Amateur Photographer & Cinematographer (1933)

August 2nd, 1933 The following points must be observed if the best results are to be obtained. As the lens is used at its largest opening, correct focussing is important. The larger the lens aperture the less the depth of sharp focus, and for all distances shorter than approximately 25 feet it is desirable to measure the actual distance to ensure the utmost accuracy in focussing. Normally it is recommended that " shots ” should not be attempted within two hours of sunrise or sunset. The sun should not be behind the subject, but as far as possible behind the camera and well above the horizon. On the other hand, a a too contrasty picture as regards lighting is to be avoided. Flat lighting is always preferable, the colour being relied upon to give a pleasing contrast. The three-colour filter must be checked periodically for proper alignment, otherwise incorrect colour values will be recorded. Under-exposure will also result in the unfaithful rendition of colour. If it be possible to choose the colour of one’s subject, then bright and contrasty colours will produce impressive pictures on the screen. Such choice of colour is possible when groups or individuals are to be taken. An interesting point regarding coloured materials is that two which may appear identical in The AMATEUR PHOTOGRAPHER n 6 CINEMATOGRAPHER a shade under one illuminating source, may appear dissimilar under a different illuminant. The absorptive characteristic of the material itself determines its individual shade. The effect of light upon colour must be borne in mind. Although the best results can be expected when the light is abundant, the following effects of varying light intensity may be noted as an aid to composition. Bright light tones down a colour ; for instance, yellows under a midday sun will tend towards a whiteness which at, say, an earlier or later hour in the day would be absent. On the other hand reds and crimson show up at their best under a strong light. A blue will take on a greenish hue in a yellowish light, such as may be experienced early or late in the day. Under a midday sun, blues will record as several shades lighter. The choice of colours, especially in landscape work, is often controlled by time of day. Slanting morning or afternoon rays will produce a hundred and one tints less subdued than those under the midday sun. It may be mentioned here, that should the light fail for colour work at any time, the loaded colour film can be utilised for black-and-white work, provided the colour filter is removed from the lens, and a compensating adjustment made on the lens aperture. The Growing Cine Movement LOVELL-BURGESS. HOW does one get into the magic circle of the amateur cine movement ? ” writes an “ A.P.” reader. “ I live eight miles from Ashford, and there is no amateur cine club in the district. I have just bought a 16-mm. cine camera, but I do not feel competent to use it without a little practical advice and help.” It is not sufficiently known among cine amateurs that proprietors of nearly all photographic stores have assistants whom they are willing to send out at a small fee as camera¬ men and projectionists. This is only one of the social services of the movement. Schools and Sunday schools have lately found it worth while to instruct British Instructional Films and Gaumont to work for them. To those who cannot afford these famous firms, who naturally are accustomed to work on rather a grand scale, and therefore are not very cheap to employ, I recommend Messrs. Stuart Films, of Denmark Street, who are economical to employ for all sub-standard work, and who are efficient and easy to work with. But, you say, I want my own films. How do I begin ? Those of you who have studied shorthand know that you learn to reduce a word to its actual sound values. In the same way the cine¬ matographer learns to visualise in his own mind the scene he wants to record. Take, for example, the following record from an ancient parchment of accounts. " Disbursement to Walter Luvel, the Harper of Chichester, whom the King found playing the harp before the tomb of Saint Richard in his Cathedral, May 26th, 1297.” Suppose you were planning a " His¬ tory Comes to Life ” series of films. Your first shot would be of a hand unrolling a parchment with the above serving as a title. Fade out. Now for a distance shot of Chichester Cathedral showing pilgrims approaching the main entrance. Now for a medium long shot of the royal party with a medium shot of the king at the great door of the cathedral. You could include your church dignitaries in the procession of pilgrims, or you could have the bishop coming forward to meet the king. The available number of players, props, etc., usually de¬ termines points such as these. Follow this up with a long shot of the interior of the cathedral showing the aisle lead¬ ing to St. Richard’s tomb with the harper playing before it. Now for a medium close-up of the harper and a swift return of the camera to the progress of the royal procession. In this scene you will, of course, have an eye to lighting effects, such as sunlight slanting through the high windows. This is how you head your scenario. Sequence. — Shot, location, descrip¬ tion, props, foot. You have so far, in filming this little scene, made use of an exterior, an in¬ terior, and a procession of people, and your props have included staves, banners, a crozier and a harp — in addition, of course, to period costumes. You will imagine for yourself the start of surprise of the harper, a sudden feeling of apprehension at his recognition of the king. What more natural than that the king should supply your spoken title by saying, 117 “ Play on. Harper of Chichester. Fear not an earthly court.” And for action, a close-up of the harper, plucking half-nervously at his harp in obedience to the King’s command, and then suddenly realising his moment has come and, looking up, playing with such sweetness and prophetic power that — see !— the king kneels and all his courtiers and the bishop and the dean and the monks and the pilgrims. It is no good grumbling about imagination, and wanting to be prac¬ tical all'the time, if you want to make good pictures, because to make pictures at all you must see things with an inner eye long before the camera actually records them. Setting the Pace. I hear from Sir Charles Igglesden, the well-known Kentish author, that he has hopes of making a really outstanding film of Kent with some two hundred players, based on Chaucer’s " Canterbury Tales,” with a redis¬ covery of the actual Pilgrims’ Way. Members of the Religious Amateur Film Guild are going to put their knowledge of amateur cinematography to the test in connection with the Centenary of the Oxford Movement by filming the processions, etc., in what¬ ever part of the town or country they happen to be, and then pooling their films with the R.A.F.G., sending along negative or positive as the case may be. Cutters will work on a dupe negative and set to work to make up films to fit the various sizes of projectors. The original films will be returned to their respective owners and the finished films " re¬ leased ” for instructional purposes. 27