Evening star. [volume] (Washington, D.C.) 1854-1972, 1949-01-30
- Camera Angles -
Television Open Field for Movie Makers

Curator OF Photography
The Smithsonian institution

The Smithsonian institution
Some months ago we wrote of the
possibilities open to the still camera
man for making his hobby pay. We
spoke of the various markets for
still pictures and transparencies,
such as newspapers, magazines, pic
ture agencies, ETC., all Of which are
on the constant lookout for good
photographs. Since then, several
movie camera fans who are capable
of turning out really creditable
films have complained rather Bit
terly that theirs is hard lot and
that, although movie making is more
expensive than still photography,
there is no way they sell their work
to help out with the costs OF OPP
Grafton.
Until comparatively recent times
we would have been forced to agree
sadly that there was little oppor-
tunity to sell amateur movie films.
Of course there were rare instances
where an amateur was the only
movie cameraman on the scene at
time of disaster but on the whole
the amateur movie maker had to
remainc content with the satisfaction
of showing his films to family and
friends.
But nowadays television, which is
growing daily by leaps and bounds,
has made radical change in the
picture. If you own movie camera
and know how to tell story with
it-Scenic, documentary or educa-
tional-you are now in position
to make much more profit with your
camera than your prototype with
the still camera This is primarily
so because of the reluctance of the
motion picture industry to allow
itsi films to be telecast. Therefore,
most television stations are in the
market for good 10 to 20 minute
short films OF the types mentioned.
The prices paid will depend upon
the quality and running time OF
the films.
They Have TO Be Good.
When we say that television sta
lions are in the market for good
amateur films we mean just that
good amateur films. Our definl-
ton of the word good, as it applies
in this instance, would be that the
film must be technically good from
either the standpoint of news value,
story value. pictorial value or edu-
cational value; or combination OF
two or more of these values. But
film of an international scoop
that is out of focus or too badly
overexposed or underexposed for
transmission by television would
certainly be rejected. The picture
must have interest for the general
public as well as yourself.
ct it be your first rule for max
ing a film for television to keep
your family, friends and "muggers"
in general out Of your films. Sec
ondly. secure the technical per-
lection that is demanded and use
your exposure meter often and well.
Your film must have plenty of con-
trast and full exposure. All long
and medium shots should, when
ever possible, be made from a tri-
pod for professional steadiness. On
shots that must be hand-held every
effort should be made to keep the
camera steady.
Television stations are equipped to
handle 16-mm. film. If your cam
era Is an 8-mm. instrument you
can have the film OFFICIALLY en-
larged in printing to the 16-mm.
size. But our advice Is that you
first find out If there is a sale or
rental possible before going to this
expense. In this respect we also
strongly advise that you find out
in advance whether your proposed
film will be acceptable-before you
shoot it. AS In the case Of the still
market. you must know what a
particular agency will and will not
buy.
Use whatever monochrome film
you do your best with. Color film
is generally frowned upon by the
television studios. although they may
accept it when the subject matter
is outstanding enough to warrant its
USE If YOU have spot news story
such as big fire or rescue opera