Home Movies (1954)

Campanile, the Church and some the Clock Tower. The swarming eons will add interest to this otherle static scene. This shot and the tures of St. Mark's will be best mid-afternoon, when the shadow of Campanile shift right, off the fale of the Church. Moving forward »ot your medium shot of the Church I get up closer for recording the saics for which this Church is faus. The unusual aspect of the mops, both inside and out, on the urch is that they are glass. The ors are enameled glass while the d leaf is pressed between two lay of clear glass. The center of the e arched entrances is the most elabite, decorated with 13th century lptures featuring the dream of St. .rk and a mosaic of the Final Judgnt. The numerous other architecal details of the church will com e Rialto Bridgt, at left, with its massive ne structure contrasting with the more icate surroundings. The Venice market ce is just to left of the bridge. (Center) section of the pink and white Doge's Paltaken from near the Campaniel. (At ht) The Clock Tower in San Marco tare. The old slave market was held un■ the bronze poles to the left. i S. J. LICATA and TONY LA TONA ;te your story of St. Mark's. Before visiting the interior note the 'ee large bronze poles in front of : church. Up to the 17th century H : slave markets were held beneath ;se poles. Today they serve as indard bearers during festival times. Inside the Church you will find mo jB ics dating from the 12th century d Byzantine bas-reliefs from the 7th ntury. The love the Venetians had r their Church is told in the treas9 that the rich merchants brought im all parts of the known world. Once again in the square and with gH ternoon sun you can photograph the ock Tower. Built in 1499, the front divided into three floors. On the wer level is the clock's face which res the moon phases and Zodiac ovements as well as the hour. On the JU cond level, on either side of a Ma • Sec "VENICE" on Page 324 H If you cannot obtain a length of double 8mm film stock for test purposes, here is another method that may serve the purpose although it may involve more time and experimentation. Sometime when you have some unexposed film in the camera, set the camera speed control at a point where you think it will approximate your previously determined projection speed. Photograph a clock that has a sweep second hand for a period of, say, 10 seconds. Put a temporary mark on the camera speed control dial by means of adhesive tape (or something) until such time as you can check the film after processing. After the film has been processed, by counting the number of frames included in the 10 second interval as shown by the pictures of the second hand on the clock, you can determine how close you came to your approximation of the desired speed. If your 'guess' has been correct, mark the previously established point on the speed control dial permaently. If your guess has been too much in error, make another approximation of camera speed adjustment and repeat the test. When your tests finally determine a sufficiently accurate camera speed setting, mark the camera speed control dial permanently for that setting. Now, if short sound sequences (of 10 to 20 seconds) are recorded on the set with the camera set at this previously determined speed, it should enable you to obtain direct sound sequences that can be edited into your master track with little difficulty. If discrepancies do occur in longer sequences, you can 'cheat' by moving the sound a shade ahead in the beginning of the sequence and let it be a shade late in the end of the sequence. In such cases the 'over all' sync sould be quite satisfactory. By DOW GARLOCK (Part IX and Concluded) It is advisable to stay away from actual lip sync where the speaker is seen from the front except for short sequences. Movement of the head, angles from the side, face partially obscured by a telephone and other similar pictorial devices can be utilized to 'cover' what might otherwise turn out to be difficult problems of synchronization. In the case of long speeches by a character this problem can often be solved by filming the character from the front as the speech begins and after 4 or 5 seconds cut to a reverse shot from the rear of the character speaking showing the person spoken to in a full on or % angle shot. By this and similar expedients the problems of direct lip sync are, to a great extent, overcome. Another thing I would like to emphasize at this time is the importance of 'voice adequacy' in the matter of narration and commentary. To a great extent, your picture can be enhanced, made mediocre or ruined entirely by the effectiveness (or lack of effectiveness) of the 'voice' that is chosen for this important element of your picture. In the case of narration, the voice is an integral part of the dramatic or emotional story element of the picture. Whatever may be the 'basic' story element of the picture, be it happy, dramatic, humorous, conversational or a combination of any of these types, the voice of the narrator is the 'living' tie between the picture and the viewer. This being the case, the voice MUST be able to convey the emotional elements of the picture to the listener. In no case should this emotional quality be exaggerated or overdone (unless for a deliberate effect) since overacting by the narrator will be as unmistakably 'hammy" as would be a 'hammy' bit of acting by one of the visual characters. Whatever may be the requirements of the emotional elements of your picture, the narrative conveying these emotional elements MUST be convincing. If • See "MUSIC" on Page 316 309