Elgin Lessley

 

Elgin Lessley

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Elgin Lessley was an American hand-crank cameraman of the silent film era—a period of filmmaking when virtually all special effects work had to be produced inside the camera during filming. Though Lessley worked earlier with Roscoe "Fatty" Arbuckle, and later with Harry Langdon, he is best known for the groundbreaking effects he produced with Buster Keaton, who dubbed him "the human metronome" for his ability to crank consistently at any requested speed. Lessley's most striking effects were in The Playhouse and Sherlock, Jr. In The Playhouse, through use of a specially shuttered lens and repeated back-cranking and re-cranking, Lessley allowed Keaton to appear as up to nine characters simultaneously, interacting with one another. In Sherlock, Jr. , Lessley's careful positioning of camera and actor in various locations produced the effect of a man stuck in a movie where his location keeps changing as he struggles to keep up

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Elgin Lessley

Born 1883-06-10 (143 years ago) in Higbee. Dead 1944-02-08 (60 years).

Relationships
Name From To Relationship type
Blanche Olmstead(Gifta: 1918–1931-09-28) 1918 1931-09-28 Gifta
Parents

Orpha Brooks Lessley, Shelton Lessley

Siblings

Annette "Nettie" Lessley, Ora Lessley, Bindy Lessley

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Elgin Lessley

Bio provided by Wikipedia External link to the source of this bio

Elgin Lessley was an American hand-crank cameraman of the silent film eraâ??a period of filmmaking when virtually all special effects work had to be produced inside the camera during filming. Though Lessley worked earlier with Roscoe "Fatty" Arbuckle, and later with Harry Langdon, he is best known for the groundbreaking effects he produced with Buster Keaton, who dubbed him "the human metronome" for his ability to crank consistently at any requested speed.

Lessley's most striking effects were in The Playhouse and Sherlock, Jr.. In The Playhouse, through use of a specially shuttered lens and repeated back-cranking and re-cranking, Lessley allowed Keaton to appear as up to nine characters simultaneously, interacting with one another. In Sherlock, Jr., Lessley's careful positioning of camera and actor in various locations produced the effect of a man stuck in a movie where his location keeps changing as he struggles to keep up. Lessley retired from filmmaking after shooting The Cameraman with Buster Keaton in 1928.

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