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i wenty-six
AMERICAN CINEM ATOGRAPHER
July, 192G
This shot shows pioneer American news cinematographers in Galveston, Texas, in April, 1914, during the trouble with Mexico revolving about Huerta's refusal to salute the American flag. On the extreme right is E. Burton Steene and second from the right is Victor Milner, both of ivhom were covering events for Pathe Weekly. The gentleman in the center with the Stetson and with his hand to his chin is none other than Romaine Fielding, a foremost director. The rotund lad behind Fielding is one " Kewpie" Morgan, a "discovery" of the director in Galveston. Missing from the picture is L. Guy Wilky, who was cinematographer for Fielding. Milner, Wilky and Steene are now studio cinematographers located in Holly
wood and all are members of the American Society of Cinematographers. At the time the photograph was taken, American patriotism was at its highest point since the SpanishA merican war; and celebrities of the newspaper and literary work, including Richard Harding Davis and Jack London, ivere in the adventurous atmosphere at Galveston for the departure of Gen. Fred Funston's five transports for Vera Cruz.
Steene's headquarters for Pathe were in Houston, and he worked the cramped territory that extended from Florida on the East to El Paso on the West. Milner ivas down from Denver, the headquarters from which he covered a country that stretched as far west as Salt Lake City.
Cinematographer Films Many
Sets on Griffith's Latest
Harry Fischbeck, A. S. C, is being called on for a variety of lightings and general cinematographic effects, by virtue of the many sets in D. W. Griffith's "Sorrows of Satan," on which the A. S. C. member is chief cinematographer.
Twenty-two sets have been used in D. W. Griffith's "The Sorrows of Satan," nearing completion at the Paramount Long Island studio. The sets range from palatial hotel dining-room to squalid boarding house. Two thousand extras have been used. All exterior as well as interior scenes were shot from sets. Charles M. Kirk designed them for Forrest
Halsey's screen arrangement of the Marie Corelli novel.
The hotel dining room was 200x120 feet and William Cohill, casting director, provided 300 guests fashionably attired. Paul Oscard of Publix trained women dancers for the cabaret entertainment.
In five days the fronts of 30 buildings were put up and painted and plastered and a street paved, when an exterior set from the back lot was removed to finish a street scene. In four days a garden 220x120 feet was constructed. As fast as one part of this set was finished another part was being torn down after the shooting had been done and a Georgina hall went up. When the park sequence was complete the interior of the mansion was ready.