American cinematographer (Jan-Dec 1941)

ment to the judgment of the authority, but the latter remarked that he had spent fifteen years learning to expose reversal film, and it was a little distressing to find that any fool using a mechanical instrument could get just as good results as he did himself! END. ! Scenario (Continued from Page 431) Scene 6. Close-up of Carol. She nods agreement. FADE OUT. Scene 7. FADE IN. Night-effect shot of Carol in her crib. She gets up and scrambles out of bed. Scene 8. Medium long-shot. Carol, holding a candle in her hand, comes through the kitchen door. Scene 9. Night-effect: Close-up of Daddy in bed snoring. Scene 10. Same as Scene 8. Carol closes the door behind her, and advances toward the camera. ' Scene 11. Close-up of kitchen clock. The hands point to 12:05. The first part of the scene is a blue-lit night-effect; this changes to normal white light as Carol's candle approaches offstage. Scene 12. Medium-shot of icebox. Carol opens the door, looks in and starts taking things out. Scene 13. Close shot of Carol at ice-box. She takes out a banana and starts to eat it. Scene 14. Close-up of pile of food from ice-box on floor. Camera pans left to Carol, sitting on the floor and eating the banana. Scene 15. Same as Scene 9. Scene 16. Close-up of floor beside icebox. A can of pickles tumbles on floor. Scene 17. Same as Scene 15; Daddy wakes up and listens. Scene 18. Similar to Scene 16. A can of condensed milk falls onto floor. Scene 19. Long-shot of Daddy. He gets out of bed, puts on his dressing-gown and exits stealthily. Scene 20. Close-shot by door; Daddy opens it, then goes to ice-box. Scene 21. Close shot of ice-box door. It flies open and Carol is seen inside! Scene 22. Close-up of Carol, laughing. She speaks. TITLE: "YEHUDI DOESN'T DO IT— I DO!" Scene 23. Similar to Scene 22, but longer angle. Daddy reaches in and picks Carol up. Scene 24. Close-up of Carol, held high in Daddy's arms, his head in foreground. She is laughing happily. He nods his head solemnly. Scene 25. Close-up on floor. Another can falls to floor and rolls. Scene 26. Close up (night effect) of Mother in bed. She wakes, and looks up, listening. Scene 27. Medium-shot of Mama, sitting up in bed, she looks around and nods, then gets up, reaching for her dressing-gown. Scene 28. Medium long-shot of kitchen door. Mama enters, and stands looking sternly at the camera. PROJECT yOUR cmex strips with the PROJECTOR Clyde DeVinna, A.S.C., and Operative A. L. Lane inspecting a Cinex Strip w Picture Projector. Cameraman th an S.V.E. S.V. E. Tri-Purpose Projectors range in size from 100 watts to 300 watts. They have many exclusive features that make for simplified operation. Shown here is the 100 watt Model CC. Lighting, composition, etc., can be conveniently checked on the set. Compact, light weight S.V.E. Tri-Purpose Projectors project perfect screen images, either of small size or as large as desired for group inspection. Each frame can be shown as long as necessary for thorough checking. The S.V.E. Tri-Purpose Projector, occupying minimum space, is easily stored in your camera accessory case. It is the only projector made which shows both single and double frame 35 mm. filmstrips and 2" x 2" slides. S.V.E. also makes projectors for showing single-frame filmstrips only. Write for literature! SOCIETY FOR VISUAL EDUCATION, INC. DEPT. 9AC 100 EAST OHIO STREET CHICAGO, ILL. Scene 29. Medium-shot of Daddy and Carol, squatted on kitchen floor, eating a midnight snack. They look up at camera, suddenly guilty. Scene 30. Close-up of Mama. Her frown dissolves into a smile. She speaks. TITLE: "NOW YOU TWO HAVE FOUND YEHUDI—DON'T LOOK FOR HIM AGAIN IN MY ICE-BOX AT MIDNIGHT!" Scene 31. Medium-shot, similar to Scene 29. Mama is squatting between Daddy and Carol, happily enjoying her share of the midnight repast! FADE OUT. Lenses (Continued from Page 432) If the focal length is 25mm. (1 inch) and the opening is 3.12mm , the f-value is 8. If the focal length is 75mm. (3 inches) and the opening is 9.37mm., the f-value is also 8. In each lens the transmitted light-value is the same and the exposure of the film would be identical. Sounds odd, but it is true. The calibration of the diaphragm openings are usually marked on the lens barrel as f :1.5 1.9 2.7 3.5 4.5 5.6 6.3 8 11 16 22. The speed of a lens is determined by the size of the widest diaphragm opening. Hence, a lens of f:1.5 or f:1.9 is faster and will admit more light than a lens of f:3.5 or f:4.5 value. If, how ever, the fast f:1.9 lens is closed down to an opening of f:3.5 it has no advantage over the f:3.5 lens as each admits the same amount of light at that stop. The only advantage the f:1.9 lens has over the f :3.5 lens is its ability to admit more light under poor light conditions. The diaphragm of a lens provides another function in photography. With its use in controlling the amount of light, it can also be used to increase sharpness and depth of field. Depth of field of a lens is the distance in front of and back of an object focused upon, that remains sharp at a given diaphragm opening. This extra play of sharp focus in motion picture photography is, of course, a great benefit, as the action can move back and forth in relation to the camera yet remain in focus. When the diaphragm is opened to large apertures this depth of focus becomes very shallow, but as smaller apertures are used the depth increases rapidly. An object which is 6 feet from the camera may be greatly out of focus when the diaphragm is set at f:1.9 but the same object could be sharp when the aperture is reduced to f:ll or f:16. Lenses of long focal lengths, such as telephoto lenses, must be focused critically as these lenses have less depth of field than short focal length lenses. Oftentimes a matter of a few inches will throw the subject out of focus when American Cinematogkapher Sept. lull. T, l'.Ml 447