U. S. Postage 2c. Paid Los Angeles, Calif. Vol. V Permit No. 941 No. 10 January, 1925
American & Cinema!oqrapher
Published by the American Society of Cinematographers , Inc.
1
Announcement of New PROJECTION DEPARTMENT (See Page Four)
PUBLISHED IN HOLLYWOOD CALIFORNIA Releases
November 24th, 1924 to December 15th, 1924
TITLE PHOTOGRAPHED BY
A Sainted Devil Harry Fischbeck, member A. S. C.
The H ouse of Youth J. O. Taylor The Law and the Lady Not credited Trigger Fingers Walter Griffin, member A. S. C. Forbidden Paradise Charles Van Enger, member A. S. C. Her Night of Romance Ray Binger and Victor Milner, member A.S.C. The Siren of Seville Sol Polito, member A. S. C. Wa ges of Virtue George Webber Daughters of the Night Not credited The Mad Whirl Merritt Gerstad The White Sheep Floyd Jackman, member A. S. C. and Geo. Stevens Greed Ben Reynolds and Wm. H. Daniels
Broken Laws J. R. Diamond Sundown David Thompson
Smouldering Fires Jackson J. Rose, member A. S. C. North of 36 Alfred Gilks, member A. S. C. The Dark Swan David Abel, member A. S. C. The Ancient Law Not credited The Roughneck George Schneiderman, member A. S. C. Unmarried Wives Jack McKenzie The Legend of Hollywood Karl Struss Romola Roy Overbaugh, member A. S. C. Love's Wilderness Oliver Marsh The Foolish Virgin Norbert Brodin, member A. S. C. Secrets of the Night Gilbert Warrenton, member A. S. C. Idle Tongues Karl Struss Women First Allen Thompson Comin' Through the Rye Not credited Troubles of a Bride Not credited Battling Bunyan Frank Cotner On Probation Ernest Miller On the Stroke of Three Victor Milner and Paul Perry, members A.S.C. —
Vol. 5 JANUARY, 1925 No. 10 American Cinematographer
Foster Goss, Editor and Business Manager Board of Editors—Victor Milner, H. Lyman Broeninc, Karl Brown, Philip H. Whitman
Contents Page American Cinematographer to Have Projection Depart
ment as Regular Department of Each Issue . 4 36" Photographing "North of By Al Gilks, A. S. C. . . 5
Camera Review of Past Year . 7
In Camerafornia ...... 8
Value of Modern Laboratory Equipment Is Stressed . 9
The Editors' Lens 10 Markings on Film from Drops of Water—
By J. I. Crabtree and G. E. Matthews .... . 12 A. S- C. Roster
NEXT MONTH
^ BERT GLENNON , A. S. C, will write on what the cinematog- rapher expects in the way of progress in lenses. —and there will be the new projection department and other features. 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. 1219-20-21-22 Guaranty Building, Hollywood, California Telephone, GRanitc 4274 (Copyright, 1925, by the American Society of Ci/iematographers , Inc.) — Four AMERICAN CINEMATOGRAPHER January, 1925 American Cinematographer to Have Projection Department as Regular Part of Each Issue Mutual Interests of Projec- -j. Publication of P r a c t i c a 1 tionists and Cinematograph- JJ Information to he Criterion ers Seen by the A. S. C. ^ of New Department. bert Warrenton was appointed to work in con- junction with the regular editorial staff to carry out the wishes of the A. S. C. member- ship in making the department a regular part of the American Cinematographer. This con- clusion was arrived at by the American Soc- iety of Cinematographers after long and ma- ture contemplation, by virtue of which the fact was driven home that, in order to have the perfect screen presentation, the closest possible relationship must exist between the projectionist and the cinematographer. Projection Is Decisive How to bring about this mutual bond of interest was long considered before the con- viction began to grow that the most logical way to produce the desired results was through the medium of the Society's publication it- self. A better understanding of reciprocal problems of projection and of cinematog- raphy is sure to attain the goal toward which both the cinematographer and the projection- ist are bending their efforts, and that, of course, is the perfect screen presentation. The Society believes that the establishment of this department wilj not only be of interest to the Earl J. Denison projectionist and to the cinematographer, but should prove of indirect benefit, if it cannot be seen to be direct, to every one concerned A projection department is to be made in the production of a motion picture, for the a regular part of the American Cinematog- reason that the efforts of all, in the final an- rapher. alysis, are ruled by the screen presentation This announcement, together with the at- in other words, how the public sees the tendant one that Earl J. Denison will be in picture. charge of the department, is one of the most Workable Information important to be made in the history of this It is the plan to make the new department publication, and comes as the realization of an the embodiment o£ simplicity, to avoid be- ambition that has been cherished for several ing forbiddingly technical, and, above all, years by the American Society of Cinematog- to make it practical. raphers, publishers of this journal. Denison In the fall of the closing year it was de- Headed by cided by the A. S. C. membership that the With this ideal in mind, the A. S. C. be- time had come for the establishment of a pro- lieves that it is fortunate to have the ideal jection department, and, accordingly, a spec- man to handle the department in the person ial committee of A. S. C. members comprising of Earl J. Denison. Dan Clark, George Schneiderman and Gil- (Continued on page 17) — January, 1925 AMERICAN CINEMATOGRAPHER Five as Plains Hot Enough Photographing By Al Gilks, A. S. C. to Melt Lenses as Big "North of 36" Production is Filmed To handle the camera on taking was met by the com- "North of 36" called for pany as a whole with a forti- j» jgj something in the nature of a tude that made possible the cross between a cinematog- results that bespeak for them- rapher and a cowpuncher. As selves. is generally known this Para- A major part of "North of mount production, which was 36" relates to the drive of the directed by Irvin Willat, was long horn cattle, fractious filmed in its natural locale beasts from whom every pre- which meant pure location caution had to be taken to work under a broiling Texas conceal the cameras. But sun from the start until the we hat to be polite to the long finish of the vehicle. The ten horns, especially since they weeks of location served to were the only herd that the thoroughly ground us in the very active efforts of the Par- Al Gilks, A. S. C. fundamentals of the cow amount organization could country, not the least of our cial lights which have so rev- find in the length and breadth learning being to live "close olutionized studio cinemato- of the land. to the plains", at the same graphy. We had to have our Letter after letter and tele- time being obliged to success- own laboratory unit on the gram after telegram went to fully cope with, despite num- field, necessarily without the the stockyards and cattle-rais- erous obstacles, the difficul- facilities common to such a ers, inquiring if a herd of ties that challenged us to production center as Holly- such a breed was available. bring good camera work to wood. But the entire under- The answer in each case was the screen despite the condi- in the negative. tions that surrounded us. Just when things looked In short, we were living blackest we received word the life of the first part of the from James East, who was last quarter of the last cen- aiding us in our search, that tury—yet we were setting out after weeks of hunting to provide entertainment and through Old Mexico and education through the me- southern United States, he dium of one of the most mod- had located a herd of four ern of inventions. thousand long-horns on an "North of 36" was strictly immense ranch about thirty a location picture, so to speak. miles out of Houston, Texas, In the two and one-half By a coincidence, this herd months that we galloped over was on almost the exact lo- the Texas plains, sometimes cale of the story as Emerson shooting from a lofty plat- Hough wrote it and men form and at other times from from our location depart- the lurching floor of a float- ment immediately left for ing wagon, we were not only Houston to look over the living under primitive con- grounds and arrange the final ditions but, cinematographi- details. cally, we were photographing It was the first long-horn under like circumstances. We drive in almost thirty-five had to depend on Nature, years and according to the A triple-decked platform used to with its own light sources, to Six AMERICAN CINEMATOGRAPHER January, 1925 to ship the cattle to market real pioneer drive. was and replace them with a more According to the group of 1. Graze morning until modern breed. cattle-men who served in an noon. The drive in itself was an advisory capacity for the trip 2. March until twilight. exact replica of the many and who have been over the 3. Halt for another graze which took place in south- old trails dozens of times, the until dark. western United States during herds in the early days travel- While the herd was feed- the 1866-75 period. In it ed at a rate of from twenty to ing in morning the company there were over four thousand thirty miles per day for the shot scenes of the players long-horn steers, three cover- first week of the journey. Lat- around the camp. From ed ox carts, thirty-two expert er, the animals became when noon until twilight scenes cow-punchers, and four tired, twelve to fifteen miles men were taken of the cattle and considered equipment and cooking. per day was good of the wagons and people on out, time. This rate of Strung they covered a same the march. When the troupe distance of over four miles. speed was made by the Para- halted for the twilight The cattle were driven over mount company while film- graze, scenes of making parts of the old Texas-Kan- ing the picture. camp and of the cowboys sas Cattle trails and the rou- The daily routine also was milling around the herd were tine on the trip was practical- similar to the scheduled on taken. ly the same as if it had been a one of the early drives, which (Continued on page 19) Here's What Helen Klumph Thinks of A.S.C. Member's Cinematography Qln the December 14th, 1924, drama section of the Los Angeles Times, of which Edwin Schai.lert is drama and music editor, Helen Klumph, in an exclusive New York dispatch, had the following to say of the cinematography of Alfred Gilks, A. S. C, in "North of 36." Needless to say, Victor Milner, secretary of the American Society of Cinematographers immediately wrote Miss Klumph as to the identity of the man who photographed "North of 36." 36' "At the Rivoli this week we have another stampede. 'North of is the picture . . . 'If I could only remember the name of the cameraman who shot this picture I would like to send him a large bouquet. So far as I am concerned , he ranks with the immortals for having caught the lyric beauty of cloud-hung Texas skies. He seemed to be able to catch heat and cold and all sorts of atmospheric subtleties in his photog- raphy." Seven January, 1925 AMERICAN CINEMATOGRAPHER Review A. S. C. Members Make Great Camera ^ws* Contribution in Field of of the Last Year fJ Cinematographic Progress article was originally men responsible for the cinematography in C Douglas Fairbanks' "The Thief of Bag- him were associated Homer Scott and J. D. dad" demonstrated what a flexible thing cine- Jennings. All are members of the American matography is, and drove home its importance Society of Cinematographers. to the layman who, for some inexplicable Space could be consumed indefinitely in reason, has always accepted its rapid strides as a matter of fact. But just as the story of enumerating the meritorious cinematographic "Bagdad" itself intrigued the imagination, efforts of the past year, but let it suffice to the cinematography therein did likewise, for mention those which have appealed and will the reason that both were so greatly predicated appeal most to the exhibitors' enigmatic pa- on each other. trons. In this regard, however, it might be Aside from its other ramifications, this pro- well to recall "The Ten Commandments" duction of Fairbanks was an irrefutable con- which, though it should be properly classified tribution to the science of cinematography. with the previous year, was so revolutionary It threw off a restrain born of timidness in cinematographically that its results are still production matters, and conjured a confi- dence for others to avail themselves of the being felt. It was photographed by Bert fullness of a science which, like electricity, Glennon, a member of the American Society apparently has more before it than behind it. of Cinematographers. Let it be said that in encouraging cinematog- Color cinematography, through Para- raphy, the producer is broadening the present and the future of the industry itself, for, mount's production of "The Wanderer of without being committed to an ambiguity, the Wasteland," caused critics and public the picture is necessarily circumscribed by alike to enthuse, but the widespread adoption moving pictures. of color is still a matter for the future to de- Too much credit cannot be given to the cide. Eight AMERICAN CINEMATOGRAPHER January, 1925 Paul Perry, A. S. C, before he departed to Arizona Faxon Dean, A. S. C, is in Birmingham, Ala., for the with Bert Glennon, A. S. C, on the deer drive location filming of location scenes for the latest Thomas Meighan trip, had just returned from a lengthy location jaunt production for Paramount. With him is Philip H. into the Northwest with Douglas MacLean productions. Whitman, A. S. C. Production headquarters on the * * • Meighan picture are in New Yok City. * * # George Barnes, A. S. C, is finishing the camera work on the Cosmopolitan production, "Zander the Great," Herford Tynes Cowling, A. S. C, having returned which, starring Marion Davies, is being made at the from his latest swing around the globe, is now in Chicago, United Studios, Hollywood. where are located the headquarters of Round-the-World * * * Travel Pictures. H. Lyman Broening, A. S. C, has completed the cine- matography on the latest Erb production made at the Dan Clark, A. S. C, is shooting a lot of frills and F. B. O. studios, Hollywood. furbelows these days since "Dick Turpin," the latest * * * Tom Mix vehicle for Fox, is in the nature of a costume Reginald Lyons, A. S. C, will leave shortly on a vaca- production. J. G. Blystone is directing and Katherine tion trip to San Francisco. Is the rumor true that Reggie Meyers is leading lady. * * * is about to add some more foreign cars to his string? * * * Ernest Haller, A. S. C, is finishing the cinematog- raphy "Parisian Stephen S. Norton, A. S. C, has been entrusted with on Nights," a Gothic production directed important set-ups on the big scenes in "The Phantom by Al Santell. The cast includes Lou Telegen, Elaine Hammerstein, of the Opera," which Charles Van Enger is filming for Rene Adoree and Gaston Glass. * * * Universal. * * * Al Gilks, A. S. C, has begun work on "The Aair Mail," Irvin Willat's next Frank B. Good, A. S. C, is filming the latest John M. production for Paramount, Stahl production at the Metro-Goldwyn-Mayer studios, the story being by Byron Morgan. The cast includes Culver City. Harry Hartz, one of Frank's proteges of Billie Dove and Warner Baxter. Al has about ten day's the roaring road, drove a daredevil race and ran away work around the air mail hangars at Reno, Nev., after with second money at the recent big automobile race at which he goes to the "ghost city" of Rhyolite, Nev., where Culver City. two or three weeks will be spent "camping" in one of the deserted school buildings in the town. King Gray, A. S. C, has been doing some speedy work on "Speed," which Edward Le Saint is directing Mitchell Cameras, at the F. B. O. studios. King called in Hans Koenekamp, Equipment A. S C, for an extra set-up on some of the big passages Go to Studios in Germany of the production. American cameras and equipment will go is completng the cinematog- Robert Kurrle, A. S. d to one of the most important producing centers raphy on Henry King's latest production which is being on continental Europe as the result of a filmed at the United Studios. $10,000 deal consummated between the Mit- Kenneth McLean, A. S. C, has returned to Hollywood chell Camera Corporation, of Hollywood, from Rome where he did special effect work for the and the German producing organization, Ufa Metro-Goldwyn-Mayer production, "Ben Hur." * * * Films, of Berlin. During the past month arrangements were Victor Milner, A. S. C, has finished Paramount's "East of Suez," starring Pola Negri and directed by concluded between Henry Boeger, of the R. A. Walsh. Mitchell company, and representatives of the * * * German producers whereby the Mitchell out- Floyd Jackman, A. S. C, drops a note from Moapa, fits will enter the German studios. Ncv., lauding the beauties of the desert and the mountains The outfits include two camera units with in Nevada and Utah where he is filming scenes for "Rex, the Wild Stallion," the latest production of Fred all built-in features, ten magazines, two uni- Jackman, A. S. C, for the Hal E. Roach studios. versal finders, two extension arms, two matte ''We have had," Floyd writes, "almost every known cutters, two sunshades, two tripod bases, two variety of weather, sometimes all in the same day. Crawl- tripod heads, two camera cases, three mag- ing out of your tent and breaking the ice on the water azine cases, two baby tripods and two Gimbal is great sport—maybe, but it surely drvies the sleep out of your eyes." tripods. — Nine January, 1925 AMERICAN CINEMATOGRAPHER of Modern 'Lab' Officer of Big Laboratories Value Speaks of Efficiency of Equipment is Stressed Thorough Paraphernalia A heavy outlay in the in- 1-0,000 times that of the orig- stallation of automatic labor- inal appearing on the film, atory machinery in the plants and the slightest blemish or of the Consolidated Film least imperfection—unnotice- Industries, Inc., was a n- ible often to the naked eye nounced this month by H. M. ,vill stand out very plainly Goetz, vice president of the vhen undergoing such great organization. Consolidated nagnification. which combined the resour- "To avoid all such defects ces of four leading laborator- which greatly hinder the per- ies, has spent many thousands fect reproduction of the pho- of dollars on research and ex- tographic beauty of a picture has per- perimentation, and it is essential to provide ideal fected the methods of process- atmosphere and temperature department, Goetz es of every where the film is treated announces. and handled. At the Consol- Commenting on the opera- idated plants the air through- tion of the newly installed ma- out is cleansed and moistened chinery, Goetz emphasized the wealth of detail compris- in a series of special proces- the value of well-made re- ed in each of these little ses and the proper even tem- lease prints. 'frames' by antiquated meth- perature is maintained under "Few people," he said, "not ods. a system of automatic control intimately acquainted with "Only those familiar with that insures perfection. motion picture technique the technical details of this "Similar care must be tak- realize the remarkable fact highly specialized branch of en in the matter of lighting that more than 100,000 separ- motion picture industry un- and in the quality of the ate little pictures, or 'frames' derstand the complexity of chemicals used and the purity as they are called, are flashed the daily task confronting of the water. It is on ac- on the screen in one average manufacturers of motion pic- count of the careful attention length photoplay. ture prints. to these details in every "It is impossible to attain "The size of the average department that Consolidated the accuracy necessary for picture projected in the larg- vouches for satisfaction in the successful reproduction of er theatres may be more than every release print." q HAVING BEEN DURING THE PAST MONTH IN HIS NATIVE SOUTH FOR THE FILMING, IN BIRMINGHAM, ALABAMA, OF LOCATION SCENES WITH FAXON DEAN, A. S. C, PHILIP H. WHITMAN WAS UNABLE TO REPORT NEW YORK'S CINE- MATOGRAPHIC L A T E S T; HENCE MANHATTAN MUTTER- INGS MUST GO UNMUMBLED THIS MONTH. — Ten AMERICAN CINEMATOGRAPHER January, 1925 The Editors' Lens focused by foster goss Encouragement and Cinematography CJTo Rafael Sabatini, as the winner, and to Adolph Zukor, as the donor, of the $10,000 award for the best motion picture story of the 1923-24 season, the American Cinematograper pays its respects—to Mr. Sabatini for his ability to write such a story as "Scaramouche" ; and to Mr. Zukor, for the plan of the prize in the first place. Incidentally, the American Society of Cine- matographers may justly be proud of the fact that the screen version of the Sabatini story was filmed by John F. Seitz, chief cinematographer for Rex Ingram, and Victor Milner, Seitz's associate on the production. Both are members of the A. S. C. CflWe would not for a minute take the negative side of the proposition that "the play is the thing," but rejoice in the initiative and the generosity, as displayed by Mr. Zukor, that has given Mr. Sabatini's genius a reward that it so richly deserves. But it does seem passing strange—with no intent to cast aspersions in any direction—that nothing in the nature of an award similar to that of Mr. Zukor has ever been so handsomely proferred encourage the most fundamental thing about motion pictures namely, cinematography. ^lt is not carping to point out, and we do so without apology, that a great screen story like Sabatini's "Scaramouche" would be useless for effective screen purposes if it were not for the tremendous strides that cinematography has made—without any extrinsic encouragement whatsoever. It does appear paradox- ical that nothing has been done in the way of the Zukor award to spur on cinematography—which must, being basic, define, in in the future as in the past, the limits of maximum motion picture effort. January, 1925 AMERICAN CINEMATOGRAPHER Eleven Mutual Goal IJThe announcement, in other pages of this issue, of the projec- tion department that is to be made a part of this publication is one which the American Cinematographer has been looking forward to for a great many moons. IJThis journal, in common with cinematographers as a whole, has always realized the importance of the projectionist. He is one of the strongest—one of the most decisive—links in the whole great chain of the picture that begins with the camera and ends on the screen. His is the responsibility of whether or not the work of the director, the player and the cinematographer, the money and care spent by the producer, are to be represented on the screen in their true values. €]J Without efficient projection, every one's efforts fall short, no matter how nearly perfect they may have been in the inception. t][It is only natural then that a close relationship between the pro- jectionist and the cinematographer must redound to the benefit of all concerned—director, player, producer, every one. Work- ing toward a mutual goal—the perfect screen presentation—these two great divisions of the art can be of even greater service than they heretofore have been, even though their strivings have gone by comparatively unnoticed. IJJThe American Cinematographer believes that it has taken a logi- cal step in making its pages of interest to the projectionist as well as to the cinematographer. So does it also believe that, in the person of Mr. Earl J. Denison, it has been able to obtain the logical man to handle such a department. Mr. Denison knows the theory of his profession, but above all he is practical, being constantly active in his chosen line of work, and, being so, knows projectionists and practical projection. : Twelve AMERICAN CINEMATOGRAPHER January, 1925 When droplets of water come into contact ment and caused by: with motion-picture film either before or after 1. Water accidentally touching the film. the film is exposed and previous to develop- 2. Condensation of water vapor from hu- ment, spots are formed which later appear as mid atmospheres. objectionable defects on the film. Markings B. Markings produced after development are also apt to be produced if all superfluous and fixation and caused by: moisture is not removed from the film before Abnormal drying conditions. drying or if the rate of drying is changed Factors Influencing the Formation of during the progress of drying. Moisture Moisture Markings spots are always produced on the emulsion 1. Markings Produced Previous to De- side of motion picture film and never on the velopment By Drops of Water. base side, since the film is resistant to moisture. Experimental Procedure.—Three emulsions To date, little has been known regarding were used in the tests; Eastman Motion Pic- I the various factors which affect the nature of ture Negative (no backing), Eastman Super- ] the markings produced in the above manner. speed Motion Picture Negative (no backing), This work was undertaken in order to study and Eastman Regular Motion Picture Nega- these factors, and prepare a classified index tive film. The normal treatment consisted in of the various markings which would serve as either (a) spraying the emulsion side of the a source of reference for the identification film with a small hand atomizer which deliv- ' of spots and markings of unknown origin. ered a fine spray evenly distributed over the Water markings may be of the following area toward which it was directed or (b) cov- types ering the emulsion side with a layer of moist A. Markings produced previous to develop- cheese-cloth for two minutes so as to produce January, 1925 AMERICAN C I N E M ATO GR A P H ER Thirteen MARKINGS CAUSED BY DROPS OF WATER Time and Temperature of Storage before No Marking Treatment Deveopment Emulsion 1. White spots with hazily Exposed before spraying with 1 wk. 110o F. Positive defined edges atomizer 2. White spots, black center Exposed before spraying with 1 wk. 110° F. Negative or gray spots with black atomizer nucleus and white halo 3. Black spots Exposed before spraying with 2 days 110<> F. Superspeed Negative atomizer 4. White spots, black halo Exposed before spraying with 1 wk. 110° F. Positive atomizer 5. White impression of cloth Exposed before impressing with 1 wk. 68o F. Superspeed Negative moist cloth 6. White impresion of cloth Exposed before impressing with 1 wk. HO" F. Superspeed Negative moist cloth 7. Black impression of cloth Exposed before impressing with 1 wk. 110o F. Positive (reversed image) moist cloth (Numbers 6 and 7 show the effect of increasing the temperature.) The above examples are typicial and not peculiar to the emulsions ndicated. Under favorable conditions any type of marking may be produced on any emulsion. MARKINGS CAUSED BY CONDENSED WATER VAPOR 8. Small white spots Exposed before humidifying 1 wk. 68° F. Negative 9. Mottled spots Exposed before humidifying 48 hrs. at 42° F. Negative 1 wk. at 110° F. 10. Serrated edged spots Exposed after humidifying 24 hrs. at 42° F. Negative 24 hrs. at 110° F. MARKINGS CAUSED BY ABNORMAL DRYING CONDITIONS Drying Conditions 11. Spots with dark narrow Drops of water on emulsion One-half hr. to one hr. Positive outlines at 68° F. 12. Dark gray spots, white Drops of water on emulsion 30 minutes at 90° F. Positive centers 13. Hazy white spots Drops of water on emulsion 25 minutes at 110° F. Positive Developed and fixed at 68° F. Washed 25 minutes at 80° F. 14. Streaks Drops of water on emulsion 30 minutes at 90° F. Negative Carelessly wiped 15. Spots with hazy gray halos Drop of water on base side 50 minutes at 90° F. Positive a uniform moisture pattern. The order of ex- 2. Exposed before moisture treatment, posure relative to the moisture treatment was 3. Exposed after moisture treatment, as follows: When exposing, the film was flashed so as 1. Unexposed before moisture treatment. to produce an average density of 0.8 after Fourteen AMERICAN CINEM ATOGR APHER January, 1925 development. Four foot lengths or film were ings in any way, parallel experiments were used and, after the moisture treatment, these made with new and old emulsions coated on were wound on wooden film spools, and tight- glass plates and on film support, but no differ- ly sealed in film cans of 200 foot capacity. ence either in the number or appearance of the Two samples were placed in each can, one to markings on the various supports was noticed. be developed at the end of two days and the NOTE.—On examining the gelatine coating other after one week. Duplicate sets were of the glass plates by reflected light after made up, one being maintained at room tem- removing from the wash water prepara- perature (68° F.) and the other at a tropical tory to drying, tiny pits or indentations temperature (115° F.). The film samples were observed which coincided exactly were developed in the usual manner. with the markings as seen by transmitted Factors Affecting Nature of Markings light. 1. The Nature and Age of Emulsion. Of — 4. Order of Exposure.—Markings produc- the three emulsions examined, the positive ed on film before treatment as compared with greater sensitiveness to showed a somewhat those on unexposed film were similar in gen- moisture than the negative emulsions, but eral appearance, though the background of slightly emulsions two years old showed only a uniform density produced by exposing (flash- to greater propensity give markings than new ing) served to increase the visibility of the emulsions. markings. 2. Temperature.—When the emulsions were Exposing the film after the moisture treat- after subjected to an increased temperature ment appeared to make the markings slightly the moisture treatment, the number and extent more pronounced ; which may have been a re- of the markings were very noticeably increas- sult of the lens-like nature of the drops of ed. No new markings were observed at the water. higher temperatures. 5. Time Exposure to Moisture before De- 3. Nature of Support.—In order to determ- velopment.— In general, more markings were ine whether the nature of the support on which observed on film which was allowed to remain the emulsion was coated influenced the mark- (Continued on page 20) January, 1925 AMERICAN CINEM ATOGRAPHER Fifteen Consolidated Certified Prints The Audience Sees the Print Fine photography depends for perfect screen reproduction upon the developing and print- ing. CERTIFIED PRINTS enhance each delicate effect that the camera man desires. All cinematographers and members of the A. S. C. in particular, appreciate the benefits of the high standard of quality reflected by CERTIFIED PRINTS. Every reel is guar- anteed to give satisfaction. They are known throughout the world to be The Best That Can Be Made THE CONSOLIDATED FILM INDUSTRIES, Inc. Executive Offices 729 Seventh Avenue NEW YORK CITY NEW YORK LOS ANGELES Sixteen AMERICAN CINEMATOGRAPHER January, 1925 EASTMAN NEGATIVE FILM On location where light varies vio- lently, in the studio where its speed is different again, Eastman Negative Film, with its unrivaled versatility, saves the doubtful situation and makes the most of the photographer's skill. A good negative deserves a good positive—your negatives deserve Eastman Positive Film. It carries quality from studio to screen. EASTMAN KODAK COMPANY ROCHESTER, N. Y. January, 1925 AMERICAN CINEMATOGRAPHER Seventeen We Believe ^ That motion picture negative developed by Rothacker-Aller is the best in the world— We Believe ^ That our negative reflects the best of good photographic exposure— We Believe ^That Rothacker-Aller prints made from Rothacker-Aller developed negative cannot be made better by any other laboratory— WE KNOW ^ That whether we process your negative or prints or both—the result is the best obtainable for all practical purposes— WE PLEDGE rigid, sincere and honest maintenance of this high standard— ROTHACKER-ALLER LABORATORIES, Inc. 5515 Melrose Ave. HOLLYWOOD, CALIFORNIA HOllywood 7 1 80 AMERICAN CINEMATOGRAPHER From 1914 to 1917 he specialized in pro- TO HAVE PROJECTION DEPART- jection room construction, and the equipment MENT AS PART OF EACH ISSUE of the same. In 1918 he was sent to France (Continued from page 4) as field supervisor for the community motion By Arrangement with F. P. L. picture bureau which was in charge of the Mr. Denison is motion picture engineer in exhibition of motion pictures for the U. S. charge of projection with the Famous Play- Government. He was subsequently trans- ers-Lasky Corporation, by arrangement with ferred to Italy as director of motion picture which, the A. S. C. is able to have Mr. Deni- entertainment for the A. E. F. son take charge of the new department. Six Years Began as Projectionist Like several A. S. C. members themselves, It was in 1919 that Mr. Denison joined the Mr. Denison started in the business as a pro- Famous Players-Lasky Corporation as motion jectionist. That was in 1906 and from that picture engineer in charge of projection and time until 1909 he was regularly employed physical handling of prints in exchanges, there as such. He then took up special lines of work being now 40 of the latter in the various key in connection with projection including ex- cities. During the six years that he has been periments on one of the first talking pictures affiliated with Famous Players-Lasky, Mr. which he also demonstrated in several cities. Denison has completely revolutionized the He invented and patented several devices us- splicing and handling of prints in the ex- ed in connection with projection, splicing and changes, and has standardized the inspection, handling motion picture film. splicing and projection room equipment. He From 1912 to 1913 he managed a commer- has invented and perfected a number of de- cial film laboratory and projection equipment vices now in use by the Paramount organiza- establishment in Chicago. He operated one tion in connection with inspection, splicing of the first commercial film rennovating plants and projection of film. He inspected hun- in the United States. dreds of projectors throughout the country Eighteen AMERICAN CINEMATOGRAPHER January, 1925 in investigating the causes of film damage. In Touch ninth Projectionists Roy Davidge Film Laboratories Mr. Denison covers the 40 key cities at least NOW LOCATED AT once each year, visiting and consulting with a great number of projectionists with whom 6701 Santa Monica Blvd. he is in constant personal touch in a practical (Opposite Brulatour's) way. He has spent two years in the labora- GREATLY INCREASED FACILITIES tories in New York and Hollywood and is NEW EQUIPMENT COMPLETE COMMERCIAL PROJECTION ROOM responsible for several improvements pertain- ing to the handling of release prints in lab- Davidge Negative Is Better oratories. He revolutionized studio and lab- oratory projection. He is constanly engaged Phone HOlly 1944 in research work both in field and laboratory regarding projection and film damage. He specified all projection equipment in the big FOR SALE laboratory in the new Famous Players-Lasky Pa the No. 1110, completely equipped with six maga- laboratory in Hollywood. Mr. Denison was zines, tripod, tilt head, mats and vignettes of every description. Guaranteed in perfect shape. in charge of installation of projection equip- 40, 50 and 85 mm. lenses. Bargain. ment in the homes of foremost directors and JAMES C. VAN TREES celebrities, besides having directed the mo- American Society of Cinematographers tion picture entertainment of some of the most fashionable social functions in the country. He is the author of several booklets on film SCHEIBE'S PHOTO-FILTER SPECIALTIES and projection which have been distributed Are now popular from coast to coast, and in some all over the world. He produced several slow- foreign countries. motion pictures showing the action of film If my many varieties do not always fill the bill, tell me your wants and I will make them on special order. in projectors, etc. Always at your service. Mr. Denison is an active member of the GEO. H. SCHEIBE Society of Motion Picture Engineers (S. M. 1636 Lemoyne St. DUnkirk 4975 Los Angeles, Cal. P. E.), membership in which is only obtain- able on the strength of certain accomplish- ments in the motion picture industry. He is, besides being in constant touch with projec- tionists, likewise in touch with cinematog- raphers, directors and theatre and exchange l/ALTER J. VAN ROSSEM Blvd. managers, spending at least eight months of 6049 Hollywood the year in the field. Phone Holly 725 G0MMERCIAL PHOTOGI^PHY Still Developing and Printing^ New Bell and Howell Model Is feFUcJCaiQaas-POR. RENT— Slill Exhibited at A. S. C. Open Meeting Members of the American Society of Cinc- matographers were given an opportunity to FOR SALE view the new Bell & Howell camera when the new professional model was placed on inspec- BELL & HOWELL OUTFIT Camera, Tripods, Improved Thalhammer Iris, Six tion at the A. S. C. open meeting of December Magazines, 40 mm., 50 mm., 75 mm. and 110 mm. 29th, held in the Society's headquarters in the Lenses, also Verito 75 mm.. Carrying Cases and Trunk. Guaranty Building. Outfitted to Satisfy the Most Exacting The instrument was in charge of G. R. Richards, Hollywood representative of the Right price and right terms to right party. Bell & Howell Company, and was the center Call J. A. Dubray, 5448 Virginia Ave. Phone 433-305 of interest of the A. S. C. members present at Los Angeles the meeting. January, 1925 AMERICAN CINEMATOGRAPHER Nineteen PHOTOGRAPHING boys and led by Alamo, the ranchhouses were selected. "NORTH OF 36" oldest long-horn in existence, Added to these two dozen (Continued from page 6) the four thousand cattle army tents were erected for As everyone knows, cow- swam across a river almost sleeping quarters and addi- boys on guard spend the half a mile wide. Closely tional buildings were thrown night in the saddle. Dur- following them were the three up for the saddle house, the ing the drive for the motion covered wagons, containing horse-stable, the mess-halls, picture, this also was done, the women, being towed the laboratory, the power not in an attempt to imitate across by six span of oxen. house and the property the old cattle drives to that The entire scene was taken rooms. extent, but rather because of without a loss of life or an The production sets re- necessity. With the four injury either to the men, the quired even more work. Aside thousand long-horns used in horses or the cattle. from the minor buildings an the film there was just as Even Producter Irvin Wil- entire town, an exact replica of the old cattle village of much chance, just as much lat, a former cameraman, Abilene, Kansas, to danger, of an uncalled for who from the success of his had be erected stampede as there was fifty productions for Paramount This town, copied from or sixty years ago. Accord- including "Heritage of the engravings and sketches in books ing to several of the two Desert" and "Wanderer of and newspapers and from information hundred and fifty cattle men the Wasteland", has a reputa- obtained from early who attended the start of the tion of making thrilling as Kansas settlers, included a hotel, journey in the filming of the well as beautiful scenes, hardware store, livery stable, cattle motion picture, the four said it was one of the most thousand long-horns were vivid sequences he has ever pens, railroad depot, saloon, about the wildest animals produced. dancehall, general store, any of them had ever seen. black-smith shop and a doz- Technical directors and In this night watch every- en residence houses. Each chief carpenters left in ad- body in the company took house and store in the picture vance of the company to part — Jack Holt, Ernest is an exact duplicate of the start construction on the Torrence and Noah Beery, original building in old Abi- buildings. On nearly all lo- as well as the minor players. lene. cation trips most of the car- Each was given a shift of a In addition to the featured penters are hired locally. certain number of hours. players we carried forty real Three of the many inter- The carpenters on "North cow-men of proven ability as esting scenes which occur- of 36" had two jobs. One actors. Fortunately we ar- red during this drive were a was to arrange for the ac- rived in Houston at the time river fording scene and two comodation of the huge a gigantic rodeo was taking stampedes. company of players and staff. place and from this rodeo we The fording scene is one The other was to build sets obtained some of the best of the most vivid shots of the for the picture. riding and steer-roping talent entire production. Flanked For the housing of the on the entire North Ameri- on each side by sixteen cow- people two twenty-five room can continent. AMERICAN CINEMATOGRAPHER, Guaranty Building, Hollywood, Calif. Enclosed find $3.00 for one year's subscription to the American Cinematographer to begin with issue of 1925. Name , Address Twenty AMERICAN CINEMATOGRAPHER January, 1925 MARKINGS ON FILM FROM DROPS OF WATER (Continued from page 14) WINFIELD-KERNER undeveloped for a week after the moisture STUDIO treatment than on film developed two days after the treatment. LIGHTING EQUIPMENT A2. Markings Produced Previous to Devel- opment caused by Condensation of Water Vapor from Humid Atmospheres. OUR NEW Film is often subjected to humid conditions ROTARY SPOT LIGHT with resulting absorption of water vapor. If the film is suddenly transferred from a warm Is Second to None atmosphere to a cold atmosphere, condensa- tion occurs on the surface of the film and Ask for Demonstration tiny droplets of moisture are formed which may produce markings on the developed film. Al. De Bus Procedure. The tests were Experimental — "The Heavylite Man" divided into three groups: (1) Humidifica- Los Angeles County Distributor tion at room temperature, (2) humidification at tropical temperatures (100-110° F.), and (3) sudden changes from low temperatures to Wmfield-Kerner Products tropical temperatures and vice versa. For the Factory: Hollywood Office: experiments, special humidors were construct- 3 2 3-2 7 East 6th Street 6725-55 Santa Monica Blvd. Phone VAndike 62 I 1 Phones: GRanit 9601, GRanit »402 ed, consisting of two motion picture film cans Night Phone GRanit 4164 (200 foot capacity) soldered bottom to bottom. Holes were then punched in the separating wall and just before starting the test, a moist felt pad one foot square was placed in the lower half of the humidor. The film in two or four foot lengths, loosely coiled, was placed ART BACK in the upper chamber for the test and the cover TITLES GROUNDS was then doubly sealed with adhesive. The film was exposed so as to produce a density of approximately 0.8 after develop- ment. Factors Influencing Nature of Humidity Markings 1. Effect of Nature of Emulsion.—Several new markings were observed under varying conditions of humidification and refrigeria- The New Iris Combination may be had with 4-in. Iris or Sunshade FOR RENT FRED HOEFNER Cinema and Experimental Work Two Bell and Howell Cameras, 40, 50, 75 mm. 5319 Santa Monica Blvd. (rear) lenses, Thalhammer iris. Jean Trebaol, Jr., 7042 GLadstone 0243 Los Angeles, Cal. itilson Street, Palms, Calif. Telephone 761-243. FOREIGN AND AMERICAN TELEPHONE WANTED RESEARCH PHOTOGRAPHS HE MPSTO 8781 INTERNATIONAL KINEMA RESEARCH Bell Howell Camera complete. Will pay cash. Write Glennon, A. S. C. LOU HOWLAND Hollywood Security Bldg. January, 1925 AMERICAN LINEMATOGRAPHER Twenty- on* tion with all the emulsions examined. The Experimental Procedure. — The positive markings were found to be due to physical and negative film used for the tests was ex- conditions to which the film was subjected posed so as to give density of about 1.0 after rather than any inherent chemical nature of development. After thorough washing all ex- the emulsion. cess moisture was carefully removed from the 2. Effect of Order of Exposing.—In gener- film and then droplets or streaks of water were al the spots were more predominant on film placed either on the emulsion side or the base which was exposed before humidification than side so as to simulate imperfect removal of on film exposed after humidification. excess moisture. 3. Effect of Time and Temperature of For the high temperature drying (90 to Humidification. — Very few spots were ob- 120° F. ) a cabinet was used which contained served on film humidified for one week, at electric heating units and an air blower. Slow room temperature, but at tropical tempera- drying conditions were secured by the use of a tures the number of markings was consider- small insulated box in which a pan containing ably increased, although only two distinctly a small volume of water was placed. different types were observed. In order to study the influence of the degree In general the intensity of the markings in- of tanning of the gelatine on the propensity creased with time of humidification, reaching of the film to give drying marks consecutive a limit after a certain time depending on the samples of film were fixed in (a) 30% plain temperature. hypo, (b) an alum-acid fixing bath, and (c) 4. Effect of Sudden Change of Tempera- 30% hypo flolowed by a bath of 2% forma- ture.—When the film was subjected to sudden line. The films were also treated for varying changes of temperature, from hot to cold or times and at varying temperatures during the cold to hot, several types of spots were pro- progress of development, fixation, and wash- duced, but these with two exceptions were all ing, so as to produce different degrees of swel- similar in character to the spots caused by ling of the gelatine. drops of water described above. The excep- The effect of the rate of drying of film tions noted will be discussed later. treated as above was carefully studied, es- To summarize.—No fundamental rule can pecially the effect of slow drying in a satur- be given relative to the chance of one or more ated atmosphere as compared with rapid dry- kinds of spots appearing as the result of the ing at low humidities. order of exposure under the conditions out- Factors Affecting Nature of Drying lined in Section Al or A2 but in general all Markings types of moisture markings are slightly more prevalent on film exposed after moisture de- 1. The Degree of Swelling of the Gelatine. posits on the surface than on films exposed —The swelling of the gelatine is governed after moisture deposition occurs. by (a) the time of immersion of the film in the Physical conditions to which the film is sub- various photographic solutions and the tem- jected, such as temperature changes, and the perature of the solutions, (b) concentration time of contact with moisture before develop- and composition of the solutions, and (c) the ment, are the direct causes of the markings degree of hardening produced by the fixing rather than any inherent differences in emul- bath or other hardening baths. sions or supports on which they are coated. The propensity for drying marks to occur B. Markings Produced after Fixing and increased with the degree of the swelling of Washing caused by Abnormal Drying the gelatine, so that in order to reduce the pos- Conditions. sibility of the formation of drying marks to After washing, and previous to drying, ex- a minimum, swelling of the gelatine should cess moisture is usually removed from motion be prevented by keeping the various develop- picture film either with a cotton swab or ing solutions at a temperature not higher than chamois by centrifuging, or by means of a 70° F. and by the use of a suitable hardening blast of air. If the water is incompletely re- baths, although superhardening of the film moved, droplets or streaks of water remain should be carefully avoided because this tends on the film and when the film is dried under to produce brittleness. Prolonged washing at unfavorable conditions markings appear on ordinary temperatures does not render the film the areas, previously occupied by the droplets more susceptible to drying markings. or streaks of water. 2. Methods of Removal of Surplus Water Tvitnty-tvm AMERICAN CINEMATOGRAPHER January, 1925 Previous to Drying.—Providing all superflu- ous moisture is removed from both sides of the film previous to drying, the propensity for markings to occur is independent of the meth- od of removing the moisture. Methods of removal of excess water prev- ious to drying and correct conditions of dry- ing are discussed in a previous paper by one of the authors.' 3. The Temperature and the Rate of Dry- ing.—Markings which are only just visible on the film dried slowly in partially saturated air are objectionably prominent when the film is dried rapidly at high temperatures. Rapid drying, even at normal temperatures, accentu- The Bausch & Lomb Ultra ates the markings, but the majority of the dry- Rapid Anastigmat is an ing marks on motion picture film are traceable f:2.7 lens. This not only is directly to rapid drying at high temperatures. its rated speed— it is the If the rate of drying of the film is suddenly speed at which it actually gelatine coating has com- changed, once the performs. menced to dry at the edges, markings are in- variably produced whose contour corresponds with the "shore line" between the wet and dry Bausch & Lomb Optical Co. portions of the film. It is important therefore Netv York San Francisco Washington Chicago not to change suddenly the speed of the drying Boston Rochester, N. Y. London reels, especially when the conditions are favor- able for rapid drying. For details regarding correct conditions for drying, see "The Development of Motion Pic- ture Film by Reel and Tank Systems," by 2 * J. I. Crabtree. Classification of Moisture Spots and Marks, with a Description of the CRECO Manner of their Formation The markings are listed under three classi- fications; namely spots and marks caused by (A) actual moisture accidentally touching the film, (B) condensation of water vapor from humid atmospheres, and (C) abnormal dry- ing conditions. The illustrations correspond with the numbers given below. FOR RENT! A. Markings Caused by Actual Moisture Bell & Howell Cameras Accidentally Touching the Film. COMPLETE EQUIPMENT 1. Spots. This type of marking White — 40, 50, 75 M. M. Lenses 170 Shutters most usually occurs as round or irregularly shaped spots with hazily defined edges, either J. R. LOCKWOOD 523 North Orange St. singly or in clusters. Other varieties are (a) Phone Glendale 336 I -W Glendale, California irregular grey areas with white spots scattered throughout, and (b) mottled paces of slightly lighter density than the surrounding film. The latter types were most commonly found on Cinema Studios Supply Corp. film which had been exposed before the moist- 1438 Beach wood Drive Holly 0819 ure treatment. White spots occur independ- LIGHTING EQUIPMENT FOR RENT L. A. FIRE DEPARTMENT t. Crabtree, J. I., "Development of Motion Picture Film by Reel and Tank WIND MACHINES Water Engine Systems," Trans. Soc. M. P. ling., No. 16. p. 163 ( 1923). 2. Crabtree, J. I., Trans. Soc. M. P. Eng., No. 16. p. 163 (1923). January, 1925 AMERICAN CINEMA TOGRAPHER Twenty-three ently of the kind of emulsion, although trop- ical temperatures cause more spots to appear Gets Shots that You on positive film. especially Couldn't Get at 2. White Spots with Black Centres or Grey all Without it Spots with a Black Nucleus and a White Halo.—The most common form is a perfectly round spot, although occasional irregular types 4$ were observed as well as group formations u;e I he of several circular black spots with a large Ultrastigmat a great deal in greyish-white halo extending around the en- commercial work find that I can make interiors with it that would require tire group. In some cases, the centre is grey lights without it, and get outdoor shots on bad days that I instead of black. It was rarely found unless could not get without it. (Signed) QUINCY PEACOCKPEACOCK, the film had been subjected to tropical temper- 1611 Market St., Jacksonville. Fla. atures and, in general, the size and number Write for F older of the markings were greater at the end of one Gundlach-Manhattan Optical Co. week than after two days under tropical con- 900 Clinton St. ROCHESTER, N. Y. ditions. 3. Black Spots.—Although this marking two negative emulsions. A few cases of black is by no means as common as some of the impressions of the cheese cloth were noted the rest of the film, but occurred frequently on on film exposed after the moisture treatment, but each of the different emulsions tested to justify the greater number of black markings oc- its inclusion in the classification. It appears curred on film exposed before being impressed as a small round spot of density much darker with the moist cheese cloth (No. than the surrounding film and of fairly sharp 7). outline, although variations occur wherein the B. Markings Caused by Condensation of outline is a hazy dark grey halo, darker than Water Vapor from Humid Atmospheres. the rest of the film, but occurred frequently on 8. White Spots.—The most common mark- positive film, especially if the film was ex- ing was a tiny white spot similar in appearance posed before the moisture treatment, and ac- to No. 1, except that it was rarely observed in companied by high temperature conditions. clusters and seldom in sizes over one-sixteenth In general, the number of markings increased inch in diameter. At room temperatures few with the time elapsing between the moisture spots appeared unless the film was permitted application and development of the film. to humidify for a week, whereas at tropical 4. White Spots with Black Rings.—This temperatures the spots were found in large marking occurs as a round or irregular white numbers on film left two days in the humidor. or grey spot with a black or dark grey halo. When the effect of sudden changes of temper- It resembles a reversal of No. 2. Sometimes ature conditions was studied, very few spots the centre of the marking, instead of being were produced unless the film was subjected to clear, contained a small dark spot. The mark- at least eight hour's humidification previous ing was not observed on unexposed film. With to the change to frigid conditions. In every both negative emulsions, exposed after the case the markings were more numerous on film moisture treatment, no markings were found, which was flashed before the moisture treat- but on positive film, exposed before the moist- ment. When the film was refrigerated previ- ure treatment and, especially at tropical tem- ous to humidification, the time of refrigera- peratures, the spots were very prevalent. tion had little apparent influence on the size 5. 6, 7. Cheese Cloth Impressions.—The us- and extent of the markings. ual markings produced by impressing moist 9. Mottled Spots.—On film which had been cheese cloth on any of the three emulsions con- subjected to sudden temperature changes, ir- sist of a white impression of the fabric on a regular mottled spots were found which were dark background. The order of exposing has of slightly lighter density inside and slightly little or no effect on the nature of the marking. heavier density outside than the surrounding At room temperature (No. 5) the impressions film. The marking is vague in outline and are far less accentuated than at tropical tem- hazy in appearance. It was occasionally found peratures (No. 6). Positive film was slightly with a dark grey spot in the centre. In gen- more sensitive to the impressions than the eral, mottled spots occurred more frequently Tiventy-four AMERICAN CINEMA TOGRAPHER January, 1925 on film which had been refrigerated previous by one of the authors. 3 The severity of the to humidification. The order of exposure ap- markings produced by either of the above pears to have little influence on the extent of causes is directly dependent on the tempera- the markings. ture and the humidity conditions and on the 10. Serrated Edged Spots.—When film is time of drying. subjected to abnormal humidity conditions so 11. Spots with Dark Narrow Outlines.— that the condensed moisture is sufricent to This marking is distinguished by a dark nar- render the gelatine mobile, certain specific row band, which constitutes the edge of the markings are produced on refrigeration. The spot. All the area within this band is of the most common spot has sharply defined edges same density as the rest of the film. It is deeply serrated with a slightly lighter density caused by large droplets of water remaining just inside the serrations, while the centre of on the emulsion side. the spot has a density similar to the remain- 12. Dark Grey Spots with Small White der of the film. When conditions are re- Centres.—When large drops of water are ac- versed—that is, refrigeration preliminary to cidentally left on the film which is subjected humidification, especially if the refrigera- to rapid drying at high temperatures (90-120° tion is short compared with the time, in the F.), spots are produced whose general density humidor—the spots are likewise formed. A is considerably darker than the surrounding few examples were noted on film treated film. The point in the spot where the last at tropical temperatures, which was exposed water evaporates appears as a tiny white spot. after the moisture treatment. The order of In some cases, a narrow white halo may be exposing the film had only a slight effect on found just inside the outer edge of the spot. the tendency for the spots to occur. 13. Hazy White Spots.—Occasionally on Miscellaneous Markings.—A few scattered film which has been developed in solutions at examples of spots similar to Nos. 2 and 3 were temperatures around 80 deg. F. or over, when noted. These were found chiefly on film the gelatine is in a swollen condition, small which had been exposed and humidified at vaguely defined white or grey spots are found, 110° F. for 48 hours and then refrigerated especially if the film is dried rapidly at high 24 hours, and in another case where the film temperatures (120 deg F.), even when all had been refrigerated 48 hours and then hum- superfluous moisture is removed. The mark- idified at 110° F. for one week. In one case ings resemble No. 1, except that the outlines where the film had been humidified at 110° are usually less clearly defined. F. for 24 hours and subsequently refrigerated 14. Streaks.—Sometimes streaks remain on 24 hours, there were a great many markings the film during drying which causes long like No. 4. Generally speaking, there were string-like grey marks of slightly heavier dens- very few examples of markings like those ity than the rest of the film. Variations are found where actual water comes in contact found where edges are dark and the side of with the film as mentioned in under A, with the streak slight grey. This marking occurs the exception of the white spots (No. 1), on film dried either at room or tropical temp- which is the most common moisture spot ob- eratures. served on motion picture emulsions. 15. Spots with Grey Halos.—The most C. Markings Caused by Abnormal Drying common marking found as a result of the Conditions. presence of water on the base side of film is Although drying marks are always produc- a spot with a hazily defined edge or halo of ed on the emulsion side of film, their forma- much lighter density than the centre, where tion may be the result of either one or both the densitv is nearly the same as the remainder of the following causes: (a) excess water re- of the film. On film dried at room tempera- maining on the emulsion side of the film (as ture, this marking is just discernible, but at illustrated in figs. 11, 12, 13 and 14), or (b) higher drying temperatures the spots are excess water left on the base side of the film greatly accentuated. Other varieties are : (1) (as shown in fig. 15). In the latter case the grey streaks along the edge of the film just local areas on the emulsion directly opposite inside the perforations as shown in fig. 15, and the moisture spots on the base side, are cooler (2) small round light gray spots even dens- than the surrounding film, resulting in a selec- ity. All spots caused by water on the base tive drying action, as noted in a recent article 3. Crabtree, J. I., Trans. Soc. M. P. Eng., No. 16, p. 163 (1923). January, 1925 AMERICAN CINEMATOGRAPHER Twenty-five side are less distinct than those caused by can also be produced on developed motion water on the emulsion side. picture film during drying if drops or local From an examination of the various mark- areas of water remain on either side of the ings produced by moisture, it is seen that there film, which is then dried rapidly at a rela- are three essentially different types; namely tively high temperature and low humidity. ) black spots or local areas of greater dens- are also even if the ( 1 Drying marks produced ity than the surrounding portions, (2) white surface of the film is free from drops of wa- spots or local areas of lesser density than the ter if the drying of the film is suddenly surrounding portions, and (3) composite changed during the progress of drying. spots (see figs. 2 and 4). Moisture markings are most generally the Black spots may be a result either of an in- result of localized physical stresses set up in crease in sensitivity of the emulsion or of the gelatine layer rather than of chemical the production of a latent image. It is quite action. conceivable that when a moistened spot of It is important, therefore, to preserve un- emulsion is subjected to high temperatures exposed motion picture film in a relatively the emulsion becomes "cooked," resulting in dry atmosphere and at a relatively low tem- an increase in sensitivity. On the other hand, perature, although the effect of high temper- during the progress of drying a moistened spot atures is somewhat nullified in the absence of of emulsion, the grains of the emulsion are moisture. It is dangerous to suddenly trans- subjected to severe stresses, as described by fer film which has been freely exposed to a with a dark gray spot in the centre. In gen- hot humid atmosphere to a cold saturated at- Ross" and such stresses are conceivably suffi- mosphere in view of the possibility of the con- cient to produce a latent image. Moreover, a densation of moisture on the emulsion. displacement of the grains of the emulsion, On leaving the factory motion picture film which occurs during drying, would result in as contained in the cans is in equilibrium with local areas of greater or lesser density on sub- an atmosphere having a relative humidity of sequent development. 70 to 75 per cent., and in this condition there White spots may be a result either of a de- is little danger of the formation of moisture crease in sensivity or a destruction of the lat- spots, even if the film is suddenly cooled. In 5 ent image. E. Cousin ascribes the cause of case negative film is exposed under very moist moisture markings produced by touching an conditions so that the emulsion coating of the unexposed photographic plate with the end film, is in equilibrium with an almost saturat- of a dampened stirring rod to a loss of sen- ed atmosphere, and especially at high tem- sitivity of the region affected. The possible peratures, it is necessary to dehydrate the film destruction of the latent image might be as- before repacking, so as to restore it to a condi- cribed at first thought to the possible decomp- tion approximately that existing when it left osition products of the film support, but defin- the factory, in order to eliminate the possibil- ite experiments as outlined above showed that ity of the formation of moisture spots as the spots of identical nature were obtained with result of condensation and prevent any pos- emulsions coated both on glass and on film sible loss of the latent image. A convenient supports. method of drying out film is to rewind the Black and white spots may be a result of roll loosely and place it in a closed metal con- bacterial action. Further experiments relat- tainer containing either old newspapers which ing to bacterial markings are in progress. have been dried out in an oven and which are That the same substance (water) should hygroscopic, or asbestos wool which has been at the same time cause black spots and white previously soaked in a saturated solution of spots is difficult to explain. calcium chloride and then thoroughly dried Drying markings are undoubtedly a result out on a shovel or sheet of tin over a fire. The of displacement of the silver grains in the film should be allowed to dry out overnight, developed emulsion from their original posi- then rewound tightly if necessary, and im- tion, as explained by Sheppard and Elliott 6 mediately sealed in the original container. and E. Senior. 7 When the calcium chloride becomes thor- Markings are produced on exposed and oughly moistened it should be re-dried over unexposed motion picture film by water, the fire. either in form of actual drops or condensed 4. Ross, F. E., Astro. Phys. 52:96 (1920). it is J, when transferred from a warm to a cold 5. Cousin, E., Bull Soc. Fran. Phot., Oct. 1918, p. 27. saturated atmosphere. Water markings 6. Sheppard and Elliott, Ind. and Eng. Chem., 10:727 (1918). 7. Senior, Edgar, B. J., 63:403 Twenty-six AMERICAN CINEMATOGRAPH E R January, l'J25 The Proof of Superiority Is the Popularity of Bell & Howell Cameras Three principal reasons why 05'/' of (ho professional cameras and equip- ment now in use carry the Bell & Howell trade mark are Service, Util- ity and Performance. SERVICE is guaranteed by the high quality of material and precision workmanship with which Bell & Howell equipment is constructed. UTILITY is had by the interchange- ability of detail parts and accessory equipment, as, for example, the ultra speed attachment for the standard camera, speed governor—controlled electrical cinemotor for producing pictures of art quality, direct focus- ing on film and on ground glass and other features, which make it possible for one camera (o do the work of several. PERFORMANCE is assured by the fact that the >e»niera is designed and built by specialists with many years reputation constructing motion pic- ture equipment that will produce quality results and that have been the WORLD'S STANDARD for many years. The fact that the first Bell & Howell cameras, produced many years ago are used today on feature produc- tions where quality performance is demanded, is, we believe, the best recommendation of the serviceability and the non-obsolescense of Bell & Howell built equipment. ESTABLISHED 1907 Cameras must be Orders noiv bring sent to our factory accepted at branch to have rieiv fea- offices or direct at tures embodied. 1801 LARCHMONT AVE. Chicago office. BRANCHES NEW YORK HOLLYWOOD CHICAGO. 220 W. 42nd ST. 6324 SANTA MONICA BLVD. Pioneer and world's largest manufacturers of cinematograph cameras and equipment ——— — ————————— HOW TO LOCATE MEMBERS OF THE American Society of Cinematographers Phone GRanite 4274 OFFICERS Gaetano Gaudio - President Gilbert Warrenton Vice-President Karl Brown • Vice-President Homer A. Scott Vice-President Charles J. Van Enger Treasurer Victor Milner - Secretary BOARD OF GOVERNORS Victor Milner Homer A. Scott King D. Gray Philip H. Whitman Fred Jackman Reginald Lyons James C. Van Trees Charles J. Van Enger Paul P. Perry Frank B. Good Gaetano Gaudio John F. Seitz H. Lyman Broening Gilbert Warrenton Karl Brown Abel, David—with Warner Brothers. Kurrle, Robert—with Henry King, United Studios. Arnold, John—with Metro-Goldwyn-Mayer Picture Corp. Landers, Sam Barnes, George S.-—with Cosmopolitan. Lockwood, J. R. Beckway, Win.—Europe. Lundin, Walter—with Harold Lloyd Prodsctions, Hollywood Studios. Benoit, Georges Lyons, Reginald Broening, H. Lyman MacLean, Kenneth G. Boyle, John W.— Marshall, Wm.—with Carlos Prods. Brodin, Norbert F. —Frank Lloyd Productions, First National. United Meehan, George—with Henry Lehrman, Fox. Studios. Milner, Victor—with Famous Players-Lasky. Brotherton, Joseph Morgan, Ira H.—with Cosmopolitan. Brown, Karl with Cruze, Players-Lasky. — James Famous Norton, Stephen S. —with Universal Pictures Corp. Clark, Dan—with Tom Mix, Fox Studio. Overbaugh, Roy F. —New York City. Cowling, Herford T.—Room 216-29 So. La Salle St., Chicago. III. Palmer, Ernest S. Cronjager, Henry—with Famous Players-Lasky, New York City. Dean, Faxon M.—with Famous Players-Lasky, New York City. Perry, Harry Doran, RoWert S.—with Hal Roach Studio. Perry, Paul P.— Dored, John Riga, Latvia. — Polito, Sol with Hunt Stromberg Productions. Dubray, Joseph A. — Ries, Park DuPar, E. B. —with Warner Bros. J.— DuPont. Max B — Rizard. George—New York City. Roos, Len H. with Fox Educational Film Corp. Edeson, Arthur—with First National, United Studios. — Evans, Perry Rose, Jackson J. Fildew, Wm.— Rosher, Charles—with Mary Pickford, Pickford-Fairbanks Studio. Schneiderman, George- -with Fox. Fischbeck, Harry A.—with Ritz Carlton Pictures, starring Rudolph Valentino. Scott, Homer A. Seitz, John F. with Rex Ingram, Europe. Fisher, Ross G.—with A. J. Brown Productions, Russell Studio. — Sharp, Thomas H. I nee. Gaudio, Gaetano—with Norma Talmadge, Joseph Schenck Productions; Henry—with United Studios. Short, Don Gilks, Alfred —with Famous Players-Lasky. Smith, Steve, Jr.—with Vitagraph Studio. Glennon, Bert—with Paul Bern, Famous Players-Lasky. Steene, E. Burton—New York City. Good, Frank B. —Metro-Goldwyn-Mayer Picture Corp. Stumar, Charles—with Universal. Stumar, with Universal. Gray, King D.—F. B. O. Studios. John— — Microscopic Pictures, Princi- Griffin, Walter L.— Tolhurst, Louis H. "Secrets of Life," pal Pictures Corporation. Guissart, Rene—with "Ben Htir", Italy. Chaplin, Chaplin Studio. Haller, Ernest—Del Andrews Prod. Totheroh, Rollie H.—with Charlie Heimerl. Alois G. Turner, J. Robert—with Fox. Jackman, Floyd—with Fred W. Jackman Prods. Van Buren, Ned Van Enger, Charles with Universal. Jackman, Fred W.—directing Fred W. Jackman Prods., Hal Roach — studios. Van Trees, James C.—with First Nationil, New York City. Warrenton, Gilbert Jennings, J. D.—with First National, United Studios. Koenekamp. Hans F. —with Larry Semon. Whitman, Philip H.—with Famous Players-Lasky, New York City. Kull, Edward —with Universal. Wilky, L. Guy—with William de Mille, Famous Players-Lasky. Edison, Thomas A 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. 1219-20 21-22 GUARANTY BUILDING Hollywood Boulevard and Ivar Avenue Hollywood, Californ ia LOYALTY PROGRESS ART sv St** Vol. VI 25 Cents No. 1 April, 1925 A Copy M mm American Cinematographer Published by the American Society of Cinema! it/ ru p hers, Inc. How the Pandita Was Photographed By Herford Tynes Cowling, A. S. C Rene Guissart, A. S. C, Opens Paris Studios PUBLISHED IN HOLLYWOOD CALIFORNIA Rele ases March 8, 1925 to April 1, 1925. TITLE PHOTOGRAPHED BY The Rag Man Frank Good, member A. S. C. Soiled Not credited Too Much Youth Rol and Price The Mansion of Aching Hearts Harry Perry, member A. S. C. New Lives For Old L. Guy Wilky, member A. S. C. Daddy's Gone A-Hunting Chester Lyons One Year to Live Arthur L. Todd The Re-Creation of Brian Kent Glen MacWilliams Salome of the Tenements Al Ligouri and D. W. Gobett The Saddle Hawk Virgil Miller Parisian Nights Ernest Haller, member A. S. C. The Star Dust Trail Jos- Valentine Riders of the Purple Sage Dan Clark, member A. S. C. Too Many Kisses Hal Rosson Lady of the Night Andre Barlatier Introduce Me Paul Perry, member A. S. C. and Jack MacKenzie Heart of a Siren R. J. Bergquist The Swan Alvin Wyckoff Love's Bargain Bert Cann Dangerous Innocence Merrit Gerstad and Richard Fryer On Thin Ice Byron Haskins Midnight Molly Silvano Balboni Champion of Lost Causes Ernest Palmer, member A. S. C. The Bo omerang Jos. Goodrich Sally T. D. McCord, member A. S. C. The Denial Ben Reynolds A Cafe in Cairo Sol Polito, member A. S. C. The Goose Hangs High Karl Brown, member A- S. C. Gold and the Girl Allen Davey The Dressmaker from Paris Bert Glennon, member A. S. C. Head Winds John Stumar, member A. S. C. Seven Chances Elgin Lessley and Byron Houck. Confessions of a Queen Percy Hilburn The Mirage Henry Sharp, member A. S. C. Contraband Al Siegler Bad Company Walter Arthur and Marcel Le Picard The Broadway Butterfly Ray June The Air Mail Alfred Gilks, member A. S. C. One Way Street Arthur Edeson, member A. S. C. The Hunted Woman Joe August The Boomerang Jos. Goodrich Sally T. D. McCord, member A. S. C. The D enial Ben Reynolds A Cafe in Cairo Sol Polito, member A. S. C. The G oose Hangs High Karl Brown, member A. S. C. Gold and the Girl Allen Davey The Dressmaker From Paris Bert Glennon, member A. S C. Head Winds John Stumar, member A. S. C. Seven Chances Elgin Lessley and Byron Houck. Confessions of a Queen Percy Hilburn. The Mirage Henry Sharp, member A. S. C. Contraband Al Siegler. Bad Company Walter Arthur and Marcel Le Picard The Broadway Butterfly Ray June The Air Mail Alfred Gilks, member A. S. C. One Way Street Arthur Edeson, member A. S. C. The Hunted Woman Joe August. — Vol. 6 APRIL, 1925 No. 1 American Cinematoqrapher Foster Goss, Editor and Business Manager Board of Editors— Victor Milner, H. Lyman Broening, Karl Brown, Philip H. Whitman Contents Page Releases Screens (Article Three) —By Earl J. Denison . . 4 How the Pandita Was Photographed— By Herford Tynes Coichny, A. S. C . . . 5 A. S. C. Member's Letters ox "Lost World" Credits . 7 The Oracle of Projection Castigates Us .... 9 Projectionist and Cinematographer (Reprinted from September, 1922) By F. H. Richardson . 10 The Truth and Mr. Richardson's Representations— By Foster Goss ...... 11 In Camerafornia 12 Renf. Guissart, A. S. C, Opens Paris Studios . . . 13 Report of Society of Motion Picture Engineers Progress Committee 18 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. 1219-20-21-22 Guaranty Building, Hollywood, California Telephone, GRanite 4274 (Copyright, 1925, by the American Society of Cinematographers, Inc.) : ) Four AMERICAN CINEMA TO (J KAP HER April, W25 Selection and Maintenance Screens By Earl J. Denison of Screens of Utmost Impor- Article Three tance to Every Theatre The last step in the efficient projection of Size of picture desired; a satisfactory picture is the selection of a After comparing merits and prices of sev- screen which will most effectively direct the eral screens I would place my order for the light to the audience so that the images form- screen I thought most satisfactory to my par- ed there may be seen from every seat without ticular needs. effort or eye strain. It is important that the Solving Difficulties screen have a high reflection factor, but it is more important that it reflect a maximum part If I were having trouble with a screen, of the light back within the solid angle in or thought it was not giving maximum re- which are included all of the seats, and that sults, I would again write direct to the manu- the light be so distributed within this angle facturer giving the above information and that the screen will appear equally illumin- also any other data I thought would help. ated from all of the seats. In the wide the- Installation atres the outer seats in front often make an angle of 50 degrees with a normal to the When installing a screen take great care to it screen. In the narrow theatres the angle is keep clean and free from wrinkles. Fol- sometimes as low as 20 degrees. low the makers' instructions on how to prop- erly install. Distribution of Light For Different Theatres The distribution of light can be controlled There are several types of theatres, and by choice of material, its finish, texture and each one requires a screen different from the configuration. There are quite a number of other. The wide house requires a screen with good makes of screens on the market today complete diffusing qualities, white, with a and several of the widely used can makes smooth surface. The house of medium width be obtained in different materials, textures, and length requires a screen of semi-diffus- and finishes; and there should be no trouble in ing qualities, metallic white with fine grain. getting the proper screen for any theatre. The long manor theatre requires a screen of Without writing a lengthy article and mak- high reflecting qualities, medium or course ing diagrams of floor plans, etc., I think I grain, metallic white in color. Some manu- can give you a few simple rules and instruc- facturers state their screens can be washed. tions for selecting the proper screen and keep- Before trying to clean or wash a screen, find ing it in good condition. Always bear in out from the maker just how to proceed, as it mind that reputable screen manufacturers, as it very easy to ruin the surface of the screen well as manufacturers of projectors, carbons, if one does not understand those things. All lenses, etc., have invested large sums of money screens should be cleaned, washed, or re-sur- in their businesses, and are honest, reliable, faced regularly. A very slight covering of hard working people. They have employed dust will cut down the screen brilliancy 25 in their factories trained engineers for the per cent. But even dusting a screen is a very purpose of developing their products to the particular job, and should never be left to highest standard possible. Therefore I will the porter, or any person who does not under- say that a great many problems regarding stand the importance of it. The one great projection could be readily solved if projec- difficulty is to clean a screen without leav- tionists and managers would get in direct ing streaks. My suggestion is: consult your touch with the manufacturers of the product local painter or paper hanger; better still, they are using or intend to use. So if I were show him the screen, and explain the import- selecting a new screen, I would write direct to ance of the job. several makers of screen giving the following information Home-Made Screens Width of theatre at front row of seats; A great many small town theatres have Length of throw. Length of theatre; home made screens, canvas painted flat white. State if theatre has balcony; The simple way to keep a screen of this Angle of projection. (Continued on Page 16 April, 1925 AMERICAN CINEMATOGRAPHER Five the Pandita By Herford Tynes Wit in Crisis and Spirit of How Cowling, Good Will Remove Film Fears Was Photographed A. S. C. of Tibetan Holy Man's Subjects lages the women would snatch up their children and rush into the houses. Men stood and watched at a dis- tance. Only the Yak drivers working for me appeared un- afraid. The Pandita Approaches On the tenth day I met a dignitary of the Lamas, called a Pandita, which is a sort of abbot of the Lamas, accompanied by about twenty Lamas and their caravan. He was making the journey to a monastery in Balistan. The people flocked to the road- way to kiss the hem of his garment or his hand; or to bow in reverence as he passed. The motion picture camera was carried in a wicker basket, His approach was heralded with tripod on top, to he quickly unslung. by longdrawn blasts on trum- pets borne by two Lamas rid- ing well in advance. I was on my way to Leh, how the Lamas received me. the capital of Western Tibet, The Tibetians whom I had Testing the Lamas where the much talked-of met on the way refused to be I stopped and held confer- devil dances of the annual photographed. Whenever I ence with my Tibetan inter- mystery play were to be held. approached their small vil- preter and sole English speak- I had made up my mind to do the impossible and make mo- tion pictures of this fanatical festival, something that had never been accomplished be- fore. Odds Against Him There was much specula- ton in my mind as to the suc- cess I would have in trying to photograph in such a relig- ious ridden country. My ex- perience with Mohamedans and Hindus might prove of considerable help; on the other hand, natives who have never seen a camera or under- stand what it is, are hard to handle. I had "shot the wad" in the expedition and was ex- Rif/zen did his work well—and blocked the trail/ tremely anxious to succeed. Everything depended on Six AMERICAN CINEMATOGRAPHER April,1925 Left: The Pandita—a most holy man, a very high ranking member of the order of Lama monks—a sort of abbot. Above: The Pandita poses with a few of his trusted Lama followers. ing companion. Here was our their trail was intentionally The Pandita Consents to opportunity, I thought. Let's blocked by some means or Pose make a test to find if there other. It was then that he saw religious objection to me was any News Speed in Tibet for the first time. I being photographed on the was I dismounted and began to decked in a broad brimmed part of the Lamas. It would set up the moving picture cow-boy sombrero, and I am be a good time to find out and camera which had been sure that he had never seen a good precedent to set, if suc- quickly slung from my pony anyone dressed as I was then. cessful. by one of the trained Kash- No doubt it afforded him Refusal Means Failure miri servants. By the time considerable amusement for But, supposing he refused; the Lama dignitary reached he dismounted with much dif- my work in Tibet would be me I was off the trail with ficulty and the assistance of different. most of my outfit and ready several monks, on account of to "shoot." the many silken robes he was The Holy Caravan A screen of dust had com- wearing, and accepted my of- The trumpeters appeared pletely enveloped us all, and fered hand. After listening along the trail ahead of me. A in the melee one of my packs to Rigzen's request to be pho- cloud of dust thrown up by had come off a pony right in tographed he readily consent- the devotees marked the spot the trail completely blocking ed and posed with other Lam- where the Pandita rode on a progress. Rigzen had done as for all the pictures I want- small pony. The trail was his work well, and appeared ed. narrow and only one caravan for further orders. He was Fortune Changes could pass at one time. One to approach the Lama, and From that moment I did of us must get off the trail. extend my salutation. I fol- not have the least bit of trou- 1 quickly dispatched Rigzen lowed behind and, on an or- ble photographing any men to order my caravan off, at der from the Lama, the or women along the way, as the same time to give them crowd fell back and cleared strict instructions to see that away. (Continued on Parte 15) : ) —" April 192? AMERICAN CINEMATOGRAPHER Seven A. S.C. Member's Letters on "Lost World" Credits Matter of Accrediting Cin- Warrenton's Stand in Impor- ematographers on Big Pro- II tant Matter Indorsed Offic- duction Is Taken Up. ^ & ially by A. S. C. in As an individual cinematographer , Gilbert due" connection with "The Lost World, Warrenton, A. S. C, sent the letters appended if not in justice to these artists, then in justice hereto relative to the matter of credit to cine- to the cinematographic profession itself. matographers on the First National produc- The cinematographers of whom I speak tion, "The Lost World." Indicative of the the men who photographed and made pos- importance of the situation about which Mr. sible this production are Fred W. Jackman, If arrenton writes, the Board of Governors of Arthur Edeson, Homer Scott and J. D. the American Society of Cinematographers, Jennings. at its meeing held Monday, March 30th, If the First National thought enough of went on record as endorsing the stand taken the cinematographic necessities in "The Lost by Mr. Warrenton in his communications. World" to induce Fred Jackman to tempor- Mr. Warrenton' s letters follow. arily leave the field of directors, in which he is a recognized success, then surely his achiev- March 20, 1925. ments in that production, together with those Mr. Robert E. Welsh, Editor, of his colleagues, are entitled to be recognized Moving Picture World, wherever recognition is purported to be given 516 Fifth Avenue, in relation to the Doyle vehicle. New York, N. Y. Sincerely, Dear Sir (Signed) Gilbert Warrenton. In vour issue of February 14th you include, together with other material on "The Lost March 20, 1925. World," a page of photographs with the cap- Mr. Richard A. Rowland, General Mgr., tion, "Credit where credit is due," and at the First National Productions, bottom of the page the caption continues, 323 Madison Avenue, "Here they are—the folks chiefly responsible New York, N. Y. for the new contribution to screen history . . . My dear Mr. Rowland: the only photograph missing is that of Willis The enclosed carbon copy will be self-ex- H. O'Brien, research and technical director, planatory. I feel certain that your sense of inventor of the marvelous effects seen in 'The justice would have corrected these errors in Lost World.' " giving credit as it is due. Mr. Jackman, who As an individual cinematographer, let me is a recognized factor in the field of directors, call your attention to the fact that if it is your is spoken of as chief technician in some of intention to give "credit where credit is due," your advertising. This title sounds like a there is something much more than only one great A- 1 carpenter or something of the sort photograph missing. and hardly suitable to the man who material- To us here on the west coast (and we ized the illusions which are creating such thought the fact was well recognized by favorable comment. everyone familiar with picture production) Feeling sure that your sense of justice will "The Lost World," of all pictures ever made, take care of this matter now that it is called is pre-eminently a "photographic production." to your attention, I am It demanded the highest development in cine- GW:S Very sincerely, matography, and to meet those great demands 1 Encl. (Signed) Gilbert Warrenton. it required the best men in their respective March 20, 1925. cinematographic lines. Without the abilities Mr. Edwin Schallert, Drama Editor, of these men the reproduction, for the public, Los Angeles Times, of the marvelous effects you have witnessed, Los Angeles, Calif. would have been a sheer impossibility. Dear Sir: It is my opinion that these men should After reading your article in the "Preview" be included in anything and everything that of the date of Feb. 25th, I am in a quandry to sincerely aims to "give credit where credit is ( Continued on Page 16 Eight C I N E AMERICAN M A T O G R A P H ER April, 1925 Richer dsons Handbook* F. H. Richardson Short Stories on Moving Picture Projection teriala Moving Picture Project* Sixth Floor 516 Filth Avenue, New York City Aim Editor American Clnematographer January JO Bollywood Calif. My Dear Mr Goas:- T It e letter reproduced H Is NOT pleasant to have to wtite as per herewith was sent to the attached acrbon. However, there la really auch a thing as ordinary Just courtesy. You propose entering a editor of the American field which has been prepared for you by lone, weary Clnematographer by Mr- YEARS of BATTLE , and you start out by just plain lenorlne every one and everything connected with F. H. Richardson, pro- that battle, making the announcement, in effect, that jection editor, and, ac- the American Clnematographer haa made a virgin cording to discovery and Is a pioneer in the field. the modest ad- By that act you have stinted up antagonism. missions on his letterhead, Instead of recievlng a warm hand of friendship. "author, writer, Richard- As to Mr. Dennlson—he la able and efficient in the field in which he haa worked— as an editor— sons Handbooks on Mov- well.we will see. Personally my view is that Mr. Picture Projection, Dennlson Is neither cut out to be, or has the training necessary lo become successful In the editorial field. Richardsons A merican I shall, however, be very agreeably surprised if my Baedekers , Short Stories, diagnosis proves to be wrong. My own experience is that Serials, Moving Picture one really good,eff lcient book or department helps another, Projection" — or what and there certainly la plenty of room in the field. have I wlah you every success, PROVIDED you change your attitude, you? as per your first totally-lgnore-everybody-and-everythlng first announcement. It la, however, to be remarked that your paper For the first complete and has never, in the past, lent one particle of enoouragement or authentic interpretation help, or taken any manner of visible interest In either the received of the highly legi- Projection Department or the American Projectionist, to say nothing of those many others who have sprang up,AL"AYS WITH ESSENTIALLY ble postscript on Mr. THE SAME ATTITUDE I HAVE CRISICISED IN YOU, and have dwindled away Richardson's letter, there and fallen by the wayside. The reason for this is simple: There are exceedingly few men, no matter how thoroughly competent in their will be presented to the practical and technical knowledge , who are able to successfully sender a year's subscrip- meet the problems of conducting a successful projection department. tion I personally very much doubt if you even lightly sense what to the Moving Pic- difficulties consist of. Well, anyhow I welcore both your popci these ture World, in which Mr. and Mr. Dennlson, IP you prove worthy of welcome, which both Brother R ic h ards o it's or Id-fa - Edwards and myself heartily agree your first tooting of horns don't W m seem to indicate. ous projection department NR Vety truly yours. appears. lefrrt culSaa^-A, (n-h ujj* Wvftfx Hl^CU ; April, 1925 AMERICAN C I N E M A T O G R A P HER Nine The Oracle of Projection Castigates Us CJHere Is Mr. Richardson's Story as CJ Here Is the Same Story as It Finally He Originally Wrote It and Sent It Found Its Way into Mr. Richard- to the Editor of this Publication son's Projection Department under with His Letter of January 30th. Date of April Fourth. (The ensuing gem of editorial demagoguism comes (Following is the story as it eventually appeared in from the fertile brain of Mr. F. H. Richardson, world- the projection department of Mr. F. H. Richardson, famous projection editor. As an example of that court- world-famous projection editor. Mr. Richardson's esy, that Mr. Richardson complains we do not possess, staunch consistency may be appreciated when it is noted we are opening our columns for Mr. Mr. Richardson that he wrote the original story for his own publication to say in full about us, in his partially published story, then it lay (not laid, Mr- Richardson) on his desk for a those things which he originally intended to say in full about us in his own publication. month, and then, according to the postscript of his let- Out of respect for Mr. Richardson's success an an ter of January 30th he changed his mind and tore the editor, as unlike Denison, he be "cut which Mr. may article up, but, to climax the affair, ran a deleted ver- out to be, or has the training necessary to become suc- sion of the story he stated that he had torn up, in his cessful in the editorial field," we are not attempting to issue April \th. It is interesting also to note that edit Mr. Richardson's copy as we would be obliged to of do in case of some one not so famous as he—no, we the story as finally published refrains from referring to are running his story, "as is," even to the extent of the the American Cinematographer by name.—Editor's "9 em dash" at the end.—Editor's Note). Note) - Another Moses Another Moses By F. H. Richardson By F. H. Richardson Once more, and for about the fiftieth time, Another Moses hath arisen, blown a two- a Moses hath arisen and, with termendous page blare from his trumpet, and announced toot of its own horn, announces, in effect, that that he will forthwith proceed to take the it will preceed forthwith to lead the Children poor, misguided, down-trodden, over-worked, of Projection out of the wilderness in which under-paid and generally abused chap who they have been stumbling around, presum- projects motion pictures by the hand, and ably without any manner of leader at all, for guide his faltering footsteps onward and up- lo these many years. ward to bigger and better things. This time it is a paper with a French name, It is really amusing how often this particu- the "American Cinematographer," published lar stunt has been pulled—and how often the in the interest of the motion picture photog- announced - with - a-blare - of-its - own-horn rapher, which is to do this wonderfud thing. guide has utterly failed to find the path to This department welcomed the American those bigger and better things, sooner or later Projectionist into the field, because it entered (usually sooner) relinquishing (WITHOUT the field decently and rightly, and is a pub- any blaring of trumpets) his self-imposed lication of and for projectionists. It would guiding job. the welcome American Cinematographer also This time it is a "cinematographers" jour- did it come courteously and decently. But it nal which hath, according to its announce- enters with a several page announcement in ment, made the virgin discovery that the pro- which there is not one word indicative of jection of motion pictures really is of impor- recognition of all the tremendous amount of tance, and ought to receive some attention work which has been carried forward for from somebody, and, by right of this original many years by this department, a single nor discovery, it itself proposes to be that "some- word of recognition of the American Pro- body." jectionist, or any other agency. This paper with a French name is in its Gels My Goat fifth year. From its announcement it is very What gets my goat in this matter, and the evident that it has absolutely no knowledge whole reason for this article, is the fact that that any other agency has ever did one single this french-named paper to all intents and thing for projection. Certainly in all its five purposes tell us that it and it alone has just years of life IT has done nothing, but in fu- (Continued in Col. 1, Page 10) (Turn the Page) ) Ten AMERICAN CINEMATOGRAPHER April, 192$ ture—oh bhoy! It is published regularly once Projectionist and month. Oh well, in the language of the poet: Cinematographer "Wot th' 'Ell!" By F. H. Richardson Another Moses (Mr. Richardson says thai that the American Cinema- tographer was sound asleep, as to the common ground of in- terest het=ween the projectionist and the cinematographer, (Continued from Col. 1 , Page 9 until this journal opened its projection department. An in- made the wonderful discovery that the work spection of the files of the American Cinematographer will prove sutli a statement he an untruth. As an illuminating of the projectionist and the work of the mo- to example of the fact that the pages of this magazine have not tion picture photographer is closely connect- in the pa ft been silent on the relations/zip between the cinema- tographer and the projectionist, there is re-printed herewith ed and that the cinematographer and the act- a story by Mr. F. //. Richardson himself—a story which ap- issue, con- peared on page 15 the September , 1922, and ors and every one else must depend upon the of tinued on page 2+ of the same issue. Hut, according to Mr. motion picture projectionist as to whither Richardson's abiding respeit for the truth, the American Cinematographer "and it alone has just made the wonderful their "art" will appear as such, or as a ridic- discovery that the work of the projectionist and the work of the motion picture photographer is closely connected."— art. ulous travesty on Editor's Note). This department has been telling that fact I wonder how many cameramen, who have a just pride in the really magnificent work they are "father" to, understand to all and sundrv, including the Cinematog- and know that insofar as concerns the final buyer of their rapher, for lo these MANY YEARS, and product, the motion picture theater patron—the public—the the Smerican Projectionist has not been at excellence of the product is entirely in the hands of and at the mercy of the projectionist. all silent, but this Moses must have been Does the average cameraman ever stop to consider that no very sound asleep because in all that time matter how sharp his "focus" may be, it will be something less than sharp if the conditions of projection be not right? neither this department or the American Pro- Does he appreciate the fact that the work of the splendid jectionist has had one iota of help, encourage- lens he uses, and the effect of great "depth" he has worked ment or aid from either the cinematographer so carefully to secure, will all go awry if the projectionist is careless or does not understand his business? or his mouthpiece. Projectionist Is Important But now—well, by golly it's lucky this pro- Does the average cameraman have the slightest apprecia- jection Moses waked up because otherwise tion or understanding of the emasculation his work is subject- ed to when placed in the hands of an incompetent project- there is no telling into what debths of dispair ionist, or a projectionist who is careless? I think not; hence, we might have wondered. it has occurred to me that attention should be directed to the (Continued on Page 17) And now that all that is out of my system, always provided the Cinematographer clam- bers down off his elevated steed, hits the earth The "French-named paper" and is willing to CO-OPERATE with those As another example of the genius which possi- agencies which were in the field, fighting the hly made him "cut out to be, or has the training BATTLES of the projectionist and projec- necessary to become successful in the editorial field," tion years before the American Cinematog- Mr. F- H. Richardson seeks to identify the Ameri- rapher was even thought of, and other years can Cinematographer as the "paper with a French name" or as the "French-named paper," etc. before it grabbed this marvelous new idea of helping projection and the projectionist, this If Mr. Richardson would have us believe that American is French, then we might well rest our department will welcome it into the field and case right there. But giving him the benefit of be quite willing to work with it. the doubt—maybe he means that Cinematographer There is ample and abundant room for all is French or of French origin. when this department is unable to hold its But Mr. Richardson can no more justify him- self in calling Cinematographer French, than he own and keep a few laps ahead it will con- can in calling American French. clude its usefulness has ceased and its edit- your information, Mr. Richardson, consult or will turn to other fields of human endeav- For the Greek grapho, write and kinema, kinematos, or. kineo, movement, motion, move. Consult I venture the assertion, however, that Mr. those words, Mr. Richardson, and you will know, Dennison, who will edit this new effort will in your all-consuming editorial wisdom, that if discover that editing a successful projection you must brand Cinematographer as being any- department and succeeding in the work he thing, it at least will not be French. now is doing, and doing very well, are two en- The "French-named paper." tirely separate and distinct propostions. Wrong again, Mr. Richardson. 9 em dash Eltvtn April, 1925 AMERICAN CINEM ATOGRAPHER TheTruth andMr. Richardson' s Representations F. H. Richardson's Bluster- Swashbuckli n g Flourishes ing Mis-statements Are Ex- By Foster Goss and Demagogic Tactics Are posed to Light of Fact. Dealt with Pointedly. Because Mr. Richardson's assertations are al monthly, this journal not only went square- so far from the truth, and because they are ly on record concerning its recognition of the so remote from fact, this publication is deal- importance of the projectionist, but even ing with them directly and pointedly. went to the extent of permitting Mr. F. H. Richardson, the oracle of all projection In his letter to the editor of this publica- matters, to use the columns of the American tion and in his copy of his partially published Cinematographer to tell just how important story, which for some unexplained reason the projectionist was. To refresh your mem- did not find its way as originally written into ory, Mr. Richardson, you may remember that the columns of his department, Mr. Rich- story, "Projectionist and Cinematographer," ardson accuses American Cinematographer, a by your own august self, began on page 15, that, in its announcement of its new pro- of the September 1922 issue, and continued jection department, it represented itself as on page 24. Also, you may remember, if having made a "virgin discovery," as being you do not find it too embarrassing, editorial a "pioneer in the field," and as having "just comment, appearing on page 11 in the edit- made the wonderful discovery that the work orial department of the same issue (Sept., of the projectionist and the work of the mo- 1922) on the callings of the projectionist and tion picture photographer is closely connect- the cinematographer being complementary ed," etc. If Mr. Richardson will definitely and further comment on your story show us where we have even approached own which was published in that number. such a statement in the announcement of which he complains, then we will show him How can you, then, Mr. Richardson, have where he is a deliberate distorter of facts. the effrontery to make the misrepresentation The very issue, which Mr. Richardson sets that this publication, specifically or generally, out to lampoon, among other things, in his is setting itself up as having, to quote you clumsy way, states for instance (on page 11, again, "made a virgin discovery" and "that it January, 1925) : "this journal, in common and it alone has just made the wonderful dis- with cinematographers as a whole, has al- covery that the work of the projectionist and ways realized the importance of the projec- the work of the motion picture photographer tionist. He is one of the strongest—one of is closely connected." the most decisive—links in the whole great How can you, Mr. Richardson, have the chain of the picture that begins with the cam- audacity to state, as you do in the fifth para- era and ends on the screen." graph of your partially published story, that say, in And then you Mr. Richardson, this publication "must have been very sound paragraph one of your letter to the editor of asleep because in all that time" it has not the , American Cinematographer and in the given yours or other departments "one iota fourth paragraph of your partially published of help, encouragement or aid from either the story, that we were, to quote you in your very cinematographer or his mouthpiece." If it words, the own "making announcement, in had been that the story and comment in ques- effect, that the American Cinematographer tion which appeared in these columns as far has a virgin discovery is a made and pioneer back as 1922 had been written by some one in the field." Can it be that you don't read else, then we might even offer some excuse for correctly, Mr. Richardson, or is it that you your misleading statements—but the fact re- just don't have any respect for facts? mains that you wrote the story yourself and But this publication does not have to rely that it duly appeared within the pages of the in its on statements January issue of this this magazine. year that it has long recognized the import- Can you answer the foregoing and not try ance of the projectionist. As far back, (or to excuse yourself as not recognizing facts? as recently, as Mr. Richardson chooses to Can you do it, Mr. Richardson, without tak- call it), as September 1922, within a few months after it had been made into a nation- ( Continued on Page 15) Twelve AMERICAN CINEMA TOGRAPHER April, mi H. Lyman Broening, A. S. C, has finished T. D. McCord, A. S. C, is photographing the filming of "American Pluck," an I. E. "The Desert Flower," a First National pro- Chad'wick production, featuring George duction starring Colleen Moore. Lloyd Walsh and directed by Richard Stanton. Hughes has the lead. * * * * * * E. B. Du Par, A. S. C, has a penchant for George Schneiderman, A. S. C, is at outs Truckee, Calif., it appears. After finishing with everything equine these days. George five weeks at the celebrated location, for War- had just finished the filming of a Fox pro- ner Bros., the A. S. C. member returned to duction when Emmett Flynn suggested that the land of deep snows to film "Ship of the A. S. C. member accompany him on what Souls," a Stereoscopic production based on was to be in the nature of a vaction trip to the story by Emerson Hough. Charles Mil- the Feather river district. ler is directing, and the cast includes Bert The trip, however, materialized a camera Lytell, Cyril Chadwick, Russell Simpson for George, and, one morning, without the and Lillian Rich. aid of an assistant, the A. S. C. member set * * * out on a fifteen mile tramp with a camera on Ernest Palmer, A. S. C, is photographing his back. Finally, a very precipitous bank "East Lynne," a William Fox feature direct- on a mountain torrent was reached. It was ed by Emmett Flynn. Edmund Lowe and here that the jump of a horse from a cliff into Alma Rubens have the leading roles. the stream was to be filmed. * * * A very narrow ledge offered a very good Dan Clark, A. S. C, is not in the throes of angle. Accordingly, George crooked his filming a Tom Mix feature, for the first time knees and tip-toed himself into a stance on in many seasons. The reason is that Dan's the ledge, the vast majority of its narrowness star has left Hollywood on an extended va- having been utilized for the three legs of cation tour. the tripod. * * * The horse made his jump but the water was Gilbert Warrenton, A. S. C, is photo- rough. He chose to swim out of the torrent graphing the latest Edward Mortimer pro- immediately, and, for his exit, selected the duction for William Fox. ledge on the edge of which George was * * * perched. The horse was very positive in his Reginald Lyons, A. S. C, has just re- attempt to attain the end he had in mind turned from a desert location between Cajon and ;in a twinkling was parking his front and Victorville where he worked with David legs on the scarcity of rock on which were Kesson, cinematographer for Marshall Neil- already quartered two cinematographic legs an, on Neilan's current production for Metro- and three tripod legs. Goldwyn. It was too much for George. It was en- * * * dangering his camera which he could not pick up and hustle away for the reason that Georges Benoit, A. S. C, has finished the the horse have gained the rock be- filming of "Heaven On Earth," a Hunt would Stromberg production directed by Tom For- fore he could make his escape—which no doubt have with the camera into man. The cast includes Marguerite de la would been Motte, John Bowers, William V. Mong and the river. Charles Gerard. Mong has a dual role in So George elected to kick the horse on the the production, all of which makes things shins. very interesting for George; however, such This he did, effectively, holding to his affairs are mere trifles in George's young camera until the remainder of the company life, as witness "The Masquerader," etc. effected a rescue. April, 1925 AMERICAN CINEMATOGRAPHER Thirteen Rene Guissart lember Establishes dquarters for European Opens Paris Studios Cinematographic Production Rene Guissart, A. S. C, has Monte Carlo where he filmed left for Paris, France, where J. Parker Read's production he has established headquar- of ''Recoil," starring Betty ters for a motion picture pro- Blythe and directed by T. duction service that is an in- Hayes Hunter. He again re- novation in production mat- turned to Hollywood and had ters. Guissart's service will been there only a short time make it possible to match the when he went to Italy with photography in an American- Technicolor to work on "Ben made production with any Hur." Subsequently, after scenes desired in the way of Fred Niblo became director an European background. of the feature, Guissart was retained as chief cinematog- Personally in Charge rapher on the production. The Through the use of suitable A. S. C. member returned to photographs for a guide and Hollywood with the "Ben specifications as to any cost- Hur" company and found uming, etc., Guissart will be that an experience such as able to provide required was his in European cinema- Rene Guissart, A. S. scenes against any designated C- tographic affairs was at a pre- British or continental back- mium, and the plans for his ground. The A. S. C. mem- ing important productions in unusual studio in Paris, with ber will personally take the England and on the Contin- channels reaching to all con- scenes as ordered, and all de- ent. In this country he has tinental and British centers, tails will be under his person- been an ace cinematograph- were consequently formul- al supervision. er with various of the larg- ated. est studios and most promin- Big Orders Before his departure to ent directors, among the lat- make his permanent head- Before sailing for France, ter being D. W. Griffith, Al- quarters in Paris, Guissart Guissart already had ac- lan Dwan and Maurice Tour- was appointed European re- quired substantial orders neur. presentative of the American from some of the largest pro- Knows Continent Cinematographer. ducing companies for assign- ments to be executed imme- In Europe, Guissart filmed diately on his arrival in Par- some of the biggest produc- is. This material to be pro- tions to come across the At- vided by Guissart is to be in- lantic in recent years. He corporated in forthcoming was chief cinematographer A. S. C. feature productions. for "Chu Chin Chow," which was filmed in Berlin by Gra- European Experience HEADQUARTERS ham-Wilcox, whose produc- This is believed to be the tion headquarters are in Lon- ARE LOCATED AT first time that a don. For the same organiza- complete ser- 1219-20-21-22 vice of this sort has ever been tion he photographed numer- offered, or that it is to be ous other features in London, Guaranty Bldg., handled by one experienced among them being those in both European and Ameri- which starred Mae Marsh. Hollywood Calif. can production affairs, as the He returned to the United A. S. C. member is. Guis- States in 1923, but had spent GRanite 4274 sart knows European customs scarcely a fortnight in Holly- and cinematographic chan- wood when a very attractive nels completely by virture of offer took him back across the the long time he spent film- Atlantic to Paris and then to Fourteen A M E RICA N C I N E M A T C) G RAPI1ER As Good As The salesman never has to say "It's as good as such and such film" in describing Eastman, negative or positive. There just isn't any ques- tion about its outstanding superior quality. And you know when you have the genuine — the identification "Eastman" "Kodak" in black letters in the margin tells you. EASTMAN KODAK COMPANY ROCHESTER, N. Y. April, 1925 AMERICAN CINEMATOGRAP1IER Fifteen the truth and mr. rich- years by this department." We won't say that ardson's representations the sun of the world of projection does not (Continued from Page 11) rise, circulate and set in the immediate vicin- ing refuge behind a shield of profuse excuses? ity of Mr. Richardson, but we will say that Can you? he has a very peculiar idea of editorial cus- toms if he had or has any hopes of our apolo- Richardson is not content Mr. with misin- gizing, (and his highly fanciful concept of the terpreting the purpose of this publication. He "recognition" due him would be nothing queries the fitness of Earl Denison, the J. more,) to him for endeavoring to bring the very able has to man who been chosen head callings of projectionist and cinematographer the projection of the department American closer. Cinematographer, for the post in question. that despite Richard- Why Mr. Richardson should do this, is be- The fact remains Mr. yond a thorough understanding of editorial son's "weary years of battle" (yes, weary and ethics in which the oracle of the projection boresome), despite "all the tremendous world professes to be so well versed. We amount of work which has been carried for- maintain that, most of all, the chief requisite ward for many years" by Mr. Richardson's for the head of a projection department is a department, despite the fact that Mr. Rich- masterful and thorough, (and that does not ardson's "department has been telling" the mean noisy) knowledge of projection. fact that the callings of projectionist and We cannot see how Mr. Richardson can cinematographer are closely connected "to all logically contend as, for instance, he attempts and sundry, including the cinematographer. to in the third paragraph of his letter to the for lo these many years,"—the fact remain? editor of this publication, that a man cannot that projectionist and cinematographer have be the successful head of a projection depart- not at all arrived at that stage where they are ment unless he is "cut out to be, or has the actually working close (together; and it is training necessary to become successful in the toward bringing about this stage, even though editorial field." If Mr. Richardson would the greatest of all geniuses with all his weary have us believe that his greatness depends years and tremendous amount of work has on editorial genius, then it is our opinion, to failed so to do, that the American Cinemat- use his own words, in the next to last para- ographer is bending is efforts. graph of his partially published story, that We will stipulate that misery alwants com- he long since might well have turned "to other pany, but we cannot see why Mr. Richardson fields of human endeavor." should want to draw the American Projection- A droll conception of editorial ethics in- ist into his tantrum against us. In those copies deed does Mr. Richardson reveal in the third of the American Projectionist we have had the paragraph of his partially published story privilege to read, we have seen nothing to in which, in a flare of injured virtue, he whines because in the announcement of the which we could take exception; and we surely projection department in this publication, have respect enough for the American Pro- "there is not one word indicative of recogni- jectionist that it has sufficient independence tion of all the tremendous amount of work not to be taken into Mr. Richardson's churl- which has been carried forward for many ish, if not childish, tirade against us. HOW THE PANDITA triumph, which paid good the mountains before him. WAS PHOTOGRAPHED dividends along the way. As far as I could see the (Continued from page 6) crowds of villagers were still Shelter was offered me by his word appears to have been following in his wake to ge: holiness at any of the Lama- a view of the holy man. passed that I had permission saries. Having been photo- from a high Lama himself to And that's how his holiness graphed in several different photograph. was photographed, and, by poses, his he mounted pony his grace, opened the Tibet- This appeared to be suffi- and passed on, saying that he ans' photographic door for cient, and was my first had six weeks journey over me. : R Sixteen AMERICAN CINEMATOGRAPHS April, 192? "LOST WORLD" CREDITS be the direct concern of the cinematographer but after all screen presentation constitutes ( Continued from pagx 7) the final delivery of his work to the public. know whether you are cognizant of the fact Art for Art's sake may be all right but in that the man, who is most directly responsible the final analysis all work requires public ap- for the success in the production of "The Lost proval and if the picture is poorly projected World" and its animal features, has been en- the work of the cinematographer suffers. tirely ingnored in your publication. It seems "The motion picture projector is no longer to me that there are so few7 exceptional pic- a mere mechanical contrivance cranked by tures that come out that you must have not hand or made to operate by the simple push- been conscious of this omission, for the reason ing of a button. The projectionist of today that your recognition of a cinematographer's should have an excellent knowledge of mech- efforts in a vehicle of this sort means not only anics, electricity and optics and is in charge the consummation of the hopes of the individ- of a delicate and complicated mechanism ual, but necessarily reflects credit to our pro- made with scientific accuracy to handle a fession as a whole as well as creating an in- fragile and inflammable material. He has a centive for even greater efforts. Rather than great responsibility—for failure to measure make this letter any longer, I am enclosing a up to the right standards means that all that carbon copy of a letter, which I am sending the producer, director, actor and cinematog- the Moving Picture World on the same sub- rapher have striven for loses much of its ject and which is self-explanatory. artistic and commercial value, the pleasure Hoping that you will have the opportunity of the audience is lessened, the exhibitor is to use this information on any future material subject to constant and unnecessary expense in connection with "The Lost I World," am and lives and property endangered. GW:S Very sincerely, "It has been my good fortune to include a 1 End. (Signed) Gilbert Warrenton. large number of progressive projectionists among my friends and I am particularly well acquainted with the members of the American P. A. McGuire Praises Work Projection Society which has done much to promote better projection. Here in the east of A. S. C. in Advertisements it is not so convenient to meet cinematograph- Commenting on a set of advertisements ers but I hope that the advertisement and this which give credit to this publication and to letter will make you and your organization the American Society of Clnematot/raphers realize how much projectionists and equip- in the regular advertising of the Nicholas ment manufacturers value your good will and Power Company, P. A. McGuire, well-known co-operation. advertising "Yours very truly, manager of that institution , in a letter to the editor of the AMERICAN ClNE- "P. A. McGuire MATOGRAPHER, drives home the importance of "Advertising Manager, a close relationship between the professions "Nicholas Power Company, Inc." of the projectionist and the cinematographer. Mr. McGuire 's letter follows: SCREENS "Dear Mr. Goss (Continued from page 4) kind in good condition is to repaint it, each "Enclosed you will find proof of our ad- coat stippled to guard against glare spots. I vertisement which will appear in the Moving know that several of the largest theatres in Picture World and Motion Picture News, is- the United States have corrected projection sue of February 7th. We hope that you will problems of long standing, and greatly im- like this advertisement as it has long been our proved their projection, by installing the desire to publicly express our approval of the proper screen. It will pay every projection- work you and your organization are doing. ist to find out if he is using the proper screen. "The various departments of the motion Your screen is your stage and if you have picture industry are dependent upon each the wrong kind of screen or it is in bad condi- other and the conscientious and competent tion, you are working under a big handicap, cinematographer cannot afford to be indiffer- and it will be impossible for you to obtain ent to projection. Good projection may not a high standard of projection. - April,1925 AMERICAN CINEMATOGRAPHKR Seventeen /.SARHED Tb PRINT ^£ BEFORE. WE. COULD WRITER ^ n OUR. DEVELOP I NQ H*S EARNED TK6. RtSPECT OPThE. ENTIRE- INDOSTHV KO m est uy / — holl / w q o o — PROJECTIONIST AND knowledge and ability in its reproduction on the theater screen, it will inevitably suffer, and suffer in proportion to CINEMATOGRAPHER the lack of skill in projection. It is high time that producers, directors, artists, camera- (Continued from Page 10) men and every one concerned came to a realization that it fact that the cameraman and the projectionist link insepara- is something worse than mere foolishness to expend huge bly together. sums of money and tremendous effort in the perfection of a photoplay and then to turn it over for reproduction before We will assume that every cameraman is deeply interest the in seeing his work placed before the public in a way which ultimate buyer, the public,, (it often happens) a man of very slight knowledge and skill, who has neither pride will bring out and emphasize its excellence. We often see the name of the cameraman blazoned forth on the screen, nor ambition to place the production before the audience in followed by work which makes the unknowing one won- the most artistic possible way. der he permitted it to be used. picture is "fuzzy." why The I. tick of Interest lacks detail and is "flat." The critical comment of the aver- Up to this time it is an almost incomprehensible fact that age man in the audience is "rotten photography." The know the producer does not seem to take even the very least inter- ing one assigns the fault where it probably belongs, though est in how his production is reproduced upon the screen, even he cannot be sure it is all due to projection faults. though none but the fool would or will dispute that this item Some Beyond Projectionist's Control has very much to do with its success with the audience. Seeming lack of sharpness may be due to many causes, some Protests Are Rare of beyond the control which of the projectionist. Poor or I have never in all my experience heard of a director pro- unsuitable projection lenses; an unsuitable condenser, and a testing at the literal emasculation of his work in its reproduc- "boss" refusing to purchase suitable lenses; projector a opti- tion before the public. I have never, in all the years, heard cal train not properly adjusted; a projection room so far re- a single star uttering a protest at the fact that he or she moved from the screen that the projectionist has not a sharp is literally made ridiculous before audiences by wrong tempo view thereof, or the view of the projectionist hindered by in projection, or because he or she is literally blotted out, per- faults in theater construction, as sometimes happens; and haps at the middle of the most intensely interesting point of soiled lenses are some of them. A wrongly adjusted revolv- the whole play, by shadows caused by ignorance or plain care- ing shutter or a shutter with a too narrow master blade, so lessness on the part of the projectionist. Did you, yourself, that there is faint travel ghost, is another. ever hear of anything of the sort in any of the thousands of I could use up a lot of space in explaining the reasons why "interviews" with stars published? Or did you ever hear of a picture with splendid "depth" is made to appear "flat" by a cameraman uttering protest at the butchery of all the wrong methods in projection; what various faults in projec- splendid work he put into the films at the cost of great effort tion practice operate to greatly injure or utterly ruin the and almost endless care. DID YOU? beauty of the work of the cameraman, but of what avail? Since the success of a production depends so greatly on the manner in which the Efficient Reproduction Needed projectionist handles it, then it is only plausible that the cinematographer, the star, the director, or The purpose of this article is to call the attention of camera- whoever is interested in the production should in turn be in- men to the fact that if their work is to be placed before au- terested in the projectionist, [f he is an able man, their work diences at 100 per cent value, then there must be men of will show to best advantage. If he is not efficient, it will ap- real ability brains and in the exhibitors' projection rooms. pear otherwise. Don't neglect consideration of the projection- Cinematographers must come to realization a that unless their ist—your success or failure may depend, to a great degree, work be handled with a high degree of skill—by men of real on him. April, 1925 Eighteen AMERICAN C I N E M A T O G R A P H ER Exhaustive Resume Contri- Report of S. M.P.E. of butions to Film Science from Progress Committee All Parts of the World other The past year in the motion picture indus- tained by combining these pictures with entertainment. Portable project- try has been characterized more by improve- forms of ors enable them to be shown before groups ments in processes and equipments previously which otherwise could not be reached. available rather than by outstanding new de- In the preparation of this report your com- velopment in the art. The advantages of mittee has utilized published information ap- standardization in other older industries are pearing in technical and trade publications familiar to most of us; our own Society has and the monthly Abstract Bulletin of the through its active committees made excellent Eastman Kodak Company, as the principal progress, not only in this country but by estab- sources of the material. Some items have outside the calen- lishing relations with Europeans interested in been included appearing of dar year, which had not previously come to similar work. In Germany special effort the committee's attention. Information from toward the standardization of sprockets has other sources is most welcome, and if sent to been made, the Kinotechnische Gesellschaft the committee will assist materially in mak- functioning in a manner generally similar to ing our report complete and valuable as a our own Standards Committee and the Eng- source of reference. lish Committee on Standard Measurements. Respectfully submitted, Interest in the radio transmission of motion C. E. EGELER, Chairman, pictures has been accelerated by the commer- J. I. Crabtree, cial sending of still pictures by wire; at least Rowland Rogers, one of our members is very active in the de- P. R. Bassett, velopment of the former. The reproduction J. A. Ball, of the voice and music in synchronism with Wm. T. Braun. motion pictures of short lengths has been pre- Cameras sented commercially during the past year, and high speed camera has been built in Eng- 'a complete picture with twenty people in the A 2 land which has a variation in speed of from cast is now being produced. 500 to 5,000 pictures per second. The cam- As indicative of the growing appreciation era consists of a large drum about six feet in of art in motion picture photography the 1923 Exhibition of the Royal Photographic Socie- 1 Kinotechnik, Oct. 1922, p. 7 19. ty 2 Motion Picture News, Apr. 26, 1924. p. 1928. contained a new section on cinematogra- 192:>, 518, 601. 3 British Journal of Photography, Sept. 21 and 28, pp. 3 phy. An increasing use of motion pictures 4 Visual Education, April 1923, p. 108. for the edification of employees on methods for safety is noted in this country ;* the inter- est of practically all classes of people is ob- l/ALTEH J. VAN RpSSEM The New Iris Combination may be had with 6049 Hollywood Blvd. 4-in. Iris or Sunshade FRED HOEFNER Phone Holly 725 Cinema and Experimental Work Commercial Photography 5319 Santa Monica Blvd. (rear) Still Dfevdopin^ and PrinlirvjP GLadstone 0243 Los Angeles, Cal. feft^Caioaas-FOR. RENT— Still SCHEIBE'S PHOTO-FILTER SPECIALTIES Are now popular from coast to coast, and in some foreign countries. FOR RENT If my many varieties do not always fill the bill, tell me your wants and I will make them on special order. Two Bell and Howell Cameras, 40, 50, 75 mm. Always at your service. lenses, Thalhammer iris. Jean Trebaol, Jr., 7042 GEO. H. SCHEIBE itilson Street, Palms, Calif. Telephone 761-243. 1636 Lemoyne St. DUnkirk 4975 Los Angeles, Cal. Afril, 1925 A M ERIC A N CINEMAT O G R A P H E R .V' intteei- diameter and weighing approximately 1,000 is accomplished by viewing a large image pounds around which a single closed loop of through a tube in the back of the camera. The film, 288 pictures in length, is wrapped. An full lens opening is f .2.5 and a shutter of tub 8 hp. motor is required to drive the mechan- ular design is employed. Duraluminum 9 ism. The optical system consists of a ring is used for a camera of English manufacture of 40 matched lenses mounted in a rotating operated by a small electric motor which re- disc which is geared to the drum so that film ceives current from a standard storage or and lenses pass the aperture at the same speed. special portable battery. Several adjusting The drum is of sufficient width to take two indicators are provided. films side by side and two rotating lens sys- Among the camera attachments introduce d tems makes it possible to obtain stereoscopic is a focusing telescope finder' which gives high speed records. The whole machine a clear view of the entire field with a magnifi- weighs 4 tons; the illumination of the sub- cation of five diameters. By changing the jects is accomplished by the concentration of optical system a 12-times magnification can searchlight beams or magnesium flares. The be obtained. The images are erect and nor- apparatus is being used for scientific investi- mal. Another focusing device" consists of a gation. prism mounted in the camera shutter move- A high speed camera at the developed ment, and register leaf mechanism, and a Bureau of Standards takes pictures at the rate special magnifier attached may be clearly of 1500 per second. 6 Six lenses are employ- seen. This arrangement permits focusing ed. It is being used to study the flight of bul- directly on the subject through the film. lets and large projectiles. In addition to the cameras and projectors As a means of doubling the field of vision for non-professional use described recently in a new camera 7 uses two lenses acting in the same plane embracing an angle of views. 5 Motion Picture News. Feb. 2, 1924, p. 536. These adjacent pictures are projected to a 30- 6 Motion Picture News. Feb. 2, 1924, p. 536. 7 Scientific American, Feb., 1924 p. 105. foot width screen by a twin projector. 8 American Cinematographer, April, 1923, p. 25; Motion Picture News, 8 March. 24, 1923, p. 1276. A daylight loading camera for standard 9 Photographic Journal (London), Feb. 1923, p. 64. 10 American Cinematographer. Feb. 15. film uses reels 1923, p. of 50-foot capacity. Focusing 1 I American Cinematographer, Nov. 1923, p. 23. Just one production TREMONT with us Film Laboratories Corp. will make you our friend 1942-4 Jerome Avenue for life. New York City SPECIALIZING Roy Davidge Film Laboratories. in NEGATIVE DEVELOPING 6701 Santa Monica Blvd. HOlly 1944 FIRST POSITIVE PRINTING AMERICAN CINEMATOGRAPHER, Guaranty Building, Hollywood, Calif. Enclosed find $3.00 for one year's subscription to the American Cinematographer, to begin with issue of 1925. Name Address Twenty AMERICAN CINEMATOGRAFHER April, 1925 2 3 papers before the Society,' a new equipment' for amateur and home use has been introduced which weighs only 4 1-2 pounds and which is WINFIELD-KERNER very compact, measuring only 3x6x8 inches. It uses the 16 mm. width film from which a STUDIO direct positive is made. The projector weighs 9 pounds and when folded fits into a LIGHTING EQUIPMENT case 8x11x11 inches in size. Illumination is furnished from a pre-adjusted, 200-watt 50- OUR NEW volt lamp burned in series with an air-cooler ROTARY SPOT LIGHT rheostat weighing only 2 ounces. Still or mo- tion pictures may be shown. A 9 to 1 inter- Is Second to None mittent movement is employed. Color Photography Ask for Demonstration Although a leading producer and director Al. has recently aired his objections to colored De Bus "The Heavylite Man" motion pictures on the grounds of high cost, distraction from the action by the color, lack Los Angeles County Distributor of artistic production to date, and eye strain, effort to further develop this art continues unabated, 14 and there has been marked inter- Winfield-Kerner Products est during the year in both color photography Factory: Hollywood Office: and projection. Not only has there been a 323-27 East 6th Street 6725-5 5 Santa Monica Blvd. Phone VAndike 6211 Phoneg: CRanlt 9601. CRantt «482 considerable amount of experimental work Phone CRanlt 4164 done, but some of the developments have been Night made available for theatre projection. A five- reel feature us ; n^ the Technicolor process has been widely shown during the year, and the y color effects were well received by theatre pa- """^m""!!!!!!!!!!!!!" trons. It is announced that other feature || PARIS LONDON || pictures will shortly be produced using this RENE ®m II process. Colored inserts appeared in a num- II mm If ber of pictures, one of which showed scenes GUISSART II BERLIN 1 | taken under the water in conjunction with on) 11 BRUSSELS 5 m II the Williamson apparatus.' j% 1 A method of color photography recently 11 ©s® Atmospheric Shots in Any BUDAPEST || 6 Part of Europe announced' utilizes film embossed on the II mm tl back with minute lenses. The diaphragm of || VIENNA the camera lens is divided into three color Taken according G I NEVA = = segments. Its principle of operation is de- If mm to your own in- mm SI scribed as follows: the photograph is structions i n a n When II m £3& |I artistic manner to taken through the back of the film the lens CAIRO || ROME match the photo- || elements project on the emulsion images of the graphy of your pro- mm 1! three color segments. In development the II mm duction. m || positive is produced by reversal, and when the || 238: ATHENS || film is projected with the same three-color || MADRID OFFICIAL CORRESPONDENT IN" mm II segment filters in the projection lens, a color EUROPE for: m || picture is obtained. ; H mm American Society of ALGIERS || demonstrations been made i i Successful have II m Cinematograph rs ; mm II in England' 7 of a colored motion picture Frank D. Williams || LISBON J3ft II method called the Cinechrome process. It ETC. !! 12 Transactions- of the Society of Motion Picture Engineers, May 7-10, mm 20 Rue de Chateaudun 1924, 225. p. || a&c Nogent Sur Marnc 13 American Cincmatographer, Jan. 1924, p. 16. if 14 American Photogripiiy, Jan. 1923, p. 14. SEINE JERUSALEM FRANCE ETC. || 15 Motion Picture New:, Feb. 23, 1924, p. 900. || 16 Science, Technique & Industries Photographique, Feb. 1923, p. 12. iiiiiHiiiuitiiiiimiiiiiiMiiiiiittHiiWV' ihiuim ifimiimui iii miiiiiini iimiiimwuMimiwtinnwimmiiinnHnmmini HIT I, 5. > ii iittiiilillimi mi 1 1111 IIHIIIHILUHIIIU 17 British Journal of Photography Colored Supplement, Feb. 1924, p. ^ i mi ion) > : April, 1925 AMERICAN CINEMATOGRAPHER Tuenty-one is fundamentally a red-green, two color proc- ess, the two main images are formed side by side on a double width film on a silver ruled glass grating, that part of the image falling on the silver strips being reflected and that part of the image falling on the unsilvered strips being transmitted. The single lens takes therefore two simultaneous pictures thus ele- minating parauax and color fringes. The pictures are projected at normal speed from double width positives. A recent exhibition in England' 8 of two- color films made by the C. Friese-Greene process showed in rapid motion scenes with figures, slight confusion of picture, but the color renderings of draperies were successful and essentially true. In open air views the faulty rendering of blues of nature was re- ported quite noticeable. Greens and reds were excellent. Fringing effects were unde- tected. For the exposure, panchromatic ne- Carl Zeiss, Jena, have perfected a gative stock is required costing 1 1-2 cents per new lens a Tessar, with a working ap- foot extra but ordinary positive stock may be — erture of f .2.1. used for printing; an additional operation be- Combining the well known Carl Zeiss ing necessary at a cost of less than one cent per quality with the greatly increased light foot. The camera requires a rotating disc at- gathering power of f :2.7 means an ob- tachment which may be fitted into most cam- jective for motion picture photography that is revolutionary a lens that will eras. An exposure aperture of f.8 in bright — produce results under the most adverse of 22-24 pic- sunlight is sufficient at a speed conditions. tures per second. Artificial lighting re- Following are the focal lengths and quires 15 per cent more light than is needed prices Foots Standard mount Focussing mount for monochrome work. Development is best \H inches ....$40.00 $47.00 in darkness and printing is accomplished 19- 16 inches 40.00 47.00 done on the ordinary machine, the extra pro- 2 inches 43.00 50.00 cesses adding a 10-15 per cent increase in the lyk inches .... 51.00 58.00 time required for finishing. 4 inches .... 64.00 71.00 4-14 inches .... 72.50 82.50 Condensing Lenses Of especial interest in connection with im- fzazcld 07T. ften/wff provement in condensing lenses, as well as for U.S. Qganf 9 other use, is the announcement' of the com- mercial development of clear fused quartz. OZew ybrk The very low temperature-expansion coeffi- cient permits this material to be subjected to quick temperature changes without cracking; A NEW LENS quartz condensing lenses used with the high ''That has made good" intensity arc lamps show no breakage even af- Large aperture F:2.3. To a large extent respon- sible for the Bas-relief, or solid appearance of the ter several months use. The low light ab- subject on the screen. Good definition over the entire field, yet not harsh sorption of quartz (about 1-5 that of glass), or wiry. A portrait lens in short focal lengths the low expansion and contraction (1-16 that 40mm, 50mm, 75mm, with full closing diaphragm. of platinum), and its ability to pass utravio- Price is reasonable 40 mm $50.00 let light, are its important characteristics. 50 mm 50.00 75 mm 55.00 Educational A trial will be satisfying ASTRO-GESELLSCHAFT, mbh., Berlin in Complete and detailed studies the pro- For sale by is Brhi-h Journal of Photography Colored Supplement, Apr. 4, 1924, Mitchell Camera Corporation p. 16. 6025 SANTA MONICA BOULEVARD - - LOS ANGELES. CAL. l'J Light, Inly 1924, p. (>. Motion Picture News, May 24, 1924, p. 2528. Tiuenty-liuo A M E RICA N C I N E M A T O G R A P HER April, 1925 jection of light have been published 20 during the year in the form of a series of articles by a well known engineer and physicist. These cover light reflection from spherical, parabol- i ic and other polished surfaces, as well as re- [ ii fraction by lenses, for different types of light sources. Fil in The use of direct positives as a means of re- ducing the cost of motion picture projection for the amateur has been discussed before the 2 Society, ' and general interest obtains in this process abroad as well as in this country. Ex- 22 periments on a reversal process for film con- ducted at the Technical High School for Pho- The Bausch & Lotnb Ultra tography at Munich employ positive stock ex- Rapid Anastigmat is an posed ten times normal (1-35 of a second at f :2.7 lens. This not only is f. 1.4). The exposed film is developed in a its rated speed— it is the caustic soda pyrocatechol developer, bathed speed at which it actually in a sodium sulphite solution, bleached in an performs. acid permanaganate solution and cleaned in sodium bisulfite. After hardening in a plain chromealum bath the film is redeveloped Bausch & Lotnb Optical Co. in a weak metolhydro quinone developer in Neia York San Francisco W' ashington Chicago strong light. Another German reversal film Boston Rochester, N. Y. London and process produces either black and white or browntone positives. In France direct positives for amateur pro- jectors have been made 23 by employing posi- tive film, using very large aperture lenses. In sunshine an aperture of f.6 was necessary. On cloudy days f .2.5 apertures are reported to give good results. The thin evenly coated CRECO film employed is given a special chemical treatment. Another direct process 24 recently marketed uses an outfit consisting a light weight motion picture camera and tripod, film frames, frame holder, for film winding, devel- oping and washing, and other accessories. The entire operation is adapted to standard FOR RENT! cameras. 25 MITCHELL and BELL & HOWELL For the preservation of film a liquid wax has been introduced for which both renovat- CAMERAS ing and sprocket holes waxing advantages F. 2. 3 - F. 2. 7. - F. 3. 5. Lenses 26 40-50-75 M. M. claimed. Another German process is COMPLETE EQUIPMENT claimed to eliminate film scratches. Still J. R. LOCKWOOD another process has also been introduced 523 North Orange St. which may be attached to any standard pro- Phone Glendale 336 I -W Glendale, California jector. 27 Announcement was made in England of a Cinema Studios 20 Genera] Electric Review, Feb. 1923, and issues following. Supply Corp. 21 Transactions of the Society of Motion Picture Engineers, May 7-10, 1438 Beachwood Drlva, 1923. p. 246. Holly 0819 22 Kinotechnik, May 25, 1923, p. 264; Oct 20, 1923, p. 477. 23 Bulletin de la societe francaise de photographic, Sept. 192,2, p. 261. LIGHTING EQUIPMENT FOR RENT 24 Kinematographic Weekly Supplement, Dec. 7, 1922, p. iii. L. A. FIRE DEPARTMENT 25 Motion Picture News, May 31, 1924, p. 2702. WIND MACHINES Water Engin. 26 Motion Picture News, July 5, 1924, p. 108. 27 Motion Picture News, Jan. 16, 1924, p. 774. — April, 1925 AMERICAN CINE MATOGRAP HER Twenty-three new motion picture negative emulsion 28 which yields strong contrast and has an aver- Nowadays age gamma infinity value of 4.0. Screen Features General represent When the necessary precautions are used successful motion pictures can be obtained in an endless chain of the Artie regions at temperatures as low as Portraits 65 degrees Centigrade below zero. 29 An electrically operated orchestra director CAMERAMEN has been developed which automatically sig- nals to the conductor those things he should need both know to synchronize the music with the pro- jected picture. 30 Should the film break, the A GOERZ LENS and apparatus automatically stops. A principal — advantage claimed is that it is not necessary GOERZ for the director to keep shifting his eyes from the music stand to the picture. NEGATIVE RAW STOCK for best Illuminants Portrait Results The past year has shown increasing inter- (No grain, more gradation) est in the development and use of reflector Sole Distributors: arcs. While this department is not as active FlSH-ScHURMAN CORPORATION here as it is abroad, there are several types of 45 West 45th Street, New York reflector lamps on the market. Experience 6331 Santa Monica Blvd., has shown that automatic control is essential Hollywood, Cal. for these units and several such controls have been developed, some working on the constant Negative, Positive, Panchromatic feed principle and others using arc voltage control. The proper field for these lamps is still indefinite, but their most efficient opera- tors appears to be in the small and medium sized theatres, for which material savings ii? current are claimed in comparision with the Gets Shots that You use of standard types of these lamps. There m Couldn't Get at are several types of these lamps on the mark- all Without it et in England, Germany and other European countries. To obtain closer current regula- tion than is possible with the average resis- tance, a vernier tandem unit is advocated for 31 Ultrastigmat use with these arcs. a great deal in commercial work as I These reflector lamps are essentially low find that I can make interiors with it that would require lights without current units operating at from 15 to 25 am- it, and get outdoor shots on bad days that I could not get without it. peres. Carbons are ordinarily in mounted the (Signed) QUINCY PEACOCK,ICK, optical axis, the negative carbon passing 1611 Market St., Jacksonville, Fla. through the center of the reflector. No con- Write for Folder densers are ordinarily used, the light by the Gundlach-Manhattan Optical Co. projector being directed to the film and ob- 900 Clinton St. ROCHESTER, N. Y. jective lens. One exception is a unit develop- ed in Germany which uses a large mirror in conjunction with a single plano-convex con- 32 densing lens. WANTED 28 Photographic Journal. April 1924, p. 188. 29 American Cinematographcr, 8. Aug. 1923, p. Bell Howell Camera complete. Will 30 Motion Picture News, Feb. 9, 1924, p. 70. 31 K inematographic Weekly, Dec. 70. 13, 1923, p. pay cash. Write Glennon, A. S. C 32 Moving Picture World. Aug. 18, 1923, p. 589, Aug. 25, 1923, p. 672. Motion Picture News, Aug. 18, 1923. p. 809, Kinematographic Week- ly. Sup. Nov. 9, 1922. p. 4, and Dec. 14, 1922, p 4, Motion Picture News, March 22, 1924 p. 1 3 54. Twenty-four AMERICAN CINEMATOGRAPH 1". R April, 1925 In this country the incandescent lamp pro- down only half way the film is cut without be- jecting systems are being employed in increas- ing scraped. Another machine 38 for devel- ing numbers. The aspheric condensing lens oping, fixing, washing, tinting, drying and 33 systems are now generally employed, the polishing either negative or positive film, is increased amounts of light obtained with them used in Germany. The machine has a capa- having extended their field of application to city of 20,000 feet of film per day and requires all except the largest theatres. only two men to operate. A rotary arc lamp for motion picture pro- A portable motion picture finishing appar- jection has been tried 39 out in a London the- atus has been developed which fits into a atre. 34 This arc lamp contains an annular case less than three feet square when packed watercooled negative electrode of copper. for shipment. The apparatus apparently The positive carbon is held centrally in the consists of an apron for winding the film in hole of the annular negative. Magnetic flux the form of a spiral and a number of shal- across the arc causes the negative spot to low circular tanks for containing the solu- whirl rapidly around on the inner edge of tions. A similar aparatus was developed in the negative ring but the crater face remains this country in 1918. steadily illuminated and entirely unobstructed Japanese advices report Professor by any negative shadow. is As there no nega- Kyogi Suyehito of Tokio Imperial Univer- tive carbon, the lamp house and lens holder sity has perfected a new method of taking can be made very compact. flashlights of very short duration under wa- It has been reported that more rapid de- 40 ter for still or motion pictures. By the new terioration of the film has been experienced Japanese process mercury is drawn through with the reflector arc lamp, and investigations a hair-fine bore of a glass tube, serving the have been conducted in 35 Germany on the re- same purpose as the filament of the modern lation between temperature and illumination lamp. When a low voltage is turned on, the at the aperture for condenser and reflector arc- mercury is heated to the explosion point al- lamps; both a platinum bolometer and a most instantaneously, and as the tube bursts a thermocouple were utilized with reported ac- brilliant mercury arc light is produced for a curacies of plus or minus two per cent. fraction of a second or so, then dies. Instan- The relation between current consumption, taneous photography of metal vibrations, roll- screen brightness and temperature of the film ing of model ship hulls from beneath the sur- gate were made available in graphical form. face of water lined tanks, etc., etc., are pre- The opinion has been advanced from another dicted as possible under better result produc- source that utra-violet light reaching film the ing conditions by this Japanese scientist's in- be may an important factor. vention. Laboratories and Apparatus A new lighting unit for studios has been A density meter has been developed 36 which developed and has given excellent results in makes use of the photometric cell instead of diffused lighting. This unit41 consists of a the eye for reading the opacity of a silver high intensity arc mounted in the center of a deposit. The device utilizes the principle of large 5-foot faceted concave reflector. The subjecting the cell alternately to two beams reflector has a diffusing surface of a special of light, one having passed through the med- material which is designed to prevent eye ium whose opacity is required and the other burn and the unit though powerful has prov- through a standard optical wedge whose posi- en useful and comfortable in the studios. The tion is so adjusted, that the photoelectric cur- high intensity arc has also appeared in the rent remains unchanged during the substi- studio in a smaller form than the original 150- tution of one beam for another, to avoid the ampere studio lamp. It is much more actinic inconsistent behavior of the selenium cell. than the ordinary carbon arc spotlight. 37 A new film splicing machine has a cutter, Announcement has been made of the de- scraper and joiner on one base plate. A sin- velopment of another system of studio light gle down stroke of the lever serves to cut and control. A one-switch control makes it pos- scrape the film. When the lever is pressed sible for one man to control all the lights on 33 Transactions of the Society of Motion Picture Engineers, May 1-4, 1922, p. 80, and Oct. 1-4. 1923, p. 126. 38 Motion Picture News, Dec. 9, 1922. p. 2958. 34 {Cinematographic Weekly. Sept. 15, 1922. 39 Kinematographic Weekly, March 20, 1924, p. 76. 35 Kinotechnik. April 14, 1923, p. 175. British lournal of Photography, 65; 379, 1918. 36 Photographic Journal. April 1924, p. 189. 40 Motion Picture News, Nov. 10, 1923, p. 2284. 37 Kinematographic Weekly Supplement, Nor. 30, 1922. 41 Motion Picture News, Sept. 15, 1923. 4pril, 1925 A M KRIC A N C1NEMATOGR A F H E R Twenty-five To Camera Men Interested in the Newest CAMERA achievement The New Metal DEBRIE Model "K" Is ready for your inspection. This new achievement of the famous master of camera construction is rich in new anc important features that every cameraman will appreciate including: —a new counter that shows the number of turns in addition to footage works backward and forward without changing any belts. —focusing and diaphragm bars operating simultaneously. —dissolving shutter working in nine turns, 4 1 -2 feet. —fitted with new roller device in film race. —equipped so motor may be used from storage battery or current. LET US TELL YOU ABOUT IT MOTION PICTURE APPARATUS CO. 110 West 32nd Street New York City a set through one portable switch box located scintillation is materially reduced. Change near the camera. in the shutter design is necessary. Flicker Projectors elimination is the objective sought by a Ger- man inventor who moves the light beam in An automatic projector has been introduced synchronism with the film. 44 in England for the projection of one-thous- A continuous projector 45 recently an- and-foot reels of film. 42 In appearance the nounced utilizes a revolving ring of lenses and unit resembles a grandfather's clock with the a second fixed system of lenses the middle picture showing where the clock face would ring of which is in optical connection with ordinarily be. After projection of the film, the projector lens outside of the ring. The which occupies about twenty minutes, re- film moves continuously in step with the re- winding is accomplished in about three min- volving ring of lenses. It is said that flick- utes while a still picture is shown. It is ex- er is absent even at a projection speed of three pected that the device will be used largely for pictures per second. advertising purposes. Another projector of 44 Scientific American, Jan. 1923, p. 29. English design uses a 2-blade flat disc shut- 45 The American Photographer, Jan. 1924, p. 38. ter between the aperture and condenser close (Continued next month) to the film at the gate. Victor Milner, A. S. C, is busily engaged A new intermittent movement design 43 em- with the filming of "The Wanderer," which bodies an improved lubricating system, a R. A. Walsh is directing for Famous Play- more convenient method of adjustment, and ers-Lasky. Vic has some massive scenes in a double bearing on the intermittent shaft. this production, and, during the past month, Another design uses the three-branched called in many of his fellow A. S. C. mem- Maltese cross principle; it is claimed that bers to get all the angles on some of the big from 40 to 75 per cent increase in screen il- sequences. lumination can be obtained and that so-called * * * 42 New York Tribune. April 7, 1924. Faxon Dean, A. S. C, is engrossed with 43 Motion Picture News, June 20, 1924, p. 3112, and Moving Picture World, June 20, 1924. the filming of his latest Fox production. Twenty-life AMERICAN CINEMATOGRAPHIC April, 1925 f PILOT REGISTRATION ABSOLUTELY ESSENTIAL YOU absolutely must be assured of the correct registration of your film in the successful handling of double and multiple exposures. The B & H is the only camera with the pilot reg- ister movement giving you this positive assurance. C| Other features of the B & H are equally essential for speed, qual- ity, and unfailing dependability. Our eighteen years' experience in close co-operation with the users of our cameras has enabled us to meet and often anticipate every demand. C| Recently added features include the direct focusing arrange- ment, the removable aperture, and the new finder system employing a common finder and mattes to match individual photographic lenses. And best of all, every new development can be applied to any B & H camera now in service. A B & H never becomes obsolete. ESTABLISHED 1907 Cameras must be Orders noix being sent to our factory accepted at branch to have neixs fea- offices or direct at tures embodied. 1801 LARCHMONT AVE. Chicago office. BRANCHES NEW YORK HOLLYWOOD CHICAGO. 220 W. 42NO ST. 6324 SANTA MONICA BLVD. Pioneer and world's largest manufacturers of cinematograph cameras and equipment ——————— —— — ————— HOW TO LOCATE MEMBERS OF THE American Society of Cinematographers Phone GRanite 4274 OFFICERS Gaetano Gaudio - President Gilbert Warrenton Vice-President Karl Brown • Vice-President Homer A. Scott Vice-President Charles J. Van Enger Treasurer Victor Milner Secretary BOARD OF GOVERNORS Victor Milner Homer A. Scott King D. Gray Philip H. Whitman Fred Jackman Reginald Lyons James C. Van Trees Charles J. Van Enger Paul P. Perry Frank B. Good Gaetano Gaudio John F. Seitz H. Lyman Broening Gilbert Warrenton Karl Brown Abel, David—with Warner Brothers. Kurrle, Robert—with Edwin Carewe, United Studios. Arnold, John—with Metro-Goldwyn-Mayer Picture Corp. Landers, Sam— Barnes, George S.—with Cosmopolitan. Lockwood, J. R. Beckway, Wm.—Europe. Lundin, Walter—with Harold Lloyd Productions, Hollywood Studios. Benoit, Georges Lyons, Reginald Broening, H. Lyman MacLean. Kenneth G.—with Fox. Boyle, John W.—with Wesley Ruggles, F. B. 0. Studios. Marshall, Wm.—with Carlos Prods. Brodin, Norbert F. —Frank Lloyd Productions, First National, United McCord, T. D.—with First National. Studios. Meehan, George—with Henry Lehrman, Fox. Milner, Victor—with Famous Players-Lasky. Brotherton, Joseph Morgan, Ira H.—with Cosmopolitan. Brown, Karl—with James Cruze, Famous Players-Lasky. Norton, Stephen S. Clark, Dan—with Tom Mix, Fox Studio. Overbaugh, Roy F. —New York City. Clarke, Chas. G. Palmer, Ernest S. —with Fox. Perry, Harry with B. P. Schulberg Productions. Cowling, Herford T.—Room 216-29 So. La Salle St., Chicago, 111. — Cronjager, Henry—with Famous Players-Lasky, New York City. Perry, Paul P.— Dean. Faxon M.—with Fox Polito, Sol —with Hunt Stromberg Productions. Doran, Robert S.—with Hal Roach Studio. Ries, Park J.— Dored. John—Riga, Latvia. Rizard, George—New York City. Dubray. Joseph A.—with Peninsula Studios, San Mateo, Calif. Roos, Len H.—with Fox Film Corp., (N. Y.) (Educational Div.) DuPar, E. B. —with Warner Bros. in Australia. DuPont, Max B. Rose, Jackson J. —with Universal. Edeson, Arthur—with Sam Rork Productions, United Studios. Rosher, Charles—with Mary Pickford, Pickford-Fairbanks Studio. Evans, Perry— 5chneiderman, George—with Fox. Fildew, Wm. Scott, Homer A. Fischbeck, Harry A. Seitz, John F. —with Rex Ingram, Europe. [•"isher, Ross G.—with A. J. Brown Productions, Russell Studio. Sharp, Henry—with Douglas Fairbanks, Pickford-Fairbanks Studio. Gaudio, Gaetano—with Norma Talmadge, Joseph Schenck Productions; Short, Don Mctro-Goldwyn Studios. Smith, Steve, Jr. —with Vitagraph Studio. Gilks, Alfred—with Famous Players-Lasky. Steene, E. Burton—New York City. Glennon, Bert—with Paul Bern, Famous Players-Lasky. Stumar, Charles—with Universal. Good, Frank B.—with Warner Brothers. Stumar, John—with —Universal. Gray, King D. Tolhurst, Louis H. "Secrets of Life," Microscopic Pictures, Princi- Griffin, Walter L.— pal Pictures Corporation. Guissart, Rene Totlieroh, Rollie H.—with Charlie Chaplin, Chaplin Studio. Il.iller. Ernest—with Henry King, United Studios. Turner, J. Robert—with Fox. Heimerl. Alois G. Van Btiren, Ned Jackman, Floyd—with Fred W. Jackman Prods. Van Enger, Charles—with Ernst Lubitsch, Warner Brothers. Jackman, Fred W.—directing Fred W. Jackman Prods., Hal Roach Van Trees, James C.—with First National, New York City. studios. Warrenton, Gilbert—with Fox. Jennings. J, D. Wenstrom, Harold Knenekamp. Hans F. —with Larry Semon. Whitman. Philip H.-—with Famous Players-Lasky, New York City. Kull, Edward—with Universal. VVilky. L. Guy—with William de Mille, Famous Players-Lasky. Edison, Thomas A.—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. 1219-20-21-22 GUARANTY BUILDING Hollywood Boulevard and Ivar Avenue Hollywood, California LOYALTY PROGRESS ART Vol. VI 25 Cents No. 2 May, 1925 A Copy American Cinematographer Published by the American Society of Cinematographers, Inc. This Month A. S. C. Holds Election of Officers for 1925 Light Sources By Earl J. Denison PUBLISHED IN HOLLYWOOD CALIFORNIA — • Releases April 5, to April 16, 1925 TITLE PHOTOGRAPHED rs 1 1 1 \r ypf g OV/' UV^* . 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Jr nV-l PaulI anrlI 1 C na^ I Lilies of the Streets i warnVV C* I U 1 CI U CI \JL V lldO. 1 SJaVKU V Jo 1 arlc* 1- 1 pn7ip1 i ne j\igni onip 1 < Ik 1(1WjrcKU V. \ 1, 1 ^ n_. A Kiss in the Dark Alvin Wvckoff Madame Sans Gene George Durand Tides of Passion Wm. S. Adams Spook Ranch Harry Neuman Recompense David Abel, member A. S. C. Code of the West Lucien Andriot The Mad Dancer Not credited White Fang John Leezer; King Gray, member A. S. C, and Glen Foster Goss, Editor and Business Manager Contents Page Light Sources (Article Four) —By Earl J. Denison 4 A. S. C. Holds Election of Officers for 1925-6 5 E. Burton Steene, A. S. C, Akeley Expert, Comes West 7 Report of S. M. P. E. Progress Committee 8 Harold Wenstrom Is Chosen Member of A. S. C. 9 The Editor's Lens . 10 In Camerafornia . 12 A. S. C. Advocates Holding 60 Feet-per-minute Taking Speed . 20 A. S. C. Roster 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. 1219-20-21-22 Guaranty Building, Hollywood, California Telephone, GRanitc 4274 (Copyright, 1925, by the American Society of Cinematographers, Inc.) ; — Four AMERICAN CINEMA TOGRAPHER May, 1925 Four Different Kinds of Light Sources By Earl J. Denison Ligh t Sources Considered Article Four by Projection Authority There are four different light sources now sten filament lamp condenser, spherical re- available for motion picture projection, name- flector, and transformer for stepping down ly: line voltage to lamp voltage. This type of The carbon arc light was brought out about 10 years ago but The tungsten filament lamp, (commonly did not find much favor with the projection- called Mazda) ists at that time because it was put on the mar- ; The high intensity arc; ket before it had been developed sufficiently The reflector arc. to make it practical for theatre installation. While these light sources vary in brilliancy, In the last year, the Mazda unit has been temperature and quality of light, each will perfected to such an extent that it is fast re- give excellent results when properly in- placing the carbon arc where length of throw stalled and handled. Considerable care and is not prohibitive. It is the opinion of the thought should be given to the selection of writer, as well as the opinion of a large num- the light to insure best screen results, to- ber of projectionists and engineers, that the gether with low operating cost. Mazda lamp for projection is the ideal light source. The Pure Carbon Arc Advantages Practically all the light from a pure car- It has many advantages over every type bon arc emanates from the incandescent posi- of arc lamp. Of course, the optical system of tive crater. Incandescence is a function of a projector is directly responsible for screen temperature and therefore, in order to obtain illumination and definition of the picture, a light source of maximum brightness, a sub- and as I will deal with that subject in an- stance must be used which can be maintained other article. I will only point out some of at the highest possible temperature. In an the advantages of the tungsten filament in- electric arc, between pure carbon electrodes candescent light over the carbon arc. the surface of the tip of the positive electrode The Mazda unit is economical in operation, is maintained at temperature of over 3700 de- the standard lamp being 900 watts, 30 volts, grees centigrade. The carbon surface, when 30 amperes. This reduces the current con- heated to this point, gives forth about 160 sumption at least 50 per cent and with the candle-power for every square millimeter of Bausch and Lomb relay condenser system will its surface. When such a carbon arc is equal, in screen brilliancy, a 60 ampere car- forced by, let us say, doubling the current the bon arc. There is absolutely no fluctuation brilliancy is not increased proportionately as in the light, thereby eliminating shadows and might be expected. Instead, the carbon is reducing shutter flicker to a minimum. material in- consumed faster without any There are no complicated and cumbersome crease in crater temperature. Therefore it electrical apparatus. It is perfectly clean is useless to force a carbon arc beyond a cer- no lamp house to clean or carbons to handle. tain point. The light rays have a soft, warm quality projectionist is thoroughly familiar Every that brings out the photographic quality of the with this type of light. Not only is it the picture. most widely used light, it is also the most 100 Hours flexible, being suitable to about 75 per cent are guaranteed for 100 hours of the motion picture theatres, and adaptable The lamps and, if properly handled, will last much long- to a range in amperes from 25 to 100. How- er. The lamps do not deteriorate in bril- ever, the carbon arc is the most expensive to liancy, but a sudden jar is apt to break the operate and the most difficult to handle. This filament hot. Sometimes the filament type of arc requires constant care, and holds when sags or marks, causing shadows on the screen. the world's record as a condenser breaker. The Mazda unit is simple in operation and Filament (Mazda) The Tungsten Lamp requires no handling except to change lamps, The Mazda unit for projection consists of and this is accomplished in a few seconds a lamp house with 900 watt incandescent tung- (Continued on page 18) May. 1925 AMERICAN CINEMATOGRAPHER Five A. S. C. Holds Election of Officers for 1925-6 Board of Governors Chosen .—j. Milner, Clark, Wilky, Glen- non and Boyle Are Other Of- for Like Period. Scott Is jl JJ New President. ficers at Head of A. S. C. At the election of officers ton, first vice-president; Karl Victor Milner for 1925-26, Homer Scott Brown, second vice-presi- Victor Milner, first vice- was elected president of the dent; Homer Scott, third president, started in the field American Society of Cinema- vice-president; Charles Van of cinematography in the tographers; Victor Milner, Enger, treasurer; and Victor pioneer era in New York first vice president; Daniel Milner, secretary. City, he having been one of B. Clark, second vice-presi- Homer Scott the first news cinematograph- dent; L. Guy Wilky, third Homer Scott, the president- ers with Pathe, prior to vice- president; Bert Glen- elect, is a veteran cinema- which, however, he had been a non, treasurer; and John W. tographer in Southern Cali- projectionist. Among the Boyle, secretary. fornia production matters. In productions he has photo- The Board of Governors the earlier days he was asso- graphed are "Fugitive from elected for the same period in- ciated with Famous Players- Matrimony," "Haunted Sha- cludes Bert Glennon, Victor Lasky at the period of incep- dows," "The White Dove," Milner, John W. Boyle, H. tion of that organization. "Uncharted Channels," Be- Lyman Broening, Gaetano Later he was prominently hind Red Curtains," "The Gaudio, Gilbert Warrenton, identified with submarine Double Standard," "Half a George Schneiderman, Hom- cinematography having made Chance," "Her Unwilling er Scott, L. Wilky, Guy "What Women Like," star- Husband," and "Dice of Des- Fred W. Jackman, Daniel B. ring Annette Kellerman. Sub- tiny" for J. D. Hampton; Clark, Charles Van Enger, sequently he began a long as- "One Hour Before Dawn," Norbert Brodin, Paul P. Per- sociation with the Mack Sen- "When We Were Twenty- ry and Alfred Gilks. nett studios, having filmed, one" and "Felix O'Dav," with The retiring A. S. C. offi- among other productions, H. B. Warner; "Human cers are Gaetano Gaudio, 'Heartbalm," "Molly-O" and Hearts," directed by King president; Gilbert Warren- "Suzanna." Baggott, and other Univer- Six AMERICAN CINEMATOGRAPHER May, 1925 sal features; "Thy Name Is Ahead," "Modern Monte with Robert Warwick, for the 1 Woman ' and "The Red Cristo," "Journey of Death," same company. Before joining 1 Lily,' both Fred Niblo pro- "Tempered Steel," "T h e Famous Players-Lasky, Wil- ductions; "Her Night of Ro- Heart Buster," "The Last of ky had spent three years with mance," with Ray Binger, the Duanes," "Oh You Tony," Lubin, photographing for "Learning to Love," starring "The Deadwood Coach," Romaine Fielding; a year Constance Talmadge for "Dick Turpin," and "Riders with Bessie Barriscale whom Joseph M. Schenck produc- of the Purple Sage." he filmed in "Two Gun Bet- tions; "East of Suez," starring ty," Trick of Fate," L. Guy Wilky "A "Jos- Pola Negri and directed by slyn's Wife" and "The Wo- L. Guy Wilky, third vice- R. A. Walsh for Paramount; man Michael Married;" one president, for the past sever- and "The Spaniard, starring year with Louise Glaum al years has been chief cine- Ricordo Cortez and directed whom he photographed in matographer for William de by R. A. Walsh for Para- "An Alien Enemy," "A Law Mille productions for Para- mount. Milner at present is unto Herself," "Shackled" mount. Among these ve- at work on "The Prodigal and "The Goddess of Lost hicles have been "Midsum- Son," which Walsh is direct- Lake;" and a year with the mer Madness," "The Lost ing for Paramount. American Film Company at Romance," "What Every Santa Barbarba. He also Dan Clark Woman Know s," "T h e was with J. Warren Ker- Prince Chap," "Conrad in Dan Clark, second vice- rigan whom he filmed in Quest of His Youth," "Clar- president, has long been asso- "A Man's Man" and "The ence," "The Bedroom Win- ciated with Tom Mix in the Turn of a Card;" and with dow," and "The Fast Set." filming of the Fox produc- Thomas H. Ince for whom he tions starring Mix. Among Among the more recent photographed "Her Mother these features have been "Up productions he has photo- Instinct," "The Girl Glory" are and Going," "For Big graphed for Paramount and "Free and Equal," all Stakes, "The Fighting "New Lives for Old," and featuring Enid Bennett. Streak," "Romance Land," "The Man Who Fights Bert Glennon and, several years "Just Tony," "Do or Dare," Alone;" Bert Glennon, treasurer, is "An Arabian Night," "Catch ago, "The Tree of Know- affiliated with Famous Play- My Smoke," "Three Jumps ledge" and "Jack Straw," (Continued on Page IS) May, 1925 AMERICAN CINEMATOGRAPHER Seven E* Burton Steene, Akeley Expert, Comes West A. S. C. Member, Long Lo- Ace Cinematographer with cated in New York City, Extensive and Varied Exper- Treks to Film Capital. ience in U. S. and Europe. E. Burton Steene, A. S. C, main in Berlin long enough has arrived in Hollywood to take advantage of a lucra- from New York City, and tive offer to make an aerial will make his permanent picture in which his abilities headquarters in Hollywood, that have made him a fore- he having brought his Bell most Akeley specialist showed and Howell and Akeley cam- to remarkable advantage. On era outfits with him. Steene the same production, Steene is a well-known Akeley spe- was retained to install modern cialist, his services having lighting systems for the Ger- been in wide demand in the man company. The same trip East. in Europe took the A. S. C. For the past ten years, member through England, Steene has made New York France, Italy, Serbia, Mon- City h i s cinematographic tenegro, Albania, Greece, headquarters, he having re- Turkey, Russia, Belgium, sisted the urge which carried Holland, Denmark, Austria his fellow cinematographers and Slovokia. of the pioneer years to South- ar Service ern California. But a pleas- W ure trip to the Southland last During the World War, fall captivated the confirmed Steene was with Brigadier New Yorker with the result General Charles F. Lee, Roy- that he returned to his be- "always carries his passports al Air Force, in command of loved Gotham, wound up with him." By force of long the British Air Mission, as work already contracted for, habit, the A. S. C. member cinematographer, and made and then hied himself to the had his passports tucked away instructional productions, in- land of the famous climate. among his valuables when he cluding "How to Fly," which arrived in Hollywood was given wide exhibition Versatile recently. among student aviators. The Steene is known as one of Three years ago Steene A. S. C. member worked with the most versatile cinemato- made a memorable trip to five different pilots, four of graphers in the profession, he Europe during which he was whom, including General not only being an ace in reg- engaged in advisory and sup- Lee, were subsequently ular production matters but ervisory capacities on cine- killed. Steene had many nar- having a long list of special matographic matters by Eur- row squeaks himself but man- assignment work to his credit ope's largest companies. In aged to come through alive, in the nature of travel and Berlin, he was retained to always with the action record- industrial productions which supervise the installation and ed on the celluloid. he not only photographed but production of the first picture With this background, directed. for the Potsdam Film Corp- Steene has become an out- Passports Alioays Ready oration, and could have sign- standing expert with an Ake- His efficiency on difficult ed a long term contract with ley. Immediately before assignments, which entailed either of two companies who leaving New York City for long journeys to out-of-the- sought his services, but the Hollywood, Steene made a way places, gained him an A. S. C. member elected to month's trip to Cuba where enviable reputation in the return to his activities in the he was associated with Henry East where he became known East. Cronjager, A. S. C, in the as the cinematographer who Steene, however, did re- filming of "Wildfire." Eight AMERICAN CINEMATOGRAPHER May, 1925 rri Data on New Features Report of S, M* P- E. [j %Jj Gleaned from Every Part Progress Committee of Globe. Important Summary month) (Continued from last consists of photographing through a red filter In Germany interest has recently been on to a panchromatic emulsion sensitive to in- shown in the measurement and elimination of fra red. Such emulsions can be prepared by 46 excess heat at the film gate. A specially bathing in dicyanin, kryptocyanin, etc. devised film gate employs a fluid cell contain- A comparison of the number of motion pic- ing water or a solution. The formation of ture theatres in the British Isles with those bubbles is prevented by cooling by means of in the United States shows that this country the pipe in the cell through which water is has considerably more in proportion to the circulated. It is claimed that with arc lamps population. For the generally accepted fig- the film could be stopped for still projection ure of about 14,000 theatres in the United without burning the film. A blower system States there is in this country one theatre for has also been employed to keep the cell so- every 8,000 people. There are 40,073 motion lution cool. With projectors employing of picture theatres in the British Isles, one for an air current between the lamp and conden- every 1 1,009 people. London with a popula- ser is proposed to reduce the heat reaching the tion of over 700,400 has only 385 theatres, or 47 film and condenser lens. A thin piece of one for every 18,200 people. 52 light 53 transparent mica inserted between the A very extensive survey of the motion source and condenser or refused silica glass picture industry has been conducted by ventilation is an are also suggested, but forced the Babson Statistical Organization; essential feature. Rowland Rogers, head of the depart- 48 6-inch dia- A new film rewinder employs ment of Photoplay Production of Columbia meter hubs which are used in both the feed University; and Motion Picture News. is hori- and take-up boxes. The upper box Calculations have been made on the basis of and the film zontal, with a rotating booth, 14,000 exhibitors. Three articles giving the roll to the upper sprock- feeds from the inside results of the survey were published; the first the of the et by a centrifugal pressure; speed contains statistics covering the size of theatres of rotating feed plate is controlled by means and number of days a week open, number of friction disc. Af- a revolving helix acting on a employes, and prices of admission. The sec- roll ter projection the large core of the lower ond article gives information concerning the transferred to is removed and the entire roll program, the number of reels per program, the upper box. A new nonrewinding maga- the character of the program besides the fea- this country, which zine has been developed in ture, kind of music, etc. The third article projector. 49 may be attached to any standard contains a percentage expression of the an- prevent burn- A safety device designed to swers to a question relating to present business breaks ing of film whenever the film of the exhibitor compared to past, seasonal shut- or is burned out at the gate, drops a receipts, opinions on foreign films and the in- at the ter directly in front of the film gate and fluence of varying feature pictures on the at- same time spots the motor. It also functions tendance. the film loops become shortened due should Figures published for 1921 give the num- 50 to stripped holes. ber of establishments engaged in the produc- Effects tion of motion pictures in the United States In order to effect saving and production as 127, employing 10,659 persons, whose costs a device has been perfected for making 54 product is valued at $77,397,000. realistic night scenes in the daytime. This de- Figures for the year ending March 1923 vice consists of an attachment for any standard show that only about two-thirds of the foot- make of camera, used in conjunction with a age of unexposed negative was imported in special coloring solution with which the fin- 51 1923 it was dutiable as compared to the year ished negative is treated. Although no par- ending March 1922 when it came in duty ticulars are given the method undoubtedly (Continued on -page 9) 46 Kinotechnik, Feb. 20, 1924, p. 39. 47 Kincmatographic Weekly, Jan. 18, 1923, p. iv. 52 Motion Picture News, Nov. 24, 1923, p. 2444. 48 Kinematographic Weekly Supplement, April 19, 1923, p. iv. 53 Motion Picture News, Nov. 18, Nov. 25, and Dec. 2, 1922, pp. 2527, 49 Motion Picture News, Jan. 16, 1924, p. 774. 2644, 2772. 50 Motion Picture News, Nov. 18, 1922, p. 2S76. 54 Motion Picture News, Dec. 23, 1922, p. 715. 51 American Cinematographer, Nov. 1923, p. 5. May, 1925 AMERICAN CINEMATOGRAPHER Nine Harold Wenstrom Is Chosen Member of A* S. C- Sterling Cinematographer Is ^ Work on Many Cosmopoli- Chosen for Roster of the g tan Productions Included in A. S. C. Wenstrom's Laurels. Harold Wenstrom has tan in 1920 with which or- been elected a member of ganization he has continued the American Society of to date. During this affilia- Cinematographers, according tion he has been associated in to an announcement from the the filming of the following Board of Governors. productions: "The Wild Goose," "Proxies," directed Wenstrom was photograph- by George Baker; "The ing Sidney Drew comedies Young Diana," directed by at the time he entered the Robert Vignola; "The Beau- navy during the recent war in tv Shop," directed by Edward 1917, and became photog- Dillon; "When Knighthood rapher with the Bureau of Was in Flower," directed by Navigation during 1917 and Robert Vignola; "The Face 1918. in the Fog," directed by Alan Following the signing of Crosland; "The Go-Getter," the armistic in 1919, he be- directed by E. H. Griffith; came a cinematographer with "Under the Red Robe," di- the Metro Pictures Corpora- rected bv Alan Crosland; tion, for which organization "The Great White Way," di- he filmed "The Best Luck," Harold Wenstrom, A. S- C. rected by E. Mason Hopper; directed by Ray Smallwood, "Janice Meredith," directed and "The Hope," directed by by E. Mason Hopper; and Herbert Blache. cinematographer won him a "Zander the Great," directed His reputation as a sterling connection with Cosmopoli- by George Hill. 55 free. The values of cameras imported al- vice uses two lanterns with an oscillating most doubled for 1923. shutter, the pictures being viewed through Stereoscopic corresponding synchronous shutters. A new Efforts to obtain stereoscopic motion pic- adaptation of the anaglyphic method of 58 tures have claimed the attention of a num- viewing is also reported ; no special eye- ber of inventors and others in the industry. glasses are used. One director it is reported is making a fea- Still another method of projecting stereo- ture picture using a camera of English de- scopic motion pictures comprises, (1) a spec- velopment for which stereoscopic effect is ial camera using film on which the individual claimed. 56 A new projector for theatres 57 pictures are twice as wide and one and one- uses a film made from a negative taken with half times as high as those on standard film; a camera containing two lenses the same dis- (2) a special projector, and screen, the lat- tance apart as the average human eye. The ter is 21 1-2X40 feet in size, in front of twO pictures are projected alternately and which is strung a "breaking surface" com- rapidly on a screen with a double projector. pound of several miles of thread. This break- Viewing is accomplished by means of a small ing surface is claimed to give relief to the apparatus placed in front of each spectator pictures and to avoid angular distortion. All which consists of a circular aluminum casing prints are to be made by projection. inside of which a motor driven fan blade ro- Studios tates at 1500 r.p.m. in synchronism with the Among the new lighting units developed shutter blades of the projector. Another de- for studio lighting is an arc lamp spotlight 55 Motion Picture News, Aug, 25, 1923, p. 926. (Continued on page 15) 56 Motion Picture News, July 26, 1924. 57 Scientific American, Jan. 1923, p. 5. 58 Motion Picture News, Nov. 18, 1922, p. 2574. Ten AMERICAN CINEMATOGRAPHER May, 1925 The Editors' Lens f° cused h Foster °oss As this issue goes to press, we have seen nor heard no word from Mr. F. H. Richardson, whose mis-statements were decisively spiked in the April number of the American Cinematographer. For Mr. Richardson's own sake, it would seem that the less he has to say, and the more careful he is in saying it, the better off he will be. IJ Unless Mr. Richardson displays more acumen than he has in the past, it is very possible that he will have all sorts of fanciful versions, printed or otherwise, of the bad situation into which his rashness has precipitated him. t]J Because he has seen fit to deviate from the truth, any further mis- representations from Mr. Richardson will serve merely to en- mesh him further. Had this publication been as fractious as Mr. Richardson allows himself to be. it would have long since taken him to task; the letter, which was reproduced in the last issue, was not the first that came here from the oracle of pro- jection. But in the past the source was considered, and the out- bursts were allowed to go by unchallenged. I]} When, however, Mr. Richardson took it upon himself to mis- represent the activities of this publication, it was time that his immunity no longer be tolerated and the situation was handled accordingly. He should know now that we won't succumb to threats. CJIf Mr. Richardson will forget himself long enough to see him- self as others see him, he will economize and conserve on his utterances, and be the gainer therefor. tJBut if rave Mr. Richardson must, about this publication, let him —and he will hear more from us. May, 1925 AMERICAN C I N E M A T O G R A P H ER Eleven Standard Speeds IjJThe American Society of Cinematographers has gone on record as advocating the retention of the normal rate of sixty feet per second as the camera taking speed. €]JIn a letter to the Society of Motion Picture Engineers, copies of which were sent to the exhibitor and producer organizations, John W. Boyle, secretary of the American Society of Cinema- tographers, outlined various reasons as to why the present stand- ard should be kept. Those who have studied the projection situation reach the common conclusion that the only way to prevent projection speeds from becoming more excessive than ever, is not to allow taking speeds to increase accordingly. CJ There is no doubt that the Society of Motion Picture Engineers will go on record as favoring a standard projection speed which is somewhat in excess of the taking speed of sixty feet per min- ute—projection experts agree that some such ratio between tak- ing and projection speeds have been found to produce the most ideal results. IJIf this ratio is maintained, as they claim it must be, the result of running up taking speed will be, in turn, to boost the projec- tion speed. The further results are evident: more film to be raced through the projectors in the same amount of time with the consequent damage to film and mechanism; increased cost of film consumption and lights; and a myriad of other contingen- cies. (fllf the normal speed of taking is allowed to be increased at this time— a rate which has been found to be correct by experience over a period of many years—then the precedent is set for more changes in the future—thereby making possible a long procession of taking speeds chasing projection speeds, or projection speeds trying to keep ahead of taking speeds. Twelve AMERICAN C I N E M A T O G R A P HER May, 1925 Karl Brown, A. S. C, is filming James Harry Perry, A. S. C., has returned from Cruze's latest production for Famous Play- the big snows at Ranier where he filmed ers-Lasky. location scenes on the Sol Lesser production which features Gunnar Kasson, famous "musher," and Balto, the lead dog in the L. Guy Wilky, A. S. C, is back in Hol- heroic dash to lywood from New York City where he jour- Nome. neyed for the last William de Mille produc- tion. Reginald E. Lyons, A. S. C., has returned * # * from San Diego, where he was on location Robert Doran, A. S. C, has completed with Marshall Neilan's Goldwyn company. the photographing of his latest comedy for Reggie caught some prize aeroplane shots of Hal Roach. parachute jumps. Reggie made eleven * * * flights in De Haviland planes of the Marine Corps, and took of the scenes at the King Gray, A. S. C, has returned from many of 125 the Portland, Ore., where he photographed a speed miles per hour while planes were at an altitude of feet. Moomaw feature. 2500 * * * * * * is to Walter Griffin, A. S. C, believed be Victor Milner, A. S. C, is entering the final the only A. S. C. member capable of disput- stages of the cinematography on "The Prodi- ing John Boyle's record of the long-term gal Son," a Paramount picture directed by R. ownership of one automobile. King Gray is A. Walsh. authority for the statement, and Walter con- * * -* firms it himself, that the latter bought a George Schneiderman, A. S. has begun Buick six when Griffin's son attended kinder- C, filming John Ford's current production for garten—the younger Griffin is now a high Fox. This is the director-cinematographer school student, and father is still driving the old faithful Buick. Walter has just combination that is responsible for the re- markable work in "The Iron Horse." treated it to a new coat of paint and a new * * top, and says that he is going to drive it until it wears out which is highly problematic, — Cupid seems to be hovering around the considering that it had already run more than Frank Lloyd Productions these balmy spring 15,000 miles when he bought it from Frank days. And especially intimate with the cin- the director, further, that it now Lloyd, and ematographers. A few months ago Norbert has attained a venerable mileage in excess F. Brodin, A. S. C, first cinematographer, of 125,000. was married during the filming of "The Jp 3j& yfc Silent Watcher" and recently Dewey Wrig- John W. Boyle, A. S. G., is, however, a ley, second on Mr. Lloyd's current produc- close rival to Griffin as any one, who knows tion, "The Winds of Chance," slipped away how long John has been driving his Inter- from the set long enough to be married to state, will testify. Boyle has just bought a Miss Elsie Fisher of the wardrobe depart- Nash sedan but, like the old colonel who ment. Rev. Neal F. Dodd performed the gave a life-time home to the horse that gal- ceremony. A few weeks ago Daniel Mul- loped him around in his dashing youth, holland, property master, and Paul E. Seck- John still has a place in his garage for his ler, chief electrician, became benedicts and Inter-state which, unlike the horse, continues Ruth Clifford, actress, became Mrs. Cornel- its usefulness without running up the feed ius before the last Lloyd production was bill. completed. May, 1925 AMERICAN C I N E M A T O G R A P HER Thirteen On the New Board of Governors Included on the new Board of Governors, are the following A. S. C. members, whose photographs are reproduced below. The Board also includes all the officers of the American Society of Cinematog- raph ers. George Schneiderman, A. S. C. Fred W. Jackman, A. S. C. Charles J. Van Enger, A. S. C. George Benoit, A. S. C, is preparing to ed by Scott Sidney, the cast including Mabel photograph his latest production with Hunt Julienne Scott, Lillian Rich, Hallam Cooley, Stromberg. William Austin, Creighton Hale, Eddie * * * Gribbon, Rose Gore, Tom Wilson and Lill- Gilbert Warrenton, A. S. C, has finished yan Tashman. filming Edward Mortimer's latest produc- tion for Fox, and has begun photographing Hans Koenekamp, A. S. C, is filming the 1 "Seven Days, ' an Al Christie feature, direct- latest Larry Semon production. — Foui tee" AMERICAN CINEMATOGRAPHER May, 1925 Good photography plays no small part in making a picture popular. The public demands it — exhibitors expect it. EASTMAN NEGATIVE FILM — does justice to the cinematographer's skill. It has uniformity, latitude, speed each is of photographic importance. And Eastman Positive Film carries all the quality ofthe negative through to the screen. Your negatives deserve to be printed on it. Eastman Film is identified by the words "Eastman" and "Kodak" in black letters in the film margin. EASTMAN KODAK COMPANY ROCHESTER, N. Y. May. 1925 AMERICAN CINEMATOGRAPHER Fifteen A. S. C. ELECTS Glennon had been cinemato- best known Theda Bara fea- OFFICERS grapher on many productions tures. In recent years he has (Continued from page 6) for Universal and the Nation- filmed many Goldwyn pro- ers-Lasky as chief cinemato- al Film Corp. Among the ductions including those of grapher for Paul Bern pro- Paul Bern productions he has King Vidor and other prom- ductions. Previous to being photographed are "Open All inent directors. Among his assigned to Bern, Glennon Night," "Worldly Goods," recent vehicles have been was chief cinematographer "Tomorrow's Love," and "Wild Oranges" and Rupert for Cecil B. De Mille, among "The Dressmaker from Hughes' "Excuse Me." Prior whose productions he photo- Paris." to joining Goldwyn, Boyle graphed "The Ten Com- John W . Boyle made an extensive cinemato- mandments," "Triumph" and graphic trip to the South "Changing Husbands." Pre- John W. Boyle, secretary, has Seas. Boyle went to Italy vious to going with De Mille, a cinematographic career that with the original "Ben Hur" the A. S. C. member was harks back to the period of company, he having been chief cinematographer for production in New York chief cinematographer for George Melford productions, City before Southern Cali- Charles Brabin on that pro- he having filmed "You Can't fornia became a power in the duction. On the expiration Fool Your Wife," "Java film world, he having been of his contract with Goldwyn Head," "Ebb Tide," "The secretary of the old Cinema Woman Who Walked Alone" Camera Club of New York. with the filming of "Excuse Me," Boyle and "Burning Sands." Be- For many years he was became connected with the F. B. fore he became identified with Fox where he pho- O. studios with Famous Players-Lasky, tographed many of the where he is at work at present. REPORT OF PROGRESS COMMITTEE (Continued from page 9) which has as its principal feature an adjusta- ble device to regulate the feeding of the car- bons. 59 The positive carbon is rotated at two revo- lutions per minute. A high current, high in- 60 tensity arc lamp for studio use produces a maximum candlepower of 100,000 or sixteen times that of the ordinary flaming arc. Clay figures as actors for animated cartoon 6 photography have been employed. ' Blue clay, free from gloss and not too wet, has been found best for this work. Flat white and aluminum painted reflect- ors are generally used for the control of shad- ows in both studio and outdoor photography. A new reflector 62 has been introduced in England which is prepared by coating a cor- rugated cardboard with silver foil covered with a transparent air proof varnish. High efficiency and lack of the objectionable fea- tures of metal mirrors are claimed for the reflector. An innovation in motion picture photog- raphy that is expected to create considerable interest has been introduced in a recent pro- A Fijian traffic officer. Sura, Fiji. Photograph by 59 American Cinematographer, July, 1923, p. 13. 6U American Cinematographer, April 1923, p. 14. Len H- Roos, A. S. C, Educational Division, Fox 61 American Cinematographer, June, 1923, p. 7. Film Corporation. 62 Kinematographic Weekly, Sup. Dec. 14, 1923, p. iii. Six/ten AMERICAN CINEMATOGRAPHER May, 1925 duction. 63 The new method was used in the glass so that through the camera lens the lavish cabaret scenes, which had a water painted portion is accurately superimposed landscape in the background. In the fore- on the true set and the division is not appar- ground was a scrim stretched taut across the ent. A fine example of this work is the No- dancing floor. Upon this netting was paint- tre Dame cathedral in the picture of "The ed a deep sea scene in rich colors. When Hunchback of Notre Dame." This devel- the powerful studio lights were leveled on opment is greatly enhancing the apparent the scrim, the background of the set was size and grandeur of studio sets and will blotted out. When these front lights went probably be used to even greater extent in the out the dance hall came into view, the floor future. being seen for the first time. When these A novel method of obtaining wave motion lights went out the dancers were in silhouette, effects for close-ups in ship-board sets has and the backdrop appeared to be pushed been devised. It consists of a universally miles and miles away. The result was an pivoted lever mounted low on a floor stand. interesting study in perspective and compo- One leg of the camera tripod is set into the sition. short arm of the lever. The long arm of the Another development has been made for lever is then moved up and down and side- this same purpose which recently has proved ways by hand, thus twisting and raising and very successful. This consists in the actual lowering the camera to simulate wave ac- construction of the upper parts of the set in tion. miniature and placing them nearer the cam- Talking Cinematography era than the full lower portion of the set. In addition to the De Forest and Tykociner This has not yet been used to much extent methods for reproducing the voice or music but in certain cases has proven deserving of more attention and development. One ex- cellent example was the miniature of an ela- borate cathedral ceiling with carved vault- ing and pendants. The use of a 90-foot steel boom with the camera platform constructed at its extremtiy is an innovation in filming large sets from al- most any position in three dimensions. 64 A new method of taking close-ups during production has been successfully developed in a California studio. The method consists in equipping an extra camera with a special wide angle telescopic lens so that the cam- era may be set at the same distance from the set as the regular camera which is recording the normal action. These close-up shots not only save time in being taken simultaneously with the normal, but also give perfect con- tinuity of action and expression when cut- ting from one to the other. The technique and use of "glass work" is becoming rapidly improved and more widespread in studios in this country, both in the east and west. The "glass work" consists in photographing a scene through a large piece of plate glass some distance in front of the camera. The lower portion of the scene in which all action occurs is con- structed as a set in the studio. The upper The Maori way of greeting a friend {rubbing noses). portion of the scene is painted on the plate This native girl's name is Rangi. She is a native of Whakarewarewa, New Zealand. The handsome chap 63 Motion Picture News, Sept. 15, 1923, p. 13S6. 64 Scientific American, March 1924, p. 169. on the left is Len H. Roos, A. S. C. May, 1925 AMERICAN CINEMATOGRAPH!** Seventeen The Creators of J 'SCREEN APPEAL! Through Perfect Development! Rothacker-Aller Laboratories, inc. 5515 MELROSE AVE. HOLLYWOOD in synchronism with the projection of pic- Fifteenth Anniversary of tures which have been described in papers Rothacker Enterprises Held read before the Society65 other methods in- The Rothacker organizations are celebrat- troduced include an apparatus, 66 the opera- ing the fifteenth anniversary of the founding tion, of which is described as follows: . of the first Rothacker motion picture enter- Light from an arc or gas-filled electric prise bv Watterson R. Rothacker in Chicago •lamp is sent toward two discs revolving in in 1910. opposite directions; the first disc has a series From the humble beginning when Rothack- of holes along its edge,- each of which trans- er rented desk space on the "Loop," Rothack- mits a strip of the image while the second er's affairs have grown until they include the disc has a serrated -edge formed of spokes big Rothacker plant in Chicago as well as which receives the light from the first disc, the Rothacker-Aller Laboratories in Holly- and passes it in flashes of audible frequency wood. which are focused on- a light sensitive selen- The past year saw a particular triumph in ium cell. The serrated disc overcomes the Rothacker's career as it marked the comple- lag difficulties of the cell. Amplification tion of "The Lost World," which First Na- and transmission of the impulses is then ac- tional produced by special arrangement with complished in the usual way. similar A Rothacker. It was the latter's initiative double disc arrangement is used for the re- which brought the fantastic Doyle story to the ceiver except that a series of quick acting screen. lamps wired to a commutator replace the holes in the sending set disc. Faxon Dean, A. S. C, has concluded the 67 Another device employs a recording in- cinematography on Maurice Elvey's current strument which uses a special Nernst fila- production for Fox. * » » ment lamp as its amplifier. Bert Glennon, A. S. C, has gone to Arizona 65 Society of Motion Picture Engineers Transactions, May 7-10, 1923, pp. 61, 78 and 90. on a lengthy location trip for the latest Par- 66 Exhibitors Herald, April M, 1923, p. 87. 67 British Journal of Photography, Majr 25, 1923, p. 319. amount production he is photographing. Eighteen AMERICAN C I N E M A T O G R A P H ER May, 1925 LIGHT SOURCES (Continued from page 4) with the aid of the special lamp setter which is standard equipment. It is very important Walter. J. van Rossem that lamp reflector and condenser be kept 6049 Hollywood Blvd. perfectly clean and properly adjusted at all Phone Holly 725 times. Commercial Photography High Intensity Arcs Still Developing arud PrinlirujT The high intensity arc is a comparatively bhWDComaas-FOR. RENT— Still recent development as a light source for mo- tion picture projection. It is a modifica- tion of the Sun Light Arc, (high intensity) now used in practically all the studios. SCHEIBE'S PHOTO-FILTER SPECIALTIES The positive carbon used in the high in- Are now popular from coast to coast, and in some tensity lamp is so constituted that when foreign countries. If my many varieties do not always fill the bill, tell burned at the proper current, it forms a deep me your wants and I will make them on special order. crater. It is rotated to keep the crater uni- Always at your service. form. The special flame material enters the GEO. H. SCHEIBE arc entirely from the bottom of this deep cra- 1636 Lemoyne St. DUnkirk 4975 Los Angeles, Cal. ter where the impreganted core is exposed to the arc. The negative carbon is so arranged that the negative flame sweeps across the posi- The New Iris Combination may be had with tive crater in such a manner that the light- 4-in. Iris or Sunshade giving vapor from the positive core is con- FRED HOEFNER and Experimental Work fined and compressed in the crater. By pro- Cinema 5319 Santa Monica Blvd. (rear) perly confining this vapor in the crater by GLadstone 0243 Los Angeles, Cal. means of the negative flame, the brilliancy of the vapor is greatly increased and we ob- tain brilliancies ranging from 500 to 900 can- dlepower per square millimeter. These are FOR RENT figures which were hitherto unknown. Two Bell and Howell Cameras, 40, 50, 75 mm. 7042 Automatic Operation lenses, Thalhammer iris. Jean Trebaol, Jr., itilaon Street, Palms, Calif. Telephone 761-243. The high intensity arc operation is entire- ly automatic, and will deliver over twice the amount of illumination compared to the or- FOR SALE dinary carbon arc using the same amount of Late model French DeBrie Camera all metal with gold plated trimmings, carrying case, eight magazines and case current. One can readily see that the high Precision B. B. Tripod and case and following Lens equip- ment 2-in. Goerz Hypar; 50 mm Dallmeyer Pentae F 2. 9 intensity arc is very economical in operation. 50 mm Kraus Tessar, 35mm, 75 mm and 15 cm Carl Zeiss in Telephoto mount. Also Gorez Iris Tube and all effects, It is also claimed that the actinic or ultra- mat and masks. Outfit is like new and cost $2,000. First check for Twelve hundred takes the outfit. Some buy. violet quality of the light is the ideal light DANIEL J. GOFF—3668 S. Michigan Blvd., Chicago. for projection. This I do not agree with, be- cause it is a known fact that this particular quality in the light washes out certain tints in the film and plays havoc with natural color AKELEY SPECIALIST photography. The high intensity produces a steel blue light (actinic) which is necessary Akeley Camera, with 2, 4, 6 and 12" Lenses. to good photography, but it is a different pro- ALSO BELL AND HOWELL EQUIPMENT position, once the positive print has been de- E. BURTON STEENE veloped, fixed, and is in a projector. However, the Bausch and Lomb Optical Company American Society of Cinematographers claim to have completely eliminated this ob- 1219-20-21-22 Guaranty Building jectionable feature with their relay conden- Hollywood, Calif. ser system which mixes the red and blue col- GRanite 4274 HEmpstead 1191 ors in the light beam and evenly distributes them at the aperture. : May, 1925 AMERICAN CINE MATOGRAPHER Nintttin It is common belief that the light rays from the high intensity arc contain more heat than those from the ordinary arc. In the trans- PYREX actions of the Society of Motion Picture En- gineers, it is stated that the higher the abso- Spotlamp Condensers lute temperature of the light source, the short- er the predominating wave lengths and, there- ARE fore, the cooler the light. Consequently, high temperature arcs result in the least film burn- ing at equal screen candle-power. GUARANTEED There is no doubt that with the correction of the few minor faults in the high intensity AGAINST BREAKAGE arc it will be the ideal projection light, par- ticularly in theatres with excessively long pro- 6"—8"—12" diameters jection distances. Reflector Arcs Used by The reflector arc is the newest development Famous Players-Lasky, light projection. as a source for motion picture United, It does not seem to have found much favor Metro-Goldwyn-Mayer, with projectionists so far, probably because it is a radical departure from the usual opti- First National studios. cal set-up. the reflector arc, the condensers are eliminated and a concave reflector is used Sole Distributors to collect the light and concentrate it at the aperture plate. The big claim made by the THE LUXALBA COMPANY manufacturers of reflector arcs is that a 20 ampere reflector arc will equal a 60 to 75 1 1 1 West 42nd St., New York ampere ordinary carbon arc, this being due to the fact that the reflector arc utilizes all the light emanating from the source. They also claim the field is perfectly clear and evenly illuminated, and the light has a pure Just one production white quality. The only objections I can see in an arc of with us this type are will make you our friend First, accuracy in grinding reflector; Second, difficulty in maintaining focus of for life. reflector; and Third, difficulty in maintaining proper arc Roy Davidge Film Laboratories. length. No doubt these lamps will be perfected, and 6701 Santa Monica Blvd. HOHy 1944 should be ideal for the small theatre using 40 to 50 amperes. AMERICAN CINEMATOGRAPHER, Guaranty Building, Hollywood, Calif. Enclosed find $3.00 for one year's subscription to the American Cinematographer, to begin with issue of 1925. Name Address : : 1 Twenty AMERICAN CINEMATOGRAPHER May, 1925 A. S. C. Advocates Holding 60 Ft. per Minute Taking Speed WINFIELD-KERNER John W . Boyle, secretary of the American Society of Cinematoqraphers , sent the follow- STUDIO ing letter to L. C. Porter, Society of Motion Picture Engineers, on the subject of camera LIGHTING EQUIPMENT taking speeds OUR NEW Society of Motion Picture Engineers, Harrison, New Jersey. ROTARY SPOT LIGHT Attention Mr. L. C. Porter. Gentlemen Is Second to None Replying to yours of March 30th and April Ask for Demonstration 15th respectively regarding our opinion as to the correct camera speeds, we wish to state that this matter has been discussed from time Al. De Bus "The Heavylite Man" to time among our members and it is the con- sensus of opinion of our Society that the cor- Los Angeles County Distributor rect camera speed is sixteen pictures per sec- ond or sixty feet per minute. This speed has Products been used for years by practically all mem- Winfield-Kerner bers of the profession, slower speeds only be- Factory: Hollywood Office: ing resorted to, to secure certain comedy and 323-27 East 6th Street 6725-55 Santa Monica Blvd. Phone VAndike 6211 Phones: CRanit 9601. GRanit 9402 dramatic effects. Over-speeding has only been Night Phone CRanit 4864 \ised where certain directors have attempted to combat the excessive projection speeds which exhibitors have adopted to "turn over their audiences" in the shortest possible time. " "i nlC We are opposed to any taking speed in excess of sixty feet per minute for the following rea- = | PARIS LONDON If sons : RENE ©S® ll 1. Sixty feet per minute is sufficiently fast •vV> II £3.0. || enough to produce smooth action under nor- II m GUISSART BERLIN || mal conditions; || BRUSSELS ®m !! 2. Faster taking speeds than sixty feet per m || minute require that much more light to be Atmospheric Shots in Any il BUDAPEST || Part of Europe used on sets, thereby increasing eye strain of TO II actors. use of additional electrical The VIENNA || m 11 equipment, electricians and electrical energy Taken according GENEVA || increases cost of production, to say nothing of to your own in- ®m !! 3&C structions in an the disadvantages to the cinematographer in II K3C artistic manner to II securing balanced lighting, it being a known CAIRO 1 |1 ROME match the photo- 1 fact that better lighting effects are obtained graphy of your pro- ®s@ II where it is possible to use a minimum of light; II duction. IS a9K 3. Faster speeds than sixty feet per min- ATHENS II ute require the use of additional negative and 1 1 MADRID OFFICIAL CORRESPONDENT IN as® 11 positive footage, thereby increasing the cost EUROPE for: SB || for raw stock as well as the added expense of American Society of ALGIERS 11 EK s laboratory work—longer titles, etc.; || Cinematographer ; !! Frank D. Williams $m 4. In recent years the leading manufactur- 1 1 LISBON W. || ers have improved their products, whereby we ETC. have obtained lenses with greater speed. 11 ®ffi 20 Rue de Chateaudun Nogent Sur Marne These improved lenses make it possible to || m ii FRANCE SEINE ETC. use less light and secure very pleasing ef- || JERUSALEM 1 >iii iiiiii i mi inimiimii fects. However, if we are compelled to in- lllllllimilifliillliJii ii i May, 1925 AMERICAN CIN MATOGRAPHER Twenty-one crease our taking speed we have the equival- ent of the old methods—sixty feet per minute with the F.3.5 lenses. We are glad that you have adopted eighty feet per minute as a standard projection speed and trust that you will be able to secure the adoption of this speed by the exhibitors, it having been our experience that produc- tions photographed at sixty feet per minute can be projected at eighty per minute with satisfactory results. We would suggest that your committee adopt some standard for "projection lights;" that is, an "arc intensity" of so many amperes for a given screen area and length of throw. Of course, we realize that different theatres require special equipment but certainly something can be done to obviate the necessi- ty of making special prints for exhibition in the key cities as, we understand, is the case of some productions. Carl Zeiss, Jena, have perfected a We hope that we have answered your ques- new lens—a Tessar, with a working ap- erture of f :2.7. tions, and if we can render further assistance Combining the well known Carl Zeiss along these lines, please call upon us. quality with the greatly increased light Sincerely, gathering power of f :2.7 means an ob- (Signed) John W. Boyle, jective for motion picture photography that is revolutionary—a lens that will Secretary. produce results under the most adverse conditions. Following are the focal lengths and prices: S. M. P. E. Spring Meeting to Be Focus Standard mount Focussing mount U/s inches ....$40.00 $47.00 Held in Schenectady this Month 19-16 inches 40.00 47.00 2 inches 43.00 50.00 The spring meeting of the Society of Mo- IY% inches .... 51.00 58.00 tion Picture Engineers will held 18th, be May 4 inches .... 64.00 71.00 19th, 20th and 21st, at the Hotel Van Curler, \yA inches .... 72.50 82.50 Schenectady, N. Y., according to an an- nouncement from J. C. Kroesen, a member /Harold 07T. <]&j2nnett of the Board of Governors of the Society. U.S. Clgcn/ A tentative program of papers is as fol- lows: "Machine Development of Nega- JZervycrk tives and Positive Film;" a paper by F. H. Richardson of a historical character; a paper by T. K. Peters on motion photography; A NEW LENS "Static Marking on Motion Picture Film;" ''That has made good" Large aperture F:2.3. To a large extent respon- "An Improved Sensitometer Secter Wheel;" sible for the Bas-relief, or solid appearance of the subject on the screen. "Student Psychology;" "Educational Motion Good definition over the entire field, yet not harsh or wiry. Pictures;" a paper by Roger M. Hill, U. S. A portrait lens in short focal lengths diaphragm. Army motion picture service; "A New Re- 40mm, 50mm, 75mm, with full closing Price is reasonable flectometer," by Dr. Frank Benford; "Artistic 40 mm $50.00 50 mm 50.00 Utilization of Light in Photography of Mo- 75 mm 55.00 A trial will be satisfying tion Pictures;" "Manufacture of Special Mo- ASTRO-GESELLSCHAFT, mbh., Berlin tion Picture Lamps;" and "Colored Lighting For sale by Effects in Connection with Exhibition of Mitchell Camera Corporation Motion Pictures." 6025 SANTA MONICA BOULEVARD - - LOS ANGELES. CAL. Twenty-two AMERICAN 1' 1 CINEMATOCR A 1 R R May, 1925 International Congress of t IIHIItllllUlliillKMIII Photography to Mee/ in Paris After a lapse of fifteen years an Internation- al Congress of Photography is to be held this year, June 29 to July 4, in Paris. The last congress was held in Brussels in 1910, and was a very successful meeting, attended largely by representatives from all nations. The Congress will be divided into four sec- tions: (1) Scientific; (2) Technical and artistic; Historical and documentary (3) ; (4) Technique of cinematography (in connection with the Congress of Cinematography). An The Bausch & Lomb Ultra historical exhibition of photography and a Rapid Anastigmat is an centenary celebration of the beginning of f:2.7 lens. This not only is photography will be held during the Con- its rated speed— it is the gress. speed at which it actually At the request of the International Com- performs. mittee of the Congress, an Organizing Com- mittee in the United States has been formed, Bausch & Lomb Optical Co. the members being: F. F. Renwick, Dr. W. D. 644 St Paul Street Bancroft, W. H. Manahan, E. J. Wall, Dr. Rochester, N. Y. H. E. Ives, Professor R. W. Wood, and Dr. C. E. K. Mees, chairman. Ne=w York San Francisco Washington Chicago Boston London The Congress is especially anxious to ob- tain papers relating to the branches of photo- graphy with which it deals from workers in the United States. Offers of such papers can be communicated to C. E. K. Mees, Eastman Kodak Company, Rochester, N. Y., who will forward them to the secretary of the Congress or they can be sent direct to M. G. Labussiere, 5 rue Brown-Sequard, Paris, XV. The sec- retary is anxious to know at once what con- tributions will be available, though it is not necessary that the whole paper should be sent to him. The title and a brief abstract should, however, be forwarded at once. FOR RENT! Harold Hurley and Film Expert MITCHELL and BELL & HOWELL Speak before A. S. C. Open Meeting CAMERAS F. 2. 3- - F. 2. 7. - F. 3. 5. Lenses Harold Hurley, a of the publicity member 40-50-75 M. M. department of the West Coast Studios of the COMPLETE EQUIPMENT Famous Players-Lasky Corporation, spoke be- J. R. LOCKWOOD fore the last open meeting of the American 523 North Orange St. Phone Glendale 336 1 -W Glendale, California Society of Cinematographers on the subject of publicity as it related to the cinematograph- er. Mr. Hurley's talk was arranged by Vic- tor Milner, A. S. C. Cinema Studios Supply Corp. Gustav Dietz, an authority on panchro- 1438 Beachwood Drive Holly 0819 matic film, addressed the same meeting, and LIGHTING EQUIPMENT FOR RENT L. A. FIRE DEPARTMENT projected tests of panchromatic work. Paul WIND MACHINES Water Engine Perry, A. S. C, arranged Mr. Dietz' lecture. : May, 1925 AMERICAN CINEMATOCRAPHER Tioenty-thret New Features Announced on Latest Models of Debrie Cameras There is no better name in the A current announcement carries the news of two new model De Brie cameras, these be- photographic Field than ing a new De Brie high speed camera and the De Brie Parvo regular speed camera. Innovations and improvements on these models required several years to perfect, it is stated, the new high speed model having a direct focusing device incorporated into it. GOERZ The actual image is reflected through the lens. A speed indicator is also a recent addition, of Motion Picture Stock showing the number of pictures per second Makers Raw that are being taken. Various focal length Negative — Positive — Panchromatic lenses may be easily fitted and interchanged. 240 Per Minute The new high speed camera will take 240 pictures per second— 15 times the normal speed with results that are stated to be as steady as if the normal rate of 16 per second were used. Sole Distributors Model "K" FlSH-ScHURMAN CORPORATION The Parvo camera, which is the De Brie model "K," is the newest creation in the reg- 45 W. 45th St. 6331 Santa Monica Blvd. ular Brie De camera. Among other features, New York Hollywood, Cal. it embodies an increased length of dissolve to 4/^2 feet, a counter which shows both the footage taken and the number of turns of the handle, as well as the number of single pic- tures taken. This has been built flush with the camera and does away with the large glass Gets Shots that You which, on the earlier models, was readily Couldn't Get at broken. In changing the lens, one screw is all Without it turned to bring the proper focusing and dia- phragm scales together, due to a new method of gearing together both focusing and diaph- ragm bars. In the pressure gate is a de- use the new Ultrastigmat vice which prevents the scratching of film. a great deal in commercial work as I find that I can make interiors Motor with it that would require lights without it, and get outdoor shots on bad days that I The new camera may be used either with could not get without it. fSigned) QUINCY PEACOCK six motor or volt storage battery on any or- 1611 Market St., Jacksonville, Fla. dinary 110 volt circuit without unnecessary Write for Folder fittings. Gundlach-Manhattan Optical Co. The new cameras are being displayed by 900 Clinton St. ROCHESTER, N. Y. the Motion Picture Apparatus Company, 110 West 32nd St., New York, the sole agents in the United States and Canada for De Brie apparatus. WANTED "Black Cyclone," the latest production of Bell Howell Camera complete. Will Fred W. Jackman, A. S. C, is ready for its pay cash. Write Glennon, A. S. C premiere in New York City, according to word received from the East. Tiuenty-four AMERICAN CINEMATOGRAPH!-: R May, 1925 INFORMATION WHAT AN OFFER! For a clubbing rate, observe the following: Concerning activities American Cinematographer $3.00 per year Camera Craft 1.50 per year of A. S. C. mem- bers may be Total for both 4.50 per year obtained at head- quarters of the But to those who take advantage of this special clubbing offer, both magazines will be sent to them for AMERICAN SOCIETY OF CINEMATOGRAPHERS .:. $3.40 PER YEAR! .:. 1219-20-21-22 Guaranty Bldg., Save money—$4.50 for $3.40 GRanite 42 74 AMERICAN CINEMATOGRAPHER 20-21-22 Hollywood, California 1219 Guaranty Building Hollywood, California Charles Stumar, A. S. C, is photographing Charles G. Clarke, A. S. C, has begun work 1 "Where Was I?," starring Reginald Denny on "Without Mercy, ' a George Melford pro- and directed by William Seiter at Universal duction for Metropolitan Productions. The Citv. vehicle will be released through the Pro- * * * ducers Distributing Corporation. Among H. Lyman Broening, A. S. C, has con- those who will appear before Clarke's cam- cluded preparations and has begun the film- era are Dorothy Phillips, Vera Reynolds and ing of the latest production to be made bv J. Conway Tearle. P. McCarthy. * * * * * .* Floyd Jackman, A. S. C, filmed "Black David Abel, A. S. C, is receiving congratu- Cyclone," the latest Fred Jackman production lations on his cinematography in the Warner that is to be given its premiere at the Capitol Bros, production, "Recompense." theatre in New York City shortly. Native Maori girls making poi balls (used in ' poi The famous beach at Waikiki, from the steps of dance"), and weaving baskets. Photograph by Len the Moana Hotel. Photograph by Len H. Roos, H. Roos, A. S. C. A. S. C. —— — — May, 1925 AMERICAN CINEMATOGRAPHER Tiventy-five Radio and Static Conjure Verse for Snoring Labster What radio and memories may work on a laboratory official may be realized from the following, which comes from E. O. Black- 'Safety burn, sales manager, Rothacker-Aller Labor- atories : After the rushes are rushed through and First* after I rush home and rush through my din- ner — I rush to my radio and tune in for something new. In my incessent disappointment I invar- iably go to sleep, lulled by the wise and other- wise cracks from KFWB — or the dulcet wailings of a feeble fiddle over KHJ. The air was a bit crackly last night and the little old radio worked hard against odds —plus my very audible slumbers — and the old dream kink got in its work with the re- sult that I heard a certain cinematographer gleefully gurgling into the microphone "I wonder what's become of static That old jinx of mine, It used to be so darned emphatic In each little scene Flashed upon the screen. I don't know where it went I hope it don't come back I hope that it's been sent To hell or Hackensack. I hope that it is gone forever That old jinx of mine." Signing off, ED BLACKBURN Rothacker-Aller. Ernest Haller, A. S. C, has finished the Henry King production, "Any Woman," for The course of safety for producers and Famous Players-Lasky. Henry King person- distributors is illuminated by the unfail- ing quality standards of the Consolidated. ally directed. "CERTIFIED PRINTS" are safe. The perfection of every reel is guaran- Ernest Palmer, A. S. C, is filming his latest teed. production at the William Fox studios. * # * The Consolidated Film Industries, Inc. New York Los Angeles Henry Sharp, A. S. C, is well along the schedule in the filming of "Don Q," Douglas Fairbanks' current production. 3i& $f ife CONSCfLIDATED CERTIFIED PRINTS Tvjenty-stK AMERICAN CIN EM ATO GR AP HER May, 1925 PRODUCTIONS FRED H(BLO 1925- ———————- — —————— t HOW TO LOCATE MEMBERS OF THE American Society of Cinematographers Phone GRanite 4274 OFFICERS Homer A. Scott President Victor Milner Vice - Preside?! Daniel B. Clark Vice - President L. Guv Wilky Vice - President Bert Glennon Treasurer John W- Boyle Secretary BOARD OF GOVERNORS Bert Glennon Gilbert Warrenton Daniel B. Clark Victor Milner George Schneiderman Charles J. Van Enger John W. Boyle Homer A. Scott Norbert F. Brodin H. Lyman Broening L. Guy Wilky Paul P. Perry Gaetano Gaudio Fred W. Jackman Alfred Gilks Abel, David—with Warner Brothers. Kurrle, Robert—with Edwin Carewe, United Studios. Arnold, John—with Metro-Goldwyn-Mayer Picture Corp. Landers, Sam Barnes, George S. —with Cosmopolitan. Lockwood, J. R. Beckway, Wm.—Europe. Lundin, Walter—with Harold Lloyd Productions, Hollywood Studios. Benoit, Georges—with Hunt Strombcrg Productions. Lyons, Reginald Broening, H. Lyman MacLean, Kenneth G.—with Fox. Boyle, John VV.—with Wesley Ruggles, F. B. O. Studios. Marshall, Wm.—with Carlos Prods. Brodin, Norbert F. —Frank Lloyd Productions, First National, United McCord, T. D.—with First National. Studios. Meehan, George—with Henry Lehrman, Fox. Milner, Victor—with Famous Players-Lasky. Brotherton, Joseph Morgan, Ira H.—with Cosmopolitan. Brown, Karl—with James Cruze, Famous Players-Lasky. Norton, Stephen S. F. B. O. Studios. —— Clark, Dan—with Tom Mix, Fox Studio. Overbaugh, Roy F. -New York City. Clarke, Chas. G. Palmer, Ernest S.—with Fox. Perry, Harry with Schulberg Productions. Cowling, Herford T.—Room 216-29 So. La Salle St., Chicago, 111. — B. P. Cronjager, Henry—with Famous Players-Lasky, New York City. Perry. Paul P.— Dean, Faxon M. Polito, Sol —with Hunt Stromberg Productions. Doran, Robert S. Ries, Park J.— Dored, John—Riga, Latvia. Rizard, George—New York City. Dubray, Joseph A.—with Peninsula Studios, San Mateo, Calif. Roos, Len H.—with Fox Film Corp., (N. Y.) (Educational Div.) DuPar, E. B. —with Warner Bros. in Australia. DuPont, Max B. Rose, Jackson J.—with Universal. Edeson, Arthur—with Sam Rork Productions, United Studios. Rosher, Charles—with Mary Pickford, Pickford-Fairbanks Studio. Evans, Perry Schneiderman, George—with Fox. Fildew, Wm. Scott, Homer A. Fischbeck, Harry A.—with Famous Players-Lasky, New York City, Seitz, John F.—with Rex Ingram, Europe. Fisher, Ross G.—with A. J. Brown Productions, Russell Studio. Sharp, Henry—with Douglas Fairbanks, Pickford-Fairbanks Studio. Gaudio, Gaetano—with Norma Talmadge, Joseph Schenck Productions; Short, Don Metro-Goldvvyn Studios. Smith, Steve, Jr. —with Vitagraph Studio. Gilks, Alfred—with Famous Players-Lasky. Stccne, E. Burton Glennon, Bert—with Paul Bern, Famous Players-Lasky. Stumar, Charles—with Universal. — Stumar, John with Universal. Good, Frank B. — — Gray, King D. Tolhurst, Louis H. "Secrets of Life," Microscopic Pictures, Princi- Griffin, Walter L.— pal Pictures Corporation. Guissart. Rene—Paris. Fiance. Totheroh, Rollie H.—with Charlie Chaplin, Chaplin Studio. Haller, Ernest—with Henry King, United Studios. Turner, J. Robert—with Fox. Heimerl, Alois G. Van Buren, Ned Jackman, Floyd—with Fred W. Jackm.m Prods. Van Enger, Charles—with Ernst Lubitsch, Warner Brothers. Jackman. Fred W.—directing Fred W. Jackman Prods., Hal Roach Van Trees, James C.—with First National. studios. Warrenton, Gilbert—with Christie Productions. Jennings, J. D. Wenstrom, Harold—New York City. Koenekamp, Hans F. —with Larry Semon. Whitman, Philip H.—with Famous Players-Lasky, New York City. Kull, Edward—with Universal. Wilky, L. Guy—with William de Mille, Famous Players-Lasky. Edison, Thomas A.-—Honorary Member Webb, Arthur C.—Attorney. Meetings of the American Society of Cinematographers arc 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 fouith, the meeting of the Board of Governors. 1219-20-21-22 GUARANTY BUILDING Hollywood Boulevard and Ivar Avenue Hollywood, California LOYALTY PROGRESS ART e Vol. VI 25 Cents No. 3 June, 1925 A Copy American Cinematographer Published by the American Society of Cinematographers, Inc. In This Issue: Proper Screen Presentation—By L. E. Cuff A. S. C. Member Visits King of Barwons- By Len H. Roos, A. S. C. Critics Laud Fred W. Jackman's Production Assistant Cameramen's Club Is Founded PUBLISHED IN HOLLYWOOD CALIFORNIA ^^^^^^^^^^^^^^^^^^^ 1 April 26, 1925, to June 1, 1925 TITLE PHOTOGRAPHED RY Playing With Souls Hal Mohr Sackcloth and Scarlet Robert Kurrle, member A. S. C. The111" Onen' YJ " XI Trail11(111 Harry Neuman Go Straight Harry Perry, member A. S. C. The Crowded Hour J. Rov Hunt Marriacp1 * 1 CI 111 < ( v., XIIin TransitII CV ll.ii G. 0. Post 1* " Tp^vinoX V, C\. 1 111 I—, ThroughA 111 U 11 g 1 NotX. vy V crpditpdV_ L VX. X V V. vx - Thpjl ii' Gamblingvyi cx in kj xxii Foolx vy vy X King Gray, member A. S. C. C h i o k i p J. C. Van Trees, member A. S. C, RpcklpssIV' I Y X V- kJ O Couracp\y X CX \_. Rav Ries Shp Wolvp^ x-Not^ vy kj crpditpdx vx x kj v- vx 111Tiirlpr^VI CIO CX.of TYTvstpw' 1 jf Otvl Jr Rert Longenecker The1 llv Nieht111 ^ 111/ ClubV_y 1 LI W Peverell Marley Friendly Enemies Chas. G. Clarke, member A. S. C. The Prairie Wife J. R. Diamond The Fool Joe Luttenberg Soul Fire Roy Overbaugh, member A. S. C. WinffsT T XXI fi^ O ofVy X. Youth-X_ Y7 VI v 1 1 Ernest Palmer, member A. S. C. Daughters Who Pay Edward Paul and Charles Davis Zander the Great George Rarnes and Harold Wen- strom, members A. S. C. ThpX iiv Mirarlp. * i x x < i v- x V. Vyofx thp1/ 1 1 V^ Wolves* t vy x v v. ky x.Not1 vy iy crpditpd^/i v. vx iiv vx SDeedkJ J ' C C VI WildT T 11 VI Rilly Tuers Ridin' Thunder Harry Neuman Thp111' Texas1 ' \ CX k) RearcatJL-r V. ( I X V CI l* Lauren Draper Thp111' Kiss1 V 1 Rarrier1 ' 11 X X X V- X Ernest Palmer, member A. S. C. ' 1 Thpill Shock> 1 1 vy v iv PunchX. li i i v i i William Miller - Thpx 1 1 v Snortinok. j j vy x nil Venust ii vx io David Kesson | 1111AliasCX O MarvXT X_ ( l 1 V FlvnnJL IV 1111 Silvano Ralboni SellJCll 'Em1-i 111 CowbovV_y Vy VV Kf \J V WmT! Ill NoblpsX. 1 V 7 KJ 1 V- O The111' Talker1 CX X XX. \_r X Arthur Edeson, member A. S. C. - The111' FightingX 1 £^ 11 till w_ Sheriffk_J 11' 1 111, Allen Siegler 1 "RovHpr* * ' ' 1 VI 1 111Tntvionip11 -1 t_, LA V 'Walter Griffin, member A. S. C. Rlack Cvclonp Flovd Jackman, member A. S. C. Welcome Home Karl Rrown, member A. S. C. ThpX 11C TeaserX LUOvl ^porcp1 V> V/ 1 V-> RarnpsA r CX 111'., memberXXX V- 111 U V. A AX m . S»_/ a C. Thp111' CrackeriackVJ X CX V 1 \ ' 1 1 CX V IV Charles Gilson l 1 HprX X V- X XXHusband'sVI O ' CX XX V* KJ Spcrpt' 1 V. 1> Norbert Rrodin, member A. S. C. Easvj—4 cx _y Monevv 1 1 vy iiv j Ross Fisher, member A. S. C. " ThpX XIV. UReantifulv CX IX 111 IX X Sinner1 ' 1 1111 vl Notx. vy v crpditpdv. x v> vx x v v. vx The Meddler Gilbert W^arrenton, member A. S. C. Rarpp Son of Kazan Qfpvp Smith .Tr mpmW A S C. - 1 1 1 1 1 '111 vy . ' 1 1 •— • Thpx 1 1 v. Fitrhtinex x &j xx Dptnony x x Wmif xxx< Marshallcx 1011 cx ii, memberiii"- xxx xy Ax & • S' C • Williamt y x 1 x x cx xii Telli'ii Not^. "1 V L Vrrpditpf.1 V VI 11C VI My Wife and I Not credited Everyman's Wife Not credited The Price of Pleasure Not credited Any Woman Ernest Haller, member A. S. C. My Neighbor's Wife Jos. Walker Just a Woman Not credited Old Home Week Alvin Wyckoff Lena Rivers Not credited I'll Show You the Town Charles Stumar, member A. S. C. — — — — Vol. VI JUNE, 1925 No. 3 American Cinematographer Foster Goss, Editor and Business Manager Table of Contents Page Proper Screen Presentation By L. E. Cuffe 4. A. S. C. Member Visits King of Barwons ByLenH.Roos,A.S.C 5 Critics Laud Fred W. Jackman's Production .... 8 Camera's Part in Record Industrial Project By Lurline Lyons 9 Truthful Advertising of Re-issued Pictures 11 The Editor's Lens 12 Jay Robert Turner Chosen A. S. C. Member . . . . . 15 French Preparing for Big Film Production Program By Rene Guissart, A. S. C 21 E. I. E. S. to Hold Meetings in A. S. C. Quarters . ... 21 Assistant Cameramen's Club Is Founded 22 In Camerafornia 24- An educational and instructive publication, espousing progress and art in motion picture photography. Published monthly by THE AMERICAN SOCIETY OF CIXEM ATOGRAPHERS, 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. 1 2 19-20-2 1 -22 Guaranty Building. Hollywood. California Telephone, GRanite 4274 (Copyright, 1925, by the American Society o] Cinematographcrs, Inc.) — Four AMERICAN CINEMATOGRAPHER June, 1925 PROJECTION * Conducted by Earl J. Denison Proper Screen High Intensity Arc is Bij L. E. Cuffe Considered. Careful Pro- Presentation jection Repays Manager (NOTE 1—This article was written by Mr. L. E. Cuffe, who agers realize the secret is in charge of projection at the Famous Players-Lasky West of putting on their Coast studios. We will be very pleased to use any suitable article screens all that is actually in the film, then on projection from anyone connected with the industry. —Earl J. Denison.) their box office receipts will directly corre- spond with the value that is in the picture. This is a subject that up to the present has This subject had practically no development. Let us stop has been discussed in the past, but nothing of any real for a moment and realize what developments importance has fol- lowed. Recently a paper read before the have taken place in the other branches of the was members of the Society of Motion Picture motion picture industry, how thousands of dol- En- gineers dealing with the difficulties of arriv- lars are spent on beautiful sets, research, high- ing at any standardization of screen bright- salaried directors, the very best technical men ness. However, at the end of this paper there and actors to produce a wonderful photoplay; was nothing arrived at in regard to par- and then the extensive cost of perfect machin- any ticular standard of screen brilliancy. In fact, ery and skilled technical men and labor that it merely cited a number of different elements is required in the finishing of this product so which would enter into the making of a that an exchange may receive the very best stand- ard very difficult and of little use. I agree article that money and skill can produce. — that there are so many valuable factors that it Think of the enormous amount of money that is a difficult problem, but I feel that by proper is tied up in the production. It is then sold to treatment an exceedingly great improvement an exhibitor—he pays, perhaps, a high rental upon the present conditions can be brought and in turn puts it into the hands of (which is about. often the case) a man or projectionist that has For an example, the writer recently visited very little technical knowledge of film. theaters in this vicinity and as far as has The beautiful photography of the present he been able to figure out there are two houses day has taken years of constant experience and no alike in either screen brilliancy, auditorium il- research to bring it up to this stage. The aver- lumination or class of screen used. For such age projectionist perhaps looks at his screen reasons it has been impossible to a picture six or seven times during the projection of the make look anywhere alike in these different nouses. same number of reels. The manager knows The answer to this is readily seen when we little or nothing about projection, and the analyze the following which illustrates the ex- man he is paying to project his expensive pro- ceedingly abnormal and varied conditions. gram is either ruining him or making money for him. However, the manager doesn't realize In two different theaters, both screens of this, and because his box office receipts fall off the same material and size, same optical sys- he thinks that his programs are very poor. He tems in projectors, same light source of equal hasn't stopped to realize that perhaps it might amperage, and projecting prints of standard be his presentation that is effecting the decline quality, in one house the throw is 185 feet in his box office receipts; he is not educated and in the other is 65 feet. It is plainly seen to know good projection; he doesn't realize why the same print looks exceedingly differ- that the screen is the medium from which all ent on the two screens. the money in the industry is derived; he doesn't This brings us to the point of what is most realize that his screen is too bright, too dull, needed today for proper screen presentation. that the screen is dirty, that his house is lighted What is proper screen brilliancy? We all have wrong or that the mechanical condition of his pretty fair ideas, but what theater manager, machine is poor. The picture is jumpy and, what projectionist, who have been used to poor perhaps, out of focus. His box office receipts picture presentation, could say that they knew will tell him all this if he is not educated to what screen brilliancy is necessary for a stand- proper screen presentation. What is the re- ard print, made and judged under standard sult of all this? Nothing more than that it is conditions, so that it will look right during the screen, the projected picture that brings projection. the money to the industry. Everything finally This lack of knowledge is one cause for the and absolutely depends upon the projection of condition that exists on the west coast, where the individual picture on the screen to bring a standard print is supposed to look the same out those qualities that are so nearly lifelike in all theaters. I have personally found a and real, and to bring out that value that has variation in the screen readings anywhere from been put into the production. When the man- (Continued on Page 16) June, 1925 AMERICAN CINEMATOGRAPHER Five Aged Ruler Rents Film A. S. C. member Uisits Btj Len H. Roos, Concession to Throne A S C Kinq Chjde of Barworts - - to Swell Royal Coffers. Left—A close-up oj King Clyde Above—Len H. Roos, A. S. C, with the Camel driver at Bottrke, N. S. W. no) The only Black Opal mines 'Out-back' Country Goats and Paste in the world are located at We spent Saturday night at This is what one might term Lightning Ridge, N. S. W., Nyngan, the beginning of the protective advertising, as the about 800 miles northwest of "out-back" country, where the netting prevents the town Sydney and completely off the picture theater is open every goats from eating the paper to railroad. They can be reached Saturday night at the Town get at the sweet paste. only by car and as my Aus- Hall. A boy with a bell goes Power is developed by a tralian assistant (surname small super-Diesel engine, and about the town and tells the Marshall, commonly called as nearly all the theaters in inhabitants what's on. This is "Bill") claimed that the con- the country use mirror-arcs, not the only advertising done they get a fairly good light on traption he fondly calls a mo- by the theater, however, as the screen with this small tor car would do the trip with- they had one three-sheet and plant. The admission price is out trouble, we started off one one-sheet displayed in three shillings and three pence bright and early on Friday, front of the Town Hall with (about 78c) for the "chairs." March 27. wire netting covering them. The benches are cheaper. This R Six AMERICAN CINEMATOGRAPHS June, 1925 doubt found their way into the royal treasury. King Clyde speaks very good English, doesn't remember how old he is, and, taken altogether, has a fairly soft job being king. Black Opal Mines We made the 105 miles from Brewarrina to Walgett in good time and found this town a real up-to-date country place. Thursday we left for the Black Opal mines at Lightning Ridge and got an interesting picture. The temperature was 114 de- grees in the shade and as the accompaning photograph shows, there is very little of the said shade. One goes down the mine seated on a small piece of board attached to a thin steel cable for a distance of 60 feet. The shaft is about four by six feet and it not braced in any manner. As the is for the usual two features, a tary manner that the manager small rectangular opening news and a comedy. wanted me to make a personal grows smaller on the way I don't think they figure appearance—we left immedi- down one begins to doubt their any of the charge is for the ately for the hotel. good sense in attempting the music ; at any rate, they should Old King Clyde descent. They have been not. The best seats in Aus- Brewarrina is 60 miles east known to cave in. the bot- tralian theaters are upstairs; At of Bourke and it was near here tom of the shaft you crawl at least, that is their opinion. that I was introduced to King into the drifts on your stom- Personally I am not sold on Clyde, King of the Barwon ach. At least it was cool down this idea yet and continue to Blacks. His there. Black are, I watch the program from the Royal Highness Opals gets the kingly salary of one think, the prettiest gems in the lower floor. shilling per week (24c) for world and the more one han- Kangaroo Country kinging, so the ten shillings I dles them the more attached Sunday we ran close to kan- gave him for exclusive cinemat- one becomes to their brilliant garoos towards evening, but it ographic rights for the day no and ever-changing colors. I was too late to photograph them, so we kept moving and reached Bourke Sunday night. We spent Monday working. Bourke is the starting place for the camel trains. About 18 camels form a train and haul freight into the interior on immense wagons. It takes 14 days to travel 174 miles with 10 tons of freight. The motor trucks will soon have this business, I think. Outland Projection The "Arcadia" theater at Bourke had a super-Diesel plant and a Powers projector with the grimiest lens I have ever seen and a shutter so out of time that it might be better off the machine. We cleaned the lens and adjusted the shutter with the result that the audience commended the pro- jection in such a complimen- June, 1925 AMERICAN CINEMA TOGRAPHER Seven King Clyde shares his throne with Len H. Roos, A. S. C, and enjoys an aging Yankee joke was so taken with some I was kind of parrot and cockatoo is We made the trip back to shown that I dug down into to be seen, as well as small Sydney without anything of in- the funds I am hoarding to birds with every color of the terest happening, except that purchase a Rolls-Royce to take spectrum showing in their we burned out a big end bear- home with me, and purchased plumage. A short distance ing three times and finally some of the gems picked for from Angledool we met a Go- took out the piston altogether the Wembley Exhibition. W e anna and after a great deal of and came the last 200 miles on finished at Lightning Ridge work we got him out of a tree five cylinders. Just as soon as and drove north to Angledool, and photographed him. He is I can get a new trip planned, seven miles from the Queens- a poisonous reptile and I think we will leave for the interior land border. Bill showed a great deal of again ; this time for a long trip, Colorful Plumage nerve in handling him. The for in spite of the heat, the bad Toward evening in this Goanna is protected by the drinking water, the mosquitoes country the air is filled with government, as it destroys rab- and a thousand other pests, it birds of brilliant colors. Every bits and other pests. is a wonderful country. — — — — Eight AMERICAN C I N E M A T O G R A P H E R June, 1925 Critics Laud Fred ID. Jackman's Production "Black Cyclone" Receives Cinematography is Also Plaudits in Los Angeles 0 T~)LACK CYCLONE," directed by FredW. Jackman and photographed by Floyd Jack- t~\ man, both A. S. C. members, has taken the critics by storm in its initial exhibitions at the Capitol Theatre, New York, an d at the Rialto, Los Angeles, as is indicated by the following excerpts from reviews on the J ackman production which is being released by Hal Roach through Pathe. "Black Cyclone" is eclipsing even the successes of Fred Jackman' s production of Jack London's "The Call of the Wild," and his "Rex, King of Wild Horses," which also starred Rex, and were photographed by Floyd Jackman, A. S. C. It will be noted that the reviews are as elaborate as to the cinematography in the Jackman production as they are for the direction itself: The excerpts follow: Rex is the flashing ebony horse that raced through the reels of "The King of Mordaunt Hall, New York Times Wild Horses" last season. He is a fine The wild horses in "Black Cyclone" will figure of an animal, a dashing, dynamic not have to drag people to the Capitol this piece of horseflesh, and his performance week, as the presence of these animals on in "Black Cyclone" reveals that he has the screen will undoubtedly make the made steady strides, or gallops rather, as journey to this theater a willing and an actor. pleasant one. "Black Cyclone" is an ad- There are beautiful pictures of a herd mirable picture which has been directed of wild horses galloping over the plains with studious ingenuity, and although in "Black Cyclone," pictures that are mar- horses are seen in the principal roles, vels of composition. there is never a dull instant in the narra- * * * its sus- tive, which possesses full quota of Harlow J. Peters, New York Telegraph pense and some delightful incidental If there were such a thing as a National comedy. Film Library whereby pictures of lasting manner in which the horses have The worth could be placed, one shelf would been handled for the different scenes surely be kept for Hal Roach's production makes one forget that a camera was any- for Pathe release of "Black Cyclone," where near at the time the scenes were which opened yesterday at the Capitol. photographed. One sees so much that is "Black Cyclone" is the second starring ap- surprising, when one stops to think it over, pearance of Rex, the King of the Wild that after a while one is so absorbed that Horses, and again he proves that he not it appears to be perfectly natural to wit- only has a fine screen personality, but is ness stallions in the characters of a hero an actor of no mean power. and a villain, a mare as a heroine and a In this mechanical age pictures like mangy burro filling the comedy role. "Black Cyclone" are simply invaluable in The long shots as well as the medium giving the cityite and the farmer who ones are most compelling. In certain in- keeps horses only as something to drag stances one wonders how the producers ploughs with an impression of this ma- are ever going to catch the horses. . . . jestic animal as he was created, and as are informed that thousands of We he looks at his best. The camera shots acres of Nevada's plains and hills supply of Rex and the other wild horses are sim- the background for this picture, which ply magnificent; they are tremendously was directed by Frederick Wood Jack- thrilling. man. It is presented by Hal Roach who In fact, the whole picture is one thrill also out the story. mapped fights, * * * after another, with horse long runs, and human doings mixed in. New York Sun * * * As refreshing and invigorating as the Harriette Underhill, New York wind which swept the plains where it was Herald-Tribune photographed is "Black Cyclone," now The happiness, trials and dangers of being unwound at the Capitol with Rex, these horses were far more interesting the William S. Hart of the equine king- than the usual human love pictures. And dom, as its four-footed star. (Continued on Page IS) — June, 1925 AMERICAN CINEMATOGRAPHER Nine Camera's Part in Record Industrial Project Cinematography Preserves Cinematographer Ever Pre- Perpetual History of Job Bu, Lurline Lijons sent on Enterprise Requir- of Moving Mountains. ing 25 Years to Finish. Left—Camera and films were "mushed"' thirty miles over mountain tops on a sled drawn by a team of Alaskan dogs through snow which, drifted twenty feet deep, was otherwise impassable. Right—Albert C. Smith, cinematographer, on great industrial project. (Photos by Smith.) Film, projector and camera For Posterity mountains in Europe and those have come to play an impor- Up there among the peaks of the Himalaya in Asia, just how the engineers of Califor- tant part in the ranks of the and cataracts and the canyons nia go about it to perform the greatest permanent construc- deep in the forests'of pine and cedar, an army of workmen, task that makes the building tion army of which history which numbers at times as of the Panama Canal look in- In its achieve- gives account. high as 10,000 men, has been significant. ments, as it is accomplishing toiling on the job since 1912, For Amusement the world's largest construc- and it will not be completed tion project, the cinematog- until 1935 at the earliest. In It is not only the filming of raphers have created a new this gigantic electric project, the work of impounding which has attracted the atten- mountain rivers and making sphere of the world's activi- tion of engineers and scientific them into a chain of glistening ties. men all over the world, the lakes that lie embedded among Among the towering peaks cinematographer has pre- the great peaks of the Sierra of the High Sierras of north- served in thousands of feet of Nevadas; of building the eastern portion of Fresno film every detail of the ex- greatest hydro-electric power- county, California, where the penditure of millions upon mil- houses west of Niagara Falls Southern California Edison lions of dollars. These films and of the key achievement Company is spending some are now the wonderful book the construction of the four- fifteen or twenty million dol- from which the engineers of teen-mile Florence Lake Tun- lars more than it cost to build the world read of the latest nel under the Kaiser Range, the Panama Canal, for har- and most marvelous achieve- which was completed last Feb- nessing the wild mountain tor- ments of our country in the ruary—that the motion picture rents to the electric genera- conflict of man with the forces has been a factor in the fa- tor, I have been watching the of nature. It is this collection mous project. A vast construc- new uses for the motion pic- of films which will show the tion army of thousands of men ture, which were never engineers who are now study- spending years in the isolation dreamed of in the pioneer ing the problems of harnessing of mountain camps have the days of pictures. the waters of the Balkan same human desire for amuse- Ten AMERICAN CINE MATOG RAP HER June, 1925 ment that enters into the lives of those of us who reside in cities. While the Southern Califor- nia Edison Company was building its two titanic power- houses in the San Joaquin can- yon, and while the hard rock miners were gouging a fifteen- foot bore beneath the base of the great Kaiser mountain, there were some twenty camps of workmen scattered over the seventy-five mile construction front of the project. Once, and sometimes twice, a week in each of these camps the com- pany provides a free motion picture performance for the workmen. A portable pro- jector and a light automobile the tours of these camps made cinematographers' outfit and streams welling up to the schedules on regular and gave films were conveyed 30 miles brink and forming beautiful the men an exhibition almost over mountain tops on a big lakes; of the first waters of identical with those seen in sled drawn by a team of Alas- rivers diverted miles from motion picture houses in the kan dogs over a road drifted their original course, plunging cities and towns. It consisted 20 feet deep with snow and through tunnels; of the plac- of a news reel, a comedy and impassable for horses. ing of the heaviest machinery a drama and in many in- Unique Subject Matter that has been constructed by stances these films were shown When the Southern Califor- the great foundries of the east in the mountain camps while nia Edison Company began the and of all the human interest they were yet running on their active phase of its Big Creek- life centering about the activ- second release in the cities and San Joaquin River construc- ities of thousands of men en- often before they had been tion project, it employed Al- gaged in pushing to completion shown in the small towns of bert C. Smith, an old-time a project which will supply California. Some of these ex- cinematographer, to film every enough electricity to multiply hibitions were given in the big feature of the work. Mr. by three the present popula- open air during the warm Smith's films show pictures tion of the Southwest. summer nights. such as have never been ob- In the Primitive Outfit on Sleds Camera tained before and can never be As a member of the party of Once last winter when I obtained again. Among them newspaper writers who accompanied a party of Edi- is the filming of the construc- climbed the High Sierras dur- son officials which made the tion of gigantic dams across ing the latter part of February last and final inspection of the canyons, depicting the surg- and made their way through Florence Lake Tunnel, the ing waters of mountain storms and snowdrifts in order to be the first to go through the great Florence Lake Tun- nel, I witnessed what im- presses me as one of the most remarkable events in the whole history of the film. One mile below the dome of the great Kaiser mountain and three miles from each of the portals from which work was commenced on the Florence Lake Tunnel, a fully equipped electric light studio was im- provised by Mr. Smith so that the dramatic picture of the last blast which completed the longest tunnel in the world could be filmed with every modern lighting device that enters into the equipment of (Continued on Page 15) June, 1925 AMERICAN CINEMATOGRA PHER Eleven ^Truthful Jlduertisinq » National Vigilance Com- mittee Sums Up Effects of of Reissued Pictures This publication has always opposed his bookings of these releases is aided and backed up by campaigns of national misleading film advertising, and therefore enormous advertising so that an advance demand is cre- considers interesting the following bulletin ated for his showing. which has been issued by the National Nearly every time a big current production Vigilance Committee, of the Associated of such a story is announced some film of a Advertising Clubs the World: of similar subject matter or title is exhumed from the vaults or from the kerosene circuit Back in motion picture history, not so many or the non-theatrical field and offered to ex- years later than the nickelodeon era, the hibitors apparently for the purpose of cashing scenario departments of producing companies, in upon the reputation of the new picture. both in the United States and in foreign coun- Vitagraph's "Black Beauty" production was tries, supplemented their current materials by closely followed by the resurrection of an old preparing screen versions of classic literature. Edison release. Fairbanks' "Three Muske- Hardly a famous author, from Homer to Kip- teers" publicity encouraged a group of film ling failed to have some part of his writings adventurers to advertise in a highly mislead- filmed and screened. For the time at which ing and confusing manner an old film made by they were produced many of these were good the late Tom Ince from the Dumas novel. pictures made but a few years ago have chosen Both of these exploitations were held unlaw- But when these are advertised today the fol- ful by the Federal Trade Commission, acting lowing facts should be kept in mind by the in the public interest. More recently a state- distributor and the exhibitor: right release of the old "temperance" stage A tremendous change takes place with each play "Ten Nights in A Bar Room" was par- year in the quality of cinema photography, allelled by the re-marketing of a film-vault make-up, costuming, and the thousand details relic of the same name. The nation-wide ad- comprising modern production. Continuities vertising of the Famous Players-Lasky Cor- have also moved with the times. The public poration for "The Ten Commandments" was knows this. Accordingly, a number of pro- simulated for a reassembled old non-theatrical ducers who have in their film vaults excellent picture entitled "Ater Six Days." Coincident pictures made but a few years ago have chosen with the nation-wide advertising of the Fox to have the entire stories re-scenarized, re- Film Company's "Dante's Inferno," a new enacted and re-photographed in order to main- and elaborate production, we find the advertis- tain the high standard of their programs and ing of a film of the same name made in Italy. those of their exhibitor patrons. Others, whose This foreign picture was first released in the pictures have comprised actions too colossal for United States prior to the entry of many pres- such re-production, have advertised the re-issue ent day exhibitors into the theater business. of such subjects as and for pictures which had been successfully exhibited at a previous date There is no legal reason why an exhibitor and were now being revived because of their may not book and screen these film-vault relics great popularity. "Quo Vadis," "Cabiria," if he wishes to do so. But if he exhibits them "The Birth of a Nation," "The Miracle Man" without disclosing affirmatively that they are and "The Four Horsemen" are a few of the pic- re-issued pictures, he is throwing way the tures which have been frankly offered and ad- good will of his patrons. Ask the exhibitors vertised by distributors and exhibitors as re- who advertised "The original Black Beauty," issues. The right of the public to know what it "Douglas Fairbanks (and) The Three Mus- is buying has been respected and the good will keteers," and the man who used Fox Film of distributor and exhibitor promoted by adver- Company mats to advertise the Milano tising honesty. "Dante's Inferno" what such tactics cost him in the long run. One way to keep a theater Once more the trend of producers is toward out of the list of those houses which are for- classic or well-known authors and famous ever changing hands is to advertise every stories. Think of a big story and there is every booking truthfully and completely. Even the likelihood that some producer has filmed it small merchants in our towns and villages are within the year or is engaged in filming it. learning what older advertisers have found Today such productions are lavishly made. A from sometimes bitter experience—that ad- number of them have been filmed abroad in vertising the whole truth pays a dollars and order to obtain actual and not plaster and cents dividend. Sound principles of adver- papier mache settings. In order that the ex- tising are not alone applicable to goods, wares hibitor may do the business with these pictures and merchandise. They apply to the sale of which will enable him to realize a fair profit, (Continued on Page IS) Twelve AMERICAN CINEMATOGRAPHER June, 1325 9 The EDITORS LENS > « focused by foster goss We wonder what people of the contemporary age would give to see workmen carrying materials and laying them in place for the great wall of China several centuries ago, of the artisans at their duties on the construction of the great pyramids, or on the buildings of ancient Greece and Rome? Those might have been uninteresting "industrial" pictures in their day, but what of the present? While wo do not say that our descendants are going to be extraordinarily interested in the manner in which a hydro- electric system was constructed in 1912-1935, yet we do say that a comprehensive film report of a gigantic enterprise such as this will be a matter of information and definite precedent for engineers, not necessarily of the remote future, but for those of this era who may have the good fortune to be participating in similar undertakings during our own lives. Thirteen June, 1925 AMERICAN C I N E M AT O G R A P H E R hasten the trend o!f the world, industrially and commercially, besides allowing it to entertain from Boston to Bombay. It will prove a capable, willing and intelligent employe. We are told that the old mining camps weren't duplications of an earthly heaven. In fact, with gambling and what not for entertainment, they are supposed to have run in quite the op- posite direction. However, the men worked hard and they had to have something for relaxation and entertainment, they tell us in justification. But the men on this gigantic construc- tion job work just as hard, are living in the same outdoors as their grandfathers did. Yet they are not troubling themselves, their families and their employers with wholesale shooting, gaming and drinking for entertainment and recreation. 1$ What's the reason—could it be such a thing as the proper use of motion picture programs? — Fourteen AMERICAN CINEMATOGRAPHER June, 19: r- 1 Unrivaled In the important photographic qualities that cinematographers look for — uniformity, latitude, speed Eastman Negative Film is unrivaled. It does full justice to the photog- rapher's skill. And Eastman Positive Film carries the quality of the negative through to the screen. Eastman Film is identified by the words "Eastman" and "Kodak" in black letters in the film margin. EASTMAN KODAK COMPANY ROCHESTER, N. Y. June, 1925 AMERICAN C INEMATOGRAPHER Fifteen Jaxj Robert Turner New Member Has Wide Ex- perience on William Fox Chosen A. S. C. member and Many Other Productions Jay Robert Turner has been (Continued from Page In) chosen a member of the Amer- the best studios in Hollywood. It was a novel and weird ican Society of Cinematograph- sight to enter this great under- ers, according to an announce- ground cavern drilled through ment from the Board of Gov- the solid granite of centuries ernors. and find in its very heart a bank of high-powered electric Turner has been a cinema- lights and to see a battery of tographer at the Fox Studios cinematographers filming the final act in the Strang drama in Hollywood for the past six of giant powder and dynamite. years. He filmed all of the Not To Be Duplicated special Clyde Cook comedies, These priceless films can including the feature, never be duplicated for now "Skirts." the mighty San Joaquin river has been diverted 45 miles He filmed three specials from its course and flows with Lupino Lane, including smoothly under the base of a the five-reeler, "Friendly Hus- mountain through a course bands." which took five years to gouge out. He photographed a series of Yes, I have seen many won- ten two-reelers directed by derful acts staged in the studio Jack Blystone, as well as and on location, but I never expect to see again the taking a five-reeler directed likewise of so strange a picture as that by Blystone. one—a picture of an event which will go down in history series six- His latest feature is the He then shot a of Fox as one of man's greatest tri- teen monkey comedies, with production, "Darwin Was umphs over the blind forces ot "Max," "Moritz" and "Pep." Right." nature. ON BOARD OF GOVERNORS The American Society oj Cinematographers' Board oj Governors numbers among its members Norbert F. Brodiu, H. Lyman Broening and Henry Sharp. Sharp was chosen to fill the term oj Gaetano Gattdio, who was obliged to jorego his duties on the Board because oj the press of personal business, H. Lyman Broening, A. S. C. affairs. Sixteen AMERICAN CINE MATOGRAPHER June, 1925 Proper Screen Presentation (Continued from Page 4) "Coops" for 3.5-foot candles to 20-foot candles. It is an impossibility under these conditions to present a picture and get proper values. Ignorance re- Quality Lighting garding projection on the part of the mana- gers allows high intensity arcs to be used Cooper Hewitt Mercury Va- where they mean ruination to the picture—as often is the case where another manager be- por Lights are an integral part of lieves he will save by a Mazda equipped ma- all well-known studios. Big users chine where the conditions are not satisfactory for this style of illumination, but demand a dif- have found them indispensable ferent sort. for quality lighting and unhesitat- Let us compare the three sources of illumi- nation of the present time, considering at all ingly recommend them to others. times the optical conditions are the very best for each case, and see the effect on a standard "Mike" Shannon can furnish print : information of vital interest to The High Intensity Arc you and help you in the solution In 80 per cent of the houses using this as a of your lighting problems. Get source of illumination, the picture has been terribly over-lighted and usually has a very in touch with him today. bad glare in the center of the screen, which in turn is very tiring on the eyes. Directly out- side this hard, glary, blue-white spot in the center of the picture are visible all the colors of the spectrum from time to time as the image COOPER HEWITT ELECTRIC CO. of the carbon revolves. This results in a print HOBOKEN, NEW JERSEY of standard exposure having a center that is Hollywood Office— 7207 Santa Monica Bldg. completely washed out and over-lighted. All KEESE ENGINEERING CO., John T. "Mike" Shannon, Mgr. the soft tones and shadows are lost and a ter- rific hard, high-light predominates; and then to the outside and either side of the screen, the brightness gradually falls off to a lot of hard colors alongside this glare. Due to the color of this light, beautiful soft color dyes and TREMONT tones, that are really beautiful under normal FILM LABORATORIES CORP. conditions, are all washed out, leaving neither black nor white nor a color—with the conse- 1942-4 Jerome Avenue quence that when the producer goes to view New York City his production it appears entirely different from what he had looked at under normal con- SPECIALIZING ditions. in Another thing that has been found with the use of this style of arc is that the color on the NEGATIVE DEVELOPING film itself is bleached out in the center, leav- FIRST POSITIVE PRINTING ing a print that is different and lighter in color in the center than the rest of the sur- rounding film. Then when the next exhibitor WANTED— Will pay cash for a motion picture receives the print—an exhibitor who is using camera— Pathe or Universal or Bell & Howell. a standard carbon arc—he cannot understand MUST BE A BARGAIN. Let me know what you the unevenness in the color of the print. have, and conditions. The very thing for which the theater was Chas. E. Carruth, Box 668, Denton, Texas built, the presentation of motion pictures, is the least considered. Little do they care, it seems, whether the machines are supported from a rope and let down through the ceiling CAMERAS FOR RENT MITCHELL, Studio Model, with 40 mm.; two, three, —just so long as they get something on their four and twelve-inch lenses. screen when it comes down. Gentlemen, think UNIVERSAL FIELD CAMERA, with Turret; with this thing over, check up on the number of two, four and twelve-inch lenses. theaters and it will be astounding just where PRIMITIVE SCREEN STORIES PRODUCTION DRexel 6320, or care A. S. C. the majority of projection rooms are located. — ! — Juno, 1925 AMERICAN CINEMATOGRAPHER Seventeen A Cheerful Introduction! The Cameraman who, above all else, wants a QUALITY introduction to his staff chiefs, realizes his highest hopes through our sincere efforts and artistic co- operation THIS ISN'T MERELY A STATEMENT— THIS IS A FACT! AND—WE DON'T ASK YOU TO TAKE OUR WORD ALONE Ask -fj^tWj J^OJtjz, or YOU PUT IT ON THE NEGATIVE— WE'LL PUT IT ON THE SCREEN! HONESTLY ROTHACKER-ALLER LABORATORIES, Inc. 5515 MELROSE AVE. HOLLYWOOD HOLLYWOOD 7180 Instead of being at right angles and level with screen of absolute even brightness can be the center of the screen, as so very few are maintained with all the light that is necessary. throughout the country, you will usually find Due to the evenness of this light we get a per- it away at the back and top of the house. It fectly illuminated picture on the screen, which is, therefore, necessary to use a tremendous in turn reproduces the exact values of high- amount of light to get anything on the screen, lights and shadows that were actually there at but, alas, the very thing we pay to go in to the time of photographing. This alone in- see is so badly distorted, so badly lighted, that creases the relief and so we get a greater sense we all come out thinking it was a terrible pic- of depth to our picture. However, this class ture. So, summing the high intensity arc up, of projection hasn't proven so popular we find that it came into prominence due to which is due to the lack of men in the field who the lack of thought given the most vital part do understand it. It is most essential that of a theater, the projection room; and, until a man be perfectly familiar with the laws gov- they build theaters correctly, we shall have to erning optics in order to get this quality out of put up with these abnormal and ridiculous pic- this Mazda projection. ture presentations. At the studio we use nothing but Mazda The standard carbon arc, on the other projection. We maintain a standard screen il- hand, if handled correctly, will give all the lumination of between 6.5-7 foot candles, using light that is necessary. An even screen may screens of absorbing qualities and perfectly be maintained without any particular glare straight projection angle. All of our prints spots, and due to the light itself being some- from the laboratory are judged on this basis. what softer, the projected picture becomes Every morning all our screens are tested for softer in its gradation of tones, and, therefore, screen brilliancy and if one is found to be up is much more soothing to the eye. The real or down at a stated amperage through our value of the quality of the photography is lamps, that amperage is increased or de- brought out—a better quality of depth is main- creased accordingly until our standard of 6.5 tained, and instead of hard, glary high-lights, foot candles is arrived at. By keeping all the the desired soft tones are maintained. screens at this standard, a print may be run in For the smaller house and properly ar- any of the projection rooms and it looks exact- ranged projection room, the Mazda source of ly the same. illumination has come into prominence. It is The time is not far off before we shall be proving the most satisfactory of all lights. It able to go into any theater and there see the is not only less expensive to operate but a same class of projection, but a great deal of — ) Eighteen AMERICAN PINEMATOGRAPHER June, 1925 pioneer work has to be done. The sooner the theater managers realize how essential this is to proper screen presentation, the sooner will they realize that a man with proper technical knowledge of projection can correct these Walter J. van Rpssem conditions, for money spent on the proper 6049 Hollywood Blvd. handling of the picture means money in the Phone Holly 725 box office. Commercial Photography Truthful Advertising and Re-issued Pictures Slill Developing and Prinlind^ (Continued from Page 1 1 fehWfl Cameras -FOR. RENT— Still amusement just as much as they do to dry goods, hardware or furniture. The theater owner who demonstrates to his patrons that they can always depend upon jCHEIBE'S PHOTO-FILTER SPECIALTIES his film what they read in advertising, will Are now popular from coast to coast, and in attract and hold the regular, repeat patronage some foreign countries. which is the backbone of picture house pros- If my many varieties do not always fill the bill, tell me your wants and I will them on special perity. make order. Always at your service. Critics Laud Fred W. Jackman's Production GEO. H. SCHEIBE (Continued from Page 8) 1636 Lemoyne St. DUnkirk 4975 Los Angeles, Cal. when Rex galloped up and allowed the man hero, whose horse had fallen under him, to mount him and save the heroine ihe New Iris Combination may be had our excitement knew no bounds. with 4-in. Iris or Sunshade "Black Cyclone" is a mighty interesting picture. FRED HOEFNER # * # Cinema and Experimental Work 5319 Santa Monica Blvd. (rear) York New World— GLadstone 0243 Los Angeles, Cal. The maintenance of this semblance of vicious freedom in three horses trained so remarkably to their tasks seems no small achievement. . . . For any with even the vaguest kind of friendly feeling for AKELEY SPECIALIST horses the picture can be generously Aerial and Special Photography recommended. $ £ $ Akeley, Bell and Howard Cameras Variety For Rent An astounding film is "Black Cyclone," and one sure to cause a raft of talk before E. BURTON STEENE it gets far. With horses playing the lead- American Society of Cinematographers ing roles and sustaining the principal in- 1219-20-21-22 Guaranty Building terest, this one is full of laughs, thrills, drama and suspense. They don't come Hollywood, Calif. much nearer to filling the entertainment HEmpstead 1191 GRanite 4274 order. It is the second in which Rex has appeared, the first being "King of the Wild Horses." . . . It's a happy ending that brought a storm of applause. GRAF The way these horses perform is little short of miraculous. Every move is life- VARIABLE F.J LENS like, natural and registers. That goes for Correct Rex, Lady and The Killer, the latter being For the Essentially Proportion of Diffusion an especially mean-looking rascal, while Indispensable on Every Production Lady is a fine light mare. The humans in Lens Now Available for Immediate Delivery it don't have much to do but do it nicely. 50 M . M $75.00 75.00 "Black Cyclone" is a film to make movie 75 M. M history. Its achievements made in Amer- ica are none the less important, for its *er*9±'" vigorous and pulsing story, carried for- ijLJlSJI iaoi urchmont «vl ward with directness and a minimum of rtHbSX. CHICAGO. footage, fairly shrieks aloud to those who Exclusive Distributors ask for better films. ————— — June, 1925 AMERICAN CINEMATOGRAPHER Nineteen They couldn't be much better than this. For any first run, anywhere, it is fit pro- vided intelligent, educational exploita- tion is used, and in the country towns it PYREX is a cinch set-up. # * * New York Daily Mirror Spotlamp Condensers "Black Cyclone" swooped into the Capitol yesterday for a week's melo- ARE dramatic stay, starring Rex, the "wonder horse," in a story written by Hal Roach, GUARANTEED expertly directed by Fred Jackman. This is the most notable production we have seen in many a day. It's intriguingly AGAINST BREAKAGE different. If you go to the Capitol only to see 6-in.—8-in.— 12-in. diameters Guinn Williams race Black Cyclone bare- back up hill and down dale, you'll get the thrill of a lifetime. Used by: # # * Famous Players-Lasky, New York Evening Post Altogether "Black Cyclone" is one of United, the most entertaining pictures we have Metro-Gold wyn-Mayer, seen for some time. It is not only a photo- graphic feat, but also a moving drama of First National studios. life in the wilds. The horse actors could give lessons to many a movie actor, with Sole Distributors: gratifying results. It is a relief to get away from the stereotyped "Western" rub- ber stamp for a change. THE LUXALBA COMPANY # * * 1 1 1 West 42nd St., New York New York American A horse, superb in beauty and human in his interpretation of emotions that guide the human race. . . . The grace and intelligence of this animal shows up a lot of the simperings and Just one production sophistications of various human actors. Rex is not only a creature to be loved by with us all lovers of magnificent horseflesh. He will make you our friend can teach us something. "Black Cyclone" gets across to man, woman and child. for life. New York Evening Journal The picture is well directed and told Roy Davidge Film Laboratories with a swing and charm to it all that is delightful, and the Nevada hills and 6701 Santa Monica Blvd. HOlly 1944 plains are gorgeously photographed. There are also in the cast a pack of wolves, a rattlesnake, a bear, a tiger and a comedy burro that should have had a bigger role. WANTED—Three magazines for Eclaire # * * Motion Picture Camera. What Price? New York Graphic Address B. MacCallum, Box 998, Roch- . . . affords something approximately ester, N. Y. new and novel in the way of a film pro- duction. . . . more than well worth seeing. In fact, you owe it to yourself to see "Black Cyclone" at the Capitol. It is FOR RENT a cinema treat. # * * Two Bell and Howell Cameras, 40, 50, 75 mm. lenses, Thalhammer iris. Jean New York Telegram Trebaol, Jr., 7042 Stilson Street, Palms, . . . Rex certainly does as much Calif. Telephone EMpire 8954. heavy rescue work as a team combined of — — Twenty AMERICAN CINEMATOGRAPHER June, 1925 William S. Hart and Harry Carey. * * # "Danny," Film Daily— W INFIELD - KERNER "Roxy" over the radio: "'Black Cyclone' (Hal Roach production, Pathe STUDIO Release) is the best picture I have seen in five years." Well, well! Anytime "Roxy" LIGHTING EQUIPMENT goes that far it means something. For many believe "Roxy" the premier show- OUR NEW man of America. So we are going to see what "Roxy" raves about. And utter a ROTARY SPOT LIGHT few thinks of our own. * * * Is Second to None Orlando Northcutt, Los Angeles Express If you have a hankering to see a motion Ask for Demonstration picture that is out of the ordinary and one that is packed with romance and thrills, glance at "Black Cyclone" at the Rialto. It is a truly remarkable film. AL DE BUS Rex, who performed so creditably as the equine hero of "King of the Wild "The Heavylite Man" Horses," is cast as the principal character in "Black Cyclone" and he carries the Los Angeles County Distributor honors with the aplomb of a matinee idol. Winfield-Kerner Products Fred Jackman, who directed, has done one of the finest bits of directing the Factory: Hollywood Office: screen has to offer. The patience he 323-27 East 6th Street 1072 No. Wilton Place must have exercised to gain the effects Phone VAndike 6211 Phones: GRanite 9601 that appear in the finished picture is un- Night Phone GRanite 4864 usual. The battle between Rex and the Killer, the fight with a pack of wolves trailing the nearly exhausted Lady, the stampede of the wild horses are photographic and dramatic highlights of a film that will un- questionably prove one of the greatest RENE box office successes of the season. It is an animal picture far above the average. Unprogramed but worthy special men- GUISSART BRUSSELS BUDAPEST tion is the comedy relief, the Pest, a moth- 8 eaten little burro with a cynical expres- sion. is a clown right of birth. He by Atmospheric Shots in Any The introduction of this fellow is a clever Part of Europe GENEVA bit. "Black Cyclone" deserves the high- est praise one can visit upon it. Taken according Los Angeles Evening Herald ROME to your own in- CAIRO the production is well put on and structions in an interesting throughout. . . . artistic manner to match the pho- MADRID graphy of your pro- ATHENS CLUBBING OFFEB duction. Subscribed for separately. Camera Craft OFFICIAL CORRESPONDENT IN ALGIERS LISBON EUROPE FOR: and the American Cinematographer will cost a total of $4.50 per year. As a special clubbing American Society of Cinematographers offer, both maqazines may be had at a total ; Frank D. Williams price of $3.40 per year. JERUSALEM ETC. American CinematoqrapKer 118 Avenue des Champs 1219 20 21 22 Guaranty Bldq. Cable Address: ELYSEES LONDON LOUVER AN DE-PAR IS PARIS ETC Hollywood, Calif. June, 1925 AMERICAN CINEMATOGRAPHER Twenty^one French Preparing for Big Film Production Program ; Plans Given By Rene Guissart, A. S. C. (Special Dispatch to the American Cinematographer) PARIS, France, June 1. —At the present time there is in evidence quite a bit of produc- tion in Parisian studios. There seems to be a determined effort to get results; and, to this end, the best talent available is being used, even to the extent of enlisting those well-known in American production matters. Edward Jose, the American director, is making a feature production from one of the most widely-read novels by Pierre Benoit, the famous French writer of "Atlantide." Betty Blythe is the star. They are on location in Palestine. Jacques Bizael, formerly with Marshall Neilan, is the cinematographer on the Jose fea- ture. Henri Meneissier is the art director. He was with Nazimova in America, and was art director for "Madame Sans Gene," which, starring Gloria Swanson, was made here. Carl Zeiss, Jena, have perfected a new lens Another big production, "Napoleon," is get- —a Tessar, with a workina aperture of f:2.7. ting under way, and it is expected that two Combinina the well known Carl Zeiss years will be required to make it. Abel Gance quality with the greatly increased light gather- is directing. ing power of f:2.7 means an objective for mo- tion picture photography that is revolution- MCormicks in Paris ary—a lens that will produce results under the John McCormick, western representative of most adverse conditions. First Natio nal, and Colleen Moore (Mrs. Following are the focal lengths and prices: McCormick) , have been in Paris for the past Focus Standard mount Focussing mount several days Both are very fond of Paris, and Miss Moore is having a busy time visiting the 1% inches . $40.00 $47.00 Parisian sho ps. They will go to London before 1 9-16 inches 40.00 47.00 they return to America. 2 inches 43.00 50.00 31/8 inches . 51.00 58.00 4 inches . 64.00 71.00 . 82.50 E. I. E. S. to Hold Meetings in 4% inches 72.50 A. S. C. Quarters in Hollywood flamld OTT. ftjenn^ff The Electrical Illuminating Engineers' So- U.S. agent ciety will hold its future meetings in the A. S. C. assembly rooms, twelfth floor, Guaranty building, Hollywood, according to an announce- ment from R. E. Delaney, secretary of the en- gineers' society. This is by special arrangement with the American Society of Cinematographers, which was represented in the making of the ar- A NEW LENS rangements by a committee composed of Gil- "That has made good" bert Warrenton, A. S. C, and John W. Boyle, Ijirge aperture F:2.3. To a large extent responsi- ble for the Bas-relief, or solid appearance of the A. S. C. subject on the screen. The A. S. C. headquarters will Good definition over the entire field, yet not harsh become the or wiry. official address of the Illuminating Engineers A portrait lens in short focal lengths -iOnim, 50mm, 75mm, with full closing diaphragm. will and be assumed before the latter part of Price is reasonable June. The E. I. E. S. is at present located 40mm $50.00 at r>Omm 50.00 1103 N. El. Centro, Hollywood, which was also 75mm 55. OO A trial will be satisfying the temporary quarters of the American So- ciety of Cinematgoraphers and of the ASTRO-GESELLSCHAFT, mbh., Berlin Ameri- FOR SALE BY can Cinematographer last year pending the MITCHELL CAMERA CORPORATION completion of the A. S. C. offices in the Guar- 6025 Santa Monica Blvd. - - Los Angeles, Calif. anty building. Twenty-two AMERICAN CINEMATOGRAPHEK June, 1925 Assistant Cameraman's Club Is Founded; New Members Sought The "Assistant Cameramen's Club" has been formed with a membership among the as- sistant cameramen in Hollywood, and, by spe- cial arrangement with the American Society of Cinematographers,- the organization is holding its meetings in the A. S. C. assembly hall, 12th floor, Guranty building. The idea of the assistants' club was con- ceived by Dan Clark, a member oj the Ameri- can Society of Cinematographers, who dis- cussed the matter with his assistant, Rollin Platte, with the result that the new club was thereafter launched. The Bausch & Lomb Ultra Charter members of the club include Rollin Platte, Jack Marta, Burnett Guffey, Milton Rapid Anastigmat is an Gold, Max Cohen, Will Walling and Stanley f:2.7 lens. This not only is Horsley. its rated speed—it is the The following officers have been elected for speed at which it actually the coming year: Gregg Toland, president; performs. Burnett Guffy, first vice president; William Rheinhold, second vice president; Rollin Platte, treasurer; Will Walling, secretary, and Steven Bausch $sf Lomb Optical Co. Bauter, sergeant-at-arms. ROCHESTER, N. Y. Membership in the organization is expected Nenv York San Francisco Washington to attain 25 within the next several days. In- Chicago formation is available from Gregg Toland, Con- Boston London stance Talmadge unit, United Studios. All as- sistants are invited to join. A. S. C. Members Make Film Record of Shrine Convention Festivities A. S. C. members rallied to the support of the motion picture -electrical pageant at the re- cent Shriners' Convention in Los Angeles and filmed the gigantic electrical parade and events CRECO held within the Los Angeles Coliseum. L. Guy Wilky, A. S. C, was in charge of arrangements for the A. S. C. Wilky worked in co-operation with Lou Ostrow, business man- ager of the pageant, and with Harry Brown and Frank Murphy, who, members of the Elec- trical Illuminating Engineers' Society, were re- FOR RENT! sponsible for the impressive electrical achieve- MITCHELL and BELL & HOWELL ments which made the pageant a success. Faxon Dean, Alfred Gilks, John W. Boyle CAMERAS and E. Burton Steene, all A. S. C. members, F 2. 3. - F. 2. 7. - F. 3. 5. Lenses photographed the parade along the line 40-50-75 M. M. of march, while King Gray, A. S. C, and Floyd COMPLETE EQUIPMENT Jackman, A. S. C, filmed the pageant within J. R. LOCKWOOD the Coliseum. 523 North Orange St. Phone Glendale 3361 W Glendale, California L. Guy Wilky, A. S. C, and Gilbert Warren- ton, A. S. C, photographed the special sketch, "A Motion Picture Company on Location," which Fred Niblo directed before the throngs Cinema Studios Supply Corp. in the Coliseum. 1438 Beachwood Drive HOIIy 0819 LIGHTING EQUIPMENT FOR RENT Ira Morgan, A. S. C, is photographing "The L. A. FIRE DEPARTMENT Mystic," a Tod Browning production, at the WIND MACHINES Water Engine Metro-Goldwyn-Mayer studios. June, 1925 AMERICAN OINEMATOGRAPHER Twenty-three John W. Boyle, A. S. C. to Film "Viennese Medley" for First National There is no better name in the John W. Boyle, A. S. C, will be chief cine- matographer on the First National special fea- photographic field than ture, "Viennese Medley," which will go into production on June 15, under the personal su- pervision of June Mathis. Boyle has already begun his First National connection, his resignation as cinematographer on J. Leo Meehan's production of Gene Strat- ton-Porter's "Keeper of the Bees," having been GOERZ regretfully accepted by Meehan. "Viennese Medley" will be directed by Curt Rehfeld, formerly associated with Rex Ingram. Makers of Motion Picture Raw Stock It is worthy of note that, of the members of the staff on the production, the following have so- Negative — Positive — Panchromatic journed in Vienna within the past several years: Miss Mathis, Rehfeld, Silvano Balboni, Boyle, Arthur Martinelli and Rene Guissart, A. S. C, who recently completed special scenes •8 taken in the European city for the feature. Sole Distributors: A. S. C. Member Successful in Difficult Assignment in Europe Fish-Schurman Corporation Rene Guissart, A. S. C. has finished an im- First National portant assignment for Produc- 45 W. 45th St. 6331 Santa Monica Blvd. tions, for whom he secured invaluable shots in Vienna, where he worked for a period of three New York Hollywood, Cal. weeks immediately after his arrival in Europe recently. Before proceeding to Vienna, Guis- sart remained only one day in Paris, where he has established headquarters for an extensive European, English and African cinematog- raphic service. Gets Shots that You The A. S. C. member encountered rigid gov- ernmental regulations in Vienna, but, due to Couldn't Get at his thorough knowledge of European film pro- all it duction and customs generally, he was able to Without cope successfully with the difficulties, and, in so doing, obtained for American films what 4&i doubtless would have been impossible to get otherwise. To do this Guissart improvised use the special automotive transportation, and, in addi- UltrastigmBt tion, was able to procure the use of a police a great deal in commercial work, as aeroplane for aerial shots over the city. I find that I can make inter- iors with it that would require lights with- out it, and get outdoor shots on bad days that I could not get without it." (Signed) QUINCY PEACOCK, Protective Optical New Lens 1611 Market St., Jacksonville, Fla. for Excessive Illumination Write for Folder Gundlach-Manhattan Optical Co. and darker shade of protective A new op- 900 Clinton Street ROCHESTER, N. Y. tical glass based on the well known Crookes formula, perfected in Germany, has been re- ceived by the Marshutz Optical Co., of Los An- geles. The new glass, known as No. 4 Crookes, is said to be especially valuable to persons ex- WANTED posed to the excessive illumination common to motion picture work, desert or marine expos- Bell Howell Camera complete. Will ures, according to Dr. S. G. Marshutz, the op- tometrist who secured the glass from Germany pay cash. Write Bert Glennon, A. S. C. for the motion picture clientele. Twenty-four AMERICAN CINEMATOGRAPHER June, 1920 Harry A. Fischbeck, A. S. C, is with Ernest Haller, A. S. C, is photographing Famous Players-Lasky at the Paramount Long "High and Handsome," a Garson production Island studio, photographing D. W. Griffith's starring Maurice Flynn. production of "Sally of the Sawdust." * * * * * * George Schneiderman, A. S. C, is filming Charles Van Enger, A. S. C, has concluded "Thank You," a John Ford production for Fox. the cinematography for a George Hill produc- * * * tion for Warner Bros. * * * Tony Gaudio, A. S. C, is still busy on the cinematography of '"Graustark," the latest Fred Jackman, A. is W. S. C, away on an Joseph M. Schenck production starring Norma extensive tour throughout the West to gather Talmadge. material and scout locations for his latest pro- * * * duction which he is to direct for Hal Roach John Arnold, A. release through Pathe. S. C, is filming King Vidor's production, "The Big * 4 Parade," at the Metro-Goldwyn-Mayer studios. Charles Rosher, A. S. C, has concluded the * * * photography on "Little Annie Rooney," and is H. Lyman Broening, A. S. C, has fin- ready for preparations on the next Mary Pick- ished "Fighting Justice," a Harry J. ford feature. Brown * * * production, directed by Al Rogell and featuring Billy Sullivan, at the California Studios. Lyman Jackson J. Rose, A. S. C, is at on the work at present is filming a Gardner production, latest feature to be photographed by him at directed by Jack McCarthy, at the California Universal City. studios. * * # * * * Ernest Palmer, A. S. has finished shoot- C, The sad news comes to Hollywood that ing "East Lynne," an Emmett Flynn production Herford Tynes Cowling's father passed away for Fox. in Virginia last month. Cowling has returned to Chicago from Victor Milner, A. S. C, who has just com- Suffolk, and is again at work on the film which pleted the filming of R. A. Walsh's production he brought back with him on his most recent of "The Wanderer" for Famous Players-Lasky, trip around the world. has signed a contract for a period of two years * * * with Paramount. * * * John W. Boyle, secretary of the A. S. C, addressed the open meeting of the American J. D. Jennings, A. S. is filming Mrs. C, Society of Cinematographers on Monday, June Rudolph Valentino's first production. Nita first, on the subject of his cinematographic ex- Naldi is featured and Thomas is Buckingham periences in Europe. directing. * * * Boyle rounded out a year of motion picture activity on the other side of the Atlantic as Clark, A. is all Dan S. C, primed to jump chief cinematographer with Charles Brabin and into his cinematographic back harness again, June Mathis on '"Ben Hur," and supervised the that has returned his now Tom Mix from building of laboratories and the installation of triumphant tour to Europe and through the studio equipment for the production. East. * * * Boyle's lecture was a source of great inter- est to all members present. Norbert F. Brodin, A. S. C, has at last re- * * * turned from location in Canada where he was At the A. S. C. meeting of May 18th, J. A. quartered for so long on location on Frank Ball, of Technicolor Motion Picture Corp., ex- Lloyd's latest production, "Winds of Chance." hibited a reel of film involving a new process in preparation, this being handled by the Techni- John W. Boyle, A. S. C, has returned from color organization. location at Santa Barbara where scenes were Faxon Dean, A. S. C, gave a lecture at the photographed for J. Leo Meehan's production same meeting on magenta side arc diffusers. A of the late Gene Stratton-Porter's "The Keeper general discussion followed the talks of Mr. of the Bees." Ball and of Mr. Dean. June, 1925 AMERICAN C I N E M A T O G R A P H E R Twenty-five The New Innovations and Improvements in the latest models of the famous Debrie Cameras earn the enthusi- astic approval of every camera-wise expert. Sole Agents for United States and Canada Motion Picture Apparatus Co. 110 West 32nd St. New York R Twenty-six AMERICAN CINEMATOGRAPHS June, 1925 ————————— ———————— — HOW TO LOCATE MEMBERS OF THE American Sociehj of Cinematographers Phone GRanite 4274 OFFICERS Homer A. Scott President Victor Milner First Vice-President Daniel B. Clark Second Vice-President L. Guy Wilky Third Vice-President Bert Glennon Treasurer John W. Boyle Secretary BOARD OF GOVERNORS Bert Glennon. Gilbert Warrenton Daniel B. Clark Victor Milner George Schneiderman Charles J. Van Enger John W. Boyle Homer A. Scott Norbert F. Brodin H. Lyman Broening L. Guy Wilky Paul P. Perry ' Henry Sharp Fred W. Jackman Alfred Gilks Abel, David—with Warner Brothers. Landers, Sam— Arnold, John—with Metro-Goldwyn-May er Picture Corp. Lockwood, J. R.— Lundin, Walter—with Harold Lloyd Productions, Hollywood Barnes, George S. —with Geo. Fitzmaurice. United Studios. Europe. Studios. Beckway, Wm.— Lyons, Reginald Benoit, Georges— with Hunt Stromberg Productions. Broening, H. Lyman—with Gardner Productions. MacLean. Kenneth G. —with Fox. Boyle, John W.—with First National Productions, United Marshall, Wm.—with Carlos Prods. Studios. McCord, T. D. —with First National, United Studios. Doran, Robert V. Meehan, George— with Henry Lehrman, Fox. Brodin. Norbert F. —Frank Lloyd Productions, First National, Milner, Victor—with Famous Players-Lasky. United Studios. Morgan, Ira H. —with Cosmopolitan. Brotherton, Joseph Norton, Stephen S. —F. B. O. Studios. Clark, Dan—with Tom Mix, Fox Studio. Overbaugh. Roy F.—New York City. Clarke. Chas. G. —with George Melford, Hollywood Studios. Palmer, Ernest S. —with Fox. Herford T. Room 216-29 So. La Salle St., Chi- Cowling, — Perry, Harry cago, 111. Perry, Paul P. Cronjager, Henry with Famous Players-Lasky, New York — Polito, Sol—with Hunt Stromberg Productions. City. Ries, Park J. Dean, Faxon M. Rizard, George New York City. Doran, Robert V. — Roos, Len H.—with Fox Film Corp. (N. Y.) (Educational Dored, John— Riga. Latvia. Div. ) in Australia. DuPont, Max B. Rose, Jackson J. with Universal. DuPar, E. B. with Warner Bros. — — Rosher, Charles with Mary Pickford, Pickford-Fairbanks Dubray, Joseph A. — Studio. Edeson, Arthur—with Sam Rork Productions, United Studios. Evans, Perry Schneiderman, George —with Fox. Scott, Homer A. Fildew, Wm. Seitz, John F. with Rex Ingram. Europe. Fischbeck, Harry A. — with Famous Players-Lasky, New York — Sharp. Henry with Douglas Fairbanks, Pickford-Fairbanks City. — Studio. Fisher, Ross G. with Fred Thomson. F. B. O. Studios. — Short, Don Gaudio, Gaetano—with Norma Talmadge. Joseph M. Schenck Smith. Steve. Jr. Productions; Metro-Goldwyn-Mayer Studios. Steene, E. Burton Gilks. Alfred—with Famous Players-Lasky. Stumar, Charles—with Universal. Glennon. Bert — with Paul Bern, Famous Players-Lasky. Stumar, John—with Universal. Good, Frank B. Gray, King D. Tolhurst. Louis H. — "Secrets of Life." Microscopic Pictures. Griffin, Walter L.— Principal Pictures Corporation. Guissart. Rene—Paris. France. Totheroh, Rollie H. —with Charlie Chaplin, Chaplin Studio. Turner, J. Robert with Haller, Ernest—with Maurice Flynn, Garson Prods., F. B. O. — Fox. Studios. Van Buren, Ned Heimerl. Alois G. Van Enger. Charles—with Ernst Lubitsch, Warner Brothers. Jackman, Floyd—Fred W. Jackman Prods. Van Trees, James C. Jackman. Fred W.—directing Fred W. Jackman Prods.. Hal Warrenton, Gilbert with Roach Studios. — Christie Productions, Hollywood with Mrs. Rudolph Valentino Prods., United Studios. Jennings. J. D. — Wenstrom, Harold Studios. Whitman, Philip H. — with Famous Players-Laskv. New York Koenekamp. Hans F. —with Larry Semon. City. Hull, Edward—with Universal. Wilky. L. Guy— with William de Mille, Famous Players- Kurrle, Robert—with Edwin Carewe, United Studios. Lasky. Edison, Thomas A. —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. 1219-20-21-22 GUARANTY BUILDING Hollywood Boulevard and Ivar Avenue HOLLYWOOD, CALIFORNIA LOYALTY PROGRESS ART Hollywood News Print . First National Productions CORPORATION 807 East 175th Street NEW YORK December 9,1924. Mitchell Camera Co., Santa Monica Blv'd, Hollywood, Calif Gentlemen: I am sending you herewith a photograph of First National cameramen, taken shortly before we left Hollywood. The' cameramen are (Left to Right) : Cliff Thoma James Van Trees, Roy Carpenter, Joe Macdonald, Ned Connors, T.D.McCord. Fred Stanley, Director of Publicity. FS.J U. S. Postage 2c. Paid VOL. VI, No. 4 Los Angeles, Calif. 25 Cents A Copy July, 19*5 Permit No. 941 American Cinematoqrapher Published by the American Society of Cinematographers, Inc. In This Issue: ^> A* S. C. to Issue Annual of Cinematography Gaetano Gaudio, A. S. C, Becomes Director Optical Systems for Projectors—By Earl J. Denison New Automatic Motion Picture Camera— By A. P. Hollis PUBLISHED IN HOLLYWOOD CALIFORNIA RELEASESTIT1 ! T1 A nrn June 7, 1925, to June 28, 1925 TTTT111 LiT-iF r n w i UuivAr nrjU 1j 1 The Crimson Runner Sol Polito, member A. S. C. The Bandit's Baby Ross Fisher, member A. S. C. The Man Without a Conscience. David Abel, member A. S. C. The Little French Girl Hal Rosson Drusilla With a Million H. Lyman Broening, member A. S. C. Raffles Charles Stumar, member A. S. C. The Rainbow Trail Dan Clark, member A. S. C. The Desert Flower T. D. McCord, member A. S. C. Beggar on Horseback Karl Brown Wildfire J. Roy Hunt Scandal Proof Not credited Are Parents People? Bert Glennon, member A. S. C. Siege Charles Stumar, member A. S. C. The White Monkey R. J. Bergquist Tearin' Loose Not credited If Marriage Fails Not credited Don Q Henry Sharp,member A. S. C. Eve's Secret H. Kinley Martin The Adventurous Sex Geo. Peters The Necessary Evil Geo. Folsey Stop Flirting Gilbert Warrenton, member A. S. C. r\.lly Llllllg WIlCc V^llCtS. 1»1 11 1 |J 1 1 ^ TVlQ1 lie "WVll'foVV IllLc UUUdWOnflow vv in. iiuuic A Q ollclll oaiiutjison ouiSnl J-PnlitnuiiLU, mpmlipi'iinririDtrr A\ . o« C OlllOOlil do oallil OllvctllU^ilvsrn l_)ctlRallifMiiyJ\)lll The Making of O'Malley Not credited The Peak of Fate Not credited Manhattan Madness. Jules Cronjager The Spaniard Victor Milner, member A. S. C. After Business Hours Dewey Wrigley Lying Wives Frank Zukor Steele of the Royal Mounted Steve Smith, Jr., member A. S. C. and D. H. Smith Enemies of Youth Not credited The Human Tornado Al Siegler and Lew Breslow The Iron Man Edward Paul Lost—A Wife L. Guy Wilky, member A. S. C. —— —: — Vol. VI JULY, 192$ No. 4 American Cinematographer Foster Goss, Editor and Business Manager Contents Page Optical Systems for Projectors, Article Five By Earl J. Denison J+ New Automatic Motion Picture Camera By A. P. Hollis 5 Cinematography Now in Transitional Stage 6 Static Markings on Motion Picture Film By J. I. Crabtree and C. E. Ives .... 7 New Lenses and Film Introduced in Past Year . 9 A. S. C. to Publish Annual of Cinem jtography 10 Assistants' Club Honors A. S. C. Members 12 Gaetano Gaudio, A. S. C, Becomes Director .... 13 Hollywood Transplanted in Parisian Hostelry By Rene Guissart, A. S. C...... 13 Frank B. Good, A. S. C, Preparing for Next Coogan Production 16 In Camerafornia . 2U An educational and instructive publication, espousing progress and art in motion picture photography. Published monthly by THE AMERICAN SOCIETY OF CINEM ATOGRAPHERS, 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. 12 19-20-2 1-22 Guaranty Building, Hollywood, California Telephone, GRanite 42 74 (Copyright, 1925, by the American Society oj Cinematographers, Inc.) — Pour AMERICAN CINEMATOGRAPHER July, 1925 PROJECTION « Conducted by Earl J. Denison Optical Systems Various Optical Systems Article U Are Discussed. Merits of For Projectors Each Are Pointed Out. Until recent years very little importance so many really high class projectionists con- was attached to the optical system of the pro- tinue to use excessively high amperage, utterly jector. Consequently, projection generally suf- disregarding photographic quality. Photog- fered a great deal optically. Fortunately, in raphy simply consists of lights and shadows the last few years, projector and lens manufac- and between the high lights and deepest shad- turers, as well as projectionists and theater ows are gradations that can positively be managers, have come to realize that good, if washed out if too much light is used. not perfect, lenses are absolutely essential to Last night I saw a million-dollar picture in high class projection. a theater that cost a million. There was an Objective Lenses elaborate prologue and orchestra—and thirty cents worth of projection. So much light was Today lenses made by American manufac- used that the people in the picture looked as turers are second to none in quality and work- though they had used chalk for makeup. The manship. There are several makes of high center was a beautiful white circle with the grade lenses on the market, but care and intel- edges nice and brown. The photographic qual- ligence should be used in making a selection to ity of the picture was absolutely lost. insure the proper system for every setup. Sharpness, flat field, brilliancy, luminosity are The only correct and accurate method of the four essential qualities of an objective. A determining proper screen brilliancy is direct good objective must have sufficiently free di- reading in foot candles at the screen. ameter to accommodate the light beam. The Condensing Lenses lens tube or barrel should be well mounted in a substantial jacket, and closely and accurately The history of condensing lenses is very fitted with a smooth and sensitive focusing ar- much like that of objectives, the difference be- rangement, the spiral focusing arrangement be- ing that condensers are still far from perfect. ing superior to the rack and pinion type. The foremost authorities claim that condensers While all the better grade lenses are free are correctly located in the optical train. It from astigmatism, chromatic and spherical is a well known fact, however, that condensers aberration, it is well to test for these defects. A have been almost a constant thorn in the side lens with astigmatism will not focus on vertical of projection until the past two or three years. and horizontal lines. A lens with spherical Recently, considerable improvement has been aberration will have a different focus for cen- made in condensers. The function of condens- tral and marginal rays. This fault is common- ers is to gather as much light as possible, ly called "fade out" and is more noticeable in emanating from the light source, and concen- lenses of less than 4 in E. F. Chromatic aberra- trate it on the aperture of the projector as ef- tion in a lens causes each color of the spectrum ficiently and economically as possible. Chro- to have a different focus. matic and spherical aberration, together with breakage, pitting and discoloration, etc., are Testing some of the things that had to be overcome in The only practical way for the projection- order to have condensers that would sell from ist to test lenses is through actual projection. 50 cents to two dollars. The condensers gen- A lens may be delivering everything but lu- erally used for projection are molded (not minosity which would be due to two things ground) and the best grade still comes from too small a free diameter or poor quality of France. The condenser subject has been very glass. It is very herd to detect a slight varia- well treated and practically every projection- tion in brilliancy with the naked eye and on ist is familiar with condenser conditions and the face of it may not appear of sufficient im- troubles, and any one of the several leading portance to go to the trouble of testing. How- optical companies will be glad to furnish ex- ever, economy in operation is one good reason, pert information on the subject. and another is that the film can be as easily However, I want to point out several of over-lighted as under-lighted. The fact that the condenser combinations now being used. the light passes through the film before it does Previous to the introduction of the Mazda and the objective makes it well worth while find- and high intensity lights, the piano convex and ing out whether or not the lens is receiving meniscus were the only condensers used in and projecting the proper amount of light to projection. It was thought the meniscus type the screen. I am at a loss to understand why (Continued on Page 15) July, 1!)25 AMERICAN CINEMATOGRAPHER Five Hevo Automatic Itlotion Picture Camera Spring Motor Is Source of Light Weight Is Striven Instrument's Operating A. P. Hollis For. Camera May Be Span- Power. No Tripod Required. ned by Width of Hand. Almvc: Illustrating, size o.l new camera. Left: Interior view oj camera. A new automatic "motion in the new leather finish and Standard Devices is intended as a handsome ad- picture camera, operating with The entire metal construc- dition to the tourists' indis- a spring motor, will soon be tion insures absence of static pensables. However, it is built on the market. The and complete protection from placed for rough duty and for any climatic influence. While the camera is announced as prom- amount of abuse. camera is designed for straight ising a more adequate per- The mechanism is a unit motion photography, without formance for cinematograph- construction securely attached the tricks and other accessories ers wishing a light, handy in- to this pressed steel case. The of the studio type, it is equip- strument for special service. intermittent is of hardened ped with the standard mechan- The new camera is being tool steel and the bearings are ical devices of the profession- manufactured by The De Vry bronze. Likewise all shafts al camera. Corporation of Chicago, mak- are made of tooled steel oper- There is a hand crank for ers of the De Vry Portable Mo- ating in bronze bearings, and trick work (stills), and three tion Picture Projector. all gears are of machine cut view finders: (1) direct view The specifications of the De steel. The idlers lock in place, on the film for accurate focus- Vry Automatic Camera in- assuring positive engagement ing, close-ups, etc.; (2) direct clude a 100-foot film loading of film, so that losing of the view finder on top for fast capacity, with a 40-foot re- loop has been completely elim- work; and, (3) right angle lease, at each pressure of the inated. As soon as the case is view finder for ordinary use, button. No tripod is needed— opened every detail of the whereby detective and other although the universal screw film feeding mechanism is ex- emergency pictures can be socket for one is provided. It posed to view. Mr. DeVry has made direct from the hip. The is designed as a hand camera striven for maximum sim- footage indicator reads in feet —the whole box may be span- plicity in the matter of thread- and meters. The lens is stand- ned by a man's hand. The ing and accessibility. The ard F 3.5. weight is 8V2 pounds, which speed is controlled by an auto- is an important feature. matic governor of the centrifu- Light Weight gal type, securing uniformity, On account of its small size Pressed Steel Case but permitting variation when and light weight this camera The case is of pressed steel, desired. (Continued on Page J 3, Col. 3) Six AMERICAN C I N 10 M A T (3 KAPHBR July, 1926 Cinematography "Nouj In Transitional Staqe Important Productions Stim- Difference between How Work Public in Is ulate Interest (J) Done and Who Executes Thoroughness of Camera Art. that Work, Is Shown. THE position of cinematography, and hence of the cinematographer, in the exist- ing production situation is a transitional one. For some seasons past, cinema- tography has been something more than just a series of moving photographs. The time has passed when the chief aim was to record motion photography that would really show, and show clearly, more or less, on the screen. With the advancing perfection of the profession—or art, if you will—cinematography was recognized to be capable of pos- sessing varying degrees. It was realized that it could be other than either bad or acceptable. It was observed that certain types of camera work were adaptable to particular kinds of oxtion, whether dramatic or comedy. So the director came to spe- there are still such archaic cify the sort of cinematog- (The following arti- prejudices which give the gos- pel that it is raphy that he wanted. It had cle, written by the editor very mischievous policy to let anyone know any- to be more than clear repro- of the American Cine- thing about aught or anybody matographer, appeared- duction of action on the screen. in the scientific, technical or Having emerged from the in the annual Studio cinematographic phases of the prehistoric morass, as it were, Number of the Exhibi- industry—for the reason that (if it is a and assumed forms of its own, tors Herald.—Note.) reason) to do so would be to cinematography, in its own detract from inter- est in pictures generally. Such progress, became the gauge, if ing of the pictures. But this fears, however, fail to take not the leader, of motion pic- attitude is changing. cognizance of the difference ture production generally. Its It must change. The public, between how a thing is done improvements and inventions if its ever-present curiosity is and who did it. What the cine- made possible more authentic respected at all, cannot and matographer is interested in is and more entertaining photo- will not continue to go to view the discontinuance of the tend- plays; until now creations productions that are sheer pic- ency to cover up, if not to which were regarded as im- torial marvels, and not wonder minimize, his achievements possible of materialization are at least who is responsible for with the robes of the glory of brought to the screen with them. The more pictures like startling faithfulness and com- "The Ten Commandments," someone else. pleteness. "The Thief of Bagdad," and By the force of his own ac- Still, with all this, the cine- "The Lost World" that are re- complishments which more matographer has remained leased, the greater will be the and more will command in- something of a non-entity. eventual curiosity of the trade, telligent (and that means in- True, it is generally known if not the public, as to who is quiring) attention, the cinema- that there must be some one responsible for such cinema- tographer is transcending his who takes care of the actual tographic creations. obscurity of the past. The making of pictures—of course, Mind you, it is not stated period of passage, as with the smallest part about mak- that the foregoing will come the directors several years ago, ing motion pictures is the mak- to pass today or tomorrow, for seems to be here now. Rudolph Valentino Buys Debrie well known as a precision mechanic, specializ- ing motion picture work. Others who have Camera for Own Personal Use on recently purchased the Hoefner iris are the Bell Rudolph Valentino has bought a Debrie and Howell Company and H. Sartov. camera for personal use, according to an an- nouncement from the Motion Picture Appa- A. S. C. to Hold "Ladies Night" ratus Company, New York City, sole Debrie With Dinner Dance on July 18th agents in United States and Canada. "Ladies Night" of the American Society That Valentino is enthusiastic over the of Cinematographers will be observed with a new camera is evinced by the letter from dinner dance at the Green Mill, Culver City, him which the Motion Picture Apparatus Com- on the night of July 18th. pany is featuring in its advertisments. Reservations may be made by A. S. C. Valentino's Debrie has been fitted with a members for themselves and guests any time Hoefner Iris, which is personally manufactured prior to five p. m., Thursday, July 16th, at the by Fred Hoefner in Hollywood. Hoefner is A. S. C. offices, Guaranty Building, Hollywood. July, 1925 AMERICAN CINEMATOGRAPHER Seven Static Markings on Motion Picture Film Data as to their Nature, Bu, J. I. Crabtree From Transactions, Society Cause, and Methods of and C. E. lues of Motion Picture (Research Laboratory Prevention. K/astman Kodak Company.) Engineers. In motion picture photography the word is rubbed with an insulated dry substance, "static" has a somewhat flexible meaning since which may even be a conductor, the surface of it is used as a contraction for both "static elec- the non-conducting material becomes charged tricity" or a "static discharge," and "static with static electricity. In this sense, the term markings" produced on a developed emulsion "static" indicates that the electricity "remains by an electrical discharge at the surface or on" the substance. within the emulsion previous to development. Precisely how the electricity is produced Although much information has been pub- is not known but in the light of modern knowl- lished on the nature of the markings produced edge it may be assumed that the friction re- by a spark discharge at the surface of a photo- sults in the removal of an electron from the graphic plate, 1 very few data are available re- atoms of one of the materials rubbed leaving it garding the static markings produced on mo- positively charged. It is generally stated that tion picture film during handling. the sign of the charge generated by friction de- pends In the early days of the motion picture in- on the nature of the material rubbed and of dustry static trouble was feared both by the rubbing substance, although it is possi- cinematographers and laboratory workers, but ble to charge a glass rod either positively or negatively rubbing it as a result of improvements in manufacture, by very slowly or quickly with the material. also negative film of today has a relatively slight same A substance may become charged virtue of being in close tendency to give static while our knowledge of by proximity to a it is methods of preventing static on postive film in second charged body when said to be charged by induction, while mere the laboratory is such that static markings re- separation of substances or variation of sult only from incorrect handling. In spite of two the distance between change their this, static markings are occasionally seen on them may electrical potential. the screen in the present day theatre, especially static electrical charge is of high poten- on news reels, which indicates a need for a bet- A tial, the quantity small, is ter knowledge of the subject on the part of though may be and some workers. fairly evenly distributed over the surface of a flat conductor but more or less unevenly in the It is the purpose of this article to record case of non-conductor on the uni- the experience gained in the Research Labora- a depending tory of the Eastman Kodak Company relative formity of the generation. In other words, on a non-conductor such as film base the charge to the nature, cause, and methods of preventing remains it unless it is static markings during the handling of motion where was generated subsequently in one following picture film. removed of the ways: The Static Discharge (a) By making the air a conductor by If a non-corfductor such as glass, sealing ionization (see later). wax, hard rubber, or a dry nitrocellulose film (b) By passing a strip of tinsel or some 1. "Figures Produced on Photographic Plates by Electrical other conducting brush which is "grounded," Discharges," by t*. Yoshida, Memoirs of College of Science of Kyoto Univ. 1916, Vol. p. 105. across the charged surface. Eight AMERICAN CINEMATOGRAPIIER July, 1925 mum Above: Figures 4, 5 and 6. Below: Figures 7, 8 and 9. Since the earth is a good conductor of elec- other friction, but frequently on development tricity and is considered electrically neutral, if no static markings are visible. A distinct spark, the surface of a charged body is placed in elec- however, which is both visible and audible in- trical contact with it a flow of electricity takes variably affects the emulsion and produces a place either from the earth to the charged latent image of definite pattern. body, or vice versa, until it is at the same po- It is an open question whether static mark- tential as the earth when it is said to be dis- ings are a result of the photographic effect of charged. Such a body in electrical connection light rays from the discharge or whether they with the earth is said to be "grounded." are a result of the direct effect of the spark on (c) By placing a series of grounded the silver halide grains in the emulsion in which metallic points in proximity with the charged case the markings would be closely related to surface. abrasion marks, or those produced by mechan- (d) If the charge reaches a certain crit- ical stresses. Experience has shown that the ical value and a substance at a lower potential speed of the emulsion has not as great an effect is placed near it, an electric spark jumps across on the intensity of the static markings produced the air gap and the non-conductor becomes by a given discharge as might be expected. more or less discharged over a limited area. July, 1925 AMERICAN CINEMATO GRAPH BR Nine Nevu Lenses and Film Introduced In Past l]ear Progress in Science and Manu- Advancements that Are Estab- facture Quickly Utilized by 12 lished Are Quickly Absorbed Cinematographers. for General Film Usage. CINEMATOGRAPHY has made great strides in the past and, in so doing, has blazed the trail for the progress of the industry as a whole; but, at the present time, if current indications are to be regarded as the criterion, it is on the threshold of even greater accomplishments. Productions like "The Lost World," which was completed dur- ing the past year, "The Thief of Bagdad" and "The Ten Commandments" offer proof of the fact that, by no means, has the curtain been entirely unrolled on what the ultimate in cinematography is to be. Here and there, note those American Society of Cinema- who observe closely, there are (The accompanying tographers has held up the free- torch for progress in tendencies to use more article, written by the motion dom and to take greater photography and its efforts editor of the American hazards in the cinemato- have met with great success graphic aspects of production, Cinematographer, was as successful in fact as the with the result that pictures published originally in cinematography of 1918, when such as "The Lost World" are the annual Directors the A. S. C. was organized, is different from that of 1925. It materialized. Number of the Film is an interesting circumstance And it is significant that Daily.—Note.) whenever these demands have that "The Ten Command- been made on cinematog- ments," "The Thief of Bag- raphy—and that means on with the consequent enrich- dad" and "The Lost World," the cinematographers them- ment of picture making. Pan- mentioned in the foregoing as selves—the profession has not chromatic film has come Into outstanding productions, cine- been found wanting; but, in- wide use, there even being matographically, were all stead, has raised its plane even some companies which are photographed by A. S. C. higher—thereby thrusting the concentrating almost exclu- members. frontier of film production far- sively on this form of stock. "The Ten Commandments" ther in advance than ever. While naturally the bulk of is the work of Bert Glennon, True, it is, that this figurative improvements have their origin A. S. C. "The Thief of Bag- frontier soon becomes as dense- in this country, various inno- dad" was photographed by ly populated (in the form of vations have bobbed up Arthur Edeson, Philip H. productions made along the abroad, some of which give Whitman and Kenneth Mac- pattern of the pioneer) —as promise for practical things Lean, all A. S. C. members. densely populated as an actual and some of which clo not. "The Lost World" was filmed frontier, but that is nothing However, Europe seems to be by Arthur Edeson, Fred W. more than another testimonial emerging from the lethargy, Jackman, Homer Scott and of the flexibility of cinematog- which was induced by and J. D. Jennings, all of whom are raphy, a testimonial to its fa- which hung over from the war, A. S. C. members. In fact, cility in almost immediately and it is conceivable that per- First National induced Fred absorbing every forward step sistent efforts are being made W. Jackman, director of in the calling, no matter how to bridge the gap that hereto- "Black Cyclone" and other revolutionary it may be. fore has existed, cinematog- Hal Roach features, to leave The last twelve months have raphically even more than the field of directors tempor- been particularly marked by otherwise, between domestic arily, so that his abilities could the advent of new models of and foreign films. be availed of on the intricate cameras and improved lenses, Since its founding, the phases of "The Lost World." Arctic Expeditions Take Goerz John Arnold, A. S. C, has been signed on a long term contract at the Metro-Goldwyn- Stock on Trips to Polar Lands Mayer studios. Arnold has been identified The Amundsen and the MacMillan naval with the Metro organization^since its establish- expeditions both carried Goerz raw stock in ment on the West Coast. For several years he their Arctic exploration trips, according to an photographed every feature in which Viola announcement from Ferdinand Schurman, pres- Dana appeared, this arrangement terminating ident of the Fish-Schurman Corporation, sole only when Miss Dana left the Metro fold to distributors of Goerz raw stock. free-lance. Ten AMERICAN CINEMATOORAPHER July, 1925 The EDITORS' LENS > « focused by foster goss A. S. C. to Publish Annual of Cinematoqraphi] Work to Be Innovation in Cine- Intensive Plans for Annual Have matographic Field. Will Contain Been in Formulation over Period Invaluable Material. of Two Years. A. S. C. Board of Governors. The annual is planned to be an innovation in the cinemato- graphic and allied fields, and will be replete with editorial con- tents which will make it indispensible to all who have even the remotest interest in cinematography. The publication will be of a practical nature, designed as a perpetual aid to cinematog- raphers and to those whom they represent in production mat- ters. According to the present outline, invaluable reference material will be between the covers of the annual, which is to be a volume that is workable three hundred and sixty-five days of the year. <| In order that the annual may be made an integral part of the American Cinematographer at no extra expense to the subscrib- ers of the magazine, it will be combined with and take the place of the October number of this publication. After much consideration which has extended among A. S. C. members for no less a period than the past two years, it was de- cided that the American Society of Cinematographers provided the ideal source for such an innovation to emanate from, the Society being as it is the representative organiaztion of the world's cinematographic geniuses. The annual offers another medium through which the constructive work, which the A. S. C. — July, 1925 AMERICAN C I N E M A T O G R A P H E R Eleven has always sponsored, may be spread through even greater channels. 1§ Innumerable surprise details will be included in the annual details which involve by far too many innovations to attempt to enumerate at this time. In short, the annual is to be the most ambitious project that the A. S. C, as publishers of the Amer- ican Cinematographer, has undertaken to date. •J The American Society of Cinematographers has written letters to Cecil B. De Mille and to two motion picture publications, call- ing attention to the fact that published articles attemped to lay the credit for the filming of Mr. De Mille's 'The Ten Command- ments" to some one other than Bert Glennon, who, a member of the American Society of Cinematographers, was chief cinema- tographer on the important feature. antcy somewhere down the line. However, full credit is so rarely given the cinematographer that a really deplorable condition re- sults when that credit is confused with that of some one to whom it does not belong. ^ Inasmuch as Mr. Glennon has done such a remarkable piece of work on his part of "The Ten Commandments," the A. S. C. feels that it should leave no stone unturned in seeing to it that that credit is given to Mr. Glennon wherever possible—and that it is accorded him and not to some one to whom it does not be- long. In the future, even more than in the past, the A. S. C. will be vigilant in such matters on behalf of its members who have worked hard and diligently to attain their ranking in the profession. Twelve AMERICAN (!INRMATO0 ItAPIIEIl July, 1926 ^Assistants' Club Honors A. S. C. TClembers All A. S. C. Members Made Assistants' Fold in Healthy In- Honorary Members of Assist- crease. Instructive Meetings ant Cameramen's Club. Every Week in Hollywood. Entering the third month of licity stills of George O'Brien. its existence, the Assistant OFFICERS OF ASSISTANT This is a good angle—pick out Cameramen's Club gives prom- CAMERAMEN'S CLUB an actor that is a publicity Gregg Toland, hound and make every day a ise of a prosperous future ; the President. vacation. Burnett Guffey, list is constantly membership Vice President. * * * mounting and continues to in- William Reinhc Id, Vice President. The secretary claims that he crease at each meeting. Ma\ Cohen, Seereta ry, has already derived much These meetings are held Roland Piatt, Treasurer, benefit from the assistants' weekly in the assembly rooms Steven Bauter, club. Before joining, he could Sergeant - At-Arms. of the American Society of typewrite only with one finger. Cinematographers, Guaranty Headquarters at the American Now he can use two—at the Society of Cinematographers offices, Building, Hollywood. All A. 1219-20-21-22 Guaranty Building, same time. «;:'.:; I Hollywood Boulevard, Holly- have been * * S. C. members wood, Calif. * elected honorary members of It is announced that the in- the Assistants' organization, itiation fee will be advanced and are invited to be present represented among the mem- shortly. Those who wish to at any of the meetings. bership of the assistants, who, join are urged to do so at once, During the past month, however, number many who and thereby avoid the in- Homer Scott, Dan Clark, Rob- work with free-lance cinema- crease. , ert Doran and Victor Milner, tographers. * * * all members of the A. S. C, * * * Three members of have addressed the assistants the Tom Notes of Interest Among the Mix company, Roland on various cinematographic Piatt, Assistants Griffith Thomas and Curtis subjects. For the coming Fetters were present at the month other interesting talks Robert Rhea, of the Famous last meeting, and report that have been arranged. One of Players-Lasky camera depart- they are busier than ever since the prime objects of the club ment, was initiated last week. Mix has returned from Europe. is to sponsor an exchange of Latest reports are that he is ideas and to stimulate dis- convalescing and will be able cussions on cinematography to get back on the job soon. As H. Lyman Broening, among the members, all of * * * A. S. C, is wont to remark whom will thereby benefit. Bill Walling was seen on the when contemplating the activi- Aside from the benefits out- beach last week making pub- ties of Day and Night Produc- lined in the foregoing, the club tions, Inc.: "Come on, let's presents numerous practical go. We started this picture advantages, inasmuch as it yesterday. We've worked all offers a point of centralization day; we've worked all night; where experienced assistants we've shot 94 scenes, and still are available to cinematog- we're three days behind." raphers and producers. The * * * membership entrance require- While working on location ments of the club are such that several days ago, Burnett Guf- only experienced assistants are fey had the misfortune to slip permitted to join. and fall, striking his head on Many of the members, in the corner of a reflector and fact, have had extensive ex- sustaining a painful scalp perience on the second camera, wound. Some of the remarks, while almost all count still which were overheard among Work among their qualifica- the company, suggested that tions. Information concerning Burney's close relation to the the available list of the assist- bovine family was all that ants may be obtained through saved his skull from being the A. S. C. offices in the Guar- Dan Clark, A. S. C, who con- ceived and put into motion the fractured. Be that as it may, Building. anty idea of the Assistants' Club. Burney was back on the job All of the larger studios are the next day as per usual. July, 192.1 AMERICAN CINEMATOGRAPHER Thirteen Tonij Qaudio, A. S. C. A. S. C. Member Starts Direction of First Pro- Becomes Director duction with Big Cast. istic interest in advancing tal- ent, is watching closely the re- sults of Gaudio's entrance into the directorial field. Gaudio is a veteran among cinematographers, his experi- ence dating back to the pioneer days in New York City. He has long been re- garded as an ace in the profes- sion, and, for the past several years, has been chief cinema- tographer for the Joseph M. Schenck productions starring Norma Talmadge. The highest honor at the disposal of the cinematograph- ers was accorded Gaudio when he was elected president of the American Society of Cinema- tographers for the year 1924- 1925. * * * Gaetano Gaudio, A. S. C, who is directing special feature production Victor Milner, A. S. C, will Alice Lake, who stars in feature with big cast. next photograph "Lady Luck," that is being directed by Gaudio, a Paramount production per- Gaetano Gaudio, a former sonally directed by R. A. president of the American So- Walsh. The cast will include Hollywood Transplanted Buster Collier, Greta Nissen, ciety of Cinematographers, has Marc McDermott and Lionel entered the field of directors. In Parisian Hostelry Barrymore. Gaudio is directing a Wal- * * * dorf special feature produc- (Special Dispatch to the American Reginald Lyons, A. S. C, has tion, with a cast including Cinematographer) been on vacation at Big Bear Lake, to Alice Lake, Gaston Glass, prior beginning By Rene Guissart, A. S. C. photography on the next Buck Alma Bennett and Tom Rick- PARIS, France, July 1.— Jones production for Fox. etts. Sam Landers, A. S. C, * * * The lobby of the Hotel Crillon is photographing. Place de la Concorde here has New Automatic Motion Gaudio's direction of the assumed all the aspects of Hol- Picture Camera Waldorf production does not lywood, since numerous film (Continued from Page 5) interfere with his relations celebrities who are in Paris at is announced as a boon to the with Joseph M. Schenck pro- present are making the hotel news reel man, for whom it ductions. He continues as their headquarters. may be an inseparable com- chief cinematographer for Jack Pickford, Nazimova, panion, and to theater men de- Norma Talmadge as hereto- Betty Blythe, John McCormick siring to add the local appeal fore, and will fillm her next and Colleen Moore (Mrs. Mc- to their programs. Of course, feature. Cormick), Jack Dempsey and it has a special appeal to tour- Friends of Tony, however, Estelle Taylor (Mrs. Dempsey) ists, sportsmen, athletes, state it is only a question of have all been here within the school, church and lodge mem- time before the A. S. C. mem- past month. bers. The price is surprising- ber turns his entire attention ly low for an instrument of It is stated here that Jack to direction, although his ar- this quality. Considering the Pickford may make a produc- rangements with the Schenck highly tempered and tooled tion while abroad. organization require that he metals of which this camera is continue to photograph Norma The Betty Blythe company made, and the precision of its Talmadge vehicles as already is back from location in Pales- construction, with ordinary scheduled. It is said that tine, where it was for some care it should last a life time, Schenck, with his character- time. the manufacturers announce. Fourteen AMERICAN CINEMA TOG RAPHE R July, 1925 Nothing else will do Constant uniformity, abundant lat- itude, ample speed, are the qualities that cinematographers demand of negative film — nothing else will do. Superiority in all three qualities is the requirement at Kodak Park where Eastman Negative Film is made — here again nothing else will do. EASTMAN KODAK COMPANY ROCHESTER, N. Y. July, 1925 AMERICAN CINEMATOGRAPHER Fifteen Optical Systems for Projectors (Continued from Page 4) would improve conditions (and no doubt would if they could be properly used), but they did not last long. The standard Ay* -in. diameter piano convex is still used generally with the pure carbon arc. The tungsten filament light GOERZ presented another condenser problem as it was NEGATIVE RAW STOCK found that with piano convex condensers there was required very fine and almost con- IS THE RAGE OF THE stant adjustment of lamp and reflector to keep filament shadows out of the screen. NORTH POLE This trouble finally eliminated was by Both Arctic Expeditions introducing a new unit, using a single pris- matic or corrugated condenser which necessi- ROALD AMUNDSEN tated bringing the lamp very close to con- denser within about 7 inches of the aperture. and This type of condenser gives a very uniform dis- tribution of light. DONALD B. MacMILLAN Recently a new condenser system for Maz- are carrying it exclusively. da has been introduced which uses piano con- vex condensers, but the rear or collecting lens has a larger diameter. These condensers re- % quire a special mount. Sole Distributors: I have been told by a number of projec- tionists that this system is superior to all other Fish-Schurman Corporation for Mazda and shows a big gain in light. The writer recently witnessed a demonstration of a 45 West 45th Street new Mazda unit (now being perfected), which delivered 16-foot candles on an 18-foot screen New York City at 140 feet. It was accomplished entirely by 6331 Santa Monica Boulevard a new optical system. A standard 30 volt, 30 amp, 900 watt lamp was used. Los Angeles, Cal. The high intensity arc seems to have pre- sented the greatest condenser problem of all. It appeared almost impossible to get rid of the steel blue ghost in the center of the screen with piano convex condensers. Very recently Gets Shots that You the Bausch & Lomb Optical Co. brought out at a relay condenser system that has a small con- Couldn't Get denser at or near the aperture. They claim all Without it this system so mixes the red and blue colors and distributes them that the ghost is entirely eliminated. I suggest that every projecionist having ghost trouble with high intensity arcs "i investigate this condenser system. use the Ultrastigmat 3* The answer to this article is—be sure that a great deal in everything else is right; then check your opti- commercial work, as I find that I can make inter- cal system. iors with it that would require lights with- out it, and get outdoor shots on bad days that I could not get without it." (Signed) QUINCY PEACOCK, 1611 Market St., Jacksonville, Fla. Write for Folder CLUBBING OFFEB Gundlach-Manhattan Optical Co. 900 Clinton Street ROCHESTER, N. Y. Subscribed for separately. Camera Craft and the American Cinematographer will cost a total of $4.50 per year. As a special clubbing offer, both magazines may be had at a total price of $3.40 per year. WANTED American Cinematoqrapher Bell Howell Camera complete. Will 1219^0 21-22 Guaranty Bldg. Hollywood, Calif. pay cash. Write Bert Glennon, A. S. C. Sixteen AMERICAN CINEMATOGRAPHE R July, 1925 cinematographer for Jackie Coogan productions with the beginning of the latest feature starring Jackie Coogan under the new contract at the Metro- Goldwyn-Mayer studios. Good has been chief cine- matographer on all the impor- tant Coogan productions for several years. Among these features have been "A Boy of Flanders," "Long Live the King," "Little Robinson Cru- soe" and "The Rag Man." The forthcoming Coogan vehicle will be based on a story writ- ten by Willard Mack. Good Frank B. Good, A. S. C, who is has just finished the filming making preparations for the filming, of oj the next Jackie. Coogan produc- two productions starring tion on which, as heretofore, he will Elaine Hammerstein and Doro- be chief cincmatographer. thy Revier, respectively. Frank B. Good, A. S. C, Floyd Jackman, A. S. C, who is Getting Ready to Film chief cincmatographer on the pro- Next Coogan Picture ductions directed by his brother, Fred W. Jackman, A. S. C. Critics praising Floyd's Frank B. Good, A. S. C, will are also part of the success in "Black Cyclone". resume his position as chief Static Markings on Motion Picture Film tent that its tendency to generate static is very (Continued from Page 8) much less than the untreated base. Since gelatine a gelatine emulsion are an electrical charge is generated which dis- and better it tributes itself more or less evenly over the sur- much conductors than film base would be expected that double coated motion picture face, depending on its shape, and if the metal postive film such as is in subtractive color is grounded by connecting to the earth, the used whole of the charge flows away. In view of photography, and gelatine backed film such as non-curling roll film would have a less this tendency of the electricity to distribute it- much tendency to generate static self over the conductor, it is difficult to gener- than untreated ate a charge of sufficiently high potential to nitrocellulose film base, and this has been found produce a disruptive spark on discharging. In to be the case. The film conductivity can also the case of a non-conductor the charge remains be increased and its tendency to generate static thereby decreased by increasing the moisture where it was generated and if grounded at any content as described later. one spot it is discharged only locally. Therefore, if the conductivity of a sub- B. The Conductivity of the Rubbing stance is increased it has less tendency to de- Substance. velop a high potential locally, that is, there is If the rubbing substance is a conduc- a close parallelism between the electrical con- good tor and is grounded, the charge is removed as ductivity of a substance and the propensity for quickly as it is formed. It is important, there- it to give static discharges. This relation is fore, from an anti-static viewpoint, that any seen in the comparative tendency of a dried substances which come into contact with mo- film of gelatine emulsion, motion picture nega- tion picture film should be good conductors tive film base, and ordinary nitrocellulose base, such as metal, while non-conductors such as to generate static electricity. The surface elec- hard rubber and glass should be avoided. Mod- trical conductivity of the materials is roughly ern camera and motion picture machinery in the order given and the tendency to produce manufacturers have recognized this fact and static in the inverse order. are now constructing sprockets, rollers and Although a strip of comparatively dry camera gates as far as possible of metal. 2 gelatine emulsion will generate static, the quantity produced is so slight as compared 2. The Amount of Friction. with that produced under the same conditions In a given apparatus the greater the fric- on the film base as to be of negligible import- tion between the film and the parts of the ap- so that it is usually only ance in practice, neces- paratus the greater is the quantity of static sary to consider the film base. By special treatment of the film base its 2. "Static Trouble with the Kinematograph and Means for Its Elimination," by A. S. Newman, Phot. Jour., June, 1923, conductivity may be increased to such an ex- P. 262. July, 192G AMERICAN CINEM ATOGRAPHER Seventeen liable to be produced. The degree of friction fitting a small alcohol lamp below the camera is determined by the roughness of the rubbing and conducting the products of combustion into surfaces, the pressure applied and the relative the camera chamber. In addition to the ioniz- speed of travel of the two surfaces. Therefore, ing effect of the flame the products of combus- in the camera and printer gates, the pressure tion of the alcohol contain water vapor which should be a minimum and all parts should be humidifies the film and renders it a better con- as smooth as possible. In certain camera gates ductor of electricity. where the emulsion presses against the metal In the printing trade it is also customary tracks or less of the film emulsion more tends to remove the electrical charge from the sheets to scrape off and accumulate as a hard mass on of paper traveling through the press by pass- the gate, film. preventing the free travel of the ing them immediately over the surface of a gas In such a case there is a great tendency for flame. static markings to be produced. By slightly Radio-active compounds are of questionable lubricating the tracks with oil or grease as de- value in preventing motion picture static be- scribed later such gate trouble is avoided and cause of the expense involved in producing suf- static is eliminated. High speed of movement ficient ionization, while the emanation fogs a of the film is also responsible for static trouble photographic emulsion. when making slow motion pictures in the camera and when printing at an excessively Another method of ionizing air is by means fast rate, though with Eastman negative film, of X-Rays. The air in the vicinity of an X-Ray camera static even under such severe conditions tube is strongly ionized and a charged electro- is rarely encountered. In the case of printer scope placed in the vicinity is immediately dis- static either the film should be humidified charged. In order to test the anti-static effect further or the speed of the printer reduced. of such ionized air an electric fan was arranged so as to blow the air in the vicinity of an X-Ray 3. Conductivity the Air. The of tube to a spot several feet away in a direction Dry air is one of the best known insulators at right angles to the path of the X-Rays, and of electricity. However, certain substances attempts were made to excite the base side of such as radio-active compounds, a red-hot wire a strip of motion picture positive film placed in or a flame are capable of ionizing the air and the air current but without success. On cut- making it a conductor. If a charged body is ting o'ff the current from the tube the film was placed in such a conducting atmosphere it tends easily excited. This experiment would suggest to discharge by virtue of neutralization of its the possibility of inserting an X-Ray tube in charge by the oppositely charged gas molecules the airducts of a motion picture laboratory, and electrons in the ionized air attracted to it. though it is questionable whether the scheme For a similar reason, ionized air tends to pre- would be practical on account of the large tube vent the accumulation of a charge on a sub- currents necessary to produce sufficient ioniza- stance during excitation by friction. The ioniz- tion, and the danger of fogging sensitive pho- ing effect of a flame or a radio-active substance tographic materials by the X-Rays unless care- can be demonstrated by placing a charged fully screened. electroscope close to them when it will be dis- Humidification of the air is a sufficient charged immediately. Some camera workers I and practical means of increasing the film con- have utilized the ionizing effect of a flame by h (Continued on Page 18) : Eighteen AMERICAN C I N E M AT O G R A P H E R July, 1925 ductivity and has proved effective and satis- factory in practice. C| The Effect of Humidification on the Pro- pensity of Motion Picture Film to "Walter. J. van Rossem Static Markings. 6049 Hollywood Blvd. Dry air is capable of absorbing or taking Phone Holly 725 up a certain critical quantity of water in the • form of water vapor at any particular tempera- COMMERCIAL PHOTOGRAPHY ture and atmospheric pressure, when it is said Still Developing and Prinlin^T to be saturated. The higher the temperature fcHo^ Coronas -FOR. RENT— Still the greater is the quantity of water vapor which the air is capable of holding, that is, the concentration of water vapor in warm saturat- ed air is greater than in cold air. If warm satu- SCHEIBE'S PHOTO-FILTER SPECIALTIES rated air is cooled, moisture condenses out, Are now popular from coast to coast, and in leaving the air saturated at the lower tempera- some foreign countries. ture. If my many varieties do not always fill the bill, The percentage of moisture in air at any tell me your wants and I will make them on special order. particular temperature as compared with the Always at your service. quantity which it would hold if it were satu- GEO. H. SCHEIBE rated is termed its relative humidity. Raising 1636 Lemoyne St. DUnkirk 4975 Los Angeles, Cal. the temperature of air, therefore, lowers the relative humidity providing no water is present for the air to absorb, and vice versa. Relative humidity measurements are usual- The New Iris Combination may be had with 4-in. Iris or Sunshade ly made by a hygrometer, a suitable form of which consists of a wet and dry bulb thermom- FRED HOEFNER eter. The bulb of the wet thermometer is sur- Cinema and Experimental Work rounded with an absorbent material such as 5319 Santa Monica Blvd. (rear) a silk wick which dips into a vessel containing GLadstone 0243 Los Angeles, Cal. water. The evaporation of this water tends to cool the bulb and since the rate of,evapora- tion depends on the dryness or relative humid- ity of the air, the difference in reading between AKELEY SPECIALIST the wet and dry thermometers is a measure of the relative humidity of the air. It is important Aerial and Special Photography when using a hygrometer to place it in such a Akeley, Bell and Howell Cameras position that a representative sample of the air circulates over it. By reference to tables sup- For Rent plied with the instrument the relative humidity E. BURTON STEENE is obtained. Some hygrometers rely on the ex- pansion and contraction of a strand of horse- American Society of Cinematographers hair in dry and moist air, but these are not 1219-20-21-22 Guaranty Building always reliable. Calif. If motion picture film is placed in an at- Hollywood, mosphere at any relative humidity there is an HEmpstead 1191 GRanite 4274 exchange of moisture either from the film to the air or vice versa until equilibrium is reached. That is, dry film in a moist at- mosphere absorbs water, while moist film in a dry atmosphere loses water. GRAF The transfer of moisture either from the air to the film or vice versa requires time and VARIABLE F.3 LENS comparatively slowly. takes place For the Essentially Correct % Since the tendency of film to give static Proportion of Diffusion Indispensable on Every Production \ markings depends on its conductivity, which in Lens Now Available for Immediate Delivery \ the absolute quantity of water turn depends on 50 M. M $75.00 S which it contains, the effect of moist air in 75 M. M 75.00 £ affecting the propensity of film to give static depends on a. The relative humidity and temperature of the air. ""SSL'ltwooo CHICAGO. b. The time of exposure of the film to the Exclusive Distributors air. July, 1925 AMERICAN CIN MATOGRAPHER Nineteen (a) In order to determine the effect of humidification in atmospheres of increasing rel- ative humidity on the propensity of gelatine and film base to generate static electricity, PYREX strips of motion picture positive film and sheets of gelatine were exposed to atmospheres of dif- ferent humidities by placing in humidors con- Spotlamp Condensers taining sulphuric acid of varying concentra- tions (representing atmospheres of known rel- ARE ative humidity) and stored for 12 hours at temperatures of 50"F. and 110"F., respective- ly. The strips were then rubbed vigorously GUARANTEED with a piece of velvet (the positive film was rubbed on the base side) and tested for elec- AGAINST BREAKAGE trification by means of an electroscope. The results obtained were as follows: 6-in.—8-in.— 12-in. diameters Relative Electrification Humidity Material 50 cleg. F. HO deg. F. 54% Gelat ine slight si ight M. P. Positive Film strong strong Used by: 74% Gelatine slight slight M. P. Positive Film slight slight 82% Gelatine nil nil Famous Players-Lasky, M. P. Positive Film slight very slight 88% Gelatine nil nil M. P. Positive Film very slight nil United. 02% Gelatine nil nil M. P. Positive Film nil nil Metro-Gold wyn-Mayer, From these tests it is seen that gelatine First National studios. ceases to generate an appreciable amount of static electricity when exposed to an at- mosphere of about 80 % relative humidity for Sole Distributors: twelve hours, at 50°F. THE LUXALBA COMPANY Although tests were not made with sheets of emulsion stripped from the base, compara- 111 West 42nd St., New York tive tests made by rubbing gelatine sheets and the emulsion side of motion picture film ex- posed to the same atmosphere, showed that positive and negative motion picture emulsions have less tendency to generate static electricity than plain gelatine. Just one production The above tests also show that with mo- with us tion picture negative film the air must have a relative humidity of about 90% at 50°F. and will make you our friend about 85% at 110"F. if it is to entirely pre- for life. vent the generation of static electricity when the film is exposed to it for a few hours. Since with air at any constant relative hu- Roy Davidge Film Laboratories midity the quantity of water which it contains increases with rise temperature, in of film equi- 6701 Santa Monica Blvd. HOlly 1944 librium with such air contains a greater quan- tity of water at higher temperatures. Since the propensity of film to give static markings runs parallel with the absolute quantity of moisture which it contains, it would be expect- FOR RENT ed that at a given relative humidity the pro- Two Bell and Howell Cameras, 40, 50, pensity of film to give static would decrease 75 mm. lenses, Thalhammer iris. Jean with rise of temperature, as was shown by the Trebaol. Jr., 7042 Stilson Street, Palms, above experiments. Calif. Telephone EMpire 8954. (b) A dry emulsion or a dry film base ab- sorbs moisture comparatively slowly. Bone dry motion picture film must be humidified for SUBSCRIBE FOR THE more than 24 hours in an atmosphere at 80% to 90% relative humidity before it absorbs all the moisture it will hold under these conditions. American Hence, the condition of the air has very little effect unless the film is exposed to it for a suf- Cinematoqrapher ficient length of time. Thus, dry motion pic- Twenty AMERICAN OINEMATOCxRAPHER July, 1925 ture positive films may give static markings even if the air of the printing room is saturated, if the film is not given an opportunity to ab- Lighting is sorb moisture. On the other hand, film con- taining an excess of moisture will not give half the static markings when immediately placed in picture dry air. Every camera man knows that! The fact that motion picture film is usual- ly tightly rolled also hinders the rapid attain- The success of any picture de- ment of equilibrium with the atmosphere, but pends a great deal upon the kind this is advantageous, in case film has to be of light used when it is made. stored in a dry atmosphere. If conditions are such that static markings are produced on pos- Cooper Hewitts for many years itive film in the laboratory, in order to further humidify the film in the roll it must be stored have filled the role of quality light. for several weeks in a moist atmosphere, but It is interesting to note that prac- not one which is too moist, otherwise the edges tically all of our leading studios of the film will stick together and on unwind- ing more static will be produced than if the depend upon "Coops" for artis- film was handled in its original condition. tic productions. Nature and Classification of Static ' The appended illustrations are of static to your own in- markings accumulated over a period of several structions in an years and were produced either in the camera artistic manner to or the printer. The exact conditions under match the pho- which they were produced were not recorded, MADRID graphy of your pro- but it was only possible to secure such severe duction. markings by drying out either positive or nega- tive film very thoroughly in a desiccator. OFFICIAL CORRESPONDENT IN LISBON ALGIERS Such well-defined and frequently occur- EUROPE FOR: in practice, ring markings are rarely found but American Society of it necessary to the conditions as fa- Cinematograp/iers was make ; vorable as possible for their production in or- Frank D. Williams JERUSALEM ETC. der to secure markings sufficiently contrasty for illustration purposes. 118 Avenue des Champs The figures merely illustrate the type of Cable Address: ELYSEES markings which may occur under more normal LONDON LOUVER AN DE-PARIS PARIS ETC. conditions. Although the variety of the mark- ings is possibly not complete, it is doubtful if July, 1925 AMERICAN CINEMATOGRAPHER Twenty-one any essentially different types of markings are normally produced in the camera or laboratory. Static markings may be classified as fol- lows : 1. Small black spots with diffused edges. These markings are very similar to a cer- tain type of moisture spots, 3 or spots caused by chemical dust. Fig. 1 illustrates a large cluster of spots disseminated throughout a fan-shaped marking produced in the camera. This type of marking occurs very rarely. 2. Black spots with branches. In Fig. 2 the black spots have one or two branches, while in Fig. 3 several branches radi- ate from the central dark spot, simulating a spider with outstretched legs. 3. Tree-like markings— CAR*, as shown in Figs. 4 and 5. These are a modification of those shown in Fig. 2, since the tree trunks and branches emanate from a black spot. The branches may also be regarded as sprouting from an imaginary horizontal bar at the base. The markings illustrated in Figs. 2, Carl Zeiss, Jena, have perfected a new lens 4 and 5 were produced in the camera with bone —a Tessar. with a workinq aperture of 1:2.7, dry negative film and the intermittency of oc- Combinina the well known Carl Zeiss currence is clearly seen in Figs. 4 and 5. quality with the greatly increased light gather- — ing power of f:2.7 means an objective for mo- ]+. Fan-shaped markings tion picture photography that is revolution- as illustrated in Figs. 6, 7 and 8. The ary—a lens that will produce results under the radii of the fan may be considered as branch- most adverse conditions. ing out from a point which may possibly be the Following are the focal lengths and prices: initial point of discharge. The markings in Fig. 7 consist of an assemblage of fan markings and Focus Standard mount Focussing mount were produced in a step printer. The intermit- 1% inches ..$40.00 $47.00 tent occurrence of these is shown in Fig. 11. 1 9-16 inches 40.00 47.00 2 inches 43.00 50.00 In Fig. 6 the lower half of the fan-shaped inches . . 51.00 58.00 marking is of much less density than the upper 3Vs 4 inches . . 64.00 71.00 half and not so sharply defined, and is probably 4-54. inches . . 72.50 82.50 a result either of a reflection of the upper dis- charge, or a secondary weak discharge. fiarcld Dir. Odenncff 5. Miscellaneous markings. U.SOgen/ Those shown in Fig. 9 were produced on bone dry negative film in a camera and consist of a conglomeration of dots, branches and fans. Cfl Static Markings Encountered in Practice and Methods of Their Prevention. When motion picture film leaves the fac- tory it may be reasonably assumed that it is A NEW LENS free from latent static since it is handled dur- "That has made good" ing manufacture with extreme care and under Large aperture F:2.3. To a large extent responsi- ble for the Bas-relief, or solid appearance of the the most ideal conditions of humidity. More- subject on, the screen. over, careful tests are made on the finished per- Good definition over the entire field, .vet not harsh or wiry. forated film before shipment in order to insure A portrait lens in short focal lengths 40mni, 50mm, 75mm. with full closing diaphragm. that the film is free from latent static markings Price is reasonable which might otherwise appear on the developed 40mm $50.00 50mm 50.00 film. 75mm 55.OO A trial will be satisfying During handling, static may be produced Berlin either in the camera or in ASTRO-GESELLSCHAFT, mbh., the laboratory when FOR SALE BY winding the film onto racks, when processing MITCHELL CAMERA CORPORATION on the developing machine or during printing 6025 Santa Monica Blvd. - - Los Angeles, Calif. as follows: Twenty two AMERICAN CINEMATOGRAPH K R July, 1925 Camera Static Negative motion picture film when packed EVOLUTION for shipment contains such a quantity of mois- ture that it is in equilibrium with an atmosphere -and the f:2.7 of 70% to 75% relative humidity, and in this The Ultra Rapid Anas- condition, and especially in the class of nega- tigmat f:2.7 represents tive film, unless it is subjected to severe fric- the last word in the Evo- tion, no static trouble need be feared in prac- lution of Motion Picture tice. Lenses. In order to determine at what point or These pictures of the Ev- points in a camera static is usually generated, a olution Trial in Dayton, roll of positive motion picture film thor- was Tenn., were taken in the oughly desiccated over sulphuric acid and then court room on a dark day passed rapidly through a camera in the dark. under adverse light con- Static discharges were observed at the follow- ditions with a ing points: (a) where the film parted from Bausch & Lomb the spool at a tangent, (b) at the retort traps, Ultra Rapid Anastigmat (c) in the region of all sprockets even though 7:2.7 grounded, (d) at the gate, (e) at the take-up The operator wrote, roll. We are using the f:2.7 So-called grounded collectors consisting of practically every day and tinsel and graphite coated pads were placed can hardly spare it. This against or the film or three near at two places, lens is eminently satis- but these had very little effect in preventing factory in every way." the static discharges. On development of the rite us today for details. film the quantity of static markings ran paral- W lel with the quantity of discharges observed in Bausch & Lomb Optical Co. dark. the 644 St. Paul St. (Continued on Page 23) Rochester, N. Y. CRECO FOR RENT! MITCHELL and BELL & HOWELL CAMERAS F 2. 3. - F. 2. 7. - F. 3. 5. Lenses 40-50-75 M. M. COMPLETE EQUIPMENT J. R. LOCKWOOD 523 North Orange St. Phone Glendale 3361-W Glendale, California Cinema Studios Supply Corp. Drive Five, six; and six, jive; half-pint, quart; the long and short 1438 Beachwood of it; or what you will. Introducing Georges Benoit, HOIIy 0819 A. S. C. (left J, and Charles (Buddy) Post, whon LIGHTING EQUIPMENT FOR RENT the A. S. C. member photographed in "Heaven Otl Earth," a Hunt Slroinberg production. Tom L. A. FIRE DEPARTMENT Forman, who directed, is responsible for this pose. WIND MACHINES Water Engine July. 1925 AMERICAN CINEMATOGRAPHER Twenty-three Vl -tV When the critics praise the photography of the year's biggest productions — you may be sure that the negative was faithfully developed by Rothacker-Aller Laboratories 5515 Melrose Ave. Hollywood Phone HOUy 7180 «N &*, (Continued from Page 22) ion of the emulsion and the attendant static is This experiment demonstrated that static prevented. may be produced in the camera at any point Film loops which are too long cause the is especially in the where there friction and the camera with the possible generation of camera gate where the discharges were most static. severe. It was also concluded that brush col- lectors are of questionable value, while a 2 X By making all camera parts conductors grounded metal crank is of little use unless the of electricity. handle is in electrical connection with other parts of the camera such as the gate and As explained above, when film is rubbed sprockets, which must be good conductors. with a conductor such as a metal, a minimum of static is produced, especially if the metal is in ^ Prevention of Camera Static. electrical connection with the rest of the cam- era or is "grounded." Glass, hard rubber, var- only certain method of insuring The the nished or lacquered metallic surfaces, silk and absence of static markings is to prevent the velvet should, therefore, be avoided whenever generation and accumulation of the static elec- possible in camera construction, while the gate tricity in the first place as follows: and sprockets and as far as possible every part of the camera should be of metal. 1. By removing all sources of friction. Continued on Page 2 5) Negative film which shows camera static markings generally also shows bad abrasion E. Burton Steene, A. S. C, who is marks. Of the various parts of the camera the specializing in Akeley comera work, has had gate is responsible for most of the abrasion. a busy month with his Akeley. Among those who have availed themselves When making titles directly onto positive of his services are Warner Brothers, film in the camera the emulsion tends to scrape Hunt Strom- berg productions, Universal, Waldorf produc- off onto the metal tracks where it builds up tions and Metro-Goldwyn-Mayer. escresencies of hardened emulsion which re- tard the passage of the film and incidentally cause static as a result of the increased fric- Roy Overbaugh has been dropped from tion. By glueing a small strip of oiled chamois membership in the American Society of on each side of the film track at its upper edge Cinematographers because of non-payment of the passage of the film is facilitated and abras- dues. Twenty-four A M K It I C AN f'INKMATOli liAP H K II July, 1925 Rene Guissart, A. S. C, has furnished his George Schneiderman, A. S. C, has com- house on the Marne, following his return to pleted the photographing of "Thank You," a Paris, where he has established the American John Ford production for Fox. and Continental Studio for special trans-Atlan- * * # * tic assignments for American productions. Harold Wenstrom, A. S. C, has returned Rene, it is said, has ordered a row boat with from New York City to Hollywood. Wenstrom which he will take his morning exercises on is sporting a new Mitchell camera and a new the famous Marne. Buick roadster. Robert Kurrle, A. S. C, is filming "The King Gray, A. S. C, has been appointed to Sea Woman," Edwin Carewe production for fill Fred W. Jackman's place on the A. S. C. First National. Board of Governors during Jackman's absence * * * * from the city on location. $ $ * $ George Barnes, A. S. C, is photographing "The Dark Angel," a George Fitzmaurice pro- Arthur Edeson, A. S. C, has concluded the duction, at the United Studios. cinematography on the latest Joseph M. * * * * Schenck production starring Constance Tal- Ernest Haller, A. S. C, is shooting the madge. * # Henry King production, "Stella Dallas," at the United Studios. The July issue of the Asia magazine car- * ries a detailed story by Herford Tynes Cowling, H. Lyman Broening, A. S. C, on finishing A. S. C, of his experiences in A,sia and in the "Diablo's Double," a Harry J. Brown produc- forbidden parts of Tibet during his most recent tion featuring Reed Howes, filmed "Reality," a trip around the world. Cowling's story, to- Raymond Gardner production, directed by gether with rare and priceless illustrations John P. McCarthy and starring Dorothy Hope, made from photographs taken by him person- English stage and screen actress. The cast ally inside temples and sacred grounds, cover included William Scott, Elsa Benham, Emmet numerous pages in the magazine. King, Pat Moore, Sabel Johnson, Matilda Co- Cowling's story and illustrations open the mont, Myles McCarthy, Fred Malatesa, door on what heretofore were strictly concealed Mickey Moore and William Buckley. precincts, not only because of religious barriers * * * * to the other races but because of the inacessi- bility of the lands which the A. S. C. member, E. B. Du Par, A. S. C, is photographing through innumerable hardships, finally suc- the Warner Bros, production, "The Love ceeded in penetrating with his extensive cam- Hour," featuring Ruth Clifford, Huntley Gor- era equipment. Many of the temples and other don, Louise Fazenda and Willard Louis. Her- holy places, by virtue of Cowling's photographs, man Raymaker is directing, are given to the of the outside * * * * view world for the first time in the history of man—hav- Charles J. Van Enger, A. S. C, has fin- ing, in fact, been refused to the eye of white ished the filming of "Red Hot Tires," a War- man for centuries. Bros, production directed Erie ner by Kenton Accounts of Cowling's adventures have starring Blue. and Monte provided interesting material from time to * * * * time in the various issues of the American Cine- Fred W. Jackman, A. S. C, and Floyd matographer. The A. S. C. member is still Jackman, A. S. C, are on location at Lodge busy at present editing the motion picture film Grass, Mont., for the filming of the next Fred which he exposed during the trip, on part of W. Jackman production. Fred is directing and which the stories and illustrations in the Asia Floyd is chief cinematographer. magazine are based. * * * * Cowling's thoroughness as a diplomat in Gilbert Warrenton, A. S. C, has finished securing consent to film the forbidden places the filming of "Seven Days," a Christie pro- faced as he was by prejudices and unfamiliar duction directed by Scott Sidney for release foreign tongues is as noteworthy as are the re- through Producers Distributing Corporation, sults themselves, which he obtained in his neg- and has begun the photographing of Emory atives, once he won the permission to photo- Johnson's latest production. graph among the Asiatics, July, 1925 AMERICAN OINEMATOGRAPHER Twenty-five (Com inued from Page 25} to cause static. The latter difficulty may be 3. By rehumidifying the film. overcome by the use of a roll holder illustrated in Fig. 13 during winding. The arm AB is Negative film which is stored for consider- lifted up, the roll placed on core C and the able periods in a dry atmosphere loses moisture, arm AB again lowered. The holder is then but may be rehumidified by rewinding loosely grasped by handle H, and by exerting a slight and storing for about 12 hours in a humidor, pressure with the thumb at A the film may be consisting of an enclosed box containing either fed with a uniform tension and speed. a sponge or other absorbent material saturated Static markings produced during winding with water. A simple humidor may be con- and tightening may be minimized by humidifi- structed by soldering together two motion pic- cation of the film before it enters the dark ture film cans bottom to bottom, perforating the room, and in severe cases by also humidifying now common partition and placing saturated the air in the dark room. A suitable relative blotters in one of the compartments. The humidity is from 70'; to 80% at 70° to 75°F. loosely wound film should then be placed in the empty compartment and allowed to remain 2. Developing machine static. for about 12 hours at 70 to 75°F. The film On a processing machine static markings should not be allowed to remain for too long a can only be produced up to the point where the period in the humidor, especially at high tem- film enters the developer, and may be caused peratures (80 to 90"F.), otherwise moisture by too much tension on the take-off roll, mal- spots are liable to be produced on the emul- alignment of the sprockets, or by running the film to rub either against itself or the side of machine at too high a speed. Humidification sion. 3 of the film previous to or during printing and The practice of placing a moistened sponge correction of mechanical defects will prevent in the camera is of no value if the film such trouble. is run through quickly, but if the sponge is al- (Continued next month) lowed to remain in the loaded camera for one or two hours the film has more opportunity to The National Vigilance Committee of the absorb water and may be less liable to develop Associated Advertising Clubs of the World, static markings. which during the past thirteen years has de- veloped into an intensive nation-wide system 4. By conducting the products of combus- for the maintenance of the "Truth-in-Adver- tion of an alcohol lamp into the tising" standard, announced at the World Con- camera chamber. vention at Houston, Texas, recently its incor- poration under the laws of Delaware as the Since the products of combustion of alco- National Better Business Bureau. change hol contain water vapor, the lamp has a two- The in name arises from the fact that the Commit- fold effect of humidifying and ionizing the air tee is affiliated with and co-ordinates the local which as explained above tends to prevent work of the many Better Bureaus in leading static. cities of the country. Laboratory Static. ^ Fifteen Directors In the motion picture laboratory static dis- Operations of the National Better Business charges may occur during the following oper- Bureau will be in charge of fifteen directors; ations (a) Winding the film on the developing five selected from the Better Business Bureaus, racks, (b) Development on the processing ma- five from the sustaining members of the Na- chine, (c) Cutting of the negative and (d) tional Vigilance Committee, and five Printing. from the Executive Committee of the Associated Adver- 1. Rack static. tising Clubs of the World. Film is usually wound on the rack by hold- No Change In Policy ing the roll of film in one hand and winding There will be no change in operating with the other. The slack film is then tight- policy, but it is believed this step will enhance ened on each loop which results in severe fric- the prestige and influence of the Bureau work tion between the slat and the film base, which throughout the country and make of it a still may result in static markings. more useful servant of advertising, American Static discharges may also occur at the business and the consuming public. point where the film leaves the roll at a tangent The incorporators of the National Better as a result of induction and friction, especially Business Bureau are Lou E. Holland, of Kansas if the film has been humidified excessively City, retiring President of the Associated Ad- causing the convolutions to adhere slightly, vertising Clubs of the World, Herbert S. while if the roll is gripped at all tightly, fric- Houston, of New York, Chairman of the Board tion between the hand and the film or between of Trustees of the National Vigilance Com- the convolutions of the film may be sufficient mittee; Harry D. Robbins, Chairman of the Committee on Management of the National 3. "A Study of the Markings on Motion Picture Film Pro- duced by Drops of Water, Condensed Water Vapor and Abnormal Vigilance Committee, and Merle Sidener, of Drying Conditions," by J. I. Crabtree and G. E. Matthews, Trans Indianapolis, a member of the Soc. M. P. Eng., Vol. 17, p. 29. American Cinematographer. Committee on January, 1925, p. 12. Management. Twenty%six AMERICAN CI N E M A T O R A P H E R July, 192f, 16 Bell & Howell Cameras Used In Filming "Lost World" Produced by First National and Watterson R. Rothacker BnuA 1001 LARCHMONT AVE. CHICAGO. Manufacturers of 95% of Motion Picture Cameras and Equipment In Use the World Over —— —————— ———————— — HOW TO LOCATE MEMBERS OF THE American Sociehj of Cinematographers Phone GRanite 4274 OFFICERS Homer A. Scott - - - - President Victor Milner First Vice-President Daniel B. Clark Second Vice-President L. Guy Wilky Third Vice-President Bert Glennon Treasurer John W. Boyle Secretary BOARD OF GOVERNORS Bert Glennon Gilbert Warrenton Daniel B. Clark Victor Milner George Schneiderman Charles J. Van Enger John W. Boyle Homer A. Scott Norbert F. Brodin H. Lyman Broening L. Guy Wilky Paul P. Perry Henry Sharp Fred W. Jackman Alfred Gilks Abel, David—with Warner Brothers. Kurrle, Robert—with Edwin Carewe, United Studios. John with Metro-Goldwyn-Mayer Picture Corp. Arnold, — Landers, Sam—with Tony Gaudio. Barnes, George S. —with Geo. Fitzmaurice, United Studios. Lockwood, J. R. Beekway, Wm.—Europe. Lundin, Walter—with Harold Lloyd Productions, Hollywood Benoit. Georges— with Hunt Stromberg Productions. Studios. Broening. H. Lyman—with Gardner Productions. Lyons, Reginald—with Fox Studio. Boyle, John W.—with First National Productions, United Studios. MacLean, Kenneth G.—with Fox Studio. Doran, Robert V. Marshall, Wm.—with Carlos Prods. McCord, T. D. with First National. Brodin, Norbert F.—Frank Lloyd Productions, First National, — United Studios. United Studios. Meehan. George—with Waldorf Studios. Milner, Victor Brotherton, Joseph —with Famous Players-Lasky. Morgan, Ira H. — with Cosmopolitan. Clark, Dan—with Tom Mix. Fox Studio. Clarke, Chas. G. —with George Melford, Hollywood Studios. Norton, Stephen S. —F. B. O. Studios. Cotner, Frank M. —with Goodwill Picture Corp. Palmer, Ernest S. with Fox Studio. Cowling, Hertord T. —Room 216-29 So. La Salle St., Chi- — Perry, Harry cago. 111. Perry, Paul P. Cronjager, Henry—with Famous Players- Lasky, New York Polito, Sol with Hunt Stromberg Productions. City. — Dean, Faxon M. Ries, Park J. Doran, Robert V. Rizard, George—New York City. Dored, John— Riga, Latvia. Roos, Len H.—with Fox Film Corp. (N. Y.) (Educational DuPont, Max B. Div. ) in Australia. DuPar. E. B.—with Warner Bros. Rose, Jackson J. —with Universal. Dubray, Joseph A. — Rosher, Charles—with Alary Pickford, Pickf ord-Fairbanks Edeson, Arthur—with Sam Rork Productions, United Studios. Studio. Evans, Perry Schneiderman, George—with Fox Studio. Fildew, Wm. Scott, Homer A. Fischbeck, Harry A. —with Famous Players-Lasky, New York Seitz. John F. — with Rex Ingram, Europe. City. Sharp, Henry—with Douglas Fairbanks. Pickford-Fairbanks Fisher, Ross G.—with Fred Thomson, F. B. O. Studios. Studio. Short, Don Gaudio, Gaetano—with Norma Talmadge, Joseph M. Schenck Productions; Metro-Goldwyn-Mayer Studios. Smith, Steve, Jr. Steene, Gilks. Alfred—with Famous Players-Lasky. E. Burton Glennon, Bert —with Paul Bern, Famous Players-Lasky. Stumar, Charles—with Universal. Good, Frank B. Stumar, John—with Universal. King D.— Gray, Tolhurst, Louis H. — "Secrets of Life." Microscopic Pictures, Griffin, Walter L.— Principal Pictures Corporation. Guissart, Rene Paris, France. — Totheroh, Rollie H. —with Charlie Chaplin, Chaplin Studio. Haller, Ernest —with Maurice Flynn, Garson Prods., F. B. O. Turner, J. Robert —with Fox Studios. Studios. Van Buren, Heimerl, Alois G. Ned Van Enger, Charles—with Ernst Lubitsch, Warner Brothers Prods. Jackman, Floyd—Fred W. Jackman Van Trees, James C. Jackman, Fred W. directing Fred W. Jackman Prods., Hal — Warrenton. Roach Studios. Gilbert —with Emory Johnson, F. B. O. Studios. Wenstrom, Harold Jennings, J. D. — with Mrs. Rudolph Valentino Prods., United Whitman. Philip H. with Studios. — Famous Players-Laskv, New York City. Koenekamp, Hans F.—with Larry Semon. Wilky, L. Gu>—with William de Mille, Famous Players- Kull, Edward—with Universal. Lasky. Edison, Thomas A.- —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. 1219-20-21-22 GUARANTY BUILDING Hollywood Boulevard and Ivar Avenue HOLLYWOOD, CALIFORNIA LOYALTY PROGRESS ART Hollywood News Print ' , rroducuotis er SlroffiO B wooos,uo,os \\ww\ H o lla7 18 ^ito^!iv;d Cell*' _ the ever r « i" Deer » is an action. a ^«-r ^ leCtlVe -ve used. X X ^ /camer8 ^ Carey in yoars» — »r PlS1 * Sincere-lC erel5-* /— : U. S. Postage 2c. Paid VOL. VI, No. 5 Los Angeles, Calif, 25 Cents A Copy August, 1925 Permit No. 941 American Cinematoqrapher Published by the American Society of Cinematographers , Inc. In This Issue ^? "Periscoping" Projection—By Earl J. Denison New "Talking" Cinema Announced Eastman Announces New Model of Cine- Kodak Gaetano Gaudio, A. S. C, to Continue to Direct PUBLISHED IN HOLLYWOOD CALIFORNIA RELEASES July 5, 1925, to August 2, 1925 TITLE PHOTOGRAPHED BY The Manicure Girl J. Roy Hunt The Brand of Cowardice Not credited Before Midnight Dewey Wrigley Kivalina of the Ice Lands Earl Rossman The Awful Truth Joseph Dubray, member A. S. C. The Sporting Chance Roland Price and James Brown Fighting Courage Joseph Walker How Baxter Butted In David Abel, member A. S. C. The Happy Warrior Nicholas Masuraca and Wm. S. Adams The Little Giant Sid Hickox The Lucky Devil Alvin Wyckoff The Freshman Walter Lundin, member A. S. C. One Year to Live Arthur L. Todd Red Love Not credited Passionate Youth Milton Moore The White Desert Not credited The Woman Hater John Mescall Under the Rouge King Gray, member A. S. C. His Buddy's Wife Henry Cronjager, member A. S. C. Cyrano De Bergerac Not credited Grounds for Divorce Bert Glennon, member A. S. C. That Man Jack Art Reeves Evolution Not credited Lightnin' Not credited The Home Maker John Stumar, member A. S. C. Tracked in the Snow Country Ray June The Overland Limited Jack MacKenzie Private Affairs Jack MacKenzie The Love Gamble King Gray, member A. S. C. and Orin Jackson The Light of Western Stars Lucien Andriot The Goose Woman Milton Moore Pretty Ladies Ira Morgan, member A. S. C. My Lady's Lips Allen Siegler The Marriage Whirl Not credited Youth's Gamble Ross Fisher, member A. S. C. Night Life of New York George Webber The Texas Trail Georges Benoit, member A. S. C. Wild Justice Ray Binger Fair Play Ernest Miller Hearts and Spurs Allen Davey The Street of Forgotten Men Hal Rosson The Fearless Lover Not credited Fifty-Fifty Henry Cronjager, member A. S. C. Never the Twain Shall Meet Ira Morgan, member A. S. C. Marry Me Karl Brown Whistling Jim J. P. Whalen Camille of the Barbary Coast Frank Zukor The Wild Bull's Lair Ross Fisher, member A. S. C. Border Vengeance William Thornley Rugged Water Alfred Gilks, member A. S. C. Eve's Lover George Winkler —— — : Vol. VI AUGUST, 19X5 No. 5 American Cinematographer Foster Goss, Editor and Business Manager Table of Contents Page Projection, "Periscoping" Projection Conducted By Earl J. Denison .... k A. S. C. in Campaign Against Cutting Credit Titles ... 5 Eastman Announces New Model of Cine-Kodak .... 6 When Professional Skill's a Prerequisite 7 Marked Interest Manifested in A. S. C. Annual .... 8 Announce New 'Talking Pictures" By G. Pupikofer . . 9 The Editor's Lens 10 Way Cleared for Gaudio to Direct 12 In Camerafornia 13 Static Markings on Motion Picture Film ( Continued from last month.) By J. I. Crabtree and C. E. Ives . . . 16 Ambiguous Advertising Scored by National Vigilance Committee .22 A. S. C. Chooses Frank M. Cotner and Ernest J. Crockett as Members . . 2U Showing Films "on Dog" . „ 25 A. S. C. Roster— 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. 12 19-20-2 1-22 Guaranty Building, Hollywood, California Telephone, GRanite 4274 (Copyright, 1925, by the American Society oj Cinematographers, Inc.) Four AMERICAN CINEMATOGRAPHER August, loir, PROJECTION + Conducted by Earl J. Denison "Periscopinq" Projection Is "Piped" around Angles to Avoid Projection "Mayflower" Chandeliers " ~ (Ifi^rojecior /iqht heam travels fiorn jDe j&xe J?ojcck>rj W ^-v ^ MZMUf/ng. larger! Icnres ever modc-i/irouqfi l/ie pcr/rccpe, sJim^ rfWJn> Jail 1 " — ' If* m ^/balcony railing lo ihe. screen. /f-S ieef-avay. ' • " — h fa fa fa fa fa V, fa, fa, V, fa fa fa h fa h --_J 1 The Light that Veered "/£ ccm'£ 6e done," they mid. "How can you make the projected images turn corners and bend the light to do so? Why, it's impos- sible!" "Maybe," answ ered Roger M. Hill, U. S. pro- jection engineer, "it is impossible, but not until Borrow "RertAv*©*- we see what we can do." Hill did it A "periscope" system of projection has vised the hotel people to "periscope" or "pipe" been made a part of the ballroom of "The May- their projection. His recommendations sounded flower," the elaborate new hotel in Washing- unreasonable, but as soon as he started to put ton, D. C. them into effect, their practicability were at In the construction of the Washington once evident. hostelry, it was not only desired to fit the ball- room with complete projection facilities, but at Chandeliers in Path the same time to appoint the room with sump- Projectors were put in on the balcony of tuous furnishings, with which the projection the ballroom. The floor level of the balcony should not be allowed to "interfere." Among struck above the middle of the chandeliers these furnishings are a series of chandeliers, so which thus stood in the way of the light beam, it they massive in size, that was found that if the projection engineering had been carried would obstruct the beam of light from the pro- out in the regular way. jectors, if the latter were placed in the posi- tions originally contemplated for them. U5 Foot Throw Engineered by Hill Hill, in carrying out the "periscope" idea, So "The Mayflower" management called brought into play reflectors which he obtained on Roger M. Hill, engineer of the U. S. Army from the Kollmorgen Optical Corporation. The Motion Picture Service. Hill immediately ad- (Continued on Page 2 5) — August, 192.!- AMERICAN CINEMATOGRAPH KR Five A. S. C. in Campaiqn Aqainst Cutting Credits Nation-wide Spread of Abuse Letters Written to Producers Brings Action from Cinema- Calling Attention to Elimina- tographers. tion of Credits. Launching an investigation into the causes when the credit title from 'The Lady Who of the cutting of film credit titles in motion pic- Lied," an Edwin Carewe production for First ture theaters and at the same time taking pre- National, was eliminated. We are particularly liminary steps to prevent the continuance of the interested in preserving, for the attention of the practice, the American Society of Cinematog- audiences, the recognition of the cinematog- raphers during the past month wrote to the raphers' participation in the making of a given Hays organization in New York City and in production, and believe, in fairness to all con- Hollywood, calling the attention of the produc- cerned, that the exhibitor should not be counte- ers to the treatment which their finished prod- nanced in cutting out these titles once the pro- uct is being accorded on reaching the cinema ducer has seen fit to include such in his produc- houses. tion. The chief argument on which the ex- In New York hibitors seem to rely is that the elimination of these titles is a Two of the most recent cases reported to necessity for the saving of pro- gram time; but in view the A. S. C. occurred in widely divergent points of the fact that the average title takes in the United States, the one being in New York but a few seconds to run, this City and the other in Portland, Ore. In the argument seems to carry little or no former instance, during the week of July 7th, weight. the credit titles were eliminated from the print Trusting that this matter may have your of Edwin Carewe's First National production, attention, "The Lady Who Lied," when it was exhibited Very truly yours, at the Mark Strand Theater. AMERICAN SOCIETY OF CINEMA- In Portland TOGRAPHERS. By John W. Boyle, In the Portland case, all the credit titles Secretary. were eliminated from the print of "The Making of O'Malley," another First National produc- tion. Hence it will be seen that the situation Fall Meeting of S. M. P. E. to Be affects cinematographer but all not only the Held in October at Roscoe, N. Y. those who are ordinary given credit in the credit titles. In both of the productions enum- The fall meeting of the Society of Motion erated in the foregoing, the blame cannot be Picture Engineers will be held at Lakewood laid at the door of First National, the produc- Farms Inn, New York, October 5th, 6th, 7th ers, as they have consistently included credit and 8th. titles on their productions. A number of important subjects are to That there is little consistency to the argu- be included on the program. ment that the titles are cut out for the purpose of saving valuable time on the program is in- dicated by the fact that, in the Portland in- Schurman in Hollywood from East; stance, a locally* made picture, 800 feet in Offices Removed to Larger Plant length and showing the Elks' parade, carried full credit titles and was given repeated ex- Ferdinand Schurman, president of the hibitions. Fish-Schurman Corporation, sole distributors of Goerz Raw Stock, is in Hollywood A copy of the letter sent by the A. S. C. from New York City. to the producers follows: Mr. Fred Beetson, Secretary, The organization's Hollywood offices were recently Motion Picture Producers & Distributors removed to an enlarged fireproof plant at 1050 of America, Inc., Cahuenga Avenue, near Santa Monica Boulevard. 6912 Hollywood Blvd., Hollywood, California. Dear Mr. Beetson: John M. Nickolaus has been re-signed by For some time past our attention has been Louis B. Mayer as superintendent of the lab- called to what seems to be a practice among a oratory at the Metro-Goldwyn-Mayer Studios. great many theater executives of cutting titles Nickolaus has occupied the position of su- from the pictures they exhibit. The latest in- perintendent of the laboratory with Metro- stance of prominence that we have had pointed Goldwyn-Mayer for the past year. His new con- out to us occurred at the Mark Strand Theater, tract covers the period of another twelve New York City, during the week of July 7th, months. Six AMERICAN- CINEMATOCxRAPHER August, 1926 Eastman Announces Neu> Model of Cine-Kodak Latest Creation Practically of Daylight Loading. Film in 50 Pocket Size. Designed for or 100 ft. Lengths. Electric Amateurs. Spring Driven. Models Continued. Above— Interior view showing threading apparatus oj new Cine-Kodak. The take-up reel fits over the shaft shown in the right half of the illustration. The supply roll is placed in similar position beside the motor, beyond the partition. Left —Illustrating comparative sizes oj new Cine-Kodak and 3-A Kodak folded. Announcement is made by the Eastman Wide Angle Lens Kodak Company of the development of a new The lens is an f. 6.5 especially designed for model Cine-Kodak, practically of pocket size, this camera. It has a focal length of only 20 and as simple to load, hold and operate, as an mm (less than 1 inch) which gives a broad ordinary Kodak. the price considerably With angle and permits the photographing of large less than $100, amateur motion picture taking objects at relatively close range. "Close-ups" should now take on the popularity of Kodak can be made at 4 ft. and distant views can fol- snapshooting, officials Eastman predict. low with no focusing adjustment. Electric Models Still in Vogue The weight is given at 5 pounds when While the more serious worker has the loaded; size, 8 13-16 inches long by 5 9-16 present electrically driven Cine-Kodak designed inches high and 3 1-16 inches wide. It can be quickly as Kodak, for him, the new more compact model is planned brought into action as any to appeal to the world of amateurs at large. it is stated, and a tripod is not necessary. This latest achievement is a practical mo- Indicators tion picture camera reduced to the compactness Indicators on the outside of the camera and simplicity of operation of the Kodak. It are convenient helps to the operator. An ex- has genuine leather covering, has the appear- posure guide on the diaphraghm scale shows ance and is about the size of a 3A Kodak closed. Which of the four stops to use under various Daylight Loading conditions. A footage indicator automatically unexposed film are left It takes ordinary Cine-Kodak film (16 mm tells how many feet of in wide) in 50 or 100 ft. lengths, is daylight load- the camera. ing and spring driven. The film is made revers- Loading ible, that is, through a special process the nega- The film reels are opposite each other and tive is reversed to a positive and the film ac- may be loaded in daylight. Rapid threading tually exposed in used for projection. This is a part of the camera scheme. Pull-down eliminates cost of additional film and printing. claws in the gate automatically adjust them- The price of the film also covers the cost selves to the perforations in the film. The guide of finishing at any one of the Eastman labora- bar is at an agle, allowing the film to be wound tories. No tripod is necessary. This new model on the reel without danger of jamming or of is held at waist level, the subject found in the loose-winding. Studs in the door prevent clos- view finder and by pressing a spring twenty feet ing the camera if the loading of the film has of film may be exposed without rewinding. not been correctly done. Steady spring tension provides for evenness of The curved gate holds the film accurately exposure. (Continued on Page 15) August, 1925 AMERICAN C1NEMATOGRAPHER Seven IDhen Professional Skill's A Prerequisite Amateur at Overwhelming Overestimating Wrong Per- Disadvantage in Bucking son's Ability Robs Outside Film Problems in Wilds World of Valuable Records rHOUSANDS of dollars are spent on outfitting expeditions for penetration into the jungles and for exploration trips generally, with the idea to bring back priceless results for museum and other educational uses. Sadley but truly, it has been the case that the means whereby such results are to be recorded—namely, through cinematography and photography have been entrusted to the hands of rank amateurs. Great Task not deny, if he is sincere, that With Stanley in the results, if any, that he ob- It is not to be said that the tained would have been far amateur explorer cannot be Africa more complete and compre- successful for some of the hensive if the elaborate, or otherwise, equipment, most successful of such can- had What would we not been in the care and operation not be classified as profes- give for a cinemato- of a man whose business it is sionals at the game. But when graphic record of the to know their use. Experi- enced the matter of photography and Lewis and Clark expedi- men like Herford Tynes cinematography especially 1 Cowling, who has been buck- — tion; Stanley s adven- of ing primitive the is conditions for latter— involved, the tures in Africa; and so years—whose life's work is to chances, in out-of-way places, on down the line? Un- bring the outer world photo- are so decisively against the fortunately, those men graphic records from the jun- unskilled or unlearned man gles lived before the age of —realize, with all of their that it is vast knowledge unfair to expect him cinematography. and seasons at to effectually cope with the re- the camera, how great are the The twentieth century odds against even the sponsibility of preserving for weath- explorer—he has all the ered man who hazards to deal posterity the results of the wonders of the science with the hair-trigger shooting trip, gigantic that it may be. at his command! But— among the wild life. Then In fact, in most instances he there is always the element of does he always utilize it does not preserve such, and, holding intact from spoilation intelligently? as for the outside world, which what results have been gotten, etc., etc. Small wonder, there- has been regaled with widely fore, that the amateur usually disseminated publicity as to in surmounting the cinemato- returns virtually empty- the jaunt, it graphic difficulties of the jun- usually must be handed ! content with further printed gles. He may have the where- accounts of what the expedi- withal, through family or If the twentieth-century ex- tion did and saw when it otherwise, to purchase the plorer would have himself finally treks homeward. most expensive camera and viewed in the light of some- equipment; he may even ap- thing of a public benefactor, ply himself to the hurried at- then let him use No Place for Ping-Pong reasonable tempt of mastering their use methods for allowing the pub- How different it would be if before the expedition finally lic to benefit, visually or edu- these vivid happenings were embarks; but once he is out cationally, from the explora- efficiently captured on motion in the field away from guiding tions. If the pseudo-knight of picture film, whereby the hands, he must depend on his the camera has his heart set world at large could forever own resources and knowledge on roughing it in the wilds, thrill at the chances that the of the profession, no matter then let him start by wrestling valiant explorers took! But how thorough or fool-proof his tripods and carrying cases—so because Algernon is a crack outfit may be. that the expert who under- snapshot artist with his ama- stands his photography and teur camera and produces pic- Expensive Experience cinematography may have all tures that please all of his the more time to bring the de- playmates and playboys at The chances are that he tails and highlights vividly be- home does not make him adept learns this—too late. He will fore the civilized world! Eight AMERICAN CINEMATOGRAPHER August, 192£ Marked Interest Manifested in A. S. C. Annual Work to Create and Occupy Extensive Plans Being Exe- Unique Place in Cinemato- cuted to Provide Great Run of graphic Quarters. Material for Issue. 3% TO ADVANCE in price or extra charge will be made for the American Society of 7 Y Cinematographers annual of cinematography, the A. S. C. Board of Governors announces in reply to numerous inquiries on the subject. Instead, the annual will be presented as a part of the regular subscription price to the subscribers of the American Cinematographer , and will be issued in com bination with the regular October number of this publication. As heretofore announced, "In the case of motion pic- tures the league apparently the work will be the first of Explain Mistake feels that it may come out its kind essayed. Current In Film's Credit openly in attempting to put plans call for the incorpora- motion pictures to work for the An error on the part of an its inval- promulgation of its ideas tion within pages of assistant in the publicity de- and uable statistical data, and of partment resulted in the credit ideals. This might be a good of the photographing of Cecil thing or a bad thing for the material of use to all those in- Mille's "The Ten Com B. De peoples of the world, but to terested in cinematography, mandments" being given to a second cinematographer instead persons identified with the mo- directly or indirectly. of to Bert Glennon, A. S. C, tion picture industry it is in- chief cinematographer on the teresting to note this develop- according to letters Wide Circulation production, ment which sheds light on the received by Glennon from Bar- In carrying out the plans for rett Kiesling, De Mire's d. rector thought of the powers of the of publicity, and by the Amer- league with respect to the the annual, the American So- uses ican Society of Cinematograph- to which the motion picture De Mille executive ciety of Cinematographers be- ers from the may be devoted. offices. Two of the publications it is creating lieves that and the :tem appeared in which 'It is proper that the mo- a definite contribu- have already published correc- fulfilling tion picture should be consid- tions. tion in its field of endeavor. ered in the same light as the The annual is to be given an newspaper as a great popular extra wide circulation among CTHe Leaque and method of expression. Parti- sans may point to the greater motion picture and other news- o{ Films Control effectiveness of the motion pic- editors throughout the paper ture in disseminating certain country, thus providing an in- Concerning steps taken by kinds of information and ideas, structive medium of bringing but any fair observer must the League of Nations for to their attention, and ulti- agree that the motion picture, as an organ for influencing mately to that of their readers the regulation of motion pic- public thought, is entitled to in many instances, the mes- tures, Martin Quigley, pub- rank with the press. sages of those interested in the lisher of "Exhibitors' Her- cinematographic art. "There is- little doubt that ald," says as follows: were such a request addressed Under One Head to the press of the world and "The secretary-general of to the various governments A great heap of data has al- ready been assembled for the the League of Nations has is- with respect to newspapers as annual, and by the time that sued a request to all leading has been issued with reference to motion pictures, the request the number comes off the governments that information would be summarily dismissed press, information of an un- be supplied concerning the sys- precedented unusual nature on the grounds that its fulfill- tem of regulating motion pic- might lead to a danger- will be assembled under one ment tures in the various ous use of the press for propa- head for the first time. employed ganda purposes. With all of the importance countries. of the figures, however, the "This, doubtlessly, is in line "We believe that the same only instructive, but interest- attitude should be shown to- with the objective of the ing to the readers. To this ex- ward the apparent effort to league to have a hand in the tent news sources in every create an organized motion part of the country are being formulating of public opinion picture propaganda in behalf " utilized. throughout the world. of the League of Nations. . . August. 1925 AMERICAN CINEMATOGRAPHBR Nine Jlnnounce Ilexu Acoustic Triergon Film Bij Q. Pupikofer Given Extensive Trials "Talking Pictures" for Testing on Continent Left—Figure A, illustrating the pro- jector for the new "talking pictures." Above —Figure B, the novel hornless loud speaker, which is placed near or behind the projection screen, and pro- duces the sound that gives the audience the illusion oj the talking and musical film. It is well known that for many years at- the purpose of photographing them on the reel. tempts have been made to solve the problem The latter is then developed and copied and so of the acoustic film by the aid of the gramo- the acoustic film is reproduced. An analogous phone. These efforts, however, did not yield proceeding had to be carried out in the reverse any satisfactory result, in spite of the fact that direction, i. e., light had to be converted into no less a person than Mr. Edison occupied him- electricity and the latter into sound, so that the self with the matter. Apart from the defective same tones issue as are heard by the human reproduction of speech and music by the gramo- ear when making the record. phone, the temporal concordance of picture and The acoustic Triergon Film, popularly sound, i. e., the synchronism, was not obtained. known as the "talking film" is the result of Very often, the artist on the screen had already seven years' work on the part of three inven- closed his lips before the last tones were audi- tors, J. Masselle, H. Vogt and Dr. J. Engl. The ble from the gramophone horn. Tri-Ergon Co., Ltd., Zurich, a Swiss Company The Triergon system does away with the with a paid-up capital of two million Swiss gramophone. The cinematographic picture francs, is the owner of the invention with all the and the phonogram here form an organic unit, patents appertaining thereto. The company both being photographed on the same reel. At manufactures and supplies all the necessary the outset there were considerable technical apparatus. The acoustic films themselves are difficulties experienced in carrying out the made by the licencees of the company and util- Triergon system, seeing that it was intended ized under license. The Universum Film Co., to transform the feeble energy of the sound- Ltd., Berlin (Ufa) recently acquired the license waves into electrical impulses. These electrical for German-speaking countries. The Tri-Ergon impulses had to be transformed into light for (Continued on Page 1 j) Ten AMERICAN C I N E M A T O G R A P H B R August, 1925 The EDITORS' LENS < focused by FOSTER GOSS Credit Titles IJ The old excuse—that the few seconds needed for the running of the credit titles must be utilized because of the press of program time—seems to be definitely exploded. Neither do we believe that the projection of the credit titles bores the audience any more than do some of the management's own "presentations," to make time for which it is claimed that the titles must be cut. •J The withdrawal of the titles, it is sometimes averred, is compen- sated for by the insertion of the accredited names in the theatre program. This in a measure may be true, but the disadvan- tages of program listing in general does not make this a com- plete method of taking care of the credits for the film in ques- tion. Unless the program is compiled so that it is particularly interesting, it is thrown on the floor of the theatre before the patron ever leaves the confines of the house, in the darkness of which he has scarcely had time nor inclination to wrestle with the small-point type in which the names are usually set up. It must be remembered that many advertising authorities doubt the efficacy of film theatre program advertising because there usually is not enough light sustained for a sufficiently long period to permit the thorough reading of the program. We do not necessarily object to the program listing; in fact, we like to see it as long as it carries correct information and is auxiliary to, but does not supersede the titles in the print itself. August, 1925 AMERICAN C I N E M A T O G R A P H E R Eleven All in all, credit titles should not be cut, if only in plain justice to the people whose efforts are accredited thereon. Cfhank l]ou 1 •I We will not dispute the 'fact with the News writer that in the larger and more favored Eastern houses projection facilities may be such as to give little ground for complaint ; on the other hand we do not believe that our contemporary will dispute the fact that projection facilities are far from being ideal generally, and that one of the most important ways in which to bring about this ideal stage is the closest possible working co-operation be- tween projection and cinematography. We might point out that if these conditions were ideal, a thorough organization like Famous Players-Lasky wouldn't keep a man of the calibre of Earl J. Denison continuously in the field for the purpose of con- stantly improving projection throughout the country. ^ In his advertising messages in the Saturday Evening Post on the Universal "White List" of productions, Carl Laemmle feat- ures the importance of the cinematographer along with direc- tors and players in the making of these pictures. Mr. Laemmle's initiative is well taken, and, we trust, worthy of emulation in other quarters. Twelve AMERICAN CINEMATOGRAPIIE R August, l!i2"! IDai} Cleared for Impressed by A. S. C. Member's Showing as Director, Schenck to Direct Qaudio Withdraws Claims on Services. Gaetano Gaudio's contract come about an interchang- as chief cinematographer for ability of the directorial and Norma Talmadge productions the cinematographic profes- sions has been waived by Joseph for those cinematograph- ers who have become success- M. Schenck, who, impressed ful directors. This fact was by the showing Gaudio has accentuated in the case of made as a director in his first "The Lost World" wherein two productions, has cleared First National, in producing the Watterson R. Rothacker the field for what promises to presentation, made induce- be a brilliant directorial career ments attractive enough to for the camera veteran. temporarily lure Fred W. Schenck volunteered to fore- Jackman from his successful go his claim to Gaudio's future directorial career to supervise services so that the latter could the filming of the intricate take advantage of more lucra- phases of the Doyle vehicle. tive connections that have As soon as Jackman, who, like come his way as the result of Gaudio, is a former president his successful venture as a of the A. S. C, finished his director. work on "The Lost World," he immediately resumed Valued Aide mand, as evinced by the fact direc- tion. That he is that during some of the a master Gaudio has been one of of the directorial-cinematog- lengthy periods "between pic- Schenck's most valued aides raphic change of tures" on Talmadge vehicles, pace is in- for the past five years, having arrangements were made dicated by the fact that he served as chief cinematog- stepped from whereby he was "farmed out" one masterpiece rapher on the foremost Norma into another, for to other large producers, he it was "Black Talmadge productions, includ- Cyclone" having thus photographed that he began direct- ing "The Eternal Flame," ing after he had John M. Stahl's "Husbands completed the "Secrets," "The Lady" and First National production. "Graustark." and Lovers," Corrine Griffith's "Declasse" and Maiton Davies In Demand in "Adam and Eva." He went First Two from Hollywood to New York When it became known that to make the latter, and re- Gaudio has just finished the the A. S. C. member was no direction turned to resume his connec- of his second Wal- longer bound as chief cinema- tion with Talmadge produc- dorf production, "Sealed tographer on productions star- Lips," the cast tions on its completion. of which was ring Noma Talmadge, a singu- headed by Dorothy Revier, the lar situation arose wherein Waldorf star, and also in- Gaudio's services said to Director-Cinematographer are Cullen Landis. His first pro- have been bid for by otTier pro- Judging from recent devel- eluded Lincoln Stedman and ducers for the camera work opments, there seems to have duction was "The Price of Suc- on their own productions, in cess," the cast numbering spite of the fact that, as the Alice Lake, Florence Turner, result of the success of his Gaston Glass and Lee Shum- efforts as a director in his first International way. two features, Gaudio has had numerous directorial proffers Compiles Film of Filmed by Landers to come in his direction. In the past, because of the perma- Decade's Thrills Sam Landers, A. S. C, nency of his connection with photographed both produc- International News Service, it the Schenck organization, Gau- tions. is reported, is compiling a "fea- Outside of the remain- dio's cinematographic work ture" of all the important and ing few already contracted was confined to Talmadge pic- thrilling shots taken by cinema- for, Gaudio's two productions tographers the service during tures, but as soon as he was of completed the Walttorf pro- the past ten years. As will be no longer under contract his noted, this period extends well gram for the coming year, the services were in demand in back into that of the recent A. S. C. member, although ad- other sources. war, and should bring an im- hering to a daylight working portant cinematographic com- schedule, having finished The A. S. C. member has al- pilation before the public. both ways been strenuously in de- ahead of time. August. 1 9 2 r» AMERICAN CINEMATOGRAPHER Thirteen H. Lyman Broening, A. S. C, has finished Faxon Dean, A. S. C, has been chosen to filming "The Girl Who Wouldn't Work," a film the Paramount production of Conrad's B. P. Schulberg production. The cast included "Lord Jim," which Victor Fleming will direct. Lionel Barrymore, Lillyan Tashman, Henry * * * # Walthall, Marguerite De La Motte and Forrest Charles G. Clarke, A. S. C, is photograph- Stanley. ing the current George Melford production at * * # the Hollywood studios. ¥ * T * John W. Boyle, A. S. C, is still hard at work on the cinematography of "Vienesse Med- Ernest Haller, A. S. C, has left for New ley," the June Mathis First National production York City for the filming of a Robert Kane pro- which is being directed by Curt Rehfeld. duction to be made there. * * * * * * * * Robert Kurrle, A. S. C, has concluded the Bert Glennon, A. S. C, is photographing filming of "The Sea Woman," an Edwin Carewe of Night," a Paramount production "Flower production for First National. starring Pola Negri and directed by Paul Bern. 9|E Jjc ijc s)c * * * * Reginald Lyons, A. S. C, has finished L. Guy Wilky, A. S. C, is filming William shooting ' A Man, Four Square," a Fox produc- C. de Mille's latest Paramount production, "New tion starring Buck Jones. Brooms." * # # # * * * * George Meehan, A. S. C, has shot the final Henry Sharp, A. S. C, is ready to shoot scenes on the latest Waldorf production di- Douglas Fairbanks' next feature, 'The Black rected by Frank Strayer. Pirate." Sharp has been making preparations * * * # and selecting locations for some time. Jackson J. Rose, A. S. C, is filming "The * * * * Midnight Sun," a Universal production directed Charles Rosher, A. S. C, has begun the by Dimitri Buchowetzski. filming of "Scraps," Mary Pickford's next pro- duction. William Beaudine will again direct. Charles Van Enger, A. S. C, is making preparations for the photographing of Ernst Rollie Totheroh, A. S. C, is being lauded Lubitsch's production of "Lady Windemere's for his cinematography in "The Gold Rush," the Fan" for Warner Bros. * $ $ Charlie Chaplin production which is being given its premiere engagement at the Grauman Egyp- J. D. Jennings, A. S. C, is filming "The tian theatre in Hollywood. Lone Eagle," an United Artists production star- * * * ring Rudolph Valentino and directed by Clar- Gilbert Warrenton, A. S. C, has completed ence Brown. the cinematography on "The Last Edition," an * * * * Emory Johnson production. E. B. DuPar, A. S. C, has been putting in hot days on the desert filming a Warner Bros, Norbert F. Brodin, A. S. C, camera genius production starring Rin-Tin-Tin and directed by on Frank Lloyd productions, is enjoying his first Noel Smith, the cast numbering June Marlowe, vacation in many moons. Charles Farrell, Bill Walling and Pat Hartigan. It wasn't the 130 degrees heat that bothered Joseph Brotherton, A. S. C, has returned Du Par so much as it was the necessity of his to Hollywood from a lengthy location trip out remaining away from his home in Los Angeles, of the city. for, be it known, the A. S. C. member became * * * * the father of a nine-pound baby girl on July Dan Clark, A. S. C, has left for a location 14th. To make matters worse, none of the journey in various points in the West for the members of the cast of the picture being photo- filming of the latest Fox production starring graphed by Du Par would deign, because of the desert, to light Tom Mix. Emmett Flynn is directing. intense heat of the up and smoke * * * * the cigars he so proudly proffered them. * * * * Frank B. Good, A. S. C, has concluded preparations for the filming of the next Jackie E. Burton Steene, A. S. C, Akeley special- film Coogan production, "Old Clothes," which will ist, was retained by Warner Bros, to extra be made at the Metro-Goldwyn-Mayer studios, shots in the Rin-Tin-Tin vehicle on which Du Culver City. Edward Cline will direct. Par is chief cinematographer. Fourteen AMERICAN CINE MATOGRAP HER August, 1925 Known Quality In the art of picture production film dependability is obviously essen- tial. The expense of preparing and rehearsing a single scene is too great to permit running risk of inferior re- sults, or perhaps failure. Such a situation clearly calls for Eastman Negative Film. Its unrivaled dependability is a known quality. Eastman Film is identified by the words "Eastman" and "Kodak" in black letters in the film margin. EASTMAN KODAK COMPANY ROCHESTER, N. Y. : August, 1925 AMERICAN OINEMATOGRAPHER Fifteen Eastman Announces New Model of Cine-Kodak I i i ( tontinued from 'age 6 in focal plane without danger of abrasion or scratching and also eliminates the necessity of frequently cleaning the gate. GOERZ Operator May Take Own Picture NEGATIVE RAW STOCK The exposure lever may be locked in oper- IS THE RAGE OF THE ating position so that the operator may place the camera on a firm support and include himself NORTH POLE in the action of the picture. Both Arctic Expeditions Same Stock ROALD AMUNDSEN model uses the same film as As this new and the original Cine-Kodak no duplication of stock on the dealers' shelves is necessary. It is 16 DONALD B. MacMILLAN mm wide, of safety stock, and instead of the usual printing operation, the negative, through are carrying it exclusively. a special process, is reversed to a positive so that the identical strip of film that was used for ex- •8? posure is used for projection as well. The company announces that while it is Sole Distributors not in position to fill immediate orders, plans are well under way to begin deliveries toward Fish-Schurman Corporation the end of the present month and to produce in quantities in mid-autumn. 45 West 45th Street New York City New "Talking Pictures'' 1050 Cahuenga Avenue (Continued from Page !)) Los Angeles, Cal. Co. have retained all rights for other countries, and is represented in New York by F. A. Schroeder. Although the older arts of telephony and photography had already given birth to a num- ber of valuable apparatus, such as micro- Gets Shots that You phones, electric amplifiers, loud speakers, etc., Couldn't Get at it was gradually found that the existing appar- atus were insufficient for the talking film. all Without it Hence a large number of special technical problems had to be solved anew. Large sums of money, considerable inventive and technical skill and valuable time were expended with this object. use the Ultrastigmat Before treating this path of development a great deal in commercial work, as more closely I should like in this place to men- I find that I can make inter- of the practical commercial results iors with it that would require lights with- tion some out it, and get outdoor shots on bad days that of the Triergon system, as they throw more I could not get without it." light on the degree of perfection attained by (Signed) QUINCY PEACOCK. 1011 Market St., Jacksonville, Fla. this system than any technical explanations can Write for Folder do. In order to demonstrate the technical re- liability of the apparatus, their convenience Gundlach-Manhattan Optical Co. when traveling, the quality of their representa- 900 Clinton Street ROCHESTER, N. Y. tions and their power of attracting the public, a tour was organized last winter in the Rhine- land at the request of several parties. The ap- paratus No. 18 traveled with a film program of 2000 meters the towns of Cologne, Dusseldorf, WANTED Duisberg, Heme, Aachen, Solingen, Bonn, Munich, Rheydt, Oberhausen, Krafeld, etc. Bell Howell Camera complete. Will These exhibitions continued from November 7th to February 19th, and the results before the pay cash. Write Bert Glennon, A. S. C. (Continued on Page 18) ) Sixteen AMERICAN CINEMATOGRAPHER August, 1923 Static Markings on Motion Picture Film Data as to their Nature, Bij J. I. Crabtree From Transactions, Society Cause, and Methods of and C. E. lues of Motion Picture , (Research Laboratory _ . ,-•„ Prevention. > Kodak company.) Engineers. issue, in which romplete illustrations (Continued from July formation of moisture spots the film is appea red. when stored. 11 Since a certain lapse of time is neces- 8. Electrification of negative film in the sary for moisture to affect the emulsion, it is cutting room. possible to humidify film immediately previous to or during processing to an extent which film Since electrified has a powerful at- would be dangerous if the film was to be sub- traction for dust particles, it is important to sequently stored. maintain a fairly high humidity in the cutting room in order to minimize the propensity of 3. By humidifying the air in the printing the electrified film to attract dust. Such hu- room. midification also tends to prevent printer static. If the printers were always in perfect ad- J,. Printer static. justment and not run at too high a speed, a higher relative humidity than 75'/ at 70" to The largest proportion of static markings 75"F. would not be necessary in the printing encountered in the laboratory are produced room. In order to care of excessive during printing, and especially with step print- take the friction to which the film is liable to be sub- ers. Static is rarely encountered with all-metal if printers it continuous printers. jected the get out of adjustment is advisable to maintain the relative In a step printer the film is subjected to humidity 70" excessive friction during the pull-down move- at from 80% to 90% at to 75"F. At such ment, especially with shrunken negatives. a high relative humidity the air feels uncom- forably cool to Static markings may, however, be prevented: the worker at temperatures be- low 68"F. and oppressively warm above 75°F. 1 . By avoiding friction. The exact relative humidity to be main- All sprockets should be of correct dimen- tained depends on the particular machines sions and in alignment with the take-up roll. used, the condition of the film, the temperature of air, time during is If the sprocket teeth are staggered, or if the the and which the film exposed to the air before it is subjected to take-up roll is in malalignment, excessive ten- friction. The higher the temperature the low- sion is exerted on one edge of the film. Too much tension should also be avoided at the er is the relative humidity necessary to over- come a given tendency for static. take-up roll, while the loops should be adjust- ed to prevent any possibility of the film rub- Usually the film is exposed to the air for bing against itself or any part of the machine. only a few seconds before reaching the printer The printer should also be correctly gate. This period may be prolonged by loop- "timed," that is, the pressure plate should be ing the film over several idler rollers before it released before the pull-down movement com- reaches the gate. Such a procedure, however, mences and should not return in place before is usually unnecessary if the negative is humidi- the filn^comes to rest. Although glass is not an fied as described below. ideal material for pressure plate construction Methods of humidifying the air supply in view of its nonconductivity, metal plates are have been fully described in a previous com- 4 unsatisfactory where a transparent plate is munication. Since the air in the printing room otherwise desired, while glass produces a mini- is at a higher relative humidity than that in mum of scratches on the film. The pressure any other room, it is necessary to boost the plate should be renewed whenever the surface humidity of the air supply locally, and this can becomes roughened. be readily accomplished either by means of water spray jets or steam jets. A series of 2. By humidifying the film. water spray jets operated by compressed air When motion picture positive film leaves and inserted in the air line serve to immediately the factory it is in equilibrium with an atmos- change the relative humidity and have the ad- phere of 70 to 75% relative humidity, but if vantage of cooling the air in hot weather. In the laboratory conditions are favorable for the winter both steam and water sprays are often production of static markings the quantity of necessary. moisture which the raw film contains is not suf- 3. "A Study of the Markings on Motion Picture Film Pro- ficient to positively insure the absence of duced by Drops of Water, Condensed Water Vapor and Abnormal Drying Conditions," by J. I. Crabtree and G. E. Matthews, Trans. static during processing. It would be dan- Soc. M. P. Eng., Vol. 17, p. 29. American Cinematographer, gerous, however, to humidify the film further January, 1925, p. 12. 4. "The Development of M. P. Film by the Reel and Tank during manufacture, owing to the danger of the Syatems," by J. I. Crabtree, Trans. Soc. M. P. Eng., Vol. 16, p. 10 3. August, 1925 AMERICAN CINE MATOGRAPHER Seventeen 4.. By humidifying the negative previous to printing. One contributing factor jn the production of printer static is the friction between the gel- atine surface of the negative and the emulsion side of the positive film in the gate, and es- pecially during the pull-down period with old, dried out, shrunken negative. This can be largely overcome by humidifying the negative previous to printing by rewinding slowly two or three times in an atmosphere of 80% rela- tive humidity, or by treating the emulsion side of the film with a solution of grain alcohol containing 10% to 20% water. Treatment of the film with this solution would insure that it and would not attract dust in the cutting room, F2. F 2.5 while it would assist in the prevention of static markings on positive film in the printer. ^ Dangers of Over-Humidifying Motion Taylor Hobson Cooke Picture Film. Too much humidification of film is worse Lenses than none at all for the following reasons: Admittedly the finest and most highly cor- a. Moisture spots are liable to be pro- rected anastigmats a.t these enormous work'n.c apertures. Speed with definition —an achieve- duced if drops of water condense on the emul- ment incomparable in the cinematograph leiii sion. :i field of today. b. On winding moist film, the convolu- Focus F 2 F 2.5 1% in $ 79.50 $ 44.00 tions may adhere locally, causing ferrotyping 17 mm 48.00 of the emulsion surface by virtue of being in 2 in 101.00 50.00 :i in 122.50 61.00 contact with the polished base. On rewinding, 4>4 in 1SO.OO 91.00 KiS.OO the local adhesion of the film may cause more ,"V4 in static markings than if the film had not been Prices do not include mounting in regular IS. & II. standard micrometer mounts. humidified in the first place. Also the famous long focus Taylor Hobson c. Moistened film is more susceptible to Cooke Telekinics are now available for cine- thumb prints abrasion than dry matograph work in the sizes from to 20 and marks inches. film. For all around long focus work the 6% inch d. Film which is too moist is apt to stick Series 11 A at $92.00 (not including mount) offers the speediest aperture of F It. 5—combines in the printer and may cause a stoppage, tear- flatness of fie d with perfect color correction. ing of the perforations, or unsteadiness of the Taylor Hobson Cooke Fenses arc all exquisitely picture on the screen. Moist film is also apt to finished and have our unqualified endorsement. buckle, causing lack of contact in the printer with resulting loss of definition. ~rw vw~,„ CHICAGO. Joseph A. Dubray, A. S. C, has finished United States Distributors photographing "The Hidden Way," a Joseph De Grasse production, with a cast including Mary Carr, Tom Santschi, Gloria Grey, Ned Sparks and Arthur Rankin. GRAF F.3 AMERICAN CINEMATOCiKAI'HER. VARIABLE LENSES 1219-20-21-22 Guaranty B ds., For the Essentially Correct «331 Hollywoo.l Blvd., Hollywood, Calif. Proportion of Diffusion Gentlemen: Please find enelosed three dollars (foreign Indispensable on Every Production rates additional), for one year's subscription to the AMERI- 75.00 CAN CINEMATOGKAPHER, to begin with the issue of 50 M. M .$ 75 M. M 75.00 192H 100 M. M 100.00 Now Available for Immediate Delivery Name Address Town M>EjjEJl!UI ~ 1801 L4RCHMONT »VL Chicago. State HSSiSSK (Note: Camera Craft will be sent for a slight addi- tional sum. Consult the clubbing offer.) Exclusive Distributors Eighteen AMERICAN CINEMATOGRAPHER August, 192' (Continued from Page 15) thousands who came to see them confirmed the inventors' faith in the apparatus. First of all a new and properly working Walter J. van Rossem microphone had to be created for making the sound record, the so-called "Kathodophone." 6049 Hollywood Blvd. While microphones heretofore have made their Phone Holly 725 records by mechanical means, such as mem- Commercial Photography branes, carbon grabules, etc., the kathodo- phone obtains perfectly pure sounds, the inven- Siill Developing and Printing tors claim. The kathodophone works on an en- .1 fchWD Cameras —FOR. RENT— Still tirely new principle by which the sound exer- cises a direct influence on the electric current, being conveyed to an iron path which is switched into the electric circuit. As this new The New Iris Combination may be had kind of microphone does not possess any with 4-in. Iris or Sunshade mechanically moved parts the disturbing self- FRED HOEFNER frequencies which can hardly be avoided In the Cinema and Experimental Work case of ordinary microphones are eliminated. 5319 Santa Monica Blvd. (rear) GLadstone 0243 Los Angeles, Cal. The second special task was tiie creation of an electrical amplifier of the same quality as the kathodophone. The difficulty of this task can be gauged by the fact that all the vari- AKELEY SHOTS ous sound frequencies had to be amplified a For the following current productions: hundred thousand fold, whereas, as is known, Paramount's "Mower of the Night," starring Pola Negri, directed by Pan! Bern, photographed by Bert (ilennon, the human ear needs between 5,000 and 20,000 A. S. C. frequencies a second. Warner Brothers' "Hogan's Alley," "Bed Tires," and others. Directed l» Erie Kenton. Photographed by The third stage in the development of the ('has. Van Eager, A. S. C. .Maurice Tourncur's "Sporting Life," new film was the production of the so-called Metro-Goldwyn-Mayer's "The Tower of Lies," with I. on "ultra-frequency lamp," a recording lamp sen- Chaney and Norma Shearer. sitive to sound, which transforms the vibrating Iniyersal's "The Still Alarm." photographed by John St umar, A. S. ('., and other Universal productions. electric current in the rhythm of the arriving Waldorf's 'The Price of Success," directed by Gaetano (•audio. ( sound-waves into a trembling luminous patch A. s. ., and photographed by Sam Landers, A. S. C. which illuminates the film. The usual sources of light, such as incandescent and arc-lamps, E. Burton Steene Akeley Specialist were found not adaptable for this purpose. Aerial and Special After this preliminary work the pro- Photography F () K K E N X—Akeley, Bell & duction of the picture-sound film record could Howell Cameras. i. all be proceeded with, e., to capture the (are of American Society of (inematographers sounds and tones simultaneously with the pic- 1219-20-21-22 Guaranty Bldg. - - Hollywood, Calif. HEmpstead 1 - - - GRanite 4274 ture being screened. The development of the negatives, too, as well as the copying of the positives, or copies required special study. Fig. A shows the Tri-Ergon projection ap- paratus for talking films. The apparatus pos- TREMONT sesses a contrivance similar to that which has long been used by astro-physicists for deter- FILM LABORATORIES CORP. mining starriness. This photo cell is distin- 1942-4 Jerome Avenue guished by the fact that it immediately reacts on every light impression with an electric im- New York City pulse. In addition the projection apparatus has a graded amplifier which may be seen in SPECIALIZING Fig. A. in The perforation of the acoustic reel is the NEGATIVE DEVELOPING one universally used, so that the apparatus can also project ordinary films. This has a certain FIRST POSITIVE PRINTING advantage when projecting both kinds of film, i. e., "dumb" and "talking" ones, at the same performance. The Tri-Ergon process is advo- cated as offering without further ado the possi- FOR RENT bility of providing any film with suitable accom- Two Bell and Howell Cameras, 40, 50, panying music and thus replacing the expen- 75 mm. lenses, Thalhammer iris. Jean sive kinema orchestras. Instructive films and Trebaol, Jr., 7042 Stilson Street, Palms, the like can also be accomplished by the neces- Calif. Telephone EMpire 8954. sary elucidations in any language. It goes with- August, 1925 AMERICAN CIN KMATOGRAPHER Nineteen out saying, too, that very interesting possibili- ties are thus opened out to advertising. Fig. B shows the novel hornless loud speaker, the 'Statophone," which is placed PYREX near or behind the projection screen, and pur- duces the sound that gives the audience the illusion of the talking and musical film. It is Spotlamp Condensers hardly necessary to point out that this new loud speaker is of considerable importance to acous- ARE tics, especially as a broadcasting loud speaker. GUARANTEED Cinematographers Share Cast's Courageous Acts in Film Making AGAINST BREAKAGE The cinematographer's skill prevents 6-in.—8-in.— 12-in. diameters the taking of many useless chances on the Used by: part of the cast in motion pictures; yet with all this cinematographic adeptness, there is Famous Players-Lasky, a splendid place for courage in the making United. of photoplays. And it may be definitely Metro-Gold wyn-Mayer, take stated that whenever players do First National studios. chances, the cinematographer is there to share such with them, or the thrills would Sole Distributors: never reach the screen. THE LUXALBA COMPANY Apropos of the foregoing is the follow- 111 West 42nd St., New York ing account which appears under the caption of "Fake Stuff/' written by W. D. McCarthy in his department, "Hollywood Week by Week," in Hollywood Magazine, a weekly Just one production community publication: with us Patrons of movie houses in distant cities may some day wonder at the realism of the falls will make you our friend riders in "Western" picture taken by cowboy a for life. that will be released by Fox, little realizing that injuries amounting to tragedy for some of the riders were received in the making of the Roy Davidge Film Laboratories scenes. Last week, near Chatsworth, some twenty-five miles from Hollywood, twenty screen cowboys were being "shot" while riding 6701 Santa Monica Blvd. HOUy 1944 furiously down a narrow trail. A horse stum- bled and fell, throwing his rider heavily. The following horse fell over the first, and the third SCHEIBE'S PHOTO-FILTER SPECIALTIES animal over the other two, before their speed Are now popular from coast to coast, and in could be checked. Harry Woods, Emery Boggs some foreign countries. and W. T. Sherman, the three unfortunate rid- If my many varieties do not always fill the bill, ers, were picked up unconscious and rushed to a tell me your wants and I will make them on special order. Hollywood hospital. At first they were thought Always at your service. to be fatally injured, but last reports state that GEO. H. SCHEIBE all will probably recover. Woods has eight 1636 Lemoyne St. DUnkirk 4975 Los Angeles, Cal. fractured ribs and a broken shoulder. Sherman has two broken shoulders and a broken neck, while the third man escapes with bruises and an SUBSCRIBE FOR THE arm broken in four places. Needless to say, the falls were no part of the director's plan, but American they will doubtless give many a "fan" reason to exclaim, "My, ain't it wonderful how they can fake these scenes?" Cinematoqrapher , Twenty AMERICAN CINRMATOORA P H E R August, 1926 Will Inventive Genius Bring About Motion Pictures by Radio? "Coops" for A writer in the Exhibitors' Trade Re- Proper Lighting view, in which the following article ap- peared, dips into the future and opines that There is no individual thing the seemingly impossible of the present may more necessary to the production be a proven fact in the not distant future: of artistic pictures than the right Concealed in recent news briefs was a kind of light. Every camera man seemingly insignificant item announcing that knows that days given to arrange- one C. Francis Jenkins, an inventor of Wash- of sets are wasted if lights ington, D. C, is going to test his new idea of ment projecting motion pictures over the radio. If are not right when he shoots the successful, this means that one central radio scene. Then retakes are frequent projecting machine can exhibit film productions on several screens simultaneously, including and expensive. private exhibitions in homes. The inventor ap- Hewitts for years pears certain he can make his idea practical. Cooper many Not much attention is paid to the news dis- have met the lighting require- patch. No noise accompanies it. Cynicism pre- ments of leading studios. "Mike" vails among a few producers and exhibitors who Shannon can give you full par- have given the announcement their "once over.'' But— ticulars. Write him today. Is it wise for anyone to place light estimate upon any idea, no matter how trivial or impos- sible it appears today? In this age of rushing progress, many small things today are big to- COOPER HEWITT ELECTRIC CO. morrow. HOBOKEN, NEW JERSEY Henry Ford's animated bicycle was a joke Hollywood Office — 7207 Santa Monica Bldg. on the streets of Detroit for a long while, but KEESE ENGINEERING CO., John T. "Mike" Shannon, Mgr. Henry kept tinkering away at it until it brought him so many millions that he hardly knows how to count his wealth. A kerosene lamp is a small thing, but Mrs. PARIS O'Leary's cow kicked it over and started the fire RENE that burned Chicago. A monkey playing with a mess of rubber ce- GUISSART ment from an overturned can is a trivial matter, BRUSSELS BUDAPEST but it gave to Tony Moss, an Oklahoma electri- % cian, the idea which led him to the successful Atmospheric Shots in Any manufacture of an automobile tire patch which VIENNA Part of Europe GENEVA is now used in every state of the union and in all foreign countries wherever automobiles are known. Taken according Seven years ago, a magazine writer tells to your own in- us, Moss was making $30 a week as an elec- structions in an trical worker. Now he is the millionaire head artistic manner to of a manufacturing company doing a quarter of match the pho- a million dollar's worth of business monthly. MADRID graphy of your pro- duction. The digging of a backyard cellar by a la- borer on Sunday in an Ohio village is an inci- dent most commonplace, yet that backyard hap- OFFICIAL CORRESPONDENT IN ALGIERS pened to be adjacent to a church where a EUROPE FOR: delivering preacher was a sermon on Sabbath American Society nf observation. As the workman's pick struck an Cinematographeri occasional rock, he swore an occasional oath, Frank D. Wtlliams JERUSALEM ETC. and the clicketty-click of his pick threw discord into the church music, and the ever-recurring 118 Avenue des Champs oaths of the cellar digger punctuated the par- son's sermon in places where the rules did not Cable Address: ELYSEES LONDON LOUVERAN DE-PARIS PARIS ETC. call for punctuation. So, this intermingling of Sabbath desecration, and Sabbath sermonizing, — r Twenty-one August, 192. . AMERICAN CINEMATOGRAPHER small enough at the outset, resulted in crystal- lizing public sentiment to such an extent that a crusade for Sunday closing resulted and now that once-open Ohio town is so quiet and so Pur- itanical that traveling salesmen who happen to be there to spend Sunday can't even buy a copy of the city newspaper. And that—anyone who has ever journeyed Ohiowards or Kentucky- wards must admit—is the very extreme in Sun- day closing. So, the animated bicycle in Detroit, the monkey and the cement in Oklahoma, the cow and the kerosene lamp in Chicago, and the cel- lar digger in Ohio—they all started something. Radio photographs have already crossed the sea. Radio pictures are now being flashed across the country by police departments and Among the many useful articles for the newspapers. which man craves possession, there is invaria- If a "still" can be made to appear by wire- bly the product of one particular manufacturer, less, is it not within the range of possibility to animate such picture? which dominates all others. If that Washington inventor's idea is de- From pipes to motor cars, from veloped into a reality, if he succeeds in project- ing pictures upon screens at a distance, if he chewing gum to pianos---whatever the article thus brings about a picture show into private may be--there is always one distinctive product, homes—what then? that is recognized as the besL, Where would the exhibitor come in with his playhouse? What would producers do with Few commodities dominate their their pictures? What would stars do with field for general excellence, for outstanding small salaries? superiority over all others, to such a marked of the proposed plan is The idea back degree, as do the products of Carl Zeiss, Jena, scoffed today because it is too small to receive creators of the celebrated Tessar lens. notice. But The old adage, "Large oaks from little acorns grow" still holds good. It doesn't pay to despise, to ignore, to condemn small things today, for tomorrow they may be great. E. Burton Steene, A. S. C, Has Busy Akeley Camera Month /Harold 07c. 03enncf/ U.S. dgcnf E. Burton Steene, A. S. C, Akeley camera specialist, has had a month overcrowded with activity for his Akeley, and Bell and Howell cameras. Steene has been called in on Paramount's "Flower of the Night," starring Pola Negri, directed by Paul Bern and photographed by Bert Glennon, A. S. C. ; Warner Brothers' "Ho- gan's Alley" and 'Red Hot Tires," the latter A NEW LENS starring Monte Blue, directed by Erie Kenton "That has made good" and photographed by Charles Van Enger, Large aperture F:2.3. To a large extent responsi- ble for the Bas-relief, or solid appearance of the A. S. C; Maurice Tourneur's "Sporting Life"; subject on the screen. Good definition over the entire field, yet not harsh Metro-Goldwyn-Mayer's "The Tower of Lies" or wiry. with Lon Chaney and Norma Shearer; Univer- A portrait lens in short focal lengths 40mm, SOmm, 75mm, with full closing: diaphragm. sal^ "The Still Alarm," photographed by John I'riee is reasonable 40mm $50 00 Stumar, S. ; A. C. Waldorf's "The Prince of Suc- SOmm 50.00 cess," directed by Gaetano Gaudio, A. S. C, 75mm 55. OO A trial will be satisfying photographed by Sam Landers, A. S. C, with a cast including Alice Lake, Florence ASTRO-GESELLSCHAFT, mbh., Berlin Turner, Lee FOR SALE BY Shumway and Gaston Glass; as well as other MITCHELL CAMERA CORPORATION Universal, Warner Brothers productions and 6025 Santa Monica Blvd. - - Los Angeles, Calif. features at the Fine Arts studios. Twenty-two AMERICAN C I N E M A T O G RAPI1 R R August, 1925 Ambiguous Advertising Scored by National Vigilance Committee The following bulletin from the Na- tional Vigilance Committee of the Associ- ated Advertising Clubs of the World throws an entertaining light on truthful represen- tations as to motion pictures : The motion picture exhibitor whose pa- trons are partial to westerns is confronted with a curious trade development. Tom Mix has de- veloped, over a period of several years, a con- siderable stellar reputation in this field. Re- cently there appeared on the horizon a produc- ing unit styled "Art Mix Productions," also making westerns with a principal actor, cos- The Bausch & Lomb Ultra tumed as Tom Mix usually appears on the Rapid Anastigmat is <• // screen, riding a horse which, by many who do 7. lens. This not only is not know horseflesh intimately, might easily be f:2. its rated speed— it is the mistaken for Tony. Now comes the "William (Bill) Mix Productions," also producing west- speed at which it actually erns. Who's next? Shall we have "Richard per/onus. (Dick) Mix Productions" and "Henry (Harry) Mix Prodctions" also? Bausch &f Lomb Optical Co. Apparently it isn't necessary to act to get into this game. Such conscientious stars as G. Nen.v York San Francisco Washington Chicago M. Anderson, William S. Hart, Tom Mix, and Boston Rochester. N. Y. London Hoot Gibson seem to have labored quite unnec- essarily. All that is needed, judging from these ventures, is a last name identical with that of a star who has already created a reputation. In the Art Mix Productions a hard-riding lad named Kesterson does the heavy work and draws the small type while the name of Art Mix looms with stellar prominence. In the William (Bill) Mix Productions, one Dick Car- ter, not William (Bill) Mix, occupies the prin- cipal saddle, only to have his name subordin- CRECO ated in the advertising. None of these produc- ing Mix's, according to Tom Mix, are near enough relatives to be known to him. The experienced exhibitor knows that these pictures, like any other westerns, must succeed or fail on their own merits. He knows that all this "Mixing" cannot put across west- erns which would not go over just as well under FOR RENT! MITCHELL and BELL any other name; and that if the public be led & HOWELL to believe by such advertising that these are CAMERAS of Mix's Tom Mix pictures, or that any these F 2. 3. - F. 2. 7. - F. 3. 5. Lenses are related to, or like, Tom Mix, that the ex- 40-50-75 M. M. hibitor who screens them will be the goat. He COMPLETE EQUIPMENT knows that theatre patrons' opinion of such ad- J. R. LOCKWOOD vertising is analogous to his own irritation at 523 North Orange St. advertisements of "M. F. Waterman Fountain Phone Glendale 3361 W Glendale, California Pens," "Art Hoover Suction Sweepers," or "William (Bill) Underwood Typewriters." Knowing the importance of good will in Cinema Studios Supply Corp. the successful operation of a picture theatre, as 1438 Beachwood Drive in all other business, the intelligent exhibitor is HOIIy 0819 less interested in the recent injunctions of the LIGHTING EQUIPMENT FOR RENT Superior Court for the County of Los Angeles L. A. FIRE DEPARTMENT against the advertising methods of the Art Mix WIND MACHINES Water Engine Company and the Bill Mix Company than in the August, 1925 AMERICAN CINEMATOGRAPHER Twenty-three Requests for special position advertisements in the A. S. C. Annual of Cinematography are being honored in the order in which they are received. importance of convincing his patrons that they fornia Court which enjoined the imitators of will find upon his screen only and exactly what this popular western star is further assisting his lobby display heralds and newspaper copy them to retain the confidence of their patrons lead them to expect. by fining in a contempt proceeding the Art Mix Company and its manager for a violation of the A recent decree by the U. S. District Court decree. for the Southern District of California deals so vigorously with the advertising of the William (Bill) Mix Productions, however, that a mo- Coolidge Gives Congratulations mentary consideration of some of its features to Hays on "Greater Movie Season" is worth while. After providing specifically and exactly how posters, placards, screen titles and billboard paper, shall be worded "and not In a letter to Will H. Hays, Presideyit otherwise," it further provides that the name of the film advertised shall be three times the size Coolidge emphasizes the "real public value" of the words "William (Bill) Mix Productions, of "Greater Movie Season" now in progress Inc." and the name of the feature performer, if throughout the States. any, shall be twice the size, size being applied United His letter not only as to height of type, but also as to con- follows : sistency, thickness, boldness and prominence. 'My attention has been called to the fact Defendant is further ordered to label all photo- graphs of a male performer featured in such that you are taking the twenty-ninth anniver- exploitation with his own name in readable sary of the moving picture industry as an occa- type. If any of the old advertising material of sion to inaugurate a 'Greater Movie Season' this defendant is to be employed, it shall im- be campaign. Such a movement to emphasize the printed prominently with the words "not con- desirability of worthy motion pictures will be nected with any other producer or performer of similar name." The attitude of the Federal of real public value. The progress that has Court is based upon the reputation of the com- been made both in education and entertainment mon law. It also reflects what every intelligent in this tremendous enterprise is an outstanding exhibitor to be knows the public interest. achievement of the opening years of this cen- Exhibitors of Tom Mix pictures will be in- tury. I congratulate you and wish you a con- terested in knowing, moreover, that the Cali- tinuation of your success." Twenty four A M B R I C'A N CINEMA TOOR A P H E R August, 1925 A. S. C. Chooses Frank M. Cotner and Ernest J. Crockett as Members Frank M. Cotner and Ernest J. Crockett have been chosen for membership in the Ameri- What an Offer! can Society of Cinematographers, according to an announcement from the A. S. C. Board of Governors. For a Clubbing Rate Crockett Crockett has been a cinematographer for the past eight years, and for two years and a half he has been in charge of the photographic department at the Mack Sennett studios. Crockett's name has been on every Mack Sen- Observe the Following: nett picture for the last thirty months, he hav- ing made all of the chases, trick and special photography. For four years during the early American part of his career, Crockett worked under the Cinematographer $3.00 per year tutelage of Fred W. Jackman, who long was Craft 1.50 per year chief cinematographer at the Sennett studios. Camera Thrills Crockett is at present filming a Sennett Total for both 4.50 per year comedy directed by Del Lord^with Billie Bevan and Madelaine Hurlock. This latest Sennett production is no exception in Crockett's experi- But to those who take ences for, as usual, it carries thrills galore for the cinematographer, including a couple of run- advantage of this spe- aways with horses, several hours of aerial work for special balloon sequences as well as work- cial clubbing offer, ing among a "herd" of lions at the Gay farm near Los Angeles. both magazines will be Cotner sent to them for Cotner is widely experienced as a cine- matographer, having numerous stellar features to his credit. For 1924-5, the productions pho- tographed by him include the following Russell features: "The Fighting Cub" and 'Battling $3.40 Per IJear Bunyan," with Wesley Barry; "His Own Law" with Barrv and Jack Meehan; "The Rattler," "Broken Law," "Passing of Wolf McLane," Save Itlone^— "Hurricane Hal," "Son of Sontag," all with Meehan ; Wanda Hawley and John Fox in "The $4.50 for $3.40 Night Letter," and Gaston Glass in ' Folly of Youth." For Goodwill productions he has photographed William Baley in "You're Fired," "Top Hand," "The Lash of the Law" and "Western Grit"; and Ken Maynard in "Haunted Range" and 'The Demon Rider." He also filmed Leo Maloney in "Blood Bond," a Mala- ford production. American Harry Perry, A. S. C, Returns from Long Arizona Location Trip Ciriematoqrapher Harry Perry, A. S. C, has retured from a two months' location trip in the bake-oven re- 1219-20-21-22 Guaranty Bldg. gions of Arizona where he was in charge of cinematography for the Lucien Hubbard unit in the production of Famous Players-Lasky's "The Hollywood, California Vanishing American." Harry has an extra strong longing for cool and shady places, for the time being. : August, 1925 AMERICAN C I N E M A T O G R A P H E R Tweuty-ftva Bell and Howell Distributors who participated in the making of the picture sit through this first and informal, and almost for Taylor Hobson Cooke Lenses anonymous, public screening—studying the The Bell and Howell Company announces audience intently and sometimes, breathlessly, a complete line of Taylor Hobson Cooke lenses, to discover what 'effect each passage will have including the F 2 and the F 2.5. on the average "fan"? Bell and Howell are United States distrib- The name of the picture, which is to be pre- utors for the lenses. B. and H. also have taken viewed following the regular performance, is over the exclusive distribution of Graf lenses, seldom announced, so that the producers may which they are carrying for immediate delivery. be assured that they are exhibiting before a "cold" audience, whose opinion, unaffected by advertising or otherwise, is probably the most (Continued from Page 4) straightforward, though unrecored, ever ob- projectors were Motiographs De Luxe with tained. Superlite lenses. The first of the reflectors is For such reasons, the reactions of the audi- placed directly in front of the lens. The images ences at these almost secret yet representative are projected into this and are "dropped" down screenings are valued most highly by those who six and one-half feet, where they are caught by make pictures; and let the London complainant a second reflector and thrown through a door, be assured that the producers have been known near the balcony floor, then out 'oeneath the more than once to alter their film in accordance length ball- balcony railing and down the of the to the reception given to it when it was "shown room to the screen, 145 feet away. Naturally on the dog." everything had to be executed with the utmost precision. The condenser system is tandem. Speed in Picture Making and The objective is nine and one-third inches, Who the Actual Speeders E. F., with four-inch aperture. The screen is Are eleven by fifteen. The illumination is eight Of interest is the following which ap- six being generally used; mazda foot candles, pears under the caption "Goulding's Speed lighting is used. Test," in a current issue of "Motion Picture Note: In Mr. Denison's projection article, in the July issue, News" page tour, column two, paragraph three, line five, the word "not" was omitted. The sentence should have read: "The foremost "Edmund Goulding authorities claim that condensers are not correctly located in the made a whirlwind optical train." finish in picture shooting, breaking all existing records at the Metro-Goldwyn-Mayer studios. Showing Films "on Dog" Spikes This feat wasn't accomplished in connection with his production, 'Sun-Up,' starring Pauline Canadian Complainant's Claims Starke and Conrad Nagel, but was merely a The contribution of "A Canadian" to a flyer, so to speak, being a trailer, featuring Norma Shearer and London, England, newspaper is reprinted in a Lew Cody for advertising purposes, current number of the Literary Digest. The a one-reeler. "It was 11 a. m. writer complains somewhat bitterly because the when Goulding got the assignment. Canadians and the English are viewing motion The picture had to be finished by 6 m. for use in a pictures which are produced in America. He p. San Francisco premiere. At 12:30 Goulding rushed finds fault with the quality of American films, Miss Shearer and Mr. Cody to three separate locations, and states, in effect, that one of the reasons for used two studio sets, and by six o'clock this alleged low quality is that American mo- he had finished 48 scenes. The film tion pictures are not pre-viewed so as to elimi- was cut and titled by eleven o'clock nate uncertain scenes. next morning and sent to San Francisco early in the afternoon. This, It may well be wondered whether this con- we'll say, was some speed stunt, tributor, who holds himself out to speak au- and surely hangs up a new target for thoritatively on American pictures to English Goulding's contemporaries to shoot at." readers, knows what he is talking about. Amer- ican pictures never pre-viewed? After reading the account, one is left To think that this authority, who speaks with the impression that, . aside from the so knowingly of Los Angeles' "manicured cast, no one but Mr. Goulding figured in the lawns," is in apparent ignorance of one of the speedy happenings. most widely practiced "institutions" of filmdom With due regard for —namely, that of taking the newly finished pic- Mr. Goulding's efforts, those who have an ture and "showing it on the dog!" idea that they are familiar with production We wonder how, if he has ever been in details might timidly venture that perhaps Los Angeles, which he appears to know so much reliable, as well as speedy laboratory work- about, he has ever missed the signs, "preview to tonight," which grace the lobbies of countless ers, not mention cinematographers, etc., small theaters in Southern California? might have had just a wee bit of participa- We wonder if he knows how tensely those tion in the speed shown! Twenty-six AMERICAN CINEMATOGRAPHER August, 1925 ————————— ————————— HOW TO LOCATE MEMBERS OF THE American Society of Cinematographers Phone GRanite 4274 OFFICERS Homer A. Scott President Victor Milner First Vice-President Daniel B. Clark Second Vice-President L. Guy Wilky Third Vice-President Bert Glennon Treasurer John W. Boyle Secretary BOARD OF GOVERNORS Bert Glennon Gilbert Warrenton Daniel B. Clark Victor Milner George Schneiderman Charles J. Van Enger John W. Boyle Homer A. Scott Norbert F. Brodin H. Lyman Broening L. Guy Wilky Paul P. Perry Henry Sharp Fred W. Jackman Alfred Gilks Abel, David—with Warner Brothers. Landers. Sam—with Tony Gaudio. Arnold, John—with Metro-Goldwyn-Mayer Picture Corp. Lockwood, J. R. — Lundin, Walter—with Harold Lloyd Productions, Hollywood George S. with Geo. Fitzmaurice, United Studios. Barnes. — Studios. Beckway, Wm. Europe. — Lyons. Reginald—with Fox Studio. Benoit, Georges—with Hunt Stromberg Productions. Broening, H. Lyman Marshall, Wm.—with Carlos Prods. Boyle, John W.—with First National Productions, United McCord, T. D. —with First National, United Studios. Studios. McGill, Barney Brodin, Norbert F. —Frank Lloyd Productions, First National, MacLean, Kenneth G. — with Warner Bros. United Studios. Meehan, George—with Waldorf Studios. Brotherton, Joseph Milner, Victor—with R. A. Walsh, Famous Players-Lasky. Morgan, Ira H. with Cosmopolitan. Clark, Dan—with Tom Mix, Fox Studio. — with George Melford. Hollywood Studios. Clarke, Chas. G.— Norton, Stephen S. —F. B. O. Studios. Cotner, Frank M. —with Goodwill Picture Corp. Palmer, Ernest S. with Cowling, Herford T. —Room 216-29 So. La Salle St., Chi- — Fox Studio. cago, 111. Perry, Harry Crockett, Ernest —with Mack Sennett Studios. Perry, Paul P. with Universal. York — Cronjager, Henry—with Famous Players- Lasky, New Polito, Sol—with Hunt Stromberg Productions. City. Ries, Park J. Faxon M. with Victor Fleming. Famous Players- Dean, — Rizard, George Lasky. —New York City. Roos, Len H. with Doran, Robert V. — Fox Film Corp. (N. Y.) (Educational Div. ) Dored, John—Riga, Latvia. in Australia. Rose, Jackson J. DuPont, Max B. —with Universal. Rosher, Charles with DuPar, E. B. —with Warner Bros. — Mary Pickford, Pickf ord-Fairbanks Dubray. Joseph A. Studio. Edeson, Arthur—with Sam Rork Productions, United Studios. Schneiderman, George—with Fox Studio. Evans, Perry Scott, Homer A. Seitz, John F. with Rex Ingram, Fildew, Wm. — Europe. Sharp, Henry with Fischbeck, Harry A. —with Famous Players-Lasky, New York — Douglas Fairbanks, Pickf ord-Fairbanks Studio. City. Short, Don Fisher, Ross G.—with Fred Thomson. F. B. O. Studios. Smith, Steve, Jr. Gaudio. Gaetano—directing Waldorf Productions. Steene, E. Burton Players-Lasky. Gilks, Alfred—with Famous Stumar, Charles with Universal. Players-Lasky. — Glennon, Bert—with Paul Bern, Famous Stumar, John—with Universal. Good. Frank B.—with Jackie Coogan Prod.. Metro-Gold- wyn-Mayer Studios. Tolhurst, Louis H. — "Secrets of Life," Microscopic Pictures, Gray, King D. Principal Pictures Corporation. Griffin, Walter L. Totheroh, Rollie H. —with Charlie Chaplin, Chaplin Studio. Guissart, Rene—Paris, France. Turner, J. Robert —with Fox Studios. Haller. Ernest—with Robert Kane Prods., New York City. Van Buren, Ned Alois Heimerl, G. Van Enger, Charles—with Ernst Lubitsch,' Warner Brothers Jackman, Floyd—Fred W. Jackman Prods. Van Trees, James C. Jackman, Fred W.—directing Fred W. Jackman Prods., Hal Roach Studios. Warrenton, Gilbert Jennings, J. D. — with Rudolph Valentino Prods.. United Wenstrom, Harold Studios. Whitman. Philip H. —with Famous Players-Lasky, New York Koenekamp, Hans F. —with Larry Semon. City. Kull, Edward—with Universal. Wilky, L. Guy—with William de Mille, Famous Players- Kurrle, Robert—with Edwin Carewe, United Studios. Lasky. Edison. Thomas A.- -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. 1219-20-21-22 GUARANTY BUILDING Hollywood Boulevard and Ivar Avenue HOLLYWOOD, CALIFORNIA LOYALTY PROGRESS ART Hollywood News Print VOL. VI, No. 7 25 Cents A Copy October, 1925 American CinematograpHer Published by the American Society of Cinematographers, Inc. A. S. C. Annual Number PUBLISHED IN HOLLYWOOD CALIFORNIA — — DCT C A CCC August 30, 1925 to October 1, 1925 1 1 1 i m m TITLE PHOTOGRAPHED- ' V f . 1V111 XX X J 1 / BYl 1 11 " * VI I 1 ' l. I 1 i TheV' GoldV/ 1 RushV \A Ull XV*R H11. TotherohV, 'Ml, memberI ill UCI ASTi*. . k_J • \_ . < ' I Siegfried Clarl\S Gl A 1 rToffrnari1 1 1 1 ] ] c_ I 1 1 andcl 1 1 V t VfriirithprJ Ull Lll VI IIIRitfji.ittUU TheA 11 v MerrvATX Cll V WidowT T 1 \X V/ V V V_y 111 i vV CIpr ATATVT ala ronh Her Sister from Paris Arthur Kdpson member A S C ? WhereT T 1 1 V, X V. WasT T tj I-1 • Charlp^ Stiimar m^mhpr A S C 1 1 . 1 1 r Winds of Chance Norhprt-A- * BrodinA V/ »_i Illy memberAll Will IX V. 1 AX V • w/S • CV-« •> Tn111 thp1/11 V> A.Nam?1 t* 111 V ofV/ X Love-1 i \J V CV_/ • JTCdcflr—i VI £^ " * SrhopTibaiiTn' vllULIl K) WVppkaT T 1 V IV (A ffpt- lilllgKine" GravVJ I CA , member111V111 UCI AV . fcjS • CV_^ . , j The Wanderer Victor Milner, member A. S. C. Souls for Sables Paul Perry, member A. S. C. The Wheel Glen McWilliams Hell's Highroad Peverell Marley California Straight Ahead Gilbert Warrenton, member A. S. C. The Mystic Ira Morgan, member A. S. C. Seven Days Gilbert Warrenton, member A. S. C. The Man Who Found Himself Alvin Wyckoff Greater Than a Crown Joe August The Thoroughbred Rowland Price The Call of Courage Edward Linden High and Handsome Ernest Haller, member A. S. C. The Phantom of the Opera Charles Van Enger, member A. S. C. The Coast of Folly George Webber The Limited Mail Charles Van Enger, member A. S. C. With This Ring A. Freid The Golden Princess Not credited The Wife Who Wasn't Wanted John Mescall The Haunted Ranch Frank Cotner, member A. S. C. The Great Sensation George Meehan, member A. S. C. Havoc G. 0. Post Going the Limit Alfred Gosden The Police Patrol C. J. Davis and J. Brown The Speed Demon Not credited The Pony Express Karl Brown His Maipstv Bnnkpr Rpan Byron Haskins TripL 11 v. Stormk_J Lv'l 111 Rrpfl1 * X V7 Cl IVkprVT L Jackson J. Rose, member A. S. C. The1- llv ScarletV- H 1 IV/l WestTT O l_/ Georges Benoit, membar A. S. C. Graustark Tony Gaudio, member A. S. C. - TbpA llv ComV^1 'J 1111!in tip wxnf nAtTKii1111/0 Arthur Miller k^J^/VJl Llll>^ 1 1 lit Arthur Todd Shore Leave Roy Overbaugh ^ WqcTV do XLTf A-JT*»iij^ciin^yc^a m v Ernest Miller Ppp-rrv nf tViP SppT*pt Sptvipp Cline . l Bob ^ £r> ' Ul lie UCLl Odvl\_.C Tessie Merritt Gerstad Rplow1 .* V 1 Vy vv fVipU 1 1 v.- Tiinp1_J lilt John Mescall and Meritt Gerstad Th°111 Lovp1 -J V V \_y HourX X \_7 LA 1 E. B. Dupar The Bad Lands Sol Polito and Georges Benoit, members A. S. C. The Fighting Heart Joe August The Plastic Age Gilbert Warrenton, member A.S.C. The Circle Chester Lyons lilt: v^jClUllt: l^dvcllltJl TT11 TiVmpnlj \ ilia 11 xnRropninp"utlllll^, memberlllv^lllurci A. S. C. Bustin' Through Wm. Nobles Let's Go, Gallagher John Leezer and John Thompson The Tower of Lies Percy Hilburn The Man on the Box Nick Barrows — : Vol. VI OCTOBER, 1925 No. 7 American Cinematographer Foster Goss. Editor and Business Manager J. W. Partridge, Managing Editor Table of Contents Page Critics Pick Best Cinematography for Past Year—By Foster Goss . 4 "Danny" Stresses Cinematograpers' Progress—By Danny ... 5 A. S. C. Members Honored by Critics ...... 6 Roll of Honor of Productions Selected 7 Rex B. Goodcell Speaks Before A. S. C. By J. W . Partridge ... 8 Projection: Qualifications for the Projectionist—By Earl J. Denison 9 The Editors' Lens 10 In Camerafornia 12 Eastman Communications for 11 Years 13 A. S. C. Roster — 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. 12 19-20-21-22 Guaranty Building, Hollywood, California Telephone, GRanite 4274 (Copyright, 1925, by the American Society oj Cinematographers, Inc.) — Pour AMERICAN C I N E M A T O G R A P H E R October, 192 f, Critics Pick Best Ciriematoqraphij for Past l]ear First Attempt to Designate Experts Pay Tribute to Camera Superior Photography Brings By Foster Qoss Artists' Contributions to Film Great Commendation Production. The accompanying pages by eminent critics on news- productions with the best present the selections of the papers and periodicals cinematography of the past motion picture productions throughout the United States. year. The fact that the critics with the best cinematography had to delve into retrospect at Because of the fact that during the past year as made the end of a period of one various productions are ("Continued on Page 5) shown in certain of the larger R. E. Shervoood cities of the country many R. K. Cruikshank —Motion Picture Editor, months before they are ex- —Associate Editor, Exhib- Life, New York City : itors Trade Review. New hibited in other locations and York City: It is difficult Tor me to select hence before critics in such the five productions with the My opinion is that the finest sections have an opportunity best photography in the past photography shown in recent ignorant year as I am so utterly to view them, no absolute ex- months is contained in the fol- of the technica^ side of movie lowing productions: actitude could be arrived at production and therefore attach little conviction to my selec- in laying down an inflexible 1. Beggar on Horseback. tions. line of demarcation for the 2. The Lost World. The best photography that 1 beginning and end of a period 3. Romola. is in "The Wan- have ever seen 4. Don Q. of one year on which to base derer," and next to that I should 5. The Black Cyclone. select the calculations. However, He Who Gets Slapped. the selections in the main If colored photography is to The Unholy Three. cover a common ground, mak- be considered, The Wanderer of Don Q and The Wasteland must have its ing, in all, for interesting A Lost Lady. an place. feature that never has been I may say that in my estima- tion the cameramen do their essayed heretofore. work consistently well through- out the industry as a whole and are responsible for most of the The statements of these Helen R. Spear progress that the motion pic- celebrated critics are a posi- Motion Picture Editor, ture has made. I wish that I — could say as mucn ror the actors, tive revelation. They indicate Milwaukee Sentinel: directors and continuity writers. that these experts jbn critical At a moment's notice it is rather hard to review an entire appraisal are keenly alive to year's parade of pictures so I what has been made possible may be wrong and have gotten Quij Price through the superiority of picturesqueness and photog- raphy mixed. But as I recall the —Drama Editor, Los An- cinematography and its con- were the pictures geles Evening Herald: following sistent progress. That those which held longest in my mem- ory for qualities of lighting and For selection of motion my who are responsible for the photography: pictures revealing the best pho- 1. The White Sister. tography during the year, would excellence of motion photog- 2. Monsieur Beaucaire. say, off-hand, that they ranked raphy are in charge of one of 3. The Last Laugh. in this order: the major factors in the suc- 4. Wanderer of the Waste- 1. Peter Pan. land. cess of the photoplay is defi- 2. Grass. 5. Thief of Bagdad. nitely established. 3. The White Desert. I am not sure I have them in 4. The Iron Horse. the right sequence; all I know is No attempt has been made 5. The Thundering Herd that there was enough beauty in each to be remembered long and The Gold Rush. to pick a composite number afterwards. of five, or of fewer or more, : October, 1925 AMERICAN CINEMATOGRAPHBR Five "Danmj" Stresses Cmematoqraphers , Progress Editor of ''Film Daily" Sees Cites Ten Productions with Great Improvement ib Film ^ Danny Outstanding Camera Work for Photography in Recent Years Period of Last Twelve Months That day has long since ber, 1924, ending September, standard was found, were the passed when the ordinary 1925, in which photography following shooting, haphazard photog- of an unusually excellent Peter Pan Jimmy Howe Don Q Henry Sharp raphy and other annoying in- The Lady Tony Gaudio stances of this type are found Helen de Ttlotte Enticement Henry Sharp The Thundering Andriot in pictures. —Motion Picture Editor, Herd.Lucien Grass Ernest Schoedsack News - Leader, Richmond, That day has passed when Va.: The Goose Woman Milton Moore The Great Divide Percy Hilburn a motion picture can expect Mr. Foster Goss, Amer. Soc. of Cinematographers, Romola Roy Overbaugh to receive a semi-cordial re- Inc., Hollywood, Calif. A record of fine camera ception from the discerning Dear Sir: work for the year will be public unless the photog- Your letter in regard to the first annual of the "A. S. C," lacking without mention be- raphy is excellent. written on August 5th came dur- ing my absence on vacation. I ing made of that supreme pa- am sorry not to De aDle to re- There was a time—not tience which was manifested spond to it definitely, for while long agio—when a producer I have a very definite impression in the camera work of "The of the photography in a picture could "get away with any- while I am seeing it, I do not Lost World." Arthur Edeson carry it in my mind sufficiently thing," which included poor is deserving of much credit clearly to be able to make a list photography and bad light- of five in the order of their ex- for this. cellence. The photography of all ing. Not so today. And tomor- the pictures is so marvelous, The development of color that I regret not being able to processes with some outstand- row there will be found more write more definitely about it in my criticisms. ing photography during the difficulty because the stand- I do not suppose any critic can past year, should be men- ard of the photography de- fully appreciate the craftsman- ship that goes into this unit of tioned. In this connection, manded today calls for all the picture making, nor do we know Von Stroheim's "Merry more than the general public ability, all the effbrt that even how much of it is legitimate and Widow" in which Oliver the best cinematographer can how much trick photography of Marsh did the camera work, various sorts. My chief impres- give. sions are in regard to tonal should be mentioned. beauty, composition and light- It is an exceedingly diffi- ing, and just how far the credit (Continued from Tape 4) goes to the photographer and cult matter in these days of how much to the director and year, rather than fjeing noti- art director, I am not able to fied at the beginning of that fine photography to attempt distinguish. There is, of course, always time so that they could spe- to enumerate a few produc- the wonder of such work as the parting of the waters in cifically weigh the cinematog- tions and to say that the "The Ten Commandments," but pho- raphy of each picture as they that to me is not so much fine tography in these entitles photography as it is a clever me- went along, made for a disad- chanical contrivance. I am al- them to first, second and third vantage insofar as a definite ways conscious of the shimmer- rating, etc. There have been ing grays of Rex Ingram's pic- point of cpmposite choosing tures and of the deep velvety was concerned. Hence, all the so many pictures with excel- tones William de Mii!e ure~. There was the exquisite last productions chosen are being lent photography that the at- scene of "Robin Hood." But on presented on a single roll of the whole, I can only admire in tempt to hold this list down to general the achievements of the honor in the aggregate, while five or ten, makes for an al- cinematographers. the selections of the various Regretting that I cannot par- most impossible task. ticularize according to your re- critics, are, in addition, being quest, I am, presented separately, together Among the productions for Very truly yours, (Signed) HELEN DE MOTTE with the observations of such the season beginning Septem- critics. Six AMERICAN CINEMATOGItAPHER October, 1925 A. S. C. Members r-amonq those iwhose vuork honored bi] critics desiqnat- inq outstandinq motion pho* toqraphij Geo. Schneiderrnan, A. S. C. Philip H. Whitman, A. S. C. Homer Scott, A. S. C. Rollu- Totheroh, A. S. C. / ictor Milner. A. S. 67. Arthur Edeson, A. S. C. Gaetano Gaudio, A. S. C. Henry Sharp, A. S. C. October, 1925 AMERICAN CINEMA TOGRAPHER Seven Roll of Honor ~-of productions chosen bu critics for outstandinq cine matoqraphu for past uear Fred . A. S. C. W Jackman, Floyd Jackman, A. S. C. TITLE PHOTOGRAPHED BY Don Q* Henry Sharp Beggar on Horseback Karl Brown The Lost World Arthur Edeson, Fred W . Jackman, Horner Scott, J. D. Jennings Ro.MOLAt Roy Overbaugh Black Cyclone Floyd Jackman Peter PANt James Howe Grass! Ernest Schoedsack The White Desert Percy Hilburn The Iron Horse George Schneiderrnan The Thundering Herd! Lucie n Andriot The Gold Rush R. H. Totheroh The Wanderer Fie tor Milner He Who Gets Slapped Milton Moon- The Unholy Three David Kesson A Lost Lady David Abel The White Sister Roy Overbaugh Monsieur Beaucaire Harry Fischbeck The Last Laugh Karl Freund Wanderer of the Wasteland Chas. Schoenbaum , J. A. Ball, Ray Renna- han The Thief of Bagdad Arthur Edeson, Philip H. Whitman, Ken- neth G. MacLcan The Lady Gaetano Gaudio Enticement Henry Sharp The Goose Woman Milton Moore The Great Divide Percy Hilburn Note: Only those productions which were specifically picked bj the critics are listed herewith; those mentioned collaterally are not included. * Picked three times, t Picked twice. — R Eight AMERICAN CINEMATOGRAPHS October, 192") Rex B. Qoodcell Colle&or of Internal . Revenue in Speecli Speaks Before A. S.C. at Open Meeting A stirring tribute to the wood firm of Graves, Curson "But your slogan shows achievements of the Ameri- and Boyle. that your members are alive can Society of Cinematog- "I am much more inter- to the ever increasing de- ested in the humane side of mands of your profession. raphers was paid by Rex B. any organization than in its You meet, I understand, for Goodcell, United States Col- commercial aspect," Mr. an interchange of ideas. That lector of Internal Revenue for Goodcell began. "Your slogan indicates the interest you take the Southern California dis- of 'Loyalty, Progress and Art' in your work and your profes- trict, at the open meeting in indicated to my mind that the sion. the society's auditorium in the American Society of Cinema- "You gentlemen make tographers is not overlooking Guaranty Building, Holly- splendid achievements but the aspect and for that wood, on the evening of Octo- human you are absolutely dependent reason I am more than happy ber 19. Judge Goodcell, a upon the members of other at this opportunity of address- noted orator, made one of the industries, entirely foreign to ing this meeting. most inspiring talks of his ca- \four own, for your well-being "Loyalty is one of the finest reer and at its conclusion was and prosperity. A strike in characteristics of the human given an ovation by the mem- the anthracite coal fields of family. Lpyalty to one an- bers of the society. Pennsylvania; a blight on the other and to our government "Loyalty, Progress and cotton crop in the sunny is what has made the United Art," the slogan of the Ameri- South; a killing frost in the States the foremost country in can Society of Cinematog- world-famous apple belt of the world. Loyalty is what raphers furnished Judge the Hood River district in Patrick Henry meant when Goodcell with the theme for Oregon, or a slump in the he coined his everlasting an address that was charac- automobile industry with phrase, 'United We Stand, terized by his auditors as headquarters in Detroit re- Divided We Fall.' And your "masterly in its profundity of acts against the film industry loyalty to one another, gentle- wisdom and wit" and as "of- here in Hollywood. The dis- men, and your loyalty to your fering a perfect outline of the tricts affected by such calami- employer and to your organi- aims and aspirations of the ties suffer financially, there zation—the American Society cinematographers." is a falling off in attendance of Cinematographers is one — in moving picture houses with Judge Goodcell chose as of the outstanding reasons for a consequent curtailment his topic the A. S. C. slogan of its being generally recognized demand for Hollywood films "because" as he phrased it, as one of the most successful and as a result, there is less "the motto carried with it the organizations in the film in- very work for you cinematograph- fundamentals of Ameri- dustry. ers. canism." "You cinematographers "I often wonder if you The meeting was called to have made progress—won- gentlemen realize the effect order by Victor Milner, derful progress. You've prob- that your first vice president of the ably made more progress than work has on the American Society of Cinema- any other branch of the indus- public in general and the tographers, who presided, try. Compare your work of good that you have in your owing to the illness of Presi- ten years ago with that of to- power to wield. And, too, it dent Homer Scott. After Bert day. Your branch of the film is a great responsibility. Glennon, A. S. C, had given industry cannot stand still. Thousands of people go to the a brief but comprehensive You must go on making prog- ntoving picture houses to re- speech on the aims and pur- ress if you are to survive. Ten lax and to forget the trials poses of the society and its years from today the photog- and tribulations incidental to magazine, the American raphy as exemplified in cur- their daily duties. If the pho- Cinematoyrapher , Judge rent films will be just as obso- tography is well-done and the Goodcell was introduced by lete as that of a ago decade story told on the silver sheet Sam Curson of the Holly- thanks to vour efforts. (Continued mi Page '1 I) October, 1925 AMERICAN CINEMATOGRAPHER Nine Something More than Qualifications for Knowledge of Electric- BljEarl . Denison the Projectionist ity Found Necessary With the exception of finance, direction these examinations, due to "catch questions." and distribution, the motion picture industry Projection in the theatres is rapidly devel- is largely a mechanical one and the mechanics oping into an art and it really is an art for a of the business require highly specialized and man to project a picture and get 100 per cent skillful workers. Certainly, no one can dis- results, but it is utterly impossible for him to pute the fact that the picture is of no commer- get 100 per cent results unless he is familiar cial value until shown in the theatre, and un- with photography, otpics, mechanics of the less film is properly handled and projected, film, light and the various qualities of light. the presentation is marred. First, the projectionist must know about the optical set-up of the projection equipment What are the qualifications of one who is in order to determine whether or not he is get- in charge of the mechanical presentation of a picture? ting maximum results and whether or not it Many Phases has the proper optical system for the particu- lar theatre in which he is working, and in I will go on record in saying that I believe order to accomplish this, he must be familiar that the average projectionist has been im- with lenses, so as to understand the action of properly schooled in the art of presenting a light passing through them. He must also picture. The average projectionist has been understand proportion, in order that he may recruited from the ranks of electrical workers judge the size of the picture for any given and his knowledge of projection is mostly width or length of a theatre. Certainly, he "electrical." However, there are several must understand considerable about the me- more important elements necessary to high chanics of the film, for positive prints used in class projection, namely: Photography, op- theatres are absolutely a fixed thing. Photo- tics, mechanics of the projector, mechanics of graphy cannot be changed size or dimensions the film, various kinds of light sources and ; of the film or its perforations cannot be their quality, proportions, etc. changed; size or dimensions of the film or its With rare exceptions, the actual wiring of perforations cannot be changed, and a great a projection room is handled by an electrical deal can be accomplished through a better contracting firm and there is no choice as to knowledge of the film. Photographically the kind of current or line voltage. The in- and mechanically, the film is a medium stallation is completed by equipping the lay- through which the picture is presented on the out with a motor generator, transvertor, or a screen, and -it is highly important that the transformer of some kind and the projection- projectionist know something about photo- ist's knowledge of electricity should start graphy and photographic qualities, because where the installing electrician stops. As elec- photography deals in lights and shadows and tricity is manifested in various forms of light, the presentation of a picture can be easily heat and energy, at least a good working marred through ignorance of photography. knowledge of carbons, their size, care, struc- Over-Lighting ture, carrying capacity, gas forming qualities, The film is essentially a stencil and should the quality of light, etc., would be a lot more be projected with the absolute minimum of valuable to the projectionist than a thorough light consistent with good definition and easy knowledge of wiring. vision in any part of the theatre The writer However, in most large cities, the appli- has personally seen beautiful photography cant for a projectionist's license is examined utterly ruined through over lighting of the mostly for his knowledge and skill as an elec- film. The pictures appear exceptionally flat trician, practically no attention being paid to and washed out; this angle should be studied optics, photography, mechanics of the film, very carefully by every projectionist who is mechanics of the projector, etc. Also a great interested in quality projection. many of the questions asked in these examina- I dare say there arc very few projection- tions are "catch questions" and the writer ists who ever use a photometer or an illumin- knows one or two instances where highly ator to determine the actual screen brilliancy; skilled electrical engineers failed in passing (Continued on rage 16) Teo AMERICAN CINEMATOQRAPHER October, 1925 1 The EDITORS LENS - • focused by foster goss A Successful Trial €J The American Cinematographer is exceedingly gratified over the results pf its first effort to sponsor, through the co-operation of critics throughout the United States, the selection of the motion picture productions with the best cinematography during the past year. ^ So impressed is this publication with the interest manifested that every effort will be made to establish the selection as an annual event. With this intention announced at the beginning of a year's period the task Of the critics, who have given their co-operation so kindly, will be simplified in a degree that was impossible for the making of the first choices as are presented in other pages of this issue. CJ It is now more firmly believed than ever that the election of the productions with the best cinematography provides a matter of basic interest to all those who are concerned with the making of motion pictures. After all, cinematography is fundamental, and everything that is done to encourage its progress creates for the benefit of the industry as a whole. The American Society of Cine- matographers is not alone in this conviction as is clearly shown by the statements of various of the famous critics whose selections we have the honor to give in this issue. ^ What is particularly urged is that critics who have been too pre-occupied in the past to give direct attention to the cine- matography in the productions which they criticize will find it pbssible to devote part of their attention to such. We admit, as was stated in the replies of a number of prominent critics to the invitations of this publication to participate in the designation of the productions with the "best cinematography," that the matter of motion photography involves a high degree of scientific and technical knowledge. We do, however, respectfully suggest that — October, 1925 AMERICAN CINEMATOGRAPHER Eleven no review of a motion picture can be logically complete without giving due attention to the cinematography which it embodies or which embodies it. If some of our leading critics are not ac- cording cinematographic efforts such recognition because of what they candidly admit to be their ignorance of the subject, then it would seem that it beHooves them to acquire as thorougli a mas- tery as possible of matter with which they have dealt under the color of authority in the past. We observe the foregoing with abiding concern, and in justice not only to the cinematographer but to the critics themselves and to the thousands of readers who look upon them as authorities. <]J If an ignorance of cinematography precludes such critics from writing about it, we believe that the manner in which to make their contributions to their publications even more comprehensive would be to give as much attention, comparatively, to a study of motion photography as they have given to the study of the drama itself. If there is any way in which the American Society of Cine- matjographers may co-operate in such study, nothing will be left unturned to do so. We believe that this offer meets the spirit of those critics who state that they have avoided cinematography because of their lack of knowledge of it. At any rate, we are more confirmed in the conviction than ever that progressive reviewers and motion picture editors will bestow an increasing amount of cognizance on the cinematographer. <| As satisfied as we are with the initial attempt at assembling the critics' designations of superior cinematography, we believe that the idea will be fulfilled even more next year. We trust that the critics who found themselves unable to participate on this occasion will be in a ppsition to favor the readers with their opiinons next year. If, in the meantime, we can do anything to further the means to such an end, we are awaiting instructions at all times. Twelve A MKRICAN CINEMATOGRAPHER October, John W. Boyle, A. S. C, has finished film- cinematography at all times, and stated that ing "Viennese Medley," the First National he often considered the photography superior special production supervised by June Mathis to the direction. * * * * and directed by Curt Rehfeld. Boyle has begun work on "The Far Cry," a Jackson J. Rose, A. S. C, is taking his first First National production which Silvano Bal- vacation in many productions filmed by him boni will direct. The cast includes Blanche at Universal City. * $ Sweet, Jack Mulhall and Leo White. The story concerns an American family living in Henry Sharp, A. S. C, is working day foreign capitals as well as in New York City. and night on the cinematography of "The Thus, with Paris and Venice providing im- Black Pirate," Douglas Fairbanks' latest pro- portant sequences of the background, Boyle duction. * * * * once again will be recording an European theme for the screen. George Schneiderman, A. S. C, is com- * * * * pleting filming "Three Bad Men," the latest William Beckway, A. S. C, has returned John P^ord production for Fox. This is said to of to Hollywood following an extensive journey be one the most promising of Ford's offer- ings, the to Europe, where he filmed for a production and same applies to Schneiderman's made abroad, not as yet released here, many photography. The cast includes George locations in London as well as in Berlin. O'Brien, J. Farrell McDonald, Tom Sant- * * * * schi, Frank Campeau, Olive Borden, Pnscilla Bonner and Grace Gordon. George Benoit, A. S. C, is filming his first * * * * production under his new contract with Met- ropolitan. It is "The Bride," starring Pris- Bert Glennon, A. S. C, has finished the cilla Dean and directed by Edward Dillon. photography on "The Mysterious Woman," This is not Benoit's first association with Dil- Paramount production starring Pola Negri. lon. He was with him as far back as 1913, for Mai St. Clair directed. a period of two years, during the prime of the * * * * Arts studios. •old Fine Faxon Dean, A. S. C, is filming the latest * * * * Cecil B. De Mille production to be directed Norbert Brodin, A. S. C, is catching his bv Alan Hale for Producers Distributing breath after a busied production program Corporation release. long enough to move into his new home. Nor- * * * * bert will have a spell of rest for the time Steve Smith, Jr., A. S. C, has completed Lloyd, his director, naving de- being, Frank the photographing of "The Countess of Lux- parted for an extended vacation. embourg," a Chadwick production featuring * * * # George Walsh and Helen Worthing. Frank M. Cotner, A. S. C, was formally * * * * initiated into the society at the open meetings Milner, A. S. is photographing of October 19th. Victor C, * # * 4 "Hassan," R. A. Walsh's latest production for Famous Players-Lasky. Like "The Wand- Herford Tynes Cowling, A. S. C, at- erer," this is to be another costume spectacle. tended the recent fall meeting of the Society The cast includes Buster Collier, Greta Nis- of Motion Picture Engineers at Roscoe, N. Y. sen and Ernest Torrence. particularly impressed with the Cowling was * * * * paper read by E. T. Clark, manager of the Eastman Theatre, Rochester, N. Y., empha- Reginald Lyons, A. S. C, has completed sizing screen credit due the cinematographer. the filming of "Desert Price," Buck Jones' -Clark recommended credit to direction and latest starring vehicle for F>ox. ; October, 1925 AMERICAN CINEMATOGRAPHER Thirteen Eastman Communications for 11 IJears Digest of Papers from Research Comprehensive Key to Historic Laboratory in Rochester Com- Treatises on Varied Cinemato- piled Herewith graphic Subjects No. Following is an important list of communications on 207. The Making of Motion Picture Titles, by J. cinematography from the Eastman Kodak Company Re- 1. Crabtree; published Trans. Soc. Mot. search Laboratory , Rochester , N . Y. These communica- Pic. Eng. 18 (1924) p. 223; American tions cover a period of the past eleven years, beginning Cinematographer, October, November, with Communication No. 5 and ending with Communi- (1924) p. 9. cation No. 238. No. 209. The Effect of Scratches on the Strength of No. 5. The Triple Projection Process of Color Pho- Motion Picture Film Support, by S. S. tography, by E. K. Mees published Sweet, S. E. Sheppard published Trans. C. ; ; Abel's Phot. Weekly (1914) p. 5; Brit. Soc. Mot. Pic. Eng. 18 (1924) p. 102. J. Phot. (1914) p. 14. No. 218. The Handling of Motion Picture Film at 30. Relative Photographic and Visual Efficiencies, No. High Temperatures, by J. I. Crabtree, by L. A. Jones, M. B. Hodgson and K. published Trans. Soc. Mot. Pic. Eng. 14 Huse; published Frank Inst. (1915) p. (1924) P . 39; Brit. T- Phot. 71 (1924) 484; Br. T. Phot. (1915) p. 42-47 (1916) p. 762. p. 8. No. 236. Static Markings on Motion Picture Film, by No. 74. A Portable Apparatus for the Development J. I. Crabtree; published American Cine- of Motion Picture Film at Normal and matographer, July, August, (1925) p. 7. High Temperatures, by J. I. Crabtree published Mot. Pic. News (1918) p. No. 237. The Use of Color for the Embellishment of the Motion Picture Program by L. A. 1582, 1742; Brit. J. Phot. (1918) p. 379; Photo Review (1918) p. 531 Am. Photo Jones and L. M. Townsend ; to be pub- (1918) p. 516. lished in the coming issue of the Trans. Soc. Mot. Pic. Eng. No. 122. The Absorption of Light by Toned and Tinted Motion Picture Film, by C. W. No. 238. Incandescent Tungsten Lamp Installation Gibbs and L. A. Jones; published Brit. J. Color Motion Picture Studio, by L. A. Phot. p. 68 (1921) p. 747. Jones ; to be published in the coming issue of the Trans. Soc. Mot. Pic. Eng. No. 135. The -Use of Artificial Illuminants in Motion Picture Studios, bv L. A. Jones; published 111. Eng. 15 (1922) p. 247. Announce Increase in Price No. 145. Graininess of Motion Picture Negatives and Positives, by L. A. Jones and A. C. of Goerz Positive Raw Stock Hardy published in American Cinema- ; tographer, November (1922) p. 7. An increase in the price of Goerz positive No. 159. A New Sensitometer for the Determination of raw stock is announced by the Fish-Schurman Exposure in Positive Printing, by J. I. L. A. published in Corporation, sole distributors of the product. Crabtree and Jones ; American Cinematographer, T'inuary (1923) p. 5. The increase is occasioned, it is stated, by No. 170. Motion Picture Photography for the Ama- the desire to maintain the quality of the teur, by C. E. K. Mees; published J. Goerz stock. Frank. Inst. 196 (1923) p. 227. No. 187. Development of Motion Picture Film by the Acoustic Film Method Used to Reel and Tank Systems by J. I. Crabtree; published Trans. Soc. Mot. Pic. Eng. 16 Record Speech of German Minister (1923) p. 163. No. 196. Thermal Characteristic of Motion Picture Film, by L. A. Jones and E. E. Richard- The Tri-Ergon acoustic film was used to son published ; Trans. Soc. Mot. Pic. ; record the speech of Minister Stresemann, of Eng. 17 (1923) p. 86. the German cabinet, when it was found that No. 206. Improvements in Motion Picture Laboratory- Stresemann would be unable to attend, in per- Apparatus, by I. Crabtree and C. E. J. son, the opening of the Kinomatographic and published Trans. Soc. Mot. Pic. Ives ; Photographic Exhibition in Berlin in Sep- Eng. 18 (1924) p. 161; American Cine- matographer November (1924) p. 5. tember. Kouri &en A M ERIC AN ('INK 1VI A T (> G R A I* II E K October, L92G October, 1925 A M E R I C A N CINKMATOG R A P H E R Fifteen Today's Bell & Howell Camera will still be up to date in 1950 New production standards may come and go, but the Bell and Howell Camera will outlast them all. Interchangeable detail parts, inter- changeable equipment and basically patented pilot register movement pre- pare the B. and H. Camera for adapting any improvements time may bring. Veterans in Cinema Service A number of the cinematograph cameras now in service were built by the Bell and Howell Com- pany 18 years ago. Interchanyeability of parts has kept them up to date. B. and H. Cameras may grow old, but never obsolete. You can buy today with the assurance that your B. and H. will be standard and salable long after you are ready to retire from the profession. Like Buying A Government Bond A U. S. Bond is good because the government is back of it. The B. and H. Camera is a similar value, with this company sponsoring it. As pio- neers, and the manufacturers respon- sible for present day standardization in the motion picture industry, we are prepared to constantly keep abreast of times, assuring you of a camera which will have no deterioration in practical value as years go by. See our latest model on display at Hollywood 1801 LARCHMONT AVE. Branch BRANCHES NEW YORK HOLLYWOOD CHICAGO. 220 W. 42N0 ST. (324 SANTA MONICA BLV Pioneer and World's Largest Manufacturers of Cinematograph Cameras and Equipment — — Sixteen A M KKICAN CINKMA T OGKA P H E K r October, l!)2. , 1, '•' (Continued 1 1 J'jik mn I but reading the brilliancy at the screen is the 1 .65c per foot only correct method to determine the actual will be the price of number of foot candles being delivered to the screen. Four Light Sources GOERZ There are four light sources available to- POSITIVE M.P. RAW STOCK day for projection work, namely: the pure when present stocks are exhausted. carbon arc; the high intensity arc; the reflec- It was a question of: tor arc, or low intensity arc; and the tungsten a M itaining the price and cheapening the product, i filament or Mazda lamp. All of these sources or continuing the present superior quality with a are suitable for certain theatres, and before slight increase in price. one is selected, the matter should be thor- GOERZ POSITIVE RAW STOCK oughly gone into. I cannot help but think is superior to all others that very little time or thought is given to the as to photographic qualities: selection of proper light sources. When the more gradation—more latitude high intensity*arc was put on the market, it better half tones—more detail in the shadows was immediately haled as the light source and plastic effects, as to mechanical properties: was installed in a great many theatres and the no static, stronger pliable celluloid therefore results in most of these theatres are well longer wearing qualities. known. They were installed in theatres with It costs a little more, but it is warranted by results throws as well as in long those with on the screen, and by the need of fewer prints. short throws. When the reflector arc was put Sole Distributors: on the market, it was also immediately haled Fish-Schurman Corporation as the light source and was claimed by a great 45 West 45th Street 1050 Cahuenga Avenue many that it filled a long felt want. Certainly, New York City Hollywood, Cal. the theatre that actually required the high in- In CANADA: tensity arc could not very well get along with JOHN A. CHANTLER & CO. 226 Bay Street the low intensity arc. In other words, the Toronto, Ont. theatre that was using a 75 ampere high in- > o tensity arc, which was equal to 125 amperes of pure carbon arc could not very well use CAMERA INSURANCE a low intensity arc, consuming from 18 to 25 Rates Reduced to Two Per Cent amperes. The Mazda lamp is not a very great J. H. HOLE AGT. AETNA LIFE INSURANCE CO. favorite with the projectionists, no doubt due .Specializing On Camera Insurance 1003 to the fine adjustment required with the National City Bank Bids. TKinity 1771 Los Anfireles Mazda lamp. Indifference Earlier in this article, I mentioned that WANTED the projectionist should have a knowledge of the various qualities of the different light Bell Howell Camera complete. Will sources. Certainly, there is a different quality pay cash. Write Bert Glennon, A. S. C. in each one of the above named sources and different qualities of light certainly affect photography. I recently asked one of the projectionists in the city Chicago, NEW MITCHELL CAMERA foremlost of —FOR SALE— (who is getting $110.00 a week for working Camera No. 49—Fully Equipped five hours a day, six days a week) what dif- Astro Lenses J. K. lLOCKWOOD ference he had noticed in the quality of the ."23 N. Orangre Street Glendale, Calif. Phone Glendale 33G1-W light of the new reflector lamps that had been installed in the theatre as compared to the quality of the light from the high intensity FOR SALE arcs, which had been replaced with the re- Bell and Howell Camera, 120 shutter, recently fac tory overhauled, and refinished. Two magazines, flector arcs. I asked this man the above ques- one 2, and one 3-inch B. & L. lens with finder lens and combination carry- tion because I really wanted some information to match, almost new tripod, ing case. Will sell CHEAP. Write Frank King, 36 and felt that he could give it to me. He Crestwood Ave., Buffalo, N. Y. (Continued on Page 18) October, 1925 AMERICAN CINEMATOGRAPHER Seventeen On location, in the studio— EASTMAN PANCHROMATIC NEGATIVE FILM To photograph faithfully nature's vivid colors and dazzling sunlight on location, bright hued sets and brilliant costumes in the studio, use Eastman Panchromatic Negative. It's the film that renders all colors in their true relationship because it's sensitive to them all — reds, yellows, greens — as well as blues. EASTMAN KODAK COMPANY ROCHESTER, N. Y, Eighteen ("IN AMERICAN E M A T O O R A P H E R October, 1926 (Continue.! from l'agc 1G) looked at me and said: "Aw, hell, light is light." Gets Shots that You 1 have had equally unintelligent answers Couldn't Get at from a number of projectionists from differ- all Without it ent parts of the United States regarding the quality of light as well as other matters per- taining to projection. I d,o not mean to say that all projectionists are this type—naturally, "I use the m4* when you want information you go to one who Ultrastigmat a great deal In is drawing the highest salary and one whom commercial work, as 1 find that I can make inter- you would expect to know something about iors with it that would require lights with- out it, and get outdoor shots on bad days that his calling. On the other hand, there are a I could not get without it." (Signed) QUINCY PEACOCK, great many projectionists who take this atti- 1611 Market St., Jacksonville, Fla. tude their toward work. The writer is em- Write for Folder ployed by one of the largest producing and Gundlach-Manhattan Optical Co. distributing companies, and his duties take 900 Clinton Street ROCHESTER, N. him all over the United States and Canada, visiting film exchanges, theatres and labora- tories. I see projection in a great many of the finest theatres in the United States, and To talk to a great many projectionists and man- All My Friends agers. 1 am surprised at the lack of knowl- edge and utter indifference shown by both Among the Cinematographers managers and projectionists. Nevertheless, I Extend Heartiest the above statement is true, will, but no doubt, Congratulations be disputed by a great many. All I can say is that if they will come with me, I will show On Your Annual Number them something about projection. Excessive Speed Another common fault which is very detri- mental to the exhibition of motion pictures is Otto K. Olesen the speed in which they are projected, the average speed of which is about 100 feet per 1645 HUDSON AVE. minute. Not only does this mar the presenta- HOLLYWOOD, CALIFORNIA tion of the picture itself, but greatly shortens the life of the print and the condition in which prints are returned from some theatres is al- most unbelievable. It is not an uncommon thing to have a brand new print returned from a theatre so mutilated that it has to be dis- "Walter J. van Rossem carded. Part of this is due to high projection speed, but the responsibility rests largely with 6049 Hollywood Blvd. improper and careless handling of the film by Phone Holly 725 the projectionist. Probably the projectionist COMMERCIAL PHOTOGRAPHY who is careless in handling the film does not Slill Developing and Printing^ stop to appreciate the fact that he is hurting l&MCamaas-FOR. Still his brother projectionist more than he is in- RENT— juring the exchange. Today, pictures are booked in the block system and bookings are set in, weeks and even months ahead. Each The New Iris Combination may be had exchange is allotted a certain number of prints with 4-in. Iris or Sunshade sufficient to supply the demand in that terri- FRED HOEFNER tory and one careless projectionist can upset Cinema and Experimental Work 5319 Santa Monica Blvd. (rear) a great many booking dates, causing the ex- GLadstone 0243 Los Angeles, Cal. change Bo substitute bookings that have been ! — October, 1925 AMERICAN CINEM ATOGRAPHER Nineteen advertised days and even weeks ahead. The actual cost of replacing damaged film does not amount to much, but often it is necessary NEVER ANY GUESSWORK of film from a reel and it to lift 50 to 250 feet "UNDER THE COOPS" is almost impossible to send that print out be- fore replacement is made, and too often it is a Whenever you see one product used whole print that is damaged. There c.an be almost to the exclusion of others, you won- only one answer to this: dirty, improperly ad- der how such general acceptance is won. justed projectors together with careless hand- Somewhere along the line, there must be ling. A worn projector is not so apt to cause a reason — some element of superiority or damage to a print, as one that is out of adjust- reliability that is definite and decisive. ment and dirty, so let those that are in the the means being "in habit of handling prints carelessly stop and "Under Coops" the movies." You hear it in and out of think for a moment how much he is hurting the studios. "Coops" and "movies" his brother projectionist. synonymous! It is the industry's tribute The first duties of the projectionist in the to Cooper Hewitts — the lights that make large theatres, particularly first run houses, movies possible on t" scale we're used to should be to study the picture on the screen, today and, to do so, one must study it from the audi- ' ' ence's viewpoint. Audiences do not go into ' Mike ' Shannon is on the ground projection rooms to see motion pictures, they to help you. Consult him about your go into the theatre proper and the picture may problems. appear all right to the projectionist from the projection room, but the same picture may not appear nearly so well to the public who are COOPER HEWITT ELECTRIC CO. paying their money to go into that theatre; HOBOKEN, NEW JERSEY therefore, the picture should be studied from Hollywood Office — 7207 Santa Monica Bldg. the theatre proper at all angles and all posi- KEESE ENGINEERING CO., JohnT. "Mike" Shannon, Mgr. tions. Only in this manner can a projectionist determine if he is getting good projection. Good Projection an Art Good projection is an art and should be treated as such. One cannot qualify as a good Roy Davidge projectionist until he has studied the various important elements of projection; research Film Laboratories work and study on the part of the projection- ist will soon convince him that there is still The Little Laboratory a lot to be learned. with the Big Reputation AKELEY CAMERA 6701 SANTA MONICA BLVD. WORK HOLLYWOOD 1944 For the following current productions: Metro-Goldwyn-Mayer's "Ben Hur," Circus Maximus chariot races. Directed by Fred Niblo. photographed by Percy Hill. urn Win. S. Hart's "Tumbleweeds," directed by King Baggott. Photographed by John Stunuir, A. S. C, SCHEIBE'S PHOTO-FILTER SPECIALTIES directed Kenton. Warner Brothers' "The Love Toy." by Erie Are now popular from coast to coast, and in Photographed by John Mescall. some foreign countries. Warner Brothers' "Compromise," directed by Alan Crosland. If my many varieties do not always fill the bill, Photographed by David Abel, A. (S. C. tell your I F. B. O. Studios "The Midnight Flyer," directed by Tom For- me wants and will make them on special man. Photographed by Harry Perry, A. S. C. order. First National's "Tile Viennese Medley," directed by Curt Always at your service. Kebleld. Photographed by John W. Boyle. A. S. C. Charles Hutclunson Productions "Pirates of (he Sky." and GEO. H. SCHEIBE other features. 1636 Lemoyne St. DUnkirk 4975 Los Angeles, Cal. E. Burton Steene Akeley Specialist SUBSCRIBE FOR THE Care of American Society of Cineinalographers 121!>-20-ai-li2 Guaranty Bldg. - - Hollywood, Calif. HKmpstead 11111 ORnnite 4274 American Cirtematoqrapher Twenty AMERICAN CINEM ATOGRAPHBR October, 1925 Assistant Cameramen's Club Active With Weekly Meetings Meetings of the Assistant Cameramen's Club continue to flourish while the member- ship of the organization keeps growing at a steady pace. Membership in the club, which was formed several months ago, is confined to assistants with at least one year's experience in active production work. At the meeting of October 13th, the Cine Kodak and Kodascope were demonstrated to the assistants. All meetings are held, by spe- cial arrangements with the American Society of Cinematographers, in the A. S. C. assembly . Among the many useful articles for rooms, Guaranty Building. which man craves possession, there is invaria- bly the product of one particular manufacturer, Notes on Assistants which dominates all others Cliff Shirpser is assisting George Meehan on "Ben Hur" "chases" at the M.-G.-M. From pipes to motor cars, from studios. chewing gum to pianos---whatever the article may be---there is always one distinctive product, Joe McDonald was started on a new Col- is recognized as the besL, leen Moore vehicle with T. D. McCord. that Roland Piatt, Curtis Felters and Griffith Few commodities dominate their of the Thomas Tom Mix outfit are scheduled field for general excellence, for outstanding to assist to leave on location Dan Clark. superiority over all others, to such a marked Bill Reinhold is assisting George Barnes degree, as do the products of Carl Zeiss, Jena, on another "Potash and Perlmutter" story. creators of the celebrated Tessar lens. Harold Schuster has started with Glenn McWilliams at Fox with the Victor Schert- zinger company. Steve Bauder is with the trick department at the M.-G.-M. studios. Eddie Cohen is working in a similar ca- pacity at First National. /larcld 07T. Oienneff U.S. Ogcri/ Max Cohen is back from the Feather River district where he assisted Reggie Lyons on the latest Buck Jones feature for Fox. OZew y&rk Don Green has returned from Alaska where he assisted Charles Clarke on George Melford's latest production for Metropolitan. A NEW LENS "That has made good" CLUBBING OFFEB Large aperture F:2.3. To a large extont responsi- ble for the Bas-relief, or solid appearance of the Subscribed for separately. Camera Craft subject on the screen. Good definition over the entire field, yet not harsh and the American Cinematographer will cost or wiry. A portrait lens in short focal lengths a total of $4.50 per year. As a special clubbing 40mm, 50mm, 75mm, with full closing diaphragm. offer, both magazines may be had at a total Price is reasonable 40mm $50 00 price of $3.40 per year. 50mm 50.00 75mm 55.00 American Cinematographer A trial will be satisfying ASTRO-GESELLSCHAFT, mbh., Berlin 1219 20 21 22 Guaranty Bldq. FOR SALE BY MITCHELL CAMERA CORPORATION Hollywood. Calif. 5025 Santa Monica Blvd. - - Los Angeles, Calif. October, 1925 AMERICAN CINEMATOGRAPHER Twenty-one RENE BERLIN GUISSART BUDAPEST BRUSSELS WINFIELD -KERNER Atmospheric Shots in Any VIENNA Part of Europe GENEVA 'Taken according to your own in- CAIRO structions in an LAMPS artistic manner to mate I? the pho- MADRID graphy of your pro- duction. OFFICIAL CORRESPONDENT IN LISBON ALGIERS EUROPE FOR: Since American Society of IE Cinematographeri ; Frank D. Williams JERUSALEM 19 5 118 Avenue des Champs-Elvsee* PARIS LONDON Cable Address: ETC. LOUVER ANDE-PARIS (Continued from Page S) Form Silk Mills Several of the prominent worth-while the time is well In Film Capital members of the motion pic- spent. If the cinematography ture industry are Identified in is negligible, the story and ac- an official capacity with the tion clap-trap or, to use a fa- Hollywood Silk Hosiery miliar expression, a 'dud,' Mills which is to erect a four- then the time spent is abso- floor factory in Hollywood. lutely wasted. Therefore it is The new silk mill is being up tio the cinematographer, sponsored and financed by the the continuity writer, the di- Hollywood Finance Com- rector and the producer to pany, of which Clarence D. give the public films of merit. Hutson i s president and "Art in the fullest sense of Roger E. Jones, secretary and the word is what motion pic- treasurer. ture theatre-goers demand. Under the caption of "This And you gentlemen are keep- Clarence D. Roger E. Should Be Rich Silk Center," ing pace with the times in Hutson Jones the Los Angeles Examiner, in meeting this demand." a recent editorial, said : Following Judge Good- That Hollywood is to sup- cell's speech, short talks on ply its own needs, as well as "Speaking of industrial op- various cinematographic those of the outlying country, portunities for Los Angeles, phases were given by Dan in the way of silk stockings, consider silk. Clark, Fred W. Jackman, which are used so profusely "There is no other place in John W. Boyle, George in motion pictures, is indi- the world to rival this city in Schneiderman a n d Arthur cated by the scope of a new advantages possessed in this Webb, attorney for the A. S. industry that has been regard, so the experts tell us. C. brought to the film capital. A detailed survey of the situa- Twenty-two AMERICAN CINEMATOGRAPHER October, 192:') TREMONT FILM LABORATORIES CORP. 1942-4 Jerome Avenue New York City SPECIALIZING in NEGATIVE DEVELOPING FIRST POSITIVE PRINTING FOR RENT! MITCHELL and BELL & HOWELL The Baitsch & Lomh Ultra CAMERAS F 2. 3. - F. 2. 7. - F. 3. 5. Lenses Rapid Anastigmat is an 40-50-75 M. M. f:2. 7. /efts. This not only is COMPLETE EQUIPMENT its rated speed-— it is the J. R. LOCKWOOD speed at which it actually 523 North Orange St. performs. Phone Glendale 3361-W Glendale, California Bausch &? Lomb Optical Co. Cinema Studios Supply Corp. 1438 Beachwood Drive Neiv York San Francisco Washington Chicago HOIIy 0819 Boston Rochester, N. Y. London LIGHTING EQUIPMENT FOR RENT L. A. FIRE DEPARTMENT WIND MACHINES Water Engine tion by M. H. Merrill, nat- manufacturing its own silk "This immediate section ionally known textile engi- goods for the Pacific Coast uses $25,000,000 of silk goods and mountain states and a neer, shows the following: annually. The entire Pacific larger part of the middle "All but a negligible per- Coast uses $70,000,000. Add western territory because: centage of the silk turned out to that a share of the Middle "Building costs are 25 per by American mills is manu- cent lower here than in the West's business and Oriental factured in the East. The East. trade and the market becomes raw silk for these mills comes "Labor costs are 12 per cent a $110,000,000 yearly propo- from China and Japan. Ocean less. sition. and rail freight rates and in- "Power costs are 40 per "Mr. Merrill shows that surance are enormously high. cent less. several economics make it It is carried across trie conti- "Fuel and water costs are possible for Los Angeles to nent in express trains which, less, and there would be an manufacture silk, ship it East, in order to save guard and in- immense saving in freight and undersell the factories there surance costs, travel faster insurance. and still make a larger profit than the limited passenger "The market ? Southern than is possible for them. schedule. California uses more silk per "The silk industry is now "And then, after fabrica- individual than any other being pioneered here, and tion, the Pacific Coast supply part of the world; this be- there are splendid results. comes back carrying the load cause buying power here is Conditions are so prosperous, of high freight and insurance exceptional and the climate however, that this should be rates. favors the year-round use of the greatest silk oianufactur- 'Los Angeles should be this fabric. ing center in the world." October, 1925 AMERICAN CINEM ATOGRAPHER Twenty-three FOR QUICK WORK AND SHORT SHOTS Use a Universal WHEN THINGS are happening fast—when a rhino is charging or a chimney is toppling—A Universal is the camera for the job. For the work that requires real portability, easy loading, quick thread- ing and a first class film as the final result—get a "Universal." Its design and workmanship are the equal of the average studio camera, but it is im- measurably superior from the standpoint of portability and speed in loading and setting up. That is why the Universal is the choice of the explorer, traveller and news reel man. No studio equipment is complete until they have a Universal. Write For Literature } ou should know the Universal Manufactured By Universal Camera Co. 355 W. Ontario St., Chicago Rosher Departs Pickford while the members Royal Photographic Society. For Germany alligator skin wallet to the A. He has been a cinematog- S. C. member. A smaller size rapher in England for the Charles Rosher, A. S. C, of a similar wallet was pre- past 1 5 years. has left Hollywood for New sented to Mrs. Rosher. The York City where he will em- alligator skin has a particular bark, for Germany for the significance from the picture Cupid Enmeshes filming of Mae Murray's big in which Rosher has just pho- A. S. C. Members production for Ufa in Berlin, tographed Miss Pickford — as announced in last month's "Scraps," in which much of Cupid is persistently en- issue of the American Cine- the action revolves about tangling his darts in the rolls matographer. southern swamps in which al- of film which go to record a ligators abound. cinematographer's life, it ap- Prior to his departure, pears from a current perusal Rosher and Mrs. Rosher, who of the membership list of the is accompanying him on the American Society of Cinema- Eveleigh Here trip, were guests of honor at tographers. a dinner party given by Mary From England In rapid succession, Philip Pickford and Douglas Fair- Leslie Eveleigh, vice presi- H. Whitman, Gilbert War- banks at "Pickfair" in Bev- dent of the studio division of renton and Paul P. Perry, all erly Hills, Calif. Rosher was the Kinccameramen's Club of whom were admitted to presented with an auto- be in a state of confirmed i n London, has arrived in graphed and handsomely Hollywood from England. bachelorhood, have crossed framed photograph of Miss the boundaries into matri- of the Pickford staff gave an Eveleigh is a fellow of the monial bliss. . ! Twenty-four AMERICAN CINEMATOGRAPHER October, 1925 WAGERING PHILOSOPHERS . . . SILK STOCKINGS . . . SECURITIES betting philoso- You Worked (or Your Money— "Holly Knit" silk stockings, THEpher who wagered Now Make It Work for You the Hollywood Silk Hosi- shall be glad to offer you all that he could tell JJfE ery Mills — a California information as to how you may any type of woman by her become a part owner of ivbat promises corporation whose directors to be a singularly profitable industry ankle who, to are prominent in the film and prove his for Hollywood boast, offered to secrete industry — have acquired himself behind the cellar BUT milady must keep one of Hollywood's most grating along the sidewalk her ankles zestful! valuable industrial sites where he could view only Silken hosiery are no (Santa Monica Blvd. and milady's pedal extremities, longer a luxury—they're a Las Palmas), and will would find his a difficult necessity! So, to meet the erect a four-story factory to venture today. He would leaping demand for their meet the silk stocking needs of learn that the age of the OFFKKHS: Western Americca. awkward ankle has passed .J. H. Schmitz, President. Clarence I'- Hntson, Vice-l'resideiit. didn't make your —the ankle that isn't so Frank [Lawrence, Vire-PrcKident. YOU Koger K. .Jones, Seo'y. and Treas. money by overlooking trim is at least made to look DIKKCTORS: opportunities; so don't like that of a thoroughbred Raymond I.. Shro Sponsored and Financed by HOLLYWOOD FINANCE COMPANY Financial Sponsors for Hollywood Athletic Club Community Laundry . Hollywood Towel Supply, Etc. Security Building Hollywood, California GRanite 11 56 Gaudio's Direction tographed both of the produc- eral seasons, has signed for Given Compliments tions. two years with the new Met- Gaudio is considering a ropolitan organization which Gaetano Gaudio, A. S. C, number of directorial connec- recently took over the old has received a letter of con- tions, but he is scheduled to Hollywood studios. Benoit gratulation from Harry resume his activities with has a long list of important Cohn, executive of the Wal- WalcHorf when that organiza- productions to his credit, in- dorf studios, on the excellency tion, which has completed its cluding the special features of the productions which the output for the current season, made by Richard Walton Tully, among which were A. S. C. member directed for begins on its program in the "The Masquerader" starring the Waldorf banner. first part of 1926. Guy Bates Post. Cohn states in his letter that Charles Stumar, who has Benoit and Stumar the sales end of his organiza- been with Universal for the tion in New York City were Signed To Contracts past four years, has been signed on a long term contract greatly impressed with the ex- Announcement of the sign- with that organization to film hibition possibilities of the ing of two A. S. C. members special features at Universal productions which Gaudio on important contracts was City. has just finished directing. made during the past month. at present is filming These were "The Price of Stumar Georges Benoit, who has "Two Blocks Away," a super- Success" and "Sealed Lips." been with Hunt Stromberg Jewel production, directed by Sam Landers, A. S. C, pho- productions for the past sev- Harrv Pollard. October, 1925 AMERICAN CINEMATOGRAPHER Twenty-five Two New Attachments oS Tremendous Value Have Been Added in the HILLED SCREW FOR OPERATING, GROUND GLASS SPIRIT LEVEL FOCUSSING ROD VIEW FINDER MILLED SCREW FOR REVOLVING FOCUSSING AND DIAPHRAGM BftRS A.PERTU RE SIGHT ^ BUTTON FOR FIXING ARTICULATED SUNSHI ELD MAGNIFYING VIEW FINDER AND EYEP'ECE DISSOLVING SHUTTER INDICATOR HAND PUNCH ROD SHUTTER OPENING INDICATOR BUTTON 1 TURN 1 PICTURE CHANGE SPEED OPERATING ROD SPEED INDICATOR SLOT FOR HA.NOLF NEW MODEL DEBRIE "P-A-R-V-O" CAMERA i. Revolution and Footage Indicators (Patented). This device adds up when the handle is turned forward and subtracts when it is turned back. It shows number of handle turns and exact footage. Either indicator can be set back to zero at any time. Synchronized Focusing and Diaphragm Bars. A new method of scaling the focusing bar, and a new shape in the focusing rod, insure instantly an absolute sharpness in focusing which cannot be secured by any other camera. And Here Are 18 Other Features which Make "Parvo" the Most Complete Camera in the World Metal construction throughout (duralumin and masks are placed in camera gate— soft masks cast steel). Light, compact, small, opened by from outside—counter-masks for double expos- a single button. ure on same slip as corresponding masks. Magazines always inside the camera, hold 400 9. In dissolving effects, the shutter acts automatic- feet of film. ally, with mathematical increase or decrease. No need to count turns of handle. Mechanism independent of body. 10. Automatic stop at end of forward or reverse Universal lens mount, permitting instantaneous dissolve. use of 10 different lenses of any make, focus or aperture. 11. Shutter adjustment from outside. 12. Any make of film, regardless of pitch or kind of Focusing is instantaneous, and visible from rear. perforation, can be used without special adjust- Lens apertures adjusted from rear. ment. Focusing can be changed while camera is being 13. All pressers fitted with rollers to prevent fric- operated. tion on film. Focusing is controlled directly through the film 14. Loading is easy and quick. on ground glass which straightens up picture 15. Film works forward or backward. and magnifies it 9 times. Camera locks auto- matically when ground glass is in position. 16. Two different speeds can be used without re- moving handle. Any accessory can be quickly adjusted in front of camera, and can be juggled away from the 17. Speed indicator insures regularity of movement. field, while remaining adjusted. Hard or artistic 18. Fitted for electric drive, any source of current. CALL FOR DEMONSTRATION—OR WRITE FOR FULL DETAILS Motion Picture Apparatus Co., inc. U. S. AND CANADA AGENTS FOR DEBRIE APPARATUS HO W. ssD ST. NEW YORK CITY , Twenty-six AMERICAN CINEM ATOGRAPHER October, 1925 Hollywood, Calif. October 23, 1925. Mr. Bert Sylvester, % Greco, 923 Cole Ave . Hollywood, Calif. Dear Mr. Sylvester: After visiting your plant last week, unsolicited, I wish to congratulate you for your effort to ever increase the efficiency of the Creco products. The new improvements on the spot light elements increases the pleasure I obtain in using them on my sets. I have been using Creco lamps ever since their introduction into the field, and have found them to be some of the best tools of my profession at my disposal. They are sturdy, light and constant in their delivery of light. YOU HAVE THE PRODUCT. With best wishes for further success of Creco, I remain Yours truly, (Bert Glennon) C inematographer with Famous Players-Lasky bg:s —— — — ———• — HOW TO LOCATE MEMBERS OF THE American Society of Cinematographers Phone GRanite 4274 OFFICERS Homer A. Scott President Victor Milner First Vice-President Daniel B. Clark Second Vice-President L. Guy Wilky Third Vice-President Bert Glennon Treasurer John W. Boyle Secretary BOARD OF GOVERNORS Bert Glennon Gilbert Warrenton Daniel B. Clark Victor Milner George Schneiderman Charles J. Van Enger John W. Boyle Homer A. Scott Norbert F. Brodin H. Lyman Broening L. Guy Wilky Paul P. Perry Henry Sharp Fred W. Jackman Alfred Gilks Abel, David —with Warner Brothers. Landers, Sam—with Waldorf Studios. Arnold, John—with Metro-Gold wyn-Mayer Picture Corp. Lockwood, J. R.— ' _ Lundin, Walter—with Harold Lloyd Productions, Hollywood names. Georee S. —with Geo. Fitzmaurice. United Studios. Studios. Heokway, Wm.— Lyons, Regina'd—with Buck Jones, Fox Studio. Tienoit, Georges— with Metropolitan Studios. Boyle, John W.—with First National Productions, United Marshall, Wm.—with Carlos Prods. Studios. National. United Studios. . McCoid, T. D.—with First Brodin, Norbert F. —Frank Lloyd Productions, First National, McGill, Barney United Studios. MacLe'an. Kenneth G. —with Warner Bros. Broening, H. Lyman — Meehan, George—with Waldorf Studios. Brotherton, Joseph— Milner. Victor—with R. A. Wa'sh, Famous Pla/ers-Lasky. Morgan. Ira H.-with Cosmopolitan. Clark. Dan-with Tom Mix, Fox Studio. Clarke, Chas. G.-with George Melford. Metropolitan Studios. Stephen S.-F. B. O. Stud.os. Cowling. Herford T. — 29 So. La Salle St., Chicago, 111. Cotner. Frank M. —with Goodwill Picture Corp. Crockett. Ernest—with Mack Sennett Studios. Palmer, Ernest S.—with Fox Studio. Cronjager, Henry—with B'amous Players-Lasky, New York Perry, Harry QHy Perry, Paul P. —with Universal. Polito, Sol—with Hunt Stromberg Productions. Dean, Faxon M. —with Alan Hale, Cecil B. De Mille Studios. Doran, Robert V.— Ries, Park J. Dored, John — Riga, Latvia. Roos, Len H.—with Fox Varieties and News Divs. DuPont, Max B. — in Australia. DuPar, E. B. —with Warner Bros. Rose, Jackson J. —with Universal. Dubray, Joseph A. — Rosher, Charles—with Mae Murray. "Ufa," Berlin. Henry King. United Studios. Edeson Arthur—with Schneiderman, George—with Fox Studio. Evans, Perry— Scott H omer A.— Fildew, Wm. Seitz, John F.—with Rex Ingram, Europe. Fischbeck, Harry A.—with D. W. Griffith, Famous Players- Sharp, Henry—with Douglas Fairbanks, Pickford-Fairbanks Lasky, New York City. Studio. Fisher, Ross G. — with Fred Thomson, F. B. O. Studios. Short, Don Smith, Steve, Jr. Gaudio, Gaetano—directing. Steene, E. Burton Gilks. Alfred—with Famous Players-Lasky. Stumar, Charles—with Universal. Glennon. Bert —with Famous Players-Lasky. Stumar. John—with Universal. Good. Frank B. Louis Prod.. Portland. Ore. Gray. King D—with H. Moomaw Tolhursti Louis H. — "Secrets of Life." Microscopic Pictures. Griffin, Walter L. — Principal Pictures Corporation. Paris, France. Guissart, Rene— Totheroh, Rollie H.—with Charlie Chaplin. Chaplin Studio. Haller. Ernest—with Robert Kane Prods., New York City. Turner, J. Robert—with Fox Studios. Heimerl, Alois G. Van Buren, Ned Jackman, Floyd—Fred W. Jackman Prods Van Engeri Charles—with Ernst Lubitsch, Hal Warner Brothers Jackman, Fred W.—directing Fred W. Jackman Prods., Vun Trees James C\—with Metropolitan Studios Roach Studios. Prods., United Jennings, J. D— with Rudolph Valentino Warrenton, Gilbert—with B. P. Schulberg Prod. Studios. Wenstrom, Harold— Koenekamp. Hans F.—with Larry Semon. Whitman. Philip H. Kull, Edward—with Universal. Wilky, L. Guy—with William de Mille, Famous Players- Kurrle, Robert—with Edwin Carewe, United Studios. Lasky. Edison, Thomas A. —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. 1 11 1 0-20-21 -22 GUARANTY BUILDING Hollywood Boulevard and lvar Avenue HOLLYWOOD. CALIFORNIA LOYALTY PROGRESS ART Hollywood News Print Vol. VI, Nos. 8 and 9 25 Cents A Copy December, 19*5 American Cinematographer Published by the American Society of Cinematographers, Inc. In this Issue: Projection— By Earl J. Denison Photographing in Alaska—By Charles G. Clarke, A. S. C. Rack Marks and Airbell Markings on Motion Picture Film—By J. I. Crabtree and C. E. Ives. PUBLISHED IN HOLLYWOOD CALIFORNIA RELEASES October 4, 1925, to November 15, 1925 ill Lt, rnUlUbKArntjU Hi The Primrose Path Andre Barlatier The Timber Wolf Allen Davey Easy Going Gordon Not credited Law or Loyalty Not credited Without Mercy Chas. G. Clarke, member A. S. C. Three Wise Crooks Roy Klaffki A Son of His Father Not credited The Fear Fighter Ross Fisher, member A. S. C. Wandering Fires Harry Stradling What Fools Men Norbert Brodin, member A. S. C. A Daughter of the Sioux Wm. Fildew, member A. S. C. Classified Hal Rosson The Calgary Stampede Harry Neuman The Dark Angel George Barnes, member A. S. C. The Midshipman Oliver Marsh The True North W. W. Kelly Paint and Powder Sol Polito, member A. S. C. Lovers in Quarantine J. Roy Hunt Thunder Mountain Glen "McWilliams A Regular Fellow Charles Boyle Lazybones Geo. Schneiderman, member A.S.C. Exchange of Wives Ben Reynolds Crack o' Dawn Lee Garmes The Substitute Wife Harry Stradling The Pace That Thrills T. D! McCord, member A. S. C. Some Pun'kins Phillip Tannura and James Brown The Pride of the Force Not credited Sealed Lips Sam Landers, member A. S. C. American Pluck H. Lyman Broening, member A.S.C. Ridin' the Wind Ross Fisher, member A. S. C. 9 3-5 Seconds Gordon B. Pollock and Edward Henderson Children of the Whirlwind Edward Paul The Winding Stair Karl Struss Tjittlp Annip Ronnpv unaries itosner, memoer j\. j. k*. Barriers Aflame Robert Kurrle, member A. S. C. His Master's Voice Jack MacKenzie Flower of Night Bert Glennon, member A. S. C. Red Hot Tires Charles Van Enger, member A. S. C. The Unwritten Law Frank Good, member A. S. C. Scandal Street Edwin Paul Thank You George Schneiderman, member A. S. C. Satan in Sables John Mescall Durand of the Bad Lands Allen Davey The Unnamed Woman Not credited. The Everlasting Whisper Daniel B. Clark, member A. S. C. Hidden Loot Wm. Nobles The Wall Street Whiz William Marshall, member A. S. C. and Jack Stevens A Little Girl in a Big City C. J. Davis and Jack Young The Live Wire Charles Gilson, John Geisel and Paul Strand The King on Main Street James Howe East Lynne Ernest Palmer, member A. S. C. — — : — Vol. VI DECEMBER, 192$ Nos. 8 and 9 t COMBINED WITH NOVEMBER) American Cinematographer Foster Goss. Editor and Business Manager J. W. Partridge. Managing Editor Contents Page Projection Conducted by Earl J. Denison 4 Photographing in Alaska By Chas. G. Clarke, A. S. C. . . 5 Arrange Release for Cowling Films 6 Rack and Airbell Markings on Motion Picture Film By J. I. Crabtree and C. E. Ives 7 The Editors' Lens 10 In Camerafornia 12 New Camera Introduced by N. Y. Photographic Institute . 13 Governor of Virginia Sees A. S. C. Member's Trophies . .13 Ira Morgan, A. S. C, Signs New Contract 23 A. S. C. Roster 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 cenu Advertising rates on application. 1219-20-21-22 Guaranty Building, Hollywood, California Telephone, GRanite 4274 (Copyright, 1925, by the American Society of Cinematotraphers, Inc.) — Four AMERICAN CINEMATOORAPHER December, 1925 PROJECTION * Conducted by Earl J. Denison Splicing of Film Careless Workmanship Brings Heavy Loss to Requires Qreat Care Theatre and Producer This paper was presented before ( er inspection, splicing and matter to obtain strength, but the recent meeting of the Society of handling will lead those en- strength alone does not con- Motion Picture Engineers.) gaged in this particular stitute a satisfactory splice. During the past ten years branch of the industry to an Ultimate Test the mechanical processes in- understanding and apprecia- Projection is the ultimate volved in the making of mo- tion of the necessity for per- test for the mechanical and tion pictures have—for the fect work. physical qualities of the most part—been subjected to Perfection splice, as well as the film, critical analyses followed by Of primary importance and while practically all changes and improvements film among the mechanical pro- damage occurs in the theatres, which have resulted in in- r cesses is that of film perfora- about 50 of the damage is creased efficiency. f tion, as accuracy in this oper- traceable to improperly made Processes of major impor- ation is the first: requisite in splices for which there are six tance—the perfection of the the making of quality pic- primary causes. film; the taking of the pic- tures; i. e., being the initial tures; and the making of Cause No. 1. Splice out of operation, successful handl- register (of sprocket holes positive prints— are now car- ing of the succeeding pro- not ried on by means of standard- perfectly matched.) cesses is only possible with Splices of this will ized machines and instru- kind jump the utmost accuracy in film while passing through the ments, the use of which in- perforation. projector and probably sures surpassingly fine artis- dam- The fact that the life of age the film. tic effects joined with a mini- the film depends almost en- Cause No. 2. Splices too mum of production cost. tirely on the physical and me- wide. A splice is stiff and un- Scant Attention chanical conditions of the bending, and if too wide will perforations But some minor processes ( Sprocket not seat properly on the are of major importance and Holes) proves that the utmost sprocket wheels of the projec- these have received scant at- care should be exercised to tor, causing a jump with tention. The splicing of film prevent the perforations from probably damage. becoming is a case in point. This pro- damaged. Cause No. 3. Emulsion or cess has — until recently The matter of splices has gelatin not entirely removed. been carried on by crude never been confined to any Due to the fact that film ce- methods which have pro- one locality, but constitutes a ment only acts upon the cellu- for all laboratories, duced unsatisfactory results. problem loid base of the film, it is nec- A faulty splice may throw the exchanges and tne theatres. essary to entirely remove the picture out of frame, trespass This problem presents fea- emulsion in making the upon the picture space, stiffen tures more complicated than splice. Where there is a par- the film at point of splice, or the mere holding quality of ticle of emulsion, the cement give way altogether. And to the splice, and the recurrence will not hold, causing the the extent that it does any of of complaints shows clearly splice to open and come apart. satisfactory of these things it makes impos- that a means Cause No. 4. Too much or sible the production of the splicing film to withstand the too strong a cement. We say use to which the prints are perfect motion picture. ''splicing" the film, when it subjected in the theatres has A more intimate knowl- is more nearly correct to say edge of motion picture film, yet to be standardized. ''welding" the film. The ce- the use it is subjected to in the There is very little dif- ment attacks the celluloid theatres, together with the ference in uniformity, flat- base of the film and when the science and reasons for .prop- ness, register, etc. It is an easy (Continued on Page 16) December, 1925 AMERICAN C I N E M A T O G R A P H E R Five Photoqraphing A. S. C. Member Leads Pioneer Studio Filming 8,1 chas- Q- Clarke, a. s. c. in Alaska Trip to Far North Juneau the trip was made to Sitka in a very small boat. Citizens Co-operate In the latter city the weather was a great surprise, for instead of terrific cold, real Hollywood weather was encountered — warm days with mellow sunlight and sufficiently long in duration to enable the company to take far more scenes than had first been supposed. Citizens of the town gave a willing hand in obtaining special "props" and authentic cos- tumes and were most obliging to assist in any way needed. Fox Farming The story of "Rocking Moon" is built around the im- Filming Scenes for "Rocking Moon," at Ancient Glacier portant industry of fox farm- North of Juneau, Alaska. Chas. Clarke, A. S. C, Second ing in Alaska and the story de- from Left. rives its name from the shape of the island where the ma- Unique in the history of tion conditions. However, the jority of the foxes are raised. picture motion making was Metropolitan took this Most of the action takes place the trip of sixteen players of chance and arrived in Juneau, on this island. the Metropolitan Picture The government leases Alaska, in seven days. From Corporation to Alaska for the (Continued on Page 23) filming of "Rocking Moon," the novel by Barrett Wil- loughby. The picture was di- rected by George Melford and the scenes were taken in and around Sitka, the old Russian capitol, which still has many of the original Rus- sian buildings and totem poles erected hundreds of years ago. Pioneer Trip While it is true that many scenic and educational films have been taken in Alaska, the trip of the Metropolitan players is said to have been the first into tho far frozen north country for the express purpose of filming a play be- cause of the tremendous ex- George Melford, Rockliffe Fellowes and Lilyan Tas ft man pense involved due to uncer- With Some of the Blue Foxes Jf'hich Clarke Photographed. tain weather and transporta- Six AMERICAN CINEM ATOGRAPHER December, 1925 Arrange Release Famous Subjects Cut and Edited Ready Now ; for Cowlirtq Films for Immediate Showing Announcement was made this month of ding cerembny of the Raja of Kashmir are the release through which the motion pic- neither travel pictures nor adventure pictures it is just letting one-half of the world see tures, made by Herford Tynes Cowling, A. — what the other half is doing, and letting that S. C, in his latest trip around the world, will other half see such as a matter of entertain- patrons. Entire dis- be distributed to cinema ment rather than education. tribution rights to all the motipn pictures filmed by Cowling under the "Round the Difficult Field World Travel Picture" banner have been "It becomes more and more difficult purchased by Pinellas Films, Inc., of which every year to find subjects that will enter- Harry P. Carver is president. tain. With such wonderful and magnificent productions for imaginative entertainment as Feature Length Three of 'The Thief of Bagdad,' 'The Wanderer' or Q' There will be three of Cowling's releases 'Don —which build, for example, such elaborate sets as for 'Bagdad' any films I in feature length—"A Lion Hunt in Africa," — would make of the real Bagdad or Mesopo- "A Tiger Hunt in India," and "Into Un- tamia, or of the Arabian or Persian people, the Em- known Tibet; or Tibet, Unknown would appear squalid and unromantic beside pire." The matter on which these three pro- the productions made in Hollywood from ductions are based formed the foundation for fiction rather than from fact. three successive stories which appeared under "However, our business is one essentially of imaginative entertainment. I certainly the A. S. C. member's authorship in this pub- have no complaint to make on that score. But lication. I do regret to see the feature pictures becom- The single reel subjects, which Cowling ing longer and longer each year, all of which made on the same trip, will be distributed by works against, insofar as finding a place on Pinellas through the Short Film Syndicate, the ordinary program is concerned, the re- New York, of which Hal Hodes is president. warding of arduous cinematographic expedi- Included are more than 100 short reel sub- tions into jungles and foreign fastnesses and jects of the adventure type, which are a dis- recording the unknown life that is unearthed tinct departure from the stereotyped "travel" there. In other words, if we are to have many pictures. more ten and eleven reel features, as appears to be the trend of the producers at this time, "The name of the travel picture," the there will be no room left for even the most A. S. C. member states, "has become synony- meritorious short films of adventure or travel mous with subjects made along the beaten call them what you will once the essential path of the tourist, and at the same time has — — news and comedy pictures are taken care of." come to be applied to all pictures so made abroad." Historic Trip Real Adventure • The trip on which Cowling captured the The accepted phraseology, it is said, does cinematographic material that is now ready not accurately describe the motion pictures for release was one of the most notable ever which Cbwling has brought back from his to be essayed by a cinematographer. It re- memorable trip. The A. S. C. member pre- quired the better part of two years to com- fers to refer to his productions as something plete, and led him over thousands of miles of of the adventure type, going as he did farther primitive travel into parts of Africa, India, and farther afield each year for his material. Tibet and the Orient, which theretofore had "Some of the series will be called 'Far been entered by few, if any, white men, and " Eastern Trails,' Cowling continued, "while which certainly is now being brought for the the films of a fish fight in Siam; the birthday first time to the outside world through the of the King of Bunyoro in Africa; or the wed- medium of Cowling's cameras. ) Seven December, 1925 AMERICAN CINEM ATOGR APHER Rack and Airbell Markings on Cinema Film Causes and Effects of Different Timely Facts in Eastman Re- q ' Types 0/ Marks Given search Laboratory Communica- c VCS ' Thorough Analysis. ' tion Presented Herewith. TOP OF RACK Figure 4. KEY TO FIGURES BOTTOM OF RACK CFicA) Fig. 1: Typical Development Rack Marks on Motion Picture Film. Fig. 2: Streaks by the WETTED Caused Restrain- f f,6. Fig. 3: Diagram Illustrating the Prob- able Direction of the Convec- tion Currents in a Motion Picture Developing Tank. Fig. 4: Film Developing Rack With Offset Spacing Pins. When developing motion picture film by ing of airbells to the film as the rack is im- the rack and tank system it is very difficult to mersed in the developer. These airbells pre- secure uniform development throughout the vent the access of developer to the film locally thus causing white spots. entire length of the film. Unless special pre- cautions are taken, more development occurs Both the above defects can be overcome by correct manipulation, but their presence at the top and bottom of the rack where the on much of the film shown in the present day film passes over the end slats or bars than theatre indicates a need for a better knowl- along the sides, so that bands of greater density edge of the subject on the part of many occur at intervals corresponding with the laboratory workers. height of the rack, which cause an objection- It is the purpose of this article to explain able flicker when the film is projected. These the nature and cause of rack marks and air dark markings are termed "rack marks." bell markings on motion picture film and to Another difficulty arises from the cling- indicate methods for their prevention. Eight AMERICAN CINEM ATOGRAPHER December, 1925 Figure 9. KEY TO FIGURES Bar Markings Produced When Developing Film on a Reel. Figure IF Air Bubbles Clinging to Motion Picture Film. Group of Circular and Irregular Shaped Airbell Markings. Airbell Markings Coincident If ith Rack Mark. Airbell Marking—Clear Spot Surrounded by a Dark Ring (20 diams). Fig. 10: Airbell Marking—Clear Spot Surrounded by a Dark Ring Accom- panied With a Tail (20 diams.) Fig. II: Airbell Marking—Clear Spot Surrounded by a Grey Ring (20 diams.) Figure 12 Fig. 12: Airbell Marking—Clear Spot With Central Dark Ring (20 diams.) RACK MARKS Cause of Rack Marks At various times rack marks have been Nature Rack Marks of wrongly attributed to causes such as a dif- When film is developed on the usual rack, ference in temperature between the rack slats in a vertical tank, more development invari- and the developer, which might cause an ac- ably occurs where the film passes over the top celeration or retardation of development at and bottom of the rack than along the sides the point of contact of the film with the slat. causing the film to appear as shown in Fig. Experiments have been shown however that 1. The marking where the film passes over more development occurs where the film the top of the rack is usually mottled and con- passes over the slats even when the rack is sists of a double line, while at the bottom, only cooled below the temperature 'of the develo- a single dark line is produced. per before immersion. Tt is now known that : : r Nine Dec-ember, 192. > AMERICAN CINEMATOGRAPHER rack marks are caused by non-uniform de- placed in the developer the white tails appear velopment due to connection currents and re- above the circles (Fig. 2) because the reac- tardation of development of the film along tion products diluted with the water absorbed the sides of the rack by the developer exhaus- by the film have a lower specific gravity than tion products. the developer and, therefore, travel upwards. In order to demonstrate the non-uniform- The probable direction of the convection ity of development at the top and bottom of currents occurring in a vertical motion pic- the rack a length of motion picture film was ture developer tank is shown in Fig. 3. given a uniform exposure and developed for The main currents A B F E, and C D the normal time, five minutes, at 65" F., the H G flow parallel with each side of the rack. rack being kept stationary. The density of the At the bottom of the rack small eddy currents developed film was measured in several places probably exist while across the top of the rack at the top, middle and bottom of the rack and the developer remains relatively stationary. the average measurements were found to be At the points B and C the developer is as follows continually renewed while between these points the reaction products of the developer Top Middle Bottom remain stationary and development is re- of Rack of Rack of Rack strained so that a double rack mark is pro- 1.32 1.15 1.02 duced as shown in Fig. 1A. At the points F to bot- This grading of density from top and G, development is restrained by the reac- tom of the rack is due to the fact that wher- tion products flowing down the film, while ever developmnt occurs, reaction products between these points the developer is being consisting of oxidized developer and sodium continuously renewed by virtue of the eddy bromide are formed. These substances are currents so that only a single rack mark re- strong restrainers of development and have a sults as shiown in Fig. IB. greater density or specific gravity than the Negative rack marks appear as light fresh developer, and therefore, tend to flow bands on the positive print. The positive film downward while developer flows from above may therefore contain both negative (light to take its place. As the developer flows down bands) and positive (dark bands) rack marks the vertical film it becomes gradually more at varying intervals but separated by a dis- and more exhausted because it has assisted tance not greater than the height of the rack. in developing the upper portions. This re- Only in rare instances do the positive and sults in a gradual diminution in the degree of negative rack markings coincide. development of the film from top to bottom of Since rack marks are caused by non- the rack. uniform development, the remedy is some- The actual existence of convection cur- what obvious, but it is very difficult in tank rents in a vertical developing tank has been work to ensure that each portion of the film shown by Bullock 1 who placed paper fibres in develops at exactly the same rate. To attain the solution. During development the fibres this end the developer must be renewed at were observed to travel downwards along the each point at the same rate and this can be film and then upwards at the side of the tank. partly effected in the following ways The restraining effect of the reaction 1 . By agitation of the developer with the products of development may be very clearly rack remaining stationary . This can be ac- demonstrated by exposing a strip of film complished by means of a pump or mechani- through a metal plate punched with a num- cal stirrer, but in the case of a deep tank it is ber of holes, slightly flashing the whole film almost impossible to so agitate the developer to light and then placing the film vertically in that the rate of renewal of the developer at the the developer without agitation. Immediately surface of the film is constant throughout its below each black circle which develops up, a entire length. The experiment was tried of in- white tail is produced as shown in Fig. 2 jecting a stream of nitrogen gas (so as not to caused by the restraining effect of the reac- oxidize the developer) at the bottom of the tion products from the development of the tank, but unless an even stream of the gas circles, which reaction products gravitate passed up each side of the rack uneven de- downwards. If the film is wetted before being velopment resulted. In view of the expense involved and the difficulty of securing uni 1. "On the Convection Effects in Photographic Bathing Opera- agitation, tions in the Absence of Agitation," by K. R. Bullock, B. J. form this method was abandoned. Phot.; Feb. 1 922, p; I 1 0, CCotrtlnued on Page 17) Ten AMERICAN C I N E M A T O Q R A P H E R December, 1925 The EDITORS' LENS * focused by FOSTER GOSS TThe reception accorded the selection by famous critics of the pro- ductions with the best cinematography for the past year, as reported in the last issue of the American Cinemalographer, has exceeded the most optimistic anticipations. As was intended, that feature of this publication bids fair to stimulate, more than ever, the progress of cinematography. TThe critics' attention in this matter indicated that they are thor- oughly cognizant, if they have given the situation study at all, of the importance of the cinematographer in the scheme of producing motion pictures. To stimulate cinematography is but blazing the way for the proverbial "bigger and better pictures"; and if there has been a Moses to lead motion pictures out of the land of infancy it is motion photography itself. Motion Picture Theatres ? IfThe comment of Herford Tynes Cowling, A. S. C, in other col- umns of this issue, on the current tendency of motion picture theatre programs commends itself to consideration. HEarly cinema theatre managers made money for their houses and reputations for themselves through the embellishments which they added to the presentations of the features which they exhibited. There have come the atmospheric prologue, symphony orchestras, and a long array of acts which are truly vaudeville, until the patron now at times scarcely knows whether he is in a film theatre or in one of the early variety houses. Certainly many of the acts* which clutter up the offerings are of the same vintage as the crudest of variety turns, not to mention many of the "atmospheric prologues," which would be dignified if they were termed even "amateurish pro- logues." IFUnfortunately, countless smaller and neighborhood houses have seen fit to emulate the presentations of the larger and better known houses—and the latter, in pursuing their established procedure, have uncurtained, in too numerous instances, more mediocre than super- r December, l!)2. > AMERICAN CINEM ATOQRAPHER Eleven lative programs. What can be expected then of the smaller houses, which, when they get their best talent, are obliged to present what is worse than the big houses' worst—which is bad enough. To tax the tolerance of the patron even more, many of these vaudeville acts, prologues and whatnot are inordinately long (while the same thea- tre may have insisted on the cutting of the feature's credit titles in order to "save time"). IfWe have no quarrel with the intelligent handling of orchestra music, prologues or befitting acts. We believe, however, that pro- gressive theatre managers are open to suggestions. We believe that it is better to bill a short-length motion picture that is interesting (and there are many of them if the manager has not closed his eyes to them), than it is to give time to a doubtful act or a hurried stage presentation that usually must be put on in the minimum of time be- tween the end of the showing of one feature and the beginning of another. While the foregoing may apply principally to the smaller theatres, the impresarios of some of the more pretentious establish- ments might take note also. HMotion picture theatres, after all, take their names from motion pictures! Ho Advance ? HOne who writes spasmodically on cinematography in a Hollywood weekly under the signature of "Sub Rosa" recently opined in an issue that reviews performances of 1925 as follows: "There does not seem to be any advance made photographically in the past year." TWhile we do not know just what period of time the unknown writer includes in "the past year," surely he does not mean to be oblivious to "The Lost World," "The Ten Commandments," "Don Q," "The Thief of Bagdad," "The Wanderer," "Monsieur Beaucaire," etc.? HOr, if "Sub Rosa" is the authority on cinematogrpahy that he is seemingly set up to be and if he is confining his remarks to the im- mediate present, is he in total ignorance of the cinematographic strides that are being made in "The Black Pirate"? Perhaps also he is ignorant of R. E. Sherwood's recently published estimation of the cinematographer? Hit is an unusual year indeed wherein the cinematographer does not contribute materially to the progress of motion pictures! : : Twelve A M E H 1 C A N C I N K M A T O G R A P H E R Al Gilks, A. S. C, has completed the later Broening photographed the illustrious filming of "The Enchanted Hill," which, Barrymore in "The Lost Bridegroom." Now, based on the Peter B. Kyne story, was directed as then, Lyman states, "John is 'some' actor." * * by Irvin Willat. * * * * William Marshall, A. S. C, is photo- Fred W. ackman, A. S. C, is busy with graphing "Flaming Waters," an Associated the editing and titling of his latest production Arts production, which is being directed by at the Hal Roach studio. Floyd Jackman, A. F. Harmon Weight. * * * * S. C, was chief cinematographer. It is said that the newest Jackman vehicle surpasses Victor Milner, A. S. C, has been work- even the highly successful "Black Cyclone." ing on location at Anaheim Landing, where * * * * the Pacific meets the California coast, for the Reginald Lyons, A. S. C, is back at the filming of important scenes in the latest R. A. Fox studio in Hollywood after a location trip Walsh spectacle for Paramount. * * * * to Bishop, Calif., on the newest Buck Jones feature. A. S. C. Member's Work Praised By Motion Picture Reviewers Kenneth MacLean, A. S. C, has finished Following are a number of excerpts as relates to the filming of special effects on "The Sea cinematograph): , compiled for the first time, from the Beast," the Warner Bros, production starring reviews on Mary Pickford's "Dorothy Vernon of Haddon John Barrymore. Hall": * * * * Edwin Schallert, Los Angeles Times— "Amazing photographic attractiveness for which King Gray, A. S. C, has returned from Charles Rosher is to be credited. chief Portland, Ore., where he was cinema- "Seldom have I seen anything more enchanting than the current Lewis H. Moomaw some of the portraiture Mary is more alluring than she tographer on ; production. The cast included Eugene has ever been. "You think at times when you view her you are O'Brien, Virginia Valli, Bryant Washburn actuallv seeing Gainsborough coming to life." and George Nichols. Wid:— * * * * "Artistically it ranks as one of the best films made to George Schneiderman, A. S. C, has been date. Photographically, this is one of the most beautiful away from Hollywood on location for the productions that has ever been screened.' Photoplay — photographing of his latest William Fox fea- ". . . . exceedingly beautiful pictorially .... a new ture. watermark in animated photography. * * * * high "Charles Rosher, cinematographer extraordinary, de- Henry Sharp, A. S .C, is still hard at serves a medal of honor for the photography." work on the cinematography in "The Black Illustrated News, Los Angeles:— "The elegance of both interiors and exteriors is mag- Pirate," which Douglas Fairbanks is pro- nified by splendid lighting effects achieved by Charles ducing the Technicolor method of photog- by Rosher, master cinematographer." raphy. Sunday Pictorial — * * * * "Beautiful composition and perfect photography make H. Lyman Broening, A. S. C, when he this picture like a series of old masters. were a Nobel Prize for camera art it would was recently engaged by Warner Bros, as "If there certainly go to Charles Rosher." chief cinematographer on "The Sea Beast," Pearl Rail, Los Angeles Express:— starring John Barrymore, resumed an associa- "To Cameraman Charles Rosher belong highest tion that had its origin in 1914 with Famous honors for its superlative beauty." :— Players in New York City. The association Picture Play "The photography which gives the beautiful exterior? was with none other than Barrymore himself and vast interiors a tapestried softness is not the least part the A. S. C. member photographed in whom of the picture. We think Charles Rosher, artist of the his first starring appearance in films. The pic- lens, one of the most valuable members of the Pickford ture was "The American Citizen." Two years studios." December, 1925 AMERICAN CINEM ATOGR APHER Thirteen Governor of Virginia Sees A. S. C. Member's Trophies Governor E. Lee Trinkle of Virginia and Mrs. Trinkle; W. McDonald Lee, com- missioner of Inland Game and Fisheries; Col. Parke Deans of Richmond, and other South- ern officials were the guests during the past month of Herford Tynes Cowling, A. S. C, at the Cowling family home in Suffolk, Va., where the A. S. C. member personally dis- played to his visitors his collection of trophies which he has acquired during his numerous travels to the remote places of the world. View of New York Institute New Camera. "Governor and Mrs. Trinkle, Col. Parke Deans and others visited the home," a Vir- New Camera Introduced by ginia newspaper reports, "and expressed amazement at the completeness of the collec- N. Y. Photographic Institute tion which has been made by Mr. Cowling through the years. A new standard camera was announced this month by the New York Institute of "Leopard skins, tiger skins, quaint arti- Photography. The instrument is designed for cles of clothing and wood are part of the col- light weight and to be marketed at a low lection. The trophies are reminders to Mr. price. Cowling of his thrilling experiences in dense The camera, the Institute management jungles and other hunting grounds. states, is made to sell in units. Extra lenses, magazines, turrets and special attachments "Not only were the trophies interesting to will be sold seperately so that outfits for in- the Governor's party but the wealth of infor- dividual requirements may be assembled from mation possessed by Mr. Cowling was im- standard parts. With case and magazines of parted in such a manner to be both entertain- aluminum alloy finished in glossy black ing and instructive. For years Mr. Cowling enamel, the new camera measures 6^2 inches traveling about the world and his wide, 6^2 inches high, 7^4 inches long with- has been out magazine and 12 inches high with maga- articles have been read by many who knew zine. The weight is \2}i pounds and the him in the days when he was but a lad in capacity is 200 feet of standard film. There is Suffolk." a direct vision finder. The lens is a 2-inch, F 5 anastigmat in focussing mount; it is a Cine Velostigmat by Issue Date Changed Wollensak Optical Co. The shutter is 180- degree non-adjustable. The camera uses the Following the lead of the American Projec- harmonic cam and visible spring belt. The tionist and other trade journals which have heen movement is in normal and reverse, with issuing at the end of the current month, the single picture attachment obtainable. A set- American Cinematographer hereafter will appear at back footage meter is built in the case. The the first of the month. To effect this schedule, the camera contains a slot for the use of masks November number is being issued with the Decem- for intricate work. ber this month. This will not affect the sequence Various standard camera equipment, it of issues as all subscriptions and advertisements are in conjunction with is announced, may be used automatically advanced one additional month. the camera; the manufacturers list different kinds of accessories for such uses. — Fourteen A M KlilCAN C I N E M A T O R A P H E It I ) EASTMAN NEGATIVE FILM Super Speed Now the same price as Eastman Negative Film regular speed. Just as Eastman Negative Film regular speed is constantly demon- strating that it is unrivaled for qual- ity, so Eastman Negative Film Super Speed is unrivaled both for quality and for speed. Eastman Film is identified in the margin by the black-lettered words "Eastman" and "Kodak". EASTMAN KODAK COMPANY ROCHESTER, N. Y. December, 192H A M ERICAN CINEMATOGRAPH R Fifteen Projection Bad Splices Fifth: Uniform pressure must applied. (Continued from Page 4) be quickly Certain tests show conclu- pressure is quickly applied, sively that the film Invariably The answer to this is, to runs 'off at the take up the two pieces of film are properly splice film, it must sprocket, and ninety-nine welded together. When too be done automatically. times out of a hundred the much or too strong a cement run off is caused by a bad celluloid Famous Players-Lasky is used, the whole reason for this is splice. The Corporation have equipped base is softened, instead of that the film at the top all of their exchanges and causing the sprocket is kept taut by the only the surface, laboratories with the Bell & tension on the reel in the top film to cup, or buckle, after Howell automatic positive magazine, and the film is kept drying. splicing machine. This ma- taut at the intermittent by the chine automatically cuts and tension at the aperture. The Cause No. 5. Not enough scrapes film and applies even film feeds on to the bottom cement or cement in bad con- pressure to the splice. The sprocket out of a loop that is dition. If too little cement is plates on which the splices are constantly slapping back and used, it will not soften the cel- made are heated to about forth, and a slight imperfec- luloid sufficiently to make the 120 degrees. The heat not tion in a splice will cause the splice hold. Film cement only acts as a binder to the film to run off and become evaporates rapidly if left un- cement, but makes it quick damaged. corked and will cause the drying. mixture to lose its proper Very few projection rooms It certainly is the duty of proportions. Cement in this are properly equipped to exchanges to properly inspect condition will not hold the splice film, but fairly good and splice the film served to splice. splices can be made by hand the theatres. It is also the duty if sufficient time and pains of the projectionist to make Cause No. 6. U neven scrap- are taken. However, most as good splice? as possible, ing. It is necessary to remove splices made in the theatres and a little more thought every particle of emulsion to and are made in a hurry. pains on the part of the pro- make a good splice. (See jectionist in making splices Cause No. 3) However, great Not only has a great deal will greatly add to the life of care must be taken not to of damage resulted from im- the film and re-act in thin down the celluloid base better properly made splices, but of- service from the exchanges. for the reason stated in Cause times the presentation of a No. 4. picture is greatly marred. A Improper tools, careless bad splice also constitutes a Roos Returns From fire hazard. Exhaustive ex- handling of the film, or dirty Trans-Pacific Trip hands will also result in poor periments and research have splices. Covered hands or proven conclusive;y that per- taped fingers will not permit manent splices cannot be Len H. Roos, A. S. C, has the best work. made by hand. returned to his headquarters in Vancouver frbm the An- So far this paper has dealt First: It must be narrow tipodes, where he has been so- with hand-made splices. Now enough in width t;o conform journing, cinematographical- let us examine some of the re- to the perriphery of the ly, for the past sults of improperly made sprocket wheels. several splices. The fact that every months. film passes through two or Second : It must be uni- Roos, it is said, is conduct- three different makes of pro- formly scraped. ing preparations for another jectors, and that each of the trip that is to begin with the three most widely used makes Third : It must be in per- threads differently from the fect register. first of the coming year. The others, does not make any dif- A. S. C. member is affiliated ference whether the splice is Fourth : Cement must be with the Fox Varieties and lapped left or right. quickly and evenly applied. News Division. Sixteen AMERICAN CINEMATOGRAPHER December, 1926 Demonstrate New DeVry Model Before A. S. C. Open Meeting S. O. G. The new DeVry standard portable cam- era and the DeVry projector, together with Condensers the film projected thereon, were demonstrated COMBINE to the members of the American Society of Heat Resistance Cinematographers by H. A. DeVry, the in- and ventor and president of The DeVry Corpora- tion of Chicago, in the auditorium of the So- Superior Optical Qualities ciety on the evening of November 16th. Near- guests of the society, representing ly two-score Highest Polish ; No Discoloration of practically every branch the film industry, They Defy Heat. also were present, the demonstration arousing Correct Light For the Sensitized interest. great Film or Screen. Mr. DeVry was introduced to the mem- bers of the society and their guests by Mr. Sole Distributors: Homer Scott, president of the organization. After a brief outline of his former activities Fish-Schurman Corporation which included service with the foremost 1050 Cahuenga Ave. Tel. GLadstone 9805 camera manufacturers in the world, extend- HOLLYWOOD, CAL. ing over a period of thirty years, Mr. DeVry Also Sole Distributors of outlined the features of his invention. "The DeVry automatic movie camera," Goerz Film Raw Stock he said, "has no tripod and does not have to be cranked. All you do is press the button, the does the rest. It is extremely light, CAMERA INSURANCE camera Kates Reduced to Two Per Cent weighing but 8^2 pounds. It is a real camera J. L. HOLE for the professional as well as the amateur. AGT. AETNA LIFE INSURANCE CO. Specializing On Camera Insurance IOOS National City Bank Bldg. TRtnity 1771 "Our camera holds 100 feet of full size pro- Los Angeles fessional standard theatre film, and is day- light loading. It is spring driven. A full scene may be had at one press of the button or WANTED one picture only—just as you like. Bell Howell Camera complete. Will "Reduction prints to the small off-stand- ard size film can be made from the DeVry pay cash. Write Bert Glennon, A. S. C. world-standard size negative. "The DeVry is made to meet all the ex- acting requirements of the same perfection in NEW MITCHELL CAMERA photographic reproduction obtained in the —FOR SALE— Camera No. 49—Fully Equipped finest feature films. Professional standard size 2.3 Astro Lenses J. R. ILOCKWOOD film assures of perfect delineation and half- T.23 N. Orange Street Oilendale, Calif. Phone Glendale 3361-W tone values." After a very satisfactory demonstration FOR SALE of the DeVry projector, an interesting pro- Bell and Howell Camera, 120 shutter, recently fac- gram of entertainment was offered together tory overhauled, and refinished. Two magazines, with refreshments. one 2, and one 3-inch B. & L. lens with finder lens to match, almost new tripod, and combination carry- Among the guests of the society who wit- ing case. Will sell CHEAP. Write Frank King, 36 Crestwood Ave., Buffalo, N. Y. nessed the demonstration were: ; December, 1925 AMERICAN CINEMATOGRAPHER Seventeen C. J. Hubbell, western manager for In- ternational Newsreel Corporation, and Mrs. Hubbell; Ray Murray, West Coast manager for Exhibitors Herald; Harry E. Nichols, special representative for Exhibitors Herald Irvin V. Willat, director of Famous Players- Lasky productions ; Alvin V. Knetchel, spe- cial cinematographer for Pathe Review; Benjamin Medford, Hollywood representa- tive for Goerz raw stock; J. Everett Hays and Mrs. Hays; Mrs. H. A. DeVry; A. G. Grant; Art Reeves; Dick Fryer; John P. McCarthy; George K. Hollester; Jack Graham, San Francisco; R. P. Stineman; J. Reid Giddings; Glenn R. Kershner; Ray V. Vaughn; C. E. Schoenbaum; L. Owens Higgins; Fleet Southcott, Jr. ; and J. R. Johnson, Pathe News cinematographer. Rack and Airbell Markings (Continued from Page 9) 2. By agitation of the rack. The rack can be agitated in the following ways: Merry Christmas (a) By lifting the rack vertically out of the developer and reimmersing. This is the and only method of agitation possible if the tank is fitted with rack guides. The rack is nor- HealthyNewYear mally held down under the solution by a suit- DO more than merely ivish your friends a able fastener but on releasing this, the rack healthy, happy New Year. Make it a tends to float and usually protrudes about half healthy New Year. Remember that the germs of tuberculosis are everywhere. You, your way out of the tank. If the rack is again sub- family, friends and strangers alike, are constantly merged this will produce sufficient agitation threatened by this dread disease. There is only to replace the reaction products of develop- one sure escape. That is to stamp out tuberculosis entirely. ment at the surface of the film with fresh de- It can be stamped out. The organized warfare veloper, and mix the developer as a whole so carried on by the tuberculosis crusade has cut the as to be more nearly homogeneous. tuberculosis death rate in half. Only one dies now where two died before. Christmas Seals The question arises as to often agita- how helped to save the other life, for the sale of Christ- tion is necessary. The process of lifting and re- mas Seals finances the tuberculosis associations. immersing the rack in a vertical direction Buy Christmas Seals. Buy as many as you can. They are the sturdy little guardians of your Merry causes a strong current of developer to strike Christmas and Healthy New Year. against the lower slat which tends to produce more development at that point and accentu- ate the rack marks. Experience has shown Stamp Out that agitation of the rack by allowing it to rise Tuberculosis out of the developer and immediately reim- with this mersing once every minute produces an effec- Christmas Seal tive degree of agitation of the developer. (b) By leaving the rack fully immersed and imparting to it a "square motion," that THE NATIONAL, STATE, AND LOCAL TUBERCULOSIS is, the rack is moved horizontally across the ASSOCIATIONS OF THE UNITED STATES tank away from the operator then vertically downwards, then across the tank towards the operator and then vertically upwards. This manipulation may be termed the "square mo- tion" and is only possible if the tank does not contain rack guides and if the depth of the : Eighteen AMERICAN CINEMATOGRAPHKR December, 192 liquid is somewhat greater than the height of the rack. Experience has shown that the Gets Shots that You rack must be agitated almost continuously in this manner in order to produce effective agi- Couldn't Get at tation, but this is not practical and in case the all Without it film is developed by time it is difficult to du- plicate the degree of agitation. 4& 3. By moving the film along the rack during development. This can be effected in I use the two ways Ultrast igma t a great deal In (a) By winding the film on a roller commercial work, as I find that I can make inter- rack previously described" which consists es- iors with it that would require lights with out it, and get outdoor shots on bad days that sentially of a regulation rack with the end I could not get without it." (Signed) QUINCY PEACOCK, slats replaced rollers. by By attaching the 1611 Market St., Jacksonville, Fla. film at each end to the rollers by means of rub- Write for Folder ber bands and turning the upper roller during Gundlach-Manhattan Optical Co. development, the film is progressed along the 900 Clinton Street ROCHESTER, N. rack spirally and any unevenness of develop- ment at the roller end is distributed over the film for a length of two or three feet and rack F 2. and F 2.5 marks are, therefore, effectively prevented. Taylor-Hobson Cooke When using such a rack it is desirable to agi- tate the developer by lifting the rack out and Kinic Lenses Focus F 2 F 2.5 reimmersing once every two minutes. Owing 101.00 1% in $ 79.50 $ 44.00 to its relatively higher cost and the extra time 47 mm 48.00 122.50 required to load such a rack it has not been 2 in 50.00 3 in 61.00 generally adopted, though as a means of pre- 4|/4 in. 180.00 91.00 venting rack marks it is highly effective. 5|4 in 135.00 I'rices do not include mounting in regular B. & H. (b) By progressing the film along the Standard Micrometer mounts. Also the famous* long focus Taylor-Hobson Cooke Tele- rack manually. This is accomplished by at- kinics are now available for cinematograph work in sizes from 8 J/2 to 20 inches. For all around long focus work the taching the film at each end by means of a <>% inch at $f)2.00 (not including mount) offers the speediest aperture of F 3.5—combines flatness of Held with perfect long rubber band capable of being stretched color correction. Now available for Immediate Delivery. two or three feet. The same procedure is then followed as when tightening the film after winding on the rack, although this is car- Chicago. ried out while the rack is completely im- ^Jk"3£;'2S£. mersed under the developer. By advancing United States Distributors Manufacturers of 95% of Professional Cameras the film spirally in this way every two min- and Equipment utes fairly even development is obtained. This procedure requires the undivided attention of the operator and is otherwise ob- jectionable but is the only alternative manipu- lation to the roller rack method for com- l/ALTEH J. VAN ROSSEM pletely eliminating rack marks. 6049 Hollywood Blvd. the slats the rack 4. By making end of Phone Holly 725 as broad as possible and with a curved sur- Photography face. This has the double effect of producing Commercial better stirring of the developer on agitation Slill Developing and Printing^ of the rack and of broadening out the rack l^Ho^Comcras-FOR. RENT— Still Camera! marks. Experience has shown that a broad rack mark which grades off gradually at each side is less objectionable on projection than an New Iris Combination may be had extremely narrow one produced by a V- with 4-in. Iris or Sunshade shaped end slat. It has been found that cylin- FRED HOEFNER Cinema and Experimental Work drical end slats having a diameter of about 5319 Santa Monica Blvd. (rear) :T "The Development of Motion Picture Film by the Reel and Tank Systems," by J. I. Crabtree, Trans. S. M. P. E. Vol. 16, GLadstone 0243 Los Angeles, Cal. p. 163. December, 1025 AMERICAN C I N E M A T O G R A P H E R Nineteen two inches as shown in Fig. 4 are the most satisfactory and practical. The following experiment was also tried. Anent the Scarcity of Strips of wood two inches wide were attached by means of clips across each end of the regu- Lighting Problems lation narrow slat rack to provide an efficient ago the perfection of Cooper means of stirring and to protect the ends of YEARS Hewitt lighting equipment enabled the rack from an excessive flow of developer when the rack was agitated. Though moder- the motion picture industry to move it- ately effective in diminishing the intensity of self indoors. No longer dependent upon the rack marks, better results were obtained daylight, the silent drama at once be- with the cylindrical slats. came less of an adventure and more of a 5. By developing as far as possible to business. since rack completion. As explained above, Thus the opportunity to specialize in marks are produced by virtue of one portion studio lighting problems was given Cooper of the film receiving more development than Hewitt engineers almost at the moment another, it follows that the propensity for the modern studio was born. That is rack marks to be produced is greater when why the film is developed to a low degree of con- there are today few problems that can not trast than when the limiting contrast is at- be settled just by calling one of our Holly- tained. In other words, with a fully exposed wood staff on the phone. Try it! positive, printed from a contrasty negative, which must be developed in a weak developer for a short time, there will be a greater pro- pensity for rack marks to be produced than ELECTRIC CO. in the case of a print fnom a flat negative COOPER HEWITT HOBOKEN, NEW JERSEY which must be developed to the limit. The Hollywood Office — 7207 Santa Monica Bldg. matter of the degree of development of any KEESE ENGINEERING CO., John TV'Mike" Shannon, Mgr. rack of film is, of course, determined by the requirements of photographic quality. Special iC. H K O care, however, must be taken when develop- ing to a low degree of contrast. Practical Instructions for Preventing Rack Roy Davidge Marks By employing racks with cylindrical slats Film Laboratories of approximately two inches in diameter as shown in Fig. 4, allowing the rack to emerge The Little Laboratory from the developer and immediately reim- with the Big Reputation 6701 SANTA MONICA BLVD. E. Burton Steene HOLLYWOOD 1944 FREELANCE Akeley Camera SCHEIBE'S PHOTO-FILTER SPECIALTIES SPECIALIST Are now popular from coast to coast, and in some foreign countries. 'Ben Hur" "The Viennese Medley" If my many varieties do not always fill the bill, "La Boheme" "The Caveman" tell me your wants and I will make them on special order. "The Barrier" "Other Women's Husbands' Always at your service. "Kins of the Turf "The Golden Journey" GEO. H. SCHEIBE Etc. Etc. 1636 Lemoyne St. DUnkirk 4975 Los Angeles, Cal. HEmpstead Care of American Society of GRanite Cinematographers SUBSCRIBE FOR THE 4 16 1 1219-20-21-22 Guaranty Bldg 4 2 7 4 Hollywood, Calif. American Cinematographer Twenty AMERICAN C I N E M A T O G R A P H E R December, 1025 mersing once every minute during the course of development, both negative and positive rack marks are so effectually eliminated as to be practically invisible on the screen. For precision work, when more absolute uniformity of development is desired, either the roller rack should be employed and the rack agitated once every minute, or the film should be progressed along the rack manually as explained above. It should also be remembered that full development of the positive or negative tends to eliminate rack marks, and although the degree of development is determined by the requirements of photographic quality, it is de- sirable not to over develop the negative in or- Among the many useful articles for der to eliminate the necessity of giving an ex- which man craves possession, there is invaria- tremely short development of the positive bly the produft of one particular manufacturer, dominates all others which is necessary with a contrasty negative. which Fixing Bath Rack Marks From pipes to motor cars, from Rack marks may be produced indepen- chewing gum to pianos---whatever the article dently in the fixing bath if the rack is not agi : may be— there is always one distinctive produft, tated, especially during the first few minutes that is recognized as the besL, of fixation. Owing to the fact that the film is saturated with developer when immersed in Few commodities dominate their the fixing bath, the film continues to be devel- held for general excellence, for outstanding oped, especially in a fixing bath which is superiority over all others, to such a marked weakly acid, until all the alkali in the devel- degree, as do the products of Carl Zeiss, Jena, oper is neutralized by the acid in the fixing creators of the celebrated Tessar lens bath. If the rack is not agitated, the rate of neutralization of the developer takes place more slowly at the top and bottom of the rack because of vertical convection currents along the sides of the rack as outlined above under development, so that the film continues to de- velop locally, causing rack marks. To prevent 07T. Oden/ieft this, the rack should be agitated several times f^areld U.S.Ogcm/ on first immersing in the fixing bath so as to 753c Street ensure complete neutralization of the alkali in Mst23^ the developer, thus arresting development. To ning Rack Marks When toning film on a rack in a single solution toner such as a uranium or iron ton- ing bath, it is extremely difficult to obtain A NEW LENS "That has made good" CLUBBING OFFEB Large aperture F:2.3. To a large extent responsi- ble for the Bas-relief, or solid appearance of the subject on the screen. Subscribed for separately. Camera Craft Good definition over the entire field, yet not harsh and the American Cinematographer will cost or wiry. A portrait lens in short focal lengths a total of $4.50 per year. As a special clubbing 10mm, 50mm, 75mm, with full closing diaphragm. offer, both maqazines may be had at a total Price is reasonable 40mm $50.00 price of $3.40 per year. .Oinin 50.00 75mm 55.OO A trial will be satisfying American Cinematoqrapher ASTRO-GESELLSCHAFT, mbh., Berlin FOR SALE BY 1219 20 21 Guaranty Bldq. 22 MITCHELL CAMERA CORPORATION Hollywood, Calif. B025 Santa Monica Blvd. - - Los Angeles, Calif. : — December, 192f> AMERICAN CINEMATOGRAPHER Twenty-one uniform toning especially if only a weak tone is desired. In the case of sulphide toning, when the bleaching and sulphiding processes are carried to completion no difficulty is en- countered, but with the above toning solutions toning is progressive with time and for the same reason as outlined under development, there is less tendency for rack marks to form the nearer the degree of toning is carried to completion. Any rack mark already present due to development will also be intensified in toning and unless guarded against new rack marks will be produced during toning. It has been found that the procedure of raising the rack out of the solution every min- ute is not sufficient to prevent toning rack marks. In addition, it is necessary either to Everybody is helped use a roller rack or progress the film along the rack manually. The following procedure is everybody should help! recommended (a) Use a roller rack or one with two- TUBERCULOSIS in this country is a threat against your health inch cylindrical slats as for development. and that of your family. There are the of the film by (b) Attach ends more than a million cases in this means of rubber bands sufficiently long to give country today. and take through a distance equal to about The germs from a single case of of the rack height. tuberculosis can infect whole families. one is (c) After immersion, stretch the band No immune. The only sure escape is to stamp out the dread dis- at one end and feed the film back spirally ease entirely. It can be stamped out. from the other end in steps of four to six The organized work of the tuber- inches every two minutes in a manner as out- culosis crusade has already cut the lined under development. tuberculosis death rate in half. This work is financed by the sale of Even with the above procedure, slight Christmas Seals. toning for a short time is not possible. Toning Everybody is helped by this great should be carried out for at least one quarter work—and everybody should help in of the time required for toning to the limit. it. Let every member of your family In view of the fact that both the uranium stamp all Christmas parcels, letters and greeting and iron toned images are partly soluble in cards with these able little warriors against disease. Every- alkali, if the water is at all alkaline uneven body, everywhere, buy Christmas washing may cause local reduction of the Seals — and buy as many as you can. toned image which results in unevenness. This may be prevented either by progressing the film along the rack during washing, or by Stamp Out washing by means of successive soaking in Tuberculosis water weakly acidified with acetic acid. ivith this Reel Bar Marks Christmas Seal When developing on a reel, bar marks or slat marks are invariably produced at or near the point where the film passes over the slat THE NATIONAL, STATE, AND LOCAL TUBERCULOSIS or bar. This is because the slats act as paddles ASSOCIATIONS OF THE UNITED STATES to agitate the developer and the impact of the developer against the film is greatest at or near the slats, so that the developer is renewed most rapidly at these points resulting in an in- creased rate of development. Curved markings as shown clearly in Twenty-two AMERICAN CINEMATOGRAPHER December, 1925 Fig. 5 are also produced as a result of curling of the film between the bars which causes the GRAF developer to flow more or less in specific chan- VARIABLE F.J LENSES nels. For the Essentially Correct Proportion of Diffusion Reel bar marks may be minimized by Indispensable on Every Production 50 M. M . .$ 75.00 using a reel with as many slats as possible so 75 M. M 75.00 that the cross section approximates to a circle, 100 M. M 100.00 Now Available for Immediate Delivery by avoiding rapid rotation of the reel, and by reversing the direction of dotation of the reel ltortM'Cft at intervals. ft"*"* 1)1- UA" , .„ CHICAGO. Air bells Nrw yo-«""""S>" rwooo United States Distributors When a strip of motion picture film is immersed in a developer or other solution there is always a tendency for more or less air to be carried along with the film under the SUBSCRIBE solution where it immediately tends to assume a spherical shape resulting in a so-called air- FOR THE bell. See Fig. 6. The bubble of air usually clings to the film throughout the course of American development unless for some reason it is dis- lodged, and it prevents access of the developer so that on subsequent fixation a clear spot or Cinematoqrapher airbell marking remains. Sometimes the air- bell persists throughout fixation or is formed again on immersion of the film in the fixing bath so that after washing a spot of unfixed out emulsion remains. Clear airbell markings produced on AMERICAN CINEMATOGRAPHER, negative film appear as dark spots on the posi- 1219-20-21-22 Guaranty B'ds., tive, and in view of the present practice of de- 6331 Hollywood Blvd., Hollywood. Calif. veloping negative film on racks and positive film on processing machines, which do not Gentlemen: Please find enclosed three dollars (foreign have so great a tendency to give airbells, most rates additional), for one year's subscription to the AMERI- airbell markings seen on the screen at the CAN CINEMATOGRAPHER, to begin with the issue of present time are dark spots caused by airbells on the negative. Shape and Configuration of Airbell Markings 1925 At the moment of formation the airbell is usually hemispherical and has a relatively Name large area of contact with the film; but owing to the tendency of the airbell to assume a Address . spherical shape the area fof contact with the film tends to become very much smaller. As the area of the circle of contact diminishes due Town to this change in shape, the emulsion previ- ously protected becomes partially developed, State which results in a clear spot corresponding in size to the area of contact of the final airbell, (Note: Camera Craft will be sen* for a slieht addi- surrounded by a dark ring of lighter density tional sum. Consult the rltihhing off«-r ) than the surrounding area. (Continued next month) December, 1925 AMERICAN C I N E M A T O G R A P H E R Twenty-three PARIS RENE BERLIN- GUISSART BUDAPEST BRUSSELS H WINFIELD -KERNER Atmospheric Shots in Any VIENNA Part of Europe GENEVA Taken according to your own in- CAIRO structions in an LAMPS artistic manner to match the pho- MADRID graphy of your pro- ATHENS duction. OFFICIAL CORRESPONDENT IN LISBON ALGIERS EUROPE FOR: Since American Society oj Cinematographers ; Frank D. Williams 19 5 JERUSALEM ETC. CD 118 Avenue des Champs-Elysees PARIS LONDON Cable Address: ETC. LOUVERAN DE-PAR IS Photographing in Rare Shots Ira Morgan, A. S. C, Alaska On two nights the Northern in New Contract (Continued from Page 5) Lights were witnessed and thousands of acre^ in the Alas- one of the sequences was pho- Ira H. Morgan, A. S. C, tographed with that effect. kan islands for the purpose has just signed a contract of raising fur bearing ani- Scenes were also photo- which marks his sixth year as mals. The islands are best graphed at one of the several chief cinematographer for suited for this because natural active glaciers near Juneau. Marion Davies with barriers prevent escape, at the Considering what was ex- whom same time enabling the ani- pected, comparatively little he has been associated on her mals to run free and in the snow was found at the end of most important productions. main to feed themselves. summer and the filming of the Blue Film direction has begun picture will dispel the ideas foxes are most prolific near on Miss Davies' spectacular Sitka. pelt brings of many people regarding Each ap- new vehicle, "Beverly of Alaska being a land of per- proximately $250. Graustark," Cosmopolitan's petual ice and snow. Equipment production of the famous Following clear days of Virgin Field George Barr McCutcheon novel of the same name, and bright sunlight, it was the ex- Alaska, however, is un- which is to be Morgan's first perience of the company in doubtedly the land of un- effort under the new contract. and near Sitka that a high limited picture material with fog would bank the skies in thousands of beautiful loca- Under t he direction of the late afternoon, but every tions and no company within Sydney Franklin, preliminary scene was reported perfectly a short space of time could scenes are being filmed with recorded by the use of super- more than skim its possibili- large and colorful crowds speed film and very high ties from a standpoint of cine- representing court attendants, speed lens equipment. matography. officers and soldiers on a huge • Twenty-four AMERICAN C I N E M A T G R A P H E R CRECO FOR RENT! MITCHELLCAMERASand BELL & HOWELL The Bausch & Lomb Ultra F 2. 3. - F. 2. 7. - F. 3. 5. Lenses Rapid Anastigmat is c n 40-50-75 M. M. COMPLETE EQUIPMENT f:2. 7. lens. This not only is J. its rated speed— it is the R. LOCKWOOD 523 North Orange St. speed at which it actually Phone Glendale 3361-W Glendale, California performs. Cinema Studios Supply Bausch & Lomb Optical Co. Corp. 1438 Beachwood Drive Neiv York San Francisco Washington Chicago HOIIy 0819 Boston Rochester. N. Y. London LIGHTING EQUIPMENT FOR RENT L. A. FIRE DEPARTMENT WIND MACHINES Water Engine replica of an old royal castle, Cinematographer time ago, seeking to be an ac- constructed for the play at the Becomes Actor tor, and, failing to achieve Metro-Goldwyn-Mayer stu- this, obtained a position as dios. assistant cameraman. Maurice Kains, former sec- The new picture will pre- Henrik Sart?ov, Lillian ond cinematographer, who sent Miss Davies in a role Gish's cinematographer, was wanted to be a screen star not that eclipses anything she has testing a lens one day, and ever attempted in the way of for fame, but to locate his lost used Kains as his subject. character delineation, as, mother, has been given his big Louis B. Mayer saw the test throughout a large part of the chance. film and was taken with the play, she must masquerade as appearance of the young cine- Kains will play one of the "Prince Oscar" one of the matographer so questioned characters in the supporting principal roles in 'The Tor- him. cast, all of which makes for rent," forthcoming Cosmo- Kains said he wanted to be the most interesting camera politan production of the fa- an actor, not for fame, but to treatment on the part of the mous Vicente Blasco Ibanez find his mother. While he was A. S. C. member. novel, in which Greta Garbo, in the navy she moved from With her hair cut short famous Swedish screen star, her New York home, he said, Miss Davies wears a military will make her American de- and their letters had gtone as- tray. He thinks if his face ap- uniform, and abandons all but. hints of feminine makeup, pears on the screen she may actually adopting male make- Kains applied at the Metro- see him, and get in touch with up methods. Goldwyn-Mayer studios some him through the studio. December, 1!>25 AMERICAN CINEMATOGRAPHER Twenty-fl vp The DeBrie "Inter- riew" is used exclus- I'he DeBrie "Interview" ively by the staff of \v;is used by Larry El- International News the lis in winning prizes for Reel Corporation. Pathe, I consecutive years in Fox and Kinograms also use the DeBrie. he Fox News Camera- What more need be man's Competitions. said? The Greatest of All MOTION PICTURE CAMERAS FOR NEWS WORK DEBRIE "INTERVIEW" MODEL E THIS is the Camera that every Newspaper Cameraman hopes some day to own. It is a highly scientific in- strument, refined to the last degree in perfection of detail and developed with particular thought toward the important matter of simplification. Anyone can operate it with the assurance of good results. The light weight of the De Brie "Interview" (only There are attached a focusing rod and diaphragm rod 14 pounds) makes it an extremely portable outfit. which can be regulated from the rear of the camera Camera measures 8 inches high, 10 inches long, 6 while taking pictures. Behind the focusing and dia- wide. It carries the regular DeBrie magazine, inches phragm rods are bars on which can be engraved dis- holding 400 feet of film. Five ply walnut body with- tances and diaphragm openings for four different stands all climatic changes. lenses. Footage dial at rear indicates the total number of feet Quick lens-changing device. Film can be reversed. of film. Magnifying focus tube shows subject right Film punch to mark scenes. Stop motion crank. Clips side up, full aperture, assuring positive focus. to hold front up while threading. Takes DeBrie Two-inch F3.5 high grade anastigmat lens. Two 400- Standard sunshade, DeBrie Iris, or any standard Iris foot magazines and sole leather carrying case. can be fitted. MOTION PICTURE APPARATUS CO. Inc. 110 West 32nd Street NEW YORK U. S. & Canada Agents Cor DeBrie Twent7-«lx AMERICAN CINEMATOGRAPHER October, 1925 {'h B "o . Sept 19S5 deai - Mr. p. ——————————— ————————— HOW TO LOCATE MEMBERS OF THE American Society of Cinematoqraphers Phone GRanite 4274 OFFICERS Homer A. Scott President Victor Milner First Vice-President Daniel B. Clark Second Vice-President L. Guy Wilky Third Vice-President Bert Glennon Treasurer John W. Boyle Secretary BOARD OF GOVERNORS Bert Glennon Gilbert Warrenton Daniel B. Clark Victor Milner George Schneiderman Charles J. Van Enger John W. Boyle Homer A. Scott Norbert F. Brodin H. Lyman Broening L. Guy Wilky Paul P. Perry Henry Sharp Fred W. Jackman Alfred Gilks Abel, David —with Warner Brothers. Landers. Sam— with Waldorf Studios. Arnold, John— with Metro-Goldwyn-Mayer Picture Corp. Lockwood. J. R. Lundin, Walter—with Harold Lloyd Productions. Metropoli- Barnes, George S. —with Geo. Fitzmaurice, United Studios. tan Studios. Beckway, Wm. Lyons, Regina'd—with Buck Jones, Fox Studio. Benoit, Georges—with Metropolitan Studios. ' Boyle, John W.—with First National Productions, United Marshall. Wm.—with Carlos Prods. Studios. McCoid, T. D. —with First National, United Studios. Brodin, Norbert F. —Frank Lloyd Productions, First National, McGill, Barney United Studios. MacLean, Kenneth G. —with Warner Bros. Broening, H. Lyman Meehan, George—with Waldorf Studios. Brotherton, Joseph Milner, Victor—with R. A. Walsh, Famous Players-Lasky. Morgan, Ira H. —with Cosmopolitan, Metro-Goldwyn-Mayer Clark. Dan—with Tom Mix, Fox Studio. Studios. Clarke, Chas. G. —with George Melford. Metropolitan Studios. Cowling. Herford T. — 29 So. La Salle St.. Chicago, 111. Norton, Stephen S. —F. B. O. Studios. Cotner, Frank M. —with Goodwill Picture Corp. Crockett, Ernest —with Mack Sennett Studios. Palmer, Ernest S. —with Fox Studio Cronjager, Henry—with Famous Players-Lasky, New York Perry, Harry City. Perry, Paul P. —with Universal. Polito, So! with Hunt Stromberg Dean. Faxon M. — Productions. Doran, Robert V. Ries, Park J. Dored. John— Riga, Latvia. Roos. Len H. with Fox Film Corp., Ltd., Vancouver, B. DuPont, Max B. — C. Rose, Jackson J. with Universal. DuPar, E. B. with Warner Bros. — — Rosher, Charles with Mae Murray. "Ufa," Berlin. Dubray, Joseph A. — Edeson, Arthur Schneiderman, George—with Fox Studio. Evans, Perry Scott, Homer A. Seitz, John F. —with Rex Ingram, Europe. Fildew, Wm. Sharp, Henry—with Douglas Fairbanks. Pickford-Fairbanks Fischbeck, Harry A. —with D. W. Griffith, Famous Players- Studio. Lasky, New York City. Short, Don Fisher, Ross G.— with Fred Thomson, F. B. O. Studios. Smith, Steve, Jr. Steene, E. Burton Gaudio, Gaetano Stumar, Charles with Universal. Gilks. Alfred with Famous Players-Lasky. — — Stumar, John with Universal. Glennon, Bert —with Famous Players-Lasky. — Good, Frank B. — Gray, King D. Tolhurst, Louis H. "Secrets of Life," Microscopic Pictures, Griffin, Walter L.— Principal Pictures Corporation. Totheroh, Rollie Guissart, Rene—Paris, France. H. —with Charlie Chaplin, Chaplin Studio. Turner, J. Robert —with Fox Studios. Haller. Ernest—with Robert Kane Prods., New York City. Heimerl, Alois G. Van Buren, Ned Jackman. Floyd— Fred W. Jackman Prods. Van Enger, Charles—with Ernst Lubitsch, Warner B-others Jackman, Fred W. —directing Fred W. Jackman Prods., Hal Van Trees. James C, —with Metropolitan Studios. Roach Studios. Warrenton, Gilbert Jennings, J. D. with Metropolitan Studios. — Wenstrom, Harold Koenekamp, Hans F. —with Larry Semon. Whitman, Philip H. Kull, Edward— with Universal. Wilky, L. Guy—with William de Mille, Famous Players- Kurrle, Robert — with Edwin Carewe, United Studios. Lasky. Edison. Thomas A. —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. 1219-20-21-22 GUARANTY BUILDING Hollywood Boulevard and Ivar Avenue HOLLYWOOD, CALIFORNIA LOYALTY PROGRESS ART Hollywood News Print , ,1935. October 3B». Cam s UVtobell Bvl . 6025 auW^foinia. -/^gag* - Dear ^ 86 » Booney l n me tne Piciford . .„„rAB -Sorappe and , „ arranged * concentrat le W q£ r thl nk * tie picture. bat i ^ „ urE r eiy y° Scanned from the collections of Niles Essanay Silent Film Museum Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from Matthew Bernstein