ACADEMY RE,PORTS

lNo. 1l INCAI{T}ESC&I{i]T trLLUMII{ATION

19?8

ACADEKI.Y OF'MOTION PICTURB ARTS AND SCIBNCES

ACADEMY REPORTS (No. l)

Transactions, Enquiries, Demonstrations, Tests, Etc., On the Subject of IN CANDESCENT IL LUMINATION AS APPLIED TO MOTION PICTURE PRODUCTION

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Conducted by the ACADEMY OF MOTIONPICTURE ARTS AND SCIENCES

In Co-operation with American Society of Cinematographers and Association of Motion Piiture Producers . During the Months of January, February, March and April, 1928

With an Appendix bringing the report forward to July, 1928 Copyrighted By the

Academy of Motion Picture Arts & Sciences 1928 r

CONTENTS

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REPORTSOF TRANSACTIONS

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The following reports are compiled from the records of Academy Transactions, Studio Enquiries, Demonstrations, Tests, prepared papers and discussions on the subject of Incandescent (Mazda) Illum' irr.tion, conducted by the Academy of Motion Picture Arts and Sci- ences in cooperation with the American Society of Cinematographers and the Association of Motion Picture Producers, during the months of January, February, March and April, 1928' The Records start with excerpts from the minutes of the monthly | 6, meeting of the Technicians' Branch of the Academy, .November 1927, when the project of incandescent illumination investigations of had its inception, and ends with a transcript of the proceedings closed the final Academy meeting, April 20. when the investigations papers sub- for the present. There are also added an Appendix of of publica' mitted after the investigations closed and a Bibliography tions referring to the subject of incandescent and other illumination' as of together with a corrected list of Academy officers and members July- I ,1928. here pre- itr. results of nearly four months of intensive study, have sented, while in no way intended to be final or conclusive' been manifold and valuable to the industry.. cinematographers, the new form technicians and directors have become acquainted with of incandescent of illumination; the value and present limitations for both lighting have been revealed; lamps, carbons and equipment make-up ttrt"ra" and arc illumination have been vastly improved; has demon- of artists has been corrected, and, finally, the Academy problem in motion strated its utility in helping to solve a practical industry as a picture economy, science and art of great value to the whole. is one other These are concrete, constructive achievements' There a cost or qual- result of equal importance that cannot be measured on profession as ity basis, and that is the effect on the morale of the demonstrated by the fine spirit of co-operation and harmony with joined which various organizations, corporations and individuals to- gether in striving for a common object. THANKS OF THE ACADEMY

The Academy of Motion Picture Arts and American Societyof Cinematographers. Sciences is indebted to the American Society of Associationof Motion Picture Producers. National Lamp'Works of Electric Co. Cinematographers and the Association of Motion General Make-Up Artists' Association. joint Picture Producers for active co-operation and Societyof Motion Picture Engineers. responsibility in the conduct of the investigations General Electric Company. herein recorded. Acknowledgement is also due to KeeseEngineering Company ( Cooper-Hewitt) . many other organizations, corporations and indi- National Carbon Company. Garden Court Apartments. ir.€i viduals {or contributions. of material, services and -* : B. De generous assistance,especially to Warner Bros., who Cecil Mille studiolaboratory. Metro-Goldwyn-Mayer laboratory. gave period over the use'of their studio for a of Paramount-FamousLasky laboratory. two months. William Fox Vaudeville Company. Following is a list of those not members to whom United Artists' Studio Corporation. the Academy expressesits warm thanks and appre- Metro-Goldwyn-Mayer Corporation. ciation: Universal Pictures Corporation. Warner Bros.' Laboratory. Mole-Richardson,Inc. Doraldina,Inc. William Fox laboratory. Deitz Lamp Co. Willard B. Cook. First National laboratory Eastman Kodak Co. A. C. Downes. Cecil B. De Mille PicturesCorporation. Frank Murphy. L: A. Jones. First National ProductionsCorporation. Fred Gage. L. A. Hawkins. Paramount-FamousLasky Corporation. Peter Mole. L. C. Porter. United Artists' laboratory. E. O. Guerney. J. I. Crabtree. Agfa Raw Film Corporation. Max Factor. Daniel B. Clark. Dupont Film Company. J. E. Brulatour. Frank Good. Bausch& Lomb Optical Co. W. B. Rayton. R. E. Farnham. ConsolidatedFilm Industries, Inc. E. W. Beggs. R. E. Connor. PacificTitle and Art Studio. Bert Deleray. Dr. C. E. K. Mees. Warner Bros.'Pictures, Inc. I. H. Van Horn. RooseveltHotel. Roy Davidge Film Laboratory. Dr. M. Luckiesh. Smith & Aller. Tremont Film Laboratories. John W. Boyle. Hal Roach Studios. BennettFilm Laboratories. W. L. Stern. Universal laboratory. GeorgeSchneiderman. Creco,Inc. Hal Roachlaboratory. Central CastingBureau.

ACADEMY PROCEEDINGS

The following excerpts {rom the minutes of the suggestedthat every cameramanshould educatehim- Technicians' Branch of the Academy, the Produc- self in this new kind o{ lighting, which he predicted ers' Branch, the Board of Directors of the Academy would be uniformly adoptedwithin a short time. and special committees in reference to the subject of Mr. Arthur Edesontold of developmentof equip Incandescent Illumination will give a chronological ment, and predictedthat within six months this sys- history of the inception and progress o{ the re- tem of lighting would be universally used. He said searcnes: that probably not over six or seven cameramenin Los Angeles were llow competent to photograph pictureswith tungsten lights, and that it was up to TECHNICIANS' BRANCH the cameramen to educate themselves. MEETING NOV. 16, 1927 A discussionfollowed as to how this education should be accomplished. Quoted from the minutes as of record: Mr. Pelton moved that the cameramen of the The matter of progress in tungsten lighting in Branch undertake to aid in disseminating to the connection with panchromatic film was taken up cameramen of the industry the knowledge o{ how for discussion. to operatewith incandescentlighting, and that the Mr. Pelton explained some of the progress that Branch request the Producers' Branch of the Acad- had been made in the First National studio, and emy to see that facilities are furnished and equip- r(t tvl ment supplied {or carrying out this plan. Mr. acting on the instructions of the Technicians' Ex- Nickolaus seconded the motion. ecutive ,Committee, he had requested similar co- In the discussion that followed it was proposed operation from the De Mille studio and Samuel that certain nights bc set for demonstration in some Goldwyn. The Secretary also reported that the studio, preferably the First National, and that Technicians' Branch had appointeda sub-committee cameramen and others be invited to attend these in eachof the three studios for the demonstrations; demonstrations for the purpose of educating them Mr. Volck reported for the De Mille studio that in the handling of tungsten lights. The motion be- he was authorized to offer the facilities of the De ing put to a vote it was unanimously carried, Mille studio and suggestingsimilar invitation to Mr. Samuel Goldwyn for the use of equipment owned by him. BOARDOF DIRECTORS Mr. Pelton reported for the First National stu- MEETINGNOV. 28, 1927 dio, secondedby Mr. Edeson,who stated that new lamp equipment was expectedsoon, and suggested Quoted from the minutes as of record: that demonstrationsbe put ofi until after the first On motion duly made and seconded, approval of the year. was given to the proposal of the Technicians to con- Mr. Volck submitted a report showing the duct a series of demonstrations with the invited co- amorlnt of equipmentnow in Hollywood studios,in operation of the producers for the purpose. of edu- which it appearedthat the De Mille studio, M- cating cinematographers and other technicians in the G-M, Samuel Goldwyn, Inc., IJniversal and First use of Mazda lights. National now own a considerableamount of incan- descent equipment, and that rented equipment is PRODUCERS'EXECUTIVE being usedby Lasky, N{etropolitan, Christie, Roach, Columbia, Tec-Art and Sennett. COMMITTEE,DEC. 5, 1927 Mr. Milner reported that the failure of attempts Quoted from the minutes as of record: at the Lasky studio in incandescentlighting was due The proposal of the Technicians' Branch to con- to lack of proper equipment. duct a series of demonstrations for the education of Mr. Miller suggestedthat there was even greater cinematographers and other technicians in the use need of improved equipment in all studios than of Mazda lights and asking the producers to furnish there was of demonstrations,and proposed that quarters and equipment for the same was considered steps be taken to get the manufacturers of equip- and approved. ment to bring their latest inventions and improve- Mr. Warner offered the use of space and equip- mentsto the demonstrations. ment in the Warner Bros.' studio at any conven- Mr. Volck then proposedthat a week in Feb- ient time desired by the technicians, and it was also ruary be set aside for a seriesof demonstrations, voted to request the First National studio to ofier and that representativesof Eastman, General Elec- space and equipment. tric and all other interested companiesbe invited To cover the expense of lights and film necessary to have representativespresent with their latest to conduct the demonstrations, it was voted, on sug- equipment,film, etc., and that a generalcommittee gestion of Mr. Levee, that the Academy be asked representing all studios, cameramen, electricians, to pay these items with the understanding that the technical experts and representativesof the Ameri- cost should be refunded to the Academy from the can Societyof Cinematographersbe appointed. experimental laboratory fund,, and a special com- Mr. Levinson suggestedthat the National Elec- mittee was appointed with authority to control the tric Lighting Associationwould be able to furnish said expenditures as follows: Messrs. Rothacker, valuable information. Warner and Levee. The motion was then made by Mr. Volck, sec- onded by Mr. Edeson, that the committee as pro- TECHNICIANS' BRANCH posed above be appointed, and that the American Societyof Cinematographersbe formally invited to MEETING DEC. 14, 1927 co-operate. The motion was unanimouslyadopted. Pursuant to the above action, the chairman ap- Quoted from the minutes as of record: The Academy Secretary reported the situation pointed a committee representativeof all studios, in regard to proposeddemonstrations, stating that companies and organizations interested in the inves- the Executive Committee of the Producers' Branch tigations. had acceptedand approvedthe recommendationsof the Technicians' Branch for the holding of a series GENERAL COMMITTEE of demonstrations,and had appointeda specialcom- MEETING 4, 1928 mittee, consisting of Messrs. Rothacker, Warner JAN. and Levee,to supervisenecessary expenditures. Also Follov'ing is a list of the Committee as ap- that Mr. Jack Warner tenderedthe facilities of the pointed: Warner studio, Vitaphone Department, and that A. Geo. Volck Wm. Whisler Mr. Rothacker had tendered the facilities of the George Barnes Frank Graves First National studio. The Secretarystated that, R. B. Mclntyre Roy Hunter t6l Arthur Edeson Martin Murphy Mr. Reed said he would like to see sets photo- W. T. Strohm Benjamin Schwalb graphed by both soft and hard lights so that com- Fred Pelton W. L. Stern J. T. Reed Frank Murphy parisonscould be made. Karl Struss Roger Nauman Mr. Arthur Edeson said that the greatestprob- Hal Mohr J. H. Davis lem for incandescentswas the big set. At present Fred Jackman Maitland Rice Victor Milner Geo. Schneider there was not sufficientequipment. E. C. Schoenbaum Wm. Darling Mr. George Barnes agreed that the big set was Louis Kolb William Perry the difficulty and he would like to seeexperiments J. M. Nickolaus Gustavus Peterson on an exterior set inside the studio. Geo. Mitchell W. W. Wells problem A. J. Ball Dwight Wanren Other speakersreferred to the of spots Joseph A. Dubray H. A. McDonall for close-upsand the great heat coming from incan- John Seitz W. S. Small descentlights, Mr. Nickolaus especiallycalling at- Nathan Levinson Perry Harris tention to this lack of presentequipment. Fred Beetson Geo. Meehan M..J.T. Reedexplained that the expenseof the Irvin Willat Ned Van Buren Frank Woods Carroll Clark demonstrationswill be met by the producerswithin Virgil Miller reason,and that it would be very valuable to make testsof the biggestpossible set that could be photo- Quoted from the minutes as of record: graphed with incandescentlight, not only {or the The General Committee was called to order by purpose of demonstrating how large a set can be Mt. T. Reed, Chairman of the Technicians' J. shot, but also what it would cost. Branch, who stated the purposeof the meeting and Mr. Strohm stated that in the experienceof his askedfor the passageof a resolution asking the ap- company the expenseof lighting had been about pointmento{ a specialmanaging committee to have one-third of the arc expense. charge of the demonstrationsin incandescentlight- Mr. Reed continued,stating that the demonstra- lng. tions should be made matters of record, and that On motion duly made and seconded,the resolu- written reports should be prepared. tion was passedcreating a committtee of five or N{r. Levinson suggestedthat the committee get more, and the temporary chairman appointed the in touch with Paul Clapp, General Manager of the following committee: A. Geo. Volck, Chairman; National Electric Light Association, which in- George Barnes, Louis Kolb, J. A. Ball and Fred cluded all lighting companies,for the purpose of Beetson. Mr. Volck, on assumingthe chair, added getting the co-operationof the electrical manufac- to the committee the following: Karl Struss, Fred turers. Pelton, Victor Milner, Irvin Willat, J. M. Nicko- The Chairman referred to the laboratory prob- laus, Frank Murphy, Wm. Whisler and Frank lems and asked Mr. Nickolaus to respond. Mr. Woods, Secretaryof the Academy. Nickolaus stated that there need be no worry over M.. J. A. Ball moved that the demonstrations the laboratories-that they were able to give all should be held on a seriesof datesjust prior to the necessaryresults on demand. Convention of Societyo{ Motion Picture Engineers, Mr. Ball respondedthat that might be true of in April. The motion was seconded,and after dis- Mr. Nickolaus, but it was not true of some lab- cussionadopted. It developedthat the purposeof oratories. He thought that all the difierent prob- fixing the date in connectionwith the conventionof lems involved in the lighting question should be Engineers would make it more possibleto secure considered,including lenses,film emulsion,develop- the attendanceof experts from the large equipment ment and difierent kinds o{ incandescentlight equip- and film manufacturers who might be adverseto ment. making two separatetrips to the coast. Mr. Virgil Miller suggestedthat sets painted Mr. Stern of the lJniversal Company recom- in various colors be experimentedwith for the pur- mended that a list of all incandescentiquipment at poseof noting results. each studio be collected by the committee and fur- Mr. Irvin Willat said that there should not be nished to the different studios so that all studios too many setsused in the demonstrationsor confu- might know what incandescentequipment was avail- sion would follow. The setsshould also be photo- able. graphed with people acting in the sets so that the Mr. Pelton suggestedthat the program of demon- demonstrationswould cover all requirements. strations provide for different kinds of sets to be One member proposedthat a set be painted half photographedon different nights, and that differ- in colors and half in tones,divided in the middle so ent studios be used {or this purpose. He suggested that comparisonscould be seenon the film. He also photographinga set in various ways, one night, and proposedthat a new light manufacturedin England, the following night to exhibit the positiveprint and known as "Point of Light" be demonstrated. He then shoot another set, He thought the demonstra- said that there was only one of theselights in Los tion should commenceabout the rpiddle of March, Angeles so far as he knew, and that one is in the and that the best examplesof incandescentphotog- physics laboratory of the University of Southern raphy could then be collected to be shown to the California. visiting experts during the final days of the demon- Mr. Dubray referred to lensesand experiments strations. that he had been makine. The matter of lenses

l7l was discussed at some length with the idea that iens reflectors and the objectionable heat created by in- makers should be encouraged to send experts to Cal- candescent lights. He said that the great problem ifornia to ascertain the problems to be solved. in the matter of lighting as well as in all other phases of production was to establish standardized Mr. Reed opposed the spreading of the investi- all kinds so that each studio could use gations into too many channels and suggested that equipment of best and most economical. He referred to the the committee should keep to its program of tncan- the showing made by the present meeting with descent lighting, and not try to solve the matter of fine nearly fifty men present, all giving sincere thought lenses, which was a big problem in itself. He re- to the subject under consideration. ferred to the immense amount of equipment now The meeting then adjourned to meet at the call used in hard lighting that would have to be aban- of the Chairman. doned by the companies if incandescent lighting should come into general use. He said that the COMMITTEE amount of this investment was from one to two or MANAGING possibly three to five million dollars. He did not MEETING JAI{. 11, 1928 undertake to say how much. At any rate it was a After considerable discussion pro and con, Mr. big problem that the producers were asked to face, Ball moved that two sub-committees be appointed and it should be the purpose o{ these demonstra- -one composed of cameramen, electricians and lab- tions to help solve that problem for the producers, oratory men to have charge of demonstrations, and so that they might know whether it would pay them one special managing committee on program and in the long run to adopt the new method o{ lighting. invitations. The motion was seconded and unan- Mr. Mohr agreed with Mr. Reed, and re{erred imously carried. to the experience o{ Warner Bros. in photograph- Thereupon the chair appointed Frank Murphy ing by incandescent lights for the Vitaphone pro- Chairman of the demonstrations special committee, ductions. with power to name the membership of the Cornmit- Mr. Stern proposed that each studio be sent ques- tee. tionnaires prepared by the committee, and that they The chair also appointed a special managing be asked to keep records of all of their experiences committee as {ollows: Messrs. Volck, Beetson, Pel- with incandescent lighting. ton, Ball and Woods. Mr. Gus Peterson said that he was a cameraman who had had no experience with incandescent light- DEMONSTRATIONCOMMITTEE ing, and what he would like wor"rld be the oppor- tunity to learn and to acquire in{ormation and ex- MEETING JAN. 19, l92B perience. The Committee organized as {ollows: Mr. Mclntyre stated the experienceof the Gold- Frank MurPhY, Chairman present production, wyn, Inc., studio in their which Walter Strohm Lee Garmes was being photographed almost entirely by incan- Wm. Whisler Tony Gaudio descent lights. He said the equipment had cost Roger Nauman Joseph Dubray Louis Kolb Irvin WiIIat $12,000 and they were using about hal{ the number J. M. Nickolaus KarI Struss as have been used with of men on the lights would Fred Gage Gilbert Wafrenton hard lights. They photographed sets on a stage Roy Hunter Percy Hilburn 140x60 almost entirely by incandescentlight with Victor Milner John Seitz very little hard light assistanceon the side and were Arthur Edeson Geo. Meehan Ned Van Buren having great success. Ed DuPar George Barnes Frank Woods Mr. Mohr explained further the process with program of demonstrations Warner Bros' Vitaphone productions, and explained (At this meeting the Murphy was ap- that they w€re not using panchromatic film because and tests arranged by Chairman practically carried out. It was arranged Vitaphone sequenceswere inserted in pictures made proved as two nights each with hard lights. He thought the biggest problem io conduct major demonstrations studio with a cin€matog- in the whole thing was the development o{ equip- week in Warner Bros.' be acquainted with ment. rapher in charge, who would cameramen and tech- Frank Murphy of the same company explained iniandescent ill,rmination, all attend' It was also ar- that they were using four men in their incandescent nicians being invited to day to tests by individual lighting using straight stock, which made it a some- ranged to devote each that this program should be what different problem {rom panchromatic. cinematographers and Society of Cinematog- Mr. Strohm suggested that local light makers, carried out by the American including Mole-Richardson, Inc., wor-rld make up raphers.-$scretary. ) any quantity of equipment required for demonstra- tions. SECRETARY'SREPORT Mr. Beetson was called on and said that he FEBRUARY.3,I 928 thought Mr. Reed had sounded the keynote that the reported as follows: producers would be interested in the practical re- The Secretary sults of the development, especially as to costs and For your information in re{erenceto the series photographic results. He referred to the matter o{ of demonstrationsof incandescentillumination now t 8l being conducted at the Warner Bros' studio, I take ment to the demonstrations and are actively de- pleasure in stating that the demonstrations are pro- veloping new models as required. gressing with remarkable success,and the spirit of The Eastman Company, the Agfa Company and co-operation and genuine interest has developed be- the Dupont Company are contributing all the neces- yond anything anticipated. sary negative free of charge. The General Electric Company, through its vari- The developing laboratories are doing the devel- positive ows organizations, has contributed lamps {or special oping of negative and printing of prints tests to the amount of $4,500 in cost, and has sent free o{ charge. four of its most outstanding representatives in this The Jacobsmeyer Co. is printing titles for the department of electrical illumination to participate. test shots free of charge. The Association of Motion Picture Producers is Motion Picture Engineers, which The Society of furnishing the funds for the payment o{ labor and in the head- will hold its semi-annual convention extra. people and such other incidental expenses as quarters to 14, of the Academy the week o{ April 9 may De necessafy. 1928, will be represented by several of its members The American Society of Cinematographers, at the final week of incandescent demonstrations. working in co-operalion v'ith the Academy, has un- through its Keese Engineering Company, man- dertaken the direct management of the demonstra- for experiment ager, J. T. Shannon, has contributed tions and is doing splendid work. The demonstra- a new Cooper-Hewitt red in the demonstrations tions are being attended by an average of 150 cam- company to be used in tube lamp developed by the eramen on each Friday and Wednesday night, and conjunction with its blue-white tubes. by many other technicians and persons interested. The Make-Up Artists' Association is co-operat- The special committee appointed by the Academy ing in experiments with make-up. in charge of demonstrations, headed by Mr, Mur- Max Factor, make-up manufacturer, is contribut- phy o{ Warner Bros., has been working six days a ing a make-up artist and material for constant use week, eight hours a day, and also two nights in each during both the day and night demonstrations. week, until one or two o'clock in the morning, con- Mole-Richardson, Inc., manufacturers o{ equip- stantly engaged in conducting and promoting these ment, have contributed their entire supply of equip- demonstrations.

QUESTIONNAIRES TO STUDIOS

For the purpose o{ ascertaining studio conditions 2. Cost of current consumption compared in and the results of their operations with relation to same way. the use of incandescent illumination, for the infor- 3. Expense of replacements, such as globes, etc., mation of the industry and the Academy Commit- as compared with hard lighting replacements. tees having in charge investigation of the subject, the 4. Estimates as to how incandescent lighting Secretary of the Academy sent to each studio operat- speeded up production, as compared to hard light- ing in Hollywood and vicinity two questionnaires, itrg. one dated January 5, when the enquiries were com- 5. Limitations of incandescent lighting, stating mencing, and the second, dated March 22, when the why such limitations exist and if due to insufficient investigations had been in active progress {or more equipment or to undeveloped improvements. than two months. 6. Adaptability of incandescent lighting, as com- Replies to these two questionnaires were received pared to hard lighting, explaining where soft light- promptly from all studios. Answers to the first ing can be used to better advantage. questionnaire revealed that only five studios had 7. What kinds of film were used and compara- been operating with incandescent illumination to a tive results as to difierent kinds. sufficient extent to justify replies based on extended experience. Five other studios, however, reported QUESTIONNAIRENo. 2. the results of partial experiments and investigations. 1. Labor Cost: What have been your electri- Replies to the second questionnaire showed that cal labor costs with incandescent lamps, as compared nine studios had operated in actual production, an to arc lighting since 11,7928? increase in two months of 80 per cent. January Following are enquiries made in the two ques- 2. Current Cost: What has been the relative tionnaires: cost of electrical current for the two forms of illum- ination since January 11 ? I{ this information is not available, what has been the relative amperages QUESTIONNAIRENo. l. of incandescent and arc sets of similar size and 1. Labor cost of electric operation by incan- character ? descent lights as compared with what hard lighting 3. Replacements: What has been your experi- would have been, giving figures, ence since January 11 with regard to the cost of tel lamp or globe replacements,as comparedto carbon (a) What, if any, photographicresults have you renewals? been able to obtain by incandescentillumination 4. Speed: Does incandescentillumination speed with panchromatic film not obtainable with arcs? up production by reasonof lightnessof equipment (b) What results are obtainablewith arcs not at and reliability of steadylight? If so, pleasegive a presentpossible with incandescent? comparativeestimate. 7. Lenses: Have the camera lensesyou have 5. Defects: Give a statement o{ the present beenusing given entirely satis{actoryresults ? short-comingsof incandescentlightings : 8. Summary: What has been your general re- (a) General lighting equipment, broadsides, action and conclusionas to the value and results of domes,scoops, etc. the demonstrationsand researchesundertaken by the (b) Modelling Iighting, spots,suns, etc. Academy in co-operationwith the American Society 'What 6. Photographic Qualit3t: are the com- of Cinematographersand the Associationof Motion parative qualities of incandescentand arc lighting? Picture Producers?

REPLIES TO QUESTIONNAIRES

For convenienceof reference,the replies received results of information collected from various depart- from the producing companiesresponding to the ment heads. In all instances where possible, credit Questionnairesof January and March, 1928, are has been assigned to the department from which the heresubmitted in the form of a digest,with answers, statements originated. comments and data on each principal subject, col- In designating the Questionnaire to which various lected under their appropriate headings. In some replies were made, "Q. 1" refers to Questionnaire instancesthis has made slight repetitions necessary No. 1 as of January 11, 1"928,and "Q. 2" to Ques- in order to avoid separatingstatements from their tionnaire No. 2, as of April 2, 1928. contexts. On the whole, however, it is felt that this form LABOR COSTS of report will serve a more useful purpose than AS OF JAN., | 928 would the mere transcript of the individual replies Replies from nine studios, to Questionnaire No. as received. 1, brought forth a uniformity of opinion that the Attention is called to the fact that replies to the substitution of Incandescentlighting would reduce question regarding different raw stocks used in electrical labor costs approximatelv 50%. Produc- photographing with incandescentlights have been tion cost figures to support this opinion were sub- omitted, the purpose of this omission being that mitted by three studios that had recorded their investigationswere started and conductedprimarily experienceswith Incandescent lighting in actual for information on lighting problems and not as a production. Others basedtheir opinionsupon obser- competition of any kind as to raw stock or indi-' vation and experiment. vidual cameraachievements. A table submitted by First National Productions All replies as quoted must necessarilyrefer to (per D. L. Faralla, BusinessManager) compared conditions as they existed at the time of writing. electrical labor costsof three pictures photographed In somecases these conditions have changed,so that with the majority of lighting by Mazda, with three certain opinions and conclusionsshould be consid- pictures photographedwith the total lighting by ered with due allowancefor this fact. Arcs. A 42%% reduction in labor costsas a direct lights It should be noted, also, that the replies were result of the substitution of the Incandescent frequently signed by studio executivesbut were the is revealed. The table follows:

Terr,n SrrowrNc Conrenltrvn Cosrs

No. Ave. Aver. Man Men Operating Cost No. of of No. Lighting Film Days Days Day Cost Day

88 Mazda 38 327 $3305.00 s87.20 Mazda AO 483 4321.00 102.80 103 oi 00 100 Mazda 229 2659. 110.10 99.00 Total or Average. 104 1039 139.50 78 Tender Hour.. Pan 662 but Nice. Straight 846 173.00 84 Naughty a9a 211.80 85 Stolen Bride. Pan 172.ffi Total or A 126 ,rg5 18.0 21642.00

[10] Regarding this table Mr. Faralla remarks: "Lining-.u*e as Arcs; operating-4O%less than "We have tried to reduce costs to a daily basis Arcs; striking-same as r{16s."-f. Kolb and John thus eliminating the length of the shooting schedule Nickolaus, M.-G.-M. as a variable. The three pictures classed as Mazda lighting were not 700% Mazda becausethere were LABOR COSTS certain shots which required hard lighting due to lack of equipment or limitations of the Mazda AS OFAPRIL, I92B equipment. When the Mazda High Intensity Spot The experiencessubsequent to those recorded in is developed, or when there is sufficient equipment the replies to the first questionnairetended, on the available to completely light with Mazda, the com- whole, to crystallize and substantiatethe opinions parison will be even more {avorable for the Mazda and predictions contained in the original replies. equipment. As the table shows, the ratio of man The estimatesof a saving in electrical labor cost of power per day was ten Mazda to eighteen Arc, or approximatelv 50% by substituting Incandescent 55%% of the man power was used to shoot a for Arc lights was given added weight by the fol- Mazda picture compared to the Arc picture. In lowing statements: reas- dollars the percentage is 57 ft% wlnich is in "Covering a period from January 1st to March onable accordance," 31st with twelve companies using Incandescents IJniversal's experiencein photographing "No' 13 (not exclusively, however) we find, where the Washington Square" with Incandescents showed in cameramanls experrencedin the use of Incandes- the post analysis submitted by W. L. Stern, Man- cents and has sufrcient equipment, our labor costs ager, a saving of 50% in electrical labor. He are reduced40 to 50%."-D. L. Faralla, First remarks in connection with the following statement National. that "it is interesting to note that we saved at least "The chief saving is in the number of electricians $2,000 with equipment costing $8,000. It will be used. For example,on one set Incandescentswere seen therefore, that on four pictures of about the used for nearly two weeks with five men on the same type this equipment will have paid for itsel{, job. Later the directors had to do a day's work in which comparison it is well to bear in mind." the same set and as the Mazdas were in use else- Estimated cost with Arcs------,$3,478.57 where, he had to use hard lights. Fifteen men were t,769.07 Cost with Incandescents- required to operate this set."-Comment by Para- ActuaI Saving ------.___-1,709.50 mount Cameraman i" J. J. Gain's reply. *Plus Labor Credits,-..----- 376.44 "Our experience in this matter has shown a considerablereduction in labor and runs well below PossibleSaving 2,085.94 50% ; in somecases it has dropped down to as low An even further reduction in labor costs was as 33Vo."-Walter J. Quinlan, Fox Studio. accomplishedin the Samuel Goldwyn production A valuable thought is contributed to the forum which used incandescentsexclusively. R. B. Mc- L. Stern of Universal with the obser- Intyre presented a statement showing electrical by Mr. W. saving in labor expenseis not de- labor costs approximately 40% of the estimated vation that the pendent exclusive use of Incandescentsfor cost had Arcs beenused. For statementsee "Equip- upon and domes,operated from ment and Maintenance." "the useof Arc overheads switchboards,requires nominal attention and does Comments from other studios follow: not materially increasethe labor costs." "Our experienceto date is that the cost of labor The following table in which Mt. J. J. Gain of for handling Incandescentequipment is approxi- Paramount givesfigures comparing costs of different mately 50% oI the cost of handling the equipment phasesof the electricians'work (i. e. rigging, opera- had Arc lights been used."-A. George Volck, tion, and striking) carries the analysis of labor Ass't. G. Mgr., De Mille Studio. costsa step {urther: "We feel, up to the presenttime, that the use of Cost Incandescent Arc Incandescentlighting exclusively will reduce our Rigging 88.71 72.84 operating costs approximately 50%. In figuring Operatingper hour------12.48 t7.89 this percentagesaving I have in mind rigging, oper- Striking 30.88 21.48 ating, striking, maintaining, etc."-J. J. Gain, The sameset was shot under practically identical Exec. Mgr. Paramount Famous Lasky' production conditions. The abovefigures show that "From our experiencewe find thaf setsrequiring Incandescentrigging cost227o more than Arc, "the sevenand eight men to operate,we have run with reasonbeing the facilities for handling and hanging three and f6s1."-p12nk Murphy, Chief Electri- overhead equipment not having been developedto cian, Warner Brothers. the point of Arc equipment. The operating of Arc Incan- "It is logical to assumethat cost of operation lighting is shown to be 431% higher than cost of Incandescent would be considerablyless."-L. V. Johnson,Chief descent, and the striking Electrician,United Artists. 43s/t% higher than Arc. Current figures at I cent --- per K. W. H. Electrical Calculations on the basis * Rai"r" to extra men used on the set as a safety factor during the filming of the picture. of 100 volts.

| 111 COMMENTS ON EQUIPMENT AND LABOR COSTS MAINTENANCE Although not specifically called for by either Some idea o{ the rental costs of Incandescent as questionnaire explanations of the substantial labor compared with Arc equipment can be gleaned from cost reduction from the use of Incandescents was the {ollowing cost statement submitted by R. B. volunteered in some instances: Mclntyre, Production Manager for Samuel Gold- "Lightness of equipment and hence ease of port- wyn: ability which insures quicker setups as well as lining up of sets; quick adjustment to photographic align- Below in Column A we list the labor and rental cost on a ment and subsequent accessibility."-Karl Struss, set in our current production that was lighted with Incan- descentlamps, and in Column B we give you our estimate Chiei Cinematographer for D. W. Griffith. of what hard light equipment and labor would have cost "We we re able to set up and line up faster on the same set at the prevailing rates: owing to the fact that the equipment is lighter, and there are no delays necessitated by having to A-Incandescents Manager, Uni- 11ip."-\1,/. f. Stern, Business 18-18" Sun Spots. $36.00 versal Studio. 6-OH Strip 12.00 ,,No carbons to be looked u1,...,,_James Dent, l2-Sidez-Droe Lamrlamps. ,. . 12.00 Artists. 3-1000 Wt. Sinsle Stero 3.00 Production Manager, United 2-1000 Wt. Stero Soots 2.00 "We know that two men without block and fall 1-2000 Wt. Stero Spot. 2.00 can handle Incandescentsand place them on a plat- A-booow;. il;"so5t' 2i;....:...... 20.00 -PIus form faster than three men with block and fall -12 Boxes.. 12.00 2-Set 40 Feeders 6.00 handling 120 ampere spots."-Mr. Faralla, First 2-3 Wire Ext.. . . 1.00 National. 4-Spiders. 1.00 It was made clear in a number of replies that the potential saving was realized $107.00 extent to which the Labor-7 men$7.00 per day. 49.00 depended upon a number of factors: l. Availability of cquipment. TOTAL. $156.00 2. Adequacy of equipment; the extent to which B-Hard Incandescents were used exclusively. 3. Skill of cameraman and electrical stafi. In 4-8 Tube OH Banks. $20.00 this connection W. L. Stern again enlightens 16-80 Amp. Rotaries. 56.00 . is a 2-Sun Arcs24't 50.00 us: "The confidence of the cameraman 12-Broads. 12.00 big factor. While he is not sure the tendency 2-Baby Spots35 Amp.. . 2.00 is to keep fussing with the lamps, but a{ter he 1-70 Amp. Spot.. . 1.50 1-4 Arc Dome. . 5.00 has seen a satisfactory showing on the screen 1O-PIuE Boxes.. 10.00 his confidence shows in less critical placing of 2-Sets 40 Feeders. 6.00 lamps. 8-2 Wire Ext.. . . 4.00 Comments on the comparative labor cost of elec- l0-Spiders. 2.5O and Arc lights con- tric operation by Incandescents $169.00 tained in replies to Questionnaires 1 and 2, are sum- Labor-l4 men $7.00 per day. . . 98.00 marized in the table below: TOTAL. $267.00 Er,rcrnrcar, L.tnon Cost or Iwcenopscrur As showsa savingof per day for men To Anc Ilr,uurlrerton The above $111.00 Coruranno and equipment on an average set. Studio Operat'g Strik'g Tot. Labor Cost The experience of Mr. A. George Volck of the De Mille (Q.1) 50% De Mille Studio tends to verify the accuracy of these figures: "On equipment rental our observation (Q.1) First 57%% to date has been that the rental cost of Incandescent National (Q.2) 50-60% equipment is approximately 65 per cent of the esti- Goldwyn. (Q.1) 40% mated cost of the Arc equipment that would have been required to replace the Incandescent equip- Wm. Fox. (Q.1) 70% (Q.2) 33.50% ment." In his later analysis of the limitations and defects (Q.1) (Q.1) Incandescents, Mr. Volck complains of the "high r0o% of 60% cost and comparatively short life of the apparently Para- (Q.2) (Q.2) unsatisfactory 10,000 and 30,000 watt lights." mount. 57% r43%.vo ' United (Q. 1) Less ELECTRICAL Artists. . . (Q 1) 60% CURRENTCOST Universal (Q 1) 50% There was general agreementin the replies that Warner (Q.r) 50% current costs were materially reduced by the sub- Bros. . . stitution of Incandescents, The current costs on I r2l IJniversal's"No. 13 Washington Square"was given ductions using Incandescentsduring the period Jan- by F. Graves as $41.08, as comparedwith an esti- uary lst to March 31st was more marked and the mated current cost had Arcs been used of figures submitted by Mr. Faralla in reply to Ques- $615.93. Paramount estimated78 cents current tionnaire Number 2 ft:Jly substantiatehis original cost per hour {or Incandescent,as compared with estimate of a replacementcost for Incandescents, per $1.38 for Arcs. which was lessthan 50 cent o{ the carbon con- Mr. A. George Volck of De Mille observesthat sumption and tube replacementof Arcs. Mr. Far- "the practice is to allow Incandescentsto burn alla's statement: "Covering a period f.rom January longer than Arcs. lst to March 3lst, with twelve companies,we show an actual loss of lamps of $1063.70, with an aver- (Q. Indicating Questionnaire) age of $88.64 per company (these companieswere Sunueny or Orrnroxs RncanorwcCunnnxr Cos:rs not all 100 per cent carbon). To ma'kea com- op L.rc,qruonscnt.lrsAs Coltpanpo ro Ancs parison with carbon renewals,we use $200 to $300 per picture, although some of the companiesmen- tioneduse both carbonsand Incandescents." Basis of Estimate In their secondreply, Paramount still maintains: "Our experiencehas been that there has been little (Q.1) 577o if any savingby using Incandescents.Due to lamps (Q.2) 75%% burning out, defectsand breakagein handling, com- Wattase rating of parative costsare about equal." samesdtlightwithl. * On the other hand, from Frank Murphy at A. Experienceto date. Warner Brothers,comes: "Expense of replacements Wm. Fox such as globes,etc., we find to be B0 per cent less W. J. Quinlan than carbonsand condensers."

Experience to date. RESULTS OF Comparison of Am- perage. SPEEDINGUP

Pararnount Most significant from an economic standpoint is J. J. Gain the possible saving in production time, and hence in general production costs, attending the use of In- United Artists candescent lamps. L. V. iohnson Opinion. All of the comments on this important subject James Dent Eiperience to date. are reproduced below: Figures No. 13 Wash- "Because of their light weight and ease in han- ington Square. dling, there is an appreciable saving of time, both Currentfor I-$41.08 C. estim. A-615.93 in lining up o{ the set in addition to lessening the time necessary to make a change of set-up. Esti- Warner Bros. (Q.1) 35% mates as high as two hours a day have been given F. Murphy on this point, but there has been no test made. The economy is self-evident and is undoubtedly an appre- COSTS OF ciable factor in getting more scenes per day, par- ticularly when many changes of set-up are re- REPLACEMENTS quired." D. L. Faralla, First National. Estimates of the costs of lamp or globe replace- This statement by Mr. Faralla is given added ments {or Incandescents, as compared with carbon weight by his reply to the second questionnaire' renewals for Arc lights, showed considerable varia- which is based upon his experiences with the use tion. In their first replies the experiences of the of Incandescents in twelve productions from Jan- De Mitle and Paramount organizations indicated uary lst to March 31st. In the latter statement the replacement costs to be about equal. he says that: "The speed of production is increased In photographing "No. 13 Washington Square" in handling Incandescents due to the lightness of breakage and depreciation of lamps cost Universal equipment. We have made no test to determine $306.40, as against an estimated carbon consump- the increase of speed, but we know that two men' tion during the same period of $338.90. How- without block and fall, can handle Incandescents ever, according to Mr. Stern, "the maintenance ex- and place them on a platform faster than three men, pense {or the picture in question is higher than it with block and fall, handling 120 ampere spots." will be in the future, {or the equipment used neces- A. George Volck of the De Mille company re- sitated globes of the tubular shape with the concen- plies to Questionnaire Number 1: "There is some trated filament, but on account o{ the longer life difference of opinion as to the time of the company and cheaper cost of the pear shaped commercial type saved by using Incandescents. l-Inquestionably, the the equiprnent was later changed." Mazda lighting can be moved more readily and The success of First National with twelve pro- with greater f acility; however, there is a greater

l13l amount to be moved. Undoubtedly, though, there is stitution of Incandescents.Mr. Gain writes: "Due a saving in the time of the company." to the light weight of Incandescentlamps, we have Harvey I-,eavitt of the same company answered beenable to handle the same faster. We have also the secondquestionnaire: "I would say for medium savedconsiderable time becauseit was not necessary size and small setsthey could be rigged and struck to trim, burn in or wait for the lights to adjust cheaper,but for shooting it would take equally as themselvesto the proper candlepower. In reply to many men on the floor on account of more lamps the secondquestionnaire, Mr. Gain states further: to be moved, but there is a saving of labor, no "Lamps on the floor are moved much more rapidly doubt, on high spots placed on parallels. I do not becauseof the weight not being as great as that of believethat the use of Mazda equipmentspeeds up the Arc, but the possibilityof mechanicalinjury to production, but it probably will when all camera- lamps is very much greater,due to the fragile con- men are educatedto the use of this classof equip- struction. Lamps must be removed while hanging ment.tt overheadequipment, or in nearly any move for that Basedupon his experiencein the current produc- matter, but aside {rom this disadvantage,while in tion, R. B. Mclntyre of the SamuelGoldwyn Com- operation there are no delays waiting for Arcs to pany concludes: "The use of Incandescentlamps settle and extremely long footage may be shot. A has speededup production so far as the lights and conservativeestimate of time savedwould be from electriciansare concernedfor the following reasons: 5 to 15 per cent,dependent upon conditions." The Incandescentsare lighter and therefore can be handled more easily and more quickly, and time is saved that would be spent in trimming hard INCANDESCENT lights." LIMITATIONS L. Kolb and John Nickolaus from M.-G.-M. agreethat "There is an indirect savingwhich varies Referencesto limitations of IncandescentIllum- with the co-operationgiven on the set," and L. V. ination due to lack of equipmentare omitted as the Johnson, Chief Electrician at United Artists, be- remedy is too obvious. Other commentsare as fol- lieves that "time can be savedwith Incandescents," lows: which belief is supportedby Karl Struss,Chie{ Cine- "In photographingsmall or medium sized sets of matographer for D. W. Griffith: "Lightness of no bigger floor spacethan 750 squarefeet or 18 feet equipment and hence ease of portability insures in height, the Mazda units, such as broadsidedomes and strips practical general quicker set-upsas well as lining up of sets. Quick are very for illumina- adjustment to photographic alignment and subse- tion, but for sets of. larger area or greater height, quent accessibility." from my experience,I believeone should incorporate Arcs Mr. Quinlan of Fox states that "Incandescents in the lighting. Due to the fact that Mazd,a ofier an advantage that is not shown in the Arcs, lights do not have the carrying power of Arcs, it due to the loss of time in retrimming carbon im- is hard to maintain an even balancebetween figures purities,which very often are the causeof particular and walls."-Harvey Leavitt, DeMille Studio. shotsbeing lost." (a.z'1 That speedingup of production is unlikely until "Hard lights are still the best for big setsor sets after the cameramanand electricianshave acquired to be shot at night, providing they are large, as it someskill in the handling and useof the new lamps, takes less lights, owing to the fact that they pull a is the observationof Mr. Stern, basedupon his ex- larger wattage."-;'. J. Gain, Paramount (Q. Z.S perience with Universal's production of "No. 13 "At our present stage of developmentwe have Washington Square." "We do not think," writes nothing in the Mazda spotswhich has the intensity Mr. Stern, "that Incandescentsspeeded up produc- of a 72}-Ampere Spot or a G. E. spot, and we are, tion in comparisonto Arcs and do not know why it therefore, limited in our use of Mazdas where the should in the future. We keep a clerk on the paral- flood of these hard spots, or the efiect obtainable lels who keepsa time record of eachminute of the with thosehard spotsis necessary.The chancesare shooting, setting up, rehearsing,delays, etc., with greatly in favor of the eventual development of' the net result that we found that there was prob- Mazda spotsof greater intensity than we now have, ably six hours lost the first two or three days during but there is no positive assurancethat the intensity the experimental work of commencingthe use of of the G. E. Sun Arc will be duplicated."-D. L. Incandescentson this picture. This loss, however, Faralla, BusinessManager, First National. we feel will be avoided after the cameramanand "The only limitation that we know is the im- electricians gain additional experience." But F. practical condition of the large 10 K. W. Incan- Graves of the same studio is a bit more hopeful: descentsand also the housing for the light. This "We found that after the men had beenaccustomed calls for considerabledevelopment, in our minds. to the new lamps and the cameraman had seen So far the Mazda equipmenthas not beendeveloped some of this work, we were able to set up faster, to a state where the Sun Arcs can be entirely and owing to the fact that the equipmentis lighter, and satisfactorily eliminated."-A. George Volck, De there are no delaysnecessitated by having to trim." Mille. (Q. t.1 Paramount's replies to both questionnairescon- "No satis{actorylamp has as yet been developed sistently point to a saving of time, due to the sub- to replacethe Sun Arc nor the Rotary Spot."-J. J. t 14l Gain, Executive Manager, Paramount. (O. 1.) J. J. Gain, Comment of a Paramount cameraman. "The so-calledshort-coming is a suitablespot for (Q.2.) projection o{ light to long di51anqs."-p. Faralla, "Spot units not satisfactory for giving concen- BusinessManager, First National. (4. 2.1 trated illumination without ghosts or shadows."- "Incandescentsare not practical for long shotsto ExperimentalDept., Paramount. (4. Z.) the drop of actinic value in a very short distance." "Some of the defectsare: Lack of concentration -James Dent, IJnited Artists. (O. 1.) of lamp filament to give better control of light "The same results can be had with Mazdas as beams. " J. J. Gain, Paramount. (a.2.1 with Arcs, with the exceptionof the big lights. I W. L. Stern suggestsways of mitigating this feel we will need the 36" and 60" Arc lights at defect: least until we get the equivalent in Mazda."-R. "We have devisedand fitted to our equipmenta E. Houck,M.-G.-M. (a.2.1 spill ring so that the difiused edgesof the spot beam 'W'e "In photographing suirlight and moonlight efiects may be better concentratedand controlled. are where definite sharp shadows or rays of light are suggestingthat a changebe made in the control of required, Incandescents are inferisl 1e d1s5."- the spots,abandoning the crank method of moving Harvey Leavitt, DeMille. (Q.2.1 the light sourcebackwards and forwards, and chang- a "This limitation in carrying power will be over- ing it to a control lever which will merely have come when lamp manufacturers furnish equipment forward and backward movement. The purpose is of higher wattage and efficiency."-\ f. L. Stern, two-fold. It will make control {aster and it gives IJniversal Studio. (Q. 1.) the operator a visible meansof knowing the position within the lamp house from the "The comparative adaptability between Incan- of his light source a crank method it is impossible descents and Arc at the present time lies principally outside,6.carr." with just exactly whether the light in the fact that the concentrated source of Arcs is for him to know back of the lamp particularly valuable where a definite beam of light source is in the center, front or (Q. is required to portray moonbeams, searchlights, house." 1.) lights coming through windows' s1g."-\ iz.L. Stern, "While it is possible to some extent to adapt {Jniversal. (Q.2.) Incandescentsto some portions of the present day overlook the fact that certain "Arc equipment give more general and concen- Arcs, we cannot lamps are required to trated light than Mazda on large exterior shots. adjustmentsof Incandescent filament images'and that in the construc- We can never hope to get as concentrated light overcome for this particular'type of lamp source in Incandescents using Tungstens, as we now tion of apparatus and many other items get from {165."-p2vamount Experimental Depart- lightness,thoughts o{ diffusion, in new equipmsnl."- ment. (4.2.1 cin be better incorporated W. Quinlan, Fox Studio. (Q.2.1 "In photographing large exterior sets such as J. the filament, cast a streetsand landscapeswhere the light must be pro- "Incandescents, due to reflector being jected a great distanceto illuminate buildings, trees' "fuzzy" shadow regardlesso{ the lights."-R. B. Mclntyre, !tc., Incindescentsare not as effective as Arcs."- used or the number of (Q. 1.) Harvey Leavitt, DeMille. (4.2.1 Production Manager, Samuel Goldwyn. "Ghosts are formed in the spotlights due to bad "We feel that the developmentof Incandescents 1sfls61915."-J. Gain, Paramount, comment of has been retarded by the lack of a properly designed J. a cameraman.(Q.2.) lamp filament, due to the fact that the light source project a is not sufficiently concentratedat the present time "With Incandescentswe are unable to bars of the to lend itself to beam control, such as obtained by clear cut shadow effect, such as the door. Becauseof the large area ot spots,etc."-J. J. Gain, Paramount. (a. 1.) window or cell the filament the shadow is"ftzzy." This, I believe, "Even when we get a perfect housing and a 10 .W. can only be overcomeby the developmentof a more K. Incandescentlight, we will still have to fil2msn1."-p. Graves, Ijniversal resort to the use of the 36" and 24" Sun Arc for concentrated (Q.2.) lighting large windows and doors where a direct studio. rhuft of light is reeuired."-L. Kolb and John M. "It is impractical to rse Mazda lamps in rain Nickolaus, Metro-Goldwyn-Mayer. (Q. 1.) sequencesbecause the temperatureof the globewhen filament is incandescentis so great that a drop "Where a direct shadow is required or a strong the immediately causesthe globe to crack and concentratedlight, hard lights are necessaryto ob- of water This will efiect the photographv in pro- tain the results required. Incandescentsdue to explode. portion to the number of globesthat blow 6s1."- filament cast a "f.uzzy" shadow regardlessof the First National. (Q. 1.) kind of reflectorbeing usedor the number of lights'" D. L. Faralla, -R. B. Mclntyre, Production Manager' Samuel "In photographingnight exterior rain efiects,the Goldwyn. (Q.1.) lamps made at present will not stand wetting."* Harvey Leavitt, De Mille. (Q.2.) "Present shortcomings are chiefly in the spot- lights not being able to give one sourceof hard light "Fragility is a great factor against Mazda, but . . . Ttris is due to reflectorsand filaments. Engi- this may be overcome."-p414pesnt Experimental neers are working on this n6q7.r'-f166 report of Dept. (Q.2.) | ls l g

much more "Heat is too great and leak light hard to handle." the spectrum and nitrogen light carries Arc light."-J .M. Nickolaus, M. G. M. -P21266snt cameraman. (Q.2.) color than "Arcs throw less heat than Incandescents due to (Q.2.) for color and dim far greater proportion of the heat rays."-Karl "The Incandescents are better (4.2.7 Struss, United Artists. (a.2.1 light."-J. J. Gain, Paramount. being rich on the red "Some of the defects are as follows: Lack of "The Incandescent lights, give a much better quality to concentration of lamp filament to give better con- end of the spectrum, particularly make-up is not used."* trol of light beams. Fragility of the lamp- itself ; faces, where (a. glass in larger size lamps being under internal strain A. George Volck, DeMille' t.) of the fnd cracking. Filament not as rugged mechanically "With Incandescents we can take close-ups of make-up and get as it should be to stand the constant handling. Lack actors with a minimum amount Leavitt, DeMille. development o{ mirrors and condensersto uniform a skin texture sfiss1."-llsnry (Q.2.) standard to meet the requirements of cameramen who demand different type lighting."-J. J' Gain, "A greater naturalness of the objects photo- Paramount. (Q.2.) graphed is secured by the use of Incandescents."- "It is a general practice of first rate photograph- D. L. Faralla, First National. (4.2.1 ers to model their subject with general illumination "Better modelling and richer quality in closeups and to use sharp or point source light for 'catch' and medium shots with Mazdas."-Paramount Ex- lights or line lighting. If this is what is meant by perimental Department. (Q. 2.) believe that the Arcs are a 'modelling lighting' I "The chief advantages of Incandescents at pres- where the light has to *o.. pru&i.al type especially ent is a better color rendering such as in the case of Leavitt, De- be thrown a great di512n6s."-Ilarvey people with blue eyes, and better flesh values and (Q.2.) Mille Studio. textures." Karl Struss, United Artists. (4.2.1 "It is my understanding that about B0 or 90 "Mazda gives better color rendition than Arc prints can be made from the average Incandescent light."-Paramount Experimental Dept. (Q.2.1 negative. From this angle it appears that a,negative "In quality Incandescentlighting softer and bet- mJe from Arcs has shown some decided advantage' ter color Bradations."-Oliver Marsh, United However, the setting up of extra cameras or the Artists. (Q.2.) duping oi negatives can overcome this minor diffi- equipment, due to its great culty."-1tr/.J. Quinlan,Fox. (4. Z.; "Mazda lighting flexibility in arrangement, can be used in many places where hard lighting is difrcult or impractical. PHOTOGRAPHIC ADVANTAGES For example: Behind trees, columns, pilasters, small OF INCANDESCENTLIGHTS objects, beams and the like, we can place individual globes with reflectors of three or four light strips The advantages of Incandescent illumination which are definitely concealed from the camera, but with relation to photographic quality are commented at the same time light up the areas behind objects. on as follows: In particular, suppose a Cooper-Hewitt tube were "Pictorially," writes J. J. Gain of Paramount in to be placed behind a tree, the candle power ob- the first questionnaire, "the use reply to -o{ -Incan- tainable with this tube is about one-tenth that ob- d.icl.rt lights has shown us that a wonder{ul im- tainable with a four-light strip with 1000-watt prorr.-.ti can be obtained in certain phases of globes, if more light is desired. The Cooper-Hewitt photographic quality." - tube with reflector and the four-light strip occupy "I; oider to obtain so{t photography with Arc the same space. Furthermore, the Cooper-Hewitt lights it is necessary to difiuse. The Mazda lamp, tubes will not give the color rendition that the o.t the other hand, has a softness to it that does not Mazda strip gives."-D. L. Faralla, First Na- need the amount o{ diffusion, if any' required by tional. (Q. 1.) the Mazdas do not carry the hard light. However, "We can get better results in lighting the sets being photographed and as well beyond the object using the Incandescents and we get many novel more difficult to photograph makes the background results on account of being able to put lamps where George Volck unless especially illumin213d."*[. it is impossible to place Arcs. They also take up (Q. 1.) ' less spaceand save moving fu1ni1u1s."-J. J. Gain, i''W'. get a greater degreeof roundnessand soft- Paramount. Q.2.7 ness rvith the Incandescentlight."-J. M. Nicko- "Incandescents are superior to Arc lights both as laus,M. G. M. (Q'2.) to time and quality in places such as caves, Spanish "Photographic qualities o{ light from Incandes- sets, elevators, office buildings, where it is difficult cents in use with panchromatic film give a :more to work with hard lights."-Paramount camera- actiniclieht than Arcs."-Karl Struss,U.A. (Q.2.) man. (Q.2.) "In quality Incandescentlighting i5 5sf1s1."- Oliver Marsh, U. A. (Q.2.) "Convenience in lighting and hiding out lights "We get a greafer rendition of color values and behind columns, pieces o{ furniture, etc., where a smoother flesh tint. This is natural since pan- there would be insufficient room {or Arcs and chromatic stock is sensitizedtoward the red end of stands . .greater chances for using natural in-

f16l teriors and inaccessiblel6g21isns."-Karl Struss, IJ, wave length to Arcs or day light, which is nearer A. (Q.2.) the blue end of the spectrum, and the Mazda light "The Incandescent lamp has proved to be more is nearer the red end."-John Mescall, First Cam- adaptable than the hard lighting equipment, due to eraman, DeMille Studio. the nature of its design, which enables the placing "There has been much discussion on the subject of such equipment in the most inaccessible places o{ lenses and many tests made with the result that where the ordinary hard light cannot be used at we are of the opinion that the color correction of all."-J. J. Gain, Paramount. (Q. 1.) some make lenses was not correct {or the Mazda "IJniformity and constant value in Incandescents light. However, on the night of April 5th we are superior to Arc lights, and with improved Suns made a test of two makes of lenses with the coope- and Spots makes it especially adapted to miniature, ration of Mr. W. B. Rayton of the Bausch and trick, and every sort of process photography."* Lomb Optical Company. We used both Arc and Paramount Experimental Dept. (Q. Z.) Mazda light, and in these tests the change or shift "Incandescents are better than Arcs in such a pic- of the focal point was very little, not enough to be ture as 'No. 13 Washington Square,' where our discernible in our ordinzrry production. This brings problem was to portray the actions that took place up the question of whether the direction and a.r- between the various characters in a dark house. The rangement of the lights affect our definition with efiect of darkness was obtained to a better degree the use oI Mazda illumination. A series o{ tests with the Incandescents because the lighting was will be arranged to decide this later." J. M. Nick- diffused while at the same time reduced to a half- olaus, Metro-Goldwyn-Mayer. tone required for the scenes in question."-W. L. "One cameraman was compelled to get new Stern, Universal. (Q. 1.) lenses. From the Close-up tests and the Warner "Incandescents have proven themselves for effect Brothers' set photographed, it was found that a lens lighting. By working in a low key, it is possibleto working at F. 2 is satis{actory and gives ample ex- show effects from floor lamps, chandeliers, brackets, posure for fully-timed negative. Cameramen using flashlights, candles and such, and with the aid of F. 2 Cooke Lenses have had satisfactory results resistances,the lights can be dimmed or brought up. without changing the lenses. The Experimental . . . . This has never been done with., Arc lights, Department reports: Our present short focal length and in that respect Incandescents are unique and motion picture lensesare entirely satisfactory, using the possibilitiesunlimited."-F. Graves, IJniversal. both kinds of equipment. It may be possible to (Q.2.) {urther improve and correct lenses for use with "Control possible with Incandescents by use of Mazda lighting and Panchromatic negatiys."-J. rheostats for dimming or brightening lights to the J. Gain, Paramount. exact required intensity undoubtedly unobtainable "We believe the camera lens can be improved, q7i1l {165."-Karl Struss, United Artists. (Q. Z.) also the Panchromatic film stock and laboratorv "Results in handling Incandescents-more con- work."-D. L. Faralla, First National. venient getting into corners, etc,, dimming o{ lights, s1s."-Qliysr Marsh, U. A. (a.2.) Mazda lighting offers more constancy and un- VALUE OF ACADEMY limited control than Arc. The use of Incandes- INVESTIGATIONS cents eliminates the smoke nuisance that attends the use of Arcs."-Karl Struss, U. A. (Q. 2.) In the replies below there is hearty agreement as "Incandescent lights said by actors to be less to the great value of the Incandescent Illumination trying than Arcs and should eliminate Kleig cyes." investigatir:ns, forecasting a splendid spirit of mu- -Karl Struss, U. A. (Q. 2.) tual interest and mutual helpfulness in the future. "Mazda light is silent; Arc light is not. (This "In re{erence to this question, I would say that is absolutely necessary for talking pictures)."- the general effort undertaken by the Academy along Paramount Experimental Dept. (a.2"1 with the American Society o{ Cinematographers and the Association of Motion Picture Producers CAMERA LENSES is thoroughly appreciated by everybody concerned in the vital problem. It has placed before the industry A,ND INCANDESCENTS considerable information and better understanding problem Questionnaire Number 2 relerred to lenses in the of a that is bound to show a greater and following manner: decided advantage."-\{'. J. Quinlan, Chief Engi- "Have the camera lenses you have been using neer, Wm. Fox. given entirely satisfactory results?" The replies "There is no question in our mind but that these follow: tests have been very productive. They are responsi- "The lenses we have been using have been satis- ble, in a great degree, for the interest generally factory as they are fully corrected lenses. How- shown by both technicians and manufacturers and ever, some soft focus lenses or lenses effected with will be responsible {or {uture results. From a point chromatic aberrations or chemical focus would be of education they have been wonderful."-R. E. effected withMazda lisht as it does have a difierent Houck, Metro-Goldwyn-Mayer.

L17l

.-/--, "In regard to value, the tests have been instruc- Academy have proven of tremendous interest to us tive and educational to cameramen, electricians and and demonstrated that with proper development of laboratory men. As to results, they have proven equipment, viz., globes and filaments, lighting op- that certain shots can be made with Incandescents tical s5,51sm5,housing units, and possible photo- which were thought impossible. I believe they will graphic lens and negative improvements, Mazda save the producer a lot of money on locations, as will be used almost exclusively in the fs1s1s."- well as in the studio."-D. L. Faralla, Business Paramount Experimental Dept. Manager, First National. "Yery favorable."-James Dent, Production "The Mazda demonstrations undertaken bv the Manager, United Artists.

TESTS AND DEMONSTRATIONS

The series of tests and demonstrationsfor the January 27---Warner Bros., Harry Jackson. benefit of cinematographersand other techniciansin February 1-Wal'ner Bros., Victor Milner. the industry, and to ascertainthe value and avail- February 3-Wa1'ne1. Bros., Karl Struss. ability of Mazda and IncandescentIllumination as February g-Walner Bros., Daniel Clark-Fox compared to Arc Lighting, was commencedthe Studio night. February lfl-fteessvslt Hotel, Gaetano Gaudio. night of 18, 7928, and lasted until March, lanuary February 15-I4/arnet' Bros., John Arnold-M- 7928, in Warner Bros. studio, generouslytendered G-M night. to the Academy by Mr. Jack Warner. February 17 -Warner Bros., Al Gilks-Para- Frank Murphy, chief electrician for Warner mount night. Bros.. as chairman of the DemonstrationsCommit- April 16-Garden Court Ext., Daniel Clark, John Boyle, Frank Good. tee, had operating charge,and was assistedby Fred In Gage, Laboratory Superintendentof the samecom- addition to the foregoing major demonstra- pany. tions at night, there were 74 individual periods of The photographingoperations were conductedby tests made during the day hours by approximately difierent the American Societyof Cinematographers,through 40 camera men. its president and ResearchCommittee, as follows: The total footage of negative exposed was 72,604 positive, Daniel Clark, President,Victor Milner, Chairman, feet, contributed, together with the by the Eastman, Dupont and Agfa Companies. Research Committee; Joseph Dubray, Executive Secretaryand Frank Good and Hal Mohr, mem- The laboratory work was done by various lab- bers of the ResearchCommittee. Of these,Victor oratories, usually at the choice of the cinematog- rapher. Milner and Hal Mohr also representedthe Acad- .was emy. The film cut and edited by a committee of There were ten public demonstrationsat night in the American Society of Cinematographers with Warner Bros. studio, at which the attendanceof Frank Good doing most of the active work. cinematographersand others averaged 150; one The edited film is approximately 7,000 feet in night demonstration in the Roosevelt Hotel, wit- length and was exhibited in full at a meeting of nessedby about 500 people,and one night exterior the Academy and the A. S. C. at the Hollywood demonstrationon the grounds of the Garden Court Chamber of Commerce the night of April 17. Apartments, Hollywood Boulgvard, attended by a The film is in the custody of the American So- crowd estimated at 2,000. A sub-committeecon- ciety of Cinematographers and is available for ex- persons the sisting o{ Louis Kolb and Peter Mole had charge hibition by authorized on application to of the electrical equipment of the Garden Court Academy, the Association of Motion Picture Pro- demonstration. The first two night demonstrations ducers or the American Society of Cinematog- and the last outdoor demonstrationincluded com- raphers. parative shotswith both Arc and Incandescentillum- REEL ONE ination. All the others were with Incandescent The reel opens with tiUes explaining the purposes alone, excepting one when mixed illumination, of the tests and demonstrations, credits and ac- Mazda, Arc and Cooper-Hewitt were employed. knowledgments and a statement that it is the wish of the associated organizations "that the tests shall Following is a list of the pight demonstrations, not be considered demonstrations of individual abil- with the namesof' the cinematographersofficiating: ities as to lighting photography, laboratory rendi- tions or film manufacture." January lg-\ry's1ns1 Bros,, John Arnold and Then follow test shots in the order named, show- Ernest Haller. ing the "Relativity of Arc and Mazda lighting from January z0-WafiIer Bros., Lee Garmesand Len the standpoint of volume:" Powers. Test 2. Arc and Mazda. Long shots, medium and close-up. Living room, arch and stairway in January 23-Warner Bros., John Mescal. background. Dark-haired man and blonde girl in January !$-\rys1ns1 Bros., Arthur Edeson. evening attire. Full daylight lightings. t 18l Test 1. Mazd.a. Medium shot and close-up as in walls, reading lamp in foreground. Dark-haired above for comparison of Mazda versus Arc. lady in black home dress. Dark-haired man and Test L.4'. Mazda, Long shot. Same living room. blonde girl in street attire enter scene. Four eharacters, including two mentioned. FulI Test 35. Mazda. Close-up. Girl, blonde hair, daylight lightings. light blue eyes. Very iight backgtound. Dark- Test 25. Orange Arc, White Arc and Mazd,a. haired young man, dark eyes, srnall moustache. Long shot and close-up, living room. Dark-haired Lightings and backg:round matching close-up of girl. man and blonde girl in business and street attife. Test 33. Mazda, Extreme close-up of man. dark FUU daylight lightings; sunlight coming in through hair, light brown eyes. window in foreground. Test 38. Mazda, Medium shots and close-un of Test 7. Mazda and Arc. Close-up. Blonde g:irl living room. Night lightings. One lit candelabra. rn evening attire, bouquet of flowers. Dark-haired man in business suit. Blonde girl in street attire, dark coat with light fur collar, enters REEL TWO scene. ARC AND MAZDA Test 35. Mazda. Medium shots and close-up. Character man in dark business suit; girl, medium A comparative test of Arc and Mazd.a, being a brown hair in house dress. color test as well, showing the relative effects of Test 35. Mazd.* Long Arc and Mazda on blue, green and red in the order shot and close-up. In- terior living room, named, from left to right, and using Dupont, East- lit candelab"a. Ceiling fixture, lit desk lamp. man and Agfa stock. The same amount Girl dancer in black velvet evening of elec- attire. trical energy was used with Arc and Mazda 850 amps. Test 37. Mazda. LonE shots and medium shot. Tests 64. 65 and 66. White Arc and Mazda. Living room. Night lightings. Lit candelabra, Long shots, mediums and clo,se-ups. Entrance hall, ceiling fixture and reading lamp. Dark-haired man stairway in background, window in back wall, en- in business suit; black-haired girl in pure white trance door at left. Dark-haired man in evening evenrng g'own. clothes and blonde g'irl in house dress. Full day- Test 38. Mazd.a. Medium shot. LivinE room. light lightings. Night sketchy lightings. Dark-haired man in even- Tests 64 and 66. Dissolving from blue to green ing suit and blonde girl in light dinner frock. to red dresses with Eastman, Dupont and Agfa stock. Mazda and Arc lighting. Medium shots. REEL FIVE Full figure of girl. QUALITY Test 49. REEL THREE Mazda. Long and medium shots and close-up. Living room, glass painted ceiling, lit GARDEN COURT brackets on walls, lit piano lamp, arch in back- Night exteriors with green foliage background. gtound. Six characters on set, two men in evening Garden Court demonstration with Dupont. East- suits, one man in gray business suit, three girls in man and Agfa stock, equally used. light evening frocks. Arc (1700 amps.), Mazda (1100 arnps.). Long Test 53. Mazd.a. Semi-long shot. Interior liv- and medium shots. Garden scene. Characters in ing room. Sketchy day light. Blonde girl and evening attire. Night lighting effects. dark-haired man in evening attire. Girl's dtess is bIack. REEL FOUR Test 63. Mizda, Long shot, semi-long, mediurn QUALITY and close-ups. Living room. Daylight lighting. Large Subject No. 2. Highest quality reached bay window in background, archway. Two , with couples, Mazda lights during these demonstrations, without dark-haired man in dark business suit with girl in dark street attempt to show comparison between Arc and attire; other couple, dark-haired Mazda, man in light business suit and blonde girl in light sleeveless piano Test 4. Mazda. Long shots, close-up and ex- home dress. Last couple coming to in foreground. -treme close-up. Living room, arch and stairway in background, atch at left, door at right. Night, full Test 49. Mazda. Close-up and extreme close- lightings. Dark-haired man and dark-haired girl up. Dark-haired lady with light eyes at piano; in home attire. blaek dress with white collar. Library table lamp Test 7. Mazd,a. Long shot. Living room, arch indicating source of lighting. and stairway in backgtound, arch at left, door at Test 59. Mazda. Close-up. Blonde girl in street right. Night, full lightings. Dark-haired man in attire, light fur neckpiece. evening suit and two blonde girls in light evening Test 60. Mazd.a. Close-up. Man, medium brown gowns. hair, light eyes, Iight business suit and dark-haired Test 8. Mazda. Long shot and extreme close- girl, brown eyes, dress embroidered in mixed colors. up. Living room as above. Dark-haired man in Test Mazda. evening suit and one blonde girl in evening dress. 75. Close-up. Young man, med- ium brown Test 7. Mazde. Close-up. Blonde girl in hair, medium light eyes, wearing light even- business suit. ing gown, same character as in preceding tests Mixed background. Nos. 7 and 8. Test 78. Mazda. Long shot and close-up, semi- Test 31. Mazda. Long shots and close-up. Liv- close-up and extreme close-up. Entrance hall, stair- ing room. Night sketchy lightings. One g:irl seated case in background. Daylight lightings with bril- in foreground by reading lamp. Same girl in street liantly lit window in back wall. Dark-haired man attire. Girl walking to set. Dark-haired girl in in dark business suit; blonde-haired girl in dark dark coat, full collar, shoulder bouquet. street dress. Two other girls, one dark-haired and Test 26. Mazda. girl, one blonde, come from stairway. Brown-haired Close-up blonde light girl eyes, very light evening dress, pearl necklace. wearing multi-colored dress. Test 33. Mazda. Long shot. Living room. Day- Test 81. Mazd.a. Close-up. Dark-hairecl lady light lightings. Dark-haired man and blonde girl wearing dark coat with light fur collar and cuffs. in evening attire. Test 83. Mazda. Medium shots. Dark-haired Test 32. Mazd,a. Long shot and close-up. Liv- man in evening suit; two girls, one brunette and ing room. Very sketchy night lighting. Brackets one blonde.

[le]

-\ ROOSEVELT Test 59. Mazda. Medium shot. Living room. Dim lighting. Strong light in room beyond door. The following'scenes were photographed in Hotel Couple enters and exits from scene, their shadows Roosevelt lobby. Mazd,a equipment only. cast-upon wall. The whole scene played in shadow Eastman stock. Long, medium shots and close- effects. ups of hotel lobby. Night lighting. Char-acters in Test 68. Mazda. Longshot. Entrance hall. evening attire. Full figure of dark-haired man in Very dim general light. Girl enters from door evening suit and dark-haired girl in light evening casting a shaft of light into room' She half closes frock and blonde lady in light evening gown. door and inspects room with aid of flashlight. Lights Dupont stock. Hotel Iobby with same series of a cigarette, thowing actinic value of the flame of medium shots and close-ups as aboYe. the match. Long shot of lobby taken with Akeley c-amera, Test 69. Mazda. Semi-close-up. Blonde girl in panninE so as to show the system of light- gorvn conversing with around light evening supposedly -a ings and the position of the different lights. man who is out of the picture, but whose shadow is This shot ii followed by a series of six Akeley cast on the wall. shots demonstrating the lighting equipment used. Test ?1. Mazda. Long shot' Entrance hall in darkness. Strong shaft of light coming through REEL SIX door. Dim moonlight on window in back wall' LIGHT EFFECTS Girl in evening dress enters scene, tutns on lights, full night lighting. Opens dooi Subject No. 3. Possibilities of light effects with bringing room to. oress. Mazda equipment, to couple rn evenlng shot. One girl in full Test 81. Mazda. Medium shot and close-up. Test 81. Mazda. Medium by well defined source Crystal bowl gazer making passes over the bowl, figure against wall Iighted on the wall' which brightens and casts strong light on the char- of tight iasting a sharp shadow 1000-watt light. Close- acter. The light is increasing and diminishing grad- T;t 53. NIazd,a. One girl eyes against stucco wall. ually and has been controlled solely by a resistance. up blonde with light the This light effect has been obtained through REEL SEVEN working of the Mazda light and not by any camera trick. COLOR CHART Test 5. Mazda. Long shot. Interior livingroom This reel contains a series of tests of a color with arch and staircase in background. Night light- chart. These tests of a purely technical nature have ing. Brackets and ceiling lamp lit. - Light-haired been made to ascertain: man and dark-haired girl, he in dark business suit, 1. A comparison between daylight filtered she in black velvet drcss. Sudden change of lig:hts' through-Wratten light-filters and the follow- Wall brackets and hanging lamp go out. Staircase ing sources of artificial illumination: Whit'e Flood of moonlight Cooper- beyond archway ,stays lighted. Flame Arc. Panchromatic Carbon; comlng tnto wlnoow. Hewitt Mercury Tubes, Cooper-Hewitt Mer- Long shot. Living room. Night lights. Tes[ 20. Mazda. cury and Neon Tubes and Mazda - effect. No visible lights in room but strong shaft 2. Th; flter factor on the three stocks; East- of moonlight coming through window, in middle man, DuPont and Agfa. foreground. Other strong Iight hitting background 3. The'chromatic distortion obtained by the use from .unknown source. of a Red and a Green filter combine. Test 23. Mazd.a, Medium shot. Full figure of 4. The influence of machine development on the dark-haired lady wearing evening gown with white above mentioned stocks. bodice and black skirt. Strong light and shadows As the inspection of this reel is almost impossible and effect. Plain background broken by light in a projectiig room no master prin-t 9{ these tests shadow effect. has been made. Still photographs of tl-r.ischart cov- Test 26. Mazda. Long shot and close-up. Liv- ering the whole series-of tests are on display in the ing room in darkness, shaft of light coming- through rooris of the American Society of Cinematog- window. Butler enters, turns on wall brackets. raphers. Young man in street attire enters, sits in armchair in foreground, turns on reading lamp. Lady en- REEL EIGHT ters; they exit. DEFECTS lady in Ti:st 32. Mazd.a. Close-up. Dark-haired Mazda at Source of light Subject No. 6. Mechanical defects of dark dress seated by reading lamp. most notice- from lamp. Very the prLsent stage of advancement,- the strongly emphasized as coming caused by highly pronounced high lights able'of which ire rings and streaks lhe sketc[y Ighting with T!is,.howeve!, is be- and shadows. elements in spot equifiment-. minimum, both by improved equip- Test 33. Mazda. Lowest key of lighting used ing reduced to a and close-up. Living room. ment and experience in handling. - in long shots. Long shot Interior entrance lighted wall brackets and light- Test ?6, Mazd'a. Long shot. - Full night lightings, through back wall in foreground. General mass of hall. Strong"French-window sunlight shafts ed reading lamp in foreground' Spot- in background. Foreground semi-silhouet- *ittdow and lightings well. ted. Dark-haired man and blonde girl in evening -Iight streaks on back -t"tt OO. Mazda. Long shot. Living room' Night clothes. and library- table lamp' Test 35. Mazda. Semi-long shots. Library. lightings. Wall bracket patch light from spot on back wall of Night lightings, lighted candelabra and indication Sfi;;k; of fully lig:hted. Lights room- " beyond archway. of-overhead fixture. Room "za. Interior living Young man and. gjrl in i""i Mazd'a.' Long shot. are paftially turned off. Stlgaky patches of steps, turn lights partially otr to*. Fult aayligfrt lighting. love-scene,-hearing floor sp-otlights'. Father enters roorn Turns other lights light on back wall from and hide. Long shot' Living room' off, leaving room diinly lighted. Test 32. Mazda. effect' Streaky spotlights on iest 49-. Mazda. Long shot. Interior living St

EXHIBITION OF TEST FILMS

The formal exhibition of the test films took place general discussion, and we will try to the best of at the Hollywood Chamber of Commerce the night our ability to answer any questions that are asked, of April 17, 7928. The secretary of the Academy and to give you a more comprehensive idea if opened the meeting by introducing Mr. Dan Clark, possible what this is all about. President of the American Society of Cinematog- The picture was then run as described in the raphers as chairman of the evening. continuity. Mn. Cr,anr: Ladies and Gentlemen: It might Mn. Cr"anr: There are a few words I would be well to explain the reason why these films were like to say: First, that the film you have just seen made. They are the result of a cooperative efiort on represents a world of cooperation by the Academy, the part of the Academy, the Producers and the the Motion Picture Producers Association and the American Society of Cinematographers to improve American Cinematographer. It is not to be con- the methods of illumination in the photographing strued that it represents in any manner, shape or of motion pictures. They were not made for the form the highest efficiency that will be reached, nor purpose of exploiting anything. We have tried to is it to be construed that any deficiency you have edit these reels so that they will give you a compre- seen on the screen cannot and will not be overcome hensive idea of what it is all about. We have titled some day. I am going to open this little meeting for the difierent makes of films, not for you to judge discussion, and if there are any questions anyone the better film because that would be unfair, but wishes to ask I may have to get up mysel{, but I because they make the story a little more interest- will first call on others. ing. The first reel will be a comparative demonstra- QunsrroN: What stock is it printed on ? Mazda lights where the Arc and tion of Arc and Mn. Clanr: Each negative was printed on its on the same subject, and will be Mazda are used relative stock. shown one right after the other in order to give Mn. Wools: I would like to ask for an expla- you a chance to draw your own conclusions, Then nation of what caused the circles and shadows in there will be a reel showing the highest efficiency the test taken at the Roosevelt hotel. or the brightest stufi that has been made with Mazda lights. There will be a reel showing the Mn. Cr-anr: Mr. Mole, will you answer that? possibilities-this doesn't mean the highest possi- Mn. Moln: I know what you mean; the little bilities or the highest probabilities of the light efiect spots. It is a reflection in the lenses from the side where light effects are used, but only to show you lights. what can be obtained. Thus you can see the possi- Mn. Clanx: The other night I heard an open bilities of light effects with the Mazda illumination. discussion on Mazda vs. Arc lights and I heard the And then I believe the films that we made last night cinematographer being accused o{ being extravagant at the Garden Court will be shown, and I wish to and being the cause of the failure of the Arc lights, say the cinematographers who photographed these if failure it was, to get over, and I would like to films last night didn't know themselves the film they call the attention of everyone that the same man were using. It was so arranged that they did not who used the spot lights extravagandy was extrava- know. It didn't make any difierence what stock gant in the use oI Mazda, and I heard the cine- each cinematographer r-rsed. It was all the same matographer being blamed for playing around with equipment with matched lenses driven by motor the Mazda lights, and the same man who played camera. Timing was exactly the same, and natur- around with Mazda lights will play around with ally what they saw was the same. After these reels Arc lights. I am trying to excuse the cinematog- have been shown we will open the meeting for a rapher. L2r l QursrroN: What color filters were usedon any with the same lens throughout the test. Different of the scenes? cinematographersused different lenses. These rec- Mn, Cr"anx: As far as any information we have ords are all available in the office of the American on hand no filters were used. There were difiusion Societyof Cinematographersand can be had at any disks and gauze but no filters. time by those qualified to see them. Mn. Asrr: What mode is there of preventinga QursnoN: Do you happento know if any of leak on Mazda? In lighting some of the setswith theseshots were made without makeup? quite Mazda lamps I notice a difiusion of light Mn. Clanr: The make-upswere conductedby part. coming from the front the Max Factor Co., and I believethat the majority Mn. MoLB: That hasbeen practically overcome of subjects were used with make-up. However, by the use o{ spill rings and also by use of a spheri- there were a {ew who had no make-up whatever. cal mirror in front of the lamps. There is a reel of make-up tests in which is shown QuBsrrou: Were the samelamps usedthrough- subjectswithout make-up and with all the various out ? kinds of make-up in use. Mn. Molu: Every unit, I believe, of. Mazda M*.. BnBrsoN: I want to commendthe cine- equipment so {ar presented,was used during these matographerson the editing of the 72,000 feet of tests. We used the units that were available{or the film-I think the job is most commendable.I wish Mazda and Arc lighting, as well as the Cooper to them in the name of the Producers' Hewitts. thank (A pplause) QuBsrroN: Were the samelenses used ? . Mn. Cranr: Yes, the samelenses. For instance Mn. Cranr: If there are no further questions if a cinematographerwas shooting a test he shot the meetingis adjourned.

MAKE-UP AND COLOR VALUES

Following is the record of the open meeting American Society of Cinematographers has had a Wednesday evening,April 18, 1928, at Academy Research Department for many years. It is largely Club Lounge: due to this Society and their cooperation during the THn SBcnrranv: I will introduce as Chairman past three months that we of the Academy were able o{ the evening, Mr.A. Geo. Volck, o{ the DeMille to so successfully handle the demonstrations and to Studio, Chairman of the General Committee con- hold this Convention. Up to this point the Conven- ducting the incandescent light tests. tion has devoted its attention to technical matters. Mn. Vorr: Members of the Society o{ Motion Tonight the discussionsare to be along artistic lines Picture Engineers, members of the American Soci- and the artistic value of lighting and the relative ety of Cinematographers, Academy Members and artistic values of costumes, sets and decorations. We guests: For the benefit of those o{ you who are will be honored, however, by one technical paper by not acquainted with the work and tests that we have Mr. Loyd Jones of the Research Laboratory of been jointly conducting and the various demonstra- the Eastman I(odak Company. Permit me to intro- tions to determine the relative value of Incandescent duce to you Mr. Dubray, a member of the Research and Arc illumination, may I briefly sketch over the Committee of the American Society of Cinematog- past three months. We decided about three months raphers. ago that we would conduct a series of tests with In- Mn. DusRav: Mr. Chairman, ladies and gen- candescent and Arc lights. The American Society tlemen: I feel very happy to be here and I thank of Cinematographers supplying ace cameramen ex- you for your kind attention. I do not want to take posed approximately 80,000 feet of negative using much o{ your time in the talk I am going to give first Incandescent and then Arc equipment under you, but I want to emphasize what Mr. Volck has practically all conditions. Last week the Society of just mentioned. We have taken into consideration Motion Picture Engineers held their Spring Con- the great importance of the make-up. I will not vention here. That week was devoted practically enter into any technical discussion on Mazda light- to technical discussion. This week is the culmina- ing, but it came to us that when using Mazda tion of our three months of incandescent experiments lighting an investigation would have to be made on and of the Incandescent Illumination Convention the colors and method of make-up, so the Anrerican held by the Technicians' Branch of the Academy of Society o{ Cinematographers called on the Make-up Motion Picture Arts and Sciences in collaboration Artists' Association and asked that body to cooperate with the American Society o{ Cinematographers and in the making of these tests. Through the generous the Association o{ Motion Picture Producers. At cooperation of Mr. Max Factor we were able to this point I would like to register and acknowledge have a make-up artist constantly on the set to help the great debt o{ gratitude that we of the Academy us in carrying on the investigation. We will now owe to the American Society of Cinematographers call on Mr. David Factor'to speak on the results and the Societv of Motion Picture Eneineers. The obtained.

l22l Mn. Davro Facron: Ladies and gentlemen: found that the tones of greasepaint were correct, We have prepared a detailed report as to our experi- but that we would have to preparecertain shadesin ments and findings through our work in the incan- order to have a variance to suit the different com- descent light tests, but before going into this, I plexions of both men and women. We also noted would like to dwell just a few moments upon the that the results from the brown lip rouge and dark Make-up Artists' Association. There are few who eye-shadowwere sometimes lisht and sometimes really know who the members are or what the orga- dark. nization is. We found that there was, and had been During the latter weeks of the tests we worked for some time, a lack of cooperation between the out a seriesof colors of GreasePaint, Powder. Eve various make-up artists. They hid their secrets {rom Shadow,Lip Rougeand Pencils,which we thouelt each other. It was his property and not to be [iven would provesatisfactory. Subsequent testing proied to anyone else. Under the Association, we have conclusivelythat the tones and shadeswere correct. brought these men together. We have fifty members We particularly invite your attention to the man- which is 98% of the Make-up Artists of the motion ner in which the featuresof the face blended. The picture business. They are now friendly with each photographic value of the pigments used in the other. At the meeting last Monday night, Percy preparation of these make-ups,were such that the Westmore showed how they put on side burns and resulting subject on the screen was soft and the side pieces in a recent First National Production. texture of the skin itself photographed natural, There was a demonstration of straight make-up and eliminating all possibilityo{ unnaturalness. the application of fish-skin for scars. In this manner, Those who rememberthe tests of Donald Keith each artist shows the others what he knows about will recall how lifelike he photographed. There make-up and how each one is progressing. We w,as a very slight semblanceof sheenon the face considered the question of make-up from every angle forming the same natural highJights that we see and we wish to divulge our experiencesand findings. when talking face to face with any person. 'Vllarner The We had a make-up artist at Bros. at all various shadeswere tried on all types,both blondes times during the Incandescent lighting tests. We and brunettes,male and female. photographed the make-up and {ound its shortcom- After the tests with Incandescentlighting and ings and its de{ects, setting out to overcome them, Panchromatic film, we made several tests under one by one, and today we have a new make-up. Arc lights and Orthochromatic film, and with Arc lights and Panchrornaticfilm, and found that the PAPERREAD BY make-ups photographed exceptionally well in all cases, DAVID FACTOR The new type of make-up was used during the At this occasionwe wish to take time to express final weeks of the tests and we carefully noted the our sincereappreciation for the opportunity given us results. Invariably the subjects appearedremark- to work with you during the recent seriesof tests ably natural on the screen. The usual sharp and at the Warner Bros. studios. We thought it might sometimeshard lines, that we so often encountered be well to give briefly our opinions and findings around the eyes and the lips, were now blended regarding the effect of make-up when used under together into such harmony that no certain facial Incandescentlights with Panchromaticfilm. feature was more conspicuousthan another. It At the beginningwe watched the "rushes" of tests seemsto lend more to attracting the eye to the nat- made under various conditions by a number of ural face in its entirety, insteadof towards the eyes, cinematographers,and with make-upthat was being mouth or any other strong feature. used for other types of lighting, for both Panchro- As a result we feel that subjectsused in motion matic and Orthochromatic film. We noticed that picturescan greatly increasetheir photographiccap- almost every subject photographedwas rather spot- abilities through the harmonizing and blending to- ted and in somecases the lips were either very light gether of the facial features, and.at the same time or exceptionallydark. The lining of the eyebrows give to the cinematographera smooth skin surface with the usual black pencil photographedharsh and of such color value that he will experiencelittle was exceedinglyconspicuous. We also noted that dificulty in the manipulation of his lights. pick most lines under and above the eyelidswould To go back to the make-up itself, we would like up rather sharp, thus forming a displeasingoutline to explain a few of the new featuresthat are worthy around the eye. Various shadesof lining was used of attention. to shadow the upper eyelids,and it was very hard The pigments used in the preparation of the just for us to determine what colorswere used. make-up are balanced to the same degree in both When we first sent Mr. Kaufman on the set to the greasepaint and the powder. As a result the take care of all make-up,we advisedhim to confine color of the powder is the sameas the greasepaint. himself to certain shadesof a neutral tone. We ad- Ordinarily a po#der lighter in shadethan the grease vised the use of brown eye-shadowand brown lip paint was used, and the performer, after repowder- rouge. We also advisedthe total elimination of all ing three or four times a day, had his make-up be- pink make-up and black lines around the cyes. come lighter each time. At the end of the day the When we first viewed the pictures in which the cinematographerwas photographing performers in make-up in the preceding paragraph was used, we lighter make-upsthan that which they had in the

123I morning. But now, through the balancing of the ever, for use on the face, we maintain that grease pigments, the photographic value of the make-up paint is the sa{est and most reliable form of make- does not change no matter how many times repow- up, and we do not hesitate to recommend it. dering becomes necessary. We should also remember that with a grease paint The shades of brown used on the eye and lips make-up, the muscles of the face retain their natural are prepared from the same pigments as the grease elasticity and the artist does not feel the least bit paint and the powder, only extended to darker conscious of having any make-up on his {ace; where- tones. The shadows over the eyelids photograph as, we often find that liquid make-ups dry and in soft and natural and the lips appear in a soft dark drying they contract to the degree that they might grey tone. draw up the tender muscles around the mouth and We also went very thoroughly into the question eyes hnd retard their flexibility. as to what type of base is best suited for the purpose In closing, we cannot stress the fact too much of Motion Picture make-up. The problem confront- that make-up is the greatest aliy of the cinematog- ing us was to determine whether the liquid base rapher, and the most pliant tool of the artist. It (which is also sometimes called as a paste make-up), is our opinion that the new type of make-up, which or the grease paint were the better, we have spoken of in this article and which we call We have been studying this question {or the past Panchromatic make-up, will have a beneficial efiect five years and our present efiorts brought the deci- upon motion picture photography and should play sion favoring grease paint make-ups. It may be an important part in prevention of re-takes. well for us to briefly give the reasons why we ar- In portrait photography the photographer touches rived at this conclusion. up his plates after the sitting is made, but in motion The liquid or paste make-ups are composed of picture photography the cinematographer resorts to water soluble pigments. These pigments often times make-up, to touch up the artist before he is photo- become darker after being applied to the face. This graphed. We, therefore, {eel that the question of is due to perspiration. It being a fact that no per- make-up for Panchromatic film and Incandescent son perspires evenly on every portion of the face, lighting as well as all other types of film and light- we find that in these particular places where the ing systems, can be solved through the use of make- performer perspires more freely, that the make-up up of natural skin tones. will often darken'and register spotted and unevenly. We also maintain that a grease paint base is the Also, heat and light will draw color from a water proper and most reliable form of make-up that can soluble base much quicker than from an oil soluble. be used on the {ace. It is also our contention that Therefore, there is the ever attendant danger of hav- the advent of Panchromatic film and Incandescent ing make-ups change during the day and become lighting does not mean the elimination o{ make-up, either lighter or darker. but that through the use of proper make-up, the A number of well-known cinematographers can quality of photography can be improved. testi{y to the truth of this statement, and in our Allow us to add that we welcome all suqqestions experience we know of certain specific instances {rom anyone in the pro{ession, and we would gladly where expensive re-takes were necessary for this go into any problems referring to the Art o{ Make- reason. up as we feel that such criticisms and suggestions On the other hand, when greasepaint is made of play an important part in the further development pigments that have been properly extended to their of this art. highest degree, a uni{orniity is obtained that is re- liable and may be depended upon to maintain the DISCUSSIONON same color value for as long a period as might be required for photographic purposes. Only in rare MR. FACTOR'S PAPER caseshave we found grease paint make-up becoming Mn. Volcr: The meeting is now open for gen- spotted. It also has been {ound that grease paint eral discussions. Everyone speaking will kindly first when properly applied photographs as a smooth, give his full name and address and affiliation, So- silky skin texture and absorbs sufficient light to keep ciety or corporation. it from going flat. Mn. Facron: We have some very capable make- It might be well to state that we have manu{ac- up artists here. Mr. Dudley of the Fox Studio tured both liquid and grease paint make-ups for the and Percy Westmore of the First National Studio past twenty years. We do not wish to leave the im- have given Panchromatic coloring almost every test' pression that liquid make-up should not be used in Other studios have tried it and we have yet to get motion picture work, as such a statement is not true. the first complaint on Panchromatic make-up going We find that the place where this type of make-up bad. The actor has a smooth, even skin surface that can be used to great advantage is for making up the we find photographs better than any other. entire bodies; for example, as used in the "Devil Mn. Duenav: I would like you to expressyour Dancer," "Thief of Bagdad," and various .Arabian findings on the matter pertaining to the rouges used and Indian pictures for creating the native coloring {or lip make-up under Mazda lights. of various races. Mn. Facron: When Panchromatic film was In such casesit is found as an ideal way of creat- first used, we noticed that wherever red was used, ing the desired coloring effects for such types. How- the red pigment seemed to disappear on the screen. 124l It went absolutely white, so that it was necessaryto at this early day be devoted more to broad essentials prepare a color that would stand up under all con- and primary principles. There is much to improve ditions. We tried dark brown, but it wasn't sat- on the lights to date, and, naturally, much to learn isfactory at first. We {ound that in some cases it in the practice of make-up under them. went light and other times dark. We tried many As comparqd to the Arc lights, the Incandescents colors and we now have a lip rouge and eye shadow have several striking differences. The most irnpor- of a warm shade of brown upon which there have tant is probably the matter of heat. They generate been no complaints up to this time. I might add a |ar greater heat; in fact, in close-ups this heat that Technicolor has found the Panchromatic grease becomes terrific, so that grease paint, nose-putty, paint is very good for them. There are a number glue, or other foreign substance on the face soon of tests being made at the Tifiany-Stahl studios runs and melts. This, to a character make-up espe- with the Panchromatic make-up when using Tech- cially, is very dangerous., nicolor film. We eliminated the use of black pen- The solution must, of course, be in lights that cil because we found that a black line along the will be cooler, and this, I understand, engineers are eyebrows and under the eyes went very black. We, working on with every promise of success,hence it therefore, brought out pencils of the dark shades of may be classed as a temporary difficulty only. brown, the same shade as the lip rouge and lining. They are much more penerating, which involves We have one color for the lips, but it is darker for the matter of using make-up more sparingly, as a the eyes and eyebrows. It looks just the same as the more natural appearance is necessary. For instance, skin color. We found that the same dark brown in former practice one used powder a shade lighter in difierent shades worked out perfectly well. than the base grease paint. Under the new lights Cuanr-Bs Duomv (Fox Studio): In the tests this cannot be done, as the penerating quality of the that we are making at the studio we are now using light would disclosethe subterfuge. Max Factor make-up, and we find it very natisfac- Because of this penetrating effect, shadows are tory, but Mr. Factor, how can we introduce it to the more pronollnced, and therefore objects tend to pho- studio as a whole ? Some of the cameramen are not tograph with more contrast under Incandescent aware of the new make-up and think we are only lights. The result is that shadings, linings and such experimenting. details must be applied much more delicately, lest Mn, Facron: We have arrived at a method they "jump out." whereby every cameraman will get some of the In general then, considering straight make-ups, make-up to try through the A. S. C. we have these basic rules: Make-up must be applied Mn. Dusnav: I wish to say that our work in very naturally, and usually in a slightly darker this matter, so to speak, is still in an experimental shade than {ormerly. Lip rouges must be in the stage, We are instructing our c;nematographers as dark brown tones rather than the reds, as reds seem {ast as we can. This meeting, for instance, is one to photograph less accurately. Lining on the eyes, of the mediums through which these things are to too, must be applied on the same principle; that is, be known. reddish browns instead of the blacks, greens, yel- Pnncv WBsrnrronn: At the First National I lows and blues of former practice under the Arc have been using this grease paint {or the past three lights. Brown gives a soft efiect, and when used weeks. We have practically changed the entire stu- it is difficult to realize, seeing it on the screen, that dio to the Panchromatic colors. We have found any grease paint has been used. Powders must har- that it has proven entirely successful, and we have monize with the grease paint, as, for instance, a made no changes whatsoever. We have had ques- number 22 powder with number 22 grease paint, to tions regarding liquid make-up. We used to have preserve this natural iffect. an awf ul lot of re-takes; the people weren't look- As before remarked, becauseof the excessiveheat ing right. The cameramen now won't use the of the lamps, grease paint runs faster, hence it is liquid make-up. fortunate that less paint is required. Mn. Vorcr: We are all acquainted with Mr. At the same time this brings up many new prob- Lon Chaney, that master of make-up. He was to lems; how this thinner make-up will photograph as have been with us tonight but unfortunately for us regard certain disguises or efiects where artificial was unable to attend. Mr. Frank Woods, Secre- material must be used on the face. Later I propose tary of the Academy, will read Mr. Chaney's paper. to touch on these problems more in detail. The thinness of the coat of make-up may in a measure PAPER ON MAKE-UP compensate {or the danger to the grease paint from heat. This I cannot accurately say, but eventually BY MR. LON CHANEY a balance must be found. It is one of the important present. So radical an innovation as the new Incandescent problems at light in studio practice must o{ necessity, for some It is possible that new and cooler lights will soon time, remain more or less in the state o{ experiment, be developed, and possibly elaborate character make- and, naturally, draw into this same experimental ups will have to be filmed under the old lights field all details of photography connected with its until this is done, or improvements in make-up mate- use. Wherefore any discussion of make-up in con- rials devised that will permit the use of the new nection with the lishts and Panchromatic film rnust illumination. Here, I think, are the two most im-

125) portant fields for experiment in connection with the ing the techniqueof make-up. The heat problem is lights, for either one problem or the other must be an engineeringone that will doubtlesssoon be over- solved, before perfection can be reached. come. And with theseworked out, cameramenwill It would hardly be possible to say at this early be in a positionto go aheadon the problem of better date that the new lights give a better quality of photography under the new lights. I believe this photography; cameramen differ widely on this point. will ultimately be achieved; in {act, possibly in a But it is safe to say that they give as good, or the very short time. There are no insurmountabledif- producers would have abandoned them from the ficulties,so far as I can see. start, and it certainly would appear that with exper- These are my views from what limited investiga- iment and improvement we will achieve better ef- tions I have beenable to make, and for the purpose {ects eventually. They are here to stay, because of of discussionI would like to ask a few questions the saving in time, labor and current, and minor which, I feel, are important. Perhaps they can be details will have to be adapted to them. answerednow; if not, we will have to experiment One important change in make-up brought about to find the answers. by the new lights has simplified the whole art of What will be the photographicefiect of putty or disguise. IJnder the new lights and Panchromatic wax usedin building up a charactermake-up ? This film, the make-up that looks most nearly perfect to is a deadsubstance, and prone to photographas such, the eye is most nearly perfect to the camera. Under unlessgreat care is used,even under the Arc lights. the old Arc lights we had many tricks to learn, by Supposewe apply this substance,tone it down with using colors to compensate for light, and thus the brown, apply linings, powders, and thus have sev- eye, the most natural guide, was not reliable. The eral colors superimposed. Just what will be the new lights will enable the actor to better judge his result? make-up by inspection without a screen test, and Consider the collodion scar. Just how will it be this, o{ course, will be a boon. handled under the new lights, with their searching The above discussion applies primarily to the so- penetration? How can we make the scarsnow used called straight make-up. Character make-up, or appear genuine, rather than a film applied to the make-up for disguise rather than merely efficient face? photography, presents many different problems. What will be the effect of, say, a toupee,when In the main, the principle of darker shades and dead hair is contrastedwith live hair ? Here, it brown lining will obtain. In shading, instead of seemsto me, is a problem that will take considerable red and gray we will turn to the browns, and any research,and I would be glad to hear somediscus- artificial applications such as plastic material, will sionof it. have to be toned down in browns so as to eliminate Any foreign substanceapplied to the face, and lighter photography. then colored over will, I think, have certain distin- This means much experimenting. The lights are guishing effectsunder the new make-up. How will so new that practically none of a thousand devices we grapplewith a cauliflower ear of artificial mate- in character make-up have been filmed under them, rial, a wax protuberance,or perhapsa set of false and each of these will, of course, have to be tested teeth? and .experimented with to evolve necessary changes. How will crepehair photographunder the keener Hence for a time we will have to experiment at lights ? length with every new character make-up, to learn These are all Questionsthat will come up many which of the old principles to abandon and which times in practice. Perhapssome o{ them have been to retain. It will evolve many new devices, it goes already solved; if not, experiment along theselines without saying. Again, as in straight make-up, col- will be valuable, I am sure. ors and shades natural to the eye will appear most natural to the camera, which will often simplify DISCUSSIONON these experiments. Black is especially dangerous under the new lights MR" CHANEY'S PAPER and must be handled with the utmost delicacy Mn. Duenav: Thesequestions of Mr. Chaney's wherever used, either on eyes or on linings. I ven- are intensely interesting. And the questions can ture to say that eventually the black pencils will be only be answered by experiencedmen. Some of eliminated from the actor's make-up kit. them are here tonight. Mr. Factor will be able to To recapitulate, the new lights are more pene- answer them right now, I am sure. trating and cast deeper shadows, hence contrast must Mn, Facron: In manufacturing make-up such always be toned down, and Panchromatic film, reg- as this, our purposehas been to create a new film istering shades in relation to color more accurately, on the {ace which must be as flexible as the skin call for shadings and hues more nearly natural to itself. Now, noseputty may be mixed with a light the eye. Because of the tendency to photograph shade of brown Panchromatic greasepaint, which more rapidly and minutely, much less make-up, in will form a new skin over the putty blended in point of quantity, must be used. Deep shadows and properly with the face where it comesinto contact accented highlights must be avoided Ior fear of con- with the skin itself. This appliesto scarsand blood, trast. . for the blood is the same shadeas the eye shadow These are all matters to be worked out by chang- and the lining. We find that just one tone of brouzn

126l works as long as we balance the pigments in the an actor came on the set, if he didn't look just right, sameproportions. As regards to heat; we ran into we all tried to tell him what was wrong, but it this the first night of the tests. My father experi- 'wasn't expert opinion, and it was up to the man him- mented with the greasepaint and, at the suggestion self. Some of our stars have played around with of Rod La Rocque,he tried the method o{ applying make-up and they have succeeded to a certain ex- greasepaint and water on the face. You can use tent. The big stars know just what is possible. a lot of water. We reducedthe amount of grease For instance, Mr. Chaney, I don't think any of us paint to a minimum and you will be surprisedhow could tell him what to do, but the rank and file of little greasepaint covers the face. After the per- people that we have photographed require the ex- son has put on the greasepaint he takes a chamois pert make-up man and I think we have gained a skin and dips it into water. Wring it out and lot from these people and this Associaion which has apply to the face. The perspiration is absorbed been recently {ormed has done marvelously well to by the chamois. The question of heat. If it is educate the make-up man himself. All these tests solved by the engineers,it will be a great help. that have been conducted and the experiments that But the method of a water-soakedchamois will the Factor organization have carried on have done eliminate all that difficulty. Something in regard a lot toward solving all our trouble. I think we to the high lights and shadows. If the high lights won't experience any difficulty with Mazda lighting and shadows are all done in the same shade of alter a few more experiments. brown in difierent degrees,there will be no trouble Mn. Vor.cr: I am taking the privilege of calling with the shadows. For they give the cameraman on Mr. Irvin Willat. It is really useless to intro- a certain surface upon which be can play his lights duce Mr. Willat, whom we all regard as one of our with very little hilation or shadows. Mixing the greatest directors, colors. It is possible under the new Panchromatic Mn. Wrr,r,er: I take exception to that last re- ' to take all of the six shadesand mix thern in the mark. This has been a great Max Factor night palm your of hand, having an evenblending of col- (laughter). I am just wondering if he has invented ors in a few minutes. anything to put on the back of the necks. This is Pnncy Wrsruonr: I would like to say some- where we have most of our trouble. We find they thing about picture. the Sills make-up in his last have nothing on the back of their necks. I don't We were photographing his face after.it was sup- just know what they want from me here. I was posed pieces. to have beentorn to A {ew yearsago notified yesterday that they wanted me to say some- we found photograph. that wax dimmed the Mr. thing on make-up. I have given some thought to Factor is experimenting with it now. It is wax it. And the greatest difficulty I have found is the that is used in filling in a corpse'sface after the use of too much make-up. It seemsto me that more porous death. We sometimesuse a rubber under of our leading men and character men have hurt picture , the wax. In Mr. Sills' we did not use any themselves in the eyes of the public by using a great i greasepaint on his face at all ior the reasonthat amount of grease paint on their lips. Max Factor i when he had the plastic surgery performedwe want- has a make-up that won't show and looks natural. | .d him to look at his best, so we applied a liquid Previously we have gone to pictures where we have i make-upfor his broken noseand the cauliflower ear. seen the hard-boiled character man with red on his I Another question {rom Mr. Chaney'spaper, in re- lips very distinctly, and I have heard remarks by the I gard to the toupe. We have experimentedin the audience regarding rouge on a character's lips. We past I years. Today we have a picture at our studio all know the ladies use it and we don't object to it, I in the period of 1,790,when everyonewas wearing but I do believe the public resents a male character I their hair straight off the face. Everybody in the with rouged lips. I prefer to see him just as nat- I pi.tl,te was wearing hair lace transformations. It ural as possible, with natural coloring of the lips. I was of a very fine lace. Each hair was appliedonto With Panchromatic it is necessaryto darken the lips I this lace one by one and they were put on the face a little in order to give it a life-like appearance. I with a small amount of gum. We have used these Referring to general make-up in Panchromatic, I I "laces" in the "I(ing of I(ings," Emil Jannings' was one o{ the early ones to use Panchromatic film I pictrrresand others and they have proven very suc- and people got the idea, especially the actors and I cessful. On the question of scars. We had diffi- leading men, that I didn't want enough make-up. J culty with Emil Jannings' character with the eyes At times that is good, but as a rule I think that J that were turned down. Mr. Jannings' face was make-up is most important, regardless of vlhether I coveredentirely with fish skin. Through the ex- you use Panchromatic or the ordinary film. There I perimentswith scarsat First National all we have should be a certain amount of make-up on our lead- I ,o do is put the scar on our subject at the sametime ing men, especially as the leading woman is bound I *. are putting a fine coating of fish skin, after to make-up, and i{ the leading man doesn't he is ! which we apply pummice powder to tone down the going to sufier by comparison. He is likely to look J hilationafter bandolinhas beenused. a little older unless he has at least a thin coating of I Mo. Boyrn: This questionof make-upis one make-up. Also you will notice that when making J that has always been a source of a lot o{ trouble exterior pictures if they wear no make-up they are I for cinematographers,and it is only in recentyears, liable to get badly burned by the sun, and coming J that the make-upman hascome to our rescue.When back into the studio you notice the change. A little I I rztt I I I f

E make-up is a great help in keeping the character over-acting more than they will appreciate a splen- uniform throughout the picture. There are times, did performance, simply because they can tell that however, when we want to leave a character man the actor is acting and is not really a character without any make-up. Regaiding false hair on the picked up from the streets and brought into the stu- face: The difficulty I have found and probably dios, as a griat many people believed we did, and shouldn't mention because it has been taken up by as a matter of fact they still believe. However, in the Society of Make-up Men, is that most actors spite of them I am very much in {avor of the make- try to use too much hair. They try to put all the ups that are so good that we cannot tell them. I hair they have to make a mustache and the thing admired the make-up so much in Mr. Jannings' pic- looks artificial. A great deal less hair makes a much ture, "The Way of All Flesh," where he grew a more natural mustache becauseusually a man hasn't beard and shaved it off. Mr. Westmore takes a an awful lot of hair in his mustache and beard, and bow for that. lights in a natural beard give light and shade. If Mn. Wrsrllonp: Not me. It was my twin you put a solid mass of hair, crepe or natural, it brother. He takesit. doesn't allow for the lights to get into the hair o{ N{n. Vorcr: The next portion of the program the beard and change the shading. It is almost a will be devoted to sets and costumes. It is my great solid clump of hair on the face. It photographs like pleasure to introduce to you a gentleman who is the it and it looks like it. I am awfully glad to see dean of all art directors, Mr. Wilfred Buckland. Mr. Max Factor bring in this Panchromatic one- Mn. BucrlaNn: Mr. Chairman, Ladies and tone grease paint, if for no other reason than that Gentlemen: This matter of the color values of it does away with varied colored make-ups that we costumes and sets is one that is hard to talk about, used to have to contend with. Some came with red, becauseyou see colors instead of talking about them. some with blue, some with green make-up' The In the matter of costumes, those of you who were at same effect can be gotten with a darker or lighter the projection o{ the tests, at the Chamber o{ Com- tone of a brown, or, even if a black pencil were merce last night, learned a great deal, as I did, used, it is not so dificult. Undoubtedly it is sa{er about the color values of materials on the screen. to use brown. Panchromatic has been too hard in These tests were taken both by Arc and Mazda the tests. Wigs, o{ course, are difficult. I never lighting, and he who runs could read the answer. like to use a wig if I can help it. It usually photo- Panchromatic film with Mazda lighting is giving graphs unnaturally with our ordinary film, and with us color values on the screen much more naturally difficulties of blending wigs and other make-ups than we have ever had beiore. Now that we are Panchromatic film shows even more' Some of them getting approximately true values of color on the have been helped by the softness of our photographv screen, we must go back to our regular processesof today. We use diffusers, gauzes, soft lenses and theatrical production. Costumes will have to con- they all help the make-up man to blend and give a form to a care{ully arranged color scheme, harmon- really artistic and natural effect. Now that I have iz-ed with the background, as is done in theatrical spoken in favor of good make-ups and natural make- production. Now when you come to the matter of the ups, I want to give one of the things that I have color values of sets, and the way they will photo- discovered regarding actors and make-up. I find graph, that is a matter I have had considerable cx- that the average public doesn't necessarily appre- perience with. It seems so simple, but-I find I ciate a really clever character man who makes up paint a scene a iertain color, it dries out another so well that the audiences cannot detect that he has color. It photographs another color, and accordinq a make-up on. I think that one of the reasons for to the development and printing of the film, it the successof the early pictures that Mr. De Mille screens another color, and probably none of these made was the fact that the sets looked like thev were changing efiects are what I intended originallv. built and not lived in. I know it was Mr. De Hence, we art directors have worked out certain Mille's intention that he should show cost o{ pro- color mixtures which we find are safe, and we stick duction at that time. The value of the picture to to them. the exhibitor depends on what he thinks it costs. Our results are sane' safe and conservative, and, So when he could see a picture that a lot of money Iike all sane, safe and conservative things, very tame. was spent on he would pay a good price; and i{ not Occasionally I have run away from our regular he didn't care to pay as much for the rental of the formulas, with interesting results. The innovation film. This applies to the character actor where the which seems most interesting is the use of "pointil- audience can tell that the actor is definitely made up lage," painting in spots or "points." In this tech- and is not himself but is portraying a character. ni[.t., th" artist does not mix his colors be{ore he The audience appreciates that character actor and them to the canvas, but puts tinl' spots o{ the calls him a great actor when in reality he probably pure"ppli.t colors he wishes to mix side by side, and at a is not so good. Now that is the truth where the dittut-t.. the eye blends them with a purity o{ eflect lower classesof theatre audiences are concerned. I never obtained if the pigments were mixed before am not advocating the use of bad make-up to prove they were applied. In experimenting with this to the audience that the man is portraying a char- of painting backgrounds I have seemed to ge! acter. I am merely explaining one of the things -.ihodget a depth and vibration impossible 19 in any to my that actually exists. I find that they appreciate other way, and I recommend "pointillage" | 281 brother art directors as a systemwhich might be used facility and certainty through an adequate knowl- with interesting results, for I personally have not edge of the theoretical aspects of the subiect. The developed it beyond the experimental stage. Its earlier parts o{ this paper, therefore, will be de- efiectsare probably due to the fact that liehl vibra- voted to a discussion of certain essential physical tions of difierent colors do not focus on th. ,u-. and psychophysical laws and relationships which plane in the retina of the eye, and as one recedes must be understood in order to explain why colors and another advanceswe get an effect of depth. are rendered as they are under tungsten and other When we come to paint a difficult set, we sud- illuminants. denly get very friendly with the cameraman. We The fundamental knowledge essential to a com- probably realize he knows better than we do how plete understanding of the photographic rendition a color photograph, will but doeshe know ',Why?,, of colored objects may, for convenience, be classi- It is that "*hy" we want to arrive at, so the object fied as follows: (a) The quality or spectr:al comfosi- of my talk tonight is to lead up to that question. tion of the radiation emitted by the various light Mn. Vorcx: We are honored to have with us sources in which we are interested. (b) The char- tonight a famous researchengineer, a man of in- acteristics of the human eye as a senseorgan respond- ternational fame, Mr. Loyd A. Jones,of the Kodak ing to stimulation by radiant energy o{ various Research Laboratories,Rochester. N. Y.. who rvill wave-lengths. (c) The characteristics of the objects read a paper on "Color Values Under Incandescent which it is desired to photograph, particularly their Tungsten Illumination." capacity to reflect or transmit radiant energy of various wave-lengths. (d) The characteristics of MR. JONES'PAPER photographic materials as light sensitive receptors ON COLORVALUES responding to rad,iant energy of various wave- lengths. We shall now proceed to a detailed con- In the analysis of the effects produced by the ac- sideration of each of these subdivisions in the order tion of certain definite causesr we may be content mentioned. in some casesto describe the observed reiults in qual- When radiant energy of certain definite wave- itative terms. Thus, in dealing with the question o{ lengths falls upon the retina of the eye, a sensation photographic the rendition of color under any speci- is produced which we call light. Thus, radiant en- fied conditions of illumination and photographic ergy, a purely physical or objective phenomenon, material characteristics, we mav sav that a red when allowed to act upon one of our senseorgans, object is rendered as a lighter ton. Lf gray when the retina, serves as a stimulus producing a subjec- photographed (on Panchromatic film) tnder Incan- tive sensation or response which in general is des- descent Tungsten illumination than when photo- ignated as light. Likewise, when radiant energv oi graphed by the light from a sun arc. Such a state- certain wave-lengths, which may or may not be the ment is, however, far from satisfactorv to the crit- same as those producing the sensation of light, falls ical student of such problems who undbubtedly will upon a photographic plate or film, a resfonse (latent ask immediately, what particular red are you talk- image) occurs which by development can be ren- ing about and how much Tighter is it rendered un- dered visible and used as a means of producing a der tungsten illumination. He desires and needs pictorial representation of the objects from which not only qualitative information. but also quantita- this radiation emanated. In order to analyze pre- tive information, so that he may know definitely the cisely the correctnessof tonal rendition obtained by effect produced by the use of tungsten illumination. using any particular illuminant or source o{ radia- Nor is he yet satisfied; for if he is to fullv under- tion for the reproduction of a series o{ colored ob- stand the photographic tonal rendition of colored jects by the photographic process, it obviously is objects, to be able to apply his knowledge to prac- necessary to have quantitative knowledge relative tical problems, and to predict with certainty the to the characteristics of the radiation in question as tonal rendition of any color under any illumination well as to understand the nature of both the visual of specified quality, he will surely want to know and photographic responsesto this radiation. why rcd is rendered as a lighter tone of gray when It is assumed,in this discussionof the rendition tungsten lamps are used for illuminatine the red of color values under tungsten illumination, that object. Thus, to fully satisfy the requiriments of we are concerned only in the use of panchromatic complete understanding, we must be prepared to photographic materials, and moreover, that we are lupply not only qualitative (how?) in{ormation, interested in the rendering of colors when tungsten but also quantitative (how much?) data; and fur- illumination is used as compared with the rendition ther to explain zthy the observed results occur. obtained by.the use o{ other available illuminants. Perhaps some individuals, of the so-called prac- Since the quality of the radiation emitted by an il- tical school, may feel that they are not particularly luminant has a profound inlluence upon the photo- concerned with those theoretical aspects which are graphic rendition of colors, it will be necessary,first involved in explaining why certain effects are pro- o{ all, to consider the way in which the quality o{ duced, but may be quite satisfied with a knowledee tungsten rad.iation differs from, or is similar to that of zuhat happens. However, I believe firmlv in the of the radiation emitted by other commonly used premise that the nearest approach to perfection in light sources. the practice of a scieircecan be attained with sreater The quality, or spectral composition of radiation,

f ta1 L 2/ ) is best defined by stating the relatixe intensity at the shorter wave-lengths. At wave-length 400, each wave-length present. This can be determined which representsthe limit of the visible spectrum by dispersingthe radiation into its componentparts at the short wave-length end, the intensity is only and then measuring the intensity at each wave- about one-half of that at the maximum. In the length by meansof a suitable instrument, such as a ultra-violet region between 400 m/, and 300 mp thermopile,radiometer, or photo-electriccell. Wave- the decreaseis quite rapid so that at wave-length length, it will be remembered,is usually specified 300 there is but very little energy. Although the ln terms of a unit called the millimicron (mp.), total energy in this ultra-violet region is relatively which is equivalent to a millionth of a millimeter small as comparedwith that in the visible, it is of (0.00000tmm). considerableimportance in photographic work be- The spectralcomposition of the radiation emitted cause photographic materials have relatively high by difierent light sourcesused in motion picture sensitivity to theseshorter wave-lengths. Curve B work varies enormously. These sourcesmay, for in Fig. -Z shows the distribution of energy in the convenience,be divided into two classes:(a) those having a continuousspectrum, and (b) thosehaving a discontinuousor line spectrum. In sourcesof the first classificationit is found that all possiblewave- lengths are present and of this class incandescent tungsten is typical. In sourcesof the latter class radiation is emitted at certain definite wave-lengths p only, all other wave-lengthsbeing entirely absent. z Of this class the Cooper-Hewitt mercury vapor lamp is a well-known example. Sunlight may also be classedas of the continuous spectrum type, al- though as a matter of fact the spectrumof sunlight shows numerous very narrow dark lines, due to absorptionin the sun's atmosphere. These lines are practical purposes so narrow, however, that for all 300 400 500 600 rco, sunlight may be consideredas of the continuous W_LEiGTH tN mf. spectrum type. The radiation from the crater of a FIGURE I Spectral distribution of energy in radiation from (A) carbon arc is also of the continuoustype, but due to noonday sun, (B) north sky. certain selectivity absorption characteristicsof the arc stream (the flame), the spectrum may contain spectrum north certain bright bandsor wave-lengthregions showing of skylight. It will be noted that the maximum is an enhancementof intensity. In the case of the at approximately400 m1, and that flame arcs, the major portion of the light is emitted the decreasein the region of long wave-lengths is rather rapid. by the arc stream rather than by the crater and the It is evident from a comparisonof this curve (curve spectrum is found to be filled with a multitude of with that for sunlight A) that preponderance lines and bandswhich are due to the materialsother skylight will appearblue, due to the than the carbon incorporatedin the core. In most of shorter visible wave-lengths as compared with point casesthese lines and bandslie so closetogether that sunlight. The falling ofi from the of max- for practical purposesthe spectrum of these arcs imum intensity in the region of shorter wave-lengths is also quite may be consideredto approachcontinuity, although rapid, so that at 300 mp the value is quite spectroscopicexamination shows a certain prepon- low. In deranceof radiation of some wave-lengthsand ab- Fig, 2 are shown spectrophotometriccurves senceof others. for the radiation emitted by incandescenttungsten. The spectralcomposition of the radiation emitted by any particular sourceis clearly shown by means of the spectrophotometriccurve which is obtained by plotting for each wave-length the intensity of radiation at that wave-length. Since the final an- alysis of why various colors are rendered as they 0 are under any specifiedillumination dependsessen- z tially upon this quality factor, it will be profitable : to considerin somedetail this characteristicof vari- J ous illuminants. In Fig. .1 the spectrophotometriccurve A shows the relation between intensity and wave-length for noon sunlight. It will be noted that there is a max- imum at wave-lengthof approximately500 mp.,this WAVE_LEren. rNdl. correspondingto the green region in the spectrum. FIGURE II From the maximum there is a slight decreasefor Spectral distribution of energy in radiation from tungsten longer wave-lengthsand a rather rapid decreasefor filament at various tenDeratures.

t 30l I r The relative amount of energy at different wave- lengths dependsupon the temperatureat which the filament is operated.The curve marked 2800 shows the spectral distribution of energy emitted by in- candescenttungsten when operatedat a color tem- perature of 2800'K. This is approximatelythe 0 temperatureat which the smaller sizesof commer- z cial Mazda lamps are operated. In the case of = t the larger units suchas the 3,000,5,000 and 10,000- E watt lamps designedspecifically for use in motion picture studios, the filament is operatedat a much higher temperature,in some casesreaching a value of 3200'K. The distribution of energyin the radia- tion from such a lamp is shown by the curve in Fig. 2, designatedas 3200. The curve indicates that there is a great preponderanceof radiation in the -,u' long wave-length region o{ the visible spectrum, t":::lifi":llr:f "r"u*"tt..?uilt:? that is between550 and 700 mp. The curve slopes xt"'"'"";ffi,:" f::? :i.i#o:i:l'" rapidly downward {or shorter wave-lengths,reach- ing a very low value at 300 mp,. The portion of identical, approachesfairly closely that for sunlight the radiation lying in the ultra-violet between 300 and judeed visually the light from the high intenJity and 400 mp is relatively small as compared with arc matchesapproximately sunlight in co-ior. Therl that in the visible resion. is a large proportion of the shorter.visible wave- lengths presentand although it is not shown in the figure, it is well known that such sourcesemit a relatively high intensity o{ radiation in the ultra- violet between300 and 400 mu. In the caseof the flame ur.i, it is difficult to de- fine the spectralcomposition in terms of curvessim- h d ilar to thoseshown in the illustrations already given. z As stated previously, the spectral composition of E theseflame arcs tends to be of the banded F or line 1 d type with numerous very high maximum ano very low minimum intensities at certain wave-lengths. Spectral composition can in these cases be more easily shown by dispersingthe radiation by means of a prism or grating and making photographsof the spectrum thus formed. While thesecannot so \^AVELErcTH lN n,/[ easily be interpreted quantitatively as the spectro- FIGURE III Spectral distribution of energy in radiation from ordinary carbon arc. The small circles show the distribution of energy in the radiation from a black body at 40000 K.

In Fig. 3 the curve shows the distribution of energy from the crater of a low intensity carbon arc, such as has been used extensively in the motion picture studios and commonly referred to as Kleigs, spots, elr. A comparison of this curve with that for incandescent tungsten in Fig. 2 shows the pres- ence of a relaively greater proportion of the shorter wave-length radiation. It follows, therefore, that D the light from such an arc is bluer than that emitted by tungsten. Fig, 4 shows the spectrophotometric curve for the r high intensity carbon arc, commonly referred to as the sun arc. In this case the electrical conditions and the composition of the carbons used are such that the spectral composition of radiation is mark- edly difierent from that emitted by the ordinary low intensity carbon arc illustrated in Fig. 3. The max- FIGURE V imum has in this case moved over to about 530 mp, Wedeie spectrograms showing the relative ristribution of which is approaching the wave-length of the max- energy in the radiation from various flame arcs: (A) sun- light, (B) acetylene ame, (C ) white ame arc, (D) blue flame I imum for sunlight. In fact, the curve, while not arc, (E) yellow flame arc, (F) red flame arc. I i [31 ] i I t L L photometric curves, they serve to show the compara- An object in the visual field is visible by virtue of tive intensities of the various wave-lengths present. the contrast between it and its immediate surround- In Fig.5 the spectrogram at A is that {or acetylene ings or background. This contrast may be due to and at B for noon sunlight. These are given as a a difierence in hue (hue contrast), to a difierence basis of comparison in terms of which to judge the in saturation (saturation contrast), or to a difier- distribution of radiation in the spectra o{ flame arcs ence in brilliance (brilliance contrast). In the case shown at C, D, E and F; C being that for a white flame arc, D the blue flame arc, E the yellow flame and F the red flame. It will be noted that the spec- trum of the white flame arc resembles that of sun- light except that there is an appreciable enhance- ment of the radiation in the blue between 400 and ! 520 mp. It is difficult to compare the spectrum of I the yellow and red flame arcs with that of sunlight, but it is evident that there is a general predominance q o{ intense lines in the long wave-length region be- tween 540 and 700 mp. E Fig. 6 shows the distribution o{ energy in the radiation emitted by the Cooper-Hewitt mercury vapor lamp. This is a source of the line type, en- ergy being emitted at the wave-length indicated by the heavy vertical lines, the relative intensity emitted at each wave-length being indicated by the height VII of the line. FIGURE Now, having dealt with the characteristics of the Visibility cutve for high brightness levels. radiation emitted by various light sources, we shall pass on to a consideration of the human eye as a of a photographic reproduction such as a print or sense organ responding to a stimulation by the ac- image projected on to a screen, since all hue con- t40 trast, and consequently all saturation contrast, is absent, visibility of object detail depends entirely 120 upon the existence of a brilliance contrast. It fol- lows, therefore, that the reproduction of detail by the photographic processesmust be accomplished by reproducing as a brilliance contrast that contrast rXSO d which in the object may be due to either a contrast of hue, saturation, or brilliance. This being the Huo case, the visual function giving the relation between 1 s wave-length of radiation and the brilliance factor of the resulting sensation is of prime itnportance. This relationship is known as the visibility function I and its form is obiained by measuring the magni- I tude of the brilliance attribute of the sensation pro- WAVE'LENGTH.rN mt duced when the same radiation intensity o{ various FIGUR,E VI wave-lengths acts upon the retina. In Fig' 7 this Diagram showing the relative amount of energy radiated at visibility curve is shown. It is obtained by plotting diferent wave-lengths by the Cooper-Hewitt mercurv vapor lamp. as ordinates the magnitude o{ the brilliance sensa- tion produced by constant energy o{ the various tion of radiant energy. The sensation produced wave-lengths as indicated along the bottom of the when radiation falls upon the retina is re{erred to figure. Thus we see that for a fixed amount of in general as light. This sensation has three dis- energy the maximum sensation is produced by wave- tinct attributes: brilliance, hue, and saturation. length 554 mp. From this point the curve falls Brilliance is that attribute oI any color in respect rapidly for both shorter and longer wave-lengths, to which it may be classed as equivalent to some approaching zero at about 400 m/, on the one member of the series of grays ranging between black hand and 700 mp on the other. Thus it is evident and white. that the visible spectrum is limited {or all practical Hue is that attribute of certain colors in respect purposes by wave-length 400 mpr,at the blue end of to which they difier characteristically from a gray the spectrum, and by wave-length 700 mp at the red of the same brilliance and which permits them to be end. A knowledge of this relationship is essential classed as reddish, yellowish, greenish, or bluish, for the computation of the visual effect produced etc. by radiation of any specified spectral composition, Saturation is that attribute of all colors possess- and is of fundamental importance in all problems ing a hue which determines the degree of diflerence dealing with the reproduction o{ visual tone values {rom a gray of the same brilliance. by the photographic processes. Used in conjunction L32l Lttt

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'per-a8ue.ro 'aFuz-ro sqrrJsaP ol suual JoloJ tuJrJsns z{;ulnquro^ Jno ur ',tro11a.{'uaar3-.,no11aii'uaarE'uaa;F-anlqsJolor eq} e^?q tou op ,{1uru-traca^\ 'roloJ Suruyep lo; serusu sessanur ql8ual-e^?.{ aq} s" 'uaqJ 'si{}3uel-al?.tt roloJ Jo asn 3q] u?r{l susaur a}ruyaP aroru eLuoso} snorlel uorlle aqf ,{q parnpord uorlusuas eql Jo (de,4a Suruosa; lnoiilr^\ uorsrlerd yo aa;5ap due qlr.tr :o1oo puu alngrrll" anq aq] uaa.r\laq uorlelar oql srualqord yo ssnf,srp o] tdruollu ol ssaladoq tsourlz 1z;auaE e ur 'salellsnlll 8 'FI.{ 'uo1}rpuoc ua-tr8 sr pue trlo?qJ E ur sr aurl lr 'uor3rpuol luasa;d aq1 ,{ua ;apun patcadxe eq o} uorlr? crqde;Foloqd aql ;o r{8o1ourur-ratroloJ 'per ]e su o} perraJeJ aq plnor apnltu5eur aql Surlerurlse ur eJuelJodurr ;o sr ';ala srolol qlrq.{\ lueraFrP Perpunq lera^es eq lsntu -rnoq 'ql3ua1-a^?^r pue enq uea.t\]eq uor]eler aql Jo 'setuBu alaq] leq] snot^qo st tI loloJ Jo asn Fq uorl aFpela,roul V 'uorlern]?s pue enq yo uorlcnporda-r -EruJolur esrce;d da,ruoc o] Surlduralle yo ,{lllqrssod aql Io uollereprsuotr e ur palsarelur d1,re1ncr1rzd1ou -wI aq] ,(18uo;ls d:aa sezrsegduraSuroFa.roJ aqJ aJB e.t\ leq] snorlqo sr 1r '.r(ur8 euo] euros sli sroloJ .allqd\ Jo 11earnpordar lsnw ssaco-rdorqderFoloqd aq]-elurs pue uae.{\leg Surpualxa alecs fe.rF B uo 'sr 'sltralqo AlsnorJel| ll?lg(saf,ueragrp Parolol l"q] ssaulqErrq Jo srurel ur pala.rd-re1ur 1o ssaulq3lrq alrlslar aql Eurlerurlse Jo Surlnd eq lsntu uol]?Jnl?s Pu" ani{ o} alq?lnqrr}]? saf,uale} -wof, Jo sueaur e seprao-td1r 'slcafqo ruotj pelf,ageJ -Jrp rolotr alqrssod II" pue rolot Jo selnqrrDe eq] Jo lq8]l Io uollnqrrlsrp le.rtcadsaql Fur^\oqs sollnf, pu? euo dluo repuer uer ssaro.rdcrqdzr8oloqd aql .t{oN sef,rnos lq8rl snouel ulorJ uor]erp"J erl] ur .{Fraua '000'09I dlawulxordde sI srolor lueraglP ,r{1qr1dar.rad Jo uortnqr-rlsrp lerlcads eq] ot Furwlal elup eq] qlr^{ leaves violet. divided into three equal portions representingap- which includes the yellow and orange, sloping to proximately the three primary colors: blue, green, The area under the curve shaded by lines band o{ dye giving and red. -ih. dirtitional points are indicated by the the left illustrates the absorption two areasshaded wave-length scale at the bottom of the figure. It a violet color. At B in Fig.70 the the production is assumedthat this spectrum representsthat of by lines sloping to the right illustrate sharp-cut absorption of rvhite light, for instance light from the noonday oi a blue-gi.en color by the and orange spectral sun. In the spectrumdesignated as ..4 absorptionof the extreme violet and the red shaded by lines blue is indicatedby the shadedarea' The remaining reEions, The area under the curve spectral absorption of light consistsof red and green which added to- sloping to the left shows the color. The g"ther give a yellow color. Thus the absorptionof u Jy. giuit g a corresponding blue-green piactically objects which are 6lue reiults in yellow. Complementary colors are faci that all colored bands which are not those which when added together result in white. photographed have absorption type, makes it complementaryto each other. Since the absorption ubr,rpi but of the gradually cutting general, much better tonal of blue results in yellow, the conversemust be true possitl" to obtain, in were produced by that the absorptionof yellow, that is the red and rendition than if natural colors absorption bands of the abrupt type. Color in non-luminous objects, there{ore, may be considered as being due to selective absorption of the luminous radiation incident thereon. This select- ive absorption is best expressed quantitatively in te rms of spectrophotometric curves which show reflecting power as a {unction o{ wave-length. The curves in Fig. 10 are typical of such spectrophoto- metric reflection curttes' Practically all pigments and dyes have absorption characteristics of the FIGURE IX general type illustrated in Fig.10, although in some Diagram illustrating selective absorption of narrow ibsorption either at one or both sides of ' spectral bands. Jases the the band may be somewhat sharper than shown. data relative to the spectral character- green componentsof white light, will give blue. In Quantitative the spectrum designatedas B green has been ab- sorbed. The remaining radiation consists of red and blue which, when mixed together, produce magenta ( minus-green) . In the spectrum desig- nated as C the shaded area indicates that red has been absorbed leaving blue-green. Conversely, if the blue and greenbe absorbed,red will be obtained. The absorptionbands illustrated in Fig.9 by the shadedareas represent hypothetical conditions which are never found to exist in natural objects. Instead, the selective absorption found in actual practice occurs in bands such as are illustrated in Fig. 10. In the upper part of the figure at ,4 the portion shaded by the diagonal line sloping to the right representsan ideal absorptionband such as can be realizedonly in an optical instrument. The removal trulE lEN67u of the radiation representedby this shaded area, FIGURE XI Spectral reflection curves of various pig:ments'

istics of a few colored materials are shown in Figs' 11 and 12. These are taken from a publication by M. Luckeisht who also gives a large amount o{ data relative to the colored materials such as dyes, inks, etc. An examination of the curves in Figs. 11 and 72 reveals some rather interesting features. The materials represented by these curves may be taken as representative in a general way of the coloring mateiials available for producing color in paints, fabrics, wall papers, etc. It will be noted that the curves for r.J, orange) and yellow pigments have high refle-tion factors in the spectral FIGURE X lelartivelv 1. Luckeish, M. The Physical Basis, of Color illustrating the difierence between theoretical and Diagram i..hnology. J. Frank. Inst', Julv, 1917' p' 86' Practical selective absorption' t34l region which they reflect most copiously. The will be assumedthat we are interestedonly in the greens,blue-greens, and blues,even for thosewave- reproduction of colored objects by means of pan- lengthswhich they reflect to the greatestextent have chromatic film. We shall not attempt, therefore, to relatively low reflectionfactors. It is evident,there- discussat this time the sensitivity of the various fore, that in general the warm cblors, red, orange, classesof film available,but shall confine ourselves yellow, and yellow-green,will appearmuch brighter to that of panchromaticmaterials. In Fig. -1.Jcurve visually than the blue-green,blues, and violets, the C shows the relation betweensensitivity and wave- cool colors. The green pigmentsare rather remark- length for panchromaticmotion picture negative able in that the reflecting power is very low, even film. It will be seen from this that, although the for the wave-lengthswhich they reflect most copi- material is sensitiveto all wave-lengthswithin the visible region, the sensitivity for the longer wave- lengths,between 550 and 700 mp, is much lessthan for the shorter wave-lengths,between 300 and 500 mp.. For the sakeo{ comparison,the visibility curve for the human eye is also shown in Fig. 13 as curve D. It is obvious from a comparisono{ these two curves that the photographic plate under normal conditions cannot be expected to render colored objects in the same brightness relation as that in which they are observedvisually. The sensitivity curve (curve C) shown in Fig. .13 re{ers to the photographic material itself and does not take into consideration any selective ab- sorbers which may be used in the image forming system. Of course an image forming system, photo- t40 FIGURE XII Spectral reflection curves of various pigments. E reo !l aJ z ously. As a result, even though the eye is very sensi- A(PAr{) tive to radiation of this wave-length,green pigments I r.oo as a rule have relatively low brightness. In con- F, : 0.0 sideringthe relative photographicand visual reflect- |rl powers d ing of colored objects,a knowledgeof their 9 o.s spectrophotometricreflection characteristics is essen- tial. The data contained in such a curve, together F o.o /" I Y with the visibility curve o{ the eye (Fig.7) and the f, o distribution of energy in the illuminant enablesus Eo. to compute directly the visual reflecting power of I --l c \ -/ the object in qucstion. This rvill be dealt with in 0 r more detail a little later. 800 400 500 600 700 We come now to a considerationof the fourth . WAVEL€NGTH (tnF) group of data previouslymentioned, that is, the sen- FIGURE XIV photographic Spectrophotometric functions involved in the evaluation of sibility of materials to radiation of photographic reflection using Panchromatic negative film. different wave-lengths. In the presentdiscussion it graphic objective, is essentialand it is necessaryto considerthe light transmitting characteristicsof this element. In Fig. 14 the curve marked C shows the lo spectral transmissionof a typical motion picture objective consistingo{ four elements,two of which '08 are cementedtogether and the other two air spaced. t I This lens,therefore, has six glassair surfacesat each of which 4 per cent of the incident radiation is lost I0.6 E o > by reflection. The optical glassused in the manu- z. o facture of theseobjectives transmits the visible wave- z lengths almost equally so that such a lens is visually F U ( o colorless. For wave-lengthsshorter than 400 mp, J r! 0.2 however, the absorptionincreases rapidly and such a lens does not transmit any appreciableradiation of wave-length lessthan 340 mp. For all practical 300 400 500 600 700 purposes, WAVELSNGTH (MP) therefore, the efrectivespectral sensitivity of panchromaticmaterials is obtainedby multiplying FIGURE XIII together the ordinates of the curves ./ and d in Sensibility curves: (C) for Panchromatic negative film, (D) for the retina of the human eye. Fio. 14. t3sl the various fundamental rela- We can now apply I J rVrRrd tionships we have discussed thus far, to the evalua- J" tion of the photographic reflecting power of colored f(''- _-- objects. To summarize, the relationships upon r- which photographic reflecting power depends are: I J rVtdr (a) The spectral reflection characteristics o{ the Jo in the colored object, curvc R. While the use of the relationships discussed previous pages point (b) The spectral distribution of energy in the are ideal from the theoretical photo- illuminant, curve J. of view for the determination o{ visual and (c) The spectral transmission of the photo- graphic reflection factors, many difficulties are en- C. countered in their application to practical problems. graphic- objective, Curve (d) The spectral sensitivity of the photographic The experimental uncertainties involved in the de- sometimes material, curve A. termination of the various functions are These various functions are shown by the curves so large that the computation of reflection factors in I'ig. 14. The {ormal expression for the photo- by the methods indicated are subject to appreciable graphic reflecting power Rp' of the colored object is' error. It is, therefore, frequently more expeditious ' to use a direct method of measuring the visual and Arl rcrRrd, photographic reflection factors o{ the colored objects in question. However, a thorough knowledge of Rp: these relationships is absolutely essential to a com- l"- z.rc11, plete understanding of hozu and zuhy colored objects J. are rendered as they are by a specified photographic technique. In this expressionthe symbolsA r, J r etc.,indicate A more direct method of measuring photo- that these values apply to a specificwave-length r. graphic reflection factors has already been discussed paper2. in question For correct orthochromatic reproduction of a in a previous The color samples grays rang- group of coloredobjects, it is necessarythat the pho- are photographed along with a series of panel is shown tographic reflecting powers, Ro, shall be equivalent ing from black to white. A typical designated as A, to the visual reflecting powers, R". It is necessary, in Fig. 16.x The horizontal row B, C, etc., are neutral grays having reflecting powers t.40 ranging between 2 and, 85 per cent. These values J./ measured by the well-known photometric b r.zo were E E method. The visual reflection factors of the colored z high pre- u t.oo panels can be determined with relatively U cision by means of the flicker photometer method tr /. < 0.6 which is the universally used method for comparing U presence of color difierences. c /l visual intensities in the 6 0.G corresponding to the various z The negative densities gray samples are measured by means of, a suitable ioo densitometer, and, by plotting these values as or- 6 R,/ 6 o." DENSITY (SPECULAR) 5 -;>< N (!r o o NI - =

wavELENGTH (mF) s I FIGURE XV 5@ I' o I Spectrophotometric functions involved in the evaluation of I m visual reflection factor. 1lNl r5 rr q therefore, to evaluate also visual reflecting power; 6 z and the {undamental relationships already discussed 2-l provide the necessaryinformation for this operation. x They are shown graphically in Fig. 15. To sum- I o marize, these relationships are: o Y (a) The spectral sensitivity of the retina (visibil- ity function, Fig. 7), curve V. (b) The spectral distribution of energy in the

illuminant, curve J. FIGUR,E XVII (c) of the object, The reflection characteristic Characteristic log exposure curve of photographic material curve R. The evaluation of visual reflecting power iliuittati.g method of deriving photographic reflection factor' ---l - Photographic may be expressed in a manner analogous to that giv- Jot.", Loyd A. The -Reflecting Fower of'Colored Objects. Trans. Soc. Mot' Pict' ing the photographic reflecting power, and is given Ene. XI. No. 31. 564-581. !927' -* by the following equation. S.. iilustration on page 44. t36l dinates against the logarithms o{ the reflection fac- For correct orthochromatic reproduction the pho- tors, a curve, as sho'"vn in Fig. 17 is obtained. The tographic reflection factor should be the same as the points B, C, D, etc., represent the density values visual. A comparison of the photographic values corresponding to the areas B, C, D, etc., of the test shown in Table I with the visual values, therefore, panels (Fig. 16). Now the density corresponding indicates the quality of orthochromatic rendering to any of the color samples is laid ofi on the density obtained by using the various illuminants. It will axis, for instance at the point M. A horizontal iine be noted that in case of the high intensity arc the through this point locates the point O on the curve, photographic reflection factors for the red, orange, and a vertical line dropped from this point to the log and yellow colors are very much too low, while reflection factor axis locates the point N. The those for the blues and violets are too high. This value of log reflection factor at the point N gives the is in accordance with common experience and is desired photographic reflection factor for the color in easily sxplrlned on the basis of the relationships question. In this way direct measurementso{ photo- discussedin the early part o{ this paper. By using graphic reflection factors, as determined in terms o{ a white flame arc the condition is improved to quite any particular photographic material and under any an extent. The extreme red is still rendered much light source,may be determined easily and with fair too dark. The orange and yellow colors are ren- precision. In order to illustrate the results obtained dered more nearly as they should be. The blues, by this method, the data in Table I are given. however, are still much too high. Considering now the values applying to the Mazd,a illumination, it Vrsuar aNn Pnotocnepnrc (PnNcurouarrc Frru) RnruncrroN will be noted that those {or spectrum red, vermil- Fecron Ver,ucs ron Coronno On-pcrs lion, and vermillion orange are slightly higher than TABLE I they should be. From this point on, the vah.res agree fairly well with the visual ones, although Photographic there is a slight tendency for the blues and violets Vis- (mixtures of red and blue) to be somewhat too ual Maz- o. F. Ho- da Ne. high. In the next column are shown the values obtained using the orange flame arc. It will be SpectrumRed...... 8. 4. 72. l-t 7.8 Vermillion. 14. ./ t2. 18. 12. noted that these reflecting power values also agree Vermillion Orange. . 22. 11. ro. DK o. t4. quite well with the visual ones, with the exception Cadmium Orange... 23. 8.5 t2. 23. o-t 16. of the blues and violets, where again the photo- Cadmium Yellow. JO. 12. IJ. 25. 6.D 21. - - graphic values are somewhat too high. In case of ChromeYellow..... 51. t2. 29. ID. 22. (Lemon) the mercr,rry vapor all of the red, orange and yellow Apple Green...... 38. ro. 24. 10 t7. colors are rendered much too dark, while the blues EmeraldGreen.. . .. JI. ro. 18. 23. 18. t2. ro. and violets are too light. By using a combination Cobalt Green...... t7. 12. 13. 16 12. ll. t2. Viridian. 16. 20. ID. l4 ra. 20. t4. of mercury vapor and the gaseous conductor neon Cobalt Blue. 24 5(r. +D. 40. DU. 38. lamp recently developed by the Cooper-Hewitt Elec- q PrussianBlue...... 18. 16. 18. 16. tric Company, a fair|y good color balance is ob- French Ultramarine. Il. 32. 28. 25. Ja. 39. SpectrumViolet.... 8. 18. 1ry t4. 15. 20. 22. tained. The admixture of radiation from neon, MagentaLake...... 4. o. K 6.2 l.o 7. which is concentrated largely in the long-wave por- tion of the visible spectrum, brings the reflection The colors as designated in the first column refer factors for the red, orange, and yellow colors up to to pigments prepared by using Windsor and Newton approximately their correct position on the visual Company's oil colors. The preparation of these pig- scale. There seems to be a slight tendency for ments has been described previously, loc. cit. In greenish yellow and green to be rendered a little the section of the table designated as xisual are too low, while the blues and violets are somewhat entered the visual reflection factors of the various higher than they should be. On the average, how- colors as determined by flicker photometer measure- ever, the rendering with this particular combination ments. In the section o{ the table designated as is {airly good. lhotographic are the reflection factor values as It is very evident, from the values shown in measured under the various light sources as indi- Table I, that the use of tungsten illumination with cated. The light sources used may be described Panchromatic motion picture film represents a briefly as {ollows: marked improvement in the truthfulness of tone H. I.-high intensity arc. rendering as compared with that obtained by the W. F.-white flame arc. light sources which have been in the past most ex- o. F._orange flame arc. tensively used in the motion picture studios. There Mazda-)ncandescent tungsten operated at color is a definite tendency, however, to produce over- temperature oi 3100"K. correction in the extreme red. that is. these colors Hg.-Cooper-Hewitt mercury vapor (standard are rendered somewhat lighter than they appear 5O-inch U-tube). visually. This effect can, as a matter of fact, be Hg.-Ne.-combination of mercury vapor and noticed in practice, especiallyin the rendition of the neon. Two standard 50-inch mercury vapor lips and flesh. This result is due, of course, to a U-tubes plus one 24-inch (780 watts) neon combination of high red sensitivity of the present tube. Panchromatic film and the relativelv sreat amount ls7 l of energy radiated by tungsten in the region be- 2, 4, B, 16, etc., units gives a seriesof equal sensa- tween 600 and 700 mp. tion steps,while the gray tone scalementioned above extending The reflecting power values of colors, as meas- as defined in terms of reflection factor, and of prac- ured on a specified photographic material and with a from 0 to 100 is entirely satisfactory our definite quality of illumination, should be of great tical utility. This logarithmic characteristicof in applying value in motion picture work. These values show visual responseshould not be forgotten problems. definitely at what point on the tonal scale the color the results to studio in question will be rendered. In the past a great deal of confusion has been caused by the fact that DISCUSSIONON the photographic process did not render colored ob- MR. PAPER jects at the same point on the tonal scale as that at JONES' which they are seen by the eye, and it was necessary Mn. Vorcr: We are greatly indebted to Mr. for the photographic technician to learn by experi- Loyd A. Jones for the paper he has given, and we ence just how a given color would be rendered. 'wanr to expressa debt o{ gratitude to the Eastman The advent of Panchromatic film and light sources Kodak Company, the General Electric Co., and all relatively rich in long-wave radiation obviates this the other great corporationsthat have so generously difficulty to a great extent since a fairly close ap- sent their famousengineers and scientistsout here to proximation rendering is obtained. to orthochromatic the coast. Mr. Jonesis Past Presidentof the So- Carefully determined photographic reflecting power ciety of Motion Picture Engineers,which Society values, however, for the colored objects to be used has contributed so largely to the scientific results in a set should be very useful. It is well known that have been obtained in the industry. About a that it is difficult for the eye to estimate the correct year ago I had the pleasure of entertaining Mr. tone value of color under all conditions, especially and saw a great deal of him out at the studio. juxtaposed Al- Jones in the presence of contrasting colors. When he talked to rne on various subjectslike he give though the photographic technique used may has talked to you he would end by saying: "It's all quite possible that orthochromatic rendering, it is very simple," and I said: "No, I don't see how judging be somewhat the observer in the scene may simple it is-now will you pleasesay it all over point cer- misled as to the on the tone scale where again so I can understand,"and then he would back photographic re- tain colors will be rendered. If .rp and tell it to me in what he called A, B, C, been measured and are avail- flection factors have and I was then able to get about 10 per cent of it possible tonal composition of able, it is to adjust the and then he told me in still simpler A, B, C, and assure the desired result. the set definitely and thus then I would get a little more. So, ladies and gen- however, that photo- It should be remembered, tlemen, do not be frightened by Mr. Jones' mys- graphic {actor depends not only upon the reflection terious words and curves, for he can tell it so even but also upon the quality of the il- colored object I can understand,and will, I know, be pleasedto the spectral sensitivity of the photo- lumination and answer any questions. graphic material. it is probably impractic- While Mn. Nrcror-eus: I am afraid Mr. Jonesand measure the photographic reflection factor able to myself cannot get into an argument becauseI agree of every object used in a set, it does seem entirely with him. I don't know in what way I can elaborate feasible to standardize, to a certain extent, the use on his talk as he {ully ccversthe subject. of color in set decoration. In any large studio, it I enter this discussionas a sort of a sympathetic should be possible to establish a certain number of representativeof our cameramen' standard colors (such, {or instance, as wall paints) This discussiontonight should be very fruitful and to predetermine their photographic reflection and I hope it will result in studio color technique factors. These reflection factors at once establish going to one color or monotone. the positions of the colors on the gray scale in terms The discussionof color for sets has gone on at of which they must be reproduced. The end mem- for years and one can seethe reasonfor not bers of the gray scale are, o{ course, black and white studios colors when as Mr. has just said, with intermediate gray between. Practically, the mixing Jones about one hundred and fifty thousand blackest black available reflects from 2 to 4 per cent, there are shadesof color. Imagine a set painted in while the whitest white reflects {rom 85 to 90 per different of different colors, such as many cent. In establishing the gray scale, however, it difierent shades painted. could tell just how the differ- should embrace the entire theoretical limits extend- setsare Who photograph? This is of ten responsible ing from 0 to 100 per cent. This gives a scale from ent toneswill photography and wh5r do this when any 0 to 100 and the position of any object can be 1o- for bad into eight shadeswith white cated on the scale directly by its reflection {actor. one color can be split other. This I have It should be remembered that the visual sensation on one end and black on the most produced is proportional to the logarithm of the called monotone and is now the vogue at stimulus and not to the stimulus itself. This means studios. that il we wish to establish a gray scale having uni- I was very giad to hear Mr. Max Factor. He form sensation steps, the increment from step to was very kind to comehere and talk about make-up step must be in geometrical progression rather than and that we will have monotone make-up. There arithmetical. For instance, a brightness scale of 1, is no reason why there should be eight colors on t 38l the artist's f ace-we can't dissecteight colors on thoroughly sound psychologicalreasons for the truth the sets why should we dissecteight on the face. of this. Practically every individual, even of the Monotone in make-up is very necessary.If we will most prosaic temperament,is sensitiveto the color stick to monotone in sets, ninety per cent of our of his surroundings,and when we considerthat the set trouble and make-up trouble will be eliminated. actor perhapshas a more highly organizednervous However, it will be a great boone for the camera- system,it is only reasonableto think that he may man and the laboratory if we will elminate all of be much more sensitiveto color in his surroundings thesefool ideasof color and get down to one color than the averageindividual. I personally am con- in numerousshades. vinced that it is desirableand practically necessary picture Mn. JoNns: I do not want to interferein this to use color in the motion set. Moreover, discussion,as I have little to contribute,but I should there is no reason why color should not be used like to encouragethe gentlemento continue the ar- just as the artist wishes it. With the presentpho- gument. I am glad that Mr. Nickolaus brought up tographic materials and light sourcesit is possible the questiono{ the use of gray in the studio. Some to render colors as they are seenvisually {rom the years ago I had the very brilliant idea that the only standpointof tone value, It is only necessary,there- thing neededin the studio to eliminate all the un- fore, for the artist who is responsiblefor the com- certainty of photographicrendition was to adopt a position to be sure that the tone values are such as system of using only black, white and shadeso{ to give the desiredcomposition. O{ coursehe must gray in set construction. If everything in the set is be sure that his estimateo{ the compositionis not in terms ol gray, then the artist, cameramen,direc- influenced by the presenceo{ hue and saturation tors, etc., would have no difficulty in seeingexactly contrast, and he must be sure that the brilliance pre- the composition that is to be transferred to the contrast is as he wishes it. This is where a photographicreflecting power screen. I had the temerity to propose this in a ciseknowledge of the objectsshould be of enormousvalue. For large motion picture studio and I barely escaped of colored instance,we may have a green and a lavenderwhich with my life. They told me this had been tried when used together produce a satisfactorycontrast' o{ dollars had beenspent to prove the and thousands due to hue difierence, but which will render as schemewould not work. It seemsthe actor is a preciselythe sametone of gra1,when photographed. very temperamentalperson, and that he cannot pos- As I stated in my paper, there are approximately sibly do satisfactorywork in the cold and unfamiliar 150,000 perceptibly different colors, everyone o{ surroundingscreated by a set decoratedentirely in which must be placedofl a gray scaleextending from tonesof gray. In order to portray his part he must 0 to 100. Obviously considerablediscretion'must be surroundedby a set which is a perfect replica of be used in choosingthese colors so as to obtain the the original which is represents. I think there are desiredbrightness contrast.

INCANDESCENT AND ARC LIGHTS

The sessionheld Thursday evening, April 19, are made of the materials used and why they are 1928, in the Academy Club Lounge, was opened designed as they are. We are frequently asked is used as a light with the introduction of Mr. J. A. Ball as chair- qr,t.rtiottt buch as, why tunqsten man. source, why we need a bulb and why these lamps Mn. Ball: We will start the program this are either evacuated or filled with an inert gas. In evening with a demonstration from the Westing- order to make our answers easily understood; we house Company. Mr. Deleray o{ the local office have prepared several simple demonstrations which will give a demonstrationo{ the proper construc- show to the eye why it is that Incandescent lamps tion and operation oI Mazda lamps, and will read appear as they do today and, incidentally, why they a paperprepared by Mr. Beggso{ that company. function as they do. Mn, DBr.nnav: Mr'. Ball, membersof the Acad- IMr. Deleray then demonstrated with special emy of Motion Picture Arts and Sciences,mem- equipment the peculiarities of Incandescent lamps, prepared bers of the American Societyo{ Cinematographers, accompanied by reading a paper by Mr. membersof other organizationsand guests: E. W. Beggs, illuminating engineer of the Westing- Inside Story Studio engineersare quite familiar with the de- house Company on the subject of "The sign and the method of handling Arc lights. 'llhe of the IncandescentLamp."] Incandescentfilament electric lamp is now being usedincreasingly for photography,but it is a rela- PAPERBY tively new device. It operateson a different prin- MR. BEGGS ciple than the Arcs and must be handled in a slightly different way. No doubt, those who will The filaments are made of tungsten becauseit be required to manipulate the new type of light has the highest melting point of any known sub- sourcewill be interestedto know why theselamps stance,except carbon; it evaporatesslowly even at t3el high temperatures and it is quite hard and stifi, a practiceof over-voltageoperations of lamps which even when heated to ncar its melting point. increasesthe light output and efficiencyin lumens Light is given out when objects are heated' The per watt, but which shortensthe lamp life' Since amount of light per unit of radiating sur{ace varies this reducesthe number of lamps required to light approximately with the fifth power of the tempera- a set it is often desirable, particularly with the ture. For instance, a substance heated to 2000' C cheaperlongJife lamps such as the 1000-watt and will give out about 32 times as much light as it will 1500-watt PS bulb types. For rough calculation,it at 1000o. Also the energy required to produce a may be assumedthat one per cent over-voltagewill given amount of light decreasesas the temperature increasethe light output about {our per cent and is raised. For these reasons our light source must will shorten the life several times that amount. be designed to operate at the highest possible temper- ( Demonstration.) ature and therefore tungsten is the best material. There are three common types of bulbs now in (Demonstration 32 V Lamp No. 1') studio use. These are the tubular or "T", the pearshaped. It is necessary to coil the long thin filament wire round or '"G" and the "PS", or so-called so that it can be mounted within a confined space. The use of the tubular types is rather limited be- The many turns of this coil must keep their proper causethe filament lies very close to the side of the space and must never touch one another. For this bulb. When these lamps are tilted too much or the wire must be as hard and rigid as possible at burned horizontally the bulb wall blisters, due to very high temperatures. Tungsten is actually some- the stream of hot nitrogen rising from the filament. posi- what soft at incandescence, but it is by far the The "G" bulbs may be burned in almost any best material known and unless subjected to sh6ck tion, exceptwith the baseabove the filament, while position will hold its shape throughout life. (Demonstration the "PS" may be operatedin any whatever. No. 2, Iron Filament.) Based on a good general working knowledge of motion When the tungsten wire is received a{ter being lighting and on our intensive study of the years' believe drawn down to size through the diamond dies it is picture studios for the past three we to very strong, in {act, it is stronger than the best steel that the cheapestand most satisfactorymethod wire. It re tains this strength when coiled, and follow in studio lighting is as {ollows: mounted in the lamp but a few moments after it 1. Use the standard stock types of lamps wher- is lighted up it becomes crystaline and relatively ever possible. brittle. The coil construction tends to absorb shocks 2. Use the highly special and expensive types so that breakage is not serious, except in extreme only where necessary. circumstances. Nevertheless, even with very large 3. Apply over-voltageto only the cheapertypes strong filaments used in studio lamps, a sharp, hard of lamps which are designedfor long life at normal blow may break the wire. Reasonable handling volts. Voltages up to 15 per cent abovethat marked ten volts and, perhaps, the use of spring sockets or other on the lamp are permissible,but use of shock-absorbing devices will prevent unnecessary over is suggested. 1000, 1500 or failure of lamps before their time. (Demonstra- 4. For generaldiffused light use 2500-watt PS, 52 bulb lamps. These may be tion. ) used in overheador floor fixtures. IJse theselamps Any metal will combine with the oxygen in the also for miscellaneousapplications where possible' air if it is exposed while heated very hot. The For back-lighting or the creation o{ minor high- tungsten filament would burn up in a moment un- lights use 1000, 1500 or 2000-watt, round bulb less oxygen is kept away from it while at operating Spotlights. In limited casesthe 5000-watt round temperature. For this reason it must operate in a bulb projection lamp is suggested. vacuum or an inert atmosphere such as nitrogen or efiects or where "long shots" de- argon. ( Demonstration. For sun-light ) mand them, usethe 500 or 10,000-wattround bulb The speed of evaporation oI a substance is de- projection lamps. termined by the temprature and the pressure. For instance, a camphor ball which ordinarily evaporates during a period of a few months in a clothes press DISCUSSIONON would disappear entirely in a very short time if MR. BEGGS'PAPER placed in a vacuum and in only a few minutes if Mn. BnowNrNc: I would like to ask Mr. De- it is heated at the same time. Tungsten acts in a leray a question in regard to the present type of similar way so that we can operate filaments much filament. Can the sur{acebe decreased? brighter when they are surrounded by nitrogen or argon, than when in a vacuum. This increases the Mn. DnlBnav: They havetried variousdesigns, most concen- efficiency of all lamps, except those smaller than including the coil-coil, which is the be able to 50 watts. All studio lamps now in use are of the trated to date, and they may ultimately gas filled design. (Demonstration.) get one even more concentrated. All Incandescent lamps are designed {or opera- Mn. BnowNrNc: Is the Mazda and Tungsten product? tion at a voltage marked on the bulb or the base. filament a similar In general this is the ideal voltage and should ordi- Ma. Drr-Bnav: The Mazda filament is a narily be used. Some studios, however, have made Tungsten filament.

f40'l Mn. BnowNrNc: You mean the Tungsten fila- directly downward and even upwards. Thus it is ment is an element and not a compositematerial ? necessarythat these lamps be made to operate in Mn. I)rr,nnav: That can easily be explained. almost any position, exceptpossibly base-up. How- When the filament of a lamp is removed from the ever, theselamps give their best performancewhen glass bulb, leaving the amount intact, and a current operatedin a baseor nearly base-downposition, and of the required voltage allowed to flow through the they should be so placedin the equipmentsthat they filament while it is exposed to the air, the Tungsten will operatein this position as much as possible. filament will almost immediately oxidize, forming a Mn. RavroN: I have occasionallyhad lamps yellowish-white oxide of the metal Tungsten. Tung- fail the first time the current was turned on with sten is an element. the developmentof densewhite fumes within the N{n. Bar,r,: Any other questions? bulb. This is evidently due to too much air in the Mn. FanxHanr: I should like to supplement bulb. some o{ the points brought out by Mr. Deleray. In Mn. DBLrnav: There is evidently a flaw or general the designed voltage of the lamp determines leakage in the glass which has allowed air to re- the filament length, and in order to secure grearer place either the vacuum or inert gas. As soon as source concentration, low voltage lamps have been the lamp is lighted the Tungsten filament oxidizes tried. However, due to the larger diameter of the and causesa yellowish-white coating to be formed filament wire, because of the greater current, the on the insideof the bulb. gain in concentration is not as great as would be Mn. Rayror.r: Working recently with a 250- expected. The use of transformers or some other watt coiled-coil filament lamp, as soon as the cur- {orm of voltage reducing device {urther complicates rent was turned on the lamp exploded; the bulb the problem. In regard to universal burning lamps, flew in a thousand piecesall over the room. Can while they are nominally called "universal burn- you explain this behavior? ing," nevertheless when they .are burned in any Mn. Dnrrnay: It would be difficult to give a other position than base up their life is reduced specificreason. It might be that in the filling of the about 30 per cent. Thus in designing equipment bulb too much gaswas permitted or it might be due to use these lamps it is desirable to position the to a weak spot in the glass bulb itself or again it lamps so that they will operate generally base up most likely would be due to an arcing of the fila- and thus secure maximum life. With re{erence to ment causedby the filament coils coming in contact standard vs. special lamps, it is, of course, desirable with one another. to use a standard lamp wherever possible, but I do Mn. FanNnarr: Referring to Mr. Rayton's not believe it wise to restrict the motion picture questionon the coiled-coilfilament lamps. For some studios to standard types alone. For example, the peculiar reasonwe have had quite a number of just C-5 filament construction has been standard {or the such failures with the coil-coil filament lamps. The round bulb lamps used for spot lighting service, but coiled-coilfilament lamps are constructedby coiling in our work in the studios we have found that the the filament wire on one mandrel and then coiling monoplane, or C-13, construction gives a more uni- this coil on a secondmandrel, thus obtaining a high formly illuminated spot as well as more light. While source concentration,however, should such a fila- this is a non-standard lamp, nevertheless I feel it ment short circuit, the voltage developedacross such justified because of the better results. a short would be higher than in the usual types and Mn. Ponrun: One point Mr. Farnham brought there might be quite a rush of current if the circuit out is perhaps a little confusing. I rather fear that is not adequately {used, resulting in the sudden he gives the impression that all lamps burn better development of considerable heat which would when burned base up-that is all right for the causethe bulb to shatter. lamps that are designed {or base-up burning. They Mn. AnNoro: Is there any way of eliminating have a fairly long neck bulb, but the concentrated someof the heat from incandescentlamcs ? filament lamps are all designed for burning base Mn. DBrnnay: Cold light has been the subject down and they will not burn in a base-up position. of attention for many years. In the incandescent lamp we know that approximately Mn. Drr,rnay: As previously stated, the T type 3% of the light developedis in the ultra-violet'and approximately of bulbs can be burned in any position within 25 in the Heat degrees of base down. The G type of bulbs can be 94% infra-red. may be eliminated by the use of screensor possiblyby burned in any position, except within 45 degrees of water radiation. vertically base-up, and the PS type may be burned QuBsuoN: Is there any way o{ eliminating in any position. infra-red ? Mn. FanNrrav: My preceding remarks relative Mn. Drr,Bnay: .The infra-red can be somewhat to lamps burning better in a base-up position applies eliminated by increasing the light output of the only to the PS or pear-shaped bulb lamps. The lamp but as you decreasethe infra-red you shorten tubular bulb lamps must, of course, be burned base the life of the lamp. down or within 25 degrees of base down to get sat- Mn. Far.Nualr: Practically all the heat we feel isfactory performance. The round bulb lamps have standing in front of a lamp comesfrom the infra- to be burned in almost any position becausethe spot red region (radiation in wave lengths longer than lights in which they are employed are often pointed 7000 Angstrom units). The most promising way

[41 ] therefore, to reduce this radiation is to use a filter which cuts brought into focus with the condenser, alternating current arc off slightly beyond 7000 Angstrom units.. In the only half of the light of the position which the carbonsare caseoi smaller equipmentssuch as stereopticanpro- is available. The in is shown iectors when some form of heat reducing device is usually burned and the crater formation .r....ru.y water cells are frequently used and are in Figure III-4. particularly efiective. They would of coursebe out Figure III-B is a photograph of the alternating 3/4" burning at 80 am- b{ th. qrr..tion for the larger motion picture ljght- crrtt.nt arc from carbons II, in front ing equipments. Clear mica is also a good filter' peresand 35 volts'taken,as in Figure lens ordinarily It"reducis the light about as much as a piece of of ttt. arc where the condenser be glass but reducesthe heat to a considerablygreater would be placed. The top crater alone would .ilegree. in focuswith the condenserlens' development Ir{n. Bar,r,: I think Mr. Arnold has brought The Flame Arc carbonsare a later position and ,up a very important point-it is a little ahead of and are usually burned in a vertical Arc stream rather the time. the sourceof light is the flame or ovet 90/o o{ the Mn. RavroN: In reference to the heat ques- than the carbott crater. In fact, arc stream' This 'tion, it seemsobvious that any heat absorbingfilter light comes from the flame or a photograph placed in front of a lamp must re-radiate th,e heat is:illustrated in Figure IV which is at 40 amperesdirect lit absorbsor else it will becomeso hot it will melt. of a White Flame Carbon Arc two carbons' If the lamp is within the set there will be no relief current and 37 volts between f" is causedby the rdue to the use o{ filters. If water cooling system The highly incandescentflame and is prac- be used,the hot water could be circulatedinto material usedin the core o{ the carbons 'could are burned ;another compartment for cooling similar to the tically the same whether the carbons current although withdrawal of heat from a gasolineengine. on direct current or alternating as shown in Mx. Ber,r-: Incandescentsare going to be quite the shapeof the arc is slightly difierent photograph o{ White Flame widely used but that doesnot say that Arcs are to Figure V, which is a at 40 amperesalternating current and be discarded, at any rate in the near future. Mr. Cibo.t Arc carbons. The flow of the A. C. Downs and Mr. D. B. Joy of the Develop- 37 volts between two f" arc stream ment Laboratory o{ the National Carbon Company flame material from the core into the dim compared have prepared a paper for this occasion on the causesthe craters to become very Arc' The subject o{ "Carbon and Flame Arcs in Motion with the craters of the ordinary Carbon the arc stream Picture Photography" which Mr. Downs will now difierencebetween the brightnessof the present. and craters of this flame type of carbon and types previously mentioned is most easily seen by IV and V. PAPER READ BY c-o*paring Figures II, III-8, The light source (the flame) of the Flame Car- MR. A. C. DOWNS bon Arc is much larger than the light source (crater of the old type carbon arc using the same Mn. DowNs: There seems to be some Iittle surface) and has a lower brilliancy per unit of .misunderstandingor lack of understanding,of the currenf but becauseof its large volume, the lumines- ,several differenf types of Carbon Arcs- It is the area cent flame, despiteits lower brilliancy per unit area, object of this paper to attempt to clear up that gives more light for an equal amount of energy. misunderstanding. in flame arc First, there is the old-fashionedCarbon Arc which The compositionof the cores used ,carbons of is used for projection purposesor spot light work" can be varied to give difierent colors active It is operatedin more or lessthe position as shown light over a comparativelywide range. The flame carbon in Figu.re I. material used in the core of the white that used This might be a cored or a solid carbon and the is a compound of the rare metal ceriumI flame carbon a compound source of light is always the positive crater. Over in the core o{ the red ,of strontium, and that used in the core 90% of all the light from this particular Arc comes the metal ,of panchromatic carbon,a combi- from the positive,crater on direct current. This the National "O" of difierent metals. is clearly illustrated in Figure II which is a photo- nation of severalcompounds and moving picture studios' the Sun graph oi the low intensity Arc 11 50- ampe-res There are in the 55 taken from a position directly in front of Arcs and Rotary Spots which are known as "high the "ottsarc where the condenserlens would ordinarily intensity" arcs and which are a developmentof the be placed,the very bright oval spot being the incan- White Flame Arc. A carbon with white flame desient crater. It can readily be seenthat the nega- material in the core is rotated in a horizontal posi- tive arc stream and tail flame contribute very little tion and a neutral cored carbon is placed at the to the light from this type o{ Arc. The incandes- proper angle with this carbon in the same vertical cent cratir is what is focusedin the low intensity plane. Direct current is used and the horizontal moving picture projectors. carbon is positive. The action of the arc of this spot- lights and In ihe case of the alternating current arc the combination at ordinary current densities is illus- carbons are always the same size, the craters are trated in Figure VI. This shows a flame of low much smaller, and only one of the craters can be velocity coming from the negative carbon and a L42l fi !rari alij

ll

FIGURE I FIGURE II Position and Crater Formation of Low Low Intensity Direct Current Arc, 5 /8" lntensity Direct Current Trim as viewed Positive Carbon and 5,/16" Negative Car- from the Side. Upper Carbon Positive, bon Burning at 60 Amperes and 65 Volts Lower Carlron Negative, Viewed from Directly in Front of the Arc.

irilr!:lLtE ii ii ririit

; li;i i:ii;i llil : l;il x*l

FIGUR,E III.A FIGURE III.B Position and Crater Formation of a Low Low Intensity Alternating Current Arc. Intensity Alternating Current Trim as Y+" Upper and Lower Carbons. Burn- Viewed from the Side. ing at 80 Amperes bnd 36 Volts. Viewed from Directly in Front of the Arc.

FIGURE IV FIGURE V White Flame Carbon Arc between White Flame Carbon Arc Between 1/z" Car- Carbons at 40 Amperes and 37 Volts Direct bons at 40 Amperes and 3? Volts Current. Ijpper Carbon Positive, Lower Alternating Current Carbon Negative,

t43l FIGURE V] FIGURE VII .White 16 mm. High Intensitv White Flame Posi- 16 mm. I{igh Intensity Flame Positive tive and 11mm. Neutral Cored Negative and 11 mm. Neutral Cored Negative Burn- l Rurning at Ordinary Current Densitv of ?5 ing at High Intensity Condition of 150 Amperes and 63 Volts Direct Current, Amperes and ?3 Volts Direct Current. viewed from the side. \tiewed from the Side.

FIGURE VIII 16 mm. High Intensity White Flame Positive and 11 mm. Neutral Cored Negative Burn- ing at High lntensit5r Condition of 150 Amperes and ?3 Volts Direct Current. Viewed from the Front.

FIGURE XVI see Loyd A. Jones'paper, page B6

FIGURE X ( Omitted ) I l-p1,us5isn Blug 2-Ultramarine I 3-Cobalt BIue I {-puapls lskg i 5-Cobalt Violet g-Qsfslf Qlssn f-pmslsld Qlssn g-lgrn6n Chrome 9-Cadmium YeIlow 10-Yellow Ochre 11-Orange Vermillion 12-Vermillion 1S-White 14-Black FIGURE XI FIGURE XII

| 4:41 to the flame of fairly high luminosity and similar FIG.D( @Es6Ydgmr&-M Cffi flame of the ordinary White Flame Arc shown in +- PACHFOMAft 'O' G&Ng la W Mgs Figure IV coming from the positive carbon. If the VERTI4 APC @W EEIECrcF t5@E 5&ERS current density is increased to values, which previ- ,DFr@ffi U@tutu ous to the development of this kind of arc were thought impracticable, a marked change takes place fl in the arc. The flame from the negative carbon (6'l assumes a {orce and directional power which, if the iE angle between the carbons is right, confines the z2; ) positive luminous flame to a small space near the positive carbon. At the same time the face of the positive carbon is hollowed out, tak;ng a shape much like the inside of a cup. The action of the negative flame, pushing the positive luminescent flame back / \- 7 into this cup-shaped crater so compressesthe positive / flame that it {orms in the bottom o{ the crater what appears to be an incandescent gas ball of higher brilliance per unit area or intrinsic brilliancy than any other arc and under certain conditions this the eneigy in any part of the spectrumis plotted so intrinsic brilliancy is higher than that of the sun that each square on the curve of the original plot itself. A side view of this so-called high intensity is equal to 1x107watts of energy per square milli- arc is given in Figure VII and a front view in meter on a surfacea distanceof one meter from the Figure VIII. arc. The Agnstrom units used as abscissae,indicat- A comparison of Figure VI and Figure VII ing the different wave lengths o{ light are l/1'0 shows the change which takes place in the appear- oi the millimicron units which are sometimesused. ance of the arc when the current is increased. The The light or energy shown on the curves below apparent brilliance per unit area of the difierent 4000 units is invisible to the eye and the energy light sources considered and the sun is given in shown on the curves below 3400, as has been indi- the following table: cated by Mr. Rayton at this convention, is of no Light Source Candle Power per SQ.MM value in photographywith the ordinary lens systems Iligh Intensity White Flame Carbon becausewave lengths of light below about 3400 Arc. Forced 1200 Angstrom units will not passthrough ordinary glass. Sun at Zenith 920 The light or energy above 7000 Angstrom units is High Intensity White Flame Carbon Arc as Usually Operated------.-- 690 the infra red or heat rays and cannot be seenby the Positive Crater of Cored Carbon Arc eye and does not afiect the photographic material on Direct Current------130 ordinarily usedin the studio. Yellow Flaming Arc Stream (Similar It can be seenthat the White Flame Arc has a to Pan t'O")------8 fairly uniform distribution of energy above 3900 The high intensity carbon arc forced or so-called Angstrom units but at 3800 to 4000 units is some- super high intensity is receiving consideration at what higher than at any other point. This peak is the present time {or searchlight work. Current characteristicof all carbon arcs but can be influ- densities are used on carbons {or this work which enced by the current, voltage and material in the are 60/o higher than that used in the ordinary high core. The curves of the new Panchromatic "O" intensity arc. Carbon Arc as can be seen from the Figure has a It has been said in the literature of the high lower peak at this point than the white flame arc intensity Arc that the color of the light emitted but a higher peak or concentration of energy at from the crater and gas ball cannot be afiected. 5500 to 6500 Angstrom units, which is the yellow, We have found, nevertheless, that it can be changed orange and red part of the spectrum. This latter to a certain extent. The color of the emitted light peak is what gives this Panchromatic "O" Carbon probably cannot be changed from the blue-white to Arc its characteristiccolor and makesit very useful a red but it is possible to change it from a blue as a light source with panchromatic film since it white to a white or yellow white and work is in tends to overcomethe low sensitivity of panchro- progress on carbons in which this change will have matic film in the red, yellow and orange as com- been accomplished, These carbons, however, will pared with its high sensitivityin the blue and violet. probably have more application in the projdction Since the same current and voltage was used in field that in the studios themselves. obtaining the values for thesecurves in Figure IX, It is of considerable interest to know the distribu- it is readily seenthat the changein the distribution tion of energy emitted by the various types of Flame of energy is causedentirely by the materials in the Arcs in the various wave lengths or colors of the core. spectrum. The curves in Figure IX show the distri- The manner in which the energy distribution of bution of the energy from the White Flame and the light sourceinfluences the photographyof colors Panchromatic "O" Carbon Arcs, In these curves is illustrated by Figures X, XI, and XII. Figure i4sl is readily seenthat the light or lumens increases reproductionof a color chart madefrom It X is the much faster than either the current or voltage at ;;t; il;.Jubl. colott purchasedfrom Windsor the Ih. for both the white flame and panchromatic ;# fiJiv"t; .u" be duplicatedbv using were "Ott".. carbon arcs. .o1"t. ut named"nain the chart' These'pigments in his ;.J"; J;;;ribed bv Mr' Lovd-A' Jones if.t of Fl6.Ig ;;;;t-;; prto,ographicReflecting Power MilE'o'reato 4GNe "#r"t.['oU..it; " in ti.'Ttutt'' of the So-cietyof - ':s:T page E.Iffitrdtr 65flI"{'ia' pi.i"t. Engineers,Vol' Xl', No' 31' rt-esril-1too il4;,t"" be- | | ./-- - | | | /l_ lE+. lizz. Thev were selectedfor our chart .J"J. *o.t tt. had done with them !n con- in ;;;;';iit"irtt. ..u.rul light sourcesas described ,1,/'r that"' Paper' .2',r' lffi;" X is omitted becauseit is in- colorsnot p"*ifi?--a i.prod,r.. accurately' It. shows in a 7/ 2' 7 iit.i. itt. following: No' 1, PrussianBlue; 5' /.2 ili;;;;';l J, cJtut, Bluei 4, PurPle.Lake; ,/ d;;;Vt"t;i ;2, cobult Green; 7' Em-e11tdGreen I Yellow; 10' t""L;"; ihro*"; 9' Cadmium > V.rri* Oirt*;- tl, Otu"gt Vermillion; 12' Vermil- lion: 13,White ; 14,Black') of-this

FIG.&I f"f..i. WHft S Ptffi$&HGg&EAC -: IUiEN !Ul.@ E*t"faw, a*#k*a: itll tttl P^NCNROX^rc.O,sMLE ARO | .,/ llti- ,/"i .r.. .;?/ "f/ ,44 1.., t l.+,/ "t-

2 :l I o8,/ a a

I I I I .ob EEoo zeo

betweenthe visual light as expressed The relation This is shown clearly in Figure XV by plotting the current' vo-]-t3-e-eand,watts used i" i"*.** and the light or lumens against the watts.at the arc given in FiguresXllI to i(vr' at the arc is *fti.tt-i. the product of the currettt and voltage at changein light Fisures XIII and XIV show the the arc. ate increased' - ,. ,ttE and voltage at the arc Here, again,it is seenthat if the watts at the arc ""tt""t to the is considerably *ff,. lumen is the unit of luminous flux equal are doublJd ih" ir,.r.,,. in light point source fr"i.-iti"a in a unit solid angle bv a li-ght source more than double. one canat. power' The lumens of a oi- candle more power at ii.".i""i^T.-r.-2.6 ti-t" the mean spherical This gain in efficiencyby using power of the light source' t46) the arc either by increasingthe current or voltage 40 amperesat the lamp and 4400 line watts with at the arc is again illustrated in Figure XVI where panchromatic"O" carbons (See Figures XVII and the visual light efficiency in lumens per watt is XVIII), if the voltage acrossthe arcs themselves plotted against the watts at the arc. ' was only 60 volts, that is 30 volts acrosseach arc The curves in the above figures have all been (a condition giving a short arc length), the lumens basedon voltage and watts at the arc, A certain would be 138,000and the lumensper line wat 31.3 amount of external resistanceis required for "bal- but if the voltage acrossthe arcs themselveswas last" with the type of side arc lamp used in the 100 volts, that is 50 volts acrosseach arc (a condi- moving picture studio. Therefore, to obtain the tion giving a long arc length) the lumens would be overall efiftciencythe line watts and line volts must 292,000 or more than doubled for exactly the sa:me be used. This has been computedfor the twin arc line watts as aboaeand the lumens per line watt or lamp and the resultsare given in Figures XVII and overall efficiency would be 66.3 or more than XVIII. Figure XVII shows for both the white doubled. Flame and Panchromatic "O" Carbon Arcs the It can also be seenthat if the current is increased effect on the light or lumens and Figure XVIII and the voltage acrossthe carbons kept the same shorvsfor these same carbon arcs the effect on the (that is the arc length the same) the efficiencyof overall efficiencyor lumensper line watt of burning the lamp and total light increasematerially. For example,for a current of 30 amperesand 80 volts acrossthe arcs with panchromatic"O" carbons (40 volts acrosseach arc) the lumens are 138,000 and N ffi cnPesM UNE ^rb@r the lumensper line watt 41.8 but {or a current of 50 amperesand B0 volts acrossthe arcs, the lumens have increasedto 292,000 and the lumens per line watt or efficiencyincreased to 53.1 v These curves indicate very clearly the improve- v '/f/ ments possiblein the capacity and efficiencyof the r proper 7 side arc lamp by a regulation of the lamp l"//' / a .e2 resistanceand arc length. The limiting factors on &r/ ,/ rl current are the capacity of the lamp wiring and .l .9 carbons. The limiting factor on arc voltage or arc P9 /- length is the steadinessof the flame. It might be 7 added that the higher the current up to the capacity of the carbon, the steadierthe flame for the same arc length. The National Panchromatic "O" Carbon Arc, becauseof the greater amount of yellow, orangeand them in a twin arc lamp on a 110 volt line under red light gives,as shown in the figures,more visu.al various conditions of current and voltage across the light for the samewatts than the white flame carbon two arcs. arc. The white flame carbon arc on the other hand, It is quite evident that a low arc voltage for a becauseof the larger proportion of blue and violet given current and line wattage gives much less light rays has a higher photographic efficiency for the and a lower efficiency than a high arc voltage under samewatts than the panchromatic"O" carbon but, the same conditions. For example, take a current of as already indicated doesnot bring out the reds and yellows as well as the panchromatic "O" carbons. This differencein photographicpower is compara- tively small, being approximately in the ratio of 5 to 4. In photographing yellow, orange or red materials the photographic power of the panchro- I matic "O" carbonsfor thesecolors is greater in the /, ratio of approximately6 to 5 than the photographic I // / power of the white flame carbon. ol It is hoped that a study of the photographsand ,// , /,1 curves in the paper will aid materially in applying ',/ the White Flame and Panchromatic ts / t, u "O" Carbon E ""J. Arcs to the light problems of the moving picture 6 // / / industry. 2 u I ,f f/ DISCUSSIONON /q MR. DOWNS,PAPER Mn. Balr,: In the discussionof Mr. Downs' paper I would like to urge the men presentto tend toward a discussionof the practical use of the

147l Carbon Arc and Incandescentsin the studros tn make-up will photograph somewhat too light. It regard to the tests,summaries of which were shown is also probable that the bright red make-up used on lai Tuesday night. This is a summary week. the stage will photograph too light. This shows that Tomorrow nighi results will be given and I we ate probably obtaining appreciable over-correc- should like to urge the discussionof the paper in tion when using Mazda illuminatiou with the pres- referenceto these practical tests. I would like to ent high red sensitive panchromatic film. As was ask Mr. Downs of the specificefrciency o{ the arc, brought out last night, it appears that the manu- that is, what proportion of its energy is dissipated facturers of make-up materials have already met this as heat a.td what percentageis dissipatedas light? situation and that a lip rouge which is brown in color has been developed for use under Tungsten Mn. Dowxs: The distributionof energydissi- illumination. This of course takes care of this par- pated in the caseof the White Flame Arc is 4 p-er ticular condition but we must remember that other cent up to 4000 Angstrom units or. below the red objects in the set will also be somewhat over- visible, 30% in the visible region and 667o beyond correctid. One other fact which r..-.d pronounced the 7d00 Angstrom unit, that is in the infra-red' to me was the lack of any brightness differences The distribution in the case of the Panchromatic across the cheeks and faces. I do not know anything "O" Arc is 4 per cent up to 4000 Angstrom units about the make-up which was used when these shots or below the visible, 32 pet cent between4000 and were made, but if there was any trace of pinkness or 7000 Angstroms or in the visible and 64 per cent redness in it, it was entirely washed out by the illu- above 70"00 Angstroms or in the infra-red' The mination and film. I cannot help but feel that a distribution in the case of a q\artz-mercury arc certain amount of brightness difierence across these is 9.0 per cent up to 4000 Angstrom or-below the areas would more nearly simulate a lifelike appear- visible, 9.0 per cent between 4000 and 7000 'Ang- ance. Of course before panchromatic film was avail- strom or in the visible and 82 per cent above 7000 able, all red tended to render as black and hence Ansstroms or in the infra-red. We have been told blood vessels and facial blemishes were enormously heri that over 90 per cent of the energy of the in- exaggerated, and it was necessary to adopt a tech- candescent lights is dissipated in the infra-red nique which would eliminate this distortion. I region above7000 Angstroms. believe that with the panchromatic film and the Mn. Wrr,r,rnono: I would like to ask if in any relatively red illuminants, it should be possible to of the Academy tests any Panchromatic Carbons retain some of the skin and flesh texture with the re- have been used. All have beenWhite Flame that I sult of achieving a more natural reproduction of faces. have seen. I am just wondering i{ any of the cine- Mn. Bar,l: Mr. Dubray is most familiar with matographersran any of these tests with panchro- these tests. Was any rouge used on the cheeks? matics? Mn. Dusnay: No rouge was used on the Mn. Dunnav: I think that test No. 8 was shot cheeks. In fact, we always eliminate rouge on the with PanchromaticCarbon. Mr. Handley will per- cheeks because in most cases it gives the impression haps remember better than I do which one o{ the of a sort of shadow or dirt instead of colorine. The tests was photographed with these panchromatic texture of the skin looks more pure without any carbons. There were very few but I believeone set change in its tones than if we tried to give this of closeupscan be found in the first reel. impression of red coloring. This is perhaps due to Mn. Guv WrrrY: We have been told that the dificulty of photographic control of such shades. very little of the energy used goestoward heat. Is As to the matter of rouge for the lips, I would there any way we can find out the comparative point out that during the tests made at Warner percentagesfor Arc lights, Mazdas and Cooper- Bros. studio we have been experimenting on this Hewitts ? subject so the proper rendition of color of the lips Mn. DowNns: The infra-redregion above 7000 will be noticed in the tests which bear a higher Angstrom units is that region in which the heat rays number made during the last days of testing. I do are produced. The percentageof energy dissipated not know exactly at which number the best rendi- of the white llame carbon arc in the heat region tion starts. It may be 50 or perhaps 55. The above 7000 Angstrom units is 66 per cent, of the majority of the tests have a tendency to show the Carbon Arc is 64 per cent, of Panchromatic "O" lips too light. the Mercury Arc 82 per cent, and as we Quartz Mn. Ban: Dr. Lamar Lyndon is present. I have already been told here, the proportion of the wonder, Dr. Lyndon, if you could make some re- energy in this region for the incandescentsis over marks about the use of Incandescent and Arc lamps 90 per cent. in the studios? Mn. Joxrs: I noted one thing in looking at the tests run at the Chamber of Commerce on PAPER BY Tuesday evening,under both Arc and Incandescent the lips seemedlight. It is difficult to draw definite DR. LYNDON conclusionswithout knowing exactly the character- Dn. Lal,ran LyNooN: I have made some re- istics of the make-up used. But we have very good cent investigations of one factor of the Tungsten evidencethat with the Orange Flame Carbons,and lamp which refers to the matter of the most eco- also with Mazda illumination, lips without any nomical period of use of these illuminants.

t48l x ; lt o

5

l4el by the lamp when Sincethere is a steadydiminution in the efficiency If L be the lumens delivered o{ the Tungsten lamp, it follows that there is some new. in lumens with point in its life at which the use of any lamp should If Q be the factor of reduction per hour of usage. te ended,regardless of its actual life. In order to use, or reduction of efrciency of use, or number of hours of determine the truth of this theory and to find the If X be the time point of maximum economy is length of the most economical time of use, two use at which the *"iitod. of computation are used; one by graphics; attained: will be the reduction in the output the other, by ordinary analytical algebraic calcu- Then QX at the end oi the period o{ use, X. lation. of iumens lamp cost, distributed over the total time of The graphical I shall roughly sketch and then The the anal]'tiial equation for the time of use, which K gsn15per hour. is most ..otto*icul. The lamp is assumedto absorb use, X, is - 3,000 watts and deliver 66,000 lum-ens,.new' Fig- X The current cost is EA cents per hour. ure ( 1) shows the curves' Curve No' 1 represents Lumens output after X hours will be L-LQX cost of lamp, per hour, and the ordinate for any which is equalto L(l-QX). value of time on the X axis, is equal to the original cost of the lamp, in cents, divided by the time for K each value of X. For instance,if the lamp cost is 1,500 cents ($15) and the time o{ use 300 hours, EA+X gsn65. the cost, per'hour, is 5 cents. For a use o{ 500 Then the total cost per lumen i5 --- hours, tfie cost per hour of use is 3 cents' In this L( 1_QX) the ordinatesfor curve No' 1 are computedand EAX+K way 1 the curve plotted...... -..() Curves 2 and 3 are, respectively' the costs of L( l-QX) Curve 2 is lor current at 1'45 current {or the lamp. Differentiating, and equating to zero to determine per hour, and curve 3 is {or the rate cents K. W. the time period, X, which gives the minimum cost per hour. Obviously, these are of 2 cents K. W. per lumen. straight lines at the elevations4.35 and and 6 re- spectfvely,the lamp being assumedas a 3 K' W' OV lamp, so that the cost' per lamp hour for-,currentat - - LEAQX' + 2KLQX - KL :O...-.-.(2) 1.4j cents is 4.35 cents per hour, while at 2'00 dx is 6 cents per hour' cents per K. W. hour the cost (2KLQ) diagonally across KL The siraight line L--L, extending which re- delivered by the Whence,X'?+X- the sheet, representsthe lumens (LEAQ) LEAQ lamp after any time of use as indicated by the ubscissae.The diminution in the lumens is assumed dy2KK to be 40 per cent for 1000 hours of use. The duces to, curves C, and C" representsthe total cost of opera- dx EA EAQ tion of the lamp, per hour, at the current rates of 4.35 cents and 6 cents per lamp hour, respectively' *t/ffir'KI These curves are plotted from ordinates obtained Whence,X- V - -Fl -- -(4) by adding to the ordinatesof curve No. 1, the values EAQ \EA7- EA 4,35, or 6 as the casemay be. Curve C1 represents Obviously, only the positivevalue before the radical the total cost per hour for a lamp receivingcurrent can be used, becausethere is no negative value of at 4.35 cents per hour, while curve C, shows the elapsedtime. cost per hour for operating a lamp receiving cur- By substituting thc proper numerical values the rent at 6 cents per hour' the cost of the lamp, per economiclength of time for use of the lamp can be lamp hour, being included, as before indicated. The computed. final curves, 4 and 5 show, respectively,the cost Note that the value of X is independentof the per lumen in cents per hour and the ordinates are actual quantity of lumens which the lamp delivers, Iound by dividing the total cost, in cents per hour, the term "L" having cancelledout in the derivation by the number of lumens given by the lamp at any of the formula. plriod in its time of use. By plotting these final Example: values it is seen that the curves, 4 and 5 droop K, or lamp cost,$15, or 1,500cents. downward for a certain time, then turn back up- E, the current cost,2 centsper K. W. hour. wards, showing a definite minimum value, which A, the energyconsumption, 3 K. W. is marked on the figure' Q, the reduction in efficiencywith time of use Of course, the results obtained graphically can taken at 40 per cent for 1,000 hours, and be computed analytically. therefore0.4 of the total illumination with- If K be the cost of the lamP in cents. in that time. This is equal to a diminution If E be the cost of electricity per K' W. hour. of 0.0004 per cent of the lumens new per If A be the energy consumptionin K. W. hour, ts0l Then for thesenumerical values, ally and without occupying a considerableamount of space. Do the Incandescentshave a tendencyto r/ffiz r,soo drop ofi in carrying power? As the light proceeds Y-V r from the lamp it is absorbedby the atmosphere. 2x3x0.0004 2x3 2x3 Close to the lamp there would be a great deal of energy. We have never come around to that point. Which is equalto { 625p901 62,500- 250. In other words, would Mazda illumination be pos- Which is equal to 829 - 250, or sible for general illumination without having to re- X : 579 hours. sort to Arc lights for certain things at some future time ? By substituting in the equation (4) all of the above Mn. Bar,r-: Who can answer? Mr. lrulrr.., exceptihat for current costrmaking "E''' Jones. !!" Mn. I did not get the import of the per hour, 1.45 cents' and solving for X, JoNns: cost K. W. question. the time of use,which resultsin maximum economy' quality is found to be 646 hours. QursuoN: In the relative of the lights in making up the comparisonbetween the Arc light These two values check fairlY well with those and the Incandescent,it seemsthat the rays of the found graphically and shown in the curves, Fig- carbon lamp will travel to a greater extent than the ure 1. Incandescent. The Incandescenthas a greater fall- ing off power for a given area. A large set lighted DISCUSSIONON with Incandescentswould require more lamps than DR. LYNDON'S PAPER an Arc lighted set. Mn. JoNrs: The questionis rather complicated, Mn. Fanmnala: The lamp manufacturers use and the answer,I think, dependsupon the definition a method sbmewhatsimilar to that describedby Dr. of the term "falling off." There are reliable data Lyndon to determine the most economic and best relative to the penetrating power of difierent wave lamp life. By proper choiceof the lamp efficiency lengths. In the case of the transmissionof light (filament temperature) the average life of lamps through the earth's atmosphere,which contains a may be controlled within wide limits. Based on certain amount of diffusing or scattering material, lamp renewal costs alone, if the cost of electrical such as water, vapor and dust, red light will travel .n.igy is low and lamp costs very high, then it with less loss of intensity than blue, which is scat- *o*ld b" desirable to design the lamps for a fairly tered to a greater extent. Light from the Incandes- long life and converselyif the energy cost is high cent lamp is red, comparedwith that of the Arc, and lu-p cost low, it would be more economicalto and hence under the conditions mentioned above operate the lamps at a short life. In the caseof should travel with less loss of intensity than Arc Iamps used for general lighting service it has been light. In the studio, however,this atmosphericscat- found that for the average energy rates prevailing tering must be very small indeed, and hence will throughout the country an averagelife o{ about have a negligible efiect. If the Arcs actually have 500-600 hours gives the maximum light at lowest greater "carrying power" in the studio it is prob- cost, ably due to difierencesin the angular distribution of In the caseof lamps for studio lighting servicewe the radiation from the light source,the light source have the additional important element of color of being defined as the actual sourceof radiation plus the light. It would be desirablefrom the stand- its reflectionfixture or housing. It may be also that point of color rendition on the film to operatethe this opinion that the Arc carries better than Tung- lamps at a very short life; i. e., 50 or 100 hours; sten light is basedupon tests in which care has not this, however, would make the lamp cost excessive. been exercisedto be certain that the two sources In our study of the problem,it has beenfound that a have identical candle-powers. 400 hours givesthe best balance life of from 200 to Mn. FanwHau: Mr. Jones' statementsrelative photo- between energy cost, lamp cost, and the to the greater power of red light in penetrating {og graphic rendition of colors. and dust are correct. I should like to supplement Several studios are making the mistake of ope- Mr. Jones' remarks with referenceto the carrying rating their lamps at a long life, hoping to reduce power of light from various sources. Ever since I their lamp costs. While such a proceduremay re- have made a study of the lighting problems in the duce the lamp expense,it greatly reducesthe quan- studios,the statementhas been made that the light tity of photographiclight from the lamp with the from Incandescentsources falls ofi more rapidly result that more equipmentmust be used to secure with increasingdistance than doesthe light from the sufficient light, and as equipmentscost more than Arc lamp. The illumination receivedon any sur- lamps the net operating expensemay be higher. face follows what is called the inverse .qrr"r. I"*, QuBsrrox: Has there been reacheda compari- and is independentof the nature of the source. A son betweenthe two lights, the Arc and the Incan- simple statementof the inverse squarelaw is: The descentas to the amount of light that we require illumination intensity on a surface varies inversely for a given amount of space? In large setsthe Arc as the square of the distancebetween that sur{ace lights seemto have a greater carrying power natur- and the light source. I should like, at this time. t s1l to refer to a test which was recently made to deter- the straight line portion of its characteristiccurve, mine this point, and which apparently demonstrated so that the nearly equal densitiesobtained would that the light from Incandescent sources falls off not signify that there were anywherenear equal in- more rapidly than that from the Arc. The results tensitiis of light from the two sources- As the dis- of this test have been given considerable circulation tance betweenthe sourcesand the subject were in- and might serve to strengthen the belief of those creased,the exposureobtained from the Incandes- who feel that there is a difierence in the rate of cent lamps dropped down on to the straight line light attenuation from Arc and Incandescent sources' portion o{ the characteristiccurve before that from In the test re{erred to a man's face was illumin- the Arc lamp, showing the effect of decreasedillum- ated by a 35-ampere, twin broadside Arc placed 2, ination soonerthan was obtainedwith the Arc lamp. 4, 6, 8, 10, 12, 14 and 16 feet distances from the Mn. Por.rnn: I think your explanation is ex- subject and a number of frames of film exposed at actly correct, and if you start with equal illumina- each lamp position, one-half of the film being masked tion there is equal carrying power. I would like ofi. The film was then brought back to the starting to ask if any intensity measurementswere made at point, and an Incandescent source substituted for the sametime ? repeated so that the ex- the Arc, and the exposures Mn. Fl.nxnent: No intensity measurements posure lamp at, for example, 6 for the Incandescent were made nor was any attempt to keepthe wattage half of the frames that the feet, occupied the other comparable. Arc lamp at 6 feet occupied. Thus an opportunity very was given of comparing the illumination received Mx. Guv Wrrrv: We have beentold that from Arc and Incandescent lamps at each distance. little o{ the energyused goes toward heat. Is there percent- At the 2 and 4 feet distances both halves of the neg- any way we can find out the comparative {or Arc lights, Mazdas and Cooper-Hewitts? ative appeared equally exposed, but as the distances ages-Mn. increased, the part of the negative illuminated by DowNns: The infra-red region above7000 heat rays the Incandescent light appeared less exposed, giv- Angstrom units is that region in which the ing rise to the conclusion that the Incandescent light are produced. The percentageof energy dissipated heat region fefi off more rapidly. This test is misleading for of the White Flame Carbon Arc in the per of the two reasons: First, equal wattages or equal photo- above 7000 Angstrom units is 66 cent, graphic illumination intensities at the start were Panchromatic "O" Carbon Arc is 64 pet cent, of iot employed. In the second place, the illumina- the Quartz Mercury Arc 82 per cent' and as we tion received when the two sources were within 2 have already been told here, the proportion of the to 4 feet of the subject, was so high that the photo- energy in this region for the Incandescentsis over graphic emulsion was undoubtedly operating beyond 90 per cent. LENSES FOR CINEMATOGRAPHY

During the sessionof April 19, Mr. W. B. Ray- nothing but a glass catalogue and a table of logariths ton, head of the Scientific Bureau of Bausch & or a computing machine, would fall far short of fill- Lomb Optical Company, read a paper on "Camera ing this room. Another reason certainly lies in the Lenses for Motion Picture Photography." In the too o{ten fantastic claims of the manufacturers. The transactions this reading took place between the optical industry, although insignificant in total vol- reading of papersby Mr. Deleray and Mr. Downes' ume of business in comparison with the motion pic- but as the subject of lensesdiffers from that of il- ture industry, steel, or motors, has been and still is lumination it is presentedseparately. highly competitive. Hence we have many kinds of lenses which hard-working advertising men have to try to sell. It should not be surprising i{ some of PAPERBY the less responsible invent some literature which may slightly mislead the uninformed, nor is it to be ex- MR. RAYTON pected that there will not be many people who are convinced thereby, and who enthusiastically believe Mn. Ravrou: It is possiblethat no other pro- they see the proof o{ the claims in the results they duct of human ingenuity, which is so widely used obtain. as the lens, is less understood or more prolific in giving birth to fantastic notions. It seemsprobable In addition to the mental fog created by adver- that one reasonfor this may lie in the fact that our tising literature and hearsay testimony, there is the complete knowledge of the geometry of image for- circumstance that the per{ormance o{ a lens is mation is so recent. Another reason probably lies usually judged by examining a negative or even a in the relatively small number of people who are positive print. In either case many factors other trained in the scienceof lens design. It is not un- than the lens contribute to the final result. likely that the world's supply of peoplewho could The significance of this situation lies in its bear- design a useful photographicobjective starting with ing on the user's satisfaction with the per{ormance

f <)1 LJHJ of existing lens equipment and on his expectations These two facts have made the fast lenses pos- of future developments. sible. If a higher degree of definition be demanded can be attained only by com- The demands of the motion picture industry have of the fast lenses it plicating and thereby reducing the driven the lens manufacturers to attempt to supply the construction speed' The economic law of lenses of a relative aperture which twenty years ago realizable, efiective returns" applies to lens'design as well would have been regarded as impracticable. Prog- "diminishing to selling efiorts. A general ress in this direction has been attended by much as to agriculture or better definition than is now possible efiort and expense. It is very doubtful whether demand for be met only by lenses of lower relative aperture' the profits on all the high speed lenses sold are equal can constructions so complex that the ultimate to the money which has been spent in design. But by lens result is equivalent to lenses of lower aperture, or with all the effort, no essentially new principles of new discoveries in the realm of lens design and lens design have been involved. There is no lens by In fact, it is reported that existing construction in use today which could not have been manufacture. lenses fail to show exposures commen- produced twenty or more years ago if the designer high speed surate with their relative apertures. had had the courage to attempt the task, or any rea- Twenty years ago a relative aperture o{ F:4.5 son to believe that there would have been {ound any was regarded as very high for anastigmat lenses. useful application of the type o{ lens he could have applied to photography it produced. When such lenses were was found that fore-ground and back-ground fell The short focal lengths required in motion pic- out of focus very rapidly for all but very long shots. ture work and the pictorial character of the work This marked lack of depth of focus was seized upon are the factors which have made reasonably high by the salesmen as a mark of superiority' They speed lenses possible. The definition in the image claimed it added depth or plasticity, stereoscopic formed by any lens depends upon the residual aber- efiect, to present the principal object in sharp focus rations which still remain after the designer has against an out-of-focus back ground, making a vir- done his best with the correction. In general, all tue out o{ a defect, as salesmen in all lines of mer- lenses of a series of focal lengths sold under the chandise are prone to do. The public accepted this same name are geometrically similar. That is, the view for a time, but the public is today more in- radii of curvature of the surfaces, the thicknessesof clined to independent judgment as to what is good the separations of the the component lenses, and and bad photography, having been largely educated lenses are all exactly twice as great in a 6- usually therein by the marvelous accomplishments of the series lenses. It inch as in a 3-inch of the same of cinematographers. The public today is not pleased follows that the numerical value of the aberrations by photography in which the {ore ground and back proportional it is to the focal length and that may ground are masses of haze. It was suggested in possible quality image produced be easily that the of one of the meetings of last week, and, I believe, by a 2-inch lens may be satisfactory while a 6-inch there is truth in the suggestion, that lack of depth of the same type might be regarded as useless.Early of focus is often responsible for criticism of the photography did not use 2-inch lenses, hence the general or ayerage definition of a picture. designer was wise in regarding F:2.0 lenses, for Depth of. focus, if there were no other considera- example, as impractical. Further, in the early days tions involved, sets a limit to the speed to which it of the anastigmat nothing was regarded as accept- is desirable to carry lens design. what that able other than the sharpest possible definition. This Just limit is in cinematography I cannot definitely say attitude has fortunately been abandoned by every- for it is a matter o{ opinion how much blurring of one but photo-engravers, scientists, engineers and the fore ground and back ground should be per* others whose work requires for its successthe closest mitted. Undoubtedly it should vary with the char- possible approach to absolutely sharp definition. acter of the set. If flexibility in lighting be per- There is no doubt that absolute sharpness of defini- mitted, a much more extensive use of the diaphragm tion is undesirable in pictorial photography. There than is common today would improve the technique is an equal degree of certainty in the mind of the of the cameraman. speaker that both in portrait and motion picture into photography the departure from sharp definition In view of the above and other considerations permit go, question- has been carried too far to please the general pub- which time will not us to it is photography not lic. There is no doubt that this has been the result able whether better average would of somewhat less aper- of the enthusiasm with which we are all prone to result from the use of lenses receive any new thing, using it without discretion ture than is now employed. until our appetites are jaded and we relapse into In addition to the quality of the image produced boredom unless another novelty takes its place. On by a lens the focal length of it is an important fac- the other hand, while the question of the extent to tor in determining the character of the picture as it which definition should depart from perfection is appears to observers in the theatre. All sets are debatable there is probably no dissent from the gen- three-dimensional and the arrangement of the actors eral proposition that a certain amount of softness and properties in respect of their relative distances enhances the pleasure we derive from any photo- from the camera contributes nearly as much to the graph intended to appeal to our senseof beauty. final efiect of composition as do their separations in f53 I the plane perpendicularto the line of sight. The meaninglessunless they assumea definite point of only way in which the observer can judge of the view for the observer. Assuming the lens is free relative positions of the objects in the picture in from distortion, the perspectiveof a negative will respectto depth is by meansof perspective. If the always be true if viewed from a distanceequal to perspectivebe.faulty his interpretation of distances the distancefrom the secondnodal point of the lens will be incorrect. Possibly the result will in no to the plate or film when the exposurewas made' perspective wise diminish his satisfactionwith the picture; on VieweJ from any other distance,the of said, the other hand, it might seriouslyimpair the efiect the negative will be faulty. It cannot be the director and cameramanhave striven to produce. there{oie, that perspectivedepends upon the focal This subject is discussedin a paper by A. C. length of the lens without qualification in the {orm Hardy and R. W. Conant, presentlast week at the o{ a specificationof the viewing distance. Similarly meeting of the S. M. P. E. I am introducing the the perspectiveof the projected picture will be true focal subject briefly in this paper for many of you who or false,-according to the relation betweenthe were not present at the time the paper referred to length of the lens used for projection and the view- stands was read and in order to add one or two remarks. ing distanceof the observer. If the observer perspective In monocular vision the most important indica- atlhe projection machine' true demands whose tion of the relative distancesfrom the eye of the that piojettion be accomplishedwith a lens taking lens' various objectswithin the field of view is the appar- focal length is the same as that of the done, ent size of thoseobjects. Our interpretation of dis- In motion picture practice this is very rarely projected tances from a consideration of apparent sizes is and as a consequencethe perspectiveof the always basedon experienceand involvesan assumptionthat picture viewed from the projection booth is For we know somethingof actual dimensionsof the ob- false. This is usually but not always apparent. jects involved. If the actual dimensionsof someof any other distancefrom the screenthe focal length l give true perspec- the objects are unusual our judgment of distances of the projection lens necessaryto pro- will be incorrect. For example' supposetwo auto- tive can be computed by multiplying the total jection distance by the focal length of the camera mobileswere visible in an otherwiseabsolutely blank j field so arranged that no part of the one obscured lens and dividing by the distancefrom the observer by any part of the other. We would immediatelylocate to the screen. This relation was brought out point for them in spacerelative to each other on the basisof Hardy and Conant, who also out that the the pro- their equality or inequality of apparent size, since usual 2-inch lens used in cinematography jection inches we know from experiencethat regardlessof difier- lens should have a focal length of 4 perspective for encesin wheel base,the width and height of auto- in order that correct be maintained projec- mobiles does not difier greatly between different an observerseated half way from screento perspective models. If. however, one of the cars was replaced tor, leading thereforeto best average for pro- by a perfectly proportional miniature our judgment the entire house. The general use of a 4-inch jection are would be violently upset. The difierencein appar- lens would lead to larger screensthan projection ent size of.the two cars will dependon the distance common. Probably the average lens is o{ the observerfrom the nearer car as well as upon nearer 6 inchesin the larger and better theatres,so projected their separation,the difierencebetween them dimin- that better averageperspective in the pic- ishing as his distance from them increases,so that ture would follow the use of a focal length of 3 his judgment as to the separationof the cars one inchesin the camera. from another dependsupon someprior judgment as Probably the usual result of false perspectivein to his distancefrom one or the other of them. This the projectedpicture is a slight deteriorationof com- judgment can be formed even in otherwise vacant positionwithout the observerrealizing that anything field of view on the basisof the apparentsize of that is wrong, but in the caseof any well-known object car compared to the extent of his whole field of filling a good share of the field of view somevery view. If this were the first time he had seen an unpleasingresults follow. To illustrate this I am automobilehe would be utterly unable to form any using some slides,prepared by Hardy and Conant opinion of its distance becausehe would have no and used to illustrate their paper, which demon- idea of its dimensions. If the unknown automobile strate how unsatisfactoryresults can be. appearedin a field containing familiar objects he In order to prevent any misunderstandingit re- would at once be able to form an estimate of its mains to be pointed out that this alseperspective of distanceand of its dimensions. f which I have beenspeaking is not related to the dis- Motion picture sets usually contain familiar ob- torted perspectiveone seeswhen he views the picture jects. The observer viewing the picture on the side of the theatre. screenestimates his distancefrom the scene{rom the on the screenfrom a seatat the appearanceof the dominating object within the field One's perceptionof depth is unaffectedby his lateral and locatesthe other objectswithin the field on this displacementwith referenceto the line of projec- basis,combined with a considerationof their appar- tion, but one does find the apparent width o{ all ent relative sizes, objects in the picture to be afiected thereby while Perspectiveis a matter of relative apparentsizes. their heights remain constant. In so {ar as the ob- The expressions,true or faulty perspective,are server's perception of depth is concernedonly his t s4l distance from the screen in the line of projection is of influence. One more subject remains {or consideration which, I understand, has caused some uneasiness in cinematographic circles. There seems to be some belief and some fear that with Mazda lighting and Panchromatic film the lenses now in use cannot be made to give satisfactory results, because, it is said, E the best photographic focus does not coincide with E l the best visual focus. We shall first inquire into this on theoretical grounds and then report on such few controlled experiments as have been made to WAve€ncrh (mru) subject this matter to test. In No. 31 of the Transaction o{ Society o{ Mo- tion Picture Engineers, L. A. Jones published curves setting forth, graphically, data on the average radia- FIGURE II tion {rom Incandescent Tungsten lamps of wattages curves of Figures 1, and 2 and upon the condition such as are used in studio work, the transmission of correction of chromatic aberration of the lens in characteristics of a representative photographic ob- question. Classical practice in correcting a lens {or jective, and the sensitivity curves of Orthochromatic chromatic aberration requires that the best focus and Panchromatic emulsions. The product for any Ior a wave length at about 4340 in the blue-violet given wave length leads to a quantity which Mr. region be united with the best focus for a wave Jones has called photicity. length o{ about 5890 in the yellow, and that the focal lengths or magni{ying powers be practically equal for those two colors. With this practice agreed upon as standard there is room for some difierences in final correction because of the fact that exact coincidence in size and position of the violet and yellow images is possible only for one zone of the

L lens. The outer zones of fast lenses cannot be b given the same correction as the central zone and in d 9 the exact disposition of these residual aberrations there is some chance for differences in performance between different makes of lenses. Assuming, however, that the best focus for the wavrlEncri (mL, two colors mentioned is coincident there remains a residual color aberration due to which the colors lying between the two chosen colors will come to focus somewhat nearer the lens and colors lying be- yond the chosen wave-lengths will be united in focal Figures 7 and 2 show the results of multiplying points lying {arther from the lens than the normal together these three curves for the two kinds of focal point. This secondary spectrum, as it is called, fift. They show the relative response of the emul- might conceivably result in a shift of the apparently sions to the various wave lengths emanating from best photographic focus if it were large enough and Incandescent Tungsten after allowing for the filter- if the emulsion had sufficient selective effect. Pan- ing effect of one of the standard photographic lenses. chromatic emulsion, however, appears to utilize the The two curves are not comparable, quantitatively, same range of wave-lengths as the Orthochromatic since some of the data on which they are based are plus some greater sensitivity in the red. The actual not expressed in the same units in both cases. They secondary spectrum efiect in the range added to the serve, however, to show that both emulsions respond efiective photographic radiation by the use of Pan- to all wave lengths without either of them falling chromatic film is actually very small because of the to an insignificant value until a wave-length is low dispersion of glass for the long wave-lengths of reached corresponding to the orange region o{ the red light. It does not exceed a fourth of the region spectrum. In the blue, activity begins at wave- of uncertainty as to what constitutes the best visual length 330. Below this point, no matter how much part radiation there might be within reason its effect focus and amounts to a very small of the varia- would be insignificant because of the absorption of tion of Chromatic aberration between central and the lens. The principal difference in the curves is, marginal zones in anF:2.5 or F:2.0 lens. of course, the extension of sensitivity into the red There is undoubtedly sufficient secondary spec- displayed by the Panchromatic film. trum in long focus lenses of low relative aperture Any failure of visr,ral and photographic foci must to be detected photographically especially when depend upon the combination of values shown by the using filters, but with the short focus high aperture

| \\ | L'" J lenses used in motion picture photography no such Mn. Duenav: I do not questionthe correctness effect is necessary if the lenses are well corrected. of the curves. I wish to ask anotherquestion: Is Actual tests made by photographing a step-test on there any definite sizeo{ the disc of con{usionwhich both kinds of emulsions using Mazda lamps in both can be consideredas a standard for what we could casesshowed no shift in the point of best {ocus. The call a sufficientlysharp picture? step-test consists in arranging a series of objects at Mn. RavroN: No, there is no standardcircle graduated distances in front of the lens, focusing of confusion. Motion picture film is said to have the lens for the object at the center of the range and a resolvingpower of 50 lines to the millimeter. To observing after exposure whether the point of best take advantage of the full resolving power of the focus has moved forrvard or backwards from the film the circle o{ confusionshould there{ore be less object in best visual focus. than 0.02 mm. I have seenin photographiclitera- A similar test was conducted on April 5th at the ture the statementthat a circle of confusionof 0.03 studio of the Metro-Goldwyn-Mayer Company in mm. gives satisfactorydefinition. Obviously it de- which Panchromatic film was used throughout but pendsupon what shall be regardedas a "sufficiently the illumination was shifted from Incandescent to sharp picture." In lensesof longer focal length Arc. Several lenses were tried, each for both kinds the circle of confusionwill generallybe greater. of illumination. In one case a slight {orward move- Mn. Duenev: I realize that the acceptedcircle ment of the point of best focus follows a shift from of confusionmay vary with the {ocal length. The Arc to Incandescent lighting. With the other lenses lensesthat we mostly use in motion picture work no shift whatever is observed. In each case the lens are two or three inch. What would be the ratio was set for best visr.ral focus under Incandescent of the disc in confusionwhich will give an cqually illumination and the same setting used for both sharp picture? kinds of illumination. MR..RavroN: If the picturesare viewedunder It is a fair. conclusion, therefore, that the best the samemagnification the circlesof confusionmust photographic focus for a lens of the focal length be equal, regardlessof focal length, for equal sharp- and speed used in motion picture photography will ness. The circle of confusion for a 6-inch lens, lie in the same plane whether Arc or Incandescent however, will be twice as great as that o{ a 3-inch lighting and whether Orthochromatic or Panchro- lens of the sametype and relative aperture. matic emulsions be used. If any given lens perforrns Mn. Dunnav: About the power o{ dispersionof contrary to this statement it is because of a depar- glassin the red end of the spectrum. I did not quite ture from the type o{ chromatic correction de- understand the explanation given and fail to see scribed above. Special corrections to meet the new why it would not be advisableto bring to a better conditions are not necessary, which is fortunate' focus the red radiations which enter into great ac- since otherwise a battery of lenses of the same focal count by the useof Mazda lights. lengths and speeds would be required to meet the Mx. RavroN: According to the best informa- different conditions of lighting and emulsion en- tion I have been able to get, which has been pre- countered. sented here in the curves which have been pro- In addition to a shi{t of the point o{ best focus, jected on the screen,the radiation from Incandes- it has been thought that there is some deterioration cent pungsten containssufficient blue and the sensi- of definition due to the more diffuse character of tivity of Panchromatic emulsion is such that the Mazda lamp radiation. There may be greater soft- blue cannot be neglectedin the color correction of ness in general effect due to a shorter tone scale in the lens any more than it could for Arc or Incan- the negative, but this is not a matter o{ definition. descent mercury vapor illumination. The wave It is a problem of manipulation of lights and of length in the blue selectedas one of the pair for photographic technique. It seems not unlikely that whiih achromatism is to be accomplishedis well less exposure and more development might be appro- abovethe lower limit of the photicity curves; it cor- priate with this type of illumination permitting the respondsto the point marked G on the diagram. use of somewhat slower lenses with their greater The other wave length selectedfor achromatismis depth of focus or of less current consumption. in the yellow at the point D. The argument centers DISCUSSIONON about the question whether these points are well chosen. Any decisionof the questiondepends upon MR. RAYTON'S PAPER how far the focal points for other regions o{ the Mn. Dusnav: Are the photicity curves just spectrum lie from the combined focal point for G shown, computedwith referenceto a Mazda source and D. Sincethe dispersionof glass,hence the sec- of illurnination ? ondary spectrum of an objective is comparatively Mn. RavroN: Yes. great in the blue, it doesnot seemadvisable to select Mn. Dusnav: I was under the impressionthat a wave length in the blue any longer than the one Incandescentfilaments even at that temperaturedid now used, viz., that correspondingto G. On the not emit the amount of blue radiationsas shown by other hand, the secondaryspectrum of the objective the slides. in the red is short so that practically no change Mn. RavroN: That is the caseunless the curves should be expectedfrom choosingfor correction a shown here have been erroneouslycomputed. wave length longer than that correspondingto D. ts6l Obviously, this reasoningis not in itself sufficiently he decidesjust how he will disposeof the residual developed to be entirely satisfactory,but it serves uncorrectible remnants of spherical aberration. It to .orrfir* the resultsof care{ully controlled experi- often happens,in high speedlenses, that closing the ments. diaphragm appears to spoil the definition of the Mn. Bar-r,: Are there any further questions? image on the ground glass and that re-focusing is Mn. Gmrrrtr: Mr. Rayton spoke, I believe, necessaryto obtain best results.with this and other just of there having been no radical improvementsin effectsin mind, it is really not easy to decide lensesfor the last twenty years. I was under the what is the best dispositionto make of the spherical impression there had been developmentsof great zonesin a fast lens. This subject has receivedcon- importance in optical glass that would improve siderableattention in optical literature. Results of lenses. this theoretical reasoriingare not always confirmed Mn. RavroN: I know of no fundamentallv by experiment. new optical glass that has been produced in that [At this point a test film made at Metro- length of time. Goldwyn-Mayer Studio, showing results of tests il4n. Gnrrurrr: Do you think that there will be conducted to discover the focus shifts if any due any production of higher grade lenses? to changefrom Arc to Mazda illumination was run.] Mn. RavroN: I believeit is true that the 1906 Mn. RavroN: I wish to say in the original pro- catalogue of the Schott Glass Works contained jection viewed at the Metro-Goldwyn-Mayer Stu- glassesthat are not found in their t92B catalogue' dio the efiect was very clear and satisfactory. I They have since eliminated some glassesthat were personally appreciatethe efforts of the gentlemen found to be unstableor otherwiseunsatisfactory, so who have put this picture on the screenunder dis- that the ones they manufacture today are all reli- couragingdifficulties. It servesthe purposeof show- able. I do not believe there is any fundamentally ing how the test was conducted,even if the quality important glass available today that was not avail- of the projection is not so good as we would like. able twenty years ago. The distancefrom the object in best focus is about Mn. Gnrnrrmr: Not knowing anything about 13 feet. The nearestobject was about 8 feet, and the studios,I feel at liberty to ask questions. With the most remote about 35 {eet from the lens. 'Were referenceto the depth of focusing: I have heard it Mn. Dunnav: they focusedunder White said that a certain amount of hardnessof {ocus in Arcs ? back ground was desir- the fore ground and a soft Ms.. Ravrox: We focused the lenses with the attention of the able as u *.utt. of attracting Mazda illumination in eachcase. spectator to the important actor' or the props' in Mn. Gnrrrrrrr: I want to ask an unrelated the picture, and leave the rest in a hazy back question regarding the care of closed lenses,par- ground, so that you do not seethe rest o{ the set- ticularly the polishing operation in order to clean only the important people. up the surfaceof a lens. What is the proper tech- Ii{n. RavroN: With Mr. Griffith's permission, nique, Mr. Rayton? I refuse to be drawn into a technical discussionon linen cloth that point, and will leave it to the cinematographers Mn. RavroN: A soft, well-washed satisfac- to discuss. with a little rouge and water constitutes rouge can Mn. Duenav: The characterof the set in ques- tory equipmentfor.cleaning a lens if the be from grit and is not tion would govern the amount of depth of {ocus be dependedupon to free dry. IJnless the best that was required for the best efiect. allowed to becomehard and rouge is obtainableand used intelligently, Mn. Barl: There is one questionI would like of optical it is better to omit it. Pure grain alcohol (not de- to ask Mr. Rayton with referenceto the desirable natured, for sometimesthis will stain a lens sur- amount of difiusion. What is the effect when you face,) is excellent, but care must be taken not to are using a diffusion disc, or is the difiusion disc let the alcohol come in contact with the lacquer on independentof the stock or the lens? the lens mount. Blow as much of the dust ofi the Mn. RavroN: The efiect of the diffusion disc surfacesas possiblebefore touching them. IJse as will not be independento{ the aperture' The cor- pressure rection o{ a lens for spherical aberration is never little as will suffice to clean the surfaces. perfect. In a high speedlens the departurefrom per- For looselcnses like condensers,etc., pure soap and fection may be considerable(illustrates on black- water is efiective, rinsing thoroughly in running board). According to the experienceof the de- water and drying with a soft, clean linen cloth. signer and the efiect he may be aiming to produce, Avoid chamoisand silk.

t s7l ':t

I i FINAL SESSION OF THE ACADEMY

Friday night, April 20, 1928, there occurred an ment, and other necessary apparatus. Laboratories open sessionof the Academy, attended also by without exception contributed the development and representativesof the Society o{ Motion Picture printing of the film taken in the tests. Altogether Engineers, the American Society of Cinematogra- Warner Bros. Studio was used for several weeks phers, and the Associationof Motion Picture Pro- with eleven night demonstrations and daily tests by ducers, at which final reports were submitted on individual cinematographers on almost every week behalf of the organizationsinterested. The Secre- day of the period. tary of the Academy presided. The Max Factor Company and the Artists' Make- up Association contributed a make-up artist to ex- ACADEMY REPORT periment during the demonstrations in the perfec- BY THE SECRETARY tion of make-up materials. The results o{ the demonstration will be reported This present inquiry in the matter of incandes- by the representatives o{ the American Society of cent illumination originated at a meeting of the Cinematographers, and will be a part of the records Technicians' Branch of the Academv held on of this meeting. November 16, 1927, as shown by the minutes of the Early in the progress of the demonstrations the meeting. At this meeting it was asserted by differ- Academy requested that all producers report their ent members that Mazda lighting was proving ef- own experrences in incandescent illumination and fective in a few studios, particularly at First to this there was a splendid response. These re- National. It was argued from this that the use of sponses were mimeographed and circulated among Mazda lighting was destined to become more all studios and interested companies and persons, general in the industry, and that if it did there were being a very valuable contribution to the investi- but a hal{ dozen cinematographers in Los Angeles gations. At 'the end of the series o{ demonstra- who were experienced .in this means of illumina- tions a second questionnaire was addressed to the tion. It was further pointed out that the then exist- studios, and u.'asresponded to in like manner, all of ing equipment of lamps and fixtures for incandes- which are matters of record in the files of the cent lighting was in urgent need of development Academy. and improvements before they could be expected to At first it was intended that this final week of give satisfactory results. The manufacturers had demonstrations, papers, reports and conclusions heen making more or less unorganized investiga- should occur the week previous to the Convention tions and experiments for several months. but there of the Society of Motion Picture Engineers, which had been no definite cooperative effort on the part had been invited by the Academy to occupy the of users and makers to reach scientific and practical Academy quarters during the period of their spring conclusions. convention in Hollywood. It was requested, how- Therefore, the Technicians' Branch of the Aca- ever, by the Engineers that the date of the Acade- demy voted to conduct a series of experimental my's final week should be postponed until after the demonstrations in Mazd.a lighting. This action was Engineers' Conventicin, and this was agreed to by approved by the Academy Board of Directors on the General Committee of the Academy, the result December 19, 1927, and invitations were issued to being that a number of the members of the Society manufacturing companies and all interested persons of Motion Picture Engineers have been in attend- to cooperate and assist in the series of investigations. ance during the past week. The Technicians' Branch appointed a corimitt.e On Wednesday night, April 11, the Academy consisting of cinematographers belonging to the gave a dinner in honor of the Society of Motion Branch giving them authority to proceed-with the Picture Engineers, and it was attended by nearly series of demonstrations, and this committee pre- 350 members of the Academy and guests, the result sented the matter in the name of the Academv to being the most important and success{ul gatherinq the American Society of Cinematographers, of which under the auspices of the Academy since its organi- they were members, asking that organtzation to co- zation. operate with the Academy. The American Society This final week of the Academy's program on the of Cinematographers responded with splendid en- subject o{ incandescent illumination in cooperation thusiasm and to them was conceded the authority with the American Society of Cinematographers and the obligation of conducting the demonstrations. and the' Association of Motion Picture Producers The Association of Motion Picture Producers rvas opened on Monday night with an outdoor demon- also joined in the project, and on behalf of the stration on the grounds of the Garden Court manufacturers assumed the necessary expenditures Apartments on Hollywood boulevard. for the purpose of carrying out the demonstrations. Tuesday night at the Hollywood Chamber of Warner Bros. most generously donated the use o{ Commerce the edited film resulting from the several their studio. Manufacturers came forward with weeks tests and demonstrations made in Warner contributions ol raw stock, lamps, lighting equip- Bros. studio, together with the film photographed ts8l the previousnight, was exhibited,and is now in the the face of the earth today we could make pictures custody of the American Society of Cinematogra- and good pictures, phcitographicallyspeaking, with phers for the benefit o{ all companiesand persons Mazda lighting alone. But I do not infer by this authorized to have them for examination. that Mazda lighting is the only illumination that Wednesday night's sessionof the week's meetings can be used, and perhapsshould be used, at least was devoted to the artistic subjectsconnected with at the present time, for making motion pictures of incandescentillumination, namely, color of artist's the photographic standard that is required in make-up, costumesand sets,and all color values as modern production. influencedby incandescentillumination. This meet- A great deal has beensaid about the color rendi- ings was attended by more than 100 interested tion of Mazda lights as compared with carbon pefsons. arcs, but we have practically always made the Thursday night's program consistingof technical comparisonbetween Mazda and White Flame Arcs. subjectswith paperson Mazda lighting, flame arc It must be kept in mind that the developmentof lighting and cameralenses in motion picture phog- Orange Flame Carbon, called Panchromatic Car- raphy, was equally well attended. bons, put them at par as photographiccolor rendi- Records of all demonstrations, investigations, tion with the Mazda lights, for the possibilitiesof meetings,papers, reports, etc,, have been kept and obtaining better rendition of skin texture,'color of are available eyesand lips, which will permit the performer (the In conclusionthe Secretarydesires to personally actor) to expresshimself without any fear of his thank all members of the Technicians' Branch of expressionsbeing lost in the final results on the the Academy and all of the producing companies screen. and the many other personsinside and outside the I will not say that the investigation recently Academy who have been of most valuable aid in conductedonMazd,a lighting in motion pictureshas lightening the duties of the Secretary'soffice. beencarried as far as it could and should be, but it has been a great start, a sort of a great push given to a great ball, which has started to roll, and will A. S. C.,REPORT roll indefinitely. In other words, Mazda lighting is BY JOSEPHDUBRAY not brought up to a perfect point of development. In fact, if it were brought up to the point of per- It is of coursevery difficult at the present time fection, if nothihg else could be done to improve to give a real report on this momentoussubject, but this system of illumination, so as to increasethe I will endeavorto expressthe opinion gatheredfrom photographic quality of pictures, we would repeat several cinematographersduring and affer the con- the phrasethat Dr. Mees told the Cinematographers duct of the extensiveinvestigation carried on for a at one of their meetings. Dr. Mees stated then that period of six weeks. if photographic emulsionswere easy to make and Possibly we should have prepared a written re- €verything was known about them, there would be port, but as most of the meetingsheld by the S. M. no more fun in making photographic emulsions. P. E. and the Academy during the last week and We state here that if pictures were easy to make, a half have been dealirtg in the subject oI Mazda there would be no more fun in making them. lighting, we did not feel we could write such a It is our opinion that in sets of normal size, report until the results of these meetings and dis- Mazda lights can be used exclusively with great cussionsderived from them, were concluded.Never- efficiencyfor obtaining very good results,but when- theless, we can perfectly visualize the results ever the sets are very large and in some specified obtained through these demonstrationsand meet- conditions where special photographic results and ings, and we will endeavorto expressthem to you. efiectsare wanted, it would perhapsbe advisableto I would state that this "Mazda Marathon" has use a mixed system of illumination of Arc lamps been conducted as an investigationto ascertainthe and Mazda lamps. I am of course thinking of value of Mazda lightings in motion picture produc- panchromaticcarbons and panchromaticfilms. tion. It has been perhapstoo much the prevailing lWhen we have to illuminate very large areasor idea that this investigation was conducted as a we find ourselvesfacing the impossibility of bring- competition,so to speak,or comparison,with other ing our sourceof light sufficiently near the surface systemsof illumination. Of coursea certain amount to be illuminated we doubt the efficiencyof Mazd,a of comparisonis indispensablein any such matter, lamps and equipment in their present state of but the main scope of this investigation was to development. study and understand the practicability of Mazda I am quite sure that most cinematographerswill lighting equipment and the results that can be give quite a preferencefor a certain time to come, derived by the exclusive use of this system of to the use of mixed PanchromaticCarbon lishts and illumination. Mazda lights, but againl statethat if through some The conclusionis that Mazda lighting is a very cataclysmall arc lights should disappearwe would efficient system of illumination for motion picture not be forced to stop making pictures. purposes. In fact, I can state that if through some Another system of illumination, the Cooper- cataclysmall other illuminants were destroyedfrom Hewitt system,is very interesting. Cooper-Hewitt tsel tubes have been practically discarded for the last ment and we devote a great deal of our time to year or two, perhaps since the advent of panchro- the study and solution o{ our technical problems. matic film. The reason for it is that the radiation Some conclusions we have derived from the in'l'es- emitted by these lights were not the proper radia- tigation of large aperature lenses we have submitted tion to be used in conjunction with panchromatic to the Society of Motion Picture Engineers, not a film, but since the development by the Cooper- a statement of facts, but as a series of thoughts, so Hewitt Company of the new Neon tubes, experi- to speak, which were in our estimation worth while ments conducted mixing the Mercury and Neon to be taken into consideration. Mr. Rayton last tubes have proven that this system of lighting is night gave us a very splendid lecture on this subject very efrcient in modern photographic conditions. from which we have derived a gieat deal of benefit. IJnfortunately at the time the tests at Warner Nevertheless I do not hesitate to state that I am Bros. Studio were conducted we had only two units personally still "{rom Missouri" and that I am of Cooper-Hewitt's Mercury and Neon, which were not convinced as yet of the fact that lenses of new very crudely arranged to bring about the proper design are not advisable when used in conjunction mixture of the Mercury and Neon radiations. with Mazda lighting. I wish to refer you to a on this subiect. I do not mean by this to bring any discredit upon paper submitted to the S.M.P.E. me to make any definite Mr. Shannon who has displayed a great ingenuity It would be vgry unfair for I personally and cleverness in supplying us with these lights in statement here on the subject unless being in error. The the very limited time he had at his disposal. were absolutely convinced of A. S. C., through its research committee, will I do personally believe that Cooper-Hewitt illu- further investigate this matter, and finally atrive at mination o{ Mercury tubes in conjunction with some definite conclusion. Neon tubes ought to be kept ever present in our our attention minds, especially when we are called upon to photo- Another question which has called graph large sets. The Cooper-Hewitt Mercury was the matter of "make-up," a very, very impor- go set all ready lights, before the advent o{ panchromatic film were tant matter. Many times we on the our principals used for general illumination purposes. They gave for work and we usually find that picture players) have well us the foundation of illumination upon which we (I mean our stars and make-up would build our high lights, in other words, our taken care of themselves in the matter of in the detailed system of illumination. through the experience they have acquired course of their work. Stars and principals feel Now these lights can be used to the same efiect deeply the sense of responsibility that falls upon providing the proper mixture o{ radiations is them due to the importance of the perfect rendition obtained, with the added advantage of avoiding a of their expression and their physical appearance' great amount of the heat radiation that would be due to the importance of the roles they portray. emitted by the Mazda lamps necessary to give the Of course, we often have to instruct even stars and same light intensity. feature players about certain phasesof make-up, and of dis- We don't want to enter into repetition we usually find a wonderful response on their part, quite well exhausted cussions which have been but there are other players who are just as impor- past and a during the meetings held in'the week tant as a star in their particular work. For instance con- half, but I wish to give a rapid survey of the a player of minor importance in the cast of a pic- elements sideration in which we have taken all the ture may appear on the screen at certain intervals perfectly photographed pic- that concur to make a either in a close-up or a semi-close-up. Right at the ture, if such a thing can exist. moment of his appearance in such scenes and no We have for instance, taken into consideration matter how short this appearance may be, this actor photograph;c lenses used in cinematography' Now, is at this particular moment as important to the a photographic objective is a very delicate instrument production as the star, and his physical appearance and the knowledge of its qualities and properties should be photographically perfect. Unfortunately require long study and a scientific trend of mind. many times we do not find as good a response {rom I want to state here again publicly, what I have this category of actors as we could expect. Many several times stated to you gentlemen in private times we are told by them: "I have seen myself on conversation, a cinematographer to be a successful the screen for years in this make-up and I photo- cinematographer, must have a well developed sense graph well and I don't know why I should change of artistry, in other words, he must have a certain it." Of course we cannot enter into discussion or artistic temperament (i{ you take this word tem- open a course on make-up at the moment we are perament in the proper sense that I assign to it) ready to "shoot." In such cases we have to take and a scientific mind, very seldom, if ever, can either one of the following stands: just photograph blend together completely with an artistic mind. I the actor as he is, though we know the results will think we can all agree on this. We ought, perhaps, be disadvantageous to him, or her, and our work to be scientists and artists at the same time but be rendered more difficult by the lack of proper then, we should be too perfect, I think. make-up; or demand that the make-up be changed Nevertheless, our work is so exacting that we pay or modified according to our conception, which en- a great deal of attention to all scientific develop- tails loss o{ time and not very pleasant {eelings. I t 60:l present wish it would be more fully understood by every we can adapt it to whatever need may itself one that there isn't one single phasein our work in the course of a modern production. Furthermore which is less or more important than another' be- we feel that further mechanical improvements as causeall tend to form the harmoniouswhole, which well as improvements in construction of lamps' will we call a well photographedpicture. constantly increase their adaptability and conse- quently constantly ameliorate the quality of our When an actor tells me: "For so many years I have used this make-up," I usually answer him: work, I wish to state right here that it would be very "Well, only a few years ago I couldn't take a pass definite judgment on the artistic picture if the sun wasn't burning my neck, but unfair to any tests which have been shown to you. todav I can't take one if the sun isn't shining right value of the this investigation, we were not always in my eyes." As small as this fact seemsto be, it In conducting beautiful results, but very often has in my mind a tremendousimport. This chang- striving to obtain solve some definite photographic prob- ing of position of the main source o{ light while we strived to us in the course of pro- photographinga picture representsto me the process lems, such as may confront and we felt that this was the only way to of work we have gone through in order to make duction, and constructive experiments. better pictures photographically. conduct instructive We have established,a very close contact with I dare say here that the cinematographer has the Make-Up Artists Association and the joint proven during the past years that he is capable of work of the Cinematographerwith the Make-up constantly and gradually improving the quality of artist if supported by actors and directors, studio his work. I dare say that this constant and gradual managers and producers will produce excellent improvement will be our aim in the future. How results. "we are going to accomplish this aim, we cannot say. One feature of our inv'estigationof Mazda light' We cannot say if it will be by the use o{ a single ing equipment which we have stressedon several system of illumination or several systems combined, occasions,is the matter of the heat radiations but we can state that this aim will be our constant emitted by this light. Now, this is a repetition care. indeed. It will be a repetition for days and months It is very difficult, impossible, I should say, to and perhapsyears to come,because it is a question make here a last and definite report on the Mazda of tremendousimportance, which is, we are assured' lights situation. In fact, it is my opinion that the attracting all the attention of the designerso{ new real, actual value of this system of illumination lamps, bulbs and housing for same. Again, I want can only be ascertained by checking, studying, in- to repeat that the Cooper-Hewitt, Neon tubes sys- vestigating thoroughly the work conducted in sev- tem may be o{ help in reducing this heat in large eral studios under actual conditions o{ production. sets. I do not want to minimize here the importance I refer, of courseto the useof the Mercury-Neon of the investigation conducted so far. We cinema- tubes combination which can be used as ground- tographers have derived great benefits from it, bene- work o{ the generalscheme of illumination of a set. fits which in turn will result of great value to the Now, let us considerthe artistic sideof the results producers. We have established some very definite which can be obtained with the Mazda system of facts and derived some very definite conclusions' lighting. but it is only through the study o{ production con- I think that the tests shown to the S.M.P.E. a ditions that the cycle of investigation can be made few nights ago, as resulting from the severalweeks' complete and productive. investigation carried on at the Warner Brothers I wish to mention here the very favorable impres- StudioJ, have conclusivelyproven the great possi- sion made by Mr. Beetson's declaration in regard bilities inherent in this system of illumination, to. the establishment of a research or development through its pliability and its adaptability to our laboratory in Hollywood. I dare say that the cstab- work. There is no question in my mind as to the lishment of such an institution will prove to be one efficiencyof Mazda lightings and to the possibilities of the greatest achievements of our Industry. of improvementthat it Presents' Such laboratory, I presume, will function as a It would be impossiblefor any Cinematographer sort o{ a clearing house, will be the link between to fully expresshis artistic senseif he would feel manufacturer and producer. As such it will be confined,restricted, so to speak,by too great limita- receptive to all new discoveries and improvements tions in the materials and instruments that are at devised by manufacturers and also receptive to all his disposaland which are the tools that make the new ideas proposed by members of the pictures-pro- expressionof his artistry possible. It would be im- ducing field. This means that any new idea, any possiblefor him to freely make use of his creative new need expressed or felt by the production field, and inventive talents if he carried the thought that will be the resultant of a concensus of opinions of the instruments and materials he is using represent experts in their particular field, more than the ex- the last word in efficiencyand adaptability. pression or need of only one individual. We do This is not the case in the system of lightings not mean by this that individual efforts will be put which interest us the most at this time. We feel into discard or not encouraged; to the contrary, that we can adapt it to our needsand we feel that these individual efiorts will be collected and perhaps t61l blended together to more efficiently serve our pur- important point to be remembered. I believe that poses,to the benefit of the exponent of the efiort everyoneof you will agree that Mazda lighting has and of the whole industry. The establishmentof been improved and that Carbon illumination has such laboratory will, I am sure, inspire greater been improved as a result of the experiments which confidencein the manufacturer in investigatingand havejust beenheld. solving problemspresented to him. This is, to me, a marvelous achievementin so Consideringthe work of the Cinematographerin short a time; and it showsconclusively the value of the direction of new improvementsin apparatus,it co-ordination in our thinking, of co-operation,and may appear at times that the opinions of several of research. cinematographerson the samesubject are of a con- We were particularly fortunate that while these flicting nature. But, I am sure, if these opinions experimentswere still under way, the members of were investigatedby a person thoroughly versed in the Society of Motion Picture Engineers should the art, they would always prove to be in close cometo Hollywood to hold their annual convention. relation to each other and ultimately a conclusion We were eager and hungry for the valuable in- would be arrived at which would prove beneficial formation which they brought to us. And I hope to the industry. that, in somesmall way at least,we have been able perhaps This address,or report, will be of little to repay them {or their visit, especiallythose who you value to you gentlemen. It perhapsimpresses remainedfor this convention. as a mere sequenceof words, of very little if any I believewe have succeededin doing so, for this import, but it is of great import to me if I have conventionof the Academy of Motion Picture Arts conveyedto you a small portion o{ my conception and Scienceshas been an exceptionally interesting of the importance of the experimentsconducted by and important one, and one, I am sure, which will us and of the significanceof the close contact just be of lasting benefitsto all. establishedbetween the Society of Motion Picture Engineers,the American Societyof Cinematograph- I cannot too highly commend the Technicians' ers and the Academy of Motion Picture Arts and Branch of the Academy for taking the leadership Sciences. in this very fine activity. This spirit that the Tech- A momentous feeling of friendship has been es- nicianshave shown must and will continue,not only tablished,which will bring about a closer and more in their branch of the Academy, but in all branches productive co-operationof efiorts. Our technical, of the Academy. To this end, I pledgeyou the full artistic and commercialproblems are better under- support of the producersin any worthwhile under- stood by you, gentlemenof the S. M. P. E., today taking which will react to the industry's good. than they were a month ago. They will be still The successof the meetings,which are now be- better understood in a month from now, and still ing brought to a close, is, indeed, such a splendid better in a yeat from this moment. And fi{ty, a exampleto every other branch of the Academy that hundred years hence,our successorswill still profit I hope it will awaken in every member a full real- from the, as yet intangible, benefits derived from ization of what can be accomplishedwhen there is the establishmentof this personalcontact, from the a willingness to go ahead,to forget our own prob- spirit of friendship and loyalty towards each other, lems for a minute, and to work {or the good of the which has come into being during the meetingso{ industry as a whole. this Convention. I thank you. In closing, I want to thank the technicians,the cinematographers,and the engineers,and every in- PRODUCERS'REPORT dividual and every organization, contributing to highly successfulevent. BY MR. FREDBEETSON this I have been an interestedobserver of everything DISCUSSIONON that has gone on in connectionwith the technical THE REPORTS developmentsin the motion picture industry, and am convinced that we have come to the end of a Trrr CHarnuaN: You have heard Mr. Beet- chapter tonight which is of outstanding importance son's report for the Producers. Are there any re' in the history of production. marks or questionsyou desireto ask him ? It might When the first demonstrationsof Mazda illum- be interesting to enquire regarding the proposed ination were held at Warner Brothers' Studio, on laboratory or researchbureau, of which he has al- January 16th, an esprit de cor\s was born that is ready spokenseveral times. Mr. Dubray mentioned pricelessto the industry. I have never seena finer it in his report as a thing very much desiredby the response,a keener interest, nor a better spirit that cinematographers,and, I am sure, it is desired by has beenevidenced by the cinematographersand the the Technicians' Branch of the Academy. tlhat is, members of the Technicians' Branch of the Acad- the consummationof the plan proposedby the Acad- emy who joined together for the experiments. emy sometimeago and in the processof carrying out I am sure, that by the combinedefforts of all con- on the part o{ the Producers,to establisha bureau cerned, the motion picture industry now has im- of investigationand a researchlaboratory. Can Mr. proved illumination. And that, gentlemen,is the Beetsonadd anything to that?

162) Mn. BnnrsoN: In general, I cannot add any- board illustrating a certain point, scientifically it thing to that, Mr. Woods. The Bureau will be es- was all Greek to me, but close by me a cameraman tablished any day,as I announcedlast night. I had was sitting and when Dr. Luckiesh got through this hoped at that time that we could have announced cameraman said, "I would like to go to the mat the appointmentof the candidate.That will be done with him on that." When we have boys with such very soon. The start will be a Bureau of Technical active brains as displayed in this instance, I believe Researchwith the highesttrained man that we can you will agree with me that in the near future we secureto operatethe Bureau. That man will start will be keeping pace with the gentlemen of the by making a contact with the various gentlemenin Society of Motion Picture Engineers. I thank you. this room and, selfishly,we will start by using- Tun CrrernltaN: We will now have the re- which we know we are welcome to use-all research port of the Academy Committee that has had charge laboratoriesfor the immediate benefitsthat we our- o{ the program and management of the demonstra- selvescan gain. It would be folly to think that we tions on behalf of the Academy. Mr. A. George can do anything independentlyin the manufacture Volck. of the Mazdalamp, or the manufacture of Carbon, Mn. Vor-cx: Mr. Chairman, fellow members or the manufacture of lenses,etc., that this Bureau o{ the Academy and guests. These three months o{ will do by contract with the various technical re- Incandescent tests, experiments and demonstrations searchdepartments of the manufacturersrepresented have probably been one of the outstanding activ- here. It will checkright on through to the Depart- ities of this Academy. I believe that our three ment of Standardsat Washington. We will learn months of experiments and this Convention have why a certain paint is a proper paint, and when we brought to the front as much as anythinq else the use a certain paint, we will know why we are using tremendous possibilities of the Academy. Our Tech- it. We will go into the different kinds of wall- nicians' Branch is merely one of the five Branches, boards,etc., and other similar inatters and probably and we Technicians do not want to claim any par- reduce the many items we are using in the con- ticular energy or credit, but we are working very struction of our sets. There may be sevenor eight hard in our Branch and have been able to accom- or nine difierent kinds of wallboards used, and by plish results, o{ which we are all very proud, and checking with the Bureau of Standardsat Wash- hope the whole Academy also is. Possibly we have ington we will find the best one at the lowest cost pioneered to a small extent in bringing about a con- and adopt it. In a few words, that sums up the crete result of an idea that was considerably nebu- workings of the actual start of our Bureau. We lous in the beginning. The thought originated about are glad our plan has met with the approval of you three months ago to have a series of Incandescent gentlemen. When the articlesused by us and man- demonstrations and tests, and from that thought de- ufactured by you are perfected to the last degree, veloped the idea of having these tests over a definite it will no doubt then developthat we have certain period of three months culminating in this Conven- things here in Hollywood that can only be perfected tion, and the inviting of the various Societies that by ourselves. When we reach that point' a{ter con- are represented here tonight and who have been rep- ferenceswith the technical men' etc.' and get our resented during all of the demonstrations and the program established,then is when we will establish week of this convention. All of the best got to- our laboratory. gether. We called upon our big brothers, the In a few years we will begin to have the same American Society of Cinematographers and the : feeling that you h2vs-rvs will be trained to look Motion Picture Engineers, and the results of this I been acknowledged a tremen- t upon researchas insurance.We will expectto spend week. I believe. have of the a vast amount of money for somethingthat may be dous successthroughout the industry. Many in- 'used three, four or five years later, so that when truly big men in this town connected with this lengih that time comeswe will be preparedfor any event dustry have talked with me at considerable and the and know exactly what we need. About twenty that in their opinion the results of this week tests years ago the motion picture businesswas almost three months of experiments and Incandescent of the nothing, while now it is thirty-two yearsold and is that went be{ore it are as fine an example be put the fourth largest industry in the country. In the concrete possibilities of achievement as can some- event an entirely new form of entertainmentshould forth by and for the Academy. It has been an ex- develop,that is where our laboratoriesshould come thing really concrete. We can say, here is nothing in to protect us. Take the matter of television. ampL of what the Academy can do. If that, That is most important. We should be up to date elre has been accomplished by our Branch than on it. We should know all there is to know about I believe a tremendous lot has been accomplished the it, Sound efiectswe are studying, as you know, of in that it has shown an example of what Acad- course. emy really can accomplish that is definite and to a successful conclusion with specific re- The necessarymoney for all this will be forth- brought Besides that, there is another coming, and I am delighted at the evidencesof the sults accomplished. of keen interest everyonefeels. Some sevenor eight vast achievement- it is the bringing together weeksago when Dr. Luckiesh was giving a lecture the various elements of the Academy working to- in this room and was drawing something on the ward one point, and in this Convention we have t63l brought together all the various Branches of the Producers realize the fact that to a Targe extent the Academy. Another thing has been accomplished future possibilities and probabilities of the industry and, in my humble opinion, this is so valuable that as a whole lie in the possible development of the you cannot put a commercial figure on it, you can- sciencesback of it, I believe that then you will find not say in dollars and cents what it amounts to. It they will back up one hundred per cent any effort has brought into closest co-operation three great that is being made along engineering and scientific bodies of men, the Atnerican Society of Cinematog- lines. raphers, the Society of Motion Picture Engineers, The Academy does not want to hand down any and the Technicians' Branch of the Academy, hence engineering rulings, neither does the Technicians' the whole Academy. I believe that the weeks that Branch of the Academy wish to hand down any we have been working together and the fact of the technical decisions, but we as technicians, co-operat- Society of Motion Picture Engineers meeting here ing with and working with our brothers, are merely on the coast last week, their co-operation I'r'ith us striving to give out technical facts as we find them. this week and the co-operation through the past In other words, we want to say, in Problem One three months of the American Society of Cinema- there is decision A, and in Problem Two there is tographers have so closely knitted those three or- decision B, and whether you use A or B it is up to ganizations that it is going to be very difficult to you, but here is all the information about A and say where one stops and the other begins. Of course here is all the information 2fes1 !-n6w choose the three will continue as separate organizations, yourself whether you use A or B. In other words, but there will be a fraternity and co-operation that to try to present to the industry all of the facts and would not have existed if it had not been {or the the true facts of any problem of the industry. The Engineers' meeting here last week, together with Academy does not advocate, promote or try to push this meeting and our joint efiorts with the Ameri- the use of any type of equipment or of any engineer- can Society of Cinematographers. Besides that, there ing or scientific brand of opinions entering into the has been a shuffiing of the interests of the East and motion picture industry. The Technicians' Branch the interests of the West so that the East and West does not sponsor, advocate or endorse any type of are as one, each understanding the problems of the equipment or any brand of material that is used in other. Out here a great many of us almost failed the industry. It is merely attempting to scientific- to realize the enormous work that is so quietly and ally analyze and examine everything that is being unostentatiously being done in the laboratories in the presented to the motion picture industry, and give East. I speak particularly of the members of the the true facts, and leave the decision entirely with industry who are not technical men. Having lived the producers as to what they use and do not use. in the East myself and having.done engineering I want at this time to particularly register our work there for many years, I was fairly well in appreciation and thanks for the assistance rendered touch with the Eastern experimenting research sit- by all of the members of the American Society of uation, but with due respect to many of our Cinematographers, which Society is so extremely "Bosses" (and I do not object to the secretary tak- fortunate in being headed by one of really broad ing this down either), I think many of the Produc- vision. its President. Mr. Dan Clark. I wish to ers do not fully realize the enormous importance thank the Society of Motion Picture Engineers for of the engineering and general scientific research their co-operation with us. We o{ the Academy work, investigations and developments that are be- wish to thank also all corporations and individuals ing carried on by our brother engineers and scien- who have contributed to the successof this under- tists in the East. No matter what the thought is, taking. We have a tremendous debt of gratitude no matter what the picture is, no matter what the to acknowledge to the Association of Motion Pic- idea is, no matter how artistic it is, nevertheless, ture Producers, as represented here tonight by its in the final analysis it can only be put on the screen Executive Vice President, Mr. Fred Beetson. Gen- and before the public by mechanical, engineering tlemen, although Mr. Beetson is present, I have to and scientific means. It is through science that you say what I think. We are very fortunate in having are able to translate a thought into a visual reality. had Mr. Beetson as Executive Vice-President o{ the There is no writer, there is no director, there is no Association of Motion Picture Producers, because put- artist, there is no Producer who is capable of although this is an Academy Convention, the Pro- ting the story that he has conceived or wishes to ducers' Association has financed the majority of the produce or act in on the screen in other manner tests. The whole thing at one time really rested in than through scientific and engineering mediums. Mr. Beetson's hands. He could have almost stopped Consequently, with the gentlemen who came out it by not getting through the necessary appropria- from the East working here with the engineers and tions. He is a man of the broadest vision. He has scientists in the West, I believe that that point has thrown himsel{ whole-heartedly into this thing with been driven home to the controlling powers in the a courage and efiort that we cannot acknowledge industry in a way that it has never been driven just in words. home before, even though some o{ these powers may Among my suggestions, may I respectfully, not understand everything from a technical stand- through our Secretary to the Board of Directors' point that has been discussed or done. When the suggest that a motion picture projection machine be

l6+l put in the rooms of the Academy for use.by the further in Mr. Volck's eulogy of Mr. Beetson, and of Academy and at the meetingsof this section,it being say that as President of the American Society to talk to the plan of this sectionthat there should be definite Cinematographers I have had occasion scientific papers prepared and read every month' Mr. Beetson on development lines and I have al- just This, gentlemett, I believe sums up our three ways found him to be a very and reasonable you, *onihs-of efiort and more or less coverswhat my man in his dealings, and I want to tell Mr. my success notescontain. Beetson, that without your co-operation TrrB CuarnrtRN: That concludesthe reports' as President o{ the American Society of Cinematog- person- We would like to hear from any member present raphers would have been impossible, and I or any of the visiting guests. I wonder if Mr' ally want to thank you. Crabtiee of the Society of Motion Picture En- Recently we have had the pleasure of co-operat- sineerswill not favor us? ing with the Academy of Motion Picture Arts and Mn. CnasrnnB: On behalf of the Society o{ Sciences. That has been an added pleasure because I wish to say that it has it has given the American Society of Cinematog- Motion Picture Engineers, 'W'est' been our fondest hope to hold a meeting out raphers something which we have always wanted, a We finally achievedour ambition and I am sure closer affiliation, and opportunity to give to the pro- that when we get back East to tell those members ducers a thing the American Society of Cinematog- r.vhofailed to come out West all they missed,I am raphers has been working to give them, but could quite sure we will have another meeting here very never find an opportunity to get it in. I do not soon. I guessthat's aboutall. Thank you' believe there is a person sitting in this house who THB euarnruaN t Will Mr. Porter, Secretary fully realizes the benefits that have been achieved of the S. M. P. E., saysomething? during these demonstrations, and their findings are months will pass before we Mn. Ponrnn: Mr. Secretary,ladies and gentle- such that weeks and that have been achieved dur- men: Mr. Volck has expressedso beautifully what f:ully realize the things It has been an extreme pleas- has been running in my mind that there is little ing these conventions. to me to be able to help in a small way in the left that I cun *ay. I wish to take this opportunity ure organization of the greatest research demonstration to thank you all- for your hospitality and for the that the motion picture industry has ever attempted. *ona.tirli time that you have given us' I feel I speak of the Mazda demonstrations. I do not sure that it has been oi *ot. benefit to those of us has been said by previous speakers here who have come out from the East than to you peo- know what evening, whether there were any definite state- ple. When men in difierent lines o{ work get to this ments made regarding the Mazda lighting situation irro*.u.h other personally,understand each other's not prepared to give a definite de- prott.-t, little differe,t.i. ,oott disappear and it or not, but I am cision on that. But I do believe that out of the t.J,t in co-operation,which is o{ the greate-stbene- go Mazda demonstration is going to come a process of fit to all. ait of us who have come out here development and betterment for the motion picture back with the feeling that we leave behind us a quarrel; thev industry greater than anything we have ever at- ;;;;1 ;""y friends,and friendt don't West tempted. I do not speak of the illuminating situa- i"o.t ,og.itt... It ls orrr hope that yo" !1 the tion alone, because out of these Mazda demonstra- will soo"nhonor us by coming East and letting us' tions have come many things - not simply the at least in a measure'try to recip.rocatefor all of method of illumination we are going to use' I want lft"- ift;"gt that you have done for us out here' to thank the Academy for the opportunity we have Thank you. of co-operating with them-that is one of the Tnr-CgarrutaN: I would like to hear from had great things that ihe Academy has achieved. As Mr. Clark. -M*. o{ the American Society of Cinematog- Cr-anr: Mr. Secretary,ladies and gentle- President raphers I want to say this is a sort of fulfillment of men: I do not know whether I expressmyself pro-p- the ambition of that group collectively and individ- .tty ot not, but it seemsto me that through-all the have always hoped that somehow or years this industry has been progressingthere is ually. We other something would come to pass wherein we o.r" vitul point that most o{ us overlooked,and that could let those people who are responsible for the is that there are two deciding factors in the success scientific developments in the industry know ex- o{ motion picture production-one is technical and actly what the men who are responsible for the the other is practical' The American Society -of practical end needed. Cinematograpierswanis in its membershipmen who have alwiys teen putting into executionideas along That thing has been done. It has been accom- been read, the practiial applicationline. We have felt a very plished through the papers that have greal ne"d for a closeraffiliation with the men rep- through the contacts established between various iesenting the technical angle of ouJ industry, and members of our Society and the Producers. also we lave felt a very keen need for the men who There are a great many things I should like to were responsiblefor accepting the efiorts of both say, but I do not know how to say them. I do, of us-that is, the Producers'Association. however, believe that the Academy of Motion Pic- I think as Mr. Volck thinks, that bouquetsshould ture Arts and Sciences, the Motion Picture Pro- be given to thosewho are living, and I want to go ducers' Association, the American Society of Cine- t6sl matographersand the Society of Motion Picture would like to ofier a'motion that this meeting re- Engineers,through thesecontacts are going to pro- queststhe Board of Directors of the Academy that duce better pictures, and, I believe,we will all be testimonials,in permanent form, be prepared and happier in producing them than we have ever been sent as a recognitionof our gratitude and apprecia- before. I thank you. tion to all societies,corporations and individuals to Tup Cnarnnraw: I wonder if Mr. Loyd Jones whom the Academy is indebted for assistancein the of the S. M. P. E. could say something without undertakingswe are now concluding. a pieceof chalk in his hand? Mn. Ban: I secondthe motion. Mn. JoNrs: Mr. Secretary,I believeI have The motion being put to a vote was unanimously heard it said that there is a certain nationality who carried. would be unable to talk if their hands were tied Trrn CHarnnraN: Are there any other resolu- behind their backs. I am just about that way with- tions or recommendations? out a piece o{ chalk. It seemsto me there is very Mn. Ball: f move that the Board of Directors little to say. I am sure that speaking{or the So- of the Academy be requestedto have the recordsof ciety of Motion Picture Engineers we feel very the proceedingsand digest of the demonstrations much complimentedthat you have given us such a which have culminated in this week's meetings,or welcome here. I consider it a great privilege to convention,properly preparedand printed for pub- speak to the meeting of the Academy of Motion lication and circulation. Picture Arts and Sciences. I just want to empha- Mn. Bmrsou: I secondthe motion. size somethingthat Mr. Porter said a few moments The motion was then put and unanimously car- ago. We have beenlooking forward for many years ried. and have been trying for many years to have a Mn. Cnaernnn: I would like put into the min- meeting of the Societyof Motion Picture Engineers utes of the meeting that the Societyof Motion Pic- out here where pictures are made. There were ture Engineers is greatly indebted to the Academy many difficultiesin the way, and,a few of the mem- for the Academy rooms for holding our meeting, bers had considerabledifficulty in arranging for this and especiallyto the Secretaryof the Academy, Mr. meeting,and it certainly is an occasionof great grat- Frank Woods, and to ils secretary, in turn, for ification here. their co-operation. In all my experienceas chair- to thoseof us who cameout I merely ' want to secondMr. Porterts remarksthat we apprc- man of the Papers'Committee of the SocietyI have ciate more than we can say the way we have been never had such help in conducting a meeting as I received; and the privilege of meeting you people have had during this Convention. We are also in- personally and getting acquaintedwith you is one debted to Mr. Fred Beetson,Chairman of the Ar- that we cannot possiblyestimate the value of, and I rangementsCommittee, and Mr. Ball, the Chair- certainly personallyfeel that I am going back East man o{ the Local Papers Committee, assistedby with a great many more {riends than I had when Mr. Volck. I personallywish to expressmy appre- I came out here. I shall always remember this ciation at this time. Convention with a great deal of pleasure. I thank TnB Cnarnuau: On behalfof the Academy,I you. want to say that the pleasurehas been the Acad- THB Cuarnnrar.r: Are there any further expres- emy's that the Engineers were able to accept the sionsof opinion or remarks? It is possiblethat some Academy'soffer of theserooms for its Convention. one or two members of the Academy might have It turned out that the quarters were ideal for their resolutionsto ofier.. purpose,and that is a matter for further congratu- Mn. Vor,cr: As Chairman of the General Com- lation. We thank you, however,{or your very kind mittee of the Technicians' Branch in charge of the expression.Any further remarks? If not, the meet- fncandescentDemonstrations and Investigations,I ing will stand adjourned.

t 66l APPENDIX

purposesof securing a concensusof As emphasizedin the Introductory Statement of ities for the question. this Academy Report, and repeatedin other parts opinion on the of the book, the researches,proceedings and trans- actions of the Academy in relation to Incandescent ORDERING LAMPS Illumination contained in the foregoing pages are Mazda not meant to be in any way final or conclusive as A report* entitled' "How to Order obtained to results. It is enough that presentdevelopments Lamps for Best Results at Lowest Cost," of the in illumination problems are made Iaitly clear' through the courtesyof Mr. R. E. Farnham Electric Co', These developmentsare continuing and will cer- Natioiral Lamp Works of the General the tainly so .oniir,t,. indefinitely' The Academy has recommendsthat the producers"make 115 volts and instruct efiectedonly a beginning. standard for all their studio circuits their purchasing departments to order lamps for their studio equipmentsaccording to the {ollowing FUTURE RESEARCHES schedule: Watts Rulb Order LamP Labeled It is, there{ore,with pleasurethat the announce- 1,000 PS-52 105 volts ment is made that all studiosare keepingrecords of 1,000 T-20 Beacon 110 volts 105 volts and experiencesin all kinds of 1,500 PS-52 their experiments PS-52 105 volts for sur- 2,500 illumination which may be made available 2,000 G-48 115 volts veys from time to time in the future {or the benefit 5,000 G-64 115 volts of the industry. 10,000 G-80 115 volts" The value o{ this continuationof researchesin all It is explained that the first four types were not kinds of illumination is more than ever apparent, designedsolely for photographic service; and that now that the industry has becomeactively involved it his been found that when operated,as indicated, in the production of sound and voice pictures' Illu- above their rated voltages,the amount and actinic mination that can be silently employedis obviously value of the light are increasedand best results in essential{or sound reproductionsand the more per- color rendition are obtained. The li{e of the lamp {ect this silent illumination can be made for photo- is somewhatshortened by this use,but, on the other graphic efiects, the greater will be the combined hand, the relative expensedue to breakagewill prob- results. ably 6e lessened. Graphs are given,in support of the conclrlsionthat the total cost of photographiclight obtainedis leastwhen the lampsare usedas indicated DEFINITION above. There are many important points to be cleared PRESENTEQUIPMENT up, and among them there is one that was not gone re- into with detailed attention during the recent The material in the following sectionof the Ap- a searches,but is now being made the subject of pendix was gathered in responseto a demand for specialenquiry by the AcademY. photographsand descriptionsof the various types The point is this: Can IncandescentIllumination u"a of Incandescentequipment available for be relied upon to give approximatelyas much defini- use.-oa.t Manufacturers known to the Academy weie tion in photographyas Arc lighting? The question solicited. The photographsand descriptionswhich has come up in connectionwith the plans of a cer- follow are available through the co-operation of tain producer whose businessis almost solely with First National Productions Corporation, Mole- the smaller classesof theatres where projection is Richardson, Inc., Creco, Inc.' and Gustav Deitz' not always of the best. It has beenwell known in Manufacturers of equipmentsother than thosehere- the induitry since its start, that inadequateprojec- in included are requestedto send photographsand tion in u rity large number of badly equippedand descriptionsof this product to the Academy for use operatedtheatres, has completelynullified so-called in later reports. aitistic efiects in photography. Pictures that are Equipments are designatedas named by the :e- praised for their fine lighting when well p{ojected spectivemanufacturers. In this connectionit is felt iru-r. upp.uted on the screen as blotches,shadows tlat with the increasein number of the types and guard and undistinguishableblurs. There{ore, to models of equipment available communicationsbe- against this, producerscatering to the smaller the- tween studios would be greatly facilitated by the pro- aters have beenobliged to photographall their adoptionof astandard nomenclature. A committee duct with a specialview to sharp definition. Can t tuy b. appointed by the Academy to study this any other form of illumination than Arc meet this problem. . . . requirement? An enquiry has been sent to the --gopie" of this report can be obtained tbrough the Academy. Technicians of the Academy and to other author- 167l T Y P E o F N C .at N D E C E N T E a U P M E N

FIGURE I FIGUR,E II FIGURE III FIGURE IV

Figure 1-Cine-Light, Type MR-IO. Primarily for home photographv. 'Ihe parabolic reflector is especiallv efficient in light projection and was designed to be used with a 1000 watt, G-40, spotlight Mazda lamp. Figures 2 and 3-Studio Spots, Type MR-25 and MR-35, These lamps are similar except for size and are used chiefly for modelling close- ups, back lighting, and Bpotting on the deeper sets. Each is equipped with a plano-conYex condenser and spherical glass reflector. A regulat- ing means is provided to permit rapid beam adjustment. The MR-35 (Figure 2) takes a 1000 watt, G- 40, and the MR-25 a 2000 watt, G-48, Mazda lamp. Figure 4-18" Sun Spot. IJsed sener- ally for depth lishting and spotting out. Means are provided for focus- ing, flooding, and otherwise regu- lating the beam. Uses a 2000 watt, G-48, lamp in combination with an 18" diameter glass para- bolic reflector. Figtre 5-24" Sun Spot. This lamp is prinarily designed to produce strong shafts of light and sun ef- fects, and for the very deep general lighting required on larger sets. The 5 KW, G-64, bulb or the 10 KW. G-80. concentrated filament Mazda lamp can be used inter- changeabl]', an adapter being pro- o vided to conectly position the 'filament in the optical ais of the reflector. Figure 6-Rifle Lamp, Type MR-211. For close-up, general lighting, and light projections into fairly deeper sets. IIas a rifled reflector of heat resisting glass that produces a very uniform area of diffused light. Adapted to use a 1000 or 1500 FIGURE V watt, PS-52, Mazda lamp. FIGURE VI t68l ANUFACTIJRED Bv MOLE RICHARDSON, INC

FIGURE VIII

Figure 7-Vertical Hanging Strip, Type MR-32. For use where space is very limited and nar- row, compact unit is desired. Form T-20 Mazda lamps are utilized for light source. The reflector is of white porcelain enamel. Figure 8-Overhead, Type MR-3O. This unit is used for general overhead lighting. It takes five 1000 watt, PS-52, Mazda lamps and is equipped with porcelain enameled reflectors, ventilated hood, and means for hanging and clamping at any angle. May be used singly or grouped as desired. Figure g-Strip Lamp, Type MR-31. For gen- eral foreground lighting at doorways, win- dows, in recesses, back of columns, etc. Has adjustable wing reflectors. Ilead may be set in any position. Designed to use four 1000 watt. PS-s2, Mazda lamps. Figure lO-Single Sidc Lamp, Type MR-19. For foregrcund, close-up, and general set lighting. This unit has a porcelain enameled reflector with slide for diffuser glass and takes a 1000 watt, PS-52, Mazda lamP. Figure ll-Double Side Lamps, Type MR-2o. F'or foreground, close-up, and general set FIGURE VII liehting. They have porcelain enameled re- flectors and use 1000 watt, PS-52, Mazda ramps. Figure l2-Utility and Gimmick, Type MR-11. This unit may be used wherever small single unit is desired. It may be set on any flat surface, hung on wall, or used with bracket and stand. It takes a T-20 Mazda lamp.

FIGURE IX

FIGURE X FIGURE XI FIGURE XII l6e) T Y P E o F N C N ED c E N T E a U M E NT

FIGURE II

8-hole plugging box which serves six FIGURE I Figure !-[ 6-pound incandescent units with slip connectors and leaves two Figure l-Shows controls incorporated in head of All- standard stage connectors available for other purposes. Purpose Lamp.

Figure 3-Two All-Purpose Lamps mounted on stand so as to supply equal distribution of light for full fig- ure photographs. Lower unit reflector of polished aluminum; upper unitl re- flector of porcelain enamel steel. 1000 or 1500 watt, P.S. 52, clear or frosted incandescent lamps are recommended.

Figure 4-Four A1l-Purpose Lamps mounted vertically. Especially adapted for strip lighting.

FIGURE III FIGURE IV

Figure S-Five units mounted horizon- tally for general flood lighting or Figure 7-Units banking. mounted so as to Figure 6-Rear view show flexibility of of units mounted arrangement fot as in Figure 6. modulation.

FIGURE V FIGURE VI FIGURE VII t 70l MANuFACTURED BY CRECO INCORPORATED

FIGURE VIII FIGURE IX

Figures 8, 9' lO, ll_As many as fifteen units, constituting 18,- 000 watts, can be clustered and controlled on one stem.

c/Ae

Figure 12-Unit as described in Fig- ure 4 being used as scoop or dome.

FIGURE X FIGURE XI

FIGURE XII L7rl YT P E o F N C n N DESC E N T E a U P M E N T M (NOT FOR SALE)

a, b. c. 1OOOWATT TORCH BROADSIDES A close-up flood unit burning a 1000 W'att T type a. 1000 Watt. b. 2000 Watt. c. 1000 Watt Twin. lamp. Enameled metal reflector. Head is detachable with yertical General illumination units designed for T or G Type a mounting rvhich permits a 180 degree rotation. concentrated fflament lamps in front of enameled re- Stand is telescoped with cable and play attached. flector. Removable heads with difiuser g:rooves, mounted on two-section rollered stands, with pin plug and cable at tached.

llrsd idgY;'ssl 'b7 st

6/Ae

FIRST NATIONAL SPOT A floor unit for close- up work. Designed for 2000-watt G-type lamp with. 6" plano'convex condensing lens and fo- cusing rod. Telescoped rollered stand'has switch, cable and pluet attached-

a. Three Light Strip. b. Four Light Strip. c. 1000 Watt Reflector. d. 2000 Watt Reflector. General illumination units for use where space is restricted. All enameled metal reflectors.

t72l PRODUCTIONS CORPORATION ME N ANUFACTURED BV FIRST NATIONAL (NOT T'OR SALE)

10 K. W. LAMPHOUSE TIIREE LIGHT STAND general flood unit similar in purp-ose-to--the.10 K' W' ! T tvp" unit with enameled reflectors A A general illumination paru--nnameied metal reflector. Vertically telescoped hable with for T type lamps. Is in two pieces' eenter- designed roller-based suspension frame. rotation. hing-ed. for light control, and is proYided with roller silk Led. diffuser. It is mounted on a two-section telescoping rollered stand with cable and plug attached. Three switches permit individual lamp control. (A similar Four Light Stand is also manufactured.)

6/Ae

10 K. W. PAN 'ip, parabolic metal lector. A general flood unit. A 24" enameled 10 LIGHT DOME reflector with suspension ring is used as a mount for unit. Enameled reflection surface' rce ig a 10 K..W. lamp. Roller-based frame telescopes both Overhead suspension flood lamps. vertically and horizontallY. Adaptable to either T or P.S.

L /J I TYPES OF INCANDESCE.NT EQUIPMENT MeNupeclURED By GUSTAV DEITZ

PORTRAIT LAMPS FLOOD LIGI{T Designed for very fine closeup work. Reflectors and corners Gives a soft light over fairly adjustable to allow absolute control of shadows without large set. Suitable brackets and affecting the general exposure. One of two 1000 or 1500 watt efrsient ventilation make possible special frosted bulbs are used. use as dome. Mounted on tubular stand that allows lamp to be ele- vated about twelve feet.

AUALITY OF ILLUMINATION

ExperimentalTests Conductedby the Paramount-Famous-LaskyCorporation

6SP

The voluntary contribution by the Paramount-Famous-Lasky Corporation of records of important experiments conducted independ- ently at a cost of several thousand dollars to the company is a highly significant example of the spirit of altruism that prevaded the Academy investigations. The meTnorandum of transmission follows:

174l LETTER OF TRANSMISSION

To the Academy of Motion Picture Arts and Sciences: department of the Para- From May 25,lg2},to June 15, 1928, the Experimental the illumina- mount Famous Lasky Corporation conducted a series of tests to determine middle tones and tion value of Arc and Incandescent light sources in terms of white, use' Although every black in respect to the common film emulsions now in general not wish' inasmuch precaution was taken to regulate the attendant conditions, we do problems at the Para' as the tests were made with especial reference to conditions and to quality of either mount Studio, that the results be taken as conclusive with regard illuminating sources or negative film emulsions used' 'We accompanying are glad to submit to the Academy our test film and the to Academy members records and reports in the hope that they will be of some value and readers of the Academy reports. (Signed) J. J. GAIN, Executive Manager' ROY J. POMEROY, Director ExPerimentalDePt'

TESTS LAYOUT FOR QUALITY OF ILLUMINATIONEXPERIMENTAL

I - oarAG6NA[---spH-ERE I i I I SPHERE llllCYL|NDERi Iilllli""l t \.\\rP"\ \,\J r,/ ,7,t_)/, ,/ I i t r,'r.. \Iri il i ! \^,41, \ i --1i' /' ,i' i | \,\\ \ \ i i ,/ i/ I I t''\'.\i\/ ,/,/ J ti \\\li/ i I / \,\ ! /'/' / .-\ I 'tt '{v'l' ' '-t\ ) i / ' o^Y,^,xl,'""il"d v.o* .oo,\ ]Vfi i oot 2&ARc \ \, , i \,/l I i \'/l I I \,/i i u/i I I I .#.oo I t{o.2&ARclln ! rNEl=esuRE--- i__._ '-7-ne-5--- -i

l7s) QUALITY OF ILLUMINATION EXPERIMENTAL TESTS PeleuouNr-Faltous-Lesxv Conr'x.-Pounnor Dnpenrlrnwr-JuNn 15rn. 1g2g.

(1) test was made on Trys several.Eeometricobjects namely Octagonal Sphere, Cone, Sphere C.ylinder and Cube, all of a lisht neutralerev tone.(very lifht m-ouse;,to aete.-int th;'if;;;fi"i'"1i"? ii" itt'a"r'"tiili"i"itjighi in terms of ""egative ;;;": w[ite, middie ta,;wniiiTiim"eB.od carbons ( (-t'lorentine and I Silk and 1 Coarse Scrim)

Under those, foregoing conditions, it is clrIputed the light delivery of Incandescent was approxlmanely one-thrrd t'.na! ot tle_Arc light, whereas the power consumption of the In- the Arc.-A consrantvolrage was maintained through- ;?ttT:,.,1*ri,ffi:iL#""fllut"f;"r,of

(3) NegatiueFilms Used- Eastman Plain Neeative Eastman Regular Panchromatic (Tvoe No. 1) Eastman New Panchromatic (Tvbe No. 2) Dupont Panchromatic

(4) All conditions in exposing, developing and printing tlese teSts were exactly the same. -tjxposureNormal, 16 crank CookeLense at F.2. Development, 18 % minutes, Borax Develooer Printing-Long Shots on Lite 8, Close Ups bn Lite S. It.being es-sentialto determine a negative-developingtime, the Eastman Resular Panchrom- atic.Type No. I was used as-a basis-(this stock haviirg been standard f"r J]o"el.--''' eti-otl"t stocks being developed and handled the same as near'as humanly possible.

(5) The followins chart denotes the footage taken and the Photometric and Illuminometer read.ingstaken on the various objects at th6 time of film exposur

Close-ups Long Shotg Film Used AU Objocts Oct, Sphero Cono

Incan. Arc 3 Atc2 Aro Illoil. Arc 3 Arc2 Arc Incan. Arc 3 Atc 2 Arc feet feet feet feot feet . feet feet feot feot foet foet feot Etstman Plain Negativ€ 20 20 20 n 10 t0 10 10 10 10 10 10 " Reg. Panchro Type No. I 20 20 20 n l0 10 t0 l0 10 10 10 10 " New No.2 20 20 m n 10 10 t0 10 10 l0 10 10 Dupont Panchromatic n n 20 m 10 10 10 10 10 l0 10 t0 phnrnmorda { Oct. Sphsle 299.3 252.1 m2.8 n4.8 - -p'"'"-;.Jil'" .{ sphere 299.3 292.4 296.4 n5.7 299.8 293.9 295 2M.8 I cubo 294.6 8.5 290.6 298.6 298.1 293.1 n2.5 n6.3 ?p,4.2 2p.5.3 n5 ( 1t Illuminomsto! Oct. Sphoro l6 26 { SDhore Readiugs n.7 10.2 N 18 23.6 11.7 16.7 12.5 IO.D l6 I Cube lo. o 12.5 15.5 14.6 t2.7 .s 13.7 15.2 13.5 lo lo -o

| 761 Close-upsCon't

Film Used Sphere Cylirlder Cube

fncan, Arc 3 Lrc2 arc Incan. Arc 3 2 Arc Incan. Arc 3 Arc 2 | Arc ^rc feet feet feet Ieet feet feet feet feot feet feet Eastmen Plain Negativo 10 10 10 l0 l0 10 t0 10 10 l0 " Reg. Pancbro Type No. 1 t0 10 10 10 10 10 10 10 10 10 New No.2 i["'lif ;#{tg " 10 l0 10 10 10 10 10 10 10 l0 Dupont Panchromatic 10 10 10 10 l0 IO t0 10 10 10 13I 13E: u]€l 10 10 10 l0 l0 IO 10 10 10 10 I0 | 'o d; H.rfE 295.8 N6 299.5 295.7 294.5 294.7 297.8 290.5^t22tt. 296.6 292.8 297.5 295 297.6 | "l%Tffi!'J"{$Ji."f""*- 293.6 298.9 295 297.3 ns.2 2e6.7 2es at10 ', | r[uminometer Joo:l;1"10"." 17.2 17.9 t7 .2 12.7 19.5 18 lo.o 70.7 15.6 | 13.58t10,' KeadrDgs lbffi;- 16.9 to 19.3 16.5 t4.2 19.5 loD 15.8 I 14.bat4,,

Cmera 28 ft. from Objects on Long Shots. Camera 14 ft. from Objects on Closo-up Shots. All Arc Spots at 28 ft. from Objects and 23 ft. Left of Center. All Arc Brods at 15 ft. from Objects and 10 ft. Right of Center { Incandescent Brod at 15 it. from Objects and 10 ft. Right of Center. Incandescent Spot at 17 ft. from Objects and 17 ft. Left of Center . The 1200ft. of tests taken are titled and assembled in continuity to correspond with the aboye chart.

(6) Sp*riip-h:!!!:!i!c_Tests ol the three Panchromatic Emulsions heretofore used give a relative density comparison in the various spectralreEions as desienated. One 250 WT'Mazda Piojection GlSbewas used as the lisht source. One-half second exposurewas given in each test. Development was 8 minutes in Borax developer at 6g' F. All conditions in handling these tests were exictly the same. Type {astmal No,.2is ar-bitrarily Xlecte{to indj6atSa normal exposurefo_r comparative densities. (This selection doesnot o""u.t1tl,J-Tq9rk tl?t-_lyt-"_lp-'2 P-ylfl.qn is a.truly,,normaltest but for our purposeis acting as a basisof comparisonunder the above mentionedconditions of handling.i

Wavn Lnncrn Coupenerrvp Dnwsrrrns

of the Wave Limits Length Eastman Eastman of the of the Position Reg. Type No. 1 New Type No. 2 Dupont Color Color at Panchromatic Panchromatic Panchiomatic Exposure fnfra Red 800 800 No Trace No Trace 750 Red 663 Approx. 8 times 525 less than Type No. 2 x Normal Normal Orarige 610 500 Approx. 8 times Slightly more 600 less than Type No. 2 x Normal than Type No.2 Yellow and I OID DCU Approx. 6 times Slightl!--more Yellow GreenI 550 less than Type No. 2 x Normal than Type No. 2 Green and I 526 510 Approx. 4 times ( Blue Green 490 less than Type No. 2 x Normal Normal Bright Blue I 472 455 Approx. 3 tirnes Slightly less and-Indigo I 450 less than Type No. 2 x Normal than Type No.2 Violet 440 425 Approx. I trmes Slightlj'-less 430 less than Type No. 2 x Normal than Type No. 2 Ultra Violet 400 No Trace No Trace No Trace

(x) (Eastman fvne No. 2 is arbitrarily selectedto indicate a normal exposurefor comparative densities. l'his selection does not necessarily-indicate. that Type No. 2 Emulsion is a truly nbrmal tesi fut 6r our purpose is acting as a basis of comparison under the above mentioned conditions of iianajinE.t

177l BIBLIOGRAPHY

Application of Incandescent Lights to "Mazd.a Service and Lamp fnspectionsr" by L. A. "Effective"'^ Electric Review, Feb.' 1922. M;il; Ficlure Photographv,'l bv R'^I': Farn- Hawkins, General page Places," by C. L. Dows, Elee. ham, Am. Cinematographer' June' rvzd' "Lighting for Dusty Jan. 22, I92L, page 79L-2. 30. W., Lighting-Tests," by Leslie "Incandescent Lamps Used in Dust Laden Atmos- "Resiits of Incandescent ^''"n""f"ls1t' Bioscope Service Supplement' May phere," by D. J. Price, Elee. Rev,, July 30, 1921, page 165-6. 30th, 1928. "Story of the Incandescent Lamp Told in Pictutes," "Incalideic-ent-i'ungstenLightin-gs.ilPhotograp-hv," ^"1;R;;;;rch dommittee of A'S'C', Am' Cine- Elec. Rev., Feb,, 1922, page 58. 10-' "fncandescer-t Lamps," Illus. Eng. Society, Sept', niatoEraPher,-Wi-"X.i"p"' MaY, 1928, Page (wiih special attentio-n to- prob- 7922, page 362-77. "fVfo"i"^'--i;;-i; uJing Incandescents), bv,!Iax Factor, "Incandescent Lamps for Motion Picture Service," by A. R. Dennington, Trans. S.M.P.E., No. 6, a*. Cittu*rtographer, March,, 1928,-page 8' (as by use of page 36, (1918). "ncon-omv of Prod"uct-ion"' affected -'-i"""ira".cents), by Lewis Physioc, Am' Cine- "The Blackening of Tungsten Lamps and Method It," by I. Langmuir, Trans. A.I. matographer, March, 1928, page- 9' of Preventing - --- XXXII, page 1913, (1913). Bf;h-;f-ih; Incandesc6nt Lamp," bv J. W' Lieb, E.E., Volume " - Equations for Larnp Performance," by If. n. L. A. Bulletin, Nov., 1'927, page-69.2-4' "Simple X. Jan,, 7922. iimp for Underground Photography," Coal E. Einsenmenger, A.I.E.E. Journal, "Maida Forced Life Tests of Incan- Age, March, 1928, Page 195-6. "The fnterpretation of coJt,'i by D. J-.-Fglton, Elec' descent Electric Lamps," by L. J. I"tewinson, "Mo*-l,ls[i-L"ss page 815. triciai. March 71, L927, Page 258-9' Trans. I.E.S., Volume II, A. J. ai Work," Sci. Amer., Nov', 1927, Page "The Over-Shooting of Tungsten Lamps," by "Nobility Lighting Journal, page 256, (1915). 408-9. 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S.M.P.E., No. 21, page 90, (1925). Henry Schroede*, -[ndex I, Bulletin L D-114-C, Edison Lamp Works. a Mazda Lamp as "A High Power Spotlight Using Lighting with Mazda. J,iofif,5." fr; Porter and A. C. "Photographic a Light Source," by L. C. R. E. Farnham and K. M. Reid, Bulletin of Roy, Trans. S.M.P.E., No. 24, Page 113, ( National Lamp Works, No. 52, (1927). 1e25). "The Daylight Efficiency of Artificial Illuminants," "Economics of Lamp Choiee," by D. J. Bolton, Circular of the Bureau of Standards, No. 125. Inst. Elec. Eng. Journal, Dec,, 1925, page "The Incandescent Lamp-Its History," bV Henry 1357. Schroeder, Edison Lamp Works - Lighting Lamp as a Safety Adjunct," by F. Data Bulletin, No. 118 A. "fncandescent 'W. W. Smith, Safety Eng., Nov., 7925, page 290. "History of the fncandescent Lamp," by J. "Lamp Developments in America," by J. W. Howell, Howell and H. Schroeder, Edison Lamp Works. Elec.'W., Feb. 21, 1925, page 395-6. "History of Electric Light," by Henry Schroeder, "fncandescent Lamp," by S. E. Deane, EIec. W., Smithsonian Miscellaneous Collections Pub. Sept. 20, 1924, pag,e 593-4. 2717, August 15, 1923. t'Edison's First Incandescent L ght," Sc. Ameri- can, Dec,, 1923, page 400. "rncandescentr,u*pr,,Pf"tfi, Lgzz. "Chronology of the fncandescent Lamp," by H. "Development of Incandescent Light," G. Basil Schroeder, N.E,L.A. Bulletin, Oct., 1923, page Barham, 1912. 589-94. "Electric Incandescent Lighting," Houston and "Quality of Incandescent Lamps," by J. W. Howell, Kennelly, 1906. and H. Schroeder, A.I.E.E. Journal, August, of the Electric Incandescent ' "Evolution Lamp," 1923, page 809-14. Franklin Leanord Pope, 1894. t-781 ACADEMYOF MOTIONPICTURE ARTSAND SCIENCES

OFFICERS President Vice-President Douclas FarneaNrs Fnnn NrsLo

Secretary Treasurer FneNr Wooos M. C. Lrvnn

BOARDOF DIRECTORS

Doucras Fz\TRBANKS,CoNrao NacBr,, Mrr,roN Srr.r,s,Fnno Nrer-o, Wlt. nn Mnrn, J. Sruanr Br,acr- roN, SAMUEL GoLDwyN, Hannv Rapr, Sor- Wunrznl, G. Gauolo, F. E. PBr,r:oN,Wnt. C. MnrvzIBs, War-portan Youxc, JaNu MunrIN AND BnN.lantrN Gr-azrn.

CLASS EXECUTIVE COMMITTEES Acrons Conrad Nagel Wallace.Beery Halldm Cooley Lois Wilson Richard Barthelmess Drnncrons J. Stuart Blackton Donald Crisp Reginald Barker Wm' K. Howard Rowland V. Lee Pnorucnns Louis B. Mayer Mary Pickford B. P. Schulberg Jack Warner Watterson R. Rothacker TrcuNrcraxs Wilfred Buckland J. T. Reed J. M. Nickolaus Karl Struss F. E. Pelton Wnrrnns Waldemar Young Joseph Farnham Bess Meredyth Alfred A. Cohn Tom Geraghty

MEMBERSHIPLIST ACTORS

George K. Arthur Ricardo Cortez Lillian Gish Victor McLaglen Anders Randolf Mary Astor Dolores Cogtello Joseph W. Girard Dorothy Mackaill Irene Rich Vilma Banky Bebe Daniels Corinne Griffith Tully Marshall Thmdore Roberts John Barrymore Marceline Day Wm. Haines Thomas Meighan Norma Shearer Richard Barthelmess Sam de Grasse Creighton Hale John Miljan Milton Sills 'Wallace Beery Dolores Del Rio Raymond Hatton Tom Mix Mack Swain Lionel Belnore Reginald L. Denny Jean Hersholt Colleen Mqore Gloria Swanson Monte Blue Richard Dix Jack Holt Lois Moran Blanche Sweet John Borvers Billie Dove Lloyd E. Hughes Jack Mulhall Constance Talmadge W. L. Boyd Louise Dresser Leatrice Joy Charlie Murray Norma Talmadge Francis X. Bushman Robert Edeson Buster Keaton Mae Murray Lilyan Tashman Harry Carey Doug:las Fairbanks Rod La Rocque Conrad Nagel Conway Tearle Lon Chaney Douglas Fairbanks, Jr. Lucien L. Littlefield Pola Negri Ernest Torrence Charles Chaplin George Fawcett Harold Lloyd Mabel Normand Richard W. Tucker Lew Cody Louise Fazenda Edmund Lowe Ramon Novarro Victor Varconi Ronald Colman Ralph R. Forbes Jack B, Luden Wedgwood Nowell Florence Vidor Chester Conklin Alec B. Francis May McAvoy Warner Oland Bryant Washburn Clyde W. Cook John Gilbert Douglas MacLean Gertrude Olmsted Lois Wilson IIallam Coole.y Claude Gillingwater Marc MacDermott Aileen Pringle Claire Windsor DIRECTORS

John G. Adolfi Donald Crisp IIobalt Henley Archie L. Mayo Edward Sedgwick George Archainbaud Alan Crosland George William llill Georgle H. Melford Paul H. Sloane Lloyd F. Bacon Michael Curtiz E. Mason llopper Lewis Milestone Edward Sloman Harry Millarde Edward Sutherland Reginald Barker Roy Del Ruth Wm, K. Howard 'Walter William Beaudine Cecil B. de Mille F. Richard Jones Morosco Norman Taurog Monta Bell William C. de Mille Rupert Julian Marshall Neilan King Vidor J. Stuart Blackton Geo. Fitzmaurice Henry King Fred Niblo Robert G. Vignola Frank Borzage John Ford Alexander Korda William Nieh Josef von Sternberg Monte Brice Victor Fleming Charles Fred Lamont Sidney Olcott Erich von Stroheim Tod Browning C. M. Franklin Rowland V. Lee Albert Parker Richard Wallace Clarence Brown Sidney A. Franklin Robert Z. Leonard John S. Robertson Raoul Walsh Dimitri Buchewetzki Edmund Goulding Mervyn Le Roy Albert Rogell Lois Weber Edwin Carewe Alfred E. Green Lew Lipton Phil Rosen Irvin V. Willat Eddie Cline D. W. Griffith Frank Lloyd Alfred Santell Joha Griffith Wray Jack Conway Victor Ileerman Ernst Lubitsch Victor L. Schertzinger Sam Wood l7el PRODUCERS Abe Stern Allen Samuel Goldwyn William Le Baron Ifal Roach E. II. IIunt Stronberg E. M. Asher Sid Grauman M, C, Levee A, L. Rockett Irving G. Thalberg Fred W. Beetson M. E. Greenwood John McCormick Ray Ropkett David H. Thompson Bertholon IIenry Ilenigson E. J. Mannix Charles R. Rogers George' Hector Turnbull Charles H. Christie Milton E. Hoffman Ned Marin Sam E. Rork R. Rothacker Walter F. Wanger John W. Considine, Jr' Bernard Hyman Geo. E. Marshall Watterson Jack L. Waruer Coogan Robert T. Kane Louis B. Mayer Joseph M. Schenck Jack Jack White F. A. Datig Edwin King Thomas A. Moore B. P, Schulberg 'William 'Winfield Sol M. Wurtzel Fairbankg Koenig Mary Pickford R. Sheehan Robert Bennie Zeidman Fineman Carl Laemmle P. A. Powers Wm. Sistrom B. P. Darryl Francis Zanuck John J, Gain Jesse L. Lasky Harry Papf John M. Stahl TECHNICIANS Ilenrik Sartov A. Ball John W. Fingerlin John llughes Hal Mohr J. 'Warren Chas, E. Schoenbaum H. IL Barter George Jos. Folsey, Ji. Fred Jackman A. Newcombe John F. Seitz Barnes John Froehlich Horace Jackson John M. Nickolaus Geo. S. Ilarry T. Sharp Basevi Lee D. Garmes Alvin V. Knechtel J. C, Okey J. E. J. Shulter D. Berier Frank E. Garbutt Louis F. Kolb F. E. Pelton Frank Nugent II. Slaughter A. Brandow Gaetano Gaudio J. M, Leisen Harry Perry Frank J. Wesley Smith 'WiIfred Buskland Cedric Gibbons Nathan Levinson J. D, Peters Walter T. Strohm Ben Carr'e A. L. Gilks Oliver T. Marsh Gordon B. Pollock Rochus Gliese Robert B. Mclntyre Roy J. Pomeroy Paul G. Sprunck J. J. Cohn Struss II. W. Grieve W. C. Menzies J. Theodore Reed Karl Richard Day II. Tolhurst Anton F. Grot Arthur C. Miller Oren W. Roberts L. Ilans Dreier Ulmer Esdras C. Hartley Victor Milner Charles'Rosher Edgar G. J. A. Dubray A. Geo. Yolck Arthur Edeson Laumnce W. Ilitt George Mitchell Harold Rosson G. A. Mitchell

WRITERS Printzlau Madame Fred De Gresac Carl Hovey Chas. Logue Olga Marian M' Ainslee 'Will M. RiteheY Grahm Baker Winifred Dunn Lucien llubbard Robert Lord G. LeYino Adela Rogers 3t. Johns Beranger Jos. W. Farnham Rupert HugheB Albert Shelby Clara Lovett Richard Schayi:r Paul Bern Dorothy Farnum Agnes Christine Johnston Josephine Fairfax Marslall Paul Schofield Ralph Block Beulah Dix Flebbe Julian Johnson Muion Macpherson Ralph Spence Al Boasberg Garett Fort Julien Josephgon Jeanie W, McDermott Chandler Sprague Malcolm Stuart Boylan Harvey Gates Monte Katterjohn John Marion C. Gardner Sullivan Elliott Clawson Tom J. Geraghty Edward Kaufman Frances Meredyth Ernest Vajda Denison Clift Willis Goldbeck Chas. Kenyon Bess Miranda George Manker Watters Lenore Coffee Benjamin Glazer Hans Kraly Tom Edward. J. Montagne Cuey Wilson Alfred A. Cohn John F. Goodrich Bradley King Moon Frank Woods Anthony Coldewey E. Percy Heath Louis D. Lishton Lorna Byron Morgan Lotta Woods Johu Colton F. Hugh Herbert Albert Lewin Arthur Hornblow. Jr. Hope Loring Jane Murfin A. P. Younger Jack Cunningham 'Waldemar Young

SPECIAL Peter Mole Nathan Burkan Geo. W. Cohen Elenry Herzbrun Loeb Samuel Spring Julia Arthur CheneY Perry E. Conner Edwin J.

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