Amateur Movie Makers (Dec 1926-Dec 1927)

PAR SHOOTING! THIS article was to have been a technical thesis — one of those erudite expositions of advanced cinematography. Such an article simply would not write itself, nor indeed would it allow itself to be written — that is, not by me. I have been trying for months to describe, in workaday language, not only the fundamentals upon which the success of presentable pictures depends but also the unusual devices, and methods which make possible truly professional results. This article is for the consumption, then, of him who has reached that stage in his career as an amateur cinematographer when he is about to film his Super-Special, AllStar Production. Statistics prove that everyone reaches it — usually after the second roll of film has been exposed and one has come to regard himself as a camera-man of no little talent. Presuming that at least two rolls have been used, I suppose it can be taken for granted that the reader has assimilated the fundamentals of motion picture photography — correct exposure, steadiness and length of scenes. But as for the picture which you intend to exhibit with the preface : "Look, friends, this is what I have accomplished with my little movie camera !" CONTINUITY is the first step to be considered, whether you are taking pictures around the house, recording a vacation trip, or filming a home-made play. To get continuity you must have a definite idea of the story your picture is to tell. Put the story down, either in the form of a scenario or a working chart of titles. This chart need not be exact, but it will save a great deal of unnecessary cutting later as well as help to economize on film. Twenty B$ Margaret Hutcheson Now for the actual filming of the picture. If any of the scenes are to be interiors, you will need two good lights. Choose the Mazda type that plug into any ordinary electric light socket, for that eliminates changing fuses. Then mark off a definite space for your scene of action and explain the boundaries to your actors so that they will not get out of the range of the camera. For the outside shots, if possible, choose a bright, sunny day and film your scenes in the shade, thereby avoiding glare and halation from any white objects that may appear in the picture. Right here is the place you can raise your production to the professional class by careful consideration of two very important details — composition and background. Volumes have been written on the former subject, so it would be futile to elaborate on it in these pages. Suffice it to say that a little artistry in arranging scenes and grouping subjects is absolutely essential in a finished production. The choice of suitable backgrounds will give your pictures that pleasing stereoscopic effect in which foreground objects stand out so clearly. This is accomplished by selecting a background that contrasts in color and appearance with the principal object to be photographed. In filming a group of people in light sports clothes, for instance, it would be advisable to choose a background of trees, while a close-up of a very dark brunette would show to best advantage against a light grey or blue wall. Mechanical smoothness may be obtained by the use of the new iris vignetter. With it you can fade out from one scene and fade into the next. Irising out from titles also adds to the professional quality for it eliminates the jerkiness which has always been so objectionable. ' I '1TLES, which you have *■ made personally or have ordered, are cut into the film after the processed film has been returned from the laboratory and you have completed your first feverish inspection. This is the time to make whatever changes are necessary in the continuity, cutting out all defective footage. Use a straight splice for this work to insure a minimum of flashing. Each reel should be headed with a superimposed art title. If these mechanical details seem tedious, seek a dealer who should do it for you at small cost. Naturally you will want to preserve for posterity so worthy a production. You can do this by saving the original as a master film and having a duplicate made for projection. This duplicate may be finished in plain black and white or, if the film is one suited to color, really marvelous effects may be obtained by tinting or toning. Toning means coloring the shadows and leaving the highlights white, while tinting means coloring the entire film. It is, of course, possible to use several different colors in the same reel. Finally the picture is completed and you admit to yourself that it is a world-beater. The family and friends are gathered for the premiere. You mount the rostrum of your own hearth to deliver the conventional curtain speech. For half an hour you tell of your early struggles, the uphill climb, the impossible barriers and the multitudinous problems which confronted you in producing this, your first professional home movie. At last the lights go out. Projection proceeds amid exclamations of delight and commendation. From the ladies, "Such artistry!" From the gentlemen, "Par shooting!" From yourself, "Not so bad at all!"