International projectionist (Jan-Dec 1946)

The Technicolor Cameraman By WINTON HOCH Technicolor Motion Picture Corporation RESENTED here are some aspects that are peculiar to. or receive emphasis from, the fact that the camera is photographing in color. These aspects arise in very large part before photography, and of all the preparations before the actual start of photography, two that are very important to the Technicolor cameraman are color design of the sets and costume color selection. The importance of proper color design and costume color selection can not be overemphasized. The set colors should be chosen with care for hue, chroma, and value, and with a knowledge of the costumes to be used, the relative importance of the set, its cutting and physical relationship to the other sets, and the orientation of these factors with the script. While it is true that the cameraman can control the set effect to a large extent by his lighting of it, this color control work must be carefully handled or the screen result will not be optimum. Obviously, the more adverse conditions the cameraman meets the more the production is likely to suffer either in screen result or lost production time to correct those adverse conditions, or both. These two factors of set and costume color probably go farther than any other group of factors in representing the difference between a black-and-white production and a color production. The net result might be termed the "'color score" of the picture. It might be compared with a musical score sometimes flashing and brilliant and at other times subdued. It follows that if the problem be ignored, discords usually occur. Some Factors Affecting Make-Up Obviously, without sets and costumes in color, the only colors left are flesh tones. A very interesting color emphasis effect was demonstrated where an entire set was designed in neutral tones and the star wore the only color. To handle this very important set and costume color contact. Technicolor has available the services of a color control department to advise on the color design of the On location in Maryland with Loretta Young. Henry King, directing; Ray Rennahan, photographing. sets, the evaluation of costume colors, and allied problems. This departments experience and highly developed judgment are available to each new production as it comes along. This department is the spearhead of the Technicolor photographic activity. The make-up problem is handled, as in black-and-white pictures, by the studio make-up departments, although the color cameraman does have the responsibility of requesting the "touching up" of the make-up as it may be necessary, and he very often has special problems that require close collaboration with the make-up man. For instance, on exteriors with the actors working in sunshine, they usually begin to sunburn, and make-up changes must be made in many cases to handle these gradually-tanning complexions. Frequently this means a new make-up problem in order to keep the camera appearance of the flesh tones the same. It can readily be seen that this can become a difficult job. The reverse is also true. As the troupe begins stage work after returning from the exteriors, their tanned skins will slowly fade and the problem of compensating by make-up continues. Occasionally we have had difficulty due to physical exertion on the part of the principals, causing faces to flush beneath the make-up which affects the camera appearance. The color camera is very discerning of flesh quality, and we find it necessary to include in the make-up area the neck and throat, and the hands and arms if they show. On rare occasions no make-up at all is used, and it is frequently omitted when photographing babies, as their clear smooth skin generally needs no correction. Light Quality Level All-Important It should be kept in mind that, generally speaking, the primary function of make-up is to correct extremes in colors, cover blemishes, and generally reduce the tone range observed in any average group of persons. If one will note the varying complexions of people, he will readily appreciate that if three or four persons were lined up side by side to be photographed, it would be highly desirable and probably very necessary to correct the flesh tones and greatly reduce the tone spread. This must not be interpreted as meaning that all flesh tones should appear alike. Variations of tone are very desirable. It is the extremes that are undesirable. Obviously, a white man with a heavy tan who photographs like an Indian is not a very convincing white man. The most critical care is given to the close-ups, especially of the principals. The care and attention given to the problem are, of course, directly proportional to the screen importance of the skin tones. Proper make-up requires highly skilled artistry in its application. Other important items to the cameraman are his lights. Here, color photography again introduces an important factor of which the cameraman must be cognizant, and 20 INTERNATIONAL PROJECTIONIST • October, 1946