^January I930

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 -

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are our
wishes for a
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and the
years to come!

SMITH & ALLER, Inc.

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January, 1930 AxMERICAN Cinamatographer One

AMERICAN
CINEMATOGRAPHER
A technical and educational publicatiofi, espousing progress and art in motion picture photography.

Suite 1222 Guaranty Bldg. . . _ - Hollywood, California

JOHN F. SEITZ, HAL HALL, JOSEPH A. DUBRAY,

President, A. S. G. Editor in Chief and General Manager, A, S. C. Technical Editor, A. S. C.

BOARD OF EDITORS—John W. Boyle, William Stull and Herford Tynes Cowling

Vol. X CONTENTS No. 10

Page

Principles and Processes of Photography in Natural Colors,

by Glenn E. Matthews 3

The Early History of Wide Films, by Carl Louis Gregory .. 5

The King of Jazz, by Hal Hall 6

Photographic Control in Variable Density Recording, by Wesley C. Miller 7

In Africa With Trader Horn, by William Stull, A. S. C 9

“50-50”, by Harry Lang 10

New Fearless Silent Camera 1 1

As THE Editor Sees It .1 ; 12

1930 AND THE A. S. C., by John F. Seitz 14

“Hell's Angels” Completed 16

Oscar Depue Designs New Combination Printer, by D. J. Goff 20

Amateur Movie Making, by William Stull, A. S. C 35

Professional Amateurs, by William Stull, A. S. C 38

FOREIGN REPRESENTATIVES
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Herford Tynes Cowling, Eastman Kodak Co., Rochester, New York, Eastern Representative.
Chicago Office, 3668 South Michigan Ave.—Telephone: Boulevard 5444. D. J. Goff, Representative.

Published Monthly by THE AMERICAN SOCIETY OF CINEMATOGRAPHERS, INC., Hollywood, Calif.

Established 1918. Advertising Rates on Application. Subscription: United States, $3.00 a year; Canada,
$3.50 a year; Foreign, $4.00 a year; single copies 25c. Telephone GRanite 4274.
(Copyright, 1929, by the American Society of Cinematographers, Inc.)
 !

Two American Cinamatographer January, 1930)

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 January, 1930 American Cinamatographer Three

"Principles and "Processes

<0E "Photography in A^atural (Colors
An Interesting and Instructive Discussion of Color in Photography
By Glenn E. Matthews
Kodak Research Laboratories, Rochester, N. Y.

r his article, reprinted from the 1930 edition of the American Annual of
be printed in two installments. The next will be in the February issue. —Photography, will
Editor's Note.
f
ANY hundreds of color processes have been patented for illumination, a light sensitive material and a camera for record-
some few placed on market since May, 1861, ing and making it permanent. The requirements in color photo-
IlM' and
when Maxwell demonstrated
the
the first process of color graphy are similar with certain modifications in order that the
I •
Only three of these processes, however, have
photography. final record may be in colors. To better understand the problem,
r> test of over twenty years of continuous use,
withstood the let us examine the known facts about color in relation to light.

namely, three-color lithography, three-color carbon transfer, and Most everyone is somewhat familiar with the subject of radio
I
'the Autochrome screen plate process. On the other hand, during whereby sounds are changed from a frequency of vibration and
f Ithis same half century ordinary photography has become almost wave-length sensitive to the ear to a much higher frequency suit-
I indispensable as a record- able for broadcasting.
iring medium, is extensively Similarly, light may be
; used in business adver- considered to be when a
I itising, and through the ray of white light (usual-
(.-motion pictures consti- ly sunlight) is passed
;.,tutes one of our most im- through a narrow slit and
r portant forms of enter- then either through a
! Jtainment and instruction. prism or through an in-
During the years 1928- terference grating (a glass
1929 a renewed interest Right, fig, 2; left, fig. 6. surface ruled with several
developing in
•has been thousand fine lines to the
; color photography. It has found considerable use in connection inch) the light is broken up into a multicolored ribbon or brand
,

with the development of sound motion pictures.

'. A new process known as the visible spectrum (Fig. 1 ) The normal eye sees .

of amateur cinematography was announced during the late sum-

I this band as an almost infinite number of hues, seven of which
,::mer of 1928 which has been employed extensively in 1929. A Newton distinguished as the most prominent made up of a series ;

K.color roll film and film pack method was exploited in England of complex waves of varying frequency, violet, indigo, blue,
; during the same year and several professional photographers in green, yellow, orange, and red. The light rays producing each
various parts of the world were specializing in commercial color
'. minute portion of this band have a definite wave-length, and
prints. A staff of workers has been in the field making color therefore the color which the normal eye sees may be expressed in
rtransparencies chiefly with the Autochrome process which are terms of a wave-length of about 400 mu. (millionth of a mil-
reproduced each month in the National Geographic Magazine limeter or one-twenty-five millionths of an inch) in the violet
iiand other magazines. In view of this increased interest in the to about 700 mu. in the red (Fig. 2).
.subject this article has been prepared to give a short review of the Why Natural Objects Appear Colored
:principles underlying the processes of color photography and to Consider now, three strips of cardboard colored red, green,
’(describe those processes which have found some practical applica- and blue respectively. To the normal eye the strips will appear
tion. to be red, green, and blue when illuminated with white light
Color and Its Relation to Light because they absorb, respectively, all other colors of the light
In the making of a photograph of any subject, light is needed falling on them and reflect only these three colors. This pro-

BLUC
BLUE VIOLET iSwtEN GREEN ORANGE
VELLOW RED

400 TT\^ 600

ULTRA BLUE GREEN RED 1

INFRA
VIOLET VIOLET 1
RED
400 500 600 TOO

WAVELENGTH (m/ij
Fig. 4. Wedge spectrum of ordinary Orthochromatic and
Top, &g. /; bottom, fig. 3; middle, fig. 5. Panchromatic films showing range of sensitivity.
 . ;

Four American Cinamatographer January, 193C

perty of ab- small t h a I

sorbing certain even in the

components of coarsest emull
white light sions (suspent
and transmit- sions of silver
ting or reflect- halides in gell
ing others is atin) there arc
characteris t ic about ten mill
of all natural lion in an area
objects. When the size of i
all the white head of a pirn
light is ab- When exposec
sorbed, the ob- to light these
ject appears crystals may
black : when be developec.
all the com- by means of a:
p o n c n ts of reducing solu .

white light are tion whereup

reflected in the on they arc
same propor- changed intc
tion, the ob- coke- 1 i k Cl

ject appears masses of sil-

white. ver. The or

When cer- dinary photo
tain dyes are graphic image;
dissolved in is made up ob

water or alco- these minute

hol, they pro- particles of sil-

duce a solution ver.

having a color Upper left, fig. 7; upper center, fig. 8; right, fig. 9: lower left, fig. 10; lower center fig. 13. Now, pho-
which is char- to g r a p h i c
acteristic for emulsions vary
the particular dye used. It is also possible to obtain a numerical in their sensitiveness to different colors of light It isonly within
measurement of the light absoption properties of a dye solution the last twenty-five years that films have been available which art-
by means of certain instruments. When the results are plotted in sensitive to redand green light as well as blue light. Such material^
terms of the percentage light transmission against the wave-length, are called panchromatic whereas if they are sensitive chiefly
a curve is obtained which shows the absorption characteristics of to the blue and the green, they are known as orthochromatic.
the dye solution. In Fig. 3. the area above the curve represents Materials which have only blue sensitiveness are called ordinary.
complete absorption of light and that below the curve shows materials. Wet collodion plates were of this last type and werct
transmission of light. Since the greatest transmission occurs at used by photographers until the dry plate was introduced about:
0
460 mu. in the green part of the spectrum, it indicates that this 1870. Spectrograms for these three types of materials are shown
dye gives a green solution. in Fig. 4.
Tanned, and Insoluble in.
Hot Water
By choosing only those dyes which Primary Colors and Their Relation
transmit certain portions of the spectrum, Plaie coatci wi-feh — Light to Photographic Sensitivity
incorporating these in a solution of gelatin Bicliromatcd 6eIaHr>e
Processes of color photography all datei
and coating this gelatin-dye solution on back to the classic experiment of Clerk Max-
the surface of a glass plate, thin sheets well before the Royal Institution, London,
of colored gelatin called “color filters” can Soluble irv Hot Water
Not Tanner! in May, 1861. On this occasion Maxwelf
be prepared. Such filters have found ex- demonstrated that any shade of colored
30«

tensive and valuable use in connection

light could be produced by combining va-
with color photography. rious amounts of three primary colors, red.l
With the aid of one series of color filt- green, and blue-violet. He used three sep-*-
ers called the “Minus Series,” some very arate lanterns and placed colored solutions
interesting effects may be produced. Con- before the lens of each. Ferric sulfocyanidci
sider first, the Minus Blue filter. When ‘\boLV. fig. II: bottom, fig. 12.
was used for the red solution, cupric chlo-t-
enl)
this filter is placed in the path of the light ride for the green, and an ammoniacal solu-i
ad
from a lantern projector which is illuminating a blue, a green, tion of copper sulfate for the blue. When the light from all three
and a red strip of cardboard the blue strip appears to be gray or lanterns was projected on the same spot on the screen, a white area,
jii
black and the red and green strips look nearly the same as before appeared: when the red and green beams were superimposed, a.
topii

the filter was used. This is because the filter transmits green and yellow spot was obtained: with red and blue, a magenta spot.l
red light, but does not pass any blue light, hence the blue strip and with green and blue, a blue-green spot. (See Fig. 5.) This;
appears black. Analogous reasoning holds for a Minus Green is called the additive method of color photography.

or Magenta filter and for a Minus Red or Blue-green filter when Maxwell also made a photograph of a colored ribbon which be:
iph
the cards are iluminated with light through these respective filters. projected with the three lanterns. The importance of his discovery-
What an Ordinary Photograph Is and How It Is Made
zes
can hardly be appreciated unless it is recalled that he was of ne-
ooze
Since practically every col- cessity using wet collodion
tme
or process uses a photograph- plates. Eight years after Max-:
[rap

ic film or plate for recording well’s demonstration a small

the tones of the subject, let us French booklet was published
tuns
examine briefly the character- in Paris written by Ducos dui
istic properties of this med- Hauron. This contained a,
ium. If we look at a thin sec- description of most all the
tion of an unexposed photo- basic principles of color pro-
graphic film under the micro- cesses which have subsequent-;
.nt(

scope, we find that it consists ly been worked out. Credit

idc

of two layers, a thin layer should therefore be given this:

S:apl

em- French inventor for his fore-

of gelatin in which are isyf
sight. In the intervening j
bedded tiny crystals of silver e
years until his death in 1920,
halidesand a much thicker he continued to experiment-
transparent layer which is
and work out further details
Cl

known as the base or support. of color processes, but he was:

tdes

Aet
These tiny crystals are so Left. fig. 15: right, fig. 17. {Continued on Page 22)
ere
 January, 1930 American C namatographer
i Five

6arly History
OF IFide Films
Being a Peek into the Past that is
Both Interesting and Enlightening

By Carl Louis Gregory

One of the most interesting papers read at the recent meeting of the S. M. P. E. was Mr.
Gregory's article, an extract of which we are pleased to give our readers. EDITOR’S NOTE.

T HASbeen claimed that there is only one standard of meas- Henry V, Hopwood in 1899 described more than fifty dif-
urement which is common to all nations of the earth. That ferent models of projectors made by different manufacturers and
I measurement is the width of a piece of standard theatrical gives the names of about seventy more. Curiously enough the size
size motion picture film. of film used in the various machines is mentioned only in two or
Many persons actively engaged in the industry seem to be un- three instances. It is probable that most of them used the
aware that other widths and dimensions of film were ever used Edison standard although it is obvious from the descriptions that
and some even believe that the use of wide film is a recent in- many of them used other sizes.
Iwention. Probably the first example of motion picture “film” as it is
History moves in cycles and recent events in the use of the wide photographed today was a scene taken in the Champs Elysees in
•film of various gauges show that we are in the midst of a repeti- Paris in 1886 by Dr. E. J. Matey. Although the “film” was
tion of the unstandardized efforts and struggles that marked the paper, sensitized celluloid not being available until a year or two
[.work of so many of the early pioneers of the industry. later,and cine projectors having not yet been invented; this paper
To those who have never had occasion to refer to the early negative could be printed as a positive film and run as a Fox
inistory of the motion picture it may come as a surprise that scores Grandeur film today.
of scientists, mechanics and inventors in nearly every civilized In May, 1889, William Friese-Green, 92, Piccadilly, London,
.country were working simultaneously during the “90’s” to per- made a motion picture negative of a scene on the Esplanade,
fect a system for taking and showing motion pictures and while Brighton, England, using paper film negative lYi inches wide
they were all, in the main, working along the same lines, yet each and 1 Yi inches height to each frame. Later in the same year
[adopted whatever width of film seemed to him to be best suited for he used celluloid film displacing the paper used earlier.
[ois experiments. One of the first to project successfully upon a large sized screen
Thatthe 35 mm. width of film came to be the measurement was Mr. Woodville Latham, inventor of the Latham Loop which
A'hich survived and eventually became standardized is, so far caused much patent litigation in the early days. Latham called
as the writer has been able to ascertain, a coincidence. It was not his machine the Eidoloscope and used wide film 2 inches wide
foresight that caused Mr. Edison in this country and Lumiere with frames Yu -inch high by 1 inches long.
-Yeres in France to select film widths that were so nearly the Oval holes cut through the frame line at each side alternately
lame that they were practically interchangeable. It was pure served to make electrical contact to light the arc each time the
rhance, also, that these two firms happened to be the most intermittent brought the picture to rest. This intermittent
loowerful commercially in their respective countries. lighting of the arc served in place of a shutter but was not very
Edison selected 1 ^
inches as the width of film best suited for successful as the electrical spring contacts scratched the film and
hais Kinetoscope only after a long series of experiments with films the arc responded irregularly to the quick make and break.
m cylinders, discs, and narrow ribbon form run horizontally in- In the fall of 1897 Enoch J. Rector, an inventor and pro-
I’.tead of vertically. moter, showed pictures of the Corbett-Fitzsimmons prize fight
This measurement coincides within 1/1000 of an inch with in the Academy of Music on 14th Street in New York City. His
he 35 mm. width selected by Lumiere and while Lumiere used apparatus was called the Veriscope and the same mechanism used
only one round perforation on each side of the film and Edison to show the pictures was employed in the camera with which
issed four rectangular ones it was possible by altering sprockets 1 1,000 feet of film were taken at Carson City, Nevada, March
•tr by reperforating the Lumiere film to use them interchangeably. 17, 1897. Thereafter about twenty machines for projecting
[.Lumiere later reluctantlyabandoned the two-hole perforation and this large size film were manufactured and these fight films were
iiopied the Edison standard in order to sell film to users of Edison exhibited all over the country.
lachines. In the late 90’s the motion picture was regarded as a great
An advertisement in Hopwood’s “Living Pictures" edition of novelty which would soon die out. Conditions were chaotic and

raphy
—
1899 offers the “Prestwich” specialties for animated photog-
“nine different models of cameras and projectors in three
everyone who went into the business worked with frantic eager-
ness to reap the rich harvest before the fickle interest of the public
[izes for Ir^-inch, 1% -inch and -inch width of film." Half a should pass on to some new fancy.
Icozen other advertisers in the Just as there was no standard
Lame book offer “cinemato- of film size, no rate of frames
|rraphs“ for sale and while the per second was established and
lustrations show machines for the taking rate varied from 8
|!lms obviously of narrow or per second to 60 per second
]fide gauge no mention is made among the different systems, each
Iff the size of the film. of which was distinguished by
During 1899 there were in some fantastic and polysyllablic
[ingland and on the Continent name. Out of the hundreds of
ilutograph films 2^
inches such coined trade names only a
[yide, Demeny Chronophoto- few are remembered today; such
^raphe 60 mm. wide, Skladow- as Kinetoscope,Vitagraph, Bio-
icy film 65 mm. wide, Prestwich graph and Mutoscope.
ride film 2% inches wide, Bir- Subjects were confined almost
11/16 inch wide, Jun-
kac films entirely to news events, prize-
Ur Prestwich Yi inch wide, be- fights, short scenic shots and
Iddes the present standard estab- theatrical or spectacular bits
lished by Paul, Edison and Lu- many of which were considered
iere. (Continued on Page 29)
Si.: American Cinamatographer January, 193'

The King of Jazz

Paul Whiteman Makes a Few Remarks
Anent The Talking Pictures

By Hal Hall

here quite so enlightening to one in the the things he does. It seems to me that the cinematographer

T picture
suddenly
is nothing
business the reaction of a stranger who has
as
in the midst of a production,
found himself
especially if the individual is one with a mind as astute as that
are not given sufficient prominence for the really wonderfif
work that they do in making pictures successful.
“Getting to talkies and music, let me say that I think talkie
of Paul Whiteman, the Maestro of Jazz. will do much for music. The people of the world have bee,
Whiteman always has had unusual ideas regarding the show music hungry for years. They have flocked miles to hear banC'
business as a whole, and he does not disappoint in connection and orchestras. I have toured the entire United States an:
with his thoughts about pictures, or talkies as they are usually played in practically every town of any size and people simpb
called now. Instead of swelling up with his own importance flocked in. They want music. Why, down in Texas, it too
now that he has been made the star of a picture that will cost me six weeks before I could leave the state, and you know ho'
probably a couple of million dollars, or more, he declares scattered are the towns down there.
that he means nothing to the picture and the picture world “Abroad it is the same way. They want music. The,
unless his picture is good and the music is better. will pay a lot to hear it. Now with the motion pictun^
This Jazz King, who is starring with his band in Universal’s giving them music it will simply cultivate their taste fd(
this
“King of Jazz Revue,” now in production at the Universal more. But — will not be satisfied with the pictures an-
they
that way alone. They .will want to see th'i
studios in Hollywood, has some rather pointed remarks to make music given in
regarding pictures and picture making. bands. For that reason I say that within two years you wi
Standing out among his remarks are the following: see the bands and orchestras back in the picturehouses agaii
Talkies have removed the orchestras from the picture houses The talkies drove them out, but will make the people so musi>
but these same talkies will put the orchestras right back again loving that they will have to put the bands back.
within the next two years. —
“And I think that pictures with music will make tb:
They won’t stan:
Talkies will do much to develop the love for music among people demand big bands and good bands.
the people wherever they are exhibited, whether in the United for four and five piece affairs again. They will be educate,
States or in foreign countries. And talkies will bring about up to the big band with class. And watch big bands con-
the end of the four and five piece bands and orchestras that back to the theatres. A good band can make a house pay eve •

used to hold forth in the theatres in the past. if the picture is bad. Big theatre chains have been built u
—
The talkies are here to stay, but they will not eliminate by music. It will be done again.
isfied with canned music alone.
But people will not be sat
Never think that. Picturr
the spoken drama or the bands and orchestras. Rather, they
will make the people hungry for a sight of the players and are here to stay, and they will be mostly talkies, but peop-
musicians they have heard but who have been merely shadows want human beings to look at after a certain time.
flickering across a screen. “Recording is just beginning to get into its stride in thi
While
talkies are here to stay, there should and probably picture business. But the producers wasted the better pa:
will some great silent pictures made in the future.
be Such of two years of development by not bringing out men Ion:
men Chaplin should never make a talkie.
as He is too great experienced in recording in the big phonograph laboratorie..
a pantomimist. Why, it seems unbelieveable to me. but it is a fact. thej.
The art of the cinematographer is so amazing as to make picture people thought they did not need men who knew a.
one say it is unbelieveable that a man can do so much with about recording. The result was terrible at first. Everyor !

a camera and some lights. knows that. But. gradually the knowledge was gained at muc
The producers threw away the better part of two years expense and now there should be some good recording. I canne

development in sound recording by failing to turn immediately understand why the producers failed to bring in the record
to men versed and long experienced in recording music and voice ing men, however.
in the great phonograph laboratories. “You might not believe it. but one big producing genii
Whiteman a lot more as he talked across the lunch
said was preparing to build a couple of huge sound stages. I w?
table with writer at Universal’s studios, and while we
this talking with him and started to tell him about the experienc-
may be no judge of such things, it strikes us that some picture I had had in building a sound recording laboratory. I knev
company would be showing excellent judgment if it secured he was making a mistake. He just laughed at me and aske
this man Whiteman solely in the capacity of a “horse sense” me if I knew more than the electrical engineers who wei
adviser. laying out the place. I laughed, too. and said I didn’t. Bu
“The name of Paul Whiteman means nothing,” he declared, nearly a quarter of a million dollars was wasted in those stage;
—
“as far as the success of the picture is concerned -that is unless and they had to be changed. A man versed in recording couL,
the picture is a really good one itself. The idea that producers have avoided that.”
have about big names is more or less a lot of bunk. A big Whiteman laughed heartily when he recalled that experienci
name will never make a success out of a poor picture. It will And then declared that at Universal they are really doin
draw a full house the first night, yes; but if the picture is wonders in recording.
no good the world will say: “Isn’t that a terrible picture So- “They are getting results here,” he declared, “marvelou
and-So is in?” And then everyone will stay away from the results.”
picture and it will flop all over the lot. That has happened Whiteman declares that the so-called jazz of today is teall
in silent pictures and has already happened in talkies. the American music. He points out that it is America's con
“So why should either the star or the producer kid himself tribution to the field of music, and a good contribution, toe
into believing something that isn’t so. Personally, I believe The classical music, he points out. has come from Europe, bu
our picture is going to be an excellent one. The sound is America has developed the popular or jazz music which ha.
simply marvelous, the action is good. The dialogue is good. taken a firm hold in Europe. Pictures, he declares, will implan
The music reproduces magnificently. And the photography this American music more firmly in all parts of the world.
is simply gorgeous. Hal Mohr certainly knows cinematography “I think we have only begun in pictures.” he declares. “Whe-
and lighting. It is amazing the results he gets. I would not recording is improved and we really get in stride the advanc
have believed that a man with lights and a camera could do will be remarkable.” (Continued on Page 46-
 ,

January, 1930 American Cinamatographer Seven

"Photographic (Control in
Fariable "Density "/^cording
A Paper Included in the Technical Digest of the Academy of Motion
Picture Arts and Sciences

By Wesley C. Miller
Chief Yransmission Engineer, Metro-Goldwyn-Mayec Studios

OUND reproduction presents three ._L

]

The usual means of arriving at the con-

S
- .J_
basic problems. First, the original ' ditions for proportionality in the photo-
sound must be picked up by some rv ^ V graphic processes is by reference to the
—
1
H
device a microphone. Later, sound -1 familiar Huerter U Driffield curves for the
must be re-created by a loud speaker or f
emulsion used, such as those shown in
its equivalent in such a manner as to reach Fig. 2 plotted between density D, and the
-ii-
a listener as a good substitute for the logarithm of the exposure E. These
h -
;

original. In between are all of the steps curves exhibit the characteristic of having
,

'V.
'
1

of amplification and recording, involving u a curved toe in the region of under ex-
;
various kinds of energy conversions. The r-V
»,
posure, a curved shoulder at over ex-
entire philosophy of the process is based z posure, and in between a section which
1 f
^
upon the attempt to keep the results of *
%
approaches a straight line. The slope of
each step strictly proportional to the 'T A the straight portion determines gamma
In cases where this is not en- the contrast factor, which up to a
1

original. 1

(y)
•
4 i t : iz. : - -

tirely practicable, correction may be made

i

"r certain point increases with time of de-

in one step for some unavoidable distor- "t 1

co&aoitmm Of t*»o*ooe velopment. The intersection of the

tion introduced by another. straight portion extended, with the log
Fig. 2
For the purpose of a photographic E axis, determines the inertia i which is
analysis of variable density recording and not of immediate interest.
reproducing, suppose we modify this fundamental division and The straight part of the curve may be represented by the
•use that shown in Fig. 1. Up to the point of exposing the equation
sound negative we can maintain good proportionality with the
original sound. Also, from the time the sound positive pro-
duces electrical variations which later are converted to sound,
we can maintain similarly good proportionality. But if the
D= log ——
1

y (log E — log i)

same condition fails to exist in the photographic part of the pro-

T
where T, the transmission, is the ratio of transmitted light to
cess, our overall result suffers. Let us then state the photographic
problem thus — the transmission of a sound positive must be
incident light through the film. —
This equation may be written
strictly proportional to the original negative exposure which it
represents.
=
— y
Any technical process has certain limitations. Recognition of
T k E
This relation holds for both negative and positive, that is
them is an incentive to remove them or to decrease their effect.
In any case, to determine them and to work within them is good
= kn En
— 9n
Tn
engineering. The author’s intimate contact with heavy produc-
tion using the light valve variable density method since the
—
= kp Ep yp
beginning of commercial work with it has led to certain con-
Tp
where the subscripts n and p apply to negative and positive,
clusions in this respect. It is the desire in this article to describe
some features of the method and to present a means of analysis respectively. The
various k factors are constants.
In printing, the positive exposure is proportional to the
which has been found to be of great value in controlling results.
negative transmission, hence
The latter is not original in principle. It has. however, the dis-
tinct merit of affording a way of stating the problem simply
Ep = k' T„
and of readily determining how well practical success has been From these relations we may determine the overall relation

attained. (Continued on Page 18)

Fig. 3 Fig. 4 Fig. I

Eight American Cinamatographer January. 1930

Top. ready for '‘Crocs. "

Center, Clyde DeVinna. chief cinematographer , with hi.s radio set. Bottom, the technical staff.
January, 1930 American Cinamatographer Nine

In o^frica with Trader Horn

Clyde De Vinna, A. S. C., Gives a Few Facts
on Photographing in African Jungle

By William Stull, A. S. C.

he set designers in Hollywood’s studios can, and have,

T built sets representing almost every part of this world
and the next, but when the officials of the Merto-Goldwyn-
Mayer Studios want their scenes made on the actual locations,
we always had to knock off shooting between the hours of ten
A. M. and three P. M., because the angle of the sun made a
nasty top-light which simply eliminated quality results, and
the shimmering heat-waves danced around so that anything
they always call for Clyde de Vinna, A. S. C. Few men indeed but close-ups were impossible. Incidentally, it was usually so
have received such substantial evidences of executive confidence hot about that time that nobody could do any work, anyway.
as Clyde has, for he has been sent, times without number, to "Still, by the time the rest of the bunch got down there,
remote corners of the earth, far away from studio supervision, we’d pretty well gotten used to these photographic conditions,
at times entirely alone, or even in charge of a company, to bring and were all ready to start work in earnest. And work we
back vitally important scenes for the studios big productions. did, too! We safari-ed all over British East Africa, up into
His success in this unique field is well attested by the scant the Uganda, and over into Belgian Congo, making pictures all
time he has been allowed to remain in Hollywood during the the while.
past few years. At times he has been fortunate enough to be "Then, all of a sudden when we were almost half through
able to photograph a picture or two in the studio before with the picture, the studio cabled us that as the world was
answering a hurry call to Kamchatka or Zanzibar, but of late demanding its pictures all-talking, "Trader Horn” would have
even this has been denied him, as he has been assigned the to talk too, and so a sound crew was on its way to Africa to
photographic direction of three successive "specials” filmed join us!
entirely on remote locations. "Well, the sound men reached us all right, and we found
The of these three was the superbly beautiful epic "White
first
that they had brought everything with them but silenced cam-
Shadows in the South Seas," which took Clyde and his direc- eras for us to use. Then the fun began! We had to make
torial teammate, W. S. Van Dyke to Tahiti for many months.
The success of this picture was so complete that they were
talkies, even though we didn’t have the proper cameras —
and.
believe it or not, we did it! Our prop man was a wonderful
immediately rushed back to Polynesia to create Ramon Novarro’s fellow, and he surprised us by breaking out a lot of felt and
"The Pagan.” Now
they have just returned from ten months canvas, and fixing up some surprisingly effective camera covers,
in darkest Africa where they have battled hardship, wild beasts, so, with them and a few blankets, our two standard Bell ^
and storms to make "Trader Horn" the outstanding production Howells and George Nogle’s Akeley did as good service as though
of 1930. they’d been the latest of sound cameras. You can bet we were
That it most certainly will be that
prediction of all who have seen the preliminary ‘rushes’ which
is the unqualified satisfied with them —
until we got back to the studio and started
bragging a bit about them. Then we found that they’d sent
have emerged from the crowded cutting rooms. In point of us off two brand new silent Mitchells five or six months before!
size, novelty, and cost it easily takes place beside the most They’re still trying to find those Mitchells!
opulent epics of the silent screen. While the exact amount of the "You can imagine we had to use a lot of such makeshifts out
production cost has not as yet been computed, it is known to there in the bush, for most of the time we were too far from
exceed in cost all of the firm’s previous pictures, with the single even our Nairobi base to have anything to rely on but our
exception of the colossal "Ben Hur,” which it closely rivals. The
magnitude of the undertaking can perhaps be imagined when
own wits —and luck. I recall one time when we were on
safari from one camp to another. Van and I were in the
it is learned that, despite the most skillful management, the bare
lead car, several miles ahead of the others, when suddenly we
operating cost of the company while in the field could not be
brought below an average of $5,000 per day!
came
needed. We
—
upon a lion with a fresh kill a scene we specially
stopped the car, and Van hurriedly sent back
Under these circumstances, the terrific responsibility resting for the actors, while I got the cameras ready. When all was
on the shoulders of Director Van Dyke and First Cinema- ready to shoot, we found that the reflectors were still back
tographer de Vinna is painful to imagine. Their success is
indicated, however, by the fact that the studio officials are
with the main party a —
typical cameraman’s ‘bad break’.
Well, there was no time to send back for the things, and we
unanimously enthusiastic over the picture, pronouncing it a couldn’t get on without them, so we hurriedly threw some
worthy successor to the same team’s "White Shadows, and
together. We made two splendid hard’ ones out of a couple
well worth the costly 25,000 mile safari required.
Concerning his own part in the expedition. Mr. deVinna is
of five gallon gasoline —
excuse me, petrol — tins, hammered out
flat on wooden frames made from the crates they were shipped
modestly reticent, though outspoken in his praise of the other in, and a couple of excellent ‘soft’ ones (1916 style) out of the
members of the company. We had a great trip, he says,
*

sheets on the leading lady’s bed. Pretty crude makeshifts. I’ll

"and, in spite of all the hardships and trouble we went through,
we’ve managed to bring back a pretty good picture.
admit —but they worked, and we got a scene that might have
taken us weeks to get, otherwise.
"We left here,” he continues, "February 4, 1929, and our "Another makeshift was our own African camera crane. The
advance party reached Mombasa on March 16. We went at script called for a scene showing our actors stumbling along
once to Nairobi, the principal city of the interior, where we in their headlong flight from the cannibals, nearly dying of
established our base. And right there we got our first surprise, thirst in the waterless veldt, while the camera is raised straight
for we found Nairobi, in spite of its location in the wilds of up to reveal a water-hole directly ahead of them, over a knoll.
Africa, was a fine young city, and an ideal base. By the time Of course the scenarist meant well enough when he wrote it.
the rest of the party joined us. a month later, we
had our
laboratory installed, and had put through it more than 14,000
but, after all
Africa!
—
he didn’t hav’e to shoot it in the middle of
That was our job!
feet of film that I had shot for tests, etc. During that month, "When we came to make the scene, we found the location
we’d gotten a couple of cars (all safaris are made by motor easily enough, but, unfortunately. Dr. Fejos’ famous camera-
nowadays), and we’d been able to scout around that part of crane was busy in Universal City, California, some six thousand
the country pretty well, and line up a lot of good locations.^ miles away from where we very earnestly wanted it. Again we
"We’d begun to get an idea of the tricky light conditions put our heads together, and finally evolved our primitive, but
we were up against, too. You see. most of our work was effective, substitute. We set up an ordinary six-foot parallel,
done on the plains, high above sea-level, where the air is so and from one side of it we ran a stout crossbar, made of fresh-
much thinner that although the sunlight beats down plenty cut timber, to serv'e as the axis for our crane. The crane itself
hard from above, there is little diffusion, and the shadows are was a twenty-foot pole, with a convenient fork at one end,
just so many big ink-spots. And down thereby the equator (Continued on Page 26)
Ten American CiNAMATOGRAPHER January, 1930

... A SCENARIO WRITER

HAS HOLLYWOOD LUCK
By Harry Lang

hese Hollywood Then Mannie mentioned in detail the morals of Michael V.

T
next. .
the boss’s door on his
the payroll one day,
.
!” .
jobs,” grunted Mannie as he slammed

And then he barged down the hall from Michael V. Bladdich’s

way out, “are just fifty-fifty! on
and on your Chinese jade fan the
— Bladdich. He referred with startling frankness to certain grand
jury memoranda which had very mystifyingly disappeared from
the official archives. He went into the matter of Bladdich's pri-
vate personal habits to an extent that wasn’t at all good taste.
fur-lined office, up two flights of stairs, through more halls and But then, Mannie wasn't trying to be in good taste, anyway. He
into the cubicle he shared with another ex-newspaperman who was just telling Bladdich what he thought of him.
had also turned dialog-writer since Hollywood went audible. —
The letter, in short although the letter itself wasn’t short —
“Bladdich,” remarked Mannie as he slammed himself into his was a masterpiece of something or other. It’s a wonder the —
chair, “is a big, fat stiff!
bloodsucking
—
He’s a low-down, double-crossing, typewriter didn’t melt, and it was certain that the paper must
have been an asbestos compound. If anybody in the postal service
“Hey, wait! ” yelled Cedric, his office-mate: ‘Tve been fired had ever opened the letter, seventeen postal inspectors would prob-
myself, lots of times. I recognize the symptoms. Bladdich gave ably have been at Mannie’s door the next morning, charging him
you the gate.” with sending explosive, incendiary and various other kinds of
“Yeah, and he gave me a pain in the middle of the afternoon, matter through the mails. When Mannie had it finished, he
too,” amended Mannie.
who hasn’t got —
“Besides which, he’s a misbegotten squid showed it to Cedric. Cedric blushed.
“What’s the matter? Scald your sensibilities?” Mannie asked.
“Aw, shut up!” bawled
months, haven’t you? What
Cedric. “You’ve been here two
did you expect when you came here
—
“No just ashamed of my paltry vocabulary, after that,”
Cedric explained.
— that this was going to be an old man’s home? months Two Mannie added
—And a postscript:
is nearly a record of some kind. What did Bladdie say to you?” “P. S. you (two lines of bad words), if you want
say,
“He sent me an office memo to see him at once,” narrated Man- to do anything about this, you’ll find me at the President Hotel.”
nie. “I did. He said ‘sit down.’ I did. He said: "Twomahnts Then he stuck it in an envelope, addressed it to Bladdich,
ago, you kem here, hah?’ I said, ‘yeah.’ He said: ‘Who toldt stamped it, gathered his belongings, put on his hat and strode out.
you you was a dialok writer?’ I said: ‘You told me yourself, At the first mailbox, he mailed it. Then he went to the Journ-
Mr. Bladdich.’ And he said: ‘So? Veil, now I tell you you
aindt! You write dialok what sounds like a Y. M. C. A.
hedwertize-ment
iss eppelsoss.
Goodt-bye.’
“And what
What we needt iss bep andt what you give us
!

I am sorry but we can’t use you from now on.

did you say?” prompted Cedric as Mannie began to

W
alists’ Club and got drunk for three days.

another.
HEN
HE came out of it, he was on his back in bed.
Some kind soul had put him there: Mannie didn’t know
who, but then Mannie had done the same for some of
the other guys in days gone by, and one good turn deserves

!” he yelled.
clean out his desk. “Hey, Smart! ! He thumped on the floor.
“Say?” yelled Mannie. “Say? He didn’t gimme a chance From ciownstairs somewhere came a response:
to say anything. mind gettin’ Listen, I don’t fired by a regular “Yassuh, Mist’ Mannie: —
Uh huh cornin’, suh.” A minute
guy, but you know, and everybody on this lot knows, and I later, and a black head atop a white coat appeared at Mannic’s
know that Bladdich is a blankety-blank-blank .” And Man- . . . door.
nie said a lot of things that newspapers would be arrested for “Smart,” begged Mannie: “bring me a bromo and a paper
sending through the mails. and what time is it?”
“
“Why, tell mei’” Cedric finally managed to interpose. “Tell 'Bout ten, suh?”
Bladdie.” “What night?”
“Yeah? How?” “Tuesday maw-
Mannie wanted to nin’ an’ I’m bringin’
know. Then he got de bromo an’ de
an “All right,
idea. mawnin’ papuh.”
I will! !” he mut-! Smart vanished
tered, and
stuck a and Mannie realized
sheet of paper in his he’d been non com-
typewriter and be- pos mentis since
gan a farewell letter Saturday. He gulped
to Michael V. Blad- the bromo and cussed
dich, who had just it, most-
as usual, for
canned him. lygoing up his nose.
He began it mere- He read the paper
ly: “Bladdich:” foggily until he saw
The first para- the name of Michael
graph, then, started V. Bladdich in large
like this: letters.
“You are a . . .
.” “FILM EXECU-
It dealt largely with TIVE JAILED,”
Bladdich’s ancestry the headlines an-
and family tree and nounced. There
was ripe in miracul- were other heads
ous biological oc- about embezzlement
currences. second A and morals charges
paragraph detailed and things like that.
Mannie’s views re- There was a picture
garding Bladdich’s of Bladdich. And
level of intelligence, there was a story
compared with which Mannie man-
which the lowness of aged to decipher,
a whale’s abdomen (Continued on
was a huge elevation. Page 30)
January, 1 930 American C namatogra
i p h e r Eleven

7\^w Fearless 5ilent {^era

Ralph G. Fear Announces a New Professional
Camera With Many Startling Features

R alph G. fear, Head of the Fearless Camera Company,

formerly the Cinema Equipment Co., of Hollywood, an
engineer well and favorably known in the Film Industry
brings to a culmination years of study and endeavor in the
effort in re-designing
ing practically

ing
all
re-built cameras are in use today
necessary with their use.”
is
and re-building, was successful in eliminat-
the noise in the old cameras. Dozens of these
and no booth or sound-proof-

presentation of the New Fearless Silent Camera. Mr. Fear entire time that he was re-designing and
During the re-
has put into the New Fearless Silent Camera the accumulated building these old cameras, Mr. Fear was perfecting a new
scientific and practical knowledge gained through ten years camera designed for the present day conditions.
of intimate association with the engineering phases of motion “A modern motion picture camera,” continues Mr. Fear,
pictures. ,
“should be so silent in operation that it can be used within ten
“Most of the professional motion picture cameras in common feet of the microphones while photographing sound pictures.
use today,” says Mr. Fear, “were designed a dozen or more years Provision should be made within the camera for recording sound
ago. As a matter of fact there isn’t a professional motion picture on the same film and at the same time that the image is being
camera now in common use in the Studios that was not designed photographed. It should be extremely easy to focus, retain all
prior to 1920. These cameras were not designed for silence, of the features in common use before the advent of sound, and
hence they all develop so much noise that with the advent of in addition should contain all of the modern accessories that
talking pictures it became necessary to provide some sort of have become necessary attachments with the permanent estab-
sound proofing for the cameras in order that they might be lishment of talking pictures. It should fill the every need of
used in sound productions. This has resulted in a multitudinous modern motion picture photography. Such is the 1930 Model
array of booths, blimps, bungalows, blankets, etc. in a vain Fearless Silent Camera.
effort to keep the camera noises within an enclosure so that “In addition to being so silent in its operation that the
they will not effect sound microphones may be plac-
recording. But even with ed within ten feet of the
these cumbersome devices, camera without picking
and the attendant discom- up unwanted noises, the
fort and trouble experi- Fearless Silent Camera
enced with their use the embodies many new and
noise still continues with desirable features. How-
sufficient volume to cause ever, it should be stated
great trouble in record- at this juncture that the
ing. Fearless Silent Camera
“In addition the cam- does not contain any
eras present a bewildering radical or untried features.
appearance with their ar- To the contrary, every-
ray of accessories that thing that goes into its
have become necessary construction is based on
with the advent of sound sound engineering prin-
pictures. ciples.
“Some of the older
“The Fearless Silent
camera manufacturers have
Camera is equipped with
tried, with only partial
the Fearless Simplex
success, to silence their
High-speed movement of
cameras. They have re- which there are nearly
placed the conventional
half a hundred in use,
ball bearings, which were
several having been in-
of the old bicycle type
stalled in Europe. This
and very noisy, with
is the simplest camera
plain bearings. Metalic*
movement in the world
gears have been replaced
to thread and due to pre-
with Bakelite. Movements
cision workmanship and
have been quieted to some
accuracy of design is so
extent. And one manu-
silent while in motion
facturer covers his camera
that only by placing the
with sponge rubber. None
ear against the frame of
of these expedients has
the movement can any
been entirely successful
sound be detected.
and we still find the cam-
eras in booths, or the so- “One of the outstand-
called blimps and bunga- ing factors that contri-
The New Fearless Silent Camera
lows.” bute to the almost un-
Continuing, Mr. Fear canny silence of the Fear-
says, “I approached the problem of noisy cameras from a differnt less Silent Camera,” says Mr. Fear, “is the full force oiling
angle than that followed by other engineers. I contended that the system that pumps oil under pressure to every bearing point.
scientific way to eliminate camera noise was at its source and This system of positive oiling is employed in all high grade
with this thought in view invented and developed a silent automobiles, but this is the first time it has ever been applied
camera movement which it is possible to run at high speed with- to a motion picture camera. The few gears that are used in
out noise. This movement was first placed on the market in the Fearless Silent Camera are designed for silent operation and
July 1928. It then became necessary to eliminate the balance wherever ball bearings are necessary the finest of imported
of the noise in the cameras, and after six months of intensive instrument bearings are used. (Continued on Page 29)
Twelve American C namatographer
i January, 1930

Happy New Year! The Hollywood Mind

A GAIN we arc facing the dawn of a New Year. Some of
us face it with joyous, eager anticipation; others with fear
and trembling. None of us know what the year will hold for
us. Of that we are certain.
A ndnow another “author-critic” rises to say a few un-
gentlemanly things about the motion picture people of
Hollywood. This time it is Benjamin De Casseres, and
his pen or pencil or typewriter must have scorched as he wrote
Strangely, many seem to feel that the first of January is his thoughts.
differentfrom the first of July or August or February. Just Mr. De Casseres in part says: “There is something Silurian and
another matter of habit or custom. pre-Devonian in the set, deeply incrusted and unmalleable quality
However, as it is a when most
of the world makes good,
time of the motion picture mind. When movement does take place
or bad, resolutions and slates are wiped clean for a new start, the causes must be sought for externally in some great catastrophy
why not make a resolution that w'ill affect our neighbors and in the box office. It has no internal principle of movement such

fellow humans? Most of us resolve to do this or that, or not as governs the minds of humans living elsewhere. It is for this

to do this or that —
always thinking solely of ourselves.
year let’s give the other fellow a thought.
This reason that the Hollywood mind is precisely today what it was
in 1914. It cannot change. What seems so is mechanical move-
ment caused by a series of external shocks. Oh, what a piece
Wouldn’t it be a wonderful thing if everybody resolved
of work is this Hollywood mind! How
ant-like in reason!
to do the best work possible each day, to treat others as we
How infinite pre-established vacuity! In action, how like a
wish to be to be kind, cheerful, ambitious, helpful,
treated,
jazz band! In apprehension, how like a blotter! The Pub-
merciful, charitable! Just imagine what such a resolution would
mean —
if it were made and kept! Most of us forget the other
fellow in the mad scramble of life. We step on him when he is
licity Beauty of the world! The paragon of the tabloid bean!
And all its learning might be bounded in a peanut shell!”
Well, well. And then three bad eggs; for they would not
down; think only of self. Let’s change this year. create an odor quite so distasteful as Mr. Casseres’ remarks.
And now that we have had our little say, we wish you all Really, it is a peculiar thing how critics and authors strike
a happy and prosperous New Year! out at Hollywood and its people with all the vitriolic power
they possess. And then, isn’t it funny to watch the critics and
authors grab onto the fountain pen and sign their names to the
Glen Kershner contracts when these feeble minded persons of Hollywood some-
times offer them a piece of change for an idea! And then, oh,
he other morning we had a 7 o’clock breakfast appointment
T with Glen Kershner. the genial gentleman whose present
series of excellent drawings for this publication is attracting
attention far and near. Now. there is usually nothing very unusual
so often, it turns out that the critic or author has no ideas.
The whistle toots and the bell rings on the Santa Fc Chief and
another author or critic is headed Eastward again while one of
the ant-like Hollywood minds tries to salvage a little something
about a breakfast appointment with a cartoonist. But Kershner from the garble of words that said traveler’s typewriter has
is not the usual type of cartoonist: so there is the point that makes
turned out.
this writer burst forth with this pseudo literary effort.
It does seem peculiar how America leads the motion picture
Arriving in front of Henry’s famous restaurant, the writer world; how such pictures as “Seventh Heaven,” “Four Sons,”
thought for a moment that a nomadic gypsy must have stopped “The Big Parade” and a lot of others ever came to the screen,
there for breakfast, for a car was parked by the curb and in it However, scientists tell us
with ant-like minds behind them.
were the following: one bass violin, one artist’s easel, one set of that an ant is the strongest creature in the world, comparatively
golf clubs, one motion picture camera, one flute, a box of oil paints
and a drawing board. The drawing board was perched on the
— so perhaps Hollywood will manage to struggle along.

knees of Kershner who was busily putting the finishing touches

Westerns Again

N
on the cartoon that appears on the opposite page of this magazine.
O LESS person than Jesse L. Lasky asserts that the
a
This man Kershner was on the way to First National Studios old time western picture will be brought back to the
where he was photographing a picture. But he had the bass fiddle screen by the advent of the talkies. Three cheers for
with him because he was going to play with some Symphony Mr. Lasky!
orchestra in Los Angeles that night. He hoped he could finish Somehow or other, there never was a picture that sent
work at the studio in time to do nine holes of golf, and in case men away from the theatre with blood tingling quite as did the
anything happened so he would have more spare time he had his westerns. Every man is still a boy at heart: and don’t you
paints along to finish a picture he had started. Meanwhile he remember the thrills you used to get from reading the old nickel
was doing the cartoon while waiting for breakfast. novels of adventure on the plains! Sure you do!
The peculiar thing about Kershner is that he does everything And now, according to Mr. Lasky, the westerns will be
well.
month’s
And he plays the piano —
oh, well, here’s the point! Next
issue of this magazine will contain a feature story about
better than before because they will have better constructed
stories. That is also good news. More power to the pro-
Kershner, done by this writer himself —
and if Glen doesn’t give
us a drawing showing how he looks to himself, we’ll put broken
ducers who
used to be.
give us the hard riding heroes of the days that

glass in his bass fiddle. California

Excuse Us, Please H eigh hoi As we were coming to the office this morning
it was so warm we had to use a lot of will power to keep

from doffing the coat and walking in our shirt sleeves. And
then we picked up the paper and saw where even the racketeers in

N OW
We
and then an error
creep into any publication.
will
are particularly pleased over the absence of them in
this publication. However, they happen.
say that we make a real one when it does take place.
But we will
Chicago had been snowed under and beautiful white drifts of snow
were some places fourteen feet deep. We threw open the win-
dows. gave some fresh water to the roses we had picked in our
back yard and decided that we could kiss the man who gave us the
So, we wish to beg the pardon of T. E. Finegan, head of the yen for California and would not be effeminate, either.
Eastman Teaching Films. Inc. In the November issue we men- And then Don Thomas of the All-Year Club of Southern
tion H. T. Cowling of the Eastman Teaching Films as head of California sent us word that 69 7,420 tourists (count them your-
the organization. Mr. Cowling wrote us about it, but his let- self) had visited California in the first eleven months of 1929.
ter came too late to stop the second error in the December issue We don’t blame them! There should have been a million, and
when we announced the addition of Mr. Cowling to the editorial all should be here for Christmas and see Hollywood Boulevard
staff of the magazine and again called him head of Eastman lighted up with decorated Christmas trees. Top coats still in the
Teaching Films. Now we wish to say that it is Dr. Finegan moth balls: sun-tanned youngsters laughingly prancing along the
who is head of this organization, and in our next issue we will street waiting for the real reindeers that nightly drew Santa and —
have a story about his work that should be of interest to all our a beautiful movie star —
down the street. We are not boasting —
readers . . . the Editor. we are just saying we are lucky to be here.
January. 1930 American C n amatog
i r a p h e r Thirteen
Fourteen American Cinamatographer January. 1930

1930 AND THE 5 ’.

C
By John F. Seitz
President of The American Society of Cinematographers

AS PRESIDENT of the American Society of Cinematographers, 1 take this opportunity

of wishing a happy and prosperous New Year to every member of this organization;
/A
to the readers and supporters of our magazine, The American Cinematographer,
and to our countless friends scattered throughout the world.
The year 1929 has been an eventful one in the motion picture industry. Changes have
taken place and developments have been so rapid that it almost takes one’s breath away to
try to realize all that has happened. It has been a prosperous year as well, and the industry
should be proud of the 1929 achievements.
The society has prospered to an almost unbclieveable extent, and has enjoyed one of the
most eventful and outstanding years of its history. Today, as we face the new year, the
society stands in an enviable position. Never before has the society been so strongly
entrenched. Never before has its future been so promising.
Our magazine. The American Cinematographer, has completed the most successful year
of its history and today stands preeminent in its field as the outstanding publication of
its kind —
a magazine that is awaited eagerly by readers all over the United States and in
thirty-six foreign countries. During the past year it has expanded and developed even
beyond expectations; and 1930 gives promise of further advancement that will be
startling.
The society is now preparing a technical book to be called the Cinematographic Annual.
The publishing of this book, I believe, will be one of the biggest contributions of the
society for 1930, because it will be a publication that will fill a long felt want. In it we will
have information that can be found nowhere else, and prepared by outstanding authorities.
I hope and expect this book will be the last word in technical works of its kind and will
bring out still more emphatically the efforts of this society to further the interests of cine-
tography and allied fields of the motion picture industry.
During the coming year the society plans much in an educational way for its members
which will have an excellent effect upon the industry. Courses in mathematics, physics
and other subjects are being planned, and the society will be well in the van of educational
progress.
Throughout the years of the society’s existence this organization has always had the
advancement of cinematography and cinematographers as one of its chief aims. A glance
through the records of the past reveals much in the way of accomplishment. It is the aim
now to make the service 'of the society still more valuable to every member and to the
industry; to keep alive and shining our slogan “Loyalty, Progress, Art.’’

International Institute to Publicize New Films E. R. P. I. Analyzes 75 Theatres Weekly

O INCREASE

T is
he international, educational cinemat-
ographic INSTITUTE organ of the League of Nations
planning to make a regular survey of what has been
T the acoustic quality of Western
wired houses, seventy-five theatres are now being acous-
tically analyzed every week by the acoustic department of
Electrical Research Products under the supervision of S. K.
Electric

achieved by the various Nations, with regard to the production of Wolf. In every case where the analysis shows that the theatre
educational, scholastic, documentary or purely recreative films. is in need of acoustic treatment, a specific acoustic recommenda-
tion is made for the treatment of the theatre.
To this end, it appeals to all producers and editors of such The long period of development work carried on by the
films, begging them to communicate to the International Institute acoustic department has enabled the company to make these
their own programme of production. analyses and recommendations on a strict engineering basis.
Toencourage the creation of such films and make known what The work divides itself in two parts. First a complete acoustic
survey is made in the theatre by the company’s engineers.
is being done in that line, the Institute will dedicate some pages of
Written reports of this survey are sent to the acoustic engi-
the International Review of Educational Cinematography to the
neers in the home office who analyze these reports to determine
•

advertisement of the films which are being prepared, publishing

the acoustic values of the house, and to draw up recommenda-
also photographs to illustrate their educational, scientific, scho-
The Review is a tions for treatment when needed.
lastic or documentary or technical character.
In making the surveys, engineers are required to determine
monthly publication edited by the Institute. It appears in Eng-
Thousands of copies the exact volume and seating capacity, nature and thickness
French. German, Italian and Spanish.
>

lish,
and it is read by 52 various nations. of all surfaces in the theatre, type, thickness and amount of
are being circulated
draping and decorating material used in exact nature
theatre,
’

In this way, a general propaganda for educational films is being of all seats and furniture, etc. It also includes a noise survey
organized by the Institute, which offers in an entirely disinterested and recommendations for eliminating all noises in the house.
way to help the producers of every country. An international So complete is this survey, the report covers five pages, and either
Catalogue will eventually be published by the Instittite of all accurate sketches or architects' drawings must be included in 1

films which are deemed to possess a real educational value and will the survey reports.
be circulated in every country.

All kinds of information possible, accompanied by the list of Pahlc at Pathe

titles and by photographs, must be sent to the International Edu- Ted Pahle, A. S. C., has left Paramount New Ybrk studios,
cational Cinematographic Institute; Villa Torlonia, Via Lazzaeo and is now in charge of the camera department of Pathe’s New
Spallanzani 1. (Documentation Office.) ROME. York studio.
Janukiiy, 1 930 American Cinamatographer Fifteen

:n!iU:
:RIRI:

All quiet on the

Western front”
. . • Universal Pictures

Out into the Night ^

The Cheering ^
^ front the Projection Room^

PERFECT PHOTOGRAPHY
ARTHUR EDESON, A. S. C.

EASTMAN
Panchromatic ^e^ative
I^TYPE two}

J. E. Brulatour, Inc
New York Chicago Hollywood
Sixteen American C n i a m a tog r a p h e r January. 1930

“//ell s o^ngels” (Completed

Camera Staff on ^‘Heirs Angels*'

Left to right: Roy Rabiti, Pliny Goodfrtend, I'ony Gaudio, S. C., Chief Cinematographer Jockey Findel. Don Brigham, Harry
: Percy, A. S. C.. in
charge of air photography : Rod Totmic, Lester Shorr. Fred Eidridae. Joe Dorris. Sam Lauders.

H ELL’S ANGELS,”
enterprise of all
“most lavish screen
heralded as the
time.” will make
its world debut on
Broadway, at the George M. Cohan theatre, in March.
The Western premiere will follow shortly thereafter, and sub-
alone devoted to the aviation and zeppelin sequences. Delays,
occasioned by unfavorable weather for aerial photography, have
prolonged the production.
Also, the decision of Producer-Director Hughes several months
sequently the film will be road-showed throughout the country. igo to re-film the silent version, converting his picture into an all-
The multi-million-dollar air thriller, produced and personally talking presentation, has delayed its completion. "Hell’s Angels.”
directed by Howard Hughes, president of the Caddo Company, ariginally began as a silent picture, before the advent of “talkies.”
is finally and actually nearing completion, after approximately An ot the non-flying sequences were re-shot with conversation and
three years in the making. This information comes from the >.)i'rd

Caddo office direct. Ben Lyon and James Hall, principal players in this stupendous
The which exactly 700 ex-soldiers
last shot, a battle scene in 1 drama of air-war. are supported in the feminine department
participated, was filmed on December 7, and the picture is now by Jean Harlow, a comparatively unknown actress who appears
being cut and edited for public showing. in her first screen role in “Hell's Angels.” Miss Harlow, a
“HeU’s Angels,” promises to be one of the 1930 sensations former Chicago society beauty, replaces Greta Nissen. the Nor-
of the film industry. It will be 100 per cent sound and wegian who appeared in the silent version. She is a
star,
talking, will have a teebni -color sequence, and is packed with natural blonde of striking beauty, and is being groomed by
air thrills. the Caddo Company for stellar roles in the future. Others
Actual filming of “HeU's Angels” began on October 31. who appear in the roster of players include John Darrow.
1927. following six months of preliminary research and Lucien Prival. Jane Winton Douglas Gilmore. Stephen Carr.
preparation. Shooting has proceeded steadily, with 18 months {Continued on Page 30)

1 he last scene photographed in Howard Hughes' picture, “Hell's Angels"

January. 1930 American C namatogra
i p h e r Seventeen

Through this doorway

come ideas which
vitalize an industry
It is a simple stone doorway, of & Howell has grown these 23 years.
becoming dignity and architectural In every phase of motion piaures
grace. With its doors but newly they are competent technicians.
hung, the building to which it gives Aided by the finest laborator)^ of
access already hums with the activ- its kind in the world, they offer you
ity of research and experiment into counsel, advice, service, research
the complexities of modern motion and experiment.
picture technique . . . thus the Bell As competently as Bell & Howell
& Howell Engineering Develop- have been building cinemachinery
ment Department dedicates its new for more than a score of years, thus
home — with work. competently have they engineered
Have you a problem . . . exact- for the industry at large. Consulta-
ing days of worry and concern.^ tions are invited on all phases of
Bring it to these experts. They have motion picture engineering, and
grown up with the industry, as Bell particularly on sound development.

BELL &
BELL & HOWELL
HOWELL COMPANY
LARCHMONT
DEPT.
CO., M., 1848 AVE., CHICAGO, ILL.
NEW YORK, 11 West 42nd Street HOLLYWOOD, 6324 Santa Monica Boulevard
LONDON (B. & H. CO., LTD.) 320 Regent Street Established 1907 *
Eightwn American Cinamatographer January, 1930'

Photographic Control In Variable

Density Recording
{Continued from Page 7)
between negative exposure and resulting positive transmission.
yn yp
Tp =K E„
If the exponent (yn yp) the product of negative and
, that is,

positive gamma, is made equal to one we have the required

condition of proportionality between negative exposure and posi-
tive transmission. Excepting certain adjustments which must
be made for the effects of parts of the apparatus, this is the
relation upon which the entire success of this method of variable
density recording depends. Suppose we analyze it.
First let us convert equation ( 1 ) into the form of equation
(2) and plot the results — that is.

— Fig. 5
y
T = k E
We find that the curves of Fig. 2 plotted in this manner in Fig. 3 the reproducing apparatus. In Fig. 5 is shown the result of
are of entirely different character. Unfortunately, this is the actual measurements of this overall relation for production work
form which must interest us in recording. In this figure the full under average good conditions. Better results have been obtained
—
1

lines show the counterparts of the curves in Fig. 2, the dotted also worse. It will be seen that over the central part of the
‘

representing the results which would be obtained if the range of negative exposures, good proportionality of positive
•

lines
H B D
curve were entirely straight a practical impossibility. — transmission is obtained. As we use more of the exposure range •

The same kind of curves, of course, obtain for both negative and we begin to strike the curved section at each end. This occurs >

We
learn three important things from these curves. on the average from 50 to 60 per cent modulation when using
positive.
1. The record obtained from a negative is far from propor- Eastman positive stock with normal development formulae or — ;

tional to the original. about perhaps 6 db below the clash point of the light valve
2. It is necessary to counteract this distortion in making
zero exposure. Reaching these curved sections clearly produces i

and processing the positive. In other words, we must a distortion, the seriousness of which depends upon the type of f

combine two exponential curves to produce the overall sound and the quality requirements of the producer. For ease *

— in estimating this distortion a sine wave exposure shown — for

3.
relation of proportionality
The
a straight line.
toe and shoulder sections of the curves show HUD low modulation and for complete modulation —
with the resulting
is t

up in Fig. 3 as the departures from the dotted sections. transmission variation, the loss in quality due to recording at t

The of great interest, as will be seen later.

toe is
high modulation of the valve being shown by the shaded portions.

It is a requirement —
expressed in terms of the curve HUD This method of expression of the photographic relations
shows clearly the inherent photographic mechanism of the light
s

that we control exposures so as to remain on the

straight
to be correct. We must value variable density method of recording. By it, starting with i

section if our overall proportionality is

a quantity in the form of an electrical current which can be
>

the ex-
similarly remain off of the toe and shoulder sections of what the resulting electrical quantity
analyzed, we see directly
posure transmission curves. To keep away from the
shoulder
generally involv'cs no hardship —
merely the adjustment of maxi- will be, and what departures from the original have been intro-
duced in the photographic processes. It proves the accuracy of
exposure to remain below the over-exposure point, an
f

mum gamma measurements, checks the chemical balance and condition

of latitude of exposure. On
—
i

adjustment which still leaves plenty

the other hand, we often wish to go to zero
exposure to utilize
^
of developer —
both negative and positive as these help to

get down on control the size and shape of the disturbing toes, shows us the ;

the full range of the light valve, but to do this we

modulation limits inside of which we must stay for relatively
the toe section and distortion results.
small introduction of spurious harmonics and consequent distor-
Suppose we take the curves of Fig. 3, selecting one for the
tion. In short, it gives an immediate overall picture of what is
negative having a gamma less than one, and for the positive a
gamma greater than one — a practical
to simulate the printing
combination and combine happening. In practice it has been found to be an excellent means
of checking and analyzing daily results under production con-
«.

them graphically or mathematically ditions involving monthly some millions of feet of sound film i

process. We
find the result in Fig. 4, plotted between original
records, including both rushes and release prints.
negative exposure Eu and resulting positive transmission Tj,.
For the moment consider only the central portions of the curves
and the dotted extensions. If the product of our gammas ^^that
the overall gamma —
equals one we have (b), which is a
— Western Electric Circles Globe
is
he western electric Sound System has been in- -

straight line throughout. If the overall gamma is greater than

one we have (a), and if less, we have (c)

would obviously produce distortion.
Either (a) or (c)
T stalled in
Of
and balance
this
more than 4000
total 3006
in the foreign field.
theatres throughout the world.
installations were in the United States

These curves arc constructed so that on neither negativ'c nor

Foreign countries in which one or more Western Electric Sound i
positive is the shoulder portion used, a practical condition. The
Systems have been installed include: Great Britain, Canada, Aus-
-

dotted sections show what would happen if the toe sections did
Belgium, Czechoslovakia, Denmark, Egypt, Finland,
not exist. The complete full line curves show the actual curves
tralia,
France, Hungary, Italy, Netherlands, Norway, Poland, Spain.
resulting from a commercial emulsion, the departure from the
theoretical being caused by the negative toe at low exposures Sweden, Switzerland, Turkey, the Balkan States, Australia, China.
high exposures. India, Japan, New Zealand, the Philippines, Argentina, Brazil. .

and by the positive toe at

This figure, which is the practical result of equation (6) An example of the extent to which talking pictures are encircl-
shows us then that ing the earth is found in the installation of the Western Electric
1. The overall gamma is quite critical.
Sound System at Verldensteatret Trondhjem, Norway, only 190 0

positive toe sections arc detrimental to miles away from the Arctic Circle.
2. Both negative and
quality.
3. We
must keep the toes as small as possible.
Edeson Shooting Universal Feature
4. We
must limit the negative exposure to the regions inside
thetoe sections if we wish to minimize distortion.
two
Another point of interest, not shown by this particular figure,
A rthur edeson, A.S.C., one of Hollywood's foremost;
cinematographers, is director of photography on Universal’s''
but arising from it, is that decreasing the slope of these curves, gigantic super-production of “All Quiet On the Western Front,"
that is. decreasing positive transmission for a given negative Erich Maria Remarque’s sensational book of the war.
exposure scale decreases somewhat the detrimental effect of the Edeson has charge of the corps of cameramen who are being i
positive toe. used on the spectacular Western Front scenes of the picture, ii
In practice, the negative exposure is fixed by the scale of the Among the pictures he has photographed are “The Cock-eyed 'i

World,’’ “Robinhood,” “The Patent Leather Kid’’ and “The

'

emulsion, and to some extent by the recording lamp available.

The positive transmission range is fixed by the requirements of Drop Kick.” j

il
January, 1930 American Cinamatographer Nineteen

B - ^ '

Scene from the "Vagabond King." a Paramount-Famous-Lasky Production

energy. They can be used in small or large units.

^^action!” The soft

Panchromatic Carbons
orange light struek from National

(soft-arc) produces par-

National photographic carbons come in two
ticularly delightful effects in close-ups. This
types. Both types allow you to get every bit of

action in the scene. For sunlight and moonlight

light —rich in yellow-green, orange and red rays
night work
—molds the face in warm, caressing shades of
effects, or for long shots use National
highlight and color. Effective with the newly
White Flame Photographic Carbons (hard-arc).
developed panchromatic make-ups, they are
Their light is actinically identical with sun-
doubly effective when used in conjunction with
shine. They retain their actinic value for long
panchromatic emulsions.
distances.

The use of National Photographie Carbons NATIONAL CARBON COMPANY, Inc.

Carbon Sales Division, Cleveland, Ohio
cuts down the eost of studio lighting. These
Unit of Union CarbUle and Carbon Corporation
carbons are more economieal to use because
Branch Sales Offices: New York, N. Y. Pittsburgh, Pa.
they give more light per watt of electrical Chicago, 111. Birmingham, Ala. San Francisco, Calif.

National Photographic Carhons

White Flame and Fanchromatic
 :

Twenty American Cinamatographer January, 1930

Oscar Depue Designs New Storing and Handling Film

Combination Printer And Attending Hazards
By D. J. Goff This article from the Department of Commerce at

Washington should be read by everyone who handles

AS CHICAGO field representative of the American Cinema-

film in any capacity — F.d. Xote.

tographer, I recently had the pleasure of interviewing

/A
Oscar B. Depue, whose achievements in the design and
manufacture of cinematographic laboratory apparatus are fa-
miliar to everyone in the industry. Mr. Depue has just com-
pleted an entirely new combination printer which will do even
N otwithstanding the severe lesson taught by the
Cleveland Clinic disaster of May 1 5, 1929, and the
widespread publicity then given to the hazard involved
in the handling and storage of nitrocellulose films, serious acci-
more than the most exacting director could wish for. dents attributable to such films occur, states Dr. Charles E.
Munroe, Chief Explosives Chemist of the United States Bureau
The new printer is in reality three machines in one. for it
of Mines, Department of Commerce. Only recently accidents
is not only an unsurpassed optical printer, but also a marvel-
of this nature occurred at Los Angeles, San Francisco, Salt Lake
lously capable trick-camera, and an excellent continuous printer.
City, Newark, N. J., and at Opelousas, La., resulting in many
The machine itself is a marvel of design and workmanship, made
casualties, some of which were fatal, and in heavy property
with all the scrupulous attention to detail for which the Depue
damage. Stored nitrocellulose films, such as are used in the
printers have always been famous. In designing the printer.
production of moving pictures and X-ray photographs, present
Mr. Depue has so arranged the gate that in addition to regular
the menace of fire, explosion, and wholesale gaseous poisoning.
contact printing, it will take a curved aperture-plate for print-
Dr. Munroe warns. For these reasons, such films should be
ing master positives and duplicate negatives. The Wratten stored only in accordance with the best practice.
filters are mounted in such a way as to permit quick insertion or
removal, and in a position where heating is avoided. As they Flameless combustion of nitrocellulose films can be started
are midway between the light source and the negative, specks of by exposure to temperatures as low as 150°C. The danger of
dust on them will not throw shadows on the film. As there spontaneous decomposition of film eventually resulting in
is space provided for camera masks, the size and shape of the spontaneous combustion, and their capacity to acquire static
aperture can be varied at will —
a valuable aid in printing sound-
It will also eliminate the sound track by slightly
charges through friction, arc also referred to by Dr. Munroe.
The first accident of any magnitude caused by nitrocellulose
on-film scenes.
enlarging the picture, or leave a space for one, without injuring films, appears to be that which occurred in the Ferguson build-
the composition, by slightly reducing. ing. Pittsburgh, Pa., on September 2 7, 1909, whereby a modern
office building was seriously damaged and 50 persons were
Another important point which Mr. Depue has covered in injured. This event was thoroughly inquired into by explosives
the design of his printer is the aperture-plate: The pressure-
experts from the Pittsburgh Testing Station of the Bureau of
plate is recessed a few thousandths of an inch, and blackened,
Mines, who also made an exhaustive experimental study of
so that the surface will not reflect the light through the positive
moving picture films such as were involved in the disaster. The
film. Of course this practice has long been followed in camera report was published in the Nickelodeon, one of the pioneer
construction, but this is believed to be the first printer to do so:
moving-picture journals, and was reprinted by the Board of
up to the present time, all continuous printers have been made Underwriters of Allegheny County, Pa., for the information of
with a highly polished steel pressure-plate, which naturally re- the fire insurance fraternity.
flects a certain amount of light, softening down the print un-
desirably. This effect is probably the reason why many ex- That moving picture films were, like thin strips or shavings of
perts have preferred the step-printer, which, having no polished other combustible substances, easily ignited, quite inflammable,
reflecting surface, tends to give a snappier print. Mr. Depue's and highly combustible was quite generally known, and because
attention to this minute and hitherto unnoticed detail bids fair of their being composed of cellulose nitrates, many recognized
to put continuous printers on a par with step printers in this the possibility of explosions resident in them. A characteristic
respect. Incidentally, as he uses the same device for printing of the films that was then little known, but which was empha-
the sound track, the audible quality is equally improved. sized in the Bureau of Mines report, was that nitrocellulose
films could undergo flameless combustion, a process of decom-
The machine is, of cour.se, fitted with Mr. Depue’s famous position which may be started at a relatively low temperature
automatic light control, which has a capacity of 152 scenes and and which proceeds autocatalytically after it is once initiated.
1 8 different densities, which automatically takes care of the
As a fact, film was carefully observed in the dark while this
usual 1000 ft. roll of negative, and is invaluable where machine flameless combustion was actively going on in the film and
dev'eloping is used. The machine is also so arranged that the no flame, nor even a glow of light, was seen, though heat was
operator can sit facing the machine, instead of at one end of it set free. This process of decomposition also gives rise to the
this adds greatly to the general convenience of its operation.
evolution of very considerable quantities of nitrous fumes and
The lamp house is attached by sliding on two bars that are of carbon monoxide, and each of these substances is extremely
furnished for the 1 6mm. optical printing head, and it is but a poisonous, and, as mixed, very dangerous to encounter. Further-
moment's work to remove it. and fit any of the various attach- more, since carbon monoxide is quite combustible, and the
ments furnished for the main printer. The machine is capable nitrous fumes are supporters of combustion, violently explosive
of handling every printing operation conceivable with either gaseous mixtures may be formed from them alone, or in ad-
16mm. or 35mm. film, or both. Aside from being able to en- mixture with air.

large or reduce, and print from 3 5mm. stock to sub-standard,

As flameless combustion of nitrocellulose films can be started
or vice-\'ersa, it will print reverse motion, stop-motion, fades, by exposure to temperatures as low as 150° C., brief contact
lap-dissolves, multiple-exposures, etc., and all manner of unique
with the bulb of a glowing incandescent electric lamp, a heated
and difficult trick scenes such as making close-ups out of long- steam coil, the glowing end of a cigarette, a hot wire, a flame or
shots, and the like. Truly, it is a most marvellously versatile
similar sources of heat, will almost immediately start this
machine, which will find a warm welcome in any laboratory.
reaction, and it may even be started, through more prolonged
Mr. Depue is now working on a printer for the simultaneous contact, with bodies heated to but 100°C, the temperature of
printing of sound and picture negatives. This latest device is boiling water. When flameless combustion is initiated in a mass
already more than half completed, and embodies many original of films it may, according to circumstances, continue throughout
and ingenious features, which I feel sure will make the machine the mass, or it may be transformed to active combustion which
so invaluable that the industry will be quick to adopt it. As is accompanied by the production of flame and the evolution
soon as it is completed, I have been promised an opportunity to of light as well as heat. This transformation is the more
inspect it, after which the readers of the American Cinematog- likely to occur if the mass of films is insulated so that the
rapher will be able again to have information of the latest prod- heat generated in flameless combustion accumulates in the mass
uct of that unsurpassed genius, Oscar Depue. (Continued on Page 40)

Len Roos No Longer With Cinema Equipment Company

Len Roos. A. S. C., who for a time was with the Cinema at Darwen.
—
London Vocafilms is a new company established with studios
The firm plans to produce at least six feature pro-
Equipment Company, is no longer associated with that concern. ductions and 52 shorts during the coming year.
January, 1930 American C namatogra
i p her T wenty-one

liiki4‘N

willi

|»i4»n4M‘riii^

afl4‘r

kill

piun4M^r

lo

4*oura)f4‘

iakoM

I(
Twenty-two AMERICAN CINAMATOGRAPHER January, 1930

Shepherd and others.

Principles and Processes of Photography Screen Plate Processes. One of the novel processes suggested
in Natural Colors by Du Hauron was that the surface of a plate might be covered
with tiny filters, red, green, and blue, and then the sensitive
(Continued from Page 4) emulsion coated on top. By photographing through the back
of the plate an image would be obtained which was cut up into
unable to realize much commercial success from any one of these
tiny sections similar in size and shape to the filter sections.
methods. Several systems of making these “screen” plates have been worked
Of the many references published on color photography. Wall’s out. The methods may be divided into two groups according
History of Three Color Photography, which was published in as they yield (a) a regular pattern, or (b) an irregular pattern.

1925, is perhaps the most valuable since it represents a com- Examples of the former would be methods of ruling a series of
pendium of information of all phases of the subject. red, green, and blue lines on the plate surface or producing a

Classification of Processes of Color Photography mosaic of tiny red, blue, and green squares. The latter or irregu-
lar method is represented by processes whereby colored particles
It is convenient to divide processes of color photography into
one layer thick are dusted on the plate surface.
two classes, the additive and subtractive methods. In the former
In 1892 the first recorded attempt to make a screen plate of the
a colored result is produced by starting with a dark screen (one
components of white
regular type was made by J. Joly of Dublin. He obtained rather
on which no light is falling) and adding
pleasing results by ruled line methods. His line screen was on a
light until the desired color is obtained. An example of this
separate plate and after the negative had been exposed, a positive
method is Maxwell’s experiment. In the subtractive process it
was printed and placed carefully in register behind another line
can be considered that a white screen is used and that certain parts
screen. About the same time, J. W. McDonough of Chicago, 111.,
of white light are subtracted or taken away until the desired
introduced a process somewhat analogous to Joly’s method. Fig.
color is obtained.
9 is a reproduction of a slide made by the McDonough process.
The triangular diagram in Fig. 6 illustrates the principles of
As noted in the figure, when a strip of
The most successful commercial process, however, is the Auto-
the subtractive process.
chrome which was introduced by A. and L. Lumiere in France
magenta gelatin which will absorb green ight is placed over a
in 1907. This is an irregular screen process wherein minute
strip of blue-green gelatin which absorbs red light, only blue
grains of potato starch varied in form and size are dyed in sepa-
light is transmitted. Thus, a blue image may be obtained either
rate batches, blue, green, and red, with dyes especially selected
by projecting through a blue filter or through a combination of
Similarly, a red image may be
for that purpose. The dyed grains are mixed in the ration of
magenta and blue-green filters.
four green to three red to two blue, and are dusted on the surface
obtained by putting a yellow one on top of a magenta image, or
of the plate. The interstices are filled with a black powder and
a green image by putting a blue-green image on top of a yellow
the layer rolled in under pressure. The plate is then varnished
image. The art of painting makes use of a subtractive process
and coated with a panchromatic emulsion. When finished, there
since it consists in applying colored pigments to a canvas until
are over four million of these color filters per square inch (see Fig.
the resulting combination gives the desired result.
10) . Although the three colors should combine to give the effect
For purposes of presentation, the subject has been classified as of white when looking through the screen,they actually appear
follows a salmon pink. Exposure is made through the glass side so the
light will have to pass through the colored screen before reaching
I. Still Photography the emulsion. After the exposure, the plate is developed and
A. Transparencies then bleached in acid permanganate which dissolves the silver
1 Additive Processes
.
negative image, but does not attack the unexposed emulsion. An
(a) Three color exposure to white light now makes the remaining area develop-
(b) color Two able and after the second development a positive image is ob-
Subtractive Processes
2. tained. The process of bleaching, exposing, and redeveloping
(a) Three color is known as a reversal process because the original negative is
(b) color Two converted into a positive.
B. Prints The Agfa color plate was originally announced in 1916, but
1 Additive Processes
.

was not introduced until 1923. This plate has a three-color

2. Subtractive Processes screen similar to that of the Autochrome, except that dyed particles
(a) Three color of gum arabic rolled out in collodion are used. Color screen
(b) color Two methods were first applied with some commercial success to roll
11. Motion Picture Photography film and film packs by the Lignose Company of Berlin in 1927.
A. Transparencies
1 . Additive Processes.
The Paget screen plate introduced about 1912 was very popu-

(a) Three color lar for several years. The color screen and the sensitive emulsion
were on separate plates thereby eliminating some of the difficulties
(b) Twocolor
of screen plate manufacture. In the event that the picture was
2. Subtractive Processes
(a) Three color
spoiled, the screen could therefore be used again. When binding
(b) Twocolor
up the transparency it was somewhat difficult to register the color
B. Prints.
screen. Although withdrawn from the market for a few years,
the plate has been introduced again under the name “Duplex
L STILL PHOTOGRAPHY Color Plates.”
A. Color Transparencies
Numerous other screen processes have been worked out, but
1. Additive Processes very few of them compare with the Autochrome in quality and
(a) Three-color TripleExposure Methods. One of the uniformity of the product, and
fineness of the screen particles, the
earlier methods which received some commercial recognition was
the beauty of the color rendering. Even the Autochrome process
the three-color additive process of Professor Miethe of Berlin.
has certain limitations, however, for it is necessary to use a very
His camera had a repeating back or means of successively expos- thin emulsion coating and such a coating has a narrow range of
ing the three-color separation negatives through the requisite
gradation or ability to reproduce a scale of tones. The plates
filter placed in front of the plates. The positive plates printed are also very dense and require strongr illumination than ordinary
from these negatives were projected by means of a complicated
plates for projection.
triple lantern. This process, however, and a similar one designed
by F. E. Ives, another pioneer in color photography, had the Bi-pack and Tri-pack Methods. Numerous methods of ex-
objection that the pictures were not taken simultaneously and posing two or three films simultaneously have been suggested.
required an intricate lantern for projection. To overcome these The films (or plates) are arranged as a pack so that the two upper
difficulties, Ives designed a camera wherein two special mirrors split films (or interposed filters) transmit certain portions of the light
up the light entering the single lens and exposed the three plates in exposing the different layers, and a set of three-color separation
simultaneously. By a similar principle the three-color impressions negatives is obtained. The order of exposure varies with dif-
could be examined in a special viewing outfit. Ives also designed ferent processes, but the usual procedure is to place the blue
a method for making stereoscopic pairs of three-color positives sensitive film uppermost, then the green, and then the red. It

(Kromograms) which were viewed in a device called the ”Krom- is impossible to obtain critical sharpness by such a method
scop” (See Figs. 7 and 8). Cameras for making three-color although some rather pleasing results have been produced.
negatives have also been designed by Butler, White, Sanger- (Continued on Page 24)
January, I 930 American Cinamatographer Twenty-three

THE FEARLESS CAMERA CO.

Announces
The 1»30 Model
FEARLESS SILENT CAMERA
Designed thruout by Ralph G. Fear to meet the most exacting conditions of
{' sound production where absolute silence of cameras is essential '}

Built for Standard or Double Width Film. Provision made for recording
sound directly in the camera

All Fearless Camera

Features are Protected by
Patents Granted, Pending
or Applied for.

Built-in Features Include

1 — F earlessmovement
Simplex 10 Built-in red u c t
gearing for 50 cycle or
i o n
Highspeed Manufactured by
with automatic quick 60 cycle current non-
threading pin the geared motors
2 Fearless Automatic 11 Full force feed oiling
Film Tension Control system pumps oil to
3 Fearless
Circuit Breaker
Automatic Fearless Camera 12
bearings and gears
Balanced double
aperture shutter
4— gear
Built-in high
box of
speed
triple
Company 13 Provision
taking
made for
colored pic-
tures by the Multi-
range 7160 Santa Monica Blvd.
color system color
5—Three-speed mechan- Hollywood, Calif. photography
of

icaldissolve
14 Built for standard or
6— Simplified Fear less double width film
Focusing device Successor to the 15 Becomes a recording
7 — Built-in Speedometer
camera when equip-
Cinema Equipment Co. ped with standard
8 — Built-in Auxi Mary
light valves or the
Sound recording After January 1, 1930 Fearless Photo Re-
cording Lamp
aperture and sprock-
ets There is no change of ownership 16 All moving parts in-
closed and running in
9 — Simplified
F 0 0 w
1 1 Focus of
or policy.
oil except intermit-
design tant movement
T wcnty-four American Cinamatographer January. 1930

There methods commonly

Principles and Processes of Photography (v). Relief Processes.
employed for producing a relief
are three
image in gelatin, (a) the use
in Natural Colors of the tanning action of a bichromate solution on the gelatin
(Continued from Page 22) around the particles of silver comprising an image. The gelatin
(b) Two Color Additive. The majority of transparency relief can then be stained up and used as a matrix. (b) The use
processes are three-color processes, but a few two-color additive of an oxidizing solution such as hydrogen peroxide which dis-
methods have been worked out. A
two-color line screen process solves away the image and attacks the gelatin immediately around
has also been suggested. each silver particle comprising the image. The gelatin film is
Color Reproduction by Subtractive Processes then washed, fixed, and dyed, (c) The use of the tanning action
(2).
Thus far we have discussed methods whereby the final picture of an oxidized developer on gelatin to form a relief image which
is made by superimposing or adding up the light from three pri-
is subsequently dyed up. In (a) and (c) the silver image is re-
mary colors. In nature, however, substances are not colored in moved by treatment with a reducer before dyeing. In addition
this way, but, instead, they absorb or subtract certain component to the above methods of securing a relief, the tanning action of
parts of the visible spectrum of white light and reflect the re- light on bichromated gelatin may also be used as described under
mainder. It is this composite reflected portion which is the color carbon or pigment transfer methods.
the normal eye records as the natural color of the object. (b) Two Color Methods. Because of the complication of
(a) Three Color Methods. When preparing a three-color a three-color process, several investigators have tried to perfect a
two-color subtractive process. The possibility of getting satis-
transparency by the subtractive process, it is necessary to make three
factory results with the subtractive method is somewhat greater
positive color records either on thin gelatin coated films or tissues
than with the additive method. With the latter, two colors must
and superimpose these in register. Methods of securing these
exactly balance each other or be complementary to one another in
positive color records may be classified as follows: (i) dye
order to obtain true whites and blacks. In the former or sub-
mordanting and toning methods, (ii) carbon (or pigment) trans-
tractive method, whites are obtained by the absence of color and
fer. (iii) imbibition, (iv) hard and soft gelatin methods, and
blacks by using both colors in full strength so that colors may
(v) relief processes.
be used which are not exactly complementary and the range of
(i) Dye Mordanting and Toning Processes. In these pro-
.
usable colors greatly extended.
is
cesses, positives are printed from a set of three-color separation The method
of preparing transparencies or lantern slides by this
negatives and the silver image on each positive is changed to a process is same as for a three-color subtractive pro-
essentially the
compound salt which will mordant or absorb basic dyes. The cess. The final result consists of two plates, films or tissues,
final dye images are distributed throughout the original gelatin which have been dyed by some suitable method and then super-
film so that the entire film must be transferred to the final imposed in register.
support. The Kodachrome process of color portraiture introduced in
It quite difficult by chemical toning methods to secure true
is 1915 made use of the property possessed by certain dyes of stain-
complementary colors, but nevertheless some very pleasing results ing soft in preference to hard gelatin. Two plates were exposed
have been produced. Iron toning is occasionally used to produce behind their respective filters, developed, and then converted with-
a blue image, and mercury (iodide) gives a yellow image, but out fixing into dyed positives. This process used a tanning
there is no satisfactory toning method known for making a red bleacher which removed the original negative image and simultane-
image, although the reddish brown image obtained with uranium ously hardened the gelatin in proportion to the amount of silver
toning has found some adaptation. Toning methods are some- image present.
times used in conjunction with other color processes. For portraiture, a two-color subtractive process is admirably
(ii) Carbon or Pigment Transfer. This process makes use adapted. It is also useful for photographing certain flowers, still

of a property that bichromated gelatin possesses of becoming life, or fashion scenes in which reds, greens, or orange predomi-

tanned or hardened when exposed to light. If a plate is coated nate. It is unsuitable, however, for landscape work where there

with bichromated gelatin and is placed behind a negative as in is an excess of blue, blue-green, and violet. For clinical and
Fig. 11, and then exposed to light, only those parts of the bi- photomicrography it finds useful application.
chromated plate which the light does not reach will remain B. Color Processes Yielding Prints to be Viewed by Reflected
unhardened and therefore soluble in hot water while the parts Light
exposed to the light will be insoluble in hot water. Although most of the color transparency processes are capable
Exposure usually made through the back of the film or plate
is
under certain conditions of yielding color prints, the majority
in order that the delicate highlights may not be washed off during
of the print processes of commercial interest have been worked out
the hot water development. After the soluble parts have been
primarily as print processes. The average individual prefers a
removed, the image remaining may be dyed up by choosing dyes photograph that can be examined in the hand or hung upon the
wall to one which must be held before an illuminator or pro-
which arc absorbed by tanned gelatin. The dyes must be comple-
mentary* to the filters through which the negative was exposed; jected upon a screen.

thus the green filter picture is dyed magenta, the blue filter picture
L Additive Print Processes
is dyed yellow, and the red filter picture is dyed blue-green.
Numerous attempts have been made to perfect an additive color
When the three positives thus obtained are cemented together in print process but none have met with any practical success.
Subtractive processes are much simpler to work and the majority
register, a transparent color reproduction of the original subject
wil be obtained. of print processes therefore have been subtractive methods.
2. Subtractive Processes
(iii) Imbibition Processes. Transparencies by the imbibition
.
All of the methods described previously under subtractive trans-
process consist of dye images in a single gelatin layer. When a parency processes are adaptable to making prints. The final stage
dyed relief image in gelatin is brought into intimate contact with
of the process usually consists in superimposing two or three
a plain gelatin surface, the dye tends to wander to the other sur-
color tissues or gelatin films in register or transferring the image
face or become imbibed by the gelatin. Such imbibed images are
by imbibition to a paper support.
inclined to be fuzzy and expedients are therefore taken to prevent
spreading of the dyes. Registration of such images is also very (a) Three Color Methods.
difficult, but very pleasing results have been obtained. (i.) Dye Toning Processes. More or less degradation results
(iv) . Hard and Soft Gelatin Process. A process was intro- by this method as the colors often wander and the print is usually
duced in Germany in 1906 known as the pinatype which utilized rather dark because the light has to penetrate several layers of film
the fact that certain dyes will stain soft in preference to hard and be reflected back through them. Ives’ Hichrome process is

gelatin. The process as originally introduced was tedious as it one of the best examples of this method.
required nine separate printings. Three transparencies are pre- (it). Transfer Processes. Under the general term, transfer
pared from the original three-color separation negatives and three processes, may be grouped those methbds of producing color prints
print plates on bichromated gelatin from the transparencies. The wherein bichromated tissues containing the respective color records
print plates are then dyed up with dyes which are only absorbed are transferred from their original support to a paper support.
by soft gelatin and a positive image is produced on the print plate Three color carbon prints are prepared by applying a mixture
which contains an invisible negative image of tanned gelatin. The of gelatin and pigment to a thin piece of film support, sensitizing
dye image may subsequently be transferred to another surface if the gelatin in bichromate solution, exposing under the respective
desired. color negative through the film side of the tissue, dissolving off
the soluble gelatin in hot water, and mounting gelatin side
*Complemvntary dyes are those which absorb the light which the filter dyes
down on a piece of smooth white paper. After the sheets have
transnnt. (Continued on Page 44)
January, 19 5U American Cinamatographer Twenty-five

MULTICOLOR The choice of the leading

technicians of the motion
picture industry —who ac-
claim it as being

^^The

Final Answer
to the

Color Problem”
A few of the reasons why
— made normalall shots are with
black and white lighting ... a vast saving
in time and production cost . . . effect shots
in full color for the first time.

— standard cameras are used . . .

every Mitchell, Bell and Howell, and new

Fearless silent camera is a potential Multi-
color camera.

— color and sound-on-film in one

process . . . for dailies and release prints.

— Multicolor prints are made on

a single film and present no "buckling”
problem.

— Multicolor’s protective treat-

ment of prints prevents scratching, assures
a maximum of wear, exceeding that of black

Hal Mohr. A. S. C., Chief Cinematographer, and Roy D. and white prints . . . Multicolor prints have
Hunter, supervisor of Sound, for the great Universal run for 400 performances before replacing
Films organization, endorse the MULTICOLOR PROCESS. was necessary.
Their opinions are the result of careful investigation and have
years of thorough and successful experience as a background. —and finally . . . Multicolor offers
the cinematographer the entire color world
to shoot at anew — presenting limitless
artistic and commercial possibilities hereto-
fore denied, because of technical and me-
chanical difficulties.

MULTICOLOR FILMS. INCORPORATED y

201 North Occidental Boulevard

Los Angeles California

Covered by United States and foreign patents.

Twenty-six American Cinamatographer January, 1930

H In Africa
(Continued from Page 9)
suggesting a seat. The Bell Howell and I were mounted at
this end, with the other end well across the cross-bar on the

Industrial parallel, and half a dozen or so natives hauling on a block-and-

tackle furnished the motive power. Maybe our crane wasn’t
as big and fancy as the one Hal Mohr plays around on at the
‘U’, but it worked —
and that was all we cared about.

Film Service! “Wild animals? Of course we saw a lot of them; but we

were out there to make pictures, not to hunt thrills. We’d
have been perfectly satisfied if we’d been able to get along
without any of that kind of excitement
finished.
—
until the picture was
Of course we couldn’t; Africa isn’t like that. We all
Mr. Manufacturer: ran into a few tight squeezes in spite of everything. My own?
Well, soon after I got out there I was treed by a herd of
buffaloes —
and, believe me, those African buffaloes are tough
EXPERT CONSULTATION hombres. The natives say it’s a toss up between them and the
rhinoes as to which is the fiercest and ugliest-tempered brute on

IN YOUR INDUSTRIAL the plains. I didn’t meet any full-grown rhinoes, so I’ll
vote for the buffalo, every time. Of course we had most of
the usual adventures with lions, and that sort of thing, but
FILM PROBLEMS the nearest I came to doing a quick fade-out was near Murchi-
son’s Falls, in the Uganda, when a crocodile nearly got me.
We had corralled a bunch of the brutes in a pond where we
PLANT INSTALLATION were going to shoot some scenes they were needed in. Every-
thing would have been all right if we hadn’t had about four
FOR INDUSTRIAL FILM days of unbroken bad weather.
“The ‘crocks’ began to get restless, and tried to get back
PRODUCTION AND into the Nile, where they belonged, so we had to stand guard
around the stockade they were in, or lose our ‘crocks.’ At first,
PROCESSING burning torches were enough to make them behave, but in time
they grew used to them, and we had to pepper them with
.22
isn’t
rifles. —
Now, a .22 bullet, even a long rifle cartridge
enough to more than annoy a crocodile, but, for a while,
INDUSTRIAL, ADVERTISING we succeeded in keeping order with them. Finally one of the
brutes decided that he was going to come through the place
AND SCIENTIFIC FILMS where I was on guard — and, believe me, he came! My
didn’t faze him at all: he grabbed it right out of my hands,
torch

PRODUCED and kept right on. Then I peppered him with my .22, but
though I emptied it down his throat, it didn’t do any good
at all. —
He kept right on coming and I didn’t have any more
weapons, nor any place to jump to, so I began to figure it
Specialist in Microscopic was ‘curtains’ for me, when one of our white hunters got near
enough to finish the brute with an elephant-gun. One more
Analysis of Motion inch, though, and it would have been my finish, instead of the
‘crock’s’. But after all, my closest shave wasn’t in Africa at
all, but in New York, where only the grace of God and a
friend’s strong arm saved me from a man-killing taxicab!
SYNCHRONIZED RECORDS FOR “To me, though, the most outstanding feature of the trip
YOUR INDUSTRIAL FILMS was the wonderful aid our radio set was. We’d found it a
great help on the last two pictures, in the South Seas, so on
this one we took a specially built outfit, designed just for
expeditionary work. As you know, we established our base
16 mm. or 35 mm. in Nairobi, including our laboratory, business office, etc., and by
means of our radio, we were able to be in constant touch
Disc Methods with affairs. Our operator at that end was an enterprising
radioamateur named Pegrume, without whose aid our trip
would have been a thousand times more difficult. As it was.
Commercial Photography and Photo- we two handled more than 25,000 words of traffic between us
without failures or error —
a really remarkable record, consider-
graphic Illustrations for ing the conditions and that we’re both amateurs.

“Ofcourse, once or twice I reached out farther, and ‘talked’

Advertising directly to the States, but as wire and radio communications
are a British Government monopoly, and jealously guarded,
we confined ourselves to keeping in touch with Nairobi most of

PAUL H. ALLEN the time. That was of inestimable value to us in every way.
On one occasion, for instance, Mr. Van Dyke and I were
going into Belgian Congo, to photograph the pygmies there,
A. S. C/ ,
_ and the rest of the outfit was broken up into several parties,
to reassemble at a given location, several weeks later. But the
weather in the Congo turned out bad, with no hope of any
improvement, so Van decided to change his plans. By means
Studio and Laboratories of the radio we were able to get the others together almost at
once, saving many valuable weeks.
lllVA LILLIAN WAY “There were countless other instances like these, of course,
during the ten months we were out; but, after all, as far as
HOLLYWOOD, CALIFORNIA I’m concerned —
and I think the others agree with me
real high spot of the trip was seeing Hollywood Boulevard
—
the

again! You can say all you want to about Hollywood, but
it’s home to us — and there’s no place like it!”
 —

January, 1930 American Cinamatographer Twenty-seven

eeltcne Pictures Cc
Announces
It Is a Licensee of the

Tanar Recording Light

a product of the

Len H. Roos Laboratories

and can promise 30-day delivery
of

Portable Recording Equipment

for
Industrial and News Reel Work
for further detailed information address

1107 No* Serrano St,

Hollywood
California
T wcnty-eight American Cinamatographer January, 1930

Depue’s Optical At Last It Is

Printers now Possible!
madefor standard For many years Directors and Camera
Men have desired special effects in their
films after the sets have been shot and dis-

si^ printing! mantled, or

to make a retake.
it is too late or too expensive
Such effects as making
a long shot into a close-up, putting in lap
dissolves and fades, making a miniature of
a scene and double exposing it over
another scene, and other special effects.
To meet this situation, the Burton Holmes
Laboratory has installed one of the new
DEPUE 35 mm. Optical Printers which
will do all of the above stunts and many
more.
Keeping abreast or ahead of the times has
always been the policy of this organiza-
tion.

Burton Holmes Laboratory

7510 N. Ashland Ave. CHICAGO, ILLINOIS

Harvard and Pathe Plan Film Series

N cooperation with Harvard University, Pathe will at once
start production upon two series of educational motion pic-
I tures in which talk will be used wherever advisable, accord-
ing to Joseph P. Kennedy, Chairman of the Board of Pathe Ex-
change, Inc. Thus sound will become a part of instruction by the
motion picture. It is the belief of Harvard officials and Kennedy
that the addition of sound to such pictures will add immeasur-
ably to their effectiveness as a pedagogical aid.
One series will be a comprehensive and exhaustive treatment
of “Regions of the United States.” The other will be on “Com
merce and Industry.” In the first mentioned the eight separate
geographic regions will be the subject of the pictures; in the
The Standard size will do many kinds second the basic industries of the country.
Plans for these educational pictures have been prepared by
of printing. It will eliminate the Dr. Kirtley F. Mather, Dean of the Department of Geography
at Harvard, under whose supervision the films will be edited.
sound track by slightly enlarging, Pathe will produce them. Distribution will be handled by the
also furnish a sound track by slightly Educational Department of Pathe through thirty-one branch
offices in the key centers of the country.
reducing. Will print reverse motion, The Regional Series will show the physical aspects, recrea-
tional scenic attractions, resources, industries, principal cities,
stop motion, lap dissolve, fade in and historic landmarks, development of commerce and industry,
and the influence of commerce, industry, and transportation
out. Print miniature or enlarge
on each of the regions and its cities. These regions are New
from sections from Standard nega- England, Middle Atlantic, South Atlantic, North Central,
Central, Gulf, Rocky Mountain and Pacific Coast states. The
tives for close ups. Space for wrat- series will comprise sixteen reels of film, and the contents so
arranged that each reel may be used separately.
ten filters provided. Also for camera The Commerce and Industry Series will comprise films on
masks. Vegetable Products, Forest Products, Animal Products, Mineral
Products, Transportaton, Communication and Public Service,
and Marketing and Manufacture. It will include twenty to

OSCAR B. DEPCE twenty-five separate subjects. Each of the pictures in the

series will discuss the history and development of the basic
industries of the several regions, the influence of each industry
7512 North Ashland Avenue, on the commerce and development of each region and the
country as a whole, the methods employed in production or
Chicago, Illinois
in the service rendered, and the use of the product by the
public served.
January, 1930 American Cinamatographer Twenty-nine

Early History of Wide Film New Fearless Camera

{Continued from Page 5 ) {Continued from Page II)
very risque in those conservative days. The May Irwin Kiss, Little 'One of the noteworthy features of the Fearless Silent Camera
Egypt, Loie Fuller’s fire dance. Bridget Serves Salad Undressed is the method of shifting for focusing and returning to shoot-
and many others brought gasps of amazement at their audacity. ing position. Instead of shifting the entire camera head the
On November 3, 1899 the Jeffries-Sharkey fight was held lenses and their mounts are shifted by the simple process of
at Coney Wm. A. Brady, now well known in
Island at night. turning a lever conveniently located at the rear of the camera.
and motion picture world, and a promoter named
the theatrical This requires merely the effort exerted in turning a small lever
O’Rourke sponsored the bout and induced the American Mutu- with thumb and forefinger. The lenses are in micrometer mount-
scope and Biograph Company to film the fight. ings that are mechanical precision itself and will delight every
The film used was 2^ inches wide and each frame was 21/4 cameraman. The turret has been so designed that all the lenses,
inches high. Three hundred and twenty feet of this wide film together with their mounts, may be removed in less than one
was used per minute, the perforations being made in the camera minute. A
simple follow focusing device can also be supplied.
at the instant of taking. “Atthe side of the camera are located four separate driving
The fight for twenty-five rounds of three minutes
lasted shafts. are designed for the plug-in type of motor. One
These
each and more than seven miles of film were exposed. Four drive shaft is for 60 cycle current, one for 50 cycle, a third
cameras were on the job so as to obtain a continuous record. shaft is for highspeed work and drives the camera through a
Buckling of the film in the cameras was frequent although the film built-in three speed transmission. The fourth is for hand crank-
could be watched through a red glass peep-hole by the light of ing at normal speed. At the rear of the camera is a fifth drive
a small ruby lamp inside the camera box. shaft for stop motion work. A footage speedometer with a
The perforations in the large Biograph film were used in large window and generous size figures is provided. This speed-
printing but not in projecting. The projector pulled the film ometer may be removed from the camera at will. It will be
down by means of a set of mutilated rubber rollers and the pro- apparent that this method of providing for the different cycle
jectionist had to watch the frame continuously to prevent currents is of tremendous value, not only obviating the need
creeping of the frame line on the screen. for different motors, but is an additional assurance of quiet
Oscar B. De Pue, partner of Burton Holmes, in 1897, pur- motor operation because the reduction gears are in the camera
chased a machine in Paris from Leon Gaumont for taking 60 mm. operating in oil rather than in the end-bell of the motor.
wide film then put up in one hundred foot lengths, unwinding “The disolve is controlled from the rear of the camera. A
and rewinding inside the camera on aluminum spools: not a convenient lever controls the mechanical dissolve which operates
daylight proposition, but a dark room model. This machine he through a gearset that provides for three different speed changes.
took to Italy and the first motion picture turned out on the
machine was of St. Peter’s Cathedral with the fountain playing
A dial indicator calibrated to show percentage of shutter opening
is provided.
in the foreground and a flock of goats passing by the machine.
He then took other pictures of Rome and from there visited “Built into, and a part of the camera is the Fearless Auto-
Venice, where pictures of the canal and Doges Palace and the matic Film Tension control, which has proven its worth in
waterfront along the canal with views of feeding the pigeons at over a year of use. This prevents film buckles by varying the
St. Marks with the great cathedral in the background. From there tension on the take-up belt. Another feature is the Electric
to Milan for a scene of the Plaza in front of the Milan Cathedral Circuit Breaker which instantly stops the motor in the event
thence to Paris where pictures of the Place de la Concord with its of a film break or at the end of the reel. It is also an added
interesting traffic and horse-drawn busses, fountains, obelisks, safety factor, for if the film should buckle by reason of break-
statues, bicycles, wagons, trucks and carriages were made. All age of take-up belt or for any other cause, the Circuit Breaker
the life of that day, after thirty-two years, is in striking contrast will instantly stop the motor and camera.
to the present. “For recording purposes the Fearless Silent Camera can be
These negatives are still in his possession although the prints furnished with an auxiliary sound photographing aperture, at
for them have long since been lost track of on account of our the correct distance of 19 frames from the photographic aperture,
having changed from that size of picture to the standard size. and with gears, rollers etc. necessary for recording the sound
This Gaumont wide film camera was used for five years by directly on the film as it passes through the camera. Fearless A
Mr. De Pue and most of the negatives, many of which are of Recording Photo Lamp, or any standard light valve may be
great historic value, are still in good condition, so that either attached and when so equipped it may be connected to any
full size or standard sized reduction prints can still be made recorder amplifier and the sound record made on the same
from them. negative as the picture being photographed. This should prove
Spoor and Bergren have worked for more than ten years upon a boon to newsreel cameramen and to location expeditions
a 63 mm. film called Natural Vision pictures. that are remote from electricity for in cases of that sort the
Widescope first sponsored a double frame picture on standard camera motor may be operated from the batteries that provide
film with the film travel horizontal instead of vertical; after that current for the recorder amplifier.
an Italian patent was acquired in which a wide film of about 2*4
“The Fearless Silent Camera can be furnished for double-
inches width is held in cylindrical form about the axis of rota-
width film or for the Fearless Wide Picture on standard 35mm
tion of a revolving lens so that the succeeding frames are pho-
tographed on the same principle as in a panoramic still camera.
film. Of special interest is the fact that colored motion pictures
Unfortunately this method of taking pictures introduces the same by the Multi-color system may be taken with the New Fearless
curvelinear distortion often noticed in cirkuit and other panoramic Silent Camera.
still photographs. “Lack of space prohibits enumerating all of the unusual
Fox Grandeur pictures are 70 mm. in width with a frame 48 features of the Fearless Silent Camera. Suffice it to say that it
by 22.5 mm. leaving space available for a sound track about 10 is the finest motion picture camera ever manufactured for the
mm. wide. professional cameraman, and is in every sense a 1930 model
Lorenzo Del Riccio, a member of the society, is perfecting camera.
for Paramount the Magnafilm. This film is 56 mm. wide and
the frames are 19)4 mm. high.
Several other sizes of wide film are being used experimentally
and other new sizes are being advocated but these are current Petroleum in Pictures
and not early history and do not properly belong in this chronicle.
n unusually interesting four-reel film dealing with

Fearless Camera Company

A the operations of the petroleum refining industry has been
prepared by the United States Bureau of Mines, Depart-
ment of Commerce, and is now available to schools, churches,
ALPH G. FEAR, head of Cinema Equipment Co., announces civic bodies, etc., at no cost except transportation.
"P
that on January 1, 1929, the firm name will be changed to As an educational film this picture is outstanding, for it re-
Fearless Camera Company. “The change of name,” says Mr. veals phases of the industry that are little known and which
Fear, “does not denote a change in ownership or of policy. We are of unusual interest. Great care has been taken in the mak-
are doing business at the old stand, and we feel with the advent ing of the picture so that it is really educational and interesting
of the New
Fearless Silent Camera, in a bigger and better way.” rather than just plain propaganda.
 —
Thirt/ American C namatogra
i p her January, 1930

50-50 ‘^HclPs Angels^' Completed

{Continued from Page 10) (Continued from Page 16)
splitting his head with an ache, to find out that Bladdich, on Lena Malena and Wyndham Standing.
surprise charges filedby investigators sent from the firm’s New Producer-Director Hughes, himself an expert licensed pilot,
York had been indicted and arrested on charges of de-
offices, has established a record for all time in motion-picture extrav-
frauding his employers of thousands of dollars, which he had agance in the filming of his air classic. On air scenes alone
spent on a certain number of blondes, red-heads and brownettes. he has expended nearly $2,000,000, and the total distance
It appeared, in a paragraph toward the end, that one Simon
covered in the mimic sky battles was approximately 227,000
O’Rourke had taken Bladdich’s place and plush-fitted office. miles. More than 20,000 extras were employed in the various
“Mebbe,” soliloquized Mannie, “this guy O’Rourke’ll gimme mob-scenes of the picture. Total cost of “Hell’s Angels” will
back my job.”
approximate $4,000,000, according to Hughes.
Mannie telephoned O’Rourke. He explained to O’Rourke
who
cited,
he was.
Mannie thought.
“Oh — yes, yes,” yelled O’Rourke, strangely ex-
“We’ve been hoping to hear from
Harry Perry, ASC, had charge of the aerial photography,
and Tony Gaudio, ASC, was chief cameraman for the non-
you. Be sure to see me today, won’t you?” flying sequences, silent and talking.
Dazed, Mannie said he certainly would. It was all very The largest air-fleet ever assembled, except by governments,
odd, Mannie thought. Why should O’Rourke want to see participated in the picture. The aerial squadron comprised
him?
and so — —
Well chance to get the job back, Mannie considered
-having quite forgotten about the letter he had written
87 planes, including more than 40 true wartype ships. The
air-fleet included German Fokkers, British T. M’s, S. E. 5’s,
Bladdich —
Mannie hurried to his hotel to get into some clean Avros, DeHavilands, Snipes, a German Gotha bomber and a
clothes to see the new boss for a job. Zeppelin. A total of 137 pilots, and as many mechanics,
At the hotel, there were two envelopes in his letter box. One were employed during the 1 8 months filming of action above

“Unless
—
was the hotel bill, with a memorandum in red ink which began:
” The other knocked Mannie so cold that it was
the clouds.
and ex-war
The pilots included practically every
ace in America. A
technical staff of
stunt
35 cinema-
flyer

4:38 that afternoon before he recovered sufficiently to take a tographers, including 26 aerial cameramen, and a of
staff
taxi to O’Rourke’s office. It read, briefly, like this: 1 2 editors and cutters, were on the Hughes’ pay-rolls during the
“Mr. Cass Mandell, tw'o years of elapsed production.
Hotel President,
Eight separate locations were maintained for the aerjal
Hollywood, Calif. .sequences. They included the main flying base at Caddo
My Dear Mr. Mandell:
Field, Van Nuys: a training school camp at Inglewood; a
,

This is to advise you that Mr. Michael V. Bladdich is no

German field at Chatsworth; and other locations at Santa
longer with this corporation, and that the undersigned has been
Cruz, Encino; Ryan Field, San Diego; March Field, River-
appointed to fill his place.
side,and Oakland airport, Oakland, California.
Among the material left by Mr. Bladdich when he departed,
I found a letter from you. You appear to have anticipated the At the latter airport the “Hell’s Angels” sky fleet was in
findings of our own private investigators, who have been ex-
'
action for more than four months filming mass air-battles in
amining Mr. Bladdich’s record and performances. which 40 planes participated simultaneously.
That is, however, beside the point. The purpose of this The same lavish enterprise was displayed in the operations
letter is to ask you to see me at your earliest convenience. We on terra firma. A charity ball in London at wartime,
arc about to begin production of our big feature for the year screened in technicolor, has been reproduced with more than
a war story with the working title of “MARINES ARE LIKE 1,000 extras supplying background and atmosphere. Another
That!” We have been seeking with very little good luck for 500 extras appear in a costly German beer-garden setting,
a dialogue writer with vocabulary, command of language, in- and the same number in French cafe scenes.
tensity of imagination, and incandescence of expression to do
More than 2,000,000 feet of celluloid were consumed by
the material which will form a large part of the dialogue in
“Hell’s Angels” cameras during the period of production.
this production. Your letter to Mr. Bladdich leaves absolutely The completed picture will be shown in 12 reels, or approx-
no doubt that you are the man we w’ant.
imately 12,000 feet.
If you care to resume your connection with us at double your
former remuneration, we have a contract awaiting your signa- Whether Howard Hughes will ever see a return of the
ture. tremendous sum invested in “Hell’s Angels” is one of the
('Signed) SIMON O’ROURKE.” moot questions in Hollywood. Many insist it can’t be done.
Others, better acquainted with the spectacular business methods
of filmdom’s youngest producer and director, believe he will
Portable Recorder out-wise them all and emerge with a bigger bank-balance
EELTONE than ever.

R licensed to use the

Company announces they have been
Pictures
Tanar Recording Light which was de-
veloped by Lcn H. Roos, A. S. C. They promise deliv-
eries of portable recorders for newsreel and industrial work in
In his
“The Racket,”
from 50 to
previous screen
and
“Two Arabian Knights,”
“The
ventures,
Mating Call,” Hughes averaged
on his investments, despite
100 per cent profit
thirty days. Those who have seen the recorder say many nice his extravagant production methods, and despite the fact that
things about it. We hope to give more about it in next issue. he paid handsome dividends to the companies which released
his output.
With “Hell’s Angels” Hughes will deal directly with the
public, leasing his own theatres and road-showing his picture
wherev'er movies are shown. He has already leased the George
Roy Davidge M. Cohan theatre on Broadway for a year’s run, and will
aext seek leases on houses in Los Angeles, Chicago, Philadel-
phia, Boston, Cleveland, Detroit, San Francisco and other key
Film Laboratories centers.

Max Factor Leads

Negative Developing and Daily Print
exclusively A RECENT survey of the sale of cosmetics by the Domestic
Bureau of the Los Angeles Chamber of Commerce, re-
veals the fact that ninety-six per cent of the cosmetics
used by the stars, featured players and the motion picture studio
make-up department heads are Max Factor products.
6701 SANTA MONICA BLVD. Since the earliest days of the motion picture industry. Max
Factor products have been in general use, in fact, as the discovery
GRanitc 3108 of proper make-up for the screen is attributed to the cosmetic
chemical genius of Mr. Factor, there has never been used to any
real extent any other make-up but his.
T'
January, 1930 AxVIERICAN Cinamatographer Thirty-one

Still by John Ellis

Bernice Claire
IN

‘‘ OF THE FLAME ”
Lee Garmes, Cameraman Percy Westmore, Make-up Artist

A FIRST NATIONAL PRODUCTION

Max Factor’s Make-up USED EXCLUSIVELY

Max Factor Make-up Studios

Highland Ave. at Hollywood Blvd., Hollywood
Tel. HO-6191
Cable Address “Facto’'
Chicago Office London Office
444 West Grand Ave. 10 D’Arblay Street

Max Factor’s Other Foreign Branches Max Factor’s

Panchromatic Theatrical
and 4C Her Majesty’s
T echnicolor Arcade Sydney, Australia Make-up
Make-up 67 Foochow Road Shanghai, China
for the
for the 39 9 West Street Durban, So. Africa
Screen Benson, Smith 8 Co. Honolulu, T. H. Stage
249 McCall St. Toronto, Canada
 .

Thirty-two American C N
I A M ATOGR A PH ER January, 1930

T
New Tri-Dimensional Cinematic
Process Claimed
hird dimension, or depth of perspective in
motion picture photography, is the claim advanced by
William F, Alder, Vice-President and Chief Engineer for
standard W ALTER
Strenge Heads N. Y. Union
Strenge of Pathc has been chosen as president
of the International Photographers Union, Local 644.
Other new officers are: 1st Vice-Pres., Al. Wilson; 2nd
Vice-Pres., Harry Wood; 3rd Vice-Pres., James Pergola; Treas.,
Frank Kirby; Sec,, Walter Lange; Sgt. at Arms, Emil Harris.
Three trustees were elected, as follows; William Steiner. Jr.
|

Colorart Synchrotone, Ltd, This, he claims, has been achieved [

without the use of special cameras, film, or projection equipment, (3 yrs.), L. Fiferlik (2 yrs.), AI. Gold (1 yr.)
removing it from the class of laboratory experiments into the Appointed to the Executive Board are; Geo. Folsey, Larry y
realm of practical studio matters. Williams, Charles Downs, William Miller, Carl Gregory, Burt i

The basic patents of Adler's Tri-Dimensional process were Pike, Dan Caveli, Al. Gold. Thos. Hogan. Frank Broda. Jay -i

granted in 1915, but the mechanical apparatus has only recently Rescher, Herman Zerrener, Herman Obrock. Ray Foster, Chas. j

been refined to the point of what he claims is production prac- Gilson and Frank Zucker.
ticability. Its underlying principle is that of the motion picture
—
itself the illusion brought about by the persistency of vision. 700 Silent Houses
Instead of using special bi-lensed optical systems and individual
view'ing filters, Mr. Alder used standard apparatus throughout,
Cleveland—Fifty-two silent pictures have been secured by the
Standard Film Service Co. for release to 700 silent film houses
,{

-s

adding an attachment by visual persistence. The means used to in Ohio and Kentucky.
attain this end is merely the photographing of alternate frames
from laterally varying positions, or, rather, angles, since the
Rudolph Heads R.C.A. Publicity
optical centre of the lens is the pivotal point. The device itself
is an intricate train of gearing and compound cams built into a

special tripod, and operated by a synchronous motor. An adjust-

ment is provided which controls the angle through wTich the
camera is moved, thereby adjusting the proportion of stereoscopy
G erald K.
publicity for
RUDOLPH
RCA
Ross, vice-president.
has been appointed director of
Photophone,
Rudolph,
York, was managing editor of a Buffalo
Inc., advises Charles J.
before coming to New
newspaper and has been
identified with the industry for the past seven years.
to the need of the moment.
The device was demonstrated to a gathering of press representa-
tives, who were amazed by the naturalness of the photography. McNamee in Pictures
A number of interesting test scenes were shown, among them
being a garden scene with trees and foliage in the far distance,
back of which was a partly-hidden cottage. It was noticeable
that the distance between the trees and the house was w'ell defined,
G raham McNAMEE, radio announcer for National
Broadcasting Corp., has been signed by Universal to be-
come the Talking Reporter for the company’s sound
newsreel. Pictures of the signing of the announcer were taken
and that the house stood out with a natural depth, while the and will preface the first of Talking Reporter series in which
figures were distinctly defined to an unusual degree. The round- the famous broadcaster will appear.
ness of the bodies was particularly noticeable.
NewTechnicolor Plant
Wilky Back
ANOTHER $1,000,000 plant, which will supplement the two
other laboratories here and the two in Boston, is being
Guy Wilky, A. S. C.,returned from the South Seas,
has erected inHollywood by the Technicolor Corp. Work
where he was photographing a picture that Murnau was direct- is being rushed to have the new plant in operation early next
ing. Next month Wilky will have a special story in the Cine- month. Eventually this plant will have a capacity of 47,000
matographer. feet of colored film daily, or about 75,000,000 feet a year.

ovietoiie
Equipped
. means
. .

Simplex
Equipped
IN AMERICA’S
LEADING
THEATRES

International Projector Corporation

GOLD STREET 90 NEW YORK
January, 1930 American Cinamatographer Thirty-three

‘e‘

I
YOU
I
CAXXOT AFFORD
I TO BE WITHOVTW

%
THE
I CINEMATOGRAPHIC
ANNEAL
1 The Great Technical Publication of the Motion Picture Industry I
Published By The

AMERICAN SOCIETY OF CINEMATOGRAPHERS

First Edition Off the Press in

APRIL
“What You Can’t Find Elsewhere You’ll Find in This Great Book.’’ Don’t Take

chances on failing to get your copy. Clip the coupon below and mail at once.

American Society of Cinematographers.

1222 Guaranty Building, Hollywood, California.
Gentlemen: Enclosed please find check (or money order) for Five Dollars ($5.00) for which please
send me, postage prepaid, one copy of your Cinematographic Annual as soon as it is off the press,
i which date will be April, 1930.

Name Address

City.. . . State

4
 —
Thirty-four American Cinamatographer January, 1930

DECODDION
ALL-TALKING ALL- SINGING
ENTERTAINMENT
FOR THE HOME

Now
fr^
RECORDION engineers have per-
fected a 100% Talking and Sound
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Just connect to any make of 16mm.
projector. Your picture and record
R. P. 0701 starts in synchronization and remains R. P. 0706

so— be it 100 or 1000 ft. of film show — J-mL,

after show
and priced (Less amplifier
at only and tubes)

PLAY THROUGH YOUR RADIO SET

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consisting of projector, turntable and volume
R. P. 0704 control may now be had" R. P. 0708

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at only
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R. P.
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"TOYLAND FANTASIE” “RECORDION REVUE”
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 . !

January, 1930 American Cinamatographer Thirty-five

By William Stull, A. S. C.

Resolutions! changing the camera-anges will make possible an almost infinite

variety of striking effects. The use of a mirror in the background,

N OW that Christmas is past, and New Year’s at hand,

those of us who have survived the horrors of Holiday
hospitality and Christmas neckties are beset with the
traditional spectre of New Year’s Resolutions. Of course, no
with the subject and lighting arranged so that the glass reflects only
a few highlights from the subject, is also effective.
In all of this sort of work, a most useful accessory is the
sort of a shield called in studio parlance a “nigger.” It may be
one has yet been known to keep a New Year’s resolve, but the
a narrow black screen, a foot or so wide by five or six feet
distressing tradition of making them still persists. One simply
high, or a small, square sheet of black-painted compo-board to
must resolve about something each January First, willy nilly.
be held in the hand or hung on a lamp. In either case, “niggers”
Keeping the resolution is quite another matter, and socially
are important in shielding the lens of the camera from unwanted
unimportant. After all, those Christmas smokes must be used
—
up some way and as for really climbing on the wagon — rays from the lights.
Cine-Silhouettes
Still, if one were to take New Year’s resolving seriously,
But there is also a great range of interesting effects quite
for a change, it wouldn’t be so hard to find a few resolutions
apart from the more conventional ones. Perhaps the first is
which would be helpful and even profitable to keep. Amateur the cine-silhouette. This, of course, is a comparatively simple
Cinematographers in particular could benefit by a few well-
affair, involving only the use of a translucent screen of sufficient
kept cinematic resolutions. At the risk of seeming painfully
size, with a strong, even source of light behind it, and the plac-
obvious. I’ll suggest a few here.
ing of the subject or subjects in front of it, quite close, in
First: Be it resolved to hereafter employ brains as an
profile. In silhouette making, it is advantageous to have par-
inseparable accessory to the use of the cinema camera. (Movie
ticularly powerful lighting equipment, in order that the lens
cameras are only foolproof as long as they are not foolishly
may be stopped down to increase the sharpness of the image
operated)
to the critical point.
Second: Be it further resolved to master each step in
In addition to the true silhouette, there is also the semi-
technique before essaying the next one. (Walking must be learn-
silhouette, in which the figures are sharply outlined against the
ed before running, and mechanical proficiency before pictorial
light background, but have also some front lighting as well.
artistry.)
Third: This effect can be secured either by the use of reflectors and
Be it further resolved to diligently cultivate the
art of being patient.
mirrors placed beside the camera, or by small additional lights
(Cinematic haste makes wasted film and
discouraged filmers.) used similarly.
Fourth: Be it finally resolved as a cinematographer to What might be termed silhouettes are very effective, too,
so order my photographic life as to preserve and increase the and are made by so placing the characters in relation to the
good name of the craft. (Slipshod incompetence has no busi- light source that a little light diffuses on their faces, giving a
ness behind a movie camera, where suggestion of normal photographic
itcan jeopardize the photographic relief, while the rest of the figures
reputation of the whole army of are in sharp silhouette. The effect
professional and amateur cinema- can, of course, also be obtained by
tography.) the careful use of small reflectors.
Such a set of simple cinematic “How far that little candle
resolves, rigidly adhered to, could throws its beam. .” .

work wonders, even in the short Another interesting device is a

space of a year. Of course they candle-light effect. This is simply
are no magic panacea, but their an ordinary, one-sided, contrasty
observance would be a great step lighting, with the subject holding
toward success in the exacting a lamp or candle from which the
field of cinematography. light seems to originate. It is
particularly effective with chil-
Interiors
dren, but can also be used to good
During the winter months,
when most amateurs have little purpose in the amateur photo-
chance to use their cameras out of play. The method, of course, is
doors, indoor filming offers a world simple, merely planning the action
of inviting opportunities. Aside so that the candle remains in re-
from the conventional types of latively the same location, and
interior scenes, with which most then placing the light source just
amateurs are familiar, there are outside the picture, at the same
many special effects which in- elevation and general position as
vite the artistic experimenter. For the candle. The light may be
instance, the ofgreat range either diffused or not, as the in-
fascinating low-key portrait effects dividual may prefer, although a
possible with only a single lamp, light diffusion is probably best.
or spotlight, and a reflector or Still another simple indoor
two. Many interesting back-lit lighting effect is that of firelight.
effects, for example, can be made This can be made by placing
with a single lamp and reflector, either a lamp or a magnesium
placing the lamp just out of the flare in the fireplace, and group-

picture, to and a
one side of, ing the actors around as may be
little behind the subject, with the desired, but always keeping one
reflector taking care of the front- (or a piece of furniture) between
lighting. Altering the positions of the ‘fire’ and the lens. These
light and reflector, their heights, Shadows That Pass in the S'ight effects can be made either with
diffusion of one or the other, and Photo by Clifton L. King (Continued on Page 42)
 —
Thirty-six American Cinamatographer January, 1930

INFORMATION FOR
AMATEURS
Amateurs — Send your problems to this
department and we will solve them

Question: Why do my pictures of moving automobiles and

galloping horses almost always come out blurred.^ Can it be
avoided? —
R. H. B. (Boston).
IShowN Answer: This is probably due to the fact that you are shoot-
ing them from the side, and too near; therefore, in the compara-

HOW tively long period of exposure (about 1 /3 0 sec.) the image moves
across the film, making the blur you notice. In professional

BOOK
cameras the shutter opening can be adjusted, thereby making it
to possible to reduce the exposure to a short enough period to ‘stop’
the motion. In amateur cameras this cannot be done, so the ama-
make teur must contrive to reduce the motion of the image across the
film. The simplest way to do this is to shoot from a different
PERFECT Indoor Movies angle, making the moving subject come more or less head-on into
the picture. If this is not practicable, or the scene must be shot
from the side, the further the camera is from the object, the smaller
Here is the only book of its kind ever written —
and just the book
you have been hoping some one would write. Shows by pictures and
the blurring movement will be. Alternatively, if one must be
diagrams exactly how to illuminate all kinds of interior sets and ob- close up, pamming round with the subject, keeping it as nearly
tain perfect results. Placement of lamps for as possible in the centre of the picture, will also help.
different effects —light intensity and exposure Question: How
can I prevent the reflections of my lights in
L. with respect to distance of lamp from subject
back lighting
ows — —
elimination of shad-
every phase of artificial light-
polished furniture, the nickel work of autos, etc.?
Philadelphia.
A. T. B., —
ing for amateur movies is made clear Answer: Rub the offending article over with a piece of putty
in this wonderful new book.
just before shooting. It can be easily removed afterwards.
Question: Can I get trick effects with my Victor? For
Also
stance, pouring water or beer — —
out of a bottle into a glass, and
in-

tells all about then having return into the bottle?

it —
I. D. B., Milwaukee, Wis.

Answer: Easily. In the first place, use a tripod. Then photo-

LITTLE graph the first part of your scene in the normal manner. Then
SUNNY stop the camera, and replace it on the tripod, but inverted (there
are clamps made to hold cameras in this position)
TWIN the action.
and re-take
When the film comes back from the finishing station,
,

and why this 15 -ampere,

shows cut out the second part of the scene, splicing it in again right side
110-volt,semi-automatic, twin car- up. In order to prevent too great a ‘jump’ in the scene where
bon arc makes perfect indoor movies
at f:35 when other lamps fail. the two strips are joined together, it is well to make sure that in
Little Sunny Twin is the favorite
both cases the lens occupies about the same position, with relation
with amateurs and professionals to ground and subject.
everywhere. Strongly made, light in Question: For interior shots by artificial light, which is faster,
weight. It can be taken anywhere
and used on any AC or DC house cir- ortho or pan film? —
-A. E. G., Vancouver, B. C.
cuit without special fuses or wiring. Answer: It depends on the source of light. For white flame
And think! Only $25.00 complete Ortho stock
with folding stand, long cord and six
arcs. is appreciaably faster; for incandescent lights,
carbons. Sent on 10-day trial with pan is faster.
guarantee of immediate refund if not Q. Is there 16mm films for news-
any possibility of selling
satisfied.
reel use?
A.
— V. N. P., New Orleans.
In the case of exceptional shots, there is such a possi-
Send Coupon
There have been several instances of cine amateurs being
$ 25 . 00 ,
for FREE Book
bility.
on the spot when some unexpected and important event oc-
COMPLETE curred, and subsequently selling their films to one or another of
Specify whether Mail coupon at once. Our FREE
book. Interior Movid Lighting, will the big newsreel firms, who in such cases are glad to get any sort
"pan” or white
flame carbons are be sent you at once. Use coupon also of film for an exclusive “story”. Of course the photographic
wanted. Extra car- to order Little Sunny Twin. Mail it quality of a picture suffers in the enlargement, but in the case
bons. $2.00 dozen. now.
of an exclusive subject that is overlooked. Now, too, that sound
newsreels are so much the style, the amateur’s chances are con-
siderably lessened, but by no means wiped out; if the subject
Leonaril Westplialeii is important enough, and exclusive, it will still sell.
If need be,
it could be run silent, or sound “dubbed” into it.
438 Rush Street Chicago, 111.
But in all
dealings with newsreel outfits, remember that ample footage and
speed of delivery are the keynotes. Seconds count in this work,
so don t be afraid to use the fastest means of transport avail-
Leonard Westphalen,
able in every case.
43 8 Rush St., Chicago.
[ ] Send me your free book. Interior Movie Lighting.

[ 3 Check for $25.00 enclosed. Send me Little Sunny Twin with

[ ]
Pan carbons [ ] White Flame carbons. I understand you will re-
fund me full purchase price if I return lamp within 10 days. Lab. Head to Lecture
Send me dozen [ ] "Pan" [ ] White Flame carbons at
[ ]
$2.00 dozen. OHN NICKOLAUS, head of the M-G-M laboratories and

Name J widely knownan authority on screen photography, is now

as
in New York to give several lectures before scientific bodies and
Street to study new laboratory methods. Among his many inventions,
Nickolaus is credited with the “relative movement” method of
Town State-
three dimensional photography, the solution of the “wagon
wheel” problem of filming wheels without their appearing to
turn backward, the first undersea pictures, and other achievements.
January, 1930 American Cinamatographer Thirty-seycn

Your Makeup Problems

AT LAST!
Real Professional
Reflectors for
Home
Movie Makers.
By Max Factor
{Internationally Known Authority on Makeup]

—
Dear Mr. Factor; I would appreciate your answering a
few questions which have been bothering me for some time. Is
your Masque for the eyelashes harmless? If so, why is it so pain-
ful? I am a dark brunette with brown-grey eyes. Do you think
I could wear blue eye shadow? The brown seems to have no
effect. What is the best means of removing make-up? What
cream is used by the profession?
Thanking you so very much for your attention. I am,
R. S.
ANSWER: —Max Factor's Masque is entirely harmless. It is

made on pure soap base, and any soap, regardless of how pure
a
it is, smarts when it gets in the eyes. I think the grey eye-shadow

would be a good color for you, as it has a bluish cast when worn.
Make-up is removed with Max Factor’s Cleansing Cream, or the
new Max Factor’s Liquid Cleansing Cream. Both these creams
are used by the profession. These reflectors have been in use in professional produc-
—
Dear Mr. Factor: For evening, should one wear consider-
I am
tion for the past four years.
able make-up, or is it better to have a pale apppearance? Light in Weight:
wearing my hair long, now, just knotted at the back, and parted
One man can easily carry a complete
in the midddle, and wonder if it would be better not to wear any
set of eight.
make-up. I am very dark, with a clear skin.
L. E. PORTABLE:
ANSWER: —There few skins so perfect that they are
are very
make-up. Even if you wish to appear
Fit lengthwise inside any standard
not improved by a little automobile.
pale, use Max Factor’s Society Powder. However, the use of
color in the cheeks, and lip rouge give the face a more animated Efficient:
appearance. For evening wear. Max Factor’s Liquid Whitening, Excellent reflecting surfaces in either
which comes in similar shades to the Face Powder, gives a par- silver or gold fini.sh.
ticularly beautiful effect. Use Raspberry rouge.
—
Dear Mr. Factor: Do you just use plain red rouge to give
Three Sizes:
”

—"Long — 36x40
Shot
the cheeks a very red. jolly look? I am a boy, 18 years old, quite
18x40 Closed open.
plump for my height and want to play a comedy part which calls
for red cheeks. Also —
how can I put white whiskers on my chin Ten
"The Medium”
Each
Dollars

and make them stay?

Rob.
18x24 — — 36x24
closed open.

Answer:—Use Max Factor Moist Rouge No. 1. and Dry

Five Dollars

No.
rouge
on
and stuck
White18.
gum.
with spirit
whiskers are made from white Crepe Hair,
Ask for full directions when you
8x18 — —Two16x18 Up”
"The
closed
Close
open.

buy —
the crepe hair I have published a special chart on making
Same — prices
Fifty
gold or silver finish.
whiskers, etc.
Dear Mr. Factor: —
Set Suggested

round?
make the face look less
any way. other than diet, to
Is there
Is there any way with make-up
Two Each
Two—
—— medium
Finish
one each finish
large $40
10
that I can change the “fat” look about my face?
hazel eyes, and weigh about 54 to 5 feet 4 inches.
1
I am blonde,
Two— —
one each finish small 5

M. E.
ANSWER: —The
use of dry rouge will effectively alter the ap-
Place on cheeks rather toward the ears,
$55
pearance of a full face. Complete set of 8 shipped prepaid anywhere in U. S. A.
and down toward the jaw-bone. This will appear to throw the upon receipt of $50.00.
sides of the face in shadow. Dress the hair off the forehead, and
well down on the sides of the face.
HOLLYWOOD
ENERGIZE YOUR FILM!
Use Kleena-fylm Process
PROFESSIONAL
It deans, rejuvenates, restores and maintains pliability in old film.
non-inflammable fluid easy to apply. Clearer projection. Guaranteed.
At dealers, or postpaid, 85c
A
ACCESSORIES CO.
522 Fifth Ave. KLEENA-FYLM CORP. New York, N. Y. 1121 54 Lillian Way Hollywood, California
Pacific Coast Distributors Western Pacific Bldg.
Craig Movie Supply Co. Los Angeles, Calif.
 a —
Thirty-eight American Cinamatographer January, 1930

Professional c^mateurs
Lon Chaney Trains His Cameras On Celebrities and
Cougars “Between Pictures”

By William Stull, A. S. C
Undoubtedly to their small and ultra-rapid movement: and, as he has
size
one of the most only recently completed a complete reel of nothing but these
popular an)d tiny creatures, he should know. He has also had remarkable
highly respected success in the photography of his many fishing trips, which,
of screen person- as most cameraists learn, present very considerable and unique
a 1 i t i c s, Lon problems to cine enthusiasts.
Chaney is uni- In addition to his original Filmo, Mr. Chaney also uses a
versally recog- Victor camera, whose lens-turret and tri-speed movement he has
nized as the found invaluable for his animal films. For stills he uses a
Dean of Amer- GraHex. "But then,” he says, "I don’t give the poor thing
ican actors. Liv- much of a chance. I usually carry both of my movie cameras
ing' and work- with me, and between the two of them I seldom have time to
ing as he does think of stills until it’s too late to get any!”
in a community "How did I happen to start making personal movies? Well,
where even med- you know how many world-famous visitors we have had here
iocrity must be outstanding, preeminence such as his is indeed at the studio; a few years ago I decided that since I had the
a difficult achievement. Before the camera his diverse and pow- chance. I’d like to have a real, personal record of these folks.
erful characterizations have won him international fame, while Of course movies were the logical form for the record to take
among his associates a kindly personality and a keen mind have so I bought my Filmo. Like most other amateurs I found
won unstinted affection and respect. Yet despite the success that I’d gotten into something far more interesting than I had
which has been his, and the outstanding position into which expected, so I’ve kept on. I’ve tried almost everything in the
it has thrust him, Lon Chaney has dared to remain himself. line of personal movies, but I think that I get the greatest
Despite the widespread interest which his brilliant achieve- pleasure out of my hunting films, and, of course, my animated
ments have aroused, his private life has been resolutely kept a album, to which I’m steadily adding.
closed book to all save a few intimates. Therefore it is hardly "As for saying anything in the way of advice to the ama-
known, even among his associates in the studio, that Lon teurs, why. I’m just an amateur myself: the technicians who
Chaney is privately one of the most enthusiastic of amateur write in such The American Cinematographer
magazines as
cinematographers. have certainly told them all I could, and more. One thing,
Yet such is the case. For a number of years Mr. Chaney though, my experience prompts me to say; that is, use a tripod!
has spent much of his spare time making personal movies, until My years of work in the studios before the cameras of the
he now has as large and varied an individual library as there industry’s best cinematographers have impressed me with the
is in Hollywood. In it are to be found intimate personal importance of a good, firm support for motion picture cameras.
glimpses of the many famous people Therefore, in my own filming,
who have visited the Metro-Gold- wherever I can, I, too, use a substan-
wyn-Mayer Studios, informal off- tial tripod, and I’ve found it my
the-set scenes of his studio associates, most valuable accessory. Personally,
familiar family records, and reel up- I use a big Crown still-camera tri-
on reel of animated nature-studdies pod. with one of Fred Hoefner’s pan-
painstakingly made on his many and-tilt heads on it. I’ll admit it’s
hunting and fishing trips between a big, clumsy-looking outfit, but it
pictures at the studio.
It is of these nature films that Mr.
is rock-steady —
which is more than
can be said for a lot of lighter ones.
Chaney is proudest. Essentially a One other word, too, particularly to
man’s man, he had ranged over picture people: personal movie-tak-
’

most of the west on hunting and ing can be the most fascinating hobby
fishing expeditions, when the acqui- in the world for us. but we can
sition of his first
Filmo — movie camera
gave a new interest to the
— easily rush it to death, too. There
is no reason on earth why we should
sport. After all, the greatest attrac- rush out and try to shoot every-
tion the sport holds for most of thing in sight the first week or so
us is the skill and patience needed to we own a camera. If we do. we’re
secure a passable ‘bag’ —
and Mr.
Chaney after his first few experiments
likely to forget it entirely the third
or fourth week. Taken intelligently
with a camera found that the skill and conservatively, though, there is
required to bag an animal with a gun no more instructive nor more enjoy-
was as nothing compared to the skill able sport forany of us than amateur
needed to bag him with a camera. movie-making.”
Therefore he bent his energies to
Still another feature of Mr.
the problem of mastering this diffi-
Chaney’s amateur activities, but one
<ult field of cinematography, to
which he modestly forbears from
such good purposes that he has today
mentioning, is his success as a mis-
what is probably the finest collec-
sionary of the amateur film move-
tion of wild-life films in Holly-
wood. It includes excellent shots
ment. As his Filmo outfit was one
of practically every important West- of the first to appear among the film
ern species from Mountain Lions to colony, it would be difficult to even
Humming-birds. According to him, hazard a guess at the number of
though Humming-birds sound rather famous film people whom he has
tame as a film subject when com- either directly or indirectly interested
pared to Cougars, they take quite Chaney in action as an Amateur Cinematographer, with his in his hobby, but even his reticence
as much skill to film successfully, due Filmo alongside Henry Sharp. A. S. C. cannot conceal the fact that he has
January, 1930 AMERICAN C IN AM ATOGR APHER Thirty-nine

Why Wheels Seem to Turn Backward in

Motion Pictures
An Explanation That Will Answer Hundreds of Questions
That Reach The Editor’s Desk.
By P4UL H. ALLEN, A. S. C.

BELIEVE that the one question that I have answered more

than any other since I have been in the motion picture busi-
I ness is, “Why do automobile wheels turn backward on the
screen?” The reason why is simple, but the answer without a
diagram isn't so easy. But I believe that by referring to the illus-
trations on this page it will be quite plain, and then all the readers No camera can he Letter tkan its lens. All
can tell all their friends, and there you arc.
Of course you all know
that “moving pictures” don’t really
move, but arc just a series of individual snap shots showing the CarlZ eiss Tessars ensure perfect definition
successive positions of moving objects. But it is just these suc-
cessive positions which may easily produce the illusion of “wheels
turning backward,” which quite naturally are going in the right and Lrillianc// even at full aperture^
direction. This fact can be illustrated by the diagram (Figure 1)
of four-spoked wheels rotating at such a speed that after one
picture of the film has been exposed the spoke “A” has turned and results will not Le impaired Ly
around just enough to show “A” at the position of “B” when
the next picture is exposed. It is then quite evident that in a
case of this kind, if the spoke and camera keep turning at con-
flare. TKese are only a few reasons
stant speeds, when the picture is projected upon the screen it will
appear to be standing perfectly still.
wfiy Carl Zeiss Tessar Lenses

have universal endorsement

g^ZElSs
JE.NA

riC. I. FIG. 2 .

Again, the wheels on fast-moving cars often appear as if they

were moving backward. This would happen if the spoke “A”
CARL ZEISS, INCORPORATED
had been revolving so fast when it was photographed that the in- Fifth Ave., New York 728So. F^iIISt.,Los Anqeles
terval between one exposure and the next the wheel revolved all
the way around from “A” to “B” (Figure 2). When the next
successive exposure was made the spoke appeared at “C,” and
so on.
When this film is projected on the screen the spokes will seem
to run backward. No matter how many spokes there are in the
wheel, it is evident that the effect on each one will remain the
same, and the entire wheel will appear to turn backward at the
SOUND
same speed as that of each spoke.
The nothing more than an optical
Movie
sion.
How
so-called mystery is

can you avoid having it happen in your films?

illu-
Efrect”
Several ways, if you must show an automobile being driven
across the screen in your film, try and select one with disc or wire
wheels. Or shoot the car from the front or rear in such a posi- Tnany
tion that the wheels do not show on the screen. Or let them turn
as they may y^avs prv7ducint| (^t7t7nlia}2F
MY and COitjhF feels in ^aylime-
Berlin —A of educational shorts are being produced by
series
FILTERS
ARE USED Scenes - Diffused Fecus
UFA. Dr. Martin Rikli is in charge of the expedition and also BY ALL
edited these novelties. “Useful Weeds,” has been completed and iHOLLYWOOOl and many elber effects.'
will soon be ready for release. STUDIOS IrMOMSSOSr AMOUCAH SOOETY OF CINEHATOORAPHERS
-

Ask t|oudealer.or uiritelo

interested a number of the famous people he photographed
for his animated album in personal cinematography.
whom GEORGE H.SCHEIBE
Highest
among these stand H. R. H. Crown Prince Wilhelm of Sweden,
PHOTO'FILTER SPECIALIST
to whomMr. Chaney presented a Filmo and a lasting interest I 927 -W- 78 I2 ST. LOS ANOELES.CAL.
in amateur films, and Brig. Gen. Smedley Butler, U. S. M. C.,
who carried a 35 mm DeVry camera, the gift of Mr. Chancy, to
China with him, when he went there to command the marine
detachment. With such achievements in his record, Lon Chaney
deservedly ranks as high among cine-amateurs as he docs among
Berlin
Company.”
—Conrad UFA
at the
Veidt is completing interiors for
sound studios at Neubabclsbcrg.
“The Last
Karin
professional actors. Evans will play opposite the star.
Forty American Cinamatographer January, 1930

Storing and Handling Film

{Continued from Page 20)

Do hot thus attaining a higher temperature.

The chemical reactions which take place in nitrocellulose
OREMOPHOT differ with its mode of combustion, flameless, active or explosive.
guess Fortunately, in the last two methods of combustion the
reactions are much more complete than in flameless combustion.
They do not yield nitrous fumes and but little carbon monoxide.
Little no attention has been given to the tendency of
or

This year use a nitrocellulose as used in films to undergo spontaneous decom-

position which might eventually result in spontaneous com-
bustion, and no instance of such an occurrence has been brought

CINOPHOT to notice in this connection. But such occurrences hav'e been

very frequent with such nitrocelluloses as are used in smokeless
powder and also as are sent into the market in the form of
or collodion cotton for use in the manufacture of collodion as

DREMOPHOT used in photography and in pharmacy.

The decomposition referred to has been found due to the
fact that the physical structure of cotton, from which cellulose
Obtainable at all Dealers nitrates are manufactured, is such as to make it difficult, during
and at the purification processes, to remove from the cellulose nitrates
Eastman Kodak Stores the very last traces of free acid. Yet if but a minute quantity
all over the World of free acid remains in the nitrocellulose it reacts to decom-
pose the nitrocellulose, producing as a result more free acid,
DREM PRODUCTS CORPORATION and these reactions progress autocatalytically with the evolution
of heat until a considerable mass of the nitrocellulose is involved
152 West 42nd Street New York, N. Y. and the temperature has reached the point of ignition when fire
or explosion takes place. Provision is made in the case of
smokeless powder and some other substances produced from
cellulose nitrates to reduce or prevent this decomposition by add-
ing to the mass a neutralizing agent, such as diphenylamine, to
Price remove the free acid products as they arc formed, and this
procedure has given a measure of protection.
$12.50 At least 75 years ago it had become the established practice in
placing long staple pyroxylin, or collodion cotton, on the market
Ask your to pack it in cardboard cartons and. in this method of packing,
Dealer the nitrocellulose has been observed to remain for years unde-
composed, while if the nitrocellulose in these cartons were
transferred to tightly stoppered bottles it soon underwent spon-
taneous decomposition. Another cellulose nitrate product which
has frequently given rise to disasters through undergoing
spontaneous decomposition as packed in tightly closed containers
is compressed military guncotton. Yet with this, as with the
collodion cotton, it has been repeatedly demonstrated that, if the
blocks of dry guncotton arc freely exposed to the air out of
Let’s contact with direct sunlight, they keep materially unchanged
through years.

Trade is

this
Another
their
characteristic of cellulose nitrates little referred to
capacity to acquire static charges through friction, yet
very apparent when one runs the hand through a mass
is

Cameras! of granulated single base smokeless powder. It is easily dem-

onstrated by rubbing a piece of moving picture film when it
will attract to itself small bits of paper and other light objects.

—Bass Many ignitions of inflammable and combustible substances have

been due to the development and discharge of static charges orig-
inating in friction on moving parts, but experimental demon-
stration of the phenomena is attended with many difficulties
Stills for Movies Old for new and rarely succeeds. It is significant to find in the newspaper
Movies for Stills New for old accounts of a recent disaster that observers reported seeing “the
first explosion occur in a pile of chemicals near one of the
polishing machines” and that the only fatality was that of
Bass is internationally known a man “found unconscious near a film polishing machine.”
wherever cameras are used . . . Another feature of film disasters is the “nitrous fumes,”
stillsor movies amateur or
. , . the brownish-red fumes especially produced during the flameless
professional apparatus. combustion of the films. The nitrogen oxides as evolved
from the decomposing film are NO (or N1O2) and NO» (or
Write your requirements. Give
N2O4) The NO as set free is a colorless gas, but. on coming
.

full description of what you in contact with the air, it promptly combines with oxygen from
have for appraisal. Write Bass the latter to form NO2 gas which is brownish-red in color. It

first. is possible that, through the reactions of these nitrogen oxides

with the oxygen of the air they encounter, other oxides, such as
NoO.i and N2O5, are also formed in varying proportions. Further,

CA3IEBA the NO2 reacts with oxygen and water present in the air, or that
produced in the burning, and the N 2O 2 and N 20 react also
Company r.

with water present to form the highly corrosive nitrous and

179 W, MADISON ST. nitric acids.
Though NO
is but slightly soluble in water, NO2, N2O3, and
Chicago, 111. N2O,-,,or the acids formed from them, are quite soluble in

State 7410
water, and since NO
readily forms NO2 on contact with air, it
is a simple matter to remove “nitrous fumes” from the atmos-
phere by spraying the atmosphere with water. Furthermore,
a proper supply of water will quench fires in nitrocellulose films.
 January, 1930 American C n a m a t og r a p h e r
i Forty-one

The Kinamo S.IO

I
^ JHE amateur movie enthusiasts of the United States will
TRUEBALL TRIPOD HEADS
I
enjoy the special feature of the little Zeiss-Ikon Kinamo
I
a thoroughly practical
S.IO, 16 mm. outfit, which is the For follow-up shots
•smallest existing movie camera made. Kinamo S.IO is distributed are known for their
Iby Carl Zeiss, Inc.. 485 Fifth Avenue, New York City. smoothness of operation,
j

'
The Kinamo S.IO is equipped with a Carl Zeiss 2.7 Tessar equal tension on all
i I lens. The camera is small enough to be held easily in one hand movements and beingr un-
. and, with the eye applied to the internal view finder, may be affected by temperature.
! satisfactorily braced in this way. Threading is quickly and ef-
I fectively accomplished with the aid of a special container which
'
the correct position and eliminates
simplifies placing the film in
I threading the take-up reel. Feed and take-up sprocket are
. arranged in remarkably compact form. A special feature is the
movable feed sprocket by means of which the size of the loops
may be changed after threading. The film magazines are fur-
I nished loaded with 3 3 feet 1 0 meters) of 1 6 mm. Eastman Kodak
(

Model B
The Model B is for Bell
& Howell and Mitchell
I Cameras and their re-
j
spective tripods.
.
The handle is tele-
scopic and adjustable to
j
any angle.

The Model A is made

for Amateur motion pic-
ture cameras and also
fits the Standard Still
tripods.

Trueball tripod heads

are unexcelled for sim-
I plicity, accuracy and
Kinamo 5.10 speed of operation.
j

The Hoefner four-inch

Iris and Sunshade com-
bination is also a supe-
orthochromatic or panchromatic, a very convenient
•safety film, Model A rior product.
length which enables the amateur to take a few complete “shots”
I

Ml using all of the film and thereby getting quick developing service,
5319 SANTA
HOEFNER
FREDMONICA BOULEVARD
After the film is exposed it is automatically wound in the light-
j' 1
GLadstone 0243 LOS ANGELES. CALIF.
'jitight container ready for shipment to the nearest Eastman Kodak

(
processing station.
I
I
A
novel and useful inaicator shows at a
’[(glance just how far the spring motor has run down and when
i |iit is necessary to rewind. By using this device, the operator may
_ appear in the picture for a given length ®f time, after which the
'

7i< camera will stop automatically. One full winding of the spring-
(
I feet of film. The design of the Kinamo S.IO
motor exposes 13
(
I such that it is exceptionally easy to keep the gate free from
is

(
jithe emulsion deposits. All working parts are enclosed in a dust-
f' (proof housing and no need exists for cleaning the mechanism.

\\ RCA in Alaska
(1 With presentation of talking pictures at the Liberiy, Ketchikan,
1:1 the first of seven RCA installations for Alaska has been made, it
I is announced by RCA Photophone. Inc.

;j
Editorial Board Named for Cinematographic Annual
PRESIDENT JOHN F. SEITZ, of the American Society of
i Cinematographers, has announced the following as the mem-
Ibers of the editorial board of the Cinematographic Annual: Paul
Allen, John Arnold, Herford T. Cowling, Emery Huse, Victor
M Milner, William Stull and Ned Van Buren.
This board will assist Mr. Seitz and Hal Hall, editor, in the
U work of editing and compiling the Annual, which it is expected
will be the most important technical book that has been published
Ij in connection with the motion picture industry. One of the
imost outstanding and representative groups of authorities in their
j!|

i'l
various lines is preparing the editorial content for this book. In
;! (this group are the most noted men of the industry.

!
1Fires actively under way in compressed military guncotton even
lhave been extinguished with water applied to them.
A set of regulations governing the storage of nitrocellulose
t: Ifilms has been drafted by the National Fire Protection Associa-
t ition. Central Street, Boston, Mass.
Forty-two American C namatograph
i e r January, 1 930

Amateur Movie Making

{Continued from Page 35 )

the fire as the sole source of light, or with a few tefleciors or

diffused lamps to give a relieving front light.

Night Sports

AA4ATCUCX Magnesium flares, however, are primarily intended

exterior use, for they are rather too closely related to Fourth-of-
July fireworks to be safe indoors.
offer great possibilities.
Used outside, however, they
What picturegoer, for instance, has not t
seen and enjoyed the perennial newsreel shots of night winter-
for r

sports. such as tobogganing, figure-skating, etc., made with the .

IF YOU HAVE NOT aid of those handy torches? With only a few flares, the amateur r
camerist can do quite as well, himself. Place one, for instance, on
a toboggan coming down a sporty course where the camera is able
i

ORDERED YOUR COPY to follow for some distance, around curves, through trees, and so
on, or place both flare and camera on the toboggan, with perhaps r

another flare, managed by an assistant, in the ground at some

OF THE particularly thrilling curve. If the assistant can use a camera r
at the same time, so much the better. Similarly, attaching ai,
flare to a night-flying ski-jumper would undoubtedly give an

Cinematographic unexcelled spectacle — but the problem of persuading a skiierr^

to attempt it would. I fear, be beyond most of us!
i

And — the Real Bright Lights

Annual Now
every
that super-speed lenses are becoming so much a part of
amateur’s equipment, artificial lighting equipment for
r

exterior night scenes is by no means always a necessity. Ama-

teurs in the larger cities can easily take advantage of the lighting ;

Do Not Delay Longer kindly furnished by the municipality and the local merchants.
Street scenes by the ordinary street-lights are now familiar r

parts of many amateur libraries, but they are newly attractive r

when a camerist is lucky enough to be able to shoot them after :

a heavy fall of soft snow. In such cases, even the possessor r

of relatively slow lens equipment can benefit, for the fresh snow
is an excellent reflector, and between it and the half-speed move-

ment on the camera, even staid, old-fashioned F:3.5 lenses acquit

themselves surprisingly well.

This will be the most valuable pub-

Free Book on Society Make-up by Max Factor
lication ever produced in connection
hose women who
with photography What you
can’t find elsewhere you will find in
T
such
admire the faultless beauty and alluring
charm of the picture stars now have the opportunity of
learning how they have mastered the art of make-up to
a perfect degree.
this book to be published by Mr. Max Factor, international authority on make-up, has
prepared a small book on society make-up for the especial use
of women not of the screen. It is an unusual book with a
wealth of information that should be invaluable to all women
The American Society of who want to know how to use their make-up correctly. This
book is free for the asking. Either write care of The Cinema-
Cinematographers tographer, or direct to Max Factor, at his Highland Avenue
Studio. Hollywood, and the book will be mailed you.

High Ireland Duty

'T ALKING PICTURE equipment imported into Ireland has !

been made subject to a customs duty of 33 1-3 per cent,

according to advices reaching the M. P. Division of the Depart-
ment of Commerce. This will advance the price of apparatus sold !

to Irish exhibitors and is regarded as a move to discourage the

Tear oflF and mail today exploitation of talking films in Ireland.

American Society of Cinematographers. New Sound Device

1222 Guaranty Bldg., Hollywood, Calif. INOPLAY CORPORATION makes its entry into the

Gentlemen: Enclosed please find check (or synchronized equipment field with a new sound-on-film
money order) for Five Dollars ($5.00) for apparatus intended to serve the needs of exhibitors who desire a 1

which please send me, postage prepaid, one copy low-priced equipment. Kinoplay, according to its manufactur-
ers. will reproduce film recorded through either variable or fixed
of your Cinematographic Annual as soon as it is
off the press, which date will be April, 1930.
densities. Another feature claimed for the apparatus is that, in
running silent pictures, the film does not have to be threaded en-
tirely through the sound-on-film mechanism. The film passes
Name into the lower magazine on a sliding roller without additional
sprocket wear.
Address

City State
Nice —The Casino
picture house.
de Paris here has been opened as a talking
January, 1 930 American Cinamatographer Forty-three

Of Interest To Amateurs
Mother's Day

N ext month’s issue of the Cinematographer will contain

an offering which we feel will be of unusual merit and
practical use. February is a long way from May, but
the offering will be a practical scenario or working script for a
picture built around Mother.
Most people give flowers on Mother’s Day. But we suggest
that a film entitled, “Mother’s Day’’, be given them in addition
to flowers this year. Loretta K. Dean, who has contributed
several interesting articles to the Cinematographer has prepared
this scenario and we would be pleased to hear from all our read-
ers who use it. Watch the February issue. If you like the
idea, we will run a scenario each month. The Editor.

Around the World

VXT'ILLIAM F. DOUGLAS of Elmhurst. 111., is one of the
’ ^ greatest the 16
boosters of camera. mm
The reason is
that he made a trip around the world last year and shot 4000
feet of film with his DeVry. Now
he is making the same trip
every once in awhile- —
only in the easy chair of his living room.

Modern Ages
'The Universal Motion Picture club of Paterson, N. J., is

making an ambitious photoplay entitled, “Modern Age’’.

Walter Nowatka is directing and handling the camera.

Interior Shots
OW
that winter has brought its long evenings to home
movie makers in most of the United States and snow is
'

heaped up in huge drifts outdoors, it is the time to make those

indoor shots you used to dream of last summer. Maybe next
winter Grandma may not be with you, so get out that Sunny
Twin lamp and your camera and make the shots that in years
to come will be treasured by you.

Lighting Book
F you haven’t written to Westphalen of Chicago for his free
I book on interior lighting, we’d advise that you do it now.
There is much you will learn in the little book prepared by this
expert on amateur lighting.

The World's Fastest Plate

C INE AMATEURS, who are also devotees of ultra-speed

photography, will be interested to learn that the enterprising
still

English firm of Ilford. Ltd., have placed upon the market what
is undoubtedly the most amazing of all their celebrated creations
in ultra-fast plates. 1 he astonishing speed of 1400 H. and D. is
their claim for theirnew Golden Iso-Zenith emulsion, which de-
Reproduced from 8x10 photo
spite its extreme speed is reputed to be remarkably fine-grained Photo by Chicago Architecturat Photographing Co.
and acceptably isochromatic. Since the speed of the average ama- MADE THIS PICTURE FROM THE
teur film is between 300 and 400 H. and D., the terrific speed of
STREET LEVEL
the new emulsion is almost inconceivable.
Most Difficult work, made
New Dallmeyer Lens EASY WORK
W E LEARN from

don, have again surpassed themselves.

a British contemporary that the famous
Optical Speed Merchants, the Messrs. Dallmeyer, of Lon-
Their latest creation is a
Time
the
is
DEARDORFF
cost very quickly.
money — In time alone
will save its

one-inch cine lens working at the amazing aperture of F:0.99, Compact: Light Weight.
which, they point out. is twelve times as fast as the familiar f :3.5
Sturdy construction.
fitted to most amateur cameras'. The lens is now regularly on the
British market, being supplied in standard mounts fitting Filmo, Used by the leading commercial
Victor and Ensign cameras, at the comparatively reasonable price and view photographers of
of 20 pounds sterling. At the present time, it is probably not yet this country.
available in America, but no doubt it soon will be.

Winter Clouds In ''Pan"

he way of getting good cloud effects is through the
T use of
best
Cine-Kodak Panchromatic Safety Film and a filter.
However, a filter is not essential, and “Pan” will give
surprising results without one. If your dealer does not handle this Camera,
order direct from
New High
School Club
Organized for the study of Cinematography, a club has been L. F» DeardorfF ^ Sons
started at the John C. Fremont High School. Los Angeles. 45 1 N. Racine Avenue
C. A. Bach sponsors the club which shoots 400 feet of film Chicago Cloted
each Term using a professional Bell U How'ell. Sound is also
studied. Fifteen members comprise the present roster.
Forty-four American Cinamatographer January, 1930

Principles and Processes of Photography

in Natural Colors

GOO?Z
{Continued from Page 24)
remained in contact a short time, the film
support is stripped off,
the operation usually being carried out under water. The yellow
tissue is ordinarily mounted first, then the blue-green, and then
the magenta. Some of the finest examples of this process produced

CINE LENSES
Goerz Cine Lenses are being' used all over the
in America are those of J. W. Allison of New York.
In the original Raylo process introduced in 1923, three ex-
posures were made successively and automatically on one plate
World because they are of through the three primary filters, yielding a negative. The
method of printing gave any number of 5 by 7 inch pictures on
Superior Quality paper and is a novel application of the carbon process. A
sheet of
film base coated with three patches of pigmented gelatin was
^Ve manufacture in our New York factory the stretched in a frame, exposed to the enlarged images of the nega-
Kino—Hypar F. 2.7 and F. a tive as shown in Fig. 12, and then developed in the usual way in

in focal lengths from 1-inch hot water. By means of a special registering device, the final
to 4-inch
superimposition of the three tissues was claimed to be accomplished
*Iso have an imported, superspeed series
with ease. More recently the inventor of the Raylo process, Mr.
Cinegop F. 2 and F. 2.5 H. C. J. Deeks, has supplied prepared pigmented aceto-cellulose
sheets in three colors for printing from any set of three-color
in focal lengths from 1 %
-inch to 4-inch negatives. Each sheet is coated with a light sensitive silver halide
and the telephoto series
emulsion containing the pigment. After exposure and develop-
Telestar F. 4.5 ment in a tanning developer, the relief image is washed off in hot
water and the silver image is removed by bleaching and fixing.
in focal lengths from 4 H -inch to
13H
inch The prints on these pigmented tissues are then transferred to a
for long distance
shots and close-ups
paper support.
We make kinds of trick devices, precision
all
In the Ozobrome method, bromide prints made from the orig-
focusing mounts, focusing microscopes and special inal three-color negatives are brought in contact with the respective
camera fittings.
color tissues soaked a short time previously in a bichromate-
We undertake the development of your own ferricyanide-bromide bath, and the bromide print stripped off
ideas along optical lines. Write us. new cata- A the tissue which now bears the image of the print. The tissues
logue, listing the complete line of Goerz Lenses and
arc then developed, fastened to a temporary support, brought into
accessories, will be mailed on request.
register, and finally transferred to a permanent paper support.
(Hi). Imbibition Processes. Color prints by the imbibition
C. P. Goerz American Optical Co. process are made by starting with a blank sheet of gelatin coated
317 E. 34th St. New York, N. Y. paper and causing the coating to take up successively or "imbibe”
dyes from color images from the "print plate” covered with
unhardened gelatin. Any number of prints may be made from
one group of print plates. The dyes used in this process will
only stain soft gelatin. In another imbibition process, the Sangcr-
Shepherd, the reverse is true since it depends on dyes which will
stain hardened gelatin. Very pleasing results may be obtained

AMATEURS
Keep Step with the Professionals by Reading The
with both two and three-color imbibition processes.
(tv). Relief Processes.

in 1925 under the name "Jos-pe.”

A
novel wash-off relief process using
imbibition to prepare the final print was introduced in Germany
Printing plates were pre-
pared from a set of three-color negatives by projection onto glass
Technical Cinematic Magazine of the Motion Pic-
plates coated with a gelatino-bromide emulsion. The plates arc
ture Industry.
exposed through the back and developed in a developer which
differentially hardens the gelatin according to the amount of silver
THE AMERICAN image formed. Arelief image is obtained by washing the fixed-
out plates in hot water. Prints arc made from these simplified
CINEMATOGRAPHER since the printing plates arc quite transparent.
(v) Bleach-out
. Methods. An ingenious method for
Published in Hollywood by the American Society changing a color transparency into a color print which unfortunate-
of Cinematographers, the leading professional cam- ly has thus far had very little commercial success, is the bleach-
eramen of the world. out process first worked out by J. H. Smith in 1895 and known
as "Utocolor.” This process had been suggested in 1867 by
You cannot afford to be without it.
For Amateurs —
Service department, special tech-
nical articles by the world's greatest authorities on
Du Hauron and Charles Cros from purely theoretical reasoning.
It depends on the property certain dyes possess of bleaching out
when exposed to specific wave-lengths of light. Paper is coated
cinematographic science.
with an intimate mixture of three such dyes, red, yellow, and blue.
fFill in and Mail Today] The color transparency is placed in contact with the paper and
by virtue of the bleaching properties of the dyes, the paper is
American Cinematographer, changed into a color print. Uneven bleaching, distortion from
1222 Guaranty Building, heat, and fugitiveness of the dyes are some of the difficulties en-
Hollywood, Calif. countered. Although these limitations are serious, this method
offers great possibilities if it is ultimately worked out satisfactorily.
Gentlemen: Please find enclosed three dollars
(vi) Three and Four Color Photo-mechanical Reproduction.
.
($4.00 for foreign rate) for one year’s subscription
The most outstanding use of color photography for many years
to the American Cinematographer, to begin has been the making of three-color reproductions in books and
with the issued of 1930.
magazines by photo-mechanical methods. Two methods are
used, depending upon the accessibility of the subject, (a) the In-
Name . direct and (b) the Direct methods.
In the former, three-color separation negatives are prepared,
Address transparencies are made from these negatives, and screen negatives
on wet collodion plates are finally obtained from the transparency
Town State
by interposing in the camera in front of the sensitive photographic
plate, a glass plate evenly ruled with a fine cross line screen (about
1 50 lines to the inch) .
January, 1930 American Cinamatographer Forty-fi%'c

The Direct method avoids the making of the first negative and
the transparency since the three screen negatives are made by direct
photography of the colored subject. For each separate screen nega-
tive, the red, blue, and green, the screen is rotated making each pat-
tern at an angle of 22^2 degrees to 30 degrees from the others. You Can ‘‘Double In”
When the lines of the screen cross at smaller angles, a disagreeable
pattern or moire is produced in the final printing. Engraved cop-
per color plates are prepared from each color separation negative
and printed by inking up with suitable greasy ink pigments. Outdoor Shots on
(b) TwoColor Subtractive Processes. Several two-color
processes for preparing color prints have been worked out using
most of the methods described under three-color processes. Very
pleasing results have been produced with two-color imbibition and Indoor Sound Stages
by carbon transfer methods.
(To be Continued Next Month)

behind any intimate Dialogue shot

Develops Cin-cx Camera
Detroit
which
—A motion picture camera known as the Cin-ex,
variety of bodily functions such as the motion of the
a
by by using a

lungs and movements of the heart and intestines may be observed,

has been developed by Dr. Jarre of Grace Hospital here.
DUNNING
Sonora Home Talkies
alking pictures for the home, reproduced by a ma- You
T chine that aso can be used as an ordinary radio receiver,
have been demonstrated by the Sonora Products Corporation
in its private projection room in the Sonora Building. The appa-
shoot today
Screen tomorrow
ratus, invented by Sonora engineers, is said to be the first of its
kind. It uses ordinary 1 6 mm. films, capable of throwing a pic-
ture five feet square, while the talk is reproduced by a synchronized
record. Dunning Process Company
Quantity production is expected to get under way shortly with
932 No. La Brea Avenue
the facilities of different picture studios being engaged for the
making of the films.
Phone GLadstone 3959 for demonstration

New Seats for Talkies

^MONG the many problems created by talking pictures for
AA theatre builders and operators is the question of seats with
a back made of such material that it will absorb and not
throw back the sound waves. In legitimate theaters, it has been
found, a number of empty seats will noticeably affect the echo
problem, but theater men got around this by using seats that were
scientifically upholstered. This practice now is being adopted Some Folks Read
generally in talker theaters, with a thick velour being favored.
riCTICN
Some Folks Read
New Camera Device
rACT
A DEVICE designed to control six cameras simultaneously,
with rheostatic starting to eliminate jamming of the mo-
tors, has been invented by William Johnson, chief elec-
trical engineer at Radio. Control of markers, which show the iCLLTWCCD
THE LATTER READ

starting and stopping of the player’s action, as well as governing

the authentic motion picture magazine de-
stop lights and signal bells which give warning throughout the
voted to the interests of the cinema fans
entire studio that quiet must prevail, are other features.
Device is especially adapted to photographing large sets where
— written, edited and published where the
films are made.
more than two cameras are used to get all the action from different
angles at the same time.
On sale at all newsstands the 15th of every month

Non-Stop Projector
T^LANGFILM in association with A. E. G., powerful German
soon will introduce to the trade in Germany
electrical trust,
a new non-stop projector, designed to solve the problem of in-
termittent projections which causes the damage of sprocket holes,
according to a report to the M. P. Division of the Department of Mitchell and Bell ^3 Howell Cameras
Commerce, at Washington.
The A. E. G. projector makes use of a series of mirrors, in
which, it is claimed, 100 percent of the light is transmitted, none
being wasted by the interception of a shutter. Each of the mir- J. R. "Loctiwood
rors turn on its axis as the film travels through the camera so as Camera rentals and sales
to keep the image of each picture reflected in the center of the
All Mitchell cjmcras supplied with two 1000 ft. magazines if
mirror, which moves into place one after the other.
desired at regular camera rental
The projector already has been installed in several theatres
for experimental purposes and an attempt now is being made to 1108 Lillian Way
market them on a wholesale basis.
Hollywood, California

Berlin — Two
animal pictures, "A Day With an Indian Ele- Phone
GRanite 3177
Cable Address
“Lockcamera” Hollywood
phant,” and “From Gnat to Elephant,” have been completed by
UFA for educational purposes.
Forty-iix American C namatogra
i p h e r January, 1930

ELMER G. DYER
AKELEY SPECIALIST
Aerial Photography Since 1918
FOR BETTER
Phone HE. 8116 WORKMANSHIP
WALTER J. VAN ROSSEM
Photographic Laboratory

6049 Hollywood Boulevard

and
Camera Rental Service
HOLLYWOOD, CALIFORNIA
Phone Hollywood 072B
SUPERIOR
ENGRAVING CO.
Phone GL. 7507 Hours 9 to 5
Telephone HE 8149
Also by Appointment Hollywood, Calif.
• Dr. G. Floyd Jackman 1606 Cahuenga Ave.
DENTIST
706 Hollywood First National Building
Hollywood Blvd. at Highland Ave.

Zinc Etchings, Copper and Zinc

Half-Tones, Color Work
Designing, Electrotypes,
HARRY PERRY, A.S.C.
Mats, etc.
Available for

SOUND-CINEMATOGRAPHY
FINEST SOUND EQUIPMENT
New Hollywood Lab.
Leonard Pool and Bud Hooper, of San Francisco, have estab-
Oxford 1908 HEmpstead 1128 lished anew film laboratory in the building recently vacated by
Smith and Aller, distributors for du Pont film.
being operated as the Afient Laboratories, catering to gen-
It is
eral production work.

HARVEY Wm. PRIESTER Paris

Insurance Experting Motion
pictures showing actual fire scenes at various stages
CAMERA INSURANCE A SPECIALTY are being collected by the Paris fire department to be used in
510 Guaranty Buildinq teaching firemen how to combat these emergencies and also in
6331 Hollywood Blvd., Hollywood, California educating the public along the lines of prevention.
Tel: GLadstone 4811

London
S. M. Eisenstein, the Russian director, has concluded a course
of lectures on the technique of motion pictures given under the.

PATENTS auspices of the Film Society.

Paris
Plans for the production of three talking pictures are an-
nounced by Mme. Marie Louise
PROTECT YOUR IDEA! Daughters" will be the first.
Iribe. "Father Lancelot’s Three

Write Freely, sending Data of your Invention, for

full advice.
Write for "Proof of Invention” folder mailed free. The King of Jazz
TRADE-MARKS REGISTERED {Continued from Page 6)
And then Whiteman came to silent pictures.
We give genuine personal service. "I believe there will be some great silent pictures made in
the future,” he declared. "Some lend themselves
Established —Experienced Thirty Years silent and they should be made silent.
pictures,
stories
Then, there
to

are people like Chaplin who should stick to silent drama. I hate
to think of Chaplin turning to talkies. He is so magnificent
E. E. Vrooman & Co. in pantomime: a master at it; and I think sound would spoil
a lot of the wonderful charm of his work."
201 Atlas Building, Washington, D. C. Again he referred to cinematography with more boosts for
the cameraman and their work. "Marvelous, simply marve-
Mention American Cinematographer when writing.
lous,” he declared. "What they can’t do with a camera cannot
be done.”
I
January. 1930 American Cinamatographer Forty-seven

PHOTOGRAPHIC EQUIPMENT CLEARING HOUSE

CLASSIFIED ADVERTISING
RATES: Four cents a word. Minimum charge one dollar per insertion. All copy must
be prepaid and must reach us before the fifteenth of the month preceding publication.

WANTED— MOTION PICTURE CAMERAS cash takes lot:

Address Lenk. care ASC,
or will trade for B. S3 H. or Mitchell camera and outfit.
Chicago Office, 3 668 So. Michigan Ave., Chi-

WANTED — For cash. Bell 8

Howell, Mitchell, Akeley Standard cameras and
cago, 111.

equipment. Write with full particulars and lowest price. Movie Camera
Co.. Lamington Road, Bombay *. India.
FOR SALE —
Two sightly used .Mtchell .Matt boxes at S4U.00 per
Chas. Glouner at Univ'-rsal Studios. HEmpstead 3 13 1.
set. Call

WANTED — For cash. DeBrie. Pathe, Bell 8 Howell cameras. Send

Standard FOR SALE — Model D Movieola film viewing machine —new tondition. Wm.
full description. Bass Camera Company. 179 West Madison Street. Chicago. Stull. GL-8975 or care A. S. C.

W.^NTED —Mitcheli or Bell W Howell cameras, lenses and equipment. Write

giving complete inventory and price. J. R. Lockwood, 1108 N. Lillian
FOR SALE
6
—
magazines,
Bell S3
6
Howell Camera No. 469, fully equipped. Mitchell Tripod.
lenses, $1,000.00. Conrad Wells, care A. S. C. Office,
Way, Hollywood. GR-4274.

FOR SALE— CAMERAS FOR RENT— CAMERAS

FOR SALE — 2 complete Mitchell High Speed Outfits, $3500.00 each. Special
price for purchaser of both. Write or phone Editor of CINEMATOGRAPHER. FOR RENT —Phone
265 Long wood
4 Ave., 1 Bell S3 Howell completely equipped for
Sound. Empire 02 24.
FOR SALE — Bell fil Howell camera with complete equipment. $9 5 0.00. J. R.
Lockwood, 1108‘N. Lillian Way, Hollywood, GRanite 3177.
FOR RENT — Two
Bell £3 Howell cameras. Mitchell tripods, large finders, all

FOR SALE — Akeley Camera, 2. 6, 12 inch lenses and finders to match, four
F /2.3 lenses, 1000 ft. magazines for B. £3 H. Also Cinemotor and friction
h-ad for Akeley work. Frank Cotner, 6273 Selma Ave., HOlly 5046.
magazines, carrying cases, Mitchell quick-release legs. Camera has been
overhauled and is in good mechanical condition. Price $700.00. E. G.
Dyer. A. S. C.. or 951 No. Spaulding Ave., Hollywood. California. FOR RENT —
Two Mitchell Speed Cameras, with Astro Lenses: extra Mitchell
miqaz'nes. M’tch-11 h'vh speed year box and cable. C.all Pliny Horne
FOR SALE OR RENT
or write Dan
— First
B. Clark, A. S. C.
Class Akeley Outfit complete.
office.
Phone GR-4274. 1318 N. Stanley Ave. HOlly wood 76 82 or WEstmore 1271.

BELL HOWELL. 170, with 30. 40. 50 and 75 lens equipment. Baby tripod.
FOR SALE
Mitchell
— Bell S3
tripod,
Howell Camera.
four magazines,
170 degree:
steel cases.
three
Park
Lenses
J.
F
Ries,
2 5,
1152
Iris.
N
£3
Also B. £3 H. Cine motor. Charles Stumar. GRanite 9845. 7501 Lexing-
Hollvwood.
ton Ave..
Western Ave. GRanite 1185.

FOR SALE- Th.ilh.immer Iris, 40mm. 50mm, 75mm F 3.5. Lenses in B. S3 H.

FOR RENT
tripods.
— Eight Bell
Park J. Ries.
£; Howell cameras,
1152 N. Western Ave. GR-1185.
fast lenses, large finders, Mitchell

mounts. Park J. Ries. 1152 N. Western Ave. GRanite 1185.

FOR RENT- -Akeley camera outfit. Mitchell tripod, 6 magazines, equipped up
FOR SALE — One 5x7 Press Graflex Camera, with
lens; one 5x7 cut film magazine;
8 -inch F4.5.
one roll holder: one focusing back; and
Zeiss Tessar to u inch lenses. Hack J. Res. 1152 N. Western Ave. GRanite 1185.

$9 5.00. All in new condition. Fred A.

sole leather carrving case. Price, rOR RENT
slow
— Two Bell £3 Howell Cameras, equipped with Speed movements for
motion or sound work, fast lenses, large finders. Mitchell tripods
Parrish. 25 26 West Colorado Ave., Colorado Springs, Colo.
1000 ft. magazines. Park J. Ries. 1152 N. Western Ave. GRanite 1185.
FOR SALE —
Bell S3 Howell camera complete. Also Bell S3 Howell trunk. Baby
tripod and Mitchell tripod. 40 m.m.. 50 m.m. and 75 m.m. Astro lenses: FOR RENT —
3 Mitchell speed cameras equipped for sound work. All Mitchell
Carl Zeiss 50 m.m. Mitchell Finder. Five Bell 8 Howell magazines: cameras supplied with two 1000 ft. magazines if desired at regular camera
carrying cases for all. and miscellaneous equipment. Phone GL-7 23 8 or rental rates. J. R. Lockwood. 1108 N. Lillian Way. GRanite 3177.
GR-4274.

FOR SALE —New170-degree Bell S3 Howell Camera. Choice of four focal length
FOR RENT
HE-1841.
— Mitchell Speed Camera, equipped for Sound. Phone Don B. Keyes,

lenses. 4-inch Iris and Matte box, 4 Magazines, metal carrying cases,
light tripod. A. B. Smith. 124 So. Flower St., Los Angeles.

FOR SALE — Bell S3 Howell camera completely equipped with B. S3 H. tripod with
P-OR RENT— MISCELLANEOUS
Mitchell legs. 4 mags., matte box. Mitchell finder, gauzes, lenses, etc. Ex-
cellent condition. $600 complete. 7160 Santa Monica Blvd. GRanite FOR RENT
Park J.
—Two1152
Ries.
Bell £3 Howell Cinemotors, with
N. Western Ave. GR-1185.
counters and batteries.

7111.

FOR SALE— MISCELLANEOUS FOR RENT

ft.
— Mitchell Gear Box with crank and shaft.
magazines. Phone Donald B. Keyes. HE-1841.
Mitchell Motor; 1000

I FOR SALE OR TRADE

two twin Whol arc lamps.
—Three One
Cooper-Hewitt
Whol
side banks 6 tubes each. Also
overhead dome arc: lot of electrical FOR RENT —1108 Mitchell friction tilthead with Bell £3 Howell adapter. J. R. Lock-
switches: boxes: cables, etc. All like new. Inventory $2,750 list. $800.00 wood, N. Lillian Way. GRanite 3 177.

You Haven’t Reserved Your Advertising

Space in the CINEMATOGRAPHIC

ANNUAL — DO IT NOW! !
Forty-eigh^ American C namatographer
i January, 1930
'

Complete Roster at Date of Publication

OFFICERS
John F. Seitz - - President
Victor Milner - -
First Vice-President
Arthur Miller - Second Vice-President
Charles G. Clarke Third Vice-President
John Arnold - -
T reasurer
Ned Van Buren -
Secretary

BOARD OF GOVERNORS
John Arnold Alfred Gilks Harry Perry
John W. Boyle Fred Jackman Sol Polito
Daniel B. Clark Victor Milner John F. Seitz
Chas. G. Clarke Hal Mohr Ned Van Buren
Ross Fisher Arthur Miller Oliver Marsh

PAST PRESIDENTS
Philip E. Rosen W. Jackman
Fred Gaetano Gaudio
Homer Scott James Van Trees Daniel B. Clark
John W. Boyle
Arthur Webb, General Counsel

HONORARY MEMBERS
Thomas A. Edison, Orange, N. J. George Eastman. Rochester, N. Y.
Albert S. Howell, Chicago

Allen. Paul H. Ross G. —— Paramount. Stumar, Chas.- —

—— Fisher, Fox. Lindon, Curly
—M-G-M.
Berlin,

— —
August, Joe Fox. Fildew, William- Germany.
Abel, David — Marsh. Oliver Bombay.
——
Pathe. Flora. Rolla Fox. Stinzenich, Harold
Arnold, John —
M-G-M. Fryer. Elmer Miller, Arthur Pathe. Sharp, Henry United Artists,
Archer, Fred
Boyle, John W. —
Mack
Fetters. C. Curtis — Fox. Mohr. Hal Universal.
McDonell, Claude rLondon, — Doug. Fairbanks.
—Fox
Gilks, Alfred —-Paramount. England.
Schneiderman, Geo.
Sennett.

— Gray. King D. —Thunder Bay MacWilliams, Glen — Fox.

Movietone.
Homer
——
Scott, A.
Brown,
Studio.
Jas. S., Jr. Cal. Film, Ltd.
Guissart, Rene — Morgan, Ira H. M-G-M. Seitz, John — —
F. First National.

BeBnoit, Georges —
——M-G-M.
Paris. England.
Elstree

——Warner
Studios, Milner, Victor
Marta, Jack A. —Paramount.
Fox.
Snyder,
politan.
Edward J. Metro-
Binger, R. O.-
Bell, Chas. E. Ray-Bell Films,
Good. Frank B.
Gaudio. Gaetano
Bros.
Bros.Warner Nogle, George G. —M-G-M. Shearer, Douglas G.-
Wm.
—M-G-M.
St. Paul.
Bauder, Steve L. ——M-G-M. Greene, A1
Greenhalgh, Jack
Tec-Art.
F-B-O.
M. —
— O’Connell, L. Wm. — Fox.
Stull.
Smith, Jack —Bangkok,
— Siam
Smith. Jean C.
Borradaile, O. H.

Carter, Claude C. —
Paramount.
Australia.
Hallenberger, Harry
Paramount.
Parrish. Fred — Colorado Tolhurst,
——M-G-M.
Louis H.
— Springs, Colo.

—— Ted —
Tappenbeck, Hatto Fox.
Clark, Daniel B.
— New
Fox. Hilburn, Percy M-G-M. York.
James—
Pahle, Pathe,
Corner, Frank M. Hyer, Wm. C.
Clarke, Chas. G. —
—Eastman Kodak Fox. Horne, Pliny
Educational. Palmer, Ernest
Powers, Len
Fox. Van
Van
Trees,
—
— — Ned —Eastman
Enger, Chas. J. Fox.
Cowling. H. T. Haller, Ernest First National. Perry, Paul P. United Artists. Van
Co., Rochester,
Chaney, George — N. Y.
United Artists.
Harten, Chas. New York.
Herbert, Chas. W.
—
Fox Movie- — Perry, Harry
——Caddo Prod. Kodak
Buren,

—
Co., Hollywood.
Polito, Sol First National. Van Rossem, Walter J.
Davis, Chas. ——Fox
J. Movietone.
tone. New York. Pometoy, Roy
Wagner, —
Sidney C. Fox.
DeVinna. Clyde
Dored. John
M-G-M.
—Paramount News,
Jackman. Floyd
Jackman, Fred — Technical
Roos, Len H. —
Sound Dept.,
Cinema Equipment' Co.
Walker, Joseph—
Vernon
Fox.
—Warner
——
Paris. France. Walker, L.
Dubray, A.
Jos. — U
Bell June, —Warner
Director,
Ray
Bros.
United Artists.
Rose, Jackson
Rosher. Chas.
J. Tiffany.
Dewey—
Bros.
Howell. Chicago.
Dupar. E. B. —
Warners’ Vita- Kershner, — —Warner
Glen First National. England.
—
Elstree Studios. Wriglcy,
Wyckoff, Alvin—
— United
Metropolitan.
Artists. J

Ries, Park J.
——
I
Wells. Conrad Fox.

—Warner—
phone. Koenekamp, H. F.
Dupont, Max — Bros. Ritchie, Eugene Robt. Lasky. Wenstrom, Harold
DeVol,
Vitacolor.
Norman — R-K-O.
—
Kurrle, Robt. —— E. Tec-Art. Rees, Wm. A.
Vitaphone.
Bros. Whitman,
Guy—
Phil H.
Dyer, Elmer G.
Dyer, Edwin
Free lance.
L.- —Orleans
M. P. A.
Keyes, Donald
Artists.
B. United Wilky, L.
Warrenton, Gilbert—— Universal.
Schoenbaum, Chas.—Techni- Williams, Frank D.
Waler —
Studios, New
Lundin, Harold Lloyd. color. Fred— —United
Edeson, Arthur —Fox Metropolitan.
Lockwood, J. R.
Stengler, Mack
Stevens, George
——
F. B. O.
Har Roach.
Westerberg,
,

Young,
Artists.
Jack R.——M-G-M.
Folsey, Geo. J.. Jr. —New
Max — M-G-M.
York. Lang. Chas. B. ——M-G-M. Paramount. —
Struss, Karl- United Artists.
— Zucker, Frank C. Photophone,
i

Fabian, Canning, Reggie Stumar, John Universal. New York.

1
 Only in

EASTMAN
True paiicliromatic l)alance ....

misiirpassed latitude .... a tough

l)ase that resists the wear and tear

of release printing This eom-

hination of important qualities

is ohtainahle only in Eastman

Panchromatic Negative^ Type 2,

worthy successor to the original,

revolutionary Eastman ”Pan.

EASTMAN KODAK COMPANY

ROCHES I EK, NEW YORK

J. E. Brulatoiir, Inc., Distributors

New ^ ork Chicago Hollywood
 Wf ARE PLEASED to announce
that we are now in production on our 70
MM. Mitchell Camera and are in a po-
sition to accept orders from the pro-
fession for these cameras.

This is the same type camera manu-

factured by us and now in use in the pro-
duction of the Fox-Grandeur pictures.

Mitchell Camera Corporation

665 N. Robertson Blvd. est Hollywood, Calif.

Cable address MITCAMCO Phone Oxford 1051