Amateur Cine World (November 1934)

Shooting against the sun has ‘‘made”’ this charming study, which is of simple but pleasing composition. Introduce disappears from the film. him here and there and he would link up the present somewhat startling continuity. Here is a film of which it may be said that the author has done the ordinary things, but has done them so well that we are awarding World leader. A CAFE CONSPIRACY. By W. A. HIBBERD. 9.5mm. Another effort by the same author. The ‘ London’ film was taken entirely with natural light. This one is a later effort, more sophisticated in that it is entirely lit artificially. It is only a fragment and the author apologises for his ‘actors’ by saying that they were really technicians who filled the acting breach in the absence of ‘ good amateur performers.’ Allow us to inform him that their acting was a great deal better than many ‘ good amateurs’ who pride themselves on their capabilities. Technical data: Camera, Motocamera de Luxe with f/2.5 lens. Taken in a studio measuring 20 feet by 20 feet, lit with 8,500 watts of half-watt light. The titles were again entirely executed by the author and were: excellent, with the same criticism about the size of the lettering. The lighting of this film is reasonably good, although there are some empty shadows which are uninteresting. The principle in lighting should be first to give enough light to overcome the inertia of the emulsion. The whole set must be lit in this way, not only the actors. an Amateur Cine READERS’ FILMS ADVICE ON PERSONAL MOVIE-MAKING (Continued from previous page) It is not easy, but it can be done with even the simplest outfit. Then the modelling lighting should be built up on this basis. Study not only professional kinema lighting but look in all the display cases of all the best portrait photographers. Incidentally, you can learn a lot of your job with a ‘still’ camera. From the directional point of view there is one false note. Two conspirators are in a cafe. One gives the other a note, furtively. The other man reads it openly. Conspirator No. 2 is right. Furtiveness would arouse suspicion in anybody who happened to spot the action. Besides, if No. 2 can read the note openly what is there to prevent No. 1 being equally open and apparently honest when handing it over? We should like to see this film carried on and then submitted to us again. WITHIN THE CITY BOUNDARY. 9.5 mm. By F. E. ROCCA. R.O.F. film in a Coronet. A first effort by a man whom we imagine to be more interested in the directorial and editorial aspects of film making, than in the camera work, but you must remember, Mr. Rocca, that the only film that is really worth editing is film that has been well photographed. You would not try to build a house in wattle-and-daub if good bricks were available. Good shots are good bricks. The first time we saw that rapid pan. along the pier we said, ‘‘An excellent idea,’’ but after a while we were almost praying for no more panorams. You can overdo an idea. You are on the right lines, but do not mistake gloom for intelligence and art. You have made your City a rather dull, unattractive place. Try a happier note next time. ‘¢PAL’S ICE.’’ By J. G. KIRKHAM. A little gem of simplicity. Briefly the shots are these: A ringing bell. A spaniel in a basket. Ice cream man on tricycle ringing bell. Spaniel getting out of basket. Boy throws penny. Dog picks it up. Goes and gets ice cream cone and in close-up we see him enjoying it. Spaniel goes back to basket. This film is creditable for several reasons. Firstly, the story is simple and adequately told. The photography, though not excellent, is good. There are plenty of close-ups and indeed in no shot does there seem to be a single square inch of redundant material. The editing has also eliminated all redundancy. An Amateur Cine World leader for this film. 9.5mm. WHITBY AND DISTRICT. By FRANCIS A. SCOTLAND. 16 mm. The titles of this film were not too attractive, being typed in black on a more or less white background, but at least they were straight. They were confined to the beginning of the film, practically every other title being obtained by “‘ natural ’’ means. It is always difficult to describe a film of this kind in detail, because it is the manner almost as much as the 364