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September. 102'!
AMERICAN C'INEMATOGRAPHER
Seven
"Sea-Qoinq' Cameras for "Old Ironsides"
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Pendulum and Hydraulic Apparatus Attached to Camera to Show Tossing of Sea.
Above — Alfred Gilks, A . S. C, shown with one of the "nautical" cameras used to film "Old Ironsides." Suggesting the gyroscope, the cameras maintain their equilibrium no matter how great the sway of the ship, thus showing tossing of the sea realistically. Right — Steel cage made to be swung anywhere in the rigging where it was desired to place cameras.
Filming a production of such magnitude a s Paramount's "Old Ironsides," entirely at sea, called for a new code of camera dynamics, with the result that a lion's share of cinematographic pioneering fell on the shoulders of Alfred Gilks, A.S.C., chief cinematographer on the latest James Cruze vehicle for Famous Players-Lask).
Gilks was particularly qualified for the important task assigned him, not only from the standpoint of his ability as a cinematographer, but by virtue of the fact that he qualified as a sea-going camera artist, the A.S.C member having served his country in the Navy during the war.
Ideal Medium
So the traditions of the American fighting vessels found an appreciative and understanding medium of expression through the lenses of Gilks' camera which, in charge of a cinematographer and sailor, stood well to bring all the salty, pounding glory of "Old Ironsides" to the screen.
Plotting the photographing of this production was like laying out the campaign to break up the Armada — possible, but apparently not so feasible. A difference is presented between filming a picture with a few maritime scenes, and one which is photographed wholly on the high seas.
Natural Roll Desired Because most of "Old Ironsides" had to be shot on board a sailing vessel at sea and a good portion of it during a real storm, it was desired to show on the screen the actual and natural roll of the ship. Same Movement With an ordinary tripod "anchored" to the deck or otherwise fastened to the ship, this would have been impossible. In such an arrangement, the camera is part and parcel of the ship. The movements of the camera coincide with those of the ship.
Horizon Jumps
The result is that, instead of showing the tossing of the ship itself on the screen, the