The Educational screen (c1922-c1956])

The Educational Screen The Continuity After the lesson has been planned, we develop the continuity. This is our work sheet. Can you recall in your novice teaching days writing out the entire lesson to be taught, even to writing each question in the sequence? We can thus insure completion of the topic in the time allotted to it and hewing to the line. This is especially important in making a picture lesson. The continuity is the sequence of shots, in- cluding the titles. From the pedagogic point of view it indicates the development of the lesson; from the economic point of view it limits the amount of film to be used; from the pictorial point of view it tells us what is to be represented; from the point of view of organization it tells us the relative importance of scenes and their sequence in the lesson. The more carefully the continuity is planned the better will be the lesson and the less expensive the cost of the picture. The shots need not be taken in the sequence of the continuity. Very often it isn't possible, more often it isn't practical. The sequence is taken care of in the editing process which will be explained later. How closely shall we adhere to the con- tinuity? A similar problem is present in working out any type of lesson. If a question is asked or a situation arises in the course of a lesson that transcends in importance the planned topic, it should be answered or solved. The best teaching situation is that which arises from the felt needs of the pupils. Thus, if during the filming of the lesson, a better point of view presents itself, or the planned method does not appear to solve the prob- lem adequately, we must be alert to change to a different solution. For the novice in motion picture work the con- tinuity should be very specific. Each step in the sequence should be described in detail and should be adhered to. We cannot depend upon memory, inspiration or whim. Experience, as in the class- room, will permit more liberty. Always, the con- tinuity should be given careful, deliberate thought that it merits. Equipment "Cut your suit according to your cloth." Plan your film lesson in relation to your equipment. We should study to get all from our equipment that it can provide. We seldom do. Even in profes- sional studios large sums are frequently spent on elaborate accessory apparatus which is subequently discarded when it is found that the original ap- paratus can solve the problem with little alteration. When the number of topics is so large, we should have little difficulty in choosing one that lies within the limitations of our equipment. If ambition spurs us to attempt more elaborate pictures, we may find it possible to solve our special problems with sim- ple home-made adapters. If we cannot solve them, we merely plan a different lesson. It is difficult to describe a minimum equipment because so many factors are involved, chief of which, of course, is the amount of money available for investment. Any type of work is within the power of the amateur, if he can afford the equip- ment. Special types of work may involve special apparatus. This is especially true in scientific work. Let us assume that the first pictures will involve no special effects, just straight photographic rep- resentation. Let us assume further that the equip- ment is owned by the teacher. Perhaps some day schools or systems may see the wisdom and econ- omy of owning adequate photographic equipment. The following minimum equipment should produce satisfactory pictures. 1. A 16 mm. camera with a reliable spring mo- tor and shutter. Hand cranking is often de- sirable when the action is prolonged but is not dispensable. 100 foot film capacity is essential. I do not approve of the smaller film widths for classroom use. Moreover, the 16 mm. size may even be used in large auditorium showings, smaller sizes cannot be so used. 35 mm. film while it has ad- vantages, is expensive to use and cannot be directly projected in the classroom. 2. A tripod is essential in taking good motion pictures. The motion should be confined to the actors and should not be present in the camera. Our friends and family may for- give us when our pictures oscillate, sway or tip, but for teaching purposes the films should be free from these special effects that distract, amuse or tire. 3. If indoor pictures are to be included, and they surely will, adequate sources of light are needed. The new photoflood lamps are very satisfactory. However, if we plan much work, and the current lines will carry the load, 500 watt projection-type lamps will prove economical in the long run and they will not expire during the taking of a scene. Photoflood lamps have a short life. In any case suitable reflectors should be used to get the maximum efficiency from the lamps. The amount of light needed will depend up- on the area to be covered as well as the nature of the scene. Experience alone will tell us how much light we may need. The more light that is available, the more liberty we will have in the use of our equipment. A minimum of several thousand watts is de- sirable. 4. For lens equipment, if only one lens is avail- able, we should have a 1" fast lens of the speed f 1.9 or greater. You will need that for indoor work. Good lenses are corrected