Movie Makers (Jan-Dec 1952)

15 PLANNING THE CONTINUITY Ski clubs follow a similar pattern in their activities, so that this will aid you in planning the action sequences of your continuity. The club members arrive in their cars at the foot of the slope and congregate at the shack or lodge where the skis are kept. Here you will find members waxing their skis, trying out new straps, checking their ski poles, or just plain loafing on benches in the sunshine outside the lodge. All of this serves nicely to introduce your subject, but remember to cut in a few closeups for variety. For example, you might show the wax as it's rubbed along the ski, the hands of another skier as he buckles on his skis, and perhaps the shoulder patch of another member identifying the club. .From the lodge the action flows naturally along to the ski tow at the bottom of the slope. Here is an excellent opportunity for picturing a number of the club members without expending undue footage. With your wide angle lens shooting up toward the sky, film the skiers as they grasp the rope or ride the chairs of the ski tow. Each will slide by your camera in a relatively short time, so be sure that you are positioned at a sharp head-on angle, not broadside to the action. Then cut to a view up the slope showing the line of skiers strung out along the length of the hillside. SPECIAL SKIING TECHNIQUES In addition to the basic scenes showing the skiers as they make their runs, there are a number of special ski techniques which make picturesque sequences. Among these are the Christy, wherein the skier ends a run by turning sharply and exploding a plume of snow as he does so. The slalom and zig-zag skiing, especially down a flag-marked course, are other techniques which should be included. Of course, the most spectacular of all is the ski jump. For unusual grace and poetry of motion when performed by experienced skiers the jump is hard to surpass. It should be filmed in slow motion for the most impressive effect on the screen. Remember to keep your camera angle low to accentuate the skier's flight through space and permit your audience to share the thrill. In every ski club there is at least one clown who is always ready to take fake spills and perform all sorts of unorthodox antics before a camera. A sequence or two of DRAMATIC CONTRAST seen above was effected with a filter— red or deep orange for black and white film, the polaroid for color stock. his shenanigans will create some change of pace in your picture and provide a few laughs. EFFECTIVE CROSS LIGHTING To achieve the utmost in your rendition of snow textures, at least some scenes should be shot with a strong cross lighting that will lend realism to the crystal surface. In the early morning or late afternoon, this type of lighting is readily available and you should make the most of it. For some jump turns, or Christies, back lighting can be effective, even though the shadow detail in the skier's costume may not be fully recorded. Even here, it is wise to open your lens diaphragm !/•> to 1 stop wider than your regular setting. You may wonder how much color will contribute to a film primarily concerned with snow scenes. However, the masses of white snow against an intense blue winter sky are surprisingly dramatic — especially if cross lighted for the blue shadows. If you're shooting black and white, your red or heavy yellow filter will darken the sky and give a pleasing contrast. The brilliant reds, greens and browns of the skiers' suits add eye-catching splashes of more color. Because there is so much ac [Continued on page 25] A PRONE POSITION, both for the cameraman and the comely casualty, right, makes for good movies. Author's ski-pod is seen upper left. w