American cinematographer (Jan-Dec 1942)

}!2^^'-j),C^ Frame enlarqements from Mr. Oswald's quickly-made newspicture of the celebrated "Tulip Time" Festival. Applying The Newsreel Cameraman's Sixth Sense" To Your Own Movies iin* By JAMES R. OSWALD A MOVIE should be planned well in advance of the actual filming, so the experts tell us. This is undoubtedly a wise procedure to follow, when possible, for those who want good continuity in their films. But how often have you spent a great deal of time outlining a script or a mental picture of the desired results? Again, how often have you been disappointed when the time came to do the actual filming, because of certain circumstances impossible to foresee ? I'll venture to say every photographer has suff'ered these disappointments many times. Vacation movies and pictures taken in new surroundings present this problem in particular. With this thought in mind, one can help remedy the situation by learning how to make the most of conditions as they arise. You will reduce editing to a minimum and still retain a pleasing sequence arrangement if you will develop what I have termed, a "photographer's instinct." It's the same "sixth sense" that enables a professional newsreel cinematographer to "cover" a news story "cold" — without benefit of a script — and bring back a complete picture-story of the event. Rased on my own experience in filming the famous "Tulip Time" festival which is held annually in Holland, Michigan, at the peak of the tulip season, I found this so-called "instinct" invaluable. I believe the conditions under which it was filmed are similar to those encountered in nearly every unplanned movie. Arriving in Holland one bright morning with all the usual photographer's paraphernalia, including a plentiful supply of Kodachrome, my first m6ve was to take the short drive to the celebrated tulip farms which were destined to play no small part in my production. Acres of blooms of every color, all planted in orderly rows, enough to delight the heart of every gai'den lover and photographer alike! What would make a more approI)iiate opening for my film? I angled the camera for a long-range shot from a high vantage-point for my introductory view, 'ibis completed, a few breathtaking close-ups and semi-closeups soon suggested themselves as the ideal followup scenes. But first a couple of medium.shots to make the approach to the flowers more gradual for my future audiences. Next, I planted the camera firmly on the tripod, now only a foot or two above the ground. I buzzed away as the tulips with their contrasting green foliage swayed slightly in the breeze. As I peered through the viewfinder, I could already picture the colorful blooms filling my entire movie screen. A few similar scenes were inteiTnixed with shots of the crowd of awe-inspired flower-lovers examing the buds. I then hastened back to town for the big festival program which was ali'eady under way. Once again in the center of activity, the next step was to make mental notes of choice viewpoints and lighting conditions for the events -vvhich were to follow. To climax the film I selected beautiful Centennial Park as the most pleasing background for my parade scenes. Natives of all ages in their gay Dutch costumes, complete with wooden shoes, presented ample opportunity for interesting sidelights. I made the most of each opportunity, quickly but carefully choosing the best camera angle and locating the tripod fimily for rock-steady pictures. As tiny drum majorettes began to twirl their batons in rehearsal for their big show, I knew it was also the cue for mine, and once again swiftly swung into action. With the crowds gathering thick and fast, I hurried back to my established "base" which I previously had chosen to hold for the parade scenes. The camera, once more on tripod, was aimed directly down the street, at an angle such that the marchers would walk into and across my picture. From my place on the parkway I was all set to "shoot the works." Beginning with the approach of the motorcycle escort through to the last participant, the entire sequence was filmed most effectively with more than a quick glance at a passing parade. No attempt was made to swing the camera in order to follow the marching, and only once was the angle of view changed. The results i)roved this procedure wise. From the majorettes' bright satiny unifonns to the blue and pink costumes of the men, my viewfinder — and later my screen — was filled with gayety and color. Holding the exposure button to catch the motorcycle police bringing up the rear and the usual gathering of children following, was well in order. A few shots of the crowds breaking up and leaving (Continued on Page 223) 216 May, 1942 American Cinematographer IL^