Foreign 35

DeMille Discusses Process Shots

Balancing Light with Photo Meter
Why is a Cameraman?
Producers Pool Patents NOVEMBER
and other features 1936

Published in Hollywood,
by
American Society
of Cinematographers
In BRIGHT SUNSHINE or DEEP SHADOW
Under INCANDESCENT or ARC LIGHT

Reg. u.s. pat.off.

PANCHROMATIC

will give better results than

are otherwise obtainable

DU PONT FILM MANUFACTURING CORPORATION

35 WEST 45th STREET SMITH & ALLER, LTD.
NEW YORK CITY 6656 . . SANTA MONICA BLVD.
PLANT . . . PARLI N, N. J. HOLLYWOOD, CAL.

II
 November, 1936 • American Cinematographer 453

AMERICAN
CINEMATOGRAPHER
A Technical and Educational publication
of motion picture photography.

Published monthly by the

AMERICAN SOCIETY 1
OF CINEMATOGRAPHERS, INC.
6331 Hollywood Boulevard
Hollywood, California

Telephone GRanite 2135

JOHN ARNOLD, President, A.S.C.

FRED JACKMAN, Treasurer, A.S.C.

Volume 17 November, 1936 Number 11

What to Read

A DIRECTOR LOOKS at
Process Shots
By Cecil DeMille 458

USING Photo Meter to

The Staff
Balance Set Lighting
EDITOR
By Frank B. Good, A.S.C 460
Charles J. VerHalen

PRODUCERS Pool TECHNICAL EDITOR

Composite Process Patents Emery Huse, A. S. C.

By William Stull, A.S.C 461

ASSOCIATES
Karl Hale
WHY Is a Cameraman? Walter Blanchard
By John Arnold, A.S.C 462
CIRCULATION MANAGER
L. Graham
RUDOLPH MATE— ADVISORY
Cosmopolite of Cinematographers EDITORIAL BOARD
By Harry Burdick 463 Victor Milner, A. S. C.
James Van Trees, A. S. C.
A.S.C. MEMBERS On Parade ....464 Fred Jackman, A. S. C.
Farciot Edouart, A. S. C.
Fred Gage, A. S. C.
Dr. J. S. Watson, A. S. C.
Dr. L. A. Jones, A. S. C.
Dr. C. E. K. Mees, A. S. C.
Dr. W. B. Rayton, A. S. C.
Next Month Dr. Herbert Meyer, A. S. C.
Dr. V. B. Sease, A. S. C.
O Promises o be an interesting month. So-
ciety members have had assignments that have
taken them to strange places. They have en- FOREIGN REPRESENTATIVES
countered interesting experiences. We are on Georges Benoit, 100 Allee Franklin,
the trail of several of them right now ... if Pavillions-sous-Bois. Seine, France. Tele-
we can catch up with the elusive wanderers phone LeRaincy 13-19.
we shall have several unusual stories.
NEW YORK REPRESENTATIVE
S. R. Cowan, 19 East 47th St., New York
City. Phone Plaza 3-0483.

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

DAYLIGHT
Intensified lighting at the center of
interest and action, customary even
in outdoor scenes, demands a light
source of tremendous power to
compete with the brilliant daylight
of desert locations.

Only the Carbon Arc is Capable of Producing Light

of Greater Intensity than Daylight on the Desert

Behind the scenes in the desert during the filming of Selznick

International s all techni-
color production “ The Garden of Allah," co-starring Marlene Dietrich and Charles Boyer.
David 0. Selznick, producer of the Robert Hichens play and book, and Richard Boleslawski,
director, worked under incredible difficulties, amid insufferable
heat and raging sand-
storms, in order to capture the loneliness of the Sahara wastelands.
’
Howard Greene
photographed the all technicolor production, with Hal Rosson serving as photographic
adviser and W. A. | Cette! .
studio chief electrician.

National High Intensity Carbons and National Motion Picture

Studio Carbons are established as a necessity for color produc-
tions and are being used in increasing extent for black and white.
NATIONAL DAYLIGHT QUALITY
PROVIDE LIGHT OF
PHOTOGRAPHIC • COOL • FAST •SILENT
I.et our representative explain the many advantageous features of carbon arc
CARBONS lighting for motion picture photography.

NATIONAL CARBON COMPANY,

Ohio
INC.
I Carbon Sales Di vision , Cleveland,
•
.
<
.
:

Unit of Union Carbide HUM and Carbon Corporation

5
BRANCH SALES OFFICES: NEW YORK - PITTSBURGH - CHICAGO SAN FRANCISCO
f .
•
... LJxL ...~
 .

November, 1936 • American Cinematographer 455

Unequalled fineness of grain . . .wider latitude . .

supersensitive speed . . . high sensitivity, evenly balanced

...Agfa SUPERPAN has them
all! In fact, this new,

improved negative offers you everything you’ve wanted

in the ideal supersensitive panchromatic film. Made by
Agfa Ansco Corporation in Binghamton, New York.

35 MM. FILM C. KING CHARNEY, Incorporated

HOLLYWOOD NEW YORK
6372 Santa Monica Blvd. 245 West 55th Street
Tel. Hollywood 2918-2919 New York City
 —!

456 American Cinematographer • November, 1936

EVERYTHING THE NEGATIVE RECORDED, WITH PERFECT

PRINT CONTROL IN Bell & Howell

PRODUCTION PRINTERS
Why gamble with poor prints? There are no mislights, no
lost threading time, no out-of-synchrony prints, no nega-
tive cleaning troubles, when a Bell & Howell Production
Printer makes your positives. Sound prints of the finest
quality are produced— each frame printed under absolute
densitometric control. Lost production time and wasted
film are prevented. Economies in time and in film saved
quickly liquidate your printer investment.

M-G-M’s battery of B & H Production Printers has

been operating on a 2.4-hour schedule for almost three
years. Paramount and Columbia have recently equipped
their laboratories fully with these modern printers.
Write for full details about what B&H Production Print-
ers can do for you —
in better prints, in lowered costs.

BELL & HOWELL COMPANY

CHICAGO — 1848 —
Larchmont Avenue • NEW YORK 11 West 4 id
Street • HOLLYWOOD — 716 North LaBrea Avenue • 14 Great Castle
Street, LONDON W.i

TODAY’S LIGHTING, TODAY’S EMULSIONS, DEMAND

Taylor-Hobson Cooke lenses

FOR PERFECT CORRECTION
Today’s fastpan and color emulsions don't compromise on color
correction! If it isn’t in the lens, no camera and no emulsion can

do real justice to any scene. Taylor-Hobson Cooke cine-lenses,

distributed exclusively by Bell & Howell, bring the Blue G and
Red C Fraunhofer lines sharply into focus at the focal plane
perfect correction for today’s emulsions and lighting conditions.
Taylor-Hobson Cooke F 2. Speed Panchros are available in focal
lengths of 14, 35, 40, 50, 75, 100, and 108 mm. The super-fast
58 mm. F 1.3 Cooke Special Speed Panchro gives a beautifully
crisp image. And new Cooke 50 mm. and 75 mm. F z.8 Panfos
offer the Panchro type of correction. For full information on these
lenses, write for a copy of the new T-H-C lens circular.

BELL & HOWELL COMPANY

CHICAGO — 1848 Larchmont Avenue • NEW YORK — ix West 4id Street
HOLLYWOOD — 7i6North LaBrea Avenue • 14 Great Castle Street, LONDON W. 1
 November, 1936 • American Cinematographer 457

HE AMERICAN SOCIETY OF CINEMA-

T TOGRAPHERS was founded

purpose of bringing into closer confederation

in 1918 for the

and cooperation all those leaders in the cinema- AMERICAN

tographic art and science whose aim is and ever
SOCIETY OF
will be to strive for pre-eminence in artistic per-

fection and technical mastery of this art and science. CINEMATOGRAPHERS

Its purpose is to further the artistic and scientific

advancement of the cinema and its allied crafts

unceasing research and experimentation OFFICERS

through
JOHN ARNOLD President
as well as through bringing the artists and the scien-
VICTOR MILNER First Vice-President

tists of cinematography into more intimate fellow- CHARLES LANG Second Vice-President
JAMES VAN TREES Third Vice-President
ship. To this end its membership is composed of the
FREDJACKMAN Treasurer
outstanding cinematographers of the world with FRANK B. GOOD Secretary

Associate and Honorary memberships bestowed

BOARD OF GOVERNORS
though cinematog- John Arnold Frank Good
upon those who, not active
Bert Glennon Fred Jackman
Dan Clark Ray June
raphers, are engaged none the less in kindred pur- Elmer Dyer Charles B. Lang, Jr.
Arthur Edeson Victor Milner
George Folsey Joseph Walker
suits, and who have, by their achievements, con- Alfred Gilks James Van Trees
Vernon L. Walker
tributed outstandingly to the progress of cinema- Manager
Frederick L. Kley. Executive Business

tography as an Art or as a Science. To further these

PAST PRESIDENTS
lofty aims and to fittingly chronicle the progress of Philip E. Rosen Hal Mohr
Gaetano Gaudio Homer Scott
cinematography, the Society's publication, The James Van Trees John F. Seitz
John W. Boyle Daniel B. Clark
Fred W. Jackman
American Cinematographer, is dedicated.
HONORARY MEMBERS
Mr. Albert S. Howell
Mr. Edward O. Blackburn
Mr. George A. Mitchell

PUBLIC RELATIONS COMMITTEE

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

MEMBERSHIP COMMITTEE
George Folsey Dan Clark
Alfred Gilks

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

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

A Director Looks at Process-

HE EXAGGERATED secrecy that traditionally en-

r shrouds the making of “process-shots" is to me not S h o t s"

not only unnecessary, but definitely wasteful of much
potential publicity for our pictures. The public as a whole
knows we make some scenes by trick photography, for
there are scenes which obviously cannot be done other-
wise. It knows, too, that we make more scenes by “pro- by
cess-shots," since for one reason or another they can be
Cecil DeMille
made most convincingly way. And yet the public
that
— in greater numbers than ever before is thronging to — As told to a staff writer

the theatres. In my travels around the country, lecturing

before all sorts of civic organizations, have noticed that I

at least as many people ask me about photography and

process technique (pretty knowingly, too) as ask me
They were on location for a month, and brought back
about Marlene Dietrich and Gary Cooper. The amazing
excellent backgrounds. Rosson, who was constantly in touch
spread of 16mm. and 8mm. home-movie making has made
with me by telephone, could concentrate on handling the
the public technique-conscious. Among the better class
6,000 Indians and the regiment of National Guard Cav-
of film-goers, Victor Milner's lighting is as much a draw-
alrymen who figured in the scenes. When his Indians
ing-card as many a star.
without
missed their cues, he could retake the scene,
With this new spirit in no hesitancy about
the air, I feel
When
sighing for the loss of perfect foreground action.
paying tribute to the amazing
done by Farciotwork
they did their scene right, he could OK it; there was no
Edouart, A.S.C., and his associates in my latest produc-
delicate foreground action to worry about.
tion, “The Plainsman." They have made a notable contri-
With these backgrounds, we were ready to complete
bution to both the artistic and the economic phases of
the shots on the process-stage. But before we did this,
the production.
Farciot Edouart performed a first-class miracle of his own,
One of the crucial sequences of the production is the
to make our scenes more complete. In running over the
re-enactment of a battle between Custer's soldiers and
thousands of Indians —
the latter, thanks to political prof-
background-shots in the projection-room, it was noticed
that there were nice pictorial clouds in some of the shots,
iteers, much better armed than the Government's soldiers.
This entire sequence, which requires over 70 pages in the
and bare, 'bald-headed' skies in others. This was natural,
for the location-unit had enjoyed nice skies the first day
script, was made on the process-shot stage. Moreover, it
of their work, and unpleasantly cloudless ones the rest
was made dramatically better, as well as more economic-
ally, by this method than could have been possible other-
of the time. But it would not be very convincing to see a

wise.
bunch of Indians charging under white, fluffy clouds in
In filming scenes of this type, the Director has two one shot, and in the next, three seconds later, see them
dramatic elements to coordinate. In the foreground, there coming on under a barren, cloudless sky.
So Farciot, by means of his big Optical Printer, pro-
is the intimate action of the besieged principals. In the
background, the equally important action of the besiegers. ceeded to put clouds in every one of the cloudless back-
In the foreground, he has his principals and from twenty grounds. And they were natural clouds, too, which could
to fifty extras to consider. In the background, he may not be distinguished from the real ones. He refuses to
tell me just how he did it: but he did a most
remarkable
have five or six thousand Indians and a regiment of cav-
job; not a trace of a matte-line shows in any of the
shots.
alry, none of whom are at all picture-wise. Both elements
must be perfectly coordinated, or the scene will fall flat. Similarly, it seemed that the rifle-firing did not extend

To cite an elementary example, imagine the audience's far enough into the background. There were plenty of

reaction at seeing a number of Indians “bite the dust" smoke-puffs in the foreground and middle-distance, but
though nobody in the foreground was firing! not enough to be right for an army large enough to en-
To get a sequence like this photographed on an au- danger the group figuring in the foreground action. So
thentic location, one could confidently plan to have a big again Farciot stepped into the breach, and produced gun-
company on location for two or three months at the least. smoke in the right places and at the right times to syn-
Days would be spent getting a single good "take" of each chronize with the sound. The smoke was perfectly nat-
scene, for a usable "take" of such action filmed on such ural, even to the perspective. How he did it, don't I

a scale, would be more the result of luck than of skill. know; but it, too, was so perfect that the added smoke
The problems of transporting, feeding and housing such a couldn't be told from the actual shots, even by a trick-

company would be tremendous. The expense, pared to the camera expert.

On the stage, we built a set for our foreground. It rep-
bone, would undoubtedly exceed the total budget of the
average Class "A" production. Before the sequence was resented an island in the middle of the river, and was
"in the box," one could be quite sure that both schedule an accurate reproduction of an actual one shown in some
and budget would be scrapped. of the location-company's reverse angles. This set was
Instead, however, we made this sequence sensibly on — built on a wheeled support, so it could be revolved. It was
that we could use all, or parts of it,
the process
stage. While the principals worked in the built in sections, so
studio, on other dramatic sequences, Arthur Rosson, my as needed. And it was certainly no small affair: it weighed
Chief Assistant, and George Robinson, A.S.C., went up to 50 tons!
Montana to film the backgrounds for our big sequence. Set up on the stage, we had not one screen, but two,
 —

November, 1936 • American Cinematographer 459

Two process screens were used for the background

in this shot. The tree divided the screens.
behind this set, with the space between carefully masked
by a dead tree in the set. Two projectors threw their
images on these screens. The background-plates were
having to take hours rounding up and re-positioning sev-
made by two cameras, side by side, shooting at predeter-
eral thousand Indians, relaying commands by loud-
mined angles. Note that none of this was left to chance:
—
we had planned out every detail working on large-scale
speakers to twenty or thirty sweating Assistant Directors,
we simply re-threaded the background-projectors, and
maps and models of the actual location, far in advance.
As each background-shot was made, it was known exactly
tried another take —
with perhaps two minutes' delay!
Making the sequence this way was far easier than doing
what was wanted, and precisely how the shot would ulti-
it in the usual manner. Unquestionably,
it saved the studio
mately be used.
time and money. It was, am told, the longest, biggest
I

These details were so planned that we

painstakingly
and most dramatically important sequence that has ever
could be confident that an Indian rode by, say, in the
if
been done entirely by the Transparency process. But that
right-hand screen, heading left, he would appear again on
is not the most important thing to me. After all, I am
the left-hand screen in exactly the right place, and at the
in the business of turning out entertainment. To be good
right time, to make his movement through the composite
entertainment, it must be convincing and coherent dra-
shot seem continuous, and broken only as he passed from
matically. And filming the sequence as we did, with “pro-
sight behind the tree-stump!
cess-shots," was able to make it better dramatically
I

With
freedom
this
in
double-width background, we had complete
shooting our foreground action. There was
more entertaining than —
could have hoped to in any
I

other way. Making sure that the background action was

plenty of room for long-shots, for panoramic and dolly- perfect; and then concentrating wholly on perfecting the
shots, without exceeding the scope of our background- foreground action, was better able to weld the two com-
I

screens. For reverse-angle shots, we simply turned our set ponents of the scene into a coherent whole. Of course,
around (though the 50-ton weight made it no small task), as a producer, appreciate the saving in time and money;
I

re-aligned the screens, and carried on with different back- as a human being, appreciate being able to do it easier.
I

grounds. But the most important thing to a practical picture-crafts-

Naturally, with a background, it was easy
perfect man is that the process-shot technique enabled me to
enough to coordinate the foreground action with that in do the job better. That, to my mind, is the greatest real
the background. If one of our actors missed, instead of value of process cinematography.
460 American Cinematographer • November, 1936

reading from him than was receiving from the other

I

The reading
male characters under the same condition.
was about the same as got from the women's faces
I

him the same

using make-up. This gave me my cue.
lit I

as lit the women and

I
our ghost disappeared.
case as most players
This is possibly an exceptional
are made up and the
photographic qualities of each are
incident that showed me the
the same However, another
that took in the sky, two
value of a meter was a set up
betweeen the stacks. My sky
straw stacks and people
straw stacks read f:22 and
between
reading was
f 6; the : 1

wanted to bring my
the stacks people called for f:14.
I

couldn't do that very well

sky down with a filter, but
To offset these
when my reading for the people was lower.
people to
two readings used more reflectors on the
I

f:l6. The straw stacks were unimport-

bring them up to

ant excepting as to atmosphere.

helped me ba -
Ihad another instance where the meter
was done in a heavily
once my light. All of the shooting
to
wooded location. was using reflectors to relay light
I

was cloudy and or

the scene and the people. The day
not come out; this called tor
long periods the sun would
condition. One scene in the
booster lights. Here was the
same sequence, and in the same set, was with daylig
with booster
and reflected daylight, the next might be
Frank B. Cood, A.S.C.

Using Photo M eter to Balance

SING THE PHOTO meter to balance light has be-
Set Lighting
U come one of the major duties of my meter. Right
exposure has always been the main purpose and to
some people the only use
be put.
to which a photo meter could

It is natural, that if one can secure the right exposure

reading he can also secure the right lighting balance by
with the use of these instruments. I have had a number
balance Frank B.Good, A.S.C.
of cases where it was absolutely essentialto

lights, because of freak conditions, by the meter. This

holds true whether you are working on exteriors or interi-
ors. Let's say you have a reading of f:3.5 on one portion
of the set; your people read f:2 and some of the light
bits of decoration It's a simple mat-
go as high as f:5.6.
lights. is a condition that would give almost any di-
This
ter with change lights until you secure the
the meter to
proper balance, or if you are looking for high lights and rector of cinematography heart failure and make him
wonder if anything were coming out right. used the
shadows to work them out correctly with the meter.
I

Much more valuable, however, is the meter in reading meter for every shot and when checked with the labora-
I

people. The stars of the picture are the key to the pro- tory there was not 3 points difference in the printing

duction, of course; from this central reading we must bal- light of any of the scenes.

ance the rest of our lighting. Death Valley has proved a fooler to many. Here's what
One of the characters in a recent George O'Brien pic- my record shows for some shooting we did there recently.
ture was being "burned up." He would photograph chalky At 9 A.M. my light was f:20: at 3:30 P.M. between f:6
white. He walked through a scene like a ghost you'd . . .
and f:6.3 and at 5:30 P.M. between f:4 and f:4.5. I

spot him every time. shot at those ratings and my negative was okay.
George O'Brien does not use make-up which means no Sometime ago at the ocean the meter reading gave me
other male character in his picture can use make-up. f:6.3. The sun was shining: in fact, it was the typical

This rule must be enforced or the photographic quality of clear day. Others on the camera shook their heads when
all other men compared to O'Brien would be too con- I asked that the lens be set at f:6.3. They wanted to
trasty. shoot down to f:22. To convince them, had them make I

This particular "ghost" character was being lighted a hand test; f:6.3 was perfect, f:22 was burnt up.
the same as all the other players, so I decided to study never take my readings from the camera. The meter
I

his face. I used my meter and secured a much different Continued on page 469
 November, 1936 • American Cinematographer 461

Producers Poo omposite

OR THE PAST several years, special-process cine-

F matographers in
cess shots" with one eye
figuratively focused
every studio have

upon the
made their "pro-
on their work, and the other
outcome of an intricate
Patents
tangle of lawsuits and counter-suits involving the funda-
mental patents on the two most generally used methods
of composite photography. Without going into the merits
of theseentanglements, it may be said that the Para-
by
mount through licenses, assignments, etc., con-
Studio,
trolled most of the basic patents on the color-separation
William Stull, A.S.C.
transparency process, while Warner Brothers, and their
subsidiary, United Research Corp., similarly controlled
equally basic patents on the projected-background pro-
cess. Both have made extensive use of both processes, and
both appear to have felt legally justified in so doing. By the terms of agreement, the members are licensed
Moreover, both processes have been in general use in to use, royalty-free, any of the patents issued up to ap-
every studio in the industry. Regardless of the outcome proximately October first, 1936. Any patents issued to
of the lawsuits, the industry as a whole stood to lose or assigned to these firms in the future will, insofar as
heavily, for the damages for such widespread infringe- they to composite photography, be available. Li-
relate
ments, past and present, would inevitably reach stagger- censes under these patents may be obtained upon pay-
ing sums. ment of a nominal royalty, the figure in each case de-
To eliminate dangerous situation, Will H. Hays,
this pending upon the cost of developing and patenting the
President of Motion Picture Producers and Distribu-
the invention.
tors Association,suggested several years ago that a cross- Non-members may participate on a similar basis. Any
licensing embracing all patents relating to composite reputable producer, including independent producing
photography would be a practical and beneficial solution. firms, independent special-effects studios, producers of
When the had crept their way to the top of
litigations industrial, commercial or educational films, and foreign
the Hays acted vigorously to avert what
court calendar, producers, may obtain licenses under any or all of the
for either would be a Pyrrhic victory to the detri-
side patents involved. These licenses will naturally call for the
ment of the entire industry. From the member companies payment of a reasonable royalty: but it is emphasized
of the Association information was gathered concerning that these fees will not be prohibitive, as this is not a
their patents in the field. Then last summer a memoran- money-making scheme, but a simple, cooperative move
dum went forward from Hays to the directors of the as- to infringements and needless lit-
eliminate unintentional
sociation, in which the situation was surveyed in detail; igation.Moreover, the agreement specifies that the in-
the obstacles to solution analyzed, and the alternatives dividual circumstances of each applicant for a license
for the achievement of a satisfactory solution presented. must be taken into consideration in setting the fees. Thus
The Board of Directors signified their agreement in prin- the small producer who wants to make a single process-
ciple with the conclusions of the memorandum. shot in a single picture would probably pay on a different
Thereafter the negotiations and the preparation of the scale than the larger independent who wants a license to
necessary legal documents were directed by Gabriel L. use the processes for many shots in a program of thirty
Hess, the Association's legal counsel, ably seconded by or forty pictures. The licenses convey all possible rights
W. Beatty of Warner Bros., Jacob
E. H. Karp of Para- to "make, use or sell" shots made under the patent; so
mount, James Barkelew, and others. the customers of a licensed would
special-effects studio
The result is an agreement by which all suits have be amply protected. Moreover, in the event of any dis-
been withdrawn, with all claims for damages on past in- putes between a patent-owner and an applicant, the
fringements waived, and all of the major studios have agreement binds the patent-owning member to abide by
joined in a mutual cross-licensing arrangement under a arbitration conducted according to the standard proced-
total of 46 existing U. S. and foreign patents relating to ure of the American Arbitration Association.
composite photography. Unlike the highly restrictive licens- The agreement may very roughly be termed a pool of
ing under the old Motion Picture Patents Company of the patents involved: but one feature makes it unique.
unhallowed memory, the present agreement is planned to In a genuine pool of patents, the ownership of the pat-
—
benefit the entire industry- the independent producer ents is transferred to the pool itself, and administered by
and process studio as well as the eight majors. In other a trustee, while in this case, each studio keeps all title
words, the benefits of the plan will be available to non- to its patents. Accordingly, licensing is directly between
members as well as to members, which in-
the present the studio owning the patent, and the applicant, not
clude: Warner Bros. Pictures, Inc., and the Warner sub- through any centralized office.
sidiary, United Research Corp.; Paramount Pictures, Inc.; The patents thus far included in the arrangement in-
20th Century-Fox Film Corp.; RKO Studio and RKO- clude Warner's contribution of 22 U.S. and 5 foreign
Radio Pictures, Inc.; Metro-Goldwyn-Mayer Pictures patents; Paramount's 9 U.S. and 8 foreign; and several
Corp.; Universal Pictures Corp.; Columbia Pictures Corp.; important applications for patents, 3 from RKO, 2 from
United Artists Corp.; Educational Film Corp. of America; 20th Century-Fox, etc. Practically all of the studios have
and Hal E. Roach Studios. Continued on page 466
462 \merican Cinematographer • November, 1936

running a motion picture camera. He has become a spe-

cialist in the intricate art of making drama visible. And
he has done this so perfectly that today nine out of ten
of us take photography almost as a matter of course. We
are confident that the pictured effect on the screen will
fit the dramatic action of every scene.

Did you ever stop to think what would happen if this

were not the case? Suppose, for instance, that a picture
like "Romeo and Juliet," "The General Died at Dawn,"
or "The Gorgeous Hussy" were photographed like a com-
edy. It would have about as much romantic appeal as a
newsreel —
and we might confidently expect Romeo to
do a comedy fall from Juliet's balcony! On the other hand,
imagine a Marx Bros, comedy reaching the screen with
the portentous shadows of Charlie Chan or Philo Vance
mystery: many of the choicest gags would fall flat be-
cause the mysterious lighting had hidden some mad Marx-
ian antic.
Definitely, then, camerawork today has more of a mean-
ing than just picturing the actors. And while each produc-
tion and each scene has its own problems, there are cer-
tain established conventions in Cinematography, based on
proven psychological reactions common to humanity the
world over. If we are photographing a heavy dramatic
situation, we strive for sombre, "low-key" lightings whose
John Arnold
A.S.C. dark tones will heighten the sense of tragedy. If it is a
melodrama, strong, virile contrasts between bottomless
shadows and intense highlights not only aid in developing
a response to rugged action, but etch the action clearly
and swiftly to the eye. If the picture is cast in a realistic

Why mood, like "Fury," harsh, almost newsreelesque photog-

raphy builds an illusion of reality.
If, on the other hand, the picture is a romance, softer,

smoother photography builds subtly to an illusion of idyl-

lic glamour. Lastly, if our picture a broad comedy,
is a is

camera and lighting must simply reveal a stage for the

comics, without trace of artifice or artiness, so that not
even the smallest gesture, the slightest grimace, will slip
Cameraman? by unseen.
Just keeping these things in mind throughout a pic-
ture is in itself quite an assignment; but the Cinematog-
rapher has more than this on his professional shoulders.
No picture is going to sustain exactly the same mood
by throughout all of its many hundred scenes and set-ups.
John Arnold, A.S.C. Even in the heaviest drama we have moments of romance,
or of robust humor. If these scenes are photographed in
exactly the same style as the rest of the picture, they
would lose much of their dramatic value; on the other
OU CAN CALL him a Cinematographer

Y
if you like, hand, if they are photographed for themselves alone,
or just plain Cameraman; but as long as you're mak- without consideration for the basic mood of the whole
ing motion pictures, you'll always have to have story, they would make visual changes which would dis-
someone around to photograph them. When the industry tract audience-attention and make the picture seem spot-
was young, his was a relatively simple task; but then, in ty and disjointed. Properly balancing between the individu-
those days, the prime requisite for any studio position was al requirement of the scene itself and the sustained mood
a simple willingness to try the work. Today, while the de- of the production as a whole gives the Cinematographer
bate as to whether our infant industry has or has not a greater problem than any faced by Director or Actor.
grown up still continues, it is pretty generally recognized When you see a story of many moods photographed so
that something more than mere willingness is required to smoothly that you are not conscious of photography, rest
hold any picture job. The man who designs sets is expected assured you have seen the work of a master of the camera.
to know more than a little about architecture; the players,
Now add to this problem the everchanging one of keep-
to have learned at least the rudiments of acting. Camera-
ing the players consistently looking their best, and you
work has become one of the most intensely specialized have a problem only Einstein's mathematics can fully ex-
fields in the whole highly specialized industry. press. Saturday, our leading lady may be a vision of
The Cinematographer of today has become vastly more blonde loveliness; but Monday morning, after a week-
than merely a man who understands the technique of may appear on
end in the sunshine, she the set with a
* Reprinted from Hollywood Reporter, 6th Anniversary number Continued on page 468
 November, 1936 • American Cinematographer 463

frankly obvious artifices of witchery he employs. She

grows younger and more vibrant before your very eyes.
To gain some of these effects, Mate employs to fine
end a small baby-spot of 500 watts suspended above
and to the rear of the star. In small area it throws a bril-
liant highlight flicking the coiffure with vivid aura.
He also engages a dimmer most of his close shots,
in
controlling his As a character moves
direct light sources.
toward or away from the camera, he decreases or in-
creases by a mere fraction the volume of light. This is
unnoticeable on the screen; indeed, the very purpose of
the expelient is to keep intensity of illumination constant
irrespective of the distance of the player from the light
unit.
Mate candidly to having "no principles" in
confesses
this business of screen personalities for audience
lensing
gratification. He
hidebound by no rules, regulations,
is

precepts or dicta. He is supreme advocate of artistic

license. To gain wanted spectator impression he tosses
overboard any and all aphorisms.
He is actuated by the sole motive of fashioning artis-
tic creations within the limitations of commercial show-

manship specified by the industry of which he is a part.

Rudolph Mate, A.S.C. He suffers no qualms of artistic conscience in compos-

Rudo ph Mate— Cosmopo ite of

UDOLPH MATE veritably stranger within our

R gates. He has been

is

resident in
two years, scarcely long enough to become accli-
a
Hollywood for only Cinematographers
mated in the minds of those rugged picture pioneers who
ventured to this, real estaters' haven a quarter century
back. But in these two brief seasons he has catapulted
to top-flight recognition among the cinematographic
contingent.
by
Films of high-carat content, as "A Message to Garcia"
and "Professional Soldier," flowed from his camera while Harry Burdick
at the Fox lot. Now, under the more sanctified sponsor-
ship of Samuel Goldwyn, he has presented "Dodsworth"
to preview and currently is speeding closing scenes of
Edna Ferber's widely-read novel "Come and Get It" on
to nitrate tape. An imposing parade of important pro- ing these commercial-artistic creations. He points out
ductions! The brace of Goldwyn offerings average up- that the true conception of artistic endeavor lies in ren-
wards of a million in cost. dering an object pleasing for witnesses to look upon. All
"Dodsworth" is an intensely commendable cinematic great artists, he believes, have addressed themselves to
composition. In it, Mate reveals one of the finest jobs of their audiences. Even builders of great cathedrals reared
masculine lighting these appraising eyes have gazed upon structures deliberately designed to please onlookers' eyes.
in many moons. His fashioning of Walter Huston is He can see no shameful compromise in so treating a
worthy of inspection and emulation by all concerned. popular art that the greatest number of the audience
Here, the rugged virile qualities so sought in male por- will enjoy it most. So-termed pure Art, for Art's own
traiture are superbly set forth in bold and unalloyed de- sake, has little place in his broad cultural perspective.
gree. Mate has resorted to no apparent trickery, no So he quite calmly injects all available elements of show-
theatricalism, achieveing this acme of artistry. Its ter-
in manship into his pictures, deliberately and with malice
rific simplicity is its greatest charm. Huston is treated in aforethought, which displeases his producers not one whit.
manner quite unlike the out-of-a-pattern male star. There His greatest freedom of expression finds itself in femi-
are no tender nuances of modeling, no subtle highlights, nine lighting. It is, as he puts it, his "concession to
no transparent effort at aggrandizement. His face, often beauty." He doesn't go in for bizarre treatments, nor is he
as not, is in shadow. Facial linings that denote character slave to mathematical formulae of design. But he will re-
are observable. The full strength of the man emerges sort to any and every item of photographic artfulness to
through intervening processes photographic. enhance the physical and romantic loveliness of his sub-
Au contraire, Ruth Chatterton is the more feminine, jects. Audiences appreciate it, he finds.
the more delicately glamorous, because of the brave and Continued on page 469
464 American Cinematographer • November, 1936

• George Barnes, one of the A.S.C.'s newest bridegrooms,

is back at the studio after a brief honeymoon.

• John Arnold, A.S.C., vacationing golf world-wide . .

. . • Len H. Roos, A.S.C., postcards from Switzerland, where
radio — getting acquainted with his children. Resting most
of the day so he can stay up half of the night logging
new
he
far he
is shooting in color for Warner Bros. So
travel films
Norway and Holland includ-
has lensed Sweden, —
foreign stations on his Scott. ing an air trip up past the Arctic Circle to get some scenes
of the Lapps. His next stop is Hungary to eat goulash and
• Ray June, A.S.C., taking a few days off after 12 weeks
film Czardas (or is it the other way around?). From there
steady shooting. Breaking in his new car.
to France, French Africa, Singapore and Java by way of
Ceylon, and Lenser Len will be back in Hollywood after
• Joseph Valentine, A.S.C., is said to have done a bang up
his 'steenth round the world.
job on his latest “Three Smart Girls. " Also he just moved
trip

into his new home in Cheviot Hills. They say there is

a
• "Tony" Gaudio, A.S.C., is grinning from ear to ear
bit of Italian influence in the architectural scheme.
account of he's just found an ace gardener to tend his
San Fernando Valley estate. After hiring and firing three
• Chas. Rosher, A.S.C., about ready to return from London
Italianate compatriots, Tony found himself an Englishman
where he has been lensing some of the important releases.
who is making the Gaudio menage as beautiful as a
• Merrit Gerstad, A.S.C., has been loaned to 20th Cen- novelist's idea of a Ducal Estate.
tury Fox to shoot the talkie version of “7th Heaven.
• Karl Freund, A.S.C., has shed forty pounds, and inches
• Chas. Lang, A.S.C., looking the new cars over. Salesmen of waistline according to reports.
take note.
• Victor Milner, A.S.C., has a really secure vacation hide-
• Bob Pittack, A.S.C., recently promoted to director of out. With Cecil De Mille's "The Plainsman" safely in the
photography, is at Big Bear on the Major Production box, Milner made a bee-line for his yacht, to rest in the
“Mind Your Own Business." cradle of the deep till his next assignment comes up.
Book-agents and studio calls take notice: Milner's ad-
• Lucien Andriot, A.S.C., has signed with 20th Century
dress is “c/o Yacht 'Marvic', somewhere in the Pacific
Fox as has Eddie Cronjager, A.S.C.
Ocean."
• Joseph DuBray, A.S.C., who for the past six years has
been executive manager of the Bell & Howell Hollywood
branch will be assigned a position in Europe by the same
company shortly after the 1st of November.
44
As it must to every man —
DuBray leaves Hollywood on Nov. 1st for a stay in the Death came to
Chicago office of Bell & Howell. Later he will depart for CHARLES J. DAVIS, A.S.C.
London and other European points in the interest of that
• A brief dispatch from Washington, D. C., tells us
company.
that Charles J. Davis, A. S. C., who was with the
DuBray will be succeeded by H. W. Remershied who
Fox Movietone News and had covered many of
has been in charge of the engineering division of the Hol-
President Roosevelt's trips, died at Georgetown
lywood branch.
Hospital where he underwent an operation ten days
• Gregg Toland, A.S.C., planed to New York for a brief previously. Details as to the immediate cause of

vacation after finishing camera work at Goldwyn's of his passing are not available.
“Beloved Enemy" with Merle Oberon. Upon his return he When Davis died he was 44 years of age. He had
will direct photography on the new Miriam Hopkins opus been a member of the American Society of Cinema-
"The Woman's Touch." tographers since 1926. Previous to that he had been
a cameraman with Vitagraph from 1915 to 1920.
• Hal Rosson, A.S.C., former husband of Jean Harlow, was In the latter year he went to London for one pic-
married on Sunday, October 11th at Goldfield, Nev., to ture then returned to Vitagraph. In 1926 he joined
Mrs. Yvonne Crellin. Warner Bros.; in 1928 he became a member of the
staff of Fox Movietone and spent a year in England,
• Charles Van Enger, one of the Charter Members of the
returning in 1929 where he has since been sta-
A.S.C., who has been making pictures in England for
tioned in Washington, D.C., considered one of the
several years past, hopped 'cross channel to have a reun-
ion with another old-time A.S.C. member, Rene Guissart.
most important assignments in Newsreel work.
The occasion was the production of a French feature, "Men- Members of the American Society of Cinematog-
ilmontant," at the Paramount Studio in Joinville. Van raphers deeply regret his passing and have had a

Enger photographed and Guissart directed. The combination suitable resolution spread on the records of that
clicked so successfully the two are booked to start another organization to commemorate his memory.
right away.
 November, 1936 • American Cinematographer 465

A NEW
Laboratory Handbook
rr
Motion Picture Laboratory Practice and Char-

acteristics of Eastman Motion Picture Films ” is

an authoritative handbook addressed to all those

interested in the use and processing of 35-mm.

film. It covers not only the laboratory handling

of film and characteristics of present-day Eastman

emulsions, but also related subjects such as color

filters and polarizing screens. Published in re-

sponse to numerous recpiests for such a work, it

fills a real need in the industry. 310 pages; 84

illustrations; handsome binding, with stiff, du-

rable covers. Price $2.50. Eastman Kodak Com-

pany, Rochester, N. Y.

"MOTION PICTURE
LABORATORY PRACTICE"
466 American Cinematographer • November, 1936

NEW SUPER Producers Pool Composite Process Patents

CINE GLOW pending,
Continued from page 461

which virtually opaque to the oppositely-col-

X» other
in
applications
time be included. The more basic
will
ored light reflected from the backing,
THREE ELEMENT patents are duplicated in British, French, which accordingly imprints a negative
German and other issues. image of the background-plate wherever
Recording Among the more basic patents in- no direct light from the foreground in-
Lamp cluded may be mentioned U.S. patent terferes. The result is a composite nega-

No. 1,673,019, which is regarded as tive, in which the foreground action ap-
A true, high fidelity,
ultra violet, modulating the fundamental patent on the color- pears naturally superimposed on the
light source,
separation transparency process. It pro- background scene or action.
o High Intensity Expos-
ure. vides making a dye-image trans-
for At least eight other U.S. patents in-
• Long Life. parency from any desired background cluded relate to important details of this
• Uniform Quality. negative. This transparency is run process — clearing the highlights of the
through the camera in front of the un- transparency (No. 1,926,722); light
Blue Seal exposed negative which is to record the filters foruse with this process (1,939,-
final, composite scene. The foreground 304); color-correction to increase the
Sound Devices action is illuminated by light of substan- blue-light transmission of the clear por-
Incorporated tially the same color as that of the tions of the background plate (1,776,-
723 Seventh Ave. transparency. Behind the foreground set 269), and so on.
New York. N. Y. and actors is a plain back-drop which The projected-background process is
reflects light bearing a minus relation is as amply covered. In addition to the

to the color of foreground lighting and Brainerd patents, which many consider
transparency, i.e., if the one is red, the were the fundamental patents on this
other must be blue, etc. process, there are numerous more recent
In actual practice, there have been issues covering specific details of equip-
quite a number of variations in detail in ment and methods. U.S. patent No.
this process, many of them patented. 1 ,960,632, for instance, covers the
Most commonly, the back-drop is blue, mounting of the translucent screen upon
and illuminated by white light, while the which the background is projected. U.S.
transparency and foreground lighting patent No. ,980,806 provides for syn-
1

may be red, orange-red, or yellow. One chronously interlocking the foreground

patent, for instance (No. 2,013,886) camera and the background projector.
specifies an ultramarine blue ground and Patent 2,004,992 provides for making
a yellow transparency. In any event, the start-indicating marks on the pull-down
transparency is, as its name implies, mechanism of the camera, and making
transparent to the similarly-colored them visible on an indicator on the out-
light reflected from the foreground side of the camera, which in turn can
action, which passes freely through it be seen through a window in the blimp.
and forms an image on the film in the No. 2,008,020 relates a useful method
usual manner. On the other hand, the of focusing the background-projector
colored image of the transparency is from the camera position, by an electri-

BLACK-AND-WHITE or COLOB Fully Guaranteed

M-B LAMPS USED 35mm EQUIPMENT
•

Simpliffi Every Liylitiny Problem Mitchell, Howell, Akeley,

Bell Er

DeBrie, Universal, Pathe Cameras.

Portable Sound Recording Outfits.
Eymo and De Vry Spring Driven
Cameras.
Holmes Projectors, Sound and Si-
lent.

DeVry Suit Case Model Projectors.

We buy, sell and rent

MOLE-B I CHA D DSON. Inc. anything Photographic.

fi t I No. Sycamore Avenue •

Hollywood. Calif. Camera Supply Co., Ltd.
Motion Picture Bombay 1515 No. Cahuenga Blvd.
Lighting and Mole-Richardson, Radio Co. H. Nassibian
Equipment Co. iEngland), Ltd., Bombay, Cairo, Hollywood, Calif.
New York London India Egypt
Cable Address: CAMERAS
 November, 1936 • American Cinematographer 467

cal remote control. Patents 2,004,986

and 2,004,987 provide for changing the
background field between projection-
process close-ups and long-shots, to
maintain a natural continuity of per-
spective in the composite shots. No.
2,014,435 covers the making of vehicle
shots by the background-projectionme-
thod, setting the vehicle in its proper
relation tobackground scene and taking
camera by placing it so that the taking
camera bears the same relation to it
that the camera used in filming the
background scene did to the vehicle in
which it was carried. Patent No. 2,030,-
300 provides for a background more ex-
tensive than is possible normally, by
using a plurality of screens with inter-
spersed scenery. Finally, a most import-
ant and sweeping patent is No. 1,971,-
137, which provides for combining any
previously photographed background
action and any previously recorded
background sound with foreground pic-
ture and sound, the composite pictorial
negative to be made by any desired pro-
Announcement!
cess, and the composite sound record to
be made by any desired method or com-
F It A\K Z UCKE»
bination of methods of direct recording, has broadened the scope of his activities and
re-recording, etc. taken larger display space to more
A number of more or less allied pat- efficiently serve you through
ents on other
types of special-effects
work are included, among them several
interesting patents on special forms of
Camera equipment. Inc.
miniature-shots, "glass" shots, and the
Specializing in Mitchell, Bell & Howell.
like. Some of them relate to methods Akeley, Eyemo and other leading camera
familiar in every studio; others, to
makes, accessories, and every type of studio
methods used only in the studio of their CAM tRAS
origin, and little known elsewhere.
equipment, from panoram dollvs to filters
In
this class is Patent No. 1,737,021, SUSS* ... all on display, either for sale or rent.
which is in general daily use at Para- THE SPECIAL DEPARTMENTS INCLUDE:
mount, but seldom mentioned elsewhere. The repair department, under experienced technicians,
It provides an excellent method of mak-
do every kind of camera and studio equipment ser-
moviolas vicing and repairs. A staff of cameramen to shoot
ing "glass shots" after the develop- “shorts” of every type.
ment of the original
negative, which Phone, write or wire for prices
may be photographed in the usual man-
ner. A duplicate negative is made, with
the areas in which the additions are to
be
this
made matted out.
negative is exposed to a regular
A test-strip of
1600 Broadway
€QUN>m-€nT,
York lleui
mo
Citij
pattern of lines or rulings, and devel-
JaXafiSurruL. BRyant 9 ^1^6-7 CdM, ADDRESS: CINEQUIP
oped. This frame, with its superimposed
rulings, serves as a guide in preparing
the painting or miniature to be added
to the normal parts of the shot, and also
as a guide in registering the two ele-
ments for the final exposure. The Recording Machinery NATIONAL CINE
hitherto undeveloped first exposure on
the duplicate negative then re-ex-
IIollynoodMolitm Picture LA HO ItA TORIES
is
Equipment Co.
posed to make the final composite nega-
645 Martel Ave. Cable Artreeves ENGINEERS and MANUFAC-
tive.
Hollywood, California TURERS of MOTION PICTURE
Another composite method of at least EQUIPMENT
technical interest is outlined in patents Leading Motion Picture .
No. 1,755,130
provides for
and 1,755,129, and
making first one exposure, A AOVIOLA film
”
Mechanical Laboratories in
the East
then treating the film so that the ex-
1
\\7
1
* VIEWING and
REPRODUCING MACHINES Special equipment designed and
posed areas are impervious to further .
built to order. All standard
exposure; resensitizing the remainder, All Models on Display-For Sale or Rent
Illustrated literature on request cameras serviced
and re-exposing to complete the com-
posite shot.
Cnmera Equipment, Ine. 20-22 W. 22nd St. New York City
I 1600 Broadway New York City
468 American Cinematographer • November, 1936

How this plan will work out in the an expensive lawsuit, but the cost of
future cannot be foretold. If it is ac- development will to a great extent be

Astro F 1.8

F 2.3
cepted
ned
in the spirit of
it, such an arrangement cannot but

be beneficial. With the fear of unwit-

ting infringements gone, there should
those who plan- offset by royalties on
by the industry at large. This fact should
be a notable spur to individual progress
among the various special-process de-
the process paid

LENSES be a more free interchange of thoughts,

and much development work, hitherto
partments. Lastly, the security granted
by this cooperative plan should eliminate
shackled by this fear, should go ahead much of the foolish secrecy that has so
to a successful conclusion. Economically, long shrouded special-effects cinema-
the studios should be more willing to tography. If, as intended, the plan
spend money on such necessary develop- brings security and cooperation without
ment work, since not only will a success- removing the incentives of competition,
ful patent no longer be a mere title to progress in all lines is bound to result.

WHY IS A CAMERAMAN?
Continued from paga 462

for sole by
pinkly glowing sunburn — or even a tan. and took his time over everything, for
Our leading man, too, may turn up show- there was nothing intricate in the script,

Mitchell Camera Corporation ing the results of a strenuous week-end. and the Director and Producer didn't call
665 North Robertson Blvd. Yet the scenes these two enact Mon- for anything fancy.

West Hollywood, California day may, in the finished picture, come By the same token, the same Direc-
but a split-second after the pre- tor of Photography can seem slow and
week-end scenes shot Saturday. And fumbling to one Director, and a deft,
it is up to the Cameraman to see to it speedy running-mate to another. The
that they look exactly as fresh and answer here is that Director number two

TECHNICOLOR youthful one scene as in the other!

in

Many of our players have lately de-

not only knew always exactly what he
wanted, but knew how to convey his
3 COLOR CARTOON veloped a habit which makes no end of thought to the man at the camera, while
r\>n:it \ STAND trouble for the Cinematographer, and
discomfort for themselves. This is the
Director number one was perhaps too
sure, and left the Cameraman to work
LIKE NEW
to be sacrificed for quick sale fad of wearing dark-tinted glasses when- blindly, hoping he had caught the right
outfit consists of: Admit- meaning of the few vague remarks
ever the player goes outdoors.
Camera stand with motor zoom and for the dark thrown his way. It is a safe bet, too, to
tedly, is comfortable,
this
pan table
1 — & Howellspeedcamera
— Bell No. 759 glasses protect the eyes from the sun- assume that Director number one, when

—75mm.
1 Panchio
F.2 lens
light. But what happens the next time in doubt of anything, usually resorted to
Filter mechanism
sliding
6 — baby spot
1

lights our player has to face the lights on the a dolly-shot, and kept the camera jit-
1

1
—Stop
Frame optical glass
motor device with DC motor
set? The eyes which once accommo- tering all over the set without rhyme or
and automatic clutch photograph- dated themselves quickly to the glare, reason. Nine out of ten of those mov-
ing three color separation frames
have lost their power, since it has so ing shots undoubtedly were either left
2 Bell & Howell 400 ft.magazines
PRICE F.O.B. New York repeatedly been done for them by the on the cutting-room floor, or chopped
<r
ONLY J)zUUU Complete goggles. Naturally, the strong light hurts up into their component, stationary parts.
Stand alone without B. & H. the player's eyes, and there are com- The moving camera is a great thing in
camera, lens and magazines..? 1 200 around. After all, Max its proper place, but that place should
plaints all
Photographs on request
Schmeling didn't train the right hand not be to cover up indecision, or to im-
Camera Equipment. Inc.
that laid Joe Louis low by wearing it in press the front office. After all, mov-
1600 Broadway New York City
a sling lest he strain its muscles. Our ing-camera shots take a lot of time to
eyes to changes
accommodate themselves light, time to rehearse, and more time

in through a network of nerves and

light to make —
and they use up valuable
muscles which must also be trained and screen time in the finished picture. Time,
strengthened —
and which grow weak if in any man's studio, means money, and
coddled. So why should people whose every second or dollar spent in produc-
livelihood depends upon looking under tion that doesn't show up in the release-
studio lights weaken their eyes by hid- print means a waste of something that
ing behind dark glasses? could have been spent profitably else-
Often enough you will hear a Direc- where. The added time needed for mov-
tor, discussing Cameramen with whom ing-camera shots is simply chalked up
he has worked, say "John Doe is fast against the Cameraman. A statistician
quick as lightning, but Bill Speed, who would find it highly illuminating to
did my last picture, slow as they make
is study the moving-camera shots in any
'em." Yet if you ask the men in the average picture, calculating the time and
FRIED 35MM
camera-crew, they might give an en- overhead that go into their making, and
LIGHT TESTEK
In use by Hollywood Laboratories.
tirely different story. Bill Speed, they'd balancing it by a count of how many of
tell you, worked faster than they had them are to be found in the release-
Price Complete $625.00
thought possible, for the picture was print.
Fried Cant era Co . full of the trickiest kind of dolly-shots, Yes, as long as we make motion pic-
6154 Santa Monica Blvd. crane-shots, and effect-lightings. John tures, we will probably have the Camera-
Hollywood, Calif.
Doe, on the other hand, had a soft snap man — or Cinematographer or Direc- —
 November, 1936 • American Cinematographer 469

tor of Photography — with us. And

while he
details of his ever-growing
is too busy attending to
task to talk
all the
FEARLESS CAMERA CO.
• MOVIOLA •
Velocilator Camera Dollies, Camera
about himself, or to hire a publicity- Blimps, Camera Motors, and com- FILM EDITING EQUIPMENT
plete camera accessories and equip-
man to do the shouting for him, the ment.
Used in Every Major Studio.
Illustrated Literature on request.
Cinematographer is visibly growing in 8572 Santa Monica, Hollywood, Cal.
MOVIOLA
Eastern Representative, Motion Picture CO.
professional stature. Camerawork is no Camera Supply Co., 723 7th Ave. N.Y.C. 1451 Gordon St. Hollywood, Calif.
longer a job for anybody, nor even for
just any skilled photographic mechanic.
The Cinematographer of today is in truth
Director of the film's photography, and
as such he is becoming a real co-worker
with the Director: a man whose ideas, as
well as skill, are recognized as vital to
Action!
That's what you‘11 get from
the making of good pictures. After all
— believe it or not —we are in a photo- Panoram Dollys and us!
graphic business.
We and rent every type of new
sell

and professional camera and

used
Using Photo Meter to Balance studio equipment from Mitchell’s . . .

Set Lighting newest cameras down to lenses and

A Panoram Dolly simplifies and speeds filters.
Continued from paga 460
up production. Order one from us to-
takes in too much territory. In produc- day. We are Eastern Representatives.
Most important, everything you
tion
ple
work we are interested in the peo-
and mainly in the faces of the peo- MITCHELL may require is right here on display.
ple. I read the faces. I stand close CAMERA COHI*. Save time and money by getting what
you want when you want it. Phone,
enough to each important actor
my meter to get a reading of the
with
face,
Fearless Products — Harrison Filters — write or wire today . . . you will get
Moviolas.
only as it is going to be lit for the shot. action and satisfaction.
my
That's
floor,
first

the furniture and the walls. By

reading. I read the
MOTION PICTURE CAMERA SUPPLY,
reading the light all over the set know I 7211 Seventh Ave. Ill€*« Xew York City
what part is being overlit and what Telephone BRyant 9-7755 Cable Address: Cinecamera
part is being properly lit in relation to
my people. take away or add lights
I

depending upon what the meter reading

calls for.
can balance my lights with the
I

meter so that my exposure will be even

throughout the set; also with the meter
I can determine just how much some jluyqcdtie&$ . . .
section is highlighted if that is the ef-
fect want, or how dense another sec- an outstanding characteristic of the
I
is B-M High
tion might be if I am looking for shad-
ows. Fidelity sound-on-film Recording Galvanometer.
have noticed cameramen using the
I

meter from the camera and taking that

as their reading. Invariably the expos-
ure will be wrong as the light influenc-
ing the meter cellis coming from too
wide an angle. Production demands Built for utmost flexibility of electrical operation, the B-M unit is
de-
the camera favor the people, therefore signed to withstand those unavoidable shocks to which any sound
it is logical that the people be read.
recording unit is at times subjected. The enlarged B-M sound track
If they are wearing clothes that de-
reproduced above graphically illustrates this point, with no change
mand accentuating, read the clothes
inthe galvanometer operating characteristics after application of a
and you will find a happy medium in
your exposure that strong impact signal. Descriptive literature and full technical informa-
will be correct.
tion sent upon request.

BERNDT-MAURER Model "E" High Fidelity

Cosmopolite of Cinematog- Recording Galvanometer, frequency range

raphers 0 to 10,000 cycles $350. list F. O. B.

New York. od
Continued from page 463 Cl
A rare cosmopolitan camera experi- the BERIIDI- mnilRER eohp.
ence lies back of Mate's current cine- 117 East 24th Street • neut Vark City I J 3 I
4 I 5| 6, 7|

matographic contributions. He is Hun-

garian, born in Poland, educated in
France. Since 1919 he has directed pho-
tography in Austria, Hungary, Germany,
470 American Cinematographer o November, 1936

ground of old-country culture became a

Poland, France, Italy, England —and welcomed addition to Hollywood's tal-

uters^ now, Hollywood.

Two years back, he came to Holly-
ents.
What are the main points of differ-
I n (/OprlJ-QOulg Use
^prydicjc* OOo^nlivjbV and NigbF wood on a visit.He fell ill, was forced ence between studio practice here and
Fffvcls in Daytirnx'Fotj Sc*ovs- to decline an awaiting French contract. in other countries? Mate mentions two
tliffus^d F^cus.and many direr «Ffccls Harry Lachman, director, with whom of them. One is the higher degree of
With any Camera " In any ClimaFe
Georqo H. Schoibe Mate had made many Continental pro- perfection of our technical equipment.
ORIGINATOR OF EFFECT FILTERS ductions, prevailed upon him to do a The second is the, to him, amazing
1927 WEST 78TH ST. LOS ANGELES. CAL
picture. Mate consented. His rich back- technical proficiency of our studio staffs.
Grips, even, are "magicians." And so
on up the line.
Production moves ahead about as
Everythi ng Photographic rapidly there as here, but with this im-
for Professional and Amateur portant difference. There, more of the
New and Used, bought, sold, rented and time is devoted to mechanics of the
repaired. Designers and manufac- scene and less to the actors; here, so
turers of H. C. E. Combination efficient and organized are the me-
lens shade and filter-holder
chanics that far greater time is avail-
for any size lens.
able for finer touches of lighting and
Hollywood Camera Exchange consideration of the players.
1600 Cahuenga Bivd., Hollywood More specifically, he mentions the in-
Tel: HO 3651 terchange of ideas and experiences
Cable Address: HOcamex
Send for Bargain Catalog
among fellow cinematographers as crys-
tallized in the American Society of Cin-
ematographers. No such friendly spirit
of co-operative endeavor exists else-
where. Here, it makes for better pic-
tures, greater individual accomplish-
ments, speedier advancement of the in-
TRUEBALL dustry.
And to these cinematographic con-
TRIPOD HEADS freres who so freely steered him safely

ALLOY
OF SPECIAL through the hazards of his first Holly-

LIGHTER WEIGHT wood days, Rudolph Mate is warmly ap-

preciative. He hopes to make still bet-
The Same EfficientHead
ter pictures, if only in tribute to this
For follow shots, known for
fraternal feeling.
their smoothness of opera-
tion and equal tension on
all movements.

Unaffected by temper- Zuker Company

ature. Frank Zucker announces that in or-

Model B Professional $300.00 der to expand his activities in the pho-

Model A for Ama-
For Bell & Howell and Mitchell teur motion picture tographic sales and rental line a new
cameras. Attaches t** company has been formed under the
Cameras and their respective any standard STILL
Tnpod. With the ORIGINAL Tripod, $12.00. name of Camera Equipment, Incorpor-
instant release telescopic
Trueball tripod
ated. Offices and show rooms are lo-
handle. heads are unexcelled cated at 600 Broadway, New York
1

for simplicity, ac-

City.
curacy and speed of
FRED HOEFNER operation. In
types and
the show rooms are
makes of professional
displayed all

cam-
GLadstone 0243 The Hoefner four-
inch Iris and Sun- eras, accessories such as blimps, tripods,
5319 Santa Monica Boulevard shade combination
is also a superior filters, panoram dollys, film cutting and
LOS ANGELES, CALIF. product. editing equipment, and portable sound
projectors.
Over and Over...
...Under every conceivable condition,
EASTMAN SUPER-X has justified
its reputation as the greatest of neg-

ative films. The fame of its versatility

and photographic quality is fully

deserved. You can do no better than
to entrust the cinematic problems of

your next picture to SUPER-X.

J. E. BRULATOUR, Inc.
Fort Lee New York Chicago Hollywood
 PR OJEC
vthen
ikb eyonau-
, roechan««>
*
,iect it
cannot be
dependabl
for
Les before you

FILMOSOUND 138
—
Compact, portable for home,
school, and commercial
sound movies
YOU GET
ALL THESE
FEATURES
ONLY in Bell & Houell
Filmo Projectors ....

METERED LUBRICATION protects all vital moving parts • GEAR

DRIVE from motor to mechanism eliminates pickup flicker, expen-
sive adjustments and repairs • 9-TO-l INTERMITTENT RATIO
prevents flicker, permitting bright, brilliant projection • FOCAL
FILMO S PROJECTOR (Silent)
PLANE SHUTTER for brighter image, better optical design • 750- and 500-watt. 400-foot 16 mm. film capacity

HELICAL GEARS for long, quiet operation. SHUTTER 60% open

•

increases screen brilliance • ALL-METAL SAFETY SHUTTER per-

mits bright "still picture” projection. • ACCESSIBLE OPTICAL

SYSTEM is easily cleaned. Lamps instantly removable by cool base

• AUTOMATIC REWIND • AERO-TYPE COOLING SYSTEM forces
cool air around not only the lamp but the film at the aperture plate.

These are but a few of the reasons why Bell & Howell Filmo Projectors (8 and
16 mm.) are better able to do real justice to good film. For catalog and com-
plete information, mail the coupon.

BELL & HOWELL COMPANY

Chicago • New York • Hollywood • London
Since kjoj the world's largest manufacturer of precision equip-
ment for motion picture studios of Hollywood and the world

Mail this coupon for full information

BELL & HOWELL CO., 1848 Larchmont Ave., Chicago
Please send me full information on Filmo Projectors 16 mm. Silent 16 mm. Sound
8 mm. Filmo Cameras 8 mm. 16 mm.

Name FILMO 8 MM. PROJECTOR

Fully gear-driven, 400-watt illumination
State
ATEU

November, 1936
 ¥

jgglMMm
gPggpHPHHnHiHnnrvniMHWMW"

A MOVIE-MAKING YEAR?
JW MANY MONTHS MAKE in 50 ft. rolls at
$4.00;
is an ideal at $7 50,
and full color sensitivity, $6.00 and $3.25, including
HERE are more months than
there new Hypan at
film forindoor shooting. Agfa’s and return postage.
be during which
cinema- approximately the processing
Lised to
film, Hypan, has
hobby. In fact,
s can practice their speed of Superpan in daylight, n
are exactly twelve good sensi-
y there addition it’s a fine-grain film,
eser> year.
ie-making months in all colors, with a
gradation
tive to
t’s because
Agfa 16 MM. Fine- that gives life,sparkle and brilliance

in Superpan and
Agfa 16 MN •
shots.
to outside winter
just as good
,an help you get fine films soon.
in the winter as
you’ve ever Try both of these
vies with the results.
summer sunlight, You'll be delighted
ie by 100 ft. rolls
unusual speed Superpan is supplied in
lerpan, because of its

IN BINGHAMTON, N. Y.
CORPORATION
> EB Y AGFA ANSCO
 November, 1936 • American Cinematographer 475

AMATEUR
MOVIE
SECTION

Contents . . .

THE BUSMAN Goes for

A Holiday Ride
By Charles Clarke, A.S.C 476
ADDING SOUND to Sight on 16mm
By S. R. Barry 477
CAMERA Movement as an
Aid to Continuity
By Guy L. Wilky, A.S.C 478
NEWSREELING on a
Campaign Train
SOCIETY Presidential
By Fred Felbinger 479
A FATHER-AND-SON
OF AMATEUR Scenario for Your Camera
By Barry Staley 480
SHOOTING
CINEMATOGRAPHERS By Daniel
Quintuplets on the
B. Clark, A.S.C
Wing
481
FILMING the Big Game
By C. J. Hubbell... 482
BOARD OF REVIEW
WHEELS of Industry 483
John Arnold, President, A.S.C., Executive Direc-
tor of Photography, M.G.M. Studios

Next Month . . .
Karl Struss, A.S.C., Director of Photography,
Paramount Studios, Academy Award Winner, © We will give you another in the series of

1928 articles on what the professional cameraman

does with his 16mm. and 8 mm. camera. This
month Charlie Clarke reveals his secrets.
Fred Jackman, Treas., A.S.C., Executive Special
Effects Photography, Warner, First National • Another thriller with the newsmen. Many
Studios
of the amateurs use their cameras for news
events mainly . . here the newscameraman
.

tells you how he gets the news as well as pic-

Dan Clark, A.S.C., Director of Photography,
tures . . . there are thrills in them.
"Country Doctor," 20th Century-Fox
• The Biggest News will be in the January
David Abel, A.S.C., Director of Photography of
issue. We will give you the winners of our
1936 Annual Contest. Send your film in now;
Fred Astaire Productions, R.K.O. Studios it must reach us by November 30th.
476 American Cinematographer • November, 1936

The Busman
Goes for

a Holiday Ride

by
Charles Clarke, A.S.C.

O AN AMATEUR movie maker, I presume it seems

T like the traditional busman's holiday or as a

carrier going for
professional cinematographer devoting six days a
a walk on his day off. I

week
letter-
mean, a
to

studio lensing and on his day of leisure stirring about

with a personal cine-camera. But the two phases of pho-
tography, though linked by a common bond of celluloid,
are not identical.
Studio shooting is as the novelist writing for publica-
tion.Using my smaller camera is more like personal cor-
respondence or intimate note-making, or even God for- —
bid! — diary- keeping.
Beyond doubt, my studio cinematographic career has
influenced my off-set camera work. Not so much from
Charles
a technical standpoint, but in the range of photographic Clarke,
subjects. Seldom do I film individuals, not even within A.S.C.
the family. I suppose that is because I do so much per-
sonality portraiture at the studio. And on location, wheth-
er on this or on other continents, I never film what
we term production material. But with reversible film, these manipulations are not
So, in browsing about into new fields find much I possible. You must exposure squarely in the
hit the
photographic relaxation. I'm just a bit choosy as to what camera. What you shoot, you get on the screen. Amateurs
Ishoot. Mine is not an elaborate film library but what are forced to be far more exact in exposure than are
I have is, I believe, well selected, well edited and fully studio cameramen, newsreelers or others using 35mm. neg-
titled. Mainly it is scenic and travel memoranda of my ative and laboratory development. In fact, have
I fre-

travels. It takes in China, Mexico, Tahiti, and many of quently used my personal camera to double-check light

the picturesque spots in this country. Some is in color, values from which my professional camera was set.

some black and white. To off-set this apparent handicap, the amateur's lenses
Many amateurs have asked me the not unnatural ques- are more flexible and purposely have more lee-way. Our
tion, "What do you studio cinematographers think of lenses are so scientifically correct that the merest frac-
amateurs' cameras? Do they seem like toys compared with tion affects them. But the makers of amateur cameras
your intricate instruments?" My answer always is, and thoughtfully provide lenses that take care of reasonable
Ithink all Directors of Photography will agree, the ama- margins of error.
teur camera merits high esteem. Most assuredly it is On the topic of lenses, can offer a suggestion if you
I

not a mere toy. have or are contemplating purchase of a three-lens in-

In many respects it is a more exacting job to get per- strument. Standard equipment is usually a 25mm., and a
fect work with a small camera than with a large one 2-inch and a 4-inch lens. Instead, equip with a 15mm.,
but not because of any shortcomings of the camera. At a 25mm., and a 4-inch lens. have all four sizes and al-
I

the studio, generally speaking, every scene is developed most never do use the 2-inch. For average shooting the
I

individually or at least in accordance with its individual 15mm. and 25mm. lenses answer the purpose perfectly.
requirements. Compensations can be made for over- or Particularly do like the handy 15mm. It gives excellent
I

under-exposure. There is also considerable latitude in perspective and permits getting composition results not
printing from negative to positive to obtain the precise had with longer lenses.
image desired for the screen. Continued on page 488
 November, 1936 • American Cinematographer 477

Adding Sou nd to Sight

H
OW IS SOUND ADDED to silent films?
does the immediate future hold for the amateur
cinematographer who desires to make talking pic-
And what
on 16 mm
tures? Are “home talkies" just around the corner for the
amateur? Probably no set of questions is more generall,
discussed in cine-amateur circles.
For answers to be reasonably exact, it is needed to un-
derstand the methods of handling sound film that have by
been perfected and are available at the present stage of
S. R. Barry
development.
The simplest to grasp is the procedure followed by studios
in shooting dialogue productions. The camera takes the
picture. Dialogue is picked up by a microphone on the
stage, wired to a recorder and there translated into terms
of light to be photographed on film. Camera and recorder narrative in number to exactly fit each scene. Thus, at
are synchronized as to speed; pictured action and sound projection speed of 90 feet the minute in 35 mm. and a
must necessarily be in synchronization when filmed on pic- speaking speed of 35 words the minute, it is reduced to
1

ture and sound negatives. the rate of Vi words per foot. A 10-foot scene will have
1

But in many types of film, this simultaneous taking of 1 5 words, and so on.
picture and sound is not physically possible; as, travelogues, in a soundproof recording-projection room, the projector
newsreels, and similar reels of topical nature. Here the is synchronized with the recording camera. Following re-
spoken word is not so much the voice of a pictured charac- hearsals to perfect his timing, the commentator reads his
ter as the commentating voice of an unseen, off-stage nar- words into a microphone as the scenes pass before him on
rator. Indeed, the accompanying narrative may have the screen. In this manner, the sound track fits the picture
been, and probably was, recorded in a studio many miles in perfect synchronization.
Extra sound effects and music
from the site of picture taking and on a much later day. may be added at the time, or inserted during a re-recording
Herein lies the great utilitarian value of the so-termed of the narrative sound track.
double track system of handling film sound. The picture All is well if the commentator gives a perfect perform-
can be shot, edited and cut as a unit. It may be assembled ance. But, as you have heard on your radio, there is many
from film footage obtained at various times and places. a slip between eye and lips. Words may be slurred, or
Mainly, this picture is assembled just as a silent picture is stumbled over, or pronounced incorrectly. Graham Mc-
— to stand on its own feet as a complete item of entertain- Namee, commentator for Universal News, once called motor
ment. fuel "gasoloon’' and referred to a former President as
The sound track may likewise be made up of “shots" “Hoobert Heever."
taken at various times and places, not necessarily the same In such event, the commentator is called upon to again
as the picture's, and assembled into a unit which con- record the faulty word or possibly the entire sentence or
tributes to the added entertainment content of the finished paragraph. The cutter takes this correction and cuts it
reel. into the sound track. Cutting sound is a delicate operation
The single track system does not appear to have this Yet experienced cutters can read and cut sound vibrations
versatility. and accompanying sound are photo-
Picture as readily as you cut picture film. Putting sound back of
graphed as one unit. Under practical production this is 16 mm. film is basically the same procedure, with slight
not always possible nor advisable. variations. You edit your film, measure the scenes and
Let us take as an instance, the travel or scenic film write the narrative of wordage to fit.
you viewed at a theater last evening, or a newsreel. Unless you have the required equipment, which is ex-
The individual scenes may have been selected from con- pensive, and the knowledge, which is very technical, it will
tributions from several cameras functioning in widely sep- doubtless be better at the present stage of the game to
arated localities. When it comes from the cutting room take your picture and script to a recording laboratory.
it is the oicture reel as you see it. Now it goes to the In Hollywood, operating under the guns of Hollywood
sound recording laboratories. studios, Art Reeves, of Hollywood Motion Picture Equipment
First it is screened many times to get the feel of the Co., has installed special equipment of his own design for
subject and to determine the sort of voice and sound ef- handling this specific kind of work. There are other such
fects needed to complete it. Then, each scene is measured. laboratories in other localities.
A list is compiled containing the itemized scenes and the If your picture is on negative, the narrative must be
footage of each. recorded on sound track negative. Picture and sound
From this outline, the narrative and sound-effects plot negative are then printed on one positive for projection.
is worked out. Narrative is prepared to provide the de- If your picture is on reversal film, recording must be on
sired explanatory or amusing element. Some commen- reversal film. Positive picture and positive sound track
tators can talk as fast as 200 words the minute and up- are put on the one projection positive by the dupe-ing
wards, preserving clear, sharp diction. This is almost too process.
fast for audience comfort. The sound track occupies the space at one side of the
Radio broadcasters talk about 125 words the minute film usually taken up by sprocket holes. The sound film
Rate of the average political radio address is around 100 in 16 mm. has perforations on one margin only, and sound
words the minute. For films, a safe average is from 120 projectors are made accordingly.
to 135 words the minute. Words are written into the Continued on page 491
478 American Cinematographer • November, 1936

Camera Moveme nt as an Aid to

ISTORY FAILS TO perpetuate the courageous

H cinematographer who first moved a motion pic-

ture camera during a scene. Nowadays, camera
movement has been developed to a useful item of produc-
Continuity
tion technique. It can be seen in almost every
produc-
tion. It serves a definite function in cinematic construc-
tion. As such and within the mechanical facilities available by
the amateur, has place in personalized picture pro-
to it
must be
Guy L, Wilky
duction. But, like all branches of the art, it

understood if it is to be employed gainfully.

The funda-
mentals of the technique as evolved by studio cinematog-
raphers are basically applicable to amateur efforts.
cameras were crude and clumsy affairs.
Early They lowed Emil Jannings wherever he went. The camera was
rattled and wobbled. Pioneers quickly saw the undesirabil- not stationary for even a moment. This bewildering dem-
ity of this form of camera movement which, alas, is today onstration of camera mobility spurred the inventive
visible in cases of hand-held amateur shots.
They roped, imaginations of Hollywood cinematographers and we were
wired and chained the cameras to solid platforms. treated to pictures that left us dizzy trying to keep up

Then camethe portable tripod, made increasingly stur- with the dancing lenses.

dier to provide rigid support. Films in those infancy days The camera craft was struggling for a new technique
consisted mainly of a series of chases. One day, an en- and from these wild adventures has come a procedure
terprising soul placed a camera on a rheumatic
gasoline that is now quite generally accepted.

buggy for the first follow shot. It was an easy step to a First
is the prime precept that any camera movement

small wheeled platform, or dolly —and camera movement should be controlled by the situation rather than freak
came into common practice. situations evolved merely for the purpose of causing
This in addition to the panorama and tilting shots cameras to be rolled about. There must be a sound reason
which were devised at a very early age in camera devel- for every camera action. In case of doubt don't move it!

pment. Disregarding the freak camera angles and effects gained

As undernourished as camera work was at the time, by mounting cameras on cranes, booms and other involved
several basic points were established which survive to this machinery which are interesting in mammoth production
day and which are valuable for every amateur to keep well or spectacle stories, there is one generally employed prac-

in mind. It must be remembered that studio cameras were tice which the amateur can adopt.
It is the expedient of moving camera towards or away
then turned at the rate of sixteen frames the second, as
are most amateur cameras today. Present "sound speed" from a scene, shifting from a long shot to a medium shot,
is, at the faster twenty-four frame pace.
of course, or vice versa, without resorting to an abrupt cut.
Whenpanning or tilting the camera, movement must The set, let us say, reveals a breakfast room interior

be slow, steady and even. In fact, there is a limit beyond with husband and wife entering to partake of their morn-
which this speed can not go without making a jumpy ef- ing repast accompanied with plot-opening dialogue. A
fect on the screen. The illusion of moving pictures is at- long shot is called for that the locale may be registered.
tributable to what is known as "persistence of vision." Next is a medium shot focusing interest on the two players.
The eye retains the image of one projected frame until the This can be accomplished by a new camera set-up and
it can be done by moving
next one flashes to view. If too great distance separates a direct cut in the editing. Or,
an object on succeeding frames, the object does not ap- the camera forward from the long-shot set-up to the
pear to move normally but to leap in staccato fashion. medium-shot set-up. Focus is followed by adjustment as
Similar unpleasant results came from shooting a fol- the camera moves nearer its subjects. The result is a
low shot from a side, point-blank angle. That is, filming smoother flow of continuity, a less abrupt transition from
a galloping horse from a moving point abreast of him. one perspective to the other. It is a natural effect for

The background hopped along jerkily as in a too-fast the eye to comprehend. The actors merely grow larger on
pan, and for the same reason. the screen.
Even with the faster "sound" shutter speed, this un- One don't move the camera
cardinal rule to follow
is —
even effect maintains. That is why all such views are in on still Have some corresponding physical
characters.
taken from camera positions ranging from head-on to action on the scene. In the breakfast room instance,
three-quarters. Likewise with panning shots. Angle of camera movement is performed as a butler enters, a maid
camera line of photographed action is under forty-five brings in mail or another member of the family makes
degrees, not over. belated appearance at the table. This makes for a more
These camera movements were conceived in order to graceful camera move and one not so glaringly noticeable
keep fast moving action on the frame for a longer time to the audience.
and so make the thrilling chases more vivid. It was strict- These approved varieties of camera mobility are within
ly photographic effect. Dramatic or other factors were not the range of amateur production. No elaborate equipment
yet considered. is needed. A child's coaster wagon or tricycle makes an
In 1926, from the German UFA filmery came a sensa- acceptable dolly or camera perambulator. Wheels should
tional picture. was "The Last Laugh" and for the
It first be of good diameter, the larger the better, so as to take
time a motion picture camera was "on a bicycle." It fol- Continued on page 490
 November, 1936 • American Cinematographer 479

to keep the newspapermen and cameramen informed of

all activities, stops, speeches, and prominent people
aboarding the train. Most of the prominent politicians that
board the train, prove a headache to the cameramen. In
the make-up of the train, the railroad carries a day
coach next to the nominee's private car. After every stop
the presidential candidate comes up forward to meet
the local bigwigs. These small politicians will yell and
clamor to get a close-up of them shaking hands with the
big chief. After one week on this, anyone of the camera-
men is prepared for any diplomatic post that may come
his way. You have to be a heavyweight politician and
diplomat to turn these birds down. And the cigars these
favor-seekers are handing us are terrific.
Between stops we work on the speech copy for the big
night rally. We try to cut it down to a minimum amount
of footage, without any of the highlights or meat
losing
of the address. This calls for reading and rereading until
we have practically memorized some ten pages of polit-
ical gunfire. After getting it down to approximate size,
we seek out a few of the big political writers, riding on
the train and get their reaction to the parts we have
selected, also ask them what their leads are going to be
on the speech. Frequently, to our chagrin, we discover
that we have gone lightly over, or passed up some im-
Newscameraman Fred Felbinger at the camera
and Soundman Robertson doing the mixing. portant paragraph, which means re-editing the entire

Newsree i n g on a Presidentia

R
IDING
tourage
of a
WITH A
is
presidential nominee and his en-
about the next thing to being a member
train that is barnstorming out in the
circus
Campaign
sticks and making all the tankto-wn one night stands, ex-
cept, we stop oftener. The act we cameramen put on at
each stop is worse than six shows a day, under any big
top that's made the circuit.
Train
After boarding the campaign special, they hand us a
mimeographed itinerary sheet listing all the stops, where
the candidate is to make his usual three minute "back-
porch" speech. There are about ten stops a day, besides
the final evening stop for the big speech. by
For the "protection coverage" we have to jump off Fred Feib inger
at each stop with the silent outfit, battle our way through Paramount News
a huge crowd of political farmers who have driven in "to
get a look at their man." We finally manage to shove
our way over to a box-car on a siding and climb atop
it for a high shot of the crowd being addressed by the
nominee, and just about the time we get a few feet of thing. After we finally have the thing under control, we
film and our breath back, the engineer toots the whistle pocket the marked copy as a cue sheet for the night's
twice. The way the cameramen and photographers coverage, only to receive a wire from the home office, an
scramble off the roof of the box-car and dash for the hour before the speech is delivered, advising what para-
moving train, beats any trapeze act you have ever seen graphs are wanted. This means changing the thing all
in the big show. So far, we have only had three casual-
over again.
ties on the train, but we have only been out two nights.
Behind the locomotive we carry a baggage car which
The A. P. man fell off a roof at the last stop but he houses all our big 10-KW searchlights, which we use for
broke his fall, by landing on the back of a rugged prairie lighting up the hall on the big speeches, also a complete
farmer, so the bruises were minor. One of the newsreel
generating unit, in the event it is necessary to generate
boys tripped over an open switch and tore his knee open,
our own juice. We also have an advance man, who travels
but the campaign train waits for no one.
ahead of the train. He arranges for the sound hook-ups,
The nominee carries a complete office personnel, with camera platforms etc., as we arrive at the destination at
mimeograph machines and all other necessary equipment
Continued on page 491
480 American Cinematographer • November, 1936

A Father-and-Son Scenario for Your

O F THE SCREEN "teams"

domestic dramas, none is more deservedly popular
cine-fiimers than the lensed combination
among
of father and son. The eternal difference in outlook on
life of the two generations is ever a fit subject for story-
available for casting in

Camera
telling, on paper or film. And, in conformity with well-
laid rules of comedy situation, youth must be served with by
father the amiable target for the youngster's guile. Barry Staley
Here is outline for such a theme. Its requirements are
simple both as to locations and props. It may readily be

embroidered with such additional characters or incidents

as your own facilities or imagination shall dictate. With
the hunting season now with us, many ramifications will yanks the stick back and the can goes flying from the
present themselves particularly if father is a gun addict. fence.
MAIN TITLE: SHARP-SHOOTER. SCENE
18: LONG SHOT. From in back of Father. The
SCENE 1 : MEDIUM SHOT. A clay pigeon, as used in tin can target goes flying off the fence. A perfect hit!
trap or skeet shooting, sails through the air. At the top Son is wide-eyed in his admiration, runs out.
of its flight it is shattered to bits. SCENE 19: MEDIUM SHOT. The family trash box.
SCENE 2: LONG SHOT. In your back yard. Father Son comes in, rummages about and exits with a tin can
is lowering Son's air-rifle from his shoulder. Son and a of quite small size.
Playmate applaud the shot. SCENE 20: CLOSE SHOT at the fence. Son enters and
SCENE 3: MEDIUM SHOT. Playmate takes another again carefully balances can on fence top but with Play-
clay pigeon, holding it for the camera an instant for us mate's stick concealed inside from the rear. Son leaves
to identity it, and tosses it in the air. towards Father.
SCENE 4: CLOSE SHOT of father with rifle. He SCENE 21 : MEDIUM SHOT of Father leveling the
watches Playmate spin the pigeon in air, quickly puts rifle. Son joins him as Father aims.
rifle to shoulder, eyes the sights, pulls the trigger. SCENE 22: CLOSE-UP. Father intent on the sights,
SCENE 5: MEDIUM SHOT. The clay pigeon soars, finger squeezing at trigger.
bursts to pieces as it is hit. SCENE 23: MEDIUM SHOT of Father pulling the
SCENE 6: MEDIUM SHOT.
Father lowers the rifle to trigger.
Son's applause, hands it to him. SCENE 24: LONG SHOT. Father and Son in fore-
SCENE 7 CLOSE SHOT. Son with rifle at shoulder
: ground. The small can bounces off the fence. Father is
squinting along the sights. pleased; Son happy
SCENE CLOSE-UP. Of the rifle shooting along the
8: — SCENE 25: CLOSE SHOT. Son indicates to Father a
sights, eye sees them when aiming.
as the tiny target about the size of a dime. Father extracts
SCENE 9: MEDIUM SHOT. Father at Son's side is in- dime from trouser pocket and hands it to Son, who scamp-
structing him in use of rifle. Points to empty tin can on ers fenceward.
grass as a suitable target. SCENE 26: CLOSE SHOT. At the fence, from the high
SCENE 10: LONG SHOT. Son runs to side of Playmate angle. Son races in, dime in hand. Reaching high over
and whispers to him. fence, he proudly displays it to Playmate who grins from
SCENE 1 CLOSE-UP. Son whispering instructions
1 : ear to ear. The conspiracy is progressing. Son manages
into Playmate's ear. Playmate listens attentively, his face to prop the dime up on fence, leaning it against Play-
breaking into a wide grin. mate's upright stick. It looks as though it were inserted
SCENE 12: LONG SHOT. Playmate leaves the yard in a crack. Son leaves ‘toward Father.
hurriedly as Son leasurely picks up the indicated tin can SCENE 27: MEDIUM SHOT of Father preparing to do
and proceeds with it to the back fence. It must be a solid on Annie Oakley at the dime as Son comes in and joins
board fence or thick hedge. him expectantly.
SCENE 13: MEDIUM SHOT. From a high angle strad- SCENE 28: CLOSE-UP. Father shoots.
dling the fence and showing both sides. On the one side SCENE 29: CLOSE-UP. The dime. It is a clean miss.
approaches Son with tin can. On the other, crawling along SCENE 30: CLOSE-UP. Behind the fence. Playmate,
so as not to be seen from the yard is Playmate. He takes grinning, holding dime firmly on end of stick. He presses
a thin stick and holds it erect at the fence. Son carefully an eye to his crack.
balances the can on top the fence, with Playmate's stick SCENE 31: CLOSE-UP. Father's face, showing his
inside but unseen from the front. Son turns from the surprised disappointment at missing the shot.
fence. SCENE 32: CLOSE-UP. Son's face, sympathetic but
SCENE 14: MEDIUM SHOT. Father, with rifle, await- revealing a sly pleased grin.
ing the taraet to be olaced. Son runs in to join him. SCENE 33: MEDIUM SHOT. Father again aims and
SCENE 15: CLOSE-UP. Father aiming the rifle. shoots at the dime.
SCENE 16: LONG SHOT. Father, with Son at side look- SCENE 34: LONG SHOT. From over Father's shoulder.
ing on. shoots the rifle. The dime is still on the fence. Another miss.
SCENE 17: CLOSE SHOT. Playmate crouching behind SCENE 35: MEDIUM SHOT. Father perplexed at his
fence, peeking through crack, stick in hand. Suddenly he Continued on page 489
 November, 1936 • American Cinematographer 431

Dan Clark, A.S.C., and Dr. Defoe

Shooting Quintuplets on the

T
HE DIONNE QUINTUPLETS
no doubt about
five little
months ago
toddling
photographed
it. Six
for "The Country Doc-
infants
are growing up! There's
I
Wing
tor." have just returned from photographing, for "Re-
I

union," five husky chunks of girlhood with the spirits,

verve and ground-covering abilities of thoroughbred polo
ponies.
Due to the tender age of the girls and the terms as
by
stipulated in the studio's contract with Dr. Defoe, the as-
signment turned out to be one of the most difficult film- Daniel B. Clark, A.S.C.
ing tasks for director and cinematographer that can re- I

call.The little rascals wouldn't stay put before the cam-

eras and with the full mischievousness of their twenty-
eight months evinced firm determination to perform exact-
ly the opposite of the directorial requests conveyed to
them through their nurses. greatest scenic attraction, the five youngsters are shown
One child of that puppy-ish age is hard enough to pho- throughout the film. This means they have important
tograph in required action. Five of them makes the job part in story development and hence must go through ac-
not only five times as strenuous, but well nigh out of the tion prescribed in script.
question. As our contract called for one hour actual
before,
In this case, while a severe strain on patience and the shooting each day; we to use as many days as needed to
old tissues, the very fact that we were forced to grab complete the scenes. Interiors of the children's playroom
nearly all of our shots resulted in a series of unposed, are used, as previously, and also for the first time in a
natural and vivacious scenes which will, I believe, wholly production, exteriors.
captivate the millions who are quint fans. Camera and equipment taken to the location
light
In "The Country Doctor," which many critics regard were the same for interior work with minor exceptions.
as the best picture of the year, you may recall the quin- This time, a second camera was included. Also, instead of
tuplets were shown in one sequence only and that one the blue screens over the light units iridescent planes
well to the end of the picture. But in "Reunion," an- were used which broke up the light beams and obviated
swering public clamor for more footage of the world's Continued on page 4S6
482 American Cinematographer • November, 1936

Filming the Big Game

by
C. J. Hubble
Western Editor, Hearst Metrotone News

—
F OOTBALL
ilm well.
way
IS A great
Almost anything
game
but it's one of the toughest of all sports to
is likely to happen at any time, and the only

back a good film “story" of the game is to use

to be sure of bringing
a lot of film. Our professional newsreel crews have learned this from sad experi-
ence; when one is assigned to “cover" a game, he goes prepared to shoot at
least ten times as much film as will be actually used in the release. The average
football "story" seldom averages more than about 150 feet
selected from the best shots in the
—
but the footage is
,500 to 2,000 feet the cameraman has ex-
1

posed.
Yes, Isaid cameraman! Lots of people seem to think that because of the
magnitude of a big-college football spectacle, and from the variety of angles in
our football stories, we must assign a whole army of cameramen to each football
game. Actually, we seldom assign more than one crew to a game. After all,
there's only one game going on in the stadium
toes every minute' can "cover" it perfectly.
—
so one cameraman (if he's on his

The news cameraman, with his camera equipment, the sound-man, and the
chap who comments on the plays for the sound-track, take up their position in
or on top of the press-box, high on the rim of the stadium. This is the ideal
vantage-point for filming football: shooting down, one gets a much better idea
of the game as a whole, and in the pictures the players move against the back-
ground of the grassy field, rather than (as would happen shooting from a lower
angle) against the confusing jumble of the opposite stands.
Shooting from this distance means lona-focus lenses, of course. Sometimes
cur newsmen will use lenses as large as 12 focus to make full-screen shots of
spectacular passes and the like. Much more often, though, they use 6” objective.
This will still fill the screen with the players, but instead of limiting the picture
to but a single player, it shows both teams, and gives a much more understand-
able picture of the play. For atmospheric shots of the crowd as a whole, the
normal 2' lens is used, and either it, or some intermediate focus is brought into
play to catch shots of between-halves rooting-section stunts. In every case, we
use the fastest lenses possible, for in the later quarters of the game
in bad weather —
the field gets mighty dark.
especially —
Filming the game itself, our men shoot almost every play, to be sure of
catching the spectacular ones. Experience
or whatever you like — —
call it football-wisdom, news-sense,
helps the newsmen, especially in teaching them what
plays not to film. For instance, on our newsreel, we seldom film kick-offs. Only in
rare instances does a spectacular return occur following a kick-off. And kick-
offs do not make very interesting pictures, for the players are too badly scattered -

to get any sort of a picture of the play, you have to use a short-focus lens
with that, the players are little more than specks on the screen, while the ball
anc —
is invisible. Besides, everyone knows a football game starts with a kick-off.
Most line plays fall into a similar category. In modern major-college foot-
ball, line plays seldom net spectacular gains; and pictorially, they simply show
a tangled knot of squirming players.
Running plays, passes and punts make the best pictures, and our men watch
closely for them, and shoot nearly all of them. And of course any sort of a play
shown around the goal-posts is worth shooting: if it goes over for a touchdown,
it's news; if the defenders throw it back for a loss, it's still news!
Most football games worth "covering" for a newsreel are what we call
"Hot spot-news." That is, they are principally of local interest, except when out-
standing sectional or national championship contenders meet; therefore such
"Spot-news" stories go to the regional, rather than the national release. And
they are definitely "hot" news; their news value drops rapidly a very few days
after the game. So these stories have to be released as soon as possible after the
game. The whole newsreel organization has to work fast to get these stories
out. Suppose U.S.C. and Stanford tangle in Los Angeles. The game is over by
five o'clock: our stories must be ready to go on in Los Angeles' more important
theatres by seven o'clock that same night! Sometimes, thanks to modern 200-
mile-an-hour airplanes, we've even had our pictures on San Francisco screens
at the second show that same night.
Continued on page 484

I
 —

November, 1936 • American Cinematographer 483

WHEELS
OF INDUSTRY
ceived it the owner would appreciate its cent Lamp Department of General Elec-
return to Bell & Howell Hollywood tricCompany.
Magazines Wanted branch. The Mazda lamps affected and their

• A good home for those old motion new prices follow:

picture magazines you have around the 1937 Annual TYPE
Silvered Inside Present New
house is offered by the Academy of Mo- • The 1937 American Annual of Pho- Bowl Frost List List
tion Picture Arts and Sciences. During Watts Bulb Price Price
tography
is off the press. Its 324 pages 60 A-21 $ .50 $ .45
the pest year the Academy has been are rich photographic information
in 75 A-21 .70 .60
buildin up its Library, on the twelfth 100 A-23 .70 .60
j They are also lavish with fine specimens 150 A-25 .80 .70
floor or the Taft Building, to include as of photography as achieved by some of 200 PS-30 1.10 .95
comp'ere as possible a collection of books 300 PS-35 1.60 1.45
the leading portraitists and pictoralists 500 PS-40 2.60 2.25
and periodicals about motion pictures. A feast for the photographic eye and for SPOTLIGHT SERVICE
The Academy is anxious to secure the student of his art. Present New
rare or out of print books and particu- We mention only some of the
briefly Watts Bulb List List
Price Price
larly a number of missing volumes of interesting covered: "Photog-
subjects *100 P-25 Med.
"American Cinematographer" magazine. raphy by Polarized Light." This is still Prefocus $1.15 $1.00
Fol owing is a list of the issues needed: *250 C-30 Med.
something new with most photographers.
Volume (1920) 1entire volume. — Many have not as yet bought their polo- *400
Prefocus
C-30 Med.
1.90 1.65

Volume 2 issues —to 18, 21 and 29. 1

screens, but are eager to know all about
Prefocus 3.15 2.80

Volume 3 — 3, 4, 6 and
—
1 Volume
1
them before making that investment.
**1000 C-40-Mogul
7.15
Prefocus 6.65
—
.
1 ,

4 3 and 7. Volume 5 -1 Volume While you have read considerable about *Medium screw base lamps, wifh a light cen-
—
1 . :

ter of 3 inches can be supplied at 15 cents

8 7, 8, 10, 11 and 12. Volume 9 this new effect filter, still there is always less than price shown.
6, 7, 10, 11 and 12. the other fellow's viewpoint. There is ** Mogul screw base lamps, with light cen-
ter length of 4(4 or 5*4 inches can be sup-
a chapter about "Movies in Color." For plied at S6.25.

Leica Exhibit at Rockefeller Center the fellows who dabble in hypo and de- Floodlighting Service
velopers there is the paragraph entitled, 250 C-30
• The International was Leica exhibit Medium $1.75 $1.50
"The Control of Negative Contrast by G-40
opened to the public from October 20th 500
Dilution of the Developer." Mor>ul 3.25 2.90
to November 5th at Rockefeller Center. 1000 C-40
These of course are just a few of the Mogul 6.75 6.25
The Third International Leica Exhibit
paragraphs that caught our particular
was said to be the biggest candid minia- Motion Picture Production
fancy. There are many others that may and Airoort Floodlight
ture picture show that this country has
have a stronger appeal to you. 5000 C-64
ever seen. Over 600 new photographs Mogul
were included in the New York Exhibi- Bipost $40.00 $35.00
Color Cinematography
tion,showing the work of photographers Enlarging Easel
from all over the world. There was an 9 American Photographic Publishing
amateur group, and a special amateur Company has also just put on the mar-
© The Carmill Co. announces an en-
ket a book bound in cloth entitled, larging easel from which the image
prize contest was again conducted. All
"Color Cinematography." from the enlarger passes directly to the
visitorswere invited to vote on the best
This book goes into detail in describ-
Bromide paper and not first through
pictures.The photographers whose work
ing the existing color methods being em-
any other material such as glass, etc.
were exhibited include: Ivan Dmitri,
If desired, pictures may be made with
John T. Moss, Jr., Willard D. Morgan, ployed in movies. It also goes into his-
borders by using the masks furnished
Charles Peterson, Rudolf Hoffman, tory and relates about things and con-
ditions that have led up to the present with this easel.
Barbara Morgan, James M. Leonard,
It may be used with either a vertical
Rockwell Kent, Tom McAvoy, Gilbert trend in color. Naturally it discusses
the Addative and Subtractive methods. or horizontal enlarger.
Morgan, Max Haas, Carl Van Vechten,
It tells something about how cameras for Any size enlargment may be made on
Robert Disraeli, Peter Stackpole, Manuel
the making of color photography are this easel up to and including lxl 4. 1

Komroff, Russell Aikens, and many

built.
others. Kodachrome, Type A
Price Reductions • Kodachrome, Type A, is announced
9.5 Film Lost
by the Eastman Kodak Company for in-
• An all-over reduction of more than
• By mistake a 50 ft. roll of 9.5 MM 10 per cent in the list price of seven
door movies in full natural color with
film was picked up from the Hollywood Cine-Kodak Eight and for "stills" with
inside-frosted silvered bowl Mazda lamps
branch of Bell & Howell. The subject and twelve large-size lamps designed for Kodak Bantam Special; Kodak Retina
matter of this film had to do with spotlight, floodlighting, and motion pic- and similar miniatures.
Czechoslovakia. Should this notice come ture production service, effective Septem- This new film is color balanced to
to the attention of the person who re- ber 1, was announced by the Incandes- Continued on page 490
484 American Cinematographer • November, 1936

FILMING THE BIG GAME

Continued from page 482

This means fast work all along the Wx" (35mm. or 40mm. focus). If

line,with everything planned ahead of you haven't got a 6", don't worry; you
Siitellta-ixuviiion time to cut corners. For instance, take can do very well without it.
the matter of titles: we usually make "Take plenty of film: you'll need it.
CRYSTAL BEADED SCREENS up three titles —
sound and all long — For the early part of the game, while
before the game is played. One will the light good, use the cheaper Ortho
is

read "U.S.C. HUMBLES STANFORD be- or "Chrome" type film it —

is not only

fore crowd of 80,000"; the other, cheaper, but its greater contrast helps
"STANFORD DEFEATS U.S.C. while make the players stand out from the
80,000 cheer"; the third, "U.S.C. AND turf. For the latter part of the game,
STANFORD BATTLE TO TIE." Win, use the fastest super-sensitive Pan you
lose or draw, we're covered —
and the can get. You'll speed as the
need its

negative of the titles is ready to be cut declining sun throws the field into deep
in and printed with the picture-story shadow.
of the game! In the old days of silent "You folks who have substandard
newsreels we followed the same idea, but cameras have one great advantage over
instead of having the titles all photo- the professional's: we've got to shoot
graphed, we had title-cards made up, everything with one rigidly fixed cam-
complete but for the score: this was era speed, while you can slow down the
added, the title photographed and de- movement by speeding up your cameras.
There is nothing of greater importance veloped while the picture-negative went This takes more footage, but it gives
than clear projection. In fact, THAT’S
THE VERY PURPOSE OF MOVIE through. But today, sound takes care a more understandable picture. I'd sug-
MAKING! You’ll never know how of the score for us; toward the end of gest shooting most of your scenes at the
much true quality your pictures hold
until they’ve been projected on a the game, the commentator speaks the 32-frame speed. This slows the motion
BRITELITE-TRUVISION Crystal Bead
ed Screen. These screens are scien- score into the microphone, while the nicely —
and when you want real "slow-
tifically produced from the finest ma- camera shoots the crowd. motion" effects, you can get them by
terials available. They will bring out
every desirable tone and quality of Incidentally, it's quite a job that com- merely slowing down the projector.
—
depth in your film actually make your mentator has: he must comment on the "Shoot as many of the plays as you
pictures appear sharper!
plays as they happen and he can't be can. Naturally, unless you are prepared
BRITELITE-TRUVISION Crystal Bead-
ed Screens are available in all popular too free with his words, for the sound to shoot the whole game, you can't shoot
types, sizes and models, priced to suit is recorded on the picture-film, and will every play, so you'll have to use some
individual requirements. Why not get
full enjoyment from your home movie be cut with the picture. On our hurry football sense to choose the best plays.
—
equipment? get a BRITELITE-TRU-
schedule, we can't waste time for revis- Kick-offs and line-plunges can usually
VISION Crystal Beaded Screen today!
ing or re-recording the sound — it goes be ignored, as they don't make very good
"as is"! pictures. And with a little experience,
12titelite ~TusLtrklectot And how can these professional you can learn to guess what play is like-
methods be applied to substandard ly to come up with fair accuracy. Of
filming? Well, let Sanford ("Sammy") course, since the plays are designed to
Greenwald, Hearst-Metrotcne's ace fool the opposing players and coach,
News-filmer, tell you. He says, "In most who knows more about the game than
news filming, a safe hint to the amateur you do, you're likely to get fooled now
is to set up beside or behind the profes- and then; we all do. If a team has a
sional news crews; but in football, this good passer, for instance, you can often
isn't possible, since we perch way up on spot him dropping back in the line-up
top of the press-box. But the amateur before a long pass-play —
and get your
can and should get himself a seat high 6" ready for a close-up and then fol-
up in the stands, as near midfield as low the through the air.
ball If the
possible. An aisle seat is good, for it team isn't gaining yardage, you can al-
gives a fairly clear sweep for his lens; ways expect a kick on the fourth down
Poor indoor due to improper
shots
lighting are no longer excusable. This
so is a seat right over one of the higher — and sometimes on third down, if the
sensational new Britelite unit does the entrance-tunnels. A tripod is mighty ball is in that team's own territory. If
work of expensive, elaborate equip-
good insurance with a telephoto lens a team is behind, and making slow go-
—
ment yet costs only a few dollars. It
is so obviously practical —
a pair of 10" if you have room to set it up, and a ing inside the opponent's 20-yard lint,
corrugated aluminum reflectors on ball-
swivel joints are attached to sliding and place where some excited fan won't kick be on the look-out for a place-kick; a
swinging arms, (5 ft. radius), which in it over. Some device like the "belti- field goal adds useful points. And
turn are connected with thumb screw
to 6)4 ft- adjustable tripod. Solid steel pod" is helpful, if you can't set up a watch for wild passes from the trailing
construction! tripod. team in the second and last quarters!
I*ripp 86.50 "Shooting on 35mm. film, we use a Sometimes they click for upset wins, re-
12" lens for extreme close shots of in- member.
Conscientious dealers always recom-
mend Britelite Accessories and Screens. dividual players, following the ball on "Never let yourself get too low on
Write today for descriptive literature
and list prices on the complete line. passes, and the like; and a 6" lens for film. Something might happen just as
most shots of the game as a whole. you run out! In the recent California-
Reduced to 16mm., this means a 6" lens St. Mary's game, Cal. got the ball on
MOTION PICTURE SCREEN for extreme close-upping, and a 3" lens St. Mary's 3-yard line. had less than
I

& ACCESSORIES CO., INC. for the major part of the game. For —
150 feet of film and no time to re-
520 W. 26 STREET • NEW YORK, N. Y. 8mm., the combination is a 3" and a load. When St. Mary's finally threw
 November, 1936 • American Cinematographer 485

NOW EVERY ONE CAN MAKE FULL-COLOR INDOOR MOVIES

UST in time for the indoor season — a Type A now free to capture any and every w orth while
r

J Kodaehrome for Cine-Kodaks Eight. Color- indoor subject in colors of startling realism.
balaneed for the specific type of light supplied
by Mazda Photofloods in Eastman’s $5 Koda- Can Be Used Outdoors9 Too
flector, it requires no filters. Hence, it is far With the inexpensive Type A Kodaehrome
faster indoors than regular Kodaehrome. Filter for Daylight before the camera’s lens to
No longer is it necessary to work up close correct the film for use under natural light, this

with either lights or camera. No longer need new film provides an ideal medium for out-
subjects he posed directly before the beams of a door work.
reflector. “Corner” shots give way to full view Stock up. . . now . . . w ith Kodaehrome, Type A,
shots in any average size room, with any cam- for the indoor and outdoor movies you will want
era. Users of /. 3.5 “Eights,” as well as those to make over the holidays. It is priced at S3. 75
using cameras equipped with /.1.9 lenses, are per roll — including processing.

EASTMAN KODAK COMPANY, ROCHESTER, N. Y.

486 American Cinematographer • November, 1936

the Bears back, from within inches of cited over the game until it's all safely
a touchdown, was a nervous wreck
I
on celluloid. When the man at the

CINEQlIE if they had gone over for a touchdown,

I'd have missed it, for was out of film!

Take a tip from me: when you find
I
camera
too likely
starts
to
getting excited, he
forget
Better follow Sam's example: he
to make pictures.
is
is

cool
all

PRESENTS
your film getting low —down to the last as a cucumber during the game, and
A NEW LINE OF ten twenty feet
or use it up at the — grinds away as though he didn't know
first"time-out" period, making an at- a game was one. But afterwards, in the

16MM mospheric shot of the crowd (with your

25mm. lens), and reload."
One last thing which "Sam" forgets
projection-room, watching his own pic-
tures
him!
of the game, you
He's a one-man
ought to hear
rooting section
to mention: don't let yourself get ex-
MOTION PICTURE in himself!

Shooting Quintuplets on the Wing

FILMS Continued from page 481
SEMI-ORTHO
per 100 feet .... $2 5 ° any possibility of direct rays hitting the corners in great glee. It apparently
RAPID PANCHROMATIC young eyes. This diffusion answered seemed to be a new game and they
per 100 feet $4 50 Dr. Defoe's sternest demands. romped about having a great time.
ULTRA-RAPID For exteriors, used a combinationI Then, when we were least expecting the
PANCHROMATIC that has not, to my knowledge, been move, they lined up and proudly raised
per 100 feet S5 50 previously employed and which their hands. The fact that they were
can I

Eastman SUPER-X Pan- warmly recommand. Over gold reflectors left hands and not right, bothered them
chromatic NEGATIVE
and POSITIVE I placed a layer of bobinette netting or not one iota nor decreased their pride of
per 1 00 feet $7 50 gauze, attaching it permanently to the achievement. Following that, our prob-
All Prices Include Processing boards. This provided amply diffused lem was how to keep the hands out of
light minus disturbing glare or hot waving position.
DUPLICATING ENLARCINC
TITLING EDITING beams bouncing into the ten little eyes. The first camera was trained on the
They could look directly into the cov- general shot and the second camera got
Write to
ered reflectors without a blink. the close-ups. Even the close-ups were
Cineque Laboratories, Inc. On cool cloudy days we worked in- grabbed when, as and if we had oppor-
123 W. 64th Street
side with the lights. On warm sunny tunity. Incidentally, we succeeded in

New York City days we moved outdoors to the play- getting screen-filling head close-ups of
ground. Weather was none too good.
. . . each of the girls for the first time which
We turned cameras on fourteen of the I believe audiences will go for in a big
twenty-four days at Callender. way. These were taken with the quints
Profiting from previous experience, from fifteen to fifty feet distant from
AMATEURS
Give Your Films That Professional
took an assortment of very wide-angle
lens with long focus.
I

our lenses.
and
Naturally, they are true
vivid portraits.
Finish The public looks upon the quintuplets Each daily hour with the children was
Trick title and
cast layouts with all
effect accessories designed and lettered
as a unit. The story called for their ap- sixty minutes of alert, tense, quick-on-
by our artists especially for your films, pearance in scenes as a unit. But those the-trigger shooting. The whole affair
with or without color, complete and
ready for photography. Very reason- five little girls are far from being one was of course incomprehensible to them.
able prices. unit. They are, instead, five units, each They romped and galloped freely in all
Reserve your copy of “Cello-Trix,”
now going to press. A pamphlet of
with her own individual characteristics, directions while we counted the flying
new illusions and surprises easily pro- ideas, preferences and hunches. minutes. Then, with no warning, the five
duced with the resources of every ama-
teur. Very Limited Edition, $1.00 per
This was driven home to us when would suddenly come together and of
copy. we started on the play yard scenes. The their own volition go through the busi-
Have the pictures of your own movie yard is about 75 feet wide by 125 feet We had to be ready
stars reproduced and enlarged upon
ness we wanted.
commercial-size four colored lobby dis- long. And the five little stars would to catch them. They would probably
plays at exceedingly low prices. These
are produced by a process in which
scatter themselves over that area as never repeat the performance.
expensive plates are unnecessary and though their main idea was to cover as The amazing and gratifying factor is
are therefore made economically in
either great or small quantities. A much territory as possible. Getting all that the scenes, taken in this apparent-
large colored sample with suggestions five of them
one shot was a job for
in ly hap-hazard fashion, screen to vastly
for your own with prices will be mail-
ed upon receipt of 45c. a squad of round-up veterans. greater advantage than if the girls had

SOUTHWESTERN ADVERTISING CO. Our director gave the two very co- followed There is a def-
instructions.
Box 343 Atlanta, Texas operative nurses instructions as to what gay natural ebullition, of
inite feeling of
Film-Ad Dept.
the quints were wanted to do. They uncaged and unharnessed young normal
would try to transmit the orders in animal effervescence, of the priceless
French to their charges. What would rollicking spirit of little-girlhood, that
happen was anybody's guess. At one probably would not prevail had we been
time the business called for the girls to able to follow schedule.
raise their right hands. The nurses ex- We took a full studio working crew
plained at great length and gave con- to Callender. Our equipment was mar-
vincing demonstrations. The quints re- velous. Dr. Defoe and his staff of nur-
hearsed perfectly. As soon as the ses helped in every way possible. But
nurses stepped aside and the cameras those five little stars of world fame cer-
started, little Marie elevated her left tainly gave less heed to director and
hand and the other four galloped to far cinematographer and concentrated on
 1

WORLD’S MOST WIDELY USED 16£ SOUND PICTURE PROJECTOR

In CCC CAMPS and U. S.

FORESTRY SERVICE the
sturdy, “fool proof” easy-to-

use Animatophone has prac-

tically excluded all other
l6mm sound equipment.

In INDUSTRY, light weight,

compact and efficient Ani-

matophone, with its many
superiorities, has won a prom-
inent-user following that has
no equal.

In the service of SCHOOLS,

UNIVERSITIES, and
CHURCHES Animatophone
outnumbers all other l6mm
r$ 1
sound projectors by a decid-
\ \ 81
\\ \ / edly substantial margin.

NOT AT ANY PRICE can these, and

On SHIPS sailing the seven
other valuable features responsible for
seas — on TRAINS entertain-
Animatophone leadership, be had in any ing passengers with sound
Sound Projector other than pictures — l6mm Animato-
phone knows no competition,

VICTOR
****aut omati c safety trips
for it alone provides finest re-
production, trouble-free per-
formance and absolute safety
along with Automatic "cut-off”
Protection Against Film Mu-
that prevent costly film mutilation (endorsed tilation. North, East, South

by all film libraries) . . Easy to clean SU- and West — At Home and
PER SOUND SYSTEM that insures per- Abroad — ANIMATO-
fect performance always . . . SUPER EM- PHONE’S all-round SU-
PERIORITY made
POWER ILLUMINATION with QUIET, has
great popular choice!
it the

SPIRA-DRAFT VENTILATION that pro-

longs lamp LIFE and EFFICIENCY . . .

Simple, sturdy construction . . SUPERIOR

SOUND and Unsurpassed PICTURE
QUALITY. For definite PROOF, ask to
see and hear ANIMATOPHONE per-
form. Why not NOW?

DAVENPORT, IOWA CHICAGO LOS ANGELES NEW YORK CITY

 I

488 American Cinematographer • November, 1936

individual performances to a degree

never before experienced in the annals
America’s JV®. I of film production.

TRIPOD SCREEN
The Busman Goes for a Holiday
Years ahead in design, the Da-Lite Ride
Challenger Screen is today the most
popular portable on the market. Continued from page 476

own For telephoto shots, you want as long

The Challenger has its tripod,
pivotally attached to the case. The a lens as possible. Hence, the 4-inch.
single collapsible rear support permits wsmmmmmmmmmmm As for speed, feel that an f:2.5 lens I

raising the screen to the height best is fast enough for all average use. It
suited to the projection requirements of gives a slower but sharper image than
the room. The top of the largest screen the ultra-fast lenses.
can be raised as high as 9' 10 from the The Da-Lite Challenger Unless the set-up positively prohibits,
floor. There are seven sizes, from
30"x40" up to and including 70"x94". I use a tripod for all scenes.
The larger sizes have a crank lift. Because my studio days are filled with
filming action that is carefully rehearsed
Unless otherwise specified, the Chal- shooting spontaneous
and posed, I relish
lenger is furnished with a glass-beaded
surface See this and other outstand-
. . .
action when my own. Here's a I'm on
ing Da-Lite values at your dealer’s or little trick frequently used to
I have
write todav for latest catalogue! capture this highly desirable true action.
Quality Screens for More Than a Particularly in foreign countries, scenes
Quarter Century
is only one of many
DA-LITE SCREEN CO., INC. The Challenger
types of portable screens in the
of native life

off guard. There's nothing quite so

should catch the subjects
bad
Da-Lite line . the world’s most
. .

2723 No. Crawford Ave. Chicago, Illinois complete line of projection screens. as a few inquisitive natives staring into
the camera or posing in stiff attitudes.

In China, found the natives flatly

I

Da-ILllrE Screens
adverse to having their pictures taken.
It's a matter of superstition. Point a
camera at them and they evaporate.

AND MOVIE ACCESSORIES Yet,

I
they are very curious. This
fooled them.
would encounter, let us say, an aged
I
is how

and wrinkled Chinese woman scrubbing

the ears of an offspring. An interesting
item of color and custom. Quite
local
Foto Shop Htinin
A Junior FILM §2.10
deliberately
up my camera
unfolded tripod and set-
I

—
but pointing it in a dif-
ferent direction and apparently paying
Societv •/
2 lOO ft. Kolls - - $4.00 no attention whatsoever to Grandma.
Exposure was established and focus
• The American Society of Cine- made on an object equally distant from
matographers has formed the SO-
FOTOMIOI* PRICES the camera as was the real target of my
CIETY OF AMATEUR CINEMA- are LOWEST! camera. Then elaborately concerned I

TOGRAPHERS for those amateurs By maintaining our own laborator- myself with puttering at other things.
who are serious in their cine work ies for the processing of CINE and When Grandma's attention was diverted
and wish to advance in their STILL films we can speedily and from the camera, quietly swung it into I

hobby. efficiently fill your order at big proper Again as her curiosity
position.
savings. waned, sneaked a fast peek into the
I

• The Cinematographers making finder and made sure of the composi-

up the American Society of Cine- RAPID PANCHROMATIC tion. Then, with my back turned, I

matographers are the ace camera- per 100 ft. roN . . .

$3.50 pressed the button and let the camera
men of the Hollywood studios. roll. te

They have pioneered cinematog- $4.25 By cultivating a naive and innocent

ULTRA-RAPID PAN .

raphy to its present advanced

stage. They started when their
2 100-ft. rolls —$8.00 demeanor have filmed close-up scenes
I

of intimate native activities that are thi

FREE CIRCULAR f

equipment was not better than really priceless. I

aw
sent on request giving details on
the present 6mm. equipment and
1
At Tahiti got some attractive un-
our ECONOMY cine films. I
|
oni

know your problems. derwater shots in a simple way. fash- I

MOTION and STILL picture equip-

ioned a water-tight wooden box about I Sor
Send for literature and ment bought, sold and exchanged
application blank. . most liberal allowances at
. .
— twelve inches square with a glass bot- din-

tom. Camera was screwed to one of the |

Sen

AMERICAN SOCIETY OF wooden sides. Lens was some six inches to

CINEMATOGRAPHERS
6331 Hollywood Blvd.
F O TO S HOP, Inc from the glass. was paddled in an out-
rigger to a suitable location. Focus was
I :

tore

136^-A West 32nd Street set at six feet. The sea was probably to f

Hollywood, California New York City twelve to fifteen feet deep. submerged I i
to t

the glass bottom just below the rippling

 November, 1936 • American Cinematographer 489

surface of the water. Color film was in

the camera and came away with I

beautiful views of undersea rocks, coral,

ocean vegetation and weird metallic
You Will Make
blue fish darting by. It's an elementary
contrivance, but it works.
All of my twenty-five full reels are
titled. I think it a great mistake not to
Hettel
title pictures.

interesting
They make them
and bridge the gap
of faulty
far more
Movies
continuity. Titling should be done as you
go along and while enthusiasm in the
with
subject is still high. If put off, interest
wanes and the needed titles never get
made. Personally, I like typewritten
titles; they're inexpensive and easy to
make.

Super Reversal Film

Father and Son Scenario Gevaert Super Reversal Film is now ready for the American Market. Possess-
ing the fine qualities which characterize Gevaert photographic emulsions,
Continued from page 480
and long popular in Europe, Gevaert Reversal film will make many new
sudden decline in marksmanship. Son
among American amateur cinema fans.
friends
asks for the rifle. He'll have a try at it.
Father hands him the rifle in patroniz- IGmm I*ancliro Super Reversal Film
ing fashion. 100' rolls $7.50 in 50' rolls $4.00
in
SCENE 36: CLOSE UP of Son's face
as the rifle comes up with its sights to 10mm Pancliro Fine Grain Reversal Film
eye level.
50'
in 100' rolls $6.00 in rolls $3.25
SCENE 37: MEDIUM SHOT. Son tak-
in 25' rolls for 8mm cameras $2.25
ing careful aim, finger hard on trigger.
Father can't be blamed for being a bit
amused at the manifestly impossible
10mm Ortho lleversal Film
in 100' rolls $4.50 in 50' rolls $2.75
stunt.
SCENE 38: CLOSE SHOT. Playmate
behind glued to his crack,
fence, eye
Daylight Loading — Prices Include Processing
holding his stick supporting the dime. The Gevaert Laboratories have perfected a finishing procedure enhancing
A healthy smile of anticipation wreathes the inherent fine graininess of the emulsion . . . and the attendant high
his face. resolution of the image permits large scale projection with no loss of sharp-
SCENE 39: CLOSE SHOT. Son pulls
ness or detail.
the trigger.
SCENE 40: CLOSE SHOT. Behind the If your dealer is unable to supply you — write direct to the Gevaert
fence. Playmate jerks down his stick Company and your order will receive prompt attention
triumphantly.
SCENE 41: LONG SHOT.
foreground. Father
Father and
gapes
THE GEVAERT COMPANY OF AMERICA, Inc.
Son in in

amazement as the dime disappears 423 West 551 li Street New York
from the fence. Boston Chicago Los Angeles San Francisco
SCENE 42: MEDIUM SHOT. Father Winnipeg Toronto Montreal
and Son. Father is still astounded at
the incredible exhibition of sharp-shoot-
ing. Son is largely modest. In fact,
he offers to repeat the performance, ex-
tending his hand hopefully for another
dime.
SCENE 43: MEDIUM SHOT. Behind
MOKE CINEMATOGRAPHERS
the fence, Playmate is carefully crawling for your money HAND BOOK AND REFERENCE GUIDE
away, the dime grasped between thumb IN 16MM SOUND FILM PROJECTORS • Used by practically every cinematog-
and finger. • S.O.S. 16MM CINEMAPHONE rapher in the studios.
Projectors give you professional
SCENE 44: CLOSE SHOT. Father and performance, brilliant illumina- • Its handy information not only
Son. Father smiling denies the second tion, extreme simplicity . . . saves time, but will be invaluable to
® n,y at unheard of low prices. Every those cameramen who have not had the
dime. Apparently convinced, he pats CINEMAPHONE experience of the Hollywood cinema-
Son's head in congratulation and turns
C1QC You’ll save
is
real
guaranteed.
money at tographer. It might give you some
’ S.O.S. Free folder brings the short cuts. Price $2.00.
to leave.
Up facts. Write today!
SCENE 45: LONG SHOT. Son in
Low prices on screens, rewinds, etc.
American Cinematographer
foreground watches Father disappear in- 6331 Hollywood Blvd.
to house. Then, like a bullet, Son races s. o. s. coni*.
1600 -F Broadway New York City
Hollywood, California
to the fence and over.
SCENE 46: MEDIUM SHOT: Playmate
490 American Cinematographer • November, 1936

slowly walking along sidewalk. Son ing goods store. If Father is good
sprints in to him. They examine and enough shot to smash them in flight
admire the prized dime. Laugh gayly in with a shot, you can shoot the scenes
mutual approval. Walk rapidly on. that way. If not, use a short-focus lens,
SCENE 47: MEDIUM SHOT. Arms toss the pigeon in the air close to the

FOR FOOTBALL around each other, the two young con- camera and shoot the small shot at it
and other Sports spirators happily enter an ice cream from short distance; the rifle, of course,
KINO-HYPAR
f/2/7 and f/3 shop flying a leading sign "Giant Cones not in the picture.
Long Focus Lenses 5c." The dime is held victoriously aloft. Close must prevail between
cutting
3 and 4" focal lengths
FADE OUT pulling of trigger and disappearance of
Ideal for purposes of sport and travel
cinematography and for the interesting A half-dozen clay pigeons may be target from fence to give the effect of
closeups that races and games afford. obtained for a few cents at any sport- shot hitting its mark.
A Kino-Hypar Long Focus Lens is the
Distance Eye of your camera, portray-
ing the remote object in clear and
accurate detail.
Catalog B-l 1 on request
C. P. Goerz American Optical Co.
317 East 34th St. New York WHEELS OF INDUSTRY
Continued from page 483

CRAIGSPLICER and REWINDS

compensate
plied by Photofloods for
Photoflood or
for the quality of light sup-

Photoflash
movies
lamps
and
for

"stills." Consequently, no filter is nec-

may
dicated.
be purchased outright,

The book is priced at 5 cents per

copy and may be obtained from Filmo-
1
this is in-

essary for indoor pictures with such arti- sound Library Headquarters, 1801
ficial light. Larchmont Avenue, Chicago, Illinois, or
Kodachrome, Type A, may be used in from its branches throughout the coun-
the daytime, too, by placing a Type A try.

Kodachrome Filter for daylight over the

camera lens.
CRAIC JUNIOR COMBINATION $8.50 Weston Folder
The retail price of the 25-foot Cine-
junior Splicer with two geared rewinds
all mounted on 21" board. Kodak Eight including the process-
roll, • Up-to-date speed values for all films
CRAIC MOVIE SUPPLY CO. $3.75, the same as for the reg-
1053 So. Olive St. Los Angeles, Cal.
ing, is and plates in common use, both for stills
ular 8mm size May.
announced last and motion pictures, are given in a new
Kodak Bantam Special rolls, known folder just published by the Weston
JUST RELEASED as K828A, carry eight exposures. Kodak Electrical Instrument Corporation, New-
SOMETHING NEW IN 16 MM Retina and similar 35mm miniature ark, N. J. The list of almost 200 Weston
FILMS!
"still" cameras take Type A Koda- speed ratings the newer color
includes
“HOW GAMBLERS WIN”
Fine photography, showing close-ups chrome, K135A rolls having 18 expos- films as well as black and white emul-
of how they cheat with cards, etc.,
with informative titles. In 3 series. ures. sions of domestic and foreign manufac-
Each 100 $6.00 each.
series feet. turers, with values for daylight and in-
Postage Paid.
Complete information for stamp. B & H Catalog candescent light.
Also send for Bargain bulletin
M F. CALDWELL, 39 HAYES ST., • Bell & Howell Company have just is- In addition to film speed ratings, the
ARLINGTON MASS. sued a new 56-page catalog of library folder contains suggestions for exposure
films. The book lists more than 300 of color films to aid color fidelity with-

OPPORTUNITY FOR reels of 16mm sound film, and contains in the more limited exposure range of
I6MM CAMERAMEN! more than 40 illustrations. this type of film. Copies of the new
Among the features announced are folder are being mailed to all registered
Amateurs, Professionals or Clubs. Util-
izeyour knowledge of photography for "Don Quixote," starring Feodor Chalia- owners of Weston meters. Other Weston
financial gain. Representatives wanted
W rite pin, "William Tell," Conrad starring owners whose names are not now on
everywhere.
“NEW ERA” Veidt, "The Viking," "Tarzan," "Thun- this list may obtain copies by writing
1329 North Orange Grove Avenue der Over Mexico." and many other dra- the manufacturer.
Hollywood, California
matic hits. Much longer is the list of
adventure, travel, nature, sports, his-
torical,and musical films, and also the
LEICA, CONTAX, ROLLEIFLEX list of comedies and cartonos.
Camera Movement as an Aid to
Recommendations as to audience
EXAKTA and other cameras at Continuity
suitability are made in the form of a

Morgan Camera Shop simple index key indicating —

whether Continued from page 478
the film is best suited for general enter-
6305 Sunset Blvd., Hollywood, Calif.
tainment, home, school auditorium, up any inequalities or unevenness in the
classroom, or church use. Only three surface over which they are rolled.
films ore keyed as intended primarily for Tracks, as used for the heavy studio
camera equipment, are not needed.
REDUCTIONS mature audiences.
Most of the releases, such as the pro- In making these moving shots, you
ENLARGEMENTS •
Corpora- will find an assistant almost necessary.
DUPLICATES • ductions of Educational Film
tion, Principal Pictures, World-Wide Mark your two camera positions. Set and
GEO. W. COLBURN Films, and other leading Hollywood and make a note of the focus at each po-
TRctToii'plctu.'iit'JVLntfnJ

foreign producers, are available on rent- sition. As your assistant moves forward
# 7IOO N. Washtenaw Ave
the vehicle bearing your tripoded cam-
CHICAGO. al only. In other cases where prints
• ILL
 November, 1936 • American Cinematographer 491
era, you can smoothly change focus to
the new and nearer
On a follow shot
distance.
or a trucking shot
CLASSIFIED ADVERTISING
before a line-up of people — a more Kates: beven cents a word. Minimum
satisfactory way of making a group With two &
view than by panning — focus remains
charge, one dollar per insertion.
n
7
Bell Howell shuttles,
ccurate c °lor registration as well
left and

the same and attention is given to FOR SALE — MISCELLANEOUS as ili

black and white. Full price $1800 00
c,af,s 914 No Fair, »* ' -

steady movement of camera and impro- :

35MM NEGATIVE fresh Eastman and Dupont

vised dolly along the predetermined stock —panchromatic — 200 ft. CAPACITY ERNAMAN 35MM MOVIE
course.
Judicious camera movement has de-
^
f
U
eac <}.
UP
1 A
r

,7?,’.
gra b Ck
r
T7 daykght
r 1 . f
super-sensitive
2 50 P er hundred
-

loading rolls, $2.75

10% discount on all orders accom-
•

camera with hand crank, footage meter,

two 200 foot magazines, self-contained
F 3 5 lenS V SUal f °CUS
b*
'
Mke new’ '
’
h s coupon S30 00
served place in amateur film production. PACIFIC COAST L . RAW F.O.B.
'
Hollywood.
-

FILM CO., 1558 Institute 200 ft. 35MM camera with

It will add life and interest to your pic- No. Vine St ., Hollywood, Calif. focusing F. 3.5 lens visual focus complete
'ike new $45.00. Case $2.50 extra. Devry
tures. But in the fascination of this WE
amo Y16mm
,'A
EL1 AND r ent PROFESSIONAL
VEQUIPMENT
100 ft. 35MM camera spring and hand
technique, resist the temptation to have AND NEW AND USED driven daylight loading, F 3.5 visual focus
your camera constantly in
WE ARE DISTRIBUTORS FOR ALL lead- $65 00 with case $69.50. Above camera
motion. inc manufacturers. with F. 1.5
RUBY CAM- lens $105.00. Above cameras
Abide by these simple fundamentals and ERA EXCHANGE, 729 Seventh Ave., N fully guaranteed Complete line 8 16
you'll have great success.
Y. C. Established since 1910. 9 1 2MM film library. Victor sound 16MM
t-racn^T
wdh amplifier, ready to use,
79 50 ^cepted. Send for bargain-
BI-PAC ADAPTERS for Bell & Howell Cam- I
gram ;MOCULL’S, 1944-A Boston Road
eras Take two magazines,
-
triangular
shape, $90.00 each. Double magazines for
N ewsreeling on a Presidential color work or double printing. Will fit
Mitchell Camera, for $75.00 each.
Bell
tor
& Howell five-way Sound Printers, Mo-
generators, panel control boards. Du-
Cam-
era Supply Co., Ltd, 1515 No. Cahuenga plex Printer, especially adapted for duping
Campaign Train Blvd, Hollywood, Calif. Sound and silent Moviolas; Educational
Blimp and Dolly; Bell & Howell splic-
Continued from page 479 ers. Title Board with lathe bed; Bell
FAMOUS FOR BARCAI NS—THAT’S S.O.S. Howell silent cameras, Bell & Howell mo-
&
the last minute. We are about as well, HERE ARE IUST A FEW: RCA Galvano-
I?L
S, B
u ,? ^ Howell
1
high-speed gear box,
meters, $75.00; Western Electric Record- Mitchell and Bell & Howell Friction head
or even better organized on this big ing Amplifiers, from $43.50; W. E. Con- tripods. Above equipment used
denser Microphones, $95.00; Fox Movie- but in per-
political show here in the prairie states fect mechanical and optical condition at
tone Recording Cameras, $975.00; RCA bargain prices. Hollywood Camera Ex-
than P. T. Barnum, with his three ring Photophone Variable Area Studio Records, change, Ltd., 1600 No. Cahuenga Blvd
show. brand new, $1495.00; Background projec- Hollywood, California. Cable address:
tion screens, $144.00. Loads of others; Hocamex.
After the speech, we have only a few lists free. S.O.S, 1600-F Broadway, Nsw
York. 16MM VICTOR TURRET CAMERA with 1”
hours to strike down and rush for the Dallmeyer F 1.9, 2CM Zeiss F 6.3 Tele- 1

train also get our negative off for New PhotO’ 3 Filters, fine condition,
SILENC ED Mitchell Camera, 40, 50 and 75mm. $65 00
Will trade for 8MM. Jack Barrow
York. Then we have wait a half to Astro F2.3 Lenses, Upright Mitchell Finder, 322
South Orlando, Los Angeles, Calif
Mitchell Matt Box and Sunshade, two
hour around the depot while the local 1000 ft. Magazines, Friction Tripod Head BEL-L & HOWELL CAMERA, Original
and Legs, complete equipment with Car- B & H
handshakers again do their turn, final- “I” Shuttle adapted for single or Bi-Pac
rying Cases, $2600. Camera Supply Co, Negative, Complete with 40-50 & 75mm
ly getting out of town late at night and
Md, 1515 No. Cahuenga Blvd, Hollywood, Hugo Meyer f :1 .5 or Bausch & Lomb
under way for the next big speech on >—3111. f:2.7 Lenses, B & H standard Tripod,
large finder, matt
the morrow with all the small town box, magazines &
stops enroute.
SEE HOW WE SAVE YOU MONEY
carrying
^ent with
cases $1,000.00. Same equip-
BRAND NEW Bargaingrams describe Ca- Cunningham silenced shuttle
meras, Tripods, Recording Systems, $1,150.00. Or equipped with Hi-Speed
Pro- movement
jectors, Printers, Moviolas, Motors, Mag- $1,600.00. For guaranteed
azines, Animators, equipment. Camera Supply Co Ltd ’’ 1515
Galvanometers, new Cahuenga Blvd., Hollywood, Calif.
and used. We’ll trade. S.O.S, 1600-F
Adding Sound to Sight on 16 mm Broadway, New York.
BELL & HOWELL Camera silenced, adapted
Continued from page 477 DEBRIE MODEL L with three lenses, fitted for color, with variable area recording
single
for outside Bell & Howell magazines and system sound. Complete outfit like new
The sound-head on the projector, inside DeBrie, includes two Bell & Howell ready to shoot. Price $3000.00. Hollywood
which takes sound from the filmed vibra- 400 ft. and six DeBrie 400 ft, complete "J
6 ™ Exchange Ltd., 1600 Cahuenga
with cases and DeBrie tripod— all equal Blvd., Hollywood, Calif. Cable, Hocamex.
tions on the sound track, can not, for to new. Price $875.00. BASS CAMERA
physical reasons, be at the projection COMPANY, 179 W. Madison St, Chicago, WANTED
I llinois.
aperture. Compensation on the film WANTED. We pay cash for everything pho-
must be made for the distance between LARGEST STOCK FIRST CLASS UP TO DATE tographic. Send full information and low-
est cash prices. Hollywood Camera Ex-
these two points in order to have sound CAMERA EQUIPMENT IN THE WORLD change,
Wall single system sound camera with 1600 Cahuenga Blvd., Hollywood
and picture synchronize when projected. di- Calif.
rect drive motor, new type movement,
For the Bell & Howell sound projector, variable area high fidelity galvanometer,
HOW ABOUT
microphone, amplifier, lenses, tripod and CLEANINC HOUSE? WE’LL
for example, the sound track is set 25
accessories. Complete, ready for operation.
BUY Used Cameras, Lenses, Recorders,
Printers, Splicers, Tripods, Cinemotors,
frames ahead of the picture. Rebuilt silenced and standard Bell & Magazines, Microphones, Amplifiers, Pro-
Thus, picture and sound are not in Howell
gear boxes
170 degree Cameras Hi-speed
—
new Fearless shuttles for Bell
— jectors, Laboratory and Studio Equipment.
Trades taken-Bargains galore. S.O.S., 1600-
"sink” on the film, but are in "sink" in & Howell. Silent Moviola Model D. Port- F Broadway, New York.
able blimp with follow focus for Mitchell
relation to the mechanism of the pro- Camera. Precision, DeBrie and Bell & WANT MITCHELL
jecting device. Howell pan and tilt tripods. Bell & Howell OUTFIT HIGH-SPEED
1000 ft, 400 ft. magazines. Motors, sun- movement. Give full description and cash
16mm films with sound are not mere- shades, finders, lenses and all accessories. price. Write Box 266, c!o American Cine-
ly a promise. They are being made ev- Write wire nr cable. MOTION PICTURE matographer.
ery day. The advanced amateur, by in- CAMERA SUPPLY. INC, 723 SEVENTH
AVE, NEW YORK, N. Y. CINECAMERA. PATENT ATTORNEYS
vesting in needed equipment and ex-
perience, can make them as readily as he DEBRIE PARVO, AUTOMATIC DISSOLVE, INVENTIONS PATENTED, trade marks regis-
tripod,5 lenses, 7 magazines, electric mo- tered, Samuel Goldstein, Registered Patent
does the silent versions. tor, matte box, Attorney, write for literature on success-
.cases. .Fine condition.
But for the time being, most of them $250.00. C. F. Nelson, St. George, 130 ful services performed, 275 E. Cunhill
West 46th Street, New York City. Rd., New York City.
willbe content to confine themselves to
camera work and pass along the sound BERNDT-MAURER 16MM SOUND CAMERA INVENTIONS
Fully equipped with amplifier, microphone,
accompaniments technicians who are
to AM
400 foot magazines, and three speed I IN CONTACT WITH FINANCIAL HsN
equipped to handle this specialized prac- lenses. Available complete or without am- TERESTS who finance and promote inven-
tice.
plifier eauioment. MCLARTY MOTION tions. Samuel Goldstein, 275 E. Gunhilll
PICTURE SERVICE. BUFFALO, NEW YORK. Rd., New York City.
492 American Cinematographer • November, 1936

Amateur
MOVIE MAKERS CONTEST

Only a Few Days Left to Enter!

• The American Society of Cinema- • They are tolerant of the limitations

tographers’ Amateur Movie Makers of the amateur equipment. Many

Contest has become the most famous
in fact, most of them —own and oper-
ate either 16mm or 8mm cameras.
cinematographic competition in the

world. Each year entries arrive from

• This is the fifth year of this Fa-
every country on the globe that has
mous Contest. While several men
earnest devotees of the substandard
have been consistent winners, every
cine camera.
year brings forth new names, new
photographers who show ability and

a fine understanding of photography

• To receive recognition as a winner
and the movie camera they use.
in this contest is the highest honor any

amateur can achieve. He is judged by

• You still have time to put your best
the greatest Cinematographers in the picture in shape for entry —you have
world. These Cameramen are the until the latter part of November.
acknowledged camera masters of the The film must be in our office by No-
world. vember 30, 1936.
 HERE ARE THE RULES-READ THEM
The American Cinematographer a gold medal which will be given by
1936 Amateur Competition is open to the American Society of Cinematog-
amateurs all over the world who use raphers who will be the judges of

either 8mm or 16mm film. these pictures.

The films must be in the office of The pictures will be classified so

the American Cinematographer not that the competition may be fair to

later than November 30, 1936. all entrants. By this we mean that an

entrant having a documentary film

There arc no restrictions as to the
will not compete with one who has
number of subjects that may be en-
based his on a scenario. Of course,
tered nor are there any restrictions
there will be more classifications than
as to the length of the subjects. The
these. The classifications will be
one strict rule that applies, however,
created according to the pictures that
is that no professional help is received
are received.
in making- of the picture. This does
not include titles which may be made Remember ,
the films must be in the

at a laboratory. office of the American Cinematog-

rapher, 6331 Hollywood Blvd., Hol-
The recognition of those who are lywood, Calif., not later than Novem-
given awards will be in the nature of ber 30, 1936.
Mitchell Elected
By Big Majority
Every year- -whether it is presidential

year or just an ordinary year Mitchell

Cameras are elected to first place in

the motion picture studios of

the world

Mitchell Camera Corporation

665 N. ROBERTSON BOULEVARD
WEST HOLLYWOOD, CALIF.
Cable Address “M TCAMCO”
1 Phone OXford 1051

AGENCIES
BELL Cr 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 Er CO., LTD., Osaka, Japan H. NASSIBIAN, Cairo, Egypt