American cinematographer (Jan-Dec 1926)

June, 1926 AMERICAN CINE MAT OGRAPHER Seventeen the combined components is the customary sixteen per second in each case, then the combination is not such a complicated problem as the written explanation makes it appear to be. It is very intricate, however, when the component members of the combination have to be taken at different rates of speed. In "The Lost World" there were many scenes where the taking of the action of the prehistoric monsters required weeks and months of exposures made at comparatively long and irregular intervals. These stop motion exposures had to be synchronized and combined with the action of human characters whose movements, photographed at regular speed, occurred in a few seconds so that the composite result appeared to be simultaneous action. Not only was it necessary to synchronize the action but it was also necessary to reverse the apparent size of the objects so that the monsters, which were in reality miniature figures, seemed to be gigantic in comparison to the human actors. Results Trick photography thus does two tremendously important things for the industry; it renders possible the use of scenes and effects hitherto impossible of presentation and reduces enormously the cost of building elaborate sets. It also seems safe to prophesy that in the near future it will also eliminate the necessity for many exterior locations ; particularly those to distant points where time and transportation are a large factor in production expense. Let me outline roughly into a sort of general classification the various methods by which the trick photographer builds up his effects: Ba sis First, we have the basic standard of straight cinematography which consists of a series of frames or pictures taken at the approximate speed of sixteen exposures per second. High Speed, Slow Motion Second, high speed or slow motion photography in which the taking rate is considerably increased. For the laws governing the taking of miniatures by high speed photography to stimulate action in the tempo of natural sized objects I refer you to the very excellent paper by J. A. Ball, entitled "Theory of Mechanical Miniatures in Cinematography," presented before the Society of Motion Picture Engineers at Roscoe, New York, May, 1924, and published in the Transactions of the Society. Varied Taking Speeds Third, time condensation or decreasing the taking speed to such an extent that movements which take place slowly and over so long a period of time as to be imperceptible to the human eye are made to appear to occur in a few seconds. This method is commonly used for showing the growth of plants, the germination of seeds, the erection or demolition of structures, etc. Slow cranking at slightly diminished speed is used to increase the speed of actors movements for comedy effects and to speed up action in fights, races, and dramatic climaxes. Animated Fourth, trick crank or one picture turn. This is closely related to time condensation. The trick crank shaft is the one usually used for making time condensation exposures. The name "trick crank" comes down from the early days of cinematography because the single exposure shaft was often employed in making many of (Continued on Page 20) E . Burton Steene Freelance Akeley Camera Specialist HEmpstead 4 161 Care of American Society of Cinematographers 1219-20-21-22 Guaranty Bldg. Hollywood, Calif. FOR RENT! MITCHELL and BELL & HOWELL CAMERAS F 2. 3. F. 2. 7. F. 3. 5. Lenses 40-50-75 M. M. COMPLETE EQUIPMENT J. R. LOCKWOOD 523 North Orange St. Phone Glendale 3361-W Glendale, California CRECO The New Iris Combination may be had with 4-in. Iris or Sunshade FRED HOEFNER Cinema and Experimental Work 5319 Santa Monica Blvd. (rear) GLadstone 0243 Los Angeles, Cal. SUBSCRIBE FOR THE American Cinematoqrapher HARRY D. Cinema Studios 1438 Beachwood Drive Brown-Ashcraft Studio I .minis BROWN Supply Corp. HOIIy 0513 HOIIy 0514 Carbons, and Other Studio Equipment Afii