I have been living a lie. To be fair to myself, I didn't know I was living a lie, but I was. When I was a teenager, I got really into classic Hollywood cinema, as many of us movie lovers do. Pretty early in my cinematic education I watched Stanley Donen and Gene Kelly's 1952 movie musical "Singin' in the Rain." You look at any list compiling the best films of all time, and it will inevitably be on it. The Sight & Sound poll listed it as the 20th best film of all time. The American Film Institute goes even further and ranks it at No. 5. I cannot deny that it belongs on the lists. Every time I watch it, I am utterly spellbound by its charm.

If you are a young cinephile who loves "Singin' in the Rain," you will unquestionably be told a piece of trivia by someone about the film's production that has frankly become pretty common knowledge at this point. You will be informed that because photographing rain is notoriously difficult to capture clearly, they had to use milk for the titular musical number's rain. It's one of those fun nuggets that shows off the ingenuity of filmmaking, doing something you would not expect to create a magical movie moment.

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Yes, we have all been lied to. "Singin' in the Rain" didn't use milk in the beloved number. I'm sorry for shattering your image of the scene, but we cannot be living this lie anymore. The truth is in order to capture the rain in that scene, the solution actually came from something much more crucial to moviemaking: good lighting.

Have you ever looked out your window to see a storm and pull out your phone to start filming it because you can't believe how intense it is? I know I have. However, when I go back to look at the video I just took, the severity of the storm never comes through. In fact, you can barely even tell it is raining outside of the sound.

You watch "Singin' in the Rain," and you can see the rain perfectly clear, which is why the common misconception that something was added to the water to make it visible persisted for so long. Talking with DGA Quarterly Magazine, co-director Stanley Donen explained that they were able to capture the rain by constructing clever and complicated backlighting to get it to pop on film:

"When you're shooting rain, it has to be backlit, or you may not see it very well. There have been a lot of stories about how we put milk in the water so you could see the rain. It's not true. You have to put the light behind the rain so that the raindrops show. If you put the light in front of the rain, with no light behind it, the rain disappears."

Rain is ... well ... water; it refracts light. The reason you need to light it from behind is the refraction occurs as the light passes through it on the other side, which the camera can then capture. You shine a light on it from the same direction as the camera, and the light will just pass through a clear object. You can't put anything on film without the right amount of light. Camera censors depend on it, and Donen knew exactly how to get it.

Just as big a factor as properly filming the rain was making sure they had enough of it. Also, they had to make sure the force of the rainfall looked like it was a proper storm and not coming from an elaborate sprinkler system, which is what it actually was. Well, this can become quite a challenge when you are reliant on a water system that isn't just set up for MGM, but for the greater Los Angeles area. In "The Making of 'Singin' in the Rain'" featurette on the Blu-ray, Stanley Donen spoke about how they encountered this the first day of shooting the sequence:

"It was a hot summer. We were shooting under a tarpaulin. It was supposed to be night. We were shooting it in the daytime. As people got home around 5 o'clock, they would start to water their lawns because the hot sun had been beating down, and the water pressure would suddenly drop enormously. When we would try to turn on our water, it would just drip."

On day two of filming, they wisely chose to start shooting earlier in the day and wrapped before people started getting home and using their water. We tend to underrate the practicality of the filmmaking process. It's a lot of being presented with a problem and finding a solution that gets what you need on camera within your means.

Of course, as an audience member, we aren't meant to think about these things. Knowing their water pressure troubles doesn't make Gene Kelly performing "Singin' in the Rain" a more or less magical moment. We just get to bask in their ingenuity without realizing it, which is exactly what they want.

It occurred to me recently that my studio manager Alexis has been with me for almost two years and has yet to make a physical appearance here on the blog. She's quite camera shy but since we have two beautiful new Kelly Anoraks to show you I decided it was time to aim the lens her way and tell you a little bit about our work together.

I honestly don't know what I would do without Alex. She's in the office 4-5 days a week depending on how much we've got going on, and takes care of customer service, shipping and general office admin, in addition to helping me prepare patterns for release, which includes lots of sample sewing, instruction writing and editing, and all the eye gaugingly boring editing and formatting that starts making me a little crazy when we're nearing the final stretch. She's great at everything I throw at her and has a really sharp, critical eye. She's also more thoughtful and methodical then I am, so it's a good balance for my hyper-impulsive-a-million-ideas-at-once energy. The most exciting news is that after working out of the same apartment for the last couple of years (first as my home and currently just as a workspace, which she always took in easy stride) I've found us a new studio in a commercial building nearby. We'll have lots more space and light to work in, which means we won't be constantly talking with a wall in the way.

So, these Anoraks. I wanted to create some extra resources for constructing our Kelly Anorak since it's one of the patterns we get the most questions about. I was originally thinking of filming a new online course, but it's been such a busy year and I was starting to approach burn-out before I pumped the breaks on a few new projects. Instead, I asked Alex to create a full sewalong for this pattern on her own. Over the last couple of months, she's constructed these two gorgeous Kellys, photographing them every step of the way in between the million other things we constantly seem to be chipping away at. The blog posts won't be ready to likely sometime in December or January (this writing part takes the longest and we'll be crazy busy with the move so I don't have a definite date in mind yet) but if you've been yearning for a little extra handholding with Kelly, we (mainly Alex) will have you covered in the months ahead.

It's made with a cotton twill from our stash (I believe from Mood?), along with the hardware from one of our Kelly Anorak kits. It's so beautifully sewn; Alex was originally a quilter and has a knack for really precise, beautiful stitching. She hasn't been sewing garments for that long; we actually met at a knit sewing class I taught a few years ago, and she can now sew pretty much anything like a pro.

Since Alex also had to make a lined Kelly, I requested a truly waterproof raincoat version (the nylon one I made gets a little soggy in a downpour). I've been meaning to make one myself, but I've made so many Kelly's that I decided to just take advantage of her brilliant topstitching and greedily take this one home.

For this version, we used our Kelly lining expansion, our gold hardware kit and a special waterproof outerwear fabric (from Seattle Fabrics here). Technically you can make lightweight unlined jackets with this fabric, but I wanted something a little warmer, so I found a beautiful flannel backed satin lining. Unfortunately I got the last few yards, otherwise, I would have bought the roll and used it in every future coat project - the colour is gorgeous. Alex used this seam sealing tape on all the seams (we'll cover this in greater detail in the upcoming sewalong) and so far it's held up like gangbusters. I've taken the dogs on a few super rainy walks and stayed as dry as a bone from the bum up. We also slightly modified the pockets so that there is an external flap; this keeps water from pooling in the pockets, which always have loose dog treats in them, which when soggy is basically the grossest thing I can imagine sticking your hands into. Yay for not having dog treat soup in your pockets.

Waterproof or not, I've been wearing it every day. I like the nautical vibe of the navy and gold (especially with my white ginger jeans!), and it's super warm and windproof and should get me well into December before the snow starts calling for a warmer layer. Alex has been wearing hers every day too, so we basically look like really dorky brand ambassadors walking around together.

A magazine style blog relating to all things cycling. We tell you about industry news, new product reviews, as well as featuring interviews with cycling personalities and making cycle apparel and accessory recommendations.

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