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January 1924
25 Cents A Copxj
Photographing Four Presidents—
Fifth Installment, "Fade Out and Slowly Fade In"
By Victor Milner, A. S. C.
^The Cost of Cinematographers—
By George Schneiderman, A. S. C
Stampedes and Camera Pits—
By Paul P. Perry, A. S. C
"Cashing In" On Stereoscopic Projection-
By Herbert S. Marshutz, A. B., Opt. D
PUBLISHED IN HOLLYWOOD CALIFORNIA
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"<?Mdde in Hollywood— The Standard Way. "
The final verdict of the cinematographer's art comes from the public.
And the public judges the photography by the Release Prints.
How important it is then that these Release Prints be made right here where close co-operation with camera man and director is possible.
This is why more and more Release Prints are being "Made in Hollvwood — the Standard Way."
Sfancfard "film J/aboKtlomes
HI/0"* // Svwcrd and Romaino Streets
\jqq Hollywood California
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Kiiii]ii;iii!ii:iiiiiiii!iiiiiiiii:iiiiiiiiiiiiiii!iiiii Vol. IV
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JANUARY, 1924
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No. 10 .
American Cinematoqrapher
The Uoice of the motion Picture Cameramen of America; the men who make the pictures
FOSTER GOSS, Editor and Business Manager
Board of Editors— VICTOR MILNER, H. LYMAN BROENING, KARL BROWN, PHILIP H. WHITMAN
ALFRED B. HITCHINS, Ph. D., F. R. P. S., F. R. M. S., F. C. S., Associate Editor
Table of Contents
The Cost of Cinematographers —
By GEORGE SCHNEIDERMAN, A. S. C. Stampedes and Camera Pits —
By PAUL P. PERRY, A. S.C. .
"Fade Out and Slowly Fade In," Fifth Installment — By VICTOR MILNER, A. S. C.
' ' ( 'ashing In" on Stereoscopic Pro jection —
By HERBERT MARSHUTZ, A. B., Opt. D
The Editors' Corner
Eastman Provides for Home Cinema .
Problems in Motion Picture Laboratories, Second I) ment, from Transactions, S. M. P. E.
Quoting the Critics, Cinematograpliically .
A New Pair of Ciuemachines ....
CHARLES RICHARDSON. A. S. ('.. Passes A way
Slight to Industry Meets Results
In Camerafomia . . .
Releases
A. S.C. Roster
it all
8
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13 15 16 17 24 25
1
An educational and instructive publication, espousing progress and art in motion picture photography. Published monthly by The American Society of Cinematographers, Inc.
Subscription terms: United States, $3.00 a year; Canada, $3.50 a year; foreign, $4.00 a year; single copies, 25 cents. Advertising rates on application.
6372 Hollywood Boulevard, Los Angeles, California Telephone, Hollywood 44U4
(Copyright, 1923, by The American Society of Cinematographers, Inc.)
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Four
AMERICAN CINEM ATOGRAPHER
January, 1924
CThe Cost of . " ' , mJ
bij Qeorqe Schneiderman,
Cinematographers a. s. c.
Why properly paid cinema- tographer is inexpensive. ^[Camera aide source.
Much has been said the past several weeks about cutting the cost of motion picture production. Prom- inent film officials have been quoted as saying that salaries must come down, from the star to the prop- erty boy.
It has been intimated that if it is not graceful to cut existing salaries there will be made substitu- tions, wherever possible, of workers who are content with smaller salaries.
The effect of the rigid execution of such a theory, if it is ever followed, remains to be seen. Perhaps the exercise of parts of the theories might bring wanted results.
But there is one element in the cost of production that is seldom reckoned with, and that is the waste and loss of time. Few of the executive statements, which were published in a spirit of alarm by most of the press, took this important factor into consid- eration.
Has the average executive ever stopped to com- pute how many dollars is lost to his organization be- cause salaries and rentals were running on and mounting up because some company or compauies working under his banner were marking time when they should be shooting? The loss thus occasioned includes within its scope the salary of not only one high-priced celebrity but that of all the workers in the company.
What one factor can be the most expensive cause of loss of time and production waste?
Those who understand production will tell you — the inexperienced or ineffiicent cinematographer.
He can be an expense thus in a dozen different ways. He can call for the wrong lighting equipment to take on expensive location trips, equipment that, on reaching the location, must be sent back for others or else the scenes shot improperly. Mean- while time is wasted.
He can fail to take advantage of delays by weather by not shooting scenes which are not dependent on the weather — while the company sits around wast- ing time and drawing salaries waiting for sunlight.
He can cause improper lighting equipment to be introduced on expensive sets, so that the scenes must be retaken or else imperfect, allowed to pass.
He can, last but not least, be conducive to any number of delays and wasted film that will result without end as the result of incompetence.
What usually is the reason that an inferior cameraman is permitted to be placed in a position where he will cause production expense to soar with- out justification?
Usually because his salary is a low figure. That's the answer. The average producer knows little or nothing of the qualifications of a cinematographer unless he is particularly familiar with the work and the working methods of the particular cameraman that he may hire. Consequently, when he wants a cameraman he wants only a cameraman, that's all, — just as if they all fitted a single pattern, labeled "cameraman," without regard to ability or qualifi- cation— he is apt to pick the man who names the
lowest salary. There is no distinction in his mind as to ability. Turning a crank is turning a crank. If he gets it turned for half the price, he is that much ahead on the picture.
But is he? Sometimes he wakes up, after a few thousand dollars have been wasted, and places his finger on the spot where the trouble lies. Other times he continues to hire inferior, low-salaried but expensive, cameramen; and as a result pays for in- creased production cost. The entire cost of an effi- cient cinematographer at a "good" salary, is a small item in comparison to other costs, considering what he has to do, his responsibility, results expected and obtained.
But what assurance can the producer have of get- ting an able man if he knows little or nothing as to cinematographic qualification? Probably none, if he relies on his own choice to the extent of picking a man because the salary is comparatively low.
The writer knows of one reliable general source from which the producer may safely pick his cinema- tographer— that is the American Society of Cinema- tographers. Cinematography is no longer an ex- periment. The A. S. C. has long since recognized that. Its membership is not open to men who are still in the inexperienced stages of cinematography, whether they have been at the camera a year or ten years. Instead, only those cinematographers are in- vited to A. S. C. membership whose work has con- sistently proved their ability. Remember the men who have thus accepted the invitations which have been so carefully extended and who have become A. S. C. members are men whose record, not their salary, and not because they turned a crank, estab- lishes their merit.
If they would not be thorough in every part of cinematography, if they would not be able to meet every cinematographic demand of the producer, if they were not above causing waste and loss of time, they would not be A. S. C. members.
That is the producer's assurance in calling on A. S. C. members.
And it is also his insurance for good photography and against unnecessary expense. The first thing a business man thinks of is to insure his investment, regardless of whether it is stock or property. He rests better when he knows that his investments are all covered by insurance. And the A. S. C. member will relieve the producer of cinematographic worries.
Finally, the fallacy of "cutting expenses" by hiring an inferior, low-salaried cameraman is very plain — it is just another way of creating expenses (Continued on Page 22)
January, 1924
AMERICAN CINEM ATOGRAPHER
Five
Stampedes and Camera Pits
Farewell buffalo stampede on
•n -n i r> i-» ac/^1 American continent described by
Bu Paul P. Perru, A. b. C ...
A. S. C. member operating in pit.
Grouped about the pit are, left to right: Mr. Smith, park superinten- dent; Reeves Eason. director: Jim. the park warden; Arthur Mc- Lennon, personal representative for Thomas Ince; and John Ince, director. Below, in the pit, is Paul P. Perry, A. S. C.
Thirty or forty years ago a farmer in Montana had 704 head of buffalo which was too large a herd for the range he had so he offered to sell them to the United States government. However, it took Congress so long to act on his proffer that he made a similar offer to the Canadian government which immediately purchased these monarch of the plains.
They were driven to the pro- vince of Alberta where the Cana- dian government established a dominion park to protect these and other wild animals such as deer, moose, antelope, elk and yak which were imported from India. This park, located a few miles from the town of Wainwright, was named "Buffalo Park." 704 Becomes 8000
Flourishing under government protection, the original herd of
704 buffalo multiplied until there were recently more than 8,000 head and what once was a suffi- ciently large park was a few weeks ago unable to supply enough range for so great a num- ber of beasts.
Eliminate Old Bulls
To relieve this over-crowding to some degree, the Canadian gov-
Cinematographers, crouch- ing in pits, as hoofs pound overhead take chances greater than those of abor- iginal Indians who rode at flanks of buffalo stampedes. Death imminent at every turn as stampede is filmed.
ernment decided some time ago to kill off 2,000 of the oldest bulls.
To Record Stampede
Thomas Ince, being acquainted with these conditions, arranged with the Canadian government, through his personal representa- tive, Mr. Arthur McLennon, to make a historical record of the buffalo as it appeared once in its native haunts, how the vast herds were stampeded by the Indians in order to kill off enough of the animals to supply them with meat. It was particularly desir- able to make a film record of the stampede such as it actually tran- spired in the primitive days which have slipped into the past. History tells us that nothing could stem the tide of a stampede once it had been set into motion.
In order to properly film the
Six
AMERICAN CINEMATOGRAPHER
January, 1924
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Birdseye view of buffalo before stampede aot under way. There were several thousand in herd.
stampede which would accom- pany the killing off of the old hulls, Mr. Inee sent to Wain- wright a company consisting- of two directors, Mr. Reeves Eason and Mr. John Ince ; players in- cluding Mack Wright, Robert Rose and Al Richmond; and six cinematographers, Paul Eagler, Al Gosden, Abe Scholtz, Harry Mason, William Menke and the writer. William J. Oliver joined our party at Calgary. Last but not least in our expedition was "Nick," (the cinematographers' friend) who supervised the build- ing of the camera pits and plat- form. In his hands to no small extent, were our lives.
Pits and Platform The platform and the pits were used as a haven from which to Him the stampeding buffalo and were built directly in the path of the stampede so that we could get a faithful record of the on-rush- ing beasts. The platform was about 20 feet high and was sur- rounded by a stockade of four- inch posts which would keep the buffalo from striking the plat- form and shaking the cameras which were mounted thereon. These cameras were operated by Paul Eagler and Al Gosden.
Cameras in Pits
About 50 feet in front of the
platform a camera pit, about five feet square and six feet deep, was dug. In this pit I had my camera planted to shoot close-up action of Mack Wright and Bob Rose tripping their horses and falling near another pit while they fired at the buffalo. This second pit was for protection in case the buffalo came too close and there was danger of the actors being trampled upon. Rut the courage of the two actors must be ac- knowledged as thev did not avail
Paul Perry, A. S. C, casts his weather eye from the pit.
themselves of the pit even though the frightened animals came with- in six feet of them on all sides as the production, "The Last Fron- l iev," will show.
Sharpshooters
In front of the second pit was constructed a third in which were stationed Bill' Oliver with his camera, and two sharpshooters who killed the old bulls as Mack Wright shot at them. Eight were killed in the scene in this way.
There was another pit on the side that was occupied by Abe Scholtz and two sharpshooters. Harry Mason was stationed on a hill to get a panorama of the en- tire stampede.
Triangle Fence
Anyone who has not seen a stampede of 5,000 buffalo can scarcely appreciate the thrill of shooting such a scene. We had a mile and a half of 15 foot wire feme stretched on either side of the cameras. The opening be- tween the two sides of the fence was about a mile across at the far end but as the fence ended near the cameras it tapered down to an outlet of about 75 yards. Herd Bunched
This triangular arrangement compelled the buffalo to "hunch up" as they rushed toward the cameras and, as they reached the apex of the triangle, they were
January, 1924
AMERICAN CINEMATOGRAPHER
Seven
I3S^
Action shot showing beasts driving into triangular fence where they stampeded.
crowded into a careening- pack so that they were forced to go di- rect ]y over the top of the camera pits.
The Beginning
As the stampede was set into action, the horizon became a long line of moving mass. Gradually the line narrowed and grew high- er as the buffalo came nearer and Mere forced closer together by the triangular fence. Then the heavy mass grew distinguishable — one could make out the horns and the heads of the beasts as they stum- bled forward.
Roar Arises
At the same time a dim roar became audible. It increased to a wild din as the herd charged to- ward us. At last the leaders of the herd were upon us. We ex- pected them to dash, unabated, across the tops of our pits.
Leaders Fear Lenses
But we were surprised. They halted momentarily as they, de- spite the surge behind them, per- ceived the mysterious camera lens and became conscious of the steady circular movement of the turning of the camera crank. Then, directed by a sudden deci- sion within their thick skulls, they turned to the side and utter- ly avoided the fearful looking camera eves.
The animals which immediately followed the leaders likewise changed their course but as the rush became heavier the force frmn behind prevented the bulk of the herd from side-stepping. By the time the middle of the pack had been reached, the buffalo, so closely were they crowded, did not even see the lenses. They jammed forward, unconscious of the fad that machines were turn- ing on them and making a record of their charging heads and crunching hoofs.
A camera hog is the buffalo as it halts, awed, before lenses.
Zero Hour'
For us in the pits there was an anxious moment when the hoofs of the first buffalo struck above our heads. Would the oil drum which covered the pit hold up? Or would it give way under the ponderous monsters? Would some of the beasts crash into the cavity, pen us beneath them and themselves be crushed and torn asunder under sharp hoofs as the rest of the herd stumbled on- ward?
Into Celluloid
lint once the zero hour was passed, we losl all thought of our fate and, becoming accustomed to the thunder overhead, concentrat- ed on putting into celluloid what we saw through the 12-inch slits in our pits— just enough to allow the cameras and ourselves to look out. Sometimes we caught a clat- ter of hoofs which dashed within a hair of the pit opening. At other times it was a pair of en- raged red eyes, or snorting nos- trils. At still other moments the dust fleetingly threw up a natural veil between us and the mob while particles of earth were flung into our eyes. At last the tail-enders straggled by. The rush was over and we were able to crawl out of the pits and relieve ourselves of the dust which so generously cov- ered us.
Eight
AMERICAN C INEM ATOGR APHER
January, 1924
1 i
Fade Out and SIoujIij Fade In"
Photographic habits of four
Presidents of the United States ^ Vicior Milrter A.S. C.
recounted by, A. S. C. member
Pioneer neiusreel men cover- ed wide territory. Four men handled Tl. A.-Fifth installment
On finishing "Hiawatha," the "wanderlust" took hold of me very forcibly. Somehow a ride in the subway did not seem to till the bill. I began to look around for a position wherein a young man, who de- sired to travel but who lacked the financial means necessary for the realization of his air castles, could make himself useful.
About this time, the Pathe Weekly was being- organized bjT Mr. Franconi, the first editor of the now famous news film. I learned of the budding en- terprise and accordingly called on Mr. Franconi at his headquarters at No. 1, Congress Street, Jersey City. He allowed himself to be convinced of my ability as a cameraman as well as my readiness to recognize news value, and placed me on his staff at a salary of $35 per week phis expenses.
First Pathe News Staff
The staff then consisted of the editor, Messrs. Hutchinson, Struckman and Richard and the writer. At the same time the Pathe dramatic staff consisted of Joseph Dubray and William Marshall, now A. S. C. members, Arthur Martinelli and Alfredo Gan- dolfi.
Covered U. S. and Canada
The four of us in the news department were kept busy jumping from place to place over the United States and Canada. It was nothing unusual to re- ceive a wire from Congress street while I was cover- ing, for instance, a flood in Galveston, Texas, to hop to Montreal, Canada to shoot the winter sports on Mt. Royal. Now, however, it is somewhat different with the news weekly men. The various news reel organizations — have the field so well patroled with representatives that a man covers his particular territory in a tertian part of the country and is seldom called upon to make a trip of more than a couple hundred miles — which means the elimination of the fascinating journeys of yesteryear.
Personal Baggage Light
Our outfis consisted of the famous Pathe profes- sional model including six magazines; two, three and six inch lenses; and a trunk especially designed for transporting the outfit having one compartment for an extra pair of sox and an extra collar.
"Movie Minute Men"
I enjoyed the work immensely, particularly the element of uncertainty of being ready to go at a moment's notice. It was only a matter of time be- fore ^Messrs. Hutchinson, Struckman, Richard and 1 held a consultation and decided to be systematic in our expense accounts. You can readily understand that if I sent in a bill for $30 for the use of an auto- mobile for a day and if Mr. Hutchinson, working under similar conditions, turned in a bill for $45, things might appear not so efficient. However, the company was very liberal and insisted that we stop
at the best hotels, seldom objecting to any item on our "swindle sheets."
"Nose for News" It was not long before Mr. Franconi, except in the instance of assignments for some fixed event, de- veloped enough confidence in my "nose for news" to allow me to exercise my own judgment in speeding to cover happenings which I thought held outstand- ing news value. Whenever I embarked thus on my own initiative I always sent a wire to Mr. Franconi detailing my move and informing him the next spot where he could communicate with me. The news men were not so numerous then that the editor had to keep trace of their moves with colored pins on a map.
Presidential "Photographic Habits" It was in the regular course of duty that I "shot" Roosevelt, Taft and Wilson, and learned their "pho- tographic habits." One of my numerous assign- ments while working out of Congress street was to cover the 1012 Democratic campaign of Woodrow Wilson. I began this assignment when Mr. Wilson was to speak at Buffalo, New York on Labor Day. I joined the Wilson party at the Grand Central Sta- tion and was duly introduced to Mr. Wilsou who then was very interested in the news value of the Pathe weekly and promised to help me obtain good shots at Buffalo.
Wilson Shot from Own Platform The arrival at Buffalo evidently exceeded the ex- pectations of the Wilson managers who doubtless did not anticipate the overflowing crowd that was on hand to greet the future President of the United States. In the excitement that followed I was left high and dry, and was unable to get near enough to Mr. Wilson's car to obtain effective shots. Later, however, I filmed him while he was addressing a gathering of citizens at some picnic ground. There weren't very many people present so that I was able to record some excellent views of Mr. "Wilson. I set up on the platform from which he spoke and made close-ups as I pleased.
Wilson Interested in Results On the way back to New York City, Mr. Wilson came over to my seat in the Pullman and expressed his sorrow over the fact that I wasn't taken better care of at the depot the previous day and hoped that I obtained good pictures.
At the end of Mr. Wilson's first term in office I found that it was by no means a simple matter to get shots of him, due to the viligance of the secret service; men. Mr. Wilson also began to complain that the cinema made him appear to walk faster than he really did. I had to resort to many tricks to work myself into his immediate vicinity. One method was to conceal an air-operated camera in the (Continued on Page 18)
January, 1924
AMERICAN CINEMATOGRAPHER
Nine
"Cashing In11 On Stereoscopic Projection
Fascinating subject discuss- ed by prominent optometrist
Herberts. TtlarsKutz, A, B., Opt. D.
Chairman, Department Public Information, California State Association of Optometrists.
Stereoscopic pictures from uieiupoint of the optometrist
Mot ion picture technicians in all departments of their extensive profession and optical scientists hare at least one problem in common, — the practical development of stereoscopic motion pictures.
Science is not standing still in its search for this improvement. The full possibilities of the stere- oscopic projection of moving images arc only realized by those who hare viewed such an exhibition. Off- hand, the motion picture or optical engineer would look with favor upon this new phase of the industry; he would see the benefit of photography with a much wider field of view and with a true impression of depth on the screen.
But the commercial possibilities of this develop- ment in projection are rarely thought of — the box office angle of thrilling thousands with something they have never looked upon before, images moving about ostensibly in the air between their eyes and the screen.
We see with our brains, optometrists have proven, and any violation of the life-time habits of vision impresses us greatly. Stereoscopic pictures with mo- tion are very much a stranger to our mental habits of vision and such new optical illusion cannot be explained by our mental eyes as the images are re- ceived.
Hitting the Cash Register
There is a New York showman who is amazing his audiences with stereoscopic pictures. He employs a screen covering the full extent of the proscenium arch. There appears the shadow picture of a girl, the edges showing red and green until the on-looker places before the eyes a pair of cardboard spectacles with one red and one green celluloid "lens." The red and green of the moving image is of course immediately blended and the shadow picture seen stereoscopically.
The illusion is that of seeing the girl on the screen move out over the audience. As the pictures are in- creased in size (due to the subjects coming closer to the source of light behind the screen) the shadows stand out over the heads of the audience like giant ghost faces, until the auditorium seems piled with huge women dancing, running, leaping into the air over the heads of the amazed onlookers.
A shadow man throws a shadow-ball — it bounces out into the audience, each person seeing it come directly touxird him.
The optics of the device, as described by C. H. Claudy, an optometrical writer, are these — two pro- jection machines throwing red and green light on a screen ; persons acting and dancing between the screen and source of illumination; audience fur- nished with bi-colored spectacles.
Explanation Is Simple
The amazing effect must be explained by physi- ologic optics, or visual psychology, if you prefer. Because our "mind's eye" has learned to associate increase of size of an object with decreasing distance and vice-versa, when the shadow on the screen be- comes solid — assuming the third dimension — it ap-
pears to advance or recede from the plane of the image as it «jets larger or smaller.
As it cannot advance (as it becomes larger) to any position except in front of the screen, the visual effect is that of seeing in space. Should one toss a bulky object toward the screen from behind, the on- looker will see it approach him directly, and through years of intuitive self-protection will unconsciously dodge the "on-coming" missile.
This is the only successful commercial use of the phenomenon of stereoscopic projection of moving images on ■ a screen that has come to the writer's attention, although many experiments and mechan- ical contrivances are known. Just what the future will bring is worthy of contemplation. There seems to be great possibilities in the development of "solid" photography. How far the ultimate adop- tion of such form of motion pictures will alter present day technique is interesting speculation.
The Editor,
American Cinematographer.
I thought you might be interested to know that I have sold my second camera through the ad I carried in the American Cinema- tographer. When I bought my new Mitchell recently I advertised my old outfit, and in less than ten days I had received replies, in- cluding telegrams, from as far away as Maine and as near at home as San Francisco.
May the good work continue.
Very truly yours,
(Signed) GEORGES BENOIT.
Ten AMERICAN CINEMATOGRAPHER January, 1924
■IIIIIIIIII1IIIIIUIIIIII1IIIIIM
Cl LlClEclitOrS C^OrnCT —conducted bu Foster Qoss
Since its inception, the American CinematogTapher has advocated the cause of visual education — education, wherever adaptable, by means of mo- tion pictures. It has pointed out the advantages that will accrue to the nation at large if the school systems throughout the country will give befitting atten- tion to the cinema in the curriculum.
At the same time this publication has plainly seen and called attention to the advantages that will greet motion picture manufacturers and film workers once films become an integral part of the education of every child. As wide as the use of the cinema is at the present day, it by no means has reached the zenith of popularization — which pictures in all schools and homes will bring. It should be self-evident therefore that greater use will mean more film to be manufactured, more machines to take care of that film, and consequently more work for the men who make the machines and the film, as well as more work for those who actually make the pictures. That, in a general way, is looking at the commercial — the technical, the scientific — side of the question for it is in such phases that in a vocational way, readers of the American Cinematographer would be largely interested.
The practical side of the subject, the side that would be of untold value to every child that is enrolled in a school, finds an able champion in the Los Angeles Illustrated Daily News through Cornelius Vanderbilt, Jr., its pub- lisher, and L. B. Fowler, its motion picture editor. It is entirely consistent that this daily should espouse the cause of education by pictures, inasmuch as it is fundamentally a publication of pictures. The fact that this newspaper, since its founding in September, 1923, has attained a circulation that not only equals but exceeds those of the publications that have been in the community for years argues well in itself for the popularity and effectiveness of visual edu- cation in places of learning. One of Mr. Fowler's typical articles on the sub- ject that appeared in his department recently presents interesting highlights from the public, the general angle of the question, and is worthy of repeti- tion here:
"This world has made great progress as far as labor-saving, time-con- serving devices are concerned. Slow at first, the steam train has grown into a monster traveling at a rate of over sixty miles an hour. The airplane sails through the air much faster.
"At first we talked short distances with wires. Those distances increased. Now we can talk without wires — through space. Truly this is a great age we live in.
"Funny part of it all in that we have rapidly advanced in one way, neglecting another. We have taken advantage of inventions and put them usefully to work. We have more time and energy to spend on pleasure. That's as it should be.
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January, 1924 AMERICAN CINEMATOGRAPHER Eleven
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"BUT WHAT ABOUT EDUCATION? Have we given the most impor- tant thing of life the thought it should have? Can we consider the methods of learning today up to date Are we utilizing the inventions given us for? educational purposes? Do we not owe it to our children and our children's children to make this the best and brightest world possible?
"You read that a child is beaten to save its soul. Unbelievable, you'll say. How could anyone be so foolish, etc.? Thousands of people are foolish because they don't know any better. They haven't been taught.
"Nab Two in Bank Holdup," reads a glaring headline. Would that head- line have appeared if those bandits as boys had been taught respectability
that it PAYS to be square?
"That's absurd, you'll probably think. They had an opportunity to learn, to live decent but didn't take advantage of it. That is true. Maybe they did. But you can bet your bottom dollar that the difference between wrong and right didn't stick with them because IT WASN'T IMPRESSED on them.
"What you see with the eye STAYS. It is registered on your brain. You THINK about it. That's most important. Printed matter does not stick because we see it too often and in too many shapes, forms and sizes.
"One thing that makes this publication popular is the fact that it is.
ILLUSTRATED DAILY NEWS news in pictures. Motion pictures became
popular because a novel could be consumed in LESS than an hour.
"Children will find learning a pleasure when subjects are taught by cine- matic methods. They will WANT to learn. Studying will be made less diffi- cult for them and they will KNOW MORE in less time.
"Instead of getting out of college in the middle twenties, girls and boys will be ready to combat life's problems at eighteen and twenty. Theories will become facts for them. They will be better prepared.
"If subjects were taught by motion pictures, accompanied by textbooks with printed illustrations of the high points of the lessons of the film printed alongside of the text explaining, children would be graduating from high school at eleven and twelve and KNOW MORE than we did at eighteen or twenty.
"A young medical student explains to this writer that there are many difficult operations performed which cannot be plainly understood in books. He suggests that if close-ups of such operations were photographed, using the slow motion process, it would be easy to understand.
"The young man mentioned is working his way through college. H<» hasn't much time for studying. THINK what teaching by motion pictures means to him. There are THOUSANDS in his circumstances.
It is to be hoped that more newspapers which actually serve the general public will follow the example of the Illustrated Daily News and its motion picture editor, not the least of whose abilities is his foresight.
Millions of children looking at motion pictures every school day will mean better trained children, and, in the due course of time, a more highly educated nation.
And the blessings of the nation will redound manifold to the motion pic- ture industry in particular — a prosperous industry will then enter into true prosperity, prosperity that results not only from that which entertains but from a medium that TRAINS.
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Twelve
AMERICAN CINEM ATOGR APHER
January, 1924
Eastman Provides For Home Cinema
Practical inventions bring films to the family fireside
Circulating library of many subjects is being planned
Left: The Cine- Kodak, new motion picture camera for amateur and special use.
Top: Illustrating operation of Cine- Kodak.
Right: The Kodascope, or home projector.
Just as the kodak, 35 years ago, made photo- graphy possible for the amateur, the Cine-Kodak, Cine Kodak Film and Kodascope, announced this this month by the Eastman Kodak company, bring motion pictures within reach of the novice. It is a triple triumph: camera, film and projector — each contributes to the attainment of good motion pic- tures easily produced at low cost.
The task of developing a camera, a projector and a film which in amateur hands, would satisfy the highest photographic standards yet be easy to use and inexpensive to enjoy called for something basic- ally new — not a mere miniature professional ap- paratus. A relatively low-priced outfit was consid- ered less essential than was low operatiug cost. Speed Is Standard
The most important economy in operating ex- pense, the first requisite for general enjoyment, is effected by a smaller, new kind of film. Cine-Kodak film is 5/8 of an inch wide instead of 1 3/8 inches, professional width; each image is about 1/(5 stand- ard size in area. A 100-foot roll of Cine-Kodak film lasts as long in the camera or on the screen as 25(1 feet of the standard, although both are exposed and projected at the regular speed of 16 images per second.
Special Emulsion Compound
To make a narrow film practicable, however, it was first necessary to compound a special emulsion. free from the objectionable graininess heretofore found when tiny images were projected to large size. This is accomplished with splendid succcess
in Cine-Kodak film.
Expense Is Minimized
But Cine-Kodak film is a new departure in kind as well as in size, with the result that expensive steps between the fun of taking the picture and the fan of seeing it on the screen are cut out. Instead of developing the film into a negative, then printing a positive from it, the procedure is markedly abridged. Cine-Kodak film is developed, then re- versed, so that the very reel that went through the camera goes through the Kodascope, too. The price of the film includes the Eastman Kodak company laboratory charge for converting it, ready for the evening's entertainment. Copy prints, as good as the original, can be made when desired.
The consequence of using this narrow, two pur- pose film is that the cost of the finished reel is about one-sixth of what it otherwise would be. That is really the key achievement in making motion picture photography an amateur pastime.
The Cine-Kodak camera is such a thorough, prac- tical instrument that it wins instant admiration among critical professional operators. And ama- teurs who know nothing of photography use it with success from the first.
Simplicity Striven For
In addition to essential features that insure ex- cellent photographic quality, the Cine-Kodak embodies certain refinements intended to safeguard the forgetful operator against disappointment. (Continued on Page 22)
January, 1924
AMERICAN CINEMATOGRAPHER
Thirteen
Problems in Motion
¥^. T f . By M. Briefer
Picture Laboratories
Second Installment. From Transactions, Society of Motion Picture Engineers.
Not all have yet learned to keep the developing, fixing and other solutions at something like relatively uniform temperatures and that additions should be made with previously pre- pared stock solutions and not with dry salts which may have strong positive or negative heat reactions. However, since we cannot hope to effect this reform let us insist at least upon the liberal use of good thermometers.
There is a lot of fiction indulged in as to the value of dopes, special mixtures, secret formulae and the like for controlling grain, contrast and gradation. How may we bud an effective, a convincing way of demonstrating the futility, the uselessness, the wast- age of such procedures?
Changes in processing formulae should be made with some regard to proportionality. The formulae recommended by the manufacturers of photographic material should be studied and the relative propor- tions maintained. This preachment has been deliv- ered regularly since the dawn of practical photog- raphy and according to the rate of its acceptance is still good to adorn the pages of our periodicals for some ages to come.
Humidity
Humidity and temperature have important func- tions in processing laboratories. The subject seems rather vaguely understood by the average man, if indeed any attention is paid to it at all. Altogether it appears as if shrouded in a veil of mystery. There is really nothing mysterious about it.
Relative humidity means nothing more than the per cent water vapor contained in air. The term is defined as the ratio of moisture present in air, to the amount it will hold when saturated at the same temperature. Thus if a cubic meter of air at a tem- perature of SOF. is saturated with moisture it will contain approximately 25.5 grams water vapor. The relative humidity will therefore be 100%. Should the same volume of air at the same temperature contain only 12.75 grams of water vapor the relative humidity will be 50%.
Absolute humidity is defined as being the measure of the actual weight of water vapor present in air and is usually expressed in grains per cubic foot. There are tables which serve to show that the num- ber of degrees difference between wet and dry bulb is the factor for calculating the relative humidity at the prevailing temperature. Reference to these tables gives the relative humidity direct for any com- bination of wet and dry bulb readings.
Assuming a requirement of 05% relative humidity for good working conditions we find from the tables that this per cent moisture is realized in many com- binations of wet and dry bulb readings, in fact, at all temperatures. Most workers are possessed witli the idea that as long as the required per cent mois- ture is present in the atmosphere nothing else mat- ters. Yet it matters very much indeed.
A dry bulb at 72 (let us understand the figures in degrees F.) and a wet bulb at 04 indicate a rela- tive humidity of 05%. The same relative humility is indicated when the dry bulb registers 82 and the wet bulb 73. But there is considerable difference in performance as between the two conditions. The difference is in the position of the dew point or the points at which moisture begins to condense and deposit as dew on all objects contained in the room. The difference in performance is of course not limit- ed to the two examples. There is a proportionate difference between any two sets of conditions. The question arises, how shall we determine the most favorable working conditions. We wish to make this explanation as clear as possible. If it appears elementary to those present, please remember that it is still one of the perplexing and troublesome fac- tors in some film and paper sensitizing plants where such matters are supposed to be understood.
The Hygrometer
The best known type of wet and dry bulb hygro- meter consists of a wood block upon which is mount- ed side by side two ordinary indicating thermometer tubes. The bulb of one thermometer is covered with a tubular wick thoroughly wetted with water. The other end of the wick is immersed in a reservoir which keeps the wicking saturated by capillary. Constant evaporation necessitates frequent refilling of the reservoir.
It is well known that evaporation is accompanied by the loss of heat and the more rapid the evapora- tion the greater the heat loss. The dry bulb of this instrument indicates normal temperatures without regard to the humidity present. When the air is saturated no more water can be taken up by it, that is, no evaporation can take place at the wet bulb, therefore there is no heat loss registered. If both thermometers indicated the same temperatures be- fore the wet wick was attached to one of them, they will read alike under the conditions named. If the air is now heated its capacity for taking up mois- ture is increased, it is then no longer saturated and evaporation at the wet bulb takes place at once. The reading of the wet bulb will fall below that of the dry bulb thus demonstrating the heat loss due to evaporation. The dryer the air, the greater will be the difference between wet and dry bulk readings.
Referring to the example first given, when the dry bulb is at 80 degrees and the air has an absolute humidity of 25.5 grams water vapor per cubic meter (saturation for that temperature) then the wet bulb will also indicate 80 degrees. On the other hand, if at the same temperature the absolute hu- midity is only 12.75 grams per cubic meter the wet bulb will indicate 07 degrees. This difference degrees between wet and dry bulbs is the measure of the rate of evaporation for these readings and the factor for computing the relative humidity which, (Continued on Page 22)
Fourteen AMERICAN CINEMATOGRAPHER January, 1924
The producer's care is justified; the audience is pleased — when the print is on
EASTMAN POSITIVE FILM
— because it carries quality through to the screen.
Look for "Eastman" and "Kodak" — sten- ciled in black letters in the transparent margin.
Eastman Film, both regular and tinted base, is available in thou- sand foot lengths.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
January. 1924
AMERICAN CINEMATOGR A.P HER
Fifteen
Quoting the Critics, Cinematoqraphicalhj<
on "Cameo Kirbuj" photographed brj QeorqeSchrteidermart, A.S. C.
on "The Uirginian" photographed bvj Harrij Perrig, J\.. S. C.
The following criticisms on the cinematography of "Cameo Kirby" the For special feature production photographed by George Schneiderman, A. 8. ('., and "The Virginian," the B. I'. Schulberg-Tom Forman ^production photographed by Harry Perry. A. 8. C speak for themselves:
"But, oh, the photography ! That is worth going a long way to see. There are places where it is not only beautiful, but is stereoscopic, giving an effect of depth. That cameraman, George Schneiderman, is surely a wiz. The shots are beautiful." — GRACE KINGSLEY, LOS ANGELES TIMES.
"The photography and directing of 'Cameo Kirby' are remarkable, even in this day of wonderful cine- gnatographical technique." — LOS ANGELES
RECORD.
* * *
" — and George Schneiderman did the beautiful and extraordinary camera work." — JAMES N. GRUEN, LOS ANGELES EXAMINER.
"Special mention is due the camera work of George Schneiderman. Many of the photographic shots were like fascinating etchings. * * * The most appealing feature of the entire picturization is The clear atmospheric detail of scene direction of The shots done on The banks of the river where steamboats chug into port." — LOS ANGELES
HERALD.
* • *
"Beautiful photography is one of the big assets. There are any number of attractive shots, and the settings, both the exteriors and the Colonial man- sions, are pleasing in the extreme.'' — MOVING PICTURE WORLD.
K illllllllllllllllllllllllOIII BIIIIIIIIIIII
PATHE CAMERA
I Six Magazines, One L. A. Motion Picture Tripod — I
All for $200
ANDRE BARLATIER
American Society of Cinematographers
«
BASS
CHICAGO
Buys, Sells, Exchanges Cameras, Printers, Lenses
Complete Stocks
Cash for Bell & Howell and De Brie equipment
Catalog Free
BASS CAMERA COMPANY
K
109- AC North Dearborn, Chicago, III
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"A man named Harry Perry is the real star of 'The Virginian.' He's the man who turned the camera crank. He has used God's great painted mountains and rolling plains and cloud-swept skies to make backgrounds that ai'e once or twice breath- taking in their beauty." — TED TAYLOR, LOS
ANGELES RECORD.
* * *
"In Forman's version there are two outstanding features. First and foremost is the photography and backgrounds." — L. B. FOWLER, LOS AN- GELES ILLUSTRATED DAILY NEWS.
* * *
"The grandeur of the settings, revealing the pic- turesque western plains, are portraits that will cling to the memory for a long time." — GUY PRICE,
LOS ANGELES HERALD.
* * *
"The photographv is unusually excellent." —
PEARL RALL. LOS ANGELES EXPRESS.
* # *
" — and the locations, both in their actual scenic charm and in the deft manner of their photography, are so beautiful and unusual as to deserve special mention."— FLORENCE LAWRENCE, LOS AN- GELES EXAMINER.
* * *
"Excellent production, gorgeous locations, beauti- fully photographed *-* * photography, excellent".
FILM DAILY.
* * *
"Artistic values — there were some wonderful ex- terior shots and atmosphere backgrounds through- out was splendid. * * * The atmospheric values were splendid. Generally the photography was very good, and there was one bit, where Mr. Harlan and Miss Vidor were sitting in front of a waterfall, that was exceptionally beautiful."— WID'S WEEKLY. S*"-':::!:.::! 'Mj^iiiKKiiiii^MfiiiiiiiminiiMiMiiMiii!:!;! i;:1 . :::;:i::, f ii;:_;::!::'i ;■- 'ii.'-;- ::':': : ^-iiiiiiiiiiinrMMifiMi'Miia-iMiMiMMiiiii^iLiiiKiiiijii.ia*:
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ROY DAVIDGE & CO. |
FILM LABORATORIES
(Former'y Harold Bell Wright Laboratories) NOW LOCATED AT
201 N. OCCIDENTAL BLVD. | REALART STUDIO |
PHONE DREXEL 6622
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Sixteen
AMERICAN CINEMATOGRAPHER
January, 1924
New Pair of Cinemachines
The Bell & Howell Company have placed on the market a new automatic motion picture camera, and its companion projector, hoth so small that they are easily portable anywhere; the camera only weighing 41/2 pounds, and the projector 9 pounds. The size of the camera is 3x6x8 inches; and the projector can be quickly placed in a case Sxllxll inches.
There are many new mechanical features in these two machines. The camera is automatic in action, requiring only the touch of a button to either start taking motion pictures or a single exposure. The projector runs either forward or backward, or stops for a single picture without danger of warping the film. This is possible because of forced air draft, which positively cools the lamp house, rheostat, film and film aperture.
400 Feet Equals 1000
The film is the new standardized safety 10 m/m; 400 feet being equal to and takes the same projec- tion time as 1000 feet of standard film. Economy and portability will undoubtedly make this little camera very popular, and it is not hard to visualize the possibility of tourist or traveller carrying one, as, at a cost of less than 1/Gth of a cent for each pic- ture he may perpetuate everything he has seen, either in motion pictures or stills. Negatives can be purchased at any photographic supply dealer in 100 foot rolls, equivalent to 250 feet of standard, the price per roll including developing to positive — ready for projection.
Individual Libraries Possible
An interesting feature is the utilization of present standard negatives, which may be reduced to the new l(i m 111 standard at a very nominal cost. Al- ready large libraries are being reduced and others are in process of formation. Rentals will be com- paratively lower than present exchange prices. Ex- ceptionally fine optical prints are being produced from good negatives, because of the reduction of grain inherent in the originals, and, when prints are projected with a flickerless 9 to 1 movement, a pic- ture of unsurpassed brilliancy and steadiness is obtained. Screen stars and cinematographers may easily, at a nominal cost, maintain individual libraries adding subjects as often as they are made, or may include reversal subjects made with the auto- matic Cine-Camera.
Hilllllllllllilllllllllillllllllllllllllllllllllllllllllllllllllllllllllllllillllllllllii;
■■■III
FOR SALE
a
I Pathe No. 1110, completely equipped with six maga- g zines, tripod, tilt head, mats and vignettes of J every description. Guaranteed in perfect shape. 40, 50 and 85 mm. lenses. Bargain.
Bell and Howell creations give atten- tion to professional and amateur alike.
Built with precision of best equipment.
Si
JAMES C. VAN TREES American Society of Cinematographers
lllllllllllllllllllilllllllllllllllllllllllllllllllllllllllim
Projection Flickerless
The projector with its !) to 1 movement, in combi- nation with a high speed synchronous shutter, abso- lutely eliminates all flicker. Heretofore it has been considered an Impossibility to satisfactorily produce such a movement, and from the results it is very evident that the ultimate of perfection in motion picture projection has at least been reached. There are many other mechanical features of interest in this little projector. The threading is extremely simple, and the wear on the film has been reduced to practically nothing. One piece of test film was run through the machine .°>0(I0 times without show- ing any noticeable wear. Universal mounts for ob- jective lenses are provided, ranging from 1 1/2 to 4 inches. Pictures up to 0x7 feet are very satisfac- torily projected with remarkable depth and bril- liancy. Condensers are of piano type; mirror re- Hector; self centering lamp mounting; 200-watt, 50- volt lamp; 2 ounce air cooled rheostat; auto fire shutter; reversing and stop feature; and clutch-in are among some of the distinctive features. Easily Carried
The camera is as easily carried as a post card size folding still camera, as it is furnished with a strap to go over the shoulder. Anyone can handle it very much as a binocular. Using no tripod, any moving object, no matter how quick, or in what direction it is moving, can be followed. The lens is a Cooke 25 m/m ( Taylor-Hobson ) F 3.5 anastigmat with ad- justable Iris Diaphragm. The shutter opening is 21 G degrees, which is greater than most standard cameras.
(Continued on Page 21)
January, 1924
Charles Richardson, A. S. C.
Passes away at Palm Springs
AMERICAN CINEMATOGRAPHER Seventeen
MIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
The ISlew
J CINE KODAK |
and
1 KODASCOPE |
The most wonderful production of the Eastman Kodak Co. in years.
Now on exhibition at our store. Orders for delivery booked in rota- tion as received.
Charles R;chardson, A. S. C,
Christnlas holidays of A. S. C. members were sad- dened by the death of Charles Richardson, A. S. C, who passed away at Palm Springs, Calif., on Decem- ber 20th following a long illness of pneumonia.
While it was known that Mr. Richardson had been ill for some time, his end came unexpectedly as it was believed everywhere that he was well on the road to recovery. In fact, he was sent by his physi- cian to the California desert resort in order that he might convalesce more rapidly. In his last letter to the American Society of Cinematographers in which he enclosed his dues for the first quarter of 1924, he wrote in the best of spirits, stating that he expected to remain in Palm Springs a month or two until he had completely regained his strength.
Funeral services were held in the chapel of Stro- ther and Dayton, Hollywood, and interment was in the Hollywood Cemetery. Arthur Edeson, Joseph lirotherton, Gaetano Gaudio, Homer Scott and Vic- tor Milner, all A. S. C. members, and Richard Holo- han were pallbearers.
Though he was a first cinematographer for a com- paratively short time following his connection of six years with Arthur Edeson, A. S. C, on second camera, Richardson's work plainly distinguished him as one of the aces of the profession. Among the productions for which he was chief cinematographer after he left Edeson 's staff, were "The Imposter" with Miss Dupont, "The Spider and the Rose," "Cor- delia, the Magnificent" and "In Old Madrid," Gar- son productions starring Clara Kimball Young, and "The Havoc," a Garson all-star production.
Mr. Richardson was associated with Arthur Ede- son, A. S. C, on all the Douglas Fairbanks produc- tions filmed by Edeson to and including "Robin Hood." Through their years of association together, Mr. Richardson and Mr. Edeson became close friends. Mr. Edeson is greatly bereaved over the loss of his friend and co-worker.
Come in and see it.
<*,
t^x
EASTMAN KODAK COMPANY
510 S. Broadway, Los Angeles
Telephone 870-746
545 Market Street
San Francisco g
IIIFMK
The New Photographic Store B. B. NICHOLS, Inc.
Eastman Kodaks and
Photographic Supplies
617 SOUTH OLIVE STREET : LOS ANGELES
Phono Broadway 2531
i;;;i;:i!:;,
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Cinema Studios Supply Corp.
1438 Beechwood Drive
Holly C819
LIGHTING EQUIPMENT FOR RENT
L. A. FIRE DEPARTMENT WIND MACHINES Water Engine
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IfALTEH J. VAN ROSSEM
6049 Hollywood Blvd. Phone Holly 725
COMMERCIAL PH0TOGIv\PHYj
Still Developing and PrmlinoT fcHo^Guneras—FOR. RENT— Still u;
„,,,,,
Eighteen
AMERICAN CINEMATOGRAPHER
January, 1924
B«fcH MOTORIZED CAMERAS
BELL & HOWELL CAMERAS ALWAYS ANTICIPATE THE DEMAND
The leading producers were quick to recognize the possibil- ities of greater achievements by giving the camera man a chance to display his artistic ability rather than his cleverness in properly timing his cranking arm.
-4.fi emblem of
advancement
in cinemachint iy
THE B. .(- H. C1NEM0T0B takes the guess work out the
desired film speed and alloics full concentration on more important matters. Vibration and 'rank movement is i liminated.
BELL 8C HOWELL COMPANY
1805 Larchmont Avenue
CHICAGO
Bulletin of either camera sent on request.
;i,1ii!i[i:ii;ui!::UL!iiii.;-::,:;r ;;:cin!j ;; ....,iiiiJi;ii;.,.,;,i:ii!i;!;- :■ : ■ ::i:;::i::' .;,!ii!K : iiii'1:- ::::::::■
HOLLYWOOD
NEW YORK
I've (jot the drop on you
THE B. A H. CINE AUTOMATIC camera needs no tripod and no action is tco quick to follow. What you see you get, just by the touch of a button. Spring motor. Loads in day- light. Capacity 100 ft. 16 m/m film, equivalent to 250 ft. of standard or 40C0 separate pictures, any part of which can be in motion. Films purchasable at any supply house for $6.00, in- cluding developing ready for projection on the new 9 to 1 movement Bell & Howell Cine-Pro- jector. Both machines receive the same me- chanical attention and the same quality of optical installation as the highest priced B. & H. equipment.
IIIIIIIIIIIIIIIMilll
,n
"Fade Out and Slowly Fade In"
(Continued from Page 8)
shell of an 8 by 10 Graflex. Why the secret service men tolerated still cameras and frowned on cinema cameras was probably for the same reason that the military in Ireland are said to regard certain types of modern cameras ;is machine guns.
Wilson has been termed a poser by some writers, but, judging from my experience with him as a pho- tographic subject, I don't believe that I can endorse such a statement unqualifiedly. Wilson had a cer- lain reserve, that may or mayn't have resulted from aloofness, self-affected or otherwise, which is con- sidered as typical of the professional school teacher or school head. I will say, however, that Wilson never became so engrossed with his speech as to be oblivious to the camera, as I invariably felt that he was watching me out of the "corner of his eye" while J operated the camera. One thing seemed certain in liis first campaign, and that was that he was not entirely inappreciative of publicity values. He did not affect the attitude that he "didn't give a whoop'' whether photographers got pictures of him or not instead, as indicated on the return trip from Buf- falo, lie was solicitous as to the success of the taking of pictures of him. Whether he regarded publicity .as a accessary evil or not, it was plain that he com-
prehended that it was essential to the success of his party and hence to himself, or vice versa ; and in this respect he might he likened to film players, pub- licity to whom, as most every one understands, is a part of their stock in trade.
Roosevelt
The paths of Theodore Roosevelt and the writer crossed many times. I loved to photograph "Teddy." He certainly was a regular fellow, al- though, unlike Mr. Wilson, he at times was inclined to berate the news man when down in his heart he was tickled l hat his picture was being taken.
Close-up of "Teddy's" Teeth
Shots of Mr. Roosevelt were never complete unless they included a close-up showing his teeth, made famous when he was police commissioner in New York City. I remember on one assignment I was to cover Mr. Roosevelt's unveiling a monument of "Goethe" in Chicago. Mr. Roosevelt left the La Salle hotel, drove up Michigan boulevard while my camera was set up in the tonneau of a touring car which preceded his machine. The unveiling took place as scheduled hut I made one fatal mistake. After reg- istering a long shot of him speaking, I picked up the camera, changed focus to a large close-up and planted the box within three feet i n front of him.
January, 1924
AMERICAN CINEMATOGRAPHER
Il!IIIIIIIIII!!l!lllllll!!llll!!!l[IB
Nineteen
'iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiBiiiiiiiiiuiiiiiiiaM
TELEPHONE 432-667
For
EFFICIENCY,
SERVICE and
QUALITY in
LABORATORY WORK
Chester Bennett Film Laboratories, Inc.
6363 Santa Monica Blvd. Hollywood, California
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The blood rose to his face, and the conviction grew on me that he was not a bit enthused over a crank grinding so immediately in his proximity.
Requested Print
When he finished the speech, Mr. Roosevelt gave me to understand that I should be arrested for my audacity, that he had never been so humiliated by having a camera thrust into his face, and that "movie operators" ought to be "Hogged in the public square." Then, characteristically Rooseveltian, he wound up his denunciation by requesting me to be lure to have a print of the picture, that I had just made, sent to him.
Meet Again in Arizona
Another time J encountered him and Kermit rest- ing in the shade of a cave at a remote spot of the Hopi Indian reservation in Arizona at the time I filmed the Hopi snake dance I walked into the cave and without flourish said "hello" to him.
He liberated an exclamatory remark, commented on the migratory proclivities of the news men, and concluded by informing me that I had taken pic- tures of him in Newport, R. I. less than a week ago. So I had.
Fed Up on "Picture Stuff"
I broached the subject as to how atmospheric it would be for me to take some shots of him in his Western garb. He took a decidedly opposite view, however, and addressing both Kermit and me, de- clared that he was getting enough of the "picture
■Mill
IK
stuff,'* that it was nothing but a bother. Shortly thereafter I left the cave, and, as I began to pick up my camera equipment which lay a few yards away 1 saw that Teddy also had come out of the cavern and was standing still, surveying the scenery. I immediately set up, and made 50 to 60 feet of him. Judging from his previous remarks inside the cave about not wanting to be photographed, he didn't see me making pictures of him although I can't ex- plain how he missed detecting me shooting point- blank at him. At any rate, I got the picture I wanted.
An interesting sidelight on the Roosevelt charac- teristics was that he went out of his way later, dur- ing his same visit to the Hopi reservation, to gain permission for me, after all my attempts had virtu- ally failed, to film the Hopi snake-dance, which never before had been photographed as the writer stated in a previous article in the American Cinema- tographer. It was for just such reasons that all the news men loved to film Roosevelt.
Taft Was Congenial Subject
William Howard Taft was a blessing to the har- ried news man as well as to the newspaperman. He was jovial, never out of humor and always ready to do anything we requested of him in the way of lend- ing assistance in any views that we shot of him. He was not inclined to the spectacular as was his pre- decessor in the White House nor was he marked by the reserve which was common to his successor to the Chief Magistracy.
(Continued on Page 20)
Twenty
AMERICAN C INEM ATOGR APHER
January, 1924
Always Agreeable
He caused very few gray hairs to enter the crops of photographers, thanks to his always being agree- able. While his corpulence was always an object of caricature and to this day is held apparently to be a matter of news interest, he displayed no vanity in requesting us to photograph him so that he would appear to best advantage. He left the picturing of himself in our hands, and never sought to take it into his own. He seemed to take it for granted that we knew our business.
Coolidge
Much is said these days of the "recalictrance" and (he "silence" of Calvin Ooolidg!e*s make-up. "Photographically" the writer did not find him so, although Coolidge became President several years after the writer left the news weekly field. How- ever, my photographic experience with him may have revealed the man as he really is — before there was any thought of the weight of the presidential office resting upon his shoulders.
Taught Coolidge Camera Operation
More than a decade ago Coolidge came into the famed establishment of Eberhard Schneider and bought a motion picture camera for his own use. Mr. Schneider assigned me to teach Coolidge how to operate the instrument, and in so doing I found him to be quite congenial and communicative, and not a1 all "si ill"' or retreating as he is sometimes described. In fact, during the course of his learning how to operate the camera lie himself became a "performer," throwing snowballs with the zest of a boy while I turned the crank on his capers. It did not shock his sense of propriety when I conducted myself as a staggering and limber "drunk" in the first scenes that he ground on after he had mastered the operat- ing principles of the camera.
"Heiniekabubales"
Later during my service as a news cameraman I relieved Struckman in Chicago as he was returning to Congress street. Our headquarters was the Sher- man hotel. On the day before Struckman left, we had dinner together, and he suggested that we visit "Heiniekabubales'" place to meet John Barleycorn. Struckman kept up a stream of conversation all the way to the entrance of Heiniekabubales' palace. There were a number of men at the long bar as Struckman introduced me to the bartender. The well-known question being asked me, I replied "a beer." About this time everyone at the bar stepped back. It did not strike me as unusual at all until later. The beer, contained in a tin cup, Avas placed on the bar and as I reached to pick up the cup an electric current went through me, all of which made it impossible for me to turn the cup loose. I hung on for dear life, not breathing a word of my predica- ment, as I did not want the habitues to appraise me for a "hick." After a few minutes the current was shut off and as I lifted the cup Struckman called my attention to a beautiful painting of a beautiful woman. As I gazed at the work of art, I felt a trick- ling sensation down my trouser leg — the beer was slowly leaking out of a fine hole in the bottom of the cup. I awoke about this time. The laugh and the drinks were on me. I was initiated.
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m
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San Francisco Portland
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HOLLY 482
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FOR RENT
Two Bell and Howell Cameras, 40, 50, 75 mm. g | lenses, Thalhammer iris. Jean Trebaol, Jr., 7042 J 1 Stilson Street, Palms, Calif. Telephone 761-243.
HUM
January, 1924
AMERICAN CINEMATOGRAPHER
Twenty-one
On my return to the hotel a wire instructed me to leave for Denver and to make my headquarters at the Brown Palace. The city, I found on my arrival there, was decorated in honor of the Knight Temp- lars who were gathering for one of their celebra- tions. I obtained— it was still in the days when parades were in vogue in the news weeklies — some excellent shots of the conclave, shipped the film by express and decided to take in a show. 'When I went back to the hotel the lobby was being paged for me. I was handed a wire. My instructions were to leave at once for Slianavon, Saskatchewan. I did not gel to a show for in a very few minutes I was on my way to St. Paul whence I went to Slianavon.
Ati enterprising publicity man had painted a very rosy picture for Mr. Franconi of the one great, mag- aificient, extraordinary rodeo to be held at Sliana- von. and he swallowed hook, line and sinker. I arrived at Slianavon on a bright, sunny morning. Baggage Car Hid Town
Looking out of the car window, I failed to see the town— it was hidden by the depot, which consisted of an old baggage car. 1 was informed that the rodeo was to take place the next morning. There was nothing to do that day but kill time. With diffi- culty 1 managed to get an army cot that night and I slept in the baggage car, tlanked on either side by two gentlemen of the ^Yest who kept me awake with their snores which finished with a whistling accom- paniment, the old Canadian three-star. Well, the highly-touted rodeo wasn't worth the film to shoot it. The publicity chap surely was a live-wire and we both had a hearty laugh over the affair. (To be continued.)
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ance than does the phonograph affect grand opera or the legitimate. Also, it should be remembered, there are many thousands of people who do not at- tend motion picture theatres and would be benefited bv having the movies brought to their homes.
GREETINGS OF THE SEASON
to A. S. C. members and all our friends. May 192'+ be as prosperous for you as 1923 was for Creco.
CRECO, INC.
923 Cole Are. Hollywood
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7he Ultrastigm AT-/1 .9
New Pair of Cinemachines
(Continued from Page 16) Subjects Steady
Subjects taken with this little camera are almost as steady as that obtained with a motor driven B. & H. standard. All regularly mounted standard micrometer B. & II. mounts may be used with an adapter, giving the owner of a professional camera the opportunity of interchanging lenses, thus obtain- ing a range of lenses of longer focal lengths. The reversal film is unique in possessing a remarkable soft quality, grainness being conspicuous by its absence.
Prescision in Making
Although these machines are being made in large quantities, strict manufacturing supervision and rigid inspection is maintained. The material, me- chanical and optical installations are claimed to be equal in quality and workmanship to the highest- priced standard Bell & Howell equipment. It is not thought that the introduction of these instruments * will affect the attendance at motion picture theatres, gi on the contrary, it is easily within the range of con- jecture to visualize a greater stimulus to theatre patronage. No more should it discourage atteud-
Speed, flatness of field and B
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a'-e features of this perfect |
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Camerasj ICffects caij be H
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Ask your dealer for ^ descriptive folder — or fJTS aTT] H write us. 'INTHEJI
GUNDLACH-MANHATTAN OPTICAL CO.,UEN5/ j Clinton Ave., South Rochester, N. Y. ^v^
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GEO. H. SCHEIBE 1636 Lemoyne St. Los Angeles, Cal.
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FOR RENT
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1 wood 23514 N. Brand Blvd., Glendale. Phone Glen- |
| dale 1529 or Drexel 4275, care Crandall and Stevens, jj
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Twenty-two
AMERICAN CINEMATOGRAPHER
January, 1924
Natural Angles For Goldwyn Director
Erich von Stroheim is extending the naturalism and ntter realistic qualities with which he produced "Greed" to the manner in which he is cutting the picture, according to an announcement from the Goldwyn press department. The noted director be- lieves a picture, no matter how much care was exerted in making it true to life during actual pro- duction, may have its realism greatly diluted in the cutting room, if the picture is not completed under the same tenet.
Natural Angles This naturalism in editing and cutting, it is an- nounced, consists of the manner in which the onlooker will view each scene of "Greed." Von Stroheim is placing in the finished picture only those "shots" of scenes which are photographed from a "practical" angle. That is to say, angles from which a human being would see the scene in real life. If the scene is taken in a small room the char- acters are not shown from an elevated position, as though the onlooker was perched on the chandelier or draiied on the picture moulding.
Fixed Point
Also distances will not be altered rapidly during the course of a particular episode. Von Stroheim believes that when a person is watching the course of a "scene" in real life he does not first go within three feet of the people, instantly dash back a couple of blocks and then pounce down in middle distance. His view is generally from a fixed point, near or far, and occasionally his interest is centered on a particular object, such as the face of one of the char- acters. The onlooker may change his position occasionally but not as a restless kangaroo might do.
These unnatural angles and the rapid distance changes may be eliminated in cutting, as von Stro- heim is doing. Practically every director takes numerous shots of the same scene, which are selected in the cutting room.
Eastman Provides For Home Cinema
(Continued from Page 12)
Throughout its design, simplicity was the watch- word— true Kodak ease was aimed at from the start. It is of convenient size to carry and weighs but 7 1/4 pounds.
The Kodascope, or projecting apparatus, boasts of the fine points found in the most advanced profes- sional machines but it is practically automatic in use. Driven by a small electric motor, it runs itself. The operator threads the film, turns the switch and takes his favorite chair. When the reel is done he need only cut off the current. It is just that simple.
Both Cine-Kodak and Kodascope deserved lenses of the highest optical quality. The Cine-Kodak lens is a Kodak Anastigmat f.3.5 of 25 millimeters focal length ; the Kodascope lens is of 50 millimeter focal length and projects a brilliant 30x40-inch picture at a distance of 18 feet.
In the near future a library of standard releases will be offered on a rental basis so that the cinema
world's best entertainment will be easily available for the Kodascope user. Thus his evening program can include any variety of professional pictures — comedies, dramas, travel subjects, educational reels, animated cartoons, and so forth— in addition to the intimate, personal episodes filmed by himself.
The unit is sold complete ■ — Cine-Kodak and tripod, Kodascope, screen and film splicer — so that the purchaser has no necessary accessories to buy.
Having been in touch with the cinematographic and both the professional and amateur photographic- trade for many years, T. O. Babb, president of the Howland and Dewey Company of Los Angegles and San Francisco which is introducing the Cine-Kodak, Cine Kodak film and the Kodascope in the west, be- lieves that the inventions are probably the most im- portant since the still camera for the amateur reach- ed a stage of practicability.
Mr. Babb, who is to be regarded as an authority in the photographic trade, anticipates a wide usage for the new inventions not only among amateurs, but in professional quarters for special work and for private use.
The Cost of Cinematographers
(Continued from Page 4)
and running up the cost of production.
The efficient cinematographer is an investment. He is worth, as a detailed and accurate report of production would show, every cent that is paid to him. His salary should not be cut. It should be raised if anything. He protects the producer's in- vestment.
Problems in Motion Picture Laboratories
(Continued from Page 13)
in this instance, is 50%.
Air will ta,ke up water in relation to its tempera- ture. If we could employ an universal factor for air conditioning valuations most of the difficulty with the subject would vanish but these varying re- lationships preclude the use of such a factor. Gen- erally speaking, saturated air on being raised to a higher temperature is expanded and is then capable of taking up more moisture. We will require no exact mathematics in the illustration. If a given volume of air at 32 degrees is saturated and contains 100 grams water vapor, then the same volume when heated to 75 degrees will be expanded so that it can contain approximately 400 grams moisture. On again cooling this air to 32 we squeeze out as it were, 300 grams of water because as we have just noted, 100 grams saturates the given volume at 32 degrees. The water we have squeezed out by cooling or contracting the air is what condenses in the form of dew.
We will assume a theoretical condition requiring a temperature of 82 and the relative humidity 05%. Our wet bulb reading will then be 73. Remembering this, let the air temperature fall to 73 while all other conditions remain unchanged. This then is the temperature registered by the wet bulb as well and
January, 1924 AMERICAN CINEMATOGRAPHER Twenty-three
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inomo
IHE ICA KINAMO may be rightfully designated as a semi-professional motion picture or cine camera — professional for the reason that it uses standard size film, its capacity being eighty feet, ample for news, educational and indus- trial features. The used roll can be removed and a new one inserted ready for use within less than thirty seconds — a professional necessity.
The lens is the Carl Zeiss Tessar / 3.5, the lens with which the best feature films have been made. It is fitted with the Zeiss focusing mount, with distances in feet and diaphragm markings.
Like the better professional cameras, the Kinamo is fitted with scene punch, footage indicator, removable film gate and one-stop movement.
It is professional in its construction, and the easily operated, quiet running mechanism is characteristic of the best professional cameras.
Its size over all is 2^x5^x6^2 and it weighs but 3^4 pounds.
Each Kinamo is furnished with a substantial tri- pod. The price of the Model "A", accommodating 50 feet of film, is $125.00, and the "B", having capacity for 80 feet, is $135.00. The Kinamo is sold by leading camera dealers. Write for the Kinamo catalog and let us know your motion picture requirements.
HAROLD M. BENNETT, U. S. Agent, 153 West 23rd street, New York
a
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we have therefore reached the saturation point or the point when some moisture will condense. The feign ificanl factor insofar as the laboratories are con- cerned is this. .The temperature id' all the air need nut necessarily be reduced to cause condensation. We may have local condensation. When our glasses become covered wilh dew on entering a warm mois- ture laden atmosphere we have an example of local condensation. Radiation from the cooler "lasses redui es the tempei'ature of the air locally to or below the dew point. We may draw some conclusions from these simple observations.
With the same relative humidity, the higher the ■forking temperature the more readily is moisture (precipitated. A reel of film for example, which has assumed say 70 degrees in a store room may con- dense upon itself moisture, when brought into a room ih'1 temperature of which is 82 and the relative humidity Q5%, On the other hand, if our working temperature is 70 and the relative humidity 65% then a reel of film or any other object will not con- dense moisture unless its temperature is below 62.
Even if actual precipitation is not induced we still have a very moist local atmosphere under these cir- cumstances.
The dew point may be found experimentally for any prevailing temperature by half tilling a glass tumbler with water and adding a little ice, or some "hypo" crystals or granules will answer, stirring the mixture with a thermometer. When the surface of the glass begins to be covered with moisture, the thermometer reading will indicate the dew point at that time.
(To be continued.)
The American Cinematographer —
Herewith find $3.00 to pay for one years, subscrip- tion to The American Cinematographer, subscription
to begin with the issue of 192
Name
Address
Twenty-four
AMERICAN CINEM ATOGRAPHER
January, 1924
Slight to Industry meets Results
Discrimination against the motion picture indus- try by Los Angeles municipal officials, as indicated by the closing at midnight of the annual ball of the Motion Picture Directors Association at the Hotel Biltmore on Thanksgiving Eve while the festivities of another organization were permitted to continue into the small hours of the morning at another hotel, has met with pronounced results in the capital of film production.
M. and M. Association Resents
Civic leaders and men prominent in the Southern California industrial and business quarters voiced their resentment publicly against the action of Mayor Cryer's police commission ; and the Mer- chants and Manufacturers Association of Los An- geles as well as other bodies directly took issue with the Cryer commission for the perpetration against the industry.
It was freely pointed out that the present pros- perity of Los Angeles was given great momentum, if not caused, by the advent of the cinema into Southern California fields; and fears were express- ed that a series of such acts on the part of the city administration would cause film production to move elsewhere.
City Sees Mistake
The city administration tacticly admitted that it had made a blunder in the Biltmore affair when it passed an "emergency ordinance," which, to rule during the holidays just passed, permitted dancing until two a. m. on the mornings of holidays and days preceding.
New Ordinance Considered
As this magazine goes to press, the city council is reported as being considering the passing of a new ordinance which will extend the hours of legalized dancing past midnight. While insofar as the motion picture industry is concerned the dance closing hour is but incidental in the issue to which the act of the police commission contributed, the fact that the city legislators have seen fit to take legislative action as the result of the slap at the directors and the indus- try is construed as being indicative of their recogni- tion of the slight aimed at the cinema. Lose Wampas Frolic
Perhaps the outstanding result of the Biltmore blunder is the fact that Los Angeles has lost the '•Wampas Frolic" which has gone to San Francisco instead. This event staged by the Western Motion Picture Advertisers (familiarly known as "W'ampas") composed of the publicity men of the film industry and the theatres in Los Angeles, stands preeminently as one of the most brilliant of the Angel City's social attractions.
Publicity For Los Angeles Not only has it been a success as a social attrac- tion in the past, but it has been the medium wherby millions of dollars of publicity accrued to Los An- geles by virtue of its staging. During the regular course of their duties, the publicity men connected
Los Angeles loses "Wampas
Frolic" — Administration brings
down general resentment.
with motion pictures send out news to lists of news- papers and other publications, numbering into the hundreds and spanning the whole of the United States as well as fpreign countries. When the time of the Wampas Frolic comes to hand, the connec- tion with the frolic of the various celebrities and or- ganizations which the publicity men represent finds its way into the channels of the studio publicity with the consequence that the place where the ball is held receives advertising throughout the world. No Guarantee Against Insult The Wampas Frolic was virtually driven out of Los Angeles by the city administration. Past frolics have of necessity extended well beyond midnight, not only because those who attended were not prone to break away from its many attractions at an early hour but because the nature of the work of the in- numerable screen celebrities who augment the event with their collective and individual appearances thereat prevents their showing up at an early hour — for instance, when they are obliged to drive miles from location to get home to change into formal at- tire before they can proceed to the Wampas affair. It is evident that an early closing hour, which would perforce necessitate an early opening hour, would work disaster on the frolic. The patrons might be present but where would the attractions be?
Police Commission Martyrs
The police commission, possibly believing them- selves to be martyrs in the face of the withering criticism which was fired at them from all sides, flatly refused to allow the Wampas merry-making to extend beyond midnight. This refusal was laid down over the head of the assertion of Kay Leek, prominent publicity man and director-general of the 1924 frolic, that such permission has been given in the past, even under the Cryer administration.
Frisco's Hospitality
Where official Los Angeles turned a cold shoulder to the publicity men of the motion picture industry, San Francisco stepped forward with open arms. The publicity men sent a committee composed of Harry Brand, Peter Gridley Smith and Harry Wil- son to the Bay City to investigate the frolic possi bilities, and they were officially received and recog nized during the whole of their stay in the Golden Gate municipality. The key to the city was given them, as it were, and they were assured that the motion picture industry would not be subjected to indignities if they held their frolic in San Francisco
Official Visit
On the return of the Wampas committee to Los Angeles, the northern city sent a body of officials including its chief of police to Los Angeles to offi cially welcome the industry to its boundaries.
The upshot is that the 1924 Wampas Frolic will be held January 19th in San Francisco's civic audi torium with no arm of the law to descend to instruct the people at what minute dancing becomes illegal
January, 1924
AMERICAN CINEM ATOGRAPHER
Twenty-five
A^
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Robert Kurrle, A. S. C, apparently is adept at ac- quiring knowledge concerning other things besides cinematography judging from his post cards in which he is already practicing his French on his friends. The last card announced 18 francs to a dollar and that Bob was about to leave Algiers for a 400 mile automobile trip to Biskra. Bob is filming the Edwin Carewe production that is being made
abroad.
* # *
John Seitz, A. S. C, is also in northern Africa filming Rex Ingram's production, "The Arab." John Boyle, A. S. C, is in Italy to photograph
"Ben Hur."
* * *
Rene Guissart, A. S. C, is filming a J. Parker Read production at Monte Carlo.
* * *
Robert Newhard, A. S. C, is showing the delights of Southern California to his brother who has spent the last 25 years in eastern Russia, having been
United States consul a great part of that time.
* * *
Andre Barlatier, and George Benoit, two A. S. C. members who first learned the alphabet in French, are being called upon by fellow cinematographers to read the captions of the illustrative post cards which Robert Kurrle is directing to Hollywood. » # *
George Schneiderman, A. S. C, has left on another lengthy location trip for the making of the Fox spe- cial production, "The Transcontinental Railroad."
* * *
Frank B. Good, A. S. C, has begun actual shoot- ing of Jackie Coogan's "The Boy of Flanders."
* * *^
Victor Milner, A. S. C, has finished photography
on Fred Niblo's production, "Thy Name Is Woman."
* * *
Arthur Edeson, Philip H. Whitman and Kenneth MacLean, all A. S. C, members, have been working from dusk to dawn instead of from sunrise to sun- set in filming the final scenes for Douglas Fairbanks' "The Thief of Bagdad."
George Meehan, A. S. C schedule extended into the comedies.
also has had his filming night hours on White
Harry Perry, A. S. C, is preparing for the photo- graphy on the latest B. P. Schulberg production.
* * *
Charles Rosher, A. S. C, has begun the camera work on Mary Pickford's "Dorothy Vernon of Had- don Hall." ,©l9£i
Fred Jackman, A. S. C, and Homer Scott, A. S. C, became excavators during a recent trip to the Mexican border when their automobile refused to cope with muddy roads.
* * *
Frank Williams addressed a well-attended open A. S. C, meeting recently on his patent process and exhibited several hundred feet of representative shots. An interesting discussion followed the show- ing of the film.
* » *
Walter Griffin, A. S. C, is filming a six reel J. P.
McGowan production.
* * *
Max Du Pont, A. S. C, is photographing the Thomas H. Ince production, "The Galloping Fish."
Henry Sharp, A. S. C, is filming "Against the Rules," Ince production directed by John Griffith
Wray.
* * *
Steve Norton, A. S. C, is photographing the all- star Bruce Mitchell production, "The Inner Sight."
* * *
John Arnold, A. S. C.„ is shooting Viola Dana's "Revelations," directed by George D. Baker for
Metro.
* » *
Tony Gaudio, A. S. C, is in the second month of photography on Norma Talmadg's "Secrets."
X * *
Gilbert Warrenton, A. S. C, is filming Joseph De Grasse's production of Rex Beach's "Flowing Gold" for First National.
Don Clark, A. S. C, is filming Willian Duncan's "The Fast Express" for Universal.
* » •
Jackson Rose, A. S. C, has finished photography on "The Thrill Girl," starring Laura La Plante.
* * *
John Stumar, A. S. C, is making preparations for the filming of the Warner Bros, production, "How to
Educate a Wife," to be directed by William Seiter.
* * *
David Abel, A. S. C, is preparing to shoot the Warner Bros, production of Sinclair Lewis' "Bab- bitt," to be directed by Harry Beaumont.
* * •
E. B. DuPar, A. S. C, will shoot "Lovers' Lane," to be directed by William Beaudine for Warner Bros.
Twenty-six
HI
AMERICAN CINEM ATOGRAPHER
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January, 1924
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RELEASES
llopember 18th, to December 15th, 1923
TITLE
PHOTOGRAPHED BY
"The Unknown Purple"
"The Day of Faith"
"Maytime"
'*To The Ladies"
"Fashion Row"
"The Mailman"
"The Near Lady"
"The Light That Failed"
"The Man from Brodney's"
"Crooked Alley"
"You Are In Danger"
"In the Palace of the King"
"This Freedom"
"Half-A-Dollar-Bill"
"Tiger Rose"
"The Satin Girl"
"The Daring Years"
"The Red Warning"
"Six Cylinder Love"
"The Whipping Boss"
"Slave of Desire"
"A Lady of Quality"
"Her Temporary Husband"
"The Shepherd King" "The Dangerous Maid" "Cupid's Fireman" "Enemies of Children"
Oliver Marsh.
Wm. Fildew, member A. S. C.
Karl Struss.
Karl Brown, member A. S. C.
Oliver Marsh.
Ross Fisher, member A. S. C.
Wm. Thornley.
Charles G. Clark.
Steve Smith, Jr., member A. S. C.
Harry Fowler.
Andre Barlatier, member A. S. C.
Lucien Andriot.
Not Credited.
Andre Barlatier, member A. S. C.
Charles Rosher, member A. S. C.
Not Credited.
J. O. Taylor.
William Nobles.
Alex. G. Penrod.
Walter Griffin, member A. S. C.
John Boyle, member A. S. C.
Charles Stumar, member A. S. C.
S. E. Landers, and Perry Evans, members A. S. C.
Ben Miggins.
Glenn MacWilliams.
Joe August.
Glen MacWilliams and John Miehle.
MUlltll
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HOW TO LOCATE MEMBERS OF THE
American Society of Cinematographers
Phone Holly 4404
OFFICERS
•Tames C. Van Trees John F. Seitz Charles Van Enger Victor Milner Frank B. Good . Philip II. Whitman
President
First Vice-President
Second Vice-President
Third Vice-President
Treasurer
Secretary
Gaetano Gaudio Victor Milner Walter Griffin .lames Van Trees Reginald Lyons
BOARD OF GOVERNORS
Frank B. Good Fred W. Jackman Jackson J. Rose Charles Stnmar Horner A. Scott
Paul Perry Charles Van Friger George Schneiderman Philip H. Whitman L. Guy Wilky
Abel, David — with Warner Brothers.
Arnold, John — with Viola Dana, Metro Studio.
Barlatier, Andre —
Barnes, George S. — with Cosmopolitan, New York.
Beckway, Wm. — with Capt. Corlett, Mexico.
Kenoit. Georges — Belasco Prod., United Studios.
Broening, H. Lyman —
Boyle, John W. — with Charles Brabin, Europe.
Brodin. Norbert F. — Frank Lloyd Prods., First National, United Studios.
Brotherton, Joseph —
Brown. Karl — with James Cruze, Lasky Studio.
1 'aim. Bert — Europe.
Clark. Dan— with Fox.
Corby, Francis — with Hamilton-White. Fine Arts Studios.
Cowling, Herford T. — Travel Pictures, Asia.
Cronjager, Henry — with Lasky Studio, New York.
Dean, Faxon M. — with Joe Henabery, Lasky Studio.
1 >uian. Robert S. — with Roach Studio.
Dored, John — Scenic. Russia. Pathe.
Dubray, Joseph A. — with R-C Studio.
DuPar, 10. H. — with Warner Brothers.
Du Pont, Max B.— with Douglas MacLean. R. C. Studios.
Edeson, Arthur — with Douglas Fairbanks, Fairbanks- rick ford Studio.
Evans, Perry —
Fildew, William — with Irving Cummings, Universal.
Fisher, Ross G. — with A. J. Brown I 'rods.. Russell Studio.
Gaudio, Tony (',. — with Norma Talmadge, Joseph Schenek Productions, United Studio.
Gilks, A. L.— with Sam Wood. Lasky Studio.
Good. Prank R. — with Jackie Coosan. Metro Studio.
Granville, Fred L. — directing, British International Corp., London.
C,iav, King — Wilnat Studios.
Griffin, Walter L.—
Guissart, Rene — with J. Parker Read, Monte Carlo.
Heimerl, Alois G. —
Jackman, Floyd — with Fred Jackman, Roach Studio.
Jackman, Fred W. — directing. Roach Studio.
Koenekamp, Hans F. — with Larry Seraon.
Kull, Edward — with Universal.
Kurrle. Robert — Edwin Carewe. Europe.
Landers, Sam — with first National, United Studio.
Lockwood. J. R. —
Lundin. Walter — with Harold Lloyd Prods., Hollywood
Lyons, Reginald E. —
MacLean, Kenneth G. — with Douglas Fairbanks.
Marshall, William — with Carlos Productions.
Meehan, George — with Jack White Corp., Fine Arts
Studio. Milner, Victor — with Fred Niblo, Clune's Studio. Morgan, Ira H. — Marion Davies, Cosmopolitan, New York. Newhard, Robert S. — Norton, Stephen S. — with Bruce Mitchell Prods., Ince
Studio. Overbaugh, Roy F. — New York City. Palmer, Ernest S. — LePicard, Marcel — New York.
Perry. Harry — with Preferred Prods., Mayer Studio. Perry, Paul P. — with Ince Studio. 1'olito, Sol— Kirs. I 'ark, J.— Rizard, Georges —
Rose. Jackson — With King Baggott, Universal Studio. Rosher, Charles — With Mary Pickford, Pickford-Fair-
banks Studio. Schneiderman, George — Fox Studio. Scott, Homer —
Seitz. John F. — With Rex Ingram, Europe. Sharp, Henry — With Ince Studio. Short, Don-— With Fox Studio. Smith. Steve, Jr. — With Vitagraph Studio. Steene, E. Burton — New York. Stumar, John — With Wm. Seiter, Warner Bros. Stumar, Charles — With Universal. Thorpe, Harry — Totheroh, Rollie H.— With Charlie Chaplin, Chaplin
Studio. Van Buren, Ned — In New York. Van Enger, Charles — with Ernst Luhitsch, Warner, Bros.
Studio.
James — with John Francis Dillon — United
Van Trees
Studios- Walter. It. Studio.
Warrenton,
Whitman
W. — With Mack Sennet Productions, Sennett
Gilbert— With First National. United Studios. Philip H. — With Douglas Fairbanks, Fair- banks-Pickford Studio. Wilky, L. Guy — With William De Mille, Lasky Studio.
Studios.
Edison. Thomas A. — Honorary Member. Paley, William "Daddy" — Honorary Member. Webb, Arthur C. — Attorney. Meetings of the American Society of Cinematographers are held every Monday evening in their rooms, suite 325, Markham Building. On the first and the third Monday of each month the open meeting is held; and on the second and the fourth, the meeting of the Board of Governors.
1 LOYALTY
PROGRESS
ART
.Oregon
October 22 , 1923.
(Oat v
,n
.Mitchell Camera Company,
6019 Santa Monica Boulevard, Hollywood, Calif. Gentlemen :
This morning we wired you as follows:
"Ship parcel post collect immediately 1 Belt, 1 Camera Crank, 1 Main Crank: Shaft".
The need for these parts is not caused through any defect in either material or workmanship on your camera hut last week our troupe was down to the coast doing some water stuff and the cameraman was caught by an incoming wave which up set both him and the camera and in the splash the belt and main camera crank were put out of commission.
/
>' /
However, the balance of the machine has been put in A-l condition by our cameraman, Mr. Cook. We were very fortunate indeed to have Mr. Cook with us when this thing happened for wa believe had he not had presence of mind enough we should have lost the entire equipment.
Trusting that our wire will receive prompt attention and with all good wishes, we are
Very truj PREMIUM/
By
>urs ,
DUCT IONS
President,
F/T
Uol. 1U No. 11
February 1924
25 Cents A Copu
C^5^
American Cinematographer
Published by the American Society of Cinematographers, Inc.
In This Issue
Photographing the Roof of the IDorld-^
By Herford Tynes Cowling, A.S.C.
Protecting Ttlotion Picture ^Titles— By F. G. Bradbury
Filming Ladybirds Under the microscope^ By Walter Anthony
IPhen a Yankee Shot King Qeorge-^
Sixth Installment, " Fade Out and Slowly Fade In "
By Victor Milner, A.S.C.
PUBLISHED IN HOLLYWOOD, CALIFORNIA
iiiiiiiiniiiiii:: III Ilium llllllllll !;:iiiillllllllllilllllllililillliiiiiiiiiii:iH
a3Aade in Hollywood— The Standard Way. "
The final verdict of the cinematographer's art comes from the public.
And the public judges the photography by the Release Prints.
How important it is then that these Release Prints be made right here where close co-operation with camera man and director is possible.
This is why more and more Release Prints are being "Made in Hollywood — the Standard Way."
Standard film IraboraloN&s
fEtHLod Seward and RomainoSuveU
ujqq Hollywood California
fftaitcfard TmqtjS
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Vol. IV
ir::: n: ':::::it: :;s::::r";-
FEBRUARY, 1924
iiiiiiiiiiiiiiiiiiiiiiii No. 11
H
American Cinematographer
The Uoice of the TTlotion Picture Cameramen of America; the men who make the pictures
FOSTER GOSS, Editor and Business Manager
Board of Editors— VICTOR MILNER, H. LYMAN BROENING, KARL BROWN, PHILIP H. WHITMAN
ALFRED B. HITCHINS, Ph. D., F. R. P. S., F. R. M. S., F. C. S., Associate Editor
Table of Contents
Filming Ladybirds ruder the Microscope — By WALTER ANTHONY
Photographing the Roof of the World —
By HERFORD TYNES COWLING, A. S. C.
Protecting Motion Picture Titles —
By F. G. BRADBURY ....
"Fade Out and Slowly Fade In," Sixth Tnstallment- By VICTOR MILNER, A. S.C. .
The Editors' Corner
Problems in Motion Picture Laboratories, Final Install- ment, from Transactions, S. M. P. E. — By M. BRIEFER
.4. S. C. Buys Hollywood Offices
Wampas Frolic Described by A. S. C. Member
Max Du Pont, A. S. C, Off to Tahiti for Long Best
John Boyle, A. S. C ., Ready to Shoot "Hen Eur" in Italy
Releases
In Camerafornia
A. S.C. Roster
Page
8
9
JO
12
13 V 22 24 2d 20 27
An educational and instructive publication, espousing progress and art Published monthly by The American Society of Cinematographers, Inc. Subscription terms: United States, $3.00 a year; Canada, $3.50 a year; Advertising rates on aopllcation. Los Angeles, California (Copyright, 1924, by The American Society of Cinematographers, Inc.)
in motion picture photography, foreign, $4.00 a year; single copies, 25 cents. Telephone, Hollywood 4404
Six
AMERICAN CINEM ATOGR APHER
February, 1924
known as Lamaism and was very keen to visit the only accessible land of the Lama religion and wit- ness some of its mysteries, to say nothing of taking the iirst cine- matograph camera into this coun- try where I believe I have secured the only existing films of this nature.
After an only too short and pleasant stay in Kashmir I was loath to turn my back on the land of "Lalla Rookh'- and plunge into the Unknown Empire with a four hundred mile march ahead and no idea how long it would take me to complete the trip. The journey into this country as far as the capital at Leh is of very little in- terest except the crossing of the high passes in the Western Hima- layas where one has to pick one's weather carefully and be prepared for very cold atmosphere in the high altitudes. One can but marvel how the Sikh and Dogra conqueror crossed this range and subdued all the countries to the north in their conquest of 1830 A. D., and thus split this terri- tory from its paramount ruler the Grand Lama at Lhasa. There is no natural division between West- ern and Chinese Tibet, the moun- tains of one continue into the other and the same rivers How through both countries.
Large Outfit
My outfit consisted of twenty- three ponies or yaks, whichever transport might be available and some times it was necessary to
use coolie transport where I re- quired about thirty-five men, who carried all tents, supplies, photo- graphic apparatus, etc., as it was necessary to carry all my food supplies on this trip because only sheep and chickens were avail- able.
On the high passes the days were comfortable enough when no storms were encountered but the nights were verv cold indeed, whereas at 18,000 feet I have known the hot water supplied by my cook in the mornings to freeze
One of the Largest Lamaseries at Lamayuru
before I could use it for washing my face.
Surely the most interesting part of the trip was the Lamaser- 1 ies and Semi-Buddhist Lamas who have been left to carry on their own religion in their own manner without molestation from the rul- ers of the couutry and who still look to the Grand Lama in Lhasa as their spiritual head while being forced to recognize others as their lawful ruler. These Lamas build their Lamaseries, which are often called monasteries, high upon the hills and peaks of mountains and in the most inaccessible spots for some reason I have never been able to determine.
Prayer Wheels
The Lamaseries are occupied by an Order of Monks called Lamas who devote their lives to the work of the religion and spend their time chiefly turning p r a y e r- wheels, performing Devil Dances upon stated occasions, and fur- nishing their followers with spir- itually blessed prayer-wheels with which to perform their daily de- votion.
Prayer a la Mode
The institution of the mechan- ical prayer-wheel is something I have never seen before in any part of the world and consists of cyl- inder wheels of all sizes contain- ing prayers written on paper by
February, 1924
AMERICAN CINEMATOGRAPHER
Seven
the Lama Monks and often have prayers written on the outside, every evaihtble space being tilled with Tibetan language characters indicating prayers. Prayer- wheels are often seen erected on tops of the houses which are oper- ated by the wind. They are even seen along every brook or stream continually operated by the water power and along every roadside — these wheels are made of any- thing from clay to kerosene oil tins and left for the passer-by to give a casual turn as he passes, while at every turn and corner some devote believer is seen twirl- ing a miniature prayer-wheel in his right hand while performing whatever labors and duties are his with his left hand; it is thus that they obtain religious merit. Truly it is comical and yet one must ad- mire the devotion with which these people carry out the rites of their religion and believe in the power of mechanically operated prayers. When it is considered that they cannot read or write and have very little chance of being taught otherwise one need not (piestion the methods pursued in the operation of their prayer- wheels although it may seem strange to our Western minds.
It was both my good fortune and pleasure to be able to witness the Grand Miracle Play at Hemis Lamasery, which included a num- ber of Tibetan Lama Devil Dances given annually at the larger Lam- aseries and throughout Tibet. It
is indeed a varied and strange sight and I was permitted to film it for the first time through the kindness of the Skushok, who is the head of this religious organi- zation in this country. The ex- traordinary resemblance between much of the pageantry and forms of Tibetan Buddhism and those of the Church of Rome is appa- rent in many of their ceremonies and has been observed by all trav- elers in these regions. The Lamas have the appearance of the early Christian bishops, wearing mitres
The A. S. C. Member's Camp in the Himalayas at 11,000 Feet
and copes, carrying pastoral crooks, swinging censers of in- cense as they walk in procession, slowly chanting. It is difficult for me to give a long account of the ever-changing and very interest- ing mummery which was carried on throughout the entire cere- mony of the Miracle Play ; it was a bewildering conglomeration of strange sights, a din of unearthly music which almost caused my reason to waver and make me be- lieve that I was indeed in the magic realm represented by the actors.
The play is designed to show a dreadful world where the help- less, naked soul of man has its existence in an obscure space of malignant demons, perpetually seeking to destroy and harass him with the tortures and terrors at their command and against which powers he can do nothing but the occasional prayers which may shield him in this doubtful con- test between himself and the evil spirits. The actors are arrayed in the most grotesque masks and costumes depicting hideous de- mons and animals of the most un- imaginable shape and form, some taking the form of skeletons; others wearing costumes made from human bones; many colored and grotesquely designed robes worn by the performers were of (Continued on Page 16)
Eight
AMERICAN CINEM ATOGRAPHER
February, 1924
Protectinq ttloHon Picture Titles
Attorney finds way to defeat theft of Motion Picture Titles
The willful pilfering of titles to motion pictures is too frequent to raise any doubt in the minds of producers of the urgent need of more effective methods of protec- tion than have been practiced to date.
The common understanding is that a name of a picture cannot be protected because the "Copy- right" merely protects the subject matter and not the title. While it is a well established principle of law that the copyright does not protect the name, there is a phase of protection under the Trade .Mark law which does protect and which by proper application will probably give the relief which is desirable.
Property Right
It has been established beyond a question of any doubt that there is in the name of a literary com position, play or picture, a cer- tain property right and that as such, protection may be afforded against any infringement. Decisions Involved
The trouble has been where an effort has been made to apply this principle, decisions are befogged by conditions and technicalities in each individual case, leaving the public in doubt as to what pro- tection, if any, can be secured for the title. In the early production of motion pictures it was common practice to hold up before the camera at intervals, the printed title of the picture or some other distinctive mark, in an endeavor to protect the title by the copy- right which was subsequently se- cured. This proved ineffective and since abandonment of this method, the appropriation of titles by those unauthorized to do so has become common. As fast as a big run picture is exhibited, there is an imitation of its title to be found " a r o u n d the corner," sponging upon the popularity of the successful one.
Century-old Cases
Scattered through court deci- sions dating as far back as 1825, titles to publications were held to be a species of property rights, bordering upon "trade marks"
By F. G. Bradbury
From the earliest days, producers have been facing the apparently hopeless task of preventing the titles to their productions from being stolen. \'arious means have been tried, but failed. The author, a prominent Los An- geles attorney, with a large practice in Federal matters, re reals the way to defeat en- croachments on irhat. in truth, constitutes their prop- erty rights. This revelation is expected to be revolution- dry in its importance.
and as such are properly for use by an originator in trade to the exclusion of others.
"Buster Brown" Case
"Buster Brown," at the head of a single page of comic section of a newspaper was held to consti- tute a valid trade mark. Follow- ing this decision a case in which "I/Aiglon" involved the question of a trade mark as applied to a play was answered by injunctive relief to protect the use of the title. Strengthening the position that a motion picture title is the proper basis for "trade mark" pro- tection, in a decision in the case in which "Nick Carter" was the title and character in a motion picture, it was held that the class of goods "motion pictures" offered for sale was entirely dissimilar from published stories by the same title and therefore not an infringement.
Patent Office Recognition
Following this, the United States Patent Office has recently recognized titles as legitimate sub- ject matter for trade marks as ap- plied to motion pictures by regis- tering several trade marks of this class. That there is commercial property right in motion picture films is therefore unquestionable and the application of a name, symbol, phrase or other mark of distinction may he used as the basis for protecting a title used in connection with motion pictures.
Solves problem which has stumped industry for years
Trade Mark Law's Object
It is the primary object of trade mark law to prevent one man from stealing away another's business and good will. Such is punishable by damages and will be enjoined by a court of equity.
Course to Follow
If a producer of a motion pic- ture will promptly register his title as a trade mark in the United States Patent Office, he can secure to himself the right to such title to the exclusion of all others. The procedure for such registration is more burdensome and technical than the formality attending the registration of a copyright, the examination by the government being more critical and attended by a thorough search to determine before granting, the right of the applicant to registration. Publi- cation in the Official Gazette is also conducted by the government, giving the public opportunity for opposing unfair registration be- fore granting.
Federal Court Action
When finally granted the owner or proprietor has right of action against all infringers in the Fed- eral courts.
A search of the government records made by an attorney espe- cially familiar with such matters can he made to determine whether any question might arise as to the free use and appropriation of a desired title before adoption. After such search is made and the "title" found to be clear, applica- tion for registration should be tiled and when registered the title should hear the notice "U. S. Trade .Mark Registered." The ex- pense of registration is small as compared with the amount in- volved in most productions and it would seem evident that this measure of protection should ap- peal to producers. In a some- what similar manner, registration of trade marks can he secured in nearly all foreign countries and here again protection of this char- acter is desirable to prevent the unauthorized appropriation of the rightful owner's title.
February, 1924
AMERICAN CINEM ATOGR APHER
Nine
"Fade Out and Slowly Fade In"
By Uictor Milner, A. S. C.
Sixth Installment wherein A. S. C. veteran covers Vera Cruz and shoots the King of England
At the Water-works Vera Cruz, Mexico, After Several Miles of Double Quick and Hand Car Ridino,
Returning to Denver from Trinidad, Colo., after an adventurous week of bullet dodging among the coal mine strikers and imported gunmen, I was greeted at the Brown Palace Hotel in the former city with a telegram about ten years ago that in- structed me to leave for Galveston, Texas, at once, to cover the embarkation of the American troops for Vera Cruz which at that time, just as at the present, was the seat of considerable trouble in Mexican affairs.
I thought that nay return to Denver would enable me lo get in a period of rest after the days of uncer- tainty that had been forced on me at Trinidad. The scenes which transpired there were anything but a credit to American civilization, and so cordial were the various elements in the town toward newspaper- men and photographers that none of us regarded it as particularly healthful to be seen on the streets after dark.
The Nose for News
My stay in Trinidad was interrupted by a hurried trip down into New Mexico on which I embarked when I discovered that my friend. Bill Shepard, of the United Press, had mysteriously left town. Any- thing- which would take Pill out of Trinidad at that time must have been important so I began to cast around for the reason for his leaving. Put Shepard, able newspaperman that he is, left no tracks behind liim and I had to do my own Sherlock Holmes work. Gradually — it was only a matter of a few hours — I got wind of a terrible mine disaster that was sup- posed to have happened down in New Mexico, so I took the first train out of Trinidad, and after a sleepless night in an upper berth of a tourist Pull- man, I arrived early the next morning near the prop- erty of the Phelps Dodge mine.
(Continued on Page 13)
Ten AMERICAN CINEMATOGRAPHER February, 1924
gill! IBilllillllllllllllll IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIUIIIIIIIIIII ■Illinillllllll Illllllllillllllllllllllllllllllllll IIIIIIMIIIIi Ill IlllllllllllllI Illllllllllllill IIIIK
^l QC LClitOrS VxOrrier —conducted bu Foster Qoss
Word comes from New York that one of the largest motion picture theatres in that city has adopted the practice of cutting cinematographers' credit titles from the films which it exhibits.
Such a backward step is to be deplored. It has been a difficult matter for the cinematographer to educate the producer to the point where the latter was willing to recognize cinematography to the extent of crediting the man responsible for the camera work. Now that it has become the practice rather than the exception for the producer to carry the name of the cinematographer among the other credit titles, it is indeed a blow to the camera artist to have some prominent exhibitor, who stands in the fore rank of his calling, to take arbitrary means to prevent the public from learning of that credit.
If the cinematographer is robbed of public attention in big cities like New York and Los Angeles what can be expected, one cinematographer rightfully asks, when the prints reach the one-night stands?
At this juncture it is not a matter of discussion as to the propriety of the exhibitor's — notwithstanding how much his screen may be sought by the producer — of the exhibitor's hacking out scenes or even credit titles from the pictures which he shows. What may be questioned, however, is the justice of such action on the part of the exhibitor. How would he feel if someone took means to eliminate his name in connection with the theatre that he operates? While it may be realized that a timid exchange manager may hesitate to protest to the big theatre exhibitor against the amputation of the prints which the exchange distributes, not only to the important first-run theatres, but to countless smaller houses, still a realization of the facts does not eliminate the difficulty.
As was pointed out some time ago in the American Cinematographer, a general passing of the buck arises whenever some one takes the time to endeavor to ascertain where the trouble lies when credit titles are cut out. The exhibitor may say that the film comes from the exchange minus the title strips, but investigation usually reveals that it left the exchange intact only to be subjected to operation when it reached its place of exhibition.
The perpetration does not end when the print leaves the large first-run house, but, in many cases, the print must live through the rest of its celluloid life without the titles inasmuch as the exhibitor who has taken the trouble to have them removed forgets about having them replaced.
Of course it may be granted that the theatre manager may advance
February, 1924 AMERICAN CINEMATOGRAPHER Eleven
KMIIIIBIIIIIIIIIIIIIIMIIIIIIIIIIIIIU
various arguments as to why he cuts the titles, but none of them will stand the test of sound reasoning. The principal excuse is that the program must be reeled off "like clock-work," etc., etc., but it requires a distant gallop of the imagination to comprehend the many half-hours lost each day due to the showing of titles a few seconds in length.
"Speaking of Miss Taylor, King Vidor, under contract with the Goldv/yn company, has been loaned to Metro again for Miss Taylor. It will be remembered it was Mr. Vidor's camera methods that made her look like a eirl of 16 in 'Peg o' My Heart' and had every motion picture star over 25 paging him to find out how it was done."
The above paragraph appeared recently in Louella Parsons' depart- ment of the Los Angeles Examiner. While this publication has every respect for the position which Miss Parsons possesses in the field of dramatic editors, as well as for King Vidor's knowledge of the camera together with his direc- torial ability, it believes that, in the interest of veracity, attention should be called to the fact that George Barnes, a member of the American Society of Cinematographers, who is not mentioned by Miss Parsons, is responsible for the "camera methods" praised by the critic.
Moreover, the American Cinematographer wishes to thank Miss Par- sons, able newspaperwoman that she is recognized to be, for the interest that she takes in photography. A few years ago such interest was not manifested generally even in the largest newspapers in the country.
But the condition still exists that in some quarters where recognition is extended to camera work at all, it is ascribed to any one but the cinema- tographer. It is now a settled fact, with photography having made the prog- ress that it has, that the cinematographer deserves to be recognized in his own right — and his own right is not that of his employer or even that of his director.
To crown another person with the laurels that the cinematographer has worked years to achieve is directly in line with the practice of an editor hav- ing one of his attaches write his material and then put his own name over it. Surely a name like that of Miss Parson's would deserve to be recognized in its own prominence, and not hidden behind that of the editor-in-chief of the paper in which it should appear. So it is with the cinematographer.
Illllllg
Twelve
AMERICAN CINEM ATOGR APHER
February, 1924
Problems in ^Motion Picture Laboratories
Formulae and film splic- ing information are given for practical use
By M. Briefer
Final Installment, From Transactions, Society of Motion Picture Engineers
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Since the procedure under this heading is of con- siderable importance to the finished product, we have chosen to close this presentation with some notes on splices and cements.
The dangers incident to defective splices in nega- tives has already been indicated and mention has been made of splices out of line. By the latter we mean, there is a slight angle at the splice enough to cause the claws of the projector to exert an un- equal pull against the perforations. Eventually there will be a break above or below the splice. From this type of break you have the expression "The splice is stronger than the stock" which is only another case of misunderstanding.
The mechanical part of good splicing is a matter of intelligent training, care and experience. Coin- pounding a cement to hold the splice is a separate problem altogether. Splicing cements frequently give a great deal of trouble. You have heard the complaint of their erratic behavior, doing very well some days and failing to hold at other times. Many cements contain acetone but as this substance ab- sorbs water readily it is clear that on humid days or in an atmosphere containing too much moisture the cement may fail to hold the splice. On the other hand, very dry warm air will cause rapid evapora- tion of the solvents and the splice will be weak.
Manufacturers of celluloid base for photographic purposes will recall that the residual moisture in the skin had been for a long time the unsuspected cause of frilling, that is, failure of the substratum to act as an effective binder between the celluloid and the gelatin emulsion. Water, either as an im- purity or absorbed by the solvents used for "sub- bing" had the same bad effect upon adhesion. The factors in these relations are, time of drying or speed of the casting machines, the temperature and
condition of the drying air. Other factors relative to substratum come into consideration with which however we are not immediately concerned.
Now, the factors relative to splicing cements are fairly similar and applicable in principle. A com- pound solvent will give the best average results; that is, a mixture of two or three solvents of cellu- loid having boiling points which differ within a rea- sonable range and one of these should be a solvent of gelatin as well ; the purpose of the latter is, to take care of any gelatin remaining on the edge to be spliced or such as may be picked up as shavings. Solvents used in compounding cements should be dry, or free of water, and the cement when made protected against moisture. Three formulae are given below; any one of these we believe, will fulfill the specified requirements.
FORMULA 1
32 ozs. Denatured Alcohol 1-liter
32 ozs. Ether (ethyl) l-liter
32 ozs. Aniyl Acetate 1-liter
6V2 ozs. Acetic Acid (glacial) 200 mils, (c.c)
Notes: Solutions containing ether are to be pro- tected from light and heat and ample air space allowed in the container. Make up the above solu- tion in a 4 liter ( one gallon ) amber colored bottle well stoppered.
The acid may be omitted but the splicing will re- quire more care.
A splice made with this cement cannot be pulled apart if the mechanical work has been properly done. The correct method of making a splice will be indicated later.
(Continued on Page 19)
February, 1924
AMERICAN CINEMA TOGRAPHER
Thirteen
A. S. C. Buys cHerw Hollywood Offices
New location to be in Southern California's finest building. In Heart of Hollywood
Major unit of top floor to be occupied by cinematographers. Mark of Progress
Signalizing five years of progress and achievement, t lie American Society of Cinematographers an- nounces that it has bought its own offices in the new Guaranty Building, now in the course of construc- tion in the heart of Hollywood at Hollywood Boulevard and Ivar Avenue.
The new A. S. C. headquarters will occupy a major unit on the top floor of the building which will be one of the most modern and elaborately con- structed in the Southwest. In addition to becoming the owners outright of their particular unit on the top floor of the building, the Society will be pro rata owners in the fee interest in the ground on which the building stands. Located as it is in the center of the motion picture capital of the world and on Hollywood's main thoroughfare, this ground repre- sents some of the most valuable frontage in the United States and is steadily increasing in value.
Among Foremost Specifications of the building which will be the future home of American Society of Cinematogra- phers reveal that it will have no peer in Hie entire country. Being erected on the "own your own office" plan which is proving so successful in South- ern California, the structure, architects and engi- neers declare, is destined to become one of the show- places of Hollywood and Los Angeles, already noted for their magnificence of buildings.
Offices in Mahogany
The structure will be constructed to the story height limit in Los Angeles — twelve stories. It will be of (Mass "A" reinforced concrete fireproof con- struction. The exterior will be of terracotta and brick. The various offices will be finished in mahog- any. Plate glass and solid brass hardware will be used throughout the edifice.
Marble Walls The public corridors will have Terraza floors with
Alaskan marble borders and base, with mahogany trim. The main lobby of the first floor will have Tennessee marble flooring and walls. The main en- trance to the building will be a masterful creation of bronze.
Far-Reaching View The location of the A. s. c. headquarters will be the most ideal in the entire building, itself ideally situated. They will command a view of the hills of Hollywood as well as a sweeping vista of East Hollywood, and, beyond that, Los Angeles, and still farther in the distance, on clear days, the port of San Pedro and the Pacific.
Temporary Offices at E. I. E. S. Work on the Guaranty Building is already well under way and it is expected that the American Society of Cinematographers will be able to move into the new quarters in September. The tenancy of the A. S. C. expiring on February 1st. at its pies ent location, the Society will temporarily establish quarters, until the opening of the Guaranty Build-
ing, at the offices of the Electrical Illuminating En- gineers Society who, with their characteristic hospi- tality and good fellowship for which they have always been noted, have extended the cinematogra- phers the use of their club-rooms at 1103 N. LI Centro Street, near Santa Monica Boulevard, Holly- wood.
The A. S. C. meetings will be held and all business of the Society, as well as that of the American Cine niatographer, will be transacted at the El Centro address; and all communications should be ad- dressed there until the opening of the new Guaranty Building.
"Fade Out and Slovulu Fade In"
(Continued from Page ft)
I was in time to film rescue workers removing bodies from the charred interior. And, true to my deductions, I found Bill Shepard there. When he saw me, he looked as if he thought that I had drop- ped from the sky. The first thing he asked was "how the did you get here?" and then went on to ex- plain that he had to leave Trinidad hurriedly, that lie couldn't find me when he was ready to leave or he would have tipped me off. It was our custom to work together While we were at Trinidad.
Local Powers Resented Camera
I had only been at the mine a few hours when Shepard told me that the powers of (hat locality had become apprised of the fact that some one was there with a motion picture camera and that they did not like the idea of my presence at all. He ad- vised me to vamoose, ami. respecting his advice I did; I vamoosed forthwith in a rented flivver. As I left the mine behind, with a film record of the dis aster in the machine, 1 began to arrive at a few con- clusions and when 1 reached a little town near Ka- toon Pass I proceeded to carry those conclusions into effect. I took my can of film and addressed it personally to .Mr. Franconi, at No. 1 Congress street, Jersey City. N. -I. I wanted film to go with as few indications as possible that it was film. Scarcely had 1 safely deposited the can in the ex- press office, when it became evident that my con- clusions had been correct. As I was driving away I was overtaken by a high-powered automobile hear- ing New Mexico license plates and the driver there- of lost no time in letting it be known that he meant business, and meant it with me. He demanded the film that I had taken of the disaster but I told him that 1 had none. His looks all but called me the short and ugly word so I invited him to search the flivver. He did so, and, much to his doubt and dis- appointment, did not find what he was looking for.
Fourteen
AMERICAN CINEMATOGRAPHER
February, 1924
Whereupon I proceeded unchallenged back to Trinidad.
So von see when I received the wire at the Brown Palace to go to Galveston it surely did appear that Things were l>eing rushed. The telegram stated that permission was being arranged through Secre- tary Daniels for me to sail on one of the United States destroyers. That night 1 was on my way to Galveston.
The Texas coast town was a beehive of activity when I arrived there. Transports alongside the wharves — brass bands — sweethearts — old mothers- Tears — smiles — handkerchiefs — all that.
Self-Conscious Acting
But while everything seemed very realistic to me as the layman 1, as the news cameraman, knew that it would be hard to get this atmosphere over in a news film. Have you ever noticed, in news films, that when the subjects discover that they are being filmed, unconsciously they begin To — begin to act, I might say, with the result that they do appear as they naturally would? So 1 determined To Take The situation in my own hands To obtain some atmo- sphere that would appear as it naturally did.
I saw an old lady standing in the shadow of a warehouse. In a glance I knew that she was a rep- resentative type, and in a few moments I was photo- graphing her weeping on The shoulder of her "only son" as he was about To embark for war on the U. S. S. "Kilpatrick." IT made a great shoT, considering that until a few minutes previous she had never seen her "son" before and, what was more, she had come down to the waterfront merely as a spectator. I carried the sequence through with a close-up of her shedding Tears and waving her handkerchief at the ship as it pulled out in the background. Permission Missing
In the meantime I had not been able to locate any naval officer who had been in receipt of orders from the Navy Department permitting me to proceed to Vera Cruz with the fleet. I dashed about and inter- viewed the commanders of the various destroyers, all of whom informed me that they had received no such orders.
First Competitors on Job
It was getting to the critical point. The trans- ports were leaving, as were my competitors of the newly formed International News Weekly on a chartered sea-going tug. They didn't forget to give me the "razz," either, when, knowing of my predica- ment, they pulled out. So I was left siTTing at The Water-front, discouraged and downhearted.
I returned to the hotel, and telephoned Western Union which was still without word for me. I could not clear my mind of the tug leading the fleet to Vera Cruz, and The thought TbaT I was going to be scooped so thoroughly was not pleasant in the least. In addition, I was humiliated by my competitors' razzing.
Belated Authority
Later in The afternoon, the phone in my room rang. The WesTern Union operator informed me That my permission from Secretary Daniels had finally arrived. I hung up in disgust.
Friend in Telegraph Office
After eating a late lunch, 1 returned to my room
to pack up and had already set about doing so when the phone rang again. The lady in the Western Union office, knowing of my predicament, told me over the wire that an old cattle boat was clearing for Vera Cruz within the next few minutes.
Cattle Boat Intervenes
Hardly pausing to hang the phone up, I dashed downstairs, jumped into a Taxi and was at the dock and talking to a cattle boat's skipper in short order. I told him that I was a newspaperman — to have de- scribed myself as a news cameraman would have meant little at that time — and made known my wants. He quietly told me that there were no cabins left, that they were to leave for Vera Cruz in ten minutes, and that if I could return with my outfit within ThaT Time I was welcome to what quarters I could find aboard the ship.
I was on my way back to the hotel in an instant. I rushed my trunk and outfit down into the taxi in the flash of an eye and shot back toward the dock. It was raining hard and the streets were very slip- pery. The driver heeded my instructions and "step- ped on it" with much skidding and several close escapes from collisions.
Blockaded by Freight Train
Just as we were within sight of the dock, a freight train pulled across our path and anchored, block ading The street. I could see all our skidding and efforts come To nothing. The minutes that we were stalled there seemed like years, but I was able to hurl my camera outfit aboard the boat and clamber on myself just as the bow was swinging out. Celebrities on Cattle Boat
Much to my surprise, 1 found Jack London, his wife, Brown of the Chicago Daily News, and other celebrities aboard the cattle boat. The company may have been distinguished, but the surroundings surely were not. I was able To effect a deal with the first mate whereby I occupied his quarters — such as they were, with the cockroaches and other vermin playing hide and seek while the vei'y decided aroma of the cattle below permeated the atmosphere. First at Vera Cruz
But we arrived in Vera Cruz, and arrived there in good time — time enough, in fact, for me to have set up and to have been photographing my Interna- tional News rivals as they came into port on their chartered Tug. There weren't two more surprised men in Mexico than Varges and Wallace of the News when they saw ThaT iT was I who was Taking pictures of their arrival in the Mexican port. They were even more surprised than Bill Shepard was when he met me at the mine disaster in New Mexico. Incidentally, since T last saw ('apt. Varges, whom 1 had the honor of initiating into The lore of The cinema camera, he has represented International in all parts of the world, having recently returned to the Last from a lengthy journey. How different it must be in Vera Cruz today with several news reel agencies being represented where a decade ago only a single outfit had arisen To challenge the suprem- acy which PaThe had esTablished.
Attack on Custom House
If any of The readers have a powerful enough mem- ory to recall the Pathe scenes of Vera Cruz during
(Continued on Page 18)
February, 1924 AMERICAN CINEMATOGRAPHER Fifteen
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Sixteen AMERICAN CINEMATOGRAPHER February, 1924
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A Skushok Who Would Not Stay "Put"
A very amusing story is told apropos of this reincarnation. When the Skushok of Tiksv died
Photographing the Roof of the IDorld
(Continued from Page 7) beautiful China silk while the varied colored masks of paper- mache exhibited horrible concep- tions on the part of their makers. The dancing really consists of keeping time to a kind of wild chanting music and as they danced with strange steps and gestures they howled in strange chorus. Such figures are intended to represent some of the ugly forms that meet the dead man's soul while it is in transit through space from this vale of tears to tlie next world; while the play goes on at intervals throughout three long days, the people who have gathered together are sup- posed to obtain a certain amount of religious merit from the obser-
vation of the ceremonies. A Sku- shok corresponds to a Bishop in that he has a number of these Lamaseries under his direction while the Skushok himself an- swers only to the Dalia Lama in Lhasa.
A Most Holy Man
A Skushok is supposed to be the nearest approach to Mahatma Budda that it is possible to see unless one could see the (Jrand Lama in Lhasa who is his direct descendant. A Skushok is a resi- dent incarnation who is supposed to be reincarnated time after time in the same office as head of the same Lamaseries and he is each time located upon such re- incarnation by the Grand Lama and returned to his respective post.
and was three times reincarnated in Lhasa but each time he refused to return to his post in Tiksv. Finally after much persuasion he was induced to return to Tiksv and take up his post as Skushok ; being a boy of nineteen his father had warned the Lamas to leave him alone as he was not worthy of being a Skushok. Nevertheless they took him to Tiksv where lie resided in peace for a short time and then proceeded to demand his independence in the face of com parative luxury and power enjoy ed by a Skushok. He smashed the temple idols, gave away many of the sacred images and wrought
(Continued on Page 23)
February, 1924
AMERICAN CINE MA TOG RAP HER
Seventeen
Wampas Frolic in Frisco
Described by A.S.C. Member
Glowing accounts are brought back to Hollywood of the brilliance of the "Wampas Frolic," staged by the Western Motion Picture Advertisers in San Francisco, Saturday, January li>th.
"Three special trains conveyed the Wampas men- bers, their stars- and guests to San Francisco, arriv- ing at the Third Street station about 9 :30 a. m., and making the entrance on three parallel tracks, simul- taneously, with sirens shrieking," Gilbert Warren- ton, A. S. C. member who attended the event said on his return. "The party almost alighted into the waiting arms of the mayor, Chief of Police O'Brien, and a committee from the Chamber of Commerce. Seventy-five automobiles, properly bannered with the nanies of the celebrities they were to convey, awaited in line. The bands were playing, and every- one seemed happy.
"The procession, headed by Jackie Coogan and Pola Negri, wended its way to First and Market Streets, thence up Market to the Civic Center and llien to the Palace Hotel. Hundreds of excited spec- tators lined the streets and barely room for the auto- mobiles to pass was obtained throughout the entire line of march. The crowd for blocks about the de- pots was bad enough, but one could scarcely elbow one's way into the lobby of the Palace, which was Wampas Headquarters.
"A wonderful luncheon was then served by the Down Town Association, at which representatives of San Francisco's 'glad-hand' committees. Chief O'Brien, Fred Niblo and others spoke.
'In the afternoon," Warrenton continued, "cars were provided to furnish the visitors a thirty mile light-seeing trip.
"Then came the ball, itself, rivalling the most magnificent scenes of Oriental splendor. It is said that twenty thousand people were in the auditorium and so it surely seemed. Probably never before in the country has so brilliant an assemblage turned out for any social event. The building was beauti- fully decorated and lighted. A band of 130 pieces provided the music for dancing and for musical acts. The program of 'big time' numbers, interspersed with dancing, was probably the most celebrated, as to personnel, which ever graced a platform. The stars performed amid the wildest enthusiasm on the part of the audience.
"The appearance of Anna Q. Nilsson, who played the lead in our picture, 'Flowing Gold,' was received with a tremendous ovation when she appeared as 'flowing gold,' in amber spots and flood lights which gilded her simple white moiret gown.
"Lillian Rich, in northern costume, led Strong- heart and his leading lady over the keys of the mam- moth typewriter. Pola Negri appeared as 'Mine. DuBarry,' in the original 'Passion' gown. Bill Hart, in western togs; Ben Turpin and Bennie Leonard in a boxing bout; the Loomis Twins in a skit; and nearly all the other big stars of Hollywood, made their appearance over the typewriter, amid deafen- ing applause.
"San Francisco has invited the Wampas to come again, and say it is a standing invitation. I'm glad I was there !"
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Eighteen
AMERICAN CINEM ATOGRAPHER
February, 1924
(Continued from Page 14) Uncle Sam's occupation they may remember the attack on the custom, house. Well, if you promise to keep it a secret I'll tell you that the attack had already transpired when I arrived in Vera Cruz. With the aid of Ensign Martin, of the U. S. S. Texas, and necessary permission and troops, the attack was reproduced perfectly — so perfectly in fact that our very keen editor in Jersey City took it for the real and original, and complimented me highly for it. Which goes to prove that the right sort of direction has its place in news reels, too.
Vera Cruz at the time was a riot of color — gen- erals, naval officers, beautiful women. Richard Harding Davis was there, but did not mix with the "boys" as Jack London did. Martial law was in effect. The late General Fred Funston was in com- mand and things gradually were returning to "nor- malcy" under his able command when, one day, Avhile at lunch with my brother photographers, a rumor reached us that the Mexicans were preparing for an attack on the water-works. We went immedi- ately to Gen. Funston's headquarters and were given permission to accompany the troops. The soldiers were on the way and doing double time up the nar- row guage railway. There was a dozen of us with cumbersome outfits which were mostly Grafiexes and other still cameras. Mine, with a tripod and an extra magazine, was the heaviest of all, and it was not an easy job to lug it double-time up-hill in trop- ical weather. It required a smarter man that 1 to suggest that we find a hand-car and let it work for us — and that man was Jim O'Hare of Collier's Weekly. How we did perspire pumping that hand- car.
Of course there wasn't any attack. Gen. Funston was a little too fast for them. The only attack that I experienced was one of "chiggers" which required a vaseline "bath" in the hospital to stem their on- slaught.
Quarantined in Galveston
We finally left Vera Cruz but my troubles were not over. When we arrived in the port of Galveston we had to remain aboard in quarantine a week — the U. S. in sight all the time — before we were per- mitted to land.
My next big assignment after that in Vera Cruz was relayed to me one day when I was in the Brown Palace Hotel in Denver. The telegram was very brief, instructing me to report to New York immedi- ately to go with the Giants and the White Sox on their tour around the world.
Around the World
I had no sooner arrived in New York when I was on my way, having assembled the necessary paraphernalia, for Vancouver, 11 C, from which we embarked on our long trip which took us through- out the Orient, Australia, Japan, Europe, until fi- nally Ave arrived in England to play before King George in London.
Nobility and masses alike turned out to see the Giants and the Sox play. Of course the scenes on this occasion were to be the most important on the trip. On the morning of the game I went out to look the grounds over in the company of McGraw, Germany Schaeffer and Tris Speaker. We found them placing a wire net before the box which the
king was to occupy so that he would be protected from foul balls.
Right Before the King
As soft focus photography was not in vogue ten years ago, I decided not to shoot through the net but determined to have a platform built inside the net and set up so that I could photograph the king in his direct line of vision. And you should have seen the platform that the navvies built. They used (Continued on Page 24)
Filmirigl Ladybirds Under the microscope
(Continued from Page 4)
ups and incidentally to reveal to a curious world what a curious creature the ladybug has the distinc- tion to be that it can find such a place that hitherto has escaped the ken of travelers.
One day was spent in getting the apparatus to- gether, the cameras set in the best possible posi- tions. The trip was too hard to permit the taking of lighting equipment or even of reflectors. The next day, at almost noon, precisely, the shooting of the lady-bugs began and continued for just forty minutes, when the sun sank behind the high western wall of the canyon and called it a day!
But for his laboratory purposes, Mr. Tolhurst brought back a sack containing 250,000 of the in] sects — according to Mr. Hatcher's trained eye — and these he now has enjoying the comfort of the labora- tory where everything possible is being done for their comfort and content. No birds appear to de- vour them and their ancient and hereditary enemy, the ant, does not break through to carry on the feud which if it could only be allayed would be of ines- timable service to agriculturalistsJfor the ant pro- tects the kind of aphis which the ladybug devours and the ant is very fond of the larvae of the lady- bird which it eats as soon as possible after it has been hatched.
Here in the laboratory on twigs and boughs taken from the high canyon home of the wintering lady- bugs, and in soil dug from the place, Mr. Tolhurst is making his microscopic studies of the life of the lady-bug during the period of its annual sleep and from which it will awaken onh' to begin another generation of ladybugs, after which biological duty it will lay down and die!
The ground, provided by Mr. Tolhurst in a room adjoining his laboratory, is filled with shrubbery brought from the mountain home of the ladybug. A little sunlight is admitted each day and during that period, the insects awaken from their torpor and! move about in their multitudinous number taking their places on the shrubbery till the cold calls them back to their infinite companionship and sleep.
During the winter in their regular home they freeze solid at night; but this is trying on their con-l stitutions and only the very fittest survive. Mr. Tolhurst believes that with the care his specimens, are receiving in their new caravansery, the death rate will be materially reduced, for while they re-J quire cold for their hibernation, they do not require] too much cold. Yet they are forced into choice on such places because while the cold kills a great many of them it keeps all warring insects away entirely.
But how do they find their way to these inacces-j sible spots? What guides them? What impels
)ruary, 1924
AMERICAN CINEMATOGRAPHER Nineteen
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them? No ladybug that goes there has ever been there before, for only the generation that survives :he fall— and that is the third of the year — seeks the printer home and after the long sleep will die as soon is the business of reproduction has been attended to. Yet each year these insects, utter strangers to :he spot, find their way in swarms, according to Calvin Hatcher who found them there several years igo and conceived the idea of commercializing his Knowledge of their habits. Remember too that all scientists agree that though the insect is provided vith eyes of extraordinary complications and mar- velous adjustment, no insect can see clearly for a listance of more than six or eight feet! Yet they ravel miles and miles from pleasant orchard levels o forbidding mountain heights and find unerringly he spot best suited to the survival of the greatest wssible number!
Perhaps in the course of his inquiries into their structure, Mr. Tolhurst will hit upon the secret vhich has, till now, remained one of the deepest of ill those mysteries which are wrapped up in the se- :rets of life.
In any event it ought to be gratifying information :o experimenters generally in the field of cinema- ography to know that the screen is being enriched >y such inquiries and enlivened by such disclosures is are resulting from Sol Lessers enterprise in pre- senting to motion picture lovers, the "secrets of ife" as they are uncovered by Louis H. Tolhurst.
■1 Problems in Motion Picture Laboratories
(Continued from Page 12) U. S. Government Special Denatured Alcohol No. 19 which is composed of equal parts grain alcohol and ether may be used to replace the first two for- mula items. Replace with two liters (04 ozs.).
FORMULA 2
96 ozs. Acetone (pure) 3-liters
6% ozs. Chloroform 200-mils. (c.c)
2 2-3 ozs. Acetie Acid (glacial) 80-mils. (c.c)
Notes: The solution may be put up in a 4 liter (one gallon) bottle. Formulae 1 and 2 are clean working and may be used for either negatives or positives.
FORMULA 3 1V2 ozs. (a) Acetic Acid (glacial) 225 mils, (c.c.) 90 grains Celluloid 6 grams
96 ozs. (b) Acetone pure 3 liters
6% ozs. Chloroform 200 mils, (c.c.)
For the celluloid, motion picture stock may be used. The gelatin is completely removed in hot water, washed clean and wiped dry. A quantity should be prepared at one washing and hung up in suitable lengths to dry.
The required weight of celluloid is put into a half liter flask and covered with the acetic acid. Do not cut the celluloid in small strips. Crush it in the hand ; it will dissolve more readily. Shake the flask with a rotary motion until the celluloid has softened to a jelly like mass. Nearly fill the flask with some of the solution "b," stir to complete solution and add to the bulk of solution "b."
Twenty
AMERICAN CINEM ATOGR APHER
February, 1924
For easier mixing allow the acid to act upon the celluloid over night. Keep the cement in a cool, dry place and well stoppered.
Notes : The excess cement used in splicing dries up leaving the celluloid behind; this must be re- moved frequently. Should the celluloid collect on the clamp the scraper may not function properly. A mistake often made is to reset the scraper knife for a deeper cut when to clean the clamp is all that is necessary. Bearing in mind the need for frequent cleaning of the machine the celluloid in the formula may be increased up to 18 grams with good results.
This cement will serve for both regular cinemato- graph and "safety" or non-inflammable film but is not so well suited for negative splicing as formulae 1 and 2.
In order to better understand the treatment of the subject illustrated on plate one we will give a brief description of the manner in which these ce- ments perform.
When applied to the scraped section of the splice the cement softens and dissolves some of the cellu- loid base while the acetic acid also softens traces of gelatin which may be present. Acetone and chloro- form evaporate at comparatively low temperatures. Acetic acid and amy] acetate require much higher temperatures for evaporation. The boiling points of the separate ingredients are:
BOILING POINTS IN DEGREES CENTIGRADE
Ml'
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|
Acetone |
56.50 |
|
Chloroform |
61.20 |
|
Ether (ethyl) |
34.97 |
|
Alcohol (ethyl) |
78.40 |
|
Amyl Acetete |
148.00 |
|
Acetic Acid |
118.00 |
When these ingredients are mixed the boiling point of the compound solution is different from that of any of its component parts, nevertheless, the low boilers will generally pass away from the solution more rapidly so that the first portions driven off are richer in the more volatile constituents. Thus it is, that when the low boilers have evaporated there still remain the high boiler constituents of the ce- ment which, by virtue, of their smaller quantity have a relatively higher concentration of celluloid, forming a thick gummy cement in the splice. To all appearances the cement dries rapidly but in fact the celluloid dissolved from the stock or that intro- duced in the compound remains soft for some time after the splice is completed. It is this compara- tively slow drying which prevents shrinkage and secures the splice.
The Splice It must be evident from the foregoing, that the rate of drying will depend upon the proportion of high and low boilers in the mixture and that this rate may be controlled by varying the proportion. Formula No. 2 for example, will dry more rapidly than either formula No. 1 or No. :>. New stock may be spliced with a fast drying cement. There is some danger of shrinkage and curl from the heat of the projector hut for negative splicing this objection does not hold. The slower drying cements will do much better on old stock. Formula No. 1 has the best average composition for all work.
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February, 1924
AMERICAN CINEM ATOGRAPHER
Twenty-one
The best cement in the world will fail if the me- chanical part of the work is faulty while any good solvent of celluloid will answer when the mechanical operations are correct.
We must assume that the splicing machine is in good order, the alignment correct, pressure ample and the parts clean. We may now examine Plate One. tig. A and B. These represent an end view of a strip of motion picture film greatly enlarged. Fig. A at the top shows the gelatin removed with the straight edge scraper in common use which leaves a sharp corner at "a." This is a weak spot which tfter one or two projections may develop a crack in the celluloid as shown in the figure.
Fig. B illustrates the appearance of the section scraped with a knife the left hand corner of which has been slightly rounded off. This simple expedi- ent greatly strengthens the splice.
Figs. C and I) require a word of explanation. When the gelatin is scraped from the film there is
left a rough surface of celluloid which is exposed to the action of the cement. A thin layer of this celluloid is quickly dissolved. If the cement is brushed on with a rubbing action, as when applying paint, to any surface, then the dissolved celluloid is intimately mixed with the solvent the latter thereby becoming practically saturated with celluloid. In this condition the cement has lost its effectiveness; first, because of this concentration, the cement can not soften the upper part of the section to be spliced and secondly, the air cannot be squeezed out with the pressure plate. A splice with air bells in it can- not hold together. Fig. C at "x" shows the appear- ance of the cement when rubbed on, the shaded area represents dissolved celluloid.
Fig. 1) at "y" shows the appearance of the cement Boated on. The procedure of '•floating" as we term it. consists of oik- stroke of the brush allowing only the tip to touch the film. A small ribbon of cement is thus flowed on which assumes the convex form as shown. In this condition the softened layer of celluloid remains undisturbed while some of the sol- vent is fiee to act upon the other end to be spliced. When the clamp is brought down, the air is com- pletely expelled leaving a clean well made splice. Some of the more important considerations relative to splicing are given below.
Rapid evaporation of cement induced by: 1 — Splicing machine too hot.
2 — Air blowing across the work from, (a i An open window, i b i an electric fan.
:! — Room too warm.
4 — Machine operator too slow.
The pressure plate must be brought down imme- diately after applying cement.
5 — Not enough cement applied. The brush should hold enough to run off in a thin ribbon with one stroke.
6 — Cement unduly exposed to air.
(Ccntinued on Page 22;
7he Ultrastigmat-/! .9
Speed, flatness of field ana §j
critically sharp definition |§
are features of this perfect i
lens for Motion Picture 1
CamerasI Effects can be |
secured with this lens under j|
conditions which would yield (
no results with lenses of H smaller aperture.
Ask your dealer for descriptive folder — orfnTALLl
JIN THeI"
GUNDLACH-MANHATTAN OPTICAL CO., VLENS/ Clinton Ave., South Rochester, N. Y.
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BASS
CHICAGO
Buys, Sells, Exchanges Cameras, Printers, Lenses
Complete Stocks
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Are now popular from coast to coast, and in some foreign countries.
If my many varieties do not always fill the bill, tell me your wants and I will make them on special order.
Always at your service.
GEO. H. SCHEIBE 1636 Lemoyne St. Los Angeles, Cal.
Kill Ml
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| ROY DAVIDGE &c CO. |
FILM LABORATORIES
(Formerly Harold Bell Wright Laboratories) NOW LOCATED AT
| 201 N, OCCIDENTAL BLVD. | REALART STUDIO
PHONE DREXEL 6322
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FOR RENT
Two Bell and Howell Cameras, 40, 50, 75 mm. j§ lenses, Thalhammer iris. Jean Trebaol, Jr., 7042 ( m Stilson Street, Palms, Calif. Telephone 761-243.
IlllMIIIIIIII
Twenty-two
AMERICAN CINEMATOGRAPHER
February, 1924
Max Du Pont, A. S. C. Off
to Tahiti For Long Rest
m
Max B. Du Pont, A. S. C.
Max P>. Du Pont, A. S. C, has loft for Papeete, Tahiti, where it is expected that he will remain for more than a year for a long rest to regain his health.
Dn Pont is one of the most versatile and efficient cinematographers in the profession and it is the hope of A. S. C. memhers and his many friends that his health will permit his return to Southern Cali- fornia a long time ere the expected year goes by.
For some time before his departure his production schedule was very heavy and it is believed that his rest will enable him to recover rapidly from the strain of overwork so that he may once again be back in the cinematographic fold in Hollywood.
(Continued from Page 21) Mechanical "DontV
Do not apply cement with the flat of the brush, use the tip only.
Avoid rubbing back and forth as if painting.
Applying a second coat of cement is not good practice. Cut off if possible and start fresh.
Do not reset the scraper knife without first seeing if the machine parts are clean.
It is advisable to acquaint the worker with the why and wherefore of each operation. The brain is enlisted as well as the hands. An operator who understands why things are done will think about the work and be all the better for it. A Cement Bottle
Work bench cement bottles are usually messy sort of things — a brush stuck in a loose fitting cork the cement being for the most part exposed to the air. On plate 2 we suggest a type of bottle not open to these objections. The base may be a block of wood bored for a snng fit or the bottle may be wound with some waste film to the required diameter. After
winding the end is secured and the top and bottom of the winding brushed over with splicing cement and dried. The Gooch funnel may be secured from dealers in chemical glassware. It is best to order the funnel cut off as shown, in fact, the entire as- sembly can be ordered to specification at a nominal price. If desired, the stem of the funnel need not be cut off in which case it will be necessary to cut a small V in the large cork to serve as a vent. The bottle may then be refilled through the funnel with- out disturbing the arrangements except for the pur- pose of cleaning. With this design only a small area of cement is exposed to air and moisture. The large opening of the funnel permits easy return to the brush — it will fall of its own weight to the depth allowed by the small cork fitted to the brush which depth is fixed by the position of the cork on the brush handle.
The drawing shows a Gooch funnel of stock dimen- sions. The dotted lines top and bottom indicate the lengths to be cut off. The assembly is self explana- tory.
In this presentation as stated in the beginning, we have endeavored to deal not so much with spe- cific problems nor to suggest definite solutions but to sketch a few types with examples to serve as illus- trations. Perhaps it will only be necessary to study these examples and apply them as functions of the type in order to solve many laboratory problems.
Without doubt, all this is known to some but like Abe Lincoln's "fooling some of the people all of the time — " some may know it all, all may know some of it and it is hoped that amongst those who still have something to learn will be found a few to whom this studv will be of service.
NOTICE!
Until completion of the Ameri- can Society of Cinematographers' new headquarters in the Guaranty Building, Hollywood, A. S. C. offices, by courtesy of the Electrical Illuminating Engineers Society, will be maintained at the E. I. E. S. quar- ters at 1103 N. El Centro Street, near Santa Monica Boulevard, Hollywood, Calif. All communica- tions to the American Society of Cinematographers as well as to the American Cinematographer should be directed after February 1st, to that address where A. S. C. meet- ings will be held until the opening of the Guaranty Building.
January, 1924
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AMERICAN CINEM ATOGR APHER
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Twenty-three
' :.■■',. iiliKII'O
a
inomo
IHE ICA KINAMO may be rightfully designated as a semi-professional motion picture or cine camera — professional for the reason that it uses standard size film, its capacity being eighty feet, ample for news, educational and indus- trial features. The used roll can be removed and a new one inserted ready for use within less than thirty seconds — a professional necessity.
The lens is the Carl Zeiss Tessar / 3.5, the lens with which the best feature films have been made. It is fitted with the Zeiss focusing mount, with distances in feet and diaphragm markings.
Like the better professional cameras, the Kinamo is fitted with scene punch, footage indicator, removable film gate and one-stop movement.
It is professional in its construction, and the easily operated, quiet running mechanism is characteristic of the best professional cameras.
Its size over all is 2%x5^2x6^ and it weighs but 3*4 pounds.
Each Kinamo is furnished with a substantial tri- pod. The price of the Model "A", accommodating 50 feet of film, is $125.00, and the "B", having capacity for 80 feet, is $135.00.
The Kinamo is sold by leading camera dealers. Write for the Kinamo catalog and let us know your motion picture requirements.
HAROLD M. BENNETT, U. S. Agent, 153 West 23rd street, New York
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(Continued from Page 16)
much havoc in the Lamasery, fi- nally going to a nearby Christian mission in Leh, where he applied for admission. They kept him around the [Mission Compound do- ing odd jobs for the course of over a year while he turned a deaf ear to the entreaties of the Lamas who gathered daily outside the Mission Compound, bringing many presents of fruit and jewels and beseeching him to return to his incarnated post as their Skushok. Finally after the Bishop of the Christian Mission Church had re- fused to confirm him as a Chris- tian, he went off on a journey across the mountains and was last heard of working on the highway trails of the Public Works Department for the Kash- mir government, which was a most amusing and extraordinary
occurrence in these parts and was to me, the most striking example of the "courage of one's convic- tions" that I have ever known.
Sheep Caravans
In Leh, the capital of Ladakh, which is the center of Western Lamaism, large caravans come from Eastern Tibet, Yarkand. and the provinces of Chinese Turkis- tan, bringing native goods for trading. These caravans present a strange sight, consisting chiefly of yak transport although some- times an entire caravan will be seen coming over the mountains with sheep and goats as (he only beast of burden; with 20 pounds strapped to the back of each of the flock that has traveled hun- dreds of miles across the moun- tains grazing as they go. The owners generally dispose of both
the burdens and the sheep upon their arrival in Leh. I shall never forget the first caravan I met on one of the Himalayan Basses com- posed entirely of sheep and the long-haired Himalayan goat, from which goat the very fine peshmina, wools and shawls of Kashmir are woven and for which Kashmir is famous.
I shall always remember La- dakh as one of the most interest- ing spots I have ever visited, but nothing could be more pleasing or gratifying than the sight of the "Vale of Kashmir" upon by re- turn to this land of comfort and pleasure. It was indeed good to get back to Sprinagar after three months' absence and again enjoy the charm and pleasures of a "floating-palace" of one's own in the most beautiful spot in the world.
Twenty-four
AMERICAN CINEM ATOGR APHER
February, 1924
John Boyle, A. S. C. Ready to
Shoot "Ben Hur" in Italy
John W. Boyle, A. S. C.
Gossip of European cinematographic activities is contained in a letter to the American Society of Cinematographers from John Boyle, A. S. G, who writes from Rome where he is preparing for the film- ing of Goldwyn's production of ''Ken Hur.1"
"I wish Tony Gaudio were over here," Boyle writes. "He could save me a lot of argument with some of his countrymen — my Italian is very poor; however they are a great bunch of people and arc treating us royally. Our Christmas dinner, at the home of an Italian, lasted from 8 p. m. to midnight — some hospitable Latins, I'll say.
"So far we have not decided just where we will work. The studios are all too small and lighting equipment very limited. Rome is somewhat like Los Angeles in regards to climate. We have had some freezing weather for the past few days, but the na- tives say it is 'very unusual'."
"Roy Overbaugh is up at Florence and shooting for the Inspiration Company. Have not seen him but hope to be up that way in the near future, but suppose they are finished by now. Bob Kurrle is down in Algiers according to the Paris papers which we receive here 'two days old.'
"There is very little production under way here by the Italians or anyone else; understand they are making 'Quo Yadis' over again but have not seen them at work.
"The theatres are few and small — few American pictures, mostly German and Italian. Saw the open ing of 'Robin Hood' which was quite an event. It was the first time a picture had been run with a spe- cial musical score. They seemed to enjoy it very much; in fact, it was exhibited at the same theatre
for four weeks which is exceptional in this part of the world.
"I note the letter you received from the Roosevelt Memorial Association in reference to pictures of the late president; having made a picture with Colonel Roosevelt some years ago in the South, I am writing to Mr. John M. Parker, now governor of Louisiana, with whom I made the picture. If my memory serves me right he has a copy of the print as well as the negative. I am also writing to the boys who 'in- herited' all my old negatives in New Orleans with the hope that the picture will be located."
(Continued from Page 18) enough timber to support half of the English army.
Being the only motion picture photographer in the field, I had things pretty much my own way as the 50,000 assembled to see the game and await the arrival of the king. Just as the ruler of the Britons was due to be there, I slipped inside the net and set up.
Scotland Yard Objected
The king was moving toward his box when I felt a tug on my trouser leg. One glance downward told me that the gentleman who was doing the pulling was a typical Scotland Yard detective. He wanted to know what I intended doing with "that jolly box." I told him that I was the official photographer with the ball teams and meant to take the king's picture.
Not Being Done
I was keeping my eye peeled for the king while the detective expostulated and protested that "you cawn't do that, you know." It was a degrading bit of sacrilege to obstruct the view of his majesty, the representative of the police told me.
McGraw As Diplomat
McGraw, who was below, immeditely compre- hended the situation and he drew the detective to the side. He was telling him why Honus Wagner drank beer or something as vaguely interesting as the king drew near the box and as I began grinding on him.
Comisky Talks Off Detective
McGraw's eloquence beginning to wane, Charley Comisky, "the noblest Roman of them all," tried his hand at it, while McGraw was being introduced to the king by Ambassador Page.
McGlyn Takes Up Argument
But it was soon Comisky's turn to be introduced, so Frank McGlyn, who had been a director for the Edison company and who is now known as the cre- ator of Drinkwater's role of Lincoln, took his turn with the Scotland Yard man. He argued with him long enough for me to complete my unbroken record of the proceedings. McGraw winked at me from the king's box.
McGlyn ran out of explanations just about that time and the detective came to the sudden realiza- tion that the Yankee had been grinding on the king all the while. He grabbed my ankle and jerked me to the ground, and the platform came down pronto.
I did not notice whether King George objected to being filmed but I rather think lie liked it.
February, 1924
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AMERICAN CINEMATOGRAPHER
Twenty-flv«
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RELEASES
December 15th, 1923 to January 12th, 1924
TITLE
"The Grail"
"The Man Life Passed By"
"The Call of the Canyon"
"Lucretia Lombard"
"His Mystery Girl"
"The Old Fool"
"The Marriage Market"
"The Governor's Lady"
"The Veil of Happiness"
"The Supreme Test"
"Judgment of the Storm"
"Broadway Broke"
"Big Brother"
"Boy of Mine"
"A Prince of a King"
"Other Men's Daughters"
"Don't Call It Love"
"The Steadfast Heart"
"Llook and Ladder"
"The Rendezvous"
"West of the Water Tower"
"The Lullaby"
"Three Miles Out"
"Gentle Julia"
"Grit"
"Restless Wives"
"The Great White Way"
"The Song of Love" "The Heart Bandit" "Black Oxen" "Defying Destiny" "The Whispered Name" "Phantom Justice" "Reno"
PHOTOGRAPHED BY
Jos. Brotherton, member A. S. C.
Chester Lyons.
James Howe.
David Abel, member A. S. C.
William Thornley.
Ned Van Buren, member A. S. C.
King Gray, member A. S. C.
Joe Ruttenberg.
Not Credited.
Not Credited.
Max Du Pont, member A. S. C.
Bert Dawley
Hal Rosson
Not Credited.
Harry Thorpe, member A. S. C.
Eddie Lindon and Jack Stevens.
L. Guy Wilky, member A. S. C.
George Peters.
Virgil Miller.
David Kesson.
Harry B. Harris.
Jack McKenzie.
Henry Cronjager, member A. S. C.
George Post.
Fred Waller.
Jack Brown.
Harold Wenstrom and Henry Cronjager, member A. S. C.
Tony Gaudio, member A. S. C.
John Arnold, member A. S. C.
Norbert Brodin. member A. S. C.
Lenwood Abbott.
Jackson J. Rose, member A. S. C.
Jack W. Fuqua.
John Mescall.
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Twenty-six
AMERICAN CINEM ATOGRAPHER
February, 1924
H. Lyman Broening, A. S. C, will leave shortly for San Mateo, Calif., where he will be chief cinema- tographer for the Max Graf production, "The Wise Son."
The photography of Robert Kurrle, A. S. C, and Broening is coming in for lavish commendation in the Rockett-Lincoln production of "Abraham Lin- coln" which is reported to have taken New York by storm at its recent opening at the Gaiety theatre after having won the praise of President Coolidge at a private showing at the White House during the
holidavs.
* * *
John Arnold, A. S. C, is photographing Viola Dana in her latest Metro feature, "Woman's Intui- tion."
* * *
Norbert Brodin, A. S. C, has completed the first month of the filming of "The Sea Hawk," Frank Lloyd's production for First National.
Brodin enlisted the services of Gilbert Warrenton, Faxon Dean and H. Lyman Broening, all A. S. C. members, for the filming of important scenes on the high seas off Los Angeles recently.
Karl Brown, A. S. C, is back in Hollywood from a location trip in the southern Mississippi river coun- try for the filming of James Cruze's production, "Magnolia."
Brown has just completed the erection of his mag- nificent new home in the hills of Hollywood that is a revelation in superior architecture and construc- tion.
It is complete to the finest detail, and, indicative of Brown's student and experimental bent, contains a well-equipped dark-room wherein he may retire to pave the way for making future photography in Cruze productions greater than even that of the
past.
* * *
Joseph Dubray, A. S. C, is enjoying a well-earned rest after more than a year of continuous activity
at the R-C studios.
* * *
Arthur Edeson, Philip H. Whitman and Kenneth MacLean, all A. S. C. members, are winding up the photography on Douglas Fairbanks' "The Thief of Bagdad," after more than 32 weeks of filming.
Frank B. Good, A. S. C., has completed the camera work on "The Boy of Flanders," starring Jackie Coogan.
Robert Kurrle, A. S. C., in his latest letter, post- marked "Constantine," writes as follows :
"Arrived here last night, 150 miles south of Biskra. Using 300 camels this morning on the sand dunes. This is the most picturesque oasis that I have seen yet. The days are warm and the nights very cold. Accommodations are fair, but rather dif- ficult to get along with candle light. Will be here
for one week."
* * . *
Victor Milner, A. S. G, has been kept busy super- vising the making of release prints for Fred Niblo's
production of photographed.
'Thv Name Is Woman," which he
Robert Newhard, A. S. C, has left on location for Coolin, Idaho, for the filming of the latest Nell Ship- man production.
* * *
Stephen S. Norton, A. S. C., will shortly begin the filming of his next production for Ince.
* * *
Paul P. Perry, A. S. G, is photographing a Lam- bert Hillyer production for Ince.
* * iii
Jakson J. Rose, A. S. C, is filming Laura La Plante in the Universal production, "An Old Man's
Darling."
* * *
A confusion of names combined with a typograph- ical error in this department last month made it appear as if Dan Clark, A. S. C, was filming a picture at Universal when he was really shooting the latest Tom Mix production.
* * *
John Stumar, A. S. G, is making preparations for the filming of "How To Educate a Wife," which William Seiter will direct for Warner Bros.
Charles Rosher, A. S. C, has completed the cam- era work on Marv Pickford's "Dorothy Vernon of
Haddon Hall."
* * *
George Schneiderman, A. S. C. is in Wadsworth, Nevada, on location, filming the Fox production, "The Transcontinental Railroad."
* * *
Henry Sharp, A. S. G, has passed the second month in the photographing of John Griffith Wray's production of "Against the Rules" for Ince.
* * *
James Van Trees, A. S. C, has completed filming of "Lilies of the Field" for First National.
iK
HOW TO LOCATE MEMBERS OF THE
American Society of Cinematographers
Phone Holly 4404
OFFICERS
James C. Van Trees John F. Seitz Charles Van Enger Victor Milner Frank B. Good Philip H. Whitman
President
First Vice-President
Second Vice-President
Third Vice-President
Treasurer
Secretary
Gaetano Gandio Victor Milner Walter Griffin James Van Trees Resinald Lyons
BOARD OF GOVERNORS
Frank B. Good Fred W. Jackman Jackson J. Rose Charles Stumar Homer A. Scott
Abel. David — with Warner Brothers.
Arnold. John — with Viola Dana, Metro Studio.
Barlatier. Andre —
Barnes, George S. — with Cosmopolitan, New York.
Beckway, Wm. — with Capt. Corlett, Mexico.
Kenoit. Georges — Belasco Prod., United Studios.
Broening-, H. Lyman — Photographing- "The Wise Son,"
Max Graf Prod., San Mateo. Boyle. John W. — with Charles Brabin, Rome. Brodin. Norbert F. — Frank Lloyd Prods., First National,
United Studios. Brotherton, Joseph —
Brown. Karl — with Jamear Cruze, Lasky Studio. ('aim, Bert — Europe, ("lark, Dan — with Tom Mix, Fox.
Corby, Francis — with Hamilton-White, Fine Arts Studios. Cowling, Herford T. — Travel Pictures, Asia. Cronjager, Henry — with Lasky Studio, New York. Dean, Faxon M. — with Joe Henabery, Lasky Studio. Doran, Robert S. — with Roach Studio. Dored, John — Scenic, Russia. Pathe. Dubray, Joseph A. — with R-C Studio. DuPar, F. B. — with Warner Brothers. Du Pont. Max B.— Tahiti. Edeson. Arthur — with Douglas Fairbanks, Fairbanks-
Piekford Studio. Evans, Perry —
Fildew. William — with Irving Cummings, Universal. Fisher, Ross G. — with A. J. Brown Prods., Russell Studio. Gandio. Tony G. — with Norma Talmadge, Joseph Schenck
Productions, United Studio GilkS, Alfred — with Sam Wood, Lasky Studio. Good, Frank B. — with Jackie Cooeran. Metro Studio. Granville. Fred L. — directing, British International Corp.,
London. Gray, King — Wilnat Studios. Griffin. Walter L.—
Guissart, Rene — with J. Parker Read. Monte Carlo. Heimerl, Alois G. —
Jackman, Floyd — with Fred Jackman, Roach Studio. Jackman, Fred W. — directing. Roach Studio. Koenekamp, Hans F. — with Larry Semon. Kull. Edward — with Universal. Kurrle. Robert — Edwin Carewe, Africa. Landers. Sam — with first National, United Studio. Lockwood, J. R. —
Edison. Thomas A. — Honorary
Paul Perry Charles Van Fngcr George Schneiderman Philip H. Whitman L. Guy Wilky
-with Harold Lloyd Prods.. Hollywood
Lundin. Walter- Studios.
Lyons, Reginald E. —
MacLean, Kenneth G. — with Douglas Fail-banks.
Marshall, William — with Carlos Productions.
Meehan, George — with Jack White Corp.. Fine Arts
Studio. Milner, Victor — with Fred Niblo. Chine's Studio. Morgan, Ira H. — Marion Davies. Cosmopolitan, New York. Newhard, Robert S. — Nell Shipman Prods., Coolin, Idaho. Norton, Stephen S. — with Ince Studio. Overbaugh. Roy F. — New York City. Palmer, Ernest S. — LeFicard. Marcel — New York.
Perry, Harry — with Preferred Prnds.. Mayer Studio. Perry. Paul P. — with Lambert Hillver, Ince Studio. Polito, Sol— Ries, Park, J.— Rizard. Georges —
Rose, Jackson — With King Baggott. Universal Studio. Rosher. Charles— With Mary Pickfoid, l'iekford-Fair-
banks Studio. Schneiderman. George — Fox Studio. Scott, Homer —
Seitz, John F. — With Rex Ingram. Europe. Sharp, Henrv — With Ince Studio. Short, Don— With Fox Studio. Smith. Steve, Jr. — With Vitagraph Studio. Steene. E. Burton — New York. Stumar, John — With Wm. Seiter. Warner Bros. Stumar, Charles — with Hobart Henley, Universal. Thorpe. Harry — Totheroh, Rollie H.— With Charlie Chaplin, Chaplin
Studio. Van Buren, Ned — In New York.
Van Enger, Charles — with Ernst Lubitsch, Warner Bros. Van Trees, James — with John Francis Dillion, United
Studios.
Walter. R. W. — With Mack Sennet Productions, Sennett
Studio. Warrenton, Gilbert — With First National. United Studios. Whitman, Philip H. — With Douglas Fairbanks, Fair-
banks-Pickford Stud in. Wilky, L. Guy— With William De Mille, Lasky Studio. Member.
Paley. William "Daddy" — Honorary Member. Webb. Arthur C. — Attorney. Meetings of the American Society of Cinematographers are held every Monday evening. On the first and the third Monday of each month the open meeting is held; and on the second and the fourth, the meeting of the Board of Governors.
LOYALTY
PROGRESS
ART
K
a
:::
oAre "Steady" Pictures Necessary?
TUFA' CERTAINLY ARE, and the requirements in a camera necessary to make steady pictures, is mainly the functioning of a properly constructed film moving mechanism.
THE MITCHELL HAS SUCH A MECHANISM
To the cameraman it is not important how this mechanism is constructed, as long as it gives him the desired results.
That it does give the results, is attested by the leading cameramen in our Hollywood studios, who are drawing top notch salaries as the leaders in their profession, and who are making the Super Pictures of today.
In the selection of a camera, your question should be, "Will it do the work?" rather than, "By what means does it do the work?'' and Avhen you know that MITCHELL will do the work, and that it is guaranteed to do the work, you can rest in the assurance that it will pass any test required in the making of the BETTER PICTURES.
HOWEVER, to the inquisitive minded cameraman, who is interested in the mechanical construction, we extend a cordial invitation to join us in a discus- sion of the vital points, and we know it will be appreciated by him to find
that it is made right.
We know that it is made right, will do the work, and will stand up. We are rather proud of this mechanism, and it is a pleasure for us to guar- antee it.
MITCHELL CAMERA CORPORATION 6025 Santa Monica Boulevard Los Angeles, Cal.
Uol. 1U No. 12
March, 1924
25 Cents A Copu
CvV^^^Ng^^^^
American Cinematoqrapher
Published by the American Society of Cinematographers, Inc.
This Month
Slow ITlotion As Educational Power
By Fred Niblo
Composition and Prize "Stills"
Urge Need For Qood Publicity "Stills"
PUBLISHED IN HOLLYWOOD CALIFORNIA
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There has NEVER been any QUESTION but that TRUE FRIENDSHIP in BUSINESS
LASTS ONLY
when SERVICE and QUALITY are GIVEN
There has NEVER been any QUESTION as to PREFERENCE after
ONE TRIAL
WITH THE
STANDARD WAY in Hollywood
Standard "Film Laboratories
//u°"Jooce Seward 'ana 'ffomamo Streets
°uJ-Q6 Hollywood Gili/brma
fSfat^cfarcf Trials
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Vol. IV MARCH, 1924 No. 12 I
American Cinematographer
The Uoice of the Ttlotion Picture Cameramen of America; the men u?ho make the pictures
FOSTER GOSS, Editor and Business Manager
Board of Editors— VICTOR MILNER, H. LYMAN BROENING. KARL BROWN, PHILIP H. WHITMAN
ALFRED B. HITCHINS, Ph. D., F. R. P. S., F. R. M. S., F. C. S., Associate Editor
Contents:
Page
Slow Motion As Educational Power— By FRED NIBLO . . . /
Cine Light— By DOUGLAS E. BROWN .... 5
Comfosition and Prize Stills . . . . . .7
Guissart Returns from Montr Carlo . .... 8
I rrge Need for Good Publicity Stills . . . . .9
The Editors1 Corner . . . . . . .10
Of Interest to Theatre Managers . . . . . .12
Fred and Floyd Jackman in New Achievement . . .15
Reggie Lyons, A. S. C, Re-Joins J . Stuart Blackton . . .18
Department of Interior Films to Fight Disaster . . . . IS
To Experiment with Color on 1924 Mt. Everest Climb . . . 20
In Camerafornia ....... 25
Releases ......... 26
A. S. C. Roster ....... 27
An educational and instructive publication, espousing progress and art in motion picture photography. Published monthly by The American Society of Clnematographers, Inc.
Subscription terms: United States, $3.00 a year; Canada, $3.50 a year; foreign, $4.00 a year; single copies, 25 cents. Advertising rates on application.
Los Angeles, California Telephone, Hollywood 4404
(Copyright, 1924, by The American Society of Cinematographers, Inc.)
Four
AMERICAN CINEM ATOGRAPHER
February, 1924
SIoxd Motion As Educational Pouter
Tloted director sees sloip motion cinematographic as great instruction factor
Dij Fred Iliblo
m. P. D. A. President recognizes motion pictures
as educ at ion's all
Slow motion photography pre- sents to me the most interesting as well as the most scientific cinema discovery since the very beginning of picture making. The scope it covers is wide beyond con- ception; its educational value is unlimited and T firmly believe it will prove in a short time to be the greatest and most effective method of teaching. The possibi- lities of the various ways in which it may be further developed, are overwhelming.
Educational Power
Each year the screen conies to mean more in an educational way. It is a natural guide, for it has been proven conclusively that the eye carries a more definite impres- sion than the ear. We may hear a thing and forget it. But rarely do we see an object and not have it make a deep stamp upon our subconscious as well as our con- scions minds.
Scope of Slow Motion
As an illustration of the greal scope of slow motion photography take for example, a hospital clinic. During the performance of an operation the students in the back of the auditorium, those sitting in the balconies and galleries are abb1 to bear the lecture accom- panying the operation. By slow motion pictures even a more vivid impression of what is taking place may be given, (ban the naked eye could possibly discern, for slow motion photography shows the act at such a rate of speed that not even the fraction of a move is missed.
Think of what it would mean to a group of medical students to be aide lo go into a projection ii'oni and I here see an operation performed in the most minute de- tail, to he able to view that op- eration again and again, until ihev became letter perfect in their
special line of surgical work. The surety of that camera picture
would mean more to them than all the lectures they might listen lo during a lifetime.
In the School
A child's school lessons might lie made most attractive to him by leaching with slow motion pic- tures. Getting him interested and then by repetition be could ac- quire that which might he difficult for him to learn otherwise.
In World of Sport
Slow motion photography could actually teach one the intricacies of any sport in the world. II would mean much to a tennis de- votee to watch a tennis champion
Niblo, master director of the drama, emphasizes (/real field which slow million cine- matography can serve in in- structing students of surg- ery, medicine and general science — <tlso has place in elementary studies.
in action from the screen — the handling of the racquet — the stroking of the ball — the constant watching with the eye would make one more accurate when going upon the court. The same is true of golf; of baseball ; of swimming. Personally, 1 never grow tired of watching slow motion piclures. Whatever they reveal carries a lesson, one which is taken with one upon leaving the theater. They make a deep impression and a lasting one. Of all the cinematic discoveries since the beginning of picture making they hold, I be- lieve, a bigger future, a more definite place a n d something which seems destined to go on down through the ages.
Remember 1
Temporary oA. S. C. headquarters, until completion of neiv Guaranty Building,
are located at
1103 No. El Centro HOLLYWOOD
March, 1924
AMERICAN CINEMATOGRAPHER
Five
Cine
Lig K t
Dij Douqlas E. Broum
From ^Transactions,
Society of ITlotion
Picture Enqineers
CJOO
SPECTRAL DISTRIBUTION CURVES Diagram One
A. Photographic Negative Material.
B. Transmission of Glass.
C. Relative Energy of Source.
D. Visibility Curve
E. Visible Brightness.
F. Sensitivity Curve of Camera.
G. Photic Reflection
TOO
SPECTRAL DISTRIBUTION CURVES Diagram Two
E. Boundary of the area derived in Dia- gram One. which describes the state of maximum brightness for a unit of of surface reflecting a unit quantity of energy, drawn to the same scale as
G. Boundary of the area which under the given conditions, describes the state of maximum photic reflection for a unit of surface reflecting a unit quantity of energy.
The cameraman in the studio
runs two machines. The lights bombard surfaces w i t h radi- ant energy. The camera records the time-space-intensity distribu- tion of a selected portion of the energy these surfaces reflect. No cameraman can have more deli- cate control over this double mechanism than the delicacy of liis control of the lights. So. un- less the light machine is a trifle better than the camera, the studio is going to feel that light is no better than a necessary evil.
The cameraman still clings to the crank, his ancienl sign of power, but he is become of value to the art in direct proportion to his mastery of light. The light machine will lie controlled al the camera by tlie cameraman. More than one lighl source will, except in special cases, be required, but I lie number of sources used during the photography of any scene will not depend on the total photic flux demanded by I lie sensitivity of the emulsion, but on the direction, distribution and quality of light wanted. Single light sources, each powerful enough to light a large sei unaided, will be available, but these lights must be built for the studio.
Navy Searchlight
Years ago on the coast some one tried to use a big searchlight, bought from the navy. The base was so heavy that it took twelve men to move it around on the lot, and when this monster had been placed, like the parabolic mirror which Archimedes used against the Roman Heet, it began to burn up the scenery.
What sort of control will the cameraman want to exercise over such powerful lights? He will place the sources, lie will smooth- ly govern the radiant flux they play on the set and on the action from zero to any desired inten- sity. He may desire to govern quality: to diffuse any proportion of the hard light over an area of any size by putting in front of it a translucent screen or reflector, which becomes in effect a new source, of relatively low bright- ness. By varying- all of these fac- tors separately and together be- fore he starts the camera, the ar- tist will produce in light and shade a background for the ac- tion, emphasizing its dominant mood. >Vhile the scene is being shot it will occasionally be desir- able to heighten its emotional ap-
peal by a progressive increase in the hardness of the illumination upon the actors. A changing lighl on the scene may frequently be valuable, for example: Appia's famous effect in the third act of Die Walkure. The storm rises and clouds roll in toward the cliff where the action speeds up to a crescendo of excitement as Ihun derheads darken and overwhelm if. This sort of counterpoint, shown on a projection screen, would be cinemat ic.
Mobile Light
Mobile lighl in the studio will facilitate the composition of the most simple picture, and will place at the director's disposal the visible dimensions of time space- intensity and time-space-quality.
As long ago as L916, Cecil I'.. DeMille "came to the conclusion that light effects as applied to modern pictures have the definite characteristics of music: that ar- tistic lighting in the motion pic- ture assumes precisely the same value in the photodrama that music assumes in the spoken drama." I have found," says I >e- .Mille, •'that emphasizing or soft ening certain dramatic points in the motion picture can be realized
Six
AMERICAN CINEM ATOGR APHER
March, 1924
A. OntuK.hri>m,\<ic Negative Material
B. Tran*imi>sion of Light Filter F! Sensitivity Curve o( Camera CI*. Photic Reflection
700
300
700
Diagram Three
The Light Used Might Be 70% Visible The Light Seen Might Be 68% Used
by the discriminating use of light effects."
Three Regions
The quality of the illumination from one source upon any real object, intensity being constant, is a function of the solid angle sub- tended at the object by the light source. A source of high photic intensity as distant from the ob- ject as studio conditions permit, may be assumed to throw nothing but hard light on the surfaces it directly illuminates. Completely soft lighting would be realized at the center of a glowing dome, in which each small portion of in- terior surface area behaved like a source of relatively low photic in- tensity. Glossy surfaces under a single hard light will reflect the sources specularly and may cause halation in the negative. Shadow edges will be sharp, and surfaces in shadow will not photograph. All curved illuminated surfaces will show three distinct regions of photic brightness :
1. A relatively narrow region of high light, or semi-specular re- flection.
2. A broader region of nearly even brightness, due to reflection perfectly diffused.
:'.. A relatively narrow zone be- tween the diffusely reflecting area and shadowed surface, across which the photic brightness drops steeply to zero.
On rough surfaces there will be a less sharp demarcation between these regions. Other things being equal, the photic brightness of ;i surface is reduced proportionally to its selective absorption of those wave lengths to which the emul- sion is sensitive. Under complete- ly sofi light the camera will si]
houette all objects in film densi- ties proportionally to their reflec- tion factors.
Shadow and Depth
Such a picture, thrown on a projection screen, does not regis- ter to the camera man a subjective scene identical with that which the real scene registered while he was taking. The picture is flat, the relative brightness of large surfaces have been altered and in some cases confusingly reversed, which has made the composition less pleasing, there is no color. Conceivably the cameraman might school himself to make allowance' for all these varying factors, and by the arrangement of surfaces, which should he to him merely symbols of projection screen brightness, compose a motion pic- ture which should have through- out perfect unity of pictorial ap- pearance. However, flat pictures of this sort are by custom restrict- ed to the cartoon and mechani- graph. A technique of composi- tion infinitely more flexible is made possibly by using hard light. Curved surfaces may appear to stand out in sculptural relief. Shadow enters into the composi- tion as mass. The picture may he given apparent depth, by lighting i he background more intensely than the foreground, a familiar trick of Gustave Dore, who seems to have imagined cinematic light ing in the days of the zoetrope. In one of his engravings for the Divina Com media ( Purgatory, Canto III, lines 56-59) Dante and Virgil, in shadow, facing directly away from the camera, gaze up at a brightly lit procession which moves in the background and above them, along the edge of a
dark cliff. The stereoscope effect is striking. Any lighting techni- que, however, is supimposed upon the photic reflection factor effect.
Imagination Vital
The cameraman is forced to compose in intensities which he imagines, for he cannot see them. The camera, loaded with sensitive orthochromatic film, and provided with a suitable ray filter, would record only visible brightness in- tensities. The confusing concept of actinic invisible light, involved in the use of the usual cine film, requires that th cameraman shall hear in mind an elaborate double scale of pigments, because no fixed relation exists between pigment brightness in the visible spectrum, and in the ultra violet. On the other hand, a sufficient photic flux of Altered light could only be pro- vided by light sources of high candle power. The extra current cost of such apparatus may be re- garded as unimportant, but its greal weight might make it clumsy. Moreover, film labora- tories are not equipped conven- iently to handle orthochromatic film. So in any commercial studio the energy entering the camera cannot vet be limited to visible light.
Put Actors At Ease
A similar theoretical ideal would be the composition of sets and costume in colors which the camera was equipped to record. If actors were puppets, most excel- lent designs in black, white and tones of gray might be arranged with the studio. But the actor is no1 a puppet, and demands the
Continued on Page 23
March. 1924
AMERICAN CINEMATOGRAPHER
Seven
Composition
and Prize Stills
A singula]' situation has recently come to light i still photography. Pictures which won awards, or a graphs of motion picture sets.