The international photographer (Feb-Dec 1929)

Fourteen The INTERNATIONAL PHOTOGRAPHER August, 1929 Pertinent to Paramount Brulatour's, Inc., represented by Messrs. Blackburn, Hughes, Gibson and Courcier, injected some new high-lights in their development of Eastman No. 2 by being host to the P-F-L Camera and Laboratory boys at a big: "out-under-the-trees ' dinner at the Uplifter's Ranch on Friday evening, June 28th. Needless to say, production was at a standstill at the studio during the evening: (thanks to several directors) and film imperfections were at a minimum the following morning — sure ! Frank Garbutt and Ray Wilkinson never pass up bets like that. And the next morning, several of Virgil Miller's boys were still making "double-exposures" with a single lens and complaining that the ground glass in their cameras was "out-of-focus." It's too bad that lack of space forbids individual mention of the filmdestroyers and steak eliminators there assembled — Archie Stout still maintains that the mushrooms on his steak (s) were spherical aberrations — Harry Merland refusing a glass of water with the remark that he was thirsty and not in need of a bath — Bill Rudolph singing — Frank Garbutt dusting off his clothes — George Gibson's "won't you have another of this or that" (mostly that) — the clink of gl — I mean — funny noises — Courcier eulogizing DuP — -er — Eastman No. 2. And after the "eats" that old bromide (a word for the lab. men) about "Rolling bones gather no dross" emphasized the silver "high-lights" seen dimly through the film that some of the alibi-ers claimed to be Santa Monica "fog" — wish I had my silver (and paper) high-lights back! Anyway, if the aforementioned hosts can parallel their steak-dispensing efforts with film-disposing accomplishments, their work will not have been in vain * * * Charles Lang has been promoted to the supervision of the Milton-Arzner production, ably seconded by the following embryonic supervisors: Pyle, Pittack, Blackstone, Fapp, Wright and Martinelli. Henry Gerrard is studying color charts, rainbows, assistant cameramen's socks, second cameramen's new cars, and sundry other hues, in preparation for the Berger production now in preparation, which will be done in Technicolor, as well as in b.ack and white. Eddie Cronjager has been in "Fast Company" with Eddie Sutherland's baseball opus featuring "Skeets" Gallagher and Jack Oakie — I'll say that's fast company — "Skippy" Burgess held them down a bit, being self-appointed "sergeantat-arms" in charge of the "timing" squad. Eddie is now shooting with Mel Brown on "The Love Doctor," featuring Richard Dix. * * * Harry Fischbeck has been doing the pick-ups recently, while preparing for the next Clara Bow production, "The Saturday Night Kid," to be directed by Eddie Sutherland. Al Gilks feels like a school kid once more, as the picture he is now making centers about college life and football and "Lovers' Lane," and, well, whatever they do in college — + * * Vic Milner's efforts to survive the long hours in Mr. Lubitsch's "The Love Parade," are going to be crowned with success unless the unexpected happens, as he is nearing the middle of the production and has lost only ten pounds and accumulated only eight grey hairs above each temple. YOU CAN'T BEAT A SURE THING Brother Ira B. Hoke, while on location in the Sierras, saw the director of his company carefully pace the distance from the clubhouse steps to a certain stone. After dinner, said director led the conversation to the clearness of the atmosphere in the mountains, giving a deceptive impression of distance. He even offered to bet ten dollars that he could guess nearest the number of paces a stone he pointed out was distinct from the clubhouse steps. Brother Hoke obliged, and guessed fifty-six. The director stated that he thought the stone was thirty-eight paces away. "Oh hell," exclaimed the director as he paid the wager. "I would have sworn that rock was thirty-eight paces from the steps!" "Well," replied Brother Hoke," it was last night, but I happened to see >you pacing off the distance — and moved the rock." P. S. Brother Hoke is not working for the same director now. Designers of Tools and Dies Models Developed Barsam Tollar Mechanical Works CINEMA MANUFACTURERS 7239 Santa Monica Blvd. Hollywood, California Phone GRanite 9707 B. B. RAY SECOND CAMERAMAN t With Two Mitchell Speed Sound Cameras — Complete Equipment WHitney 4062 HEmpstead 1128 You Can "Double In" OUTDOOR ACTION BACKGROUNDS behind any intimate Dialogue shot on the sound stage, by using a PROCESS PLATE DUNNING DUNNING PROCESS COMPANY 1616 Cahuenga Phone GLadstone 39 59 for demonsrtation