Camera secrets of Hollywood : simplified photography for the home picture maker (1931)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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.

Chapter VI P I C T U R E S THAT MOVE <& J. ne OF the first problems which confronts the amateur at the beginning of his photo- graphic experience is that of getting natural action into his pictures. The common experience of people who first use a moving picture camera is to start taking pictures by the same methods which they used when they were shooting with a still camera. To overcome this natural tendency the amateur usually begins by moving his movie camera. When he has looked at his first roll of film and sees that a good bit of it looks mighty still to him, he usually starts out with his next roll and finds himself panning and tilting all over the landscape in an effort to ^\ action into tin 1 pictures, resulting in nothing standing still. Then as experience grows he discovers that this is the incor- rect way of making action. When a scene is worth taking he will keep his camera on the scene and not pan or tilt unless to connect the scene with something cist 1 of as great or greater importance. Even then it is usually preferable to make two separate scenes, and avoid going from one scene, through dead and uninteresting material, to get to tin 1 next scene. The amateur will find better results and steadier pictures and an all around more professional finish if he will immedi- ately forget tin 1 use of the camera in his hand, and put it on a tripod as often as possible. Move tin 1 camera less and keep the movement in the scenes themselves. After the amateur has been disappointed in his efforts to gel action by panning, he finds that considerable thought will [42 1