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American Cinematographer 1923 Vol 4 No 3 PDF

The document discusses a film laboratory called Standard Film Laboratories and their services. It states that cinematographers have different preferences for "soft" or "hard" prints. Standard Film Laboratories aims to give cinematographers exactly the kind of developing and printing they request for their films. Their success is built on cooperation with producers, directors and cinematographers to provide what they want, whether it's a hard, soft or balanced print.

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140 views28 pages

American Cinematographer 1923 Vol 4 No 3 PDF

The document discusses a film laboratory called Standard Film Laboratories and their services. It states that cinematographers have different preferences for "soft" or "hard" prints. Standard Film Laboratories aims to give cinematographers exactly the kind of developing and printing they request for their films. Their success is built on cooperation with producers, directors and cinematographers to provide what they want, whether it's a hard, soft or balanced print.

Uploaded by

brad_rushing
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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WHAT YOU WANT


Tastes differ in film laboratory work. Many cinematographers
prefer “soft” prints, with delicate gradations of light and shadow.
Some like hard, sharp prints, with definite, unmistakable con¬
trasts. The preference is largely dependent upon the character
of the story the director is telling upon the screen. But the treat¬
ment the laboratory gives negative and prints has much to do with
determining the ultimate excellence of the photography. _ The
photography plays a large part in the success of the finished
picture.
For this reason .STANDARD FILM LABORATORIES urge
cinematographers to make sure they are getting what they want.
After deciding at the start of a picture the kind of developing and
printing best suited to the story, they have a right to expect only
this character of work.
STANDARD FILM LABORATORIES have built their pres¬
ent success upon a basis of the utmost co-operation with produc¬
ers, directors and cinematographers—by giving makers of motion
pictures what they want when they want it. Be it hard or soft,
or a happy medium between these two extremities, the kind of
work you get at STANDARD FILM LABORATORIES is exactly
the kind you ask for.

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The American Cinematographer

COXITERTS

JURE

Putting the Hopi Snake Dance Into Celluloid


By VICTOR MILNER, A. S. C. .
Photography and “Spirits"—By ANDRE BARLATIER,
Animated Clay.
Photoplays Proved in Prints—ROTHACKER .
Electrical Camera Attachment for Aerial Work—
By HARRY PERRY, A. S. C.
The Editors’ Corner—Conducted by FOSTER GOSS
Flexibility and Uses of Light—By P. R. BASSETT .
Can Cinematography Be Taught in Schools?—
By DAN CLARK, A. S. C. •
Standard in Huge Building Enterprise
Biographies of New A. S. C_. Memb<
Putting the Hopi Snake Dance Into Celluloid
^Jnimated
Electrical Camera Attachment for Aerial IDork

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Can Cinematography Be Taught in Schools?
EVERYTHING
PHOTOGRAPHIC

MOTION PICTURE

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PHONE HOLLYWOOD 4777

EFFICIENCY,
SERVICE and
QUALITY in

LABORATORY WORKr
Chester Bennett Film Laboratories, Inc.
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CINEMATOGRAPHER

Camera Artistry of
Henry Sharp, A.S.C.
Is Subject of Story
HUH;
Thirteen years ago, May
19.10, this institution was founded by
Watterson R. Rothacker.
The ideal of service has
been our guide-post—quality and service.
Dependability, quality,
service—are given practical expression in
every transaction.
The inspiring motives in
the conduct of our business are:
In prints — to give the
utmost in screen quality.
In performance—to give
the utmost in service.
HOW TO LOCATE ft

American
Society of Cinematographers
Phone Holly 4404

m, m
6025 Santa Monica Blvd. Los Angeles, California

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