International photographer (Jan-Dec 1934)

April, 1934 T h INTERNATIONAL PHOTOGRAPH \ in, Another way of bringing an entire building down is to make a complete wrap once around it with a heavy cable and securely fastening one end to a post or dead man. The other end is fastened to a heavy truck, which drives away and the cable literally cuts the building in two. The effect is tremendous, various parts giving way and the -WALLS Grips and electricians operating reflectors and lights, explosions, every little detail caught by the moving film with master photography in every frame. The sound engineers, with microphones mounted on booms and even carrying them in their hands, moving in close and back again to get the best results. ^P^^rLQOR Jo* sr, ■.,,,.'.....:. . ' ,'.A ■ 1"'-. l\\\ rytV/////////i> Wii/rLOOR JO.. \$?"''' /'V "X " ' '' ,ii" / \ \ "•■■ 7tTK FIGURE 1 sr/ter n-o*^ FIOUPE 2, /WM;www»/»r ^ V ymnmmi)mmiiminimimrm—ri jnnnamank fiCNtri FIGURE 5 sounds accompanying it are very real. The cameramen are plenty busy while all this is going on ; extra cameras are placed at every point where a camera can be stationed, some on high parallels on the very edge of a high breakaway wall, some behind walls to get the action of what the people inside the building see, as the w7alls crumble and leave them perched on the ends of the floors with the furniture sliding out the breach and into the street. Cameras buried in pits under the sidewalk, shooting straight up at caving and buckling masonary. Cameramen with Eyemos, seated in cars which are being driven up and down the devastated area, adding their part to the confusion of people and traffic, water shooting up from broken water mains, fire breaking out and deafening FIGURE 4 moving them quickly to help the cameramen "put it on the film" (studio vernacular.) Still photographers with an 8 by 10 still camera in one hand and a Graphlex in the other, getting the choice action stills, the kind that sells the picture to the exhibitors and the public. The director pushing signal buttons, waving his arms and making pantomime to the actors who, poor fellows, are scared to death for fear some falling object may not be timed just right. Oh, Boy, anybody who has gone through several of these earthquake pictures is entitled to be jumpy and jittery when he feels the earth tremble just a little. ACADEMY RESEARCH COUNCIL Samuel J. Briskin, Chairman of the Research Council of the Academy of Motion Picture Arts and Sciences, recently announced the full membership of the various subcommittees which are to carry on the cooperative technical program of the Research Council. Members of the subcommittees, selected for their technical qualifications and knowledge of studio practice in relation to the projects under way are : Subcommittee on Establishment of a Uniform Reel Length (1700 Foot Reel) J. M. Nickolaus, Chairman ; A. J. Geurin, J. J. Millstein, and S. J. Twining. Subcommittee on Improvement in Release Print Quality L. E. Clark, Chairman ; Gerald Best, Harris Ensign, J. G. Frayne, Fred Gage, Harvey Giffen, A. J. Guerin, E. H. Hansen, Franklin Hansen, Emery Huse, Michael Leshing, John P. Livadary, Hollis Moyse, J. M. Nickolaus, George Seid, Douglas Shearer, Theodore Soderburg, and R. C. Willman. Subcommittee on Revision of the Standard Release Print S. J. Twining, Chairman ; John Aalberg, Sidney Burton, Harry Decker, Lester B. Isaac, and Harry Rubin. Subcommittee on Establishment of a Uniform Screen Illumination in Studio Viewing Rooms John Aalberg, Chairman ; Emery Huse, Hollis Moyse, and William Mueller. Silent Camera Subcommittee Virgil Miller, Chairman; John Arnold, John Boyle, John L. Cass, William Eglinton, Bert Glennon, Lorin Grignon, Ray June, Kenneth Lambert, Grover Laube, Lewis L. Mellor, K. F. Morgan, Emil Oster, William ( (iontinued on Page 26) Please mention The International Photographer when corresponding with advertisers.