New Britain Herald Newspaper, November 2, 1921, Page 6

ey Cetliedlog Jof Ve ioq log ved Gadled VB Feg e3>, A b v o ] IReaEiEEs A T A e T SEOTE B DT D O ML o I cAaAmE ; g it (sl - ING HOWV F/L/M 1SS THREADE, THROUGH TLEMAN to see Mr. Wyck- which T was informed was one of the THE CAMERA- Q off. interiors for a new Cecil B. DeMill ;. % S - That was what e offic production. Mr. Wyckoff s Cecll PHOTOGRAPHING KEY PLATE WITH NUMBER girl sid over an inter-communicative De Milles chicf cameraman, bt thi - - OF SCENE-NAME OF PICTURE ANL COLOR SCENE ‘phone when I told her I should producer had suspended work for the to see the dircctor of photography @t afterncon and-Wyckoff was not there the Lasky studio. Back again across the stages and we A moment later, e latch string o0 descended a small stairy into a dark the door was given a jerk, 1 vault. But no Wyckoff. T caught m: opened and a boy appeared from with breath as we started on a dash for th in, called me by name and asked that 1 film color department There we [l follow him. found the director of photography, su “Mr. Wyckoff is a hard man to lo- perintending the preparation of a new cate at times,” said my escort. "Wl color process for DeMille's last pic have to take a walk about the lot ture. A moment's walk brought us to the “Yes, 1 can sparc a fev: moments,” cameranfan’s rest room, a cozy quat- he assented in answer to my request ters provided within the studio lot as “] guess I am a pretty hard man to a sort of clubroom for cameramen. No, find. The fact of “the matter is, 1 M- Wyckoff was not there. We pr sometimes wish 1 could be several men ceeded on down the board walk, instead of just one as 1 ¢ te be in through a stage and up a flight of so many places at one. -t staifs into a photograph gallery. M Kept on Run. Wyckoff had been there a fow m “My job, keeos me on the rin, When ments before, but wasn't therc m I'm not ‘shooting’ for Mr. De Mille, His office lay just around the corner. I'm “supervising several other depart- Wyckoff has no business having an of meats incidental to photography and fice—he is hardly ever in it. \Wo after the photograzhy of one De Mille bounded back down the stairs, through picture is finished, T find that I hav two stages, along a passageway and - barely enough time in which to finish to the laboratory. up incijental work on that picture and Found at Last, make extensive preparations for the THE LENSES AND V/ITA “Mr. Wyckoff left just a moment nexty before the next i hewun. My MOVIE CAMERA - ago,” was the comforting news we re- days are pretty well fitied. T come to P ceived there. ‘We then re-traversed the studio every morning at 6 o'clock, develeped and printed, is a branch of clude a immber of still cameras, a por : i . cameraman, the ‘man him e sr e e o o ke “The Taboratory, where the filmsare the photographic department. We have trait machine and a few kodaks and ; : - ] P his own art and astaff ef about 40 cameran.cn, incid- - graflexes.” : - e i sion to his own idcas and ing nine first cameramen, cight second The Color Values. s B e ristic taler Hardly any two cam cameramen, twelve assistant camera A color chact which stood above his 3 : - St sk ehnckly the same cantp il ! men and a few still photographers and desk, prompted another question > - 1 ment and no two work exactly alik ° and special operators “What arc the photographic values of . ; ¥y The cameraman is provided with an A | “My assistant, Arthur Grant, of color?" A v e outfit and told whai to get: No re — course relieves me of a good deal of “Black, red, yellow, dark biue, purple i . { is placed upon his metho 2|k wt==—==E ][] =B A, =._—__1===:§v- the detail work. He keep: tah on all all photograph black,” he explained " : 5 « r The only demand 15 t a "Rei ilton, Ralp : Pa “d Pulle “p i Dear Mr. Reid: Miltou, Ralph de Palma, Eddic Pullen cumeramen and all equipment and can “Pink, light blue, light yellow and . _ o, he gt results. o Every*mait, iust how 1 believe you have made morc auto- and Ralph Mulford tell me in a moment’s notice where any w all photograph white, in slightly ¥ 3 % his ovn individnality in his work. We mobile pictures than any story on the I' like pictures of this kind because one manis, what men are on the heneh, varying shade What are known as them not to imitat R X ke R “No matt at happens, the cam ccrnes which for thrils have not bt ot iy in 3 car, cnd atso becanse 1 1SS ach is cquipped with and whiat Yon are perbaps 0 vk if this is e 3 COLOS CHDRT SIHOWING PHOTOGHAPRUC crimin honld b wick to i cam ot o xciing moments ere ot '@ (af amin of acion in pho o rt® I S BE | co why, ey ok wd bilint o YESS OFCOLORS— THE DARKY ARE b g wWere all tricks of the camera, Wont 59 0 the moving picture theater to be ' "™ "n il aral A el re ST CREEN-PURPLE -BLACK~ THE L/GHT tulled to rest, and 1 have always found O " ; e COLORS RPE BRIGHT YELLOW- LIGHT you be good enough to tell me wheth necessery o re-test every lens, overs the henefit of the photographic result e e LEgans e izt ot ol oS e G S R e DR R R e e i e BLUE-LIGHT GREEN-FPINK AND NEUTRAL bine action in the details with plenty of action in the plot itself — | ————— e screen. In most of them you have had | Jike getting over a speedway at a where cach camera is employed, what ‘neutral’ shades are grays and sepias uations ? Yours in anticipation, : are going to be worn, for color valics. ing shades of grays it colors are GEORGE $ am going to du another autamobile Exch of the new principals i the cast used more for psychological cffect up then re-test most of the costumes that tained, wltimately, arc blacks and vary- e A T T P O o e e hade as the eye picture, erally been schooled in the scien g ‘It w be ecasily realized that to se- chemistry and physics, a knowl one upan weroplane i« My Déir MP. S picture now, an adaptation of Sin- have to be given thoroush photo- on cameramen and players, Without clais Lewis' story “Frec Air,” hut as graphic tests so as to develop the the proper inspiration or atmosphere, cure absolute efficiency i my depart- which is necessary to the chemical craph the opening of the new Bever ment, 1 must depend upon my men, it of the photographic art, such as de- ley Speedway at Beverley Hills, at th Are the antomobile sictures weld th the young man I play is possessed not most perfeet results in their make-up. one can not feel the spirit of th of a forcign racing car, but what is Always Experimenting, séenc. A man on a Dblank stage can generally known as a Tin Luzie, 1 “In addition to this W re contin= not give nearly the performance as the md althoug! rk. The applicant for the pos been making dangerous? In words, 1 can only say if you e with the g m of camerawan is first employed in suppose the feats of my little car will ually studying and st e S 3 G S : liave more to do with climbing trees effects in photography and 1 represent some scene. He fairly own skill, training nat- chemica of photograpt X the air, by means set of signal LIS wheel - or you skid while hitting y onew same man on a stage realistically set in & pictire, you can be’just as | as if vou were doing it for any : i S and swimming rivers than with break- tinual experiments alon i : the atmosphere of his surround : oF Bt (et S8 o ki Gl e e N ewatays it rataceneniof caller o o2 g Lecdetods R g s B ob- ings and he is inspired to carry outth ! ¢ instituted a istant, in which cap ’ the roar of the motor. 1 instructed Ry : If there is a feature in it ahere we oM arise which mu:t be corresponding action. Music is provid- 'y which cafier ¢ arc to carc for the camera, cleaning it, him that when 1 tapped him on the speed, it mcans real speed. The po 5 5 By th time we had reach ¢d for the players in certai amatic e fe £ the 1 overha vy " nd left she he was to descend and lic has scen too many pictures by glide over a bog and pull up sharply B el gmatl " I S verhat it wh nee v and left shoulder, h bl Against & telegrath pole. thouh Iy cAmera wiztrd's office, which was or emotional scenes Not because the der and mounting step by st ugh Keeping it in firsteclass: condition, and wiien I totcled him on the right fime: 1o 1isk faking. The camera ' cated in a corner of the large photo- music registers on the screen, but be- work and experience, until th have to be of cvery possil id to the cam- shoulder, e hould ascend higher = 1 ——————1 feel too sorry for the dummy that is be made to speed up W « ! thrown the twenty feet or so; I'l be graphic gallery, causc of its effect upon the players. *It airivid at the coveted position known craman on the set. Two or three years Finding it impossible to get my cam the ordinary pace, but it can't “Here is my camera,” he said, point- helps bring oit the best that is in them first cameraman, 1t is a rigid rule of experience in this work are required cra focused directly on the spot which ing to o ‘Bell and Howell machine. 1t Color values ‘serve the same ,purpose. that cvery cameraman must be able, at before a man car c next step I desired to photograph, or unt of is fully cquoped with special lenses of Their effect is merely psychological. a moment’s notice to produce pos- upward and become a second camera- the straps and the sides of the pit, 1 all kinds and the many cevices neces- Colors also suggest lighting effects to <l t cffect that a divector man. The second cameraman is under unstrapped myself and crawdled out on sary to modern, up-to-date film pho- the cameraman which would not be d " it hesitation of a the superv 1 of the first came the top of the plane In getting out without speeding up the pace lummy in that case. Automobil thing. else in- the pict stunt pictures are dangerous—I have SUARRMANs. art tousdd marks all over me to prove it; but we may slip on a banana peel and break pedestrians in the distance . our neeks while we are cautionsly get over the landscape in a fast trot ting out of the way of a baby ca tography. camera, cquipped as it suggested by simple blacks, whites and lack y. This means that and his work is 'argely of a mechan- of the pit, with my back towards the g their tails with unnat t is, represents an investment of over grays f meraman must be well icai nature, the first cameraman as- pilot, my foot torched him on the left $18,000. Treating the Camera Eye, d prepared for Dbe- suming all the responsibility for | houlder Immediately, he dropped fairly gasped, but before 1 could “We often use colored filters to fore | begin with, 1 always sc and effects. Tt is generally neces and 1 lost my hearings altogether. The Ang even if tie public were i ¥ « % interrupt he continued make a photographic correction—that is lect, <o far sible; men ‘wito. have sar a second only think that saved my life was my nocent cnot to let the {akir t Jeanic Macpherson is preparing an “There are 20 more cameras belong- to-mike a scene photograph the same |, v lucation, At least they main in that positi f out two prompt action ir rowing my arms ifd Self-respecting actor wonld st original story which will be Cecl B. ing to the studio. These ave an as it looks to the cye. For example, ‘must have thre higl 1. vears before he is qualified to make the around the camera and clinging for for it, The racing pictures yvou n De Mille's mount production work investment of $3,000 or $4,050 apicce.” if one should phot aph a sky scene, § 1 ve alsc priori- final advance and become a first cam- deas life, wi my legs dangled in the so it's all in the course o otiny T e R it's all in the course of a lfetime nd forth in the gentle br WALLACE REID ————————e——=—— a— tioned were the real thing. I on his new photoplay is scheduled to 1 quickly computed. One hundred the sky would appear bleached and ¢ applications to men who have eraman. Thus, :bout five years' time air, a thousand fect from terra firma, was just as hot as in professional tart August 15 No title has heen and cighteen thousand dollars, for com- white on the film. But if the natural scen <ervice required to make a rained first The planc cased its descent and given the Macpherson story nor have eras alone! color of the sky is darkened a little by ‘1 make a high school or coll ’ metaman of a raw recruit vas able to crawl back into the pit.” its details been announced “That,” he continued, “does not in- a filter over the lens, then the photo- ucation a site’ because Lven after reaching the treasured —Melvin M. Riddle =