Amateur Movie Makers (Dec 1926-Dec 1927)

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A PRISON PATTERN Douglas Fairbanks in Over the Andes Photographs by United Artists ed bu ecu for median ONE of the hardest things for the amateur movie maker is to decide just what he wants to photograph. To plan the subject matter carefully, and put it in a form that is simple and logical is of vital importance. Let us consider briefly how the commercial producers go about it, and adopt the simplest and least restricted method for our own use. After a story has gone through the various forms of treatment, the final form is called a continuity. This gives detailed instructions of camera angles, such as close-up, medium shot, etc., also camera technique to use, such as fades, dissolves, split screens, trucking or follow shots, etc., also the action or business of the players. Scene for scene the story is worked out for the director and he is expected to follow it. All the large companies use this method to stabilize production, save time and cut down the overhead expense. When you stabilize, you make things uniform. Many of our present day pictures are, therefore, just like the cans of the 57 varieties you see on the grocers' shelves. It's sad but true. There are courageous souls, however, and one splendid example is Douglas Fairbanks. He believes that the director he chooses has creative ability and a mind of his own, capable of functioning clearly and logically. Therefore, he did away with By Kenneth W. Adams T'O all who have felt the need for written guides for various phases of their filming activities, but have been appalled by complicated scenario forms, the plastic plan suggested in this article should offer a comfortable solution. Equally practical for filming the baby's bath or the Thief of Bagdad, the method is explained in detail by a motion picture expert long connected ivith Paramount-Famous-Laskey Corporation. the dogmatic continuity sheet and replaced it with a simple Scene Plot and Action Plot outline. The Scene Plot names briefly each scene, whether interior or exterior, and gives a list of the people who work in that scene. The Action Plot gives a brief account of the highlights of the action that takes place in each scene. It is left to the director's artistic sense to choose the camera technique and camera angle that will bring out the full value of each scene. These Scene Plots and Action Plots for a large production are actual blueprints, hung on the wall like a map. At the end of each day, red pencil checks mark the progress and leave a visual record of what is done and what remains to be shot. This Scene Plot and Action Plot method, I believe, can be of service to the amateur movie maker. It will help decide just what, when and where he wants to shoot, and eliminate waste footage. Let us consider the scope of his activities under a few general headings, and apply this method of control to: 1. Family and Home; 2. Travel; 3. Sports; 4. The Photoplay. Let us look at the Family and Home in this way. What interesting things have you observed about each one of your family, including the dog, in or about the house? When and where do these things occur? This falls under the heading of Scene Plot. What are the characteristics or actions of your observation, that would be of interest to record? This falls under the heading of Action Plot. Make a written record of these and keep on gathering them. Then arrange them in a harmonious, smooth flowing continuity of theme and shoot as the opportunities present themselves. Remember you can re-arrange this continuity of theme in cutting and editing. Can you see the possibilities, the pleasure of observing what everyone else has overlooked, to uncover the human interest scenes in which we play a part in every day life and pay money to see in a picture house? Remember the mainstay of the commercial producer is human interest. Let us catch that in our own pictures. Travel, perhaps, stirs our imagination much more than the home. We are keyed up to observe what other Thirteen