Beruflich Dokumente
Kultur Dokumente
by
December, 1937 American Society
of Cinematographers
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AMERICAN
CINEMATOGRAPHER
A Technical and Educational publication
on motion picture photography.
Contents
The Staff
EDITOR
Front Cover. Scene from MGM’s “Conquest” George Blaisdell
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.
Agfa is settling in new building: 414. How color was made at last corona- S Color: 31: 72; 298; 430; 484.
Agfa's fundamentally new type of tion: 186.
Color in black and
white films: 72.
_
Screens: 53.
infra-red film: 96. How lighting units are developed
Shearer, Douglas, & M.G.M., hon- Columbia University sponsoring Lit-
Agfa's new three color process: 50. today: 189.
ored by Academy Board: 145. tle's International Salon: 251.
Aid of foreign officials vital: 274. How one cinematographer secures va-
producing down in Tahiti: 9.
Shorts, Composition not so tough as is
Air photography: 190. riable diffusion: 328.
Some comment, some fact: 417. often claimed: 264.
Arnold again heads Cinematogra- Conditions in Orient fine, declares
I
Sound: 138; 324; 415; 453.
phers: 182. Sound recording quality improves: Fisher: 307.
Arnold given gold life card by India's picture men faced by handi- Contest of
324. 1936; 25.
A.S.C.: 464. caps: 276.
Stills, attacking the problem of Continuity: 30; 386; 480.
A.S.C. members on parade: 12; 56; Industry pays glowing tribute to
Cut, brothers, cut with care: 437.
color: 6.
98; 140; 184; 240; 286; 326; 370; Adolph Zukor: 49. Stroghotf —
triumph in technique: 101. Cutting to balance atmosphere and
416; 461; 502. Infra-red film: 96. action: 26.
Stumar directs Shaw: 179.
A.S.C. moves into new home: 5.
J
A.S.C. opens new home: 136. T D
As midnight sounds: 177. Jackman returns to business: 137.
has new method glass
develops focus for B-H Technicolor brings new charm to Da-Llte for
Attacking the problem of color Jones shift
beaded screens: 436.
camera: 188.
screen, 234.
stills: 6. Demonstrate new Eastman projector:
Television, lighting, sound, color
Just breaking in: 89.
B stand out at Engineers con- 261.
K vention: 229. Developing: 344, 435.
Believe new camera makes eclipse
Television of today has long road Diffused lightings make most natural
find: 420. Keg-lite aims once started to run on
to go: 280. color film: 298.
Bi-focal lens system for optical ef- its own: 454.
Television will supplement but won't Documentary film patterned from
fects: 10. Krasner, Milton, capitalizes availa-
supplant: 322; 366. prize winner: 69.
scenes Goldwyn's "Hurricane": ble assets: 8.
Big in
They make pictures in India: 90. Dramatizing a cow proves good busi-
498-9. Kruse builds rental crane: item, 283.
L
Time payments here: 358. ness: 30.
Blue ribbon for R.K.O.: 180. Tricks: 10. Duncan MacD. Little inaugurates mo-
405. Lens, bi-focal system for optical
By the sounding sea (editorial): Two new films for duplicating work: tion picture program: 523.
effects: 10.
C Lighting: 94; 134; 189; 230; 238; 278; 360.
E
Canty joins Universal: item, 192. 319; 454. W Editing: 26.
Chemistry's work told by Morrison: Lighting Shirley Temple: 94. Walker, Mate & Marsh win critics'
brings use of variable den- Effects: 70; 72; 144; 119; 218.
285. Linolite praise: 54.
sity: 413.
Effects, Kodachrome light: 31.
Color: 6; 50; 186; 230; 234; 273; 315; What 1937 has shown in technical Equipment: item,
299; 399; 429; 120;
372; 408. Lloyd, Frank, hails men of camera: progress: 493.
132.
435; 473.
Color real advantage shooting steel What says the morn?: 272. Exhibition of applied and scientific
mills: 500.^
Looking at London cinematographic- Why "idO Men and a Girl" makes a
all/: 50.
photography: item, 32.
Color student will find best guidance hit on screen: 453. Exposure: 300, 304.
in nature: 315. M Write your own head: 315.
Cooperation bulks big in work of F
Make-up: 496. M.G.M. to make wide use of tone- X. Y, Z
tint merging: 372. Family scenario of interiors for win-
Convention, A great: 228. Zukor. Adolph, industry pays glow-
ter shooting: 28.
"Michael Stroghoff" genu-
registers
Council may change projector aper- ing tribute to: 49.
Film: item, 82; 265; 388; 481; item,
ture: 412.
ine triumph technique: 101.
in
Milner elected president of A.S.C.: 346; 481.
Crane goes with Charney: item, - 192.
Film dryer: item, 120.
Cronjager,
55.
Edward, personality story:
Mitchell
406.
announces
corder: 138.
new sound re- AMATEUR Filters:
Ford
item, 32; 216.
designs mobile picture power
D —
Movie, The Uncle Sam's international A Flying
truck:
film.er
522.
tells of making air
Dallmeyer issues booklet: item, 195. salesman: 182.
Advances Cineamateurs hail DuPont's shots: 341.
Death of Ernest Cousin: 191. N new 16mm: 265. For best results plan vacations on
Developing: 142. Aerial photography: 341, 484.
New Burroughs "Wellcome Diary" budget basis: 256.
Device for producing variable diffu- Amateur Cameramen Make Winner:
sion effects: 52. Out: 192. 156. G
Dodd tells of new sun spot: 134. New film editing aid gives larger
Amateur Club News: items, 34; 116;
picture: 318.
164; 221; 258; 394; 428.
Gadgets: 306; 429.
E New Leica projector: item, 242. Amateur contest of 1936: 25.
G-E announces new flash lamp: 166.
announces production of
New office for National: item, 192. Amateur movie making: III; Getting best out of your exposure
Eastman Newsreeling: 92.
162;
meter: 300.
quality dupe and negative: 323. 218.
Amateur-pro or pro-amateur Getting professional diffusion with
Editorials: 5; 49; 89; 131; 177; 228; O is Ken-
amateur movie camera: 218.
272 315; 358; 405; 449. neth Forbes: 296.
;
One concern gets Brazilian business:
American concern gets bulk of Bra- German cine statistics: item, 217.
Effects: 10; 52; 96; 328.
369. Gerstenkorn, Dr., shows film of rag-
Engineers hold convention in New business: 438.
zilian
Ampro's model L for all homes: 473. ing Yangtse: 483.
York: 456. P
Automatic development has its ad- Going places is this 8mm club of
Engineers hold Hollywood meet on Harry, talks to pilots on air
Perry,
vantages: Los Angeles: 336.
May 24 to 28: 194. photography: 190.
435.
Great sensitivity in two Afga press
Engineers see pictures made at Uni-
Pollock, Gordon, builds test lab: B films: 481.
versal: 231.
320.
Background vs. foreground lighting: Gumbiner brings us 16mm sound
Equipment: 142; 188; 318; 320; 325;
lighting: 278.
Precision 118. camera: 399.
413.
Printing: 6.
prepared is key to luck when
Erickson describes triple 5 spot: 238. Being H
Process engineering: 232. on Safari: 208.
Exposure: 360.
Producing shorts down in Tahiti: 9. Bell & Howell installs vaporate film Half across world and back in
F Production effects with Agfa's new treatment: 299. color: 430.
type infra-red film: 96. Bol, Cornelius, comes to rescue Here's the answer: 168; 210; 267; 302;
Film: 96; 323; 360. Projection: item, 242; 412.
stand-ins: 124. 476.
Film editing: 318; 360.
R Brooks is agent for '''Night Photog- Holiday moviemaking as newsman
Film is more valuable in television:
raphy": item, 220. sees it: 480.
450.
Reaction on making his first color Build fastest sky camera to shoot Hollywood Forum has successful con-
Film exports gain ten million feet
picture: 408. eclipse: 252. ference: 342.
over previous year: item, 101.
Recent developments in motion pic- Business man's show has charm: 382. Honorable mention extended to ama-
First movies really were ''stupen-
ture lighting: 319. teurs: 73.
dous": 196.
Reeves, Art, introduces all-purpose C Hortons give trophy to Los Angeles
Frost is on the punkin': 449.
developer: 142. Cameras: item, 32; item, 83; 252. 8mm: 348.
G Reeves combines
light tester and Camera should be instrument of illu- How films aid in advertising: 439.
sensltometer: 282. sion : 119. How suggestion aids production: 338.
Gaudlo, Tony, wins camera honors: Reflectors: 53. Camera speed change will help your How to aid in lighting homes for
139. Research Council compiles bulletin shot: 304. cine films: 474.
Germans make gains: 377. on sound tracks: 415. Camera toting medico brings film a- How to get stills from movie frames:
Great convention, A: 228. River roll along: 92. plenty: 254. 214.
492 American Cinematographer • December, 1937
How to shoot Kodachrome light ef- Making cinema stars of amateurs: Photographic annual will aid cam- Teorey, Sergeant, outstanding disci-
fects: 31. 29. erist: 487. ple of 8mm movie making:
How to trick titles: 212. Making photos on metal: 311. Planning is +he basis of better vaca- 162.
Meters: item, 77. tion films: 386. There's right filter for every film
I
Moore, Grace, is keen filmer of inti- Poet-photographer, Ihe: 158. type: 216.
International meet set for April 6 mate shots: 434. Printing: 344. Thomson takes out patents for mak-
at Columbia: 340. Moore, Kinney, is making third di- Projection: 121; 261; 473. ing photo on metal: 311.
International salon proposed by Lit- mensional film: 388. R Three-lens turret built for 8mm users:
tle: 204. Musical mood and tempo for the 429.
It won't be long now: 478. 1936 prize winners: 74.
Roper creates unit to push film sales: Titles: 212.
349. important part
N Titles continue of
J S film: 390.
silent
Japan's year book is worthy publi- Native films: item, 120. San Franciscans hail Nelson's "Trail Transition: 14. I
cation: 486. Nelson, Clifford, shows film at Roch- Song": 215. Travel: 160; 208; 254; 430; 483.
James, Rian, to South Seas a-gypsy- ester: 268. Santa stars in Christmas continuity: Trick Shots: 70; 119; 338.
ing goes: 160. New Bausch & Lomb laboratory: 123. 528. Tripods: item, 120.
New Eastman sound projector dem- Scenarios: 28; 69; 477; 480.
K
onstrated at Convention: 261. Sease, Dr., A.S.C., talks to Philadel- U
King of Allah's garden: III. News of the movie clubs: 258, 308; phians: 258. Uncle Sam busy lenser: 398.
Kodaslide reproduces stills with great 479. Shooting waterfront as Sherlock sees
brilliance: 121. No easy task to get results in titling
it: 515. V
L film: 516. item, 82.
Shorts: Visual educationists meet: item, 217.
Notable honors for amateur produc- 16mm ideal medium for educational
Labs make advances in their han-
dling of film: 344.
tion: 295. pictures: 346. W
Lamps: Notes of the movie clubs: 526. 16mm sound displacing 35mm busi-
166. in Wheels of industry: 32; 77; 120.
Now's the time to get busy on needed ness way: 262.
Leavitt represents Univex in West: When added scenes close up the.
splicing: 530. Sound: 74.
262. gaps: 431.
Lens: item, 32; Item, 120. O Staten Island cinema: item, 222. Wide world supports Columbia moviee
Lighting: 31, 70; 94; 118; 124; 298; Oswald, 10 years old, going big in 8 Stills: 121; 214. show: 472.
347; 474. and 16mm: 266. Story of girl and dog: 477. Winter Inc. opens up to date store:
Lighting Shirley Temple: 94. Stuart, Ruth, wins triple recognition
P 525.
in 1936 contest: 25.
M Patience keynote to prize pictures:
T X. Y, Z
Mac-Gurrin paintings on view: 345. 70.
Major gadgets galore on stream- Photo product may be bought on Tell it to the film say examining You just can't help doing these-
line: 8; 306. time: 384. police: 395. transitlon things: 114.
sensitivity still greater than this ex- No radical innovation in profes- professional production have been
ceptional speed. sional motion picture cameras ap- developed. Among them may be
It is understood other manufactur- peared. The trend toward modern- mentioned a device for variable dif-
ers have similar super-speed emul- izing major studio camera equipment fusion effects developed by Emil
sions in preparation, so 1938 may continued, however, with an increas- Oster, of the Columbia Studio. This
confidently be forecast as a year of ing number of the self-blimped Mit- consists of a simple mechanism for
revolutionary changes in film, and chell NC type cameras as well as new raising or lowering a gauze or other
consequently in lighting, processing standard silenced cameras of the diffuser in front of a camera lens.
and many allied techniques. same manufacture going into service. The device is built into the blimp,
In the sub-standard field the major The combination of an unexpected- and is controlled from the outside.
reversal-type products have remained ly increaseddemand with a shortage John Arnold, A.S.C., developed a ro-
basically unchanged, but two new of high-grade optical products, both tating screen to protect camera
16mm. negative films have been put imported and domestic, has resulted lenses from water and spray in film-
out. in a nation-wide shortage of sub- ing rain and storm scenes.
DuPont introduced an improved standard —
particularly 8mm. cam- — An outstanding accessory in the
16mm. version of its familiar Su- eras and projectors of all types.
sub-standard field is the Harrison
perior panchromatic film, and Agfa,
Accessories Colormeter, a direct development of
in addition to supplying the familiar
the color balancing finder unit made
Superpan emulsion on 16mm. stock, Some few foreign sub-standard
by Harrison for the Dunningcolor
introduced a sub-standard version of equipments have appeared on the
American market, and there are per- camera and chronicled in these pages
the moderate speed, fine-grain Fino-
a year ago.
pan already used for background and sistent rumors that at least one not-
miniature camera photography. able European manufacturer of A reading is obtained from the
It may in this connection also be 16mm. and 8mm. caiueras is shortly meter by visual
inspection. This
remarked that DuPont introduced a to erect an American factory. reading inturn governs the choice
new emulsion of this type for mini- A new 16mm. sound-on-film single- of the color correcting filter used to
ature camera use under the name system camera recorder, the Gum- correct the color rendition of the
Parpan. biner Syncro-Sound, has been intro- scene to normal standards. The same
duced. This is a semi-professional firm marketed a set of matched filters
Cameras equipment, following essentially pro- for black-and-white cinematography,
Gevaert, already in the sub-stand- fessional practice as regards size, so coordinated that all filters have
ard field in Europe, and in this coun- general operation, and the like, but the same exposure factor.
try as supplier of the pre-slit 8mm. evidencing interesting innovations in
film for the popular-priced Univex, the dual synchronized motor drive Filters
entered the double-width 8mm. field of the picture and sound movements
No advancement in this field en-
with several films including a super- of the film.
tered the realm of practical camera-
speed variety. Several interesting accessories to
work. Reports of a liquid lens of
greatly increased transmission and
virtually universal depth of field come
from England, while at the Califor-
nia Institute of Technology experi-
ments with a new lens working at
an aperture considerably greater
than f:l are reported. Neither has
as yet reached the commercial stage.
Lighting
Lighting Technicolor
Incandescent lighting units, using
the over-volted Movieflood type of
high color temperature incandescent
filament globes in conjunction with
special daylight-blue filters, have
been officially approved and used suc-
cessfully in Technicolor photography.
In this connection, too, it may be
said that with the availability of
modern, Fresnel-lensed spotlighting
units of adequate power, floodlight-
ing units, and especially the overhead
“scoops,” have been as completely
eliminated from color cinematog-
raphy as have comparable incan-
descent floodlighting units from
black-and-white cinematography.
Two new types of flash globes for
still photography have been devel-
oped. One is an American version
of the wire-filled Phillips globe, made
here under the name Wabash.
This globe uses fine hydrolanium
wire instead of foil, and due to this
claims a longer peak of higher ef-
fective illumination. The other, a
controlled mercury arc, was de-
veloped by General Electric. This
globe may be used repeatedly, and
gives a fast flash of extreme bril-
liance.
Special-Process Cinematography
Several of the users of the pro-
jected background or transparency For explanation see caption under picture on opposite page. The score would seem to be even.
process have made important strides
in illumination, thereby making pos-
sible the use of notably larger back-
ground screens. such major releases, making one or ciety of Motion Picture Engineers
The same factor has made it pos- more color features. and in articles in this and other
sible to employ the process more ex- All of these films are being made journals.
tensively in natural color produc-
tions, as will be noted from several
in —
one process Technicoloi while — It is a multiple-layer, selectively
independent production of two-color sensitized emulsion similar in piin-
current productions. features, so noticeable a year ago, ciple to the familiar Kodachrome,
An equipment for using this proc- has declined almost if not literally from which it differs, however, in de-
ess in conjunction with stereopticon to the vanishing point. tail and especially in the fact that
or lantern slide static background' has one of the dye-coupler components is
Three Color Trend
been made available to commercial latent in the emulsion itself, while
photographers as well as to the in- At least one of these two-color proc- the others are added in a single color
dustry. esses is, however, in the final stages developer bath subsequent to normal
As has been indicated, the latter of a transition to three-color, while black-and-white reversal operations.
months of this year have taken on several other promising three-color This film is not as yet commercially
the proportions of a boom in color systems are under intensive develop- available in this country, though it is
production, with all but two of the ment. marketed in Europe.
major studios, as well as several im- Early in the year the Agfacolor The Dufaycolor process has cap-
portant independent producers for process was described before the So- (Continued on Page 507)
496 American Cinematographer • December, 1937
T he
most important factors in
the success of any kind of
make-up work are thorough un-
derstanding and cooperation between
the cinematographer and the make-up
That is the big trouble with the
“corrective” technique of make-up to-
day. In some studios it is quite
rightly regarded as the most impor-
tant recent development in make-up,
area, since
owed,
a hollow.
will
it is
reflect
not physically shad-
more light than
F-WlJjIkW
help the cinematographer with this
(0 tip Rooee ^^oA Body Makc-oo Wic
problem. To begin with, he would
'
1 3 i
Mawaro hUi_ uri« Pufft. Corli
Q
dentally, is a very delicate operation, L.T
'
‘
M.kr.p Pcnc,!
1
''
Under Roach
Teeth
Hair Lace Toupee
\
Beard. Kiocariit
Cb.n Beard 1
Striking Scenes
From Goldwyn’s
“The Hurricane”
Director of Photography,
Bert Glennon, A. S. C.
At left, —
above Terangi and Marama
decide to take a chance to outwit
the fury of the waters by climbing
a parau tree.
— —
Below At left Father Paul (Au-
brey Smith) and Germaine de Laage
(Mary Astor) tight their way to-
ward the island church in the hope
of finding refuge from the storm.
At their right Terangi (Jon Hall),
Marama (Dorothy Lamour) and Tita
(Kuulei DeClercq), their child, sink
their outrigger in order to preclude
discovery.
—
On opposite page Top, South Sea
Island feast. Bottom, left, Reri.
who attained fame as the native
heroine of “Tabu,” South Sea Island
production of the late F. >V.
Murnau and released in 1931 by
Paramount, returns to the screen.
Bottom, right, native girls congrat-
ulate Marama, the bride, and adorn
her with blossoms.
If
!
1
I
I
500 American Cinematographer • December, 1937
COLOR AN ADVANTAGE
SHOOTING STEEL MILLS
By CHARLES P. BOYLE, A.S.C.
HAVE just returned from mak- house a battery of half a dozen or a of the little 65-Amp. H.I. Arcs. Our
ing- feature-length industrial
a dozen rrrighty open hearth furnaces power supply was from one of
I United States Steel
film for the and the giant machinery used to Mole-Richardson’s new 175-Kw. gaso-
Corporation, telling the story of steel charge them and to ladle off the mol- line-electric generator trucks. Not
from the mine to the finished prod- ten steel are just too vast to be de- particularly generous resources for
uct. Making any kind of a production scribed in words. lighting up hundreds of square feet
on such a location is a difficult pho- of soot-covered blackness!
Lighting 31ill Big Job
tographic assignment: but this par- Lighting the closer angles, of
ticular film was photographed entirely All of this makes the matter of
course, was no great problem. But in
in Technicolor! At first thought one lighting any sort of a steel mill pic-
lighting the long shots we had to de-
might believe this would add greatly ture a really big one. For either velop a technique of revealing what
to the photographic problems of mak- black-and-white or color, it is of
we could, and suggesting what we
ing the pictui'e, with but little to show course manifestly impossible to build
could not directly reveal. Suppose, for
in added visual effect. up the lighting level to anything like
instance, that w-e were making a shot
Actually, I am convinced the exact equality with the incandescent glare
of a long battery of blast furnaces.
opposite was the case, for the color- of the molten metal.
helped us over some of our photo- It is just asimpossible to attempt Lamps in Groups
graphic problems, and added very to light up the whole huge area. These We would plan things so that in the
definitely to the visual effects on the limitations are heightened w-hen you foreground we would have whatever
screen. We could not have achieved consider that working on such a loca- action might be important, lit fully
so graphic a presentation of the steel tion one is thousands of miles away and naturally. For this we made
industry had we been confined to from the great store of lighting- especial use of the side arcs and some
black-arrd-w-hite. equipment we take for granted in of the smaller spotlights.
Anyone who has ever visited a big Hollywood, and must do the job with The other spotlights would be dis-
away wdth hinr mem-
steel mill carries a relatively limited supply of both tributed at intervals down the length
ories of huge, pitch-black buildings, lamps and power. of the building; not attempting to
highlighted here and there by the Since we were shooting Technicolor spread their light over the whole vast
white-hot glow- of incandescent metal. we had the advantage of using the area, but concentrated in groups here
Photographically it is a study in ab- modern, high-pow-ered arc lighting and there, each group of lamps pick-
solute extremes of dazzling white units developed especially for Techni- ing out some important action, or
light and inky-black shadow. color by Mole-Richardson. Our equip- creating a pictorially necessary high-
From the cinematographer’s viev-- ment consisted of a half dozen M-R light.
point the problem is magnified by the Side Arcs, ten M-R Type 170 H.I. Arc At one point in the background one
incredibly huge areas to be presented 150-Amp. spotlights, six M-R Type 90 of the furnace doors might be ajar,
in many shots. Buildings that will H.I. Arc 85-Amp. spotlights, and three creating another strong highlight. At
from a massive ladle, the foreground is normally lit, while open furnace doors
distance lend I ,
depth to the shot f2.
the
Making the hottest shot of “Men of Steel”: focusing the Technicolor camera on the interior of ain huge
electric furnace. (Photo courtesy United States Steel Corporation and Roland Reed Productions
)
December, 1937 • American Cinematographer 501
other points furnace doors might be color on the screen, the change does exaggerated impression of a scene.
opened intermittently in routine oper- not seem disturbing or unnatural. The contrasts between our illumi-
ation, momentarily throwing the men In fact, it seems to add to the effect nated areas and the necessarily jet-
working there into bold silhouette. At of the scene. At the far end the metal black surroundings also served to
the extreme end of the building was is obviously white-hot. As it cools in heighten the effects of color. The
an open door, through which the sun- the working, and comes near the natural colors of the steelworkers and
light outside could be seen. camera, the white heat fades to a yel- their clothes contrasted with the
Thus our long shots literally, low glow, to orange and finally to a many-colored glow of the hot metals,
showed the highlights of the scene, red; and in so doing, it makes it and set in a frame of velvety black-
the details of which later could be much easier for the audience to see ness made unusually effective color
shown more clearly in closer shots. just what is being done to shape the scenes out of shots which, in mono-
From the purely photographic view- metal. chrome, might have been ordinary.
point this enabled us to make the There were, of course, some shots It may be mentioned, too, that be-
shot, despite the huge area to be cov- necessarily made at points where the tween the lighting methods we used
ered and our relatively small supply metal was still white-hot. In these and the efficiency of the arcs with
of equipment. Actually, I feel this the primary illumination was often which we were equipped, we found the
treatment, which suggests things supplied by the metal itself. One relatively few lamps we carried ample
rather than showing them literally, might easily expect this to be a con- for our needs, even though some of
gives us a much better impression of siderable problem in color, where the our shots embraced as much as a full
size and depth than if we had lit up color of the lighting is of such im- city block in depth. On several oc-
the area in the regular motion picture portance. casions our Type 170 H.I. Arcs pro-
fashion. Actually, it was not; in some cases jected their beams effectively for well
This same idea of suggesting things the metal was heated to a tempera- over a hundred feet.
rather than showing them with bald ture of as much as 5000 degrees While this film, which is to be
literalness helped us out in solving Fahrenheit, which gave an excellent titled “Men of Steel,” technically
is
the problem of photographing the white light. In such scenes we often an industrial production, far dif-
it is
various operations on glowing hot used neutral density filters to reduce ferent from the general idea of an
metal. Often we would make long the intensity of this incandescent industrial film. Aside from the use
shots of such operations carried out glare to a point our equipment could of Technicolor, Roland Reed, who pro-
on a production line basis. handle, building up our lighting pro- duced the film for the United States
portionately. Steel Corporation, has given it a pro-
White to Yellow
In other scenes, where the metal duction and budget worthy of a major-
In the distance, where its dazzling was cooler, it ran through a variety studio program film.
intensity would not be too overpower- of shades from orange to dull red. As Film Is Educational
ing, would be seen the start of the it cooled, the light intensity lessened,
operation, on white-hot incandescent so that instead of being something The production is not, actually, a
metal. As the operation moved down that actively competed with our light- selling or advertising film. Its pur-
toward the camera the metal would ing, the metal became merely hot, pose is primarily educational; it is in-
grow cooler, so that by the time it glowing metal, and was shown as tended to give the public a more
reached the foreground of the shot, such on the screen. truthful idea of the men who make
while still definitely glowing, it would steel, and what they do. As such, sev-
Strong Contrasts eral versions are being prepared,
no longer be a white-hot blaze utterly
beyond the power of our lamps to Here was one point where color was ranging from a one-reel version for
balance. definitely superior to black-and-white theatrical release up to a five-reel
This, incidentally, gave us a very for such a picture, for in monochrome, feature for educational use in schools
interesting pictorial effect. Oddly aside from the intensity of the metal’s and clubs.
enough, while the metal’s color glow, the camera can make no dis- I have been told that several major
changes visibly as it cools, and this tinction between white-hot and red- studio executives who have viewed
change is of course reproduced in hot metal, and can thus give a very (Continued on Page 527)
1. On the screen this massive steel ingot glows orange-red as it is rolled into thin sheets. 2. Arc lights illuminate a river of molten iron flowing
into molds. (Photo courtesy United States Steel Corporation and Roland Reed Productions.)
502 American Cinematographer • December, 1937
By V. SOLYEV
T he problem of
three-dimensional
stereoscopic,
motion pic-
ture projection is now being
widely discussed in motion picture
pictures
means of
by anaglyph
polarizing
shaped” screen and so on.
methods,
filters,
How to Eliminate
CAMERAS
BLIMPS
For these reasons it was decided
that fundamental changes had to be
made in sound projection, and con-
sequently also in sound recording.
How can this discrepancy between
-DOLL sound and action be eliminated ?
This can be done by using two
microphones, mounted both on the
FOR REXT left and on the right side of the place
of action instead of using on which
records sound on a single sound-
EXCEPTIONAL
EASTMAN Fiiie-tirain
ni'PEirATI N'4> Eli. MS
I
504 American Cinematographer • December, 1937
analogous diminishing and increasing it appears possible to reproduce in the attainment of a complete “stereo-
loudness of sounds. In projection sound also the depth of the motion scopic effect” in sound.
the left sound film should be repro- picture spectacle the — convergence Sound reproduction of this kind
duced through a loud speaker mount- and recession of sounds in respect to will become an urgent necessity in
ed in the left half of the screen and the spectator. case three-dimensional motion picture
the right sound film through a loud In this way the motion picture projection is actually realized.
speaker on the right side. (See sound would be brought to correspond
Stereoscopic Spectacle
sketch). not only with modern two-dimensional
Then the seated in the
spectator, but also with the future three-dimen- Are there elements of stereoscopic
sional motion picture projection. vision in the motion picture theatres
theatre, is convinced that the sound
of the steps of the moving character Multiple Recording at present? Can we intensify these
is actually transmitted simultaneous- elements, preparing in this way for a
The whole question hinges on how complete shift to the building up of
ly with the movement of the person
to record two or even three sound
from one side to the other. three-dimensional motion picture pro-
tracks instead of one on a motion
jection ?
If in addition to the two side micro- picture film. There are several solu-
Questions like these were raised
phones there would be a third in the tions of this problem, arrived at by
recently at one of the scientific meet-
interior of the set used for photo- the most varied ways. But even if
ings on stereoscopic motion pictures,
graphing and also a corresponding one had to use for the sound film a
which are periodically arranged by
third sound track as well as a third separate film from the one on which
the Scientific Society of Engineers
loud speaker situated for projection the image is photographed that would
and Technicians of Motion Pictures
some distance behind the screen, then not be too great a price to pay for
and Photography in Moscow.
It appears that there are such ele-
ments and that they can be intensified.
A three-dimensional motion picture
spectacle can be most frequently ob-
served at present when a geographic
landscape is shown. Landscapes are
often photographed with a motion
picture camera that is smoothly mov-
ing as when mounted on an automo-
bile or in the window of a railway
coach.
The depth and relief of image ob-
tained is extraordinary, espe-
quite
cially if be seen on a well-lighted
it
Apart from the formation of such complete stereoscopic effect of youth- camera in smooth movement then you
a pair of images there is an addi- ful vision. have an excellent collection of stereo-
tional general requirement which the The very proportions of the screen scopic photographs.
stereoscopic frame must meet; that is, and the corresponding proportions of The inventor, A. K. Kaufman, has
it must imitate as nearly as possible the motion picture frame should ap- assembled a whole collection of about
the normal conditions of human vision. proximate more closely the form of 150 pairs of frames, such as were
Anything unnatural and unusual in the human visual field, which is con- just mentioned, and looks at them
the structure of the image hinders a ditioned by the structure of the optic through an ordinary stereoscope. (In
living perception of it. The angle at orbits. If this be roughly portrayed this the frames are looked at by
which shadows fall, the width of the in rectangular form, then a figure is transparency).
field of vision,the correctness of per- obtained where the sides are in a pro- In the course of this collecting
—
spective the eye takes in all this in portion of 1:2 and not 3:4 as is true observations were made on the pe-
the determination of volume, and all of the modern frame of film. culiarities in human perception of a
this inevitably betrays anything arti- Stereoscopic Photographs three-dimensional motion picture
ficial in the structure of the object. In the motion picture section of the spectacle. These observations are
Just recall with what certainty you All-Union Inventors Society in Mos- quite interesting for workers of the
determine where a photograph was cow they say: If you have strips of stereoscopic motion picture. How lit-
taken; this in a theatre, that in a film which were photographed by a (Continued on Page 524)
motion picture studio, but this one
here, from life.
Enlarging Vision RENTALS SERVICE
The limit of naturalness in lighting, MOTION PICTURE CAMERAS BLIMPS - DOLLIES AND ALL
-
EASTERN ii|
HEADQUATERS'|M
FOR THE Ml ice*
HTCHELL CMIviun--*-
CAMERAMEN
A.S.C. Members on Parade valley acreage his associates decline FORTUNE AND THE WARNERS
to classify the combination as any-
(Continued from Pase 497)
• Sol Halperin, A.S.C., a member of
the African expedition of Twentieth-
thing less in rank than an estate, par-
ticularly those who have been per-
T he
its
magazine Fortune for Decem-
ber devotes eight full pages of
by 14 inch size to the rise
ll^A
mitted to see the new stables now un-
Fox’s “Stanley-Livingstone” produc- and methods of Warner Brothers by
der construction. All of which is quite
tion, on his return stopped off in Lon- means of which it was enabled to
don. There he was joined by Mrs.
all right with M. G. He admits he
register a profit of six million dollars
really is beginning to live.
Halperin, following which the two last year. It is an intimate story and
toured the Continent. The Halperins y an interesting one. It begins at the
are expected back in California early • James Van Trees, A.S.C., and Ed- beginning and comes right down to
in December. ward Blackburn, A.S.C., trekked north today.
T to the Rogue River early in November The magazine suggests the com-
• George Meehan, A.S.C., of the Co- hunting steelheads. Both are in en- pany has larger gross assets (S177,-
lumbia Studio, extracted his flannels tire agreement the gamey tribe was 500,000) than any other motion pic-
from the moth balls and went to Can- running strong. That is undertand- ture company. Of Harry Warner, the
ada with one of his studio’s units on able. What does sound at least a head of the company as well as of the
picturemaking bent. bit —er, strange, anyway, is that each family, it remarks that while he may
insists the other caught the biggest not be as witty as Jack he is more
• M erritt Gerstad, A.S.C., has erected one. surprising and his career is more en-
so pretentious a home on his large tertaining than some of Jack’s movies.
• John It quotes Abe Warner as regarding
Boyle, A.S.C., recently re-
turned from England after a stay of the company which produces sixty
COMPLETE LABORATORY pictures a year for him to distribute
two and a half years, has been busy
EQUIPMENT
35MM— I6MM— 8MM at the Columbia studio.
as the Ford of the Movies by which —
Contact Printers, Lite Testers, Developing
meaning its position in the low
Machines, Optical Printers T priced field and the profit riding in
FRIED CAMERA CO. • Rude Mate, A.S.C., has returned to the volume rather than in an occa-
6154 Santa Monica Blvd. theWest Coast following a visit to sional “smash” hit.
Hollywood, Calif. New York. No one who has been a part of or
even on the fringe of the picture busi-
ness for any number of years can scan
Fully Guaranteed Used 35mm Equipment this tale of the brothers without find-
Mitchell, & Howell, Akeley, Holmes ing a lot of meat in it. “The Warner
Bell Projectors, Sound and Silent.
DeBrie, Universal, Pathe Cameras. Brothers trust few people outside
De Vry Suit Case Model Projectors.
Portable Sound Recording Outfits. their own camp,” it remarks casually,
Eyemo and De Vry Spring Driven We buy, sell and rent “but in each other they have the most
Cameras. anything Photographic. implicit confidence. ‘Warner Brothers
MOVIOLA CO.
Film Tested Laboratory 1451 Gordon St. Hollywood, Calif.
and
Sound Recording Equipment ..CINEX..
•
• Light Testers — Polishers used
California
December, 1937 American Cinematographer 507
What 1937 Has Shown This new feature was obtained by Electric’s “Mirrophonic” push-pull re-
adding an auxiliary lamp house which cording systems have become vir-
(Continued from Page 495) swings over the regular viewing lens, tually standard, though release prints
which then serves as a condenser, as a rule carry conventional rather
tured a large part of the studio color while the image is projected through than push-pull tracks.
still field. This material also is gen- an objective lens into a shadow box The passing, for legal reasons, of
erally available in most standard pro- built into the machine and reflected the Western Electric subsidiary. Elec-
fessional and amateur sizes of roll upward from a spherical mirror to trical Research Products (“ERPI”),
and cut film. the ground glass. must also be chronicled.
In Europe some use of the process Art Reeves introduced an ultra-
has been made for cinematography in Sound Recording
35mm. as well as the amateur sizes This year has seen a change in
of 16mm. and 9.5mm. Abroad, too,
sound recording which would have
a special negative-positive version of
been utterly inconceivable in the early
the process has been introduced.
days of sound. This is the greater
In America, the Dufay Company, contractual freedom now enjoyed by
in addition to establishing labora- the studios. Regardless of the record-
tories in several key cities for process- ing system regularly used by a studio
ing both professional and amateur it is now possible for a sound depart-
color films, has established a central ment head to employ any system for
laboratory where both duplicate trans- any individual production or sequence
parencies and paper prints from
for which he may deem it superior.
Dufay originals are made. This has been done in several in-
stances.
Make-Up
Both RCA’s ultra-violet light re-
Notable improvements in make-up cording (variable area) and Western
for natural-color photography have
been evidenced with each succeeding
color film. In addition a special lip
make-up for use in filming night
effectswith the new infra-red film
has been evolved.
A new version of the familiar Movi-
ola film-viewing machine was intro-
duced. This added to the familiar
Moviola direct-magnifying viewing a
feature permitting projection of the
picture, right side up and laterally
coirect, on a 5 by 7 inch ground glass
screen.
OPTICALLY
CORRECT
violet glow lamp known as the Lino- A new instrument combining the iature camera Kodachrome color film
lite. This lamp, for variable-density functions of sensitometer and light- on a commercial scale.
recoiding, is constructed so that no tester has been developed by Art
physical slit is needed. The light Reeves. This device, known as the Projection
source itself is of the requisite size Sensi-tester, times its exposures by In the professional field, the mod-
and shape, and is imaged on the film means of a pendulum, and meters ernization of theatre projection has
as a fine line of light by optical re- the light through fixed diaphragms been furthered through the installa-
duction alone. from a common light source with tion of new projectors with high-
In addition to the advances in Tech- such accuracy that it can be used intensity lamphouses using “Suprex”
nicolor processing and the revival of interchangeably as a light tester and carbons.
toning and tinting as already noted, as a practical sensitometer.
In the sub-standard field the arc
several important developments have
The same manufacturer has intro- recently made its bow in semi-pro-
occurred.
duced a moderate sized developing fessional16mm. projectors in France,
machine which may be used for either where Debrie has introduced a 16mm.
negative or positive film without re- projector for use in large halls and
Complete Studio Equipment
threading. small theatres. This projector is
KRUSE Another laboratory achievement is equipped with a 15-25 ampere arc,
Camera Rentals that of two Hollywood firms — Stith- 10-watt push-pull sound amplifier, and
—
Noble, Inc., and the Dunning Process similar professional features.
HI 4464 HI 8144
1033 N. Cahuenga Nile MO, 13470
—
Company both of which are suc- It may be mentioned that in Europe
cessfully duplicating 16mm. and min- 16mm. sound-on-film is reported as
being in extensive use in small the-
atres, a use for which it often has
been urged in this country.
In America Ampro recently intro-
duced the Model “L” sound projector
for audiences of 2000 or more. This
projector is equipped with a 750-watt
lamp, an efficient optical system, 55-
watt amplifier, arms to hold 1600-
foot reels, and a still picture device
for educational use.
DE BRIE AT SACRIFICE
N«w Type SUPER PARVO DEBRIE
Ultra Silent Camera Na Blimp Necessary
Has built-in motor, automatic dissolve,
pilot pins and anti-buckling device. Four
lOOO-ft. magazines —
40 mm, 50 and mm
75 mmF2.3 lenses —
Mitchell tripod, De-
Brie upright finder, set of front attach-
ments. Leather covered carrying trunk
and tripod cover. It's the latest type
equipment . . like new!
.
flRCS«nD"infilES'
FOR EVERy PURPOSE International
Cineina, Ine.
FOR nny effect m FILM LABORATORY
mOTIOn PICTURE
PRODUCTIOn • Experienced staff
• Newest equipment
J. E. BRULATOUR, INC.
NEW ''STREAMLINE" FILMO 8 mm.
This newest Filmo offers everything you
could ask of an 8 mm. camera. Instant
—
loading film literally drops into place.
Automatically reset film footage dial.
Single-picture exposure device for fasci-
nating animation work. Taylor-Hobson
—
F 2.5 lens assures fine natural color or
brilliant black-and-white movies indoors
as well as out. Four operating speeds.
Built-in spyglass viewfinder with masks
to show fields of extra lenses, which are
quickly interchangeable. Beautiful, mod-
ern, streamlined styling. Professional
quality in palm size, $80. With slow-
motion speed, $8 5.
FILAIO 8 Aloc/el 1 ^ 4 -G. Lowest-priced
Filmo, yet offers all the precision of the
"Streamline” 8, and many of its features.
Has an F 3.5 lens, a hand-set film footage
dial. Only $5 5. With speeds to 64 (slow
motion), $ 60 .
FILMO JJ PROJECTOR
The finest and most complete 16 mm.
projector for personal use. Fully gear-
driven, with geared power film rewind
no chains or belts inside or out. Theater-
quality projection is assured by its 750-
watt lamp, fast F 1.6 lens, variable volt-
age resistance and voltmeter, and time-
” \ Filmo
,
I
hutter gives uniform exposure over the entire Ptoiectots.
111. and
—
perture especially important for color movies,
loth enclosed spyglass and waist-level view-
nders. Pocket size. Two speeds and single-frame
xposures. Only $85. With F 1.5 focusing mount
ens, $139. Other 16 mm. Filmos from $65 to
1155.
B E L L
!
Tl
December, 1937 • American Cinematographer 513
BRIGHTNESS
EXPOSURE 01
> METER
^
AMATEUR MOVIE
SECTION
Contents....
Fred W. Jackman, Treasurer American So- Santa Stars in Christmas Continuity. .528
ciety of Cinematographers
Dan Clark,
Now’s the Time to Get Busy on Needed
A.S.C., Director of Photog-
raphy Twentieth Century-Fox Splicing 530
By A. E. Gavin
Tony Gaudio, A.S.C., Director of Photog-
raphy Warner Brothers Studio, Academy
Award Winner 1937
December, 1937 • American Cinematographer 515
SHOOTING WATERFRONT
AS SHERLOCK DOES IT
Had Abundant
Australian Has
Experience with Kodachrome
ogs, bridges, smoking tugs, Bridges are best Kodachromed from board the one that is to work on the
Long shots may be made occasionally if a figure, tree or boat may be shown in the foreground. Photographed by James A. Sherlock, S. A. C.
516 American Cinematographer • December, 1937
camera continuing to run until the piece of ground glass in place of the
fade-out of the last title, or preferably regular title card frame.
one foot longer, as the white letters For my title stand, I bought an
linger through the exposure longer additional part, cut out the metal
than the under exposed background. back, leaving only the frame to hold
Adding the extra foot makes the the fine ground glass which was cut
lettering and background disappear to fit. Your projector is now set up
together. so that it is in perfect line with the
camera lens and center of the ground-
White on Black glass.
For the procedure I have just de- The selected scene is projected on
scribed white letters are used on the glass from the back, and is fo-
black cards, and a plain picture is cused from the camera side. As the
used, except the light portions have shutters of the camera and projector
been toned dcwn by spray or soft will not open at the identical time
pencil. For trick introductory titles if they are run in the ordinary man-
you can purchase a set of letters at ner, in order to have a uniform ex-
the dime store, sold as “Anagram posure it is necessary to obtain it in
Sets.” a roundabout manner.
Putting your stand in the vertical
Projection Printing
arranged so
position, the letters are
that the titleis upside down to the The camera has been loaded with
camera. film that has been previously exposed
In this position, run the camera to the title of white letters on a
for sufficient footage to read the title, black card. The first frame of the
then begin sharply to tap the title scene in the projector is set on the
rack, knocking the letters into gen- ground glass, and one frame in the
eral confusion. After the film is de- camera is taken, using the trip re-
veloped and turned end for end you lease. The hand knob of the projector
Charles G. Clarke, A. S. C. will find that the action is reversed is used to bring down the next frame
and that on the screen the letters will of the scene, and a single frame pic-
unexposed maneuver into place in neat lines of ture is taken of it. This maneuver is
wound back on to the roll,
the title matter. repeated, frame for frame, until the
leader and all.
Perhaps you have wished you could required amount of footage is ob-
Now the light may be turned on
tained.
expose your titles over backgrounds
and the camera is reloaded, the lens
removed, and again the leader is run
in action. This can be done with suit- As this is in effect projection print-
Modernistic color effects in motion ing the the results are uncertain.
title, Agfa Issues New 35mm.
may be secured by reflecting prismatic Now what say on the title. That
to
Ultra-Speed Pan Film
bands and masses of colored light is a problem. Some are more clever
on the glass. Incidentally, I have
built a small aquarium to fit the cut-
out frame wherein are photographed
than others, and for them it comes
easy. For those less gifted the old
rule “Simplicity is the watchword”
T hree times faster than regular
high speed films of the “super”
type heretofore supplied, a new 35mm.
tropical fish and natural history sub- is a good one to follow. The purpose
film, Ag’faUltra- Speed Panchromatic
jects in close-up. of the title is to supply information for miniature cameras, is now being
that cannot be gained from just view- manufactured by Agfa Ansco Corpo-
All the above are ideas for the spe-
ing the scene, who persons are, when ration in Binghamton, N. Y.
cial titles,but a subject full of this
kind of title would not only be ex- anything happened, why and what ax'e Although improvements in film sen-
pensive but unnecessary. As long as they doing it for. The interesting have in the past been made a
sitivity
facts should be stated in as well small amount at a time, the increase
the subject matter remains along the
same lines, I use a simple white letter chosen and as few words as possible. in light sensitivity of this new film is
Remember how the National Geo- of such magnitude that exposures may
on plain background title, using the
graphic captions its pictures ? Theirs be made with 1 V2 lens stops less ex-
picture background only at the be-
is a good example, the views aptly
posure than was formerly necessary.
ginning of new “chapters” where the
but tersely explained, and usually Combined with its phenomenal high
locale, situation or time element
with a sense of humor. speed, Agfa U.S. Pan film has excel-
changes.
lent keeping qualities and wide lati-
For the ordinary sub-title neatly Your audience appreciates being en-
tude.
spaced typewritten capital letters on tertained, and dull, tiresome pictures
white paper are the best and simplest can be brightened by sparkling nar- Agfa Ultra - Speed Panchromatic
rative. Avoid being critical or too will prove ideal for stage photog-
I know. Using positive film which
witty, however, for a joke once heard raphy, candid camera work and other
costs only seventy-five cents a hun-
loses its attraction, and after run- conditions requiring maximum film
dred feet, the developed negative is
ning it repeatedly we are ashamed of speed. The film is available in a
cut into the picture, thus rendering
being its author. new, reloadable type, 36 - exposure
white letters on a black background.
daylight-loading cartridge or spool.
When you use negative, the usual
Conveying Mood Also it will be supplied in a 15-ex-
fade-in and fade-out will no longer
posure darkroom loading length for
work, as if made in the usual way, Much can be done to convey the all 35mm. cameras; in 27 14 -foot and
the negative will start from clear film “mood” of the scene by the choice of 55-foot containers of film notched and
and darken as the title appears. wording. Some of the awesome, grip- tongued for easy division and dark-
ping grandeur of the Grand Canyon room loading in 36-exposure lengths,
Of Titles No End and Yellowstone can be conveyed to and in 100-foot lengths of unnotched
Instead, must hold a white
you our audiences if we express that feel- film.
card before the title, and as the cam- ing in our titles.
era runs, withdraw it, which produces As an example ofthe ability of
a “wipe” effect. Slide the card over titles to smooth over the sudden Issues List 1137
again for the “wipe” out. Of course jumps in scenes, may I tell you of a Willoughby’s, at 110 West Thirty-
there are endless variations of mak- case I had today? I am titling some second Street, New York, has issued
ing titles, using block letters, cellu- pictures taken in Yosemite last its Bargain List 1137, describing new,
loid letters on grooved boards, etc., Spring. At that time the mountains shopworn and used cameras, lenses
but unless one has a “special” camera were covered with snow, but the val- and accessories for sale. Several hun-
or a slide over attachment for align- ley, being 3000 feet lower, was clear dreds of these are listed.
I
teur film which was designed and built for the mechanical processing of this ished film. It has a capacity com-
for a local laboratory. We have just new and popular sized amateur film. pletely to process, polish and dry 1200
had an opportunity to see in actual The entire unit is compact, taking feet of 8mm. film an hour and one or
demonstration another machine built up a space less than ten feet in length more machines can be operated by
on the same principle, and by Walter by 15 inches in width. It is so con- one man, since all the attention neces-
W. Bell, the same man, but for use structed that all accessories are an sary is to change film reels every 2000
in processing stiaight 8mm. revers- integral part of the machine and with feet, which may be done without in-
ible film. the developing tanks and drying cab- terruption of operation.
This machine we predict will be the inet are mounted on one frame. The entire mechanism in the devel-
Due to the extreme narrow width
of this type film it has been considered
nearly an impossibility to design a
machine that would handle this size
film through all the solutions that are
necessary for the reversing of ama-
teur film without breakage, but appar-
ently Designer Bell has overcome this
stumbling block.
At a demonstration given the editor
it was shown the machine is fully
capable of running film through with-
out tension at any point and also
that it is fully capable of compen-
sating for automatic stretch and
shrink to which the film is subjected
during processing and drying.
Builder Demonstrates
Mr. Bell demonstrated these features
by deliberately stopping the film at
the drying cabinet while the machine
was still in motion, thus throwing
a surplus of loose film in the machine.
Immediately this slack would be
transmitted through the machine to
the feed-in reel, which would stop long
enough to take it up, following which
the tension again would be normal
throughout the entire mechanism.
The builder likewise demonstrated
that by even putting excessive drag on
the film at the feed-in end it would
not tighten up the film in the machine
at any point other than the first loop
or so over the immediate rollers at
the feed-in end.
This machine, like previous 16mm.
models he has built, drives the film
by means of the bottom rollers. At
no place throughout the entire ma-
chine does the emulsion side of the
film come in contact with any surface.
The total thread-up is approx-
oping end is made of rust and acid In the developing end there are ten saving effected in labor, space and
proof stainless steel, while the dry- separate compartments or tanks to chemicals, to say nothing of the su-
ing cabinet is of metal construction accommodate the various solutions as perior results in processing, should
covered with three-ply veneer. All well as different washes that are quickly pay the initial costs of the
main frames and other metal parts necessary for the reversal process. machine.
are of Dural metal, while all drive The time in each of these solutions
Due to the extreme simplicity of
shafts are carried on precision ball and the chemical process set up is
this unit it can be put in operation
bearings. such as to give the best results in the
immediately by any laboratory techni-
Air Conditioned finished film. These standards have
cian, even without previous expe-
The air conditioning unit for drying
been set up after careful research and
rience in the operation of automatic
in cooperation with the manufactur-
the film is directly connected to the developing equipment. The units are
drying cabinet and furnishes ample ers of 8mm. reversible film.
so designed that upon uncrating they
warm air to dry the film properly. Mr. Bell states that a machine of can be in full operation within a few
Since the air is drawn through a spe- this capacity is well within the reach hours after receipt from the factory.
cial design of glass filters there can- of even the smaller laboratories which The only work required to install is
not be any dust or dirt transmitted now are finishing 8mm. reversible the connection of water, drain, warm
to the film during drying. film by the hand method, and that the air outlet, and electrical hook-ups.
LAP DISSOLVES There are also some ways of mak- Another method, which helps mini-
I have a 9.5mm. Coronet constant- ing lap dissolves on reversal film. mize errors introduced by the rather
speed camera. I find my pictures, Several 16mm. cameras either have inaccurate footage counters with
when exhibited, seem monotonous, or can be fitted wdth a hand-crank w'hich most sub-standard cameras are
owing to the fact that it is impossible mechanism which permits winding equipped, is to use a changing bag
to bring about lap dissolves as in pro- back at least enough footage for a such as still photographers use.
fessional films. My interest in pro- dissolve.
In this you can, before shooting
fessional work has made me keen There are at least two films in this the first scene, notch a starting mark
whenever possible to duplicate pro- country which have devised back- in the edge of the film and then later,
fessional effects. Could you help me cranking attachments for 8mm. cam- rewinding in the changing bag, bring
to do this?— H. D. D., Waverley, N. eras as well. It is possible such a
the film back to that easily found
S.W., Australia. device might be built on to your 9.5;
mark, and work onward to your sec-
The 9.5mm. standard is virtually we cannot state this positively, of ond scene.
unknown in this country, so these course, as we are not familiar with
Much of the difficulty of rewinding
suggestions must be based on experi- the camera. In such an event making
is, of course, eliminated when using
ence with 16mm. and 8mm. rather lap dissolves would be simple.
double-run 8mm. cameras, with which
than with 9.5. Fundamentally, the If your camera uses regular spools
it is only necessary to run the film
real answer to your question is that of film, or if you can open the charger
through the camera four times in-
you can’t get professional effects or cassette to rewind the film in the
stead of twice, and to watch the foot-
without professional equipment, or at darkroom, you can manage fair dis-
age dial very carefully.
least a semi-professional camera like solves by making the first scene and
Such special effects scenes are easi-
the (16mm.) Cine-Kodak Special. fading out normally.
est if made at the start of either the
Speaking practically, however, there Then you may do one of two things:
are some ways of getting around the either rewind immediately or else
first or the second run. Many 8mm.
amateurs have by this method made
limitations of strictly amateur equip- place the lens cap on the lens and
not only lap dissolves but double and
ment to a greater or lesser extent, run through the footage that will be
triple exposure trick shots.
depending upon the capabilities of the required for the second scene of the
equipment you use, and upon your pair, after w'hich you can finish the WJLLIAM STULL, A.S.C.
own patience and skill. roll normally, and then rewind either
If, for instance, you use negative- to a marked starting point before the German Film Attendance
positive film than reversal,
rather start of your first scene or clear to According to recent estimates, there
you can make
lap dissolves quite the beginning of the roll. are 46 million persons living in towms
easily inthe printer. This is of Now run off the film, with the lens w’hich have motion picture theaters.
course done by overlapping a fade- tightly covered, until your footage Of these, excluding children under six
out and a fade-in, usually by stop- dial tells you you have reached the years of age, 42.5 million are possible
ping the printer when the first scene point w'here you started to fade out visitors to motion picture theaters,
has faded completely out, rewinding on the first scene. Uncover your or 32 million, if those under 15 years
the positive to the point w^here the lens, and make the second scene, be- and above 65 years are deducted.
fade started, and then continuing to ginning of course with a fade-in. The seating capacity of all motion
print from the negative of the second The chief difficulty of this proced- picture theaters amounts to 1.9 mil-
scene, beginning of course at the start ure is of course synchronizing the tw’o lion. Taking into consideration that
of its fade -in. fades that combine to make the lap. those cinemas playing daily give fif-
These fades can be made either in Rewinding to the start of the roll, teen shows a week, on the average,
the camera or, after the negative is and thereafter counting your footage and that those cinemas which do not
developed, by chemical means. The from a marked frame which must be play every day average three shows a
same technique applies to making in the aperture, you should not have week, there is a yearly seating ca-
“wipes” and similar transitions on too much difficulty in this, provided pacity of 1,049,361,000. Actual at-
the printer. This can be done with your camera’s footage counter is rea- tendance came to about 364,000,000
the aid of photographic mattes. sonably accurate. during the last season.
December, 1937 • American Cinematographer 521
(iine-Kodak
Y Or know how
how
movie diarv
interesting’
nuich
it
at Christmas.
would
jiictiires
lie
mean.
to start a
Some member
. .
Eifihl,
/.3.5, $:U.50.
Model
$15.00
Model 20,
25,/.2.T,
iaiie-Ko<lak
ask, and you could give, nothing finer than Kiphl, Model 60,
/.1.9, $71.50
movies with Cine- Kodak.
It need not be an expensive gift. It's
—
C'ine-Kodak the camera every one recog-
$18.50
from $^2().
II
522 American Cinematographer • December, 1937
Scheme of the production of stereoscopic sounds: A. Filming place in a studio. B. (a) Left background and the leaves in the
microphone, (a') right microphone. Sound is recorded on separate sound tracks: (b) Left
foreground.
phonogram, (b') right phonogram, (c) screen in the cinema, (C) screen in the cinema, (c) left
group of loud-speakers, (c') right group of loud speakers. Left sound film is reproduced through Because the human eye is most
a left loud-speaker and right sound film through a right loud-speaker.
accustomed to perception of space, it
is most inclined to perceive an image
as spatial, or three-dimensional. The
eye itself is apt to be deceived and
the task of the motion picture in-
ventor is simply to find that threshold
of perception, those new conditions
which in their time were so happily
discovered when the moving image of
two-dimensional motion picutre pro-
jection was invented.
Kaufman has two frames photo-
graphed with movement of a model
mountain which was deliberately and
carelessly made. And what do we
get? When this pair is selected for
showing the very best stereoscopic is
obtained, an impression is so vivid,
that the model seems to be some kind
of colossal decoration, or mountain,
anything except the modest structure
which was erected on an ordinary
chess board at the time the frames
were photographed.
What an abundance of interesting
opportunities this unfolds before all
forms of cinematography.
Though many notable persons of
history have been photographed for
the motion pictures, they were not
photographed specifically for stereo-
scopic pictures. Yet if while being
photographed they made but one
smooth movement, their image could
now be restored in relief.
Finally, if you yourself were photo-
graphed for motion pictures some time
long ago, then by utilizing scraps of
film of which you have growm tired
you now have every opportunity to
make a stereoscopic portrait of your-
self in your youth.
Soviet Working in New Stereoscopic Pictures
^..QDjrsK.S ii
Exterior of the new Sixth street store of Winter, Inc., in Los Angeles and a view of the store as seen upon entrance. Air-conditioned dark
and projection rooms are in the rear.
526 American Cinematographer • December, 1937
was explained and demonstrated in of cutting put the films in first, sec- Color an Advantage
action and in titles. It was all of rare ond and third place far above the
others in these counts.
Shooting Steel Mills
interest.
(Continued from Page 501)
One of the unnsual phases of the The members present were really
showing w'as the opportunity afforded impressed at some of the grandeur some of the rushes of this film have
to note the marked advance in the that developed in these films. Com- become enthusiastic over the idea of
Kodachrome of today over its prede- pared with the efforts of the members making a dramatic film, also in color,
cessor of but a comparatively short when the club first started it is evi- of similar subject-matter.
—
period ago “about as fine as can be dent much has been learned, and that Such a film offers excellent possi-
now,” as the cameraman expressed it. there has been considerable develop- drama, even if strict truth-
bilities for
ment in the art of amateur photog- fulness requires the elimination of
raphy. many of the stock conceptions of
Indianapolis Will Hold B. N. LEVENE, steelmaking and steelmakers which
Two Meetings Each Month Chairman Publications Committee. have been used so often in film fiction.
Organized last summer, the Indian- Such a film, done in color, certainly
apolis Amateur Movie Club moves
would offer a cinematographer envi-
able opportunities for pictorial effect.
into the fall season with a schedule Honolulu Club Growing In that connection, too, there is the
of two meetings a month, the first The Honolulu 8mm. Movie Club is
and third Wednesday evenings. These added advantage of working in color
an established institution, having now in Technicolor’s system of recording
are scheduled for the Claypool Hotel. been organized for three months. Vic- all details of how every shot is made.
The club’s announced purpose is tor E. Clark, secretary-treasurer, re-
“for the promotion and encourage- The data gained making our scenes
ports that for the first two meetings
ment of amateur moviemaking about twenty persons attended. The
would be at the disposal of any cine-
through education, discussion and con- matographer assigned to such a film
other officers are Francis C. Williams,
structive criticism.” in the future. With it, and with the
the prime mover of the enterprise,
The officers are John R. Fish, pres- reassurance of the standardized ef-
president, and Harry H. Hutchinson,
ident; Dr. D. A. Musselman, vice- ficiency of the modern arcs we used
vice presdient.
president, and Alfred F. Kaufman, Meetings are held the first and
for Technicolor lighting, technical
secretary-treasurer. The directors are problems would be minimized, and the
third Tuesdays of each month at 7:30
the foregoing and H. B. Durbin, p.m. in Central Y. M. C. A.
cinematographer could be free to con-
James N. Genders, Bernard S. Gross, centrate on bringing out the immense
Tourists visiting the islands who
Chester W. Hutson, and Jack Mess- pictorial possibilities opened to him in
also are amateur photographers are
mer. filming this unusual subject in color.
invited to attend meetings and to
w’l’ite the secretary through Box 2741,
Honolulu, for information. Visitors est to the members are invited to
Philadelphia Cinema Club possessing films that may be of inter- bring them along.
he
T November meeting of the
Philadelphia Cinema Club was
devoted entirely to a review of the
members’ films offered in the vacation
contest. The meeting was restricted
to members only, 45 being present and
voting.
The new rating sheet was seen for
the first time, and worked out ad-
vantageously. In the order of awards
the films and authors were:
“Idle Days,” A. L. O. Rasch; “Grand
Canyon,” George Pittman; “The Least
of These,” R. W. Bugbee; “Hykes
Hellions,” Mrs. Adelaide Hykes; “Au-
tumn Painting,” Dr. B'owersox; “Lure
of Northlands,” F'. N. Hirst; “Yosem-
ite,” Dr. Hykes; “Autumn Gold,” the
Rev. Mr. Vandenborch.
It will be noted the great majority
of the films as evidenced by their
titles were based on outdoor color.
All the films were in Kodachrome,
and it so happens that for the first
time there were more 8mm. ’s offered
than 16mm.
The film entitled “Hykes’ Hellions,”
while in fourth position insofar as
general averages w'ere concerned, was
probably the best offered on the basis
of actual story and the fact it w^as
partly taken indoors and partly out-
doors. The handling of the colors and Phantom of the Desert
the balance of colors was very well When an amateur photographer —
recorded better than he knew in fact, he didn’t discover what
done in this film. he had until his original 2V4 by 3V4 was raised to 5 by 7. Then he saw the phantom, if a phan-
G0ER2
viously studying the tree to decide
In every step of how should be decorated. As he gets
it
ture and group themselves around the tify mostaudiences, but they are way, as you probably have seen in
tree. very simple. It is only necessary to such films as “Topper,” the person
Sc. —
27 Close-up of Santa. He set the camera on a firm tripod, and slowly fades in (or out) while the
beams, well satisfied with his work. shoot the scene quite normally up tc rest of the scene remains unchanged.
Sc. 28 —
Longshot, Santa walks past the time the person or thing is to Santa, appearing this way, would
table toward the fireplace. He sees ippear or vanish. for instance begin as a very shadowy
the cup of colfee, picks it up, and Then stop the camera while the wraith, through which the fireplace
drinks it. Then he walks over to thing that is to appear is put in could be clearly seen. Quickly his
Father and makes another mystic place, and then restart the camera body would gather solidity, until fin-
pass. Father abruptly disappears. and finish the scene normally. The ally he appeared quite normal.
Sc. 29 —
Night effect longshot in the camera must not move a fraction of These tricks are all simple, and,
family bedroom. Mother is already in an inch between these two parts of with the exception of lap-dissolved ap-
bed and asleep. Suddenly Father ap- the shot, and of course everything in pearances, can be done with any cam-
peals n his place in bed. the scene must also be in identically era. If they are well done, they will
Sc. 30 —
Medium longshot of Santa. the same place and position in both mystify non-technical audiences, and
He drains the last bit of coffee and parts, so that there will be no slight-
interest every audience. And how the
replaces the cup on the table. Then est “.I'ump” on the screen. children will enjoy them!
he turns toward the fireplace, and as In scenes where things appear or
he walks toward it, vanishes. FADE disappear while actors are in the
OUT. scene it is necessary for the actor Germany Wants Features
Sc. 30 — F’ADE IN. Close-up of to “freeze” —
hold himself motionless According to the latest estimate of
alarm 7 A. M.
clock, pointing to — while the apparition is put in place the Institute for Business Research
31 — Fullshot ofliving-room or removed, as the case may be. Some
Germany’s requirements for long fea-
Sc.
ture films amount to 200-220 annual-
door. Mother, Father, and Junior rehearsal of this is necessary, so that
ly. For the current season, 180-200
enter, stop, and all three look toward the actors can time themselves to be
long feature films are available, on
tree. in easily held positions when the
the basis of announcements up to this
Sc. 32 — Longshot of the Christmas time comes to “freeze.”
time.
tree, fully decorated and lighted. This is, of course, the way Santa
Apparently Germany will again be
From this point, cut in your regular picks his sack out of empty air. He
short of long feature films in the
Christmas movie scenes, especially simply reaches out his arm and
1937-38 season.
shots showing the family opening “freezes.” Then the sack is put in
their presents. Junior has an electric his hand, and camera and action con-
train. tinue to finish the scene normally. Makes Splicing Easier!
If possible several shots of
get Modified Stop Motion
him playing with to be intercut
it,
Making the tree decorate itself is
with close shots of Father looking
done in much the same way, by a
wistfully at the train, as though he
modified stop-motion. Expost a few
would like to piay with it. too. At
frames of the undecorated tree. Then
the end of your regular Christmas
stop the camera and put the first or-
news scenes carry on the continuity nament in place. Take a few more
with
frames, stop, put in the next orna-
Sc. 33 —
Close-up of alarm clock
ment, expose some more, and so on.
Ijointing to 7 or 8 P. M. This is a
Obviously, a tripod is necessary, but
night-effect shot, and one of Junior’s
otherwise these tricks are simple.
presents should be be.side the clock.
Sc. —
Longshot in the living
34
If you happen to own
equipped to wind back for lap dis-
a camera SEEMANN
room. Father and Mother are both
solves you can add finesse to your SPLICER
sitting, reading. Father gets up and For 8mm. & 16mm. Films
appearances and vanishings. You
walks over- lo where the train is still •A new fast dry splicer for
shoot the scene quite normally up to 8inm and 16tnm films. Pre-
la’d out.
a point just a bit before the appear-
Sc. 35 — Medium shot of the
close
ance. Then fade out.
cisionbuilt assuring perfect splices. Features
dry scraper, improved cement applicator, and
scratchproof film grips. —
train layout. Fatehr squats on the Sff il today
Next, wind the film back to the At your dealer or write
floor and starts to play with the train.
point where you started the fade,
Sc. 36 —
Longshot past the fireplace,
just as in any lap dissolve. Put the SEEMANN’S
with Father playing with the train in Wholesale Movie & Photo Supplies
person who is to appear in place and
the background. Suddenly Santa ap- 1435 No. Highland Hollywood, Calif.
finish your scene, fading in. This
pears. He walks over to Father, and
sits down.
Sc. 37 Close-up— of Santa. He
speaks to Father.
Title
— “Mind if I play too? I’ve 8MM. and 16MM. COMPLETELY
always wanted to, but I’ve been so AUTOMATIC REVERSAL EILM DEVELOPING
busy !” — MACHINES
Sc. 38 —
Same as Scene 37. Santa
finishes speaking. These machines are engineered to insure freedom from film breakage
Sc. 39 — Twoshot,
Father and Santa. — —
Give better quality processing Greater volume work in less time and
Father nods absently, then turns at a labor saving that will soon re-pay the investment.
with enthusiasm and points out some Capacity 1,200 feet to 2,000 feet per hour.
Also 16mm. and 35mm. negative and positive developing machines.
interesting action of the train. They
both fall to playing happily. FADE
OUT.— THE END. BELL AUTOMATIC CINEMA MACHINES
The various appearances and dis- 1436 BEL\CHWOOD DRIVE, HOLLYWOOD, CALIFORNIA
appearances in these scenes will mys-
! I
or scenes spliced together on one or applicator, set into splicer base where f
will
and prevent damaging adjoining film Cutting blade is then depressed to
area as is so often the case where trim both sections of film at one op-
water is applied to film before scrap- eration. The emulsion is next removed
ing. by a few strokes of the dry sciaper.
One of the newest, and perhaps one The right section of film is then
of the simplest, cine film splicers is moved to the left until it overlaps
the scraped area and, holding up the
1. W'ith emulsion or dull side up, place both overlapping end, cement is applied to
sections of film on splicer over the guide and the scraped area and the right pres-
tension pins so that ends to be cut extend over
the trimming edges. Clamp down left pressure sure bar clamped in place to complete
bar. the splice. The pressure bars are
2. Depress cutting blade, trimming both ends left in clamped position for about
of film accurately in one operation. Leave cut- thirty seconds to allow film cement
ting blade in lowered position until after splice
is completed to dry.
3. Remove emulsion from protruding end of It’s as simple as all that! In fact,
left film section with a few strokes of dry its really fun. And after you’ve once
scraper. No need to moisten film. Make sure
to remove all trace of emulsion to insure a accustomed yourself to the use of
permanent splice. your splicer you will never again leave
I. Raise right film section from pins and move those fifty and one hundred foot rolls
to left one frame or until it overlaps area of film lying around un-edited!
and, holding up overlapping end, apply ce-
ment to scraped area and clamp down right
pressure bar. Slow Drying Best
5. Release both pressure bars after about Some beginners often make the
thirty seconds; remove film from splicer and
proceed with next splice. mistake of applying too much cement
an untidy
to their splices, resulting in
Process of splicing 8mm or 16mm film with
particular device described, beginning at top. splice which hampers smooth projec-
II
December, 1937 • American Cinematographer 531
tion. Also, too much cement has a will show three 400-foot reels of Afga Ansco Issues Book
tendency to dissolve and weaken the 16mm. Kodachrome and Member H.
film at the splice, ultimately causing T. Kelly will show the final two reels
on Developing Processes
it to break during projection. A of his 8mm. Kodachrome vacation A
profusely illustrated, sixty page
neater and more durable splice will re- film. booklet, “Developing and Printing
sult if a moderate amount of cement E. G. PETHERICK, President. Made Easy,” has just been published
is used. When pressure is applied, the by Agfa Ansco Corporation of Bing-
cement will spread over bonding area hamton, N. Y. Covering all phases of
Stith-Noble to Release developing and printing, this new
as required.
As many of the film cements on the
Tournament of Roses Film Agfa booklet has been designed to
The Stith-Noble Corporation, re- serve both as an instruction manual
market vary formula they natu-
in
cently removed to new and larger for the beginner and a reference for
rally give different results. Some dry
quarters at 645 North Martel Avenue, the advanced amateur.
more rapidly than others. For the
average beginner, the slow drying ce- Hollywood, announces this year it Included with the discussion of de-
ment is for it enables him to
best, again will release a Kodachrome film veloping, contact printing and enlarg-
obtain better results due to its slower of Pasadena’s famous Tournament of ing are such topics as contrast, tem-
but more permanent curing quality. Roses. The film will be a 16mm. sub- perature control, reduction and inten-
ject approximately 200 feet in length, sification, washing and drying, selec-
Should your splices fail to hold, it
and the release is scheduled for Jan- tion of paper and projection control.
may be due to one or more of the
uary 5 next. Also given in the booklet are lists
following causes; Oily or dirty film;
Full-color Kodachrome copies of the of necessary equipment for home
bonding area not thoroughly cleaned
film will be offered for sale through finishing, tables of causes and remi-
of emulsion; too much cement; in-
all dealers. This firm has within dies of finishing troubles and recom-
sufficient time allowed for cement to
slightly more than a year developed mended formulas for developers and
dry.
a process of duplicating 16mm. and other processing solutions. The new
It is advisable to experiment with 35mm. Kodachrome films. The forth- booklet, a companion in size and style
a few pieces of scrap film before coming picture will be made in color to Agfa’s “Better Photography Made
commencing to splice your valuable by this process. Easy,” lists at 25 cents and may be
films in order that you may acquaint
obtained from your photographic
yourself with operation of your
splicer.Practice trimming film and
German-Japan Accord dealer or by writing Agfa Ansco
A German-Japanese accord which Corporation.
removing emulsion as well as apply-
ing cement in just the right quantity. provides for the exchange of cultural
To prevent marring your film with
and educational films between the two
fingermarks it is advisable to wear a countries was signed recently by the
pair of cheap white light-weight cot- International Cinema Association of
ton gloves, obtainable at most any Japan and a representative of the Ger-
department store.
man Propaganda Ministry, according
to reports published in Tokyo and re-
When your splicing is completed
ported to the Department of Com-
and your newly edited film projected,
merce.
you will agree that careful editing
and splicing are equally important
as any other phase of home movie-
making. KODACHROME
T
San Francisco Cinema DUPLICATES ILT
STITH-NOBLE CORP.
O UR
next regular meeting will be
held Tuesday night, Nov. 30, at
the California Camera Clubrooms, 45
645 North Martel Ave., Hollywood, Calif.
Shooting Waterfront
As Sherlock Does It
CLASSIFIED ADVERTISING'
(Continued from Pagre 515) Catalogs Free. House of Satisfac-
Library.
FOR SALE tion, MOGULL’S, T944AC Boston Road.
REBUILT SILENCED AND STANDARD New York.
wharf. boats are darting to
Little
BELL & HOWELL 170° CAMERAS— BELL & HOWELL 35mm. standard
and fro on the water. There is plenty rebuilt B & H sound printers, rebuilt
silenced
camera with I-type shuttle, 1000 ft. maga-
of action and human interest here and Duplex sound and picture printers pair ;
zine, two 400 ft. magazines. 40mm., 50mm.,
used Simple.x portable sound projectors
80mm.. F :2.7 Zeiss lenses, 150mm. Bausch
fui'ther use for a wide angle lens. with 2000 ft. magazines. Used Mitchell cam- & Lomb F :4.5 lens, accessories, Akeley fric-
ei’as, Fearless Blimps. Bell & Howell 1000 tion tripod, motor, carrying cases, at $1276.
Dockyards ft., 400 ft. magazines. Motors, sunshades,
finders, lenses and all accessories.
BASS CAMERACO., 179 W. Madison St.,
Chicago,
Dockyai-ds are more attractive if Write, wire or cable:
111.
there is a well known boat in dry MOTION PICTURE CAMERA SUPPLY. INC. DEBRIE CAMERA, Parvo, 8 magazines, tri-
723 Seventh Avenue pod and cases, $1200.00 cost will sell for
dock. Open with a shot taken under New York City $200.00 new, bargains in 16-35mm
almost
the bows of the boat looking sky- Cable Cinecamera Telephone BRyant 9-77.5^4 cameras. We Buy Anything. Block Cam-
—
: : i!
ward, showing the name of the boat. era 154 E. 47th St.. New York.
Then again from the floor of the dock BELL & HOWELL 6-WAY SOUND PRINTER. BELL AND HOWELL 170° CAMERAS—High
show cranes working with the sky as Generators. Panel Control Boards, Duplex —
speed shuttles high speed gear boxes 400 —
Printers, Sound Moviolas, Developing Ma- '*
and 1000 foot Bell & Howell magazines
a background. chin^. Blimps, Dolly, B & H splicers, Mit- Bell & Howell tripods motors. AKELEY —
chell’ and B & H Silent Cameras, Motors, and DEBRIE CAMERAS. Akeley motors.
The most attractive shot will be
.
High-Speed Gear Boxes, Light Testers, c" High speed motors. Sunshades, lenses and
of the propellers and rudder with Projection and Lighting Equipment. Guar- finders.
anteed optically and mechanically perfect. Write or Wire
men working on them. Try to get Send for 1937 Bargain Catalogue. Holly-
,
MAIL COUPON NO
to
Da-Lite Screen Co., Inc.
en-
2721 North Crawford Ave.
the Chicago, III.
i
Da-Lite Screens
—
Name
AJJ
Send free literature and prices on Da-Lite Scree
The Pride
The Cameraman
takes in his work
is better justified
t
when he uses a
MITCHELL
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