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j

Published in Hollywood

November, 1937 by
American Society
oi Cinematographers
Fine Grain and the

ability to render shadow

detail makes Du Pont

Superior Panchromatic all

that the name implies.

DU PONT FILM MANUFACTURING CORPORATION


INCORPORATED
9 Rockefeller Plaza, New York, N. Y. SMITH &. ALTER, LTD.
Plant . . . Parlin, N. J. 6656 Santa Monica Blvd., Hollywood, Cal.

BETTER THINQS for BETTER LIVINQ through CHEMISTRY


November, 1937 • American Cinematographer 445

I
V

The queue at the box-office pays tribute to more than


just the acting of the stars. Successful photography is

also important in “putting the picture over.”

More and more photographers — striving for perfection


— are using Agfa’s improved SUPERPAN film.

This film provides a fineness of grain that is a real


triumph. In addition, it offers supersensitive speed . . .

wider latitude . . . and a high, evenly balanced color


sensitivity.

Made by Agfa Ansco Corporation in Binghamton, N.Y.

C. KING CHARNEY
INCORPORATED

HOLLYWOOD NEW YORK


6372 Santa Monica Blvd. 245 West 5 5th Street
Tel.Hollywood 2918-2919 New York City

L--
446 American Cinematographer • November, 1937

MANY CAMERAS IN ONE...

he new EYEMO is many cameras


T in one. Used as a spring-driven
hand camera, as shown above, it gets
finder is quickly adjusted for six
ferent field areas. Focusingand dia-
phragm controls are seen through
dif- any time, as can provision for 200-
or 400-foot external film magazines,
a prismatic focusing magnifier, and
the picture where conditions de- the finder, permitting manipulation a focusing alignment gauge to per-
manding maximum portability and even while shooting. S.M.P.E. stand- mit placing focuser and lens succes-
quick shooting make large cameras ard sound aperture and matched sively in the photographic position
impractical. viewfinder are standard equipment — all this while retaining the conven-
The same Eyemo can be equipped on all turret models. ience of having a hand camera to
with many of the features of Bell & Sound, silent, and other operating use when simplicity is required.
Howell studio cameras, to master speeds are provided, the range vary- There are special Eyemos, too, for
almost any photographic condition ing with the model selected. The candid action still pictures and for
. .and stripped to hand-camera
. improved vibrationless governor other exacting jobs. Write for com-
form again in an instant, should the assures accurate speeds from the first plete information.
occasion require it. to the last foot of film. Hand crank,
The basic Eyemo mounts three supplementing the spring motor, is BELL & HOWELL COMPANY
lenses on a turret head . . . offers regular equipment. 1848 Larchmont Avenue • Chicago
your choice of the two turrets pic- Electric —universal, 12-volt,
motor New York: 1 1
La Brea Ave.
W. 42d St. Hollywood: 716 N.

• London: 1 3-14 Great Castle St,
tured. The enclosed spyglass view- or synchronous — can be added at Established 1907
;

November, 1937 • American Cinematographer 447

AMERICAN
CINEMATOGRAPHER
A Technical and Educational publication
on motion picture photography.

Published monthly by the


AMERICAN SOCIETY
OF CINEMATOGRAPHERS, INC.
1782 N. Orange Drive
Hollywood, California

Telephone GRanite 2135

VICTOR MILNER, President.


FRED W. JACKMAN, Treasurer.

Vol. 18 November, 1937 No. 11

Contents
The Staff
Frost Is on the Funkin’ 449 EDITOR
George Blaisdell
By George Blaisdell

WASHINGTON
STAFF CORRESPONDENT
Film Is More Valuable in Television. . .450
Reed N. Haythorne, A. S. C.
By Harry R. Lukcke
TECHNICAL EDITOR
Emery Huse, A. S. C.
Why ‘100 Men and a Girl’ Makes a Hit
on Screen 453 ADVISORY
By William Stull, A.S.C. EDITORIAL BOARD
Victor Milner, A. S. C.
James Van Trees, A. S. C.
Keg-Lite Aims Once Started to Run on Fred W. Jackman, A. S. C.
Its Own 454 Farciot Edouart, A. S. C.
Fred Gage, A. S. C.
By Carl R. Erickson Dr. J. S. Watson, A. S. C.
Dr. L. A. Jones, A. S. C.
Dr. C. E. K. Mees, A. S. C.
Engineers Hold Convention in New Dr. W. B. Rayton, A. S. C.
York 456 Dr. Herbert Meyer, A. S. C.
Dr. V. B. Sease, A. S. C.

A.S.C. Members on Parade 461 CIRCULATION MANAGER


L. F. Graham

Arnold Given Gold Life Card by A.S.C. .464 NEW YORK REPRESENTATIVE
S. R. Cowan, 19 East 47th St., New York
City. Phone Plaza 3-0483.

FOREIGN REPRESENTATIVE

o Georges Benoit,
Pavillions-sous-Bois,
phone LeRaincy
100
Seine,
13-19.
Allee Franklin,
France. Tele-

AUSTRALIAN REPRESENTATIVE
McGill’s, 179 Elizabeth Street, Melbourne,
Australian and New Zealand agents.

ESTABLISHED 1920. Advertising Rates on applica- Neither the American Cinematographer nor
tion. Subscription; U. S., $2.50 a year; Canada, $3.50 the American Society of Cinematographers
a year Foreign $3.50 a year. Single copies, 25c
is responsible for statements made by au-
;

back numbers, 30c. Foreign single copies, 35c back ;

numbers, 40c. COPYRIGHT, 1937, by American thors. This magazine will not be respon-
Society of Cinematographers, Inc. sible for unsolicited manuscripts.
I
]
448 American Cinematographer • November, 1937

PRODUCTION FUNCTIONS ONLY THRODON PROIECTION


Tlie advertisement reprodueed below is one of a series appearing in leading exhibitors’ journals. We hope

that this series will be a real contribution to the continued progress of a great industry, and encourage the
theaters to show your product at its best.— NATIONAL CARBON COMPANY, INC.

y
November, 1937 • American Cinematographer 449

FROST IS
By
ON THE PUNKIN
GEORGE BLAISDELL
OU who are exceedingly keen on of an absorbing story seemingly more found in creating a film library for

Y good photography; who at least


are as strongly an admirer of
masculine in its
womankind. But as to that
appeal than it is
only
for their own

he
families.
T
wild mountain background; you, too,
who are particularly impressed with
theatrical showings will tell.
T tendency toward broader
comedy is being remarked by
the brilliant color of photography
when the exposure has been made in
a higher altitude or even in latitudes
T hat was an unusual experience
enjoyed by the members of the
Paramount Movie Club on the eve-
those whose business it is to follow
the new studio product. When in
RKO’s delightful comedy of “Break-
that to southerners rate as northern ning of October 7. A full-fledged fast for Two” Herbert Marshall was
— to all of these we say take a peek studio cameraman stepped up to the caused to do a backward fall there
at Paramount’s “Thunder Trail.” 16mm. projector and with a double was lamentation on the part of some
The picture seemingly was made in turntable to aid him in providing reviewers that he was out of his type.
the general neighborhood of the Big atmosphere accompaniment proceeded To be sure the leveling process rather
Bear country, in the southern half of to unreel a Kodacolor picture
exposed inelegantly if accurately described by
California, and in an average altitude in and around Tahiti. showmen was precipitated because of
above six thousand feet. At the open- Charles G. Clarke, A.S.C., had the presence on the floor of the ruins
ing of the subject the photographic photographed it in 1935 at odd mo- of a misdirected custard pie or its
addict is suddenly aware of the fact ments during the stay in the South equivalent.
he is seeing something out of the Seas of the troupe producing “Mutiny It may or may not be worthy of
usual. on the Bounty.” Quite naturally into remark the projectile was catapulted
Karl Struss, A.S.C., directed the the making of the subject had gone by Barbara Stanwyck, but it must
photography on this Zane Grey story. the same quality of workmanship be conceded the aggx'avation measur-
In other days it was a custom not that marks the film passing under his ably justified the unconventional pro-
unknown among reviewers sometimes hand that is designed for the theat- cedure when surrounding and contrib-
when a picture wabbled in its dra- rical screen. uting circumstances are considered.
matic knees leniently to remark if in Holding the film within the realm Such things still are done in the best
the mood that “The photography was of the amateur were the typewritten of families if we may believe what
excellent.” titles — amateur incidentally only in we read in the public prints.
The custom is outmoded, for sev- the manner of presentation; certainly And what is done in the best of
eral sufficient reasons. One among not in the phrasing. The photog- families ought to serve as the best
these is that the photography on the rapher who turned projectionist and of yardsticks for those who are creat-
screen is expected to be good. There turntable operator also at times be- ing screen amusement whether for
is no sufficient reason as a rule why came commentator, and amplified the theatrical or home consumption. As
it should not be. Then again the titles with remarks giving additional for out of type, it has been main-
quoted remark long since has been details of the beckoning South Seas. tained on the stage as far back as
damned as the faintest of faint praise. Of unusual interest were the close- the days of Shakespeare that a good
In the present instance the good ups of the island flowers in all the actor can with success take any part.
word is due in common justice — and glory of their rich colorings; of the And it is the admiring opinion of
then again also in the present in- many colored tropical fish, whether this reporter that Herbert Marshall
stance there is a strong story excel- shown in full freedom of unimpeded is as much at home in comedy as a
lently portrayed. motion or piled on the beach at the duck is in water.
“Thunder Trail” is one to put in conclusion of one of the spectacular
T

the book to catch it when it enters fish drives, participated in by three
here
your neighborhood.

enuine
T
thousand natives.
The novelty of the situation for the
members
T was an unusual occasion
for amateur photographers here

G realism comes to the


screen in Paramount’s “Ebb
Tide.” This is a Technicolor subject.
of the club was materially
lessened by the fact they are studio
employees and accustomed to the
in Los Angeles and its neighboring
city of Pasadena the latter part of
October when the Pacific Geographic
In the course of the story of strange atmosphere of professional picture- Society honored Mr. and Mrs. Harry
proceedings in the South Seas a big making. Nevertheless to them the Pearson by exhibiting their “African
cargo-carrying schooner commanded occasion was unusual. Holiday” in two of the biggest houses
by a captain temporarily drunk is In Los Angeles are many profes- on the West Coast. In the Shrine
caught in a typhoon. Things happen sional cameramen who own and op- Auditorium here every one of the
fast and ferociously. erate sub-standard equipment. In it more than sixty-two hundred seats
It is in sequences like this that the they find a lot of pleasure and through available for screen showings was
craftsmanship described on the credit it in turn provide pleasure for their filled. The audiences perhaps were
screen as “special photographic ef- families and friends, and in in- something apart from the usual the-
fects” makes possible the filmed re- stances like the one outlined here for atrical house. For instance, one of
production of the ravages of wind and strangers as well. the shots most applauded was that
wave. Yet palpably in spite of the There is much these men may give of Mount Stanley, which so far as
benevolent influence of life-saving to the members of the local clubs, known was the first time it had been
devices there remains plenty of haz- much they may do to popularize still photographed for the screen. It was
ard to life and limb. further their own craft. It is not un- a part of the agreement the couple
To Gordon Jennings, A.S.C., fell the likely that men who have made a should appear during the perform-
creation of this reproduction of the recreation out of a craft would be ance. They did. And they were made
assault of Old Nature on a crippled willing to pass on to amateurs some to feel at home when they came on
sailing vessel. It is a thrilling part of the pleasure they themselves have the stage.
450 American Cinematographer • November, 1937

M otion picture
film is an im-
portant program
vehicle in television. It
enjoys several advan-
FILM IS MOST
tages over other types
of pickup. Motion pic-
ture productions can be
VALUABLE IN
made in parts and the
result edited.
picture programs can
be released simultane-
Motion TELEVISION
ously in several remote
By HARRY R. LUBCKE
cities, since any num- Director Television Don
ber of positive prints Lee Broadcasting System
can be made from a
master negative.
Alternately, in the interests of economy, importance, and the results obtained with sub-
one or two prints can be exhibited on a road jects filmed in accordance with and in viola-
show tour of the television outlets of the tion of the rules are given in the accompany-
country, playing in one city on one date, in ing figures. These were received at a distance
another city on the next, and so on. of 3% miles on standard home receiving
Until suitable coaxial cables or television equipment.
relay stations are networked across the coun- The original is given at the left and the
try, film is the only means by which programs photographed reproduction at the right. The
may be broadcast nationally, unless the cast latter was taken with a Contax camera with
and properties of the show themselves are an F1.5 lens. With the range finder avail-
transported from city to city. able and the fast lens, some of the photo-
Finally, it is impossible to distinguish be- graphs were not accurately in focus.
tween a live subject or a film pickup on the Eye Better Than Lens
television receiver screen. If anything, a
In others a horizontal line structure appears
properly photographed film program is the
because of secondary effects. This is not ap-
better.
parent to the eye when looking at the re-
The Don Lee organization has been engaged
research for seven years and in
in television
ceived image. A time exposure of from one
to three seconds was used for the photographs.
television broadcasting for six years. Tele-
Also for a few weeks at the time these
vision transmitter W6XAO went on the air
photographs were taken a certain bypass con-
on December 23, 1931, on the now universally
denser in the television amplifying equipment
used ultra-high frequencies, and has been on
had, through an error, a value of two micro-
the air daily since that time.
farads. This has since been changed to a
Lot of Film proper value of eleven microfarads and the
In this interval 8,000,000 feet of motion light as well as dark spurious shadows in

picture film have been broadcast. In May, 1932, certain scenes are no longer present.
television images were shown to the press on It might appear that the photographic proc-

a self-synchronized cathode-ray television re- ess used at the receiver to secure these rec-
ords could be considered perfect. It has
ceiver in a transport airliner while fiying
over the city of Los Angeles. been consistently demonstrated, however, that
this is not true, the image as seen by the
In March, 1933, film scenes of the Long
Beach earthquake were shown before the pub- eye having greater clarity and brilliance than
it is possible to secure in the photographs.
lic was admitted to the stricken area. A
football game has been flashed on the screen The first rule is: Do not violate the usual
three hours after it was played, and a fea- rules of photography.
ture, “Empire of the West,” was given a Illumination, composition, contrast, and ex-
bona fide preview via television. posure as required for clear pictorial defini-
Public demonstrations of high definition tion are to be used. In current motion picture
television were inaugurated on June 4, 1936, photography extremes in lighting and other
and since that time 10,000 persons have wit- factors are practiced for dramatic effect.
nessed the results at distances up to ten Dark, low key, lighting is used to produce
miles from the transmitter. a depressing audience reaction to tragic se-
Early in this work it became evident that quences.
certain subjects, scenes and particular films Such practices may be employed to a lim-
gave excellent images on the receiver screen, ited degree in the television technique, but
while others gave almost worthless results. they must be restricted, or the result on the
Constant observation of the transmissions un- receiver screen becomes meaningless.
der all sorts of conditions has resulted in the Originals and photographed results are on
formulation of seven rules for good motion file which are very dark and give results
picture photography for television. which are useless to reproduce here. Figure
These are given below in the order of their 1 shows a scene in which the key (overall)
lighting is too low. This was part of a prisoner
Top to bottom; Figs. 1, 2, 3, 4, 5, 6, 7,
8. 9. Reproduced from frames of the sequence where darkness was utilized as a
original motion picture films televised depressing agent. Although the photograph
as described.
of the received image was given five times
November, 1937 • American Cinematographer 451

the soldiers, shrubs and


background trees all
stand in contrast to one
another over small
areas.
Enjoys Number of Advantages Figure 7 shows an
interior according to
Over Other Types of Pickup the criterion except for
the lack of contrast be- »

Productions May Be Created tween the man’s tux-


edo and the seat of the
This could
in Parts and Results Edited cafe booth.
have been established
by top lighting to high-
light the outline of the
tuxedo. It will be noted
that most of the poor
normal exposure the characters are poorly examples used to illustrate other rules also
delineated. lack checkerboard contrast.
Figure 2 illustrates a different condition, The observance of the criterion of checker-
but with the same undesirable results. Here board contrast results in reproduced images
the object of interest is a well tanned man which stand out in refreshing grandeur. The
set in comparatively white surroundings. The apparent detail often exceeds the capabili-
receiver photograph shows that too much is ties of the system. The opposite, which might
lost because of the dark tone of the man. be termed “agglomeration,” produces the de-
In this case either the surroundings must pressing effect which has been mentioned.
be darkened by transluscent screens or the The fourth rule is: Keep the overall gamma
object of interest brightened by light from range small.
a reflector or booster light, if outdoors; or This rule is frequently violated in taking
the obvious changes made, if on a set. With personage shots on shipboard, as in Figure 8.
costuming’' under control, the surrounding Here a dark figure has been secured with a
women could be dressed in figured dresses “clear celluloid” background. Such extremes
with an overall darker tone and the camera encounter overload points in the several units
aperture increased to retain the required of the television chain from pickup device
overall tone. to receiver screen. The effect is similar to
The second carrying the contrast to the toe and knee
rule is: Carry detail in the
halftones. extremes of the H-D curve in photography.
The object of principal interest must be Maintain Action
thus portrayed. Figure 3 is an example of
where the background is too light, forcing
Figure 9 shows a shot that was specially
the principalsdarkness.
into Figure 3 is photographed for television. The contrast is
the other extreme; the outline of the man definite from part to part, but the overall
in a black tuxedo is lost against the black range is nominal.
background drapes. (In this scene, the man The fifth rule is: Maintain action.
was moving when photographed). It is well established that the eye is used

The third rule is: Achieve “checkerboard to reduce detail in objects in motion in real
contrast.” life. By the converse, scenes of limited de-
This a form of composition in which, upon
is tail, as in television, appear to be of greater
analysis, it is realized that the whole field of clarity when in motion. Consequently, the
view is broken into alternate dark and light principal characters should move, gesticulate,
areas. The name originated because of the or talk whenever possible.
clarity with which a checkerboard was repro- Certain short motionless periods may be
duced, as held on the laps of two convalescing observed to avoid monotonous repetition of
soldiers in a scene early in our work. motion. Also, background elements may be
is not necessary that the various areas
It
moved during otherwise still intervals: an
be of the same size or symmetrically dis- extra walks by or an auto passes in exteriors,
tributed. Figure 4 shows a closeup which while the pendulum of a clock moves or a
follows this criterion with folds and stripes window curtain blows in the wind in interiors.
of a flag in the background and consequently When inanimate objects are to be shown,
reproduces well. motion of the camera can satisfy the rule.
Figure 5 shows the usual form that viola-
“Panning” is effective and desirable in scenic
exteriors. Planning, “zooming,” change of cam-
tions of this rule assume^, a dark foreground
era angle, or traveling shots all supply variety
and bright sky. The clear celluloid sky on
this scene so overloaded the equipment that
in interiors and also may be employed in

the general outline has been altered. An-


many exteriors.

other violation of this is when everything is


The illustrations cannot portray the motion
(Continued on Page 482)
a monotone of gray. Such scenes reproduce
poorly and have a depressing psychological
Top to bottom: Figs. 1-A, 2-A, 3-A, 4-A.
effect. 5-A, 6-A, 7-A, 8-A, 9-A. The same
scenes shown on the opposite page, as
Figure 6 shows a complicated long shot photographed on the screen of a tele-
which reproduces well because of checker- vision receiver 3% miles from the
broadcasting station.
board contrast. The bridge, the pontoon boats,
452 American Cinematographer • November, 1937

Shot during the filming of Samuel Goldwyn’s


new ^2,000,000 Technicolor spectacle,
THE GOLDWYN FOLLIES

INKIES IN TECHNICOLOR
Thanks to new precision filters some important features pro-
and the brighter, whiter light vided by G-E Mazda lamps:
from G-E Mazda lamps for 1 . Constant color . . . and satisfac-

color photography, the many tory color.


2 Silent operation.
.
advantages of "inkies,” so well
3 No clutter on set. Note the room
.

known in black-and-white around the camera.


cinematography, are now 4 . Lightness andportability ofequip-
available for Technicolor. ment.

These advantages are also helpful


THIS CLOSE-UP from Samuel for other types of color shots
Goldwyn’s new Technicolor . as well as black-and-white.
. .

production, "The Goldwyn Are you beneptting fully from the versa-
tility of G-E AlAZDA lamps? General
Follies,” illustrates clearly Electric Co., Nela Park, Cleveland, Ohio.

GENERAL ^ ELECTRIC
MAZDA LAMPS
November, 1937 • American Cinematographer 453

WHY 100 MEN AND A GIRL’


MAKES A HIT ON SCREEN
OUND recording, like cinematog- As a matter of production economy,
Story of Variety of Meth- was decided to send the studio’s
S raphy, produces its greatest ad-
vances by a happy combination of
opportunity and necessity. Every sea-
ods Used in Recording of
it

unit to Philadelphia to record


music of this celebrated orchestra. Dr.
the

son manages to bring with it one Stokowski quite naturally desired to


Music, Song and Speech make use of the recording facilities
outstanding musical production: and
these often bring both the opportunity in Universal's Fine Picture of the RCA-Victor phonograph re-
and the necessity for spectacular ad- cording plant at Camden, N. J., where
vances in recording. he and his orchestra had made so
Among such instances in the past many successful gramophone disks.
may be recalled the productions the amples of both of the two major sys- Since it was impracticable to as-
requirements of which first necessi- —
tems of recording Western Electric’s semble in Philadelphia the large num-
tated the use of hill-and-dale disk Class A push-pull variable density and ber of Western Electric channels nec-
recording for musical sequences, the RCA-Photophone’s Class A push-pull essary to do this recording by the
initial use of “push-pull” recording ultra-violet variable area. multiple-track methods Universal’s
and reproduction, and similar achieve- In addition, certain sequences have engineers desired there was yet an-
ments. for various reasons been rerecorded other reason for making use of RCA’s
This year Universal’s production from one system to the other. It is ample facilities in suburban Camden.
“100 Men and a Girl” marks another a high tribute to Universal’s Sound The conventional method of re-
such milestone in the advancement of Supervisor Homer G. Tasker and Re- cording such orchestral selections on
sound. It is generally acclaimed the cording Engineer Bernard Browm that film or wax, by any system, has been
young season’s outstanding musical this has been accomplished with a to employ a single microphone, or at
production and termed as well by smoothly flowing, homogeneous re- most two, giving “long-shot” and
technicians the season’s outstanding sult. “close-up” sound perspective.
achievement in recording. For motion picture recording, a
Studio Unit Goes East
The requirements of the film ne- multiplicity of microphones has fre-
cessitated, and production conditions “One Hundred Men and a Girl” is quently been used, each recording
permitted, an unusual number of note- certainly not the first production in some one section of the orchestra,
worthy innovations in recording tech- which symphonic music has figured and all feeding through a single
nique. In addition to the much pub- importantly; but in this production mixing panel into a single recording
licized multiple-track recording of the symphonic music, as exemplified by channel, giving a conventional close-
orchestral numbers, as suggested by the Philadelphia Symphony Orchestra, mix track.
Dr. Leopold Stokowski, conductor of figures as an integral part of the This latter technique, it may be
the Philadelphia Symphony Orches- dramatic action. Dr. Stokowski col- mentioned, while used in Hollywood,
tra, the film is found to be probably laborated actively in the utilization was unknown to the eastern record-
the first major release including ex- and the actual recording of this music. (Continued on Page 458)

Left — Dr. Leopold Stokowski inspecting the battery of eight RC A-Pho-trphone Ultra-Violet push-pull recorders used to record the Philadelphia
Symphony Orchestra for “100 Men and a Girl.”
Right — Part of the battery of rerecording machines used for mixing the close-mixed and sectional tracks into a single finished track.

m\
454 American Cinematographer • November, 1937

KEG LITE WHEN


TURNED ON WILL
RUN ON ITS OWN
By CARL R. ERICKSON

he
T in
keynote of modern trends
motion picture lighting devel-
opment has been simplification
of operation. A lamp which can De
tails.
its
plied
When the globe is inserted in
socket the contact tension is ap-
by a thumb screw at the back
of the socket. This locks the globe
simply and firmly in place and pre-
placed on a set, swung into position
and then forgotten, is the one which vents any globe movement as tne
will impress itself upon the minds lamp is tilted up or down.
of those who use and handle it. Such
Always in Position
has been the experience surrounding
the increased use of Bardwell and The method of mounting the back
McAlister’s new streamline 2000-watt spherical reflecting mirror is also a
spot, the Keg-Lite. departure from convention to the ad-
vantage of the lamp. The presence in
Spun of 16-gauge sheet steel in tne
the Keg-Lite of a firmly locked globe
shape of a beer keg, this lamp of-
makes possible more refined adjust-
fers a sturdiness of construction
which defies the most unusual and
ment of this spherical mirror.
The mirror frame is rigidly fas- Figure 1. View of the Keg-Lite ready to go.
rough treatment. Its lines are so
tened against a shoulder in its base
shaped that heat expansion is uniform
which prevents any twisting or mis-
in all directions, making crackling or
popping out of the question.
alignment. The base is then adjusted length for a given diameter than the
and firmly locked at the factory to
In addition, its ventilation has been older type.
bring the mirror to its proper focus.
designed to allow the lamp to run sev- This mirror then requires no addi- This shortening of the focus pre-
eral degrees cooler than is ordinarily
tional adjustments at the studio or on
sents a new problem, namely, an in-
experienced with lamps of this wat- the set. It is always in correct posi- crease in the converging power of the
tage. This cooler running lamp also tion ready for use.
lens necessary to bring this extra
The mirror it-
has eliminated warts or bulges from self may be easily removed from this
light into a parallel ray on spot po-
forming on the globe. rigid frame in case it is desired to do
sition. In other words, the lens, en-
joying a larger angular pickup of
The lamp element itself claims so to soften the light or for placing
light, must bend these rays through
many improvements in design. By a globe in the lamp. The mirror
frame holds the correct position dur- a larger refracting angle in order to
reference to Figure 2, one can grasp
ing this operation. condense them into a parallel spot
a more concrete picture of their de-
The lamp is focused by a patented beam.
quick focusing device which allows lor Reflecting Back
a movement from spot to full flood
with less than one-half complete turn By reference to some principles of
of the focusing handle. optics, the cause of spill light in such
This is an indispensable feature for lenses can be determined. It is a
following running shots or dance known fact in optics that of any ray
scenes where quick change of spread of light which hits a glass surface
is imperative. a portion of the ray is reflected back
The focusing handle is accompanied again instead of passing on through
by a numeraled dial which makes it the glass.
possible to set the lamp at any pre- In similar fashion, of the portion
determined focus by the dial indicator. which does pass into the glass, a like
amount is reflected back at the next
Echelon Type Lens
surface where the ray is emerging
Lamps of this type use what is from the glass to the air beyond.
known as a Fresnel type, or echelon This reflection is approximately 4
type lens, to condense the light. This per cent at each surface for normally
type of lens has the advantage of incident light, i.e., light coming per-
better controlling the light to give pendicular to the face of the glass.
a more even spread than was pos- This amount of back reflection in-
sible with the old type plano-convex creases with departure of the angle
condenser lenses. It also can be de- of the ray with the perpendicular. At
Figure 2. Simplified globe clamp and rigid
mirror in Keg-Lite element. signed with a much shorter focal (Continued on Page 462)
November, 1937 • American Cinematographer 455

PRODIJCTIOX
INSURANCE
PRODUCERS need no longer rely upon

approximate copies of original negatives.

They can have true facsimiles, completely

adequate for every purpose. Because the

use of Eastman Fine-Grain Duplicating

Films readily leads to duplicates that are

actvially indistinguishable from originals.

Every production needs this insvirance.

Eastman Kodak Company, Rochester, N.Y.

(J. E. Brulatour, Inc., Distributors, Fort

Lee, Chicago, Hollywood.)

EASTMAN Fine-Grain
D L P 1. 1 CAT I X U FILMS
456 American Cinematographer • November, 1937

ENGINEERS FARE MEET


SHOWS STEADY GROWTH
T he convention of the So-
fall
ciety of Motion Picture Engi-
neers was held at the Hotel
Pennsylvania in New York from Oc-
Attention Paid to Trinity of
Popular Subjects, Stere-
ophony, Stereoscopy and
onstrated showed a special extension
of the motion picture screen so
shaped and curved that light reflect-
ed from the main portion of the
tober 11 to 14. It started on the dot screen bearing the projected image
and through the four days of its would fall upon it and relieve the
duration ran close to schedule.
Television, by Good Houses usual impression that the image to
The convention paid attention par- be viewed lay solely within the con-
ticulai’ly to three important subjects fines of a black border about the

of the day stereophony, stereoscopy
made, based on the arrangement
demonstrated by H. Fletcher several
periphery of the screen image.
and television. The subject of color As the brilliancy of the screen
was not included in the program years ago. image would change, or, in the case
aside from the showing of a few un- Discuss Equipment of kodachrome, as the color would
usual subjects in 16mm. kodachrome, change, so would the brightness or
designed as a plan for enhancing the
A picture had been made
special hue of the screen extension change.
charm of the projected screen image and recorded so the spectators could The sharp unnatural black screen
follow the images upon the screen edge is avoided, and the effect that
by means of a specially constructed
reflecting surface about the periphery
from which the sounds were sup- was produced could probably be aptly
posed to ccme. The recording of this described as “luminous vignetting.”
of the screen.
film was accomplished by a special
The attendance maintained its Report on Projection
four-ribbon light-valve.
steady increase in volume. The pro-
portion of paid registrations was
The morning of Tuesday, October The morning of Wednesday, Octo-
12, was devoted to papers on air-con- ber 13th, was given over to projec-
greater than at preceding conven-
ditioning and the use of various ma- tion, including the report of the pro-
tions.
terials such as stainless steel and jection practice committee. The lat-
The convention opened at 10 a.m.
Monday, October 11 with remarks by die castings in motion picture equip- ter principally had to do with the
ment. change of projector aperture dimen-
President Wolf, committee reports,
In addition, a paper discussing the sions recently proposed by the Acad-
a paper dealing with foreign film mar-
design and operation of vacuum tubes emy of Motion Picture Arts and
kets by N. D. Golden, and a discus-
sion cf technologic applications of
for use in motion picture processes Sciences. A symposium of several
motion pictures in designing tele-
was presented by L. C. Hollands and papers, arranged by Frank H. Rich-
A. M. Glover. ardson, dealt with problems encoun-
phone apparatus.
Light and illumination was the tered in projection. The morning
At noon the usual luncheon was
keynote in the afternoon. F. T. closed with an open forum.
held, attended by approximately 150
members and guests. The results of Bowditch and A. C. Downes talked The afternoon of Wednesday was
the Fall elections were announced.
about carbon arcs, and the paper by left open partly for those members
S. Dushman dealt with recent devel- who so wished to inspect the projec-
Quigley Talks opments in gaseous discharge lamps. tion facilities of Radio City Music
Addresses were made by Martin G. G. Popovici described recent de- Hall.
Quigley on “Propaganda, Education, velopments in background projection, The semi-annual banquet and dance
and the Entertainment Film.” Louis and G. Mili those in light control in was held Wednesday evening. M.
Nizer, secretary of the New York photography. Doubilier of Paris, representing the
Film Board of Trade, also addressed In the afternoon B. Schlanger dis- French Association of Cinematog-
the convention. cussed “A Method of Enlarging the raphers, talked briefly, of his work
The feature of the Monday after- Visual Field of the Motion Picture with Lumiere in France in the early
noon program was the demonstration Screen.” The scheme that was dem- days of the motion pictui’e. H. G.
of stereoscopic motion pictures by G. Govil, representative of the motion
W. Wheelwright, based upon the use Picture Society of India, spoke briefly
of Polaroid. The effect was demon- of some of the motion picture prob-
strated with 16mm. kodachrome pic- lems in that country.
tures.
Fall Elections of the
Following these addresses, C. C.
Monday evening’s session was held S. M. P. E. Pettijohn, general counsel of the Mo-
in the auditorium of the Bell Tele-
phone Laboratories and was devoted Executive Vice President — K.
^
tion Picture Producers and Distrib-
utors of America, made the principal
to developments in both disk and film
F. Morgan
address of the evening.
recording and reproduction. Engineering Vice President —L. Dr. Judd Cited
Papers on disk recording were by A. Jones
M. J. Di Toro, L Viet and C. F. Wie- PTnancial Vice President — E. A citation on the work of Dr. Dean
bush; on 96-cycle frequency modula- A. Williford Brewster Judd, who was selected as
tion of sound film records by J. I.
Ci'abtree and W. Herriott and a dis-
— Frank,
Secretary J. Jr. the recipient of the 1936 Journal
Award, was next read by E. A. Willi-
Treasurer— W. Davee
L.
cussion of various types of movietone ford, chairman of the Journal Award
releases by J. K. Hilliard. Governors— R. E. Farnham, H. Committee.
A demonstration of stereophonic Griffin and A. C. Hardy The award was made to Dr. Judd
recording and reproduction was in recognition of his paper on “Anom-
November, 1937 • American Cinematographer 457

% alies of Vision and Color Blind-


ness.”
Honorable mention was made by
Mr. Williford of two additional
papers selected from the 1936 publi-
cations in the Journal, “Improved
Resolution in Sound Recording and
Printing by Use of Ultraviolet
I
Light,” by G. L. Dimmick, and “Con-
tinuous Photographic Processing” by
H. G. Hineline.
The recipient of the Progress
Medal for 1937 was Edward Wash-
burn Kellogg, RCA Manufacturing
Company. A citation of his work
was read by E. W. Engstrom. The
granting of the Award was follow'ed
by an address of acknowledgement
and appreciation.
The morning session of Thursday
was devoted to motion picture appa-
ratus. The afternoon was devoted
to sound and photography as listed
in the final program.
Television Highlight
A highlight of the sessions was
the television demonstration arranged
by the Radio Corporation of Amer-
ica through Ralph Beal, director of
research of RCA. The demonstra-
tion took place on the sixty-third
fioor of the RCA Building, New York.
Twenty television
receivers, each
viewed by a group of ten or fifteen
persons, picked up signals transmit-
ted from the Empire State Building.
The program originated in an
NBC studio on the third floor of the
RCA Building, whence it was trans-
mitted by way of coaxial cable to
the transmitter in the Empire State
Building and thence radiated back to
the RCA Building. The program
consisted of comedy and vaudeville
sketches by live artists and the trans-
mission of a motion picture film
newsreel.
The opened with a
proceedings
by David Sarnoff, pres-
brief address
ident of the Radio Corporation of
America, who was introduced by J.
I. Crabtree, editorial vice president
of the society.

Two Shows Given


Two performances were given, in
order to accommodate the large num-
ber who attended. At the end of
each performance an informal intei*-
1
view between one of the studio per-
formers and a member of the so-
ciety was televised and transmitted.
The general facilities of the con-
vention were arranged by W. C.
Kunzmann, convention vice presi-
dent; H. Griffin and J. Frank, Jr., in
charge of projection facilities; G.
Friedl, Jr., chairman, local arrange-
ments committee; A. S. Dickinson,
chairman of the banquet committee;
Mrs. S. K. Wolf and Mrs. O. F. Neu,
hostesses; W. Whitmore, chairman
publicity committee, and E. R. Geib,
chairman membership committee.
458 American Cinematographer November, 1937

A long-shat requires one sound balance; close-ups of individual musicians, or


"100 Men and a Girl"
like this
Conductor Stokowski, different sound perspective.
of

(Continued from Page 453)

ing experts, and at the time seemed


impractical to them.
Neither the Universal sound engi-
neers nor Dr. Stokowski, however,
w'ere at all satisfied with conventional
methods of recording. Conventional
methods, they agreed, would be fairly
satisfactory for ordinary scoring or
phonographic recording, where no
question of shifting sound-and-sight
perspective entered.
Complications
But for music to be synchronized
to dramatically important scenes of
the orchestra in action, where the ac-
tion involved constant intercutting of
long shots with closer angles of in-
dividual sections of the orchestra and

even of individual players, the ques- therefore,it was decided to experi-

tion of sound perspective became ment with a new method of recording,


highly complicated, and definitely a making separate tracks of each sec-
thing impossible to control at the time tion of the orchestra. This involved
of recording, so long before the film not only the use of six microphones
COOKE LENSES was to be edited. but also the use of six separate re-
Before the unit left Hollywood, cording channels.
have long formed the "spear-
head” of progress in cinema- Pick-up Real Achievement
tography by exceeding current
demands and anticipating Since this technique was primarily
future requirements. Focal
Fearless Fox experimental, the microphone place-
lengths for every need. Write
for descriptive literature.
VEFOCILATORS ments were duplicated, these second
six microphones feeding into a single

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November, 1937 American Cinematographer 459

mixed recording on a single track. An mixed with the accompaniment track the various sectional tracks and the
eighth channel was used for a con- in rerecording. single close-mixed track to form the
ventional long-shot microphone. When the picture had been com- ultimate recording. In general, the
pleted and edited Dr. Stokowski and close-mixed track was used for a
Real Achievement
Bernard Brown proceeded to rerecord foundation; then as the action came
It might be mentioned, incidentally, the multiple tracks into a single com- to closer shots of any individual sec-
that Recording Engineer Brown had posite track for use in the produc- tion or player, the volume of the
the advantage of but a single re- tion. RCA push-pull rerecording chan- desired sectional track was momen-

hearsal two, if one counts his pres- nels were brought into the studio for tarily increased.
ence at a concert the previous night the purpose. In rerecording Miss Durbin’s ren-
— before mixing the close-mixed track Sitting in a projection room watch- dition of the “Alleluia” it may be
on the actual take. ing the projected picture on the
While this single, close-mix track screen, Stokowski and Brown mixed
was inferior to the ultimate rerecord-
ing from the multiple tracks, it was,
as this writer can testify, none the
less a magnificent recording achieve- DE BRIE AT SACRAFICE
FOR SALE!
MITCHELL CAMERA with all built-in
ment, for which Brown deserves the Brand new condition and ap-
New Type SUPER PARVO DEBRIE features.
highest praise. pearance. Has never been used for pho-
Ultra Silent Cane:a No Blimp Necessary tographic purposes. Friction tripod,
It may also be mentioned that while matte box, built-in matte view finder, 3
Has built-in motor, automatic dissolve,
conventional recording generally in- pilot pins and anti-buckling device. Four
lenses, cases, etc.

volves considerable rearrangement of lOOO-ft. magazines 40 mm, 50 — and mm MITCHELL CAMERA No. 336 with all
the positions of the various units of
75 mmF2.3 lenses —
Mitchell tripod, De- built-in features, including anti-buckle
Brie upright finder, set of front attach- trip and switch. Perfect condition and
the orchestra, this multiple-track re- ments. Leather covered carrying trunk appearance. Friction tripod, view finder,
and tripod cover. It's the latest type 3 lenses, cases, etc.
cording did not. The sections of the eguipment like new!
BELL & HOWELL CAMERA
. . .

orchestra were arranged in their usu- No. 196 with


170° shutter. Silenced I type intermit-
al manner, in the way Dr. Stokowski CAMERA EQUIPMENT, INC tent. Rebuilt for sound. Special record-
had found most elfective. 1600 Broadway New York City ing sprocket, adapted for Aeolight. Matte
Tel. Circle 6-5080 Cable: Cineguip. box, tripod, cases, lenses, etc.
Separate Sections DE BRIE HIGH SPEED CAMERA with
6 volt motor drive and safety clutch.
The only departure from this was Academy aperture. 2
"
F:2.7 lens, two
400 ft. magazines, hand crank, cases, etc.
a slightly greater spatial separation
of the sections from each other, in DE BRIE LE PARVO w’ith motor drive.
Perfect magazines,

A
condition, 4 tripod,
order that the individual records of F 1.8 etc.
each section might be the least in-
fluenced by adjoining instruments and
by the orchestra as a whole.
TRO
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-AKELEY, EYEMO,
ERAS.
AND DEVRY CAM-
Several completely equipped.
MOTORS new and used, for Akeley, Bell
& Howell, Eyemo, DeBrie and DeVry
The negative of these recordings
was processed by Warner Brothers’
East Coast Laboratory, since the east-
LENSES Cameras. High Speed motors for Bell
& Howell and DeBrie Cameras. Special
Bell & Howell stop motion and constant
run remote controlled motors for titles
ern plant of Consolidated Film Indus- and animation.
tries (the west coast laboratory of MAGIC EYE CAMERA ORIGINATORS.
New' model now available with Contax
which normally processes all Univer- lens base mounting. All Contax lenses
sal negative) was at the time closed interchangeable.
by labor troubles. LENSES and mountings, magazines and
finders for all cameras. Camera and
With these recordings completed, microphone tripods.
the unit returned to Hollywood, as
Special Motion Picture Apparatus Designed
for various reasons it did not seem and Constructed.
practical either directly to record
WRITE — WIRE — CABLE
Deanna Durbin’s songs in Philadel-
phia, or to prescore any but the
“Alleluia” for later use.
National Cine
In Hollywood, Universal’s Musical
Director Charles Previn assembled
Laboratories
for sale by 20 West 22nd Street
another orchestra and recorded ac- New York City
companiments for Miss Durbin’s Mitchell Camera Corporation
songs, as well as for the sequence
665 North Robertson Blvd.
?? SERVICE ??
in which the unemployed musicians “Recognized as the foremost motion picture
West Hollywood, California
play the “Zampa” Overture in the mechanical laboratories in the East.”
garage. The latter, too, was recorded
with RCA Push-pull variable area
recording.
Voice and Accompaniments Separate Fully Guaranteed Used 35mm Equipment
Mitchell, Bell & Howell, Akeley, Holmes Projectors, Sound and Silent.
With these recordings completed,
DeBrie, Universal, Pathe Cameras. De Vry Suit Case Model
the company proceeded, as one mem- Projectors.
Portable Sound Recording Outfits.
ber put it, to “dismiss the overhead,” Eyemo* and De Vry Spring Driven We buy, sell and rent
closing out the orchestra members. Cameras. anything Photographic.
The recording of Miss Durbin’s songs
was done by playing the accompani- Camera Supply Co.
ment track to her, through earphones, 1515 No. Cahuenga Blvd. Hollywood, Calif.
as she sang, recording her voice as Cable Address: CAMERAS
a separate track which was later

i
460 American Cinematographer • November, 1937

mentioned, the original Camden-made and variable area systems encompass “squeezed” Western Electric track
track of the accompaniment and the a very closely comparable volume used for speech.
synchronizing Hollywood-made track range in ratio of maximum signal In the prints intended for theatres
of her voice were rerecorded to form volume to ground noise. However, equipped with the most responsive
a composite variable density track. variable area recording permits a 6 db. modern reproducing equipment, a
There were definite reasons for louder maximum signal. further gain of 2 or 3 db. was ob-
having the various sections of the Therefore the push-pull variable tained by increasing the density of the
film on these different types of re- area method was retained for the sound-track printing, while for the
cording. symphonic numbers. On the other lesser theatres the range was com-
Two Systems Retained hand, push-pull variable density pressed within the smaller range of
Three very definite volume range recording offered a considerable ad- the equipment by reducing the density
levels were necessary; a conventional vantage in lessening ground noise at of the sound-track print.
range for dialog; a considerably great- lower levels, and the track would be It may be mentioned that while the
er range for Miss Durbin’s songs; less affected by dirt and scratches, so impression has been given by some
and the maximum possible range for it was chosen for the vocals; the ac- publicity stories that the technique
the symphonic numbers. For obvious companiments were rerecorded from and equipment used in this multiple-
reasons, each had to be considerably a clean new variable area track to track were
recording developed
in excess of the preceding one. variable density. specially forproduction, Sound
this
In actual fact, Mr. Tasker points This recording, in turn, gave an Supervisor Tasker states that while
out, the push-pull variable density additional 6 db. gain over the the technique was entirely new, the
work was done on standard equipment.
In this connection the studio engi-
neers, far from being followers of the
Everything Photographic technique of eastern laboratories,
for Professional and Amateur have actually shown these laboratories
improved methods.
New and Used, bought, sold, rented and The RCA-Victor engineers, for ex-
repaired. Designers and manufac- ample, were so pleased with the supe-
turers of H. C. E. Combination
rior results of Brown’s multiple-chan-
lens shade and filter-holder
nel recordings of the orchestra that
for any size lens.
they have decided to standardize
Hollywood Camera Exchange similar methods for all their sym-
1600 Cahuenga Blvd., phonic recording.
Hollywood
Tel. HO 3651
Cable Address: HOcamex
Send for Bargain Catalog Council Seeks Co-ordination
In response to a number of requests
for a statement of the position of the
Research Council of the Academy of
Motion Picture Arts and Sciences re-
garding the divergence of technical
opinion between the Council and the
Society of Motion Picture Engineers,
Major Nathan Levinson, vice chair-
man of the Council, states the Acad-
emy’s original proposal of September
16 last, presenting specifications for
a new standard projector aperture of
increased dimensions over that now in
use, was distributed throughout the
industry in an effort to obtain a co-
ordination of technical opinion on the
present aperture dimensions and the
advisability of a revision in the stand-
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1927 WEST 7er- ST. LOS ANGELES CAL
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November, 1937 • American Cinematographer 461

A. S. C MEMBERS Several of them were gassed, one so


badly he was unable to see with suf-
ficient clarity to drive a car.
Asked as to how the newsreelers

ON PARADE
John L. Herrmann, A.S.C., F.R.P. Chicago, crying for an assignment to
made out on trying to record the
news and remain at peace with both
sides in such bitter controversies the
answer was returned that it was nec-
essary for the cameraman to have
on tap their union cards and police
S., F.R.S.A., dropped into Los An- China. The stormy petrel of news- passes.
geles for a few days’ vacation in mid- reelers cannot be contented to be in In the rubber strike of a year
October and also to visit Mrs. Herr- a land of peace so long as there is earlier there were no disorders, but
mann, who for two months has been war on the face of the earth. old man Zero was in evidence. An-
with her mother in Long Beach. The Some of the newsreelers in the other experience was reporting the
new initials on the member’s name is midwest thought at times during the drilling of the mid-town tunnel in
a recent honor bestowed by the Royal steel strike in recent months they New York.
Society of Arts of England. During were carrying on in a state of war. (Continued on Page 4851
the past few weeks John also has re-
ceived word that Secretary Swanson
is forwarding him one of the fifty-
six silver medals ordered by Congress -'I RENTALS SERVICE :
last year to be bestowed on the mem- MOTION PICTURE CAMERAS BLIMPS
- DOLLIES AND ALL
-

bers of the second Byrd antarctic ACCESSORIES


expedition. HIGH-SPEED CAMERAS HIGH-SPEED MOTORS MOTOR EYEIMOS
The newsreel veteran has had a
varied assortment of assignments
during the preceding year, headquar-
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tering from Christmas to April in NEAR VINE STREET
Miami covering assignments on golf
Landers HE 1311
HE-2277 HOLLYWOOD, CALIFORNIA Trissel - CR-9907
tournaments, etc., to later from
Cleveland the steel strike, with tours
in Johnstown, Pittsburgh, Arequipa,
Youngstown, Massillon, Cleveland,
Monroe, Mich.; Indiana Harbor, Ind.,
and Army Flying Corps at Dayton llhiidjA Ou^ ^istonwC
and army manoeuvers at Fort Sam
Houston, San Antonio, Texas.
The cameraman felt very strongly
the tragic deaths of James Pergola
and William Pitt in the plane crash
in Utah. He had worked with the
former at the gold cup race in De-
troit Labor Day, while with Pitt he
was in constant touch all spring in
Miami. Here Pitt as news editor had
been contact man between the hotels
and newsreels. From this work he
had retired but four months before
to take up the work with Pathe in
which he met his death.
The visitor reported Ariel Varges,
A.S.C., now with the Hearst forces in

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462 American Cinematographer • November, 1937

CHANGE OF ADDRESS
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Keg Lite Runs On Its Own or emerging surface, where the light
is going from the glass back to air
the light
dition
is reflected back and a con-
known as total reflection has
(Continued on Page 454) again, this law does not hold. been established in the glass. This
The percentage of light reflected condition is easily obtained in a prism
the first or incident surface there al-
back into the glass increases rapidly where the sides of the glass are not
ways will be a portion of the light
with the increase of the angle, until parallel.
which will enter the glass regardless when the light is at an angle of 42
Near Total Reflection
of the angle. However, at the second degrees with the perpendicular, all
This situation is applicable to the
Fresnel type lens. Each zone or
segment can be thought of as a
portion of a prism. A cross section of
such a lens is shown in Figure 3. The
front prism faces are each calculated
to throw light in a certain portion
of the field.
Now, the outer zones or prisms
have to bend their rays so far that
the light is perilously close to the
condition of total reflection at the
front surface when the lens is used
in spot position as shown in Fig-
ure 3A.
Hence a large part of the light is
reflected back and takes the path in-
dicated by the dotted lines. Some of
this light gets past the other project-
ing prisms and the front of the lamp
housing and scatters to the side. This
is known in the industry as spill
light.
Heretofore the only means of com-
bating this spill light was by the use
of blinders to nigger it off. This is an
Figure 3. —
Cross sectional view of Leak-Proof lens. A Light source at spot position and
(B) liirht source at flood position. awkward and unsatisfactory method
November, 1937 • American Cinematographer 463

since complete niggering is practically


impossible without detracting from
the main light beam.
The manufacturers of the Keg-Lite
recognized this problem, and deter-
mined to design a lens which would
better cope with spill light. The re-
sult is a new lens, designed in Holly-
FAXON DEAN INC.
wood by their own engineering depart-
ment.
This lens aims to kill spill light by
stopping such light within itself.
This is accomplished by painting the
under surfaces of the prisms with a
heat-proof paint which is fused into
CAMERAS
the glass
As shown
surface is
itself.

in Figure 3, this painted


directly in the path of the
BLIMPS-DOLLYS
spill light and prevents emergence
FOR RENT
its
from the lens. This effect is most
noticeable by lighting a Keg-Lite and
looking sideways into the lens. No
glare of light is picked up by the eye
outside the main beam.
In fact, so satisfactorily is the spill
MO. 1183»
light eliminated, that the lens looks
“dead,” as though the lamp were not 4516 Sunset Boulevard Night, No. Hollywood 1271
burning.

No Stoppage of Rays
Some cameramen have asked if diameter to be placed before the lens, author of “How To Do Publicity,”
this painting does not cut off some which diameter being that of the lens published in revised form by Harper
of the light projected by the lens itself. & Brothers.
into the field. An examination of The Keg-Lite is designed to satisfy
Figure 3, comparing the paths of the most exacting requirements of
light rays through the lens at both motion picture cameramen and elec-
spot and flood extremes, will show tricians and stand as a contribution to International
that there is no stoppage of useful easier
lighting.
and more precise studio Cinema. Ine.
light rays.
The angles of these cut-off sur-
faces between the prisms have been FILM LABORATORY
carefully chosen, keeping this question New De Vry Branch
in mind. Fixing attention on point Herman A. DeVry, Inc., in keeping
“a” in either diagram, one can see with its factory and personnel expan- • Experienced staff

that around a given painted surface sion plan, is announcing the opening
• Newest equipment
all available rays are allowed to pass of a branch in Los Angeles. J. E.
to the field without any interference Norman, formerly Detroit represen- • Cinematographers are invited to
from this opaque surface. tative, will operate it. The branch use the services of our technical
will be situated in a convenient sec-
The characteristics of the light personnel and up-to-date facilities
tion, and will cooperate with dealers
field from this lens are a flat flood
and distributors in the Los Angeles-
— under the operative direction of
field, slightly soft on the edges for Jack Guerin
Hollywood territory. A complete line
blending, and an intense spot devoid
of De Vry products will be carried.
of filament image. To further utilize 6823 Santa Monica Boulevard
this light a new, wider standard has Hollywood, California
been set for diffuser brackets on the The value of the motion picture in —
Telephone Hollywood 3961
front of the Keg-Lite which allows educational and interpretive publicity Cable Address: Incinema
diffuser frames of 10 inches inside is described by Raymond C. Mayer,
464 American Cinematographer • November, 1937

was the presentation by President

ARNOLD GIVEN GOLD Victor Milner, on behalf of the mem-


bership, of a gold life card to John
Arnold, recently retired from the
presidency of the organization after
LIFE GARD BY A. S, C. a service of seven years. Along with
the card went a box of imported pipes
inclosed in a leather case bearing an
appropriate inscription on a gold
he A.S.C.’s month end party
T for October was the highspot of
the series for the year. Treas-
urer Fred W. Jackman had been dele-
gated as chairman of the evening, and
Jackman building. Walter C. Kelley,
the famous Virginia Judge, stepped to
the microphone at 9 o’clock following
his introduction by the host for the
evening. On several occasions the
plaque.
Jackman Thanked
The president in opening expressed
his pleasure in witnessing the prog-
in order to give wider scope to his Judge stepped down from the bench ress being made by Treasurer Jack-
plans for the entertainment of his to relate incidents that had come man in a business way, and on behalf
fellow-members he had invited them under his observation in the course of the membership extended thanks
to be his guests at the Jackman Proc- of a wide experience with men and to that official for his efforts to en-
essing Plant in Burbank. The larg- affairs, with resulting hilarity on the tertain them.
est response of the year resulted. part of the guests. The judge is a He then turned his attention to
The party was held on the spacious rare entertainer. John Arnold. Sentiment aplenty crept
stage on the second floor of the One of the features of the evening into the remarks of the new presi-
dent, as was to be expected between
two men who have been so closely
associated for twenty years.
The former president responded in
the same vein. He bespoke for the
new president the same cooperation
that the members had extended to
himself during the preceding seven
years.
The party was entertained by a
Fanchon and Marco Review. Frank
Yaccanelli and his side-kick won high
honors by their funmaking.

Honolulu Club Moving


At a provisional meeting of the
proposed Honolulu cinema club Sep-
tember 21 fifteen persons were pres-
ent. A committee consisting of Fran-
cis C. Williams, who has been instru-
mental in organization work; H. H.
Hutchison and V. E. Clark was cho-
sen to draw up a constitution and se-
lect a name for the club.
A tentative plan is to hold meetings
every two weeks. Willis Thomas gave
a short talk on filming color and illus-
trated it with a film exposed in the

RRCSHnKIES' islands. Those present had a peek at


Doctor Loscher’s “Red Cloud Lives
Again,” that product of the 8mm.
FOR EVERO PURPOSE Camera Club’s president having
crossed a couple of thousand miles of
the old Pacific to be with the new club.
FOR nny effect m
mOTIOn PICTURE Wanted to buy fed spot
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EUR
UST because the weather keeps indoor shots greater depth, bril-
J you indoors there is no reason liance and detail.
for any let-up in your movie-
making activities!
Its wide latitude tends to mini-
mize errors in exposure— and its
Simply load your camera with fine-grain emulsion and anti-hala-
Agfa l6mm Fine-Grain Superpan tion coating allow large-size pro-
Reversible Film jection without loss of sharpness
.and get just as
. .

good pictures indoors as you’d ever and detail.


expect to get outside. Agfa l6mm Fine-Grain Superpan
Reversible Film is available in
It san ideal film for indoor work lOO-foot rolls at $7.50, and in 50-
because its unusual speed and foot rolls at $4.00, including proc-
sensitivity to all colors give your essing and return postage.

HAMTON, NEW YORK


0 American Cinematographer • November, 1937

tt trill hutf a compact, fine!}" built movie camera with a precision-made


Kodak Anastigmat.f.3.5 lens that takes the sharpest 8 mm. movies you ever saw.

tt trill btttf a camera that takes outstanding movies in black-and-white,

and gorgeous full-color in —


Kodachrome either the regular outdoor
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Kodachrome, or Type A Kodachrome for indoor Photohood light.

It trill htty^ in short, the camera that wins prize after prize in amateur
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. at everybody’s price —
Cine-Kodak Eight, Model l2().

• See this sturdy, full-fledfred movie maker


at ycMir C2ine-Kodak dealer^'s. And ask to see
splendid movies such as you can make with
it the first time you ‘‘shoot.” Film prices,

including processing;: Cine-Kodak Ki^ht


Panchromatic Film-— $2.25; Kodachrome,
regular or Type A — $5.75.

EASTMAN KODAK COMPANY • ROCHESTER, N. Y.


i
November, 1937 • American Cinematographer 471

AMATEUR MOVIE
SECTION

Contents....

Wide World Supports Columbia Movie


Show 472

Ampro’s Model L for All Houses 473

SOCIETY How to Aid in Lighting Homes for

OF AMATEUR Cine Films


By William Stull, A.S.C.
474

CINEMATOGRAPHERS Here’s the Answer


By A. S. C. Members
476

Story of Girl and Dog (A Script) 477

It Won’t Be Long Now 478


BOARD OF REVIEW
News of the Movie Clubs 479
Victor Milner, President, A.S.C., Director
of Photography Paramount Studios, Acad- Holiday Moviemaking as Newsman
emy Award Winner 1935 Sees It 480
By John L. Herrmann, A. S. C.
Karl Struss, A.S.C., Director of Photog-
raphy Paramount Studios, Academy Award Great Sensitivity in Two Agfa Press
Winner 1928 Films 481

Fred W. Jackman, Treasurer American So- Dr. Gerstenkorn Shows Film of Raging
ciety of Cinematographers Yangtse 483

Dan Clark, Director of Photog- Japan’s Year Book Is Worthy Publica-


A.S.C.,
raphy Twentieth Century-Fox tion 486

Tony Gaudio, A.S.C., Director of Photog- Photographic Annual Will Aid Cam-
erist 487
raphy Warner Brothers Studio, Academy
Award Winner 1937

I
472 American Cinematographer • November, 1937

WIDE WORLD SUPPORTS


COLUMBIA MOVIE SHOW
Duncan Little Gets Word of Help
Coming to Aid International Event

LANS for the International Am- winning film from the “Concours In- Littles Are Hosts at Real
P ateur Movie Show, which Dun-
can MacD. Little of New York is
ternational” recently completed in
Paris, this outstanding film being an
Motion Picture Evening
N the evening of Saturday, Octo-
arranging on behalf of Columbia Uni-
versity, are progressing in a decidedly
Austrian production.
Early in October Mr. Little received O ber
at their
2,
home
Dorothy and Duncan
in 33 West
Little
Sixty-sev-
satisfactory manner. word from the Bund Deutscher Film-
Amateure E. V., which offers its co- enth street. New
York, were hosts at
Almost on the day of the first an- “An Evening of Motion Pictures.”
operation as well as suggesting two
nouncement of this most interesting The program was a most interesting
films which it deems worthy of en-
and unusual movie show came prom- welding of the old and the new, rang-
trance in the judging.
ises of wholehearted support from the ing from the famous subject of
American Society of Cinematogra-
And so the list grows.
“Grass,” which attracted great atten-
phers, in Hollywood, and the Insti- Spain Hopes
tion a decade ago, to “The Total
tute of Amateur Cinematographers in There is promised a prize winner Eclipse of the Sun,” exposed in Peru
London. from Japan and another from Scot- this year by Charles Coles, cinema-
These promises (which it seems land. A recently formed national tographer of the American Museum
will be fulfilled 100 per cent) are not group of amateurs in India has in- of Natural History.
surprising, for Mr. Little is a charter quired how it can participate and help, “Grass” is the story of the annual
member of the Society of Amateur and the aid of a leading club of ama- migration of a remote Kurdish tribe
Cinematographers (the junior society teurs in Paris has been offered. in quest of grass for its herds. It is a
of the American Society of Cinema- There is a note of sadness in a let- tale of hazard and adventure.
tographers) and “Liaison Officer” of ter received by Mr. Little from a Balancing the wide geographical
the Institute of Amateur Cinematog- group of amateur moviemakers in
raphers) for the United States.

Spain “we hope the special circum-
jump from one side of the globe to
the other was “The Circus Is in
stances under which our country is
Canada was next to fall in line, and Town,” bearing awards of two hon-
this is not surprising either, for many now suffering will not disturb an ef- orable mentions and photographed by
fective cooperation.” “Amen to that,”
of the films that Mr. and Mrs. Little Mr. Little.
have made were exposed in Canada, commented Mr. Little.
Completing the program was an old
and many are the communities there And so the list grows —from the friend, “I’d Be Delighted To,” by
Orient and from the antipodes — from
that would never have seen a movie Cinnewink Cinners, awarded third
were it not for the shows presented Europe and from “Our Lady of the prize for general excellence in the
annually by these two New Yorkers. Snows” —
almost without exception, 1932 competition of the American
theword is always, “We will cooper- Cinematographer. The film made a
And, too, when in 1936, the Hon.
ate.”
Arthur Bergeron, Sous-Ministre de la special trip across country for the
Amateurs of the cinema from all showing, and according to reports was
Voirie of the Province of Quebec, and
parts of the world are standing shoul- well received.
in 1937, when the Hon. Louis Co-
der to shoulder with Mr. Little, and
derre, Sous-Ministre de la Commerce The same program was shown the
helping as they can to make the In-
et ITndustrie, sponsored cinema com- following evening before the Men’s
ternational Show a success.
petitions in connection with the great Faculty Club at Columbia University.
125-mile canoe race on the St. Mau- All of the pictures were staged with
rice River, it was to Mr. Little they musical backgrounds on each occa-
turned for aid and advice. Why I Prefer — sion. In this connection “Grass” pre-
sented a trace of opening difficulty.
Canada Will Be In
Of course Canada fell into
The Montreal Movie Club
line.
is con-
Y ou
might be interested to
know why I prefer your
magazine to most others. First,
It had been ten years since Mr. Little
had seen the production and those who
assisted him had never seen it.
it is quite evident that most of
ducting a nationwide contest to select It was an unusually well-rounded
the outstanding Canadian film for the articles in the professional program, one that would require a
1937, which will be offered for the section are wTitten by experts. search to discover a precedent match-
International Show. You feel it —that’s all. ing it for contrast in its elements of
Because he, too, isa Liaison Of- Second, there is more TECH- drama, astronomy and science, the
ficer of the Institute of Amateur NICAL detail in the articles, battle of primitive peoples for bare
Cinematographers, Dr. Hugo Fleischer and they are not cluttered with existence, display of the carnival
of Vienna, Austria, has wholeheart- a mass of elementary detail. spirit in a modern city, and of com-
edly proffered his aid and assistance.
PAUL S. NICE.

edy subtle, maybe; even spicy, per-
Not only will he help by selecting va- haps, but after all the duties assigned
rious films for the International Show, Denver, Sept. 22. to spice in the cook book are quite
but he has promised to secure the well defined.
November, 1937 • American Cinematographer 473

Training for Army Men


AMPRO'S MODEL L Captain W. W. Jervey of the Sig-
nal Corps of the United States Army
is in Hollywood to begin his study of

FOR ALL HOUSES studio motion picture production in


continuation of the cooperative train-
ing program carried on by the War
Department and the Research Coun-
cil of the Academy. The captain is a

T he Ampro
new 16mm.
Corporation of Chi-
cago announces its Model L, a
sound-on-film pro-
jector for showing to audiences to two
on the screen, and in operating posi-
tion a safety shutter automatically
drops into place in the path of light
which allows the still picture to be
projected indefinitely without injury
1918 graduate of West Point.
Captain Richard T. Schlosberg, who
completed this course of training last
year, and Captain Charles S. Stodter,
to three thousand persons. The “L” who was in Hollywood the year pre-
is designed to give theatre quality to the film.
vious on the same duty, are now en-
performances with ample, clear, un- The shutter knob is operated man- gaged in training film production at
distorted sound to larger than ordi- ually so each frame or picture can be the War Department studios in Wash-
nary audiences. shown one at a time. ington.
The model is shapely and sturdily
High quality reproduction is pro-
constructed to withstand greater use
duced through a 3 stage class A plus
than is likely to be encountered. No
type amplifier with five tubes operat- See Heavy Leica Exhibit
expense or scientific knowledge has
ing on 50-60 cycles A.C. 100-120
been spared to produce a “master- What promises to be a cross sec-
volts. The total undistorted output tion of miniature photography as
piece” in projector building.
is 40 watts with a maximum output
Entirely portable, it is completely practiced today and the photographic
of 55 watts.
contained in two compact carrying event of the season is the Fourth
cases, the projector in one, with am- The model L embodies all of the International Leica Exhibit to be first
plifier and speaker in the other. In basic and exclusive Ampro features displayed at the International Build-
position, the projector rests firmly on and is fully covered by patents and ing, Rockefeller Center, New York,
top of the amplifier and may be oper- pending patents, including a license from Jan. 8 to 23 inclusive. Already
ated either open or closed depending under the Western Electric patents it is surpassing expectations in the

on the acoustics of the auditorium. covering 16mm. sound reproduction. quality and number of entries received.
Controls Centralized
It is sodesigned that, when the pro-
jector is being used for silent films
alone, the accompanying amplifier
and speaker may be used separately
to provide microphone talk and enter-
tainment. To assist the inexperienced
operator, all operating controls of the
projector and amplifier are centralized
and mounted on two panels.
When switching on the amplifier its
panel is illustrated, which not only
facilitates manipulation but indicates
the current is on. There is a conven-
ient pilot light also to aid operation
which can be turned on as desired.
Permanently attached arms, ca-
pable of taking reels up to 1600 feet of
16mm. film, are swiveled to enable
instant movement in various positions
without detaching, while the auto-
matic rewind will handle 1600 feet of
film in less than a minute without
transferring reels or changing belts.
Ample Ventilation
Ample forced ventilation protects
all standard prefocused base projec-
tion lamps up to and including the
750 watt. A triple claw movement en-
gages three sprocket holes in the film
simultaneously, which enables the
film to be fed properly even though
two of the three sprocket holes en-
gaged are torn and useless. A rotary
type shutter is multi-bladed, inter-
rupting the light four times a cycle,
thus affording maximum light effi-
ciency.
A still picture button will permit
the exposing of one frame at a time Ampro’s new Model L, 16mm. sound on film projector for showing to large audiences.

474 American Cinematographer November, 1937

HOW TO IMPROVE
LIGHTING HOMES
FOR CINE FILMS
By WILLIAM STULL, A.S.C.

of lighting would have made them do the diffuser over the edge of the
so. lamp’s reflector.
Backlighting Simple Another simple construction would
That trick is backlighting. Most be to fold over the top and bottom
discerning amateur filmers will go far edges of the cloth as a window shade
out of their way to backlight ex- is folded at the bottom, and to slip a

terior shots, but when they come to length of really stiff wire through
making interiors they all too often this loop.
forget how helpful this trick can be. Make a right-angle bend in the
In this particular case backlighting wire, so that the projecting end is at
would have been very simple. The right angles to both edges of the cloth.
club had four or possibly five lamps, —
Tack these projections which should
all of the clamp-on variety. The cur- —
be about three inches long to ordi-
tain used as a background was, like nary wooden spring clothespins with
Costume
very
and background often photograph
similar dark tones. Backlighting
most drapes, suspended from a cur- —
ordinary staples and your diffuser
as tain-rod, and that rod was, in this is complete.
makes them stand apart.
case, high enough to be well out of By means of the clothespins the de-

W RITING
lighting:
chore it
about home movie
isnothing like the
was only a few years
ago. You don’t have to stick so slav-
ishly to a-b-c fundamentals any more.
the picture.
One of those extra lamps could very
easily have been clamped on to this
rod and directed down on to the peo-
ple, taking care, of course, that the
vice can be clipped to the edges of
your lamp’s reflector; and since the
supporting wire is two or three inches
long, your diffuser will not be too
close to the heat of the globe, and
plenty of air for ventilation can get
direct rays of the lamps didn’t strike
The folks who are using either today’s through. If you plan the size and
the lens of the camera.
big Cine Specials or little Univexes
The result would be an outlining shape right, your diffuser will auto-
know a lot more about interior light- matically be held taut when clipped
highlight on the heads and shoulders
ing than did the pioneers with their
of the people, which would separate in front of the lamp.
early Cine Kodaks and Filmos.
them very effectively from the back- Another phase of lighting that still
Thanks to supersensitive film and
gi'ound. seems to give trouble is the matter
photoflood lamps home movie interiors
Sometimes an ordinary photoflood, of lighting extreme long-shots. Most
are now commonplace.
used this way, may not be strong amateurs have found that a lighting
But with all this improvement
enough to produce the desired effect; that is excellent for people is inclined
plenty of cinefilmers are still missing
in that case, the more powerful No. to be flat for a long shot of a room
some obvious tricks of lighting which
2 photoflood can be used. or corridor.
w'ould improve their pictures and sim-
Incidentally, the advantages to be
plify their problems of interior light- Illuminating and Lighting
gained by having some lamps
ing. Here, I think, the trouble is that
equipped with photofloods of one size
For instance, a few months ago one and others with larger or smaller all too often the filmer, unused to
of our leading amateur clubs made a lighting so large an area, thinks only
globes are another thing not always
scene in which quite a number of the of illuminating the area, and not
appreciated in amateur filming.
members filed past the camera in about lighting it. After all, lighting
front of a rather dark-toned curtain. Diffusers for Lighting — as opposed to mere illumination
They lit the shot rather well, with The use of for close-up
diffusers is a matter of arranging highlights
(as I remember it) one photoflood lighting is another simple trick that and shadows to give an effect of nat-
lamp on one side of the camera and hasn’t had any too much attention. uralness and depth.
two on the other, so that there was They’re very useful wherever you So the first thing to do is to con-
not only ample illumination through- want a soft, even light, as in close- sider the room under its natural light-
out but a definite highlight side and ups in either black-and-white or color. ing and see where the highlight areas
shadow side. You can make diffusers easily from and intervening shadow areas actu-
That much was all right, but when tracing cloth or white silk. ally fall. Then you can duplicate the
the shots were later projected it was Just how to make them must de- effect with your stronger photo-
seen they had overlooked the fact that pend on the type of lighting units graphic lamps.
the dark clothes of the men and the you have. One construction consists In many instances you can achieve
dark fabric of the background cur- of a simple disk or square of plywood, this natural effect by using your pho-
tain would both photograph as very with the center cut out and the diffus- tographic lamps merely to light the
similar dark grays. As a result, the ing material stretched over it. A area where your people are, and tak-
men did not stand out well from their simple pair of hooks can be screwed ing care of the other natural high-
background. Yet a very simple trick into the wood to enable you to hang light-areas in the room itself by mere-
November, 1937 • American Cinematographer 475

lyscrewing photofloods into the normal open shadows in between. This minated plane isthe one upon which
lighting flxtures. These latter, of “filler” lighting, incidentally, is an the audience’s attention most easily
course, should he reading lamps and excellent place to make use of dif- will be concentrated.
others equipped with shades which wdll fusers. —
And don’t be afraid to let your
screen the direct rays of the photo- Increasing Depth players walk through the shadowed
flood from striking the lens of the Professional cameramen have for areas when going from one highlight
camera. many years used the simple trick of center to another. Their progress
Now this may — inprobably
fact
lighting the different planes of a long through the shadows and half-shad-
will — produce a rather “spotty” light- shot with contrasting intensities to ows as they walk gives a more posi-
ing, with highlights around the table tive sense of movement to the action.
give an increased effect of depth. It’s
and reading lamps, and more or less just as effective on 8 or 16. You feel as though they were really
deep shadows in between. Well, bas- getting somewhere.
ically, that’s the natural effect, and
One of its simplest uses is in ex-
treme long shots through a series of T
it is nothing to be afraid of; in fact,
rooms opening from each other, where Bureau
it is something to be desired.
you can have one room more strongly
Mines Secures
of
However, sometimes those inter- Two-Reeler on Combustion
illuminated than the next, and so
vening shadows may be too deep. Our
eyes are much faster than a camera
lens, and we can see things in nat-
ural shadow areas such as we’re try-
on. Doors through walls shown in
your shot can be open, with streams
of light coming through them from
T he Power Within, a new two-
reel silent motion picture film
that depicts the historic development,
construction, and operation of the
the rooms beyond, which may not be
ing to reproduce, where the more lim-
seen in the shot. modern internal combustion engine
ited lens and film would, under our
And the trick is a lifesaver when and operating parts of the automo-
strict reproduction of natural light-
you are shooting along a long, nar- bile, is the latest addition to the
ing, get merely impenetrable shadows.
row hallway. If you light such a Bureau of Mines film library, which
General Lighting shot in the ordinai'y way you will get
now consists of over 4,000 reels that
a very flat picture, every bit as invit-
were shown on 100,342 occasions last
Well, the answer to that is “gen-
ing as a hospital corridor.
year to an attendance of nearly nine
eral lighting.” Use your regular pho- But with
million persons.
tographic lights, placed far enough beams of light coming in from the
rooms
By the utilizing of quartz glass
back so that there is a fair amount offthat corridor, nicely spaced
in place of the usual metal cylinder
of light in those shadow areas, but by shadows, you will get the impres-
head of the motor, actual photo-
still noticeably less light than in the sion of length —
and what’s more, your
graphs were taken with a specially
highlights. picture will be interesting to look at.
designed camera capable of taking
If you use a meter balance things In making a shot like this here’s 5000 pictures a second, thus por-
so that the shadows give a reading a general rule that’s worth remem- traying the actual combustion and
about half or maybe a third that ob- bering: keep the plane in which your the burning of gases within the cyl-
tained from the highlight areas. Then people have their most important inders. Each part of the engine is
you’ll have a natural effect, with the action the one most strongly illumi- graphically depicted in the first reel
natural highlight areas and natural. nated. For this most strongly illu- of this picture.

These three pictures were made without mo\'ing the camera, changing only the lighting. Note how increasing the number cf contrasted planes
of highlight and shadow apparently increases the depth of the hallway. In the left-hand picture only two photographic lamps were used:
in the foreground and behind the open door at right. The two farther rooms were illuminated simply by screwing photofloods into regular
lighting fixtures out of the picture to the left. In the center picture the front light is moved farther back of the camera and an additional
photographic lamp placed to the right in the farthest room. In the right-hand picture no frontlight at all is used. The lighting of the first
picture would be best adapted to action played in the foreground; that of the second to action in the middle distance and that of the third
to action mainly in the most distant room.
476 American Cinematographer • November, 1937

rHE ANSWER
By A. S. C. MEMBERS

Horse-show Events closer anglessome other time per- — where thei’e might exist a consider-
haps even on another day when your able range of tonal contrast, taking
7 am muchinterested in making son could take the jumps especially the reading on a sheet of flat gray
16mm. pictures of horses in action, for the camera. Except to the expert paper, like blotting paper, held in
and ivould appreciate advice as to
I horseman, one jump is very like an- place of the actual subject. In any
the best earnera angles for such scenes. other on the screen, and unless the event, you will do best to plan both
First: horses in action in a ring but audience has some positive indication exposure and lighting for the sub-
not jumping. I have stood on top of (like empty stands in the background ject, letting the background take care

an automobile on the long side of the of close shots compared to full ones in of itself.
ring and panorammed as steadily as intercut long shots) that the two were 2. It would be an excellent idea to

possible following the rider (my son) filmed at different times you can make turn the models on the platform. Not
of most importance. your picture much more effective film- only would you get a variety of differ-
ing the events this way. ing views quickly and easily, but you
The results are decidedly unsatis-
FRANK GOOD, also would inject a little motion into
factory. He is too small most of the B. A.S.C.
scenes which might otherwise be mo-
time; the constant variation in size
tionless.
in connection with the moving back- Close-Ups of Dolls
3. By all means use photoflood
ground and the short flash of elose-up
globes in good photographic reflectors.
as he passes the camera are all un- I am imdertaking a project of film-
satisfactory.
Never attempt to use the ordinary
ing about 30 colored dolls with color
500-watt or larger projection type
Second: horses jumping in the ring. film and my Eastman Cine 8 is
globes some of the earlier types of
Due to fences around the ring and equipped with f:1.9 lens. These dolls
lighting units used; these burn much
gates on the side of jumps, I doubt if are each about 10 inches high and are
more redly than the photofloods, and
a continuous, interesting picture can fastened on a cardboard pedestal.
while Type A Kodachrome and the
be made with one camera. Also, if Each has brightly colored clothes,
regular Kcdachrome when used with
you take a high position you mini- beads, jewelery, etc. J would like to
its photoflood filter will give normal
mize what is as a matter of fact get a good color rendition of each doll
color rendition with photoflood illum-
really a small rise (four feet), tvhile if separately and have the image as
ination, the redder light of ordinary
you get loiv for the effect you can- large as possible on the screen. Please
1. lamps will give your picture an un-
not get anything but the jump. What advise me on the following points:
pleasant orange-red cast.
should I do? Use of Westoji exposure meter;
1. As to the arrangement of your
P. S. N., Denver how to have background when using lighting, a soft, rather flat lighting is
meter. best. Place one lamp on either side of
As regards your first point, un-
the camera; one of these might be
2. Advisability of turning models on
doubtedly the most practical camera
platfoi-ni to get different views. just a bit closer to the subject than
position will be one at normal level in
3. Type of lighting advised. the other, to give a pleasing balance,
the center of the ring. This will give
with a suggestion of a shadow side
you a larger image and one of more U. Colors of baekground.
and a highlight side; but for color
constant size. Panoraimning, on the 5. Size of field covered with lens set
these contrasts should be very small.
other hand, will be considerably more at 2 feet; also depth of focus. If you are using a plain background
difficult, as you will have to make a
6. Whether practical to use supple- of colored cloth you can make the doll
complete 360 degrees pan. This can be
mentary lens to get still closer for stand out from it by having one or
done, but it would be wise to get in as
certain parts of doll, to show more two lamps directed on the background
much rehearsal as possible before you detail. itself but not striking the doll. To a
do your actual shooting.
7. Type of color film advisable.. certain extent you can accentuate the
As to the second point, you are right coloring of such a background by
in assuming that the ideal way to 8. Whether certain colors require
more lightthan others. using sheets of colored gelatin (ob-
cover such events would be with two tainable cheaply at any theatre supply
or more cameras, one a relatively high Dr. S. L. B., Milwaukee.
store) the same color as the back-
long shot camera and the other get- ground, over these lamps.
ting close shots of the jumps from a In using a Weston exposure In this case, the lamps illuminating
lower viewpoint. You overlook
the meter on a subject like this the thing the background will have to be con-
possibility, however,
of getting the to do is take your reading on the ob- siderably stronger than those on the
long shots and the closer angles at ject of greatest interest, in this case, subject, to offset the filtering action
different times. the doll. Take the reading with the of the gelatin.
the particular routine followed
If meter closeto the doll, so that it reads
4. The coloring of the background
by your son in such events does not only on the doll, and is not influenced
will depend upon the effect you desire
permit you to film a full circle pan of by the background.
and upon the coloring of the dolls’
one circuit of the ring and then to Be careful, of course, to avoid hold-
move in closer for low-angle shots of
costumes. A plain sheet of black vel-
ing the meter so it reads on its own vet makes a very good, unobtrusive
the subsequent jumps you can vei'y shadow. Several color filmers, both background and will accentuate the
probably get the long shots during the amateur and professional, have had coloring in the subject.
actual exhibition and then fill in the excellent results, especially in cases (Continued on Page 488)
November, 1937 • American Cinematocrapher 477

Scene 34 — Similar medium shot,but

STORY OF GIRL AND DOG from a


sets
slightly different angle.
down her
pick up Dog.
dipper, and turns to
Jane

BACKYARD movie which Scene 35 — Long shot. Jane struggles


A shouldn’t offer any casting
troubles in the average family
is “Dog Daze.” The cast consists of
Jane and Dog as
with your cast.
Scene 14
ing.
—Close-up
may be convenient

of Jane, speak-
and finally gets

Dog into tub.
Scene 36 Close-up of Jane’s hand,
taking Mother’s favorite shampoo
Father, Mother, a child we’ll call Jane, Title
—“Gee, bet I you’re hungry! from shelf.
and a dog. If you haven’t a suitable Come with me, puppy!” —
Scene 37 Close medium shot of
daughter, granddaughter, niece or
neighbor to play Jane’s part it’s just

Scene 15 Same as Scene 13. Jane Jane squatted down on floor, bathing
Dog.
gets up and exits, followed by Dog.
as suitable for a boy.
Any pooch do for your dog star
Scene 16 — Long-shot on street. Jane —
Scene 38 Close medium shot of
will Jane, as she rinses Dog off, pouring
—he doesn’t have to be a kennel club
enters, follow^ed by Dog. She turns
at her own yard, and hurries to the
in
water from tub over him with her
champ to win a blue ribbon in this pic- pitcher. Finally she sets it down; she
ture. With that out of the way let’s — front door. Suddenly she stops.

Scene 17 Close-up of Jane. She
is through.
go.
looks around, suddenly nervous.

Scene 39 -Close-up of Jane. She
DOG DAZE looks around, wondering how to dry
Scene 18— Medium-shot of Jane. She
Scene 1 —Fade In. of aLong shot turns from the steps, and heads to-
the Dog. (If you wish, you can cut
in inserts of wringer, clothesline, etc.,
building with a prominent sign say- ward back door, moving a bit stealth-
ing, “Dog Show Today.” Mother and followed by a return to the shot of
ily-
Father come out of building, talking. the girl, shaking her head.) Finally
Scene 2 — Close medium shot of

Scene 19 Long shot of back door. she gets an idea, and reaches for the
Jane enters, followed by the Dog. best bath towel.
Mother and Father. She says some-
thing to him.
She goes to the back door, looks in,
and finding no one there, goes boldly

Scene 40 Close-up of Jane’s hand,
taking towel.
Scene 3 — Close-up of Mother, speak- in with the Dog.

Scene 41 Long shot of bathroom.
ing.
Title— “I’m glad you like the dog I

Scene 20 Medium long shot by ice- Jane finishes drying Dog, and they
box. Jane enters. She opens the ice- exit together.
picked out for Jane’s birthday. She’s box door and looks in. —
Scene 42 Close-up of Mother’s and
wanted one so long.”
Scene 21 —^Close-up of a plate of Father’s feet approaching front door.

Scene 4 Same as Scene 2. Mother lamb chops in icebox. —
Scene 43 >Long shot of Jane and
finishes her speech; Father nods and
starts to reply.

Scene 22 Same as Scene 20. Jane Dog. She stops, hears the footsteps,
and hides the Dog in a closet. Fade
reaches into icebox and brings out a

Scene 5 Close-up of Father. He lamb chop. Out.
nods and speaks.
— Scene 23 —-Long shot. Jane turns

Scene 44 Fade In. Long shot of
Title “Let’s surprise her with it.” living-room, the family is grouped
from icebox, lamb chop in hand, and
Scene 6 —Long shot, three-quarter gives chop to the Dog.
around the room. Father and Mother
angle. Mother and Father walking are reading. Jane goes to her father,
into scene. He finishes speaking, she

Scene 24 Close-up of the Dog, eat- timidly, and asks him something.
registers agreement. As they walk out
ing the lamb chop hungrily. Fade Out. —
Scene 45 Close-up of Jane, speak-
of picture. Fade Out. —
Scene 25 Fade In. Close-up of ing.
— “Daddy, can’tI have a dog?”
Scene 7 —
Fade In. Long shot of
bare-picked chop bone on the floor.
Scene 26 — Close shot of Dog, lick-
Title
Scene 46— Medium close-up of
sidewalk at a corner in a good resi-
ing his chops. Father. He sternly shakes his head
dential district. Extending from cam-
era to the corner there is a hedge or Scene 27 —'Close-up of Dog’s in over-obvious refusal.

fence. Jane comes around the corner, wagging.


tail,

Scene 47 Long shot of room. Jane
goes over to Mother and repeats her
carrying her school books, obviously —
Scene 28 Medium long shot Jane
plea, again getting a refusal.
on her way home from school. Half-
way to the camera she stops and looks
and the Dog. She surveys the pup
judiciously.

Scene 48 Medium shot of closet
door. It swings open and Dog comes
around as though she heard something
and wanted to find out where it was.

Scene 29 Close-up of Jane. She out.


Scene 8 Close-up of Dog, barking.
shakes her head and speaks.
Title

“If you weren’t so dirty,

Scene 49 Long shot of back porch.
Dog noses his way out through door.

Scene 9 Same as Scene 7. Jane p’raps Mother’d let me keep you.” —
Scene 50 Long shot of living room.
turns, goes to the hedge, and looks —
Scene 30 Close-up of bathtub Father gets up and goes out.
over excitedly. faucet, with water running.
— —
Scene 51 Medium long shot on
Scene —^Close shot, from high
10 Scene 31 Long shot in bathroom. front porch. Father comes out, look-
angle, of Dog. very dirty and
It is
Jane is struggling to lift the Dog into ing for the evening paper. Up trots
bedraggled—obviously a stray. the bathtub. It proves too much for the Dog with the paper in his mouth,
her, as he is too heavy and the tub
Scene 11 —'Close-up of Jane, from tail wagging, and gives paper to
too high. She puts him down, looks Father.
low angle. She registers delighted
surprise.
around, thinking, gets an idea, and
exits.

Scene 52 Close-up of Father, from
—Close follow shot of Jane low angle. He smiles.
Scene 12
as she climbs over or runs around the

Scene 32 Long shot of bathroom Scene 53 —^Close-up
of lamb chops
door. Jane enters, tugging a laundry in ice box. Father’s hand reaches in
hedge (as your location may neces- tub.
and takes one of them.
sitate). —
Scene 33 Medium long shot. Jane —
Scene 54 Close-up of Dog on back

Scene 13 Close shot of Jane and with a pitcher or saucepan is ladling porch, eating chop.
Dog. She comes up to it and “makes
friends” with it. Add close-ups of
water from the bathtub into the laun-
dry tub.

Scene 55 Long shot of living room.
(Continued on Page 487)
478 American Cinematographer • November, 1937

IT WONT BE LONG NOW


Close of Entries for Cinematographer's
Contest Falls at Midnight November 30

W ELL, it won’t be long now. No-


vember 30 soon will be here,
and when the hour of midnight falls

the real work will begin the work of
grand best, one that will be on the
go to the corners of the world until
it is worn to a frazzle.
Those who are not new in contend-
at the formation of a cine camera
club there Dr. F. R. Loscher’s prize
winning “Red Cloud Lives Again
was shown by the organizers.

examining, assaying, judging what ing for honors realize a good ama- Each of these films had been spe-
cially sent for,Mr. Little for the one
has been done by amateurs in differ- teur picture is the instrument for
ent parts of the world to win the bringing its producer’s name into and Francis C. Williams for the oth-
crown given by the American Cine- places far from the maker’s home. er, and had been dispatched by the

matographer for the most worthy Within the month two of these sub- Cinematographer on request of the
work with the camera. jects, both of them photographed sev- two men.
There will be prizes, yes, of 8500 eral years ago, in their final destina- So the successful contender knows
cash and an equal amount of value tions spanned a distance of more than he has an ambassador at court who
in equipment. But those who make five thousand miles. across an area of thousands of miles
this magazine are not misled by the carries the cheer of one amateur
“I’d Be Delighted To,” by Cinne-
belief the contenders are motivated cinematographer to another.
winks Cinners, rested and worked on
solely by the desire for the gain that Among the equipment prizes al-
a Saturday evening before thirty-five
may go with the awards. ready listed are articles produced by
friends in the home of Mr. and Mrs.
the Victor Animatograph Corporation,
They know these amateur camer- Duncan MacD. Little in New York.
Bell and Howell, Weston Electrical
ists are seeking the honor of creat- The following evening before 125
Corporation, Agfa Ansco Corpora-
ing a winner, of photographing a members of the Men’s Faculty of
tion, Mitchell Camera Corporation
picture that will stand out among its Columbia University again it demon-
and Harrison and Harrison.
fellows. They know as well as every strated its subtleties, and to the en-
Victor is hanging up a Model 11
one else that the best photography joyment of both of these parties.
Victor Master Silent Projector (com-
will not of itselfwin an award. That At the same time over in Honolulu
plete with carrying case). Optional
is a part of the beginning —
the foun-
credit will be issued in the sum of
dation —after the theme itself.
8147 against purchase of Models 4
Following that is the cutting and

assembling; the titling and so much
TO OUR ADVERTISERS or 5 Victor Camera, any model Vic-
tor Sound-on-Film Animatophone,
he AMERICAN
leans on that! It is the story of the
play.
to
The
titles,
literary quality
dominate them and make
may cling T TOGRAPHER
that beginning with its January
CINEMA-
announces
Model 22 Silent Victor Master Pro-
jector.
Belland Howell will award 8100
live the characters to which the lines issue it will be increased in size
in merchandise to be selected by
are ascribed just as surely as does from 8 by 11 inches less trim to
9 by 12 inches less trim.
contestant adjudged maker of film
the dialogue of a novel make great
best in photographic technique and
or leave mediocre the shadow lives Thetype columns will be
made entirely with Bell and Howell
of the men and women they aim to lengthened to 10 inches. This
cameras, either 8mm. or 16mm.
express. of course will be exclusive of
Mitchell Camera Corporation has
By literary we do not mean flowery. the usual 2 picas allotted to the
sent in an Astro f:1.8 20mm. lens,
Far from that. We
mean the human, running folio.
every-day, man to man manner of to be awarded at the discretion of
The columns will be widened
the judges.
speaking, terse, crisp. And don’t from 13 picas to 14 picas (2>^
neglect your punctuation, keeping in inches). Agfa Ansco sponsors six 100-foot
mind that no punctuation is less of The page width will be in- rolls Agfa 16mm. Hypan Reversible
an evil than bad or wrong punctu- creasedfrom 41 picas to 44 Film and six 100-foot rolls Agfa
ation. picas (7J^ inches). 16mm. Fine Grain Plenachrome Re-
This is one of the phases of titling We are convinced this in- versible film. The rolls of Hypan are
the value of which many do not crease to a more standard mag- winning the high-
to go to the person
realize. It has the same relation as azine size will give our adver- estaward and using Agfa film for it.
reasonably good photography to the tisers, especially those using The Plenachrome rolls are to go to
observer. It is never noted. But if larger space, better opportunity the next highest prize winner who
by chance it be bad it is a smack in to tell their story and at the takes his prize-winning picture on
the eye. same time in some instances Agfa film.
will mean definite economy for Harrison and Harrison have handed
Speaking of Prizes them through avoidance of hav- to the judges a Harrison color meter,
Speaking of prizes the grand prize ing made special plates to fit in leather case, complete with six
is 8200 cash. Then there will be our columns. 114 -inch meter-matched filters in
others of 850 each, for photography, This is the first time in the leather filter fold.
color, scenario, home movie, educa- seventeen years of its publica- Weston Electrical Instrument Cor-
tional and scenic. There is no bound- tion The American Cinematog- poration contributes without reserva-
ary for the grand prize. That’s for rapher has changed the size of tion as to the character of the film
what the committee in its most care- its page. one of its famous Weston Cine Expos-
ful judgment declares to be the plu- ure Meters, Model 819.
November, 1937 American Cinematographer 479

entitled “Not a Word,” one of the


News of the Movie Clubs first
A
ten of 1934.
commercial film entitled, “Mak-
ing a 24 Sheet Poster” was presented
Los Angeles 8mm Club other member interjected
other size film.”
“or any through the courtesy of the McCand-
lish Lithographing Company. Both
The meeting of the Los Angeles JOHN E. WALTER, films represented entirely different
8mm. Club October 12 was called to
Acting Secretary. types of undertaking, and were well
order by the President, Dr. Losher, received, while new pointers were
who announced that at the next gleaned by the members from the
meeting the officers for 1938 would Philadelphia Cinema Club two types of films presented.
be elected. He further said the pres- The Philadelphia Cinema Club held A talk by Mr. Speckman, general
ent officers would not consent to run itssecond meeting of the fall season salesmanager of McCandlish Litho-
for re-election. October 12 in the Rose Room of the graphing Company, preceded the
A nominating committee composed Hotel Adelphia, with Mr. Hoot, presi- showing of his company’s film. He
of Dr. Henry Linek, Earl Janda, dent, in the chair. brought out the fact the science of
Claude Cadarette, Randolph Clardy Of natural interest is the question lithographing is based on the well-

and President Losher was appointed. of the club’s contest, and the method known principle that water and oil
The members were requested to hold of handling or passing judgment on will not mix, and that writing on
several meetings and suggest the the films. While no restrictions had stone can be transferred. These
names of at least two members for been passed on color or monochrome, basic principles are still the under-
each office. it was definitely decided no sound ac- lying ideas behind the entire litho-
G. C. Cornell, chairman of the news companiments should be utilized, in graphic industry, and of course with
committee, reported that quite a few the judging of contest films, but that refinements that have come up
members of the club had been writ- they all should be kept on a par through the ages make the entire
ing articles in amateur movie maga- by being shown silent. The Novem- process possible. About 45 members
zines and that it would be very bene- ber meeting, at which will begin were present.
ficial to the members to read these judgment on the films presented, will B. N. LEVENE,
articles. He mentioned the newly be restricted to members only. Chairman of Publications
announced three turret lens mount A new form of sheet has been pre- Committee
and suggested a well planned sce- pared, dividing it into two major
nario should have some type of run- parts, that will enable the judges to Edwin L. Dyer, A.S.C., while recov-
ning gag in order to give it a touch reach an instant decision as to the ering from his recent long illness,
of comedy. standing of the film. The lower sec- followed the example of several of
tion of the report will go into more his A.S.C. fellows by extending a
Josh the Prexy detail and will be for the benefit of hobby into a profitable sideline busi-
Dr. E. Boiler and Dr. G. E.
T. the film owners, as it will give a ness. In Ed’s case the hobby was
Schonen were announced as newly ac- clear picture of the natural criti- woodworking, for which Edwin has a
cepted members of the club. Ques- cisms resulting from the attitude of completely equipped home workshop.
tioning brought forth the fact that all the members present. Now it’s E. L. Dyer and Son, pro-
both these new members were den- Highlights of the October meeting prietors of Sunland’s most complete
tists and Dr. Losher was facetiously centered around Kenneth Space’s film cabinet shop.
accused of tiying to make it a dental
club instead of a moving picture
club.
The technical committee was ques-
tioned at length regarding different
types of exposure meters and their
peculiarities. They suggested that
they did not believe it advisable to
rely entirely on the reading given
by the exposure meters and that in
ari'iving at the correct exposure in
shooting scenes common sense still
played a large part in finding the
right stop.
Films of Members Bingham, Cun-
ningham, Hague, Becker, Pyle and
Janda were shown and explanatory
remarks over a microphone made
during the projecting of each film.
The film taken by the club at its
annual picnic was shown and re-
ceived the enthusiastic approval of
all members. It is in panchromatic
about 220 feet in length.
Dr. Henry Linek’s technical film
on making a porcelain inlay was pro-
jected. It was in kodachrome, 400
feet in length. This is the picture
described by Dr. Linek in the October
Cinematographer. When it was de-
clared by one of the members one
of the best ever made in 8mm. an-
480 American Cinematographer • November, 1937

HOLIDAY MOVIEMAKING
AS NEWSMAN SEES IT
By JOHN L. HERRMANN,
A.S.C., F. R.P.S., F.R.A.S.

OU might not think the news- ner; a family gathering; everyone noble bird are always good, and for

Y reel cinematographer and the


average home movie had any-

thing in common but they have!
getting enough turkey and pumpkin
pie; perhaps the big football game in
the afternoon —
and, almost always,
a “black-out” finale one of the surest
of sure-fire gags is a shot of Junior
in bed while the family doctor admin-

Of course the average amateur that “too much dinner” aftermath. isters the time-honored castor oil.

doesn’t often take trips to the poles, Photographed just as a matter of This strikes a familiar response in
“cover” floods, or travel about the fact, you haven’t much to go on there. any audience: I know I’ve used it —
country with Presidential candidates. But if you tie them together as a to end dozens of Thanksgiving
Well, the newsreel cameraman does human interest showing defi-
story, stories
not do it often, either. Such assign- nite people anticipating and doing All of this looks like an awful lot
ments are definitely in the ext?-aordi- these things, you’ve got something. of filming to do on one holiday,
nary class; they’re not run-of-the- And in a family film, you can get doesn’t it? Especially when your
mill assignments. shots of practically every member of camera crew will probably be pretty
In between these spectacular (and the family doing something natural well stuffed with turkey most of the
infrequent) achievements are dozens and interesting. day!
of little every-day jobs that are a lot For instance, to plant the date, we Anticipating
like the pictures and problems of the can begin with a shot of falling leaves Well, take another tip from the
average amateur. and a close-up of the calendar. Then newsreel man, and “stage” as many
There’s one kind in particular: the a shot of the butcher’s sign, “Buy shots as you can beforehand and
half dozen or so regular “seasonal” your Thanksgiving turkey now!” and plan so you can make the un-stage-
news stories which must be filmed a shot of his store, with mother com- able shots quickly and with the mini-
every year. —
You know those little ing in to select the turkey. mum of confusion.
sequences which tie in with our more Then you can show the various
Of course you can get the butcher’s
important holidays: New Year’s, Me- preparations for the feast stuffing
:

shop scenes days — perhaps even


morial Day, Fourth of July, Labor
Day, Armistice Day, Thanksgiving-
the turkey, making the pumpkin pie,
shining up the best plates and silver-
weeks — before
the turkey is really
bought. The same goes for the shots
Day and Christmas. Come the proper ware, and so on.
of the family getting dressed for the
time o’ year and you’ll see ’em in
Enter Relatives affair.
some form in every newsreel.
And what are they? Nothing so Here’s a good time to show father Most forehanded housewives do a
very different from the holiday films and Junior getting into their Sun- lot of —
the preliminaries making the
your neighbor makes. You don’t day clothes. Sister putting on her dressing, baking the pies, etc the —
know the people in the newsreel war-paint, and so on. day befoi'e the holiday. So you can
stories: but then, half the time you Next, in come the visiting relatives. cover these quite comfortably at that
don’t know the folks you see in the You can run the scenes of these time. The shots of the dishes and
holiday films your neighbor shows, guests and their welcome as long as silverware being spruced up also can
either. But both of ’em try to get you wish —particularly if they are be done beforehand; in fact they can
over the idea of how the holiday was relatives who don’t get together often. be done almost any time it’s conveni-
celebrated. And about now is a good spot for ent. And unless you are a stickler
I think the amateur can borrow the shot of the turkey going into the for absolute accuracy, those football
several useful ideas from the news- oven. game shots can be some you made at
reeler’s treatment of these yarns. While the turkey is cooking the —
one of the earlier games or even last
Get Human Interest menfolk may very likely go to the year.
First of all, there is the treatment football game —which gives you an That final gag shot
of Junior re-
itself. A newsreel man in New York oppoi’tunity to use your football shots. penting his last three slices of pie
or Chicago may make a Thanksgiving After the game, of course, comes can also be staged at any time. It

story but folks in Boston, New Or- the feast. You can open this with a can even be the first scene made for
leans, San Diego and Miami must shot of the roasted turkey coming the picture
respond to it as well as the New from the oven, and shots of the table, Let’s see what that leaves us. The
Yorkers or Chicagoans do. all arranged for the meal. Next, get shots of the turkey going into and
To get that appeal, even from a shots of the folks playing their knife- coming out of the oven must naturally
subject that touches everybody, you and-foi'k chorus —
in other words, de- be made on the great day unless —
have to strike a note that is familiar molishing the turkey. Incidentally, a your family enjoys turkey on other
to everybody. In other words, add to shot or two of father’s attempts to days than holidays. The shots of the
the bare facts of your story a human carve the turkey are always good guests arriving must as a rule be
interest appeal. comedy. made on the holiday, too. The shot
The bare facts of almost any By the way of an ending a close of the dining table decorations and
Thanksgiving story are: A big din- shot of the shattered remains of the the scenes of the group eating and so
:

November, 1937 • American Cinematographer 481

made right at the turkey makes its final emergence; will be easy to arrange your lamps
on must naturally be
it can be done earlier, when the al- so that the lighting for each will be
the time, too.
you plan your film- most completely cooked turkey is approximately right; often you can
You will see, if
ing this way, you can get a lot of the brought out for the last inspection make one lighting do for quite a num-
and basting. ber of shots.
filming done with either before or
after the rush of the actual celebra-
And in a film like this, the less
The shot of the festive spread be- fussing i*ound you do with lights and
Now if you organize your light-
tion.
ing, you can film a lot of these re-
fore the feast can be done in the
morning, as soon as the table is
camera the more spontaneous and —
the more natural— will be the shots
maining scenes surprisingly quickly spread and decorated. Then, with
you’ll get of your relatives.
and easily. that shot out of the way, you can set That leaves only the shots of the
Morning Shots up your lights unobtrusively in the arriving guests to make. And what
room and leave them there. With a could be simpler than to set up your
Those two shots of the turkey go-
little planning you can arrange them
ing into and coming from the oven camera on the porch (on a tripod, of
so that they won’t have to be moved course), all focused and wound so
will be simple close-ups and can be
so that all you have to do is turn on that you need only press the button
done with about one lamp, so quickly
the lights and focus the camera. as you go out to greet the visitors,
that even the most harried cook will
hardly know you’ve been there. You will know where each person while the camera, running automati-
The latter shot, incidentally, does is likely to sit, and which ones you cally, films you and your guests in
not absolutely have to be made when will want to film. Knowing that, it really candid camera movies?

New Eastman Kodak Case


Book-Fashion Designed
GREAT SENSITIVITY IN A radically different camera
opening book-fashion and containing
case,

TWO AGFA PRESS FILMS a “plus”compartment that holds film,


exposure meter, range finder and oth-
er handy accessories, is now obtain-
able for the Kodak Six-20 camera,
NCORPORATING important new and color sensitivity have not been af-
the Eastman Kodak Company an-
I developments emulsion-making
in fected by the gain in speed.
nounces.
technique, two new Agfa films have Known
Of the two new Agfa films. Super- as the “Six-20 Duplex,” the
been announced that provide the pho- pan Press offers slightly greater case is made of fine-quality, smooth
tographer with greater film sensitiv- speed, particularly in artificial light. brown sole-leather and lined with
ity than has ever before been avail- brown corduroy. A slide fastener on
It possesses panchromatic color sensi-
able. While improvements in film speed
tivity and has somewhat steeper three sides permits the book-style
have in the past been gradual, these gradation than the orthochromatic opening, and a corduroy covered sep-
new films exhibit a sensitivity that is
film. Super Plenachrome Press. Both arator, with snap-button fastener,
from three to four times greater than press films, which will be available in closes the extra equipment side. Con-
present “super” types of photographic standard sizes, are manufactured by struction is rigid, not soft, and pro-
film, the company announces. Bingham- vides ample protection against the
Agfa Ansco Corporation in
This amazing gain in film sensitiv- ton, N. Y. bumps and shocks of outdoor use.
ity will mean an advantage of 1% to
2 full lens stops to the photographer
— or a permissible shutter speed that
is three to four times as fast as that
previously necessary. The two new
Agfa films which possess this unusual
speed include Superpan Press and
Super Plenachrome Press, two cut
films that will be invaluable to the
press photographer.

Speed Valuable

These will find this extra speed ex-


tremely valuable in theirwork, for in
some instances ordinary Mazda light
or normal room illumination will be
In other cases,
sufficient for pictures.
small flash bulbs may be used in place
of the larger size. The new films will
also be a great help for stage pho-
tography, candid work, fast exposures
under poor light conditions and sub-
jects requiring extreme film sensi-
tivity.

Equal to the magnitude of this im-


provement in film sensitivity is the
remarkable fact that other desirable Users of the Kodak Six-20 or the Kodak Duo Six-20 can carry their complete photographic kit
photographic characteristics like keep- (except a tripod) in this sturdy, handsomely designed book-style case. The “plus compartment”
has a corduroy-covered lid that faslens down with a glove snap and keeps film supplies and
ing quality, clarity, proper gradation small accessories from tumbling cut. Hand and shoulder straps are supplied.
482 American Cinematographer November, 1937

the amplitude of these means great


enough to prevent the appearance of
return lines under all scenes and con-
ditions, particularly if prints are sup-
plied with white frame lines as some-
times occurs.
No frame lines at all may be toler-
able, but in film produced for televi-
sion black frame lines 1/16 inch in
width should be supplied, or better,
the dimensions of the standard aper-
ture of the Academy of Motion Pic-
ture Arts and Sciences observed,
which has a black frame line nearly
Vs inch wide.

Shifts Should Be Quick


Rule seven is: Employ lap dissolves,
quick fades or change instantaneously
from scene to scene.
Long fade-outs give the momentary
impression to the audience that some-
thing has gone wrong with the tele-
vision equipment. The receiver screen
does not go completely dark during
Unretouched photograph of confidential Don a fadeout as occurs in a theatre. It Harry R. Lubcke, Director of Television, Don
Lee television receiver and actual image ap- Lee Broadcasting System, Los Angeles.
pearing upon it as received 3% miles away remains lighted to a gray similar to
and behind two hills from transmitter W6XAO, the condition obtained when the trans-
Los Angeles,
mitter is on the air but not transmit- Thus a newsreel crew covering the
ting a visual signal. large city in which the television
Film in Television In conclusion, it is well to consider station is located would pick up events
the type of productions which will em- of interest, tragedies, etc., and have
(Continued from Page 451)
ploy this new technique. Television them on the air by nightfall. Film
present in the original runs of sev- will be received in the home, conse- records of important happenings in
eral of the examples. They are, quently the length of performance and other large cities would be flown
therefore, inferior representations of its construction will parallel that of by air-express and added to the edi-
the entertainment afforded in witness- radio. tion the day after happening.
ing a television performance. The Radio serials, which now occupy an
Quarter Hour Intervals
sound accompanimentalso adds to important position in the public mind,
the particularly when the
realism, Because television requires the could be produced for television with
persons photographed are the speak- whole attention of the lookers it is only revision of the scripts in the
ers. to be expected that the interval for future to eliminate costly properties.
Rules six and seven apply to the any one program will be fifteen min-
The half-hour intervals would na-
laboratory. utes, certainly not more than thirty
turally be occupied by pretentious
minutes. We have followed this prac-
Black Frame Lines efforts and if the unbroken interest of
tice in our work thus far.
Rule six is: Supply medium or the average audience could be insured
In the fifteen minute interval com-
light density prints with black frame by excellent story and production a
edy, vaudeville, newsreel or serials
lines. dramatic effort could be made.
can be presented. A well produced
Dark prints, because of the lack comedy with the technique of slap- Theme Song Possibilities
of contrast in the toe portion of the stick action and radio gag-telling art- It is expected that sponsorship will
H-D curve, and because of the low fully blended will be a new presenta-
signal level produced in the televi-
pay for television programs in much
tion to the American audience. the same way that it pays for the
sion equipment are definitely inferior
The vaudeville programs can utilize high quality radio programs of today.
to lighter prints from the same nega-
acrobatic, singing, tap and ballroom Low quality sponsorship (lengthy
tive.
dancing acts, certain magicians acts, commercial announcements between
The density numbers on the usual and impersonation, monologue and di- phonograph records) will probably
Cinex strip should run around eleven alogue acts, all with some restric- not enter television because of the
for a properly exposed negative. For
tions, but not modified sufficiently increased cost of the programs and
a dark scene of low key lighting as
to lose the style of vaudeville should the broadcasting equipment.
Figure 1, the Cinex reading would this be desired.
have to be around five to produce a Compared to present motion picture
usable print. Film Essential budgets, the majority of television
Black frame lines should be sup- The broadcasting of a nightly news- productions will be low budget pic-
plied to insure that no visual impulses reel at a time when all the members tures. Consequently, large expendi-
are produced by the transmitter when of the family can be home is an in- tures for stars’ salaries, lavish sets,
the receiver scanning spot is retracing stance where the use of film is es- and perfect production will not be
its path from the end of the last line sential. Often news events happen made.
of the frame to the beginning of the during the day when several mem- Rather, what will become specially
first line of the next frame. bers of the family are at work or trained stars, content with moderate
Electrical means are provided to ex- school. Instantaneous transmission of salaries, will perform before simple
tinguish the spot so that “return lines” such events would not reach an ap- sets and background projection equip-
will not be visible across the image. preciable part of the potential audi- ment, with an understanding thal the
However, it is inconvenient to make ence. “show must go on” and a director who
November, 1937 American Cinematographer 483

will accept their best efforts after he cial artist and the clever advertiser, The theme picture may always be
has rehearsed the scene in a speedy all willbe as interested in following the same, but by making the prin-
but efficient manner. the action of our “theme characters” cipals livefrom day to day or week
The theme song, now with a theme as we are in following the antics of to week the high quality sponsor can
picture, offers great possibilities of the little girl and her dog on the put over his product with such atten-
telling the advertising message brief- billboardsor the form of a given ad- tion on the part of his prospective
ly in a most pleasing manner. By vertisement in our more expensive customer that even a single word
employing the skill of the commer- magazines. might suffice for his message.

DR GERSTENKORN SHOWS
FILM OF RAGING YANGTSE
Gets Screen Record of Upper 600 Miles
of Tumbling River and Mountains
Piling

saved by bandits, not for a worse


A
Dr.
n
est
amateur
is
film of unusual inter-
that
Roy Gerstenkorn
just assembled by
of Los Angeles.
While the exposures were made
with the aid of a tripod there were
times when its usefulness was much
fate necessarily but surely for the
necessity of surrendering what in the
way of valuables they may have been
It isthe photographic record the doc- minimized by the turbulent waters
tor made approximately
a year ago through which the little steamer was able to take with them.
in a journey up the Yangtse River forced to make its way. There was Although was a year ago the
it
from Shanghai to Chungking, 1500 an abundance of vibration as the doctor made
the trip, perhaps eight
miles from the sea. The film takes craft struggled against the rapids. months before the outbreak of the
littleheed of the first thousand miles Many of the shots show most clearly undeclared hostilities, there was no
of the journey, that so far as Ichang. the difficulties of the pilots to keep apparent secret on the river that
It is when the trip is resumed from the ship out of trouble. steamers were carrying loads of silver
that point the real interest begins,
Lives Saved but Robbed guarded by Chinese soldiers up the
the entrance into “The Oriental Won- Yangtse in order to get it to safety
derland,” the “Gorges and Rapids of The vessel seen in one of the ac- and out of Shanghai.
the Yangtse,” as the doctor has named companying illustrations had been The pilots are Chinese, although
his film. The scenery is wild, beyond wrecked but a week before the pass- the first men to pilot ships from
any question. The photographer sug- ing of the doctor. The pilot had
Shanghai to Chungking were Brit-
gested so far as he knew the only missed his channel, had hit upon the
ishers,one of whom was Captain
parallel to it in the United States is rocks and with the suddenness char-
C. S. Plant, affectionately known as
the Colorado River. One indication of acteristic of the river the water
the “Grand Old Man of the Yangtse.”
the hazards encountered in the final dropped until the back of the ship,
as was obvious in some of the angle One of the stirring sights on the
six hundred miles lies in the fact the
shots, was broken as it was left high river which have been captured by
steamers anchor well before sundown.
Many of the scenes seem reminiscent and dry. The water at times recedes Dr. Gerstenkorn is that of a band of
of the Delaware Water Gap, a much very suddenly. trackers, or coolies, in some cases
magnified Water Gap. The pictures Three of the passengers had been ranging from two to four hundred
shown here are from the film. drowned and the others had been of them to a junk, harnessed to bam-

One of the “Gorges of the Yangtse,” photographed by Dr. Gerstenkorn, demonstrating why steamers sailing through 600 miles of the tricky and
hazardous upper river anchor before sundown each day. On the right we see what happened when the pilot made a miscalculation, the craft
landed on the rocks and then the water fell away. The passengers were first saved by bandits and then robbed.
484 American Cinematographer • November, 1937

Chinese junk anchoring for the night at base of cliff in “Gorges of Hie Yangtse.” On the right human burden bearers shew how the cargo
transportation problem is handled in the upper reaches of the Yangtse.

boo towlines as they struggle to pull needed for the inbound journey. The of precipitious mountains in the back-
their vessels upstream over fierce return is made in a week. ground, as well as its portrayal of
rapids. It is a form of labor not This film of a little known terri- the everyday life of a people re-
conceived by the Westerner. tory, with its faithful revelation of moved from the ordinary paths of
the dangerous navigation between travel, will have great interest for
Thousand Drowned educators. The picture should be a
narrow gorges, of dodging great
There are many things in the 450 rocks below as well as above the “natural” for the sessions of the Hol-
feet of film to which the picture has water, and with its towering walls lywood Forum at some future date.
been reduced which will make it of
lively interest to the American. One
of the novelties to many accustomed
to river travel in other countries is
the painting of scales in feet on the
rocks, like those on a dam or on the
KODACHROMING IN AIR
sternpost of a ship, in order the river
pilots may know the state of the wa-
ter without casting the lead.
DESCRIBED BY EXPERT
Indicating the treachery of the
Yangtse, statistics show an average
of a thousand persons each year are
K ODACHROMING from the air
over an interesting spot will give
the personal filmer a great thrill if
the objects to be photographed. Flat
lighting is the best in the air just as
it is on the ground.
drowned in the river. In some of the
his pictures have been made with a lit- As soon as you are in the air get
rapids a overboard means real
slip
peril. That one of the dangers
is
tle forethought. A two seater open your exposure meter to work and
monoplane is ideal, but any plane with point it straight down. You will be
when the coolies on the small boats
sliding windows will do. surpiised at the small aperture you
hook on to the larger vessels in
order to transfer passengers.
A day when the atmosphere is clear will have to use, but believe your
can be selected if the location can be meter. No good light meter is tricked
The film of the doctor’s has been
viewed from a hill or high building. by a sudden change of light conditions
adequately titled. A glance at the
card from which the titles were print-
When detail can be seen for a distance if you use it as its maker suggests.
of ten or twelve miles and the hori- At about 2000 feet you can begin to
ed gives an intimation of the at-
mosphere of the film: “A photographic zon is clear or after rain is ideal if shoot. Wedge your body into the seat
journey into the heart of China, the sky is clear and the sun shining. and hold your viewfinder to the eye,
through the mighty gorges over the If you intend using 100 feet or more pointing the camera downward as
fierce rapids of China’s greatest wa- film have a new spool ready in the much as possible, as the horizon does
terway, the Upper Yangtse. From the camera and your exposure meter riot look as well on the screen as it

deck of the sturdy little steamer we handy, as valuable time is wasted does when you view it from a plane.
view the junks, old towns, hamlets, changing spools in the air and the If you are wedged in tightly your
villages, pagodas and tem-
bandits, minutes pass at an expensive rate in body will act as a buffer for some of
ples, teeming with legend and
all a plane. the engine vibrations.
folklore that go to make up the lure Shoot a few feet of action outside
After each shot wind the camera,
of the Far East.” the hangars before you go aloft, such
the noise of the engines together with
One of the interesting views is as a plane coming to rest and one be-
the rush of air will deaden the famil-
that of the paths cut into the side ing started. If your lens has not a
iar sound of film running through
of the mountain hundreds of years fixed focus set it at infinity and fix
your camera. If you are fortunate
ago in order to provide a foothold it securely with adhesive tape. Then
enough to have a multi-speed camera,
for the trackers as they haul junks securely fix a Kodachrome haze fil-
shoot every scene at 64 frames a sec-
through the rapids. They are chiseled ter.
ond. This will have the effect of iron-
out of granite. Explain to your pilot before you
ing out most of the bumps.
The journey from Shanghai to take off that the best possible posi-
Chungking requires nearly a month, tion for filming will be when the plane JAMES A. SHERLOCK, S.A.C.
about two and a half weeks being is in a direct line between the sun and Sydney, Australia.

November, 1937 American Cinematographer 485

• Georges Benoit, A.S.C., writing on

A. S. MEMBERS C.
shipboard crossing the Mediterra-
nean, casually mentions at the mo-
ment three French planes are hover-
ing low over El Nil, the craft on
which he is sailing. The airships

ON PARADE (Continued from Page 461)


are a part of the squadron keeping
close tabs on all shipping in the big
sea, a supervision having its causes
in the Spanish revolution.
The A.S.C.’s public relations com-
mitteeman for Paris is on his way to
Egypt, in which country he will pho-
John reported gradually lessening father of a boy in mid-October. Con- tograph a picture for the Abdel Wa-
of flood dangers due to the activity gratulations. hab company of Cairo and which
of the government in building dams Mohammed Karim will direct. It is
for the small tributaries. In the • Warren Lynch, A.S.C., is an- a return of his engagement of last
past flood assignments have consti- nounced as a coming bridegroom. The summer. The subject will be in Ara-
tuted some of the tougher work of bride will be Marjorie Jean Reynolds, bic, and as the cinematographer does

newsreel men frequently really haz- a Los Angeles girl, niece of former not speak the language he is under
ardous. Governor Stevens of California. the impression it will be an experi-
The visitor returned to Cleveland T ence.
by air October 21, ready for the ap- ® Karl Freund, A.S.C., is now in The letter mentions that a couple
proaching football season. He said Europe on a vacation, joining Mrs. of months ago the writer had the
in this kind of work there was in- Freund, who has been abroad all sum- pleasure to meet in Paris John W.
creasing use of the lighter and more mer. Boyle, A.S.C., and intimates his be-
mobile cameras. The major sound T lief somewhere in the United States
cameras weigh 120 pounds against • Gordon Pollock, A.S.C., we are glad there are snapshots which include in
the 45 or 50 pounds of the silent. to say, is improving from his severe their subjects also Georges Carpen-
In Florida early in the year the injuries resulting from an automobile tier, who seems to have been the
A. S. C. man had abundant oppor- collision. It is believed he soon will third member of an interesting party
tunity to get acquainted with Dizzy be able to be removed from the Good in Paris. A peek at the photos would
Dean. His admiration for the base- Samaritan Hospital, where he was be appreciated.
ball player is so pronounced you taken with a broken arm, broken jaw Mr. Benoit is due to be back in
never are in doubt as to his regard and other injuries. He was thrown Paris by November 10, on which date
for him. Dizzy is a swell fellow to free from the automobile in which he he is slated to start cameras on “A
work with, as the cameraman de- was riding following its collision with la Page,” to be made by the C. I. C.
scribes him. a truck on Roosevelt Highway. company. Gerard Sandoz will direct
“There’s nothing dizzy about him,” the subject under the supervision of
he insisted. “The man really is Yves Mirande, one of the ranking
smart, and so is Mrs. Dizzy, too.” French authors.
The cameraman estimates that
each year a newsman without head-
KODACHROME The quality of French productions
distinctly is improving, it is reported,
quarters working on general assign-
ments, exposes film in perhaps fif- DUPLICATES the enhancement in value having been
noticeable for the last year. No longer
teen or twenty states. In the past STITH-NOBLE CORP. is there any attempt to make pictures
year he has worked possibly in ex- 645 North Martel Ave., Hollywood, Calif.
in twelve or fifteen days’ shooting,
cess of that number.
the producers realizing that such a
In Houston, Texas, three weeks shortening of schedules materially
ago he served as best man for his lessens the chances of the picture be-
brother, Cornelius L., when he was
married to Miss Ina Boyd, an M.D.
As John’s sister is an attorney he
QBemann ing successful.
Our correspondent extends his con-
now “points with pride” to the fact
he has in the family a doctor and a
^^spucTr gratulations to the man selected to
supervise the photography on Dani-
elle Darieux, the French star now in
lawyer. And that, by the way, ought
Hollywood. He said he had the pleas-
to constitute news in any man’s
ure of photographing her in one pic-
family.
ture, and that the one chosen to
When it was confidentially sug- photograph her will have an easy
gested by the reporter to Mrs. Herr- job. He describes her as young,
man that this big-framed man of beautiful and easy to photograph.
hers seemed heavier than he was five
years ago she raised her hands. T
A new fast dry splicer for
Edwin
“I don’t know what to do with 8mm and 16mm films. Pre-
L. Dyer, A.S.C.,
has joined
him,” she said in a despair that cision built assuring perfect splices. Features the ranks of A.S.C. members who are
dry scraper, improved cement applicator, and
didn’t seem entirely of the mock va- scratchproof film grips. See il today — directors. In the past few months
riety. “When we were married Ed has directed and photographed
twelve years ago he weighed 150 At Your Dealers or Write three industrial films for Jam Handy
pounds. Now he is up to 224. But Productions. They say he’s doing
he tells me he doesn’t eat much. And
really I don’t think he does.”
Ljeemanns right well at this dual assignment,
clipping off his schedules lots of time
i A lUHOLssRLe movie
and PHOTO SUPPUBS formerly spent in explaining and ar-
T 1435 No. Highland .Ave. guing things with the director. More
Hollywood, Calif.
• Gregg Toland, A.S.C., became the power to you, Edwin, we’re for you!
486 American Cinematographer • November, 1937

'Photographic Amusements'
JAPAN'S YEAR BOOK IS Leads Ten Predecessors
he
|

WORTHY PUBLICATION T
American Photographic Pub- |
lishing Company of B’oston has
|
issued “Photographic Amusements,” t

including tricks and unusual or novel


|

W ITH the compliments of the


consulate of Japan the Amer-
can Society of Cinematogra-
phers has been presented with a copy
of “The Cinema Year Book of Japan:
havoc for a long time. The book traces
the rise of the industry from the
disaster and its progress through the
close of the silent era
ning and development of the sound.
and the begin-
effects obtainable with the camera,
by Frank R. Fraprie and Florence C.
O’Connor. It is in its eleventh edi-
tion and has been revised and en-_
larged.
Incidentally it may be of interest
E

'

1936-1937.” It is a de luxe volume of There are many special articles and to note the first edition was issued
about 200 pages 9 by 12 inches in size
'i

synopses of more popular films as forty years ago. Of the 247 pages in
and printed in Tokyo by the Sanseido well as statistics of the industry. In the text the final 18 are of ways in
Company Ltd, Its publisher is the 1936 there were 513 pictures produced which to do tricks in amateur mo-
5

International Cinema Association of in Japan by 3500 studio workers. The tion pictures. In volume and content
Japan. total personnel is estimated at 50,000 the book tops any of its immediate
f

The editors are Tadash lisima, of which three-fifths are in theaters. predecessors, particularly in its f
Akira Iwasaki and Kisao Uchida. Ten the principal production
of marked attention to photographic re-
Their work is mainly in English, and productions.
companies are capitalized at over 50
it is done with a precision and quality
million yen. The number of theaters Ninety-five subjects are devoted to
that would command
praise for a par-
in the country is over 1600. informing the amateur photographer
allel in New York or
volume printed
how to do things out of the usual, a
London’s best printshops.

CRAIG
few of them retained from the first
The Cinema Year Book has been edition. An insight into the variety
!

compiled as a preparation in that


first
of things that are taught the photog- !

connection, the writer declares, and


rapher may be gathered from the 1
to show to foreign countries all the SPLICER and REWINDS leading ten in the list of contents:
phases of the Japanese motion picture
“It’s Done with Mirrors,” “Reflec-
industry.
— Maskand Distortographs,” “ Freaks
tions •

Industry Began in 1906 in Bellows Method,” “Seeing

Sixty pages are in illustrations of



Double Lens Cap Method,” “Box i;
;

Method,” “Sliding Panel Method,”


players and in scenes from pictures.
j

“Card in Front of Lens Method,”


In photography and in engraving they “Enlarging Method,” “Multiple Expo-
j

will rank with the best. So, too, they


CRAIG JUNIOR COMBINATION J8.50
!

Junior Splicer with two geared rewinds sures” and “Duplicators and Tripli-
will in composition layout. all mounted on 21" board. cators.”
The firstchapter of the Japanese
CRAIG MOVIE SUPPLY CO.
1053 So. Olive St. Los Angeles, Calif. In the chapter devoted to motion
motion picture industry opened in
pictures the authors suggest that
1896, when Edison’s Vitascope and
most amateurs with movie cameras j

Lumiere’s Cinematographe were in-


make pictures for two purposes: |
troduced in the country. They reached
Japan within the year of the an-
nouncement of their invention.
ENHANCE records of their friends and families
and for entertainment. Point is made
i

In 1904 the first motion picture


YOUR PERFORMANCE of the fact that pictures of the family
designed for a permanent record will
studio was founded in Tokyo, and in with KINO-HYPAR be more entertaining if they are
j

1905 there was a second one in Kyoto. livened up and made interesting.
In 1912 the Nikkatsu was organized.
The Kino-IIypar //2.T-//3 series
The industry was making long strides are Goerz Precision Lenses which While there are many things the
quickened by the flush following the give yon that clear-cut crisj^ bril- photographer may do with but one
Russo-Japanese war. liancy so essential in good movie speed in his camera there are many
The second chapter began with the making. They are made in focal more that may be done with speeds
of eight, sixteen and about sixty
World War, which brought about a lengths from 15mm. to 100mm.
frames a second. Also necessary is
revolution in all Japanese industries and can he fitted in suitable focus-
the attachment providing for stop
and as a result lifted the people’s ing mounts to amateur anti profes-
motion.
standard of living. New production sional movie cameras.
companies came into being. The peo- Eight methods are named as com-
ple called for more and better pic- Cinematic accessories includ- prising the list covering the making
ing- the Goerz Effect Device,
tures. By 1920 the screen had become of trick illusions: Stop motion, ab-
the Goerz Variable Field View
the fundamental form of public Finder and the Goerz Reflex normal speed of film in camera, tele-
Focuser are useful and pre- photo, double exposure, reverse mo-
amusement. cise instruments that en-
Where prior to this time the Japan- hance the pleasures of ama- tion, masks, specially constructed
teur cinematography. trick properties and laboratory trick
ese cinema had depended upon the
European example it now, due to the Literature on Request work.
depression in the amusement field of The book then goes into this list
the latter, shifted to the rapidly ris- in detail,a chapter that probably will
ing American industry. A new vista
opened. Young intellectuals began to
Ic.r.«6eiiz be read with much interest by the
amateur and in the great majority
take keen interest in the art of the
screen.
AMERICAN OPTICAL CO. of cases undoubtedly with profit. In
its editing and its typography the
The earthquake in 1923 created [3i7EAST$4^ST,. New Yoiu^ volume is a credit to its publishers.
” —

November, 1937 • American Cinematographer 487

Photographic Annual Will down past Mother. Dog comes up face, discovering loss. She turns and
proudly carrying the dropped piece. exits toward living-room.
Aid Progressive Camerist —
Scene 59 Close-up of Mother. She —
Scene 68 Medium-shot of Motner
dited by Frank B. Fraprie, edi- smiles. in living-room door, obviously asking
E tor of American Photography, Scene 60 —^Close-up
of chops inside who stole her chops.
Volume 52 of the American Annual
1938, has been re-
ice box. Mother’s hand takes one;
there is only one chop left.
Scene 69 —Close-up of Mother,
of Photography, speaking.
ceived the American Photo-
from —
Scene 61 Close shot of Dog eating Title —... I ordered four chops

graphic Publishing Company of Bos- chop. Fade Out.
now there is one!”
ton. —
Scene 62 Insert, close-up of clock,

Scene 70 Close-up of Jane, looking
pointing to 6 o’clock.
There are 96 pages of illustra-
full
226 of illustrated text and 50

Scene 63 Long shot of living room.
very uneasy.
tions,
Mother looks in at door, speaking. Scene 71 —Close-up of Father, also
pages of advertising. The volume is
of goodly dimensions, about 7 by 10
Title

“Supper in a few minutes!” looking guilty.

inches. The book is finely printed. —


Scene 64 Close shot. Mother’s feet Scene 72 — Long shot showing both
The price is $1.50 paper and S2.25 approaching icebox. Father and Jane. Both start to speak
cloth. —
Scene 65 Close shot, icebox door
at once.

Twenty-two
stitute the text.
special
One
articles
of
con-
these, by
swinging open.

Scene 66 Close-up of plate with so
Title
hungry — you see
“I . . . . . . he was

Nicholas Haz, will have special in- one solitary chop. Scene 73 — Same as Scene72. Father
terest for cinematographers. It is —
Scene 67 Close-up of Mother’s and Jane stop, and look at each other.
around the life and work of Karl —
Scene 74 Close-up of Dog, barking.
Struss, who in 1908 as a lad became
a pupil of Clarence K. White, with Enlarged "I /I Reduced O Scenes 75, 76, 77 Three very quick —
whom he remained four years. The
chapter is entitled “From Salons to
8 TO -LD TO o close-ups of Father, Jane and Mother,
all registering surprise and looking at
something in middle of room.
Screens,” point being made of the Geo. W. Colburn Laboratory
was a portrait photog-
fact its subject Special Motion Picture Printing Scene 78 —
Medium-shot of Dog,
rapher before entering upon work in 1197 MERCHANDISE MART standing in middle of room, wagging
CHICAGO his tail.
films.
The titles of some of the chapters Scene 79— Same as Scene 72. Father
will indicate the breadth of the vol- and Jane again start to speak to-
ume in its photographic range: gether.
“While the Sun Is in the West,” Title — “I only took one chop —there
“Technique of the Exposure Me- must be enough for us!”
ter,” “Photography of Trees,” “Prep-
Scene 80— Long shot of Mother,
aration of Minicam Slides for Projec-
shooting past Father, Jane and Dog
tion,” “Reptiles as Photographic Sub-
in foreground. Mother sees the point
jects,” “Mystery of Photographic De-
and slowly smiles.
velopers,” “Weather and Mountain
Photography,” “The H and D Curve: Title —“After this, we’ll look before
How to Make and How to Use It,” we feed you, Fido!”
“Experiences of a Photo- Journalist” —
Scene 81 Long-shot, reverse angle.
and “The Use of the Range Finder in Jane rushes forward to Dog. Mother
Nature Photography.” and Father exchange smiles over her
These are ten out of the twenty- head.
two, but they will give an idea of the
others. At the end of the volume are

Scene 82 Close-up of can opener
opening a can of beans.
“Who’s Who in Pictorial Photography
1936-7,” “American Amateur Photo- —
Scene 83 Close-up of Dog eating
the last chop, tail wagging. Fade Out.
graphic Societies,” and “American
Annual Formulary.” Title— The End.
It is a book the progressive photog- This scenario is of course intended
rapher can ill afford to be without. as a framework upon which to build
with the people and other facilities
you have available. You can easily
write in parts for neighbors and
Story of a Girl friends as you wish. Since many of
and Dog the closer scenes will be more effective

(A Script)
RINGING IN HEALTH if held to short flashes, it can be
filmed in much less footage than its
83 script scenes would indicate. In-
(Continued from Page 477) The 1937 Christmas Seals cidentally, ifyour production budget
Father is contentedly reading his vetoes such a lavish expenditure of
paper. Mother gets up and goes out. lamb-chops on the dog, remember that

Scene 56 Long shot in back yard.
BUY and
you can make all the inserts at one
Mother is bringing in the laundry. time, with one chop, and get the vari-
One piece drops, but as her arms are ous scenes of the dog eating the chops
full she goes on, and into house.
USE them with but one chop, by varying the

Scene 57 Medium long shot of camera angles. Lastly, unless your
back door. Mother comes out, sud- dog star is unusually fond of water
denly stops. The National, State, and Local Tubercu- be sure you make the shots of the

Scene 58 Reverse angle, looking losis Associations in the United States bath long shots!
488 American Cinematographer • November, 1937

Here's The Answer


(Continued from Page 476) CLASSIFIED ADVERTISING
you want a colored background, DEBRIE CAMERA, Parvo, 8 magazines, tri-
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focus on the basis of an f:1.8 lens of


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the same focal length, which will give WE BUY, SELL AND RENT PROFESSION- Tel. Circle 6-5080 Cable: Cinequip
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Focusing at 2 feet, your near limit RUBY CAMERA EXCHANGE, 729 Seventh WE PAY CASH FOR YOUR USED CAMERA,
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Write, wire or cable
1.6 feet; your far limit of sharpness MOTION PICTURE CAMERA SUPPLY, INC.
will be approximately 2.4 feet. You
SILENCED Standard Mitchell Camera, serial
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number above 200 40, 60, 76 mm. Pan
;
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can calculate this for any stop or
:
Tachar Astro lenses upright Mitchell finder
; ;

focal setting using the following for-


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h X d

then = near sharp limit. You can, of course, compensate for Makes Exposure Record of
this is by lining up through the finder
h + d
and then moving the camera the dis- Quarter Million a Second
tance necessary to bring the camera In a special performance the Na-
h X d
lens into the exact position occupied tional Educational Film Bureau
and = far sharp limit. by the finder in lining up. (Reichsstelle fuer den Unterrichts-
h-d Incidentally, in making these ex- film) showed pictures of bullets strik-
treme close shots, be sure to allow ing armor plate taken at the rate
The hyperfocal distances for a plenty of room all around to compen- of 250,000 exposures a second. This
12y2mm. lens at different stops are: sate for the fact that different 8mm. is a great advance as compared with
f:1.8, 111/4; f:2, 10; f:2.5, 8; f:2.7, projectors center the film differently. the last performance given by the
71/2; f:3.5, 5%; f:4, 5; f:4.5, 41/2; 7. Type A Kodachrome is by long
Reichsstelle before representatives of
f:5.6, 31/2; f:6.3, 3i/4; f:8, 2V2; f:ll, the press in the fall of 1936, when
odds the only film to use for this if
1 %. you are, as is probable, going to photo- a shooting frequency of 80,000 ex- v

6. It is quite practical to use a sup- graph the dolls by artificial light. posures a second was demonstrated.
plementary lens to get closer to Details of the the method and appa-
still This requires no correcting filter to
show more detail. If for instance you work with photoflood illumination, and ratus used are considered a military
have a Cine Kodak you can secret. It was learned, however, that
tilter, is much faster than regular Koda-
use this, folding the title-card easel the exposures are made by using a
chrome either with or without the
series of electric sparks with a sta-
out of the way. photoflood filter: Type A Kodachrome
tionary photographic plate rather
Or you can make a similar device has a Weston speed rating of 12 to
than with film.
using a good spectacle lens of the de- photoflood light, while the regular
type, with the filter, which is abso- In a personal interview Dr. Schar-
sired power, as described in this de-
partment in the April, 1937, issue lutely necessary, has a speed of 3.
din, professor at the Technical High
School, Berlin, who has led in the
(P. 168). Offhand I would estimate 8. Generally speaking you will not
development of the method used,
that a 1.5 dioptre lens would give you have to give any color more light
stated that he is now working on fre-
a full-screen image of your doll, while than others. Some extremely dark quencies of nearly 1,000,000 a second
more powerful lenses would give you colors, in shades that are almost black, and that it is theoretically possible
smaller fields. do absorb a great deal of light, espe- to increase the frequency up to 5 to
Using a device of this type would cially if they are non-reflective fab-
10 million exposures a second.
simplify the problem of parallax rics like velvet, plush, etc. But for
One of the chief difficulties en-
that is, the difference in the angle practical purposes this need not countered is in finding anything to
covered by the finder and the camera trouble you. photograph which moves fast enough
lens, which are several inches apart. WILLIAM STULL, A.S.C. to make use of such high frequencies.
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Name
Address
-

TMM
SCIENTIFICALLY ENGINEERED
THE

MITCHELL
CAMERA
ASSURES THE USER
OF UNFAILING
RESULTS.

Mitchell C amera Corporation


665 NORTH ROBERTSON BOULEVARD
WEST HOLLYWOOD. CALIF.
Cable Address "MITCAMCO" Phone OXford 1051

AGENCIES
BELL & HOWELL CO., LTD., London. England MOTION PICTURE CAMERA SUPPLY, INC., New York City
CLAUD C. CARTER. Sydney. Australia BOMBAY RADIO CO., LTD., Bombay, India
D. NAGASE & CO., LTD., Osaka, Japan H. NASSIBIAN, Cairo, Egypt

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