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Jan., 1930] RECTANGLE PROPORTIONS IN COMPOSITION 47
In considering the requirements of our modern motion picture technic, it seems probable that, because of the presence of movement and action of a given number of figures within the composition, a somewhat greater dimension in the horizontal direction than that used in static composition is desirable. It is quite evident that in the consideration of the most desirable shape for the motion picture screen many factors other than those of pictorial composition as applying to still pictures must be considered. The author feels, therefore, that a study of this subject is of some interest and significance.
DISCUSSION
MR. COFFMAN: I think this paper is a most unusual example of the ways in which the scientific mind and the artistic complement each other. I believe that the basis of both art and science are similar in a great many respects. It is certain that they come together in insisting on general symmetry, at any rate, and this paper, illustrating the service which science can render to art, deserves a place in the classics of the motion picture engineers.
There are several features in connection with the material that Mr. Jones has presented that deserve consideration. Rubens, as Mr. Jones stated, is probably nearer to the motion picture director than any of the other classic masters. He could work in a little sex appeal in his paintings, and sometimes he went in for commercialism rather than for the highest possible artistic standards.
We should, however, keep in mind that his paintings of figures do rarely recognize the architectural features of the background. In dramatic composition the architectural set must have considerable recognition. If we take a static moment as is usually presented in the still picture painted or photographed, it is not necessary for us to recognize much of the architectural background, but in the dramatic composition it is hovering over the characters and must complement their actions. It is probable that the ultimate proportions of the motion picture frame will be different from those needed by any single dramatic composition that can be proposed, because you can't establish a background and its dominance of the scene by a static scene.
MR. FARNHAM: The fact that the projection room is usually located at an elevation above the screen results in projection at an angle. Distortion of the picture shape makes the screen more nearly square. A recommendation as to the most desirable picture proportion should specify the picture as it appears on the screen. A conversion factor based on projection angle will have to be obtained to determine the projector aperture proportions.
MR. RICHARDSON: Projection angle has in some cases resulted in square pictures; in others, the height has been greater than the width.
DR. HICKMAN: I should like to join Mr. Coff man's tribute to Mr. Jones if I might. I think this is an extraordinarily stimulating paper.
There are one or two points that occur to me. When an amateur photographer or artist makes a close-up he afterwards trims the picture to the size he likes best. The director achieves the same object by vignetting the sides, so that he is chang