American cinematographer (Jan-Dec 1941)

so short (hat the narrator can speak only a dozen words while they're on the screen but which call for twenty-five or thirty narrated words for proper description! My suggestion would be to plan for a minimum scene-length of LO seconds (more is even better). This means 2 feet of 8 mm. film, 4 feet of silent-speed 10 mm., and 6 feet of soundspeed 16mm.; it gives the narrator time to speak about 25 words. The accompanying table will help you reduce scene footage to narration wordage for any method of sounding. Bear in mind, though, that it shows the maximum number of words: an ordinarily slow talker won't be able to get nearly as many words into a given time as the table indicates. You should also plan for definite pauses in narration between sequences, etc. If your film is going to be a record of a vacation trip, it is a very good idea to make notes of all the interesting facts about the place before you shoot. This pays dividends in two ways: it gives you information you'll need when you come to plan the narration, and it can also give you useful advance information as to the interesting things to shoot in that locality. Speaking generally, you'll find it a good idea to shoot your scenes long, as suggested, and plenty of them. Then when you come to edit your picture, assemble them roughly, without any attempt to shorten or intercut them. Now run your sequence and time it, figuring out how many words you can get into that much running-time. Then map out your narration, keeping within that maximum number of words, and covering the subject completely. When this is done, you can then finish editing the sequence, shortening and intercutting scenes for maximum effectiveness and fitting the succession of pictures to the narration. You'll find it's much easier to build a sound sequence this way than to attempt to fit narration to a picturesequence which may be too short, too long, or wrongly edited for the explanatory wording which must accompany it! Obviously, too, if you are going to use 16mm. sound-on-film recording, you should plan for it ahead of time and shoot your picture at 24-frame speed so the action will be normally paced when run on a sound projector. If you are shooting Kodachrome for sound-on-film use, look ahead to the fact the film will be duped, and expose so you can be assured of the best results in that dupe. Overexpose a trifle, to give the open shadows and soft colors and contrasts that make the best dupe. The easiest way to do this is to use a meter speed-setting one or preferably two points below the one you'd ordinarily use for Kodachrome — with a Weston, 6 or 5 instead of 8. But, no matter which method you may decide to use, try adding sound to this summer's vacation films. Hundreds of cinefilmers all over the country have tried it, and discovered that not only does it add measurably to the effectiveness of their films, but it opens the way for new pleasure in the hobby of making and showing home movies! END. Photograph of the Month (Continued from Page 327) THE PARSON OF PANAMINT Paramount Production. Director of Photography: Russell Harlan. A.S.C. "The Parson of Panamint," though laid in a western locale, is not a "western" in the accepted sense of the term. Therefore cinematographer Russell Harlan, A.S.C, does not get the conventional ''western" pictorial opportunities for effectively-filtered scenes of fast-shooting riders silhouetted against pictorial clouds, and the like. But he does get abundant opportunities for interior effect and character lightings, which he does with uncommon skill. His treatment of the film's actually rather plain and inexpensive interiors adds greatly to the film's production value and dramatic strength, while his treatment of the players — especially Ellen Drew, who seems to be improving photographically with each appearance — is first-rate. The film has some interesting process work, especially in the way process-shots and location exteriors are skillfully intercut. Direction is another noteworthy feature of the production. It makes use of visual tempo and visual dramatic tricks to a degree seldom seen in modern sound-films, and in this respect could certainly serve as an instruction-book for many a more pretentious production. In this connection it is more than ordinarily significant to observe that the director, William McGann, is a former member of the A.S.C. — a fact which bears out our contention tnat a world if invaluable director-material is going :o waste behind the industry's cameras while vast sums are being spent attemj :ing to make directors out of raw newcomers from every other field. THEY MET IN BOMBAY Metro-Goldwyn-Mayer Production. Director of Photography: William Daniels, A.S.C. The name William Daniels, A.S.C, on the credit-title of a film is an almost unfailing guarantee of smoothly-finished photography to follow. "They Met in Bombay" does not offer Daniels the photographic opportunities that some of his other recent productions have, but none the less he makes it pictorially delightful. There are some extremely interesting and effect-lightings in the opening sequence in the deLuxe hotel in Bombay, and as the action moves on to the Chinese tramp steamer, Daniels has opportunities for many excellent atmosphere effects. His treatment of the concluding action-sequence is a model of tastefully conservative camerawork and restrained filtering which for its very unobstrusiveness deserves study. Daniels' treatment of the players — especially Rosalind Russell — is excellent, as always. There are several special-process sequences which are definitely above the studio's usual average. Academy Acoustic Bulletins Two new bulletins dealing with soundfilm acoustic problems have been published by the Research Council of the Academy of Motion Picture Arts and Sciences. One deals with acoustical design and construction of motion picture theatres. The other deals with reducing acoustic difficulties on motion picture sets. 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Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood. WANTED TO BUY FOR CASH CAMERAS AND ACCESSORIES MITCHELL, B & H, EYEMO. DEBRIE. AKELEY ALSO LABORATORY' AND CUTTING ROOM EQUIPMENT CAMERA EQUIPMENT COMPANY 1600 BROADWAY", NEW Y'ORK CITY CABLE: CINEQUIP WANTED TO BUY 16MM CAMERA WITH TURRET FRONT. 35mni Akeley Camera. 16mm Films. Developing tanks for 35mm films. Stineman. Tanks. NO DEALERS. American Cinematographer. Box No. 983. 358 July, 1941 American Cinematographer