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175
scenes by Associated Screen Studios
A LOGICAL CONTINUITY is suggested in these three related scenes of maritime adventures. Effective framing marks the long shot de
parture of the Empress liner, the bridge activities are a dynamic transition, while the Indian traders offer lively human interest.
FORCEFUL PRESENTATION
But the establishment and development of a theme is not all of the new look in travelogs. The presentation must have force and drama. The trick is not so difficult as it sounds. The keystone is action — action achieved not only from fast moving subject matter, but from a thoughtful application of camera techniques, words and music.
We are all familiar with cinematic action — speedboats, rushing trains, tennis, shuffleboard and the like. This type of material can well be used to breathe the fire of life into scenics, to increase the tempo strategically or to serve as active continuity links in the film. We also understand the action inherent in a changing camera viewpoint, with cuts, wipes and dissolves.
PANS CAN BE POWERFUL
But it is not so easy to visualize the action and dramatic punch, for example, that a single imaginatively planned pan can generate. Yet the sleepiest audience can be thoroughly startled to life with such a simple device.
A few years ago, for example, in filming the Vancouver waterfront, I noticed a small family of ducklings busily paddling towards shore. It was quickly decided to feature
the family full-screen for several feet and then pan up slowly to the imposing waterfront silhouette.
In the cutting room, this material was edited in the best approved fashion of "leading the audience down a blind alley and then slugging it." A long, slow, pastoral sequence was swiftly built up at the pan with a musical crescendo. It hit the audience with full force as the skyline came into view. Drama had been accomplished with scenes that were individually static.
The narrative at this point added considerably to the effect. Note the punch obtained by the abrupt change of writing style:
Its pleasant paths and its lazy ponds are a quiet haven from the city's cares, at the city's very feet.
The camera then pans up with the musical crescendo to the skyline and . . .
Vancouver Harbour — focal point of Western commerce — land-locked haven for pleasure craft — home port of the Princess ships.
The desirability of these dramatic buildups lies in the fact that audiences either cannot (or do not wish to) stay at the same emotional level for long periods. So the good dramatist times his effects [Continued on page 196]
NEW WORLD ACTIVITIES as a basic theme contrast vividly with the placidity of the Old World history treatment. The continuity here
is of the mixed type, in which similar but not directly related sequences are loosely joined together by broad narrative or titling.