Home Movies (1944)

HOME MOVIES FOR MARCH PAGE 121 the motor spring fully wound and just tapping the release button lightly, one single frame may be exposed. This technique takes a little practice to perfect, but many amateurs have made successful animated movies by this method. Some have followed an opposite technique— that of winding the camera only one or two turns from the "completely unwound" point — and then tapping the exposure button lightly to effect the single revolution of the shutter. However, because of the low tension exerted by the loosely wound spring on the camera mechanism, such exposures usually are not consistent, resulting in the flicker and variations described above. Lighting the miniature set for animation action poses no problem. The usual photofloods and reflectors may be employed, and artistic lighting effects may be gained through masking, diffusion, or use of small spot lights. The more light used, the smaller the lens stop that may be used, and consequently the greater the depth of focus that may be obtained — a point to be remembered. Where sets and characters are small and an auxiliary lens must be employed to photograph at closer range than allowed by the regular camera lens, depth of focus will be limited and the movement of characters toward and away from the lens will be restricted. For this reason, where possible, this type of animation should be filmed on a scale commensurate with the closest filming capacity of one's camera lens. Snjecting, &4ction 3nto ^htovie£ • Continued from Page 107 cites a complete story. The eager, last minute rush of home-bound commuters to a surburban station tells another, as also does the surge of a holiday shopping crowd. Action, like subject matter, must be consistent. It controls the tempo of our whole picture and has much to do with effective continuity. Let us assume we are on a visit to Mexico City. Attending the bullfights is on schedule and we wish to make a film of our experience here. We begin our picture with scenes of the leisurely arrival of spectators; the calm movement of ticket-holders through the turnstiles ; and the orderly arrival of the dignitaries. All of these action scenes are of similar tempo. But with entrance of the bull into NEXT MO NTH * CEORCE CUSHMAN Home Movies' title consultant fells hoiv to make effective titles with typewritten title cards. * A. ELLIOTT SMALLEY A Hollywood screenwriter, cameraman and producer tells how to use gags and comedy most effectively in home movie scenarios. * HOWARD SOUTHER Secrets of successful lighting of indoor sets for the amateur told by the author of 'Lights And The Electrician." P L U S — Six other surprise articles loaded with information for the amateur movie maker. Don't miss the April issue! Better — subscribe to Home Movies today and receive it regularly each month by mail. the ring, action speeds up and the passiveness of spectators gives way to increasing animation. Our camera now records a faster tempo. Shots of spectators will show them cheering madly. Individual studies will show some in the throes of intense excitement. A casual shot at this point of a spectator calmly reading his prograam would obviously be out of place. The tempo of such a shot would be "out of step" with the rest of the sequence. There is dramatic value in rate as well as significance of action. A solemn ceremony is slow in movement. A gay event is vibrant with speed. A milling mob portrays potential fury. A cheering football crowd is gay and lighthearted, or sullen and silent — indicating whether their team won or lost. It is up to the man with a camera to recognize interesting action, then shoot it before it gets away from him. He must develop a knack of looking for action to film rather than pretty but static subjects, although the latter are not to be overlooked when a suggestion of action may be combined in the composition. The movie maker approaches the top rungs in the ladder of his art when he discovers the knack of combining action with purely static subjects. The Grand Canyon, the statuesque cacti of the desert, the colorful canyons of Yosemite all are picturesque subjects for the camera; but unless we bring some movement into such scenes, we fail to produce an actual moving picture. A rider guiding his horse to the edge of the canyon, a group of riders moving through a mountain scene, a deer grazing in a meadow foreground backdropped by Yosemite falls — these are the elements the true movie making artist injects into his scenic movies to give them life. BIG OUTSTANDING 16MM. SOUND MOTION PICTURES STARS STORIES DIRECTORS 1944 Catalog To Owners of Sound Projectors RENT FROM WORLD'S LARCEST EXCLUSIVE DISTRIBUTORS RUSSELL C. ROSHON ORGANIZATION 2506 T RKO BLDG., NEW YORK 16— COAST-TO-COAST BRANCHES— 16 GIBRALTER BRITISH FORTRESS KODACHROME FILM Britain's great fortress. See the bristling gun ports, plus many unusual shots. Close-ups of the giant battleship. Warspite. 100 ft. 16mm. $13.00 50 ft. 8mm. $6.50 Postpaid or C.O.D. in U.S.A. KENWOOD FILMS 818 E. 47th St. Chicago 15, Illinois . NEW VICTOR . . 16mm SOUND . . PROJECTORS . NOW AVAILABLE TO SCHOOLS — CHURCHES INDUSTRIALS — ORGANIZATIONS Delivery in 40-50 Days We have some used B& H , Ampro. Victor. DeVry and MogullDuplex Sound Outfits Ask for our New I6mm. Sound Film Catalog TRADES ACCEPTED 55 W. 48 St. New York 19, N. Y. MOGULL'S J Movie Camera Outdoor Film * * Reversible Safety, 100 ft. roll. $2.50 £ * 8mm. Double 25 ft. roll .$1.25 * j^. Wound on Aluminum Spools — Fine Grain Film -V jf. Prices Include Processing ♦ jt. Also Sell and Exchange hundreds of top-notch ji. Comedy, Musicals, Religious, Cartoons, Timely -fc T War Releases and World News. Write today for -fc T Free Catalog on Finished Subjects. -j[ T Send for Victory Bulletin on Selected Sound -ft J Programs at Low Rental Rates. +1 BETTER FILMS $ J 742 New Lots Avenue Brooklyn 7, N. Y. -fc 8 ENLARGED m f\ REDUCED f\ TO lb TO 8 BLACK AND WHITE AND KODACHROME CEO. W. COLBURN LABORATORY Special Motion Picture Printing •85-A MERCHANDISE MART CHICAGO