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COMPOSITION IN MOTION PICTURES
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better producing organizations, since they are aware of the influence which good cinematographic composition lends to a picture, and insure themselves by retaining the best possible cinematographers, and by encouraging them to become familiar with story, director, and general conditions as far beforehand as possible. The cinematographcr must take these combined artistic, mental, and psychological factors and express them by a series of compositions which will match the various moods involved, and be pleasing to look at. To do this, he must be a first-class artist. His brush is the camera, his paints all the many factors by which he attains his compositions — people, sets, trees, houses, streams, "props," lights, filters, gauzes, diffusers, etc.
Knowledge
Fig. 3 -by Henry Goode. Attention is focussed on the book.
With these and his understanding of their use, he must paint a picture for the world to look at, enjoy, and criticize. His canvas is a negative film, upon which he must register his picture by proper exposure so that the positives can be printed for release throughout the world. His greatest handicap is the disparity between the tiny canvas upon which he paints and the vast ones upon which the world will view his creation. The individual "frames" upon which he composes his picture are but 7/8 " x 1", while the screens upon which his compositions are projected are as much as sixteen thousand times larger, so that as many as 6,000 people can simultaneously view his work. With this terrific enlargement comes a proportionate magnification of his efforts, be they good or bad. Unlike the artists who work with brush and canvas, and whose pictures need show but a single phase of motion, the cinematographer's composition deals with motion itself, and must flow and change, and still fit together with the smoothness of fine music. Therefore the necessity for thought in composing is immediately apparent.