International photographer (Jan-Dec 1935)

September. 1935 The INTERNATIONAL PHOTOGRAPHER Thirty-one Engineering Technic In Pre-Editing Motion Pictures* By M. J. Abbott** {Reprinted from the Journal of the Society of Motion Picture Engineers for August, 1935; Volume XXV; No. 2. Summary — The use of engineering technic in determining the screen value of each scene in a motion picture before filming is described, and the methods used for control during the process of production are explained. Pre-editing motion pictures is nothing more than the application to motion pictures of engineering principles used in other lines of endeavor. In setting out to paint a picture, an artist first determines its size. He then outlines his subject. He does not begin to paint his picture without first knowing the relationship each detail bears to the others. The same is true in constructing a building. The architect first determines the size and type of building desired by his client, and then applies his artistry in designing. After these principal facts have been determined, he applies his technical methods of construction. He uses principles which are based upon past experience to determine the foundation necessary and other technical details that will make the completed building both artistic and practicable. Motion pictures, being made exclusively for their commercial value, have there limitations as to size and the amount of money that can be derived from renting the prints. As the possible return upon the investment is limited, the cost of the motion picture must of necessity be limited. Although the cost of an article usually has some bearing upon the possible return upon the investment, excessive costs will not lead to excessive returns unless the quality of the article has been enhanced commensurately by the expenditure. The financial structure of the motion picture industry, established by its competitive Industrial standing, is such that it not only determines the possible return upon the investment, but also limits the length of the pictures. To fulfill conditions existing within the industry, exhibitors are compelled to have at least two performances a night in order to operate their theaters profitably. Thus, the playing time for each show is naturally limited. As the exhibitor is compelled to present a balanced program to his patrons, experiences having established the newsreels, comedies, educational features, etc., the playing time of a feature picture is limited to approximately one and one-half hours. The studios must construct their pictures to fulfill these requirements. A general impression exists that making a motion picture is entirely a matter of creative artistry and, as such, must not be hampered by anything of a technical nature. It is not the purpose of this paper to attempt to prove or disprove this theory. We shall grant that it is true in part and that the creator's mind should not be annoyed with technicalities while creating. However, the results of the creator's efforts become purely technical as soon as completed, and their value, technically or commercially, is determinable by comparison with past experience. The principle of pre-editing is not to curb the creative mind by compelling it to consider the technical points of a picture while working upon a story. It is a means of determining the motion picture value of the creator's efforts. Many question the possibility of computing the value of a story. This impression is not based upon facts, as story values have been measured since the inception of motion pictures. The only difference between pre-editing and the method that has been used in the past is that we do not wait until the story is upon the film and reaches the cutting room to find the errors, and then hope to edit the story by having the cutter remove the surplus or poor scenes and reduce the picture to commercial length. It can, therefore, be seen that the principles used in pre-editing are not new, but are merely the application of these known principles in determining the value of the story before rather than after the picture has been made. The first principle to be considered in pre-editing is the type of picture to be made. These types are as follows: (1) Drama (5) Farce (2) Melodrama (6) Musical Revues (3) Comedy Drama (7) Musicals (4) Comedy (8) Westerns The determination of the type sets the tempo in which the picture will be made. The story must be timed accordingly. The first step in determining picture value is to read and study the entire script; after doing which each scene of the script is read and studied individually, as though it were a complete picture. The action as outlined by the writer is studied and allowance made for the footage necessary to place each of the individual scenes upon the screen. The basis used in determin ing the necessary footage is that of the presently used cutting principles. The dialog of the scene is timed by reading the lines in the tempo of the class of picture to be made, allowance being made for the simultaneous occurrences of dialog and action. The next step is to determine the value of each scene as a motion picture, namely, what portion of the scene, as outlined, will be given to the audience through the eye, and what portion through the ear. This is arrived at by timing the dialog in the scene which is not covered by action. The scenes are then computed by episode and sequence, and summarized for the entire story. The results are furnished to the writer, producer, and director for their guidance in re-writing the story, to eliminate or correct weak spots due to excessive dialog, and also to visualize the relative value each scene bears to the entire picture, and to regulate the length of the picture to meet the commercial requirements of the exhibitor. During the shooting of a picture, a production control record is kept, and the actual time of shooting each scene is compared with the estimated value of the scene as conceived by the writer. This control is arrived at by comparing the script notes made by the company script clerk, who times the footage of each scene during the process of shooting. As the various episodes and sequences of the story are completed and placed in "rough cut" by the cutters, they report to the production control the amount of footage of each take made by the director that has been used and placed in "rough cut." Upon receipt of this information, and upon comparing it with the pre-estimate, it can be determined whether or not the picture is being shot in the tempo of the class of picture desired. Daily Producion Reports are furnished to the producers and directors showing the status of their picture, as to the shooting schedule, the quantity of film used, and the tempo in which the director is actually shooting the picture. As the story value of the picture in the pre-estimate is based upon the correct tempo of the type of picture to be made, by comparing the actual shooting with the estimated time the producer is informed as to the tempo of each scene and sequence, and as to whether or not it is shot too slow or too fast, so that when the picture is completed it will not be slow in spots and fast in others. When the picture is finally completed and ready for release, the actual takes used in the picture are compared with those shot by the director and the cost of those not used (the out-takes) is determined by the time spent in making them. Some of the benefits to be derived from pre-editing are as follows: (1) Eliminates waste due to over-shooting. 20 Shortens shooting schedules. (3) Saves time of company and executives in projection room checking film which never reaches the finished picture. (4) Prevents distorting the story by endeavors to cure defects after shooting. (5) Allows the story as written to reach the finished picture without mutilation. (6) Allows the judicious and profitable spending of money. (7) Hence the improvement in quality of product. (8) Finally, cleans up the cutting room floor. * Presented at the Spring, 1935, Meeting at Hollywood, Calif. **RKO Studios, Hollywood, Calif. DeBRIE at SACRIFICE!! New Type SUPER PARVO DEBRIE Ultra Silent Camera Has built-in motor, automatic dissolve, pilot pins and antibuckling device. Four 1000 ft. magazines — 40 mm., 50 mm., and 75 mm. lenses — Debrie friction tripod and new type Debrie finder. Leather covered carrying trunk and tripod cover. It's the latest type equipment — like new! MOTION PICTURE CAMERA SUPPLY, Inc. 723 Seventh Avenue New York City Cable: "Cinecamera" Please mention The International Photographer when corresponding with advertisers.