American cinematographer (Jan-Dec 1961)

FIG. 5 — Reproduction of three frames of 65mm color film representing the unique sequence in which Maria and Tony suddenly discover each other on dance floor. Almost everything else in the scenes except the figures of Maria and Tony are distorted, diffused, and the colors subdued. The ‘‘out-of-this-world" effect was accomplished by use of special distortion glasses properly positioned in the printer aperture. ing scene of the picture. (Fig. 2.) This we photo¬ graphed as a silhouette against a background of changing colors. As the overture progresses, during screening of the picture, through the musical numbers "Quintet,” “Tonight,” “Maria,” and “Mambo” — blending from one to the other through musical transitions — the abstract remains a silhouette as the colors change, until approach of the finale. Here the color change compliments a sudden shift in musical tempo and, through a slow camera pull-back, the title “West Side Story” is revealed (Fig. 3). At this point the foreground lights fade in, transposing the abstract itself into a magnificent aerial view of Manhattan Island — achieved through a smooth lapdissolve with the actual live-action view of the island by means of optical printing. To execute this rather lengthy effect, it was nec Continued on Next Page of contrast and chromatic distortion variations. Through the use of special photographic printing and processing techniques, we reproduced on motion picture film some of the artfully fascinating color effects previously found only in modern still photo techniques. Unfortunately, many of these experimental color effects proved too extreme for use in “West Side Story,” being better suited for use in sequences of fantasy and unreality. Nevertheless, a wealth of knowledge was gained through these experiments and it is hoped that many of the effects will some day be utilized. By modifying some of them, a number of interesting ideas evolved which were used in “West Side Story” and proved most effective in enhancing certain key spots in the picture. These are evident in (1) the unusual visual effects and main title which precede the picture during the overture; (2) a number of optical printing color effects throughout the picture itself; and (3) the sequence of credit titles which closes it. The camera set-up and the artwork used in pro¬ ducing the abstract pattern and picture title, which occupy the screen during playing of the overture, are seen in the photo on the cover. My associate, Cecil Love, and I are pictured checking the camera and other equipment prior to making a take. In my earlier discussion with Robert Wise, he indicated he wished something visual for the Panavision-70 wide-screen that would not be pictorial enough to detract from the overture music, and suggested the possible use of subtle color changes that would harmonize with the mood changes in the musical score. The abstract shown on the glass panel (above the main title lettering) was generated from the open FIG. 4 — “An almost abstract whirl of color and movement establishes the high-spirited atmosphere” ... as Maria is transposed from the dress shop to the gymnasium dance floor. Effect was accomplished by successive printing through three separation filters. Picture above is enlargement from unsqueezed anamorphic frame of the motion picture film. AMERICAN CINEMATOGRAPHER, DECEMBER, 1961 737