June Clyd
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May 1930
2)5 CentsS a Copy
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^Tovin^ the Ladies^^ — R» K» O. Ed. Cronjaeger
*‘Be Yourself — United Artists Karl Struss
^^Ladies Love Brutes^^ — Paramount Harry Fischbeck
^^Redemption^^ — M. G. M. Percy Hilburn
^^This Mad World^^ — M. G. M. Peverell Marley
^^Divorcee^^ — M. G. M. Norbert Brodin
^Tree and Easy^^ — M. G. M. Len Smith
^‘What A Man^^ — Sono Art Arthur Todd
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May, 1930
American Cinematographer
One
nsurance Policy
in BELL & HOWELL
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A GRAVE responsibility inspires
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From the first shot on location to
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Bell & Howell master craftsman using optimeter and Johannsen gauge blocks in
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the splicing of the trailer on the last
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BELL & HOWELL COMPANY, Dept. Q, 1848 Larchmont Ave., Chicago, III. e e New York, 11 West 42nd Street
Hollywood, 6324 Santa Monica Boulevard ' * London (B. & H. Co., Ltd.) 320 Regent Street ' * Established 1907
Two
American Cinematographer
May, 1930
Originating
and
Perfecti ng
Every Type of
I N Kl E
Equipment
That is Standard Today
T
Sunspots - Overheads
Floor Strips
Rifles-Soft Spots
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yrUDlO LIGHTING EQUIPMENT
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' May, 1930
American Cinematographer
Three
AMERICAN ^
CINEMATOGRAPHER
A technical and educational publication, espousing progress and art in motion picture photography.
Suite 1222 Guaranty Bldg. _ _ . _ Holls^ood, California
JOHN F. SEITZ, HAL HALL, JOSEPH A. DUBRAY,
President, A. S. C. Editor in Chief and General Manager, A. S. G. Technical Editor, A. S. C.
BOARD OF EDITORS— John W. Boyle, William Stull and Herford Tynes Cowling
voi. XI CONTENTS no. i
Page
Putting Industry in the Movies, by R. H. Ray 9
Hal Mohr, New Head of A, S. C 10
Technic of Recording Control for Sound Pictures,
by J. P. Maxfield 1 1
Voice Test, by William Stull 13
A, S. C. Member First Man to Photograph Famous Shadow
Bands 15
As THE Editor Sees It 16
Sound Printing Attachment for B. 8 H. Continuous
Printer, by Joseph A. Dubray 19
Amateur Movie Making, by William Stull 28
New Exposure Meter Introduced by Bell and Howell 31
On With The Dance, by Hal Hall 32
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(Copyright, 1930, by the American Society of Cinematographers, Inc.)
Four
American Cinematographer
May, 1930
Still by Charles Pollock
RAMON NOVARRO AND DOROTHY JORDAN
in
THE SINGER OF SEVILLE^^
Merritt Gerstad, Cameraman George Westmore, Make-up Artist
A METRO-GOLDWYN-MAYER PRODUCTION
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MAY, 1930
American Cinematographer
Five
"To HELL with PHOTOGRAPHyl"
was the attitude just a few months ago I
when every artistic gesture was I
sacrificed to
SOUND
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quality sound wi th the TANAR single ■ system in your
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Six
American Cinematographer
May, 1930
a |Week j
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May, 1930
American Cinematographer
Seven
even balance
Light struck from National Photographic Car-
bons permits an even balance of light and
shade; between actors and the rest of the set:
Light from these arcs has penetrating power
unequaled by any other form of studio lighting.
For night shots, National White Flame Photo-
graphic Carbons (hard-arc) can’t be beat.
Their light is identical with sunlight. Permits
clean, sharp moonlight effects, or brilliant
contrasts.
scenes, as their light, rich in red, orange and
yellow-green rays, smooths and softens the
face, and brings out natural tonal shades in
costumes and settings.
National Photographic Carbons (White
Flame or Panchromatic) are interchangeable
and come in sizes to fit any studio arc lamp.
Tests prove that they are the most economical
form of studio lighting, as these carbons give
more light per watt of electrical energy.
NATIONAL CARBON COMPANY, Inc.
Carbon Sales Division: Cleveland, Ohio
National Panchromatic Carbons (soft-arc)
give a softer orange-colored light, ideal for close-
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A M E R
CAN
Cinematographer
May, 1930
A Rav-Bell Cameraman seeking realism
May. 1930
Nine
American Cinematographer
"Putting Industry in the tJWoviEs
Not All Motion Picture Problems Are Found in Hollywood
By R. H. Ray
President, Ray-Bell Films, Inc., St. Paul, Minn.
W HEN Universal Pictures purchased the now-famous
"camera crane” which they first used in photographing
"Broadway.” we all gathered in our plant here in St.
Paul and looked at the pictures of this crane with somewhat
mingled emotions. You see, we had just finished making a pic-
ture in which we used a traveling crane, too . . but what a crane!
We were making an industrial movie in a big steel mill in
South Chicago. To make working conditions a bit unusual, we
had the constant din of more than one thousand riveting ham-
mers and the clanging of innumerable steel presses. So we had to
devise a sign language in order to carry on conversation most
of the time. For hours after the day’s work was done we
would have a persistent ringing in our ears and suffered from
deafness.
And then — someone suggested a few of these "motion pic-
ture angles” be put in the picture, just for "effect!”
In the industrial motion picture business we cannot say a
thing cannot be done. If we did, or if we complained about
conditions — well, we would not stay in the business very long.
Like the newsreel men, we must get the picture, regardless of
weather, lights or anything. So, we decided that a traveling
crane shot from high up in the mill would give the "effect”
desired.
A twenty-ton crane, used for lifting steel, was chosen and
a huge bucket was hooked onto the big chain hanging down
from the end of the crane. Several boards were fastened on the
bucket. These made the platform for the camera and camera-
man, to say nothing of the assistant who had to hang on like
a human fly. A few swings of the crane to see if the operator,
who was fifty-five feet away, would know just what to do.
Then the Bell ^ Howell was chained to the platform and the
cameraman and his assistant climbed aboard and away went the
crane. A half minute later and the scene had been shot. Only
one "take,” but it was good and gave the desired "effect.”
Just an example of what the industrial motion picture
makers have to face in their daily work. Rather a striking con-
trast to the working conditions in the great studios where prac-
tically anything in the line of equipment may be had for the
asking.
In large industrial plants it is frequently impossible to inter-
rupt the work of the mill. Certain shots have to be made at
certain times or you do not get them. If you do not get them
you lose the job of making industrials for that firm. For
example, in the same mill mentioned above we had a hard and
fast shooting scedule because we had to get shots that were offered
once in about every two weeks. One shot was that of the
rolling of a certain type of ingot. You have to shoot fast to
get steel while it is still hot enough to be pliable. No time for a
director to wonder if the ingot will look better at this or that
angle. And the heat was terrific. Most of the paint was
scorched from our lamps, and our cables smoked from the heat.
Our camera we had to incase in a galvanized iron box.
The lighting problems of the industrial picture maker are
often unique, to say the least. A year or so ago while making
a coal mine picture in Kentucky, we had a crew of three work-
ing for fourteen consecutive hours in a "cut” of coal where
the ceiling was only 47 inches high! I wonder if you can
visualize the working conditions there — the men crawling
around with the light heads and stands and plugging boxes
and heavy cable, unable to stand because of the low ceiling!
No attempt to top light or back light there!
Frequently we are amused when someone asks us, while we
are making a factory interior, if the ceiling lights will help any!
We look very serious, glance up at the eight or ten 75 Watt
lights and reply: "Thanks, but you may leave them off this
time.”
Industrial cinematographers do get some unusual shots in
their pictures — shots that any cameraman might well be proud
of. Men in our own organization during the past three years
have photographed scenes from the following rather strange
(Continued on Page 20)
A Ray-Bell Cameramen at Work on a Glacier in the Famous Glacier National Pack.
Ten
American Cinematographer
May, 1930
Hal tJMouR, 7\ew Head of o^merican
fociETY OF
Cinematographers
Milner, Miller, Clarke, Arnold and Stull Chosen to Fill Important Offices
A T THE annual election of officers of the American Society
^ of Cinematographers, held last month, Hal Mohr was
chosen as President for the coming year. Other officers elected
were: Victor Milner, first vice-president: Arthur Miller, second
vice-president; Charles Clarke, third vice-president; William
Stull, secretary, and John Arnold was re-elected to the office of
treasurer.
The following Board of Governors was also elected: John
Arnold, John Boyle, Dan Clark, Charles Clarke, Elmer Dyer,
A1 Gilks, Fred Jackman, Arthur Miller, Victor Milner, Hal
Mohr, Sol Polito, John F. Seitz, Henry Sharp, William Stull
and Ned Van Buren.
On the evening of April 28 these officers were installed at the
annual dinner of the organization held at the Russian-American
Art Club, Hollywood. Installation proceedings were conducted
by the retiring president, John F. Seitz.
In the selection of Mr. Mohr to take up the reins of head-
ing the organization, the members feel that they have made a
wise choice, for Mohr not only is one of the outstanding Cine-
matographers of the motion picture world, but is one of the best
liked men in the indus-
try, always smiling, al-
ways aggressive, always
tactful.
President Mohr has
had an interesting and
varied career in the mo-
tion picture industry.
Away back in 1906
Mohr was producing his
own stories and scripts,
designing the sets, help-
ing to build them, select-
ing his own casts, acting
as wardrobe man, direct-
ing the picture, and phot-
graphing them as well.
Then when the shad-
dows of evening fell
Mohr would retire to his
improvised laboratory
where he developed his
negative and made his
own first prints. Out-
side of that he had the re-
mainder of the day to
himself.
This was in San Fran-
cisco. In that city he
first started in a labora-
torv at the salary of six
dollars a week. Then
he built himself a motion
picture camera and started
in the newsreel game.
Then he shot a picture
for Sid Grauman called
“The Last Night on the
Barbary Coast.”
But Mohr was ambi-
tious and joined forces
with some people in
Frisco who wanted to
make three feature pic-
tures, even though they
had only $10,000 with
which to do it. Mohr
helped build the studio: then made the three pictures in 14
weeks, went to New York and actually sold them all on the
$10,000 budget,
“It was a tough battle,” he explains, “but was a great ex-
perience.” His was a one-man picture company from start to
finish. And his pictures sold.
This experience was followed by Mohr becoming a film
cutter at $25 a week. But he was acquiring more and more
experience and finally directed two single-reelers for Harold
Lloyd. Then the war came on and he joined the army.
At the close of the war Mohr came back to pictures and
went to Portland, Oregon, where he was photographer, director
and head cutter for a picture concern. Shortly after that he
came to Hollywood and joined the ranks of “Poverty Row,”
where for two years he was a Cinematographer.
Eventually he landed as Mary Pickford's cameraman where
he remained for a year and a half. Then he photographed “The
Wedding March” and went to Warner Brothers where he shot
“In Old San Francisco.” “Glorious Betsy,” “Heart of Mary-
land.” “Noah’s Ark” and many other big pictures.
Leaving there for Uni-
versal he gave them the
spectacle, “Broadway.”
He followed this with
“The King of Jazz,” the
great Paul Whiteman pic-
ture. He is under con-
tract with Universal.
At the present time Mr.
Mohr has been loaned by
Universal to Warner
Brothers where he is
photographing A1 Jolson
in “Big Boy.” Several
other studios have been
trying to borrow Mr.
Mohr to start with them
at the finish of the War-
ner picture, but Universal
plans call for his return to
that lot shortly.
President Mohr has an
ambitious program in
formulation for the com-
ing year’s A. S. C. activi-
ties. A complete outline
of this program will be
published in this maga-
zine next month. Mohr,
a real progressive, plans
some revolutionary moves
in connection with the
society along educational,
technical and social lines,
and the members of the
American Society of Cine-
matographers are looking
forward to the ye(br with
much assurance of its be-
ing one of the most suc-
cessful in the history of
the organization which
for years has exerted a
world-wide influence.
Hal Mohr
MAY, 1930
American Cinematographer Eleven
^CHNIC OF 5^C0RDING CONTROL FOR
Sound "Pictures
«
A Practical Discussion of An Important Subject
By J. P. MaxHeld
This paper is reprinted from the Technical Digest of the Academy of Motion Picture Arfs
and Sciences. Mr. Maxfield is Supervisory Recording Engineer, Electrical Research Products,
Incorporated. — The Editor.
T he purpose of acoustic control in recording is to make the
sound record so correlate with the picture, that the whole
performance becomes pleasing to listen to and easy to un-
derstand. It has been found that this result is obtained when the
recording is so conducted that the voice, coming from the horn,
appears to follow the speaker wherever he or she may go in the
set, i. e. when an illusion of reality is obtained.
Before considering this matter in detail, there are one or two
preliminary points to be taken up. The first has to do with the
nature of the material to be covered by this paper, which is dis-
tinctly of a practical nature rather than a theoretical. Any theory
which may be discussed is in the form of an explanation of why
the technic operates as it does, the technic itself having been suc-
cessfully used throughout several commercial productions.
The second preliminary matter is a brief review of some of
the material, which has been mentioned previously from a theo-
retical standpoint, and which should now be discussed from the
point of view of its practical use in the making of talking pic-
tures.
Dr. Knudsen discussed the curves shown in Fig. 1 . The dis-
cussion here will deal only with the one marked E (n) . The
vertical ordinate represents energy of speech, corresponding to the
frequencies shown by the abscissa. Fortunately for those who
have to operate the recording equipment, the high maximum oc-
curring at approximately 200 cycles does not indicate maxi-
mum intensity or the maximum amplitude, which is obtained
at that frequency. The data represented by the curve was ob-
tained in such a way, that the energy shown includes not only
the amplitude or the intensity which occurs at any given fre-
quency, but also includes how often energy of that frequency
occurs in speech and also how long it is sustained when it does
occur. The high maximum is brought about mainly by the fun-
damental tones of the voice. Since the fundamental occurs in all
of the vowel sounds, and since
the vowel sounds are gener-
ally held longer than the other
speech sounds, it is seen that
a large contribution to this
high maximum is brought
about by the time factor rath-
er than the intensity factor.
Dr. Knudsen also discussed
the curve shown in Fig. 2, in
which the ordinate shown at
the right hand of the curve,
represents sensation units ex-
pressed in decibels, while the
abscissas represent frequency or
pitch. The lower line of the
curve represents the threshold
of audibility, while the upper
line represents the intensity at
which the sound becomes phys-
ically painful. The useful
range between these two turves
is of the order of 100 to 120
sensation units. It would
appear at first sight, that the
recording system, which cov-
ers a range of approximately
40 sensation units, would be
totally inadequate. However, there are some features which
limit the practical use of this whole range, other than those that
reside in the recording system : First, the average noise in a
theatre from the ventilators, audience, etc., is seldom less than
30 sensation units above minimum audibility, and is frequently
as much as 40. It is, therefore, useless to reproduce in the theatre
any sounds less than 40 sensation units above minimum
audibility, as they would become lost in this noise. Second,
the upper 30 or more sensation units represent sound intensities
of the magnitude encountered from the firing of big guns, large
explosions and other uncomfortable loud sounds.
Therefore, except for the few isolated cases, where records
are being made of such explosions, the practical useful ranging
has been reduced by 70 sensation units, and there remains only
30 to 50 to be accommodated ordinarily. The Western Electric
recording system can easily accommodate 30, and when properly
maintained and operated, can accommodate 40. When it is con-
sidered that the difference in loudness, between a stage whisper
and a very loud shout is about 30 sensation units, it will be
seen that the limits of the system do not ordinarily handicap
recording.
In the terms of the movies, Fig. 3 is a close-up of the curve
shown in Fig. 2, with four additional curves added. These four
curves represent the lines of constant loudness of 20, 40, 60 and
80 loudness units above minimum audibility. The top and bot-
tom lines are identical with the top and bottom lines respect-
ively, of curves in Fig. 2. This curve indicates that in going
from loudness 20 to 40, it is necessary to increase the grain of
the amplifying system 20 db for the frequencies lying in the
middle region. On the other hand, in order to go from a
loudness 20 to loudness 40, at the low frequencies, say
around 60, it is only necessary to go 6 to 8 db. However,
loudness is mainly interpreted by the middle region. If, there-
fore, a sound which was origi-
nally made at loudness 20
were reproduced by increasing
the intensity by all its com-
ponents by 20 db, it is ob-
vious that the loudness in the
bass would lie slightly above
the curve representing a loud-
ness of 60, i. e. more than 20
loudness units too high. Such
reproduction would sound
over-bassed or “heavy.” This
is one of the reasons why the
human voice sounds heavy
when reproduced at a level
considerably higher than that
at which the person actually
spoke.
This effect is inherent in
the ear, and as the recording
becomes more and more per-
fect, the loudness level, or
which music or speech is re-
produced, becomes more and
more important. This ends
the preliminary review.
The technic of acoustic con-
trol is based on letting the
joa
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*
ENERGY FREQUENCY DISTRIBUTION
OF AVERAGE SPEECH
THE SPEECH powtff oa«D> w i>it rnrouEHcr
RtewM BCTWEEh n,A rij IS J^i(ri)dn
i
1
1
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±
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500 IJOOO
^0 2,000 2,500
FRtQOtNCYn
Fig. 1
n
9
B
7
6 I
5^‘
£.
UJ
3^00 3|500 4 JOCO
Twelve
American Cinematographer
May, 1930
camera be the eye
and the microphone
be the ear of an ima-
ginary person view-
ing the scene. It
mighe be interesting,
therefore, to consider
briefly how a person
observes, that is
how he sees and
hears what is taking
place around him.
When a person is
viewing a real scene
in real life, he is
viewing it , with
lenses — that is. the
eyes, and pickup de-
vices — that is, the
ears, which are in a
fixed relationship,
one to the other.
This observer is
equipped with two
eyes and two ears. The two eyes enable him to appreciate
distance or depth with much more facility than would be
possible with one eye, while the two ears enable him to ap-
preciate direction and perhaps, to a slight extent, depth where
sound is concerned. The point of importance, however, is the
fact that the eyes and ears maintain a fixed relationship to one
another.
The method by which direction is determined with either
one or two eyes is obvious and need not be discussed. The
factors which enter into the appreciation of depths or perspec-
tive of sound are the ones of interest here.
It is probable that the most important factor, particularly
where monaural hearing is concerned, is that which deals with
the relative change in loudness of the direct and reflected sound.
Since the intensity of the reflected sound varies relatively little
from place to place in a room, while the direct sound from the
sources to the pickup device varies quite rapidly with its distance,
the ratio of the intensity of the direct to the reflected sound also
varies considerably. Hence, as a source of sound, such as a
person speaking, recedes from the microphone the loudness of
the voice appears to decrease slightly while the reverberation
appears to increase materially. With binaural listening, this is
unconsciously interpreted as distance. It has been found that
this effect, when properly controlled, is also interpreted as dis-
tance with monaural listening.
In the case of the talking pictures, the camera has only
one eye, or lens, and the recording system has only one ear or
pickup device. Consequently those effects, which were brought
about by the binocular seeing and by binaural hearing, cannot
be made use of. Long experience with the photography has en-
abled the camerman to create a part of the depth illusion by the
proper choice of the focal length of the lens used, and by the
proper type of lighting. Fortunately, for the acoustic engineer,
the impression of depth depends upon factors which are almost
as effective with binaural listening; namely, the change in the
ratio of the direct sound to the reverberation present.
The loss of direction, brought about by the use of one ear
only, causes some rather unexpected results. When two ears
CONTOtm UMS or equal loudness fon pure tones
are used, a person
has the ability to
consciously pay at-
tention to sounds
coming from a given
direction, to the par-
tial exclusion of
sounds coming from
other directions.
With the loss of
sense of direction,
which accompanies
the use of the mon-
aural hearing, this
conscious discrimina-
tion becomes much
more difficult, and
the incidental noises
occurring in the
scene, as well as any
reverberation which
may be present, are
apparently increased
to such an extent
that they unduly intrude themselves on the hearer’s notice. It
is, therefore, necessary to hold the reverberation, including
these noises down to a lower loudness than normal, if a scene
recorded monaurally is to satisfactorily create the illusion of
reality, when listened to binaurally.
This apparent increase in reverberation and incidental noises
may easily be heard, by completely stopping up one ear and
listening with the other only. It is easier to detect the effect
in a room, where the incidental noises are fairly loud, and where
the amount of damping is slightly less than in the normal liv-
ing room.
Since it is possible to create the illusion of depth or distance
in both the visual and audible parts of the talking picture, it
is necessary that the amount by which the voice appears to move
forward and backward in the set, should correspond with the
amount the image appears to move. The amount by which the
voice appears to move forward and backward in the set, depends
upon the amount of reverberation present, and upon the rela-
tive distance of the microphone from the foreground and back-
ground action. In general, the more reverberation present, or
the further the microphone from the source of sound, the
greater is the apparent distance of the voice from the near fore-
ground. It has also been found by experience, that if the con-
ditions have been made correct to obtain this illusion, then the
voice or sound also appears to follow the picture across the
screen.
There is one important difference between the imaginary ob-
server in the scene and the taking of a talking picture. The
real observer maintains his pickup device, namely ears, at the
same distance from the scene as his lenses, that is eyes. This
is not necessarily the case with the talking pictures, as the
cameraman may at will, use lenses of different focal lengths,
whereas the observer cannot change the focal length of his eyes
beyond that amount required to accommodate focus. The use
of long focus lenses by the cameraman is equivalent to a means
of bringing distant action into the near foreground. When such
action is brought into the near foreground by the use of the
closeup. it is also necessary to pull the sound up, so that it ap-
(Continued on Page 18)
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Fig. Z
Fig. 3
Fig. 4
MAY, 1930
American Cinematographer
Thirteen
Foice ^st
Unscheduled Drama in a Monitor Room
By 'William Stull
T he man at the desk looked up. “ ’Morning, Smith. Guess
you’re in for another holiday today. Steinberg’s still pick-
ing his cast.” The telephone buzzed stridently. ‘‘Sound
department — Johnston speaking .... Oh yes, Mr. Steinberg
.... Where? .... All right. I’ll send you a crew right away.”
The instrument rattled back into place.
‘ Well, Smith, you’re in luck after all. Someone’s brought
the Dutchman a new blonde to play his lead, and he wants a
test of her right away. Going to shoot it on Stage 6 — you
know the Brandon company’s working the night shift there,
and their set-up hasn’t been struck yet. No time to check the
channel, but it’ll be okay for a test. You’d better hurry right
over, so they’ll know we’re on the job. I’ll send the boys
along after you.”
As the door swung shut, Johnston turned to the man sitting
opposite him. ‘‘Sorry, but when Steinberg calls, everyone on the
lot has to jump. Just a moment more.”
He leaned forward and spoke a few crisp orders through a
dictaphone on his desk.
Then, picking up his cigar, ‘‘You sure were right when
you said this is one queer game. Some of the things I’ve run
into since I’ve been out here . . . . ! Well, you saw that fellow
who just looked in here? His story’s about the strangest I’ve
hit yet. On the payroll here his name is John Smith — but
when he was my boss back East in the telephone Lab. he had
another name, and could tack half the alphabet after it, if he
wanted to; he was one of the real big shots in the engineering
way. Had a big division of the lab. under him, and practically
a free hand in running it. They said he drew down almost as
much money as some of these stars out here are supposed to: at
any rate, he had nothing to worry about — had a fine home, a
firie job, and a wife — and what a wife! Pretty? More than
that — a real beauty 1 I saw her once or twice when she came into
the lab. to see him. Tiny little thing called Doris, she was, with
a mass of fluffy, golden hair, big, blue eyes, and a figure that
would give Zeigfeld a thrill! Of course he was crazy about her,
and she about him. You could see that.
‘‘Then one morning the chief came in drunk — dead drunk.
Not cockeyed, but sodden, blind drunk: at least he acted that
way. Plodded into his office like a machine, and plodded out
a few minutes later just as though none of us were there.
His secretary found a note of resignation on his desk when
she went in and the chief never came back.
‘‘Yes, he just vanished. No one seemed to know a thing
about him, or where he’d gone to. Guess the police figured
he’d jumped into the river, and gave it up; it was midwinter,
and of course there was no hope of finding his body, if he
had. Anyway, that big Walford affair came off the next day,
and attracted everyone’s attention.
‘‘For my part, after the excitement in the office died down,
I was too busy to think any more about it. They keep you
busy in those big research plants! In due time, the wife col-
lected the estate, and a nice fat parcel of insurance, and I didn’t
hear much more about her, except now and then I’d see a bit
in the paper about her work in the ‘Little Theatre’ movement,
or about her having been to some affair with Hubert Allston,
who was some sort of a writer with her particular group.
‘‘In time, I got my promotions, and when the talkie rush
came, I was one of the first men they sent out here. A couple
of months after I’d gotten out here, I had to go on location
with one of the units down San Pedro way. During the day,
who should I spot in the crowd watching us but my old chief
— down and out; a regular bum! Lord! I never saw a hobo
look so hungrily at a steak as he did at the sound apparatus we
had ! Poor devil, he’d designed most of it, and fought for it
when almost everyone else in the outfit thought it was just a
crazy notion. No wonder he gaped at us like a Stella Dallas in
pants. Next to his wife, his work had always been the biggest
thing in his life.
‘‘As soon as I could get away, I got to him, and tried to
make him come in with me and see some of the big guns on
the lot, but he wouldn’t. Talked a lot about being better off
as he was, and all that, but I could see he was longing for the
old work again. Well, finally I got him to come on as a mixer,
under this Smith alias. Good mixers were scarce then, and there
was no question of landing him a berth. Since then he’s spruced
up a lot, and developed into the best mixer on the lot — but
he still seems sort of dazed in his mind, a good deal like my
brother-in-law is, who was shell-shocked in the war. When it
comes to his work, though, he’s the real McCoy, all right —
and, y’know, I think he’s really happy up there in that stuffy
little booth of his ”
* * *
TT^HEN “Smith” reached Stage 6, he found that others had
preceded him, and the deserted set was again assuming a
semblance of life. A number of overall-clad electricians were
checking the lights and wiring, under the watchful eye of Pete,
the head “gaffer,” while a small army of ‘grips’ were trundling
another big camera booth into place beside the one in which an
energetic assistant-cameraman was already setting up a camera
for Dick Miller, Steinberg’s inevitable photographer. Miller
himself bustled over to where the head gaffer stood beside the
single ‘rifle’ light that illuminated the set, and outlined the
changes he wanted made in the lighting.
“Smith’s” eyes travelled rapidly over the sound equipment.
Yes, everything was about right as it stood. Might have to
lower that mike on the new boom a trifle — probably not,
though, unless she was extra short; it was one of the good
ones. That other cable — where did that lead? Oh yes! This
was Herb’s set: must be that gag Herb was so fond of —
hiding a special mike in some fake books on the table. Impos-
sible notion. Sound reflected among all that junk on the table,
and lost half the high frequencies before it even hit the mike —
and the condenser had to be so far away that it got worse
before it ever reached the amplifying panels. Silly fool notion.
Herb’s. It would never do anyone any good; you couldn’t
make a decent recording with the thing, no matter how long
you tried. Never, not in a million years. Funny, there must be
another mike hooked up somewhere, too. His eyes followed the
slim, rubber-cased cable away from the junction-box at his
feet. H’m. Off to one side, over a little set adjoining. Of course!
He’d forgotten. Brandon had been working here last night.
Brandon always made his pictures that way — set up a flock of
cameras, hooked in all the mikes he could get, and tried to shoot
a whole sequence at a time. Silly fool. No wonder his pictures
were lousy. Damn these boy wonders who tried to break pro-
duction records
He turned to Dick. “How many cameras are you using for
this test?” he inquired.
“Three,” came the cameraman’s brisk reply. “Two long-
shot cameras in the big booth — one of them is for color — and
my own in the little one. making close-ups with a four inch.”
“All right with me. You’ve good motors and plenty of
cable? Then I’ll go on upstairs. Tell the microphone man to
give me a buzz when he gets here.” He turned on his heel and
started toward the stair that led to the monitor room.
As he reached the door, he found himself confronted by the
swart German director. Steinberg, removed his inevitable, lean,
brown cigar from his mobile mouth, and smiled. “So,” he
beamed. “That is good. I am glad you hof been here assigned.
Ve must the best recording of this test hof — I s'ink I haf my
leading lady at last found .... Mein Cott! Sie so wiinderschone
istl If only she records well now! But you will fix that,
( Continued on Page 26 J
Fourteen
A -\) E R I C A N C
NEMATOGRAPHER
May, 1930
RANK 7.UKER A S C , is here shown waking a scene in a picture with Louis Brock. R-K-O pictures. Frank is the gentleman at
the camera. Frank says the camera shown has never been inside a booth and works within nine inches of the microphone.
Thank You!
A 5 TONY GAUDIO. one of the best known members of the American Society of Cinematographers, was about to leave Hollywood
for a trip of several months in Italy, he was presented with a beautiful traveling bag by the members of the company and crew of
"The Devil's Playground" which he had just photographed. Billie Dove is shown above making the presentation.
MAY. 1930
American Cinematographer
Fifteen
5*. C ^^ember First ^JMan to
"Photograph Famous Shadow Pands
Charles G. Clarke Wins Praise of Scientific World
for Accomplishing Feat First Time in History
F or the first time in the history of the science of Astron-
omy scientists succeeded on April 28th in photograph-
ing the elusive “shadow bands’’ that accompany an
eclipse of the sun.
And this feat, which has stirred scientific circles throughout
the world was performed by Charles G. Clarke, a Vice-Presi-
dent of the American Society of Cinematographers, and prom-
inent Hollywood Cinematographer employed at the Fox studios.
Clarke’s extraordinary cinematographic feat was accomplished
while he was at the Mt. Wilson Observatory Eclipse Camp,
located near Honey Lake, California, under the auspices of the
American Society of Cinematographers, which threw its re-
sources at the disposal of the astronomers in their efforts.
Clarke photographed the shadow bands for a period of five
minutes during the central phase of the eclipse of the sun, using
specially prepared glass screen fastened on two 20 -foot poles
and held between the camera and the sun.
According to the Mt. Wilson astronomers, Clarke’s pictures
show the definite direction and curvature of the bands which
the scientists say will definitely help to determine whether they
originate on the surface of the moon or from the earth. This
is a problem that has never been solved, although scientists have
been working on it for years. Still cameras could never catch
the shadow bands, but the motion picture camera did.
Daniel B. Clark, former president of the A. S. C., became
interested in the eclipse shadow bands problem when he heard
scientists discussing it, and immediately he took the matter up
with the Board of Governors of the American Society of Cine-
matographers. He outlined the problem to the members of the
board and pointed out the feasibility of mastering this puzzle.
The A. S. C. Board of Governors immediately placed its re-
sources behind the project and gave the word to go ahead.
Dan Clark at once picked Charles G. Clarke as the logical man
to make the attempt. He has photographed eclipses both here
and in the Northwest and has a record as a daring aerial adven-
turer in the Alaskan wilds.
The preliminary tests were conducted at the physical lab-
oratory of Mt. Wilson Observatory.
Dr. John A. Anderson, physicist, created an artificial sun
eclipse, and Dr. Seth B. Nicholson, astronomer, checked its sim-
ilarity to a true eclipse.
(Continued on Page 42)
Dan Clark, left, and Charles Clarke, who photographed famous shadow bands
Sixteen
American Cinematographer
May, 1930
\
Success!
P erhaps this wall may seem out of place in a magazine
devoted to technical matters, but it is on the editorial chest
and must come off.
This writer has often wondered why men when they attain
a certain measure of so-called worldly success suddenly forget
friends of the past; often friends who have helped them in
days when the world was mighty drab and the pay check was
merely something hoped for. Nowhere do you find men of
this type in such profusion as in the motion picture industry.
Why? That is a problem that has often been discussed. And
it is not among the actors that this spirit is found. They, bless
their hearts, are too lenient with their friends for their own
good.
It is among the executives, directors and writers that suc-
cess seems to swell the head, blot out the memory and har-
den the heart. The other day a man dropped into this office
and told of a “former” friend of his, now a big studio executive.
This man only a few years ago was plugging along in New
York on starvation wages. Our friend gave him a helping
hand and as a result started him directly on the path that led
to his present position with a salary of four figures weekly.
But, our friend couldn’t get him on the telephone, although
he tried for a week. Only a chilly-voiced secretary would talk
and say her employer was “in conference.” So our friend went
to the studio and there was told by an office boy that the ex-
ecutive was too busy to see him and expected to be for a
month.
Typical of what success in the picture business does to so
many! What a shame! After all, we wonder if they have at-
tained success.
Again, A. S. C-!
C 'ONGRATULATIONS are in order for Clyde De Vinna,
■* one of the best known members of the American Society
of Cinematographers. He has just been awarded the highest
honor the motion picture industry can give for outstanding
cinematography. Mr. De Vinna was given the award of merit
of the Academy of Motion Picture Arts and Sciences for “his
distinctive achievements in photographing the unique motion
picture. ‘White Shadows in the South Seas’.” In other words,
the honor of the most outstanding piece of cinematography
for the period between August 1, 1928 and August 1, 1929.
Last year the award went to Charles Rosher and Karl Struss,
both members of the American Society of Cinematographers.
Color
E ARE wondering what will happen during the com-
ing year in the development and use of color in the picture
industry. For a time it seemed as though color would com-
pletely, or nearly, wipe out black and white photography.
Now, however, there seems to be a gradual change back
to black and white. This is partly due to _ inability to get
sufficient release prints in a short time. Will this stop the ad-
vance of color? After all, the prize of the Academy of Mo-
tion Picture Arts and Sciences for outstanding photography
went to a picture in black and white. Time will tell.
O, Dear!
Even out here in California, where we have perpetual sun-
shine and glorious weather all the year, one begins to feel the
breath of Spring creeping in at the well-known window these
days. After all. it must be the time of year, rather than the
weather that gives one that tired feeling, which can be tossed
aside only by the prospect of a fishing trip. Takes one back
to those old days long ago on a Pennsylvania farm where we
used to cut a birch pole, use ordinary string for a line, and —
B’Gosh, catch the finest speckled beauties in the world!
Those Hog Callers!
W E HAVE felt all along that someone would make us
sorry that we have developed talkies. Now we know that
our hunch was right; for from Washington comes the word —
and from no less an authority than our good friend. Raymond
Evans, Chief of the Office of Motion Pictures of the Depart-
ment of Agriculture — that hog calling is soon to be recorded.
Pity the poor pigs on the farms when home talkie apparatus
is installed and just as the porkers settle nicely in a deep mud
puddle a persuasive “whooee” will come floating through the
air in full bucolic strength, or what have you I
And, we bet a plugged nickel against a stale doughnut that
after the hog calling is recorded we will hear those “husband
calling” contests on the films. Probably there will be a lot
of husbands rushing from the darkened theatres of the land
when the resonant v'oice of a hubby-calling wife booms out
from a news reel.
Cinematographic Annual
A t last, the Cinematographic Annual is on the press.
And, perhaps it is best to say a few words at this time
in the way of apology for being a month late in our sched-
ule. We had hoped and expected to have the book off the
press sometime in April. But when we found that we would
have to leave out certain articles that we believe will be of
tremendous interest and value, the board of editors thought it
best to be a little late. So, you who have been waiting for it
have our apology. We trust that the quality of the book will
more than make up for a month’s delay.
Speaking for the entire board of editors, this w'riter takes
the opportunity to say a few words regarding this book, which
we really believe will be the most outstanding publication yet
to appear in connection with motion picture making, either
professional or amateur, and what we say we have no fear
will be contradicted when you readers see it.
We have tried to make this a book that will not only be
interesting, but will be instructive as well. This, in itself, has
been quite a task; in fact, a tremendous task. However, we
have received the cooperation and assistance of many of the
biggest figures in the technical world, and to them will be for-
ever grateful.
As regards things purely cinematic, we turned to the men
who are photographing pictures, and they have given us some
articles that we feel will be of great help to the readers of the
book. All the years of their experience have gone into their
articles, and naturally, they are the last word in authenticity.
For sound we received the magnificent aid and cooperation
of the biggest sound engineers and of the Academy of Motion
Picture Arts and Sciences. The Academy, with the cooperation
of the leading sound authorities of the industry conducted an
excellent technical course in sound during the past winter. A large
part of this course will be found in the Cinematographic Annual,
through the courtesy of the officials of the Academy.
The biggest scientists of the industry cooperated in the prep-
aration of the laboratory and theoretical articles. All in all.
we believe you will find in this book just the type of publica-
tion you have been looking for.
And the amateurs, or home movie makers, will find it a ver-
itable gold mine of information. A special section has been de-
voted to their needs. A special elementary course in cinemato-
graphy will be found here which should make their tasks much
lighter, and their 16 mm. pictures much more satisfactory. We
feel that no amateur should be without this volume.
In the statistical department will be found tables and form-
ulas that will be invaluable.
As we stated at the beginning, there will in all probability
be things omitted which we would like to see, but by and large,
we feel that we have a book that every person in any way
connected with the industry, either in sound cinematography,
theatre, laboratory, or the home movie maker will find of un-
told worth to them. — H. H.
MAY, 19 30
American Cinematographer
Seventeen
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Eighteen
American Cinematographer
May, 1930
Technic of Recording Control
(Continued from Page 12)
pears to be coming from a similar distance, that is from the
image on the screen.
There is one other point to be kept in mind regarding the
analogy between the imaginary observer and the talking picture
equipment. If a speaker in the scene walks away from the
imaginary observer, he walks away from both his eyes and his
ears. It is, therefore, necessary to place the microphone in the
same approximate direction from the action as the camera, in
order that the speaker shall approach the microphone when ap-
proaching the camera and vice versa.
In view of the above, it cannot be too strongly stressed that
it is important to use one microphone only for a given camera
position. Naturally if the camera position changes during the
scene, the microphone position should change accordingly, so
that the proper relation between the ear and eye is maintained.
The insistance on this requirement on one of the early pictures
made, led some humorist to call this technic “The Trail of the
Lonesome Mike.” It should be noted from previous paragraphs;
one microphone position only for one camera position. There
are some cases involving complicated setups, where closeups and
long shots are being attempted simultaneously, where more than
one microphone may be legitimately in the set at one time, but
only one of them should be on at any given time. The one that
is on, naturally should correspond with the camera whose pic-
ture is to be used in the final cut. This use of closeup and long
shot simultaneously, requires a knowledge of how the scene
is going to be cut, and should, therefore, be avoided if there
is any doubt about cutting.
During one *of the first pictures that was made with this
technic, the studio people were coaxed into making the sets with
sufficient reverberation to produce the depth effect. The set in
question was about 25 or 30 feet wide and some 35 feet long
and approximately 24 feet high, as shown in Fig. 4. It repre-
sented a large hall in an old fashioned European home, and there
was an entrance onto a stairway from a second story room at
the back of the set. The dialogue was started in the middle fore-
ground by a man at A, and then a young lady came out of the
second story room at B, and said a few lines, the dialogue con-
tinuing until both people were at the foot of the stairs at F.
midway back in the set. The studio people insisted on making
a closeup and a long shot simultaneously, and as the long shot
covered a considerable angle, it was impossible to get a micro-
phone into the scene sufficiently near the young lady to take
care of a sound track for her closeup at entrance. When the
rushes were shown in the review room, the first to come thru
was the long shot, and the result was exceedingly good, the voice
appearing to come from the mouths of the speakers. The sec-
ond rush showed the long shot scene with the closeup of the
young lady cut in at the proper place. This picture, however,
was coupled up with the only sound track available, namely,
the long shot sound track. Of the five people in the review
room, three unconsciously moved their heads to one side to
see around the girl, in order to find out who was speaking in
the room behind her. The effect was so disconcerting that it
was necessary to retake the closeup with its own sound track.
Since the interpretation of distance by the microphone de-
pends upon the acoustic properties of the set, there is only one
microphone distance at which the proper sound distance will be
POSITIONS OP CAM£PA BOOTH
POR CLOSCUPS
obtained. This is analogous to limiting the cameraman to a
single lens for his camera. Hence, when a change is made to a
long focus lens, it is necessary to move the microphone nearer
the scene than was necessary for the shorter focal length.
It is now time to consider how much the microphone must
be moved when the lens is changed. With sets built in the man-
ner to be described later, the microphone should be as far away
from the foreground action as it would be necessary to place a
30 to 35 millimeter, in order to obtain the same sized image
as will be obtained with the long focus closeup lens actually
in use.
Fortunately, if the difference in focal length between two
cameras used simultaneously is not too great, the ears’ interpre-
tation of the depth effect is not sufficiently accurate to cause
any trouble. It is, therefore, possible to use a 35 to 40 milli-
meter lens simultaneously with a two inch lens without diffi-
culty, provided the depth of action is not over 12 to 15 feet. In
scenes of ordinary living rooms, no trouble would be caused by
this arrangement, provided the two inch lens is not brought
much closer to the subject than the shorter focus one.
Figure 5 shows two views of the same set and the same
action, the right hand section indicating the situation for a long
shot, while the left hand section indicates the camera and micro-
phone positions for close-ups of each of the three dialogues,
namely, those at positions 1 , 2 and 3 respectively. The long
.shot was made with a 35 millimeter lens, whereas the close-up
cameras were equipped as follows: Camera for position 1, 4",
for position 2, 6" and for position 3, 4". The corresponding
microphones are shown. It will be noted in the close-up section
that three microphones were in use, but it should be further
noted that only one was used at any one time. That, is when the
dialogue was taking place in position 1, its microphone was on,
and similarly for positions 2 and 3. The action occurring during
the transition from positions 1 to 2 and 2 to 3, was taken care
of by the long shot made under the conditions shown in the right
hand section.
The next major item deals with the designs of the set, with
a view to obtaining the proper conditions for the acoustic per-
spective. When a person listens with two ears in a real scene,
he is able by his sense of direction, to pay attention to the sound
coming directly from the speaker, to the partial exclusion of
the reflected sound and incidental noises coming from all around
him. However, with this sense of direction destroyed by the use
of one ear only, he is no longer able to make this discrimination,
and the reflected sounds, that is, the reverberation and incidental
noises, appear to increase in intensity. It is necessary, therefore,
to insure that the sets have less reverberation than would have
been actually present in the real scene. It has been found by
experience, that if the walls of a three walled set are built of
materials having similar acoustic properties to those depicted in
the real scene, that the absence of the ceiling and end wall pro-
vide sufficient damping to render the acoustics suitable for re-
cording. This of course assumes that the sound stage is dead,
or that the set is built out of doors. In practice, however, it
would be both inconvenient and expensive to build the walls of
a set of the materials that would really have been used had the
scene been a real one. It is necessary, therefore, to use imita-
tions. These substitutes should imitate acoustically the real
(Continued on Page 24)
Fig. 5
May, 1930
American Cinematographer
Nineteen
^OUND "Printing o^ttachment for
"B. & H . (Continuous "Printer
By Joseph A. Dubray
I
I
f
i'
CONTiNUOUS PRINTER
I N ORDER to fulfill the technical and commercial exigencies
imposed upon the motion picture laboratories by the advent
of sound pictures, it was found necessary to devise means by
which the accurate and rapid printing of the sound negative
could be conducted independently from that of the picture record.
The well known characteristics of sound recording and re-
producing demand an extremely smooth and continuous mo-
tion of the film in front of the scanning slit, as well as a perfect
control of the sources of light which impress the film upon
which the sound record is registered or excite the photoelectric
cell in the process of reproduction. The meticulous care with
which a film sound record is made would be of no avail if
the printing process of the sound negative could not be con-
trolled with equal certainty and accuracy.
From the early in-
ception of sound pic- ■
tures, it was evident
that the Bell
Howell Continuous
Printer answered all
the requisites of
sound pictures, be-
cause through years
of patient research it
had reached such
point of develop-
ment that all the re-
finements ^ost ap-
propriate to take
care of absolute film
registration were in-
corporated in it. It
remained to devise
means by which the
printer could rapid-
ly and with least in-
convenience to both
laboratories and pro-
ducers be made
adaptable to the new
conditions.
The Bell ^ Howell
engineers happily
solved the problem
by designing a Triple
adjustment sound
printing attachment
which can be adapt-
ed to all Bell W
Howell printing ma-
chines in existence,
and, of course, to all
apparatus being
manufactured.
In order to fully
appreciate the prob-
lems involved and
the unique manner
in which they were
solved, let us sum-
marize the require-
ments imposed.
(1). It was de-
sirable that existing
equipment could be
used.
(2). The sound
attachment should
preferably require on-
ly nominal altera-
tion and fitting.
<',3). Definite
BELL &-HOWELL
WITH TRIPLE ADJUSTMENT SOUND ATTACHMENT
FIG. 2
FIG,
FIG.4
FIGS
FIG.6
■A* 'B' & 'C' - SHUTTERS MASKING SOUND AND PICTURE AREAS.
'L' - SHUTTER OPERATING LEVERS 'S’ - PAWL TENSION SPRING
. ’P' - shutter LOCK PAWL
FIG. I - MAJOR DETAIL OF B8.H PRINTER - WITH GATE REMOVED.
FIG. 2- THE TRIPLE ADJUSTMENT SOUND MASK ATTACHMENT - INSTALLED.
FIG, 3- THE TRIPLE ' ADJUSTMENT SOUND MASK ATTACHMENT
FIG.4- SHUTTERS RETRACTED FOR FULL APERTURE PRINTING
FIG. 5 - SHUTTER A' SET FOR MASKING THE SOUND AREA - FORWARD RUN
FIG 6 - SHUTTERS 'B’&'C SET FOR MASKING PICTURE AREA - FORWARD RUN
FIG. 7- SHUTTER 'C SET FOR MASKING THE SOUND AREA - REVERSE RUN
FIG 8 - SHUTTERS 'A'& 'B' SET FOR MASKING PICTURE AREA - REVERSE RUN
light control for printing the sound and picture portions inde-
pendently should be insured.
(4) . If possible, the attachment should permit printing
either the sound or the picture area from either end of the roll,
to eliminate waste time in rewinding.
(5) . It was desirable that it comply with the standards ap-
proved by the Society of Motion Picture Engineers, whereby a
black light shield is to be printed along the sound track to
eliminate any possibility of variation of tone in sound repro-
duction due to a possible side motion of the film in front of the
scanning slit of the projection apparatus.
(6) . The device should be convenient, quickly set at any
desired adjustment, positive and accurate.
(7) . It was desirable to have the masks arranged so that
the full negative
; (for silent pictures)
could be printed at
one adjustment.
The following de-
scription will ex-
plain clearly how
very effectively the
Bell Howell Com-
pany have solved this
problem, and the
figure illustrating this
article will clearly il-
lustrate the workings
of the attachment.
At 1 and 2 the
triple adjustment
sound attachment is
shown installed in
the standard Bell
Howell Continuous
Printer. The attach-
ment itself consists of
two main assemblies
— the masking unit
and the operating
lever unit.
The masking unit
is installed in place
of the usual top
aperture plate. After
it has been accurately
adjusted in the print-
er, a hole is drilled
through the top of
the printer casting
into the masking
unit, and tapped. This
insures the masking
unit always being
held in perfect align-
ment.
The operating
lever unit is then in-
serted through an ac-
curately milled slot
in the printer casting
so that the levers en-
gage the masks prop-
er. The operating
unit is then fastened
permanently in posi-
tion.
At 2 is plainly
shown the manner in
which the sound at-
tachment is arranged.
(Cont. on Page 22)
FIG. 3
FIG. 7
FIG.8
Twenty
American Cinematographer
May, 1930
De Vinna Wins Academy Award
For Outstanding Photography
Clyde De Vinna and trophy awarded him for outstanding
cinematography
"y HE HIGHEST honor that can be paid an American Cinema-
tographer has been bestowed upon Clyde De Vinna. A. S.
C., for his work in photographing “White Shadows in the
South Seas.”
This honor consists of the award of merit of the Academy
of Motion Picture Arts and Sciences. The award was based
on feature pictures released in Los Angeles during the year
ending July 31, 1929. The prize is a beautiful gold statuette,
and was presented to Mr. De Vinna by William C. deMille.
President of the Academy, at a banquet held at the Ambassador
Hotel.
Mr. De Vinna has been in the motion picture field for many
years and has long been recognized as one of the outstanding
cinematographers of the industry. Prom his camera has come
many unusually beautiful pictures, but when “White Shadows
in the South Seas” made its appearance De Vinna was shower-
ed with praise from all parts of the world. The sheer beauty
of the photography in this picture brought gasps from audi-
ences all over the world, and when De Vinna landed in Lon-
don a year ago, on his way to Africa, he was called to be
the special honor guest at the London opening of the picture.
Poliowing the completion of “White Shadows in the South
Seas,” De Vinna returned to the “The Pagan,” another pic-
ture which excited much comment for its cinematography. He
then went to Africa as chief Cinematographer on “Tader
Horn.” Reports from the MGM studios indicate that he has
another pictorial delight in this one.
Among the other awards of merit given by the academy
are the following:
To Warner Baxter, for his distinctive performance in “In
Old Arizona;” Mary Pickford for her work in “Coquette;”
to Frank Lloyd for his directorial work in “Weary River,”
“The Divine Lady” and “Drag;” Cedric Gibbons for his art
direction in “The Bridge of San Luis Rey:” to Hans Kraly
for writing the story of the artistic motion picture. “The
Patriot.” Metro-Goldwyn-Mayer Corporation was awarded first
honors for the production of “The Broadway Melody.”
Rumania
T^OLLOWING general unemployment of musicians in Ru-
mania, which is claimed to be caused by the advent of sound-
film, the Minister of Labor has prohibited the activities of for-
eign musicians in the country, with the exception of those who
come to work in Rumania, as members of an orchestra, of en-
tirely foreign origin.
Putting Industry in the Movies
(Continued from Page 9)
spots: balloons, seaplanes, airplanes, the tender of a locomotive,
on a speeding fire engine, on a monorail crane 75 feet in the
air, on the world’s largest electric shovel, on top of the frame-
work of a bridge 175 feet in the air. I could go on until the
list became tiresome.
The average two or three reel industrial production contains
about eighty per cent of interiors and requires about seven work-
ing days for shooting. The crew consists usually of a director,
cameraman, electrician, two to five assistants, and a man from
the factory.
Often we find ourselves in difficult spots as regards light
placement. Sometimes we have to take the lights all apart, carry
the parts through peculiar places and put the lamps together
when we get them where we want to set them up. I recall one
job on which we had to do this and in order to do it had to
have the plant shut down for just fifteen minutes. We had to
make it fast for production cost was $1000 an hour in the
plant. The great variety of subjects we are called upon to
photograph makes our business an enjoyable, if at times a
trying one. This week wc may be up in Glacier Park working
on the edge of a treacherous ice crevice where a slip of the foot
would mean almost certain death. Next week the same man
may be shooting some humble home in connection with a
“drive” for a Community Fund. Or perhaps, he may be photo-
graphing a surgical operation in a hospital.
One of the most unusual bits of work I have ever done in
the line of industrial work was the making of a two-reel pro-
duction in which snakes, lizards, alligators, scorpions, turtles
and birds were the principal subjects. The climax of the picture
was to be a scene showing “Huckleberry Finn,” a tame, four-
foot rattlesnake, shedding his skin. But that was something we
could not hurry. No one but the snake could do that and he
wouldn’t do it until the psychological time.
The snake’s owner watched him day after day, waiting for
the peculiar look of the snake’s eyes which would just precede
the start of the skin shedding operation. But that snake just
wouldn’t shed!
And then — at three o’clock one morning I was awakened by
the ringing of the telephone. The excited snake owner was on
the phone yelling that “Huckleberry” was about to shed.
“Bring him over to the studio,” I answered.
So, he dashed through the early morning darkness and in
twenty minutes the snake was lying on the floor beneath my
camera. And the way that snake wriggled was a sight one could
never forget. When the old skin had been shed, believe it or
not, that snake actually looked proud!
I could go on indefinitely, but at this point thing it best to
do a fadeout.
Germany
B erlin exhibitors are up in arms against the Berlin munici-
pality, which has entered into direct competition with
them. The municipality is starting a film department “for the
production and exhibition of film records of events and work in
the Metropolis.” The Berlin Eastern suburb of Lichtenberg has
done this sort of work for a considerable time the Municipal
Film Archive and Picture Theatre of Lichtenberg, located in a
school house, completed its tenth year last week. Now that
the Berlin Municipality is to follow this example, the Exhibi-
tor’s Association is reported to take action. During the past
year the Lichtenberg authorities showed 30 feature films certi-
fied as “educationals” at prices with which no exhibitor can
compete. These “educationals” included also entertainment fea-
tures. The Berlin Municipality runs a Grand Opera House,
concerts, lectures and other entertainments at a loss.
Warner Engineers Make 37-Pound Camera Case
A camera case weighing 3 7 pounds, as against the thousands
of pounds of the present sound-proof camera booths, has been
developed by Warner engineers. Called the “Warner Brothers
Blimp,” the device, which is also proof against fire and water,
is to be placed on the market, with Continental Accessories Co.
as the distribiutors.
Teaching by Films
Washington — A partial list compiled by the Department of
Commerce, of U. S. Primary and secondary schools using films
for educational purposes, shows about 300 of these institutions
as already using motion pictures in teaching.
May, 1930
American Cinematographer
Twenty-one
OUTSTANDING ARTISTRY
The Academy of Motion Picture Arts and Sciences
Again recognizes and Acknowledges
The Broad Superiority of
EASTMAN
panchromatic negative
In the Hands of a Master Cinematographer
Clyde De Vinna
Chiej Photographer
“WHITE
SHADOWS
OF THE
SOUTH SEAS”
For M-G-M
T. E. Bmlatour
INC.
DISTRIBUTORS
EASTMAN
FILMS
Twenty-two
American Cinematographer
May, 1930
B. ^ H. Continuous Printer
(Continued from Page 19)
Note carefully how the masks of the sound attachment inter-
lock with the lower aperture jaw to prevent light leakage.
In the early models of the B. K H. Printer, the printing light
was controlled through the mobility of the jaws of the printing
aperture. By enlarging or reducing the printing aperture more
or less exposure was given the positive film for a uniform
running speed of the machine.
A refinement developed a few years ago added a new method
of light control called the “back shutter,” which, as its name
implies, consists of a variable aperture shutter located at ap-
proximately mid-distance between the printing light and the
aperture. The versatility of this method of light control is so
great that it permitted to dispense with the varying in width
of the printing aperture itself while retaining a great range of
light intensities easily controlled from the outside of the ap-
paratus.
The “back shutter” proved invaluable in the development
of the triple adjustment sound attachment, because it permitted
to stabilize the printing aperture to a standard 5-16" dimension
which is also the height dimension of the triple mattes.
The “back shutter” method of light control is applied to
the independent printing of both the picture or the sound
record, as the occasion arises.
Now let us turn for a moment to a consideration of the
actual manner in which the three masks are arranged so as to
control the final result in the print. At Fig. 3 is shown the
complete unit so that its action can be more clearly visualized.
Three masks are employed, the width of the center one being
— .750" and of the two side masks — .170" each. They are
made so that they fill the 5-16" high opening. These masks
are made to very close limits, as may be expected, to insure ac-
curacy in their action, and eliminate the possibility of light
leaks at their adjacent sides.
Each mask operates in accurately milled control slots in the
main casting. On the under side, each mask has two slots cut,
into which the pawls P (Fig. 3) engage. These pawls are held
in place by the triple-tongued Spring S (Fig. 3). The slots
in the masks are Vi " apart, so that the stroke of the masks is
Yi ". This withdraws the masks sufficiently far back to avoid
any interference with the printing light.
Figure 2 demonstrates this more clearly than any further ex-
planation.
The middle mask is cut away just back of the part that
blocks the aperture. This recessed portion comes within 1-16"
of the front and is arranged so as to avoid any possibility of
fringing due to reflections from the sides of the masks. In prac-
tice. it insures the line between the picture and sound areas
having sharply defined edges.
The two side mattes arc milled with a slight rib on the
sides adjacent to the middle mask. This rib is % " from the
front of the mask and protrudes .014" from its side.
When the middle mask (B Fig. 3) is pulled back, it en-
gages this rib on the side mask and moves it over sideways. The
mask is moved .017" at the aperture itself. This means that
sound track does not cover as much space adjacent the picture
area as it did before. Therefore, that portion of the film now
uncovered (.017" wide) receives a double exposure, which re-
sults in a black line, or light shield between the picture area
and the sound track.
Reference to the dimensional drawing (Fig. 9) and to
Figures 4, 5, 6, 7, and 8 will show exactly what goes on.
When the middle mask B (Fig. 4) is drawn back it engages
the mask A (Fig. 5) and pushes it to the left. In this position
the mask A (Fig. 5) covers the sound track proper and the
portion of the negative marked Y (Fig. 9) is printed. However,
when the sound track is to be printed the mask A (Fig. 6) is
set back and the area marked X (Fig. 9) is printed. This over-
lapping of the two exposures produces the black line between
the sound and the picture area. As stated previously, the over-
lapping is adjusted so that this line has a width of .017". To
insure clarity in presenting this explanation of the modus
operand! of the masks, it was assumed that the film was re-
wound between the printing of the sound and picture areas.
Now let us assume that we have printed our picture area
as before with the masks set as in Fig. 5. (The negative will be
in the forward running position) . Then if we desire to print
the sound area without rewinding, we remove both the positive
and negative films from the take-up spindles and put them on
the feed spindles. The printer is again threaded up and the
masks set in the position shown in Fig. 8 instead of position 6.
Reference to the captions given in the figure will show how
the masks are set for different conditions — it is obvious that
the versatility of this sound attachment is all that can be de-
sired. It can also be accepted that its accuracy is likewise.
Movie Congress at Algeria
TOURING the festivities to be organized in spring, to com-
memorate the hundredth anniversary of Algeria as a French
colony, an international educational film congress was held there
last month. The congress comprised an exhibition of the most
current types of film projection apparatus, cameras, etc. ; lec-
tures and films on public health and hygiene. The admission
for exhibitors and the public, both to the exhibition hall and
to the lectures, was free. The aim of the congress was to propa-
gate the idea of motion pictures as a means of tuition.
English Tax
T T IS reported that theatres in Great Britain and Ireland con-
tributed roughly 6,000,000 pounds last year to the Treasury
in entertainments tax. The sum paid to the Treasury on this
account from picture houses for the four months of last year,
April to July inclusive, was 1,926,682 pounds, which was
equivalent, roughly to 6,000,000 pounds a year. The fact
that the picture public paid this vast sum was one more proof
of the immense hold the cinema had on the British public, it
was claimed.
30 Minutes of Newsreel Under Experiment by Fox
Success of 30-minute newsreel shows three times daily at Fox
houses in Chicago, Milwaukee and New Haven is expected to
influence introduction of these programs into additional thea-
tres of the circuit shortly. Newsreel programs arc dovetailed at
the noon, supper and midnight shows with three different news-
reels being used.
Argentine Would Restrict U. S. Talking Pictures
Buenos Aires — Charging that U. S. talking pictures are play-
ing havoc with the spiritual and cultural standards of the coun-
try, in addition to throwing native musicians out of work, “La
Prensa” has started an earnest campaign to restrict English
talkers.
May, 1930
American Cinematographer
Twenty-three
Recognized throughout the motion picture industry as the
outstanding development in the field of colored cine-
matography. ❖ Now available for studio and
commercial uje. Color and sound-on-films
in one process. The only successful
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cameras and normal lighting.
Protected by U. S. ond foreign patents.
For Information, write or coll
MULTICOLOR FILMS, m CO I jPORA TFIT
201 N. Occidental Blvd. Los Angeles, Calif.
Telephone DUnbirk 5401
Twenty- FOUR
American Cinematographer
May, 1930
Technic of Recording Control
(Continued from Page 18)
materials as nearly as possible, and in particular should be
braced sufficiently so that they do not tend to materially partake
of the vibrations set up in the air by the sound.
When a set has been designed in this manner, experience
has shown that the incidental noises sound more realistic and
convincing, and that they may usually be recorded at the time
the original scene is taken. In one picture, on which this technic
was used, some dramatic scenes occurred which were to be in-
tensified by a period of sudden silence. In order to accentuate
the silence, the ticking of a clock, situated on the rear wall of
the set, was to be the only sound heard. The question was im-
mediately asked what should be used to imitate the clock. The
obvious answer is the clock, since it is difficult to get any other
instrument to sound more like the clock than the clock does.
The scene was recorded, using the clock as the source of sound,
with the microphone in the normal dialogue position for the
action, and a very successful sound record resulted.
In view of the stress that has been laid on the necessity of
sets having more sound reflection than those previously in use,
it might be of interest to consider why some of the sets of the
past have given what is commonly called a “tubby” quality.
There are two ways in which a set can cause the sound to persist
in it for a short time after the source has stopped. The first
of these methods is by reflection of sound from the walls and
floors and this method is the only one which should be active to
any extent. The second method is by a diaphragm action of the
walls. In this case the sound sets the walls into vibration, and
they continue to vibrate for a short time, thereby causing sound
after the original source has stopped. This type of “hang-
over” usually has a decided frequency characteristic and is
highly objectionable.
In the earlier sets, the spacing of the studding, and other
supports for the set-wall material, was so great that the natural
periods of the wall sections occurred in the same frequency
region as the fundamental tones of the average male voice.
This resulted in an accentuation of the low pitched frequencies
of the voice, without a corresponding accentuation of the higher
frequencies, which higher frequencies are responsible for both
the crispness and articulation. To make matters still worse,
where the sets were heavily draped, the damping material
usually absorbed these high frequencies more efficiently than the
lower ones.
With these early sets, which were designed in such a man-
ner that they accentuated the low frequencies, and removed, by
absorption, the high frequencies, it was practically impossible to
record highly intelligible speech unless the speaker faced ap-
proximately toward the microphone. With the liver sets recom-
mended, if the high frequencies, particularly those which carry
the hissing sounds, fail to reach the microphone directly from
the speaker’s lips, they do succeed in reaching it by reflection
from the walls of the set. It is, therefore, possible with these
sets to record intelligible speech, where the speaker is facing
directly away from the microphone position.
One interesting fact in connection with the use of the
technic described is that the pictures recorded by it, are not run
too loud in the theatre. This probably results from the fact
that the reproduction is easily and comfortably understandable
at the back of the theatre, without excessive loudness.
There is one more important point to stress. Except under
very unusual conditions, the mixer dials should be set at the
beginning of the take and not touched thereafter. In other
words, the record should be made with the volume ranges de-
manded by the scene being depicted. This rule applies to more
than 90% of the recording required for pictures.
Any one who has done much mixing will realize the discom-
fort of complying with this rule, because of the natural tendency
to twist the dials. Someone has facetiously nicknamed this
tendency “mixer's itch.” Probably the best way to overcome it
is to continue to twist the dials, but limit the amount of twisting
to about 3 db. Since 3 db is scarcely noticeable to the ear, it
does no damage to the overall artistic result and is therefore
permissible. After the mixer has become accustomed to limiting
the twisting to 3db, he can then remember that since 3 db is
hardly noticeable to the ear. this amount of mixing not only
does no harm, but also does no good and therefore is unneces-
sary. In view of the fact that most of the recording does not
require mixer manipulation, it seems unfortunate that it is
necessary to appear to lay any stress on the exceptions by enum-
erating a few. However, it is necessary from certain practical
considerations to occasionally control the volume during record-
ing. An instance of this is as follows: when two actors, playing
opposite one another, have very different voice intensities, it is
legitimate to have one volume setting for the weaker voiced
speaker and another for the louder voiced speaker. This technic
should only be used when the speakers’ voices differ sufficiently,
so that they would be unsuitable from the standpoint of the
legitimate stage. A second example would be the case of very soft
dialogue of long duration occurring within a scene. It is then
advisable to raise the level of this slightly, to avoid the danger of
its being interfered with by surface noise after the prints be-
come old. Other similar situations would naturally be handled
in a similar manner. This rule might be restated as: Never
touch the mixer dials during a take unless there is an important
artistic reason for the resulting unnaturalness.
The final matter is scoring. Scoring is normally divided
into two parts, pre-scoring and post-scoring. Pre-scoring refers
to the condition where the sound record is made first, and the
scene photographed synchronously with the playing of this
record. The acoustics of pre-scoring should be designed to fit
the acoustics that would be expected in the scene which is to be
depicted with the sound record, and therefore each case is a prob-
lem of its own. However, the principles governing the acoustics
for this type of scoring are similar to those for sets.
In general, pre-scoring is best limited in incidental music,
music for dancing, marching or for other off stage sounds. It
is difficult to pre-score a song in which the singer appears in a
close-up or semi-close-up in the picture, since it has been found
that the singer pays more attention to keeping in synchronism
with the record than to acting. It is, therefore, preferable under
these conditions to make a direct synchronous take.
Post-scoring is the addition of music and occasionally dia-
logue to a scene which has already been photographed. The
greater part of post-scoring is done in a room or studio known
as a scoring stage, the acoustics of which can be adapted to the
requirements of this type of work. The two important acoustic
factors controlling such a stage are first, its time of reverberation,
and second, the distribution of sound absorbing, and sound
reflecting material within it. It is well known that for two ear
listening, the time of reverberation of a room for music depends
upon the size of the room. This is also true for one ear listen-
ing or recording, with the difference that the numerical value of
the time is less than for two ear listening.
The method of obtaining any given time of reverberation
within a room is completely described in Watson’s “Acoustics of
Buildings.”
The distribution of the damping is shown approximately in
Fig. 6. It should be noted that this is an attempt to artifically
reproduce natural listening conditions, namely, the music is re-
produced in the live end, which would correspond to the stage of
an auditorium, and the microphone is placed in the comparatively
deader end, which would correspond to the audience position.
The listening end of a room in an auditorium is not ordinarily
damped artificially, because the clothing of the audience consti-
tutes very effective absorbing material.
The adjustable damping shown in Fig. 7, is for two pur-
poses: First to compensate for orchestras of different numbers
of musicians, and second, to control the time of reverberation,
so that it lies in the desired region as shown in Fig. 6. Ap-
proximately 4 sq. ft. of rock wool 2 inches thick is equivalent in
damping, to the clothing of one musician.
There are probably many arrangements of the orchestra
players, which will give highly satisfactory results. Consider-
able experience has failed to disclose an arrangement which is
superior to the natural arrangement which the musical director
would choose, were he giving a concert in a small auditorium.
In view of the fact that it is often necessary to photograph an
orchestra while playing, this natural arrangement, which is
satisfactory from a visual standpoint, as well as a musical one
seems desirable. It should also be noted that with such a natural
arrangement, no special experience is required on the part of the
musical director. Samples of orchestra recording, made with
this type of arrangement, can be listened to by purchasing any
of the symphony orchestra records made in this country by the
Victor Talking Machine Company, and issued since the summer
of 1927.
In scoring, as in ordinary dialogue recording, the dials
should be operated as little as possible during a take. With or-
(Continued on Page 44)
May, 1930
American Cinematographer
Twenty-five
THE RUSH IS ON
Dont Be Caught Asleep
«
From all quarters of the World orders are coming in daily, by
mail, messenger, telegraph and cable— for
THE
CINEMATOGRAPHIC
ANNUAL
The Industry’s greatest Technical book, which is due off the press this
month, and which is published by
THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
THE WORLD’S LEADING CAMERAMEN
The first edition is limited, and there will be some who will not be able to
get this book, so send your order in today, and don’t
take chances of being disappointed.
Price $5*00 per Copy^ Postage Prepaid
If you are interested in cinematography, sound, projection, laboratory
work, art direction, home movie making, optics, or any phase of motion
pictures, you need this book.
Do Not Delay
SEND THIS COUPON TODAY
American Society of Cinematographers,
1222 Guaranty Building, Hollywood, California.
Gentlemen: Enclosed please find check (or money order) for Five Dollars ($5.00) for which
please send me prepaid, one copy of your Cinematographic Annual as soon as it is off the press,
which date will be April, 19 30.
Name Address
City State
Twenty-four
American Cinematographer
May, 1930
Technic of Recording Control
(Continued from Page 18)
materials as nearly as possible, and in particular should be
braced sufficiently so that they do not tend to materially partake
of the vibrations set up in the air by the sound.
When a set has been designed in this manner, experience
has shown that the incidental noises sound more realistic and
convincing, and that they may usually be recorded at the time
the original scene is taken. In one picture, on which this technic
was used, some dramatic scenes occurred which were to be in-
tensified by a period of sudden silence. In order to accentuate
the silence, the ticking of a clock, situated on the rear wall of
the set, was to be the only sound heard. The question was im-
mediately asked what should be used to imitate the clock. The
obvious answer is the clock, since it is difficult to get any other
instrument to sound more like the clock than the clock does.
The scene was recorded, using the clock as the source of sound,
with the microphone in the normal dialogue position for the
action, and a very successful sound record resulted.
In view of the stress that has been laid on the necessity of
sets having more sound reflection than those previously in use,
it might be of interest to consider why some of the sets of the
past have given what is commonly called a “tubby” quality.
There are two ways in which a set can cause the sound to persist
in it for a short time after the source has stopped. The first
of these methods is by reflection of sound from the walls and
floors and this method is the only one which should be active to
any extent. The second method is by a diaphragm action of the
walls. In this case the sound sets the walls into vibration, and
they continue to vibrate for a short time, thereby causing sound
after the original source has stopped. This type of “hang-
over” usually has a decided frequency characteristic and is
highly objectionable.
In the earlier sets, the spacing of the studding, and other
supports for the set-wall material, was so great that the natural
periods of the wall sections occurred in the same frequency
region as the fundamental tones of the average male voice.
This resulted in an accentuation of the low pitched frequencies
of the voice, without a corresponding accentuation of the higher
frequencies, which higher frequencies are responsible for both
the crispness and articulation. To make matters still worse,
where the sets were heavily draped, the damping material
usually absorbed these high frequencies more efficiently than the
lower ones.
With these early sets, which were designed in such a man-
ner that they accentuated the low frequencies, and removed, by
absorption, the high frequencies, it was practically impossible to
record highly intelligible speech unless the speaker faced ap-
proximately toward the microphone. With the liver sets recom-
mended, if the high frequencies, particularly those which carry
the hissing sounds, fail to reach the microphone directly from
the speaker’s lips, they do succeed in reaching it by reflection
from the walls of the set. It is, therefore, possible with these
sets to record intelligible speech, where the speaker is facing
directly away from the microphone position.
One interesting fact in connection with the use of the
technic described is that the pictures recorded by it, are not run
too loud in the theatre. This probably results from the fact
that the reproduction is easily and comfortably understandable
at the back of the theatre, without excessive loudness.
There is one more important point to stress. Except under
very unusual conditions, the mixer dials should be set at the
beginning of the take and not touched thereafter. In other
words, the record should be made with the volume ranges de-
manded by the scene being depicted. This rule applies to more
than 90% of the recording required for pictures.
Any one who has done much mixing will realize the discom-
fort of complying with this rule, because of the natural tendency
to twist the dials. Someone has facetiously nicknamed this
tendency “mixer's itch.” Probably the best way to overcome it
is to continue to twist the dials, but limit the amount of twisting
to about 3 db. Since 3 db is scarcely noticeable to the ear, it
does no damage to the overall artistic result and is therefore
permissible. After the mixer has become accustomed to limiting
the twisting to 3db, he can then remember that since 3 db is
hardly noticeable to the ear, this amount of mixing not only
does no harm, but also does no good and therefore is unneces-
sary. In view of the fact that most of the recording does not
require mixer manipulation, it seems unfortunate that it is
necessary to appear to lay any stress on the exceptions by enum-
erating a few. However, it is necessary from certain practical
considerations to occasionally control the volume during record-
ing. An instance of this is as follows: when two actors, playing
opposite one another, have very different voice intensities, it is
legitimate to have one volume setting for the weaker voiced
speaker and another for the louder voiced speaker. This technic
should only be used when the speakers’ voices differ sufficiently,
so that they would be unsuitable from the standpoint of the
legitimate stage. A second example would be the case of very soft
dialogue of long duration occurring within a scene. It is then
advisable to raise the level of this slightly, to avoid the danger of
its being interfered with by surface noise after the prints be-
come old. Other similar situations would naturally be handled
in a similar manner. This rule might be restated as: Never
touch the mixer dials during a take unless there is an important
artistic reason for the resulting unnaturalness.
The final matter is scoring. Scoring is normally divided
into two parts, pre-scoring and post-scoring. Pre-scoring refers
to the condition where the sound record is made first, and the
scene photographed synchronously with the playing of this
record. The acoustics of pre-scoring should be designed to fit
the acoustics that would be expected in the scene which is to be
depicted with the sound record, and therefore each case is a prob-
lem of its own. However, the principles governing the acoustics
for this type of scoring are similar to those for sets.
In general, pre-scoring is best limited in incidental music,
music for dancing, marching or for other off stage sounds. It
is difficult to pre-score a song in which the singer appears in a
close-up or semi-close-up in the picture, since it has been found
that the singer pays more attention to keeping in synchronism
with the record than to acting. It is, therefore, preferable under
these conditions to make a direct synchronous take.
Post-scoring is the addition of music and occasionally dia-
logue to a scene which has already been photographed. The
greater part of post-scoring is done in a room or studio known
as a scoring stage, the acoustics of which can be adapted to the
requirements of this type of work. The two important acoustic
factors controlling such a stage are first, its time of reverberation,
and second, the distribution of sound absorbing, and sound
reflecting material within it. It is well known that for two ear
listening, the time of reverberation of a room for music depends
upon the size of the room. This is also true for one ear listen-
ing or recording, with the difference that the numerical value of
the time is less than for two ear listening.
The method of obtaining any given time of reverberation
within a room is completely described in Watson’s “Acoustics of
Buildings.”
The distribution of the damping is shown approximately in
Fig. 6. It should be noted that this is an attempt to artifically
reproduce natural listening conditions, namely, the music is re-
produced in the live end, which would correspond to the stage of
an auditorium, and the microphone is placed in the comparatively
deader end, which would correspond to the audience position.
The listening end of a room in an auditorium is not ordinarily
damped artificially, because the clothing of the audience consti-
tutes very effective absorbing material.
The adjustable damping shown in Fig. 7, is for two pur-
poses: First to compensate for orchestras of different numbers
of musicians, and second, to control the time of reverberation,
so that it lies in the desired region as shown in Fig. 6. Ap-
proximately 4 sq. ft. of rock wool 2 inches thick is equivalent in
damping, to the clothing of one musician.
There are probably many arrangements of the orchestra
players, which will give highly satisfactory results. Consider-
able experience has failed to disclose an arrangement which is
superior to the natural arrangement which the musical director
would choose, were he giving a concert in a small auditorium.
In view of the fact that it is often necessary to photograph an
orchestra while playing, this natural arrangement, which is
satisfactory from a visual standpoint, as well as a musical one
seems desirable. It should also be noted that with such a natural
arrangement, no special experience is required on the part of the
musical director. Samples of orchestra recording, made with
this type of arrangement, can be listened to by purchasing any
of the symphony orchestra records made in this country by the
Victor Talking Machine Company, and issued since the summer
of 1927.
In scoring, as in ordinary dialogue recording, the dials
should be operated as little as possible during a take. With or-
(Continued on Page 44)
I
May, 1930
American Cinematographer
Twenty- FIVE
THE RUSH IS ON
Dont Be Caught Asleep
From all quarters of the World orders are coming in daily, by
mail, messenger, telegraph and cable— for
THE
CINEMATOGRAPHIC
ANNUAL
The Industry’s greatest Technical book, which is due off the press this
month, and which is published by
THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
THE WORLD’S LEADING CAMERAMEN
The first edition is limited, and there will be some who will not be able to
get this book, so send your order in today, and don’t
take chances of being disappointed.
Price $5.00 per Copy, Postage Prepaid
If you are interested in cinematography, sound, projection, laboratory
work, art direction, home movie making, optics, or any phase of motion
pictures, you need this book.
Do Not Delay
SEND THIS COUPON TODAY
American Society of Cinematographers,
1222 Guaranty Building, Hollywood, California.
Gentlemen: Enclosed please find check (or money order) for Five Dollars ($5.00) for which
please send me prepaid, one copy of your Cinematographic Annual as soon as it is off the press,
which date will be April, 1930.
Name Address
City State
Twenty-six
American Cinematographer
May, 1930
At Last It Is
Possible!
For many years Directors and Camera
Men have desired special effects in their
films after the sets have been shot and dis-
mantled^ or it is too late or too expensive
to make a retake. Such effects as making
a long shot into a close-up, putting in lap
dissolves and fades, making a miniature of
a scene and double exposing it over
another scene, and other special effects.
To meet this situation, the Burton Holmes
Laboratory has installed one of the new
DEPUE 35 mm. Optical Printers which
will do all of the above stunts and many
more.
Keeping abreast or ahead of the times has
always been the policy of this organiza-
tion.
Burton Holmes Laboratory
7510 N. Ashland Ave. CHICAGO, ILLINOIS
FOR BETTER
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Hollywood, Calif.
1606 Cahuenga Ave.
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Designing, Electrotypes,
Mats, etc.
Voice Test
(Continued from Page 13)
Nicht Wahr? .... Ja, ja, it is this time a speaking test only
to be. If she can not sing — pfui ! There are always doubles!
How soon are you ready.? .... So soon as I am? Wunderbahr!
I am ready when Mr. Westman the lady has made up ... . Ach,
here she comes now!”
“John Smith” went on up to the monitor room. It was a
bare, drab little place, but he loved it. It was his. His domain.
His temple — the inner sanctuary from which he controlled the
entire mystery of the recording machinery. Three bare, plastered
walls, and a fourth wholly filled with great, plate-glass bay-
windows through which he could survey the entire stage. Close
by, his throne and altar — an office chair and a plain table covered
with the mysterious controls of the system. Here, indeed, he
wielded a godlike power: here he sat in judgment over the
words of those below. A twist of the wrist, and they were
recorded for all time. Another twist, and they were cut off,
if he chose, in mid-phrase, or the words so terribly mutilated
that none might understand them. What mortal could wield
a more vast, unseen power over the words, the acts — even the
very lives and careers of his fellow creatures?
But enough of such romancing. The set was being lit up,
the great, sound-proof doors closing: things must be about
ready down there. He, too, must be prepared. He phoned the
recording-room. Yes, they were ready, cameras loaded, waxes
in place, all ready to turn over. He reached for the switch that
controlled the power. He closed it.
Suddenly, startlingly, a voice boomed from the loudspeaker
beside him: ”. . . . remember. Honey, this is the one big chance
for both of us. If your test is all right, you’ll get the part,
and you're .... we’re made. If you don’t — we’re sunk.
Remember, it’s our last chance, since the market hit you so ... .
our last chance. It’s your turn, now, to pull us both out of the
hole just as it was mine back East, when I rid you of . . . .”
“Smith” hastily switched off the power. Herb had left the
mike on that little set switched in. Yes, down there he could
just see a tiny, golden-headed figure in earnest conference with
a tall, shabby-looking man .... Must be the girl Steinberg
was testing .... and her husband .... or lover. Rotten trick,
going on like that just before a test .... Beastly thing, any-
way, saddling a woman with your troubles .... bad enough
to stand by and let her pull you out .... but to beg her to
.... God! What a cad. Why couldn’t he be a man .... shield
her .... protect her .... give her what she needed ....
what she wanted .... make her happy . . . .or — get out? ....
How could a man be so low as to drag a girl like that down
with his own failure .... How could he ... . ?
He carefully switched out the offending microphone, then
turned the power on again. He cut the main circuit in. There,
that was better! Things were coming through perfectly. He could
hear the director’s voluble instructions to Dick Miller, the
crackle of a cold lamp just turned on, the low, quiet voice of the
script girl — everything as it should be. It would be a fine
record. Well, he’d do all he could to help that poor child to
success. He’d do his part to make up for the burden her lover
imposed upon her .... He could do a lot, too, with such fine
equipment, all at its best .... not like Herb’s fool mike.
Wouldn’t do to test her with that .... it would ruin every-
thing He wondered if Herb had improved it any. Well,
there was time to listen through it, and see. He threw the
switch that controlled it ... . Lord! How it changed things!
He could just barely understand Dick, who was too far from
the mike .... but when that script-girl spoke again — what a
change it made in her voice! Made it all bassy and unin-
telligible It would never do to use a mike like that when
they were testing the poor girl Hastily he switched back:
he made a mental note — it was the third switch .... mustn’t
forget
The phone buzzed. That would be Steinberg’s assistant
calling to see if all was ready. “Hello. . . . Yes, sound is all
ready . . . . O. K.”
The loudspeaker shrilled to the note of the head gaffer’s
whistle. Lights flooded the set. The babble of voices hushed.
“Everybody quiet, please,” shouted the assistant. “Microphone
rehearsal. All right, Mr. Steinberg.”
Then Steinberg’s voice, soothing, coaxing. “All right. Miss
Daingerfield. We’re ready. Joost read those lines I gafe you
yesterday to learn. Ja — you know, where you are telling your
neglectful husband you must leaf him.”
I
MAY, 1930
American Cinematographer
Twenty-seven
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Then, a woman’s voice, clear, distinct, youthful. “All right.
. ... Yes, I’m going away! You have ruined my life — all these
years I have given you — slaved for you — worked for you — !’’
God! It was Doris Her voice Her test
Little Doris — Her big chance . . . her big chance
“ — But, Mr. Steinberg, I can’t go on like this. I just can’t
feel these lines at all. Won’t you let me use some that I can
feel? Mr. Allston here wrote some for me years ago, just for
such a scene. They — they fit Won’t you let me — please?’’
She would be looking up at him, with those wide, innocent
blue eyes .... dear eyes .... laughing, pleading up at him. . . .
“Ja, ja. Miss Daingerfield, ve vill giff them a try. If you
t’ink you can feel them better, und they go the part with —
pfui! They will do. Now try again.’’
“Thank you so much, Mr. Steinberg. It’s so wonderful of
you. There now — isn’t this better? .... Allan, (faintly) . . . .
Allan, I’ve got to talk to you .... now — even if you are
busy. I .... I just can’t stand it any more — this business —
this work of yours — all the time, work . ... 1 don’t seem
to mean anything to you any more I — we — we can’t
go on like this Perhaps we did love each other — once.
. . . . Perhaps you told me you’d give up anything for my
happiness — one: but what have you done since? Have you
given up even a moment at your office, to prove your love for
me? Have you — Oh, Allan, can’t you see. ...?’’’
Yes, at last he could . . . see. Words .... words The
very words she had used that night — every syllable, every tone
and modulation the same Just a part — lines — words . . .
that some other man had put into her mouth Words that
he had believed .... to the point of giving her everything,
happiness — all but life itself .... to squander on that thieving
blackguard Words that had broken him body and
soul — that meant so little to her that she could lightly retail
them for the world’s amusement And he had believed
them .... believed her .... loved her .... blindly . . . .
futilely — even when she trod him underfoot like a worm. That
was what he was — a worm — a blind, helpless worm, who
would never turn. Even now .... when he knew. It was too
late .... too late to turn "It’s your turn now, to pull
us both out of the hole — ” Her turn — and he had to help her,
again, as he had before, to triumph over him. . . . God! If only
her voice were poor — if it only recorded badly .... like the
script girl’s through Herb’s trick microphone .... Herb’s
microphone .... Herb’s .... Herb’s microphone was still
connected! A twist of the switch — that third switch — a turn
of the wrist — and the worm could turn. It was not too late!
It was not too late!
The telephone buzzed. Rehearsal must be over. He raised the
instrument to his ear.
“Hello?”
“Halloh, Vas that not goot, yes? .... So! Is everything
for shooting ready now? Fine!”
Dimly through the loudspeaker came the clang of the gong.
“Quiet! Quiet everybody — this is the picture!”
Then came another voice: “All right, give us an interlock.”
His fingers worked among the instruments before him. A
red light flashed in the camera booths.
“All ready. Turn ’em over!”
More commands flowed from his busy fingertips. Another
light glowed in the booths. The motors on cameras and re-
corders began to purr.
Through the speaker came a call: “Motors up to speed!
Let’s go — they’re sinking!”
He reached for the third switch.
The End
Twenty-eight
American Cinematographer
May, 1930
.|:ir
JWo vie Alak ing;
H
By William Stull, A. S. C.
AS SPRING again comes to us, and brings summer once
more into sight, many amateur cameras that were little
/ m used during the winter are being dusted off and pre-
pared for another summer of happy filming. And as
their owners look forward to their summer’s activities, the
prospect of individual dramatic filming is becoming more and
more enticing to many of them. But some who might like to
try such work hold back. Perhaps they are terrified at the
apparent immensity of the task; perhaps they feel that they
don’t know just how to go about it: at any rate, they deny
themselves a great deal of pleasure thereby.
The cinematography of the amateur dramatic production is
in no way different from the sort that most experienced ama-
teurs are already accustomed to doing; the chief difference is
the fact that a dramatic film cannot be a one man show. It
requires the serious, concerted efforts of several people if it is
to succeed. Secondly, this concerted effort must climax care-
ful, detailed preparation. A picture may perhaps be made with-
out preparation, but it can not be made efficiently and success-
fully without it. Professional film people found that out long
ago, and "shooting from the cuff” has accordingly been tabu
for many years. Today more time is often spent on the prep-
aration of a picture than on the actual camerawork, so that
when the shooting commences, every move is known and ar-
ranged for in advance.
The amateur can do no better than to follow this example.
Why shouldn’t he be prepared, when he has quite enough
technical and artistic handicaps to overcome already? Of course,
in personal film work there must always be a certain amount
of impromptu shooting, but in organized dramatic work,
and wherever else it is at all possible, the amateur should work
from a definite plan. This plan may be merely a mental outline,
or it may be a detailed, written script: but a plan there should
be.
In the cases where a definite, written script is possible, this
script should be prepared as far in advance as is feasible, and
be made as complete as possible. The script should grow out
of a brief synopsis of the plot, or action. This is the scenario
itself. Then, once this action has been definitely perfected and
approved by all concerned, the synopsis should be enlarged to
form a shooting continuity (commonly called a working script)
This is literally a written word-blueprint of the picture as the
camera will see it. It should specify every scene, giving the
number of the scene, the estimated footage, the camera set-up.
the angle, the action, and the type of location. Spoken titles
should be included in the script, so that the actors may know
what words to speak when making the corresponding scenes.
Before starting the camerawork, there are several definite lists
which should be made up, as without them much confusion
and loss of time and effort will result. First there is the list
of the locations upon which the scenes will be filmed. The lo-
cations should be selected in advance, and listed with the scenes
to be taken at each, and with the people needed at each. It
is also well to note the time of day when the light is right
for each scene on this schedule. Then there is the property
schedule, which again enumerates the scenes, and lists the
"Props” needed in each. Any inanimate object used in a
scene is a Prop whether it be a Rolls-Royce or a can of
fishing-worms. In some cases, certain photographic accessories
might well be on this list, too. Such a list is vitally important
to the chief Property Man, if his very important work is to
be done efficiently.
When the picture is being photographed, it is wise to have
one individual whose time is exclusively dedicated to keeping
track of every detail of the action of the scenes photographed.
This person is called the Script Clerk, and the job is far from
being a lowly one, for it is highly important, and involves a
tremendous amount of detail. In making a picture, scene 26,
showing the hero leaving his room, may be shot today, while
scene 2, showing him leaving the house, may not be photo-
graphed until a week later; if there is no lynx-eyed script-
clerk to check up on him, he may leave his room in perfect
morning costume, with spats, gloves, and a cane, only to leave
the house — apparently ten seconds later — in flannels and a
tennis-racquet. Such things are constantly watched in profes-
sional pictures, but even so, mistakes sometimes occur: Emil
Jannings, for instance, once grew a very bushy head of hair
apparently overnight! Even more remarkable mistakes have
been known to occur in amateur films, so the script clerk is
almost as important as the director or cinematographer. Besides,
this detailed notation is a tremendous aid in keeping entrances
and exits from becoming "crossed”, and in editing and titling
the film afterwards.
Each scene bears a number on the script; that number should
be photographed on the film after the scene is made. In the
studios this is done by holding up a slate in front of the camera
while a few feet of film are ground off. This slate bears the
number of the scene and "take” in moveable letters, the names
of the director and the cinematographer, and the name of the
picture. On the back of the slate is painted the self-explanatory
legend, "N, G.” If the scene is good, one side of the slate
is photographed; if it isn’t, the other side is used. For ama-
teur use, in place of such slates there are a number of useful
devices made, best among which are the scene-numbering note-
books made by Bell U Howell and Eastman. These will carry
all the information needed, yet they fold up to pocket size.
They form a valuable written memorandum of the scenes and
their contents for future use, and the numbers are the only quick
method of identifying the scenes in editing.
Now, do you think that the use of a prepared script will
stifle inspiration and originality. Far from it; a prepared
script is intended more as a guide than as an iron-clad sched-
ule. It is to show what is needed, and how to get it in the
quickest time, and to prevent one’s shooting ten scenes for a
spot that will only accommodate one. True originality should
have mixed with it enough intelligence to be able to distinguish
between a guide and a shackle. The sort of "genius” which
has to shoot a hundred reels to make one perfect one has no
place behind a movie camera. There — particularly in the ama-
teur field — the goal should be efficiency: knowing what is
wanted before starting, and then the ability to get it with
neatness and dispatch.
However, don’t be fooled into thinking that working hast-
ily is working efficiently. The deft speed that is born of
practice is far different from the slipshod speed engendered by
a desire to rush a scene through. Each person has his own
most efficient working-speed: learn yours, and adhere to it
under every condition. It is not the impression you make on
the people watching you take your picture that counts, but the
impression your work makes on the film! If you would always
make good pictures — dramatic or personal — first, know your
camera; then, know yourself. Then, dare to be yourself —
and you cannot fail.
May, 1930
American Cinematographer
Twenty-Nine
Announcing the new B&H
PHOTOMETER
See the Photometer at your dealer’s or write
for literature. Price $20 with leather case.
(Right) Objective lens side
of Photometer, showing
filament button and expo-
sure reading scales.
(Left) View of Photometer,
showing bell -shaped eye-
piece.
Sight direct , . • get accurate
exposure readings
From the new Bell & Howell Engineering Laboratories
comes a revolutionary advance in exposure meter design
— the B&H Photometer
This attractive pocket-size instrument gives exact ex-
posure readings from F 1. to F 32. for FiLMO 70 and
FILMO 75 Cameras. With direct sighting on the object,
exposure readings may be obtained for as small an area as
the human eye. Specific exposure may be obtained for
high lights or shadows or average light.
Other models available shortly
for B. & H. Standard Cameras,
Eyemo, still cameras and other
types of motion picture cameras.
The Photometer utilizes a well known photometric
principle — direct comparison of the brightness of the sub-
ject to be photographed with the brightness of a slender
incandescent filament. This filament runs through the
Photometer eyepiece, across the field of vision. You sight
on your object, vary the brightness of the filament to match
the brightness of the object . . . and you have your reading.
The scientific principle upon which the Photometer is
based guarantees the accuracy of the exposure readings
and makes it invaluable to all cinematographers.
The new B&H Filmo All-Metal TRIPOD
The new B&H Tripod is easily the most rigid and steady
of its kind ... an ideal professional-type tripod for Eyemo
and Filmo owners. It is built with tubular extension legs
and with simple means of locking them into position. The
swivel head is an integral part of the legs, and has a self-
compensating tilt mechanism which prevents the camera
from tipping over and falling. A live spring retards the tilt,
holding the camera firmly in neutral upright position when-
ever the guide-arm is unlocked. When in use, the camera
is tilted with ease, and when pointed at the object by the
aid of the guide-arm is locked in position by a twist of the
wrist. The head "pams” with frictionless ease and evenness.
Price $36.00. See your Filmo dealer or write for literature
BELL & HOWELL
FILMO
Bell & Howell Co., Dept. Q, 1848 Larchmont Ave., Chicago - New York, Hollywood, London (B&H Co., Ltd.) Established 1907
Thirty
American Cinematographer
May, 1930
Let’s
Trade
Cameras!
—Bass
Stills for Movies Old for new
Movies for Stills New for old
Bass is internationally known
wherever cameras are used . . .
stills or movies . . . amateur or
professional apparatus.
Write your requirements. Give
full description of what you
have for appraisal. Write Bass
first.
CAMERA
Company
179 W. MADISON ST,
Chicago, 111.
State 7410
Could you use extra
MOTLEY 1
A few hours a week
may increase your
income materially
FOR DETAILS FILL IN AND MAIL
Circulation Dept.,
American Cinematographer,
1222 Guaranty Bldg., Hollywood, Cal.
Please send me details explaining how I can increase
my income.
Name
Address
Big Merger of Hollywood Concerns
in Amateur Field
W ITH 1 6 millimeter motion pictures developed from a
toy into a world-wide industry, and with business in
general tending toward consolidation, the merger of the
Centaur Film Laboratories, Inc., Cine Art Productions, Inc., and
the Hollywood Movie Supply Company, all of Hollywood,
whose activities have pertained to the 1 6 millimeter motion pic-
ture industry, into Hollywood Film Enterprises, Inc., has just
been consummated. This will make one of the largest organiza-
tions of its kind in existence today.
The new organization will reach out into the many branches
of the 1 6 millimeter field and is planning many things for the
future development of the industry. Simultaneous with the an-
nouncement of the consolidation is the announcement of cine
Voice, “the voice of home movies,” a portable home talking
picture attachment Hollywood Film Enterprises, Inc., is putting
on the market.
This device, which will attach to any 1 6 millimeter motion
picture projector or any portable 35 millimeter projector, has
been carefully planned and built according to the specifications
of sound engineers of the professional motion picture world.
It plays sound-on-disc talking pictures recorded either at the
standard professional speed of 33J/3 revolutions of the turn-
table per minute, or at the standard phonograph speed of 78
revolutions per minute.
Along with the announcement of cineVoice also comes the
announcement of the first films of a series of full reel feature
talking pictures for the home recorded at the professional speed
of 331/3 •
Sound recording studios are being prepared by Hollywood
Film Enterprises, Inc. Under one head will be a complete pro-
duction unit with every facility for the making of both sound
and silent pictures for entertainment purposes, these films being
released exclusively in 1 6 millimeter, and also for the produc-
tion of industrial and advertising films. A complete production
staff will devote full time to the making of these last two types
of pictures in both 35 and 16 millimeter.
This merger brings into co-operation with this producing
unit a distributing organization which is known throughout
the world as the distributor of Cine Art 1 6 millimeter motion
pictures for the home, and also one of the finest and most com-
plete laboratories devoted to 1 6 millimeter films there is today.
The laboratory is also doing developing and printing for some
of the foremost motion picture producers in Hollywood. The
unit which was formerly the Hollywood Movie Supply Com-
pany, will continue as a retail distributor of motion picture
equipment in and around Hollywood, California.
Hollywood Film Enterprises, Inc., as well as taking over the
parent companies, will continue to maintain the branch offices
established by Cine Art Productions, Inc., in Chicago and New
York. These offices will be direct branches of Hollywood Film
Enterprises, Inc., for the marketing of Cine Art 16 millimeter
films and cineVoice, and for the making of industrial pictures,
both silent and sound, with a production staff available at each
of these offices.
The New York office, located at 6-8 East 46th Street, will
be in charge of Mr. Harry S. Millar, who has been with Cine
Art Productions, Inc., for the past two years. Mr. John J.
Mertz, who has been with Cine Art Productions, Inc., in Chi-
cago during the past year, will be in charge of the Chicago office,
located at 109 North Wabash Avenue.
Linguistic Difficulties
A CCORDING to American Consul Samuel T. Lee, Lisbon,
^ Portugal, the explantions of all films in Portuguese territory
must be written in idiomatic Portuguese. There are no regula-
tions regarding sound films but since the Government is a
dictatorship a single decree of the appropriate ministry will
suffice. It is understood unofficially that musical portions of sound
films will probably be permitted in foreign languages but not
dialogue. Spanish is the only foreign language generally under-
stood though the patrons of the best cinemas know considerable
French.
A message from the Committee of the International Film
Congress, in Brussels, states that according to announcements re-
ceived up to now, 20 nations will be represented at the Congress
next month.
Thirty-one
May, 1930
2\^EW
American Cinematographer
Exposure ^.^eter Introduced
"By "Bell and Howell
Distribution of “Photometer” to Start This Month
T he Bell ^ Howell Company has announced
another new product, which should be of
tremendous interest to every user of 1 6 milli-
meter cameras. It is a new exposure meter which is
B called the B. H. Photometer.
1 This Photometer is said by its manufacturers to
1 “mark the greatest forward advance in exposure
1 meters yet witnessed in the whole era of photog-
ra raphy.” Distribution is scheduled to start the first
of this month.
i “Movie makers everywhere,” say the manufac-
turers, “will welcome this instrument and its eli-
mination of guesswork in determining exposures.
I While experience sometimes develops a certain abil-
§ ity to guess the correct diaphragm setting, most
I amateurs are in despair when it comes to determin-
I ing exposure by this ‘hit and miss’ method. This
i new, compact. Bell Howell pocket exposure meter
t will make possible instantaneous readings of almost
I infallible accuracy. The operator can now be sure
I of correct exposure on every shot.”
^ “The B. frf H. Photometer is so sensitive,” say
i the manufacturers, “that a person’s face, for ex-
I ample, can be exposed for the particular effect de- ® Photometer
sired. Dark areas and shadows can be exposed
specifically — an unprecedented achievement.”
According to the information supplied by Bell
Howell, this Photometer, a product of the new
Bell & Howell Engineering Development Division,
is of an entirely new type. It is based upon a simple
laboratory method of light intensity measurement.
The light intensity, or brightness, of a small sur-
face, in the instrument, furnished by the incandes-
cent filament of a small electric light bulb, is made
to match the brightness of the surface or subject
to be measured. The brightness of the filament is
varied or controlled by the simple operation of
turning a dial. The direct comparison of the bright-
ness of the filament with the brightness of the sub-
ject, as viewed through the eyepiece of the Photo-
meter, permits a quick and direct reading, taken
from the dial, of the lens diaphragm opening to
be used for the subject being photographed.
“This new method,” continues the announce-
ment, “is unique in that it permits finding the ex-
posure while actually seeing the subject. This makes
it possible to determine the exposure required to
register shadow or dark details, or highlight or
light area details, or to strike an average exposure
(Continued on Page 44)
New B. is H. Photometer in Actual Operation.
Thirty-two
American Cinematographer
May, 1930
On with the 'Dance
Larry Ceballos Teaches How to Dance by Means of Screen
By Hal Hall
T eaching prospective screen dancers how to dance for
the screen by means of the screen is the unusual method
which is being employed by Larry Ceballos, who is in
complete charge of all the dancing and dancers for Warner
Brothers and First National Studios in Hollywood.
The Ceballos system was conceived one day when Ceballos
was at a friend’s house and saw a 16 mm. picture in slow
motion of a golfer showing the correct and incorrect manner
of whacking the little white golf ball over the greensward.
That gave Ceballos an idea which he immediately tried out with
untold success.
“At the start,’’ explains Ceballos, “it was quite a difficult
task to get our dancers to do their stuff in just the proper
manner for the screen. And then came this idea. Now it is easy.
For there is nothing that shows one their defects quite so well
as on the screen.
“You see, I get some new dancers in. I show them just
what the steps are for the particular number we are going to
use in the screen play. They rehearse and we photograph them
when they think they are beginning to get good. Then we
take the dancers to the projection room and let them see them-
selves. That is enough. Those who are good can see it. Those
who are not can also see it. No need for lecturing then. They
sec for themselves and there is no argument.
“That is where the screen dancer has the advantage over the
stage dancer today. On the stage the girls cannot tell how they
look. They just do the best they can, and have to let it go at
that. But here our dancers can take a look at themselves and
sec how they are going to look to others. A decided advantage.
“Then, too, this method gives us the opportunity to see just
whether or not the dance will appear to advantage on the
screen. We might think a certain dance is wonderful when we
are looking at it with the girls or boys actually before us. But
on the screen the rhythm may be all wrong. It may not register
at all. With sound, the complications set in, especially if there
is acrobatic or tap dancing. So we can find out at slight ex-
pense if a number is going to go over on the screen or not.”
Ceballos, whose whole career has been devoted to the dance
art, believes that dancing will have a big influence on the screen;
that it will even bring about an entirely new type of picture
some time in the future, just as it has had its effect on the
stage.
“Not until the sound pictures came,” says Ceballos, “did
the dance have very much to do with pictures. That was
probably because of two reasons. Before sound the musical show
type of picture did not mean so much, and also the sound of
the dancers’ feet has a certain fascination that is irresistible. In
the old days of the silent screen one always had a peculiar idea
that perhaps the dancers were really not dancing when you saw
them float about with no sound. Now it is different, and the
dancing is becoming a big factor in pictures.
“A musical comedy is not a musical comedy unless there is
dancing. The more dancing the better the show as a rule. But
I feel that we are going to have more than musical comedies
with dancing. I feel certain that the future is going to see the
dance playing a big part in pictures. It must. The dance is one
of the very oldest of the entertainments, and it has its direct
appeal to everyone. There is a certain grace and rhythm about
dancing that appeals. It makes one forget the sordidness of this
old world for a time, and wafts you away into a land of en-
chantment where cares are forgotten and brings beautiful
thoughts into troubled brains.
“I can see in the future big pictures founded solely on the
dance. The tempo of the picture will be governed by the
dancing, and it will be a tremendous box office success.
“Dancing has an excellent influence on the screen. Thou-
Larry Ceballos’ girls at First National do not mind the snow.
VlAY. 1930
American Cinematographer
Thirty-three
Ceballos in action putting First National Chorus through its paces in preparation for a picture
i< sands now see the best in dancing as compared to hundreds in
jtthe past. The result cannot help but be for the good of the
I ' whole. Peoples of the world are influenced in their choice of
.clothing, furnishings, homes — practically everything — by the
1 motion picture. And so it will be with the dance. Few of us
( can sing, for we do not have the voices. But most everyone
(can dance and the dances of the screen will influence the danc-
1 ing of the screen patrons. It is inevitable. For that reason we
( cannot be too careful about our dances. They must be of the
' very finest and the best. We must watch carefully to keep out the
• suggestive and the immoral. That must not be. In the future
1 I look for the new dance steps to come from the screen.
“And while on the subject of the screen’s contributing to
; life in general, let me say that the time is coming, in my
I opinion, when the stage will begin to draw its plays and musical
shows from the screen. For years the screen has been taking
stage plays and making them into pictures. The tables are going
to be turned in the future. The greatest minds are being em-
ployed by the picture companies. It stands to reason that even-
tually the stage is going to be buying screen plays for stage
presentation.”
Ceballos has approximately a half hundred dancers on his
regular staff at the studio. These are kept in vigorous train-
[ ing daily. There is no let down at all. When they are not
j rehearsing for a picture or playing in a picture the dancers are
working out new steps and dances for future productions. His
dance studio is one of the busiest spots on the studio lot.
Motion Picture Film Visualizes Mining, Distri-
bution and Utilization of Sulphur
E HE mining, distribution and uses of sulphur, a mineral of
great economic importance, are visualized in a new two-reel
educational motion picture film just completed by the United
I States Bureau of Mines, Department of Commerce, in co-opera-
tion with a large producing company.
The United States produced about 2.000,000 tons of sul-
phur in 1929, or more than 80 per cent of the world total, a
i * carload of sulphur being produced in this country every ten
minutes, it is pointed out in the film.
The early scenes show a typical sulphur mining town near
the Gulf of Mexico in Texas, where mpst of the domestic sul-
phur is mined. The highly ingenious process by which sulphur
is mined, by melting it underground with heat supplied by
superheated water, and then forcing the liquid sulphur to the
surface by compressed air, is next illustrated. Views are given
of the huge boilers for the generation of steam used for water
heating and power and of the great reservoirs necessary for the
insurance of adequate supplies of water. The treatment plant in
which scale-forming minerals are removed from the water be-
fore it enters the boilers and heaters is also shown.
Wells are drilled down through various formations of the
sulphur-bearing strata, and are equipped with concentric pipes
which carry down the heated water and compressed air and
bringing up the liquid sulphur. A series of views picturizes the
drilling of the wells, in which ordinary oil well drilling equip-
ment is used. A diagrammatic sketch of a cross section of a
sulphur dome indicates the various strata of sand, clay, gumbo,
limestone, calcite, and gypsum encountered in the drilling of a
well. By the use of animated photography, every step in the
process of the melting of the sulphur at a depth of 1,000 feet
and the forcing of the liquid sulphur to the surface by com-
pressed air is made plain.
A series of scenes demonstrates how the liquid sulphur from
the wells is piped to relay stations, then pumped to a main
pumping station and elevated to the top of huge storage vats,
where it cools and solidifies. The sides of these vats are built
up to a height of 40 to 50 feet in sections, as needed, to hold
molten sulphur in process of solidifying. Each vat contains more
than 1.000.000 tons of sulphur.
When a vat has reached the desired height the sides are re-
moved and the sulphur is blasted for loading in shipment. A
series of interesting scenes depicts the drilling of blast holes in
the top of the huge vat, the firing of the blast, and the load-
ing of the sulphur into railway cars. Four thousand pounds
of sulphur are picked up at a time in the buckets of the power-
ful hoisting machines used.
The loading of the sulphur in ships at a Gulf port is next
depicted. A big belt conveyer is used to put the sulphur aboard
the boat, and the sulphur is weighed on the belt at the top of
the incline. In 1929, nearly 800,000 tons of sulphur were ex-
ported and more than a million tons were shipped to United
States points, it is explained.
Animated photography is again resorted to in demonstrating
that a pile of 1,000,000 tons of sulphur, equal to the contents
of one of the huge storage vats, is larger than the Capitol at
Washington, D. C.
The numerous important uses of sulphur are demonstrated
also by the use of animated photography, a cube supposed to
represent 1,000,000 tons of the material being chipped off into
sections representing the amounts used for this purpose. Of
{Continued on Page 39)
Thirty- FOUR
American Cinematographer
May, 1930
Do not
guess
Always use a
CINOPHOT
or
DREMOPHOT
EXPOSURE METER
Obtainable at all Dealers
and at
Eastman Kodak Stores
all over the World
DREM PRODUCTS CORPORATION
152 West 42nd Street * New York, N. Y.
New Amateur Camera With
Visual Focusing Finder
'^HE Victor Animatograph Company of Davenport, Iowa.
has just made an announcement that should be of great
interest to all home movie makers. It is a new 1 6 mm. Cine
Camera permitting direct visual focusing. This is the first in-
strument of its kind to be equipped with a visual forcus finder,
and marks a decided forward step in the 16mm. field. This
camera is called the Model 5 Victor Cine Camera.
The lens to be used is turned to the finder position, and by
actually observing an image which exactly corresponds, as to
size and focus with the one that will be exposed, each scene
may be individually focused, without paying any attention at
all to the focusing ring on the lens, except moving it, of course,
to produce the sharpest possible focus.
This focusing feature makes more practical than ever, the
use of the very fast lenses, particularly the F. O. 99 Dall-
meyer and any of the other lenses of exceptionally large open-
ing.
Also, it makes possible the accurate focusing of very close-
up objects, even to within a few inches of the camera. This
finder is in such position that it can be readily used on a tripod
with the camera at eye level as well as when the camera is
held in the hand. The focusing finder is very accurate. It
registers exactly the same as the aperture. When the image
has been focused, a one third turn of the turret brings the lens
to operating position.
Another feature of the MODEL 5 VICTOR CAMERA is
that every essential operating speed is provided — 8 frames per
second (half normal) — 16 frames per second, (normal) —
24 frames per second, for making better pictures of rapidly
moving objects, — 32 frames per second — and for SLOW-mo-
tion, 72 frames per second, or 4J^ times normal. The op-
erating button gives these additional speeds at a slight turn,
and a lock-down operating position is provided for 8, 16, and
24 frames per second. A non-operating lock position is also
provided.
The turret front is provided with three convenient knobs,
for revolving the turret, without touching the lenses. All parts
formerly nickeled are polished chrome plated and a number of
minor mechanical refinements have been adopted.
According to an article by Prof. Sucharodsk in “Berlin Am
Morgen” (Berlin, Germany) , it will shortly be possible to give
cinematographic lessons in the 150,000 schools in Russia, which
are being equipped for projection.
3MAY, 1930
American Cinematographer
Thirty-five
Little Sunny
2C.CCC CANDLE POWER
of Even, Intense Light over a full 90°
The above picture, made on 16MM film with 1/3 2
second exposure at F:3.5, shows what one Little Sunny
Twin will do. The lamp was 10 feet back from the
subject and no other illumination was available.
Little Sunny Twin is the only lamp at its price that
delivers a full 90° angle of evenly intense light suffi-
ciently fast for F:3.5 movies. Operates on 110 volt
A. C. or D. C. Semi-automatic. Draws only 15
amps. Try it 10 days. Money back . instantly if you
are not satisfied. Order now and get valuable book of
instructions on "Interior Movie Lighting" free of charge.
LEONARD WESTPHALEN
428 Rush St.. Dept. AC., Chicago, 111.
Twin
Only
$25
Complete
Outfit includes lamp,
six "pan" or "white
flame" carbons, six-
foot nickeled ex-
tension stand and
long cord. State
kind of carbons
wanted. Extra car-
bons, $2.00 dozen.
Bell HowcH’s New Tripod
'THE new Filmo All-Metal Tripod, which is announced
for May 1, was developed to meet every requirement of
the personal movie-maker. Telephoto as well as short shots
can be made without risk of jerkiness on the film and the
consequent lessening of the effectiveness of the projected pic-
tures. The new tripod is a Bell Howell designed instrument,
a product of this company’s new engineering laboratories. It
has a standard tripod socket and hence can be used with any
camera.
The construction of this tripod is a radical departure from
that of the usual light portable tripod for the amateur or
semi-professional. It is remarkable for its rigidity, for its
light weight and compactness, as well as for its unusually
versatile performance and its convenience in use.
It is provided with adjustable extension legs, with simple
means of locking into position. Its swivel-head provides for
every desired angle and camera movement. This head is an
integral part of the legs and is dust-proof.
An automatic tilting counter-balance is a distinctive fea-
ture of this tripod. The counterbalance prevents the camera
from pulling forward and tripping the tripod over. It also
makes for smoother tilting, since it relieves the operator of
much of the camera’s weight. The counterbalance spring in the
center of the tilting spindle is of the correct strength to pro-
vide balance for the Filmo 70 camera at any angle, and is also
very helpful when using a lighter or heavier instrument, either
motion picture or still camera.
The tripod pams with ease and extreme evenness. A constant
and even application of balanced friction prevents jerkiness
on one hand and too great freedom on the other. The result
is an extraordinarily smooth pam which is greatly enjoyed
on the screen. It is this unique principle of applying balanced
friction that has hitherto been so difficult to work out.
Three Screen Companies Are Joined in Merger
With the acquisition by the Motion Picture Screen Corp. of
the manufacturing plant, assets, patents, processes, name and
good-will of the Truvision Projection Screen Corp., now bank-
rupt, three screen companies are brought together under one
management. The other concern is the Beaded Screen Corp.,
with which the M. P. Screen has become affiliated.
Order Your Annual Now!
16 mm.
Specialists
Cameras, projectors and accessories of all
reputable makes for sale and rent. A 16
mm. film sale and rental library. Also 35
mm. portable cameras and projectors for
sale or rent. Developing and Printing.
Hollywood Film Enterprises, Inc.
6058 Sunset Blvd. GRanitc 0220
Order Your Annual Now!
ENERGIZE YOUR FILM!
Use Kleena-fytm Process
It cleans, rejnvenates, restores and maintains pliability in old film. A
non-inflammable flnid easy to apply. Clearer projection. Gnaranteed.
At dealers, or postpaid, 85c
522 Fifth Ave.KLEENA-FYLM CORP. New York, N. Y.
Pacific Coast Distributors Western Pacific Bldg.
Craig Movie Supply Co. Los Angeles, Calif.
Thirty-six
American Cinematographer
May, 1930
in production with an array of sure-fire all-talking, all-sound
pictures, — 100% synchronized at 33Vi R.P.M., in 35 m/m
and 16 m/m, and priced no higher than silent subjects!
0301
“THE RECORDIONS”
Featuring Doris Becker, the penonalitv girl.
0302
“THE RECORDIONS”
Featuring Don Clifford, the Midget Musicmaker.
0303
“HAWAIIAN NIGHTS”
Featuring Johnny and Joe with Neva Atherton.
0304
“RECORDION MINSTRELS”
An orchestra black face minstrel specialty.
0405
“DARK BROWN BLUES”
Featuring King Tut*s Brown Jug and Washboard Band.
0406
“GRANADA ROCKETS”
A famous chorus of nifty steppers. With orchestra.
0407
“YELLOWSTONE PARK”
Nature’s greatest wonderland in sound.
0408
“AN EVENING AT HOME”
Featuring Jack and Patricia, famous radio entenatners.
0509
“GORDON STRING ENSEMBLE”
A tuneful trio featuring Miss Edith Gordon.
0510
“TWINKIE TOWN TALES”
An amusing fairy ule in cartoon and sound effects.
0511
“DARKTOWN REVUE”
An all-colored revue with an all-colored Dixie orchestra.
0512
“GIVE AND TAKE”
Featuring Tony Kabooch. radio’s favorite entertainer.
1^^ All RECORDION Dealers stock Recordton Pictures,
II If your dealer does not« write direct.
IJ Each 16 m-m subject measures approximately 200 feet J
1^^ and sells for $20 each, with record.
National Film Publicity Corporation
311-409 South Sarah Street Saint Louis, Missouri
Mimu/iicturers of the RECORDION SYNCHRONIZER for <xli makes of portable projectors.
May, 1930
American Cinematographer
Thirty-seven
ILcn Roos, A.S.C., Settles Down as Manufacturer
Len Roos in the old days when he was a wanderer
M ost wanderers usually settle down after a certain number
of years. The reasons for such cessation of globe-trotting
are many and varied, but in the case of Len Roos, well
I known member of the American Society of Cinematographers,
I the reason is one of the most unusual this writer has hit upon.
Len for years wandered all over the face of the globe with
I his camera, making news reel pictures, independent pictures and
] pictures in strange lands for various big companies. You never
know just where Len’ was going to bob up with his camera.
I China, India, Borneo. Siam, Africa, South America — he was
( everywhere.
But a few months ago he landed back in Hollywood. No one
( expected to see him here for more than six or eight weeks.
I However, he is still here, and present indications are that he
will probably be here from now on.
The reason for Len’s arrival in Hollywood was to find some
' sort of sound equipment that would be really portable and
< could be carried around by a traveling cameraman and used in
. any part of the world without the necessity of taking an
t engineer and a force of helpers along. Len didn't find what
1 he wanted, so he started creating such a device himself. The
I result is the Tanar Corporation, Ltd., an organization manu-
I facturing portable sound equipment that can I)e carried by a
(Cameraman and his one assistant: an equipment that can be
I placed in two grips and carted by hand, horse-back, mule-back
( or wheelbarrow, and which can be set up for use in a few
I minutes anywhere.
Len’s idea at first was to build something like that for him-
self, but he saw the possibilities in it and soon a company was
I formed and now Len has just about forgotten the business of
I being a cameraman for that of managing a manufacturing
( concern.
"I have an itching heel every now and then,” says Len,
‘‘and I feel that some day I shall just pack up my camera and
make one more trip. But with business as rushing as it is now
and with orders piling in on me, I don‘t see when that day
will come. There are so many other men who are clamoring
for real portable equipment that I simply can't fail them. So
I guess that last trip will have to wait for a while.”
So that’s that. The wanderer has quit wandering.
Sound-on-Film Device Developed by Pacent
A new all-frequency method of sound-on-film recording.
said to combine the best features of both variable area and
variable density recordings now in use, has been developed by
Pacent, it is announced by Louis Gerard Pacent. The heart of
the new system is a revolutionary lamp. Other features include
great reduction of background and extraneous noise, and it is
claimed that, from the theatre standpoint, the new device repre-
sents a great step forward in effecting lifelike reproduction.
18 Cameras Being Added to Technicolor Fleet
E ighteen new cameras, one of the largest individual cam-
era contracts ever placed, will be added shortly to the fleet
of 35 already doing service for Technicolor, it is announced by
Dr. H. T. Kalmus. Less than a year ago there were only 9
Technicolor cameras in existence.
France
T he president of the Council, Minister of the Interior,
addresses on February 24, a letter to the Prefects of France
and Algeria dealing with the use of non-flam film. The atten-
tion of these officials is drawn to the fact that Pathe Rural and
Cinelux projectors (the latter using Ozaphance stock) offer such
guarantees of safety that authority may be granted to use these
machines on premises which do not dispose of separate projec-
tion cabins. Other safety regulations, however, namely those
dealing with the premises, exits, etc., have to be rigorously en-
forced as heretofore.
A company entitled Societe Parisienne Cinematographique has
been formed in Paris, its object being production, distribution
and export of cinematographic films. The company has a cap-
ital of 2,000,000 francs in 500 francs shares, of which 600
will be handled to Mr. Georges-Friede, the founder. Mr. Friede
will also receive 1,000 founder’s shares.
Africa
T he public in North Africa requires sound-films, states a
trade paper. An American sound picture met with excep-
tional success, in spite of the fact that the silent version was
already known to the Algerian public, while others have also
received successful exhibitions. All the first-run theatres of Oran,
Fez, Rabat. Casabalanca. Tangiers, Sidi bel Abbes, are expected
to be wired in the near future. Two cinemas in Tunis, one in
Casabalanca. and one in Algiers already have American appara-
tus. In addition there are three French-made installations in Fez
and Casabalanca. A “flying” servicing unit has been instituted
in North Africa by an American electric company.
A new company, the Ondra-Lamac G. m. b. H., has been
formed in Berlin with a capital of 20,000 marks. It will deal
with the production and distribution of films, especially sound-
films. Karl Lamac is to be the manager.
Roy Davidge
Film Laboratories
Negative Developing and Daily Print
exclusively
6701 SANTA MONICA BLVD.
GRanitc 3108
Thirty-eight
American Cinematographer
May, 1930
In every state in the U. S. A. and in 36 foreign countries pro-
fessional and amateur cinematographers, as well as men and
women in various branches of the motion picture art, read
The American Cinematographer
It has a record of 10 years’ service behind it, and
a reputation as
A REAL AUTHORITY
Mr. Ma nu acturer: I
You are missing a big opportunity if you fail to I
ADVERTISE IN
The American Cinematographer
A magazine published under the auspices of
The AMERICAN SOCIETY of CINEMATOGRAPHERS
an organization composed of the
WORLD’S LEADING CAMERAMEN
» today «
WRITE FOR ADVERTISING RATES
increase your sales
THE AMERICAN CINEMATOGRAPHER
i;
I ^
‘e
Ijitt
1222 GUARANTY BUILDING
HOLLYWOOD, CALIFORNIA
MAY. 1930
American Cinematographer
Thirty-nine
I Cine-Kodak. He carries it with him at all times, necer taking a chance on
missing an interesting "shot."
Motion Picture Film Visualizes
{Continued from Page 33)
'€very million tons of sulphur, it is made clear that 10,000 tons
- go into the making of the old-fashioned remedy of “Sulphur
:and molasses.” Fumigating and bleaching, it is shown, would
i.account for 12,000 tons, while spraying and dusting fruit and
; vegetation would demand 32,000 tons. The rubber industry
•would require 24,000 tons, while the explosives industry would
consume 28,000 tons. Sulphur is essential in the manufacture
of sulphide pulp, used in making various grades of paper, and
,t::for this purpose 129,000 tons would be required. Chemicals
|i'.' would account for 28,000 tons, miscellaneous uses for 13,000
|i:.tons, and the manufacture of sulphuric acid would consume
j"724,000 tons. A series of scenes shows the dusting of or-
i:•chards and vineyards to protect fruit against damage by insects
ivand scale, the use of sulphur in the making of wood pulp, and
\ the operation of a sulphuric acid plant.
i The numerous uses of sulphuric acid, which accounts for
r practically three-fourths of the crude sulphur demanded by com-
pmerce, are made clear by recourse to animated photography, a
phuge tank containing sulphuric acid being tapped for smaller
' ;tanks representing the use of the acid in the manufacture of fer-
! tilizer, chemicals, coal products, iron and steel, paints and pig-
."•ments and textiles, in the refining of petroleum, and in various
'metallurgical processes.
Copies of the film, “Sulphur,” are available for exhibition
by schools, churches, clubs, business and civic organizations,
miners’ local unions, and others. No charge is made for the use
of the film, although the exhibitor is expected to pay transpor-
tation charges. Applications should be addressed to the Pitts-
burgh Experiment Station of the United States Bureau of Mines,
Pittsburgh, Pa.
Urban Will Design for Fox’s Wide Film Talkers
IRST Fox pictures in color, with both under plans to be
shot in both 35 and Grandeur width are “Connecticut
Yankee in King Arthur’s Court” and “The Man Who Came
Back.” Joseph Urban will design sets for both pictures. He is
familiarizing himself with color for screen use.
The Foxcolor process on which the company has been con-
: ducting experiments for several months will be used. Sufficient
camera and other equipment are expected in readiness by July
1, when “Gonnecticut Yankee” goes into production on the
West Coast with David Butler directing. Will Rogers will be
starred.
Work is going ahead on the Foxcolor lab in the East so that
sufficient printing facilities for these and other color talkers will
You Can ‘‘Double In”
Outdoor Shots on
Indoor Sound Stages
behind any intimate Dialogue shot
by using a
DUNNING
You shoot today —
Screen tomorrow
Dunning Process Company
932 No. La Brea Avenue
Phone GLadstone 3959 for demonstration
HAL MOHR
Will Sell His
COMPLETE MITCHELL
CAMERA EQUIPMENT
You Know What This Is
If you are interested in buying this camera and
equipment, get in touch with me through the
office of the
American Society of Cinematographers.
be at the company’s disposal.
Foxcolor is Fox’s own color process, .taken from Eastman
and formerly called Kodachrome.
Grandeur versions of duo Urban will design will be in black
and white, unless a wide film color camera is perfected in the
meantime, color versions being in the regulation or 35 mm.
I
Forty
American Cinematographer
May, 1930
TRUEBALL TRIPOD HEADS
For follow-up shota
are known for their
smoothness of operation,
equal tension on all
movements and beinc un-
affected by temperature.
Model B
The Model B is for Bell
& Howell and Mitchell
Cameras and their re-
spective tripods.
The handle is tele-
scopic and adjustable to
any ansrle.
The Model A is made
for Amateur motion pic-
ture cameras and also
fits the Standard Still
tripods.
Trueball tripod heads
are unexcelled for sim-
plicity, accuracy and
speed of operation.
The Hoefner four-inch
Iris and Sunshade com-
bination is also a supe-
rior product.
FRED HOEFNER
5319 SANTA MONICA BOULEVARD
GLadstone 0243 LOS ANGELES, CALIF.
AMERICAN CINEMATOGRAPHER,
1222 Guaranty Bldg.,
Hollywood, California.
Gentlemen; Please find enclosed three dollars
(Foreign rates additional), for one year’s subscription
to the American Cinematographer, to begin with the
issue of , 1 9
Name
Street No
Town State
Clubbing Rates
U. S.
Canada
Foreign
American
Cinematographer —
.-....$3.00
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In Club with;
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5.00
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5.40
Please make all remittances payable to
THE AMERICAN CINEMATOGRAPHER
High Lights of German Film
Situation
By Douglas Miller
Assistant Commercial Attache of the Motion Picture Division,
U. S. Department of Commerce, at Berlin,
T he last few months have been a period of change and
uncertainty in German film circles. At this time there are
certain main facts which stand out clearly and which should
be borne in mind when considering future business in Germany.
The German film situation is difficult at present because of
the general economic condition of the country; the change from
silent to sound pictures which has not yet been completed; the
patent difficulties between the large electrical firms which have
made it uncertain what apparatus could be installed in studios
and theatres; the absence of foreign and particularly American
talkies from the market; the fall in German film exports owing
to the language and patent barriers on German sound pictures.
Sound Patent Situation.
The electrical concerns will probably settle their present
patent dispute in the year 1930 on a basis which will provide
an exchange of patents and complete interchangeability of films
on the principal makes of German and American apparatus.
This will allow all American film companies to send some of
their sound pictures to Germany if they so desire.
Contingent.
The present import contingent remains as a fundamental
principle of the GeI^man Government policy. Whether or not
the Geneva agreement is ratified, the contingent remains in some
form or other. If the agreement is not ratified, the situation re-
mains as it is. If on the other hand, the agreement does come
into force on June 30 this year the administration of the pres-
ent import regulations will be* transferred to the Ministry of
Education and the contingent system will continue as a matter
of cultural protection rather than an import regulation. This is
simply calling the thing by another name. There is no possibili-
ty of a free film market in Germany. If the Geneva agreement
goes into effect the legislative measures which are already pre-
pared will be passed within a few days transferring the present
film control to the Ministry of Education. It is proposed to
continue present regulations in any case about as they now are.
According to a written statement from the Film Commis-
sioner there will be no special contingent on sound pictures or
talkies as far as feature films are concerned up to June 30,
1931, but the Commissioner expressly reserves the right to
institute special import restrictions on sound, shorts. These
proposed restrictions will probably be instituted in four or five
months.
If the electrical companies compose their difficulties and
American talking pictures enter Germany in large numbers the 1
German industry proposes to request the Government to in- |
stitute special protective regulations against foreign talkies prob-
ably sharpening the present contingent regulations which al- |
ready exist. It has already been stated that these new regulations |
could not take effect before June 30. 1931, but if American f;
talkies enter this market in quantity no doubt such regulations S;
will be made shortly after that date in time to cover the playing-
ing season 193 1-1932. !
American Talkies.
American dialogue pictures will not be able to bring very ;
large receipts in the German market. Once the public here has i
become accustomed to hearing talkies in their own language, it "
is not likely that they will care to listen to an English dialogue ,
which few of them understand. Neither is there much probability jj
that German language versions made in the United States will j
be great successes in Germany. Even Germans who have been
in the United States only a few weeks unconsciously change -
their accent and manner of speaking so that it becomes notice-
able when displayed before an audience in their own country.
If American firms desire to exploit the German market in
dialogue pictures they will have to make such pictures in some l-ji
of the German speaking countries of Europe. Jl
There still remains the possibility of obtaining satisfactory |r
business in Germany on nondialogue pictures with silent films; p
which are still taking up most of the playing time of the first
run houses and arc shown exclusively in 95 per cent of all
German theatres and in synchronized musical pictures with littlerE
or no English dialogue carrying the story in German titles. R
The German film industry is not going to be able to com- l(
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\May, 1930
American Cinematographer
Forty-one
tihree years behind in the manufacture of talking pictures and
'have not yet begun on color. The companies here are unable
to make the large financial expenditures which are necessary in
I'order to keep abreast of the technical developments in the
^American industry.
.-American Production in Germany.
It will be almost impossible for American firms to produce
talking pictures in Germany suitable for the American or
rforeign markets. Studios and equipment, actors, and experience
iire not available here. If American companies desire to continue
selling their sound product in Germany they must obtain
.contingent right either by making distribution alliances with
' German producing companies or they must produce inexpen-
sive German films for the local market. These can be either
sound pictures made for local distribution or silent pictures,
which are still the best commercial proposition in Germany
and Central Europe generally, owing to the small proportion of
Liheatres which are wired.
'Conclusion.
The attitude of the American film companies toward Ger-
-many should be the one of two things; either they decide to re-
main out of this market permanently on account of the diffi-
cculties set up by patent controversies, the contingent, the
'language barrier, and the difficulty of recovering the cost of
ifheir own distribution organizations, or they must decide to
;come into Germany with such of their sound product as is suit-
able here, in a small way and make what sales they can, pro-
dducing inexpensive German pictures for contingent rights, if
.necessary, but investing very much permanent capital in
I Germany.
If American film companies refrain from offering their pro-
ducts in the German market this will continue to have a de-
:pressing effect on the situation here and will be reflected in less
>box office receipts of the theatres. Nevertheless, the local cx-
nhibitors are still inclined to look at the situation from a na-
tionalistic viewpoint and in the long run are apparently quite
willing to get along with less profits in the hope of building up
stronger German film industry. If American film companies
ido not sell their product in Germany during the next year or
two their place will be entirely taken by German and other
foreign films and the German market will continue to exist with-
out them. The longer they stay out of the market, the harder
at will be for them to re-enter.
Belgium
iZ\T THE international film exhibition in Antwerp, scheduled
to take place next summer, the film as a means of propa-
iganda and publicity for trade and industry will play a leading
role. Several large halls have been installed for the exhibition
of publicity films. Permanent shows will be run during the
exhibition, with free admission. Numerous industrial concerns
:nave decided to participate in these shows with pictures illus-
trating the life and work in their factories, and the manufac-
turing of various products. Moreover, a number of films for
travel propaganda, showing landscapes of various countries,
■aistorical and artistic places, etc., will be exhibited.
New Developing Machine Invented by Roy Hunter
^ A NEW developing machine for negative and positive film,
described as an improvement which greatly clarifies sound,
has been invented by C. Roy Hunter, director of sound and
'oead of the photographic division of Universal, and Robert
^Pierce, superintendent of the laboratory at Universal City. It
SIS said to have a capacity of 1,000,000 feet of film weekly.
-Dther companies are considering adoption of the new method.
Universal states.
Spain
.ACCORDING to trade press reports, Spanish producers are
■ becoming active. Several features are under way. These
are based on popular Spanish novels and feature well-known
artists. One feature is starring the matador Nicanor Valalta. A
new production and distribution company, “Selecciones Nunez,”
bf Madrid, has released a sound-film entitled ‘‘Futvol, amor y
xoros,” which had a very successful first-run. The first Spanish
dialogue film, including songs and musical numbers of Guerrero,
1 well-known composer, is scheduled for early release.
The Dutch Government has ruled that the Board of Cen-*
wrs shall have control of all sound in connection with motion
'pictures, states a Hague message. Distributors must supply the
-Censor with all sound films and discs for approval.
COEPZ
CINE LENSES
Goerz Cine Lensea are being used all over the
World because they are of
Superior Quality
We manufacture in our New York factory the
Kino— Hypar F. 2.7 and F. 3
in focal lengths from 1-inch to 4-inch
We also have an imported, superspeed series
Cinegor F. 2 and F. 2.5
in focal lengths from 194*>nch to 4-inch
and the telephoto series
Telestar F. 4-5
in focal lengths from 43fi*inch to 13 3je inch
for long distance shots and close-ups
We make all kinds of trick devices, precision
focusing mounts, focusing microscopes and special
camera fittings.
We undertake the development of your own
ideas along optical lines. Write us. A new cata-
logue, listing the complete line of Goerz Lenses and
accessories, will be mailed on request.
C.P. Goerz American Optical Co.
317 E. 34th St. New York, N. Y.
AMATEURS
Keep Step with the Professionals by Reading The
Technical Cinematic Magazine of the Motion Pic-
ture Industry.
THE AMERICAN,
CINEMATOGRAPHER
Published in Hollywood by the American Society
of Cinematographers, the leading professional cam-
eramen of the world.
You cannot afford to be without it.
For Amateurs — Service department, special tech-
nical articles by the world’s greatest authorities on
cinematographic science.
fFill in and Mail Today]
American Cinematographer,
1222 Guaranty Building,
Hollywood, Calif.
Gentlemen: Please find enclosed three dollars
($4.00 for foreign rate) for one year’s subscription
to the American Cinematographer, to begin
with the issue of 1930.
Name
Address
Town State
Forty-two
American Cinematographer
May, 1930
For Sale . . .
Complete Mitchell camera, high speed
and silenced for sound. This is one of
the most fully equipped cameras in
use. Complete equipment represents an
investment of $8,000.00.
Will sell only entire
equipment.
If you are interested in a really high class
outfit, get in touch with me through the
office of the American Society of
Cinematographers.
HAL MOHR
THIS IS THE OUTFIT THAT HAS PHOTO-
GRAPHED “NOAH’S ARK,” “BROADWAY,”
AND OTHER BIG PICTURES
Have you ordered the Cinematographic Annual?
Some Folke Read
riCTICN
Some Folks Read
LACT
THE LA TTER READ
nCLLTWCCD
the authentic motion picture magazine de-
voted to the interests of the cinema fans
— written, edited and published where the
films are made.
On sale at all newsstands the 15th of every month
Order Your Annual Now!
Mitchell and Bell ^ Howell Cameras
A. S. C. Member Photographs Shadow Bands
(Continued from Page 15)
Then the Clarks photographed the artificial shadow bands |
under conditions of such perfect control that they immediately
determined the following points;
1. Negative best suited to show the delicate contrast;
2. Aperture required for a uniform picture as the eclipse
progresses to, through and away from total darkness;
3. Standardized timing of the film, so that the computers
at the observatory can calculate accurately the speed of
the shadow bands as they sweep across the field of view.
A unique timing device was found made to order in the pres-
ent type of sound track film. It was simple for these skilled
cinematographers to co-ordinate the photographic record of the
eclipse with the sound track record of the voice of the astron-
omer, who counted the seconds as he watched an astronomical
chronometer during the period of the total phase.
Nowhere else in astronomical history has so accurate a method
of timing a phenomenon been possible.
The artificial eclipse was created by turning the beams of the
sunlight horizontally into the laboratory by a coelostat, mounted
outside the building, passing the sun rays through a lens of
known focus and bringing the sun image sharply onto a verti-
cal screen of ground glass.
By heating the air near the rays with a flame, imitation
shadow bands were caused to chase one another across the
ground glass screen. The camera was set up at a known dis-
tance back of the screen.
By computing the degree of illumination of the ground glass
from the aperture of the fixed lens and the side of the sun’s
image, the experiment was regulated to actual eclipse conditions.
The most successful film of several makes and types tried, ^
proved to be Type 2, Eastman panchromatic. ,
This gave the clearest contrast and at the same time the best ,
illumination to the edges of the field. |
The Bell and Howell camera was equipped with a Zeiss 3 -inch
lens. '
The exposures averaged of 1 /60 second.
From the eclipse record, now reposing in the archives of the '
Mount Wilson Observatory, Dr. Nicholson says he can deter- ‘
mine the width of the mysterious bands of light and shade that
dapple all light-colored surfaces during an eclipse; the direction ‘
of their motion with relation to the direction of the sun’s angle:
the speed of the bands and the relationship between their paral- ‘
lelism and direction of motion.
“Astronomical science is extremely grateful to the Messrs. : f
Clark and to the American Society of Cinematographers for i
their gift of this film,” said Dr. Nicholson. j '
“Astronomers now learn with pleasure the cinematograph- |
ers are men of scientific attainments, with ideals and aspirations. '
“Astronomy was enriched in 1846 by the application of
photography to its old visual methods. Now, in 1930, 84' j.
years later, the motion picture camera, scientifically used, has,
again served to expand man’s concept of the universe in which; ^
he lives.” _ _ j
The unusual feat of recording the scientific pictures with sound; ^
was also accomplished. The sound consisting of the astron--
omer’s voice counting off the seconds of the actual eclipse ass ^
it was being made. This gives a record that cannot be any--
thing but accurate. The Metrotone Newsreel furnished a crew, j
of four men and two sound trucks for this, and the Fox stu-- 5
dios, where Charles Clarke is employed, loaned Clarke for thee
experiment. C
/Is this magazine goes to press too early to have pictures of the experiment
we make the announcement now that in next month's issue there Will be t p,
pictures of the shadow bands, the first in history, as well as scientific ,
articles showing just what was accomplished for the advancement of science. '
— Editor's Note.
J. R. L,oc1{u/ood
Camera rentals and sales
All Mitchell cameras supplied with two 1000 ft. magazines if
desired at regular camera rental
1108 Lillian Way
Hollywood, California
Phone Cable Address
GRanite 3177 "Lockcamera” Hollywood
Milliken Very Frank
F ORMER Governor Carl E. Milliken, of Maine, secretary of;
the Will Hays organization, told the Woman’s Club ofi
Reading, Pa., at an open meeting:
“The picture industry needs plenty of criticism, because there,
are still plenty of things wrong with it.”
“But it is not as hopelessly vulgar as some declare it is,” hoi
added. The secretary answered many questions from the floor.
“Preview groups of representative women from the churches^
women’s clubs, and patriotic societies have been a great factor,”
he said, “in improving the movies in recent years. Co-operatior-
between the public and the industry is needed to make film en-
tertainment clean and fit for children.”
A
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si
di
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«
It
th
of
May, 1930
American Cinematographer
Forty-three
Your Makeup Problems
By Max Factor
[Internationally Known Authority on Makeup]
Dear Mr. Factor:
I appear in amateur theatricals regularly and as a rule only
play those roles to which I am adapted being a little stout and
also have a double chin. Now I am asked to play a juvenile
role as the party who was to play that role failed us and there
is no one else available. Will you please tell me how to best
conceal my double chin. I am blonde.
F. B. Akron, Ohio.
Answer:
A double chin is shadowed by using dry rouge and blending
carefully. It is also possible to do this by using a foundation
three shades darker on the double chin than that used on the
rest of the face, oi^you can shadow your face with a maroon or
brown lining color.
Dear Mr. Factor: (
Mascara hurts my eyes — will you please tell me of some
other preparation which accomplish the same results, as mascara
causes my eyes to water and smears up my make-up.
C. C. Fla.
Answer:
Since all mascaras are soluble in water and your eyes are
oversensitive and subject to. watering I suggest that you use
Cosmetic. This preparation is made of wax with a very low
melting point. Hold the cosmetic in a small container over
heat until melted. Dip paper liner or orangewood stick into
melted cosmetic and apply to the lashes, holding two or three
lashes together by beading the tips. Repeat until they acquire
the desired beaded appearance. The preparation is water proof
and is readily removed with cold cream.
Dear Mr. Factor:
I have done stage work but only recently have I had an
opportunity to appear on the screen. Make-up is very important
and would you kindly give me my proper make-up for brunette
with blue eyes and cream colored skin.
S. E. New Rochelle, N. Y.
Answer:
Use Panchromatic Grease Paint No. 25 — Pancro, Face Pow-
der No. 25 — Pancro Lining color No. 22 — Moist Rouge No.
9 and dark brown Dermatograph pencil.
Dear Mr. Factor:
I am a drab type of blonde and would give almost all I
possess to find a make-up which will absolutely fit me. I
have blue eyes and a very fair skin. Looking forward with
much interest to your reply. .
S. O. B.
Answer:
Satisfaction with make-up depends entirely whether or not
you are using a color harmony make-up, suitable to your com-
plexion. Also you must be careful in the manner with which
you apply the make-up after your color harmony problem
has been solved. The tendency today is to use make-up which
gives the wearer a healthy look, therefore use darker make-up
during the day, OLIVE FACE POWDER — BLONDE DRY
ROUGE — MEDIUM LIP ROUGE — and for evening RA-
CHEL FACE POWDER— NUMBER 18 DRY ROUGE—
and LIGHT LIP ROUGE — the necessity of more vivid colors
at night being that artificial lights absorb color in make-up and
the more vivid the colors the more this light absorption is
offset.
No camera can te tetter tKan its lens. All
CarlZ eiss Tessars ensure perfect definition
an d trilliancy/ even at full aperture^
and results will not te impaired ty
flare. Tfiese are only a few reasons
wKy Oarl Zeiss Tessar L enses
K
ave universa
1 end
orsement
(tSRLZEl^
C31^J
CARL ZEISS, INCORPORATED
435 Fifth A ve.,Ncw York -s- 728So.HiIlSt.,L,os Anodes
SOUND
Movie
Effect
MY
FILTERS
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BY ALL
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Ask tjou dealer.or ujrilelo
GEORGE H. SCHEIBE
PHOTO'FILTER SPECIALIST
1927 -W-7612 ST.
LOS AN6ELES.CAL.
Forty- FOUR
American Cinematographer
May, 1930
• INDEX TO ADVERTISERS •
Air Horse Co 45
Bass Camera Co 30
Bell ^ Howell Co 1 and 29
Brulatour, Inc., J. E 21
Cinematographic Annual 25
Composite Laboratories 27
David ge, Roy 37
Drem Products Corp 34
Dunning Process Co 39
DuPont Pathe Film Mfg. Co Inside Front Cover
Dyer, Elmer C 46
Eastman Kodak Co Inside Back Cover
Factor, Max 4
Fearless Camera Company 6
Goerz American Optical Co., C. P 41
Hoefner, Fred. 40
Hollywood Magazine 42
Hollywood Film Enterprises, Inc 35
Holmes Laboratory, Burton 26
Jackman, Dr. G. Floyd 46
Kleena-Fylm Corp. 35
Lockwood, J. R 42
Mitchell Camera Corp Back Cover and 34
Mole -Richard son, Inc. 2
Multicolor Films, Inc 23
National Carbon Co 7
National Film Publicity Corp 36
Perry, Harry 46
Priester, Harvey W 1 46
Scheibe, George H 43
Smith ^ Aller, Inc Inside Front Cover
Superior Engraving Co 26
Tanar Corporation 5
Van Rossem, W. J 46
"Zeiss, Inc., Carl 43
Kindly Mention The American Cinematog-
rapher When Writing to Advertisers
German Color
'^HE first German color-sound-film, “The Nun of Heiligen-
"*■ worth,” is scheduled for release this month. The film is
produced by “Detofa” (Deutsche Ton und Farben-Film G. m.
b. H.), of Berlin, directed by Rolf Raffe, and is starring Liane
Haid. Countess Larisch, former lady in waiting to Empress
Elizabeth of Austria, is responsible for the scenario.
According to a statement published by the Film-Kurier. there
are 409 German cinemas, either wired or being wired for the
reproduction of sound-films.
J
Technic of Recording Control I
(Continued from Page 24) >
chestras of 30 pieces or less, it is scarcely ever necessary to touch J
the mixer dial during a take. However, with very large orches- j
tras, a loudness range of 50 db is sometimes obtained, and this !
range is slightly too great to be handled with the present system. j
It is, therefore, necessary to do some manipulation. There are
two ways this compressing of the range may be handled. The
first is to permit the volume to rise fairly close to over-load
and then began cutting down on the volume control to avoid
valve clash or the record cutting over. This method is probably
the easier one for the untrained mixer, but unfortunately re-
moves a great deal of the “punch” from the big crescendos. The
second method requires some knowledge on the part of the mixer
of the music that is to be played. When a crescendo is com-
mencing, the mixer should start reducing the volume slowly
before the loudness has approached the danger point, and having
lowered it the requisite amount, leave it alone entirely for the
remainder of the crescendo. In a similar manner the raising of
the level for the very soft parts should also anticipate the
actual pianissimo passage.
New Exposure Meter
( Continued from Page 31)
between the two extremes, whatever the operator desires for
the subject at hand. Accurate exposure readings are given
for any type of subject, outdoor or indoor, and under any
possible photographic light, natural or artificial. The B. &
H. Photometer thus leaves nothing to guesswork and admits no
chance of erroneous judgment. A simple initial adjustment cor-
rects the instrument to the operator’s own vision and to the
strength of a small flashlight battery which supplies current to
the bulb’s filament.”
Exposure readings are combined in the one instrument for
either the Filmo 70 or the Filmo 75 cameras, and will later be
made available for use with all types of movie still cameras.
A full range of exposure readings are provided from F 1 to
F 32.
The following from the Bell Howell Company’s instruc-
tions as to how to operate the Photometer will furnish a vivid
glimpse of the instrument at work.
“The Photometer is highly selective. It is often advisable
to take two readings, one on the darker areas of the subject
and one on the lighter part of the subject. Thus one can ex-
pose accurately for the shadows and dark objects, or for the
highlights, sunlit areas, and light colored objects — whichever
will give the desired effect. Or one can select an exposure
which will strike a happy medium between the two.
“If the dark and light areas are about equal, use a stop mid-
way between the two extreme readings. If dark areas predomi-
nate, favor them in selecting the intermediate stop; if light
areas predominate, favor them.
“In taking close-ups of people, you will usually want to
expose for the face and disregard the exposure requirements of
the surroundings. The Photometer not only affords accurate
exposure readings for a camera operated at the normal speed of
1 6 exposures per second, but also gives the correct stop setting
for Filmo camera speeds slower or faster than normal — 8, 12,
24, 32, 48, and 64 frames per second.”
The B. & H. Photometer weighs only 514 ounces. It is
434 inches long and 1*4 inches in diameter.
India Film Imports Increase
A BIG increase in film stock imported into India is re-
ported for the official year 1928-29. The total im-
ports of film amounted to 30,000,000 feet, valued at
28 lakhs of rupees, or about 210,000 pounds as compared
with 23,000,000 feet, valued 26 lakhs in 1927-28. The in-
crease was almost entirely in stock, most of which came from
Germany and England. The raw film imports increased from
12,000,000 feet to 19,000,000 feet, valued at 9 lakhs, or 67,-
500 pounds. Imports from America and England of exposed
film amounted to 13 lakhs and 2*4 lakhs in the previous
year. Tariff on positive imports amounts to 4*4 annas per feet
and the duty stands at 1 5 per cent. No increase is expected
this year.
The
704
Loi
E,
»hic:
Nam
American Cinematographer
Forty- FIVE
.14 AY, 1930
Ride an ^^Air Horse for Health!
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June Clyde, R-K-O, featured player
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704 So. Spring St.,
Los Angeles. California.
Enclosed is check for $3 7.50 for
which ship me one "Air Horse."
Name
The Air Horse Co.
704 South Spring Street,
LOS ANGELES, CALIFORNIA.
Telephone: VANDIKE 4877
the air horse CO.,
704 So. Spring St.,
Los Angeles, California.
Please send "Air Horse" details or
demonstrator, without obligating me.
Name
Address.
Address.
Forty-six
American Cinematographer
ELMER G. DYER
AKELEY SPECIALIST
Aerial Photography Since 1918
Phone HE. 8116
WALTER J. VAN ROSSEM
Photogrraphic Laboratory
and
Camera Rental Service
6049 Hollywood Boulevard Phone Hollywood 0726
HOLLYWOOD. CALIFORNIA
Phone GL. 7507 Hours 9 to 5
Also by Appointment
Dr. G. Floyd Jackman
DENTIST
706 Hollywood First National Building
Hollywood Blvd. at Highland Ave.
HARRY PERRY, A.5.C.
Available for
SOUND-CINEMATOGRAPHY
FINEST SOUND EQUIPMENT
Oxford 1908
HEmpstead 1128
HARVEY Wm. PRIESTER
Insurance Experting
CAMERA INSURANCE A SPECIALTY
510 Guaranty Building
6331 Hollywood Blvd., Hollywood, California
Tel: GLadstone 4811
MITCHELL CAMERA
FOR RENT OR SALE
Speed Movement — Fully Equipped — 5 Matched Pan
Tachar f.2.3 Lenses — 4-3-2-40 and 35 — two 1,000-
ft. and four 400-ft. Magazines — Friction Head for Pan-
ning — Gear Box for Different Speeds — Baby Tripod and
High Hat — Cases for all with Yale locks.
Glenn R. Kershner
c/o A. S. C.
WANTED — Position: Young man 23 years, intelligent, steady and am-
bitious. earnestly desires opportunity to learn cinematography or allied
profession that will lead to same. Hours work or salary no object.
Go anywhere, any time. Address Robert Feagans, Walnut Creek, Calif.
May, 193011
CLASSIFIED ADVERTISING
Rates: Four cents a word. Minimum charge, one dollari.
per insertion.
WANTED— MOTION PICTURE CAMERAS
WANTED — For cash. DeBrie, Pathe, Bell 8 Howell Standard cameras. Sendl
full description. Bass Camera Company. 179 West Madison Street, Chicago.
WANTED — Mitchell or Bell B Howell cameras, lenses and equipment. Write* ‘
giving complete inventory and price. J. R. Lockwood. 1108 N. Lillian i ]
Way, Hollywood.
FOR SALE— CAMERAS
FOR SALE — 2 complete Mitchell High Speed Outfits, $3 5 00.00 each. Special:
price for purchaser of both. Write or phone Editor of CINEMATOGRAPHER.
FOR SALE — Bell 61 Howell camera with complete equipment. $950.00. J. R.
Lockwood, 1108 N. Lillian Way, Hollywood, GRanite 3177.
FOR SALE OR RENT — First Class Akeley Outfit complete. Phone GR-4274.
or write Dan B. Clark, A. S. C. office.
FOR SALE — Bell 61 Howell Camera, 170 degree; three Lenses F 2 5, Iris.
Mitchell tripod, four magazines, steel cases. Park J. Ries, 15 40 N.
Cahuenga Ave., GRanite 1185.
FOR SALE — Thalhammer Iris, 40mm. 50mm, 75mm F 3.5. Lenses in B. 61 H,
mounts. Park J. Ries, 1540 N. Cahuenga Ave., GRanite 1185.
FOR SALE — One 5x7 Press Graflex Camera, with 8%-inch F4.5. Zeiss TessarrI
lens; one 5x7 cut film magazine; one roll holder; one focusing back; andd|
sole leather carrying case. Price. $9 5.00. All in new condition. Fred A.
Parrish. 25 26 West Colorado Ave.. Colorado Springs, Colo.
FOR SALE — Akeley Camera, 2. 6. 12 inch lenses and finders to match, fourr
magazines, carrying cases, Mitchell quick-release legs. Camera has beenr. |
overhauled and is in good mechanical condition. Price $700.00. E. G.i
Dyer, A. S. C., or 951 No. Spaulding Ave., Hollywood, California.
FOR SALE OR RENT — Complete Mitchell Camera, latest equipment,
sonable. Harry Perry. Phone OX. 1908 or GR. 4274.
Rea-
FOR SALE — 170-degrce Bell 61 Howell Camera. Choice of four focal length! |
lenses. New 4-inch Iris and Matte box. 4 Magazines, metal carrying cases,
light tripod. A. B. Smith, 124 So. Flower St., Los Angeles.
FOR SALE— MISCELLANEOUS
FOR SALE — Two slightly used Mitchell Matt boxes at $4U.OO per set. CalUj
Chas, Glouner at Universal Studios. HEmpstead 3 131.
FOR RENT— CAMERAS
FOR RENT — Two Bell 6< Howell cameras. Mitchell tripods, large finders, all::ll
F /2.3 lensei, 1000 ft. magazines for B. 6f H. Also Cinemocor and frictioBsP
head for Akeley work. Frank Corner. 6273 Selraa Ave.. HOlly 5046.
--■I
FOR RENT — Eight Bell 6i Howell cameras, fast lenses, large finders, Mitchell: |
tripods. Park J. Ries, 1540 N. Cahuenga Ave. GR-1185.
FOR RENT — Akeley camera outfit. Mitchell tripod, 6 magazines, equipped up:L
to 6 inch lenses. Park J. Ries, 1540 N. Cahuenga Ave. GRanite 1185jP*
FOR RENT — 3 Mitchell speed cameras equipped for sound work. All Mitchell!'
cameras supplied with two 1000 ft. magazines if desired at regular camerrij
rental rates. J. R. Lockwood, 1108 N. Lillian Way. GRanite 3177.
FOR RENT — Mitchell Speed Camera, equipped for Sound. Phone Don B. Keyes, i
HE-1841.
FOR RENT — 2 Mitchell high speed cameras with latest 40. 50 and 75 mmnl
Pan-Astro lenses. 1000 ft. magazines; loose head, tripod. Pliny Horne, el
1318 N. Stanley, HO 7682 or GL 279 1.
FOR RENT— MISCELLANEOUS
FOR RENT — Mitchell and Bell 6f Howell Cinemotors, with counters and.f
batteries. Park J. Ries, 1540 N. Cahuenga Ave. GR-1185.
FOR RENT — Mitchell Gear Box with crank and shaft. Mitchell Motor; 1000.|i
ft. magazines. Phone Donald B. Keyes, HE-1841.
FOR RENT — Mitchell friction tilthead with Bell 6f Howell adapter. J. R. LockkI
wood, 1108 N. Lillian Way. GRanite 3177.
FOR RENT — Mitchell high speed gear box complete. Pliny Horne. 1316'
N. Stanley, HO 7682 or GL 279 1.
May, 1930
American Cinematographer
Forty-seven
Complete Roster at Date of Publication
OFFICERS
Hal Mohr - - -
Victor Milner - -
Arthur Miller -
Charles G. Clarke
John Arnold - -
William Stull
President
First Vice-President
Second Vice-President
Third Vice-President
Treasurer
Secretary
BOARD OF GOVERNORS
John Arnold
John W. Boyle
Daniel B. Clark
Chas. G. Clarke
Elmer Dyer
Philip E. Rosen
Homer Scott
Alfred Gilks
Fred Jackman
Victor Milner
Hal Mohr
Arthur Miller
PAST PRESIDENTS
Fred W. Jackman
James Van Trees
John W. Boyle
Arthur Webb, General Counsel
Sol Polito
John F. Seitz
Henry Sharp
William Stull
Ned Van Buren
Gaetano Gaudio
Daniel B. Clark
John F. Seitz
HONORARY MEMBERS
Thomas A. Edison, Orange, N. J. George Eastman, Rochester, N. Y.
Albert S. Howell, Chicago
Alien. Paul H. —
August, Joe — Fox.
Abel, David — Pathe.
Arnold, John — M-G-M.
Archer, Fred —
Boyle. John W. — R-K-O.
Brown, Jas. S., Jr. — Cal.
Studio.
Benoit, Georges — Paris.
Binger, R. O. — M-G-M.
Bell, Chas. E. — Ray-Bell Films.
St. Paul.
Bander, Steve L. — M-G-M.
Borradaile, O. H. — Paramount.
Carter, Claude C. — Australia.
Clark, Daniel B. — Fox.
Cotner, Frank M. —
Clarke, Chas. G. — Fox.
Cowling. H. T. — Eastman Kodak
Co., Rochester. N. Y.
Chaney, George — United Artists.
Davis, Chas. J. — Fox Movietone.
DeVinna, Clyde — M-G-M.
Dared, John — Paramount News.
Paris. France.
Dubray. Jos. A. — Bell 8
Howell, Chicago.
Dupar, E. B. — Warners’ Vita-
phone.
Dupont, Max — Vitacolor.
DeVol, Norman — R-K-O.
Dyer. Elmer G. — Free lance.
Dyer, Edwin L. — M. P. A.
Studios, New Orleans
Edeson, Arthur — Fox
Folsey, Geo. J., Jr. — New York.
Fabian, Max — M-G-M.
Fisher, Ross G. — Multicolor.
Fildew, William —
Flora, Rolla — Fox.
Fetters, C. Curtis — Fox.
Gilks, Alfred — Technicolor.
Gray. King D. — Thunder Bay
Film. Ltd.
Gnissart, Rene — Elstree Studios,
England.
Good, Frank B. — ^Warner Bros.
Gaudio, Gaetano — Warner Bros.
Greene. A1 M. — Tec-Art.
Greenhaigh, Jack — F-B-O.
Hallenberger, Harry
Paramount.
Hilburn, Percy — M-G-M.
Hyer, Wm. C. — Educational.
Horne, Pliny —
Haller, Ernest — First National.
Harten, Chas. — New York.
Herbert. Chas. W. — Fox Movie-
tone, New York.
Jackman, Dr. Floyd. 1st Nat.
Bank Bldg., Hollywood.
Jackman. Fred — Technical
Director, Warner Bros.
June. Ray — United Artists.
*
Kershner, Glen — First National.
Koenekamp, H. F. — Warner
Bros.
Kurrle, Robt. E. — Tec-Art.
Keyes, Donald B. — United
Artists.
Lundin, Walter — Harold Lloyd.
Metropolitan.
Lockwood, J. R. —
Lang. Chas. B. — Paramount.
Lanning, Reggie — M-G-M.
Lindon, Curly — Paramount.
Marsh, Oliver — M-G-M.
Miller, Arthur — Pathe.
Mohr, Hal — Universal.
McDonell, Claude — London,
England.
MacWilliams, Glen — Fox.
Morgan, Ira H. — M-G-M.
Milner, Victor — Paramount.
Marta, Jack A. — Fox.
Nogle, George G. — M-G-M.
O’Connell, L. Wm. — Fox.
Parrish. Fred — Colorado
Springs, Colo.
Pahle, "Ted — Pathe, New York.
Palmer, Ernest — Fox.
Powers. Len —
Perry, Paul P. — United Artists.
Perry, Harry — Caddo Prod.
Polito, Sol — First National.
Pomeroy. Roy —
Roos, Len H. — Len H. Roos
Laboratories. Hollywood.
Rose. Jackson J. —
James Cruze Prod.
Rosher, Chas. — Elstree Studios,
England.
Ries, Park J. —
Ritchie, Eugene Robt. — Lasky.
Rees. Wm. A. — Warner Bros.
Vitaphone.
Schoenbaum. Chas. — Techni-
color.
Stengler, Mack — F. B. O.
Stevens. George — Hal Roach.
Struss, Karl — United Artists.
Stumar, John — Universal.
Stumar, Chas. — Universal Pic-
tures, Ufa Studios, Berlin —
Neubabelsberg, Germany.
Sintzenich, Harold — Eastman
Kodak Co., Bombay.
Sharp, Henry — United Artists,
Doug. Fairbanks.
Schneiderman. Geo. — Fox
Movietone.
Scott, Homer A. —
Seitz, John F. — First National.
Snyder. Edward J. — Metro-
politan.
Shearer, Douglas G. — M-G-M.
Stull. Wm. —
Smith, Jack.
Smith. Jean C. —
Tolhurst, Louis H. — M-G-M.
Tappenbeck, Hatto — Fox.
Van Trees, James —
Van Enger, Chas. J. — Fox.
Van Buren. Ned — Eastman
Kodak Co., Hollywood.
Van Rossem, Walter J. —
Wagner, Sidney C. — Fox.
Walker. Joseph — Columbia.
Walker, Vernon L. — Warner
Bros.
Wrigley, Dewey — Metropolitan.
Wyckoff, Alvin — United Artists.
Wenstrom, Harold —
Whitman, Phil H. —
Wilky, L. Guy —
Warrenton, Gilbert — Universal.
Williams, Frank D. —
Westerberg, Fred — United
Artists.
Young, Jack R. — M-G-M.
Zuckcr, Frank C. — Photophone,
New York.
I
Forty-eight
American Cinematographer
May, 1930
Just Published — Two New Books by Cameron
Sound Pictures
AND
^^heron
*930
Different from Anything Heretofore
Published on the Subject
Trouble Shooter’s
Manual
By James R. Cameron
Over 1^200 Pages — 500 Illustrations
SOUND RECORDING AND REPRODUCING EQUIPMENT
How It’s Constructed Troubles to Be Expected
How It Works How to Locate Source of Trouble
Why It Works How to Remedy Trouble
The Whole Question of Sound Pictures Treated
from an Entirely New Angle Explains in Detail
the Construction, Operation and Care of Sound
Recording and Reproducing Equipment.
A Complete Guide for Trouble Shooting
The Most Comprehensive Work on Sound Pictures Published
YOU WILL FIND A DAILY USE FOR THIS NEW BOOK
DEPT. OF COMMERCE, Washington, D. C.:
"These books should be in the possession of every
projectionists, theatre manager and everyone inter-
ested in receiving first hand authentic information
regarding the application of sound to motion pic-
tures. Cameron’s books are a very worth-while
contribution to the motion picture industry.”
DEPT. OF PUBLIC INSTRUCTION,
Washington, D. C., Says:
"There are no series of books on Motion Pictures
in the whole library of congress as much used as
those by Cameron. We recommend them as a com-
plete guide to the motion Picture Industry.”
The First Encyclopedia of
The Motion Picture
Business
T CAMERON*S
ENCYCLOPEDIA
%J
SOUND MOTION PICTURES
Cameron’s
Over 2,000
Terms, Words,
Phrases, Etc., Etc.
Defined and
Explained.
Price $3*50
'Okf / 2000 WORDS. PHRASES, TERMS, ETC.
V dEHNED AND EXPLAINED j
Encycio
pedia
/v^/C£: 3i
on Sound
Motion Pictures
Cameron Publishing Co.,>Ianliattan Ueacli, Brooklvn,N.Y.
I
The Logical
Combination
release printing . . . effieient
foreign distribution . . . proteetion of
valnable originals . . . all of these call
for constantly wider nse of dupli-
cating film. Eastman Duplicating
Positive and Eastman Duplicating
bination, for they have the nnnsnal
qnalification of giving best resnlts
at lowest cost.
EASTMAN KODAK COMPANY
Negative represent the logical coin-
ROCHESTER, NE\^ YORK
J. E. Brulatour, Inc., Distributors
New York
Chicago
Hollywood
/Although many sizes have been sug-
gested for the width of Wide Film,
only one size has been developed to the point
of production, this being the 70 MM GRAN-
DEUR. Other sizes that have been experi-
mented with have adopted the same ratio of
size of picture but have included objection-
able features that have precluded their use.
70 MM GRANDEUR pictures are now being
shown and others are in production. MITCH-
ELL-GRANDEUR 70 MM CAMERAS
were selected by the producers of these pic-
tures because these cameras enabled them to
produce high grade pictures without costly
delays and experiments.
We are in production of 70 MM Cameras
but will build any other size on special order
if desired. This, of course, would cause delay
in delivery and an increase in price above the
70 MM Camera.
Mitchell Camera Corporation
665 N. Robertson Blvd.
Cable address “MITCAMCO'’
West Hollywood, Calif.
Phone Oxford 1051
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