American Cinematographer - December 1960 - 52

(8) We then develop it and obtain
a composite negative.
Advantages of Process

DUAL

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VIEWER

for

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Dept. "A", 340 N. Newport Blvd.
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We can readily see that this process
is fast and economical. It does not re¬
quire a large studio space; in fact, we
have shot this process quite frequently
in a space not larger than 20 by 30 ft.
It is not imperative to have the plate
shot before the foreground is photo¬
graphed.
It is quite simple to change the back¬
ground while there is no cut in the
foreground.
The optical work of compositing is
straightforward and routine. In fact,
frequently we are able to combine the
two elements on a pilot pin registration
step printer.
This matte process allows us to keep
the foreground and background in ab¬
solute focus if so required.
Timing Problem
Mention should be made of the prob¬
lem of timing foreground action to
background action which sometimes is
necessary and is very simple with this
process. We could readily synchronize
a 16mm projector with the camera
(just as it is necessary to synchronize
the rear-screen projector with the tak¬
ing camera, if the rear-screen projec¬
tion process is used) and make a
simple 16mm print of the plate. The
actors, instead of watching the screen
behind them, could watch a small
screen in any strategic position.
We have made double and triple
mattes with great success and are find¬
ing new and simplified ways of using
the process every day. ■

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FEINDEL'S PHOTOGRAPHY
Continued from Page 736

rector Irving Lerner in pre-planning,
cinematographer Feindel set out to cre¬
ate a style of photography that was
determinedly different-not "Art For
the Sake of Art," but Art for the sake
of advancing the story. Without such
camera treatment, "Studs Lonigan,"
with its loosely knit screen narrative
that never arrives at any definite con¬
clusion, might well have been uninter¬
esting screen fare, despite competent
acting and direction. It can truthfully
be said that it is the photography that
saves this film from such a fate.
The entire picture (with the excep¬
tion of a few sequences filmed at
Santa Monica Beach and Griffith Park)
was shot at the Hal Roach Studios,
where the back lot offered street sets
reminiscent of certain sections of Chi¬
cago as they appeared during the peri¬
od of the story. These sets are used to
advantage in the opening sequence
showing Studs and his neighborhood
cronies standing on a street corner,
huddled around a fire of newspapers
kindled in an oil drum, and scanning
the wants ads in search of jobs. Slushy
snow (provided by the Special Effects
Dept.) covers the ground, while wind
(courtesy of a wind machine) provides
the gusts for which the city is noted.
The sequence was shot on a dull day
in flat light, and on the screen it looks
for all the world like a typical cold
dreary day in Chicago.
This same street set with its dingy
brownstone fronts is used effectively
from time to time throughout the film
for both day and night sequences. It
should be pointed out, however, that
the scenes shot there (though expertly
photographed) lack context-a fault
that could have been avoided through
the simple expedient of establishing
these sequences with carefully selected
stock shots of Chicago.
The somber intensity of Studs'
brooding world is most effectively con¬
veyed by Feindel's use of an unusu¬
ally bold style of low-key lighting-
bold because almost no fill light was
used and because many scenes were
shot with the principals' faces in sil¬
houette or just slightly rimmed with
cross-light. There is always the dan¬
ger with this type of lighting that the
audience, unable to see the players'
faces, will be confused as to who is
speaking. Such confusion was avoided
in this film, however, because the cam¬
era effectively narrowed its field to the

AMERICAN CINEMATOGRAPHER
American Cinematographer - December 1960

Table of Contents for the Digital Edition of American Cinematographer - December 1960
