question has been expertly answered by one of your own fra¬ ternity of movie makers, Denys Davis, a London cine amateur and a frequent competition winner, who recently wrote in the British Kinemato graph Weekly. “My own method is to rough cut the picture first according to the script, then show it to as many persons as I can gather together and listen to their criticisms. Not infrequently this entails taking additional shots to cover uncertainties in the script. “Then the fine cutting begins when the film will have to be run anything up to a hundred times before each shot has been pared down to its essential and I feel that the film tempo matches the mood of the sequences. This is, for me, the most interesting part of film production since it is the first time that the film as a whole begins to take shape. Having reached the stage where I believe the film is as perfect as it is ever likely to be, I put it away in its tin and try to forget it. “Not less than a month later, I take the film out again and make notes as (Continued on Page 42) 26 January, 1952