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28 Picture Show Annual The bonet of one of ihe larval screen sett ever constructed — the Temple of Jehovah in Jerusalem, seen in • The Kin^ of Kings." for which over 400.000 feet of lumber were used. are under contract and the sets are still in existence to film over again any scene that is not quite up to the mark, but once the artistes are released and the sets taken down, great expense would be incurred in getting everything ready all over again. There have been examples of tremendously costly re-takes— " Ben Hur," for instance. The CANfERAMAN A very important job in a film studio is that of the cameraman because the finest acting, setting, and lighting can easily be destroyed by bad photography. Some of the cameras used cost between £1,000 and £2,000 and are as precious to the cameraman as a baby. Also, the cam- eraman can make things look like what they ain't. If he be a man who takes real interest in his work he will study the artistes from every angle, will experiment with lighting and screens to discover under which photographic process they will look their best. By what IS known as the Schuftan process he is able to show tremen- dous mountain heights or a magnificent cathe- dral, when only a few yards of turf or a few church pews are actually in the studio. The rest is cleverly painted on glass, and by means of mirrors and wonderful gadgets attached to the camera he obtains the perfect illusion. When you see Harold Lloyd hanging from a window ledge hundreds of feet above a crowded street, don't get too worried—although it gives you quite a thrill, the actor IS in no real danger, and the cold shiver you get down your spine is due to the technicians. From the camera the negative film is taken to the dark-rooms, where it is developed, and it is developed so carefully that the salaries of the men who are good developers are considerable. By over-devel- opment or under-development the whole day's work—perhaps costing thousands of p>ounds—might be ruined. Then the first positive print IS taken and on this print the cutters and editors work. Cutting and Editing When the whole film has been filmed and the artistes dismissed, then comes the job of the real cutting and editing. It is essential nowadays for a picture to be snappy, full of action, and to tell the story lucidly and quickly. So when the editor takes the picture in hand he is merciless, and perhaps the 40,000 feet that have been registered are finally cut to 8,000 feet. Somelimts filmt are tmade in the actual settings — a Spanish street^ ictne in " Life." which was " shot in Spain. ting a Sehastii