American cinematographer (Jan-Dec 1946)

NO CHERRY BLOSSOMS IN A FACTORY A Discussion on Photographing Educational Motion Pictures By WALTER WISE (Editor's Note: Mr. Wise is head ot Tradefilms, which has been producing both commercial pictures and training films for the armed services during the past six years. The author was previously with major studios as a writer for eight years; and his experience in the two fields of film production qualifies him to compare the mediums.) THERE is absolutely no doubt about it. In the next few years educational motion pictures are going to provide an increasing source of income to cameramen. There is also no doubt about another point. They are go¬ ing to earn every dollar they make. We all know that even in the theatrical field creative camera work does not al¬ ways receive the recognition or appre¬ ciation which it merits. If a cameraman hears some one gush that “Ennatrude Schlagenhopper looked positively rav¬ ishing,” he can interpret that as the ulti¬ mate compliment. Because, despite a slight tendency to nymphomania on Ermatrude’s part, very few people, con¬ sidering the world’s total population, have had a good look at her before Wheaties time. On the credit side of the cameraman’s ledger as long as he stays inside the studio he has the art department, make¬ up men, set dressers and all the related Cameras and lights must be adapted within space limitations when shooting factory training films. This illustration, in which the author is rehearsing a machine operator, gives far more latiutde for setup than is generally the case. Factory machinery to be used for photographing vocational training films should be either painted or sprayed with gun-metal paint for best results. crafts to help him. He even has the sweater manufacturers on his side for the benefit of audiences who can count up to two. In a pinch he can even call for a potted palm or a branch of cherry blossoms. But there are no cherry blossoms in a factory and sex appeal is not standard equipment on turret lathes or punch presses. Here the cameraman is on his own, without studio resources, often without adequate lighting facili¬ ties. All that he can rely on is his ex¬ perience and his ability. At first thought this might seem a harsh analysis or a result caused by conditions which need not exist. But be¬ fore you reach a final conclusion, con¬ sider the conditions for yourself. 1. Training films should be photo¬ graphed at the actual scene of action, even in cases where the equipment to be used is small enough to be set up in a studio. The background, the “feel of the shop,” is of major importance in train¬ ing for any skill. 2. In a factory you will seldom find sufficient clearance around your subject to place the number of lights you would like to use. 3. Low budgets are a constant buga¬ boo. This is not due to penny pinching on anybody's part. The revenue from training films simply does not permit large production costs. 4. And don’t let’s forget the little things such as camera-shy workers on the demonstration machine, uneven floors, low ceilings, cramped quarters and trying to make yourself heard above the gentle chorus of a battery of drop hammers. These are general conditions which apply to training films as a whole. But each new educational picture has its own problems. Speaking now solely from (Continued on P»ge 32) 16 January, 1946 • American Cinematographer