Movie Makers (Jan-Dec 1945)

1 MOVIE MAKERS 145 tion of titling materials, knowing that he can be as individual in his choice as anybody could wish. None of the title suggestions given here involves more than straight camera work that can be done by any movie maker with an ordinary camera and a simple titler. An additional suggestion regarding lighting is offered. When the letters and title decorations have any real thickness or depth, much more interesting titles are produced if a single source of light is used — preferably a spotlight — that will clearly indicate that thickness or depth through sharply cast shadows. The spotlight should be placed above and to the left of the title card, throwing the shadows to the bottom and right of the letters. With this brief road map to good titles, the rest lies with you. Will you take up the challenge? One hobby rides another [Continued from page 139] time is used for the setup. In September 1943, when the new school term started. I began my movie, Permanent Color. A group of fellow craftsmen agreed to help me with the scenes to be taken at the school. They did not know what they were letting themselves in for, but they were very helpful all through, and they admitted that they would in future appreciate moving pictures more because of their experience. I had wires all over the place, lights and stands in between them, and the set in the middle of the whole group. The faces of my helpers were a picture in themselves, and one of them suggested that somebody should film the goings on necessary to achieve a movie of one little bowl in the making. To my mind there is only one best way to employ 8mm. film, the width on which I work, and that is in the use of medium, near, semi-close or closeup shots. The closeup helps to tell the film story adequately, and it prevents a monotonous quality on the screen. It rounds out the presentation of the subject. Changing camera distances and angles brings variety and liveliness to a movie. Limitations often prove a boon. In my case, the enameling kiln was in a corner, with no less than three walls near it, leaving only one long view. The torch in the metal shop was in a similar situation, which forced me to use closeups with changing angles, for variety. Making the shots of the finished group of bowls and also of the leading (should I say "lady"?) bowl raised a problem and took much time, because these had rounded, highly glazed surfaces which always seemed to reflect a light somewhere in the room. Nevertheless, the result was worth the effort. Another difficult shot was that of the hot LIFE BEGINS WITH And what a picture-takin' time it is for camera fans! Victory farmers in every backyard, happily planting hopes . . . youthful Babe Ruths and Ty Cobbs at their backlots baseball . . . sidewalk roller skaters . . . humming-top contestants ... or maybe marbles. Pictures that grow in importance with each passing year. Spring is rich in such human interest scenes, if you rely on a WESTON exposure meter to make them live. The subjects move swiftly . . . the light is uncertain and shadows are tricky. But with the extremely selective viewing angle of a MASTER, and its exclusive exposure-control dial, every user can dependon his shots being right in the center of his film's exposure range. Weston Electrical Instrument Corporation, 626 Frelinghuysen Avenue, Newark 5, New Jersey. Not available today, but WORTH WAITING fOR . . . Weston Sf<^tj^ ALL STEEL STORAGE CABINET MODEL MM 119 .. . capacity forty 400 ft., twenty 800 ft., twenty 1200 ft., twenty 1600 ft. reels: with special drawer for strip film. Two utility drawers in base. Key-lock, dustproof, fire-resistant. Typical of more than 50 models from which to choose. For over 28 years providing safe storage and protection for important films in the professional motion picture, industrial and school fields. • FILM CLEANING MACHINES • • FILING & STORAGE CABINETS • • REELS & CANS • REWINDS & SPLICERS EDITING TABLES SHIPPING CASES Write tor illustrated folder