Movie Makers (Jan-Dec 1950)

482 DECEMBER 1950 THE MAXIM HERITAGE HIRAM PERCY MAXIM— a free spirit. There are no other words, I think, that describe him as well as these. To him life was an absorbingly interesting journey of exploration, with never a dull moment. He often said life's greatest satisfactions came from a full exercise of one's faculties. He certainly exercised all of his! He never met a new idea without adventuring all around it and exploring all the avenues it opened. He had a profound interest and faith in mankind and opened up endless vistas of opportunity for many men. His humor was keen but kindly, and his vitality boundless. He often laughed at himself for being what he called a hopeless optimist, but he shouldered burdens which would have broken a lesser man. In every sense, I think, his life expressed those qualities and ideals which have made this nation great. A way could be found, he believed, to do whatever needed to be done; but the human spirit must be free, the mind unfettered and the eye unclouded. His interest in amateur movies was, I think, motivated by a mature desire to capture and reflect the impressions of a long and rich experience. He regarded movie making also as a challenge to one's ingenuity, artistic sense and ability. There was, of course, the family record of three generations with a short glimpse of even a fourth. This was a human document with all its timeless values. There were the nature studies which caught his sense of beauty. And there was an infinite variety of other subjects which touched on the many things which interested him. In founding the Amateur Cinema League, he envisioned a pooling of many individual resources to stimulate more intense enjoyment, to develop greater skills and to promote a contribution of importance to the advancement of the art. He had much to give, and he gave unstintingly to make a richer life for all of those with whom he came in contact. The pleasure and satisfaction he gained from this association cannot be exaggerated. It was very great indeed. It is my hope that something of his spirit will continue to flow to others through the Maxim Memorial Award. The making of amateur pictures will continue to progress, especially in terms of enjoyment and reward. As each in turn adds his own bit of accomplishment, so each will gain a real satisfaction from a job well done. Good fellowship, artistic fulfillment and technical advance — these are the rewards today, as they were the rewards twenty five years ago when my father foresaw what the League might be. The Amateur Cinema League provides the vehicle for these things. May the spirit of Hiram Percy Maxim continue to provide the impetus. THE AMATEUR CINEMA LEAGUE, Inc. Founded in 1926 by Hiram Percy Maxim DIRECTORS Joseph J. Harley, President Ethelbert Warfield, Treasurer C. R. Dooley Arthur H. Elliott John V. Hansen Ralph E. Gray, Vicepresident James W. Moore, Managing Director Harold E. B. Speight Stephen F. Voorhees Roy C. Wilcox The Amateur Cinema League, Inc., sole owner and publisher of MOVIE MAKERS, is an international organization of filmers. The League offers its members help in planning and making movies. It aids movie clubs and maintains for them a film exchange. It has various special services and publications for members. Your membership is invited. Six dollars a year. AMATEUR CINEMA LEAGUE. INC.. 420 LEXINGTON AVE.. NEW YORK 1 7. N. Y.. U. S. A. A lighting formula [Continued from page 456] lighting equipment does not yet include a genuine spotlight, the built-in reflectorspot (RSP-2) may be used successfully in this position. THE BACKGROUND LIGHT The effect of the background light is seen in Fig. 5. and the need for it is clearly indicated in Figs. 2 and 3. You will note that both the key light and the fill light cast shadows on the background— an effect which we must expect because of their front-of-scene positioning. Also, because of the diffused flood quality of these two units, the intensity of their illumination is not strong enough to carry to the rear of the scene. Thus, a fourth lighting unit is used to illuminate the background alone. Besides wiping out the shadows created by the key and fill lights, the background light creates a more balanced and natural effect in the final scene. Furthermore, in illuminating the rear of the set, it adds to the sense of separation of subjects from the background initiated by the back light. Since it too must "carry" a relatively long distance, the background lighting unit is generally of the spot type. In the lamp line, an RSP-2 or the medium beam bulb would be suitable. The unit may be placed at either side of the scene or, on occasion, even behind furniture in the setting itself. THE RIGHT RESULT The finished effect of our four-unit lighting formula is seen in Fig. 6. This is what the movie camera will see and record. Note how each of the four units makes its contribution, and how the ensemble blends into a pleasing and effective whole. Key light for illumination. Fill light to balance the shadows. Back light for glamour. And background light for separation. Better try it next time.