His Issue Newsreeling Fhe Conventions Why This Hubbub About Color? Ultra Violet Recording Shooting Thrills Make-Up for Technicolor

Published in Hollywood, by American Society of Cinematographers

AUGUST, 1936

his issue Newsreeling fhe Conventions Why this Hubbub About Color? Ultra Violet Recording Shooting Thrills Make-up for Technicolor

. . . and other features

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NEW YORK CITY 6656 .. SANTA MONICA BLVD CAL. PLANT . . . PARLIN, N. J. HOLLYWOOD, August, 1936 American Cinematographer 32) AMERICAN CINEMATOGRAPHER

A Technical and Educational publication of motion picture photography.

Published monthly by the ’ll AMERICAN SOCIETY OF CINEMATOGRAPHERS. INC. 6331 Hollywood Boulevard Hollywood, California

Telephone CRanite 2135

JOHN ARNOLD, President, A. SC. FRED JACKMAN, Treasurer, A.S.C.

Volume 17 August, 1936 Number 8

Whdt to Read

NEWSREELING the Political Conventions By W. P. Montague 324

WHY All This Hubbub About Color? 327 Staff WILLIAM MELLOR Wins The Rating With Oldsters By Horry Burdick 328 EDITOR

Charles J. VerHalen ULTRA Violet Recording TECHNICAL EDITOR With "Block Light" Emery Huse, A. S. C. By Wm. Stull, A.S.C 329 ASSOCIATES SHOOTING Thrills Karl Hale Hos Exciting Moments By Charles A. Marshall, A.S.C 330 Walter Blanchard CIRCULATION MANAGER MAKE-UP for the L. Graham New Technicolor Process ADVISORY By Factor Max 331 EDITORIAL BOARD A.S.C. Members On Parade 332 Victor Milner, A. S. C. James Van Trees, A. S. C. Fred Jackman, A. S. C. Farciot Edouart, A. S. C. Next Month Fred Cage, A. S. C. Dr. J. S. Watson, A. S. C. Dr. L. A. Jones, A. S. C. • Hal Mohr has devised a lens that gives both Dr. C. E. K. Mees, A. S. C.

foreground and background focus. This is not Dr. W. B. Rayton, A. S. C. a Universal Focus lens, but gives the cinema- Dr. Herbert Meyer, A. S. C. Dr. V. B. Sease, A. S. C. tographer a bit more latitude in bringing into sharp relief objects at various distances from the camera. FOREIGN REPRESENTATIVES • A startling innovation in make-up that Georges Benoit, 100 Allee Franklin, will prove of interest to every studio and make- Pavi.'lions-sous-Bois. Seine. France. Tele- up man throughout the world. phone LeRaincy 13-19.

• Other features pertinent to the work of REPRESENTATIVE cinematographers the world over. NEW YORK S. R. Cowan, 19 East 47th St., New York City. Phone Plaza 3-0483.

ESTABLISHED 1918. Advertising Rates on application. Neither the American Cinematographer nor Subscription; U.S. $2.50 a year; Canada, $3.50 a year; the American Society of Cinematographers Foreign. $3.50 a year. Single copies, 25c; back num- is responsible for statements made by au- bers. 30c. Foreign single copies. 35c; back numbers, 40c. COPYRIGHT 1936 by American Society cf thors. This magazine will not be responsible Cinematographers, Inc. for unsolicited manuscripts. 522 American Cinematographer • August, 1936

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he AMERICAN SOCIETY OR CINEMA- T TOGRAPHERS was founded in 1918 for the purpose of bringing into closer confederation

and cooperation all those leaders in the cinema- AMERICAN tographic art and science whose aim is and ever SOCIETY OF will be to strive for pre-eminence in artistic per-

fection and technical mastery of this art and science. CINEMATOGRAPHERS

Its purpose is to further the artistic and scientific

advancement of the cinema and its allied crafts

through unceasing research and experimentation OFFICERS JOHN ARNOLD President as well as through bringing the artists and the scien- VICTOR MILNER First Vice-President tists of cinematography into more intimate fellow- CHARLES LANG Second Vice-President JAMES VAN TREES Third Vice-President ship. To this end its membership is composed of the FRED JACKMAN Treasurer outstanding cinematographers of the world with FRANK B. GOOD Secretary Associate and Honorary memberships bestowed BOARD OF GOVERNORS upon those who, though not active cinematog- John Arnold Frank Good Bert Clennon Fred Jackman Don Clark Ray June raphers, less are engaged none the in kindred pur- Elmer Dyer Charles B. Lang, Jr. Arthur Edeson Victor Milner George Folsey suits, and who have, by their achievements, con- Joseph Walker Alfred Gilks James Van Trees Vernon L. Walker tributed outstandingly to the progress of cinema- Frederick L. Kley, Executive Business Manager tography as an Art or as a Science. To further these PAST PRESIDENTS lofty aims and to fittingly chronicle the progress of Philip E. Rosen Hal Mohr Gaetano Gaudio Homer Scott cinematography, the Society's publication. The James Van Trees John F. Seitx John W. Boyle Daniel B. Clark Fred W. Jackman American Cinematographer, is dedicated. HONORARY MEMBERS Mr. Albert S. Howell Mr. Edward O. Blackburn Mr. George A. Mitchell

PUBLIC RELATIONS COMMITTEE John Arnold Charles Bell. St. Paul. Minn. Charles J. Davis, Washington, D. C. Georges Benoit, Paris, France John W. Boyle, London, Englar.d Ariel Varges, Tokyo, Japan Edwin L. Dyer, Detroit. Mich. Charles W. Herbert, New York City Lloyd Knechtel, London. England John Dored, Paris, France Paul Perry, Manila, P. I. Max B. DuPont. Papeete. Tahiti Philip M. Chancellor

MEMBERSHIP COMMITTEE George Folsey Dan Clark Alfred Gilks

ENTERTAINMENT COMMITTEE Elmer Dyer Frank B. Good Charles B. Lang, Jr. Vernon Walker Arthur Edeson

WELFARE COMMITTEE Ray June James Van Trees RESEARCH COMMITTEE Fred W. Jackman Victor Milner, George A. Mitchell, Dr. Herbert Meyer, John Arnold, Farciot Edouart, GENERAL COUNSEL Emery Huse Arthur C. Webb 324 American Cinematographer • August. 1936

•' *, r - \ .« -t t'f

LIGHTING EQUIPMENT FU^NI»H«D A'f MOTION PICTURE LIGHTING AND EQUIPMENT COaP. ^ ' 250 WEST 49"S“T., NEW YOR.K.N.y.

ow THAT THE Republican and Democratic national conventions are history and all participants Newsreeling N presumably have survived the ordeals of oratory, the newsreel crews have had time to catch up on lost sleep and are able to review the hectic days. Always one of the big stories of any year for newsreel cameras, the conclaves this year received coverages far surpassing any previous record. Practically no event of any kind has been worked out in so elaborate detail of preparation. With this thorough advance planning, we were able to lar liasion was needed and at the request of all the news- get better shots and more of them, on floor and rostrum, reels, Edward Brown, of the Democratic National Com- to the result that there was a considerable increase in the mittee's publicity staff, was rushed from Washington to footage actually released in all the newsreels. act as contact between the convention committees and the Newsreels offer a potential audience of some eighty- cameramen. seven million people a week. This is more than the distri- Conditions at both conventions were much similar. The bution of any newspaper chain. It equals the circulation preliminary work at Cleveland was better, but at Phila- of any broadcasting network but with the double-edged delphia we had the advantage of the previous experience. appeal of both sight and sound. Realizing this, the two As instance, we had more control over lights and avoided larger political campaign committees are convinced that the Cleveland incident where we couldn't cut the lights newsreel audiences are well worth fighting for. above the rostrum and just about burned the speakers out With the campaign now getting really hot and with both of the stand. parties bringing all possible pressure to bear for publicity Proper lighting of the huge halls was the first problem. for their candidates, the newsreels have found it necessary With eighteen electricians, Charles Ross, of Motion Pic- to keep record of footage released on each party and bal- ture Lighting and Equipment Company, New York, set ance one against the other in strict impartiality. While this stage. Mounted on stands in the balcony were eight footage must be kept equal, there is no evening of the ap- 24-inch GE 150-ampere high-intensity arcs, each giving peal of effectiveness of the various newsreel stories. Cam- the equivalent of four million candlepower when spotted. paign experts, sensing this, have token steps to get the Each was manned by an electrician and swept the entire best possible pictures made of their candidates' activities auditorium. and hence obtain an edge to this audience. Directly over the speakers' stand was a bank of eight To this end, the Republican National Committee back 75-ampere 5-unit incandescent overhead strip lights, each in February appointed two men, John Begg and Russ Worth- equivalent to 100,000 candlepower. In addition, ten 5,- ington, each of veteran newsreel experience, to serve as 000-watt incandescent solar spots, each equivaent to 66,- contact men with the newsreels and to provide for their 000 candlepower, were suspended from a frame directly needs. above and in front of the stand, in manner similar to that When the Philadelphia meeting got under woy, a simi- used in boxing rings. August, 1936 • American Cinematographer 325

orneiAL photograph JOmM CRTLCR

ftCPU^LICAN NATIONAL CONVENTION C^ivclamo. 0^«o

jutted out about thirty feet on an angle from the balcony the Political and was nearly 120 feet from the speakers' stand. At Philadelphia, this main stand was somewhat closer. It I held seven sound cameras and complete crews including contact men. Lights were controlled from this point. At the very top of the hall at the rear, some 280 feet Conventions from the rostrum, a second camera platform was put up giving full vision of the entire hall and particularly of the activities floor. i on the On each side of the rostrum, level with the speaker and affording head-on view of the hall, were smaller camera by platforms on top of the broadcasting booths. W. P. Montague Each newsreel was also allowed roving permits allow- Assignmsnt Editor, Paramount News ing their silent cameras, hand and tripod models, to roam the vast auditoriums, but not the speakers' stage, seeking natural unposed close-ups of delegates and important per sonalities. These "Silent" crews scurried to excitement In reserve were ten portable lamps of 1,000 candlepower spots whenever new demonstrations or other colorful inci- each which were used in working for close-ups around the dents were forthcoming. hall or for spotting individual personages. Some 5,000 Outside the halls, other camera-and-sound crews captur- feet of feeder and stage cable with the necessary switch- boards and spider-boxes were used. All of which comprises a lot of illumination in any party. At Top: Lighting of Philadelphia Convention Hall. Bottom: News men in balcony. Four camera platforms were erected. The main stand Next Page: Lighting of Cleveland Hall.

1 326 American Cinematographer • August, 1936

ed the color of the convention cities and the arrival of fect functioning of the well-planned arrangements which notable figures. we hoped would cover any and all emergencies. Mainly, standard camera equipment was used; Mitchells Copies of speeches were furnished each newsreel in ad- for sound and Akeleys for silent shots. One of the Para- vance of their delivery. Not as early as we would liked mount men used a motor-driven DeVry to very good ef- to have had them, in some cases, but we were able to scan fect, working on the floors on equal terms with the still the copy for possible highlights and plan our work accord- and news men. At Philadelphia he obtained some beauti- ingly. This led to a considerable saving in negative. ful candid-camera type of material of the President and Unlike other conventions, few special planes were needed. his family. He used hyper-sensitized stock as he was The air express people were well prepared and even had working without any special lights. A supply of this nega- messengers on the camera platforms. A cameraman could tive was held in reserve by most of the reels, but most- hand an exposed magazine right from his camera to the

ly it was their usual Super X that went through the messenger without leaving his post and know it was on its cameras. rapid way to New York, Chicago or the West Coast. From Hearst Metrotone News had two 17-inch lenses on the Cleveland, film was dropped into New York within four scene and picked off screen-filling close-ups on the rost- hours; from Philadelphia, less than two hours. rum from both the distant camera set-ups. Generally Jack Flanagan, president of the Tri-State Film Labor- speaking, light was ample to make ultrafast lenses unnec- atory, leading Cleveland film plant, opened his facilities essary. to the newsreels. Several used them for exposure tests Both conventions provided completely furnished private with material shot on Monday prior to the convention open- offices in the halls to enable each newsreel to handle the ing. mass of detail incidental to the job, also adequate dark- Paramount used the laboratory to get out local prints rooms. and to dupe the negative for practically simultaneous To the sound engineers went the task of laying seven handling in Hollywood, Chicago and New York. and a half miles of cable in an intricate network serving Most of the men handling the convention were veterans the broadcasters as well as the cameras. For the first of three or four previous affairs. Included were "Red" time in political history, a microphone was placed on the Felbinger, of Chicago; Jack Whipple, Lou Hutt, Al Ming- floor for each of the fifty-two delegations. These were alone, Douglas Dupont, Gene Boyd and Urban Santone, of under control of the permanent chairman through a spec- New York; John Herrmann, of Byrd Expedition fame; ially designed panel board on the speakers' rostrum. Cables Arthur DeTitta and Robert Denton, Washington contact led off to the radio channels and to the cameras from this men; and nearly a score of other very able camera and one central source. This system enabled the newsreels sound men. to pick up the delegrates no matter where they were speak- The climax of the Democratic meeting was, of course, ing, which added much to the personalized interest of the the Franklin Field ceremonies incidental to notification ot stories and their sectional distribution. President Roosevelt of his nomination before upwards of An elaborate installation of individual telephone inter- 115,000 people. Here was an entirely different lighting communication kept camera crews, sound men and elec- and coverage probelem. tricians in constant touch with the key contact officials who Our good ally, Charles Ross, brought down from New signalled when to hit the lights and shoot. York two generator trucks as there was not sufficient pow- A good example of the high degree of co-ordination er in the stadium to handle lights covering the tremendous

maintained between all the units is the Al Smith demon- outdoor arena. stration that broke out in one of the upper balconies at From these, he operated two 36-inch GE high intensity

Philadelphia. Lights were so under control that it was arcs, each drawing 1 50 amperes, mounted on a side plat- possible to pour them into the disturbance immediately. form and used to flood the field or to sweep the balconies.

In fact, so fast did the newsreel men work it was intimated On the main camera platform, 85 feet distant from the afterward they had an advance tip the demonstration was President, were six 10,000 watt 24-inch sun spots strung to take place. As a matter of fact, it was simply the per- Continued on page 337 August, 1936 • American Cinematographer 327

Why All This Hubbub Regarding

HAT'S all the shootin' for? Why the current beating of drums and hullabaloo about color Color? W films? How prophetic are paragraphs in the public prints that black-and-white is soon to be a rara avis, an historic museum piece, a quaint and curious custom of an out-moded era? In fine, how substantial is tlie pre- With all this outlay of finance and talent, is the fin- voiling renaissance of color? What is the true, unvarnished ished color product worth it all in terms of audience ap- opinion of the industry of color's present and future place peal, entertainment value, box office return and eventual in motion picture production? net profit? A tour of representative press critics, ex- In the endeavor to sift this controversial subject. The hibitors and lay ticket-buying film viewers evokes few American Cinematographer has done a bit of pointed cheers for the rainbow division. probing. In the guise of an inquiring Reporter, it has Consensus is that color as a novelty has the exploita- obtained true, off-the-record opinions and observations tion value of any other box office novelty. And there it from informed factors qualified to reveal views of the in- ends. A feature-length dramatic screen offering in color dustry's many branches. is a glorious technical triumph of modern science. The Returns indicate that practitioners of the black-and- curious hastened to attend. They gave eye to the spec- white art need not requisition a wailing wall for imme- tacle, the miracle— it could be done! diate usage nor anticipate approaching days of famine. They saw color and lots of it. Color fairly screamed To the contrary, the multiple-hued films appear mainly to from the screen and smacked them in the eyes. Color en- have enhanced appreciation for the superlative artistic and thusiasts self-consciously were determined to prove that dramatic creations that have been evolved in monochrome. color could be photographed. And photograph it they did, Studio executives are loath to speak out loud on the to the partial eclipse of drama of story or action. This color situation other than in formal approbative tones. emphasis on photography is an old gag. Any competent That is policy. good Next week, exigencies of produc- Director of Photography could, if he were so short-sighted, tion schedules may toss a color film in their laps for man- make his black-and-white photography so dominant in ufacture. The same applies all the way down the line. artistic content as to steal the picture. But he knows bet- No one cares to go on record. Tomorrow's task may be ter. a color assignment; and a job's a job in any color. In "The Trail of a Lonesome Pine," Walter Wanger used But their hearts are not in these public color puffs com- every effort to keep color subdued into its proper place. posed for exploitation purposes. There appear to be sev- The process battled him on every point. Even so, the eral prime reasons for this chill. Many are based on mani- proud boast of his producing staff, which is confirmed by fest limitations of available color processes under actual theater-goers, is that after the first few minutes the au- production conditions. dience lost itself in the unfolding story and became un- Doing a feature in color may add anywhere from one to aware of the color. Then why color? Other than for its three or more hundred thousand dollars to the cost sheets. timely exploitation and novelty appeal? Every of stage production is slower and results are none Critical reviewers confess their disappointment in con- too certain. There are elaborate tests of materials, fab- stant appearance of colors untrue to the photographed rics, textiles, cloths, paints, stains, enamels, washes and subjects. The processes lack reproductive color fidelity, other piomented substances to establish results of light it seems. Flesh tones are noticeably unfaithful and many reflected from these colored surfaces on film undergoing times unflattering. Women spectators in particular hit the orocess in question. on this shortcoming. Juxtaoosition of colors, the effect of one color on an- An hour or more of color, they hold, is too much color other, the tendency of "strong" colors to dominate "weak" at one sitting. It is satiating, tiring. Eyes are accus- colors, are matters for tests with actual materials to de- tomed to reading from black against white. Books, mag- termine. Reflected co^or plays queer and totally unex- azines and newspapers are not printed in vari-colored pected tricks, at and unexpected moments. It is noh, at this inks. And projected color is not the same as reflected stage of the game, a controllable quantity in the sense color. that light-and-shadow is. The scene is "pretty," but not convincing. It may even Increased electrical consumption, longer shooting sched- be "beautiful," but lacking truth and realism. Hence the ules with longer salary outlays, higher percentage of re- objections to features do not always fit short subjects. takes, expensive daily rushes in color, intricate and var- After an hour or two of black-and-white, ten to twenty iable laboratory processing in the hands of an outside third minutes of color comes as a pleasant and enjoyable change. party, are a few of the budget-eating items. Especially where fidelity of color is not vital. A color scenic Libraries of stock shots in color are as nothing compared need not exactly convey truthful hues; the audience has with black-and-white. Nor can the delicate color be al- never seen the original for comparison. tered fit to into production shots. There are projection problems. Intensity of screen color Hence any known color process has definite limits of hinges on the theater. It is not< the same with a long production possibilities. Story, cast, sets, wardrobe—every "throw" as with a short one. Release prints may or may item involved—must be whittled down to the narrow ca- not be uniform in color content. pabilities of the process. It is far distant from being a Inclusion of color stifles the greatest of audience reac- universal or all-inclusive medium at present stages of de- tions; it does not stimulate the imagination. Color, of velopment. Continued on page 334 328 American Cinematographer • August, 1936

narratives to self to the technique of confining dramatic small squares of sensitized celluloid. This long interneship term was climaxed by his participation in the filming of "Cleopatra," which brought the Academy Award for photography to Milner for the 1934 production year. Then came his elevation to the full office of Director of Photography. to the profession of It is well that young men aspire to cinematography and, as in Mellor's case, are willing devote long apprenticeship periods to achieve practicing of degrees. Soundly and rigorously trained as members new other professional callings, they bring to the art their thorough vigor, enthusiasms, and artistic courage plus grounding in time-tested technique. hold forth this en- And it is well that far-sighted studios so an- couragement to technicians now in minor posts who Beyond onymously take hand in processing departments. of the Wm. Mellor, doubt, here are the top-rank cinematographers A.S.C. future.

William Rating

HEN Hollywood's younger generation of ace cine- Oldsters matographers is censused, the name of William W C. Mellor, A.S.C., must perforce be top-bracketed. Indeed, if the compilation be a chronological one he would be the lead-off member, for in years he is the youngest local practitioner of the cinematographic profession. He by tips the age scales at a fraction over thirty-three. Harry Burdick But the comparative paucity of his years has no reflec- tion in the dimensions of the celluloid creations that emerge from his camera. Productions of first magnitude are en- trusted to his talents and properly, for he has long since stewardship of complete cam- evidenced his capacity for rendering cinematic documents During his relatively short a surprisingly wide that stand the test of carping critics professional and pub- era responsibilities, Mellor has evidenced creative capabilities. There is little liability of lic. range of or labeled as a man of single-track abil- He is a product of the Paramount lot, an alumnus of his being tabbed

its laboratory. In this stern school he learned from long ities. Waltz," an opus hours of first-hand contact the idiosyncrasies of negative Currently he is lensing "Champagne histrionics of Gladys Swarthout of operatic following divorce from its camera. As an academy lead- calling for the proportions; but he ing to post-graduate cinematographic activities, work in the renown. A production of impressive its filming with all the calm confidence and laboratory is hard to beat. It provides a practical founda- progresses tion obtainable from no other source. assurance of a quarter-century veteran. dealing with the transplanting Mellor still takes advantage of his earlier laboratory It is a Viennese operetta adjoining the his- affiliations. Each morning at seven-thirty, during periods of a Yankee jazz orchestra to a cafe soft high of production, he visits the laboratory and there inspects toric Waltz Palace. Here is delicate mood in difficult to keep in precise balance. rushes from the day previous. Seven-thirty is practically key, and one quite the middle of the night for late-working studio personnel. Of especial note is Mellor's adaptation of mood to in- But seeing rushes at that hour means any corrective meas- terpret musical levels. As orchestrations shift from dreamy ures so revealed can be put into effect that very day, which and seductive Viennese waltzes to strident syncopation, spells for greater uniformity of excellence in finished prod- so does his mood alter in subtle manner. There is mood, intensity in musical ex- uct. He finds the investment of early hours amply justi- Mellor feels, for varying degrees of rendition. fied by ultimate results. pression just as there is in range of dramatic Emerging from the confines of the laboratory some dozen His application of light as an accompaniment to musical years back, Mellor won a position as Assistant and then scores opens new fields for modern interpretation of blended Operative Cinematographer under the guiding genius of arts. Victor Milner, A.S.C. Manipulating camera mechanics un- Now showing is his previous work, "Poppy," a gay and inimitable C. Fields. der so able a master of the craft is a happy experience and sparkling comedy portraying the W. intensive training for any ambitious artist and technician. As with most comedies, it is in high key thot audiences He took advantage to fullest extent of this marvelous may not miss a single omusing gesture. Here, more than mentoring opportunity. Year after year he applied him- Continued on page 336 August, 1936 o American Cinematographer 329

Ultra Violet

Recording With

^^Black Light^^

by William Stull, A.S.C.

he origin of many a revolutionary invention may be traced to the fact that the inventor noticed some Tinsignificant detail to which nobody else gave o thought. The development of RCA's new method of recording sound with ultra-violet light is based on on engineer's ability to notice just such o routine detail. For quite a number of years we have recorded sound on film; on a film coated with a speeded-up positive type of emulsion, to be exact. Long before talking pictures were thought White Light Ultra Violet of, engineers and practical photographers alike had known that such emulsions were most strongly sensitive to the blue, Sound Track of 9000 Frequency Tone violet and ultra-violet components of light. And we had also known that the emulsion itself forms a sort of filter which prevents the ultra-violet rays from penetroting deeply. But nobody thought of putting these facts ta- beam on the film. He soon found that the film's emulsion gether in the interests af better saund. inherently tended to spread or diffuse the recording light At least, nobody thought of it until Engineer Glenn L. beam, as shown in Figure 1 . This beam is focused Dimmick, looking for a means of producing a cleaner sound- on the surface of the film, and gives a tiny bar of light track, put twa and twa together and found that they which is .00075” wide. Since the surface of the film is didrv't make three. the focal point of this beam, it must inevitably start In recording sound on film, one of the most important spreading beyond this point, so that the bottom of the considerations is a cleanly-defined sound-track. The vi- emulsion is exposed over a wider area than the top. More- brations which make up the basic pitch of any sound may over, the silver grains suspended in the emulsion tend to not in themselves be of a particularly high frequency, but diffuse the light still more, exposing a yet wider area. the overtones and harmonics, which determine the char- That would be bad enough, but there are further compli- acter of the sound may be of very high frequency. Re- catians. Passing through the emulsion, the recording- cording sound on film either with the striated track of the beam travels through the celluloid support, being bent variable density systems or with the serrated track of the slightly by refraction at each surface, and continues in the variable area methods, these high frequencies are repre- broader beam bounded by lines "a" and "b". sented by microscopically fine differences in photographic At this point, a factor familiar to every photographer density. With RCA's variable area record, the sound is enters the problem. This is halation. Not all of the beam recorded as a double row of fire, saw-tooth serrations; ex- passes through the film-base; part of it is reflected up- tremely high frequencies record with such minutely fine ward again, as indicated by "a" and "b". When this light serrations that the track must be magnified many times reaches the emulsion, it produces a secondary exposure to oppear as coarse as a fine-toath comb. To achieve a over a broad area, giving an effect very similar to the really clear record, the valleys between the peaks of these halation which so long troubled photographers, and cloud- fine serrations must be kept clear, for if the serrations ore ing the finer grodations of the sound-track. not clearly defined, the sound record loses its clarity, and Moreover, the dispersed rays of the beam, spread aport the overtones disappear. by the diffusing action of the silver grains, travel through Perhaps the commonest cause of such trouble is ordinary the base and also reflect upward as shown by "c" and photographic fogging of the film. The recorder imprints the "d'*, and add a secondary fogging effect. picture of the high-frequency wave-form on the film, but Cleorly, the onswer to this problem, Dimmick reasoned, when the film is developed, the line of demarcation be- would be something that prevented the light of the re- tween the exposed and unexposed sections (especially at cording beam from penetrating through the emulsion. If the base of the serrations) is not clear. As a result, the the beom could be made to penetrate just deep enough to track does not contain the higher frequencies desired, and give a clear, well-defined image af the recording-slit, and the reproduced sound is "fuzzy*', and of imperfect quality. then stop, all the troubles due to diffusion and halation This much was well knawn when Dimmick started his would be eliminated. The photographed picture of the investigations. Assuming that the recorder itself was sound-wave would be cleanly defined; the high frequencies blameless, he analyzed the actian of the recording light- Continued on page 335 —

330 American Cinematographer • August, 1936

of consideration. So I sot there—for the split seconds that seemed hours. Motors of the other planes roared in

my ears, drowning out sound of my own ship. I braced myself for the shock of collision. My ear-drums tensed to withstood I'he impending nose-on crash of wood, metal and fabric. Somehow, we filtered through that blanket of planes.

We missed one by not more than five feet; I could have reached out and grabbed its ailerons. My pilot leveled out and turned his head for my ap- just then. When we proving nod. But I wasn't nodding that cameras are expensive landed, I patiently explained and the studio would be greatly perturbed to lose one just desire to have two planes ... because of some pilot's quaint occupy the same area of air at the same time. Then we went up again and made the shot as scheduled. rwliiM There's the superstitious adage regarding unpleasant it, events being bracketed in threesomes. I don't believe but with two-hundred- 1 rf*’" ^ Next evening we were making tests and-fifty-thousand candlepower flares. As we were roll- J hour, ing down the take-off strip at some fifty miles an one of them slipped from place and ignited just about two investigate the feet back of my neck. I didn t tarry to there out of the cockpit I went away from — Charles A. Marshall, A.S.C. matter.

Shooting Thri s ts Exciting

eing a stunt cinematographer has its thrills—and insurance its recompenses. For one thing, the life Moments B agents don't pester me. In making air shots almost anything can happen—and usually does at the most unexpected moment. As the saying goes, it's great fun if you by live through it. Charles A. Marshall, A.S.C. We were making "West Point of the Air" for Metro-

Goldwyn-Mayer in 1 934 at Randolph Field. I figured out style to introduce what I thought would be an effective the locale. On the ground, in white letters fifteen feet headfirst, rolled over on the ground a few times and

tall, is the name RANDOLPH FIELD. I arranged to have a watched the fire crew extinguish the blaze. formation of forty-eight planes fly above these letters. On the following day, my pilot ground-looped while

From another plane, higher and flying at a slight down- landing. Gasoline tanks ruptured. I extricated myself the impres- knee-high pools of gasoline to a near- ward angle, I was shooting head-on catching and raced through sive air armada and its shadows on the ground. by watertank. It required no effort to recall what hap- As the rear plane passed beneath us, my plane was to pens when a spark hits exposed gasoline. nose down enabling the camera to pick up the letters dis- But we carried on merrily and in due course the film played below. Rather an effective way of opening the hit the world's screens. picture, we reckoned. "Hell Divers" provided its quota of thrills, but ot dif- All went well with the exception of a slight deviation ferent kind. At three-hundred miles an hour we made from original plans. My pilot got ahead of schedule. Eyes vertical power dives from twelve thousand feet down to

glued to his sights centered on the ground letters, he for- about one thousand. I stood in the rear cockpit manipu- got all about the cluster of planes below him and went lating the camera. We made twenty-five of these dives into his nose-dive while the air was still densely populated before we had just the picture wanted. The first dozen

in the lower level. Down he went, roaring into the center were somewhat hair-raising, I confess.

of that speeding formation. He wasn't aware of what he Like the fisherman, I maintain my best shot got away was driving into but the same can't be said for me. from me. We were at Honolulu doing "Hell Below." My

From my perch in the rear cockpit I had complete and assignment was to film a navy bombing-plane letting go

unobstructed view of the situation. I was hurtling near- two giant bombs. Dummy sandbags were loaded on and ly straight down at the rate of one hundred and sixty miles we cruised in search of suitable background of cloud for- an hour. Some eighteen formation planes doing ninety mations. The skies were especially bountiful that day. still were to cross our projected line of descent. Each setting seemed better than the other. In the dis-

I could do about it. A mere five There was nothing tance I spied a cloud and light combination that beggars hundred feet of altitude made recourse to parachute out Continued on page 336 August, 1936 • American Cinematographer 331

Make-up for the New Tech nicolor

otion picture make-up has never been merely an end, but rather a means to an end. The one Process and only M reason for using make-up is to help the camera reproduce the features and complexion of the player upon the screen in a natural and pleasing manner. Its purpose is to equalize irregularities and to con- An Interview with ceal blemishes. Max Factor Now that Technicolor's three-color process is enabling us to bring our pictures to the screen in color, a new conception of make-up becomes necessary. Where in monochrome it was sufficient to make up our players with ceptions. Instead of being paste, a range of colors which produced a photographic result a it is a liquid, in which the pigments approximating o black-and-white rendition of normal are held in collaidal suspension. It forms a microscopically skin-textures, in color, we must apply o make-up which, thin, but none the less effective coating which partakes of through oil the intricate manipulations of color-photog- the natural translucency of the skin. raphy and processing, will reach the screen as an abso- And how is this color lutely accurate reproduction of both the texture and the make-up applied? First, liquid coloring of a living face. a foundation of the proper shade is applied. This foundation-coating The familiar range of "Panchromatic" make-up ma- must be as thin as possible. To one accustomed terials ore all based on a range of warm browns, which to the routine methods of old- style make-up, this thin foundation photograph as a scale of intermediate grays. Closely comes as a shock. But the new material, unlike the old, akin to these products were the make-up materials for does not do its work with mere thickness. On "The Trail the old two-color Technicolor: these also were warm of the Lonesome Pine" and "Dancing Pirate," we definitely browns, but of a much warmer—or redder—hue. proved that the thinnest applications of the new Neither of these would do for the new three-color pro- foundation gave im- measurably more natural results than conventionally thick cess, which is not color-blind as were its predecessors. coatings of the older foundation colors. The inevitable first thought in such a situation is that Over this foundation, powder is applied to eliminate our make-up must now duplicate the actual coloration of any trace of the oily sheen which would photograph the human skin. Snap-judgment hazards the guess that as an unnatural glare. Contrary to conventional practice, the somewhere among existing theatrica' and street make-up powder used is always of the same shade as the founda- materials, we ought to find the answer—for do we not tion. Since the foundation forms only a minutely thin want to make our player appear as in real life? coating, the natural oily excretion of the skin Unfortunately, tests have proven that these make-ups passes easily through it, and this natural oiliness is counteracted, not will not suit the color-camera. Analysis shows them to by any attempts to prevent the condition (which is a be based on some combination of varying shades of pink, purely natural function), but by frequent application of yellow and white. Such a make-up, well applied, may powder. look very nice to the eye, but the more critical color The lip and face rouges are of an absalutely new type. camera unmasks it for the glaringly unnatural thing it They have been scientifically compounded to reproduce is. On the screen, the white is too white; the pink is natural coloring, with due consideration of the require- too pink; and the yellow, instead of blending into what ments of the Technicolor process. They are, like the we think of as a flesh-tone, becomes pasty. foundation and pawder, of spectroscopically exact shades, Analyzing the human complexion with a spectroscope, properly modified for the color camera. Obviously, for we find that the darker pinks are present—or to be strict- natural-color photography, the rouges must be applied ly honest, reds—certain proportions of yellow, white and with extreme skill, blended in so that they enhance the blue. This is probably true because of the fact that the appearance without revealing the artifice. skin itself is essentially a translucent covering, with rela- The make-up of the eyes, brows and lashes is substan- tively little color of its own, but influenced enormously tially the same as for black-and-white, with the exception by the combination of that trifle af coloring and the true that wholly natural colorings must be used, and that less color of the f lesh-and-blood beneath. opportunity for cosmetic trickery is possible. Artificial So our color make-up must blend the reds, yellows, lashes may be used, for today's technique in such make- whites and blues. Pure whites, of course, should be up has been perfected to a point where neither the cam- avoided for the elementary reason, long familiar to pho- era nor the eye can detect the artifice. On the other tographers, that it simply throws back a characterless hand, a player with invisible blonde eyebrows, which can glare, and contributes only artificiality to the picture. often be accentuated by black-and-white make-uD, had Moreover, our new make-up should be extremely thin, better give up all hope of appearing in color films, for the so that faces do not have a plastered, "made-up" ap- color camera unerringly discloses any attempts at correct- pearance. ing invisible brows. The new Technicolor make-up, known as the "T-D" In much the same way, shaded or "modeling" make-uo, series, embodies these characteristics. The colors are which has been developed to a high perfection for black- scientific duplications of natural skin-tones, subdued to and-white, loses much of its value in color. In mono- fit the limitations of the color comera. The foundation chrome, we can create artificial highlight and shadow make-up itself is enormously different from previous con- Continued on page 334 332 American Cinematographer • August, 1936

A.S.C. MEMBERS ON PARADE

Byrd that he was one of the members of the Byrd Ant- arctic Expedition to be voted a Congressional Medal, which will be presented ta him in the next few months.

R.K.O. Special Effects De- • A.S.C. STAG PARTY. What a party it was. Held at 9 Vern Walker, A.S.C., head of figuring the Breakfast Club on the night of July 20th and far mem- partment could not attend the party. He was startle the audiences bers only. out a couple of "f labbergasters" to forthcoming release. Every member of the American Society of Cinematog- on a raphers who was not working on a production that night was present. • John Dored, A.S.C., received a plaque far the best far- In additian to the dinner there was a fine bill of enter- eign caverage on the scenes at Addis Ababa follawing the tainment headed and abetted by Lean Erral. Erral did flight of Hailie Salassie. his famous drunk act but Fred Jackman did not sing Aloha.

While the last act was finished a little before midnight, • Alfred Gilkes, A.S.C., left last week for London to pho- the last member did not leave the club much before two in tograph the Edward G. Robinson picture for Atlantic Films. the morning. Some appreciated the entertainment so much they decided to entertain the entertainers after the show

was over. • Frank Good, A.S.C., is busy hopping from major studio A bit of irony was the fact that James Van Trees, a to major studio. Frank is much in demand. Not long ago member of the arrangement committee, could not attend he was called in for some very special work at Paramount. because of shooting on his picture went far into the night. He then returned to film the George O'Brien picture for Century release and just finished "Three in Eden" One of the entertainers thought Dr. H. Meyer of Agfa 20th From there he is scheduled for R.K.O. to o medical doctor, and explained innumerable symptoms to at Warners. then back to Warners. determine what the ailment might be. The doctor decided shoot a George O'Brien and

it was too much gamma.

We were surprised to notice that color was mentioned • There ore Nine A.S.C. members shooting in England and argued very little among the men. right now. John W. Boyle for Associated Talking Pic-

It was a great night. Skoll!! tures, Edward J. Cohen with London Films, Lloyd Knechtel doing independent Trick and Process Photography, Glen McWilliams with Gaumont British, Alfred Gilkes with At- • Karl Freund, A.S.C. , has decided not to take his vaca- lantic Films, John Silver with Technicolor Ltd., James Howe tion in China as originally planned. It will not be neces- London Films and Willard Van- sary os M.G.M. has given him charge of the cameras of and Charles Kosher with "Good Earth." derVeer.

Other A. S. C. cameramen operating on foreign soil are • Joe Wolker has gane "Scott," all of which means he George Benoit, Paris, France; John Dored in Wien, Aus- in is another of the long distance radio fans and has accum- tria; Paul Perry with the Franklin Granville Expeditions ulated an all-wave Scott radio. Five o'clock calls mean India; Harry Perry in Continental Europe for Goldwyn Co.;

nothing to him as he is still up. Ariel Verges in Tokyo, Japan; Charles W. Herbert around the world for "March of Time"; Lauren Draper in Mexico Studios, James B. Shackleford in • Bert Glennon, A, S. C., and Dan Clark, A.S.C., were both City with Clasa and too busy shooting night scenes out at 20th Century-Fox to China with Toy Garnett. attend the party.

• Reed N. Haythorne, A.S.C., who is associated with the McGill, A.S.C., is out of the hospital after a • Barney National Archives is conducting a survey of all motion pic- around the Fox lot successful operation. He is roaming ture films of the United States Government. He has been preparatory to shooting a picture. getting his strength back able to secure film for members and studios from the archives of the United States Government. Haythorne O Among those sitting in the ballheaded row for the wants the members to know that he can act as their con- A.S.C. show were Len Smith, Eddie Blackburn, Ray Fern- tact man for film in the government archives, such as strom, H. F. Koenekamp. There were more, but we didn't World War Films, etc. Haythorne in the past specialized hear them. on expeditionary photography, travelogs, serial work and scientific education pictures as well as background work. background work for those needing it • John Hermann, A.S.C., is being showered with honors. He states he can do He was elected a Fellow of the Royal Photographic So- of scenes in and around Washington, D.C. He can be D.C. ciety of Great Britain. He has been natified by Admiral addressed care of National Archives, Washington, August. 1936 • American Cinematographer 33 MAINSTAY

AS THE motion picture industry grows, so grows the importance of Eastman Super X

Panchromatic Negative. This world-famous Eastman film guards the high photographic quality of the bulk of today’s feature productions. It is truly a mainstay of one of the country’s greatest industries.

Eastman Kodak Company, Rochester,

N. Y. (J. E. Brulatour, Inc., Distributors,

Fort Lee, New York, Chicago, Hollywood.)

EASTMAN SUPER X PANCHROMATIC NEGATIAE 334 American Cinem.atographer • August, 1936

Makeup for the New Technicolor Process Fully Guaranteed Continued from page 331 USED 35mm EQUIPMENT areas with make-up, thereby simpli- stroke of o miniature-painter's brush. • fying the cinematographer's task of The make-up materials tor the new Mitchell, Bell & Howell, Akeley, modelling the face. In color, such shad- Technicolor make-up ore officially DeBrie, Universal, Pathe Cameras. ings generaly appear merey spotty. A known os the "T-D" series, and like Portable Sound Recording Outfits. certain amount of such correction may oil modern make-up materials ore fur- at times be achieved, but this tech- nished in o wide range of shades from B Cr H Eyemo, 400 ft. Magazine, nique, in general, is of little use in color. light extremely dork, but Motor driven. extremely to Speaking broadly, natural-color pho- oil based on equally-spaced gradations Holmes Projectors, Sound and Si- tography brings an entirely new concep- of the some chromatic combination. lent. tion of make-up technique. In black- The numbering of these shades is from DeVry Suit Cose Model Projectors. and-white, we are working with con- 1 to 12. Special make-ups for racial We buy, sell and rent trasts of monochrome light and shade. groups ore also being mode. "Danc- anything Phatographic. Accordingly, when making up a blonde, ing Pirate" brought forth o make-up for swarthy Mexicans; "The Garden of • we seek to heighten that tonal contrast by applying a rather dark make-up Allah" has resulted in make-up for Camera Supply Co., Ltd. which will give a positive contrast to Arab types; "Ramona" called for make- the lighter hair. In color, this is not up that would moke Indians (real and 1515 No. Cahuenga Blvd. the case; a blonde or a brunette would synthetic) look convincing. In each Hollywood, Calif. use a make-up of a color in keeping cose, the knowledge already gained in Cable Address: CAMERAS with her own complexion. This is be- developing the regular color make-up cause we ore no longer striving tor o enabled us, after quick spectroscopic purely artificial contrast, but seeking analysis of genuine complexions of these to imitate and enhance the subject's types, to produce o make-up that • natural coloring. gave the right effect. In addition, • MOVIOLA make-ups hove already been devised for Since our make-up is intended merely EQUIPMENT FILM EDITING South Islanders, Eskimos, Negroes, to duplicate, in tones the color-camera Sea Used in Every Major Studio. Ultimately, Illustrated Literature on request. con interpret, the coloring of the un- Orientals, and other types. MOVIOLA CO. derlying complexion, adding only to one will be able to coll upon his Make- 1451 Cordon St. Hollywood, Calif. smooth photogenic texture which con- Up Artist for anything from o Negro ceals blemishes, we prefer to moke to on Albino, with confidence that the will not only be correct, but little, it any, change in the fundamen- make-up it will the intricacies of the rUARIABLE AREA RECORDERS^ tal coloration. If we hove, for in- that suit fATENT na IMMM. OTHCftS PCNOMC process so perfectly that ALSO stance, o prettily pink-ond-white blonde, Technicolor Srnm to 16 mm 3 the resulting character willl look per- REDUCTION SOUND PRINTER we strive to reproduce that natural col- AND color oring in the make-up, rather than to fectly convincing in the screened SOUND EQUIPMENT alter it. If hove suntanned bru- picture. CaMe address CRSCO we o C.R. SKINNER MFC. Co. nette, we likewise try to give the camera 2M TURK STREET. PHONE OROWAV 6909 o make-up which it will interpret os o ^ San Francisco. California U. S. A. perfect reproduction of that natural Why All this Hubbub Regarding tone. Color? OXE M.\X l,AB««ATOHY Within limited degrees, however. Technicolor make-up con compensate Continued from page 327 Senior size, 2000 ft. per hr. Junior size, 1000 ft. per hr. tor day-to-day variations in complex- 35mm - 16mm itself, will not impart dramatic punch. Machine Developing ion. If our pink-ond-white star should Perfected Mood is limited in range. There ore return from o weekend at Palm PREMIER MOTION PICTURE no rich, full-bodied blacks to give depth CORP. Springs with o noticeable sunburn, for EQUIPMENT of emotion. 1611 Cosmo Street, Hollywood, Calif. instance, make-up con be depended up- Individuals hove definite color pre- on to keep her coloring consistent judices. One may hove emphatic antip- throughout the picture. A severe ton, athy tor greens in wearing apparel. If on the other hand, would probably coll CMNE the star appears in o gown of green, yATIO\^AM. > tor o definite skin-bleach rather than o his sympathy is immediately alienated. different colored make-up. ENGINEERS and MANU- The so-called "character" make-up One feature in color, or o dozen, may of MOTION FACTURERS justifying the production is equally possible in color. But it will moke money PICTURE EQUIPMENT s require o new delicacy. Other than tribulations and outlays. By box office Leading Motion Picture the application of wigs and beards, measurement, on occasional musical or Mechanical Laboratories in which hove reached incredible perfec- spectacle or fantasy may pay dividends the East tion of late, the time-honored tricks of from injection of color. But for doy- character make-up do not fool the col- in and doy-out life-blood of the indus- Special equipment designed or camera. The Lon Chaneys and the try, black-and-white appears to be firm- and built to order. All Boris Karloffs of color chillers con no ly entrenched. standard mokes serviced. longer draw their characters with brood, Would "The Informer" hove been a 20-22 W. 22nd St. New York City splashing strokes, but must point them better, or so good, o picture in color? by delicate touches os precise os the Would "The Thin Mon" hove packed August, 1936 ® American Cinematographer 335

the same wallop? Would "Mutiny on fered, hampers and restricts that bound- the Bounty" hove been so effective in ary. AMERICAN CINEMATOGRAPHER oil-color even granting that any color There is unearthed no cause for alarm process could hove shot it. that current cinematographers of the HANDBOOK and The revolutionizing powers of color light-and-shadow school will be reduced appear to be somewhat overdrawn. Com- either to the status of mendicants or REFERENCE GUIDE parison to advent of sound in studio recorders of established color scales. By Jackson Rose practice is not able analogy. Dialogue Black-and-white photography is, and COMPLETE, AUTHENTIC, back the horizon of screen pos- every pushed indication shows it will continue HANDY sibilities and dramatic construction. to be, the industry's one staple com- Color, by any process commercially of- modity. One cinematographer in the field, writes: "I am a news reel man. This handbook has given me more information than all of Ultra-Violet Recording With Black Light the other books I have ever read. It's handy on the job Continued from page 329 when you must know things quick." would not be lost, and the clarity and The improvement in the definition of NOW ONLY $2.00 quality of the sound would be vastly bet- the record is shown in Figure 3, which AMERICAN CINEMATOGRAPHER tered. compares micrographs of a normal "white 6331 Hollywood Boulevard Knowing that the emulsion was light" record of a 9000 cycle frequency Hollywood, Calif. strongly sensitive to the ultra-violet rays, tone with an ultra-violet record of the Dimmick experimented to see how deep- same tone. The fogging at the base of ly such rays would penetrate. By the the serrations in the white light simple expedient of exposing two films, record, and the lack of definition at the back to back, in a recorder fitted with peaks, FEARLESS CAMERA CO. i€ clearly shown. Velocilator Camera Dollies, Camera a filter that removed all but the ultra- The more clear-cut Blimps, Camera Motors, and com- violet rays, he found that the emulsion ultra-violet record speaks for itself. plete camera accessories and equipment. of the top film very effectively held back The practical value of this new sys- 8572 Santa Monica, Hollywood, Cal. the rays from exposing the lower film. tem may be summed up by t'ne words Eastern Representative, Motion Picture Camera Supply Co., 723 7th Ave. N.Y.C. Experimenting further, he found that "more natural sound." With the higher in normal recording, using only ultra- violet light, the filtering action of the emulsion confined most of the exposure to the top half of the emulsion, almost completely eliminating spreading or diffusing of the beam, and wholly eliminating the halation-fogging. Under the microscope, the sound-track serrations were seen to be far more clear-cut. In the reproduced sound, the vital high frequencies gave clear evidence of their is an outstanding characteristic of the presence, in better and clearer quality. B-M High Applying this system to practical re- Fidelity sound-on-film Recording Galvanometer. cording proves unbelievably simple. The light-wave-length chosen (3900 A.), while definitely in the ultra-violet band, passes easily through most types of glass. Therefore the regular Photophone optical system can be used unchanged. Built for utmost flexibility of electrical operation, the B-M unit is de- Special exciter-lamp globes are advis- signed to withstand those unavoidable shocks to which any able, bulbs designed to radiate the de- sound recording unit is at times sired wave-length with particular free- subjected. The enlarged B-M sound track dom. The one major additon to the reproduced above graphically illustrates this point, with no change system is a filter which removes all but in the galvanometer operating characteristics after application of a the ultra-violet rays. This filter has the strong impact signal. Descriptive literature and full technical informa- characteristics of a conventional 2" tion sent upon request. glass filter, .055" thick, the Corning No.

584. It appears almost completely BERNDT-MAURER Model "E" High Fidelity opaque visually, yet transmits over 85% Recording Galvanometer, frequency range 0 to 10,000 cycles $350. list F. O. B. of the invisible ultra-violet light. This New York. filter is placed, for convenience, directly in front of the microscope system which focuses the recording beam on the film, THEBERnOT-mnURERcoRP. and behind the visual monitoring screen. 117 East 24ih Street • (leui Vorh City 7| 3| 4| 5| 6| Thus the recordist may check his record visually in the usual manner even though

the actual recording is done by invisible light. ! !

336 American Cinematographer • August, 1936

frequencies present, all sounds repro- of the reproduced sound. It would ap- NEW SUPER duce with greater naturalness. The pear, incidentally, that the use af ultra- quality that differentiates one person's violet light in printing might offer a

CIXEGLOW voice from another's is more evident; the field for fruitful research in processing x« sibilont-sounds no longer hiss like an picture-film, as well as it has in hand- angry snake. Speech and music are ling accompanying sound. THREE ELEMENT rounder, more lifelike. Ultra-violet recording is applicable to the earlier types of recorder or the Heeortiiitff Ultra-violet light is equally advan- either modern "High Fidelity" and push- Lamp tageous in printing the sound-track; in- most deed, the RCA engineers recommend its pull types. Extending the usable fre- A true, high fidelity, use. As in recording, the only change quency-range as it does to 10,000 ultra violet, moduiating of a small filter, which cycles or more, it admittedly pushes the light source. involved is the use quality of that can be put on film • High Intensity Expos- eliminates the slight fog which occurs sound older re- ure. in the printing operation. Since the beyond the capacity of many • Long Life. since more printing beam is usually parallel, rather producers. But more and • Uniform Quality. than a focused beam, there is rather theatres are re-equipping with modern less of this to contend with in printing, "High Fidelity" and "Wide Range" Blue Seal systems, the commercial need for but it is always well to moke the print sound recording is growing steadily. Devices as nearly as possible a perfect copy of better Sound the original negative. And printing on ul- And, as the RCA engineers point out, Incorporated tra-violet recording by ultra-violet light even on an indifferent phonograph, a 723 Seventh Ave. results in a measurable improvement in really good record always sounds better New York. N. Y. print quality, and hence in the quality than a poor one.

CAMERAS Mellor Wins Rating With Oldsters FOR COLOR William Continued from page 328 We just finished adapting 6 Cam- eras for Color. Our machine shop strong supporting role in any other picture, Mellor's long steep- obtrusively play a equipped for pre- set- is thoroughly ing in practicalities of prevailing pro- in enhancement of story, star and cision work. Bring us your special duction carried him safely over trying ting. It must bid for no curtain calls. problems. handicaps on the set. For, as he puts it, photography the public sees is poor photography regardless Fields was ill. The moment the final Co. of all other considerations. Fried Camera scene was filmed, he departed for the 6150 Hollywood Blvd. conception of hospital. It meant that his energy must This true and broad the Hollywood, Calif. be conserved. Through the picture, cinematographer's role leads him to im- Mellor never called upon him to stand part the indefinable quality of fine en- before the camera for final lighting. tertainment value to pictures he makes. Which item, in the final analysis, is the 00iBe»H Yet so complete was Mellor's mastery of Don't commodity studios are fashioning. S.O.S. the situation that screening betrays no Write indication of this lapse from usual pro- His photography does not play to the Exceptional values offered every day I grandstand. Oppositely, it is never of by S. O. S. in equipment for cedure. rubber-stamp variety. And no reviewer STUDIO-RECORDING More, there were no second takes for has yet pilloried it with the awful ad- PROJECTION Cr LABORATORY photogrophic protection. Technically Brand new 16mm Sound-on-Film and jective—"adequate." artistically, every scene had to be silent cameras, printers, projectors, ond amplifiers. A few barsains on used perfect without recourse. Functioning equipments also available. Send for this uncommon pressure, Mellor lists. under Get our new 90-paKe catalog sped negative into the laboratory day Shooting Thrills Has Its Exciting Place your name on our mailing list now after day with scarcely a delay attribut- Moments S. 0. S. CORP., 1600 Broadway, N.Y.City able to the star's indisposition. “World’s Largest Mail Order House’’ Continued from page 330 About to be previewed is his preced- REFERENCES—Any bank in N. Y. ing effort, "Son Come Home," a story description. We headed for it and man- of heavy dramatic content. euvered the navy plane into shootable SArillFH E And so we see him, in the course of position. It was a breath-takingly gor- Variable area single system sound cam- a few weeks, expressing his versatility geous scene. It was of beauty to sra complete—all accessories—perfect to operetta all make audiences gasp. I started my condition. Write, wire or cable for in drama to comedy — prices and particulars. productions of major listings. Surely, an camera and signaled the navy pilot to Motion Picture Camera Supply, Inc. exposition of creative flexibility! release the sandbag bombs. Nothing City 723 Seventh Ave., New York Beyond a full comprehension of the happened. Again I signalled, frantic- Cable: CINECAMERA tools of his trade—the mechanics and ally. No response. The planes flew out chemistries of cinematographic composi- of the setting.

tion— lies Mellor's conception of the duty Then I noticed the navy pilot gestur-

Recording Machinery of motion picture photography. ing, pointing downward. I turned my out why he had Hollywoofi >lof ion urc It must be of technical merit to con- eyes down and found Kquipiiiont Fo. form with studio standards. It must be not released the bombs as instructed. 645 Martel Ave. Cable Artreeves of pictorial merit to answer artistic de- He was squarely over the business dis- Hollywood, California mands. But it must, over all, contribute trict of Honolulu to the story's recitation. It must un- This some picture contributed my .

August, 1936 • American Cinematographer 337

most squeamish experience, and it was in water rather than air. A camera was mounted on the "A" Frame of a sub- r marine above the conning tower. 1 stood beside it shooting forward along There is the length of deck to its bow and the open sea beyond. The sub drove forward and gradually submerged. Water washed over the deck. I kept the No Substitute camera turning until the sea was above my waist and open water was on all for sides.

Of all the sickish, mean and thoroughly uncomfortable feelings, I pick the experience of having a boat-deck slowly sink away under foot. Definitely,

I do not care to be shipwrecked after that incident.

I like this business of stunt cinema- Sularspot Performance tography. Every assignment is a thrilling adventure. There is na drab repeti- tious monotony. In hhe main, it is not nearly so thrilling as it seems. I stand up in an open cockpit operating a cam- MOLE-RI€HABDSO]V. Inc. era in a plummeting three-hundred- mile-an-hour plane just about as cas- Oil No. Sycamore Avenue ually as when on a stage floor. Hollywood. Calif. Producers are still striving to create new filmed thrills. Situations are evolved calling for close-up air maneu- vering. We are working closer than ever before, and therein lie the faster heartbeats for audiences—and the cinematographer. Stars may work comfortably on sets before background transparencies. But screen, you may be sure the camera and the aerial cinematographer were in the whatever air thrills you take from the hottest spot of the excitment. STUDIOS . .

Newsreeling the Political it’s here Conventions

Continued from page 326 ill stock! up on poles. These were swivelled around [n to augument the arcs turned on the cur display rooms you will crowd. find New and Used Cameras, Ac- As an emergency, a strip of 20,000- cessories, Lighting Equipment, watt lights was placed directly over the immediately available. Phone, President's platform. write or wire. The main camera platform was built Everything is thoroughly guar- directly in the center of Franklin Field anteed. and only 85 feet from the speakers' Eastern Representatives stand. It was some eighteen feet high Our experienced engineers, MITCHELL CAMERA CORP. and of steel tubing so os not to interfere FEARLESS PRODUCTS working in our own machine with delegates' view. Another camera HARRISON FILTERS MOVIOLA shop, can repair any make of platform was thrown up near the big camera, quickly, at low cost. arcs at the side of the field, some 140 feet from the speakers. These cameras could pan across the entire field as well >IOTION PICTl'KE CAMERA as cover the speakers. At the extreme back of the topmost Frank C. Zucker SI PPLY, Iiie. balcony was another platform enabling J. Burgi Contner 7211 Sevonfh Ave. New York City the cameras to sweep the entire stadium. President Roosevelt has always Telephone BRyant 9-7755 Cable Address: Cinecamera appreciated the widespread distribution of newsreels, was most considerate and 338 American Cinematcgrapher • August, 1936

political figures were obtained. Each of demonstration the shooting of the great the five reels released either two or ran like clockwork. three stories on each convention, most the story Paramount and Pothe gave of them being specialed and shipped air- I n 00orl^l~(/0iJg Use rushing shots to New special service, express to all accounts. Probably 100,- ('OwwnlujbV anA Ni^jHV in time to be shown at Broadway ^ff«cls in Daytime "Fo^ Sc»n«r«ff»cVs houses when they opened on convention and some two million feet * Wilb any Camera In any Climafe All of the newsreels secured plenty Gcorqo H. ScKeibc of positive prints released. film at all the functions. Useful ORIGINATOR OF EFFECT FILTERS of When the costs are all in, it is likely 1927 WEST 7a™ ST. LOS ANGELES. CAL material on leading supplies of library the newsreels' political coverage to date this year has run close to the budget of a Hollywood feature. That the expense

is justified by the public's interest has Everything Photographic been proved by the many congratulatory for Professional and Amateur letters and telegrams received from the- New and Used, bought, sold, rented and ater clients by all companies. repaired. Designers and manufac- And the campaign has just started! turers of H. C. E. Combination lens shade and filter-halder sSM) for any size lens.

Hollywood Camera Exchange India Producer Visits 1600 Cahuenga Blvd., Hollywood Hollywood Tel: HO 3651 Cable Address; HOcamex • Y. A. Fazaibhoy, one of the most Send for Bargain Catalog I prominent figures in India's growing motion picture industry, was a recent

Hollywood visitor. Mr. Fazaibhoy is one of the proprietors of the Bombay Radio Company, distributing such familiar motion picture products as Mole-Richard- TRUEBALL son lamps. Bell & Howell and Mitchell cameras, etc. In addition, he is with TRIPOD HEADS his three brothers, an owner of Sound City Studios, the largest and most mod- OF SPECIAL ALLOY LIGHTER WEIGHT ern rental studio in India. The Same Efficient Head Far follow shots, known for their smoothness of opera- British Want Patent tion and equal tension on all movements. • Negotiations were entered into by Unaffected by temper- a representative of British interests with ature. Armind Fried for the purchase of the Model B Professional English rights to his patent for the $300.00 Model A for Ama- For Bell Cr Howell and Mitchell teur motion picture focusing of cameras. cameras. Attaches t'l Cameras and their respective It seems that this particular patent any standard STILL Tdpod. With the ORIGINAL Tripod, $12.00. would be of great assistance in color instant release telescopic cameras with their prisms which do Trueball tripod handle. heads are unexcelled not permit the camera operator to get for simplicity, ac- a clear view of the image he is going curacy and speed of FRED HOEFNER operation. to shoot. The Fried patent takes advantage of GLadstone 0243 The Hoefner four- inch Iris and Sun- an entirely new system, according to the 5319 Santa Monica Boulevard shade combination inventor and is claimed to be the only is also a superior LOS ANGELES, CALIF. product. practical system available for use in color cameras.

— 1

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Making the Clouds Roll By How Anthony Adverse was Cut Shooting 16mm at South Pole

How Short Is a “Short**?

. . . and other features

AUGUST 1936 THtS F.T«t SHO.-IT'S WORTH s WORTH g

— . any action worvi.y de- screen library A in your a recorded on g serves to be Plenachronte Ibmnt Fine-Grain mas^ This is the Reversible Film. wor general outdoor ter film for hold brilltantly, and it will GrainPlena- you want that made your '.he qualities Film — scene. rolls to shoot the 00-foot daylight at orthochromatic, its -foot rolls Fully Ifimm a ,„„al to that of August, 1036 • American Cinematographer 343

AMATEUR MOVIE SECTION

Contents . . .

MAKING the Clouds Roll By By James A. Sherlock 344

HOW Anthony Adverse Was Cut By Ralph Dawson ...345

HERE'S Practice in Indirect Representation By Barry Staley 346

SOCIETY SHOOTING 16mm at the South Pole By George O. Noville 347

OF AMATEUR THE Camera Goes to See By Clark Foster 348 CINEMATOGRAPHERS JUST How Short Is a Short? By Bert Gilroy 349

WHEELS OF INDUSTRY 350 BOARD OF REVIEW

John Arnold, President, A.S.C., Executive Direc- tor of Photography, M.G.M. Studios

Karl Struss, A.S.C., Director of Photography, Paramount Studios, Academy Award Winner, 1928

Next Month . . . Fred Jackman, Treas., A.S.C., Executive Special will Effects Photography, Warner, First National • We again take you into one or two of the studios and let the professional craftsmen Studios tell you how you can apply their methods to amateur movie making. These tips will be Dan Clark, A.S.C., Director of Photography, very timely, as you are ready to cut and edit "Country Doctor," 20th Century-Fox your vacation films and you will find much in their advice that will be helpful.

David Abel, A.S.C., Director of Photography of Fred Astaire Productions, R.K.O. Studios 344 American Cinematographer • August, 1936

Fig. 1 Making the

Clouds

Roll By

by F'g- 2 James A. Sherlock

ost personal filmers have at some time or another a few feet of unexposed film left in their camera that is just M itching to be exposed. Here is an interesting way to use this footage and one that will leave an appeal for at least another hundred feet of this subject that can be filmed any place

where there is a blue sky and cumulus clouds. The thrill of first seeing the speed of cumulus clouds increased cinematically more than repaid this amateur for his trouble. The subject can be filmed by every serious amateur and this particular brand of clouds mentioned can be found at all times of the year, after stormy weather.

If your camera is made with a single frame exposure device,

^ half your troubles are over; mine was not, so I set the speed control at eight frames a second (ordinary speed will do if the

camera has only one speed) . I next removed the lens, gave the starting button one sharp touch and noticed that the shutter

opened only once, after I could control the weight of my touch.

This meant that only one frame would be exposed each time I

gave one sharp touch. Next I mounted the camera on my tripod, a good strong rigid one v/ith its feet firmly planted in the

ground to prevent movement; this is very necessary with single frame exposures. Heavy filters that will absorb some of the blue light were tested and the 23A (red) or G (orange) were found most suit-

able. I used the latter. These have a factor of three with ordinary panchromatic film and this exactly compensates for the extra light that reaches the film when single frame pictures are taken as the shutter does not travel as fast when only opened

one at a time. The camera is ready now, the filter chosen, next

Fig. 4 the exposure meter must be brought into use. If a big bank of clouds is coming, measure the light from the bottom of these, exclude as much blue sky as possible. If the cloud is a samll

one with a lot of blue sky surrounding it, close the aperture one stop on your meter reading. If you use either of the filters, recommend now you set your aperture without allowing any com- pensation for your filter. Turn your view tinder to a spot in

the blue sky that your cloud is approaching, preferably a cloud

that is high in the heavens, as the orange filter will make a blue

sky darker if the filter has no haze to penetrate. Figures 1 , 2 and 3 were taken on panchromatic film with a G filter within five Continued on page 357

All above were shot on Panchromatic film with a C Filter. Notice how dark the sky is in Fig. 3 as compared to two previous shots. Notice on lower picture how reflected water lightens whole picture. , —

August, 1936 • American Cinematographer 34S

we screened this first "rough cut," the picture ran 15,000 ILL 1 1 feet. This footage was the cream of the 600,000 feet passing before our first examination. Then came the delicate surgery of trimming the picture without interfering with the smooth flow of continuity. A few feet would be trimmed here; possibly a few feet would have to be added in another place. This refining and final polishing is arduous work; 2,500 feet had to be taken from a picture that apparently couldn't spare a single frame. It's a rather ruthless and cold-blooded operation. But, weighing the relative value of every foot of film, we eventually pared the picture to 12,500 feet of

which some 300 feet is taken by straight titles. These positive trims are rolled and labeled with the scene numbers and stored in tins.

Sound track film carrying the dialogue is cut to con-

Ralph Dawson editing a production at Warner Bros.’ Studio.

H O W Anth o n y Ad verse Was Cut

ou MAY RECALL that "Anthony Adverse" in book by form covered upwards of twelve hundred type pages. Ralph Dawson Y In more ways than one, it was o "big story." Film Editor, Warner Bros. Studios. When you see it on the screen, os of course you must,

I believe you will agree that the Warner Bros.' version,

which is now being premiered in the larger centers, is o form to the picture print. With this working print ap- "big film" (I almost used "colossal") in many respects, proved, I can sit back and draw a deep breath of relief including its longitude. From start to finish it measures and await the first appearance of the next production exactly 12,250 feet. which usualy comes the next day. To grasp fully the magnitude of the undertaking, o few Picture and sound track next visit the sound-effects and figures ore pertinent. The script was of 250 pages; 1 ,098 music departments where these contributions are added to camera set-ups were utilized, which I believe, is o record the dialogue. To this working print, now complete as ta number of scenes in any dramatic offering to dote. In sound and picture, the negative is matched and cut. Pic- addition, another 200 scenes come from the special effects ture and sound on their two separate negatives are then department in the form of superimposed titles and similar printed on one positive which is the release print exhib- process photographies. ited in your theater. These 1 ,300 individual scenes representing a total of It has been stated many times that pictures are shot on upwards of 600,000 feet of positive print come in to my the set, but are really made in the cutting room. To a cutting room. From this mileage of celluloid tope I was large extent this is true. The amateur cinematographer to fashion a unit of screen entertainment telling o fast- constitutes all these several agencies; he is director, cine- moving and straightforward dramatic narrative. matographer and editor rolled into one. Translating the job into amateur camera measurement He is in position to cut with his camera as he is shoot- equivalents, it is os though you hod 240,000 feet of 1 6mm ing. His work does not suffer the caustic competitive crit- film or 120,000 feet of 8mm to edit and patch together. icism that ours does. He hasn't the investment in sets and It represents quite o stock of 50 or 100-foot spools. players. It is nat essential that he shoat each scene several I well was prepared for this avalanche of film, for I times ta assure himself he is getting the finest effects ob- hod just finished the cutting of "Midsummer Night's tainable. Nor that he make countless production "pro- Dream," which in many regards was the most intricate tection" shots. editing assignment I know of. I offer these suggestions. Lay out your proposed pic- First sifting come in the projection room. With Mervyn ture on paper, scene by scene and in detail. Visualize the LeRoy, the director, I viewed each day's rushes on the pictorial form each scene should take. Then shoot the screen. From these the choice takes were selected. It scenes. When your film comes back from the laboratory, must be remembered that any scene may be shot several assemble and patch it together in continuity—but make it times from varying angles and with slightly varying action a rough cut. in order to obtain the best possible rendition of that seg- Now screen this first draft. Run it several times until ment of the story. you get the feel of its story and can sense the needed The unused or "second" takes were stored in cons each tempo of its proper development. Then do your trimming. correctly labeled for instant access if later needed. Ybu can now value each scene in its relationship to the When sufficient of these "first" takes accumulated to entire picture. comprise a sequence, I asembled them. The entire series If you make final trim of each scene as a complete unit of these sequences completed the picture. rather than as a contributing factor to the entire picture, Each of these scenes, of course, is stripped of all but you will miss much of the smooth pace and timing that is the essential action before going into the sequence. W-hen Continued on page 356 I

3^6 American Cinematographer • August, 1936

Here’s Practice in Indirect Representation

by HY NOT film an interpretative treatment of a Barry Staley current topical subject? Indirect representation

is on effective way, frequently used in prafes- W or moods, sional film production, of portraying influences which are intangible of themselves ond hence con not be SCENE 5; MEDIUM SHOT. The queue of ice-buyers placed on film directly. Their presence is felt and their at the ice company's plant. effects on others can be caught by photography visible SCENE 6; MEDIUM SHOT. In the poorer sections of conveyed to the screen by inference. Unseen and hence town. Urchins peeled down to minimum clothing begging menaces can vividly be shown by this treatment and made small pieces of ice from ice wagon in street. as real to oudiences as though actually visible. of two of the urchins eating the Let us take the current period of unusual burning SCENE 7. CLOSE-UP weather that has brought death and drought conditions treasured ice in the street. temperatures to wide sections of the nation. High sun SCENES 8 TO 15; CLOSE SHOTS of colorful characters abstract. But by making are not directly photographable in and scenes reflecting suffering from heat among the poorer story and showing its in- excessive heat the villain of our classes; mothers with palm fans, fire-escapes made into be scored fluences on familiar environments, the point can open-air bedrooms, the itinerant penny ice-cream huck- in telling italics. ster, the strawhatted dray-horse drinking from water for short, fast This scenario will guide you. It calls trough. cuts; brief scenes giving impressionistic Montage effects. SCENES 16 TO 20; CLOSE SHOTS in a public park. Be patient and get just the kind of character types needed Interesting types sprawled on park benches, on the grass, to make the film replete with human-interest. fanning themselves with old newspapers, in various stages MAIN TITLE; HEAT WAVE. of undressed comfort. a 21 ; CLOSE-UP. At an open lunch-stand, SCENE 1. LONG SHOT from elevation, shooting down SCENE is foaming stein of beer with on a length of city street, glaring hot and steaming under sweaty workman downing a the sun. Shadows are black and light areas shimmering. cooling effect. SCENE 22: CLOSE-UP. A small boy or girl nibbling SCENE 2; LONG SHOT. The same scene shot from at a soothing ice cream cone. street level. Hot lights are pouring from pavement; pedes- 23: SHOT. Exterior of movie the- trians are sweltering. SCENE MEDIUM ater. Sign reading 20 DEGREES COOLER INSIDE. Hot SCENE 3; MEDIUM SHOT. Several passers-by. Men and sticky customers ore entering. carrying their coats, shirts open at throat, mopping their SCENE 24: LONG SHOT. On the outskirts of town. perspiring faces. A field burned brown and lifeless by the sun. CLOSE-UP. A thermometer with mercury SCENE 4; SCENE 25: CLOSE-UP. Your dog panting, tongue well registering over 1 00. out. headline, MER- INSERT; Front page of newspaper with SCENE 26: MEDIUM SHOT. In your back yard. Chil- CURY SOARS TO 107. dren are in bathing suits, enjoying cooling sprinkles from INSERT; Newspaper headline, SCORCHING HEAT the garden hose. PARCHES COUNTRY. It runs diagonally across screen. Continued on page 356 August, 1936 o American Cinematographer 347

Shooting 16 mm at the South

y two 16mm CAMERAS spent two years in the Antarctic, and did a man-sized job for me. Work- Pole M ing at "the home of the blizzard," often in temperatures as low as 70 degrees below zero, my two Filmos exposed 42,000 feet of film with an almost perfect record of success: for where the "official" 35mm. cameras had plenty of troubles and mishaps, my Filmas scarcely lost a frame out of eight miles of films. An Interview with But in talking about substandard filming in the Ant- Commander George O. Noville arctic, I am only a voice speaking for the many substan- Executive Officer, Byrd Ant- dard filmers in the Expedition. We had fifty men on the arctic Expedition, Byrd Arctic Second Byrd Antarctic Expedition and of those fifty, nearly Expedition, etc. a dozen packed 16mm, or 8mm. cameras. Our substandard group included scientists, fliers and cooks' helpers, and the films we made ran the gamut from strictly scientific records to the homiest of Antarctic "home movies."

My own pictures I tried to make a broadly human record You ask what I photographed down there in the snow? of everything the expedition did, so perhaps it may serve Everything and anything! The "official" cameras had as a liberal cross-section of what Little America's 8-and-16 definite instructions as to scenes they had to bring back, brigade did. and only a relatively limited supply of film, so they stuck The first expedition to Little America, and the North pretty closely to orders. My Filmos, on the other hand, Pole flight before that, had taught how me to prepare worked under no orders but to bring back interesting pic- camera equipment for successful work in the Antarctic. tures. They stuck their inquisitive lenses into everything

Before we started, I had the cameras completely disas- that happened. And because they were small and handy, sembled, and carefully removing all the oil, and tightening they could "cover" things the bigger professionals couldn't up all of the lesser bearings to compensate both for the get near. Packing a professional camera on the trail with removal of tha oil and the contraction of the metal in the a dog-team or tractor party is something which must be Polar cold. The more important bearings, which could not taken rather seriously. Setting up a tripod, focusing, and be asked to operate without lubrication, were packed with so on, take time. The little 16mms., on the other hand, powdered graphite. This is vitaly important, for the ex- can be tucked away in your sled, jerked out, sighted, the treme cold will freeze ordinary oils, with disastrous results trigger pressed, and the camera put away again in less to the camera. time than it takes ta tell it. I appreciate the steadiness The same thing is true of moisture. I literally baked of a tripod as much as anyone else does—-but in a case every bit of moisture out of the cameras in an oven. like Then this, when the few moments involved in setting up the I kept both cameras and film in one of our ice-block sheds tripod might lose an important scene. I'm all for the little where the temperature was always the same as that out- cameras that don't demand tripods. doors. Thus there can be no trace of moist air in the So from the moment we reached the ice to the time, cameras, to freeze them up or to condense into an ice- two years later, when we scrambled back aboard ship, I cap over the lenses. On the few occasions I when took kept both cameras busy getting candid camera movies of the cameras inside, to film interior scenes of the expedi- everything we did. When my duties made it impossible for tion's home life, I warmed them slowly, and, I when was me to use the cameras, I'd give them to other members of through, baked them in the oven before returning them the party and let them make whatever pictures they chose. to their ice-house. In addition to scenes of definite news or scientific value, The matter of exposure is a difficult problem in I tried the to picture things that the average man, turned loose Polar regions. The light is very deceptive; in Little between the America, would naturally stop to look at. white snow and the usually foggy weather, one would ex- One such subject, for instance, is the way the sled dogs pect the light to be of much higher photographic value lived. No matter what the weather, the dogs stayed out- than it really is. In general, we exposed Superpan film as side. Scenes showing how they were fed have interested though it were ordinary Pan, and found all ourselves about types of audience. The scene begins as a long-shot right. Exposure-meters, incidentally, praved misleading un- which shows an apparently empty landscape, dotted with der the abnormal conditions there at the Pole; most of our little mounds of snow. As the trainer appears with the photographers, from the official Paramount News and dog-food, the mounds stir, and unexpectedly reveal them- Associated Press professionals down to the ever-present selves as dogs, curled up for the night and completely 8mm. brigade, carried meters, but soon found them un- covered by the drifting snow. able to cope with the unusual light. In practice, I found Another unusual scene is one made in one of the milder the safest guide to exposure was to make careful blizzards. photo- It is one thing to read of storms so fierce that graphic tests. Before shooting any important scene, I a person can get lost within twenty feet of the camp. It would put a fresh roll into the camera (negative film is quite was a different thing to see it on the screen. Every- used exclusively). Then I'd make a five-foot test, using thing in the picture is gray-white, with the icy "ground" several different exposure-settings. Snipping this test- barely distinguishable from the swirling, gale-driven snow. strip off in a darkroom or changing-bag, I could develop A man walking away from the camera disappears en- it, and have an absolutely accurate guide to exposure be- tirely before he has taken half-a-dazen steps. fore I finished the roll. Continued on page 358 —

348 American Cinematographer • August, 1936

again, ities. But wait. Let us go over the familiar ground pictorial this time with new eyes adjusted to cinematic composition. this protest from empty- Many a time I have heard handed cine lensers, ”Lve walked for miles in the country taken a lot of at- without seeing a shot. I could have practical- tractive still photographs possibly, but there was rustling the ly nothing to film.” This with a stiff breeze branches and streams and banks of clouds scudding across the sky! The countryside, on farm, in mountains, at the shore can provide superb material which offers endless possibilities for taking films of great artistic beauty. As usual, everything depends on how you go about it. As you go rambling with your camera, make these strolls and hikes deliberate quests for filmable scenes. of your With this new attitude toward the environment greater appeal. favorite retreat, it will take on a new and you never You will find vistas and nooks and shaded dells before fully evaluated. to your There will be but a modicum of visual action picture and certainly na plot. The film will be essentially pre- of the documentary category. But it will possess and the serve the endearing characteristics of the locale for Not satisfaction of your own memory in time to come. an inconsequential item in this changing world. As you plan your film, ponder these questions. Why does that favorite district appeal to you? What attracts For you? Wherein lies its charm and its inviting appeal? what attracts you will doubtless interest others who sit before your screen. shimmer and trickle Is it the many streams or lakes that The Camera sleeping villages in the summer sunlight, is it the quaint the or their rustic inhabitants, is it the calm depths of woodlands, or the imposing heights of majestic mountains? drowsy veranda, the delicious Goes Is it the wide expanse of quietude of the setting, the magnet of heaping platters of home-cooked country victuals? Whatever these main characteristics, they are the prov- Certainly. And to See ender for your picture. Commonplace? therein lies the deep-rooted human interest of your subject—and the challenge to your camera talents. Fortunately you ore in no hurried schedule. You have evolve treatments by time—and the patience, I hope—to charm. that will lift these commonplaces to high cinematic selecting the Clark Foster It pays to exercise care and thought in most effective point of camera vantage. You can afford to to observe the settings at various times during the day capture the fullest values of light and shadow. In woodlands, flickering lights form engaging kaleidos- ast call for summer scenes! According to gal- copic patterns. On streams and pools and lakes, changing loping pages on the calendar, the warm-weather va- light values and directions provide infinite variety of pho- L cation days are getting limited in most sections. So and tographic studies. it behooves us all to take stock of our outdoor footage Sunrises, if you awaken that early, and dawn offer un- make out o requisition list of the shots needed to make our common soft and delicate touches. Sunsets present gor- quota of summer pictures complete. Missing scenes which geous arrays of light and color when banked against cloud ore sorely needed to acquire smooth continuity will be out formations. of reach within a few weeks. Winding lanes, the old farm houses and outbuildings, the Or perhaps you are not one of the energetic vacation- that miles aged fences or stone walls, a forgotten mill, trees ers with strenuous itinerary who cram many fevered are tall and gnarled or round and plump—all may be so boundary of time and so are not presented with within a set your for familiar to your eyes their intrinsic beauty is lost, but a continuous parade of colorful and intriguing scenes camera will capture their earthy enchantments. your camera. At the shore, you pass by the current crop of bathing Possibly you ore of fiber sufficiently strong to resist the belles for art studies of the weathered fishing smacks and lure of travel folders and cling to the original concept that their equally weathered crews, the sea-going seines and 0 vacation should be an interval of luxurious leisure and piers on prac- fishing tackle, the wharves and tottering ancient rest. So you hie yourself to a favored retreat and moss-covered pilings, the crash of surf against jutting rocks. tically hibernate for awhile. page 353 Here, you may say, are few cinematographic opportun- Continued on August, 1936 • American Cinematographer 349

Just How Short

eing a confirmed 16 mm. devotee during ofter-of-

fice hours, I con drow o number of onologous lines B of structurol composition between the so-termed a/ Bert Gilroy short-subject of the cinemo holls ond the product of the Associate Producer, RKO Studios omoteur cine-lenser who goes in for the production of do- mestic dromos ond other story-forms of household picture moking. Close observotion of short-subject films which ore on particulars. This is polished and divested of any trends to importont port of every theoter progrom should be illumi- stray away from the central line of the tale. noting to every omoteur who prefers to hove his celluloid we write the script or scenario, breaking the story creotions opproximote the professionol roting of enter- Now into the forty to fifty scenes needed to pictorialize it. toinment content. This is where we get our basic continuity. The story as a The screen "short" is commonly o one-reel or two-reel whole is cut into scenes; it is not a matter of trying to item. It is entertoinment in copsule form. It is highly fashion a story out of scenes. concentroted screen fore. Unlike feoture productions, costs The next step is to consider this scenario for length. First of moking ore definitely limited; there is o top figure be- drafts invariably run too long and must be condensed. This yond which the overoge cost must not go if it is to show is determined by actual trial. Two or three of us walk Q profit. Budgets ore rigid in every phose of production. through the scenes, simulating the specified action in cor- This economy is not unlike the omoteur's desire to keep rect timing, and a stop-watch clicks the elapsed time. his filming within reosonoble boundories ond to get os much Just like you, we have a given amount of negative and on the screen os he con without spending o lot of money. have to moke every foot of it count. Some shorts ore very short indeed, others stretch out We try to work in short scenes. Speaking in 35mm meas- in screen time. A one-reel subject will ronge from six urements which you can readily reduce to your 16mm. or minutes to eleven minutes os screened. A two-reeler will 8 mm. needs, a ten-foot scene is relatively short, although run from seventeen to twenty-one minutes. This at sound to gain the effect of speed in comedies we will use six- speed of ninety feet o minute, or twenty-four frames o foot or even three-foot cuts. A fifty-foot scene is just second. The ideal length for o one-reel is seven hundred about the limit for any one set-up angle. and twenty feet, or eight minutes screen time. Now as to the nature of the subject matter. Cartoon This corresponds to two hundred and ninety feet in films are the most popular of the shorts, as witness Mons. 16mm and one hundred and forty-five feet in 8mm. Mickey Mouse. But these are beyond the production ken Fifty feet is given to the main title and twelve to fifteen of most of us amateurs. Next in popular esteem come feet to the end title, which should be deducted from the comedies, particularly what we call situation comedies. total length figures to give the net picture footage. Here the premise or locale is quickly established and the The one-reel of overage length will hove from forty to central character or characters put in situations which of fifty different camera set-ups; in other words, that many themselves are amusing. It is rather a comedy of action scenes. It will hove fifty to seventy-five cuts, os close-ups than of acting. This type of film is well within the reach are inter-cut with longer shots. These same figures con of every cine-amateur. well apply to the overage omoteur production. Continued on page 359 The most important factor in a short is the basic idea or story. Requirements ore rigid. The story must be simple, easily understood, not complicated os to plot and pro-

gressing in o straight line. There is no time, os in features, to develop character. A player's character must be established on his first screen oppearance and he must re-

main in that character throughout. The picture must jump away to a fast start, as a sprint-

er coming off his starting mark. Likewise, it must come

to a rapid close once the story is told. A good rule to

follow is to launch the story with a flying start, tell it in

proper speed increasing to the climax, and then get it off the screen just as fast as you can without too noticeoble abruptness. Experience has taught us the sure way of making shorts. You can make your reels in the very same proved pro- cedure. First we evolve the basic idea or theme of the story. Then

we put it on paper in synopsis form. If it still seems good, we make a more detailed synopsis filling in all the salient 350 American Cinematographer • August, 1936

WHEELS OF INDUSTRY

Two Films Available ly prove of great benefit to artists, art directors and to photographers in that it The Kodak Bantam Special loads with gives them the fundamental rules gov- eight exposure roll film. Two different Eastman Bantam Special erning perspective, which is so important types of film are available— Panatomic, in photography. • With the announcement of the Ko- F828: Super X, X828. dak Special the Eastman Kodak Com- Note that Super X Film X828, is for Bantam Special own- pany adds to its line of cameras de- now available yellow, Film Speeds signed for the advanced enthusiast. ers. Extremely sensitive to Special a die-cast green and red, it makes possible good The Bantam has • It is worth while picking up the new negatives much earlier and later in the and machined aluminum case, finished Weston Film Speeds sheet at your deal- shut- in a new-type baked enamel. When day, and is ideal when very high er if you use a Weston meter. The lat- closed, the case provides protection for ter speeds are necessary to catch rapid est sheet is dated June, 1936. Con- the lens, shutter, and front elements of action. Used indoors. Super X goes a siderable space is given to Kodachrome the view-finder and the range-finder. step farther than Kodak "SS" Pan, and this film at 4 for day- with all its added speed, does not show film. It rates The range-finder is built-in, and of an increased grain size. The develop- light (with or without filter) and 1.5 the split-field, military type. The hous- ment instructions, packed into each roll for photoflood with filter. It gives 8mm ing in which it is located is an integral should be followed exactly. the same rating. Special note is made part of the camera body casting and is and gives it a rat- completely enclosed. Coupled and syn- about Kodachrome A chronized with the focusing mount, the ing for tungsten or photoflood the same Color Photography daylight. range is found by moving the focus- as regular Kodachrome for

lever which from it rates it 4 for inter- operates a position di- • The American Photographic Publish- In other words, rectly above the shutter. the When ing Company have just released a book ior lighting. split image is brought into a coinci- movie on color that should prove very popular. It rates for still film as well as dence, the lens is in focus. To the It is titled, "Natural Color Processes," film and also gives rating for positive right of the range finder is a built-in and is authored by Carlton E. Dunn. film when used in the camera. optical view finder. An auxiliary focus- The descriptive line says it is "a concise ing scale on the lens mount shows at outline of the available methods with what distance the picture is being taken. practical instructions." The book sells B & H Catalog In addition to the shutter release a for $2.00. catalog on accessories for 16mm special plunger release or cable release, A listing of the chapter headings will • A picture cam- may be used. give a comprehensive idea of the con- and 8mm Filmo motion issued Panatomic and Super X film are tents of the book. They are: "Simple eras and projectors has just been available for this camera. Color Analysis," "Making Color Separa- by Bell & Howell Company for free dis- tion Negatives," "Autotype Trichrome Kodak Bantam Special is 4y8" long, tribution. Carbro," "Belcolor Printing Film," "The are revealed in 3 Vs” wide and 1 13/16” thick; it Many new accessories Chromatone Process," "Reliefs and Im- weighs 1 6 ounces. this booklet; new exposure meters, new for Transpar- bibition Color Prints and lighting equipment, auxiliary camera encies," "Duxochrome and Colorstil equipment for advanced cinematography, New Ektar Lens Color Printing Films," "Dye Mordant- an entire new line of film editing equip- ing," "Screen Color Transparencies," Eastman ment based upon an entirely new film • announces the appearance "Dufaycolor," "The Finlay Process," of the first of the Ektar lenses splicer; and many others. —a new "Motion Pictures in Color." series of Kodak Anastigmats. As indicated by the table of contents,

The 45mm f.2 Ektar lens is a six the book is arranged in sections, each element anastigmat. Made according Perspective Book devoted to a related group of units. to 0 newly computed Eastman formula, Fully 500 separate accessory items are it is claimed the Eastman lens designers, • A book published by Caliborn Prod- listed. Everything from a camera aper- in this new Ektar, have succeeded in ucts, Inc., of West Orange, N. J., has ture brush to portable gasoline-engine- reducing both the spherical and chro- reached us. While it has the broad driven generators for operating Filmo matic aberration to neglible proportions, title of Caliborn Note Book, its sub- projectors and Filmosounds, is given due at the same time maintaining a perfect- ject is "Perspective and Optical Illu- place and description. ly flat field, free from astigmatism and sions of Depth." Its three main divisions Copies of the catalog may be had distortion to a degree which is remark- are "Illusions of Depth," "Perspective without charge request to Bell Cr able in a lens of this very large aper- Methods" and "Perspective Problems." by

ture. This is a book which will undoubted- Howell Company. 3 MAGAZINE CINE-KODAK

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O -SECOND LOADING — you can do it changeable under finger-tip control with four accessory with your eyes shut. No threading — the film lenses: 2-inch /.3.5, 3-, and 6-inch telephotos. The full- comes in a magazine. Slip the magazine into vision, eye-level finder system competently serves them all. the camera and close the cover you’re set — SMARTLY STYLED — Magazine Cine-Kodak’s light, yet to shoot. You can switch from one film to sturdy, die cast aluminum case is finished with pin-grained another in a jiffy. No wasted seconds. No genuine leather and satin-finish chromium. To those who wasted footage. The magazine protects the want home movies at their best and simplest — here is your film. Footage meter on each magazine — whether it is in the camera. $125, with f.1.9 lens; §137.50 including de luxe camera or in pocket or carrying case show s film — how much carrying case for camera and accessories. there’s left. • Loads with regular Kodachrome, Kodachrome Type A, THREE SPEEDS — normal, half-speed, and slow motion. Cine-Kodak “Pan,” and Super Sensitive “Pan” Film. At normal exposure speed Magazine Cine-Kodak purrs along at 16 frames per second. ^ hen you want to attain an amusing douhle-time screen effect or overcome unusually adverse lighting conditions, you merely shift a lever at the front of the camera to half speed. Setting this same lever at the 64 frames per second marking brings you beautiful slow motion studies. Under your finger, as you shoot, a gentle “pulse” button keeps you posted on scene length while your eye re- mains at the finder.

FIVE LENSES add to the versatility of this outstanding camera. Its standard lens is a Kodak Anastigmat /.1.9. By means of an inexpensive adapter this /.1.9 lens is inter-

EASTMAN KODAK COMPANY, ROCHESTER, N . Y. 352 American Cinematographer • August, 1936

Amateur Throng to nior

HEN! the American Society of Cinemotogrophets orgcnized the junior branch, it was the opinion Society W that in the course of several years a membership o,' substantial numbers would be enrolled. However, the first few months has already brought more members than the organizing board had set down as the quota for the picture in order to first two years. He did not really have to make a of determining the proper This charter membership is not confined to this coun- become proficient in the knack normal scene try, but has already spread over every civilized country in exposure. He learned in that way what a the world. Amateurs as well as semi-professionals are was. He learned what open shadows were and all of the seeking admittance to the Society of Amateur Cinematog- other standard scenes by which exposure is gauged. without wasting a lot raphers as they feel membership in it represents real cine- Another thing he did for himself matic achievement. of film in learning, was the locating of good photographic merely looked As laid down in the rules, applicants must submit a pic- subjects. He used his camera for this and ture made by themselves. This picture most be complete through the finder. That he was not taking pictures was every- and fully titled. Qualifications for membership ore judged not evident to anyone. However, he did not shoot more from this picture than from the requirements set thing at which he aimed his camera, but he did walk around that forth in the application form. a scene until he felt he had the right balance and one he came The most frequent question from amateurs is whether was the very best composition. At times when irresistible, exposed they are barred from this Society if they have made com- across a picture that he felt was he "feel" for mercial or other pictures for pay. It is the purpose of his film on it. In this way he developed the the Junior branch to accept for membership all worthy composition. And after all that is what you cultivate when cinefilmers, whether purely amateur or semi-professionals, you obey all of the rules of photography. who have not the qualifications to become members of the You develop the "feel" for photography the same as a American Society of Cinematographers. musician develops the feel of the mood of any certain piece equivalent It is obvious that the out-and-out amateur will gain con- of music. If they play it mechanically they are siderable from his semi-professional fellow members. These to our snap-shooters who expose film regardless of subject men will have some experience that borders on the pro- matter. the fessional about which they can tell them and from which We have rambled off a bit in order to demonstrate experience they should gain a great deal of good as these advantages of being associated with professionals and those semi-professionals are using the same type of equipment who know just what make good pictures and good photog- as the amateur. raphy. It is evident that those eager to advance will re- As occasion arises and members of the Amateur Society ceive better information and more outhentic knowledge pictures; have in mind a certain type of picture or a certain effect from those whose business it is to moke motion they wish to secure in a picture, they write us to deter- from those whose salary for making these pictures some mine whether we have a picture on hand that has used times runs os high os that the President of the United this particular effect. If we have we are pleased to loan States. These men in the studios are the acknowledged this picture to the member for him to study. This will photographic masters of the world. They ore giving to the permit him to observe at first hand just what certain filters world the finest examples of photography done under very or other effects will do under certain circumstances. It trying conditons at times. They are able to do good work proper foundation, they have the is these things that lead to better photography. because they have the Even back in school days we soon learned that the finest training and are constantly attempting to improve things which we attempted after we had learned the theory, their art. They have brought photography to a real art in artists remained in our memory longer than the things we learned a commercial atmosphere. These men are not I'ke merely by rote. who have all day to study a subject, or who can go for for inspiration. They must in*-erpret the This is true of photography. After you have read of a weeks waiting an in certain thing and possibly seen it in a picture, it then be- mood immediately and they must maintain this mood comes necessary for you to do that thing in order to really their handling of the photography of the picture on which

know how to do it. Constant practice in a thing will make they are working. you proficient. It can be seen from this that those amateurs who are We know of a beginner who had difficulty in determin- at all eager to moke real advancement in their hobby could ing the right exposure, and that is always the stumbling not turn to a more reliable authority than the American block for a beginner. He finally learned from a profes- Society of Cinematographers. sional that there was such a thing as a "normal” for ev- The service to the members does not only include the ery film. Here was a starting point. The great mystery matter of photography itself, but also the other phases of of how the professional determined the proper exposure motion picture making as the amateur can use it. Con- was wiped out. It was really a practical thing. When he tinuity is an important part of cinematography. However, learned that the normal for the film he was using at the the Society does not encourage a man to say, "I want to speed of his shutter was f.l 1. he spent much of his time moke a picture of the sea. What sort of continuity shall ot merely looking at a scene as he went to and from work I build around it?" This man should have some idea or as he rode around and tried to determine from his own what the theme of that picture should be. The sea would judgment just what the f. value of that scene would be be a documentary. It has many moods, just which interpreted into the terms of his motion picture camera. Ciontinued on page 358 oe nad in any equipment other tha

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1600 fl. Film Capacity Enclotad during Operation 354 American Cinematographer • August, 1936

for the Amateur

HE AMERICAN SOCIETY OF CINEMATOGRAPHERS has organ- ized a junior branch of its association for the amateur to be known as the SOCIETY OF AIMATEUR CINEMATOGRAPHERS.

FOR MANY YEARS amateurs have been requesting the American Society of Cinematographers to form an organization for them that would be representative, authoritative and instructive.

WHILE IT WOULD be easy to form such an organization in the spirit of enthusiasm that usually accompanies such pleas, but to insure the

continuance of such an association it needs real ideals and a constructive policy.

THE SOCIETY OF Amateur Cinematographers is not a society to give to the amateur letters to be used after his name and it does not throw its membership open to everyone who has the fee to join. The Society of

Amateur Cinematographers is based on strict and sensible requirements.

FIRST, THE APPLICANT must own a camera; second, he must have made motion pictures, and third, he must submit a picture to the reviewing board which is made up of members of the American Society of Cine- matographers. This does not mean that the amateur is going to be judged by 100% professional standards as practically every member on the reviewing board operates either an 8mni or 16mm camera and is familiar with the shortcomings of the amateur’s equipment.

WHEN AN AMATEUR has been admitted to the SOCIETY OF it is AMATEUR CINEMATOGRAPHERS, it is a sign of achievement ; an indication that he is truly an amateur cinematographer, and he knows August, 1936 • American Cinematographer 355 SOCIETY

that his fellow members are active and accomplished amateurs. Also he is being guided by experts, by the acknowledged camera masters of the world, by Hollywood’s greatest directors of photography.

MEMBERSHIP will include a subscription to the “American Cine- matographer”. It will also include the use of the outstanding films made by members of the Society of Amateur Cinematographers. As films are submitted, the best will be duplicated and an analysis prepared by a member of the American Society of Cinematographers. This analysis will go with the picture and the picture will be available to any member of the Society of Amateur Cinematographers.

FOR THE MOST outstanding members and the most able amateur cinematographers, a fellowship will be created, giving that amateur the title of Fellow of the Society of Amateur Cinematographers. Require- ments for Fellowship will be announced later.

MEMBERSHIP IN THE SOCIETY of Amateur Cinematographers gives each member access to the film library, privilege of asking questions, and advice on all branches of movie making.

AS THE SOCIETY GROWS, it is the plan to create branches in other centers to be made up of members in those cities. In Hollywood a branch will be created and the programs originated here will go forward to other branches as a unit.

WRITE FOR APPLICATION BLANK AND FULL PARTICULARS.

6331 Hollywood Boulevard Hollywood, California I

355 American Cinematographer • August, 1936

Here s Practice in Indirect Representation

Continued from page 346

CINEQUE SCENE 27: CLOSE-UPS of the chil- SHOTS. Bathers in the water. (There PRESENTS dren. Water streaming over their should be no land showing.) General A NEW LINE OF heads and faces. bathing activities in the refreshing cool water; riding the breakers; the strong SCENE 28: LONG SHOT. A wheat swimmer; the girl being taught to swim; field or corn field ravished by heat. 16MM diving from the float; the life-boat SCENE 29: LONG SHOT. A dried- paddling about. up, waterless brook or stream. MOTION PICTURE SCENE 39: CLOSE-SHOTS on the SCENE 30: MEDIUM SHOT. Cattle beach following a dip in the surf. The standing despondently in sheltering dog shaking himself dry, the toweling of shade of tree or beside dry creek. FILMS assorted figures. SCENE 31: LONG SHOT. Automo- SEMI-ORTHO SCENE 40: CLOSE-SHOTS at the $250 biles speeding to beach, with occupants per 1 00 feet . . . concession stand. Bathers are downing RAPID PANCHROMATIC dressed for bathing. $4^“ bottles of cooling drinks, munching at per TOO feet SCENE 32: LONG SHOT. Surface ULTRA-RAPID ice cream, at sandwiches. cars arriving PANCHROMATIC 50 at beach and disgorging dowr. SCENE 41 : LONG SHOT. (Stop per TOO feet $5 passengers seeking relief. to f 1.6. Use your red filter.) The sun Eastman SUPER-X Pan- SCENE 33: LONG SHOT. Along chromatic NEGATIVE disappearing behind the horizon. sidewalks and streets are walking men, and POSITIVE S7 50 SCENE 42: MEDIUM SHOTS. Bath- per 1 00 feet . . . women and children headed for the ers silhoutted against the darkening All Pi tces Inchuie PiocessiuK beach, in suitable attire. Cut in a PRINTING DUPLICATING sky. EDITING CLOSE-UP of two or three good types TITLING SHOTS. (Even- Write to SCENE 43: MEDIUM SCENE 34: LONG SHOT from ele- ing.) On beach and in public parks, Cineque Laborafories, Inc. vation of the expanse of sandy beach; individuals are preparing to sleep the 123 W. 64th Street the beach umbrellas, densely populated night out in the open. New York City sand, the breaking waves. INSERT: Newspaper headlines SCENE 35: MEDIUM SHOTS of HEAT. (flashes) : SCORES DIE FROM typical beach activities. AID RUSHED TO DROUGHT AREA. Vli TOH vsmisi SCENE 36: CLOSE-UPS of beach NO RELIEF IN SIGHT; HEAT WAVE Slip-On Attachments; tor very accur- characters. Search for the pictorial CONTINUES. ate work. No fitting. No screws. types and shoot from a low camera angle. Simple to use. SCENE 44: CLOSE-UP. Another The shapely, long-legged girls; the Optiax Viewer—also tor Filmos $12.50 thermometer. It is registering above Shows picture field through camera hipoy older women; the paunchy fellow FADE OUT. lens. 100. in trunks and ever-present straw hat; If you do not live near the seashore, Single Frame Counter . . . $12.50 the bronzed, square-shouldered young Records each single frame exposed use your nearby lake, river or local and rewound. beach idols; the chubby children; the swimming pools for the water scenes. Camera Inverter $ 6.00 .... life guard. Invisible on tripod; tor Reversed Ac- Scan the crowds carefully for unusual tion. SCENE 37: MEDIUM and CLOSE human types, styles of dress and typical- At your dealers Write tor illustrated folder. SHOTS at the water's edge. Children ly expressive situations. In your selec- ART WOLFF wading, the timid girls, the brash young tions rest the appeal of your film. Pre- 159 N. State Street Room 900 athlete who goes p'unging in. serve a rapid tempo with short well-cut CHICAGO, ILLINOIS SCENE 38: MEDIUM and CLOSE flushes.

The New 16mm How Anthony Adverse Was Cut PANCHROMATIC NEGATIVES Continued from page 345 (Eastman, Agfa, Dupont)

will surorise vou with their fine quality. their beautiful fones arvd grainless SO desirable. Each scene must be judged it another half-dozen times. The story reproductions, if you have them devel- will soon familiar and you can oped by the and trimmed in relation to the scenes become mechanics of the DUNNING GRAINLESS METHOD immediately following and preceding. concentrate on the Cutting must be in keeping with the film's construction. DUNNING PROCESS COMPANY nature of the picture. A fast-gallop- Study the film from a cutting stand- 932 N. La Brea Avenue ing comedy or action reel must be made point. There is a good reason for ev- Hollywood, Calif. (35mm reduced to 16mm) up of short, fast cuts to attain the ery cut you see. Figure out what that tempo. To the contrary, a deeply dra- reason is and just why each scene is matic story requires longer scenes and as it is. Judge it in its own behalf and gentle transitions. In the "Dream" in bearing to the story's unfolding. Note HUGO picture, we employed rhythmic cutting where the close-ups are placed, to punc- MEYER conforming with the music. tuate and italicize the narrative. Find

There is no better way to learn film out for yourself how greatly cutting in- SPEEDS F/15 TO f/SS cutting and editing than to study well- fluences the appeal of the picture. LENSES edited pictures. When you see a pic- In this manner, you will quickly dis- HUGO MEYER & CO. ture that you enjoy more than the av- cover most of the tricks of the trade, 245 55 ST-' NKW YORK erage, go back to your theater and see the proved policies of cinematic con- — —

August, 1936 • American Cinematographer 357

struction. You will understand how important is the infinite variety of cam- ECONOMICAL era angles and focal distances; how im- lOiiiiii perative is the need for breaking up Tllli: your story into many terse paragraphs. ^OW I'KArTII AH 31otioii Picture “Anthony Adverse" has many scenes in many sequences. A single straight- TRIPOD S€REE:¥ Films • • • line sequence may comprise an entire picture for you. The same cutting Stop those “footage” worries. fundamentals apply to both cases. Longer—better—more interesting scenes are yours with these films. SEMI-ORTHO Making the Roll per 100 ft. roll Clouds By 2 rolls—$4.00 $2.19 RAPID PANCHROMATIC Continued from page 344 per 100 ft. roll 2 rolls—$7.00 $3.75 ULTRA-RAPID seconds; notice how the same sky ap- PANCHROMATIC pears darker when an upward angle per 100 ft. roll was used. 2 rolls—$8.00 $4.25

Figures 1 and 2 show a Prices Include Complete Peocessinz how cloud alters its shape in the space of three Send for film circular A-8 seconds. To continue with your film- Used photographic equipment, STILL or CINE, purchased or ac- ing, take your watch, if it has a second cepted in trade. Exceptional al- hand, and touch the starting button lowances. once every second for one hundred F

practice you will find it easy to count It sets up instantly. No old fashioned seconds without your watch. When thumb-screws—automatic spring release catches hold the screen just where you choosing the location, include the roof want it. Place it anywhere. Raise it to any of a building in your picture or a tree height up to 714 feet. It’s sturdy. It’s practical! It’s useful in classrooms, with leaves that GOER are not fluttering in auditoriums and homes as well as for commercial purposes. Closed, it •AX-OICTIKI FILTEKS the breeze, as any movement in the presents a neat, compact arrangement that’s both ADAPTED FOR MINIATURE foreground is fatal if you want to show good-looking CAMERAS and convenient. Available acrobatic clouds. in three popular sizes—30"x40", 36"x48" Dr. Kellner’s Pan-Ortho Creen Filters and 42"x56". are furnished in special slip-over mounts to fit the lens cells of Leica, Contax, Rolleiflex and other popular miniature cameras. Also Blue Filters The Camera for additional red absorption Goes to See BRITELITE and Red Filters for certain night effects. For purposes of increased filter absorption Continued from page 348 these filters can be stacked one over T>U44/^^£urL the other. Furnished singly or in handsomely packed sets of 3 and CRYSTAL BEADED SCREEN 5 the filters. hip-booted clam digging fraternity Catalog B-6 on request and such contributions of warm human See our complete line of screens, flood- C. P. Goerz American Opticol Co. interest. Close shots of interesting and lights, projector cases and film storage 317 East 34th St. New York cases for every purse and purpose. colorful types are taken to be cut in later. You can catch "grab shots" of the natives in work attire and, on Sundays, 16mm RECORDING 16mm in their "store clothes" for contrast. Normal life in the villages far Professional Sound Direct on Film contains greater picture USING THE DOUBLE SYSTEM potentials than streets af the average city. Our 16mm Optical Printing prints the sound track correctly without duping. But make something unusual out of to • Mfr. of 16mm artd 35mm Recording you—the usual. There lies the pleas- Heads, Amplifiers, Developing Machines, ure of this filming. Very deliberately Printers, Etc. sleuth about for pictures. With the CINEMA ARTS—CRAFTS newly opened eye of the picture seeker 918 N. Fairfax HE-1984 Hollywood, Calif. you will ramble leisurely about in a country of greatly enhanced beauty and Your dealer will gladly give you all in- interest. You will re-discover the at- formation—or if you prefer, write us for O-XLY 82.50 tractions of your hallowed haunts. complete literature. for one year’s subscription to American Chances are you will be surprised at Cinematographer, any where in the MOTION PICTURE SCREEN & United States. the number of most acceptable subjects $3.50 foreign ACCESSORIES that your camera encounters. But you CO. AMERICAN CINEMATOGRAPHER 528 W. 26th St., New York, N.Y. 6331 Hollywood Boulevard must do more than merely take views Hollywood, California of the guide book variety. Let your imagination have unhampered swing. 6

358 American Cinematographer • August, 1936

Lean to the artistic side of your nature. tings of inexpressible photographic greener to Distant fields always look will our cam- The Ideal Film beauty if we but permit the cinematographic hobbyist. But on for Indoor eras to see them under complimenting every side of us, fairly storing us in the Movies face and begging to be filmed, are set- light conditions. Kl>-0-Li:X

REVERSAL FILM

is suitable, as well, for the faithful reproduction of the varied tones of foliage and flowers. Possesses an Shooting 1 mm at the South Pole equivalent balance for yellow, red and green rays, thereby obviating use of green filters. Exceedingly fine Continued from page 347 grain and anti-halo. 26° Scheiner, Outdoors, 28° Scheiner, Indoors. Scratch-Proofed, without charge, by Getting these shots was o problem, and tractor expeditions, building Admiral the famous Teitel Method. for the fiercely blown snow would fill Byrd's advance comp, where he spent so 100 't.. 66.00 50 ft., $3.50 Booklet “D” on request the lens-hoods so quickly we could get many months alone, and of the party KlX-O-Ll’X, Iiio. no pictures. Finally we hit on o simple which dashed out to rescue him. At 105 West 40th Street - - New York gadget which enabled us to get our every point, I hove tried to emphasize shots easily. We simply put the cam- the human side of our life and work at era in o rather long box, open at one Little America.

end so the lens could look out into the And that, I think, is the way I would storm, yet be protected from the gale. try to build o movie of any activity, CRAIG from o simple fishing trip to on im- Inside the box, beside the camera, we SPLICER and REWINDS put on electric fan. When we shot the portant exploration. By oil means show scene, the breeze from the fan, in the where you go and what you do—but if restricted area of the box, was just you wont o really successful film, tie it enough to blow the snowflakes away together with human interest shots that tell who did it they lived. from the lens. In our shot, we con see and how the whirling, blowing snowflakes—but they don't in to block the lens. combination $8.50 come up :raic junior Amateur Filmers Throng lunior S.nlicer with two geared rewinds to Don't about the matter of all mounted on 21" board. ask me CRAIC MOVIE SUPPLY CO. editing the film! You know what o job Junior Society 1053 So. Olive St. Los Angeles, Cal. it is to edit o few hundred or o few Continued from page 352

thousand feet of vocation film; imagine one of them do you wont to pre- the task of editing 42,000 feet! It dominate? To do oil of the work for

was o job I could not delegate to any- that man would not be helping him. He LEICA, CONTAX, ROLLEIFLEX one else, so for better than three solid should do o bit of thinking for himself other cameras at or he will never be EXAKTA and weeks I labored day and night assembl- able to work out even the simplest continuity for himself. ing three 2,000-foot pictures—and I Morgan Camera Shop The Society is willing to help him over still hove enough interesting footage left 6305 Sunset Blvd., Hollywood, Calif. the hurdles, over the hard obstacles, but over to moke os many more. he should hove more than o desire to

I assembled three separate pictures to do something; he should hove the nucleus appeal to three definite types of audience. of on idea. HOLLYWOOD The first, for the general public, con- The Society of Amateur Cinematog- REVERSAL fines itself to generalities and to the raphers has already given advice on cer- human-interest phases of the expedi- tain pictures for more than half of its 1 6mm Film tion. The second, for showing in membership. These people wanted to moke interesting pictures of their trips, A full Panchromatic Reversal 16mm schools and high schools, tells much the etc. Technical information has 'been . . . Speed . . .Low Film . . . Fine Grain some story, but with more stress placed Includes processing. passed on to them in goodly quantity. Priced. on educationally informative factors. But possibly the most requested service The third, for college groups and scien- 100-ft. roll has been the analysis of film. This an- $4.25 tific societies, places yet more stress up- alysis does not take the form of o crit- on the scientific activities of the expedi- Hollywoodland Studios icism, but os the term implies the pic- geographical and tion: the geological, ture is analyzed. This is very import- 9320 California Avenue meteorological studies, the cosmic-roy ant to on amateur. We oil know our South Gate, California work, and so on. strengths and ore proud of them, but we hate to acknowledge our weaknesses. All of the pictures begin with the However, when this weakness is pointed party's landing on the ice, unloading out by the leaders in o profession we do the ships, setting up the portable build- not resent it so much, and we keep it REDUCTIONS ings, constructing the ice-block airplane ENLARGEMENTS • in mind the next time we ore shooting on. Then come inti- DUPLICATES • hangars, and so pictures. mate scenes of the expedition's life: how The Society of Amateur Cinematog- GEO. W. COLBURN we lived, and what we did. Finally ore raphers 8|iecta£. seems to be destined to not only scenes of some of the exploratory ac- reach great numbers, but to do wonder- O 7100 N. Washtenaw Ave • CHICAGO. ILL tivities: scenes of some of the airplane ful things for the serious amateur. August, 1936 o American Cinematographer 359

How Short Is d '^Short'^

Continued from page 349

The laugh-getting effects we try to achieve with dialogue can, to degree, be obtained by gag titles. Certainly, your titles should be humorous in keeping with the story. Come next in order of appeal, scenic and travel pictures. These, too, are open to us of the personal camera fraternity. Merit rests on the unusualness or strangeness or unfamiliarity of the

audience to the pictured scenes. Or, in rare and breath-taking beauty of the vistas. As you know, much depends on the commentator with sound travelogues. I hese action shots of Bright and sprightly comments contrib- "Shorty” and "Ditto" fa- ute much in explanation, needed descrip- mous screen monkeys, tion and entertainment. The same ap- owned by Mr. Haeseler plies to your titles. An otherwise dull of or average travel reel can be elevated Hollywood were shot to high screen rating by shrewd cutting with a Leica. Only the LEICA PHOTOS BY HELEN MORGAN and clever titling. "click -spin -click" of a Then are novelty reels. These in- lightning Leica can get action while it's happening, yet produce clude uncommon events and processes. sharply focussed snaps that The reels that Pete Smith makes are arrest the fastest motion. splendid examples. A ping-pong game, • ACCURACY Built-in autofocal range • SPEED One full second to J /WOO of a swimming and diving, curiaus industries, finder automatically focuses every shot in- second — the greatest range of shutter odd occupations, factory processes yes, stantly and accurately. — ^p^eds of any miniature camera. the amateur cinematographer—can be filmed to exceeding screen interest. BOOKS FOR CANDID CAMERA FANS Again, clever comment, in titles, adds The 500 page Leica Manual" covers lights, timing, posing, developing, printing and much to audience enjoyment. This field enlarging, $4.00. "How to use your Candid Camera" less technical but very instructive is as open to the amateur as to the pro- and profusely illustrated, $3.50. Both at your photographic dealer. Write for FREE fessional cameraman. copy of our magazine Leica Photography. These are the leading short-subject subjects. We amateurs can parallel these paths secure in the knowledge that our films will not be boring to our ^ica friends.

I would like to emphasize the need THE ORIGINAL MINIATURE CANDID for constantly changing camera angles CAMERA and the strict avoidance of static shots. On several occasions we have considered .Model G with f:2Summar Speed Lens stories which, because of peculiarities of Prices Start at $111.00—U. S. Pat. No. 1,960,044 construction, would necessitate shooting E. LEITZ, INC. • DEPT. 181 • 60 EAST 10th STREET, NEW YORK CITY the entire reel in two or three set-ups. Branch Offices in CHICAGO . WASHINGTON . LOS ANGELES . SAN FRANCISCO Due to their sheer inherent story value, we have gambled and shot a couple of these stories. They were deadly on the screen—slow, draggy, uninteresting, des- pite the fact that there was plenty of Cinematographic Annual, Vol. 1 - pictured action. Now $2.50

The interesting slant is when we # Considereci one of the finally adapted the stories to prevailing greatest works on Cinema- treatment, with its many short and fast AMERICAN cuts, the reel in spite of its speed gave tography ever published. the impression of being twice as long. * This greaf book has contribu- Audiences CINEMATOGRAPHER lost themselves in the story, tions from not only the most drank heartily of the proffered enter- noted Directors of Cinematog- 6331 Hallywoad Blvd. tainment, saw a fast parade of varying raphy, but from men high in the Hollywood, Calif. scenes. They got a greater measure of laboratory and manufacturing end enjoyment. Hence their impression of of the Cinema Industry. • greater length. —

JC’O American Cinematographer • August, 1936 CLASSI FIED ADVERTISING

Camera, original Back Issues Rates: Seven cents a word. Minimum SILENCED Bell & Howell B & H Movement, 40, 50 and 75mm. charge, ane dallar per insertion. Lenses, choice of Astro, Cooke or Zeiss, Standard Matt Box, Disc and Filter Hold- ers, Sunshade, Large Finder, Extension FOR SALE—MISCELLANEOUS and Upright, two 1000 ft. or four of 400 ft. Magazines, Standard Tripod Head Carrying Cases, AMAZING VALUES—Greater bargains only and Legs. Complete with Ltd., 1515 made possible by our tremendous purchas- $1100. Camera Supply Co., Calif. ing power. Cameras, Tripods, Recording No. Cahuenga Blvd., Hollywood, Systems, Projectors, Printers, Moviolas, perfect, Motors, Magazines, Animators, Galvanomet- 16MM REDUCTION PRINTER. Does accurate work. Full price, $1,500.00. Cin- American ers, new and used. We’ll trade. S.O.S., Ave., 1600 Broadway, New York. ema Arts & Crafts, 914 No. Fairfax Hollywood, Calif. FOR SALE OR TRADE—Willard 35mm DeLuxe five-way Sound Printers, Mo- Studio Camera, extras.—New Lewis Ma- 3 Bell & Howell tor generators, panel control boards. Du- chine Cun Camera. Want Bell & Howell, plex Printer, especially adapted for duping Cinematograpner or Akeley, any condition, cash difference Sound and silent Moviolas; Educational if required. Box 1457, Tampa, Fla. Blimp and Dolly; Bell & Howell splicers. Title Board with lathe bed; Bell & WE BUY, SELL AND RENT PROFESSIONAL Howell silent cameras. Bell Cr Howell mo- AND 16mm EQUIPMENT NEW AND USED, tors, Bell Cr Howell high-speed gear box, on fiand WE ARE DISTRIBUTORS FOR ALL LEAD- Mitchell and Bell Cr Howell Friction head ING MANUFACTURERS. RUBY CAM- tripods. Above equipment used but in per- ERA EXCHANGE, 729 Seventh Ave., N, fect mechanical and optical condition at Y. C. Established since 1910. bargain prices. Hollywood Camera Ex- 1 936 None. — change, Ltd., 1600 No. Cahuenga Blvd., Hollywood, California. Cable address; 1935 None. LARGEST STOCK FIRST CLASS UP TO DATE — CAMERA EOUIPMENT IN THE WORLD Hocamex. Rebuilt silenced and standard Bell & How- 1934 January, March, April, area sound truck, with — ell 1700 Cameras—Hi-Speed gear boxes— COMPLETE VARIABLE July, August, September. Hi-Speed check pawl shuttles, new Fear- extension mixer, camera motors, micro- production. less shuttles tor Bell & Howell. Silent Mov- phones, converter. Ready for iola Model D. Two Single System cameras Write Box 263, American Cinematographer. 1933 —March, June, October, complete with souno' equipment. DeBrie November, December. Model M, with 3 lenses, automatic dis- 35MM RECORDING HEAD. Heavy duty solve, complete outfit. Double sprocket Clow tube type Westing- Bell & Hnwell rebuilt Splicers as new. house Interlocking Motor. Full price, All months except 1932— Portable blimp with follow focus for Mit'h- $1,700.00. Cinema Arts & Crafts, 914 October. ell Camera. 100 ft. Stineman Developing No. Fairfax Ave., Hollywood, Calif. outfit. Used Holmes 35mm Sound on Film 1931 —All months. Projector complete. Precision, DeBrie and SILENCED Mitchell Camera, 40, 50 and 75mm. Bell & Howell pan and tilt tripods. Bell Astro F2.3 Lenses, Upright Mitchell Finder, & Howell 100 ft.. 400 ft. magazines. Mot- 1930—All months. Mitchell Matt Box and Sunshade, two ors, sunshades, finders, lenses and all ac- 1000 ft. Magazines, Friction Tripod Head cessories. Write, wire or cable. MOTION 1929—All months. and Legs, complete equipment with Car- PICTURE CAMERA SUPPLY. INC., 723 rying Cases, $2600. Camera Supply Co., AVE.. N. SEVENTH NEW YORK CITY. Y. Ltd., 1515 No. Cahuenga Blvd., Hollywood, 1928—April, May, June. July, CINECAMERA. Calif. August, November, De- cember. DEVRY 35MM MOVIE CAMERA, $63.00. Leica BELL & HOWELL Camera silenced, adapted Weston, $11.50; R. C. A. Sound Camera, for color, with variable area recording single 1927 All months except Octo- $210.00; Institute 35MM Camera, $32.75, system sound. Complete outfit iike new, — Hollywood November. complete. Trades accepted, bought. Bar- ready to shoot. Price $3000.00. ber and Camera Exchange Ltd., 1600 Cahuenga gaingram free. MOCULL’S, 1 944-A Boston Road, N.Y. Blvd., Hollywood, Calif. Cable, Hocamex. 1926—All months. COMPLETE double system sound recording 1925—All months except Feb- WANTED equipment, $800.00. j. Burgi Contner, ruary, August, November. 723 Seventh Ave., New York City. WANTED. We pay cash for everything photographic. Send full information and low- 1924—All months. ASK THOSE WHO HAVE BOUGHT! Don’t won- est cash prices. Hollywood Camera Ex- der, take advantage—Look—RCA Photo- change, 1600 Cahuenga Blvd., Hollywood, 1923—March, April, May, July, phone Variable Area Studio Recorders, Calif. August, September, Octo- brand new, $1,495.00; Background Pro- jection Screens, from $144.00; Fox Movie- GOOD AS COLD TO US—Clean House. We’ll ber, December. tone Recording Cameras, $975.00; RCA Re- buy used cameras, lenses, recorders, print- Recorders, $150.00; RCA Galvanometers, ers, splicers, tripods, cinemotors, magazines, 1922— February, March, May, $75.00; Western-Electric Recording Ampli- microphones, amplifiers, projectors, labor- July, August, October, fiers, from $43.50; W. E. Condenser Micro- atory and studio equipment. Trades taken bargains galore. S.O.S., 1600 Broadway, November. December. phones, $95.00. Send for list. S.O.S., 1600 — Broadway, New York. New York. 1921 —October, November, De- WAX DISC Recording Accessories and Parts, BI-PAC ADAPTERS for Bell & Howell Cam- especially Cables, Microscopes, Cutting cember. eras, Take two magazines, triangular Heads, etc. Box 264, American Cinema- shape, $90.00 each. Double magazines for tographer. color work or double printing. Will fit ALL BACK ISSUES ARE PRICED Mitchell Camera, for $75.00 each. Cam- era SuddIv Co.. Ltd., No. Cahuenga 1515 PATENT ATTORNEYS AT 30c IN SINGLE COPIES Blvd,, Hollywood, Calif. MULTICOLOR Bi-Pac Printer. Can be used INVENTIONS PATENTED, trade marks, Sam- for Color or Black and White. Priced low uel Goldstein, Registered Patent Attorney, for Quick Sale. Cinema Arts & Crafts, 914 write for liferature on successful services, American No. Fairfax Ave., Hollywood, Calif. performed, 275 E. Cunhill Rd., N.Y.C. Cinematograph er Never so much information in one book and for so little money—Our reduced price of $2.50 makes the Cinematographic Annual, Vol. 1, the great-

633 1 Hollywood Blvd. est movie technical book bargain offered. AMERICAN CINEMATOGRAPHER Hollywood, Colif. 6331 Hollywood Boulevard Hollywood, California MOVIEAMATEUR CONTEST FOR 1936...

The American Cinematographer 1936 Amateur

Competition is open to amateurs all over the world who use either 8mm or 16mm film.

The films must be in the offices of the American Cinematographer not later than November 30, 1936.

There are no restrictions as to the number of sub-

jects that may be entered, nor are there any restric-

tions as to the length of the subjects. The one strict

rule that applies, however, is that no professional help

is received in the making of the picture. This does not include titles which may be made at a laboratory.

The recognition of those who are given awards will

be in the nature of a gold medallion which will be given by the American Society of Cinematographers who will be the judges of these pictures.

The pictures will be given classifications so that the

competition may be fair to all entrants. By this we

mean that an entrant having a documentary film will

not compete with one who has based his on a scenario. Of course, there will be more classifications than these.

The classifications will be created according to the pictures that are received.

Please remember your films must be in the office of

the American Cinematographer, 633 I Hollywood Boul-

evard, Hollywood, Calif., not later than November 30, 1936. Time Is What It Takes

To Prove what is Best . . . What is Standard O ver the Many Years Mitchell Cameras alone have stood the test of time

Studios the world over have standardized on them

Mitchell Camera Corporation

665 N. ROBERTSON BOULEVARD

WEST HOLLYWOOD, CALIF.

Cable Address “MITCAMCO” Phone Oxford 1051

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