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wish it would be more fully understood by every
one that there isn't one single phase in our work
which is less or more important than another' because
all tend to form the harmonious whole, which
we call a well photographed picture.
When an actor tells me: "For so many years I
have used this make-up," I usually answer him:
"Well, only a few years ago I couldn't take a
picture if the sun wasn't burning my neck, but
todav I can't take one if the sun isn't shining right
in my eyes." As small as this fact seems to be, it
has in my mind a tremendous import. This changing
of position of the main source o{ light while
photographing a picture represents to me the process
of work we have gone through in order to make
better pictures photographically.
We have established, a very close contact with
the Make-Up Artists Association and the joint
work of the Cinematographer with the Make-up
artist if supported by actors and directors, studio
managers and producers will produce excellent
results.
One feature of our inv'estigation of Mazda light'
ing equipment which we have stressed on several
occasions, is the matter of the heat radiations
emitted by this light. Now, this is a repetition
indeed. It will be a repetition for days and months
and perhaps years to come, because it is a question
of tremendous importance, which is, we are assured'
attracting all the attention of the designers o{ new
lamps, bulbs and housing for same. Again, I want
to repeat that the Cooper-Hewitt, Neon tubes system
may be o{ help in reducing this heat in large
sets.
I refer, of course to the use of the Mercury-Neon
tubes combination which can be used as groundwork
o{ the general scheme of illumination of a set.
Now, let us consider the artistic side of the results
which can be obtained with the Mazda system of
lighting.
I think that the tests shown to the S.M.P.E. a
few nights ago, as resulting from the several weeks'
investigation carried on at the Warner Brothers
StudioJ, have conclusively proven the great possibilities
inherent in this system of illumination,
through its pliability and its adaptability to our
work. There is no question in my mind as to the
efficiency of Mazda lightings and to the possibilities
of improvement that it Presents'
It would be impossible for any Cinematographer
to fully express his artistic sense if he would feel
confined, restricted, so to speak, by too great limitations
in the materials and instruments that are at
his disposal and which are the tools that make the
expression of his artistry possible. It would be impossible
for him to freely make use of his creative
and inventive talents if he carried the thought that
the instruments and materials he is using represent
the last word in efficiency and adaptability.
This is not the case in the system of lightings
which interest us the most at this time. We feel
that we can adapt it to our needs and we feel that
we can adapt it to whatever need may present itself
in the course of a modern production. Furthermore
we feel that further mechanical improvements as
well as improvements in construction of lamps' will
constantly increase their adaptability and consequently
constantly ameliorate the quality of our
work,
I wish to state right here that it would be very
unfair to pass any definite judgment on the artistic
value of the tests which have been shown to you.
In conducting this investigation, we were not always
striving to obtain beautiful results, but very often
we strived to solve some definite photographic problems,
such as may confront us in the course of production,
and we felt that this was the only way to
conduct instructive and constructive experiments.
I dare say here that the cinematographer has
proven during the past years that he is capable of
constantly and gradually improving the quality of
his work. I dare say that this constant and gradual
improvement will be our aim in the future. How
"we are going to accomplish this aim, we cannot say.
We cannot say if it will be by the use o{ a single
system of illumination or several systems combined,
but we can state that this aim will be our constant
care.
It is very difficult, impossible, I should say, to
make here a last and definite report on the Mazda
lights situation. In fact, it is my opinion that the
real, actual value of this system of illumination
can only be ascertained by checking, studying, investigating
thoroughly the work conducted in several
studios under actual conditions o{ production.
I do not want to minimize here the importance
of the investigation conducted so far. We cinematographers
have derived great benefits from it, benefits
which in turn will result of great value to the
producers. We have established some very definite
facts and derived some very definite conclusions'
but it is only through the study o{ production conditions
that the cycle of investigation can be made
complete and productive.
I wish to mention here the very favorable impression
made by Mr. Beetson's declaration in regard
to. the establishment of a research or development
laboratory in Hollywood. I dare say that the cstablishment
of such an institution will prove to be one
of the greatest achievements of our Industry.
Such laboratory, I presume, will function as a
sort o{ a clearing house, will be the link between
manufacturer and producer. As such it will be
receptive to all new discoveries and improvements
devised by manufacturers and also receptive to all
new ideas proposed by members of the pictures-producing
field. This means that any new idea, any
new need expressed or felt by the production field,
will be the resultant of a concensus of opinions of
experts in their particular field, more than the expression
or need of only one individual. We do
not mean by this that individual efforts will be put
into discard or not encouraged; to the contrary,
these individual efiorts will be collected and perhaps
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