The Motion Picture Studio (1921)

THE MOTION PICTURE STUDIO October 8, 1921 CMjzAjz -oAjz <x/nxU ARTISTES should read the details of the Kinema Club, on Page 8, and send for invitations to the meeting, on Sunday, October 16, at 2.45 p.m., in the Court Picture Theatre. Clive Brook is playing the star part in “ Shirley ” for Ideal. Charles Levey is in the cast of “A Low¬ land Cinderella ” (Progress). Cyril Chadwick plays Spoofy in “Three Live Chosts ” (F.P.-Lasky). Eric Barclay has returned from Paris,, where he played a part in a French film. Adeline Hayden Coffin is playing an ap¬ propriate part in “ The Corner M,an ” for Harma. Nell Emerald has finished her part in the latest Progress production, “A Lowland Cinderella.” Elinar J, Bruun has been working on in¬ teriors ,at the IHarma stud;ios for “The Corner Man.” Cecil Susands is the male juvenile lead in the new comedy “Eliza’s Romeo ” (Rising Sun). Cora Coffin is leading lady for Lambert Films and is finishing her first Lambert pro¬ duction, “Romance and Reality.” , Will Kellino is working hard on “Class and No Class ” for Gaumont, and is turntng an average of about 700 feet a day. Betty Farquhar is playing the juvenile lead in a series of comedy pictures now being directed by Bert Haldane for Rising Sun. Joan Morgan has now finished work in the star part in “A Lowland Cinderella,” which Sidney Morgan has finished directing for Progress. Cyril Percival has just completed work in his seventh consecutive production for Stoll. This completes his contract with the company. John Gliddon is cutting and assembling “ The Night Hawk,” and expects the Trade show of this International Artists’ premiere m a short time. Louie Freear is playing Eliza in “ Eliza's Romeo,” a new series of two-reel comedies for a new British producing firm named Rising Sun Productions. Geoffrey Malins has now finished the direction of -the Hardy production “The Recoil,” and has already cast for his third, which will be “The Scourge.” TITLING SPECIALIST Expert in handwritten work. English or American Style. G. T. SHEARMAN, Benlinck Road, Nollirgham. 6 Elizabeth Irving is playing one of the leads in “Shirley ” (Ideal). George Eoley has finished work on \ Lowland Cinderella ” for Progress. Eric Bray is Jim Blunders in “Where the Rainbow Ends ” (British Photoplays). Amy Venity has behn booked by Sid Jay for a leading part in “Who is the Boss ” for Albert Brovett. W. Courtney Rowden is directing the pro¬ duction of a series of one-reel subjects at the Master Studios. Denison Clift is now in his second week of work on “The Old Wives’ Tale,” which he is directing for Ideal. Malcolm Tod’s latest engagement is for F.P.-Lasky. Fie has been playing brother to the star in “Three Live Ghosts.” Bernard Dudley was out taking scenes on the North Sea last week for “ Love in the Hills,” which he is directing for Harma. Roger Livesey has an important part in “ Where the Rainbow Ends,” which H. Lisle Loeoque is directing for British Photo¬ plays. Pert Haldane is finishing “Eliza’s Romeo,” the first of a group of two-reel comedies which he is directing for Rising Sun Productions at Barker’s Studio. SCENARISTS should read the details of the Kinema Club, on Page 8, and send for invitations to the meeting, on Sunday, October 16, at 2.45 p.m., in the Court Picture Theatre. In the relation between cameraman and chief of laboratory there seems to exist a very big gap. This gap should not exist. They should fraternise and so become well acquainted with one another — in their ways and means for obtaining results. I take it the chief of laboratory is a prac¬ tical man and knows his work from A to Z. 1 also assume the cameraman is well versed in the art of light and shade. They both hold very responsible positions, and both are responsible to the director for giving him what he desires or aims at. The first essential, then, is lor the camera¬ man to expose a given length of film on a set fully lit, as well as a length of exterior, according to method used — judgment or exposure meter. These negatives should be cut in half — the one half kept for future use, the 'other half, with working instructions, given to the chief of laboratory, who should have them developed to what he considers correct intensity. Notes should he taken in writing in a hook specially kept for the purpose of exact com¬ position of developing bath, the temperature of said developer when film was immersed, the actual time film was in bath (by aid of a dark-room clock), and when this film has been fixed, washed and dried should be Joe Nightingale plays, an important part in “Shirley” (Ideal). Erancis Wetherell has been playing for Progress in “A Lowland Cinderella.” Bahs Farren is in the cast of “Where the Rainbow' Ends” (British Photoplays). Lav Compton, has been hooked to play for Kenelm Foss in Thompson Productions. —DO YOU— If Walter West will be inactive very long ? and — * * * Why he was after the Kew Bridge Studios ? * * * The names of the three persons inter¬ ested in British productions who were bidding for the Kew Studios ? Hj ♦ ♦ In what British production will Florence Turner soon be starring. * * * Is it merely an Old Wives’ Tale, that she will soon be co-starring at Boreham Wood ? * * * The name of the leading male artiste who has been offered an American engage¬ ment for 12 weeks at ^1,000 per week ? * * * The name of the company that went on location without a camera ? * * * Why George Pearson mistook Rex Davis for the railway porter ? by EMILE noted. A consultation should take place between the cameraman and chief of labora¬ tory then and there. Without fear or preju¬ dice they should criticise the negative from every possible point of view till each is con¬ fident that his particular work has brougnt the absolute required result. But if the cameraman fears that the best has not been obtained, then he must weigh up the pros and cons from his point of view : Should he give more or less exposure? Has the negative the finesse of detail he expected? Was it under-exposed and too hard? Was it over-exposed and too flat? Was it cor¬ rectly exposed in his opinion and over or under-developed? If either, then he still has part of the exposed film to experiment with, which he should have developed to his taste and judgment by standing near the developing-man, or carry out the test himself. If he is satisfied that at last he has achieved his purpose in obtaining the quality he regards as correct, then he should consult the chief of laboratory, who, in his turn, must weigh up the pros and cons of the negative before him, bearing always in his mind two facts : (a) Will it enable him to pull a print to the satisfaction of his employers? (b) Will the trade printer be able or willing to do likewise? If any doubt BRIDGING THE GAP