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Paths, grounds or landscape surrounding the model is the next thing to be
tackled and, like the model itself, these are rendered more realistic if composed
of a variety of tones rather than stretches of uniform colour and texture. Roads
and paths are suitably obtained by spreading a thin layer of "Plasticine" over
the baseboard, on top of which is worked in various tinted fine sand. Grass is
well represented by green baize. A suitable representation of cobblestones is
obtained by making irregular indents to the "Plasticine" ~y t a pencil point.
Where stone sets are required the indents must be even and regular in shape to
conform with the real thing. An unmade road or car track can be produced
with teachers' chalks powdered down or fine sand, laid somewhat carelessly and
the ruts formed by cart wheels suitably lined in by running lightly over the
surface with a child's wheeled toy or pencil.
Leaves and shrubs are best provided by real miniature foliage which may be
obtained from the better florists; while several types of small ferns having
slender stems and feathery foliage may be brought into use with good effect.
Coloured sponge, referred to earlier, as trees and shrubs are not good enough
for film models; they are too dense and do not move in the lightest breeze,
thus losing the whole idea of making the audience believe that it is seeing real
buildings in real surroundings.
Finally, the lighting of the model requires careful consideration-if it can be
filmed out of doors all should be well; if the work has to be shot indoors strong
artificial lighting should be used, with the main source of light being at angles
of 45° both from the ground
and to the front of the
model. Reflections should
be used to deaden any
harsh effects without casting
any shadows other than ~
those cast by the sun itself.
If the film calls for night
matching shots artificial
illumination of the model riG. G
should be used, care being
taken not to overlight it.

TOE OPEN A\WAUD
The last stage should now be reached in your entry production, remember that 31st January
1954 is the closing date. Speculation will now be rife in the minds of all competitors; can
the entries be improved in any way ?
We offer you one thought-editing was a rather poor factor in the 1952 Open Award and
a considerable number of marks were lost in this respect. The cutting of a production is as
creative as the scripting and camera work. Continuity, awakening interest, audience reaction,
suspense, all are dependent on the editors bench. A high standard of film editing can only be
achieved by self analysis coupled with a sincere understanding of the Cinema (Beginners
Notes on Film Appreciation). The sequence of events, that occur on the screen, can either
make or mar the original theme. That is the real function of editing-sorting out the various
shots, cutting out the unwanted material and joining the rest into a sequence that presents no
doubts to the audience, but keeps them fully conversant of all the facts and happenings. The
mood of mystery, suspense, happiness or even the most unimportant of all, the prevention of
boredom, can be heightened and given extra value by good cutting.
The golden rules of editing are:
I. Remove all unwanted material (No bearing on theme).
I 2. Remove all poor quality material (Photographic and acting).
3. Understand the mood of the story completely before attempting to cut.
4. Watch the r·esult on the screen and learn from that result.
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