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March, 1937 • American Cinematographer 85
AMERICAN
CINEMATOGRAPHER
A Technical and Educational publication
of motion picture photography.
Published monthly by the

AMERICAN SOCIETY
OF CINEMATOGRAPHERS, INC.
1782 N. Orange Drive
Hollywood, California
Telephone CRanite 2135
JOHN ARNOLD, President, A.S.C.

FRED JACKMAN, Treasurer. A.S.C.
Vol. 18 March, 1937 No. 3
Whdt to Read
JUST Breaking In
By George Blaisdell 89
THEY MAKE Pictures in India

By Paul Perry, A.S.C 90
The Staff
RIVER Roll Along
EDITOR
By Fred Felbinger .92
George Blaisdell
TECHNICAL EDITOR
LIGHTING Shirley Temple
Emery Huse, A. S. C.
By Arthur Miller, A.S.C 94
ADVISORY
EDITORIAL BOARD
AGFA'S Fundamentally New Type of Victor Milner, A. S. C.
Infra-Red Film James Van Trees, A. S. C.
Fred Jackman, A. S. C.
By A. Farciot Edouart, A.S.C 96
Farciot Edouart, A. S. C.
Fred Gage, A. S. G.
Dr. J. S. Watson, A. S. C.
A. S. C. Members on Parade 98 Dr. L. A. Jones, A. S. C.
Dr. G. E. K. Mees, A. S. C.
Dr. W. B. Rayton, A. S. C.
"STROGOFF" Triumph in Technique 101 Dr. Herbert Meyer, A. S. G.
Dr. V. B. Sease, A. S. G.
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ESTABLISHED 1918. Advertising Rates on application. Neither the American Cinematographer nor
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This scene from Universal Pictures
bignew musicai OF THE TOWN’
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8S American Cinematographer • March, 1937
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London: 13-14 Great Castle Street
I
—
JUST BREAKING IN
By GEORGE BLAISDELL
with the fears of the hysterically timid and overfearful pro-
The Troupe Sends Greetings ducers ond exhibitors who shied from a picture contoining
in the cost a person who no longer lived.
A song we'll sing of this Hollywood bond,
Of the less and the great from ev'ry land . . .
• Who is so bold as to assert that any such feeling will
prevail in the years to come when a goodly percentage of
The writers of words, the makers of songs,
The makers of joy, the righters of wrongs; well-to-do families will treasure films containing the faces
Actor, director and cameraman who and figures of loved ones long since lost! There hardly will
Give all of their best to entertain you .
be denial one of the greatest future sales arguments on
. .
True sometimes we hear this called Heartbreak Town behalf of the amateur motion picture equipment will be
Sometimes chill Fate really does get you down. that in the years to come its product will be the family's
greatest heirloom —provided of course ordinarily intelli-
gent use is made of the camera and film.
But 'tend to your knitting, hold high your chin,
As an illustration, in "Tugboat Annie" again we see
Keep pounding and crashing and don't give in . . .
pulsing with life the inwardly feminine though outwardly
For Hollywood's walls are heavy and thick- —
rugged but altogether lovable Marie Dressier. In her pic-
To climb them but few can master the trick.
ture there was nothing to indicate she no longer was with
A war 'tis of wits, of brain and of brawn.
us. Her portrayal now will have historical value, as will
But great is the prize if you last till dawn.
Like the soldiers in Bony's high rolling tides,
the other subjects in which she appeared value because —
the player was as the legal men phrase it, "unique," and
A Marshal's baton in eoch knopsack rides. not to be replaced by others. May her memory never fade.
And here's to our friends the wide world around. • In that same program was another characterization
On land or on sea where Screen may be found, that a hundred years hence undoubtedly will possess lively
Greetings we send from this Heartbreak Town's crew.

interest for the students of drama —
and that was the por-
From each one of us to each one of you! trayal by John Barrymore of the "nut" prince of the house
of Hapsburg. Have it your own way if you will when you
say the chief performer was staging himself.
Seemingly the script writers felt that way about it, too,
AGE CANNOT WITHER for they put into his mouth words that seemed to be re-
vealing Barrymorean as well as Hapsburgian history. But
A DECADE AGO
formally
a picture ran
removed from the screen.
its and was
course
There was but
one physical reminder of a subject's entrance and
departure, that practically all of its positive prints had
who cares? It was a corking performance. No other actor
could have done it quite as he did.
• If on the producers' "don't book" in 1933 there were

ascended in smoke. The survival, of course, was the nega- any rule against drinking scenes similar to that adopted
tive. That was written off the books as a rule and shoved within a few weeks no attention was paid to it. The en-
into vaults, with perhaps a record somewhere indicating forcement of such a ruling would have robbed this particu-
its whereabouts. There was possibly a chance in a hundred lar subject of much of its flavor, color yes, and historical —
later on it might be "revived." accuracy.
Not so is the situation today. The life of those pictures But retracing our steps a bit, the screen in its returning
which in their earlier runs were rated to the living and the still loving the form
in the higher brackets of entertainment and almost physical presence of those
Speaking Photographically who have passed on will continue to be-
is extended away beyond the dead line
of other days. The discovery by neigh- —
A LONG TIME AGO so long stow a major blessing on mankind and —
borhood exhibitors that a subject that ' '
ago a recital of the quip now it will continue steadily to enhance the
was good although several years old was may be rated as news Wu Ting- —
value in the studio and in the home of
all the man-created devices that make
a better box office attraction than an Fang, a famous Chinamon and at
up-to-date lemon was responsible for possible the recording of these images
the moment diplomatic represent-
deloying the death of many films. on film.
ative of his country in the United
• For a few days in February one of States, attended a reception in JOE FISHER HEARD FROM
the smaller Hollywood boulevard houses Washington. • When Paul Perry was preparing for
put on dually "Reunion in Vienna," first His eyes rested upon a tall and the trip to the Orient from which he has
shown to the public in May, 1933, and angular woman, rarely lean as it recently returned he was asked by this
"Tugboat Annie," released three months were and exceedingly decollete. writer to look up Joe Fisher and to say
later. This reporter will admit he wit- "Hallo."
Wu's masculine companion turned
tingly picked the program against the There was a grim smile on the face
his gaze in the same direction.
others on the boulevard, feeling assured of the returned traveler when he sighted
he would be better entertained than by
The Chinaman leaned closer as
the editor. "I saw your friend Joe
taking a chance on the others. he almost whispered: "And when said
Fisher," he said. I
Then agoin the hunter for entertain- "Speaking photographically, 'Hallo' for you he just laughed. No, no.
ment wanted to see in fact as in fiction might it not be so'd the lady I'm sure he has not forgotten you. He
the shade of Marie Dressier of blessed would seem to be overexposed seemed to remember you plenty well.
memory. He never did have any sympathy and underdeveloped?" Continued on page 123
90 American Cinematographer • March, 1937
Members of the Franklin-Crandville Expeditions Ltd. in Calcutta wi th some ot their sound equipment. The expedition was organized
From left to right are Mr. Schul meister, laboratory; Major W. J. Moylan, production manager; Mrs.
by Fred LeRoy Crandville, A.S.C.
Franklin, Captain Norman Franklin and Paul Perry, A.S.C.
undoubtedly he was a photographic engineer, he also was
They Make uniquely an artist; and fittingly to designate this unique

combination the word "cinematographer" had been coined
and had come into use.
Birth of Vocabulary
The same development, Clark continued, had taken
Pictures place in the work and status of the recording experts.
Accordingly, these men deserved an equally fitting desig-
nation. Since "cinematographer" indicates one who
"writes with motion," should not his fellow-artist be termed
In India one who "writes with sound"? And Clark suggested the
name "audiographer."
Today, if in any of India's many and widely-scattered
studios, you inquire about the "sound man" or "recording
by engineer" you are greeted with a blank stare. From one

end of India to the other the dictators of the decibels are
Paul Perry, A.S.C.
known as "audiographers" and their work as "audi-
ography."
In the matter of technical equipment the Indian film
industry is to a considerable extent Americanized, with
NDIA'S MOTION PICTURE STUDIOS turn out more than second honors going to Germany. Most of the raw film
300 feature productions each year. These pictures ore used is of either Eastman or Agfa manufacture, though
made by native Indian artists and technicians, about na- both DuPont and the British Selo products are represented.
tive subjects, for that vast majority of India's three
hun-
Bell & Howell and Mitchell cameras compete strongly with
dred millions who prefer to be entertained bv their own the French-made DeBrie "Super-Parvo." The latter have
people, speaking their own languages. To me, however, a considerable advantage in price and, think, in the com-
I
the most remarkable thing about India's film growth is missions paid its agents. At any rate, more and more
the fact that her film technicians are largely self-taught, DeBries are coming into use.
and in spite of this handicap are producing highly credit-
Americans and British Lead Sound
able pictures.
In development, India's eyes are turned largely to-
this Lighting equipment represents another contest between
ward Hollywood for information and inspiration. The American and German products. Hollywood-made Mole-
Americon Cinematographer is by far the most respected Richardson lamps are well known and extensively used,
and influential film publication received in India; its tech- but German lamps, thanks in no small part to the aid af
price and commissions, are also very widely used. Quite
nical articles by members of the A.S.C. and their fellow-
workers in research, recording and the like are as gospel a few of the new M-R "Solarspots" are to be found in the
pronouncements in the Indian studios. better-equipped Indian studios. As yet no foreign manu-
Most strikingly is this borne out by the fact that several facturer has anything that can compare with them. Now
years ago, in an article in the Cinematographer, L. E, that a British Mole-Richardson plant has been started in
Clark argued that the men who record motion picture London these lamps should have definite advantages in
sound deserved a title more fitting than "sound man or India, for the Government gives British-made products a
"recording engineer." The Cameraman, he pointed out, marked preference in duties.

had advanced his craft to a point where the bare desig- Sound equipment is largely American and British. RCA,
nation "cameraman" was woefully inadequate, and while Western Electric and British Acoustic are the leading sys-
terns, though many others, such os Fidelytone, Tobis- to bring together the men from the different studios.
Klongfilm, Baisley & Phillips, and the like, also are heard These are the Motion Picture Society of India and the
from. In my travels through India, I was repeatedly Film Technicians of India, organizations which are doing
amazed at the strange places encountered independentI a great work for Indian pictures.
producers using Artreeves sound systems. would land I
in a place where was quite sure no one had any idea of A Keen Audience
—
I
film production and find an Artreeves outfit working

merrily. There are 43 of these in India.
During my stay in India it was my
to be in- privilege
As regards editing equipment, Moviolas, while there

address the former
vited to be made
group, and to
are a few in India, are practically unknown. Instead,

one of its honorary members. am sure no speaker ever
I
had a more interested audience than did that night, nor

they use the German "Union" Editing Tables.
I
These ore
one whose questioning so clearly showed how studiously
really interesting machines. They consist of a large metal
his auditors follow their subjects. was greatly relieved
I
table, with four horizontal stripping-flanges and separate

to find that although these men are making pictures in
picture and sound movements. The film travels on its
such native tongues as Hindi, Urdu, Tamil, Bengali and
edge. The picture-image is viewed through an aperture
even Persian, most of them speak and understand Eng-
in the table about the size of the opal inspection-glasses
lish surprisingly well.
we see in American cutting-room tables.
One unfortunate misunderstanding did occur, however.
Majors and Independents, Too That was when was asked about the relationship between
I
Cinecolor, Multicolor, Magnacolor, Vericolor, and the other

The may be run forward or backward, at any speed,
films
bipack color processes. My natural reply was they were all
or held on a given frame, and there is the advantage
still
alike in the photographing, but differed in their printing
of being able to run the sound and picture at different
technique. That was misinterpreted into the statement
speeds, to restore synchronization, etc. If it is desired to there was no difference at all between them.
check on lip-movements, pressing a lever projects the pic-
India has some surprisingly fine cinematographic and
ture up to about 3 by 4 foot size on a wall screen.
audiographic artists. Unfortunately, when left India, I
Most of the larger studios have DeBrie automatic de- I planned to return immediately, rather than to swing
veloping machines for both negative and positive, though
around via Hollywood. Accordingly, left without making I
some of the smaller independents still use rack-and-tank. proper notes of the names of these gentlemen and they
While was in Bombay, Imperial Pictures installed a com-
I
are names not easily remembered by an Occidental, so I
plete Cinecolor laboratory, and is now producing features

cannot credit them as would like. For this
I apologize. I
in color.
India's prime technical weakness is in accessory equip-
The industry in India is divided into major and inde- ment and in laboratory and cutting technique. There is
pendent producers, much as it is here in Hollywood. Among much that is commonplace here in Hollywood which is un-
the majors may be mentioned Imperial, Bombay Talkies,
known there, probably for the reason that they have had
which has one of the most modern studios in India, and no opportunity to see the equipment itself in actual use,
virtually the only one in which the department heads are
and naturally dislike to gamble where relatively large sums,
Europeans (Germans), and Wadia, all of which are in high import duties, and 6,000 miles of distance are in-
Bombay; Prabhat, in Poona; Saraswati Talkies, in Kolha-
volved.
pur, and the East India Film Company and New Theatres
The laboratories in the major studios are excellently
in Calcutta.
equipped and capably operated. They have a tremendous
problem to contend with in the climate, however. Amer-
Over One Hundred Producers
ican and European makers of developing machines have
is only a partial
This, of course, listing, for India has not fully taken this into consideration; for example, due
six or eight major firms and a total of over a hundred pro- to the high humidity, much additional dry-box space is
ducing companies, working in almost fifty studios scat- necessary, and, due to the heat, drying should be by air-
tered around the land. Bombay is by far the main pro- conditioning rather than mere heating.
duction center, with Calcutta next, and Poona, Kolhapur, Continued on page 102
Madras and Lahore also active. As may be imagined,
there are a number of service studios, the largest of which
is Film City, in Bombay. This plant compares very favor-
ably with Hollywood's smaller studios, and was built by
the late A. Fazaibhoy of the Bombay Radio Company, the
enterprising distributor for Bell & Howell, Mitchell and
DeBrie cameras, Mole-Richardson lamps, British Acous-
tic and RCA sound, Moviolas, and a variety of other
products.
The Indian technicians are almost without exception
self-taught, and a very earnest, studious group of men.
They have reached a stage in their collective evolution Not Tennis Champion Fred
but Paul Perry, A.S.C., dis-
comparable to that which we in Hollywood had attained regarding good-natured jibes
at the time when the American Society of Cinematographers of tennis addicts but taking
up game in self defense.
was organized. Many of our old-timers can recall how in Hindu bearer or servant at
the early days there was very little intercourse between left.
workers in the different studios; how ideas developed on

one lot were jealously guarded lest some unmitigated
scoundrel from another studio might appropriate them.
As everybody knows, since the A.S.C. brought the mem-
bers of the cinematographic profession into close, open-
minded contact, progress, individual and collective, has
been amazingly rapid. India is at that same stage. Only
within the last few years have there been organizations
RIVER -roll
along
by And Cincinnati, a metropolis in the Middle West, was
paralyzed and isolated.
Fred C^Red^O Felbinger
Newsreelers had covered up to this point and had a great
catastrophe in the can! But the real stary was still . . .
to come!
The river went over the 75-foot stage! It rose higher
M r. DEVEREAUX checked the river gauge, and only

after Mr. Devereaux, Cincinnati's official predictor,
checked the river gauge did he dare predict an all-
time flood stage of 15 feet for Cincinnati.
and higher! And then the Ohio River mastered
and most picayune enemy
ville
Cincinnati
Ole'
. .
Man
Man!
. Paducah
River
. . . Lawrenceville
.
... he
.
on
. Cairo.
sweeping q'I
.
just
. .
roiled
. . Louisville
.
.
its
. .
smallest
Evans-
However, long before Mr. Devereaux predicted a 75- . .
foot flood stage for Cincinnati, newsreel editors hod moved

in his way . . . and the newsreelers were there record- . . .
ing the greatest catastrophe story of all time!

o battalion of lens snipers into Cincinnati. You see, 75-
foot flood stage would pass the all time record for Cin- Tight Spot for Six
cinnati, set in 1913 by the Ohio River.
Long before the gauge hit the 75 mark this flood was At Cincinnati three newsreelers set out in a Coast Guard
already news National news!
. . So the ace newsreelers.
.
boat. The current was running fast one newsreeler . . .
from New York and Chicago, had already had a flood in his excitement to get a good skyline shot went over-
story, built around Cincinnati, in the can. board his Akeley camera caught his foot
. . . two . . .
This was a flood, a real flood, and when she hit the 75- other newsreelers bore down on the camera ta hald hini
foot mark she shot the works. She proved Mr. Devereaux, to the cutter.
the official predictor for Cincinnati, an expert. If he river he was doomed.
went His leg into the
She broke
the '13 record and she proved that the New York news- caught angle under the collapsed camera.
in a painful
reel editors could smell areal story miles away. The newsreeler screamed with pain: "My leg! my leg!" . . .
If you had your doubts about the New York newsreel a Coast Guarder yelled: "The hell with your leg it's . . .
editors, all you had to do was check the personnel they you we're trying to get back into the boat!"
had stationed at Cincinnati when she blew. The newsreel And the cutter all the while was slipping toward a group
cameramen covering Cincinnati were doing a conscientious of submerged buildings and certain capsizing of the cut-
job so far. ter and drowning of its six occupants.
Then safely getting the newsreeler back into the boot
Here Was Big News and making the treacherous stream back to safety with
the skipper yelling: "And the first one of you camera
Then the gas tanks up Millcreek Valley let go, fire burst
lugs that starts shootin' why I'll just mow you . . . . . .
out, and for hours it seemed another catastrophe, like the

down with this spare oar have here!" I
'Frisco disaster, great Chicago Fire, would

or perhaps the
scribble the name Cincinnati into the pages of history.
Oh, for a Bath!
The great Cincinnati fire of '37!
That's why the newreel leasers stood there in pouring Then back No water for a bath to the hotel . . . . . .
rain, facing fire and flood waters, recording on film for an just a jug of wellwater for drinking purposes and the . . .
unseen audience and posterity the great Cincinnati catas- typhoid shots arm God! how they sickened in the . . . . . .
trophe of '37. News was not any longer in the making. you Your arm felt like someone hit you with a base-
. . .
News was here and big in Cincinnati. The fire was cov- ball bat and two more shots to go ... in the next
. . .
ered and the flood was covered. two weeks oh, to get out of Cincinnati, but that was
. . .
Then a mod scramble to ship the precious negative to impossible.

New York. Trains were no longer running into Cincinnati. After the boss was depending on you coming through
all,
The railroads had called an embargo on all shipments ana ... no electric light never knew the value of light . . .
the airport was under water. The newsreelers had cov- and water before oh, to be home and run the water . . .
ered the Cincinnati flood and the great Millcreek Fire, faucet clean hot water.
for a bath
. .
jeez! even . . . . . .
but covering such an event was not sufficient. to drink.

What the hell good did it do a newsreeler to cover such The river was still rising . . . would it never end? . . .
a news story if you couldn't ship the stuff? So a feverish the refugees, who had lost all. Their forlorn looks! Why,
dash by boat and car for Columbus, the closest point to it even made a guy cry to hear their stories and see . . .
ship —and finally the editors received the stuff at New their plight and these hard-boiled cameramen. .
This was the big flood of '37. Mr. Devereaux was right,
. .
York, and an outside world had its first inkling of a great

catastrophe. but one didn't mention Mr. Devereaux any more. The
Meanwhile, Mr. Devereaux had measured up to his repu- river was up to 80 feet now, and still rising. Then the
tation as a predictor. The river reached the 75-foot stage, lull. She was now standing still. Houses were floating
an all time record for Cincinnati. down the river, one after another pictures pictures . . . . . .
The waters lapped at the foundations of the water wherever one aimed his camera but for some reason . . .
works plant! It went out! you didn't thrill to covering it.

The river lopped at the foundations of the electric plant. Here was a saga the saga of the Ohio on a ram- . . .
It went out! page .the ole river just rolled on and on, and with
. .
!
it the heartaches of thousands yeah! here were pic- . . .

Here is Fred (“Red”) Felbinger, one of Paramount’s newshounds
out ot the Chicago office, standing at the edge of a receding
tures, no matter which way you pointed your lens . . .
stream which shortly before had submerged the Coco Cola sign
but it kinder gripped at your heartstrings to be a witness across this Cincinnati street. No longer are the waters tumbling
to the havoc of Ole' Mon River on o rampage. and tilled with all the tragic and incongruous accompaniments
that swirled south when the flood was at the peak. The camera-
Gagging Ncwsreelers man has had a chance to get “cleaned up a bit,” as he ex-
plained in a note. Also he was enjoying an opportunity to plant
You no longer worried about no electric light ... no his tripod on the ground where tor days his only platform had
been a boat. The writer ot this graphic story ot hazard and per-
both ... no drinking water ... or the jumping pains in
sonal discomfort has been doing this sort ot thing tor many years
your arms from the typhoid shots. This was the big flood and looks upon it as all in a day’s work. The still was photographed
of '37. tor the subject by an unidentified member ot the Wide World
Bock at your hotel you figured how in hell you wers staff. The newsreeler who was in such deadly peril when he went
over the side ot the Coast Guard boat was Emille Montemurro,
going to get the new stuff into New York . . . for the dead-
staff cameraman tor Fox-Movietone News, Chicago.
line . . . but somehow you got through with it . . . and
then you called your buddies at Louisville.
Louisville! Down in the Blue Gross country, where they
run the Kentucky Derby! Louisville!
. . Now the big
.
Newsreelers Fighting Odds
victim of the flood .... the flood of '37! Louisville,
which would replace Dayton in flood history, the Dayton Hot water at any Then the cameraman's diet.
price!
of 1913.
A kerosene heater, the hotel coffee shop, warmed the
in
another metropolitan city, entirely submerged

Louisville,
daily, an eternal diet of just
frugal fare for the grinders;
by flood waters! After much coercion and finnigling, you two choices on the menu, either scrambled eggs or beef
finally got your call through to your buddy another . . .
stew, with a generous sprinkling of the kerosene fumes in
all dishes served!
newsreeler covering Louisville and you heard his pitiful
. . .
tale Mass burials! National Guardsmen

. . .
pointing rifles Then too, the perpetual danger of disease, from the con-
tact with contaminated waters. This was Louisville, Blue
at you for trying to cover and make shots of burying the
dead! Why this gagging newsreelers? Nobody knew! Grass capital home of the Kentucky Derby!
. . . Now
But it was happening! merely one of the key points of the ravages of Ole' Man
Same living conditions at Louisville if not worse than at River
Cincinnati. No drinking or bathing water, but a guy at And further on down the river Paducah
. . Evans-
. . . .
least wanted to shave. This was accomplished by heating ville . . . now completely submerged and fellow news-
. . .
White Rock water in a 200 foot film can using three reelers grinding away. Then Cairo ... at the meeting
candles to heat the can. Continued on page 128
The Child and the Artist
boiled newspapermen, meeting fame on

accustomed to
LIGHTING even terms, gawk

can't say
I I
like yokels when
was working.
Shirley
blame them, for Shirley is on unusual little
trouper. Her ability for lines and business amazes each new
director. Invariably she is letter-perfect in her lines. Often
SHIRLEY we will shoot three or four pages of dialog in a single

scene —
and even the most experienced actors might be ex-
cused for "blowing" some of Shirley's lines. But not
Shirley! have never known her to miss a line.
I If we
TEMPLE could shoot only for her, we could wrap up every scene
in one take.
Just for good measure, she is equally familiar with every
other player's lines. Not only cues, if you please, but
complete speeches. Often I've seen an experienced actor
by in a scene with Shirley blow up, perhaps in the middle of
Arthur Miller, A.S.C. a long

"You should say
speech. Shirley
this
——
will
"
look at him, bursting to say
but she restrains herself, like
the little lady she is.
On the last picture, "Stowaway," though, she said it.

hotographically as well as personally, photo- Robert Young has a fine sense of humor, and she knew
P graphing Shirley Temple is one of the most interesting

assignments of my experience. Perhaps ought to say
she could kid him. He took it like a sport and vowed —
I
to return the compliment at the first opportunity. But
"four of the most interesting assignments," since the cur- that opportunity never came!
rent production, "Wee Willie Winkie," is my fourth with In spite of this, Shirley will never let down o scene. The
Shirley. other players may blow and falter, but she is always ready
In a career that goes back longer than like to think
I
to pick up the scene and carry it along.
I have photographed many children who were stars and I've noticed this in relation to lighting, too. Sometimes
neor-stars. But I never knew anyone like Shirley Temple. an unexpected change in action will make it necessary
It is almost unbelieveable that any seven-year-old could for Shirley to look toward an unusually strong light. Like
be the focus of such universal acclaim as goes with the any child, she doesn't like looking into high-powered lamps.
fact of being the world's No. box-office personality
1 and But, unlike most children, she never shows it. She'll ful-
still remain unspoiled. fillthe requirements, take as brief as possible a glance
But Shirley does it. And this acclaim pursues her into toward the offending lamp, and then "cheat" a trifle one
the studio. I have seen distinguished visitors and hard- Continued on page 100
Cameramen on location
in the desert near Yuma,
Arizona, are working
under difficulties in
shooting this scene from
the Technicolor produc-
tion, ''The Garden of
Allah.'’ Marlene
Dietrich and Charles Boyer co-star in
this David 0. Selznick production,
under the direction of Richard Boles-
lawski. Howard Greene, Photographer;
Hal Rosson, Photographic adviser; W.
A. Oettel, Studio Chief Electrician,
Exceptional penetration and carrying power are required of a
light source to pierce the obscuring clouds of a sand storm

on the desert, but the carbon arc proved equal to the task.
CARBON ARC LIGHTING MEETS EVERY DEMAND OF TIE CAMERA

It is silent, cool and remarkably fast.
It has the photographic qualities of daylight.
It has proved a necessity for color productions.
It Improves black and white photography.
r 1 HIGH INTENSITY CARBONS

DSE NATIONAL
MOTION PICTHRE STODIO CARBONS
L
NATIONAL CARBON COMPANY, INC.
Unit of Union Carbide om
CARBON SALES DIVISION, CLEVELAND, OHIO
and Carbon Corporation
GENERAL OFFICES: 30 EAST 42ND STREET, NEW YORK, N. Y.

BRANCH SALES OFFICES: NEW YORK - PlTTSBUReH - CHICAGO - SAN FRANCISCQ
he recent introduction
of a fundamentally
T new type
vised for
of film, specifically de-
infra-red sensitive
has at a single stride ad-
production use,
vanced cinematography much closer to the long-sought
goal of filming nearly all exterior night-effect scenes by
daylight. The new film is a product of the Agfa-Ansco
Production
laboratories, and is the direct result of close cooperation
between the film-making engineers and film-using Cine-
matographers.
It is not merely a modification of the firm's previous Night-Effects
type of infra-red sensitized film, which is definitely a special
purpose emulsion, but an entirely new type of film for the
making of production night-effects. At a conservative
estimate, from 50 per cent to 70 per cent of the night
scenes now made at night, by artificial light, can now be
With Agfa s
made better and more efficiently by day with the new film.
Until quite recently, the making of daylight night-ef-
fects has been based on the use of extremely heavy filters
which overcorrect the sky to night-time darkness, combined
by A. Farciot
with definite underexposure to obscure the remainder of
the scene. Even with the earlier infra-red sensitized emul-
sions, this general technique remained necessary, for while
the sensitivity was extended into the infra-red region there than of underexposure. While it has generally been the
nevertheless remained a considerable yellow-green sensi- case that filtered night-effects have had to be "printed
tivity which necessitated the use of extremely heavy filters for night" —
usually at a printer light-setting definitely
capable of completely absorbing these colors. below normal —
comparable effects photographed with the
Agfa's previous infra-red film, introduced over a year new usually printing around light 15.
film print normally,
ago, was probably the first commercially available cine They give convincing night-effects without loss of shadow-
film of this tyoe with sufficient exposure speed in which detail, and without exaggerated contrast.
this undesirable characteristic was eliminated. According- The keeping qualities of the new film are understood
ly, it permitted the use of far lighter filters, such as the to be excellent; the Agfa experts state that it will keep
Wratten 29-F. This emulsion, however, still retained a quite as long as normal superpan film, and without special
relatively high degree of controst, and a sensitivity balance handling.
which made its use impractical for the more intimate Photographing night-effect scenes with this new film
scenes in which the flesh values of players was a most im- need not differ materially from the technique of making
portant consideration. normal day-effects on conventional types of super-pan-
chromatic. The Wratten 29-F filter has as yet been most
Full Exposure generally used, and exposures have ranged from f:3.5 or
The new emulsion is intended definitely for production less according to light conditions.
to f:2.3, Any type of
may
be employed. It has been found wise, how-
use. The contrast characteristic has been reduced to o lighting
point comparable to that of normal super-panchromatic ever, avoid a direct back-light, since atmospheric dis-
to
emulsion. The color-sensitivity has been adjusted to a persion at this angle is generally so great as to whiten the
point where convincing night-effects are possible without sky beyond possibility of satisfactory correction. Outlining
rim-lightings on people, produced by booster '
lights or
sacrifice of flesh-tone rendition in even the most intimate
shots. There is no yellow-green sensitivity; the maximum reflectors, are very effective.
correction is had with the Wratten 29-F filter. The averall
May Put Actors in Shade
speed of the film shows a marked increase; the shadow-
speed of the new film, especially, is definitely higher than In general, the most pleasing effects have been obtained
that of ony previous film of its type. with a cross-light, or with a diffused front (or semi-front)
In this connection, it should be understood that night- lighting modeled in the usual manner with reflectors or
effect negatives made with this new film are fully exposed; "booster" lights. It is by no means necessary to play the
the effect is the result of filtering and sensitivity rather people in direct sunlight; excellent results have been had
with the players in the shade, with reflectors or artificial
front- lighting as would be used in making a normal scene
under such conditions.
^Vindows may be illuminated in the normal manner bv
artificial light. The flames of torches and flares pick up
very effectively. At present experiments with chemically-
treated flares are beina conducted as the reflected light
from more stronglv red-orange flames should also affect
of
this film, ond would naturally simplify the problems
simulatina the illumination cast by such torches.
Due to the fact that the night effect is produced by
overall correction and not alone by overcorrecting the sky
and underexposing elsewhere it is possible to achieve con-
vincing niaht-effects with this film even in scenes where
the sky does not figure.
No change in make-up is necessary other than the
Figure 1. Photographed on the new Agfa infra-red film by

Victor Milner, A.S.C., and Dewey Wrigley, A.S.C. Three-inch lens
at f:3.5 with Wratten 29-F filter; 2:30 P.M.; sun scrimmed on
character, and M.P.A. light diffusion disc used. Photo courtesy
Paramount Productions.
—
film in snowy mountain country, preparatory to using it on

"I Met Him in Paris." Here, working with a subject and
light conditions of extreme contrasts, the broader grada-
tional scale of the new emulsion proved its value. From
Funddmentdlly some of these tests, it would seem probable that a new
range of twilight, dusk and even day effects may be ob-
tainable with the new film and lighter filters. Parallel
scenes, made in the conventional way with super-pan-
New Type of
chromatic film and a 72 filter, for night effect, appeared
decidedly less convincing than those made on the new film
with the Wratten "F."
Henry Sharp, A.S.C., was probably the first Cinematog-
rapher to use the film on actual production. Completing
Infrd-Red Film an exterior sequence of "Murder Goes to College" in the
afternoon, with two night scenes to be made on the same
set, he was able to film these shots at once, with the new
film, rather than having to return at night.
Paramount Pioneering Film

Edouart, A.S.C.
And so inwith such a definite advance in night-
line
effect photography, Ray Wilkinson, head of Paramount's
camera department, became immediately active in the evo-
substitution of the lip make-up closely comparable to that lution and proving of the new film, taking advantage not
used for the old "blue transparency" process. To the eye only of its photographic superiority but also of the as-
and to conventional emulsions this lip rouge is virtually tonishing economic opportunities which can in all prob-
identical with the normal type; but where the new film ability save the industry enormous sums.
lightens the conventional lip make-up it does not change "In one coming picture," he points out, "there are some
the rendition of the other type, which while visually red- tremendous night sequences, which we plan to film in two
dish has yet enough blue in its composition to be comple- days using the new infra-red film. Otherwise, working
mentarily affected by the filtering used with the new film. by night, we could hardly expect to complete these scenes
in less than three or four nights, at far greater expense
Convincing Effects
to say nothing of lessened personal and collective effi-
Tests made on this new film by various outstanding ciency, which is always a factor in night work.
Paramount Cinematographers definitely indicate that it "The saving to any average production in transporta-
permits in many instances much more convincing night tion, electricity, equipment, labor and time —
not to men-
effects than either filming at night under artificial
or by the previous methods of making
light,
filtered night-effects
tion the inevitable unforeseen delays —
should be as impor-
tant a factor as the more convincing quality on the screen."
by day.
Tests made with
by Victor Milner, A.S.C., in prepara-
it
No All-Embracing Panacea
tion for his present production, for instance, have indicated It should not be assumed that this new film is on all-
its superiority to either previous method in scenes in which
embracing panacea for all types of night-effects. Definitely
any considerable area is included. Hitherto, regardless of
it is not. Some scenes will for some time to come be better
the method used, there was generally an increase in contrast,
filmed by conventional means. The use of the new film
and little detail could be preserved except in the immediate also calls for more careful coordination with the photo-
foreground and in highlights.
graphic staff, especially in the cases of the director and
In closer shots often all that would be visible would be
art director.
the actors' faces and shadowy figures moving against a
Such night scenes should naturally be scheduled for
black background. Using the new film, the scene appears
hours of favorable light-conditions. Costuming, set-paint-
much more nearly as it would normally appear on a moon- ing, and the like, should take the film into especial con-
lit night, with a natural amount of detail visible in the
sideration. For example:
shadows, and a considerably broader scale of gradation.
Prominent distant objects, such as mountains, etc., re- Continued on page 103
main evident in the background of longshots and close

angles alike, quite as they would naturally. "Practical"
street lamps, torches, flares and the like give very natural
effects, though it may be mentioned other tests indicate
some experimentation is necessary before automobile head-
lights will photograph wholly naturally.
May Get New Dusk Range

With only a reasonable amount of care in using reflect-
ors or "booster" lights their beams can be made to appear
less obvious than is often the case in nprmal day scenes.
Night scenes in which the sky does not figure are very
convincing, especially when highlighted by artificial light
from within house windows, doors, etc., or with a little
highlighting on walls from "boosters."
Leo Tover, A.S.C., made some interesting tests of the
Figure 2. No loss of flesh values in this night-effect made .on

the new infra-red film by Victor Milner, A.S.C., and Dewey Wrig-
ley, A.S.C. Photographed at 2:50 P.M. with a three-inch lens at
f:2.7, Wratten 29-F filter, M.P.A. light diffusion disc; sun on
actor scrimmed. Photo courtesy Paramount Productions.
—
A.S.C MEMBERS
ON PARADE
• John L. Herrmann, A.S.C., sends word from Miami
which is in Florida, that state where the cold is not, ac-
• James Van Trees, A.S.C., was one member of o quartet

cording to some —
denying he had anything ta do with
With-
who the big floods around the Ohio and the Mississippi.
of cinematographers on UniversoTs ^^Stones Cry Out
his success in out even a remote tinge of noticeable regret at missing
attracted attention on the lot for
a part in the recording of that catastrophe, he explains
whipping the flu jinx that attacked the camera staff on
course his seeming indifference by intimating his cup on floods
the subject Harold Young aimed to finish in the
was filled to the brim last year in Johnstawn, Pitts-
of time if the list of available photographers held out.
burgh and Wheeling. John at the time of writing was
Gilbert Warrenton, A.S.C., opened the ball with a great awaiting the coming of the big league ball players, the
start, but Ole Man Flu got him down after a struggle. training af which he will cover. He wants to be remem-
Then entered J. V. T. with an abundance of pep leavened bered to all the bunch.
with a full measure of sympathy for those who were un-
able successfully to combat the flu specter. But O. M. F. • Hal Mohr, A.S.C., twenty-three years ago as an ex-
even then had his number. ceedingly young man was cinematographer on "Money."
The leading character actor of the production, which was
Richard Fryer, A.S.C. , was the recipient of an emergency made in Fairfax, Cal., was Jerry Ash. Hal now has finished
call to take charge of the photography on "Stones Cry "When Love Young," Universal's comedy of
directing Is
Out," a title the sinister applicability of which seemed romance. Jerry Ash also was around about the picture,
more and more negatively to appeal to those who wer.e too, only it was Jerry Ash, A.S.C. You get one guess as to
trying to work on it. Then Ben Reynolds, A.S.C., got the his duties were.
just what
hurry-up call, and none too enthusiastically responded as
his immediate predecessor also took to his bed. • Hal Rosson, A.S.C., has been assigned by Metro and
But Van having almost started the picture had an un- now is shooting "They Gave Him a Gun." W. S. Van Dyke
bending ambition to finish it. When the fourth man on is directing.
the list was found to be packing a temperature a retracing • Gregg Tolond, A.S.C., has entered into a five-year
of those who had retired more or less indifferently revealed agreement with Samuel Goldwyn under which he will direct
the second victim was ready to go again. And so he did as well as phatograph pictures. The cinematographer al-
And "Stones Cry Out" slid silently into the old can to the ready has a record of thirteen years in the camera depart-
intense relief of the U's camera department. ment of the Goldwyn company, which is something of a
• Henry Sharp, A.S.C., for the past month has been re- record of itself.
ceiving congratulations on his marriage January 30 to

• Clyde De Vinno, A.S.C., has been assigned to shoot
Jeon A. Thayer. The American Cinematographer for the There
M.G.M.'s adaptation of Don Marquis' "Old Soak.
intervening weeks has been impatiently awaiting the op-
was reported to have been some lively competition among
to add its good wishes to
portunity officially those of
the boys to land in the spot, some even exploiting their as-
Henry's host of friends, wishes for a maximum of good The de-
serted qualifications adequately to fill the bill.
health and of the blessings that go with life in harness,
partment, however, insisted it was seeking its man on the
material and domestic. the cinematogra-
drys' side of the fence. But the roar of
• Rudolph Mote, A.S.C., has gone to Big Pines on vaca- phers was as nothing to that coming from the character ac-
tion. With him went his skiis, the inactivity of which, tors. Some of the troupers insisted they could fill the title
if the truth be told, really was responsible for the trip. role like nobody's business if the prop department would
Singular indeedis it how a faithful follower of a craft the just do its full duty.
members of which aim at all times to keep their feet on A.S.C., had a plenty of good long
W. Jackman,
• Fred
the ground suddenly should be seized with an unquench-
looks at the old Father of Waters on damage bent. Pre-
able urge to see how far he may lift his feet off the
ceded by his son Fred W. Jackman, Jr., A.S.C., he flew from
ground without resultant damage to the aforesaid eartii
plane
Hollywood to St. Louis with Amelia Earhart on the
or to hisown anatomy. Louis the
in which she plans a world flight. Arriving in St.
• Charles G. Clarke, A.S.C., is the latest of the cinema- two A.S.C. members chartered a plane and photographed
tographers to step from the camera to the directing post. the flooded area, proceeding as far south as Memphis. In
He has been assigned to direct the making of M.G.M.'s Paducah, Ky., they entered the lobby of the Irving Cobb
"Pigskin Packers," which will bring to the screen a show- Hotel in a motorboat. In another town also in a motor-
famous professional football team from Green
ing of the boat they entered a hatel via a second story window and
Bay, Wis. departed in the same navel fashion. Father and son
• John W. Boyle, A.S.C., writes from Marseilles, France, returned to Hollywood by a TWA
plane after having been
he is on his way to Cairo. The Cairo you may be thinking away a week.
about is not the one he is talking about. The message
mentions a word or so about weather, something better than • Joseph Walker, A.S.C., among his associates in the Ca-
he recently has been experiencing seeming to be his urgent lumbia studies for several weeks had built up quite a mys-
desire. So he was on his way to Egypt and not to Illinois. tery around his goings and comings in the then near future.
He was going east on most important business. He re-
He announced his address as Mena House, Giza Pyramids,
Cairo, Egypt. Continued on page 104
March, 1937 o American Cinematographer 99
CHAMPION
EASTMAN Super X was used in the great
majority of all 1936 feature productions
...ill three out of every four ^^box-office

ml
champions”. . . in nine of the ^^best ten”
pictures chosen hv the country’s critics.
It coiitiimes as the uiiehalleiiged cliain-
]>ioii among motion [lieture negative films.
Eastman Kodak (Company, Rochester, N.Y.
(J. E. Brulatour, Iiic., Distributors, Fort
Lee, New York, Chicago, Hollywood.)
EASTMAIV SUPER X
PANCHKO>IATir AE<iATIVE
Our Regrets to Mr. Simon

Lighting Shirley Temple
In conversation with the editor of
a
Continued from page 94 this magazine S. Sylvan Simon, Universal
executive, called attention to statements
way or the other, covering it up with duty —and no more. You can't trust
credited to him in a January story which
some bit of impromptu business. to diffusing heavily, for if you do your he says were not in conformity with
Naturally, we try to ovoid such things light grows hard to control. You can't
his beliefs or his experience. Mr. Simon,
os much os possible. In the first place, work precisely with the old mirror-type whose books on theatrical matters are
we're fond of Shirley. In the second lamps because of the obvious "hot rings" accepted in theas authori-
profession
place, no child con be wholly noturul and "dark centers" you get os soon as tative, says the question was
article in
under blinding lights. you flood their beams. written by a free lance writer following
So we've evolved o scheme of light- Here is where the "Morinc-lens" con- a brief and casual chat on a stage.
struction of those Solarspots proves its
While some of the statements, Mr. Simon
ing that really gives an indication cf
what modern lamps and modern fast worth. haven't yet been able to fine
I
suggests, were recognized by his inti-
emulsions permit us to do in cutting any shadows or hot-spots in their beams. mates in the industry as authentic, oth-
down illuminotion without sacrificing And once you've focused a Junior you erswere to the contrary. The American
quality. I've always considered myself know its beam is all going where you Cinematographer begs to assure Mr.
a reasonably low-level lighter. But it want it. There's no "spilled light." Simon it regrets the occasion for com-
took this experience to show me how far plaint.
Larger Lamps for Adults
allof us are from taking full advantage
of the opportunities offered by today's What's more to the point, I don't have
improved equipment and materials. to use two or three overdiffused lamps
Here's the problem. I've got to light to do the work of one normally efficient be bothered. Moreover, it cannot inter-
Shirley with the minimum possible in- ane. On several of the sets for "Stow- fere with the less intense lighting used
tensity. At the same time, my scene away" and most of them for the new on Shirley.
must retain a definite effect of bril- picture I've had the set rigged exclu- It con easily be imagined, too, how
liance. The overall effect may be high- sively with Solarspots. much these handy accessories simplify
toward the matter of goboeing light from any
key or low-key; but there must always In those parts of the scene
be something of the sparkle one asso- which Shirley doesn't have ta look car I part of the set.
ciates with Shirley Temple. often use larger lamps for lighting the
Same Problem Outdoors
adult players. The "Juniors" are very
Baby Spots for Shirley particularly since their When we go outdoors on location the
useful for this,
Therefore the foundation of my light- light can be so precisely controlled. same general problem enters. always I
ing scheme is a pair of baby spotlights We've worked outa little gadget which scrim the sunlight from Shirley.
direct
with which I light Shirley. Yes, I mean is very helpful in this phase of light- And as even experienced odults dislike
those insignificant 500-watt "bon- ing. We call it a "barndoar." It fits facing reflectors do all my modeling
I
bons." of them, placed quite high

One on to the lamp just like a diffuser. On with artificial light. Usually employ I
and at the side most of Shirley's action the normal square metal base is a tube Solarspots and baby spots.
is played ta, is my key-light. Normal- the same diameter as the Solarspot's On this picture, we have one location
ly, it shines down upon her face, from lens, and about three inches long. At representing a cantonment in India.
the front. the end of this are two hinged flops Here we've had the problem of suggest-
The second baby spot fills in from the about twelve or fourteen inches long. ing heat without building up unduly
usually lower than the key- The whole assembly revolves, so that "hot" light levels. One sequence, for
side.
light,
It is
and flooded more. The remaining the flaps will close at any angle verti- — instance, takes place on the veronda of
side is filled in with a "broad," strongly cally, horizontally, or anything between. an officer's bungalow. needed plenty I
diffused and placed well back. The top The flaps of the barndoor act like of light in that porch to balance the
and back lighting, since Shirley doesn't goboes, but they can be handled much strong sunlight outside. Ordinary
Suppose Shirley is working in inkies weren't adequate, and the sound
have to face it, can if necessary be much easier.
stronger. Often in closer shots, how- a scene with an older player who needs men wouldn't let us use a generator big
use a baby spot even for this. (and can stand) stronger lighting. enough to power arcs. So used one of
— and
I
ever, I
I've got to do is keep my may have

Shirley to look in the direc- the big Senior Solarspots the trick
Nowall
general illumination at a sufficiently low tion of one of these larger lamps. Well, was done.
level so that these "babies" penetrate that lamp is simply a Junior with a In one sequence of the lost picture,
barndoor. "Stowaway," also made good use of
the overall lighting.
I
For found one of the most

this I've The flaps of the barndoor are revolved these larger units. The set represented
they work vertically. Then the the deck of a steamship, and needed
valuable toals is the "Junior Solarspot until I
Mole-Richardson brought out lost year. lower flao is tilted up until it cuts the a strong, uniform key- light to represent
beam off Shirley. Thus protected, she sunlight. The answer was three Seniors
In a case like this, you've got to light
Each lamp must da its full can look directly at the lamp and not lined up overlapping
outside, at the
precisely.
stanchions supporting the upper deck.
The could not have been more
effect
Guaranteed Used 35mm Equipment

convincing hod used arcs and it was
I —
Fully obtained easily and economically.
Mitchell, Bell & Howell, Akeley, Holmes Projectors, Sound and Si- But somehow the technicalities of
DeBrie, Universal, Rathe Comeros. lent. lighting don't seem so important when
Portable Sound Recording Outfits. DeVry Suit Cose Model Projectors. I'm shooting a scene like one in "Stow-
Eymo and De Vry Spring Driven We buy, sell and rent away" which ran for over three pages
anything Photographic. of dialog. It's quite something to see
Cameras.
any seven-year-old do such a long scene
Camera Supply Co. without missing a line but when fully —
1515 No. Cahuenga Blvd. Hollywood, Calif. half of her dialog is in Chinese (and
Cable Address: CAMERAS still never a blow-up!) well, even a —
cinematographer has a right to applaud!
!
// upper brackets of successful productiens.

Photographers, amateurs as well as
Michael Strogoff Registers professionals, will be interested in more
than the technical excellencies of this
Jules Verne subject of the period of
Genuine Triumph in Technique 1 870. Without a moment's warning,

there is suddenly pitchforked into the
consciousness of the screen follower the
face of a woman, a mother, the mother
WALKER, ordinarily "just another picture" into one
ERNON A.S.C., head
V of the
L.
special camera
partment at RKO studios, replied tc
effects de- of unquestioned box office value and
—
human appeal is in the work of its
photographers, the men who took a sub
of Michael Strogoff. It is a face of
tragedy, one that in its depth, its poig-
nancy, will overmatch anything this re-
the compliments of the editor on the porter ever has seen on the screen.
ject that had been made under the
work of his department and the whole Strangely enough, this is the second
technique of a decade ago and by the
camera crew on the making of "Michael picture in which Fay Bainter has
employment of the most modern de-
Strogoff" by declaring with enthusiasm worked. Her first one, "Quality Street,"
vices and implements and the highest
that Joseph August, A.S.C., the director has not yet been released. It is a singu-
degree of technical skill gave to the
of photography on the picture, had laroccurrence when a player makes a
world a picture that will rank in the
"done a beautiful job, that he had tenstrike in her second picture, with
matched right on the button the foreign the first one yet to come and to reap
land shots with the home close-ups; that the inevitable reward awaiting it by
not only was there craftsmanship but reason of the sudden screen eminence
artistry in abundance." of one of its actors whose quality as a
One of the outstanding incidents in
portrayer of life hitherto hod been
connection with the making of "Mi- known only to the followers of the stage.
chael Strogoff" is that, where ordinarily
the producer for some inconceivable
reason attempts to hide the fact a pic-
ture was photographed abroad, in the Film Exports Gain
present instance there is open-hanaea
acknowledgement by an RKO execurive Ten Million Feet
whose business it is to speak for the
company that RKO purchased a French Over Previous Year
versionof a German picture that hud
Preliminary figures of American mo-
been photographed in Bulgaria.
tion picture film exports for the year
Furthermore, explaining the convic-
1936 show a 10,000,000 feet increase
tion of "authority" conveyed to the per-
in negative and positive sound and silent
son out front as he looks on these wide
films over those exported during 1935,
vistas of open country, it is declared that
according to compilations made by
of the original nine reels brought to
Nathan D. Golden, chief of the Motion
this country 2800 feet were cut into
Picture Section of the Electrical Division,
the picture as it is now being shown.
under Bureau of Foreign and Domestic Com-
That explains why the layman is
merce.
the illusion he is looking on Russian
For 1936 a total of 209,651,404
backgrounds.
linear feet of motion picture film, with
Photographic Technique a declared value of $4,531,639 were ex-

ported to 101 markets throughout the
Let us examine the map and see how world, as compared with 190,690,621
Crisp image. Definition when light
this illusion thing was established. linear feet, valued at $4,597,339 for
is poor and you have to open up.
Southern Russia is bounded on the west 1935.
As this witness con-
Color correction for incandescent The 936 exports of motion picture
by the Black Sea. 1
strued the from the picture this

locale
or arc light, and for Technicolor, film are the largest since the year 1930,
was the spot. Bulgaria, where it was Bipack, and other color films. when 274 million feet of film were ex-
photographed, is bounded on the east You’ll get them all in a Cooke ported.
by the same bady of water. The lotrei During 1936 exports of negative and
country's latitude —
and latitude is a
Taylor-Hobson Cookes are positive sound film to the three leading
most important factor in matching
known and respected for their markets were in the following order;
backgrounds —
is around 42 north. Sac- crisp, clean images wherever cam-
eras go. For your copy of a new
Argentine, as in 1935, was the largest
ramento River, where some of the consumer of American motion pictures in
matching shots were taken, is 39. Here bulletin on the T-H-C F2 Speed point of footage.
in Triunfo, an hour's easy ride from Panchros, the F 1.3 Special Speed Second in point of footage, but still
Los Angeles, where some of the most Panchro, and the F 2.8 Panfos, our revenue producing market, is
best
effective matching was dane, the lati- address the United Kingdom, importing during
tude was around 33. It is probable the 1936 18,071,389 feet, valued at $525,-
disparity in latitude was campensated
for by the elevation of the Triunio lo-
BELL & HOWELL 031, as compared with 15,874,353 feet
with a value of $476,392 during 1935.
cation. COMPANY Brazil again maintains third position
What cannot be ignored wherever
Exclusive World Distributors
as a leading consumer of American pic-
motion picture men and women fore- tures. During 1936 it imported 12,-
gather is that one of the major factors Chicago — 1848 Larchmont Avenue 785,110 feet of films from the United
contributing to the triumph of o pro- Hollywood — 716 North LaBrea Ave. States, valued at $252,655, as compared
duction —
its transformation from per- New York — 11 West 42nd St. with ,568,669 feet, valued at $247,-
1 1
haps a subject that may have been London, W. 1. — 14 Great Castle St. 125 for 1935.
They Make Pictures in India

Continued from page 91
IfilTCHElLCfllDERDS
AND ACCESSORIES G. Quiribet, who succeeded Hal Sintz-
enich, A.S.C., as technical advisor for
I
Kodak, Ltd., in Bombay, and Agfa's
STUDIOsCUTTINe capable consultant, Mr. Hirlekar, have
done excellent work in helping the In-
ROOM EaUIPA^ENT dian studios to modernize their labora-
OF EVEBM DESCILIPTION tories. In spite of their efforts, however,
some of the smaller plants have fine de-
veloping machines which are left unused
in favor of the more traditional rack-
and-tray systems.
India really needs coaching in Amer-
ican cutting technique, too. Although
their editing is artistically satisfactory,
their methods of handling the film are
too often slipshod. Often, you will find
a cutting room floor completely covered
with film —
positive or negative while —
the cutter sits cross-legged and works
with bore hands. Inevitably, virtually
oil Indian pictures ore seriously blighted
by dirt and scratches.

Waxing machines, too, could be used
more advantageously. Too often the
film is not waxed, and the first projec-
tionist who uses o print spoils it by lu-
bricating it with projector oil.
The overage Indian production is
from 12 to 18 reels in length, either of

FIIA>K %14'KEIC on Indian mythological or historical sub-
ject, or on Indionized adaptation of o
1600 Broadtuay
€Quipm‘€nT,
Metu York
mo
Citi^
modern Hollywoodesque subject. The
tempo is usually quite slow-moving.
Sometimes o single song will lost o full
9 -<H46-7 ADDRESS; CINEQUIP '
reel.
Six Weeks For Majors
Production schedules and budgets ore
Cameras and Accessories the most nearly American of any in the

Orient. The overage major production
. . . SOI.I» . . . SEIIVICEO . . . IIENTED . . has o schedule of from six weeks to two
months or more, and budgets up to os
Silent and Sound Cameras, Mitchells, Bell & Howells, Akeleys, DeBries
and Eyemos; also magazines, tripods, lenses, motors and accessories high os 50,000 rupees, which is about
1
always available for sale or rent and serviced. $65,000. This is six or seven times
what would be spent on o feature in
Special Equipment Designed and Built lo Order Japan or the Philippines. The returns
Our laboratory, acknowledged to be the best equipped in the East,
ore proportional, for where on Indian city
specializes in camera repairs, servicing and maintenance. Fast, effi-
cient and dependable work guaranteed. may hove one theatre playing American
:%ATro:\AM. CMNE LAtUPHATiPKMES and European films it will hove o score
playing native productions.
20-22 West 22nd Street Aew York City Altogether, the Indian film industry is
advancing. The Motion Picture Society

of Indio doing a great work in foster-
is
ing cooperation among its technicians,

immensely aided by Kodak's Quiribet and
Everything Photographic Agfa's Brunn and Hirlekar. Such Amer-
for Professional and Amateur ican journals os The Cinematographer do
New and Used, bought, sold, rented and much to help India's photographers keep
repaired. Designers and manufac- up with the times.
turers of H. C. E. Combination It is unfortunate that so few from
lens shade and filter-holder Indio hove hod o chance to receive
for any size lens.
training in Hollywood's studios, for such
Hollywood Camera Exchange cooperation would be mutually advan-
1600 Cahuenga Blvd.,
Hollywood tageous, and would help o very sincere
Tel. HO 3651 group of artists in their efforts to moke
Cable Address: HOcamex
Send for Bargain Catalog
better pictures for o huge audience
which, due to the language barrier, con
rarely patronize Hollywood's pictures.
New Type Infra-Red

Paramount, pioneering the use of

this film, has repainted its entire SOUND-ON-FILM SERVICE RECORD
"Brownstone Street" in o special bluish-
gray. This color has been standardized Because of the remarkable world-wide service record established by
under the name "infra-red blue." It is the B-M Model "E” High Fidelity Sound-On-Film Variable Area Record-
equally good for day scenes and infra- ing Unit during the past thirty months, this unit, formerly supplied under
red night scenes. It has no red in its
a one year guarantee, will now carry a TWO YEAR unconditional guar-
composition.
antee against breakdown in service.
Two reds may be identical both to
eye and to normal super-panchromatic This guarantee is made possible because of the ruggedness, depend-
films, but with the new infra-red film ability eind trouble-free operation of the Model "E” unit, which contains
one may photograph dark, due to an im- no damping materials to alter the frequency characteristic through ageing
perceptible bluish content, while the or temperature variation; employs pre-focused exposure lamps which
other will be rendered light. Certain are replaced as easily as changing an automobile headlight bulb; and
natural greens reflect a surprising
which offers a frequency response characteristic to meet the most
amount of infra-red and accordingly
discriminating requirements.
photograph unnaturally white with this
film. Compact design of the Model "E” Unit permits easy and convenient
One production in which it is planned installation on any 35 mm. sound camera or recorder. Write for complete
to use the new film is taking this into specifications and frequency response curve.
account, and much af the location's
natural foliage will be sprayed a more
BERNDT-MAURER Model "E" High Fidelity
satisfactory photographic green to pre- Recording Galvanometer, frequency ronge
vent mishaps. 0 to 10,000 cycles $350. F. O. B.
Wilkinson is pursuing a remarkably New York.
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film. While fully awake to the photo- BERnDT-mnURER tORP.
THE INCHES
graphic and economic advantages of the
I
117 East 24th Street • lleui Varh (ity I 'I 2 |

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film, and definitely planning its use

wherever advisable (one production
alone has night sequences which wi'l
expose more than 20,000 feet of the
new stock), Wilkinson is making no ef-
fort to force its use upon Cinematogra-
pners unacquainted with the film. Every
member of the Paramount staff is given
an opportunity to study the tests al-
ready made, to make more of his own
For
and then to use his best judgment.
It is a tribute to both that policy and
the new film that the Cinematographers

PRECISION
who have seen and tested it are with- ill
out exception anxious to use it on their
own productions.
LIGHTING
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A.S.C. On Parade NEW SUPER

F 1.8
S T R O Continued from page 98

CIAEGLOW
„3 xo
LENSES quested, in fact most urgently requested,
that for several weeks or even a month,
THREE
Recording
ELEMENT
he be relieved of any assignments. He

got the relief, but the curiosity of the Lamp
bunch was unsatisfied.
A true, high fidelity,
Then one fine morning Joe burst in ultra violet, modulating
on the department after parking o shiny light source.
cor. With him were Mr. and Mrs. Frank

• High Intensity Expos-
ure.
Copra and Miss Juanita Pollard. Joe • Long Life.
admitted he was on his way to get mar- • Uniform Quality.
ried. But first he had an appointment
to look in on Harry Cohn, who slipped
the cinematographer a bouquet that
Blue Seal
made his eyes snap.
Then Joe walked out on the studio,
Sound Devices
Incorporated
for sole by
leaving his amazed associates entirely
723 Seventh Ave.
flat. Nor have they seen him since. It
Mitchell Camera Corporation was learned later he did get married
New York. N. Y.
665 North Robertson Blvd. and that he and his bride left immedi-
West Hollywood, California ately for New York. Mrs. Walker is an
expert amateur photographer. So it is
to be assumed that when Joe gets back
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AMATEUR
MOVIE
SECTION
Contents . . .
"KING of Allah's Garden"

Is Bay State Movie
By Mr. and Mrs. Stanley Oscar Bean 1 1 1
COACHING an Olympic Team 'with

16MM
By J. Robert Hubbard.... 112
YOU JUST Can't Help Doing These

Transition Things
By William Stull, A.S.C 1 14
AMATEUR Movie Club News...... 116
SOCIETY BACKGROUND vs. Foreground

Lighting
By John Arnold, A.S.C 1 18
OF AMATEUR CAMERA
I llusion
Should Be Instrument of
By Frank Good, A.S.C ....119
CINEMATOGRAPHERS WHEELS OF INDUSTRY 120
KODASLIDE Reproduces Stills with

Great Brilliance 121
CINEMATOGRAPHERS have Language

BOARD OF REVIEW All Their Own
By Joseph August, A.S.C 122
John Arnold, President, A.S.C., Executive Direc-
tor of Photography, M.G.M. Studios NEW BAUSCH and
Lomb Laboratory .1 23
Karl Struss, A.S.C., Director of Photography,

Paramount Studios, Academy Award Winner,
1928
Next Month . . .
Next month readers of the Amateur Movie

Fred Jackman. Treas., American Society of
Section will find entertainment and information
Cinematographers in an interview by William Stull, A.S.C., with
one of the outstanding amateur photographers
Photography, in the country.
Dan Clark, A.S.C., Director of
So also may possibly followers of the Pro-
"Country Doctor," 20th Century-Fox fessional Section, for the man interviewed,
while an amateur, has traveled far over the —
waters of the world and in the progress of his
David Abel, A.S.C., Director of Photography of hobby. We
haven't seen the story, but we
Fred Astaire Productions, R.K.O. Studios know the two men and their work.
r*ROM the first bite of a
tool, straight through to
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relentlessly tested, checked, and re-inspected to meet
n abnormally high standard of quality.
/ithout these ever constant precautions, VICTOR'S

nviable reputation could never have been built.
'ICTOR’S Greatest Superiority, however, lies in those

XTRA refinements and features that have raised l6mm
erformance to unparalleled heights of perfection — a nd
hat are not to be had in any other equipment at any

rice! ASK today that those Superior Features be
emonstrated.
//
King of Allah s Garden Is Bay State Movie

by he writers of this story, Stanley and Maryjane Bean, of
Mr. and Mrs. Stanley Oscar Bean

T scribed
Amesbury, Mass., admit the
a 16mm production
is
subject they have here de-
with a definite purpose. As
in the early days of the screen the new and necessarily hard-
pushed professional picture producers used the locale of
Fort Lee in New Jersey as a background tor wild western
tales, so these New Englanders created African desert,
A lthough there is some similarity to our title ond veldt and jungle out of Massachusetts sand dunes tumbled
about by a raging wintry Atlantic. Among bodies with
that of o very excellent recent technicolor film, our which Mr. Bean is connected are the Stanart Motion Picture
story is os different os is the idea behind it.
Club and the National Geographic Club. The writers also
make no attempt to conceal that what began as a hobby
With nine years of 16mm fun and experience in mak- —
may prove to be something else again but nevertheless
ing four travel, two industrial, two Kodachrome shorts and with them the making of pictures continues to be a hobby.
one historical production, we wanted to do a feature
length photoplay.
After a visit to Hollywood studios and outdoor loca- our audiences the cinema possibilities of our northeastern
tions in 1933,we wondered what we might do here in our states.
own "back yard," using New England's varied seasons and With five on the production staff and nine in the cast
natural lacations.
The scenario was our own —
concerning the difficulties New England.
—
we went out to prove our point a little of Hollywood in
confronting a British telegraph company in maintaining Cur desert was several acres of rolling sand on an island
communications between Uganda and the Sudan, A story pounded by the stormy Atlantic. We began the desert
requiring such foreign locale — Africa's desert, veldt and photography in March after the winter's winds had built
jungle —was written with the object of demonstrating to large dunes and smoothed the surface of its few wild grasses.
The sun at this time of year gave us long shadows in early
afternoon.
Jungle a Swamp
Our jungle was comprised swampy woodland, com-
of a
pletely overgrown with wild grapes and a wicked, thorn-
covered vine locally called "devil-wire." Through this
"hardly penetrable jungle" we cut paths where the action
was to take place. These scenes were completed before
telltale leaves had even budded.
In both jungle and desert backgraunds we were able
to work without recognizable native plants or trees break-
ing the atmosphere. We did a number of scenes in Koda-
chrome, to capture the vivid colors which our warm spring
months supply —
to duplicate, if possible, the gorgeous hues
of late-afternoon reflections on glistening sand and the
rich verdure of the tropics.
Our oasis and veldt were most difficult to obtain. To
prove our point we could not resort to artificial settings
or make use of props. A large spring near a brook was
the ideal water-hole except for its background elm and —
pine trees! The shooting angle was overcome by erecting
a platform from which we could follow the action using o
range only to the base of the trees. We played up the
close-range features of our "oasis," which was overhung
with long grasses and a number of giant ferns, as the
"native" villain skulked before the lens.
Next, the scenario called for a long-shot with a wide
frontage of "open veldt." We went back along the sea
coast, but each spot visited continually balked us with
familiar and too numerous trees in the foreground.
"Fort" is Written In
A member of the cast suggested an airfield not far

from a beach which was grass covered, although always
mown. We visited the spot which was ideal at least a —
half-mile wide and an unbroken vista for two miles, with
only sparsely placed scrub growth breaking the skyline.
We waited till late autumn however to make these scenes
when all machine marks were obliterated.
Stanley and Maryjane Bean, authors and producers Perhaps the most interesting filming was that of "Fort
of the 16mm “The King of Allah’s Carden.” The Cecil," the scene of considerable action. We had had this
picture was enlarged from film. The location is
the New England coast and was designed to place in mind long before "The King of Allah's Garden"
simulate an African desert. Continued on page 127
Coaching an O y m pic Team with

espite his nickname, don't Ithink Harold
D ("Dutch ') Smith was exactly a master of the German

language last spring when he signed up to coach Ger-
many s Olympic diving team. It was reasonably certain,
16 mm Movies
too, that many of his pupils would not understand English.
Under sucn circumstances, conversation just isn't, and
teaching becomes a matter of pantomime. by
Unfortunately, tne kind of fancy diving that makes up
J. Robert Hubbard
the required routine of the Olympiad doesn't particularly
lend itself to accurate pantomime. Even if, like "Dutch,"
you are an Olympic champion and can do all the dives to
perfection, it takes more than pantomime or demonstra- El Mirador plunge at Palm Springs to make our picture.
tion to put over the fact that in one dive, just as you are
Dutch Smith worked a triple play as cast, director and
three-quarters through your second backward somersault, producer. My motor-driven Filmo and M were photo-
you throw your head forward, while in another dive which graphic staff, reinforced by 1500 feet of Panchromatic
looks almost exactly like the first, you throw your head reversal film. Mrs. Hubbard went along for the ride—
backward. and was pressed into service as "script girl."
Those things happen so fast in a dive and not even
. . .
an Olympic champion can dive in slow-motion! inconspicuous Backgrounds

Slow motion! Say, there was an idea movies! So — One of the most important things in making a film of
"Dutch" rounded up me and my Filmo, and we set to
this nature have an inconspicuous background. Scen-
is to
work to make a slow-motion picture of the complete
ery, and pretty girl bathers are all right,
fine architecture
Olympic diving routine, the first time this had been done.
but any of them would tend to distract attention from the
Diving By Script niceties of fancy diving technique. We were rather lucky.
First all, we
of prepared a skeleton scenario for our Dutch is universally liked, and when the bathers learned
picture. This was simply a list of the required dives, in what he was trying to do they agreed to stay at the other
the order they follow in Olympic competition. This didn't end of the pool, well out of the picture. Behind the spring-
have to be very detailed, for Dutch knows the dives and boards was a fairly high stucco wall, which made an ex-
their order by heart. When we got to the actual shooting, cellent background for fhe lower shots. Beyond the wall
perhaps once in ten or a dozen dives, Dutch would glance was a group of dark green trees, the only undesirable
at the script to see what dive came next. feature of the location from our viewpoint.
The script was intended mainly os a guide to me, Beyond this there was only the clear blue sky as a
both in planning my shots and in editing the finished pic- background —
no buildings, telephone-poles. Or distant
ture. Believe me, needed it, for there were no less than
I
traffic to confuse our shots.
eighty different dives, and some of them look mightily The neutral tone of the stucco wall was perfect for a
alike if you're not an expert. background —
as far as it went. The sky was brought to
just the right neutral gray tone with a 4x yellow filter.
At any rate, we prepared our script ("Catalog would
be more correct," remarks the Mrs.), and repaired to the
The only disturbing element was the dark green foliage
in between. For a while we considered putting up a white
canvas backstop to conceal this, but finally we decided
against it, as the day was windy and sure to ripple the
canvas embarrassingly.
The 4x filter, incidentally, was useful
in another way.
Dutch, after a season under Palm Springs'
in the open
desert suns, was tanned to a magnificent dark bronze. The
filterlightened this tan sufficiently to show it as a tan,
but not as absolute blackness.
Two Days' Shooting
With the exception of two or three close shots showing

such details os the correct way to hold the hands, the
proper walking and running approaches along the spring-
board and the like, we shot our entire picture at the "slow-
motion" speed of 64 frames a second.
This, while it may not be as perfect for slowing down
diving as the 128-frame speed of the special super-speed
Filmo, proved completely satisfactory. It had the advantage
of being more economical of film, and it is always pos-
sible, when one wants to study such movement closer, to
slow the' projector and increase the apparent "slow-mo-
tion" effect.
Using regular Panchromatic reversal film and the 4x
filter, the exposures ranged from f:4' to f:4.5. This was
a necessary compromise in exposure between the low ex-
Harold (“Dutch”) Smith and “script girl” on location. posure indicated for the sky and the brilliantly reflective
water ot the pool and the much higher exposure indicated to the minimum. Ultimately, the titles were reduced to
for Smith's bronzed body. a mere statement of the officiol designation of the dive,
We worked for two solid days photographing our dives. and its sub-type, with the briefest of technical notes, sucn
Fortunately, the pool was so situated that we got a good as "Aim inner arm toward point of entry." The picture
cross-light both morning and afternoon. This lighting was told the rest of the story.
almost perfect for our purpose, for it gave a very pleasant
Diving Films Make Sensation
modeling on Dutch's figure, with enough high-lighted area
to contrast well with all parts of the background. That, incidentally, gives one o good criterion by which
This is important, for unless the background is a single to judge whether or not he has been successful in making
expanse of one neutral tone and the diver properly lit, a picture of this type. If you find your film needs long-
there is always the danger that at some point in the winded explanatory titles to make its meaning clear, the
scene the diver's body may seem to merge into the back- man at the camera has failed. After all, the only reason
ground, losing important technical details. for moking a picture is to tell something that can't be QOt
across with mere words. If the picture needs wordv
Filmed With One-Inch Lens titles to complete its story, you can take it as a c.ear sig-
All of the dives were shown in long-shots, which were nal something is wrong with the picturemaking.
filmed with a standard f:2.7 Cooke lens of 25mm (one The way the athletic world has received the picture sur-
inch) focus. One or two shots illustrating special details, prised botn of us. We realized it was the first time all of
such as foot-action on the springboard, were made with the Olympic dives had been recorded on film for a study
two-inch and four-inch telephoto lenses; but speaking of diving technique, but we hadn't expected to create such
generally a one-inch lens is oil that one needs for this a sensation. The Germans, of course, were enthusiastic.
work. Colleges Buy Prints
Thorough rehearsal is necessary if pictures like these
are to be of value. Our routine was simple enough; Dutch Then, after the Olympic Games, a University in Johan-
nesburg, South Africa, asked to buy a print. Here in this
would practice each dive until he felt he was at top form,
and I would practice "following" his movement through country coaches at Yale, Princeton, Stanford and many
the finder until was sure
I could make the shot per-
I
other colleges have followed suit, with more heard from
almost daily. Fortunately, after cutting the original re-
fectly. Then we'd make the scene. If the dive wasn't per-
fect, we would retake it. If it was, we'd go on to the next versal film, we had made a duplicate negative, so all
dive. prints are equally good, without scratches or any signs
Whenyou see these dives on the screen, with Dutch of projection-wear such as would have been inevitable had
floating through them in slow-motion, it looks as though we not made the dupe negative at once.
it must have been easy to follow the movements with a Making this picture was mighty interesting, but if you
one-inch lens. Actually, it was quite hard especially with — imagine it was ploy, consider this. Counting rehearsals,
extra takes, and all, Dutch Smith did well over 200 dives
the more intricate dives from the three-meter board.
to give the 80 perfect ones shown in the picture. Well
The dive actually was four times as fast as it appears
on the screen, and shooting a big fellow like Dutch doing over half of these were done from the high board, and in
a double somersault with a couple of twists thrown in -and — addition to diving Dutch had to climb more than ten feet
doing it without leaving a few arms and legs out of the up to the board each time.
picture — is definitely a tricky task. When we finished those dives,
interested spectator, figured that
Irving Berlin,
in
who was an
addition to his diving,
Script Helps in Editing Dutch had climbed nearly half a mile straight up — just
getting out of the water!

As we filmed each dive the checked it off
script girl
As if that wasn't enough for him, after the day's work
against the list in the script, noting how many "takes"
was through, Dutch would remark with a grin: "Come on
we made of each, and which one was the okehed one. And we would spend half an
in. Bob, the water's fine!"
it
When the film came back from the laboratory, we broke
down into individual scenes and eliminated the NG'd
hour swimming and diving — just for fun.
takes. Then we arranged the dives in their correct order

and started splicing. Most of the dives had been shot in
their proper order; but a few of the more intricate ones
toward the end ot the first day's shooting had been post-
poned until the next morning, when Dutch felt fresher,
and could do them better.
The picture's total length was about 780 feet, which
included eighty dives and as many titles. The film, though
one continuous production, was broken up into two reels.
Reel One is devoted to dives from the low (one-meter)
board. Reel Two is devoted to the dives from the three-meter
(ten-foot) board. The former scenes were all made from
a normal eye-level viewpoint.
The scenes of the dives from the higher board were
made from a viewpoint about even with the high board.
Since at the start of the picture we showed close shots
of the proper aporoaches to the springboard, both walking
and running and such details, we saved a good deal of
footage by only showing the dives themselves.
Titles Kept Simple

made to aid in coaching divers who
Since the film was
might not know much English, we kept the titles very
simple. Naturally, we had to collaborate on them. Dutch
noted down the proper name of each dive and any notes
on form he thought fit. Then boiled down the wording
I “Dutch” Smith on his way to the water.
ou HEAR A LOT about the subject of "transitions”
y in discussions of professional movies. When you go

to the theatre you often see so many intricate "wipes,"
"montages" and such that you are likely to limit your
thoughts of transitions to these tricks, and then to dismiss
the whole subject as something too involved for amateur
If You Make
filming.
Some of these intricacies are, it must be admitted, rather
beyond the scope of any amateur except perhaps the fel-
low with a Cine-Kodak Special and a world of patience.
But they are by no means the whole of transitions.
The truth of the matter is that as long as we make
M ovieS/ Amateur
movies, professional or amateur, we simply can't help mak-
ing transitions. Every time we end one scene and start
another we've made a transition. Every time we splice
Or Professiona
two scenes together we've made a transition. Every time
we join two groups of scenes together we've made a transi-
tion.
By William
Reduced to the simplest terms, a transition is a change
from one filmed idea to another. That idea may be sub-
ject-matter, place, time or action. The change may be
great or small. On the screen, it can be abrupt or smooth Used together, the fade-out and the fade-in give a smooth
— quick or gradual, according to how one handles his and positive change from one thought to another, and at the
same time give the auditors that
transition. fraction of a second's
pause necessary to readjust their minds from one train of
Direct Cut Simplest Transition thought to another.
The most elementary transition is the direct cut. It is
Fortunately, fades are among the easiest transitions to
also the most abru.ot, and it can be the most confusing. make, whether you make them in the camera, or after
At one moment one scene may be on the screen; a six- the film is processed.
teenth of a second later something entirely different may The simplest way make a fade in the camera is by
to
closing or opening the lens. But if you are shooting out-
be screening.
This is the logical transition to use between closely re- doors, with your lens already well stopped down, you've
lated individual scenes. When you cut from a long-shot very little leeway left for fading —
not enough, certainly,
of a given action to a closer shot of the same action, the to fade completely out. In an f:16 light, for instance,
transition is excellent, for there is no waste motion no — you'll still get too much exposure for the dark end of your
fade even if the lens is closed to its smallest stop, which
time lost. When from a shot of one person doing or say-
ing something you cut to a shot of another person obvious- with sub-standard lenses is usually about f:22.
If you were using a filter you would probably have your
ly watching him or listening, again the transition is good,
for you've taken the quickest and most direct way. lens much wider open, and you could get a definite fade:
On the other hand, if you try to use direct cuts between but your scene may not always call for a filter. An easy
sequences, you are likely to confuse the audience, unless way to get around this is to use a Neutral Density filter^
the action or setting of the sequences is very closely related. one which has no coloring to affect the color-rendition of
Such a transition is so abrupt a person watching it on the your scene, but is simply a dense gray-black, to affect ex-
screen has no time to readjust his mind from one line of posure-values and lessen contrast. In that same f:16
thought to the other. light, if you use for example a .00 Neutral Density filter,
1
you will have to shoot with your lens opened to f:5.1' to

Fades get the same relative exposure. This gives ample range
for lens-fades.
The fade-out and fade-in are the most all-round useful
of all transitions. The fade-out is as positive as the period The various fading-glasses on the market are simply
at the end of a sentence. It says beyond contradiction,
graduated Neutral Density filters which can be moved
"This is the end of this idea." The fade-in is just as posi- across the lens to make a fade.
tive. It asserts, "Here comes a new idea —
be ready for it!"
Making Fades On Finished Film
Ayear or two ago the sub-standard filmer who, after

he had shot his picture, discovered that he wanted fades
was out of luck. Dr. Loyd Jones, A.S.C., of the Kodak Re-
search Laboratory, had evolved a formula which produced
fades chemically on developed positive or reversal film, but
the chemicals were hard to get. was unable to obtain
I
them even in Hollywood; and though substitutes were avail-

able, they were like most substitutes, and didn't work so
satisfactorilv.
Since then the man tried to get those dyes from, T. R.
I
Barrabee of the Dye Research Laboratories, has devised a

compound that enables anyone to make his own fades
easily. It is marketed as "Fotofade." You simply add
the proper amount of water to the dry chemicals, and your
solution is ready. Wet your film in water for a half a
minute and clip a weight at the end you want darkest in
your fade.
Then drop the weighted end into the solution frame by
Two strips of waterproof masking tape and fading
chemicals will make a wipe like this. frame. When your fade is long enough, give the film a
An interesting variation, used by several competitors m

the various Cinematographer Contests, to fade out in
is
the usual manner and then, instead of lapping it with a

fade-in, bring the following scene in with the old-fashioned
You Just Cant "iris-in" effect

"Iris Vignetter."
produced by such devices as the Filmo
Wipes
Help Doing Th ese The "wipe" in its various forms

tion, but one that must be used sparingly.
is an interesting transi-
It is definitely
a trick, and it usually calls attention to itself.

Simple wipes can be made by sliding a dark card over
the lens, far enough forward to give a reasonably sharp
Transition Things line. If your camera will wind back, you can, with care,
make one s:ene wipe its predecessor off the screen. Other-
wise,you can have both scenes wipe in the same direction,
with a black interlude between. You can have one scene
Stull, A.S.C. wipe out in one direction say, sideways —and the other —
wipe in from another, say, uo from the bottom, or at an
angle.
A mechanical wiper like the Dumorr is very helpful in
shake and pull it out quickly. Rinse it in clear water making these tricky transitions smoothly.
(preferably circulating) for fifteen or twenty seconds,
squeegee the film between moist chamois and when the — Chemical Wipes
film is dry you will have a perfect fade. It's as simple as
that! Where wipe involves the scene being wiped off by

a
blackness, Fotofade is perhaps the easiest method of get-
Lap Dissolves ting good wipes. In this case, you simply cover the parr
of the film you want clear with waterproof masking tape

The lap-dissolve on extension of the fade-out and
is
and soak the film in Fotafade for two minutes.
fade-in combination, with the fades superimposed. Un-
The tape must be applied on the emulsion side of the
fortunately, it has to be done in the camera. If your cam-
film, of course, and it must be pressed down firmly, so the
era is one of the many not equipped to wind the film solution can't creep under the edge and give a blurred line.
backwards, you can still make dissolves if you —will work
If you apply two parallel strips, about one frame
apart,
painstakingly and carefully.
and placed diagonally, you will have both wipes traveling
First, you mark a definite starting point on the film.
If one tape slants in one direction,
in the same direction.
An easy way to do this is to remove the lens and mark and the other in the opposite direction, the two wipes will
crosses on several frames with a grease-pencil. Then you
be in opposite directions. If two tapes are crossed, the
make your scene in the usual way, carefully counting off wipe will begin in the center of the picture and spread
the footage. Suppose your scene runs five feet, and then outward. To have the wipe start at the corners and spread
you fade aut in two more feet. Very well, put on your
inward, use a long narraw V of tape. Using such a wipe
lens-cap, and run the rest of the roll through, unexposed.
where two scenes ore spliced together, you can block out
Now rewind the film. Bring back to the starting-
the splice completely by making the wipe after the scenes
it
point you marked. Again with the lens-cap over the lens,
are spliced.
run through the five feet of your scene, checking this either
by counts or by watching the footage meter, if your cam- Subjective Transitions
era has an accurate one. When you ore set up on the
next scene make your fade-in as usual, carefully keeping All told, we have a pretty complete vocabulary of tran-
it to the same length as the previously exposed fade-out. sitions. There are direct cuts for quick changes between
If you have done things accurately you will have a
per- closely related shots. There is the fade-out and its com-
fect lap-dissolve. Continued on page 124
Dissolves on Finished Film
Obviously, you can't make a lap-dissolve chemically on

finished film. In an emergency, though, it is possible to
make them by a modification of optical printing. Project

your scene, frame by frame, on a sheet of ground glass,
and rephotograph it with a camera on the other side of
the screen, exposing one frame at a time in stop motion.
You will have to give the film in the projector a half-turn,
so that the dissolve will be correct as to right and left.
You be likely to have some difficulty in accurate-
will also
ly matching the contrast of your "duped" scenes.
This single-frame work is very slow, so it is a good idea

to make only the lap itself this way, with possibly a few
frames at each end to simplify the matter of cutting it in-
to its proper place.
The dissolve is a rather tricky thing to use, however,
for it is such an unobtrusive transition that it should be
used only between ideas that are closely related. If it is
used to join unrelated ideas, it can be even more confus-

ing than a direct cut, for the change of thought sneaks up A wipe like this is a quick, positive transition, but
and catches the audience unawares. calls attention to camera trickery.
AMATEUR MOVIE
CLUB NEWS
C. G. Cornell showed "Wifey's Away," a comedy award-
ed fourth prize in the December contest.
Mr. Walter contributed in a large degree to the pleas-
Los Angeles 8mm Club Turns ure of the meeting when he showed his three-reel Koda-
chrome "1936 Travelogue," the filmed story of a jour-
Out in Fo rce for Excellent Program ney along the Pacific coast and into the northwestern por-
tion of the country. It was worth the walking of a mile
for any one to get a peek at the beauties unfolded by

he stated meeting 8mm Club
of the Los Angeles
T was held in the Bell and Howell Auditorium, 716

North Lo Brea avenue, February 9. Dr. F. R. Loscher,
the artistic photographer.
The final subject on the program was something far out
of the ordinary in the way of pictures amateur or profes-
the president, was in the chair. Nearly 150 were present.
sional. It was contributed by First Sergeant Teorey. It
The session was notable for the showing of two unusual
amateur subjects, a travelogue in color by John E. Walter was titled "The Cruise of the U.S.S. Chester to South
portraying the scenic beauties of the Northwest and a America;" and was in three reels, 8mm. The Sergeant
pictorial presentation by Robert W. Teorey, First Sergeant was stationed on the Chester, the convoy of the Presidem's
of Marines, of the President's 16,000-mile trip to South Indianapolis. Like its immediate predecessor on the screen
America. it was heartily applauded.

Bion Vogel, Randolph B. Clardy and C. W. A. Cadarette The meeting adjourned at :30. 1 1
were named as a technical committee to give advice across

a ten-minute period. The men named also will judge
and analyze such films as members may submit to them.
Mr. Clardy, a commercial artist, was appointed club Littles’ Eighth Movie Party Will
artist, to have supervision of art work, designs and ad-
vertising. E. J. Brouillette was named corresponding secre- Draw on Nine Countries
tary, a new office made necessary by the increasing mem-
bership. The ten members admitted since the first of the The eighth annual movie party is slated to be held in
year brings the total to seventy. New York, April 2. For it Mr. and Mrs. Duncan MacD.
It was decided to rent the 8mm version of "The Covered Little have issued eighty invitations to friends living in
Wagon," in six reels, for study of photography, cutting ten states, three Canadian provinces and seven foreign
and titling technique. In order to cover the cost each countries. Forty of the number are confined to the metro-
one attending will be asked to contribute a dime. politon district.
The president announced the publication of a club The setting for the party is the Salles des Artistes, 1
mogazine. It will make its appearance under the title of West Sixty-seventh street. New York. The program is
Thru the Filter. In a circular prepared for the members restricted to amateur motion picture films. These will
suggestions are made for contributions regarding some pet have been produced by the guests of the evening. Owing
gadget, ideas for club advancement, committee reports, to the large and increasing number of films now being
time saving kinks, etc. At the beginning it was the im- submitted for this outstanding amateur exhibition it has
pression the new-comer would be a quarterly. been found necessary to leave to an independent commit-
William C. Wade, chairman of the leader strip committee the selection of the subjects to be shown.
tee, presented each member two printed cards with the No restrictions are imposed by the Littles as to sub-
wording "Member Los Angeles 8mm Club," one on white ject, classification or length, except that it was preferred,
stock for panchromatic film and the other on blue stock owing to limited time, no entries exceed the easy capacity
for kodachrome film. They ore designed to be used, as of a 400-foot 6mm reel or a 200-foot 8mm. No con-
1
is in more detail set forth in onother column of this issue, siderotion can be extended to a 35mm subject. The final
in the members' titlers. date for receipt of entries was February 27.
At the request of the president, the retiring editor of Competition in the showings always has been scrupu-
the American Cinematographer, Charles J. VerHalen, lously avoided. Selection will not mean the films to be
presented George Blaisdell, his successor, who briefly re- screened are in any sense better than those not selected.
sponded. It will mean the judges have attempted to provide what
One of the features of the evening was the contest they consider an interesting program for entertainment of
showing of three films photographed by wives of members. the guests. Following the selection of the films musical
These were Mrs. Alva Cadarette, who presented "They'll backgrounds also were to be chosen.
Do It Every Time"; Mrs. Arthur Svenson, "Smudge Smoke," In other years travelogues have been in the majority of
and Mrs. Aleander Leitch, "A Day on the Range." The the films submitted. Among other subjects shown have
judges made the awards in the order named. The sub- been melodramas, international sports events, semi-indus-
jects displayed merit and were followed with particular in- trials, comedies, African hunting, archaeological discovery,
terest by the men, who appeared to look upon them as a current historical events of local interest (local to other
threat to their own standing in their own photographic places as well as to New York) and such unique things as
world.
Continued on page 126
ClBfE-KODAK*E KODASCOPE*EE
witL -^.3.3 3 c^jjcedj-
mm. Model E with the ndoubtedly the most important feature of the 16
F
ixed-focus, the 16 is fitted
famous Kodak Anastigmat /.3.5 lens which focuses
sharply on all objects from a few feet distant to infinity.
U mm. “EE” projection “tailor-made” to individ-
is
ual projection conditions. The five projection lenses

The “E” may be operated at any of three speeds and 400-, 500-, and 750-watt lamps available for the
—
Normal, Intermediate, or Slow Motion 16, 32, or 64 “EE” enable it to supply just the right amount of light
frames per second. Exclusive with the Model E is its for any screen up to 8 feet in width and at distances
new-type enclosed eye-level finder. When you sight from 0 to 64 feet.
with it you see both image and footage by means of a
supplementary footage indicator at the side of the Projection Table Unnecessary
finder image. And, because of the “E’s” angled top, The base of the Model EE is designed for projection
you need not take off your hat when sighting. Single- from carrying case top, thus eliminating the need for
plane loading, a simplified gate, and ample finger room projection stand or table. Its 30° tilting device permits
greatly facilitate loading with 50- or 100-foot rolls of you to direct the projection throw up or down to a
Cine-Kodak “Pan,” Super Sensitive “Pan,” Cine- screen on floor or table. The Model EE is extremely
Kodak Safety,
chrome Film
daylight Kodachrome, or Type
for Photoflood light.
A Koda- cool and quiet in operation —
cool, because of its power-
ful fan and efficient cooling system; quiet, because its
six major bearings are permanently lubricated. Its tan-
Added Advantages dem pull-down assures steady projection; its rewind
The “E’s” exposure lever may be pressed down into clutch eliminates belt changing.
locking position so that the operator may get into the The price of the “EE” is but $59.50, including 2-inch
picture himself when the camera is set on a flat surface f.2.5 lens and 400-watt lamp —
a combination supply-
or affixed to Cine-Kodak Tripod. The Model E’s sturdy ing ample illumination for average home shows. Here,
<lie-castaluminum case promises years of scar-free use- obviously, is the outstanding projector value in the 16
fulness. Only $48.50 at Cine-Kodak dealers’. mm. field. See it at Cine-Kodak dealers’.
Background vs. Foreground Lighting

A fter viewing a number of the splendid films en-
tered in the 1936 contest conducted by the Amer-
ican Society of Cinematographers, have a comment
I
to offer in regard to the lighting of interior scenes. by

Itprompted by the too-evident lack in most of these
is
John Arnold, A.S.C.
scenes of what we term balanced lighting. There was a
woeful amount of flatness, or lack of depth to the pictures,
and little separation of characters in foreground from the
supporting background.
The impression gained was that the cine-amateur sets ings, lightingis reversed. Throw just enough light over the
up his lamps on either side of his camera, directs them at background to make it amply visible, but concentrate
the field of the scene and, so long as there is a sufficient light on the players. Side lighting and back lighting will
quantity of light to make exposure possible, rests content enhance the characters, with possibly a strong back light
with such general or flood lighting. This is not productive to "rim" their figures or faces. Again, the result is to have
OT the best results. the individuals revealed sharp
in relief against the back-
The subject of interior lighting is a big one and can ground.
scarcely be set forth in this limited space. Every shot is When tonal values of characters and background ore
different and the lighting technique demanded is corre- much the same, light must be laid heavier on the char-
spondingly varied. But there are a few fundamental prin- acters. From a third to a half more light should be in
ciples that can be applied to the majority of interiors pho- the foreground than in the background. Here, again, "rim"
tographed by the amateur. lighting from the back will be of aid in showing a clear
line of demarcation between character and setting.
Two Factors in Composition
These applications of light will give depth to the com-
It is essential to realize that there are two separate and position,life and luster to the picture, and make the char-
distinct parts to a pictorial composition as generally used acters real people cleanly etched against an enhancing
for the screen; the background and the foreground. background.
Each is important and each contributes its share to the
ensemble's effectiveness. They have a definite relation- Balance in Lighting
ship and, when properly employed, supplement each other. Throughout, and by far the most difficult for the ama-
Lighting must be done with this well in mind. teur to achieve, is the important factor of securing balance
In most interiors filmed by amateurs, characters com- in the lighting effect on both the foreground and back-
prise the foreground and a room of the home furnishes the ground. Neither should be "burned up" while the other
very acceptable background. Hence, shall speak of char-
I suffers from inadequate light. Highlights on a character's
acter lighting as compared with background lighting. face may often be balanced with deep shadows in the back-
Audience interest lies in the actions of your characters. ground.
They must be readily seen. They must stand out against In this work, the cine-amateur will find a few additions
the background, not merge into it and become a part of to the usual set of lamps to be emphatically useful. Maz-
it. This latter effect is exactly what occurs when one da and photoflood bulbs of different sizes will solve many a
blanket of light is used to cover both characters and back- problem. Reflectors need not be oil of one shape or size.
ground. By having a variety available, light can better be placed
In making close-ups and close shots of one, two or even as desired. An assortment of inexpensive tin or alumi-
three persons, the interest centers in their faces. The num basins, as available at ten-cent stores, makes very oC
background is unimportant, as the locale has been previ- ceptable reflectors.
ously established in other and longer shots. For close-ups and for all head portraits, a baby spotlight
Here, lighting should be concentrated wholly on the is invaluable.
close-up faces. When suitable modeling has been obtained Diffusion of light, which breaks the beams into soft
by proper disposition of lamps, the spill-over of light to the illumination, may easily be secured by simply hanging fab-
background is generally sufficient to handle it. The back- ric of the required thinness or even tracing-cloth before
ground should purposely be vague, neutral and a support- the lamps.
ing but not confusing background to the facial portraits. Silver or gold reflectors, too, can be used on interiors
as well as on exteriors.
When Handling Differs
Just as you do not always shoot exteriors with the sun
But on longer shots, as where characters are seen in a directly at your back, so your interiors need not be lighted
room, with its furnishings and walls as background, thought from immediately behind the camera and at camera level.
must be given to lighting of the two factors. It is well to have your main source of light well to one side
The characters, as indicated by the clothing, complexion or the other. For the best results, the lamps should al-
and hair, will be darker, or lighter in tone than the walls ways be higher than the camera.
forming the background, or possibly very much the same And a word of caution. Doors, painted walls, polished
color. Each condition asks for a different handling. furniture and other flat areas may serve as mirror-like re-
If the characters are of a darker tone, the background flectors of your light. Watch for glowing "hot-spots" on
should be lighted with reasonable brilliance while a soft them that betray the location of your lamps.
and diffused light plays on the characters. This will ac- If you will always look upon your characters and your
centuate the tonal differentiation and cause the characters background as two distinct lighting problems, and always
to stand out boldly against the background. light one with consideration for the other, you will avoid
When characters are of tone lighter than their surround- one of the commonest of amateur filming errors.
m e rd Should Be n stru m e nt
wo VERY were shown at our re-
interesting films
T cent cine-omoteur contest.

Both were much the
some os to general content; mostly factual, some-
what fictional, they concerned activities of children in the
u s i o n
two households with just enough thread of story and con-
tinuity to maintain o reasonable degree of audience inter-
est. In short, typical family films such os ore being filmed by
every day in countless homes.
Good, A.S.C.
But — what 0 difference in those two pictures! They ore
Frank B.
os different in treatment os the personalities of the two

men who mode them. Which again emphasizes the amaz-
ing flexibility and versatility
It responds to every whim and desire of its operator.
of
And
the modern cine-camera. It all rests with the camera —and the man behind it.
Motion picture moking consists not so much of taking
that tosses the whole matter of photographic qualities right
precise photographs of subjects as it does of creating a
into the lop of the cinematographer. He gets in his fin-
pleasing picture from given raw material.
ished pictures exactly what he puts into them. This aggrandizement of character or vista may be
The firstwas shot by o doctor. He mode the pic-
film achieved without destruction of identity. It is simply, to
ture just os he does everything else; from on impersonal, use the most popular Hollywood term, the injection of
coldly scientific knowledge token from demonstrated ex-
"glamour" to the treatment of your subject.
periences of the post. His focus and exposure ore right
on the nose; that was to be expected.
Light is what turns the trick —
light, and the way you use
it. Hard, harsh white light is severe, penetrating, flat-
Whatwere intended to be photographic portraits of his tening, all-revealing. Soft, diffused light is kindly, flat-
children appear on the screen os so many clinical studies.
tering, bewitching.
Every freckle is revealed in unblushing prominence. Every Photographic light can be and usually is diffused at two
physiological detail of the cute little faces is frankly ex- points; at the lamp source and also before the lens.
posed. Brilliant light penetrates every wrinkle and dimple. Step on a studio set and you will see scarcely a naked
There ore no shadows to speak of. The whole film is os light unit. Diffusing devices of one type or another, to
imaginative os a hospital case-record. provide definite effects, are everywhere. Some, for further
The second picture was mode by a born salesman, bub- complimentary effects on certain types, are slightly colored.
bling with enthusiasm and imagination. Frankly, he's not And a diffusing filter is as standard camera equipment
os proficient a cameraman as is our infant-usher. Many as the lens. It can be safely said that nearly every studio
of his scenes are open to the same criticism that befalls shot is made with the aid of such a filter.
most. Focus could be better, exposure is a little off. But The amateur can profit from these studio standard
what a wallop his pictures have! Women fairly coo over practices that contribute to screen illusion and personality
them. glorification. Lighting units are not expensive to buy and
Every one of his shots is packed with human interest cheap to make. Have more than sufficient to provide
and framed in pleasing composition. His youngsters look minimum illumination. Have several shapes and sizes of
like angels from a picture gallery. Shadows fall across lights and try out various sizes of lamps.
the faces, imparting a wistful charm. He chortles happily For diffusion, make a simple frame of wire or wood.
that his camera "cheats." In it place material of semi-transparent nature that light
It does —and it should. For the greatest and most uni- will shine through —
tissue paper, thin oiled paper, cello-
versal appeal of motion pictures lies in the illusion they phane, silk, bobinette, cheesecloth, gauze, veiling, scrim.
create. When devoted to entertainment they are an
agency of enhancement, of glamour, of glorification.
Don't be afraid to use a little color —
violet, pink and blue.
Light so diffused will appear to soften faces, round out
Our world would be drab indeed if our mental capacity sharp features, give warmth and modish modeling. Set
encompassed only bare truths and shut out hope, imagina- one main key light to establish your lighting source and
tion and the capacity to attribute to others rare and with the other units play for effects. Give heed to the
priceless qualities which may be visible only to our inven- general impressian, then give particular attentian to eyes
tive eyes. and mouth —
the most expressive features. And the pos-
So with motion pictures. The very industry is built on sibility of highlights in the hair. Illuminate the back-
fanciful romance and deliberate creation of illusion. Greta ground sufficiently to establish its character and obtain
Gustafson, in her own personal appearance, man- depth to your picture. It mustn't fade away vaguely into
nerisms and words, might or might not be of screen in- semblance of a painted backdrop; it is to supplement and
terest. But as the exotic Greta Garbo, in studied hair- build up your foreground.
dress, make-up and costume, in rehearsed action and When outdoors under sunlight, use larger frames filled
speech, she is a fascinating creature millions pay money to with netting and mounted on poles, to break up the beams.
see in images secured by shrewd camera application. Silver and gold reflectors cost little to assemble. Use
Most famed stars, whose galloping images send pulses them to control shadows and accentuate highlights.
racing, are, in bathing suit or hospital cot, nothing to send A diffusing filter for your camera is one of neutral color
picture postcards home obout. It is camera treatment value. Your dealer doubtless can furnish severa types. If
that transforms them to heart-quickeners. not, the maker of your camera will tell you where you can
A set maybe aniy a three-sided room of wallboard, but secure them. Price is small.
it is a mansion when you see it screened. Continued on page 1 28
— a
WHEELS
OF INDUSTRY
tional picture be shown to the exclusion etched on the round panoraming top for
of foreign films on the same program. convenience in synchronizing the edges
Under Article 2 of this law exhibitors of the separote parts of a picture.
are entitled to a reduction to 8 per cent The tripod is essentially rigid and
T HE EXPORTATION from
16mm
the
projectors for
United
1936
from the 15 per cent collectible as tax secure — tilting lever when pressed
States of on their daily receipts. This is under down locks the panoraming feature, and
reached o figure of 7388, on increase Article 99 of the finance law of the the extending handle grip when it is
over the year preceding of more than federal district and federal territories on tightened locks the tilting feature.
5000 machines. The figures ore authen- days when they show films produced
tic, being supplied by the Department in Mexico. "Wellcome" Diary for 1937
of Commerce, through the enterprising Those exhibitors who do not adhere
motion picture division, • The new edition of the "Wellcome"
chief of its
to the one Mexican film a month quota
Nathan D. Golden. Photographic Exposure Calculator, Hand-
requirement are liable to a fine of from
book and Diary for 1937, is announced.
The value of the exportation was 50 to 000 pesos for a first offense and
1
One of its features is that it gives in-

$304,278, which compared with $124,- to cancellotion of license for a repeated
933 1981 projectors sent out of the
for formation as to the speeds and develop-
offense.
country in the preceding year. This ment characteristics of nearly 300 dif-
means the overage return to the manu- Desert Service by Morgan ferent plates and films and comparative
facturers was $33 each. exposure foctors for development papers

• The new Palm Springs branch of the
Also it means the enthusiasm for and lantern slides.
Morgan Camera Shop, which was opened
ownership of a motion picture camera The monographs contain information
for business last November at the be-
is not confined to the United States of interest ond utility on such subjects
ginning of the resort season, conduct- is
as developing, printing, enlarging, ton-
that it spreads to the for corners of the ing a fast finishing service between the
world. There be much
will in Mr. ing, color and infra-red photography.
Springs and the company's establish-
Golden's information that will hearten ment in Hollywood. The store is carry-
American manufacturers of 16mm and
A Lot of Lenses
ing a good line of Leica, Eastman, Bell
8mm equipment to keep abreast of their and Howell and Zeiss cameras. Mrs. • When one firm in the course of a
possibilities in the foreign markets. Nina Morgan is aiding her husband in quarter century grinds out (and please
Sound motion picture equipment ex- the conduct of the store. note that is not slang, brother) a mil-
ports during 1936 have increased over lion lenses that's real news in any pub-
$600,000. During this period $2,105,- New Mogull Catalogue lication. That is the record marked up
288 worth of American motion picture • Mogull Brothers of 1944 Boston by Joseph Schneider & Co.
reproducing and record ng equipment was road. New York, has issued a 72-page When the company began business in
exported to all foreign markets as against catalogue of 16mm silent films. The Kreuznach it was agreed no inferior
$1,482,281 worth during 1935. seventh edition of the booklet lists product would be permitted to leave its
dromos, comedies, cartoons, sports, factory and that one of its chief aims
Leica Exhibit Closing travel, religion, educational and miscel- would be to send out precision lenses to
laneous subjects. To those interested be sold at a reasonable price.
• The third international Leica exhibit
in 16mm films the company will send So the company tells us the millionth
will come to a close in Boston March 12.
the catalogue on request. lens has left the factory. A bit of figur-
The sessions will be held in the Haw-
thorne Room of the Parker House begin- Leica Expands
ing will show a significant result that —
the company has produced an average
ning March 8. The hours will be from 1 1
• Morch M. Leitz, Inc., goes into its of 40,000 lenses each and every year.
in the morning until 9 at night. The 1
illustrated Leica lecture is set for 8 new home in the Heckscher Building, at And that is a lot of lenses.
o'clock in the evening of March 10 in 730 Fifth avenue. New York. The ex-
panding clientele of the company had Big Merger in India
the Boston City Club. In Providence,
from March to 6, the exhibit will be
1
made necessary the move to larger • Announcement is made by Fazalbhoy
held Faunce House, Brown University. quarters in order adequately to accommo- with administration offices at
in Limited,
date Leica owners. All members of the Tardeo Road, Bombay 7, that
160,
American Cinematographer family are
corporation name will be
Show Some Native Films under that
invited to visit the new Leica home, business for-
conducted in future the
Trade Commissioner Miles
Assistant where they will find available enlarged Fazaibhoy &
merly carried on by A.
Hammond, at Mexico, reports motion facilities fgr thedemonstration of the
Sons,Bombay Radio Company Ltd., and
picture exhibitors in Mexico are required camera, its accessories ond opparatus.
Sound Equipment Company Ltd.
to show at least one nationally pro-
Triax Cine Tripod
duced film a month in their houses under Film Dryer by Brooks
the provisions of a law project approved e The Triox Cine Tripod is announced
by the Chamber of Deputies. Never- by Burleigh Brooks. The device is of • Burleigh Brooks announces the Bee
theless, in practice it has been found four sections, mode of aluminum and Bee Viscose Film Dryer, a film and plate
provided with a pan-tilting top. A drying device of American construction.
the application of the law is not onerous, is
as requirement is not mode that the na- scale, subdivided to every 15 degrees, is Continued on page 124
Kodaslide Projector
Reproduces ^Stills^^
With Great Brilliance
ews comes from Rochester announcing the Koda-
N Projector, a product of the Eastman Kodak.

slide
Company. This instrument provides owners of
Kodak Retina, Kodak Bantam Special and other miniature
cameras with an ideal means of projecting their "still"
pictures. Manufactured to precision standards, this bril-
liant projector throws screen images with unusual clarity
over a large picture area, as shown in the accompanying
table.
--- ' ;
Either full-calor Kodachrome transparencies, or black- i
--^1
and-white film pasitives from No. 135 to No. 828 nega-

tives may be shown. For projection, each individual picture, The Kodaslide Projector shows large, clear screen
pictures from Kodachrome transparencies or
properly masked, is mounted in a 2 by 2 inch glass slide, black-and-white film positives, mounted in 2 by
suitably bound. 2 inch glass slides.
The projector is strong, solid and extremely easy to use.

It has an attractive baked block-enamel wrinkle finish
and dull-nickel operating parts. plenty of room in front of the projector for spectators.
This "douser" method of shifting from picture to pic- The remarkable definition and has a flat field;
lens gives
ture is one of the projector's chief features. The 2 by hence, the projected pictures show an even all-over sharp-
2 inch glass slides are inserted in the metal gate ot the ness right to the corners. Furthermore, the lens is free
top of the slide holder and are gravity-fed by means of from distortion and chromatic aberration and is well cor-
the slide-shifting lever at the side of the projection head. rected for astigmatism.
After the first picture has been viewed the lever is The following table gives several examples of the size
raised. The image on the screen is cut off by a shutter. of the projected picture for both Kodok Retina and Kodak
Then, when the lever reaches its limit, the slide just pro- Bantam Special pictures, mounted in the 2 by 2 inch
jected drops by gravity ta the holder below the projection slides and shown with the projector at different distances.
head. In this position the dropped slide acts as a stop
to locate the next slide in the projection gate. As the Distance of Projector From Screen
lever is lowered to its original new slide is
position the
Kodak Retina Kadak Bantam Picture Size
clamped into position and the shutter
by spring fingers
Slides Special Slides On Screen
opens, revealing the entire picture properly positioned and 10 feet CO
feet 21 X 30 inches
securely held in focus. The slide previously projected may 13
//
1 1
U 28 X 40
"
then be removed edgewise from the holder. 16’/2
//
14'/2
u
36 x 52 "
H II "
19 17 41 X 60
// II "
Lamp and Lamp House 23 20 50 X 72
Illumination is provided by a 200-watt 15-volt lamp 1

Because owners of the new projector will want to show
with concentrated coil-coil filaments. Due to the high heat both vertical and horizontal pictures, a square screen is
output of the lamp, the square lamp house has been care- recommended. Two knurled thumb screws at the front of
fully calculated as to size and design to remain safely cool the projector base provide a convenient means of ad-
on its outer surface. This is qccomplished by means of on justing the height of the light beam to the position of the
inner shell which permits on air space on all four sides. screen.
In addition, natural draft ventilation exhausts the heat Change of focus is accomplished smoothly by rotating
from the top of the lamp house. The lamp house cover the spirally grooved lens barrel. The lens may be re-
is baffled and may be turned so that both the heat and moved easily for cleaning.
directed away from the operator and audi- Because of its sturdy construction, the Kodaslide is not
stray
ence.
light are
easily jarred out of focus —
never by the operation of the
A spherical aluminum-coated glass reflector is located slide-shifting lever. The projector is 6 V2 by 9V2 inches
behind the lamp. The three-piece condenser lens unit, at the base and stands IOV2 inches high. Its weight is
ample in size to give uniform screen illumination, has in 5 pounds. An 8 -foot length of rubber-covered cord with
addition a disc of heat-absorbing glass to prevent over- plug and convenient tumbler-type switch is provided.
heating of the slides. The price of the projector is $48.50. A carrying case
The Kodaslide comes eauipped with a 4 7 /8 inch pro- is available at $ 8 It will hold the projector, lens, and
.
jection lens of high quality. Its focal length assures two slide boxes holding about 50 slides each.
:
Cinematographers Have Language

erse, descriptive words
roll off the tongue that
T ore so much easier

technical expressions.
for the development of the studios'
and
to use than precise
faster
presume, .s one reason
That, I
All Their Own

strange language.
Picture production has to keep moving once it gets under
way. There is no time for deliberate diction or academic
speechmaking.
by
So long as all hands understand the expressions it is
comparatively simple to say "Slip another skirt on that Joseph August, A.S.C.
broad," instead of lecturing; "Will an electrician kindly
place another screen made of silk in front of that broad-
side lighting unit so as to afford a degree more of diffus-
ARTICLE II
sion." It may sound a bit frivolous, possibly, but if we
failed to relax between shots we all soon would be in sani-
RAFTERS. The temporary scaffolding erected around
tariums suffering from nervous breakdown. a set.
Here are more specimens of the cinematographer's shop RELEASE PRINT. The print made from a completed
talk negative which is released to theatres for exhibition.
MAGAZINE. A
removable compartment where exposed RETAKE. To do and shoot a scene over again.
and unexposed film is wound, attachable to camera. RIBBON. Negative film.
MARK IT. Simultaneously to register on picture nega- ROLL 'EM. To start the motors driving camera and
tive an action and on sound track the sound resulting sound recorder.
therefrom so that both films may be exactly synchronized ROUGHING IN. The first lighting of a set preparatory
in the cutting room. In some studios this is accomplished to lighting of actors.
with a wooden clapper; in others by a device that auto- RUSHES. Dailies, prints of yesterday's negative, pre-
matically fogs the two films. sumably rushed through the laboratory for critical inspec-
MATCH BOX. A baby stop light. tion.
MEDIUM SHOT. A scene made from reasonably close

"Save 'Em" for Economy
range, a view of an actor from the knees up.
MINIATURE. A small replica of an item too expensive SAVE 'EM. Turn off the lights, kill 'em, when not
or impractical to build in life size. Photographing it at needed.
short distances makes it fill the screen and so seem normal SCENE. One of the many that combine
unit episodes
when viewed. to make a picture; a sentence or paragraph of the entire
MIXER. The chief sound man on a set. story.
MOOD. The dramatic value or weight of a scene. It SCRIM. Thin fabric placed before a lamp for diffusion.
governs the lighting key. SECOND. The operative Cameraman.
NET. A thin netting, as cheesecloth, hung before a SECOND BROOM. The assistant prop man.
lamp to gain diffusion. SENIOR. A large light unit containing a 5000-watt
lamp; larger than a Junior.
"Pan" Goes Two Ways SET. The setting built on a stage or location wherein
NIGGER. gobo, a black.A action takes place.
OILS. Gelatine screen used to obtain diffusion; so SET-UP. (1) To place a camera in position for
named from colored oiled paper used for the purpose in shooting. (2) The place where a camera is set up for n
the early days. shot.
PAN. (1) Panchromatic. (2) To "panoram" with SHARP. In focus.
camera. SHOT. A picture, a scene, a view that has been or
PANCAKE. A low, squatty stool to stand on when is to be photographed.
sighting a high camera set-up. SILVER. A reflector covered with silver leaf, throwing
PARALLEL. A four-legged platform, built like a card a white light.
table. SINK. Synchronize. Picture and sound must be "in
PRINT. A printed copy of a negative made on positive sink."
film. SKIRT. A screen of thin silk, possibly colored, placed
PRINT IT. An acceptable photographed scene, an before a lamp to give diffusion.
OK'd take. Of several efforts, this is the one for the SLATE. A small blackboard on which is chalked scene
laboratory to print for the picture. number, etc., for guidance of laboratory and cutting room.
PROJECTION BACKGROUND. A transparency back- SOFT. A flat negative, the reverse of contrasty.
ground, a moving background to a set projected from the SOUND. Dialogue, music, noises, anything going on
rear from film specially made for the purpose. the sound track.
PROCESS SHOT. A general term designating a scene SOUP. The developer used in processing negative in
composed of any expedient other than normal sets and laboratory.
actors. SPEED. Camera operating at speed of twenty-four
PROPS. Properties, the thousand and one articles used frames of negative per second.
in dressing or furnishing a set. STEREOPTICON BACKGROUND. A still background to
POSITIVE. A print from a negative, the reverse image a set projected from a picture behind the backwall of set.
from negative. Used to give appearance of far distance to exterior sets
PULL IT DOWN. To limit the area covered by the built on stage.
flood light, to concentrate or "spot" it more. Continued on page 127
New Bausch & Lomb Laboratory

At a cost of approximately $40,000
and a 50 per cent increase in its staff
of graduate chemical engineers and
metallurgist, Bausch & Lomb has opened
for Applied Research
a new laboratory for applied research.
Theodore B. Drescher, vice-president, assist the sales department in supplying able in the pasi as a laminating medium
under whose direction the new labora- information sought by customers. for lenses. Investigations of this ma-
tory has been placed, outlined the com- Closely allied with this department is terial and other cementing substances
pany's plans. He said: the laboratory for spectrographic analy- are conducted in a new air-filtered room
"Believing the optical industry in
sis, a field in which the company is a in which the dust count is under 300,000
America will meet increasingly keen world leader. In addition to testing units a cubic foot, while the ordinary
competition from abroad, where low spectrographic equipment built for lab- atmosphere has a count of from three
labor Bausch & Lomb will
costs exist, oratories in the United States, the ap- and a half to four million.
engage in a broad program of funda- plication of spectroscopy to industrial
mental investigations on the chemistry problems, particularly in the field of met- Test Analyses Continue
and physics of glass surfaces and in the allurgy and cameras, has been recognized
development of new materials and proc- as an indispensable requirement. With
The testing and control laboratory,
esses for the industry." the facilities of the new laboratory, the
under the direction of Ray A. Kirchmaier
Guided by Frank P. Kolb, chief chem- company will assist industry in the solu- and Joseph T. Anderson, is equipped
and Theodore J. Zak, assistant for general analytical work ond will
ist, tion of problems in which spectroscopy is
chemist, company officials saw the con- important.
continue to analyze and test the hun-
version of nearly 9,000 square feet of dreds of materials purchased or made by
space on the fifth floors of two buildings Cutting the Dust Counts Bausch & Lomb which enter into its own
facing the Genesee River into a series of products and processes.
One of the most interesting and valu- Dr. D. M. Webb has been added to
laboratory units devoted to research in
able developments of the chemical lab-
the fields of metallurgy, experimental the staff for research in chemistry. One
oratory has been in connection with a
electro-plating,spectroscopy, photomi- of his immediate problems will concern
new transparent resin for use in pro-
crography and physical testing. A well- the electro-deposition of various metal-
tective glasses. The refinement of this lic substances as a backing for reflect-
stocked library and a consulting room
commercial material for optical require-
add to the facilities of the research staff. ors.
ments has been an outstanding achieve- The manufacturing laboratory, under
Physical Tests for Industry ment. Sheets of this transparent sub-
George G. King, is provided with facili-
stance have shown o light transmission
ties for making pitches, waxes, resins,
Real advance has been made, accord- efficiency of 90 per cent. polishing felts and a multitude of the
ing to Mr. Drescher, in the perfection The product has been found to have
600 other materials required in the
of cements for optical purposes; in the qualities superior to any materials avail-
study of abrasives and polishing materi-
B&L plant or for sale to outside in-
dustries.
als for optical glass, and in the investi-
gation of the chemical and physical re-
JUST BREAKING IN
actions on glass surfaces, induced by in-
dustrial gases, corrosive atmospheres and Condemn Mutilating Devices
other atmospheric conditions. Further O "But what a man
he is," Paul went
studies on these and many other sub- on with real enthusiasm. "I found him Continuing its campaign against muti-
jects ore planned. in Singapore, where he runs the Capitol lation of motion picture release prints,
One of the most interesting units is Theaters. He knows all the men who the Projection Practice Committee of the
that in which Dr. James E. Wilson and go out to the Orient in search of film Society Motion Picture Engineers at
of
his assistant, Vernon Patterson, are en- adventure. He is a sidekick of Frank its meeting passed a resolution
recent
gaged in applying metallurgical equip- Buck. He meets all the incoming ships, condemning certain devices for cueing
ment to the study of the structure of just to keep track of his friends. If any prints now on the market. The resolu-
the steels and alloys used in industry. one tells you he has been in Singapore tion reads:
Physical tests are employed to check the and you are skeptical ask him to tell "The Projection Practice Committee
quality and adaptability of materials. you about Joe Fisher. Your unasked of the Society of Motion Picture Engineers
This laboratory equipped with the
is question will be answered right off the does not approve of any structural modi-
new Bausch & Lomb metallogrophic in- bat. fication, injury or mutilation of the
strument for the study of the crystal "Joe really is a world film figure. In standard release print by the projection-
structure and surface characteristics of a 16mm reel of film he has the greatest ist, and views with disfavor the sale of
metals. It has one electric heat-

also collection of stunt stuff ever put to- devices capable of causing physical dam-
treating furnace with controlled atmos- gether. He has collected from every one age to film for cue marks or the like.
phere and a smaller one for treating passing through Singapore who had any- The committee regards cue marking as
high-speed steel at ranges up to 2500 thing of real value." a function exclusively of the laboratory
degrees F. The last time saw Joe
this writer Or exchange which is involved."
This equipment is supplemented by Fisher was a dozen years ago in Los This latest action of the committee
Brinell and Rockwell hardness testers Angeles. The first time was a quarter was oassed after such a device was ex-
and implements for cutting and polish- century ago in New York at an exhibitors' hibited before the committee. This de-
ing metal specimens for microscopic ex- convention. At that time his theater vice enables the projectionist to punch
amination. This de.oartment will act as ventures were in South Africa. Paul is a number of holes in the film to indi-
a control for the materials used in the right when he says Joe Fisher is a world cate points of change-over and is of-
many departments of the plant and will film figure. fered for sale to projectionists.
: —
1.14 American Cinematographer • March, 1937
ford to have the transition call attention
Cornelius Bol Comes to Rescue to camera trickery.

The question is, what are we going to
say with these punctuation-
of Stand-ins Worn Out by Heat all filmic
marks? The really clever directar is the
one who knows how to lead his scenes
By permission of the editors of Time, ago, he came to the U.S. in 1907 to up to natural transitions. For example,
The Cinematographer is privileged to study at Princeton, Stanford, the Univer- suppose we want to bridge the gap be-
reproduce for readers a story of amaz-
its sity of Montana, returned in 1916 to tween baby's bath and his dinner. Why
ing results attained by Cornelius Bol, his native land where he worked on the not end the bath sequence with a
working at Stanford University. All development of sodium vapor lamps in straight-down shot of the swirl of water
who have to do with lighting will find the Philips laboratories and devised a way running from the tub, and open the meal
here figures that undoubtedly will inter- of sealing chrome steel to glass in X- sequence with a similar angle of milk
est them. Especially may this be true ray apparatus. Last autumn he again pouring into a cup? Then, from the table
in the case of those who long have sought bobbed up at Stanford as a research as- to bed can be bridged by a close-up of a
light without undue heat. But read it sistant. "Eurape," he said, "iss no blace napkin being falded, followed by a close-
for yourself. It is from Time of Febru- to bring up fife children." Stanford is up of the bedclothes being pulled down.
ary 8 financing his present work, expects some With or without the help of mechan-
Floodlights commonly used in Cinema share in the profits. ical tricks such as fades, dissolves or
studios may heat up small sets, make wipes, these shots will blend the scenes
actors too uncomfortable to do their best together evenly. They are in themselves
work. Beads of sweat on shapely noses good transitions. And though they may
and fine foreheads will ruin takes. Last Transitions Are What You look simple and natural on the screen
week a bulky Dutch physicist named
Cornelis Bol, working at Stanford Uni-
Make Them they are evidence of fully as much cine-
matographic skill as the trickiest of
versity, had film producers interested Continued from page 114 wipes.
in a tiny, super-powerful lamp which will
keep their stars cool while working.
panion, the fade-in for setting a definite
And here's a surprising secret — if you
plan your scenes with these natural
"full stop" to a line of thought. There
Bol's lamp is a stout, strongly sealed transitional shots in mind you will have
is the lap-dissolve for the very smoothest
quartz tube less than a quarter-inch in less and less need ta worry about put-
outside diameter, with an inside diameter transition between clearly related scenes
ting in intricate mechanical transitions!
of .08 to .04. It contains neon to start and sequences. And there is the wide
an electric arc, is so full of mercury range of wipes for use when we can af-
that when the arc vaporizes the mercury,
the pressure rises as high as 300 atmos-
Wheels of Industry
pheres. At the core of the mercury the Continued from page 120
temperature
side wall of the tube
The lamp
is 14,000°
served by a water coaler

is
1 ,800°.
F., on the in-
J
,
U ST S AY
..
. . .
V.
;i ,
A ^ It utilizes the well-known properties of
Viscose sponges. This material is absorb-
ent, durable, practically imperishable,
in which the water must be hurried alang
in its jacket to prevent the formation
of steam bubbles. . e£nd ^ d of a velvety softness when wet and rap-
idly drying. It is lintless and cohesive
and will wipe off moisture from films
Enough Light For Filming —
and plates evenly, thoroughly and in-
The heat given off

the light of mercury vapor slides off the
is negligible, since
tm >O Uj
^
Ui
stantaneously.
visible spectrum at the opposite side Q ^ Second Rolleiflex Salon

ft O I
from the red end where heat waves pre- OZ
• The
dominate.
enough red
A
The lamp, however, sheds
five-inch
light for filming.
lamp, no
bigger than a
N OW READY- The
second Rolleiflex Salon and Ex-
hibition will soon be on
first
its way.
Salon was instituted approxi-

clinical thermometer, gives a maximum “Thumbnail course on mately two years ago. A selected group
of 80,000 candlepower. A lamp of this o of the prints from that show has been
length requires 8,000 volts
Double-System 16mm. "on the road" ever since.
,600 volts ( 1
for each inch) but the current is only sound-on-film recording The prints submitted will be grouped
1 .5 amperes. Physicist Bol believes his in four primary classifications: Pictorial,
technique. portrait, technical and news pictures.
little tubes will be useful for lighting .
airports, cinema projection, treatment of : t First prizes of $50 will be awarded to
skin diseases. the makers of the best print in each

group. Twenty-five dollars will be
Has Leased Rights READING TIME FOUR MINUTES awarded the prints selected as second
He has
best. Provision is also being made for
leased manufacturing rights
the awarding of twenty-five honorable
to General Electric Co. and Philips Glow
Lamp Co. of Holland, declared last week mention certificates. An additional
prize of $100 will be given to the
that two motion picture companies had
maker of the best picture, to be chosen
approached him with offers. Cost figures
were concealed last week but a Bol inti- from the first four prize winners, thus
mate said they were "ridiculously low." making it possible for some lucky indi-
Cornelis Bol talks wittily in his im-

THE BERHDT mnURER lORP. vidual to win a grand total of $150.
117 East 24th Street • lleui Vork City
perfect English, likes sloppy, comfortable Communications regarding this con-
—» Vi
clothes, has a plump wife and five chub- o test should be addressed to Burleign
«0
by sons for whom he keeps a horse and Brooks, Inc., 127 West Forty-second
II
a pony-cart. Born in Hollond 52 years Street, New York.
A JUNIOR
SOCIETY
APHERS has organ-
imateur to be known
aslhe SOCIETY OF AMATEUR CINEMATOGRAPHERS.
FOR MANY YEARS amateurs have been requesting the American

Society of Cinematographers to form an organization for them that would
be representative, authoritative and instructive.
IT WOULD BE EASY to form such an organization in the spirit of ac-

companying enthusiasm, but to insure the continuance of such an associa-
tion real ideals and a constructive policy are required.
THE APPLICANT must own a camera, he must have made motion pic-
tures, and he must submit a picture to the reviewing board which is made up
of members of the American Society of Cinematographers. This does not
mean that the 'amateur is going to be judged by 100*^0 professional stand-
ards, as practically every member on the reviewing board operates either an
8 mm or 16 mm camera and is familiar with the shortcomings of the
amar-
teur’s equipment.
MEMBERSHIP will include a subscription to the American Cinema-

tographer. It also will include the use of the outstanding films made by
members of the Society of Amateur Cinematographers. As films are
submitted, the best will be duplicated and an analysis prepared by a mem-
ber of the American Society of Cinematographers. This analysis will go
with the picture and the picture will be available to any member of the
Society of Amateur Cinematographers.
WRITE FOR APPLICATION BLANK AND FULL PARTICULARS.
American Society of Cinematographers

1782 N. Orange Drive Hollywood, California
—
Amateur Movie Club News lighten

in
it. Photographing the some cord
Kodachrome he con get o wide range
of effects with projected colored light.
the actual start of Amelia Earhart's ond-white films; the other, with the Using the blue cord and filters for
famous solo flight across the Atlantic, some printing but on pole blue paper, black-and-white he con get o soft,
which no newsreel secured, and the first for use in Kodochrome pictures. Thus neutral gray title, or progressively darken
sailing of the United States Liner Man- with two cords, the club member con the background os he wishes.
hattan, which was filmed from the pier- produce o variety of effects in either
head in New York, in a downpour of black-and-white or color.
Celebration in Philadelphia
rain at midnight. Using the white cord, he con by using
These parties havebeen copied in o blue filter darken the red-printed • The Philadelphia Cinema Club held
other parts of the country, and are fast word, "member," and thus moke it more its anniversary banquet February 8 in 1
becoming one of the notable outgrowtns prominent. the Rose Room-McCollister, 1811 Spring
of the amateur motion picture hobbv. Using on orange or red filter he con Garden street. A. L. O. Rosch, secre-
tory-treasurer, reports the occasion was
Los Angeles 8mm Club Will successful, one of the factors contribut-
Mention Society in Titles ing to that result being the door prizes
A leader strip announcing that the Make Your Own Titles given by the following dealers:
film's maker is a member of such and

Eastman Kodak Stores, two 8x10 sil-
Economically
such an amateur cine club is something
ver finish picture frames; Klein & Good-
Effectively man, 00 ft. Eastman Panchromatic
club members very properly like tc 1
all
their productions. From the Easily film and 50-ft. magazine Kodachrome
include in
however, it is not al- film; H. & R. Camera Exchange, Craig
club's viewpoint,
Jr. splicer for 8mm or 16mm; M. & H.
ways easy to provide such leader strips.
Where some members shoot 6mm and 1
Sporting Goods Co., Testrite pan head
others 8mm, some black-and-white and

and double reflector on tripod and lights.
color, there a good deal of P. Rosenfeld, Craig Jr. splicer for
others is
physical complication. wilh STAMF-O-TITLE 8mm or 16mm; Seaboard Camera Stores

There
is also the unpleasant matter Inc., Keystone titler 16mm or Kodak
Complete Titling Outfit 8mm rewind and splicer; Street, Linder
of cost, for few if any club treasuries A novel, unique and durably construct-
could stand the drain of providing com- ed kit that will solve your titling & Propert, 00-ft. Type "A" Koda-
1
plete leader film for the members gratis

problems ingeniously and permanently chrome film; Wanger's Camera Shop,
— and that requires no especial train-
— and, believe it or not, no club treas- ing
wield
in its use beyond the ability to
a rubber stamp STAMP-0-
1 00-ft.
Brown &
Agfa Finopan film; Williams,
Earle, Inc., Two Da-Lite Uni-
urer enjoys making members pay for such
. . .
TfTLE may be used with either 16mm.

adjuncts of membership. or 8mm. film in black and-white or
pod canes.
Kodachrome. The convenience of this
The Los Angeles 8mm Club has solved method is based on the efficacy of an
this problem very neatly. At the club's especially patented solution which out- Portland Cine Club Meets
February meeting, held at the Bell & lines the lettering and forms an ab-
sorptive base for the Cold or Silver
Howell Building in Hollywood, Secretary Powder . . . STAM P-O-TITLE is pro- • The February meeting of the Port-
vided with 3 titling surfaces of dur-
M. R. Armstrong distributed title-cords able composition, black for black-and- land Cine Club was held on the 26th in
which enabled the members to moke white, red for Kodachrome and trans- the lounge room of the Portland Cham-
As shown parent for use with any backgrounds.
rheir own club leader strips.
The application of an eradicator fluid ber of Commerce. Shown to the mem-
in the accompanying illustration, these furnished with set removes lettering
from Titling Surface immediately bers were sound pictures on 16mm and
cords carry the club emblem and the
words, "Member Los Angeles 8mm
leaving it blank and clean for fufure
use.
also 8mm and 16mm films taken
STAMP-O-TITLE consisfs of 1boftle by members. Announcement had been
Club." Patented Fluid, Bottle Eradicator, 1
The cords ore mode in two sizes, to fit
1
Vial each Cold and Silver Powder, Font

made it was to be the night of the big
the overage home titler, and in two Cine Rubber type, Type-Holder, with drawing. That was for the prizes that
handle. Tweezers, Inking Pad, 3 Com-
types; one on white paper, with the position backgrounds. All for only had been given by Beattie & Hoffman
word "member" in red and the rest of 85.75 Inc., Eastman Kodak Stores, Joe Freck,
the lettering in block, for use in block- If your dealer cannot supply you, send J. K. Gill Company, Walter Leve, Meier
check or money order to:
Frank Compony, Lloyd Ryan of
The 8TAM P-O-TITLE €'0. F.
Bell and Howell, Sandy's Camera Shop,

Dep’t. A-3
318 East 116th Street — New •
York Sherman, Clay & Co., C. A. Wagner
Company, James Walsh and Weisfield
and Goldberg.
CRAIGSPLICER and REWINDS

Bay Cinema Club Meets
A
ema Club
questionaire conducted by the Cin-
of San Francisco showed the
members are interested in taking indoor
pictures.At the meeting held February
23 Member Gordon Michie and O. J.
Smith of the Eastman Kodak Company
gave a talk on the subject of indoor pic-
CRAIC JUNIOR COMBINATION $8.50 tures. Also they gave a demonstration
junior Splicer with two geared rewinds of proper lighting for such photography.
all mounted on 21" board.
CRAIC MOVIE SUPPLY CO. H. T. Kelly, a guest, screened an 8mm
1053 So. Olive St. Los Angeles, Cal.
Title Cord of 8mm Club film for constructive criticism.
Have The King of Allah’s Garden

Studio Cinematographers
Language All Their
Continued from page
Own
122
OERZ became an
Continued from page 1 1
we wrote it into
idea, so that
1
STILL. Motionless,
by a portrait camera.
a picture mode PRECISION the story
post."
as “on abandoned jungle out-
To get the most interesting angles we

In every step of lens manufacture,
STOCK. Negative film. Coerz Precisionevident.is In the became contortionists, trying to dodge
careful of the raw material,
selection an "American wire fence" and a recent-
STOCK SHOTS. Scenes already on
in the meticulous grinding and polish-
hand, newsreel clips, travelogues, etc., ing, in the critical supervision of each ly surfaced macadam road which crossed
detail, in the final, rigorous testing our line of view within twenty feet of
that can be utilized in a picture.
this precision holds —
and affords to
the walls!
SUN ARC. A large 1 50-ampere arc users of Goerz Lenses an unequivocal
and unconditional guarantee of their
lighting unit.
quality and performance. The "fort" structure is actually a
marvelous granite gateway to a beauti-
“Test" Tells the Story Kino-Hypar f /2.7 and f /3 ful estate. The front which we used is
Focal Lengths 15 to 100mm.
comprised of two twenty-foot turrets on
TAKE. A photographed scene. Cinegor High Speed Lenses
either side of an immense iron door. A
Ideal for Color Work. f /2
TAPE.Measuring tape to determine and f/2.5; Focal Lengths 40 sentry-box, grilled open-windowed "cell"
focus by measuring distance between to 100mm.
and a twelve-foot wall partly hidden by
lens and object. Telestar —A lens of the tele-
thick growth of tall trees extend from
photo type, f/4.5. Focal
TEST. To discover by actual experi- Lengths 6 1/4 to 15 1/2 both sides of the entrance. Each figured
inches. in our scenes.
ment the effect make-up,
of light,
wardrobe and such on film. To deter- Catalog B 3 on Request The property used as our location is
mine photographic qualities of a new
actor or of an old one in a new char- C. P. GOERZ entirely English in style. Depression
years have wrought great changes to its
acter. To see what sets or locations AMERICAN OPTICAL CO. appearance, with vines and brush climb-
really look like on the screen. 317 East 34 Street New York ing over the high walls and hiding the
TEST BOX. A
small portable devel- paths. This run-down condition, of
oping set frequently used on distant course, aided in giving us the touch of
locations. realism our story needed.
THIN. Unde.'exposed.
GLARELESS Our photography
exterior was com-
To move camera up or down.
TILT.
TINS. Reflectors covered with pol-
PHOTOGRAPHY pleted in eight months' spare time,
while another month was devoted to in-
ished tin, throwing a hard, hot light.
IS NOW AN ACCOMPLISHED FACT teriors, titling, cutting and editing.
MARKS POLARIZATION FILTERS
TOSS 'EM IN. Turn on the lights; Originally it ran into 2,000 feet, but
Elimination of glare and reflection in
hit 'em. movie photography, enhanced defini- after elimination of the "not so good"
tion, from halation and sky
freedom it now stands at 1200.
TRANSPARENCY. A background to effects otherwise unobtainable, are
readily achieved with these new, pre- "The King of Allah's Garden" has re-
a set projected from the rear on a trans- cise and scientifically constructed Pol-
parent screen. arization Filters.
ceived considerable press comment in
Booklet 53 on reqquest our state whenever presented. We offer

TRICK SHOT. Any
photo- process
it with planned programs of other sub-
graphic result not as the camera normal-
ly sees it.
RIX-O-LUX, Inc*. jects.
105 West 40th Street New York
The work still stands as our pride, as
TURN 'EM. Roll 'em, start the
a first experiment, from which we have
motors driving camera and sound re-
gleaned many valuable aids ta present
corder. and future work. Our group of movie
TWO A medium
SHOT. shot. Super X 35mm Film makers can enumerate many flaws, in
photography, acting, and editing, but
WAIST FIGURE. A view of an actor 2 V4 Cents a foot
from the waist up.
further remodeling is out. As the 6mm 1
postage paid anywhere in the

equipment and its followers advance
WANGLER. A boom man, he manip- United States
through the years we believe it will be
ulates or wangles the boom from which MORGAN CAMERA SHOP
the microphone is suspended. 6305 Sunset Blvd. — Hollywood, Calif.
a pleasant "memory" to revive.
WHITE LIGHT. Light from an arc

lamp.
WILD CAMERA. camera not syn- A
HUGO
'M’P.w.'a
Enlarged J^^^Reduced
chronized to a recorder, a camera not
used with sound, a camera with speeds Geo. W. Colburn Laboratory
other than the normal twenty-four Special Motion Picture Printing
1197 MERCHANDISE MART
frames per second.
CHICAGO
WIRY. Too much contrast.
WRAP IT UP. Let's go home, the

day's work is done.
Titles & Editing
OALY
ZOOM SHOT. With the camera Developing & Printing forone year’s subscription to American
stationary, a lens device moves forward 8 and 16mm. Short Subjects Cinematographer, any where in the
United States.
or backward giving the image Qn ap- All Grades of Camera Films $3.50 foreign
pearance of leaving or nearing the spec- GENERAL CINE SERVICE AMERICAN CINEMATOGRAPHER
tator, with proportionate variation in 1782 No. Orange Drive
204A East 18th Street New York Hollywood, California
size.
I
1 28 American Cinematographer • March, 1037
Along
River Roll
CLASSIFIED ADVERTISING
the Ohio and Riv- Rates: Seven cents a word. Minimum SILENT BELL & HOWELL CAMERA WITH
——
point of Mississippi
silent Unit shuttle
I guaranteed perfect
ers. Cairo, where was being waged a charge, one dollar per insertion. no blimp required with four fast lenses.
valiant fight by man against the ele-
FOR SALE— MISCELLANEOUS
2 — 1000 foot rubber covered magazines,
front attachments, tripod and accessories.
ments and the two mightly rivers! Cam- Fuliv equipped readv to shoot $1400.00. —
WALL SINGLE SYSTEM SOUND CAMERA with RUBY CAMERA EXCHANGE, 729 Seventh
eramen grinding away, with threats of direct drive motor, new type movement, Ave., New York.
compulsory work filling sandbags, to variable area high fidelity galvanometer,
Man microphone, amplifier, lenses, tripod and BELL-HOWELL CAMERA SILENCED,
adapt-
help stem the overlapping waters. accessories. Complete, ready for operation. ed for color, variable area, single systeni
fighting his master Ole . . . Man River! Rebuilt silenced and standard Bell & Howell sound. Complete outfit, like new, ready
And newsreelers fighting all odds . . . —
170 degree Cameras Hi-speed gear boxes. to shoot. $2750.00.
Exchange.
Hollywood Camera
1600 Cahuenga Blvd., Holly-
Bell & Howell Hi-speed shuttles. Two
to get the story ... the great flood of model Bell & Howell splicers; Bell &
late wood, California. Cable Hocamex.
'37. Howellsound printer: pair used Simplex SILENT BELL & HOWELL CAMERA equipped
portab’e sound projectors with 2000 ft. with Fearless Quick Focus Shift and silent
The waters are now going down . . .
magazines. Precision, DeBrie and Bell 6- Fearless high speed movement; 4 fast len-
Ole Man River has again proved himself Howell pan and tilt tripods. Bell Cr Howell ses; 4-1000 ft. magazines, matte box, 2
1000 ft., 400 ft. magazines. Motors, sun- motors, friction head tripod, etc. This
master! So have the newsreelers in giv- shades, finders, lenses and all accessories. silent camera does not require blimp. Ideal
ing a graphic account ... in informing Write, wire or cable. MOTION PICTURE for color. Price fully equipped $1,500.00.
on outside world of the havoc ... of
CAMERA SUPPLY, INC., 723 SEVENTH Fearless Camera Co., Hollywood, Calif.
AVE., NEW YORK, N. Y. CINECAMERA.
the heartaches ... of the pitiful plight 16MM FILMS. ALL SUBJECTS, BARGAINS,
35MM. NEGATIVE fresh Eastman and Dupont Exchanges made. Trades accepted. We buy
of the victims of Ole Man River. stock —
panchromatic super-sensitive — anything. Free
The crest is spent the big flood . . . — superior —
grayback, $2.50 per hundred
feet. 100 ft., daylight loading rolls, $2.75
illustrated
sample Art Film. 10c) Carden Camera, 800
catalog, (with
the big flood of '37 has 8th Avenue, New York.

of all time . . .
each. 10% discount on all orders accom-
now entered the pages of history and panied by this coupon. F.O.B. Hollywood. ART MOVIES, 16MM AND 8MM. FREE LIST.
the most graphic pages are recorded on

PACIFIC COAST RAW
FILM CO.. 1558 Stone, (Dept. F) Room 312E, 30 Church
No. Vine St., Hollywood, Calif. St., New York City.
celluloid on the celluloid of the
. . .
BELL Cr HOWELL 5-WAY SOUND PRINTER, HERE ARE SOME OF OUR SPECIAL VALUES.
newsreelers. Once again the newsreel- RCA Galvanometers, $75.00; Western
Generators, Panel Control Boards. Duplex
Electric Recording Amplifiers, from $43.50;
ers have mastered another heretofore Printers, Sound Moviolas, Developing Ma-
chines. Blimps. Dolly, B & H Splicers, Mit- W. E. Condenser Microphones, $95.00;
impossible enemy! This time Ole Man Fox Movie-tone Recording Cameras, $975.-
chell and B Cr H Silent Cameras, Motors,
River! High Speed Gear Boxes, Light Testers, 00; RCA Photophone Variable Area Studio
Projection and Lighting Equipment. Guar- Records, brand new, $1495.00; Background
anteed optically and mechanically perfect. projection screens. $144.00. Loads of
Send for 1937 Bargain Catalogue. Holly- ofhers; lisfs free. S.O.S., 1600-F Broadway,
wood Camera Exchange, 1600 Cahuenga New York.
Cameras Should Be Instruments Blvd., Hollywood, California. Cable Ho- SOUND TRUCK WITH FULL EQUIPMENT,
camex. including variable density light valve re-
of Illusion
corder with noise reduction; 2 position ex-
WE AND RENT PROFESSIONAL
BUY, SELL tended mixer; Power batteries 32 volt
Continued from page 1 1 9 AND 16mm EQUIPMENT NEW AND USED. D.C. to 220 volt; 3 phase generator with
WE ARE DISTRIBUTORS FOR ALL LEAD- automatic speed control; gas engine bat-
Every woman knows
appears to she ING MANUFACTURERS. RUBY CAM- tery charger; microphones; inter communi-
ERA EXCHANGE. 729 Seventh Ave., N,
better advantage under a kind certain Y. C. Established since 1910.
cation telephone system; magazines and
complete accessory equipment ready to
of light. Photograph your women sub- WE HAVE WHAT YOU WANT. Brand new record. An outstanding buy at $4,000.00.
jects under light conditions approximat- Bargaingrams describe Cameras, Tripods, Fearless Camera Co ., Hollywood, Calif.
Recording Systems, Projectors. Printers, waI^ted
ing their own choice. If the children Moviolas, Motors, Magazines, Animators,
are temporarily in one of the many Galvanometers, new and used. We’ll trade tell us what YOU HAVE. Get our offers.
S.O.S., 1600-F Broadway, New York. We’ll buy Used Cameras, Lenses, Recorders,
stages of growth that interferes with Printers, Splicers, Tripods, Cinemotors,
physical appearance, blot cut the
NEW FULLY EQUIPPED FEARLESS 65MM Magazines, Microphones, Amplifiers, Pro-
their wide film camera. Ideal for color and ex- jectors, Laboratory and Studio Equipment.
blemishes with proper light application. perimental work. Extra 35mm high speed Trades taken Bargains— galore. S.O.S.,
movement. Price complete $2,000.00. Fear- 1600-F Broadway, New York.
It's entirely legitimate. Even your less Camera Co., Hollywood, Calif.
portraitphotographer places lights to WANTED. We
pay cash for everything pho-
A CAMERAMAN'S CAMERA IS THIS BELL &
—
advantage and then retouches his neg- —
Howell Camera. Has built-in Buckle Trip
and Bloop light. With full or Academy
tographic. Send full information and low-
est cash prices. Hollywood Camera Ex-
change, 1600 Cahuenga Blvd., Hollywood,
ative. Films are the igreat glorifier,
Aperture. Interchangeable. 35, 40, 50 and Calif.
rightfully. A film that fails in this re- 75mm Cooke-Panchro Lenses corrected for
short of true purpose.
Color work; 4 400-ft. or 2 1000-ft. Maga- WE PAY CASH FOR YOUR USED CAMERA,
gard falls its
zines; Mitchell standard tripod: B & H LABORATORY AND STUDIO EQUIPMENT.
Cine Motor, rewound: Veeder Counter; Write, wire or cable MOTION PICTURE
Head and Magazine and Accessory Cases; CAMERA SUPPLY, INC., 723 Seventh Ave-
set Gauze Matts; set of Filters, 2 and 3 nue, New York City. Cable Address: Cine-
inch. Guaranteed camera.
16 mm Theatre in first-class condition
for process or trick work. Price $1500 MAGNETIC TITLING LETTERS.
CAMERA SUPPLY CO.. 1515 No. Cahuenga
MUST BE
According to reports, the J. H. Cooper CHEAP AND PERFECT. DOUGALL, 947 So.
Blvd., Hollywood, Calif. Cramercy Drive, Los Angeles, Calif.
Enterprises,Inc., which have theatres in
four Colorado cities, are offering 6mm I
pictures in their houses in conjunction

with their regular shows. Back Issues of American Cinematographer on Hand
For this purpose they have installed 1937— February. 1933 — Jan,, Feb., March, April,
regular 6mm projectors. The 16mm
pictures are
1
usually of local sports

1936— months, All except Jan u- May, June, October, Nov-
and ary February. ember, December.
events, festivals, fairs, etc. 1935 — None. 1932 — All months except
1934 — January,
March, April, October.
July, August September, 1931 — All months.
C I N E A N D
MINIATURE All Back Issues Are Priced at 30c Single Copies
CAMERA MORGAN
CAMERA
in
SPECIALISTS SHOP
SUNSET AT VINE American Cinematographer
HOLLYWOOD 1782 No. Orange Drive Hollywood, California
The Da-Lite Challenger Screen
Can Give Yon All of These
ADVANCED FEATURES!
1.
ADJUSTABLE HEIGHT
The screen you select should be adapt-
able to the varied projection require-
ments which you will have in showing
mo\des. The Da-Lite Challenger is the
most versatile of all portable screens.
It can be set up anywhere. It ALONE
offers a choice of three positions"' to
which the fully opened screen can be *For Larger Audiences
raised. A catch spring locks the screen This height permits pro-
jecting movies above the
automatically at the desired height. No heads of the audience
and seating more peo-
thumb screws! In the four larger sizes, ple in direct line with
the screen.
the screen is lifted by means of a crank.
To set up the Da-Lite Challenger, simply
open the legs of the tripod, hook the
screen over the goose-neck and raise to
height desired.
2. SQUARE CENTER ROD

5.
To insure perfect focus of the entire pic-
ture, the center rod of the tripod of the
Challenger Screen is square instead of
round. It has a slot or groove in which the
handle mounting slides up and down when
!=For Small Croups *For Croups of 5 to 8 Persons
the screen is being adjusted in height. This
square, slotted construction prevents the
case from turning on the center rod and
throwing the lower part of the screen out
of focus. Note (at left) the wide sup-
porting band on the case and the sturdy
handle mounting on the center rod.
3. NON-SAG TOP SLAT

A rigid metal slat across the top edge of the
screen fabric of the Challenger does for the
upper part of the screen what the case
does for the lower part keeps the upper
. . .
corners and sides straight, permitting per-

IMPROVED HANDLE MOUNTING
fect focusing of the entire picture. The leather handle of the Challenger, instead
of being fastened directly to the side of the
metal carrying case, is attached to a si>ecial
4. GLASS-BEADED SURFACE angle-iron mounting, encompassing the center
For the average operating conditions, in rod of the tripod. A wide band of heavy gauge
steel around the case is pivotally attached to
home, school, club or church where most
this angle-iron. Thus, there is no strain on
of the audience can be seated within a twen-
the case. You get this practical construction
ty-five degree viewing angle of the screen,
only in the Da-Lite Challenger.
the Da-Lite surface is the
glass-beaded
most efficient. It reflects the maximum .See this finer screen at your dealer's today'.
amount of light and gives the brightest, The Challenger is only one of the many out-
clearest and most sharply defined pictures.
standing values in the Da-Lite Hue. rite for
literature now!
REC. U. S. PAT. OFF. Da-Lite manufactures screens with other
surfaces, but unless another type is speci-
Quality Screens
for More Than fied, furnishes the Challenger and other
DA-LITE SCREEN CO.. Inc.
i Quarter Century portable models with the beaded surface. 2723 No. Crawford Ave., Chicago, III.
Da-Lite Screens
An Essential Part of Every Production
A CAME'RA to interpret the ereative art
of Directors of Photography
Mitchell Cameras
fill that requirement
Mitchell Camera Corporation

665 N. ROBERTSON BOULEVARD
WEST HOLLYWOOD, CALIF.
Cable Address “MITCAMCO” Phone OXford 105 i
AGENCIES
BELL & HOWELL CO., LTD,, London, England MOTION PICTURE CAMERA SUPPLY, INC., New York City
CLAUD C. CARTER, Sydney, Australia BOMBAY RADIO CO., LTD., Bombay, India
D. NAGASE & CO., LTD., Osaka, Japan

H. NASSIBIAN, Cairo, Egypt

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Publishedin Hollywood,

SUPERIOR PANCHROMATIC NEGATIVE

DuPont Film Manufacturing Corporation

Published monthly by the

Telephone CRanite 2135

JOHN ARNOLD, President, A.S.C.

Vol. 18 March, 1937 No. 3

THEY MAKE Pictures in India

NEW YORK REPRESENTATIVE

...there is a G-E MAZDA LAMP

Agfa’s new, improved SUPERPAN

Tel. Hollywood 2918-2919

NEW YORK, 245 West 5 5th Street, New York City.

hell & Howell iJ

• Such showmen as M-G-M, Paramount, and

means it must be made under positive sensito-

patented method unrivaled for its consistent

Nor are the negatives exposed to the

out at high speed, without waste or spoilage, and

BELL & HOWELL COMPANY

London: 13-14 Great Castle Street

Greetings we send from this Heartbreak Town's crew.

• If on the producers' "don't book" in 1933 there were

undoubtedly he was a photographic engineer, he also was

They Make uniquely an artist; and fittingly to designate this unique

by engineer" you are greeted with a blank stare. From one

"recording engineer." The Cameraman, he pointed out, marked preference in duties.

film production and find an Artreeves outfit working

As regards editing equipment, Moviolas, while there

are a few in India, are practically unknown. Instead,

had a more interested audience than did that night, nor

table, with four horizontal stripping-flanges and separate

Cinecolor, Multicolor, Magnacolor, Vericolor, and the other

are names not easily remembered by an Occidental, so I

plete Cinecolor laboratory, and is now producing features

workers in the different studios; how ideas developed on

M r. DEVEREAUX checked the river gauge, and only

However, long before Mr. Devereaux predicted a 75- . .

foot flood stage for Cincinnati, newsreel editors hod moved

ing the greatest catastrophe story of all time!

out, and for hours it seemed another catastrophe, like the

'Frisco disaster, great Chicago Fire, would

Then a mod scramble to ship the precious negative to impossible.

but covering such an event was not sufficient. to drink.

York, and an outside world had its first inkling of a great

works plant! It went out! you didn't thrill to covering it.

March, 1937 • American Cinematographer 93

it the heartaches of thousands yeah! here were pic- . . .

another metropolitan city, entirely submerged

tale Mass burials! National Guardsmen

The Child and the Artist

boiled newspapermen, meeting fame on

LIGHTING even terms, gawk

SHIRLEY we will shoot three or four pages of dialog in a single

Arthur Miller, A.S.C. a long

On the last picture, "Stowaway," though, she said it.

P graphing Shirley Temple is one of the most interesting

Exceptional penetration and carrying power are required of a

light source to pierce the obscuring clouds of a sand storm

CARBON ARC LIGHTING MEETS EVERY DEMAND OF TIE CAMERA

It has the photographic qualities of daylight.

It has proved a necessity for color productions.

It Improves black and white photography.