Adventurous Film Making

1. PROCEDURES WITH A PURPOSE = 1 Shooting against the light = 2 Composing the viewfinder image = 3 Points of view = 4 Wide-angle and telephoto shots = 6 Movement of the subject = 8 Using different filming speeds = 10 Movement of the camera = 12 When to edit = 16 Cement or tape = 19 Final editing = 20 2. EXPLORING THE BYWAYS OF FILMING = 22 Methods of cinematic punctuation = 22 Manipulating time and space = 26 Getting in close = 31 Bringing titles to life = 35 The world in miniature = 39 3. FILMING AGAINST THE ODDS = 44 Filming in low-light conditions = 44 Coping with the weather = 46 Shooting for action and effect = 48 Seeing and believing = 53 You are a camera = 57 Locations for adventure = 61 Exploring sea and sky = 66 4. POST-SYNCHRONIZED SOUND = 71 Direct-stripe methods = 71 Tape-film sync systems = 75 Post-sync with an editor-viewer = 77 Cutting picture to sound = 80 Tape-to-stripe transfer = 82 5. DOUBLE-SYSTEM LIVE SOUND = 84 The benefits of double-system = 85 Shooting live sequences = 87 Transfer to perforated tape = 91 Double-system editing = 93 6. SINGLE-SYSTEM LIVE SOUND by Archie Reid = 96 Choosing a camera = 96 Shooting with sound = 100 Six methods with single-system = 102 Editing in camera = 102 Using the balance stripe = 105 Transfer to tape = 106 Using level sync = 112 Using overlap dialogue = 114 Using a two-way synchronizer = 115 A means to an end = 115 7. THE FILMS OF FRED HARSHBARGER = 117 Approach to adventure filming = 118 Scripted or off-the-cuff? = 119 The importance of editing = 122 Themes for sporting films = 124 Teamwork and the loner = 127 Sound and the sporting film = 128 8. THE FILMS OF GORDON McKNIGHT = 131 Locations for nature filming = 131 Building up sequences = 134 Capturing precious moments = 136 9. THE FILMS OF CHRIS BONAR = 139 On location in the wilds = 139 Sound effects and the wildlife film = 142 Safari holidays and the film maker = 145 10. THE FILMS OF ARCHIE REID = 148 One-location travel films = 149 On the move = 150 Another time, another place = 151 The final stages = 154 Out of the past = 156 Live sound for period filming = 158 On the edge of fantasy = 159 The approach to the historical film = 160 The troubles in Ireland = 162 Our divided world = 164 A personal approach to filming = 166 11. THE FILMS OF IAN RINTOUL = 170 History recreated = 170 Full-scale replicas = 173 Miniature work and special effects = 175 12. THE FILMS OF CRAIG CLEMENTS = 179 Plots and characters for dramatic films = 180 Authenticity in filming = 182 Possibilities and pitfalls of dialogue = 185 13. THE FILMS OF BILL GLUE = 187 Planning a visual comedy = 188 Humorous situations = 189 Comedy and the club = 192 14. THE FILMS OF ARTHUR SMITH = 197 Plots and gags for the verbal comedy = 197 Acting and dialogue = 201 Working on the sound track = 203 15. THE FILMS OF TIM WOOD = 206 Themes for solid animation = 206 Working with the puppet film = 209 Prospects and possibilities = 212 16. THE FILMS OF SHEILA GRABER = 215 Approach to the cartoon film = 216 Simple animation = 218 Cel animation = 219 17. THE FILMS OF DICK BUDGEN AND ACTION INCORPORATED = 224 The work of a film action group = 225 Devising action sequences = 227 Coping with a challenge = 230 18. THE FILMS OF FRED McLEOD AND RON MILLER = 233 Planning a spectacular fiction film = 234 Filming under difficulties = 236 Perilous situations = 237 19. THE FILMS OF ROY SPENCE = 241 Fantastic themes = 241 Scripting and shooting a fantasy = 243 Special effects for science fiction = 245 20. THE WISHING STONE / Roy Spence = 249 Two script extracts INDEX = 258

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