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INDEX TO VOLUME III.
A.C.T. Members' Broadcast Agreements Signed between .C.T.
and N.A.T.E".
All in a Day's Work
Amateur Film Maker, Experiences ol
an
Antarctic Cameraman Talks on his
Apparatus
'Are Stills Worth While'"
\rs Gratia Artis
B. & H. Filmosounds, New
Back Projection
Bioscope Wallahs
B. J. Photographic Almanac, i 938
British Film Production
British Talent Stilled'
Busman's Holiday, A
Canadian A.C.T
Christmas Call from the Workhouse, A Cinema Log u, 64, 86, 140, [83, Colour Cinematography, Summary oi
' 'Coloured Light' '
1 ommonsense for Colour Films
1 1 impleti Pn ijei 1 ionist, The
1 1 mtinuity Girl
Correspondence 28
< rowned Heads and Others
'Cutting Room Floor, The Face on
the"
Dictionary oi Film Language, A
Dictionary of Photography
Documentary at the Cross-Roads
Editorial
Elephant Dance
Emulsions and Grains
Evolution: A peep into the Past
Filming the Sahara
Film Game, The
Film-Making Single Handed
Film Projection
Film Training and Production in the
U.S.S.R
Foreign Workers in British Industry
Forty Years On
French Technicians' President visits
A.C.T
Page 116
"7 1 i 2
A.C.T's. Ri\
'(
1 ;i
L3°
7"
: 2 1
4
'79
227
6 132 142
174 '7' 204
HI')
[86 [98 [23
'54
7"
[85
04
34
217
'44
72
219
I1 1
223
11 : 92
31
72 207
29
23, 71, 150
Fun and Frolic Outing
Future of Documentary, The
Ceneral Council Dinner, Second Annual
"Gentlemen and Players"
Cold Rush, The
Hollywood Letter 49
Hollywood Through the Back Door ...
Icy Hell
In Leo's Den
Key to the Door, The
Kodak Stock, New Lab Topics ... Last Link, The
Last Ridei >ut, The
Mad Dogs and Location Units
Make-Up for Colour
Manor House Hospital
Mi is on Photography
Mirrophonic Sound
"Money Behind the Screen" Money for Film Stories Mongrel in Movieland, A Movies for the Millions New Equipment
Newsreel
Obituaries
Ogres and Siamese Twins ...
Open Letter to the President
Board of Trade, An
1 > 1 > 1 11 a] Printing and ( )ptical
Paid Holidays for All
Panning Round the
( dobe . .. 36, 73, 1 24
Pep and Purpose
"Per Ardua ad Astra" — with a Cine
Cane ra
Portrait Gallery, Our 144,
Projection oi Lenticular Colour Films
Promised Land
Quota Battle Front, From the
Quota Proposals, Comments on
Recent Publications
34, 72, 122, 154, [85 Reduction of Noise in Fractional
H.P. Motors
L3.
26, 118, 1 \<>
of the
Printers
Pag.
1 13 ,67 I 2 I
I 22
27 [69 123 123 138
17
'74 1. Hi
~\ 148
56
". 13
14
00
27 34 [85 188 [8 220 [78
213
'73
I I 2
■
[59, tgO, 226
L36
8i
223
'71 1 12
Retrospect
Royal Photographic Society Sedition and the Films Bill Separate Quota Scheme Means,
What the
"Service"
Seven Soviet Arts. The
So This is Hollywood
Sound Recording for Films
Sprechen Sie Deutsch ?
Square Eye
Studio Lighting for Kinematography
Studios While You Sleep
Sub-Standard
Technical Abstracts
38, 74, 125, 156, 187 Technical Facilities for British Film
Production, Increase in
Technicians and Quota
Technicians Review the Past and
Discuss the Future
Technicolor, Rennehan Talks
Television
"That Reminds M<
They Talk Colour
Thunder that Went West
Trad.'- Union Congress, A.C.T.'s
Delegate Reviews the
Unemployment in the Industry U.S.S.R. , The F"ilm in — 1937 ... ^5 Veteran Trade Unionist Congratulates
A.C.T
Visatone System of Sound Recording
Wanted— A Staff College
Weston Exposure Meter
What's Wrong ? An Involuntary
Symposium
What the Public Like — But who are
They ?
What Your Association Means
War's Good Progress, A
Young Idea, The
Zukor Has Heard of British
Technicians
Page
216
154 209
CONTRIBUTORS
\inan, L.-igh [9, 78, [38,
Vsquith, Anthony
Bail, F. G
Bamford, R. E
Barralet, Paul
Bartlett, Reg
Bassill, 1-rank A
Blake, E. E
Bund, Ralph in- 1 2 ;. 1 85,
Borradaile, Osmond
Brunei, Adrian
I apstaff, J. G.
1 ave-Chinn, I
Chevaliei .11
( it rine. Sir Walter, K B E
1 . Je, Sidney 53, 122. 117.
Collingburn
1 oop, Eric 28, 37,
I >' \u v.-i gne, Vega
Dennis, P
Dent, Arthur
Deutsch, Oscai
I in l.inson, 1 )esmond
1 in kinson, Thorold
1 louble, Stanli y G
Dyas \
Elvin, George II \ < LS.
50, 152, 1 s 5 . 209, 223, 22-
11,., 77
^.<:
7" 142
■ ;
2d ZO;
--A ' 79 193 81 ■ 48
50
2 1 2
217
- 2 7 1 in 1
1 i 1 216
'9.1
'9.i
I
56
CO
.219
I airbairn, K. C
Fleming, The Rev \\
"Flicker"
Friese-Greene, Claude .
"Gamma"
Caspar, Imre
T. A., F.R.G.S. Kenneth
12, 64, 86,
Michael
J. C.
John
Henry
Glover
Gordon,
( rordon,
I '.raham,
Grierson
1 [arris
Harrison, Harvey ...
Hill, Sinclair
Holley, II. E. Hutchins, John Jennings, Humphre) Korda, Alexand.r Land
17. 73. 121. 12 I angle} , Br) an Lejeune, C A
Low
Lye, Len
l.\ 11. lull I l,i\ lies, T.
Marshall, H. P. J.
\1. Laren, \V. N. .
L. S. , A.R
7'. PS
50,
150,
'-'(■ I 1". '<S3-
|, I 1 |. [59, 17).
1 90, 30,
S V.R.P.S 14, 80
M
.3*'
'3 1
.12
41
I Si
[95
1 204
I 22
'97
'<>7 94 '3«>
1 1 2
"•; 102
226
5* 5°
210 [86
'si 3' 1 22
E
Ivor H. G.,
< apt. The Geoi g.
In '
\Y
Meade. Walter Metcalfe. C. P Miller, O. Montagu, Newl >>rr\
D.I.C.' Norton. Pears m, 1 ' ; sen Pog ... Reed, Carol Rennehan, Ra\
Rock, Joe
Round. Capt. 11. Skittrell, Alfred G." Smith. S. W. Stanbon >ugh ( A ril, Sti \ enson, R< ■ Stradling, Harry
I. le Technii i "Tenax et Am
nilett, Ben
Watts, I
Wellesley Gordon
Wilder. 1. S
Wratten, I D. Wright. Basil
A.C.< Hon.
;.i Ric
B.Sc.
hard
73.
24, 159,
190.
F.R.P.S
26, 1 1 8
THE CINE-TECHNICIAN
FORMERLY
The Journal of the Association of Cine-Technicians
Editorial and Publishing Office : 30 PICCADILLY MANSIONS, 17 SHAFTESBURY AVENUE, LONDON, W.1. Telephone: GERRARD 2366 Advertisement Office : 5 and 6 RED LION SQUARE, LONDON, W.C.1. Telephone HOLBORN 4972
Volume Three : Number Nine.
APRIL-MAY, 1937.
Price Ninepence.
Filming the Sahara
T. A. GLOVER, F.R.G.S., A.R.P.S.
(Leader and Cameraman of the Capitol Films' Sahara Expedition)
Africa's eleven million, five-hundred-thousand square miles To give an indication of light values at the beginning
contain such a wealth of photogenic material that British of this article will save me referring to them again in the
Producers would be well advised to utilise it more to their text, and be of help to any photographer who may visit
advantage. For, while the journey there may be expen- these parts.
sive, crowds are cheap, and locations plentiful, favourably Using Kodak Super X stock, operating at normal
comparing in cash and production value with many loca- speed, and using filters 5 N 5 and 3 N 5, our exposures
tions nearer home. Photographically, weather conditions were fS and 111 respectively for normal development and
are perfect if the humid zones are avoided ; but even these work.
are good if the right season is chosen. The Capitol Films' Saharan Expedition left England
SUNRISE ON THE DESERT
I II E C I N E-T EC H N I CI AN
April-May, 1937
early in October, and its obj 1 ts were to reach Agades in the Central Sahara, and then' to join the Great Salt Caravan that trek> to Bilma, five hundred miles away. The shots we were to take were to be used in the Paul Robeson film, "Jericho." It was a task not easily undertaken, as time was limited, and Agades lay two thousand miles south of Algiers, our kicking-off point.
Strangely enough we left this North African Paris in a torrential downpoui (but it was the last rain we were destined to see until Victoria Station loomed out of the fog five months later).
Our two cars, laden until their springs bent in the wrong direction with camera-gear, rostrums, food, and camping-kit, set out on this hazardous Desert trek. Al- though those who are interested enough to look on maps of this section of the road will find it marked with hotels and petrol-pumps, there is no guarantee that at any given time they will reach any of them. For a few hundred miles the cars purred along a passably good road, but soon we ran into soft sand in which we laboured to free the cars that had embedded themselves axle deep in it, which, if exhausting, hardened us up for the difficulties which we knew lay ahead.
Hours were long, and we camped where the setting sun found us, taking time enough to snatch a hastily prepared meal before pushing on into the night to make up lost time. To add to our discomfort, our wheels disturbed clouds of red dust that covered everything we possessed, and it was with fear that we watched our cameras slowly but surely becoming covered with it. In spite of diffi- culties the miles were slowly left behind us. Over the long waterless stretches water was an additional weight added to our sadly overladen cars until we reached Agades, that French outpost and capital of Air, which has not advanced along the road of progress since I visited it in 1922.
Here we were informed that the rest of our journey must be undertaken by camel as the caravan route diverged from the motor road, which had not been crossed for a consider- able time, and was reported to be deeper in sand than the roads we had traversed. Ten thousand camels were to make the desert crossing to Bilma. Four hundred miles with only one water-hole, the Oasis of Fachi, where we would be able to replenish our supply of this precious fluid. Nevertheless we soon obtained thirty-five camels, and after we had loaded all our belongings upon them we were off, out into the blue, on the heels of our lumbering beasts.
Seventeen hours a day we rode, with only occasional halts for food, or when the saddles became too wearisome to plod along in the soft sand to ease our ache. Nothing disturbed the endless stretch of sand ; not a break in its flat surface until the fourth day, when we came to a mighty field of dunes, that extended across the country like a gigantic scar.
Two days beyond Fachi we halted to await the arrival of the caravan we had come so far to photograph. Like a black wave we saw them approaching ; at first, move- ment seemed to have been halted, we could see no anima- tion till they were upon us. Then they came, black wave upon black wave, extending East and West as far as the eye could see. The camels, tired and thirsty, groaned under their heavy loads of salt and dates that had been traded for cloth in Bilma. Added to which, fodder for man and beast had to be carried.
Theirs had been a dillieult journey, for sand-storms
had hampered their progress, and the native camelmen looked weary and jaded with their exertions.
Our task was now more trying, for not only had we to photograph this mighty host, but no sooner had we finished that work, than necessity forced us to be under way im- mediately to get ahead of the long columns that were fast disappearing into the horizon.
Fachi is indeed well named the City of Shadows. Man- wide streets run from each other in bewildering profusion ; its native population is a mixture of every black tribe that has passed this way. Once it was a rendezvous for all the desert raiders who played havoc with any caravan that passed its walls, and the natives' hard, villainous features confirm how few years have passed since to venture so far unarmed would be courting danger.
Fachi is built in a series of connected circles which fortified strength makes it obvious how Fachi has existed so long, hidden away as it is in the heart of the desert, and at one time subject to any raiding band that cared to take toll of it. Its walls, built of salt and sand, glitter in the noon-day sun. Outside its walls were collected thousands of camels resting before taking the last step of the journey back to Air. At night our cameras worked overtime, photographing this great camp with the aid of flares.
Mystified natives gazed at our strange equipment, a little disconcerted at our curious behaviour. It was fine to rest a day before pushing on into the Desert hours before the camp was awake to await them at the first suitable "set-up."
We had been forty days in the saddle, averaging seven- teen hours a day, and it was with relief that we saw the Mosque of Agades rise above the surrounding country — as if greeting us in return for a task well done.
We were tired, but happy !
Back Projection (continued /ruin page 5).
prove they are possible. Pictures that have had sui h apparently enormous backgrounds have invariably used two or more synchronised projectors side by side. Such scenes as large rooms with three big windows showing background beyond each, or wide landscapes on either side of a foreground clump of trees, are shot in this way.
It is, of course, physically possible to enlarge one frame to even more than the 350 diameters of the average theatre. But in so enlarging on the back-projection screen, the following insuperable disabilities arise:—
(a) Tremendous light loss at sides of screen ;
(b) Enormous magnification of grain ;
(c) Loss on contrast ;
(d) The amount of residual movement of the back-
ground (which is only detectable in relation to ,1 truly stationary object in front of the back- projection screen) is increased proportionately to the areas of magnification.
Talking on recent pictures, Mr. Dickinson praised the back-projection logging scenes in the Goldwyn picture. "Come And Get It," which he thought some of the besl he'd ever seen. It is interesting, he added, that the background of all these shots, with one exception, were snowscapes, and snow, of course, with its whiteness auto- matical^ gives that hard contrast we have found so essential to good back projection.
April-May, 1937
T II E C I N E-TECH N I (' I A N
3
5. The Unit : T. A. Glover (leader of the expedition and camera- man) ; Thornton Freedland (director); John Boyle (camera- man); K. Kettle well (assistant).
STILLS OF THE CAPITOL FILMS' SAHAKAN EXPEDITION.
4
THE CINE-TECH NTT IAN
April-May, 1937
Desmond Dickinson
talks on BACK PROJECTION (in an Interview)
"At Stoll's," said Mr. Dickinson, "we shoot a variety of pictures for a variety of companies. We have had a great deal of back-projection to do, with backgrounds of varying quality, and we have had some interesting pro- blems to solve. A perfect result, as for almost anything, requires infinite care, thought and patience. We have tried to apply these qualities, and our experiences may be useful to others."
The main initial problems fell under the following heads : —
(1) The "hot spot," or bright patch, in the centre of
the screen ;
(2) Insufficient light ;
(3) Lack of sharpness in the background.
These are remedied by introducing a thicker screen, thus diffusing the light more evenly. It might be thought that merely increasing the light on this thicker screen would provide exactly the same "hot spot" as before. But this is not so. Mr. Dickinson uses a 300 amp. arc with a 24-in. parabolic mirror focussing the light down to a circle H-in. in diameter. This intense light would, of course, not only burn the film, but melt the gate of the projector (which is an adapted Bell & Howell shuttlegate camera ensuring absolute steadiness). It is, of course, impossible to have the arc in the booth. It is, therefore, placed outside and the booth given a glass back. The only satisfactory cooling method was found to be an air system passing through a bath of liquid air, and blown on to the film in the gate. The coiled air-pipe in the liquid air bath can be raised and lowered to regulate the degree of coldness. It is thus possible to ensure that the film will not buckle. This is extremely important, as it means a dead sharp picture (in the absence of any other disturbing features).
Lack of sharpness is due usually to the back-projection screen being too far away from the next nearest thing in the shot (in a mid-shot this will probably be the artiste). This will have been done because of the necessity of shielding the screen from the spilled light from the lamps illuminating the actors and/or the set. If the projected background can be made intense enough, the spilled light will not have the same de-grading effect. In other words, provided the background print is made with a greater contrast than a normal print, and the light used for projection is very intense, the contrast of the projected background will be similar to that of a normal print with front lighting on the screen.
Working in this way enables the cameraman not only to put the artistes near the screen and keep the background sharp but also to light them from whatever angle is correct, even though the spilled light then hits the screen. This, of course, does not mean that you can train H.I. arcs straight at the artistes from the side of the camera !
Having satisfied himself as to the projection, Mr. Dickinson turned his attention to the backgrounds them- selves, lie sometimes found those he was asked to shoot were so bad as to be quite unusable. From his experience, he gives the following hints : —
Photography of Backgrounds.
(1) Use the
silenl -film aperture when shooting
backgrounds, so as to give the maximum size of frame. This will give, on the back-projection screen, as large a picture with less magnification. This, of course, has bearing, too, on the magnification of grain and the in- trinsic sharpness.
(2) We have found at Stoll's that stock known as special "background" stock gives better results because it is capable of giving slightly greater contrast with less grain size than ordinary panchromatic stock.
(3) In my experience, for stationary backgrounds the only camera that ensures rock-steady pictures seems to be either a Mitchell or a Bell & Howell Shuttlegate. In any case, the camera should be tested by shooting a double- exposure of crossed lines, the second exposure being taken from a very slightly different angle from the first and the amount of variation (if any) in the distance between any one line in the two exposures checked. This test should be shot on a portion of the roll of stock to be used in shooting the background, since the perforations may not be accurate. To ensure rigidity, it is valuable to insert expanding screw- jacks between the tilt and the pan-head (a practice common in U.S.A.).
(4) The focus must be pin-sharp.
(5) No gauzes should be used. A "beautiful" shot is not necessarily good for back-projection. The same shot, photographed to be less "beautiful" in texture, will be better for back-projection purposes.
(6) It is important not to over filter the sky ; a grey sky tends to give a dirty appearance to the composite. For travelling shots (such as from a car or train) which include trees or other objects covering most of the frame both vertically and horizontally, the sky can be absolutely white, in order to give contrast between foreground and background in the background itself. For backgrounds with large expanses of sky, such as wide plains (which do not lend themselves so readily to back-projection), the sky may be corrected slightly if there are woolly clouds breaking it up.
(7) The camera should always be level, unless any special angle effect is desired. When the camera is tilted for such effect, the exact angle should be noted with a view to the subsequent placing of artistes and properties in the studio. It is a help, before shooting a background in front of which artistes are to appear in mid-shot length in the composite, to stand people in the foreground in the positions those artistes will occupy, and to shoot a test. This will help greatly in fixing the baseline of the projected background when projected in the studio.
(8) It is necessary to get the size of the background correct — e.g., if the background is one of ears travelling, to go behind a foreground car in the studio, it should be known whether the composite is to take in the whole car or only the rear seat, and how much is to be seen around the ear.
Processing and Projection of Backgrounds.
(9) It is impossible, on the ordinary printing machine, to obtain from any negative a print which is steady to within some lOOOths of an inch. Such machines, of course,
April-May,
I II E (' I N E-T EC II N I C I AN
are quite accurate enough for theatre projection purposes, where such meticulous accuracy is not needed. They are accurate enough also for printing travelling backgrounds. But when the background to be printed is stationary, and will be compared by the eye with some foreground object which is truly stationary, it is essential to have the print made on an optical printer fitted with dowell pins, which will ensure absolute steadiness of the print (assuming, of course, steadiness in the original negative).
[Note. — When everything is mechanically perfect and the above points have been observed, it will be found that some street backgrounds are still unsteady. This, upon investigation, will be found to be due to shake of the surface of the street or pavement on which the camera was resting, due to traffic. Such shake, for example, will inevitably occur in backgrounds taken in a busy street where an underground railway is close to the surface. This, of course, can only be overcome by a change of camera- position).
Any back-projection machine which projects a really steady background is fitted with dowell-pins. All, or almost all, of these machines are made to take Bell cv Howell punch negative perforations. Therefore, the projection printer must be fitted with similar pins. And therefore it is necessary for the print to have the right kind of per- forations for the machine from which it is to be back- projected.
Prints which have been dried too quickly, and con- sequently have developed excessive shrinkage, may be found difficult or impossible to run in a shuttlegate pro- jector, because the shuttlegate is made to run film with perforations of a pitch of unprocessed film. Obviously
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nil processed film is slightly too short, but film which has been carefully processed will run perfectly and be rock- steady.
(10) The background must be of a quality that would look too hard if projected normally in a theatre, owing to the inevitable loss of contrast in the composite.
(11) For night backgrounds, very great contrast is essential, and if the shot includes any sky, the high-lights of any object also in the picture can safely be white. II necessary, the sky can be darkened when back-projecting by masking the top of the projected background between the projector and the screen. It is obvious that the edge of this mask can be as hard or as soft as required, according to its distance from the projector lens.
(12) It is a great help, when ordering prints, to tell the laboratory that they are for back-projection. Realising this, the laboratory will be sure to print to bring out contrast. Also (though this is not a rule and depends upon the subject) the print should be lighter than normal by two Bell and Howell printer lights.
Photography of Composite.
(13) No matter at what angle the background has been shot, the camera photographing the composite in the studio must be square to the screen. The angle of the composite is determined by the angle of the background, the artistes being placed in the studio in proper foreground relation to that background.
(14) Please, says Mr. Dickinson to producers, don't ask for a 60- ft. screen and quote American pictures to
( Continued on page 2).
THE CROWN THEATRE
PROVIDES STUDIO PROJECTION SERVICE AT ANY TIME TO SUIT YOUR CONVENIENCE.
TWO DOUBLE-HEADS, n FULL RANGE SOUND. □ n MIXING PANELS FOR TRACKS, n n n SEATING FOR 100 PERSONS, d d a a
86 WARDOUR ST., LONDON, w.i
Telephone Gerrard 5223
<s
T 11 E C I N E-TEC II N I CIA N
April-May, 1937
Harry Stradling comments on British Film Production
Without Fear or Favour
Having worked for the past eight months with one of the leading British film companies, I am now in the position to form impressions concerning the manner in which films are produced in England. These impressions, for what they are worth, are mainly favourable, but there are un- doubtedly some depressions as well.
As I trust that these depressions are rapidly passing away from the British Isles, I will attempt to describe them while they are still with us. A few months back when British studios were running at capacity there ap- peared to be a lack of studio electricians. I have found on many occasions electricians highly proficient in their own line but with no knowledge of studio technique working on the set. The result is that they have to be instructed while the film is in the process of being made, and this holds up production. Would it not be feasible to put them through a two or three weeks' course before allowing them on the set ?
Although this is out of my line, I have noticed that a picture is put into production before the scenario is properly finished. It is very praiseworthy to be optimistic and to say that everything will be all right in the end, but why not ensure this happy result by more preliminary pre- paration ? It is obvious that an extra week or so spent in preparation when overhead costs are comparatively low is better than a week of revision during the course of production when the overhead is extremely lofty.
In these days of talking pictures, a great deal of the pep, punch and vitality of the film depends on the dialogue. The dialogue should be bright, crisp and witty. It should be up and on its toes instead of dragging round flat-footed. The words should come trippingly off the tongue as slick as quicksilver.
Those of you who have seen "The Thin Man" and "It Hap- pened One Night" will understand what I mean. Take the sparkle out of the dialogue and remove the absurd little situations or hokum and what have you ?
Now, I am convinced that British films need not suffer from their present standard of dialogue. You have the writers with the necessary talent. I do suggest, however, that specialists, such as gag-men, should be available.
Referring one moment to the artistes, there is one point as a cameraman, that affects me. An experienced film actor understands his lighting. He knows that he must not wander outside the radius of the lighting that has been prepared for him and that he must not infringe on the lighting that has been prepared for other actors on the scene. This knowledge is part of his technique and he takes pains to acquire it. Miss Dietrich, with whom I have recently been working, has this knowledge of lighting to pei lection. She knows instinctively where to move and wluie to stop in order to catch the lighting to the besl effect. This, of course, is of immense help to the camera- man. In England you will find, with very few exceptions, that the artiste has not acquired this knowledge and does not sufficiently appreciate the assistance which the camera- man can gi\ e.
And now I have finished discussing the depressions. It is possible that many people will disagree with my criticism and it 1-- equally possible that I may be wrong.
Photograph l>y courtesy of London Film /'/
Cameraman Harry Stradling and Director Jacques Feyder on a location set in the grounds of Denham Studios.
but it is given in the most friendly spirit and with a sincere desire to be helpful.
Let us turn to the bright side of the picture. In my opinion, British photograph}' compares very favourably indeed with the American product. There are a number of British cameramen whom I could mention who are the equal of any of their opposite numbers in Hollywood. The camera crews, also, are excellent. There is one young lad I have in mind, still in his teens, who is the best that I have ever had working for me. I have nothing but praise for the equipment.
Perhaps I should award the fullest number of good marks to the laboratories. They are excellent. Their organisation is beyond reproach and the staff one hundred per cent, competent.*
Recently, while working on the "Knight Without Armour" picture, I have had to -hoot under all conditions
* Technicians will be interested to know tint "Knight Without Armour" was processed at Olympii Kine.
April-May, 1937
THE CINE-TECHNICIAN
of English weather — all the fifty-seven varieties. In spite uf drizzle and bad visibility, I was never dissatisfied with the results when they came from the laboratories. I confess that I have been filled with grim forebodings on occasions, but they turned out good prints every time. Dealing with low-key lighting stuff is pure jam to the British laboratorians — I claim no copyright for that word — and their work in this connection has been outstanding.
Generally speaking, I have found everybody connected with the studios delightfully easy to work with. There is a spirit of enthusiasm and friendliness in a British studio that makes it a pleasant place to work in.
It is said that British Films are going through a tough spot just now. American films nearly bust three times. Why worry ?
Technicians and Quota {continued from page $).
Government Surveillance and Control
The Association welcomes the Committee's recommend. 1- tions to prevent control of the British film industry passing abroad, and particularly its suggestion that :
"The Government should, as soon as may be, take such steps as may be practicable to encourage financial interests to constitute one or more organisations to finance British film production, in approved cases, on reasonable terms."
The industry, and particularly its employees, have suffered from the mushroom-like growth of production companies, several of whom have been unable to meet
their obligations, and on occasions have not even com- pleted a single production. Employees' salaries and wa are almost invariably in arrears on such occasions and there are no assets from which these can be recovered.
It is hoped that the Committee's suggestions will be adopted, and further, that some form of Fair-Wages Clause, such as certain Government Departments insert in their own contracts, will be one of the conditions of the granting of financial assistance to producers.
Employment of British Technicians
The Association docs not disagree with the recom- mended withdrawal of the proviso (embodied in the present Act) that the author of a scenario of a film to rank for quota must be British, since the clause has in practice been a dead-letter owing to difficulty of definition. But we regret that the Committee makes no reference to A.C.T.'s further suggestion that there should be instead a require- ment that not more than one foreign technician be em- ployed on any picture qualifying for quota. Foreign technicians who have come to England have not had to work on the despised "quickie." We do urge that an Act which is to aid the production of British pictures, and which will endeavour to make quota pictures good pictures, should also ensure that it is still the British technicians who make them. The British technician has had to make the "quickie." He should now be enabled, through legislation, to work on the better-quality quota picture, the production of which it is hoped will follow from a new Cinematograph Films Act.
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THE C I N E-TEC HNICI A N
April-May, [93^
Technicians and Quota
The leading organisations in the film industry — production, renting, exhibiting and labour have prepared and sub- mitted to the Board of Trade comments on the report of Lord Moyne's Committee which enquired into the position of the British film industry, having in mind the approach- ing expiry of the Cinematograph Films Act, 1927, and made recommendations with reference to the continuance of Quota. A general article on the Report appeared in our last issue. A.C.T.'s official memorandum is printed below. The support of members of Parliament is being sought in order to look after the Association's interests in the formulation of any Act which may be forthcoming.
THE principle of a film quota has always been wel- comed by British technicians. They are of the opinion that the Cinematograph Films Act, 1927, has been one of the main factors which has enabled the British film industry to grow as it has done during the past ten years. A feature of this growth has been the considerably increased employment of British persons. The Association of Cine-Technicians, representing the technical employees, consequently welcomes any report which recommends the continuance of a quota. The production of British films is the sole livelihood of our members, a class of persons which has developed alongside the growth of the industry. We, therefore, note with pleasure recommendations which will continue to provide employment for British persons and it is only in specific details that A.C.T. has comments to offer. These are confined to the question of quality ; the principle of British technicians actually working on British pictures produced mainly through Government protection ; and any recom- mendations which in the Association's opinion may affect working conditions and salaries.
Further, we should like to express our approval of the Committee's recommendation to extend quota to short films, particularly as certain types of shorts, and more especially the documentary films, have been made almost entirely by British labour and enhanced considerably the prestige of British technicians.
Quality
The Association welcomes the continuance of the quota and equally welcomes the recommendation that exhibitors' quota shall be less than renters' quota, as the choice to exhibitors allowed thereby is one contributing factor which will tend to improve quality, the competitive element having been strengthened.
A.C.T. stressed in its evidence, given bcloie the Com- mittee, the importance of quality, and ventured the opinion that bad quality pictures produced simply in order to fulfil renters' quota were bad simply because no effort had been made to make them otherwise. The making of "quickies" was, in our opinion, reflecting detrimentally on the British technician, not merely from the point of view of prestige, but also as production of this type of picture tended towards low salaries and bad working conditions for the technicians employed on them.
We, therefore, appreciate the attention which the Com- mittee lias paid to quality, but are of the opinion that the suggested viewing committee for .ill films is impracticable,
unsatisfactory, and potentially dangerous The Report
of the Committee states that :
"If it is possible for problems relating to cer ship of moral values of a film to be solved satisfactorily, there would seem to be nothing impracticable in arriving at a decision likely to command wide agree- ment on the much less controversial aspect of general quality." We cannot agree with this assumption. Many persons, both inside and outside the trade, will not agree that censorship values have been solved to the complete satis- faction of everyone. Further, we do not agree that general quality is much less controversial than the question of censorship. The Report says that "the entertainment value and general merits" is the quality to be assessed. We assume that "general merits" includes technical values. It is recommended that the viewing committee should consist of a "chairman and not less than two, or more than four, other members, all being entirely independent of any pro- fessional or pecuniary interests in any branch of the trade." We feel that such a Committee, with all the integrity and goodwill in the world, cannot be the best judges of value and merit.
The following are certain aspects of detailed criticism :—
(1) An expensive film may lack entertainment value
but be technically good — and a cheap picture may sometimes book to hundreds of halls though having little or no technical merit :
(2) We assume that the estimate of quality is to be a
fluid one, based at any one time on the standards of the pictures viewed in the preceding quarter. If this is, there is a probability that after a quarter of bad films the standards for the next quarter will be lowered. In such conditions, worse and worse films might be allowed quota ;
(3) If there is to be a fixed standard (since the Report
mentions a "minimum" standard) how can this be assessed ?
(4) British pictures desiring to rank for quota will
have to be shown to two committees (censor- ship and quality) before they can be trade shown. This seems excessive.
(5) Renters would have no guarantee that any of their
pictures, however expensive and ambitious, would qualify in the suggested circumstances. With the liability for the bigger Renter- rising to about 18 British pictures a year tins 1- ,1 serious point. A.C.T. feels, as it stressed in its evidence, that a cosl tesl is the most satisfactory quality safeguard, We appre- ciate that such a test has loopholes, but they can be safe- guarded against (suggestions in certain directions were made in our evidence). Such a quality test is much simplei to operate. If a film costs, saj £2 pei foot, it qualifies for quota. Otherwise it does not. There should still be a committee, but it should serve merely as a < ourl of Appeal to which films could be submitted whose cost does not reach the required level but whose producers el. dm thai their quality is such as to alone for thai lapse,
II V do urge the Board of Control, therefore, to reconsider /Ins particular recommendation very seriously before drafting a new Act.
(Continued on page 7).
April-May, 1937
T H E C I N K - T KCHNI C I A N
Square Eye
SQUARE EYE" is almost a sixth sense. It is peculiar to cameramen, many of whom view the world from an outlook entirely different from the rest of mankind, for even when they are not shooting that sixth sense makes them still regard life through that little glass square, which eliminates all that is unessential and all that is distracting or superfluous. This sixth sense is only now becoming evident in British films, although it has shown itself for many years in the American product.
Why do American films get there every time ? Why do they reign supreme while the films of the rest of the world lag behind ? Is it that the United States have pur- chased the cinema brains of the world, or is it for some much deeper reason ?
Looking through that little square for so many years has enabled me to centralise and concentrate on a given point, while eliminating everything that fails to register acutely. This practice and habit has taught me there is something more than a mere composition of a pleasing picture. "Square Eye" almost unconsciously, or at least subconsciously, teaches one to register on the emotions, or, to put it another way, teaches one to "photograph thought." With this in mind I am going to venture a few criticisms and also, I hope, some helpful constructional data on some of the major difficulties in making our British films take a proud place in the world's market.
The outstanding factor of American films is their sincerity. They are made from the heart, and utilise the violent emotions of life. The emotions that everyone can recognise and understand. They concentrate upon youth with a capital Y, a thing we all of us have or had, a thing we love to appreciate and try to keep, and those of us who are no longer young in years have still our memories of that happy time. Albert Samain, famous French poet, writing of Youth, says : "Memories are like a beautiful book, never to be finished, always to be picked up and read, never to be laid aside." This knack of being able to portray these emotions belongs to people who are sincere, and this is particularly true of American film people, no matter what the subject of their picture may be.
I saw an American picture some weeks ago — and case- hardened as I am by years of studio work, it made me cry, as it did most of the audience. It was not until the next day, when I held a technical post-mortem on the film, that I realised the story itself was utter tosh — but it made me cry ; it served its purpose in exciting my emotions while I was in the cinema. This film has definite emotional entertainment value, because even with its sentimental story, the director and the players gave from their very souls this sincerity, rarely seen in British films. In England, unfortunately, we are content to lag behind, giving, with a few exceptions, only a mediocre imitation of American technique. Too often our British films are packed with what I call camera fireworks, such as freakish shots and all sorts of "intellectual" monstrosities, while entirely over- looking the fundamental purpose of films, which is to arouse the emotions of the audience by the display of emotion on the screen. We have all of us seen films of this sort, and found that they lacked that sincerity, that power of giving straight from the heart, and we feel that the director has either his tongue in his cheek or is obsessed
By HENRY HARRIS
by his own brilliance. Either attitude is fatal, and this way of making pictures is going to send us back to that obscurity from which we are only now beginning to emerge Such a state of things should never be in a country like England, a land of culture, romance, beauty, the birthplace of some of the greatest artists in the world — the very soul of sincerity.
British films can only save themselves by ceasing to feebly copy the big American successes, by forgetting to make their films "camera conscious." Let us only copy the one thing that has made American pictures great — telling the story . . . their belief in the emotions. Let us go back to our traditions, to Shakespeare, Dickens, to drama, to telling our story sincerely, whole-heartedly, enthusiastically. We have a few directors in this country who have done all this, but others must follow their example, for these few, be they ever so brilliant, ever so untiring, cannot carry the whole British film industry on their shoulders.
Furthermore, we have got to create new technicians ; young men who show promise of being directors, etc., must be given a chance, so that they can, in time, put tire [Continued at foot of next page).
10
THE C INE-TECHN I < IAN
April-May, 1937
Stanley G. Double on
REDUCTION OF NOISE IN FRACTIONAL H.P. MOTORS
MOTOR designers, in view of the increasing demand for drives of small horse-power, have lately given increasing attention to improving motors of up to one horse-power, and in the latest types no commutator or complicated short-circuiting mechanism is used, so that a potential source of trouble on single-phase motors is eliminated. The absence of brushes is also an important point when considering the maintenance of these small motors. The high-starting torque which is developed by fractional horse-power motors of the split-phase type makes them suitable for driving domestic apparatus. Split- phase motors are also suitable for many other applications when the maximum starting-torque required does not exceed 125 per cent, of full-load torque. The starting winding is switched out of circuit automatically as the motor attains full speed by means of a centrifugal switch. The rotating position of the single-acting centrifugal switch is mounted on the rotor shaft, and the switch is free from any rubbing contact at standstill or at full speed, rubbing only taking place for an instant at about 75 per cent, of full-load speed. This is, in fact, the only moving con- tact on the entire motor.
Fractional horse-motors de- signed for capacitor-starting and capacitor-running have many ad- vantages when compared with other types of single-phase motors. The condensers are of the solid- dielectic, hermetically sealed type, and a special arrangement of con- nections is adopted. The con- densers are in circuit throughout the starting and running periods ; thus silent running with minimum radio interference is ensured.
These capacitor-type fractional H.P. motors are often used on Moviolas and are found to stand up to the heavy duties required of them, the contacts requiring attention say every 3-4 months, and renewal on experience every 18 months.
One of the problems upon which motor designers have been concentrating for the past few years is that of reducing noise. Although the noise produced by good quality fractional horse-power motors has never been excessive, the fact that they are nearly always working in confined spaces and are in many cases used for domestic purposes, accentuates the objectionable character of such noises. To solve this problem there is now being put forward a fractional horse-power motor which is said to be one of the quietest iii operation. Although it is impossible to build electric motors absolutely free from noise, it is possible to minimise the noise which is inherent in any type of motor. It is far more important, however, to
STANLEY
prevent the transmission of noise through the driven machinery, when greater amplification may arise. Since noise is often largely due to the location of the motor, the first step is to isolate the motor frame from its drive, and from the base framework. The most effective way of isolating the frame is by mounting it on rubber cushions, placed round the bearings of the motor.
Another source of noise in some machines has been the end-bumping of the rotor shaft shoulder against the bearing, often caused by minute inaccuracies in alignment of the drive. The rotor end-play in the new motors is controlled by an indestructible steel diaphragm allied to a cushioning device, which eliminates end-bumping.
When belt-drive is applied, noise is sometimes caused by incorrect tension of the belt. This not only causes noise but results in excessive wear of the belt and bearings on both driven and driving machine. The machine, rubber-mounted in an inner base, is pivoted in an outer base. The belt tension is provided by torque reaction about the outer base- pivots, and the result is that the belt is always at just sufficient tension to transmit the load with maximum efficiency, being auto- matically tightened for heavy starting loads, but slackened again for normal running.
In the normal belt drive, the belt must be of such tension as to transmit the starting load, which, on such devices as com- pressors, is sometimes in the nature of three times the normal running load. A fixed belt must, therefore, be of sufficient tension to take the starting load, other wise slipping will occur starting.
DOUBLE
during
Square Eye {continued from preceding pa
soul of England on the screen, something that will stamp our films with a national spirit and "Tell the WORLD." This, to my mind, is a better proposition than importing a lot of foreigners, many of whom are "washed up" in their own country.
And, as a start, let our British producers discard those sliding cameras, those very odd angles, and all their silly little stunts, which, unless used for a very definite reason, mean nothing to the picture. And let us gel hack to the fundamentals of making pictures with that enthusiastic sincerity for which I have been pleading.
April-May, i<)37
T II E C I N E-T EC HNICI AN
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12
T H E C I N E -TE C H N I (" I AN
April-May, i
Cinema Lo
Producer- Renter- Exhibitor Combines.
Production losses claimed to have been made by Producer-Renter-Exhibitor combines rather point to too man}' book entries and not enough cash passing between production and theatre departments. It is no good making; expensive pictures and then selling them cheaply to your own theatres. You can't make the profit out of the rest of the exhibitors. Also, those people who are in a position to know what their patrons want and to distribute their product on very economical terms, go on for years making films that they know must make a loss.
France and Italy in Film Pact.
An agreement has been signed between France and Irak' for the exchange of films, giving France right to export twelve films to Italy in exchange for eight Italian.
- ,::ed between Charge d'Affaires Count Blondil and Minister of Foreign Affairs Count Ciano. Exact film lengths and monetary stipulations are not yet to hand. Perhaps Mr. Neville Kearney, of the F.B.I. Film Group, will find time to look into the British film interests. A spot of export would be very welcome, particularly at the present time.
G.B. Finance.
The following details will be of help to readers in follow- ing the present G.B. crisis.
Passing dividend of preference shareholders would raise questions of voting control. If preference dividend is six months in arrears, these shareholders have one vote for every CI share held.
G.B. Preference Capital of £3,250,000 against Ordinary
Capital of 5,000,000 10 - voting shares. 2,915,000 of these
are held by Metropolis and Bradford Trust, and majority of
A' ordinary voting shares of this Trust are held by the
Ostrer Bros.
Passing of dividend would give voting power to Pre- ference shareholders to wrest control from Metropolis and Bradford Trust and American interests, if supported by privately-owned ordinary shareholders who are opposed to present control, on account of the passing of last year's dividend.
Voting position would then be Metropolis and Bradford Trust 2,915,000 votes. Preference shares 3,250,000 voti - Ordinary shares 2, 085, DUO v • ■ - Giving anti-control majority, subject to considerable modification of 1,420. I
India.
Paul Perry, American cinematographer, writes that he was surprised at the motion picture activity in India. Says there are over fifty studios making 300 pictures a year. Fi iture films run from eight to fifteen reels. Bombay is India's film centre, with Calcutta second. Bombay Talkies most important — heads of departments are
man ; these include directors, cameramen, sound, laboratory men and art director-.
Film City Studio lease studio space in Bombay : Im- perial Pictures make cinecolor pictures ; in Poona, Wadias
By KENNETH GORDON
Films and Prabhats have studios. Northern India has a large studio owned by the East India Film Co.
Modern automatic developing machines are used of European make. Cameras are about fifty-fifty British and American. The same applies to the lighting equip- ment. Sound is nearly all American. Cutting plant is mixed. There is still a big opening for equipment — it's up to you British equipment manufacturers, and there may be a chance for a spot of British labour.
Joe back at Elstree.
Had a chat with that old-timer, Joe Bamberger, who tells me that he has again taken over the J.H. Studios at Elstree and is busy getting together equipment to bring it up to date : says he is not quite sure yet what he is going to do there, but I know Joe, and it is a safe bet to sav you'll be hearing about him soon. First met him before the war, when he was running the Francis Claire & Bam- berger Enterprises, who had their studios in the Crvstal Palace. He taught me a lot for which I am thankful, so we will sav "Good luck, Joe."
A Good Time coming to Beaconsfield.
Tudor Films, under the direction of the Marquess of Ely, have taken a long lease on the British Lion Beacons- field Studios, where they will shortly transfer their pro- duction activities. They have been filming at Highbury studios.
News from Strand Films.
R. Bond, member of A.C.T. General Council, has nearly completed his first directorial effort for Strand Films.
The film, which is being made in conjunction with the National Council of Social Services and the Land Settle- ment Association, deals both with the depressed areas and with rural communitv life and takes the form of a "story" documentary. Real people are cast as characters, but, contrary to previous documentary work, a considerable part of the film was shot in the studios.
Considerable progress has been made by this new Company, which, in their first year of production, have made 14 films. "Cover to Cover," the film of books and writers, is now having a wide showing, after a ten we< - West End run. Four films about London — "Rooftops." "Statue Parade," "London Wakes Up" and "People in the Park" are being especially successful. "The Way to the Sea'' recently received its London premiere.
Bond's film is one of 12 new films that Strand have in production for 1937 (3 more are being scripted).
Financial Chat.
Overheard in Wardour Street :
"What's the financial standing of Artful Studios? " "Quite good, old man, I have always found they pay cash on receipt of writ."
April-Ma
ig:
THE CINE-TECHNICI A N
VA
Growth of Camera Hire Service.
Mr. Shaw Jones, an A.C.T. member, started profes- sionally some six years ago as a still photographer to a Rockefeller Expedition on Anthropology in Central East Africa. Since then he has worked in several film studios and short film production companies in various capacities, finally settling down as a cameraman, specialising in exteriors.
His experience made it evident that there was a con- tinuous demand for good silent cameras for use over short periods. After using several makes of camera, experience proved that the Newman Sinclair Autokine was the best and the one Newman Sinclair in his possession had often been let out to various firms urgently in need of a camera. Frequently the demand could not be met, and in this way the idea of a camera hire service was evolved. It was decided to specialise in Newman Sinclairs, and in September, 1936, the Shaw Jones Camera Hire Service was started.
The idea worked well and further cameras were added to meet the demand. After six months the equipment has grown to a fleet of eight Newman Sinclairs, each one complete with a selection of lenses, etc. In order not to disappoint clients, it was decided to supply only the very latest equipment and each of the seven new cameras added to the fleet came straight from Newman and Sinclair workshops.
As the business expanded, cameras were provided for work in the Sahara, the Mediterranean, the Antarctic and even Piccadilly Circus. Calls frequently came through in the small hours of the night and a "day and night" service is now instituted.
These cameras, maintained under the personal super- vision of an expert cinematographer, ensure that they are in perfect condition at a moment's notice. Those who work with hired tools know how important this is.
Sit-Down Strike of Kids.
Let down, when Western thriller failed to arrive on time, hundred Lewistown, Montana, youngsters staged sit-down strike in local picture theatre.
Manager had to give them tickets for another perfor- mance after kiddies had stayed all day and well into night. No doubt action will be taken for damages against Renter.
Real Economy.
I like the press report of one of the leading British film companies. Finding it necessary to cut down expenses by thousands of pounds a year, its first economy measure has been taken. From now on, members of the staff will have to pay twopence a cup for their afternoon tea (formerly free) and will have to provide their own towels, with a charge imposed of twopence a week for laundering.
Technically Speaking.
A newly-promoted circuit supervisor is lecturing engineers on sound equipment. At last very fed-up listener stands up and suggests that theatre sound can only be improved by the addition of Oxmeters to the various circuits. Supervisor, full of enthusiasm, assures proposer that this shall be added to every theatre in circuit at once and congratulates him on suggestion. Another engineer stands up, enquiring exact function of instrument, when original proposer explains simply for measuring Bull — .
Western Electric Introduce Mirrophonic Sound
Coinciding with their tenth anniversary, Western Electric introduced to the British film industry Mirrophonic sound. A series of demonstrations were given in London and the provinces, and at once the new system was acclaimed by exhibitors, renters and producers alike.
With marked unanimity, the industry welcomed Mirro- phonic, and within a few days after the first London demon- stration, orders for its installation were taken. In the case of one Midland cinema, the new equipment was in- stalled exactly a fortnight after the theatre had opened to the general public.
For the purposes of the demonstration, Western Electric screened excerpts from a number of current films that wen; considered particularly suitable, and the results were truly amazing. From a sequence of "Born to Dance," Eleanor Powell's tap dancing beats could be clearly heard above the sound of a large band, while in striking contrast was Charles Laughton's recitation of the twenty-third Psalm from "Rembrandt", which was reproduced in a remarkably effective half-whisper. It needs to be emphasised here that no special recording was undertaken in connection with the demonstration.
The name Mirrophonic was chosen, because any sound can be recorded as faithfully as a reflection in a mirror, while the outstanding features of the system are versatility, clarity and audio verity.
Modifications and additions can be made to existing reproducer sets, and new amplifiers of advanced design are introduced for new installations, and necessary modifi- cations or additions to existing ones.
If an existing installation is converted, sound heads will require new lens assemblies and new drives. If these are already fitted, as in the case of Wide Range, it will not be necessary to carry out any further modification other than to the photoelectric cell amplifiers.
A new range of amplifiers of advanced design are used in Mirrophonic systems, all of which are A.C. operated, and in addition there is employed for the first time a "Harmonic Suppressor." This may be compared to an electrical governor which automatically causes the amplifier to maintain constant quality, free from distortion, over an output range so enormous that the loudest sounds heard in the theatre may exceed the weakest by more than 100,000,000 times.
All parts of the circuits in new amplifiers requiring adjustments can be checked by means of a selector switch associated with a "Percentage Meter," graduated to read percentages of the normal or correct value. All the operator need do when checking valves is to turn the selector switch to whichever valve he requires to test and read the percentage meter, which should show a reading of 100"o for a valve with satisfactory emission.
The Mirrophonic equipment employs an entirely new horn system, the Di-phonic loud speaker, which was developed by Dr. Harvey Fletcher of the Bell Telephone Laboratories. The Di-phonic loud speaker is a two-way combination which employs a low frequency combination of baffle and dynamic speakers of the cone type for re- production of frequencies below 300 cycles, and a multi- cellular horn system with dynamic units for the repro- duction of frequencies over 300 cycles.
14
THE (IX E-T E( II X I C I A X
April-May, 11,37
Experiences of an Amateur Film Maker
By W. N. McLAREN
At a meeting oj The Royal Photographic Society on December 8th, 1936, Mr. W. .V. McLaren, an A.C.T. member, gave the following account {reprinted from "The Photo- graphic Journal," by kind permission of the Editor) of his experiences as an amateur, and showed two films made when he was a student of the Glasgow School of Art. The meeting was held in connection with the Exhibition of Kinematography , and was arranged by the Association oj Cine-Technicians.
I WAS an amateur for about four years before becoming a professional, and in my spare time I still carry on amateur work on sub-standard film, because, although an amateur is limited in technical equipment, he has a freedom in certain respects which is not possessed by a professional. He has a freedom of choice of subject matter and treatment of subject matter, and there is no censorship of 16 mm. film. The only dictatorship that exists in the case of the amateur is the dictatorship of a limitation of technical means ; but that in itself is not a bad thing. Often limited resources call forth greater ingenuity in the
Dancing Patterns as background for Rumba Dance ,
amateur ; circumstances encourage him to think of fresh ways of doing things which, if he had more resources, he would not consider.
I am going to show you two of the films that I had a part in making and to describe very briefly my experiences as an amateur with an amateur group.' When I was a student at the Glasgow School of Art there was an amateur group composed of about four people, who were very en- thusiastic and willing to devote all their spare time to making films, and there were also about a dozen people who were interested and anxious to help. We had one Cine- Kodak, a B.I',. Junior model, with a 50-ft. capacity and a 1.9 Kodak anastigmat lens. We had for lighting equip- ment two 1000 watt lamps in stands and reflectors. We had to work within MO.
The first question we had to decide was the subject matter of our film. There were a hundred and one sug- gestions made, because, like all amateurs who are about to make a first film, we did not realise the difficulties. After much discussion, I managed to convince the rest of the group that we should treat the material at our own doorstep, for the very good reason that we knew this subject matter well, it would be easy and cheap to film.
South American Tango
and we should be working amongst people whom we knew and could rely on for co-operation. There were about four hundred students in the Art School, and the institution catered for all branches of art — painting, sculpture, design, architecture, lithography, pottery, embroidery, metal work, modelling, and so forth. That was a very wide and varied subject matter from which to choose, and we thought of many different ways of treating it. We could deal with the subject matter in an impressionist way ; we could treat it in an instructional way, by taking one particular subject in the school and showing the processes involved in that subject ; we could treat it in a sociological way, by showing the school in its relation to society, the function that it has as an institution, and in an historical way, by showing how the art students and artists had in previous centuries served the dominant ruling class, such as the Church, at one time, then the aristocracy, then the rising merchant class, and to-day, the industrialists and manufacturers, and showing how the Art School curriculum is adjusted to suit its present function and also how there are in the curriculum to-day, remnants of outworn functions of former centuries. For our first film we chose the simplest method, an impressionistic treatment of subject. Thus our purpose was not to show the exact nature of a process, as in an educational film, or the accurate relationship of a set of factors to a situation, as in a sociological film ; our purpose
From the Waltz
April-May, 1937
THE CINE-TECHNICIAN
\r
SHAW JONES'
DAY & NIGHT
CAMERA HIRE
SERVICE
'SHAW JONES also undertakes Camera Work."
npHE Fleet consists of eight new and completely up-to-date Newman Sinclair Cameras. Each equipment has at least 4 Magazines ; Tripod ; Viewfinder corrected for Parallax ; a selection of Lenses ranging from 1 \ in. to 17 in.; usual Filters; Filter and Gauze Holders; Leather Carrying Cases, etc. Some also include Reflex Finders ; Telephoto Lenses ; Polar Screens ; Court Treat Release and Loading Bags.
The Equipments have been engaged on Productions
by the following :
Herbert Wilcox Productions Ltd.
March of Time.
Capitol Film Corporation Ltd.
Pinewood Studios.
British Antarctic Expedition for 1937.
Neville Clerk Productions Ltd.
Stafford Studios Ltd.
Wainwright Productions Ltd.
G.M.P. Productions Ltd.
Educational and General Services Ltd.
George Smith Productions Ltd.
Norman's Film Library.
Gee Films.
Stoll Picture Productions.
Widgey R. Newman Productions.
T.H. Productions Ltd.
Butcher's Film Service Ltd.
Etc., etc.
2 Minutes \ 'Phone
49 Greek St., London, W. I GLR)
GER. 6716
Day and Night.
[6
T II E ( I N I. I E( HNICIAN
April-May, [937
was simply to make an interesting pattern of visual material. Our idea was to give an impression rather than an explana- tion of the subject.
(.1//-. McLaren then showed his first film)
The scenario of that film took a week to plan. It was composed, to begin with, of a series of very small drawings, a rough sketch for each shot. Every drawing fixed a particular angle, distance and lighting.
Then, mentally, I timed the action of each shot and put down against each drawing its exact duration in seconds. By the end of the week I had a very tight script visualised, and timed in every detail. For amateurs, I think the following is very sound advice.
Think before shooting rather than after shooting. This will save time and — which is even more important to amateurs — it will save stock.
The shooting took three weeks ; there were three of us engaged on it. We worked in the evenings during those three weeks. In 90 per cent, of the film we kept strictly to the scenario, and only in 10 per cent, did we depart from it, when we found that the actual handling of the situation suggested a course of action which we had not thought of before.
We always aimed at using lighting to emphasise our points. For instance, when we were taking a shot of pottery, we illuminated it in such a way as to show up the rotundity of the pot. When we were shooting a student's hand painting on a canvas, if we wanted to emphasise what he was painting on the canvas we lit the hand in a flat manner and the canvas more brightly than the hand. Whereas, if we wanted to emphasise the movement of his hand or the way he held the brush, we lit his hand in a modelled manner and more brilliantly than the canvas. Again, in a shot of the polishing of a piece of metalwork we arranged the lighting to achieve the maximum specular reflection.
As to the duration of each shot, we aimed at avoiding the slightest redundancv at either end. When shooting we calculated in terms of seconds. When editing we reckoned in terms of frames.
The editing of the film took one week, and amounted to a purely mechanical job. We had shot according to script, and as a result had only 20-ft. of scrap in a 400-ft. film. With the film finished we were only £8 out of pocket.
The next film you are going to see took a very different course. It was our second film, and it was shot with quite a different camera. A comparison of the film you have just seen with the one I am now going to show you, brings out very vividly the difference of treatment caused by the use of a different camera. We were working with a < ine-Kodak special camera, a very efficient in- strument which has dozens of gadgets all over it for trick work and special effects. To use it after the ordinary Cine-Kodak was like playing on an electric organ after tootling on a tin whistle; and our first impulse was to press all the stops and use all the gadgets. I was so enamoured with the possibilities of the Cine-Kodak Special that I designed a film specially to exploit all the possibilities of such a camera. The film, when finished, was appro- priately called "Camera Makes Whoopee."
The film took about nine months to make and had a very fluid script. We shot about 900 It., 7(H) ft. oi which we used, so that we had a 'M) per cent, scrap, due to .1 much less tight script. We also tried out sound effects lor the liist time on sound discs, built our own recording apparatus and cut our own records. To cut our final sound dis< s
we used three channels, fed simultaneously by a microphone and two turntables.
The theme of the film was the Christmas Carnival Ball, .1! the Glasgow School of Art, a subject specially chosen to justify extravagant use of trick work.
All the superimpositions, dissolves, bisected frames and effects were done m the camera. We were to a certain extent working blind. In many of the shots we super- imposed about seven or eight times and had to plan it all out very carefully before taking the shot.
(Mr. McLaren then showed his second film)
In reply to questions, Mr. McLaren said the method by which the musical instruments got into the cases was by the usual single frame animation process. First of all, the instruments were tied on threads and lowered into their 1 ases, but the threads snapped, so the method was adopted of moving each instrument a fraction of an inch and then photographing it, and repeating that process until the wLole movement was completed. A great deal of money had been saved by using very cheap sets. None of the film was photographed at the ball ; that had been tried, but the material obtained was found to be no use, so it was all built up afterwards.
Sprechen Sie Deutsch ?
QIX thousand miles from Hollywood, he came, to this
O proud shore,
To film a British epic, upon a British "floor."
The studio, to greet him, presented a brave sight,
Bedecked with flags and Union Jacks, to symbolise our
might. Upon the set, he asked the camera artiste— "If you
please "
But, "Me no spleekee Engleesh," replied that quaint
Chinese. So, with a hopeless gesture, he approached the leading
man, Who merely shrugged his shoulders, for he came from
Japan. Then he tried the lighting expert, and to him a mouthful
spilt, Though he guessed him either Greek or Scot, because he
wore a kilt. So he rounded up the clapper-boy and muttered, "Listen,
Bill, Are these guys nuts r The boy replied, "I, too, am
from Brazil." The leading lady chatted with some friends upon a bench. But the gist of it was lost on him, because lie spoke no
French. He tried the "props" and "make-up." and delivered them
his sermon, But they looked askance ami murmured, "You undress
us, plees, in German." He tore his hair, while 111 his hand the script he kept on
crushin', Then, with a yell, cried, "What the hell, the darned
thing's all in Russian ! " lie raised his voice, in language new unlit tor repro- duction, Which, censored and in mildest Eorm, was:
British production."
(Reprinted from the Kinetnatograph Weekly, b\ kind permission oi the Editor).
April-May, iq_i7
T 11 E (' I N E -T E CHNICIA N
17
The Key to the Door
By REG. BARTLETT, The Newly-appointed A.C.T. Organiser
THE growth and progress of any such organisation as ours is marked by definite stages of development ; closely resembling our own individual human attainment of wisdom and stature.
Eirst comes the period of early infancy, accompanied by the devoted nursing and self-sacrificing attention of the parent pioneers.
Our infant grows : its youth is a period of difficulties and adjustments, of conditioning by the influence of its environment. Expansion is often accompanied by growing pains. Mistakes are made, and the lessons of experience are assimilated.
Then a further phase is reached, and our young or- ganisation becomes conscious of approaching maturity. It is now time to put away many childish things, for there are serious responsibilities to be assumed.
Perhaps we can all agree that this significant stage in itself but the very beginning of tilings — has now been achieved in the natural existence of our Association. A.C.T. has grown up, and we are in a position to claim the key to the door !
77 is a very important key. ft opens the door to all-round agreements, regulating decent conditions for our me in tiers throughout every department of the film industry — studio, laboratory and newsreel— which is covered by our Association.
Well, we have claimed that key, and we are opening that door. Let us pause for a few minutes on the threshold for a little healthy introspection and self-criticism. What are the responsibilities that we must be expected to assume, to ourselves no less than to those with whom we seek co-operative agreement ? Perhaps if we can get to know ourselves a little better, we can acquire a higher standard of self-discipline ; and nothing but good can come of it if we grow more self-conscious as an Association.
Now the first point which occurs to us concerns our quantitative membership. We can congratulate ourselves on now having enrolled in our ranks the majority of tech- nicians in the majority of studios, laboratories and newsreel companies, many of which are now 100% organised. This is good ; but it is net enough. Nothing less than \^'\, of all available technicians throughout the industry must be our standard.
It is here that a definite responsibility devolves upon every member.
You don't have to be a leading member of your appro- priate committee before you interest yourself in the all- important task of winning further members for the Associa- tion. Are you working with any non-A.C.T. colleagues ? If so, is it in spite of the fact that you have attempted to persuade them of the advantages of joining ; or because you have tended to neglect your primary responsibility as a member ?
After all, it is to be assumed that every member joined in the fundamental belief in an Association, which would further the common interests of a small but important section of the community. Surely it is but a step half- taken if membership is not followed by discussion with those who are not yet associates. (I know it sounds very obvious; but it does seem apparent also that there are
REG. BARTLETT
members who tend to see their organisation, not as an association of cine-technicians with common interests and objectives, but rather in the light of a central nucleus attached to a host of hermits by separate communication channels, each of which is utilised for the one-way passage of subscriptions. This is a definitely unhealthy con- ception).
The question of mere numbers thus seems to have led us to the much more important aspect of the quality of our membership, in the mass. I think we should measure that quality in terms of organisational unity. Quite frankly, some of our (numerically) strongest units have need of adjustment in this respect, and 1 am sure thai we can all benefit by briefly running over a lew of the essentials of adequate organisation before passing through thai door which opens upon new and greater responsibilities.
How many of us can say that we have a thorough working knowledge of the rules and regulations governing our Association ? And how many of us have consciously broken any of the rules
If we regard our rules book mcivK as a rough working guide, then the result will only be expressed in various forms of disorganisation— in serious arrears of contributions,
18
THE CINE- T E CHNI C T A N
April-May, [937
in the neglect of common responsibilities, in increasing apathy and a generally disheartened attitude.
Let us be frank. The responsibility of organisation rests primarily upon the General Council, the highest executive committee of the Association. At this moment of self-searching it is necessary to admit that in the past the responsibility of maintaining the strict observance of the rules has not always been adequately shouldered. But to-day the General Council is fully alive to its responsibility, and the rules that govern our internal organisation, as amended and improved upon from time to time, hence- forward will be rigidly observed.
These questions should now be engaging the attention of every member. What is your viewpoint ? Much more important, how are you expressing it ? Let us hear your voice, and your committee's voice, at the next General Meeting.
This brings us to the question of our essential local studio or other committees. The prime importance of these basic committees cannot be overstressed . They are relatively much more important than the General Council, for unless this body is supported upon a solid basis of functioning re- presentative committees, then it becomes a junta divorced from the membership.
However difficult it may appear in a few special cases to set up efficient representative studio committees, the problem must be tackled and overcome. How can any section of our membership take the Association seriously if they find themselves isolated and unrepresented in their own studio, for the lack of an efficient committee and regular personal contact with headquarters ? Then let us agree that the formation or strengthening of our local
committees is our really urgent necessity. Our immediate aim must be no less than this — in every studio, in every laboratory and newsreel unit, a strong, correctly functioning committee.
What is a correctly functioning committee ? Naturally we must be flexible enough to adapt ourselves to local conditions, but the following essentials should, I think be observed : —
Firstly, correct balance. Every department should be represented. Then the committee can speak with the voice of the entire membership.
Then meetings should be held regularly. They should be brief and to the point. Watch this carefullv. A de- generation to rambling studio conferences marks the be- ginning of the end of efficient committee work.
It follows that a definite agenda should be adopted. It should always include such important points as local departmental problems and the recruitment of backward members. Regular reports back from the higher com- mittees should be taken. And, therefore, another essential is the regular delegation of at least one representative to the weekly General Council meetings.
Simple points, all these, and obvious ones, surely ! In their practical realisation, however, we naturally encounter little difficulties and obstructions.
If we can agree that our self-criticisms were justified, if we can appreciate the real need for a little more self- discipline and co-operative effort, if we can shoulder our increased responsibilities in the period that immediately opens before us, then we can laugh at all difficulties.
And all the quicker can we step through that door that leads to all the things that we believe in, and that we are banded together to achieve.
NEW EQUIPMENT
We print below illustrations of photographic (stills) and of the apparatus. The other is a Western Electric Mixer
sound equipment which have come to hand from the Wagon showing "QB" recording channel.
G.E.C. and Western Electric, respectively. One illustrates
typical G.E.C. Photographic Studio Lighting Equipment t
shewing easily portable distribution box for safe handling
April-May, i<)37
T HE CINE T E CHNICI A N
IV
OUR VAST EXPERIENCE HAS TAUGHT US THAT THE
"AMERICAN MOVIOLA"
IS THE MOST EFFICIENT AND UNIVERSALLY USED
WE HAVE INSTALLED THESE AMERICAN MOVIOLAS WITH OTHER MODERN EQUIPMENT AND THE PRICE FOR HIRING OUR PRIVATE EDITING BAYS REMAINS THE SAME
A CUTTING ROOM IN
1900
1957
86 88 WARDOUR STREET LONDON, W.I
GER. 6413 and 7481
VORMAHS
a warn 1 1 1 1 1 n —
fILM LIBRARY fILM DESPATCH EDITING fiAYS
86 88 WARDOUR STREET LONDON, W.I
GER. 6413 and 7481
20
THE CINE-TECHNICIAN
April-May, [937
Crowned Heads and Others
Twenty-five Years with Pathe Gazette
FRANK A. BASSILL
DURING the years' service which I have had with the Pathe Gazette Newsreel, I have a sincere and sentimental respect for the friendships I have made during that period, and the newsreel to which I have been .11 1 ,K lied for so long.
To give a record of twenty-five years in the same news- ier] is perhaps similar to sitting with a crowd of chaps after a re-union dinner and searching over memories to find stories which we hope are new, but there are certain fai ts in that period which will remain with me for ever.
In the service of the Gazette I have been sent to nearly every country on the Continent, Egypt and India, and events crowd only too quickly into my mind when I recall these various incidents, but there is one thing which I am quite certain of, and that is that there is every bit as much romance and strangeness in real life as in fiction. I can sympathise with the chap who goes to his office at 9 o'clock in the morning and remains until 6 o'clock, from January until December. However, one must realise that there are two sides to every question and we, of course, onlv remember the good and forget the other side.
I joined the Pathe Gazette on November 11th, 1911, on the day the late King George V. left England on the "Medina" for India. On the same date in 1918, as an Official Cinematographer in France, I was called to the Town Major's office in Cambrai to make a picture of General Sir Douglas Haig and his army commanders. On this occasion they were gathered together as the Armistice had been signed. The same evening I was among the German patrols outside Enghien in Belgium, and was asked by one named Schmidt to take over some guns. He said that he would be back at the Ritz Hotel in London in a month. On returning to G.H.Q., I was informed that I had broken the terms <>f the Convention of Armistice, and was threatened with Court Martial, as the following communication shows : —
With reference to your C.P. (/>) of 16th inst., I have the honour to report that Lieuts. E. Brooks and T. Aitken,
Shooting a Tiger Hunt.
Shooting an Earthquake, New Marble Hills, Italy.
Official Photographers, and Messrs. F. A. Bassill and F. L. Wilson, Official Cinematographers, proceeded from Lille on the 14th instant with orders to accompany the Allied advance to Brussels and record the entry of the King of the Belgians, which was understood to have been fixed for the 15th. I understood that Messrs. Brooks and Wilson would go by Courtrai and Ghent and the other party by Tournai and Ath, but it appears they went together by the Tournai road to Enghien, where in the wake of some other British cars they passed the sentries and unexpectedly found themselves face to face with a party of Germans. As they were in a narrow road where it was difficult to turn their cars, they appear to have made the best of a bad situation, but it is regretted that photographs were taken ; these will be destroyed.
The party returned to Enghien, where they passed the night 14th 15th, they appear to have met a D.A.P.M. oi the L Army Corps. On the 15th they again advanced towards Hal and again took photographs of German troops.
The whole of this affair, though in direct contravention of my instructions that no car was to go beyond the Allied line, must be regarded as in implicit obedience to the general order that the party were to arrive in Brussels immediately after King Albert.
I should, however, feel bound to request that these four gentlemen be tried by General Court Martial but for two considerations, viz. : — Lieut. Aitken having this d.w proceeded to England on duty (and being about to resign his commission on grounds oi ill-health, greatly aggravated by his devotion to duty during the continuance of hostility - . while Messrs. Bassill and Wilson are attached to this Section l>\ the Ministry oi Information. It follows that Lieut. Brooks and the A.S.C. Drivers are liable to incur all the blame, although the responsibility for this foolish action is equally shared by the four operators concerned. In the second place, 1 feel that more harm is likely to arise from the publication of this story than was probably done by the actual adventure.
thoroughly aware oi the oily, and 1 hope thai you
These gentlemen are now possible consequences oi their
April-May, 1937
T II E C I N E-T ECHNICI AN
'J I
WAR-TIME PHOTOGRAPHS- OF FRANK BASSILL AS AN OFFICIAL CINEMATOGRAPHER.
22
TH E C I N 1-1- TEC IINICIA \
April-Ma) . 1937
will consider that they have been adequately punished by my reprimand.
I have the honour to be
Sir, Your Obedient Servant,
— Captain, i/c Photographic Section, General Staff. 16th November, 1918.
To be present on H.M. ship "Princess Royal" when H.M. King George V. knighted Vice-Admiral Pakenham, and only nine feet away from the actual ceremony, was a most embarrassing position for me. I felt that I was intruding on a very intimate and solemn occasion.
H.M. King Goerge V. was always very considerate to us. I remember once when the Grand Fleet called, I had arranged all the crew of the "Queen Elizabeth" on the gun turrets, and His Majesty and Earl Beatty, Commander- in-Chief, suddenly appeared on the quarter deck and stopped in front of me. King George asked me whether I was getting some good pictures. I replied that as a matter of fact the camera had become jammed. He threw back his head and laughed heartily, and said to Earl Beatty, "We have broken the camera!"— but the fact remains that their departure was delayed until I had re- threaded my camera and the picture had been taken.
To recall a few instances from war days. I was lucky enough to get into Zeebrugge while the "Intrepid," "Iphigenia" and "Thetis" were in the channel and the piers still burning, and Captain Hamilton-Benn of M.L. 532 took me to the end of the Mole and said, "Touch nothing ! Something will go up very shortly." In army parlance — • "Booby Trap."
At the end of my journey to Cologne to record the entrance of our troops to take over the bridge-heads, I stopped at a place called Zulpich and demanded billets for myself and Jack Brooke. We were received and enter- tained handsomely, but in the morning Herr Schaller, the owner of the house, showed me very proudly his factory, which he was altering from a shell-case factory to boot making. Whether he misunderstood my keen interest or not may have been the reason for the following letter : —
SCHUHFABRIK SCHALLER
Zulpich, den 7 Dezember, 1918.
Mr. Frank A. Bassill,
Official Kinematographer of the British Armies.
In France.
Dear Sir,
I don't know it" the address is right written, hut I hope so.
I would ask you something : don't you know an English Shoefactoi v, which makes heavy boots and shoes for street- wen ? I should like to become General-Agent for Ger- many. Of course, it would be very easy to sell these shoes with my Workmen-shoes together.
This may be a good buissiness just the same for You, as for me. I hope, You will find any occassion to let me know it there is any possibility.
Yours faithfully
(signed) John S< haller.
In the United Provinces of Central India, with H.R.H. Duke of Connaught, my seal for a Tiger Hunt was an
elephant, and four hours on that would satisfy anyone. The elephant preferred to go down and up the other side of a ravine instead of taking a doubtfully safe bridge. Ea< h time he reached the top of his climb, he just cleared his throat and covered me with a very sticky mess which, coupled with the extreme heat, soon conveyed to me that if I wanted to remain popular I must keep a fair distance from my friends.
The stage was set in a small clearing in the jungle. Four shooting platforms made of bamboo were erected, and we settled down to wait, with the regular tap-tapping of the beaters gradually getting louder and louder. Then we were treated to one of the greatest acrobatic demonstrations I have ever seen in or out of a circus, by hordes of monkeys climbing with tail, hand and foot, swinging screaming through the trees, so many of them in fact that they created what seemed to me a strong breeze. Then stag or "sambre" gave a wonderful jumping performance, but no tiger — so I had to look forward to another little jaunt back on the elephant.
Another time I was making a film of a terra-monta — an earthquake in other words, near the Marble Hills in Italy. I was in Carrara when the earthquake occurred, and by the time I arrived on the spot, all that was left of the city was a heap of concrete slabs and plaster. Old peasant women were sitting on the spots where their homes once stood — wailing and refusing to leave the wreckage of where their homes had been for so many generations. It was a pitiful sight, and great cracks appearing in the road made me anxious to get back.
I would also briefly sketch such things as the Siki- McTigue fight in Dublin on March 17th, St. Patrick's Day, where there was a little trouble between the Free State troops and the rebels. The venue was a theatre in O'Connell Street, and the whole vestibule was occupied by men with very big revolvers, determined to have a peaceful night. One of my colleagues, Ken Gordon, slept on the equipment all night, and we were escorted to the boat in the morning. Also, an aeroplane flight from Belfast with another colleague, Jock, with the picture of the opening of the Union Building by the King, when we dropped in a ploughed field at Weedon, and still got our picture back to London to publish the same night.
The advent of sound has certainly added a lot of enter- tainment to our section of the business, but it has done away with the travelling part of it. I cannot help reflect- ing, however, that if sound had been applied to some of the early pictures, such as the Investiture of ex-King Edward as Prince of Wales in Carnarvon Castle, with all its wonderful setting, ceremony, singing and cheering, it would have remained one of the most impressive records of the cinema business.
(Copyright in all countries by Frank A. Bassill and The Cine-Technician).
Brunei's Play for Stage Presentation
"Only Yesterday" (reviewed in our last issue), a play
1>V Adrian Brunei, adapted from the film, "Blighty," by the author and Ivor Montagu, is shortly due lor a London stage presentation in the West End. We wish every success to Mr. Brunei's first theatre venture and may his play have a long ami remunerative run.
April-Ms
[937
THE CINE-TECHNICIAN
23
Lab Topics
This Week s Fairy Tale
Once upon a time there was a film lab. built ; no expense was spared to make it the most up-to-date job of its kind, and the manager was paid a fabulous salary. Then a little bird whispered to the manager : "There's no need to pay big wages to your staff ; after all the machines do the work and all they need is feeding with film like one feeds coal to a fire." So the manager engaged a lot of boys and girls at 1/- per week, without overtime, out of which they had to buy their own shovels to feed the film to the machines.
Now the factory started into production, work went on day and night, the staff worked like a lot of ants, and the manager fell asleep at the trade shows. Millions of feet of film were churned out ; and every picture was a Masterpiece of Processing — but alas ! the sandpaper bath method wasn't appreciated, and so
the end. Reprints
I am sure few will oppose the statement that the greater percentage of waste in the laboratories is due to "sparkle," caused mainly by dirt on the negative being printed through to the positive. The mere acts of cleaning and dusting a negative causes the celluloid base to become statically charged with electricity. Consequently, as soon as a negative is pulled down into a bin or exposed in any way to the atmosphere, any dirt particles in the vicinity are magnetically attracted to the film. So you see how important it is that everything which comes in contact with the negative should be spotlessly clean. It has always been my contention that every printing machine should be fitted with suction apparatus for both sides of the negative and positive, just prior to entering the gate of the printer. By sucking away the dust at this vital point at least 25 per cent, of the present waste would be eliminated.
Method
It is often an advantage to pool ideas, and because of this I think it would be interesting to find out the way things are done in the various laboratories in running the different departments. From the data thus collected a detailed account of what is considered the best method could be published in the Journal. I suggest that those who are interested should send me a description of how their departments are run. If this request receives sufficient response, I propose to deal with one department in each issue of the Journal. I will start, in the next issue, with the negative cutting room. Let me know how your lab. handles the job from start to finish ; pay- particular attention to the breaking down, filing and storing of the negative before assembly, also to the handling and filing of negative cuts. These are the important items, because on them depends the time factor and to a large extent the condition of the negative when finally assembled after recuts have been made. Address com- munications to : — Lab. Topics, c/o The Cine-Technician.
A Printer s Lament
The following is the work of Mr. M. J. Soper. He suggests that it should really be set to music and sung by
the dark-room chorus to the accompaniment of film bins and take-up flanges : —
A Printer s Lament
/ was seated one day at my Printer,
Eating a roll and some cheese, When desire for a "mike" came upon me
And my chin nearly fell to my knees.
I didn't knoii' how I was printing,
The subject was also unknown, Bid I dreamed that Laboratory workers
Were at last coming into their own.
Chaps sitting in chairs with their names on.
Names also were tacked on the door. We even wore "plus-fours" and "berets"
And chewed gum, like they do on the floor.
We veiled "Quiet please" and "O.K. boys,"
But nobodv bothered, I'm sure, We were loud-voiced and rude, our opinions were crude,
You kiww, like they are c»i the floor.
We got tickets for every trade show ;
Our salaries started to soar ; Big noises discovered that "creative brains"
Were not only found on the floor.
The gatekeepers ran when our motors drew up,
Touched their hats as they opened the door, And we gave them big tips, such as they never got
From the people who work on the floor.
But alas, such state couldn't last very long,
Which can be enjoyed only by few, And the sound of the" buzzer" then shattered my dreams,
So I woke, 'cos my "end" had run through.
A Grand Carnival Whoopee
A.C.T. Laboratory Section held its first Carnival Dance on February 26th, at the Imperial Hotel, Russell Square. It was a wonderful evening. Workers from a dozen labs, were present and there were many reunions of people who had not seen each other for years, some for twenty or more. A letter from one of those present, on behalf of himself and his "fellow-confederates," aptly sums up the evening :— "I do not know or care what the Hotel Imperialites thought of us. I know that I was abounding witli hectic hearsays, for which my apologies will be forth- coming if necessary. However, I want to say how much we all enjoyed ourselves and my thanks are due to all concerned (although I spent about a week's pocket money) for an evening that was more than an enjoyment. Hoping we shall exist and still live with the humble wages of an industry that talks in millions and gives in pennies, to see us all together, living for another night as, shall I say, imaginative aristocrats." Great thanks and appreciation are due to Vic Filmer and his Pathe Studio Orchestra for so joyously entering (Continued at foot of next page).
24
T H E CINE- T E C H N 1 1 I A N
April-May, 1937
The Last Link
Ti :
'.HE picture may approach a masterpiece, but if the projection fails, the picture can hardly help failing. The projectionist with his projection equipment is largely the master of our photographic destinies."
The above was quoted by Richard (Dick) Barthelmess some years ago. Since then the projectionist has had his equipment increased with sound. Admittedly sound engineers keep this up to scratch, but the chief projec- tionist is still held responsible for its upkeep. Do all the studios realise that from the producer to the editor, from make-up to the camera, from the star to the sound, right from top to bottom, all their efforts are shown by the projectionist, and without his constant help, where would any film be? Even with a feature or a super-film in the cinema, the projectionist is the last link in a great chain, because concentrated within the spool-box is the consum- mate artistry of playwrights, actors, producers and camera- men. Success depends on the diligence and craftsman- ship of the projectionist, and according to his anxious care is the enormous expense of a super-film justified.
The cinema has the task of taking thousands of fellow- men and women away from the cares of an often drab and colourless life, transporting them on a magic carpet to a
Lab. Topics {continued from preceding page).
into the spirit of the evening and putting up a grand per- formance, as also did Kenneth Gordon, O.C. of the film- winding competition (not so easy with sub-standard, either) and joint M.C. with ( . J. Phillips.
As a tailpiece, we should like to repeat the retort, which we overheard, to a distinguished official of the A.C.T. Laboratory Section who, upon confiding to his partner that he was not a very good dancer, received the reply, "I think it's very good of you to dance at all."
Nevertheless, we have been assured and know that a good time was had by all.
Cinematograph Trade Provident Institution
The other day I had cause to discuss insurance and safeguards against unemployment, illness, etc. Later it struck me that I would be doing you all a good turn by introducing you to the Cinematograph Trade Provident Institute. The Institute is designed to cater for cinemato- graph workers only, and does its job well. Sixpence per week insures a member against unemployment, family, illness, death, etc. Many employees at Elstree Film Laboratories are members, and I strongly advise all other Film Laboratories to take it up. The procedure is simple. Ask your Manager to write to: — The Secretary,
Cinematograph Trade Provident Institute, 52 Shaftesbury Avenue, London, W.I., when forms of application and literature outlining the lieiieliis will be sent to him. The weekly subscription can either be stopped out oi your pay or yon can nominate someone to collect the money weekly and forward it to the Institute.
"Gamma."
F. G. BAIL
land of make-believe, sending them away refreshed to tackle the world of realitv with renewed zest and courage. But if the showing of a film is bad they do not get that feeling. This is the responsibility of the projectionist, and not that of the manager, producer or artiste, no matter how good the film may be. The same applies to the pro- jectionist in the film studio, who is the first link in the long chain.
Adolph Zukor, in the "Motion Picture Herald," pub- lished the following article : —
"There comes in the career of every motion picture that final occasion when all the artistry, all the earnest constructive endeavour of all the man-power and genius of the industry, and all the capital investment, too, must pour through the narrow gate of the projector on the wax- to the fulfilment of its purpose, the final delivery to the public.
That delivery is a constant miracle of men and mechanism in the projection rooms of the world's fifty thousand theatres. That narrow ribbon, thirty-five millimetres, flowing at twenty-four frames a second through the scintillating blaze of the spot at the picture aperture and coursing at an exactingly precise 90 feet a minute past the light slit of the sound svstem, demands a qualitv of skill and faithful, unfailing attention upon which the whole great industry depends.
The projector lens is the neck of the bottle through which all must pass. The projectionist presiding over that mechanism is responsible for the ultimate performance Upon which we must all depend.
The projector must not fail, and, more important still, that man must not fail or permit it to waver in its performance. ft is to the tremendous credit of the skill of the modern projectionist that perfect presentation of the motion picture upon the screen is to-day a common- place, a perfection that is taken as a matter of course." * * *
After reading that you, whoever you may be, must realise that the projectionist does exist. I myself have had the awful feeling of being ignored. Directors, editors, and cutters, have left the theatre without even saying "We've finished, thanks." Many directors must do their work after the floor has broken, thereby must work perhaps 5-6 hours after rushes have been shown, or production finished. We in projection must stay to show that film : many a time we are forgotten and passed over, but many have left with thanks, which makes the projectionist feel happier and lighter of heart.
I would like (and am certain that my colleagues at ether studios would also) to be recognised a little mor< a body of men who work to give the best co-operation possible (not forgetting there are others besides the chief, his assistants). We have our moans and grumbles every day, but there is a saying, "a happy man is happiest when lie lias something to grumble ovei " Projection, Back- Projection, Re-recording, Synchronous Projection. Posl Recording with Projection. Producers, directors, music directors, editors, cameramen and sound, all are oui bosses in one way or another, and we are .it their beck and call from 9 a.m. till —
April-May, [937
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TH E CI N E-T EC H NIC! A \
April-May, 1937
NEWSREEL
B.P.P.A. First Annual Dinner.
Illustration at top of page is from menu of first annual Gala Night, held at Criterion Restaurant on February 15th, of the British Press Photographers' Association. Three hundred cameramen and their guests were present. Mr. William Horton (The Times), Chairman of the Associa- tion, presided and many prominent personalities in the press and film photographic world were present. Mr. Horton, in proposing the toast of "The Press and News- Reel Photographers," briefly outlined the aims of the B.P.P.A., the formation of which was being celebrated by the evening's function. Mr. Frank Bassill, Pathe's News- reel ace, in reply, stated how glad the film cameramen were to support their news colleagues and spoke of the happy spirit of comradeship existing between all cameramen on the road.
Mr. Frank Derry, Cunard-White Star Publicity Chief, replying to the toast of the visitors (proposed by Mr. Leslie Burch), paid a tribute to the work of press and newsreel photographers, declaring that in the pictorial "cover" of shipping news they were helping to keep British shipping on the map. Dinner was followed by several hours' dancing and cabaret, including Britain's No. 1 Pianists, Bruce Merrill and Harry Foster, in amazing syncopated duets.
A happy evening was rounded off by a visit from those "cads," the Western Brothers, who made a special midnight journey from the provinces in order to join in the fun.
Facts from America.
American newsreel cameramen are organised by affilia- tion into the I.A.T.S.E. and M.P.M.C. of the United States and Canada, says the "International Photographer" — also in his local Union, depending on his territory. Through this medium there has been established a standaid scale of wages and a definite set of working conditions Were it not for this beneficial understanding between employer and employees, the basic reason for working as a newsreel cameraman would be in a state of uncertainty without end, as it is in England.
Newsreeling the Crown Jewels.
One of the most interesting jobs during the last months was the filming in the Tower of London of the crown jewels, this being a rota for all reels. The finished job got a good footage used.
The "gang" arrived at the Tower at 8.30 a.m. with cameras and lamps and were admitted to the Jewel House about 9 a.m., when the four 2 kw. sunspots were coupled on to the supply by the Office of Works. Lights tested and a few shots taken of the "cage." Then the officials arrived, representing the Lord Chamberlin, O.C. of the Tower, the Chief Warder, police and other officials, in whose joint presence the jewels can be unlocked.
Then the iron doors at the entrance to the Jewel House were locked and each piece of the Royal Jewels broughl out separately to be filmed. A still photographic back- ground was used and the crowns, etc., placed on a turntable, each piece of jewellery being photographed in long shot and then details picked out with long locus lenses.
Everything went to time and by mid-day the jewels were locked back in their quarters, the alarms set, the jewels checked and the iron doors once again opened. The most striking thing filmed was the huge diamond in the sceptre.
All the officials were kindness itself, giving every help to make a grand picture. The value of these jewels makes this the most expensive film ever taken in the world, as the commentator remarked.
International Federation of Newsreel Cinematographers.
Ax International Federation of Newsreel Cinematographers (Union Internationale de la Presse Filmee) has recent ly been formed. A.C.T. has affiliated through its Newsreel section and Mr. J. C. Gemmell, Newsreel Chairman, is its Committee representative. Other countries to signify their support include Austria, Belgium, France, Germany, Holland, Italv, Poland, Greece and Palestine. The President is M. Henri Piron, President of the Association Beige de la Presse Filmee.
The principal object of the Federation is to safeguard the professional interests of all persons engaged in newsreel work. Questionnaires have been circulated to all sup- porting bodies to ascertain information on professional facilities, customs regulations and other matters. The replies will form the basis of a Report to be presented to a Conference winch will be held in Paris about the middle of June and at which A.C.T. hopes to be represented.
Tenax Et Audax.
April-May, 193;
THE CINE-TECHNICIAN
27
The Gold Rush
" aMoriey Behind the Screen," a Report prepared on behalf of the Film Council by F. D. Klingender and Stuart Legg (Lawrence & Wishart, 5f) reviewed by
IT is the more dangerous to muddle along in an industry in which the differences between showmanship and racketeering is often slight and may pass in the con- fusion unnoticed. . . . With , say, fifty thousand pounds to spend on a picture it is important to know that only twenty thousand pounds will be left, after the extrava- gances and the rake-offs, to go on to the screen," says John Grierson in his introduction to this illuminating publication. The book aims to supply the answer to who owns "The Money Behind the Screen," of much more interest to film workers than may be at first apparent. Technicians and others who have collected a number of bouncing contracts during their film career will find at least part of the reason why in this book.
Mushroom Growth of Independent Production
A.C.T. has frequently complained of the formation of independent production units, most of which are private companies with relatively insignificant capital resources of their own. Production is financed by short-term advances against the expected returns from films about to be produced or in process of production. An analysis of the particulars of charges registered during the first ten months of 1936, which are not necessarily complete, as published in the Kinematograph Weekly, show that the total amount raised in the form of guarantees (and in a few instances in that of debentures) by production com- panies, other than studio enterprises, was in excess of £4,000,000.
The comparative ease with which it has been possible to raise money for production without many of the cus- tomary safeguards which might exist in other industries has been a contributory factor to the large increase of new companies registered during the past few years. New film, cinema, etc., companies were registered at the following rate during the first twelve years, according to particulars published in the Kinematograph Weekly and Kinematograph Year Book : —
|
Year. |
Prod |
lation.* |
Renting. |
Exhibition. |
Miscellaneous, (including equip- ment, etc). |
Total |
|
1925 |
15 |
25 |
11(1 |
26 |
176 |
|
|
1926 |
21 |
25 |
138 |
26 |
210 |
|
|
1927 |
26 |
17 |
143 |
29 |
215 |
|
|
1928 |
37 |
16 |
94 |
25 |
172 |
|
|
1929 |
59 |
3 |
150 |
58 |
270 |
|
|
1930 |
36 |
1 |
176 |
IS |
264 |
|
|
1931 |
55 |
5 |
174 |
19 |
283 |
|
|
1932 |
46 |
7 |
212 |
38 |
303 |
|
|
1933 |
64 |
6 |
222 |
57 |
349 |
|
|
1934 |
86 |
Ml |
251 |
68 |
415 |
|
|
1935 |
108 |
IS |
226 |
(SI |
411 |
|
|
1936 |
87 |
7 |
196 |
47 |
337 |
|
|
(10 |
nit Il- |
•) |
* Including a small proportion of renter-producers.
It will be seen that 640 production companies have been registered during this period. Not more than about
THREE PER CENT. ARE IN PRODUCTION AT THE PRESENT TIME.
GEORGE H. ELVIN, A.C.I.S.
Several of them have never completed a single picture. A still larger number have never made a second film. It is impossible to calculate the total sum due to technicians and other workers in respect of salary arrears or broken contracts through financial failure of production com- panies. But it is a large amount, and owing principally to the methods of financing production of many of the independent producers it is irrecoverable and hopeless to pursue claims. A recent case where A.C.T. members under contract to the company were concerned, showed, upon winding-up of the company, liabilities exceeding £1 1,000, and assets of £30 12s 3d (£3 2s 3d being electricity deposit returnable and £27 10s Od due from one of the directors to the company). Nearly £500 was due to technicians under contract, none of whom received a penny.
IN THIS CASE THE FILM WAS NOT EVEN COMMENCED.
Profits But No Dividends
There is another point of great importance to employees. Salary increases may be opposed on the grounds that shareholders are not getting dividends, and reductions imposed because a company is apparently working at a loss. But this does not necessarily mean that profits are not being made. Money Behind the Screen summarises
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T HE (IN i; -TEI II X I ( I A N
April-May, nt.;,"
the position concisely : "An analysis of earnings, in so far as these are published, shows that where there are any profits in the production and distribution sphere, these ,11 c not, on the whole, benefiting the ordinary shareholders, but the fixed interest bearing security holders. . . . There thus arises the curious situation that at least in one of the spheres most affected by expansion (production) the ordinary shareholders are not making any money even in the boom period."
British and American Film Finance
Inter-locking and subsidiary companies makes it extremely difficult to unravel the finances of big corpora- tions, but the Film Council appears to have achieved the almost impossible. Details are given of the finances and financial control of the American and British Film indus- tries together with directorate and shareholding details which do succeed in conveying a clear impression of the vast ramifications of film finance.
Film workers should study this book. "World Film News" articles upon which it is based have, as we all now know, caused a big stir. Let us hope it has made such an omelette that it will be impossible for the eggs to get back into their shells. John Grierson's introduction summarises the situation succinctly : —
"If, through the Film Commission proposed by the Moyne Committee, order can be brought to the finances of our work, mismanagement eliminated and this rush of promoters abated, it is the creative worker who will most have reason to bless a measure of government co-ordination. We shall have lost an Arabian Night's entertainment and many of us, who have too much of the cinema in our blood to dislike even its insanities, may- shed a sentimental tear for the old mad days. But we shall, no question, get on with the work we want to do. Under the conditions attested in this story, that is im- possible."
Correspondence
Give Us Credit
Dear Sir,
Collingburn's article in your last issue confined itsell to queries in film production. May I draw your attention to still another matter before we can say "O.K. for Stills."
If you have goods to sell they must be advertised and everyone knows that a set of really good stills is of far greater value in selling a picture than pages of letterpr* ss Indeed they will, in nine cases out of ten, sell a bad one.
If it were not for the long-suffering stillman weekly film papers, etc., would be non-existent. It is, therefore, high time they realised that the majority of the film-going public don't buy the papers for their letterpress but for the pictures. They like to see what is going on. So why not give us the credit we deserve by acknowledging our work, which, goodness knows, is hard enough. If the press had to ] my fabulous fees for publicity stills it would be a different matter — but they don't. Giving credit to the stillman would not make any appreciable difference to the cost of the layout, nor labour involved. In other words, we enable the press to sell their papers and get little or no thanks.
It is not my intention to run down the press. Far from it. With photogravure it does our work full justice. But what I do want to see is a little more appreciation towards the still cameraman, and if this can be achieved it would do us all a tremendous amount of good. I am confident that other stillmen agree with me.
Yours etc.,
Eric Coop.
78 Studios, Production Companies and Laboratories contacted
671 Technicians through the A.C.T. Employment Bureau during
1936
We can supply all Technical Staff Requirements for
CAMERA SOUND ART STILLS
EDITING AND CUTTING FLOOR AND PRODUCTION
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ASSOCIATION OF CINE-TECHNICIANS, 30 Piccadilly Mansions, London, W.I
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April-May, 1937
T H ]■; C I N K-T K (' II NIC! A N
29
What Your Association Means
By RALPH BOND
THE almost unanimous decision taken by the members at the Annual Conference last May to seek affiliation with the Trades Union Congress was an event of no little importance in the history of A.C.T. It means that our members are convinced that there is everything to be gained by associating with the wider Trade Union Move- ment.
Among professional and technical workers there has occasionally been a tendency to "look down" upon the T.U.C. because of its overwhelming preponderance of manual workers, but this outlook is fast disappearing under the pressure of hard facts. Technicians can no longer afford to stand aloof as somewhat superior beings. In our own industry, co-operation in the studios between cine- technicians, electricians, carpenters and many other grades is necessary as part of the day's work. What possible objection can there be, therefore, to extending this co- operation to the trade union field ? Through the Trades Union Congress it will be possible for all employees in our industry to co-operate in their mutual interests, without in any way interfering with the right of each separate organisation to conduct its own business in its own way.
The advantage of T.U.C. association has been recognised by many other groups of professional and technical workers, teachers, doctors, health officers, insurance workers, film artists, wireless and cable telegraphists, engineering and shipbuilding draughtsmen, press telegraphists, compositors, etc., and to-day the T.U.C. has an affiliated membership of nearly 3| millions, organised in 214 unions. This is a far cry from the time — not so many years ago — when trade
French Technicians' President Visits A.C.T.
Monsieur Berthomieu, President of the Federation des Artisans Francais du Film, has recently directed his first British film, "Girl in a Taxi," for British Unity at Ealing. While in England he took the opportunity to call upon A.C.T. and convey through Mr. Elvin greetings to British technicians. It was interesting to receive details based upon personal experience of the workings of the new Labour regulations (40-hour week, no overtime and Sunday work, etc.) introduced through the initiative of the French Government. M. Berthomieu agreed that the new con- ditions were to the general benefit of studio workers, particularly from health reasons which directly resulted in improved quality, a fresh employee naturally producing better work than one hopelessly tired out through long hours and a seven-day week. There were, of course, occasions when these stringent conditions hampered creative work, but there is no doubt that employees are happier, a condition which invariably leads to better work. It will be interesting to see how the quality and quantity of French production is affected after, say a year's trial, of the new conditions.
M. Berthomieu told us that he will carry away very pleasant recollections of his stay in England and we are pleased to hear from our Ealing members that, on their part, it was a joy to work with their distinguished French colleague.
unions were illegal bodies whose members were liable to fines, imprisonment, and even deportation (as in the case of the Tolpuddle Martyrs) for the "crime" of possessing a trade union card. These early pioneers were loyal to their faith and their ideals and eventually compelled the Govern- ment of the day to recognise the right of every worker to belong to his trade union. In 1868 the Trades Union Congress was formed so that all unions could combine to obtain badly needed improvements in their wages and conditions, and despite many vicissitudes it still remains the one central co-ordinating body of the British Trade Union Movement.
If, as we hope, we are accepted, certain additional responsibilities will fall upon us all. It is not simply a question of paying affiliation fees, but, more important, of loyalty to those principles upon which the Trade Union Movement has been built. And that means — above all — loyalty to our own Association, the A.C.T.
To-day our membership stands at a higher figure than ever before. There is not a studio or newsreel company without its A.C.T. members, and in most they are a major- ity. Our laboratory section has a fine and growing body of members. But the larger our membership the greater are the tasks and responsibilities falling upon the General Council, the Secretary, and the Organiser.
Complaints are sometimes received from members that they are unaware of what the Association is doing. The General Council has recognised that there is some truth in this, due largely to the fact that the studios are widely scattered and consequently difficult for the Secretary to visit at frequent intervals. The General Council, to meet this difficulty, has appointed an Organiser (Reg. Bartlett), who by now will be known to many of our members, and who will be available at all times to visit studios and laboratories and render advice and assistance. If an emergency arises at your studio, 'phone for him. He's always available to help you.
Ours is, in every sense of the word, a democratic organisa- tion— and every studio and laboratory is entitled to two representatives on the General Council. Studios and laboratories should send their representatives regularly each week, and those representatives should, as a dutv. report back to their members. There would be no excuse then for lack of knowledge of the Association's very con- siderable activities.
The new year will be an important one for the A.C.T. The degree to which it can be made our most successful year to date depends as much upon the rank and file as upon the leadership. The strength of any organisation, in the last analysis, depends on the loyalty and co-operation of t he membership, on their interest and participation in the union's work. Don't grumble in a corner, Let the General Council know what's worrying you. They try very hard to do the best for all of you. It's up to you to let them know what you think that best should be.
We have every reason to be proud of A.C.T. Let our pride take the form of loyalty to it in all things, of co opera- tion between members and with our fellow trade unionists in other unions, of observance of decisions taken by demo cratic majority, and above all of a sense of willing respon- sibility to the organisation which has in the past, and can even more in the future, protect our interests as technicians.
30
TH R < I X F-TEC HNICIAN
April-Maj . 1937
Wanted— A Staff College
By C. A. LEJEUNE
(Reprinted by kind permission from The Observer, January 24th, 1937)
We welcome Miss Lejeune's article, which advocates a de- velopment persistently urged by A.C.T. Our only comment is to stress the necessity of controlling the inflow into the industry (as is done in printing and other trades with apprentiees/iip schemes) which the operation of such a scheme would provide. — Editor.
THE British film industry needs a Staff College. That is one fact that has emerged plainly from the rumours, the panics, and the alarums of the last weeks.
The film is possibly the only major organisation in this country that has no recognised training school for all branches of its employees. The big stores, the police force, the military services, the post office, the agricultural in- dustries, all have their training centres. Theatre and music have their authorised academies. Even the B.B.C. has lately fallen into line.
The film industry, apart from a few specialised experi- ments, like the technical training course at the Polytechnic, has no centralised training-ground for young talent. Occasionally young men, luckier or more pertinacious than the rest, manage to break their way into the studios and pick up some scraps of knowledge for themselves on the floor. But these incursions are rare. For one man with talent, who gets past the gatekeeper, there are a hundred who hanker after the cinema for a time in vain, and, finally, take a job in their friend's garage or their uncle's cotton business. In the meantime the British studios, which ought to watch with care every penny of their expenditure, are paying £10,000 a picture to American stars, £500 a week to American scenario-writers, and £100 to American or German camera-men, simply because there is not a big enough supply of first-rate English stars, writers and cameramen to supply their needs.
A central college, heavily subsidised by the film industry, which would make us independent of Hollywood in the next generation, should prove in the end to be a rich investment. Why should not our major producers — Mr. Korda, Mr. Ostrer, Mr. Maxwell, Mr. Wilcox, Mr. Schach, Mr. Dean and Mr. Balcon — allocate a certain sum of money each week for the upkeep of some such place ? It could be housed in one of the many superfluous studios, relics of over-building in this country, and serviced from the tech- nical staffs of the contributory organisations. "Short ends" of film, left over from the products of the big studios, could be supplied to the students for practice work. Dramatic pupils could be tried out in studio productions. Stories to be used by the major studios could be set as subjects for scenario-writing. And periodically all students would be taken to Den ham, or Elstree, or Ealing, for a thorough training in all departments of film-making and for practical work, under supervision, on the floor.
It the British film industry is ever to be anything more than a cut-throat business, some such plan will have to be ultimately adopted. It is .ill very well to argue that here, in London, we are near the source of all art and talent ; ih.it the studios can take their pick of West End actors and popular writers ; that, on the doorstep of Mr. Wells and Mr. Gielgud and Sir Thomas Beecham and the Old
Vic, we have merely to reach out and grab for culture. The film business, to be successful, must be learnt from the inside and from the beginning, slowly and painfully. No man who spends his nights in a London theatre and his days in an Elstree studio can do full justice to either job.
The world of Hollywood is a little, enclosed world, where the actors are film actors, and the writers film writers, and the musicians film musicians, and even a Hugh Walpole learns a new alphabet for his stories. Only in Hollywood, thousands of miles from the capital city, a non-existent town in a world of fantasy, are such intensive conditions possible. They have never existed in America's Long Island studios, within reach of New York. They will never exist in the studios of Bucks and Middlesex and Herts, within reach of Shaftesbury Avenue and St. Martin's Lane. Starting without Hollywood's advantage of isolation, we have got to create our own intensive training centre for the cinema. It can only be done through some authorised college, where films, in all their different aspects, are made a whole-time cuiriculum. It must be run, or it is useless, with the full practical co-operation of the film industry : there must be no fancy stuff about it, no amateurism, no semi-official institutionalism or pedantry.
With a working college planned by the trade, helped by the trade, and used by the trade, British producers would find themselves ultimately insured against most of their troubles. It would cost money, but split between five or six companies, all mutually benefiting, the financial risk would be a small one. Half the cost of any recent British film failure would get the thing going nicely. And if in the course of one year it produced one potential Donat, one future Jessie Matthews, one budding Hitchcock, and one cameraman like Fred Young, it would have fully justified the expenditure. If in addition to this it produced one first-rate scenario writer, it would have done something hitherto unknown in the story of the British industry.
I appeal to Mr. Korda, Mr. Schach, Mr. Maxwell, and the rest to make good their claims that they are ready, in every way, to help the British film to prosperity. No trade can be prosperous if it is not continuously led with a supply of fully-trained workmen. And the British film industry is the only one I know in which the man who wants to learn to work is denied the opportunity to try.
A Pat on the Back
"To-Day 's Cinema" paid a nice compliment to A.C.T.
members in reporting the recent lecture by (apt. Round, which will be published in our next issue. "Onlooker" wrote : —
"Pretty big gathering oi technicians al .1 meeting ot the A.C.T. on Thursday night. . . . Trade techni- 1 1,111s an- a pretty energetic lot. They come straighl down from their studios late at night after a hard day's work to attend a lecture which might throw a little light on progress, for the betterment of future British dims. The A.C.T. are doing good work in arranging these affairs."
April-May, rg
T II E C I N E-TEC HNICIAN
31
Film Training and Production in the U.S.S.R.
By H. P. J. MARSHALL
The following article is based on a lecture given to the AssO( ia- tion of Cine-Technicians by Mr. Marshall on February 18///. // will be of particular interest to readers in view of Miss Lejeune's article on the opposite page.
Mr. Marshall, a member of A.C.T., is the only British person {and the only foreigner) who has passed through the U.S.S.R. Institute of Cinematography.
THE majority of intending technicians in film pro- duction in the U.S.S.R. have to take a three-year course at the various Institutes of Cinematography (which exist in Moscow, Leningrad, Kiev, Odessa, etc.). Only those who show by their wink that they are suitable are allowed to proceed to employment in the film industry. Every citizen has, of course, an equal opportunity to enter the Institute and a stipend is paid during training, averaging 350 roubles a month. Living accommodation is provided and students live in the various student-towns built around Moscow, blocks holding about 10,000 persons, each of whom now has a room to himself or herself. All jobs are open equally to both sexes, and the film industry is no exception. Each student has two months' holiday a year, generally spent in rest homes or sanatoriums, first choice being given to the best workers.
Between 1935 and 1938 the Institute aims to graduate 05 directors, 45 cameramen and 40 scenarists, the average study course being 4-5 years.
Eisenstein and Mr. Marshall greeting Paul Robeson on his arrival in Moscow.
Method of Teaching
In "Life and Letters To-day" (Winter 1930-1937 number), Eisenstein outlines his programme for teaching the theory and practice of film direction. He says that not one of the generally accepted academic methods of teaching is adequate for teaching film direction. Film production is specifically distinguished from other creative
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April-May, 1937
arts, despite the fact that they have much in common. Study is divided into two divisions :
Division I. Work on Oneself.
1. Developments of the Necessary Physical Requirements.
Physical culture, scenic movement, voice training and direction, drawing and sketching, etc
2. Development of the Necessary Lifts for Directed
Perception. Problem of reconstruction of reality, work of analysis and synthesis, practical reconstruction of events, etc.
3. The < 'reative Processes.
Creative methods and technique of work, self- criticism, study of creative personalities (Lenin, Marx, Edison, Ford, Balzac, Tolstoy, etc.), study of Western and Soviet masters of the theatre and cinema, etc.
4. Work in the Croup and on Production.
Tact and tactics in dealing with people — Bourgeois methods and proletarian approach.
Division II. Work on Film.
The course is practical as well as theoretical, and part of the training is obtained outside the Institute, in which students are allowed to choose their own subjects.
1. The Director in Production.
Study of all grades of work — production, scenario, editing, camera, music, art, acting, release of film, rental, distribution, etc.
2. The Director in Western Countries and the U.S.S.R.
Study of films :
(a) The Cinematograph of the West.
Adventure, Melodrama and naive realism, comedies, historical, German expression- ism, avant-garde and all other types of film.
(b) Soviet Cinematography.
Old masters and post-revolutionary films.
Employment Conditions
The nature oi government in Russia makes for many differences in labour organisation and employment com- pared with othei countries. On the floor, for example, there is the same discipline as in British studio-. After- wards, however, if a worker does not agree with the methods employed or the director'- attitude to the workers, there is lull liberty of expression and criticism at production meetings where all grades are represented. Representative conferences of the whole industry are held annually, at which the same freedom exists.
Still from "New Gulliver," directed by Ptushko, photographed by I. Remkov.
The working day is from 7 to 8 hours for a five-day week. Annual holidays are from three to six weeks, depending upon the type of work. Laboratory workers, for example, have longer leave than those employed in less unhealthy occupations. Wages are paid whether on or off production and during illness. L ^employment is non- existent. All workers are employed by the State, whose responsibility it is, and not the workers, if there is no production.
<^>
Front Elevation, New Mosfilm Studios, Moscow.
«fc>
Side Elevation, New Mosfilm Studios, Moscow.
April-May, 193;
f HE CI N E-T ECHNICI AN
33
Production Difficulties
In 193(S only 45% of the film programme was fulfilled, while practically ever} other industry in the Soviet Union over-fulfilled its programme.
One of the greatest difficulties is due to the State's concentration during the last five to six years on heavy industries, with the consequent scarcity of labour and materials for other activities. The five-year plan schemed to concentrate on heavy industries and cut down on certain imports, including films and all luxuries. In 1931, how- ever, only 100 million feet of film was produced, but in 1936 this figure had increased to 350 million feet and will
Still from "New Gulliver."
probably show an increase of 150",, per year. The second five-year plan is paying special attention to light industries and films should, therefore, jump ahead.
The Future
A complete reconstruction of the film industry is now taking place and new studios are being built. Three thousand more cinemas have recently been equipped with sound, and the total so equipped is now approaching 40,000.
A Soviet Hollywood is being planned in the Caucasus and initial production will be 200 feature films a year. The climate is ideal. There are 300 sun-days a year and every conceivable kind of natural location can be found within a radius of about 25 miles, including jungle, arctic, sea, prairie, hills, mountain and river.
The American method of organisation is being copied in many respects. For example, a greater division of labour is planned. Formerly, scenario writers were un- known, as most directors prepared their own scenarios. Scenario departments will now be set up. Colour and television are not being neglected in this development.
General Information
Many interesting questions were asked which drew forth the following information :—
Nearly half of the films shown are home products. Very few American films are shown owini; to renters re- quiring block bookings. Chaplin films are a great success, particularly "City Lights" and "Modern Times."
A special institute of Psychology exists to make ex- tensive research in finding out the public's reactions to different types of films. Stars are not created and do not have stories built round them as is done in America and
Manor House Hospital
Advantages Available to A.C.T. Members
Many of us fight shy of hospitals, either because we have a natural aversion to all institutions or because we think that by paying nursing home or specialist fees better treatment is secured. It is not our place to argue the truth or otherwise of this tendency, but we do know that such reluctance and belief is definitely untrue of the Manor House Hospital — one that is probably unique both in its management and character.
The Great War was responsible for the Manor House Hospital ; Peace Time has seen that the good work done then has been continued. The casualities of peace accidents at work or away from it — can be just as damaging as injuries of war.
Members of the Association of Cine-Technicians may join 200,000 others in becoming members of this Hospital— privately owned and controlled by its members.
Rates of Subscriptions.
The subscription is only a penny per week, which entitles contributors to full benefits, and BY JOINING THROUGH A.C.T. the customary qualifying period is waived and Benefits may start at once. It is expected, how- ever, of those earning comparatively high salaries, that they will subscribe an annual fee of One Guinea.
What are the circumstances and conditions most to be desired about a hospital ? They are, surely, that the treatment shall be of the best, the surroundings shall be as pleasing as possible, the atmosphere shall be friendly and conducive to wellbeing and devoid of any charitable taint, and, nevertheless, the cost shall not be prohibitive. The Manor House Hospital fills the bill in all respects.
Advantages of Membership.
The following are some of the advantages which the Hospital offers : —
(1) The very best medical care and surgical skill.
(2) Specialist consultations and advice. Accommo-
dation, not in a general public hospital in the middle of a great city, surrounded by a constant roar of traffic, but in a private hospital, owned (Continued on page 35).
England.
(Continued at foot of next column).
Film Projection in the U.S.S.R. (contd. from preceding col.)
The sound system employed is made up ol several systems. Criticisms of poor recording are probably due to having to start from scratch and there not being the huge research laboratories which exist elsewhere.
Wages do vary for different types of work, but there are not the huge differences which are found in other countries.
Newsreels are being extensively developed, but they are not yet as speedily efficient in presentation. Their principal purpose is educational and practical, and not just informational. In the last two years there has been a great advance in production of technical films, newsreels, educational and children's films, and special newsreel theatres have been built in Moscow. The Meschrabpom film studios are now exclusively used for the production of children and youth films. All cinemas show = children's programmes in the morning and as a part of their school curriculum children are shown educational films, interest films and play films.
A most informative and enjoyable evening concluded with the projection of excerpts from "The New Gulliver."
34
T HE (IN I- - T EC II NIC] A X
April-May, i
Recent Publications
Mees on Photography
Photography, by Dr. C. E. K. Mees. G. Bell & Sons, Ltd. 7 (S net.
Dr. Mees, the Director of Research of the Eastman Kodak Laboratories in Rochester, U.S.A., one of the greatest, perhaps the greatest authority on the science and chemistry of photography to-day, in his new book "Photo- graphy," reviews the whole field of photography in a simple and popular style. In fact, the book had its origin in a course of lectures given last Christmas at the Royal In- stitution. These lectures were intended chiefly for young people. Consequently the experienced photographer may not find much of very great interest to him in it except the chapters on the history of photography and the chapter entitled "The Formation of the Photographic Image," in which Dr. Mees explains why a photograph appears. It is a fact that a number of experienced photographers, however beautiful their results, have no theoretical knowledge of sensitometry whatever. Camera assistants and perhaps "certain" directors, could with advantage read this chapter in order that afterwards they might have more respect for the medium by which they earn their daily bread.
Dr. Mees deals very briefly with cinematography, although he shows why the grain size of reversal film is smaller than that of normal negative-positive. His chapter on the photography of coloured objects (in monochrome), as one would expect from such a man as Dr. Mees who did so much work with the early panchromatic material and filters with the Wratten Company, very clearly states the reason for using panchromatic material and the reason for using filters of different colours according to the object photographed ; the use of infra-red material, the use of ultra-violet light in photographing writings on paper which have been erased, astronomical photography, and X-rays.
In the chapter on colour photography, Dr. Mees explains the difference between additive and subtractive colour pictures. He explains some colour systems and gives a very clear illustration of the processing of Kodachrome films.
Perhaps it is only a book like this that can bring home to the average person the gre.it many uses to which photo- graphy is put to-day and the great amount of work and thought which have been expended to enable it to reai h the pitch of perfection it has now attained.
Money for Film Stories, by Norman Lee. Pitman, 7/6 net.
This unpretentious and rather parochial book contains, amongst other and irrelevant material, sound advice to those who desire to turn their stories into the excellent money obtainable from film companies. Incidentally, the mone\ both for stories and scenarists is considerably more excellent than appears in this book.
It may be of interest to a budding and inexperienced writer to show him specimens of shooting scripts, but it may also have the most unfortunate repercussion on hard- worked readers, for there is nothing more exasperating to wade through than a script put together by inexpert hands.
The most valuable contribution to the book is made, as might be expected, by Alfred Hitchcock, whose words have been carefully weighed. This contribution is the
more worthy because it negatives, and rightlv, the idea which seems to permeate the remainder of the book, that writing for the films is "ever so easy." It isn't. It is a fine and exacting art.
By the way, J. B. Priestley has no monopoly on Grade Fields' stories. The last two were written by other writers. What about George Formby ? Mayn't he rank as a star ?
Some of the details in this volume are a little out of date — perhaps unavoidably. Certain studios have dis- appeared and others have arisen — notably Pinewood.
Perhaps one day we shall get a representative book.
Walter Meade.
Dictionary of Photography
It is perhaps unfortunate that technicians on picking up this publication (The Dictionary of Photography, Iliffe & Sons, 7/6) will turn most probably7 to the section dealing with Cinematography, and it is doubly unfortunate that this section should have been lifted almost without altera- tion and with obviously little revision from the previous edition. It is confusing, to say the least, to read in a modern dictionary such sentences as "the perforated nega- tive is next placed in the camera and exposed upon the subject at the rate of about" (the italics are mine: "sixteen exposures a second, the exact number varving with the movement of the subject." Another gem being ". . . . in the dark-room the exposed negative film is wound upon frames, immersed in developers, and fixed in a hypo bath and washed just as an ordinary photographic plate. When dry, the negative is examined, faulty parts cut out, and the perfect portions joined together and made ready for print- ing"— news indeed for laboratory and editorial workers.
Cameramen will quarrel too, I think, with the definition of "Depth of Focus" given as ". . . . the power of defining upon a plain surface, with sufficient definition to satisfy the requirements of the case, the images of objects situated at varying distances." This definition is surely that of "Depth of Field." Incidentally, "Depth of Focus" is clearly- defined by the S.M.P.E. as "the range through which a photographic plate or film can be moved forward and backward with respect to the lens while maintaining satis- factorily sharp focus on an object at a given distance." The Society adds the following rider : — "This term is very liequeiitlv misused in the sense of depth of field."
The reference to our old friend Gamma is: — "Gamma Infinity" is the term usually applied to the extreme density- giving power of a plate. It is usually expressed yycc. Gamma is the term chosen by Messrs. Hunter and Driffield to define the degrees of contrast of any given negative." This definition is taken completely from the last edition and one could justifiably imagine that no thought oi re- vision has arisen in this case either.
Amongsl notable absentees are the following:— Zoom Lens, Back-Projection, Dunning Process, Dupe, Photo-electricity, Resolving Power, Spectrogram. Milli- micron. Haze, Matts. Ultra-violet, etc. Under the heading "Grain" one reads "See Weighting and Measuring." In the section dealing with Enlarging one may learn too that "Oil lamps are not used much now" and that "The ordinary
April-May, 193;
THE CINE-TECHNICIAN
35
or old style gas burners, as fish-tail or Argand, are now practically obsolete as far as projection or enlarging is concerned." Of considerable interest to the more mathe- matically-minded reader is the statement that the focal plane "is the position at the back of the camera usually occupied by the focussing screen. ..."
The liberal use of proprietary names will annoy many readers and altogether this book does not inspire the con- fidence that one should feel in a dictionary, since one frequently uses it to settle arguments, not to provoke them, being, as it often is, the final point in a quest for knowledge.
In concluding this criticism I would quote the following :
" and well-appointed theatres devoted solely to
the exhibition of cinematograph pictures form a regular feature of everyday life in every part of the country. The latest development in the shape of 'talking pictures' has rendered the entertainment side even more universal."
T. S. Lyndox-Haynes.
Don't Sign a Contract
before consulting A.C.T
We have a legal department,
and it is part of our service to members to check and advise on service contracts. We have been of great service to members recently in this connection. Our experience can help you to safeguard your future employment.
Manor House Hospitai {continued from page 33).
by its members, in pleasant surroundings at Golders Green, on the outskirts of London, within easy access from every district.
(3) Free Ambulance servi. e.
(4) A well-equipped Out-Patients' Department.
(5) Qualified Optical and Dental Treatment under
favourable terms.
It should be pointed out that the full facilities of the Hospital are not at present available to women. The Dental and Optical sections are, however, open to them and therefore make the scheme worthy of consideration even in its limited application, and it may be mentioned that steps have already been taken which it is hoped will lead to the building of a new Women's Hospital in close proximity to the present building.
For the payment of subscriptions there is an appropriate column on the A.C.T. membership cards. After the first payment, and as long as payments continue, members will be entitled to all the benefits the hospital affords. We hope all our members will take advantage of this fine oppor- tunity. They cannot spend a penny a week, or a guinea a year, as the case may be, more wisely.
Less than 100 A.C.T. members belong, but of that num- ber two have had specialist treatment (without any cost to themselves) and about half-a-dozen have utilised the dental and optical departments. All speak very highly oj the treatment received.
Everv member should, in their own interests, belong, and we trust that this reminder will be sufficient to persuade them to start subscribing immediately.
FOURTH
ANNUAL GENERAL MEETING
SUNDAY, May 30th, 1937
ANDERTON'S HOTEL
Fleet Street, London, E.C.4 2.30 p.m.
ALL A.C.T. MEMBERS SHOULD BE PRESENT
Non-Members are invited as visitors, but credentials must be obtained in advance from :
The Association of Cine-Technicians
30 Piccadilly Mansions, London, W. 1 Gerrard 2 3 66
THE CINE -TECHNICIAN
FORMERLY
The Journal of the Association of Cine-Technicians
PUBLISHED Six Issues per annum ( I st February, April, June, August, October, December).
Editoral Committee:
Sidney Cole, George H. Elvin, Kenneth Gordon
Subscription Rate.
9d per copy ; lid post free. 5/6 per annum, post free.
Special A.C.T. Members' Rates.
6d per copy ; 8d post free. 4/- per annum, post free.
Order through any A.C.T. Studio, Laboratory or Newsreel representative, any branch of W. H. Smith & Son, Ltd., or direct from
The Association of Cine-Technicians, 30 Piccadilly Mansions,
17 Shaftesbury Avenue,
London, YY.l.
36
Til E C I N E-T EC II N [CIA N
April-May, nj.,7
Hi ! Folks! Here I am again without any Blue Pencil marks, at least, so far ? ? ? ?
The Crisis in the Film Industry
The British industry is so poor nowadays that it is only the sticky tape off film cans that is holding it together at all. Strong rumours that some companies are bringing in a new scheme, whereby the technicians share in the losses, but my advice is to ignore it and it won't trouble you.
And now a fitting tribute to the situation :
The Crisis
Under the earth in its little conn
The British film baby lay snug and warm,
When the crisis tapped at the door and said :
"Wake up, it is time you were out of bed ;
Film time is here and von mast not wait
Hurry up, little baby, or you will be late."
"Oh, wait a minute," the baby said,
"I'm nice and warm in my little bed,
A nd I've tried and tried and I can't get through,
Please Mr. Crisis, what shall I do ?
Anyone answering this question, 6 days C.B.
Knotty Problems Solved by Pog.
Time and time again I have been asked what can be done with old razor blades and gramophone needles, and apart from giving the usual fatuous answer, no useful solution had I found. Whilst in my bath the other night (no, not the annual) the solution came to me, and here it is ... . the needles are used to stick into sleeping Film Executives ; if this fails to wake them — then cut their throats with the razor blades. . . . And don't say I don't give you nothing ! (A.C.T. lawyer — have 1 committed a criminal act under the Incitement to Riot and Disaffection Bill ?).
Make Money at Home with Pog
I have started some new industries that one can take up in and during the crisis period. (I claim no rovalties as I am only too keen to help the bovs and girls).
1 . Develop Negatives in your bath — no skill required (much) . . . only personality counts . . . even the cameramen won't know them . . . you should worry . . . others don't !
(French Papers please copv.)
, .-*•#*-
.*JK
POG UNMASKED
April-May, 1937
THE CINE-TECHNICIAN
37
2. A warning was printed last issue with reference to Bucket Shops. This was most unfair in view of the new industry that these shops have created. You may or may not be aware of the terrific shortage of buckets . . . hence my newly-formed company "P<">.t,r I niversal Bucket Providers." All new buckets manufactured from the tins of shelved productions.
* H= * *
Continuing with my world-wide native poems, I print herewith a poem that I found S.W. of Wardourland. It illustrates the influence that Barrie had over this tribe :
There are fairies at the bottom of our garden
And it's not so very far away ;
Just past tlw gardener's shed
And keep straight ahead !
Oh, I do so hope they've come to stay.
There are fairies, too, in the West End of London,
At least, that's what Tee recently been told.
It sounds to me quite silly,
In the noise of Piccadilly,
I think such fairies must be very bold.
But by the statue that is there of Eros,
Just where the flower-maidens sit around ,
With flowers to suit all fancies,
If you look among the pansies,
It's there they say that Fairies may be found.
Isn't that sweet ? (It smells .... Ed.)
International Incident
My Correspondence is opened
all the letters they that as they were
be" opened them spelling mistakes
I feel that I must thank my fans for have sent me. I should add, howevei sent to the Studio, the "powers thai (imagine my embarrassment) and all were corrected. On enquiry to legal advisers I was in- formed that this was quite in order for the authorities to do this. If there were any bills or demands amongst them, I must take this opportunity of thanking the firm for paying them, either in mistake or out of gratitude for the services that I have rendered them (sez You).
So in future don't send me or anyone else letters addressed to the Studios. This goes for everyone except debt collectors, tailors, etc. These (I hope) are sent to the Accounts Department, and get paid in the normal course of events, that is, of course, if they are normal. (This, maybe, is a reason for the recent financial crisis in the Film Industry).
I Have Spoken.
Closing Note
I must close now (Must you really go ? — Ed.) but I don't know what to say, except, perhaps "thanks for having me, I have had a lovely time. So long." Play the game, Cads, and now go jump in the lake.
And you. Pog.
THE CLAPPER BOY WHO WAS TOLD TO GET—
IC COOT 193?
38
T II \i (I X K-TEC II N I C I A X
April-May, 1937
Technical Abstracts
The Secret of Colour Optics
IT is an outstanding tribute to British opticians that an American firm, experimenting with a process purely American in its origin, should have come to this country for the most vital part of its equipment. The opticians in question are, of course, Taylor, Taylor, Hobson, Ltd. whose patents, as well as those of Technicolor, are embodied in the optical equipment with which every Technicolor film has been photographed.
The chief point of difficulty in the computation of optical components for a three-colour process is that all three images must be of identical size, while in the Techni- color system, employing a bi-pack film, there must be a certain fixed difference of focus between two of the images, although for the third advantage is, of course, taken of the possibility of varying the position of the gate.
It needs but little optical knowledge to appreciate further that the insertion into the optical bath of a large piece of glass (the two prisms, which together form a cube) must lead to an alteration of the lens corrections, causing poor definition and chromatic aberration.
Large Aperture Lenses
These difficulties were realised by Technicolor as far back as 1918, when patents were filed for lens systems for use with prisms. Later, however, the need was felt for large aperture lenses for studio photography. Taylor- Hobson were already making a range of f/2 lenses, and were asked to design a special lens for the Technicolor two-colour process. Subsequently, of course, a three- colour process was adopted, and the need for colour cor- rection was still more pronounced.
Lens Conditions
The conditions laid down for such a lens were that the red and blue foci must coincide, the tolerance being 00005 in. for the blue, having regard for the blue being on the rear of the bi-pack. The fixed or pre-determined adjust- ment for the green is made on the camera, imposing a tolerance of 0003 in. for the common locus of the red and blue.
This was realisable with 50-mm. lenses, but with longer focus lenses the dimension of 0003 in. became increased, with a 140-mm. lens, to O008 in. This necessitated a reduction in the secondary spectrum, requiring the help of the glassmakers. Fortunately, the Chance-Parsons Glass Co. were able to provide a glass having a low secon- dary spectrum — that is, having flatter curves and low dispersion. Very careful incorporation of this glass by the computer resulted in approximately the same differ- ence between the green focus and red-blue focus as with the 50-mm. lens.
The Short Focus Lens
A different problem was presented when shorter focus lenses were considered. It became necessary to find a means of providing the shorter focus lenses with sufficient back clearance to allow for the prism for the light division.
Ball of Technicolor had previously tried using a negative lens in front of a normal lens. Bv having a distance between the negative and the normal lenses greater than the focal length of the positive lens, he decreased the focal length and displaced the nodal plane towards the focal plane, thus obtaining greater back clearance.
This, however, gave barrel distortion, and therefore led to two cemented negative doublets being introduced. Taylor-Hobson had to produce an f/2 lens for these con- ditions, free from distortion. This used two single elements for the negative lens and maintained the same accuracy for colour correction as was specified for the 50-mm. lens.
Processing the Negatives
The negatives exposed, the next stage is their develop- ment. It cannot be too strongly emphasised that the three negatives must throughout be handled together, under identical conditions of processing and shrinkage. For this reason every section of the laboratorv in which negative is handled is supplied with air fully conditioned for temperature and humidity. Every foot of film used is perforated under the same conditions, on B. and H. perforators ; the stocks used have been carefully developed by Kodak to ensure the minimum of shrinkage.
The negatives are developed in almost standard baths to a normal gamma. The only specialised treatment is the immersion of the front bi-pack film in a bleaching bath to clear the red filter dye.
Immediately after development black-and-white rushes are contact-printed, generally from the blue recording (yellow dye) image. Thus the producer can see the results of his work with no more delay than if he were working in black-and-white.
It is desirable to have colour tests of each shot as soon as possible. For this purpose, at the end of each shot a short length of about 5 ft. is exposed on the principal characters, and on a colour chart ; the latter comprises three faces, one facing the camera and the others at angles of 45 degrees, so measuring the effect of direct and oblique lighting. The chart contains the customary coloured and grey squares. It is customary to make test colour prints of these sections immediately after the rushes have been despatched.
Colour Prints
The first stage in the preparation of colour prints is the making by optical means of three matrices The matrix stock is specially made, again by Kodak. The developing process which the matrices undergo is of a specialised nature. After development the image is etched, resulting in a gelatine relief ; where no silver has been precipitated the gelatine remains soft and soluble in hot water, whereas where a silver grain has been produced the gelatine is hard and insoluble. The dissolving away of the softened gelatine leaves the matrix ready lor drying and spooling up, ready lor use.
For the actual print a stock similar to ordinary positive is used ; like the other stocks, however, it has .1 very low shrinkage, and is perforated by Technicolor under rigorous
April-May, 1937
THE CINE-TECHNICIA N
39
conditions of temperature and humidity control. The first step is the printing of the sound track. Tin; is a silver image, exactly the same as m black-and-white, except that, since the degree of pict 1 . . c developm it has not to be considered, it can be developed to any desired gamma.
Silver Key Image
Before development, however, a thin silver key image is printed, which serves two purposes. In addition to improving definition, it augments the density of the final image, which might otherwise necessitate an excessive density of the dyes. This key image may be printed from any of the three negatives, or occasionally from a combination of two of them, according to the requirements of the subject.
The film is developed in an ordinary developing machine, except for the addition of a special hardening bath, the direct reason for which is to permit the gelatine to retain the dye transfer, but which has the further advantage that it ensures the print being impervious to scratching, and gives a longer life than monochrome, while it is found that the virtual absence of silver in the picture image assists by reducing heat absorption in projection.
Next the dye transfers are effected. First the positive is brought into intimate contact with the yellow-printing matrix (made from the blue record image), next the mag- enta matrix (from the green-record negative), and finally cyan or blue-green matrix, made from the rear of the bi- pack negatives. The dye process is carried out on a clever machine.
The Imbibition Process
First the print has to go through a conditioning bath to swell the gelatine in order that it may take up the dye. Meanwhile the matrix is fed through a dye bath, is rinsed, and then meets the positive, with which it is pressed into contact, and thereafter remains in contact for a space of two minutes, during which time the dye is passing from the impregnated matrix to the print. After a brief rinse, the same operation is repeated with the other two matrices.
The machine which carries out this process occupies a long room on the first floor of the new laboratory. At the right-hand end the matrix can be seen winding through the dye bath, and on to a long endless band of this monel metal, fitted with innumerable registering studs, which fit into every perforation. The positive meets the matrix and engages with the pins in a glass-sided tank filled with water. A water jet impinges on the two films at the point of contact to prevent the retention of any air bubbles. After passing between pressure rollers, there is sufficient suction to keep the two films together.
The speed of the machine is 96 ft. per minute, and the band has a length of over 200 ft., and -forms a double loop, at the end of which the matrix is removed, washed and dried, then rewound, while the positive goes to the second part of the machine, where, after another conditioning bath, the second matrix is transferred, then on again to the third of the matrices.
Temperature Control
The difficulty in keeping the film and the matrix in intimate contact over such a length needs no stressing.
It is only by the absolutely perfect control of perforation and film shrinkage that it is possible. Temperature con- trol is obviously important, and is maintained constant to very close limits by means of a thermostatic mixing valve.
After its three trips through the machine, the positive passes to the drying chamber, through a liquid waxing appliance, and reels up, a finished product.
From a given set of matrices a large number of identical prints can be obtained — as many as 100 have been pro- duced. The wear and tear on the original negatives is, of course, restricted to the printing of the matrices.
The Technicolor process represents a remarkable achievement in the overcoming of a host of almost insuper- able difficulties. Its commercial success has been rendered possible only by the most rigorous standardisation of all materials and every process.
Due credit must be given to Taylor, Taylor and Hobson for the perfection of their optical components, and to Kodak for the production of stocks having such consistent photo- graphic qualities and an unvarying low rate of shrinkage.
— Kinematograph Weekly, 23/1/37,
Three Types of Film Stock
Kodak's Specially Prepared Range
It is no exaggeration to say that ten, or even five, years ago the present perfection of Technicolor would have been utterly prohibited by the lack of film stocks capable of meeting the exacting requirements of the system. The stocks now made available by Kodak are the result of a close co-operation with Technicolor workers extending back to the very beginning of the process in 1912.
Three distinct types of Kodak stock are utilised in the Technicolor process. First are the negatives. That recording the green component is supersensitised pan- chromatic stock, specially sensitised by Technicolor to have the maximum sensitivity to the light passed by the appro- priate filter.
The bi-pack consists, first, of an ortho-chromatic stock carrying a pink filter layer, which is bleached off in processing. The rear film is again of the supersensitive pan-chromatic type.
Next come the matrix stocks. These are needed to have very distinctive properties to permit of their being processed to gelatine reliefs. An essential is, of course, a very fine grain.
The film used for the prints is photographically an ordinary positive stock. Like all the other Technicolor films, however, it differs from normal positive in having a low-shrinkage base.
An obvious essential of the process is the maintenance to within very close limits of the physical dimensions of the films used in every operation. Constant experimenting has resulted in the perfecting of a base with a shrinkage as low as one-eighth of 1 per cent.— about a quarter of that of normal stocks. Furthermore, this very low rate of shrinkage is maintained exceedingly constant between different batches, varying by not more than 10 per cent, from batch to batch.
These special stocks are at present specially made in Rochester, I'.S.A., but it is planned to manufacture the
40
THE CINE-TECHNICIAN
April-May, [937
complete range in this country, effecting an economy by eliminating import duties.
— Kinematograph Weekly, 28/1/37.
Duosonic Equipment
Speaker System
The speaker system is in many ways the most important part of any installation. The speakers have a perfor- mance not hitherto possessed by any speaker available commercially. Their response is sensibly flat from 30 to 15,000 cycles, and there is an absence of peaks or troughs in the response curve. The "Duosonic" speaker assembly comprises two parts, a large re-entrant horn driven by four cone units, and a smaller multicellular horn driven by two units. The large horn reproduces the bass, from 30 to 300 cycles, the smaller horn the treble, from 300 to 15,000 cycles. The treble horn has fifteen separate exponential air columns brought to a common throat, these preventing the focusing effect on high frequencies common to many speakers of normal design.
A matching unit divides the speech output of the amplifier at the appropriate frequency, 300, so that the two parts of the speaker assembly handle only the frequency range for which they are designed.
-Kinematograph Weekly, 4/2/37.
Light " Shock Absorber"
Colour Images Through Sound Waves
A number of interesting advances in studio equipment and production technics have been achieved by M.-G.-M. technicians.
An optional "shock absorber" to smooth out the "bumps" in light is one of them. It is accomplised in new lamps being used at the M.-G.-M. studios.
The "shock absorber" is a new type of modified spot- light, of 150-ampere capacity and equipped with a Fresnel lens. Through combination of arc and the special lens, with a rheostat as an electrical balance, it provides a per- fectly smooth field of light that can be widely spread. Older lamps cast irregular areas of light, "bumpy" light, as cameramen term it.
According to chief electrical engineer Lou Kolb, the balanced resistance transforms any unevenness in electrical current into a steady and even flow, thus keeping the light beam constant at all times.
"Turret Tops"
Exterior recording has always been a difficult task for the mixer or sound modulator, working with headphones, because oi extraneous sounds interfering with his judgment. So the "turret top sound man" comes into being.
Studio technicians devised a sound-proof helmet, in which headphones were inserted, and with a double ida^s window to look through. It fits over the head ol the mixer while actually listening-in on recordings and shuts out all sound save that which conies from the microphone.
( 'inema, 3/2/37.
Revolution in Lens Production
From the Mould to the Mount
The long-promised development of the moulding of optical lenses from plastic materials is now an actuality. Numer- ous types of lenses made from various substances developed by Imperial Chemical Industries were demonstrated on Tuesday, and will be exhibited next week at the Brit 1 -1 1 Industries Fair.
The application of such materials to optical work has been made possible by years of research work carried out by Arthur YV. Kingston, the well-known kinematograph engineer, with whom is associated P. Koch De Gooreynd, an Englishman, whose inventions cover many fields.
Straight from the Mould
What is probably the most important aspect of the new development is the fact that a lens comes from a mould polished ready for mounting. Not only does this mean that the cost of lenses can be much reduced, since the grinding and polishing operations are eliminated ; it also makes possible the use of all types of aspherical lenses, one result of which is expected to be the development of single lenses, ready corrected for all forms of aberration.
It is claimed, furthermore, that the new materials are more transparent than glass. This point was demon- strated by a large cylinder, about 3 in. in diameter and 0 in. in length, which appeared to have a negligible absorp- tion. It is claimed that a lens of given aperture will pass twice as much light as a similar glass lens.
Big Optical Range
One of the substances used is known as "Perspex." Actually, however, several substances can be employed, covering a wide range of refractive indices. The materials normally used cover the same range as normal optical glass, the index varying from 1*5 to 1*6 ; other materials, however, cover a range of from 145 to 164. Another feature of the new materials is their lightness, their specific gravity being only 1T9. This factor may prove of value in many applications, as, for instance, long-focus lenses.
Lenses made from these materials are practically un- breakable ; a lens thrown with force on to a marble slab bounced back like rubber. On the other hand, the surface is far softer than that of glass, and in some applications may have to be protected by a thin cover glass.
For Projector Lenses
Plastic lenses would be applicable to many purposes in the kinematograph Industry. Camera lenses and finders are the more obvious ; while the materials will not withstand heat well enough to serve as condensers they could be tised for projection lenses.
Other applications already studied are for specta< les, and for optical components of aircraft (for both of which purposes the lightness of the material is ol importance) ,md lor television and optical instruments generally. In regard to the last-mentioned application, the transmission is excellent in the visible and ultra-violet regions, and extends into the infra-red.
The cost of the new plastic substances is approximately the same as that ol high grade optical glass.
— Kinematograph Weekly, 1 1 '_' 37.
THE CINE-TECHNICIAN
The Journal of The Association of Cine-Technicians
Editorial and Publishing Office : 30 PICCADILLY MANSIONS, 17 SHAFTESBURY AVENUE, LONDON, W.I. Telephone : GERRARD 2366. Advertisement Office : 5 and 6 RED LION SQUARE, LONDON, W.C.1. Telephone: HOLBORN 4972.
Volume Three: Number Ten.
JUNE-JULY, 1937.
Price Ninepence.
Evolution : A Peep into the Past
By CLAUDE FRIESE-GREENE
IN 1912, about two years before the war, the number of cine-technicians was very few indeed ; not more than a dozen or so in this country. I was quite a youngster then and happened to be one of the very few engaged in "film production," and just as a matter of reminiscence, I am going to recall in a very few words a day's work for me at that time. With an assistant even younger than my- self, we collected a few magazines together and loaded them with 100 feet rolls of negative. The camera I used then was a wooden affair with a Zeiss 45 lens. I was lucky if I could get the camera to run 25 feet of film without a jam. However, if the sun was shining (and it had to shine in those days) everybody was quite happy if I was able to expose even a few feet at a time of some action on a two- reel drama we were making in the backyard of some large premises in Brighton. We kept shooting whilst the light permitted, and after collecting the exposed magazines, took them round to the Laboratories, which consisted of a few rooms which were darkened with paper and blankets and had running water laid on.
I prepared the developer, getting it up to temperature by heating a pint or two over a gas ring. The developing dishes were flat, and the negative had to be wound round and round a kind of square frame that fitted into the dish. This frame had hundreds of pins sticking up, hence the name "pin frames," and it used to take about twenty minutes to thread the film. The negative was then
immersed into the developer and continually kept on the move by hand, until one judged the density to be correct. It was then put into another flat dish containing the hypo, and fixed ; then into another similar dish where water was turned on from a running tap. After washing, the drying business was quite a work of "art," to get the film off the pin frame and feed it on to a hand-driven drum, which had to be turned round and round until the film was dry, a good two hours. Then came cleaning the negative and preparing for printing — no gammas to wink to in those days.
The printing machine was also a hand affair — one turn, one picture — adjusting the light by placing it nearer or farther away from the film, and perhaps if it were a "thin" negative, it was necessary to wrap a few pieces of tissue paper round the lamp. However, when the exposure was thought satisfactory, off one went turning picture by picture and printing away.
Next, of course, the development of the print in exactly the same manner as the negative — the hand-drying drum again, and then at last the finished article. Join on a piece of lead and the day's "rushes" were ready for the projector.
Having passed the word to the "producer" and those concerned that all was ready, I then finished off by pro- jecting the result of my day's efforts, for better or for worse, somewhere about midnight.
Daguerrotype. Panorama of City Scene, 1844. (From the original in the Science Museum, South Kensington).
42
THE (" I X E - T E C H N I C I A N
June-July, 1937
hi other words, just doiny everything from the start to the finish.
Now that was about twenty-five years ago. Pieture for yourselves the tremendous advance this industry has made since that time. It is amazing that now every single phase concerned with the technical production of moving pictures has its own department, and inter-depart- ments.
Such is progress.
* * *
Having gone back so far, let's go back further still. I enjoy looking up old books, new books and manuscripts, so that I may filter in my mind the beginnings of the wonderful science we are serving. Little discoveries and achievements, even hundreds of years ago, are now parts of the evolution of cinematography. There is no need to go into the general principles of photography ; we are conversant with the camera, the exposure of light on to a sensitive emulsion, the development of the latent image, fixing, etc. Hut what I want to dwell upon for a short while is, "How did it all start ?
I should say that the first step in the direction of the evolution of photography, the predecessor of cinemato- graphy, happened somewhere in the middle of the sixteenth century. There were probably many men who must have noticed the peculiar phenomenon, but it is credited to an Italian philosopher, one Battisto Porta, who "exhibited" what is known as the camera obscura,
This is what he did. He covered up his window with a piece of wood so that all light was excluded from his
Hark Calotype by Fox Talbot: "The Chess Players." (From Science Museum, South Kensington, Fox Talbot Collection).
Stereo-Daguerreotype. Tinted Portrait of Child, circa 1850. (From the original in the Science Museum, South Kensington).
room. In this piece of wood he made a very small hole, then — lo and behold — on the wall on the opposite side of the room was reproduced the scene of the view outside his window, but, of course, upside-down. It must have caused a sensation in those days. Anyhow it was the beginning, the nucleus of the idea of the camera. It was later found out that the image thus obtained on the wall could be made sharper by placing a glass lens over the hole in the piece of wood covering the window. (Lenses, by tiie way, were invented over a hundred years before, because the idea of focussing light with ^lass is known to date back to the time of the ancient Roman-1.
As lime went on, it was discovered that by placing a mirror at a certain angle to the lens (hole and glass) it caused the light to be reflected down. Thus, instead of people standing on their heads in order to see the picture on the wall the right way up, they could at least stand in a normal position and view it more or less naturally. Sounds silly now, but this happened 500 years ago. This step which, as I say, one might liken to the camera itself, must have existed at least three hundred years before the actual art of photography developed, which could not take place until the camera and chemical discoveries were mated.
There is probably no doubt thai at the time of the discovery of the camera obscura, old alchemists knew of the existence of silver nitrate. h is said that it was bv chance that one of these old fellows dropped some ordinary sea salt into a solution <>l silver nitrate, whereupon the liquid took the appearance of something like milk, and it was observed that, when sunlight fell on it, it quickly turned black. This accidental discovery was, of course, not then
June-July, 193;
THE CINE-TECHNICIAN
treated as of any importance nor was there any idea of the link it would be in photographic art.
Years passed by, and a German physician, Schultze, in 1727 carried out an experiment with a mixture of chalk and silver nitrate. He used to cut out designs in card- board, place them over the mixture and expose them to the sunlight, after which the design appeared in black upon his mixture of chalk and silver nitrate. A Dr. William Lewis repeated this experiment in England in 1763. At his death his records were bought by Josiah Wedgwood, the potter. He also made many interesting experiments with silver salts. He was later assisted by Sir Humphrey Davy, and between them they coated paper with a weak solution of silver salts. They placed opaque objects to cast shadows over the prepared surface, resulting in the paper turning black, except where the shadows were cast ; thus they succeeded in securing a print of the objects on a black ground. They also tried their prepared paper with the camera obscura, with no success, owing no doubt to the lack of intensity of the light, their paper being coated only with such a weak solution of silver salts. They were never able to fix any <5f their results. Nevertheless, this was at least another step forward towards the real invention of photography.
% ^ %
A little more than a hundred years ago, several men in many countries were striving to capture "pictures painted by light" and retain them permanently (it was an art in those days to trace the images of scenes on a piece of paper caused by the camera obscura) ; and it was the pioneering work, energy, invention and sometimes acci- dental discoveries of men like Daguerre and Niepce in France and Fox Talbot in England (who eventually mated the picture caused by the camera obscura with a sensitive surface that was affected by light and by chemical treat- ment) that resulted in the image being permanently retained.
Niepce discovered that a mineral substance known as bitumen of Judea (a sort of asphalt or pitch) , when dissolved with some oils, was affected by exposure to light, an exposure in sunlight lasting many hours. He spread his preparation of bitumen on a tablet of plated silver or well- cleaned glass. This was very similar to the method Wedgwood and Davy had used, of paper soaked in silver salts. Daguerre and Niepce entered into partnership, and Daguerre (who had also been experimenting with silver salts) made many improvements in Niepce's process. Daguerre, however, soon became dissatisfied with the long exposure necessary, and earnestly sought after some quicker process. It is interesting to note that Niepce called his process "heliography" or sun-drawing. He died in 1833, and his son joined Daguerre in the partnership.
The following paragraphs I quote from Mr. Charles R. Gibson's book, "Romance of Modern Photography" ; they are extremely interesting at this juncture :—
"Daguerre had abandoned the bitumen process of his late partner, Niepce, as also his early experiments with silver salts, but lie was evidently seeking once more to engage silver, in some form or other, in his service. It is said that Daguerre accidentally discovered that a plate treated with iodine was sensitive to light. We are told that on one occasion he noticed that a plate which had been treated with iodine retained the image of a silver spoon which had chanced to be laid down upon it. Al- though I can only find one historian who has preserved this tale for us, it seems a very probable one. Daguerre had already seen Niepce use iodine to blacken his bitumen
pictures, so that iodine would be sure to be among Daguerre's stock of chemicals. It would be quite natural thai he should try to improve his own pictures l>v exposing them to the vapour of iodine, just as Niepce had done, and no doubt it would be upon a plate which he had thus treated that he accidentally discovered the image of a spoon. This would suggest to him at once that iodine would make his silver plate sensitive to light.
"This iodine with which Daguerre was working had not long been discovered. It is an elementary substance and was obtained by some chemical manufacturers from sea- weed. Daguerre took a brightly polished plate of silver and sought to make its surface sensitive to light by exposing it to the vapour of iodine. Alas, when Daguerre expos< d his plate in the camera, lie could only get a faint sort of
N° 10,131
A.D. 1889
Dale 0/ Application, 21st June, 1889 Complete Specification Left, 13th Mar., 1890— Accepted, Wth May, 1890
PROVISIONAL SPECIFICATION. Improved Apparatus for Taking- Photographs in Rapid Series We, William Friese Gkeene, Photographer, of 92, Piccadilly, in the County of London, aod Mortimer Evans, Civil Engineer, of Savile Club, Piccadilly aforesaid, do hereby declare the nature of this invention to be as follows : —
Our Invention has for its objeot the formation of Photographic Pictures, and 5 relates chiefly to the production of such pictures as are neces-ary to illustral i and register the movements of animals, insects or moving objects either taken singly or in masses as may be desired.
For this purpose we construct an apparatus by which with a single camera and
lens a rapid series of such pictures mav be taken and by which a serie9 ol fresh
10 photographic sensitive films or portions of such photographic film may be substituted
for those which have been exposed to the action of light with sufficient rapidity tor
the desired end.
To carry out our Invention we provide a main shaft which is actuated either by a winch turned by hand, clock-work or otherwise, to this shaft is attached wheel 15 work and counter shafts by which the whole apparatus is driven ami the ne(.-..--ury cycle of motions performed.
By the rotation of this shaft the prepared film is paid out and pi I in position
to receive the photographic impression and it is then automatically exposed to the action of light, the light is then cut off, and the exposed film i- passed nn and wound 20 up on a receiving roller, fresh film being at the same time paid out to receive the succeeding impression which is after exposure again passed on and wound up as before. All these movements go on so long as tli" main shaft is rotated and there is film on which to operate, the number of such pictures being limited alone by the length or amount of film provided. 25 To provide for the production of many pictures such as would constitute a lengthened series of such pictures and to enable three hundred "r more to be taken successively and in rapid series, we arrange a long roll of sensitive photographic him on one of the spindles or counter-shafts before montioned and this spindle is so arranged that as it rotates under the driving action of the main shaft it pays nut
30 the film as fast as it is needed. To another spindle or counter shaft the fn rid of
the film is attached, and the arrangement is such that by means of the main shaft this second counter shaft is caused to rotate in a reverso direction to that ol the former or paying ont spindle and its action consequently is to wind the film ap is fast as it is paid out. 35 Intermediate of these two rollers or counter shafts we arrange an exposure screen over which the sensitive film passes on its *\vay to the rolling up shaft and it is whilst the film rests on this exposure screen that it is subjected to the actiop ot the phatographie image.
As both paying out and rolling up rollers have a continuous motion communicated 40 to them by the driving shaft, and as it is desirous that the film during its exposure to the light should be at rest we provide an arrangement to effect this which is as follows. Immediately heyond the exposure screen and between it ani the up- winding roller we place an intermittently acting drum of such a diameter and circumference as that each turn thereof will take up or roll forward the exact 45 amount of film that is required for each picture, and in passing this film foi .vai I the drum also draws into the exposure position a fresh length of film ready to be exposed.
To effect this intermittent motion we provide the aforesaid drum with a single long escapement tooth which when the drnm is not in motion rests on the cylindrical
u
PRICE
)
Facsimile reproduction of front page of William Friese-Grecne Patent, June 1889, reproduced by kind permission of the Controller of H.M. Stationery Office.
image of bright objects, and that after in, my hours of exposure. It seemed as though the hopes that he had built upon his silver plate, with its coating of iodine of silver, were going to share the same fate as his earliei experiments with paper soaked in silver salts ; indeed matters looked even more hopeless.
"It so happened that one clay he removed one of these silver plates from his camera, as the exposure, probably due to the light, had been insufficient to produce any image. Had the spoilt plate been a glass one or a prepared paper it would doubtless have been immediatelj consigned
44
THE (IN E-TEC HNICI AN
June-July, 1937
to the rubbish heap, but being made of silver it was naturally laid aside in a cupboard to be repolished and again prepared a ir a fresh exposure.
"How rnanv of us would have lost heart at this point and abandoned the whole affair as a practical impossi- bility ? Not so with the indefatigable Daguerre. It was no light task to repolish the silver plate ; it requires great skill and care. I fancy that Daguerre must have come forward to open his cupboard next morning with a feeling of dogged perseverance ; nothing for it but to try, try, try again. Imagine his surprise when he took the spoilt plate from the cupboard to find an exquisite picture upon it. Doubtless he questioned whether he was waking or dreaming ; it was too like a fairy tale. A perfect picture ! Nothing approaching it lias ever been seen by man before.
"Wherein could lie the magic power of his cupboard ? Will another short exposure in the camera — another 24 hours' imprisonment in the cupboard-- present him with another 'perfect picture' ? I very much doubt if Daguerre slept the following night. At any rate there would be no chance of his sleeping on and failing to remove the second plate on the expiring of the twenty-four hours.
"Another picture did appear, and equal in every way to the first, ami so it only remained for Daguerre to dis- cover wherein lay the magic in his cupboard.
"It was clear that the plate must have been affected by vapours from some of the chemicals in the cupboard, and so a little patience would be required to find out which dish of chemicals was the 'good fairy.' I think that the one which did prove itself to be the magical one was one of the last that Daguerre would have suggested. It was a simple dish of that bright semi-liquid metal known as mercury. In this way Daguerre discovered that if what he had previously considered to be a very much under-
Fio. 1.
Fig, 3.
Diagrams showing^working of William Friese- Greene's
first motion picture camera.
WILLIAM FRIESE-GREEN.
exposed plate was exposed to the vapour of mercury, the invisible image was gradually built up into a visible picture.
"What really happened was that the mercury vapour attached itself to the sensitive plate in exact proportion to the amount of light which had previously affected the plate while in the camera.
"Here we have the sensitive plate receiving a latent image, which only appears when chemically developed. To the photography of to-day^ this has ceased to be a marvel, but to Daguerre and his compatriots it was indeed a true romance."
Daguerre had previously succeeded in making his pictures permanent by fixing them, washing them in a solution of common salt. By this means the remaining iodide of silver which had been unaffected bv the light was washed away, so that there could be no further chemical action. Sir John Herschel, the famous astronomer, sug- gested later that hyposulphate of soda was a better sub- stance than common salt (chloride of soda) wherewith to fix the image. This hypo-fixer is, of course, still supreme to-day.
At the same time when Daguerre was experimenting in France, William Henry Fox Talbot, in England, was also hard at work more or less on the same lines as Daguerre, and there seems no doubt that it was only because Daguerre announced his invention to the world first, that the official dates of this phase of photography are credited to Daguerre. Nevertheless, Talbot was in some sense ahead of Daguerre, because he was making prints from his negative papers. He apparently went through the same trials as Daguerre, starting off with silver nitrate and common salt, making .1 solution of chloride of silver. He also tried iodine to form iodide of silver, but it was not until he discovered the use ol gallic acid in development, that he improved his pictures considerably in detail and found that his exposure m the camera could be much shorter. (John Frederick Goddard discovered that a vapour of bromine, a non-metallic ele- ment, greatly increased the speed oi exposure used in conjunction with Daguerreotype plates, and he was able to make an exposure in 20 seconds iusie.nl oi .1- m.m\ minutes). Fox Talbot was therefore able to develop the latent image which was called the negative. (Sir John
June-July, 1937
THE CINE-TECHNICIAN
15
Herschel was the first man to use the words "negative"
and "positive" in connection with photographs). From
this paper negative (which he made translucent with wax),
he was able to produce any number of contact prints. * ' * *
Now this all happened nearly a century ago. It was the beginning of photography. The whole world started thinking, and minds of many great men started improving and improving on this great discover)', which was destined to be one of the greatest sciences of the age. As time went by, it became known that a Swiss chemist had discovered that if ordinary cotton wool was immersed in a mixture of nitric and sulphuric acids, it became highly explosive. A little later there was a substance produced by dissolving gun cotton in a mixture of ether and alcohol. The re- sulting material was called "collodion," being so named because of its adhesive qualities. Collodion was used in surgery to form a film over wounds, and thus prevent contact with air. Several scientists suggested that collo- dion might be used for holding chemicals together on the photographic plate. It was a London sculptor, Frederick Scott-Archer, who brought these suggestions into a prac- tical form and made it known in 1851.
The collodion process quickly displaced Daguerreotype and Talbottype, and made photography a popular art. It was necessary, however, that these collodion plates should be exposed in the camera while the chemicals were moist, and they had to be developed before the chemicals dried. Chemists succeeded in arranging the chemicals so that the plates might remain moist and sensitive for a week or more.
Later, it was found possible to make plates that would remain sensitive when dry. Improvements in dry plates
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continued, and gelatine was substituted for the more
dangerous collodion (the silver salts being dissolved in the
gelatine). And so the chemical side of photography went
on and is still improving.
* ^ *
As the speed of emulsions became faster, so it became possible to take photographs instantaneously, and this possibility started the thoughts of man in the direction of reproducing inurement by photographic means.
It is as well for me now to take you back to the starting point of Motion Pictures, a history which could nevei ha 1 been written were it not for the physiological phenomenon of Persistence of Vision, that basis upon which rests every one of the mechanical appliances for producing the illusion of motion.
One of the stock experiments which proves Persistence of Vision is of so elementary a character that man must be supposed to have noticed the effect long before he was capable of theorising upon its cause. If a stick with a lighted or glowing point is taken and whirled in a circle (an action doubtless performed in prehistoric times) it will be at once noticed, if the speed is great enough, that the glowing end of the stick is no longer seen as a point, but a luminous circle filling its whole path is visible instead. Again, take a flat steel spring and fix it at one end, strike the other so as to cause it to vibrate, and the spring will appear to fill the whole space over which it moves. Now, it certainly does not require much proof that neither stick nor spring can be in two places at once ; and the only possible solution to the "mystery" is that the luminous point or spring appears to be in any given spot after it has moved away, and continues to appear there until its return to the same position, when its image again falls on the
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46
T II E C I X E-TEC HNICIA X
June-July, i
same spol in the eye. The observer thus gets an im- pn ;ion of continuous presence. This taking place ill along the path of the moving object naturally causes it in appearance to fill the whole space.
Fortunately as this, like most other experimental facts, admits of simple verbal expression, one sentence suffices — we continue to experience the visual effect of light after it has ceased to act. Such is this phenomenon known as Persistence of Vision. There is a deficiency of the human i ye of which we have taken advantage. This wonderful organ of ours has a defect which is known as "visual per- sistence." The brain persists in seeing an object after it is no longer visible to the eye. Let us get it clearer. The eye is a wonderful "camera." The imprint of an object is received upon a nervous membrane which is called the retina. This is connected with the brain, where the actual conception of the impression is formed, by the optic nerve. The picture, therefore, is photographed in the eve and transmitted from that point to the brain.
Now a certain amount of time must elapse in the con- veyance of this picture from the retina along the optic nerve to the brain, in the same manner that an electric current flowing through a wire, or water passing through a pipe, must take a certain amount of time to travel from one point to another, although the movement may be so rapid that the time occupied on the journey is reduced to an infinitesimal point and might be considered instan- taneous.
When the picture reaches the brain, a further length of time is required to bring about its construction, for the brain is something like a photographic plate, and the picture requires developing. In this respect the brain is somewhat sluggish, for when it has formulated the picture imprinted on the eye, it will retain that picture even after the reality has disappeared from sight. This peculiarity can be tested very easily. Suppose the eye is focussed upon a white screen — a picture suddenly appears. The image is reflected upon the retina of the eye, and transmitted thence to the brain along the optic nerve. Before the impression reaches the brain, the picture has vanished from the sight of the eye. Yet the image still lingers in the brain ; the latter persists in seeing what is no longer apparent to the eye, just as plainly and distinctly .1- il it were in full view. When the image does disappear it fades away gradually from the brain. True, the duration of this continued impression in the brain is very brief. In the average person it approximates about 1 10th to 1 24th of a second, subject to the degree of intensity, duration, and colour of the light received by the eye. Still, in a fraction of time a good deal may happen, and in the case of animated photography it suffices to bring a second picture before the eye ere the impression of the preceding image has faded from the brain.
It is interesting to note that the first written reference i" Persistence of Vision is contained in the fourth book of "De Rerum Natura," by Lucretius, dated about 65 B.C. He says, "This (perception ol movement) is to be explained in the following way, that when the first image passes off and a second is afterwards produced m anothei position, the former then mviux to have changed its gesture. This
we must conceive to be done by a very rapid process "
This, ol course, only expresses the fad oi persistent vision, and mentions no means lor its demonstration.
Throughout the ages many men put forward theories with regard to persistence of vision. This history needs a further at tide to give it full justice, and perhaps I may
have the opportunitv of referring to it at some later date, so we will take up our story again from the time when inventors were trying to reproduce movement by photo- graphic means.
With the advent of snapshot photography, a Mr. Muy- bridge, an Englishman, resident in San Francisco, in the year 1872 conceived a novel idea for securing a series of snapshot pictures in rapid succession. He built a studio beside a track, in which 24 cameras were placed side by side in a row. On the opposite side of the track, facing the studio, he erected a high fence painted white, while across the track between the studio and the fence, 24 threads were stretched, each of which was connected with a spring which held in position the shutter of the camera. When all was ready a horse was driven over this length of track at a canter, trot or walk, as desired, and as the animal passed each camera, it broke the thread controlling its shutter, so that the horse photographed itself in its progress.
After this method of photographing the movements of a horse, many men attempted taking pictures on glass plates.
\mong them was William Friese-Greene, who in 1880 engaged himself in scientific research relating to photo- graphy, particularly with regard to photographing animated objects in motion. In 1885, he built an adapted camera which was used for taking "Motion Pictures" by merelv turning the handle of the machine, this operating a circular shutter to permit the exposure of separate sections of a sensitised glass plate. In 1887 he devised and constructed a camera to take photographs upon a sensitised strip of paper, about 50 feet in length, which was wound upon two rollers, a feed roller and a take-up roller, which strip of paper passed through a guide across the light aperture of the camera, the strip being intermittently exposed upon the revolution of the circular shutter, when the apertures therein registered with the light aperture of the lens.
In this camera he employed a strip of paper perforated at both edges, the perforations being for the purpose of permitting registration of a pair of sprocket wheels with either edge. These sprocket wheels were worked by what was termed a star movement, to give the intermittencv of motion. Turning the crank of the camera caused the star movement intermittently to engage a toothed wheel fixed to the shaft carrying the sprocket wheels, which in turn, when operated by the star movement, moved the film forward step by step across the light aperture, permitting successive portions of it of equal area to be uniformly and regularly exposed while stationary, thus producing upon the strip of paper a series of equally spaced equidistant images or negatives, each negative showing the animated object in its successive phase of motion. The pair of sprocket wheels were mounted on a common shaft and engaged the perforation in the edges of the paper strip at a point intermediate between the feed and take-up rolls and just below the aperture, drawing the strip downward across it. The feed roll by the series of pulls of the sprocket wheels upon the strip was caused to rotate in a successive series of motions, each causing to unwind therefrom sufficient of the paper to produce a loop or slackness of the Strip between the feed roll and the guide, so th.it in the taking of pictures and turning the handle of the camera, the paper strip should not be under such stress or strain arising from the pulling ol the sprocket wheels as to cause
a breakage oi tearing.
{Continued at fool of next page)
June-July, 1937
THE flNE-TECHNI C I A N
47
The Visatone System of Sound Recordin;
Capt. H. J. ROUND
The following article is a report of a lecture given by Capt. H. J. Round, M.I.E.E., Director of Technical and Research Processes, Ltd., to The Association oj Cine- Technicians, at The Crown Theatre, Wardour Street, on March \th.
CAPTAIN ROUND opened his lecture by recalling that he was interested in sound recording as long ago as 1901, when he was still at the Central Technical College, South Kensington. Dudell, the inventor of the Oscillograph, was experimenting there at the time and he was fortunate enough to assist him in the making of these early recordings, which were of the type now known as Variable Area. The width of the track was rather wider than that in use to-day and the density was about -5, but this was probably the first recording done in the world, although some variable density work was being carried out by Rumer about the same time. He did not recollect that their recordings were ever played over and in fact no one was much interested, as the Boer War was then in progress.
The subject was, however, revived again in 1929 by Captain Round, who produced a disc system which is now in extensive use. Disc recording was then the principal method used in England, and he thought it time to take up the question of sound on film.
His assistant, Mr. Langridge, who is now at Stoll's, designed the first Sound Camera, and erected duplicating and fixing apparatus for rewinding film in 90 ft. lengths. This first recording was of one minute's duration and the only intelligible word was "the." Many difficulties were met with ; one of the greatest being to keep the speed of the film constant, although speed was a comparatively
Evolution (continued from previous page)
I have given the above description of this 1888 camera because if you read it carefully you will appreciate that it contains all the essentials to make cinematography commercially possible. It embodies the nucleus of all that appertains to cinematography even to-dav ; that is. a camera that carries a roll of material that is sensitive to light (the negative film) ; this film having imparted to it an intermittent motion so that it is stationary when the picture is being exposed, and when it is moved on for the next exposure, the light is cut off by means of a shutter ; resulting after development in a series of pictures (snap- shots), one after another, on a long strip of material.
William Friese-Greene succeeded in utilising celluloid film in the latter part of 1888. It is interesting to note, however, that when using paper before, he made it trans- parent by treating it with oil.
It would be well for us all to remember that the Patent taken out in June, 1889, No. 10,131, by William Friese- Greene (copies of this document can be obtained from the Patent Office and a facsimile reproduction of the front page accompanies this article) constitutes the master Patent of the world for a camera that made cinematography, as we know it to-day, possible. This Patent has stood the test of time, having been upheld even in the American Supreme Court.
With pride we should remember it was the invention of an Englishman.
7/
Oil-Coupled Fly Wheel.
easy question in disc recording. It is now quite a feature of the Visatone system that this problem was solved in its infancy and no serious trouble has arisen since.
Oil-damping was introduced in 1931 and is now in practically universal use. Another problem was mechanical oscillation, which could go on, once started, for as many as thirty or forty seconds, so Captain Round introduced a free fly-wheel inside the ordinary control fly-wheel with oil coupling and with such an arrangement oscillations died awav after about one-and-a-half oscillations.
There seemed at one time some connection between flutter effect and sprockets, but no evidence was forth- coming to confirm this. If the recording drum was made to a certain diameter compared with the number of sprockets, the diameter being critical to a mil. or so, the film would be contacted by the first two sprockets alone, and no other sprockets would make contact. Furthermore, if the recording point was lour or five sprocket holes awav, any kick would lie filtered out.
All the early work was done under the auspices of the Marconi Company, and after a demonstration to Sir Oswald Stoll, Visatone was fitted at the Stoll Studios, Cricklewood. The demonstration consisted of a three-minute film shol at 12 frames per second for the picture camera and 24 frames for the sound. Incidentally, the subject consisted of a game of cards between two typists and two clerks.
At this point a change was made to area instead of density, and an oscillograph was constructed with a one-eighth inch reed and a minute mirror, and immediately
48
THE CINE-TECHXI C I A X
June-July, 1937
"S" trouble was met with, but was finally overcome by 11 fill control of negative and positive densities.
The optical system was far from perfect and 12-volt, 50-watt motor head-light lamps were used, and over-run at about 19 volts with consequently onlv a life of three or lour hours, sometimes even shorter.
Captain Round recalled an early scene in which he had to record and photograph a quintet composed of a 'cello, a brass instrument and three muted strings, but the scene was not a success, as the strings had disappeared in the reproduction. One film director had actually asked to have a singer taken off the track, irrespective of the fact that an orchestra had also been recorded on the same track.
The lecturer then pointed out the difficulties caused by making the camera speed 24 frames per second, involving the use of 48 cycles. He said that television was using 25 frames, which was the sensible thing to do, considering the nature of the supply (i.e. 230 volts 50 cycles).
Another difficulty experienced was in printing from the negative, and in the early days an old Debrie printer was used, but now the problem has been satisfactorily solved.
EDCBA
Visatone Eel (Noise Reduction) Track.
An interesting experiment was tried in an attempt to record whole books on film for the use of blind people. This project, in order to be commercial, involved the use of a number of tracks on one film, and in an effort to make it still less expensive, the film was slowed down to hall Speed, nine inches per second. The result was somewhat muffled, and at slower speeds it became impossible. Mr. Wright, then Captain Round's assistant, investigated this, and found that they were hampered by the thickness of the emulsion in the film. The question of getting a thinner emulsion was gone into, and then the idea of stopping the
light getting into the film was investigated. The lecturer re- quested Kodak to stain some film red, and he explained why he wanted it. Kodak asked him to try ordinary dupli- cating stock, that is, yellow-stained film, and the result was startling, and brilliant recordings were obtained at four inches per second.
He thought he had found something new, but dis- covered the method was well-known in ordinary photo- graphy, and also that a great deal was known about using white light with yellow stock to give fine resolution. The American way was to leave the stock alone and change the light ; in fact, the Americans went further and used ultra-violet light. In printing, since the picture cannot be printed on yellow stock, a solution has been found in using white light for the mute, and ultra-violet for the sound, as by using a blue filter, a finer resolution was obtained in the sound print.
Captain Round went on to speak of noiseless recording, and as he started rather late in the day, he found himself up against a great deal of difficulty in overcoming the American and continental patents. The volume expansion methods, in which both area and density were used, was abandoned at an early stage, and another method was tried — now in successful operation.
The first indication of silent track was in 1926, when Lee de Forest suggested that whenever there was absolute silence the track should be blackened out. In 1927, Siemens Halske patented a method of blackening out the track, but careful timing had to be observed, because 1/20 second was the fastest time for opening and closing the track, and even that speed was getting dangerously near to the audible frequency on some of the wide-range projectors. The method Visatone used was to employ a similar principle, but the control took place in steps. The track took a parallel form, and as the intensitv of sound increased, the number of tracks decreased. The system was a push-pull one, patented in 1910 by a man who did not realise the full significance of his achievement.
In Captain Round's opinion, recording was still ahead of projection, but nevertheless recent advances in the latter sphere had enabled recording to show off its finer points. In conclusion, he said that he hoped to realise his ambition of having his apparatus used on important films, as he thought that it was as good as the foreign systems, which were, at the moment, almost exclusively used for major productions.
Hollywood Letter (continued from next pagi
of "Dead End." Every little detail was perfect and the sky backing, to represent dawn, was so well painted one could scarcely tell it was not the real thing.
It must not be thought that Hollywood is all wealth and "super" productions. There is another side perhaps even worse than our own quickies business. They are the "hangers on," struggling to keep going, making five- reel quickies for as little as £900 in two to six days ! I think that just about beats our record! This type of producer is lucky if he realises ten per cent, above his expenses and the pictures of course never reach England.
This has only been a preliminary glance into the immense organisations of the American film industry - the third largest in the country, As soon as 1 settle down and learn the language which takes some learning I'll have something more interesting.
Leigh Aman.
June-July, 1937
T HE ('IN E - T E CHNICIAN
IM
Hollywood Letter
Leigh Aman, A.C.T. member, is on a visit to Hollywood and will contribute regularly to the "Cine-Technician" during his stay. There follow his first impressions.
IT is difficult to form any conclusions about a vast industry, having only studied it for so short a time. So here I shall only give a few isolated impressions.
First, a few words about the city itself. It is claimed that Los Angeles has the largest area of any city in the world. I can almost believe this. The distances are amazing and the studios are much further apart than are the London ones. However, no one seems to notice the distances, for of course everybody has a car. As far as position goes, Los Angeles is an ideal centre for picture making. Within two or three hours' motor run there is every type of climate and every type of countryside one could wish for, as well as the ocean on the other side.
My first visit was to the Warner Brothers studios at Burbank. These vast studios have 22 stages and usually keep six or seven pictures running concurrently. This means that there is always plenty of floor space and thus there are no delays moving from set to set. There are many other reasons why an excess of floor space is an economy in the long run. Some of the big sets, costing many thousands of dollars and known to be wanted in future productions, are left standing and the initial cost is divided between each production using the set. An example of this is the pirate ship set from "Captain Blood," which is still standing and is to be used for two future productions. While I am on the subject of sets, I should like to mention the "lots." These are really amazing. There is absolutely every set which could ever be wanted. Of course these have been built up gradually over many years, but when they were built, they were all built to last and not fall to pieces in a week. The perfect climate helps this, as there is very little heavy weather, and when the rain does come, they know when to expect it.
Economy is not always in order. Quite recently a major studio changed from Western Electric to R.C.A. sound. Rather than let any of the Western equipment go out second-hand, every bit was smashed with a sledge hammer ! If you want to know what that cost ask Mr. Watkins.
Of the technicians I have met so far, the impression one cannot miss is that of enthusiasm. Everyone on the unit, right down to the call-boy, is equally enthusiastic about the picture in production. The heads of depart- ments take a pride in showing what their department is capable of producing. At Warners, for instance, the "prop box" on the set is a whole truck, which contains not only what is called for in the script, but everything that could ever be wanted on any picture. And all neatly packed away in a special place which is card indexed to facilitate its finding. Every minute counts might be a slogan. It is a very rare thing to have to send for any- thing to the property room. The effects and miniatures are departments in which Hollywood excels. Nothing is impossible for them and the more difficult or intricate a problem is the better pleased they are. It would be quite impossible to describe a miniature I saw at the United Artists studios. Nearly a whole stage was taken up by a vast panorama of New York roofs for the opening shot
{Continued at foot of preceding page)
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THE CINE-TECHNICIAN
June-July, [93;
What's Wrong?
An Involuntary Symposium
By H. CHEVALIER, GEORGE H. ELVIN, K. C. FAIRBAIRN, "FLICKER," & C. A. LEJEUNE
This is an involuntary symposium, because the contributors were not asked to write specifically for this feature ; but, taken together, their articles are an opportunity for comment on, and restatement of, A.C.T.'s general policy. As one of our contributors says, finding fault with the industry is a game of which people never tire. A.C.T. finds many faults itself"; but it can claim to weld its criticisms into an integrated and self-consistent policy. The following articles reflect, as it were, facets of that policy.
Mr. Chevalier's article, reprinted by kind permission from "The Kinematograph Weekly of A.C.T.'s policy an particular issues can exist: —
shon s how distorted a conception
MR. CHEVALIER writes
The time has arrived when we who earn our livelihood in British studios should face up to the facts concerning the employment of foreign technicians.
The Association of Cine-Technicians is urging war against the retention of foreigners, but is its attitude really in the best interests of our craft ? Is there not a consider- able measure of justification for the action of the producer in introducing these technicians ?
My own opinion is that both the Industry as a whole and all the various grades of technicians have benefited very considerably by the presence in this country of these highly-skilled workers.
It cannot honestly be argued, either on patriotic or business grounds, that this country is self-sufficient where the making of motion pictures is concerned. With hardly any exception, the only pictures to measure up in technical quality with American output have been largely the result of international team-work.
Hollywood s Example
Hollywood recognised long years ago that the film industry could never be confined within national boun- daries, and offered monetary inducement to attract the best brains in every department of production technique. There is no bias in California against foreign technicians, and, indeed, anyone who can contribute to the advance- ment of picture quality or the improvement of technical resources is welcomed, irrespective of country of origin.
Why, then, should Britain in its endeavour to establish a British production industry, choose to ignore the ex- perience extending over twenty-five years, derived at heavens only knows what expense, of the American tech- nicians.
Lack of Opportunity
What opportunities have the majority of our studio workers had to acquire such experience ? As recently as three years ago there were only 38 floors available. These, with the possible exception of Shepherds Bush and Elstree, were small, insignificant stages, totalling in area 297,798 square feet, a rough average 0! 7836 feet per stage.
The equipment of these stages, at the time, was perhaps adequate for the type of productions being made, but even the most nationalistic-ally inclined must admit that it compared unfavourably in up-to-dateness and efficiency with installations in the average American studio.
No British technician who worked in some of these badly-equipped and out-of-date studios can deny the deplorable conditions under which thev were called upon to work.
But while these conditions have prevailed only three years ago in England, Hollywood was equipped with high- grade plant, and was spending hundreds of thousands of pounds perfecting still more accurate and efficient studio equipment.
Suddenly there occurred the whirlwind development of the new British production industry.
By December, 1936, 40 new floors were added, making in all 73, with a total floor area of 765,588 square feet, an increase in three years of 467,790 square feet, or two-and-a- half times the original figure, with a new average per floor of 14,734 square feet, double the original figure.
Some £3,172,890 of new capital was invested in new film companies registered between January, 1935, and November, 1936 ; a peak total of £24,000,000 being sunk into the industry in 1936.
Stars Stipulations
Of this £4,100,000 was spent on production and inter- national stars were brought over from Hollywood, together with top-rate cameramen, sound engineers and laboratorv men. The reason for the increase of the latter is that stars with big reputations would not risk their future careers with technicians unknown to them. No one ran blame them.
American companies were also establishing key feature production units here, and naturally employed people who they knew could deliver the goods.
Another all-important factor in this situation is that not at any one time was there a sufficiency of high-grade experienced technicians available to fill the positions open in our suddenly enlarged studio business. Consequently, we drew on outside sources, chiefly Hollywood, although the internal national troubles in Germany made available other highly-qualified technicians.
Pushing The Door To
advantages
It might have been thought that the accruing from the presence of these men would have been patent to everyone acquainted with the conditions. The newly-formed technicians' association thought otherwise, and initiated a campaign having as its aim the expulsion
[ulv
r937
THE CINE-TECHNICI A N
51
of every one of these foreign visitors who had been busy helping and training our own workers to a knowledge of the technical requirements of modern film production.
Slogans such as "They are not ace men" and "They are keeping out our own technicians" were raised, and when these were exposed, were followed by "They won't allow us in their studios, so keep them out of ours."
Foreigners in Hollywood
This cry is as misguided as the others, for there are numbers of Britishers working in technical positions in Hollywood, where they have been employed for years. Hollywood has proved its kindly interest in our studio business by welcoming with true American hospitality every British representative who has gone to Hollywood. They have been permitted to study conditions, practices and technicalities, and given the essential information necessary for the building of up-to-date studios.
In Hollywood, the American, British, German, Chinese, French, Indian or Swiss all work together amicably, and whatever ability they show they are allowed to use. Above all, everyone specialises in some particular section of the industry.
The two facts which are the secret of American success are amicable international co-operation, coupled with specialisation.
In this country, before we have even learned how to produce a steady succession of first-class pictures, or before we possess the necessary reservoir of highly-trained studio workers, agitation arises to prevent employment of what is termed the foreign technician.
Where are the Specialists ?
Touching on specialisation, where are all the specialists, so necessary adequately to maintain large-scale production in this country ? Not even the A.C.T. can produce highly- skilled specialists out of the hat ; a walk round any British studio quickly proves that fact.
The business of producing pictures is now an inter- national business and the quicker the insular conception is ruthlessly eradicated, the sooner we can get down to the serious business of production. So quit the bickering and get on with the job.
The Secretary, in his reply, also published in "The Kiue- matograph Weekly," reiterates the facts of the situation and re-states A.C.T.'s policy in regard to foreign technicians : —
MR. ELVIN said
Mr. Chevalier, referring to foreign technicians, and linking the subject up with his interpretations of A.C.T.'s policy, says : "Do we need them — Yes ! " He says that "with hardly any exception the only pictures to measure up in technical quality with American output have been largely the result of international team work." Has he never heard of Alfred Hitchcock and Herbert Wilcox, British directors, who, with entirely British crews, have for years been making films which have been universally praised for their technical qualities ? Further, did he read the letter in last week's Kinematograph Weekly from Fanfare
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June-July, 193-
Pictures, praising the work of its A.C.T. crew ? With one exception, every technician, including the director, on "The High Command," was British.
Mr. Chevalier mentions sound engineers. Can he name a single technically outstanding British production whose sound has been recorded by a non-British technician ? There is not a foreign sound recordist at Denham, Pine- wood, Shepherds Bush, Ealing, Elstree, Beaconsfield, Wembley, Islington, Shepperton, Teddington or elsewhere. Where are they ?
Laboratory men are also mentioned. Perhaps Mr. Chevalier might care to ask Harry Stradling for a comment on British laboratory technicians. "They are excellent" was his comment in the April issue of The Cine-Technician.
Mr. Chevalier says British technicians can work in other countries. Can they ? Can he negotiate the necessary employment contracts ? If so, there are dozens waiting for such an opportunity, including many who, for example, have proved their prowess by work with Alfred Hitchcock, Herbert Wilcox, Alexander Korda (a British subject, Mr. Chevalier), and other leading British producers.
I agree that we cannot produce highly-skilled specialists out of the hat. But neither do we, Mr. Chevalier, talk out of our hat. I do not quite see how a walk round any British studio proves your point, whatever it may be. An empty floor proves very little, except that the millions of pounds sunk (an appropriate word) into the industry and spent on "international stars" and "top-rate" technicians, is not a very good advertisement for whatever you mean it to advertise.
Mr. Chevalier says the time has arrived when we who earn our livelihood in British studios should face up to the facts. Is it not also the time when those who are qualified, but denied the right to earn their livelihood, should also face up to the facts ? Over a third of the British technicians are unemployed. Many of this number have records for technical quality of work which compare favourably with any other technician, whatever his nationality. Let us not underrate our own technicians while claiming art to be international. All A.C.T. asks is for an important British industry to be regarded in proper perspective.
We are not opposed to foreign technicians as such. We greatly appreciate the service some of them have rendered the British industry. But we also know that others have done work which could equally well have been done by a British subject. Let us remember that every foreign technician is not ipso facto an "ace." Equally, every British technician is not incompetent. All we ask is that British technicians be employed when they are available to do a particular job. The present is obviously such a time, except as far as those persons who may happen to be in a class of their own. Whether he be a Lee Garmes, a George Perinal, a Vincent Korda, a Fred Young, a Ber- nard Knowles, or an L. P. Williams, we are proud to have them in our industry. But, even here, we plead for it to be equally easy for the latter to work abroad as for the former to work in England. On the grounds, if you like, Mr. Chevalier, that art is international.
A.C.T. is not opposed to foreign "aces," provided they are "aces," as long as there are no equally expert British technicians available. All we plead for is that employ- ment be given to British technicians, provided (I) they are available, and (2) they are competent to do the job. Who can call this policy unreasonable ?
Our two contributors, Mr. Fairbairn and "Flicker," now take up the theme with their comments on the p< need for training for, and control of entrance into, film production . While not committing the Association to every word of theirs, we may point out that this need for training and apprenticeship has been a point, at any rate of discussion, in A.C.T 's policy for three years now ; and we are shortly hoping to achieve results through collaboration with public bodies : —
MR. FAIRBAIRN says —
Members of the audience, you have read about the rapid and romantic rise of the British film industry. You may also have read at a later date sad cases of studios shutting down, and it seems hard to reconcile the two statements. Actually the first is what Americans might call "boloney." If, on the strength of our rapid and romantic rise, the Clark Gables, William Powells, Greta Garbos and Ginger Rogers were barred from our screens to make way for the counter British attractions, what would you do ? As an irritant, the subject would vie with the weather.
Here is a modern fable. There are two men, A and B. A lives in the United States and B lives in England. A, after many years' work, builds up a prosperous business and sells his wares, not only in his own country, which he can adequately supply, but in foreign countries as well. The manufacture of these wares requires skill and ex- perience, and A is careful to have all but a negligible amount of the skill and experience at his disposal. Once upon a time, in the pioneering days of the business, A and B worked almost level-pegging. Circumstances arose which seriously handicapped B and allowed A to outstrip him. A forged ahead whilst B slid back into obscurity. Years pass, and B, who buys A's wares and knows he reaps a good profit into the bargain, decides to rebuild his work- shops and make the same thing himself. An admirable spirit. B is in such a hurry to get to work that he does not ponder over A's formidable experience in a business where experience is of paramount importance. He gathers together the odds and ends which have not been garnered by A, together with a few more who have left A because A found someone better, and enthusiastically begins to copy A. The fact that he has the cream of the brains working for him does not deter B. He goes merrily ahead. Then he takes some of the articles he has succeeded in manufacturing and tries to sell them in A's home territory. Some people call it optimism. Others use a different word. B comes sadly home again and says it is not fair that he should buy A's goods while A refuses to buy his. It is still true that if a man makes a better mousetrap than his neighbour, people will make a beaten track to his door, but if he makes a decidedly worse mousetrap, wild horses or super-salesmen won't bring them there. Not that A and B make mouse-traps. They don't. A makes films in America, and B makes films in Britain. When a producer here sets out to make a picture with the hope "1 selling in a foreign market he should bear in mind that lie is not doing it to fill a demand, or even as a favour (Hollywood can make enough pictures to fill most cinemas week after week, and keep it up indefinitely), but will have to meet competition on a grand scale.
Just now the British industry is going through a bad time. Quite a number of film technicians searching for
work will tell you that. The general feeling is that it will pick up again in a lew months. 1 sincerely hope it will.
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June- July, i
has not been any great opportunity presented to him. Obstacles have been constantly placed in his way owing to the attitude taken by dogmatic and, in some eases, "dilly-dallying" producers. But these conditions are now, through necessity, changing.
There should be a motion picture university, a school run by and for motion picture people. It should be run as an experimental studio for the training of directors, cameramen, scenario writers, editors, etc. It should, in short, duplicate a studio on a small scale. Such a school could be made profitable from a purely financial standpoint, owing to the wide interest prevailing in motion picture production. And think what it would mean to the pro- ducers eventually !
It would have to be a practical school, maintained with the co-operation of the leading producers, directors, writers, etc., and with the practicability there would be a fine idealism and venturesome spirit leading to a new advance in the film craft. The Russians (whom Castlerosse would have us believe are a great people at kidding !) have such a school run from economic necessity and foresight, and its value for raising the artistic standard is undeniable. This only goes to prove that the lectures given on various subjects, by arrangement of the Association, are of great value to the industry. I look forward to the not far-off time when these will be on a larger scale, thus asserting to the producers the aim of A.C.T. to improve the standard in all branches of the industry, as well as the status of its members.
But we must not forget A.C.T.'s basic policy is the main- tenance and improvement of the economic status of technicians ; that ensuring jolts to British technicians and starting apprenticeship schemes mean nothing if we allow technicians to do jobs for which they realise they are nut receiving the proper remuneration. In Miss Lejeune's article, winch ice reprint by kind per- mission of "The Observer," A.C.T. finds backed from an independent and influential source its dissatis- faction with recent wage-cuts and its resentment at it as a piece of window-dressing after the crisis, with no real attention paid to the sometimes appalling executive ermrs in production that arc really to blame for what's wrong. Readers should take this article in conjunction with the General Council's Annual General Meeting motion on the crisis.
Miss LEJEUNE says:
Henry Ford, speaking of wage-cuts in a time of financial crisis, once said that this was the easiest and most slovenly way of handling the situation. "It is, in effect, throwing upon labour the incompetency of the managers of the business. To tamper with wages before all else is changed is to evade the real issue."
It is a curious fact, from which we are at liberty to draw our own conclusions, that this policy oi recovery is the one chiefly adopted, at the moment, by the British film in- dustry. As soon as they felt themselves approaching, if not a crisis, at least a severe depression, the first thought of everj responsible executive was to reduce the wages and salaries of his stall.
I here is hardly a studio in England to-day that is not taking an all-round cut in salary of 10 per cent, or more. Some ol the employees are said to have taken it volun-
tarily ; others have undoubtedly had it thrust upon them. Although the amount saved on the weekly pay-roll would be light-heartedly thrown away in the next five minutes on the floor, nobody in authority seems to have noticed the paradox. Do the producers really imagine that thev can save their companies by these small-time economies ? A company that can be saved by the wages of the cutter, and the typist, and the cameraman, and the wardrobe girl, might surely be allowed to go bankrupt without regret.
Any producer who reduces a man's wages from ("50 a week to £25 a week, confirms the evidence of his own in- competent judgment. Either the man was overpaid before, or he is underpaid now. In point of fact, under- payment of the smaller responsible jobs is one of our industry's worst evils. Ten pounds a week is not a generous wage for a cutter who has in his hands the material fate of a £100,000 picture. Five pounds a week is hardly excessive pay for a woman who handles the delicate business of a firm's publicity. Twenty pounds a week for writing a script for an expensive star is not an unreasonably dashing figure. Our film industry ha< not the first economic notion of payment for service. \\ 'hat the small wage-earners need, and what they would get in any sanely organised com- munity, is not a cut, but a substantial increase.
The Government, which seems disposed according to the answers to questions in both houses on Thursday, to offer the industry protection of a practical nature, would do well to consider this problem of the allotment of money. It has been said that the present crisis in production is largely the result of extravagance by producers. That is probably true, but the money that has demonstrably been wasted by the majority of British film companies in the last five years has not been wasted in workers' wages. It has not even been wasted on the floor. It has been wasted because nine out of ten British films go on the floor without sufficient preparation. It has been wasted by the sheer incompetence of the producers, who have not realised that the heart of every film is an adequate and adequately paid personnel.
The average British studio is under-staffed and under- paid in every department, but in none more than the scenario department, wdhch is the foundation of the whole business of film-making. A company like Metro-Goldwyn or Paramount lias something like sixty employees in its scenario department. We, if we are enterprising, have six. One of our companies, in the first panic of retrench- ment, decided to abolish its scenario department altogether. At the same time it was running up the salary of a high- priced star for whom a story had to be found within a reasonable time under strict contract penalties. Another scenario department was so loosely organised that an author in England was writing a second script while an entire unit was ignorantly shooting on a first script many hundreds of miles away. It is no unusual thing for a picture costing £120,000 to go on the floor with a script half-written, or for the script to be re-written on the sel before the day's shooting begins.
This sort of thing is the real extravagance, and films will never be made economically while it is allowed to con- tinue. There is no extravagance m paying a man what he is worth in wages, in investing heavily in salaries with a view to a certain return in profits. The British film executive has still to learn, and he will no1 be successful until he does learn, that the labourer, the real labourer. is worthy ol his hire.
func-July, 193;
1 HE (IN E-TEC HNICI A N
55
The Young Idea
ON Thursday, March 18th, the students of tire Regent Street Polytechnic School of Kinematography showed nine sub-standard one-reelers they had made. Mr. Hibbert, the Principal of the School, in his opening remarks, stressed the fact that each of these films was purely an individual job. That is to say, each student was his own scenarist, cameraman, director and editor. It is, therefore, understandable that the films were very open to criticism in detail, but the impression they gave on the whole was a remarkably good one. The Poly- technic course in Kinematography lasts two years and these films are made by the students at the end of their first year. The ability shown suggests that, after their further year's training, some of the students should be well equipped to attempt on a professional career. The snag, of course, is that there is no definite entrance from such a course into the industry. It is a pity this should be so, and provides a further argument for an Apprentice- ship Scheme in the industry along the lines consistently urged by A.C.T., and the necessity for which Miss Tejeune stressed in her article reprinted in the previous issue of the Journal.
The most striking of the films shown was "Eight- Thirty-One," by S. H. V. Durell, which portrayed the routine of the suburbanite's daily journey to town. This showed a good grasp of three-dimensional camera angle and had some interesting dissolves in which attention
had been paid to composition in the dissolve itself, a quality all too rare in the professional cinema. Durell had the most naturally dramatic subject to deal with, and some of the other films, with more prosaic subjects, suffered by contrast. The films were accompanied by music from the non-synch, and by a spoken commentary delivered by microphone by the authors. The commentaries lor "From Forest to Showroom" (C. B. Heath) and "Brickbats" (M. W. MacLaren) showed ingenuity and counter-balanced the sometimes un-cinematic nature of the mute. I he other films were : "Territorial ("amp 1936" (J. Philipson- Moss) ; "Milk and its Products" (B. Westwood) ; "Quarry- ing" (G. A. Trickett) ; "City Street" (J. W. Ritchie); "Water" (P. I). Hunt) ; and "East Goes West" (Sing). While varying in cinematic merit, they all showed good observation. The commonest fault was the lark of sense of tempo, an inability to Range the audience length of a shot or sequence of shots. It is hard to throw away shots that it has taken pains to photograph, but it is a ruthlessness that has to be learned.
While it is obviously good that the Polytechnic students should experience the responsibility of these one-man films, I think that if it is the intention to train them for probable entry into film studios, it would be valuable to have a film made each year, on a larger scale, by the students working as a team, to teach them something of that multifarious co-operation needed in the commercial studio.
An interesting afternoon.
Sidney Cole.
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56
TH E (' T NE-T EC TI NIC! A N
June-July, 1937
Mad Dogs and Location Units
By THOROLD DICKINSON
AT the end of August, 1936, Fanfare Pictures sent .1 small unit to West Africa to shoot scenes, take research stills, study local colour, and bring back props and costumes for their first production, "The High Command," due on the floor at the Ealing Studios at the beginning of November. The Company ignored a tendency among associates to ridicule the project, a sentiment which evaporated when the results were shown in the finished film. The unit consisted of only four pci sons which was an acid test of their capabilities and temperament. The four were Gordon Wellesley, pro- ducer ; John Seago, production manager ; James E. Rogers, cameraman ; and the present writer, director.
Our itinerary consisted of a voyage from Liverpool to the Gold Coast, where we started location work. (Before this began there were fourteen days of fun and games, laced with benevolently fascist conversation and the kind of music that the B.B.C. emits in its morning programmes). After the Gold Coast, Nigeria, where we spent two weeks on a 2,000-mile railway tour ; two weeks in Lagos, the chief port ; and, additionalh , half the unit spent a further week inland in Southern Nigeria.
Our problem was to complete a journey of some 11,000 miles in eight weeks, during which time we were to expose 16,000 feet of film, the greater amount of material to fulfil a required schedule of shots ; the remainder to be used to make a two-reel documentary short. And all this before the end of the rainy season, for we were gambling on a combination of sunlight and cloudy skies to give us a better effect than the brassy skies of the dry season.
The cameraman controlled and operated the camera equipment (his own Eclair and a Newman-Sinclair hand camera), the 16,000 feet of film specially packed for tropical conditions, the magnesium flares for night work, and, occasionally, the local electric light supplies. Fortunately Rogers had been to the Gold Coast before and his advice was invaluable in planning the trip. This experience also made it just possible for him to work without an assistant, but we determined not to indulge in this false economy in future, for the time spent on work which an assistant would otherwise have done could have been better employed on survey and other preparation work, and the physical strain of working in the tropics under these conditions was intense.
The producer's function was two-fold ; first to make all the contacts with the civil and military authorities in order to explain the nature of the facilities required, and to round off these contacts on leaving ; secondly, to take and keep a record of all the hundreds of stills necessary for art direction and publicity work. Wellesley used a I i'n , 1 throughout, with the usual reliable results.
The director accompanied the producer in all contact work ol a technical nature ; directed the shooting of all scenes (these covered back-projection plates, atmosphere shots, long shots involving the tise of doubles of the studio cast chosen from among the local European and native population ; and documentary shots) and kept a con- tinuity record of all film exposed.
[Howard Cosier Portrait.
THOROLD DICKINSON.
The production manager handled the finances of the expedition, arranged all supplies of food, transport, sleeping equipment (including beds, bedding and mosquito net- . etc., and had charge of the staff of four native boys ; steward, cook, and two assistants.
The first thing we had to learn was the enmity of the tropical sun. On the voyage out one of us went ashore in a heavy rainstorm at Sierra Leone in an ordinary trilby hat. He -pent most ol the time in -hop- and in a taxi, and he was under cover in the tender going to and from the shore. But he suffered for three days afterwards from "a touch of the sun ; " headaches, sickness and dizzi- ness. From dawn till 4.30 p.m. we learnt to wear a topee and like it ; to wear aertex underwear and change it often ; sweat thoroughly at least once a day ; and carry thick woollen jerseys for the occasions when we worked through the dusk into the night. We soon found that the European routine of work in the moming (indoors whenevei possible . light lunch, siesta till 4 p.m., exercise before sunset, a bath, a quinine tablet with soda water, and a long disin- fecting glass of whisky as nighl falls, is based on sound medical experience. Our own mad-dog routine was dictated by the demands of our job and was justifiable because oi the short space of four weeks available to us.
IlltK'- ll!\
1937
THE CINE-TECHNICI AX
57
We rose at 6.30 a.m., worked out of doors — sometimes from 11 a.m. till 5 p.m., or during the whole morning and again in the afternoon ; sometimes all day and through till after nightfall, when the dangerous drop in temperature occurs. We all had bouts of fever, which we generally overcame by a night of sweating ; except the producer, who had to endure a fortnight of malaria, a legacy from his previous tropical experiences.
Facilities in a British colony are only possible by one means. Once the Colonial Office had read and approved of the adaptation of our story facilities were arranged in Africa on a most generous scale. Wherever we went, instructions from the Colonial Office preceded us, and our requests were met with courtesy and despatch. It was therefore possible, as an instance, on our vovage out to land at 9 a.m. at Takaradi (on the Gold Coast), motor 80 miles to Cape Coast, where we reported to the District Officer and shot stills of the old Portuguese castle ; then to drive back to Takaradi — taking in Elmina Castle on the way, where we shot all the necessary movie material and stills in four hours — and return to the ship by sailing time, 7 p.m. A good 10 hours' work.
The following day was spent at Accra — landing by mammy-chair and surfboat — calling on the Governor, Sir Arnold Hodson, a charming man who, among many distinctions, wears no topee on a cloudy day, and pursues the strange hobby of writing and producing an English pantomime annually, which is performed exclusively by native school children. He allowed us to shoot scenes in and around his residence, formerly the Danish castle of Christiansborg. These old castles and forts of Africa's Slave Coast are magnificent buildings with a bitterly romantic history.
Next day we landed at Lagos, Nigeria's chief port. With help both general and particular from many people we four set off within three days on our two-thousand- mile railway journey through the country, living in a railway coach composed of a living room, bedroom, bath- room, kitchen, servant's quarters, and an observation platform.
We spent a day on the banks of the Niger River at Jebba, reputed to be one of the hottest settlements in the whole continent, close to the place where the explorer Mungo Park was drowned. It was here that we first had the experience of finding our wooden number board too hot to hold in the naked hand. The climate on the coast was hot and steamy and sapped one's energy in a most unpleasant manner, but as we travelled north, inland, the heat became drier and the sky less overcast. Our coach and van were hitched on to passenger and fast goods trains, according to a very elastic schedule, and we had only to send a telegram to the next stopping place to have the very obliging railway officials change the schedule to our convenience. A remarkable amount of the goods traffic of the Nigerian railway consists of nuts ; ground, or pea, nuts transported from the south (where they grow) to the north, whence caravans convey thousands of sacks-full into the interior. And there are kola nuts, eaten as a stimulant, which are hospitably handed around as cigar- ettes are in Europe. They are by no means cheap ; a market basketful costs about 10/-. We often used them as gifts in return for services rendered ; and cows were used also as payment. In return for two cows and four hundred gallons of native beer (which looks like milky tea and tastes very odd) a pagan chief in the plateau
country near Jos summoned 1,500 natives lor us ;it a day's notice, and staged a dance which lasted far into the night. The most expensive item of this dance was the firewood, which we needed for a bonfire, for these plateaux, 4,000 feet above sea level, are nearly treeless, and in tact resemble the more dramatic landscapes of Dartmoor, with rocks- hills rising out of rolling grass-land. The natives ol the plateaux are pagans (i.e. not Mohammedans) and are friendly, graceful, and nude. The men wear a sheath oi plaited straw, and the women a bunch of leaves, or a little straw seat with one leg, which hangs behind them between the buttocks. Like all the natives of Nigeria they always carry loads upon the head.
From Jos we travelled on to Kano, a sprawling mud cit}' with several hundred thousand inhabitants, and the biggest market in Africa, which has been a junction for over a thousand years. Here the Emir took a keen interest in our work, and several of the younger native members of his administration service helped us most generously and intelligently in the tasks of organising crowd scenes. This district of some 2,000,000 inhabitants is ruled by the Emir, as certain provinces in India are ruled by Indian princes. We spent a week in this fascinating city, and exposed several thousand feet of film. The mud architecture here is simple and well-proportioned ; bold patterns cut in the surface of the walls distinguish the more important buildings. The interior walls of some of the rooms in the Emir's palace are painted with similar patterns in vivid colours, gold, and silver, which gleam in the dim light from narrow openings in the thick mud walls. The roofs of these mud buildings are supported on arches of wood, and the rooms are high in proportion to their floor area. A few mud houses are still in use in the European quarter outside the native city, and some of these were copied as sets in the film.
The rest of our time in Nigeria was spent in and around Lagos, where the abnormal continuance of the rains was a handicap. Thus only our producer could return on the ship on which we had planned to sail home. At the last moment, so as to have a further week in Nigeria, I arranged to fly back to England ; and as the Imperial Airways' route was not yet in use for passenger traffic I took the only other route — motor barge from Lagos along the inland lagoons to Cotonou on the coast of French Dahomey ; thence by air, north, from Dahomey to Niamey on the Niger ; along the Niger to Gao (near Timbuctoo) ; a long hop across the Sahara to Laghout, an oasis south of the Atlas mountains ; Algiers ; Marseilles ; Paris ; London. Six days. The route has much to commend it. The planes are reliable, their crews efficient and cheerful. There are good hotels right across the desert, and the views over the desert are unforgettable. I reached London on the same day as Wellesley, and my entire expenses were only £15 more than his.
A fortnight later the other two arrived by boat with further excellent material which they had shot during their extra week in Southern Nigeria. They had with them, moreover, a railway van full of native costumes, furniture, a crate of cactus, and a monkey. And so our production was enriched by a number of invaluable shots and a great deal of authentic detail work in settings, story points, acting, and general atmosphere, which we could never have injected into the film l>v merely hiring a gang of "experts" and working to their views second-hand.
58
T IJ E (' I N E-TEC II NICI A X
! i fuly, i<)^7
Studio Lighting for Kinematography
By BRYAN LANGLEY
The following is a report of a lecture %iven by Mr. Langley to The Royal Photographic Society on December 8th, 1936, and is reprinted, by kind permission, from "The Photographic Journal."
The meeting was held in connection with the Exhibition of Kinematography and was arranged by the Association of Cine-Technicians.
INSTEAI ) of giving a collection of half-understood rules, which are, in this business, at least, only a collection of personal experiences (and, even so, one has the feeling that experience is simply plenty of mistakes that one has got away with), I am going to give a fairly detailed account of one particular sequence in a film which I have recently photographed. I believe that this should be more in- teresting to you, and far simpler for me, as it is about something that has actually happened. I have been lent a reel of film to illustrate this talk, so you can judge whether the methods I used were right or not.
Kathleen Mavourneen
This reel of film is from a picture entitled "Kathleen Mavourneen," starring Miss Sally O'Neil, Mr. Thomas Burke, and many other famous people. "Kathleen Mavour- neen" was directed by Mr. Norman Tee and produced by Mr. John Argyle, to whom I am indebted for the kindness of lending me a reel of film. Co-operation like this be- tween producers and technicians is a very good thing, and I for one do appreciate it.
When Mr. Elvin (the Secretarv of the Association of fine-Technicians) rang me up to ask me to contribute this talk, I was somewhat puzzled what to do. Mr
SIZ.E « ST'IJIP joo' * So
tr
f£«ce i
Lighting Lay-Out. Key. ! 700 mm. arcs, 1M) amperes- ■ ^ kilowatt spot lamps; set outline; "spot rail lay-out.
Argyle, with many nice suggestions, soon put me on the right track.
I'pon reading a script we find that in the forefront of each sequence is a description of the scenery and general atmosphere of that sequence. For example, a ballroom sequence would give descriptions of the rvpe of ballroom, magnificent or faded, local hop or Palais-de-Dance. A Tondon street scene would give descriptions of the type of street, time, crowds and that sort of thing. In our particular case it is a farmhouse, and I will read what the script savs : —
85 : The Farm. Exterior. Dav.
The picturesque farm in Southern Ireland. It is a plain, two-storied lime-washed building, with a little porch over the front door, ivy jrowing round the windows and some geraniums in pots on the window-sills.
The jaunting car drives up to the front door. Mary Ellen, followed by a dairymaid, comes rushing out of the house to greet them.
Then comes dialogue and action of the following scenes.
Xext we have details of the interior of the farmhouse.
Scene 89 : Interior Farmhouse. Day.
The large oak-beamed kitchen, living-room of the farm. In the spacious fireplace a crane is holding a skillett (three- legged pot) over the fire. It is steaming.
Sides of bacon are suspended from the ceiling.
I am going to add that upon reading this I had visions of going to Southern Ireland and having a good time — plentv of fishing when it rained, and I am told that it rains every third day in Ireland — a nice holiday in fact ! But this Utopian dream was not to be.
One dav, while shooting, my chief electrician came to me and said : "Seen the set next door ? " I said : "No ! What is it ? ' "The Farmvard" I was told. "They are having real pigs and real chickens. Mr. Argyle believes in the proper thing. Will you come and light it ? I was staggered, but followed him in. There were masses of carpenters rushing about, the Master Carpenter leaning against a "No Smoking" sign looking as though he were puffing an imaginarv gasper — perhaps he would have been but for Mr. Argyle and the pigs and chickens, etc.
At 4 p.m. the set was in this crude state. My job was to tell the chief electrician where I wanted my lights and necessary spot-rails and gantries.
Suggesting Sunlight
Now I always endeavour to reproduce Nature in its most attractive form and when reproducing sunlight with lamps the obvious course to take is to place the lamp- at an angle such as the sun might make to the set. Conse- quently, the lamps must be as high as possible from the ground, so I had a hanging bridge constructed down the centre of the set. I'pon this \ ordered four 700 mm. sun arcs interspaced with 3 kos. each side of the bridge. These sun arcs are of a type which allows a ground glass diffuser to be placed in front to soften the light. The 3 kos. were for picking out details. Of course, the arc lamps generate a very blue raw which compared to the yellow ray of the inky lights is not nearlj so effectb e to panchromatic emulsion.
Looking at the ground plan I could see that the house was admirably built for relief lighting, so I ordered a KMK) mm. sun in the far corner of the studio. This was
lh
ig-
THE C INE-TEC HNH'I A N
59
to light the whole house. Opposite the gate I put a 700 mm. Also at the four corners of the set I placed a 700 mm. for emergency. Between these suns I put 3 kos.
A night staff of carpenters was ordered to build the set and a night staff of electricians to rig the lamps. As the set w.is wanted by 9 o'clock the following morning, I had to be there by 6 o'clock in order to check that my guesswork of the positions of the lamps was correct and also to blend and direct all the lights. I arrived the following morning at 6 o'clock. The electricians had not completed the cabling out to the lamps, so I collected a camera and set it up for the best long-shot. I remembered that in the preceding shot, taken in back projection, the ponv and jaunting car were travelling from right to left of the screen. The set was constructed with the gate on the left of the set, so I decided to start the car inside the barn and cover its entrance with a tree. Then, as the foreground was empty, I placed a row of palings and added spindly trees to break up the picture as we panned across. While I was doing this the electricians had clone their job and I commenced to blend the lights.
(At tins stage <i reel of the film containing the farmyard and interior of the farmhouse was projected).
You will have noticed in the background of the farm- yard, on the left, a white barn with an overhanging roof. I decided to make this my outstanding section. The face of the barn was white. I had a 700 mm. arc, burning 150 amps, trained on to this from a fairly high angle. The overhanging eaves made a natural shadow which caused a lot of contrast. Haying got my key-point, or brightest section, the next job was to light the next bit of set, blending the light with that of the barn. This I did with a 700 mm. arc.
This business of blending is very simple. Every lit portion of the set must have a source of light and every light source must cause a shadow.
Now "blending" is the name given to the business ol lighting a set evenly from two or more light sources, with only one shadow. Blending on ,1 sel with a fairly broken- up surface is simple, as one can arrange foi the junction of the light to be at the angle ol a wall or along some r and if nothing is there then it is easy to have the property master place a tree so as to cover the overlap.
The next step was to light the farmhouse. I had the 1000 mm. arc 300 amps lit. This illuminated the whole house with one lamp, which was what 1 wanted, but I found out that the difference ol intensit} between the near wall and the wall with the door was too great, so ] increa ed the lighting of the door portion with one of my emergency 700's from the side rail.
I lit the pigstyes with a ground glass 700 from the centre rail and then continued lighting round to the right- hand side of the set with soft 700's, as this side is the shadow side of the set. All this time I picked out various parts of the set with 3 kos., such as the wall, chimney stack, tree, and so on. From the front rail above the camera I had two 700's with ground glass in to flood the set, and along the camera limits I placed a row of 1500 flood lamps, silk-screened to give a soft, even light.
On the scenic backing I put more silk-screened banks of light to give an even flood of light. From the back rail I put three 700's to flood the set with back light to make the actors stand out.
When I had lit the set and blended the lights I checked them over through my camera and was satisfied, so I told Mr. Lee to carry on and rehearse his action.
There is one thing 1 must tell you about set lighting before I go on to the next part.
When going on to a fresh set one usually starts with a long shot. Now one might light a set most naturally and run into a lot of trouble when doing mid-shots and close-
ft;
#
\-"V
Kathleen Mavourneen." Argyle British Productions, Ltd. The Farmhouse.
GO
Mil-. (I N E -T H< II N I (' I AN
June-Jul) . C937
nps. Let us imagine a quadrangle of white plaster and the sun shining.
Mid and Long Shots
When the set is lit, two sides could be bright and the third dark. It is lit very nicely and evenly — not one part brighter than another in the sun-lit parts. In the long- shots this would look fine and natural ; one could even have — as we call them in studio talk — "jingle berries," or more usually, foreground pieces.
In the long-shot we have light and shade, composition, and plenty of forethought.
A long-shot is the result of plenty of work, and therefore should be as the cameraman wishes.
Now here comes the snag — a mid-shot, a shot against the sun-lit wall or even against the shadow side wall.
In both cases we have a shot with a back-ground that is flat and even and most uninteresting. You cannot put shadows there because of continuity of lighting — a very important point, as important as continuity of clothes.
In my opinion, the mid-shot is the shot most used in motion pictures, and consequently the sets should be lit with this in mind.
Therefore, I make on my walls false shadows — areas of brightness — areas of dazzling brilliance — bits of dead bla< k, all mingled and jostled together. Remember the white barn — it will be impossible to take mid-shots against that it it was of an even brilliance ; as it was, there was the maximum of contrast which broke up the background.
I have an illustration in mind — compare Greta Garbo with the finest diamond in the world. That diamond looks very nice against a velvet background or against silk — but put that diamond in a fine setting — a crown — or in a nice ring upon a pretty linger and its looks are enormously enhanced.
That is why Greta Garbo is always seen in the finest sets and photographed by the world's best cameramen.
In fact, the jewel in the setting. You may think this highly irrevelant, but I cannot stress too much the im- portance of set lighting and that of the type that gives a threat variety ol background.
It is permissible to let the long-shots go — they are only seen once— and concentrate on your mid-shot lighting.
After all, the long-shot is mainly a question of com- position—not lighting.
Now to return to our farmyard. The actors are re- hearsed, they know their lines ; they act to Mr. Lee's satisfaction and my operator has given them places to start from and come to.
Now I come along and light the actors in their various positions.
Reality and the Leading Lady
Mere we arc up against a famous problem, reality versus the leading lady's face.
in reality we should light from the same direction that the highlights on the set come from ; we can do that, of course, it we have a perfect face — it makes the job much easier.
I am always prepared to discard reality lighting on artists, il necessary.
Altei all, people go to cinema to see their favourite actress with her well known lace, not to see a lot of mathe- matically correct lighting.
Will you please remember the white barn again. The lighting obviously came from high up on the right. Suppose
two actors enter the picture and look left ; if you carry out the lighting as it should be the light should come from somewhere between 45° right of the camera and over the camera. At 45c it would make a bad shadow from the cheek upon the nose ; over the camera it would flatten them out.
I would place the light so that it was directly above the spot where they were looking ; this would render the faces nearest to the camera dark, or, in other words, give roundness. Coming from the right at three-quarters back I would put a spot to outline the hair and back of the neck. This back light would be brighter than the face light and so carry out the illusion that the right-hand side is brightest after all.
I will now give you a rule which is, as most rules are, a safety-first measure, which with very few exception- won't let you down.
When photographing faces put the main face light as high as is possible over the direction in which the artist is looking.
If the artist looks right or left the side near the camera will be dark — the face will be round.
If the artist looks at the camera, place the light over the camera ; this will fill in those unpleasant rings under the eyes and at the same time give plenty of modelling from the nose and lip and cheek-bone shadow-.
The height of the lamp is determined by two things : (a) the nose shadow which looks most unpleasant if it comes over the mouth when the artist is talking, and (b) the overhang of the eyebrows over the eyes. Eyes look very bad when half-shaded off. It is these prominent eyebrows that determine 75 per cent, of the height of the lamps. Whatever is the position of your main face light you must have, at the angle of reflection from that lamp, another lamp to fill up the shadows caused by that high lamp.
If the high-light is 45 per cent, left, the other lamp must be at 45 per cent, low on the right.
In a case like this I often put a lamp heavily silk- screened under the camera as a catch-light for the eyes.
Working on this principle, my method is as follows : I light the sets, making the lighting as broken up as possible, then I turn out those lights and put on my main face light ; this I get to satisfaction as regards height, angle, etc.
Then I measure the intensity of that light with a Weston foot-candle meter. I stand where the artist stood and the light falls on my meter. I have the lamp spotted or flooded until the instrument reads a predetermined figure. As I am a strong believer in "Gamma control." I always have one light of the same intensity. This light is nor- mally the face light, and consequently my faces always render the same negative density. The differences in make-up and skin texture give all the variations necessary.
Having got my required light intensity I place my artist in position and turn on my shadow light : this 1 increase or decrease by personal judgment until 1 get my required balance of light. In night scenes 1 reduce this light to a minimum, and in day shots to about half the intensity of my main light.
1 then pick out various parts of the artist with three- quarters back light the hair, shoulders, die—, and so on.
When these three essentials — main, shadow and back lights are satisfactory, I switch on my set lights and balance them, by my personal judgment, against the artist.
I might remove one or soften one off, the main idea
[Continued at foot of page 62)
[uiK-July, I937
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T HE CIN E-T EC HNIC1 A N
June-July, n,;;
Increase in Technical Facilities for British Film
Production
The following information is extracted from an article by Nir. I. I). Wratten in the Afrit issue of "The Photo- graphic Journal."
New Studios
May, 1938, saw the official opening of the London Film Studios at Denham, Bucks, a completely self-contained
I luction centre. There are seven separate stages, two
of which arc each '250 feet In' 120 feet by 45 feet high, two each 125 feet by 120 feet by 45 feet high, and three each 120 feet by 80 feet by 35 feet high. The four larger stages are air-conditioned. These buildings are of rein- forced concrete construction, and the inside walls are covered with rock-wool for sound absorption. The sound system used is Western Electric, with a five-way dubbing channel.
Complete protection from the weather is afforded by corridors which connect the stages with the administrative block and the dressing room block. In the administration block are located two theatres, one of which is large enough to comfortably seat three hundred people.
One of the largest private power plants in the country, having an output of 440 lews., was built to take care of the power requirements of these studios. For stage lighting, it is understood that no less than 10,000,000 candle-power is available. The studios are also independent of outside services, in so far as water supply is concerned, water being ilit, lined from the river Colne, which runs through the property, and from a well supplying up to 17,000 gallons per hour. Altogether, about 70,000 gallons of water per hour can be made available by pumping operations.
Pinewood Studios at [\cr Heath, Buckinghamshire, wen officially opened on September 30th, 1936. These studio: are designed on the unit principle, each unit consisting o eight stages. It is understood that in the future two unit: will be built, making a total of sixteen stages, but on tht opening date only five stages of the first unit had beer completed, consisting of three large stages having dimen- sions of 110 feet by 165 feet by 40 feet high, and one stag( divided into two small stages 110 feet by 83 feet by 40 feet high. Constructed on a steel framework, with solid con- crete walls eleven inches thick, these stages show thai careful consideration necessary to the various requirement! of production. Internally, the walls and ceilings sound-proofed with slag-wool. All approaches to the stage; are under cover, an obvious necessity when one consider: the inclement weather prevalent in this country, anc covered ways are also provided between the workshop; and the stages. Further, a covered space of about 15, out square feet in area is located in the centre of the unit Lighting equipment consists of large numbers of both tungsten and arc lights, principally supplied by R. R Beard, Ltd., and Mole-Richardson. For sound recording the Western Electric variable density system is used.
Additions to Existing Studios
During 1936 several English studios engaged in exten- sive additions to their premises.
With the additions completed during the year, Sound City Studios, Shepperton, Middlesex, now has seven sound stages, totalling 80,000 square feet of floor space. Built on the unit system, each stage has its own dressing rooms,
Studio Lighting (continued from page 60)
being not to have the same negative density on the set as on the artist ; it can either be greater or lower.
I know that my artist is rendering a constant negative density to within a very fine degree, so, providing the laboratory is up to the scratch in its sensitometric control, all is well.
To those of you who are in the studio business this does work out in practice. On a picture which I have just had trade-shown there was a variation of only three printer points in the whole picture.
There is one very pleasant thing about making pictures that I would like to mention.
During the shooting of the farmyard the animals created a lot of dust. It rather worried me in case the rays oi the lamps should pick-up.
When we saw the "rushes," this dust softened down the distance and gave that delightful hazy appearance that one so often sees. I was very pleased and when asked afterwards how I got the haze, I replied that it was a \ ei \ old ti ick It was luck.
Discussion
In reply to a question <>n photographi< backings, Mr. Langley said : A print of any given "still" subject is approved by i .iiin-i.iin.iii and director.
The art department tells tin- photographii backing department what size that punt has to In- enlarged to
llic backing department takes the negative ami subdivides it into a number of equal parts dependent upon the width ol the sensitive paper and the width ol tin- enlargement.
Assuming a 10-in. bv S-in. negative to be enlarged to 30-ft. bv 20-ft.
A roll of sensitised paper is of unlimited length and, say, 3-ft. wide.
The operator would divide his negative into 10 equal vertical strips and enlarge on to the paper, one portion at a time.
The paper strips of 20-ft. by 3-ft. are developed in a weak de- veloping solution in order to reduce developing errors and when finished are pasted on to a wooden frame 20-ft. by 30-ft. covered with hessian (a kind of sack material).
As the paste dries the shrinkage draws the hessian drum-tiijht.
"this photographic background is flooded with an even light and when photographed a little out of focus (focus beinii on the a is most realisti<
Asked about Hack projection, the lecturer said : Back projection is the name given to a diapositive when the subject is a kinemato- graph print.
The screen is of some translucent material, either of ground glass, paper or matt celluloid.
At the moment matt celluloid is the favourite method. projection screens are made in many sizes, the usual one being about 20-ft. l>v 15-ft.
the motor which drives the projector and the one which drives the camera must be interlocked by some electrical means m order that when the shutter ;>! the camera is open the projector shutter is likewise ami vice versa. I use a Vinten camera more often than .m\ other all the cameras are equipped with Cooke lenses. I shoot at f 2 in order to -jet the maximum exposure within practical limits
This means that 1 use the minimum of light, and naturally the fewer numbers «c light soun es tin- better the personal control.
I use a Weston foot candle meter with which I measure the intensity ol my key light -
1 point this at the lights from the positions of the actors and not from the i amera to the act, >i -
1 prefer a ground glass screen over the lamps to silk or butter muslin, because the -^la^s was constant : it was not affected by hc.it and did not become yellow, as butter nuislm did.
|imc-
i<).:
I 11 E C INE-TECHNICIAN
63
production offices, property rooms and many of the ne- cessary accessory departments. In a separate block are contained twenty cutting rooms and three theatres. Stan- dard sound equipment for these studios are the R.( A. ultra-violet and the Visatone sound systems. A power- house generating 17,000 amps, provides power for the stages. It is understood that during 1936 Sound City Studios serviced over twenty per cent, of the total number ^of feature films produced in this country.
At the end of 1936 the Rock Studios at Boreham Wood, Elstree, had completed two new stages, part of a develop- ment scheme which will eventually total seven completely equipped sound stages. The new stage No. 1, with dimen- sions of 117 feet long by 80 feet wide, is typical of the constructional methods which have and will be used throughout. It is of steel frame design with brickwork panels, the roof and walls being treated with slag-wool. The floors are of concrete, laced with boarding nailed to fillets in the sub-floor. R.C.A. ultra-violet and Visatone .recording systems are used, the arrangement of these installations having been prepared in such a way that each sound unit can be quickly patched through to any recording or re-recording stage, tints reducing the time of change- over from one stage to another to an absolute minimum. A large power-house is provided, containing three genera- tors, two of 750 kws. and one of 500 kws.
The Warner Bros. First National Studios at Teddington, .Middlesex, made extensive additions and alterations during the past year. The old studio, which has been in use for five years, has been modernised, and an entirely new sound stage has been built. This new stage measures 133 feet long by 100 feet wide, and is of brick construction, the
inside walls being covered with rock-woo] lor sound absorp- tion. The Western Electric sound system is used. A new power-house provides current lor the stages. These studios do not possess a very large acreage, and a con- siderable amount of ingenuity has been expended in making use of every inch of available space. In the ease oi the new sound stage, for instance, one entrance has been lifted with revolving doors and hall so that it cm easily be made to resemble an hotel. Another example is a set of windows looking on to a pavement, which can readily be turned into a big store. Constructed at the same time as the new stage was a block of executive offices of excellent appear- ance.
Studios in Course of Erection
Under construction during 193b. the Amalgamated Studios at Elstree will consist of four large stages, three of which can each be split into two stages. Dimensions oi the large stages are 200 feet by 100 feet by 35 feet high. Two large and four small projection theatres will be provided, as well as all the other accessory departments. Western Electric sound-recording equipment will be installed. Of pleasing appearance and of efficient design, Amalgamated Sttidios will be a notable addition to the growing number of line Motion Picture Studios in this country.
At the end of 1936 there were about twenty-five studios, totalling in all over seventy stages, available for production in this country, all situated in or near the London area. Some of these studios possess excellent technical facilities, and although others are not so completely equipped it would certainly seem that the number of studios is ample for the present requirements of British production.
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64
THE flXE-TECHNK I A X
June- July, 1937
Cinema Log
An Apology to Highbury Studios
Our deepest regrets are extended to the Highbury Studios for any misconception of the report in our last issue re Tudor Films. The situation is as follows :— Tudor Films have a contract to make six pictures for A.B.F.D. release at the Highbury Studios, the first of which — "Intimate Relations" — having been completed, i>l course they go back to carry on as soon as they have finished their first picture for British Lion release, which, in accordance with their British Lion contract, was pro- duced at Beaconsfield Studios. So you see, Tudor Films are producing in two studios — good work !
Talking of Highbury, it is a well-known trade fact that the conditions there are most happy from the point of view of rapid work, good staff, commercial terms and splendid relations between studio owner and tenant.
A New Long Tom"
British Lens makers have excelled themselves in pre- paring for the Coronation. Taylor Hobson's Telephoto lens of 56 inch focus, built for Pathe, and mounted by Vinten, is the longest ever used by Newsreel cinemato- graphers. Working at f.8 the lens itself measures 4' long and is 8" in diameter and will secure a close-up, head and shoulders, at 250 feet and a full-length figure at 750 feet. When testing the lens and mounting, a picture of the Television Tower at Alexandra Palace was photo- graphed from Cricklewood, 6 miles away. The camera and lens are 100% British workmanship and give rock steady results. The lens was used on the Victoria Mem- orial to secure the Balcony scenes at Buckingham palace.
Another fine piece of lens manufacture is the f 1 -3 56 mm. lens used in the Abbey. This is also a Cooke. I have used this in securing flood lighting pictures ; turning at 24 frames it gave very fine results and good covering at open aperture.
Hammersmith Studios
Riverside Studios have been purchased by a well-known British Producer, and although he wishes to remain anonymous at the moment, he assures me that they will be run on full Trade Union conditions. He is now lining up product and the "Boys" should be turning them out again in a short time.
Co-operation with the Royal Photographic Society
Closer co-operation between the R.P.S. and A.C.T. on technical and professional matters will follow recent joint mi (tings between representatives of the two organisations. Mr. Desmond Dickinson will represent the Association on a Special Technical Committee which is being set up to act upon similar lines to the American S.M.P.E. Mr. T. S. Lyndon-Haynes, A.R.P.S., will serve on the committee of the R.P.S. Kine Section, while Mr. L. Cave-Chinn and Mr. |. Collingburn have been appointed the Association's delegates to the Central Association of Photographic Societies.
New A.C.T. members of the Royal Photographic Society include John M. Fennell, Derrick Mandel and Jell Seaholme.
By KENNETH GORDON
Professor Einstein Finds Solution of True Colour Film
The "Paris-Soir" has published a sensational article on the recent work of the German Professor Einstein, now- exiled in America, who claims an invention which will revolutionise film technique.
"The solid camera lenses will be replaced bv hollow ones filled by a special liquid. This liquid will darken or brighten automatically according to the intensity of the exterior light. Thus, no further need for a dia- phragm, and, therefore, no more error. Hence cameras fitted with such lenses would make possible the perfect reproduction of natural colours in film."
Experiment with Films in a Church Service
We are informed by the Cinema Christian Council, of which the Archbishop of Canterbury is the President, that success has attended an experiment, conducted this winter, with a new type of religious service (Evening Praver with films), in a Parish faced with the addition of a population of some 5000 people in an L.C.C. slum-clearance housing estate. In spite of persistent visiting, the normal services failed to attract more than a very small percentage of these newcomers. It was, therefore, decided to try a monthly "Film Service," and a satisfactory technique has been evolved for a reverent and dignified use of the film in connection with Evening Praver. A normal evening congregation of 100-120 was increased to over 400 for some of the "Film Services," and even on wet evenings never fell below 300. Films shown were — "Palestine," "Living- stone," "Inasmuch," "On the Bethlehem Road," "Japan" and "Africa." It is hoped to use sound films next autumn.
At a Conference, convened by the Cinema Christian Council, the Bishop of Croydon, touching on the in- structional possibilities of the week-day cinema, said that at Croydon the showing of films on Sunday evenings, under a scheme which had worked well and had included educa- tional films that would not otherwise have appeared, had resulted in the showing of such better films on week-days also.
The Rev. C. E. Penrose told of the experiments he had made in order to attract the children from the back streets. In fourteen months at Walthamstow there had been 32,000 attendances by children in a circuit of six churches.
Britain s First Rail Excursion to Studio
Britain's first rail Excursion to Filmland was run by the Great Western Railway, from Bristol to Slough, for the Pinewood Studios on Wednesday, April 28th.
The Great Western Railway were the first to introduce lCducation.il Excursions in this Country in October. 1927. when the first excursion was run to its Swindon Works. Since then more than a million passengers have been carried on similar excursions to "see Britain at work" in chocolate, motor, soap and porcelain works, biscuit fac- tories and also to liners at ports ; sites of historic interest and to Windsor Castle. The film excursion marks a further extension of this innovation.
June-July, 19J
THE CI N E - T E C H N I ( I A N
65
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[GEOFF. TALBERT
66
I 1 1 I. I I X E - T E C H N I ( I A X
June-July, i
Details of New Mirrophonic
Sound Heads
Two new sound heads of an entirely different design to the I-A sound unit fitted on the Universal Base, and the 206 Reproducer set, are available. These new sound heads, the 12 1 1 type and the TA-7400 do not employ con- stant speed sprockets of the 707 type, but depend on a kinetic scanner for pulling the film at a uniform speed past the scanning light. The kinetic scanner is an inertia controlled drum maintained at constant speed by means of a special double flywheel. The drum is mounted on ball bearings so as to reduce friction to a minimum. The double flywheel incorporates a mechanical filter, which suppresses any oscillation that might be transmitted to the scanning drum by the uneven passage of the film.
On the 21 1 sound head, the lens tube focuses the image of the exciting lamp filament on the sound track, thereby dispensing with the usual mechanical slit. The Photo- electric ("ell compartment on the 211 type is located on the door of the sound head compartment. No P.E.C. amplifier is employed on either the 211 or TA-7400 sound heads, the output from the photo-electric cell being taken to the main amplifer via an output transformer mounted in the sound head and a combined volume control and change over control cabinet.
On the TA-7400 Sound Head the optical system is different from that employed on the 211 type. This system is termed the "Optical Bridge." It differs from the usual scanning methods, inasmuch as the beam of light from the exciting lamp is applied to the film on the celluloid side of the film. A microscope is focussed on to the sound track on the emulsion side of the film, which magnifies the image on the track and projects this on to a large masking slit and collimating lens, which in turn focusses the light passing through the slit on to the photo- electric cell. This method of scanning results in low ground noises and a greater efficiency at high frequencies. These new sound heads are driven by 110 volt, 50 cycle motors.
Amplifiers
A new range of amplifiers of advanced design are used on Mirrophonic systems. These amplifiers — types 86, 87 and 91 — are all A.C. operated, and in addition to an ex- cellent frequency characteristic and high degree of relia- bility which have come to be taken for granted in Western electric amplifiers, there is employed the important new device termed a "Harmonic Suppressor" (described in the previous issue of the Journal).
All parts of the circuits in the new amplifiers requiring adjustments can be checked by means of a selector switch associated with a "Percentage Meter," that is a meter graduated to read percentages of the normal or correct value, which is taken as 100%. All that the operator need do when clucking valves is to turn the selector switch to whichever valve he requires to test and read the per- centage meter, which should show a reading of 100% for a valve with satisfactory emission.
The 01 A amplifer is used on the smaller Mirrophonic systems. It has a gain ol 02 db. and .in output of 8 watts.
Western Electric Equipment
Contrary to usual Western Electric practice, this amplifer does not employ a push-pull final stage. The amplifer has three stages, resistance capacity coupled, the first two valves are 310-A pentodes and the last stage a 300-A. The 300-A valve is a new valve of improved efficiency. It has an oxide-coated filament rated at 5 volts, 12 amps. The operating plate voltage is 325 volts, and current 60 milliamps. At this rating the valve is capable of de- livering 8 watts speech output. It is of interest to com- pare the 300-A with the 242-A type now used in 43-A amplifiers.
Although the 91-A amplifer only employs one 300-A valve in the output stage, the harmonic content of the audio output is negligible. This is accomplished by employing reverse feedback in the amplifier. Compensa- tion is also made in the amplifier for higher frequency scanning losses.
The 86 type amplifier is used on intermediate size Mirrophonic systems. This amplifier has four stages, the first three employ 262-A valves resistance capacity coupled, and the output stage is push-pull, utilising two 300-A valves. The output of the 86 amplifier is 15 watts, the gain of the amplifier being 98 db.
The gain frequency characteristic of the 86 amplifier is flat from 50 to 12,000 cycles. The amplifier has its own power supply built in.
The 91 -and 86-type amplifiers differ in appearance from the series of 40-type Western Electric amplifiers. They are built on shallow chassis and the complete units are housed in strong metal cabinets.
The 87 amplifier is a high-power, single-stage, push- pull amplifier and is used with an 86-type amplifier in large theatres. It has a gain of 10 db. and an output of 50 watts. If more than 50 watts output are required, additional 87 amplifiers can be added in parallel.
Two 284-D valves are used in this amplifier and the plate voltage is supplied by a built-in rectifier, which has two half-wave rectifiers. The rectifier valves are 249-B high voltage mercury type valves.
These three amplifiers are designed to operate from an A.C. supply of 105-115 volts, 50 or 60 cycles.
Horn System.
The Di-phonic loud-speaker low frequency unit can consist of from one to four cone units according to the si/e of system, mounted at the base of a shallow cavity, which is in turn surrounded by a very rigid battle. In the cavity there are fitted "deflectors," which improve the frequency response of the whole unit and also result in a better distribution of the higher frequencies radiated by this unit. The cellular horn which reproduces the fre- quency range above 300 cycles is composed of a number of separate horns of approximately the same exponential rate of taper. The wide ends or "mouths" oi these horns are all joined together to form a large common mouth which has a cellular appearance. The narrow ends ol the horns are brought together to form a common throat. Either one or two dynamic units of an improved type can be fitted to the throal according to the si/e of the horn and the auditorium to be c<>\ ered,
Juno-July, i<)37
THE C 1 N E-T EC UN If I AN
67
The new dynamic unit, termed the 594-A receiver, is capable of handling a greater volume of sound than any previous units employed. It also has a superior frequent v characteristic, especially in the high-frequency register.
The principal limitations of present theatre loud-speaker arrangements is poor directional characteristics. The con- ventional type of tapered horn projects sound through a relatively large area at the lower frequencies, but as the frequency range is increased the distribution suffers, and at high frequencies the sound becomes concentrated into a narrow beam. The result is that it is not possible to obtain a satisfactory balance between the high and low frequencies at the sides of an auditorium, through the falling-off of the high frequencies, and the reproduction becomes "boomy." The cullular horn used in the Di- phonic loud-speaker combination successfully overcomes this trouble. The sound from the dynamic unit travels down the common "throat" of the speaker and then divides into the separate channels formed by the individual horns which form the cellular horn.
The result of the dividing up of the sound amongst a number of small horns in this manner is that the sound does not become concentrated into a narrow beam along the axis of the main horn at high frequencies, but is evenly distributed in a wide beam which covers the auditorium evenly.
Both the dynamic units on the cellular horn and the low frequency speaker have energised fields. These fields, each of which are rated at 24 volts, 1 amp., are supplied with power from a rectifier power unit employing Tungar
bulbs. The speech input to the speaker system i> dis- tributed to the high ami low frequency speakers 1>\ means of a dividing network, which introduces attenuation of approximately 12 db. per octave above and below the cross-ovei frequency of 300 cycles. The network is built into a unit which is separate from the main amplifier. This unit also includes a receive] testing panel which enables the operator to test the units on the cellular horn and low frequency unit. The design of the Di-phonic loud-speaker system is such that it takes up very little space backstage and can be arranged in such a manner that it can either be flown or mounted on a framework on castors, so that it can be moved off stage to enable the stage to be used for other presentations.
Don't Sign in a Hurry !
The attention of the General Council has been drawn to one or two members who have signed long-term contra* ts for a junior job which also bind them to doing a higher grade job, if required, at the same junior salary. The Council wishes to emphasise the undesirability of this, and to remind members that not merely their own interest but their responsibility to the other members of the Associ- ation demands a refusal on their part of such terms if offered. The General Council asks all members to acquaint themselves with the Association's minimums for their particular grades. If you are in any doubt about the terms of your contract don't sign in a hurry but consult the Secretary or the Organiser.
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film acting by V. I. Pudovkin
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68
T III- C INE- TEC HN I ( I A N
June-July, [937
A Year's Good Progress
A.C.T.'s Fourth Annual Report
The Fourth Annual General Meeting of the Association was held at Anderton's Hotel, Fleet Sired, E.C A, on Sunday, May 30th. .1 full report of the proceedings will lie published
in our next issue. We give below the salient features of the Fourth Annual Report of the General Council to its members.
Membership.
Membership has continued to grow, and on the studio side 100 per cent, has been almost reached, there now being very few technicians who are not members. The laboratory section, formed at the beginning of the year, already has several hundred members, and the newsreel section, which has been in existence only a little longer, has also made satisfactory progress. The Associated Realist Film Pro- ducers Ltd., the organisation of the documentary directors, has taken up membership as an affiliated body.
The following is a comparative table of membership at the 31st December of each year since formation :—
1933 98 members.
1934, 88
1935, 605
1936, 1122
Conditions of Employment
Following upon replies to a questionnaire issued by the Council, and the views of members obtained at local meetings throughout the industry, the General Council prepared a draft Standard Agreement for submission as a basis of discussion to studio, laboratory and newsreel em- ployers. The proposals were submitted on November 23rd to thirteen studios, three newsreel companies and five laboratories. Subsequently, the proposals were submitted to most of the remaining major companies.
Negotiations are proceeding with certain of the com- panies concerned, hut delay has been caused through certain employers being unwilling to negotiate individually and therefore federating together in three groups, namely, studio and production, newsreel, and laboratory, acting through the Secretary of the Film Group of the Federation of British Industries. While A.C.T. is not averse to ne- gotiating through a collective organisation, it must point out the serious position which will arise if employers attempt to use the strength gained through such federation in an effort to defeat the wishes of film technicians who desire reasonable stabilisation of working conditions and salaries, as appears to be the case at present as far as the newsreel and laboratory employers' organisations are concerned. It must lie stressed therefore that (if necessary) the General Council will take every possible action within its Rules in order to carry out the mandate of its members, given at the last annual meeting, in order to obtain a reasonable standardisation of working conditions and salaries for all technicians employed in the British film industry.
It is, on the other hand, a tribute to the strength of A.C.T.'s position that subsequent to presentation of the Agreement a lew companies have felt it incumbent upon them to grant concessions and salary increases.
First Studio Agreement with Technicians
Negotiations in the first agreement in respect of film technicians in a British studio were successfully concluded on December 10th, when the Association and Gaumont- British Picture Corporation Ltd. signed an agreement in respect of salary rates and working conditions for members of the Association employed at the Corporation's studios at Shepherds Bush. The signature follows long negotiations, and is not the Standard Agreement, discussions having commenced long before its preparations. The Agreement covers minimum salary rates and regulations with reference to late work, location work, travelling expenses, termination of employment, holidays, sickness, assignment of services, etc.
Agreement has also been reached with the Associated Realist Film Producers Ltd. and Strand Films Ltd. in respect of minimum salaries and working conditions of their employees, who are engaged in the document, irv field.
Employment Bureau
The A.C.T. Employment Bureau has served a two-fold purpose. Firstly, it has become generally recognised by the industry and during the year 78 studios, production companies and laboratories contacted 671 technicians through this medium. Secondly, the Bureau has served as a barometer of trade. Statistics as to numbers and personnel unemployed have been invaluable in propaganda, particularly concerning the employment of foreign tech- nicians in the British film industry.
Foreign Technicians
Two deputations have been received by the Ministry of Labour, each of which has stressed strongly the Associate 'im- policy concerning the employment of foreign technicians and brought to the notice of the authorities specific cases where there appeared to be no possible justification for the employment of foreign labour.
The serious position of the British film industry which developed towards the end of the year has made this question of even greater importance. The great slackening- off of production with the resultant heavy unemployment must lead to a necessarv review oi the position of foreign technicians holding labour permits to work in the British film industry. The mam factor influencing the granting of permits has been that no British technician oi equal talent was available. This no longer holds good. Over 30 per cent, of the qualified British technicians -most of them of long experience and undoubted repute — -are to-day unable to find employment in the British film industry. The conditions under which the permits to foreign tech- nicians were granted has entirely changed. AT I. 1 here- fore, strongly urged that the changed conditions must result in a changed policy, and we arc glad to report that tin- view point ha- been reflected in permits refused and renewals not granted by the Ministry of I abour, resulting in employmenl of British technicians for the posts con- 1 erned.
June-July, 1937
T HE C I N E - T E C H N I C I A N
69
Legal Advice and Assistance
Manx' members have taken advantage of the legal department and as a result it has been possible to recover in many cases sums due in respect of broken contracts and monies generally owing to members in respect of their employment. Advice has been given on individual con- tracts and in cases where alteration of terms of employment might lead to a breach of contract.
It should be emphasised, however, that the Association should be consulted immediately there are difficulties, as instant action may save considerable delay subsequently, and will generally aid speedy settlement of any disputes which may arise.
Manor House Hospital
It is regretted that only 44 members have taken advan- tage of membership of Manor House Hospital, which may- be obtained by payment of one penny per week subscription. Payment of this small sum regularly entitles members to free treatment in respect of accident or illness, and treat- ment at reduced charges for optical and dental treatment. Those who have taken advantage of these facilities speak very highly of the treatment received. Every member is urged in his own interests to take up membership of Manor House Hospital, which he is entitled to do by reason of their membership of A.C.T.
The Quota Act
Mr. S. H. Cole, Mr. Desmond Dickinson and the Secre- tary gave evidence on behalf of A.C.T. before the Board of Trade Committee appointed, under the chairmanship of Lord Moyne, to enquire into the future of British films, having in mind the approaching expiry of the Cinemato- graph Films Act, 1927. The Association's evidence has now been published together with the findings of the Committee and it is pleasing to report that many of A.C.T. 's recommendations have been incorporated in the Com- mittee's report. The leading organisations in the film industry — production, renting, exhibiting and labour- have subsequently prepared and submitted to the Board of Trade comments on the Committee's Report. The support of Members of Parliament is being sought in order to look after the interests of the Association in the formulation of any Act which may be forthcoming.
"The Cine-Technician
Two volumes of the Journal have now been published. A pleasing feature has been increased circulation, particu- larly abroad, and letters of appreciation have been received from Hollywood, India and the Continent. Advertisers have also received enquiries from film producing companies in Asia and Europe.
Technical Activities
The General Council has continued to do everything within its power to advance the technical ability of its members in the belief that the film industry can only develop alongside the increased technical knowledge of its members.
A Technical Research Committee has been formed and is responsible for preparation of Technical Abstracts, being a precis of all important technical developments, details of which are obtained from the various film technical publications of this country and abroad, and from such other sources as may be available from time to time. At first the Abstracts were issued free to members, monthly,
as a separate publication, but in order to facilitate their retention as a more permanent record by members, they are now incorporated as a special feature of the Journal.
A Reading Room and Library is now available to members at the Association's offices, where the British and foreign trade and technical press and year-books may be consulted and where recent technical publications may be borrowed.
The Association was represented by Mr. Desmond Dickinson and the Secretary at a Conference on May 22nd, convened by the British Standards Institution, to discuss standardisation in the Motion Picture Industry.
The Association has maintained friendly co-operation with the Royal Photographic Society, with whom joint meetings are being held to discuss the possibility oi co operation on technical and professional matters. As in previous years, A.C.T. has co-operated in the organisation of the Kine-Exhibition by supplying production and other stills, and arranging an evening's lecture programme.
The usual series of lectures and film shows have been held, and have been fully reported in the Journal.
Kindred Organisations
In spite of several approaches by the Association, agreements with specific reference to demarcation have not yet been reached with the Electrical Trades Union and the National Association of Theatrical Employees, which factor has delayed a decision by the Trades Union Congress with reference to the Association's application for affiliation, made after its third annual meeting in May, 1936.
Following upon a meeting between representatives of the Trades Union Congress, the N.A.T.E. and the A.C.T., it is reported, however, that joint meetings have now been held with the N.A.T.E. and negotiations for an inter-union agreement are now well advanced.
Friendly contact has been maintained with kindred trade unions abroad, particularly in America and France. The newsreel section has affiliated to the Union Inter- nationale de la Presse Filmee, a newly formed federation to safeguard the professional interests of all persons engaged in newsreel work. Other countries to signify their support include Austria, Belgium, France, Germany, Holland, Italy, Poland, Greece and Palestine.
The formation of the British Press Photographers' Association is welcomed. Close contact has been estab- lished between this new organisation representing the news press photographers and our own newsreel section.
Publicity
There have been over 300 references to the Association in the press, not only in the trade press, at home and abroad, but also in the lay press. In the latter connection, considerable publicity was given to A.C.T. 's Quota Act evidence, particularly the attention drawn to the injury done to British technical work through the cutting of films after production ; the Association's comments on Lord Tyrrell's statements to the C.E.A. Conference on censorship ; foreign technicians ; and labour conditions generally in the industry.
Finance
The financial position has maintained the progress oi last year. The excess of assets over liabilities at the end of the year was £260 compared with £60 foi the previous year. The main reason for the improvement is, of course,
(Continued at foot of next page)
70
T H E GIN E-T EC H NIC] A N
|une-July. 1937
Ars Gratia Artis
OX Friday, May 8th, 1931, Sir Arthur Crosfield, President of The Faculty of Arts, presented, on behalf of The Faculty of Cinema Art, the society's gold medal for the best film of 1930 to Carl Laemmle for his production of "All Quiet on the Western Front." Mr. James Bryson received the medal on behalf of The Universal Pictures Corporation, and novelty was introduced into the occasion by a speech of acceptance made over the trans- Atlantic telephone by Carl Laemmle himself, who said, "Let me say that your award is an inspiration, not only to my own company, but to moving picture producers throughout the world, and from this inspiration I feel that you have done much to bring the industry to an even higher standard than it possesses already. Rest assured that we are not content to rest on our laurels."
The Derbyshire Advertiser was not so sure about this. It said : "There are, of course, films of considerable artistic merit, and films which, without any pretension to Art, have won enduring fame by their epic qualities alone. But to expect an enterprise which flourishes on its popularity with a class which is essentially unartistic to maintain these standards, is to expect too much ! " Time has proved The Derbyshire Advertiser to have been unduly pessimistic.
In the following year a similar award was made to Pabst for his remarkable mining epic called "Kamerad- schaft," and it might be thought that since then the number of outstandingly artistic films has been so great that encouragement of this kind is no longer a necessity. How- ever, it is unfortunately true that such films are still the exception rather than the rule. It would, of course, be futile tf) expect an industry which has to cater for the entertainment of every class of mind to produce nothing but artistic masterpieces. Nevertheless, it is not unfair to say, in view of the extraordinary popularity and long runs evidenced by some outstandingly artistic films, that the industry as a whole appears to underestimate the
An explanation of the work of the Faculty of Cinema Art
artistic judgment of its public. The Faculty intends to offer further encouragement in the form of similar awards in the future ; and at the same time, by extending its scheme of affiliation, to embrace a number of societies connected with the film profession and industry, will endeavour to stimulate a healthy spirit of self-criticism and creative urge in all those connected with the Film.
The Society has embarked on a series of presentations
of "Masterpieces of the Silent Screen." Three of these have already been shown — "Waxworks," 'Warning Shadows," and "General Line" — and will be followed by further examples such as "Mother," "Potemkin," and "The Crazy Ray." Must of the younger members of the profession have probably never seen these early master- pieces ; and The Faculty of Cinema Art is out to remedy this by inviting to its presentations representative audiences of producers and technicians. A further project, which will be of very special interest to present-day technicians, is a series of showings of such interesting relics as "The Great Train Robbery," "A Trip to the Moon," and an early composite newsreel of items filmed between 1900 and" 1905.
The Society seeks to prove that the tenets of Art and commercial success are not always incompatible ; it re- mains to be seen whether their efforts to foster the im- provement of the Film as an Art, will convince the Industry as a whole. There is still a considerable and influential section of opinion which is by no means accepting the screen as the desirable medium for entertainment and education that it should be. This section of the community, con- taining as it does leaders of many branches of thought, and particularly that profession which goes so far to mould the thoughts of many millions of our younger generation, is asking for a higher standard of artistic merit before it, too, adds its considerable regular patronage to the Industry.
R. E. Bamford.
A Year's Good Progress (unlimited from preceding page)
increased subscriptions resultant upon the growing mem- bership. Income from this source was £1300, an increase of £800 on the previous year. The growth of membership naturally means increased overheads and organisational expenditure, but as the final accounts show, this has always been well within the general income.
A loss of £10 was sustained on the Journal, but in view of the merits of the production as a technical service to members, and from a publicity and prestige viewpoint generally, this gives no cause for concern.
Conclusion
The past year is the first to show important practical results to cine-technicians who are now almost 100 per cent, inside the Association on the studio side and joining in increasing numbers in the two other sections.
The hard spade work which is so necessary a feature of a new organisation has been successfully completed and there is no reason why, during the forthcoming year, with the loyal co-operation ot all film technicians, in studio, labora- tory and newsreel, much greater progress should not be made towards reasonable standardisation of conditions oi employment and salaries, and a general continuance of the many other important activities epitomised in this Report.
Correspondence
Appreciation of A.G.T. Production Unit
Dear Sirs,
"THE HIGH COMMAND"
In view of the favourable impression made by this picture at its recent Trade-showing, and especially with reference to its technical and production qualities, I am sure it will interest you to know that the production unit was composed mostly of ACT. men.*
This, of course, includes Mr. Thorold Dickinson, whose first directorial achievement promises a distinguished future.
\ spirit of cheerful and efficient co-operation was very evident on the making of this picture and went far towards the final result.
Yours very truly,
Fanfare Pictures, Ltd.,
Gordon Wellesley,
Producer.
* \i T. members employed included the following: Dii Chief Cameraman and crew, Editor and assistants, Sound Recordist and crew, and Vrt Director.- Editor.
-juty) r937
THE CINE-TECHNICIAN
71
Lab Topics
Slump
I'd like to say a lot about studios remaining idle, hun- dreds being thrown out of work, quota w(r)angling, etc., but my job is lab topics. So far the trade and newsreel labs have not felt the draught : the newsreels must go on and fortunately all American pictures are printed in this country, thanks to the tariff on imported prints.
The tale is different with the studio laboratories, but maybe soon there will be an awakening in the British film industry, then everything in the garden will be lovely. What we seem sorely to need is a leader, a man who would have the backing of the Government behind him and the interest of the British film industry at heart.
Economy in Stock
The following should be of general interest. It is taken from the Journal of the Society of Motion Picture Engineers, volume XXVII, No. 2, and is headed "Pre- selection versus the Split Film Method," by H. G. Tasker of Universal Picture Corporation : —
"At least one studio that has been using 17.1 mm. film for sound recording has found it more economical to return to 35 mm. film and employ, instead, the pre-selection method, with the result that less processing is done, but much more film used. The 171 mm. method consisted in recording along one edge of the 35 mm. film, then reversing the film in the magazines and recording along the opposite edge. The film was processed in the 35 mm. width, and then split before printing. The sound dailies were also on 17 J mm., and the resulting savings for an average large studio amounted to around 4,000 dollars a month. In practising this method all sound negative must be processed. In the pre-selection method the director designates 0. K. takes and Hold takes, all others are marked N.G. All but the O.K. takes are broken out of the roll before processing. Since only one edge of the film has been recorded upon, the N.G. takes (and later the Hold takes) may be spliced together and the opposite edge used for printing sound dailies : thus effecting two economies, in that the N.G. negative is not processed and the daily print stock is obtained without cost. I hese economies alone amount to around 3,500 dollars a month for an average studio, and nearly off-set the economies obtained by the 17i mm. method. There remains, how- ever, a reserve of 1 to 2 millions of feet of N.G. stock per year per studio. New ways of using this stock, including le.tders, effects negative, effects positive, and even action dailies, have made the pre-selection method definitely more economical than the split-film method."
L.C.
Who in the trade doesn't know Leo Cass ? If you happen to run against him don't mention the day when Jim South sold him somebody else's scarf for a couple of bob and parcelled it up nicely for his journey home. Leo was so pleased with his bargain that in the train the same night he undid the parcel to show a couple of pals what value he'd got for his money. Imagine his dismay and the chuckles of everyone else in the compartment when a dirty old towel came to light. There were ructions the following morning ! Still Leo knows his hpyo. when lie sees it, and if you want any information about photo- graphic chemicals or formulae he is your man.
Unbiased Technicalities
I've received the following heartfelt lament from Albert Dyas, lab. member : —
"I'm just a rather puzzled film printer who, although he works in a darkroom, has some bright ideas as to how this industry is carried on. Before 1 was a printer I worked in the chemical room. People from the sound and camera departments, who came in from time to time for quantities of developer and hypo., looked to me as though they were walking banks and seemed to have a new suit every week. One of them asked me for some developer. I said 'Which kind ? ' After much pondering he asked me if it mattered ! I convinced another that perforation holes were invented for Friese-Greene by a Frenchman named Perforer. We used to have a photo- graphic chemist for whom we made up developer. One day, there being no-one about, he decided to help himself— he took two lots of sulphite from two barrels that he thought must be carbonate and sulphite. Subsequently he asked us if our chemicals varied much, as his developer was behaving peculiarly !
I read an article some weeks ago about a film director who says he started at nothing a week (I wouldn't like to tell you what my mother would say if I came home at the end of the week with this !). After six months he was an Assistant Director at £15 per week. Then he had the misfortune to meet with an accident. During con- valescence he saved /1,000, and with financial assistance made a successful first film. He signed a contract and hopes to have £50,000 by the end of the year, since he says he only spends {'10 per week. I seem to remember Alfred Hitchcock saying : After six years progressing in various departments I thought I was in the Director's chair by proxy. There are many men in the industry who would be willing to study in order to get their break until their heads were misshapen with knowledge, but they have not had the good fortune, which often seems so essential in our industry, to start with financial equip- ment."
Gamma.
Library Additions
Recent additions to the A.C.T. library, for use of members, include : — "Money Behind the Screen," by F. I). Klin- gender and Stuart Legg, "Photography," by Dr. C. F. K. Mees, "Amateur Movies and How to Make Them," by Alex. Strasser, "The Romance of the Movies," by Leslie Wood, " Icy Hell," by Will E. Hudson, and " Elephant Dance," by Frances Hubbard Flaherty.
i «.
Journal" Cover
Our readers will have noticed in our last issue that we lu\ e changed the Journal cover. It retains the essential character of the previous design, but makes it possible to see at a glance which issue it is and what are the main contents. The cover will be set in a different colour for each issue.
Both designs were the work of Joanna Macfadyen, A.R.I.B.A., A. A. Dip., wife of one of our members.
72
THE CINE-TECHNICIA N
June-July, 1937
Recent Publications
Elephant Dance
Elephant Dance, by Frances Hubbard Flaherty. Faber and Faber, 12 (3.
"It was almost too fairy-like for me to describe
By dawn and the light of the morning star we were rolling over the plains, and somehow the great thundering dawn above us and the great stretching plain before us and, dwarfed to the finest dry-point etching between them, ourselves on our fantastic beasts, and the delicate leaping buck, were like nothing but a Persian miniature painting out of a fairy story " — thus Mrs. Flaherty, in one of the many letters to her children which make up the bulk of this book, and which form an embroidery on, rather than a description of, the shooting of "Elephant Boy."
Occasionally Mrs. Flaherty's observational sense is directed to actual location events, notably in a circum- stantial and vivid account of the shooting of the keddah, and her description of the illness of Kala Nag. For the rest, many people will enjoy her anecdotes, and her pen- pictures of the people and wild life of India ; though at times a feeling of too-great intimacy, of reading other people's correspondence, may assail the more squeamish.
But there can be no doubt whatever as to the value of the superb illustrations, mostly from Mrs. Fl-aherty's camera. She has a master-hand, and the seventy odd photographs here reproduced reveal her as a fit partner to her husband's genius with a movie-camera. But why is the famous Jain statue shown only in parts, and not as a whole ? True, it is naked, but there is no Board of Film Censors in the publishing trade, and it was a pity not to give some idea of its majestic size and perfect proportions.
Basil Wright.
Reviews of the following have been unavoidably held over until the next issue :—
The Romance of the Movies, by Leslie Wood.
Amateur Movies And How To Make Them, by Alex.
Strasser. Icy Hell, by Will E. Hudson, A.S.C.
Delegation to the U.S.S.R.
Thorold Dickinson and Alan Lawson have just returned from representing A.C.T. on a delegation to the U.S.S.R. as the guests of the All-Russian Film Trade Union. They made a special study of the film industry and a report will be published in our next issue. We are very grateful to our Russian colleagues for extending this imitation and trust that similar opportunities may be forthcoming from other countries.
Studio Guide
We (haw leaders' attention to the full-page Studio Guide elsewhere in the Journal. We feed this will be particularly useful to free-lance A.C.T. members, It is the work of Geoff, Talbe'ft, to whom we express main' thanks.
Foreign Workers in British Industry
Report of the Ministry of Labour
The Ministry of Labour Report for 1936, just published (H.M. Stationery Office, 2 6 net), states that the demand for foreign workers was greater than in any previous year, the total number of applications being 18,072, as compared with 12,934 in 1935. Film technicians have had their full proportion of such increases, there being 50°, , more applications than in previous years.
It is, on the other hand, pleasing to report that many more permits than ever before have been refused to film technicians. The figures are given in two groups, (a) permits considered by the Ministry of Labour, (b) permits considered by the Home Office upon the advice of the Ministry of Labour in respect of persons of foreign nationality already in Great Britain. The following are the comparative figures for 1935 and 1936 :—
Group (a), Group (6),
Totals,
1935 Permits Granted Refused 84 3
26 9
1936
Permits
Granted Refused
118 20
39 24
110
12
157
44
It is apparent that the sudden burst of activity in film production in the middle and towards the end of last year is responsible for the increase over the previous year. What is of importance to A.C.T. is that 44 permits were refused last year, as against 12 for the previous year. // is further no exaggeration to claim that the consistent pressure of the Association, both by deputations to the Ministry of Labour and press propaganda, is an important factor in this improvement. A further indication of the success of the Association's policy is shewn in the reply by the Minister of Labour to questions recently asked in the House of Commons by Mr. R. Sorenson, M.P., when it was stated that only pee permits had been granted during January and February of 1937. (Most of these were in respect of a bilingual picture which employed certain additional foreign technicians for the French version). For a full statement of the Association's policy in respect of the employment of foreign technicians in the British film industry readers should refer to the correspondence between Mr. Chevalier and Mr. Flvin in the involuntary symposium "What's Wrong ? " elsewhere in the Journal.
Summer Outing
A.C.T. has arranged a summer outing for members and friends for Sunday, July 18th. A steam launch has been hired for a day's trip up the Thames. The cost will be 7/6 per head, "including lunch and tea. The capacitj oi l hi' launch is limited and, although we have lured the largest one available, we fear, judging from previous experience ot A.C.T. social activities, that the demand may exceed the supply. ft kets should therefore be pur- chased as .don a- possible from the A.C.T. office or from Studio, newsieel or laboratory representatives.
June-July, 1937
THE CINE-TECHNICIAN
73
Panning Around the Globe
"How do, Unconscious ? " Once more unto the breach beer friends I come unto you with my eyes wide open
and they need to be.
Pog Smarts Under An Injustice
I am cut to the quick by the Editorial Committee's action in cutting out my last 10 pages in the previous issue. They say "that owing to lack of space they regret the fact that they have excluded some of my7 copy." Friends ! Believe you me, this is not the case. It's professional jealousy. I have set such an appalling standard they are afraid that they can't get enough articles written down to that level. So I appeal to you, my readers, as fair- minded citizens — " Fairmmded" I said.
Pog Takes Unto Himself a Partner
May I introduce my co- partner— in other words, my illustrator. No expenses
spared, no fortunes lost (as
yet) Tuckets without
(not tin trumpets) ! I u II- within ! Crash ! Bang ! . . . . Enter my old and trusted friend "Pigswil." "The floor is yours ; let us stoop to- gether. No curbstone too low, no cracks too wise."
l«u Pogram
Since everybody is com- posing alphabets, I have myself alone committed this one, all on my own free-will. (Editors, the crack is yours).
A is for Artists and they are muted.
B is for Britain where the Natives arc slighted.
C is for Crisis, it's note in the Trade.
D is for Denham where big films arc made.
E for Exchequer completely disabled.
F Facts of Film Finance, generally Fabled.
G is for Gold and Goldfish as well.
H is for Hollywood, Hades and Hell.
I for Insurance, jast Companies pay.
J for the funk that's turned out every day.
K is for Kudos that Korda did win.
L Lousy Lucre, the wages of sin.
M is for Money that's gone up the Spout.
N is for Nerts that don't cost you Nowt.
O is for Organ that goes lower and higher.
P for Relief, thanks to Clapham and Dwyer.
Q is for Quickies, from which they make Quota.
R is the Raspberries for Company Promoter.
S is Jor Super — a Guinea a day.
T for Technicians, who work without fay.
U is for Upstage Producers we know.
V is for Virgin and I o-do-di-o-do. W for W'ark, prospects none too cheery.
For X, Unknown quantity of Foreigners : — Query.
V is Jor Yashmak and what docs it cover ? Z is for Zounds, and thank God that's over.
World News by Pog
England With this new Quality Campaign in sight, it is rumoured that in future any British Technicians who turns out bad work will have his birthright taken away and will then be deported as an undesirable alien .... so there yah !
Italy Importing British Technicians, their own
are too busy either in Africa or on non- intervention work.
i^~C--
Italy Importing British Technicians.
Pog at Large
Did you hear of the cameraman who worked for nothing ? Strange, neither did I !
In future at some of our leading studios, "mom a- will not be used as a means of barter."
No Response to the Cry for more New Industries
Since my last issue I have been asked to carry on with my search for new industries. I tried my old way of taking a bath, but nothing came of it, except a couple of dead fish and a few odd bread crumbs. However, still un- daunted, I tried again but with no avail. I can't say how sorry I am about this serious breach of faith on my part. Even so, remember the old saying, "Genius will out." So have no fear, "the spirit will move me yet"- if it doesn't, something else will.
Pog Closes Down Hoorah
I must say that I think the tone of my page gets higher every time, soon it will be so high that you (that is you low underlings) will need a fire escape to
read it* So long,
Laudanum ! You'll be hearing from me in due course.
Pog
* Fortunately we don't possess a fire-escape. — Ed.
Pog Pushes the Boat Out.
74
T H K C I X E-T KG II X I < I A X
June-July, 1937
Technical Abstracts
A New Sound Recording Film
Kodak Kimitcd has now made available in this country its new "1357" type Sound Recording Film, which has been especially designed to meet the present requirements of variable area recording systems and in particular the R.C.A. Ultra-Violet system."
The new sound film differs from the Kodak "Blue Label" Sound Recording material in two respects, for, while retaining the high resolving power of the Blue Label film, the new "1357" type film has considerably higher speed, coupled with a higher rate of development, both of which have been obtained without increasing the fog values above those obtained on the "Blue Label" stock.
In ,1 direct comparison between the "Blue Label" and the "1357" film, it must not be assumed that the former is in any sense an inferior product. The "Blue Label" material is eminently suited to the conditions of variable density recording systems, where low gamma values are required, whereas the "1357" type, with its higher rate of development, is not designed to fulfil these particular requirements.
Under variable area recording conditions, however, the new type film presents certain advantages over the "Blue Label" film. At the present time it is felt that on certain sound systems the "Blue Label" film has not sufficient speed to produce the required track density value without resorting to over-development, with a consequent loss in finality, due to increased development fog.
The new "1357" type film is, however, fast enough to produce the required sound track density at a normal development time (within, say, a range of gamma values from 20 to 2*40), so that abnormal development fog is not produced.
-Kodak Report, No. 58.
Recording Improvements
Every improvement now available in sound technique has been used for the first time in "Maytime," a new Nelson Eddy and Jeanette MacDonald picture.
Among the features used are the new four-ribbon push- pull valve, new reproducer head, stabilised film movement and the Shearer multiple horn system, as well as the latest Western Electric sound. Studio press agents enthusiasti- cally ballyhoo it as "all angle recording."
- International Photographer, April, 1937.
Francita-Realita Colour Process
This process is an additive system, employing three quarter- size images, taken by means of a beam-splitting system.
The film projected at Bush House was a record of the funeral of Marshal Lyautey, taken in Algiers.
While in topical subjects the perfection of studio work is not to be expected, the best of the shots showed a very high standard of colour. One shot which particularly im- pressed me showed a cream motor-car, with chromium fittings, and behind it natives in white costumes ; the range of white and near-white shades was particularly good. Another excellent shot, .1 close-up of the cortege, showed
to perfection the brilliant colouring of the uniforms and of the gold-tasselled flag draping the coffin, contrasting strongly with the glossy black of the horses. Definition was in most places surprisingly good.
The film was projected at the normal current of 30 amps. ; although the screen width is actually just over 8 ft., the size of the projected picture was about 10 ft. My only doubt is whether the level of illumination of the ordinary kinema will be sufficiently high to do justice to the colouring.
I was shown also a particularly interesting experiment — a subtractive print made from the same negative ; the tiny separation images of the negative had been enlarged to full picture size, and coloured by a three-colour sub- tractive system, perfected in Erance.
This process is only in its experimental stages and the length shown demonstrated the use of different dyes. The best examples, while exceedingly good, were strangely different from the additive copy ; colours were brighter, and definition was equal to the best we have seen — a fact which proves that any lack of definition attributable to the tiny images is not due to lack of resolving power of the negative, but exists either in the print or in the projection optical system.
— Kinematograph Weekly, 1 4 37.
Lighting Equipment Modernization
Within the past year and a half, an entirely new type of lamp, born and bred of film studio heritage, has come into wide use. An outstanding example is the "Solarspot," evolved by Mole-Richardson and engineered on radically new principles, with the specific problems of the camera- man in mind. Paramount feature of these lamps is silkily smooth distribution of light at all beam-spreads, especially when the beam is spread out to the degree most often used in studio lighting. Illumination is even from one edge of the beam to the other. There are no "hot spots" or shadows, and the beam may be flooded out to a spread twice the widest beam possible with a mirror-lamp. At the same time, when concentrated to a spot, the beam of a "Solarspot" is highly potent.
This is accomplished by a new type of lens, the "Morinc" Fresnel-type. It looks as though someone had tried to make a bull's-eye target out of a big disc of glass. Actually, it is half-a-dozen lenses rolled into one. Each of the circular "steps" has its own lenticular curavature, suiting it to just the work that part of the lens has to do. Behind this lens is the lamp-globe, and behind the ^lobe is an efficient spherical (not parabolic) mirror, which picks up the light radiated by the rear side of the globe, and tosses it back to where the lens can pick it up and use it.
The new lamps are available in four sizes. First to make its bow was the Junior Solarspot, a 2000-watt unit that is supplanting the familiar 18-in. mirror lamp. Nexl came the Senior Solarspot, a 5000-watt unit. Available this month are two brand-new, smaller Solarspots a 500-watf "Baby Solarspot" and a 1000-watt intermediate size. It is claimed that these last two. competing directly with the familiar condenser-lens type spotlights, will out- perform their opposite numbers two to one
International Photographer, April, 1937.
June-July, 19 '
THE CINE-TECHNICIAN
/o
The Three-Film Camera
The first step in the perfecting of a satisfactory three- colour process of kinematography must obviously be the production of three-colour-separation negatives, exposed to balanced portions of the spectrum, and each giving a well-defined image. These negatives are exposed re- spectively through red, blue and green filters, or their equivalents.
In order to avoid the light losses which would be in- separable from a three-way beam splitting system, a compromise has been adopted, employing two gates only, in one of which a bi-pack film is threaded. The negatives used are, first, a supersensitised Eastman Panchromatic film receiving the green image. The bi-pack consists, first, of a special Kodak film, sensitive to blue light, and registering the blue image ; this carries on its rear face a red dye, which acts as a filter for the underlying film, which is again a supersensitive Kodak negative.
As shown in the diagram, the light from the lens is split by a sputtered gold face between two prisms ; on the emergent faces of this prism are appropriate colour filters. That portion of the light transmitted by the gold sputtered face passes through a green filter to the single negative. Light reflected from it passes through a magneta filter to the bi-pack ; this filter passes the blue light for the front film and red for the rear film, but prevents the registration of any part of the green component.
Camera Mechanism
The camera embodying this system is a really wonderful piece of mechanism. The three films are fed side by side from the triple-width magazine, over sprockets, whence the single film makes straight loops to its gate, while the bi-pack is twisted. The films return to the lower side of the same sprockets, and to the take-up portion of the magazine. The intermittent motions employed are of the Mitchell type, of course, with locking pins ; it is unnecessary to stress the high precision needed to register the three negatives with sufficient accuracy.
Notwithstanding its triplication of mechanism, the camera is apparently quite simple and exceedingly accessible, the case opening on both sides and in front. The front panel carrying the lens mount is accurately registered by bolts and a screw thread of the type used in safes.
The lens mount is adapted to carry interchangeably five lenses of varying foci, from 35 mm. to 140 mm., the shorter foci working at f/2. Behind the lens panel the filter unit is located with a knife-edge, and firmly clamped in position, although easily removable for cleaning.
Easy Access to Controls
The camera is contained in a blimp, which affords access to the more important controls, including follow- focus, and is not appreciably larger or weightier than the average camera housing. A look-through tube enables the image to be viewed via a reverse reflection from the green image off the gold face. Run-trucks of modern design, made by Mole-Richardson and Moy, are available.
An important point is, of course, the accurate and un- mistakable synchronism of the three negatives. To ensure this, they are punched in the camera with a punch which at the same time identifies the camera on which they have been shot.
OlFACMTVO 'iuj;
CONTACT) ffiONT mu
MWTivt ro BLUE
*i^0 .".-'I-, e. yjftfui 1
«:-*OM*nc 'ku a££(i<-*«:
THE TECHNICOLOR CAMERA.
The figure above shows schematically the arrangement of the optical system and films in the Technicolor camera. The films on the left carrying the blue and red images are used to produce the yellow and cyan (or blue green) matrices ; that upon the right carrying the green record produces the magenta matrix. From these three matrices the positives receive their colourings.
Enough has been written about lighting conditions needed for Technicolor to make any such material super- fluous in the present article. One point worthy of mention is that, while an increased level of illumination is needed as compared with black-and-white, too high an illumination tends to make surfaces, and, particularly, complexions, blotchy, bv making them appear on the print clear white in places. The latitude of exposure is substantially the same as in monochrome.
— Kinematograph Weekly, 25 1/37.
Dufaycolor Process
Success in negative-positive processing of mosaic screen material, such as Dufavcolor, depends upon minimising irradiation within the emulsion as far as possible. I his can be accomplished by confining the developed image to the layers of emulsion nearest the support, and so preventing the spreading of each filter image beyond the confines of the mosaic element through which the light producing it has passed. An energetic metol developer, containing sodium thiosulphate, has been found most useful of all the methods described, in that it results in no loss of working speed and involves no steps not already employed in normal negative-positive monochrome technique. The timings, etc., are no more critical than in normal mono- chrome technique. In printing it is necessary to filter the printing light to remove rays transmitted by more than one element of the colour mosaic more effectively than is necessary in the reversal printing process, where the "colour contrast effect" tends to minimise loss of colour saturation.
The procedure should also prove of value in the negative- positive processing of lenticular films.
■The Photographic Journal, April, 1937.
Background Device
Interesting photographs were taken on a set at B. P. Schulberg's studio during production of the Paramount picture, "His Wife Lies."
76
THE CINE-TECHNICIAN
June-July, [932
Actors Ricardo Cortez and Mr. Tamiroff are shown walking down a New York Street. The background was photographed in New York, air-mailed to Hollywood, and composited at Schulberg Studio the following day by George Teague and his equipment.
The walking device used was built by Teague. It is driven by a variable speed motor and is absolutely silent in operation, allowing the recording of dialogue in all walking shots, heretofore considered impossible.
— International Photographer, March, 1937.
Essentials in Making Dupes
A vital point in optical printing is the consistency of results ; to maintain the necessary consistency as much latitude as possible is necessary in the two major steps — making the duping print and developing the dupe negative. It has been found that a duping print reproduces most satisfactorily when made upon a soft lavender positive stock, developed normally. This print should be timed so that the high-lights are printed through about two points darker than would be the case in a normal print for pro- jection. It must be admitted that this duping formula is not the best for really fine-grain results ; but the problem of consistency from day to day, necessary in quantity studio work, seems to be of greater importance.
From a mechanical point of view the quality of a dupe depends upon three factors : (1) the lens ; (2) the quality and evenness of the light, and (3) uniform speed. Any sharp clean-cutting lens having an absolutely flat field can be used. A focal length of 4 in. is most acceptable, and the speed need not be faster than f/4'5. A well-diffused 1000-watt tubular projection lamp is very satisfactory for a printing light. The motor should be strong enough to drive the printer without speed fluctuations ; the speed should be controlled by rheostat rather than by change of pulleys or gears.
The machine used in the R.K.O. laboratories in America runs at a speed of about 18 ft. per minute. It consists of a camera head, with lateral adjustment, and a printer head with vertical adjustment, mounted upon a lathe bed 6-ft. long. The camera can also be rocked mechanically. The adjustments are calibrated by dials reading to 0*001 in. The camera drive has a gear change for eliminating alterna- tive frames. Film in the printer can be rewound by motor in either direction at a speed of more than 90-ft. a minute.
— Ideal Kinema, 11/3/37.
New Patents
Details of incut patents taken from "Photographic Abstracts," Vol. V. XII., Part I., No. 65, published by The Royal Photographic Society of Great Britain.
28. Photographic Developing. Gevaert Photo Pro-
DUCTEN N.V.
The developer contains an anti-fogging agent obtainable by condensing 2*5-thioketothiazolidine with a non-basic cyclic aldehyde or .1 derivative thereof; they do not influence the picture colour. Products of these agents derived by treatment with sulphite solution may also be used. In one example 2,5-thioketothiazolidine is con- densed with benzaldehyde in glacial acetic acid and the product added to developer at the rate of 0'05 g. per 1.
301. Sound-Film Recording and Reproducing Systems.
Electrical Research Products, Inc., A. F. F. M'acinerny, and E. C. Vast. In systems employing an auxiliary record to produce expansion of the volume range of the sound record to compensate for compression introduced during recording, a single light source and a single photo-electric cell are so arranged that light from the source passes through both records to the photo-electric cell, the output of which thereby corresponds to the combined variations of both records.
271. Stereoscopy Two New Processes. R. H. ( ki ks
Two systems of stereoscopic photographv are described, the first of which consists in traversing the depth of the scene in taking the photograph, the depth being divided into eight zones. Each complete traversal consists of eight separate exposures means a camera speed of 128 frames per second. These exposures are projected in the order in which they are taken, the illusion of depth being obtained by moving the screen into positions corresponding to those of the eight zones covered by the original photo- graphs. This principle is apparently not new. To over- come the practical difficulties of moving the screen in this manner, a second system is suggested in which two series of photographs are taken on an ordinary stereoscopic camera. These are projected through two lenses tipon a transparent screen through a rotating wedge which causes one picture to appear as the other fades. In front of the screen is placed a vertical grid of wedge-shaped glass plates. Light from the screen is passed through this grid, and is reflected to the audience by an oscillating mirror actuated by a cam.
272. Standardization of Motion-Picture Make-Up.
M. Factor. The colour of various make-up materials has been measured by the Lovibond Tintometer and the spectral transmission curves of the Lovibond glasses used in the colour matching are given. The desirability of standard- izing make-up is mentioned, and the photographic reflecting powers of the various make-ups are tabulated.
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THE CINE-TECHNICIAN
The Journal of The Association of Cine-Technicians
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Volume Three : Number Eleven.
AUGUST-SEPTEMBER, 1937.
Price Ninepence.
Anthony Asquith
(President of the Association of Cine-Technicians)
on OGRES AND SIAMESE TWINS
I FEEL an article with this title should begin "Once upon a time ..." And indeed it would be possible to make it fit more than one fairy story. I can imagine the one where a Poor but Honest Director (I am now speaking as one myself) sends his beloved child out into the world, a pure Work of Art designed to delight and uplift the better-class houses. But on its way it has to pass through the cutting room, in which lives a fearful Ogre whose practice it is to fall upon little works of art with a great pair of scissors. And when they leave his hands they are nothing better than Common Box-Office Products. The Director never sees his child again, or if he does he fails to recognise it in the poor fallen creature living in commercial sin at the "local." But there is another and, speaking as a cutter, more probable version, in which a Poor but Honest Cutter loves a Princess who, though she has nothing but theatrical experience, fancies herself as a film director. She gives him 100,000 feet of film in which every scene is a long-shot taken from one angle only and tells him to turn it into a Cinematic Masterpiece. If he succeeds he shall have her hand in marriage and a fortnight's holiday with pay. If he fails, he must spend the rest of his days at the Blank Studios cutting the films of Mr. X., who shoots nothing but tracking and panning shots.
There is still perhaps just a grain of truth in each of these fables. Certainly the director is becoming rarer whose one idea of being "cinematic" is to track back from somsthing or pan backwards and forwards from one speaker to another in a dialogue shot, but he is not extinct, and I myself have heard a producer condemn the quick cutting of a film by saying that he hated "these 30-ft. flashes." Rarer still is the cutter whose one idea of speeding up a sequence is to lop off a couple of feet from every shot. Almost every cutter knows now that speed is not a question of actual length, but of proportion, and it is surprising how in some cases one can remove two or three feet from a shot with no apparent effect, while in others the loss of even one frame will make a tre- mendous difference. Ideally I believe that the director should cut at any rate the first version of his own film. Only he can know exactly the intention of what he shot, and then sometimes he cannot say exactly how that intention can be realized in the cutting till he has examined his material minutely. But when he has cut the film to his own satis- faction, I believe it to be essential to submit it to a fresh eye. I know how easy it is for a director to fall in love with certain sequences and even certain shots, and give them preference,
[Portrait by Dorothy Wilding.
The Hon. ANTHONY ASQUITH.
like spoiled children, to the detriment of the film as a whole. Again, the director knows so well what he means to convey that he is inevitably a bad judge of what is clear or otherwise in the story. A sympathetic cutter, coming fresh to the film, will not only be quick to grasp these \ .11 ious mistakes — he will also have the skill to put them right.
I say I believe this to be the ideal way, but I know that there are practical objections, chief of which is the question of time. Films have usually to be got out quickly, ami it
(Continued at foot of next /
78
THE CINE-TECHNICIAN
Aug. -Sept., 1937
So This is Hollywood
By LEIGH AMAN (A.C.T. Member now in Hollywood)
CRAZY, but human ! After several months here, I have more or less come to that conclusion. More or less, because you can't come to any definite con- clusions about so large a city as Los Angeles. It consists of so many separate towns and each one with little or no connection with the others. I am concerned only with the picture colony, usually called Hollywood, though even this covers many districts.
Before going into the more serious business of the strike, I must relate some of the incidents which have occurred to me. Some emphasize the artificiality and some the crazi- ness. They all form for one an impression of Hollywood. First, a visit to one of the major studios. With some friends, I was shown into the office of the vice-president. He was very charming to us and announced (as a special honour, I was afterwards told) that he himself would accompany us round the studio. The first questions asked, naturally, were relating to the pictures in production at the moment. His answers seemed a little vague, but I put this down to a pre- occupied mind. Having told us what to expect, he opened the door of the first stage. It was empty. Well, one mis- take was all right, but this happened in every case except one ! At this same studio I had already previously met the head of the foreign publicity department and was anxious for my friends to meet her. I enquired of the vice-president
if this could be arranged and was met with a blank look. "Foreign publicitv ? Miss — He had never heard
of either ! And he is in charge of production.
A great day in the history of the 20th Century-Fox studios is Shirley Temple's birthday, for of course she is their major money-maker at the moment. She is guarded as closely as the Bank of England vaults, but on her birthday she is "on view." We arrived to find 200 children screaming and yelling. In the centre, surrounded by a pile of presents higher than herself and a group of solemn executives, was Shirley ("Miss Temple to you," I heard someone near me say). During the "interview" I asked her how old she was. "Nine," was the prompt answer. A gasp went up from the surrounding executives. "You mean eight, of course" — they all spoke at once. "Certainly I mean eight," came the reply, even more promptly, "I didn't say nine, I said fine ! " That, folks, believe it or not, is the truth.
I think the following is worth repeating, as it does sum up the attitude of the whole place. Encino is a district north of Hollywood, where a number of the stars live. The Encino Chamber of Commerce is holding its fortnightly meeting. Members present are Al Jolson, president and Mayor of Encino ; Spencer Tracy, Edward Everett Horton, Paul Muni, Leslie Fenton, Warren William, Don Ameche and Sterling Hollowav, actors ; Robert Hopkins, writer ;
Ogres and Siamese Twins (continued from previous page).
is therefore impossible to wait for the shooting to be over for the cutting to begin. The cutter, then, should be, and in fact is rapidly becoming, a kind of co-director, working in the closest co-operation with the director, not only in the studio theatre and cutting-room, but even on the floor.
Long past are the days when the cutter was just someone who snipped off the number-boards and joined the shots together in the right order — though it is true that some directors, Hitchcock for example — are able to work out their shots so accurately in the script that they can practically cut the film in the camera. But most directors like to allow for more than one possible combination of their shots and this makes it essential for the cutter to be an artist as well • in an artisan. It is up to him to construct the film out of the material given him, endowing it with the form and rhythm which should be latent in it, and by his skill and imagina- tion contributing something personal which is yet in har- mony with the director's conception, just as a good orchestral player may give an individual quality to his phrasing which at the same time carries out the conductor's ideas.
Gibbon says in his autobiography, "the knowledge of the boy gave place to the more rational ignorance of the man," and the more experience I have the more I distrust general principles. There are practically no universal rights and wrongs in direction or cutting, and though we all have our pet theories, there always comes a time when practice com- pels us to discard them. If then, I end this article with a personal generalization about cutting, I know quite well that many of my readers will be able to invalidate it by particular examples. Speaking generally, I do not believe that some cutters pay enough attention to the relation of the cut to the sound track. ( )b\iouslv in many cases the change of angle is, and should be, unnoticeable and therefore is not a point of emphasis. But in certain cases the cut is a tre- mendously emphatic thing. For example, in a musical
number with hundreds of chorus girls dancing, if the change of angle corresponds to the beat of the music you get a much more powerful rhythmical effect, because the sound and the picture are in unison. Not only are the girls within each shot dancing in time to the music, but the shots themselves are dancing in time to the music. And this principle applies, less obviously and less frequently, even in dialogue. If you make your cut in relation to some emphatic point in the sound-track, you get a visual "kick" corresponding to the aural "kick" of the sound. Some years ago, in the opening sequence of "Dr. Jekyll and Mr. Hyde," there was a scene of the doctor lecturing to medical students, and whether purposely or accidentally, the cuts from one shot to the next followed the flow and rhythm of the speech in the most admirable way, giving visual movement to what might otherwise have been a purely static scene. The shots them- selves were stationary (it is a major fallacy, in my opinion, to suppose that in such scenes you inject movement by panning or tracking over the faces of the audience), but the cutting was rhythmical. And the point I want specially to make is that the rhythm of sound film is not simple as in silent films, it is compound. It is neither the rhythm of the picture nor of the sound, but of the relation of the one to the other, just as in a ballet the rhythm does not lie in the move- ment of the dancers or the beat of the music, but in the mutual relationship of the two. Of course in hundreds of scenes this principle will not arise in any obvious form, but I do believe it to be generally true. Naturally it is difficult for the cutter to apply this principle to material which has not been shot with it in mind, but that is only an added reason for the closest co-operation between the director and the cutter. If they cannot be the same person, let them at anvrate be spiritual Siamese twins, or to return to fairy tale language, the Poor but Honest Parents of the little work of art which turned into a box-office success.
Aug-. -Sept., 1937
THE CINE-TECHNICIAN
79
and Bert Kalmar, song writer. Herewith the imaginary minutes ol the meeting. ("You know, sometimes they seem more like hours." — Horton.)
Jolson [rapping for order and not getting it) — Gentlemen,
gentlemen ! William ( To Muni) — I saw you in your last picture and you
were great. You wore a beard. Muni — I'm wearing one now. William — Well, you were great anyway. Ameche {To Tracy) — I saw you in your last picture and you
were great. Tracy — I didn't see you in yours, but you were great too. Hopkins (Who wasn't in his hist picture) — Let's come to
order, fellows, or Jolson will sing "Sonny Boy." All (Groans). Jolson — The Encino Chamber of Commerce is now in
session. Horton (Pleased) — Really ? Jolson — We're ready to listen to constructive suggestions.
(As everybody starts talking) — Wait a minute ! One
at a time. We'll start with me. I am in favour of
lower water rates and cheaper irrigation. How does
that strike you, fellows ? Horton — Here, here ! Tracy — Mr. Chairman ! Jolson — Who, me ? Just call me Al, pal. Tracy — Mr. Chairman, I own a ranch on White Oak Street.
It is a very nice street, but there are no lights on it. Fenton — Mr. Chairman ! I move we submit a proposition
for more paved streets north of Ventura Boulevard.
Mr. Horton will second this motion, I know. Horton — What ? Oh, absolutely. That's what I came
here for. I just remembered. More paved streets,
Mr. Chairman, of course. Jolson — Now we're getting somewhere. Will somebody
back my plan to demand lower water rates ? Muni (Booming) — I will. Jolson (Startled) — And who are you ? Muni— I'm Paul Muni.
Holloway (Jeering) — Yeah, and I'm Luise Rainer ! Jolson — Silence ! This man says he is Paul Muni. All in
favour say "Aye ! " Against, "Nay ! " (Mixed
chorus of Ayes and Nays) — Well if you can't make
up your mind, we may as well adjourn — Muni — Doesn't anybody know me ? \\ "illiam — I know you, Muni — or is it Mooney ? You were
great in your last picture. Holloway — I second the motion. Jolson — Meeting's adjourned ! Horton — Oh dear, I did so want those paved streets . . .
Now comes the "high spot" so far of my sojourn here (the new one will be if I get any work) — my interview with the High Llama of the film industry at the largest studio in the world (according to their own publicity department). The appointment was for 2.30 and I was on the dot, as for me it was important. One of the first things you have to learn in Hollywood is always to turn up at least an hour late for anything — you'll still be early. We — my father and I— were greeted by a typist in the extreme outer office and were asked to wait for a few minutes. After an hour or so we were met by a secretary and conducted one office further in. And so on through three offices, past four secretaries at last to His personal secretary. A little more waiting and at 5.30 we were ushered into The Presence. A vast office, pannelled in some kind of blue wood, with a hideous Victorian fireplace and clock on one side. At the extreme end a still more vast desk. Oval in shape, with a hole in
Leigh Aman. Bette Davis. Ian Hunter, Lady Marley, Lord Marley and Edmund Goulding on the set of "That Certain Woman." a Warner Bros. Hollywood
production,
the middle, in which He sat surrounded by telephones. He never spoke or smiled, just looked — so my lather began by thanking Him for his help on the previous night. (He had given $10,000 for a certain cause.) Then the phone rang and for ten minutes he talked with his agent about some woman they were signing up. A snatch of the conversa- tion was, I remember : "Well, we'll let hei cool off foi a couple of days — remember we're dealing with a mad woman ! " He rang off, smiled at us, and said to me, "Call me up on Monday, we'll see what can be done." A secretary appeared and we were gently but firmly removed. As yet that's the last I've heard. I only repeat this, because I hope some people on the way up will read it and remember not to become too important.
Concerning the strike, I don't know how much has been printed in England. Here, of course, it was News, which is always eagerly lapped up whether true or not — and plenty was printed that was not. I need not repeat the history of the strike, as it will doubtless already be known. I will mention some of the salient points round which, it seems to me, the problem revolved.
The strike was called by the Federation of Motion Pic- ture Crafts for union recognition and affected about 6000 workers. The trades involved were the painters, make-up artists and hair-dressers, scenic artists and draughtsmen. One or two others, such as the culinary workers and precisi< >n machinists, joined for a short time later. It so happened that, at this time, a large number of the major studios were commencing shooting some of their biggest ami most im- portant pictures. Most of the important work of the strik- ing crafts was completed before the strike, so, with the exception of make-up, shooting was able to proceed. The make-up and hair-dressing difficulties were solved in most cases by making the artists do themselves, though there were a few still at work. So the problem was how long could the studios shoot without these essential crafts ? As long as there were no major set changes involving a »ns1 1 net ion. This might be anything from three days to six weeks in the of "Dead End," which is almost entirely on one set. On the other hand, how long could the strikers hold ou1 ? It is impossible to surmise how long this would have been, for further complications developed later, which cut short this waiting and, in my opinion, considerably altered the final results.
As to the position of the numerous unions involved, it was roughly as follows: — The International Alliance oi
80
THE CINE-TECHNICIAN
Aug.-Sept., 1937
Theatrical and Stage Employees, the most important technicians' union in Hollywood at present, opposed the striking F.M.P.C. Both these unions are affiliated to the American Federation of Labor. The strikers complained to the A.F. of L. of the strike-breaking activities of the I.A.T.S.E., but the A.F. of L.'s president then announced that the strike was not "authorised." An offer of help from John L. Lewis's C.I.O. was refused by the F.M.P.C. It is doubtful that they could have been very much help, as it would have meant more lightning reorganisation. And no one was in a position to stand that. Then came the further complications. The Screen Actors' Guild entered the fray. The I.A.T.S.E. swung round and promised to support the Guild if they struck. Now the Guild, even then, was a very powerful organisation, having as members a large number of top-rank stars. Gradually the whole position settled on the Guild. The producers realised this, and realised the danger of a general walk-out, so when the Guild delivered their own ultimatum it was settled at once. Immediately the F.M.P.C. lost the support of these two powerful unions. The result up to the present is that the strike has been slowty petering out, as one branch after another has returned to work. It has been, I think, a serious case of "too many cooks." It turned out to be lucky for the producers that the Guild stepped in when it did. Otherwise they would have eventually felt the need of the striking crafts.
The Guild were serious, too. It was reported that stunt men and cowboy actors were all prepared to organise a troupe of 300 horsemen for picketting, or for charges on producers if required ! So far-reaching were the results that even Garbo had to join ! The settlement included a "Guild shop" (virtually closed shop), numbers of substantial pay increases for small-part players and stand-ins, and a $5.50 per day minimum for extras.
This is only really an outline of the position as I see it. The truth is very difficult to get at, lying buried as it does under all the publicity and newspaper stories. There were many minor differences within the various unions concerned, but none that seriously altered the results. Many said that the executives of the Guild were not serious and had no intention of striking at all. Certainly they were in a posi- tion to ask more than they did. The strike is not officially over yet and it is possible that some kind of agreement may still be reached, though the producers now have the upper hand.
But "News marches on" and another event has recently taken the headlines. This is the demand of Culver City to have its name changed to Hollywood ! The M.G.M., Hal Roach, and Selznick International studios are located in Culver City and they claim that since the most important pictures originate there, why should they not use the tradi- tional name of the film capital. On the other hand, Holly- wood as a city, does not exist, so at the moment they are powerless to do anything. A number of Hollywood stars have got together in protest and have even gone so far as to threaten to demand a vote for Hollywood to secede from Los Angeles, of which it is a part ! The fight continues.
Finally, I must mention a very recent event which will almost certainly have been cheapened and publicised by the time it reaches England. The death of Jean Harlow, although a news story (|l the first magnitude, has emphasised to me the other quality in Hollywood — its humanness. Whatever has been printed, I can see that, regardless oi position and rivalry, nobody could be more sympathetic and genuinely sorry than have been all the stars and, indeed, the whole film industry for Miss Harlow and her family.
The Royal Photographic Society and A.C.T.
Since the beginning of this year, the contact between the Association and the Royal Photographic Society has been very greatly strengthened. A.C.T. has since 1935 been affiliated to the R.P.S. through the Central Association of Photographic Societies, but at a recent A.C.T. General Council Meeting it was decided, at the suggestion of the R.P.S., to transfer our affiliation through the newly-formed Federation of Cinematographic Societies and we shall in future be attached to the Alliance through that bodv. On several occasions during the last month, joint meetings have taken place between A.C.T. and R.P.S. , and A.C.T. is now re- presented on the Joint Technical Committee, and further, has a member on its Kine Committee. An important result of these talks has been the enlarging of the scope of the Associateship and the Fellowship to include all branches of the industry, and it is now open to any tech- nician to acquire professional standing through this medium.
The annual subscription to the R.P.S., which is the same for all classes of membership, is £2 2 ,.-, the entrance fee of £1 1/- being waived by the Alliance scheme in the case of A.C.T. members. It is proposed to institute a Junior membership for persons under twenty-five years of age, who will enjoy certain privileges. The subscription to this grade will be £1 1/- annually, but full membership privileges can be acquired at any time before the age limit is reached by paying the ordinary membership subscription.
Members have the right to attend all meetings of the Society and of introducing thereto two visitors. Meetings are held weekly on Tuesdays and Fridays for nine months in the year, and papers and lectures on every phase of photo- graphy are given. These papers are published in the Society's official organ, The Photographic Journal, which is issued on the first day of each month, and all the Society's many activities are faithfully reflected in its pages. The Society also publishes quarterly Photographic Abstracts, consisting of abstracts of the world's photographic literature. The Society's house is open daily, Sundays and certain holidays excepted, and includes well-fitted dark rooms, an enlarging room, a workroom, and a fully equipped studio. There is also a very fine library and reading room, and a spacious meeting room, which possesses its own standard projector. The Society is in touch with many other professional or- ganisations besides A.C.T., including The British Film Institute, the Guild of Projectionists and the B.K.S., and is planning to extend its activities even further.
Technicians will directly benefit the Association as well as themselves in joining the Royal Photographic Society, as 25° 0 of their first year's subscription will be remitted back to the A.C.T. as an affiliated society, and there is a reduced subscription for those members who join in the middle of the year.
Anyone requiring further information should applv to Mr. H. H. Blacklock, F.C.I.S., the Secretary of the R.P.S., at 35 Russell Square, London, W.C.I, who will be glad to supply full particulars of the Society's aims, and to answer all questions.
T. S. Lyndon-Haynes, A.R.P.S.
LAB. TOPICS
"Gamma" regrets that he has been unable to send us his page, but hopes to continue as usual next issue.
Aug. -Sept., 1937
THE CINE-TECHNICIAN
81
The Projection of Lenticular Colour Films
J. G. CAPSTAFF, 0. E. MILLER and L. S. WILDER
(Kodak Research Laboratories)
INTRODUCTION
THE lenticular film colour process, in common with other additive colour processes, involves a large loss of light by absorption in the colour filters necessarily used in the projection system. Therefore, it requires so much more illumination than is needed for projecting black and white pictures that it was believed until recently by many responsible persons in the industry to be impossible to show these pictures properly even in the average theatre, not to mention the de luxe houses with screens from 25 to 35 feet in width. To illustrate the seriousness of the problem, it was estimated that about ten times the normal amount of light would be needed. The colour filters used for projection during the earlier experimental work had a transmission of only 12 or 13 per cent., and the intensity was further reduced by the lenticular surface of the film support. The Kodak Research Laboratories recently undertook to make a systematic investigation of the possi- bilities of lenticular film projection and to give an actual demonstration in a de luxe theatre.
A preliminary survey of the problem indicated quite a number of possible ways in which the screen illumina- tion could be increased. Some of these, which were temporarily laid aside for practical reasons, will not be mentioned except in the concluding remarks. With a desire to limit the investigation to the use of already
existing projection equipment with only minor alterations, the work was pursued along the following lines :
1 . Reduction of the absorption loss in the colour filters.
2. Modification of the optical system to increase its
relative aperture.
3. Recovery of part of the light lost because of the
shutter.
4. Reduction of the density of the prints.
5. Improvement in the operating conditions of the
illuminating system.
EXPERIMENTAL WORK Filters
Since the greater part of the light is lost due to absorp- tion in the colour filters, the problem of screen brightness becomes progressively easier as the filter transmission is increased. After a certain point, however, the colours of the projected picture begin to lose saturation and appear "washed out." The colour reproduced on the screen can be of no higher degree of purity than that of the projection filters. As the red filter is made lighter, it soon begins to transmit yellow, and becomes an orange red. With such a filter a good red cannot be represented properly on the screen. After a considerable amount of experimental work with dyes and a number of observations with filters
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THE CINE-TECHNICIAN
An-. -Sept., 1937
of different density, a standard filter was finally adopted which was thought to have the highest transmission it was possible to get without a too noticeable loss in colour saturation. The transmission of this filter, when used with the high intensity arc system to be described later, was 22 per cent. This multiplied by the 80 per cent, transmission of the lenticular film support gives an overall transmission of 17-6 per cent. Therefore the factor by which the normal illumination needs to be increased is 5-8 times.
Optical System
Fundamental Conditions
As shown in schematic form in Fig. 1, the essential elements of a projection system suitable for lenticular colour films are : — light source, collective element, colli- mator lens, film gate, projection lens, and colour filter. A detailed discussion of the optical relations involved in the use of lenticular films is not within the scope of this paper, and therefore a mere statement is made of the necessary conditions to be observed in practice : — -
1 . The light source must be imaged at the film gate.
2. The collecting element must be imaged at the
colour filter.
3. It is essential to have all elements centered on the
optical axis.
4. The colour filter must be located at the front focus
of the projection lens.
It will be obvious that the first three of these are the identical conditions for the optimum screen brightness and uniformity, even in black and white projection. The fourth condition comes about as a result of a particular optical property of the lenticular colour film itself and is dependent on the optical arrangement used in printing.
Projection Lenses
The greatest single gain in illumination promised to come from increasing the relative aperture beyond the f/2-5 systems commonly used. In view of the successful use in the 16 mm. field of lenses having a relative aperture of f/T6 or better, it was thought that it ought to be possible to set up a 35 mm. svstem that would equal this. Two f/1-6 lenses were secured with focal lengths of 120 mm. and 160 mm. Except for the somewhat inferior definition of one of them, these lenses were entirely satisfactory for
COLLECTOR ELEMENT
the purpose. On account of the much larger diameter of the lens barrel, it was necessary to make a new lens mount for the Simplex projector.
Illuminating Systems
Before the increased relative aperture could be fully realised, it was necessary to modify existing illuminating systems so as to fill an angle of f/1-6 and at the same time to fulfil the conditions necessary for use with lenticular films. The particular lamp selected for the first experi- ments was the Peerless "Magnarc,"* which appeared to be a good example of a high efficiency reflector system. After a number of different optical arrangements had been tried, using reflectors of different focal lengths, it was apparent that the only change necessary was the addition at the front of the lamphouse of an inexpensive condenser lens. To avoid breakage due to the extreme heat, this lens was made of pyrex. The complete optical arrange- ment as it was finally used is shown in the diagram of Fig. 2, which is drawn approximately to scale. The regular "Magnarc" reflector is 14 inches in diameter, and 5| inches from the arc crater. The plane surface of the auxiliary condenser is 28 inches from the centre of the reflector, and 5J inches from the film gate. This con- denser is 4^- inches in diameter and 15 inches in focal length. The addition of this condenser to the "Magnarc" brings the image of the reflector into the plane of the three-colour projection filter. The filter is located near the front focal plane of the projection lens, a necessary condition for lenticular film projection. In order to allow7 the larger cone of illumination from the modified illumina- ting system clear access to the film gate, it became necessary to enlarge the apertures in the shutter housing and in the masks back of the aperture plate on the Simplex projector. When the full f/1-6 relative aperture is filled, there should be 2-31 times the screen brightness that is obtained with a corresponding system of relative aperture f/2-5. The actual screen brightness obtained with this system \va> slightly less due to mild imperfections in the quality of the reflector. Certain dark zones appear on the reflector surface when viewed from the film gate. This modified "Magnarc" system was used for a great part of the ex- perimental work and for the demonstrations which are to be mentioned presently.
* There are other lamps on the market similar to this one which should be equally suitable.
PROJECTION LENS
COLLIMATOR LENS
FILMI GATE
COLOR FILTER
|
LIGHT y SOURCE / \ / |
J-X — , |
|||||
|
^ '^-^^r |
^A |
B |
||||
|
\ 1 "^——~~ — ^~--^\7 |
G |
|||||
|
R |
1^ FILM (magnified)
FIGURE 1. Diagram of Projection Optical System for Lenticular Colour Films.
Aug. -Sept., 1937
THE CINE -TECHNICIAN
83
I I I L_L
l l I I I
SCALE- INCHES
FIGURE 2.
Magnification of the Arc Crater
It will perhaps be contended that the increase in the relative aperture obtained in this way is at the expense of the crater magnification at the film gate, and that the uniformity in screen brightness will be unsatisfactory. Of course, the crater of the high intensity arc is not uniform in brightness, being brighter at the centre than at the border. For this reason, and also in order to provide some tolerance in the position of the arc, present illum- inating systems are made to have a higher magnification than would be necessary to just fill the aperture. However, when the lenticular colour films are projected with the above system, the corners of the picture do not appear to be more poorly illuminated than is the case with the average black and white system. The reason for this lies in a particular requirement of the camera and projector lenses used in the lenticular film process. The lenses used in black and white work, both in the camera and to a somewhat less extent in the projector, cause a falling off in the marginal illumination due to the fact that the lens aperture cannot be completely filled for oblique angles. With some of the camera lenses ordinarily used in black and white work, this becomes so bad that the corner illumination falls nearly to zero. This results in a print with a higher density at the corners than at the centre of the picture. When this print is projected, the additional density at the corners adds considerably to the deficiency of corner illumination already present in the projection system.
This property of the lenses becomes objectionable in the
lenticular colour film process, but for a different reason, as is seen in the diagram, Fig. 3, which shows different views of the lens and colour filters as they would appear when viewed from different points on the screen. Dis- proportionate areas of the colour segments are illuminated for different positions around the margin of the screen, a condition that leads to an uneven distribution of colour on the screen and cannot be tolerated. Thus, because of the choice of lenses which this makes necessary, one can afford to use a lower magnification of the crater. However, it may be desirable to have a slightly larger crater image than that used in the present system, and this could be accomplished by substituting a 9 or 10 mm. carbon for the 8 mm. one now used.
The Heat Problem
Considering that there are already reports from theatres when using improved black and white equipment of too much heat at the picture aperture, it was not surprising to find in the preliminary trials with this more efficient optical system that the film was badly damaged by the terrific heat. Attempts to cool the film by a jet of compressed air were insufficient. Clearly some sort of heat filter had to be used. Previous experience with water cells did not favour their use in the theatre projection booth, so heat-absorbing glass was tried. Used in a single sheet, this broke repeatedly, even though it was of the heat- resisting type. Cutting the glass into f-inch strips and mounting these side by side prevented breakage, but it was found that the glass would soon melt unless subjected
84
THE CINE- TiE C H N I C I A N
Aug. -Sept., 1937
to a current of air. Since too much colour in the glass would have been objectionable, it was necessary to use a density only just sufficient to reduce the heat to a safe value. The filter finally adopted was in the form of several f-inch strips of Corning extra light Aklo, 2 mm. thick, held loosely side by side in a rectangular metal frame, and cooled by a gentle current of air from a small furnace blower. The location of the filter in the optical system must be such that the edges of the glass strips are not visible on the screen. In the present instance, the glass was mounted on the front of the shutter housing at a distance of approximately 3| inches from the film gate. No trace of the edges of these strips has ever been noticed on the screen. The air was directed on to both sides of the glass by appropriate baffles. With this filter, which transmits only 25 or 30 per cent, of the total heat energy, the heat of the aperture is actually less than that obtained with some of the better projection lamps now in use. The familiar "biscuit" appearance on projected prints is entirely lacking. Part of the air from the blower is directed on to the film gate. This gives a slight additional cooling to the film and to the metal parts around the aperture.
A Relay Condenser System
To see what could be done with the 120 ampere high intensity arc used with a condenser system, a Hall and Connelly lamp was set up with a set of 7-inch condensers and a relay system. In a relay system full advantage can be taken of the entire crater surface because this is not imaged at the aperture. Furthermore, advantage can be taken of the fact that the entire crater area emits red light with practically uniform intensity. Since in colour work the limiting colour seems to be red, the entire crater surface can be made use of. The measurements of screen bright- ness made with this set-up show that it is possible to get equally as bright a screen with the "Magnarc" system, and it becomes somewhat easier to maintain the screen uni- formity. Therefore, where there is sufficient room in the projection booth to accommodate the increased length of a relay system, this type of lamp would very well serve. The remarks about to be made about adjustment and operation of the optical system apply equally well to condenser systems and reflector systems.
Adjustment and Operation
A great number of observations were made with the best types of black and white illuminating systems at
present in use in order to determine, if possible, what effect the operating conditions and the adjustment and alignment of the optical system had upon screen brightness. Based upon these observations, it is believed probable that the average theatre's projection machine often does not deliver much over half the screen illumination of which it is capable. Losses occur in many ways — accumulation of dirt on the screen lowers its reflecting power ; the reflector or con- denser surface facing the arc becomes clouded with smoke, pitted with flying particles, and has to be constantly cleaned in order to preserve the light transmission. Because of the imperfections in the commercial mirrors and condensers, the screen uniformity is not at its best when the system is adjusted to give the maximum screen brightness.* The projectionist, therefore, has to sacrifice a considerable amount of screen brightness in order to improve the uni- formity. Errors in the centering of condenser systems can be responsible for appreciable losses in illumination. Some projection lenses are in use which have a lower transmission than is desirable. Carbon arcs are somewhat erratic in behaviour. The crater sometimes burns un- evenly, and the crater brightness varies from time to time. A substantial improvement could be made in all of these operating conditions. Possibly new equipment would have to be designed in order to free the projectionist from the necessity of constantly attending to the adjustments of the various manual controls found on the present lamps. If the arc operation could be sufficiently stabilised, and the arc crater accurately held on the optical axis, the entire system could be set up and adjusted once for all, and the projectionist would then be required to make only the single adjustment of keeping the arc crater in the correct position along the optical axis. There is no reason, furthermore, why an arrangement using photo-electric cells could not be devised that would make even this adjustment automatically.
Reduction of the Shutter Loss
Since 50 per cent, or more of the incident light is lost at the shutter, it seemed worth while to attempt to recover some of this loss by speeding up the pull down movement, and using shutter blades of the narrowest possible angle. No originality is claimed for the method used. Inside the housing of the Geneva pull-down mechanism used on all Simplex machines there is a pair of small spur gears through
* Cook, A. A. — "A Review of Projector and Screen Characteristics and their Effects upon Screen Brightness," /. Soc. Mot. Pict. Eng., XXVI. (May, 1936), p. 522.
Axial View.
View from Bottom of Screen.
View from Top of Screen.
View from Side of Screen.
FIGURE v
Auo-. -Sept., 1937
THE CINE-TECHNICIAN
85
which the intermittent assembly is driven. By sub- stituting a pair of elliptical gears, the intermittent move- ment was accelerated so that the pull-down period occurred in 52: of the cycle instead of the usual 90°. Using this, in combination with a 45° covering blade and a 30° flicker blade, a gain of 59 per cent, was made in screen illumination. However, it was thought that this was too severe on the film and a second pair of elliptic gears were prepared which gave a more moderate acceleration to the pull-down mechanism, and accomplished the movement of the film with a 68° interval. Using with this a covering blade of 60 and a slicker blade of 40°, a gain of 44 per cent, was realised. However, unless there are certain changes made in projector design which will compensate by reducing the stresses occurring in the pull-down operation, it is doubtful whether application of even this mild degree of acceleration to the Geneva movement is practical. The Powers move- ment, however, because of the smooth acceleration, offers possibilities for a quicker pull-down.
The proper size for the shutter blades was arrived at empirically by progressively increasing the width until there was no noticeable flicker or travel ghost on the screen at the ordinary brightness level. Advantage was taken in these experiments of the fact that the perceptibility of both flicker and travel is less as one proceeds to lower levels of illumination. If it should later be found necessary to increase the shutter blade slightly, it would represent a loss of only a few per cent. A further discussion of the subject of projector mechanisms is believed outside the scope of the present paper. Although the work done so far must be regarded as merely preliminary, there seems to be ample grounds for believing that more can be done in a practical way to recover a considerable part of the light lost at the shutter. In this connection, moving the shutter to a position very near the film plane so as to give quicker cut-off of the light beam would be a worth-while step. However, in the small neighbourhood theatres, probably no change in projector mechanism would be needed in order to get sufficient light.
Print Density
Another loss of light occurring in the ordinary projector is caused by the minimum photographic density allowable in making the print. Because of the excellent tone re- production obtained with the lenticular process, it is possible to make the print density lower than that of a corresponding black-and-white print by approximately TO. This gives a 25 per cent, increase in picture brightness.
Summary of the Gains Made
It was pointed out above in connection with the filters that the maximum filter transmission combined with that of the lenticular support was in the neighbourhood of 17-6 per cent, which corresponds to a factor of 5-8. This is the factor by which the screen brightness must be increased in order to equal that of corresponding black-and-white projector. The gains made and discussed above may be summarised as follows : —
Table I. Factor.
1. Increased relative aperture
(f/2-5 to f/1-6) 2-31 x
2. Reduction of shutter loss 60°-40°
shutter, 68° pull-down 1-44 x
3. Tower print density, by TO 1-25 x Product of all the above gains 4-32 x
(Continued on page 87)
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86
T H E CINI'-TKCHNICIA N
Vug. -Sept., 1937
Cinema Lo
Cigarette Card Film Lessons.
While I was looking through the world's largest "Fag ' ,!i d" collection at Chiswick the other day, Mr. Bagnall gave me a set of cards dealing with all branches of Film Produc- tion. Entitled "How Films are Made," these 25 cards explain in simple detail the technical departments of pro- duction. They were published by Morris Cigarette Co. some time ago, the facilities for their preparation being granted by Gaumont-British studios.
Mazzei Art for Blackpool.
Andrew Mazzei, the Art Director and ardent A.C.T. supporter, did not let the cinema depression get the better of him. fie gathered his boys from the devastated studios and trekked away to breezy Blackpool, where their art in a more permanent form will gladden the hearts of Northern holiday-makers in the new Squire's Gate super holiday camp. A Moorish palace in pale primrose-grey, with romantic windows, gently sloping steps and intricately designed pillars, red-tiled roofs and turrets, gives a sunny greeting to the cotton operatives on holiday bent. The ballroom is in traditional Spanish style (bright orange, blue, gold and silver predominating). All this has been designed by Andrew Mazzei, who also designed the Baronial Hall and Spanish Courtyard of Blackpool's Winter Gardens. Yes, Blackpool is steadily becoming "Mazzei-ised," for which we must congratulate Andrew and his A.C.T. and N.A.T.E. crews.
Hints on Finance.
For the first time in the history of the cinema, the audience has been asked to contribute to a film before it is made, and even allowed to see an outline of the script !
The film is "La Marseillaise" and the director Jean Renoir. The story deals with events from just before the Fall of the Bastille up to the Battle of Valmy, and points a moral for the present situation in France, the production is to cost three million francs, secured by issuing one-and-a- half million two franc tickets, which entitle the holder to a two franc reduction at any cinema where the film is sub- sequently shown.
The production is organized by Cine-Liberte, the associa- tion of French film workers and technicians which was rsponsible for "La Vie est a Nous" (shown last season by The Film Society). Cine-Liberte will issue fortnightly bulletins to acquaint subscribers with the progress of the film.
A West-end Club for 1/-
Have had many interesting chats recently with that hale and hearty veteran Trade Union leader Ben Tillett, who is chairman of the National Trade Union Club, 24-28 New Oxlorcl Street. I In seventy odd years of industrial strife hang lightly on him as lu- sits back and reviews the progress in labour conditions that his early struggles have helped to bring about. Ben has a grand sense of fun and his amusing stories can be heard if you get into touch with the (dub Secretary, Arthur Peacock, who, over a glass oi something at the "Bar," will make you a member on production of your A.( . I'. card and a I , when you will be able to lunch, dine and wine lor a whole year .it the Club.
By KENNETH GORDON
Does Basil Emmott Hold Record ?
Is eighty-five full-length feature films photographed as camera chief a record for a British cameraman ? Well, this is Basil Emmott 's achievement on his completion of the photography of Warner's picture, "Music and Mystery," at Teddington Studios, featuring Keith Faulkner and Chili Bouchier. Have known Basil ever since he started with the old Gaumont Company in 1919. His first film was "Broken Bottles," which, if I remember rightlv, he turned on a Willart Camera. He was also the first cameraman to film the Victoria Falls from the air, when he made a flight to the Cape with Sir Alan Cobham in 1925. When filming close- ups of the Falls the spray affected the carburettors of the machine, which nearly cost the crew their lives. Basil Emmott has always been a very keen photographer, which is his hobby as well as his profession.
My claim that Basil holds a record may be challenged by other British camera chiefs, so I await their figures with interest.
Glebelands.
The Twelfth Annual Report of the Cinematograph Trade Benevolent Fund covers "Glebelands" first year. There are 19 permanent residents and 21 convalescents. Over {30,000 has been raised to make possible this home for elder and incapacited members of the trade, and a convalescent home for younger members temporarily in need of a change of surroundings and a rest to enable them to recover from operations or illnesses. Frank Canham, one of the permanent residents, writes asking us to remember him to all his old colleagues, and says how much he will appreciate visits from any who happen to be that way. His testimony alone should convince members of the need to support this ex- cellent establishment and contributions will be welcomed by Mr. R. C. O. Viveash, Secretary, at 52, Shaftesbury Avenue, W.l.
Victor McLaglen to Come Home
Sailing soon from America on his first visit home for many years, Victor McLaglen will play a key role in Grade Fields' first Twentieth Century Fox picture, "He Was Her Max," scheduled for production at Denham and to be directed by Monty Banks.
Victor made his first screen success in the British film, "The Call of the Road," filmed by D. P. Cooper, whose photography on this subject was very fine. This, of course, was in the days of Westminster Arcs and no Spot- ; in fact, in the pre-pan era.
Victor used to use me as a chopping block to illustrate funny boxing stories which he was very fond of telling 111 the old Kinema Club.
Well, Victor's made good, and we welcome him back to the old country and trust that through him some British cinema technicians will get a break.
Crocker And All That
By the time this issue of The Cine- Technician is pub- lished, the law should be well on its way to clear the financial air oi its dark clouds and British production should once again be receiving sound financial support.
Aug. -Sept., 1937
THE CINE-TECHNICIAN
87
Lenticular Colour Films {continued from page 85).
This is somewhat short of the required 5-8 times which is necessary to balance the filter loss. In addition to the above gains, the authors are of the opinion that the amount of screen illumination can be doubled if a sufficient im- provement can be made in the operating conditions of the arc and the optical system. The product of this and all the above factors of gain gives 8-32 times, which leaves an ample margin for the projectionist in the operation of the projector when compared to the loss factor of 5-8 men- tioned above.
DEMONSTRATIONS
The complete experimental projector was used to give two demonstrations in the Loew's Rochester Theatre in April. On both occasions the 52° accelerated pull-down was used. After the 68° pull-down was substituted, the machine was used to give a demonstration in the Centre Theatre in Radio City on July 9 for the benefit of some 200 invited guests. Many of these people commented on the show, but no one expressed any feeling that there was a lack of screen brightness. Some actually said they be- lieved the screen brightness was higher than necessary.
Although many measurements were made throughout all of these experiments of the screen illumination, a simple statement of the values in foot candles obtained would have little meaning in view of the conflicting reports already published both as to the screen brightness actually pre- vailing in theatres and as to the actual level of screen brightness that is to be desired. To give some indication, however, of the amount of light obtained on the screen in the Centre Theatre, the value measured with a Weston Illumination Meter, Model 603, without the colour filters or lenticular film, but with the shutter running, was 33 foot candles at the centre of the screen. The screen picture was 22 feet wide, and the projection angle was approximately 28°. If the heat absorbing glass filter were removed, the value would be more than 40 foot candles.
FURTHER POSSIBILITIES
Of course, every precaution was taken in both of these demonstrations to insure optimum operating conditions. It is probably too much to hope that optimum conditions could be thus maintained at all times. With this in mind, other possibilities will now be discussed with which still more light might be obtained. If the regular high in- tensity carbons were used, instead of the Suprex carbons, in connection with a reflection type lamp of most efficient design, there would be an increase due to the higher in- trinsic brightness obtained with the regular high intensity carbons. The possibilities that a new type of arc source will be developed having a still higher intrinsic brightness cannot be excluded. In this connection, carbon manu- facturers express the belief that development work now in progress will produce a carbon, which, with the proper optical system and lamp mechanism, will give the desired intensity, colour and uniformity of light, and at the same time, keep the energy input into the arc within reasonable limits. There are some improvements yet to be made in the present experimental optical system which will make it possible to eliminate some of the glass-air reflection losses. A desirable further improvement in the optical quality of commercial reflectors would reduce losses arising from the imperfect formation of the crater image at the
film gate. The belief has already been expressed that improvement in projector design could be made which would further reduce the shutter loss. Another con- sideration is the possibility of a slight reduction in the screen size. Even for black-and-white projection, a re- duction in screen size is being advocated by some in the industry. It is difficult to find any objection to doing this since, with the present sizes of screens, there is always a large block of seats near the front which the patrons avoid because of the discomforts of so large a viewing angle. There would seem to be no loss in desirable seating space by making conditions more comfortable for those in the front even at the expense of some loss in the rear of the house. Since the screen brightness would vary inversely as the square of the screen width, a considerable gain in illumination ought to be made possible by only a moderate reduction in screen size. The use of the ordinary specular screen would, of course, be limited to the long narrow houses where the seats are distributed within an angle of some 20. The design of equipment to take care of the few large houses with exceptionally large screens must be considered as a separate problem.
CONCLUSION
Although not all possibilities have been utilised in this preliminary investigation of the problem, it is seen from the foregoing experiments that lenticular colour films can be projected satisfactorily in the average theatre without the necessity of making major alterations in the present equipment.
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88
THE CINE-TECHNICIAX
Am-. -Sept., 1937
Thunder That Went West
I HAVE read with interest your recent symposium, "What's Wrong with British Films ? " Quite a lot, and there always will be. Tamar Lane, the American film expert, wrote a very illuminative book, "What's Wrong with the Movies ? " He also found a great deal to worry about in American films, and again there always will be, but they have put quite a lot right. Things are moving here too ; there is a sanity at work in British studios, and a new sagacity amongst financiers that together presage the passing of mediocrity.
The British film has rarely had excellence in both form and content ; the one without the other makes for failure, and the British technician working in form has suffered in repute by association with mediocrity in content. The foreign technician achieved success by association with success, by familiarity with excellence in form and content, by the use of the finest tools. None will deny the value to this country of the work of the foreign technician in the studio, but the lessons have been assimilated, and our own technicians justly ask for opportunity. It was a wise American who said, "Success is the art of being believed in." But status will only advance as the film itself improves, and improvement can only come when the technician is encour- aged to bring his knowledge of the form to bear on the con- tent, when he has been permitted to step a little outside the realm of craftsman to become artist.
To my mind, the root trouble with us is material of the film, and I do not differentiate between cheap quota or expensive "super." Which suggests that, having risked contumely by an adverse generalisation, it might be wise to hint at a little constructive criticism by way of explanation. So I have wandered into the Garden of Memories for a while to look back on the far-off days of striving, adventure, frustrated aims, abandoned ideals, successes and failures in the fairy land of the films. In those distant days the silent picture was nurtured to an amazing virility. Then came death in a night. With its passing went much that was naive, much that was meretricious, but, alas, much that was inspiring and provocative towards a genuine art of expres- sion through a limited medium.
From that tumultuous life of the silent film is there any- thing worthy of remembrance, any grain of wisdom worth the gathering. Is there aught of value to hand on to its successor, the talking-film ? By experience and subsequent reflection one arrives at personal conclusions which may or may not be of service to others. Having been privileged to work in both mediums, I dare assert the past has left two legacies of rare value to the present ; I think America has accepted them and incorporated them in her screen creed. I fear we in Britain have almost forgotten them.
The Silent Motion Picture. A life of scarcely thirty years saw it emerge from the gutter by way of the penny "gaff" to becoming the most powerful provoker of mass- enthusiasm in the world. To have known it during its growth was to have experienced a strange enthusiastic urge towards expression within a definitely limited medium. There could be no speech.
That severe limitation bred workers with an intense impulse towards clarity of expression without words. The enthusiasts made a discovery. The motion picture without
By GEORGE PEARSON
music was almost meaningless. Private viewing rooms where films were shown in cold silence were caustically known as "mortuaries." Then came the significant thing. Griffith insisted on a musical score selected phrase by phrase for his films, and music suddenly became the speech of the motion picture. It was sound completely fulfilling its purpose towards its partner ; it was a perfect marriage of emotional stimulants towards a common purpose. The orchestrated score became a recognised part of every film of worth, and every cinema had its orchestra of sorts, every studio its private band of musicians to stimulate the actors in the mood of the scene.
The marriage of the moving scene to music emphasised the emotional appeal of the film ; the feelings of the vast crowds in the cinemas were mass-attacked, their imaginations stirred almost violently. The discovery that thoughts, ideas, beliefs, themes, stories, could be expressed so power- fully without speech resulted in the definite recognition of a creed. The wordless film reaches the head through the heart, thought is evoked through emotion, and emotions range from laughter to tears. Is not ultimately the object of all art this evoking of thought through emotion ?
That creed brought forth great artist-workers, Griffith, Pabst, Seastrom, Pommer, Lubitsch, Lang, Stroheim, Murnau, Pudovkin, Eisenstein, a score of Americans, and many Continentals. Magnificent films resulted ; the cinema had become a giant, the film was all-conquering. Then came death, and the motion picture with speech. The barriers were down, the limitations, hence apparently the urge, had gone. Man's greatest invention for the communica- ation of thought, speech, was now added to the screen.
It is perhaps foolish to call this change death. What really happened was divorce; the motion picture took another wife. Speech became the new partner, music was rejected.
The old ally is the one disembodied art untranslatable into words ; it strikes at the emotions, disturbs our hearts, leaves us conscious of a soul. When music moves us, no language yet invented can translate what we feel. The new ally is primarily intellectual and economical. Music spoke to the heart in a wordless tongue, speech to the head in precise sounds. None denied that speech had come to stay, and for a time it became a very predominant partner. Films were advertised as "All-Talking." Music was as dead as the dodo, the orchestras were disbanded. Speech had brought a sudden static realism, directed at the intellect, that made music incongruous. This intense realism lay like a dead hand on the motion picture for a while, since thought, moving ever faster than speech, was slowed down.
The film makers knew all was not well. In the search for a return to the lost fluidity they substituted a mechanical mobility of the camera for the imaginative freedom induced in the spectator by the old partnership of music and moving picture. And very subtly music crept back to the hearth. It was a gentle sliding towards the old values, the recogni- tion of the force of the emotional appeal.
No prophet could see where speech would lead the screen, but that new vistas were opening up was obvious. I felt it might be the British Daybreak, and said so in the press, though 1 hoped we should be waking early ! 1 believed that the keepers of the British language in all its purity and
Aug. -Sept., 1937
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90
THE CINE-TECHNICIA N
Aug.-Sept., [937
comprehensiveness held the key to world domination in film material, but, alas, the thunder went west. America discovered her own amazing gift of economy in verbal expression, and with a closer knit vocabulary left us gasping. She saw with native instinct that the speed of the moving scene demanded an equally rapid speech.
And with the revolution we forgot the lessons of the silent film.
I am probably a lone voice crying in the valley when I ask the modernist to learn a little from the old days, and plead for a return in part to the faith of the past, to the enthusiastic conviction that films speak through pictures to the heart rather than to the head, that by an appeal to the feelings of the audience you will reach thought. Griffith said bluntly, "I build my pictures, not word by word, but emotion by emotion." Therein lies the whole foundation of the moving picture. That is the first legacy of the silent film to the talking film.
It is a little dangerous to stress the emotional appeal at a British script conference. It is gently frozen out and labelled melodramatic, ham, hokum, or slush. All sentiment is generalised as sentimentality ; we are scared of broad, Rabelaisian laughter or frank and outright drama ; we scuttle like rabbits behind a smug reticence.
America has not forgotten. Emotionalism is at the making of all her many successes. "Smilin' Thru" swept the world, Spencer Tracy becomes a God-fearing priest in "San Francisco," Clark Gable goes on his knees crying "I want to pray, what do I say ? ", Capra gives us a court scene in "Mr. Deeds" that touches us on the heart. Her gangster films are strong with emotional attack ; the bad man is never all-bad, the hero never all-good. A British historical event, "The Charge of the Light Brigade," is coloured with a romance of the heart even in the very charge itself. Korda makes a British monarch something close to the simple man, with human feelings, rather than a puppet of crowns and panoply. Examine all the American successes and you will find this keen emotionalism woven into the structure, often daringly and blatantly. I am sure at the script reading it must sound very much like hokum, but how right they are. She has remembered that legacy of the silent days. Films appeal to the emotions first, the head afterwards. It is a legacy that guides them in the choice of material, of the content of the film.
The second legacy is equally fundamental, it relates to the form. To me it is the master-key to the secret of the screen. The tremendous urge to express one's self without words was a powerful spur to effort, to imagination, to artistry.
There is no limitation in the talking film, hence no urge to overcome difficulty. No urge predicates no enthusiasm to make discoveries. Every difficulty can be met by speech, so dialogue has become the backbone of the film. To gather the material of the script one reads merely the dialogue. It tells all. The old scripts had to encompass the details of every movement, every action, every gesture. That was motion picture necessity. Talk has relegated the visual factor to second place. We think far too much in terms of words, far too little in terms of picture. Do not misunder- stand me. I do not undervalue speech. It is as profoundly important as music was to the silent film, but it is used disproportionately. The vital problem should be the never- ceasing search for visual methods to tell the story. Speech enters to economise the telling, but the intriguing play of the moving scene on the screen must ever be predominant.
Haven't you ever felt the desire whilst watching a film.
to peep round that corner on the screen scene, to look outside that door, to steal into that crowd to see for yourself, all indications of the latent potentialities of screen form in the future. Hitchcock takes you round that corner some- times. He has the intriguing gift of visual appeal in his films. You are aware keenly of his scene, only subconsciously aware of his dialogue. He uses that to economise and illuminate his scene, never to dominate it.
These then are the two legacies from the silent davs — matter chosen primarily for appeal to the emotions, and method based primarily on visual appeal. Economise through speech, emphasise through music, but never lose grip on foundational values. I think these things will be accepted with greater faith in the days to come in our own native industry. Quota Acts may find a way to stability, and in this matter I am attracted by Miss Lejeune's hint of reciprocity, but the ultimate solution of all our difficulties is quality.
Where does the technician enter to help the fight ?
This is no longer a one-man job. It is group work, and the technician must be permitted to move outside reticence and stake his claim to be in the van of the conflict. Colla- boration of emotionalists is the British need, for we are working in an emotion-provoking medium. Cameraman, sound-expert, art-director, film-editor, director, producer, and not least story-writer, must collaborate unceasingly. A working group consisting of many individuals isolated in grim compartmental solitude, ploughing lone furrows, will continue to make films they never know till seen for the first time in the combined print in all their stark nakedness. It is then that the group is dismayed at the result of its joint effort.
You must be persistent in the claim to collaborate, but you must prove your right by untiring flogging of the im- agination in the domain of your own special technique. It is for you to find new ways to amplify vour form in order that it may illuminate the content you have, by collabora- tion, sincerely approved and accepted. Believe me, the technician who does this thing is sought after avidly. A common comment behind the scenes is that X is not as good as Y, he hasn't Y's imagination.
The field of imagination is infinite. Think of the work of the camera-man. He is first lieutenant to the director, and the eve of the audience. How vital is his aid if through advance collaboration he knows what the scene is designed to express visually, but knows more powerfully what the audience is to feel emotionally. His imagination will assuredly have done something towards a finer handling of his technical tools towards the desired end. Consider how lighting and composition made "The Informer" a thing of pure visual and emotional delight. The dramatic work of the camera-man was magnificently intensive.
The sound-expert knows in his heart that sound em- braces speech, that the whole is greater than the part. Must sound always be bound hand and foot to realism ? Why not use sound to strike dramatically at the emotions by distortion, reduction, or even sudden non-realistic removal ? We have all experienced that absolute silence in the mind when absorbed in thought, though surrounded by the babel of the outer world. Something breaks that thought, and the sounds of life crash back to our mentality. Does not the neurotic human cry aloud that some simple sound shrieks to him with ear-splitting harshness ; is not the key moving quietly in the cell door terrifying in it- grating horror to the condemned felon ? Dare you make
{Continued lit foot of page 92)
Aug'.-Sept., 1937
THE CINE-TECHNICIAN
91
SOME GEORGE PEARSON PRODUCTION STILLS.
92
THE CINE- TECHNICIAN
Aug. -Sept., 1937
Film Projection
The increasing intricate technical problems in film pro- ductions call for a high degree of technical knowledge in the studio projectionist. But this is not enough. He may have mechanical skill, he may be an expert electrician, he may have the basic knowledge of physics necessary for the intelligent solution of his many current and recurrent technical problems, he may even be furnished with the best equipment money can buy and be working under conditions perfect for expert screen results and yet, unless he possesses a peculiar and intangible aptitude and flair for the art of projection, his results on the screen will be colourless and commonplace despite their theoretical perfection.
"Personality in Projection"
It has often been challenged that the personality of the projectionist cannot be built into his work as in the case of the cameraman. It certainly can be providing he has the ability to do so. I do not mean that we can go into a theatre employing two shifts of projectionists and deter- mine by casual observation of the screen which projectionist is on duty. What I do mean is that if a projectionist with a natural aptitude for the art is in charge of or has super- vision over a projection room he can, by developing the latent talent in his subordinates, build his personality into the picture just as definitely as the musical director builds his into the orchestra.
Expert projectionists cannot be turned out by any rule of thumb or classrooms. Practical experience alone is not enough. It is necessary to be something of a psychologist to understand and cope with the people and problems that one comes up against in a studio.
Of course, the basis of expert projection is intelligence, and it is a sad commentary on projection that the men in this branch of the business are, in some cases, still looked upon as "the man who turns the handle." "After all, he is only an operator who does a purely mechanical job and therefore cannot have any imagination" ! It is indeed sad to think that conditions still exist which tend greatly to discourage the really intelligent man from entering this side of the craft as a means of livelihood. Isn't the screen "the proof of the pudding," and don't we owe to all the labour, care and money expended in the making of the "pudding" that it should be presented at its best ?
Flicker.
A.C.T. Comments on Quota Proposals
The President of the Board of Trade has put forward tenta- tive proposals for a new Quota Act and asked various sections of the trade for their criticisms. A.C.T. has submitted its views, of which the following is a summary.
The actual quota rates (20° (J rising to 30% for renters ; and 15% rising to 25% for exhibitors) are welcomed, as is the cost test suggestion. The reservation is made, however, that such a test should be confined to a qualification of so much a foot. The suggested minimum of 115,000 in effect establishes a minimum footage of 6,000 for a quota film. A.C.T. feels that this is inadvisable, as discouraging the feature picture of less than this length, the production of which would save running time in programmes for shorts. A.C.T further suggested that there should be a quality com- mittee to view films costing less than £2 10/- per foot, which claim quota on the grounds of special quality. Alterna- tively, if such a course is not pursued, the minimum cost should be £2 per foot. A.C.T. feels, too, that the proposed quota for shorts might be scaled a little higher, rising from 12|°0 for renters and 7i°0 for exhibitors to the same final quota as for features.
A.C.T. is strongly against films costing over C45.000 ranking as double quota, as (a) it would probably mean on balance the lessening of employment, and (b) it might en- courage the production of extravagant "white elephant" pictures rather than good ones, and would reduce the actual number of pictures made. If all films were made in this category it would, in effect, halve renter's quota.
The Association stressed the view that any Advisory Committee appointed under the Act should be representative of all sections of the industry, and should include employees' organisations as well as, under the present Act, representa- tives of producers, renters and exhibitors.
It was also urged that any future Act should include a fair wages clause provision, similar to that inserted in Govern- ment contracts ; and a stipulation that not more than one foreign technician be employed on films desiring to rank for quota. British technicians, it was said, have had to make the despised "quickie," and now that an effort is being made to ensure that quota films are good films, it should be ensured that British technicians actually work on such productions.
Thunder That Went West (continued from page 90)
these essays into the dramatic use of sound ? Venture out- side slide-rule limitations, and make sound as potent to the talking picture as music was to the old silent film ?
The art-director's imagination can take flight over a limitless vista. He knows the eye is selective, that the camera-lens is not. What joy must be his to present a set so cunningly contrived that the eye is perforce compelled towards the selective point desired. A set can be as dram- atic as a scene of action. I have seen a slum door so eloquent by constructive imagination and later collaborative lighting that it became dramatic without a human actor on the screen. When that door opened, the emotional effect was terrifying. The mood required had been captured in all its fullness. The art-director knew what was desired by collaboration.
The scenario-writer must think in terms of visual appeal before speech appeal. Let dialogue economise, enrich and advance the story. Story advance is the secret of American superiority in script work. Remember Lubitsch's words,
"Let the camera build up your sequence, for which the dialogue is the climax." Do not measure your lines by foot-rule, so many pages of talk, so much screen footage, a bit short, add another page of dialogue. That is surely not the way of the motion picture.
If you are also concerned with story, hold fast that your work is for Britain, but that to put your native land on the screen is not merely to photograph her scenery. It is to put there her inherent national quality, the outcome of a thousand years of growth, as strong in herdman's hut as in Kensington drawing-room. Only a Briton should do this, though that may be too great a thing to ask yet. Finally. write material to be told by the screen, not merely on it, a vastly different thing.
Despite all, no matter what else changes in screen history, one thing will stand immutable. This art in which you work is visual. It reaches to the mind through the emotions. Speech and music are vitally important to it, but ever and always this thing will remain the Art of the Moving Picture.
Aug.-Sept., 1937 THE CINE-TECHNICIAN 93
HARRY STRADLING
ONE OF AMERICA'S FOREMOST CAMERAMEN AND AN A.C.T. MEMBER THINKS
OLYMPIC KINE.
100
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EXTRACT FROM ARTICLE WHICH APPEARED IN THE APRIL-MAY ISSUE OF "CINE-TECHNICIAN," BY HARRY STRADLING, ENTITLED "WITHOUT FEAR OR FAVOUR."
Perhaps I should award the fullest number of good marks to laboratories. They are excellent. Their organisation is beyond reproach and the staff 100',;, competent.
Recently while working on the "KNIGHT WITHOUT ARMOUR" picture, I have had to shoot under all conditions of English weather — all the fifty-seven varieties. In spite of drizzle and bad visibility I was never dissatisfied with the results when they came from the laboratories. I confess that I have been filled with grim forebodings on occasions, but they turned out good prints every time. Dealing with low-key lighting stuff is pure jam to the British laboratorians — I claim no copyright for that word — and their work in this connection has been outstanding.
Technicians will be interested to know that
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94
THE C INE-TECHNICIAN
Ail- .-Sept., 193-
A Dictionary of Film Language
Author
Man who is paid fabulous sums of money by producers
for the title of a book he's written . burnt.
till' bunk i-
Boom
A quantity of old iron fashioned like a gigantic fishing rod and generally used for —
(a) Stunning artistes,
(b) Throwing shadows,
(c) Wheeling over electric cables to cause short
circuit. Close-Up
A near camera view specially created in order that cameramen can try the placing of bits of sacking, horse blankets and old socks in front of their camera lenses and then hope for the best.
Dolly
An object looking like an old motor-car dump, upon which the camera is placed. This is used for making a tour of the set and to use up as much film as possible. Unfortunately, action sometimes happens to get into the range of the camera. These slips should be greatly discouraged.
Experts
Gentlemen with strange accents, beards and headgear, who come to England to —
(a) Enable British films to be sold in U.S.A. ?
_ (? ? ? ?)
(b) Give their wives a nice long holiday. Gobo's
Pieces of wood covered with black canvas and used for artistes who can't remember their lines ; also to screen-out visitors.
Huddle
A sort of story conference which takes place just behind the set, by producers, charladys and clapper- boys, for the purpose of hindering the technicians in their work.
Inserts
Generally a series of photographed picture-postcards, newspapers, people's feet and howling babies. These are placed into the film when the continuity has gone all haywire.
Growth Continues
The continued growth of A.C.T. has necessitated removal to larger offices. The new headquarters are at 145 Wardour Street, W.I. The telephone numbers of Gerrard 2366 and Gerrard 4669 remain unchanged.
Compiled by HENRY HARRIS
Juice
Used in a game by studio electricians. It has two potentials, "neg" and "pos." The object of the game is to find which is which. A high intensity arc is used for the deciding factor, teams are formed, bets are taken, great fun and excitement is caused by the result of terrific sparks and burned fingers. The best time of playing this amusing and enlightening game is when overtime starts.
Knocking
Affectionate criticism practiced by film companies about their competitors' product.
Laboratory
A sort of laundry used for the washing-out of camera- men's sins.
Moviola
Chaff-cutting machine.
Natural Actor
A term of reproach used among Film Stars.
Operator
Man who fights a losing battle in projection-box trying to focus rushes.
Projection-Room
A dark and gloomy room used as a canteen by pro- perty-men.
Quota
A very cheap method of transforming dramas into comedies, and comedies into inanities. Receiver
A dining companion to a producer.
Script
A huge pad of paper with writing on. It is only read by property men during the lunch hour ; it is also used for building-up furniture, etc.
Technician
The Forgotten Man.
Upstaging
A cunning ruse employed by many artistes to get the screen to themselves. It consists of a slow shuffle backwards towards the back of the set. 1 hi- is rarely noticed by directors until the artist eventually disappears through a convenient fireplace. When this happens, the director cuts awav to an Insert (see Insert).
Velocitator
A weird-looking gadget used for impressing visitors.
Wild-Camera
A state of exaltation peculiar to camera-crews, caused by being able to photograph without sound-men. Xtras
Vocation greatly sought alter by society people.
Yes-Men
Anyone who is not a director. Zenith
Height of success gained by Film Company having their film screened by " The Film Society."
Aug. -Sept., 193;
T HE CINE- T E C II N I ( 1 A X
95
Special Supplement
The Film in U.S. S.R.— 1937
The Report of A.C.T. Delegation to the U.S.S.R.,
May, 1937
The Association of Cine-Technicians were privileged to receive (through the Congress of Peace and Friendship with the U.S.S.R.) an invitation to send two delegates to the Soviet Union for the May Day, 1937, Celebrations. After due deliberation, the General Council selected two of its members, who would be free for the four weeks beginning April 29th, during which they were to be the guests of the All-Union Council of the Trade Unions of the U.S.S.R.
The Delegates were Thorold Dickinson, Vice-President, and Alan Lawson. Their report on their experiences and conclusions is appended herewith.
A.C.T. hopes that similar facilities will be forthcoming from other countries, in order to enable British technicians to keep in contact with the general growth and development of film production. It is hoped to cover in the near future surveys of the film industry in France, Italy, America, India and Germany.
D
96
T HE CI N E-TEC II NIC! A N
Aug.-Sept., [937
GENERAL SURVEY
A BRIEF survey of living conditions in the Soviet / \ Union is necessary foi the appreciation of the
A. _m. particular facts relating to the film industry which follow.
The U.S.S.R. is a vast territory covering nearly one- sixth of the earth's surface and inhabited by 176,000,000 people. The annual increase of population averages 3,000,000. In the whole territory there is no unemploy- ment in our sense of the term. There is work for all who art' capable and willing to work. Every industry and profession has room for all the new blood available, and therefore any worker who is at any time of his life dis- satisfied with his job, is encouraged to change it for another, just as soon as he is qualified to take up the new work of his choice.
.More than one-third of the workers of the Soviet Union are women, and they receive the same advantages and rates of pay as men. Medical research watches their interests, and the only work denied them is that which is too heavy for them or otherwise physically unsuitable. But even here exceptions are often made. There are women commanders in the Red Army and Air Force. In our own profession there is a marked proportion of camerawomen, as well as women directors, editors, writers, art directors and sound and laboratory workers. All women workers receive special assistance during the times of pregnancy, childbirth, and the up-bringing of their children, in order that their careers may be eased at these times but not renounced.
It must always be remembered that the Soviet Union has been, and will be for many years to come, passing through a state of emergency in more than one sense. The condition of workers and peasantry under the previous regime was in the main little better than bestial. Low wages, long hours, bad living conditions, heavy taxation bred dullness, hopelessness, inebriation and only rare articulate protest.
In 1912, 75",, of the population of the Russian Empire between the ages of 8 and SO were illiterate (percentage now reduced to 10), and the average earnings of the Russian worker were 20 rubles per month (£2 at the pre-war rate of exchange), instead of 320 rubles per month in 1937 (£13 at the present arbitrary rate), in addition to which countless benefits in rent, education, health, culture and sport are provided free or at nominal charges. Moreover, the in- adequacy of housing in Moscow and other big towns was infinitely worse before the revolution than now. The census of 1912 revealed that 20",, (300,000) of the population of the city of Moscow was accommodated in doss-houses, with an average of 10 persons to a room, while, regarding the sanitary arrangements, "a great many cases were noted where layers of excrement seven inches deep covered the floor of the latrine, rising higher than the seat." The census takers reported that after half-an-hour in these dwellings they developed nausea and became ill.
Of the past twenty years since the October revolution, five were spent iii driving out opponents of the new regime, five more in combating the consequent ravages of famine and disease, and in preparing the change-over from the easj -going agrarian policy oi the past to the new industrial policy. And ten have been spent in the two greatest or- ganised production drives in history. The third drive (01 five year plan) is being designed at this moment and aims to be even more productive than its predecessors,
based as it is on the existence oi Soviet-made equipment,
claiming to be a- good as any that formerly came from abroad. But it will only be after the third or even fourth ol these drives that living conditions will approach the level enjoyed by the average regularly employed workers of our own country.
Except in special cases, the working day is seven hours in industry. In farming it averages from nine to ten hours in summer and six in winter. Therefore, although a far greater proportion of the Russian family works and earns wages than the English, with the shorter working day family life and traditions are not destroyed, and they are not too tired to tackle the necessary house work. The domestic service problem is greater in Russia than in England for obvious reasons.
The State encourages to a striking degree the pursuil of culture, learning, sport and physical culture during leisure hours throughout the Soviet Union, with the result that every artistic, scientific and informative article put on the market is snapped up by eager buyers the moment it appears. Queues spring up for newspapers, theatre, opera and concert tickets, even for books and gramophone records. Shops are crowded throughout their opening hours (food shops in the suburbs are often open till mid- night and in some cases they never close at all) for the times of workers' shifts vary according to local conditions. 10,000 newspapers issue 35,000,000 copies of each issue and still fail to meet the demand. The highest daily circulation belongs to Pravda (Truth) which, we were told, sells 3,500,000 copies a day, which would give it the highest daily net sale in the world.
In all this territory there are no music halls ; there are 724 theatres and circuses (registering 72,0(10,000 attendam 1 - last year) and 28,300 cinemas (registering over 650,000,000 attendances in 1936) against the 1045 cinemas existing in 1917. It is obvious, therefore, that Lenin's belief in the importance of the film in the lives of the people is being justified in general practice, and the influence of the cinema as the outstanding form of popular dramatic art cannot be overestimated.
But the film industrv is one of the very few which have not fulfilled their allotted share of the second fi\ e- year plan.
FILM PRODUCTION
BEFORE THE REVOLUTION
In 1903 in Moscow the first film studio in Russia was opened, with one small stage about the size of the old silent studio at Teddington. Later, two studios were opened at Yalta, Crimean playground of the aristocracy, and in Kiev (1915) and Odessa (1916). But production did not prosper, and expansion was slow. One of the writers remembers seeing in a small cinema in Haml in 1923 (he had to pay more than a million marks for his seat) a pre-revolution Russian film entitled (as far as he can recall), "The Dancer of Peter The Great," a costume picture ol incredible banality. In story, technique, pic- torial sense and dramatic expression it was the worst film he had seen.
In a country where ballet ind opera were the diversions of the aristocracy and where progress even in these art forms was not tolerated (hence the voluntary exile of Diaghileff and his ballet company in their pursuit of innovation), the development of a new art form of essen- tially popular appeal could hardly be expected. Only one director, Bauei In name, produced sufficiently pro- gressive work for his influence to survive the revolution.
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AFTER THE REVOLUTION
More than two years were to elapse after the October revolution of 1917 before conditions in the country eased sufficiently to allow of the serious pursuit of cinematography, and production at first was confined to newsreel work of a spasmodic nature.
But in August, 1919, Lenin issued a decree, nationalising the entire photo and cinema trade and industry of the RSFSR, chief republic of the Union, under the control of the People's Commissariat of Education. This example was followed in later years in the other republics of the Soviet Union. In the Ukraine the industry was nationalised in the same year, and the two studios in Kiev were re- opened. In 1922, the foreign interventionists having departed, the two studios at Yalta and the one at Odessa were re-opened. Co-operation among the republics began with Lunacharsky, RSFSR Commissar of Education, writing scenarios for the Ukrainian Cinema Committee.
In the remoter parts of the Union the founding of the industry was delayed, for instance in Soviet Armenia until 1923, in White Russia until 1926, and among the Uzbeks, Tadjiks and Turcomans until the early 1930's. In one or two republics, production has not yet been established.
The manufacture of film stock was not begun until 1931 , and for several years after the revolution the country's resources did not allow of the import of any appreciable amount of foreign stock. So that necessity forced in- genious minds not only to use up all the short ends of negative and positive that were lying about in studios and laboratories, but also to construct their new films with a view to intercutting shots from old pre-revolutionary negatives with a minimum of newly-exposed negatives. In particular, Kuleshov, a pupil of the film director Bauer mentioned above and since the revolution a newsreel cameraman, was successful in proving by experiments of this kind that changing the order of shots in a film could, in effect, change the meaning intended to be conveyed by the shots themselves, especially when the new meaning could be clarified, both by the pruning of the existing shots and by the introduction of new shots designed to tit in among the old in particular selected places. Thus necessity speedily evolved a definite principle, after which progressive minds in western Europe and America were separately groping, handicapped by commercial conser- vatism and, paradoxically, by more abundant material resources. This principle, already being exploited in America by D. YV. Griffith and in England by George Pearson, was carried towards its logical conclusion in Russia by force of famine and finally achieved international fame (under the much-abused term of montage) at the hands of Eisenstein in story films and Vertov in actuality and documentary films. These latter found it particularly applicable in expressing the violent conflicts of the revolu- tion.
The stimulus of the new ideals inspired these and other directors, among whom Pudovkin, Dovzhenko, Kozintzev, Trauberg and Room may be mentioned, to create a series of masterpieces, unsurpassed in the history of the silent film.
At the beginning of 1925 only 14",, of films shown in the country were of Soviet origin, but during that year production leaped ahead and 70 story (or "art") films and 70 documentaries were completed, with the result that in January, 1926, the percentage had risen to 50.
THE SOUND FILM
Silent film production continues to this day, but re- search into the recording of sound on Him wis in progress in 1926 under the direction of Tager, the young inventor of the Tagephon Sound System (variable density). The first sound was recorded on this system in August, 1929, for a newsreel, and the first Tagephon sound pro- jector was in use at the end of the same year. .Meanwhile another inventor, Shorin, began working on variable area recording. Both systems were installed in the studios of Moscow and Leningrad in 1930, and in 1931 the first full- length sound films were completed. Of these the most successful were Yertov's emotional documentary En- thusiasm, known in Russia as The Symphony of the Donbas ;
P. G. TAGER, Inventor of the Tagephon (Variable Density), Sound System — Pioneer Re- cording System of the U.S.S.R.
Professor GOLDOVSKY, Director of the Scientific Research In- stitute of the Cine and Photo Industry, Moscow.
Kozintsev and Trauberg's silent film Alone, with full musical score composed and conducted by Shostakovich ; and, most celebrated of all, the first Russian talking picture The Road to Life, by Nikolai Ekk, a young director who had made only one film before. In the same year, 43 silent films were produced, and the first two Soviet film stock factories began operating, their output for the yeai being a little over 4,000,000 feet.
In the following year, 1932, the output of film stock rose to over 80,000,000 feet, and by the end of 1935 the annual figure was about 270,000,000 feet. The plan to pro- duce by 1938 an annual quantity of 1,000,000,000 feet of film stock will certainly not be fulfilled, but it is safe to say that by now the Soviet Union is able to produce suffi- cient stock for its own requirements.
In general, the quality has not vet reached the highesl standards achieved abroad, and the leading Soviet camera- men are allowed to use European and American stocks, when the subjects chosen demand delicate or exacting pictorial effects.
As soon as they had completed their silent picture commitments, the majority of the leading directors turned their attention to sound films. In 1932, Dovzhenko completed Ivan, a talking picture based on the building of the Unieproges power station. In 1933. Pudovkin com- pleted The Deserter, recently shown publicly in London. Then for the fifteenth anniversary of the founding of the
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Soviet film industry Alexandrov, former collaborator with Eisenstein, produced the first Soviet musical comedy, The Jolly Boys, known in England as Jazz Comedy, while Ptushko presented the first full-length puppet film in the world, The New Gulliver, in which boy actors played with a cist otherwise exclusively composed of puppets.
The success of both these innovations was entirely eclipsed by the reception of Chapayev, a talking film of normal technique, directed by the brothers Vassiliev. This film combined all the ideological demands of the Soviet state with a high standard of entertainment. Only one film has since approached Chapayev in popular success, and that is one without a seriotis purpose, Alexandrov's second musical comedy, The Circus, the demand for which has resulted in the record printing order of 600 copies.
PRODUCTION ROUTINE
The excess of demand over supply in the Soviet Union has led in most industries to the adoption of mass-production methods ; in a slaughter-house for example, the Chicago method is used, whereby each carcase is halved, not by one man, but by three, who stand on three platforms, one beside and below the level of the next, and as the carcase passes by, hanging from an overhead rail, the top man begins the job with his electric saw, the next man carries on at his convenient level, and the man at the lowest level completes the work.
In our film practice one may compare this method with the system of the camera crew of four technicians — one to light, one to operate, one to focus and one to load film, number shots and assist generally. In Russia a much slower tempo of film production prevails. Only two men serve each camera, of whom one lights and operates and the other does all the rest of the work. This is a far more satisfactory system, if time allows, as it does under normal Russian conditions.
In Russia the week consists of six days. Of each month the 6th, 12th, 18th, 24th and 30th days are rest days, and the five days before each rest day are working days of seven hours each. In film production, six hours are spent on the floor and half-an-hour is allowed before and after shooting for preparations and clearing up. Over- time is occasionally undertaken, but is discouraged by the arranging of easv schedules. Overtime rates are invariably double time for the first two hours and time-and-a-half after that. This in itself is discouraging to a producer working on an easy schedule and answerable to a govern- ment department for every kopeck he spends. Producers, directors and writers, moreover, are not entitled to any overtime allowance, the producer being given a premium if he completes a production within schedule, and the director and writer sharing one-and-a-half per cent, of the gross takings of the film. The record sum so shared between director and writer is one million rubles, which represents very roughly about £25, 000 worth of most of our values.
This same sum appears to be the average cost of a full-length film, although costume pictures and the need of large crowds raises this figure considerably. A recent film of the revolution, invoking a first-rate cast, several hundred troops and civilians, a large proportion of outdoor night scenes in a big exterior street set and a preponderance of fast action, cost 1 ,200, 000 rubles. The same film would have cos! in England every bit of £60,000 under a competenl producer.
It is all the more remarkable with these low production costs that the average number of shooting days for a full- length film is three times as great as that of a similar film in our own country. Normally from seventy to a hundred days are considered adequate. There is no scaling of films to Grade A, Grade 13, or "quickie" grades. Nor are there stars to be fitted with subjects, for that matter. Subjects are chosen with one eye on their cultural or political value, and once chosen they are written to the director's taste and budgeted accordingly. We found no record of a director making more than one film a year, and in the more important subjects time is a matter for small consideration. For instance, the brothers Vassiliev began their research work for the film C/iapaver earlv in 1932 ; after completing their researches thev spent six months on writing the scenario. They began shooting exteriors during the summer of 1933, made the interior scenes during the winter, returned to their exterior location during the following summer, edited the tilrn by the tu-i week in October and presented the film publiclv during the first week of November, 1934, more than two and a half years after receiving the assignment. And the result, to anyone familiar with the Russian language, was a good film — even exiles from the old regime have agreed to this.
The explanation of the low cost of production can only be found in an examination of the whole social system under which the state regulates all prices. Wages are low but competitive. If, then, they were inadequate, the essential merit which must exist in a successful film would be lacking owing to the discontent that would prevail among players and technicians. It is a romantic Bohemian fallacy to believe that bad living conditions permit the production of good creative work. They only hamper an artist or craftsman, who would be far more productive under better conditions.
Film finance in the rest of the world is a cross be- tween a science and a racket. To finance a film in England money is bought and sold, middlemen take a five per cent, commission for introducing "gold-prospectors" to "gold- mines," banks charge six per cent, for honouring post- dated bills ; cigars, expensive office equipment, lavish automobiles, costly advertising add to the overhead costs ; and film stars have to be persuaded by fat cheques to appear in pictures in order to persuade the jaded public to risk being fooled again.
In the U.S.S.R., stock exchanges and brokers and middlemen dealing in money have passed out of existence. There is only one bank in the Soviet Union. Every stick and stone in the country belongs in common to the people. And money is just a handy means of representing values from person to person. And so the cost of a film is what you see on the screen, not twenty or thirty per cent, more than what you see on the screen. Nor have the salaries been assessed on the understanding that evervone ha- taken as much as he could wring out of the budget (a) as a measure of his own importance to the film, and (b) as an insurance against the decrease of his own importance in subsequent films (if he ever gets any more chances)
The salaries have been assessed on the understanding that all power is in the hands of the people, that everyone has the right to education, to work, and to maintenance in sickness and in old age. Work is demanded from each according to his ability and is recompensed to each according to the work performed. All education, and full mainten- ance in sickness, convalescence, and old age, is supplied free to all. Human life is the mosl precious thing in the
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[and, and the risking of human life for personal gain or advancement, including crimes against the state, are the crimes most severely punished. Every child born in the Soviet Union has an equal chance of development and advancement ; it is up to the individual to take advantage of his chances.
With this assurance of opportunity and this lack of the continual uncertainties of employment that we know, the need for high salaries and the perpetual comparisons of wealth have disappeared. Skilled employment in a film studio brings a salary averaging from 500 to 1100 rubles a month. A leading lighting cameraman (or woman) would receive up to 1500 rubles a month. Leading players under contract, writers or directors, receive up to 2000 rubles per month. The idea of a cameraman receiving five times the salary of his assistant is alien to the system. It is interesting to note that a crack railway engine- driver receives 1250 rubles per month, based on the fact that while he is at work several hundred human lives are entirely in his charge. Wages of the production staff and of the controllers of studio finances run parallel with the other departments. An expert who deserves to receive a salary of over £5000 a year under a capitalist regime may receive up to 3000 rubles a month, but such a man is asked to contribute to the cost of the higher education of his children, that is to say, he is expected to pay them the stipend of some 300 rubles a month which the state nor- mally pays to all students who continue to study after matriculating. House rent also is assessed at 10'% of the income of the head of the family, nor can higher salaried workers receive better accommodation than their fellows. And super-tax is charged on higher incomes.
Thus it may be said that the system lias not only levelled up wages considerably, but also has levelled up their values to the payees. The possession of wealth can only come from exceptional creative ability, is heavily taxed (particularly on the death of the possessor) and can only purchase goods and the services of one domestic ser- vant for house work only. Financial speculation does not exist and shareholding only in the case of state loans, hence unearned incomes do not exist either. Money has lost the importance it has for us and is regarded as merely a con- venient representation of values within the country.
For this reason the above facts about the wage system in the Soviet film industry have an absolute significance in a study of the socialist system in its present state of evolu- tion in the Soviet Union. But these facts have no com- parative significance whatever in parallel relationship with the wage systems prevailing in other countries.
STUDIOS
Location of Studios
There are studios in ten cities in the Soviet Union for the production of "art" or "story" films, and this number includes two studios for the production of children's story films. Moscow has two, Kiev two, and Leningrad one, and the remainder are located at Odessa, Yalta, Tiflis, Erivan, Baku, Tashkent, Askabad and Stalinabad. A small group is in construction at Minsk. A large group of studios is now being built in the Caucasus and when this is completed all the more important Soviet films will be made there, the site having been chosen for its excellent weather conditions and varied scenery. The dubbing of foreign films will be carried out at this studio. We visited two film factories, the largest of all, the Moscow
Film Factory, known as Mosfilm, and Kiev. (All plai i of production, irrespective of industry, arc called "factories").
Mosfilm
On our arrival at Mosfilm we were met by the Nice- chairman ol the studios, Bobitsky, who greeted us in the name of the workers of Mosfilm, while the technical director, Moritz, who speaks English, showed us around the plant.
These studios are situated in a suburb of Moscow, aboul 15 minutes' bus ride from the centre of the city. There are extensive grounds for exteriors, large blocks of flats for the workers, and a large park for recreation. Built in 1927, in the modern German architectural style, the factory consists of five stages, their average size being 135 by 90 ft., but the largest being 175 by 100 ft. At the moment they are building five new sound stages which will include a special back projection stage.
The stages that we saw were not soundproofed in the method used by English or American studios. Damping is still achieved by the hanging of drapes from the roof, the walls being bare brickwork. Lighting equipment is variable, there being both "arc" and "inkie" lamps of modern and old design. Arcs — 40, 80, 100, 160 amps, spots and suns and overheads. Inkies — 500 watt (new type similar to American design), 100 watt single overhead units and also 6 and 8 light banks, 100 watt projectors (old type, same size as English 2/3 Kw projectors), 100 watt broads, 2 Kw spots and projectors (new type) and 5 Kw spots and pro- jectors. All panels and switch gear are on the roof gan- tries (English type of plugs and switching). The spot-rail system is of the old wooden shoulder type. Large floor tanks are built in the largest stage.
The buildings include a power house with an output of 00,000 kilowatts (breaking down 6,600 volts by trans- formers for A.C. and rectifiers for D.C.) ; a lamp repair and manufacture shop ; a machine shop for camera and sound repairs and the manufacture of sound cameras, etc. ; a carpenters' shop, etc. ; and separate laboratories for studio and release work with an adjacent central loading room for both sound and picture cameras.
Every department has its own rest room and there is a library for general use. There is a first-aid medical clinic, where minor operations, dental and optical treatment can be carried out. There are four restaurants and one special diet restaurant which, like the clinic, are supervised by the Factory Committee of the Trade Union. 2000 persons are employed here all the year round.
The studio publishes its own paper, six issues a month, which deals with trade union, organisational and technical matters.
Sound Crew and Equipment
The sound crew on a production consists of a mixer, sound camera-operator, boom operator and two sound technicians for maintenance and research. The Shorin sound system is used (variable area noiseless). Each stage has a unit enclosed in a booth (mixer and sound camera). The latest sound camera incorporates a new feature 3 speeds ; 16, 24 and 32 frames per second. Microphones are of the ribbon and condenser type (of Soviet make) The boom is of a new type (of Soviet make), all movements — tilt, pan and raise being gear-turned with a quick release for rapid movement. Re-recording is done in a special sound-proofed studio; the re-recorders in use j\r
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the two-channel type (five-channel machines arc being
made and will shortly be installed). No women are at present employed in the sound department.
Camera Crew and Equipment
On each production the crew consists of the cameraman, who both lights and operates, and an assistant. When more than one camera is used, extra staff are drafted on to the production at the rate of two persons per camera. At these studios there are 5 camera-women and 9 women assistants, who all have the same wages and conditions as the men. The staff composition of the trick department is the same as for the camera department.
The cameras are of American, French and Soviet origin. America : N. C. Mitchell in a baby blimp (recently im- ported) and numerous Bell ex Howells, which are used for trick, model and cartoon work. France : Super Parvos (not the very latest model) on chariots ; Debrie 400 ft. metal type, which are used for odd shots and model work. The Soviet-made cameras are being tested and brought up to date with the idea of supplying all future require- ments.
Dollies, Cranes
Dollies are of the underslung motor chassis type and of the three-wheel type (of Soviet make). One crane of Soviet make (of the type used in America) of welded
Power Drive for High Speed Stereo Camera (Moscow Institute)
High Speed Stereo Camera (Moscow Institute)
tubular steel with electric controls, 8-metre raise, mounted on a pneumatic dolly. Several small rail-run trucks for model and miniature work.
Process and Trick Equipment
A process similar to Dunning was being used for the new Ptushko fantasy film. Back-projection equipment,
American background projector (140 amps.), Soviet cellu- loid screen (the loss of light is 8% less than with ground glass screens). We asked if 140 amps, was sufficient, and were assured that it was. (At a later date we saw films which contained shots taken under these conditions and we are of the opinion that the results compare most favour- ably with any that we have seen from any country). Model table of high precision workmanship (Soviet made) for filling in backgrounds, roofs and skies, etc.
Cutting Room and Equipment
There are four viewing theatres which are under the control of the cutting rooms. About 12 different rooms for the various stages of positive editing are ranged on either side of a passage, the door to which is guarded bv a fireman throughout the working hours. The equipment is very varied in age and design. Moviolas and viewing machines similar to the Editola are used by the editors. Four-way synchronisers are installed, some by Maurice of Paris, and others of a like kind but of Soviet manufacture. Of recent years the position of editor has been introduced into the industry, and it is now considered a rarity for a Russian director physically to edit his own films.
Production Staff
Each production staff consists of one or two assistant directors, one production manager with one or two assistants. one special assistant who is responsible for the calling of artistes, assembly of costumes, etc., and one floor secretary for continuity.
Set Construction.
This does not materially differ in method from European practice. We -aw an elaborate exterior set of old Moscow, built on the exterior lot for the current production, Stenka Razin. It involved an artificial lake, representing part of the Moscow River, crossed by a bridge of the period.
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Building a Soviet Newsreel Camera.
The whole set was guarded by a watchman with rifle and fixed bayonet.
Unfortunately, when we toured round the studios all shooting on art films had finished for the day, but we gathered that shooting procedure was very similar to that of England and America. Last year Mosfilm produced 13 films, but they have planned to produce 35 annually as soon as their new studios are complete. Tins year one production will be in colour. They will also produce two colour shorts as well as a number of colour cartoons. Directors working there at the moment are Pudovkin, who is finishing and personally editing his second sound film, The Happiest, for the November Celebrations ; Preobrajenska, the woman director of Stenka Razin ; and Alexandrov, who has just begun a musical comedy based on the opening of the Moscow-Volga Canal.
Kiev (Ukraine)
These studios are controlled by the Ukrainian Film Trust and were built in 1928 with their own laboratories, workers' flats, etc. There are three stages, two of which are of the silent type with drapes as at Mosfilm ; the third has only recently been built and is properly sound proofed. 1000 persons are employed at tins "factory." They include 14 directors (1 of whom is a woman, and 26 cameramen (4 of whom are women). Similar equipment is used here to that at Mosfilm, and both Shorin and Tager sound systems are installed. The working conditions are similar to those in Moscow. These studios have an output of approximately 10 pictures per year ; all art films are made in two versions, i.e. in the Ukrainian language and in Russian. At present Dovzhenko is completing there his production of Shchorce in time for the November Cele- brations.
As in our own country, the Soviet film industry is as yet too small to be able to maintain players on a full-time contract or to train them exclusively for the cinema. All regular players, therefore, share their time between the stage and the screen, and the same competition for their services exists as with us, except that their salaries are regulated by ability and not by demand. Playing in studios by day and on the stage at night is discouraged (and often avoided by short-term contracts) but when it has to exist, the players draw full salaries for both occupa-
tions so thai they may supporl themselves the bettei at times when they arc not working.
NEWSREELS
1 he control oi newsreel (oi 1 I licle) and documentary
films is vested in the Newsreel (or Chronicle) Film Trust. This Trust has IS sectional depots throughout the U.S.S.R., each of which (except the Moscow Depot) is responsible
I ne newsreel issue per month. Moscow issues five such
reels per month (one per week) issues : —
1 Transport newsreel
1 Agriculture
1 Heavy Industry ,,
1 Art Theatre
1 Newsreel for Children up to 8 years per month.
1 ,, ,, from 8 17 years ,,
in addition to which it pei month.
As well as these various newsreels, the Moscow section are responsible annually for the making of 12 full-length documentary films devoted to historical subjects, and industrial and agricultural surveys. 100 short documen- tary films will also be produced by this section during the next twelve months. To cope with this work a special studio is bein?4 built, which will contain four stages and its own laboratories, to be ready by the end of this year.
Soviet-Made Camera (First Model)
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Newsreel Procedure
In the U.S.S.R. the newsreel cameramen enjoy nun h mure freedom than in England, and there seem to be no restrictions of any kind on their activities. When news cameramen cover meetings (either indoor or outdoor), if extra light is wanted generator lorries and arcs are supplied. At such meetings the cameraman is free to go on to the platform and set up his camera and lights to take close-ups whilst the speeches are being made. Thus intimate records of all important events are produced, the momen- ta! 'v inconveniences of their production being suffered by those present on behalf of their absent contemporaries and of posterity. Screen credit is given to cameramen for any items included in newsreels, the credit being printed at the bottom of the introductory title to the item. Most news items take the form of a story, the cameraman covering the subject being responsible for the arrangement, direction, shooting and instructions for cutting. Most subjects are covered bv silent cameras, the sound taking the form of commentary, and for this reason Eyemo cameras seem to be most generally used, a particular example being the excellent Spanish newsreel which is issued every fortnight in two reels, from material supplied by two Soviet news cameramen working with two Eyemos.
An interesting aspect of the editing of newsreels is demonstrated by the use of the material shot during the May Day processions in Moscow. On May 3rd the newsreel theatres and larger cinemas were showing a short reel of the processions, including a section of Voroshilov's speech to the troops. A few days later a fuller version of this subject was issued for release in more distant parts of the Soviet Union. Later a foreign version was issued without speech on the sound track and with titles in various foreign languages. Each of these versions used different material and varying proportions of material, chosen for its effect on the varying audiences for which it was intended.
Equipment
Combined sound and picture cameras, Debrie (400 ft. metal type) with the Tanar Sound System (American). Small vans are used, as this apparatus is light and portable, in contrast to the sound trucks known in England. As a large percentage of material is covered either by Eyemos or Debries, very little "actual" sound appears to be used. The new Soviet newscamera is beginning to make its appearance but only a few are available at the present time.
Crews
Sound units — one cameraman (or woman), one mixer and one general assistant. Otherwise there is either our man or woman per camera. In Moscow alone there are five newsreel camerawomen. (We were unable to get any figures lor the rest of the U.S.S.R.).
Salaries in newsreel work are very much the same as in studio work. We heard of one reliable cameraman who was sent away to a distant place to cover certain incidents and with carte blanche to get any other "stories" he found interesting. A month later he returned with a total oi 26 usable "stories." He was awarded 100 rubles premium per story, and as his regular salary was 1200 rubles per month, he received for his month's work 3800 rubles.
Laboratories
Tin' newsreels have their own special laboratories, as elsewhere. Debrie developing machines, Bell & Unwell
and Debrie printers are used, there being little or no difference from those of England. The service of these laboratories is, on the whole, not so quick as laboratory service in England.
Stock
Orthochromatic, Panchromatic and S.S. Pan are used, depending upon the subject to be covered. The great majority of the stock used by the newsreel trust is manu- factured in the Soviet Union.
GENERAL PROCESSING LABORATORIES
Every studio has a laboratory attached to it which is responsible for all the negative development, rushes and optical work, etc. There are separate labs, for release prints, these being called "copy factories." A seven-hour day is worked in all labs., and conditions are the same as in studios. Those doing the most arduous work get longer holidays.
As the rush service is seven hours, the methods of work- ing, the crews and machines, the solutions, etc., are similar to those in any good laboratory elsewhere. Debrie and Bell & Howell machines with sensitometric control, and now the new Soviet developing and printing machines, which are rapidly being produced, are used in all the "factories" and studio labs.
Experimental Emulsion Coating Machine (Moscow Institute)
Aug- -Sept., [937
THE CINE-TECHNICIAN
103
MANUFACTURE OF APPARATUS IN THE U.S.S.R.
The most backward part of the Soviet Film Industry is the manufacture of apparatus, a fact which is due to the lack of trained mechanics proficient in this work. Now that this shortage is being gradually reduced, local manu- facture is correspondingly increasing. Why do they not import more apparatus ? The Soviet government lias imported the minimum necessary to keep the industry supplied for the tune being. But their established policy is to make their country self-supporting both industrially and agriculturally, since they possess an abundance of raw materials, and they say they do not regret a temporary privation in view of the promise of the future.
Cinema Equipment
This is probably the worst side of the industry. The projectors are bad and the sound reproduction poor. There are a number of exceptions to this, but, generally speaking, there is a lot of headway to be made in this field. Where the projectors are of a very old type, the image dances on the screen, causing eye-strain in the spectator, and the sound is usually projected at far too high a level, making the loud-speakers blast and rattle. Whilst we were at the Research Institute in Moscow, we saw the new type of projector that is going into production, and this model is a robust and thoroughly workmanlike job.
Portable Apparatus for Exhibition
16 mm. and 35 mm. portable sound projectors of Soviet manufacture were seen and judged to be of adequate design and construction.
Studio Lamps
These are now being modernised ; more attention to light efficiency is necessary and the lamp-housing could be smaller with advantage. Spotrail systems require modernising, and either the hanging gantry type or the tubular metal system should be introduced, so as to give more floor space.
Camera and Associated Equipment
More attention has been paid to this side of the industry. All the apparatus, with a few minor exceptions, is well designed and made, the camera crane and model table at Mosfilm being notable examples.
Sound Equipment
The old apparatus has nearly all been replaced by new equipment of modern Soviet design. The workmanship is as good as the design, and the equipment is easy and efficient in operation.
FILM TECHNICAL RESEARCH WORK
In each city where there is a studio or film manufac- turing (raw stock) plant there is also a technical research institute. The combined institutes are responsible for the monthly publication of a film technical journal, which is not unlike the Journal of the S.M.P.E. A copy of this journal is available in the A.C.T. office.
The work of these institutes covers all the various branches of the film and photo industry. The chief
institute is NIKFI, the Scientific Research Institute oi the Film and Photo Industry, which occupies the premises in Moscow of the first film studio, opened in 1903. The two foremost Soviet sound experts, Shorin and Tager, ha\ e their experimental laboratories here. The director is Professoi E. M. Goldovsky, who very kindly showed us round and introduced us to the heads of the various departments. 400 persons are employed and they work under conditions
similar to those existing in the film "factories."
The
library houses 8000 technical books in various languages and supports regular subscriptions to technical journals of all countries.
Research Work in progress at Nikfi
(1) High-speed stereo-photography for examination of working machinery, etc. ; (2) the new studio and newsreel cameras ; (3) the new projector shortly to be installed in the cinemas ; (4) Back-projection machines (a new line to replace the American machines in use at present) ; (5) Sound recording, including cameras — Professor Tager showed us his experiments in connection with new stereo push-pull variable density sound track and with new types of recording light valves, hot cathode tubes, etc. ; (6) Tele- vision research under the direction of Professor Tager, e.g., cathode ray tubes, photo mosaics, etc.
Other experts are engaged on photographic research in X-ray and microphotography, and in work on all types of photographic emulsions for film and plates. This work is being done to bring the Soviet film stock into line with the consistency of American stocks. Some of the stock made here is very good ; we saw a film, The Return of Maxim, made partly on American and partly on Soviet stock, there being no apparent change in the pictorial quality of the film, the photography of which (by Moskvin) was particu- larly good. The negative stock used for newsreel work is not very consistent but positive stock is good. Colour work is being carried on in various methods, but at the moment there is no practical method in use for story films. We saw in the hand some trick and puppet films which have very good three-colour images, taken by the three- colour filter three-frame exposure method. But this method is obviously not practical for story films. Colour still-photography (three-colour) is good and the prints show no sign of fringing.
Portable Sound Projector, 35 m.m.
104
TH E CINE-TEC II N I < I AN
Aug.-Sept., 1937
The Higher State Institute of Cinematography announces that vacancies for pupils occur in the following Faculties during the Academic Year 1937-38 :—
Faculty of (Camera) Operative Application,
specialising in :
(1) Films of Artistic Type.
(2) Documentary Films.
(3) Technical and Educational Films.
(Five Year Course) All applicants must have obtained Matriculation or its equivalent. Knowledge of photography and drawing is expected, and the candidate should be acquainted with the film productions and applied art of the past few years.
Faculty of Scenario Writing
(Two and a half years' Course) All applicants must have had higher education in literature and art, or have acquired a knowledge of these subjects and have published an original work, or have written and produced a play or a film.
Faculty of Direction
(Two years' Course, comprising two years' academic work and a practical test in charge of a production). Applicants must have had a higher education in art, or the equivalent, and must have had an es- tablished status in production of either theatre or cinema for at least two years.
Faculty for Candidates for Academic posts in the following subjects : —
(1) History and Theory of Cinema.
(2) Cinema Direction.
(3) Kino-Dramatisation.
(4) Craftsmanship of Cinematographic
Operations. (Three years' Course, including writing of thesis). Applicants must have higher education in art, and not less than two years' specialised work corresponding to the selected subject.
Applicants for all Faculties may be from 17-35 years of age.
Applications received June 20-Aug. I. Entrance Examinations, August I. Courses begin September I.
All successful candidates are guaranteed mone- tary aid to pursue their studies, and hostels are provided for Provincial Students. (These do not guarantee accommodation for members of students' families").
All enquiries to be made to the Office of the Institute : —
44/2 Chaussee Leningrad,
MOSCOW.
Advertisement from Kino, May 22nd, 1937
TRAINING COURSES
In all the towns in which the more important studios are situated there is to be found some organisation for the training of film directors, writers and cameramen, and the above advertisement, taken from a Russian trade paper, clearly shows the importance attached to these crafts in the Soviet I'nion. The Institute in Moscow is the most ambitious of these organisations, and we were privileged to spend an hour there and learn something of its methods.
The building which houses the institute was in Tsarist times the most expensive restaurant in Moscow and a favourite haunt of Rasputin. After the revolution it was turned into a film studio, but the building of the Mosfilm plant made the present structure available for other pur- poses, and it was soon put to its present admirable use by transferring from smaller quarters the Film Technical School (founded in 1919) and expanding the school into an Institute with far greater scope for the thorough training of students.
At present there are 150 male and female camera students. There are 12 student-directors in their first year and 15 in their second year. Of the student-scenarists there are 18 in their first year and 14 in their second. Beside this, the students who recently finished Eisenstein's four-year course in film direction are now engaged in completing their theses before graduating.
We examined a few of the theses which have already been submitted by students of this course (one of whom, Mr. H. P. J. Marshall, an A.C.T. member, is the only foreigner to date who has studied in any of the Soviet Film Institutes) and we were greatlv impressed by the organised thoroughness, the wide range of study and the practical expertness which Eisenstein has obviously communicated to, and with which he has enthused, his pupils. It was a real pleasure to study these portfolios, each of which was made up, among other things, of : —
(1) a synopsis of the story chosen (there was no limit
to the choice of story).
(2) a study of the geographical, historical and social
background of the story.
(3) a scrap-book of newspaper cuttings, photographs,
sketches, etc., illustrating any aspect of the subject which has stimulated the student, i.e., sources of his designs and researches
(4) designs, conceived and if possible executed by the
student, of all the sets, costumes and make-up requirements.
(5) a shooting script, worked out to the smallest detail.
with alongside each shot a sketch indicating the camera set-up required.
(6) a plan of each set, marked in inks of different colours.
with the movements of each character involved and everv camera position and angle numbered.
Each portfolio reflected at once the influence of the master and the individuality of the pupil. Each was .1 practical demonstration of four years of fruitful study and .1 promise of a future standard of direction which, badlj needed as it is, should earn for its innovator the gratitude of the entire industry.
The camera students were studying political economy when we arrived. The range of their course includes practical instruction in drawing, painting, still photography (each i-^ supplied with the Soviet equivalent ol the Leica
Au^. -Sept., 1937
THE CINE-TECHNICIAN
105
camera and much of their work with these cameras is first- rate) and the whole of movie camera technique — emulsions, sensitometry, colour, lighting, processing, etc. The studio of the Institute is equipped professionally throughout, and instruction is given both by permanent members of the staff, and by the best of the practising cameramen as their assignments permit.
All the courses in the Institute involve practical work in normal film studios. For instance, Mosfilm are at
present giving practical experience to 35 students who have not yet qualified. (Some of the Eisenstein students did their practical work as assistants to Pudovkin on The Deserter). All students who qualify are immediately assigned to permanent jobs in an industry which can absorb all the new blood available. Kiev Studios are now employing 18 of last year's graduates from the Kiev Institute. Like all students who have matriculated from school, film students receive a monthly stipend (student- directors receive 350 rubles a month) and are guaranteed a room for living and sleeping in one of the blocks of students' apartments on the outskirts of the city.
DISTRIBUTION
Like all trading that is not co-operative, the film in- dustry and the film distributing trade are entirely in the hands of the state, the controlling body being the Ail-Union Soviet Film Direction, under the management of Boris Shumiatsky. The few foreign films which are imported for general exhibition pass through the same channels as the home product. The only foreign films which we found in circulation during our visit were Modern Times and The Invisible Man, the former titled, and the latter dubbed, into the necessary Russian languages.
The Film Section of the Central Committee on Art (also under Shumiatsky 's direction), which is closely associated with the government, regulates the planning of subjects as well as their subsequent execution. It has power over the choice of subjects, the right to examine and veto the development of subjects in production, and complete censorship control of the finished products. When the com- mittee has passed a film with the approval of the govern- ment, each film is given a private performance before the critics and heads and leading members (creative and technical) of the industry in Moscow, either in the Dom Kino (House of the Cinema) which is the central club of the film section of the Trade Union, or in one of the principal cinemas of the city. As the whole trend of production in Russia is cultural in the broadest sense, or one might term it entertainingly informative (the jam is there but the pill shows through the jam every time), the guests at such a performance include representatives of the particular enter- prise dealt with in the film.
We were present at such a "trade show" of the film The Return of Maxim (second of a trilogy of stories about an imaginary but typical revolutionary of Tsarist times), which has been directed by Kozintsev and Trauberg. In this case it was found that the period of the subject coincided with the foundation of Pravda, and the actual date of the film's release could coincide with the twenty-fifth anniver- sary of the founding of the paper. So the story was written around the early struggles to print and distribute the journal ; and the performance was attended bv the present editorial staff. The show took place at the new First Cinema, the latest and most attractive of Moscow Cinemas,
with about 1200 scats (wooden tip-up) all on one floor. The regular nine p.m. performance had been cancelled. When we arrived, the large vestibule and the dance hall (beside the auditorium) and the reading and smoking rooms on the floor above were all crowded with interesting personalities. The showing of the film was preceded by the ubiquitous newsreel of May Day, which provoked the usual reactions of favour for Stalin and his colleagues and the Spanish delegates, and disfavour tempered with amusement for the Japanese military attaches. Our comments on the film itself will be found elsewhere.
The number of new "art" (or story) films available for distribution increases annually, but at present is not far in excess of sixty, while the number of new full-length documentaries cannot exceed ten. Very few new silent films are being produced. These figures are far lower than those aimed at in the second five-year plan, whose period finishes at the end of 1937.
These films are all available both in Russian and in the language of their republic of origin. The distribution chiefs of each of the eleven republics of the Union view the films and decide how many copies of each they require for their territory and whether (if any film is in a language foreign to their territory) the demand will be great enough to justify dubbing. For it is the aim to make every enterprise self-supporting, and subsidies are only permitted after rigorous examination of the situation involved. It is interesting to note that of the gross receipts of film exhibition, the theatres keep 70"5%, the production concern gets 19% and the distribution concern receives 10*5%. In Great Britain the average percentage is very much the same, when the whole programme is taken into account. The record gross receipts from the exhibition of one film in the Soviet Union reached 66,000,000 rubles and amounted to an approximate return of 5000",, of its cost. This is very roughly the equivalent in our money of a film costing £30,000 and grossing £1,500,000, of which producer and distributor share £450,000.
EXHIBITION
By the end of 1937 (according to the second five-year plan) the number of permanent and travelling cinemas in the Soviet Union should be 70,000. But in fact it will be considerably less than half that number.
In 1917 there were 1095 cinemas in the Russian Empire, with a total of 364,000 seats. Until 1926, by which time the number of cinemas had increased to 3000, all projectors were of foreign make. In that year Soviet-made pro- jectors began to be installed and soon the import of these goods ceased. By July, 1934, there were 26,160 cinemas installed in town and country theatres, in clubs and in travelling cinema shows, with a seating capacity of 4,932,000 and an annual turnover of 529,000,000 rubles. In the attempt to cope with the preponderant farming and peasant population (three persons work in farming to every one who works in industry) the number of travelling cinemas exceeds that of permanent buildings by some 1500, but these possess only 30°, , of the total seating in the country.
By the end of 1936 the number of cinemas had only risen to 28,600 with an annual attendance 0! 650,000,000, or less than four attendances per head of population per year. To compare with the present annual attendance in Great Britain, the annual attendance in Russia must reach 3,650,000,000 or nearly six times as many as at present,
106
T II E C I N E- TEC H N I CI A N
Aug.-Sept., 1937
By the time this happens (there seems to be nothing in existence to prevent it) the price of seats will have (hopped from their present range of from one to four rubles to a few kopecks, and salaries throughout the country will have risen by two or three times. For otherwise the profits from this industry would be soaring to astronomical pro- portions, and the money (given similar growth in other industries) would be rotting with disuse.
The average seating capacity of permanent cinemas is 300 and of travelling cinemas 120. The latter cover con- siderable distances and do not give shows every day. The total number of cinemas equipped with sound projection is not available. However, deducing from statistics since 1932, when the manufacture of sound projectors began, one can estimate the existence to date of some 3000 stationary installations and about 5000 portable installations, playing to about 1,500,000 seats. All cinemas are of the utmost simplicity in design, bare of any kind of decoration.
First run release is simultaneous in all big towns throughout the country. In both Moscow and Leningrad there are half-a-dozen or more first-run houses. The single feature programme is universal, and in most cases only the feature is shown ; occasionally a newsreel is shown as well. In these cities performances in the more im- portant theatres are successive from noon to midnight, sometimes as many as nine or ten in that time, with a short interval between shows for clearing the auditorium. The new audience meanwhile is assembling in the vestibule, where the habit is growing of providing an entertainment by a jazz band for some 40 minutes before the next film performance. The newer cinemas have a special jazz hall for this "side show," as large as the cinema hall itself. These buildings also have a reading and smoking room with books, papers and magazines of all sorts, in charge of a librarian. On the walls of this reading-room are hung exhibitions of paintings and drawings. Chess and draughts tables are also provided, for these games are taught in school and are embedded in the national life. In addition, some of the bigger cinemas have a dance hall with buffets and bars in the basement, where on rest days and holidays they can spend further hours, all for the one admission price. These cinemas, in fact, supplement the trade union clubs in providing leisure occupation in the cities where congestion makes it irksome to spend many evenings at home.
The two newsreel cinemas in Moscow seat about 250
Procession Passing the Bolshoi Theatre, Moscow, May Day, 1937
people each and give a performance every half-hour from 1 1 a.m. till midnight ; 25 minutes of film and five minutes for change of audience. The prices are 50 kopecks, 75 kopecks and 1 ruble. We saw a programme which con- sisted of a full reel of May Day celebrations (with the same audience reactions as at the trade show) and 15 minutes of the 17th fortnightly issue of Spanish News, which was a grand job of film reporting, done by the two Russian cameramen working with Eyemos referred to above. Interiors, long and close, of hospitals and wrecked buildings, exteriors in action, close-ups of instruction plates printed in German inside captured armoured cars — all manner of tricky shots efficiently executed and made with a definite continuity in mind.
The sound in all the cinemas we visited was projected at far too high a volume. It seems to be a national habit and is very trying to the alien ear, besides tending to show up the deficiencies in recording and reproduction, which in the latter case are particularly plentiful. Picture projection, except in the crack cinemas, is equally faulty ; bad light, flicker, hotspots surrounded by tired browns, are continual. Often the loud-speaker stands below the screen and disembodies sound from sight. It is difficult to estimate which experience is the more trying ; to watch a good picture being ruined by bad projection or to sit through a dull and uninspired picture being rendered un- intelligible by the same treatment.
Just as the newsreel camera is glued to the public life of the people, so the projector porthole peeps down into every place of assembly — the lecture room of a tractor factory, the hall of a town clinic ; even the speech hall of the Lenin Museum gives two or three times daily a film showing the movie records of Lenin and his relation with the latest developments in the Soviet Union. The use of the film in educational and cultural and specialised technical demonstration is spreading as fast as the manu- facture of apparatus will permit. The film is the ever- developing link which ignores the barriers of language and binds the millions of Soviet citizens to stick to their chosen purpose and to keep their enthusiasm stoked high.
TRADE UNION
The trade union to which all members of the film industry are eligible for membership is called the Film and Photo Workers' Union and has its headquarters in the Palace of Labour in Moscow. There we met the Presidium (the annually-elected and paid organising committee) of the union, with whom we had a very informative, interview, after which they arranged for us to visit the various people and buildings in whom and in which we were particularly interested.
The union at the time of the last census (October 1936) had 03,200 members, comprising 88-8°0 of the members of the following industries, for all of which it caters collec- tively— the manufacture of apparatus and of positive and negative stock for still and motion photography ; the production and distribution of still and motion pictures ; and the exhibition of motion pictures. Membership of the film industry comprises everyone from the director of an organisation and the actors, creative and technical experts, to the cleaners, apprentices and allied workers in the canteens.
The Presidium consists of four members the President, Blyakhin, a writer by profession ; the General Secretary, Nashelskv, a trained trade union organiser; the General
Aug-. -Sept., I g^
T H E CINE- T E C H N I C I A N
107
Inspector, Solomonik, formerly on a studio production staff; and Otsep, a composer who represents the cultural activities of the union.
In direct contact with the Presidium, and like it elected yearly by the annual General Congress, works the Central Committee of 15 members unpaid, which meets at least every six months and which co-opts to its meetings a number of the most active members of the union. The officers and members of all trade union committees are elected by secret ballot. Half of the Central Committee is elected by the creative workers in the union to represent their views, and the other half is elected by and represents the technical workers in the union. Each "factory" has its own Factory Committee, headed by its own Presidium (of whom those members are paid whose duties occupy their full time, i.e. in the larger factories) organised in the same manner as the Central Committee and Presidium.
The statistics for 1936 show that the union in that year elected to carry out its general and local functions 2719 officials, 1999 collectors of subscriptions, 1510 inspectors and 4552 cultural organisers and instructors, all from the ranks of the union. The vast majority of these officers perform their duties in their spare time and are unpaid ; onlv those are paid whose union job occupies their entire working week. All are eligible for re-election at the end of their year of office, but this is equally open to the choice of the individual officer. The function of the inspector is to keep an active watch on the living and working con- ditions of the members in his own factory. The cultural officers organise lectures, demonstrations, and so on for any member voluntarily to attend in leisure periods. 23,10(3 in 1936 attended the following numbers of study groups which were organised in 70% of the factories :— 504 political, 348 military, 225 technical, 154 general educational, 46 dramatic, 34 foreign language. I hese groups are organised according to voluntary demand, and their numbers make an interesting comparison of the in- terests of a representative group of Russian workers whose jobs cover a wide range of mental and physical activity.
In the film studios the union has 12,000 members. Of the odd 11*2% of workers who are not members, the great majority are ineligible because they have not yet spent three months in the industry, after which period eligibility is automatic. But membership is entirely voluntary, and there is always a proportion of workers in every country who cannot recognise the advantages of joining a union, until they need the immediate material assistance that unity alone can provide.
The union is financed in the following manner. Each member pays 1% of his income as his subscription to the union. In addition, each factory pays to the central fund of the union a sum equivalent to 4'3% of the total sum paid out in wages, and also to the Factory Committee a sum equivalent to 3% of the total wage bill.
One of the principal objects of this central fund is to provide health services for its members, additional to those provided free by the state, these additions being designed as luxuries for the greater comfort of the workers. They include two sanatoria, three houses of rest (for convalescents and those suffering from overwork) and one mountain camp in the Caucasus. During 1936 the union dealt with 5500 adult, and 823 child, sanatorium cases.
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Technk al |
Central |
Cre, |
VTIVK |
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Section |
Commit! i i |
Sei 1 [ON |
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Technical |
FA( TORY |
Okka 1 1 vr; |
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( OMMITTEE |
SE( 'I ION |
Diagram illustrating the interrelation of committees of trade unions within the Soviet film industry.
The accompanying chart shows the method of contact between the factory and the central organisation. The creative section comprises in film production film directors, writers, cameramen, art directors, the recording section of the sound department, editors, and assistant directors. The rest of the studio staff, financial, administrative, technical, maintenance and general services comprise the technical section. In the event of a dispute between the two sections within a particular studio which cannot satisfactorily be settled within the factory committee, the two sections can separately refer their problems to the appropriate sections of the Central Committee, which can then if necessary meet as one committee and bring pressure to bear on the factory authorities in question.
This practice reveals a very interesting aspect of the Soviet system, the understanding of which explains many events in contemporary Russia, which seem obscure to the rest of the world. Many people wonder why trade unions exist at all in the Soviet Union ; they seem to regard the existence of a trade union as synonymous with opposition to the prevailing system of government, and therefore their presence in Soviet Russia seems to them superfluous. Actually trade unions exist to look after the detailed interests of the workers under any social system. Far from being superfluous under the Soviet svstem, they are par- ticularly powerful in being able to present to the organisers of industry (who are themselves members of the particular union in question) the collective views of their members in regard to hours and conditions of labour and safety, wages, pensions, living conditions, health and physical and mental culture during the leisure hours.
The trade unions, in fact, protect the individual interests of the workers ; they expose injustices, collective and individual, which the state organisers of industry have not
j 1
Palace of Labour, Moscow Headquartets of the Cine and Photo Workers' Union
108
TH E (" I N E-TECHN I C 1 A X
Aug.-Sept., 1937
foreseen. The system of cross-checking within the union, described above, is repeated in the encouragement of cross- checking between industry and trade union, and between each of these organisations and the appropriate government department above them. So that a worker can state any grievance he may have to his section of his Factory Com- mittee, the section can bring pressure to bear through the Factory Committee and at the same time through its section in the Central Committee of the union. Thence the case can be carried to the All-Union Council of Trade Unions of the U.S.S.R. But the same grievance will also be placed before the administration of the particular factory ; and if it cannot be dealt with there, the grievance can flow up- wards to the Commissariat of that industry, who will have to discuss it with the Trade Unions Council. If the grievance is held up at any point by antagonistic or in- competent reactions on the part of some official, the system of cross-checking will inevitably find out the point of "hold up" and cause an inquiry to be made, possibly leading to a law-case.
One has only to reconsider in the light of this any act of injustice that one has encountered in one's pro- fessional experience, to realise that if it had been in the undivided interests of everyone who was aware of the injustice to demand an inquiry into its causes, then a just outcome would have resulted which, however cruel it might have seemed to the superficial onlooker with a distorted version of the facts, would have cleared the way to a happier state of affairs in the future.
TWO INTERVIEWS
Among our encounters with various of the personalities of the film industry and trade union movement and besides those already mentioned, we had two of particular interest to ourselves, those with Pudovkin and Dovzhenko. Our chance meeting with Eisenstein was an unexpected pleasure, but by its chance nature could not be prolonged sufficiently to produce any points of general interest.
We met Pudovkin in a cutting room in the Mosfilm Studios, where he was editing a sequence of his second sound film, The Happiest. The moment of our meeting amused all of us, for Pudovkin was in the act of examining a strip of film which he had just had frame-cut for a speed effect. We chided him on indulging in the old tricks, and he apologised, saying that there was very little of this sort of thing in the new film which has turned out to be a study of character revealed in dialogue and simple camera work — "no good for foreign audiences." We asked him why he was using no viewing machine, and he replied : "I like machines sometimes, but I think my mind is better." Hearing about the long run of The Deserter in London, he showed surprise, regarding it as a poor effort. We re- torted that it was full of ideas worthy of study and that we had seen it several times. He acknowledged then that much time and experiment had gone to its making and that his new film was reaping the benefit. "But you know, what a title ! Every time I am unhappy, my comrades call me the happiest man alive." The Happiest is due for release in November to coincide with the twentieth anni- versary of the October revolution.
i (Mainly the most fortunately situated of Soviet directors is Dovzhenko, whom we met at the Kiev studios of the Ukrainian Film Trust. From him we learnt the following huts. When, during the celebration in 19;<4 of the fifteenth anniversary of the film industry, Stalin
handed Dovzhenko the Order of Lenin, Stalin suggested to him that he make as his next production the story of Shchorce, a young hero of the revolution who is known as the Chapayev of the Ukraine. Dovzhenko was very keen at the idea and discussed it with the Ukrainian authorities, with the result that he received carte blanche to execute the subject in his own way. He spent months on research work and in writing the voluminous scenario (which he compared to a thick Russian novel).
During this time the Film Trust built for him at the expense of the state a complete studio block to his own layout, he having expressed his dislike of the existing studios. Last winter he began shooting, for his script involves scenes in all seasons of the year, and he has had at his disposal thousands of troops from the Red Army and all the equipment he has asked for. The film is another of those intended for release next November, and when it is finished, he plans to begin another on a subject which he has already chosen — Taras Bulba, from the novel of sixteenth century Ukraine by Gogol. Two versions of this story have already been made by Russian emigres : a silent one by Ermoliev and a sound film by Alexis Granovsky, the English version of which has never been i eleased.
Dovzhenko, now in the prime of his early forties, is enjoying the fruits of a career studded with achievements like Earth, Arsenal, Ivan, and other deservedly successful pictures. Some of his remarks to us touched upon the basic problem of the Soviet film industry and call for particular notice. Referring to the persistent fallacv of likening his current production to Chapayev, he pointed out that Chapayev's character was far easier to portray than that of Shchorce. Chapayev was a simple, amusing, hearty fellow who enjoyed fighting for its own sake and was quite content to fight for the interventionists until he was persuaded that their cause was unjust. He was lovable because, though ignorant and unsubtle, he was transparently honest. Shchorce, on the other hand, was much younger, serious, well-educated and an enthusiastic revolutionary. At the age of twenty-four he was already a leader of the revolution in the Ukraine. Dovzhenko's main problem was to portray this character humanly so that no element of priggishness could mar the conception. Heroism in violent conflict is stirring, but in its quieter moments, unless its possessor is understood to the core, this quality becomes boring and makes characters into lay figures. One had the impression that Dovzhenko fully realised the basic difficulty of the task which the Soviet state has set its artists in requiring them to deviate neither to the right nor to the left in following the path towards the ideals of the state.
TENDENCIES AND CONCLUSIONS
We do not propose to review in detail the films which we saw during our visit. The film we as foreigners enjoved most was The Last Night, directed by Raisman, which told an exciting story of Moscow during the night before the first day of the October revolution. The scenario was well arranged, and the predominance of action over dialogue and the welcome presence of a thread of comedy made a minimum of linguistic interpretation necessary to gain our appreciation. The story deals with the events which link two families during that night. One is .1 working-class family, every member of which is well characterised and a< ted ; the members oi the other, a wealthy family of the
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professional class, lack characterisation and are stylised as lay figures typical of an effete ruling class.
Our experience of viewing foreign films claims to be wider than most, and we recognise an unfortunate tendency in the dramatic output of Soviet Russia to leave as laj figures, uncharacterised and hence unconvincing, the representatives of opposition to the prevailing order. The zeal to avoid arousing sympathy for opponents is under- standable. Similar results were evident in the film product, certainly on the Allied side and presumably on both sides, during the Great War. But while the immediate effect on audiences may be strong enough, the after-effects of the avoidance of characterisation in drama amounts to a steady weakening of influence due to the lack of conviction in the drama itself. We consider that The Last Night failed to achieve the first rank owing to this defect. In retrospect it rings false in places, where a bolder inter- pretation might have imbued the reactionary characters with some semblance of the misguided, but clearly motiva- table, mental and emotional processes which existed at the time. The present conventional interpretation avoids all controversial issues (a negative policy) and kills con- viction. A time will come when the more intelligent
Soviet audiences will not be satisfied with such flaws and will discriminate between drama and melodrama.
Meanwhile one already recognises a tendency, in cities where alternative entertainment is provided, to support the theatre in preference to the cinema. Naturally the better films (The Last Night and The Return of Maxim among them) are well supported, but we sat through a performance at 7.45 p.m. in the Udarnik, one of the larger cinemas of Moscow, at which not more than one hundred people were present. The film was The Girl from Kam- chatka and was definitely dull, the test being that our seats soon wearied us, and at the end of the performam e we thought at first that our watches must have stopped halfway through.
Now we were assured more than once by people oi high authority that no cheap pictures are made in the Soviet Union, that every subject is given the best possible treat- ment. They blame the lack of efficient scenarists (this was the reply of Shvernik, the very capable general secretary of the Soviet T.U.C.) which is retarding the creative output of the industry, just as the shortage of skilled technicians is retarding the production of apparatus and of films themselves. Rut we submit that the present policy of the
MOSFILM PROCESS PHOTOGRAPHY Top Left Studio Set
Bottom L.eft — Studio Set + Artificial Moon -f Process Painting
Kottom Right— Studio Set + Artificial Moon + Process Painting, and Back Projection of Clouds Top Right Studio Set and Actor + Artificial Moon + Process Painting, and Back Projection of Clouds
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Soviet state is bound to be antagonistic to t lie development nl the Soviet film industry, and we look forward to the time when the present vigilance can be relaxed in favour of a regulai exchange of ideas and product with the world outside,
To illustrate this point, let us take the example of two reels of the film Natalka Poltava, which we saw at the Kiev Studios. This is the screen version of the Ukrainian opera of the same name, and we recognised in its cast singers from the Kiev Opera. Recording was adequate, and the sound track was undoubtedly faithful to the subject. But the use of the camera was uninspired to the point of boredom. Those two reels seemed like four. It was evident that the film had been made in good faith by craftsmen who had had no contact with attempts at filming opera in the rest of the world. They had started from scratch in a race in which other countries had had four years' start. Only real necessity would seem to justify the sheer waste of time and money involved in embarking on such an enterprise without a first close study of European and American experiments in musical films.
To have studied one film, the Czecho-Slovakian screen version of Smetana's opera, The Bartered Bride, made at least five years ago, would have shown them how film movement can be applied to opera and monotony avoided. A reel of an original musical film, dealing with a group of young Pioneers, and also made in the Kiev studios, revealed a delightful sense of film values in relation to music. The trouble with the opera film was that while the Russians are strong in differentiating between the technique of stage and screen, they had not yet been jolted out of an undue reverence for opera and had avoided sufficient adaptation from the one medium to the other.
It is just this jolting, this constant international flow of ideas and expert personnel, which has made Hollywood pre-eminent in screen entertainment, superficial and in- sincere though Hollywood too often is. In England a blind worship of Hollywood's international achievements has at last resulted in a revolt, crystallised by The Era in the remark : "It is not enough to be foreign, one must have talent too." But England will never resent the presence of a reasonable proportion of foreign film experts — proven ex- perts— whose function is to act as irritants against insularity and unprogressive tactics. These, together with a steady inflow of the best foreign product, will enable British craftsmen to keep on the move, all the time abreast if not ahead, of the latest developments in a form of self-expression almost as new as, and certainly rivalling in potentialities, the Soviet system itself.
Hollywood (and to a smaller extent England) has learnt a great deal from the first-rate among the Russian silent films. It is safe to say that All Quiet on the Western Front was only made after a close and sympathetic study of the Soviet masterpieces. The air of reality, the judicious use of non-actors, the social consciousness of the Russian film has enormously encouraged the development of the leading phase of British film production, the documentary film, unconcerned as it is with the production and exhibition problems of the commercial story film. This influence lias been by no means political, and no more political need be tin' influence of the study of American and European production on the Soviet industry. Our documentaries equally rc.lcct the influence of Huropean and American "art" or story film production.
It is a sad though logical irony that the life-blood of the film the international exchange of ideas and experts is denied the Soviet film industry for the same reason for
which the limits of self-expression within the industrv are being kept narrow ; the reason bein^ the need for constant vigilance against the undeniable hostility of the outside world.
As long as this -tate of tension lasts, only films directly related to the struggle between the two systems — films of revolution and of the evolution of socialism — and films which are works of minds intuitively attuned to the ideals of the state itself, can circulate successfully in the Soviet Union. The others can only be prohibited because of their possession of negative qualities, or prove too dull (through their lack of positive qualities) to attract good audiences. And the mistakes in technique, which the rest of the world has mutually corrected with the swiftness of collaboration, must mostly be made again and corrected by separate experience in the Soviet Union.
It is our tribute to our hosts in the U.S.S.R. to record that as film craftsmen they are facing up to their handicaps, in their knowledge as citizens that the whole system is worthy of far greater handicaps than these, and that the potentialities of their industry in the Soviet Union are capable of unlimited expansion for the common good.
DIARY OF THE TOUR
Saturday, April 24 — At 1.30 p.m., sailed from Hays Wharf, London Bridge, on the M.V. Felix Dzerzhinsky, of the Sovtorgflot. Ship crowded. First passenger trip of the year between London and Leningrad. Spanish and Anglo-American Workers' delegations on board..
Sunday, April 25 — In the North Sea. Too rough to be comfortable.
Monday, April 26— Eight hour passage of the Kiel
Canal. Radio message received from Leningrad wel- coming the delegations.
Tuesday, Wednesday — In the Baltic.
Thursday, April 29 — Passed close to small icebergs. At 6 p.m. passed Kronstadt. At 8 p.m. reached the Intourist Wharf at Leningrad, where banners, brass bands, a few thousand trade unionists, newsreel cameras and arc-lights greeted the delegations. Speeches and customs for- malities delayed arrival at the October Hotel till 11 p.m. City vividly decorated for May-Day. After dinner, caught the Red Arrow Express for Moscow at 12.30 a.m.
Friday, April 30— Reached Moscow (370 miles) at 10.40 a.m. More bands, crowds, speeches and enthusiasm. Failed to evade a bouquet of flowers. Put up at the enormous half-built Hotel Moscow, one of the first con- structions in the new capital city that is arising in the midst of the old city (known to Russians as the "big village"). Toured the city. Attended trade union concert.
May-Day Standing on the stone tribune beside the Lenin Mausoleum in the Red Square we saw the lon^e-t procession of our lives. In direct contrast to the British coronation procession, where a few thousand troops and notables paraded past millions of citizens, in Moscow about a million and a half citizens paraded past a few thousand notables and visitors. At 10 a.m. speeches and massed bands. At 10.30 a.m. the military parade infantry. cyclists, cavalry, Cossacks, artillery, tanks augmented at noon b\" a flight of SOU airplanes, the majority travelling at more than 300 miles per hour. At 12.30 p.m. the workers began marching by, processions converging on the square from all parts of the city and passing through, six pro-
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Cessions deep. Finally, the athletes went by, the last of them after 5 p.m. All the evening loud speakers at every corner radiated ballet and dance music, illuminations decorated the gigantic photos of the leaders of the govern- ment displayed on the larger buildings ; free entertain- ments were continuous on temporary stages erected in the squares of the city ; and everywhere, the crowds drifted, bent on enjoyment of the holidays.
May 2 (Public Holiday)— Visited the Park of Culture and Rest. Spent the evening as guests at the Moscow House of Pioneers (organisation for children from the ages of 8 to 17). Astonishing and charming experience.
May 3 — Spent all the afternoon and evening as guests of the Moscow Red Army Club, another delightful ex- perience. Went over the buildings, examined the museum, discussed questions of mutual interest with our hosts, were handsomelv fed and entertained at an excellent amateur concert.
May 4 — Visit to a newsreel theatre and interview with the Presidium of the Film and Photo Workers' Union. Trade show of The Return of Maxim at the First Cinema.
May 5 — Visit to the Scientific Research Institute of the Film and Photo Industry. Evening at the Bolshoi Theatre : Glinka's opera, Ruslan and Ludmila.
May 6 (Rest Day) — Visit to the Moscow-Volga Canal. Evening at the Vakhtangov Theatre : the play Intervention.
May 7 — Visit to the Moscow Meat Combinat, the municipal slaughter-house and sausage factory. Evening at the House of Cinema (club of the trade union) with film show.
May 8 — Visited the Film Training Institute, the Lenin Museum, the Lenin Mausoleum and the Udarnik Cinema.
May 9 — Visit to the Mosfilm Studios. Evening at the State Circus.
May 10 — Visit to the Museum of Modern Western Art, richest collection of nineteenth century French paintings in the world. Evening at the Bolshoi Theatre : Chaykov- sky's ballet, The Sleeping Beaittv.
May 11 — Lunch to meet Kalinin, chairman of the central executive committee of the government (there is no president of the U.S.S.R.). Meeting continued for several hours. In the evening left by train for a tour of South Russia.
May 12 (Rest Day) — At Kiev, capital of the Ukrainian Soviet Socialist Republic. Visits to the House of Pioneers,
the old Monastery, the new Dynamo Stadium and Sporl Garden (in the hearl oi the city) and a performance of Verdi's Traviata at the Opera House.
May 13 — Kiev University, Film Studios and Botanical Gardens. Evening, left by train.
May 14 At Saporozhie on the River Dnieper. Visit to the State Experimental Farm.
May 15 — Visit to Dnieproges, largest hydro-electric
power station in the world, magnificently housed. Dam across the river. Visit to steel works and to new workers' city, including cinema and workers' club.
May 16— Travelled to Sevastopol in the Crimea.
May 17 — Visited museum and panorama. Visited
Chersonese, archaeological excavations of city founded by Greeks from Megara in 500 B.C., which nourished 1000 years and was destroyed by Turks and Tartars in 1475 A.D.
May 18 (Rest Day)- .Motored along mountainous coast road to Yalta, health resort of the Crimean coast. Visit to Livadia Sanatorium, former palace of the Tsar. Evening at Artek, camp of the Pioneers, further along the coast.
May 19 — Visit to Aloupka Sanatorium, former palace of Count Vorontzoff, employer of the poet Pushkin. Evening at the Massandra wine cellars, followed by tour of a sana- torium in Yalta, where the patients bombarded the dele- gation with questions.
May 20 — Visit to the Nikitsky Botanical Gardens. Travelled by motor from Yalta over the mountains to Simferopol, where we took train to Kharkov.
May 21 — At Kharkov, visited the tractor plant and a large poly-clinic.
May 22 — Travelled to Moscow.
May 23 — Meeting with Shvernik, general secretary of the All-Union Council of Trade Unions, who gave lucid and valuable answers to a variety of questions arising out of our experiences. Midnight, took train for Leningrad.
May 24 (Rest Day) — At Leningrad. Toured the city and visited Peterhof, summer entertainment palace and park of the Tsar. Evening, performance of Dzerzhinsky's Opera, And Quiet Flows The Don, at the Kirov Opera Theatre (formerly the Marinsky Theatre).
May 25 — Visited the Hermitage and Winter Palace Museums. 6 p.m., sailed for London in the M.V. Andre Zhdanov.
112
THE CINE-TECHNICIAN
Aug. -Sept., 1937
All in a Day's Work
By JOHN ("Bunny") HUTCHINS
The following Article is based on a fiafler read by Mr. Hutchins to the Hornsey Branch of the British Legion.
SUCCESS as a cinematographer demands a good sound knowledge of photography and the apparatus, a con- siderable amount of tact and diplomacy, power to adapt oneself to all manner of circumstances at short notice, a cool temperament in emergencies, a willingness to travel anywhere at any time, by land, sea or air, and, above all, one who never forgets that "it only happens once" — they won't run the Derby again for the photo- grapher's benefit. During my experiences over twenty- five years, I have travelled extensively in every corner of the United Kingdom. I was actually engaged on news work long before the War, and one of the earliest big events that I recall was the Coronation of King George Y. and Queen Mary in June, 1911. Even in those early days films of the Coronation were shown the same night as far away as Newcastle-on-Tyne and Paris, and there was no aerial transport then.
The outbreak of the Great War caused many changes in the film trade, as elsewhere. Several of my fellow- cameramen were lucky enough to be appointed as official cinematographers with the Forces. I was not so fortunate, and in true army fashion, being a photographer, I was put in the Army Service Corps as a driver in the Horse Transport, and knowing nothing whatever about horses or mules, they made me an instructor within five weeks of joining up !
After discharge from the army, I returned to Wardour Street, and one of my earliest assignments was to be sent to Paris during the Peace Conference, when I came into personal contact with many leading men in the world at that time, including Earl Balfour, President Wilson, M. Clemenceau and Mr. Lloyd George. The Victory March through Paris in July, 1919, provided a thrilling spectacle as I viewed and filmed it from the roof of the Hotel Astoria, overlooking the Arc de Triomphe. With the aid of a fast aeroplane, mine was the only film to be shown in the West End of London the same night. Nowadays such a thing is an everyday occurrence — but it was a scoop in 1919. I travelled frequently with Mr. Lloyd George, when he was Prime Minister, to France, Belgium, Italy and elsewhere.
Another interesting trip was to the funeral of the late Pope in Rome, about fifteen years ago. The ceremony was a failure from my point of view, everything taking place indoors. Therefore I had to concentrate on securing a film of the new Pope. I made a concentrated attack on all the Cardinals' palaces and hotels, in addition to watching in-coming trains. Cardinals came from all parts of the world for this election. It is gratifying to know that I got a good picture of the right man, and by this means my firm (Topical Budget) were able to publish it in London directly the result was known some weeks later.
In 1933 I was commissioned by Norman's Film Library to take a scenic film of French Morocco, and it was cer- tainly one of my most interesting foreign tours. A long train journey through France and Spain brought mc to Tangiers, from there I went inland for some weeks, visiting what must surely be some of the oldest cities in the world —
JOHN HUTCHINS.
Fez, Tetuan, Meknes and Rabat — a glorious country and a very mixed race of people — Moors, Arabs, Negroes, and, of course, French officials, and the much advertised Foreign Legion, who are certainly a very cosmopolitan crowd. I had one or two nasty scraps with the Moslems, who have a horror of photography, and I w.is threatened with all sorts of weird and wonderful deaths — but I'm still here !
Nobody has provided more material for the newsreel than the Royal Family, and it has been my privilege to be associated with practically all the big Royal functions of the past twenty-five years or more. I well remember the investiture of the Prince of Wales at Carnarvon Castle in 1911. Even in those remote days, competition was keen amongst the rival cinema firms, and one company (Gaumont-British) had a railway van specially fitted up as a dark-room and the films of this historic event were developed and printed en route to London and shown at the old Marble Arch Pavilion the same night.
I have been with the then Prince of Wales on visits to industrial centres, launching great ships, laying innumerable foundation stones, planting enough trees to make a good-
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sized park, Naval and Military Reviews galore, Boy Scout Rallies, etc. I have seen the Prince in miner's garb descend a coal-mine in South Wales, I have seen him in many uniforms, I have seen him ride at Hunt Meets and in Point-to-Point Races, and on one occasion I had the painful pleasure of seeing His Royal Highness thrown by his horse at a difficult fence — what he said on that occasion does not come within the purview of this article. Of course, there were many times when the Prince did not wish to be photographed, and a timely hint from his private detective was invariably respected by all.
I have also photographed the late King George V. and Queen Mary on innumerable occasions, but it was not always on State occasions that the best pictures were obtained. It was at the less informal ceremonies, such as visits to hospitals and factories. It often happened that the King or Queen broke away from their official guides and chatted with the poorest patient or the humblest workman, and it was for such incidents that I was always on the qui vive. For many years I followed the movements of the Royal couple, including their visits to Rome, Brussels and Ireland, and I was at Sandringham when King George's life came to a peaceful close.
Sport of all descriptions is another subject that figures largely in the make-up of a newsreel. Football, cricket, boxing, tennis, yacht racing and all other forms of sport have to be taken just in a day's work. I suppose racing and football are the two most popular items. I have seen every important horse race for many years past. Last year was the first time I had missed the Derby for about thirty consecutive years, through being away on a flying tour with the late Tom Campbell Black. I had one narrow escape at Epsom some years ago. I was instructed to get what we call a "ground shot." I found a spot just above Tattenham Corner and lay down full length with my hand-cranked camera on the ground just outside the rails. As the horses thundered by I felt something whizz past ray head. My assistant told me afterwards it was a horse's hoof. I took measurements and found the neatest hoofmark was exactly 18 inches from my camera ! My picture was O.K., but I have never repeated the experiment. Nowadays such shots are obtained by automatic cameras.
Of all the big races the Grand National Steeplechase is easily my favourite, especially as up till last year the exclusive filming rights were always granted to one firm, and naturally the other newsreels wouldn't stand for that, so they had to "pinch" it, and I was generally on the "pinching" side. All sorts of schemes and manoeuvres were resorted to by both sides to outwit each other, and disguises of all sorts were assumed. It was all good fun but perhaps a bit nerve-racking as the time of the race drew near, because it was only necessary to be put out of action for a few seconds as the horses passed your section for all your labours to be in vain. But I was never caught at Aintree and always got away with it. "Pinching" a Football Cup Final at Wembley is easy in comparison, because, if you get rumbled, your camera is merely kept under lock and key until the match is over. You con- sequently walk out of the ground looking very downhearted, proceed to an appointed place and pick up another camera and ticket, held in reserve for such an emergency, and in you go again ! I have also "covered" the Cup Final and Internationals officially. It's more comfortable, but not so thrilling !
1 have filmed at Ascot, Goodwood, Newmarket, Don- caster, Ally Pally and many other race-courses more times than I care to remember. Jumping meetings always make
good stories, provided you get plenty of falls on your film. Taking pictures on one of the big racing yachts is really good, if you can stand the sea. I have been aboard "Westward" at Cowes several times, also "The White Heather" and "Astra" at Southend and Harwich. I have attended many big fights and have been in the ring with many great champions — but only with my camera to secure "close-ups." Further, I can actually remember taking a picture of Oxford winning the Boat Race ! (This was written, of course, before this year's race). I have followed the race several times in the B.B.C. launch, but I certainly had a better view on the occasion when I followed the race in an aeroplane.
I went up with the celebrated 601 squadron on an "Air Raid over London." We started from Lympne, and after some marvellous manoeuvring in and above the clouds, during which we were attacked by little fighters, we suc- cessfully reached the centre of London at a height of 12,000 feet. As I was in an open bomber I was nearly frozen with the cold. I was up for four hours on that trip, but the pictures I secured were well worth it. The camera mostly used for aerial work is an all-British automatic camera made by Newman & Sinclair. I have made very many flying trips, both at home and abroad, and I have had only one little smash, whilst flying over the Ards Circuit Motor Car Race near Belfast. We came down in a small field, overshot the mark, and crashed into a hedge, on the other side of which an express train rushed by just as we hit the hedge. A broken propeller and a few other odds and ends put a finish to flying for that day.
I have photographed many aerial disasters, and perhaps the saddest sight of all was the wreck of that great airship, the R.101. I was called out of my bed early one Sunday morning, and within a few minutes I was on my way to Beauvais in France, by boat and train to Amiens, and then a dare-devil 50-mile drive in a racing car to the scene of the catastrophe. It took me a bare ten minutes to secure my pictures, and then about-turn and straight back to London.
Shipwrecks and railway disasters have figured largely in my experiences. Railway smashes are always awkward jobs to tackle, mainly because the railway officials do not want any pictures taken, and your editor does want pic- tures, but if you can tell a good tale and have a bit of luck you can generally get all that is wanted.
To cover all these events entails a tremendous amount of travelling, and I have arrived at my destination in all sorts and conditions of transport, from royal trains to hoppers' trains, luxury air liners to costers' barrows, from battleships to dinghys, but so long as you get there and get back, that is the main thing.
The arrival and departure of celebrities at Dover and Southampton have kept me busy many times. The return of victorious Generals and the boys who won the victory, Kings, Presidents, film stars and many others are all fish to our net. I remember the first visit of Mary Pickford and Douglas Fairbanks to this country. It was during Ascot week. I returned from the races one evening, and as I had been doing the Paddock, I was in morning dress, spats and silk hat complete. As soon as I came into the office, the editor yelled at me : "Five o'clock train. South- ampton, scoop story." And away 1 had to go. (I did manage to borrow a mackintosh and another hat !) Read- ing my instructions in the train, I found I had to get on board the Red Star liner "Lapland" in mid-channel and ^ci my stuff before the ship arrived at Southampton A Sketch and Standard press photographer went with me, [Continued on page 1 16)
Aug.-Sept., 1937 THE CINE-TECHNICIAN 115
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THE CINE-TECHXI C I A N
Auo. -Sept., i,,;7
Revision of Subscription Rates
Important revisions of subscription rates were made at the Annual Meeting. It has been felt for some time that many members, particularly those in the higher grades, would appreciate an opportuniy to pay their dues annually at a special rate. Therefore, in addition to a general reduction of subscription rates and simplification of the number of grades, a discount will be allowed to those members who desire to pay annually.
The revised rates are as follows : —
Subscriptions. Weekly Salary. Weekly. Annually.
£5 and under ' ..." 6d £1 1 (f
Over £5 and not exceeding £10 ... 1/- £2 2 0 Over £10 and not exceeding £15 ... 1/6 £3 3 0 Over £15 and not exceeding £20 ... 2/- £4 4 0 Over £20 2/6 £5 5 0
Entrance Fees, on the other hand, were increased, the view being that technicians who have not yet seen fit to join the Association will henceforth have to pay a larger Entrance Fee than if they had helped to build it up along with the earlier members.
The new Entrance Fees are : —
Weekly Salary. Entrance Fee.
£5 and under ... ... ... ... £0 5 0
Over £5 and not exceeding £10 ... ... 0 10 6
Over £10 and not exceeding £15 ... ... 1 1 0
Over £15 and not exceeding £20 ... ... 1 11 6
Over £20 2 2 0
All in a Day's Work (continued from page 114)
We went off in the pilot's cutter and after a very bumpy night at sea we eventually scrambled up the Jacob's ladder of the "Lapland." Then our troubles started. We had no authority to be on board ! We darted into a bathroom and locked ourselves in. Looking through a porthole, we could see the pilot's boat still alongside, and officers were heard scurrying about looking for us. At last the boat pushed off and the liner got under way again. Our cameras had been hoisted aboard with the pilot's luggage. Well, out we came — straight into the arms of an officer. "The old man wants you two on the bridge." We duly appeared before the captain, a real old salt, who proceeded to chew the English language into little bits. Mary Pickford's manager had arrived on the scene by this time, and between us we quietened the old mariner and pro- ceeded to do our stuff with "Mary and Doug." A plane was waiting at Southampton, and within half-an-hour of the ship's arrival, I was back in London with films and plates, still wearing my Ascot kit ! The film was on view, and the Evening Standard full of pictures was on sale, before the famous couple arrived at Waterloo.
I have been asked what is the most impressive sight I have ever photographed. Without doubt, "the total eclipse of the sun" at Giggleswick in Yorkshire. The grandeur of those awe-inspiring twenty-three seconds made an impression on me that I shall never forget as long as I live.
In conclusion, may I remind the younger generation that we pioneers did not have the advantage of your up-to-date apparatus. Our equipment was generally a wooden camera, two lenses, and a fixed tripod. The trail has been blazed. It's now up to you to carry on the good work !
A.C.T. Members' Broadcast
A.C.T. members are staking a permanent claim to Saturday evening broadcasting, firstly in "In Town To- Night" and now in "The A. B.C." Bernard Browne set the ball rolling when he brought Scruffy to the microphone ; Osmond Borrodaille followed with a talk on his location work in India on "Elephant Boy" ; and now comes Vice- President Kenneth Gordon fitting snugly into the letter X (for Newsreel) in the present B.B.C. alphabetical miscellanv presentation.
Kenneth seemed just as much in his element as on General Council nights, driving his points home in his own inimitable style. He spoke of the fun and frolic, daring and danger, which all contribute to a newsreel and Gazette cameraman's screen journalistic work. What fields will he conquer next ?
Members' First Directorial Effort
Ralph Bond and Miss R. I. Griersox, General Council members, have received fine press credits for their first joint directorial effort. "To-day We Live" is a 2000 feet docu- mentary presenting a vivid commentary on life in the dis- tressed areas. Sponsored by the National Council of Social Service the film deals with the work of that organisation to prevent utter despair and stagnation filling the hearts of the unemployed, making clear, however, that such occupa- tion does not provide the real work demanded by the un- fortunate inhabitants of Britain's distressed areas.
The direction has received general praise and To-dtiv's Cinema, for example, speaks of the imaginative direction. Paul Rotha was the producer for Strand Films, and every member of the unit was A.C.T.
Self-Binding Journal Cases
We have now purchased a supply of Journal Self-Binding Cases, which will enable readers to bind their Journals from issue to issue, thus obviating possible loss and mutilation through waiting till publication of the final number of a volume before binding. The binding case is made exactly thick enough to hold two volumes of The Cute-Technician. The principle employed is that of resilient cords around a firm centre-piece. It is only necessary to open a number of the Journal in the centre and slip it under the cords. which always remain taut and strong. The colour of cases is green, with The Cine-Technician neatly printed on the spine in gilt lettering.
The price is 3 6 each, postage extra, and cases may be inspected and purchased from the A..< I". Office, at 145 Wardour Street, W.l.
Aug". -Sept., 1937
THE CINE-TECHNICIAN
117
Agreement Signed between A.C.T. and N.A.T.E.
Film history was made on June 21st, when an inter-union agreement was concluded and signed between the National Association of Theatrical Employees and the Association of Cine-Technicians, following upon discussions and negotia- tions lasting several months.
Both organisations should benefit from the joint action and mutual support which will arise from the agreement. The negotiators on both sides have recognised that rivalry and competition must be detrimental to any organisations operating in the same industry. The members of both associations have the same industrial problems and by work- ing together employees in the film industry, whether techni- cians or artisans, can rest assured that the maximum effects will be obtained from industrial organisation. The agree- ment could not have come at a more opportune moment, in view of the pending formation of an Employers' Federa- tion.
TOM O'BRIEN, N.A.T.E. General Secretary.
It deals with and stipulates lines of demarcation in respect of the membership of both organisations in the film industry. It further provides for joint action and mutual support on matters of common interest. A Joint Con- sultative Committee and local committees throughout the studios are to be set up, such committees being authorised to consider and recommend such appropriate joint Trade Union action as may from time to time be deemed necessary. A joint financial fund is to be created in order to administer the agreement and any action arising therefrom.
The agreement covers employees engaged in all grades of film production, including studios, production companies, newsreel companies, cartoon, magazine, laboratories and television.
The signatories to the agreement were : — On behalf of the N.A.T.E.: R. Finnigan, General President; T. O'Brien, General Secretary ; James Atterson, General Treasurer ; and Joseph Rogers, Studio Organiser. On behalf of the A . C. T. : The Hon. Anthony Asquith, President; Kenneth Gordon and Sidney Cole, Vice-Presidents ; and George H. Elvin, General Secretary.
Veteran Trade Unionist Congratulates A.C.T.
The following letter has been received from Mr. Ben Tillett, veteran trade union leader, who has been a dominating force in helping to build up the British trade union movement to its present prestige and power. His congratulations to A.C.T., therefore, are particularly appreciated.
Mr. Tillett writes :—
My Dear George Elvin,
I have been away from London, but have I watching with much interest the progress your Association is making and the agreement you have just made with Tom O'Brien and the Theatrical Employees.
It is tremendously encouraging to me to find young men like yourself taking up the work of our movement with such ability and enthusiasm and achieving such practical and helpful results.
As an old trade union official, who has himself done a good deal of pioneering, I know how great are the difficulties facing you in striving to organise workers in what is almost a new industry. But I have every faith and confidence that concentration and patience on your part will bring that suc- cess for which you are striving.
Should at any time it be possible for me to help you in the work, I shall always be happy, but I do want you to know how encouraged I am at the progress your Association is making and that I hope sometime soon to see you along at the National Trade Union Club that we can celebrate it too !
With all good luck,
Yours very sincerely,
Ben Tillett.
WE SERVE THE INDUSTRY BY PROVIDING THE ONLY EXCLUSIVELY TECHNICAL FILM EMPLOYMENT AGENCY LICENCED ANNUALLY BY THE LONDON COUNTY COUNCIL
Accurate records of technicians available :
camera, sound, editing & cutting, art, stills, assistant directors, continuity girls, all grades of laboratory workers
From . . .
A.C.T. EMPLOYMENT BUREAU
145 Wardour Street, London, W.I
Phone : Gerrard 2366
118
THE CINE-TECHNICIAN
Aug.-Sept., 1937
B.B.C. Mobile Television Unit televising Coronation Procession.
Television
In our illustration you see the B.B.C. Mobile Television Camera, which has joined the ranks of newsreelers in recording topical events. Recently many successful out- side television broadcasts have been made, the Coronation Procession and Wimbledon Lawn Tennis being excellent examples, although slight interference was caused in the Wimbledon broadcast by medico-electrical apparatus working on the same short-wave frequency. By the way, this short-wave treatment is being used in a number of London hospitals for surgical treatment.
Now comes the Scophony apparatus, which can show a a television picture on a screen 12 ft. by 16 ft., being suitable for cinemas as well as home sets, which show a picture 22 inches by 24 inches. Scophony Electrics Ltd., under the managing directorship of Mr. Segall, have de- monstrated their ability to produce a picture with a wealth of detail hitherto unobtainable, long-shots and close-ups being perfect. Far worse pictures are being shown in the cinemas to-day- It is understood that the cinema industry is already interested, and Mr. Segall foresees television theatres as an integral part of modern entertainment, so at last tele- vision enters into direct competition with the newsreel.
Newsreel Cameramen s Adventures make Film Drama
Universal's "I Cover The War," the 70-minute feature just trade-shown, in America, tells the story of newsreel cameramen on war assignment. As the Publicity Depart- ment puts it: "Newsreel cameramen againsl desert warriors .... Hot news against hot bullets Film
NEWSREEL
scoop against bandit troops See how the boys who
make the newsreel risk their lives."
When this masterpiece is shown in Britain it should make a good evening's break for tired newsreelers. And no doubt make their ladv friends have a tremendous opinion of them. . . . Yor Heroes !
Gassing Negs. to increase Speed will Revolutionize Newsreel Processing.
Following a series of confirmatory tests carried out by Mr. P. C. Smethurst on behalf of the British Journal of Photography into the Agfa-Ausco dry hvpersensitisation process, newsreel negatives may be greatlv improved in quality in the coming winter. The process is very simple and positive in action, although a time-lag of twentv-four hours in processing is necessary.
x\fter exposing the negative in the camera in very poor lighting conditions, on its return to the laboratories it is placed in a chamber where it can be affected by mercury vapour at room temperature for twenty-four hours. When the negatives are developed an effective speed increase of approximately 100 per cent, will have resulted in the straight characteristic. Although the experiments were carried out with mercury some four years old, and no attempt had been made to make it gass freely, an "Ilford S.G. Pan Plate" and a "Rapid Process Pan Plate" were exposed and treated to this process of hypersensitisation and showed very interest- ing results. The "S.G." Pan was developed to a low gamma and the process plate to a much higher gamma. Each plate showed a slight increase of fog level, but on plotting the densities a speed increase of 100 per cent, was found in the plate developed to the low gamma and 40 per cent, increase in the "Process" plate developed to the higher gamma, showing that for the maximum speed increase negatives should be processed to a low gamma.
If this hypersensitisation process is taken up by newsreel laboratories, a great improvement in quality of negatives and saving of wastage through under-exposure should result, and there should be no worries about the keeping of speed in negative stock hypersensitised under present methods.
Big Lens and W.F.N.
Remarking on Pathe's 56-in. lens and the results obtained with it, what seems to us a very unfair statement is made in World Film News, making unfavourable comparisons be- tween the work of a cameraman filming the Coronation and the results of one who filmed the Derby. Owing to the weather conditions on the former occasion, the lens had to be used at full aperture, f.8, the mist and bad light made focussing very hard and the unsteadiness of the picture was caused by the movement of the stand owing to the number of photographers working on it. When the Derbv was taken, a very good light allowed the camera- man operating to stop down and so increase his depth of focus, which is very shallow in lenses of this great focus. The air was very clear and he was not rushed, as the Royal Party were present a considerable time in the Royal Box. The stand was steady, with plenty of room to work, and the cameraman had only one job to do.
1 can assure our readers a long focus lens shot is a cameraman's whole-time job. In newsreel results the con- ditions of working must first be considered by any critic of photographic quality. | ENAX ET ,\i n.\.\.
Aug. -Sept., 1937
THE CINE-TECHNICIAN
119
Technicians Review the Past and Discuss the Future
High Lights of A.C.T. Fourth Annual General Meeting
TECHNICIANS from thirty studios, production com- panies, newsreels and laboratories were present at A.C.T. 's Fourth Annual General Meeting, held at Anderton's Hotel, Fleet Street, on Sunday, May 30th. What impressed Mr. Joseph Rogers, fraternal delegate from the N.A.T.E., was the diversity of persons present, ranging from the humblest assistant to the top-grade technician. Directors, assistants, lighting cameramen, operatives and clapper boys ; editors ; art directors ; continuity girls and laboratory workers were meeting with common purpose to discuss common problems.
Ralph Bond was in the chair at the outset and in his opening remarks compared the comparative boom at the time of the previous year's Conference with the existing crisis in the British film industry. "Technicians," said Mr. Bond, "were in no way responsible for the mismanagement and incompetence to which the crisis was mainly attribut- able. The only lasting and beneficial way by which the present position can be overcome is by a thorough and proper reorganisation of the industry."
Presidential Address
Ivor Montagu, acting President, had, as usual, many shrewd comments to make. Unfortunately he was un- avoidably prevented from being present and a copy of his presidential address was read to delegates. "The last twelve months," said Mr. Montagu, "had been a testing period for both A.C.T. and the industry generally. The British film industry, on its production side, is undergoing a period of, let us say, hesitation, which although not within the control of technicians, none the less affects the livelihood of scores and hundreds of us. It is a matter not only of bread and butter, but for many their whole future. Film technicians have never been backward — and I do not think they are ever likely to be backward in an emergency— in readiness to face sacrifices in the way of wearing hours or other form of temporary tolerance in a genuine situation. But we are sternly resolved that the present position of the industry shall not be made a pretext to depress conditions, particularly among the lowest paid of our members, under excuse of an economy which is infinitesimal and leaves in every way untouched the abuses which are the cause of the present production plight. Film production is a process which depends, perhaps more than any other productive process, for its success on smoothness and elasticity between all those technically engaged in it, on the administrative and directing sides as well as on the teams they employ. No reforms of the industry, no endeavour to reconstruct British film pro- duction, can possibly be either stable or successful unless it encourages the interests of the technical employees. It is not sufficient that it should be based on their consent, it must be planned and devised with due regard to their interest and in consultation with their representatives. It is, therefore, our duty and intention to participate, as we have begun to do in the past year, in any enquiries and consulta- tions undertaken as a preliminary to new legislation."
Conditions of Employment
Mr. George H. Elvin reported that, notwithstanding the closing down of the Lime Grove Studios, the agreement with Gaumont-British was still in operation in respect of G.B. employees working at Iver. There had been general satisfaction with its working, both from the technicians and the Corporation.
The proposed formation of an Employers' Federation had delayed negotiation of further agreements, but the first joint meeting with employers (studios, newsreel and laboratory) had recently taken place and A.C.T. would press for further meetings in order to get agreements negotiated.
A resolution moved on behalf of the General Council dealt with the situation generally and specifically with the laboratories.
A.C.T. 's principal criticism was the varying conditions from company to company, and it was felt that reasonable standardisation would be to the general benefit of all con- cerned. It was particularly important that studio workers should support their laboratory colleagues, as they were in fact doing, and it was pointed out that, for example, an ace cameraman earning his comparatively high salary would not feel too comfortable if he knew that his precious negative, on which he had lavished so much time and thought, was at the mercy of a negative developer earning £3 per week, working a delicately-balanced solution made up with loving care by a fed-up-to-the-teeth 30/- a week youth.
Criticism was made of the recent developments which had led to certain studios asking for co-operation between the management and technicians to tide over a crisis, a re- quest which had appeared to mean merely taking salary cuts. It was felt that more real and lasting economies could have been made by studios calling conferences of their leading technicians and asking for co-operation in finding economies in working, instead of merely imposing salary cuts. The question of regularised agreements is of particular import- ance for those technicians working at studios used by rent- ing companies. Technicians' agreements had been working satisfactorily for some years in America, France and else where, and A.C.T. was determined to pursue the question of agreements with all studios and film producing companies.
Quota Act
Keen discussion took place upon a motion proposed by Sidney Cole, on behalf of the General Council, welcoming the report of Lord Moyne's Quota Act Committee. Mr. Cole pleaded for a cost test in place of the proposed viewing committee and urged the incorporation of a fair-wages clause in the financial stipulations of any future A< 1. Pen Tennyson opposed the cost test and spoke ol the complica- tions attached to costing, which, in his view, made such a proposal impossible. J. Collingburn and Kenneth Gordon hoped that further employment for foreign technicians
I'in
T III-; CINE- T ECHNI C I A X
Aug.-Sept., 1937
would not result from a raising of the quality of quota pictures. Mr. Cole, in reply, stated that if a new act is to ensure that quota pictures are good pictures, it should also ensure that it is British technicians who make them. He, therefore, hoped that any new Act should include a stipula- tion that not more than one foreign technician under permit should be employed on any picture qualifying for quota.
New Personnel
Back-door entry into the industry was criticised and one delegate aptly summed up certain young blood as "young persons whose only qualification to enter the industry is the ownership of a Bentley." Bryan Langley stressed the point that all cameramen should enter the industry through the labs. There was a general feeling that a control of the inflow into the industry was essential, and the announce- ment that certain educational authorities were considering proper training schemes was greeted with acclamation.
Inter-Union Agreements
Negotiation of inter-union agreements was welcomed by delegates and it was reported that such an Agreement was on the point of signature between A.C.T. and the N.A.T.E. (An Agreement has subsequently been signed, as reported elsewhere.) A decision had also been reached with the E.T.U. to appoint a sub-committee from each side to con- sider a working agreement between the two unions.
Mr. Joseph Rogers, Studio Organiser of the N.A.T.E., addressed the meeting as fraternal delegate from that union. He stressed the necessity for the proposed agreement with A.C.T., which should benefit both organisations, particu- larly in the negotiation of agreements with employers.
The New President
The Hon. Anthony Asquith was elected President for the ensuing year. In acknowledgment of a warm welcome by delegates, following his election, Mr. Asquith said that in so far as he had been anything at all in the film industry, he had always been a technician, and he deeply and sincerely appreciated the honour paid to him. "In an extremely short time," he said, "you and your Council, and not least your Secretary, have made A.C.T. into a real living force. It is up to us to make sure that it will continue in power and prosperity, and if during the coming year I can contribute in any way, however small, to that prosperity, I shall be extremely happy."
Other Officers
Other officers elected were : — Vice-Presidents : Sidney I ole, Thorold Dickinson, Kenneth Gordon and Ivor Mon- tagu. Treasurer: Stanley Hawes. Trustees: L. Cave- ( hmn and J. Neill-Brown. Hon. Auditors : Miss Toni Roe and A. J. \V. Nurton.
Tone of the Conference
I he Conference broke up at 8.30 p.m., after sitting for six hours. Full reports have appeared in the trade press and elsewhere. We need say little more except to comment on the line spirit displayed by members and to hope that it will be .111 inspiration to ensure continued progress during the forthcoming year.
General Council Off Duty
A pin table session till the early hours of the morning con- cluded the Second General Council Dinner, held at Antoine's Restaurant, cm May 29th. The depression was forgotten, in spite of Land's delightful menu caricature of a cameraman under the shade of three brass ball-. Mr. Reginald Soren- son, M.P. and friends of the trade press were the guests of the evening. Ronald Frankau was the only absent guest and his letter of apology almost made up for his absence. He told us that his whole life is spent now in trving to get out of doing any unpaid work, and refusing as much paid work as his debts allow. Which is the reverse of the fate of most General Council members.
An impression bv Land of the guests and some of the members present will be found on the opposite page.
Holidays With Pay
Mr. George H. Elvix, General Secretary, and Mr. L. Cave-Chinn gave evidence on behalf of the Association to the Government Committee enquiring into the question of holidays with pay. The evidence has received publicity in national, local and trade press. Briefly, our representatives outlined the present position in the film industry, and advocated a general holiday of two weeks with full pay, except in the case of the laboratories, where the holidaj' should be three weeks, as in France, owing to the unhealthy nature of the work.
THE CINE -TECHNICIAN
PUBLISHED Six Issues per annum (1st February, April, June, August, October, December).
Editoral Committee :
Sidney Cole. George H. Elvin, Kenneth Gordon.
Subscription Rate.
9d per copy ; lid post free. 5 6 per annum, post free.
Special A.C.T. Members Rates.
6d per copy ; 8d post free. 4/- per annum, post free.
Order through any A.C.T. Studio, Laboratory or Newsreel representative, any branch of W- H. Smith & Son, Ltd., or direct from the A.C.T., 145 Wardour Street, W.l.
Aug. -Sept., 1937
THE CINE-TECHNICIAN
121
1h£
. How. AnJTWoMV
op THtT 'pAikY' "H
1<kPiPlNiQ. F(?OM LZ-FT To
MR. K^kI. Gordon) «fr MR. C-M- Euv/'n/
/n2^
Impressions by Land at the Second Annual General Council Dinner.
122
THE CINE-TECHNICIAN
Aug.-Sept., 1937
Recent Publications
c <
That Reminds Me "
The Romance of the Movies, by Leslie Wood. Heinemann.
15/- _ This book is described on the cover as "a thoroughly well documented and illustrated account of the past, present and future of the film." It is unfortunate that the author and/or his publishers should have decided upon so pre- tentious a sub-title, because the illustrations are adequate without being extraordinary, and documentation, if that word is to retain any scientific meaning, completely absent. It would have been much better to have left the title quite simply as "Romance of the Movies." The accent then would have been on Romance, and the reader would have expected exactly what he gets — a slick, journalistic, anecdotal account of the film industry, making no pre- tensions to accuracy of detail or to establishing a strict chronological sequence of events. Because it is exas- perating in a book which apparently claims rivalry with Terry Ramsaye's "Million and One Nights" or Rotha's "The Film Till Now" that it should mention practically no dates, show at times a very superficial knowledge of the mechanical facts of the industry, and proceed generally by a method of "Oh, that reminds me that about five years before this . . . ."
Of course, Mr. Wood tells some amusing stories, such as that of the hall at Hackney which was too long for the projector throw and so had a transparent screen hung in the middle and seats placed on both sides of it. Admission to the front of the screen was Id, to behind it Id. The difficulty came with the inserts and captions ; those behind would shout out to know what they said, and those seated in front would chant as one : "Dear Agnes, meet me at the railroad depot at three — Jack" .... or whatever it was. It is amusing, too, to hear that the early Gaumont studio at Dulwich was once valued in the balance sheet at 1/-. Or the legend that, since operating-boxes were so tiny in the early cinemas, it was impossible to find any operators over five feet in height. But even with his stories Mr. Wood, I think, is inclined to be too trusting. He tells, for example, one of the oldest legends in the business — the one about the film that was accidentally projected with one reel missing, to the vast improvement of the story — and gives it a local habitation and a name, apparently unaware that there is probably not a studio in the world which has not had that story related of one of its pictures in one form or another.
In fact, the book gives the impression that Mr. Wood has listened not wisely but too well to both real and alleged "veterans" of the industry. From their conversation he has compiled a scrapbook which, in course of time, has become the present work. A little reading and a little applied research might have helped him to give a more accurate account of Eadweard Muybridge's experiments; to avoid giving the impression that he believes all the chief sound systems to be variable density ones ; to avoid a simple error like describing the rushes as "the day's work" instead of the previous day's work ; even perhaps to show an understanding that the work of the editor in his cutting room is rather more complicated than he describes here.
I applaud Mr. Wood's vindication of William Friese- Greene's claims as the film pioneer; and in general the attention he gives to the early days of the British industry,
a field that needed covering, and still needs a scientific historian. The book is fluently written and will be very readable to those not exasperated by the lack of dates and detail. But it is a pity that it has no bibliography, so that those seriously interested in the cinema might be led to read the really documented books about it.
Sidney Cole.
Pep and Purpose
Amateur Movies and How to Make Them, by Alex. Strasser. The Studio, Ltd. 7 6 net.
This book is outstanding for the excellent way in which it is illustrated. A profusion of first-rate photographs accompany almost every page of text. They are so admirably arranged in sequences and groups that it is possible for the professional or experienced sub-standard worker to "read" the book simply by following up the illustrations in proper order. For the amateur they serve to make the text doubly understandable. Sprinkled over the pages are amusing little diagrams, drawn by Henrv Rox.
There are several questions that, from the amateur's point of view, deserve more attention. For instance, lighting for colour film. For the past few years an in- creasing number of amateurs have been using colour stock ; and now that it is available on gauges smaller than 16 mm. an even greater number will be using it. A paragraph or two on the methods of lighting for colour work would have been valuable. Unfortunately the only advice that is given is the old idea of "front lighting whenever possible." Certainly for the inexperienced amateur this is the safest way, although the results, by relying predominantly on colour contrast, tend to become monotonously flat and astereoscopic. Mention might have been made of the recipes for attractive results by use of side, top and back lighting, in conjunction with front and side reflectors of various tints and hues, also of the use of colouring the light sources for certain effects.
But, on the whole, the treatment is comprehensive and well balanced. It is a lively little book, calculated to make the amateur's life more mistake-proof and designed to put more pep and purpose into his pastime.
Wm. Norman McLaren.
" Gentlemen and Players '
Footnotes to the Film, edited by Charles Davy. Lovat Dickson. 18 - net.
In the team of Gentlemen and Players who are collected together to write symposiums of this kind the Gentlemen this time have a considerable preponderance. Not that in any single case they are not expert in the subjects on which they are writing ; but there is a certain aloofness about much of their criticism, as from people with one foot in and the other foot safely out of the Slough of Despond — with which they are agreed in identifying our industry.
The book would have made brighter reading had the articles by such technicians as Hitchcock, Basil Wright, and Donat not come as d\\ oasis in the middle of the other more academic discussions. And how pleasant it would have been to have had one or two "rank and file" contribution- say, an article by a lad from Clydeside on what kind of films he
Am
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ept., 1937
THE CINE-TECHNICIAN
123
really wants to be "educated" to like alter all ; and certainly something by one of A.C.T.'s two hundred unemployed on whether he agrees with Mr. Korda in finding these crises so "salutary."
That being said, it is, however, an interesting collection of essays. There is not space to discuss them all ; but Elizabeth Bowen and Sidney Bernstein, writing on why people visit the cinema from the points of view of paying guest and host, were particularly clear and penetrating. Grierson and Cavalcanti present very readable histories of realism and comedy on the screen. Alexander Korda and Basil Dean write interestingly on the destiny of the British industry, while Maurice Kami modifies some of this in a challenging article from the point of view mainly of American capital. John Betjeman contributes a storm of not entirely merited and very unconstructive abuse.
The common theme running through every one of the articles is our lack of success in establishing a distinctive national film industry, and it is interesting to see that a number of the writers agree in diagnosing as the first cause lack of contact with reality. While the production, scenario and direction of our films is largely left to foreigners whose knowledge of our island is confined to Mayfair, Soho and the history books, and to Britons whose simpler beginnings have been forgotten in the present glory of their splendid motor cars and establishments, it is only to be expected that the films which they create will have little feeling for the lives of the mass of the people or appeal directly to their emotions. The solution does not lie in reducing these authors to 30/- a week or in our concentrating on grim films of basement life. But it is interesting to note that the men who are successfully overcoming this difficulty are showmen with years of experience in pleasing audiences in their own theatres, working with comedians whose acquaintance with the public has not been confined to the West End stage. None of the writers have remarked the tendency in the last few years to recruit all apprentices to the industry from the richer classes — a tendency likely even further to emphasise this lack of direct appeal to the mass of the people. There is a big job for A.C.T. seeing to it that any apprenticeship scheme shall offer full opportunities to every class of person to prove his ability.
It's good for us sometimes to read what the world outside the penny press thinks of us, and this is a distinguished set of articles. The stills are exceptionally fine and well printed. Few of us have 18/- to spare for books of this kind, but it's well worth taking down off the library shelf or borrowing from your wealthy friends.
Michael Gordon.
Icy Hell !
Icy Hell, by Will E. Hudson, A.S.C. Constable. 10/- net.
Will E. Hudson, A.S.C, newsreel cameraman, has written this book from his heart. It is not a technical treatise, but tells of adventures whilst filming in the Aleutian Islands, Eastern Siberia, and in the Arctic fringe of Alaska. It's just the work to encourage the budding cameramen to deeds of derring-do.
The author tells of his fight for life against rotten ice on mountain sides ; how he saved his camera by wrapping it up in his sweater and then rolling it down in its case to avoid a complete smash ; then hours of waiting for the ice to freeze solid so that he could obtain footholds to climb down ; meanwhile having a stiff job to keep warm. The descriptions of living conditions in this land of snow
are fine reading, and one wonders how human beings can exist after such a battle with the elements.
Invited to tea, Will Hudson saw his hostesses using deer skin and saliva to clean the cups ! The natives hang their skin suits outside their Irangas at night so thai the "live stock" will freeze to death. In the morning the clothes are shaken free and again ready to wear. There is a thrilling description of the motor schooner's battle with the ice flow, when thousands of tons pressure threatens to smash the "Polar Bear." There is ultimate victory, and the party finally crosses the Endicott Mountains on foot in a desperate attempt to reach Fort Yukon. The journey is made after fighting blizzards, ice and hunger, with the thermometer 60 degrees below zero, the author at the same time conducting an heroic struggle against septic toes on the 700-mile trek back to civilisation.
Permits are even necessary to film in the Arctic, so the author tells us ! Will E. Hudson has had 30 years' ex- perience of newsreel filming, which just shows how tough the old-timers are. His story is vividly illustrated with stills of the various phases of his journey. K. G
Hollvicood T/irough The Pack Door, by E. Nils Holstius. Geoffrey Bles. 10/6.
Having plodded diligently through the 400 pages of this book, I am still wondering (a) why it was written, and (h) why it was published. It is the sort of book that might conceivably be of interest to the author's personal friends, but that is no excuse for inflicting it on the public with a title that leads one to expect information about Hollywood of a somewhat more revealing kind than can be obtained every week in the fan magazines.
The author determined to break into Hollywood on his own merits, and commenced his efforts by disguising him- self as one Ed. Hamilton, a sailor. Two hundred pages later, he had hitch-hiked his way to the film city and eventu- ally assumed his real identity. For six months he tried to get work in studio scenario departments, offering to work for nothing until he had proved his ability. Executives kept him waiting on the mat for hours, broke appointments, promised to telephone and never did, until finally in despair he gave up the attempt and returned to England.
Although one can sympathize with the author's dis- appointments, and condemn a system calculated to break the heart of intelligent and creative people, any attraction the book might have had is ruined by the extreme tedious- ness of its writing and the endless tittle-tattle of meetings with friends and acquaintances. R. B.
The Complete Projectionist, by R. Howard Cricks, F.R.P.S., Kinematograph Publications Ltd. 5/- The new and revised edition of The Complete Projectionist, by R. Howard Cricks, F.R.P.S., is rather disappointing. Only three articles have been added to an interesting earlier edition — Television, A.C. Calculations and Colour Films. Even these, especially Television, are not long enough. Television, after all, is the coming thing, and we want to know more than the principles of it. It is also regretted that there is no reference to R.C.A. Equipment, Mr. Cricks writes on Western Electric, even the Amplifier Circuit, but many of the "boys" want an insight on R.C.A. ; after all, The Empire, Leicester Square, has gone from Western Electric to R.C.A. , and eleven studios use it. So please, Mr. Cricks, the next time you revise your book, make it really complete. It will then be greatly welcomed.
I . G. Bail.
124
THE C I N E - T E C H X I C I A N
Aug.-Sept., 1937
Panning Around the Globe
"Happy Hunting to all whom it may concern." Everything is now in full bloom (except the film industry that had its buds killed by a severe frost early in the year.) As I sit in my study writing this page, the birds are all singing their bewitching chants, a covey of raspberries have just passed over in full flight. Chase me, boys, I'm Queen of the Pigeons.
Haphazard Shots by Pog.
The new Magnates enter the industry : — Lord Tishu, the Paper man. Big Bilge, the Backer of Bunk Pictures. O. Receiver, new Studio Manager at (fill in
necessary Studio). \Y. Cuts, now one of the Chiefs in the Salary Dept.
Prosperity and Television are round the same corner too much of this hole-in-the-corner business.
A word to the sincere students of the Cinema — "There is an "L" of a difference between idea and ideal."
Motto.
In competition with the N.R.A. motto used in the United States, i.e., "We do our part," I offer the following :— "British and Bust." My trusted friend Pigswill has de- signed a Trade Mark that would be suitable for all and any Companies adopting my Motto.
Nuthing Brings Nuthing.
I have, of late, received several personal slights con- cerning this page, which I feel only shows how illiterate we all are. . . Only the other day someone (filius nullius) walked into the office and suggested that it would be a good idea if there was a funny page in the Journal .... which proves, surely, my point. Maybe this poor, misguided being thought that my page was an advert, for some odourless hair remover.
Pog does a Strip Tease to help the Fitness Campaign.
To be fit is a duty we all owe to the Executives of the Industry. Who would think of starting a Production with a nearly empty magazine ? So you too must see that your magazine is not empty. You oil your cameras — well then,
(^_
Pog's Strip Tease for fitness campaign.
oil yourself thoroughly too. At night, when shooting is finished, you can everything — then get canned yourself. And in the morning you start with a clean sheet (if the scenario man has finished the next page). So you see just how essential it is to remove the unfit from their offices and .... (Another Thrilling Instalment next issue, de- picting how we all get jam as well as British butter on our bread).
Poets Corner.
I found this tiny little fragile poem amongst a lot of old "Pea Tins," which would indicate that it came in all pro- bability from France : —
Early in the morning,
Down at the station,
See the little puff puffs
All in a row.
Guard blows a whistle,
Turns a little handle,
Chuff, chuff, chuff, chuff,
Off we go.
Pog Closes Before Time.
Thank God lor that little snack — some poor devil might lave made a meal of it. How much longer are you sap- going to stand this ... I'll be sueing you.
lug.-Sept., 1937
THE CINE-TECHNICIAN
125
Technical Abstracts
A High-Precision Sound-Film Recording Machine. H.
Pfannenstiehl, Bell Telephone Laboratories, Inc., New York, N.Y.
In this recording machine an improved type of sprocket drive mechanism is employed to propel film at a constant velocity past recording light-beam. In addition to film drive and control mechanisms, recorder is provided with several accessory devices to facilitate operation and thereby reduce cost of sound-film production.
These accessory drives consist of a slater, which photo- graphically records the "take" number of the record in the sound-track area ; an electromagnetically operated punch mechanism, which punches an identifying notch or hole in the film ; an electromagnetically operated shutter arranged to cut off recording light-beam at an extremely high speed so that a definite and sharp cut-off point is produced on the sound-track that may be used for synchronizing purposes ; and a switch mechanism to control automatically various operations of machine in their proper sequence.
Recorder may be equipped with any of the optical systems required for recording sound on single, double, or other types of sound-track. Associated with optical system is a photoelectric cell and amplifer unit by means of which direct monitoring of sound being recorded may be done.
All mechanisms and devices are enclosed within the housing of recorder and are accessible for operation. All manual controls are located upon a panel convenient to operator on front of base of recorder. Provision is also made for remote control of such devices as slater, punch, shutter, etc., as well as starting and stopping of machine.
This recorder may be used with either Bell & Howell or Mitchell film magazines. Machine was developed by Bell Telephone Laboratories in co-operation with Electrical Research Products, Inc., to meet current studio require- ments.
Objective Quantitative Determination of Graininess in
Photographic Emulsions. A. Goetz, Associate
Professor of Physics, California Institute of Tech- nology, Pasadena, Calif.
A graininess meter as an instrument for objective and quantitative determination of density fluctuations of photo- graphic emulsions is described. The instrument, specially designed for this purpose, produces a microphotometric record of a uniformly exposed surface in terms of relative transparency fluctuations (T/Tm) ; (Tm = mean trans- parency). Resolving power of optical system is larger than individual grain size, so that granularity as well as graininess is recorded. Unlike usual microphotometric records, re- cords are produced in such a way that they can directly undergo a process of partial integration in a photoelectric integrator designed for the purpose. Thus a record of distribution of transparency fluctuations is directly obtained. In addition, sum total of fluctuations can also be obtained. The former, however, is chosen to determine a measure of the graininess in form of a logarithmic average obtained by a simple graphical method which weighs size of fluctuations in approximation to subjective impression. Average of the transparency fluctuations relative to mean transparency of specimen thus obtained is used as expression for graininess.
The graininess meter has been applied to the following problems : — Graininess-density diagrams of various com- mercial negative and positive film materials; effect upon the emulsion by variation of mode of development ; quanti- tative measurement of increase of graininess in contact prints with respect to graininess qualities of negative materials from which print is made ; effect of optical nature of print- ing light upon graininess increase of the print.
A Device for Direct Reproduction from Variable-Density Sound Negatives. W. J. Albersheim, Electrical
Research Products, Inc., New York, N.Y.
Variable-density negatives exposed on the toe of the H & D curve have been known to be superior in brilliance and high-frequency response to average sound-print, although they show some harmonic distortion. Variable- density negatives recorded on the straight-line portion of the characteristic are highly distorted, but show a remark- ably low background noise level.
In order to eliminate negative distortion, playback- apparatus should produce same type of compensating dis- tortion that occurs in a straight-line print ; that is, output should be a negative power function of input. The exponent, called apparatus gamma, should be variable, to fit variations in negative gamma. Preferably, apparatus should be cap- able of reproducing prints as well as negatives. These purposes are achieved in negative playback unit, RA-222, by four distinct steps :
(1) An essentially linear input stage for reproduction of prints.
(2) An exponential feedback stage which converts the output of the first stage into a logarithmic form.
(3) A linear, variable-gain stage which reverses the polarity and provides gamma control.
(4) An exponential output stage which converts the logarithmic response into desired power function.
Possibility of reproducing straight-line variable-density negatives opens up following fields of use :
Quality of newsreels and other rush shows can be judged before printing.
Correct gamma of newsreel negatives can be estimated from the best setting of the reproducer gamma control.
Release negatives can be obtained by re-recording directly from original negatives, with saving of tunc, printing expense, and with improved quality.
To obtain highest quality of reproduction for spe< ial first-run showings, sound-track may be a negative directly re-recorded from original without intervening printing process.
All these uses have been successfully made of the negative playback unit. It is a self-contained, AT. operated apparatus, which can be adapted to existing t\ pes of film reproducers. By a single switching operation it can be set for reproduction of positive prints or of negatives. Calibrated control makes it adjustable to reproduction of variable-density negatives of a wide range of gamma. In addition, gain control and adjustable low frequency equali- zation have been provided.
Results arc being demonstrated by reproduction from typical variable-density noise reduction negatives to show increased clarity, volume range, and freedom from noise reduction background "hush-hush."
126
THE C I N E - T E C H X I C I A X
Aug.-Sept., 1937
A Combination Picture and Non-Slip Ultraviolet Automatic Printer. 0. B. Depue, Chicago, 111. (Demonstra- tion). (20 Min.)
This printer has the following features : — The picture- printing head gives a full-width picture, uses a standard aperture, and a sound aperture white light. The sound printing head is non-slip, uses ultraviolet light, has a rotary stabilizer, a generator supply for the light, and an automatic light-control board.
Both picture and sound-head driven by separate 3-phase motors to assure steady film motion. Motors are mechani- cally tied to assure synchronism in starting and stopping, and arc equipped with compensating device allowing the motor to slip instantly into phase with bucking.
S.M.P.E. Proceedings,
International Photographer, June, 1937.
New Sound Standards
The major studios' sound department heads met in Hollywood Monday with representatives of the sound equip- ment companies under the sponsorship of the Research Council of the Academy of Motion Picture Arts and Sciences to discuss proposed new standards for sound-track dimen- sions and the placement on the film.
With the increasing use of the push-pull method of recording and reproducing, the sound directors are utilizing the facilities of the Research Council to prepare standards in advance to which all new equipment may be manu- factured, and to make certain that all recordings made on any type of push-pull equipment may be reproduced on all other equipments.
Motion Picture Herald, May 22nd, 1937.
Microphone Technique Development
A new microphone, invented by Dr. von Braunmuhl, of Telefunken, is so constructed that it can be used at will either as a unit-directional or bi-directional microphone. It has two diaphragms, each of which records partly the excess pressure and partly the pressure of gradation or velocity of the sound-wave.
A microphone — or, as Dr. P. Hatschek descibes it in Filmtechnik, a sound barometer — having a single diaphragm enclosing an air cushion is susceptible only to variations in pressure ; an excess pressure will compress the dia- phragm, and a low pressure will permit of the air inside forcing it outward. It will be almost equally susceptible to sound from any direction.
On the other hand, a microphone constructed with two opposing diaphragms, as shown in Fig. 1, will be insuscept- ible to sounds in the direction shown by (a), but the two diaphragms will have an opposite response to sounds im- pinging directly upon either diaphragm.
* __
Y//////M r7^.7) Y///Y/A
V77Zm
7777ft {77777,
b c
Fig. 1
Diaphragm Construction
These two types of microphone are combined in the Telefunken design. Between the two diaphragms is a plug, through which are drilled holes, in one part of the plug right through, and in another part only half-way through. Obviously, those parts of the diaphragms opposite the holes which are drilled right through act in the same way as the diaphragms shown in Fig. 1, while the rest of each dia- phragm works as a pressure microphone. Therefore, such a microphone will react both to sound pressures and to sound pressure differences.
Direction of S ound
~ZZ2 C~Z
a b
_ Direction of Sou^d
— SO"
Fig- 2
Mike Response
Fig. 2 shows the response of the microphone to sounds reaching the diaphragms squarely (the plug between the diaphragms is omitted). The arrows in full line show the direction of the sound pressures, the dotted arrows the direction of the pressure difference.
A comparison of the two sketches shows that in both cases the pressure and the pressure difference are sum- marised on one diaphragm, and are in opposition on the other. If the sound originates on the left, then it is sum- marised on the left side, while if it comes from the right, it is cancelled out on the left diaphragm.
If only the left diaphragm is put in circuit, then the microphone will respond only to sounds from the left, giving a polar curve similar to Fig. 3.
Adaptable to Film Work
A microphone of this type is particularly useful for sound-film recording. It is possible, by means of a single microphone, to cover a fairly wide angle, and, for instance, to minimise the effects of a speaker or singer turning his head, and practically to cut out foreign sounds from the other part of the studio.
Parallel with the development of this directional micro- phone, other types of microphone are being developed which are practically non-directional.
Kinematograph Weekly, May 20th, 1937.
How Colour Was Made At The Last Coronation in 1911 by Kinemacolor, The First Colour Process.
The company was just in its infancy at that time, being two years of age, but had created considerable interesl because of the simplicity of the process and excellence of its colour values.
To those of our readers who are not particularly in- formed on the subject we may mention that Kinemacolor was an additive process. The camera was fitted with a revolving colour wheel, one-hall having a transparent orange-red filter, the other half a blue-green filter.
Aug. -Sept., 1937
THE CINE-TECHNICIAN
127
This filter was positioned behind the lens and in front of the negative in order that the light rays from the lens passed through the filters to the picture area. The camera was built to photograph at a speed double that of the regular black and white, which was then sixteen pictures a second. Thus Kinemacolor photographed at a speed of thirty-two pictures a second.
Through Alternating Filters
In photographing, the first picture area received an image through the red filter, the second through the blue filter and this continued throughout the negative roll. So it needed two actual pictures to complete the colour cycle, accounting for the camera being speeded to double normal.
After the negative was developed, a normal positive was made in the orthodox manner and the print contained no visible colour values, but latent values. The projector functioned in precisely the same manner as the camera. The speed was thirty-two pictures a second and it carried a revolving transparent colour filter wheel, positioned between the lamp house and film gate, and the positive was threaded through the projector with the picture carrying the red colour values opposite the red filter. Thus one really saw on the screen a succession of positive images through alternate red and green filters. Due to the per- sistence of vision the images coalesced in the mind, and the effect was a picture in natural colour.
Prints were exhibited in London on the evening of the day they were photographed, and this, mind you, was twenty-six years ago. Not much of an achievement, one might remark, when considering the dispatch with which prints are exhibited to-day, hundreds of miles from where events take place, within a few hours.
But let us consider the equipment available in those days. Negative was in 200 feet rolls. There was no panchromatic negative on the market and so Kinemacolor had to panchromatize its own stock. This was done on two-hundred foot pin frames. These were brass frames with a series of brass pins mounted in the frames. With the frame lying flat, the pins about an inch and a half in length projected upward from the frame.
The orthochromatic negative was threaded upon the pins, celluloid side against the brass pins, and then sub- mitted to the sensitizing operation. It was no simple matter to thread these pin frames, since they were operated manually and of course in a room illuminated by weak light. The frame was placed upon a stand in front of the operator, the stand being constructed upon an angle of about 45 degrees.
Much Care Needed.
The operator then took a roll of negative and first made a small loop at the outer end, fastening the loop with a pin. This loop was then placed upon the first pin at the centre of the frame and the negative threaded to the next pin and so on. When the frame was completely threaded the film resembled a multiplicity of squares starting small in the centre and gradually becoming larger as it reached the outside of the frame, which was about 2 feet 6 inches square.
Two important points needed watching carefully, how- ever. One was to avoid getting a "lap," which meant that the film was threaded twice on the same pin, and which would result in a lack of sensitizing of the "lapped" negative
at that point, and the second was to avoid allowing the emulsion side to touch the head of any brass pin.
The pins were but ^ inches apart, and one readily can understand the possibility of this happening. Should this occur the rub would develop as a black mark. Experienced operators could thread a 200 foot frame, without error, in about four minutes.
After the sensitizing operation the film was then trans- ferred to a large drum for drying. Developing of the nega- tive was accomplished in a like manner. There were no developing machines in those days. Also the developing quality was a matter of eye judgment, as this was long before the days of sensitometric control.
Editing Done by Negative
Since it was possible to preserve the sensitized negative for a period, a large amount was available for the ceremonies. Knowledge of just what was to be photographed on a certain day allowed titles to be made and held in readiness. Edit- ing was done by the negative itself. A projector, equipped with a Nertz lamp and felt-covered gate shoes, was used.
After the negative was whipped into shape, it was rushed to the printing room. There were no cinex or similar light- testing machines available. In fact, the printers were manually driven and the light changes manually operated. Thus in printing, the operator first inspected the roll of negative over a white light to acquaint himself with the general quality of each scene.
Then, after the printer was threaded, the operator printed by manuallv turning a large disk which operated the mechanism, the disk having a handle and using his right hand while with his left he operated the light control, which was a Tungsten lamp mounted on a sliding arm and could be brought toward the printing aperture or retarded by turning the control lever left or right.
As to the position of the lamp for the correct printing density, the printer determined that by the first picture of any scene which was visible at the printer aperture. It is remarkable, but nevertheless a fact, that a printer could make copy after copy with hardly any visible variation.
The printing finished, the prints were sent to the developing room, where again they were threaded on the two-hundred foot pin frames and were developed in ceramic tanks holding ten gallons of solution. After the films were dried, they were spliced together in full reels, splices being made by hand, as machines were not then on the market.
International Photographer, May, 1937.
Colour Patents Survey
Lenticular Film
In the lenticular field much progress has been made towards obtaining satisfactory copies, as well as in making more perfect the system of recording on lenticular film.
R.C.A. propose, in No. 454,163, reproducing a substrac- tive film upon a lenticular film by printing with the aid oi filter of the type ordinarily used in conjunction with len- ticular films.
An Opticolor patent, No. 454,357, refers to the fact that the edges of the image on a lenticular film show colour fringing ; a colour filter is described, divided into three strips each containing three colours functioning in conjunc- tion with an agreement of mirrors.
V2$
THE CINE-TECHNICIAN
Aug. -Sept., 1937
German specification, No. 632,695, proposes the produc- tion of a four-colour image on lenticular stock, by coating it with two emulsion layers, sensitive respectively to the long and short wave-lengths, and using a double filter. Advantages claimed are easier printing, a less loss of light in projection, and the possibility of using finer lenticulations.
In a method of printing lenticular films, described in No. 457,656, the elementary beams emanating from the original film are explored successively by a copying optical system of small aperture, and one film is moved so that the image will remain stationary. A modification of this principle is described in No. 458,418.
Subtractive Processes
Judging by patent specifications, subtractive processes are engaging the attention of research workers more than additive processes.
Dr. Bela Caspar points out in Nos. 458,256 and 458,304 that it is useless to sensitize a photographic emulsion for specific light rays if the layer is uniformly dyed by means of a dye-stuff which absorbs this light ; he proposes incorpora- ting a coarsely dispersed dye-stuff and after exposure, con- verting it to a finely distributed form.
Kodak give in No. 458,664 formulae for colour-forming developers, comprising an aromatic amina developing agent and a colour coupler consisting of an organic compound with a reactive methylene group. No. 458,665 relates to a similar developer and a colour coupler consisting of a hydroxy! diphenyl.
In U.S. patent No. 2,059,887 (assigned to Kodak) are described various methods for controlling the penetration of the colour baths in a multi-layer film, such methods in- cluding adding inert substances to the bath, the use of stop baths, and drying temperature, and hardness control.
No. 453, 674 refers to two disadvantages of existing methods of producing a dye image by the destruction of dye- stuffs in areas containing a silver image ; first, the necessity of printing from a positive, and secondly, that variations in thickness of the emulsion give rise to corresponding varia- tions in densitv of the dye image. A multi-layer system is described embodying a reversal process.
Agfa state in No. 454,788 that fine-grained emulsions, rich in silver, have a particularly high special sensitization ; the use of such emulsions without filters is proposed for a tripack film. No. 455,556 refers to the fact that dye con- tained in emulsions must be in a very finely dispersed condition, and proposes dispersing the dye in gelatine with the aid of a wetting agent.
Kinematograph Weekly, June 3rd, 1937.
Microphone Mixers. By M. Rettinger.
The article discusses the design of compensated micro- phone mixer circuits, in which the impedance matching is achieved by the inclusion of a series compensating impedance in the microphone circuit.
General equations are obtained for multi-channel mixers of both the parallel and series-parallel type. These equa- tions determine the values of the compensating impedance, the load impedance and the insertion loss in decibels in terms of the source impedance and the number of groups.
S.M.P.E. Journal, June, 1937.
Eastman Fine Grain Duplicating Films
The active co-operation of the Kodak Company with the Motion Picture Industry has been of major importance in the solution of many problems concerning motion picture
technique. Recently, considerable study has been given to the important problem of duplicating, culminating in the introduction of two new products, comprising a Fine Grain Duplicating Positive Film and a Panchromatic Fine Grain Duplicating Negative material, emulsions 1365 and 1203 respectively.
When properly handled, these two new duplicating films will produce a negative of excellent photographic quality, practically indistinguishible from that of the orig- inal negative, but the method of handling these prodin t- differs so considerably from that recommended when using Eastman Lavender Duplicating Positive and Eastman Duplicating Negative materials, that the following general description of these two new films, together with some in- structions on their use will, we hope, be helpful.
Emulsion 1365, the Fine Grain Duplicating Positive Film, is very much slower in speed than is Eastman Laven- der Duplicating Positive. It can be handled safelv under the Wratten Serie- < »A Safe-lights. Due to its extremely low speed, it is not possible to obtain sufficient exposure when printing on the normal printer light scale, and it becomes necessary to run the printer at a lower speed than is normally used. While the actual printing speed required depends upon the intensity of the light source and other factors, it may be helpful in estimating exposure require- ments if an example in actual practice is given. Under laboratory conditions it was found that using an average density negative in a contact printer running at 14 feet per minute and equipped with a 500-watt, 110-volt monoplane filament projection type lamp, located at a distance of ten inches from the printing gate, operated at 110 volts, a satisfactorily exposed negative was obtained.
It is recommended that exposure should be so adjusted as to give a minimum density of 0'60 to 065, so as to utilize the region of exact tone reproduction for the important tones of the picture.
The development process should be carried out in the Borax D.76 developer. Under normal conditions of machine development, the desirable gamma value of between 1*10 and 130 is obtained in four to five minutes at 65 deg. F. In this connection, when making sensitometric exposures on the Eastman type 2B. Sensitometer, using the 1365 type film, a more satisfactory curve is obtained if a double exposure is given.
The Fine Grain Duplicating Negative 1203 is a pan- chromatic negative and must be handled under Wratten Series III indirect room lights. If greater illumination than this is required, a sheet of tissue paper may be substituted for the regular weight white paper in this safelight filter. While 1203 film is slower than the normal Eastman Dupli- cating Negative, it is not slower to the same extent as is the Fine Grain Duplicating Positive compared with Lavender Duplicating Positive, and little trouble should be experienced in printing this film. The 1203 film has a higher rate of development than the normal Duplicating Negative material and under normal conditions of machine development, using a D.76 type of developer at 65 deg. F., a gamma value of between 060 and 0*70 will be obtained in between four and five minutes. When making sensitometric strips on this film, the positive set-up of the Type 2B. Sensitometer should be used.
Both these new materials are now being used extensively in motion picture laboratories in Hollywood and New York and remarkable results are being obtained. Technical Service, Motion Picture Film Dept., Kodak 1 til
THE CINE-TECHNICIAN
The Journal of The Association of Cine-Technicians
Editorial and Publishing Office : 145 WARDOUR STREET, LONDON, W.1. Telephone : GERRARD 2366. Advertisement Office : 5 and 6 RED LION SQUARE, LONDON, W.C.1. Telephone: HOLBORN 4972
Volume Three : Number Twelve.
OCTOBER-NOVEMBER, 1937.
Price Ninepence.
Carol Reed
TALKS TO US
BUT he wouldn't talk about himself. I'd hoped he would give me an inside story — what it's like to make your first film, how it feels to be a promising young director. But a director, he feels, goes on learning and it's a long time before he ought to begin laying down rules for other people. And even then what's true for him in film-making may be all wrong to the other fellow.
In fact, the director of "Midshipman Easy," "Laburnum Grove," "Talk of the Devil" and "Who's Your Lady Friend" is no performer on the trumpet. Which, if he doesn't realise it already, is why technicians like working for him.
The projectors were running in the Ealing re-recording theatre. On the screen a cabby was singing to his horse. I felt my way into a seat and watched Frances Day, Romney Brent, Betty Stockfeld and Margaret Lockwood, who recalled "Midshipman Easy" and reminded Carol Reed of his first re-recording session. There was a last-minute hurry to ship copies abroad and once we started (I was the editor) we went on till the job was finished. It took eighteen hours. For Carol Reed it must have been torture. Not physically, but sitting there for hours while soundmen and editor did incredible things to his first-born. Things, as they always will, going wrong — an unsatisfactory effect! an error in sychronization, a failure in a soundhead. Till he must have despaired of ever seeing his film whole and healthy again. And thanked heaven, like the rest of us, for whisky.
Like too many films themselves, the end was anti- climax. The studio discovered it didn't need the film in such a hurry after all.
Lunch. "Talk of the Devil" — so we did. It was made from his own story, which he had started to invent during the final editing stages of "Midshipman Easy." I remem- bered his enthusiasm for it and the way he tested it out around the unit. The finished film was very faithful to that first conception. We talked about how the job was done of post synchronizing to Ricardo Cortez's lip- movements the voices of the other characters he was supposed to be imitating. The Cortez scenes were pro- jected for the actors, while another machine projected the words they were to speak in a moving band across the bottom of the screen. Emphasized words were in capitals. The movement was so synchronized that the actors' cue
CAROL REED (Photograph by courtesy of A.B.F.D.).
to speak each word was its reaching the right-hand edge of the frame. The whole job — post-synchronizing and subsequent cutting of sound-tracks — was done in France. "Interesting," I said, "but what about Carol Rood ? This was rhetorical. / knew about Carol Reed — his vigour in direction, his predilection for straightforward
(Continued on page 130)
130 THE CI N E - T E C H N I C I A X Oct.-Nov., i « ,-■
Cyril Stanborough, F.R.P.S.,
zAsks "Are Stills Worth While?"
SIXCE entering the Film Industry at the end of the War, I have seen, like everyone else in the business, innumerable changes on the "floor," but from the still-cameraman's viewpoint I venture to suggest that with the exception of two or three studios in this country little or no change has taken place. He is still obliged, in most cases, to carry on under extremely inadequate working conditions and, instead of being regarded as the repre- sentative of a most important branch of a production unit, is more often than not, welcomed with as much popularity as a "pain-in-the-neck" and an individual generally responsible for " holding up the director's schedule" — a schedule sometimes drawn up by an over zealous or shall we say somewhat optimistic assistant- director ?
Xo one in their right senses and with any knowledge of the movie-business could possibly suggest that stills were unimportant and therefore unworthy of discussion, lor do not good stills, decently presented, do much to sell a picture, giving as they should, a pretty fair idea of the film from every conceivable angle ? Are they not a means also of attracting the picture-going public in or sending them away to another theatre if they are uninteresting and badly presented ? These two facts alone cannot for one moment be denied. Then of course we have the press angle, and we must therefore assume that stills are, nfter all, rather necessary to a production and the success it strives to achieve.
I further suggest that stills in most British studios
are not generally given the time and the care they demand. One even now occassionally hears that time-worn "wise- crack"— if one can call it such — "Oh, it's only a still," meaning of course that the unfortunate bloke responsible for that particular drop of work is obliged, more often than not, to carry out his job under dire conditions, and in many cases in one-millionth part of the time a favoured director from t'other side is allowed to weigh the pros, and cons, of a simple shot or decide whether the leading-man should not, after all, grow a beard for the shot everyone is waiting to shoot !
A still-cameraman is always expected to "jump in" and, of course, "make it snappy." In a matter of one, two or three minutes he is expected, in the case we will say of a "model" shot — necessitating careful matching of set to model — to attempt to photograph something which the cameraman has probably been allowed a few hours or perhaps the entire morning in which to line up, irres- pective of time taken on the necessary lighting. If the still in question is a success few admit it, but if, on the other hand, the result is "not so hot"— thanks to the all- round panic in which the still has been shot — then he is even more unpopular than ever (if that is possible).
In spite of the many years I've been at the game I am completely at a loss to understand why one of the principal means of publicising a production to the press, exhibitor and public is seldom given that commercial scope and importance to which it is unquestionably entitled. As it is there ate times when still-cameramen literally have to
Carol Reed Talks To Us {continued from page 129)
narrative, his lack of superiority that comes from working alongside the men he now commands — five years' hard as assistant director at A.T.P. And his theatre years as stage-manager, his American tour with "On the Spot," his acting jobs in, among others, "Henry VIII" (Shakes- peare, not Korda).
About that production — Thorndike's at the old Empire — he had a good story to tell. "I was playing in one scene with Cardinal Wolsey. I had a long and complicated speech — you know, thirty lines with inversions and no full-stops — which wasn't to be looked forward to on the first night, especially since I had the stage-direction to look after too. However, I made my entrance and got through it all right. But to my horror Wolsey dropped his cue. Luckily for himself he was a real old trouper and rose to the occasion. Looking at me sternly, he said : — ■
"Say once again, what is it you would tell me of," and I had to go through the whole speech again !
But I hoped for that inside story.
"What about your Hollywood trip ? " I said, hoping perhaps for some reflex reactions to that maligned magical blasted and boosted name.
'Well, I was only there for ten days," he said dis- armingly. "So impressions are just — impressions. And I didn't go with any idea of drawing comparisons, odorous or otherwise. I had a month to spare between pictures and had always wanted to get a glimpse of how they did things there, so I went. I'd 've liked to stay longer, but
I had to be back to make 'Who's Your Lady Friend.' I saw most of the big studios — M.G.M., Fox, R.K.O., War- ners' and Paramount. What impressed me was the scale of their industry, which enables them to specialise depart- ments in a way which our necessarily smaller studios can't. Back-projection, for example. Director tells them what sort of plates he wants and the action he's going to play in front of them. The specialists shoot the plates, then shoot tests of them with doubles going through the fore- ground action. On the scheduled day, director walks on the floor and directs his action."
"There seemed to be plenty of enthusiasm and lots of competition for jobs. And their preparation seemed to be very thorough. By and large, studio operation is much the same as it is here. And, I don't know, perhaps the future holds even more for us."
"And what about your own future ?
"In September I start 'Bank Holiday'* for Gains- borough, at Islington, with John Lodge and Margaret Lockwood starring. And then in Xovember I ^<> back to A.T.P. to direct 'The Sporting Peer,' with Edmund Gwenn, for them."
"And after that ? "
"Pictures," said Carol Reed, "and more pictures, I hope. I like making them. And it's grand fun going on learning about my job."
Sidney ( ole.
* This goes into production as we go to press.
Oct. -No v., 1937
THE CINE-TECHNICIAN
131
beg to be allowed to perform the job for which they draw their salary because the director is "behind schedule," the leading-man has a dinner date, the leading-lady has a headache, and for many other similar reasons ! I contend that a man capable of securing first-class results in a very short space of time must necessarily be a specialist in his art and should be treated as such, and given every facility and support within reason in order that results should be a credit to producer and production alike.
Mentioning earlier the subject of salary reminds me that there are still-cameramen — real specialists in their job — whose weekly envelopes contain little more than labourers' wages. Is it not high-time that minimum salaries were fixed for all technicians ? By technicians I mean, of course, trained men who are capable of efficiently executing their job and not inexperienced friends of in- fluential members of a production company who "some- how" manage to get in, endeavour to cope with a job for
two or three studios in this country who really do appreciate the value of good stills and are therefore giving their men every support on the floor to say nothing of well-equipped processing rooms and portrait studios. But generally speaking there is much room for improvement in this respect, and the conditions under which some of my col- leagues are seriously expected to turn out good-class work is just a joke — if one is blessed with a large sense of humour ! We often read about the "disgraceful quality of British stills." Those who frequently sling this sort of mud do not know enough about the subject to explain why the quality is not all that could be desired. I have often heard people who should know better complain about the photographic quality of a film presented at a Trade Show when all the while the fault lay with those at the labs who made the print and those who thought it "good enough" to pass. But these critics in particular could not believe this and had to blame the man responsible for lighting !
CHARACTER (STUDIES BY CYRIL STANBOROUGH, F.R.P.S. (Twickenham Film Studios Productions.)
which they are often hopelessly unsuited, and play the heavy over their experienced though less fortunate col- leagues who have got there by sheer hard work.
There appears to be a growing tendency for one still- cameraman to cover two productions. Apart from the fact that another colleague is dry-docked, I cannot see how any man can possibly do lull justice to the still and portrait work of two productions running concurrently and with the two stages nicely separated/ even if he is favoured with the services of a first-class assistant who helps in the processing. I assume that this practice is one of economy. I quite appreciate of course that the man who is "asked" to do this has no alternative but to do as he is instructed or fade out. I assume again that with such a company a few good stills gained or lost is just a minor point and which does not matter to the production !
As I have already suggested there are, praise the saints,
Before condemning the quality of British stills, those whose inkpots are full to overflowing should first of all take the trouble to inspect studios where stills are taken and processed under anything but ideal conditions — con- ditions which would make some enthusiastic amateurs unhappy. Were they so to do, good ink might be saved and many conscientious still-camenimen'> ieclings spared.
I admit that some of these people, knowing nix about photography but bravely criticising the work of the still- cameraman, have sometimes a chance for their complaints by reason of the disgusting cheap-and-nasty prints turned out like anaemic sausages by the thousand by so-called "Commercial Printers," to whom the still-man's negs. pass upon the completion of production. The results one generally sees displayed outside the average cinema are by no means commercial, but they are there because Mr. Renter considers 2/9 per dozen 10x8 prints quite enough (Continued on page 132)
132
THE CINE-TECHNK I A N
( )( t.-Nov., 1937
British Talent Stifled?
[This article is reprinted by kind permission of World Film News, who prefaced it in their September issue with this note :—"This is an anonymous article. The author is a British Film man, working in a British Studio. Such arc the existing conditions, that his reasoned plea on behalf of the British Technician must be published unsigned.")
ACCORDING to an editorial in the July number of W.F.N., two policies exist in British film production to-day : to make films for the world (including the American) market, or to make films for the British market. It is true that, financing apart, a product of the first policy is easier to make than a product of the second policy. If a producer has a footing in the American market, he can spend more money on his production. He can afford to import ready-made stars and expert technicians, whose recent work he has seen and applauded. When he has tired of them he can ship them back home and import some more. He gets prestige and tremendous publicity from his ability to employ famous and successful people. And he can honestly explain to his backers that they can- not expect to make money at first ; the industry is new ; until he came along its scope was negligible ; he is one of the few who are introducing British product to the screens of the world ; but soon they (the backers) will begin to reap the benefits of their far-sighted policy. In the end he and they talk themselves into the belief that it is always more economical to spend in excess of £50,000 than any smaller sum.
But what sort of industry does this policy build up ? Will it in ten years' time still be importing distinguished foreigners ? Will it occasionally deign to lift from less ambitious British circles the local talent which these circles have laboriously selected and cultivated ? Surely this policy is that of trying to run before you can walk ? Is not this the policy which has directly caused the present slump ?
Let us examine the second policy : production for the
local market. Here it is risky to spend more than /30,000 on a picture. The producer is at once on his mettle. An English visa, a swell flat, and oodles of charm will cut no ice in this market. The producer must know his job to the full. And he must have experience of local conditions and of local talent among players and technicians. He can afford only one lesser star and one featured plaver. In fact his brain must be as reliable as his bank balance.
Under neither policy i- it worth anyone's while to pro- mote one single production, for no producer can guarantee a satisfactory financial return on one film. The only sane way to go about it is to raise a sum of money scaled to a continuous production policy on the understanding that losses may be sustained in the first year at least : that the next batch of product will break even ; and that
Are Stills Worth While? [continued from page 131)
and the shocking prints exhibited good enough ! Those who are unable to differentiate between good and bad still prints cannot be justified in suggesting that the still- cameraman has run amok, so to speak, and that the speci- mens he sometimes sees are representative of the photo- grapher's original unduped negative.
However, the "uncommercial" commercial printer is largely responsible for the more or less washing-out of that abomination — the miniature camera. A nice toy for the amateur who is quite satisfied if he is able to enlarge on art papers, but totally unsuitable to the still-cameraman whose work has to appear on 10x8 glossy paper with a minimum of grain. By reason of the "treatment" accorded "postage stamp-stills" by the commercial printer, most of the best still-cameramen in the land, realising their negatives will one day pass from them, have wisely returned to the 10x8 negative and use the miniature outfit only when it may be of some use for a "grab" shot. Certain directors welcomed the advent of this "toy" as .1 means of dispensing with posed stills in order that they might have that little bit of extra time saved for themselves — to waste more often than not ! The idea of "grabbing"
a still during rehearsal or take sounds very good but it is seldom practical, for the still-cameraman has to shoot from a different angle chosen and lit by the cameraman, and composition and everything else naturally goes to pot.
One occasional!}7 meets the artiste, famous for a couple of pictures, with whom the still-cameraman has to use much tact and patience. He (or she) considers stills such a bore, and owing to temper or and temperament, makes it extremely hard-going. If artistes are real good scouts they can do so much in securing good results. I have invariably found that the really worth-while artistes and those who have not found fame over-night, are the still- man's best subjects — and friends.
In short, if producer, director and artiste would take stills mon- seriously and less as a "joke," the still-camera- man would he in a far happier position than he is to-day and that extra bit of support would, 1 am sure, do ,1 ^ood deal towards placing British films still further on the map.
1 regret I have little to illustrate these few remarks in the nature of suitable stills. I regret all the more that I am not a Tom Webster, foi a lew cartoons depicting the average still-cameraman in action would, 1 think, put the iei ent Farr-Louis scrap completely in the shade !
Oct. -Nov., 1937
THE CINE-TECHNICIAN
133
the policy will only expand if the financial returns justify such expansion. It is then up to the producer and his technical associates. But if they choose to tackle the more modest policy of the local market, they will be starting with both feet on the ground. They will be the experts, not a bunch of importees who would not have left their own country if they could have got as good an offer there as here, and who tend to find fault with their new sub- ordinates rather than adapt themselves to local conditions. They will have to select, train, and encourage new blood, backing their own judgment of promising talent instead of amateurishly hiring ready-made "aces." And, inci- dentally, they will be building for the future a solid and expanding national industry instead of starting in top gear a plant designed to work expensively, but unable to guarantee anything but a "hit or miss" standard of pro- duct, and which can only claim international qualities by the obvious absence of any national qualities.
One of the worst aspects of the policy of trying to break into the world market before conquering your own is that the preponderance of aliens in key positions in the industry not only tends to produce a product lacking national character, but also develops an unhealthy inferiority com- plex in the rest of the technical staff, who are of local growth. The British technician is a product of a system which trains its youth to respect its elders. The youth of this country develops more slowly and matures later than the youth of most other nations. The young British technician develops more rapidly under the guidance of men of his own country than under aliens, who, strangers in a strange land, often fail to adapt themselves to local conditions. It is harder for a technician to produce good results in a foreign country than in his own, particularly at first. (For that matter a local technician who has become accustomed to working in one studio finds it irk- some suddenly to change over to another studio in the same city.) The alien is concerned with getting immedi- ately good results, not in building slowly to achieve a per- manent improvement. For, firstly, he is not likely to have his contract and permit renewed if he fails to deliver the goods pretty quickly. And he always has the anxiety of wondering how long he will be allowed to stay, and how long it will be wise to stay, bearing in mind the fact that as he was not much sought after when he left his own country, it may not be long before he is completely for- gotten there and his prospects of home employment have entirely evaporated.
For these reasons the alien expert tends to watch his own interests in relation to those of his employer rather than to train the staff under him who should be his im- mediate concern, and whose subsequent competence should be the measure of the value of the expert's present services. If, however, the alien looks forward to settling permanently in the country of his adoption, there is all the more tempta- tion for him not to develop qualities in his subordinates that might bring them on to qualify for the position which he himself holds.
One finds cases of alien editors asking their assistants in the presence of their employers : "What have you been cutting this with ? A blow-pipe ? " One never hears the employer retort : "It is high time the assistants were taught better." And if the assistant answers back in these circumstances he knows there will be trouble for him when he gets back into the cutting-room.
Or take the case of the expert foreign cameraman who orders his assistants to shoot exteriors in bad weather
conditions, and then shows the work privately to the pro- ducers in the projection room with the comment : "flow the hell can I get good results when the staff you give me goes out and shoots a bunch of crap like that ?
There are numbers of technicians in this country who are condemned to believe that they can never become first-rate in their profession because they never get that chance which is the legitimate adventure due to all promi- sing talent. True, some of them do not deserve < ' ei to get that chance for the simple reason that they should never have been brought into the industry at all. Nearly every production venture recently inaugurated in this country has been guilty of nepotism, both in bringing into the industry new blood that is unsuited for the work, either by temperament, upbringing, or sheer dumbness ; and in promoting to positions of authority incompetent assistants ; the only qualification in every case being blood relationship with the powers that be.
However, in spite of the fact that entry into the British film industry is entirely unregulated and no comprehensive scheme of training has yet been introduced, a considerable proportion of the technicians at present working or unem- ployed are potentially of the first class, and a sympathetic combing of the industry would soon surprise them into the light of recognition.
As it is, promotion in our industry is largely a hap- hazard, negative affair, based on sudden necessities which leave no other course open. And the surprise of the employer and technician concerned, when it turns out that the promotion was justified, is inevitably followed by a canny feeling on the technician's part that if the employer had had more faith and guts, promotion, and the promotion of others still subordinate, could have taken place long before.
In a recent case, a camera operator of long standing, who was obviously ripe for promotion to control of lighting, was ignored and put off by his employers for many months. He has now gone and proved his qualifications to a rival firm, who are successfully employing him in a position which none but aliens hold in his original studio. In another case it took six conversations to induce a certain producer even to examine the work of a new British director. Next day the producer offered the Britisher a film for immediate preparation and direction.
And so one could go on quoting instances of the neglect to build within our country, and of the easy, weak policy of looking abroad for established talent. The slump proves that too many producers were incompetent even when supported by the cream of alien talent. Too many of them liked to make expensive films so that they could pay themselves expensive fees. When their films flopped they floated other companies, and up they bobbed again. Now that the slump has taken the market value even out of their charm, let us take confidence and learn from our experiences. Let us believe in ourselves, welcoming the foreigner more judiciously, building our own industry for the exploitation of our own markets, before we begin beating our heads against the wall of opposition with which the Americans have surrounded their market. Then, as we begin to record small but definite results, and begin to make films strangely British and strangely lik< our own people, we may again attract the honest sympathy of financial interests — those financial interests which haw- lately retired hurt, drained of resources, and sore at being proved suckers by promoters who were no more film- minded than parasites ever are.
134
T UK ( 1 XE-TEC II X I (' I A X
Oct.-Xov., 193-
Antarctic Cameraman Talks on his
Apparatus
MR. JOHN RYMILL, the leader of the British Graham Land Kxpedition, has written to tell me that The Cine- Technician is anxious to hear an account of the results of the use of the Yinten Cinemato- graph equipment which was provided for our expedition, and as "cameraman" I gladly do so.
I used the camera throughout the period of the expedi- tion. The first shots were taken at the beginning of February, 1935, and the last, which were exposed in South Georgia, in early April, 1937. Throughout that time, when 23,500 ft. of film were taken, there were no defects of any kind in the mechanism, despite the fact that the camera was used in varying and often rigorous conditions. This is a higher tribute to the quality of the apparatus than might at first appear. It had to stand up to temperatures which (at a conservative estimate) varied from plus 45 F. to minus 35rF. I did not hesitate to take the camera out in blizzards when the apparatus would be erected in blinding drift snow. On taking the camera indoors again it was almost impossible to avoid condensation, despite wrapping it in blankets. Kven though the camera was carefullv wiped, it could not have been too good for the instrument to be subject to heavy condensation of water on the entire air-exposed metal surfaces and yet no apparent harm was done.
The finder lens holder became slightly bent, and one of the tripod legs was broken (but repaired) owing to the camera falling heavily, but I was both surprised and relieved that the effects were no worse. One part was lost, namely the spring which fits inside the long nut which holds the revolving turret in place. This fell on the snow and I could not find it again (rather like looking for a needle in a haystack) but fortunately it was not an essential part.
The biggest criticism I have to offer with regard to the apparatus applies to the tripod.* At first I found the greatest difficulty in a shaking of the whole camera when turning the handle. You must bear in mind that at cold temperatures the force exerted in turning the handle is bound to be greater than under normal conditions and this helped to accentuate the vibration. There was no play in the tripod legs themselves, and the movement seemed to be one of the tripod legs shaking on the ground itself — which would be favoured by the high centre of gravity of the camera when mounted. The only way in which I could cure this vibration was by suspending a heavy weight from the centre of the tripod so as to keep it more firmly to the ground, and I found this necessary whether the tripod was mounted on rock or snow. There was even greater difficulty in preventing jerkiness when swivelling the camera for following moving objects or when taking a panorama, and however I adjusted the screws which control the pressure needed to swivel, I found it almost impossible i" prevent jerkiness. Probably in normal
temperatures this difficulty would not arise, but I would
* The manufacturer of the apparatus asks us to point out that the apparatus was supplied at the last moment. Time was not available to manufacture .1 special tripod, winch would function satisfactorily in the intense cold experienced. For future expedi- tions a tripod running on ball bearings is recommended. This will ensure easy working under Antarctic conditions
Cameraman Fleming filming amidst snow and ice in Graham-Land.
suggest that in a polar climate a rack and pinion for both horizontal and vertical swivelling would be most desirable.
It was natural that the lower the temperature, the greater the force needed to turn the handle, but curiously enough during the second winter — when we experienced colder temperatures than in the first winter — the machinery ran more easily. I imagine that not only the quality of oil used in lubrication, but also the quantity, are most important factors when using the camera in cold tem- peratures.
One of the most pleasing features of the camera is the direct view-finder, whereby one can, before taking a shot, look through the actual taking lens. When I became accustomed to the four different lenses which were pro- vided, I found it far quicker and more satisfactory to judge the right exposure [i.e. diaphragm-stop) by estimating the amount of light coming through the lens than by using an exposure-meter ; for example, with the 2-in. lens the correct exposure was with the diaphragm turned down until one saw the scene distinctly but not bright ly.
I had one peculiar difficulty. I found the exposed 1000 ft. reel, since it was wound on a larger-sized bobbin, would not fit back into the film tin. There seemed to be no satisfactory method to re-wind the film on to a smaller bobbin through the camera itself in the darkness, and I generally had to resort to cutting off the last 100 ft. and rewinding it by hand (always a clumsy method), or some- times I did not expose the last 70 or 100 feet.
I was naturally anxious to take pictures of Graham Land from the air, and on the day when "Penola" arrived at the Southern Base to take us home an opportunity
Oct. -Nov., 1937
THE CINE.TECHNICIAN
135
presented itself. The camera was mounted on a platform in the cabin with the lens facing a small opening which had been made for the aerial survey camera. On that day we were able to get 1000 feet exposed which I hope may prove successful.
There was no difficulty in keeping the camera clean and in good condition, but when I had not used the camera for some weeks I always found — despite following in- structions and using the correct paste-rust at the corners of the gate — that I had to use emery paper to get the rust off. The camera is in reasonably good condition after its long journey.
Considering the fact that the film agreement was only reached and the camera provided at the eleventh hour before we sailed, and that as a result there was no oppor- tunity for me to become familiar with the apparatus under instruction, I was surprised how easily I discovered how to work it. It is straightforward and simple, and the small book of instruction seemed to me wholly adequate.
If I was asked to take the film for a similar expedition in the polar regions again and given a free hand in choosing the equipment, I should have no hesitation in selecting the same camera with a different tripod (heavier, and with rack and pinion swivel), but in addition I should choose a reasonably small and light hand-camera with clockwork motor, which could be used for taking on sledge journeys and for shooting scenes which might be difficult to reproduce unless taken as snapshots.
I used to develop the tail of each film to see if the exposures were correct and the results seemed satisfactory, and I hear that 1000 feet have been developed and have
given satisfaction ; but I know that some of the shots, particularly the earlier ones, art' failures.
I await the pleasure of seeing the films actual!} pi" duced.
The Reverend W. L. S. Fleming.
[Editorial Note. — The camera used was a Vinten. I arge bobbins are a great protection against end-rub, the original bobbin can be slipped in place of the camera bobbin and the film re-wound in the magazine by turning the take up wheel. The film will be then found to be the original size to fit the tin. May we suggest that a clock-work motor could be built so that the camera could be driven automa- tically on jobs where electric batteries and motor are impracticable. At the time when the apparatus referred to above was taken over in 1935 we understand that a large bobbin was used for protection against end-rub. Owing to the difficulty of replacing, etc., it was decided to reduce the diameter of the bobbin to 3|-in., this size being found to give the necessary protection against end-rub and at the same time permitting the full 1000 foot roll to be replaced in its original tin.]
Religious Film Studios
The Religious Film Society is establishing a Studio at Norwood where a building formerly used as a cinema is being equipped for the production of films, recording commentaries, making worship films, and editing and titling film material that may be acquired or produced.
THE CINEMA AS A GRAPHIC ART
By VLADIMIR NILSEN
Over 200 illustrations.
15s. net.
For the cameraman the technique of film photo- graphy is only the necessary means of realising the film's artistic content. Technique, with such mani- fold pictorial possibilities at its command, cannot in story film be considered in isolation from the creative process. Every technical device has signi- ficance only in so far as it contributes to the ex- pressive language of the film. Dissolves and fades, multiple exposure, optical combined printing, trick processes, sharp and soft focus, long-shot and close- up, tonal gradation of the image — all these are means of expressing content, the means used by cinema.
The creative element is the guiding one in the cameraman's work, and technique is only the means of realising the artistic purpose. And if this be so, if his work involves elements of artistic creation, then it is clear that it will be governed not only by a technical methodology, but also by principles of an art methodology, which in this case may be termed the art of constructing cinematic portrayals.
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136
THE CINE-TECHNICIAN
On. -Nov., 1937
"Per Ardua ad Cine Camera
Astra" — with a
By HARVEY HARRISON
(Chief Cameraman, British Films, Ltd.)
WHEN the Royal Flying Corps took as a motto, "Through difficulties to the Stars," not even the most inspired visionary could predict the difficulties to be overcome, or the measure of success that would be achieved during the next decade. To-day flying is an accepted fact and the interest of the man in the street is too often bound up in speed or height records. The head work, the patient teaching that has resulted in British triumphs, is only known to those who have had a share in the foundations of these glories. Civil flying is coming into its own, the yearly races for the Kind's Cup give an indication of the continued progress in design and engine construction — the triumphs of flying boats and the safety record of our air lines offer an example of development and the popularisation of air travel.
But how many people give the proper value to the progressive work of the Royal Air Force.
In the old days men were taught to fly in a simple and hurried fashion. Dual control enabled the instructor to teach from the cockpit, but ground instruction was of an elementary kind. To-day, however, progress offers varied and interesting media for the tuition of beginners, and the Royal Air Force has been quick to adopt those which are applicable.
It is here that the cine-cameraman comes into his own.
The writer has completed the direction and production of five reels which are designed by the Air Minstry to give the Flying officer a concise and clear illustration of his job. Reels such as "Forced Landings" and "Rules and Regulations of the Air" give clearer illustrations of a difficult and most important phase than ever before.
To those interested in the technique of cine-photo- graphy the experiences of the cameraman may he of interest and ol service, lor he too has had to pass through his difficulties to the stars.
My first experience came in 1935 when, during re-
hearsals of the Hendon Pageant, I took the air in one of nine "Harts" practising formation flights, diving and other operations. The camera used was a Newman Sin- clair 200 feet Auto-Kine which was held firmly against the chest. In straight flying this worked well enough, but aerobatics proved the necessity of some form of mount- ing, for the pressure during dives at 200 m.p.h. and the effect of slip stream made it impossible to remain erect, to concentrate on sighting and to operate the camera generally. To move the camera from one position was not only impossible but dangerous. Inexperienced gun- ners in "Pushers" during the war, who lifted the magazine from their Lewis guns without due care, found that this was torn from their grasp and sometimes went through the propeller behind the pilot, so powerful was the wind stream. Obviously it was necessary to devise some method of keeping the camera in a position where steadiness was ensured, the maximum visibility obtained, and at the same time where maximum manipulation was possible.
Many trial flights in which the Air Force took especial pains to help — nothing short of wrecking machines \\.i> too much to ask — resulted in several mountings being adopted for different effects. Continued experiments proved that cameras with outside spool boxes were useless and the total footage was taken with the Newman Sinclair. In the Hart machines the Lewis guns are mounted on a Scarffe ring and this was utilised. The movement of this ring is too abrupt and so a small fitting was attached to the machine gun mounting which allowed a generous degree of panning and tilting when following aircraft in in general flying or special evolutions like "slow rolls."
But another difficulty arose. On this mounting the cameraman was dependent upon the pilot's viewpoint and naturally had to take from the angles resultant upon his course. So another fixture was employed- this tune with complete success.
Oct. -Nov., 1937
THE CINE- TECHNICIAN
137
In war time a camera gun, mounted on the top plane, was used to record the correctness or otherwise of the pilot's aim. Aim was taken through the normal ,141111 sights and the release cord pulled when the "enemy" craft came into alignment. The camera spool recorded the hits or misses that would have resulted if a Lewis gun had been used. Following up this idea, the camera was
attached to a mounting between the top main plane and the engine cowlins: and secured by two leather straps. The camera release was drilled and a length of fine Bowden cable attached. This was led through the cowling to the front cockpit and a ring on the end of the cable wire enabled the camera to be set in motion. In order to stop the camera motion when desired, a very short spring was fitted and with this all difficulty in starting and stopping was obviated. The gun sight was used for sighting and focussing and manipulating the aperture with the left hand ; the right was free for operating. By means of the telephone fitted to the flying helmet communication was maintained and the pilot guided in his course to suit the camera angles. These mountings were entirely successful for photographing all Evolutions.
Difficulties don't finish with mountings, for atmos- pheric conditions are not always favourable. Haze has sometimes proved a bogey, but this too can be greatly overcome by the use of correct filtering. To avoid haze, many cameramen have flown to heights above the clouds, but here, unless one is primarily concerned with cloud effects, over-correction is common, yielding a stormy or muddy effect. But where the aeroplane is the central object care has to be taken to find correct graduation. This again was achieved by special filtering.
It has been held that to obtain the finest photography in the air, magnificent and costly cameras mostly of foreign make are necessary, and that the technique from the point of view of the cameraman is only to be found abroad. Once again it can be proved that a simple British camera, and British methods can produce pictures which for clear- ness and beauty are the equal of any that have vet appeared.
These films, which will be used in the training of our future pilots, describe evolutions which many costly feature films have failed to depict and to see them is to feel a great deal of satisfaction with what can be achieved in Britain.
Vincent, tailor, of 9 Old Compton Street, will give the boys (and girls) in the Association a discount of 15%. Offer is open for six months only. Remember to put your A.C.T. card in your old suit !
The Film in the U.S.S.R. A Correction
Tanar (British) Corporation, Ltd., have written to point out that the Tanar Sound System used in Russia is the Tanar Portable Equipment manufactured in this country and not America as was stated in our article in the previous issue. The equipment is of British design and manufacture, and is extremely simple and efficient. The recording tube, known as the Tanarlight, is the only part manufactured for the British Company in the 17. S. A.
The main feature of the equipment is an Adjustable Optical Recording Unit which makes possible the adjust- ment of sound and picture exposures without altering the polarisation current and percentage of modulation. The sound and picture are recorded in perfect synchronism, on one negative. It is hoped to give further details of the Tanar (British) Equipment in a subsequent issue.
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138
THE CINE-TECHNICIAN
Oct. -Nov., i' i ,,
Leigh Amail in Leo's Den
Now that T have been absorbed by the Great Leo, I hardly notice the Californian sunshine — though we are having plenty. "Ars Gratia Artis" it savs in huge neon letters above the studio. [ don't vet quite see how they provide enough Art for the 5,000 employees, but it certainly is a remarkable place. First a few general impressions.
Our department — Production — handles all work per- taining to the actual production of pictures, so I have an excellent opportunity of observing the functions of the various departments. The studio itself is very old-fashioned and chaotic in layout. One finds half the wardrobe at one end and the other half over a mile away. The same with some of the dressing rooms. The distances from the stages are of course unavoidable. There are little old wooden buildings between great modern blocks, and of the twenty-four stages there is every type that could ever be wanted, although apparently this accom- modation is not considered sufficient, as the vast steel framework of five more is rapidly going up.
In spite of these difficulties the organisation and efficiency is amazing. Each individual has a job — and does it in perfect harmony with the others. There is a great deal of truth in Louis B. Mayer's slogan, which is seen all over the studio — "The greatest power on earth is an understanding and co-operative people."
M.G.M. works somewhat on the same lines as Denham, although, of course, there are many more complications. An order, if urgent, is phoned to the production depart- ment, who in turn phone it to the departments concerned. All these orders are confirmed in writing. Routine orders come in, are duplicated, sorted and distributed by the production department which, in fact, acts as a kind of post office. We also handle the distribution of calls, here known as "Three o'clock Reports." Needless to say, they rarely arrive at three.
An interesting fact about M.G.M. is that second assis- tants are only used in large crowd scenes or on location. Normally the unit consists simply of the unit manager, first assistant and script clerk — always a boy. The organisation is such that these three can handle a pro- duction with ease. Another factor that helps is the unlimited amount of equipment. It is never a matter of "You can't have the velocilator until so and so has finished with it." You just order it and it's there. There are a few small time and labour saving devices I should like just to mention. All nails are double headed, leaving a portion sticking out after the nail has been driven in. This saves considerably when striking sets. All cameras are fitted with a mike and speaker, the mike being just below the view-finder, so that the camera operator can give directions while he is looking at the set-up. Also metal tracks are exclusively used, ensuring smooth running. An interesting development from the process department is the use of the Steriopticon background. This is similar to back projection, but is a still instead of a moving picture. It is, in fact, a lantern slide and is used mostly for scenic backgrounds — saving the heavy expense of a photo- backing.
Getting back to orders. The official orders mean something here. If they mention the crew call .is 8.30, then the crew all of them— will be on the set ,il 8.30. Almost invariably the first shot is well under way by nine.
Still from M.G.M. 's "Broadway Melody of 1938" with Eleanor
Powell. (Note the "speaker" — vide article — mounted on top
of camera.)
There is comparatively little late working — companies usually finish about 5 or 6 p.m. All this organisation helps to reduce the number of inevitable delays which occur. Such things as temperamental or difficult artists, an uncompleted script, etc., do exist, although one does not often see them. Recently a major picture was held up for nearly a week owing to lack of script. And a certain star has been known to wait till the morning before deciding whether she will work, thus necessitating the complication of a double call.
The equivalent of the production department here is the operating office at Denham. This works on the same lines, but not nearly enough is made of it. It might be said here that too much work is done and that some of it is unnecessary — such as the distribution of the following day's shooting orders to every department regardless oJ which department they concern. But this at least ensures there being no mistake and corroborates my remarks on "Over-preparing" made some time ago in The Cine-Techni- cian. It is quite clear that preparation is one of the most important reasons for the advancement of American pictures over ours. As I write, the picture. "Rosalie" a big musical — is in preparation. Many months ago the script, having then taken nearly a year, was completed. And once finished everyone knows that no more alterations will be made. This done, the work of preparing begins. The musical numbers are rehearsed every day lor five or six weeks. Every day a squad of "cadets" marches past our office — in training so that when they eventually reach the stage they will work with military precision. The costumes are made, tested photographically and on the artistes, altered — then -napped or passed. The artistes themselves are tested countless times for make up, hair- dressing, wardrobe, etc. Meanwhile the Unit manager and director are organising Location shots foi process back- grounds in plenty of time, so they can be tested and the sets built to lit. I he sound department are recording the
Oct. -Nov., 1937
THE CINE-TECHNICIAN
139
songs for playbacks. The Art department make elaborate models of every set, so that angles may be clearly visualised. All complete sets are tested photographically for colouring. The break-downs are made and all props ordered in advance, although of course most are either made or obtainable on the spot. The prop, room is another of those departments the size of which it is difficult to realise. They seem to have everything ! All this happens before the starting- date is even announced. Finally, after sometimes as much as eighteen months, the picture is scheduled to shoot. By this time all theoretical difficulties have been removed. There remain only the practical ones !
There seem to be four classes of pictures made at M.G.M. Shorts (one or two reelers) having a seven to fourteen day schedule. "B" pictures — feature length but with no real stars — with a fourteen to twenty-one day schedule. "A" program pictures with one or two stars running four or five weeks and lastly the well-known M.G.M. "supers," scheduled usually for six or seven weeks, but often running far over. An important fact about all these classes is that nothing is passed until it is considered the best obtainable. A recently completed picture was not considered good enough, so with three separate units and directors working simultaneously, almost the entire picture was reshot in just over a week. This unit scheme is practiced a lot here. Nearly always location work is put in charge of a different director and crew, thus saving- more time and expense. And on the really big pictures, retakes will often last three or four weeks.
These few remarks may perhaps just give an outline of the working of this vast organisation — where at the moment nearly £2,000,000 worth of pictures are being prepared or shot ! One must realise that the picture industry ranks third in importance in America — only exceeded by the motor and steel industries, so that it is quite natural a large amount should be invested in it.
But now that Hollywood (or rather Culver City — one has to be careful!) is deserting Hollywood and M.G.M. is on its way to England, all this will probably be old news. It is quite extraordinary how everybody I meet here wants to work in England — the competition to get on the English unit rivalled our own enthusiasm to go to Hollywood. Such is fame !
In conclusion, I should like to mention "Talking Pic- tures" by Barrett C. Riesling, to be published shortly in England. Mr. Kiesling is in the publicity department at M.G.M., and his book should prove of interest to amateurs and professionals alike.
|
Unemployment in |
the |
Industry |
|
A.C.T.'s Employment Bureau |
is the only |
|
|
technical employment agency in |
the industry |
|
|
and therefore an accurate barometer of production. |
||
|
The following figures show |
the serious position |
|
|
which has developed during |
the present year. |
|
|
Date. Registered |
Unemployed. |
|
|
October, 1930 |
40 |
|
|
March, 1937 |
107 |
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April, 1937 |
156 |
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May, 1937 |
187 |
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June, 1937 |
197 |
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July, 1937 |
'JiM |
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August, 1937 |
217 |
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September, 1937 ... |
223 |
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140
THE CINE-TECHNICIAN
( >• i .-No\ ., 1937
Cinema Lo
By KENNETH GORDON
Another Union Jack on Order
Congratulations to "Wilkie" Cooper, the promising young British camera technician of London Films, on his first lighting assignment, on "Conquest of the Air." "Wilkie" is the son of cameraman D. P. Cooper and has spent many years under his father's guidance in receiving a sound education in cinematography in preparation for his great chance. Not only is this a much deserved "break" for a first operative cameraman who has turned on such epics as "Farewell Again" and "Fire over England," but it should naturally mean a stepping-up for the other boys of the unit. This would be a healthy logical sequence of regular promotion for British technicians.
"WILKIE" COOPER.
The Shadow of Lord Beaverbrook
Among the visitors to Pinewood (Tub have been both Lord Beaverbrook and his son, the Hon. Peter Aiken, who is a director of the Odeon Circuit. It looks as if British films may again come under the Beaverbrook banner. At one time, not so long ago, Lord Beaverbrook, with a very strong directorate, including Lord Ashfield of "Under- ground" fame, Sir William Jury, "Big Bill" Evans, Major A. Holt, etc., controlled the Provincial Cinematograph Theatres. They raised the value of its stock from round about 5/- to 55/-, at which price they sold out to Gaumont British. They also owned Pathe, under whose banner they produced some British films which were very successful. Jack Raymond, by the way, received his first directional assignment on these pictures. At Clerkley Court, Leather- head, Lord Beaverbrook for some years has run one of the finest private cinemas in the country, in which previews of the world's finest pictures and latest news events have been shown. So the Hon. Peter Aiken can be said to have been brought up on films. British production needs strong men and personally I've found Cord Beaverbrook always gave a technician a break.
From Films to Television
Alexandra Palace, now the home of Television, was once a film studio. It was the first studio in the world to be fitted with "inky" lighting and was equipped with G.K 1 gas-filled lamps, which were not a great success at that time owing to the negative stock used. Yes, I am talking before the War — in 1913. Thev also had outside stages with the sunlight diffused by "butter muslin" blinds. Strange as it seems, their trade mark was "Big Ben" — the same as London Films. This firm was a subsidiary of Pathe.
Secret Preparations for Irish Studios
A major Ulster cinema circuit is working, in secret, on a scheme to build studios in or near Belfast capable of turning out three feature films a year with comedies and shorts. Local acting talent will be developed. Finance will be found, if the project matures, by the circuit, and it is claimed by the promoters that the Irish rentals alone should show a small profit. The resulting pictures should give a very necessary attraction to Irish theatre pro- grammes. We wish the principals "good luck." A.C.T. Employment Bureau can find the right skilled technical staff to assure success.
Japan goes Western Electric
Fated to leap from war to war, Baron H. von Zeppelin, a member of the famous aircraft family, who was directing Western's recording activities in Spain until the Civil War forced suspension of sound picture production, has left for Japan on his appointment as manager of W.E.'s recording activities there, and so enters another war zone. The Baron spent some months observing recording technique at British studios and later went to New York, where he made an extensive survey of the latest developments in sound recording and reproducing.
Pots and Praise
Two Denham films received the highest awards when competing with forty films submitted by sixteen nations at the Fifth International Film Exhibition at Venice. "Victoria the Great," the Herbert Wilcox production, received the premier award, and the prize for superb direction went to Robert Flaherty for his "Elephant Boy." Joe Rock's film "The Edge of the World," produced by Michael Powell on the island of Foula, has received universal praise from the critics and looks like showing a record profit. Readers will remember that Trei^ellas, the reconli-t of the unit, wrote of his experiences on the island in a previous issue, and now we understand that Michael Powell has put pen to paper in a much more ambitious form. His "2( 10.000 Feet on Foula" will be published by Faber and Faber early in January. Mic Powell has made a very sincere job of the picture, and we trust he is not allowed to stagnate, but is given jobs worthy of his ability. He has too long been wasted on quickie trash. The photography l>v Ernest Palmer has superbly raptured the atmosphere of Foula and has enhanced the success of the picture.
( >< t.-Nov., 1937
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142
I I I I ( I N I • - I I . ( 1 1 N I ( I A X
Oct. -Nov., i',;
Paul Barralet
Takes a Busman's Holiday
AFTER working in the various studios for eight years without a holiday, I decided it was time something was done about it. English seaside resorts did not appeal to me, the Lake District is beautiful but always wet, and Paris is t^ood (but expensive) fun for a week. What I needed was a complete change, as far away as possible, and my thoughts dwelt on India. As this looked like being a pretty expensive trip, it seemed quite an idea to turn it into a busman's holiday, and so, with the idea of making a few shorts and secpiences for the pictorials, I packed up my Debrie outfit and 20,000 feet of film, and hoped to cover part of my expenses !
On a cold, damp February afternoon I left Marseilles and within four days was enjoying the glorious sunshine in the Suez Canal ; eleven days later we arrived at Colombo. Having been here ten years before, I was able to look up lots of old friends. In fact, they gave me such a grand time that work was almost forgotten, but after a week of jollity I got down to it. I wanted to make a picture around one of the many quaint little fishing villages and had a simple story ready, but although the men would act for me, it turned out that the native women were not allowed to do so by their religion (even in the native theatre the women's parts are all played by men). Disappointed, but not daunted, I decided that the subject was too good to cut out, so I turned it into a documentary, and now I am not sorry, for it looks like turning out better than the original idea. The palm-fringed shore, with the quaint little boats (cata- marans), made grand pictorial shots which it was impossible to resist. Although I did not quite like it, I decided to go to sea in one of these frail craft, but was glad to find that they stood up to the big waves surprisingly well, and I was able to get several interesting angles of the men casting their nets and bringing in the catch. A friend introduced me to a member of the Education Board, who allowed me to take some scenes at a native school, where they staged one of their national dances for me, and I learnt later that the children are taught the old-time dances of their forefathers in every school in the country.
My first tests showed me that exposures had to be care- fully watched, as in the open they need to be cut down a great deal, but in the shade it was necessary to open up as much as possible, as the bright sun made the shadows almost black. To even this up I decided to use several filters — a neutral density for all longshots on the beach and open country ; a "G" for general use ; and an Aero 2 on close-ups, also using bright silver reflectors to get details into the dark faces of the natives.
Moving on to Madras, I experienced my hottest and most unpleasant thirty-six hours of railway travelling. Madras is a pleasant little town and just outside there are some extremely interesting temples and buried cities — although these subjects hardly had enough life for good film subjects and I therefore took very little footage. I then decided to fulfil my greatest ambition and enter the jungle. After engaging six boys to carry the outfit, we trekked for six days without seeing more than a couple of snakes, some deer, and thousands of monkeys (my admiration for Mr. Frank Puck has now increased a thousandfold). There was one very exciting thing I did encounter, and thai was a Veddah village. Here live a rapidly diminishing tribe of wild men, right in the heart of the jungle. Their methods
Paul Barralet filming Ceylon's wild men, the Veddahs in the Jungle.
of hunting are still the primitive bow and arrow, and after making friends with the head man, I took some novel shots, showing how they kill game and dry it in the sun. Talking about sun, it was always a problem to know the best method of keeping the film cool. Ice is not very satisfactory, as it is very heavy, and when melted might get into the magazines. A thick wooden box with a waterproof cover acted quite well, while a big umbrella over the camera in the heat of the day also helped. As far as possible, however, I worked in the early morning and again in the afternoon when the light was not too hard and contrasty, but when filming animals it was necessary to take shots at any hour.
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Oct>N<
'937
T H E CIN E-TEC H NIC] A N
143
Using a Weston for Best Results
To get the best results with an Exposure Meter it is ne- cessary to apply the fundamental principles of photography. In practically every scene there is one central point of interest which should be accurately exposed. The secret of good photography is to expose your film for the object of interest and to subjugate the background. In other words, let the background take care of itself — it should not dominate the scene. By using the following method, the background in a scene will serve its true purpose — it will emphasise the central point of interest and will act as a complement to it.
Example. — Let us assume that we are photographing a grey cat reclining at the base of a brilliantly lighted wall. At a distance of 10 feet from the wall the meter brightness reading is 600. The meter is now registering all the light reflected from a circle 10 feet in diameter. If the camera is set in accordance with this reading, the cat (central point of interest) will be under-exposed and the wall will be directly exposed. The meter is not being properly used.
The correct method is to isolate the cat from the back- ground— in other words, reduce the size of the imaginary 10 foot circle by approaching the cat. With meters having acceptance angles of 60° at a distance of 20 inches, the circle will now be 20 inches in diameter. It includes only the cat — you have isolated him from the background. Assume a reading of 25 at this position, set up the camera at any distance [ruin the wall, and expose the film on the basis of a reading of 25. The central point of interest (the cat) will now be perfectly exposed.
In general, the meter should be held at a distance equal to the minimum dimension of the object being photo- graphed, regardless of the camera position. When ne- cessary to use the meter at the camera position, eliminate all bright sky light by shielding the meter as you would a camera lens.
The above notes refer to the Model 650 Universal and Leicameter, which have acceptance angles of 60°. With the Model 819 Cine Meter, the above distances must be modified to take care of the- acceptance angle of 25°.
Comparison of H & D, Scheiner, Din and Weston Speed Values.
The various emulsion speed values now used cannot, in general, be compared directly with each other, except possibly H <x D and the Weston speed values for the reason that they are based on entirely different principles.
The Scheiner and Din speed numbers have no definite relation to each other, nor to the other speed values, except for emulsions having the same characteristics which, how- ever are quite different for the various kinds of commercial films or plates.
To give a rough idea of the relation of the various speed values a comparison is given below for a type of film having the same characteristic as an ordinary commonly used film, but as stated above, the relative values do not hold for other types of emulsions and must, therefore, be used with due caution.
For example, a report of an actual test shows that 26° Scheiner may be equivalent in Din degrees to any value from 12/10° to 17/10° Din, which corresponds to a ratio of over 3 to 1 in sensitivity. Further, 18/10° Din may be equivalent in some emulsions to 65 Weston and in others to 24 Weston.
Caution. --Do not use this table without reading above.
Weston
Scheiner0 Din0 H & D Weston
14 7 10 159 3
15 8 10 2oo 4
16 9/10 252 5
17 10 10 318 6
18 11/10 400 8
19 12/10 Silt 10
20 13/10 635 12
21 14/10 800 16
22 15 10 1000 20
23 16/10 1270 24
24 17/10 1000 32
25 18/10 2020 40
26 19/10 2540 SO
27 20/10 3200 64
Note. — The above tables are accurate for converting Weston Numbers to Weston Scheiner Numbers.
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144
THE (INK-TECHNICIAN
I >' l .-Nov!, If):
Editorial
THE Government has issued its White Paper on Film Quota. We welcome in general many of the pro- posals as incorporating some improvement upon the previous Act. But we also feel that the fundamental issues confronting the British film industry have not been faced. We particularly deplore the fact that there is no more recognition of British technicians in the White Paper proposals than in the previous Act. They receive no protection by a fair wages clause, which, in our opinion, is essential to the equitable working of the labour costs proposals, and, in fact, to the reorganisation of the industry on a rational basi^ There is no protection against the continued employment of foreign technicians in major positions at a time when there are a large number of British technicians unemployed who are capable of filling such positions. The White Paper, in fact, tends to promote the financial existence of the British industry without in any way providing for its continued technical growth. Double quota coupled with an initial lower quota, as proposed, may well lead to less employment and to the ironical position of technicians being turned out of their jobs through an Act of Parliament intended to foster the industry. o o o
A.C.T. is now an integral part of the Trade Union Movement, by reason of its recent election to membership of the Trades Union Congress. Affiliation means that henceforth there will be (-loser co-operation between film technicians and four-and-a-quarter million other workers in various spheres of industry, all imbued with parallel objectives and taking common action on matters of common interest. The inter-union agreement with the National Association of Theatrical Employees was a preliminary step to this affiliation and we are glad to hear that the Electrical Trades Union, the other big employees' organi- sation in the industry, has recently had its initial meeting with A.C.T. representatives with a view, we understand, to a similar Agreement. We trust that a further step will see the setting-up of a body similar to the old Enter- tainment Industries Federation, upon which all employees' organisations in the industry will be represented. Such a step seems to us not merely imperative in the interests of all film workers but a necessary corrollary to the recently formed Employers' Federation.
o o o
We are glad to hear that the General Council of A.C.T. has asked the Rt. Hon. Ernest Brown, M.P., Minister of Labour, to receive a deputation with reference to the continued employment of foreign technicians. We under- stand that one of the points to be raised by the Association is ,i claim that the conditions attached to an application for a labour permit are seldom observed. Under the Aliens Order, 1930, a company has to declare when applying for a permit in respect of certain foreigners that no British subject will be displaced or excluded in consequence of the employment of the foreigner in question. Further, the applicant has to claim that the proposed employment of a foreigner is reasonable and necessary in the circum- stances and that every possible effort has been made by the employer to find suitable labour from among British subjects. We shall await the .Minister's explanation with interest, as it appears to us that there has been grave breach ol these regulations and conditions in the vast majority of permits granted.
The Government has recently appointed a Committee, under the Chairmanship of Lord Amulree, to investigate and report on the question of holidays with pay. Holidays are essential both for health reasons and as an aid to in- dustrial efficien< Opportunities for such holidays ought not to be accompanied by loss of income — leisure without income being, in fact, a cause of added strain rather than an opportunity for recuperation. Yet there are probably not more than 4,000,000, out of a total em- ployed population of 18,000,000, who at present receive holidays with pay. Belgium, Sweden, Denmark, Norway, France, the Irish Free State, and other countries legally stipulate for holidays with pay for most, and in some cases, all employed persons. The increased cost in this country would be well off-set by the gain to industry generally and we trust that Lord Amulree's Committee will recom- mend that the lead of other countries be followed when it presents its report.
o o o
"Victoria the Great'' and "The Edge of the World" are recent examples of the films which British companies, in the full sense of the word, can produce. Technically both productions have received exceptionally high praise, and this is particularly pleasing as the crews were almost exclusively British. The cameramen — Fred Young and Ernest Palmer — provide an excellent answer to those producers in this country who claim that it is impossible to make a technically good picture without a foreign camera- man. Palmer particularly has shewn that a young British cameraman can make good if given the opportunity, and we trust that the authorities will note and act accordingly.
o ShokinI^i
OUR PORTRAIT GALLERY,
Sidney Cole (Vice-President).
Oct. -Nov., [937
I II E C. IN E-TEC H N I ( I A N
145
FUN AND FROLIC ON A.C.T.'s RIVER OUTING.
4fi
T II E CI N E-T EC H NIC I A N
NEWSREEL
National News.
Cecil Snape, completing his contract as Editor with the W. C. Jeapes Universal Talking News, has let a cat among the pigeons by announcing that he is floating an inde- pendent newsreel under the Sound City aegis, calling it Wit ional News. Declaring his policy will be quite different from existing products, he will, we believe, adopt ideas somewhat like the "March of Time" in editorial con- struction, but nt course with the usual bi-weekly issues. Humphries will process the News production and processing will be managed by Jack Wiggins, that up-to-the-minute newsreel Tab. "veteran" who has vacated after many years the Works Managership of Film Laboratories. His daughter, Miss Nellie Wiggins, will be in charge of the negative cutting. Commander ("the fleet's lit up") Wood- roofe will do the commentary, and amongst the camera staff engaged are Leslie Murray, who leaves Movietone, Hum- phries and Owen from G.B. News, Swan and Jerry Somers from Universal News, and Bartholomew from the ranks of the free-lances. Barnes Heath will have charge of the studio recording. We have reason to believe that promo- tions will be made from the dark rooms to camera staff by Mr. Snape. It is too early for judgments, but it does mean that fresh competition enters the newsreel game. The rest of the reels are dusting the cobwebs from the editorial sanctums and filling the oil cans so that the wheels may turn a little faster. The next few months should see plenty of fun and frolic and result in newsreels Hut technicians are proud to have turned out.
When Alf Tunwell Broadcast
Talking about broadcasting the other day, I was re- minded thai All Tunwell, Movietone newsreeler, was the first cameraman to speak on the air. This was two years ago, when the B.B.C. decided to brighten the Sunday programme and he spoke for twenty minutes in the feature "Other Men's Jobs."
When is Fredman going to Edit the Reel ?
Ernest W. Fredman, the "Daily Film Renter's" hard- hitting editor, accepted a challenge to edit an issue of the G.B. News, following an article criticising newsreel policy some time ago. We await with impatience the result ; new ideas are at a premium. Why this delay ?
Sir Hubert Wilkins
I wonder how many of those reading in the papers about the attempts of Sir Hubert Wilkins, the Arctic explorer, to locate the Russian Pole Flyers in the American Arctic remember him when he used to trundle a cine-camera in Wardour Street. Sir Hubert was a newsreel cameraman on the Gaumont Graphic and I well remember him filming the Balkan War in 1912. He used a Matchless motor e\ i le ami sidecar for transport and I'm sure by the terrible condition of the tracks he must have pushed it all the way from Constantinople. Every now and then between his attacks on the "Poles" by submarine, plane, or plain sledge, this quiet bearded figure potters around newsreels to see his old friends and renew acquaintance with the game he still loves.
Crash
Racing to Brooklands, one of the Pat he sound fleet was wrecked in a serious collision near Cobham. In the unit was cameraman, Jock Gemmell, and the driver was "Major" Williams. Luckily neither was hurt. But the ear was completely smashed, the salvaging firm offering Pathe £4 for it as scrap. Luck was with them, inasmuch as the camera and gear were unharmed, but the delay prevented these boys from obtaining a real news scoop because they would luxe been the only company to film Mrs. Petre's crash while practising on that <\a\ haul luck !
I'i \ \\ 11 Ai d \\.
Oct.-No\ .
[937
TH E CIN E-TEC HNICIAN
147
What the Public Like-But Who Are They?
Loves and Hates
Every two or three years, Sidney Bernstein, well- known cinema owner, circulates a questionnaire to his patrons. The latest was issued to 325,000 of them and 159,723 — or to go statistical ourselves for a finger-counting moment — 49T°0 took the pains to reply.
Results are interesting if not startling ; cartoons, for example, are voted the most popular kind of short. Top favourite stars are : Men — Gary Cooper, Clark Gable, Charles Laughton, Robert Taylor, Ronald Colman, William Powell. Women — Norma Shearer, Myrna Loy, Greta Garbo, Ginger Rogers, Claudette Colbert, Shirley Temple (who just "pips" Jessie Matthews for sixth place). Norma Shearer has held her premier position in three successive votes, 1932, 1934 and now. Garbo, toe., has been placed in the first six each of these times. Colman has been first, sixth and fifth. Gable maintains second place from
1934, despite challenge of "luggage-lift" Taylor, placed fourth on his first appearance.
Briti-di stars —Matthews seventh, Oberon ninth, Gracie thirteenth, Carroll sixteenth, Neagle twenty-eighth, Cicely Courtneidge thirty-first; Laughton third, Jack Hulberl twenty-fourth, Buchanan twenty-eighth, Hay t\\ent\ ninth, Walls thirty-third, Hardwicke thirty-fifth, Harker forty-eighth, Lynn fiftieth.
Cagney was top dislike in 1934 and still is. Lynn and Joe Brown also maintain themselves in the first six, with the addition of Chaplin, Laurel and Hardy and Karloff.
Mae \\'e>t and Greta Garbo are still first ami second among the women dislikes. Constance Bennett, Dietrich, Crawford, also retain places among the first eight, with Hepburn ami Zasu Pitts.
( ( 'ontinued on page 149)
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148
I II K (I X E- TEC II NICI A N
• >< l .-Nov., 19;
The Last Rideout
A Review by LOVAT CAVE-CHINN
I think, perhaps, that I had better quote the opening paragraph oi the introduction to this book* in order that prospective readers may know what it is .ill about. "The pi incipal aim of this book is to furnish .1 critical appreciation of the better American sound films shown in England. Incidentally some obsei vat ion-, mi 1 heir exhibition and upon tin response to them have been included. . . . No further apology for confining attention almost entirely to the American Film is needed beyond remarking that more than two thiols oi thi' films shown in England are of American origin, and that, with lew exceptions, they are far better productions than those of any other country. Some notes on the best films of Continental Europe seen here, and upon the outstanding productions of English studios, may afford an indication of future possibilities."
Well, now you know ! or do von ? For, having waded with great care through Mr. Hideout's critical appreciations, I am left with the feeling that it is a great pity that he has failed to see so many of the better pictures of recent years — or has he just a bad memory ?
Nearly two-thirds of this book is given up, as the dust- cover tells us, to "analysing the work of some sixty direc- tors." To me this is merely a collection of film reviews, rathei vaguely arranged, and giving no true picture of the men thus analysed. And underlying it all is the feeling that what Mr. Rideout is really interested in is photography. Throughout the pages dcv oted to directors one finds almost equal comment on the work of cameramen, though \ cannot say that the author's remarks on this subject are in any way enlightening. As for instance : — "Capra rarely indulges in fancy photography. With Joseph Walker as chief cameraman on his recent pictures we have . . . good atmos- pheric shots in (kirk streets of convincing obscurity." "This obscurity, by the way, may become rather too pro- nounced ; it did in the earlier Walker films, as worn copies are projected with insufficient screen illumination." Again, "the harsh brilliance of the photography of James Wong Howe and Charles Clarke. . . ." And yet again, "Further- more, and of fundamental importance, great as the possi- bilities of the optical printer may be in trick work, in the smoothing out of minor inequalities in the matching of shots, one cannot tinker with the development in the old- fashioned hope of disguising defects of exposure. Modern methods of continuous development by machine throw the whole responsibility for negative quality back upon the cameraman and his judgment."
I agree with him here. ' 'Reckless,' photographed by George Folsey, contains one or two external shots of greal beauty, but we still have to suffer a glimpse of the M.G.M. studio sea by moonlight. We can almost recognise the ripples by now." Hieodor Sparkuhl and Ernest Palmer, A.S.C., take a rap with " 'Caravan,' a film with good tunes destroyed by its flamboyant camerawork as much as by its futile scenario."
Of Lee Garmes he speaks lor and against, "'Zoo in Budapest' was an exceeding^ beautiful film, photographed so beautifully that attention was diverted from the story." 'Smilin' Through' ; Fee Garmes, the photographer, ap- pears also to have been in a venturesome mood ; once 01 twice, indeed, rather irritating with his soft locus effei 1-
Altogether Mr. Rideout writes at some length on the work of more than thirty Hollywood cameramen and it
!: The tmerican Film. Uric II. Rideout. Mitre Press. IS
was, therefore, with considerable interest that I turned to his chapter on "The Cameraman." But disappointment awaited me here, for only four pages are devoted to "the man who puts the picture on the screen," and this in spite of the fact that the author himself says : "Essentially the cinema is a visual art. Its storii - are told in a series of images — photographs which flow across the screen to the accompaniment of dialogue and music, either in contrast to, or in unison with, the visual theme." Gregg Toland is obviously the author's Xo. 1 cameraman and he writes of his work in delirious fashion, with also ran Karl Freund, Rudolph Mate, Charles Rosher, Karl Struss and T < eiudio.
Even though he has a chapter on the British film there is no mention of that great artist, Georges Perinal, whose work, in my humble opinion, is the equal of anything that Hollywood has ever sent us.
And what about our own natives, Fred Young and Bernard Knowles, to name but two whose camerawork is outstanding. Alas, they are British ! If only they had been christened Friedrich Jung and Bernhardt Nobles, they might have stood beneath the Union Jacks not a thousand miles from Uxbridge and cried "Denham Uber A lies" !
At one point Mr. Rideout goes all technical, and whilst he says, "It would clearly be out of place in this account to attempt to write a text-book on cinematography," yet he delves into technicalities. I would suggest that in future works he has his data "vetted" by a member of the A.C.T. Technical Research Committee. The picture aperture is 0-631 by (V868 inches and not 0-838 as stated in his book.
But let us pass on. The Art Director comes in a very bad third, with only four men receiving mention in two and a half pages. The Editor is less luckv. He is not discussed at all.
Chapter VI. on Sound gets nine pages, but here the author is wise and steers clear of electrical phenomena, contenting himself with dealing mostly with screen "musicals."
The chapter on Colour is devoted chiefly to discussion of "Becky Sharp" and finally "The Garden of Allah." And here again I cross swords with the author. He gives all credit for this picture to the director, Richard Boles- lawski, and the colour designer, Lansing C. Holden. But why no mention of Hal Rosson, whose close-ups of Marlene Dietrich were, to my mind, magnificent. Indeed, through- out this book the work of Hal Rosson is ignored except in a criticism of "As You Like It," where, without men- tioning the cameraman by name, he says, "the photography lacked imagination, especially in the forest sequence where shade was little chequered by sunshine." I consider Rosson made a grand job ol work of this Bergner vehicle as he did of Rene Clair's "Ghost Goes West," and there is no doubt that M.G.M. rank him very high, for lie is with us again as cameraman on their first British picture, Robert Taylor's "A Yank at Oxford."
"The Story" and "The Players" lead us to Chapter X. on "Exhibition," and here once again I join issue with the author. He says, "When so much painstaking effort to secure technical perfection has gone into a film, both producers and audiences have the right to demand an equally high standard of efficiency in its projection. . . . This they rarely obtain. . . ." fhe quality ol the print
Oct.-Nc
"C
THE CIN E-TEC HN t (' I A N
I IV)
often leaves much to be desired. . . ." "Dirty screens ; sound so excessively amplified as to be painful. . . ." "One projector steadily out of focus for weeks. . . ." "Nor were such faults confined to poverty-stricken inde- pendent exhibitors, but were frequently at their worst in houses under tlu' control of the largest British circuits. . . ."
And more in like vein ! And there is no doubt that there is a lot of truth in all these accusations ; but has the author set out to discover why these faults exist ? I would suggest that the next time he meet-, these imper- fections in exhibition that he look into the conditions of the man responsible, the projectionist, and maybe he will find there things that will surprise him. Often a wage that is an encouragement to go on the dole ; sometimes ap- paratus that should have been scrapped long ago ; and long hours in badly-ventilated boxes that sap a man's energy and play havoc with his health.
And so to the concluding chapter, "The British Film."
And here Mr. Rideout treads on dangerous ground and, I regret to sav, writes without a true knowledge of the facts. He says, "It may be considered a remarkable coincidence that only in a year in which the Quota comes up for dis- cussion before a government commission has it been found feasible to provide British producers with up-to-date commodious studios fit to compare with those of America. He then mentions the success of such films as "The Private Life of Henry VIII," "The Scarlet Pimpernel," "The Ghost Goes West," and Miss Jessie Matthews' films.
Well, in the first place, the "up-to-date commodious studios" were turning out pictures over a year ago and, what is more, a lot of box-office flops that just about "torpedoed" the British film industry. None of the pictures mentioned as successes were made at the new- studios, nor \ve~e they encumbered with a lot of expensive imported talent, technical and otherwise !
Mr. Rideout says : "It has been frequently asserted that the films the American renters made or purchased here were of atrocious quality ..." and we shall go on asserting this, too, until the Government insists on a reasonable amount of money being spent on a picture to rank as Quota.
He says : "It is quite unnecessary to traverse all the arguments advanced by interested parties now concerned for the renewal of the Act. ... It is sufficient to draw attention to a few points of primary importance." Who is Mr. Rideout to decide which are the points of primary importance ? Is not the very existence of the thousands of workers in the British film industry important ? Or is he content to see us go on struggling to live ; with hundreds out of work and more and more foreign technicians coming in !
He says : "Indeed it would be far better for England to abandon production altogether if we must feel ashamed of British films. They must be at least as good, and preferably better, than the best America can produce before we can be content." But what is a British film ? The ingredients at the moment are, say, Hungarian pro- ducer— American director — German cameraman — French dress-designer — Russian art-director -Austrian leading lady —Italian scenarist, and any othei nationalities bar British in the key positions, plus a lot of British m >;icv to be east away in a riot of extravagant blatant incompetence !
May I quote to you, Mr. Rideout, the views of A.( .T. on the Government White Paper on the new Quota \< i
"The British Film Industry can never assume its rightful position except on a basis of the production of Genuinely British films of outstandingly good quality.
The frenzied financiers have failed; something more than mathematical allocations and stringent penalties for evasions is needed to se1 our house in order.
This can only be done, we repeat, by building an in- dustry founded upon the direct fostering and encoui ment of British technical ability.
Financial stability will follow."
And in conclusion, I would only add save your 15 - and take the family to see The British Film -"Victoria The Great."
What the Public Lik«j [continued from page 147) We Would Like to Know
The most intriguing questions, though, arc those results which Bernstein tantalisingly says "will not be disclosed."
"Do you actually stay away from a cinema when a film is showing which features any of the stars you dislike ? And "of the newspapers and other periodicals which you read, which do you consider has (a) the best film criticisms, {/>) the best film news and gossip ? " If this habit si m stars may retaliate with "Which cinema do you consider has the best questionnaires ? " And critics with "Do you actually stay away from a cinema where a questionnaire is circulated which features questions which embarrass you ?
But we would like to know the answers.
Sex and Age
It would be dangerous to derive more than a set of probabilities from these answers. Results sometimes contradict each other — e.g., "Historical" figures low on the list of subject preferences ; but of the pictures popu- larly voted the six outstanding, five ("Mutiny of the Bounty," "Lives of Bengal Lancer," "Under Two Flags," "David Copperfield" and "Captain Blood") are historical or costume pictures. Perhaps classification needs looking into.
The investigators are aware of such dangers and cor- rectly lay more stress on age- and sex — distribution of results. 89% of Taylor's votes were from women and more than 50% of these from the age-group under 21. Norma Shearer, Greta Garbo and Claudette Colbert, are more popular among women than men. 62% of Shirley Temple's votes come from women. Jessie Matthews had a higher vote in the women's 21-40 age-group than Ginger Rogers or Shirley Temple. Mae West's dislikes came from men and women equally, irrespective of age-group.
These facts are more important than actual positions in the poll.
Questionnaire for Mr. Bernstein
But we'd like to know more about the voters themseh es.
(1) At what cinemas was the poll taken ?
(2) What pictures were running at these cinemas at
the time — and during the previi >us three v
(3) What is the relation between the answer to No. 2
and the outstanding films results ?
(4) What is the social composition of the districts
where the cinemas are situated? How far is tin- reflected in the composition of the average audience ?
(5) What is the average admission price
Please attempt all the questions, Mr. Bernstein next time.
S. C.
50
T H E CINE-TE C H N I C I A N
i ii .-Nov
"»>;
Lab Topics
Why?
Why do British negatives which arc scut over to U.S.A. for the American release come back in such a disgraceful condition ? In two recent examples, on return, nearly every scene was mutilated in some way. The majority con- tained make-ups, some were faded in and out in the middle of the scene and others were transposed to give a ridiculous version. Lengths of sound track had been removed and in many cases silent track substituted. In addition, not one reel was in synchronization. II prints from the negatives as returned to England were shown to the American public, we can quite understand why some British pictures "get the bird" in the States.
It often happens that further prints are required when these negatives come back to England, and many days of tedious work are spent duplicating from the Master Positive and sorting out the chaos before the negative is again brought in line with the trade show version. Even then much of the original negative has been lost and dupli- cate negative substituted with consequent loss of quality.
We are sure our American friends would soon complain if their film- received such treatment, but so far as we know their original negatives never leave U.S.A., although they expect us to send them ours.
Colour Plusses and Minuses
There are many signs that motion picture films in the future will normally be shown in colour instead of in black and white. The Patent literature shows every week large numbers of claims for processes which would enable prints in three or more colours to be made on positive film, and before long the laboratory technician will be expected to have more than a nodding acquaintance with the principles underlying some of the methods which are being worked out.
On the whole the processes group themselves into two main divisions, the additive and the subtractive. It will be as well if all those who have to deal with regul.n laboratory practice, even at the present day, are quite clear as to the difference between the two principles in- volved.
The additive processes depend on the fundamental fact that the whole range of visible colours can be built up by exciting three separate primary colour sensations — red, green and blue-violet. It has been found experi- mentally that a beam of red light, one of blue-violet and one of green, together give the sensation of white light provided that their relative intensities are con ectly adjusted. Furthermore, mixtures of two or three of these colours in definite proportions can reproduce to the eye practically the whole range of visible colours. Processes which depend on this principle are called additive, because any given colour as it is perceived by the eye is actually added up from the three elementary red, green and blue-violet com- ponents which are utilised in the process.
Additive processes of colour photography include the well-known Autochrome, Paget and Agfacolor plates, Dufaycolor, and also the processes involving lens-like embossings on the film base originated by Berthon and Keller-Dorian, which have been employed in Kodacolor and in the Siemens-Perutz process.
It would be impossible in the limits here to describe eai h of these in detail, but in every case the various colours seen are produced by the addition of three primary components.
The subtractive processes start off with white light and depend upon the use of various filters which are intro- duced in the beam and which subtract from it certain components, leaving the residual colour required.
If we hold in the path of a beam of white light a yellow filter, it eliminates blue from the light and allow- every- thing else to pass through. It could, therefore, be called a minus blue filter, and it so happens that the residue from the white light, when the blue is eliminated, is yellow. In the same way a magenta filter eliminates green and the residue is the reddish-blue colour known as magei Thus, a magenta filter can also be referred to as a minus green filter. Finally, a blue-green filter of the right tint will eliminate all red light from a white light beam, and this again can be referred to as a minus red filter. Obvi- ously, therefore, if we place all three filters in the path of a white light, the first will eliminate blue, the second will eliminate green and the third will eliminate red. These three colours, however, are, as we have already seen, the primary components from which white light is built. If they are all eliminated there will be nothing left and con- sequently only the sensation of black will be experienced.
If we use two of the filters, what would happen ? Sup- pose we put in the yellow or minus blue filter and the magenta or minus green filter. If white light is passed through the yellow filter, this will eliminate the blue and everything else will pass on. This filtered light will then pass through the magenta filter and the green will be eliminated. The light will now have lost its blue and its green components, leaving only the red ; consequently, the two filters above named when used in series will filter the light so as to allow only the red component to ernei Similar reasoning will show that by using the other two possible pairs of filters, green light or blue-violet can be obtained from the white light. By an extension of the idea it can be shown that using one, two or three of the filters of the correct densities, all the various colour sen- sations can be reproduced.
Examples of this type of colour photography are best known to the cinematographer from the processes associated with the names of Technicolor, Garsparcolor and Koda- chrome.
The advantages of the two systems are a matter of debate. The rival systems have each their adherents and considerable capital has been invested in both. The next few years should show which type of process is gi to take the place of our regular black and white films.
10 x 8 s From Leica Stills
A production unit that has jusf finished a picture discovered that their contract with the distributors called for a set of 10x8 negatives for production stills and all they had were some Leica negatives that had been snapped on the floor and were under exposed and \er\ over- developed (soot and whitewash). P. Dennis of -tills lame soon got them out of their difficulties. He made enlarge- ments from the Leica negatives, rathei ovei exposing them,
[Continued on page 153)
Oct. -Nov., [937
THE CINE-TECHNICIAN
151
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152
T II E C I N E-TEC H X [CIA N
Octi-Nov., 1937
GeOrge H. Elvill, A.C.T.'s Delegate, reviews
THE TRADES UNION CONGRESS
NEWCOMERS, as A.C.T. are to the organised Trade Union Movement, have a heritage to be proud of. The Trades Union Congress recently held at Nor- wich was the sixty-ninth such gathering, and it is interesting to note that there were 620 delegates present, representing 214 trade unions, with a total membership of 4,008,fi47. When the Congress was last held in Norwich, in 1894, 378 delegates represented 179 societies with a total member- ship of just over one million. The vastly improved working conditions to-day compared with forty-three years ago arc almost entirely due to the work of this Trade Union Movement. Discussions at this year's Congress will continue to ensure a similar improvement for those who have taken our place in the industrial life of this country forty-three years hence. Organisation generally, unemployment insurance, social insurance, safety and welfare, pensions, hours, wages and conditions of labour, holiday with pay, the forty-hour week, international labour conventions, legislation, conditions in particular industries- the film industry, for example — and inter- national activities, were some of the specific subjects debated which will help us along this path.
It wa> with such thoughts in mind that I travelled to Norwich as A.C.T.'s first delegate to the Trades Union Congress. We represent a newer trend in trade unionism — technicians who until recently, both in our industry and elsewhere, have kept outside industrial organisation believ- ing it to be principally for manual workers. Doctors, actors and actresses, navigators and engineering officers, clerks and administrative workers, commercial travellers, insurance workers, engineering draughtsmen and others are now all part of the Trade Union Movement.
President s Address
Mr. Ernest Bevin, in the Presidential Address, made specific reference to technicians when he said that "there is an awakening on the part of another professional branch, namely, that of management, as apart from the finance- capitalist, which is making for itself a more distinctive place. These people are becoming increasingly conscious that the results of their labour are not being used to public advantage and that their endeavours over many years to organise and build up great undertakings of social utility are often brought to nought by the action of speculative financiers. Their position becomes more and more insecure. Tech- nicians will find much greater scope and security ... by working in association with us than they enjoy at the moment." Words which non-unionists should well heed.
Mr. Bevin also addressed part of his remarks specifi- cally to those workers who are not yet in their trade unions and pointed out that the agreements made by the Trade Unions, together with the work done through Trade Boards, covei nearly nine million people. "Therefore it will be seen, tin Presidenl said, that there are over 50",, of the workers affected who are mean enough to accept advantages towards which they do not contribute one single penny. What is more, they weaken the efforts of those who are putting up such a struggle to improve the conditions oi life. I call upon them to play the game."
The Film Debates
It is impossible in a short article to give a detailed report of a week's business. I hope that members will have followed the proceedings generally in the press. All I can do here is to enlarge upon these items of special interest to film technicians. The chief of those were, of course, N.A.T.E.'s two motions on the film industry. The first dealt with safety and statutory licencing conditions in cinemas and called upon the T.U.C. General Council to renew its representation to the Home Secretary on the urgent need of complete amendment of the Cinematograph Act, 1909, and Statutory Rules thereunder, and in par- ticular to press for amendments which will prevent under- staffing in cinemas, fix a maximum working- week, and ensure adequate rest-room facilities. In moving the motion, which was carried unanimously, Mr. Tom O'Brien, N.A.T.E.'s General Secretary, stated that many cinemas were still backward in these matters and, although the Home Secretary appeared to be impressed by a deputation
Reynolds's News Photo]
George H. Elvin anil father. Herbert H. Klvin. fellow-delegates to
the T.U.C. Mr. Elvin, senr., has just been elected 1937-58 President
of the Trades Union Congress.
Oct. -Nov., 1937
THE CINE-TECHNICIAN
153
he had received, very little headway had been made. Mr. F. W. Bussey, President of the Electrical Trades Union, seconded the motion and pressed specificially for T.U.C. action to help reduce the cinema workers' bonis of labour.
British Films and the British Film Industry
The second motion was the more important to A.C.T., dealing with the industry generally. After referring to decisions of previous Congresses, it said : —
"It recognises the increasing importance of the Film in influencing the thoughts, customs and habits of the
people, and its powerful potentialities for propaganda as well as for entertainment.
It considers t/iat a flourishing and efficient British film producing industry is a national necessity, not only to proteet British cultural and educational stan- dards from alien disparagement and infiltration, hut particularly to safeguard the employment of thousands of British Workers of varying grades now employed.
This Congress, having regard to all the issues in- volved by any foreign domination of this powerful medium of organised commercial entertainment, reasserts its desire that every means possible be utilised to protect the British film-producing industry from those in- fluences designed to weaken it, and instructs the General Council, in association with affiliated organisations interested, to press upon the Government that the new legislation shortly to be introduced before Parliament on this subject shall provide adequate safeguards of the principles to which this resolution calls attention."
Mr. O'Brien, in proposing the motion, dealt with its general terms and implications while I, as seconder, con- fined myself to the more domestic issues.
The mover drew attention to the great economic im- portance and potentialities of the industry and claimed that eight large American companies controlled nearly eighty per cent, of the world's film supply, apart from the dictatorship countries. The film exercised a greater influence on the minds of the people than either even the radio or the press and we could not afford to neglect it. It was the ambassador of trade and must not be allowed to come under foreign domination. To-day it took a sum equivalent to nearly one-half the value of our cotton exports to pay for the importation of foreign films into this country. The need for development of the industry was of the utmost importance, Mr. O'Brien continued, not merely to give greater employment but also to give to Great Britain and the British Commonwealth a status of security and dignity appropriate to its position in the world. A British film industry was a vital necessity, as vital to the country's protection and interests as any weapon of national defence.
In seconding the motion, I stressed that support was wanted to ensure that protection afforded under a Cine- matograph Films Act covered technicians and workers equally with other interests. The present Act did not give these safeguards. The letter only had been observed and technicians were ashamed of some of the junk which they had been forced to turn out as quota footage. The present White Paper proposals had suggestions which should help to ensure quality — although nothing could guarantee it — but the proposals as they now stood might very well tend to less employment than heretofore. The actual quota was being lowered in its initial years and the
double quota proposals should be strenuously opposed. It was also essential to remedy the foreign domination, referred to by the mover of the: motion, particularly as on the labour side it had resulted in the importation of un- necessary and superfluous foreign labour. To-day's present heavy unemployment amongst British technicians would be halved if the foreign labour at present in the industry was not employed. Film technicians were not being narrowly nationalistic, but the position must be reviewed in relation to conditions in the industry generally and particularly in other film-producing countries where it was virtually impossible for British subjects to obtain employment. The White Paper as at present framed may well lead to the ironical position of technicians being thrown out of their jobs through an Act of Parliament intended to foster the industry.
Mr. R. A. Bradfield, of the Shop Assistants Union, opposed the motion, objecting to the words "alien infil- tration and disparagement," in view of the fact that the trade union Movement was an international one. His speech was a clever one, but carefully evaded all the issues made by the proposer and seconder of the motion, and stressed the good films made in other countries— which, of course, we admit — thinking apparently that we wished to prohibit the exhibition of foreign films in this country. The support which this delegate obtained was quickly dispelled by Mr. O'Brien who, in a vigorous reply to the debate, reiterated the present position ol workers in the industry and urged on Congress to protect them. Upon the vote being taken, the motion was carried by an over- whelming majority, not more than a dozen hands showing in opposition.
I trust that as a result of this decision the various unions in the industry, under the lead of the T.U.C. General Council, will combine together to ensure that the best possible safeguards for the technicians and workers in the industry will be incorporated in the new Quota Act, and that there will be similar co-operation to remedy the other matters to which attention was drawn.
Lab. Topics (continued from page 150)
the prints in fact being quite "green." He then copied the prints on 10 x 8 flat film and on developing quite good negatives resulted, giving contact prints of the usual con- trast and full of detail.
The Labs. Have a Do
Last month Humphries and Pathe ran a joint social under the able direction of George Hughes, who welcomed friends from other labs. The Film Labs, team won the film winding competition. Jock Milne of Olympic and Miss Costar of Humphries with their "sweet music" won the crooning event, Bill Collo of Denham carried away a handsome bedroom clock in the draw. Leo Cass did a spot of bending when judging the ankle competition, which was won, after a keen contest, by Miss Woodcock
of Humphries Little lady, come up and see me
sometime. Community singing wound up a very suc- cessful evening.
The next social evening will be in the capable hands of our members at Automatic Barnes and Olympic. Both of these labs, have a fine record for promoting social events, and we are expecting great things of our next "social."
Gamma.
154
THE CINE-TECHNICIAN
Oct. -Nov., ic,:-
Recent Publications
The Seven Soviet Arts, by Kurt London. Faber and Faber, 15 -.
This book is the result of a trip to the Soviet Union, financed partly by the royalties from the Russian editions of the present author's previous work on Film Music (you can't take your rubles out of the country) and partly by the fees from a lecture tour in the Soviet Union inspired by that previous work.
We don't think the present volume will lead to another such lecture tour — not in the Soviet Union, at any rate. Not that The Seven Soviet Arts has no merit. It is a mine of information on the present state of the arts in that country, all eight or nine of them. And it covers allied crafts like the gramophone as well. One can therefore say that in the main this is an accurate account of the state of the arts and crafts in the Soviet Union this time last year.
But the opinions embedded amongst the information are of little more value than would be those of a benevolent cannibal who has just visited a neighbouring tribe that is emerging from the state of cannibalism. Nothing is so succulent to the cannibal (conservative creature !) as the flesh of his own kind. And nothing is more difficult for the conscientious ex-cannibal than to live through the period of time required to eradicate the cannibalistic lean- ings of his kith and kin, particularly the more materialistic of them. Think of the experiments in catching and killing and cooking other kinds of flesh, the danger in- volved, the overthrowing of age-old traditions, the search for new methods with which to replace them. It is certainly much more comfortable to remain a cannibal, and that is what our author feels in his heart of hearts.
But he does not help his case by deductions like the following: "... Kavalleridze, who is also one of the more prominent film directors, ... is working on the film-version of Lissenko's opera Natalka Poltavka. Just as Dovshenko was a painter before he took up film-direction, Kaval- leridze was a sculptor, and this will, let us hope, enable him to avoid making just one more of the usual film- operas which we have heard ad nauseam in the West. . . ."
All the dots in the above quotation are ours, except the last four. Evidently Mr. London believes so little in the film as a separate form of self-expression (in that, he resembles so many of our aunts and uncles) that he finds it beneficial for artists to play general post with it. We have only to refer the reader to the report of the A.C.T. Delegation to the Soviet Union, published in the last issue of The Cine -Technician, to discover exactly the kind of work of sculpture the film Natalka Poltavka has turned out to be.
T. B.
Continuity Girl, by Martha Robinson. Robert Hale, 7 (•> net.
The reminiscences of a Continuity Girl — unless, of course, they are of a scurrilous nature — must necessarily he more interesting to the public at large than to the people who know all about it anyhow. Continuity Girl has no plot. Martha Robinson just relates her experiences on a number oi productions, pausing now and then to explain technical points which would not be clear to the lay reader. The style is unpretentious, and, although writing in the
first person, the author does not force her personality upon one, nor leave one with the impression that the Script Girl is the one Great Big Noise in film production.
Except for an assurance, in her preface, to the effect that conditions have improved somewhat amongst the bigger companies, Martha Robinson does not comment at all upon the discomforts and long hours that film work entails. She describes it all, but leaves the readei to draw his own con- clusions. And it is to be feared that the uninformed will draw the wrong conclusions — to wit, that these things are necessary evils in the production of pictures. Martha Robinson might have gone into the root cause of these long hours, and examined to what extent mismanagement and stupidity were responsible for them, but then, perhaps it is too much to expect very outspoken criticism of the industry from one who still earns her living by it.
Vega d'Auvergxe.
Eleven Trade Unionists Visit Russia. Congress of P and Friendship with the U.S.S.R. 2d. This pamphlet is the report of the recent trade union delegation to the U.S.S.R., which included two repre- sentatives of A.C.T. whose report on the Film Industry was published in our last issue. The paragraphs on the film industry are an outline of the fuller report in The Cine-Technician. The rest of the pamphlet deals mainly with the observations of the other delegates, which, whilst interesting generally, suffer from the lack of detail which must evolve from any attempt to deal with a large subject in a restricted form.
How To Write A Movie, by Arthur L. Gale. Pitman, 7/6 net. Published as a guide to the amateur, the producer of scientific and educational films, and the writer who is interested in the possibilities of selling film stories. The author is editor of "Movie Makers," an American publi- cation.
John : Film Star, by Evelyn Eaton. Nelson, 5 - net.
A novel for boys. The story is told in and around a French film studio. Well illustrated.
Cinema Survey, by Robert Herring, Bryher and Dallas Bower. Brendin Press, 1 -. Interesting discussion of various aspects of film from three viewpoints — film critic, cineaste and professional.
R.P. S. Appeal
The Roval Photographic Society i- appealing for 100,000 shillings.
The lease of their present premises expires in March, 1939, and this sum is needed to secure adequate premises commensurate with the development ami present needs of the Society. Two ways are suggested to help obtain the necessary funds : — (lj Bv joining the Society, and (2) By subscribing to the 100,000 Shilling Fund. The work of the R.P.S. i^ well-known to cine-technicians, and it is hoped that as many as possible will respond to the appeal.
Oct. -Nov., 1937 THE CINE-TECHNICIAN 155
"The only intelligent film paper published in this country."
The London Star.
world FILM news
Monthly One Shilling. Subscription rates 15s. per year. Business Office: 217 Temple Chambers, Temple Avenue, E.C4. Phone: Central 2483. Editorial Office: Oxford House, 9-15 Oxford Street, W.I. Phone: Gerrard 6080.
Articles in the October number include : An Innocent in Hollywood; Conditions in Film Studios; Nell Gwyn to Queen Victoria; Film Reviews, by John Grierson; People of the Studios; Newsreel Rushes; An Interview with Pudovkin; Music-hall ; Short Films ; Radio and Tele- vision, etc., etc.
"The first good motion picture magazine to be published any- where."
Robert Flaherty.
156
THE f IN E-TEC HNIC1 A N
Oct. -Nov., 1937
Technical Abstracts
Applications of Photography to Scientific and Technical Problems. By Olai Bloch, F.I.C., F.R.P.S.
To-day the photographic industry is one of great size ,ind has many important ramifications. Amongst the chief materials used are silver, gelatine, bromides, paper, cellulose (nitrate and acetate) and glass. The quantities required annually may be estimated to amount to some 500 tons of pure silver, 6000 tons of cotton for the making of film base, 3000 tons of specially prepared gelatine, and 12,500 tons of wood pulp for the production of paper. Amateur photographers need about 1500 tons of film and 7000 tons of paper ; professional photographers use about 8000 tons of film, 8000 tons of glass plates, and 9000 tons of paper to make portraits and advertising pictures. II we include those industries of which photography forms the basis, such as cinematography and process work, the field is vast indeed.
Astronomy
Stars can be seen by the unaided eye down to a mag- nitude of 6 to 7, with the assistance of a telescope to a magnitude of about 15, and by means of photography to a magnitude of about 21. As one magnitude is the number whose logarithm is 04, the intensity ratio between tele- scopic and photographic perception is 1 : 250. There is probably a limit below which the energy of a light source is sufficient to affect the photographic plate, however lengthy the exposure, but we have no knowledge of this at present.
Spectroscopy
The spectroscopic analysis of the composition of the stars is of great interest. For instance, two bands in the infra-red, A 7820 and A 7883, show the presence of carbon dioxide in the planet Venus. This has been confirmed by experiments with a considerable thickness of carbon dioxide under pressure.
The absence of oxygen in Mars is inferred from the fact that photographs taken when the planet is approaching to and receding from the earth show no shift of the oxygen bands. Bands representative of ammonia (A 7,900) have been found in the spectrum of Saturn and Jupiter, and methane (A 9,700 infra red) is to be found in the latter.
Spectrophotography also plays an important pait in chemical analysis, especially of metals, both for the detec- tion and estimation of small amounts of foreign elements and also in the ease of alloys. Spectral lines and bands may be seen and their positions assigned by visual means, unless they occur in the ultra-violet or infra-red, but for the accurate measurement of their intensities photography must be employed.
Photomicrography.
This is a very important branch of photography. So far as visual microscopy is concerned, the drawing of the enlarged image is a very lengthy operation whose accuracy depends upon individual skill, and the amassing of a large numbei ol records is generally quite out of the question. Colour recording is more difficult still. Photography has made this an easy mailer, and colour-sensitive plates
and filters have made it possible to secure photographs of almost any desired contrast either of tone or colour in monochrome. fn addition, the making of micro- photographs in actual colour which give reasonable accuracy of colour rendering is now a simple matter, while the use of special apparatus and, in some cases, special emulsions, has opened up new fields of work in the ultra-violet and infra-red regions of the spectrum. Most laboratories, whether scientific or industrial, now employ the microscope in conjunction with the camera.
High Speed Photography and Cinematography
High-speed photography includes cinematography. The basis of this vast industry, which includes sound recording, is entirely photographic.
X-ray cinematography is a recent development ; the method usually employed involves the use of an X-ray fluorescent screen of high efficiency and a cinematograph camera with a lens of very great aperture, one of the order of f/0.85. The shutter is synchronised with the high powered X-ray tube so that the tube is only working tor the duration of the exposure.
Very high-speed cinematography can be effected by means of controlled electric sparking ; it is possible, for example, to record the working of machines such as the chain-stitch sewing machine, which makes 1,000 stit> hes per minute, with individual exposures of less than 1 8000 sec, or of the stick throwing the shuttle on a high-speed loom where the shuttle is thrown 250 times per minute.
In one highly successful type of camera the film moves continuously with as great a velocity as 200 feet per second, if required. The light source consists of intermittent flashes from a condenser discharge into a mercury vapour lamp in any number up to 6000 per second. If the number of flashes be synchronised with the number of cycles of any moving object required to be photographed, the instrument becomes a stroboscope.
The spark method has also been most successfully used in the photography of explosions in gases and the photo- graphy of projectiles, etc., travelling through the air.
Aerial Photography
Amongst the very interesting work from the air are the photographs of old camp sites, both prehistoric and Roman, and much beautiful work has been done, resulting in the acquisition of considerable knowledge. Mu< h survey work in infra-red photography has been done, and when the conditions are suitable considerable advantage results. For instance, a sharp horizon line is necessary in the photograph and this is not easy to obtain in misty weather, save by the use of the infra-red method. In consequence of the increased penetration obtained it also diminishes the number of photographs which need be taken, and for the same reason increases the number of flying days upon which photography is possible.
A photograph of the earth, taken during the strato- sphere flight of 1935 from the balloon Explorer II. at a height ol ovei 72,000 feet, shows the curved top of the troposphere which forms the lower boundary of the strato- sphere at a height of 37.300 feet. The photograph also shows quite distinct 1\ the curvature of the earth.
Oct. -Nov., 193^
THE CINE- TECHNICIAN
157
Polarised Light
The use of the polariscope in conjunction with the microscope is well known, and recent developments have made it possible to apply polarised light to ordinary photo- graphy- This is effected by making use of the properties of a crystalline substance, herapathite (quinine iodo- sulphate), which possesses this property. The screens are made by orientating the crystals suspended in a suitable medium by squeezing them through a slit. These screens, placed in "front of the camera lens in the usual way, are capable of cutting out unwanted reflections from glass, wood, paper and other surfaces, but not metallic reflections. In the latter case it is necessary to polarise the illuminating light and to use the filter in front of the lens as an analyser. This can be done by fitting a large polarising filter over the light source or sources.
— Journal of the Royal Society of Arts, May, 1937.
Precision Lighting
is tip from Academy Award Winning Cameraman, Gaetano Gaudio, A.S.C.
"During the past year my attempts to solve the lighting problems created by to-day's super-speed films have evolved a definitely new technique of lighting.
It might be called 'precision lighting,' for it is achieved almost exclusively with precision lighting tools — spotlights. The general floodlighting equipment which was formerly used to assure a safe exposure level of illumination overall is no longer needed or used. Instead, every detail of both actors and set is lit with light beams projected from spot- lights. This makes no difference in the amount of light used, but it makes a tremendous difference in the result on the screen. Every beam can be controlled precisely.
Our normal concept of light is that it comes from above. Outdoors, even on a cloudy day, the light comes from the sky. Indoors, either from windows or lighting fixtures, the illumination comes downward from above. Why, then, should we play light on our sets from any angle but above ?
Tikewise, in a set where we try to get some separation between players and set by contrasting well-lit players against a darker back wall, if we use front light from units on the floor, the light will not stop after illuminating the player, but will continue onward to disturb the lower keyed lighting of the wall. 'Anthony Adverse' was
lighted almost entirely by spots.
There is another precision lighting tool which plays a big part in my new lighting technique — the dimmer. My electrical crew always keeps from four to half-a-dozen or more small dimmers available on any of my sets. With them I can rebalance my lighting by bringing this unit up or that one down as the players or the camera moves about the set."
Gaetano Gaudio uses these small dimmers on his lights so that they can bring up slowly the intensity of his lighting to increase modelling on the actor's face to suit the par- ticular tempo of the scene. In dolly shots he similarly has natural effects in lighting by allowing the players to walk through shadow-areas from one high light source to another as is shown in the ward scenes in "The White Angel," illustrated alongside. In this type of lighting, he says, composition should be properly part of the lighting scheme. American ('iueniatographer, July, 1937.
Report of Standards Committee
New Drawings
The most important actual change recommended is an increase in the width of the variable-width sound record on 35 mm. film from 0'071 inch to O076 inch. The latter value is actually in use now and was introduced to make room for the double track for the push-pull recording system. This change involves also a change in the sound track dimensions for 16 mm. film to allow for reduction printing. The width of the sound record is increased from 0-060 inch to 0064 inch. The width of the printed area for the variable-width sound-track has been reduced, however, from 0096 to 0085 inch, so that the printed area for both types of sound records is the same.
Screen Brightness
In accordance with the recommendation of the Pro- jection Screen Brightness Committee and its endorsement by the Projection Practice Committee, the Standards Committee is proposing to adopt as recommended practice a standard screen brightness of not less than 7 or more than 14 foot-lamberts. There have been some good arguments against this recommendation and further com- ments will be welcomed before the final adoption of this recommendation. Reference can be made to the New Year, 1937, issue of The Cine-Technician for a detailed article on Screen Brightness.
Standard Densities
After investigation by the Sub-Committee to determine the possibility of standard densities for standardizing densitometers, the recommendation has been approved by the Standards Committee that strips of photographic film standardized by reference to an integrating-sphere densitometer be used as reference standards. In spite of the fact that these densities are not permanent, it is believed that they are as permanent as any other densities likely to be obtained, and have the further advantage of offering approximately the same degree of light-scattering as the photographic film with which they are to be compared.
—S.M.P.E. Journal, August, 1937.
Ward Scene, "The White Angel. (Warner Bros. Production.)
158
THE CINE-TECHNICIAN
< •' t .-Nov., [937
Recent Developments in Motion Picture Set Lighting
E. C. Richardson
Main- of the industry's outstanding cinematographers state that they lavish quite as much care upon lighting the set itself as upon lighting the star actors. Illusion of roundness is achieved by high lighting curved surfaces with little catch-lights, which give to the single eye of the camera the effect of binocular vision. These effects are generally attained with projecting or spot lighting units mounted overhead and usually crossed. Although sets are mostly three-sided, lamp rails overhead are mostly four-sided.
Artificial shadows forming patterns properly executed is trick to enhance composition of picture.
"Key lighting" fundamentally refers to the logical practice of lighting sets directionally usually suggested by set designs.
The dominant light source would come from H.I. arcs projecting a clear-cut beam. Beneath this "key lighting" secondary modelling light units would be used.
Lighting close-ups is an intensely individual matter. Marlene Dietrich may appear best under strong "key lighting" projected downward upon her face, and Mae West may require the softest of diffused flat lighting. And a third example, Irene Dunne, may look best when her face is softly illuminated by focussing a "baby" spot- light fitted with a magenta filter into her eyes to enhance their natural sparkle. The new Junior Solar Spot is a prime favourite for this service and the 500-watt baby solar spot is very useful. Even distribution is given by their Fresnel-type lenses.
The "Handi lamp" or "Lupe" is used for mounting on camera blimp or "dolly".
Individual dimming devices are being used more and more.
Careful attention to physical and mechanical aspects of burning carbons, elimination of flicker, improvements in carbons, allow H.I. arcs to reduce excess of blue and ultra-violet radiation and burn as steadily as "inkys," requiring only a straw-coloured filter to afford a photo- graphically satisfactory distribution of light within a beam of from 8 to more than 45 degrees.
More than 95 per cent, of lighting for Technicolour productions is done with H.I. arc spotlighting equipment.
—S.M.P.E. Journal, August, 1937.
l>v an electrically controlled heating unit designed to speed the drying of the cement and to vulcanize the splice. This unit operates on either type of current (AC-DC). The machine is warmed in one hour and is designed to be left on continuously for any length of time.
Duplex Cinema Equipment, Hollvwood.
New Splicer
Duplex's new splicer is six inches wide, five and one- half inches high and eight inches long. Can be operated at high speed, for either 35 mm. or 16 mm. film as each machine is equipped to handle both sizes. An important feature is the built-in dry scraping device, which removes all emulsion from the film with one flick of the finger. The scraper is set to very close register so that it removes the emulsion easily and completely with one stroke, so that splices can easily be made in total darkness if necessary. The entire machine is kept at a constant warm temperature
New Type Screen
The first installation of the "gradationally perforated" screen, recently developed by the Hurley Screen Company of Long Island City, has been completed on the Radio City Music Hall, New York. The screen is perforated only in approximately the horn area, leaving the remainder solid.
The extent of the perforated area depends upon the size of the screen, ranging from 8 feet wide for small and medium-sized screens, to 12 feet for large screens. From the middle, the perforations gradually diminish in number and diameter towards each side, but they average a diameter which, with the depth (thickness of screen) makes the total transmission area (holes) approximately equal to the usual 10°o of the entire area of the screen.
Installation of the new screen in the Music Hall was a huge task, the overall dimensions of the screen being 50x80 feet. There are over 1800 grommets for attaching to the frame.
— Motion Picture Herald {Better Theatres), July 24th, 1937.
WE SERVE THE INDUSTRY BY PROVIDING THE ONLY EXCLUSIVELY TECHNICAL FILM EMPLOYMENT AGENCY LICENCED ANNUALLY BY THE LONDON COUNTY COUNCIL
Accurate records of technicians available :
camera, sound, editing & cutting, art, stills, assistant directors, continuity girls, all grades of laboratory workers
From . . .
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Oct. -Nov., 1937
THE CINE-TECHNICIAN
159
Pog Revolves the World for the sake of the Children next door.
Hollywood — Only six million dollars and Hollywood will belong to England ... at least so we are told . . .
Germany — They are now destroying all the old screen masterpieces (pre-Hitler). What a break for English Quickie Directors. . . .
Italy — Nero still trying to fiddle.
Intelligence Test For All.
£3 million lost in the Film industry. Who's had it ? Is Dean Inge the only gloomy Dean ? Who are the four Englishmen left in the Industry, and why ?
Talking of from "dustbin to the dinner-table," are
zipfasteners a good cure for flies ? Who was Captain of the Wardour Street Lancers ? Was he also Controller of Perforations ? Who said, "Let's play the game, boys, but remember
it's hide-and-seek, not cricket ! " ?
Poets Corner.
ALICE IN WONDERLAND
(With respects to Lewis Carroll.)
. . The Four Englishmen left in the Film Industry . . . . ? ! !
In view of the Soviet flight over the North Pole, is it true that "Conquest of the Air" was made with Russian Gold ~J. It's evident, but not very Prudent.
Is the mystery night flier over London really Mr. Crocker ?
If all the rolls of film from Denham were unrolled and placed end to end they would reach from London to — — Prize for the best answer or measure- ment. ( 'Sole— Nitrate film should be kept away from flame).
Lord Moyne he worked on his report, He worked with all his might ;
And did his very best to make Things for the Trade more bright.
And this was hard because it was In such a sorry plight.
The film magnates in Wardour Street Were walking hand in hand,
They wept like anything to see Some British in their land.
"If they were only sent away," They said, "it would be grand."
"The time has come," one magnate said,
"To meditate and brood. We'll send for the producers
And the stars from Hollywood, But we'll get British capital,
Their money's always good."
"Oh ! wealthy banks and companies,
If vou'll lend us your cash, We'll show you how the British film
Can really cut a dash." And one by one they came along ;
'Twas really very rash.
On they all came and very soon Millions of pounds were lent ;
Shareholders, too, were very glad, It seemed a good per-cent.,
And no one knows e'en to this day Just where that money went.
160
THE CINE-T E ( H N I C.I A N
< >' t .-Nov., Hi-
Producers they came from abroad, And technicians and stars ;
One very ace air cameraman [t's rumoured came from Mars.
The British helped with loading-boys, With prop-men and with chars.
Luxurious studios were built, With swimming baths and pools,
A boudoir there for each film star With gilded chairs and stools.
It's odd how easy 'tis to get Money away from fools.
The film magnates again cried out, "Build us another floor,
The money's all gone up the spout, We'll have to say encore."
It's very sad to have to say There wasn't any more.
Lord Moyne he smiled o'er his report, He smiled with all his might ;
"Fifteen thousand you must spend." That gave them all a fright,
"Producers must be Britishers," And Echo answered "Quite."
Pog exits (hurriedly).
A very good day to all you poor saps.
THE CINE -TECHNICIAN
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THE CINE-TECHNICIAN
The Journal of The Association of Cine-Technicians
Editorial and Publishing Office: 145, WARDOUR STREET, LONDON, W.l. Telephone: GERRARD 2366 & 4669. Advertisement Office: 5 and 6, RED LION SQUARE, LONDON, W.C.I . Telephone: HOLBORN 4972.
Volume Three, Number Thirteen
DEC-JAN., 1937-8
Price Ninepence
TELEVISION
by " TELE-TECHNICIAN "
THE recent presence of the B.B.C's. mobile tele- vision unit at Pinewood, Denham and Elstree, has aroused amongst the film technicians of those studios a marked curiosity as to how the television wheels go round. It is not within the scope of this brief article entirely to satiate thai curiosity- a simple explana- tion of the design and operation oi a television transmit- ting and receiving station can be found elsewhere* but rather I want to outline briefly the difference in technique between making a motion picture and broadcasting a television programme.
The most salient point to be appreciated is that, apart from the film transmission which is radiated every morn- ing from Alexandra Palace, the studios there actually pro- duce nearly two hours' screen timt ever^ day —as opposed to a film-unit's twenty minutes' "rushes," out of which may emerge three to four minutes' actual screen time. I deliberately say "nearly two hours" because, of these two hours radiated each day, some ten to fifteen minutes are taken up by film transmission (either news-reels, car- toons or interest shorts) to fill in the few minutes necessary to strike the sets used in the tirst part of a programme, and civet Mini dress the sets for the succeeding part of the transmission.
An individual item may run for five minutes or for an hour (vide "Journey's End." which was televised on Armistice Night), which means that the actors have to memorise their lines and action to an extent wholly un- known in motion picture production. Technicians (by which I infer the assistant-director, camera operators ami boom swingers), on the other hand, while working under the same conditions of prolonged strain as the artistes. have the advantage oi wearing headphones which arc con- nected to a microphone in the monitor-room, and b\ means of which they receive from the producer running instruc- tions as to the operation of their equipment — ". . . cue the butler in now, please . . . pan left slightly, number three camera ... I am coming over to you in a moment, number one . . . you'll have to give me a little more head room . . . I'm mixing you now, number one . . . track forward
i\\ b
lower the mike as number one comes m
* "The London Television Station, Alexandra Palace," published by The British Broadcasting Corporation, Broadcasting House, London, W.i. Price i,/-.
sound ..." is the sort of thing they hear, thanks to the ia.t that the producer sees on the main screen the picture from the camera which is actually in use. and on pre-view screens the pictures from those other cameras which he will next he using.
I'hc cameras (known as Emitrons) employ no film of any sort, being entirely electrical, and their outputs ter- minate on a, panel similar in appearance to the sound- mixing panels so familiar in film studios, where they can be faded, cut, dissolved or superimposed at the discretion ol the producer; in addition, the "electrical output" of one or more special film [known as Telecine) projectors can be mixed m with the camera outputs to obtain special effects. From which it will be observed that all the edit ing is done while' actually broadcasting or shooting, and the director or producer has to go on the floor knowing exactly where Ins cuts, fades and dissolves are going to take place an unusual experience lor the average film director producing a television show for the first time'
Scripts are substantially the same as motion-picture scripts but more detailed (see Fig. 1), and in order to avoid chaos must be adhered to fairly rigidly; 1 use the word "chaos" because it must be remembered that in television production the expressions "Cut" and "Let's have another take" are non-existent, so that failure on the part of either artistes or technicians to follow the script closely may lead to severe complications, in that a lot of the mechanics are dependent on dialogue word cues. Errors l>\ the technical crew can be immediatelj rectified by the producer via the headphones already re- ferred to, but once a transmission has started the pro- ducer cannot contact the actual artistes. Summing up, then, so far as the producer, the artistes and the techni- cians are concerned, a half-hour transmission (and -ibis is a very frequent length for a television play or revue) tan be likened to a situation unheard of in a film studio one take, 2,700 fee< long.
When film technicians have digested the above, they will perhaps he less prone to draw comparisons unfavour- able to television between what the\ see on a television screen and what they see in a motion-picture theatre.
Finally, a few words as to the size oi the television picture. Film technicians, in particular, seem to bi
10]
T HE C ] N E-T E C H X I (' I A N
D( -.-Jan.. 1937 8
VISION
SOUND
A. P. Control
FADE IN TELECINE Continuity as previously
QUICK FADE OUT AND CHANGEOVER
FADE IN "Music from the Movies" As previously.
MIX IN O.B.LINE (No.l microphone) HOLD MUSIC UNDER 0.3. OPENING UNTIL CUE TO FADS OUT BY TEL. P.M.
O.B. Control
Start music before vision fade in.
FADE IN
No. 2 camera M. C. U. Miss Matthews and Mr. Whiting sitting On sofa. Hold tight shot on No. 2 camera, mounted on truck. Motion-picture camera to be set up just behind emitron camera, so that when emitron tracks back, motion- picture camera (and crew) are revealed.
On Miss Matthews and Mr. Whiting exiting for dance :-
MIX TO:
No.l camera M. C. U. to F.L.S. Camera mounted on camera crane in down position, holding full length shot of Miss Matthews and Mr. Whiting dancing. Camera to pan as necessary for holding. Position to be held such for 2nd chorus.
For 3rd chorus (last) crane slowly to track back and rise, timingbeing such that when back and up in L. S. of entire stage, number finishes. On finish of number: -
MIX TO:
Song: Jessie Matthews and
Jack Whiting Two pianos, guitar and drums accompaniment. (Routine: 1 v. , 1 c. vocal, 2 c. dance)
No.l microphone boom: vocal and
speech.
No. 2 microphone stand: pianos, etc.
MIX OUT:
No.l microphone
No. 2 " on pianos, etc.
MIX TO: No. 3 microphone
SONNIE HALE: O.K. cut I (Director)
No. 3 camera M.S. Shot to include whole of former set-up, together with motion-picture camera, lamps, crew, electricians, etc. Mr. Hale and Mr.MacWilliams in shot. Miss Matthews and Mr. Whiting to enter. Everyone on stage to maintain a background of conversation immediately after Mr. Hale's
'cut' in previous shot,
SONNIE HALE:
That was fine, darling. Good for you, Glen ?
GLEN MACWILLIAMS: Grand.
JESSIE MATTHEWS: You mean to
tell me you don' t want another take?
Figure i
Dec. -Jan.. 1937-8
T 1 1 E CINE- T EC II N I C I A N
16-2
opinion that the television screen is too small to warrant their really serious interest in television. I would submit that this reaction is probably due to the fact that they have only seen television in a large room and in the pre- sence of a considerable number of other people, which means, in all probability, that tiny were standing instead of sitting (and that their eves were therefore on the wrong level relative to the screen), and that tiny were some fifteen to twenty feet away from the receiver. The ideal way to look at television, en a standard commercial re- ceiver, is to he seated in front of it at a distance of some
ml Ei ■!
six in ei^ it you go tc clench your fist and eves and the sen-
and. as in a cinema, in virtual darkness: a cinema, sit in the best seat in the house, d it at arm's length between your •en. and you will observe that your list almost entirely covers the screen; it you sit, as 1 have prescribed, in [ront ol a television receiver and do the same thing, the same result will ensue. This would sug- gest that tor the home, at least, the (.resent television screen is proportionately of the correct relative dimensions.
On the Studio Floor; Television and Cine Cameras meet.
Studios While You Sleep — (continued from p. 164)
shots were described as "knee-shots" and "waist-shots" and curious terms like that, which delighted me. as 1 have never met any two people who precisely agreed what a "mid-shot" or a "semi-close-up" is.
Then came the great moment when we were readv to shoot. But then my alarm clock rang, and I had to gel up to Eeed the chickens; which was. 1 suppose, just as well, for my ideas will now always remain magnificent ideas, and will never be exploded in the harsh light of practice.
NEW SOCIETY l-'ol! VIEWING SCIENTIFIC FILMS
A new Society has been formed under tic of the Association Of Scientific Workers, fol
scientific films. The first programme included 1
markable film from Frame and two important Gaumont-British Instructional, a colour film by and a new G.P.O. him. The show was at the mi Sunday. December 12th, and profits will ; furthering of the scientific film. Those inte future activities should applv to Film Centre, Square, W.I . or to the Association of Scientific Kelvin House, 28, Hogarth Road, S.W.5,
auspices \ iewing 1 very re- til 1 us by Fen Lye Academy 1 the
rested in 34, Sola,
Workers,
THE (' I X E-T ECHNICIAN
Dec-. -Jan., 1937-8
ROBERT STEVENSON
STUDIOS WHILE
YOU SLEEP.
WIIEX the Editor of the "Cine-Technician" asked for an article, I did not quite know what to do, for J have seen no films for two months
and thought about them not at all. Having lived in studios for nine years, I made up my mind that it was time to brush up my knowledge of the outside world, and 1 now live on a [arm, with hens, ducks, pigeons and a horse (and quite a good long-shot with the dovecote in the foreground), and no cinema lor tr\) miles.
I knew the Editor would not thank me for a note on Buff Orpingtons or a discussion on the merits of Wessex Saddlebacks. So I put the matter off and went on cul- tivating my garden (and I can't help thinking Voltaire must have served nine years in a studio when he insisted on the necessity of that excellent cathartic).
Fortunately Anna tried yesterday to make cheese, a thing that she has never done before and I hope will never do again. I was forced to ea( some of her cheese for supper, and as a result, dreamt that a capitalist hail pre- sented me with a million pounds to start a studio. Why he did so, I don't remember, perhaps he had misread the new Quota Bill ; but I spent the resl of the night deciding how 1 should run it, and my schemes may be of interest to cine-technicians, if only that they may disagree with I hem.
At least, they are not the fancy pokerwork designed to adorn a company prospectus, but the protest of a humble cine-technician, who lias suffered every studio misery Irian dry-nursing directors as associate producer to seeing his own sad face on the screen as (dapper boy.
First of all, T found that in my studio the creative and the non-creative sides were sternk separated. The creative side was defined as the producer, the writers and the whole floor unit, with people like the art director and the cutter who are directly alloted to a picture. This delighted me, as 1 have always been mildly surprised that the door unit, who make the film, should sometimes be the Cinderellas of a big studio.
As f:ir as I can remember, the people in offices were made to wear bowler ha Is to show that they were business- men, though an honourable exception was made for the producer, who, il he is the right man (and in my experience I have been blessed with the most pleasanl producers), is creative. And another thing in this salaries of the people in bowler hats i the picture, so thai the lloor unit
he shadow of a claustrophobic over-
e no doubt that they were added in
a hundred per cent . curious dream, the
were not charged t did not live under head ; I llOUgh I ha\
h\ head Office thev like
who in thei
r greai mystery can do what
Xext in my dream. I abandoned the style and title of Assistant Director, for no Assistant Director is an Assistant Director, but something tar more important, the Director's Chief of Staff. The best title I could think of was Floor Manager, but I was asleep at the time and might do better in daylight. J also remember multi- plying his salary by four, on the grounds that what a man earns should bear some relation to the money he can save or lose for his employers.
Then 1 found myself choosing my staff by most peculiar standards. I did not pick a cameraman just because I had been to the trade show of his last film and thought a couple of long shots "very artistic." 1 found out how long he had been allowed to take in lighting and bore that in mind. It make- a slight difference to the cosi of a picture! So with directors: any director who messed about and didn't know what he wanted and tried things out was taken off the picture, which was some- what of a surprise to him.
Also with directors. 1 ruled out any who could not write. This is a peculiar theory of mine- that as direction is the visualisation of the completed film, a director who can't write and therefore can't visualise, is incompetent and wastes time. But, as I say, this is a peculiar theory of mine.
At the same time. 1 ruled out any director who in- sisted on writing everything himself. The writers are the writing specialists; a director's job on the script is that of a sub-editor, to sele< I from them what he wants.
By now the effects Ol the cheese had become !
insistent and 1 launched an attack on the thing 1 loathe
Dee. -Jan., 1937-8
T H E C I N E - T ECHNICIAN
101
most in a studio, and that is chairs with important people's names on them. How reasonably democratic Englishmen can tolerate thrones for anyone above a certain salarj is more than I can understand.
1 found in m\ studio a curious practice of putting up a detailed weekly cost for the unit to sec 1 have never really understood whj costs should be concealed unless the producer is ashamed of them; and 1 can't see how you can expect a floor unit to cut costs unless tln'\ clearly understand what those costs are.
Furthermore, alter the release ol ever} film a report was posted up of the gross, with comments from renters and exhibitors on its success or failure. A unit lias to make films to public taste, which it can only judge 1>\ past experiences, and if it does not know just how those experiences failed or succeeded, it cannot learn anything.
In this curious studio, I planned a unit call at 8 30, shooting at 9.0, with a schedule honestly designed to finish at 5.30. If the schedule was not completed, the unit must work till 6.30, hut no longer in any circumstances, and no specious arguments about striking sets or releasing artistes. And. most important, if the schedule was finished before 5.30, the unit went home, even il it was only three o'clock. And this rule is not such a dream fantasy as it sounds ; we tried it once and J believe it is the first rule of economical pictures. For you can have wdiat illusions you like abouf esprit-de-coriJS and the good old firm; hut only Dean Farrar's Eric would kill himself to get through the day's schedule il he knew his reward was to go straight on to to-morrow's.
Then
■re two other curious things about our hours.
Everj evening immediately alter shooting there was a ten minute conference on the next day's work, with the night gang standing by to make any changes required (though 1 suppose the reall\ curious thing was that the director knew just what he was going to do). And the other was the second Saturday of everj schedule was a whole holi day lor everyone except the director and the producer, who sat together and ran all the stuff shot, and quietlj made up their minds if the film was turning out the way they had planned, and made any changes necessary. Very often a rot sets in, and the director is too tired or has no tune to take a lone view' and see that the film is slipping ; one day off alter a fortnight 's work would save ten days' retakes later.
Then in m\ dream 1 came to the first week before production, and I was surprised to see the script onl_\ in master scenes. This, I was told, was because t1 technical detail there is in a script, the more pleasant an actor finds it to study, and it was these scripts that were given to the actors.
Then the producer held a conference, with the full floor staff, including the chiei electrician and the head "props," at which the director outlined his ideas lor even scene, si thai the floor unit mi^ht have at any rate some idea of what they were dome, though when the director cheerfully accepted ideas from the others without proclaiming that his dignity was insulted. I realised that it was only a dream.
Then a second script was prepared for the staff with every possible technical detail. in this I saw that the
(Continued on page [62)
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1 is a foreign recording. 5 were recorded by other British Studios.
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165
T II F. CI X E-T F < II X I C I A X
Dec-Jan., 1937 -
WHAT THE SEPARATE QUOTA SCHEME
MEANS
(This is an anonymous article. The authot is a distinguished British journalist. For various causes, his reasoned plea on behalf oj the Separate Quota proposals must he published unsigned).
T
HF STANDING COMMITTEE which is consider- spend on making en- acquiring a quota picture, link their ing tlic Government's new Films Bill, begins "quickie" to some big American picture and offer it for discussion of the proposal for Separate Quotas as sale in double harness. The exhibitor who, in many ci we go to press. Tins new scheme was made would much prefer to buy a voluntarily made British pic- public only at the beginning of November. ture, is compelled by the renter to buy his quickie or
Despite its complexity it Ins already become the do without the big American picture, dominant issue, and it promises an abundance of Parka- How do the Government's proposals affeci all this?
mentan headaches during the next few weeks. To grasp Very little. The minimum cost of the quota picture
what is implied 1>\ " Separate Quotas" it is necessary first which the foreign renter has to make or acquire is
of all tn summarise the existing situation. creased to £15,000.
The present law requires that out of five full-length But the Bill perpetuates the system under which
pictures which the renter (i.e., the distributor) offers for genuine British quality pictures have to compete (even
sale, one shall be a British picture. inside the quota market which was intended to pr -
Concurrently the law requires that out of each five them) with the quickie which will in future be more
pictures exhibited, one shall be British. costly but of wdiose quality there will be still no guarantee.
Diagram i. Government Scheme
Diagram 2. Separate Quota Scheme
|
GENUINE BRITISH FILMS |
"**<. |
|||
|
FILMS MADE IN BRITAIN SOLELY TO FULFILL RENTERS QUOTA' * |
RFNTF R S |
|||
|
-:-"- |
" "IMPORTED" |
- IMPORTED ■ |
||
|
_ _ |
||||
|
- -i |
||||
|
J |
||||
|
^ — |
L^-n^^- ---; |
UZ^ |
^-CJ^~- "-^~^— " |
;. OC[N MARK I I
|
, GENUINE. BRITISH FILMS |
l 1 |
||||
|
.Films maoe in BRITAIN SOLELY to fulfill RENTERS QUOTA |
R E r, r L R s QUOTA |
||||
|
- - |
|||||
|
>> |
- IMPORTED- - " FILMS- -J |
- IMPORTED - |
:-~- |
||
|
- - |
|||||
|
— |
|||||
|
— - |
— _ . |
||||
|
— - |
|||||
|
-Z=- |
^-^s.^^-C-^-"^ |
«^j^J |
-v_^^-_ --- |
-^.^ |
OPEN MARKET
s
3
-
s
This system, which was designed to give a quota pro- Now look at Diagram 1. Tl ■ ws the treatment
tection to British pictures, has in effect resulted in the the British film has been encountering durino the last
protected market being largely cornered by the American ten years and which it would still encounter under the
sponsored "quickie" which, while fulfilling the strict letter ( rovernment proposals.
of the law has wholly vitiated the purpose behind the The vital part oi this diagram is the right-hand
biw column under the heading ol "Exhibition."
" lr fc*iese compUlSory quickies made for £6,000 apiece A British picture costing 620,000 or 630,000 will still
are so inferior," you ma\ ask. "why does the exhibitor Lave to compete for exhibition with pictures made -
show them in preference to a genuine British picture, to fulfil the renters' quota. Perhaps the British picture
made voluntarily, which may have cost £20,000 or will be excellent. More than likely the quickie it is com-
£30,000 and which in nine cases out o| ten is immensely peting with will be as inferior as ever, but the quickie will
superior in quality to _ the^ quickie?" still have the selling pull of being coupled with a big all-
The answer is tins: The foreign renters, wishing to star American picture, to acquire which the exhibitor
recoup some 0f the mone^ thej bave been compelled to will have to pocket Ins pride and his patriotism and -
Ji
1937-8
II ]•: (IN K-T E (' 11 N I C J A N
1 (■»()
low the quickie along with the big American feature.
The British picture, crowded nut of what should be its protected field, may still get a showing, but it will have tn compete in the open market without any quota protection whatever, ami indirect competition with films which have already more than covered their production costs in the United States ami which fan therefore sharply undercut the British product.
The supporters of the Separate Quota believe that they have a remedy lor this situation. Their proposal is that no one film shall he eligible for both renters' ami exhibitors* quota and that it must be stated at the time of registering whether a film is intended for renters' or exhibitors' quota.
The renters of foreign pictures will thus still have to acquire a quota of British made pictures but they will no longer be able to sell them inside the protected market. British pictures made or acquired b\ renters to fulfil their quota requirements will have to compete in the open mar- ket on even terms with the foreign produced films.
Apart from all other considerations this will tend in discourage the quickie and to improve the quality of the films made or acquired in Britain by the renters.
So far so good. The real importance of this pro- vision, however, is that it gives for the first time a genuine scientific protection and a reserved market to the genuine British producer.
Now look at Diagram '2. The genuine British pro- duced film Mows straight through to the third column market "Exhibition." where it reaches a genuinely pro- tected market.
"But," say the opponents of tin- Separate Quota, "if these. British films reach the screen without any foreign competition what guarantee will there be of their excellence '.'"
"A film will not make money merely by being pro- tected," reply the sponsors of the Separate Quota, "and if pictures made under exhibitors' quota do not pay. fewer ami fewer of them will be made, if, on the other hand, the public likes them, tin ■ \ will make a profit, capital will be attracted once more into British film production and more will be made. The whole point of the Separate Quota Scheme is that the exhibitors' quota is flexible and will rise or fall on a sliding scale according to whether British producers succeed or fail at the Box Office."
The Separate Quota, after a quite short public life. now has the backing of practically every British pro- ducer who is not also an exhibitor. Main renters of foreign films have also given it their blessing. All the Trade Unions, representing the workers in the industry, are also behind the scheme.
The Separate Quota does not give the British film producer the same certainty of demand as does the Government scheme which calls for compulsory manu- facture of a rising number of British films each year, irre- spective of their merits. It provides instead a genuinely and scientifically protected opportunity for films to he manufacture voluntarily. The number made will depend upon the commercial success of their predecessors and not upon an artificial and arbitrary scale.
The Separate Quota system gives protection to the British producer and then leaves him to stand or fall by the quality and Box Office appeal of his product.
The Government scheme compels production, but by withholding any genuine protection withholds all induce- ments to quality.
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II','
T II E C I N E-T E (' II NIC] A N D e.-Jan., 1937-8
THE FUTURE OF DOCUMENTARY
by
JOHN GRIERSON
Stills by courtesy of Strand Film Co., from the Paul Rotha production, "To-day We Live," directed by Ralph Bond and Ruby Gricrson.
F1KST. as I am writing for technicians, lei us get known that if we sold it hard enough, created enough
straight on that won! documentary. I sec Michael snobberj around it, Wardour Street, with its usual sense
Powell has been raising a great fuss because the of inferiority, would ash no questions and swallow it whole.
critics called Edye <if tin World a documentary. Nothing less has happened. 1 used to he ottered two
lie doesn't like it because Wardour Street thinks there hundred feet in the pictorials. To-daj when we care to
is something highbrow and difficult about documentary go into the theatres, which is not often, we get West End
and the commercial success of his line picture is thereby releases and featurette prices. I confess, however, that
prejudiced. Will. I like it and for these ven reasons. It we have learned something about making films in the
is time the cinema got less scared about being highbrow interval and you can't blame Arthur Pent tor that. There
and difficult, ft has been playing tag with the sevenpenny ma\ even be some uses in adversity. But the fact is
novelette outlook long enough. Men cannot live bv bread to-day that we like the word documentary and just
alone and the cinema cannot live forever on the excitations cause so niau\ others dislike it. It marks our difference
here to-day and gone to-morrow of mere entertain- and our vanity. It indicates, by its ven ugliness, that
meiit . As a full blown medium of expression there are we are the educators and uplifters oi the good old breed.
other things it can do as well. It can inspire a bit. It >\\ The verj fact that the word is ugl;j and essentially un-
explain a bit. It can cut off slices of fact and bring them entertaining keeps the commercial people from stealing it
alive. And documentary is one part ol the attempt to and gives the group 1 represent an effective monopoly, do that other thing with the cinema.
Personally, I have never worried much about th
attitude of Wardour Street. Representing, as it does, the
more naive uses of the cinema, I have never expected it
to understand what documentary was alter. I have onh
Who arc we to throw away a commercial asset'
S] caking more seriously, there is nothing mysterious about it. In documentary (French: Documentaire: based on fact) we have been concerned to describe actualities and interpret them. Remember the onlj model we had
Dec. -Jan., l(.)37-8
T HE CI N E-TECHNICl A N
L68
to go on originally was the newsreel. There the story was in the ready-made interest of the material. We have set ourselves the more laborious task of cutting off slices of industrial, social and everyday life and trying to make that hitherto unpromising material look sufficiently like a story to carry people's interest. Why did we do this? Why not concentrate on the exciting things and be sure of making the theatres and making money, and so forth and so on, as per W ardour Street?
The answer is: 1. we were more interested in these seemingly dull things; 2, we were not necessarily in- terested in making the theatres, when we knew that in the halls of the country there was more seating capacity than there was inside the circuits ; 3, we were not all of us interested in making money. Why again? Because some of us started out to be instructors of the citizenry. As Michael Arlen once said of his writing we may not be good teachers, hut we have at least the fortune to be born ones. So we take a particular pleasure in telling the citizenry, as best we can. how their community works. We find the film an excellent medium for doing so and, in fact, a necessary medium for doing so. You can only bring the complicated processes of the commu- nity alive in a medium which allows for both simplifica- tion and drama. And film does that. It is also a magni- ficent carrier. It not only dramatises the description and the exhortation, the lesson and the lecture, but it can shoot them out to every lecture room in the country. There are more than a hundred thousand of them.
This explains why we have plenty to do and a vast field to work in, and why, though we like playing the Carlton and the New Gallery and are always privileged when we play the film societies, we do not depend on them. Of late, we have a minority movement in our midst which does not share these views about theatre circulation. As distinct from the old sociological guard, it has a hankering for the bright lights and says — sensibly enough — Why avoid an audience of so many millions? Why not make our documentaries just a little more ex- citing (though a little more superficial), a little more popu- lar (though a little more evanescent), edge them in with the Garbos and put them on a strong commercial footing?
Well, it depends on what you consider your job to be. The mood of the vast majority of theatres is enter- tainment, release, and essential frivolity, and why not!' It is the mood in which most of us go to the vast majority of cinemas, and again, why not'? To meet the terms of that mood means — and every technician knows it- reducing every item on the programme to entertainment, release and essential frivolity. Exceptions are possible, but they prove the rule. I have watched March of Time struggle to get its commentary on national and inter- national affairs into theatre terms and I know what a labor- ious and sacrificial struggle it is. First the subject has, in itself, to be exciting; and that means concentrating on battles and bombs or one or other of the more celebrated forms of hell and havoc. Or it must be a novelty. Or it has, necessarily, to have the elements of controversy. In fact, like mass journalism the world over. By the time a recipe has been worked out which will capture the ordinary citizen in terms of his theatre mood, many im- portant subjects have been eliminated.
We argue as follows. You have only to catch the same people in a different mood (say the mood in which you are reading this article) to make these other important subjects possible. Where to get them ? In the specialised theatres and in the hundred thousand lecture halls of what
is railed the non-theatrical distribution world. In [act one necessary ball ol our work has been to build up that circulation. It runs at the moment to ten million pi p a year. It will run to twenty million presently.
This is not to say that we deplore the minority view- point which hankers lor the theatres. The March ot Time has done valuable work not only lor entertainment hut lor public education. It has raised t he status oi the news- reel to the responsible position enjoyed by the best ot our popular papers. And there is room lor more work ot this kind in the section of the programme Kit over for the interest shorts and the second features. But, as 1 see it, the theatre documentaries will not be able to get away from the theatre conditions they have sought. They will have to cultivate the art of amusement; they will be unable to ignore the immediate, attractions of hokum; and they will lor the most part be limited in their themes to the stuff of excitement. As a rule. D. F. Taylor and Alexander Shaw have gone from Strand Films to make Conquest of the Air for Korda ; and we shall see presently how they have come to terms with this new problem. However they succeed in this case, there is nothing to prevent the development of a valuable second feature type, based on fact and building it - dramatic quality on documentary lines. It is significent, however, that wherever such a type has succeeded in the past it has mostly been when the film dealt with one or other of the Services, where war and accoutrements thereof added substance to the factual description, or where death and disaster stalked behind the story. Our Island XhIidii is an example ot that to-daj .
I cannot think of an exception. Flaherty's Xanook, Aran and Eh pliant Boy had these elements and succeeded. Moana, as beautiful a film as any, had none of them and failed. Berlin, for all its quality, failed for similar rea- sons in the commercial houses. BBC. Tin Voice of Britain gol by, but just; more through the presence ol Henry Hall and other B.B.C. celebrities than through its account of a public service. Son// of Ceylon, a better and deeper film than any of them excepting always Flaherty — never had a look in. nor did we expect it to.
Expect, then, a documentary future among the second features, but within limits and mosth military. Similarly the future among the interest films will be strictly limited by the nature of the market and the size of it. Two feature programmes do not now, when a newsreel or cartoon or a March of Time have been added, allow for much else. And even then the market is flooded with American novelty shorts which are sometimes good and always cheap. Showmen, who tor the most part re- gard the interest as .i fill-up, will naturally prefer a short which is given away with the feature to one they have to pay for.
There are two hopes for the documentary film from the new Films Act. lie is already promised five per cent., which work out at lo seconds every hundred minutes, but with a bit ot pushing he expects to gel tell per cent. His second hope is in the development ot in- telligent showmanship throughout the country : the growth of a new generation of showmen who, always within the terms of entertainment, will see the value of a subject which tries to go just a little deeper than the others. Already we have had a great deal to be thankful lor in this direction. We have had a great backing from the newspaper critics and showmen like Earl St. John Eckman, Arthur Jarrett and Sidney Bernstein have given [Continued on page ij<>
109
T I
(IN E - T E ( 1 1 N I ( ' I A N
I i -Jan., 1037-8
Hollywood Letter
by LEIGH AMAN
LET'S start with the fights and get them over. The latest one centres round assistant directors. The question is whether they should be included in the i i en Directors' Guild or not. The directors say ihc\ should, but the producers sa;\ their's is a different kind of work and therefore should have a different Union. Their idea of course, is that the assistant directors, being purely technicians, and not "artistes." should work in the interests of the studio if necessary against the direc- tor. The directors, presumably, want the assistants on their side. L'ntil t hey gain their end, the producers refuse to recognise the Screen Directors Guild— which is all scry
c plicated. As yel it isn't settled. There is another
fight on between the two writers' Unions for official reei ignition.
The "Talk ol the Month" this time is the Hal Roach- Mussolini business. This has caused a great deal of amusement to some people, but seems to have antagonised the majority. There were more arguments and heated discussions over tins affair than 1 have heard for a Ion" time. The trouble be^an. it appears, in Italy. Mussolini made Roach a very attractive financial otter to make films oi some of the operas and Roach saw no reason to refuse it. Mussolini put the business in charge of his son and it was suggested he should visit Hollywood. Roach didn't feel so good about that — or so he said afterwards: —
"The visit of Mussolini was not my personal idea. It was suggested by an Italian banker and advocated by his lather. I could not do otherwise than act diplomatically in favouring young Mussolini's trip, which was simply for the purpose of studying conditions in the industry in this country. The boy is not interested in war or politics; he's interested in business and I never imagined at the time that a business deal would become a political question."
Which seems to me quite reasonable. However, when Yittorio arrived, a Hollywood anti-Fascist League at once published various quotations from his book on the Ethiopian war. "War for us is a sport," was the favourite, with which was published the picture of a dead child. The\ also said (in common with many others) that the mere fact of having an American producer associating with Mussolini would harm the entire American film industry. The result of this rather ridicu- lous unpleasantness was that Vittorio slipped quietly out of Hollywood after staying onhj a week. Which was too
bad. as Roach had put an entire new front to his studio at great expense just to impress him! It is fairh cer- tain that the deal will fall through now and this is perhaps just as well. The ( 'a h lorn ians all expect the war to start in Europe and it would be a pity to disappoint them.
Al an\ people think that studio work has become so effi- cient in Hollywood that there is very little location work done now. This is not tru< — il anything it is growing in importance. It is the only way of getting a natural setting and with the continual improvement of equipment it would be silU not to use all the natural advantages avail- able here. Nearly every picture made since I was here has had some location sequences. The still here is one of the "Bad Man of Brimstone" company on location in Utah.
M.G.M. is one of the lew studios even in Hollywood to have a departmenf devoted entirely to research work. As can be imagined, this department saves many a eom-
M.G.M's. "Bad Man oi Brimstone" Unit on Location
pany time and money for information on almost every subject. Under the able guidance oi Nathalie Bucknall, it deserves mention here, as it might be a useful idea to develop a similar department in one of our larger stud -
.1 Corner of M.G.M's. Cartoon Department [c ontinued on page 176)
Dee. -Jan., 1937-8 T H E C1X E -TECHNICIAN' L70
THE FUTURE OF DOCUMENTARY in the name of public education, and going out to a non-
(Continued from b 168) theatrical audience of twenty or thirty or fort^ million
people a year, also in the name oi public education. With a lead to their lesser brethren in the sticks. Perhaps it the development oi television it will appear, though in is because they, too, have a notion of instructing the slight^ altered form, and reach to inure people even than citizenry, only keep it off the record. The\ would be that. As regards its material, it will reflect, mere than ashamed if they were charged with it. ever — wars and dictatorships apart — the seriousness of its You will have gathered my own view. Fifteen sociological purpose. Already within the past two years, it seconds or thirty seconds in every hundred minutes: it has made a dramatic approach to social material : describ- does not matter what the proportion is. It is not good ing such fundamental themes of public interest as nutri- enough. We want programmes where we pla\ first fea- tion, housing and health and the state ol education, des- ture and since only the specialised theatres could do thai cribing the work ol public depart incuts and making a first for us, our policj is to have our own theatre system. It, attempt to bring these matters into the forum ol public is true that we cannot have Odeons and Plazas and discussion. There will he more of that. Granadas. We could not pay for them and in fact we As regards the aesthetics <>l the documentary could not till them. hint what we can have is even movement. I beg the technicians will not concern school, every church hall, and every debating centre in themselves too much with what they hear. It is the country; and we are well on our way to getting them. true that we have had to develop certain technical novel- Such a policy must affect the future of the documen- ties in order to add excitement to plain material, but i;ir\ film greatly, for every form of circulation has its own our big terms and our sober discussions are often particular inhibitions. This can be said, however: that in just part of our selling talk-: calculated to impress those non-theatrical circulation, you do not need to he all the dignitaries ol Wardour Street who. as we all know, are time on the jump. You do not need to he tor ever giving so impressed with art that they fall Hat on their faces your film a shot of strychnine to keep it on the pop. You before it. Wasn't it Sam Goldwyn who talked art to can expect people to be at least in the dun initial stages Bernard Shaw'? And wasn't it Bernard Shaw who said: of a thinking moid. You can expect your audience to '"I hat's right, .Mr, Goldwyn, yon look alter the art and come a bit of the way in the process of understanding I'll look after the business"0
and you are not lor ever under the obligation ol sugaring In Documentary you may take it we are sensible
pills, tempering the wind to the shorn lamb, remembering enough to he looking alter the business. It is. as I said
to give the old lady in the back row a dollop of mother before, an educational and uplifting business, hike the
love and. in general, acting like a fussy and patronising Y.M.C.A., the Little Brothers of St. Francis, the Ku
nld hen. Which is what most showmanship amounts to Klux Klan and the Holy Rollers only different. In tact,
anyway, il you remember your Wardour Street portraits. technicians who are still dreaming daftly that John
In tact, whatever happens among the second features and Maxwell will pay them a hundred and Hlty a week should
the so hardly patronised interest shorts, the main future not bother their heads about it. Documentary will do
of documentary is where it is now : financed by sponsors them no good — and vice versa.
PASSING THE BUCK
In the good old days of doubtful cameras, some of us in fact, MOST of us -blamed the apparatus— PASSING THE BUCK.
Today your boss— and if YOU'RE a boss, YOU — know cameras are fool proof if looked after.
Our Service Pays. We DO look after ours.
The Buck cannot be passed. Like Venison? WE DO!
Ibappv Cbvistmas
(HAW IONFC Day and Ni9nt Newman Sinclair jriMVY JvllCj Camera Hire Service
49 GREEK STREET, SOHO, W.1. GER : 6716
171
T III". C] N E-T ECHNICIA N
Dec. -Jan.. L937
H Gbristmas Call front tbe Morkbouee
WHERE are the pals of yester-years? \lirv are a few of the holes and corners into which our fellows from the studios, the skill ami muscle mi which any British film produc- tion must he built, have tied for shelter from the icy 1. 1;, st.
Bookmaker, South American sheep-farmer, journal- ist, writer of advertising programmes for a Continental broadcasting station, writer of lyrics tor a non-stop revue, "non-intervention" patrol officer, war correspondent, boarding-house proprietor, commercial traveller, door-to- door salesman, non-film clerk, and "fiddler. " (" Fiddling," in case you think he ought to have joined the Musicians' Union, is buying an article for credit at one end of War- dour Street and selling it for cash at the other).
A.O.T's. employment bureau registered under 50 out twelve months ago. Over 100 six months ago. To-day near 250. In all. 35 per cent, of technicians are unemployed.
Talent scrapped. Why?
Because pictures aren't being made. Because mak- ing pictures isn't profitable. Because, they say, costs are too high.
Whose costs?
Not technicians !
Many producer-speakers have locuted on high costs; but we know exactly where technicians are skimped to tlie point ot lower salaries and longer hours than any others in the business, and much publicised cuts of 10 per cent or 15 per cent of our wages only reduce picture cost- about one tenth of one per cent.
Some things technicians who have worked in this industry do know and notice. They cannot fail to be aware, lor instance, of major studios in this country which were designed with such blatant incompetence or negli- gence that the cost of every picture runs up and above the cost that would have covered the same production in a studio designed by any one of our members.
In a sensible society those responsible would have been punished. Here, however, perhaps the only consis- tent line ot policy is to reward the man designated responsible lor such constructions (who may in tact not have been responsible at all) by a gilt from his employees' salaries '.'
Recall a conversation between one of our A.C.T. in- vestigators who recently explored the Soviet film industry for us and those he was supposed to be questioning, but who in turn were questioning him.
Q.) "What are you working on now?"
A.) (from our explorer) "1 am not working."
Q.) " Indeed. And why ?"
\ i "With u there is what is called a slump."
(,). ) " What is a slump?"
A.) "Well, you sec. the people in charge of produc- tion have lost a lot of money. Their films weren't pro- fitable. And so now they can't gel an\ mure monej Eor production. "
Q.) "Well, win don't you change tins,, people, and try new ones?"
A.) "Oh, we couldn't do that. You see, the produc lion apparatus, the studios and all the rest of it belong to them. "
Q.) "What do you mean belong to them ?"
Very simple. lint too plain and obvious for some people. No wonder the millionaires who own the nev papers make them yowl and yelp when, in a certain coun- try, if a business is not going well, they get rid of the people running it and try a new lot. Someone might notice that it wasn't such a bad idea at that.
Here we do notice, that when the film business is running badly, and our h ai on the street, the only people who se< m to be fixtures (and eating just as well) are the people who run it badly. And when the Govern- ment thinks of doinc, anything lor the business, it is the men who smashed it that it asks lor advice on what to do.
A man is sick and the doctor asks the microbes what medicine they'd like to flourish on.
It is a fact that the film industry needs protection. The mere arithmetic of the number of theatres in U.S.A. and in Britain is the demonstration of this. The language barrier, which handicaps U.S. product in competition with home-produced in many European countries, is totally absent in Britain, where even Runyon is comprehensible and the Southern home variety sounds affected to the Northern home ear.
Other tilings being equal, the home market in the U.S. can return a greater initial cost than the home mar- ket in Britain, and a U.S. film can therefore use its whole income from Britain in battling murder on the British market against a competitor of equal standard striving to recover its cost out of income. A British film on the British market is like a man trying to cut a dash in the same style as his same-salaried bachelor fellow employee, while all the time he himself has a wife and ten children to keep.
Hence protection is necessary. But to protect the film industry, as it stands, is to proteel not an industry, but those that batten on it.
Where is the British film production industry? Put your spy-glass to your eye. Tell me.
Around all the horizon will you see one single organisation striving to make a success of production'! Striving, that, is to build up a successful business of making pictures, finding out how to. learning their job, and constructing.
There's barely a producer in the game who isn't in for some other motive. Either because he's forced by law to make a minimum of pictures as a condition of b< allowed to do business and take his profit at renting or some other phase <>f the racket. Or else as a speculator. to make his nieiie\ oul ol manipulating investments.
Making pictures my ej e ! Who cares about pid u Not a hundred years ago a British firm made a picture which (a) didn't Use money, (b) won the award
of the Hollyv\ I Motion Picture \eadeiny ot whatnots
(c) won Mussolini's Gold Medal, (d) won a lyric speech from Goebbels (after the names ol the couple of .lews con- nected with it had been taken off tin credit tit1
On the very same day on which a newspaper con- nected with the producers took the occasion to declare: "British pictures are at last at the top. The men and methods that placed them there will keep them there." the employmenl of the lasi survivor of the men who made that picture terminated with that production company.
Dec. -Jan., 1937-8
THE CINE- TECHNICIAN
172
U.S. competition makes film production a poor man with a hard life, bui speculation makes him a rotten one, his heart and lungs festering pasture lor maggots, his movements a jerky galvanism, subsiding whenever the artificial current is removed.
It is the speculation which makes fancj costs and rational organisation a joke. A studio hasn't to he effi- cient, it has to be showy. A story hasn't to he a good one, but a known one. A director who is a news story may have every extravagance indulged, a star the moneyed layman has heard about (even if long tombstoned at the box-office from old age) must he got at the price of any crotchet, even to the engagement as well of ten unnecessary cameramen from Kamschatka, who alone have the knack oi renewing her ragged profile, so long only as they will sign a contract long enough to appear on the prospectus or be mentioned at the board meeting.
Half the producers in the business know nothing about production and care little. They are window- dressers, using production as an excuse to catch the finance of the passer-by. The other half are merchant middle-men, reluctantly consenting to production only so much as is easier than finding new ways of evading the regulation!-, designed to oblige them to it.
The real producer, the man who wants to (and may- be, who knows, knows how to) make pictures, is not in production, but if he exists at all is peddling his dreams around coffee stalls in company with the "independents" who call themselves so because nobody has given them the chance they'd jump at to be dependent.
And dreams they will remain. Without legislation protecting not Britain against U.S.A. but him specifically against circuit booking power acting with the force of monopoly, the real would-be producer can dream on. And to expect legislation like that from a Government in our society here to-day is the same as if the grocer round the corner expected it to save him from the chain stores. Equally, so long as monopolies pack a bigger punch than individuals, so long will "impartial" controlling commis- sions, designed to retain but 'govern' both, a la Moyne, stay a vision from Utopia.
Then what to do? Quota Acts help, of course. They help the monopolist against the small man. But when he dines he drops crumbs. True, the speculators and the merchants will find their ways round the new one, cer- tainly, as they did round the old.
The "quickie" will have its equivalent. A cursory examination of the new draft, with its labour-cost mini- mum less than the sum paid often to one single artiste. indicates the field-day it offers to the ingenuity of the speculators' accountants. The Board of Babes in the Wood will also have fun (if they try), discovering whether the minimum for purchase of foreign rights under the so- called reciprocity scheme has not, in fact, been offset against juggled prices of foreign pictures changing hands in the opposite direction.
But all in all. even il everj part of a law can be dodged, it will always be easier to pretend to be con- 101-111111'' than to dodge all of it.
Even the "quickie" gave work.
Hence a by-producl oi every such law will be a cer tarn amount oi product ion. We can and do put up a fight to tighten tic loopholes to make thai by-product a big as possible. Xext year some of our "plus lours" will be got out of pawn. A lot ol them, il any < ms are
won out of the separated quotas now.
But boom and slump is our lot. As it is the lot of every son of Adam, not — well. 1 nearly broughl m politics here, shall we then call it not working in the "post-office land," i.e., the land where business is run social! ['< service.
A small boom and slump of our own is related to the enactment of quotas. Towards the end of a law period there's no money put into our business, because specula- tors are waiting to see how best to wangle the next law. Just after a new law starts there's always optimistic "sucker" money that hasn't yet found out that, in the grip of the speculators, production under the new condi tions will be just as unprofitable as under the old.
But our large boom and slump is related, inversely, to the general boom and slump of the country. In a period of national slump, when the market for money returns next to no per cent., there are still vast sums accumulating for investment in the hands of big banks. trusts, insurance combines. Bather than take chicken- feed, the directors of said organs don't mind an occasional flutter in the highly- speculative comedy of film finance, where even if the odds are all against you, it's at leasl a gamble and does introduce you to a thrilling world of starry goo-goo eyed dinner companions.
In time of national boom, happens the contrary. To- day, for example, why put a penny on to such a roulette board, when cast into cannon or aeroplanes or battleships it will return to you ten-fold '.'
So we technicians must wait. Work when we're called, and somebody can raise money out of employing us and seeming to be interested in production. Starve when, from time to time, the unprofitability of the game, to the poor suckers who stump up the cash, temporarily gives it a bad name. (Luckily for us suckers' memories are short).
Whether we work or starve, whatever it depends up- on, does not depend on us. Nothing we can do, no skill or self-sacrificing hours we may contribute, can affect one jot the question whether the studios shall be busy or be idle and empty. Those who do have some responsibility in the matter are, curiously enough, to be found at supper in the Savoy Grill, boom and slump alike.
It makes one think. The "post office" way — shall we call it? — is not perfect , but it does keep on delivering letters. And what to do about that is another question.
IVOR MONTAGU
[Editorial Note. — In enjoying this vigorous article, readers will have borne in mind that it expresses, as do all oui contributions, an individual point of view.]
7:;
]•'. CIN E
i : I ■ 1 1 N I ( ' I A N
Dec. -Jan.. ]'. / -
ZUKOR HAS HEARD OF BRITISH TECHNICIANS
(Reprinted, by permission, from " Variety," issue of October 20th, 1937)
IF Paramount can find a producer in England of suffi- cient standing to supply satisfactory product for re lease l>\ Par in America, the company will be inclined
to keep out oi active production in the tight little isle. Adolph Zukor, after studying the situation in Britain, is said to have been somewhat discouraged h\ the troubles other American companies are having in England, notably Metro. Remembering Par's two prior efforts to make pictures in England, Zukor is believed more inclined to make releasing arrangements to meet quotas than to enter picture-making direct .
Pending an\ definite decision, Paramount will await further developments on the British quota laws, deter- mining its position and plans alter it lias been decided whether the quotas will be on a basis of pictures or money. Zukor is strong in Ins belief that English producers are doing as good as Hollywood invaders could. The chain nan of the hoard doubts that Americans in London could do .- 1 1 1 \ better, if as well, in view of the progress that is being made in native English production.
Zukor is of the belief that Hollywood should co- operate with England in making pictures for the British markets and lor markets elsewhere, taking the position modestlj that "we shouldn't bog il all" h\ entering into competition with the English producers.
PARS PAST EXPERIENCE
While reported that Par may go into production in Britain within six months, on the heels of Metro, which has already started operations, it is now regarded as doubt- ful whether par will ever set up its own studio machine on English soil again, though it will continue at Joinville, France, to meet quotas oi that country. Par tried pro- duction twice in England at the Elstree studios with dis- astrous results, once in 1920, again in 1030. While abroad, however. Zukor is said to have looked into plant possi- bilities, renting and other matters contingent upon any decision to set up a producing subsidiary in England. The company will turn out from four to six pictures annually at Joinville (French quota), Ike Blumenthal in charge of production there. While he will not openly admit it. Zukor h\ inference suggests a preference for a releasing tie-up wilh an\ British producer who can supplv the com- pany with a brand of product it could consider to handle in this country in hue with the coming quota restrictions. Aside from being optimistic about the advances made by the English film-makers, with whom Zukor is inclined to co-operate, the chairman of the Par hoard is cheery concerning the sales outlook in the foreign market and predicts that for Par il will run 25—33 per cent better in sales than last year. lie liases this on contacts with Par sales representatives as well as with exhibitors who play Par product abroad. Zukor is strongly of the opinion, however, that the U.S. must give greater consideration to the development of foreign markets, suggesting that there has been neglect so far as Britain and the Continent arc concerned
UNITED DEMONSTRATION OF ALL GRADES ENGAGED IN
DIRECTORS
TECHNICIANS
FILM PRODUCTION
Organised by
ARTISANS
ASSOCIATION OF CINE-TECHNICIANS
BRITISH ASSOCIATION OF FILM DIRECTORS
ELECTRICAL TRADES UNION
FILM ARTISTES1 ASSOCIATION
NATIONAL ASSOCIATION OF THEATRICAL AND
KINE EMPLOYEES SCREENWRITERS' ASSOCIATION
SUNDAY NEXT, Nov. 7th VICTORIA PALACE
Opposite Victoria Station, S.W.I
7.30 p.m. Doors open 7 o'clock
THE MEETING IS CALLED TO DISCUSS THE SERIOUS SITUATION IN RESPECT TO THE CINEMATOGRAPH FILMS BILL THE "QUOTA" ACT, NOW BEFORE PARLIAMENT, AND TO HEAR THE FILM EMPLOYEES' CASE FOR AMENDMENT
Capt. } "1.
Chairman:
YOUR LIVELIHOOD DEPENDS ON THIS MEETING YOUR ATTENDANCE IS IMPERATIVE
Historic poster advertising the first united demonstration of
oil workers in the industry ; and {inset) some of the sandwich
boards ttiat paraded Wardour Street to advertise it
George Elvin
We regret to report that Mr. George Elvin, our popular and hard-working (leneral Secretary, is seriously ill with bronchial pneumonia.
George was indefatigable in the leading role ho played in the employees' fight to amend the Government's "Quota Pill." and consequent overwork resulted in the run-down condition which led to his present illness. His absence is particularly felt at such a time.
\l the time of going to press, we learn that he has safely | assi'd the crisis, and we are sure that all our readers will join us in wishinq George a speedj recoven and good health in the Nc\ Year.
Dec. -Jan., 1937-8
T HE C IN E-T E (' H N I C I A \
17
FROM THE QUOTA BATTLE FRONT
VARIETY AT THE VICTORIA PALACE
George Elvin (.
(From left to right) : .C.T.), George Hicks (T.V.C. General Council), I . O'Brien (N.A.T.E.), ami Anthony Asquith (.
.C.T
New Kodak Stock
Practical tests with these new slocks under normal laboratory processing conditions show that they are the
greatest advance in dupli- EASTMAN FINE GRAIN eating emulsions up-to-date. DUPLICATING FILMS The new products are a
Fine drain Duplicating Positive Film and a Panchromatic Fine Grain Kegative material. The Fine Grain Positive Duplicating Film is very slow and needs a 500 watt lamp in the printer house to provide adequate exposure. I loth stocks should be de- veloped in the Borax I) 76 developer. An overall gamma "\ approximately .91 for contact dupes will produce an equivalent contrast to that existing in the original nega- tives. This can best he obtained under normal conditions of machine development at a temperature of 65 F. by developing the positive for approximately (.l minutes ami lie negative lor approximately 5 minutes, which should yield gammas of 1.8 and .7 respectively. The only draw- back to the new stock is that the Fine Grain Duplicating
Negative Emulsion being panchromatic- must he handled under Wratten Series 111 safelight, which is difficult with optical work. This could perhaps he overcome by manu- facturing a similar negative emulsion specially tor optical work, with a lower actinic value, so that it could be handled under a brighter safelight.
Canadian A.C.T.
Welcome news from Canadian cameraman George Rutherford, that the plan put forward at a Toronto meet- ing of cine-technicians to form another British Empire Unit of A.C.T. was accepted by the key-men, and secretary Roy O'Connor is preparing the organisation so that they can all get into action.
India has already a branch of A.C.T., and we are looking forward to the boys "down under" to form up in Australia. The Canadian branch will cover over 4,000 miles of territory. We wish them good shooting and llapp\ New year.
17.1
T UK C ] N E-T E CH NIC I \ \
I > .1 in.. 1937-8
OPTICAL PRINTING and OPTICAL PRINTERS
By ALFRED C. SKITTRELL
OPTICAL printing, or projection printing, as it is sometimes called, is a process oi rephotographing from one film to another at unit magnification.
The apparatus necessary consists of a cine camera with a registration movement and a printer head (or pro- jector) also with a registration movement, mounted upon a lathe bed so as to face each other. The camera, its lens, and the printer head are mounted upon separate sliding stands, adjustable by hand, and both vertical and lateral movements are usually provided for all three.
Accurate registration is of the utmost importance. Lining up for exact registration is difficult if it depends entirely upon a scale or indicator of some form, no matter how fine the mechanical adjustment may he. A better and safer method is to use a target film. This consists of a pattern oi lines photographed on to cine film, and when a piece of this is placed in the projector and its image projected on to a similar piece placed in the camera, the correct setting for exact registration becomes appaii nt when the two exactly superimpose.
Optical printing is utilised for an endless variety of work. Full control of duplicating print and negative stock is possible at all times, permitting a very great de- gree of manipulation. Many effects formerly produced in the camera such as fades, dissolves, matte shots and split screen and composite scenes are now made on the optical printer, and in addition an entirely new range of trick effects such as wipe-offs and trick transitions has been made possible. Tin; production of fades and dissolves is relatively simple. A print is run through the projector and copied in the camera, while the camera shutter is manipulated to effect fading. Wipe-offs are a little more complicated and there are several ways of producing them. One is by means of a mechanical device, geared to the camera drive so as to move as the film runs through, the direction and speed of the movement having been pre- arranged. With this method only a limited number of effects are possible and the more usual method is to use film mattes or masks. These allow a much greater variety,
Figure i
limited only by the ingenuity of their devisors and the means at hand to produce them. The required pattern is worked out step by step, in black and white or in light and shadow, each step being photographed. A print is taken from the negative so obtained and the wipe-off effect is produced by running first one and then the other of these two film masks through the projector, while the duplicating print is running through the camera, in con- tact with the negative raw stock, a bipack magazine being used. (Fig. 1).
Before the advent of the optical printer, many special effects were made during the primary filming, ghosts or visions, glass shots, matte shots, in fact everything to make the cameraman's life unbearable and to waste time and pile up costs. All such work can now be done upon the optical printer. In fact it can safely be said that the optical printer is definitely one of the most flexible tools at the disposal of the film-technician.
One very important factor in optical printing is first- class quality in duping and laboratory manipulation plays an important part in attaining this. The slightest varia- tion in the standard is felt more by the optical printing department than by the production department owing to the fact that the dupe neg must match the original. In production there are three basic laboratory processes, viz :
1. Developing the original negative.
2. Making print from original negative.
3. Developing print from original negative. In opitical work there are five, viz :
1. Making Duplicating Pos.
2. Developing Duplicating Pos.
3. Developing Dupe Neg.
4. Making print from Dupe Neg.
5. Developing print from Dupe Neg.
Obviously the margin of error is greatly reduced, and successful results demand intense laboratory co-operation. Having arrived at a satisfactory routine of duping to fit existing conditions, consistency of laboratory work is vital if good results are to be continuously achieved. First in importance is the making of the lavender duplicating print. Obviously, without a good master the duplication of the original is impossible. Strict sensitometric control is imperative. A too soft or too light print will give a too flat neg, and conversely a too hard or too dark print will give a too contrasty neg, and in the case of a too dark print, an increase in graininess.
Slight variations can be compensated for, but this, of course, means a departure from the established routine and, in addition, uncertainty as to results must exist until those results have been examined and tested. This importance of the duplicating print cannot be too strongly stressed. Indeed, it is safe to say that unless it is exact, true duplication of the original is a practical impossibility.
From the mechanical point oi view, the quality o\ the dupe is affected by three things: 1, the lens; -. even- ness of light ; 3, uniform speed in running.
Besides the regular cine lenses, there are copying lenses on the market which give quite satisfactory results. A focal length of from four to six inches allows comfort-
(Continued on page 1771
Dec-Jan., 1937-8 T HE CI N E-T ECHNICIAK L76
L.EIGH AMAN (continued from p. 169) A.pprox. number ol persons employed in motion pic-
The recently inaugurated Cartoon Department at ture industry in U.S.A. : 282,000. Of these, 28,500
M.G-.M. is interesting, for, as can be seen from the still, engaged in production, 12,500 in distribution and
•J I 1,000 in exhibition.
the methods employed are almost identical to sonic of our
own cartoon production units. to conclude, a little comedy relief would be in place.
The following figures are. T think, worth giving. They ' reproduce a memo, from the "Vice-President in Charge
do -how the si/e 0i the industry here. There shouldn't "f Production ol a major studio to his department lead..
be any excuse for making a had picture' Figures are lo ALL DEPARTMEN'l HEADS.
prepared by Nathan D. Golden, of United States Depart- Confidential Correspondence.
ment of Commerce, as of August 1st, 1937. It just seems impossible to cope icith a certain con- Theatre investment $1,880,000,000 dition that is going on here, that is, leaving all un-
Studios investment $100,000,000 necessary lights burning throughout this entire plant.
Distribution investment $20,000,000 When the crews stop for lunch no one makes an
Estimated total gross box office effort to kill all the lights, the same thing goes for
receipts in 1930 at U.S. theatres $1,000,000,000 any picture that is being worked on. They just sneak
Approximate world attendance week- out and leave the lights burning. No one seems to care
ly was 220,000,000 one iota what is going on. I do not blame the men
Approx. annual Hollywood payroll $85,000,000 working, I blante the foremen and the people who are
Approx. weekly Hollywood payroll $1,650,000 at the head of each department.
Estimated cost of production in 1936 $135,000,000 I "m going to hold you responsible and you in turn
World expenditure by American can hold your foremen or anyone who directs this type
companies on advertising $110,000,000 of work.
First-run theatre rental per picture ranges from There is no reasomvhy this should go on, other than
$5,000 to $25,000 weekly. it seems certain people haven't much interest in their
Of 704 films released in U.S.A. last year ;"i47 were work and are just here for the ride.
American. Origin of others: Argentine 1, China 1, ' hope I won't have to send any more memorandums
Czechoslovakia "J. England 40, France 15, Germany out like this again as I am tired 0] being the only one
70, Hungary 12, Ireland 1, Italy 20, Mexico 26, that takes an interest in this type of saving.
Mongolia 1, Palestine 1. Poland 4, Russia 13, When Alexander Korda writes a note like that to his
Spain 2, Sweden 7. employees, then we shall know that Hollywood is really
Number of producers of feature pictures was '214 of on its way to England. Until then I think we're safe —
which 1(')4 were in California and 50 in New York. or is that the right word?
NO MORE SCRATCHES
THE NEW PEERLESS SYSTEM
PRESERVES AND PROTECTS MOTION PICTURE FILM
ADOPTED THROUGHOUT GREAT BRITAIN, U.S.A., FRANCE AND ITALY BY THE LEADING FILM RENTING ORGANISATIONS AND LABORATORIES.
The remarkable feature of the Peerless system is the fact that the film is not unwound,
wound, or manhandled during operation.
The reels are simply placed in a patent vacuum chamber where certain vapours act on
the emulsion, the result being:
1. The film is permanently lubricated. 4. The sound track is similarly protected, obviating
2. The emulsion is considerably hardened, so reducing the distortion.
liability of scratching. 5. The process sets the emulsion, sealing the lubricated
j. The film is rendered impervious to oil, water or damp- pores, case-hardening the emulsion, thus extending
ie ss, and is immune to any climatic conditions. .) to 5 times the life of the film.
IN FACT THE PEERLESS PROCESS IN EVERY WAY PROTECTS AND EXTENDS THE LIFE OF YOUR VALUABLE POSITIVE AND NEGATIVE FILM.
PERMANENT PRESERVATION AT LOW COST.
BRITISH INDUSTRIAL LABORATORIES ltd.
8/9 LONG ACRE, LONDON, W.C.2. T I< !l »,!jon% :, , .
' lemple Bar 5221
177
T fl E (' I X E-T E C II XI C I A X
Dec -Jan., 1037-8
OPTICAL PRINTING [continued from p. 175)
able working space between camera and projector and a
speed of -1..") should he ample. ,\ well diffused tubular
projection lamp of 1,000 or 1,500 walls is verj- satisfactory lor printing light and the motor must be strong enough to drive the machine without speed fluctuations.
All optical printers usually start with the simple laj out described. There is no standard, each is more or less individual, but if the printer is properly designed from the start, additions can be made easily to become per- manent parts of the machine.
As a particular example of design, the optical printer used h\ the Olympic Kinematograph Laboratories may he described. Figs. 2 to !l show different views of it. The machine is one of the most modern in design, very easy and precise in operation and extremely efficient tor all- round trick work.
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Figure 2
Fig. 2 is a complete view of the machine. The lathe bed is 8 feet long, allowing lull range fur enlarging and reducing work. At the extreme left can be seen the motor and gear box (A). B is the main driving shaft. C and D, projector and camera driving shafts. E, the transmission gear box, through shafts F and (! to rear camera platform, which is seen with the screen staging on the right of the picture.
speeds, 1. 8 or 16 feet per minute; C is the printer head. This is a standard Bell & H 1 II camera of the shuttle gate type, with the rear pressure plate removed to lull aperture clearance, h is a tube carrying air at a pressure of 30 lb. to the square inch to thi gal just below and behind the aperture. This is to prevent breathing" and to remove any dusl re the film
enters the gate. E is the projector driving shaft. F is the stop-motion gear, and G the "ear lever. H is I footage counter, which i rs frames. This -
essential, as all work- is done 1 turn 1 picture and must be correctly timed to the frame. I and J are calibre" controls for vertical and lateral movement of the projector. K is the lamp house, and L a water tank to reduce 1 at the aperture. The light is reflected to the a] by a white card >\Ii sel a1 the required angle. In the case of glass shuts a surface silvered mirror is substituted for this card, giving a much higher light transmiss
Figure 4
Fig. 4 clearly shows the lay-out of the three membi rs A is the printer head. B the lens, C and D calibrated controls for its movement, and E the camera. This also is a shuttle gate type Bell & Howell, in which the pressure pad has been cut away and a prism mounted behind the aperture with a look through window (F) in the camera door. This view also shows a device (G.H.I.) for printing alternate frames or one frame in three or vice vers
Figure 3
Fig. 3 shows the machine from the projector end. A is the motor; ll. a gear box giving choice oJ three
/ iguri
Dec. -Jan., 1937-8
'I1 U E C I X E-T E C II X I C I \ N
L78
Fio1. 5 shows this device in detail. A and B are revolving cams, driven from the main shaft C D and E are sole- noid contactors which energise electro-magnets, (Fig. I, (I ,.|n,| II). attached to the stop-motion control level's on printer head and camera. The cams en this device are changeable let- varying ratios ami the whole device can he mounted or dismounted in less than two minutes.
Figure 6 Fig. 6 shows the wipe-over device (A) in position. 1 '> is its drive transmission gears ami (' the driving shaft. In thi' open camera can also he seen the inspection prism (D) ]nv\ ii iusIv menti< med.
Figure 7 Fig. 7 is a close view of the camera unit showing a fader gear box (A) giving automatic lades from 1 up to 0 feet. Ii is the shutter hand control. (' is the stop-motion pin. This ensures that the camera always stops with the shutter completely covering the aperture, so that it is impossible to fog a frame in the middle of an effect. On the projector the reverse is the ease and the stop-motion pin locates the shutter in tlie lull open position.
Figure 8
Fig. 8 is a view of the camera mounted on tie n platform for screen work and shows the method oi picking up the drive. This set-up is used for book-leaf and other flip-over effects where the action is required to continue during the transition, and is oi great advantage in the working of intricate matte shots.
The machine is also provided with a connection for a flexible drive to the camera, so that it can be used on a tripod while photographing through the glass screen for swing or panoramic effects or i lei work.
It is obviously impossible completely to cover such a wide subject as optica] printing in what must, ol neces- sity, be a short article. Should any reader require further information or desire to raise any question in connection with this article, the writer will he pleased to answer any communication either through "The Cine-Technician" or addressed to him at The Olympic [Cinematograph Laboratories Limited, School Load, N.W.10.
OBITUARIES
The technical side of our industry has received a great loss by the untimely death of WILLIAM C. VINTEN. one of the veterans of the film trade, whose engineering skill had been devoted for nearh 40 years to the manufac- ture of cinematograph machinery.
"Billy" worked lor A. S. Newman, L. W. Paul and Charles Urban (Kinemacolor) before forming his own com- pany which became limited in 1928. He greatly; helped in the internationalising of the standard dimensions of the industry; was a member of the Royal Photographic Society, the Kinematograph Manufacturers' Association, Society of .Motion Picture Engineers, and the British Kinematograph Society. Lor a number of years he built cameras, and standing as pinnacles of his fame are the Model "II" camera and one lor topical work with matched lenses, also a camera only just out of the ex- pei'iiuental stages that will take -jut) pictures per second And Ins automatic laboratory processing plant is success- fully working in many laboratories.
In spite of ill-health, he always had a cheery word lor everybody and his technical help was always at the disposal of the cine-technician.
lie leaves a wife, two sons, and three daughters. Charlie, his eldest son, carries mi. He has a great engineering prestige to live up to ami we feel sure the memory of his father's great skill will spur the firm of W. Vinten Ltd. to even greater heights.
We technicians mourn a dear friend and skilful colleague.
We also regret to report the death of our well-beloved member. PAT TOBIN. who passed away at Streatham.
Pat Tobin was a well-known cameraman in Ireland, lie filmed a number of Irish productions, including "The Life ,,f St. Patrick." During the "Troubles," he was a cameraman for the Irish Events Company, and secured many amazing pictures. lie was arrested during this t line and was about to he tried lor murder, the pyro stains en Ins fingers being mistaken lor the stains on the hands ol a [rench polisher suspected ol the crime. 'I he active mi t vention of the Kine-Cameramen's Society, who obtained the support of a number of M.P's., secured his release.
Coming to England, he was lor a number ol yea's ,-i
Hews reel free lance. Aluonesl the events he COVCred
during this period was a trip to Lome where he filmed in the Vatican. Lately he was engaged in colour cinema- tography, fust lor Gaspacolor and later for Spicer-Dufay.
Popular with his colleagues, skilful as a tecdnn Pat will be deeply missed I >y ACT
179
1 E (IN E
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Dec. -Jan., 1937-8
BIOSCOPE WALLAHS
by
OSMOND BORRADAILE
Filming on the N.W. Frontier of India
LAST May, I was appointed by London Film Produc- tions to go to India to photograph scenes for their second Indian film. We were instructed to proceed to the North-West Frontier, a very different country to that of Mysore, where I spent over a year with Robert Flaherty on "Elephant Boy." This time, we were heading for one of the hottest parts of a hot country, with the hottest period of the year just beginning. This know- ledge was not very comforting, especially as we were to work in colour, which meant that the all-important task of trying to keep the negative cool— or I should say nega- tives, because we were to use Technicolour — would give us many anxious hours and would be the cause of many headaches.
As our camera was needed for the Coronation, we were unable to leave before May 16th, on which date Christopher Challis, I and our 00.000 feet of negative left for Southampton to embark in the Imperial Airways' fly- ing boat "Canopus." Yes, we were to fly to India. They couldn't get us warmed up fast enough ! Owing to the weight of our equipment, it was necessary to split our party and it was decided that Henry Imus would follow by the next plane, bringing with him his pet Technicolour Camera D4. Challis and I had a rather rough trip as far as Brindisi, then we had our only carefree day to Alexandria ; from then on, we were worried about the film ; we felt it was all right as long as we were in the air, but as soon as we landed that old plane seemed to get hot enough to melt. What a relief to be in the air again. They were unable to carry us through to Delhi by air. so at Karachi we did our necessai'y shopping, engaged one Syed ITassin as bearer, and took the train for Delhi. In our compartmenl we placed a big tin bath into which we st ;ieked our negative, surrounding it with mounds of ice (or what was supposed to be .mounds, a mound being 18 lbs.), and covered it all with two layers of heavy canvas; another mound was kepi in another tray, but un- covered: on to this ice we directed all three tans in an
'tint to cool the atm It was necessary to renew
our ice everj two or three hours. Our trip across the
i Deserl was very hot, but in thi manner we
were able- to keep our him within the safety margin.
At Delhi. 1 managed to get in touch with Geoffrey Boothby, who bad arrived a few weeks earlier and \ then at Peshawar; he told me over the 'phone that officials had been most helpful, had promised us even- possible assistance and bad advised making our base at Peshawar. So that evening I caught the train to join Boothby, leaving Challis and Imus, who had just arrived, to collect the few things we were having made : umbrella stand, ice chests for magazines, etc. Boothby and I -pent the following week spotting locations, getting per- mits, arranging lor troops, hiring a ear and a lorry, having reflectors made, and so on. To say that it was hot is indeed putting it mildly, the thermometer always keep- ing on the wrong side of 100°, but it rose nobly to the occasion of our first day of shooting, when it won the hot weather sweepstake for all India by reaching 120° in the shade. Of course, we were in the sun! What a day! We were shooting the rifle factory in the Kohat Pass, which is in tribal territory, where every man — and many children for that matter — carries a gun. I was amazed to see the fine work these chaps do with such crude home made lathes and tools. In appearance, the finished rifle is hard to distinguish from our army service rifle, from winch it is coped; however, the marking such as "V.R. 193'2" generally betrays its origin. I didn't care to risk firing one as I haven't much faith in rifle barrels made from railway track, although I was assured that they are quite dependable and accurate for the first fifty rounds.
The next few days were spent in picking up scenes in the Peshawar Bazaar ; the heat still persisted and seemed to be intensified in the crowded streets. The task of keeping the film cool while on location was more or less successfully accomplished by keeping the magazines in our portable ice chests until we were ready to shoot, when one would be loaded on the camera and covered as quickly as possible with wet canvas. By now, I had decided that it was impossible to ship the exposed nega- tive back to England unaccompanied, as it was sure to be subjected to high temperature for a much longer period than Technicolour deemed advisable (a measure of pre- caution that always seemed beyond the comprehension of officials in the cool of the Denham Studios, judging from the numerous telegraphic requests for the despatch of the exposed film). Of course, I had very reluctantly taken that decision, as it prevented me from getting any reports from the "rushes" and meant that I should have to wait until I returned to England to know the result of the expedition. Working in such darkness was not very comforting and possibly accounted for some ot the 261bs, in weight I left behind in India.
Our script called for an important looking settlement surrounded by gaunt snow-capped mountains. Yes, we had a script ! ... or I should say scripts, for it was a disappointing air-mail that failed to bring a different v< r sion from Denham. It was in search of this location that lie,, tires and I dro\etn Srinagar, in the beautiful Kashmir Vallej ; a more beautiful place I have yet to see. 11 r we were surrounded by snov capped mountains, but w< could not find a suitable village. It was all too beautiful and peaceful lor our purpi ses ; we needed a more dramatic background. So it was with reluctance that we returned to the heal oi the plains. We wen advised to drive through Kohat and on to Parachinar on the Atudian border.
Dec. -Jan., 1937-8
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Here again, we failed to find all the condii ions we required and so decided that we must try Chitral, a place that indeed looked and sounded promising from the pictures and descriptions given to us by the few people who had visited the outpost. We were indeed privileged to be granted permission to go to Chitral, a place that very few civilians are allowed to visit as it is so far beyond the frontier and necessitates travelling through a territory requiring a military escort. We obtained the services of Captain F. Grey, H.L.I. , to arrange for the trip. The preparations all completed, we left Peshawar in June and drove the 80 miles through interesting and historical country to Dir, the present end of the road. Here we said farewell to our car and two buses, and alter another day of preparation took the trail.
Our caravan consisted of forty pack mules and half a dozen riding ponies, a truly impressive sight as we filed past the fort on to the mountain trail. Our first march was nine and a half miles to Gujar Tost, with a climb of over- 4,000 ft. It was very warm, and I was greatly relieved upon opening the "yackdans" (a sort of trunk that slinks on each side of the mule), to find the film still surrounded by ice and a goodly supply left for the next day; from then on, we should have no trouble in getting snow from the mountains.
The marches were not very long, but rather strenuous, and by the time camp had been [(itched, ice or snow arranged for, a quick splash in the ice-cold stream, our meals finished, we were ready for an early turn in, to be watched over by pickets from the post. The second marcn t >ok us over the famous Lorwari Pass, over 10,000 ft. in elevation and as cold as any studio official's heart. Here we changed escort, as the pass is the boundary between Dir and Chitral States. From this lofty position we could see peak after peak stretching off into the haze. I must say that I was thrilled at the prospect of photographing such an exciting country, so much so that upon reaching Ashret Post, I hurried I \ devoured my meal and climbed the mountain about 3,000 feet above the camp, from where I had another excellent view of mountain scenery, and also the sport of following fresh bear tracks . . . For those with a spirit of adventure, what an allurement . . . this gatcwaj to Chitral with her towering peaks, her rushing waters that seem to beckon you on, on . . .
The trail to Kirkhani Post, our next march, followed for the most part the rushing stream that we bad first picked up after crossing the ice field just below the pass; it was rapidly becoming a mighty torrent, fur every canyon we passed brought its contribution from its own melting snow field. We had many occasions to congraulate our- selves for having trusted our camera and lens-ease to the coolies, rather than to the temperamental mules who in- variably kept to the very edge of the none too wide trail which was often cut from the lace of the rock with a sheer drop of hundreds of feet to the stream below. At Mirkhani, our stream joined the swift Kabul river, which we followed the next day into Drosh, where we were made welcome by the British officers commanding the brigade of troops stationed there.
We made Drosh our base for the next month, shoot- ing scenes with many troops and the glorious mountains for a background. The officers and men entered into the spirit wholeheartedly aud gave every assistance to the mad "Bioscope Wallahs." To Indian troops, there is only one name for motion pictures, that being "Bioscope" . . . and they know we are mad for working all day in
the blazing sun.
Our next move was to Chitral. the capital of the State, 25 miles beyond Drosh. This we did by ears that had been packed in from Dir and reassembled in Dro h The drive is a hair-raising one, hut as there is, at present, only fifty miles of passable road in this mountainous state, the drivers know every hump, and bounced us along at amazing speed. At our journey's end, we were made welcome by the Assistant Political Agent who presented us to His Highness the Mahter, whose present palace is the old fort that was besieged in L895, and in whose reliei one of my cousins played an important part. It seemed strange to find my name well known in this distant outpost.
Although we were surrounded by snow covered peaks, the thermometer rose above the 10(1° mark each day, so the film still required constant attention not only before, but during and after exposure. Again, we were given every assistance by everyone who could help; such a spirit makes working a pleasure even in the boiling sun, and it was with regrets that 1 hade farewell to my new friends and looked on Tirich -Mir, the 2.1. 420 ft. mountain, for what I hope will not be the last time.
The return trip to Peshawar was uneventful with the exception of a mule taking a high dive over the "kud" with a load of exposed negative. It made a sheer drop of about 30 feet, then somersaulted over and over for another 50 feet or so. As I watched it fall, my feelings were divided between the poor beast and the negative; both must surely be lost; but a miracle happened: before men could reach the beast, it rather shakily clambered to its feet and upon closer inspection the only damage revealed was a few cuts and bruises for the mule, and two smashed yackdans; the film containers were not even dented.
We found the heat of Peshawar more trying than ever, especially after opening the mail and finding several new versions of the script . . . Yes, the troops arc right: the "bioscope wallahs" are surely mad! With our re- maining unexposed negative, we went to Landikotal, in the historical Khyber Pass. Here again the support and co-operation extended to us made it possible for us to get some exceedingly fine scenes. Our negative all exposed, it only remained for us to pack, say farewell to our friends, and get our film hack to England as soon as possible. This happened to be by boat, which gave Challis and I time to induce Imus to shave the terrible growth he called a beard. .1 also had time to reflect on the trip and wonder if after three months of such trying conditions, the nega- tive and camera had remained in good condition.
It was a great relief and most gratifying to overhear, after projection, that even the brains of the industry acclaimed our work as excellent. Being just a technician, I take off my hat to Geoffrey Boothby, the director, llemy Imus and Christopher Challis, of Technicolour ... a better crew never went anywhere.
Sound Pioneer
A recent invention by the Eussian, Prof. Poliakoff, has revealed the fact that a patent warrant was issued to him in Germany for the recording of sound on film by an electrical process as long ago as 1899. This probably makes him the first man to have electrically re sound on film.
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T tt E (' i X E-T ECHNICIA N
I i -Jan., 1937 -
LAB TOPICS
As in this issue, so in future issues vve hope to give you a page ill laborator\ news and developments, apart from
the usual laborator\ articles which INTRODUCTION are published from tune to time.
Elsewhere vou will find an excel- lent article on optical Printing bj Mr. A. ('. Skit- trell. Once again vve ask all those who are keen on making these pages as interesting and useful as possible to help us. It you have specialised laboratory technical knowledge, or a new idea that is likely to help or amuse your fellow workers, send your effori to us for publication under the heading " Laboratory. " Items which are too long for this feature will appear elsewhere in the journal.
'Idie year in i\\ drawing to a close has been spent chiefly in consolidating our strength. Each week makes it more obvious that we shall sunn be 100". REVIEW — 1937 strong in all laboratories, an achieve- ment which cannot but lead to better working conditions, stabilisation of wages on a higher plane, and the attendant advantages of a healthier and happier hand of employees. Several weeks were spent getting together the data, for our case to be put before the employers and anyone reading it cannot but admit that we have more than just cause for complaint, especially with regard to some particular laboratories. With regard to the employment bureau, many lab teehni- cions have been found permanent situations. Laboratory managers should note that they are at liberty to make use of the bureau whenever they need extra technicians. There is no charge for the service. Social activities have been greater this year. Humphries and Pathe's gave a social which was a distinct success. There was a trip up the river Thames in the summer, and last month the A..C.T. Ball. Moth events were well attended by the lab. section.
Did you hear about the positive developer who on being CRACK asked why he had under-developed a dozen reels
said that he was in a hurry to get home'.'
The good old days — or were they? I he following by Mr. M. J. Soper may help yt>i< to form an opinion : —
So much has been said and written REMINISCENCES about some of the earliest pioneers of cinematography, and of their adventures with the weird and wonderful apparatus with which they had to produce their results, that J thought it might interest and amuse some ot the younger or a! hast some of the less experienced of our laboratory workers, to read of the adventures which often fell to the lot o| some of the earlier technicians.
While I do not presume to place myself in the same category as the pioneers who have written in "The Cine- Technician" from tune to time, still l can gO back a matter of 25 years or so, during which time the labora- tory section of the trade has. in keeping with the produc- tion side, so changed that unless one kept in constant touch with it during (hose years, he would often find him- self completely out of Ids depth.
I or example, one ot the first printers I can remember was called a "Darling" after the maker's nami il lam afraid we often called it other names which were far I endearing. It had a lamp house which usually contained a small carbon filament lamp about 30 c.p. which was mounted on two runners like tram lines, and the Lamp was pulled backward or forward as occasion required, from the outside, with pieces oi string looped to the fingers the lelt hand, while the machine was hand turned with the right. As the lamp only had a run of about three inches, and the negs. were not so even as they arc now, we often had to regulate most ol the exposure by fast or slow turning. I remember having to work one of these machines with an incandescent gas mantle in the lamp house, ('ne caii imagine the result it a very dark scene came into the gate and the lamp suddenly jerked forward.
Development was carried out in flat dishes and the film wound on what was called a "pin frame." This con- sisted of a square of brass rods, and also rods from corner to corner, with a handle in the centre for use when in- specting the film. Along these rods, at intervals ot about J in., were brass pin-, on which the film had to lie wound (celluloid to pins). The loaded frame was then drop] into the developers, and woe betide the winder who "framed it up" if it was too loose, because it i me
off the pins when dropped in the solution or came drop- ping over one's arm when held up tor inspection. In either case, the wretched boy w ho wound it on was usually rewarded with liberal applications oi "developer's el _ to his rear portion. These frames, however, had their uses, and were admirable lor "putting one over" on the luds in the drum room.
It must be remembered that all raw film was at that time black and white only, and had to be stained ace ing to the subject matter in a variety ol beautiful colours which were, however, very difficult to remove from one's person or clothes. It it so happened that the stainer did not approve of the fellows in the drum room he simply waited till he got a blue, red or some such bright colour, and forgot to rinse it alter staining; the result was. of course, that when the loaded drum was started, it - I out copious showers of multi-coloured dyes, and the lan- guage those lads saw fit to use was nobody's busim ss
The drum room was usually fitted with large circular drums, on which the Him had to be wound. These were about (i-7 ft. in diameter, and about 10 It. long, and with careful drumming would hold from 800 ti. to L,000 Et. ol film, which was dried by the revolution of the drum by motor, at quite a good speed. The chaos that ensued should one of the ends break awa\ while the drum was at speed, can better be imagined than descr I
It is impossible in the space to give a more descrip- tive account of tin' trade in those years; but which of us "old 'uus " do not recall the silver pud- dines over win. h we watelh d so carefully, the smell aris- ing therefrom, and the share ot the p eds wl • -old. and which of us have not mad i nocturnal prowlings in Wardour Street, with a 400 Et. tin oi "silver mud." pro- bably purloined from one of the aforesaid puddin -
GAMMA
Dec. -Jan., L937-8
T 111-: (' 1 N E-T ECHNICIAN
182
WESTON SELECTIVE ANALYSER MODEL E665.
FILMS & EQUIPMENTS Ltd
145, WARDOUR ST.
LONDON, W.l.
is:;
T HE (IN E-T E C HN IC I A X
Dec -Jan., 1937-8
Cinema Log
by KENNETH GORDON
We Look Back Ten Years
It was ten years ago when the first Film Quota Act was being prepared, and it is interesting to look back and review the industry in those days. In 1926 production had
practically erased, the only organisations representing employees in the production Held were the Producers' Association, under the chairmanship of George Pearson and the lion. Secretaryship of Sidney -Morgan. Backing these were 28 producers, including Maurice Elvey, A. E. Coleby of "Call of the Road" lame. Sinclair Hill, George Dewhurst, Jack Raymond, Anthony Asquith (our much beloved President), A. V. Bramble, Tom Bentley, Man- ning Haynes, Hugh Croise, Guy New all, Cecil Hepworth and the late George Ridgewell.
The old Kinema Club, at 9, Gt. Newport Street, banded together the actors, including Victor McLaglen, Teddy Doran (who later became M.P. for South Totten- ham), Pat Mannock (Daily Herald screen critic and then a scenarist). Led by George Ridgewell, this band used to hold open-air meetings at Irving's statue in Charing Cross Road and also in Hyde Park in an endeavour to promote interest in the proposed Bill.
Technicians were represented by the late Kine Cameraman's Society which had just lost its funds in the Farrow's Bank crash and, as most of its members were out of work, had not a penny lor ;i fight. This Society had no offices, no paid officials and as its President and officers were nearly all in the newsreels, no real sympathy and knowledge of production problems. Still, in spite of this, it managed to do something towards promoting the Act. N.A.T.E. were in those days only dealing with the theatres. There were few studios built as such then. Converted skating rinks, or glass houses, were the order of the day, and the Hackney Road Studio was a con- verted Gas Retort House. Gaumont's, Shepherds Bush, was a glass house, and so was Ealing, then Barker's.
Films were silent, cameras hand-cranked, and there was no "Pan" stock or colour films. Lighting was mostly old type Westminster's or Mercury Vapour Banks with no "spots." Lenses worked at £.3.5 and even i'M.f> and were not colour corrected ; make-up was No. 5 grease- paint, which made the actors appear to have a bad attack of jaundice.
On the exhibition side, P.C.T. was the only large circuit, ami Graham Cutts was just designing his supers.
In the labs., wooden frames holding 150 feet were in use for development and the stock was dried on re- volving drums. Red or orange lights lit the darkrooms and visual inspection for development of both neg. and pos. was the order of the day. Sensitometric control and our old friend "gamma" were unheard of. Wireless still used the crystal and television was only a ventriloquist's dummy's head, revolving lenses, bits of wire and other strange gadgets and a burning enthusiasm in the hands of Baird in a Lean Street back room. Time marches on.
In the Street of Adventure
Talking to a well-known film columnist in Fleet Street the other night, lie expressed in strong terms his disgust
that A.C.T. si hi attempt to ruin "the already ruined
British Film Industry" by attempting to limit foreign
technicians. Dramatically declaring that "Art" was in- ternational, he appeared to ostracise British technicians from international art. no doubt reasoning thai it is essen- tial to have some high-sounding foreign name and to have been trained in some non-existing Continental studio to even light a title card. I suppose we should only blai the British technicians' bad publicity lor a statement such as this. When "Herr von Schnitzell" arrives in England with a blast of trumpets anything he says is published without checking. On the set lie loudly hammers hell out of his British crew of assistants, making them ap] to the crowd on the studio Moor a bunch of "nit-wi1 instead of as is often the case a competent bunch of good scouts pulling a foreign incompetent out ot the mire for the benefit of a British film, and just quietly taking the knocks. You see. my friend the scribe never hears of the foreign technicians' pictures that are deposited on the shelf, bringing in their train great loss to its financiers. V know foreign "Aces" who are not "Duces" and with whom it is a pleasure to work. so. smarting with indig- nation at this unfair comment on my brother technicians. I read that
Jack Warner says
during the incoming year, starting next February,
two international world-scale productions will be made at tlie Teddington Studios of Warner Bros. First National, for world release in the 137 exchanges under the Com- pany's control. Full programme will be fifteen pictur - involving about £400,000. He chose three Teddington productions, "Perfect Crime," "You Live to Learn," and " Mayfair Melody " for American release without reciprocity.
Contemplated production will not import technicians from abroad. Mr. Warner expressed his satisfaction witli British ability and quality of production. Warner Bros. will make British pictures in colour, but not at the moment — so which of these two people is right I lea to your imagination.
Kinema Exhibition 1937.
The exhibition of Kinematography was opened at the R.P.S. by Col. J. T. C. Moore-Brabazon, D.S.O., M.C., M.P., Hon. F.R.P.S., who was during the Great Warhead of the R.A.F. Photographic Section, is a din Kodak's, and also holds No. 1 pilot's certificate for dy- ing issued by the Royal Aero Club. I often met him when filming in St. Moritz, where the Colonel was a great exponent on the "Cresta Run."
In his opening remarks, he said the best reproduction of sound was procured by photography and that synthetic sound might be produced to cut the American accent out of films. In a short time our favourite actor will be able to sing a perfect song with a range tar outreaching the finest singer we have ever heard : "the cinema gol into wrong hands in the early days and in my opinion has never got out of them." further, he pointed out that the amateurs in the colour field could beat the 35 mm. pre sional cinematographers owing to the stock that was available.
\ number of competition films were shown and in the professional field a very fine 1 1 B. Instructional film
Dec. -Jan., 1937-8
T H E C I N E-T ECHN1 C 1 A \
[84
was '"The Catch of the Season," being the birth, life and death of a trout, and containing very fine microscopic and scenic photography. A monochrome amateur film, "Bhil Wedding," was a 9.5 mm. documentary taken by S. Jepson in India. Most interesting and made the audience realise what fine photography and projection can be obtained with this small gauge film. M. Natan's 16 mm. "North Kensington Nursery School" contained some remarkable studies of small children and told the story very well; his "Sunday in Chartres," filmed in one day with Kodacolor was a very hue piece of work. The interior of the old Cathedral was shown by means of a series of shots showing the stained glass windows that were really beautiful; the tempo was very goal, starting slowly with the people gossiping and going to church in the morning, and quickening in the afternoon as the people go to a typical French Fair. If only we could get this type of film in 3~> mm. that they could print. Another fine amateur colour epic was '"Birds of the Reeds," taken by J. Chear, a Civil Servant, on a little stream at Welwyn. J. Chear is a quiet fellow who declares he is too nervous to film people, but in the nooks and crannies he waits for hours to shoot these delightful colour studies of bird life.
Going back to black and white, we had a 16 mm. plaque-winning film by D. J. Carnegie — "Kenya Farm"- a documentary with speed, showing all phases of life on the farm. Photography was very good, camera angles and effects quite up to professional standards. Of course, one misses sound, but these efforts should be viewed by professionals as they show to what high standards the amateurs have risen.
By the way, what a change Dr. Spencer has brought about in the R.P.S. His spirit is reflected in the whole of the Kinematograph Section, who were bubbling over in their very successful endeavours to make this exhibition so attractive. Fine stills by the studios; modern lighting equipment by Mole-ltiehardson and Beards; cameras by Newman and Vinten ; and a galaxy of sub-standard equipment, were there to delight the heart of the photo- grapher. Jolly good show.
"Medicine To-day and To-morrow"
In the above-named journal. Dr. D. S. Greig. Ml)., tells the story of the production of the Bcrmondse\ Borough Council's health films.
Dr. D. M. Connan, Medical Officer of Health in 1923, with only still photographic experience and aided by assis- tants from his department, prepared a series of silent films. The work and preparation of scenario, shooting and cutting was in the hands of these amateurs, process- ing only being in the hands of a professional firm. 1924 saw his first masterpiece — "Where There's Life There's Soap," received with great popularity. Simple in form, direct, and sometimes brutal in statement, it was de- signed for use in schools for children of all ages. Dr. Connan composed snappy doggeral verses on soap such as
"The skin contains a million drains, And you must keep them clean For dirt will choke a drain As from this picture can be seen."
A couplet or verse is thrown on the screen. The children gaily sing the verse, and it is then illustrated by a section of film, and the whole soap and dirt epic- goes through, finishing with shots of Bermondsey's special bathing facilities.
To-day, Dr. Connan tuns a film unit with studio at the Town Hall and uses musical backgrounds and synchro- nised eommentries prepared on discs. Fourteen films are in his library and two films are added each year, and colour films of great beauty illustrate the Borough's grow- ing amenities. Their latest production. "Some Activities of the Bermondsey Borough Council" is a superb docu- ment ot civic education.
This just shows what can be done.
These films are available in 35 mm. and 16 mm. non- flani stock, and four afternoons a week Health Officers give school shows. From April to October Bermondsey's projector van rolls into position in the streets and the show is on. Humour, slapstick, and belly-laughs are used in the films. "The Tale of Two Titties"— the storj of a clean and a dirty teat — might disgust the West End premiere, but it brings mirth to the market stalls and consolidates its point in health culture.
Congratulations to the Air Pilots' Association
It is with great pleasure that I hear that a Parlia- mentary Committee will he set mi to investigate the grie- vances, etc. in connection with the staff matters and organisation of Imperial Airways.
These tough-hearted lads have had a very poor break and as 1 personally helped in a small waj m the formation of this Association, during the air-strike at Croydon while filming there, I am pleased to hear that their grievances are likely to he remedied. It is time that industrial dictators learned that in a democratic country they must meet to consider representations of employees' conditions placed before them by their duly appointed repres- entatives.
SUB-STANDARD
THE ACT. GENERAL COUNCIL has recently re- viewed the question of sub-standard work and in particular the way in which amateur einematogra- phers appear to have encroached on what has hitherto been regarded as the legitimate field of the technician. There is at the moment a considerable moot- ing of panels of amateurs who will be prepared for the cost of film alone to cover in sub-standard local news events, advertising shorts, and documentaries. A.C.T. has also a "panel." an unemployment figure of over two hundred technicians, many of whom are equipped and will- ing to undertake such work, not for the cost of film but for proper payment in return for service of professional merit, since with all due respect to the amateur it cannot be expected that he can turn out the finished article in anything approaching the quality that is the normal standard of the professional technician.
It has never been the practice of studio workers io do else than admire the keenness of the amateur clubs whilst they confined themselves to fictional subjects and indeed many clubs include A.C.T. members in their ranks. But when the amateur oversteps the boundary and attempts to embrace work of professional scope, then a protest must he made. This trespassing on cinemato- graphic preserves is not a conscious one hut rather is due to a superabundance ot somewhat misplaced zeal, result-
(Coiiti)iucd on page 192)
L85
T BE (I X E-T EC II X I C I A X
Recent Publications
D -Jan., 1937 -
A Mongrel in Movieland
SCRUFFY b\ Claude Burbidge. Hurst & Blackett, 5s. net
" Now, Brownie was a member of a strange tribe called Cameramen. They are a warlike tribe and greatly feared in filmland. It is said that cameramen have killed many stars. On the other hand, it well treated, the\ become almost human and have done more for their victims than the outside world could imagine. This curious contradic- tion in their character is revealed in their war cries. 'Oh. save those arcs !' is frequently followed by the savage shout : "Kill those arcs !' So writes Scruffy of his boss, and his calling, in his autobiography.
Our hero tells us thai some of his fathers were ver\ distinguished animals and his story carries us from Ins early days as a seven-and-sixpenny mongrel to stardom at fifty guineas a week. A dog's outlook is naturally dif- ferent from a human being's for instance, the studio imitation streets with lamp posts as good as real were a great attraction — and a freshness of outlook pervades the whole book.
In lus progress to stardom Scruffy speaks frankly of many subjects. He makes cracks at the many madnesses and inconsistencies oi film production. "No one could accuse the film people of sanity" he says. He is puzzled l»\ pro luction terms. "A unit in filmland denotes a num- ber of persons and theri fori - a contradiction in terms and does not make sense. This, of course, is in accord- ance with the highest traditions of the industry." He discovers that everybody is the most important person in films and that everybody can produce a lot of statistics to prove it.
There are many delightful sallies. For example, assistant directors "imagine, like everybody else in films, that they are the most important people in the business and that no picture could he produced without their valu- able co-operation. Their real job is to call out orders at regular intervals in a refined voice and lend tone to the whole proceedings. This gives them a sense of importance and does no harm to nobody, because nobody takes any notice."
In short. Scruffy puts the whole industry in its place and lets us know quite clearly that he is the only person in film production who really matters. We congratulate A.t'.T. member, Bernard G. Browne, on discovering such a brilliant star and equallj scintillating author with. I course, the able assistance of Claude Burbidge. We also commend his wisdom for disappearing on the day the ho ik is published (S< ruffy whispers it's a honeymoon and he strongly approves of the bride). .Moreover, as we wish them all long life and happiness, we hope the holiday will be a long one in order to enable a leg-pulled industrv. technicians, and everybody else, to recover from possible squalls which might develop, if we hadn't a sense of humour, into more than a mere "Storm in a Teacup."
G. H. ELVIX
Till'. FACE ()X TTTF CUTTING ROOM FLOOR" By CAMERON McCABE. Gollancz. 7 6.
Two-thirds of "The Face on the Cutting Room Floor" is damn good detective story. Film technicians. however, are warned that they will have to accept a Silent Automatic Infra Camera, smooth and noiseless, capable of working in light and darkness equally well, using non- Ham reversal film which is automatically developed as - en a- it has been exposed and possessing a panning and focussing device which enables it to follow people without the aid of any guiding hand.
The book goes all haywire tor the last third of its length. McCabe has rounded off his story with a mag- nificent trial and built up a grand climax -and then, pre- sumably in his anxiety to attain originality, he adds a se\ cut j -pace epilogue which goes into long psychological explantions for the behaviour of all concerned— until we arc so bored that the committing of another murder on the lasl page does not interest us in the leasl -
Despite the anti-climax, "The Face ^n the Cutting Room Floor" i^ well worth reading, even if everyone speaks in parables and nearly all the characters seem to be raving mad. Therein, perhaps, lies its charm.
RALPH BOND
Dec. -Jan., L937-8
T II E
C I N E-T E (' II N 1 (' i A \
lsc,
LEN LYE reviews
Major Kleins " Coloured Light
Technical
Pr.
Ltd., 30/-.
and technical outline ol irpcn vour own thoughts
All technicians take a how: all technicians advancing their work take a double bow. If you read this hook you'll know whv. It's " Why " makes the wheels oi thought go round. Particularly the wheels connected with colour pleasures. Mainly treating colour as colour in its own rights as a medium of art for both creative and re- ceptive sensory stimulation. In other words, Sir— beauty, loveliness, or any other word you have for aesthetic kick. And the technical rdvancements that give a greater means for its expression.
The subject mutter is put down in a clear, concis statement of theory, practice, colour manipulations which sli
about colour or create new ones. And vour new thoughts may sharpen the appreciation of the work listed and done by the pioneers in creative colour and its mechanics.
We're lucky to have research workers who can not only give lucid' details oi their views and experiments, but also those of other workers in the same or analogous fields.
A. 13. Klein has marshalled the theories and refer- ence data of seemingl} even known worker in the field of colour thought in its scientific and aesthetic aspects He presents mature theories and puts forward interesting viewpoints on the social values and standards of painting, music, and the colour research in which he has taken a large share.
I myself am no technician and designate myself as a colour-playboy intent on my contact with reality to supply it with a mental aphrodisiac just for the sake of what happens.
The author is versed in the Western European art traditions and has kept alive his own thoughts in relation to them, which is also evidence to me that the technical knowledge outlined in the book is as advanced in content.
This is a relief to find nowadays when the external forces of reality absorb so much of our mind's virility on problems of economics, social organisation, human annihilation, liberties, and so on; so that we have hardly any mind left for creating or approaching mind gems in any aesthetic medium.
Film people who feel that eventually they will be dealing with the more subtle of the aesthetic problems in colour films will find many oblique lines of thought bear- ing on film presentation, such as hack-projected colour in sensory movement for sets presenting dance, drama, music, and the placing of characters in colour controlled movement backgrounds.
If the book is too expensive in these days of incessant economic demands and upsets, at least it is worth having access to in the studio or general reference library, to read in between jobs, and as a preparation lor a self- confident contribution to the only thing that matters finally apart from behaviour and bread and butter, nameh , the subtleties of mind content invested in beauty.
(Recent Publications continued on page 188)
1ST
BE C ] N E - T E C H N I C 1 A N
i ii -Jan.. 1937-8
Technical Abstracts
Change in Projector Aperture
DIMENSIONS MORE CLOSELY APPROXIMATING
THOSE OF CAMERA SUGGESTED TO PREVENT
ELIMINATION OF MATERIAL
As a means of preventing the elimination of signi- ficant pictorial and dramatic material from the projected picture, the Research Council of the Academy of Motion Picture Arts and Sciences lias proposed a change in the projector aperture, extending it to dimensions more closely approximating those of the camera aperture.
The present standard width, adopted in 1932, oi .825 inch, would become .815; the present height of .600 would become .615.
Academy's Objective
The proposal represents an attempt of the Academy to eradicate a condition which has become more oi an evil as more of the camera aperture range has come to embrace critical material, placing important dramatic or contributory elements in the peripheral areas of the frame, which areas are now rather substantially cut off h\ the projector aperture. The Academy proposal follows a iec mendation made l>\ the Projection Practice Com- mittee of the Society of Motion Picture Engineers, at that body's convention in Hollywood last spring, also sug- gesting that action he taken to stop the elimination of peripheral critical material. The S.M.P.E. committee. however, proposed that critical material be confined to areas that would be photographed well within the camera aperture so that the existing standard aperture could be effectively retained.
Same Purpose
The Academy action, which, it is said, was taken without consultation with the Projection Practice Com- mittee, has the same purpose as the recommendation of this committee, hut definitely indicates the reluctance of the production community to consider any constriction of action areas.
The recommendation of the Projection Practice Committee last spring called for confinement of critical material in the frame to an area of .005 inch smaller on all sides than the dimensions of the present standard projector aperture.
By recentreing the projector aperture so that it is in line with the camera aperture, the Research Council pro- posal would place exactly one-half of the increase in width and height on each side of the horizontal and vertical centre lines. This would result in a reduction of the vertical framing tolerance to (one half .031 minus .615 equals) .088 inch, whereas the present tolerance is .0155 inch. Side tolerances are similarly reduced from .0215 to .iill.V Such reduced tolerances, particularly the vertical tolerances affecting the maintenance of the image in frame, are regarded by some persons in projection circles as highh undesirable.
It is also pointed on! that with the reduction of the lateral (sidewise) tolerance, placing both camera and pro- jector apertures on the same centre might lead, in some prints, to lateral misframing because of film shrinkage, which is said to amount occasionally to as much as two per cent. The present standard camera and projector
aperture- are off centre laterally precisely for the purpose of allowing for film shrinkagi
George Schutz Motion Picture Herald
Tone-Tim Merging
The recent announcement that the Metro-Goldwyn- Mayer studio is constructing an addition to its studio laboratory to house a new department tor toning and tint- ing release prints vindicates an opinion which many notable authorities have frequently exj n ssed in print and otherwise for many years.
Briefly stated, that opinion is that since the coming of sound, producers have neglected a tremendous means of* increasing the emotional appeal of their films in n g- leeting the emotional aj^peal of tinted and toned film.
Tinting and toning motion picture film is no new- thing. In the days before the Vitaphone this technique had developed to a relatively high degree. Many of the greatest productions of the silent days owed more than a little of their emotional appeal to the aid of colour in the form of tones and tints.
At that time, however, toning and tinting v limited 1>\ the fundamental limitations imposed by the then crude technique of making conventional black-and- white prints. Control, in the sense implied by to-day's scientific accuracy, was unknown in the developing and printing methods then used.
The toning job — the black-and-white print — is now- made with a scientific accuracy that c,>ts the best out of the negative.
Printing is done on the most modern Pell & Howell production printers, and the film is of course machine developed, while the entire process is subject to such accurate sensitometric control that any number of abso- lutely identical prints of any picture may be obtained.
The tinting and toning operations are carried out with the same accuracy. The work is done on machines, of course. These toning machines are essentially similar to the studio's standard developing machines, but with the tanks rearranged to be suitable for the processes involved.
Tin' speed of the machines is necessarily variabli over an exceptionally wide range, to allow both for the various solutions which could possibly be desired, and for the necessary control.
In some respects the machines for toning are simpler than conventional developing machines. Turbulation is not required, nor is a solution circulating system. The solution is of course refreshed with metered quantities of a concentrated solution at fixed intervals. The life of the solutions seems practically indefinite.
Temperature must be very accurately controlled. It is also extremely important that all parts oi the machines in contact with the solutions he chemically impervious to the various solutions, neither being affected by the solutions nor contaminating them.
These operations may be carried out at any time after development of the print, and in a lighted room. Therefore the toning machines are in a separate section of the laboratory, and the prints are developed, fixed, washed and completely dried before the toning or tinting operations.
Dec. -Jan., 1937-8
T H E (MX E - T E (' H X 1 C I A X
1HH
RECENT PUBLICATIONS— [continual from p. t86)
MOVIES FOR THE MILLIONS
Gilbert Seldes' New Book
Meet Mr. Slides. An American who enjoys his movies, having nevertheless "seen inure pictures than most people and therefore suffered more than most from the stupidities and monotony, the uninventiveness and the timidity of American pictures." Making the point that movement— a fundamental of the history of the American people— has dominated and saturated their cinematic medium, he follows with the vital fact which no amount of legislation can replace "... the people who made the movies profoundly believe in them and enjoy them . . . that sincere belief that (the work) is good, added to the instinctive feeling for the essence of the movie as move- ment, has probably done more for Hollywood than all that good intentions and high purposes and subtle aesthetics could ever do." To which one maj add in passing that in Britain there are just such burning techni- cal enthusiasts languishing in the best tradition of those who starved under the patronised arts of earlier cen- turies. The majority of their employers, the financiers, neither enjoy nor care for the movies, and the results are the pooi- ghosts of Hollywood film making, nearly all the films made in England by all nationalities, which Mr. Seldes rightly deplores.
All film stills are at best cadaver-like ; shells of a sec- tion of moving composition. But those in this book are as good as one can have them, and there are characterful portraits. Xote the vibrant Cagney opposite page 50.
"The moving picture had to be taken awaj from the inventors by aggressive and ignorant men without taste or tradition, but with a highly developed sense of business, before it could be transformed . . . into a medium of the first popular art." The brothers Lumiere, who were pro- bably the first cinema exhibitors — and of their own inven- tion— advised Georges Melies, a movie maker who under- stood more about his medium in 1900 than many pro- ducers in 1937, "that the moving picture might perhaps be exploited for a while as a scientific curiosity, but it had no commercial future." Pointedly the story hurries on to 1907 and D. W. Griffith, whose work the author details with discrimination. . From the vantage of 1937 we are given no slow chronicle of tact plus laet. but refreshingly presented with a tapestry of early flairs woven into later fantasies and back again; silent him personalities — Pickford, Chaplin ; Keaton, Lloyd ("They were inventing situations when Chaplin was creat- ing comedy"); Hart, Tom Mix, the whole "silent" gang; the arrival of a pompous staginess of sound to movie sound films and their stars; all cunningly interwoven with lively facts and portents. Critical shai'p focus points on directors, camera angles, documentaries, intellectual amateurs, and cutting ("an abrupt hail of images") raise issues which if discussed and understood by The Millions will add to their enjoyment of the fare at their local.
Mr. Seldes's observation on sound films, "... pro- ducers are still trying to make pictures without the camera." illustrated from Capra's last Him as being a typical example, provides an illuminating cameo of the current disease which impairs the very root of the movie medium.
A somewhat thin air pervades the extreme end of the book. Mr. Seldes's remarks on colour, stereoscopy, and the possible influences of television on films squeeze into these pages by a hair's breadth only. But he is sensible and sensitive on all three subjects.
His zest shapes the many facets of his subject into a trenchant whole which could repel no layman by over- technicality, while the technician will recognise with re- lief a writer who has brought a sense of proportion, know- ledge, and accuracy, to bear on a subject which changes kaleidoscopically according to the angle from which it is approached. This is a good job of work of approaching the kaleidoscope from the point of view of the movie patron.
J.M.
TECHNICAL ABSTRACTS— {continued iron, p. 187)
The tone most generally used at present is a single solution uranium tone, often in combination with tints. In this connection it should be remembered that a toned image is one in which the silver image itself is coloured while the highlights remain clear, while a tinted image is one in which the silver grains are not coloured but the gelatin support carries an overall colour so that highlights and all appear coloured.
John M. Nickolaus
Americayi Cinematographcr, September, 1937. (Continued on page 189)
AUTO KINE CAMERA
NEWMAN-SINCLAIR
IS THE MOST MARVELLOUS CLOCKWORK DRIVEN CAMERA IX THE WORLD.
It drives 200 feet Standard (35 mm.) Kine Film with one wind of the mechanism.
It is reloaded in a few seconds.
Price: With F/1.9 Ross Xpress Lens, £130.
Other Models and Lenses available.
JAMES A. SINCLAIR & CO. LTD.
3, WHITEHALL, LONDON, S.W.I.
189
T II E C 1 N E-T K < II \ I < I A X
I > -Jan., r.
TECHNICAL ABSTRACTS— {continued from p. 188)
Third Dimensional 16 mm
Stereoscopic motion pictures movies in which a real illusion of the missing "third dimension" of depth is given — have received the attention of many researchers, professional and amateur. Some oi their schemes have worked ; others have' not. But the goal of producing mov- ing pictures which will give a scene the same roundness and depth the eye perceives continues to hold endless fascination.
( )ne ol the mi ire reci nt and im ire succ researches into this field 1ms been conducted by J. Kinney Moore, S.A.C. member and maker of "ISiite Life," which won a special award for special effects camerawork in this magazine's 1936 Amateur Movie Contest.
Moore's experiments, made on 16mm. Kodachrome film, successfully capture the third dimension and com- bine it with natural colour to produce results rarely, if ever, show on the screen before.
Thq principle underlying any perception of depth, whether photographic or merely visual, is simple. Our eyes .in- placed side by side, approximately l)7s inches apart. Each eye therefore sees the view from a slightly different aii'_de ; in effect, the right eye sees slightly '"around" the right side of an obje t, while tic left eye similarly partly around the opposite side.
In our brain, the two images are combined into on
and this two-eyed vision gives us our perception ot * I ■ - 1 > t ■ i
and roundness. If one eye is put out even merely closed
—things appear as flat as a photograph, and one finds
it almost impossible to judge depth i >r distance accural ely,
The camera is necessarily a one-eyed instrument. It cannot, therefore, give anything but a flat one-eyed picture.
Evi ry system ot sten scop c photograj^hy or cinema- tography depends on making in some fashion two separate pictures of a scene, each of which represents whal one eye would see. and then showing each eye its proper picture while preventing it from seeing the other eye's
\ |e\\ .
Moore gets his two films by coupling two Cine-Kodak Specials together. His two cameras are mounted on a special base, which he built himself. This base is hinged alone; its centre line, not only to allow the left-hand camera to he swung (dear that the right-hand one may he loaded conveniently, hut to permit th ■ cane ras to he "toed in" so that both are centred on the same objei I usually the most distant important object in the scene.
Each camera is driven by its own clockwork mechanism, but the two are kept in step with each other li\ means of a mechanical coupling. The one-picture-per- turn "trick crank" of the camera is removed. In its place is put a sprocket.
The sprockets, in turn, are both connected through a chain belt to a common shaft. Thus it is impossible for one camera to run without the other. In practice. Moore often uses hut one camera's motor to drive both.
Projection is by two Ampro projectors connected through a similar chain and shaft coupling. Tn this case, the knobs used to turn the projector's mechanism in threading has been removed and the sprockets substituted, while the knobs have been replaced at the end of tic coupling shait. In use, both projector motors are em- ployed for driving.
I. h projector is fitted with a standard Eastman l-'ola screen Light polarising filter. The two polarisers are
-sed" or placed with their polarising plan - : es to each other.
The house is given spectacles, the lens of which also cro.ised pola screens. Thus each eye can see only
the ilim 'e projected by the projector whose polariser is parallel to the polarising lens in front oi that eyc\ and cannot s se the other imagi pi through the
polarise] .
American Cinematographcr, September, i
Report of the Snh-Committee on Perforation Standards
The Sub-Committee has investigated the possibility of adopting the S.M.P.E. standard perforation for nega- tive film, and has comi to the conclusion that various factors, especially the stock of background films, makes it impossible to use the S.M.P.E. standard perforation universally.
The Committee now proposes that the rectangular perforation proposed by Howell and Dubray- in 1932 adopted as the standard perforation tor both negative and positive. This perforation would operate satisfactorily on all apparatus designed for the Bell & Howell perforation, and should give little or no trouble on apparatus designed for the S.M.P.E. standard perforation.
— S.M.P.E. Journal, October,
WE SERVE THE INDUSTRY BY
PROVIDING THE ONLY
EXCLUSIVELY TECHNICAL FILM
EMPLOYMENT AGENCY LICENCED
ANNUALLY BY THE LONDON
COUNTY COUNCIL
Accurate records oi technicians available:
camera, sound editing and cutting, art, stills, assistant directors, con- tinuity girls, all grades of laboratory workers
From . . .
A.C.T. EMPLOYMENT BUREAU
145, WARDOUR STREET, LONDON. W.l Phone: Cerrard 2366
J /re. -Jan., 1D37-8
100
Now in these columns small I wish you a Merry Christmas, and just like Henry Hall I say: "Here's to the next time" (that fooled the Editors!)
This is the page that brings good cheer to millions
of hearts; for further particulars see "Wanted" columns,
Pog Surveys 1937
January Cold and wet waiting in the queue.
February ....Still cold and wet by the Exchange.
March Nippy by the Labour Bureau.
April One day's work (Boat Race).
May One more day's work (Coronation Day).
June Another day's work (Derby Day).
July Lovely and warm by the Exchange.
August Am getting quite sunburnt.
September... Walk round the studios lor an airing.
October Leaves are falling last so are my arches.
November.... Fog arrives— feeling of satisfaction that it
might stop work somewhere. December.... Ponds and credits completely frozen.
And with these words we saj farewell to the sleeping isles of Movieland.
Pog Casts His Eye Over The World
Italy Nero having a final fiddle.
Germany Finance so sticky they are now using
8 mm. for all films. America I can categorically state that The
Great Train Robbery has now been
finished and will lie seen in the near
future.
Atstralia The sun is shining.
Manchester Still raining.
A berdeen ( hit look unsettled .
Further Outlook... There will he definitely more weather
than of late.
I am the man they pay to keep quiet
Seasonal Piece It was Christmas Eve in the Poor House,
Everything was neat and tidy. The technicians were eating their Hot X Buns.
Blimey ! It's Good Friday.
Believe It! So What?
Bricklayers enter the cutting rooms! rl his is some- thing realh new. We have heard of Tripe Butchers, but Bricklayers is extremely novel. We hope they gave them some straw,
In view of this. Cutters are contemplating entering other industries. Knitting would he appropriate for som i of our Montage Experts.
Bricklayers Invade the Cutting Room
"Technicians Wanted"
(Copy must reach Pog three days before St. Tibb's Eve ij
it is to be included in this Column) FOB SALE One cameraman's viewing glass . . . hardk
used. Or would exchange lor float of Brandy Sauce. WANTED. One Native to clap . . . good studio.' Wages,
two howls of rice and loin-cloth. British Mirth Cert.
.mkI Public School Education essential. Apply. -
Duckshovsky, Blenheim SIikIims. F(ld! SALE. Full set o| Exterior Filters; or would ex- change lor umbrella and barometer. LOST. One 1st Assistant. Las! seen taping an Infinity
shot; hasn't been seen since. Finder please return.
Adequate reward. Apply any Police Station. MORTGAGE Do you collect Mortgages? H so, v
supply you | > 1 1 • 1 1 1 \ . All we wan! is your cash. We
ask no questions.
191
T UK < I N E-T E CHNICIAN
D -Jan., 19 7 -
Poet's Corner Producers We Beseech You (or A New Year Wish) A.C.T. will tell you why You must join the F.B.I. Troubles then will be abated For you'll all be Federated. George Elvin the board can sit on For he really is a Briton. Things are bad and you must cry At the British Indust-try. Once our Britain ruled the leaves. Must we Britons now be slaves? There has been a lot of stalling, Hark your "Mutterland" is calling, Tempus Fugit, so 'tis said, \~cry soon you'll all be dead. So come o>i, you really must Hoys be British and (or) be Bust !
Keep It Dark
Cassandra, of the "Daily Mirror," is thanked for the following: —
I hope that some Americans' understanding of the British mind is a little better than that of Louis B. Mayer, the Hollywood him executive, who re- cently said: 'Once I had the honour of parading before his late Majesty King George V in a suit of armour, when he visited my home town in Canada — so I think 1 can say I understand Britishers'."
Newsreel Swindle Sheet
In Bradford she was Mabel.
She was Marjorie in Perth.
lu Plymouth she was Phoebe,
The sweetest thing on earth.
hi London she was Doris,
The Brightest of the bunch,
But down in his expenses
She was Petrol, Oil and Lunch.
Intelligence Test For All
Who's been at m\ I.
What is a Film Star'.' And why? Remember the Law of Libel, boys.
Who trumped the British Ace cameraman?
What is the Shape oi Tilings to Come?
Why could no .Man Work Miracles with our tradi
Why havi stars stopped marrying cameramen?
What is a "non-discerning Patron"? What does a Receiver receive (a) officially (b) unofficially? Who's going to wash his hands of the Film Industry? And how much soap is he going to use? More i
Why have Stars stopped marrying Cameramen?
Final Notice
Seeing as how it's Xmas, 1 must now away to fill some of the little ones' stockings! They will have their little bit of fun. Bung ho! Remember me to the tolks.
POG
SUB-STANDARD (continued from p. 1S41
ing in a situation which, although it has its awkward points, is by no means unsolvable.
The Sub-standard Committee of the Association has prepared a special list of technicians of all departments who are prepared to shoot on the smaller stocks, and draws attention to the facts that, firstly, a large number of normal documentaries are already produced on sub- standard film, and secondly, that the present policy of the General Council on this question has by no stretch of imagination Keen chanced to meet this new intensified amateur activity, but has never in any shape or form countenanced the "employment" of such labour.
The present situation has probably been brought about in the first place largely by producing firms who turned down these smaller subjects on account of the little profit involved. Local firms were therefore forced to find other ways oi getting their work done and the individual technicians were never approached. In future. however, through the instrumentality oi the Sub-standard Committee, many likely firms will be contacted and it will be suggested that next time ;l film is wanted the A.C.T. should supply the crew. With the increased use of the cinema in the Schools and by utility and other companies Eoi demonstration purposes it will he regrettable it this
side of the industry does not remain under professional a egi s .
For technicians who wish to increase their knowledge of sub-standard technique, no better course is open than to join the Loyal Photographic Society, whose kine section is open to all those interested in cinematography. The response from the trade to the recent 1U\S. Cinema- tographic Competition was lamentably low and it is to be hoped that in the coming New Year A.C.T. members will enrol in the Society and qualify under its new rulings (see "The Cine-Technician," Vol. II, ] BO \-- ate-
ship and Fellowship. 1938 will also see the transference of the Association from the Central Association of Photo- graphic Societies to the Federation of Cinematograph Societies with regard to its membership of the Photo- graphic Alliance, and so our differences with the amateurs must be quickly regulated in order that our entr\ into the newer bod\ need not he marred by any discordant features.
Members are therefore urgently requested to bring to the Council's notice any anomalies that exist in this matter and to assist the Sub-standard Committee with suggestions and by seeing that they themselves do not engage in any activities subversive to the W- I 1 interesl s.
T. S. LYNDON-HAYNES, A..E.P.S.
THE CINE-TECHNICIAN
The Journal of The Association of Cine-Technicians
Editorial and Publishing Office: 145, WARDOUR STREET, LONDON, W.l. Telephone: GERRARD 2366 & 4669. Advertisement Office: 5 and 6, RED LION SQUARE, LONDON, W.C.I. Telephone; holborn 4972.
Volume Three, Number Fourteen
MARCH-APRIL, 1937-8
Price Ninepence
THEY TALK COLOUR.
ALEXANDER KORDA, Chairman of London Films, proclaims faith in colour
The introduction of colour into films was as natural and logical an improvement as the introduction of sound, and I think we can expect as rapid an advance in technique as attended the introduction of sound.
\l\ own faith in colour cinematography is best evinced by the fact that ni\ three latest pictures arc Technicolor productions — "The Divorce of Lady X", "The Drum", and "( )ver the Moon. "
Unfortunately, when sound arrived, English studios were taken unawares, and it was many months before tlic\ could change over. 1 was anxious that my company, at least, should be fully prepared, should the public approve colour in films. We now know that colour has undoubtedly come to stay, and its greatest triumph is that it is no longer remarkable.
With the first coli air film, the critics were obsessed with colour, and devoted much of their space to commenting on whether reds predominated or the sky was natural. To-da\ they remark that it was surprising that the\ had almost forgotten that a film was in colour.
There is no doubt that colour brings an increased entertainment value, particularly to women, who are the larger percentage of the cinema-going audiences.
In "The Divorce ol Lad\ \." the value of the monev spent on creating and presenting new fashions is lulls seen on the screen, and not, as it would be, were it in black and white, minus the colour combinations which make so much of a creative dress designer's art.
"I foresaw possibilities of colour," says CAPT.
THE HON. RICHARD NORTON, Manag- ing Director of Pinewood Studios
I foresaw great possibilites of colour in cinematograph's when first we opened our studios.
I persuaded nrs board to install increased lighting power for the purpose ol this, knowing that m\ friends in America, with all their experience and capabilities, realise that colour one day will be an essential factor in screen entertainment.
These revolutionary improvements in the film industn must come slowly, accompanied as they are by technical difficulties. People base not realised that one of the main difficulties has been making copies. 1 think it has been sufficient l\ proved thai the subtract i\e process is at pres- ent nearest the solution of the problem, and the progress ol the various companies who have adopted this process confirms this.
In m\ opinion, a great deal of nonsense is talked about eye fatigue, (iood colour, such as we base reeenth seen ill widely distributed pictures, has not affected the eye. There is no doubt that once the prejudice against colour films has been overcome, in the same was as the preju- dice against talking pictures was overcome, colour will be universally accepted.
The time will come when the risk of had copies and uneven photographic printing will disappear. 1 think even that the various adjustments in make-up and depar- tures from real life appearance on the stage will be ironed out, and we shall base photographic colour without the assistance of lamps and colour mediums, and curious looking make-up. There will be transmisson to the screen of natural colour, which is as natural to the eye as on the screen.
I feel that not a long time will pass before black and white pictures will be a thing of the past.
C.E.A. President, C. P. METCALFE, gives Exhibitors view
Colour lost its noveltx value long ago and in recent times has proved anything but an unmixed blessing to
exhibitors who failed to realise that it had done SO. The\ allowed themselves not only to hook films which, if they had been offered as ordinan black-and-white subjects,
would have been rejected as unsuitable, but the\ booked them at enhanced prices because the\ were in colour, and later found to their dismay that in the eyes ol their patrons, colour failed entirely to compensate lor the films' deficiency in other respects.
That colour properh applied to suitable subjects can enrich the films, and also the screens on which the\ are
1<)3
T 1 1 J': C I X K - T E C H N J C I A X
March-April, 1 '.•:..«
projected, is beyond doubt, but colour for colour's sake
is useless and worse than useless.
Applied as it often lias been it mars a good Him, lie- cause instead oi being used to give a sense oi greater realit\ to the subject oi the film it has been applied in
Such a w av as to call attention In itself.
dust as artists should lose their personality in the personalities oi their characters the\ represent, and as music should be used to create a background or atmos- phere lor the film, so colour should be used to emphasise and give additional realitv and additional beauty — it must not distract attention. Audiences should be almost unaware of its presence.
So long as colour means < 1 1 1 1 \ vivid \c<\, blue, green and orange, and so long as it dominates the whole scene, and 30 long as subjects are chosen because they are suitable for adaption to the colour medium, so long will it be valueless, or almost so. in the eyes of the audiences, and therefore also in the eyes of exhibitors. Once studios learn to apply it artistically, and realise the proper place for and the proper use of colour, and subdue some of its violent contrasts and vivid hues — apply it more as tinting and toning, well applied in the past to form a pleasant background, it will be recognised as a valuable subsidiary .and applauded as a further advance and refinement oi t he cinematic art .
ARTHUR DENT, Managing Director of War- dour Films, opposes 100 per cent colour programmes
'The bland geniality oi Arthur Dent is difficult to resist. lie has the power of taking you into his confidence and then surprising you by saying: "You can quote me as saying so." Accordingly I will quote him — and I'll sur- prise you.
"What can 1 sa\ about colour films that hasn't been said already'.1 The novelty, the embellishment, the added attraction".' Maybe, j don't quarrel with that. But I will go on record as saying that from the public's point of view 1 don't honestly believe there is aii iota of difference between the colour film of to-dav and the colour film of twenty years ago. Technical advanci — yes. Bui do you remember the old Pathe colour pictures, where thej used to stencil the negatives b\ a laborious hand process'.1 Well, I challenge anybody to prove that by th, test of populai appeal the colour film to-day is anywhere ahead of that standard."
lie talked of the possible eye-strain, but didn't make a greal point of it. "1 feel it myself," he said, "more when I come ouf of the cinema than during the run of tin1 film. Mv eyes are tired. The black and white film concentrates your attention on the action. The camera- man lights it to show you what the director wants you to see. and you watch the pla\ of emotions, whatever thev max be. because there is nothing to distract your atten- tion. Not so with colour. With the movement of the action there is the changing of the dispositions of the colours, and don't tell me you aren't supposed to be watching the colours ! II the producer didn't want you to see the colour he'd make it in black and white it would cost him less anyway.
"Thev say the time is coming when all films will be in colour. They've said that for a long time. I'm afraid no. I hope that they'll sav it for a long time yet. The public pays to hear a story, to see the progress of the drama in the changing expressions on the laces of
the can wel
inui
vita w it]
the he I
feat cart
artist'-. I have still to see a colour picture which bring out that sense ol the dramatic in thi as it can be done in monochrome. Colour at the neiit takes something away. The lace is lacking in lity. Although occasional pictures — particularly tl i spectacle — will have considerable appeal, I am opinion that, il the time cine, when all pictures will n colour, it will he to the detriment of the industry. These remarks, of course, refer to the full length no films and not to the short. It is possible that "'/ oon film- might si ion be in colour. "
ADRIAN BRUNEL, director, scenarist and author, holds colour is England's greatest opportunity
An\ opinion 1 ma\ have on colour cinematography can
only he academic, for I see little prospect of our being able to afford tin- luxun in the British film producing of the future. B\ the time colour is the rule and not the exception, most of us who are now invited to discuss the question, will be out of the business
After this prelude of pessimism, J will tr\ and assume a courageous and patriotic pose and declare that colour is England's great opportunity. It might well be it we were to call in the aid of our best painters and scenic artists, lor at least we have a finer selection to draw upon t han t he\ have in America.
The crudeness and lack of understanding of the dramatic
applicati f colour in most colour films to date is no
argument against colour in cinematography. So far tie superior dramatic treatment of light and shade in black and white photography has only shown us the faults of colour. There have been notable exceptions in colour films, such as — "La Cucaracha." some advertis shorts, often an exterior travel film or a Walt Disney, and occasional sequences (usually exterior) in films such as Ramona. "
In brief, m\ recommendations are to work in co- operation with painters and to divide colour films into two idasses — quiet and colourful. The quiet colour films should be based on our present technique of black and whitt — monochrome in tendency with an occasional dramatic break-away to a spot of high colour — and the colourful films could he in the manner ol a stage revue by Messel < [■ a painting by a modern Spanish artist.
OSCAR DEUTSCH, Odeon circuit chief, talks on colour films of the future
The question of colour cinematography, which has occupied the attention ol scientists and technicians the whole world over tor so long, is one in which 1 am deeply interested.
From the entertainment point of view, results which have been obtained in the past have, in the main, heen reasonably attractive, ami in some instances outstandingly so. hut the extensive research which has been going on. particularly during the last twelve months, has effected an improvement which gives heart to those like myseh who have great confidence in this new medium for the enhancement ol cinematograph entertainment.
Studio technique and camera-craft have combined to from an art, which, in these modern days, gives us drama- tic, musical and pictorial entertainment of such excellence,
SHAW JONES'
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March-April, L938
T 1! E (IN E-T E C HMl'IAN
L94
that it has become a means of expression oi some oi the finest artists and craftsmen in the world.
This art. which lias grown up with us during the last twenty years to its present very high standard, already affords tremendous scope for expression, hut 1 am con- vinced, from what J have seen of colour photography, thai it will not he a very long time now beiore the scientists and technicians have achieved perfection in the reproduc- tion of the harmonious colourings of that greal artisl 'Dame Nature', thus affording the medium of colour expression to enhance the aesthetic enjoyment.
However, I do leel that full appreciation of colour photography will not conic until the technique oi stereoscope . whili is already making considerable head- way, reaches a stage when it may lie placed before the public.
The long hours of patient labour on the part oi research workers, who will assuredly reach their goal, will he more than repaid by the increased patronage of those members of the general public whose sole appreciation is in tic subtleties of colour expression.
HUMPHREY JENNINGS, Production Unit Director, Dufay-Chromex, interviewed, declares for special colour stories
Humphrey Jennings had a lot to say about colour when interviewed by a "Journal" scribe. In his opinion Technicolour and Dufay-Chromex are away ahead oi the field and will continue to lead until such time as Koda- chrome or some similar system lias devised a method oJ making prints.
With Technicolor, a special camera is needed, plus three negatives, three positives and a final print. The result is very expensive hut very beautiful. Jennings instanced "A Star is Born" as a brilliant example of Technicolor perfection. The requirements of Dufay- Chromex. he claimed, are much simpler and less costly. The negative can he loaded into any camera, and any competent cameraman can shoot, without requiring am special training. The negative is developed in a way almost identical to black and white, and rushes sent in one day can he seen the next.
Technicolor, added Jennings, given first-class labora- torv service, is a splendid vehicle for studio pictures. But Dufay is more adaptable. Using an ordinary Sinclair camera they had shot in colour from an aeroplane 5,000 feet up, and they were now shooting interiors, with arcs running off a generator, in small rooms on lo< ation.
Jennings, who for some time worked with the G.P.O. Film Unit as a documentary director, claims that Dufay- Chromex is the ideal system for documentary work. The speed of their negative allows them to shoot exteriors in poor light. There is also a greater mobility due to their ability to use ordinary cameras.
Jennngs believes that the use of colour will compel producers more and more to use natural locations and to break away from studio conventions. "Colour," he said, "lias a horrible way of showing up the texture of laces and sets, so that the studio tricks of special make-up. plaster sets and painted artificial backgrounds are emphasised by all colour systems. I see no reason why realistic feature pictures should not to a great extent he shot on location with natural backgrounds. Hollywood is tending more and more to take semi-documentary themes as backgrounds for their stories." He instanced "Wells Fargo." "Bengal Fancer." "Florida Special."
"This tendency should be greatly encouraged by colour Suppose a film with a London setting requires a scene ii an office overlooking Trafalgar Square there is no earthly reason why it should not be shot in an actual office in Trafalgar Square. The results in colour will he tar more realistic than it the set is built in a studio, with a painted backgr* lund.
"Colour," Jennings went on, "will divide ver\ sharply stories which arc frankly hokum from stories that are supposed to bear some relation to contemporary life. If it is to be hokum, let it he hokum — and colour will play its part. It intended to be realistic, colour can now produce a new realism that is at the service o! the storv depart i i ii -i it .
"(M course, the sound department will probably base fits, but they have had so many (its that another won't hurt them. In any ease, the camera department will now have its own hack on sound for the indignities they suffered in the early days of talkies."
"In the future." he concluded, "1 believe that colour film stories will have to hi' constructed tar more in terms of the locations than has been the practice with black and white films. The story department should be sent, with the director, to the locations before the script is written. If colour can bring a greater realism, not only to the appearances, but to the fundamentals of films it will have performed a in itable service.
"News before colour," says F. WATTS, Pathe Production Chief, in an interview
Mr. Watts' views were crystal (dear. He had obviously thought over the subject a lot. He tells me that his company have experimented with the use of colour for newsreel work but not to any large extent.
"If it is true to say that in the case of the ordinary fiction film the story is the main essential, the same is doubly true oi news. Before we could use colour through- out all our newsreels we should have to completely re- organise our system. All cameras would have to be adapted and all cameramen would have to use the same stock. I don't mean in England alone, but all our camera- men throughout the whole world. To me, colour is like the cake after the bread and butter— it is something extra — something special. And you don't want too much of it. In the average house people do not go in tor a whole variety of bright and outstanding colours. Why is it that many people have wall decorations in the form of etchings and woodcuts in plain black and white V Perhaps the answer is that they are more rest till. And the only way in which colour could become of general use in newsreel work to the exclusion of black and white depends on three things :
1. — It must be cheap.
'2. — It must be efficient.
3. — ft must be quick in processing.
"All of them arc important. We depend to a large ex- tent on sunlight. At the moment, it the weather is dull. you certainly gel a more effective result in black and white than you do in colour, which needs more sunlight. Admitted, certain subjects do look more attractive in colour — the Derby, the Coronation and so forth. But supposing an important item of news turns up -am I to reject it just because the weather is too dull for my colour camera'.' That is surely a breach of faith with the public. 1 am not going to sacrifice news value just for the sake of colour. "
105
C 1 N B-T EC II N I (
A X
March-April, 1938
IMRE GASPAR, Director of Gasparcolor, gives our special representative the processer's viewpoint
I had spoken to so main people about colour pictures in the past few days, most of them people who only touch colour once in a while that when I went up to Alons. [mre Gaspar on the subjeef I expected a really illuminating answer to my leading question: "What is your own opinion of colour films'.'" I got it. "I have no opinions on colour films." My leading ace was trumped, Then he smiled. "1 will tell you in advance that whatever 1 say on colour films someone will boil it all down to one of the pigeon-holed variety of remarks — 'The colour film was almost perfect' — or 'the colour film was only in its infancy' etc., etc. My own view, as a processer of the film, is that the three- colour method is as near to the perfect theoretical method of obtaining colour on the screen as is possible with a transparent medium. I agree that five, six or more colour processes might he useful in printing on paper, hut then you must realise the difference between colour obtained by transmitted light and colour obtained by reflected light.
"Eye-strain? Largely imagination. If there is any such strain, it is perhaps due to the fact that the picture is projected in a darkened room. In the ordinary way we see nearly all our impressions of colour by fairly strong sunlight or fairly strong artificial light, and the eye adjusts itself to the amount of light present. The amount of light being reflected or transmitted from all around the front of the eye, the iris of the eye is con-
equently contracted
But in the theatre the large
mass of the hall is in complete darkness and only a small proportion of the effective visible space gives any stimulus to the eye, with the result that the iris is very- wide open. So if you take a scene in broad sunlight, and on the transparency obtain anything like the real colour value of that scene, it does not necessarily appear so after being projected.
"Concerning pictures that have already appeared in colour (1 specify no particular colour system). 1 feel that the public must definitely be very conscious of the colour, not because the colours are particularly harsh or glaring, or sore upon the eye. hut because the colour is treated as colour. They are coloured pictures, very often giving the effect that you get in certain types of studio portraits, which are made by a black and white print tinted or crayoned.
"A certain amount of eye strain might be due to the fairK rapid succession of different tone colours in the normal process of cutting or editing. In the case of the ordinary black and white picture, the eye is taken up with the action going on on the screen, and as all the tones are black and white the general impression on the eve is grey, and when we cut from one shot to another we simply cut from one grey to another, maybe perhaps of slightly different densities, but certainly not enough to disturb the eye. In the cutting of a colour picture, again the action takes up most of the interest, and a shot of any predominant colour would have to remain for a very long time on the screen before it would give rise to any actual disturbing after-image. True, the complementary colours can be used to take away the after image, but it is not entirely necessary. Very seldom does a shot remain long enough to give rise to these disturbances.
"it is only because we have becomi 50 used to the black and white film that we feel it is perhaps mor< natural than a him in colour. But in actual fact can anything he more unnatural than a film in black and white'.1 When we see Greta Garbo's lips on the screen, they are black, but we have become used to a process of translation ; so that even when we sei them we know they are icd. When we see Connie Bennett's hair, in actual effect it is grey on the screen, but we say almost automatically — "what beautiful ash-blonde hair."
We translate them, because we have become used to them,
into their appropriate actual colour. The difference in the colour film is that it obviates this necessity for translation.
"And the studio personnel? Well. I refuse to believe that any gicat advantage can be obtained from the use of so-called 'colour experts.' On the contrary, the colour expert as such would be more of a hindrance than a help : you remember the 'sound experts' not so long ago. and you remember that it was only when the sound exp> - ' was removed and the studio personnel began to make films in their own particular 'film' way- that the film was released from the shackles of sound. Much the same is true of colour, although more responsibility will devolve upon the director and the art director. The director can- not he just somebody who has an expert knowledge of colour, he must have a "feeling for colour." It will mean a closer collaboration between the director, the art direc- tor and the cutter dining the shooting, but beyond that I see nothing which would prevent the people who make black and white pictures making perfectly successful colour pictures.
The only final proof of the success of colour pictures will be when the public (who pays the piper) is not aware of colour pictures as such."
JOE ROCK, Managing Director, Joe Rock Productions, believes in colour
Nothing 1 can say about colour can be of any value to improve any of the systems in existence to-day. How- ever, 1, personally, am a great believer in colour, and in the future of colour, having had experience directly and indirectly in financing, producing and exploiting various colour systems.
1 was sent to the Far East in 1031, by the Multi- Colour Company, to encourage the production of colour pictures, and especially to establish laboratories through- out the Far Eastern countries. The liquidation of Multi- Colour, and the Sino-Japanese war in Shanghai put an end to any colour schemes in the Far East.
When our new studios were planned, great consideration was given to the production of colour pictures. We there- fore went to great expense to instal Mole Kichardson High Intensity Arcs, which makes us one of the few- studios in England 1.00% ready tor colour pictures. W< have had very fine results with Technicolor and Dufay- c< ilour.
It is m\ opinion that it colour was intelligently handled in future production, the black and white film would eventually pass right out of existence. The laboratories must he absolutely 100% perfect with their technical work, at all times, otherwise colour will lapse hack as in the years following the great outburst of colour, soon alter sound was introduced.
March-April, 1938
T HE C I N E - T E ( ' 1 1 \ I ( ' 1 A N
LOG
GEORGE PEARSON, doyen of directors, states colour is the saving of shorts
The film in natural colour is as inevitable as to-morrow's dawn. The history of the fight by the colour experts to perfect their varying systems, from the old days of Kinemacolour to the present days of Technicolor and Dufay-Colour is a magnificent record of inventive effort.
What the public loudly demands, the industry must supply ; none tan deny the demand is increasing in per- sistence. When it becomes insistent also, the film without colour will die as surely as the silent film.
Inventive genius will overcome the commonly ex- pressed objection that the colours now are often too garish; our Northern eyes are accustomed to the kindly veil of atmosphere that softens tint to tone. That will come, maybe through further experiment with dyes or perhaps by some screen device.
With its coming I think there will he another God- given opportunity to the .British industry similar to the lost opportunity when speech came to the screen.
f refer to the short-film, for there is amazing material. entirely neglected now. for short subjects of rare enter- tainment value, so novel and so purely British in charac- ter, fictional and otherwise, crying for colour to enhance their appeal, that Britain might well lead the world in the coloured-short market if she would hut seize the moment.
1 think that the short film will return again, via colour, to the screen and will become as inherent and entertain- ing a part of the programme as in the early days of the industry.
British film producer, SINCLAIR HILL, calls for discretion in colour
It seems to me al ninda n 1 1 \ (dear that the popularity ol colour still depends largely on the discretion with which it is used. The present tendency to exaggeration in set- tings and costume merely causes eye-strain and a vague consciousness of had taste as the main audience reaction.
Colour, in most pictures, should surely he kept veiy severely in its place, and do little more than provide an
attractive relief to the more or less subdued hall-tones
of our normal surroundings.
One of the most effective colour pictures I have seen (Dufay-Chromex — a British system incidentally) had little or no colour in it at times, since the subject -the china (day industry in Cornwall — lies in more or less black and white setting — with occasional trees, or coloured walls, ships' sails, etc., as highlights standing out in striking contrast to the picturesque drabness of the rest of the scene.
In costume subjects, the use of pastel and delicate hues generally in materials and backgrounds, discreeth blended and softly harmonising, will bring to the screen a fresh sense of beauty that seems to have eluded those who have had the opportunity to experiment with colour so far.
In conclusion, the stereoscopic value of colour cinema- tography is already most clearly to he observed, and here again is a fresh opportunity for our lighting experts to study and develop this important improvement — that is. as soon us the prices for stock and processing can he brought down to a level within the means of the commer- cial producer.
Mi
ALBERT H. ARCH
now director of
RADIANT FILMS LTD.
First Avenue House, HIGH HOLBORN, W.C.I
Phone : Chancerv 8191
COMMERCIAL AND INDUSTRIAL PRODUCTION IN BLACK AND WHITE OR COLOUR
A BRITISH PROCESS WITH ITS OWN LONDON LABORATORIES
197 T II !•'. C I N E-T K ( II N I C I A X Vlarch-April, 1938
Managing Director S. W. SMITH, of British "('«l"">' '« like getting your chocolates wrapped in
, . II- silver paper do they taste any betti
Lion, tells our interviewer that colour is , ,, ,
As lor colour m britisn production- lei us be reason-
not DOX-ofnce able aboul it. The British producer, making a film to
S.W. wasted no words. He got down to bis statement s''" '" Britain, might spend E20,000 to '.■"■ perhaps
n| opinion without any preliminary sparring. to get back just a working profit. Be cannot spend much
"No, Sir. t'm not going to say whether or not I like more- :m<l :lt lhat '"' lllllS, concentrate on what the
colour films in preference to black and white. My main Public wants :IS lls main ingredient— the story, the
concern is not with externals of the picture, but with the entertainment, the 99 Colour films are dearer to
'guts' of it— the story— the 99% of its entertainmenl produce. The extra cost, s,-»\ £5,000 to £10,000, n
value. The odd 1",, .' ? Did vou over hear of a stir> ,*' make ll"' same quality film in colour, might spell
film thai had a bad ston and was saved from being a Jllst tM<' difference between commercial success and flop because it was in colour? I'll bet you didn't! And commercial failure. We must work— and hard— for om- it vou stay here all night telling me that the public goes market first. When we ve got that, come back again and to'see colour as such 1 still wouldn't believe you. The\ :lsk ""' wha1 ' ,lmik oi colour nlms- go to sec and hear a ston well told. True, a year or two ago good colour had a novelty value, but novelty
value can't last Sound was a revelation— colour is onh Paramount DiieCtOr, j. C. GRAHAM, SaVSI- part o| that odd 1%. 'lake "A Star is Born — the colour
is there, hut perhaps it was good because the public were It the ston is poor, all the colour in the world won't
not so conscious of it. It would still have been a good help it. It the ston, has the right locale, then definitely
picture m black and white. colour is a decided improvement.
MAKE-UP FOR COLOUR
by H. E. HOLLEY, Hon. Sec, British Make up Artists Association
TIM'', introduction of colour made the make-up man san, to see that it is well blended into the foundation
quickh real:se that it would he more difficult to colour, and that it is faded away right to the lower
correct certain features, such as dewlap, large jaw- lashes. With eyebrows, too, care has to lie taken not to
bones and bagginess, than is the ease m black-and- overdo it. Whenever possible the natural outline is us
white photography, in which colour to a great extent is but this feature can determine whether the face be
used to "lose" such superfluity. Drastic changes and a drooped, lilted or broadened. In lengthening eyebrows,
revolution of ideas were also vital for character work, and the same colour must, of course, he used throughout, and
conferences (a word so beloved h\ film executives) would tidiness always maintained. The lips, in conjunction
have to take place with the camera, make-up and ait with other features, must balance and give tone to the
departments. whole effect. Rosebud or exaggerated bow lips are not
Having been associated with man\ experimental advisable.
colour systems, some good, others indifferent, the The whole work is now- covered with a tine nYsh-
niajonty fantastic, li is difficult to say that ;m\ one colour col, aired powder, sufficient to give a matt finish.
system is the best. Teehii loolour is the best-known, of Very little mascara or "spit black" is used, and prac-
course, tor the reason that America is doing most of the tically none at all on the lower lashes. Superfine hair.
colour productions, but other colour processes on the mar- find more delicately made false lashes in various shades
ket have quite a good claim to recognition. have superseded the old heavy thick black types, and
Although good materials are. of course, essential, the ai'e most essential for colour photograph.}.
application is of the' greatest importance. The era of Space does not permit the explanation oi such details
the Dutch doll and the pink-cheeked male is over. The as eye colouration, high and low lighting, the 'parading'
present aim is naturalness < bined with the splendid of good points and the supression of 'weak' ones. I ho] ,
effects already obtained on black-and-white film. however, thai this article will give some idea of the new
I will endeavour to explain the procedure of a, simple problems raised i>\ colour, and the way in which make-up
straighl colour make-up for a woman. men are tackling them.
A foundation of natural flesh colour (not too pink) is
applied to all exposed parts, and care has to be taken to
see that the texture of the skin is visible, provided, of FIFTH ANNUAL GENERAL MEETING
course, the skin ts good ; otherwise a trowel ma\ have
lo he used, For shading the eyelids, a mist} effect is A.C.T's Fifth Annual General Meeting will be held
desirable, and is obtained with tin1 slightest touch of sky- on Sunday. Ma\ 8th, 1938, at ^.nderton's Hotel. Fleet
blue, grey, light green, or light brown. Hard lining of Street, E.G. 4, commencing at 2.30 p.m. livery member
the eyes, unless definitely needed, is taboo. To enlarge is entitled to attend; in tact it is their dut\ to attend.
the eves, it is advisable to shade under the lower lashes Please note the date now in order io avoid any possibility
with ,-i ver\ soil brown or ere\ paint ; to extend them, a of it being overlooked, particularly as the confereni
soft self-coloured pencil or paint is used. White or ven to he visited and addressed 1>\ Mr. II. 11. Elvin, President
light paint is applied alone the ridge of Ihe lower lid "to oi the Trades Union Congress, an honour which the
open the eye," thus adding to the sclerotic. Tin.' "cheek current President is seldom aide to confer upon affiliati I
bloom" must be applied very sparingly, and care is neces- societies.
March-April, L988
1 HE C J N B-T K (' II \ I <' I A \
ins
Commonsense for Colour Films.
Reprinted from "The International I'hotograplu
ONE of fcbe most avidlj discussed problems in the motion picture business to-daj is the future oi coloured motion pictures and their effect upon lli ■
industry. Several times within the past lew yens it has seemed that the colour was about to sweep the industry, but at no time lias it seemed mure hkeh, than at present).
There are at least two reasons win this is particularly true. One is that colour photography is finally reaching a degree of perfection commensurate with commercial operations, and the second is that colour is the white hop : of the picture business in competing with and delaying the general advent of television. I Hack and white tele- vision is an actuality and ma\ seriously compete in the very near future with black and white pictures, while colour television is still not realised and will probabh require many years to perfect.
Throughout all of the discussion oi i olour, an analogy between colour and sound is repeatedly drawn which is false in main- of its precepts, and which can lead to mam incorrect conclusions. For example, both the trade and news-press have repeatedly carried publicity stories foster- ing the belief that the advent oi colour will mark the doom of many reigning favourites in much the same man- ner as sound pictures displaced many of the silent stars. The fallacy ol tin analogy should be al once apparent.
Of course, some have said that colour is hypercritical of bad features; that shadows are accented, that make-up cannot conceal had photographic features as effectively from the colour camera as from tin old black and white film.
Bleached or dyed hair, they say. cannot be photo- graphed, etc., ad infinitum. Most oi these assertions are far-fetched and ridiculous.
Whv should a colour process be tolerated which photo- graphs kindly only blonde beauty, and will not pleasingly reproduce the brunette and titian? It is a physiological fact that the pigmentation of the auburn type differs markedly from the pigmentation of the blonde.
It is just as true that the pigmentation of the ever- green forest differs -fundamentally from the pigmentation of the flowers of the Alpine meadow nestled in its shadow : yet the colour process which finally meets the industry's approval must photograph one as well as the other. Should not this same film and process reproduce the beauties oi human subjects without preference for some particular coloration; granted, of course, that seldom do we encoun- ter in humanity that c< implete flaw lessness w hich delights us in simple)' nature. However, here again the make-up which has come so many times to our aid in black and white work again rises to the rescue in colour work, with the distinction that in the colour photography of to-
morrow, correction of physiogi tic delects will be even
i asii r to achieve than in the older monotone picture.
The analog\ between sound and colour has been like wise extended as the hasis for widespread belief that the general advent of colour into the motion picture industry will result in another major upheaval of the technical organisations of the studios similar to that of ten years ago. However, a (dose studv of the development toward commercial colour motion picture photography leads us to believe that development of colour motion pictures is pro- ceeding along different lines and that the transition will be practically painless. The factors which contribute to this opinion are mam .
In the early days of sound onh a handful of men m Hollywood had the remotest idea of the principles ol sound. Radio itself had scarcely emerged from the crystal- detector stage and men trained in the intricacies of vacuum tube technique were few indeed. Yet from this small group as a nucleus, the industry was in a few months, able to swing into practical h one hundred per cent . sound pii jiluct ion schedules.
('olour, on the other hand, is primarily photographic, and in addition to the thousands of experienced photo- graphic black and white technicians the gradual develop- ment of colour pictures has resulted in a situation where there are dozens of capable cameramen who have had pro- duel ion experience in colour, some on several different processes, and probabh several hundred laboratory techni- cians who have operated in colour laboratories and who will, therefore, more than fill the needs of the colour era. Compare that early sound situation, in which there were onh two companies with meagre equipment immediately available, with tin present colour set-up in Hollywood.
Colour has been a particularly sore spot to main pro ducers because of the concomitant evils of colour experts. cameramen and directors, whose mysterious abracadabras have been an apparently unavoidable complication ol colour production, vet it is difficult to rationally see just why this should lie necessarily true. Many detractors to the contrary, top-notch cameramen and directors of black- and-white pictures to-day an' superlative artists, and probably more so than main of their contemporary colour specialists who do not understand the medium of motion pictures. Does it not seem strange that these recognised black-and-white artists apparently can think only in mono- tone, or is not the fact more likely that these eminenth experienced experts cam compose, light, and photograph a scene for action, set. and colour, just as efficiently as flu specialised talent'.' Finally, then, does it not devolve up- on the colour laboratory to give the industrv colour photo- graphy which will reproduce upon the screen the visual effect of the original, sans all tricks, sans all special "effect" lighting?
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March-April, 1938
Summary of Colour Cinematography
By Dr. F. W. PETERSEN, Agfa's Colour Expert.
According to the Helmholtz theorv of colour, the visible region of the spectrum maj be divided into the three primary colours — red, green and blue, suitable admixture of these three primaries yielding at will practically any desired colour hue or neutral grey tone. Thus, by using a photographic process based on three colours, a natural colour reproduction may be obtained.
A considerable number of different lines may be produced by using two primary colours, which must be complementaries if a correct neutral grey scale is to be obtained, but the use of two colours can never give a truly natural reproduction of colour. The restriction of the colour process to two primary colours, though, reduces the technical and economic difficulties in film work so considerably that in spite of the faulty reproduc- tion of colours, such two-colour processes are frequently used for cinematography, while the full three-colour processes, which have been used for many years in "still" photographic work, and for 16 m.m. sub-standard films, are now only just ready to be applied to the 35 mm. film.
The following review of processes will be limited to the confines of cinematography, and all comments refer to three-colour processes. The problems of colour cinematography can be reduced to the following three fundamental questions :
1. How are the multifarious hues of nature to be re- corded in terms of three primary colours'.' (Taking or recording process).
2. How are these three records to be assembled into a suitable coloured positive for projection? (Pro- jection or reproduction process).
'■'>. What about the possibility of duplicating the primary records?
The Recording Process in the Camera
The simultaneous production of three colour separation records may be arranged in a number of ways, namely :
1. The beam-splitting method, which, it must be admitted, has not yet developed to a point where it works perfectly in practice.
2. The multi-layer method by using emulsions which are selectively sensitised. Examples are the Agfa Bipack film (for two colours), and the 16 mm. three-colour processes of Agfacolour and Koda- chrome. In the last two cases, the three emulsions are coated over one another and cannot be separated mechanically, as they form a single film.
3. The Teclmicolour method which combines the beam-splitter and bi-pack principles.
4. The lenticular film process, first invented \>\ Berthon-Keller-Dorian, and developed commercially by Agfa (Agfacolor), Kodak (Kodacolor), and Siemens (Opticolor).
.'>. The Agfa lenticulated bipack process, combining the principles of lenticulation and bipack.
A number of other possible combinations need not concern us here. 1. — Beam-Splitter Processes
The lipiht passing through the lens of the camera is split up by a special optical system of prisms or mirrors into three sections, a filter being placed in the path of each beam which transmits one of the primaiy colours, This
filtered beam of light is then recorded in the usual way on a panchromatic film. i.e.. one sensitive to all colours A record of the red primary is obtained behind the red filter, and blue and green records behind the filters trans- mitting these colours. The optical and mechanical problems involved in the construction of a successful beam-splitter camera lor three-colour records particularly so far as time or special parallax is concerned have not yet been satisfactorily solved so far as tin.- cinema is con- cerned. Two-colour beam-splitter devices tor two-colour processes are much more satisfactory (cf. the Buscb beam-splitter), and a device of this type is used in the Technicolour camera.
2. — Multi-layer and Bipack Method
The separation of the colours in these processes is produced by using selectively sensitised emulsions, which may be separated by filter layers. The various emulsions and filter layers may either be coated one over the other on the film base, thus forming a solid whole which one may term a "monopack," or else they may be coated on separate film bases, and placed together with the emulsion sides in contact (bipack or tripack).
An example of the "monopack" process may be seen in the new Agfacolour film, which has three emulsions forming one mechanical whole. A red-sensitive emulsion is coated on the celluloid base, over it a green-sensitive emulsion. Over this is coated a yellow filter layer, and on top of all a blue-sensitive emulsion.
Agfacolor film is only being marketed for the present as an amateur material in 16 mm. gauge. The exposed film is treated by a special reversing process and becomes a positive, and the three emulsions sensitive to red, gr< en and blue are dyed in a coupling developer to the comp- lementary shades of blue-green, magenta, and yellow respectively. The same film is thus used in the camera and in the projection — but, in principle, it will also be possible to use separate films for taking and projecting, by developing one Agfacolor multi-layer film exposed in the camera into a complementary coloured negative, printing on a second Agfacolor film on which by colour development the colours yellow, magenta and blue-green are. produced.
In cinematographic practice considerable use has been
Fig. 1. Feeding mechanism of a Bipack Camera
March-April, L938
I
X K - T
( ' II N 1 ( • I A N
200
made of the bipaek process. Although the bipack permits of yielding only two colour separation negatives, the colour rendering obtained by mixture of two basic colours is for many purposes quite sufficiently good.
The colour separation negatives are produced, in the Agfa. Bipaek, by using a front film sensitive to blue-green, over which is placed a thin filter layer of a red colour. The back film is panchromatic. Light reaching the combination from the lens, records the blue-green separa- tion negative on the front film, while, the back film records the red component. The filter on the front negative stops all other rays than red from affecting the back film.
Experiments made with the object of using the bipack principle for three-colour work by employing a front or hack film with emulsion on each side, are unsatisfactory on account of the lack of sharpness of the image.
3. — 'The Technicolor Process
The Technicolor Corporation of America have develop- ed for their three-colour process a special type of film camera using the beam-splitter principle, and in which the light from the lens is divided by two prisms face to face with a gilded semi-transparent mirror between them. A special picture aperture is provided in tin/ camera for each of the two beams: behind one of them, in front of which is placed a green filter, a single panchromatic film moves; behind the other, which has a magenta filter in front of it, a bipack film similar to the Agfa type runs. Here the front film is again sensitive to blue, while fin- back film is panchromatic, a red filter layer on the front film again keeping the blue rays from the back film. Three simultaneously exposed primary records, entirely free from parallax, are produced. 4. — Screen Processes
By placing a screen of tiny colour elements (regular or irregular colour mosaic screens) in front of the photo- graphic emulsion, or by using a lenticulated or line screen in conjunction with a three-colour filter in front of the lens, three separation records are produced simultaneously side by side on a single emulsion, since each complete element of the screen produces three primary records from the light falling on it.
In amateur photographic practice, screen-colour, line- screen and lenticulated-screen processes are used on flat films or miniature films (e.g., Agracolor- Ultra, Lumiere Autoehrome, Agfacolor and Kodacolor lenticulated film, and Dufaycolor regular colour mosaic), the original film exposed in the camera being reversed direct to a positive instead of a negative. For the taking of cinematographic pictures the lenticulated film alone is of interest, though the exposure lighting required is very high — approximate- ly ten times that needed for ordinary black-and-white work. This is partly due to the fact that owing to the high requirements in regard to fine-graineness and resolv- ing power of photographic emulsions necessary in lenticu- lar processes, it is not possible for utilising similar high sensitised emulsions as they are common with black-and- white cinematography. In recent months a short feature production has been made by the Opticolor lenticular film process. It was recorded on lenticular reversible stock and printed on the same material.
The principle of this process may be briefly described in the following terms. At the optical centre of the lens is placed a colour filter, which has three strips of the primary colours side by side and can be placed either vertically or horizontally. A panchromatic film is used in the camera, the celluloid side tinned to face the lens. This side of the film is impressed with a very large num.-
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ber ui tiny lenticulations. which ma\ either be along the film o)- across it. the result being a series ot verj small cylindrical louses. These lenses throw a microscopically small image of the three-colour filter on the emulsion behind them, and thus form a three-colour separation re cord of each point ol the image on the film. A mono chrome image is formed on development and consists of a series of separation records, pig, 3 shows the path ol the rays during exposure. By reversing the path ol the rays in projection, the film developed by the reversed process direct into a positive results, behind a three-colour filter, in an additive colour pict lire. 5. — The Agfa Lenticulated Bipack Flm [Note. — The Agfa lenticulated bipack (German Pat. 588747) is not yet on the market, since1 the pro- cess is still in the experimental stage] The front film of the Agfa lenticulated bipack is only sensitive to blue and green, ami has a lenticulated cellu- loid base. The hack Him is sensitised for red. Either front or back film may have a re 1 filter layer to prevent the blue and green rays from influencing the red-sensitive back film. The red record is thus prodr ed on the back film, while the front film shows a blue and green record produced h\ a banded filter in front ot the lens, the outer bands being yellow and the inner ones blue-violet. The yellow hands produce the red image on the back film and the green image on the trout film, while the blue-violet bands produce the blue record on the front film only. The two records on the front film may be separated with- out difficulty in printing by known methods, and separate blue and green negative records are thus produced. The simplest method oi printing is that of subtractive coloured positive by the silver-dye-bleaching process. The Reproduction Process in the Projector Additive Processes
All colour reproduction processes can he divided into two main classes, the additive ami the suhir active pro- cesses. Independently of the manner in which the separa- tion colour records have been made, ever\ projection pro- cess produces the impression of a coloured image on the screen by one of these two basic methods. In the additive method the so-called "optical synthesis" by a filter or
Exposure Original subject
A
March-April. L938
Reproduction Projected image 3| Screen
Lens system filter iktsj' g"j' >' f
Lenticulorfilm
rbg
Fig. 2. Arrangement of the optical system and films in the Technicolor Camera
Fig. 3. Principles of the Lenticular Process screen is used. Just as in taking, the filters or screens used produce a separation of the picture in the respective colour components, the composition of the picture on the screen is done in an absolutely identical manner. Whereas the light path during exposure is lens-colour screen- emulsion, or alternatively banded filter-lens-lenticulated screen-emulsion, the light during projection travels in tin- direction emulsion-colour screen-lens-screen, or alterna- tively emulsion-lenticulated screen-lens-banded filter- screen. The respective composite records thrown as images on the screen fuse together to the eye, and a col- oured picture, resembling that seen naturally, is the re- sult. For exposure and reproduction, filters of the three primary colours red, green, and blue are used.
All recording processes where separation is effected by beam-splitter and filters, or by a screen process (i.e., those systems noted above under the general heads ol beam-splitting and screen processes), give quite simply a suitable set of images for additive reproduction if the film exposed is reversed to a positive image instead of developed to a negative.
The synthesis of the coloured image on the screen is produced by the superimposition of the different rays of coloured light : the single colour hues perceived are, with respect to their nuances and intensities, the sum of the three primary components. White or grey tone results where equal quantities of the three primaries are present simultaneously. This synthesis by mixing coloured lights characteristics all additive colour processes. (Charts II and IV).
Additive two and three-colour processes which do not use a screen — optical synthesis through primary filters — have not proved satisfactory in the cinematographic pra - fcice on account of the time or spacial parallax which thej introduce. Such films as have been publicly shown a cinemas, made by the Raycol, Bernardi, Chromofilm, Francita and other similar processes, have really hardly passed the experimental stage.
Among the additive processes available as reversal L6 mm. to amateurs are Agfacolor and Kodacolor (lenti- culated film) and Dufaycolour (regular colour mosaic screen). The American Keller-Dorian Corporation and the Siemens Opticolor Gesellschaff have tried for many years to produce satisfactory copies ot lenticulated film which would be useful in the theatre, but finality has not yet been reached in this matter, and demonstrations ol the present results are hardly convincing in the sense of being a practical proposition.
March-April, L938
T HE ( I N I'. -TECHNICIAN
0( (O
Subtractive Cclour Processes
All subtractive colour processes produce their effects, not l>\ coloured or optical accessories such as screens or filters placed in front ot the emulsion, but b\ a dyeing dt the emulsion itself. A simple example will show the general method used in subtractive colour production.
Prints are made oi three negatives which have been exposed behind red, green and blue priman filters. II these prints are projected bv a triple lantern on a screen so that the images coincide, and the filters used for ex- posure placed in front of them, an additive colour picture results. If. however, the black silver image of each posi- tive is converted h\ a dye-toning or a mordanting process to a colour complementary to that oi the filter used in taking the negative (red, green and blue filters correspond- ing to blue-green, magenta and yellow prints), and if the three prints are laid over each other in register and the composite images projected by white light, then a coloured image is produced bv the subtractive method. (Charts I I 1 and IV.)
The coloured screen image is produced by the dyes in the prints subtracting from the white light of the pro- jection lamp all colours which the original object did not possess. A red surface, for example, would be colourless in the print made from the red filter negative, but in the prints from the bine and green filter negatives it would be strongly darkened on development, and would thus be magenta and yellow in the dyed prints. Yellow and magenta together absorb blue and green from the white light, only red light passing through them: the red of the original is thus produced on the screen. Where all three dyes are superimposed in the three prints, no light passes and the screen image will be black (cf. Chart IV).
In practice, this arrangement o| three films with dil ferenf linages placed over each other would never be used for subtractive colour reproduction. The actual method in use iua\ be roiighh classified as iollows :
1. So kmg as two priman colours onh are used (usual 1\ exposing on bipack film), the separation negativi s are printed on either side oj a positive film with a sen
S I t i V C C I II II I S I ( I I I <>ll Cadi Side | \ M | ; | | ) I | M , 1 1 I i I I I o f e \ a 1 1 1 p I e I .
with the positive images in proper register. The chang- ing oi the silver positive images to dye linages ma} be done bv ordinary chemical toning methods (iron and uranium baths) or actually bv the dye-toning, i.e., mor- danting processes using silver iodide or copper salts and subsequent dyeing with basic dyestufrs. (Chemical and dye toning processes)
'2. The separation negatives are printed, the prints developed as gelatine rebels. The rebel films or matrixes being rolled up with three Pinatype dyes and printed on a silver-free emulsion bv a dye-transfer or imbibition process. (Technicolor process).
.'i. —Positives are made from the separation negatives and these are printed on to a special material. Agfa Tripo film, which has one emulsion on one side and two emul- sions on the other, these three emulsion layers being sen- sitised to three different spectral regions. The single emul- sion on the one side is dyed blue, while the upper emul- sion on the other side of the films is lived yellow and the under magenta. Each separation print is printed on to the emulsion whose colour is complementary to the filter colour used to produce it. The printing light is ad- justed in each case by a filter to the spectral sensitivity oi the particular printing layer in question at the time.
A iter develi >pmg and fixing this film, the silver images
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^arch-April, L938
.hi bleached out find tin- dye in the emulsions destroyed at the points where silver lias developed, the quantity oi dye affected being proportional to the quantity of silver reduced at thai particular spot. (Selective (\yr bleach process).
I. Instead oi using a film with three selectively sen- sitised and dyed emulsions, as described in Group 3 above, three similar but undyed emulsions m;i\ be used for tin same purpose, and the dyes formed during development. Tins is t.i., the new Agiacolor development process, and it is based on the fact that certain developing agents pro- duce oxidation products during development that will couple with other chemical substances and produce in- soluble dyes.
A film coaled in this manner can be made sufficiently sensitive not only to be used as a printing material, but also for actual exposure in the camera. In the 16 mm. Agfacolor film, for example, the positive image is produced by a reversal process, the coloured image being formed in the second development operation by coupling certain oxidation products with the dye components present in the three emulsion layers. (Colour developer process).
Subtractive colour films have proved very popular in practice. The toning processes used in conjt nction with a double-coated positive film (such as Dipo) or ordinary positive film were at one tune (1928—31) so common in America that the report of the progress committee issued by the J.S.M.P.E. in 1931 stated that in 1930 no less than l."> per cent, of the films produced in America were colour films. ( h these two-colour processes, many are no longer used (the older Technicolor, Multicolor, Photocolor, Sen- nettcolor, Sirius. Polychromide, Cinecolor, etc). Ufacolor Magnacolor ami Hirlicolor use Dipo film, Harriscolor, Debrie-Dascolor and Dunningcolor use normal positive film. Brewstercolor and Cinecolor are tine '-colour sub- tractive processes (beam-splitter cameras) which use a double-coated positive lor two images ami produce a third by an imbibition process.
The new three-colour process of Technicolor has found increasing favour in America also recently in England particularly for short travel and cartoon films, although between l'.)H4 and 1936 a number of full length coloured feature films were produced by the process. Colour filter \
Lenses
Lenticulor-
t ronl film / ; \ \
vi ii i f I I 1 i i i v
B,pock [Backfflm
a i ii i i i n-rr\
Sensitive to green * blue
Sensitive to red
Fio. 4- $gheme of the Lertficylcted Bipack System
In tin recent years (since 1 '.!•'' 1 1 multi-lav er films have 'tn-- into practi al use. A selective dye bleach proe. ss using triple-coated film has been used by Gasparcolor (Berlin and London) foi short cartoon films, and hi mm. amateur films are on the market which are based on the colour develop' i | i e.g ^.gfaci -lor).
Judging fr m out ;ide appearance alone, the differ between additive and subtractive processes i- that tli - emulsion of an additive process is generally black and white, while in a subtractive process the image itself is alw a\ s coloured.
As a general rule, it maj be noted that additive colour processes require considerably more light intensity in pro- jection than subtractive processes. Nor can they usually he used in a normal projector equipped lor monochr< projection without some alteration to the optical equip- ment. Their treatment in the laboratory is identical with that lor hlack-and-w lute films, however, while the sub- tractive processes nol onlv introduce difficulties in the manufacture of the raw stock, but require also accessory laboratory equipment to earn out the dye-forming operaf i: ins. The Duplication of Colour Kilms
The printing of colour films i.e., the mass pi' i t ion ol release prints imposes more or less difficult tas on the laboratory according to the original record avail- able. In colour film practice to-day. the following orig- inals merit consideration.
1. Two or three-colour separation negatives on one film or on separate films, with monochrome negative images (Technicolor, Bipack processes, Gasparcolor, Francita, etc. I
2. Lenticular reversal films with monochrome posi- tive imagfcs (Siemens-Opticolor, Agfa lenticulated bipack.
etc-.).
3. .Multi-lav er reversal emulsions giving coloured positive images (the new Agiacolor and Kodaehrome).
In Class 1, printing, either in contact or optically done bv the ordinary methods tor black-and-white. The photographic treatment in the development ami other baths is mechanically operated as usual. The additional processes, such as the toning of Dipo films or the Techni- color rebel process, can also be done satisfactorily bv machine.
The printing of such negatives on Tripo-Pilm (Silver Dye Bleach Process, Gasparcolor) b\ using intermediate Positives, presents no technical difficulties.
The printing of the separation negatives on lenticular film (or other colour-screen material), or on material of the multi-layer Agiacolor type is possible in theory, but has not yet been accomplished.
Turning to Class 2. the lenticular films, a hire , num- ber of workers have attempted for years to find a satis- ladorv solution to the difficulties of the printing process. Theoretically a number of possibilities suggest thems dves The Opticolor process which was demonstrated recenth in the cinema l>v prints made on a special Siemens print- in" machine shows one extremely interesting attempt to solve the problem. The printing of lenticular film on multi-layer material is at present still in the experimental
stage.
Prints from reversal originals on multi-layer material (Class 3) are theoretically possible by printing the positive original on the same type of emulsion, such as the new Agiacolor reversible film, or on lenticular reversible film.
In practice, satisfactory prints have not yet been madi [Continued at foot ol next page)
March \|»i'il. IHHK
T III, (IN E-T E t II \ 1 ( I \ \
20-1
Cinema Log
by KENNETH GORDON
Twenty Years Back
Mv friend, ('. Lancing, who was acting in films in 1913, sends me a photograph taken behind the lines of the 13th Corps cinema crew. You will see tluy are featur- ing a British and Colonial film. Lancing, who is the sergeant behind the projector, is still acting in films looking as voung as ever. Incidentally the managing director of B.C. was our old friend, J. I >. McDowell, M.C., O.B.E.
British Money for French Films
The Cit\ Editor of the "Daily Herald" declares that while the independent British film industry lias been brought to a standstill because of the long controversy on quotas, over £1,000,000 of British money lias poured into French film finance.
It is estimated approximately 75% of the French film industry is now financed \>\ London.
lie states that similar finance will be available for approved British film producers when the position is clarified by the Films Bill.
"The Cine-Technician" understands that certain finance lias also been found for Italian films and Anglo- Italian films already have been produced.
SUMMARY OF COLOUR CINEMATOGRAPHY
(Continued from previous page)
either from a reversible positive or 1>\ printing from a negative in complementary colours.
Quite apart from the purely technical problems which must lie solved b\ a successful colour process, a whole series of economic considei'at ions must also he kept in mind. To estimate the practical cost of a process, for example, the exposure cost, the cost of the raw stock, the cost of processing, the cost of printing, the life of release prints, and even the projector light cost in the cinema, must be taken into account.
It is thus difficult to prophesj which particular pro- cess will prove most popular ultimately. Technicolor,
lenticular film and multi-layer-film will probabh, all c -
pete with one another in tin.' end. The technical, economic and artistics problems and the advantages and drawbacks of each particular process can only be found h\ their practical application to film production. Bui if is unde- niable that colour films are on the move, and are reaching the point when cinema theatres can no longer dispense from them
r--. ^^fc
i$th l orps Cinema ( 'reic. Thank You, Lord Horder
Lord Holder, speaking at the B.K.S. I tinner, paid high tribute to the work which has been done by British technicians. But I do not think that he realised that but few real workers graced the festive board at the "Trocadero". Most of the film technicians are out of work, and those luck\ enough, to have jobs and cash, are hard at work helping to get the Films Bill put into some kind of fhape, so that it will get the wheels of industry revolving again. Perhaps at some future date, when wages are again flowing, the technicians can hear for themselves the praises and suggestions of Lord Horder. Meanwhile, his help for our cause in the House of Lords would he a ver\ welcome tribute to the cine-technician.
Throwing His Weight Into Films
Twenty-five stone, six feet tall, with a 65 inch waist line. Mr. Norman Taylor of Newark, believes in himself as a comedian. He has therefore put up the cash, formed his own company, written his own story, engaged producer, scenario writer, and camera crew in spite of the Films Bill, and starts production of "SINK OK SWIM" at the Marylebone Load Studios. We trust he swims. Colour Pioneer
.lust had a letter from Charles Urban, "Kinemacolor" pioneer, telling us thai he lias presented his records and library, including his early types of machines, to the Science Museum, South Kensington. He has promised, when he has a little more leisure, to write tor "The Cine-Technician" about the early days of colour. This should make very interesting reading.
21 l.l
E G I Is K-T I-! ( 11 N I C I A N
March-April, L938
Ivor Montagu sees Red.
HEAVE.N save colour films from colour film experts ! Colour film experts make me see red. So long as colour films are in their hands, the whole affair will be a muck and colour make no progress. Don't you know them? We've all suffered from 'em. The\ call ai the studio with their sample. "Look at that perfect green," the\ say. Or that "marvellous yellow." Let's see a scene of blacks and whites for a change.
Thai 'd be a test of ail\ colour system.
The experts pack each of their sample shots lull oi as many colours as the\ can find at once. It the\ go outdoors, it's herbaceous borders. Tl it's indoors, it's a girl wrapped round in the sort ot shawl that made the ambitious chameleon burst, with half-a-dozen different coloured cushions and curtains and carpets pinned up be- hind her head like the concubine oi some merchant in an eastern bazaar.
It's not onl\ the samples. It's the whole film. All their funny-colour monstrosities are ruined 1>\ passing under the expert's thumb. "Come and see the blue skies, or the green pinewoods, or the yellow deserts, or the gay scarlet uniforms, or the Max Factor complexions." What the public wants to see is the stor\ . and all these colours, beautiful as thev may be, get in the way.
I'm not running down colour. Colour is the effective thing. The thing ol the future. A colour shot in a black and white film nets a cheer. But that's when you choose the right place to pop the beaut\ spot in. Are you old enough to remember tinted stock? 1 remember when sunset landscape and sunset shots and such like were tinted red on a blue base 01 tinted blue on a red base it didn't matter. Ever} tune such a shot came on the screen at the right sentimental moment your trade show audience would (dap. It was sure-fire.
This is not a plea to go back to those old days ami mix together black and white with colour-process stock. But the principle is absolutely right. The colour tints, unreal as you liked, got the cheer because they came in at the right tune- when the audience were meant to sit back and sniff up beauty. The rest of the time they were allow ed to get on with the stor\ . II Technicolour (1 don't mean Technicolour specially, but anj and all of these sxsteins that let colour experts run their colour films) wants people to appreciate beautiful pinewoods 01' uniforms, it can only do so by keeping them li^lil out oi tin- picture wherever they arc are not wanted.
What is a close-up lor'.' So you can sec a lace big? Fiddlesticks! To concentrate attention to it. Which is is don'' easiest by eliminating the1 rest. (Principle of Zen Buddhism, but pass that for the moment). Exactlj the same with colour. If is not a blind bit of good having ,i heroine emote in front ol a beautiful background. Your storyteller, at the moment, wants either the heroine's glycerine or the background. Both together mix and muddle the audience, which L;ets no clear impression and hence is bored.
Colour film makers have to make up their minds about the order of their narrative. Separate the (dements.
and express each to the n'th degree in its sequence.
Think", a novelist. He writes a venture or two about tic heroine's tragedy and heightens it with a bit ot nature description, the storm, or the desolate moor, oi- what not. The colour film expert makes his paragraph out of words from both sets of ventures mixed up together.
Here we come back to what 1 said about the colour system being the one that can render black and white best. And this is true. Before aou can tell a story in colour, you must learn how to tone down and subdue colour so you don't notice it where it is not wanted.
And this is only nature, after all. Talk with a man in his office. Then tell me. What colour was his desk'.' His carpet? His eyes? His suit? His tie?
The keener you were on l; < ■ 1 1 i 1 1 ■_; that job. the less likely you are to have noticed. And it you put that scene on the screen in a colour film the converse is just as true. rfdie more you want the audience to be attending to the anxiety and drama of the seem-, the less you should distract them with the colour.
Hitchcock's idea of the colour film scene of every atom of the set in black and white and the character men in evening dress, just until the crucial moment when the dash of gory red blood appears on the shirt front — that's heightening the drama to a height ordinary black and white can't reach.
Only one full length colour film ever packed 'em in (in its own field in competition with domestic black and wdiite, of course) the wa\ people who invented colour dream of. That was a Soviet film. "Nightingale — My Nightingale. "
The colour is frightful, lousy and untruthful beyond compare with a dozen other systems. Why was it so successful, dust two reasons are enough.
The heroine wore Gretchen-blonde hair, and when the hero tries to give the promised signal from the tower window, a shot through his breast stained his handkerchief with his heart's blood.
I assure you. believe it or not. the simple hokum ot that flaxen hair lifts up the seduction scene to the 'nth degree above black and white, as docs that waving red- stained kerchief. The audience eat it.
To cobbler's there's nothing like leather. So long as colour experts are allowed to interfere with colour films, so long they'll keep trying to parade their own colour sense and the fidelity, truthfulness and versatility of their system in every blessed shot, and succeed solely in boring the audience to worse than tears, as everybody knows 999 and a bit out id even L,000 colour features so far have done successfully .
ddie task of the colour film expert is not merely to invent how to render colour (which it has done), but to invent how to hide colour (which wild horses won't per- suade the lunatic even to allow us to do), and when he puts that means in our grasp we. the creative technicians, the scenarists, the directors and cameramen, will decide when and where which should be done, and this will so heighten our stories with colour that the audience will be knocked tor a six everj time, his shareholders recover breath, and himself net a pat on the back fol
bis cleverness,
March-April, L938 T II E C I N E-TEC II NIC] A N 20(5
RENNEHAN TALKS TECHNICOLOR
ALL thai is needed to strip the so-called mystery Technicolour scenes with a bit more contrast than I would
from colour camerawork is to consider it from the use in black and-white. same practical viewpoint we ordinarily use in <lis- A great deal of the contrast as well as the intensity
cussing black-and-white. Nut so long ago every ol lighting required lor colour scenes can be governed b\
detail ol our routine black-and-white camerawork was at the cameraman's choice ot set-ups. This is noticeable in
one time shrouded in mysterj ; to-day, experience lias black-and-white, but it is still more evident in colour.
made them accustomed to commonplace. And that same Often moving the camera a scant lew feet one way or the
experience applied to colour will make it commonplace, other can make a tremendous difference in the lighting
too. There are main little ways in which we can make required, saving both time and current in notable
any kind of camerawork easier or more effective by simply amounts.
sidestepping the difficult of impossible things. In black-and-white the cameraman, alter a brief out- Colour can be approached in the same way. II the hue ot the nature o| the shot, can often very safely leave cameraman will keep alert, he can discover many little the details of camera set-up to his operatise crew while practical tricks, which not only make Ins colour scenes he concentrates on lighting. In colour, this is not the better, but also enable him to accomplish them more case. This is not said with any sense of slighting the easily. abilities el the operatives, but simply because the com
Modern Technicolour is photographed under arc light- bination ol colour with line, mass and lighting requires
ing. This in itself should be no difficulty to the com- more precise planning than do the three latter factors
petcnt cameraman. Nine years ago the industry took alone.
without faltering a sudden change from arc to incandes- My personal method is to plan the set-up ver\ pie- cent lighting. In turning to colour, the reverse of this eisely bv inspection through a detached finder, thereafter transition should be easy indicating to m\ crew the exact position ol the camera to
The chief reason for Teclmicolour's use of arc get the desired composit ion— the camera's position, its lighting is in the fact that anv colour process must take height from the floor, the exact angle, and so on. into consideration not alone the intensity, divergence anil In a colour film, the background as a rule plays a diffusion ol its lighting, but also the colour ol the light much more important part than it does in black-and-white. used. It the light varies appreciably from the colourless An area ol some strong colour here, another one rendered w lute standards ol natural daylight, that variation will be too vividly there, can upset an otherwise vers effective reproduced on the screen. The arc Limp is inherently composition. This fact is something the camerman corn- closer to that standard than any other type that can be ing newly into colour from black-and-white must learn to used for pictures. consider in detail. Ordinarily, such a splash of colour
The high intensity "II I. Arc" spotlighting units. might, in black-and-white, be rendered as an inconspicu-
since high-intensity arcs produce an inherently more bluish ous neutral grey . In colour, it would be rendered as colour ray, require a very light straw -coloured tilted to match possibly as objectionable colour,
this daylight standard. This planning requires careful co-operation from the
The matter ol lighting level has been argued too oft n director. If be will really co-operate with the cameraman
both in and out of print. Each camerrnan balances Ins and understand bis problems, he can often move his
lighting differently, and determines bis own favourite action, and with n the camera angle just that little bit
lighting level. -lust as in black-and-white it is impossible to one side, or closer to the wall, farther out. etc.. ami
to say that one man is right and the other wrong, because thus do much to greatly simplify this problem of colour
they use different light levels to secure comparable effects, composit ion enormously.
so it is impossible to say how much or how little light must I have found it ven, helpful to plan my background
be used from any one source on a colour shot. Successive (or set) compositions first, quite independent of the prin
advances m both emulsions and laboratory technique have cipals, and then to tit the players into the < ompositional
brought Technicolour lighting requirements progressively pattern, rather than to strive to co-ordinate two otherwise
closer ami closer to parity with comparable monochrome. conflicting units at once.
In (his phase, too, we are aided by the lad thai, .nut Closelv related to this is the matter of set dressing.
h.r unit, the III. Arc spotlighting units used for |„ monochrome, an over-dressed set is not often notiec
rolour are considerably more efficient than most of the .,,,,,._ [n eolour it will be. Actually, the simpler a col.
Limps used lor black-and-white. They throw smoother, js dressed, the more effective, will 'be the picture on i
loin more controllable beams. Unit for unit, the modem scr7en. Genuine co-operation behveenTamomman'.' set'
Technicolour set uses no more light-sources than would dresser and art director both before and d be necessary lor black-and-white; in some cases, thanks to the more efficient light-distribution of our lamps, we can use fewer sources.
The fallacy that colour musl he hi flatly has now been pretty well exploded. Some ol the flatness in the earh
it,.',.,, ,.,,1, >,,,.,; f ,,,. , l i ji i c ^- ' ,■ I I'act icall\ all ol t hesc del ails, il w ill he seen. ha\ e a
lliiee-coloui pictures was due to the' eal'K limitations ol II I I i' I i -, ,■
l,:,,t,, ,. ij .a,, i ,. i ,, I , (i i . ,i , ■ ',, , ,, paretic! in black-and-white camerawork. hvrr\ black
tngliei light level and to the tad that in those <la\s the , , , , , • ,
anil-white cameraman is accustomed lo watchui" than
urine shooting is doubly necessary . Colour adds so much to a scene I ha I physical simplification is vital. Elimination of surplus detail actually builds to a stronger and more pictorial scene.
almost subconscioush in his dail\ work. Tl nl\ differ
present modern lamps were not available.
In actual fact. Technicolour scenes can be lit with ,,,,., i, .1,,, . ,, , ,,, ,■ ,, , , .... ,, , , ence is that in colour the\ must he watched more c ose \
'ouch the same range of flatness or brilliance that would i , i
i ,i „• i i i (i , , and at least at first more consciously.
oe aesnable lor the same scene m monochrome. In so
far as my personal preferences go, 1 would prefer to light (Continued at fool of page mS)
207
T II
( ' I N I J - T ]•: ( ' 1 1 N I ( ' I A S"
March-April, L938
FORTY YEARS ON
by E. E. BLAKE, Managing Director of Kodak Ltd. and President of the Cinema Veterans
••/'. ilfordshirt I iiin s' t>h, i i.ura/>'i
Mr. Blake holding first projector, dated iNg;. In back- ground, original playbill of entertainment.
FORTY-ONE years ago I first started "handle turn- ing" a cinema projector. It seems, and is, a Long I nne to look back over the years, yet so great was the thrill I experienced when the picture flickered on the screen thai I can to-da\ recall everything in con- nection with it. Although onl\ eighteen years old at the time, I was already well trained as a lantern operator; tn\ father was a professional photographer and photo dealer of long standing, m\ mother a highlv successful exhibitor at the ll.l'.S. and other exhibitions, so it was only natural that m\ elder brother, the late \Y. N. Blake (founder of the Cinema Veterans) and myself became! earl\ interested in the new invention of cinematography.
Our earl) exhibitions were given in Town Ilalls. Vil- lage Schoolrooms, Clubs, etc. In those days there were absolutely no regulations prescribing the conditions under which exhibitions could be given. Our paraphernalia was Carted from place to place on n horse and trap. As we
always endeavoured to get hack to our home in Bedford each night, we were often laced with a ten to fifteen mile drive home after the show. Roads were not of the kind found to-day, and usuallv rough and covered with loose flints all through the winter months. Sometimes we were snowed up and had to dig the trap out of a drift five or six
feet deep. I Well reinelnher ill the winter ol 1899 L900
arriving back in Bedford at 8 a.m.. having been from II o'clock the previous night travelling tin miles through a snowstorm and just in tune to load up our cine camera
and take a tiltv loot "Topical" of the Beds. Regiment leaving lor the South African War.
As technicians, reader- oi "The Cine-Technician" will he interested in the details ol apparatus vve used in tin - days. The projector took a roll of film up to about 75 ft. in length; this was supported above the mechanism in a kind of cradle, a steel pin was slipped through the centre of the roll, which was without am reel or flanges; there were no continuous sprockets, the film being pulled down in a series of rapid jerks b\ the intermittent sprocket, which was the sole means oi propelling the film through the mechanism. The intermittent motion was given to tic film by a maltese cross actuated by a cam set in a locking ring, the intermittent sprocket being fitted on a shaft connected to the cross. The same principle is used to-day, but the cross and ring. etc. are encli in an oil bath. The shutter was behind the lens and " V shaped. After passing through the gate, the film dropped like a long ribbon into an iron box situated below the apparatus. All the films shown during an exhibition tumbled into the same iron box and were few iund the next morning. The projector was fitted with a devil ■ for showing lantern slides, which formed most of the pro- gramme. The illuminant was obtained from a "Gwyer" mixed oxy-hydro jet supplied with necessary gases 1'rom two steel cylinders, pressure being regulated by a Heard regulator affixed to the neck of cadi cylinder. The sere 211 was of linen and stretched on a bamboo frame made up of short lengths fitted into brass tubes at the joints and angle pieces at the corners. Constant practice in putting up the outfit made a fit-up for the show a very quick pro- ceeding, and from the tune we had the gear on the floor ol a hall until the whole was fitted up and light centred was usually a matter of ahout fifteen to twenty minutes. Our camera was of French manufacture, taking a length ol oil feel of film, which had to he loaded and unloaded in a dark room or changing hag.
The average length of a Him as supplied lor exhibition was from oil to 75 feet in length and of a width of 1§ in- . the perforations were ven similar to those standard lo-dav , four each side of a frame. A good deal of ditticultv occurred if the joining of one film to another we attempted in order to save waits when threading up the projector, due to some makers having the perforation holes level with the frame line, whilst others had them lower down. About ten years passed before this simple matter became standardised; Continental makers stuck to their standard ami the British and U.S.A. to theirs, so things 111 this direction haven't changed much alter all!
Iloie are some ol the first films shown b\ mv brother and myself round about the gay 'nineties; "Man Burn- ing Weeds." "A Snowball bight." "Soldiers Crossing a Bridge." "Waves Breaking on the Sea Shore," "Queen Victoria's Diamond Jubilee Procession. 1897," "Highland Dance at Balmoral," "Train Entering a Station." "Hat Manipulation or Chapeaugraphy," this showed M. Truey, a French music hall performer, who was one ol the first subjects of the brothers Lurniere, ami I think brought the first l.uniiere projector over From I'aris.
March-Ap
L938
T II K (' i
N K-T EC II N 1 C J A N
•jus
Now for some of the early makers of apparatus :- Lumiere, Edison, Paul. Moy, Darling, Prestwich and John Wrench. Films were made by Lumiere, Edison, Paul, Jas. Williamson, Hepworth, G. A. Smith and others.
As this issue of "The Cine-Technician" is to be mainh devoted to colour cinematography, perhaps a few words on the subject of colour in the early days will not be out of place, The first coloured pictures were made 1>\ band tinting each frame; of course there was fringing, but the effects were considered pleasing and films so treated were popular. J believe we paid about one shilling a Loot ior a subject showing the famous Loie Puller performing a skirt dance. As out- projector could be reversed at will, in order to make the film run longer on the si reen we used to turn rapidly forward and backwards on a piece of about ten teet and so prolonged the .">('< it. i" a niu li greater screen time. Owing to the nature of the subject it looked equally good either way, and no one ever noticed the trick. ' Following on hand-tinted films came the Pathe- colour method of applying colours by means of inking rollers through cut cut stencils . this was much less costly and ver\ popular for many years. The first ream com-
mercial photographic colour system in this country was "Kinemacolour, " sponsored h\ my old friend Chas. L'rban, ami under whose direction outstanding success resulted. Some ol these films were \ ,r\ pleasing, it not actualh true to natural colours, and Urban certainly gave a gr< a1 uplift to the cinema, in his day .
Once a year we old-timers of the industn meei together for an annual re-union, when men who have made their pile join with their less fortunate lellows at li five board and swop yarns ol the days gone by. Alas. several have passed over, including Jack Avery, Sidney Bacon, Ted Catlin, Thos. Haddow (one ol the early raw stock manufacturers), J. Henderson, \Y. G. Jones. Jas. Williamson, Sir Walter Gibbons, W. Engelke, Will Day. Geo. Cricks, Bill Vinten and m\ brother, W. X. Blake. Happily mam arc left, including Matt Raymond, the Hist man to project pictures publicly in London with Lumiere's original machine, Robert Paul. Sir William Jury, Colonel Bromhead, Dick Dooner, David Devant. Claude Freise Green, Cecil Hepworth. L. (1. Turner, Jack Smith, ('has. Lrban. Bill Jeapes, -Jimmy Squier, and a host ot others.
The old days were great days; there is a wonderful spirit of comradeship among the old timers. Long may they live to enjoj the pleasure of seeing modern cinematography. Thanks to the generosity of the leading cinema theatre circuits, all have now the privilege of a season ticket admitting to the leading cinemas of Great Britain, for which they, our committee, and myself, as Presi- dent, heartih thank them.
Modem Projcctoi which makes interesting comparison with the first projector illustrated on previous page,
Forthcoming Events
WEDNESDAY. MARCH 17th
Lecture by Mr. Dennis \Y ratten, ot Kodak, on "Duplication ot. Motion Picture Films" at Crown Theatre, 86 Wardour Street. W'.i. com- mencing 9.0 p.m.
FRIDAY, MARCH 25th
Fourth ACT. Ball and ( arbarct (Grand National Night), Astoria Dance Salon, Char- ing Cross Road, W.C.2, 8 p.m. to 2 a.m. Tickets j, 6 each, from 145 Wardour Street. W.i., or A.C.T. Newsreel, Studio and Labora- tory Secretaries.
RENNEHAN TALKS COLOUR
[Continued from page 206)
Once these details and the somewhat narrower latitude ot any colour process are understood, any able black-and-white cameraman can photograph colour as easily and as confidently as he does black- and-white. This is proven !>v the increasing mini- In 1 hi major studio Technicolour productions being photographed by the studios' own black-and-white cinematographers with but a bare minimum ot coaching — advice, rather than help — from Techni- colour cameramen. This trend is bound to con- tinue; and as it does — .is mote and more outstand- ing black-and-white cameramen familiarise them- selves with colour camerawork — it will be realised that Technicolour photography is not a mysterious ■..'.ni luu ,1 simple matter of applying the same: basil rules that we've learned to observe in mono- 1 hrome, t.. the end thai we may get better pictures in colour.
RAY RENNEHAN, Local 659, I.A.T.S. / roni " Di. I ,./<<i( 1 "
20!)
\ i . t !■: (
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March-April, L938
FILM
INDUSTRY
EMPlOVICi
<OUHCIL
untmPLOYED
riLm WORKERS j aTECHniCIAnS
DEMAND YfOWUVtodES
I
T/.''- plai'crm :> c n'crt forbidden to mount.
Sedition and the Films Bill
By GEORGE H. ELVIN, AXIS.
IT was onl\ a l'\\ quoted at tin time tin Seditious Meetings Act ot 1817 years ago thai a Film Technicians were tin- other day victims oi this 121 well-known trade years' old piece oi legislation. The Film In- dustry Employees' Council arranged to lobby members ot the Standing Committee considering the Films Hill, and over •-(in unemployed film workers accordingly visited the Houses of Parliament. Afterwards a meeting, for which the police had pre viousl \ given their consent, had been arranged at the toot of the Irving Statue in Charing Cioss lioad. At the last moment, bowever, Scotland Yard forbade it under tins act oi L817 which intei alia Lorbids meetings within a mile ot the House while Parlia- ment Is III session.
"Tatler of The Uaily Film Renter was present. This months imprison- is what he wrote :
"I must sa\ | Was amused at the scene round the Irving Statue. You'd realK think a most dan-
unionist was pro- sei uted under a
Statute o] Edward 111. passed in the year 1300. No amount of dim itest - - and t here
prevent the prosecu- tion or rescind the
sentence of t WO
iiient . Another Aid ot Parliament was also
Technicians entering the House of Commons to lobby members. In foreground : 7 . O'Brien, /en: Williams. M.l'., and
C. 11. Elvin.
March-April, 1938
N E
]■; ( ' 1 1 n 1 » ' i \ \
211)
gerous assembly liad been planned for on one corner were three inspectors ol police; on three sides oi the meeting were constables in couples— and a sergeant stood amidst the crowd, looking prepared for any- thing! At the same time, a better crowd oi intelli- gent and decent men and women you could not imagine anywhere, tf you have as I have a sense oi the ridiculous, you must have laughed at tins pompous display oi authority, winch kept a glinting eye on the platform to see that nobody mounted n ! It was difficult to keep in mind that this meeting was simph a body oi BRITISH technicians, ready to hold a public meeting about a BlilTlSH hill, in the
BRITISH lions,' oi Commons."
Thank you, Taller !
J have since found out a lew things about the Sedi- tious Meetings Act. It was passed just alter the close of the Napoleonic Wars, when there was great social unrest there were bread riots, unemployment, general dissatisfaction, persons clamouring for the vote (one of the many rights which we take for granted to-day, forgetting the hard fights which realised them). In short, an attack on the House of Commons was leared. Hence the pass- ing ol an Act to forbid demonstrations and meetings with- in a inih' ot the House while Parliament was in session. It was emphasised at the time thai the measure was purely a TEMPORARY one. Yet it has never been repealed, ami like other so-called temporary measures is found very handy by the authorities from time to time to suppress activities under entirely different circumstances from those conceived at the time ot the passing oi the
THE (-ILM INUUSIRY TO-DAY Points from the speech of Mr. Elvin to the meet- ing of unemployed film workers referred to in his article alongside. S 000 out ol 10,000 technicians and workers em d
in film product ii m are to-day unemployed. \ special I labour Exchange has had to be opened at Boreham \Y I iKlstnm to cope with the vast
III: I ■ ase 111 II 1 1 e III j 1 1 o \ 111 e 1 1 1 .
Il the Films Bill goes through in it- presenl form all you can look forward to is an average oi six weeks work pei year.
l\ie French film industry to-day is in a healthier position than ever before because due attention has been paid to the needs ol its workers.
Art is international. Therefore, on this score alone, let es have a few more Britishers in key positions.
During the past ten years (540 film companies have been promoted. A large number have made only one film. Some have not completed a single production. Thousands oi pounds are owing in technicians' s-daries by many ol such companies w it h nominal capital and n i - i ■ h un \\ hich Mich debts could be recoveied.
What we want is: —
(1) Sufficiency of production;
(2) Minimum quality of production;
(3) British labour in key technical positions;
(4) Fair wages and working conditions for all
employees.
FlUM WITHOUT A HERO
Reproduced by kind permission <>! 1
end "The /■■ vening Slo
211
i ]•:
•IN K-T K ( J I N J C i A N
March-April, 1938
Act. II the organisers had persisted in holding the meet- ing we assume film technicians could be accused of sedi- We've been called all sorts oi names from time to time but seditious! Perhaps Grin Fawkes, alter all, was the only person to cuter Parliament with good in- lent urns !
Of course we held our meeting. We went to the nearby Gatti's Restaurant, where a large audience listened to speeches from Tom O'Brien and myself, with Ralph Bond in the chair. lull reports have appeared in the trade and \-,\\ press. The following resolution summar- ising the purpi ii ol the meeting was unanimously carried : —
"This meeting of unemployed film workers and tech- nicians draws attention to the grave position in the film industry, 80% oi the workers engaged on produc- tion being unemployed, and urges Parliament to amend the Films Bill to ensure continuity of employ- ment, fair wages and working conditions to all en- gaged in the indusf rj . "
As I write, the Committee Stage of the Bill is completed. < )nl\ the Reporl Sf i go* and the House oi Lords remain to make possible alterations. Theirs is a grave responsibility. A i this stage the Biii is grossly inadequate. True, certain improvements have been made. Most oi
We have received many letters of congratulation lor our activities on the Cinematograph Films Bill. T\ pica I of these is a letter just to hand from Francis Carver, well-known lighting cameraman, saying: "1 hope the active and courageous pari which the Association is taking in the present crisis will soon be rewarded." It's just part of the A. C.T. service, but we appreciate such letters all the same. Thank you, Air. Carvel-!
them are in accord with the campaign led by the A. C.T. and N.A.T.K. under the auspices of the Film Industry Empli ivees' ( 'ouncil. in conjunction with other employ 'os' organisations in the industry. Press campaigns, lobbying ot members, deputations, officials addressing meetings of members oi both Houses, mass meetings and demonstra- tions, innumerable conferences and commitl 'e meetings have all played then- part. All these activities are being carried on from day to day until the very last stage oi the Bill's journey through Parliament. The co-operation of all the ten thousand film workers (and they have re- sponded iiol>l\ to every call so far) between now and then may bring jusl that extra pressure necessary to increase the quota rates (the present 'J.C' increase in Exhibitors' Quota, while welcome, is still grossh inadequate) and make other amendments of vital importance ii the uexl decade is to see progress in the production of British films and 'in improvemenl in the lot ol those who make them. In our nexi issue we will report at length on the pro- visions of the Act, which will l>\ then be law. If is up to you, reader and Him technician, to play your part in en- suring that our next number is one of optimism for the future of the industry in which to-day you are probabh unemployed, buf in which for the next ten years you hop< to work. May we by your wholehearted co-operation turn t hat hope into a cerf aint v .
'-' This has beoi held as ice go to press. Our essential grievances have still not been remedied. Continued pres- sure, therefore, is still of paramount importance.
PAID HOLIDAYS FOR ALL
(Continued from next page)
voluntary unemployment, or changes in the management oi the undertaking in which the ii is employed. i h i An\ agreemenf to relinquish the right to an annual holidaj or to forego such holiday, shall be void, (i) An\ person who engages in paid employment dur- _ thi course oi a holiday with pay shall be . ed of his right to payment in respei I the holiday. (j) Nothing in the law or regulations providing for holidays with pa\ shall adversely affect any award, custom or agreement between emplo and the workpeople which ensures more favour- aide conditions than those provided by the law. (ki Adequate penalties shall be provided for breaches ol the provisions of the law. To facilitate en- forcement, e\er\ employer must keep in an approved form a record showing (a) date ol entry of ever-) person employed; (b) duration of annual holiday to which he is entitled; (c) date or dates on which holiday was taken; (d numeration paid. The remainder of our testimony, at the first hearing given to us by the Committee, was directed towards the method of applying the principle, generally and in respect of seasonal, casual and intermittent employment. We stated emphatically our view that legislation is necessary to make holidays with pay the statutory right of all work- ers. The matter cannot be left entirely to collective bar- gaining and negotiation. Legal force could reasonably be given to extend voluntary agreements made by unions and employers' organisations; and we would approve ar- rangements by which unions and employers' organisations in particular industries or groups ot trade- should be re- quired to prepare schemes for approval by the Ministi of Labour. Where such schemes were not forthcoming, or where the degree of organisation was inadequate, we - gested that the Minister should be made responsible for producing a scheme: but we were strongly of the opinion that unless the right to an annual holiday is secured by law for all workpeople it was never likely to be extended to cover all categories ot wage-earners.
On December 1st, 1937, 1 appeared again before the Government Committee to submit supplementary evi- dence mi behalf of the T.U.C. Further developments oi the Holidays With Pay Movement both in this countn and abroad, and certain opinions which had been ex] upon our main observations and proposals, made it de- sirable to add to our testimony. The memorandum sub- mitted on the second occasion with the oral examination has now been published under the title "Holidavs For
All."
1 am indebted to those of my General Council col- leagues who accompanied me on these occasions and for
the valuable help 1 received in committee.
OURSELVES
We have to announce a change in publication date. From this number we shall appear on the first day of March, .May, July. September, November and January. This explains why there is no issue covering February 1938. December 1937 Januan 1938 was our last issue. March— April is the current one.
March-April, L938 T HE ( ' I N K - T K ( ' 1 1 N I ( ' I A X .212
SIR WALTER CITRINE, k.b.e.
General Secretary of the Trades Union Congress, writes on :
PAID HOLIDAYS FOR ALL
// will /'(■ recalled thai . I .c . / . gave evidence before the to total costs of production from one industry to another,
Government's Committee on Holidays With Pay, and dealt according to the proportion ol wages to total production
with the specific problems of the film industry. It associated costs; bui thai in any case it is not likely to be high
itself generally with the evidence and recommendations oj certainly not as bigh as I percent, of the total wage bill,
the Trades Union Congress which out distinguished contri- us had been suggested. Even ii its cost was I per cent . ,
butoi outlines below. however, we offered calculations to show that industry
EVIDENCE has been submitted to the Government's "M|M wel1 afford [t- Committee on Holidays With Paj on two separate finally we submitted to the Committee the T.I .('.
occasions by the representatives oi the Trades proposals m the following summary form: Qnion Congress. On June 8th, 1937, it was m\ (:l) Al1 ' ' ' '! ''' '> ,m1 persons shall be guaranteed In law,
duty as General Secretary of the Congress to appear before illter 12 months' service oi not less than 1,800
the Committee with Messrs. II. iVnv. \Y. Holmes, and working hours, or such hours as max be agn >d
W. Lawther as representatives of the T.U.C. General u> fche organisations of employers and workei
TS
Council, accompanied l.\ Mr. G. Woodcock, Secretary ol m {]u" industry, concerned, an annual holiday the T.U.C. Research Department. A comprehensive v\ un pay oi at leasi 12 working days, exclusive Memorandum, embodying the main grounds of the "' hank and other public holidays. workers' claim for annual holidays without loss of wages, (ll) A" l"'rs",ls who have b< en employed for a period was presented to the Committee, and upon this mv col- "l service of less than L2 months shall be en- leagues and I were interrogated \,\ members of the Com- titled to '"' annual holiday with pay oi nol less mittee who wished to elucidate points raised in our state- tli:m <,m' <% £or each completed month of ser- vient vice of not less than 150 working hours, or such
Our mam Memorandum, with a verbatim report of hours :|S ni:,.v be agreed by the organisations of m\ oral statement and answers to questions, appeared in employers and workers in the industry con- pamphlet form under the title "Holidays with Paw" corned.
Briefly, we emphasised to the Committee the" Trade Note.— The hours stated in paragraphs (a)
Union view that for large masses of workers, with their and (b) are olll.v intended to serve as illustra-
families, opportunities of leisure in the form of annual tions, and should noi be incorporated into the
holidays have hitherto been restricted by lack of means. general law. We consider this is a matter which
Some classes of workers, mainly the non-manual or salaried r""1'1 ,""s, effectively be dealt with by collec-
groups, have enjoyed holidays "without loss of earnings l>.\ tlV(' agreement with other recognised negotiat-
long-established custom. Holidays with pay for other lnB machinery.
classes of workpeople have been obtained mainly through (c) The qualifying period of service necessary to secure
collective agreements negotiated h\ Trade Unions or by Sl"'1' holiday ma\ he spent in the service of one
individual arrangement and custom. '"' several employers.
We pointed out thai this country lags behind main ((1) As a general rule, it should be provided that the others. We cited evidence that a system of paid holidays holiday should be taken in one unbroken period. as a Legal right has developed in 38 countries, such as '" exceptional circumstances, however, the France (where the statutes provide for 15 days' holiday, holiday may be divided into two periods, pro- including at least 12 working days with pay); Norway yided that one period shall be of not less than (where provision is made for a minimum of 9 days' annual rislx consecutive working days, holiday); the U.S. S.R. (where the legal minimum holiday (''< Tlae holiday payment shall be such as may be is 12 days). decided by collective agreemenl or other estab-
Legislation in 22 countries ensures paid holidays for lished negotiating machinery in the industry
all classes of workers, or gives statutory effect to industrial concerned, but all persons shall receive as a
agreements in which the paid holiday is incorporated. minimum the customary hourly or weekly time
In five other countries it covers manual workers only. rate provided for their grade as defined by any
A. feature common to most countries is the increasing collective agreement, Trade Hoard. Order, oi
extent to which Governments are finding it desirable to decision of a Joint Industrial Council or other
extend the principle of paid holidays by legislation to coyer approved negotiating machinery governing Ins
both manual workers as well as salaried employees. employment.
We urged that this is a necessary consequence of (t) Incases where employed persons are paid partly
mechanised industry and the speeding-up that has taken '" ,'as'1 and partly in kind, their payment for
place in connection with it in many productive processes. ""' holiday shall include a cash equivaleni ol
Nerve-strain has become a common malady among wage- nu> Sl"''' lvl leration or other emoluments.
earners. Sickness, proneness to accident, absenteeism and (s) '''"' contraci of service shall not be broken by
other factors which interrupt regular working are part oi trade dispute, nor shall the period of continuity
the costs winch industry now hears that can he set off of service required in order to secure entitlement
against the cost of introducing a general and comprehen t" :l holiday w ith pay be broken by interruptions
sive system of annual holidays with pay. occasioned by sickness, accident, family events,
I stated the view that in' this country the cost of an military service, (he exercise of civil rights, in- annual fortnight's holiday with pay will vary in relation (Continued on previous page)
213 T II ]■; (I N E-T ECHNICIA N March-April, 1' -
AN OPEN LETTER TO THE PRESIDENT OF THE BOARD OF TRADE
Doai' Mr. Stanley, \\*i don't shout our admiration ol our fellow becliui-
I think it was Miss ('. A. Lejeune, at the opening of cians — perhaps we are at fault in that — but we feel and
the new Shepherds Bush studios, such a few years ago, know that Powell is right when he says "'No one man
who remarked that some of the greatest drama of the films ever made a film. He can inspire it. He can stamp his
was right on our own doorstep neglected b\ our own personality on it. But in the long run it is good team
inability to sec the potentialities oi stories that lay under work that makes a good film" . . . And if I may add a
our noses — the work that is done by the technicians glimpse of the obvious, it is good team work that makes
themselves. a good Him industry. You. Mr. Stanley, are on
Now, when that group of workers who were there that team. Right at the moment you are leading it.
when those studios opened are disbanded, and when you Where? To you our industry is but one item in your
yourself are engaged in putting a new tyre on a wheel daily round — to us it is our very existence . When you
whose hub is broken, perhaps it is apposite to draw your read these pages you will recall that famous October gale
attention to a book that has recently been published, b when the unit were marooned on Foula — the splash pn ss
is called "200,000 Feet on Foula"* and is written by headlines — the broadcasts — the world anxiety — and you
.Michael Powell, It is a record oi the making of a film will learn the inner story of the lives of the unit troni it.
which lie directed— ' 'THE EDGE OF THE WOULD." There the details come' to lite— the good humour— the
There before you lie the answers to nearly all of the hardships — the frayed tempers — the open defiance
questions that have been receiving your attention during orders — and through every line of every page the "leit-
the last few months. It tells vou of the making of a motif" — the determination of a British director to make
British picture by a British unit, their struggles, their a GOOD BRITISH PICTURE
failures, their successes. It gives you an insight into the Those boys are all friends of ours — Ernie Palmer,
great driving power that conceived an idea eight years Skeets Kelly. John Seabourne, George Black, and all the
ago and saw the realisation of a dream amidst the raging rest. And we have hundreds more like them who can
ot Atlantic gales. do good work too — when they get it! Head that pass
Michael Powell wanted to make a film ol the evacua- about Skeets: "... and Skeets, never shall 1 forget him.
lion ot SI. Kilda and the depopulation of the Highlands, Half the time he had no tripod — his tall body screwed up
but owing to circumstances over which he had no con- in the boat whilst 1 directed over bis shoulder. He held
trol he made it in foula, ami as things turned out perhaps as steady as the "Kaine" and performed miracles. Thirty
it is all the better for that. The hook' is a beautifully shots in four hours — in boats — in a dashing sea — on slip-
wrilten and masterly description ot the trials and triumphs pery rocks — with four actors and dramatic scenes. It w -
of a film unit, such trials and triumphs as, unrecorded. worth eighteen weeks together to see it could be done!' beset so many film units which have not the advantage The workers of the industry thank Mr. Powell for
of bis unique situation to bring them into the spotlight of those words. There is not a man 1 know who wouldn't
popular knowledge, ft tells of the efforts they made to work his "guts" out for that . . . even though it didn't
get the film financed to start with — the lone process of appear in print.
preparation — the landing on the island — the establishment And alterwards, when you have read the book, go and
of the camp — the settling down to five months of hard see the him. You will love it even more. And when you
work and the ungrudging co-operation of a grand team of have seen the film . . . well, need 1 point a moral'.1 technicians. You will laugh t at many of their experiences \\ e can make films in Britain as well as anyone can.
— you will enjoy the sometimes ruthless analysis of charac- We have the British technicians capable of the job. We
ters and the frank description of the ways of "production have the studios. \\ itb all due deference to ('. A. Lejeune.
chiefs." You will be thrilled by the narration of danger we don't really ignore opportunities that lie at our d
and bravery — you will sympathise with the efforts to hide Many of the boys who helped to make "EDGE OF THE
the suffering, the real suffering which befell some of fchem, W ORLD" are now, like most of our industry, unemploy-
both me'Ttidlv and physically— and vou will appreciate <->\- Will you give them a chance to get back to work? To
the force of the camp's tag line, taken from the remark build up the British film industrv we all so much di -
of Walter Huston m "The Criminal Code": "That's the to see ? Remember, Yob Abb. BEADING THE TEAM way things break sometimes— and vou've got to take Yours sincerely,
them the way they fall." THE ASSOCIATION OF CINE-TECHNICIANS
To ns in the film industry it is a vivid revelation of our own unexpressed feelings and I applaud Powell on ( lolll IK'HSill ioil Ol)tail)C(l
Ins sincerity when he speaks of the worth oi Ins British 1
unit : "I have a weakness— only I think' it is a strong point The Legal Department of the Association ol Cine-
... I believe in giving young men a chance . . and alter Technicians has recently handled < ases lor two oi
seven years of good production there is some splendid new members, and reports that each case lias been settled
material, men like Arthur Crabtree, Roy Kellino, Bernard satisfactorily, in the first ease settlement of £50 com-
Knowles, Cyril Bristow, Ronnie N'eame, all of whom 1 pensation had been obtained in respect of injuries received
have seen come up from assistants." (Thanks, Mr. by a camera operator during the course of his work. In
Powell). the second case a settlement of £25 was reached with the
__ company in ivspeci ol breach oi eontracl with a camera
'■■ Labor and Lab t. 1*2 () nd man.
Man li-April, H)3tf
T 111'. CIN !■: 'I' K (' II N I C I A N
21-1
WESTON SELECTIVE ANALYSER MODEL E665.
FILMS & EQUIPMENTS Ltd
145, WARDOUR ST
LONDON, W.l.
at 5
T UK C i N K-T K < || N | r I \ N
March-April, 1938
BARKER'S MOTION-PICTURE PHOTOGRAPH} LABORATORY 1\ un,;. Top lo Bottom and T.cft to Right: Printing Room; Examining, Cleaning and Joining Room; Mr. Dennis inspecting
a nam,- Title Making; Developing Room; Cartoon Making.
March-April. 1938
THE (' I \ E-T E V II \ I c I \ \
210
RETROSPECT by p. dennis
WHEN turning over a lol of photographs a few days ago I came across some thai brought back ulil memories of over 20 years ago, and which I am sending on to you, as thej will possibh he of interest to a good many oi your readers. Hiej were taken on Grand National day 1915 (when "Allj Sloper" won). \V. G. Barker, "The Father o| Topicals," was doing the race, and these arc some of the rooms where, 1 should think, the quickest "National" ever was turned out. Owing to war-time restrictions travelling and trans- port facilities were ver^ had (no aeroplanes in those days), so W.G.B. and his merry ( ! !) men did not arrive in Soho Square until twenty minutes to nine; the complete race was shown at the Empire at five minutes past eleven, 'this time can be verified by several who took part in the job, L. Eveleigh, S. Blythe, 0. Bovill and others, who are still in the business.
All developing and fixing baths were at 75° F. (and il you want a real job just dissolve 4 cwts. of Hypo in two tanks of 65 gallons each, in a hurry, so thai you finish with them both at 75°). Our test piece was fixed in under 30 sees., and the last frame oi negative was in the developer with the first frame of positive ; negative and positive were developed in the same baths, wound on 150 it. frames. The drum room, as the drying loom was called, was 90°. One photo shows the developing room. I believe the artist at the developing tank, Mr. Bailey, is still at the same game, so he should know something about it by now. The printing room phoio- graph shows four printing machines, with hand light changing and curved gates; also a title printer. Titles were made on quarter plates and optically printed. When we were in a hurry, the negative was looped from printer to printer to save re-winding; allowance had to he made in the size of the loops for the slight 1 \ varying speeds of the machines and the planters had a good ni,m\ anxious moments when they saw a machine gaining and the loop getting dangerously small.
Titles were set up on a large square sheet of glass covered with black velvet ; various types and si/.es of let- ters made of white, celluloid were used, ami a set square, as seen in the photo, was part of the equipment. A small Westminster enclosed are was used for exposing on pro- cess quarter plates.
You will notice that the various rooms were all built up with match lining! Fancy trying to do it nowadays. But although they were all such poky little holes, some good work was produced in them. "Sixty Years a Queen," "Jane Shore," "Five Nights," and Lewis Waller's first and only movie appearance, "Brigadier Gerard." (He died very shortly after the picture was finished).
B\ the way, "Brigadier Herald" was another of our hustles. It was produced in a ver\ lew weeks and ai five o'clock en the >\;\\ following tli ■ last takes thousands ol icel oi negative were lying on a long bench in small 1 1 lis, none ol w 1 icb 1 1 id been printed. I'w o o the were i h a ■ having cups oi tea, when in walks Weill. saying, "I don'1 waul to frighten you boys" (the bo\ i were ii. Eveleigh and myself), "but Mr. Waller wants to see his picture run to-night after he has finished at the t heat re, ' ' so af 5.15 p.m. we started, and lie saw Ins picture, about (>.< 100 feet , just alter 11 p.m.
One of the pictures shows the primifh • examining, (leaning and joining room, with a glimpse oi a drying drum, .lust gaze on the naked lights and match boarding and primitive examining bench and then think of your oak benches, opal glass, chromium fittings and gorgeous winders and seats.
Another picture of considerable interest is thai oi the artist, H. Gandolphi, who was the fust to make cine cartoons in this country. Note th • crude construction of his apparatus b^ comparison with modern ideas. Most ol his work was done with cut-out drawn figures, with pin jointed limbs. A Mo\ camera was used and with the photi aaphle collaboration el H. Eveleigh he turned on', two 300 II. cartoons per week. As no automatic device leal then been thought ol, even picture was turned b\ hand. The camel a man was stuck up in an awkward coiner near the i eiling and it was a fight lor him between concentrating and falling asleep, with tic monotonous cue, two. i ne, i a lie one, two. two, for In airs.
1 am sorry 1 have not a photo of one ol our depart- ments which was apth named "Stink Hole Bay." This was, as yoj mav guess, where we did the sulphide and other toning, and extended, like an old coal-cellar, under the pavement in Soho Square. The toning was done in three huge earthenware rocking dishes which weighed about 1 cwt. each we found this out when getting them upstairs on removal (we also found about three dozen empty beer hollies under them; lotion to wash the sul- phide out of throats. I expect).
The work was not so monotonous for the staff as il is nowadays, as everyone had to be able to turn his oi- lier hand to everything framing, printing, developing, drumming, staining, toning and joining, as circumstances required, so when you had been at W.G.B's for a tew years you knew your job right through.
Hooking at these photi s brings back such a lot of old memories that I could keep on lor hours, and I hope that 25 years hence some of you will be looking back to as many tiappy memories as I do.
DAY OR
REVIEW YOUR FILMS AT THE
PREVIEW THEATRE
NIGHT
80-82 WARDOUR ST. LONDON. W.I
FULLY EQUIPPED PRIVATE CUTTING ROOMS FOR HIRE : PHONE 1365-6 GERRARD,
JIT T II K (' I N K T I ■: ( II N I C I A N March-April, l«J3«
DOCUMENTARY AT THE CROSS-ROADS
by SIDNEY COLE
I SEE Irom John Grierson's article in the Ias1 number sort of subject material as thai which pure documentary
ul "The Cine-Technician" that documentary. has exploited so well. Moves in this direction have I •
having arrived at a cross-roads, proposes to take made, with films such as "TURN OFTHETIDE," and
the wrong turning. He says that documentary "EDGE OF THE WORLD." But it is true to say that
has built up a distribution and an audience of its own; although inspiration for these films ma\ in part have
that this audience is more serious-minded than that <>l derived from the work of the documentaries, the influence
tin theatres; and it is at such an audience that those was but indirect, and is not likely to be continuous and
who work in the documentary aim. strong without closer contact than exists at present.
So far so good. But he goes on to say that because this Highbrows used to sneer al Hollywood and its
audience has been built up and can be depended on, thai productions, but it is becoming increasing^ difficult to do
attempts at box office compromise, il not to be deplored, so. pj]ms [{\ie -j \ \j \ FUGITIVE FROM \ CHAIN
are at their best unimportant, that documentary does its GANG". "FURY" "BLACK LEGION" "THEY.
job b\ reaching its own non-theatrical audience and WON'T FORGET", "ZOLA", "PASTEUR'', mat
"educating the citizenry," or such of it as seems willing t]le Cagne\ films, and mam lesser efforts have, despite
1,1 be educated. whatever box-office concessions, a core of integrity and
Tin.- seems to me to be r ling awa\ from the problem, an appreciation of the genuinely dramatic materal of real
or from hall of it at least; and that hall probably the social events and persons. But f have been surprisi
more important. The sponsored film, which is what the occasions to hear some of those working in documentary
documentary film fundamentally is. is excellent in mam condemn some such film for its concessions, instead of
ways; it has given its directors scope they could not ai welcoming and stressing the importance of its approach.
the moment have in the commercial studios, and has ..-, , , . , ,
, , , , , . ,. . . . What can he clone a- a start is tor documentary to
enabled them, iri/'uii I/nuts, to picturi/.e certain aspects , , ,. , . •
. , ' . . , ... l , , , , ' I, make studio people see that the material, for example,
of social problems m an intelligent, adult, and generall\ t •• v w ■ u-p ^ V \ i r >> ■ 1 i
. . ' .. ?, | " | , ■ :>t MdHl MAIL . is a pertect settmg lor a melodrama,
acclaimed manner. None would den\ . tor example, the , , , ... rl ' , . , ,
, ,.. .... . • ,. , , '.. ..,.,, hokum in story, it you like, but with genumess m enarac-
nnportance ot such films as Housing Problems. 1 he ■ rp ' i" 11 i 1,1 . r
.. ' . . .... ., ..,,, , ... . - .. terisation. to gradually fead the studios away irom stories
Nutrition rum. or lo-da\ We Live. •,, i . i V ■ -, ■ ., , -,-.- , • , , ,
either adapted from, and in the tradition ot, the west-end
1;,,t tlh' l:,'< that tlu's'' alv sponsored films makes it t.ir(.^ (j). ]i()1|t(. comedv To lend weigh( and jnm,ence
difficult to gel them into the ordman commercial theatre ; fco thos(, technicians in the studio who are eager for a
and the audiences that do see them, although they max drive toWards realitv. Finally to consider themselves,
be vast, are sponsored audiences. I hat is to say, non- SMl|u. (|) {]u,UK ploughing the' hard row of the studio
paying audiences. Now, the attitude of a man who sees S[.n]lt conference an(l the Aegean task of cleaning out the
a him after paying hard cash for admittance to it and st(,(.k characters, the stale situations, the trite dial
tliat l,f ;l mal1 w"ll() ,I:IS Pald nothing are fundamentally and the rule of the thumb reactions. Help the technician different. The first is determmedh seeking entertain- ment, and so demands more, and is more critical. The second is inclined to feel that, whatever he gets, provided it is not boring to the point of somnolence, is a net gain.
This is eertainh true to the extent that the audience that o o o o pays at the cinema box office overlaps with that which
from tune to time sees the sponsored film. T.U.C. SUMMER SCHOOL
Consequently it would be a tougher job to put the sub-
jec-1 o| one of those sponsored films across to the same The tenth Trades Union Congress Summer School will
audience wh n il was pa\ ing lor it. The pill would need be held at Luskin College, Oxford, irom Julv 9th to 23rd
more |am than Grierson feels he would be prepared to organised in the form of two self-contained weeks. The
(dve it. T.U.C. General Council are bearing the overhead expen-
I am not decrvino the value ,,| the documentary. I 3es< and offer Places at fche Sch°o1 :lt :l cos< "» 52/G Per
wish merelv to make the point that it is not enough; it lieacl P01' w'eek> «'mt1' ,s t,lc ac'tual r"st o1 h":ml aml
tackles, as' I have said. Ollh hall the problem. The :U'C()11 latlOU-
danger in Grierson's policx is of an intensification ol T"lie subjects to be covered include: Industrial Relations
the present unhappy situation n the British film industry and Negotiations, Workmen's Compensation, Factory
(if the industn still exists b\ the time this is published) Legislation, Trade Union Administration and Organisa-
— on the one hand, seriouslv-intentioned films dealing tion. Work and Policj ol the Trades Union Congress, and
with subjects ol social interest, and on the other hand. Stale Intervention in the control ot wages and working
moving farther and farther away, the commercial films conditions.
dealing with events and people which never were on sea Students need not hesitate to devote their annual or land, but which, far Irom being fantastic, are mostlv holiday to attending the school. The interest and stimu- tnerelv nondescript and dull. lation'oi the work, coupled with excursions, sports and This is ihe second hall of the problem, to imbue the other social activities, combine to make the week an out- studios and distributors with the Lnglish idea that fiction standing one. Members mav obtain lull details from films can be made, and made profitably, from the same the A.C.T. head office,
to open the doors of the studio to some real sunlight and
no longer live exclusively in the deceitful glare of the un-arc.
March-April, L938
T UK (' I N !■
K (' II \ I (' I A N
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Vfarch-April, L938
EMULSIONS and GRAINS
By ALBERT DYAS
IN ilu- manufacture "I cinematograph film, the mixture of silver halide gelatine and water, constitutes what is known as emulsion. When fully prepared and
finished, it is coated over a flexible transparent base of celluloid and is used either .is a negative or a positive, as the ease may be.
Both negative and positive emulsions are somewhat similar in their chemical construction, but aetualh there is a vast amount of difference in the structure of the silver lialide. Negative emulsion is made up of larger, irregular grains, taster in speed than the positive, In the slower positive, the grains are smaller and more uniform in size, this having a larger effect on the contrast. To record the correct density of coloured objects, the negative emulsion requires correct colour sensitivity. This necessitates the processing oi the exposed negative in complete darkness, whereas the positive can be processed in a fair amount of green or red safety light.
Naturalh the methods of preparation of various film stocks are very diverse. Each manufacturer has his own particular and complicated formulas, hence the descrip- tion here is in a simplified form and only the basic opera- tions are described.
The silver halide of a negative emulsion, explained simply, is formed by a mixture of gelatine and potassium bromide in a warm solution, with the addition ot sil\ r nitrate. The bromide and gelatine are held together in a solution at an even temperature in a container, of which the inside is coated with silver. The silver nitrate is dissolved in water and heated. When this solution is added to the bromide and gelatine, double decomposition occurs and throws out a milk-like fluid containing the in- soluble light sensitive silver bromide, the reaction being:
Silver Nitrate + Potassium Bromide= Silver Bromide + Potassium Nitrate.
The extraction ot the soluble salts, namely potassium nitrate, is made after cooling down to a jelly. The emul- sion is either cut up into shreds or compressed through holes and thoroughly washed. After washing, it is re- heated, ripened and coated on the celluloid base. An ordinary silver bromide emulsion similar to this wovdd be of little use as a negative, as the sensitiveness of pure silver bromide to light is very small. For colour correct- ness it is only sensitive to the blue rays of the spectrum and is almost insensitive to yellow, green and red.
The preparation of high-speed panchromatic negative emulsions demands a large amount of accuracy in quality and manipulation of its components.
The purity and quality of the gelatine is important, as sensitivity depends upon the particular kind used. Gelatine, which is made from the skins of calves, has natural properties of its own. namely mustard oil, which contains sulphur. With the addition of other organic com- pounds, the gelatine possesses t li ioearl iati I ides which are active sensitizers to the silver bromide grains.
A tine grain emulsion, with an absence of granularity, is essential. Owing to the enormous enlargement of the positive print to the screen, any clumping of grains would obviously show to a certain extent when the negative is printed, and the absence of detail would be noticeable. The smaller the grains, the lesser the graininess. the more rendering of detail will be possible. The alleviation, as
tar as possible, ot clumping is partly due to the concentra- tion ot the solutions and the precise way in which the silver halide is formed. This has a large influence on the grain size characteristics of the emulsion.
By treating the emulsion with s< nsitizing dyes known as " isocv aniues" it is rendered panchromatic. The ab- sorption of these dves by the silver halide gn ns has the attributing factor ot making the emulsion sensitive as n< ir as possible to all colours ot the visible spectrum.
What happens when tin- emulsion is exposed to light is still a controversial point. It is not known with cer- tainty whether the action of light is of a chemical, elec- trical or physical nature.
On the surface of the silver halide grains are tiny areas which are the sensitive centres or nuclei which somehow or other are affected by light, and produces in- visible specks ot metallic silver from which development starts. The other parts which are unaffected merely supply the silver to the nuclei to make possible the build- ing up of the visible image.
Alter the light action, there is not any apparent v -- ible effect on the emulsion, the light having produced an invisible or latent image. The latent image becomes visible with the aid of a developing solution, which re- duces the silver halide compounds to metallic silver. The structure of the developed image depends very much on the developer. Negative developers, being fine grain. break up the grains so much that it bears practically no relation to the original emulsion grains: therefore our re- sulting negative should be free from granularity.
When the exposed negative is immersed in the de- veloper and the latter has penetrated into the gelatine around the grains, the reduction begins first at the sensi- tive centres and spreads slowly over the light affected areas. Where the greater intensity ot light has registered. there are more deposits of black metallic silver grains. the unexposed parts of the silver halide remaining practically unaffected by the developing action.
When the development is completed, the negative is fixed in a hypo, solution. The silver grains which were not reduced by the developer are dissolved away, leaving only the metallic silver grains, which is our negative image.
When the negative has been washed and dried, and is finally ready, it remains to be printed.
If we examine the negative, wherever light has fallen there remains a black layer of silver grains ; the lesser the intensity of light, the smaller will be the deposits. There- tore everv conceivable shade ot light that has affected the exposed emulsion will be reproduced on the finished negative in the form of small and large deposits of silver grains.
When the negative is finished, the emulsion ot the negative is placed into contact with the emulsion side of the positive stock. The amount ot light from the print- ing lamp penetrating into the bromide emulsion of the positive is determined by the deposits of silver grains in the negative, the greatest amount ot light getting through where the deposits are least, the least where the negative is darkest. Thus the light and shade of the scene that was photographed will be the same on the positive ab- originally registered by the negative emulsion
March-April, L938
T UK (IN K-T ECHNICIAN
22i )
Colour for Newsreels: Mam attempts have been mad ■ to introduce colour into the news and magazine reels but time lag in processing, cost , and the bad wearing qualities of the cheaper processes have caused them to be abandoned.
Now that the newsreels have an organisation to deal with matters such as costs of rights to film, and produc- tion times, couldn't the\ adopt a colour process collec- tively— that is to say, a process using black and white positives which rely on the colour being given to the film through filters operated in the projector?
A number of the reels, as you know, are connected with the major theatre circuits, and it would not cost much for these theatres to be fitted with one colour- projector, which could take a reel of 2,000 ft.
Kinemaeolour and Gaumont Chronocrome used black and white positives years ago and obtained very good results. Today, with the improved lenses, negative stock emulsions and precision cinema engineering, the drawbacks of the earlier colour processes are easily over- come.
From the economic position, the cost would be easily met both by the theatres and the newsreel companies. many of whom are using plant bought in 1905 patched up into modern use. This apparatus must stand on their books as of no value, after allowing for the usual annual depreciation.
The processing of such a colour system could. 1 think, use the ordinary printing machines with slight modifica- tion. Developing would be done on the automatic machinery now in operation, but ot course cameras and projectors would have to be of a new type. The great advantage of such a process would be that black-and- white positives would stand up well in projectors, and there would be no increase in the time taken in processing. On the other hand, negative costs would be slightly higher. Hand cameras may have to be abandoned. Should a double framing be used in the colour him it is quite possible to enlarge the sound track by optical print- ing so that the film could be run at double speed. It necessary, owing to weather conditions not being suitable
for colour films, it should be possible to join black-and- white and colour positives in the same reel, and l>\ notches punched in the side of the film to operate an electro-mechanical device to throw the colour filters out of action, and automatically operate the black-and-white section at the correct speed. Anyhow, this is an idea which, if considered, wotdd be of benefit to the makers of documentary, newsreel and magazine films.
A.C.T. Member Becomes Movietone Executive
Congratulations to .lack Ramsden, A.C.T. member, who has been promoted Production Manager to British Movietonews. Jack has been Movietone cameraman in the North of England for some years, and at the same time covering the principal news events in Ireland. His promotion is a fitting recompense for his "go getting" in the provinces, where up to now his only reward has been the footage from his camera used in the reel, much of which has been obtained without the glamour of London assignments.
His appointment leaves Jack Cotter tree to use his camera, to cover unusual stories in his own inimitable way.
National News
The postponement of National News has been a great shock to those who think competition is good for all forms of entertainment. For those who joined the staff, it has been a disaster. The plant had been maintained for a further attempt at publication, but as we go to press the camera gear is being offered for sale. So an enterprise which portended so much dies. Our svmpatlu goes to those who have suffered financial loss.
Without Comment
booking through a key newsreel technician's diary for L937 I found that, working in addition to the usual FS hours per week, he had put in. during 12 months, 908 hours overtime, of which he had been allowed f>G7 hours off duty, so that he had put in 40] hours without pay or an\ other recompense. Thus this techni- cian has worked S weeks 23 hours without pay.
TEN AX ET A I'D AN
221 T EE ('IN E-T E C H N I 0 I A N
NEW B. & H. FILMOSOUNDS
March-April, 1988
With the announcement ol great improvements throughout the entire line of Filmosounds, Bell & Howell is now producing tour standard models oi these lti hum. sound en film projectors, one Model 120, two Model 138's. and one .Model 130. All embody new features lending greater flexibility, plus the same basic engineering prin- ciples thai have made past models so successful.
The new 750-watt Filmosound 120-G has an electric rewind, a still-picture clutch, and a reverse gear. The clutch and reverse are invaluable too to those who wish to edit their sound Him with the helpful aid oi the Filmo- sound. Two speeds, sound and silent, appeal to the market for a universal machine, and the improved ampli- fier provides Its watts ol iindistorted output. The take-up mechanism is cleverly designed to require no changing oi belts to run reels oi various sizes. This new model is also available with a special amplifier to operate on 2f> to 60- c\ cle alternat ing current .
The new Model 138-F has had added to it a reverse gear and a still-picture clutch, as well as main minor improvements. The standard eight-inch speaker is regu- lar equipment.
The Filmosound 138-J is the Bell $ Howell answer "to the demand for an enclosed 138. It is a two-ease job, with its projector fully enclosed in a "blimp" case. The second case contains a twelve-inch speaker. The projec- tor provides hoth clutch and reverse, and. may be used for silent as well as sound films. Available on order are special models of hoth the one-case and two-case lHH's. operating on 25-cycle current and on 32-volt current.
The very newest oi the improved Filmosounds is the 130-1). the powerful 1,000 watt auditorium model. A completely redesigned amplifier is the outstanding new feature oi the 130 — an amplifier smoothly styled in the modern mode with the popular sloping control panel, and capable of an unusually high output.
With twin speakers the output is as high as 50 watts, hut when onlv one speaker is used, a switch on the am- plifier limits a maximum output to 30 watts,, so that the single speaker cannot he overloaded. A new microphone input en. -nit permits the use of a crystal mike in the microphone jack without external matching transformers, and without interfering with the sound from the projected film .
'f'he Filmosound 130-D is available m four combina- tions, one or two projectors with amplifier, and one or two speakers. When two projectors are used, there is no interruption in long programmes, tor as one machine is switched off at the end of a reel, the other is automatically started. Twin speakers mean not only improved sound distribution in large auditoriums, hut they also provide an efficient system capable of handling the unusually high out put of the new amplifier.
0 0 o
Reading Room and Library
\l| the trade papers and film publications from American. Indian, and most European film producing countries, may be read by members at the A..C.T. offices, II.") Wardour Street. W.I. Current hooks on film cinematography ma\ also be borrowed from the same address.
A NEW UNIVERSAL FILM CEMENT
After months ol careful research, Bell ,V Howell has announced a new Him cement which is equally effective on both safety and standard film. All 16 mm. and 8 nun. film is of the safety, i.e., acetate base type. Most stan- dard film is on nitrate base, though some is on acetate base). The safety and standard film cements formerly supplied by Bell & Howell are hoth superseded by t1 • single new cement. It is claimed that the new cement tonus splices that are stronger than the film itself.
The new cement is much less subject to deterioration than other types because it will not absorb moisture from the air. It could even stand a In addition of water without losing its bonding power, so it would seem that the problem of making permanent, enduring splices is well in hand at last.
Also, the new Bell <v Howell product does not dis- solve the dye in Kodachrome film, and therefore it can he used with the certainty that there will he no discol tion ot Kodachrome film adjacent to the splice. There is no increase in price for the new universal cement.
o o o
CATHOLICS PLEASE NOTE
Petrus Film Productions arc anxious to get in touch with Catholic Film Groups or Catholic members of Film Croups with a view to exchanging films and news. Please write Miss .loan Newton. 8. Montpelier Road, W.5.
WE SERVE THE INDUSTRY BY
PROVIDING THE ONLY EXCLUSIVELY TECHNICAL FILM EMPLOYMENT AGENCY LICENCED
ANNUALLY BY THE LONDON COUNTY COUNCIL
Accurate records o) technicians available:
camera, sound, editing and cutting, art, stills, assistant directors, con- tinuity girls, all grades of laboratory workers
From . . .
A.T.C. EMPLOYMENT BUREAU
145. WARDOUR STREET, LONDON, W.l Phone: Cerrard 2366
March-April, 1038 T B E 0 I N E-T E C H N I C I A N
THE JOY OF BEING AN EDITOR
■>•;■>
Getting out this journal is no picnic
If we print jokes people say we are sillj ;
It we don't, they say we are too serious.
[f we clip things from other magazine,
We are too lazy to write them ourselves;
It we don't, we are stuck on our own stuff.
It we stick close to the job all day,
We ought to he out hunting up news.
It we do get out and try to hustle,
We ought to he on the job in the office.
It we don't print contributions,
We don't appreciate true genius;
And it we do print them the journal is tilled
with junk. It we make a change in the other fellow's
write-up, we are too critical ; If we don't, we are asleep. Now, like as not, someone will say We swiped tins from some other journal. We DID!
OUR INVALIDS
The General Council is glad to report that Mr. George Elvin, whose, serious illness was reported in our last issue, is now fully recovered and back at the ACT. office, or wherever else business calls him. Be has asked us to say how much he appreciated all the kind wishes, not to count innumerable pounds of grapes, sent him during his two months absence.
On the other hand we are sorrj to report that Mr. Reg. Bartlett has. upon doctor's orders, had to resign his post as organiser. Fourteen months ago he started his organisational activities, devoting all his energj and time to the job, and good all-round progress particularly in the laboratory section has been made. His pleasing per- sonality and keen sincerity broke down the opposition of mam non-unionists, who are now among our most loyal members. Reg. will be deeply missed. It is sincerely Imped that a lighter occupation will sunn see him fully restored to good health. A.C.T. will not lightbj forget Ins good work, and the General Council asks members to ap- preciate the lot ot the chief officials of the Association and realise their sacrifice of health to the Cause. No man can give more, and we do ask members to help personally as much as possible, in order to lilt as much of the burden as possible from the shoulders of those still in harness.
FILM-MAKING SINGLE HANDED
A lecture on "Film-Making Single-handed" was given at the Reimann Studios, on Februan lllh. h\ Mr. Ale\ Strasser.
Alter describing the present state ot the industry, the difficulties besetting those without influence who tried to enter it. and the lack of any system of training or advancement, he showed how . in the past, such individual enthusiasts as were able to engage in pi'oduction mad< the simpler short films cartoon, travel films and other non-fictional subjects. He enlivened his account with examples especially ot the dilatoriness ot film companies —from his own experience of making and trying io sell a cartoon him.
The coming of sound had made single-handed produc- tion very difficult, hut the documentary groups had carried on the tradition ot single-handed individualistic- work. Mr, Strasser paid high tribute especially to the work ol .John Grierson in founding the E.M.J3. (now (l.l'.O.) Film Unit and in training main newcomers to the industry .
Alter the lecture, lour documentaries were shown "0.30 Collection", "lane to the Tschierva Hut" and "Night Mail", all made h\ the G.P.O., and "Housing Problems", made b\ Arthur Elton for the British Com- mercial Gas Association.
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OCR PORTRAIT GALLERY
ARTHUR GRAHAM, A.C.T. Member No. i, recalls
the good old days during George King production
"Remember When," at Sound City.
JAMES A. SINCLAIR & CO. LTD.
3, WHITEHALL, LONDON, S.W.I.
223
t ii ]•:
J X K-T F. ( II N I (' I A X
March-April, 1938
Recent Publications
THE FILM GAME
By LOW W \Ki;i;\. Werner Laurie, 10 6
Low Warren is one of the real old-timers of the British film industry, an active participant for over a quarter of a century. He started "The Cinema" with Sam Harris, and later edited "Kine Weekly" [or mam years. He lias written an entertaining volume oi personal reminiscences, and many of the great names oi the in- dustry in its earl\ years arc mentioned in his pages, often with some anecdote which helps us to appreciate i heir human qualities.
He has many an amusing story to relate. For example, of the producer nearly driven frantic by a would- be "star" who hadn't the faintest idea of what was re quired of her. "My dear, do please try and put a little life into your acting," he said to the girl. "Think now. haven't you ever tried to stop a man from kissing you'.'" "No" was the frank reply.
I liked the ston oi Sidney Olcott, who was casting lor "From Manner to Cross." He went to an agent and stated his requirements. "Where do you want to take these people to'.'" asked the agent. "To Jerusalem." "Where's that?" "Why, in Palestine," explained Olcott patiently. "And who's going to pa\ to]- 'em'.'" "I am." The agent set to work, and to get the required biblical types advertised lor men "with whiskers." The next morning Wardour Street was full of them.
Some of Low Warren's recollections provide striking contrasts with present-da^ practices. In one of his films the whole of Barnet Fair was hired lor hall a day for £50 ! He relates in detail the stoiw oi the I anions "Nelson" film, which was destroyed in a fire just when it had been completed. Nothing daunted, they re-shot the whole him, and at the Trade Show sold it for £16,000, the highest sum ever paid tor a British-made picture!
This is an entertaining hook. Not profound or vers thought provoking, hut easy and pleasant to read.
RALPH BOND
PROMISED LAND
By CEDBIC BELFBAGE. Oollancz, 8/6 net
Horace Henderson Wilcox, crusader against the rum demon, and cobbler by profession, discovered Hollywood in lSoT. Promised Lund here picks up the story and races along till the present day telling, in a novel with a great deal of fact, the histon of the city and giving due place, of course, to the industry with which it is so closely associated. As an historical document the book will interest him technicians. lint it is much move
than that. It tells of the exploitation of Hollywood, in which paper fortunes rose and fell — "a goddamned insane asylum with a million inmates all believing tluy could eat pieces oi paper." Film workers must read this hook. It will make them think, ft may make them better trade unionists, as the author does a couple of his characters. Readers may disagree with the lesson Air. Belfrage sets himsell to preach, hut they will surelj thank him tor writing a film hook that is different — one of social significance that docs not epitomise the industry as a make-believe world focusing its sole attention on the Harold Darewells and Norma Lovelips of the screen
G. TL ELYIN
SOUND RECORDING FOR FILMS
By W. F. ELLIOTT. Pitman. 10/6 net
Though sound has keen established in the film in- dustry as a commercial possibility for some ten y and lias reached the remarkable stage of fidelity it now holds, there is still very little literature available on the subject, and when a new book such as Air. Elliott's comes on the market, every sound engineer looks eagerly for it. Tin- book deals mainly with what may be called "the aesthetic technique" of sound recording lor the first time. A tew years ago there were various schools of thought; there still are to-day, hut the differences are only small. Air. Elliott gives us his line of thought, and though w might not agree with him in every detail, we shall find his exposition of "Sound Perspective" very clear and very instructive.
Air. Elliott states in his preface that this book is not an explanation of technical detail, but a study of what 1 have called "Aesthetic Technique." I have examined the hook from two point- oi view — from my own as an engineer of ten years as a him recordist, and from the view of an assistant engineer, who has been in the "racket" for only one year. In this latter respect I asked Air. A. Simpson to help me. His view was that the first four chapters on the growth of Sound Becording, Sound Photography, the Script and Studio Boutine, were helpful to him. hut that several points were left incomplete. For example, in the treatment of background noise the method of elimination was not sufficiently described; again, the question oi the correct reverberation period of the studio. the method of reducing the reflection from hard tlats and so on, left him rather in the air. The chapters on Sound Perspective would be more useful to hitn when bis ex- perience extended to mixing.
From my own point of view, 1 would say that the chapter on the development of tracks is unnecessary. Cor- rect development is very essential, but Mr. Elliott does not describe in detail which methods the engineer should employ to get the correct exposure on the track tor the required gamma — his part of the business- -whilst des- cribing in too much detail the chemical pn
1 do not agree entirely with his idea of "Volume Compression" in recording music, in which he states bhat the gain control should be set on the loudest passag and left. A. certain amount of "knob twisting" is lie: • - sary, and is surely quicker than arguments with the Musical Director, whilst the actual volume is not always the same lioiu take to take. The complete range from pianissimo to fortissimo can still be maintained with judicious use of tlie gain control. But this is probably jusl a matter of opinion.
Filter circuits are verj necessary in re-recording and in direct recording also, provided the complete perspec- tive is held in view, and Mr. Elliott could have enlarged on these, because filter circuits do help m "Aesthetic Technique. "
During the last few years, there has been an enor- mous growth in the practice of synchronising the picture to a sound track already recorded, and whilst this allow-
the recordist to obtain a first-class track, there is a very great danger of long shot and close-up sound being the
(Continued on page 227)
March-April, PJ38
T II
CINE-TECHNICIAN
224
Technical Abstracts
Some Lighting Problems in Colour Cinematography
-WHY NOT LET IS KNOW WHAT IT IS '.'
T. T. Baker.
In additive processes the primaries are generally blue-violet, green, and organge spectral bands, which arc not narrow and which overlap to some extent. The ex- posure latitude of a colour-screen process is less than that black-and-white negative stock. Under-exposures often tend towards excessive blue, and over-exposures toward some other predominant colour, due in some measure to differences in the foot and shoulder of the characteristic curves of the emulsion when exposed to the three primary bands.
Over-exposure results in dilution oi the colours due to invasion of each primary into its neighbour's territory. There is thus a colour-saturation latitude in the screen or matrix, distinct from a true emulsion latitude. The ob- ject here is to discuss a method of calculating the approxi- mate range of studio light-intensity that will preserve the best colour balance of which any particular additive pro- cess may be capable.
For Dufaycolor film, a widge spectrogram of suitable steepness is made representing average exposure, such as from a density of 0 to 2.5. Upon development and reversal, the peaks throughout the wedge spectrum arc shown as completely saturated (i.e., I'll) per cent of the reseau or matric saturation). But as any spectral zone is followed downward from the peak, the colour becomes diluted and may become even white as the image ap- proaches the base line, and, therefore, maximum exposure.
This is caused by the fact that , upon over-exposure, scattering carries the light behind (say) a green element into the region of neighbouring blue and red elements, so that the resulting colour is reseau-green plus some blue and red, or rescau-grcen plus white. The effect is accen- tuated in reseau composed <>t less saturated colour ele- ments. By measuring from the peak to the position on any ordinate where distinct dilution becomes apparent, the permissable range of light intensity on the set can be computed from the difference of the log opacites of the two points on the ordinate.
(Journal oi the Society of Motion Picture Engineers)
Development and Resolving Power of Photographic Negatives
A. Charriou and S. Valette. Bull. soc. franc. Phot. , lorjf : 64-75.
Using both microscopic examination of the negative and enlargement in a special optical system as means of measurement, resolution was found to increase with exposure, reach a maximum value, and then decrease. One orthochromatic and three panchroma- tic emulsions were compared in the following developers: (1) a typical clou formula; (2) elon-hj droipiinoiie ; (3) the "14-2" buffered borax; (4) an M-Q formula containing fchiosulphate ; (5) an elon-glycin-PPD ; and (6) an elon-
PDD-phospate. Tables show the differences in resolving power obtained with variations in exposure and develop- ment, contrast, emulsion speeds, and resolving power. The buffered borax developer was found fcoj give both maximum emulsion speed and highest resolving power, but yielded to low contrast for the aerial work under consideration. K.W .11.
I Bulletin issued bj Kodak Research Laboratot
Production of Fine-Grain Images
hy Development Followed by
Intensification
A. Seyewetz. Bull. soc. Franc. Phot. , (3)24: 45-7. Ordinary intensification enlarges the grains, and hence is not suitable for fine-grain work. Intensifica- tion by dyeing, which consists in the fixing to the grain oi a dark dye, does not possess this drawback. "Chromoren- l'orcateur Lumiere", which is composed of a mixture of red, blue and yellow in proportions that yield an almost neutral tint, is suggested for the purpose. The silver image must first be transformed superficially into silver thiocyanate-cuprous thiocyanate by treatment with a cop- per sulphate-ammonium thiocyanate solution. The inten- sification may be applied to images of very fine grain, but too low in density and contrast to be suitable for en- largng. An amino-napthal sulphonic acid (1,2,4) — triso- diuni phosphate developer is recommended for the initial development. The results obtained by intensification are comparable in graininess to those obtained with the best available tine-grain developers, and possess the advantage of having better detail in the low exposure parts and better gradation.— T.H.J.
(Bulletin issued by Kodak Research Laboratories)
Standard Nomenclature for Release Print Sound Tracks
As a further step in the programme of co-ordination between studio and theatre, the Research Council of the Academy of Motion Picture Arts and Sciences recently undertook to standardise the nomenclature for release print sound tracks, particularly as developments in sound recording equipment and technique have recently led to the appearance in the theatre field of a number of various new and different types of sound track. The Standard Nomenclature for Release Print Sound Tracks follows, with examples of each type included.
(Besearch Council Academy of .Motion Picture Arts and Sciences).
A New Reel-End Alarm
l». Canady and V. A. Welman. •/. Soc. Mot. Fie. Eh,,., 28: 314-17, March, L937. A photo-electrically actuated reel-end alarm for projectionists operates within two or throe layers of film of the predetermined setting.
Kodak Bulletin
225
T H ]•:
CIS E-T E (H.Ml'JA N
Mareh-=-April, 1938
TECHNICAL ABSTRACTS- contd. fromp.224
Phonorhythmie, New Dubbing
Karl Kobert Blum, of Blum & Co., GmbH, Friedrich- strasse 22, Berlin SW G8, has developed a process called "phonorhythmie" In which it is possible to produce sound films in am number ol languages using only one sound strip.
In this new process, sound and picture are shot separately. The text for all languages is recorded before the shooting of the pictures begins and the pictures are then synchronised (by a special procedure) with the sound Him. The sound is recorded in two parts, one strip for the music and noises and one for the language. These strips are then mixed and copied on the picture strip.
The inventor claims that by this method it will be easy to replace a good singer who is a poor actor b\ a good actor, recording only the singer's voice.
It is also claimed that, by this method, costs ma\ lie reduced by 2o to 30 per cent., through saving in materials, time and employment over the usual dubbing inei hods.
Su far onh short films produced by this method have been shown privately in Germany. A long feature him. however, is in preparation which is intended to be pro- duced in 1 1 languages.
The process is tull\ covered \>\ German and foreign
itotib
— . I ma ican Cinematograph
Separate Tracks for Six Orchestra Units
In recording the orchestral music of "One Hundred Men and a Girl", for which Leopold Stokowski conducted. Universal carried the multiple channel method somewhat tart her than theretofore in motion picture sound, employ- ing a separate track for each of six instrumental divisions of the orchestra — -violin, woodwind, brass, 'cello and bass, harp, and percussion.
The original recordings were made at the Academy of Music in Philadelphia, using R.C.A. ultra-violet, push- pull equipment. In mixing the six tracks, Stokowski him- self "conducted" at the control panel. "The reproduc- tions are superior to the original renditions from which they arc taken", he is reported to have said.
—Motion Picture Herald
X.B. — Nearly four years ago B.I. P. used a three channel recording for the music of "Invitation to the Waltz," using brass, 'cello, bass, and percussion on the first, strings, woodwind and harp on the second, and solo voice on the third, all sufficiently blanked off from each other for the voice to be practically inaudible on the orchestral tracks. The sound department even went one further than this, for the voice track was discovered to have a slight doffoct and was post-synced separately without hav- ing to r"crel the orchestra.
Transposition of Speech Sounds
E. fiaianx . J. Acoustical Soc. Amer., 8: 217-10. April. 1937. Transposition of speech sounds was studied by rotating gramophone records at various speeds. The author studied the intelligibility of spoken words when the vocal chambers were filled with hydrogen instead of with air. The presence of a hydrogen atmosphere raised the
pilch 1 to 2 octaves, lint did not. ot course, alter the duration of the sounds. A reduction in intelligibility ot about 25 per cent, was noticed.
— Kodak Bulletin
Push-Pull Recording
With five studios already using push-pull recording, and with all others signifying an immediate practical in- teresl in it. general adoption of this method by Hollywood producers as a means ot attaining finer sound quality in tic standard single sound track is indicated at an earlv date.
Such use of push-pull — merely to produce the two balanced tracks for dubbing a single track on the secondary master from which the release prints are produced — is to- day regarded as the only one likely to be made of the method, since few theatre sound systems are capable of handling two tracks, and the cost of effectively adapting the remainder scarcely would be warranted, it is pointed out, by the amount of improvement the change in theatre apparatus would achieve.
Adaptation of recording equipment to push-pull, how- ever, is relatively simple, and its use has so tar reduced the noise constant to a value representing a total gain I three decibels, or enough to lie readily appreciated by the average person, in the effective volume range. In the continual quest for the reduction of noise level, so that the limit of usable sound may extend closer to the limit of audible sound in reality, every decibel gained is regarded by studio technicians as worthwhile if attainable at a reasonable cost.
— Motion Picture Herald
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March-April, 1938
22G
Let us now soliloquise .... Hats off! there goes our poor British Him Industry ... It is a sad loss, but the\ say it is better thai she went thai waj . . . Oh! Mr. St an . . . what have vou dcnie '.'
I am the only adviser on films to the Lord Chief Justice
Douglas " Shearer speaks: "Because light travels faster than sound, the sound tract must be 20 frames ahead of the picture to be in sync" . . . Cinema Art, Nov. 37. (English Editors and Cutters please copy). And so now miii see, it all goes to prove how wonderful science is. Now crowd round kiddies, and I'll tell you just how the Big Lad Wolf of Blenheim nearly raped the Hollywood ....
| In the interests of public health the Editorial Com- mittee have asked me to refrain from telling the rest of my powerful story |.
Pog Lifts
Tins comes to you by way of being lifted from Reynolds News (24 10/37) .... "Film Studio as Sp\ Headquarters," says poster. Somebody discovered a plot. A brief glance at it, however, showed that it was an old one. so they gave it back to the author and withdrew.
And this is one from "Timothy Shy" in News-Chronicle (29/11/87): "There was a temporary hold-up the other day, we hear, at Denham, where the Robert Taylor film of typical Oxford life is being shot. What caused the hitch was that the various experts engaged in producing this British film couldn't decide whether a cricket ball is blown up or not, before the game.
Overheard from a hook (Ethel Alannin. 1 think). Film Executive: I think we'll make a film of the "Well of Loneliness."
Adviser: Vou can't do that, the Censor wouldn't pass it.
Film Exe. : Why not?
Adviser: Well, it's about Lesbians. Film Exe.: Alrighi then, we'll make 'em Austrians.
Pog Surveys the World
U.S. A Have just discovered that films, trade
agreements and diplomatic channels mix . . . all for the sake of Oil. And 1 don't mean ( 'amera Oil.
CtKhmaxy insisting thai the\ have Colonies, so they
can send films to them, for without them the\ can't send them them, and them can't receive them, so them's that.
Italy Nero has taken to harping . . . Must have
heard all about the flowery fields.
I\m\ Importing English Technicians . . . at
least in thei iiy .
Sen.iY Isi.i.s... .lust Xerts.
Pog Presents the Government with a New Quota Scheme
It is extremely unfortunate thai I haven't keen asked to speak on the subject of the British Quota Act and its meaning to the Home and Icelandic Markets. 1 can only assume thai the various other powers that are pulling the various other chains on the British Film industry, are jealous of my superior knowledge and of my cluck capacity. (That has all the ear-marks of a < fifty dig).
M\ scheme in short is this . . . That we all go over to America and start a Quota there, as you know there is no opposition in this held, and the beauty of my scheme is this . . . when English films come over, thai have keen made by American stars and technicians, we refuse to count them as American films on the grounds that the Clapper bov was English. This will make the Americans so mad that they will be forced to import English techni- cians to Hollywood so as to gel even with us and to meet what they will consider unfair competition . . . And so you see Hollywood will be ours for the sake of asking . . . Asking wh: ? Asking Air. Oliver Stanley of course . . . oh ! I see-
There is no slump . . . (tell him. someone)
Mr. 0. S. whose big baby are you?
Pog Explains Reciprocity
There his been a great deal of misunderstanding aliout what reciprocity realh means, so I intend to clear it up for g I.
I II E (' I N E-T E C H X 1 C I A X
March-April, L938
Lliciproeit^ is a monstrosity devised b^ osterocitj rely-
ig upon the capacity of the generosity of the Americans
whose velocity for obstrocit\ has an unparrelocity,
uniquioeit\ in this island of siniplisocit\ ... So now you
know .
He's a Nice Man . . . Nobody likes him! In the "House" the other day, Mr. Strauss asked Mr. Oliver Stanley (whom God preserve) about foreign technicians, and our trusted friend replied thus: "That the excessive employment of foreign technicians was en- tirely a problem of the more expensive films. While he desired to increase the employment of British labour, lie also had in mind the need for films made in this country being good." Well! well! It's not the things he says, it's the nasl\ way he says 'em.
An Open Letter to Miss Anna Lee (husband permitting) My 1 'ear Anna,
You alone can save our industry. Please send cheese. and it must be your own special cheese, to all the British Film Producers, and also a tiny piece to our dear friend (whom God preserve) ME. OLIVEE STANLEY. If it works the same way on them as it did on your husband, believe me you will be "the Blue Eyed Girl of the Boys" (have you got blue eyes'.'). You'll never have to worn about getting parts; we'll see to that, and believe me, you'll be in even him. You'll never have to worry about how you look, we'll see to that. If anybody criticises your work they'll have to answer to the Boys. Dear Anna, it's up to you. Churn your old churn and the world is yours.
Yours in great suspense and expectation,
For and on behalf of the Bo\ s, POG. To all Technicians . . . Write to Anna and ask her to send some of her now famous " 1 'ream ( 'heese" to your favourite producer ( ?)
Observation Ncte on Xmas Festivities
(Ext. (I olden Bough) We have seen that many persons have been used to observe an annual period of license, when the customan restraints of law and morality are thrown aside, when the whole population i_nve themselves up to extravagant mirth and jollity and wlan the darker passions find vent which would never be allowed them in more staid and sober course of ordinary life . . . Oh! shut up, Cecil!
And Now to Finish
And now let us wind-tip, as the Receiver said to the Film Producer. My work is done, so f will now await the ros\ call of Spring before 1 hurst in verse once more .... Peace and Goodwill on earth to all mankind .... including Mr. Stanley (Editor's Note Who is this man Stanley '.'). Cheerio! you poor fish, little do you know of the w a \ I've Si ild vou .
POG
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{Continued from page 225)
same quality. This is a matter of sound perspective, and Mr. Elliott has written some extremely valuable matter on this subject. His chapters on dubbing post-synchronising are very well done.
With the exception of the few criticisms I have mentioned, "Sound Recording for Films"*is a very help- ful hook-. If it does nothing else, it shows that the recordist is not merely a technician, but an artist as well, lb must use as much imagination and forethought, and be as much an artist, as the man who lights the sets. I film industry to-day would he in a healthier position it executives and directors treated the recordist as an artist and not so much as a "knob-twister." and to this end I would recommend Mr. Elliott's hook to producers and directors, as much as to recordists.
G. II. XEYVBEBEY, A.C.G.I., B.Sc, D.I.C.
B.J. PHOTOGRAPHIC ALMANAC. 1938
12s. (paper) and 3s. (cloth). Henry Greenw i 5 Co. Ltd.
The three essentials of photography are a can sensitised materials and the B. J. Almanac, and if anyone cares to change the order and put the Almanac first I shall he the last to quarrel about that.
The facetious might add that the photographer should he included among the essentials, and that would immediately j^ive me the opportunity of replying that that depended entirely upon how much he had assimilated of the book under review.
In this 1938 issue, as in all previous ones, the publishers arc entitled to a mark of recognition for the "Epitome of Progress" alone, which in itself contains sufficient in- formation to till any normal text hook, in addition to which it keeps the reader posted with the 'up to the minute' activities of all the creative and inventive technical brains of the profession.
rko dwell upon all sections covered would take me be- yond the space allotted, hut considerable credit is due to the editor — Arthur I. Dalladay. a J. P. — for his selection and arrangement of the text, including (i-f excellently reproduced gravure plates, formulae of practically every known process of photography, general information, and many useful tables, chemical, physical and optical.
It is just one of those books that the photographer cannot afford to he without, and if it isn't on your book- shelf I would suggest either you throw your bookshelf away or put the B.-I. Almanac on it.
COLLIXGBURN.
■■Service" is the title ol Western Electric 's new pub- licity publication. Every cop\ — at least our's was inscribed with the name of the recipienl and typifies the hundred per cent efficiency claimed In the company. The importance of good sound is stressed and we are. of course. given details of the specific advantages and services ren- dered to the exhibitor by this company, who equip and service more than 2,000 theatres in Greal Britain alone. Tins admirable publication should retain the enthusiasm of these exhibitors while at the same time helping to swell their number. The booklet confines itself to the lull ston of Western Electric and its importance to exhibitors. Per- haps a later publication ma\ deal with recording equip- ment and the producer.
(,.11 k
300106776