Variety (Jan 1928)

Wednesday, January 4. 1928 VARIETY IS 300 IMPORTANT CAMERAMEN (Contioued from page •) » potent factor in bringing about Iniprovemonts In the iiuality of film raw stock, cameras, accessories, lamps, lenses, spMial pi^eMM, trick shooting, etc., aU of which have alcled In improving photog- raphy during the past 15 years. Kxperimenting is always done In •pare time hy individual fuunera- xnen. Among the processes now l>e- ing developed by them are stereo- scopic photography, trick photog- raphy, natural color photography. Improved laboratory prat tice In developing, better lamps and meth- ods of lighting, improved talking picture*, better projection, televi- liion lUHl ouMni devlfea. Delayed Recognition It is only recently that the pro- ducers began to realize the impor- tance of the camera man In his •ndeavor to. titrtlMr the progress of the photographic art and to aid in effecting economies of production. Although producers have called in the cameraman in the past to work out trick and stunt effects in pic- tures, the ability and knowledge of the men were never fully recog- kUsed. During the past three months representatives of raw film manu- facturers, lens makers and experts OB incandescent lighting have vis- ited here and conferred with the cameramen on problems they have had confronting them. These con- ierenees, It is iald, brouigfit jnany invaluable suggestions to aid in re- iBearch work conducted at the man- ufacturers' laboratories^ Over on the C. B; oe MH they have as chief cinematographer J. Beverly Marley. He is 24, one of the youngest cameramen in the business. He started with de Mille k» second cameraman on "Ten Commandments." His work click- ing, he got the Job of first man. He did the work on "King of Kings." While preparing to ahoot that picture he worked out all tricks and unusual effects for the production in conjunction with Paul fiprunk, miniaturo «s^ort af tha itudio. Easy for Scenarists Seems as though the scenario Writers are alwaya trying to divlse Bcenes which will stump the cam- eramen. They work out sequences in their treatment of stories which 6all for unusual aM trMi-ellacts most of which never have been done before in pictures. When the script gets to the cameramen and technicians the recipient iarii eom- pelled to conceive ways and means 6f accomplishing the results that Will satisfy the vanity of the "irriters. Frederick Pinney Eurle is credit* ed with first introducing glass shots and art backgrounds for prac- tical purposes whan ba made "Rublat of Omar Khayyam," and demonstrated the commercial pos- jlbilitles of ihe metliod. At that time he did not patent the pr6 c eas. ^thers later took out patents on Various methods of gla.ss shots. ^ Norman Dawn, director, has ex- l^erimented on a number of iniidiHlt- tions connected with the camera. He patented a process for double exposing one scene on another. This latent waa purchased by the Pro- ducers' Association three years ago and has been made available to everj' one employed by members of the association. ^ In the early days of the films cameramen were generally required to have a knowledge of trick and Special photography and many times were compelled to work out apecial stunts while In the middle of a picture. At the present time apecialista have developed in vari- ous branches of the work; each of the larger studios have a staff of miniature experts, trick photog- raphers and special stunt men, with laboratory men to aid them in Sorking out particular effects on Im before and after developing. In Comedy Studiea . Cameramen working for comedy itudlos are called upon continually to use Ingenuity In working out apecial stunts to obtain desired ef- l^ects. The laugh camera men ha ve to solve their problems A|NUlt&ne- ously while on location or on the set, and without the aid of trick experts. Comedy companies re- quire cameramen who can work fast and -who have an all around knowledge, including miniature and tii.k work. ^ fc^perial process and trick camera- gn considered outntnndinir In th^ir include Alvin Knechtul, 1-red Jackman, Gordon Pollack, Irving Reis, Tony Gaudio and George Benoit. The two last mentioned have invented many effects while working on pictures, and the re- mainder might be termed research men, who devote all of thehr time In perfecting special stunta roQulred for certain productions. Pomeroy*s Processes Roy Pomeroy, who has devised many atartttng effects through miniatures and special processes for I'aramount, launched into pic- tures after long training as a me- ohanioal engineer. He has per- fected a number of improvements for camera accessories, especially for trick photography. Pomeroy developed a special lans which allows taking a long shot and then moving to a closeup without stop- ping the camera and without going out of focus. The frequent use of airplanes to obtain shots for pictures has de- veloped a number of . pilots who have made a close study of the re- quirements of the cameramen taken aloft to get pictures of objec^i flying or on the ground. Art Ooebel, Hawaiian flyer, is especially proficient, and has ob- tained many engagements for film flying through his ability to pilot the plane so the camera ta never oft the object below. Eyemo and DeVry mechanical hand cameras, with capacity for 100 feet of film, were recently found to be good for spectacular shots from points of vantage wTiere a cameraman could not locate with his regular equlpnient. Alvln Knechtel. who Is employed by First National to work out spe- cial photographic effects, perfected a method of making Aim dissolves from straight shots after develop- ing. This overcomes the former praetlce of having to dissolve shots on the sets, a complicated process and expen.'^ive to obtain as one scene had to be dissolved in the camera onto another scene. Knechtel also has devised equipment and at- tachments for trick and weird ef- fects on the film. Don't Tie Up Although a few cameramen have been identified with one star over a series of years, the majority of clnematographcrs do not desli-e to tie Op With one player for. too long a time. They feel their progress is retarded and that they do not get the variety of lighting and camera efteota to keeip them abreast of the times. Pauline Frederick, at the height of her film career, made it a con- dition In tier oontraeta that Ned VanBuren and Ed Geller be as- signed as her cameramen. Charles Rosher has photographed Mary Piokford for 18 years; Tony Gaudio was associated with Norma Tal- madge for many years; Mae Mur- ray had Oliver Marsh on her staff a loaf time; with other cameraman- player hook-ups Including Daniel B. Clark doing the camera for all of the Tom Mix work; Ross Fisher shooting Fred Thomson; Charles Oll.'^on with Johnnie Hines; Regi- nald Lyons with Buck Jones, and Alvin Wyckoff with Thomas Meig- han. The large studios at present dis- courage Uie tie-up of a particular cameranvm with a certain star and now rotate the cinematograidiers on different pictures. Cameramen de- sire assignments on special produc- tions that do not have a particular star. A picture of this kind allows them to light each player equally and does not require special lighting for the star and other lighting for the renialnder of the cast. With Directors Cameramen hook up more easily with certain directors and there are a number of such combinations existing with excellent results. In an association of this kind the cameram.m is able to work closer and faster with the director as he comes in time to know just what effects the director wants to obtain under certain conditions. Director-cameraman associations Include Edwin Carewe and IU>bert Curley; Herl»ert Brenon and James Wong Howe; George FItsmaurlce and Arthur Miller; J. Pev-r-rel Mar- ley and C. B. De Mllle; Rex Tni<rnm and John Seitz, and Frank Lloyd and Norbert Brodin. The duty of the Akeloy men Is. to provide for the runnlni? nhotn. For this purpose they have a swivel at- tachment that allows the Icnse of the camera to closely follow a swift moving object. The Akeley machine is also equipped with, a f letjcoplr lense that brings the objoct photo- GREETINGS JIMMY CONUN Ooalla and Olaaa IMrectlon TOM VITBPATRICK graphed into a near View although the camera may be 160 to 600 feet away from the su1)ject. The Akeley camera was developed by the Army during the war for woAp photo- graphing purposes from airplanes and was first used in the picture in- dustry to get running shots of rld- era In weaterns, and lateiP fo^ moat of the alrplana work. The A. 8. C. Daniel B. Clark is the president of the A. S. C; John W. Boyle, 1st vice; Victor Mllner, 2d vice; Frank B. Good, 3d vice; with George Schneiderman, treasurer, and Chas. G. Clarke, secretary. Its board of governors, besides the ofllcers. has L. Guy Wllky. Al- fred Gilks, John F. SeiU, King D. Gray, Fred W. Jacknaan, George Benoit, E. Burtom Steene. Im -ML Morgan and Floyd Jackman. The A. S. C. membership in full, in alphatbetlcal order and cliataBlfl- eatlons, and with preaent ment or location, is: First Cinen«ato«raph«il Adams. William 8. Allen, Paul H. Anderson, Melford A. Andrlot, Lucien—Jli Ash, Jerome H. August, Joe—Fox. Abel. David—De Mllle. Arnold, John—M.-G.-JlL Badaracco, Jake. Barlatler, Andre. Bergquist, Rudolph. Boyle, Charles P.—-De Mllli^: Boyle, John W.—Sennett. Boyce, St. Elmo—Sennett. Bridonbecker, Milton—Universal. Brown, James S., Jr.—^P. B. O. Benoit, Georges. Barnes, George S.—Goklwym Brotherton, Joseph. Broening, H. Lyman. • • Beckway, William J, Carter, oiaude C.—Australia. Cline, Robert Scholck Studio. Cline, Wllfried-—Univeraal - Crocker, George G. Cronjager, Edward—^Lasky. Cronjager, Henry. Clark, Daniel B.—Tom Clarke, Charles O.—-FoE. Cooper, Harry H. Cotner, Frank M. Cowling, H. T.—Eastman Kodak. Crockett, B. J. Davis, Chiirles J.—Warner-Vita- phone, New York. Draper, Lauren—Sierra Pictures. Daniels, William M.-Q.-M. Davey, Allen M. Davis. Harry—Fine Arts. De Vinna, Clyde—M.-O.-M. De Grasse, Robert—F. B. O. Diamond. James—Metropolitan. Dor an, Robert V. Do red, JohnParamoiwt Mews. Riga, T^atvla. Dubray, Joseph A. Du Par, E. B.—WartOta Du Pont, Max. Dean, Faxon M. Eagler, Paul E.—M.-O.-M. Eidredge. F. R.—UnlveradL Ksllck. Le Ror^i*. B. O.. Evans, Perry. Edcson, Arthur—First NatloiMd. Fabian, Max—M.-G.-M. Forbes, Harry W.^StaCB Film Con^oration. Folsey, George, In, Fryer, Richard. Fildew. William. Fischbeck. H. A.—LaSky. Fisher, Ross O.—First KatlonaL Oerrard, Henry William—Lasky. Oheller. Edward. r.f.rst.id. Merrltt R—M.-O.-M. fioi^hett, David William, r.oMden. Alfred O. r;iikM, Alfrr-d—Lasky. f;ray. King D Oulsj*art. Reri< 1 arlfl. France. r.ood. Frank B—Fox Stiidlo. (;rlinn, Walter L.—David Hart- ford Product'ons. (^:audio, Gaetano — Douglas Fair- tanks. HuUenberger, Harry—^Lasky. Harris, Emil—Universal. Heisler. Frank B. Hilburn. IVroy—M.-G.-M. Hunt, Roy—I^sky. Hyer, William C—£dueational. Home, Phllny. Haller. Ernest—Kane Productions. Heimerl, Alois. Jones, Allen C—Universal. ' June. Ray Fin»» Arts Studio. Jackman, Floyd—Warner Bros. . Jackman. Fred W.—Technical di- rector. Warners. Jackson, H* A.—Corinne Griffln. U. A. Jennings, J. D.—Buster Keaton Kirshnt-r. GU-n—Metro. Studios. Kesson, Dave—I'nited Artists. Kesson, Frank A. Kirkpatrlck. H. J.—Universal. Klaffkl, Roy H. Kornmann. Anthony — Universal. Kull, Jacob—Universal. Koenekanip, H. F. Kurrle, Robert E.—First National. Linden. Eddie—I^niversal. Lloyd, Art—Hal Koach. Longnecker, Bert. Lyons, Chester—Fox. Lyons, Edgar—Chi i.-^tie. Lyons. Reginald—Fox. liundin, Walter—Harold Uoyd. Lockwood, J. R. Marley, J. Peverel—De Mille. Mackensle, Jack —Douglas Mc- Lean. Marsh, Oliver—M.-O.-M. Marshall, William C —Lasky. Martin, H. Kinley—Lasky. Mescall, John J.—M.-G.-M. Miller, Arthur—De Mille. Miller, Ernest W. — Chadwick Studio. Miller, Virgil E. Universal. Mohl, Hal—Warners. McClung, Hugh C.—^Douglas Fair- McCord, T. D.—First National. McDonnell, Claude—London, Bng. McGiU, Barney. Mac Williams. Glen—Fox. Meehan, George—Fox. Morgan, Ira H.—James Cruse. Musuraca, N.—F. B. O. Milner, Victor—I^sky. Murray, James V.—Lasky. McManigal, E. L. Newhard, Robert. Neumann, Harry C.—Universal. Norton, Stephen 8. Oswald, H. M. 0*Connell, L. William—Fox. Powers, Len—Hal Roach. Perry, Paul P. I'erry, Harry—United Artlsta, Palmer. Ernest—Fox. Polito, Sol—First National. Reeves. Arthur. Reynolds, Ben F. RIes. Ihring O.—M.-O.-M. Robinson. George H.—Universal. Rosson. Hal. Roos, Len H.—Sydney, Australia. Rose, Jackson J.—Universal. Rosher, Charles—Mary Pickford. RIes, Parte J. Scheurich, Victor. Schoenbaum, Chartea—Lasky. Scholtz. Abe. Schlockow, Paul—M.-G.-M. Shamroy, Leon—Fine Art Studio. Smith. Ernest F. Smith, Harold O. Smith, Leonard—Educational. Stenglcr, Mack—F. B. O. Stevens, George—Hal Roach. Stevens, Jack —> Richard Tal- madge. Universal. Stniss, Karl—U. A., Griffith. Stumar, John—Universal. Stumar, Charles—Universal. Sharp, Henry—^M.-O.-M. Smith, W. S., Jr. Schneiderman, George—Pox. Scott, Homer A. S«;ltz. John F.—M.-G.-M. Snyder, E<lward J.—Pathe. Thompson, W. C Tannura, Philip—F. B. O. Tetslair. Ted—Chadwick. Tovor, Leo—ITnlted Artists. Todd, Arthur L—Universal. Turner. J. Robert—EduoatloiiaL Tuers, Billy. Tolhurst, Louis H.—Pathe. Valentine, J. A.—Fox Studio. Van Enger, Charles J. t Van Treea» jamea C—FIrat Na- tional. Van Buren, Ned—Eastman Kodak, Hollywood. Yogel, Paul B. Wagner, Blake. Wagner, Sidney C—Fox. Walker. ICarle F. Walker, Joseph—Columbia. Walker, Vernon L.—Sennett. Warren, Dwight W. Whalen. John P.—Santa Fe Studios (Monrovia). Wheeler, Wm —Christie Studio. White. B. n-Fox. Williams, Wm. N.—Sennett — widuii. C ' ari-J- T lffmiy. Wrigley, Dewey^Metropolltaa. Wyckoff. Alvin. Wells, Conrad—Warners Vita. Wc nstrom, Harold. Whitman, Philip H.—Directing .S*-nnett Studio. Wilky, L. Guy. Warrenton, Gilbert—Universal. Tounc, Jack R.—M.-O.-M. Sucker. Frank C—Harold Lloyd Honorary Members Edlsim. Thomas A., Orange, N. J, Ka.><tiu;in. (toorge, Rochester, N. T« Webb. Arthur C.—Attorney. Special Process and Tric.k Cine* matographers l>alv<'i-. riieiid. Biuu't r. K. <) — .M -G.-M. (.""ulh-. Huss«'ll—Lasky. Kneilittl. Alvin C —First Na- ti«)ua!. Ktiilay. K.irl—K. R. L. Studios. Fulton, J. Phipp.s—I'niversal. Pollock, (;ord(»n B.—Lasky, Smith, Jack—Fox. Mammes, Ray—M.-G.-M. Cohen. Eddie. Kdouart.FarcIot—Lasky. Flora. Rolla—Lasky. Lipstein. Harold--M.-G.-M. Roberts, Oren W.—Lasky. Shearer. Pouglas G.—M.-G.-M. Stull. William—E. R. L. Qtudloa. Smith. Arthur—Lasky. Smith. Jack—^Fox. Akeley Cinematographera Bennett, Guy M. Blai-kstone, Cliff—Lasky. De \'ol, Norman—Fox. I">yer. Elmer G.—I'^niversal. Fetters, C. Curti.«^ -FoX. Galezlo. Leonard T. Grelner, A. Leroy—^First NatlonaL Ulckson. John T. Hoke.. Ii-a B. Larabce. Nelson—Warner Bros. Marshall. Charles A.—M.-G -M. Marzorati, Harold J.—-M.-G.-M. Mason, Harry O. ' Novak, Joa. J.—>UniveraaL Olsen. R. B. Ramsey, Ray t«loyd—Unlveriat Rand. William—Lasky. RoberU, Josiah—M.-G.-M. SIckner. Willtam->Flrot NaUoMiL Stout, Archie J.—Lasky. Steene, E. Burton—Lasky. News Cinematographers Grimes, William H.—M.-0.-M. Parrish, Fred —- Fox, Colorada springs Staub. Ralph B.—Columbia, spe- claUlea. Still mialotrapliara Alexander. Kenaetli—U. A.-]>. W* Griffith. ^ Archer. Fred R.—De MiUe. ^ Fryer, Elmer—De Mille. Kahle, Alexander—De Mille. Mannatt, Clifford—M.-O.-M. Parker, Robert M.—& R. I* Studios. Richee, Eugene Robert—^LAsky. Rowley, Les—Lasky. Sigurdson, Oliver—Met Studio, Thomas, Wm. BL—De Mllle. Van Rossem, Walter J.—Jamig Cruse. Second Cinematographers Bader, Walter S.—M.-G.-M. Bauder, Steve L.—M.-G.-M. Baxter, GeorR©—De Mllle. liennett, Monroe. Borradaile. O. H.—Lasky. Chaney, George—United Artlsta. Chewlnjf. Wallace D.—M.-G.-M. cuniiffe. Donald—Univeraal. Davis, Leland B. Doollttle, Jamea N.—First N\a- tlonal. Drought, James B.—Universal. Dunn, LInwood G.—Met. Studioa. Dyer, Edwin L. Fitzgerald. Edward—M.-G.-BL GIrldllan. James N.—F. B. O. Greene. Al M.—Technical Ari» Greenhalgh. Jack—^F. B. O. Guffy, G. Burnett—De Mllle. Haas, Walter. Harten, Charles—New York. Head, Gordon O. Hendrlekson. Fred S.—Laakjr, Hugglns, L. Owena. Jenkins, John. .Tulian, Mac. Keyes. Donald B. Landrlgan, John 8.—Iinsky. Lang, Charles Bryant —I^urtiy; Longet, Gaston—F. B. O. Lanning, Reggie Iiaiky. La Shelle, Joe. Lazzlo, Ernost. LIndon, Curly. Martin, Rol>rrt G - F. B. Ot. Marta, Jack A.—l«"ox. Merland. Harry—Lasky. Moln, Pierre M.—M.-O.-M. MacLean, Gordon—M.-O.-M. Nogle, George O. Pnhle, Ted. Palmer, Robert—M.-O.-M. Parsons, Harry. Pit tack, R. W—Lasky. Planck, Robert H.—Columbia. Prince, Al—UnlTersal. Pyle, Edwin L. Ragin, David—Fox. Ray, Bernard B; Redman. Frank - De Mille. Reed, Arthur—M.-G.-M. Roes. William A.—Fine Arts. H< hopp, Herman- Met. Studios. Shepak, John, Jr.—ItklucatlonaL Silver, John. Smith. .lean C—De Mllle. Stlne, Harold E —De Mille. Tappenbeck, Hatto—Fox. Trezo. Fred—ITnlversal. Thompson. Jidm F. U O. T'nholtz, Cenrpe —S^Tiri. tt. V.in T)vk«-. H« rbr>rt—M.-G.-M. Van En^rer, Wlllard -Warner- Vitit. Wafjrner. Robert—First National. WMltf-rs. Joseph J.—F. B. O. W.-.Mt*-r f.erg. Fred—De Mllla. Wilde, fTarry. Willhims. Alfred E.—lAsky. WItzel, E L.—Universal. Stock oiM'ned at I'antasres. Fo»t Woith, last week with Roy Canft* eron at Mh head. Opener was "The Last of Mr !<. Cheyney."