International photographer (Feb-Dec 1929)

July, 1929 T h INTERNATIONAL PHOTOGRAPHER Seventeen The Camera Battery An S. M. P. E. Transaction — N. Y. Contention, 1929. By KARL STRUSS, Local 65 9 Louise Lincoln A great industrial executive has recently said that there should be a woman in every business office — as a stabilizer and a deterrent. Well, there's one in the office of Local 659 and she is a member of the Union, too. Mrs. Louise Lincoln, as office manager and auditor, is a veritable three-in-one business woman, who by her ability and energy has won the respect of the entire membership. who care to write — mails are very infrequent, and letters are scare — so let 'em come. Best regards to Howard, and the rest of the gang. Fraternally and sincerely yours, CLYDE DE VINNA. EDGAR LYONS NOW PHOTOGRAPHING VITAPHONE PRODUCTIONS WARNER BROS. STUDIO WARNER NICHOLS CROSBY HE. 1128 SANTA MONICA 51450 WITH COMPLIMENTS Earl (Curly) Metz Assistant Cameraman In photographing dialogue or talkie pictures, there are various methods in use, depending mostly on the type of story being filmed. In this article we will discuss only the method that was used in picturizing "Coquette," on which four cameras were used for most of the sequences. Previous to the actual photographing, two weeks were spent in rehearsals of all the characters having speaking parts, and at the last rehearsal, the camera positions were determined with the cooperation of the director, Sam Taylor. The focal length of the lens that each camera was to use was arranged at that time, and notes were made of exactly what was required of each cameraman. The four cameramen were present at the final rehearsals and so were able to follow, with their finders, the complete action of the story as it progressed. The action was fairly continuous and the scenes ran an average of three or four hundred feet each. Whenever the locale or action called for a change, new camera set-ups were mapped out. In working out a line-up, the first camera considered was the long-shot camera, equipped with a lens of 35mm focal length, which obtained a record of the whole action from beginning to end, from the most advantageous position. The reason for using the 35mm lens instead of a 40mm or 50mm lens for the full figure shot, was to enable the other cameras with the longer focal length lenses, to work closer to the characters, and so, not have to use lenses of say, six, eight and twelve inch focus, with their shallow depth of focus necessitating very accurate measurement of the distance to the characters. The other cameras using lenses of two, three and four inch focal lengths were then placed to get the best possible view of certain portion of the scene closer up. All during "Coquette," the longest focal length lens used was the four inch, which at an average distance of about twelve feet gave a fair size close-up. Occasionally there were times when closer silent shots were made, which expressed reactions to the dialogue. Each line up required different combinations of lenses from various positions, depending entirely on the action and the positions and number of characters in the scene. Sometimes, the cameramen changed their lenses from one focal length to another in the course of a scene in order to adapt their set up to some change in the grouping of the chracters. These changes, of course, were always made at definite times in the action or on certain cues, while the full scene was being covered by some other camera. Each camera was so placed, that when it was used, the best angle of the action was ob tained, and the characters were lighted accordingly. The advantages of photographing with more than two cameras at the same time are numerous. The actor's action can build up to a climax to much better advantage; the lighting can be arranged to cover the action for all the cameras; the photography can be more uniform and a more even negative secured; and the sound track, likewise, will be of better quality and of less variable tone. The scene as then photographed is a completed picture. To facilitate and speed the actual photographing, the chief cinematographer on "Coquette" supervised the lighting for all the cameras; for, knowing the problems, set-ups, backgrounds and lenses of each camera, he could more quickly judge and decide what was the best advantage of all, and he was not hampered by having to give his time to the detailed attention required to manipulate a camera. Remaining outside of the booths in this way is of considerable advantage to the director, as it enable him to have first hand and immediate information on any photographic problem that may arise from time to time. The longest scene photographed in "Coquette" was the complete scene of the trial, which recorded the testimony of Miss Pickford, and on this, six cameras were used; the actual footage being nine hundred ninety feet for each camera, the duration of the scene taking eleven minutes. This was quite a test for all the actors to know their parts letter perfect, as well as for the cameras to follow the action without a false move, and it speaks well for the organization and cooperation everyone gave. By being able to photograph all the action simultaneously with six cameras, and from six different viewpoints, it was possible to complete this scene, originally scheduled to take five days, in the short space of two days and without any rush. The diagram and illustration accompanying the paper, showing objects and areas covered by the various focal length lenses did not arrive in time for publication. THE STORK REPORTS Mr. and Mrs. Teddy Tetzlaff are the proud parents of a fine boy, born June 18, 1929. The entire Local and their families extend congratulations to the happy parents. The more you know of the good that is done by demanding the union label, card and button, the more insistent you will become for them. o Help the Union Shop by purchasing its products.