American cinematographer (Jan-Dec 1941)

A SCENARIO FOR STARRING YOUR SMALL BOY By PAUL W. CRAMER, L. A. 8mm. Club EDITOR'S NOTE: This productiontested scenario proved its merit by winning its maker First Prize in the Los Angeles 8mm. Club's recent uncut film contest. As Cramer filmed it, "Never Again" made an excellent 50-foot 8mm. reel with sure-fire audience appeal. We like it particularly because it can be filmed very easily, with a minimum of tor difficult shot* — THE ORIGINAL Scheibe's Monotone Filter INDICATES instantly how even color and light value of a icene or object will be rendered in the finished print btfon taking the picture. always ready. GRADUATED FILTERS Mw*,W wi NitHttMs TOG SCENES, DIFFUSED FOCUS AND OTHER EFFECTS Gcorqc H. ScKeibo ORIGINATOR OF EFFECT FILTERS 1927 WEST 7S™ ST. LOS ANGELES. CAL MOVIOLA FILM EDITING EQUIPMENT Used in Every Major Studio Illustrated Literature on request MOVIOLA CO. 1451 Gordon St. Hollywood. Calif. FAXON DEAN INC. CAMERAS BLIMPS-DOLLYS FOR RENT Day, NOrmandie 22184 Nijjht, SUnset 2-1271 4516 Sunset Boulevard characters, props and similar problems. It is also a very good object-lesson in the importance of keeping a character's motion, across the screen consistent until he is shown turning or otherwise given a definite reason for moving in another direction. Notice how the little boy moves from right to left until a change of camera-angle has him coming straight into the camera, and then after his cmoke, he goes from left to right, after which his father carries him back to the house, moving in the opposite direction — i.e., from right to left — on the screen. MAIN TITLE •NEVER AGAIN" Scene 1: Long-shot. Two men come out of a cafe. Scene 2: Two-shot. One man offers the other a cigar. The second man refuses the smoke, and starts to talk, pantomime indicating height of a small child — TITLE: "WHEN I WAS ABOUT NINE YEARS OLD, " Scene 3: Medium-shot of a small boy in overalls, standing beside a table on which may be seen an old-fashioned kerosene lamp and a box of cigars. He looks furtively about, to see if he is observed, and takes a cigar from the box. Scene 4: Close-up, from slightly low angle, of a kitchen shelf. On it may be seen a can of preserves, pepper and salt-shakers, etc., and a box of matches. The boy's hand reaches up and takes a handful of matches from the box. Scene 5: Long-shot of the boy sitting on a farmyard fence; horses, etc., in the background if possible. He pretends to smoke the cigar. Finally he jumps down from the fence and exits left. Scene 6: Long-shot. The camera follows the boy as he walks under trees, going from right to left. Scene 7: Long-shot. The boy enters in the background, under a framing arch of trees, and advances, cigar in mouth, to the camera until a close mediumshot angle is reached. He looks around to see if he is observed, then exits right. Scene 8: Long-shot, in farmyard. The boy enters from left, camera following, and he finally seats himself on a box concealed by a handy fence. He puts the cigar into his mouth. Scene 9: Medium close-up of the boy. He scratches a match and lights the cigar. Scene 10: Close-up of boy, smoking, is a bit nervous. FADE OUT. Scene 11: FADE IN. Same as Seen 10, but the cigar is half smoked ava* and the boy looks rather distressed He becomes increasingly so as thi scene progresses. Finally he gets ul and exits to right. Scene 12: Long-shot. The boy stagger! unsteadily away from the camera. moving from camera-left to camera right. Scene 13: Medium long-shot. Walk in slowly and unsteadily, the boy apj proaches the camera. FADE OUT. Scene 14: FADE IN. Close follow-sha of the boy, moving from left to righ^ still smoking the cigar, but with >u much pleasure. Finally he leans against a fence, quite exhausted. Scene 15: Long-shot. The boy wandt-r. slowly and very unsteadily across th> farmyard, slowly approaching the cam! era. Finally he collapses across tht tongue of a hay-rake or similar imple ment in the foreground. FADE 01 T Scene 16: FADE IN. Long-shot. Father) is seen carrying the limp form of the boy, moving toward the camera and from right to left. Scene 17: Close-up of the boy in bed.! A feminine hand puts a cold compress on his forehead. Scene 18: Close-up of a bottle promi-' nently labelled "Castor Oil." Feminine hands uncork the bottle and pour out a big tablespoonful. (Note: V. "Karo" syrup doubles excellently : r castor oil in this scene, and will get much better cooperation from youn young actor! ) Scene 19: Same as Scene 17. Mother's hand enters with the spoonful of cast r oil and administers it to the boy. H:s facial grimaces show what he thinks of it! Scene 20: Big-head close-up of the boy. He looks wan and unhappy, and his lips move. TITLE: "NEVER AGAIN!" Scene 20-a: Same as Scene 20. The boy finishes speaking. FADE OUT. Scene 21: FADE IN. The two nun shown in Scenes 1 and 2 are walking along the sidewalk, smiling and talking. They approach the camera, st talking, as the non-smoker obviously finishes his story. FADE OUT. TITLE: THE END. The lens plant of the Eastman Kodak Co. has developed a new type of optical glass reported to have an unusual fractive capacity. Instead of the silicates heretofore used, such rare metals as tantalum, tungsten, lanthanum, etr.. are used in making the glass. Lens made from it are reported to require far less curvature and to procure b< definition and covering-power with I loss of lens-speed. The new glass has been used in aerial lenses made for the government during the past year, but some time may elapse before it is available for general photographic use. 356 July, 1941 American Cinematographer