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J.
"Hiya Pop!
ABC's OF HOME
E
"Can I use the car, huh?"
How to film home-life incidents • first of a new series of articles
'Needs a wash, huh?"
4.
"I wouldn't fake the girls for a ride — "
5.
" — nof in a car that needs washing."
6.
"The girls! There they are! Hiya, gals!"
THE home movie maker is a one-man band. He is the motion picture director who decides what, how and where. He is the cameraman who is responsible for the mechanics of camera angle, lighting and exposure.
Before casting ourselves in the cameraman's role let's put on a figurative beret and sit in the director's chair.
The alphabet blocks with which a director works are the individual camera shots. A number of scenes, put together, narrate an incident. Then incidents are strung together like pearls, in logical order, until a story necklace is created.
We're not worried about necklaces, now. To start with, we will be satisfied with some pearls filmed from ever)7 day incidents among family, friends, and children.
There are plenty of episodes around the house. Just for example, imagine Dad driving home from the office and being hailed by Daughter saying, "Hiya, Pop. can I take the girls for a ride in the car?"
Dad, being an old hand with this request, draws daughter's fingers across the hood to see if there's any dust. Sure enough, there is, and daughter decides she wouldn't ride in a car that can stand washing. She hardly puts sponge to hood, however, before the girls come bicycling by. Dad, aware of what is in store, starts down the steps with a fresh bucket of water. He is just in time to wave to daughter and friends departing on bicycles.
To film this episode, we can start with a long shot showing our house. A car drives up. In the house, a door opens.
A girl comes out. She runs toward the
car.
Next — but let's list the scenes we will take:
SHOOTING SCRIPT
1. Long Shot. Home sweet home, daughter running out.
2. Medium Shot of Daughter running. (See photo 1)
3. M.S. (photo 2). Car. Daughter runs up as door of car opens. She speaks. Dad comes out, takes Daughter's hand and draws it across hood of car. He looks at dust on her fingers.
4. M.S. (photo 4). Daughter comes out of house and down steps carrying bucket of water. Etc.
List scenes in this way, indicating each as a L.S. (long shot), M.S. (medium shot;, or C.U. (closeup).
The Long Shot, in the alphabet of movie-making, is one that shows not only the subject, but also its surroundings. The camera distance might be 50 feet or five miles — depending on whether the subject is an automobile or the Empire State Building. It is generally used at the beginning of a sequence.
The Medium Shot shows all of a subject. Medium shots should be used sparingly. Many medium shots would be better as closeups.
The closeup shows part of subject. It is the most dramatic device in the cameraman's bag. A closeup can describe the appearance of a hand, a face, or moving feet more accurately than vision. It can stop the clock of time and extract an instant of action, like a specimen on a slide, for microscopic study.
"Don'f work foo hard, Dad!"
VCC Use low angle shot, with camera close to the ground to increase sky area and dramatize the picture.
\jri Using camera at eye-level allows subject to appear lost amid dark background. It's not flattering.