One of the big producing plants has two studios—­one in which both daylight and artificial light are used, and another, at the top of the building, with glass walls, and a ceiling which constitutes the roof of the building, where every scene is taken with natural light.  On a bright day the latter studio is used; if there is no sunlight at all, the downstairs studio is kept busy.  On the immense floor of the daylight studio, as many as eight different ordinary sets may be erected side by side at one time.

During the past five or six years, and especially since the Pacific Coast has become a great photoplay-producing centre, more and more “interior” scenes are made on outdoor stages.  This method of taking the scenes in a picture has now been reduced to a fine art.  The outdoor stages, not needing the artificial lighting systems, have their various overhead and side screens, so that scenes may be photographed regardless of the natural light-conditions.

Frequently the director will put up a special outdoor stage overlooking the sea, or a beautiful garden or landscape, on which to build a certain interior setting planned to have that outlook.  Indeed, today, the artificial background for any interior having windows or open doors is unusual.  In Jacksonville, Florida, and other southern cities, as well as in California, the outdoor stage is the most used.  The outdoor stage is especially useful in taking, let us say, a scene showing the interior of a house supposedly during a heavy storm, with the rain beating against the windows and being dashed in at the door when it is opened.  On the exterior stage, such a scene can be taken at almost any hour of the day, and with the screens to dim and diffuse the rays of the sun, and the skillful use of an ordinary hose in the hands of the property-man or assistant director, a very realistic storm scene can be secured.  Many extremely realistic rainstorm effects can also be arranged for exterior scenes, and as for lightning—­sheet, forked, or any other variety—­it is one of the easiest things to “get” imaginable.  The mere scratching of the negative film with a pin, throughout the number of frames covering the flash of the lightning, the scratching, of course, being in the shape the lightning is to take, makes it possible to have thrillingly natural stabs of fork and chain lightning just where it is needed in any scene.  You need never hesitate to call for a lightning storm if your story warrants one at a certain point.

A practical point in favor of the outdoor stages is that there is a tremendous saving in the company’s bill for lighting.  Besides the cost, the outdoor “interiors” are as satisfactory in every way as those made beneath the artificial lights.

It is unnecessary to point out to anyone who has visited the picture theatres that outdoor scenes taken at night are now as common as exteriors photographed at mid-day.  Everything from camp-fire effects to night battle-scenes has been accomplished with wonderful results.  Interior effects of firelight, moonlight, candle-light, etc, are easily procured, and are usually most convincing and sometimes exceedingly beautiful, when taken in conjunction with the setting.