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106 CINEMATOGRAPHIC ANNUAL
operated, and, in the case of incandescent lights, are far easier for the acTors to look into than are reflectors. Therefore, since most production managers are willing to send their units out with booster light equipment, it is always an excellent idea for the cinematographer in charge to avail himself of it, if for nothing else than the assurance of perfect, unfailing results, and longer, uninterrupted working hours.
But all exterior scenes cannot be made during the daylight hours; many times the script will call for sequences taking place at night.
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Fig. 21
Night scenes may be made in a modestly high key, like this scene from "Sunny Side
Up,"' if action logically permits.
In the old days, these scenes were photographed by day, but underexposed, and printed on blue-tinted film. This was all right in its way, but today, with the abundance of lighting equipment available, and the ever-increasing cry for realism, the great majority of night scenes are actually photographed at night. Aside from the natural inconvenience it usually causes the production personnel, this is a great advantage, for it permits the cinematographer to control the light on his exterior scenes to the very smallest degree, just as he does his interiors. Together with the lighting of an interior set, this represents the highest point of artistic cinematography, for it gives the cinematographer absolute control of every bit of light reflected from his settings and characters. Then, outdoors as well as in, he can use light and shade to their fullest extent in painting the pictures he wants.
Of course the lighting of a modern set, interior or exterior, has become a highly complicated task, particularly with the vogue of multiple cameras, and the modern technique of the moving camera, which makes the camera perform literally acrobatic feats in the course of