The photoplay writer ([c1913])

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But also bear in mind that there are limitations. Be sure to have your incidents, within the bounds of possibil- ity; do not concoct a play that would tax the credulity of spectators. THE PRODUCTION OF PHOTOPLAYS • For the enlightenment of those who are in the dark, I will give a brief account of the production of photoplays. When a scenario is accepted by the scenario editor of a producing company, he turns it over (perhaps with some changes and suggestions) to the stage director. This di- rector studies the scenario, alters it to suit his purpose, makes a choice of actors from the stock company main- tained by the producer, plans his scenes, and rehearses the actors thoroughly (either in the studio or out of doors) before the camera man is called in. Then, as the scenes are gone through, the camera operator turns the crank that reels off the film on which the photographs are being taken. The film is a celluloid ribbon, the standard size being one inch and three-eighths wide. Sixteen pictures a second are taken, each picture being an inch wide and three- fourths of an inch deep. ( The magazine of the camera holds from 150 to 300 feet of filmj When that length is used, another reel is put in and the picture-taking goes on. These lengths are glued together (after the developing and printing processes) thus making one continuous film. The film in the camera is the negative, and, like kodak films and the plates used in still photography, has to be developed. From it many positives (also films) are print- ed. These are tested in the factory by being thrown on a screen. The photography and the acting are criticized. Often the actors are present at these tests, and their faults are pointed out to them by one of the managers or direc- tors. Scenes that are poorly done are cut out of the film and, if necessary, they are re-enacted. Defects in photog- raphy are remedied, and, when the company is satisfied 4