Home Movies (1942)

HOME MOVIES FOR )ULY PAGE 291 Figure 3 represent the closest distance focused on with the largest opening. The King is in focus but the rest of the cards are not sharp. Figure 4 shows the same distance focused on but the lens is again closed down to its smallest opening and the focus extends to approximately the 8. However we still do not have both ends of the row of cards in focus. The trick is to focus at approximately the middle of the distances we want sharp. Figure 5 shows the focus on 7 with the lens wide open. Even with the lens wide open we have the 6 and 8 in sharp focus. Figure 6 shows results when we focus on the 7 and again stop the lens down to its smallest opening. The depth of field extends approximately to both ends of the row of cards. Thus, at the same opening, and by focusing in the middle of the two distances desired, we get greater depth of field than by focusing on the nearer or farthest distances. By using the depth of field table, one can determine the extent of areas wanted in focus at a given aperture by setting the lens accordingly. As an example, let us assume we are taking pictures of a parade and we do not want to change our lens setting. Closeups will be taken at about five feet and the longest shot we will take will be about 50 feet distant. The light calls for an opening of f 3.5. By referring to the Depth of Field Table under the f 3.5 column it may be seen that if a sharp focus area is wanted from 5 to 56 feet it is necessary to set the lens at 10 feet. A careful study of the tables will prove enlightening and it is suggested they be clipped and carried along when filming as a guide to setting camera lens for better photographic results. ZJrLck iltoti J4oll^wood it^le • Coiithiucd from Page 272 • Frequent mention is made in this article of the "Frame." This is a threestage framework upon which larious cut-outs and masks are arranged for trick effects. It uas illustrated and described in detail in the March issue. A reiiew of the March article is suggested to make clearer the procedures described here. doorway to correspond with the shadowed area on the model set. Having filmed the first part of the action, a black cloth is draped behind the opening in the set, the cover removed from the Frame and the second exposure made on the model. A readjustment of focus must, of course, be made and the set put into motion, either by operating the wheels and filming at normal speed or by single frame animation. A variation of the same type of effect is shown in Fig. 2. The seated figure was first filmed against a black backcloth, then superimposed by a second exposure on the dark area of the model set representing the deck of an ocean liner. The boat, railings and deck silhouette is cut out of cardboard and set up on Stage B, receiving no illumination. The sea and sky background is painted on good thick drawing paper, fixed to a cardboard frame and placed in position just clear of Stage C. During the second exposure, this background is moved very slowly up and down to suggest the rolling of the ship. This must not be overdone as the scene is placid and there must be no suggestion that a storm is raging. In addition, moonlight was simulated in the following way. A ragged open ing was cut in a piece of cardboard to conform to the "moon track" in the sea, and set up a few inches behind the painted drawing. Twelve inches further back, a lamp was fixed up and in front of it, another piece of card, punctured with many small holes. Properly manipulated, the flickering light on the surface of the sea can be accurately reproduced. A lot of trouble, perhaps, for a single shot, but worth it if you want a belated fadeout finish to your cruise film. Ordinary children's dolls are not good subjects for animation, but amusing shots of the type shown in Fig. 3 bring novelty to the routine family film. This is a simple split screen shot, using the balcony pillar to cover up inaccuracies caused by the difference in distances between camera and subject in the two exposures. When focusing down to the doll, the lens moves appreciably nearer the high diffusion mask placed in the mount on Stage A, and this tends to upset the exact register of the right and left hand masks. Complications of perspective in the table are avoided by choosing an "eye-level" position for the table top. The balcony in silhouette is simply a cardboard cut-out mounted on Stage B and serves to give depth to the picturee as well as disguise any possible defects in the masking. Animation is given to the doll, of course, by single frame exposure. The glass screen is used to check the alignment of the table top. 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