A-B-C of motion picturesWelsh, Robert E. (Robert Emmet)
History
A-B-C of motion pictures
Welsh, Robert E. (Robert Emmet)
Motion pictures
A type of double-exposure work that is, perhaps, even more familiar
to readers is that used in showing visions, as, for instance, when
the producer desires to show the thoughts that are passing through a
character’s mind. The vision may appear in one of the upper corners
of the scene, the more common method, or, for novelty’s sake, it may
form on the pages of a book the character is reading. The principle in
these cases is similar to that explained in the twin-brothers scene.
First the action covering most of the scene is photographed, with that
part of the film masked on which the vision is to appear. Then the
same strip of film is run through the camera to photograph the players
enacting the action of the vision. It will be readily apparent that
in this work the camera’s perspective must be altered, where in the
twin-brother scene it was necessary that there be no change in the
position of the camera until both scenes were photographed.
The magical appearances and disappearances of characters will be simple
to readers who now understand the operation of the motion-picture
camera. They will see that it is an easy matter to have a character
disappear by ceasing to turn the crank, covering the lens, and then
having the character walk off the scene, after which the turning of
the crank is resumed. When the picture is developed the player will be
seen up to a certain point, then he will suddenly disappear, but the
other objects in the scene will appear unchanged. In the same manner a
person can be brought suddenly on the scene, appearing to spring from
the air. Trick effects may also be secured by running the film through
the camera backward, and reversing the actions of the players, that
is, making them “do things backward.” When the film is run through the
projection-machine correctly, and shown on the screen, you see the
player perform such miraculous feats as jumping from the middle of a
river clear up a steep bank, when in reality to take the picture he
leaped backward from the bank to the river--but the film was reversed.
Public-domain text, read in full here on John Shaqi.
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