American Cinematographer - December 1950 - 18

Amateur Cinematography
SECTION

MOST IMPORTANT factor in a short is the basic
idea or story, which must be simple, easily under¬
stood, not complicated as to plot. Once outlined
on paper, shooting becomes comparatively simple.

MOVIE AMATEURS will find greatest opportunities
for production of short subjects in scenic and
travel subjects. Merit of such material rests in its
timeliness or novelty.

What Makes A Short Subject Click?
Well-written script, tight editing important as good photography.
By JOHN FORBES

S

MOST successful short
subjects seen on theatre screens were
filmed with a 16mm. camera-some of
them amateur. One example is the cur¬
rently popular Walt Disney Techni¬
color short, "Beaver Valley," originally
photographed in 16mm. Kodachrome.
A few years ago, Warner Brothers re¬
ceived an Academy Award for a short
subject embracing a trip down the Colo¬
rado River in a rowboat, which was
filmed by a non-professional in 16mm.
Kodachrome. And Metro-GoldwynMayer's outstanding short subject,
"Miracle In A Cornfield," depicting the
birth and growth of the famous Mexican
volcano Paricutin, was photographed for
the most part in 16mm. Kodachrome by
an amateur movie maker.
Serious 16mm. cine photographers are
cashing in on rare and unusual footage
not altogether because of the timeliness
or interest of the subject matter, but
because they have acquired the knack
of filming such material along the for¬
mula lines long established by the pro¬
fessionals-no doubt a result of careful

study of the professional format on
theatre screens.
Close observation of short subject
films should be illuminating to every
amateur movie maker who aims to have
his film creations approximate the pro¬
fessional rating of entertainment content.
The theatrical "short" is normally
one-reel or two-reels in length. It is
entertainment in capsule form; highly
concentrated screen fare. Unlike fea¬
ture productions, costs of making are
definitely limited; there is a top figure
beyond which the average cost must not
go if it is to show a profit. Budgets are
rigid in every phase of production.
This economy is not unlike the ama¬
teur's desire to keep his filming within
reasonable boundaries and to get as much
on the screen as he can without spending
a lot of money.
Some short subjects are very short in¬
deed; others stretch out in screen time.
A one-reel professional short subject will
have a screening time of from six to
eleven minutes. A two-reeler will run
from seventeen to twenty-two minutes.

422

*

OME OF THE

AMERICAN CINEMATOGRAPHER

DECEMBER, 1950

This at sound speed of ninety feet
per minute, or twenty-four frames per
second. The ideal length for a one-reel
subject is seven hundred and twenty
feet-eight minutes screen time. This
corresponds to two hundred and ninety
feet in 16mm. and one hundred and
forty-five feet in 8mm. Fifty feet is
given to the main and credit titles, and
twelve to fifteen feet to the "end" title-
all of which should be deducted from the
total length figures to arrive at the net
picture footage.
The one-reel subject of average length
will consist of from forty to fifty dif¬
ferent camera setups; in other words,
that many scenes. It will have fifty to
seventy-five cuts, as closeups are inter¬
cut with longer shots. These same figures
can well apply to the average amateur
short subjects production.
The most important factor in a short
is the basic idea or story. In the profes¬
sional field, requirements are rigid. The
story must be simple, easily understood,
not complicated as to plot, and progress
(Continued on Page 428)
American Cinematographer - December 1950

Table of Contents for the Digital Edition of American Cinematographer - December 1950
