Business screen magazine (1938)

;. Sets are eonstrueted . . . a sluHio carpenter ".hop-^ by exlerienred "old-timer*" who bring heir vears of «kill into the buildOg of props and -^ets. The modern ommercial film producer ha?s quipment and farilitie? the equal f anv in the worhl . . . but he haIso learned the important secret { efficient econoni> nece*>*ar>" in ^e bu>ine^> film field. 6. The rioht caniera an»le sometime* makes it necessary to perch the crew on platforms high abo\e the set. Technical skill in dramatizing ^our product bring* out the important "sales'* advantages: "hidden values" you hardly realized existed are put forward in unequalled interest for the benefit of future audiences: your prospects in the field! Scenes are rehearsed actors and ihe director a*-mble on the set preliminary to ctual filming. The scene is dis ssed from the all-important looting script. Commercial film ireclion isn't of the temperalental variety. The client's story id the budget rule out anything vcept !>kill: gelling the be*t out Ihe story and talent is the job hand . . . 12. For "off-sereen" voice ?ometin:es sound effects and a commentator* dialogue are addt-d lo scenes previously filmed a* illustrated in this -tudy of the light images formed by the \oice c.f Lowell Thomas. A* the narrator view* the finished scenes, his voiced comments are recorded and svnchronized for the sound. 5. Studio technique id the punctuation or sejence of the picture, the powerd photomonlage (right) or sime "wipes" and "di^-^olves" bring nnnlhness and heighten the inre-l in the picture. The film litor's task is simplified by the genious ''optical printer". The nooth flow of a well-edited film lightens audience interest. 4. Some props are big as illustrated by this giant-sized automobile wheel which a sponsor used to put across an important mechanical advantage possessed by his product. But whether the "prop" is the customer's actual product, his own equipment or the realistic *'dummy" constructed for film purposes — its place in the ''story" is importani . . . 10. Ouie-e-et! Caniera! and a top-notch cameraman with his crew performs for the director as the actual "Shooting" begin*. Creative work continues through this vital step in production and the director may change scenes, add some, improve caniera angles, fighting, sets just so he gives the client more for his money without increasing the budget. 16. In the cuttiuj* room the term "cutting" lends to minimize the importance of film editing. Here a picture can be "niade" or "broken." A good film editor can make a masterpiece of a production which might otherwise be just another picture. Deleting overly long sequences is only one of the necessary tasks; there are many other "tricks" in the cutter's trade. 18. The audience approves with a heart-warming burst of applause as the final scene fade* from the screen. The shadow^ which the client bought are now impressions on the minds of hi* customers and if the picture ha^ accomplished that purpose he has made a good investment. 7. The juicer is ready with the battery of high-powered "arcs"' which illuminate the sets. Here, again, the commercial producers expensive and thorough studio equipment helps make successful the salesmanship of your film. One scene may require more light than the average house uses in a year. Many types of lamps must be available to get the proper lighting for color and the best black and white photography . . . 13. Camera on location and if the !.tory demands, up in the air to get an ore-derrick's view of an important scene. Portable camera and sound equipment take the mountains to Mohammed when the occasion demands. Into mines or mills ; at sea or in the air — they follow the script I The camera is the world's best interpreter of the modern industrial scene. 19. and sales mount up! a* groups of prospective customers in a hundred cities — and a thousand are convinced by the realistic power of the screen image, salesmen and dealers hear the applause that counts — the magic symbol that spells orders on the books — dollars in the till. PICTORIAL CREDITS tidr Picture Ser*-ice . 7. 14. 15: f ourtesT Au >aravel Film. inc. (>Y) . 16. 17 . 18: The Jam H 12: Ea ttnan Kodak. Roland Reed 9: West Coas t SoDod Stu