American cinematographer (Jan-Dec 1952)

The weather added its own small problems, being of a sunny nature one minute and cloudy the next. In the courtroom where the trial scenes were held, large windows were utilized for general illumination with only a little supplementary light added. To offset the capriciousness of the sun and to correct the fluctuating light, Burks devised two sets of window filters of neutral density gelatins. When it was cloudy he used a light window filter to get the effect of sunny weather; when the sun came out he used a heavier filter. Throughout these scenes, people passed by outside, and the sky with its small, scurrying clouds was visible, greatly adding to the feeling of reality. Rain sequences were actually shot on rainy days and in the rain. For one sequence, there is a scene where a boy and girl on holiday are caught in a summer storm and have to run for cover. This was made at St. Tit de Cap, a picturesque spot about forty miles from Quebec. “We got the rain, the sudden summer storm we needed,” says Burks. “Only trouble was it poured so heavily we had to cease operations for about two hours until it abated.” One of the tougher scenes to light was a night scene with a block and a half of a Quebec street illuminated. This was accomplished by placing studio lights atop buildings and in doorways. It is the only scene in the picture where over¬ head lighting was used. Perhaps one of the greatest challenges to Burks’s ingenuity was filming the Ordaination scene in St. Patrick’s Ca¬ thedral. The company had only a sixman electrical crew, a six-man grip crew, and one camera crew. “In Hollywood we would have needed a 100-man electrical crew to take care of such a huge set,” observed Burks. “But somehow we managed with the crew we had. Sometimes one gets better results when working under handicaps. We had to get the work done in the best way we could, without embellishments. The result was lacking in that slick, polished look — exactly what we were striving for.” As to whether or not “I Confess” will start a trend toward a more natural treatment in films, Burks thinks it very well may. For Hitchcock, in his opinion, has a faculty for anticipating what the public wants and will react to. If such a trend does start, it is safe to say that the outstanding quality of Robert Burks’ cinematography in this picture may serve as a useful and wel¬ come guide for others to follow. According to Burks, Hitchcock’s atti¬ tude and his cooperation make possible a better photographic job. And Burks’ estimate has real merit, inasmuch as he (Continued on Page 549) NEW & USED EQUIPMENT FOR MOTION PICTURE & TV FILM PRODUCTION THE F & B POLICY It has been the continuing policy of the F&B organization to constantly scan the world markets in search of new products which will add to the techno¬ logical growth and development of our craft. In line with our policy, therefore, we take pride in presenting these new and tested items, especially selected to aid the film technician in his work. NEW ANGENIEUX RETROFOCUS EXTREME WIDE ANGLE LENS 9.5mm f2.2 in 16mr mount Fabulous effects are now possible due to this new optical formula. Wonderful for loca¬ tions, small sets, inside vehicles, extreme depth and foreshortening effects. 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