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Television Film Production: 69; 115; 178; 209;
269; 299; 364; 393; 452; 487 Tempo Puts The 'Move' In Movies: 536 Ten Films Nominated For Photographic Achieve¬ ment Awards: 108 "The Four Poster": 434
There Are No Magic Formulas For Making A Hit: 109
"The Steel Trap": 478
"The Thief" — A New Trend In Films?: 432 Thompson, Lloyd — "Magnetic Sound For 8mm Movie Makers": 440
TV Film Commercials For Local Sponsors: 160 Two New 16mm Films: 436
U
Underwater Photography: 256
V
Van Natta, Jack — "Two New 16mm Films": 436 Variable Shutter For The Bolex H-16: 484 Vistascope — New Tool For Motion Picture Produc¬ tion, The: 338
W
Waddell, John H. — "High-Speed Cinematography": 343
— ’"Lighting For High-Speed Motion Pictures": 389
Wald, Jerry — "There Are No Magic Formulas For Making A Hit": 109
Want To Step Up In Class With Your Movie?: 304 WarnerColor — Newest Of Color Film Processes: 384 Way To Better Films, A: 75
Weber, Dr. F. A. — "Stereofilm Making With The VeriVision Camera": 204
We Filmed 'Kangaroo' Entirely In Australia: 292 "Westward The Women": 14 What About The Cost?: 64
What's New In Equipment, Accessories & Service: 10; 54; 228; 272; 320; 366; 412; 456; 506; 521
Wheels That Turn Backwards: 390 Why I Used The Garutso Lens In Filming "The Four Poster": 482
"Wild North, The" Introduces MGM's New Ansco Color System : 1 06
Witherell, Jr., William R. — "Techniques For TV Commercials": 532
MOVIES TELL A STORY
( Continued from Page 549)
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Complete your files of American Cinematographer with issues you have missed or lost. Valuable tech¬ nical data in every issue for future reference for both amateur and pro¬ fessional cinematographers.
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scribe and move in with your camera to picture these.
Remember, the story is the thing! Even the orthodox plan of shooting which begins, say, at the railway depot, makes a circle tour, and returns to the same spot, has its undiminished merits. An audience will trail the traveler (the cameraman) knowing there is an aim to the picture, even if it is only return¬ ing home again. Yet such a simple con¬ tinuity can easily he enriched: an insert shot of a map cut in occasionally, hav¬ ing an ever-extending line showing the trend of the journey, is helpful — even if it is not a brand new technique.
The story that unifies a film and gives it deeper worth need not be specifically about something or someone. A philo¬ sophical theme, well executed, will pro¬ vide good continuity. Perhaps it is the age-old theory to “get away from it all”; or perhaps it is the search for peace or inspiration that carries the story skipping from place to place and leads to the investigation of remote corners of nature.
If your movie is to tell a story, re¬ member this infallible rule: Keep it moving. Keep the scenes changing, and don’t let the continuity become fixed, grooved, or monotonous — and never
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In 1928 we started making special effects for film commercials called “Previews of Coming Attractions."
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December, 1952
American Cinematographer
551