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The Motion Picture CAMERA Magazine
25c
Foreign 35c
February 1937
Publishedin Hollywood,
by
American Society
of Cinematographers
I
i
Du PONT Film Manufacturing Corporation

35 WEST 45th STREET SMITH & ALLER, LTD.
NEW YORK CITY <5656 SANTA MONICA BLVD.
PLANT . . . PARLIN, N. J. HOLLYWOOD, CAL.
I liiii
February, 1937 American Cinematographer 45
AMERICAN
CINEMATOGRAPHER
A Technical and Educational publication
of motion picture photography.
Published monthly bv the

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

FRED JACKMAN, Treasurer, A.S.C.
Vol. 18 February, 1937 No. 2
Whdt to Read
INDUSTRY Pays Glowing Tribute to

Adolph Zukor 49
AGFA'S NEW Three Color
Photography Process
By Karl Hale 50
LOOKING AT London Cinematographically
The Staff
By Alfred Gilks, A.S.C 50
EDITOR
DEVICE for Producing Variable
Charles J. VerHalen
Diffusion Effects
By Emil Oster .52 TECHNICAL EDITOR
Emery Huse, A. S. C.
HIGH EFFICIENCY Reflector and
Background Screen ASSOCIATES
By Hartley Harrison.. 53
Karl Hale
WALKER, Mate and Marsh Walter Blanchard

Win Critics' Praise
CIRCULATION MANAGER
By Walter Blanchard 54 L. Graham
EDWARD CRONJAGER . . .
ADVISORY
By Harry Burdick... 55 EDITORIAL BOARD
A.S.C. Members on Parade 56 Victor Milner, A. S. C.
James Van Trees, A. S. C.
Fred Jackman, A. S. C.
Farciot Edouart, A. S. C.
Next Month Dr.

Fred Cage, A.
S. Watson, A.
S.
S.
C.
C.
J.
Dr. L. A. Jones, A. S. C.
• We will hit some of the high lights in color
Dr. C. E. K.Mees, A. S. C.
that have been in vogue wilh some of the pho-
Dr. W. B. Rayton, A. S. C.
tographers of Hollywood for some time. We Dr. Herbert Meyer, A. S. C.
will tell something about the one shot still
Dr. V. B. Sease, A. S. C.
cameras in use.
© There will be a story telling of conditions

in one of the oriental countries as told by a FOREIGN REPRESENTATIVES
returned member of the American Society of
Georges Benoit, 100 Allee Franklin,
C nemo tog rophers.
i
Pavillions-sous-Bois. Seine, France. Tele-
© Other interesting stories are in preparation phone LeRaincy 13-19.

that should make the March issue rich in gaod
reading matter for those interested in cine- NEW YORK REPRESENTATIVE
matography.
S. R. Cowan, 19 East 47th St., New York
City. Phone Plaza 3-0483.
ESTABLISHED 1918. Advertising Rates on application. Neither the American Cinematographer nor
Subscription: U.S. $2.50 a year; Canada, $3.50 a year; the American Society of Cinematographers
Foreign, $3.50 a year. Single copies, 25c; back num-
is responsible for statements made by au-
bers, 30c Foreign single copies, 35c; back numbers.
40c. COPYRIGHT 1937 by American Society of thors. This magazine will not be responsible
Cinematographers, Inc. for unsolici''ed manuscripts.
46 American Cinematographer • February, 1937
he AMERICAN SOCIETY OF OINEMA-
T TOGRAPHERS was founded
purpose of bringing into closer confederation

in 1918 for the
and cooperation all those leaders in the cinema- AMERICAN

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

SOCIETY OF
fection and technical mastery of this art and science. CINEMATOGRAPHERS
Its purpose is to further the artistic and scientific
advancement of the cinema and its allied crafts
through unceasing research and experimentation OFFICERS

JOHN ARNOLD President
as well as through bringing the artists and the scien-
VICTOR MILNER First Vice-President
tists of cinematography into more intimate fellow- CHARLES LANG Second Vice-President
JAMES VAN TREES Third Vice-President
ship. To this end its membership is composed of the
FREDJACKMAN Treasurer
outstanding cinematographers of the world with FRANK B. GOOD Secretary
Associate and Honorary memberships bestowed

BOARD OF GOVERNORS
upon those who, though not active cinematog- John Arnold Frank Good
Bert Clennon Fred Jackman
Don Clark Ray June
raphers, are engaged none the less in kindred pur- Elmer Dyer Charles B. Lang. Jr.
Arthur Edeson Victor Vifner
suits, and who have, by their achievements, con- George Folsey Joseph Walker
Alfred Gilks James Van Trees
Vernon L. Walker
tributed outstandingly to the progress of cinema-
Frederick L. Kley. Executive Business Manager
tography as an Art or as a Science. To further these
PAST PRESIDENTS
lofty aims and to fittingly chronicle the progress of Philip E. Rosen Hal Mohr
Gaetano Gaudio Homer Scott
cinematography, the Society's publication. The James Van Trees John F. Seitz
John W. Boyle Daniel B. Clark
Fred W. Jackman
American Cinematographer, is dedicated.
HONORARY MEMBERS
Mr. Albert S. Howell
Mr. Edward O Blackburn
Mr. George A. Mitchell
PUBLIC RELATIONS COMMITTEE

John Arnold
Charles Bell, St. Paul. Minn.
Georges Benoit, Paris, France
John W. Boyle, London, Englar.d
Ariel Verges, Tokyo, Japan
Edwin L. Dyer, Detroit, Mich.
Charles W. Herbert, New York City
Lloyd Knechtel. London, England
John Dored, Vienna, Austria
Max B. DuPont, Papeete, Tahiti
Philip M. Chancellor
MEMBERSHIP COMMITTEE
George Folsey Dan Clark
Alfred Gilks
ENTERTAINMENT COMMITTEE
Elmer Dyer Frank B. Good
Chat les B. Lang, Jr. Vernon Walker
Arthur Edeson
WELFARE COMMITTEE
Ray June James Van Trees
RESEARCH COMMITTEE
Fred W Jackman
Victor Milner, George A. Mitchell, Dr. Herbert
Meyer, John Arnold, Fardot Edouart, GENERAL COUNSEL
Emery Huse Arthur C. Webb
February, 1937 • American Cinematographer 47
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American February
1937
Cinematosrapher
Industry Pays Glowing Tribute to Adolph

he AMERICAN SOCIETY of Cinematographers,
T the oldest organization in the motion picture busi- Zukor

ness, wishes to add its congratulations to those ex-
tended by the rest of the industry to Adolph Zukor on
the motion picture business. His vision dictated that prominent stage names would
his 25 th anniversary in
The daily and motion picture press throughout the be valuable to the box office, because those were days
country has told of the history made by Adolph Zukor.

when big names would appear only in the key cities of
the country. The small theatres, small audiences and
They have told of his modest beginning, his courage,
motion expensive jumps by railroad would not permit extensive
his foresight and of his influence on the whole
travel.
picture structure.
That Adolph Zukor was vindicated in his judgment
We feel the motion picture business is fortunate that
Every important business is demonstrated by the advancement the business made
it has had an Adolph Zukor.
under that very idea, by the very nature of the business
must have an outstanding business executive. Such men
today, which is founded on the very best
plays inter-
as CharlesSchwab left an indelible mark on steel, Henry
preted by the very best talent.
Ford on the automotive industry. Firestone on tires and
down through some of the key industries of this Along with the advancement of the plays and the
so on
playersAdolph Zukor also encouraged the advancement
country.
of anything technical. Better photography and
better
Adolph Zukor for twenty-five years has been synony-
photographic equipment always received his unques-
mous with advancement in the motion picture industry.
original
to see the ad- tioned approval: better studios replaced the
His company was among the very first
He had a vision in the days when barns and back lots.

vance of pictures.
With Adolph Zukor Paramount pictures blazed a trail
others believed it was merely a passing novelty to see
and that will always be recognized as of inestimable value
that it would expand into more detailed stories
to the motion picture industry.
on to longer than one and two reel subjects.
Agfa s New Three Color Photography

he strong rumors throughout
T Agfa Ansco Corp. ore about to launch a new three
colormotion picture film seem to be based on a
process developed in their European plant the
the industry that
latter part
Process
by
of last year according to foreign newspapers.
T. S. Claire
Late October German newspapers reported this pro-
in
cess as being perfected and soon ready for the market.

From these reports it would appear that the Agfa Ansco with the gelatin, and insoluble so that later washing would
Corporation is almost prepared to launch into the Amer- not affect them or wash them out again.
ican market. According to a statement made by Hollywood The
result of many years of experimenting produced
officials closely allied withit will be some time be-
Agfa the methods: a multi-layered, colorless film is
following
fore the film is American market.
ready for the They used, whose sens tivi^y corresponds with that of present
however report definite headway being made and some amateur re' ersible fi'm and which possesses a rather wide
unusually fine test strips shot that show encouraging signs. latitude. After the exposure the film is developed to a
In brief, this new color is somewhat similar to Koda- negative in a normal developer and in normal safelight
chrome the one exception being that the color is put into as used for panchromatic films. Then the undeveloped
the layers of emulsion during the manufacturing process remainder of silversalt is thoroughly exposed to daylight in
which simplifies the developing and laboratory work. Where order to make any remaining silver soluble. This is followed
Kodachrome is put through three separate dyes, Agfa color by a second development in a soecial developer. In this
in the laboratory is merely given another stage of treat- allof the color pigments are formed, which upon inspec-
ment in a chemical which brings out the color after the tion or projectionproduce the naturally colored picture due
first development of this reversal film is made. to reversed color development of complementary colors in
At the present stage it is a reversible film, but it is the three effective layers of film, (a yellow filter layer
claimed experiments are going forward in the negative interposed is of no consequence.) Of cou'se. there is not
and positive method of picture work. much of the picture to be seen at first, as b'ack silver is
Following is a liberal translation of an article appear- being reduced during this process, and th's mixed with the
ing in a German newspaper of October 31, 1936: residue of silver of the negative makes the who'e film
"As a result of years of laboratory research the I. G. opaque. Dissolving this silver now with the usual Farmer
Dyestuff Industry has announced a new color film process reducer results in a picture completely free from silver,
which promises to be an important factor in the develop- and thus reveals all its colors.
ment of color photography. "The methods used previous to this made use, in a
"The advantage of this new process is that it is a purely technical way, of the well-known fact that every
substractive system which of course eliminates filters in color seen by the eye can be produced by mixing certain
both the taking and projecting. The color being in the parts of the three primary colors, red, green and blue.
print itself. There are two fundamental means of doing this photo-
"The process is based upon an old observation made in graphically. One is called the subtractive method and the
1911 and patented by Dr. Fischer while working with the other the additive method.
New Photographic Society of Berlin. Dr. Fischer found "The additive method separates the natural colors into
the following; Instead of treating a photographic picture their component parts of red, green, and blue, registers
with the usual developer, a certain group of developers is these parts photographically and rejoins them in the pro-
used to which is added certain substances; then along with jection of the film in their proportionate color value in ac-
the usual precipitation of black-silver metal, a dyestuff is curate registration, so that the eye believes it sees the
formed which deposited on the particles of reduced sil-
is natural colors. Since the additive method suffers from
ver. The silver being dissolved by a reducer bath, the re- light losses, it is difficult to obtain sufficient illumination
sult is a one-color picture. Fischer, however, by this meth- in projection.
od could produce only one-color pictures, and so his meth- "The subtractive method does not show this fault. As
od was of no lasting benefit. The patents in the mean- incolor print technic, the film strip is composed of several
time have expired. superimposed picture layers in red, green and blue. By
"Prof. Dr. Eggert of the research laboratory of I. G. Dye- projecting these pictures, which
register accurately and
stuff Industry carried out extensive experiments based on whose color values blend transmission of light through
in
Fischer's basic discovery, with the aim of producing a film them, a picture in natural colors can be obtained.
of three layers (blue, green and red sensitized) that when "By the new method the raw film is composed of three
exposed to the developer would result in corresponding col- layers, the first being blue sensitive (yellow component),
orings in the finished film. the second green sensitive (red component), and the third
"Working in conjunction with the color laboratories, red sensitive (blue component.) After its development in
this resulted in discovering numerous, complex substances. the usual manner, a negative of the film obtained. From
is
These, when merged into the photographic layer of the

this, by means of colored-reversal-development with a
film, made it possible to produce pictures of more than
special developer, and after re-exposure a picture in nat-
ural colors is obtained, which becomes visible after removal
one color.
of the silver.
"These substances had to have particular characteris-
"Though not all difficulties pertaining to the duplicat-
tics; they must not disturb the developing process, and ing of 35mm motion picture films have been surmounted
they must be transparent without bleeding or becoming and thecolored paper print has up to date made no
turbid in their precipitation. Such substances, really a appearance, the road to it, however, is open so that the
contradiction in themselves, had to be soluble to be merged possibility is at hand to use this method."
There was the usual quota of carpet-baggers, promotors,

get-rich-quick lads. And many serious, constructive
minds. Then came the shaking down process, the level-
ling off. The weak fell by the wayside; the strong sur-
vived. There were consolidations, failures, mergers, re-
organizations —
and out of it all came the solidly-estab-
lished studio organizations of today.
So in London. The film industry there is having its
growing pains. It may make mistakes. It may have its
failures, losses, successes and profits. But out of the seeth-

ing boiling-pot of sincere effort and much capital is sure
ta emerge a stable and well-grounded picture production
enterprise.
Much of London's film activity is on a remarkably sub-
stantial foundationand with an eye to the future. was I
on the "Thunder in the City," starring Edward

picture
G. Robinson, and produced by a comparatively young and
small company, Atlantic Films. Work was done at Korda's
London Films studios at Denham.
Here is a film plant, still building, that is equal in pro-
duction equipment and facilities to any studio in the world,
though not so large as some here. The camero depart-
ment is everything that any Hollywood cinematographer
might desire. They have all the tools one needs to work
with.
Lighting equipment is probably more modern and ef-
ficient than that of any Hollywood studio, due to the fact
that is all
it recently acquired, of latest pattern and de-
sign, with no antiquated units held over from earlier days.
A laboratory is being erected in fact, is probably now —
completed — that is to be a model of its kind. It is scien-
accepted
tifically designed in accordance with the latest
principles of processing procedure.
Alfred Cilks, A.S.C.
Looking at London C i n e m a t o -
HERE'S NO DOUBTING
Hollywood's interest in Brit-
T ish film production.

some scant eight weeks back,
my return from London
Since
have been met on
on all sides with the inevitable question, "How's the pic-
I
g r a p h i c a
ture business getting along in England?" To all and
sundry have the answer, based on my own experiences
I
by
and observations, that Britain's film industry is flourish-
Alfred Gilks, A.S C.
ing, developing and perfecfing itself at a speed that is al-
most unbelievable.
Yes, know, there is an occasional poisoned barb of
I
carping criticism heard hereabouts and even paragraphed They are taking fullest advantage of what Hollywood
for the press. Most of these, find, are from over-patri-
I
learned over years of trial-and-error experiment. They are
otic home-town defenders who haven't been east of San starting, so to speak, where we leave off. They have al-
Bernardino for the past ten years. They whisper of Brit- ready done in two brief years what it took us twenty to
ish pictures that have cost too much, of productions held accomplish.
up for sfory difficulties, of typical studio boners. There are many capable technicians in London good
sound men, good cinematographers, good electricians, good
—
Even if true, what of it? Seems to me have heard of I
such things happening right here in Hollywood. And cutters, good set builders. But, under rapidly expanding
Hollywood studios appear to be getting along fairly well, conditions as nowthere is scarcely sufficient
prevail,
according to latest understand the
reports. In fact, I
trained personnel go around. to That's to be expected.
American film companies have done right well by them- With every personnel is putting more experience
picture,
selves over a period of years, despite a now-and-then under its belt and is developing accordingly.
human error in pre-judgement. Production crews may appear to lack the co-ordinating
The general England reminds me of a
film situation in team work that we have grown accustomed to in Holly-
very similar condition that prevailed here at one stage of wood. That, too, is to be expected. Our men have been
the game. A great industry was trying to find itself. Big working together for years. They function like o well-
companies sprang up over night. Small companies oiled machine. Give the British crews another year or two
stretched a shoe string into gigantic size. Continued on page 58
from a close shot of a feminine player to one of a man.

Nearly all women are best photographed with a relatively
heavy diffusion, while men as a rule require little or no
diffusion. The same problem must therefore be met: shall
we under-diffuse the lady, or over-diffuse the man or —
dare we compromise and photograph neither quite as they
should be presented?
The only logical solution to these problems, which are
met every day in every studio, is some method of imper-
ceptibly altering the degree of diffusion while the scene
is being photographed.
This has been possible, but not altogether practical. A
few variable-diffusion devices have been commercially
available for some had two disadvant-
time. But they have
ages. They are quite expensive. And they have been
based on the principle of moving one or more graduated
glass diffusion screens across the lens. The importance of
the cast factor is obvious, especially where a whole studio's
camera-ecuipment is to be considered. And it would not
Device for Producing Variable Diff usion
hotographic Diffusion has for many years been

P a fundamental part of dramatic cinema technique. A
wide variety of diffusing media have been evolved,
Effects
discs,
—
and are in use today gauze netting, optical diffusing
and several types of so-called "diffusion screens."
Of gauze is perhaps the most frequently used.
these, the
by
It is simple and
inexpensive, and by varying the weave,
Emil Oster
fineness and color of the material used, a very consider-
able range of diffusion effects is possible.
Camera Executive, Columbia Studio
All of these diffusers, however, suffer from one common
fault: they are essentially fixed-purpose accessories. Once
any given diffusion medium has been fixed in place an the
camera, the degree of diffusion obtained cannot be varied be advisable to attempt to operate with only a few of the
without removing the diffuser and replacing it with an- devices, for when such an auxiliary is wanted, it is
other one. wanted immediately; there is no time to wait for one to
With the modern directorial technique which, rightly or be brought, or for another company to finish using it.
wrongly, places so much importance on camera movement, Few cameramen care to be restricted to one medium of
this today a serious limitation.
is Frequently a camera- diffusion for such shots, as it might be greatly at variance
man may begin such a shot with his lens trained on a with the type of diffusion used throughout the rest of their
player or action which requires one type of diffusion, and production. Glass wedges of sufficient size to give a uni-
then pan or perambulate to another which requires a great- formly imperceptible blending between the two extremes
ly different degree of diffusion. For example, the scene of diffusion may also introduce a factor of bulk not easily
may begin as a long-shot, after which the camera peram- accommodated in all camera-blimps.
bulates in to end the scene as a close-up of some player. This problem came to a head recently at the Columbia
It is axiomatic that a long-shot requires only a relatively Studio, during the production of a picture which J. Peverell
light diffusion, while closer shots require a heavier diffu- Marley, A.S.C., was photographing. As a direct result of
sion. discussions between Marley and in which
and the writer,
What happens? The cameraman has three options — most of the studio's staff Directors of Photography partic-
none of them entirely satisfactory. He may decide that ipated from time to time, a simple, economical and yet
the important part of the scene is the long-shot, and apply very practical variable-diffusion has been developed. It
diffusion suitable for it. In this case, the close-up is im- has been used on several productions with such success
properly diffused, and unsatisfactory. He may, on the that it is now being fitted to all of the studio's cameras.
other hand, decide that the close-up is the more import- The and construction must be credited chiefly
final design
ant factor, and diffuse for it. In this case, the long-shot to collaboration between Enzo Martioelli and John Durst,
will be over-diffused and, in proportion to the amount of Head of the Studio's Precision Machine Shop.
diffusion required for the close shot, unsatisfactory. The The diffusing medium used at present is gauze, which
third possibility is compromise. He may attempt to strike permits an unusually wide range of possible effects. The
a happy medium between the light diffusion suited to the essential principle of the deviceis simply dropping the de-
long-shot portion, and the heavier diffusion required by siredgauze into the regular 2" slot in the camera's matte-
the close-up portion. In that event, neither phase of the box or lifting it out, as the case may be. The device is
scene can be wholly satisfactory. permanently mounted inside the blimp, and operated from
A similar situation arises when it is necessary to pan Continued on page 59
High Efficiency Reflector and Background

T HAS LONG been realized that the ideal instrument for
I
general lighting would be a unit which provided a light-
source of large area, and which emitted a wide flood of
Screen
softly diffused illumination. To meet this need, a variety
of units such as banks of vapor-tubes or incandescent
globes have been tried. In general, while each had its
advantages, none have been lastingly successful. The
vapor-tube banks were excellent in the days of orthochro- by
matic film, but their virtually monochromatic light is not Hartley Harrison
well suited to modern panchromatic and super-panchro-
Optical Engineer
matic emulsions. Banks of incandescent globes have not
proven on adequate substitute, for instead af producing a
genuine large area light-saurce, they massed a number of
small, relatively intense light-sources.
None the less, the need for such a general lighting in-
appear to come from a small-area light-source, but from
strument has in na way lessened. Rather, it has increased,
a source equal to the size of the reflecting-screen. Assum-
especially with the increasing use af natural-color cinema-
ing, for instance, that an eight-foot screen be used, the
tography. In color it is particularly necessary to maintain
general light-source would be apparently eight feet square!
a definite overall level of illumination throughout a set in
If a greater intensity of light be desired, it is a simple
order to maintain a pleasing and natural relation between
matter to use a more powerful lamp behind the screen.
highlight and shadow illumination in a medium which (re-
If still more illumination should for any reason be neces-
gardless of what process is used) has considerably less
sary, is possible to gain further increases by focusing a
it
latitude than black-and-white. This lock of latitude
spotlight on the lamp rail onto the front surface of the
renders it generally inadvisable to rely on the so-called
screen from an angle that gives a single reflection straight
"spilled light" from the spotlighting units to provide on
out into the set. With the screen illuminated from both
adequate level of shadow-illuminaion. Moreover, the im-
front and rear, the
result is a large-area light-source of
proved directional beams of modern sootlighting units have
very considerable pawer, which still maintains a desirable
considerably reduced the amount of "spilled light" which
quality of diffusion.
might have been used for this purpose. On the other
Practical tests have
indicated that this system has a
hand, the use of a large number of relatively small-source
floodlighting units on the floor and overhead does not
very high efficiency,
transmitting in excess of 80 of %
the light falling upon it. Lightings achieved with it have
produce a natural-looking result.
a remarkable plasticity: the diffused reflection, together
Careful study of existing light-sources fails to disclose
with the large-area source, gives the smoothness gen-
any which will give a large-area source of light, and at
erally associated with a flat lighting, but without the un-
the same time be adapted ta work with modern incandescent
desirably monotonous flat effect. There is a surprising,
and arc lighting. It would seem possible, however, to em-
natural recession of planes.
ploy the principle of reflection in conjunction with a single,
Two good-sized units of this type should take care of
powerful unit of either of these types, and effectively to
the general and front-lighting of most ordinary sets. By
produce the result of the desired large-area light-source.
and the amount of light thrown on them,
position of units,
The writer has for some time felt that something along
and changing the angles of the reflecting blades, a very
this line would produce the desired result. Recently, in
wide range af control of the intensity of the reflected light
conjunction with lighting tests made by Ray Fernstrom,
is possible. Thus with these two units, and a minimum of
A.S.C., and the Dunning Calor process, he has had an op-
spotlighting units overhead for modelling purposes, the
portunity to put his theories to a practical test and to com-
problem of lighting should be considerably simplified.
mence the evolution of equipment for use in lighting both
made, The same type of reflecting units can be used equal-
interior and exterior scenes. The tests thus far
ly well for exterior scenes. In this case, however, the re-
while on a somewhat limited scale, decisively indicate a
flection would be from the front side, unless it was desired
wide range af new possibilities.
to augment the natural light with "booster" lamps placed
The reflector used is made after the pattern of the
behind the reflecting unit. Used autdoors, these units
familiar "Venetian blind," with parallel blades of matte-
have several definite advantages over conventional reflec-
surfoced aluminum. The unit may be made in any size
tors. They are, for instance, much easier on the eyes of
desired, and supported on light metal stands like ordinary
actors who must work before them; there is not the in-
lamp-standards. The angle of the blades may be adjusted
tense brilliance which so often has proved all but blinding
in exactly the same simple manner as an ordinary vene-
to tender-eyed players. Nevertheless, the reflected light
tian-blind window-shade is adjusted.
is of surprising photographic value. Tests have shown
Used an an interiar set far general lighting, this unit
that much the same surprising effect many of us have
would be put in place, and illuminated from behind by a
noticed when photographing on a beach on a cloudy day:
pawerful unit such as a "Solarspot" which gives a uniform
field of illumination. The blades of the reflecting unit the light may nat seem particularly strong visually, but
unless due allowance is made for its actual potency, the
would be adjusted so that the light falls on the lower side
resulting picture will be found to be more strongly exposed
of each blade, and is reflected dawnward from that onto
From there, it than expected. Using these reflectors also produces the
the upper surface of the blade below.
same natural effects aften obtained photographing on
would re-reflect forward inta the set. Due ta the dauble
cloudy days. In these reflecting units in exterior photog-
reflectian from matte surfaces, the light cast on the set
raphy, there is alsa the advantage that two or three of
is of a desirably diffused character. Due also to this
principle of reflection, the reflected illumination does not Continued on page 61
Walker^ Mate and Marsh Win
W ITH LISTS OF “best" film performances of

sprouting os plentifully os All-American selections
at the close of football schedules, the announced
choices of the New York film critics carry weight and im-
portance.
1936
Critics Praise
These men are experienced and capable appraisers of
pictures. Their newspapers are large enough to permit
and encourage the reviewers to speak their honest opinions
by
regardless of outside considerations. Being three thousand Walter Blanchard
miles from Hollywood, they are detached from studio and
personality politics, policies and influences. Theirs can be
said to be an impartial attitude. Technicalities concern
them less than the entertainment and artistry content of
the pictures offered for public consumption. In Dodsworth," Rudolph Mate had a powerful and well-
This year, their selections have attained widespread known dramatic story, superb sets done in typical Goldwyn
publicity and public acceptance. Newspapers throughout —
manner and Walter Huston.
the country have given space to them. The two major Now, Walter Huston is not of the eyebrow-waving school
radio networks have aired them impressively. of cinema actors. He does not go in for moustache-twirl-
We are particularly concerned with the cinematography ing nor nostril-quivering. His is a strong, forceful char-
which conveyed entertainment and artistic values in de- acter. He is not a magazine-cover lad. But he is, as you
gree to merit the awards of this group; cinematography doubtless heard rumored, considerable shakes as an actor.
being the medium of expression. Fully cognizant of these items. Mate treated him in
Joseph Walker, A.S.C., photographed Columbia's “Mr. manner quite unlike the out-of-a-pattern male star. To
Deeds Goes to Town," named as the best picture of the have dane so would have been fatal. In glorious contrast
year. to the atmospheric set lighting, sometimes very brilliant;
Rudolph Mate, A.S.C., photographed Walter Huston in the theatrical lighting of Ruth Chatterton; the soft, femi-
Samuel Goldwyn's “Dodsworth," named the best actor per- nine lighting of Mary Astor —
Huston's rugged virile qual-
formance. ities are set forth in bold degree. His face carries little
Oliver Marsh, A.S.C., photographed the Luise Rainer se- light; often as not, is in shadow. The full strength of
quences in M-G-M's “The Great Ziegfeld," named the the man is impinged on the film.
best feminine characterization of the year. In our November issue, after eyeing the picture in pre-
The New York film critics did not, this year, issue an view, we stated, “Mate reveals one of the finest jobs of
award for outstanding cinematography, possibly from de- masculine lighting in many moons." No subsequent de-
sire to remain aloof from the more technical aspects of velopment has caused a reversal of opinion.
picture making. However, as the notable film and the two With Luise Rainer in the Ziegfeld opus. Marsh had his
stars were imaged to them by cinematic processes, it is not own quota of problems. Her role, Anna Held, called for
unreasonable to assume that the cinematographers who most precise handling. Here was a character at once gay,
fashioned the images contributed in degree to the award- colorful, glamorous, exotic, and who as well carried the
winning scenes. heaviest dramatic moments of the play. Treatment could
To Messrs. Walker, Mate and Marsh, therefore, may not be the brittle, brilliant illumination of Lillian Lorraine,
go by inference the palm for top-flight camera perfor- nor the warm, womanliness of Billie Burke. Nor would it
mances of the past year. be the exotic effect lighting given a Garbo.
tensing of prize-taking films is getting to be a habit Marsh hit a happy compromise and consolidation. His
with Walker. “It Happened One Night," which swept exact portraiture of her through many moods must be
the field of awards for 1934, also flowed from his camera. labeled one of the cinematographic accomplishments of the
When Mr. Deeds came to Walker, there was no warn- season.
ing that a champion was to be fashioned. True, the story laudatory screen achievements, it is again
In this trio of
was strong and Frank Capra was dierctor. But it was not italicized that the true cinematographer seconds his art
dressed in lavish sets, magnificent costumes, tremendous to enhancing the visible art of others. Never is the audi-
production values. It was not a “natural" from a pho- ence aware of the photographic medium bringing to them
tographic standpoint. It was a story, rather than a pic- entertainment and artistic accomplishment.
torial, film. Had these three performances been under-photographed,
As Walker's achievement is the more praise-
result. audience reaction would have been that much less. Had
worthy. He made much from prosaic scenic material. It they been over-photographed, audiences would have been
is eminently fitting that high acclaim should come to pains- captivated by pictorial instead of dramatic art.
taking, conscientious effort with substance that of itself And so public recognition goes to those whom the pub-
does not challenge and invite the cinematographer's top lic sees. The creator of the images which earned the
talents of artistic composiion. recognition goes his way happy in the knowledge of a job
Throughout the production. Walker strove for photo- well done.
graphic realism. He sought to have the audience believe his Only the observant technical spectator discerns the
story; and to believe his photography, not see it. He em- means by which a given stage performance is translated
ployed no artificiality, no effects —
other than in the fog into notable screen performance.
sequences when he endeavored truly to depict atmospheric To many, the cinematographer is the unsung and un-
influences. heralded artistically creative force of the picture business.
Edward Cronjager-
the Complete
Cinematographer
bv
Harry Burdick
rapher is perforce limited in abilities to a type of picture

which he lensed in outstanding fashion. He is living con-
tradiction of the policy of attempting to tie down practic-
ing Cinematographers to any one classification of produc-
tion.
A competent Cinematographer is wholly able ta tackle
any sort of a production that comes across the lot. He
will turn out an oats opera, an epic of the open spaces,
a musical, a conventianal interior or a shuddery drama,
with equal ease and proficiency. Cronjager feels quite
strongly on this point. He has flatly refused to to tabbed
and typed as is many an actor.
He drives home the pertinent premise

that a Cinematog-
rapher is a Cinematographer regardless of subject
still
matter appearing before his camera. He delights in re-

counting experiences of fellow Cinematographers as sup-
porting evidence; of one who was rated tops at exteriors
who astounded studio executives by making interiors sit
up and beg; of another who could presumably shoot com-
edy only but turned out one of the heaviest dramatic
studies of the season; and so on.
Such camera not to be considered excep-
versatility
is
tional, he declares. all in the year's work.

It's Under-
Edward Cronjager, A.S.C., right (without hat) lying technique are more far-reaching than
principles of
talking to director Sidney Lanfield.
some studio front-office occupants are inclined to imagine.
Just to keep his finger in the great outdoors, Cronjager
went out with King Vidor to do "Texas Rangers." Through
dward cronjager is a Director of Photography the wide expanses of Arizona, New Mexico and Texas,
E with
articulate in
well-formed
regard ta them.
ideas
cinematography and makes no
concerning this subject of
bones as to being
he carried out an experiment which proved decidedly use-
ful. He carried along from location to location a portable
darkroom. Some six feet square, it had
and enlargement
facilities for hand
A goadly number of films have passed an to the silver developing and fixing of negative,
reclaimers since Cronjager first started pointing lenses at printing on paper.

Precise effects were called for. Considerable filtering
aspiring actors. Indeed, he has photographed a number him-
self during the period extending forward a couple of de-
entered into the problem. Against violently changing at-
cades from his early Biograph days at Fort Lee, N. J., and mospheric conditions, he exposed a brief strip of film. This
other points east. was at once developed and a 4x5 enlargement printed,
Significant pictures have ever had the habit of align- just as one would film from a miniature camera.
ing themselves before his camera. And then, in 1931, He had developed negative ta read and the enlargement
he did "Cimarron," the outstanding production of the year to study for detail pictorial effect. Any over- or under-
and many were the cinematographic awards that came his correction was at once detected. A worth-while expedient,
way. he finds, particularly when the director is to be brought
In best Hollywood tradition, producers at once labeled into consultation on matters of effect-lighting and effect-
him as a photographer of exterior spectacles. Defying the composition.

label, Cronjager turned his cameras on "Roberta," the Cronjager solved another tricky situation when filming
first of the Astaire musicals, sandwiching a group of as- "One in a Million," featuring the skating star, Sonya Henie,
sorted comedies, dramas and such bric-a-brac. now touring the exhibition halls. A sequence, you will re-
He completely explodes the fallacy, tenaciously adhered call, calls for Miss Henie to uncover her skating arts on
to in some office corridors, that a qualified Cinematog- Continued on page 58

A.S.C MEMBERS
ON PARADE
dope sheet and what a pair of
. . . ladies. P.S. Bing did
not have any money on his horse . . .
• Lloyd Knechtel, A.S.C., who has been Londoning it for • Leo Tover, A.S.C., is in Sun Valley, Idaho, shooting the
these several years vacationed a bit at St. Moritz from new Claudette Colbert Paramount picture with Wes Rug-
where he sends a few pictures and a bit of chat. While gles directing. A
small stage has been built on location
in the Alps he watched the championship Ski-jumping so work can go on should the weather prove inclement.
Tournament, the ice skating tournament and the famous
• Gregg Toland, A.S.C., has been loaned by Goldwyn ta
Cresta run where it is possible to travel 80 to 100 miles
Walter Wanger to shoot the picture "History is Made at
per hour on special built sleighs. When riding these "bul-
Night."
letts" it is necessary to wear crash helmets, similar to
football helmets padded thick with felt, aluminum guards • Horry Jackson. A.S.C., signed a contract with 20th
for the hands and elbows and spikes for the toes of the Century-Fox.
shoes. Lloyd shot all of the winter sports in 16mm Koda-
chrome. • Robert H. Planck, A.S.C., has signed a contract with
20th Century-Fox.
• Charles M. Herbert, A.S.C., has reached Honolulu on
his return trip from the Orient where he has been "March- • Bert Glennon, A.S.C., has been contracted by David
ing for Time." While in China Herbert was quite sick so Seiznick's International pictures.
he has decided to take a leave of absence from the "March • Roy Overbaugh, A.S.C., took complete charge of the
of Time" to recuperate and put his system back in work- camera department at Seiznick International on Monday,
ing order after the miscellaneous foods he has devoured
January 25th, at the Pathe studios.
for more than six months.
So soon as he finishes shooting his Hawaiian assignment • Hal Mohr, A.S.C., now directing his first production at
Herbert will go into hibernation on one of the quiet beaches Universal is the nervous expectant father. According to
on the quiet side of the island. gossip columns the Mohr's (Mrs. Mohr being the screen
star Evelyn Venable, expect their second child sometime
• A.S.C. Members not Parading. Among those reported this spring.
sick are Ray June, A.S.C., Fred Gage, A.S.C., Nick Musu-
raca, A.S.C., Dave Abel, A.S.C. and Byron Haskin, • John Seifz, A.S.C., has been contracted by M.G.M. to
A.S.C. direct photography on productions at that studio.
Continued on page 61
• Dr. C. E. K. Mees, A.S.C. of Kodak Company is in Hol-
lywood waiting a settlement in the maritime strike prepara-
tory to going to Honolulu for a vacation. While here Dr.
Mees will address the Society of Motion Picture Engineers
at a special called meeting. He will talk on the Historical
Development of Photography, Including Recent Progress.
Illustrations will accompany the discussion.
• Fred Cage, A.S.C., gets the very best tips on the races.
Mrs. Gage and Mrs. James Van Trees were headed for
Santa Anita and wanted a bit of advance dope before they
placed their money on the line. The dopester hadn't made
up his sheet for the day. The ladies were in a hurry. When
he heard the dope was for ladies he figures anything would
do. He merely lets his pencil be his guide.
Mesdames Gage and Van Trees rushed off to the races a
bit late as the first race was apparently over. They rushed
up to the ticket window and placed their two dollars on No.
6. The dope sheet said No. 6 would win the second race.
They had hardly left the window when the race was over.
No. 6 was put up as a winner. It was a Bing Crosby
horse, paying 160 to 2. Were the ladies delighted . . .
but all the time they thought they had been betting on
the second race, whereas it was the first race. What a
Lloyd Knechtel, A.S.C., at St. Moritz, Switzer-

land. While this photo shows Lloyd standing
upright, we have it on good authority that just
previous to the snap and right after it he was
in a more embarrassing position. It is even ru-
mored the photographer had to shoot at 1 1000
of a second . . . but that’s only a rumor.
VSED IN NINE OF
BEi^T TEN”
ALL but one of the ten pictures chosen in
the Film Daily^s 1936 critics’ poll were
made on Eastman Super X Panchromatic
Negatives. Unquestionably this famous
film contributes substantially to the art-
istry and entertainment value of everv
production in which it is used. Eastman
Kodak Companv, Rochester, N. Y. (J. E.
Brnlatonr, Inc., Distribvitors, Eort Lee,
New York, Chicago, Hollywood.)
EASTMAN SUPER X
PANCHROMATIC NEGATIVE
Edward Cronjager--the Complete Cinematographer

WE WANT TO BUY Continued from page 55
All Kinds of Cameras
an expanse of frozen on a studio set.
ice as befits its entertainment nature. Un-
Mitchell, Bell & Howell, Eyemo,
DeBrie, Akeley and other mokes. She specified ice to be hard, smooth, der Cronjager's guiding genius it prom-
Also oil camera accessories, tri- lightning fast —
and of course glistening ises to add further luster to the Twen-
pods, lenses, motors, laboratory like a mirror. tieth Century-Fox banner.
and cutting room equipment. The ice was duly made.was fine It Cronjager is a hard worker, his own
We Pay Highest for Miss Henie's skates but not good at task-master. He is sure of himself and
Cash Prices. all Cronjager's camera.
for And from the photographic results he intends to
Get in touch with us at once. an elevated set-up the full network of place on his negative. He has keen
Camera Eqnipiiieni, Inc. refrigeration pipes were visible in all sense for artistic values on the one hand
1600 Broadway New York City their horrid nakedness, ruining the illu- and, on the other, his responsibilities
sion. to the production office. His talents
Cronjager studied this one for a are broad as to scope, and he blithely
moment and then called for the paint- jumps out of any threatened rut.
ing crew. The ice surface was painted He seems to draw more than his
_ --riAKX--- white, then flooded another inch and
The white lining of paint in
share of hard-to-photograph subjects, as
refrozen. witness the "Sit Up and Live" set of
• Light Testers — Polishers used by all
the ice killed the glare, blanketed the numberless and
major studios. We are the Sole Mfrs. reflections piercing
and Distributors. mirror-like qualities and mercifully con- highlights which is ceilinged and de-
• Mfr. of 16mm and 35mm Recording cealed the piping. The result is cap- mands a fine balance of light. But he
Heads, Amplifiers, Developing Machines, tivating audiences everywhere. appears to have all the answers at ready
Printers, Etc.
Currently, his cameras are turning on command. Scenes flow past his camera
CINEMA ARTS CRAFTS that new team of thespians who have so in steady parade.
914 N. Fairfax HE-1984 Hollywood, Calif. much to contribute to our dramatic cin- He goes about his work with a strange
ema; namely, the Messrs. B. Bernie and mixture of grim determination and quiet
W. Winchell. It's a musical and a enthusiasm. He admits no obstacles.
thoughtful art department has furnished He never loses sight of the commercial
MOVIOLA a night-club set done in gleaming white
enamel and chrominum. It's very beau-
aspect of his product.
no limit to his versatility.
There appears
He is the
Used
FILM EDITING EQUIPMENT
Every Major Studio.
tiful and very dazzling; a bit blinding. complete Cinematographer in the ful- —
in The entire picture is brilliantly lighted ler meaning of the term.
A
Illustrated Literature on request.
MOVIOLA CO.
1 451 Cordon St. Hollywood, Calif.
Looking at London Cinematographicolly
H SALES of
click
close working association and
as efficiently.
Continued from page
they'll respect,
haven't.
51
they have much that we
^
SERVICE surface
just
Actual production differs but in little
items from accepted routine
Of course,
tional.
British weather
The sun doesn't shine any too
is tradi-
m
11- kr
RENTALS : 1 •
m
here. If you want a parallel, you ask
for a "rostrum." All actors, actresses,
extras or performers of any description
often, but
sparkles
when it does the countryside
in rare beauty. Last summer,
production schedules were shot to tatters
•• CAMERAS •• are
strips."
"artists."
And
Light tests
about
the handiest
just
are "cynex by inclement weather.
wasn't any sunny season.
There simply
Even Lon-
BLIN/IPS man on a set is known as the "chippie." doners groused about it. To use our
DOLLIES ,
He's sort of a stand-by carpenter, grip, own alibi, it was "unusual."
ACCESSORIES jack-of-all-work. But it caused interminable delays and
MOVIOLAS They are introducing that useful per- necessitated construction of elaborate
and son we term the grip. Instead, they and costly exterior scenes on stages.
SOUND EQUIPMENT -
now have more prop men and assorted found working in London to be very
I
workers of none too definite duties. On pleasant. Associates were congenial,

Exclus ive' Easfern location, electricians will handle reflec- courteous, co-operative. saw no envy I
Representative for tors. The "chippie" will handle about nor jealousy toward Hollywood or its
MITCHELL CAMERA CORR

anything —
including a pot of tea. representatives. To the contrary, most
Sets are uniformly magnificent with technicians have open admiration for
• FEARLESStr PRODUCTS* no money spared to make them superb. our work and have an eager ear for
•HARRISON FILTERS •
Hollywood production offices would swoon ideas.
_ •ARRO LIGHTS* at the cost of many of them. Furniture London is full of familiar Hollywood
TEAGUE BACKGROUND PROCESS and furnishings are beyond description. faces. Pop into the Savoy after theater
Hi Priceless old authentic pieces from time and you might as well be in any
J.Borgi Con+ner
manor houses and estates. popular local spot. Producers, actors,
MOTION PICTURE England is abundant in beautiful ex- writers, directors, technical men — all
teriors. Stately trees,springy century- having a great time and all, quite nat-
CAMERA SUPPLY old turf,
dens.
gorgeous landscaping and gar-
All are available close by the
urally, very homesick.
there will be much more
believe
Inc. I
_
* 723 7tb AVE.
i studios; the sort of thing we travel miles of Hollywood-to-London commut-
this
NEW YORK CITY to get. They can certainly have authen- ing. plane and boat, it's only a
By
PHONE CABLE
BRYANT 9-T754 CINECAMERA itic backgrounds at little cost. In this matter of six or seven days; about the
same time that used to separate us from

New York. The interchange of talent is
healthy for the industry. For we, too, it is
to
those
cincts.
be remembered, have
who have migrated
learned
to our
from
pre- T wo
much
Valuable Books
London is prosperous. There's
building. Hotels are jammed. Picture
theaters are doing a land-office busi-
ness —and at prices ranging up to $3.00
per ducat. Living expenses are corres- Every one interested in Cinematography should hove both of these
pondingly high to a temporary resident;
books in his library.
at least twice the Hollywood scale.
There can be no question as to Lon-
don's permanency as a producing center.
They may seem to dive off the deep end Cinematographic Annual, Vol. 1
on some of their lavish, special produc-
tions, but have already learned
they is used by universities and schools on cinematography os their text books.
how to turn out commercial program
pictures of acceptable appeal at a price This work covers many phases of picture making and is looked upon os one
that makes them profitable. And that's
of the most authoritative works of its kind.
steady bread end butter.
There may be an explosion or two,
and a batch of disappointed stockhold- PRICE $2.50
ers. If so, they will grin and bear it.
For in the inevitable shake-down a

calm, well-ordered and substantial pic-
ture making center is coming.
Device for Producins Variable

Diffusion Effects
Cinematographers’
Continued from page 52
the outside by a convenient control.
Inside the left-hand wall of the blimp, Year Book and Reference Guide
at a point even with the average nor-
mal position of the matte-box filter- is o compendium of complete and valuable information for every man
slot, a short steel rod is mounted vertic-
using o motion picture camera. It reduces many of your problems to
ally. In this rod, a slot is cut; this slot
limits the vertical movement of the simple tables that save many valuable minutes.
gauze-carrying part of the device. A

up and down on the rod, Book
collar slides
This Sells For $2.00
its travel limited by a pin which passes
through the slot in the supporting rod.
Hinged to this collar is an arm which

supports the gauze-carrier. Being
hinged, the arm automatically adjusts
itself to any position of the matte-box
necessary to accommodate lenses of long
Send your order to
or short focal length.
At the outer end of this arm is a slot
about half an inch long, which auto-
matically compensates for the angle the American Cinematographer
supporting arm must make in this in-
1782 N. Orange Dr. Hollywood, Calif.
and-out adjustment for long or short
focus lenses. A simple split pin travel-
ling in this slot makes a quickly de-
tachable connection between the gauze-
holder and the supporting arm.
The gauze-holder itself is a simple FEARLESS CAMERA CO.
Velocilator Camera Dollies, Camera
three-sided metal frame, with its open Blimps, Camera Motors, and com-
plete camera accessories and equip-
side downward, it slides in the regular
ment.
2" filter aperture of the matte-box; the 8572 Santa Monica, Hollywood, Cal.
Eastern Representative, Motion Picture
sides of the frame being sufficienly long Camera Supply Co., 723 7th Ave. N.Y.C.
so that when the gauze is raised clear
of the aperture, the frame is still en-

gaged in the filter-slot.
The whole assembly is moved up and
down on the vertical rod (fixed to the
BERnOT-mnURER blimp's wall) by an endless loop of wire

which passes over grooved drums at the
35 mm. Model “E” High Fidelity Variable-Area ends of the rod. The upper one serves
sound - on - film Recording Unit Characteristic .
as a simple pulley. The lower one, to
frequency response curve. . . which the two ends of the wire ore fast-
+ 10
ened, is connected to o controlling knob
on the outside of the blimp.

The gauze is stretched across the
metal frame in the usual manner. The
lower edge of the fabric does not ex-
60 tend to the end of the frame, and the
100 500 1,000 2,000 5.000 10,000
gauze itself is frayed at this point, to
Recording Optical System . . .
produce o softly graduated blend. Due
to the slot-ond-pin method of attach-
The B-M Model “E” Recording Optical system requires no attention after
ing the frame to the moving arm, the
installation, asit is put into permanently correct adjustment before de-
livery.Replacing an exposure lamp has no effect on the optical system gouze-corriers may be interchanged os
adjustment if standard B-M lamps are used for replacement. quickly os ordinary gauzes or gloss
The moving arm is swung back-
filters.
BERNDT-MAURER Model "E" High Fidelity ward on its hinge, and the gouze-frome
Recording Galvanometer, frequency range
lifted from the matte-slot; another
0 to 10,000 cycles
New York.
$350. F. O. B.
d Cl
frame, bearing o gauze of different tex-
ture dropped into the slot, and the arm
swung bock into place.
THE BERnDT-mnURER CORP.
I
INCHES
In use, for instance in making o dol-
117 East 24th Street • Reui Varh Citv I 'I ^1 3| 4| 5| 6| 7|
ly-shot from on undiffused long-shot to

o diffused close-up, the correct gauze
for the maximum diffusion is selected
and put in place. Turning o small lever
attached to the controlling rod forward,
the gauze is lifted clear of the lens. As
the camera moves in for the close-up,
this lever is swung backward toward —
the operator. This drops the gauze into
Everything Photographic place in front of the lens. Since the
for Professional and Amateur bottom of the frame is open, and the
New and Used, bought, sold, rented and lower edge of the gauze frayed, there
repaired. Designers and manufac- is neither o sharply-defined line of de-
turers of H. C. E. Combination marcation os the heavier gauze drops
lens shade and filter-holder into place, nor any abrupt transition
for any size lens.
from light to heavy diffusion. This
Hollywood Camera Exchange smooth blend applies even when o
1600 Cahuenga Blvd., change from no diffusion at oil to the
Hollywood
Tel. HO 3651 diffusion of the heaviest possible gauze
Cable Address: HOcamex is mode. It is naturally possible to use
Send tor Bargain Catalog
this variable diffusion device with o sep-
arate, light-diffusion gauze or disc in
place for the maximum-diffused portion

of the shot, and to drop on additional
A ICBAL K.%m;AIA gauze maximum
WE BUILD 2
Each
AKELEY CAMERAS, Complete
has 6 magazines, carrying
ion.
into
Due to
place for
the extreme
range in the
types of netting available, on extremely
diffus-
cases, tripod, extra lenses. Both

• Continuous Printers in perfect mechanical condition. wide range of diffusion combinations is
• Light Testers
4âniora Kqaipmont. Iiut. of course possible. It should also be
1600 Broadway New York City possible to adopt the device for use with
O Optical Printers various types of diffusion discs, gloss
9 Titling Stands diffusion-screens, and the like, though
• Camera Silencing these would hove to be specially mount-
I n UlarU'LOide Usg
ed. Most of the Columbia cinematog-
MwnhghV raphers hove thus for preferred the
Fried Camera CTfvcls in
and Niqhf
Daytimv'Fvq Scvovs- greater adoptability gauze diffusion of
Diffu'svd Fwus. and many nlWr «f Fvds
6154 Santa Monica Blvd. ^ With any Camera " In any Climate for the device. As has been stated, oil
Hollywood, Calif. 'Ocorqe H. Scheibo of the studio's cameras ore now being
ORIGINATOR OF EFFECT FILTERS
1927 WEST 7eT» ST. LOS ANGELES. CAL equipped with the device.
High Effi ciency Reflector and

Background Screen
the units will suffice for most ordinary

scenes, and since they fold so compact-
ly, they will take up very little room for
transportation to the location.
A further interesting possibility is of-
fered by an adaptation of this principle:
its use in background-projection process
cinematography. In this case, the low-

er (rear) surfaces of the blades would New and Used Camaras,
have a matte white finish, while the op-
posite surfaces would have a specular or Accessories, Studio and
mirror-like background
finish. The
transparency would be projected upon Cutting Room Equipment
the screen from the rear, falling upon Showing a Mitchell Camera, a Fearless
the white sides of the blades. From for Sale or Rent. Blimp with front door open and a
Panoram Dolly in our display rooms.
these, the image would be reflected for-
ward by the mirror- like upper surfaces. Make this office your • MITCHELL CAMERAS
On first thought, it would seem that the 9 & Howells
Bell
broken surface of such a screen would headquarters when work- 9 Panoram Dollies
present gaps or overlaps, which would 9 Moviolas 9 Tripods
impair the effect of the projected pic- ing in New York. 9 Blimps 9 Filters
ture as seen from the front; but pre- 9 Lights 9 Lenses

liminary tests show that with the blades
9 Special Effect Cameras
in proper adjustment, this does not oc-
cur. Projecting in this manner, on an Mitchell and llell &

Howell camera servicin|$
essentially opaque screen, there should i»« a specialty of our experienced technicians.
be no "hot spot." Furthermore, the
reflected image appears to give a round- FKA>K ZLX'KEIK
ness and depth that should greatly ini-
prove the naturalness of the composite
scene. There is also the indubitable ad-
vantage of the high efficiency of such
a screen: it should work with an ef-
l600 Broadway
€QUi4>fn-enT,
Hetu York Citq
me
9-^146-7 ADDRESS: CINEQUIP
ficiency of from 80 to 90% or more.
A.S.C. ON PARADE
9 Edward Cranjager, A.S.C., had a bit

of stomach trouble while shooting the
20th Century-Fox picture "Nancy Steel
is Missing." Barney McGill, A.S.C., was
assigned to the camera during Cron-
jager's absence.
Always 9/
9 Charles Rosher, A.S.C. , on his re-

turn from London was pressed into ser-
vice by the R.K.O. studios where he is
shooting "Escadrille."
9 Virg Miller, A.S.C., is shooting on

the 20th Century-Fox lot.
9 Arthur Miller, A.S.C., on his return

from his brief winter Vacation to the
lôlarspots
20th Century-Fox lot was assigned to
the new Shirley Temple picture. for tlio
9 Gearg got into the
A.S.C.,
Folsey,
finals of the Lakeside Golf Tournament BE^T IX LIOHTIXG
by beating Bing Crosby.
9 Dan
ber
Clark, A S.C.,
who has been inFLUenced by
is another mem-
the
MOLE-RICHAIIDSOX, lue.
flu germ. Dan's a resting.
9 11 Xo. Sycamore Avenue
9 E. 0. Blackburn, A.S.C., is on the
Hollywood. Calif.
sick list temporarily. A bit of the flu
seemingly invaded Beverly Hills.
• Emery Huse, A.S.C., is exceptionally
Fully Guaranteed Used 35mm Equipment busy these days playing host to visiting
executives from the Eastman Rochester
Mitchell, Bell & Howell, Akeley, Holmes Projectors, Sound and Si-
offices. Dr. C. E. K. Mees was the first
DeBrie, Universal, Pathe Cameras. lent.
to invade Hollywood. More recently
Portable Sound Recording Outfits. DeVry Suit Case Model Projectors.
Ted Curtis and George Blair. Curtis is
Eymo ond De Vry Spring Driven We buy, sell and rent
here for his semi annual three months
Cameras. anything Photographic.
visit.
Cauierî Supply Co. • Paul Perry, A.S.C., although only re-

1515 No. Cahuenga Blvd. Hollywood, Calif. turned recently from several years stay
Cable Address: CAMERAS abroad has a yen to return to those
foreign shores. Paul maintains he will
leave us within three months.
• Jimmy Howe, A.S.C., they tell us is

clicking it off in fine shape over in Lon-
TRUEBALL don where he has been shooting con-

stantly since he went over there.
TRIPOD HEADS • Johnny Boyle, A.S.C., has not been

sending us post cards recently showing
OF SPECIAL him in search of sunshine, perhaps he
LIGHTER WEIGH found a bit or then again he might be
The Same Efficient Head too busy.
For follow shots, known for
their smoothness of opera- • Frank Good, A.S.C., almost went to
tion and equal tension on Alaska on a Sol Lesser picture, but last
all movements. minute cancellation of picture for this
Unaffected by temper- year's schedule cancelled the trip. Frank
ature. enjoyed his cold weather right in Holly-
wood.
Model B Professional $300.00
Model A for Ama-
For Bell & Howell and Mitchell motion picture
teur • Academy Award for photography is
Cameras and their respective cameras. Attaches t^
any standard STILL being handled differently this year.
Tripod. With the ORIGINAL Tripod, $12.00. There be no write-ins according to
will
instant release telescopic
The winner will be among
Trueball tripod the rules.
handle. heads are unexcelled those nominated by the technical nomi-
for simplicity, ac-
curacy and speed of nating committee. The method is get-
FRED HOEFNER ting closer and closer to the technical
members of the Academy. If possibly
GLadstone 0243 The Hoefner four-
inch Trig and Sun- should simmer right down to the cine-
5319 Santa Monica Boulevard shade combination
ig also a superior matographers themselves as they are the
LOS ANGELES, CALIF. product. most adequate to handle this phase of
the academy recognitions.
Film Tested Laboratory and Sound Recording Ef|uipment
Art Reeves
MOTIO.\ PICT! RE E€HJIPME.1^T
645 North Martel Avenue Cable Address ARTREEVES
Hollywood, California, U.S.A.
m
WE RE IN
Another Year
and Ag am
WE RE OUT —
In Front
— Still Leading
THE PARADE
With the
Awards Winning
Panchromatic
Negative
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MATEU
his issue
Color in Black and While Film
Honorable Mention Given Amateurs
Music for Prize Pictures
Cinematographer's Trade Language
. . . and other features
problems inside out
let s turn your movie goo |usl as
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AMATEUR
MOVIE
SECTION
Contents . . .
DOCUMENTARY Film Patterned

from Prize Winner
By Barry Staley 69
PATIENCE KEYNOTE to
Prize Pictures
By Karl Hale 70
COLOR in Black and White Films

By Charles Clarke 72
SOCIETY
HONORABLE MENTION
Extended to Amateurs 73
OF AMATEUR
MUSICAL MOOD and Tempo for the
1936 Prize Winners
CINEMATOGRAPHERS By Wm. Stull, A.S.C 74
CINEMATOGRAPHERS have
Language All Their Own
BOARD OF REVIEW By Joseph Wm. August, A.S.C 76
John Arnold, President, A.S.C., Executive Direc-
tor of Photography, M.G.M. Studios
WHEELS OF INDUSTRY 77
Karl Struss, A.S.C., Director of Photography,

Paramount Studios, Academy Award Winner,
1928 Next Month . . .
O Frank B. Good, has prepared an

A.S.C.,
Fred Jackman. Treas., American Society of article on the use of the camera. Giving you
Cinematographers a view point that will make you look at your
cine filming in a different light.
Dan Clark, A.S.C., Director of Photography,
"Cauntry Doctar," 20th Century-Fox
• Another A.S.C. member is going to tell you
something about lighting. A discussion *of
David Abel, A.S.C., Director of Photography of background and foreground illumination will
Fred Astaire Productions, R.K.O. Studios be the basis of this article.
YOU CINE makers
819
The New Model
Weston
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• Designed for use with all types and makes of cameras . . . all
hlins. Ideal for Kodachrome!

• Gives correct exposure determination from camera position.
Ideal for close-np readings, too.
• Simple to use . . . and almost iiistantaneoiis.
On sale at all photographic dealers. Ask for a demonstration, or

write for literature . . . Weston Electrical Instrument Corporation,
598 Frelinghiiysen Avenue, Newark, New’ Jersey.

driven by a panting locomotive throwing a high screen of

snow.
SCENE 11. LONG SHOT. A passenger train, showing
storm strains, comes limping into the station.
Documentary Film SCENE 12. MEDIUM SHOT. A taxi bucking drifts.
SCENE 13. MEDIUM SHOT. A parked car, snowed
under.
SCENE 14. CLOSE SHOTS of snow drifting high
Patterned from against store fronts, fences and, in paorer sections of
town, homes.
SCENE 15. MEDIUM SHOT. In the tenement district.
A desolate street corner.
Prize Winner Continued on page 83
by
Barry Staley
he documentary film
T factory
is an eminently satis-
medium of expression for the cine-amateur.
But it should and can be much more than a cellu-
loid scrap-book of events. That it possesses wide latitude
for creative and artistic treatment is evidenced by the in-
ternational victory scored by Miss Ruth Stuart, of Man-
chester, England, with her “Doomsday," a documentary
film, which was by long odds the outstanding picture of
the recently-judged contest sponsored by the American
Society of Cinematographers.
Here is suggested outline for such a film suitable for
present shooting conditions. Thoughtful selection of scenes
is essential. The characters shown must be interesting
and colorful. All must have a ring of utter sincerity.
There must be no posed shots. Tempo is rapid. Cuts are
short and the entire film is veritably a montage of impres-
sionistic flashes. It will require a bit of prowling about
to getsuch scenes. You may shoot twice the footage to
get what you need. But it's prize-winning material far
any camera.
MAIN TITLE; BLIZZARD
SCENE 1 . LONG SHOT. From Elevation. A down-
town business street.A howling gale is driving snow over
the already drift-edged thoroughfare. CAMERA PANS
slowly to intersection.
SCENE 2. MEDIUM SHOT. At the intersection.
Huddled on the sidewalk corner is a small group of pedes-
trians, bending against the swirling snow, awaiting traf-

fic signal. The passing vehicles reveal the storm's sev-
erity.
SCENE 3. MEDIUM SHOT. Pedest rians scamper across

the crossing. Those coming toward camera are shielding
themselves against the storm.
SCENE 4. CLOSE SHOT. Women breathlessly running
into shelter of store doorway.
SCENE 5. CLOSE SHOT. The traffic cop, dressed to
buffet the storm.
SCENE 6. LONG SHOT. From middle of street. The
passing traffic; trucks, passenger cars, busses — steaming,
snow-laden, bucking the blizzard.
SCENE 7. MEDIUM SHOT. Home-bound passengers
standing in snow awaiting bus or surface car.
SCENE 8. LONG SHOT. The street car company's snow
plow clearing the tracks.
SCENE 9. LONG SHOT. Plows on street and sidewalk
keeping paths open.
SCENE 10. LONG SHOT. The mammoth rotary plow
Patience
he worked out some of the special effects and some of the

trick photography he had in his picture.
His opening effect while seemingly difficult when view-
ing it the scene, was made by one of those surprising
in
common sense methods.
His "Nite Life" is super-imposed over a moving
title
color effect. This effect is made up of lines apparently
two or three inches wide on the troyidor 6 ft. screen
on which we viewed it. They are on a slant. They not
only seem to move but to be changing colors. Here is
how Moore made that trick. He set up his projection
screen and directed his lights against that screen. In
front of the screen, of course, far enough away so that
it would receive the reflected light, he placed a piece of
gelatine of varied colors secured from Mole Richardson
Co. who furnish this material to the studios. He took in
practically all of this gelatine in his camera with its cal-
ored strips. He then cut a small strip of the gelatine so
that it contained all of the colors. This strip does not
have to be more than or 2 inches wide.
1 Then as he
ran the camera he drew this narrow strip across the lens.
As each color came in front of the lens it naturally af-
fected each color on the big sheet of striped colored gela-
tine. This not only gave the effect of movement, but
as a smooth transitiin of one piece of color moving into
the place of another color. It was a very pleasing and a
smooth effect admired by all who saw it.

For one of his most brilliant sources of light Moore had
a Senior Solarspot. This intense light was especially neces-
sary in some of his earlier scenes as he was at that time
using the original Kodachrome which was very slow to
artificial light as compared with the present Kodachrome
A. In his Solar Spot he used a 106 volt bulb, but burned
it as 118 volts which gave him 7500 watts of light from
this source.
His other units consisted of 5 lamps containing No. 4
photofloods. He also built a special flood unit which is
pictured on this page. It must be remembered that Moore
was lighting a large expanse for the use of Kodachrome.

One of his shots takes in two twin beds. The other shots
take in an entire bed.
During one of the sequences there is a scene where he is
supposed to burn his fingers on exposed electric wires.
Top: Kinney Moore editing his picture. Center:
This is followed by the burned fingers talking to each
J.
the set up for creating wind effect and lights for
night effect on interior. Bottom: supposed to be other and looking each other's burns over. These fingers
scene looking at steam gauge on furnace. Note
asbestos covered pipe and gauge with camera develop eyes, nose, mouth and teeth.
shooting down. After registering his own fingers, Moore lap-dissolved
into fingers he made from children's modeling clay. One
of the illustrations on this page shows the model fingers.
TRICK PICTURE done in the studio with complete Another difficulty encountered during the taking was
A
much
equipment is a matter of patience, painstaking
mathamatics, matching and devising that requires
time.
With the limited equipment available to the amateur;
to secure the explosions that brought the cat on and the
other magic he worked. For this smoke and explosion
fect he used black powder and rigged up a spark coil and
telegraph key.
ef-
in fact when he is compelled to do all of his work in his These are merely the high lights of the picture. There
—
own camera, and in spare time and then turns out a were such things as split stage photography where he talks
good job —
he is to be highly commended. to himself; there was the scene where his spirit rises from
There is also the
J. Kinney Moore was given recognition in a new clas- the bed while his body remains there.
sification for his picture "Nite Life," in the American most amusing effect where the cat touches his foot with
Cinematographer 1936 Annual contest. This picture was a pronged wand and the foot disappears and in its place
made in Kodachrome throughout, with most of the picture is a skeleton of a foot, this changes into a chicken's foot
shot indoors. and this into a crab's claw.

We will tell you about Moore lighting equipment, how This meant rewinding after accurately masking the foot
Keynote of
Prize
Picture
by
Karl Hale
off, then on the second shot it meant more rewinding to

secure the lop dissolves to bring one thing over the other.
Basically it meant that when Moore was shoating the
original foot he had to measure accurately by his cross
bars on his direct finder just where the foot came. Then
by this same means he had to place his skeleton, chicken's
foot and crab claws in the right place.
Moore tells of a lucky break with the crab claw. He
had it rigged with threads to make it open and close, but
when he turned the intense lights on it it started moving
of its own accord, the heat creating muscular reaction.
The other items which have motion were all worked with
threads.
Let Moore tell you in his own words some of the trouble
and some of the details he worked out in the making of
this picture.
"On January 1st of lost year, I resolved to make a pic-
ture that would be proud to offer for your criticism,
I
and the resolution became a mania, and the result, 'Nite

Life'.
"For many years my spare time has been spent working
out wild ideas in a rather complete combined woodworking
and machine shop set up at home. However, a couple of
years ago, became interested in photography and bought
I
an Eastman Cine Kodak Special. For exercising the old

grey matter, found this medium about the best yet.
I
"Knowing that this shop would be a great help with

which any special equipment could be made, started by I
writing a scenario that would tax whatever ingenuity I
possessed to the limit. After spending an average of four

hours a day for thirty days writing and rewriting the scen-
ario, began to wonder if
I had not become a little too
I
ambitious. In fact, had not the faintest idea how

I I
would ever be able to do a large part of it. But, the scen-

ario was followed throughout almost to the letter, and
there is where derived most of the pleasure of making the
I
picture. It was gratifying, to say the least, to tackle what
was, to me, an impossible job and eventually figuring out

some way to do it.
"Since it was impossible to find anyone willing to put
the necessary time into the work, had to do everything
I
Top: The fingers modeled from child’s clay set.
myself even to most of the acting. In the scenes where Center: showing fingers at end of board. Note
telephot lens and lights used. Bottom: Light in
I appear, Mrs. Moore was used as a stand-in while set I
left foreground is a flood made by Moore.

up for the shot. She would then start the camera and it
was disconcerting to try to act and at the same time sig-
nal Mrs. Moore when to fade out preparatory to making "This being my first attempt at anything like a planned
a dissolve and other such manipulations of the camera. I
picture, Iunder-estimated the length af time that the
do not pretend to be an actor and feel that the picture shooting would require. Started iin February, it was not
could have been considerably better had it been possible until the first of August although worked at an average
I
to put the right person in my place. Continued on page 82

Color in
Black and White
Films
by
Charles Clarke, A.S.C
eautiful color effects can be obtained from
B your block and white films by the use of chemical

tones and dyes in o wide variety of combinations.
Everyone is familiar with sepia-toned prints which are
simply black-and-white prints that have been immersed in
a sulphide solution. This converts the silver image into a
sulphide one and so produces the warm brown tones that
are very attractive in certain portraits and landscapes.
With other chemicals it is possible to obtain blue, green
and copper tones, and these, when judiciously used, add
immeasurably to the beauty of the original scene. These
color effects are so easily obtained, so simple and inex-
pensive equipment is used, plus the fact that no dark- Top: Charles Clark placing film on his home
made drving drum.
room is required, that I feel more amateur filmers should Below: The Leica developing drum af left and
know the process. the Rofo tank at right.
While almost any photographic manual can supply end-

less formulae for compounding tones, it is possible to
se-
cure ready-mixed and concentrated products that require sures gratifying results. The scene to be toned is care-
only the adding of water to make a solution ready for fully the glass drum, emulsion out, and the
wound around
application. In the long run, these will be found the most ends securely attached. As the film loosens when wet, it
convenient and economical. is important that a perfect spiral be made so that it may
can refer you to the Burroughs Wellcome Tabloid

I
not overlap and cause uneven toning.
Toners which come in the four hues already mentioned. The film on the drum is placed over a tray of clean
Also to the concentrated dyes known as Soliod Photogra- water end washed for five minutes by slowly revolving the
phic Stains in red, blue, yellow and green. drum dipping into the tray. If the film has been fre-
Next is an apparatus to handle the film during the pro- quently projected it may have oil or grease on it. This
cess of toning and dyeing. The best have seen is an out-
I is fatal to toning and tinting. In this event, wash the
fit the Leica people, a developing drum of glass
made by film in a weak solution of acetic acid to remove the oil and
supported over a small and shallow glass tray. Very little then wash in clean water.
solution is needed. Film may be viewed at all times to In another tray the proper amount of toning solution
note the density of color. These valuable features more has been mixed. It must be ample to cover the entire
than compensate for the limited amount of film footage lower surface of the drum. The drum with its film is then
that can be accommodated at one operation. placed over the tray and slowly revolved until the desired
For longer scenes, or a series of scenes, I use a Holly- color densityis reached. Usually this is a matter of a few
wood Roto-Tank. Film lengths up to fifty feet can be minutes. The drum is then placed over the water and
handled. The film to be toned is wound upon a reel and the film thoroughly washed according to directions.
inter-leaved with a celluloid septum which is embossed If the film is combination of tone and dye,
to receive a
with "bumps" along the margins so that the gelatine sur- the previously p'aced in the dye bath and
toned film is
face of the film is never in contact and is free to receive revolved until the required amount of dye is absorbed.
the solutions. Then a short rinsing in water and it is ready for drying.
With the Leica drum, the film lengths are short enough All surplus water must be removed from the film; other-
to hong up by each end from a clothes line. For longer wise uneven spots will remain to mar the picture. Film
footage, this will not suffice and hence a drying drum is should be very carefully drawn between a well-soaked
needed. made mine from two bicycle wheels with strips
I
soft chamois skin from whi'h cll moisture has been wrung
of wood moulding attached about every V2 inches around 1 out just before use. Do this carefully cs wet film is deli-
the rims. The strips were varnished and a 'A horse- cate and easily scratchtd.
power motor attached to complete the job. After drying, the film is ready for projection and perma-
For toning or dyeing, the procedure is simple and as- Continued on page 78
Honorable Mentio n Extended to

ecause of the great number of really fine pic-
Amateurs
B tures entered in the annual International Ameri-
can Cinematographer contest those receiving honorable
mention are frequently amateurs who have won high honors
in other contests.
It is generally conceded by the advanced amateur that
an honorable mention in the American Cinematographer

contest is equal to the highest honors in many other com-
petitions. caused some of their other pictures to be less acceptable.
From we ore able to gather it would seem
statistics Or, if the picture is one the amateur has had for some
that this contest attracts more worthwhile amateurs and time he will usually go over it more thoroughly, trim a bit
has more entries than any other contest throughout the here and there, possibly shoot an additional scene or two
world. Its authenticity, the organization back of it and and properly title the picture. It teaches him to make
the fact that the most noted film authorities act as judges a more finished picture.
have established it as the outstanding movie contest in Contests have created more advanced amateurs than any
the world. other individual means because there is a goal to shoot at
The judges not only have a professional background but and an incentive to make a better picture with the greatest
are also experienced in the substandard films. Most of reward generally being the satisfaction of having made a
the ace cinematographers shoot either 8mm or 16mm for good production.
their personal pleasure and for family records. They know Great Britain and Australia were very strong in the
the limitations of the amateur equipment and have a full documentary class. These entries remained in the cantest
appreciation of what must be done in order to produce a right up to the very last day of judging. Peculiarly they
good picture. They do not expect perfection, they have should have been beaten by a countryman of theirs, Ruth
not set any “arty" standards, nor do they merely look at Stuart, who was given the Documentary award for her
the pictures and then “Such and such a picture is the picture “Doomsday."
winner." This sort of judging resolves itself into personal Two very finedocumentaries from England were Paul
opinion and is not a yard stick by which merit can be Burnford's entry “Harvests of the Forest," and G. H. Hes-
established. That kind of judging would merely permit a kith's “Slum Clearance." Burnford's picture was not only
few individuals to display an egotism and not the fairness good from the documentary angle, but was very well
that the amateur might have a right to expect when he photographed. It showed the lumbering industry in Eng-
submits his work. land starting with the felling of trees and then through
The judging is broken down into the component parts the mills and then to the things built of wood, showing
of motion picture making. Naturally the first point to be the most dramatic incidents.
judged is photography as photography is the basis of motion “Slum Clearance" was in 8mm. It was a record of the
pictures. The photography is subdivided into exposure, tearing down of tenement houses of the old type and show-
lighting, composition. Of course, with the amateur, pan- ing them replaced wih modern apartment buildings. Mighty
ning, steadiness and such things must be taken into interesting characters were shown, occupants of the slum
consideration. tenements, children, etc. A very colorful sequence was
Then there is technique. While to some it is a part of built up in the early part of the picture. The latter part
photography, still it overlaps into production; under this of the film is given over to the new homes and to suburban
head we will consider the photographic angles, the photo- homes where the more fortunate of the slum dwellers
graphic treatment to accentuate a scene or situation. moved. A fine document and an interesting picture. From
If there is acting in the film such as in scenario pic- Australia James A. Sherlock sent “Harbor," a picture in
tures, this is given consideration together with the direc- Kodachrome. While the picture was well made, finely
tion of the pictures. edited and cut, it suffered from uneven coloring and density.
Titles and editing come in for consideration, but the Undoubtedly much was taken with the earlier Kodachrome
prime importance is continuity. A series of still shots not which darkened rapidly after it was exposed if it was not
logically hinged together lack continuity and of course rushed to the processing plant.
merely makes the picture a series of still shots put on mo- Of the dozen pictures from Japan, Horomu Yamamoto's
tion picture film. picture, “With My Dog," and Fred C. Ells' picture, “Con-
The judging is done all at once. This is another im- sider the Lilies," were outstanding. The Yamamoto picture
portant angle as it is very difficult to carry the value of was a record of a hike over the hills and the countryside
a picture over in your mind for weeks or months, or even with a dog. Ells' picture was in color and had musical ac-
by record. Things are comparative when they are in a companiment with it. While it was only about 200 feet
class or in competition with each other and to fairly select its one drawback was the lack of titles, according to some
the winner they must be compared with each other at of the judges. A fine picture, finely photographed, sensi-
one time. tively conceived. Titles were of tremendous value to his
The making of a film for a prize contest, whether it be previous picture, “In the Beginning"; it helped tie the vari-
for the competition conducted by this magazine or for club ous sequences together and injected renewed interest at
contests, usually is very beneficial to those amateurs who intervals.
enter their film. Two 8mm pictures went far in their respective classes^
If they start out to make a picture for a contest they Bion Vogel's “Rowdy's Guest" in the Home Movie class,
usually exercise more care; they give the picture, plot and and A. Leitch's “Gun Play" in the Scenario class.
execution more thought and the result is a better picture. Possibly one of the most ambitious entrants was Ernest
They learn ‘ta overcome certain weaknesses that have Continued on page 80
his year, in addition to calling for o wide range of
T musical moods, the prize films made unusual de-

mands as to tempo. Some called for simple, fairly
sustained tempos of one type or another. Others demanded
a considerable variety of tempos. And yet others, it
seemed, would benefit definitely if shown to music which
would apparently speed the tempo of lagging direction or
cutting.
The first requirement of a musical score for any type
of film is simplicity. The picture is the thing; the music,
no matter how much may enhance the presentation of
it
of the film, is but an accompaniment, and it must

after all
remain so. Moreover, scoring amateur films with ordin-

ary phonograph records calls for a score using as few discs
as possible, so that the score may be performed easily.
None the less, the music should fit the mood and tempo
of the picture as closely as possible.
The first step in arranging such a score is to be com-
pletely familiar with the picture. The only way to do this
is to run and re-run the picture time and again, you until
feel you know almost as well as the person who made
it
it. Fix in your mind the dramatic keynote of the picture

as a whole; then break it down into sequences, for each
sequence will often make its own requirements as to mood
and tempo, while the start and finish of the sequences
will usually give you your cues for changing records. At
this point, if you've a reasonably good sense of musical
visualization, themes will begin to suggest themselves to
Musicd
you. Try them out! Start the film at that point, put the
record in place, and see how the combination works
Sometimes it will click together at the first try; sometimes
you will have to try out another record or records. Often, —
you may camplete the scoring of the middle or the end of
a picture long before you strike the winning combination
for the earlier sequences: in scoring "Night Life," had I
Dance," by Eugene Goossens and the Hollywood Bowl
90% of the score for the second reel mentally outlined Orchestra an Victor record No. 6869 (Album M-'Ô, rec-
exactly as used finally, before had even an idea for I
ord No. 3). This record, incidentally, ends with an abrupt-
Reel I.
ness that can be synchronized perfectly with the film's
When you have thus provided music for all or most of over-abrupt conclusion.
the film, try running sight and sound as a unit from start "October Byways," L. Clyde Andersen's remarkable
to finish. This is the proof of the pudding and it can — series of camera-paintings in Kodachrome, strikes an en-
tirely different mood and tempo, and calls for a score of
be heartbreaking at times. could very cheerfully have
I
abolished the capable Ruth Stuart at one stage of my simple, thematic simp'icity. Here, the mood is pastoral,
scoring, for had arranged what
I considered an excellent I
the tempo drowsy. The music, like the autumnal colors,
score for her "Doomsday" —
and then, running through should be subdued, yet rich. opened this score with Vic-
—
I
consecutively, discovered that she had 60 feet more film tor record No. 7380 Sibelius' "Swan of Tuonela," played
than had music for! The final result was something en- by Leopold Stokowski and the Philadelphia Orchestra.
I
tirely different from my original plan. Following this we play Wagner's "Siegfried — Forest Mur-
Miss Stuart's film, however, finally used the simplest murs" (
"Waldweben" by the Philharmonic-Symphony
)
and perhaps the most effective score of all. —

It needed Orchestra of New York, directed by Willem Mengelberg
only three 12" records —
and by no means all the playing- (Victor No. 7192). This selection covers both sides of
the disc, and as exact synchronism is not vital, it is well
time of those three records! From start to finish, one
fundamental mood is maintained; one of ominous forebod- worth while to use both sides. After this, we play Wag-
ing. The film logically divides into three sections: the ner's "Traume'' ("Dreams") as recorded by Frederick Stocl-
beginning, slow and placid, with yet the restless under- and the Chicago Symphony Orchestra on Victor No. 7123.
current of foreboding, the middle section, in which the As the people in the picture get into their car to return
same motif of foreboding accelerates to panic proportions; home, we can return to the opening theme, "Swan of
and the wild, panic-stricken climax. The music, therefore, Tuonela," to close the picture.
should follow a similar pattern, with its tempo slowly ac- The sole 8mm. representative is an entirely different
celerating, yet definitely sped up at each of the ma;or genre— a cheerful "home movie." It requires lighter music,
divisions. The first record used was Part of Ravel's I yet something definitely allied with the picture's theme
"Bolero," as played by Serge Koussevitzky and the Boston of "Two Kids and a Pup." Joseph Hollywood, who made
Symphony Orchestra on Victor Record No. 7251. As the this picture, has definitely divided it into four well-defined
teletype carries the news "People in panic heaths blaz- — sequences. This simplifies the scoring a lot. For the
ing" to the city-dwellers, a definite jump in both musical beginning, suggest using "Fashionette" Brunswick record
I
and filmic tempo comes, and the score goes to Part III No. 4199. Then, as the boy leaves the house to enjoy
of the same selection (Victor Record No. 7252). Finally, his first day with the new dag, there could be but one
as the moment of doom actually approaches, and the film choice: "The Whistler and His Dog," played by Arthur
shows people cowering indoors, or milling affrightedly out- Pryor's Band on Victor record No. 9869. The next se-
1
side, a wilder strain is played in Manuel de Falla's "Fire quence shows what the little girl did on her first day with
—
Music played by the world’s most celebrated

orchestras is available to the amatuer who plays
thematic records with his pictures.
quence which "plants" the northern location, used the

I
first phrases of Louis Ganne's mazurka. "La Czarine,"

played by the Victor Salon Orchestra on Victor record No.
20430. The next cue is a close-up insert of a sign which
says, "Last Chance Saloon." The succeeding shots show
an accordion and a fiddle being played. This suggests the
type of music to be used; my choice was an accordion duet
by Ragnar Sunquist and Eric Olsen entitled "Alv-Dansen
Vais" on Victor record No. 78888. .(Some of these press-
ings seem to have been wrongly labelled, carrying the
same label on both sides: if yours is like that, be sure and
use the "A" side — i.e., the side in which the number
stamped in the disc iself is 78888-A) . But this cheer-
ful little piece won't do when "Dagger Joe" and the gam-
bler stort fighting, so as the Indian starts to rise from his
chair, the music changes to Part 2 of Ketelbey's "In A
Camo of the Ancient Britons," played by A. W. Ketelbey
and his Concert Orchestra on British Co'umbia record No.
9866 (This is to be found in British Columbia "Master-
works" Album No. 192. "The Music of Albert W. Ketel-
bey, Album No. 2"). Incongruous as the title may seem
for a north-woods picture, the music fits perfectly, for
Par 2 of the record opens with music describing a battle
Mood and
between a Roman Legion and the Britons. As the picture
fight ends, the music slows down, and when later the In-
dian ambushes and kills the gambler, this same record pro-
vides appropriate music for the death, for the fur-trader's
discovery of the body, and, in fact scores the remainder of
Tempo for the

the seauence. As a title tells that news of the murder has
reached the headquarters of the Mounted, Mr. Ketelbey
again provides appropriate mus'c: this time No. 1from his
"Cockney Suite," "A State Procession, Buckingham Palace,"
which is in the same album-set, British Columbia record
1936 Prize-Winners No. 9860. When this disc has been played completely, we
need yet more excited music. My choice was Mozart's
"Turkish March" as played by the Vienna Philharmonic
Orchestra on "His Master's Voice" (English Victor) rec-
ord No. B-3188. The same general mood continues, so
by
we can use Part 1 of von Suppe's overworked "Light Cav-
William Stull, A.S.C. alry Overture"; an orchestral recording of this would be
preferable, but as Ihad none, I used an organ recording
by Quentin M. Maclean, British Columbia No. 4645. Soon
the dog. don't imagine the dog enjoyed it, for she
I after the middle of this record, a title tells that Dagger
dressed him up like a doll. The treatment suggests some- Joe chances a few minutes' rest, and to suggest that the
thing of saccharine sweetness, so my choice for accompany- "Mountie" is silently creeping up on him, I used "The
ing music is something exaggeratedly sentimental: Nevin's March of the Smugglers," from Bizet's "Carmen Suite,"
"Mighty Lak' A Rose," as played on the organ by Lew played by Leopold Stokowski and the Philadelphia Orches-
White (Brunswick No. 4602). The next sequence shows tra on Victor No. 6874. With the murderer captured, the
the girl again trying to make a doll out of the pup, though film ends rather swiftly; but if you wish, you can go back
it is rightfully her brother's turn to play with the dog. to any of several previous discs for the capture and finish:
So used an organ arrangement of "The Whistler and His
I
either the "Turkish March," Ketelbey's "Camp of the An-
Dog," played by Lew White on Brunswick record No. 4889. cient Britons," or his "A State Procession" will do, though
The earlier band arrangement could be used, but the organ the "March of the Smugglers" is quite long enough to car-
record is especially apt for this sequence, as the dog is seen ry through to the end if you prefer less record-changing.
to bark protestingly— and the organist very conveniently J. Kinney Moore's special-effects film, "Night Life"
produces several "barks" on his organ at just the right was in many respects the most difficult scoring-problem.
times to synchronize effectively! For the final sequence, The opening titles are spectacular, and require rather pre-
in which the children argue over possession of the pup, and tentious underscoring. On the other hand, one of the
the question is amusingly settled by the dog running away early sequences, when the husband comes home from his
after another pooch, the reverse side of the second record work dead tired, and dozes in his chair while the baby is
(Victor 19869) is used; this is "The Warbler's Serenade," put to bed, drowsy, slightly sentimental music is needed.
and its whistling excellently suggests the children's excited And for much of the rest of the picture, sprightly, humor-
calling to their pet. ous music, with more than a touch of the "spooky" must
"White North," Myron F. PettengiM's melodrama of the be used. There are several points which can gain strength
Canadian Mounted, called for some regular old-fashioned if the music is fairly closely synchronized with the action.
"movie-music." Most of this score had to strike a lively This score starts with "Dance of the Apprentices" from
tempo. For the introductory titles and the opening se- Continued on page 78
)
Cinematographers Have Language
E
very
calling
profession,
and activity
occupation, vocation,
trade,
endures over a period
that
evolves a "shcp talk," a patois of abbreviated or slang
terms adopted for the convenience of its practitioners.
All Their Own
Motion picture studios resound with o language strange
and frequently wholly incomprehensible to outsiders. Cine- by
matographers ore no exception. For three decades we hove
been working with o new art, new materials and tools and
Joseph August, A S.C.
processes constantly coming into use.
It is, perhaps, only logical that these new objects should
be dubbed with descriptive and easily spoken names. Many CROSS LIGHT. A light playing on the subject from
are picturesque, some alas — —
not printable in a family one or both sides.
journal, all them intensely useful.
of For the benefit of CUT. (1 ) To stop camera. (2) To edit and as-
countless cmeteur cine-filmers who may wish to have a semble film.
working knowledge of the argot spoken by studio cine- DAILIES. Rushes, the daily set of prints from negative
matographers in course of their daily work, I have compiled
exposed on the previous day.
the following glossary of terms and their translations to
DOLLY. A bicycle, a baby carriage, a wheeled tripod
lay language.
or support for camera.
ADDED SCENES. Scenes written in and added to the
completed to give better con- DOLLY AND SWING. To move the camera an its
scene
tinuity.
rio after the picture is
dolly and at the same time to swing, pan or tilt it — to
follow action.
APPLE-BOX. A handy box-shaped stool on which to
stand when lining up from a high camera set-up.
DOLLY BACK. To move camera on its dolly back
or away from the subject being photographed.
ARCS. Any and all arc lighting units.
ASSISTANT. The Assistant Cinematographer. DOLLY IN. To move camera on its dolly in or toward
the subject being photographed.
BABY CARRIAGE. A dolly, a wheeled supporting base
for the camera. DUPE. To make a negative from a positive print, or
BACK LIGHT. Light coming from or placed in back of a negative so made.
the subject photographed. EFFECTS. Lighting effects that give an appearance to

BARN DOOR. A device painted black, fitting over the a subject that is not normal; as, a moonlight effect dons
front of a lamp with two hinged shutters which can be in day time.
adjusted to control rpreod of light rays. FILTER. Optical glass that filters or keeps out certain
BARNEY. A thick blanket that can be out over a noisy light rays, used in gaining effects.
camera to make it silent. FIRST. A first cameraman, or Director of Photography.

BEER BOTTLE. An inferior or unsatisfactory lens. FIRST BROOM. Head property man, chief "props" boy
BEST BOY. The assistant to a chief electrician. on set.
BICYCLE. A dolly, a baby carriage, a wheeled tripod. FLAT LIGHT. Light falling directly on faces from the
BIG HEAD. A mammoth, screen-filling head close-up. front, or from behind the camera.
BLACK. A gobo, a nigger, an adjustable black plane FLOOD IT OUT. To flood or spread out the light rays
used to block light from shining directly into the camera. coming from a lamp unit.
BLANKET. To quiet a noisy camera. FLOOD LIGHT. A light flooding or thinly covering a
BLIMP. The silencing scund-absorbing cage placed over wide area.
a camera; so named frevn the bailoon-like proportions of
FULL FIGURE SHOT. A scene taking in the full figure,
early models. an actor.
head to toes, of
BOOM. A movable crane carrying camera and operator,
FUZZY. Out of focus. (Which, of course, never hap-
used in angle and follow shots.
pens !
BOOM-MAN. A
wangler, the assistant sound man on
the set, handling the boom from which the microphone is
GAFFER. A chief electrician.
suspended. GAUZE. Filmy material used to diffuse light from

BOOM SHOT. A scene shot from a crane, or boom. lamps.
BOX. A camera. GELATINES. Another means of securing diffusion, and

color, to light.
BROAD. A broadside light unit, usually containing
two lamps, giving a soft light. GLASS. Lenses.
BURN 'EM OUT. The process of using lights to make GLASS SHOT. A scene where a certain area, usually
undesirable facial features, wrinkles, blemishes, etc., un- the painted on glass and matched with the
upper, is
seen to the film by the absence of tell-tale shadows. actual set. Accurately placed close to the lens, it gains
the impression of a huge setting.
CAN. The tin can in which film is shipped and stored.
CELLO. A diffusing slide placed in front of lamps. GOBO. A black, a nigger, an adjustable black plane
CLOSE-UP. An intimate, greatly magnified view of one used to block off light.
object only. GOLD. A reflector covered with gold leaf, casting a yel-
COOL IT OFF. To diminish quantity of light on an low, soft light.
object which is too brilliant or "hot." Continued on page 84
,
WHEELS
OF INDUSTRY
A brand new filter factor table on the studio along with his bamboo stick
page 95 offers the latest and most au- and embroidered slippers. During the
thoritative filter factors secured directly conversation
lively that ensued, Paul
New Weston Meter from film manufacturers and based upon Nadar was able to expose unnoticed
• Weston Electrical Instrument Corpo- most recent tests covering 19 films and many plates in his box camera. These
rationannounce a newly designed "Model 24 filters both for daylight and artificial photographs appear in the January 1 1
819" meter. In this new

cine exposure light work. 1937, issue of LIFE magozine. It was
cine meter the "viewing angle" of the A new chapter contains description of not until last October that the photo-
Photronic Cell is limited to 25 degrees, three methods of making enlarged nega- graphs came to light during a squabble
corresponding closely to that of standard tives, a procedure which is more and between Paul Nadar, who at 80 still
mavie camera lenses, which generally more indemand as the miniature camera runs his studio in Paris, and the French
cover a more restricted field than do technique grows. National Archives over the ownership of
regular still camera lenses. As a result The chapter on enlarging papers and the plates.
of the viewing angle of the
restricted printing has been substantially rewrit- These photographs are truly remark-
new meter, accurate exposure determina- ten and rearranged. One of its most able in that they actually caught the
tion may be made from the camera po- interesting additions is a table of com- various expressions of Chevruel and were
sition for a large majority of scenes. parative speeds on various projection quite a departure from the stiffly posed
Also, a new "pre-set" type of exposure papers. They are also more
pictures of the day.
dial permits the user to set the film Tables of data for copying and re- significant Nadar made them
because
speed, frames per second, etc., in ad- production, and formula were checked with the cumbersome, primitive equip-
vance, and read the correct aperture and corrected. ment of that time and did not have
directly from the dial without turning A new 5000 word chapter on natural access to the modern speed lenses and
the disc at the time the shot is being color photography has been substituted speed films that are so common with
made. Operating characteristics of movie for previous chapter 14. It contains the our present miniature cameras.
^ cameras which affect exposure may be latest available Kodachrome,
data on
compensated for in "pre-setting" the three color separation, and the making Amateur Diary
dial, so that there is no sacrifice in ac- of paper prints by the Defender Chroma-
curacy in establishing the proper aper-
• From England we receive a handy
tone and Eastman Wash-a Relief
pocket size book titled Cinemotograph-
ture. For example, certain cameras are Methods.
er's Diary of 1937. This is designed for
knawn to have a greater angular open-
the amateur and has much valuable in-
ing of the shutter even though they First Candid Shots
formation in addition to pages so made
operate at the same number of frames-
• Back in 1 886 Paul Nadar pedsuaded up that one can easily and quickly com-
per-second with the same type of lens.
his father, Felix Nadar, to invite the pile cine data on various films.
The effect of this factor on the proper
famous French chemist, Michel Eugene The little book treats on exposure,
exposure for similar scene brightness
Chevruel, to come to their studio. Natur- films, lighting and other vital subjects.
canditions is taken care of in a "pre-
ally the plan was to engage Chevruel in Prices range from approximately 55c to
set" dial adjustment, which need be
made only once so long as the same animated conversation and not let him 80c in England. We do not know what
realize that pictures were being taken. price has been set on the American
camera is used.
The new meter is similar in size and The occasion was the 100th birthday edition. In art leather cloth the price
of Chevruel, who was easily lured to Continued on page 82
shape to the "Universal" type recom-
mended for photographers who use both
still and movie cameras.
Leica Manual
• The second edition of the Leica
Manual has been placed on sale. This
I
popular book based on miniature camera
I
practice has sold many thousands of its
RELATIVE
first edition. BRIGHTNESS
The new printing, in addition to a
' great number of new photographs and
Iillustrations scattered throughout the
Ibook, small changes and corrections
•were made in practically every chapter
Iin an effort to bring the work up to
(dote. Old formulas were checked and
(corrected where necessary, typography
of the formulas was improved and
;standardized throughout the volume and
'
other arrangements were improved.
m
however, are a tribute to Albert Ketel-

Musical Mood and Tempo for the 1936 Winners bey's flair for writing atmospheric
Continued from page 75 music; know of no others so appropri-
I
ate. They are produced by the British

Wagner's "Die Meistersinger," played blue night sky introduces a new se-
branch of the Columbia Co., and may
by Albert Coates and a symphony or- quence, the music changes to Gounod's
be obtained on order through that firm's
chestra on Victor No. 9060. This car- "Funeral March of a Marionette,"
American unit. They could probably be
ries on through the rather long series of played by Alfred Hertz and the San
obtained quicker from the large stock
Kodachrome introductory titles, and a Francisco Orchestra on Victor record No.
of the Gramophone Shop in N’ew York,
black-and-white title crediting the cast. 6639. This might have been made to
which is the outstanding record-import-
For the first sequence of the picture it- order to synchronize with the action of
ing house in the country. The His
self, again called on Albert Ketelbey's this sequence, for the first phrases per-
Master's Voice disc is made by the Eng-
I
genius for writing real "moving picture fectly suggest the owl's "Who-o-o-o"
lish Victor Affiliate, and may be had
music," using "Quips and Cranks and which is animated on the screen, while
through the RCA-Victor Co., or the
Wanton Wiles" from his suite "Three the later parts of the record provide a
above importer.
Fanciful Etchings," played by the com- perfect background for the close-shots
These scores were planned for use on
poser and his orchestra on British Col- of the man's bare feet as he nervously
a non-synchronous, twin-turntable re-
umbia record No. 9407. Toward the walks in search of what he thinks is a
producer, and if possible should be
end of this sequence is a lap-dissolve burglar. This music carries on excel-
played on such a machine. If the scores
from the man getting out of bed to his lently through the rest of the sequence
breakfast waiting in the dining-room. — until the tired father is back in bed,
are to be ployed publicly, as at a club
meeting, cannot too strongly urge a re-
I
On the wall is a cuckoo clock, ticking and a split-screen shot shows his sleep
hearsal of music and picture with your
off the minutes, reminding him he is is troubled with memories of having
projectionist. If the picture is run fast-
late to work. So at this point the kicked the cat. At the end of the long er than it should be, you will find your-
music changes effectively to Ketelbey's pan following this double-exposure shot,
self running out of picture before you
"The Clock and the Dresden Figures" a new theme develops. It is also from
run out of music; while if the projector
(American) Co'umbia record No. 50334- the "Sleeping Beauty Ballet Suite";
D. This ticks along merrily, synchron- "Pas de Caractere —
Le Chat Botte et
runs too slowly, the much more serious
problem of having too little music will
izing surprisingly well with the ticking La Chatte Blanche" ('Puss-in-boots and
give genuine trouble. In either event,
White Cat') played by the Holly-
|
of the clock on the wall. continuesIt the

sight and sound will not fit each other '
through the sequence, to the fade-out. wood Bowl Orchestra on Victor No. as well as they should. I personally
As the next sequence fades in on the 6872. As the magnified, distorted have found a machine with q single
husband returning from work in the image of the cat enters the nightmare, volume (or "fader") control for both
evening, the music shifts drowsily to the music gives weird mews! This
turntable preferable to the type with two
"Sonato Largo," played as a string bass theme, however, is not used long: as the
faders; the changes between records can
solo by Serge Koussevitzky on Victor cat's strident voice turns on the light-
be made faster and more precisely.
record No. 7159. This continues almost switch, the music changes to Brunswick
Above all, do not try to perform such
to the end of the record: the next record No. 90048, Paul Dukas' scherzo
scores on a reproducer that does not
music-change cue is a close shot of the "The Sorcerer's Apprentice" played by I'- have a pilot-light! It is almost impos-
wife's hands carefully putting her shoes Orchestre de I'Association des Concerts
sible to go through even a simple score
in place in the boudoir closet. The next Lamoureux, Paris. This selection very
in the dark satisfactorily. When these
scene shows hubby's shoes spinning off conveniently takes care of the entire re-
into a corner, and the music quickens mainder of the picture and synchron-— films and their music premiered before
the Los Angeles Amateur Cine Club,
to "The Gnomes March" —
No. 3 from izes very effectively. It is in three
found myself up against this problem,
I
Ketelbey's suite "In a Fairy Realm," parts, covering three sides of two rec-
and the sound part of the show was
conducted by the composer on British ords —Brunswick 90048 and 90049. It definitely not up to par, despite the po-
Columbia record No. 9410. This piece is possible to ploy this with only one lite denials of the club-members. A pilot-
can carry on until Mr. Moore (who is set of the discs, turning the first one light and a clearly written cue-sheet for
his own star) gets into bed. Then the over as necessary, but it is much more each picture should be considered quite
music changes to the Adagio movement convenient to have two copies of the as essential as the records themselves.
of Tschaikowsky's "Sleeping Beauty Bal- first (90048) if you use a twin-turn- It is also a very good idea to have a
let Suite," as played by the Hollywood table machine, so that you can change few extra records of light, but good,
Bowl Orchestra on Victor disc No. 6871 from one to the other without the break music to rush into the breach in case
(Record 8 from Album-set M-40). As atherwise occasioned by turning ihe disc of film-breaks. It is surprising how a
the steam-pipe sequence opens with a over. Properly played, this selection
little music will shorten those long, em-
lap-dissolve from a medium-shot to a synchronizes unusually well with this waits in the dark while the
barrassing
close-up of Ihe furnace dial, the music part of the picture, even to a rhythmic projectionist struggles with his film!
changes to "Jungle Drums, Patrol," an- "turn, turn, turn te turn te turn" excel-
other record from the (British) Ketel- lently suited to the trick shots showing
bey Album No. 2 (Masterworks set No. the sleeper's foot changed to a chicken's
Color in Black and White
192) the number of the record is Brit- claw, flexing and un-flexing experiment-
ish Columbia 9862. This synchronizes ally, and to a burbling bassoon solo as
nent colors remain. Much variation and
excellently with the split-screen shots the burned fingers animate and talk.
personal taste can be expressed in the
suggesting the pounding of the steam- In selecting the records for these
coloration of scenes.The following sug-
pipes, and also with the actor's gestures scores, have tried to keep as much as
I
gestions may be helpful.

of pounding his own head as he wakes. possible to records easily available in
Forwoodland scenes, waterfalls,
Only seven of them are
From the end of this sequence, the re-
verse side of the previous record "La — Ihis country.
foreign: some of them are however —
meadows, etc a green tone.
Lilas" from the "Sleeping available in domestic versions, though For old buildings, pastoral scenes, in-
Fee des
Beauty Ballet Suite," on Victor No. not always as satisfactory. Two of these teriors, portraits — a sepia tone.
6871 —
carries us not only to the end of — the "Turkish March" and "Light For sunsets, sunrises, clouds a blue —
reel 1, but through the first few scenes Cavalry," used in "White North" can tone and pink dye, or yellow dye.
of reel 2. well be replaced by domestic records of For night effects made in the daytime
As a shot of an owl against a dark- the same pieces. The remaining five. — sepia tone and blue dye.
^Surprisingly small as the price is, that’s not all # Fixed focus, Kodak Anastigmat /.3.5 lens.
the story. Check the features at the right. # Three speeds—Normal, Intermediate, Slow
Motion.
Here is a fit running mate for the inexpensive 16 mm.
Kodascope EE, just announced, which supplants the
9 Enclosed eye-level finder incoriwrates an ex-
—
clusive feature a supplementary footage in-
popular Kodascope E. A versatile 16 mm. camera and dicator at the side of the finder image. You can
gauge scene length and film supply as you
projector (including Kodascope lens and lamp) for but sight and shoot.
$108 Truly, the economy of home movies, whether 8 mm.
!
0 Angled top safely clears hat hrims.
or 16 mm., is now an established fact. Ask your dealer to 9 Simplified gate greatly facilitates threading.
show you economical Eastman movie equipment. 9 Takes all 50- or 100-foot Cine-Kodak Films.
EASTMAN KODAK COMPANY, ROCHESTER, N. y

0 —
storm scenes, dungeons, etc. that density is normal on the screen. panning up to the church backed by a
For
tone and green dye. Thus, dark and dense prints should not sky of gorgeous clouds. The reflection
sepia
For worm sunshine, exteriors — a yel- be toned with blue. It follows that portion is toned green which melts into
blue tone as the shot pans up to the
low dye. scenes best adapted to these blue tones
For night scenes — o deep blue dye. are those
on
usually over-exposed, or too
such as distant
edifice.
The effect was gained by stretching
For tire scenes, furnaces, comp fires, light the screen,
etc .
— red dye. views, and seascapes.
Sepia and copper tones have a reduc-
the
covered
film on
with
a length
oilcloth.
of 1x3
The board was
board
For woodland scenes, canal scenes,
etc. — a green dye. ing effect, especially the copper. Thus,
dense scenes are lighter after processing.
inclined with one
of green tone.
end resting
With cotton the
in a tray
solution
With close-ups of persons, do not use
the blue tone os it is unflattering to After a bit of practice and experi- was applied to the film, fully to the
portraiture; use sepia tone instead. ment you may wish to venture forth lower end of the scene but blending in-
Too much color is worse than none and "double tone" some film, a proces- to a gradual fade-out of color during
at all. Do not attempt to color every rendering beautiful effects. This is c the length where the camera panned up.
scene in a reel. Just use it forempha- combination of blue-toning and sepia- After this toning was obtained, the film
sis. Used correctly, it will moke your toning. The image is toned with sepia was rinsed, the other end of the board
reels doubly interesting. Like most first. After washing, the film is placed tipped in a blue tone bath and the pro-
things, if overdone the attractiveness is in the blue toner until the halftones are cess repeated with the blue tone over-
lost. changed to blue. lapping the blend of the green.
With makes After washing and drying, the film

Chemical changes resulting from use certain scenes, this for
of toning solutions can be utilized to a spectacular effect simulating color was projected and the screen shows c
improve the quality of scenes. A blue photography. In one of my Mexican gradual transition from green to blue at
the proper place in the scene. This will
tone has an intensifying effect; it makes reels have a scene of an old cathedral,
I
weak, light prints considerably darker so opening with a reflection in a pool and suggest an endless variety of effects
that may be given your films. By using
a black stain and the oilclothed board
you may make fade-outs and fade-ins.
Which provides a very suitable place
for this article also to fade-out.
CE VAE RT Honorable Mention
Sawade
of Brooklyn, N. Y. Sawade had

to Amateurs
INE REVERSAL FILM six

color
subjectsin the contest, some in
and others in black-and-white.
Three Varities to Suit Your Individual Movie Making Method Other honorable mentions go to
16mm. Panchro Super Reversal Film Harold Benner of Beverly Hills for "The
100 ft. rolls
in $7.50 Psychoanalyst"; M. R. Armstrong, Los
These films are dav-
50 ft. rolls
in $4.00 Angeles, for "The Call of the Road";
light loading, and
in 25 ft. rolls for 8mm. cameras.... $2.25 John F. Criswell for "Boating Blues";
16mm. Panchro Fine Grain Reversal Film prices include pro-
H. D. Kem, Medford, Oregon, for "Our
in 100 ft. rolls $6.00 cessing which done
is
Scenic Wonderland"; Duncan MacD.
in 50 ft. rolls $3.25 in the speciallv equip- Little of New York City for "Canoe
in 25 ft. rolls for 8mm. cameras.... $2.25
16mm. Ortho Reversal Film ped Cevaert labora- Race"; Lew Nichols of Missoula, Mon-
in 100 ft. rolls $4.50 tories. tana, for "Colorful Yellowstone"; San
in 50 ft. rols $2.75 Francisco Cinema Club for "Club Pic-
ture"; H. M. Armstrong of Cape Cot-
The Gevaert Company of America, Inc. tage, Maine, for "Skating Symphony";
423 West 55th Street, New York G. F. Baird and Win Proctor for "West
Boston, Chicago, Los Angeles, San Francisco, Toronto, Montreal, Winnipeg of the Rockies"; H. B. Hutchins, Kansas
City, "Travel Talks." Hutchins' picture
was sound on film in 16mm. D. J.
Frazier, Oakland, Calif., for "An Inter-

lude in Happy Isles"; Dr. G. L. Rohden-
burg. New York City, for "The Spider";
PRODUCED BY GILMER K. A. Utt, Bakersfield, Calif., "Rescue";
J. R. Nickson, Chicago, "Yachting";
J. H. Mayer, Cincinnati, "Down
South";
BINDER Holds
L. R. Cross, Pittsburgh, "Riding the
River"; T. R. Small, Indianapolis, "Fine
Feathers," a bird picture; J. T. Furst,
12 copies of
Detroit, "Some People."
American From other foreign countries other
Cinematographer than those mentioned honoroble mention
and costs only goes to J. O. Flaherty, Dublin, for Over
the Road"; Joseph R. Frentz, Berlin,
$ 2.00 "The Week End"; Christopher Van der
Boom, Holland, "The Lost Kronin";
T. R. Bousche, Paris, "Making Cham-
American Cinematographer
pagne," and L. R. Schmitt, Austria,
1782 N. Orange Drive
Hollywood, California "1935 Vacation."
With These Da-Lite Aids

to Easier Projection
You Will Have Movie Shows Often
i|
The DA-LITE
CHALLENGER
Any timewhen
^ movies
is a good time to show
you own a Da-Lite
Challenger Screen and Projector
can be set up instantly any-
!•
!• where. Simply open the legs Stand. These accessories take all the
of the tripod, hook the screen work out of getting ready. Because
over the gooseneck and place
(
where desired ... at the end both are easily adjustable in height,
!
!
of the room or in a corner. they permit placing more of yoiir
1
Unless otherwise specified, the
f
Challenger is equipped with audience in the best seats for view-
i
the famous Da-Lite glass- ing the pictures directly between
. . .
I
beaded surface, which gives

the projector and the screen. They
*,
the brightest, clearest pictures.

not only simplify projection but as-
sure smoother performance and
pictures of theatre-like brilliance
1
The DA-LITE and clarity. Both are ruggedly built
Projector Stand and embody many advanced fea-
if
i With Da-Lite Projector

the tures, which are exclusive with Da-
Stand, you don’t have to clear
\
Lite products. Ask for a demonstra-
a table for the projector or
bother with books to raise the tion at your dealer’s! Write today
projector above the heads ol
for descriptive literature!
the audience. This sturdy,
well-balanced
quickly erected
support
and
can be
adjusted
DA-LITE SCREEN CO.. Inc.
2723 No. Crawford Ave., Chicago,
;i
III.
to the proper height.
Da-Lite Screens
i;
J2 American Cinematographer • February, 1937
GOER of four hours a day.

hit the nail right
Pat ience
However,
on the head in
The picture,
did
Keynote
I
to Prize Picture
shots
actor
was made on this film, but the
(me) was practically blind for
KINO-HYPAR cne respect.

would run 800 feet.
had hoped,
In all, 4100 feet
I several days. The very blue sensitive
Kodachrome A came out at a speed
of fi'm were consumed, and after com- of nearly 10 and from there on it was
f/2.7 and f/3 pletely re-editing and cutting about a fairly smooth sailing.
dozen times, it turned out to be exact- "I developed what believe to be an
A camera is a mechanism of met-
this length.
I
ly excellent method of reading the expos-

al and leather that reproduces "Doing the picture in color caused ure meter when shooting color. Regard-
what it sees through its cyclopean no end of complications. In the first less of the color of the scene being pho-
eye, the lens. The Kino-Hypar, a place the voltage in my home, where tographed, if the reading is taken off
Goerz Lens for professional and most of the action takes place, was in- of a light grey blotting paper, the
amateur cinematography, obtain- consistent. Then, an automatic water chance for error is slight. The light
able in the essential focal lengths, supply motor in the cellar would invari- grey was selected because it gives about
is an unbiased, candid eye whose ably go on at the wrong time causing the same reading as the face of a
sharp realistic vision of the sub-
the color of the light to change. Then brunet. If something in the scene is
too, the supply of electricity necessary more important than the face, a little
ject is transmitted in undistorted
to running an electric stove, was all I experience with reading off the blotter
fashion to the negative.
had available. Since the regular sun- willtell the adjustment in exposure to
Booklet B 2 on Request light balanced Kodachrome, with which make. But the adjustment will not
a third of the picture is made, has a have to be more than possibly half a
C P. GOERZ Weston speed of about V4 with photo-
floods end filter, it was a problem to
1 stop.
off of
If the reading be taken directly
some dark object, overexposure
AMERICAN OPTICAL CO. get enough light even at f.1.9. In spite will probably result unless this method
317 East 34 Street New York of that, one of the slow motion medium of reading is followed."
Wheels of Industry
CRAIG
SPLICER and REWINDS
is 2/6d.
3/6d.
Morocco grain Persian leather
3/; special brown polished croc, calf
ing to his cabinet that millions of de-

moralized soldiers will find new homes
and new lives in the great untamed West.
We see the bustle of getting under way
A New Book
on the further shores of the Missouri
• "Photography," a new book authored River, the lonely trek across endless
by C. K. Mess, A.S.C., Kodak Direc-
E. plains, the bloody revolt of the Indian
tor of Research, is a general Review of as his food supply threatened in the
is
the whole subject of Photography in a slaughter of the buffalo then the cow-
CRAIG lUNIOR COMBINATION $8.50 simple and popular style. boy on the open ranges, gradually con-
Junior Splicer with two geared rewinds The book furnishes a complete back- fined as steel rails and barjbed wire
all mounted on 21" board.
CRAIG MOVIE SUPPLY CO. ground for those who pursue photog- changed the way of the West. Finally
1053 So. Olive St. Los Angeles, Cal. raphy, either as amateurs or profession- the combine-farmer of the great wheat
als. lands finds his enemy in the terrific dust
The beginning of the book is the his- storms, battles courageously against
tory of photography compact in one odds indicating that the spirit of the
OLAIIKIJlS^ chapter. Dr. Mees then deals in turn plains remains absolutely undaunted.
PIIOTOC.IIAPIIV with the manufacure of present-day
photographic materials, modern photo- Cine-Kodak E
IS NOW AN ACCOMPLISHED FACT graphic practice, the formation of the • From Rochester comes the announce-
MARKS POLARIZATION FILTERS
photographic image, the reproduction of ment of the new 16mm Model E Cine-
Elimination of glare and reflection in
movie photography, enhanced defini- tone values, cinematography, the repro- Kodak. The supply and "take-up"
tion, freedomfrom halation and sky duction of colored ob ects in mono- spools of this camera work in the same
effects otherwise unobtainable, arc
readily achieved with these new, pre- chrome and in color, and finally describes plane.
cise and scientifically constructed Pol- some of the widely differing applications The view finder, in the "E" is fully
arization Filters.
of photography as in astronomy, the bio- enclosed. Within the view finder is a
Booklet 53 on reqquest
logical science, medicine and dentistry, film footage indicator. There is, also,
X. liH*. timing horse races, and testing materials. the usual film footage meter on the side
105 West 40th Street New York of the camera. The "E" can be operated
Educational Short
• Based on epic films of the past, the

at three speeds —
16, 32 and 64 frames
per second. Fully wound, the motor runs
"Covered Wagon" and "Thundering for more than half a minute at normal
o Titles & Editing Herd," and embodying several scenes speed.

• Developing & Printing from the current feature release, "The Standard equipment for the new Cine-
o 8 and 16mm. Short Subjects Plainsman," this Bell & Howell educa- Kodak E is the Kodak Anastigmat 20mm
All Grades of Camera Films tional short is named "Spirit of the F.3.5 lens, fixed focus.
Plains."
GENERAL CINE SERVICE Park Film
It followson original theme by Ralph
t 204A E-st 18th Street New York Jester, that opens just as the Civil War • "The Shenandoah National Park" is
r
ends. President Lincoln is seen, predict- new one-reel silent mo-
the subject of a
t tion picture film prepared under the su- using a battery of ten of these printers
f
pervision of the Department of the In- Both the picture and the sound track
teriorby the National Park Service and
THE LEITZ
t are automatically reproduced on these
£
I the Bureau of Mines in cooperation with
a large industrial concern.
Animated photography is used to
machines at one operation, retaining all
of the depth and definition of the original
film and without loss of the full range
FOCOMAT
< show in the opening
geo- scenes the of the recorded sound. As a result, pic- AUTOMATIC FOCUSING
h graphic location of the newest of our tures ccn now be released combining
National Parks, its proximity to nearby
I
such photographic excellence and faith- ENLARGER
(Cities of Virginia and the Nation's capi- ful sound reproduction that the most
tal, the route of the scenic Skyline Drive critical audience will be free to enjoy the
I
'(Over the mountain tops, and other routes new films as pure entertainment without
i
'
within the Park. making allowances for losses due to im-
Panoramas from high points along perfect printing.
the Skyline Drive of valleys and distant Unlike the printers formerly used,
mountains, and other awe-inspiring these machines are entirely independent
I
of the skill of the operator. Although

' views within the boundaries of the Park
running at higher speeds, these printers
I follow. Picturesque CCC camps, picnic
are equipped with interlocking controls
(grounds, camping sites, and other facil-
and safety devices which make them
ities for recreation are portrayed.
entirely foolproof. They will stop in-
In the preparation of this picture no
strntly end automatically in case of film
effort was spared to present to the
breckags, lamp burn-outs, power-line
tourist the inspiring scenes and vistas
variations, or failure of the air- end
that await him and the ease and com-
j
vacuum-supply lines which vacuum-
t fort with which he may reach this won-
ji
clean the film while it is being run. Film

( derful area. The FOCOMAT enlarger enables
waste is thus entirely eliminated. you to apply the same precision
Copies of both the 16-
this film in
in making your prints as had
I millimeter and 35-millimeter size may
been at your disposal when
I be obtained for exhibition by schools, making your negative in the
churches, clubs, civic and business or-
Documentry Film Patterned
LEICA camera
(
and . . . it is
( ganizations and others, from the Pitts- Continued from page 69 sturdy, performing perfectly
burgh Experiment Station of the United even after years of use.
SCENE CLOSE SHOT. A woman
I
16.
I
States Bureau of Mines, Pittsburgh, Pa.,
or the National Park Service, Department
— a slum-dweller — with shawl wrapped LEICA lenses can
the FOCOMAT
be used wi+h
Two simple
about head shuffles her weary way . . .
of the Interior, Washington, D.C. No through the storm. operations permanently adjust
charge is made for the use of the film, the lens to the enlarger
<
SCENES 17 to 30. CLOSE SHOTS of . . .
although the exhibitor is asked to pay character types —

old men, women, chil-
The same lens can be used for
both the LEICA camera and the
transportation charges. dren of this neighborhood —
showing how FOCOMAT enlarger.
the storm is hitting them. Ferret out the
1 Cine Service different, types
colorful —
the weazened The FOCOMAT provides auto-
matic focusing for from 2 to 0
• The latest entrant in the substand- old fellow with burlap sacks tied over his 1
times enlargement Greater . . .
: ard film service field is the General Cine shoes, the soup kitchen line-up, a labor-
size prints can be had through
'
Service of New York City. er gulping a steaming mug of coffee.
usual hand focusing and . . .
This organization specializes on the Illustrate with these characters the per- the FOCOMAT accommodates
I negative and method as it is
positive sonal cruelty of the cold. It is in this LEICA size and other negatives
t their belief it gives the owner a more neighborhood the storm takes its great- to 4x4 cm.
permanent record of his pictures and est toM.

I THE FOCOMAT ENLARGER IS MADE
! negatives. The negative as everyone SCENE 31. LONG SHOT. A factory BY LEITZ AN ASSURANCE OF
gate as working men and women emerge PERFECTION
' knows permits as many prints as one
into the storm.
r may wish. They store the negative in E. LEITZ, Inc.
SCENE 32. MEDIUM SHOT. Em-
I' their fireproof vaults for future safety.
General Cine Service is under the
ployees' door, a loft-buHding shop. Wo- 60 East 1 0th Street — New York
men flit out and into the biting cold. DEPT. 8
ownership of Mr. L. Brown who formerly
SCENE 33. MEDIUM SHOT. A car
:
' was associated with Erbograph and Con-

of ancient vintage, steaming its way
i solidated Film Co., two well known pro-
through the snow banked street.
I fessional commercial laboratories in the
SCENE 34. CLOSE SHOT. A s'alled
. 35mm. field. C I N E A N D
frozen car nosed into a drift. MINIATURE
i 35mm. Printers
SCENE 35. MEDIUM SHOT. An ice- CAMERA MORGAN
CAMERA
crusted police car unloading a batch of SPECIALISTS SHOP
< • A $200,000 order of motion picture poorly-clad, shivering hobos. SUNSET .AT VINE
film printers, represent ng the largest in- SCENES 36 to 45. CLOSE SHOTS. HOLLYWOOD
vestment in such equipment ever made Workers in the storm. The railroad
: by movie producers at any one time, switchman, the milk handler, the coal
is now being shipped from the Chicago truck driver, the newspaper delivery
’
factory of the Bell & Howell Company.
Sixteen cutcmatic sound and picture
wagon, the emergency ambulance, the PROFESStOWAL
;
printers compose the shipment. Para-

policeman, the locomotive engineer, the
• HA>^D SET •
mail-truck driver, the phone company's
3c a word— Titles 15c Minimum
" rnount and Columbia are the purchasers, trouble shooters, the bleak all-night 1 6mm -Titling — Editing- 1 6mm
- and these companies will at once install lunch wagon. Ray Motion Picture Laboratories
114 N. Catalina Ave.
the machines in their West Coast labora- And for your ending, use a montage Redondo Beach, California
tories. Metro-Goldwyn-Mayer is already of newspaper headlines, flashing at vari-
)
"BUZZARD HITS CITY,”

ous angles
"STORM KILLS 7,"
When the winds blow or the snow
etc, etc. CLASSIFIED ADVERTISING
forage forth to the strange corners
falls, Rates: Seven cents a word. Minimum BELL-HOWELL CAMERA SILENCED, adapt-
ed for co'or, variable area, single system
of your community. That's where you sound. Complete outfit, like new, ready
charge, one dollar per insertion.
will find pictures costumed and
all to shoot. $2750.00. Ffo'lywood Camera
FOR SALE— MISCELLANEOUS Exchange. 1600 Cahuenga Blvd., Holly-
staged for your camera. Such a typical wood, California, Cable Hocamex.
study will be of interest to audiences
35MM. NEGATIVE Eastman and Dupont
fresh SILENT BELL & HOWELL CAMERA
equipped
anywhere, any time. stock —panchromatic —
super-sensitive
•
— — with Fearless Quick Focus Shift and silent

•
superior grayback, $2.50 per hundred Fearless high speed movement; 4 fast len-
feet. 100 ft., daylight loading rolls, $2.7$
ses; 4-1000 ft. magazines, matte box, 2
each. 10% discount on all orders accom- This
motors, friction head tripod, etc.
Studio Cinematographers Have panied by this coupon. F.O.B. Hollywood.
silent camera does not require bl mp. Ideal
PACIFIC COAST RAW FILM CO., 1558 j
Language All Their Own No. Vine St., Hollywood, Calif.

for color. Price fully equipped $1,500.00.
Fearless Camera Co., Hollywood, Calif. j
Continued from page 76 BELL Cr HOWELL 5- WAY SOUND PRINTER.

Generators, Panel Control Boards, Duplex DEVRY SUITCASE PROjECTOR, MODEL ),
GRIP. A handy man about the set,

Printers, Sound Moviolas. Developing Ma- 35mm, operates on 110 volts, A.C. or
D.C current, $35.00. Speake, Cooper,
moves the dolly as needed. chines, Blimps, Dolly, B &
H Splicers, Mit-
chell and B &
H Silent Cameras, Motors, Texas.
HARD LIGHT. An arc light, or light
High Speed Gear Boxes, Light Testers,
INTERVIEW MODEL DEBRIE, TRIPOD, SIX
coming from one.
HEAVY. An over-exposed negative.
Projection and Lighting Equipment. Guar-
anteed optically and mechanically perfect. MAGAZINES AND CASE, — Two Hundred
West Lexing-
Send tor 1937 Bargain Catalogue. Holly- Dollars. Nelson Edwards, 1 1 1
HIT 'EM. Let us have light, switch wood Camera Exchange. 1600 Cahuenga ton Street, Baltimore, Maryland.
Blvd., Hollywood, California. Cable Ho-
them on. camex. HERE ARE SOME OF OUR SPECIAL VALUES.
on the set used RCA Galvanometers, $75.00; Western
HOSE. Electric cab'e
Recording Amplifiers, from $43.50;
Electric
to pipe in electric "juice."
WE BUY, SELL AND RENT PROFESSIONAL
W. Condenser Microphones, $95.00;
on
AND 16mm EQUIPMENT NEW AND USED, E.
Fox Movie-tone Recording Cameras, $975.-
HOT. Too much light or brilliance WE ARE DISTRIBUTORS FOR ALL LEAD-
ING MANUFACTURERS. RUBY CAM- 00; RCA Photophone Variable Area Studio
an object. ERA EXCHANGE, 729 Seventh Ave., N. Records, brand new, $1495.00; Background
INKIE. An incandescent lamp. Y. C. Established since 1910. projection screens. $144.00. Loads of j
others; lists free. S.O.S., 1600-F Broadway,

JENNY. An electric generator. New York.
|
WE HAVE WHAT YOU WANT.

i
Brand new
JUICE. Electric current.
Bargaingrams describe Cameras, Tripods. SOUND TRUCK WITH FULL EQUIPMENT,
JUICER. An e'ectrician. Recording Systems, Projectors, Printers, including variable density light valve re-
JUNIOR. A sizeable light unit con- Moviolas, Motors, Magazines, Animators, corder with noise reduction; 2 position ex-
Galvanometers, new and used. We’ll trade tended mixer; Power batteries 32 volt
taining a 2,000 watt lamp. (See Senior.) S.O.S., 1600-F Broadway, New York. D.C. to 220 volt; 3 phase generator with
KEY. Re'ative balance of light. automatic speed control; gas engine bat-
NEW FULLY EQUIPPED FEARLESS 65MM tery charger; microphones; inter communi-
KEY LIGHT. The basic, establishing wide film camera. and ex-
Ideal tor color cation telephone system; magazines and
source of light. perimental work. high speed
Extra 35mm complete accessory equipment ready to
movement. Price complete $2,000.00. Fear- record. An outstanding buy at $4 000.00.
KILL 'EM. Switch off the lights; save Camera Co., Hollywood, Calif. Fearless Camera Co., Hollywood, Calif.
less
them.
KNEE FIGURE. A view of an actor WALL SINGLE SYSTEM SOUND CAMERA WANTED
from the knees uo. with direct drive motor, new type move- WHAT
YOU HAVE. Get our offers.
ment, variable area high fidelity galvan-
TELL US
LAB. The film laboratory where nega- We’ll buy Used Cameras, Lenses, Recorders,
ometer, microphone, amplifier, lenses, tri- Splicers, Tripods, Cinemotors,
Printers,
tive and prints are processed. pod and accessories. Complete, ready for
Magazines, Microphones, Amplifiers, Pro-
operation. Rebuilt silenced and standard
jectors, Laboratory and Studio Equipment.
LAUNDRY. The Laboratory. Bell & Howell 170 degree Cameras Hi- — Trades taken Bargains— galore. S.O.S..
LAVENDER. A positive print made on speed gear boxes. Bell & Howell Hi-speed
Precision, DeBrie and Bell & 1600-F Broadway, New York.
shuttles.
stock specially designed for the purpose, Howell pan and tilt tripods. Bell & Howell
from which a negative is made, or duoed. 1000 ft., 400 ft. magazines. Motors, sun- WANTED. We pay cash for everything pho- I
shades, finders, lenses and all accessories. tographic. Send full information and low- 1
LIBRARY. The studio's collection of Hollywood Camera Ex-
|
Write, wire or cable. MOTION PICTURE est cash prices.

stock shots, newsreel clips, and other CAMERA SUPPLY, INC., 723 SEVENTH change. 1600 Cahuenga Blvd., Hollywood, i
AVE., NEW YORK, N. Y. CINECAMERA. Calif.

views that may be cut into a picture.
LIGHT TEST. A strip of positive print
showing the same scene printed under
graduating degrees of light from the one
frame of negative. Back Issues of American Cinematographer on Hand
LOAD. To place new, unexposed neg- 937 — January November, December.
— months except Octo-
— months,
1
atives in a magazine. 1936 All Janu- except 1927 All
LONG SHOT. An establishing shot, a
and ary February. ber.
view of the entire set, a scene made 1935 — None. 1926 — months.
All
from a d'stance. 1934 — March,
January, April, 1925 — monthsAll except
LUPE. A small lamp affixed under and August September,
July, November.
in front of the camera shining brightly 1933 — March,
Jan., Feb., April,
1924 — months.
All
1923 —
an actor's face to gain sparkling Nov-
May, June, October,
into March,
January, April,
ember, December.
high-lights catch-lights in the ey'-s
or
First used with Lupe Velez.
1932 — All months except
Moy, August,
July,
tember, December.
Sep-
(This is the first of a series of 1931 —

October.
All months. 1922 — Januory, February, March,
articles dealing with studio shop 1930 — All months. May, August, October,
1929 —
talk of the cinematographer. The November, December.
All months.
second will appear in an early
1928 — Jan., March, April,
Feb., 1921 — October, November, De-
issue. Moy, June, July, August, cember.
All Back Issues Are Priced at 30c in Single Copies

CORRECTION
month in reporting the prize
Last
winners we credited the Home Movie American Cinematographer
prize to Jocelyn Hollywood. The name 1782 No. Orange Drive Hollywood, Californio
should have read Joseph Hollywood.
I
A JUNIOR
SOCIETY
T he AMERICAN SOCIETY OF CINEMATOGRAPHERS
ized a junior branch of its association for the
as the SOCIETY OF AMATEUR CINEMATOGRAPHERS.
amateur
has organ-
to be known
FOR MANY YEARS amateurs have been requesting the American

Society of Cinematographers to form an organization forthem that would
be representative, authoritative and instructive.
WHILE IT WOULD be easy to form such an organization in the

enthusiasm that usually accompanies such pleas, but to insure the
spirit of
continuance of such an association it needs real ideals and a constructive
policy.
THE APPLICANT must own a camera, he must have made motion pic-
tures,and he must submit a picture to the reviewing board which is made up
of members of the American Society of Cinematographers. This does not
mean that the 'amateur is going to be judged by 100”o professional stand-
ards as practically every member on the reviewing board operates either an
8mm or 16mm camera and is familiar with the shortcomings of the ama-
teur’s equipment.
MEMBERSHIP will include a subscription to the “American Cine-

matographer”. It will also include the use of the outstanding films made
by members of the Society of Amateur Cinematographers. As films are
submitted, the best will be duplicated and an analysis prepared by a mem-
ber of the American Society of Cinematographers. This analysis will go
with the picture and the picture will be available to any member of the
Society of Amateur Cinematographers.
WRITE FOR APPLICATION BLANK AND FULL PARTICULARS.
6331 Hollywood Boulevard Hollywood, California

The
Mitchell Camera
Meets the Needs of
I Every Production
I Every Studio
I Every Photographer
I Every Director
I Every Producer
It’s the World’s Standard
Mitchell Camera Corporation

665 N. ROBERTSON BOULEVARD
WEST HOLLYWOOD, CALIF.
Cable Address “MITCAMCO” Phone OXtord 1051
AGENCIES
BELL & HOWELL CO., LTD., London, England MOTION PICTURE CAMERA SUPPLY, INC., New York City
CLAUD C. CARTER, Sydney, Australia BOMBAY RADIO CO., LTD., Bombay, India
D. NAGASE & CO., LTD., Osaka, Japan H. NASSIBIAN, Caira, Egypt

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Am^ican - "3 <• •

The Motion Picture CAMERA Magazine

Du PONT Film Manufacturing Corporation

Published monthly bv the

Telephone CRanite 2135

JOHN ARNOLD, President, A.S.C.

Vol. 18 February, 1937 No. 2

INDUSTRY Pays Glowing Tribute to

WALKER, Mate and Marsh Walter Blanchard

Next Month Dr.

© There will be a story telling of conditions

Pavillions-sous-Bois. Seine, France. Tele-

© Other interesting stories are in preparation phone LeRaincy 13-19.

he AMERICAN SOCIETY OF OINEMA-

T TOGRAPHERS was founded

purpose of bringing into closer confederation

and cooperation all those leaders in the cinema- AMERICAN

will be to strive for pre-eminence in artistic per-

advancement of the cinema and its allied crafts

through unceasing research and experimentation OFFICERS

Associate and Honorary memberships bestowed

PUBLIC RELATIONS COMMITTEE

— and for real results

TAKE IT WITH A COOKE!

cameras go (and where they cannot

Attach external magazines, a tripod, NEW YORK 11 West 42d Street

Industry Pays Glowing Tribute to Adolph

T the oldest organization in the motion picture busi- Zukor

country has told of the history made by Adolph Zukor.

He had a vision in the days when barns and back lots.

Agfa s New Three Color Photography

cess as being perfected and soon ready for the market.

These, when merged into the photographic layer of the

There was the usual quota of carpet-baggers, promotors,

failures, losses, successes and profits. But out of the seeth-

on the "Thunder in the City," starring Edward

T ish film production.

from a close shot of a feminine player to one of a man.

Device for Producing Variable Diff usion

hotographic Diffusion has for many years been

High Efficiency Reflector and Background

Walker^ Mate and Marsh Win

W ITH LISTS OF “best" film performances of

rapher is perforce limited in abilities to a type of picture

He drives home the pertinent premise

matter appearing before his camera. He delights in re-

tional, he declares. all in the year's work.

reclaimers since Cronjager first started pointing lenses at printing on paper.

him as a photographer of exterior spectacles. Defying the composition.

to in some office corridors, that a qualified Cinematog- Continued on page 58

Lloyd Knechtel, A.S.C., at St. Moritz, Switzer-

the Film Daily^s 1936 critics’ poll were

made on Eastman Super X Panchromatic

Negatives. Unquestionably this famous

film contributes substantially to the art-

istry and entertainment value of everv

production in which it is used. Eastman

Kodak Companv, Rochester, N. Y. (J. E.

Brnlatonr, Inc., Distribvitors, Eort Lee,

New York, Chicago, Hollywood.)

Edward Cronjager--the Complete Cinematographer

Looking at London Cinematographicolly