Home Movies (1954)

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Box 2084 San Antonio 6, Texas FOOTBALL • Continued fr«m Poge 433 of nothing but a series of shots of the game can be pretty dull. What is needed to enliven these are scenes before, after and during the game that will add humor, local color and personality to your reels. This means that you must be alert to everything around the stadium that makes this game stand out as distinctive. If you can't cover the spectators and cheering section with your own camera while you are filming the game, it would be advisable to work with another filmer and get him to cover important angles that you might miss. Now is a good time to say that a big football game uould be an ideal subject for members of a camera club to cover. With a half dozen cameras stationed at strategic points there would be complete coverage and a wonderful collaborative film could be made. Study Films. More and more football coaches and teams are asking for films that allow them to study their own strong and weak points in competion. If you are asked to make films of this type the important thing is to plan with the coach so that you can give him the films he wants for study purposes. Usually, he will not be so much interested in perfect exposures and artistic compositions as we will good clear recognizable shots of the plays. As many coaches do, he may want shown a sufficient field of play so that most of the 22 players may be seen in action together. While covering a wide view, a large screen image may at the same time be required. To do this, three types of interchangeable lenses are a big help: a wide-angle for kick-offs: a medium lens for complete field coverage and a telephoto to provide closeups of distant action. If you are to make a series of ^tudv films for a coach during the season, start your shooting in the early practice games and scrimmages, have the coach criticize your efforts and repeat the process on each batch of films. \our work should improve through the season along with the team. BEGINNERS • Continued from Page 420 are. and will show us, too, their smiles as they bid good evening to the wife. Second drawing completed. Back. now. to a medium or even a long shot as the wife ushers the guests inside. They peel off their coats and make for the living room door. So much for the third sketch. We could, of course, treat each newcomer like this, but it would soon get monotonous. Let's try a slightly different introduction for each guest. The third shot, then, might end with the wife and guests suddenly stopping and looking towards the door. The fourth shot would be a big close-up of a finger jabbing at the door-bell, and the fifth a close-up of the latest arrival standing outside. In the sixth shot we get our first proper view of the wife as she opens the door in a close-up, seen from the angle of the new arrival. The newcomer steps inside, and the door closes. Let's have a re-cap. Six sketches so far, and already we've got three juicy close-ups of people — the people your audience are going to want to see. that's more, the film's already beginning to flow a little. But where do we go from here? The closed door gives us a chance to cut to any shot we like. We could have a shot of all the guests chatting with the wife. She leaves them. This time, again for the sake of variety, we don't see the actual arrival of the third group. Instead, the camera stops on the guests we have already met. Another series of close-ups show them chatting to each other. Then the wife returns with the latest arrivals, who haven't met two of the earlier guests. Introductions are made — which means more opportunities for big smiling close-ups, especially of the newcomers who have yet to be properly established. By now you'll have a full page of sketches. You'll be getting the feel of thinking pictorially, and you'll see the shots forming themselves almost before you've got time to draw their rough outlines on paper. Don't feel ashamed if you're no artist, by the way. These sketches are only a guide to the set-ups that you want. Several of the best professional directors draw their sequences in advance, though they wouldn't like anyone to see the weird scribbles which represent the individual scenes and characters. To return to our party script — incidentally does "script" still seem such a worrying word? After the arrivals and the introductions are over, what next? That, of course, depends on your party programme. But try and remember the characteristics of your guests. Each has at least one distinguishing feature which you should try and get on the screen. Little Johnnie, for instance, can be relied upon to eat his way through the entire evening. Grandma will probably retire to the quietest corner and sleep. Then there's Aunt Bessie with her non-stop knitting — but you know your own family better than I do! Concentrate on the little things which make each of them what he or she is. Then you'll really have the family bem% themselves. Again, these shots can 434