American cinematographer (Jan-Dec 1934)

362 American Cinematographer 0 January 1934 Randolph B. Clardy, winner of gold medal for Scenario and Photography, with his 8mm camera. Editor's Note: Randolph B. Clardy, author of this article, was the ivinner of the gold medal for Scenario pictures and also winner of gold medal for photography in the American Cinematographer 1933 Amateur Motion Picture Contest. In this article he tells you something of the conditions surrounding the making of the picture lA^hich won him these honors. Winning With An 8mm. Camera by Randolph B. Clardy Winner of Gold Medals for Scenario and Photography THAT peculiar sensation known to amateurs as the desire to film a story, had me sitting in obscure corners trying to squeeze a story out of my brain cells — one that could be produced without impossible complications and yet approach as nearly as possible the real McCoy. Driving out toward Newhall one sunny Sunday, I discovered an informal rodeo in progress, just off the highway. A perfect set-up for more camera fodder. I quickly made the acquaintance of Hosea Steelman, who was conducting the rodeo, and discovered that the rough-riding young boy capturing the center of attraction was not a boy at all, but his daughter. Dolores Steelman can ride and rope with the best of the men, and I was surprised to learn that she could neither hear nor speak. Later, in showing the results of the pictures taken that afternoon, I became better acquainted with Hosea and his daughter and their thorough enjoyment and interest in the informal reproduction of their rodeo secured by my small camera, served to stimulate my already growing desire to film a western story, with Dolores as the principal. I put it up to them and they were more than willing to co-operate in every way, having the ranch and the horses as well as a truck to transport them on location. I at once set to work on my story. Almost every scene was mentally photographed, rather than written, by the time we started the work on the film. ! found that visualizing my scenes in advance made it possible to shoot them quickly without wearing out the actors as well as the cameraman. Hearing of the picture planned, a neighbor loaned a trained Palomeno for a lead horse; another neighbor loaned calves for roping; another a wild horse from the Arizona Desert and a double offered his service for the dangerous bucking horse scene. Other neighbors generously loaned their ranches and cattle as the scenes required them. The picture was made jn two days, only to discover a the end of the second day that all of the film had been spoiled through my experimental tinkering with the camera, so that the diaphragm was only half open on all my shots. This was almost too much! And would the characters go through with it all again? They would, believe it or not! However, it was necessary to find a new leading man as the cowboy used previously had gone to a desert ranch. The scenes were retaken with some improvement, which gave all concerned consolation for the added work. And so to a completed picture. With the aid of reflectors made of beaver board braced at the back and covered with metallic paper obtained at a sign painter's supply house, I was able to use back-lighting in practically all of the scenes. The reflectors built up exposure so that with good sunshine, I was able to stop down to "f-8" on the shadow side and "f-1 1" on the sunside. This, in both instances, is a stop below those recommended for the camera without the use of reflectors. These smaller stops allow the 8mm. picture to be projected sharply up to about a four-foot screen size, with a brilliant projector and screen. Ordinarily, a reflector was used on the faces at a three-quarter angle for accent lighting, and additional ones used wherever the surrounding set needed more light. Where the principals moved around, reflectors were set to catch them as they moved into a different area. Five reflectors, 30" x 40", were found ample for the scenes, used at a distance of from twenty to thirty feet. A substantial tripod was used throughout the entire picture. To smooth out the technique in changing scenes, I used a wipe, which was obtained by moving a black blade across about an inch in front of the lens. The blade was hinged to the front of a box on a screw and the sides of the box extended back to clamp the sides of the camera. The box was painted black inside to prevent light flashes into the camera. One lap-wipe was obtained by checking the footage at the end of a wipe and then running the film on through, reversing and running through again and then again up to the beginning of the wipe. The lapped exposure was then wiped in from this point. (Continued on Page 373)