American Cinematographer - October 1968 - 106

Ray Mercer & Company

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TITLES
SPECIAL EFFECTS
For Motion Pictures and Television
NOrmandy 3-9331
4241 Normal Ave. Hollywood 29, Calif.

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SMITH-VICTOR

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NEW QUARTZ
STUDIO KIT
(Shown in use with NAGRA recorder)

Complete Studio
In An Attache Case
* 3 - 600 watt new improved
model Q1P 3200 K Quartz Lights.
* 3 - S6 Stands - multi-purpose Stands with an
almost indefinite combination of heights.
* 1-512 Adapter for Background Stand.
* 1 - 630L Case. Holds complete outfit.
With compartment to hold Extension
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Complete Outfit No. K2 . . .$100.00
AT YOUR DEALER OR WRITE FOR CATALOG

SMITH-VICTOR CORP.
Griffith, Indiana 4-6319

798

* For location and stage use.
* 4 Microphone inputs-5 by using
NAGRA.
* Bass supression for each input.
* Low and high frequency overall
equalization, plus and minus with
level compensation.
* Preamplifier overload eliminator.
* Noise threshold circuit - greatest
signal-to-noise.
* Increased gain to match new noise
threshold.
* Powered from Nagra batteries
or a-c.
* Accommodates condenser or dyna¬
mic microphones.
* Output for boom operator head¬
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* All transistorized -
Weighs 12 pounds.
DISTRIBUTION . SERVICE . SALES

RYDER MAGNETIC SALES CORP.
1147 No. Vine Street . Hollywood, Calif. 90038
Tel. (213) 469-6391

sync reference for each 10 minute
reel. Next we pulled each statement
that appeared in the script.
But the statements as they appear¬
ed in the script were not always possi¬
ble to use as recorded on film. Some¬
times it was necessary, due to inflection
or phrasing, to also pull the preced¬
ing phrase, sentence or paragraph in
order to make the sequence play log¬
ically.
These full statements were then
strung together in the order dictated
by the script organization. We next
viewed this rough string-out a number
of times to determine the flow of ideas.
Initial editing was based on the voice
track with special attention to voice
inflection and ideas with little regard
to how the picture would cut.
From the overs of each ten minutes
of film it was possible, in most cases,
to select cut-aways and reaction shots
where needed.
When we began to condense state¬
ments to give them more darby and
impact, we realized the full value of
multiple cameras. Often all that was
needed was a change of camera an¬
gle to delete a sentence or a para¬
graph. The polished statements were
cut, screened and reviewed for con¬
tinuity of ideas and changes were
made to make them play better. Since
we were still running a bit long, it was
possible to make further deletions, sav¬
ing only the sequences that played
best. Due to the nature of the project,
this final selection wasn't made on the
basis of film or editing quality but on
how well each statement communi¬
cated.
In my opinion, this procedure help¬
ed us fo obtain a very strong motiva¬
tional tool for our clients.
And of course, the ability to com¬
municate is what we've been talking
about. The role of the Director in this
type of film is best observed by his
absence. Even though he is almost to¬
tally responsible for the ultimate suc¬
cess or failure of the production. As¬
sociated with cinema verite or Direct
Cinema movement have been certain
charaderistic camera techniques. Some
of the more common being out of
focus scenes, awkward zooms and
the most common-camera D.T.'s or
the hand-held jiggle approach. We
feel that these techniques are not
techniques but just bad film-making.
It is impossible to avoid these com¬
pletely, but we do believe that just
having them will not make your film
"new or different." ■

AMERICAN CINEMATOGRAPHER, OCTOBER 1968
American Cinematographer - October 1968

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