Movie Makers (Jan-Dec 1952)

248 SEPTEMBER 1952 this system is not limited solely to 16 frame-per-second projector operation. As long as the ratio in revolutions per minute between the projector shaft (x) and the timer second hand (1) remains at x/1. almost any desired projector speed can be used. Effecting any such change in projector speed is more easily accomplished by changing the speedometer reducer being used than by redesigning the gear train in the timer. You may feel, for example, that a straight 16 fps projection speed gives your pictures a slight flicker on the screen. Okay, let's disconnect the 15/1 speed reducer in use and substitute one operating at 16/1. The result will be a projection speed of 17.06 fps. And if this doesn't suit yo i. try a 17/1 reducer; the new projection speed will be 18.13 fps. Both of thece speed reducers, as well as the 15/1 unit, are in stock at the manufacturer's. F. W. Stewart Manufacturing Corporation. 4311 Ravenswood Avenue. Chicago 13. 111. They may have (though of this I'm not sure) a 22/1 speed reducer, which coupled into the setup described will give you a projection speed of 23.4 fps., or approximately sound speed. . . . Stewart also can furnish the flexible shaft and couplings — in case you're wondering where to pick them up. Ballet en blades (Continued from page 241] fording a direct-line view toward the stage and the performers' entrance. For your first show, it is best to leave your camera at home, purchase a program and an inexpensive balcony seat, and make notes during the show (a small pocket flashlight helps). Keep data on the type of illumination for scenes that you judge are best to photograph. Count the number of spotlights in use and note this in the margin ; note the color and brightness of the spots and make a note of these. When the Grand Finale is presented, you will have amassed a good idea of the best possible shots to take, and will be better equipped to handle the job more efficiently. At the conclusion of this performance, go downstairs and make a note of the seat numbers at the locations shown in sketches B and C. Reserve these seats for a later date. Be sure to have several locations and a choice of dates. Then comes the first filming night. You have your reserved seat in a choice location, have brought along about 500 feet of 16mm. Type A Kodachrome and have the equipment necessary to photograph the show. Seated in the mezzanine location, you should set the footage scale of both lenses at a point a trifle short of infinity. This will cover most sequences for this location. Seated in the lower-level PLANTATION BILLES is the program title for this winsome trio of ice-show ballet skaters. promenade, the distance focused upon may vary, depending on the location of the performers; you will have to estimate this. However, a setting of about 75 feet will cover most shots, if you are careful to avoid shots closer than 20 feet to your camera position. The following suggestions for diaphragm settings are based on approximately 12 super-spots, located at various poin's in the uppermost balconies. For the "Production Numbers," where a great number of skaters are present and there is good overall flood lighting, the setting is //1.6 or f/1.9 at 16 fps. Note: avoid photographing any scenes where the lighting is predominantly deep blue or dark green or dark red. These colors are bright to the eye, but have very little value photographically on color film. For the spotlighted numbers (where one or two skaters are spotlighted by a dozen spots, all concentrated on a small area) the exposure is f/2.8 for darker colored costumes and //3.5 to //4 for light colored costumes. For spotlighted numbers where two spots are concentrated on each pair of skaters, between f/1.9 and f/2.8 is all right for good average lighting. The above diaphragm settings are for illumination with the lighter colors: white, yellow, light orange, light green, or light blue. For the darker shades of these colors, open Vz to 1 full stop. Using a CC15 compensating filter in front of your lens will cut some of the ultraviolet rays from the spots so that warmer tones will result. No increase in exposure is necessary. Now let us consult the data noted on your program during a previous visit to the show. Your first shot may be a colorful production number. Using a 1 inch f/1.9 or //1.5 lens (wide open), you carefully follow the lead group and try to keep them in the center of your viewfinder. The length of scene will depend on the action and interest of the number; usually 10 seconds is sufficient. Next move the turret to your 2 inch telephoto lens and give your audience a closer view of the skaters and their colorful costumes. This sequence must be spliced in later at a point corresponding to the action contained in the long shot. When following action of one skater or a pair of skaters, it is important to keep your subject in the center of the viewfinder at all times. Too much blur in the image will occur if you do not observe this. However, it is best to avoid too many sequences of single performers in action, and to concentrate rather on the larger flood lighted production numbers. Later, attend another performance and shoot your footage from the low angle of the end-promenade seat, again using your 1 and 2 inch lenses. These shots are to be spliced in with your material taken previously from the high position. Be careful to match the action when cutting to the low angle from the high shot position. After you have edited your ice follies film, you may wish to weave a story around the show. This was accomplished in my film, Philadelphia Story, in which two young ladies aspire to become Ice Folliettes. They are introduced to Oscar Johnson in Philadelphia, where he shows them a movie of a previous ice show to acquaint them with the routine. Later titles were added and an entertaining film was the result. Your choice of a good musical score will greatly enhance your film, whether you use disc, tape or wire. And, of course, if you are lucky enough to own a magnetic projector, such as the new Bell & Howell Filmosound 202, you can record your musical score and commentary directly on the film for perfect synchronization. There are (so some filmers tell me) other ice shows besides Shipstad & Johnson's Ice Follies. Maybe so. But my many friends among this fine troupe have treated me over the years with every consideration, and I recommend them to you. Their itinerary for the 1952-53 season follows. Why not check the dates for your home town — and make a date to film your ballet on blades? PLACE BOOKING Los Angeles Sept. 4-28, 1952 Denver Oct. 1-7 Chicago Oct. 9-Nov. 4 Cincinnati Nov. 6-16 Washington, D. C. Nov. 18-24 Hershey Nov. 25-Dec. 6 New Haven Dec. 7-14 Xmas vacation Dec. 15-24 Philadelphia Dec. 25-Jan. 13, 1953 Pittsburgh Jan. 14-21 Cleveland Jan. 22-Feb. 1 Toronto Feb. 2-6 Montreal Feb. 8-15 Boston Feb. 17-Mar. 1 Providence Mar. 2-8 Buffalo Mar. 10-17 Syracuse Mar. 18-24 Minneapolis Mar. 26-Apr. 12 Milwaukee Apr. 13-19 Vacation Apr. 20-May 19 Seattle May 20-31 Portland June 1-14 San Francisco June 17-Aug. 30