Practical cinematography and its applications (1913)

Page scan 00082 from Practical cinematography and its applications

Record Details:

Title:
Practical cinematography and its applications
Date:
1913
Publisher:
Philadelphia, Lippincott
Volume:
Practical cinematography and its applications
Leaf #:
00082
Language:
English
Collection:
Books
Format:
Books
Contributor:
Gerstein - University of Toronto
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
14
Date Added:
July 19, 2022
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

HAND CAMERA CINEMATOGRAPHY 53 ditions. In this case a good nerve, a steady hand, and acute presence of mind, are indis- pensable. A wild elephant trumpetting madly and dashing towards the camera at full speed, or a lion springing towards the operator may form the subject for a thrilling incident in a film, but does not inspire confidence in the cinematographer. Under such conditions a tripod outfit is worse than useless. It not only endangers the operator's life, but the pictures taken under such conditions are invariably of poor quality, even if they survive the results of the animal's mad frenzy. To stand one's ground and to keep turning the camera handle steadily at two revolutions per second up to the last moment with the sang-froid of someone filming a street procession would put too great a strain on human nature. Even the coolest man would not obtain first-class results at uncomfortably close quarters. Instead of turning the handle in a steady rhythmic manner the motion would be in a series of erratic jerks, some fast and some slow, producing a result which the public would ridicule. Mr. Cherry Kearton, whose pictures of jungle life constitute some of the marvels of the cinematographic art, considers that this branch of cinematography cannot be excelled for thrilling excitement. The operator must stand his ground undismayed, because the close-quarter pictures