rim-lighting has been eliminated, and three and four strips can be combined simultaneously, and a soft focus can be achieved on one level (as in the old multiplane), and even a see-through effect for an overlay is possible. While Don Griffith is excited about these accomplishments, Art Cruickshank, veteran of the Special Effects Department since the thirties, still likes the multiplane camera best. He wishes it could be used again, because nothing can take its place in achieving great effects. 'The bi-pack is okay for a couple of levels, moving in and around, but for a full, six-level scene, it can't do the same thing at all."
Several exceedingly alert minds around the world have come up with a computerized multiplane camera that makes all the moves of the separate levels automatically, and this eliminates those four or five technicians who stood around waiting to make a small move on their level hardly often enough to remember if they had done it in the first place. Now. when they automate the position of the lights, their relation to the camera and to the eels, and figure how instantly to effect changes in the eels themselves as necessary, it may be economically possible to start planning those involved scenes again. There are many ways today to make the old device less cumbersome: for instance, the use of smaller lights that throw out as much actual candlepower as the old bank of 5(X) watt bulbs but with virtually no heat.
More likely, however, new uses will be found for the astonishing electronic inventions that become available to the imaginative producer and director almost daily. Then, the venerable old giant that stimulated so many wonderful concepts and made so many visual dreams come true, can be retired to the museum. It proved that creative men with determination eventually can find a way and that the artist who is alert to mechanical aids can find the assistance he needs to put his ideas on the screen.
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