The American cinematographer (Jan-Dec 1926)

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Twenty-six AMERICAN C'INEMATOGRAPHER September, 1926 Len Roos, A. S. C, Begins Work On Australian Film Len H. Roos, A. S. C, has begun work on his first film as chief cinematographer for Australasian Films, Ltd. The production is being made under the title, "For the Term of His Natural Life." It is being photographed at Australasian's "Bondi" studios in Sydney. Norman Dawn is' directing; the cast includes Eva Novak, George Fisher, Katherine Dawn, Steve Murphy and other players well-known to American audiences. A new Akeley camera outfit has arrived for Roos' use in Australia, and, the A. S. C. member reports, is causing no little excitement in film quarters in that country. E y e (Con St rain Page 6) • tinued frorr front of the center of the screen with the eyes on a level with the center of the picture. "Many producers of motion picture films today recognize the importance of utilizing every possible means to create good films. On the other hand, many old films that are still being presented in thousands of motion picture houses throughout the country fall short of coming up to present-day standards. "The cheaper houses are forced to accept films that are scratched and patched because they have been shown so many times before. Types of screens are found that are no longer considered proper; old type projecting machines in need of repair should be replaced by more modern equipment; careless operation is permitted by many managers. "Flicker and other evidences of faulty projection which cause eyestrain are the result of such unnecessary conditions. They should not be tolerated and are not to be found where effort is made to cater to the comfort of audiences. "Finally, eyestrain may be caused by improper general illumination of the theatre. The glare is annoying from bright lights near the screen, over the piano or orchestra or in side brackets. It is not necessary to have theatres dimly lighted. "Lighting authorities of England recommend that the intensity of illumination should be gradually increased from the front to the rear. By following this practice the dim light under the screen does not interfere with the picture, at the same time the brighter light in the rear makes it less confusing for persons coming into the theatre from the bright light outside. "Comfortable illumination is possible as evidenced by the pleasing artistic effect produced by architects and managers in the more modern buildings." John F. Seitz, A. S. C, Back From Two-Year Stay n Europe John F. Seitz, chief cinematographer for Rex Ingram productions and a member of the American Society of Cinematographers, has returned to Hollywood after spending two years in Europe photographing Ingram's features for Metro-Goldwyn-Mayer. Most of this time was spent at Nice, France, where Ingram has purchased a studio on the Riviera. It was here that Seitz photographed both "Mare Nostrum" and "The Magician." Prior to his stay abroad just concluded, Seitz filmed, in a previous trip, Ingram's "The Arab," the locale of which was the Sahara desert. Veteran Still Photographer Passes Away In Los Angeles Charles Warrington, 49, still photographer at the Douglas Fairbanks studios, died in Los Angeles last month, after having been operated upon for appendicitis. Warrington, who had been identified with the film industry for more than ten years, had photographed stills for Fairbanks in numerous of that star's productions. He bore no relation to Gilbert Warrenton, a member of the American Society of Cinematographers. John Arnold, A. S. C, is on location in Yosemite shooting Jack Conway's latest picture, "The Understanding Heart," which features Joan Crawford. There will be some unusual shots of beautiful scenic backgrounds in this latest of Arnold's pictures for MetroGoldwyn-Mayer.