International photographer (Feb-Dec 1929)

Thirty-four The INTERNATIONAL PHOTOGRAPHER September, 1929 The Qolor Qamera Outdoors The history of Hollywood could be written around the motion picture camera, iust as vividly and dramatically as the cinema film unfolds to the world pulsating human stories, powerful spectacles and events of interest that take place in the remotest corners of the globe. A new chapter has been added to this modern romance of our mechanical age. And William Rees, of Local 659, one of the youngest directors of cinematography in the industry, plays a leading role in this newest romance of motion picture photography. Color photography, developed by Technicolor, is an interesting chapter in the fascinating advancement of cinematography. The production of feature length talking motion pictures filmed entirely in natural color is hailed as the most important individual contribution to the screen since the movies first acquired a speaking vocabulary a little over three years ago. Although color has been known to the screen for many years it is only within recent months that it has acquired outstanding importance in film manufacture. To the Warner Brothers is given credit for the first all color talkie of feature length ever to be shown, "On With the Show." However, an all talking all color feature, produced in the great outdoors, presented new difficulties never before encountered by producer, director, players, or cameramen. Once again the Warners pioneered in making "Under a Texas Moon," featuring Frank Fay, Myrna Loy, Racquel Torres, Armida, and others, an all color, all talking special filmed in natural locations. William Rees was assigned director of cinematography. Michael Curtiz, who made "Noah's Ark," was entrusted with the direction. With cast and story ready for production Curtiz and Rees chartered an airplane. From the air they traversed practically every square mile of Arizona in search of suitable locations. For three days they looked from the skies down upon the wilds. But their quest was fruitless. Finally Victorville, Red Rock Canyon and Palm Springs Canyon were selected as suitable spots. The coloring of the land and rocks lent themselves admirably to color photography. In addition, huge sets were constructed on the Warner Ranch, formerly the Lasky Ranch, where a major part of "Under a Texas Moon" was made. The first day's shooting brought about a revelation in motion picture photography. Rees and his staff of assistants learned many things and their ingenuity is responsible for innumerable difficulties being over come. In the first place, color makeup on the players went under stringent tests. As there were several white characters in the cast, the majority of whom played dark skinned Mexicans, a contrast in BY GEORGE BARR BROWN complexions had to be maintained. This was accomplished by throwing more light, by indirect means with either reflector or lamp, on the faces of those enacting Mexicans. Their color tones were, therefore, registered heavier on the color film. Variation in angle of the sun's rays brought about unforeseen problems. As the sun gradually sets in the west its rays strike tiny particles in the air causing a red "overcoat," which is a distinct vermilion glow even noticeable to the human eye. This red tinge distinctly registers on the color film, throwing a reddish haze over the entire picture. It was impossible, therefore, to photograph with sunlight late in the afternoon. Rees found it possible, however, to continue work by the use of a large black silk overhead diffuse. The complete elimination of direct sunlight did away with the red "overcast." In other cases, he found it advisable to throw in a few incandescent lamps in addition to the overhead diffuse in order to insure photographic matching. In other cases, also, old Sol played havoc with established motion picture traditions. With the changing of shadows on rocks and other natural backgrounds, the cameramen found more food for their inventive minds. They could not linger with the taking of such scenes, as the colors of the rocks and surrounding country changed with the moving sun and shadows. Speed was necessary. When for any reason, the takes were not satisfactory, and the scenic backgrounds assumed different hues than formerly photographed, it was up to Rees to improve on Mother Nature herself. In these cases, incandescents took the place of the sun. However, they had to be placed exactly as the sun itself formerly shone on players and backgrounds. No little maneuvering of the special Technicolor glass, monotone filter, was necessary to match incandescent lamps with the sun's rays. This was not the only case where man improved on nature or moved the old Dame about to comply with his needs. It was found that nature made no mistake in choosing green as her basic and most prominent shade. Technicolor reproduces green and blue-green in gorgeous hues, but no definite and distinct individual blue registers itself. Hence the studio painters did themselves proud with green paint. Like the artist who painted the lily, they painted the desert palm trees a vivid green. Other brush and shrubs was tinted with the painter's green as well. Constantly by the side of the camera tripod, a standby painter remained at the beck and call of Cinematographer Rees. It was necessary to keep him on hand as many time spots had to be touched up, trees given a delicate daub here and there, and many unsuspecting places revealed themselves in the monotone filter. Oftimes as many as six cameras were lined up on a single seeting. Each revealed defects in coloring that the other did not pick up, and the painter in such cases worked overtime touching up places in respect to each separate camera. Even brightly colored flowers were planted in the desert scenes to add lusler to the desolate wastelands. Various shades of purples, as mauve, lavender, orchid, and so on, do not register, it was discovered. Whenever these tones are used, either in costumes or sets, the result on the negative is a muddy gray. Nature's fickleness in her changing moods, caused Rees to resort to other artificial methods on numerous occasions during the making of "Under a Texas Moon." Many times it was necessary to cut out all sunlight entirely. Artificial lighting was found, at certain times of the day, to facilitate more even tones of colors. This was particularly true with "closeups" of the players, where even shades were demanded for each type throughout the entire production. But even the incandescents presented their problems. The strength of the illumination could not be too hot or too soft. A happy medium was needed. If the lamps were too soft, the quality of the color suffered. If they were over hot a white streak greeted the eye in the projection room, instead of even color tones. In back-lighting "closeups" particularly, the players had to be lighted with infinite care so that the light rays were not too hot to produce a white light streak. While the heat in a talkie camera booth is hot enough for any desert sheik, sufficient lamps to illuminate a color scene causes almost unbearable heat upon the players. Here Rees was able to make things comfortable for the artists. When shooting at the Warner ranch, he was forced to use sets of incandescents. Aided by the summer time heat of California's sun, a high temperature was generated. So, Rees ordered his electricians and grips to organize an indirect lighting system. By focusing the lamps on reflectors, rocks, and even light pieces of cloth material, the heat of the lamps was greatly decreased while little of their illuminating power was wasted. So far as photographing such an outdoor sound picture as "Under a Texas Moon" is concerned, there is little difference in regard to synchronization except for a few isolated instances peculiar to color cinematography. Color cameras, which make a far greater noise when in motion than an ordinary black and white camera, must be placed in special booths. The newer blankets, "bungalows," and boxes over the camera head, do not furnish sufficient sound deadening for the sensitive microphones.