British Kinematography (1948)

59 The personal comfort of the location crew must be looked after — on my two forthcoming films, for example, a mobile canteen is being provided close up to the cameras. It is necessary for the crew to be prepared to start work immediately on call ; the sun may shine for only six minutes, and in that time, they may have to get in five minutes' shooting. Director, Editor and Producer The editor must be constantly with the director from the beginning, from the planning of the film ; he must get into the director's mind and know the kind of film the director wants. In the editing he must assemble the film as the director has tiied to shoot it. The prime duty of the director is to take responsibility ; his must be the last word on the editing ; his must be the decision as to the suitability of the music. Only in the case of a clash should the matter be referred to the producer. A good producer can inspire the. director, but he should not interfere during production. The best way of settling a diversity of opinion, is by means of a sneak preview. Even though the audience may give no visible reaction, one can feel in a second their feelings. DISCUSSION Mr. B. Davidson : To what extent do Mr. R. H. Cricks : Does Mr. Elvey you think pre-planning can be carried ? think low-key lighting is essential for artistry ? It may be popular in the West End, but in a kinema with 2 foot-candles on the screen, it is very unpopular. The Author : Yes, certain subjects could be photographed in no other key. Mr. C. Wheeler : I am glad the question of speed of production has come up. If we go back to the pre-war period, I think you will find that there was a certain drive that carried along the tempo of shooting ; that drive came from the top — from experienced directors, cameramen and so on. Do you think that realistic sets are necessary for good ac ing ? The Author : A great deal of preplanning of lighting could be done ; if the mood of the picture has been decided upon, the general lighting of almost any shot must be similar. My experience has been that actors are not really affected by the background. Mr. T. S. Lyndon-Haynes : Can Mr. Elvey tell us why working is slower than before the war ? The Author : If I could answer that question, I would be a very clever man. CO-ORDINATION OF BRITISH AND GERMAN STANDARDS The co-operation existing between British, American and French standardising bodies was carried a stage further, when a joint meeting, held on January 30th, of the Photographic and Kinematograph Industry Steering Committees of the British Standards Institution was attended by Dr. Frank, Director of the Deutscher Normenausschuss. From the point of view of kinematography, the most important of the photographic subjects discussed was that of emulsion speed ; it appeared that the differences between British, American and German methods of measuring and expressing speed were not important, and could no doubt be reconciled. Another matter discussed was the standardisation of lantern slides. In the field of kinematography, a large number of British and German standards specifications were briefly reviewed, and arrangements were made for the reciprocal study of the specifications by the appropriate committees of the two bodies. The subjects covered fell under the following headings : Dimensional standards of film ; Features of film {e.g., standard leaders) Screen brightness ; ; Projector lenses and fittings ; Electrical equipment for kinemas and studios. Practically the only German specification not matched by a corresponding British standard was one relating to arc carbons. General matters discussed included the extension of the Universal Decimal Classifications for kinematography, and the desirability of a wider use of English or metric dimensions throughout the Industry.