Cinematographic annual : 1931 (1931)

Page scan 00088 from Cinematographic annual : 1931

Record Details:

Title:
Cinematographic annual : 1931
Date:
1931
Publisher:
Hollywood : The American Society of Cinematographers, Inc.
Volume:
Cinematographic annual : 1931
Leaf #:
00088
Language:
English
Subjects:
Motion Pictures, Motion Picture Technology
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
{"Media History Digital Library","Richard Koszarski","Jeff Joseph"}
Coordinator:
Media History Digital Library
Description:
Date Added:
June 20, 2024
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56 CINEMATOGRAPHIC ANNUAL his photography. Others — like William K. Howard, for instance — realize that, despite the use of dialog, they are still working in a predominantly visual medium, and that anything that either they or the cinematographer can do to heighten the visual appeal of the picture is just so much to the good. Every scene has its centre of interest. It may be the face of one actor, or of several; it may be merely a part of a face; it may be a hand or foot; it may even be some inanimate object — a letter, a pistol, a Lighting aids in focusing attention on the presence of the woman in the background, and upon the key in the man's hand. key, or a dropped handkerchief. Whatever it is, it is that feature which for the moment is most important in advancing the story. In any case, it is the key, not only to the dramatic situation, but to the photographic composition. If you build your composition upon that, and then build your lighting upon the composition, why — there's your picture! In building up your lighting this way, you first light this salient point (or points) . Get enough front and side light to give good