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376 AMATEUR MOVIE MAKING
satins upon the screen. A piece of new, cheap velveteen will photograph to better advantage than a slightly worn piece of the finest velvet ever loomed. In every public library there are books which give full detail regarding costume, jewelry, arms, furnishings and so forth. The wardrobe mistress of your club should have no difficulty in making costumes from inexpensive materials which will closely simulate these originals.
There is another side to the question of costume which affects modern as well as period costumes. This is the question of color. There is much which might be said in this connection, but as has been explained in another part of this book, our colors affect the film in direct relation to their position in the spectrum. Thus red, having practically no action whatever is photographed as black and blue, the most active of all colors, photographically, is photographed as white. With these facts as a guide it is possible to estimate the photographic tone which will be given by practically any pure color, but when mixtures are involved, or various shades, tints and other color variations the poor amateur may be excused for losing his ability to even recognize the visual color of his subject, but the final test is the monotone filter, which has been mentioned before. This filter may be carried and used to test the photographic color of cloth and other materials to be used in this work.
Make-Up. — A consideration of costume brings us naturally to a consideration of make-up as the two for some unfathomable reason seem to be inseparable. In professional work make-up is divided into two classes, straight and character. Straight make-up is used, strangely enough, to give the actor a natural appearance upon the screen. We have found that the photographic emulsion plays strange pranks with color. This is even more pronounced in portraiture. Here we see spots, and patches appearing in what appears to be in real life, a flawless complexion. This is a familiar phenomenon in portraiture and the true reason for retouching without which a professional portrait is never delivered.
As it is evidently impossible to retouch each of the