American cinematographer (Nov 1937)

November, 1937 • American Cinematographer 451 Enjoys Number of Advantages Over Other Types of Pickup— Productions May Be Created in Parts and Results Edited normal exposure the characters are poorly delineated. Figure 2 illustrates a different condition, but with the same undesirable results. Here the object of interest is a well tanned man set in comparatively white surroundings. The receiver photograph shows that too much is lost because of the dark tone of the man. In this case either the surroundings must be darkened by transluscent screens or the object of interest brightened by light from a reflector or booster light, if outdoors; or the obvious changes made, if on a set. With costuming’' under control, the surrounding women could be dressed in figured dresses with an overall darker tone and the camera aperture increased to retain the required overall tone. The second rule is: Carry detail in the halftones. The object of principal interest must be thus portrayed. Figure 3 is an example of where the background is too light, forcing the principals into darkness. Figure 3 is the other extreme; the outline of the man in a black tuxedo is lost against the black background drapes. (In this scene, the man was moving when photographed). The third rule is: Achieve “checkerboard contrast.” This is a form of composition in which, upon analysis, it is realized that the whole field of view is broken into alternate dark and light areas. The name originated because of the clarity with which a checkerboard was repro- duced, as held on the laps of two convalescing soldiers in a scene early in our work. It is not necessary that the various areas be of the same size or symmetrically dis- tributed. Figure 4 shows a closeup which follows this criterion with folds and stripes of a flag in the background and consequently reproduces well. Figure 5 shows the usual form that viola- tions of this rule assume^, a dark foreground and bright sky. The clear celluloid sky on this scene so overloaded the equipment that the general outline has been altered. An- other violation of this is when everything is a monotone of gray. Such scenes reproduce poorly and have a depressing psychological effect. Figure 6 shows a complicated long shot which reproduces well because of checker- board contrast. The bridge, the pontoon boats, the soldiers, shrubs and background trees all stand in contrast to one another over small areas. Figure 7 shows an interior according to the criterion except for the lack of contrast be- tween the man’s tux- edo and the seat of the cafe booth. This could have been established by top lighting to high- light the outline of the tuxedo. It will be noted that most of the poor examples used to illustrate other rules also lack checkerboard contrast. The observance of the criterion of checker- board contrast results in reproduced images which stand out in refreshing grandeur. The apparent detail often exceeds the capabili- ties of the system. The opposite, which might be termed “agglomeration,” produces the de- pressing effect which has been mentioned. The fourth rule is: Keep the overall gamma range small. This rule is frequently violated in taking personage shots on shipboard, as in Figure 8. Here a dark figure has been secured with a “clear celluloid” background. Such extremes encounter overload points in the several units of the television chain from pickup device to receiver screen. The effect is similar to carrying the contrast to the toe and knee extremes of the H-D curve in photography. Maintain Action Figure 9 shows a shot that was specially photographed for television. The contrast is definite from part to part, but the overall range is nominal. The fifth rule is: Maintain action. It is well established that the eye is used to reduce detail in objects in motion in real life. By the converse, scenes of limited de- tail, as in television, appear to be of greater clarity when in motion. Consequently, the principal characters should move, gesticulate, or talk whenever possible. Certain short motionless periods may be observed to avoid monotonous repetition of motion. Also, background elements may be moved during otherwise still intervals: an extra walks by or an auto passes in exteriors, while the pendulum of a clock moves or a window curtain blows in the wind in interiors. When inanimate objects are to be shown, motion of the camera can satisfy the rule. “Panning” is effective and desirable in scenic exteriors. Planning, “zooming,” change of cam- era angle, or traveling shots all supply variety in interiors and also may be employed in many exteriors. The illustrations cannot portray the motion (Continued on Page 482) Top to bottom: Figs. 1-A, 2-A, 3-A, 4-A. 5-A, 6-A, 7-A, 8-A, 9-A. The same scenes shown on the opposite page, as photographed on the screen of a tele- vision receiver 3% miles from the broadcasting station. »