Allgemein

“Trick” Photography Methods
Summarized
(Continued from Page 9)
(unfortunately there is no source of page nine until now please inform ME of any findings)

[…] spot light photographed through a copper wire screen to give the shimmering rays which are shown in the conventional paintings representing this sacred history. The massive walls of Fort Schuyler furnished the walls of the City of Jerusalem and the Wise Men followed the Star on the backs of camels in the Bronx Zoo. Photographs of the pyramids were double exposed above a location on a sandy beach for the sojourn in Egypt and the pillared portico of a rich patent medicine manufacturers’ home, served as the architecture of the Roman Court.

Great Demand

Nearly seven hundred prints from the original and two dupe negatives which had to be made to supply the demand were sold and some of the prints are still listed by educational exchanges. Orders were still coming in when the negatives were destroyed in a disastrous studio
fire. [Read more…] about CINEWOLF X-MAS-SURPRISE 07: “Trick” Photography Methods Summarized

By W. Wallace Clendenin
(Pinch Hitting This Month for Earl Theisen)

from The International Photographer February 1934 p.12

BIOGRAPH produced pictures in Los Angeles in 1906, it being the first company to do so, but it did not at that time build a studio. This honor goes to William N. Selig, who, in 1909, built the first moving picture studio on the Pacific coast. This was at the northeast corner of Clifford and Allesandro streets (this portion of Allesandro has since become a part of Glendale boulevard) in Edendale. Selig had faith in the future of the film industry and proved it by building a complete studio from the ground up—stucco buildings, a stucco wall around the property and most remarkable of all, a glass enclosed stage.

Closely following Selig came the Bison Company.
[Read more…] about CINEWOLF X-MAS-SURPRISE 06: Hollywood Studios of the Early Days

By Walter Bluemel

from the International Photographer March 1934 pg.4

THE most remarkable difference between the work of the professional and the amateur cameraman is not in the equipment used, but in the way it is used. The amateur today has at his disposal a variety of 16 mm. movie equipment which in perfection and versatility compares very favorably with the equipment used in Hollywood studios.

In principle, standard and sub-standard apparatus is very similar, differing essentially in size only. The smaller size, however, does not give it limitations which larger equipment does not have, but, on the contrary, makes it more versatile because of its light weight, as well as greatly cuts down the expense of equipment and film so that the amateur can afford it.

Though in the majority of cases simpler in construction, 16 mm. is made with the same mechanical precision that is to be found in standard equipment and, with the newest types of cameras, the numerous accessories and the modern high speed, fine grain panchromatic films available, there is no reason why the amateur should not in the majority of cases be able to get as good results as the professional.

[Read more…] about CINEWOLF X-MAS-SURPRISE 05: The Amateur Can Learn From the Professional

by CHARLES LANG, A. S. C.

THE INTRODUCTION of Fast Film brought with it great benefits to all types of cameramen, and with it too, new problems to be surmounted. I doubt, however, if any class of cameramen received quite so many of either as have those of us who, either from preference or necessity, work with a low key of lighting. Here was a new film which can inherently make our work much simpler, but which also makes us adopt a new technique if we wish to utilize its greatest benefits.

In the first place, Fast Film allows us to use less light. In the second place, it is naturally inclined to yield soft gradations; I doubt if it is possible to get a really over-contrasty picture with it. But—and there’s the rub—this very tendency to soft gradation which is a great advantage to the normal worker, can be the undoing of the unwary low-key worker. The reason for this is that whereas the normal worker, sometimes intentionally, sometimes unintentionally, almost invariably lights his set for quite a high degree of brilliance, the low-key worker, on the other hand, habitually works with extremely soft lightings, which, when coupled with the naturally soft characteristic of the new film, is very likely to become over-soft, and flat.

[Read more…] about CINEWOLF X-MAS-SURPRISE 04: Some Thoughts on Low-Key Lighting