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The Secrets Of Movie Making
By Jimmy
The use of pictorial continuity, the proper development and connection of motion-picture sequences to create a smoothly joined, coherent motion-picture story, is the secret of good moviemaking. It is the easiest, simplest way, because it is the correct way. But - and this is a thankful thing - even the most expensive, gadget-studded movie camera hasn't got pictorial continuity built into it, to function automatically for the cameraman whenever he shoots a story.
Continuity is what transforms a strip of exposed film into a motion-picture: NO gadget can do that. It calls for a little thought in advance, for a good deal of movement to and fro for different angles and shots, for care - deliberation-planning.
The question therefore arises, especially for the non-professional who does his shooting during a few precious hours of leisure: Is it worth it?
Wouldn't it be easier just to load one's camera, check focus and exposure, make sure composition and the expression of the subject are good - and just shoot? Just as one does with still pictures?
Just like still pictures! The ghost of still-picture psychology hovers around many beginning motion-picture cameramen - and logically, for most of us shot stills years before we took up the movie camera. So let's get the straight facts of the matter.
Operating a motion-picture camera with still-camera technique will get you pictures all right; if you are a competent still cameraman those pictures no doubt will be "good" in the sense of being well exposed, nice and sharp, probably well composed, even lively.
But without pictorial continuity, they will not be motion pictures. They will be animated still pictures. Perhaps you will be content to have them so. But we think it an awful shame if you ask of your motion-picture camera only what any decent still camera will give you - a good, sharp, pleasing likeness.
You will also be unfair
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