American cinematographer (Feb-Dec 1929)

November. 1929 American C i n e m a t o g r a p h e r Thirteen A. S. C. Research Committee Completes Make-up Tests AT THE regular October Meeting of the American Society of Cinematographers, the Research and Educational Com■ mittee, headed by Victor Milner, A. S. C, presented the results of its recent series of make-up tests. These tests are as a result of the general adaption of Incandescent lighting and Panchromatic films for studio production, and directly continue the famous Mazda Light Tests made by the A. S. C. in April, 1928. At that time, the need of an entirely new range of make-up materials was clearly shown, but due to the sudden advent of such amazing technical innovations as sound, natural-color cinematography, and wide-film, no concerted study of make-up was possible. The need, however, still existed, and was met by the development of an entire new line of cosmetics, termed Panchromatic Make-up. This is a complete range of make-up, every shade being a perfectly balanced blend of colors from the entire range of the spectrum, so blended as to create a beautiful flesh tone, which photographs practically the same under any style of lighting— incandescent, arc, or sunlight. The color components are so balanced that no matter what style of lighting is used, there is always a satisfactory balance of color, preventing the 'washed out' appearance so often noticed with the old style make-up. Furthermore, in this new line of cosmetics, the entire scale, from the lightest numbers to the darkest, maintain the same balance, eliminating the necessity of making separate tests of a subject each time the make-up is changed. The photographic values of the whole line are constant, and, as the steps by which the new colors are graded are in all cases alike, one need simply specify a makeup one, two or more shades lighter or darker than the one in question, and the problem will be solved. Moreover, this gradation is preserved not only in the greasepaints, but in the lining, lip-rouge, and powders as well. The lining-colors and lip-rouges maintain the same desirable photographic balance that the grease-paints do, while the powders are chromatically identical with their corresponding grease-paints. This last is truly an important development, for as most actors habitually powder immediately before each scene, with the oldstyle of make-up they progressively lightened their faces until by the end of the day they were entirely different from the original make-up; now, however, this continual powdering has no such effect, as the powder is an exact chromatic duplicate of the underlying grease-paint. The tests made by the Reserch Committee were made at the Tec-Art Studio, under as nearly as possible the same conditions met with in regular production. Strictly standard equipment was used throughout. The lighting was arranged with little attempt at modeling, and was practically identical throughout the entire series of tests. The subjects were chosen less for beauty than for the opportunities they offered for corrective make-up. In all cases the tests included identical views of the subject without make-up, with the old style, and with the new Panchromatic makeup; also, in some cases, direct comparisons of any two of these. The resulting films were processed under standard conditions, and as nearly uniformly as possible. Thus these tests very closely represent actual production conditions throughout, and as such they form a most valuable reference work on the subject of modern cinematographic make-up. Furthermore, the Research Sommittec, in cooperation with the Factor organization, is devising a convenient quick-reference make-up chart with which all A. S. C. members will soon be supplied, and is also cooperating in experiments looking toward the standardization of make-ups for natural color cinematography. These latter experiments are still proceeding, and their results will be announced in due time. Coaching Football With Movies THE movies have been growing increasingly familiar in College classrooms of late, and now Chick Meehan, famous coach of N. Y. U.'s football teams, has added them to his coaching staff. Pathe news has agreed to supply him with special prints of their films of each of his team's games, an arrangement which will be of great value in studying and improving the work of individual players. Rosher with Glyn London — Elinor Glyn is making her first talking picture at the British International Pictures' studio. Charles Rosher, A. S. C, is to direct the photography. Benoit, A. S. C, in France IS THE French cinema at last beginning to understand its resources? We have commented many times how much it would profit by turning aside from the worldly intrigues and society dramas to reflect more exactly the simple life, to clear the mind of human ills. The brutal, tragic Russian cinema and the touching sincerity of the young American school bring valuable lessons. But there are some among us who appear to be striving for similar effects. Messrs. Jager-Schmidt and Georges Benoit, A. S. C have just made a film entitled Fumes, in which the action takes place in the setting of the mines, and has for its hero a rough man and a melancholy young girl, individuals who are unknown to us and to themselves. Fumes, whose title alone indicates its unique character, will undoubtedly be one of the important productions of the coming season. It is interesting from many angles, and the conditions under which it was made are exemplary. All of the shooting took place at Bruay-en-Artois; it is probably the first time that a film of such magnitude has been made in the North country, and that, we think, is indicative of possible future activity in that district which is so far from lacking in cinematic locations. "We reached Bruay, August 11," I was told, "and the last scenes will be made about September fifteenth. We have had the great advantage of being able to make on the same spot both our exteriors and interiors. The apparatus, lights, etc., not being conveniently taken down into the mine, we put up in front of the old Bruay casino, a gallery fifty metres long, exactly duplicating those below, with its rails, tramway, turntables, telephone communication — a real marvel, from the plans of M. Becq, a young mining engineer. Messrs. Jager-Schmidt and Benoit have made all the scenes there of the work in the mine, and even staged a flood which gave a perfect illusion of actuality. "As for the other scenes, as you see, we have used the actual settings of the village and mines. The mine is our principal collaborator, and we have found the population very intelligent and picturesque types, such as those who play Cafougnette and the barmaid Simone Landreau, adding again to the truthful atmosphere of the picture. "The interiors have been made with the same convenience, as the Nord-Film Company has brought to Bruay a regular studio with a capacity of 200,000 cp. and can on this score rival the Parisian studios. We have here actually three sets: the main room of an inn, an interior of a miner's house, and the office of a mining engineer. This magnificent organization has saved much valuable time." The scenario of Fumes was adapted by M. Jager-Schmidt from a novel by Bupuy Mazuel, the author of The Miracle of the Wolves. The directors are not unknown. M. Jager-Schmidt was a noted journalist and is a very popular dramatist. We owe him notably Charley, Fredaine's Marriage, The French Doll, and now The Fortunate Family, which will be produced at the Odeon theatre during the coming season. His technical collaborator, M. Georges Benoit is a man who deeply understands his craft, having spent nearly twenty years in America, in the studios of Hollywood. "The shooting will be finished in a few days," I was told, "and the directors expect to complete the editing fairly quickly. Then the film will be shown by the end of November in one of the great theatres on the Boulevards." I left Bruay with optimism. All the elements material and intellectual had been joined to make Fumes a great film. It remained only for Messrs. Jager-Schmidt and Georges Benoit to prove to us their skill as cinematic artists. PIERRE LEPROHON, in Cinemonde FOR XMAS Give a Subscription to the American Cinematographer Al-VIN WYKOFF. A. S. C. president of the local No. 6 5 9. I. A. T. S. E., snapped while on location shooting "Out to Kill." starring Joseph Schildkraut. John Robertson is standing behind him.