International photographer (Jan-Dec 1935)

Thirtytwo The INTERNATIONAL PHOTOGRAPHER March, 1935 An American Cameraman In English Studios To the Editor: I was signed last March by London Films, Alexander Korda's organization, to work under N. Herbert Mann, who is chief special effects technician for London Films. Since the motion picture production world already had known of Ned Mann and his many outstanding contributions to trick photography I need not introduce him further, although I should like to state that in my many years connection with the miniature and various other trick elements of production never have I seen such combined perfection in a special effects department. Furthermore, I have never seen such a huge outlay of equipment and such large miniature sets. These sets have taken months to construct and many months prior to design. I have not the authority of Alexander Korda to describe these sets in detail, but if I had the right to do so my story would prove most interesting. Every mechanical device and photographic effect known to modern production is being used by Ned Mann. For the first time in picture production I feel safe to state that more methods of composite and foreground production have been employed than ever before. Mr. Mann's job in England has not been an easy one, since most of his organization and equipment had to be built from the ground up. Building a set in England is not exactly like building one in Hollywood, where, over a telephone, one may contact any type of trained motion picture mechanic at a moment's notice. Practically all of Mann's crew had to be trained for their particular jobs. This was very difficult and a time taking procedure. Fortunately, Mr. Mann has had the co-operation of his "Number one man," Lawrence Butler, formerly designer and builder of many Hollywood miniature sets. Mr. Korda has a swell organized staff, most of whom are long-term Hollywood technicians. For the H. G. Wells (Korda Production) "The Shape of Things to Come" picture, there is William C. Menzies, formerly art director of many years standing in the Hollywood production field. Mr. Menzies is acting in a dual capacity for Korda as regards the Wells production. He is chief designer of sets in direct collaboration with Mr. Frank Wells, son of H. G. Wells, who co-designs with Menzies. The latter also will direct this production. What a job Bill picked off! A great deal of applesauce has found its way to Hollywood Boulevard about English production methods, equipment and "tea and cakes." The tea story I find is the most accurate. These "Tommies" do stop grinding at about 11 A. M. for a cup of tea; also again at 4 P. M. This seems to interest us "gringoes" more than what these English studio people are seriously doing and planning to do in picture production. I might add that we also stop several times a day for a "cake" — that is of no interest, is it? The English production units are fast catching on to making motion pictures. To say otherwise is like the bird who sticks her head in the sand. Because of their late re-entry into the production field they are reaping many benefits not always accounted for or readily noticed — for example, the modern camera with its many adaptations and applications ; modern lighting and generating equipment ; all of the late type optical elements and devices ; special processing units — all of these various types and kinds of equipment have found their way to England in the last two years and foremost in equipping one hundred percent modern has been Korda's London Films. Many methods employed in England could be incorporated into Hollywood production with beneficial results. For example, the extensive use of plaster-cast parts of their sets, adding extra production results for less cost in contruction. Further along this line of thought, their methods and system of light rigging is most practical and quick acting. The rigging is composed of pipes and couplings of various lengths — all interchangeable. Many long trained American cameramen have told me that this system is most valuable in light rigging their sets. Personally, I have just completed nine months with London Films in the capacity of back-projection technician on several productions and I found the experience to be something much more than a "boat ride." We will hear more from Alexander Korda as well as English production. One of the most difficult and at the same time interesting productions Fve ever worked on was Zolton Korda's "Bozambo." This picture was actually photographed in the wilds of the Congo country. Space is too limited to relate the hardships suffered by Korda and his crew in shooting this picture. However, he brought back the most complete story of these African people that I ever expect to see or hear. The sound is of outstanding value and the life of these people — Korda has it all on the film. This is only one example of what the English producer is doing. We must remember that London is in the center of Europe and travel connections are very well arranged. Within one thousand miles of London almost anything can be found for picture production, consequently with the use of modern photographic devices and processes — we will hear and see much more of England. George J. Teague. Mr. Charles P. Boyle, Editor of "Out of Focus" Department is still on vacation. Please mention The International Photographer when corresponding with advertisers.