Home Movies (1954)

NO TRIPOD • Continued from Poge 19 a board as shown in Fig. 11 and different height pipes can be used. It could be equipped with 3 rubber casters and used as a floor dolly for low angle stuff if you need it. Seen in the same picture is a smaller camera mount which can sometimes be used without a board. If so. be sure the camera wont tip over when unattended. Don't get the idea from all this that a good STURDY tripod is an unnecessary bit of equipment. No so — it is one of the most important if you watit steady pictures and proper pans. However, you might try some of these suggestions if you don't already know about them. Every one is of some use and help. JOHN SCHMITZ • Continued from Page 27 Essentially it is a study in relationships, plus a story of conflict (again) woven into the ballet. The rhythm of the dance relate starkly with the rugged forms of the rocks, sand and the liquid swell of the sea. A mobile, hung from a cliff imposes itself too upon the story and ties into the general theme of the dance. Schmitz used the primitive Mexican music of Chavez, and the reason for this, it seems is that (he dancer reprcsents symbolically the Yaqui Indians of Mexico. The music is of vigorous and independent character with rhythmic and almost hypnotic movement. Bui he has taken this and meticulously fused it with the actual movements of the dance. The color was changed by the use of filters which transform the shot from one of a predominantly blue character to one of red, or orange or purple — depending upon the filter and the exposure used. Schmitz managed to get some spectacular effects which pointed up the mood and the movement of the sequences. When these films were previewed at Pro Cine Photographer offices, a mixed group of people saw the films. This group consisted of two specific types — one of which was concerned with abstract things and the other whose duties consisted mainlv of clerical work. Asked about their reaction to the films, the clerical group said that they were aware of the conflict inherent in each film but that they were somewhat hazy as to the significance of certain sequences. Generally speaking, they gol the message Schmitz was trying to convey. The other group w ho have seen hundreds of abstract psychological films said that the three films were several cuts above the standard film of this type, and were of course crystal clear. If we may point out a most cignificant conclusion, we might say that the producer has managed to transmit what he had to say and has done so in a manner which allowed him to communicate with two groups of people who are drawn from different levels of society. The fact that both groups understood the symbolism and the abstract ideas proves conclusively that Schmitz has achieved the ultimate in artistic endeavor. We shall watch the career of John Schmitz with a great deal of interest, for the simple reason that he knows how to communicate without first creating a mumbojumbo of private symhols'. METER • Continued from Page 25 determining the exposure, by reading the incident light or the reflected light? Even the old-time Hollywood cameramen are divided on this point. Some of them will argue that even if the same intensity light falls on a white person in a white suit sitting on a pile of snow as would fall on a colored person in a black suit sitting on a pile of coal, the light reading would register on an incident type meter the same, but the exposure certainly would be off balance. An '"allowance" has to be made, so consequently the meter is not 100% fool-proof. On the other hand, the reflection type meter is said to be too inaccurate in registering foot-lamherts on different color surfaces, and that it reads differently in the hands of different photographers. Not wanting to take sides, I would like to explain the use of both type of meters. Incident light exposure is of great value on a set illuminated by artificial light. The key-light constitutes the major factor in determining the correct exposure, as it establishes the highlight effects on the subject. Particularly when shooting color films, the expo>ure must be set to give the proper rendition of the high-lights. Of course^ the fill lights are necessary for good quality, but nevertheless secondary in exposure control. When using the hemispheric-type meter, such as the Norwood, point the instrument from the subject s position directly toward the camera. The G. E. meter, with the hood removed and multiplying masks attached, is pointed to the light. Some cameramen will light a set for color at 650 footcandles, others at 900. At 650 your exposure should be F 2.8 and at 900 stop down to F/2.8. Some will shoot black-and-white (Eastman Background X or Dupont 914) at a key of 150 foot-candles, others as far up the scale as 350. At 250 foot-candles your exposure should be F/3.5. These values indicate the illumination level recommended for the key-light, checked after all fill-lights have been arranged. W ith G.E. meters it is recommended that when incident-light measurements are made with the hood off. the light readings be divided by 2. This applies whether the meter is used with or without the multiplying masks. After having decided what aperture to use. turn on the keylight. and at the subject's position point the photometer either toward the camera or into the light, depending on what type meter you use. and take your first reading. Suppose you are working with 650 foot-candles, adjust your key-light to read 50 foot-candles, then turn on all the lights to bring the general level up to the required 650 fool-candles. Your background illumination can be checked by taking a reading while walking along the background area, closely watching the ratio of contrast between subject and background lighting. When using the meter to read re 36