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FROM "FADE-IN" TO "FADE-OUT"
Big scenes are taken from every conceivable angle. Here the camera man operated his machine from a distance by electricity to "take" an automobile breaking through steel gates.
the results of a production depend upon him. No matter how good a story a feature might have or how well directed it might be, if the photography is bad, the production makes a poor impression upon the public.
On the other hand, a feature might be lacking in plot and move along slowly, but if the photography is good and the cameraman has new and beautiful effects, the production is saved.
The cameraman usually keeps the film under his supervision from the time the negative is put into the camera until the positive is ready for release.
He must know lighting and color values. If he is clever, he can make a cheaply constructed set look like a richly furnished one by knowing at what angle to film it. He has to study the star or featured players and know how to point the camera at them for the best results.
Then, too, there are various methods of photographing with
soft focus. Many cinematographers will misuse that trick. So the man at the camera must know artistic values well enough to use his various tricks to advantage.
When his day's negatives are turned into the laboratory, he watches them in the de
The rough edges of this set, such as the ends of planks in the foreground, will be conveniently trimmed off by the camera lens.
veloper to see that they are taken out in time and that all of the carefully lighted footage is not all thrown in together and developed by one formula.
In some studios they do not allow the cameraman to superintend the laboratory work on the film, but these plants turn film
Rupert Hughes and his staff about to start "shooting."
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