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.
PAGE 10
Authored by James E. Newcom*
One would think that a studio film editor, through whose hands had passed countless miles of motion picture film and whose routine included the task of reviewing’ several reels of projected pictures each day, would be the last person to choose home movies as a hobby. But, honestly, I get as much downright enjoyment from shooting, editing, and projecting my home movies as any rabid amateur. Possibly this is because when I shoot my movies, I’m the whole production staff — cameraman, director, scenario-writer, and edi
continuity
• Above — Chief film editor, Jimmy Newcom, (left) reviews the final sequence of "G one With the Wind," with Hal Kern, supervising editor of Selznick International. Below — reproductions from a sequence in the same picture, the editing of which is described in the accompanying article.
tor. I can do my shooting with an eye towards the final and all-important task of editing.
If you have gone hook, line and sinker for color movies — and who has not — you can make your pictures far more interesting and professionallike if you will pay special attention to matching your scenes for color tones both when shooting and editing.
*Film Editor, Selznick International Pictures : N ewcom’ s exceptionally fine job of editing the year's biggest film hit, “Gone With The Wind,” practically assures him of the 1939 Academy Award for motion picture editing.
Let me tell you of a new filming technique of the cinematographers of Hollywood’s studios that is fast being recognized by serious amateur movie makers — a technique that greatly simplifies the task of editing. Director Victor Fleming has given it widest latitude in the current Selznick International production, “Gone With The Wind.” It was especially developed for color movies, and is adaptable to black and white films with equal success. It has as its basis, the essential of reducing the number of cuts in a picture to the minimum in order to maintain maximum color continuity in a sequence.
Soon after the advent of Technicolor pictures, it was noted that the cuts in color film were definitely more obvious than in black and white. In the latter, the tones are pretty consistent throughout the picture, but in early color productions the masses of color varied in area and intensity with each scene. And with each change of scene on the
° Continued on page 42
(right)
FINE DETAIL
in the interesting night shot on opposite page resulted from photographer's knowledge of exposure values and wise choice of proper film for job. It's a fine title background for a documentary movie of city or industrial life.
Photo by
I
Ross W. Madden