Home Movies (1944)

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PACE 518 HOME MOVIES FOR DECEMBER From the the tips of photogrophen everywhere come many questions. Boiled down, most of them ask, ' What can I look forward to in post-war photography?" 9 For — whether it's film or any of a number of a constantly growing line of superior photographic products — many proven under fire in the service of Uncle Sam — the name of KIN-O-LUX will be a guarantee of "more-foryour-money" value . . . quality . . . confidence. Look to KIN-O-LUX for the future. ming into the picture are many new photographer* keeping ho memo viefires burning for war-absent loved ones. After wartime curtailment! . . . wartime substitutions . . . they wonder, "What's in store for us — come post-war?" 105 WEST 40th STREET ■ NEW YORK 18. N. Y, Uppermost in the minds of photographic merchants are these questions. "What products will I have to sell ... to satisfy . . . to hold the confidence of my customers? What products will help me build soles . . . profits . . . a real post-war future?" get Perfection in your COLOR MOVIES P-B with this FILTER KIT For all 8mm B&H. Keystone. Revere and Cinemaster fj.5 cameras. Eliminate glare and light streaks! Penetrate haze for clearer background! Convert Kodachrome "Type A" to daylight use! (Kit contains Screw-in shade. Fil Conversion filter and Filter Pouch.) At Your Dealer Or Direct PONDER and BEST 1015 S. Grand New Crystal BEADED or MAT MATERIAL 30x40—1.75 36x48—2.50 40x40—1.95 48x48—3.00 58x72—5.50 ABBE FILMS 503 Fifth Ave. New York City Clo£e Cutting, 3or T)empo . . „ • Continued from Page $11 given it by half-speed camera action will draw laughs and heighten interest in a picture. Obviously, then, fast tempo scenes often must begin their fast action with the photography. The job of editing these scenes begins when filming is completed. No fast rule can be laid down as to the exact length of any fast action scene. This can only be determined by practice, by trial and error, by repetitious cutting and re-editing, and then studying the effect upon the screen again and again. Some comedy situations demand that scenes at the height of action be cut to io frames or less; reaction closeups even less. To illustrate further, let us take a typical comedy action sequence involving a motorcycle policeman chasing the hero attempting to elude the officer by automobile. The basic scene is the medium or long shot of policeman following the automobile. If two or more cameras can be trained on this action, so much the better, for then there will be footage of the same action from more than one angle to cut back to, to break the monotony. This scene may require as much as 30 seconds. By shooting it at 8 frames per second, the screening time will be reduced to 15 seconds. While this is an improvement, the one shot to remain on the screen for 1 5 seconds would seem unnecessarily long. Besides, audience interest would be slowed momentarily, because, seeing the beginning of the chase, they know what the result should be and are anxious to see it — at least they sense a feeling of unnecessary delay that the one 15 -second scene is consuming on the screen. Anticipating this situation, the cameraman shoots several "reaction" shots — a closeup of the hero in his car glancing back apprehensively toward the policeman; of the pursuing policeman as he rides at top speed; of a dog scampering cuickly from the road as the car approaches; etc. At the editing board, these shots are intercut with the longer basic shot of the policeman pursuing the hero. The sequence begins with a moderate cut of the basic shot; the closeup of the pursuing policeman is next, then the closeup of the hero glancing back; then the shot of the do? scampering cut of the way; and finally a return to the basic shot for perhaps 20 frames. The reader can easily visualize the tremendous increase in interest in the sequence cut in this manner as compared to equal footage of the basic shot running continuously on the screen for the same length of time. But there is more to editing the se