Making a Super 8-mm Ecology Film

CLAIR E. CESSNA

F ILMMAKING IS QUICKLY EMERGING as a popular me- dium for student and classroom expression. In an in- creasing number of schools, cinema-arts classes and Downloaded from http://online.ucpress.edu/abt/article-pdf/36/7/407/364837/4444886.pdf by guest on 02 October 2021 clubs have sprung up to produce a variety of inno- ~~- A. i;. vative movies. The development and proliferation of ~~~~-. I f2}t inexpensive, easy-to-operate super 8-mm equipment are enabling even young children to turn out good films. The medium has great potential for studies and projects in the biological sciences. This article describes the production of a simple 30-minute super 8-mm film documentary in a joint student-teacher effort at Ramona High School in Riverside, Calif. It also provides some background Fig. 1. Film crew in action.Indian bedrock mortars probably which may be of use to beginners contemplating sim- predateDe Anza's crossingof the Santa Ana River here in ilar projects. In addition, it demonstrates how local 1774.They were used for grinding acorns into meal. community and school resources can be mobilized to generate interest in local and regional ecology problems. of the necessity of preserving it. The Ramona bio- ecology club became interested in developing such a project. After some survey hikes in the riverbottom Riverbottom Wilderness area, the club decided to finance a film with funds from recycling newspaper and aluminum cans. Our film was a study of the ecology of the Santa A senior student who had taken biology the pre- Ana River, stressing particularly that portion of the vious year and natural riverbottom wilderness near our campus. An- was active in our cinema-arts club came to our nual field trips to this area by our ecology and biol- aid. He had his own super 8-mm equip- ment and had already used it to make two films. ogy classes stimulated a good deal of interest in our He became our local wilderness and in its conservation. Subsequent cameraman and an indispensable tech- nical-resource person. This discussions and student evaluations indicated that a eliminated the necessity of careful, to presentation of background information would be of time-consuming preliminary test-runs perfect skills in the operation of our equipment. use to prepare classes before they actually visited First we developed the site. Moreover, it was the consensus of opinion a general outline (see table) of film that the local community at large should be made the content, highlighting the areas to be cov- ered well natural and eco- aware of the riverbottom as a unique wild area and as as the basic ecology logical problems of the river. A list of certain specific shots was included. Then we prepared a travel and The authorteaches biology at RamonaHigh shooting schedule. School, Riverside, Calif. 92504. He received his M.A. from California State University, w Long Beach, in 1958 and his M.S. from Ore- "Crash Course" in Filming gon State University in 1964. He partici- pated in the NSF Academic Year Institute We undertook an intensive "crash" study of film- at Oregon State University in 1963, and in the NSF Summer Institute in Ecology at making techniques. In addition to books and bro- Sonoma State College in 1969. His first pub- chures, we studied television newscasts, documenta- lication appears in ABT 35:6. Cessna has taught in the ries, and commercials with the sound turned off to Riverside Unified School District since 1959. He is cosponsor learn about angles, zooms and pans, and of Ramona High School's Bio Ecology Club and sponsor of its Amateur Radio Club. He was named Outstanding Teach- length and sequencing of shots. This was a great help er of Ramona High in 1972. His hobbies include birding, in developing an eye for editing our own film. A copy travel, and amateur radio. of the script of a three-minute TV ecology editorial

407 refuge and park use. Developing Initial outline of film content. a system of inter- connecting parks and nature refuges along the river TITLES: Seal of Ramona High School in the county was another of their major projects. The Ramona High School Bio Ecology Club Presents They were able to provide us with maps, aerial "The Santa Ana River: An Endangered Wilderness" photos, and large colorful park-development plan I. THE REGIONAL RIVER maps. The director of the department donated ten River with city of Riverside in background 50-ft reels of super 8-mm film made in an aerial Railroad bridge and historical Indian bedrock mortars sur- Map of river vey of the river from its mountain sources to the sea. Aerial views of mountain tributary creeks Although this footage was somewhat "jumpy" be- Ground views of mountain creeks cause of rough flying conditions, it proved to be a Aerial views of dry lowland portions of river great windfall; we were able to splice some of the Riverside's streamsides Prado Basin Flood Control Dam (downstream) better portions into our film. Orange County (downstream) channelization-"con- The Tri-County Conservation League, a locally crete-lined corpse of a once beautiful river" based river conservation group, also took an active Aerial view of Orange County urban development on interest in our project. Their newly-published book- flood plain River's end. Beach sand and ocean breakers at mouth of lets on the river and some of their 35-mm slides were river used. We also consulted the curator of natural his-

tory in our city museum concerning animal life Downloaded from http://online.ucpress.edu/abt/article-pdf/36/7/407/364837/4444886.pdf by guest on 02 October 2021 II. RIVERsmE'sRIVER LANDS Erosion in the riverbottom scenes. And our city sewer-treatment plant provided Floodwaters during unusual 1969 flood information. Aerial views of river after 1969 flood . . . then as it appears in 1972 Dominant plants of the riverbottom Shooting the Film Zoning and community variations on riverbottom (marsh, pond, stream, and so on) Over a period of several weeks our cameraman, Seasonal variations accompanied by a crew of several students and my- Wildlife: reptiles, amphibians, and mammals self, made Saturday trips to various spots along the Bird life: resident and migrant species river's 150-km course (fig. 1). Filming in the local III. MAN AND THE RIVER Biology field trip: making a transect Aquatic animals collected and returned to river Aerial scenes showing irrigation agriculture Levees built to restrain river flood-course Riverside city sewer-treatment plant (ground and aerial N views) Effluent from plant gushing into river Storm-drain outlets from city Cattle waste pollution Sign: "Danger, Water Polluted" Riverside city "sanitary" landfill in riverbottom Litter on riverbottom lands Mosquitos, gnats, and neighbors Sand dredging and planned road and freeway construc- tion (including maps) Vegetation fires, guns, bows, off-road vehicles

IV. THE FUTuRE OF THE RIVER Park development maps, nature refuges, and people Riverbank of urbanized Orange County compared to Riverside's river lands Sign: "Keep Out, No Trespassing" Riverside County Courthouse Three young barefoot boys hiking up stream into the distance Credits and acknowledgements The End e*\ ~~'. e was sent to us on request; this helped us visualize the writing style we wanted to use in our film. Our school district's 16-mm film library provided ecology documentary films which could be carefully studied; we could stop or rerun any portion at will. We also made a search of local resources in the Santa Ana River wilderness. We were able to obtain a great deal of information and help from our county Fig. 2. Close-up work on titles and small maps is done on a copy stand. Note the electrical cable release (in student parks department, which was in the process of ac- cameraman Anthony Probst's hand) used to eliminate shak- quiring riverbottom lands in our area for nature ing.

408 THEAMERICAN BIOLOGY TEACHER, OCTOBER 1974 -~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~wa Downloaded from http://online.ucpress.edu/abt/article-pdf/36/7/407/364837/4444886.pdf by guest on 02 October 2021

Fig. 3. Bridge used as a landmark to correlate aerial and ground shots. During extreme flooding, torrential waters cover and strip the vegetation from most of this area. area was done on clear days after school. We sent our physical fitness. We slogged through knee-deep the film to be processed as soon as each roll had been mud and waist-deep water in burr-infested clothing, used so that we could continuously evaluate our accompanied by myriads of ear-biting gnats. footage and techniques. Club members in larger groups caught all of the The camera we used featured reflex construction, live specimens needed, from insects to aquatic in- two-speed operation (18 or 32 frames per second), vertebrates, fish, and tadpoles. The small aquatic manual and power zoom, single-frame capability, and specimens were photographed from above while they an automatic exposure system with a meter lock. swam in clean water in a large enamel pan. We found We used Super 8-mm II film in 50-ft that waterfowl on ponds take to the air in seconds cassettes. Nearly all of the shots made were taken and give a slow cameraman no second chances. Be- with the camera mounted on a tripod, using an elec- cause we had no telephoto lens, close-ups of mammals trical cable release on the shutter actuator to elimi- and birds in the field proved beyond our reach. We nate camera shaking. decided that we would have to use 35-mm slides of A copy stand (fig. 2) was used along with a Min- these animals. A slide projector with a 500 watt pro- olta No. 2 close-up lens for photographing small maps jection lamp was set up in our darkroom, and an and typewritten titles. Larger maps were attached to image was projected on an 8?-by-11-inch piece of a bulletin board and photographed with the camera paper. This was photographed by the tripod-mounted mounted on a tripod. Illumination for these shots was camera set up beside the projector. These static shots supplied by a quartz iodide lamp. With regard to were interspersed between shots of live moving making titles, it should be noted that camera shops animals wherever possible to add effect. (Next time carry plastic 3-D letters which have either adhesive we'll get a telephoto lens and build a blind!) backs or pin backs. These make professional looking Shooting plants first from a distance and then close titles and eliminate the need for a close-up lens. Ad- up highlighted the characteristics of the dominant hesive letters stuck on a glass sheet and photo- species. We found that plants blowing in the wind graphed against background scenery in the field added interest to otherwise static shots. make spectacular titles. We used the typewriter for Students enjoyed "starring" in a field trip se- titles only because it was the fastest and cheapest quence in which they demonstrated some of the ac- way to do the job. tivities taking place on a transect study of the river- The filming itself proved to be a rigorous test of bottom.

ECOLOGYFILM 409 Aerial Shots Some footage was shot out of an open car window, again at 32 fps, while driving as slowly as was safe One of our main objectives was to show the dra- on freeways. This produced shaky photos in most matic changes of the river's flood plain, including ex- instances. treme flooding, destruction of the vegetation, and re- Many close-up shots were made. For example, a growth and succession in our local area. Since we marigold with a bee walking in it was zoomed out already had aerial footage (from the parks depart- and then the camera panned up to show the breath- ment) taken in 1969 shortly after a great flood, more taking color of the fall flowers along the stream side. aerial footage was needed to show the results of suc- To show the scene with spring flowers in bloom we cession and regrowth in 1972. again resorted to slides. One of our student's parents had a small high-wing A map of the river (fig. 4) was enlarged by pro- plane ideal for aerial photography. (Many low- jecting it onto butcher paper with an opaque projec- winged small planes restrict downward photog- tor. We traced over the image, added color, and used raphy.) The severe air pollution problem in the Los this to identify locations in the film by panning the Angeles Basin caused poor visibility for over a map in the direction of the aerial photographs. month; but we finally took off from the municipal airport on an early morning flight over the river- bottom. At this time of day turbulence is minimal, Sequencing and Splicing Downloaded from http://online.ucpress.edu/abt/article-pdf/36/7/407/364837/4444886.pdf by guest on 02 October 2021 insuring smooth flight and "jerk-free" footage. (Be- cause school district policy prevented our student The editing process turned out to be the most time- photographer from going, I took these shots myself.) consuming and frustrating part of the project; but it Using as a landmark a nearby railroad bridge near also provided the greatest opportunities for unlim- our field trip sites (fig. 3), we retraced the path of ited creative expression. At this stage we used a the county park department's 1969 flight. Shooting viewer editor and a straight-cut splicer. At the end was done at high speed (32 fps) so that when it was of our shooting, we had used up ten 50-ft reels shown at normal speed (16 fps) scenery motion would (cassettes) of film; in addition we had the ten reels be reduced. The camera was aimed through the front from the parks department. Our final finished film window or out the partially opened back door of the was contained on a 400-ft reel. plane. This method produced the best pictures; we To begin editing, the reels were run through the viewer editor and scenes were cut out with scissors. Then, small postage-stamp-sized tags were attached to each piece of the cut-out film with masking tape. These were sequentially numbered and identified,

..... ,,,...... X . then pinned to a drapery curtain. A running list of numbered scenes was also kept. In the end there were several hundred of these film strips from a few centimeters to several meters in length hanging on the curtain. Going back to our outline, which had been modified as we shot, we first sequenced these shots on paper. Then we began the actual splicing. The splicing process (fig. 5) is relatively easy. The g4 Finig tr a _ i _ h two film-ends are threaded onto the sprocket holes on the splicer, allowing several frames to overlap. The splicer blade is pressed down to cut the two pieces simultaneously and a clean match is made.

fl., Sprocket holes on the splicing tape are aligned with the sprockets on the splicer and the tape is pressed on the film. A pencil-sized plastic tool is used to press Ftig.si4 F ingow.touh are-ade stoa p the uta out any air bubbles between the tape and the film. The process is repeated on the other side of the film. When first running the film, the splices may be a bit jerky going through the projector, but additional running will smooth these.

poorly because any motion or shaking was exag- gthegerated rfilmeshtso in the magnifiedof the railroad image. bridgue,showiengtheog Final Touches In addition to the aerial footage we used the 35-mm rierwaterislide technique lheve previously durignithed 199mlodangteeftr described to insert into When the film is completely sequenced there is a great temptation to quit and call it a finished prod- uct. However, to make a good ifilm the real editing math-a bare sandy bed with the vegetation stripped beginsat this point. Although it is extremely painful, away. cutting splices and even removing big pieces of

410 THEAMERICAN BIOLOGY TEACHER, OCTOBER 1974 "beautiful shots" often become necessary in the course of critical objective editing. When we first viewed the complete sequenced film, the scenes were timed with a stop watch so that the script could be made to match. (A tape-recorded rough draft is helpful in getting the timing right.) Our script was written from a variety of sources, and we found that the script had to be shortened at some points and more film footage inserted at others to give extra time needed for important narrative. We planned to make a tape recording of the script with background music and sound effects. A survey of our drama students turned up two very talented students. One had a beautiful speaking voice; the other was an accomplished classical Spanish guitar player. Our format was to be a comparison of the river during Spanish California days contrasted to the present. The music added tremendously to the Downloaded from http://online.ucpress.edu/abt/article-pdf/36/7/407/364837/4444886.pdf by guest on 02 October 2021 dramatic effect and was especially important in main- taining film continuity when there were gaps in the narration. After attempting to do the tape recording at school and finding it possible but difficult, we Fig. 5. Film sequences are spliced together. In the back- turned to our school district's small studio ground, labeled film sections are pinned up to keep them recording clean and free from scratches. where we could record everything separately and then have it mixed with the help of an audiovisual technician. The voice recording was done first. The for all showings. We start the tape recorder at the narrator, directed by shoulder-tap signals, read the beginning of the film on a predetermined frame. Gen- script while the film was running. Then the guitarist erally, the small variations which occur from one run added the music, improvising where necessary. Re- to another can be corrected by either holding the corded calls of common song birds and such sound projector on one frame until the sound tape catches effects as motorcycle noise were also added. Later up or stopping the tape recorder for a few seconds. the narration, music, and sound effects were mixed The first method creates the least break in continuity and recorded on a tape cassette. for the audience. However, these synchronizing ad- justments have seldom had to be made even in the full 30-minute run. The script was written "loosely" Limitations of Super 8-mm Equipment so that absolute synchronization was unnecessary. One possible advantage of our The new super 8-mm equipment is foolproof, but method is that a dif- ferent tape, for example, one with an elementary there are some limitations. school vocabulary or a different language, could Super 8-mm projection lamps are much smaller be used with the same film. than standard 16-mm classroom projector lamps. For those They generally range from 50 to 150 watts compared who will have the opportunity to pur- chase latest-model super 8-mm sound-motion to 500-750 watts for 16-mm projectors. Even though picture equipment, there will be no the frame size of super 8-mm film is 50%olarger than synchronization problem. 8-mm the old standard 8-mm , it will withstand Super film with a magnetic prestriped sound track on much less heat than the larger 16-mm frame. There- the film edge opposite the sprocket holes is fore, if a super 8-mm projector is used with a now available. It is used in a camera which records sound standard-sized classroom screen, best results will be simultaneously by connecting a microphone obtained only in absolute darkness. Any stray light and recorder directly to the camera. The finished greatly reduces the quality of the projected image. film including sound is shown on a super 8-mm sound When showing our film to outside groups we occa- projector. These projectors can also be used to add sionally fail in our efforts to make this point clear- sound on sound, erase preexisting sound, and re- with disappointing results. record. It should be noted that magnetic striping can be Using the audio method described in this article added to any super 8-mm film after processing may result in film-sound synchronization problems. and editing. If a film is to be kept for a period of Different projectors and recorders generally vary years it might be wise to have a copy made; even- slightly in running speeds. The longer the film, the tually the tape splices may weaken. (Some firms greater the problem may become. In tests we made advertise that they will make a copy for 11? per foot with two different makes of projectors we found and add a magnetic-striping soundtrack to a com- pleted that there was a 2-minute difference in the runniing film for 5? per foot.) We time of our "30 minute" ifilm. This problem can be studied the possibility of getting a 16-mm copy minimized by using the same projector and recorder (Concludedon p. 438)

ECOLOGYFILM 411 film a simple documentary as to learn to write a good EcologyFilm . ., from p. 411 research report. For biology and life-science teachers in today's classrooms there are those favorite local of our film made which might be run on our class- field-trip sites or projects packed with a multitude of room projectors. We have been advised however that subject possibilities. With a little homework-and this would be expensive and that the resolution perhaps instruction from a talented student-effec- (clarity of images) and general film quality would tive school filmmaking is within easy reach. Try it! be considerably downgraded. Acknowledgment.-Fig. 4, 5, and 6 are by Charles Rich. Limitless Opportunities REFERENCES Our film has been shown to our biology and ecol- ogy classes and to such outside groups as the county ANDERSON, E. N., JR. 1972. Man on the Santa Ana: a brief ac- park's advisory board and community service clubs. count of human management of a landscape. Tri-County Riverside, Calif. It was a featured presentation in Conservation League, a recent Riverside ANON. 1972. The living Santa Ana River. Tri-County Conser- County Parks Department conference entitled vation League, Riverside, Calif. "County Parks and Environmental Education" which BROADBECK, E. E. 1966. Handbook of basic motion picture vas attended by superintendents of school districts techniques. Chilton Book Co., Philadelphia. in the county. CARROLL, D., and R. CARRIER. 1972. Action! camera! super 8 Downloaded from http://online.ucpress.edu/abt/article-pdf/36/7/407/364837/4444886.pdf by guest on 02 October 2021 cassette film making for beginners. Charles Scribner's Audiences have generally been surprised and de- Sons, New York. lighted to learn that what even many local residents FERGUSON, R. 1969. How to make movies: a practical guide to consider a "dry wash" is a place of beauty and rich group film making. Viking Press, New York. natural values. After a showing at our school PTA GASKILL, A. L., and D. A. ENGLANDER.1960. How to shoot a movie story: the technique of pictorial continuity. Morgan, meeting, several of the mothers became so enthusi- Morgan, Inc., Hastings-on-Hudson, N.Y. astic that they spent a Saturday with some of our LIvINGSTONE, D. 1953. Film and the director. Capricorn Books, students and a community service club to help the New York. parks department clean up a section of the river- MASCELLI, J. 1965. The five "C's" of : motion picture filming techniques simplified. Cine Graphic Publi- bottom. Our local newspaper and county and city cations, Hollywood. educational publications have carried articles on the MATZKIN, M. A. 1967. Better super 8 movie making. Chilton project and the content of the film. Book Co., Philadelphia. At the end of the year's project, both students and PINCUS, E. 1969. Guide to fllmmaking. Times Mirror, New adults who had been involved in the effort felt that York. SMALLMAN, K. 1969. Creative film-making. Macmillan Co., they had learned much about a local and regional New York. ecology problem. The many hours of hard work and the $40-50 spent for film, processing, splicing tape, reels, and projection bulbs had produced a film in which we could take real pride. Community re- sources had been tapped to enable us to make a rec- ognized contribution to efforts to save our often Biology Ph.D.s overlooked local wilderness area. In retrospect, our project was undoubtedly too According to a recent compilationby the National ambitious for a first major film. Heed the advice of Science Foundation on graduate-school enrollment the "pros": make your first film no longer than five in 1972-73, doctoral candidates in the life sciences minutes and "edit in the camera" (that is, write out increased by 1.7%over the preceding academic year, a sequence of shots on a plan sheet and take the shots while declines were noted in Ph.D. candidates in en- in sequence). When you finish shooting the film, it gineering and the physical sciences. The figure for will be all but finished and require little splicing. the social sciences was up slightly (0.9%). Signifi- Remember how much is packed into a 60-second TV cantly, 10% fewer graduate students were receiving spot commercial! However, don't adhere to a sched- federal support in 1972-73 than in 1971-72; all fields ule so rigidly that you overlook unplanned oppor- of science were affected by this decline. tunities for filming. Filmmaking is certain to become a major tool in life-science studies. Its effectiveness in presenting data and information is matched only by the limitless opportunities for creativity in the medium itself. For today's high-school student it may be a supplement Remembering The Dust Bowl to field or project work-perhaps even replacing the conventional research report or project paper. For Another peak in the U.S. drought cycle may be the teacher-in-training in up-to-date university sci- upon us. Here is a reminder of what "dust bowl" ence-education programs, I believe it should be as meant in the 1930s: a single storm is reported to important to develop competence in operating a have blown 300,000,000 tons of soil off the over- as it is to use a microscope, to learn to plowed farmlands of the plains.

438 THE AMERICANBIOLOGY TEACHER, OCTOBER 1974