Edison, His Life and Inventions [211]
erected in the laboratory yard, and had a movable roof in the central part. This roof could be raised or lowered at will. The building was covered with black roofing paper, and was also painted black inside. There was no scenery to render gay this lugubrious environment, but the black interior served as the common background for the performers, throwing all their actions into high relief. The whole structure was set on a pivot so that it could be swung around with the sun; and the movable roof was opened so that the accentuating sunlight could stream in upon the actor whose gesticulations were being caught by the camera. These beginnings and crudities are very remote from the elaborate and expensive paraphernalia and machinery with which the art is furnished to-day.
At the present time the studios in which motion pictures are taken are expensive and pretentious affairs. An immense building of glass, with all the properties and stage-settings of a regular theatre, is required. The Bronx Park studio of the Edison company cost at least one hundred thousand dollars, while the well-known house of Pathe Freres in France--one of Edison's licensees--makes use of no fewer than seven of these glass theatres. All of the larger producers of pictures in this country and abroad employ regular stock companies of actors, men and women selected especially for their skill in pantomime, although, as most observers have perhaps suspected, in the actual taking of the pictures the performers are required to carry on an animated and prepared dialogue with the same spirit and animation as on the regular stage. Before setting out on the preparation of a picture, the book is first written --known in the business as a scenario--giving a complete statement as to the scenery, drops and background, and the sequence of events, divided into scenes as in an ordinary play. These are placed in the hands of a "producer," corresponding to a stage- director, generally an actor or theatrical man of experience, with a highly developed dramatic instinct. The various actors are selected, parts are assigned, and the scene-painters are set to work on the production of the desired scenery. Before the photographing of a scene, a long series of rehearsals takes place, the incidents being gone over and over again until the actors are "letter perfect." So persistent are the producers in the matter of rehearsals and the refining and elaboration of details, that frequently a picture that may be actually photographed and reproduced in fifteen minutes, may require two or three weeks for its production. After the rehearsal of a scene has advanced sufficiently to suit the critical requirements of the producer, the camera man is in requisition, and he is consulted as to lighting so as to produce the required photographic effect. Preferably, of course, sunlight is used whenever possible, hence the glass studios; but on dark days, and when night-work is necessary, artificial light of enormous candle-power is used, either mercury arcs or ordinary arc lights of great size and number.
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. At the end of the scene the negative is developed in the ordinary way, and is then ready for use in the printing of the positives for sale. When a further scene in the play takes place in the same setting, and without regard to its position in the plot, it is taken up, rehearsed, and photographed in the same way, and afterward all the scenes are cemented together in the proper sequence, and form the complete negative. Frequently, therefore,
At the present time the studios in which motion pictures are taken are expensive and pretentious affairs. An immense building of glass, with all the properties and stage-settings of a regular theatre, is required. The Bronx Park studio of the Edison company cost at least one hundred thousand dollars, while the well-known house of Pathe Freres in France--one of Edison's licensees--makes use of no fewer than seven of these glass theatres. All of the larger producers of pictures in this country and abroad employ regular stock companies of actors, men and women selected especially for their skill in pantomime, although, as most observers have perhaps suspected, in the actual taking of the pictures the performers are required to carry on an animated and prepared dialogue with the same spirit and animation as on the regular stage. Before setting out on the preparation of a picture, the book is first written --known in the business as a scenario--giving a complete statement as to the scenery, drops and background, and the sequence of events, divided into scenes as in an ordinary play. These are placed in the hands of a "producer," corresponding to a stage- director, generally an actor or theatrical man of experience, with a highly developed dramatic instinct. The various actors are selected, parts are assigned, and the scene-painters are set to work on the production of the desired scenery. Before the photographing of a scene, a long series of rehearsals takes place, the incidents being gone over and over again until the actors are "letter perfect." So persistent are the producers in the matter of rehearsals and the refining and elaboration of details, that frequently a picture that may be actually photographed and reproduced in fifteen minutes, may require two or three weeks for its production. After the rehearsal of a scene has advanced sufficiently to suit the critical requirements of the producer, the camera man is in requisition, and he is consulted as to lighting so as to produce the required photographic effect. Preferably, of course, sunlight is used whenever possible, hence the glass studios; but on dark days, and when night-work is necessary, artificial light of enormous candle-power is used, either mercury arcs or ordinary arc lights of great size and number.
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. At the end of the scene the negative is developed in the ordinary way, and is then ready for use in the printing of the positives for sale. When a further scene in the play takes place in the same setting, and without regard to its position in the plot, it is taken up, rehearsed, and photographed in the same way, and afterward all the scenes are cemented together in the proper sequence, and form the complete negative. Frequently, therefore,