Movie Makers (Jan-Dec 1949)

308 AUGUST 1949 Improve your films with titles, sub-titles, and continuity headings. The key to good titling is the kind of letters you use. Knight solid cast metal letters are perfectly styled, attach to any surface, and photograph with sharp detail for professional, theatrical appearing titles. Only $1— for your choice of any 25 c/assic style letters, %-inch size; postage paid. A special offer. Order your set now. Money back if not satisfied. Free! Folder on "Titles for Home Movies." H. W. KNIGHT & SON, INC. 23 Lane St. Seneca Falls, N. Y. 6*M~-16MM KODAOHDOMB BUCK & WHITS. 8MM Inlaraedtolo. f 16MM Reduced to 8 [Free Catalog on Request. 2^ NATIONAL CINE LAB ■BOX <4-25 • WASHINGTON 17, DC For the Cine Special AUTOMATIC DISSOLVE Model C $54 plus Federal Tax See your dealer or write mCEDU V/"M /*\ 5968 Santa Monica Blvd. JU3Err ■ yJL\J Hollywood, California DISTINCTIVE TITLES and EXPERT EDITING For the Amateur and Professional 16 mm. — 8 mm. Black & White and Kodachrome Price list on request S T A H L EDITING AND TITL 33 Wert 42 St. ING SERVICE New York, N. Y. MAKE FINE, LIVELY, LARGE PRINTS FROM 8mm OR 16mm MOVIE FILM, SAFELY; PROMPTLY & ECONOMICALLY USING No. 620 ROLL FILM COPIES B&W OR' COLOR MOVIES ON TO B&W FILM, OR COLOR MOVIES ON TO COLOR FILM, WHICH AFTER EXPOSURE IS DEVELOPED AND PRINTED IN THE J1g95 USUAL MANNER. CUTTING OR ,NCTL*UDE SPLICING MOVIE FILM COMPLETELY ELIMINATED. AT DEALERS EVERYWHERE WRITE FO* "FREE UTERATURE 53 TESTRITE INSTRUMcNT CO. Inc NEW VO*»K 3. N V ground at left center. Suddenly she bolts from the porch, runs up to Mom and kisses her and then runs rear right towards the car. Mom starts to call after her but then relaxes helplessly. Turning towards Dad she starts to gesture, "Well, how do you like that?" but then stops short. 31. Closeup. A slightly downward angle of Dad as if from Mom's viewpoint. He is fast asleep in the garden chair. 32. Semi-closeup. Mom as she reacts to this sight, first with arms akimbo, then relaxing with a "What's the use!" shrug of her shoulders. In a moment she turns slowly and walks out of the scene back toward her gardening. 33. Long shot. Mom, looking small and alone, is kneeling down again among her plants. She picks up the trowel slowly. 34. Semi-closeup. Looking down over her shoulder towards the ground. Mom pokes at it listlessly with the trowel a moment, then throws it down in resignation. Her empty hand reaches toward the soft earth. 35. Closeup. Mom's hand only, as she traces with her finger in the soft soil the words: THE END. Fade out. Stop off at Ausable! [Continued from page 296] the stream which are accessible from the regular paths. Watch out for these vantage points (you will most likely see other cameramen ahead of you), as they offer some most interesting views of the swirling waters. And don't forget to include scenes from these islands of people walking along the path. You are now at the halfway mark of your tour. Past the Elephant's Head you will approach a bridge running over the water at quite a height. Some of the best overall views may be filmed from this point. Follow up these takes by going down the side of the ledge to the bottom of the path and shooting right into the stream. Perhaps, now, you look at your watch and you're surprised that it is past the lunch hour. But you don't mind going a little hungry. For you're having a grand time and you plunge on with a feeling of satisfaction at what you already have accomplished. From this point onward, you will walk along narrow, rocky ledges on the high side of the cliffs until, after passing over some smaller bridges, you will see suddenly in the distance the boathouse or depot. Start the coming sequence of the boat trip by taking the long shot right where you are; then follow up with the medium and closeup takes as you approach, changing the views and angles at the same time. Happily, at this point, your walking is ended. For you will now be taken by boat for a ride down the rapids and the stream, and here one finds excellent opportunities to add more of the human interest element. When your turn comes to enter the boat, tell the guide that you would like to be seated in the rear to take pictures of the trip. He will gladly cooperate with you. From that position, without disturbing anyone, you can film the ride down the rapids (Don't stand up!) and the rest of the trip to the landing dock. Take only what seems most pleasing at low angles or eye level. For in tilting the camera upward you will picture mostly foliage or trees — and the result of these takes is generally disappointing. Finally, as you approach the landing, show the people getting out of the boat, walking over to the path and up it to the top of the mountain, where the waiting buses will return you to the clubhouse or starting point. Your tour of Ausable Chasm is complete. And so you go into the clubhouse and you wash up and you get something to eat. Then, while you're munching away, you may start to think of those scenes you missed during the day long tour. You look at your watch and it's already after four. Too late! But you realize that you have already made more good, hard movies than on any one day before — and you can't remember when you have ever enjoyed yourself so much. Hints from Hollywood [Continued from page 302] technical handling worth scrutiny. The lead title assembly is superimposed over a shot of a street corner in a residential section. There is no sign of life whatever. Then, at the conclusion of the credit titles, a milk truck comes into view and the camera follows it as it pulls up before a house in the middle of the block. This long establishing shot cuts to a series of closeups of the milk bottles in their wire basket, as the milkman makes his way to the side door and deposits them on the porch. The door opens and another pair of hands lift them up and inside, where a wide angle shot presently reveals the family cook as she pours a glass of milk and goes out of the scene, glass in hand. The camera then cuts to a shot of her ascending the stairs and pounding on a door to wake the occupant inside. This kind of close cutting is as much the result of planned shooting as it is of tight editing. It makes for a smooth presentation of introductory details without lingering tediously over any one of them, a fault all too evident in many amateur productions. Close study of good cinematic technique, as described here, will aid many an amateur filmer.