Amateur Movie Makers (Dec 1926-Dec 1927)

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AN EERY SCENE FROM DR. MABUSE Photograph by Ufa The Joy Girl Fox Film Corporation Directed by Allan Dwan „, iii George Webber Photographed by. . . William Miller Depth Through Lighting: In several shots fine depth is secured by brilliant natural sunlight flooding the background while the foreground is a shaded portico. The action varies between the lighted and shadowed portions of the scene. Economy of Sets: Located at Palm Beach this photoplay is astoundingly economical in sets. Outdoor scenes predominate. Indoor scenes are the interior of a modest cottage, a hotel bedroom, the interior of an expensive summer home and the interior of a fashionable dressmaking and millinery shop. Presumably these are built sets although the high light of the summer and the ease of naturally lighting any interior with present-day equipment would make a similar scenario entirely useable by amateurs. Net Results Stanley Educational Slow Motion: Much has been written in this magazine about the possibilities of slow motion photography in recording and teaching various sports. This film is a good example of such analysis and can serve as a model of this type of filming. Camera Angles: Variety in filming such pictures is well illustrated by scenes from unusual angles, varying from shots made with the camera on the ground looking up, to tower shots looking down on the court. Twenty-eight THE photoplays listed here are recommended to amateurs for study in their local theatres because the particular cliaracteristics noted below can be used by amateurs to advantage in filming their own pictures. High Hat First National Pictures, Inc. Directed by Joseph Creelman Photographed by. . .William Schurr Photograph by First Rational GIDDIAP NAPOLEON Snowstorm a la Hollywood in High Hat Movie Burlesque: Many secrets of professional picture making are revealed in this burlesque of the industry and therefore it is a particularly helpful picture for the study of amateurs. Tricks: Among the methods revealed are the stunts by which the professionals simulate rainstorms, and snowstorms, and also the use of models for miniature work and of moving backgrounds are well illustrated. Lighting: The correct use of arcs and spotlights is shown clearly throughout this picture. Dummy lights and cameras are used as properties on the sets, and the scenes, of course, are lighted by duplicate lights and the picture taken with duplicate cameras. The Cat and the Canary Universal Pictures Corporation. Directed by Paul Leni Photographed by . Gilbert Warrenton Stereoscopic Illusion: By placing objects between the camera and the scene, as, for example, a candlestick, or a big vase, the illusion of three dimensions is cleverly suggested. This device is analogous toframing the scene through arches or doorways, but its application is unusual and highly effective. In one instance in which the heroine had in a title just said that she felt as if shewere in a cage, she is photographed through the barred back of a chair,, with excellent psychological effect. New Title Device: The lead title opens with a gray cobwebby leader. Then a hand sweeps across the screen, wiping away the cobwebsand clearing the lettered title so it may be read. This clever effect could easily be imitated, and other materials could be used, such as sand, or wet plaster. Shadows: Again the power of shadows to create atmosphere and carry suggestion are adroitly used throughout this picture, in this case: