Movie Makers (Jan-Dec 1952)

MOVIE MAKERS 305 Their beams then will be reasonably well superimposed on the subject at either the 10 or 6 foot distances. In adjusting the exposure under such circumstances, the intermediate position of 8 feet should be taken as the basis for exposure calculations. EFFECT OF REFLECTANCE One more point which should be kept in mind both indoors and out is the general reflecting characteristic of the subject. The guide numbers given here, like the basic exposures recommended for use outdoors, are for average subjects that contain some medium, some light and some dark colored areas. When a subject is generally light in color and has no extensive area of dark color or deep shadow, then it is reflecting more light than the average. Therefore less exposure or a slightly smaller lens opening than the tables indicate can be used. On the other hand, if the subject is generally darker than average and does not contain very many light areas that are reflecting an appreciable amount of light, more exposure or a slightly larger lens opening than the tables show should be used. For example, you can see that closeups of a baby dressed in white clothing would require at least % a stop less exposure than the average subject; whereas a closeup of a dark-skinned person would require at least % a stop more exposure than our tables indicate. These variations or allowances for light or dark-colored objects should be made in addition to the allowances made for aging of the lamps, shutter speeds and so forth. Once one acquires the ability to appraise quickly the reflectance of subjects and to make proper allowances for other variables of movie making, filming indoors becomes as easy as it is outdoors. You'll be playing your pictorial piano with both hands — and you'll like the new harmonies this creates. Using color creatively [Continued from page 295] to a relatively small object by setting it off with a contrasting color. If you would like to have your audience discover the "ruby" in your heroine's ring (it's really as phony as her "blue" eyes!), have her wear a green dress and keep all other red objects out of the scene for the moment. And, if you really want to hit them in the eye with this bogus bauble, keep red out of several preceding scenes as well and splash lots of green around. As director of the Gobelins tapestry works in Europe, Chevreul utilized these color principles to excellent advantage. So, with a conscious use of chromatic contrast, can we as creative movie makers. SIEMENS THE all aluminum SPLICER AND EDITING BOARD for 8 and 16 mm. A superb editing instrument, made with the precision of a fine camera by the famed Siemens and Halske Works of Germany. 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