Filming

“ The sun will be in just the right position for making the film. It's in a thicket you know, and the light isn't any too good. That's the scene you girls are in," he went on.
"Speed along," urged Paul. "I've got to get into my uniform and make up a bit."
There is very little "make up" done for moving pictures taken in the open, and not as much done for studio work as there is on the regular stage. The camera is sharper than any eye, and make-up shows very plainly on the screen. Of course, eyes are often darkened and lips rouged a bit to make them appear to better advantage. ”

“ Turning a handle on the outside of the camera operates it. So that when the scene is ready to be photographed the actors, whether men or animals, begin to move. The handle turns, and the unexposed film is wound from one reel to the other, inside the camera, passing behind the lens, so that the picture falls on it in a flash, just as you take one snapshot. But, as I have said, the moving picture camera takes snapshot after snapshot—sixteen a second—until many thousands are taken, so that when the pictures are shown afterward they give the effect of continuous motion. ”

“ After a rehearsal or two the camera-man will time the scene for the director so that he can tell how much film it will use, and if it is not in agreement with the estimate allowed in the scenario, make the necessary changes. The camera-man will lay out the boundary-lines of the stage for you and advise you on the distance from the camera to station the players. ”

“ Once the camera starts to “grind” you are using film, and if everything is not perfect you are either wasting money on scenes that will have to be retaken, or [Pg 118] else you are weakening the picture should the faults be overlooked. In rehearsing, the director must not only assure himself that the players are capably interpreting the emotions called for by the story, but he must also see that there is no danger of their stepping outside the lines of the camera’s vision in the excitement of the action after photography has started. ”

“ And in your camera you take a picture on a short strip of celluloid film, or on a glass plate, but in the moving picture machine the pictures are taken on a narrow strip of celluloid film perhaps a thousand feet long.
The camera consists of a narrow box. On one side is a handle, and there is a lens that can be adjusted or focused. Inside is varied machinery, but I will not tire you with a description of it. Sufficient to say that there are two wheels, or reels. On one—the upper—is wound the unexposed film. One end of this film is fastened to the empty, or lower, reel. ”

“ In the first place there has to be a play to be "filmed," or taken. It may be a parlor drama an outdoor scene—anything from a burning building to a flood. With the play decided on, the actors and actresses for the different parts are selected and carefully rehearsed. This is necessary as the camera is instantaneous and one false move or gestures may spoil the film.
Next comes the selection of the location for the various scenes. Indoor ones are comparatively easy, for the scenic artist can build almost anything. ”

“ The motion photographer is able with the aid of his camera to perform any number of miraculous feats. He can have one man play two or three parts on the screen at one time, thus having an actor engage in conversation with himself, and so on. And then, readers are most likely all familiar with the pictures showing magical appearances and disappearances of characters. Or the picture-maker can give you a thrilling view of the burning of a city, yet he need not have journeyed outside the studio or expended more than a few dollars to get the scene. ”

“ Pertell one morning. "It has gone off pretty well so far, and if there is no hitch to-day we'll film it to-morrow and get the real picture. Everybody ready, now."
"Are we to be carried down the ladders?" asked Ruth, for the former rehearsals had not included this.
"I think so," answered the manager. "The carpenter promised to be here to cut the roof, too, so we may be able to go through the whole scene just as we will in the play. Russ, you come out and watch, and select the best places for your camera, so there will be no hitch to-morrow." ”

“ Development.
The modern cinematograph was rendered possible by the invention in 1890 of the celluloid roll film, on which serial pictures are [23] impressed by instantaneous photography; a long sensitised film being moved across the focal plane of a camera and exposed intermittently. For an hour’s exhibition 50,000 to 165,000 pictures are needed. To regulate the feed in the lantern a hole is punched in the film for each picture. ”

“ Half a score of actors and actresses moved quickly to their appointed places, while overhead, and at the sides of them hissed powerful electric lights, and in front of them stood a moving picture camera, ready to be operated by a pleasant-faced young man. ”

“ The scene in the studio of the moving picture concern was a lively one. Men were moving [9] about whole "rooms"—or, at least they appeared as such on the film. Others were setting various parts of the stage, electricians were adjusting the powerful lights, cameras were being set up on their tripods, and operators were at the handles, grinding away, for several plays were being made at once.
"Just in time, Ruth and Alice!" called Russ Dalwood, who was one of the chief camera men. "Your scene goes on in ten minutes. You have just time to dress." ”

“ The cinematograph camera differs entirely from the instruments used in other branches of photography. While the advanced worker and the prosperous picture-play producer employ costly and elaborate machines, the amateur, or the independent worker, in the particular field which he has selected for his operations, can get equally good results with an apparatus only a fifteenth or even a twentieth part as expensive. ”

“ Each time the handle is turned but one picture, or one-sixteenth of a foot of film, is moved into the field back of the lens where the exposure is made. The view or studio camera, as we know, when a complete turn of the crank handle is made, moves eight pictures, or one-half of a foot of film, into position.
On the table directly under the lens and at [73] the proper distance for correct focussing, a field is marked out exactly that of the field that was used in making the drawings. Two registering pegs are also fastened relatively to the field as those on all the drawing-boards in the studio. ”

“ Under all conditions the light is properly screened and diffused to suit the critical eye of the camera man. All being in readiness, the actual picture is taken, the actors going through their rehearsed parts, the producer standing out of the range of the camera, and with a megaphone to his lips yelling out his instructions, imprecations, and approval, and the camera man grinding at the crank of the camera and securing the pictures at the rate of twenty or more per second, making a faithful and permanent record of every movement and every change of facial expression. ”

“ And even those who select this volume as their first venture in becoming acquainted with our heroines must well know how the film pictures look from the front of the screen.
To the uninitiated I might say that in making picture plays a company, somewhat like a regular theatrical organization, is gotten together. The play is decided upon, but instead of the acts taking place before an audience they are enacted before a camera and a man who acts as director, or manager. ”

“ DIGGING IN “Well, we’re in the movies—we’re working in the moving pictures.”
“Moving pictures? You’re working in moving pictures? What do you mean, you’re working in moving pictures?”
“We’re working at a place—they call it a studio—acting in little plays—dramas, and comedies—a camera takes pictures while we act, and the pictures are shown in those five- and ten-cent theatres that are all around the town, mostly on Third and Ninth Avenues and Fourteenth Street—such high-class neighborhoods.” ”

“ But do not ask him to waste his time or the company's money in producing a scene the expense and bother of obtaining which is out of all proportion to the importance of the rest of the picture. And do not forget that the camera, wonderful as it is, cannot and does not do everything that it seems to do. In other words, do not mistake an effect produced by trick photography for one that is merely the result of exceptional care and work on the part of both cameraman and director. ”

“ To the amateur the ideal manner of staging a motion picture is, of course, to handle every detail of the production within the organization, merely going outside to rent a camera, purchase film stock, and finally for the factory work of developing and printing the film. The pleasure of “doing everything yourself” is almost too great to be resisted, but if a successful production is to be assured it is wise to call on professional help in other branches. ”

“ A camera is a splendid thing to have along on one's trips abroad. No matter how vivid an impression a certain scene makes upon one's mind, it is bound to fade with the passing of a year or so. But a clear snap-shot taken of that scene will keep it fresh indefinitely, for one needs only to glance at the picture to have all associations with the scene recalled. ”

“ During the whole the director has been the busiest man on the spot. Each motion of the player has been accompanied by a command from him, but it is not for the player to let the camera know that he is listening for these words. By holding a slate covered with figures in front of the camera before the scene was photographed this strip of film now bears its own index figure to aid the factory later in assembling the complete picture. ”

“ A very bad habit which readily becomes apparent and detracts the attention of spectators from the object of the [Page 25] film is the employees at the plant staring hard at the camera while working. This defect has marred a good many industrials, and it gives the impression that the workers are aware of what is happening, whereas everything should appear perfectly natural.
The movie camera man next films the picture according to the scenario, allowing, however, a certain amount of feet for each incident, which depends on the importance of same. ”

“ When the reel of film has all been exposed, it is taken to the dark room, and there developed, just as a small roll from your camera would be. This film is called the negative. From it any number of positives can be made, all depending on the popularity of the subject.
To make positives, the negative film is laid on another strip of sensitive celluloid of the same size. The two films are placed in a suitable machine, and then set in front of a bright light. ”

“ The practice is still in vogue in the British provinces, and has been found very profitable to the producer, because the varied experience of the average touring actor or actress is a valuable asset on the picture-play stage.
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The film-play does not offer any opportunity to the amateur theatrical individual. The camera emphasises far too acutely any weak points in histrionic ability. The professional is the essential raw material, and the heart-breaking drill of the legitimate stage renders the actor or actress all the better adapted to the exacting requirements of the film play ”

“ I’m beginning to realize the tremendous possibilities of a camera at times. That evidence would be accepted in court as conclusive. Go, and wash the film carefully, Will. If you fail to get a few great scenes, you don’t lose everything, it seems.”
“Isn’t that the Peters tribe setting sail, Frank?”
“Why it is, as sure as you live. I wonder they stayed so late. They must be pretty hungry by this time if that educated ape got away with all they had. ”

“ A visit to a studio-theatre to follow a production from the beginning to the end undeceives him very promptly and thoroughly.
The stage management of a play before the celluloid film is far more exacting than the staging of a play behind the footlights. Situations have to be handled which never develop on the legitimate stage. The picture play is essentially pantomime and the camera is a searching, unequivocal critic. ”

“ The first thing for me, to be sure, was getting together the men who would help make the photoplay. Re-writing the story into a scene-by-scene continuity, hiring a studio and attending to all the business details, selecting a cast, picking out the “locations” for scenes, designing88 the “sets” and supervising the construction of them, and “directing” the scenes, is more than any one person can do. The Swiss Family Robinson itself couldn’t do it alone.
So I selected and hired a director, and a camera man, and a continuity writer, and an art director to design the sets. ”

“ In such operations as this, however, where a photograph has to be taken of an aquarium in the first instance, special attention has to be devoted to the lighting arrangements, so as to prevent the camera and the operator being reflected upon the film—since the water acts in the same manner as a mirror.
The audiences in picture palaces are sorely puzzled at the antics of motorists, cyclists, and others who, being pursued by an infuriated crowd whose anger they have raised for some reason or other, elude capture by turning their vehicles and running up the vertical walls of houses and buildings. ”

“ A complete script is composed of three parts: Synopsis, Cast of Characters, and Scenario, or Continuity—and sometimes a fourth part, called the Scene-Plot.
Serial: A photoplay serial, as the name implies, is a film totaling, say, 30,000 feet in length, and divided into fifteen "episodes," each episode being made up of two reels, or parts—2,000 feet of film. The production covers one long, continued story, each episode planned to end with a thrilling climax, with a "To be continued in our next," so to speak, tail-piece. ”