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FIRST SEQUENCE of creative faking discussed by the author is suggested above. Scenes one and two are the real ones, made
on the spot in the Sahuaro Desert. Scenes three through six are the faked ones, made months later against matching sky and soil.
CREATIVE FAKING
FRANK E. GUNNELL, FACL
THERE is no doubt about it — winter is the season in which the projection of amateur motion pictures really gets going in earnest. Home screenings, movie club meetings, contests and gala programs, all will feature presentations of films taken during the past summer, especially the vacation and travel films.
But, wail! Before you present those vacation and travel films to too many audiences, why not look at them once again with really critical eyes to see if your films are really as effective as you can make them, particularly as
to editing, sequencing and continuity.
"Certainly," you say, "I've cut out all the scenes marred by poor exposure, camera movement and awkward acting. I've rearranged the material I have in the best possible order, and I've added all the titles that seem necessary. Of course, there are some places in the film where the continuity could be better, but I guess there's nothing I can do about it now. Vacation's over. Even if we went to the same place next year our clothes or other properties would be different."
But, wait again! Save those apologies. Perhaps there is something you can do to bridge over the rough spots in your film's continuity. Have you thought of creative faking? How about adding some closeups that can be made at home (or near home) right now, closeups that
SECOND SEQUENCE of creative faking is even more ingenious and effective. Here scenes one, three and six are the genuine,
with two, four and five created at home. Note convincing quality of the planned shadows and the dry desert texture of background.