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92 I 1XEMATOGRAPHIC ANNUAL
of this system better when there are numerous objects to match to a very accurate printing. To demonstrate this, I would describe a shot I made of changing Michigan Avenue in Chicago from a day to a night shot.
We took a day shot of Michigan Avenue with automobiles and pedestrians in busy commotion as only American thoroughfares can be, and had an enlargement made of it. I painted the enlargement of the day shot into a night effect and the match was so perfect that in a four-foot lap dissolve one could not detect any variation in form whatever. It was a rather complicated shot and here is the process we used. Day shot was duped with four-foot laid out. Into that we lap the painting of the city at night, and the automobile traffic was double printed in by using positive of a film we photographed on the local street which was exactly the same width and same elevation as in the day shot. The shot had to be photographed at dusk when the head-lights of the automobiles were on. The pedestrians on the side walk were printed in from the day shot as well as the lower part of the first stories of the buildings, with automobiles parked against the curb. Only those acquainted with this type of work can fully understand what it takes to balance the lighting and painting of these separate parts of a picture and what perfect mattes had to be used in printing hard edges of the automobile contours.
The enlargement comes handy when we have three or more exposures to be put into one picture. By making separate enlargements on the same piece of enlarging paper will give us perfect outlines to the mattes which are used for double printing as well as the connecting painting which is double exposed in. For instance, we had part of a boat built for the action of people moving about on deck which was backed up by painted backing. This was to be made into a picture of the boat cutting through ice in the Arctic sea, with the clouds passing by. We built the hull of the boat in miniature which matched the set boat built for the scene, and photographed it with speed camera, the miniature ice floating by. This was double printed into the original take, and painted to connect the two, and the rigging was doubly exposed afterwards. The real clouds were photographed moving in the proper direction, aided by panning the camera, and then double printed in, which required some fine matting.
Too much attention cannot be paid to the steadiness of the exposure, as the least movement in the film will cause a distinct movement between two exposures. The films should be measured so the perforations would be perfectly cut into the film when intended for matte shots, and the camera buckled down securely.
All the work should be done through a camera fastened to a title block fastened to a concrete pedestal.