Cinematographic annual : 1930 (1930)

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r>4 CINEMATOGRAPHIC ANNUAL etc., — the cinematographer's work is immeasurably easier and faster. Another aid is that offered by cast shadows, which also serves to separate the planes one from another, and to separate furniture, and the like, from the walls and floor. The effect of roundness is secured through the judicious use of highlights. That is, placing little spots of light at the right points on curved surfaces, to accentuate the curve. Highlights are inevitable wherever there are curving surfaces — they are one of the chief natural aids to the visual perception of roundness — and the trick of placing them where they will do the most good is an important part of the cinematographer's art. For instance, if a set contains an archway. Fig. 3 An example of 'Impersonal" lighting from 'The Love Parade.'' Notice that the lackeys are as favorably lighted as the stars. with columns, etc., the columns can be made to seem round and natural if they are highlighted from one side or the other. The proper highlighting of arches not only gives roundness, but also depth. Similarly the highlights on furniture can serve identical purposes. This is especially true of the lower parts of the furniture — table and chair legs, etc. — which can be separated from the surrounding floor and wall surfaces and made to appear solid and threedimensional by means of intelligently-placed highlights. Of course the players should receive the most attention, as they furnish the principal interest in any picture. The sets should always be subordinated to them. As far as the players are concerned there are two kinds of pictures: one is the "star" picture, in which everything is subordinated to the "star"; the other is the "all-star" picture, in which no member of the cast is deemed superior to the story. These two types of picture require different types of lighting: the