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COLOR AND THE WRITER
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commercial color processes now in use, should certainly attempt to form a pretty accurate idea of their scope, as well as their limitations. For instance, color pictures which depend for their effect upon outdoor sets will be of comparatively little value to studios using a color process which cannot obtain good blues in sea and sky. On the other hand, a story which emphasized bright red settings or costumes would not be adaptable to use in a studio which had adopted a two-color process with orangered as one of the primaries.
Again, it would be foolish nowadays for authors to lay the scenes of their picture stories in drab, dull settings in which color is out of place. Stories with unusual and striking color possibilities, which are nevertheless within the scope of the color processes described above, will certainly have a much greater chance of purchase than stories lacking these color potentialities.
If a writer can understand the present use of color in motion pictures, he should then be able to visualize original and pleasing color effects in connection with his major scenes and characters. In writing musical comedies or revues, or in submitting original ideas for pictures along these lines, practical color possibilities should certainly be included in the story or idea submitted. Revues and ‘‘girl shows” with sound will depend more and more upon novel color effects for their ultimate box-office values.
EMOTIONAL VALUES OF COLOR
In general, we may say that any color in a picture greatly enhances the total emotional effect of the picture. This has been demonstrated in many different fields