American cinematographer (Jan-Dec 1934)

1 84 American Cinematographer • August 1934 CONTINUITY FOR FISHING FAMILIES Continued from Page 1 73 to indicate early morning. Junior comes into the picture from one side, and Bobby enters from the other; both are equipped with rods and creels, and Bobby may also carry a tin bait-can. They join, end walk together toward the camera. Scene 15. Long-shot, reverse angle from the preceding scene; the two boys are trudging down the rood, away from the camera. Scene 1 6. Medium long-shot. "Toughy" is shown in his yard. He is a bit larger than Junior or Bobby, and a rather rough-looking youngster. He sees something out of the picture, and walks toward it. The camera pans to follow him, and shows the road, with Junior and Bobby approaching. Scene 17. Medium "three-shot." "Toughy" has stopped Junior and Bobby, and is insisting that they take him fishing with them. They refuse. Scene 1 8. Medium long-shot. The two boys hurry off, a trifle scared. "Toughy" starts to follow them, then stops, grinning, and slips behind a tree, where he is hidden from the boys (but not from the camera) and watches them go. Scene 19. Long-shot, at another point along the road, shot across the road. The two boys walk through the picture. A moment later, "Toughy" enters, following them, and slips behind a tree, only to dart out again, still following, but keeping concealed from Junior and Bobby. Scene 20. Long-shot, by a I a k e side. (This can be o very pictorial scenic shot.) Junior and Bobby enter (from camera right). They select a spot from which to fish, and start getting their things ready. Scene 21. Long-shot, looking toward the lake. In the background, the two boys are getting ready to fish; in the foreground, "Toughy" (back to camera) is watching them, from behind o tree. Soon he turns away, and hurries out, toward the right of the picture. Scene 22. Long-shot of o rubbishheap. "Toughy" enters, and begins to rummage around for something. Scene 23. Medium-shot o f Junior and Bobby, baiting their lines. Scene 24. Medium-shot of "Toughy," on the rubbish-heap. H e picks up an old tin can, then an old boot. He looks up, grins, and hurries out, camera left. Scene 25. Medium-shot o f Junior and Bobby: they ore fishing, but nothing IS biting. Scene 26. Short long-shot of "Toughy," carrying boot and can, running along the road. Scene 27. Medium-shot (close) of Junior and Bobby. They lay down their poles, leaving the lines in the water, and stretch out on the grass, looking up into the sky. Scene 28. Long-shot of sky and clouds, made looking nearly straight up, Gs the two boys would see them. Scene 29. Medium-shot of the two boys. One after the other, drowsy, and fall asleep. Scene 30. Close-up o f peering from behind a tree. they grow "Toughy," 31 32. Close-up of Junior — fast Close-up of Bobby, also shot of Scene asleep. Scene sleeping. Scene 33. Medium "Toughy," as he emerges from behind the tree. He walks straight into the camera. Scene 34. Long-shot. The two boys are stretched out on the grass, their poles still extended over the bank. "Toughy" enters, very quietly. For a moment, he looks down at the sleepers, then turns to the fish-poles. He pulls up Bobby's line, and attaches the can. Scene 35. Close-up o f "Toughy" putting the can on the hook. Scene 36. Long-shot, same as Scene 34. "Toughy" quietly drops the line back into the water; then he picks up a good-sized rock, and ducks behind some bushes near the water's edge. Scene 37. Medium-shot of the water, as the rock plunks down into it with a big splash. Scene 38. Medium-shot, with camera near the boys' feet, pointed toward their heads. First one boy, then the other, jumps to a sitting position. Scene 39. Medium long-shot. Bobby grabs his pole, sure he has a bite, and pulls in the can. Scene 40. Close-up o f "Toughy," behind the bushes, trying to subdue his laughter. Scene 41. Long-shot, toward the lake. Bobby throws his line in again, and the two boys settle down once more. Scene 42. Close medium-shot. The two boys again fall asleep. Scene 43. Close-up o f "Toughy," behind the bushes. He looks -out, and sees that the boys are again asleep, and starts toward the camera. Scene 44. Medium-shot. "Toughy" pulls out Junior's line, and attaches the boot. After carefully lowering it into the water, he picks up another rock — rather larger than the first — and once more hides himself. Scene 45. Medium long-shot. The two sleeping boys are in the foreground, close to the edge of the water, with their poles hanging over the edge. The big rock comes into the picture (from the side near "Toughiy's" hiding place), and splashes into the water. If possible, hove this land so that it splashes the two sleepers. Both boys jump up quickly, and Junior hurriedly reels in his line. Scene 46. Close-shot as the boot emerges, dripping, from the water. Scene 47. Medium-shot of Junior, as he disgustedly jerks the boot from his line, and throws it on the ground. Scene 48. Close-up o f "Toughy," laughing. Finally the joke is too much for him, and he laughs loudly. Scene 49. Close shot of the two boys: they hear the laughter, and turn toward "Toughy's" hiding-place. Scene 50. Medium -shot of the bushes, as "Toughy" emerges, still laughing. The two boys come up, talking angrily. Suddenly Bobby looks dowii and points, greatly surprised. Scene 51. Close shot of the boot; it is flopping around as though alive. Scene 52. Medium "three-shot" of the boys: Junior rubs his eyes, as though to make sure he isn't dreaming; Bobby pinches himself; and "Toughy" acts rather frightened. Scene 53. Medium long-shot: Junior screws up his courage, and picks up the boot, turning it upside down. Scene 54. Close-up of the boot: as Junior turns it upside-down, a lot of water pours out — and with it, a fine big fish! Scene 55. Big-head close-up, panning slowly from one boy to the other. All three are amazed: "Toughy" is rather crestfallen, while Junior and Bobby are elated. Scene 56. Long-shot. Junior and Bobby slap "Toughy" on the back, and shake his hand, thanking him for the good luck he has brought them. Scene 57. Long-shot, looking back along the road. The three boys are walking away from the camera, arm-in-arm. FADE OUT. THE END The only difficult shot in the picture is the one showing the boot flopping about. This can be made in stop-motion (one frame at a time) if your camera permits this sort of work. If not, it can easily be made at normal speed, moving the boot about with a black thread, which will not show. Allowing for the retakes you will probably have to moke in order to get the splashing (Scenes 37 and 45) right, this continuity should require about 150 feet of 16mm film. Of course, you con odd as much as you wish — Father's fishing sequence, suggested after Scene 8, a variety of scenic shots, and so on. You can also add parts for friends, or other members of your family, if you wish, while if you want to try some interiors, you can improve the picture by inserting a sequence in place of Scene 9 showing the family eating, and another shot at the end, showing the three boys gleefully consuming the fish that they have caught.