Close Up (Jul-Nov 1927)

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CLOSE UP Choke that baby you. . . yes with a nigger. Where are the blood pockets. . .diffuse these suns. . .shake them up. . There are two schools of hghting. The Continental school, and the American school. The Continental hghting, generaUy associated with soft focus photography, gives prominence to important objects and emplo^^s eldritch half hghts, while the American school seeks a uniformly ht, hard photograph. The camera man, who is not reciting Shakespeare, is probably of the 'straight' school, as opposed to the 'effect' school. He will dilate against the others, if you encourage him, and accuse them of choosing the easier path. "Queer hghts," he will begin, "aided by soft focus cover a multitude of things. The more difficult is the clear lighting like the early Keystone Comedies and ]\Iack Sennett productions.'' The others shake their heads sadly and say nothing, which shows more control than most directors on the subject of lights. They chatter incessantly and one or two go so far as to insist on their suggestions being carried out. "Well," as the electrician remarked, "it is aU in the day's laugh." The laugh for the electrician is long and loud. If he is detailed to work under the roof, to look after the top hghting, he has to work at a constantly rising temperature, never less than one hundred and twenty degrees ; v/hereas on the floor, he not only runs the risk of being electrocuted by unwdeldy lamps, but he comes under the direct sway of the camera man. There is a great deal of rivalry to be baked ! 39