Exhibitors Herald (1927)

8 STUDIO SECTION OF November 5, 1927 ') ® Illustration No. 1, of Carlotti multi-stage patents. Following is explanatory of the layout: 1, 2, 3, 4, 5, 6 and 7 are stages of equal size; 8 is larger stage for spectacular sets; 10 shows closed doors shutting off that part of the stage to be used for purposes of construction or demolition; 11 are the doors opened, permitting the shooting of set or sets; 9 are all u ility shops, art, technical, model departments; 12 are sliding doors for cross shots; 13 are general offices, cutting and projecting rooms, scenario department, etc.; 14 are the wardrobe and dressing rooms, restaurant; 15 are the underground passageways connecting directly all stages independently; 16 are runways at either end of stage, this supplies all ends of stages independently through doorways 17. Carlotti Sees Elimination of Waste In New Studio Design Claims Decrease in Number of Rehearsals and Takes rP0 motion picture producers, and all others interested in the industry, who have been keenly engaged in seeking ways and means whereby a substantial reduction may be made in the production costs of pictures, in addition to that reduction which may be affected through a cut in salaries, the following will be of interest. To cut production costs' by merely reducing salaries is a matter of mathematics in its most elementary form, aiming in no way towards solving those problems whereby one may obtain the benefit of a full day’s work from all concerned with the making of pictures, from the director and star to the property boys. We do not mean to insinuate that any individual connected with the industry wilfully neglects to give 100 per cent service. On the contrary, one marvels at the accomplishments attained under present methods. Let any honest, open-minded, wide-awake producer survey studio conditions throughout the past 20 years, and if sincere, he will be forced to admit that our present modern up-to-date studios, still retain the same disadvantages' as those encountered in the early days of the industry : namely : 1. The grouping of different working companies on the same stage. 2. The annoyance and distraction to the director and cast of each respective company, resulting from such grouping. 3. The encroachment of sets. 4. The constant annoyance and distraction to these companies, caused by the constant clamor due to the erection and demolition of sets, the moving of lights, electric cables, vehicles, etc. 5. The trespassing across sets in process of shooting, by work By Charles J. Carlotti ing crews in order to deliver or remove lights, props, vehicles, flats or portions of sets, to or from any part of the stage. 6. The roaming and sight-seeing of the personnel of any company temporary idle. 7. The distraction to the working crews, due to the attractiveness of the cast or action taking place on any set in process of shooting. 8. Loss of time to working crews as a result of stop signals. These are but a few of the evils evident in all studios East or West, which serve to augment the production costs, which when removed, as will be shown, will bring about the saving of many millions of dollars to the industry. No rational thinking man could conceive of an author, artist or scientist engaging in their respective work, in any but a quiet and suitable surrounding ; yet, we expect a company to portray a death-bed scene on a stage shared with another company shooting perhaps a cabaret scene, amid the clamor of a set in process of construction or demolition, hammering, shouting, music, etc. Let anyone step into the boots of a director or star under similar conditions, and he will soon find it impossible to remain concentrated for any length of time on the story or scene at hand, resulting in : Mr. Carlotti’s description of his multi-stage patents is published with a vieiv of presenting to the trade all developments of neivs value. Publication does not imply the HERALD’S endorsement of this project. 1. A greater number of rehearsals. 2. A greater number of takes. 3. Cost of unnecessary footage of film. And in addition to the loss of time, cost of film and overhead to the company, the scene lacks sincerity and punch. If a company under these conditions can shoot any 15 script scenes per day, is it not logical and plausible that under ideal conditions that number could be increased to at least 18 script scenes per day, resulting in a 20 per cent saving in all company salaries, overhead and actual working time? Equally so the working crews confined to an atmosphere of workshop, totally segregated from the production department, would contribute to a substantial reduction through increased efficiency. The plans submitted by the Carlotti Studio Engineering Company of New York, and reproduced herein as diagram 1 and 2, completely eliminate all the disadvantages obvious in all studios East or West, by means of a patented studio structure, constructed along scientific and practical lines wherein every trade, craft and art utilized in the making of pictures are brought into full play for the entire working period without conflict, interference or distraction, totallv eliminating all lost motion, resulting thereby in maximum efficiency at a minimum of cost, time and personnel. Enumerated are some of the novel, and unique features protected by international patents, not to be found in any other motion picture studio structure in America or Europe. 1. By a series of multiple stages, and the method of shutting off that part of the stage when used for the construction or demolition of one or more sets, it makes possible the shooting of other sets or scenes in other parts of the same stage without the usual disturbance, distraction or annoyance