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successfully carry a major part of the burden of getting what the publicists call offstage and candid "art". What's more, the minicams permit the making of a greater variety of poses on a given assignment, with the result that more "exclusives" can be reserved for captious editors. We've an idea the minnies would give the bigger boxes a mighty good run for their money if someone would give them a chance on production still work!
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An innovation potentially capable of exerting far-reaching effects on the industry's production methods is described in a recent article by Victor Milner, A.S.C. In his current production was action which would gain dramatic value If it could be laid in some of New York's more noted institutions. Duplicating these locations convincingly in studio-made sets was out of the question. As he puts it, few if any stages would be physically large enough to hold authentic duplicates of the Waldorf's Starlight Roof or Radio City's Rainbow Room. A complete company could not well be sent to New York for fhese scenes. The Transparency or projected background process offered a chance of success — provided the necessary background scenes could be photographed successfully on the genuine locations.
Milner's description of how the lighting and other problems involved were mastered makes an article interesting to read in its own right. But beyond this interest, the experiment has a more far-reaching significance which deserves the attention of everyone. If the outcome is successful, the industry will have gained a valuable new method of increasing production value without at the same time increasing production costs unreasonably. In addition, with the further advantage of today's exceptionally fast emulsions, we may logically hope to see studio-made scenes using as backgrounds authentic locales which, less than a year ago, could never have been photographed. The production immediately involved may not be counted among the industry's most opulent or dramatically significant productions, but we venture to say it will be watched more closely by the technical community than many a current special.
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We hope every cinematographer can find time to attend the current revivals of famous films of the past. They offer food for a lot of thought. Not long ago, we saw a showing of "The Sheik", one of the more important releases of fifteen or sixteen years ago. Last night we attended the preview of a relatively unimportant "Western" made by the same studio. As an exterior night sequence — photographed on Agfa Infra-Red film — flashed on the screen, we couldn't help contrasting it with the night-scenes of the earlier film, made before this modern aid was available. Fifteen years ago it required a title and a bluetinted print to tell the audience it was night. Today the photography alone tells the story — convincingly.
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