Movie Makers (Jan-Dec 1952)

118 APRIL 1952 MODEL 60-4, latest in Lite-Weight series of optical sound projectors by Victor Animatograph Corp., lists at $395 with 9" speaker. reverse and is equipped with a 750 watt lamp. The 4 watt amplifier will accept either a microphone or phono input for use as a PA system. Spring cleaning [Continued from page 115] off their answer with contempt, as he speaks. Title: "School . . . ? Today is SATURDAY!" 42 — CU: Short scene of Junior reacting sharply as he speaks. Cut for tempo. Title: "SATURDAY!" 43 — SCU: Sister seated on pavement as she slaps her hand to her forehead and relaxes in disgust. Cut for tempo. 44 — CU: Father, still behind the wheel of the car, dejectedly placing his hand over his eyes as though he was about to burst into tears. 45 — MS: Neighbor boy shaking his head as he walks out of scene. The camera lingers, however, to pick up the others in the background who remain motionless for a while in their depressed mood. 46 — SCU: A short scene of Mother cautiously peeking out from between the curtains of living room window. 47 — MS: Father slowly getting out of the car. The camera follows him as he walks back to help his two youngsters who are now solemnly regaining themselves. 48 — SCU: Father picking up some of the books scattered about on the driveway. Slowly he smiles and his expression changes as he begins to speak. Title: "Wait a minute! What are we feeling so bad about?" 49— SAS 48: Father still talking as he points to himself and his youngsters. Title: "So it's Saturday . . . That means no work for me and no school for you two!" 50 — SCU: Junior and Sister respond with equal delight. 51— SAS 46: Short scene of Mother still peeking out of window. 52 — SCU: Father, Junior and Sister chatting happily. 53 — CU: Sister as her expression changes. She frowns in deep thought and speaks. Title: "Didn't Mom say we were to help her with spring cleaning this Saturday?" 54 — SCU: The three in a group as the expression of joy fades from their faces. 55 — SCU: Sister shaking her head sadly. Her expression is grim as she speaks. Title: "Mom just tricked us into getting up early this morning!" 56 — SAS 54: The three nodding sadly in agreement. 57 — MS: Mother coming out of the front door carrying a bucket, broom, etc. She puts her fingers between her lips and whistles. 58 — SAS 56: Father, Junior and Sister looked up startled. 59 — SCU: Mother motioning with her fingers for them to return. 60 — SAS 58: The three turning to walk back unhappily. As they do, the neighbor boy reappears in the foreground eating a banana. 61 — CU: Neighbor boy laughing and pointing as he continues to eat the banana. FO. And now the spring cleaning. There's no point in our trying to outline it for you, scene by scene and sequence by sequence. You'll want to develop your own didos, based directly on the specific activities around your own home. In general, however, we'd suggest working out a sequence involving each member of the household, with mother riding herd on their reluctant efforts. Also, it will be well to thread in a few timelapse symbols to suggest that it's late afternoon when you tie in again with our script for the finish. As follows: 62 — FT, MS: Mother opening oven of kitchen range. She reaches in and removes a frosty lemon pie. 63 — CU: Shot of pie as Mother's hands place it on dinette table. 64 — SCU: Mother calling off scene as she sets table for an afternoon snack. 65 — SCU: Sister hearing Mother's call and dropping her work. Cut quickly to: 66 — SCU: Father halting his chores and rushing away. Cut quickly to: 67 — MS: Mother standing at table as everyone enters. She motions them to sit down, which they do eagerly. 68 — CU: Junior seated at his place as he sniffs pie and rubs his hands. 69 — SCU: Father reaching over to start cutting pie for everyone. 70 — CU: Doorbell as neighbor boy's finger presses button. 71 — MS: Family group as all heads turn towards doorbell. Father hesitates with his pie cutting as Mother exits scene. The children complain about the delay, but father waits to see who is calling. All turn in their chairs to wait. 72 — MS: Mother entering kitchen witli neighbor boy, whom she fondly wel comes. She motions for the others to make room for their young visitor. This they reluctantly do — near Father's end of the table. Mother exits scene. 73 — SCU: Mother at opposite end of the kitchen reaching for another plate on a shelf. She turns her head as she speaks. Title: "Jimmy deserves some of that pie too. It was he who gave me the idea of getting the whole family to help today!" 74 — CU: Neighbor boy seated at table smiling smugly. 75 — SCU: Short scene as Father looks at neighbor boy with a forced smile. He then draws the pie nearer to him and looks at Junior and Sister. 76 — CU: Short scene as Junior nods his head as though answering an unasked question. 77 — CU: Short scene of Sister doink likewise. 78 — SCU: Two-shot of Father and neighbor boy. Father matter of factly picks up pie in the palm of one hand and smacks it into the visiting youngster's face. Cut quickly to: 79 — CU: Short scene of Mother in surprised take dropping the plate she was seeking. 80 — CU: Neighbor boy still seated begins to cry as the pie drips from his face. 81 — MS: The group at table as Father, Sister and Junior stand up at their respective places and solemnly shake hands. 82 — MS: Mother comes in to scene, looks first at her family and then points at the neighbor boy. 83 — CU: Face of neighbor boy looking extremely bedraggled. 84^SAS 82: All of the family are now looking at the boy. Junior points at him and starts laughing first, then Sister, then Father and then Mother. They are standing in a close-knit circle as the scene fades out. The End. Try action stills [Continued from page 109] color frames would be the more satisfactory. For, don't forget, you will be enlarging to photographic prints as an end product — not to an end reproduction in halftone engraving. As to camera speed, certainly the top slow-motion shutter time of 1/120 of a second at 64 frames per second should be adequate. And now back to my dance footage. To give the maximum apparent height on leaps. I filmed from a position as close to the ground as possible, as shown in Fig. 2. Since the photographs were intended exclusively as stills and not as movies, I held the camera on its side so that the long dimension of each frame would be vertical. In this way I was able to come as close to the sub