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CLASSIC
MABEL TRUNNELLE, OF THE EDISON COMPANY
Photo copyrighted by Hartsook
as they do in these pictures, it womd give an impression of a convention of Fourth of July antiques and horribles. For this reason it may be readily understood why there is a great difference between the art of making up for the footlights and making up for the movies.
The same care must be taken in setting the stage for the movies. Every one who has visited a photograph studio to have his picture taken will readily understand this. He will have noticed that there are no scenes in colors. They are in blacks, whites and grays. In the stage-setting for Moving Pictures, the drawing-room of a multi-millionaire, for instance, is a dull-appearing scene to the onlooker. On the stage, such a drawingroom would appear in rich wood panels, beautifully colored tapestry, gilded chandeliers and the like ; but these colors are of no use for a movie
scene.
cial Wife,” the queen of the nihilists attempts to explain why she is a nihilist. As she talks, her vision of the past is thrown on the screen. It is the humble home of a Russian serf. Suddenly the Czar’s soldiers break down the door and murder her
(parents and her lover. All this explains to the audience, without words, just why the beautiful girl has become a nihilist. To make this scene, great care was necessary in order to get the proper color values. The walls of the room look gray. If, however, they had been painted gray, they would have been the color of the soldiers’ uniforms. In order to
give a
POLLY MORAN
Photo by Photoplay ers Studio
VERA SISSON
They are more frequently a detriment than otherwise. The red rosewood would appear like ebony ; the blues and
yellows of the' tapest r y and gilding would turn out a sickly white ; the pinks and other warm colors of the rugs and pictures would, on the screen, be a dull gray. Consequently, the making up of these scenes for the stage-setting of movies is also quite an art.
In the Russian photoplay, “My Offi
OF THE KEYSTONE COMPANY
light-gray appearance, the walls were painted a light orange. The peasant’s smock, instead of being light blue, as it is in reality, was made of dark blue, because the light blue would have photographed white. The "Queen's” boots appear lighter than those worn by the men. This was brought about by means of making them of light-red leather. They show at a glance to be of lighter -and finer material than the black boots worn by the men. To get the perfect gray of the helmets of the soldiers, they were in reality a yellowish orange. Every other detail of these sort of pictures has to be made with the mind always on how they will look in the photograph.
OF THE BIOGRAPH COMPANY
( Forty-ovr )