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Eighteen
AMERICAN CINEMATOGRAPHER
November, 1926
HERFORD TYNES COWLING
A. S. C.
FREE LANCE
CAMERA SPECIALIST
AKELEY— EYEMO
Bell and Howell Complete Equipments
Extra Assignments Solicited
114 Market St.
SUFFOLK, VIRGINIA
Tel. Suffolk
556-J
Care
Ewing Galloway
15— East 40th St.
New York City
Tel. Maury Hill
4711
FOR RENT
Two Bell & Howell Cameras — 40, 50, 75 mm. lenses. Thalhammer Iris. Jeanne Trebaol, 10042 Stilson Ave., corner of Clarington, Palms, Calif. Phone: Culver City 3243.
PARIS
RENE
BERLIN
<8>
GUISSART
<5>
BRUSSELS
#
BUDAPEST
#
Atmospheric Shots in Any
<8>
Part of Europe
VIENNA
GENEVA
Taken according to
your own instruc
ROME
tions in an artistic
CAIRO
#
manner to match the
photography of your
<G>
MADRID
production.
ATHENS
OFFICIAL CORRESPONDENT IN
EUROPE FOR:
LISBON
American Society of
ALGIERS
#
Cine mat ographers;
#
Frank D. Williams
JERUSALEM
ETC. 0
1 1 8 Avenue des Champs-Elysees
PARIS
LONDON
Cable Address: LOUVERANDE-PARIS
ETC.
EDITING AMATEUR FILMS
(Continued from Page 9)
Leave one or two frames before this and cut the balance way. After the car comes to a stop there will be a brief pause before the people alight. If this pause amounts to more than two frames, cut the balance away. Continue this procedure for each scene cutting away every inch of film that lacks action. This is slow work but the results will amply repay you for the time and trouble that you made during the projection of the reel. Bear in mind that you only do your cutting and editing once — after that you will show your films many many times.
Sequence
Scenes that are out of their proper order should be bodily cut away, and after carefully editing they should be spliced back into their correct position. Make your scenes follow each other in a logical sequence even if they were not taken that way originally.
Photographical defects such as under-exposure and over-exposure should also be edited out. Blurred scenes caused by too rapid motion close to the camera should also be cut away Remember it is far better to show a short pleasing reel than it is to show a long reel full of waits and delays and photographical defects.
After you have completely gone through the reel, you are ready to project it once more. Note the improvement. It will surprise even yourself. Perhaps in the editing process you skipped a scene. Stop your projector at once and cut it properly right then and there. Don't slop through this work and think that a particular scene will get by without editing. Rarely is a scene so perfect that you can project it just as it comes out of the camera. Editing at best is slow tedious nerve-racking work. Take your time, be patient and you will find the results well worth while.
David Abel, A.S.C., is photographing "Wolf's Clothing," a Warner Bros, production starring Monte Blue.
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