American cinematographer (Jan-Dec 1959)

vainly to identify the Perfectone track. According to Ryder, Perfectone model EP6A recorders and associated equipment are now available for sale or lease, from Ryder Sound Services, also Magnetic Sales Corp., Hollywood, would match the Catfish Row scenes which were a part of the same sequence. The authenticity and realism that marks the entire photographic pattern of “Porgy and Bess” had its very be¬ ginning in this initial shot for the pic¬ ture — the opening scene of the fisher¬ mens’ return from work at the close of the day. Quite logically the scene ap¬ pears to have been filmed about sun¬ down — and it was, the object being to capture the warm, golden glow of eve¬ ning twilight. It was a cloudy day, and no filters were used. On the screen, this scene flows smoothly into the next — the exterior of Catfish Row, filmed at the studio. Because this opening sequence of scenes progresses from sundown to dusk, to dark, this had to be clearly obvious on the screen, Shamroy ex¬ plained in describing the photography of the production. “We accomplished the desired grad¬ ual change in the lighting,” he said, “by use of dimmer generators, which enabled us to precisely control the ratios of warm or cold light and inter¬ mix them.” “When we began shooting on the sound stage,” Shamroy continued, “I saw early that warm, subtly colored illumination enhanced the Negro play¬ ers and this more or less set the light¬ ing pattern for the picture, insofar as filming action on the sound stage was concerned.” The Catfish Row set and the adjoin¬ ing street, wharf and pier on Stage Five at the Goldwyn Studio were in many respects completely “practical” sets, with all the set components inte¬ grated so that most of the picture’s scenes — interiors and exteriors — could be filmed there in close continuity. Catfish Row, approximately a hollow square, measured 108 feet in each di¬ rection. An arched passageway at one end led to the Charleston street and wharf which extended an additional 140 feet, for a total length of some 250 feet. The prinicpal buildings were between .80 and 40 feet high. Here and Magnapix, Inc., New York City. These companies, also offer recording transfer service on 16mm or 35mm magnetic film, and 16mm or 35mm op¬ tical negatives — either variable den¬ sity or variable area. ■ were such practical interiors as Maria’s cookshop, Porgy’s room, and Serena’s home, plus partial interiors of six other rooms. Though the overall color scheme of the set suggested a mixture of tans, grays and muted tones, closer exam¬ ination revealed that yellows, reds, lavenders, blues and greens were also employed — and all had been given a careful “aging” effect” to convey a weathered aspect which Shamroy re¬ ferred to as “sunburned pastel.” One of the picture’s most impressive scenes, from a pictorial standpoint, is that of the crap game on the sidewalk just outside Serena’s room. The juxta¬ position of the various players, each carefully placed in the scene with re¬ spect to the colors of their raiment, and the studied lighting which Shamroy gave the scene combine to produce a rare and beautiful picture reminiscent of a fine painting. It is here, in this early part of the picture one senses that a rare and masterful achievement in cinematography is unfolding and feels its forceful impact for enhancing each player’s performance. To accomplish the lighting pattern, which Shamroy by now had settled upon for scenes to be shot on the sound stage, three power circuits were avail¬ able. “For each circuit, I had one to three dimmer-controlled generators,” Shamroy explained. “For a full day¬ light effect, I used the white light circuit. The other two circuits pro¬ vided blue and yellow light respective¬ ly. Where I wanted a sundown or dusk effect, I used a combination of light from the white and the yellow circuits. If I wanted the effect of nightfall, I took out the yellow light and raised the volume of white light and blue light together, with blue light predominating in the scene for night or ‘moonlight’ effects.” For example, at conclusion of the fight where Crown kills the man Rob¬ bins following the crap game, this ac¬ tion was shot in ‘cold’ light. Earlier, the cold light had been softened by yellow light issuing from open doors and windows of the buildings sur¬ rounding the square. But as the fight increases in intensity, and the citizens start to flee the scene, one by one shutters are closed and blinds drawn until the warm glow of lamplight is no more to be seen, and the whole set is bathed in an aura of faint blue light. When the murderous Crown flees, following the killing, and leaves Bess behind, she takes refuge in Porgy’s one-room shack. Here there is de¬ liberate sharp contrast between the cold exterior of Catfish Row and the warmth of Porgy’s quarters — where the lighting (ostensibly from a lone coal oil lamp) is soft and warm. Here, too, are many interesting lighting effects. The Police arrive, following word of the murder, and begin a door-to-door search. As Porgy hears their approach and observes the bright, probing beams from their flashlights, he snuffs out the light in his room and he and Bess hide in the semi-darkness to avoid question¬ ing. Here Shamroy displays an excel¬ lent change of mood in his lighting. The switch from the warm illumination of the lamp to the stark white of the flashlight beams filtering through the shutter slats is skillfully and dramatic¬ ally done and points up the mounting tension at this point. And when the police move on, the lamp again is lighted and the warmth of the room sets the mood for the romantic de¬ velopment that ensues between the two. Earlier, during the crap game, there is another instance of effect lighting worth mentioning. The over-all illumi¬ nation on the set, except for that com¬ ing from windows and doorways, is a faint blue-white. Then a woman carry¬ ing a lantern enters the scene. “Here I brought up the yellow light and also the blue light to heighten contrast be¬ tween the two to give the effect of the lantern light on the scene,” Shamroy explained. The lighting effect is subtly done and deliberately underplayed, and unless one particularly looks for it, the delicate change on the screen very likely may go unnoticed. Describing further the lighting of this sequence, Shamroy said: “As the fight between Crown and Robbins started, the woman with the lantern ran forward toward the camera. As she did so, I took the yellow light off the background, and now the light was warm in the foreground and cold in the background. There are now strong lighting contrasts in the overall scene — “PORGY AND BESS” — PHOTOGRAPHIC MASTERPIECE Continued from Page 477 496 AMERICAN CINEMATOGRAPHER