American cinematographer (Jan-Dec 1938)

390 American Cinbmatographer • September, 1938 Study Your Cine Titler and Note V ariety of Close-Ups It Reveals When Adaptability of Common Everyday Device Is Known Then Will Mechanical Gears, Timepieces, Flowers, Insects and Even the Black Widow Be Recorded for Friends' Entertainment MOST amateur cine-shooters own a small metal titler that is used now and then to simplify title problems. When it has been used for that purpose it is generally placed away with the rest of the gadgets to be forgotten until another title problem presents itself without a single thought being given to the other potentialities the contraption may possess — that mainly because many are unaware of the other uses to which this simple device may be put. A large proportion of the movie cameras in use employ as standard the fixed focus lens which limits close views to a distance of several feet, while the majority of those with focusing mounts permits the lens to be set to a nearness of two feet. It is thus easy to visualize that without auxiliary aid close-ups are limited to objects of fair size. Your lens limitations now afford the opportunity for your titler to prove its versatility. It is common knowledge that a titler is merely the means to center and focus your camera lens on a given field several inches away which is made possible through the aid of a supplementary lens affixed in a standard at the correct distance from the title holder or easel. An examination of my title mask revealed that I could film an area approximately 1"% by 2% inches. Just cogitate awhile on the smallness of this space and in that connection on the possibilities for creating extra close-ups of various diminutive bodies with the aid of your titler. Give It a Whirl Then — give it a try. You will be astonished at some of the exceptionally striking results achieved. A variety of hitherto unthought-of subjects will become part of your future cinematic efforts. To list a few, mechanical gears, time pieces, flowers and insects can be recorded on shimmering celluloid ribbon with a modicum of trouble. To begin, secure your camera to the titler in all respects in accordance with instructions for titling. Then finding a suitable picture medium judge your light for exposure as usual and set the diaphragm accordingly. By ROBERT W. TEOREY Your next step is carefully to center your subject within the borders of the title holder. This is very essential, as the picture area is small and the depth of focus limited to a very short distance in front of and behind the easel. The focal depth varies according to the size of the aperture and for that reason it is advisable to shoot only when the lighting permits the smaller openings to be used. Far from detracting from your picture, the shallow focal depth has the advantage of separating your subject from the background, and imparting to your shots the unusual depth often seen on the professional screen and so seldom on the amateur. Holding and operating this combination in your hands will be slightly awkward at first, but as the view finder is not used it will take but a very short time for you to become accustomed to it. Just Around Corner The adaptability of my titler to other expedients received my earnest consideration about two years ago when I invested in my first roll of color film. I had the urge to learn about color by shooting the unusual and wracked my brain for an inspiration that failed to materialize. Finally Mrs. Teorey suggested that I might discover the extraordinary in an adjacent vacant lot which was overgrown with shrubs, weeds and flowers with a few tin cans scattered about. The suggestion was scorned until she mentioned the insects that might be found so close at hand. The notion so intrigued me that I immediately sought for some method satisfactorily to photograph them. An examination of my titler quickly convinced me that my problem was solved. Many have thrilled to Frank Buck's "Bring 'em Back Alive." I too brought 'em back alive that day, and in addition to getting some excellent shots I had the thrill of the hunt as well as the irksome wait involved in shooting my quarry in its natural state. Wasps, bees, spiders and a grasshopper were recorded in color as well as the lowly garden snail, which established itself as being an interesting actor not in the least temperamental, as were the bees and wasps. The most exasperating to shoot was the wasp. In the rear of the lot was a castor bean tree that appeared to be a rendezvous for wasps as they circled about the yard. Observing closely, I perceived that a specific leaf seemed to be a favorite with them so judging my exposure, I sat down on a nearby rock, centered the leaf in my titler easel and commenced my wait. Patience Necessity To my chagrin the wasps selected an adjacent leaf; shifting, I was further at least annoyed to find them alighting on the former again. I returned to my original position resolving that patience was a virtue to acquire at once and finally I was rewarded with a shot of a very busy wasp. Bees were less difficult to capture on film. A patch of clover gave me a perfect setting and waiting in the midst of the blossoms until a honey-searching bee dropped on flower was just a matter of moments. A spider with its symmetrical web strung on the tvngs of a bush next involved me in a filming task fraught with the danger of disturbing him into vanishing. It had captured a small bug and was engaged in wrapping it in weblike substance. In order not to injure the silken strands and frighten my camera prey I finally had to lower my titler easel and judge the picture center as closely as possible without its aid. I was quite satisfied with the result. Grasshoppers next became the objects of the hunt. A diligent search finally brought one to view enjoying a meal from the edge of a tender leaf. It was apparently unmindful of the whirring of my camera as the film chased through the sprockets during the photographic recording of its activity. Snails Good Subjects Searching near the roots of some geraniums revealed a number of garden snails reposing in the coolness of their retreat. Placing one on a plant seemed to be incentive enough for it to emerge from its shell protection. It would then