International photographer (Jan-Dec 1934)

May, 1934 The INTERNATIONAL PHOTOGRAPH T. K Nine This is the painter's incentive to creat his masterpiece. Then the contrast between the beautiful girl on the posing stand and the rough outline on the canvas, through to the near-finished masterpiece in paints and the slowly withering human form nearby, is emphasized. The climax comes when the painting is completed, and the tragic contrast between the portrait which is "life itself" and the dead figure of the girl on the floor. Then back to the chateau we go where we find the old man finishing the narrative. He gazes at the oval portrait hanging on the wall, his eyes now dimmed with tears. His hand slowly raises to a chain around his neck and we discover (if we haven't already guessed it) that the cross at the end of the chain is the same one that years ago was given to the painter by the maiden. Here our story is done, and to finish, still in the Poe mood of story telling, our camera leaves the stranger in bed and travels to the windows where "outside the storm rages on." To produce a story like this, simple as the idea is, would be quite out of the question for the majority of amateurs unless they received the co-operation we did. This picture had to have the touch of professionalism or it could never have been satisfactorily done by amateurs. A studio to work in was vitally necessary and if Metro-Goldwyn-Mayer Studios had not graciously allowed us to shoot on two of their stages, "The Oval Portrait" would still be a myth, as it was over two years ago when I submitted my adaptation of it to a northern amateur movie club for production. It was rejected due to the fact that it was much too difficult, and could never in the world be made with the talent and facilities of the northern club. So, "The Oval Portrait" was pigeonholed for the time being. But when I entered the University of Southern California and majored in Cinematography, I slowly but definitely became aware of the advantages and facilities which the University could offer an amateur production organization. Here was assembled and studying (out of books, however) a group of picture enthusiasts eager to gain experience on actual production. Here was a University with perhaps the only real separate department of cinematography in the world. Here was Los Angeles, the heart of the motion picture industry. Here, and only here, could be made a motion picture drama, purely amateur, yet with professional facilities. Perhaps the most important function of the amateur production company is organization. Unless the wouldbe directors, cameramen and actors are brought together co-ordinately and in harmony, a picture will never result, and if started probably will never be finished, rather dying the death of so many amateur movies, that of disagreement and lack of administration. In our case, the first thing we did was to assemble a staff of competent workers, who didn't feel as if their services were rendered as a favor to someone. We tacked a chart on the wall in our "office," which outlined the departments under which persons worked. The executive department, with the supervising director as head, had direct control over three sub-departments, the camera, technical and directional departments. Emerging from these three were the individual positions of all the co-workers on the picture. For instance, the head of the camera department had control over the electricians, assistant cameramen and still photographers. The technical department head had direct supervision over the script clerk, assistant directors, property man, technical director, research director, art director and publicity director. The directorial department had under it the cast, the film editor and the musical scoring director. In this manner was the organization of "The Oval Portrait" prescribed. Casting was difficult. Many weeks were spent in searching two campuses for a leading woman. Screen tests were taken of three debutantes, but none filled our critical requirements of "sweet maidenly beauty," yet possessing true acting ability. The one finally selected for the part was neither tested nor recommended, but was instantly decided upon as being the one and only type. Foot after foot of celluloid may be wasted in screen tests for those applicants who are doubtful, but when Richard L. Bare, Supervising Director and Chief Cine matographer, Dept. of Cinematography, University of Southern California. the right person for the part comes along, his or her fitness is sensed and screen tests wouldn't tell you more emphatically. Inasmuch as we are undertaking the production of a period costume drama (French, 1880) considerable research was necessary. This duty was entrusted to a student better qualified than any of the others, as she had traveled all over that section of Europe and could advise us accordingly. Information regarding the authenticity of costumes and styles was dug up efficiently and promptly upon some such demand as "What does an 1880 French postman look like?" or "Does it snow in France?" The job of research director is probably the most thankless of all, because if you are correct in every detail your work is not noticed, but the minute you slip up on some minute point, you may never hear the last of it. One way to insure a better picture, whether amateur or professional, is to shoot a lot of film. The more waste on the cutting room floor, the better the film on the reels. We had lots of waste on the cutting room floor, if that means anything in our case. Over 8500 feet of negative were shot for a picture originally intended to be a single reeler. But as the shooting progressed and the enthusiasm became more intense, it was decided that to justly tell such a story cinematically, the picture should be at least two reels in length. Well, when the first cut was ready, with titles, inserts, etc., all in, it was found to be complete in four reels, not counting several sequences scratched out of the script. The story was there, but when told in this length it lagged quite obviously, so it went back to the cutting room for more trimming. Unnecessary sequences to the plot of the story were temporarily stricken, while all the scenes in general were cut a little closer in order to quicken the tempo. Tempo is the most important thing in cutting, and vested in the realm of this little art, is the success or defeat of your picture. (Turn to Page 24) Please mention The International Photographer when corresponding with advertisers.