American cinematographer (Aug 1936)

I 355 American Cinematographer • August, 1936 CINEQUE PRESENTS A NEW LINE OF 16 MM MOTION PICTURE $250 $4^“ $5 50 FILMS SEMI-ORTHO per 100 feet . . . RAPID PANCHROMATIC per TOO feet ULTRA-RAPID PANCHROMATIC per TOO feet Eastman SUPER-X Pan- chromatic NEGATIVE and POSITIVE per 100 feet . . . All Pi tces Inchuie PiocessiuK PRINTING DUPLICATING TITLING EDITING Write to Cineque Laborafories, Inc. 123 W. 64th Street New York City S7 50 Vli TOH vsmisi Slip-On Attachments; tor very accur- ate work. No fitting. No screws. Simple to use. Optiax Viewer—also tor Filmos $12.50 Shows picture field through camera lens. Single Frame Counter . . . $12.50 Records each single frame exposed and rewound. Camera Inverter .... $ 6.00 Invisible on tripod; tor Reversed Ac- tion. At your dealers Write tor illustrated folder. ART WOLFF 159 N. State Street Room 900 CHICAGO, ILLINOIS Here s Practice in Indirect Representation Continued from page 346 SCENE 27: CLOSE-UPS of the chil- dren. Water streaming over their heads and faces. SCENE 28: LONG SHOT. A wheat field or corn field ravished by heat. SCENE 29: LONG SHOT. A dried- up, waterless brook or stream. SCENE 30: MEDIUM SHOT. Cattle standing despondently in sheltering shade of tree or beside dry creek. SCENE 31: LONG SHOT. Automo- biles speeding to beach, with occupants dressed for bathing. SCENE 32: LONG SHOT. Surface cars arriving at beach and disgorging passengers seeking relief. SCENE 33: LONG SHOT. Along sidewalks and streets are walking men, women and children headed for the beach, in suitable attire. Cut in a CLOSE-UP of two or three good types SCENE 34: LONG SHOT from ele- vation of the expanse of sandy beach; the beach umbrellas, densely populated sand, the breaking waves. SCENE 35: MEDIUM SHOTS of typical beach activities. SCENE 36: CLOSE-UPS of beach characters. Search for the pictorial types and shoot from a low camera angle. The shapely, long-legged girls; the hipoy older women; the paunchy fellow in trunks and ever-present straw hat; the bronzed, square-shouldered young beach idols; the chubby children; the life guard. SCENE 37: MEDIUM and CLOSE SHOTS at the water's edge. Children wading, the timid girls, the brash young athlete who goes p'unging in. SCENE 38: MEDIUM and CLOSE SHOTS. Bathers in the water. (There should be no land showing.) General bathing activities in the refreshing cool water; riding the breakers; the strong swimmer; the girl being taught to swim; diving from the float; the life-boat paddling about. SCENE 39: CLOSE-SHOTS on the beach following a dip in the surf. The dog shaking himself dry, the toweling of assorted figures. SCENE 40: CLOSE-SHOTS at the concession stand. Bathers are downing bottles of cooling drinks, munching at ice cream, at sandwiches. SCENE 41 : LONG SHOT. (Stop dowr. to f 1.6. Use your red filter.) The sun disappearing behind the horizon. SCENE 42: MEDIUM SHOTS. Bath- ers silhoutted against the darkening sky. SCENE 43: MEDIUM SHOTS. (Even- ing.) On beach and in public parks, individuals are preparing to sleep the night out in the open. INSERT: Newspaper headlines (flashes) : SCORES DIE FROM HEAT. AID RUSHED TO DROUGHT AREA. NO RELIEF IN SIGHT; HEAT WAVE CONTINUES. SCENE 44: CLOSE-UP. Another thermometer. It is registering above 100. FADE OUT. If you do not live near the seashore, use your nearby lake, river or local swimming pools for the water scenes. Scan the crowds carefully for unusual human types, styles of dress and typical- ly expressive situations. In your selec- tions rest the appeal of your film. Pre- serve a rapid tempo with short well-cut flushes. The New 16mm PANCHROMATIC NEGATIVES (Eastman, Agfa, Dupont) will surorise vou with their fine qual- ity. their beautiful fones arvd grainless reproductions, if you have them devel- oped by the DUNNING GRAINLESS METHOD DUNNING PROCESS COMPANY 932 N. La Brea Avenue Hollywood, Calif. (35mm reduced to 16mm) HUGO MEYER SPEEDS F/15 TO f/SS LENSES HUGO MEYER & CO. 245 55 ST-' NKW YORK How Anthony Adverse Was Cut Continued from page 345 SO desirable. Each scene must be judged and trimmed in relation to the scenes immediately following and preceding. Cutting must be in keeping with the nature of the picture. A fast-gallop- ing comedy or action reel must be made up of short, fast cuts to attain the tempo. To the contrary, a deeply dra- matic story requires longer scenes and gentle transitions. In the "Dream" picture, we employed rhythmic cutting conforming with the music. There is no better way to learn film cutting and editing than to study well- edited pictures. When you see a pic- ture that you enjoy more than the av- erage, go back to your theater and see it another half-dozen times. The story will soon become familiar and you can concentrate on the mechanics of the film's construction. Study the film from a cutting stand- point. There is a good reason for ev- ery cut you see. Figure out what that reason is and just why each scene is as it is. Judge it in its own behalf and in bearing to the story's unfolding. Note where the close-ups are placed, to punc- tuate and italicize the narrative. Find out for yourself how greatly cutting in- fluences the appeal of the picture. In this manner, you will quickly dis- cover most of the tricks of the trade, the proved policies of cinematic con-