Americancinematographer13 1933 10

AMaiCAN
The Motion Picture CAMERA Magazine
October 1933
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Published in Hollywood
by the
American Society of
Cinematographers
Controlled Miniature Enlarging

Mechanical Engineering in Lenses
Cine News Photography Is Different
. and Other Features
. .
for the amateur

Professional Methods in Lighting
Ten Common Mistakes of the Amateur
16mm Camera Exposes Frauds
Exposure Meter Coes Professional
. . . and Other Features
A
IN BRIGHT SUNLIGHT
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October 1933 • American Cinematographer 207
AMERICAN
CINEMATOGRAPHER
A Technical and Educational publication
of motion picture photography.
Published monthly by the

AMERICAN SOCETY
OF CINEMATOGRAPHERS. INC.,
Suite 222 Guaranty Building,
1
Hollywood, California.
Telephone Granite 4274.
JOHN ARNOLD, President, A. S. C.

GEORGE SCHNEIDERMAN, Treasurer, A. S. C.
Volume XIII OCTOBER, 1933 Number 6
What to Read
Cover Photo by Elmer Dyer
Taken with a Graflex at 1-275 of a
second lense opening F-4.5 on Agfa
Super Pan with an F 29 Filter.
LIST of Members of A.S.C 209

ENGINEERING applied to Lenses
by William Taylor, O.B.E 210
SENSITOMETRIC Control in Processing
The Staff
by Emery Huse, A.S.C 212
EDITOR
CONTROLLED Printing for Miniature
Charles VerHalen
J.
Negatives
by jackson Rose, A.S.C 214 TECHNICAL EDITOR
Emery Huse, A. S. C.
SPECIAL Effect Use of Filters
ASSOCIATE EDITOR
by Hartley Harrison ....215
William Stull, A. S. C.
CINE News Photography Is Different ASSOCIATES

by George J. Lancaster, A.S.C 216 Walter Blanchard
Karl Hale
NEW Studio Recording Head 218
ADVISORY
WHEELS of Industry 220 EDITORIAL BOARD
Victor Milner, A. S. C.
RECENT Patents 253 Chas. G. Clark, A. S. C.
Hatto Tappenbeck, A. S. C.
Jackson J. Rose, A. S. C.
Fred Gage, A. S. C.
Dr. J. S. Watson, Jr., A. S. C.
Dr. L. M. Dieterich, A. S. C.
Next Month Dr. L. A. Jones, A. S. C.

Dr. C. E. Mees, A.
K. S. C.
Dr. W. B. Rayton, A. S. C.
• Next Month we start a new series of Articles
Dr. Herbert Meyer, A. S. C.
by Emery Huse. Mr. Huse will treat on an in- Dr. V. B. Sease, A. S. C.
tensely phase of picture making.
interesting
FOREIGN REPRESENTATIVES
There will be another installment of Mechan- Georges Benoit, 100, Allee Franklin,
ical engineering in the manufacture of lenses. Pavillions-sous-Bois. France. Seine. Tele-
More about the News man by George Lancas- phone LeRaincy 13-19. John Dored, Riga,
ter. And other features of timely and tech- Latvia. Herford Tynes Cowling, 1430 Mon-
nical value. roe Avenue, Rochester, N. Y.
NEW YORK REPRESENTATIVE

S. R. Cowan, 19 East 47th St., New York
City. Phone Plaza 3-0483.
ESTABLISHED 1918. Advertising Rates on appli- Neither the American Cinematographer nor
cation. Subscription: U. S. $2.50 a year; Canada the American Society of Cinematographers
$3.50 a year; Foreign, $3.50 a year, single copies 25c. is responsible for statements made by au-
COPYRIGHT, 1933, by American Society of Cine- thors. This magazine will not be responsible
matographers, Inc. for unsolicited manuscripts.
JVhy GENERAL ELECTRIC developed
this new style high wattage lamp
WHEN the electricians shift lighting equipment from place to place
on the set, the lamp in each reflector is inevitably shaken and jarred.
This snaps the filament about as if it had been struck with a mallet
. . . or were the end man in crack-the-whip.
What takes the shock of these blows? Suppose we follow on the
diagram, the complex path they travel through the supports of one of
the old type 5 KW lamps. Down multi-metal supports into a brittle
glass stem, up through basing cement and then down to the prongs
. . . with leverage and weakness increasing all the way. At any one of
eight points, a break may occur, bringing premature lamp failure.
The movies brought a tough life to this lamp — tougher than any
previously known. But G-E scientists, alert to motion picture require-
ments, began work on a lamp that could live it. They tried stems of
different kinds of glass. They tried other experiments. The lamps were
improved, but not enough. Gradually these experimenters reached one
conclusion :
great improvement would result only from the elimination
of the glass stem ... a part of lamp making since the days of Edison.
OLD TYPE 5 KW LAMP
To accomplish this they turned to the method of fusing copper and
glass developed in making a 50 KW lamp for Light’s Golden Jubilee.
But a year and a half of intensive experiment and test, without a single
let-up, went by before G-E made this new 5 KW lamp available to you.
In this new type construction, as the diagram shows, the channeled nickel
filament support takes almost a straight line from filament to prongs.
Stronger, more rugged, more accurate and better adapted to studio needs,
this new lamp has been rapidly adopted by studio after studio.
Improving existing types of lamps constitutes only part of G-E re-
search. Other groups of scientists and engineers are steadily developing
new lamps for new requirements. Still other groups constantly test
and check a definite proportion of factory production on all types of
lamps. Such work breeds confidence. Little wonder that studios from
coast to coast use G-E Mazda lamps for all their lighting needs. General
NEW TYPE 5 KW LAMP Electric Company, Nela Park, Cleveland, Ohio.
General Electric invites you to visit its exhibit in the Electrical Building at the Century of Progress
GENERAL ELECTRIC
MAZDA LAMPS
October 1933 American Cinematographer 209
Assistant
MEMBERS *
Cinematographers
First Cinematographers
Abbott, L. B.
Bradford, William
Abel, David Marta, Jack A., Jr. Brandenburg, Gentry
Allen, Paul Martinelli,Arthur Bronner, Robert
Arnold, John McWilliams, Glen Clothier, William H.
Andersen, Milford A. McGill, Barney Cohen, Sam
Andriot, Lucien
August, Joseph
Barnes, George S.
Marsh, Oliver
Miller, Arthur
Milner, Victor
Crawford, Lee
Curtiss, Judd
AMERICAN
Davenport, Jean L.
Bell, Charles E. Mohr, Hal Davol, Richard S.
Benoit, Georges
Boyle, John W.
Brodine, Norbert F.
Moore, Milton M.
Musuraca, Nick
Morgan, Ira H.
Dowling, Thomas L.
Eckert, John
SOCIETY OF
Fredericks, Ellsworth
Brown, Jas. S., Jr. Neuman, Harry C.
Chancellor, Philip
Clark, Dan
Clarke, Charles C.
O’Connell, L. William
Palmer,
Paul,
Ernest
Edward F.
Fischer, Herbert J.
Garvin,
Gaudio,
Geissler,
Edward
Frank, Jr.
Charles R.
CINEMATOGRAPHERS
Cowling, H. T. Perry, Harry
Cronjager, Edward Perry,
Gough, Robert J.
OFFICERS
Paul P.
Greer, John
Daniels, William H.
Davis, Charles J.
Polito, Sol
Hackett, James C. JOHN ARNOLD President
Pomeroy, Roy Hayes, Towne D.
Dean, Faxon Powers, Len Kauffman, R. King,
VICTOR MILNER First Vice-President
DeVinna, Clyde Jr.
Reed, Arthur
Dubray, Joseph A. Rees, William A.
Lockwood, Paul CHARLES C. CLARKE Second-Vice-Presidenf
Dyer, Elmer G. Love, Cecil
Reynolds, Ben F. Lykins, Vollie Joe ELMER G. DYER Third Vice-President.
Dyer, Edwin L. Robinson, George Marble, Harry
Dored, John Roos, Len H.
Martin, John GEORGE SCHNEIDERMAN Treasurer
Dupont, Max B. Rose, Jackson J.
Eagler, Paul Rosher, Charles
Molina, Lewis
Meade, Kenneth
WILLIAM STULL Secretary
Edeson, Arthur Rosson, Harold
Edouart, Farciot McEdward, Nelson C.
Ries, Irving G.
Fabian, Max Norton, Kay
Schneiderman, George Orsatti, Alfred
Fildew, William Schoenbaum, Charles Riley, William
BOARD OF GOVERNORS
Fisher, Ross G. Scott, Homer Schuch, William John Arnold John W. Boyle
Fischbeck, Harry Seitz, John F.
Folsey, George Scheving, Albert Charles G. Clarke Daniel B. Clark
J., Jr. Sharp, Henry
Freund, Karl Sloane, James
Shearer, Douglas Elmer Dyer Alfred Gilks
Garmes, Lee Smith, H. C.
Siegler, Allen
Gaudio, Gaetano Stine, Clifford R. Frank Good Fred Jackman
Silver, John Straumer, E. Charles
Gerrard, Henry William Sintzenich, Harold Charles B. Lang, Jr. Victor Milner
Gerstad, Merritt B. Strong, William M.
Smith, Jack Arthur Miller Vernon Walker
Gilks, Alfred Tripp, Roy
Smith, Leonard
Glennon, Bert Snyder, Edward J.
Van Trees, James, |r. .
George Schneiderman John F. Seitz
Good, Frank B. Sparkuhl, Theodor
Van Warmer, John Pierce William Stull
Haller, Ernest Stengler, Mack Wendall, Jack E.
Haskin, Byron Stout, Archie J.
Halperin, Sol Stull, William
Herbert, Charles W. Stumar, Charles Still Photographers PAST PRESIDENTS
Hickox, Sid Stumar, John Philip E. Rosen Hal Mohr
Hilburn, Percy Struss, Karl Brown, Milton
Horne, Pliny Tetzlaff, Ted Cooper, Jack Gaetano Gaudio Homer Scott
Howe, James Wong Thompson, William C. Estep, Junius D. James Van Trees John Seitz
F.
Hunt, Roy Todd, Arthur Evansmith, Harry
Hyer, William C. Toland, Gregg
John W. Boyle Daniel B. Clark
Farrell, David H.
Jackman, Floyd, Dr. Tover, Leo Freulich, Roman Fred W. Jackman Arthur Webb,
Jackman, Fred Tutwiler, Tom Grimes, William H. General Counsel
Jackman, Fred H. Valentine, Joseph A. Lobben, C. Kenneth
Jackson, Harry Van Buren, Ned Lynch, Bert
Jansen, William H. Van Trees James Manatt, S. C.
June, Ray
Kershner, Glenn
Varges, Ariel Sibbald, Merritt J. HONORARY MEMBER
Wagner, Sidney C. Tanner, Frank
Kline, Ben Walker, Joseph Mr. Albert S. Howell, Chicago
Van Pelt, Homer
Koenekamp, H. F. Walker, Vernon L.
Krasner, Milton Warrenton, Gilbert
Lang, Charles B., Jr. Wenstrom, Harold Associate Members PUBLIC RELATIONS COMMITTEE
Lockwood, J. R. White, Lester John Arnold
Lundin, Walter Herford T. Cowling
Wilky, Guy L.
Lancaster, George J. Wimpy, Rex LaShelie, Jos. Frank Zucker Edwin L. Dyer
Lipstein, Harold Wrigley, Dewey Mr. Emery Huse Charles Bell Charles W. Herbert
Lyons, Chet Wyckoff, Alvin Mr. Fred Gage
Marshall, William C. Zech, Harry Dr. W. B. Rayton
Charles J. Davis Mack Stengler
Marley, J. Peverell Zucker, Frank C. Dr. C. E. K. Mees Paul H. Allen Ross Fisher
Dr. Lloyd A. Jones Georges Benoit John Dored
Dr. V. B. Sease
Glenn MacWilliams Philip M. Chancellor
Second Cinematographers Dr. L. M. Dieterich
Dr. J. S. Watson, Jr. Ariel Varges W. H. Jansen
Anderson, Don Lindon. Lionel A. Dr. Herbert Meyer Max B. DuPont
Arling, Arthur E. Lyons, Edgar H.
Badaracco, Jacob Mazorati, Harold J.
Bell, Jack C. Meade, Kyme PRODUCTION COMMITTEE
Bennett, Monroe Mellor, William C.
Bradley, Wilbur Daniel B, Clark Elmer G. Dyer
H. Mols, Pierre M.
Clark, Roy Newhard, Guy J. John W. Boyle Ned Van Buren
Cohen, Edward J. Newhard, Robert S. William Stull
Collings, Russell D. Novak, Joe
Cooper, Harry H. Ramsey, Ray L.
Cortez, Stanley Ries, Ray
Davis, Harry Salerno, Charles,
MEMBERSHIP COMMITTEE
Jr.
Davis, Leland E. Schuerich, Victor Charles G. Clarke Alfred Gilks
Dunn, Linwood G. Shipman, Bert George Folsey
Eslick, LeRoy Smith, William Cooper
Fetters, C. Curtis Tappenbeck, Hatto
Gordon, James Thackery, Ellis F.
Guthrie, Carl Vaughan, Roy V. ENTERTAINMENT COMMITTEE
Harper, James B. Van Dyke, Herbert John W. Boyle Frank B. Good
Hoag, Robert Van Enger, Willard Charles B. Lang,
Jennings, Lewis
Jr. Vernon Walker
E. Vogel, Paul Charles
Lane, Al L. Vogel, Willard L. Alvin Wyckoff
LaShelie, Joseph Wetzel, Al
Lawton, Charles C., Jr.
WELFARE COMMITTEE
Hal Mohr James Van Trees
Fred W. lackman
RESEARCH COMMITTEE
Victor Milner, Arthur Miller, William Stull,
Dr. Herbert Meyer, John Arnold, John F.
'^Membership by Invitation only. Seitz. Emery Huse. Dr. L. M. Dieterich
210 American Cinematographer • October 1933
Mechanics
is expensive andits quality inevitably varies with the crafts-
man. It may or may not be really good, and the quality is
rarely upheld and ensured by complete and independent in-

spection. These things were true, for example, of the old
English hand-made watch.
Series II. Before describing how the production of lenses, such as

those used in photography, has been lifted from the level
Fig. 1. Three Lens Systems, of a somewhat primitive craft towards that of a science,
Aperature f 1 -3.5 and put, as Sir Charles Parsons expressed it, upon a mech-
anical engineering basis, must briefly describe in a very
I
general way the characteristics of such lenses.

—
N EARLY every modern productive industry depends The Designing The function of
of Photographic Lenses.
upon the use of machinery or tools which embody a photographic lens is to form real images of objects by
principles of mechanical science. In this sense receiving light from each point of the object, and con-
almost all industry is based upon mechanical engineering; densing it to a corresponding fine point properly located
and that is why the knowledge and interests of the members in the image.
of the Institution, who are the tool-makers for all industry, The problem of satisfying this simple statement in de-
are so exceptionally varied. signing the best photographic lenses is exceedingly complex.
Thinking that it would interest you more than would No true mathematical solution is known nor perhaps ever
any other subject within my knowledge, shall speak in
I will be. The only really perfect optical instrument is the
this Address on the application of mechanical engineering to plane mirror. The work of photographic lens design is
the production of lenses, particularly photographic lenses.

One of the characteristics of that industry is the extra-
ordinary accuracy regularly attained in its best products.
Fig. 5. Croup of Finished Lenses. At bot-
One-thousandth of an inch is approximately the limit of tom Fig. 7, Typical pieces of raw glass plate.
accuracy which can be attained in the ordinary machining

of metal with cutting tools. One ten-thousandth of an inch
represents the order of accuracy generally attainable in such
work by grinding or lapping; for example, in the work of
the fine tool-maker and the watchmaker. Here are two
knife-edge gauges, made to demonstrate to the King and
Queen these dimensions of one-thousandth and one ten-
thousandth of an inch. Each comprises a hardened and
lapped straight-edge and a piece of steel, hardened and
lapped to a plane and placed over the knife-edge, so that
light can be seen through the gap between them. The
one gauge has a gap of 0.001 inch and the
other of 0.0001 inch. The latter is the highest
order of accuracy attained regularly in any manufacturing
industry excepting perhaps the optical industry alone. But
in making the best photographic lenses and other optical
instruments of precision, the accuracy of the surfaces of
the elements (such as lenses .prisms, and mirrors) must be
from 0.00001 to a few millionths of an inch (measured in
wavelengths of light) and this accuracy is attained in every-
;
day working not only by skilled artist craftsmen of long

experience but by less skilled persons doing repetition
work by the aid of special appliances, the products of
mechanical engineering.
When entered the optical industry some forty-five
I
years ago, after training as an engineer, was greatly im-

I
pressed by the primitive methods then in use and the won-

derful work done bya few artist craftsmen. Alvan Clarke,
who constructed the great telescope objectives of the Lick
and Yerkes Observatories, appeared to have no tools much
more elaborate than those one could find in a country
blacksmith’s shop. But the product of the artist craftsman
* — Reprint of address delivered to

Engineers.
The Institution of Mechanical
— —
October 1933 • American Cinematographer 21 1
Engineering
Applied to
Lenses
Upper left Fig. 3 and upper right Fig. 4.
Both aperatures 5-2. Lower center Fig. 2,
William Taylor, O. B. E.* Lens System for Photography from aircraft.
Aperature 5-4.5.
scientific, that is, based upon the conscious application of

principles of physics and mathematics, but in its main in- every single important advance in this field, nearly every
spirations it is an art, based on tradition and upon habit step in providing faster lenses and better definition, has
gained by experience. been made in England.
There are few first-rate artist-scientists of this kind in A perfect photographic lens would
the world, men who, having a clear statement of each (a) receive a large amount of light from the object,
problem, perceive by instinct, nourished by experience, the (b) condense to a mathematical point all the light
main direction in which the solution must be sought. These which it received from each mathematical
pursue it by laborious mathematical work, sometimes for point of the object,
months, securing a first approximation, determining its de- (c) arrange the image points in correct order and
viation, and correcting their course accordingly, again by a relative positions so as to render the image a
mixture of art and science. true visual replica of the object,

(d) set all points of the image in one plane (for
And of these few men it may be truthfully said that the
For during the last twenty years nearly photographs must generally be flat),
best are Englishmen.
(e) illuminate all points of the image correspond-
ingly with those of the object.
Fig.6. Large Lens for It is physically impossible to devise a lens which has all
Photographing star fields. these virtues simultaneously.
Consider a solid sphere of any transparent homogeneous
material such as glass. That would act as a lens, and have
this one supreme virtue, that it would present the same
aspect to all points of the object alike and would both ar-
range the points of the image in correct relative positions
along any given radial line, and illuminate each strictly in
proportion to that of the corresponding point of the object.
But unfortunately a solid spherical lens would not form a
flat image of a flat object or a distant scene, but one
curved spherically, nor would any point of the image be
sharply defined; and this for two reasons:
( 1 ) No single lens, of whatever shape, can focus,
simultaneously, light of different wavelengths.
(2) The wave fronts after passing such a lens would
no longer be spherical but deformed, and, un-
less they be spherical, they cannot converge to
mathematical points.
These two defects are respectively termed chromatic and
spherical aberration. To cure them necessitates the use of
at least two glasses of different compositions such that the
relative velocities of light of different wavelengths are sub-
stantially different in the several glasses, the forms of the
lenses being adapted to these properties of the glasses.
Lenses formed in this way, of two glasses, commonly
suffice for the objectives of telescopes, whose angle of view
rarely extends to 10° and whose apertures are generally
about one-twelfth the focal length (f-12).
But with the best photographic lenses the angle of view
sometimes reaches 100°. Apertures have now reached
f- 1.3, and such lenses must be substantially free from dis-
tortion and image curvature, chromatic and spherical aberra-
tion, astigmatism and coma (these being varieties of
spherical aberration affecting light passing obliquely to the
(Continued on Page 240)
POSITIVE CONTROL DATA
ROM the standpoint of positive control the procedure
F
ture
followed
tive film.
is very similar to that described for nega-
The final positive print contains both pic-

and sound track records. It is important from the
Sensitometric
standpoint of the sound that positive gammas be specified
and maintained. For that purpose rigid control is applied
to positive film development so that the predetermined
positive gamma may be maintained consistent throughout.
This is particularly true in release print development.
At another major -studio laboratory control data have TABLE 5
been obtained for a period of one day. This laboratory sub- Picture Positive Formula
mitted all of their data on positive control for March 26, Elon 1 2 ozs.
1933. This consisted of each individual sensitometric curve Sodium Sulphite 40 lb. 8 ozs.
for every machine in operation during that day at intervals
Hydroquinone 4 lb. 14 ozs.
of about one hour. During the day’s work there were five 26 lbs.
Sodium carbonate
developing machines in operation, each machine having in 7 ozs.
Potassium metabisulphite 1 lb.
its system the same chemical formula. At this laboratory a Potassium bromide 10 ozs.
positive control gamma of 2.00 is desired. By preliminary
Potassium iodide 178 grains
sensitometric tests, which consist of the development of
Water to 120 gallons
Type lib positive sensitometer exposures on the positive
film emulsion which is in use, gamma determinations are
SOUND CONTROL DATA
made before any production work goes through. With A complete discussion of the sensitometric control for
these data it is possible to determine the time of development sound film development would be extremely voluminous.
In the discussion of this subject in this paper no attempt
to give this desired gamma value. This time is controlled by
will be made to give actual data from any individual studio.
the machine speed. In Figure 7 is shown a typical positive
H and D curve giving an approximate gamma of 2.00 as The control methods are similar to those described for posi-
obtained at this laboratory in one of the machines on the tive and negative film but are much more detailed in many
day in question. From this graph the general density range respects.
covered by the sensitometric strip, as well as the general There are at the present timetwo major sound recording
shape of the curve, is readily seen. Once the time is de- methods vogue, the R. C. A. and the Western Electric
in
termined to give this desired gamma, production starts and systems. A

brief discussion is necessary for each of these
hourly thereafter a pair of sensitometric exposures are sent two methods. They differ appreciably and should be dis-
through. Each strip is then read for density and plotted. cussed separately. The R. C. A. system makes use of a
Upon the completion of the work a final curve is obtained variable area sound track, while the track of the Western
showing gamma plotted against the time interval of de- Electric system is of the variable density type.
velopment. Naturally there are some tests which show VARIABLE AREA
values greater or less than the desired value. Certain The particulars regarding this system of sound recording
tolerances are, of course, allowed, usually a plus or minus are very well known and
this paper will give only the neces-
.05 deviation from the normal. In the data which are sary details to describe the sensitometric requirements which
presented in Figure 8 the actual variations are readily ob- are submitted to their licensees by the R. C. A. Victor Co.
servable for each machine. The work during this day was They are quite simple and are readily maintained in the
not representative either of a good or a bad day but did show processing laboratory.
a perfectly average set of conditions. For any given machine
The specification laid down by R. C. A. Victor engineers
for example machine No. 8, there is only a .06 maximum
for negative gamma is that the negative sound track should
variation between the highest and lowest gamma strips. If
be developed to give a control gamma of from 2.00 to 2.20.
all of these values of gamma were averaged a numerical
The unmodulated track density, and in this instance refer-
gamma of 1.995 would be obtained. The maximum de- ence is made to the symmetrical track, should fall within
viation, considering all machines, was only .07.
the density range of 1.40 to 1.50. The sensitometric setup
In the event that any general trend is shown by successive
necessary to follow these specifications requires that the
tests, then slight alterations are made in the actual time of
laboratory determine the time of development on the film
development to compensate for that trend. It is the func-
being used for the recording to give a gamma within the
tion of the foreman in charge of the positive developing
limits just prescribed. It is then necessary for the recording
machines to maintain the desired gamma of 2.00. From
unit to provide an exposure which will give a density upon
the data presented from this laboratory it can be seen that
development within the density limits cited above. R. C.
the results are excellent.
A. Victor recommends for positive control gammas between
At this point it should be cited that similar conditions
2.00 and 2.20, similar to the negative, while the positive
prevail in all of the laboratories in the Hollywood area and
track densities should be from .15 to .20 less than the
particularly those doing release printing. However, the
negative density. For example, if the negative unmodulated
purpose of this paper is to cite the sensitometric routine in
track density at the proper gamma is 1.45, then the posi-
vogue and to show the results obtained and it is fair to
tive track density should be within the limits of 1.25 to
state that the results shown from this laboratory on their
1.30. Naturally, during the course of processing, solution
positive film control is indicative of the type of work
control must be maintained, and this is accomplished in a
obtained by all of the laboratories in Hollywood.
manner very similar to that previously described under
As was the with
negative developer formu-
case
positive film Once the set of sensitometric conditions are
las, a similar condition of difference exists from the stand-
determined, both from the exposure and development stand-
point of positive formulas. To complete this section on
point, then it is the function of the laboratory to main-
positive film control the tabulation of an average positive
formula considered necessary.
tain those conditions in their developing procedure. The
is Table 5 gives such a
developer normally used for this type of work is the regular
formula.
picture positive formula, an example of which was cited
*— Paper delivered by Mr. Huse at April, 1933, S.M.P.E. Convention. under the heading of positive film.
Control In
the Processing
of Motion
Picture Film 2.1
2.0
Hourly Control Tests For Positive Film ^26/33
Stopped
No.<*
'9
by 2.1
0 _CL_ < topped
*““o
Emery Huse, A. S. C.* No. 5 O O
1.9
-
Editors Note: This is the concluding article in the 2.1
series written by Emery Huse, A. S. C., on Sensito- o

0
.
No i 0 O 0
metric Control in the Processing of Motion Picture
In November Mr. Huse will start a new series
-
1.9
Film.
of articles written in his usual interesting style. 2.1
*
*.
0 _
0
No. 7 °
1.9
VARIABLE DENSITY TRACK 2.1

1
-
In the consideration of the Western Electric system of No 8 O O O 0 0
1.9 h
recording a much more detailed sensitometric discussion is
necessary. In processing variable density sound records

which utilize the straight line portion of the H and D
curve, it is necessary that the overall gamma characteristic Fig. 7 at top;
as determined by plotting projection densities versus the Fig. 8 at bottom.
logarithm of light valve openings be held to the ideal value

of unity. This might also be expressed by saying that the It is customary to assume that the factor a=l, i. e., the
product of the positive and negative gammas multiplied by difference between the negative control gamma and the
the projection factor should be .00. 1
light valve gamma is negligible. In practice the light valve
gamma found to vary by plus or minus 5% from this.
is
Before specifying numerical values for positive and nega-
The factor, b, is usually measured daily in most
printer
tive gamma, several factors entering into this computation
laboratories, at least such a procedure is recommended.
must be explained. The gamma value obtained from a
While the printer factor may be as much as 10% it is
series of exposures on a light valve recorder and plotted
found in practice that this value is approximately equal to
against the logarithm of the light valve openings will be
the factor, a, and opposite in direction so that the two
designated as the light valve gamma, LVy. The gamma
tend to cancel each other.
valve obtained on the control strip which has been ex-
posed on the Type lib sensitometer and developed with the Omitting these factors then from equation (4) we have
light valve gamma strip will be called the negative control Overall gamma=NCy x PCy x projection factor (5)
gamma and designated as Cy. and substituting
In the measurement of positive gamma it is necessary to
1. —
NCy x PCy x 1.30, or (6)
measure the apparent printer gamma, which is

NCy x PCy=0.76 (7).
obtained by
printing the negative control strip on a printer and develop- In other words, any combination of negative and positive
ing this print with the positive sound track print. This control gammas which gives a product approximating 0.76
valve will be called APy. When the positive sound track would be correct for straight line recording.
print will be developed the positive control strip which has Tests have been made in four Hollywood studios, which
been exposed on the Type lib sensitometer and the gamma are listed by letter, of the actual Type lib sensitometer nega-
value obtained on this strip will be designed as PCy. tive and positive gammas. In table 6 these data are given.
Further,inasmuch as the positive sound track in pro- TABLE 6
jection will be scanned by a photo-electric cell, it is neces- Studio Negative Gamma Positive Gamma Visual Product
sary to determine experimentally the difference in gamma as A .42 2.10 .88
determined by visual measurement of the diffuse densities B .35 2.15 .75
and the quasi-specular measurements of the photo cell. This C .36 2.00 .72
factor has been measured for standard projection conditions D .38 2.40 .91
and found to be 1.30. It will be observed that the maximum variation from
The conditions for correct reproduction as recommended 0.76 is 0.15 higher. One studio at the time these tests
by representatives of the Electrical Research Products, Inc., were made operated lower than the desired 0.76,
slightly
are given in the following series of data: their visual product being 0.72. A mean exposure of the
gamma=LVy x APy
Overall x projection factors light valve that will permit 90% modulation without going
1 (1 )
IfLVy=a x NCy and into the toe of the negative H and D curve is recommended.
(2)
APy=b x PCy, then (3) This results in an average density numerically equal to the
Overall y=NCy x PCy x a x b x projector factor (4). (Continued on Page 238)
214 American Cinematographer « October 1933
Controlled
Printing for
Miniature
Camera Pictures
by
Jackson J. Rose, A. S. C.
Editor’s Note: This article inaugurates a new de-
partment in the AMERICAN CINEMATOGRAPHER; a
series of informal discussions of miniature Camera
practice, which will be conducted by A, S. C.
members.
HE other day happened to take a group of my 11x14
T
I
salon prints to the studio with me. I’ll admit that

I’m rather proud of some of them, and was naturally I
glad to show them to some of the other people on the set.

Finally Lionel Barrymore (who, though it is not generally
known, is as fine a pictorial photographer and etcher as he
is an actor) ,
after studying them over for some time, asked
me what sort of a camera I had used to make them with.
When I replied that I had made them with a miniature
camera, he was astonished; “I use a miniature camera my-
self,” he exclaimed, ‘‘and I’ve gotten some fine results with
it — but nothing like these prints. Would you mind telling
At top con-
me how do you do it?”
trolled print of
Leica enlarge-
Of course I didn’t mind: there’s really no secret to it, for ment. Bot-
the methods have used are simply the same controlled-
I
tom; enlarge-
ment from ori-
printing methods that every pictorial photographer uses. ginal Leica
negative.
More work is involved, of course, but the ultimate results
justify it: and the method is particularly applicable to the
needs of the miniature-camera user. Now, just as the out-
negatives — all in the usual manner — you’ll have a roll of film
with thirty or forty pictures on it: obviously, the next step
standing advantages of using a miniature camera are the facts
is to decide which of these pictures are merely routine
that you have an extremely small, yet high-grade photo-
pictures, and which you want to concentrate on for their
graphic machine, capable of making a large number of
pictorial or other possibilities. Once you’ve made this
negatives for a negligible —cost yet negatives which are
work
enlargement—
decision, the real begins.
capable of extreme the miniature camera
suffers from one outstanding disadvantage, in the fact that
Here you have a negative, 24x36mm., which is essentially
its negatives are so small that any retouching or such modi-

what you want at — least, it shows the subject pretty much
as you want it; the right angle, composition, exposure, filt-
fication is practically impossible. Yet, if you care to go to
a bit of extra trouble, you can control or modify a miniature- ering, etc.; and it is of reasonably good technical quality.
camera negative quite as accurately as you can a larger one. Very well! What can we do to get a really perfect en-
largement out of it? Let’s see: here is one of those little
In any miniature-camera work, of course, you have an
almost infinite variety of negative-materials to choose from scratches that somehow get into the most carefully-handled
— Orthochromatic, Semichromatic, Panchromatic, SuperSen- films; there

improved; and
is a spot
how it
where the contrast-balance could be
would improve the picture if we could
sitive,and fine-grain Panchromatic, from half-a-dozen or
do a little retouching at this point!
more manufacturers. Likewise, you have a wide variety of
negative-developers from which to choose. In any sort of
So let’s make the very best enlargement from this nega-
miniature-camera work, clearly, the wisest course is to tive that we can. Use the best possible enlarger, and your
choose the combination of film and developer which your favorite 8x10 glossy bromide-paper. For the best results,
experience has shown you will give you the best results. I’d make a glycerin sandwich out of the negative: put it
Once you’ve made your exposures and developed the
1
viewing glass and explain its application relative to measur-

ing color filter densities.
Also let me add that the panchromatic type of viewing

glass has been on the market for several years and is made
by several different manufacturers.
There has been a great mass of information written on

the subject of the difference between the color sensitivity
of a normal eye and panchromatic films, but we will only
touch on the high lights of these differences as they relate
to measuring the exact density of a color filter necessary
to create the desired change of relative contrast when using
a viewing glass.
V-
As the color of the various objects in the scene deter-

mines the amount of light, within certain general limits,
that being reflected from the objects, and as the film
is
does not have the same sensitivity for each different color,
the viewing glass, in order to allow a person to see the
relative contrast of the various colors must, first transmit
all of the colors, second, transmit the colors in the pro-
portions to which the film is sensitive to the various
colors, and third compensate for those colors to which the
eye is more sensitive.
SLUE Or in other words if we photograph wedges of blue,

green; yellow and red with panchromatic film as shown in
Figure 1, and each reflects the same amount of light, only
—
Above Relative values as interpreted by
the naked eye; Below —
relative values as
of a different color, we will find that the blue wedge is
interpreted on Panchromatic film. the lightest, the green the darkest, and the red and yellow
have a density between these two. But looking at the colors
visually the yellow will be the lightest, the blue the darkest
and the red and green will have a density that is in between
the two, as shown in Fig. 2.
Special Effect Therefore the viewing glass when viewing the same
colors through it should compensate for those differences
and make the blue appear the lightest, the green appear the
Use of Filters
darkest and the red and yellow in between, exactly the
same as the film will photograph the colors.
By viewing a scene through a viewing glass that will give
this compensation we can more accurately judge how the
Part IV relative contrast should be changed to create the desired
effect. Then by adding a color filter to the viewing glass so
by as to look through both at the same time, the change of
relative color contrast that is seen through the combination
Hartley Harrison will be had when the color filter above is used to photograph
through. Because the viewing glass has in effect changed
Editor’s Note: This is the fourth in the series of the color sensitivity of the eye to the same sensitivity of the
articles on this subject by Hartley Harrison, well-
known manufacturer of color and effect filters . film by adding the color filter to the viewing glass and
looking through it, it is substantially the same as adding
the filter to the camera and photographing through it.
W
If compensation for the difference between the visual
balance and the photographic balance is all that is desired
E HAVE seen from the discussion in the previous when a filter is used, the test is simple.
article that the manner in which we wish to We first determine with the naked eye just what that
control or change the relative contrast of the balance is in the scene. Then we add in front of the view-
various colored objects in the scene determines broadly the ing glass a filter that will give us the same balance as we
density of the filter. However in determining the exact secured with the eye. Just what that filter is to be, of
density necessary to give change' of relative contrast
the course is determined by the colors being photographed.
that is wanted, some filter measuring device is highly By this method we secure the photographic value of the
desirable. It eliminates to a large degree the guess work in scene when that particular filter is used.
the final selection of the filter.
The use of the viewing glass alone, of course gives us the
One of the simplest means of doing this is to use a value without a filter. Having that base to work upon, it
panchromatic viewing glass that will compensate for the of course becomes reasonably simple to determine what
difference between the color sensitivity of a normal eye and filter is to be used, by determining the color contrasts we
that of the film that is being used.
want and then applying the filter in front of the viewing
As these are a great many types of viewing glasses we glass to get a more definite interpretation before we expose
will explain the type that is referred to as panchromatic the film.
News Cine
Photography
Is Different
by
George j. Lancaster, A. S. C.
Editors Note: We
had frequently wondered why the
News Reel man had not graduated to the faster film.
Surely with the news he must secure regardless of
the time of day Super-sensitive should prove a god-
send to him. More speed in the early morning and
late afternoon. More speed on interiors. Better
photography and a finer chance to display a bit of
good photography with the use of filters. We have Ceorge J.
also wondered why the newsreel cameramen stationed Lancaster,
in Washington. D. C. are not initiated into the use A. S. C.
of Diffusion filters to give the great of this country
every photographic advantage that our craft knows.
Surely it would be advisable to apply every photo-
graphic trick, especially when photographing the lead-
ing ladies. It must be remembered that these
pictures are shown in every civilized land on earth of focus roll of film, or out of frame or heads cut off or
. and some not so civilized. Ceorge J. Lancaster,
. .
a news reel man of many years gives us a partial cockeyed set ups. Such excuses as “I didn’t have time”
answer in the following article.
or alibiswere not accepted, he knew it was the “alley” for
him if he did, the way of all scrap film.
So they became a hardened lot, but always good friends
W
off the job, always ready to help a fellow newsreeler in
case of distress.
HY should news reel photography differ in
Once a terrible thing happened to me, in the silent days.
quality from that of production? The same
I was in the Seattle office of Paramount, one morning
principals are applied, the cameras, lense
cleaning my camera, oiling the works. The De Brie was
and rules are identical as used on lots and studios. News
loaded and threaded, the take-up magazine was removed
photography seems so cold, so hard. Why have news reel so as to enable me to get at the machinery. The phone
companies continued to use Ortho film when faster stock
rang, a hot story was breaking. hurriedly closed up the
I
was available?
grind box, grabbed the tripod and scrammed to the scene
speaking motion-pictorially, as the news
In the old days, of action. After clicking off several yards of tape, my
reel industry is comparatively young, its beginning dating camera jammed, upon opening the take-up-side, yards upon
back to 1910, when J. A. Dubray brought to the screen yards of negatives fell out. plum forgot the takeup
—
I
the first news reel in America, the Pathe News Weekly, magazine. Imagine my embarrassment was my face red?
news reel photographers were not recognized as part
of any news event that was taking place. The police were —
The rest of the gang looked over, one of them said “Oh,
Oh ”. took the film and hung it around his neck and
I
not news reel minded, so to speak, and hampered the said, “Here’s something to remember me by,” It was the
men on repeated occasions in their “getting the story.” alley for me. A couple of hours later in walked the camera-
Many a news reeler was chased off the scene of action man, one on whom had hung the film.
I He threw a four
because of the uneducated policing of the lines. So the hundred foot can on my desk and said, “Here’s something
cameraman became a “picture snatcher.” They would break to remember me by.” It was a lavender on the story I
through the lines, set up and start cranking before the muffed. “I’ll do as much for you some day, this favor
burly cop would get to them. Focusing and lining up a shot calls for a drink.” It only goes to show how the boys
was done in a split second, thus no time was given to help one another. I’m kinda getting off my story.
warmth or beauty in photography.
As for using Ortho film entirely one must take into con-
As time went on, competition entered the field, if it sideration, news photographers are all over this cock-eyed
were not a race to beat the cops, it was a race to beat the world. Go anywhere, don’t care where, you’ll find a
I
opposition to the screen. It soon became a merry chase. knight of the tripod getting a story. Arctic circle, South
He had to possess a zip and go after it spirit, danger or Pole, China, up in the air, down in the sea, you’ll find a
tabou never entered his mind or stopped him. Get the news hound cranking. New and faster film may come and
picture on the screen before the opposition was his only the old may go, but to him the old stand by was his to
thought. Exclusives, scoops and beats were his pride. To grind. He had little time to think of the new. If he
out do the others was his delight, double cross and run- wasn’t shooting hot news, he was busy thinking about a
arounds were frequently practised. It made him popular, ‘cook-up,’ or an issue to make, film to ship, or a long day
one who can ‘cut the buck.’ of travel to a set up. Contacts, time and weather elements,
So with scoops and beats in mind little thought was scoops, captions, titles and a thousand other things that he
given to photography. Editors wanted pictures. They had must know, no wonder he had little time to read upon the
an issue to get out, they too had opposition to contend new gadgets or film or what have you? As long as you
with. And, woe be to the cameraman who sent in an out could see a picture, what the —
Then take the lab., they
.
EXTREMELY
FINE GRAIN
. . .That ,
of course, is the first es-
sential in any film that is to serve
satisfactorily for projection back-

ground shots. Eastman Background
Negative has this prime requisite
. .
.
plus adequate speed . .
.
plus ex-
cellent processing characteristics.
In short, it is being demonstrated

every day that this new Eastman
film is ideally adapted to its impor-
tant special purpose. Eastman
Kodak Company. (J. E. Brulatour,
Inc., Distributors, New York, Chi-

cago, Hollywood.)
EASTMAN
BACKGROUND NEGATIVE
wear from film friction. It is an accepted fact that the

larger the sprocket, the more accurately it may be cut and
also the percentage of error per tooth is inversely pro-
portional to its diameter. For these reasons forty tooth
sprockets were used.
‘‘The driving mechanism is simple, there being but
three pairs of gears, a worm and wormgear for each of the
sprockets and a pair of spiral gears to drive the footage
counter, which is of the three figure, reset type. The
lubrication problem is also simplified by the minimum of
gears and bearings. Two oil cups at the top of the box carry
oil to both the gears and the sleeve bearings of the sprocket
shafts. The bearings have oil grooves to properly distribute

the lubricant throughout their length and are of ample size
to last for years without attention other than periodical oil-
Newly Designed Sound Head of the
Cinema Sound Equipment Company ing. The motor drive shaft runs on ball bearings which are
packed with the proper grade grease before delivery.
‘‘The head is driven with a 1-12 h. p. motor connected
by a flexible coupling. There is also a flywheel on the
motor shaft to minimize motor shaft hunting. Either an
A. C. — D. C. interlocked motor is supplied as the driving
New Studio means, or a 220-V.

single phase synchronous motor.
interlocked motor is
3 phase synchronous
used, a heavy duty control rheostat

When
motor or
the A. C.
a
—
1 10-V
D. C.
is
located in the base, and a tachometer is provided in the
Recording- head to check the motor speed.

‘‘To eliminate the possibility of film buckles through the
failure of the magazine belt to operate, an automatic belt
tension device is incorporated. Through this device, the
Head tension of the belt

same pull on the film at
of film in the magazine.
is automatically adjusted to maintain the
all times regardless of the amount
‘‘Oversize film, hold down rollers of the camera type as-

sure proper film travel on the sprockets and, because of the
NEW
A
studio-type recording-head for double-
ample size of the box, threading is easily accomplished. The
system sound-recording has just been announced
head is designed to use Bell and Howell magazines, but
by the Cinema Sound Equipment Company, of Hol-
other types of magazines may be used if desired.
lywood. According to Chief Engineer R. C. Wilcox, of this
‘‘The film shoe is of such design that the emulsion sur-
firm, the new head incorporates many improvements over
face of the film does not touch the shoe. This is done by
previous models.
placing the shoe so that the celluloid side of the film con-
“A great deal of attention,” he states, ‘‘has been paid to
tacts it, and not the delicate emulsion. By reason of this,
the constructional details of the new model; in selecting the
scratching of the film is limited to the celluloid side and
best materials and designs possible. The drive shaft is of
because of its relative toughness is negligible. In connection
nickle alloy steel, S. A. E. 2335, a tough non-warping steel.
with the special film shoe, an optical slit is provided,- the
Two worms on the shaft were cut integral
multiple thread
aperture of which is located .002 from the film so that
with the shaft. These two worms drive the feed and sound
nothing touches the emulsion surface during its travel
sprockets through accurately cut bakelite gears. The
through the head.
spindles, also of nickle alloy steel, which carry the two
‘‘Another optional feature of the sound head is the inclu-
sprockets are of a large diameter, precision ground, and sion of a photo electric cell placed directly behind the film
fitted to sleeve bearings. The sound sprocket shaft has a shoe for monitoring of the track as it is being recorded.
bearing on both sides of the flywheel to eliminate possibility When this is built into the head a thoroughly shielded pre-
A flywheel on the record- amplifier of two stages is provided in the base of the box.
of the shaft bending. 1 7 Vi lb.
‘‘Another new piece of equipment which goes to make up

ing sprocket shaft assures uniform film travel, the flywheel
the head is a new 200 V. glow lamp.
being driven through a set of felt dampened springs.
‘‘While the sound head and associated equipment was
‘‘Cast bronze was used for both sprockets. The sprockets designed primarily for studio work, it is not so large and
are precision cut and then chromium plated to prevent heavy as to prevent its use in a sound truck.”
Congratulations Mr. Schneiderman on "Pilgrimage"

and your "RAYTAR lenses
“RAYTAR” used by Mr.
T HE sensational photography by George Schneider-
man, A. S. C., in the Fox photoplay “box office
ducers of
Schneiderman.
the lenses
hit,” “Pilgrimage,” has evoked the admiration of

cinematographers and the general public. “In all
—
Make no mistake the man behind the lens is
But
the supreme factor in superlative photography.
probability, some of these scenes are as close to the right lens in front of the man is what enables
three dimension photography as can ever be attained him to reveal his inborn artistry to appreciative mil-
with a single-lens system,” says American Cinema- lions.
tographer. Literature on “Raytar” lenses, the outstanding
This well-merited recognition is a source of new development inmotion picture optics, will be
profound pride to Bausch & Lomb, designers and pro- sent on request.
BAllSCH
OPTICALCOMPANY
& LOMB ROCHESTER, N. Y.
220 American Cinematographer o October 1933
WHEELS
OF INDUSTRY
Home Movie Film two choices in viewing his pictures; he posed by the greatly increased film
• The Pellex Film Company this month may project them the same size he has weight.
announces a new type film for the ama- in the past and have them twice as bril- The improved attachment embod-
teur to be known as Pellex Economy in liant on the screen; or if he likes he ies this same film protection feature with
addition to the regular Pellex 16mm cine may project them twice as large as was a more convenient and effective, and, at
film they have been marketing during formerly possible, with the same former the same time, more easily attached, reel
the past eight months. Mr. Walter W. brilliance. With the new unit on the arm arrangement. The arm attachment
Bell of this company reports that this 260-watt Kodascope, the screen size may is now supplied in the form of a V shap-
new film of the regular reversible type be at least 22x30 inches; while the K-50 ed casting (with removable arms) which
will be marketed on daylight loading and K-75 may be used with a 30x40- clamps instantly onto the top of any silent
spools like any other film and will fit all inch screen, or larger if desired. or sound-on-film Victor projector (see
16mm cameras, the price to be $2.25 To shift from Kodacolor to black and illustration )
per 100 foot roll. white pictures it is only necessary to re- One important advantage of the im-
According to the announcement this
move the filter. The compensator may proved attachment is that it handles
film will not replace the regular Pellex. be left in the Kodascope at all times, smaller reels (100’, 200’, 400’, etc.)
It is made to fill a need for a low priced
with only an occasional removal for as efficiently as the 1600’ reels.
film suitabe for exterior use under good cleansing purposes.
Laboratory Equipment
light conditions. It is said this film Victor 1 ,600 Foot Attachment • Andre Debrie, Inc., announces a com-
aside from being slower renders very good
• A large attachment for Victor
reel plete line of laboratory equipment for
results when used in direct sunlight or
Projectors was announced by Victor Ani- the handling of 16mm sound on film.
light shadow. It is claimed to have a
matograph Corp., Davenport, Iowa, early This includes printers for the optical
very fine grain emulsion.
reduction of 35mm sound track to 16
Processing facilities have been in- mm, reduction printer for the picture as
creased several times during the past well as a contract printer for the print-
month according to a statement of this ing of picture and sound in one opera-
company so as to continue their policy of tion. All three printers are so con-
one day service on their product.
structed that two 6mm
prints may be
1
obtained in one operation. Also a com-

Kodacolor Assembly
pact developing machine (7 ft. long,
• Of interest to 16mm enthusiasts is 3 ft. high and 3 ft. wide) with complete
the announcement by the Eastman Kodak thermostatic control, air conditioning and
Company of a change in the present circulation of the bath.
Kodacolor Unit (consisting of projection
lens, compensator, and filter) for the Brodlite
Model K Kodascope. • An announcement which will find an
The new Kodacolor Assembly enables appeal with the serious amateur is made
the operator to use his regular Kodascope by J. C. Haile & Sons in their Brodlite,
K lens for Kodacolor movies. He need which is a unit containing six lamps.
acquire and insert only the filter and This is made complete with tripod and
compensator, instead of having to buy 12 feet of connecting cord. A case is
a complete extra lens. also available for this lighting unit. It

willnot only find value as a direct light-
In addition to greater simplicity and ing unit, but the ingenious amateur will
less cost, the new Kodacolor unit gives
undoubtedly find in it a very fine brodlite
about 120 per cent increased illumina-
for overhead lighting so as to secure an
tion. It also gives better definition and
overall balance that is usually difficult
contrast, resulting in sharper and clearer
with present facilities.
pictures.
The increase in illumination is brought Super-Reels

about by the fact that the regular lens • Bell & Howell Company has developed
this year. The major feature of this at-
gives over 20 per cent more light than tachment was an intermediate take-up 1200-foot and 1600-foot 16mm film
the old Kodacolor lens, and the new unit which made it possible for reels up
reels, for continuous projection of 16
filters have a much higher light
trans- to 1600 feet capacity to be used without
mm sound pictures for periods of a half
mission value than those formerly used. danger of film damage occurring as re- hour and 45 minutes. Also the Filmo-
Doubling the light gives the operator sult of the tremendous drag generally im-
scund, the B & H sound-on-film 16mm
AMATEUR
SECTION
Contents . . .
EXPOSURE Meters Become Professional

by Clyde DeVinna, A.S.C 222
AMATEUR Movie Making in Europe

by D. Knegt 223
PROFESSIONAL Methods in Amateur Lighting

by Charles C. Clarke, A.S.C 224
TEN Common Mistakes of the Amateur

by Frank B. Good, A.S.C 226
16MM Camera Exposes Frauds

by C. B. Harris 227
RECORDING Sound on 16mm Film

by Eric M. Bernt 228
AMATEUR news 230
Next Month . . .
• PROFESSIONAL Criticism of the Amateur • THIS MONTH Our 1933 Amateur Contest Closes. Indications are that
picture is a part of the service offered by the we will announce the winners on our December issue.
AMERICAN CINEMATOCRAPHER. Many

are not aware of this. Hundreds of pictures However, in the meantime our next issue promises many interesting
have been reviewed this past year by mem- articlesand stories. One of outstanding value will be a frank and
bers of the American Society of Cinematog- csmprehensive discussion of the various types of film available to the
raphers for the Amateur. Amateur.
Mechanical phases of picture making will be touched upon as well

as the artistic side.
Exposure
Meters Become
Professional
by
Clyde DeVinna, A. S. C.*
of not fool proof that is you have
Y
it. It is . . .
mean its readings and your interpretations

stick to
of not fool proof
it. It . that if you have
is . .
to treat it with a reasonable amount of respect. Don’t

expect it to give you the correct reading if you do not
aim it correctly. use the word aim I because . . . I
believe it is the most descriptive word of what you really

do with an exposure meter that could employ. I
No exposure meter has “ouija” board proclivities Clyde DeVinna, A.S.C., the famous “Travel-
ing Cinematographer” explains hi sexposure
You have to understand it the same as an engineer must meter to Jean Parker, picture actress.
understand his slide rule . . only it is not so difficult to
.
understand as the slide rule.

If you do not point the lense of the camera at the
sent to make snow scenes in the High Sierras. used the
I
picture you want to secure you are not going to get that exposure meter because I know it measures the quantity
picture . . you’ll get
eye of the the picture the
.
of light that is being reflected from the scene want to
I
camera saw. If you don’t point your exposure meter at take. Iknow it is going to give me a reasonable over-all
the picture you intend to take, you will naturally get a
reading; and it’s the over-all reading that’s important.
different reading than the one which is correct. It’s
Let’s take snow as we had it up there in Alaska when
for this reason say stick to your exposure meter. Possibly
I
you will find that there is a variation in the reading and the
I was shooting scenes for “Eskimo,” the MCM picture
which will soon be released. If you are an experienced
results. Well, that’s your correction factor for the way
photographer you know there is a strong reflection of light
you use the meter. If you use it consistently in that way
from the snow, but what is the quantity of that light . . .
that is going to be your correction factor all the way

your guess is just as good as mine. You are going to hit it
through. claim the meter is not wrong
I it’s the . . .
closer with an exposure meter, because Isay again it is
operator that is wrong.
going to give you an over-all reading, not only the light
You didn’t learn photography the first time you clicked reflected from the snow, but the quantity of light reflected
a trigger or pressed a button. Your exposure meter is from the subject you are shooting. And that quantity of
mechanical, but still it must be studied, you must become light is also going to be influenced by the amount of direct
familiar with its mechanical operation. light from the sun that is hitting it. In other words
There are two basis types of exposure meters that have moisture in the air is going to affect these conditions as
come to my attention the one using the photoelectric cell much as though there were no snow on the ground.
and the other using what is termed the “light wedge.” I While the sun seems intense in the tropics still we
am not going into the technical description of these meters know from experience that it is necessary to open the
or into their relative merits. know people who swear I
lense stop more than if shooting out here in California,
by both types. because there is more moisture in the air. Ihave found
It generally believed that the professional cameraman
is the exposure meter gives me the quickest answer.
feels himself above exposure meters. This is hardly true The professional cinematographer does not use the meter
today. know that on the lot at the
I
studios there MCM on studio sets. There we have such a wonderful control of
are several of the best men using them. Charlie Clarke, lights, have had such a wide experience that we know we
A. S. C., employs a meter. Many men have come to me ask- are correct in our stop if we set it anywhere from F2 to F4.
ing my. advice on what to do in various countries have I
You see we can place lights wherever we need theirr, but
been in and have invariably advised them to get a good
I
out of doors, especially on distant expeditions the only
exposure meter. assistance we have is in the way of reflectors and of course
It has been my lot to travel much. Recently a picture
we cannot jerk the sun around the same as we do a lamp
took me to Alaska. As soon as in the studio.
returned was assigned I I
to a picture being made in New Orleans. From there was Look upon your exposure meter as a light measuring in-
I
strument. Something that never gets tired or billious.

It’s mechanical ...
—
Clyde DeVinna, A. S. C. has photographed such outstanding
productions as “Trader Horn”, “White Shadows”, backgrounds for right every time.
if it’s right once it’s bound to be
However, there are times when you must
“Tugboat Annie” and others. (Continued on Page 234)
th third contest is said to cover about fifteen countries:

(France, Great Britain, Germany, Italy, Spain, Portugal,
Austria, Hungary, Netherlands, Belgium, Czechoslowaky,
Switzerland, Yougoslavia, whereas United States, South
)
Africa and Japan have also been invited to participate.

Cinephotographers from any other country in the world
may participate in this interland-contest, writing for de-
tails to Cine-Amateur, 94 Rue St. Lazare, Paris (IX).
These contests are organized in the form of exclusive
entries representing each country in the various classes, the
entries being selected by an official organization (league,
club or magazine in each country. Consequently each
country may only participate with one film for each class of
16 mm, one film for each class of 9.5mm, and one film for
each class of 8mm. There are classes for scenario films
(play-film), documentary films and so on.
As far as the United States are concerned, we nourish high
hopes that the international contest of 1933 in Paris will,
for the first time in amateur movie history, show the
participation of American products. We take it that
through the intermediary of the American Cinematographer
there will be a way to do so. May our hopes not be dis-
appointed!
What about amateur movie making in Europe? We
have been assigned to write a series of articles on the
D. Knegt,Auhtor of this Article and activities of European cinefilmers. For the beginning we
Prominent in European Cine Club Work.
may mention that a number of European countries have
splendid national organizations, whereas local clubs and
individual workers are found “en masse” in any place.
However the number of serious, advanced amateurs is re-

consequence thereof membership’s
Amateur stricted
not in
and
the leagues and clubs
in
proportion to
in
the
European countries
number of hobbyists
in
lists
general are
in each
of
country. Holland perhaps is exceptionally favoured in this
Movie Making Amsterdam

respect, because the Nederlandsche Smalfilmliga,
(Dutch Substandard Film League) with over 400 members,
is numerically the strongest organization in Europe, at least
Moreover
in Europe taking
the
both
into consideration relative populations.
Dutch amateurs have done splendid work in winning
in 1931 and 1932 first prizes in the documentary
by classes 16 mm and 9.5 mm in international contests. The
D. Knegt first prize-winning documentary film 16 mm in the 1932
Hon. Secretary of the Nederlandsche

Smalfilmliga Amsterdam (Netherlands).
contest (‘‘The Street” 3 reels) —
of Messrs. Carre and
Scheffer, Rotterdam, Holland, ought to be seen in the
U. S. as a specimen of fine and artistic amateur work of
European style.
Another European amateur movie organization which is

i
N EUROPE, United States, we have some
as in the very active, is the Austrian club: Klub der Kino-Amateur
experience in the inter-club-change of film ideas, due Oesterreichs, Vienna. The Vienna amateur, in spite of the
especially to national and international contests being rather difficult times, economically speaking, for the Aus-
held in various countries of the European Continent and trian Republic, is apparently doing a lot of film work.
Great Britain. We have created a yearly contest covering a We intend to bring into this series of articles activities of
number of countries which represents the pinnacle of interest the Austrian amateur. For the present we can give only
for European amateur cinefilmers. Belgium (Union Beige a glance at the activities in some of the countries, where
des Cineastes Amateurs, Brussels) in 1931 started the amateur movie work is manifesting unusual activity.
first international contest (I. Concours International du Great Britain and France are, as may be known, count-
Meilleur Film d’Amateur) .
ries with highly developed amateur organizations. In both
Holland was in charge of the Second Contest in 1932 countries the scenario film (play film) is the vogue, in
and France will conduct the Third International Contest, full contrast e. g. with Holland, Germany, Hungary, Austria,
to be held in Paris in December. The first international etc., where the documentary film is the favorite.
contest covered five countries, the second nine countries and (Continued on Page 235)
Professiona
faces and forms of his actors, and to give depth, roundness,

naturalness, and a generally pleasing effect to the sets.
All of this can be done equally well at home, with 16mm
films; better, in fact, for the general conditions applying to
16mm work give the filmoist or cine-kodaker several
im-
portant advantages. In the first place, the area to be
illuminated is generally smaller than the average studio set;
secondly, while 16mm SuperSensitive film has the same

effective speed as 35mm “Super,” most 16mm cameras have
considerably greater shutter-apertures, and the lenses used
are decidedly faster. In other words, since the 16mm user
has, as a rule, a camera with a shutter-opening of around
215 degrees, and a lens working at f 1.9, while the profes-
sional camera has a 180 degree shutter and f 2.5 lenses,
the man with the Filmo can get the same effects with a
much smaller expenditure of light than the studio man
requires.
There are, of course, two ways of attacking the problem:
one may begin by laying down a sort of foundation of light,
sufficient to give a general level of illumination sufficient
for an exposure, and then build up your detailed effects; or
one can begin by arranging the effects, and then, checking,
perhaps, with a reliable exposure-meter, fill in wherever
necessary. Of the two, the latter is decidedly the better
course, for in most cases, once you’ve arranged your lights
to give you the effects you want, you will find that you
will naturally have the right volume and balance of illumina-
tion; while, once the lights are so arranged, only a little
manipulation will be necessary to fill in.
As a rule, of course, the starting-point for lighting any
set is to decide what is the keynote of the action of the
scene: nearly always, we will find some one thing a person, —
a face, or even some inanimate object can be definitely —
labelled as the central point of interest in a scene. If we
begin by lighting that properly, then filling in the rest of

HOW IT WAS DONE: Arrangement of the lighting- the set, our problem is immediately simplified.
units. 250-Watt “broadside,” with diffuser beside So much has been written in these columns about the
camera; 500-Watt light by piano, 165-Watt globe in
lamp on piano; 500-Watt light behind subject, and lighting of people that very little can be added here. The
another illuminating back wall. Photoflood bulb in
chandelier lighting far room, and 250-Watt tubular
best starting-point in lighting any scene is to light the
bulb in improvised reflector on floor behind buffet. people attractively and naturally, carrying out in this light-
ing the effect of light from the sources which would be
W
natural to such a room and such action. Then, the re-
mainder of the room can be lit to carry out the same idea.
HEN the professional cinematographer starts tc It is a mistake, frequently made by amateurs, to attempt
he has at his disposal a prac-
light a studio set, to light an interior scene simply on a basis of illumination.
tically unlimited number and variety of lighting The scene shown in the illustration, for instance, could have
units, ranging from huge 10,000 Watt reflector-spots to been lit in a much simpler manner by merely placing two
tiny “baby - spots” equipped with ordinary photofloods. or three strong lights in front of, or slightly at the side of
When he turns to his own 16mm work, he finds himself the subject, and letting the general flood of light carry the
bound by the same restrictions as any amateur only a few — rest of the room. But the effect on the screen would have
lighting-units at hand, and definite limitations as to the been flat and unnatural; so actually as many units and as
amount of current he can safely draw from his house-wir- much care were utilized in lighting the room as were used
ing. But he can take with him one vital thing from his in lighting the subject herself.
studio work: the professional attitude toward lighting. the amateur has a tendency to work close to
Similarly,
This is something which can be of immeasurable value to
the non-professional, as well, for it will help him to make
walls —
probably because of his limited equipment, and the
fear that it would not be sufficient to illuminate a larger
the best use of what he has available in equipment, and area. The professional, on the other hand, fights incessant-
to create effects he might otherwise overlook. ly to keep the action of his scenes well away from the walls,
Lighting, to the professional cinematographer, is far more for he knows that only so can he light his people to the best
than merely laying down enough illumination to permit an advantage, and secure an attractive lighting of the set.
exposure, it is more truthfully a matter of painting with Now, as to the more detailed methods of lighting a set!
light — using patterns of light and shadow to model the If you will study the illustrations, you will see that the
to light the room as well. For instance, the modelling (or
Methods in shadow-casting) light on the back wall: first, we lit the

—
two wall-brackets not for illumination, for they were fitted
with small, flame-colored bulbs of negligible photographic
value, but so that they would appear to be the sources of
Amateur the modelling-light. The actual light for this purpose came
from another 500-Watt light placed well out of the picture,
and fairly close to the wall. It was raised as high as the
stand would go, and tilted so that it gave the desired light-
Lighting and-shadow pattern on the wall. The illumination of the
far room was managed simply by putting a photoflood in the
chandelier: this gave a strong general flood of light through-
by out the room. The back wall of this room seemed to offer
too large an expanse of unrelieved white, so we pressed into
Charles C. Clarke, A. S. C. and service another emergency-unit: this one consisted simply
of a wooden base, a socket, and a sheet of heavy tin about
Wm. Stull, A. S. C. a foot long by six or eight inches wide, bent to form a
U-shaped reflector for a 250-Watt tubular bulb. (The
small, hand-lamp reflectors for photofloods would do just
general effect is of complete naturalness. The lady is
as well.) This was placed on the floor, hidden from the
seated at the piano: there is a fairly strong light on the camera by the buffet, and arranged to cast the shadows of
left side of her face, ostensibly coming from a table-lamp
the chairs (which were moved out from the wall a few
beside her on the piano. The right side of the face is inches) onto the wall, thereby breaking up the flat, white
slightly shadowed, and —
apparently from the lighted room surface. Thus, by just a little added effort, a few extra
behind her there is a rim of back-lighting on her hair and lights placed judiciously, and a photoflood or two in the
shoulders. Behind her, on the wall to her right, is a wall- regular fixtures, we were able to light up the two rooms so
bracket, obviously one of a pair: these throw pleasing as to get a pleasing, natural effect rather than an ordinary,
shadows of the mantel, etc., on the wall, relieving its drab flat lighting.
whiteness, and giving a sense of depth and roundness. They The same general ideas can be used under almost any
also throw a splash of light across the folds of the curtain conditions encountered in home interiors. In almost every
in the doorway, giving a more natural effect, and offsetting room you will find projections of one sort or another which
the flat blackness such a curtain would otherwise give. In
can be utilized for creating shadow-patterns; or, if necessary,
the room behind — well silhoutted by the dark frame of the the furniture itself can be used to cast shadows on flat,
curtain —shadows of the chairs are cast on the wall, again white walls. It is always a good plan to base your lighting
relieving a blank expanse of white surface. on natural effects: that is, to work it out so that, on the
That is what we see on the screen: but how is it actually screen, the light all appears to come from sources natural
done? to such a room. For much of this, photoflood bulbs judi-
Let’s begin at the beginning: the front-light. The prin- ciously placed in the regular fixtures, are invaluable, while a
cipal front-light ostensibly comes from the lamp on the few of the many small photoflood units such as the well-
piano. Now it would be perfectly feasible to use that lamp known “Flectors” come in very handy for use in low
as the actual source of the light, by putting a photoflood positions.
bulb in it. However, the arrangement of the shade is such These same general rules will apply, of course, to Koda-
that this would be likely to give a harsh horizontal shadow color interiors, too, in Kodacolor
with the exception that
across the middle of the subject’s face, so instead we put a
you will need about 50% more and a stronger
light overall,
fairlystrong bulb (165-Watts) in the lamp, and used a front-light than is ever desirable for black-and-white. For
500-Watt light, placed just out of the picture, and quite
this purpose, especially, the new “Brodlite” 6-photoflood
high, to supply the actual light. The secondary front-light, “Broadsides” should prove invaluable.
which relieved the shadows on the other side of the subject, There is another phase of interior lighting which is all too
came from a home-made “broadside,” fitted with the 250- seldom considered by non-professionals. This is the use of
Watt tubular bulbs (only one of which was burned), and a (Continued on Page 234)
simple diffuser of white silk. We’re really quite proud of
that “broad:” it was made from a 15c aluminum dishpan,
a couple of strips of angle-iron, two sockets, and an old-
music-stand. Fitted with the shorter photofloods, it could
easily be made as a four-bulb unit; it is cheap, and, while
not as efficient as a properly designed lighting-unit, very
useful.
Obviously, the back-lighting could hardly come from the
lights in the farther room, so we placed another 500-Watt
light behind the subject, as low as its stand would permit,
and with the lamp itself tilted well up.
This lighting would, in itself, be sufficient to give a good
exposure, with a nice lighting on the subject; but we can
improve things a lot by placing a few units here and there
HOW IT LOOKED ON THE SCREEN: Note shadow

of mantel and wall —
fixture on wall; high-lights
on draped curtain, and chair-shadows on wall of
back room; also back-lighting on subject, and
contrasted planes.
then follow the action. Learn that first and then attempt
other panning.
When you hold the camera in your hand hold it steady,
or your pictures will be unsteady. Clamp your elbows to
Ten Common your side and stand firmly.

Some people think they are a perambulator. They walk
while they are pressing the trigger and especially back-
ward. You walk more awkardly backward than you do for-
ward, and still your body weaves in walking forward so that
Mistakes of the chances are far less for good pictures in walking back-
ward than forward and your chances of getting good pictures
in walking forward are nil. Figure that there are some
limitations to good pictures and do things the simplest way.
the Amateur There is nothing more boresome than to see foot after
foot
There
unwind on a picture in which there is no action.
is nothing to interest one. Motion pictures were
designed for motion. The occasional shot of a non action
picture has its place, but do not waste footage on it; it’s
dull; waste of film and you could get a much better picture
with a still camera.
by
This thing of poor composition comes mostly under the
Frank B. Good, A. S. C. head of having people half out of the picture and half in.
By this Imean cutting off their heads, having them way
over to one side of the picture with nothing at the other
side of it. Take your camera out and practice without film
in it. Let your people go through action and then at-
tempt to keep them properly framed in the finder. Reading
5. and learning a thing will not help you. You have to apply
ERHAPS there are more than ten mistakes the amateur
what you learn.
P commonly makes, but ten is
8. outstanding weakness of the cinephotographer.

may9. possess all of them, some may have conquered
sufficient to point out the
None
all of
There’s that lack of continuity.
things, just snaps, taken for no reason.
for no reason can be interesting.
Pictures of people and
Even pictures taken
worth taking do not
If it’s
them, there are many who have one or more of them.
only take a long shot, take a quarter shot of it and then a
Possibly it is because they look upon cinephotography as close-up. That is usually sufficient continuity to make it
a toy, something that is taken in the spirit of the moment interesting. If you take a picture of a child playing, the
and the many details that must be watched for good photo- close-up may show a smudge on the face, freckles or some-
graphy
10. are left to the gods. thing else that will be interesting.
Let’s jump into the fryingpan and look these mistakes Of course not enough close-ups ties right in with the lack
right in the eye and then mull over them: (Continued on Page 234)
1 . Over exposure.
2. Poor focus.
3. Too fast panning.
4. Unsteady camera.
Walking while shooting.
6. Too much footage on no action pictures.
7. Poor composition.
Lack of continuity.
Not enough close-ups.
Do not change exposure for close-ups.
Over exposure undoubtedly due to the timidity of the

is
operator feeling that the film cannot possibly be as fast as

the manufacturer claims. Sometimes it is due to the fact
that the operator just does not check exposure before he
starts shooting. Believe in that label the manufacturer puts
in the box with the film. He has spent many dollars to
secure that information. He wants you to secure good
pictures so he will not give you mis-information.
Then we come to poor focus. Just another bit of care-
lessness. The lense is arranged for different foci so as to
give you better pictures. you haven’t a distant meter it
If
is much better to make a good guess at it than it is to
ignore the question entirely, or pace it off, figuring about

three feet to the pace, you’ll come mighty close to the
right focus.
And here’s the old bugaboo that every writer shoots at
the amateur every chance he gets. Don’t pan so fast. It’s
better not to pan at all than to pan fast. Make them as

consecutive pictures. Pick out the highlights and make
individual pictures of them, just to pan on scenery does
not add to its interest. Do not pan unless you have action,
case, by the time the case was brought to court the gold
mine had played out ... a complete failure.
This is a case taken directly from the files of Dr. William
Louis Weber, chief surgeon, Pacific Electric Railway Co.
Another interesting case presented by Dr. Weber was
where the victim was in an automobile accident with a
street car. He claimed to be bed ridden. His wife con-
ducted a rooming house and one morning a young chap
moved in who developed a great hobby for Amateur motion
picture photography. The victim having nothing tcydo took
a great interest in the young fellow’s hobby and permitted
him to take a few pictures of him. As the acquaintance
ripened they went horseback riding together, as well as
boating and swimming. Motion pictures were taken of this
by the young chap, who of course was an investigator for
the Railway company. These were presented in court and
the suit for $75,000 was naturally thrown out.
This was a few hundred feet of film saved
a case where
that company sum.
a very large
It was our might be necessary when secur-
belief that it
ing pictures of this sort to establish something or somebody

in the film itelf to determine time of the taking of the
Photo by John P. Cooper, A. S. C.
picture, however, according to the evidence presented in
cases in the past, it has been only necessary to swear in the
photographer, for him to give his evidence, identify the
16mm. Camera film and then have the film projected.

However in some cases according
prominent investigator of Los Angeles, when it
to H. H. Dolley,
was
a
felt
that the defendant might attempt to establish the fact that
Exposes the pictures were taken before the accident they

to get a second person in the film with him or
ditional witnesses.
contrived
have ad-
Dolley tells of an connection with

interesting case in
Insurance Frauds Ramon Navarro, the motion picture star who was sued for
a very large amount after an auto accident. The defendant
claimed total disability. However through the 16mm camera
by he was shown carrying rock, launching a motor boat, horse-
back riding and otherwise doing strenuous work.
C. B. Harris Of course, telling about what these pictures contained
seems like easy work. The operator must be ingenious, and
many times a bit crafty to lure his victim before the lense,
Frequently the telephoto lense is brought into use. In the
N THE morning of November 29th, 1929, while Navarro case a cameraman was stationed in an empty house
O standing on the rear platform of a Los Angeles Railway

car a collision occurred, allegedly causing Mr. R to be
thrown forwards, striking the rear of a seat in front of him,
and then to be thrown backwards, in turn striking his back
across from a building being erected and the man was shown
working on heavy construction work.
Dolley points out that
man
it
That
is absolutely necessary to identify
shot that does not de-
the at his work. is, a long
against some object in the rear. He was not thrown from finitely identify him can easily be fought by the defense
the car, he did not fall to the floor of the car nor was he attorney. It is for this reason that the close-up, and the
rendered unconscious. use of the telephoto lense is so important. While it may
The allegations in the complaint were as follows: “That not be necessary to be an absolute close-up, it must be close
the patient was greatly and grievously wounded and injured, enough to identify the man.
temporarily and permanently; and that he sustained a severe Another case recently which was photographed by Park
concussion of the brain resulting in headaches, visual blur- Reis, A. S. C. was a man who had been awarded $500.00
ring attacks, redness of the right eye, sensation of explosion a month for an accident which happened somewhere in the
in the right fronto-parietal region, sleeplessness, dragging east, which he claimed had made him blind. The only trace
of the left leg and coldness of the left leg; and also suffered the insurance company had of this man was through his post
from deep pains in front of right thigh and knee; and also office box address in Los Angeles. The box was watched dili-
emotional disturbances, as well as severe nervous shock and gently and the man identified by operatives. His habits of ar-
tremors; contusions of the occiput, spine, both jaws and a riving and leaving the post office were noted. Then a 16
lot more complications that would read as though the mm camera was brought to the post office. A f .9 lense 1
American Expeditionary forces had been wiped out. was used and super-sensitive film shot at 8 frames a second.
$100,000 was asked by Mr. R but the jury awarded him The picture showed the man opening the post office box,
$30,000. This large sum seemed to work like magic on the taking out his mail, opening it and reading it.
victim. He invested it in a gold mine. Investigators found Then on another occasion they stationed themselves across
him working about the mine, pick and shovel, carrying and from where he parked his car, with a telephoto lense on the
hauling. They spotted a 16mm camera on him at a distance, camera. This scene showed him getting into the car, driv-
using a telephoto lense. Unfortunately however, in this (Continued on Page 236)
Recording
Sound On
16mm Film
Eric M. Berndt
Editors Note: Because of the strong belief that the
16mm is going professional in an industrial way and
that the 16mm camera will in time turn professional
for that field, we have asked Eric M. Berndt, manu-
facturer of the only sound on film 16mm camera to
give his views and a description of his camera.
At top the
EFORE introduction of 16mm sound on film,
the Berndt Sound
B it considered by many either impossible or

was
impractical to obtain satisfactory sound reproduc-
tion from 16mm film. However, the great success and
on 1 6mm film
camera. At
bottom the
cased electri-
cal equipment.
popularity achieved by the 16mm projectors for sound on
film, in the field of non-theatrical motion pictures, refutes
this.
The 6mm sound is very great, and three of

interest in 1
sound sprocket is highly filtered in order to obtain a perfectly

the manufacturers have met this demand with
projector
uniform flow of film past the recording optical.
sound on film projectors which are noteworthy for their
simplicity of design, ease of operation, portability, and na-
Since 16mm
film travels at a speed of 36 feet per
tural reproduction of sound.

minute, necessary that a camera of this kind be built
it is
In conjunction with the in-
creased screen illumination now incorporated in 16mm pro-
to the highest standards of mechanical accuracy. Some of
the camera features are the four lens turret with standard
jectors, pictures may be shown in large auditoriums.
lens mounts, variable view finder, focus on film with OX 1
More and more subjects are being made available, con-
magnified upright image, frame counter, footage counter,
sisting mainly of reductions from existing 35mm films.
reverse take-up, optional dissolving shutter, and etc.
These reductions are of high quality pictorial ly and good
sound is achieved either by re-cording or optical reduction. The accessory electrical equipment is carried in two
cases, one containing the recording amplifier and batteries,
16mm sound pictures have also been made directly on the
and one for the condenser microphone, cables .earphones,
16mm film. The advantages of photographing industrial,
etc. A single 864 is used in the head amplifier, and five
educational, and scientific pictures directly on the 16mm
stage cascade 864’s with a 7 A for power output.
1 1 The
film are quite evident, especially from the standpoint of
amplifier has a gain of about 85 DB, is stable in operation,
equipment, operating costs, and processing. It is extremely
and free of microphonic disturbances. Compensation is in-
interesting to note that the cost of film and processing for
corporated for high frequencies lost by film characteristics
400 feet of 16mm, which is equal to 1000 feet of standard,
and printing.
is approximately $27.00, either by using reversal or nega-
Variable area was chosen as the most suitable type,
tive-positive system.
for 16mm recording, because of its easier processing. It
In step development of 16mm from purely
with the also eliminates the large number of B batteries required for
amateur to more academic and professional uses, the profes- glow lamp.
sional 16mm sound on film camera, shown in the photo- Many films require careful attention in processing,
graph, was built. The camera was designed to photograph when taken under unfavorable photographic conditions. With
sound and picture simultaneously on 16mm film, and to variable area recording, more attention can be given to the
enable the cameraman to obtain professional effects and re- picture, since processing variations will not affect the track
finements in his 16mm films equal to those achieved by as much as they would if it were a density track.
the use of 35mm professional cameras. The recording system consists of an exciter lamp, an
The camera illustrated is provided with 1000 foot maga- improved type of mirror galvanometer, and an optical system
zines, or 400 foot magazines as desired. The 1000 foot which projects the oscillating beam of light onto the film
magazines permit a continuous run of 28 minutes to be forming a slit of .3 thousandth.
made, equal to 2500 feet of standard. The camera and A rheostat and milliameter serve to regulate the exciter
magazines are made of cast aluminum and finished in lamp intensity, so that the proper exposure for the different
chromium trim and black crackle. It may be had with emulsions may be achieved very easily.
110-volt A. C. synchronous motor, or universal 110-volt A visual monitor is incorporated which permits the
governor controlled motor. Provision is made for hand oscillating beam of light to be observed, magnified, through
cranking at eight frames per turn, or one frame per turn. the film, and permits checking the amount of modulation,
The intermittent movement is silent in operation. The (Continued on Page 235)
October 1 933 • American Cinematographer 229
On Location at Home
Cine-Kodak
Special
°ffers professional cameramen
many facilities formerly found
only on studio cameras
FADE-OUTS . . . FADE-INS
IVE us a 1 6 mm. camera ing any two of the six lenses availa-
ble for the Special; ioo-foot and
for off-the-lot use up to
2 oo-foot interchangeable film cham-
professional standards of abil- bers permitting instant switching
ity but well below professional from one type of film to another;
standards of cost and size.” long-running, spring-motor drive;
That was a big order. one- and eight-frame shafts for hand
But Eastman has done it in
—
cranking the latter being used as
The
open
Special's variable slit shutter may be moved from
to closed, or vice versa, while the camera is run-
well for winding film back for lap ning, for making fades and lap dissolves.
the remarkable Cine - Kodak dissolves or multiple exposures; two MULTIPLE EXPOSURES— LAP DISSOLVES
Special — a precision - made, film meters, one geared directly to
custom-built 1 6 mm. camera of the camera mechanism recording
unparalleled versatility which the amount of film run or rewound,
the other on the film chamber show-
lifts the lid off the restrictions
ing the amount of unexposed film.
of usual home movie technique.
Alterations on Order
Professional Ability — 16 mm. The standard model Cine-Kodak
Economy Special, with Kodak Anastigmat
Many of the Special’s most note- /. 1.9 lens,double lens turret, one
worthy features are identical with ioo-foot film chamber, set of six
those that studio cameras provide. masks, is priced at $375. Other ac-
There’s a reflex finder which shows cessories are extra. Special altera- The eight-frame shaft winds the film backward for mak-
ing double or multiple exposures and lap dissolves.
on a ground-glass screen the field of tions to specific needs will be read-
the taking lens, permits visual focus- ily estimated and painstakingly ex- MASKS
ing with all lenses; variable speed ecuted.
control, from 8 to 64 frames per See this precision-built, custom-
second when spring-motor driven; made camera now at leading Cine-
variable shutter for fades and lap Kodak dealers’, or write for the
dissolves; double lens turret, mount- Cine-Kodak Special Book.
If it isn’t an Eastman, it isn’t a Kodak The Special's masks, supplied in a vest pocket size leather
case, are merely slipped into a slot before the film. Circle,
EASTMAN KODAK COMPANY, Rochester, N. Y. oval, and horizontal and vertical half masks are stand-
ard equipment —other designs supplied on order.
World Wide Interest in

Cinematographic Competition
• Again the annual contest conducted on the camera. Many classifications
by the AMERICAN CINEMATOG- have been created so as to give a wide
RAPHER be world wide in its repre-
will recognition of the many phases of pic-
sentation. Already films have been re- ture effort into which the amateur
ceived from several foreign countries and delves.
from letters stating pictures are being It is not necessary for an entrant to
shipped to arrive before the closing date, be a subscriber to the AMERICAN CINE-
there is an indication that there is a MATOGRAPHER. Like all of the activi-
keen interest in this competition by many ties of t'beAmerican Society of Cinema-
of the amateurs across the Atlantic. tographers this competition was instituted
From every indication this year’s com- to create a among the
greater interest
petition will be even greater tlhan was Amateurs in the making of better pic-
the 1932 contest. The wide circulation tures.
given the pictures of last year’s contest The rules are very simple and will be
has engendered an interest in this com- found on another page of this issue.
petition that is much wider in its repre-
sentation from the geographic stand- Club Makes Sound Picture
point. • The Cinema League of Philadelphia
Again members of the American So- has announced its first sound on 16mm
ciety of Cinematographers will act as film production under the title of “To
the judges. A recognition in this con- Om by Omnibus.” The picture was made Orange Club Stages
test is considered by amateurs the world with the new R. C. A. -Victor 16mm out- Special Show
over as the greatest honor they can fit. According to Raymond Aarons, S. • The amateur motion picture club of
achieve from any body of professional president of the club
that organization Orange, New Jersey at the recent show-
cameramen. is contemplating entering this picture in ing of the AMERICAN CINEMATOG-
The American Society of Cinematog- the AMERICAN CINEMATOGRAPHER RAPHER prize winning pictures expended
raphers, made up as it is of the leading 1933 Amateur Competition. a great deal of effort in the presentation
directors of photography in Hollywood’s of these subjects.
studios its members are acknowledged 500 See Prize Pictures Presented in their Little Theatre, spe-
the camera masters of the world. cial colored lights were employed in tê
in Pendleton
Medallions will be awarded to win- setting of the miniature stage. Semi
• At a public Showing of the AMERICAN
ners which can be either worn or placed CINEMATOGRAPHER synchronized musical scores accompanied
1932 Amateur
Prize Winning Motion Picture by J. T. the films. Two projectors were em-
Caertner Turns to Comedy Snelson it was estimated that an audi- ployed so as to make the show con-
• W. Caertner, of Detroit, mixing is
ence of more than 500 was accom- tinuous as reported by Edward J. Hayes,
poker with pictures; that is, his latest
modated for the event. secretary of that organization.
picture will involve this great national Snelson reports that the first prize
pastime as the central theme of a com- winner “Tarzan Jr.” received as much
Scientific Films for
edy which involves those husbands who enthusiastic applause and comment as is Amateur Show
attempt to indulge in this pastime with- given to the professional pictures at the • At the October meeting of the Los
out the knowledge of their wives. Prob- theatres. Angeles Cine Club which will be spon-
ably he’ll call it “Poker Faces’’ or “May sored by bofh Eastman Kodak Company
1
I Co Out Tonight, Wifie?’’ Prize Pictures Convert and the Bell & Howell Company to be
Caertner will be one of the entrants held in the Eastman Hollywood Labora-
in the 1933 American Cinematographer
Still Club to Movi es
tories, the subjects to be presented will
• At a recent showing of the AMERICAN
Competition. In speaking of the plan
be Cinemicroscopy Film in both 16 and
to be followed out this year in the recog-
CINEMATOGRAPHER 1932 Amateur
Prize winning pictures in Boston, the 35mm. There will also be a demonstra-
nition to be given entrants, Caertner re- tion of the equipment necessary for the
South Shore Camera Club was a guest of
marked: “The awarding of Medallions or making of this type of motion picture.
tlh'e Boston Cine Club.
Certificates of Merit will no doubt influ-
ence many more amateurs, as on this
Many of the Still Camera specialists
became so enthused in these pictures Evans Makes School Subject
basis a much wider scope is covered.’’
that it was decided to establish a movie ® Walter Evans, associated with the Hol-
section in this club and to endeavor to lywood offices of the Bell & Howell
Metropolitan Club Elects Company, has completed a 200-foot sub-
make 1933 competition.
a picture for the
Officers This club has arranged for a showing ject which he has titled “Cats and Kit-
• Officers chosen by the newly elected tens.”
of the prize pictures in their own quar-
Board of Directors of the Metropolitan ters for the This picture was an experiment on the
latter part of October.
Motion Picture Club are C. L. Rohden- part of Evans to determine formula and
burg. President; A. C. Decker, first vice- Harvey Builds Focuser contents of a picture suitable for very
president; C. J. Carbonaro, second vice • In the illustration immediately above young children as an educational medium
president; R. M. Coles, secretary and H. shown the direct lense focusing
is along the type being used by schools in
Danz, treasurer. which Raymond Harvey built into his those classes of young children who have
Annette C. Decker was appointed by Victor camera. The little handle in front not reached the book stage and have not
Dr. Rohdenburg as editor of the club’s is fastened to a tube which pushes up be- learned to read and write.
official publication “Close-Up” and Miss hind the lense forcing the gate back and The picture brings out the characters
S. L. Lauffer was appointed director of permits focusing direct through the and habits of felines, possibly one of the
publicity. lense. most adored of children’s pets.
HOME MOVIES ARE BETTER

WITH FINE CRAIN FILM
(tens/ I
fine
s a very
grain
Ortho type day-light loading
Cine Film for use in all 16mm
cameras — It has wide latitude,
pleasing contrast and ample
speed for all exteriors.
100 FEET
$ 3.75
Including Processing
ECONOMY
Film will effect a great sav-
ing for those who do not
need the faster film... In
sunshine and bright shadow
Economy Film will render
splendid results.
100 FEET
$ 2.25
Including Processing
ORDER DIRECT IF YOUR DEALER IS UNABLETO SUPPLY YOU

PELLEX FILM
60^8 Sunset Boulevard
COMPANY
— Hollywood, California
Am e r i c a n c inematographer
NOW...
$2.50 A YEAR!
Owing to the fine increase in circulation the
American Cinematographer has enjoyed during

the past six months, the American Society of
Cinematographers have decreased the yearly sub-
scription rate from $3.00 to $2.50.
The American Society of Cinematographers being
a non-profit organization the savings it effects be-
cause of this increased circulation is being passed

right back to its many readers who have made it
possible.
American Cinematographer,
6331 Hollywood Blvd.,
Hollywood, Calif.
Please Enter my Subscription tor one year starting

for which I enclose
Two Dollars and Fifty Cents ($2.50).
Name
Street
City
Amateur
MOVIE MAKERS CONTEST
CLOSES OCTOBER 31st
ONLY A FEW DAYS LEFT TO ENTER !
HERE ARE THE RULES... READ THEM
The AMERICAN CINEMATOGRAPHER 1933

Amateur Competition is open to amateurs all
over the world who use either 8, 9Vi, or 16mm.
film.
The films must be in the offices of the AMERI-

CAN CINEMATOGRAPHER not later than Oc-
tober 31, 1933.
There are no restrictions as to the number of
subjects that may be entered nor are there any
restrictions as to the length of the subjects. The
one strict rule that applies, however, is that no
professional help is received in the making of
the picture. This does not include titles which
may be made at a laboratory.
The recognition of those who are given awards
will be in the nature of a gold medallion which
will be given by the American Society of Cinema-
tographers who will be the judges of these pic-
tures.
The pictures will be given classification so that

the competition may be fair to all entrants. By
this we mean that an entrant having a documen-
tary film will not compete with one who has
based his on a scenario. Of course, there will be
more classifications than these. The classifica-
tions will be created according to the pictures
that are received.
Please remember your films must be in the of-

fice of the AMERICAN CINEMATOGRAPHER,
6331 Hollywood Boulevard, Hollywood, Calif.,
not later than October 31,1 933.
Lighting The Home Set

GOERZ TRiX OBjECTO METER
(Continued from Page 225)
“booster-lights.” Very often, when you

are working either indoors, or on porches,
different degrees of illumination on back-
ground, foreground, and middle-distance
—and
. of little catch-lights on curved sur-
and
faces, archways, and draperies . . .
An exposure Meter Based on a New

Scientific Principle etc., in deep shade, you can use lights to the fascinating play of light and shade
Compares unknown light illuminate your subject so that the
(not always, by any means, shadow) ....
intensity of object with
standard intensity of a shadowed foreground will balance proper- to say about
luminous disc. Perma- And that is about all there is
nent calibration. Due to ly with the brightly sunlit portions. This make your com-
the problem of lighting:
the long range of expos-
especially useful when you are making
ure readings, the Trix is is
position; arrange your primary lighting to
equally successful indoors
interiors during the day-time, with sunlit may be the salient
and outdoors for still and accentuate whatever
motion pictures including background.
night scenes and snow windows showing in the
points of that composition, and to give a
landscapes. No delicate Normally, even a well-illuminated in-
parts which need replace- natural effect; arrange the rest of the
ment or get out of order. Small, light, terior would receive so much less ex-
lighting to carry out that idea, and to
neat, easy to use and read, reasonably posure than the brightly-illuminated view
priced.
seen through the windows, that the latter properly display your set and players and
Pan-Ortho Green Filters
would be grossly over-exposed, showing there you have your set lit!”
Manufactured by Dr. Kelner, they pro-
vide requisite absorption of excess blue- up as only a glare of white. By using
violet and red sensitiveness of modern
panchromatic emulsions and are a dis-
lights on such interiors even where they — Exposure Meters Become
tinct improvement over the yellow wouldn’t seen necessary- -you can balance
type of filter. Equally efficient for
the exposure so that the result on the Professional
non-red sensitive orthochromatic emul-
sions. Consequently, Universal filters screen is really natural.
for purposes. Supplementary blue (Continued from Page 222)
all
In undoubtedly the best
conclusion,
filter for additional' red absorption, al-
so red filter for night effects. Un- summary of the problem of lighting a set use good photographic sense. You can-
cemented,
glass,
very thin discs of optical
plane parallel and of true sur- is found in the words of James Wong not expect the meter to give you the cor-
face. Combined in sets, offer great Howe, A. S. C., who has said: “Instead rect reading of a scene at a great dis-
variety of photographic results.
of approaching any given set or action tance when the light in front of you is
Exclusive Distributors for the U. S.
with the question, ‘How shall light I
not the same as at that distance.
C. P. Coerz American Optical Co.
317 East 34th St. New York this?’, prefer to approach it with the
I An exposure meter of the photo-
thought, ‘What compositions can make I
electric type is influenced by the light
with this set and this action?’ Then I
immediately in front of it. If you are
proceed to make those compositions standing in the shadow and intend to
and the lighting automatically takes care shoot out in the sun, don’t expect to get
of itself. There are of course scores
. . . the right reading. Go out there in the
of little tricks of lighting which help to sun and get the reading. If you are in
give the effect of actuality. Every photo- the sun and your subject is in the shadow
grapher or painter soon learns, for in- . .get the reading at the camera, then
.
stance, the value of contrasted planes get another reading right up in the
shadows. Take the average. That s what
you would do if you had a wide exper-
Ten Common Mistakes of ience in photography and depended upon
the Amateur your judgment.
Let’s say you are out in the sun and
CRAIG JR. of continuity.
You see the 16mm home

you secure
shadow of FI
a reading of objects
and up close you secure
in the
*3 5 °
1
SPLICER movie is an intimate picture.

called personal movies,
They
home movies and
are a reading of F5.6, should say F8 would
be the proper stop to use.
I
Now available for use with both 8 mm

every other term that indicates they are It’s because of these things you must
and l6 mm films.
intimate. So get intimate shots. The know that say it is not a “ouija
I
close-up is the most intimate picture you board, but you must use some of your
can secure. photographic knowledge under various
Many fail to change their exposure for conditions.
close-ups over a normal shot. You must I about an amateur re-
heard a story
open the lense from one to two stops for cently, which brought quite a laugh, but
a close-up when there is no change in the it impressed on me what a mighty fine
light as compared to the exposure for a thing the exposure meter must seem to
long shot on the same subject. The people of such little photographic know-
amount the lense will have to be opened ledge. This fellow was using an ortho-
of course will depend upon the light chromatic film and was told to shoot it
CRAIG SPLICER *IO reflecting qualities the subject contains.
The darker the subject the more you
wide open.
well.
The shots came out rather
He was shooting some beach
Now available in l6 mm size for use must open the lense. scenes. When he said he had shot it
^ with either silent or sound on film films
We have merely sketched these faults wide open they asked him what stop he
and methods of over-coming and correct- had used. He didn’t know the figure
CRAIG MOVIE SUPPLY Co. ing them. From time to time we will but showed them on the camera. He
1031 South Broadway devote a complete article to these various had set his lense at FI 6 and thought it
LOS ANGELES, CALIFORNIA phases so as to give you a more intimate was wide open.
Represented by Ampro in the East understanding of what to do to secure Many are of the opinion the profes-
better pictures. sional is a bit too proud to use an ex-
posure meter. There may be a few, but

many of those who are right up in the
top ranks of studio cinematographers
have adopted the exposure meter as a
part of their equipment.
Amateur Moving Making

in Europe
In Germany the amateur is passing

through a general reorganization, which
is the consequence of the political revolu-
tion in that country. In Berlin the Bund
der Film-Amateure E. V. has done splen-
did work hitherto and we are convinced
that the leading men in the “Bund” will
prove to be able to organize the enormous
number of German amateurs, after the
struggles for national reorganization have
passed.
Belgium seemingly has entered a period
of non-activity after several years of
great prosperity. The Union Beige des
Cineastes Amateurs, Brussels is apparent-
ly at a standstill, but we hope this stagna-
tion is only temporary.
In Hungary we have another full-active
group of amateurs being organized in the
Club of Hungarian Amateur Moviemakers.
Budapest, whereas Spain, Portugal, Swit-
zerland are countries with steadily im-
proving conditions. We are going to re-
port on each country separately, showing
illustrations of league
‘-?or Gxample
and club activities.
Our next article
be specially dedi-
will
cated to Holland and the Nederlandsche
the,
Smalfilmliga.
Recording Sound on
16mm Film
5-SPHD
centering, etc.
mODCL 3
16mm film with one set of perfora-
tions is now available in all emulsions, in-
cluding fine grain reversal, which permits CfllTI£Rfl
the recording of higher frequencies than
would otherwise be possible, inasmuch as
the cutoff due to grain is about at 4600
cycles with ordinary films.
ICTOR craftsmen needed no Code protection. Already
at / —
,
Wefeel that 16mm will achieve new their skill commanded wage scales well above Blue Eagle speci-
heights and that by it’s availability will fications.
reach fields never before motion picture
Rapidly advancing material costs, however, may ultimately re-
minded, since the cost of producing pic-
quire an upward adjustment of \ ICTOR prices. For the present
tures was far too great for them. We they remain the same . . . representing greater values than ever.
do not think that 16mm sound will ever
encroach on those uses which are now The time to select your VICTOR is now!
served by 35mm film, but will be used Ask your dealer to demonstrate the new 5-Speed Model 3 the most . . .
sensational of camera values. A more complete camera is the All-fea-

for services such as the home, school,
ture Model 5 with Visual Focusing. Reverse Action and many other
. . .
church, etc., which do not require the improvements .... at only SI 75.00. VICTOR Master Projectors . . . .
screen size and sound amplification pos- at S123.50 up .... have many amazing features not to he had in any
sible with 35mm film. other equipment at any price. Visit your dealer today.
VICTOR ANIMATOGRAPH CORP’N.

Minneapolis Salon DAVENPORT, IOWA, U. S. A.
The Second Annual Minneapolis Salon 242 W. 55fch St., New York City 650 So. Grand, Los Angeles
of Photography will be held at the Min-
neapolis Institute of Arts, Dec. to 21.
WORLD'S FINEST IB^m MOTION PICTURE EQUIPMENT
1
The closing date for entries will be Nov.

0
15 .
— —
Slow Motion Reveals Machine Defects

When, as often happens, a machine of the duration of the oscillation could
designed and built on apparently sound be obtained. With this information the
and proved principles just doesn’t oper- designers were able to effect improve-
ate correctly, what can be done to deter- ments immediately.”
What your mine the cause of failure? In such cases, “One peculiar advantage that a desig-
INDOOR MOVIES design experts are now having recourse

to the motion picture. They set the
ner gains by taking motion pictures of a
machine may not be apparent at first
demand machine in motion and take “slow” sight,” says Mr. Mitchell. “The motion
movies of it as it operates. These movies picture camera is trained on just the es-
reveal the behavior of mechanisms mov- sential field of action, and is viewed in
ing too rapidly for satisfactory observa- a more or less darkened room free from
tion by the human eye, and many baffling distraction. As a result the attention is
machine problems have been solved in centered on the screen and the observer
this manner. is not subjected to the many distractions
Says R. Fawn Mitchell, manager of of sight or sound which are a necessary

the technical department of the Bell £r concomitant to the actual machine. It
Howell Company: “One of the first in- is not always necessary to take slow
stances of securing increased efficiency movies to get results. Frequently ordin-
in machine design by means of motion ary speed movies will serve the purpose.”
pictures had to do with a high-speed ad-
dressing machine which jammed in the
have been cut out not only to reduce
envelope in-feed. A micromotion out-
weight but also to provide ease in thread-
fit was arranged to take a close-up of
ing.
the feeding mechanism with the feeding
pawl painted white to facilitate follow- New Combination Enlarging Device
ing its motion. Motion pictures taken • E. Leitz, Inc., announces a novel fea-
at 4,000 frames per minute disclosed
ture connection with their enlarging
in
that the feeding pawl vibrated at one
apparatus. The popular Valoy Enlarger
Solite Reflectors Deliver time and not at another. Each time the can now be supplied with attachments
— and with PLUS advantages pawl vibrated it failed to feed an en-
velope. Not only did the pictures show
whereby it may be used not only for
that please pocketbooks! making enlargements, but for reading
More light, better light! That’s what the this effect, but they registered the time manuscripts and projecting pictures upon
SOLITE UNIT REFLECTOR effects! Its by means of a high-speed stop watch so
unique mirror lens concentrates and mul- a screen as well.
tiplies the lighting output of the power- that at least a reasonable approximation
ful T20-500 watt bulb it uses —
delivers,
A special rotating film carrier permits
by test, nearly twice the light for the
same lighting cost. No light wastage!
Longer bulb life is assured by Solite’s pat-
16 mm Camera Exposes the film image to be placed in any de-
sirable position, regardless of the posi-
ented Ventilating Feature. Prevents rapid Insurance tion of the film in the enlarger. A special
blackening and loss of lighting efficiency. (Continued from Page 227
With SOLITE UNITS any desired lighting box may be placed under the lens, where-
—
arrangement is possible -singly, in pairs, ing it off himself and fighting the heavy
by film records of manuscripts, legal
threes or in big multiple banks
same Solite Tripod!
—
on the down-town traffic.
documents, maps and book pages may
Only in the SOLITE UNIT REFLECTOR do Cases like this are increasingmore and On the front of the
be read with ease.
you get all of these indispensable advan- more every day. The insurance compan-
tages! Write now for full story that ex- box is situated a ground glass screen,
plains how SOLITE REFLECTORS save mon- ies are learning of the great value of the
sloped at a convenient angle. A mirror
ey on your indoor movies (including color
movies) and still photographs and pro-
16mm camera with the present day fast
within the box reflects the image upon
duce better pictures! film and fast lenses in detecting these
the ground glass screen. The user need
Over 30% more light frauds.
only seat himself comfortably in front
by using the new Some companies have equipped them- of the screen and view the films, right-
CONCENTRATOR LENS selves with complete outfits just for this
Diffuses
wastage.
the
The
full light
soft,
—
output without
even diffusion is a purpose. The Pacific Electric Railway
side-up and right-side-to.
When the enlarger is to be used as
priceless adjunct in indoor photography, company have an outfit of this nature.
especially color movies. Fits in a fry j i
a projector for screen projection, a special
over any SOLITE REFLECTOR. Other investigators are making this sort
mirror, mounted upon a universal joint
PRICES of detection a specialty for many insur-
so that it may be
placed in any position
Solite Unit Reflector $7.50. With Jr. Tri- ance companies and some individuals are
pod, $11.
under the lens, is attached to the en-
giving their entire time over to work
Special Solite Kit (No. 3) containing 3 larger. The image produced by the lens
Solite Units, 2 Tripods, cables, crossbar. with the 16mm camera for insurance
Complete in strong carrying case, $42.50 is thus projected upon a screen. The
Solite Concentrator Lens, $3.50.
companies.
usual opal lamp in this case is replaced
Note: These prices effective for a with
short time only. All prices slightly Wheels of Industry a special clear projection bulb.
higher west of Rockies. Continued from Page 220) The feature of this equipment lies in
Communicate direct with projector, has been provided with 1200 the fact that with one unit the owner
SOLITE SALES CO. and 600 foot reel arms.
1 can enlarge, project and read his films
1373 Sixth Ave., New York To be exact, 1200 feet of 16mm film with the utmost ease and satisfaction.
DEALERS: ASK ABOUT VALUABLE at the rate of 24 frames per second
SALES FRANCHISE ARRANCEMENT!
Counter Light Cap
SOLITE (normal speed for sound), requires 331/2

minutes for projection, and 1600 feet 44
2-3 minutes. However, the statement
• Hugo Meyer & Company announce
acquisition of the famous Worsching
the
UNIT of half-hour and 45-minute projection Counter-Light Cap manufactured in Ger-

periods will probably be more generally many. This light cap is designed to pro-
used in this connection. tect the lens when photographing against
Preferred by the Light-Wise from The new B & H reels are of all-steel light rays when pointing the camera to-
Coast to Coast construction. They have the B & H ward the light source and in some in-
self-threading hub feature. The flanges stances they claim it is possible to direct
the camera toward the light source,

when the source is not directly in line
with the lens.
Acting in the nature of a sun-shade

from everywhere . . .
it does with its added feature of an

as
adjustable cap that can be placed in any
COME RENTALS FOR
position it would seem to have a fine 16mm
The Most Comprehensive Rental Library of
flexibility.
Talking and Sound on Disc Subjects for Movie Fans
Controlled Printing for This service is now available to users within 48 hour parcel post
Miniature Camera Pictures delivery distance of New York City. Rental Fee $1.00 per night,
including 400 ft. reel and disc. Send 25c today for catalog of
subjects.
into the negative-carrier of the enlarger
pressed between the two glasses in a Exchange and Rental of 16 mm Silent Films
little pool of glycerin. This seems to This library was the first to exchange 400 ft. films for $1.00 plus
help minimize the grain. It is always a postage .. and maintain its strictly high class service. Quality not
.
alone in the condition of film stock but in subjects which we insist upon
good idea when you are making import-
being interesting. Rental Fee for Features of from 5 to 9 reels . $1.50
ant enlargements, from any negative. per day to members.
Now, there isn’t much we can do
about the scratch — — yet and of course New Releases To Dealers:
we can’t retouch such a small negative; • Comedies All new interesting
subjects. New silent' service for 20
but we can do a lot to improve the con- Made from original
• Dramas weeks or more. Write to-
trast-balance, by “dodging.” This is negatives on 400
ft. reels. day for full details. Last
simply interposing some opaque object
% Novelties Prices from $10.25 to year we were unable to
between the lens and the enlarging- $12.25
• Action 64 subjects take care of several late
paper, keeping it moving, so that there Catalog will be sent
• Thrillers applicants. Write u s
will be no sharply-defined edge, and on receipt stamp-
envelope. promptly.
holding back the shadows while the high-
lights
negative)
(that
have
is,
can do this with your hand, or

the denser parts of the
a chance to print.
a bit of
You NAVILIO Broadway
Brooklyn, N. Y.
& Chauncey
cardboard, (this is convenient, for you
every 16 mm
can trim it to the shape you want,) or
with one of the regular,
dodging-shields
supply stores carry.
At any rate, take your time about
that the
glass-handled
photographic- COLOR Announcing the
for
projector
first
making this master-print: get everything
as
down
perfect
so you can
as you can
get the
— stop
maximum
the lens
of
NATURAL COLOR
Library Subjects
detail, etc. —and make as many prints as
may be necessary: the main thing is to Full, color movies without extra projection
natural
get one print that is just right. attachments of any kind, because the color is right
Then, get to work on this master- in the film itself. No extra light is needed in your
print, after it is developed, fixed, washed projector —
the Dunning Natural Color can be pro-
and dried. Spot out all the little pin- jected to as large a size and with as full illumination
holes, dust-spots, etc. —and don’t forget as your black and white pictures.
to spot /out the scratches and other
Two library color subjects “Hawaii’s Lake of Fire”
—
blemishes. If you want to— and are
and “In the Blackfoot Country” (each approximately
good at it —you can even go over it wtih
H 100 feet) can now be supplie dby all better dealers
a pencil, building things up, or eliminat-
at $9.00 each. New releases will be issued each
ing them, as may seem advisable.
month. Patronize your local dealer.
After this, put the print in a copying-
frame, and
tive of it —you
make a first-class
can, of course,
copy nega-
make this
IHLY.YINC. PROCESS COMPANY
negative any size, but I would advise
932 NORTH LA BREA AVE. - - - HOLLYWOOD, CALIF.
8x10. Obviously, you can retouch this
master-negative as much as you want to; order to make your original negative into any time). By this method, you have
and by this time, you should have a very the finished salon picture you want. almost unlimited control over your pic-
nearly perfect negative of your final From it, you can make either contact- ture — and, best of all, you embody all
picture. prints or enlargements of uniform quality of the controlling operations in the en-
Once you have this perfect, enlarged (for you can easily standardize your pro- largedmaster negative; once this is as
master-negative, you can forget the ori- cedure in making these final prints, and you want it, you can be assured that
negative should embody practically all of duplicate your prints in every detail at every succeeding print will be exactly
the modifying work that is to be done in ginal, miniature-negative, for the master- perfect.
BROOKS
Effect and Filter
Positive
Control Data
the development of sound negative of the
negative gamma plus the toe density. variable density type is given in Table 7.
HOOD By toe density

density at which
the straight line
is meant that value
the toe
characteristic
departs
of
from
of
the Elon
Sound Negative Developer
TABLE 7
1 lb.
sound negative H and D curve. Thus if Sodium sulphite 46 lbs. 8 ozs.

the Type lib negative gamma equals 0.40 Hydroquinone 2 lbs. 3 ozs.
and the toe density equals 0.1 5, then the Borax 1 lb.
correct operating density would be 0.55. Water to 120 gals.

In the case of positive density a value It is quite obvious that the formula
that will not permit much operation into
used for developing the positive sound
the toe region is recommended. This
depends upon the shape of the toe of the track is identical with that for positive
printer H and D curve. Experience has picture inasmuch as the final print con-
shown that a visual print density in the tains both the picture and the sound
neighborhood of 0.70 for a gamma ap-
track.
proximating 2.00 is usually satisfactory,
In closing the author would like to
Some studios that fail to obtain a correct
express his appreciation to the individual
gamma of unity have recourse to
COMPLETE WITH overall
lighter prints varying in density from
representatives of practically every studio
and laboratory in Hollywood, as well as
0.50 to 0.60. Based on observations, the representatives of the major sound units
Filter and Effect following specifications cover most pro-
for the assistance which they rendered in
cessing of light valve records.
the compilation of the data presented in
Devices Negative Gamma 0.35 to 0.40 this paper.

Negative Density 0.50 to 0.60
A unique accessory containing a Positive Gamma 1.80 to 2.20
Badgley Filter Holder unit and (1 ) L. A. Jones, J.S.M.P.E., 15 Oc-
equipped with 5-2" square fil- Positive Density 0.65 to 0.75 tober, 1931, p. 536.
ters sealed in optical glass. Two Before any recommendations for pro-
filters servethe purpose of nor- (2) Capstaff & Purdy, J.S.M.P.E., 1 1
mal correction, moonlight, fog cessing are made to any studio by the
effect and distant shots; one, September, 1927, p. 607.
diffusion for portraits and close- Western Electric Co., or its subsidiary
ups, one for heavy diffusion and the Electrical Research Products, Inc., the
one for diffused which
Iris
shows a clear portion merging entire sensitometric control setup from News Cine Photography
into diffused edges. Keyhole light valve to photo-electric cell ex- is
and binocular masks together
amined. All of the above recommenda-
Is Different
with square opening and closing
Iris effect are also included.
Other effects such as heart,
tions regarding Western Electric track (Continued from Page 216)
shamrock, star or porthole are control are quoted from data obtained
easily constructed by the may be getting negative from seventy-
amateur. from representatives of the Electrical
five or a hundred different camera-
This device differs radically from
Research Products, Inc., in Hollywood.
men from seventy - five or a hun-
similar accessories in its ability In considering developers for sound
to hold standard 2" filters, dred different parts of the world. Be-
masks, wipe-outs, etc., at a far track work it is necessary to realize that
enough away distance from the lieve me its a rush and jump to put
recordings are made on film which con-
lens to avoid blurring or dis- all the stuff through the soup and make
tortion on the film. The filters tains an emulsion of positive character-
may be also used behind the prints, cut, edit, title and arrange the
istics. As can be seen from the specifica-
hood. material. There are no dailies in a news
tions quoted above, the gammas desired
Substantially made, light, at- lab., and no re-takes for the boys. So
tractive in appearance, this is
are very low. It becomes necessary,
taking all this into consideration it
a standard unit which fits on therefore, that a developer of low con-
any lens barrel from 1 5-8" and smaller. would slow up the speedy progress of
Since this valuable accessory is so very tract characteristic be used. Quite often
moderately priced, there is no reason why changing the dark room lights from ruby
use is made of the picture negative
the amateur should deprive himself of the to green, if one can had straight stock
possibility here offered to gain all the formula. However, slightly better re-
professional effects which it can confer. and the other had super-pan or grey
sults are obtained with a developer quite
Send for detailed literature and for com- back.
plete list of other filters suitable for this similarto the picture negative formula
device.
but with a smaller quantity of sodium Gradually as time passed on, and sound
sulphite. A typical formula used for came in faster film was used, I doubt
$ 8.50 very
be so.
much if today Ortho is in use. May-
Lee Carmes, A.S.C. Weds Filters outside the ‘‘K’ were never used
Burleigh Brooks Lee Garmes, A. S. C., became a bene- because film was developed for
rarely
127 West 42nd St. New York dict on September 10th, when he mar- much detail, as for diffusion and the use
ried Miss Ruth Hall. The ceremony was of discs in close-ups, no time or thought
attended only by intimate friends; John could be given to that technically. Per-
Arnold, A. S. C., originally scheduled to haps no thought has been given to their
I CTERS
IN WORLD-WIDE USE
serve man, was unable to be
as best uses. Maybe if some newsreeler applied
PpnAan (% ooliqbt joJ NiqMEf facts io Haytirnv- present as he was called to the NRA con- diffusion to his photography and con-
Ft^Scms- ftffasrifvtos and many vih«r effects. ference in Washington. Mr. Garmes is tinued the practice, the rest of the gang
WITH ANY CAMERA - IN ANY CLIMATE
at present photographing “I Am Suz- might follow, and perhaps some day we
GEORGE H.SCHEIBE anne,” starring Lilliam Harvey, after will see news photography in the same
ORIGINATOR OF KFFKCT FII.TFRS
927-W-7®IS LOS ANGELCS.CAL. doubt
ST.
which he will make his dubut as a direc- catagory as that of production, I
tor. it.
I
Modern Photography
Annual
latest
annual
Annual
It is
issue
always
come
devoted
of
to
a delight
“Modern Photography,’’
our desk. The 1933-34
to Studio
to have
Photography
the
êica offers you

has reached us with
examples of modern
all countries of the civilized world.
its wealth of fine
photography from IJotxr Ghotc^rf
The photographic subjects reproduced
are so wide in their scope, treatment and
subject matter that practically everyone
ccessories
who is devoted to the camera will surely
find something in this annual that will
have an especial appeal to him and a
great deal of fine material which he can for Soer-y
study to splendid advantage.
Modern Photography is given over al- Special Photouraphic Heed.
most in its entirety to reproductions of One of the most
valuable features
fine examples of photography. Only four of the LEICA
of its 128 pages are given over to text. Camera is the ex-
traordinarily com-
Modern Photography is edited by C. plete line of ac-
cessories that is
C. Holme and published by The Studio offered in con-
junction with it. LEICA’S elev-
Publications, Inc., of New York City. en interchangeable lenses in-
cluding telephoto, wide angle,
speed lenses and others are, of
course, too well known to need
Stolen elaborate introduction. They of-
fer unparalleled advantages of
The following items were stolen from economy, convenience, and ver-
satility. The LEICA line of UEICA
the Fearless Camera Company, 8572 photographic accessories offers
these same advantages extended CAMERA Model
Santa Monica Blvd., Hollywood, Calif. to many types of photographic
work. They convert the LEICA Automatic focusing with built-in short base range
Bell & Howell Camera No. 910, equipped into a micro camera, copying finder. Guesswork eliminated. Focal plane shutter
with Fearless movement. A 35mm Fear-
camera,
camera, and
clinical
many
camera, color
others. There
with greatest range of speeds on any camera
° n d. J/2 !4, 1/r, and all speeds between
. 1
— sec-
1
-20th and
are LEICA printers, enlargers, -500th second. 36 pictures from a single roll of
Camera, no number, the only
1
less
35mm Fearless
serial
Camera ever built; 2-

and projectors, too. cinema film.
12x18 inches or more.
—
Sharp negatives enlargements up to
Small, compact, fits the
These Leica Accessor- pocket, easy and fast to operate. Write for book-
1-15 horse power Bodine motors; let 1216 describing LEICA MODEL F, also “Illustrated
1
ies Can Be Used With booklet “Why LEICA?”
Mitchell Upright View Finder; 7 Camera All Miniature Cameras
Lenses and Crafles Camera. Anyone New “3-in-l” Combination En-
knowing anything about any
1
of these
larging —
Reading
tion Apparatus.
— Projec-
items please advise Fearless Camera Com- Laver Combination Printer for
film and glass slides.
pany. Udimo Projector miniature comeras
for all
— single frame
frame,
LEICAand double
slides,
3x4 cm. or half vest-pocket size.
UDIMO
Uses the LEICA Camera’s standard ELMAR Projector
Burns With Bennett f:3.5 lens.
Valoy Enlarger for all miniature cameras,
"Herbert E. Burns, formerly with Nirsch including Leica
lens.
—
also uses LEICA'S f :3 .5
& Kaye and Schwabacher Frey of San
“LEICAMETER” Exposure Meter tells you
Francisco has become associated with correct exposure instantly, for use with
LEICA and all other still cameras.
Cordon Bennett in conducting the Holly- Write for Technical Bulletin 10 describing LEICA Enlarging, Reading and Projecting Apparatus.
Also full information about the LEICA Camera and accessories will be sent.
wood Motion Picture Supply Company,
DEPT 382
I
dealers in photographic equipment.
Burns is widely experienced in the
E. LEITZ, Inc. 60 East 1 0th St. New York
photographic trade having been aligned
with the industry
mon amateur faults explaining in each
for the past fifteen
years.
casehow they might be avoided. Mr.
Mansfield followed with a talk on fine
grain developing thru the use of Para-
MORGAN
CAMERA SHOP
Chicago Club Meets phenleyne-Diamine developers. His dis- Hollywood’s LEICA Specialists
cussion was based on material dating Fine Crain Finishing and Enlarging
The Leica Club Photo Supplies
of Chicago held its back to about 890 when the above de-
1
6305 Sunset Blvd. Hollywood
regular monthly meeting on September veloper was first used, also on the result
8th at the Steyens Hotel. The club had of actual tests made with the various made from portions of negative enlarged
the pleasure of hearing Messrs. Kerwin Paraphenylene-Diamine developers re- 35x and 70x with hardly any sign of
and Mansfield, both members of the commended. To more clearly illustrate grain. One of the prints measured close
club. The: former delivered a lecture, the possibilities of this fine grain de- to 5 feet. The results obtained with this
illustrated with slides, on some 49 com- veloper he displayed several enlargements developer are sometimes unbelievable.
CINE ART FILMS Mechanical Engineering

ANNOUNCING
SIX DRAMAS OF Applied To Lenses
AMERICAN HISTORY (Continued from Page 21 1 )
desired especially to produce large disks
for astronomical objectives. Optical glas-
lens axis and due to the emerging wave-
Six Reels 16mm Each ses of the very finest qualities are obtain-
fronts not being surfaces of revolution).
able in this country from either Birming-
“With Daniel Boone Thru the The problems of design are therefore im- ham or Derby.
Wilderness” mensely more complicated with photo- Inproducing optical glass, the neces-
“With Ceneral Custer at the graphic lenses than they generally are sary silicate base is fused in a crucible
Little Big Horn” together with the metallic salts which
with other optical instruments.
“With Buffalo Bill on fhe U. P. Trail” give the glass its special optical properties
The three lens systems shown in Fig.
and the mass is slowly stirred by a mech-
“With Davy Crockett at the 1 were due to the genius of Mr. Dennis
anically operated stirring rod. Difficul-
Fall of the Alamo” Taylor of Messrs. T. Cooke and Sons of
ties to be avoided include contamination
“With Sitting Bull at the York, under whose name such lenses have
from pot and rod, segregation of the
Spirit Lake Massacre” always been known, although made at
glass constituents and the inclusion of
“With Kit Carson Over the Leicester. His genius produced a form
bubbles and dirt. As it has not been
Creat Divide” of lens system with aperture f-3.5 com-
found practicable to extract the finished
prising only three glasses but performing
glass in a plastic state from the pot, the
in all respects as well as, and in some
whole is permitted to cool slowly and
better than, contemporary lenses of more
then broken up with a heavy hammer.
elaborate construction. Fig. 2 shows a
Also
The pieces of pot are knocked off the
lens system, aperture f-4.5, originally de-
lumps of glass, the useful lumps of clean
1 6mm and vised for photography from aircraft. Figs.
glass are selected and reheated on the
8mm 3 and 4 show lens systems both with
sand-strewn floor of a furnace until they
apertures f-2.
MICKEY are plastic, and are then pressed either
Fig. 5 shows a group of finished lenses into the form of thick plates or, between
MOUSE of various optical designs adapted for dif- suitable moulds, roughly into form of
ferent special purposes. Fig. 6 shows a
lenses. The material is then annealed,
Cartoons large photographic lens used for photo- perfect annealing being essential; and
graphing star fields. this is a slow process owing to the low
It has been usual, for reasons which heat conductivity of glass.
we shall appreciate later, to employ only
Write For Our Catalogue Fig. 7 shows four typical pieces of raw
spherical surfaces in lens design. Astrono- glass plate, the largest polished on both
mical telescope objectives and some sidesand two others bearing the original
others have, however, been “figured” by batch number.
Laboratory Work removing additional material from select-
Since each pot of optical glass has a
Complete Laboratory facilities for de- ed zones or areas of the lens, generally by
distinct individuality,and differs appreci-
veloping and printing 8mm, 16mm and additional polishing, to perfect the per-
ably from every other pot of glass, the
35 mm Film. Silent and Sound. formance of the lens. But this is very
moulded pieces from each pot are stamp-
laborious work unsuited to the commer-
HOLLYWOOD FILM cial production of photographic lenses
ed with a distinguishing number and
their identity is preserved through all
ENTERPRISES, INC. generally. Nevertheless it is possible
the subsequent processes of manufacture.
that the next great step in photographic
6060 SUNSET BOULEVARD In order to ascertain whether the glass
lens design will involve the use of aspher-
HOLLYWOOD, CALIF. is perfectly annealed and free from bub-
ical surfaces; but this cannot be effective
bles and dirt inclusions, it is the best
until the mechanical engineer has pro-
practice to grind and polish the plates
vided means for producing such surfaces
on both sides and then to view them by
commercially with an order of accuracy
Be sure this trademark is perfo- transmitted polarized light, as is done by
rated into the main title of, say, 0.00001 inch.
Professor Coker with his celluloid models.
Optical Class. —The properties which
make glass essential for lenses are: its
K transparency, homogeneity, and perman- Charles Clarke, A.S.C. To
I
ence; the fine polish it will take and re- Mexico
N-
tain; and the variety of optical properties
O-LUX Charles C. Clarke, A. S. C., the Second
Users of Kin-O- (refractive and dispersive indices) avail-
Lux No. 1 will able according to composition. Optical
its Vice-President of the American Society
continue to de-
rive satisfactory glass has been specially made as such of Cinematographers, has been given one
results with this in France and by of the best photographic assignments of
film during ex-
since 827 by1Mantois
posures.. in Chance Brothers in Birmingham since the year. The Metro-Goldwyn-Mayer
bright, sunny About 1881 manufacture was Studio has assigned Mr. Clarke to direct
weather; however 1848. its
conditions of cloud and started in Jena to provide new materials the photography of “Viva Villa,” starring
haze occasionally found in Wallace Beery and Mona Maris, under
the fall suggest the use of Kin-O-Lux for Abbe’s misroscope objec-
Professor
No. 2 —a faster film and only a trifle
more expensive.
tives. During the War a second English the direction of Howard Hawks. This
factory was established in Derby, and its will take Mr. Clarke to Mexico for the
No. 1
No. 2
—
100 ft. in green box
—
100 ft. in red box
$3.00
$3.50 control was acquired after the War by next three months. During his absence,
Including Processing, Scratch Proofing Sir Charles Parsons (who among other Ray June, A. S. C., has been appointed a
and Return Postage member of the> Society's- Board of Gover-
things was an astronomer and son of the
KIN-O-LUX, Inc. 105 W. 40 St.
New York celebrated astronomer Lord Rosse), who nors to serve in Mr. Clarke’s stead.
— — —
PHOTOGRAPHY
of the Month
“MELODY CRUISE” of more or less historical note as the
An R-K-0 Production firstknown screening of John Barrymore’s Laboratory Specialists
Photographed by Bert Clennon know as much how to tone down a star’s
inordinate charm or attractiveness as how
Special effects by Vernon Walker, A.S.C. Stilland Motion Picture
to enhance it.
and Lynn Dunn. Cameras and Accessories
comparatively unknown left profile! It
This is one of the most ingeniously- serves an excellent dramatic purpose,
Dealing Direct With the
made musicals to emerge from an Ameri- however; and demonstrates that there are Consumer
can studio, lacking only two elements
times when
a cinematographer must •
an outstanding “hit”
singing screen personality to sing
song and a
—
real
to
“I LOVED YOU WEDNESDAY” CINEFILM
it
A Fox Production Per 100 Feet 2 Rolls For
put the film into the smash-hit class. As photographed by Hal Mohr, A.S.C.
it is, the picture is excellent entertain-
This production is in every way mis-
$2.79 $5.39
ment, and thanks to directorial treatment
cegenate (there is an anglo-saxon word Including Processing
patterned after the Rene Clair and UFA- even more applicable), and is an ex- 24 Hour Service
musical schools, in which musical and cellent object-lesson in the folly of the
filmic rhythms are cleverly combined, co-director system. For one of the co- The extreme care that we take with
it
directors has apparently striven through- every individual roll guarantees better
is of real worth to students of screen than average results. Thousands of
out for simplicity, while his fellow has
craftsmanship. enthusiastic users highly praise the
gone out of his way to achieve super-
Bert Clennon’s photography is ex- sophistication and bizarre effects. This
quality of our film. A ROLL NEW
REPLACED FREE IF YOU ARE NOT
tremely pleasing; he has gptten his hand situation has naturally affected Hal SATISFIED.
well in again after his long vacation while Mohr’s cinemaphotography, which is, per-
force, straightforward and bizarre by
directing. The outstanding feature of the FOR YOUR INDOOR MOVIES TRY FOTO-
turns, though always maintaining Mohr’s SHOP NECATIVE AND POSITIVE FILM
film, however, is the special-effects work accustomed technical excellence. AS FAST: AS ANY HICH SPEED PANCH-
It is
of Vernon Walker,
ROMATIC FILM ON THE MARKET.
A.S.C. ,
and Lynn interesting to note the technical means
Dunn. “Melody Cruise” might, in fact, used to attain Elissa Landi’s much-pub- 9
licized“change of personality”: exagger- Developing as a negative instead of a re-
be better described as a solo for Optical versal brings out additional detail.
ated lip-makeup and “harder” lighting. $5.50
Printer, accompanied by a film-troupe. per 100 foot including processing and the
Practically every transition in the picture

is done on Messrs. Walker and Dunn’s
The highlights of the film photogra-
phically speaking —
are the ballet and
— return of both the negative and positive
print to you.
Optical Printer —
and they have not only Boulder Dam sequences. The first is a
used every trick hitherto imaginable, but very effective (and artistic) presentation OUR LABORATORY IS EQUIPPED TO
invented half a dozen or so new ones of of a difficult subject, and indicates what HANDLE ALL YOUR NEEDS. DUPLICATE
PRINTS FROM YOUR FILMS, S3. 00 per 100
their own. It would take a complete vol- can be done in this direction by intelli- foot — Minimum order $1.50.
ume to catalogue even a few of these gently co-operating cinematographers and TITLING —
EDITINC
clever transitions —
wipes, blends, whirls, ballet-masters. At no time in this se-
SPECIAL ART TITLES
TO YOUR ORDER
melts, and the like —
so the only thing quence one conscious (as is so fre-
is
quently the case in dance-sequences) of

to say is: if you want to see what a
clever man can do with an Optical Printer, the limitations of the screen: composi-
see “Melody Cruise!” But —
let’s hope tion, lighting, staging and cinematics are Victor
beautifully co-ordinated. The Boulder
this doesn’t start a cycle of weird optical
transitions; they suited this picture,
but dam sequence, though distinctly news- Camera
they would not by any means suit every reelesque photographically, is very dy- New Model
story, musical or otherwise. namically handled, and most effective.
The process work here is fine, but un- 5 speed — F-2.9
even. The sound-recording throughout is Dallmeyer
“REUNION IN VIENNA” lens.
below the usual Fox quality; the prob-
A Metro-Goldwyn-Mayer Production lems of the recordist having abviously
Photographed by Cecrge Folsey, A.S.C. been heightened by extremely inept dia-
$67.50
Excellent entertainment for both eye, log-dirertion.
fear and brain, “Reunion in Vienna” is, TRADES ACCEPTED
< cinematographically speaking, a first- “F. P. ONE” NEW RELEASES IN THE
'
class illustration of Cinematographer Fol- Gaumont-British UFA “RANDOM SHOT” SERIES
sey’s recent article on photographing
Production,
No. 52— The Chicago Century of Progress.
:
white sets. Practically all of the impor-

released by Fox No. 53
York
— The Monster NRA Parade
City.
in New
No. 54 — Points
All Technicolor Credits Omitted.
'
tant action takes place on pure white of New
Interest in York.
: sets, and Folsey’s decorative set-lighting Fox has seen omit in their en-
fit to $3.25 100-ft. reel - $5.75 200 ft. reel
uses these backgrounds as canvasses upon tirety the technical credits on “F. P. 1” SEND FOR A COPY OF OUR NEW RENTAL
• which he skillfully paints with light and — a practice thatwholly unjustifiable
is
LIBRARY CATALOCUE
shade. The result is more than pleasing. under any circumstances, and doubly so
As usual, Folsey’s treatment of the play-
ers is equally artistic —
especially in the
in this instance, for it is the outstanding
work of the Cinematographer and the
FOTOSHOP, Inc.
case of Diana Wynyard. The film is also
136 W. 32nd St. NEW YORK CITY
Art-Director which will make this film a
success. “F. P. 1” is technically ex- struction in this country today, so the

16MM. 35MM.
cellent in its own right —
and doubly thesis of the film is by no means fictive.)
noteworthy as the first foreign-made pro- m
Jhe $gt used tQ represent this in the fi |
duction in the memory of this reviewer , . , ,

. .
... • .. is in itself a technical achievement of
x
be shown in this country in the torm
, ,
to
note, as was built in actuality on an
of a first-class print, rather than an in- it
ferior “dupe.” Both the photography and island in the Baltic and built well
the sound are in every way comparable enough so that airplanes actually landed
to those of American pictures; in fact, on it, and took off from it. Cinemato-
one has frequently seen worse camera- graphically speaking, the work is excel-
work in domestic films, and heard worse lent, even to the aerial scenes, which, by
sounc j
the way, were the only dupes in the en-
tire production,
A
good part of the action takes place
on one of the huge floating landing- In common justice, however, Fox
CUSTOM BUILT 16 MM fields soon to be anchored in the middle should give credit where credit is due,
PROFESSIONAL CAMERA and inform American audiences who were
of the Atlantic Ocean as a base for trans-
WITH SOUND ON FILM responsible for the excellent technique
atlantic air-traffic. (One such bona-fide
1000 ft. magazines optional “floating platform” is actually under con- of F. P. One.
•
9 400 ft. magazines, regular equip-
ment
•
9
200 ft. magazines optional
Veeder-Roof footage counter
Economies I n Sound Film
Mask slot, and reverse take-up
9 Best" * ing etc. As three feet of film
By Gerald M.
5
dailies,
9 One frame and S frame crank
Coerz Variable view finder ahead of each scene is fogged when
9 has been customary at the Warner
Focus-on-film, lOx magnification,
It
operating the recording machine, this
9 upright image Bros. Studios to process only the “choice” length of film is torn off and discarded.
standard lens
9 Four
mounts
lens turret,
scenes of picture film, retaining the
The splicer has been so adjusted that
shutter for fades and “NG” and “hold” scenes in storage at the scraper does not remove the emul-
9 Variable
laps the laboratory until it is determined that
sion over the full width of the patch,
9 Side tension aperture they will not be required, after which
Cam movement but leaves a very small margin on each
9 Silent the film is disposed of as scrap, or fogged
be no white lines
edge so that there will
Special equipment designed and and used for leader. Until recently, the
built of clear after the patch has been
film
sound track negative, however, was
made. This avoids annoying “pops” in
processed in its entirety, the “NG" and
reproauction, and unless the reproduced
“hold” scenes being set aside after
volume is very great, the patches are not
processing, and stored in vaults until the
ordinarily audible.
ERIC M. BERNDT end of the production season. It was
Due to the fact that different emul-
112 East 73rd Street not considered advisable to break into
COLOR sions are used in recording, during any
SOUND New York the rolls of undeveloped sound track to
period of several months or more, the
remove the selected scenes, due to the
possibility of damaging the negative in emulsion number is marked on each roll
of film sent to the laboratory, so that

handling.
Hence, at the end of a production sea- each roll of spliced stock can be made
BELL & HOWELL son there would be several million feet up of sections of the same emulsion. If
different emulsions are spliced into the

of sound track negative stored in vaults,
Used Equipment Guaranteed In order same roll, serious variations in print
for which there was no use.
Perfect transmission are likely to occur due to
to avoid this waste, a system of pre-
50% off Catalog Price! selecting the takes, first introduced at differences of speed of the several emul-
MODELS RKO Studios in Hollywood, was sions. By printing all the dailies with
the
adopted at Warner Bros. Studios, and a the picture aperture open, the negative
70DA with Sesamee Case
track is entirely fogged out,
practically
70DA with Hand Crank most gratifying saving has been achieved
70A with Carrying Case so that there no danger of confusing
is
with no delay in film processing, no im-
57C Projector and carrying ease pairment of sound quality, and no ex- it with the positive track on the opposite
57CC Projector and Carrying side. Even if the negative track is not
Case penditure for new equipment or modifica-
Continuous Projector Attach- tion of existing equipment.
fogged out by this means, it can still be
ment readily distinguished, as it becomes ex-
de-
The “NG” scenes are placed in con-
Filmophone Sound on Disc
tremely dense due to the high gamma to
producer tainers marked with the numbers of the
Kodacolor Lens and Filter As- rolls from which they were removed, and
which it is developed.
sembly for Projector The “hold” scenes are stored until the
such other information as is needed to
IRIS VICNETTER,
Photometer identify them should they be required picture has been released, as occasionally
Exposure Meter Heyde Range . .
for reference or emergency. The “hold” in the editing of the picture, the action
Finder Halldorson Twin
. .
Extra Carrying scenes are placed in other containers or sound in a choice sceneis not suitable;
Mazda Light . .
Cameras and Projectors vaults under the in which case the “hold” scene is ordered
Cases for
Humidors
marked and stored in
400 ft. Reels . .
. .
.
Kodacolor and Character title name of the picture for which the film processed for inclusion in the picture.
Ilex
writer Other screens
. .
Enlarger
. .
Pilot was recorded. If at the end of 72 hours When the picture is released, the “hold”
Lenses . . . .
Light . . Etc. the “NG” scenes are not called for, they scenes not called for are removed from
FREE SilentSound 16mm and are removed from their containers, spliced the vault, spliced into rolls as are the
Library Membership and Catalog. into 1000-foot rolls and used for print- “NG” scenes, and used for printing,
TRADE INS ACCEPTED thereby using all the film that was not
MOGULL BROS. E.
*Reprinted from September, 1933,
Journal..
S. M. P. originally processed.
The saving represented by the pre-
1944 Boston Road, N. Y. C. ^'•"Warner Bros. West Coast Studios, Holly-
wood, Calif.
selection method has been quite appreci-
able. A total of 4,250,000 feet of posi-

tive raw stock was purchased, and of
this, 3,100,000 feet were used on ac-
tual production, 940,000 feet for music Pan-American
score, dubbing, sound effects, voice tests,
etc., and 90,000 feet for recording tests
and miscellaneous requirements of studio
Cinema Studios
production routine. Flies the “Blue Eagle” While Producing
Of the 3,100,000 feet of production
recording, 1,487,000 feet were used in
choice takes, processed and printed.
16 mm Sound-On-Film Pictures
“NG” or “hold” takes comprised 1,622,- Single or Double System Recording
000 feet, the “NG” scenes becoming
Sound Stage and Location Facilities
immediately available for splicing and
“hold” scenes
Dubbing Sound to Silent Subjects
printing dailies, and the
becoming eventually available. Thus a All work done directly on 16mm. Film
surplus of 135,000 feet over the amount
of film required for printing the dailies We also reduce 35mm. Sound-On-Film subjects
was created, to which should be added to 16mm. Sound-On-Film using the perfected
the takes of music score, dubbing,
“NG” P.C.S. electrical re-recording system.
etc. Allowing a 3 per cent waste in Further Particulars On Request
splicing, and deducting a small number
of “hold” takes later ordered processed
after being held for some time, a sub-
Pan-American Cinema Studios
P. 142 Columbia Ave. North Bergen, N. J. P.
stantialquantity of spliced stock is thus
C. “The Pioneer 16mm ‘Sound-on-Film’ Picture Producer” c.
left over for other uses, such as dupe
s. s.
picture prints occasionally required in
dubbing and music scoring, or for con-
ditioning the developer in the laboratory.
The only new print stock purchased dur-
ing the season was for printing music
score, sound effects, and other material
used in dubbing, where spliced stock
CINEMATOGRAPHIC
would not be suitable due to the possi-
bility that the splices might interfere with
the music or the effects.
ANNUAL
On this basis, at a cost of cent per
foot, it is obvious that an actual saving
1
VOLUME 1
of more than 50 per cent of the pur-
chase price of print stock was effected; One of the Greatest Technical Books
and to this must be added the saving in
processing costs, due to the fact that in the Motion Picture Industry
less than half the negative sound track
formerly processed is now put through There are 675 pages of technical information such as
the negative developing machines. It
can be found in no other single volume. In addition
was found that one batch of developer
longer than
there is a 48 page pictorial section.
lasted at least 50 per cent
before, on account of the smaller quan-
tity of negative film processed, and the Only $2.50 per Copy
saving in chemicals, power, and general
laboratory overhead amounted to several Here’s what authorities say about it:
thousand dollars during that time. The GEORGE HILL, M-C-M DIRECTOR
new method did not reduce labor costs in “The most valuable technical book that has ever been offered
the processing, as the personnel released the motion picture industry .... should be read by every
from the developing machine crew due director, cameraman, sound technician or executive in the
to the smaller quantity of film processed
motion picture world.”
was put to work breaking down the film WELFORD BEATON, EDITOR THE FILM SPECTATOR
before processing. It did, however, “For those engaged in the photographic branch of motion pic-
eliminate the large amount of labor re- ture making the book should prove indispensable.”
quired in sorting out, storing, and finally J. A. McNABB, PRESIDENT OF BELL & HOWELL CO.
throwing out the millions of feet of “NG” “I think it one of the most valuable books I have ever seen.
and “hold” scenes that had been proc- Our company thinks so highly of it that we have ordered a
essed and stored throughout the sea- copy for the head of each department in our organization.”
son; and incidentally the problem of film
American Society of Cinematographers, Inc.,
storage space has been materially 1222 Guaranty Bldg., Hollywood, California.
simplified. Gentlemen
Enclosed please find check for $2.50 for which please postage paid,
The preselection method thus permits one copy of The Cinematographic Annual to
ship,
large savings in film and laboratory costs

without the investment of additional
I funds in equipment, or changing the or-
dinary recording, laboratory, and editorial
routines in the slightest.
announcing
Voice and Personality
Bradley*
New Hugo Meyer
TELEPHOTO LENSES tures
In
In the Motion Pictures
it
Ivah L.
the days of the silent motion pic-

seemed to
**
us that the person-

mannerisms, the same manner of speech,
the same kisses.
of
eers
it, and
The
should think that the engin-
who have
I
to look at it every day,

public is so tired
were more vivid. The

TELE - MECOR F 5.5
alities of the actors
acting was perhaps not so smooth, but
year in and year out, would explode in
righteous wrath.
the actors conveyed to us more of tihem- To begin with,
” it is criminal to sup-
7 ” 10 ” 12 ” 16 selves. They had to,
the visible expressions of face and body
for they had only press the genuine
natural release of
human emotion and with a to cover it
with which to appeal to our eyes and meaningless artificiality. Have you for-
These new and powerful Tele-Megor Lenses
emotions. We received the impression and gotten that real, sincere emotion is so
are compact objectives of fixed separation
remembered it. In some respects Char-
telephoto construction. To illustrate this much more beautiful? Ruth Chatterton
compactness — their focal lengths are almost lie Chaplin is wise: you do not forget used to thrill us, and we rushed to see
double the distance between rear
actual him; you always see him in front of her; now slbe is little more than her
lens and The general corrections for
film. you, and can recall his image immedi- clothes. ‘‘She has lost something,” the
astigmatism, color, and spherical aberration ately. If you stop to think of it, you
have been carried out to the highest degree people say. Norma Shearer is undeniably
will find you can still easily recall cer-
resulting in unusually brilliant, sparkling lovely, especially in ‘‘Smilin’ Through”;
tain personalities of the silent films.
but she is always the same, and makes
negatives of exceptionally critical definition.
They could not then rely upon the sound one feel that she is so conscious that every
effects which are today so important; move is beautiful, that she works day
they had to make an effort to convey and night, constantly, to improve the
themselves clearly and completely by perfection of her every line and gesture.
visual means alone. The majority of my She is a perfect example of superficial
friends seem about equally divided on beauty; nothing is ever disturbed, not
the subject, but feel that while pictures even a hair. Her facial expressions,
today have attained a greater dramatic even when she is supposed to be deeply
value, the personalities were more vivid moved, are always calculated not to dis-
in the silent films.
turb her external shell of beauty. Per-
The cacophony that came from the haps she works in a room lined with
screen between the days of the silent mirrors; but so did Isadora Duncan, and
film and those when sound effects be- she still retained her positive, creative
came tolerable so lacerated our nerves vitality.
Literature on Request and taxed our endurance that in our re- Now let us turn to Katherine Hepburn
lief we have perhaps forgotten how we
felt about the silent film. Then came

— a vital creature, certainly. In ‘‘A Bill
of Divorcement” she was strong, dra-
this immediate and imperative need to
magnificent raw material.
HUGO MEYER & CO. charm the ears as well as the eyes of the
matic, ask
you, what are you going to do with her?
I
245 West 55th Street New York public. Let us admit at once that the Even in her second picture she has al-
motion picture industry has met this need ready lost some of her spontaneity. She
more quickly, in a more progressive and, has apparently two personalities: one
let us hope, more scientific manner, than
masculine, with angular movements and
any other group having a vital interest a hard masculine voice; the other femin-
in the field of vocal education. How- ine, with a truly beautiful emotional
ever, in attempting to change so quickly feminine voice. The masculine expres-
their concept of the movie actor’s voice, sion is a self-developed protection for
the motion picture industry has lost sight her emotional sensibilities. believe I
of the most important element for en- that if we could have an intimate talk
Uses 6 Photoflood
High Efficiency Bulbs. hancing the beauty of vocal tone. with her we should find the roots of that
Current Draw Only It is certain that the public, and per- protection in some bitter hurt to her
9.37 Amps.
haps the motion picture producer, is soul in childhood, or in some childish
3500 Watts Efficiency
Adjustable Height aware that some subtle essence is slip- desire to emulate the masculine virility
4 1/2 to 7 Feet ping from some of the artists that no one of her brother. To try to eliminate the
Lamp House Set Any yet seems to have been able to discover, hard exterior by developing an artificial
Angle Thru 180 De-
grees. for very many movie stars gradually slip feminine svelteness will not solve the
Built-In Dimming down the same decline One actor after problem. Her real personality is ex-
Switch Permits Half
Voltage During Prep- another enters Hollywood a vital human pressed by the rich, emotional feminine
arations.
being, only to become in a year or two voice that she uses only a few times in
12 Foot Connecting
Cord. a frozen creature who knows how to the picture.
slither across the floor as the world’s have bean told that without a doubt
I
Price most perfect mannikin, carrying her the producers realize that they have made
$22.50 clothes perfectly, setting the fashions, a mistake in so quickly elevating her to
See at Your Dealers displayingemotion in artificial, cold stardom, and that now she is making an-
or Write for Details movements, speaking with an artificial, other father-and-daughter picture with
—
t
cold voice they are all alike, the same John Barrymore! presume she will
I
J. C HAILE & SONS have to make father-and-daughter pic-

Motion Picture Dept. ^Reprint from September, 1933, S. M. P. E.
Journal.
tures for the rest of her life! And the
215 Walnut St. Cincinnati. Ohio.
**New York, N. Y. New Movie magazine has already labelled
I
iher “The Fashion Comer.” Could any- a screen production. You will notice that
thing reflect so dismally on the motion all these actors and actresses have a voice
picture industry than that it should have in keeping with and expressive of their
degraded the finest material it has had in personalities. They may change it to
years to the level of a “fashion comer?” suit different characters, but they them-
In Katherine Hepburn the motion pic- selves have attained a great degree of
ture industry has the opportunity to de- integration of their being. They are
velop an actress on a new basis. Instead artists sufficiently strong in themselves
of toning her down, it should be the to resist an external artificial stylization;
privilege of the producers to help her but others are weaker, and are swamped
to become aware of those two distinct by this peculiar style of deportment train-
expressions of herself, explain why they ing and direction.
exist, and help her to realize the fine Professor Overstreet has pointed out
emotional value of her real self and show that “the artist is first of all a human
her how she might bring to greater being, and the quality of his art must be
fruition this undeveloped essence of her related to the quality of his personality.
personality. She stands at the cross- Such a point of view saves the artist
roads, a strong, individual character; and from being a creature of pretty tricks
if the cinema finally succeeds in training and accords to him the high dignity of
her, and forcing her into just an empty being a revealer of life.” So the problem
shell
soul
of
and
herself,they will have killed a
impoverished themselves and
of the actor is not only to learn a physio-
logical technic, but to develop and or- 'What? MORE

the public.
Clara
emotional
Bow
another example of an
is
being forced into an

ganize that subjective power that is the
heart and core of the atrist’s being.
keep alive this center of one’s self, to
To ORDERS for
artificial
actress
In “Call Her Savage”
mold. expand his spiritual understanding,
40UND-0N-FILM
there was a disturbing mixture of rather
unconvincing rough behavior, artificial
should be the primary study of the artist.
It is the substitution of mechanical tech-
ANIMATOPHONE*
deportment, and beautiful, deep, sincere nic, or of “pretty tricks,” that has
emotion. came away from the theatre brought artists of all kinds to the present
I
somewhat saddened, saying to myself, “If state of emotional inarticulation. PLEASE . . .

Victor anticipated great success for
they’d only leave that girl alone!” You Let me insert here a criticism of the
may smile, but my mind at once went last recital of John Charles Thomas
the AMMATOPHONE 16mm
that
SOUND - on - FILM Projector. The
back to Eleanora Duse, remembering her appeared in the New York Times: “Yet tremendous demand which has ma-
perfect balance of rhythmic silence, despite all this (i. e., the beauty of his however, greatly exceeds
terialized,
movement, and emotion; and there were voice), one sometimes felt a curious lack even the most optimistic estimates.
moments in “Call Her Savage” when of penetration into the inner significance Orders .... Orders .... Orders! Orders
Clara Bow also had that. Her voice is of the lieder. The voice, for all its ex- for 1. Orders for 5. And even an order
for 100! (Purchasers’ names on re-
not pleasant, but she has all the material traordinary beauty, seemed to traverse quest.)
for a very emotional voice. found that I the surfaces of the music rather than Although increased to the greatest prac-
liked the fundamental Clara Bow, that ticable extent, Animatophone produc-
I
translate into sound its more searching tion facilities are at present taxed to
she was fine and womanly, and at heart significance.” Anyone who understands the limit.
a true actress. But will the movie pro- the relation of posture to voice would Therefore Victor respectfully solicits
ducers insist on this artificial stylization, your patience. PLEASE he lenient if
expect nothing more than just that, from there is a slight delay before a requested
or help her develop this very rare the very manner in which John Charles demonstration can he made. PLEASE
he as patient as possible if your order
rhythmic instinct of hers? Thomas struts across the stage. It is is not filled as quickly as you would
Now the motion picture industry seems one more demonstration of the mechan- like. The Animatophone is well worth
waiting to see and to own!
not to have succeeded in killing the soul ical cultivation of
magnificent voice
a
of Greta Garbo —
she fought to keep it. without a simultaneous integration with
the inner personality.
Victor Animatograph Corpn.
DAVENPORT, IOWA, U. S. A.
And in trying to make 250 imitations 2*2 W. JJlh St., N. Y. C. 630 S. Grand, Lot Ang#l«t
of her movie people forgot that it takes This brings us to the relation of bodily
something more than a Garbo exterior to technic to artistic expression, a relation
make another Greta Garbo. She is what that is highly important, for only through
she is because she has kept 'her funda- a rhythmic coordination of physical and
mental being inviolable. mental energies can one attain a har-
Then we have those remarkably open monious integration of one’s being.
and frank personalities: Ida May Oliver Let us return to Katherine Hepburn
— beautiful technic, and yet a human and her dual personality: her masculine
being; Mae West, the true vampire
never have been able to understand why
— phase finds its physical expression in a
depressed forward larynx, a slightly pro-
producers consider cold, artificial crea- truding jaw, and a rigidity of breastbone,
tures vampires; Helen Hayes exquisite
personality and fine technic; Billie Burke
— sides of the neck, and roof of the mouth. PECr.U.5.
All this results in a hard, clipped, dry PAT. OFF.
— 16
:
a most gracious lady in “Christopher masculine voice. When she becomes

Strong”;
every way.
Leslie Howard supreme in
And just look at what Cary
— emotionally feminine she releases all these
contractions and permits the breath to
MM
Cooper is doing: he spoke so completely flow freely into the head so as to pro-
from the depths of himself in “Farewell
to Arms” that we almost forgot it was
duce
speech
rich
training
overtones.
does not
The prevailing
change such
AmmAT@PHonE
—
conditions; it devotes itself only to the motion picture industry this is un-
A
rv N EW
'Northeast
phonetics, which enable
speak clearly, with the proper enuncia-
the actor to derstood
keeps
fairly
Ih'imself in
well, because
such excellent physical
everyone
f 1 f )}
Reflector tion, but allows him to retain his peculiar condition, which is naturally conducive
provides the maxi- vocal defects. to vocal power, but it is made use of only
mum in flexible
And again, take Carole Lombard. Sev- in a very shallow manner. For in the
lighting.
eral months ago, when this paper was majority of actors the breath-power never
The new Northeast first was accustomed, when
written, she penetrates to the head cavities, where the
Twin Reflector has speaking, to throw her jaw forward so overtones and real richness of voice are
a solid, durable, far as to be ugly; her larnyx was pressed produced. It is dammed back by the
heavier tripod so far forward, fauces and palate
the rigid palate and fauces, which choke the
stand. Reflectors
pulled down sothe back of the
hard, personality as well as the flow of breath.
may be attached at
any part of stand,
tongue so thick and low in the throat, We might well think of a securely corked
grouped together her neck so distended, as to be a serious champagne bottle, with all its bubbling
—
spaced are adjust- menace to her appearance. Miss Lom- effervescence unable to find release for
able at any angle bard, however, is a fine example of how the stoppage in the neck. So it should
and may be low- we can change. Last week thought I I be clear that the physical coordination
ered or raised at had better go to see her again and check of all the parts of the body for the pro-
will. Complete with one 12" reflector, up on her. Imagine my surprise to find duction of rich, sincere emotion and
tripod, 12
ft. extension cord and 3-way
junction
flectors,
block —
$5.00; Additional Re-
$3.50 each. With the Hi-Low
that the lady had corrected her former
faults to a very great extent, with the
beauty in the voice is the physical cor-
relate of the psychological coordination
Reflector which permits the use of low result that the voice was no longer so required for the release of the person-
switch and extends the life of your lamp husky, but clearer and more expressive of ality. The finished artist is the unity of
indefinitely —
$6.50; Additional Hi-Low herself. People imagine that a protrud- these two.
Reflectors —
$5.00 each. ing jaw is something they were born The motion picture industry may feel
with, and that it can not be changed. that coordination of the physical,
this
Northeast Products Co. That is incorrect —
it can be changed, but mental, and
emotional phases of the
Tewksbury - Mass. in her case, as in most others, it was a actor’s being toward a unified expression
habit of speech; and when the jaw is of his personality is not their job. Per-
brought back into the proper position the haps not; nevertheless they did under-
pressure on the tongue and larynx is take tthie responsibility of repressing and
released and they fall into a position for eliminating the vital personality from
UNIVERSAL MODEL “E” flexibility and consequent melody and their young actors by forcing them into
CONDENSER TYPE MICROPHONE beauty in the voice. one uniform, standardized mold and pat-
Incomparable quality at a
sensationally low price. 90°
The vigor and power come into the tern of behavior. Now let them turn
Swivel head with Auto- voice from the floor of the pelvis, which about and lead in the development of
matic Barometric Adjust-
—
ment 2 Stage Amplifier
— Non-Microphonic Tubes
generates an internal rhythmic flow of the integrated personality of their rising
breath for the production of tone. In artists.
Bar Crating Dia-
Solid
phragm Protection
Complete,
Also
U t r a-Modern
—
&
I
Line of Microphones, Battery of Bell Howell automatic sound and picture produc-
Stands, Transformers,
Ahead-of-the-Times pro-
etc. tion printers now being installed by M-C-M
at Culver City,
ducts Designed to meet California. An article by Jos. Dubray, A.S.C., covering this
Tomorrow’s Needs at To- printer, in considerable detail appeared in a recent issue of this
day’s Rock-Bottom Prices. publication.
Complete Catalog with
Diagrams on Request.
Universal Microphone Co.,

Ltd.
424 Warren Lane Inglewood, Cal.,U.S.A.
American Cinematographer Now $2.50

a Year
BARGAINS!!!
WRITE
SUNNY SCHICK
“The Filmo Broker”
I have what you want, or
can sell what you have
Bargains in Equipment:
BELL& HOWELL
EASTMAN
VICTOR
SIMPLEX
STEWART-WARNER
Save 30 to 60 percent on Cameras,
Projectors and Accessories
N.R.A. Member
Since 1925 Fort Wayne, Indiana
*
Preselection of Takes
By David W. Ridgway*
In recording sound on film for motion

pictures,
takes are
many takes are usually made on
a single roll of negative. t
good and
printed; others are unsatisfactory.
are
Some
chosen
of these
to
Pre-
be
ALL THINGS
viously to the adoption
described in this paper, all takes, good
and bad alike, were developed, whether
of the method
PROFESSIONALLY
prints were to be made of them or not.
The only exception occurred when no
satisfactory take was made on a roll of
FAXON DEAN
PHOTOGRAPHIC
film, in which case the entire roll was
held undeveloped. After development, Several Used Studio Bell Sr Howell and Mitchell
each roll was broken down and the takes Cameras for Sale
to be printed were separated from the
rejected, or “out,” takes. The film that
25mm Finder Adapters
had been exposed on unsatisfactory takes Trick Lenses and Accessories
and the cost of developing it were Write for C. I. F. Prices and Terms
wasted.
By separating the good from the bad
takes before development, two savings
CAMERA SUPPLY COMPANY
CAHUENCA HOLLYWOOD,
1515 BLVD., CALIF.
are made possible. In the first place, the
Phone GL-2404 Cable Address “Cameras”
cost of developing film that is not to be
used in the finished product is avoided.
In the second place, owing to the fact
that the sound track occupies only a very
narrow area near one edge of the film,
the film may be reversed and spliced to-
gether, and prints for rushes and editing
purposes may be made on the opposite
edge.
SPECIAL!
MM
Nationally Advertised 16
Method. —
The method described was
suggested by the writer and is now being
used on sound film at RKO Studios in
Hollywood." The application of the
MOVIE CAMERAS
method to picture negatives and the addi- With F 3.5 LENS
tional problems involved will be dis-
cussed later in this paper. 3 year guarantee. Regular price $99.50
It has always been customary to ex-
pose a ten-foot strip of film to be used

Although we are not permitted to
by the laboratory for determining de-
mention the name, you will recognize
Now !
velopment time at the beginning of each

roll of sound negative.
to be selected before
strip twice the usual length is exposed.
When
development,
takes are
a test
it as one of the finest, most compact
movie cameras ever made.

only 3 Vi pounds.
Weighs $ 59 50 INCLUDINC CASE
Half this test strip is sent to the labora-
tory with the takes selected for develop-
ment, and the other half is retained with
the “out” takes, to be used in case any
WILLOVGHBVS NEW YORK CITY
of the latter are later ordered to be
printed.
110 WEST 32nd STREET
Between takes notch is punched at
a PHOTOGRAPHIC SUPPLIES EXCLUSIVELY SINCE 1899
the edge of the film. Each take is iden-
tified by hand-punched marks designat-
ing scene and take numbers. The operator on production makes two sets of
reports, one enumerating all the takes STINEMAN SYSTEM
*Reprinted from September, 1933, S. M. P. that were shot and the other only those FOR
E. Journal..
takes that are chosen to be printed. DEVELOPING
::::;:
tSound
RKO Hollywood, Calif.
Studios,
recorded on positive stock (1)
is
because it costs only one cent per foot as con-
Equipment. In —
the breaking-down AND PRINTING
16mm, 35mm and
operation, a small amount of inexpensive
trasted with the usual cost of four cents per Aerial Mapping Film
foot for negative; (2) because it has a fine equipment is required. The room in R. P. Stineman, Mgr.
granular characteristic. The positive stock
upon which the original sound record is made,
which the film is broken down is the Los Angeles, Calif.
is, of course, the sound negative from which, usual positive darkroom. It is lighted, 918 Sunset Blvd.
in turn, printsare made. Prints are also made however, by a Wratten series OA yellow
on positive stock.
safe-light, which affords sufficient il- that identify the individual takes, as well.
Êxperiments were undertaken and the sys-
tem was placed in practical operation under
lumination to render easily legible not A special film rewind, which accom-
the direction of the RKO Technical Committee, only the pencil writing on the reports modates simultaneously two separate
composed of Messrs. C. Dreher, J. V. Maresca, attached to the film magazines by the
W. Eglinton, J. Wilkinson, J. Swain, F. Car- rolls of film, is used. On one roll are
butt, L. E. Clark, and John Cass.
I
recorder operator, but the punch marks wound the takes selected to be printed,
—
and on the other the rejected or “out” be damaged. Since usually two or more
takes. One-half the exposure test strip satisfactory takes are made of a scene,
ROY DAVIDCE is separately wrapped and put into the
can with the film that is to go to the
the good takes which have been held at
the studio can be developed and printed,
FILM laboratory.
exposure test strip
The remaining part
put into cans with
of the and iretakes avoided. This additional
is factor of safety ordinarily makes it un-
LABORATORIES the “cut” takes.

The operator who breaks down the
necessary to use two recorder heads and
to make duplicate sound records on loca-
film, wearing gloves so as to avoid mak- tion or at other placeswhere the danger
Negative Developing ing finger-prints, allows the film to pass of damage during processing has to be
between his fingers, stopping the re- specially guarded against.
and Daily Print winds whenever he comes
tween takes. The film
to a notch be-
is broken be-
Storage of “Out” Takes. — Storage
Exclusively space for the undeveloped film must be

tween the accepted and rejected takes,
provided and the film in the cans must
and each take is wound on its proper
be indexed so as to be readily available.
6701 SANTA MONICA BLVD. spool. No attempt is made to splice
The undeveloped film is ordinarily kept
takes together in the break-down room.
GRanite 3108 until the picture has been completely
All film to be developed is spliced at
the laboratory, where film to be processed edited and shipped.
is checked for any weakness or breaks Reversal and Use of Printing Stock.
©DEVELOP YOUR OWN© and where any film weakened by notches
is strengthened.
When it has been determined that there
FILMS AND TITLES will be no further for the rejected,
EASILY— AT LOWEST COST
PHILLIPS DEVELOPING RACK
Risks. — In breaking down the prede-
call
undeveloped takes, they are removed to

for veloped negative, there are the usual
16mm. Film. Send for descriptive circu- a splicing room, which is lighted in the
lar showing how you can finish 100 ft. hazards incident to handling and process-
of film in a llxl 4-in. tray. Also a new same manner as the positive darkroom.
25-ft. rack for titles.
ing film: scratches and rubs, (2)
(1)
PHILLIPS LABORATORY static, breaks in developing tanks
(3) Here the notched portions, the identifca-
653 Hillcrest Ave. Westfield, N. due to faulty
splices, (4) abrasions of
J.
tion marks, and the five feet of film
sprocket holes and edges of film, (5) preceding and following, that might pos-
fog, and (6) dirt. sibly have been fogged, are cut out. In
30% to 60% Cash Savings
on 16 mm. and 35 mm. cameras, projectors
Precautions. —
The danger of scratch- practice, no take of less than forty feet
and accessories. Write for Bass Bargaingram.

ing and rubbing may be minimized by in length is used. All the other takes
Specify size of apparatus interested in. For carefully handling the film and by taking are spliced together into continuous,
over 22 years Value Leaders of the nation.
Your copy is ready. Write for it. care not to wind it too tightly. Static 1000-foot rolls. The rolls are put into
BASS CAMERA COMPANY may be largely avoided by rewinding the cans labeled according to the emulsion
179 W. Madison St., Chicago, III. film slowly. Little difficulty has been numbers on the film. The laboratory,
encountered in the form of splices break- using the portion of the film opposite
ing in tanks. The possibility of abrading the part that was originally exposed in
the film at the sprocket holes or at the recording, makes prints of daily rushes
HARRISON edges has not proved to be great.

the darkroom is properly equipped, the
danger of fogging is insignificant. Proper
If and prints for editing purposes on the
reclaimed stock. This procedure was
suggested by Mr. J. Wilkinson of RKO
LIGHT FILTERS ventilation of the darkroom and careful Studios.
handling of the film are necessary to
avoid getting dirt on the film.
Splicing Precautions. — Special precau-
Distributed by
tions must be taken in the splicing opera-
Special care must always be taken in tions. Here again, the skill and con-
CAMERA SUPPLY CO. all phases of handling undeveloped film. scientiousness of the film spliced are all-
1515 Cahuenga Blvd. Phone CL-2404 A conscientious and painstaking operator, important. He must wear gloves at all
Hollywood, Calif. who will guard not only against the va- times to prevent finger-prints and grease
rious hazards, butwho will also be me- from getting on the film. The gloves
ticulousabout checking and rechecking must be changed frequently, as they be-
Hal Rosson, A.S.C., Marries film and reports, in order to send the come soiled or wear through from con-
proper takes to the laboratories, is, stant contact with the film. A carefully
Jean Harlow therefore, essential. ground emulsion scraping blade must be
Another cinematographer-star combin- Added Safety Factor. —Although cer- used on the splicing machine. It must
ation has become a permanent institu- tain risks are involved, an important be set exactly in the scraper so that the
tion! Hal Rosson, A. S. C., who has factor of safety is gained as the result of olade thoroughly scrapes the emulsion
photographed Harlow many of breaking down the negative before de- from the portion of the film to be spliced
Jean in
velopment. As was mentioned before, and yet does not cut into and weaken the
her recent productions, recently surprised
previously to the adoption of this sys- celluloid base. It must scrape cleanly
his friends by an airplane elopement to tem, all takes of scenes were sent to the and evenly. To do this effectively, it
Yuma, Arizona, where Miss Harlow be- laboratory at the same time for develop- has been found that if the emulsion is
came Mrs. Rosson. Returning to Holly- ment. If a failure should occur in the scraped from the center outward in both
laboratory, for example, and the nega- directions, a better splice is made pos-
wood, they proceeded with the final
tive were stopped in the developer, all sible than when the emulsion is scraped
scenes of “Bombshell,” Miss Harlow’s
takes of a given scene might be dam- off in complete sweeps from side to side.
latest production, after whic hthey plan aged. If only one take of a scene is at Well prepared contact surfaces and a
a honeymoon in Honolulu the laboratory, only that one take can film cement of high quality assure the
greatest possible strength in the splices.

With these
difficulty
broken
has
splices.
precautions,
been
practically
encountered
no
from
New Portable - Studio
has been necessary to make re-
It
prints occasionally when spliced stock has

SOUND RECORDING HEAD
been used, because of fogged spots that
have been unnoticed by the splicer.
However, less than four per cent of the
footage of the prints made on reclaimed
spliced stock have to be reprinted for any
reason. This percentage is being de-
creased as various minor difficulties are
remedied and eliminated.
Economies Effected. —At RKO Studios,
laboratory developing charges for sound
film have been reduced somewhat more
than fifty per cent as a result of process-
ing only selected takes. About ten per
cent of the total studio outlay for posi-
tive raw stock is saved as a result of
using salvaged spliced stock.
Use of System on Predeveloped Cam-
era Negative. —
Warner Bros. -First Na-
tional Studios have been breaking down
predeveloped picture negative for several
years. The system was adopted there,
not primarily as an economy measure,
but at a time when the laboratory facili-
ties were not adequate to develop .all
negative. The situation was met by
developing only the good and usable
takes. The procedure followed there,
with certain exceptions, is similar to
that of the RKO Studios on predeveloped
sound negative. Using a new glow lamp requiring only 200 volts, with
Exposure test strips are made each a specially designed optical recording unit.
time photographic conditions are changed.
While in the camera, the negative is By reducing the required glow lamp voltage,
notched at the end of each exposure strip it has been possible to increase the weight of the
and between takes. Reports are made recording head and still retain portability. Large
listing the “selected,” the “hold” and recording sprockets are used, making the head
the “NG” takes. “Selected” takes are readily adaptable for dubbing and re-recording.
those from which prints are to be made
immediately. “Hold” takes are those
that are deemed usable, but not ordered
SOUND CONCENTRATOR
to be printed. The “NG” takes are those A necessity for location work. A highly satisfactory and pro-
that probably will not be used. perly designed Concentrator now available at nominal cost, with
Camera takes are identified by pho- or without dolly. Details supplied upon request.
tographing a slate bearing the scene and
take numbers instead of by punching
these numbers on the film, as is done
CINEMA SOUND EQUIPMENT CO.
with sound negative. The photographed 8572 Santa Monica Blvd. Hollywood, Calif.
identification is invisible, of course, until
after the film has been developed.
i
The person separating the undeveloped

American Cinematographer Now $2.50 a Year
takes into their proper classes must work
i
in almost complete darkness. His only
source of illumination is a small flash-
light, which makes it posisble for him to EVERyTHING PHOTOGRAPHIC
i read the tickets classifying the various
for Professional and Amateur
1 takes. Knowing the number takes of
and tests on a roll of film, the operator, New and used. Bought, sold, rented
by counting notches, can separate the and repaired Camera Silencing.
:
takes and the tests that go with them
into their proper classes.
Send for Bargain Catalogue 1
The “selected” and “hold” takes are Hollywood Camera Exchange
developed. The “NG” takes are put 1600 Cahue.nga Blvd.", Hollywood
Tel: HO-3651
into cans and held until the picture has Cable Address: HOcamex
been edited and shipped. Open Daily to 6 P. M.
Saturday to 10 P. M.
The hazards that are present while
working with undeveloped sound track JLi
DIRECTORY of DEALERS
Handling the American Cinematographer
ARIZONA Danbury: Heim’s Music Store, Inc., 221 Main Iowa City: Rexall & Kodak Store, 124 E. Col-
Street. lege St.
Phoenix: Studio of Sound, P. O. Box 1671. Hartford: The D. C. Stoughton Co., 1255 S. Sioux Citv: Lynn’s Photo Finishing, Inc., 419
Tucson: William M. Dennis, 22 United Bank Whitney St. Pierce St.
Bldg. Watkins 241 Asylum St.
Bros., Eastman Kodak Stores, Inc., 608 Pierce St.
Nogales: A. W. Lohn, 309 Morley Ave. Meriden: Broderick & Curtin, 42 E. Main St. Waterloo: Mack’s Photo Shop.
Middletown: F. B. Fountain Co., 483 Main St.
New Haven: Eugene F. Clark Book Shop, 343 KANSAS
ARKANSAS Elm St.
Norwich: Cranston Co., 25 Broadway. Topeka: Hall Stationery Co., 623 Kansas Ave.
judsonia: Lee’s Novelty House. Waterbury: Curtis Art Co., 65 W. Main St. Wichita: Jack Lewis Film Service, 329 Sedg-
wick Building.
Lawrence Photo Supply, 149 N. Lawrence
CALIFORNIA DELAWARE Ave. |
Berkeley: Berkeley Commercial Photo Co., 2515 New Castle: E. Challenger & Son.
Bancroft Way. Wilmington: Butler’s, Inc., 415 Market St. KENTUCKY
Beverly Hills: Bob Robinson Home Movies, 417 Wilmington Elec. Spec. Co., Inc., 405 Dela- W.
N. Beverly Drive. ware Ave.
Lexington: W. W. Still, 129 Short St.
Fresno: Potter Drug Co., 1112 Fulton Ave.

Louisville: A. L. Bollinger Drug Co., Stilz &
Frankfort Ave. ,
Glendale: Kug Art Photo Service, 205 So.
Brand Blvd. DISTRICT OF COLUMBIA Sutcliffe Co., 225 S. 4th Ave.
I \
Hollywood: Bell & Howell Co., 716 North La- Washington: Columbia Photo Supply Co., Inc.,
Brea Ave. 1424 New York Ave., N. W. LOUISIANA [
Educational Projecto Film Co., 1611 North Eastman Kodak Stores, Inc., 607 14th St., Alexandria: The Newcomb Studios, 324 John- v
Cahuenga Blvd. N. W. ston.
Hollywood Camera Exchange, Ltd., 1600 N. Robbins, National Press Bldg., 529 14th St., Monroe: Griffin Studios, P. O. Box 681.
Cahuenga Blvd. N. W. New Orleans: Eastman Kodak Stores, Inc., 213 f
Hollywood Citizen, 6366 Hollywood Blvd. Baronne St.
Hollywood Movie Supply Co., 6038 Sunset (
Blvd. FLORIDA
J. V. Merchant, 6331 Hollywood Blvd. MAINE S
Clearwater: Courtesy Cigar Store, Post Office
Morgan Camera Shop, 6305 Sunset Blvd. Arcade.
Auburn: Weils Sporting Goods Co., 52-54
Universal News Agency, 1655 Las Palmas. Court St.
Jacksonville: Eastman Kodak Stores, Inc., 129
Los Angeles: California Camera Hospital, 321 Portland: Bicknell Photo Service, 43 Exchange
O. T. Johnson Bldg.
W. Adams St.
Eastman Miami: Miami Photo Supply Co., 31 S. E.

Kodak Stores, Inc., 643 So. Hill First Ave.
Street.
St. Petersburg: Robinson’s Camera Shop, 410
MARYLAND
T. Iwata Art Store, 256 East First St. Baltimore: Eastman Kodak Stores, Inc., 309 N.
Lehnkering Pharmacy, 1501 N. Western Ave Central Ave.
Tampa: Burgert Bros., Inc., 608 Madison St. Charles St. c
B. B. Nichols, 731 South Hope St.
Stark-Films, 219 W. Centre St.
Tappenbeck & Culver, 10958 Weyburn Ave., Zepp Photo Supply Co., 3044 Greenmount r
Westwood Village. CEORCIA Ave.
Victor Animatograph Corp., 650 So. Grand Hagerstown: R. M. Hays & Bros., 2830 W.
Ave. Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St. Washington St. d
Wilshire Personal Movies, 3150 Wilshire
Blvd.
Monrovia: Cliff’s Photo Art Shop.
MASSACHUSETTS
North Hollywood: Studio City Pharmacy, 12051
IDAHO Boston: Eastman Kodak Stores, Inc., 38 Brom-
field St.
Ventura Blvd. Boise: Ballou-Latimer Co., 9th & Idaho.
Boston Camera Exchange, 44 Bromfield St.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway Cinecraft Co., of New England, 80 Boyl-
Pasadena: The Flag Studio, 59 East Colorado St. ILLINOIS ston St.
Richard Fromme, 965 S. Fair Oaks. Ralph Harris Co., 30 Bromfield St.
A. C. Vroman, 329 East Colorado St.
Bloomington: Hawkins Studio, 214 W. Wash- Iver Johnson Sporting Goods Co., 155 Wash-
ington. ington St.
Richmond: La Moine Drug Co., 900 Macdonald Chicago: Aimer, Coe & Co., 105 N. Wabash
Ave. Andrew J. Lloyd Co., 300 Washington St.
Ave. Pathescope Co. of the N. E., Inc., 438 Stuart
Sacramento: Frank McDougal, 1017 10th St Associated Film Libraries, Inc., Suite 224,
San Bernardino: Steele’s Photo Service 370 D St.
190 N. State St. Pinkham & Smith Co., 15 Bromfield St.
Street.
Bass Camera Co., 179 West Madison St. Stillfilm Sales Co., 40 Stuart St.
San Diego: Harold E. Lutes, 958 Fifth St.
Central Camera Co., 230 S. Wabash Ave. Braintree: Alves Photo Shop, 349 Washington
Ace Drug Co., 820 W. Washington St. Eastman Kodak Stores, Inc., 133 N. Wabash
Eastman Kodak Stores, Inc., 419 Broadway. Ave.
St.
Sa, Cambridge: E. M. F. Electrical Supply Co., 430
2, r rancisco: Eastman Kodak Stores, Inc Fair, The, Camera Dept., 7th Floor, State-
216 Post St. Massachusetts Ave.
Adams-Dearborn Sts. Lowell: Donaldson’s, 75 Merrimack St.
Hirsch & Kaye, 239 Grant Ave.
San Francisco Camera Exchange,
Lake Shore Radio Co., 3204-6 Broadway. Lynn: Moehring’s, Inc., 490 Washington St.
88 Third Lyon & Healy, Inc., Wabash Ave. at Jack- New Bedford: J. Arnold Wright, 7 S. Sixth St.
son Blvd. Newtonville: Newton Photo Shop, 92 Bower St.
Schwabacher-Frey Stationery Co., 735 Mar- Stanley Warren Co., 918 Irving Park Blvd.
ket St. Pittsfield: E. C. Kilian, 411 North St.
Norman Willets Co., 318 W. Washington St. Salem: Pitman Movie Service, 45 Summit Ave.
Sherman, Clay &
Kearny & Sutter Sts
Co., Wolk Camera Co., 201 S. Dearborn St. Springfield: Harvey & Lewis Co., 1503 Main
Trainer-Parsons Optical Co., 228 Post Street Evanston: Aimer, Coe & Co., 1645 Orrington
San Jose: Webb’s Photo Supply Store, 66 So St.
Ave. E. Cheney & Co., Inc., 301 Bridge St.
First St.
Hattstrom & Sanders, Inc., 702 Church St. J.
Worcester: Harvey & Lewis Co., 513 Main St.
San Rafael: Webb & Rogers, 4th & B Sts Camera Shop, 84 So.
Galesburg: Illinois
Santa Barbara: J. Walter Collinge, 1127 State
Prairie St.
Moline: Seaholms Kodak Co., 1507 Fifth Ave.
MICHICAN |
The Camera Shop, 800 State St. Rockford: Johnson Photo Shop, 316 E. State St. Detroit: Crowley, Milner & Co. .
Faulding’s, 623 State St. Clark Cine-Service, Rooms 203-204 Profes-

Springfield: Camera Shop, The, 320 S. Fifth St.
Stockton; The Holden Drug Co., Weber Ave sional Bldg., 10 Peterboro.
& Sutter St.
INDIANA Detroit Camera Shop, 424 Grand River W.
Logan Studios, 20 N. San Joaquin St.
Evansville: Smith & Butterfield, 310 Main St. Eastman Kodak Stores, Inc., 1235 Wash-
Inc., 112 W.
ington Blvd.
Fort Wayne: The Howard Co.,
H. C. Film Service, 12191 llene Ave.
COLORADO Wayne St.
Hudson Co., Dept. 290.
J. L.
Indianapolis: L. S. Ayers & Co., Dept. 290,
E. B. Meyrowitz, Inc., 1516 Washington
Denver: Eastman Kodak Stores, Inc., 626 Six- 1 We'st Washington St.
teenth St. Main Blvd. *
South Bend: Ault Camera Shop, 122 S. St.
Flint: Gardner Photo Service.
The May Co., 16th & Champa Sts. Terre Haute: Snyder’s Art Store, 21 S. 7th St.
Grand Rapids: Camera Shop Stores, Inc., 56
IOWA Monroe Ave.
Cedar Rapids: Camera Shop, 220 Third Ave.
CONNECTICUT Photo Service Shop, 44 Monroe Ave.
Davenport: Eastman Kodak Stores, Inc., 318 125 Michigan
Jackson: Royal Film Service, |
Brady St.
Bridgeport: Harvey & Ave. W. I
Lewis Co., 1148 Main Des Moines: Eastman Kodak Stores, Inc., 808 I
Locust St. Continued on page 200 >

are greater when working with unde-

veloped picture negative because the risk
n
of fogging is greater and because the
area covered by picture, and conse-
quently subject to damage, is larger than
the area covered by sound track. The
ARTREEVES
precautions previously suggested in con- DEPENDABLE
nection with sound negative should, ac-
cordingly, be more painstakingly ob-
SOUND RECORDING
served when working with picture nega- AND
tive.
Mr. Fred Cage, in charge of Warner
LABORATORY EQUIPMENT
Bros. -First National Laboratories, who Sirvanse escribirnos en vuestro idioma y tendremos sumo gusto en enviarles
furnished this information on the break- detalles completos.
down of predeveloped camera negative,
reports that delays and difficulties en-
Demandez nos instructions en francais et brochures illustrees.
countered are negligible and that the Phone WYoming 4501

savings effected justify the use of the
system.
Since the picture covers the greater
J-[oliyôod
part of the camera negative, un-
film,
like sound negative, once exposed, can Motion PicTure/CquipmemT (o. |Tp.
not be used again. As a consequence, CABLE ADDRESS ARTREEVES
64 5 NORTH MARTEL AVE-
the only saving resulting from breaking
down the camera negative before de- HOLLYWOOD, CALIFORNIA, U SA
velopment is the cost of the laboratory
processing of the film that is not de-
veloped.
At the RKO Studios, a semi-automatic
film notching device that may be at-
tached directly to the camera or to the
sound recording head is being developed
New Prices
by Mr. T. Winchester. This device will
simplify and make possible faster notch-
ing of film.
TRUEBALL
Conclusion. — Faced with the necessity TRIPOD H EADS
of decreasing the costs of production, the
OF SPECIAL ALLOY
studios have sought economies in every
phase of their work. The methods de-
LICHTER WEICHT
The Same Efficient Head
scribed in this paper are helping to re-
duce costs without detriment to the qual-
For follow shots, known for
their smoothness of opera-
ity of the finished product.
tion and equal tension on
all movements.
Light
HARRISON Color
Unaffected by temper-
ature.
Special Model B Professional $300.00
Effect FILTERS
For Bell & Howell and Mitchell
Holly-
Mode| A for Ama-
Preferred by the leading Cameras and their respective teur motion picture
wood Cinematographers. Used by Tripod. With the ORIGINAL cameras. Attaches
Leading cameramen the world to any standard
instant release telescopic handle. STILL tripod, $12.00.
over.
Trueball tripod
The Harrison Viewing Class Gives True heads are unexcelled
1
Interpretation
of all colors.
of photographic values
FRED HOEFNER for simplicity,
curacy and speed of
ac-
operation.
GLadstone 0243
Harrison & Harrison inch
The Hoefner four-
Iris and Sun-
645 North Martel Avenue 5319 Santa Monica Boulevard shade combination
Hollywood, Calif. is also a superior
LOS ANCELES, CALIF. product.
Phone WYoming 4501
(Continued from Page 250) Ambercrombie & Fitch, 45th & Madison Ave. Marshfield: Mel’s News Stand, cor. Broadway
Bloomingdale’s 59th & Lexington Ave. & Anderson.
Lansing: Linn Camera Shop, 109 S. Washing- Pendleton: J. T. Snelson, 608 Gardner St.
ton Ave. J. H. Boozer, 145 E. 60th St.
Portland: Eastman Kodak Stores, Inc., 345
Saginaw: Heavenrich Bros. & Co., 301 Genesee. Columbus Photo Supply Co., 146 Columbus Washington St.
Ave. Lipman-Wolfe & Co., Kodak Dept., Fifth,
MINNESOTA Abe Cohen’s Exchange, 20 Fulton St. 1 Washington & Adler Sts.
Davega, Inc., East 42nd St.
1 1 1
Meier & Frank Co., Kodak Dept., Fifth, Sixth.
Duluth: Eastman Kodak Stores, Inc., 3 W. Morrison & Alder Sts.
Superior St. Davega, Inc., Empire State Building.
LeRoy: Ivan E. Meyers, Home Movie Service, Eastman Kodak Stores, Inc., 356 Madison
21 5 W. Main St. Ave. at 45th St. PENNSYLVANIA
Minneapolis: Eastman Kodak Stores, 112-116 Fotoshop, Inc., 136 W. 32nd St.
So. Fifth St.
Allentown: M. S. Young & Co., 736-40 Ham-
Cospeter’s Blue Front, 1006 Nicollet Ave. H. & D. Folsom Arms Co., 314 Broadway. ilton St.
National Camera Exchange, 5 South Fifth St. Gall & Lembke, Inc., 7 East 48th St. Easton: Easton Sporting Goods Co., 2nd and
Owatonna: B. W. Johnson Gift Shop, 130 W. Gillette Camera Stores, Inc., 117 Park Ave. Northhampton St.
Bridge St. Gimbel Bros., Dept. 575, 33rd St. b Broad- Erie: Kelly Studios, 1026-28 Peach St.
Paul: Eastman Kodak Stores, Inc., Kodak way. Harrisburg: James Left Co., 225 N. 2nd St.
St.
Bldg., 91 E. Sixth St. Joseph P. Hackel, 1919 Chanin Bldg., 122 Johnstown: Johnstown News Co., 115 Market
42nd St.
H. W. Fisher Photographic Supplies, 381 E. St.
Minnesota St. Harry’s Camera Exchange, 317 W. 50th St. Lancaster: Pugh’s Art Shoppe, 33 W. King St.
Hecker’s Camera Store, 1519 Amsterdam Langhorne: National Entertainment Service,
Ave. 360 Bellevue Ave.
MISSOURI Herbert & Huesgen Co., 18 E. 42nd St. Lebanon: Harpel’s, 757-9 Cumberland St.
Lugene, Inc., 600 Madison Ave., between Philadelphia: Klein & Goodman, 18 South 10th
Kansas City: Eastman Kodak Stores, Inc., 916 57th & 58th. St.
Grand Ave. Luma Camera Service, Inc., 302 W. 34th St. Camera Shop, 51 N. 52nd St.
Eastman Kodak Stores, Inc., 1006 Main St. Mogull Bros. Electric Corp., 1944 Boston G. P. Darrow Co., Inc., 5623-5 Germantown
Hanley’s Photo Shop, 116 E. 10th St. Road, Bronx. Ave.
Plaza Camera Co., 218 Alameda Rd. Newman’s Camera Shop, 1197 Sixth Ave. Eastman Kodak Stores, Inc., 1020 Chestnut
St. Louis: Eastman Kodak Stores, Inc., 1009 New York Camera Exchange, 109 Fulton St. St.
Olive St.
Pago, Inc., 1095 Sixth Ave. Home Movies Studios, 20th & Chestnut Sts.
Famous-Barr Co., M. P. Dept. 6th & Olive St. Pickup & Brown, 368 Lexington Ave. MacCallum Stores, 1600 Sansom St.
Geo. D. Fisher & Co., 915 Locust St.
Rab Sons, 1373 Sixth Ave. M. & H. Sporting Goods Co., 512 Market St.
Schoenig & Co., Inc., 8 East 42nd St. Newsreel Laboratory, 707 Sansom St. 1
MONTANA Sibley, Lindsay & Curr Co. Strawbridge & Clothier, Dept. 201, Market,
Frank Tanham & Co., Inc., 9 Church St. Eighth & Filbert Sts.
Midland Drug Co., 23 N. 27th
Billings: St. Times Building News Stand, Inc., Times George W. Tegan, 420 E. Mt. Airy Ave.
Bozeman: Alexander Art Co. Building. John Wanamaker’s Motion Picture Dept.,
Willoughby’s, 110-112-114 West 32nd St. No. Broad St.
1
Richmond Hill: Josephson Bros., 10902 Ja- Williams, Brown & Earle, Inc., 918 Chest-
NEBRASKA maica Ave. nut St.
Rochester: Marks & Fuller, Inc., 36 East Ave. Pittsburgh: Eastman Kodak Stores, Inc., 606
Lincoln: Eastman Kodak Stores, Inc., 1217
Smith, Surrey, Inc., 129 Clinton Ave., South. Wood St.
O St.
Rome: Fitchard Studio, 133-135 W. Liberty St. B. K. Elliott & Co., 126 - 6th St.
Eastman Kodak Stores, Inc., 419 S. 16th St. Schenectady: J. T. & D. B. Lyon, 236 State Joseph Horne Co., Magazine Dept.
Omaha: J. G. Kretschmer & Co., 1617 Har- Kaufmann Dept. Store, Inc., Dept. 62, Fifth
St.
ney St.
Syracuse: Geo. Lindemer, 443 S. Salina St.
F. Ave.
Francis Hendricks Co., Inc., 339 So. Warren Reading: W. F. Drehs, 341 Court St.
NEW HAMPSHIRE St. Scranton: Houser’s, 133 N. Main Ave.
Troy: A. M. Knowlson & Co., 350 Broadway St. Wallace & Cook, Inc., 2-5 N. Washington
Lebanon: Photocraft Co. Utica: Edwin A. Hahn, 223-225 Columbia St. Ave.
Newport: K. E. Waldron, 1 A Main St. Yonkers: W. J. Dolega, 242 Nepperham Ave. Scranton Home Movies Library, 316 N.
Washington Ave.
NEW JERSEY Shamokin: Jones Hardware Co., 5 E. Inde- 1 1
NORTH CAROLINA pendence St.

Wilkes Barre: Ralph DeWitt, 2 South River
Atlantic City: Eastman Kodak Stores, Inc., Charlotte: W. I. Van Ness & Co., 213 N. St.
1735 Broadwalk. Tyron St. Windber: New Arts Feature, 508 15th St. -
Bayonne: Milton Mendelwager, 192 Ave. B. York: Swe'gart’s Photo Service Shop, 278 W.
Cliffside Park: Louis C. Ghiosay, 639 Anderson
Market St.
Ave. OHIO
East Orange: Edmund J. Farlie Jr., 45 N. 19th
St.
Akron: Pochrandt Photo Supply Co., 16 N.
RHODE ISLAND
Hawthorne: Hawthorne Home Movie Service, Howard
52 MacFarlan Ave.
St.
Pawtucket: Thomas N. Simpson, Broadway &
Canton: Ralph Young News Agency. Exchange St.
Irvington: Wolf Bros., 1340 Springfield Ave. The Camera Shop, 531 Market Ave. N.
Jersey City: Levy’s Sport Shop, 149 Monticello Providence: E. P. Anthony, Inc., 178 Angell St.
Cincinnati: Eastman Kodak Stores, Inc., 27 Starkweather & Willians, Inc., 47 Exchange
Ave. West Fourth St.
Montclair: Edward Madison Co., 42 Bloomfield PI.
Huber Art Co., 124 Seventh St., W. Westcott, Slade & Balcom Co., 95-99 Empire
Ave. John L. Huber Camera Shop, 4 6 '/2 Main St. 1
Newark: Anspach Bros., 838 Broad St. St.

L. M. Prince Co., 108 W. Fourth St.
Paterson: Robt. G. Smith, 40 Hamilton St. Cleveland: The Home Movies, Inc., 2025
Sykes Drug Store. 179 Market St. Euclid Ave. TENNESSEE
Summit: Eastman Bookshop, 380 Springfield Dodd Co., 652 Huron Road.
Ave. Eastman Kodak Stores, Inc., 806 Huron Jackson: Southern Pictures Corp.
Trenton: Howard E. Thompson, 35 Newkirk Road, 1862 E. 6th St., 1915 E. 9th St., Knoxville: Jim Thompson Co., 415 W. Church
Ave. Union Trust Bldg. St.
Union City: Heraco Exchange, Inc., 611 Ber- Escar Motion Picture Service, Inc., 10008 Memphis: Memphis Photo Supply Co., 122
genline Ave. Carneigie Ave. Union Ave.
West New York: Rembrandt Studios, Inc., Halle Bros. Co., 1228 Euclid Ave. Nashville: Geo. C. Dury Co., 420 Union St.
526A Bergenline Ave. Higbee Co., 90 Public Square.
Columbus: Capitol Camera Co., 7 E. Gay St. TEXAS
NEW MEXICO Columbus Photo Supply, 62 E. Gay St.
Home Movies Co., 234 S. High St. Abilene: W. C. Cosby, 249 Pine St.
Santa Fe: Capital Pharmacy, Inc.
Don McAllister Camera Co., 73 E. State St Dallas: Jamieson Film Laboratories, 2212 Live
Dayton: Dayton Camera Shop, Third St., Oak St.
NEW YORK Arcade.
1
E G. Marlow Co., 1610 Main St.

Middletown: Lee R. Chamberlain, care Roy A. Fort Worth: The Camera Shop, Inc., 133 W.
Albany: Albany Photo Supply Co., Inc., 204 White’s Elec. Shop, 48 S. Broad St. Sixth St.
Washington Ave. Portsmouth: V. E. Fowler, 824 Galia St. Chas. G. Lord Optical Co., 704 Main St.
Binghamton: A. S. Bump Co., Inc., 180 Wash- Salem: Butcher’s Studio, 166 South Broadway. Houston: Star Elec. & Eng. Co., Inc., 613
ington St. Steubenville: Beall & Steele Drug Co., 424 Fannin St.
Brooklyn: Geo. J. McFadden, Inc., 202 Flat- Market St. San Antonio: Fox Co., 209 Almo Plaza.
bush Ave. Toledo: Gross Photo Supply Co., 325 Superior
Abraham & Straus, Inc., Fulton & Hoyt Sts.
St. UTAH
J. Navilio, 1757 Broadway. Franklin Print & Eng. Co.,226-36 Huron St.
Buffalo: Buffalo Photo Material Co., 37 Ni- Youngstown: Eastman Kodak Stores, Inc., 7
agra St.
SaltLake City: Eastman Kodak Stores, Inc.,
Hauser Bob Studio, West Tupper St.

Wick Ave. 315 S. Main St.
A. C. Saunders, 177 Benita Ave.
1 1
F. Adams, Inc., 459 Washington St.

Zanesville: Zulandt’s Drug Store, Widney, cor.
owak Optical Co. VIRCINIA
United Projector & Film Corp., 228 Franklin
Seventh & Main.
St. Norfolk: G. L. Hall Optical Co., 257 Granby St.
Goshen: T. H. Finan. Richmond: G. L. Hall Optical Co., 418 E.
Haverstraw: E. H. Vandenburgh, 3 Broadway. OKLAHOMA Grace St.
Hempstead: Agnew’s, 47 Main St.
H. L. Terry & Sons. Oklahoma City: H. O. Davis, 522 N. Broadway.
Islip,
Ithaca: Henry R. Head, 109 N. Aurora St. Tulsa: Camera Shoppe, Inc., and the Charles VERMONT
Long Island City: Leonard F. Kleinfield, 4202 High Productions, 1213 S. Boulder Ave.
Burlington: G. W. La Pierre’s, 71 Church St.
Queen’s Blvd.
New Rochelle: Artist’s Photo Service, 219
Hugenot St. ORECON WASHINGTON
New York City: Wm. C. Cullen, 12 Maiden
Lane. Lakeview: Getty’s Photo Studio, I.O. O F. Bldg., Bellingham: Clyde Banks, 119 W. Holly St.
Adam Archinal Corp., 305 W. 56th St. Center & Main Sts. (Continued «>n Page 254)
Recent Patents mask and pad may be variably positioned

with relation to said guide and film,
Pertaining to
Motion Pictures
Compiled by
means including
by the lens and mounting
away from said
said hinging unit
marking a pic-
mask for
may be
where-
raised
CAMERA
Patent
1336
& Technical Information
New York Avenue N. W.
Washington, D. C.
Service ture as framed by said mask and means
including said hinging unit whereby said
lens mounting and mask may be raised
CRAFT
August 1, 1933
as a unit away from said guide and film.
1,920,789. Film Driving Apparatus.
1,921.954. Motion Picture and
Charles L. Heisler, Schenectady, N. Y.,
Sound Record Film. Donald H. Stewart,
assignor to General Electric Company. In
Rochester, N. Y., assignor to Eastman
apparatus for recording sound on a film
Kodak Company, Rochester, N. Y. In
and for reproducing sound from a record
the art of reproduction of sound from
film including a sprocket and a drum ar-
photographic records, the method of re-
ranged to engage a film at spaced points
ducing objectionable sound effects at the
thereof, means for regulating the speed
point of change-over from one accom-
of the drum in accordance with the speed
paniment to another on the same con-
of the film as moved by the sprocket,
tinuous record which comprises applying
including a brake and a controlling mem-
to the sound record adjacent the point of
A MONTHLY MAGAZINE
ber therefor movable
changes
in response to
in the length of the film between
change-over a layer which progressively OF PHOTOGRAPHY
increases the density of the record.
the sprocket and drum and having a
mass operative to maintain the control- 1.921.963. Fade-In and Fade-Out Camera Craft gath-
ling member in contact with the film for Motion Picture Film Sound Record. ers beauty, facts,
and to control John I. Crabtree, Rochester, N. Y., as-
the pressure applied by fundamentals and
the brake, the mass of said member serv- signor to Eastman Kodak Company,
ing to render the brake substantially un- Rochester, N. Y. In the art of sound all sorts of interest-
responsive to sudden small variations photography, the method of reducing the ing information from
in
the speed of the film. objectionable sound effect at the change-
all over the world to
over from one piece of sound record to
August 8, 1933 another which comprises obscuring part keep its readers fully
1,921,037. Sound Recording. Ken- of the sound record at the change-over informed. It has a
neth F. Morgan, Los Angeles, Calif., as- point by applying a piece of opaque,
signor to Electrical Research Products, flexible material.
Cine Department
Inc., New York, N. Y. The method of Motion Picture and
that makes a spe-
1.921.964.
recording sound which comprises moving
a photographic medium at uniform speed
Sound Record Film. John I. Crabtree and cialty of new
Charles E. Ives, Rochester, N. Y., as- wrinkles and infor-
through a beam of light of constant in- signors to Eastman Kodak Company,
tensity, varying the mean time of ex- mation not to be
Rochester, N. Y. The combination with
posure of said medium to said beam a spliced motion picture film having found elsewhere.
directly with the envelope of the volume
thereon two areas bearing photographic
variations of sound recorded and causing together at their
sound records joined
virtually complete modulation of the light ends, of a transition piece attached in
from said beam falling on said medium
for all volumes of sound recorded.
superimposed relation over the junction .00 per Year
of the two sound records, said transition
Sample copy on request
1,921.404. Continuous Film Proces- piece having an extension joined to the
sing Machine. James Crabtree, Chatham, main portion thereof by a weakened
N. J., assignor to Bell Telephone Labora- connection.
tories, l-nc., New York, N. Y. The com-
bination with the developing chamber August 15, 1933 CAMERA CRAFT
of a continuous film processing machine 1,922.742. Cinematographic Appara- PUBLISHING COMPANY
having means for guiding and moving a tus. George A. Mitchell, Palms, Calif.,
703 Market Street
photographic film, of means for eliminat- assignor to Mitchell Camera Corporation,
San Francisco, California
ing directional effect developing
in the West Hollywood, combination
Calif. In
of said film, said means comprising a with motion picture apparatus having an
plurality of wiping units secured to said aperture, means for holding the four
chamber along the path of travel of marginal portions of a film picture area
said film at an angle to the longitudinal
axis thereof.
in said aperture substantially in the plane
thereof,
slightly
and crowned roller means for
bowing said area of the film
WE WANT
1,921,469. Film Editing Machine.
in two dimensions, said roller means being 35 mm. travel, fight, thrill and
John J. Kuhn, Elizabeth, and Roy V. from parts of the
behind the film to bow said area toward curiosity films all
Terry, Montclair, N. J., assignors to Bell earth.
the aperture.
Telephone Laboratories, Inc., New York, Send description and length
N. Y. In a film editing machine, a hing- August 22, 1933
iing unit having a single hinge pin, a film All kinds of film at reduced prices
1,923.746. Modification of Sound
viewing a lens mounting hinged to
lens, Records. Roy J. Pomeroy, Los Angeles,
:said pin, amask for said lens having an California. The method of producing Continental Film Craft,
Inc.
aperture through which the film may volume-modified sound records, that in-
be edited also hinged to said pin, a film cludes: audibly reproducing sound from 1611 Cosmo Street
guide, a pad for holding said film firmly a record to be modified, artificially modi- Hollywood, Calif.
in said guide, means whereby said lens, fying the volume characteristics of the
254 American Cinematographer • October 193a
Pullman; Craves Studio.

Seattle: Anderson Supply Co., Ill Cherry St.
Eastman Kodak Stores, Inc., 1415 - 4th Ave.
Lowman & Hanford Co., 1514 - 3rd Ave.
Spokane: John W. Graham & Co., Dept. C, 707
Classified Advertising
Sprague Ave. Rates: Four cents a word. Minimum charge, FOR SALE— CAMERAS
Joyner Drug Co., Howard & Riverside Ave. one dollar per insertion.
Tacoma: Eastman Kodak Stores, Inc., 910
Broadway.
FOR SALE
f:3.5
—35
Krauss
MM. Pathe Studio Camera,
Tessar; carrying case; three
1
Walla Walla: Book Nook Drug & Stationery

Store.
FOR RENT — MISCELLANEOUS magazines, $100. Universal Tripod with
carrying-case, $75. Box S, American Cinema-
WEST VIRCINIA FOR RENT —

Mitchell Motor, 25 M.M. Lenses,
tographer, 1222 Guaranty Bldg., Hollywood.
Wheeling: Twelfth St. Garage, 81 - 12th St.

1000 feet Mitchell Magazines. Baby Tripod.
J.R. Lockwood, Glendale. Phone Douglas
—
AKELEY CAMERA Practically new, rebuilt for
color; 40mm. and 50mm. lenses; 10 maga-
3361 -W.
WISCONSIN zines; cases; tripod, etc. Cost $5,000— will
Fond du Lac: Huber Bros., 36 S. Main St.
La Crosse: Moen Photo Service, 313 Main St.
FOR RENT
complete.
— Mitchell high speed gear box
Pliny Horne, 1318 N. Stanley.
se|| for $1,250.
Cinematographer.
Box R.W.S. care American
Madison: Photoart House, 212 State St. HO-7682 or HO-9431.

Milwaukee: Eastman Kodak Stores, Inc., 737 FOR SALE— MISCELLANEOUS
N. Milwaukee St.
Boston Store, Wisconsin Ave. & 4th St. FOR SALE OR RENT
FOR SALE— lea “Monopdl” semi-portable 35
W. E. Brown, 327 W. National Ave. MM. projector, complete with carrying-cases
and extra carbons. Box S, care American
Cimbel Bros., E. Wisconsin & N. Planking-
ton. FOR SALE OR RENT
Howell silenced
—
Mitchell and Bell &
follow focus Pan
cameras,
Cinematographer.
Roa Meuer, The, 226 West Wells St.
Jakoubek’s’, 132 N. Lake Ave.
Phillips:
lenses, free head, corrected new aperture. FOR SALE —
Special complete 16 mm. editor
with geared rewinds, magnifier and splicer,
Racine:Photo-Crafts Shop, 526 College Ave. Akeley, DeBrie, Pathe, Universal, Prevost,
Willart, DeVry, Eyemo, Sept, Leica. Motors, $4.50 plus postage. Money refunded if not
AUSTRALIA Printers,lighting equipment. Bell Howell& satisfactory. FOTOSHOP, 136 West 32nd
Melbourne: McGills Agency, 179-218 Eliza- Cameras with old type shuttles, silenced, St., New York City.
$150.00. Also every variety of 16mm and
beth St.
still cameras and projectors. Everything FOR SALE
Printer. Also
— Latest Bell & Howell 5-way Sound
& Howell Splicer; cheap
CHINA photographic bought, sold, rented and re- Bell
paired. Send for our bargain catalogue. for cash. XH c-o American Cinemato-
Canton: International Book Co., 269 North Hollywood Camera Exchange, 1600 Cahuenga rapher, 6331 Hollywood Blvd., Hollywood,
Wing Hon Road. Blvd. Phone: HO-3651 Cable address
;
alif.
Hocamex.
ENGLAND WANTED
London: J. H. Dallmeyer, Ltd., 31 Mortimer
St. and Oxford St. W. I. FOR SALE OR RENT— Films: “CRISTUS” in 7 WANTED — 16 mm. Projector, Camera, Leica
reels, “BROTHER FRANCIS" in 8 reels. and other equipment. Must be in good con-
HAWAII Available for the 16mm projector. Mono- dition and cheap. T. E. Rogers, 551 S. Kings-
pole Film Corp., 630 Ninth Ave., New York ley, Los Angeles, Calif.
Honolulu: Eastman Kodak Stores, 1059 Fort
City, New York.
St.
WANTED— DeVry 35mm. Hand-camera, double-
claw movement. Must be cheap and in
INDIA
Bombay: Continental Photo Stores, 255 Hornby
FOR RENT — CAMERAS good condition. Box C, care American
Cinematographer.
Road.
P. C. Eranee Sons, Albert Bldgs., Hornby FOR RENT
eras,
—
Thoroughly silenced Mitchell cam-
Pan Astro lenses, follow focus. R.
WANTED— Motor adapter. J. R. Lockwood,
Road. J.
Glendale. Douglas 3361 -W.
Calcutta: Photographic Stores & Agency Co., Lockwood, Glendale. Douglas 3361 -W.
154 Dhuramtolla St.
M. L. Shaw, 5/1 Dhuramtolla St. FOR RENT —50 Mitchell high speed camera with
WANTED— Mitchell High Speed Silent Camera,
box only, without equipment. Must be
Lucknow: Lucknow Commercial Co., 25 Amina- latest 40, and 75 mm. Pan-Astro lenses. cheap for cash. Box 140, American Cinema-
bad Park. 1000 ft. magazines; loose head, tripod. tographer.
1318 N. Stanley. HO-7682 or
WANTED— “Leica”
Pliny Horne,
MEXICO HO-9431. enlarger; must be in good
American Photo Supply Co. S.A., Av. F.l, condition and cheap. Box H.R., care Ameri-
Madero, 43, Mexico, D.F.
FOR SALE — CAMERAS can Cinematographer.
POLAND WANTED — Leica Camera and model good

Warsaw: Polska Agencia Prasy Filmowej FOR SALE
Tripod
— Bell & Howell adapter for Mitchell
40-50-75-M.M. Astro lenses
head,
condition. Cheap.
Cinematographer, 6331
Box C, c-o American
Hollywood Blvd.,
Wspolna 35.
mounted unmounted, Mitchell tripod
and Hollywood, Calif.
head, Mitchell matte box. R. Lockwood,
SOUTH AMERICA J.
523 N. Orange St., Glendale, Calif. Doug- WANTED— Bell & Howell Cameras. White,
Buenos Aires: Argentine Rep., Casa America las 3361 -W. giving serial number, lenses, accessories, etc.,
Ltda. S. A. Avenda de Mavo 959. and lowest cash price. Address Box No.
215, c-o American Cinematographer, 6331
You want The Cinematographic Annual • Hollywood Blvd., Hollywood, Calif.
sound by reference sound as it is

to the said resistor, and a control circuit com-
reproduced, simultaneously making a Leica Data Book
prising a detector energized by waves
record of the artificial modifications im- A very comprehensive
from said source to vary the unidirectional 72 page Data
posed, and modifying the original record
current from said source in accordance
Book on the Leica camera has been pub-
by means of said record of volume modi-
fications. with the amplitude variations of said lished by the Fomo Publishing Company
1,923.757. Sound Recording System. waves. of Canton, Ohio.
Harold C. Silent, Hollywood, Calif., as- 1,923.987. Cinematographic Appara- This book is authored by Karl A. Bar-
signor to Electrical Research Products, tus. Benjamin Elian Luboshez, Harrow, leben, Jr., F. R. P. S., who is associated
Inc., New York, N. Y. In combination, England. A cinematographic camera
a source of modulated waves, a photo- comprising in combination a plurality of
with E. Leitz, Inc., of New York City.
graphic medium moved at constant speed, lenses arranged in ring formation around Among the many interesting points of
a source of light, means for controlling a common axis, means for directing their miniature picture making that this book
the light from said source incident on optical axes radially outwards from a covers, Exposure Data, Film Data, Filter
said medium, a resistor in series with view-point direction substantially parallel Data, Projection Data, Developing Data,
said control means, means for supplying to said common axis, a continuous circu-
modulated waves from said source to lar film track around said lenses, a film
Conversion Data and many general hints.
said control means comprising a trans- claw for each lens, a shutter adapted to This booklet will undoubtedly prove
former having a tapped secondary wind- close and open each lens in turn, means of gret value to those owning the candid
ing, one portion of which is connected for continuously oscillating the film claws and who do their own developing and
to said control means and the other and means synchronized with said shutter printing.
portion to said resistor, a source of for bringing each film claw successively Barleben is considered one 'of the
unidirectional current connected between into operative engagement with the film foremost authoratives on this type of
said tap of said secondary winding and whilst the corresponding lens is closed picture making and his opinion is valued
the junction of said control means and by the shutter. by all who do things photographically.
Eastman Supersensitive
Panchromatic Negative
Having reached a point

of achievement where it
is now preferred and

used exclusively by the
outstanding directors of
photography, there is but
little left for us to say
except to point out the
additional value of
Brulatour Service
And The Co-operation of
Eastman Kodak Research

And Technical Service
J. E. BRULATOUR, Inc.
New York Chicago Hollywood
Camera Equipment
must be kept in perfect
condition to insure its
maximum efficiency.
A maintenance depart-
ment of thoroughly
trained and expert
mechanics at your
service.
Mitchell Camera Corporation

665 N. ROBERTSON
BOULEVARD
WEST HOLLYWOOD, CALIF.
Cable Address “MITCAMCO” Phone OXford 1051

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AMaiCAN

The Motion Picture CAMERA Magazine

Controlled Miniature Enlarging

for the amateur

WILL GIVE A BETTER

SMITH & ALLER, Ltd.

Pacific Coast Distributors for

DU PONT FILM MFC. CORP.

Published monthly by the

Telephone Granite 4274.

JOHN ARNOLD, President, A. S. C.

Volume XIII OCTOBER, 1933 Number 6

LIST of Members of A.S.C 209

CINE News Photography Is Different ASSOCIATES

Next Month Dr. L. A. Jones, A. S. C.

NEW YORK REPRESENTATIVE

. . . or were the end man in crack-the-whip.

What takes the shock of these blows? Suppose we follow on the

the old type 5 KW lamps. Down multi-metal supports into a brittle

eight points, a break may occur, bringing premature lamp failure.

previously known. But G-E scientists, alert to motion picture require-

To accomplish this they turned to the method of fusing copper and

glass developed in making a 50 KW lamp for Light’s Golden Jubilee.

filament support takes almost a straight line from filament to prongs.

Improving existing types of lamps constitutes only part of G-E re-

search. Other groups of scientists and engineers are steadily developing

and check a definite proportion of factory production on all types of

NEW TYPE 5 KW LAMP Electric Company, Nela Park, Cleveland, Ohio.

man. It may or may not be really good, and the quality is

rarely upheld and ensured by complete and independent in-

Series II. Before describing how the production of lenses, such as

general way the characteristics of such lenses.

the production of lenses, particularly photographic lenses.

accuracy which can be attained in the ordinary machining

day working not only by skilled artist craftsmen of long

years ago, after training as an engineer, was greatly im-

pressed by the primitive methods then in use and the won-

* — Reprint of address delivered to

scientific, that is, based upon the conscious application of

mixture of art and science. true visual replica of the object,

ingly with those of the object.

POSITIVE CONTROL DATA

ROM the standpoint of positive control the procedure

The final positive print contains both pic-

termined to give this desired gamma, production starts and systems. A

series written by Emery Huse, A. S. C., on Sensito- o

VARIABLE DENSITY TRACK 2.1

In the consideration of the Western Electric system of No 8 O O O 0 0

necessary. In processing variable density sound records

logarithm of light valve openings be held to the ideal value

measure the apparent printer gamma, which is

HE other day happened to take a group of my 11x14

salon prints to the studio with me. I’ll admit that

glad to show them to some of the other people on the set.

its negatives are so small that any retouching or such modi-

— Orthochromatic, Semichromatic, Panchromatic, SuperSen- films; there

October 1933 • American Cinematographer 215

viewing glass and explain its application relative to measur-

Also let me add that the panchromatic type of viewing

There has been a great mass of information written on

As the color of the various objects in the scene deter-

SLUE Or in other words if we photograph wedges of blue,

sential in any film that is to serve