Home Movies (1954)

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equipment. Take camera rental, for instance, and use of a cameraman and assistant. Camera rental is $20.00 per day, first cameraman gets a scale rate of $70 and his assistant $45. Then there is the cost of a gaffer, grip and best boy but I think we can dispense with thees items. Most professional readers will shoot their own stuff and probably do so in their own studios. They will also do their own script, make-up, lighting and editing. Our film was completed Friday afternoon, and after a hurried screening it was shown to a group of 500 guests who were attending a convention in Hollywood, that evening. Last week 20 duplicate prints were made and the film will be distributed to the proper locations. Now the purpose of this whole story is to indicate base costs to those who are just getting started in the 16mm professional field. There are an infinite number of variations and your own costs depend entirely upon your own set-up and your own know-how. PRO CINE PHOTOGRAPHER would be happy to check prices or obtain other information for professional readers. Write to : The Editor, Pro Cine Photographer, 1159 N. Highlands Ave., Hollywood 38, California. SUN and SNOW • Continued from Page 15 colorful gay costumes, and add as much zing as you can. Another compositional aid in snow scenes is the use of dark or silhouetted masses, usually in the foregroun.d In any normal snow landscape, there are dark masses here and there — a rock or boulder which emerges from the snow, a gnarled tree trunk, an old shanty or even a weather-beaten fence. Get an object of that kind in the foreground, where it will be large enough in scale to form an important area, and your snow scene will take on added interest. The silhouetted mass will give the picture depth and the white snow will seem whiter by contrast. The excess ultra-violet light is important because it records on color film as blue, though it is invisible to the eye. Fortunately this bother can be disposed with ease — simply use a haze filter in front of the lens at all times, for this kind of shooting. And this is especially important if you are shooting in the mountains. Now lets talk about the two kinds of snow. We have the loose kind on the one hand, and the glazed kind on the other. Loose snow presents a beautifully textured surface, and the main secret in photographing texture is the placement of the light. If we lay a strip of white velvet along a table and illuminate it from above books for better filming $7.50 VALUE FOR $5. HOW TO TITLE HOMt MOVIES $1.00 50 IDEAS FOR FILMING CHILDREN. 50 IDEAS FOR VACATION MOVIES 50 TITLE CARDS— KIT No. 4 (color) KIT No. 1 (B&W) ....$1.00 28 BASIC STEPS $1.00 12 MONTHS SUBSCRIPTION TO HOME MOVIES $4.00 TOTAL $7.50 VER HALEN PUBLICATIONS 1 159 North Highland Avenue Hollywood 38, California by a single light, the texture will not be revealed, and the velvet might just as well be a horse blanket. But if the light is placed very low, so that the light rays sweep across the material, then each little hollow casts a shadow and the texture stands out like a sore thumb. And the same is true of snow scenes. If the light is behind the cameraman's back, results will be flat and lifeless. So shoot with crosslighting, or into the light, thus bringing out the texture and modeling. Early and late hours of the day are especially good for snow filming because this produces the long shadows so necessary for effective composition. Snow which has thawed, and frozen causes troublesome glare and reflection problems. This means that a suitable sunshade is a must at all time. For the same reason thank your lucky stars that your lens is probably coated, because if it was not, then there would be plenty of trouble with internal reflections, glare, and fuzzy footage. A polarizing screen is of little use on loose snow, which in itself is a good de-polarizer. However, it is often effective on "glare" snow since the reflections from such a surface are more amenable to suppression by means of the polarizing filter which strains out the glare. The question of filters is important, since the color of winter sunlight is likely to be quite different. And the cameraman is cautioned not to trust his eyes alone, since there are more accurate ways of checking light quality. The Harrison Color Temperature attachment for GE or other meters will save much film, if used intelligently. The vast amount of blue, so prevalent on snow scenes, can be eliminated by using a suitable yellow or pink-yellow filter. Here are a few things to remember. Shadows in snow have definite color — usually blue. Kodachrome or Anscocolor, properly exposed, will faithfull reproduce this color. Sidelighting causes texture of the snow to stand out, and gives form to the snow-covered objects in the foreground. Focus your camera on the scene so that the sunlight comes from either side of it. If the sun is low, so much the better, because shadows will be longer and will create more interesting patterns. Try to get backlighting on shots of snow-covered trees and icicles. Winter scenes can be given extra tone and depth by the inclusion of brightly colored objects in the foreground. And dramatic appeal can be created by the use of bright colored objects in direct contrast with the somber natural tones of the landscape. 39