American cinematographer (Feb-Dec 1922)

December, 1922 THE AMERICAN C I N E M A T O G R A P H E R Seven In Ttlerru England^A Holiday Feast An Example of the Massiveness of Setting Which Udeson Was Called on to Record. The Torch Effects Were Gained by Pining Natural Gas Through a Wad Soaked With Turpentine and Alcohol. — Stills by Chas. Warrington IDhat Photography Means to 'Robin Hood1 ^ —as viewed bij the critic Rigorous critics apparently have formed a consensus of opinion that "Robin Hood" has ushered a new era in motion picture production. Douglas Fairbanks has been unanimously praised, not only for daring to produce on such an elaborate scale, but for bringing his efforts to consummation. Whether the fact is generally known or not, Arthur Edeson, a member of the American Society of Cinematographers, is responsible for the photography in "Robin Hood" and, in being so responsible, contributes in a major degree to the success the picture is enjoying. Without efficient photography, what would "Robin Hood"— even with the artistry of Fairbanks and the others associated in the making of the production— have been? In the instance of this vehicle as well as in all others, the success of the finished product hinges on co-operation and cinematography; and "cinematography" is meant to include composition as well as the arrangements of lighting effects. Best of Career Edeson's work in "Robin Hood" is regarded as the best of his career — which is a testimonial in itself. His achievement is not an over-night affair, but is the result of many days and nights of conscientious endeavor — plain hard work — during which he called to the fullest on his wide experience as a cinematograhper. Art critics who have complained hitherto that motion pictures lack composition in the artistic sense of the word Arthur Edeson's photography is reckoned ^ as outstanding element in success of . Fairbanks masterpiece. Importance of cinematography proued once more. will do well to view the A. S. C. member's work in "Robin Hood." Edeson is authority for the statement that it was his aim to film each scene as a master artist would paint the scenes in question; hence the results attained. But what the artist would accomplish with the dab or the stroke of a brush in bringing out highlights, halftones and shafts of light, required on the part of Edeson, hours of thought. The artist's canvas measures several feet either way; the A. S. C. member's canvas was the largest sets ever constructed. New York newspapers comment on the marvelous effects of the castles in the produtcion. It was due to trick photography that the castles appear, proportionately, three times higher on the screen than they actually are; and, as any one who has passed along Santa Moncia boulevard in Hollywood knows, the castle set towers so high that it is visible for many blocks. Low Foreground How did he effect such tremendous height? When questioned on the subject, the A. S. C. member laid emphasis on the use of the low foreground in contrast to the natural height of the castle and towers. It was here that composition in all its importance was brought into play. Light and camera angles had to be studied minutely, all of which required fast thinking. Imagine the difficulties and the hardships which confronted Edeson in the filming of this production. There