Movie Makers (Jan-Dec 1949)

462 16mm. scenes by Sidney Moritz, ACL Christmas a la carte For Yuletide producers who plan their own, here are suggestions on scripting, scoring, editing and titling SIDNEY MORITZ, ACL CHRISTMAS ! The word itself bespeaks so much — gaiety and solemnity, happy children and smiling elders, the snow white beauty without, the festive scenes within. Here indeed is movie material extraordinary ! So let us in this discussion give thought on how to produce a Yuletime movie that will be different — a picture to entertain groups unknown to the filming father, to delight those closest to him and to intrigue those who appear therein. First, what about equipment? Well, here are the items you must have — ■ or there's no movie: one camera, 8mm. or 16; one lens, preferably fast in speed; a supply of color film and a few lighting units.. As for the last named, you'll find plenty of aid in this very issue on their use. Suffice it to say here that only two No. 2 flood bulbs in metal reflectors and placed 8 feet from the subject will give you an exposure of //2.8. In addition to the "musts" above, here are additional items which do help: one tripod, for rock steady and carefree camera handling; one exposure meter; one tape measure for those crystal clear closeups, and, if possible, a wide angle lens or attachment to supplement your standard lens. But don't worry too much about elaborate equipment. Elaborate, or at least careful, planning in advance is far more important — and it's free for the effort. Happily, Christmas is one holiday for which preparations are often made well in advance. Thus, the movies which depict these prepara tions may likewise be filmed weeks before (or after) the Yuletide season Don't rush either your picture or your people. For example, if the camera man's wife is an understanding cooperative soul, she could stage the mak ing of Christmas cookies or the baking of the cake especially for the film Closeups of gifts being wrapped likewise could be filmed ahead of time The purpose, of course, is to photograph as much of the picture as possible before the busy, fleeting moments of the actual holiday festivities. Basic Christmas themes are as varied as the endless stories which have been written of the holiday. Hence, a movie maker's treatment of it will present that aspect which appeals most personally to him. The spiritual import may inspire some. Others may be fascinated by the beauty of the wintry outdoors and will make that their movie theme. But most family filmers will use the Christmas holiday for picturing the happiness of those dearest to them. So let us confine ourselves to a specific example of how this most popular Christmas subject, the family, could be covered in an advance film plan. The participants would be some young children, their parents, a grandmother and grandfather, an engaged couple and some teen agers. Why not show in separate groupings how each anticipates Christmas, prepares for it and then enjoys the bounty it has brought them. These somewhat separate sequences can easily be tied together. Perhaps there's an invitation from Grandma, either by letter or by word, to attend the Christmas dinner at her house. Perhaps the film opens with one of the teen agers working on his high school home assignment in English — a composition on how Christmas was celebrated in his family. Through the flashback technique, the succeeding sequences could be introduced in illustration of what the student is writing, titled in each case by closeups of his composition. Whatever your theme, remember that action makes for interest and closeups command attention. Closeups of Grandpa and Grandma at the dinner table, the engaged couple lost in each other's presence, the hectic activities of the teen agers, all lend themselves to CLOSEUPS command atten yari of viewpoint and effective cross tion, whetner in your holiday ■ ir i • i • • j coverage or month by month cutting. Keep these ideas in mind as you records of family activities. plan your picture. [Continued on page 475]