American Cinematographer - December 1950 - 27

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STUDIOS, MEXICO CITY * JAMIESON FILM COMPANY, DALLAS

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GREETINGS

TELAMIR PRODUCTIONft

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PRODUCTIONS

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beautiful beaches." This second sentence,
while not an example of deathless prose,
does eliminate the schoolbookish explain¬
ing found in the first example and in
many improperly-prepared scripts.
Narration scripts for pictures that
demonstrate something specific are, as a
general rule, easier to write than those
dealing in generalities. A film on pine¬
apple canning or a trip to the Grand
Canyon presents no special problems to
the script writer. But a film on, say,
taxation or the modeling industry might
require extra thought. The first two
subjects could be filmed by a competent
cameraman without even a script; the
writer's job would be only to give fur¬
ther information and explanations of
what is on the screen. But the modeling
business is a more abstract subject and
a film on it requires more organization
of material. While the narrator discussed
how models are chosen, how the agencies
operate, etc., the audience would see
scenes designed to illustrate his remarks.
Since there are so many ways to present
a subject as complex as a unique type
of business, it is important to have an
adequate script or outline before filming
begins to avoid waste.
The subject of taxation is at a still

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Makes from 2 to 24 images with a single expo¬
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Lightweight, sturdy, model A for Cine-Special,
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USED PHOTO-SOUND EQUIPMENT
For re-recording magnetic sound tracks:
BLUE SEAL 35mm. recorder, with sync motor,
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DECEMBER, 1950

AMERICAN CINEMATOGRAPHER

43i

American Cinematographer - December 1950

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