Movies for TV - Early Television Foundation

MAKINGFILMSFORTV 237
a special 12-volt motor are almost indispensable accessories if the
risk of the spring drive's running down just as the most important
part of the event is occurring is to be avoided. Of course, if synchronized
sound is to be added later a synchronous motor is a
must. This can be very easily added in place of the 12-volt motor.
It operates from 110-volt alternating current which is generally
available in most places where shooting involving lip sync is
planned.
It may be advisable to note here the absolute necessity for
using a tripod when making any
shot. After the list of attachments
mentioned in the previous chapter it may seem redundant, but
there are cases on record where shots have been attempted using
a hand-held camera and which resulted in useless exposures. A
good tripod is essential, both for the sake of good results and the
equipment. The total weight of the camera and accessories on the
top of the tripod may well exceed fifty pounds, and anything but
one which is well built will probably collapse. For professional
results, a tilting and panning head is an investment which is
almost as important as the camera. The cheaper models have so
little bearing surfaces and strength that camera control is well-
nigh impossible. The days of the hand-cranked camera of the
Mack Sennett movies are over, and today's cameraman merely
switches on his camera and, watching the set through his view
finder, follows the action by moving the control of the head.
Panning is an art or skill acquired only by practice. Nothing
is calculated to make an audience sick sooner than a picture which
flows rapidly from side to side of the set, interspersed with occa-
sional flits up and down! If panning is to be attempted, it must
be remembered that a very slow, even movement is the only one
which is satisfactory. A tilt shot should only be attempted where
the background is suitable and where the results justify it such
as an effects shot. In following a character across the set, he should
be allowed to lead the camera slightly. In other words, there
should be a little more space in front of him than behind. Figure
11 -3A and B shows good and poor follow shots. Whenever the
cameraman is not 100 per cent sure that a scene has been shot