American cinematographer (Jan-Dec 1941)

ample, there is a long-shot of Merle Oberon in Melvyn Douglas' apartment when, as she approaches a white door, an unnaturally, sharp shadow of her figure is cast on the door from an unnatural angle — upward, with the light a bit too obviously coming from a spotlight concealed on the floor behind a chair. There's an insert, too, in which the rain-effect on a hotel nameplate is badly handled. But far offsetting these are the uncounted excellent shots in which Barnes' lighting enhances set and action. There's the shot of Douglas in bed in his hotel, with the shadow of the rain on the window falling on the white cover of his bedside breakfast-table, and the various interesting effect-lightings in the nighteffect interiors, all of which deserve careful study. All told, Barnes has done an excellent piece of work, and one which shows his recent Academy Award was very far indeed from being any accident. MEET JOHN DOE Frank Capra Production; Warner Bros. Release. Director of Photography: George Barnes, A.S.C. Less than two weeks from the day that George Barnes stepped forward to receive his well-earned Academy Award, his most recent effort, "Meet John Doe," was previewed. And it shows clearly the imprint of Barnes' individuality. By no means offering its cinematographer the unusual opportunities of such a film as "Rebecca," it is in many respects the more notable job, for the technique that develops the famed "Capra touch" frequently tends to put the camera staff at a disadvantage — and "Meet John Doe" is perhaps the best-photographed of recent Capra productions. The production begins rather conventionally. Then as reporter Barbara Stanwyck commences to type the "John Doe" letter which really sets the plot rolling, Capra suddenly seems to have been made conscious of the dramatic potentialities of the camera, and from that moment on, "John Doe" builds photographically, until at the end, the dramatic impact of the closing sequence atop the City Hall owes as much to its photographic treatment as to writing, direction or acting. That first sequence centering about the sob-sister's typewriter is a noteworthy example of the intelligent use of unusual camera-angles in their right place as a means of enhancing dramatic effect. Another memorable sequence is the night-effect scene under the bridge. The rain-sequence in the stadium is an example of phototechnical skill at work under difficult circumstances, and the closing sequence is a really notable example of intelligentlykeyed use of dramatic lighting and composition. Another noteworthy technical highlight of "Meet John Doe" is the brilliant montage-work of Slavko Vorkapich. The several excellent montages in the film arc tributes to Vorkapich's skill. All too often, montages are thrown bodily into a production to bridge continuity-gaps, and bear too little relation to the rest of the film as regards either photographic treatment or tempo, while their camera-angles are all too often jarring interruptions. Montage-makers should study Vorkapich's work in "John Doe," for his understanding of tempo, angles, cutting and general treatment are exemplary. Neither too long nor too short, and without the use of any unduly "arty" artifices, these montages tell their stories efficiently and with a smoothness too often missing from run-of-the-mill montage treatment. Projection Gadgets (Continued from Page 176) nearly to completion of my task. The upper or supply-reel element already had a screw hole in the proper place, so a short bolt, a washer and a wing nut completed that section. The lower, or take-up extension required a hole to be drilled about a half inch from the end after which it was placed in position in a similar manner. (Figure 2). Using my regular spring belt for the take-up, I found that too much tension existed so I added a short length from the rewind belt. After a little experimentation, I found that an inch and a half extra seemed to serve perfectly.* Certainly I am now short a spring belt for the rewind but the lengthened one easily serves the purpose and as this operation is only completed at the end of a completed show, there is no loss. At any rate, with my new set-up, I feel that the fifteen cents were well spent. The hinge sections have a durable finish and besides, with the reels in place they don't show anyway. So now, I am off to a new adventure in smooth home movie shows with only half the bother formerly. Fewer cans and reels are now required and there definitely is a saving in stowage space, and when the cost of one 400 foot reel against two 200 foot reels is considered, a saving in cash as well will be noted. The old carrying-case didn't need any alteration at all. Merely loosening the wing nuts at the base of the extensions permitted them to be folded out of the way, and the projector slid just as easily into the case as always. (Figure 3). A small hook fastened to the case cover holds the new size take-up reel in place. In continuation on the subject of smooth home movie projection, an old radio cabinet or hiboy can be utilized to serve several purposes. The one shown in Figure 4 appears to be a radio. Formerly it was; however, Figure 5 reveals the true character of this piece of furniture in its present form. Projection-booth de luxe with turntable and pick-up for musical accompaniment with ample space for storing of equipment are some of its features. The speaker facing, (Fig. 4) slips out * Many dealers now stock spring belts in bulk rolls, by means of which it is possible to make up belts of any desired length. — Ed. revealing a small aperture for passage of the film image from the projector lens. The shelf holding the projector is fitted to slide in and out, and when in the latter position, the reels can easily be fitted on the spindles and the machine threaded without moving the projector from the fixed position determined by aligning strips about its base. After the projector has been prepared for projection, the shelf is pushed all the way in, neatly concealing the machine. Extraneous light from the lamp house is concealed by the surrounding cabinet and the operation of the projector isn't nearly so audible to the audience. The turntable is also a sliding shelf. It, too is pushed in when not in use bat slid out towards the rear when in operation. Twelve-inch discs can be used when in the playing position. When it is desired to play records I merely connect the pick-up to my radio by a long cable; place the radio near my screen and the evening's entertainment is lined up. If it is desired to combine the movie show with still projection, the top of the cabinet can be utilized for the latter. (Fig. 5). Much of the interior space can be utilized for storing of films and equipment. I have found with this particular arrangement of my projector that sufficiently elevated to project over the heads of a seated audience which happier arrangement than is generally found when using a table or stand f< the purpose. Figure 6 shows myT projector converted for use as a movie editing machine. A cardboard box, a vanity n ror from Mrs. Teorey's purse (hope s doesn't read this!) and a small piece o frosted celluloid contributed to the simple make-up of the viewing device. I fastened the mirror diagonally f the left bottom of the box to the outer edge using Scotch tape for the pur pose. The celluloid was then secured over the mirror to the outer edges the box with more tape. Using a safety razor blade, I cut a square opening in tl left side of the box for entry of t image from my projector lens. By focusing on the celluloid as deflected b the mirror I had a perfectly clear in.age of my film as it was slowly project* Titles viewed in this manner are correct from left to right for reading. frame examination at a splice, necessary in correlating action v one related shot moves into another iron a different camera position. I found it expedient to remove the condenser lens and set the heat screen of the project in an open position by means of a piece of wire. Removal of the condenser lens :>re vents the film from being burned, stopping the projector. I could view ii dividual frames for several minutes necessary with no harm to them, the matter of timing the action of one scene to another became an easy matte In the cut it will be seen that the viewing box is attached to the lower reel arm of my altered projector. END 190 April, 1941 American Cinkmatographer