The Cine Technician (1939)

197 T II !•'. C I N E-T K ( II N I C I A X Vlarch-April, 1938 Managing Director S. W. SMITH, of British "('«l"">' '« like getting your chocolates wrapped in , . II silver paper do they taste any betti Lion, tells our interviewer that colour is , ,, , As lor colour m britisn production lei us be reason not DOX-ofnce able aboul it. The British producer, making a film to S.W. wasted no words. He got down to bis statement s''" '" Britain, might spend E20,000 to '.■"■ perhaps n| opinion without any preliminary sparring. to get back just a working profit. Be cannot spend much "No, Sir. t'm not going to say whether or not I like more :m<l :lt lhat '"' lllllS, concentrate on what the colour films in preference to black and white. My main Public wants :IS lls main ingredient— the story, the concern is not with externals of the picture, but with the entertainment, the 99 Colour films are dearer to 'guts' of it— the story— the 99% of its entertainmenl produce. The extra cost, s,-»\ £5,000 to £10,000, n value. The odd 1",, .' ? Did vou over hear of a stir> ,*' make ll"' same quality film in colour, might spell film thai had a bad ston and was saved from being a Jllst tM<' difference between commercial success and flop because it was in colour? I'll bet you didn't! And commercial failure. We must work— and hard— for omit vou stay here all night telling me that the public goes market first. When we ve got that, come back again and to'see colour as such 1 still wouldn't believe you. The\ :lsk ""' wha1 ' ,lmik oi colour nlmsgo to sec and hear a ston well told. True, a year or two ago good colour had a novelty value, but novelty value can't last Sound was a revelation— colour is onh Paramount DiieCtOr, j. C. GRAHAM, SaVSIpart o| that odd 1%. 'lake "A Star is Born — the colour is there, hut perhaps it was good because the public were It the ston is poor, all the colour in the world won't not so conscious of it. It would still have been a good help it. It the ston, has the right locale, then definitely picture m black and white. colour is a decided improvement. MAKE-UP FOR COLOUR by H. E. HOLLEY, Hon. Sec, British Make up Artists Association TIM'', introduction of colour made the make-up man san, to see that it is well blended into the foundation quickh real:se that it would he more difficult to colour, and that it is faded away right to the lower correct certain features, such as dewlap, large jaw lashes. With eyebrows, too, care has to lie taken not to bones and bagginess, than is the ease m black-and overdo it. Whenever possible the natural outline is us white photography, in which colour to a great extent is but this feature can determine whether the face be used to "lose" such superfluity. Drastic changes and a drooped, lilted or broadened. In lengthening eyebrows, revolution of ideas were also vital for character work, and the same colour must, of course, he used throughout, and conferences (a word so beloved h\ film executives) would tidiness always maintained. The lips, in conjunction have to take place with the camera, make-up and ait with other features, must balance and give tone to the departments. whole effect. Rosebud or exaggerated bow lips are not Having been associated with man\ experimental advisable. colour systems, some good, others indifferent, the The whole work is now covered with a tine nYsh niajonty fantastic, li is difficult to say that ;m\ one colour col, aired powder, sufficient to give a matt finish. system is the best. Teehii loolour is the best-known, of Very little mascara or "spit black" is used, and prac course, tor the reason that America is doing most of the tically none at all on the lower lashes. Superfine hair. colour productions, but other colour processes on the mar find more delicately made false lashes in various shades ket have quite a good claim to recognition. have superseded the old heavy thick black types, and Although good materials are. of course, essential, the ai'e most essential for colour photograph.}. application is of the' greatest importance. The era of Space does not permit the explanation oi such details the Dutch doll and the pink-cheeked male is over. The as eye colouration, high and low lighting, the 'parading' present aim is naturalness < bined with the splendid of good points and the supression of 'weak' ones. I ho] , effects already obtained on black-and-white film. however, thai this article will give some idea of the new I will endeavour to explain the procedure of a, simple problems raised i>\ colour, and the way in which make-up straighl colour make-up for a woman. men are tackling them. A foundation of natural flesh colour (not too pink) is applied to all exposed parts, and care has to be taken to see that the texture of the skin is visible, provided, of FIFTH ANNUAL GENERAL MEETING course, the skin ts good ; otherwise a trowel ma\ have lo he used, For shading the eyelids, a mist} effect is A.C.T's Fifth Annual General Meeting will be held desirable, and is obtained with tin1 slightest touch of sky on Sunday. Ma\ 8th, 1938, at ^.nderton's Hotel. Fleet blue, grey, light green, or light brown. Hard lining of Street, E.G. 4, commencing at 2.30 p.m. livery member the eyes, unless definitely needed, is taboo. To enlarge is entitled to attend; in tact it is their dut\ to attend. the eves, it is advisable to shade under the lower lashes Please note the date now in order io avoid any possibility with ,-i ver\ soil brown or ere\ paint ; to extend them, a of it being overlooked, particularly as the confereni soft self-coloured pencil or paint is used. White or ven to he visited and addressed 1>\ Mr. II. 11. Elvin, President light paint is applied alone the ridge of Ihe lower lid "to oi the Trades Union Congress, an honour which the open the eye," thus adding to the sclerotic. Tin.' "cheek current President is seldom aide to confer upon affiliati I bloom" must be applied very sparingly, and care is neces societies.