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HOME MOVIES FOR MAY
PAGE 241
in the background, and the reflections framed within the boundaries of the Lagoon in the foreground.
At night, Constitution Mall — lined with hundreds of mercury lighted trees that are reflected in the water — is a picture that must not escape your camera. The Trylon and Perisphere are also well illuminated and the statue of George Washington stands out in bold silhouette.
Human interest and “gag” shots should not be overlooked in filming the Fair. It is these that occasionally break up the monotony of the procession of scenic shots on the screen. A well planned “gag” idea, regardless how simple, will raise one’s Fair picture above the mediocre. Closeups of people — or those accompanying you — eating hot dogs; massaging sore feet ; stopping at rest rooms
— all make interesting film fare.
The Fair abounds with some of the finest sculpture to be found anywhere. The most inspiring of all statues is probably the group of four entitled — “The Four Freedoms.” These face Constitution Mall and may be filmed individually or in an entire group with the Theme Center for a background.
In the Plaza of Light four beautiful columns entitled “The Four Elements” form a picturesque frame for another work of art
— the “Four Victories of Peace.” Do not attempt to film these statues from the seat of a sightseeing bus, particularly if you are seated in one of the soft rubber cushioned seats! Needless to say, such a shot would jump about the screen and annoy your audience.
Panoraming a huge
statue from base to top or vice versa is not to be recommended. Unless you possess a wide angle lens, move back a sufficient distance to enable you to get most of the structure in the viewfinder, then slowly pan to take in the rest.
Here are a few brief tips that will prove helpful to all Fair filmers: When arriving at the Fair, purchase a map and guide which will enable you to plot your course. From the map you will be able to determine how each exhibit lies with relation to the sun, so that you can decide upon what time of day to film those locations not covered here. This will save you considerable time.
Before shooting any scene, take time to study it carefully, moving about — perhaps ascending the balcony of an adjacent building — in order to get the best possible composition. This, more than anything else, will enable you to bring back extraordinary movies of the Fair.
The Fair management maintains an official camera car which may be placed at your disposal by applying in advance at the Administration building. Use of it will enable you to get some unusual shots overlooked by the “hit and run” cinefilmers.
Birdseye views — those made from an elevated position— may be secured from the Pericline, or from any one of the balconies of the many structures within the grounds.
While the Fair is essentially a Kodachromer’s paradise, those holding to good old Pan film can bring back equally fine records with judicious use of filters, careful attention to exposure, and unhurried study of composition.
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sketch, is heavy and stiff enough to keep the pin with its fibre insulation in contact with the camera release lever, so that when the regular outside camera release button is depressed in the usual manner for starting the camera, the spring will follow down, make contact
C
amera
with the brass screw, and start the motor. The contacts should be adjusted so they close just before the stop releases the gear. This puts pressure on the gear, the same pressure as when the spring motor was used, thus assuring that the first frame will start with 1/30
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