Movie Makers (Jan-Dec 1952)

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14 ® X CROSS LIGHTING, whether you use color film or black and white, adds depth and texture to your ski shots. Angle is excellent on turn above. WINGS OF THE WIND DO YOU want to make a ski movie this winter that will compare with a professional sport short? Want to enjoy the outdoors and make a host of new friends in your community? It's easier than you may think and a lot of fun in the bargain. But there are some precautions that should be observed if you are to be successful in your project. THE TOOLS REQUIRED Actually, the working tools required are limited in number and those commonly found in the average cineamateur's gadget bag. You will need your camera, a tripod and a deep lens shade for each lens that you use. In that category, begin with your normal lens, add first a telephoto (about 3x) and then a wide angle. As for film, if you shoot black and white, a red or deep orange filter will give dramatic punch to your scenes that include portions of the blue sky. An exposure meter is a fine adjunct to the above, but the little guide cards packed with each roll of film will give you sufficient guidance if you do not own one. Your lighting equipment will be furnished and perfectly balanced in degrees Kelvin for color filming by Mother Nature at no charge! BEGINNERS' CLASS is always an easy way of including a large number of ski club members in a single sequence. Closeups should follow. HERBERT A. MacDONOUGH, ACL As to casting the picture, here is where you can make the group of new friends. Most towns and cities in the ski areas of the world have their own local groups of ski enthusiasts or ski clubs. For this sport of skiing is just about as infectious a hobby as you-know-what, and its adherents are always willing to slide down the slopes at the least possible excuse. Thus, you will find a warm welcome at the local ski club — especially so if you promise to show the finished picture at a subsequent club meeting. In discussing the shooting schedule with the group, you will learn some of the terminology and slang used in this sport which will be of aid later in writing your subtitles. Also you may uncover the skiing specialties of various members and make tentative plans for using them in sequences. In addition, it is a good idea to plan for some shots showing the entire club group. These will work into your picture more readily than may first seem apparent. ADVANCE LOCATION SCOUTING Before the first day of actual shooting arrives, it is wise to visit the ski slopes and make some observations. This is the time to note the position of the sun at various hours of the day and to get a general idea of the most desirable camera angles. It is a good idea also to compute your exposures, at least roughly; thus you will know in advance approximately what lens stops to use for your normal 16 frames-per-second and your slow-motion 64 frames-per-second filming. Most of your color filming will be at lens stops in the //8 to //ll range, whereas a moderate speed black and white film, such as Hypan, will require //16 to //22 — not counting in filter compensation. At this same time, you can watch the skiers and note where they start and end their runs, where the ski tow is located and, for your comedy relief sequence, where the beginners practice their skills and spills. With this information on tap in advance, you will be better prepared to expend the shooting day profitably. You'll find fun, friendship and fine filming along the ski slopes