Movie Makers (Jan-Dec 1934)

MOVIE MAKERS 161 throw. End with a wider angle scene to show the completion of the action. Track and field sports may be filmed readily from a large variety of angles that will make for continuous action. There are usually several heats or trials of the same action, sometimes by the same performers, and a shot from a different angle may be secured each time. Water sports, of course, do not get under way to a large extent until warm weather makes such sport enjoyable, and this automatically insures good light conditions. Shots should be made in bright sunlight which will add much to the attractiveness of the splashing water, especially when slow motion scenes are made. The cameraman must be everywhere at a water sports carnival if he wants to make a smooth running picture with a variety of angles. A slow motion scene, from the side, of all contestants diving in at the start of a race is interesting to watch. They leap through the air and slowly slide into the water with what looks like a large splash. If it is possible to make an underwater scene from the side, of the same action, it is most attractive and is well worth the trouble of making a small tank and staging the action before the regular race takes place. It usually is not possible to make any preparations on the spot when events are scheduled. Of course, very clear water is necessary when underwater scenes are made and only one stop larger is needed than for the same scenes above the surface. In all sport filming, getting the action should be the main objective but the action must be varied in using different viewpoints or camera angles. The experienced sports filmer always starts his camera before the action begins and is not afraid to use all the film necessary to cover it. A technique for industrials [Continued from page 148] ter filmed against a black background will appear to contain a dark liquid unless it is lighted carefully. A better method would be to insert a tan background and to place the glass upon a slightly darker card, using plenty of light on the side and slightly to the rear of the setup. For ordinary interior scenes the lighting scheme can be roughly in the form of a V, with the camera at the point, the lights along the two sides and the subject midway between the tips. This makes for roundness, lessening the flat appearance common to objects photographed with all lights near the camera. Photofloods in conical type reflectors are excellent and inexpensive and it is best to use a number of them. It would be almost impossible to have too much light. We ordinarily use six double units in our work. In scenes where operations are performed under the light of one or two ordinary bulbs in standard drop lights, it aids in giving the effect of actual working conditions if Photofloods are substituted for these bulbs. One of the handiest lighting units is a good spotlight. In filming large areas, it is well to replace with Photofloods all bulbs in regular use, being sure, however, that the standard reflectors are large or low enough to shield the camera lens from direct light. If an area is open to daylight, make use of that fact, taking the sequences there while the sun is on that side of the building, but not shining directly into it. For larger areas we recently improvised a flood unit that served very well. It consisted of a five foot square of Beaver board covered on one side with heavy silver foil. On this were spaced and mounted nine sockets each holding a Photoflood bulb. This unit can be held up, leaned against some solid support, hung on a wire or mounted on a standard. This was also valuable when we needed extra light for slow motion scenes. These, by the way, should be a part of almost every industrial film in order to show fast moving parts of machines. The greatest single difficulty in interior industrial filming is proper exposure. This leads to the most common error — that of using the least light required to film the scene with the widest opening of the lens. The beginner at making industrials will set up his camera, focus on the scene to be filmed, open his lens wide open and then look at a chart or estimate how many lights he will need to get an exposure. This practice leads to two things — first, in closeups there will be little or no effective depth of focus, which is fatal in filming certain machine processes, and second, in all scenes of the finished film, there will be a flat and contrasty effect. We would hesitate to film industrial sequences at an opening wider than //3.5. We generally set the lens at //8 and occasionally at //5.6 and often we use these stops with regular film. This might seem to require a terrific amount of light but we find that Photofloods in efficient reflector units solve the problem inexpensively. The new, 2000 watt Movieflood lamps can be used for very large sets. So, next time, try setting the diaphragm at //5.6 or //8 and then "build up" the lights or pull them closer to the subject to give a full exposure at that lens setting. Back lighting is also important — especially in closeups — to round out gears etc. But, in preparing for these lighting effects, first set. lights for correct exposure at //5.6 or //8 and then SPLIT-SECOND J±cttonl with this mighty midget of the "still" camera world A FAST bit of action. Rest Kodak Pupille against your cheek. Sight. Click the release. The picture's yours. A splendid "still". .. sharp, clear, welldefined. The Compur shutter (splits seconds to %oo), and f.2 Anastigmat lens permit quick, unposed shots even on dull days. Every detail of Kodak Pupille makes for compactness and efficiency. The precision-cut spiral mount that extends with an easy glide. The convenient, built-in depth of focus scale. The attachable periscopic range finder. Snapshots at Night Loaded with Kodak "SS" Film, Pupille makes snapshots indoors at night in artificial light. And use of the fine-grained Kodak Panatomic Film allows enlargements of striking size. Pupille's capacity is sixteen i%6X i%6 exposures on a roll of 127 (vest pocket) film. The price, $90, includes — besides equipment already mentioned— cowhide case, camera foot, cable release, two color filters. At your dealer's. Eastman Kodak ^^ Company, Rochester, N. Y. ggj*. Kodak Pupille