American cinematographer (Jan-Dec 1952)

THE PHOTOGRAPHY IS IMPORTANT (Continued from Page 547) is recognized as one of the finest cine¬ matographers in the industry. For a long time he held the distinction of being the youngest first cameraman in the business. Burks’ career is noteworthy for another reason as well: all of his uninterrupted twenty-three years in Hollywood have been at one studio — Warner Brothers. When he first came to the lot, he hoped to get a job in the music department; but he discovered greater interest in photography, went to work in the camera department. Last year he came pretty close to winning an “Oscar. ” “Strangers On A Train” was nominated for an Academy Award for black-and-white photography, lost out in close voting to “A Place In The Sun.” MOVIES TELL A STORY ( Continued from Page 534) and comprehensive record of a natural experience. That is why the best amateur movies are first planned on paper — in scenario or shooting script form. The action of your story (and here story means any¬ thing from a brief movie of the kiddies or family to a simple photoplaylet) should be plotted, if only in skeleton form, to give you the whole picture at a glance, and to make it possible for you to visualize any breaks in the con¬ tinuous development of the story. When such pre-planning is not prac¬ tical, as when making a travel or vaca¬ tion film, then the next best thing to do is develop a story line as you start to shoot, and edit your picture as you shoot. In other words — instead of re¬ cording what you see in unrelated “snapshots,” make medium and closeup shots with which to build interesting sequences later at the editing board. And don’t forget the closeups! To the movie amateur to whom con¬ tinuity is yet an untried technique, we suggest the following procedure: in pre¬ planning and setting down directions in shooting-script form, simply imagine you are writing a letter about the sub¬ ject of your filming, giving the same attention to detail and points of interest. Then go back over your letter and un¬ derscore the salient points. These will be your individual shots, augmented perhaps by medium and closeup shots. Follow the same technique when film¬ ing without a scenario or shooting script. Pick your subject, and imagine how you’d describe it in a letter. Re¬ member the little details you would de( Continued on Page 551) NO NEED TO WAIT ANY LONGER Sound & Picture Editing ACMIOLAS WORLD FAMOUS OVER 20 YEARS Shipments in 3 months or less ! © Straight up and down threading . . . cutters have nothing new to learn. © Reversible, variable speed motor for picture head. © Reversible constant speed motor for soundhead. © Pictu re and soundheads mechanically coupled to run synchronously. © Built to outlast 3 ordinary machines. © Foot pedal or hand rheostat controls. © Why rent an editing machine when it is cheaper to buy a new ACMIOLA? © Photo shows one of nineteen different models. Send for illustrated ACMIOLA brochure S.O.S. IS AGENT FOR: Acme Animation, Auricon 1200 Cameras, Bardwell Cr McAlister Spots, Bell & Howell Printers, Blue Seal Re¬ corders, Bodde Background Screens, Century Lighting, Colortran Li.es, Fearless Dollies, Hallen Recorders, Kinevox Synchronous Magnetic Recorders, Magnecorders, Micop Printers, Moviolas, MoleRichardson Lights, Precision Sound Readers, Raby Blimps, and Gearheads, Studio Sound Readers and Synchronizers. Many Items Available on Time Payments. ACMIOLA DISTRIBUTING CO. MODEL C — 35mm Sound and Picture ACMIOLA. 6" x 8(4" shadow box screen, or larger image if desired. Division of S.O.S. CINEMA SUPPLY CORP. 602 W. 52nd St., N.Y.C.— Cable: SOSOUND Model M52 SENSITESTER • IMMEDIATE DELIVERY to the lab owner interested in — QUALITY EFFICIENCY ECONOMY • DUAL MACHINE 1 — Sensitometer 2 — Scene Tester • HIGHLY ACCURATE Electronic timer unaffected by climatic changes. • NEW TYPE LONG-LIFE Cold Light Exposure Unit • WITHOUT ADDITIONAL EXPENSE will match any printer • $1675.00 35mm Model • $1 875.00 35mm-16mm Combination Model F.O.B. Hollywood, Calif. APT PEEVES MOTION PICTURE EQUIP. 7512 Santa Monica Blvd. Hollywood 46 California December, 1952 American Cinematographer 549