The international photographer (Jan-Dec 1935)

Twenty-eight The INTERNATIONAL P H O.T OGRAPHER November, 1935 A VOICE FROM ENGLAND By a Hollywood Special Effects Cinematographer Who Thinks There's an Ethiopian in the English Movie's Wood Pile JOW, I don't know whether you folks in Los Angeles are really awake to the serious situation which is developing over here on account of so many big bugs coming here to make pictures. As I expect to be back in America soon I don't think I am violating conventionalities in trying to help the situation there instead of backing England. I am offering my services to help here, but they have the same old slow, methodical methods of leaving well enough alone. However, this new influx of American producers and actors probably will make a great change in American production and I think you should be prepared for it. I will explain as best I can and I hope you will be able to follow. In England great care is given as to just what is required to be put into a picture and not to waste film by taking so much footage that it must be thrown away. While I believe this can be overdone, because we know that in art, music and writing very little is accomplished at the first attempt; so with the Director— he makes a scene and sees by that "take" where it can be improved. The English method is to think out carefully, as carefully as they can, the shot first. Retakes, as far as I have been able to see, are very few and far between. I don't think they have such things here as supervision. They, as well as I, can't see the logic of paying a director two or three thousand dollars per and then having a supervisor at three hundred come along and tell him what's wrong. Now, the point I am trying to make is that this state of affairs will be noticed by the Americans and is bound to have its effect in the method of future production upon their return to America. Then another thing, pictures can be made so much cheaper over here, on account of the methods I have stated as being employed and the lower salaries, so what is going to happen? American producers are going to make pictures in England, your studios will be idle and then what? The only answer I can see is to get busy now, right now, and see that only so many English pictures are allowed to enter the United States. Now, a little constructive criticism as a help to the cameraman: I don't know just how much the gaffer has encroached upon the lighting of sets in the United States, but here they seem to have quite a say so. During the taking of the picture, "Dictator," there was one very fine, large set that I worked on. (I painted a large relief ornament 15 by 36 feet in the largest scene), and there was a chance for some wonderful lighting effects. The set consisted of a great many angles and columns in groups and called for an artist to get the best out of it. Now, what happened? The cameraman sat down talking to people and the gaffer was walking around the set simply pointing out a projection here and a column there to light up. In other words, a "picture" wasn't being made of the set, but just simply a series of light against dark. Now, here's the danger. I think the cameraman is a little too sure of his position, whereas in the old days I remember this lighting of sets was a carefully planned procedure. The fact is very easily overlooked that there are a great many photographers who can take a group of people in the foreground and light them up into a good picture, but very few know how to combine this group with a good background, properly lighted, to harmonize with the foreground group. Don't let this get away too far from the cameraman. MINIATURES Here I would like to say a few words on my pet subject, the miniature. I have yet to see a miniature of any depth, except my own, that carries the atmospheric perspective properly (please pardon my extreme reticence) and this is the reason: Take a miniature depicting, let us say, half a mile of depth, at one inch to the foot; it may be if required one-half inch to the foot. Now at half a mile there is a great deal of atmospheric cutting down the shades and shadows. You will notice that if you take a picture showing this distance, take a piece of cardboard and cut a hole in it so that you can see only the light portions at different distances, back there is hardly any difference. Let the shaded portions show and where the distances will be very light grey, the foreground will be in some cases pure black. This gradation is a gradation from black to light grey and, say the distance occupied by the miniature occupies only several feet at the most. Now these several feet may be only that space occupied by the first building the miniature is to depict; consequently you have comparatively the same dark there is on the first building covering the whole miniature. Do you follow me? I hope so, as it's beginning to seem kind of deep to myself. I am talking now of a miniature taken in the open. Here, I might say, the only successful method I have found is to paint your buildings in gradation of a slightly darker color, then bring a reflected light back into the buildings to kill the shadows. This method really applies to any miniatures taken under a roof in shade, with artificial light, as then you can light your buildings up with one source of light, using the same method of reflection. That is the reason I have always advocated using my glass process on the distant buildings in conjunction with a built miniature as it is less expensive and better results are obtained, but still when the miniature is entirely built, the method I have mentioned seems to be the only solution and if once a person realizes this atmospheric condition, the next time he looks at a miniature not properly lighted, he is going to get that same sinking spell in the pit of the stomach that I get. Of course the majority will say: "Well, the miniatures have looked pretty good so far. Yes, but everything is subject to comparison — until you see something better the "usual" is very good. I want to add that some thought should be given to the taking of pictures, that is exterior scenes on the sound stage. The voice has an entirely different tone in a room from what it has out in the open and I think this will be noticed after a while. For myself, when a beautiful pastoral scene is being shot, to hear the hard, full tone of a large interior makes me want to get up and leave. A FEW DAYS LATER Here it is. lust cut it out of this evening's paper. There isn't the outlet over in England for such an extensive program, so get busy if you don't want Hollywood to be dead. "Marlene Dietrich has signed a contract to make a picture in England in April. "Charles Chaplin is considering coming here to star in films. "Mr. Alexander Korda, producer member of the United Artists Corporation and executive chief of London Film Productions, gave this information and outlined new plans when he landed in Southampton today after his visit to Hollywood. "Mr. Korda said: 'We will be spending 2,000,000 pounds on 20 pictures next year at our new Denham studios.' "CONTRACTS SIGNED " 'Some of the films will be made by London Films, some by directors of the corporation. We have now contracts with King Vidor, William Kaye Howard and Harry D'Arrast, all prominent directors. " 'We hope to complete contracts soon with Mr. Frank Lloyd (who directed "Cavalcade"). He will come over and form his own production unit. Eddie Goulding is coming to make a Merle Oberon picture. Miss Oberon will be available after fulfilling her present contract with Samuel Goldwyn. " 'Sooner or later all the directcrs of United Artists will come to England'." ILTrERS^ >li^nr and (visjnr :im*~F*7<j ScenesinA many v\h?r effects Wiib any Camera ** In any Ulimare Gcorcje H. ScHeibo ORIGINATOR OF EFFECT FILTERS 1927 WEST 78TH ST. LOS ANGELES. CAL. Please mention The International Photographer when corresponding with advertisers.