International photographer (Jan-Dec 1934)

March, 1934 The INTERNATIONAL PHOTOGRAPHER Eleven The Newsreel World By Ray Fernstrom Murder With Lights URING the last three years out here in Hollywood I've been studying composition, lighting and Filtering. Now I'm going to pass on to you newsreelers a few pointers. The most needed advice I can give right now is in regard to lighting. If ever "murder with lights" applied, it does to newsreel lighting with incandescents. Before I go further, let me point out that I fully appreciate the fact that you newsreelers are handicapped. Yes, I realize that, with the composition, often five or six cameras are set up and forced to shoot with' only four or six "lights." It has been a practice for years to hand newsreel men what were seriously called "lights." A globe in a dishpan set on a fiddler's music stand comes close to a perfect description of these. The idea of "flooding" or "spotting" a newsreel light never occurred to anyone buying news lights. Now for the handling of these in everyday coverage. We set up our cameras, set up our lights and each one of us tries to get a "lot of light" on the subject. What's the result on the screen? A flat picture, flat subject, flat background, hard light and black shadows that make babies look like character actors. Why murder folks with lights in the newsreels? There is no excuse for it, even with the present "lights." It's about time newsreel men used their heads in placing lights and it's about time better lighting equipment be supplied. With but few exceptions news men have never used hard, soft and spotted lighting in coverage of subjects requiring artificial light. Here's the solution: Use hard lights on one side of the face or faces of your subjects. By hard light I do not mean hot or close lights, the way you have been doing. Now, for the second light or lights — set them on the opposite side of your subject, but make this or these soft, either a weaker light, a spread light, or place farther from your subject. Use all lights high, higher than the height of your subject. Simple enough ? O. K. Now for the separation of your subject from your background. Add a soft light to your lighting equipment. Get one that you can spread or spot so as to cover one or more people. Use this very high in back of and above your subject from the side. Shoot it straight down on the heads and shoulders of your subject. That's all. Of course if you wish to continue and one of the competition has an extra light, use this on your background, flooded. That's a simple enough explanation of studio lighting in its elementary form, isn't it? Now if you care to further revive your subject, put on a nice light diffusion glass. You'll be surprised at the improved results. To gage your amount of light, let me strongly recommend a Weston meter. They all use these out here and results talk. I know full well that many of you are going to read this, throw the International Photographer on a shelf and forget it. For the few who follow me, results will reward them and it is for the boys who try to improve that this is written. If I can help, just drop me a line. We have a lot of little tricks out here and we strive to please. Just today, thinking about the lights, I looked over the stock of lights at the Camera Supply Company. Why, for ten dollars you can add a peach of a "spot" to your array of news lights. As to the Weston meter, let me recommend the Universal model for news men. This gadget uses a photo cell that has a needle pointing direct to the F. stop to be used. Ask the man who sells you one to set the needle for the kind of film you use, and today that should be Super. This Universal model meter can be used with the same accuracy of incandescent lighting by merely opening up on one more stop than shown, or adding enough lights to make the meter reach another stop — stronger light — efficient. In closing, let me repeat, drop us a line and let's hear whether or not we have been or can be of service. Skol. THE FLYING SWEDE. SCENARIZED FILM PLANS FOR 16 MM. The Amateur Cinema League, Inc., through James W. Moore, ACL., has issued Book I, of "Scenarized Film Plans," a clever and most useful brochure of 32 pages, which is just what its title sets forth. In the booklet four selected film plans, completely scenarized, are presented all ready for production. Says Mr. Moore in the introduction of the book: "The presentation of essentially stock scenarios is a new departure in the League's service to members. It was long felt at headquarters that the needs and facilities of no two League members could be exactly the same, and that, in view of this fact, even the most general of prepared scenarios would be out of line with these needs at some point or another of its course. The strength of this feeling has been increasingly weakened, however, by repeated member requests not only for plot ideas but for plot ideas in scenario form. This booklet is the first part of the League's answer. A second series of scenarized film plans is already in preparation and if the two books seem successful they will be followed by others." Introducing the New Ries Professional Still Tripod Shortest length 40 inches Height 60 inches Price $25.00 If your dealer cannot supply you, you can purchase direct from PAUL RIES 2039 South Bedford St. Los Angeles California Phone: Culver City 5985 Please mention The International Photographer when corresponding with advertisers.