Hollywood (Jan - Oct 1934)

-Wide World Mary Pickford and Primo Camera, heavyweight champion of the world, helped celebrate the fifteenth anniversary of Fascism recently in New York. Note Mary's diminutive size as compared to Camera's lighted, so that the shadows on him would be of the same intensity and in the same direction as those in the projected picture." The camera is set up so that the actor's feet are or the same level as the feet of his pictured double, and he is, of course, much nearer to it than is the screen, so that perspective makes his size correct. Expert direction and painstaking rehearsals enable him to gauge his timing so that his voice and actions synchronize perfectly with those of his screen double. Obviously, his body blocks out the original picture wherever he comes between the camera and the screen just as it would if he were in front of a real man instead of merely a pictured one. When grasping his "brother's" arm, there may be ten feet between him and the screen, but movie magic makes the flesh-and-blood man appear to touch the shadow-man. As he speaks, his voice naturally fills the snaces in the dialogue, and is recorded along with the reproduced voice as the new picture is taken. Here's Another example of ingenuity. Some years ago there was a magnificent spectacle, Old Ironsides, featuring the first battle between armored men-ofwar. The producers of this picture spared no exnense; they actually had twentyeight full size replicas of antique battleships built, each carrying a complete crew and real cannon. But when they tried to take the picture, it was found that no camera could catch enough detail when taking a shot from sufficiently far away to take in all the boats. It was a gorgeous, breath-taking spectacle — but it was simply impossible to film. So they called in a trick cameraman to save the day. "First they found a swimming pool about thirty by fifty . feet. Then they built a new fleet of ships, exactly like the originals in every detail, but only from three and a half to six feet in length. The cannons were simulated by blank cartridge revolvers, fired by electricity, and the movements, even to the sinking, of the boats were handled by means of strings fastened to their keels. The strings, as well as the wires to the guns, were concealed under the water. "As the battle was supposed to take place far out at sea, it was not necessary JUNE, 1934 to paint any shore scenery at the edge of the pool. They merely set the camera to take in only the water and the miniature ships in action. "The big ships, or parts of them reconstructed in the studio, were used as sets when close-ups of characters were shown. "But there was still a problem to be solved. The script called for the boats to be hit by gunfire — for masts to be carried away. They hired a few sharpshooters to stand on the edge of the tank with rifles, and when a mast was to be shot down, one of the marksmen shot it." "\Y/e Use Quite a lot of miniatures W now," the camera expert continued. Suppose we wanted to have a half-minute of action showing our characters in the courtyard of a towering Tibetan temple. You realize that it wouldn't pay to ship a dozen of them to Tibet, or to build a full size replica of the temple right on our lot. So we use what is known as a top miniature. "We build the temple set in full size, but instead of making it, say, a hundred feet high, we build it in complete detail — but only to a point about a foot or two above the actors' heads. Then we build the rest of the set on a scale somewhere between a half-inch and an inch to the foot. This miniature is very carefully made, so that its lowest part blends perfectly with the top of the full size set when viewed through the eye of the camera, and it is hung much closer to the lens to make it appear on the film in perfect proportion. We light the set and the miniature very carefully, so the shadows are matched in intensity and direction. "Top miniatures are gradually replacing glass shots, because they are much harder to detect on the screen when the picture is shown, and they don't give us as much trouble matching shadows, especially on outdoor work." Even Some Of the simplest scenes couldn't be taken without camera thaumaturgy, he said, and brought out a case to prove it. In The Big Pond, Maurice Chevalier and a beautiful girl came speeding toward •the camera in a fast motor-boat, with a lot of spray being thrown up by the bow WHEN SHES UPSET HE SUFFERS Constipation Drove Htf*!' Vt/llfi ma<^e ner feel cross, headachy; llvl ▼▼■■ VI half-alive. 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