TRICK PICTURES AND HOW THEY ARE PRODUCED
_III.--Manipulation of the film: Apparitions and gradual
disappearances by opening and closing the diaphragm of the
lens slowly: “The Siren”: Submarine effects._
There are many curious and bewildering trick effects which cannot be
produced by recourse to the methods I have already described. It is
impossible to detail every artifice employed; for every film possesses
some individual characteristics. Only the broad outlines of the general
processes employed can be described in the course of these chapters,
but the information thus afforded will enable one to fathom how the
majority of these miraculous pictures are elaborated.
We have all laughed and enjoyed the class of trick-film portraying
frantic haste and its concomitant disasters or escapades. The scene
may represent a public street, a park, a hotel, or even a private
residence. The fact that the ordinary members of the public figuring
in the scene move at the normal speed throws the frenzied haste of
the principal performers into more striking contrast. I recall two
excellent films of this character. In one case the story represented
the operation of a wonderful little machine which, when its handle
was turned, radiated a magical influence of acceleration upon
everyone within a certain range, precipitating ludicrous incidents
and situations. One saw the vehicles and pedestrians flying along
the crowded Regent Street of Paris with terrible speed. The dawdling
nursemaid was galvanised into life when the apparatus was brought
within a few feet of her--she rushed her perambulator and charged along
the boulevard with the velocity of a racing car; while the errand-boy
completed his duties at the pace of an aeroplane, and so on. Mr. James
Williamson was responsible for the second film of this character, which
portrayed the British Workman “waking up” and becoming a “hustler”
of the first water. The bricklayers ran up and down the ladders like
squirrels racing up a tree, while the bricks were laid so rapidly that
one could not detect the movements of the workman’s hands, and the
carpenter plied his saw so vigorously that it appeared to be a mere
streak of light.
This peculiar effect may be produced easily by either of two
methods. One is to turn the handle of the camera very slowly while
photographing; but when the film is being shown to rotate the handle
of the projector at a very high speed. The result is that the pace
of every moving object in the picture is increased upon projection
four, six, or eight times that recorded by the camera. In this case
every moving object in the picture moves at the same pace. There are
no contrasts between frantic movement on the part of some and slow,
natural motion on the part of other people in the scene to enhance the
ludicrous effect; moreover, the required result is left very much in
the hands of the operator.
Accordingly, another and superior expedient was evolved and is
now adopted universally. The picture is taken at the normal speed
of sixteen pictures per second, but the film thus obtained after
development is taken in hand, and its length is reduced by cutting out
every other picture --or perhaps even more. If every alternate image
is eliminated in this manner, and the remaining pieces of film are
re-joined, the length of the film is reduced by one half, and when
thrown upon the screen at the normal speed of sixteen pictures per
second, the moving objects travel at twice the speed at which they were
moving when photographed.
This removal of the images from the string of consecutive pictures is
known as “manipulation of the film.” It is a tedious and delicate
process, because joining together properly a series of images measuring
only three-quarters of an inch in depth demands skill and patience.
By its means, however, some bewildering effects may be obtained, one
of which is shown in the illustration. This film depicts a lad who
has been hypnotised. When he enters a dwelling his presence sets the
furniture dancing violently, while a circular table round which four
people are seated, revolves at a dizzy pace. For the purposes of this
film the table and those seated around were mounted upon a pivoted
platform free to revolve, which was driven from beneath the stage
or from some other convenient point. At the right moment the table
commenced to spin around--at a comparatively slow pace, so as not to
unseat the performers by the results of centrifugal force--the camera
meanwhile recording the movement. After the film was developed images
were cut out at certain points, these excisions being so made as to
reduce the length of film devoted to the table-spinning incident from
100 feet as recorded by the camera to twenty-five feet or so for the
projector. Accordingly, when the film was thrown upon the screen at a
speed of sixteen pictures per second, the table appeared to whiz round
at a fearful velocity.
[Illustration: THE REVOLVING TABLE.
The puzzling trick effect of a table rotating at dizzy speed is
obtained by cutting out pieces of the film. The white lines show where
excisions have been made.]
If double printing be associated with this manipulation of the film
far more mirth-provoking and astounding situations can be produced.
For instance, such stories as that of the magical apparatus described
above, which spurs into unwonted velocity the traffic in a crowded
street, may be prepared as follows:--The camera is set up in a
suitable position overlooking the thoroughfare, and one film is taken
very early in the morning, when the traffic is either absent or very
insignificant. Here and there may be a pedestrian or vehicle, but
their presence only heightens the effect. Perhaps 125 feet of film
are expended upon this subject. The camera is then left until later
in the day, when the traffic is at its highest, and another film is
secured of the now busy street from the same point of view. Thus the
stationary objects--the shops, lamp-posts, and so forth--occupy the
same relative positions in each film, with the result that when
they are placed one on the other a single impression of these fixed,
inanimate objects is obtained. The second film, however, is longer than
the first--perhaps it is 250 feet in length--but by cutting out each
alternate image its length is reduced to 125 feet. The two films are
now of the same length; one is placed on the other, and the positive
print is made.
When the picture is thrown upon the screen the greater part of the
wheeled traffic is observed to fly along in mad haste, while here and
there a pedestrian or vehicle is seen sauntering in a very leisurely
way--almost at a crawl by comparison. The latter are those photographed
upon the first film which has not been touched, while the hastening
vehicles and people are those photographed upon the second film, which
has been manipulated into half its length.
If the excisions are made more heavily, and instead of every alternate
picture being cut out, three out of four consecutive images are
eliminated, the results are more ludicrous still. Suppose a man
is being pursued, and runs as for dear life; if 100 feet of this
episode are photographed, and the negative subsequently is reduced
to twenty-five feet by manipulation, the man will not appear to be
running when the picture is shown upon the screen, but will seem to
be eluding capture by a series of long hops. In this instance two
films and superprinting are requisite to give the most satisfactory
result, the runaway being recorded upon one film and the pursuing crowd
upon the second. Then while the man is shown to be leaping in a most
extraordinary manner down the street, the crowd will be seen running in
a perfectly natural manner.
Whereas the “stop” call is employed to effect sudden appearance
or disappearance, a different method is essential for a gradual
disappearance. Let us suppose the scene represents a magic cave in
which the daring young hero is imprisoned by the wicked magician.
Instead of the good fairy springing into the picture through a
trap-door in the floor of the stage, as is the practice in legitimate
pantomime, she is seen to materialise from nothing. The first sign of
her advent is a slight nebulous haze in a certain part of the picture.
This mist grows stronger and stronger, until at last it reveals the
filmy outlines of the fairy, who in due course becomes as distinct
and as clearly defined as the young hero she has come to assist. When
the moment arrives for her disappearance she vanishes in the same
mysterious manner, her body seeming to dissolve into thin air.
This apparition effect always provokes considerable interest and
curiosity. It necessitates the use of a camera of such a design that
the film can be driven both forwards and backwards, instead of in the
first-named direction only. It must be fitted also with a special
measuring indicator, and an easily adjustable diaphragm stop to the
lens. The latter is of the rectilinear type, the results therewith
being produced more easily and positively than by any other means.
All these requirements are fulfilled in the “trick” camera, which is
especially designed for work of this character.
[Illustration: THE SECRET OF THE FAIRY’S APPEARANCE.
1. While a length of film is being exposed the diaphragm is closed
slowly.]
For the purposes of explaining this operation I have obtained three
films (see illustrations) by looking at which the process will be
clearly understood. It is well known that as the aperture of a lens is
closed, the quantity of light admitted to the sensitised surface behind
is reduced, and if this action is carried out gradually by means of the
rectilinear stop, without any variation in the length of the exposure,
the image upon successive sections of the film will become fainter
and fainter until nothing at all is recorded. The reverse action
takes place as the lens aperture is increased in size by opening the
diaphragm to admit a greater volume of light.
[Illustration: THE SECRET OF THE FAIRY’S APPEARANCE.
2. The same length of film is re-exposed after the fairy has entered
the picture, under a slowly opening diaphragm.]
I will first explain the operation in its simplest form. The stop call
is given and all the actors become stationary while the fairy stands
alert to receive her cue to enter. The operator notes the point upon
his indicator of the length of film used up to the time the stop call
is given. For our purposes we will say it is 100 feet. The operator
continues turning the handle at the same speed, but while so doing he
gradually closes the lens aperture by means of the rectilinear stop,
so that the images, owing to decreasing volume of light admitted
through the lens, become fainter and fainter, until at last merely a
haze is recorded. The effect of closing the stop in this manner is
shown in the first film.
[Illustration: THE SECRET OF THE FAIRY’S APPEARANCE.
3. The effect of double exposure under closing and opening diaphragm.
The subjects photographed twice upon the same length of film stand out
with uniform distinctness, but the fairy being photographed only once
gradually materialises apparently from thin air.]
The operator consults his film register and finds that two feet of film
have been consumed, representing thirty-two exposures, to carry the
picture gradually to extinction, the indicator accordingly registering
102 feet at the conclusion of the operation. The fairy now receives her
cue and steps into the required position in the picture. The operator
resumes his turning, and during the next two feet of film, that is,
another thirty-two exposures, he opens the stop just as gradually as
he closed it, to its former aperture, the image upon the film thereby
becoming stronger and stronger as increasing light is admitted through
the lens.
The effect produced by this process is shown in the illustration.
The first picture taken after the fairy has entered is scarcely
discernible; then it becomes a slight haze in the next image, and as
the aperture is increased her form slowly materialises until at last
she is quite as distinct as that of the other actor in the scene, who
meantime has retained his rigid position during the whole 64 exposures.
When this second series of exposures have been completed, the film
indicator registers 104 feet, two feet of film having been used in
closing and another two feet in opening the lens aperture.
Now if the film is cut at the point representing 102 feet, and this
second part of the film is superimposed upon the first in such a way
that the second thirty-two exposures coinciding with the opening of
the diaphragm are laid upon the thirty-two exposures representing the
closing of the lens aperture, in the resultant positive the actor and
the surroundings will stand out with uniform brilliancy throughout
the superimposed section, and be equal in brilliancy and distinctness
to the remainder of the film, for the simple reason that image
33--representing the first exposure under the opening of the stop
and consequently the most indistinct picture--comes over image 1 in
the stopping-down series of pictures, which is, of course, the most
brilliant picture. Image 2 comes under image 34, and so on throughout
the whole thirty-two pictures. As the pictures grow fainter on one
film they become correspondingly stronger on the other film, with the
result that when the two are overlapped and printed the sum of the two
exposures produces a complete and fully-detailed picture, the second
film supplying to the first precisely the complement of its incomplete
exposure, in the case of each image.
But this action only affects the actor and scenery recorded upon the
two sections of film. The fairy, having entered at picture 33, when the
unstopping process was commenced, appears at first very indistinctly,
like a small patch of mist, the nebulous haze resolving itself into
her form slowly during the successive thirty-one pictures. The sum
of this double exposure is represented by the third illustration,
where the fairy is to be seen slowly materialising, the other parts
of the picture under the double printing being of uniform brilliancy
throughout.
This was the method adopted in the early days, but it was somewhat
involved, and demanded recourse to double printing. The perfection
of the camera mechanism has enabled the process to be considerably
simplified. Now the operator makes a double exposure, with closing and
then opening diaphragm upon the same length of film. When the “stop”
signal is given he observes the indication on his film register. We
will say it is 100 feet, as in the previous case. The actor becomes
motionless and the operator resumes his turning while closing the stop
slowly, until 102 feet of film are registered upon the dial, thirty-two
exposures, or two feet of film having been made during stopping
down. He now winds the film backwards into the upper film box until
his dial registers 100 feet once more, the lens being capped during
this operation. Thus he has regained the point upon his film where
stopping-down commenced, and the two feet used in this process are
ready to be exposed again.
At this point the fairy steps into position. The camera is re-started,
and while the first thirty-two exposures are being made the lens
aperture is opened, just as slowly and gradually as it was closed
during the previous exposures. The result is that the portions of the
films which in the first instance received a diminishing volume of
light now receive a compensating increasing illumination, so that the
effect upon this particular two feet of film, so far as the figure
on the left and the scenery are concerned, is just as if they had
been exposed once under a full aperture. The fairy, however, having
been photographed only during the second exposure, appears at first
very indistinctly. The result of the double exposure is shown in the
illustration; and the gradual appearance of the fairy may be followed
very easily. The outcome is exactly the same as obtained by double
printing; but it is infinitely easier, and far more positive in its
action than the delicate process followed by Robert Paul in the early
days--the dissolution of the emulsion from the film by chemical action.
Exceedingly clever effects are obtainable under this double exposure
process. Transformations from one scene to another are carried out in
a manner that completely eclipse the handiwork of the stage-manager
behind the footlights. Success depends to a great degree upon the
skilfulness of the operator, because it is imperative that the stop
of the lens should be closed and opened equally, in order that the
combined exposures upon each successive image should be equal to a
single exposure with a full aperture, so as to provide a uniform
intensity and brilliancy throughout all the images.
The magic disappearances are worked in precisely similar manner, only
in this instance the character leaves the picture at the moment the
last image under the closing diaphragm has been taken. The film is
wound back as before to the point where the “stop” call was given, and
is subjected to a second exposure under an opening stop.
There are no limitations to the application of this form of trickery.
Spirit forms can be produced to float in the air, recourse to the
rising and falling lens front being made in conjunction with the
manipulation of the diaphragm. Sylphs can be materialised from evening
vapours; and articles of furniture can be transformed into human
forms. Many of the pictures obtained in this manner are startlingly
weird and magical. As a matter of fact, the manipulation of the
diaphragm may be considered as one of the most useful weapons of
trickery and magic in the hands of the cinematographic wizard.
Another miracle is performed when the public is introduced to the
bottom of the sea to make acquaintance with the denizens of the deep,
and the strange mermaid population. The audience is convinced that
the pictures have been taken in the actual surroundings, because
divers descend into the depths and they can see the air-bubbles rise
from their helmets during respiration. The effect is certainly very
realistic, and as the difficulties attending under-water photography
are well-known, one wonders how these pictures can be obtained.
They can be produced by two methods. One is by using a large tank with
a glazed front, in which the properties are distributed, while behind
is a painted back-cloth to represent a submarine scene. The tank is
filled with water, and fish are introduced to heighten the effect.
Divers are employed to carry out their evolutions in the tank, which
is brilliantly lighted, so that the sensitised ribbon in the camera
disposed before the front window may be able to secure a well-defined
image.
It is obviously impossible to introduce mermaids actually under water,
since they could not breathe there; so for this part of the effect
recourse to trickery is indispensable. A narrow tank with glazed back
and front is set up on the stage, filled with water, and a few fish.
The camera is brought as near as possible to this large aquarium and
photographs the tank, the pictures being slightly under-exposed.
[Illustration: THE MYSTERY OF “THE SIREN.”
A beautiful woman is observed to be swimming gracefully in the depths
of the sea, and the public is mystified as to how she can exist under
water.]
The tank is then removed, and a scene depicting the floor of the sea
is prepared upon the stage, with a back-cloth of a grey neutral tint.
Perhaps a property ship to represent a sunken wreck is set up to
enhance the effect. Actresses made up as mermaids disport themselves
upon the sea-bed, and divers are observed to make their descent from
the surface, which in this instance is the “flies” of the stage.
The film which the operator has exposed already upon the stage tank is
now exposed again before this scene, and the commingling of the two
produces a very mystifying effect when shown upon the screen.
[Illustration: THE MYSTERY OF “THE SIREN” REVEALED.
The camera was placed in the flies with the lens pointing downwards
upon the actress moving on the floor.]
A fascinating film of this character was made by the Gaumont
establishment under the title of “The Siren.” A beautiful woman was
observed to be swimming and diving in the watery depths with various
fish as her companions. Her movements were so graceful and natural that
it seemed impossible for them to have been produced while the actress
was suspended from the “flies” by the aid of wires. How was it done?
was an expression I heard on several occasions during projection in the
picture palaces. The solution is very simple.
In the first place, a large aquarium was set upon the stage. It was
stocked with fishes, which gambolled in a realistic manner, and the
tank was photographed. When this exposure was completed the “Siren” had
to be introduced.
The floor of the stage was cleared, and upon it, like a carpet, was
laid a large back-cloth of a grey neutral tint, bearing faint designs
of submarine growths, shells, weeds, and so forth, the work of the
scenic artist. The operator carried his camera into the flies, and from
a central point overhead set it up with the lens pointing downwards,
and focussed the flat background spread out below. The actress then
entered, and lying prone upon the back-cloth, carried out the movements
necessary to simulate swimming and diving, moving the arms and legs
and writhing the body to convey the correct natural impressions of
under-water movement.
The rehearsals completed, the operator re-exposed the same film which
had been previously exposed before the aquarium, and which had
received a faint impression thereof. When the picture was projected
the public was completely deceived; for the actress moved to and fro,
in the company of fishes which darted from point to point, apparently
unperturbed by the existence of the fair feminine form in their midst.
In such operations as this, however, where a photograph has to be taken
of an aquarium in the first instance, special attention has to be
devoted to the lighting arrangements, so as to prevent the camera and
the operator being reflected upon the film--since the water acts in the
same manner as a mirror.
The audiences in picture palaces are sorely puzzled at the antics of
motorists, cyclists, and others who, being pursued by an infuriated
crowd whose anger they have raised for some reason or other, elude
capture by turning their vehicles and running up the vertical walls
of houses and buildings. The methods used in the presentation of the
“Siren” are adopted here also. A cloth carrying a painted impression of
the wall with its windows, doors, stack-pipes, and so forth, is laid
upon the floor, and the camera lens is pointed thereon from a position
in the flies. The vehicles are driven over this back-cloth, and the
film conveys the idea that they have performed the impossible feat
of riding up the wall. The effect is often improved by following the
upward progress of the vehicle. This may be accomplished in two ways.
Either the camera is moved horizontally along a track in the flies
in synchrony with the advance of the vehicle, or else the rising and
falling front of the lens is brought into use. Another means is to have
resort to the “stop” action, the camera being rigid and the back-cloth
moved across the floor a certain distance between each series of
exposures.
For the production of elaborate trick pictures an extensive assortment
of properties is demanded. When the episodes are accompanied by
ludicrous catastrophes and smashes the public is moved to extreme
mirth. In many of these pictures the performers are obtained from the
vaudeville stage, being accomplished masters of knock-about, tumblers,
cyclists, etc. Suppose a chase over house-tops is shown, accompanied
by falls through the roof, the actors and actresses tumbling from
floor to floor down to the basement. These pictures are prepared in
sections. The first scene represents the roof, which is built up on
the stage, while a back-cloth affords a vista of chimney-pots. At
certain points in the roof are concealed trap-doors which, when the
first actor brings his weight on them, collapse by the movement of the
bolt or other support concealed beneath. The performers fall through
the opening on to a soft mattress within, the extent of the fall being
about four or five feet. In the next scene members of the company in
turn fall through the ceiling of the sixth floor of the building. This
scene is built up on the floor of the stage, the performers being
stationed out of sight in the flies. The ceiling is represented by a
piece of painted canvas with attached pieces of cardboard and canvas to
resemble splintered woodwork and broken plaster. The ceiling is intact,
but when the cue is given the leading actor jumps or falls through
the painted canvas followed by a mass of débris and dust. The débris
is merely properties thrown through the opening, while steam or smoke
driven through the hole serves as dust. Perchance a party is dining in
the room when the tumblers make their unexpected entrance through the
ceiling, and the scene undergoes a complete disturbance as a result
of the interruption. The next floor is reproduced in turn in the same
manner upon the floor of the stage, and so on until the players come
to a dead stop in the basement, when the cardboard and canvas débris
produced by their hurried descent falls and practically buries them.
The force of the latter is increased by men stationed in the flies, who
hurl the material down pell-mell from their points of vantage through
the hole the tumblers have made. As seen upon the screen it appears
as if the house were cut in two from top to bottom, and the audience
were permitted to follow the tumblers in their descent from floor to
floor; instead of which, as we have seen, each floor is reproduced
individually upon the stage. There is no indication whatever of this
piecemeal preparation, although if the picture is followed closely it
is readily apparent, because the performers in their descent do not
comply with the laws governing the momentum of a falling body.
The laughable incidents showing men climbing laboriously through narrow
chimney flues are attributable likewise to trickery. The chimney is
merely a stage property, and generally is laid flat upon the stage,
with the operator and his camera stationed in the flies, as in the
production of the “Siren”; though, from the public point of view, the
players appear to be crawling upwards through the narrow vertical
brickwork passage, gathering an accumulation of soot in their advance.
The latter is applied to their faces by the actors themselves as they
move forward.