The Washington times., 1914-10-21
THE BEST
Photopldy Department in
WASHINGTON
Scenery for M otion
Picture Dramas
Develops Odd
Color Work

One of the most curious things
about the production Of a motion
picture drama is the scenery Very
few people give this matter a
thought. when interior views are
considered. The exteriors, of course.
require no particular scenery. I'M
less some special feature is being
emphasized in the picture. or some
particular period is to be brought
out fully. The interior scenes, how
ever, are generally supposed to be
just like the stage settings. AS q
matter Of fact, they are not. A mo-
ton picture has no color whatever.
1t shows only the gradations from
black to white. 1t is a we'll known
fact that certain colors photograph
jet black. no matter how delicate
the shading might be in the original.
Many of these are colors which
naturally enter into the painting Of
scenery or the decoration Of rooms.
Take them away and the choice Of
the decorator becomes very narrow.
Some of the things that are ordi-
narily used in the decoration Of
rooms are absolutely barred from
use in pictures.
1t will be readily seen. therefore,
that the matter Of scenery for the
interior views of a motion picture
drama Is one Of, great Importance
1t is very closely related to the
matter OF light. on which thousands
OF dollars have been expended and
the Importance of which is readily
apparent to the most casual observer.
The construction and painting Of
scenery for the film plays has,
therefore, become an art of unusual
import and has developed an entire
ly new line Of workmen.
ihere are certain set schemes of
color that are used on the stage in
connection with certain kinds Of
plays. 1t probably has never oc-
CURED to an audience that a part
or the effect of play was the color
scheme of the scenery and the cos
TUNES. OF course. If a jarring note
was struck by any costume or par
ticular color, it would be at once
apparent. But 1t is probably not
generally known that color schemes
are deliberately used to heighten
combinations which go well with
certain kinds Of scenes. When this
fact Is understood and when the
further fact is understood that a
large part Of many of these schemes
will not photograph, some idea Of
the difficulty that confronted the
original photoplay scene makers is
understood. There was not only
this fact to be considered, however.
There was the matter. Of lighting.
People who have visited a motion
picture studio have been astonished
at the brilliance OF the lighting and
OF the CHASTITY effect it created in
ordinary things. A PERSONS face
would look wildly green and GER
tain colors would show up in the
most weird way. 1t was found that
scenery that it was made vivid in
the picture because of the lighting.
This meant a lot OF experimenting
and as a result the scenery of many
interiors that show up so BEAUTIFULLY
In soft gray shades on the screen
will be found to be brilliantly and
Enthusiastically yellow or orange or
brown or green. The makeup Of
the actors and actresses runs large
ly to the same coiors. Should they
use the red and pink that is common
on the stage the effect on the pic
ture would be black
From this II can be readily under
stood that the work of the scenic
artist in the motion picture studio is
Of the most exactly sort. In addi-
ton to being a painter he must be
something of a scientist also and
know the value of light. not only
from the point of view of the artist.
but from the standpoint Of the
chemist. His studio is really a
laboratory and his work Of totally
different character from that Of the
ordinary painter. The motion pic
ture scene painters work has opened
UP an entirely new profession and a
most Interesting one. G NJ.