We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
WILD ANIMAL view of the Milottes — Al behind the Arriflex 1 6 and Elma ready with her reflex 35mm still camera. The big telephoto lenses seen here were used in making the majority of shots from the camera car, which also served as home for filmers.
dently, yet cautiously, often within less than 100 yards of a subject in action — outside as well as inside their truck — they filmed the whole gamut of leonine behavior through courtship, hunt and kill, family affections, maternal disci¬ pline and the jealous outbursts in the harem of half a dozen or more females.
Much of the success of the Milottes’ photography is based on a routine pro¬ cedure which they invariably follow in entering a new region. Before ever thinking of readying their cameras for shooting, they first spend a period of time exploring the region and studying it — its accessibility, the light conditions, the pictorial values of certain features of the terrain, etc. Here, as in no other place, they found excessive heat one of their chief problems. The great heat waves resulting from the intense mid¬ day sun so distorted distant images that photography in mid-day was impractical. For this reason, most of their shooting occurred during early morning and late afternoon.
The pre-shooting surveys of the Milottes included careful observation of the animals they planned to film — their eating habits, migration patterns and indicies of mating seasons. Here the Parks officials were of inestimable help in pro¬ viding valuable information.
Much of the success of their wildlife
All photos copyrighted by Walt Disney Productions.
LIONS give the Milotte camera car careful in¬ spection, affording Al at camera at left op¬ portunity to get some interesting closeups of lions in action on the Serengeti plains of east central Africa.
photography is based on the fact both Al and Elma have studied wildlife habits extensively, and when on a filming as¬ signment they automatically think like the wild creatures on which they train their cameras. For example, while on the Serengeti plains, they w'ere watching a group of lions and planning their next sequence of shots. Al observed one lion¬ ess suddenly stretch, yawn and get to her feet. “She’s going over to the water hole!” he told his wife. They started the truck and sped to the waterhole. Within minutes, the lioness put in an appear¬ ance, just as Al had predicted. By now, (Continued on Page 542)
THIS BATTERY of movie and still cam¬ eras, lenses, film magazines and exposure meters is the photographic gear used by Alfred and Elma Milotte on their African safari for the Disney True-Life Adventure feature, “The African Lion.”
American Cinematographer •
September, 1955
535