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HOME MOVIES FOR NOVEMBER
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'NE truly photogenic event that attracts the cameras of countless movie makers each year is the Ice Follies. But the disappointing films resulting from amateur efforts to successfully record this colorful show runs into thousands of feet. Inability to move freely about with camera, and tricky lighting conditions are just two of the major problems that usually confront the movie maker bent on shooting this indoor event.
But it can be done, and successfully, too; and the film that proves it is the magnificent 400-foot 16mm. Kodachrome motion picture "Ice Follies of 1943" filmed by George L. Rankin of San Francisco. Never having attempted to film an indoor ice show, this writer for awhile was skeptical regarding the possibilities in view of the many poorly photographed amateur films of ice shows that had preceded Rankin's picture. But his film dispels any and all doubts and at the same time explodes the theory that Kodachrome must be supersensitized for the job, or the event photographed at reduced camera speed to obtain anything like a normally exposed image on the film.
Rankin photographed the entire show at Winterland, San Francisco's ice palace, using Type A Kodachrome and a Bolex camera fitted with a Leitz-Hektor f/1.4 lens. All scenes were shot at f/1.4 with the lens set at infinity, resulting in remarkable clarity in detail
FILMING THE IC1 FOLLIES IN COLOjt
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considering that often the rink would be illuminated with nothing more than four spotlights. Scenes in his picture run the full gamut from huge spectacle numbers bathed in illumination furnished by every lighting unit in the auditorium, to solo numbers of a single
• Pictures below prove it is possible to film the Ice Follies at 16 F.P.S. with Kodachrome without supersensitizing the film, and obtain scenes fully exposed and sharp in detail. Illustrations are frame enlargements from George L. Rankin's Movie of the Month.
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skater skimming the ice, spotlighted by one or two powerful searchlights. Not one scene is under-exposed the slightest.
Rankin's secret, perhaps, is the secret of all successful movie makers: careful advance planning. Having decided to him the show, Rankin attended one performance without his camera — to enjoy the spectacle and to study the most advantageous location in which to set up a camera. Also, he made a • Continued on Page )j6