At times more than 20 featured players were on stage at the same time - a matter that posed a problem of lighting them all adequately and uniformly. In starting to shoot this production, certain problems in set lighting soon made themselves apparent - namely, that created by the much wider CinemaScope aspect ratio and the unusually large cast of principals, 14 in all. So, when I was assigned recently to photograph MGM’s CinemaScope musical Seven Brides for Seven Brothers, produced by Jack Cummings, my earlier experience with fog stood me in good stead. I mentioned this biographical fact not to establish how long I have labored in the celluloid vineyards, but to bring up an interesting discovery made at that time, viz.: that fog - the variety that creeps up New York's East River - is one of the greatest aids in light dispersal, producing soft values in illumination which, I have also discovered, are ideal for CinemaScope photography. At the top, MGM's Seven Brides for Seven Brothers.īack in 1922, I had the pleasure of being associated with director Chester Franklin at the old Long Island Studios, working mostly with Bebe Daniels on such memorabilia as Nancy From Nowhere and Rum Runners.
There’s always something new being tried in the making of MGM productions, and this was no less true when two cameras were used for every shot and gaffers communicated via short-wave radio.
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