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Alarch, 1951
morahan: trends in art direction
81
only way of securing these shots. In the last two years models and foreground miniatures have figured only occasionally in our productions. This coincides with the fact that the cost of production has had to be brought down. Glass shots and painted cutouts still find application, whether they are lined up and shot at the same time as the set, or are matted in after, the latter requiring the minimum of time and labour.
On the production now in hand, 'r The Man in the White Suit," it was intended to shoot plates for stereopticon or back pro
Fig. 4. Plan of Mobile Studio used for " The Magnet."
(Courtesy of Ealing Studios, Ltd.)
In the new process the foreground action is shot in the same way as in the Dunning process, against a backing lit by blue light, the artistes and set being lit by yellow light. Two films are exposed in the camera, the yellow-lit foreground being recorded on a panchromatic film, and the bluelit background on a blue-sensitive film; the latter produces a silhouette of the foreground image, and in the optical printer is used as a travelling matte. A feature of the process is the complete absence of fringing around the matte.
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jection and to find locations for some of the exteriors in Lancashire, but owing to the time of year, it was found impossible to get good results. Foreground models and model backings have been utilised.
The Split-beam Process
The travelling-matte process7— one version of which, utilising a beam-splitter camera, is the subject of a demonstration film made by the J. Arthur Rank Organisation8— enables backgrounds, interior or exterior, to be shot without artistes, as in process projection.
The place of the Art Department in this process is that all the shots have to be very accurately worked out. The Split Beam process has been used at Ealing on the last two productions, " The Lavender Hill Mob," in which some of the scenes took place on the Eiffel Tower, sections of the lift, the spiral staircase and the terrace and cafe being built in the studio and the background only shot in Paris; and on " The Pool of London," where this process was used for shoFs of a man suspended and then falling down the shaft of the Rotherhithe