Movie Makers (Jan-Dec 1930)

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JflN 2S !930 MOD FEBRUARY, 1930 THE FOURTH SEASON Data On JVinter FilmiJig In Black And JThite Or Color THE fourth season is still a future pleasure so far as many amateur movie makers are concerned. All amateurs of colder climes should realize the sport they are missing until they learn the joys of winter shooting, to say nothing of the variety of films they could add to their personal libraries! It is possible, you know, to become bored with shot after shot of green grass, trees and budding flowers. A swirling snowstorm or the crystal beauty of lengthening shadows on snow and ice can be as delightful and as interesting as the most idyllic summer setting. Winter filming is no more difficult than that of summer. Still, there are certain facts that must be taken into consideration if successful results are to be obtained. The winter sunlight is much weaker than that of summer and, hence, more exposure must be given. More specifically, if a scene in summer calls for an exposure of /:8. the same scene in wdnter, under the same lighting conditions, will require a stop of /:5.6. This last statement should not be taken too literally. Exposure rules and guides must be mixed with a liberal amount of common sense. Conditions of the atmosphere will necessitate a change of exposure, even though the light source remains the same. The presence of snow on the ground will aid materially in cutting down the time of exposure since it acts as a reflector. In some cases it may even compensate for the increased exposure considered necessary because of the lessened strength of the sun during the winter months. In such a case, a subject calling for an exposure of /:8 in midsummer might call for the same stop in midwinter. The early and late hours of the day in winter call for considerable increase in exposure over the midday hours. A good plan would be to work out a By Walter D. Kerst personal exposure schedule, as it were, designating the hours of the day between eight and ten in the morning as the early period and the hours between three-thirty and five in the afternoon as the late period. Ascertain by a few actual tests the correct general exposure for these hours, making a change only when individual conditions call for it. One of these conditions has already been suggested, namely, snow. The presence of a white or lightcolored object reflecting light on the scene will call for a smaller diaphragm opening. A dark gray, brown or red object will absorb more light than it will reflect and hence a larger diaphragm opening will be used. In other words, a change of environment usually means a change in exposure, even though the light source remains the same. In shooting a snow scene in which figures or objects are fifteen to twenty feet from the camera and in which a generous expanse of snow is included, calculate the exposure for the snow. If a longer exposure is given so as to obtain detail in the objects and figures, the snow will appear on the screen as a blank white space, having lost all its beautiful gradations. Don't worry about the figures or objects appearing in many cases as dark gray or black spots, with but little detail in them. Figures at fifteen to twenty feet do not show appreciable detail in any kind nf scene, unless they are enormous in size. When detail is wanted, shoot at a distance of four to eight feet and expose for the figure only. Scenes of this type can be spliced in the film when it is edited. To get the best results when shooting snow scenes, the use of panchromatic film with a filter is stronglv urged. The yellow color filter subdues and holds back the intense blue rays that are reflected from all snow that is lighted by bright sunlight. The panchromatic film emulsion, because of its lesser sensitivity to the blue rays than ordinary emulsion, helps further to retain all those beautiful gradations of light and shade that make snow scenes so delightful. Of course, when most of a scene is entirely in shadow there is not much to be gained by the use of a filter, since it prolongs the exposure needlessly and in gray or dull light the exposure problem becomes acute to one not working with a fast lens. Two filter factors, one of two and one of four, are sufficient for snow scenes. The four-time filter can be used when the sun is at its brightest, making it possible to use the diaphragm at a normal opening. The four-time filter \\'ill give a better rendering of color values than the lighter filter, that is, more gradations of light and shade will be rendered and, therefore, a more truthful and pleasing reproduction of the scene will be evident on the screen. It is suggested, however, that the amateur try a given scene with both filters and judge for himself which is the more pleasing. Individual taste varies and, after all, what is one man's meat is another's poison. A word about natural color filming in the winter would not be amiss at this point. Contrary to popular opinion, the wTiter feels that natural color filming is just as feasible and productive of interesting results in winter as in spring, summer or autumn. Perhaps one must be "color-minded" to feel this way but a little thought on the matter will show the reasons why. To the majority of laymen, as distinguished from artists, be they painters or cinematographers, snow is just "pure white." To artists, however, it is anything but white. A trip through 83