Академический Документы
Профессиональный Документы
Культура Документы
Polarized Light
Artificial Sunlight for Color
Training Cinematographers in
Russia
Photography of the Month
. . . and other features
August, 1935
Published Hollywood,
in
by
American Society of
Cinematographers
\
GEOFGE
\ FOLSEY
Lofofi’
i J. VON
ASTEBNBERO,
SHARING THE V * « H
•
•
APPLAUSE
WITH
DU PONT NEOATIVE I HARRY
\FISCHBECK
i KARL RAY
\ STRUSS , JUNE
U.S, PAT.
THE <l!ii|it> TRADE MARK HAS NEVER BEEN PLACED ON AN INFERIOR PRODUCT
August 1935 • American Cinematographer 327
AMERICAN
CINEMATOGRAPHER
A Technical and Educational publication
of motion picture photography.
Telephone GRanite 21 35
Whdt to Read
PHOTOGRAPHIC Possibilities of Polarized
Light, by F. Tuttle and J. W. McFarlane----330
ADVISORY
EDITORIAL BOARD
Victor Milner, A. S C.
James Van Trees, A.S.C.
Fred Jackman, A. S. C.
Farciot Edouart, A. S. C.
S.
C.
C.
Dr. L. M. Dieterich, A. S. C.
• From the laboratory standpoint one of Hol- Dr. L. A. Jones, A. S. C.
AMERICAN MEMBERS
SOCIETY OF
CINEMATOGRAPHERS Directors of
Photography
tMalkames, Don
Marley, J.
Marsh, Oliver
Peverell
Special
Binger,
Process
Ray
Marshall, Chas. A.
Abel, David Marshall, William C. Culiy, Russell A.
Andersen, Milford A. Martinelli, Arthur
Andriot, Lucien Marzorati, Harold J. Dietz, Wm. H.
Arnold, John Mate, Rudolph
Ash, Jerome H. McCord, Ted Edouart, Farciot
OFFICERS August, Joseph McGill, Bariiey
Meehan, Geo. B., Jr. Fabian, Moxmillian
JOHN ARNOLD President
Barlatier, Andre
Mellor, William C. Fulton, John P.
Mescall. John J.
VICTOR MILNER First Vice-President Barnes George S. Miller, Arthur
tBell, Chas. E. Griggs, Loyal
Miller, Virgil E.
JAMES VAN TREES Second Vice-President t Benoit, Georges
Milner, Victor
Boyle, Chas. P. Morgan, Ira H. Hammeraas, Edwin
CHARLES LANG Third Vice-President Boyle, John W. Musuraca, Nick Haskin, Byron
Brodine, Norbert
FRED JACKMAN T reasurer Brown, Jas. S., Jr.
F.
*Jackman, Fred
FRANK B. GOOD Secretary Browne, Fayte M. Neuman, Harry C. Jackman, Fred, Jr.
Jennings, J. D
Chancellor, Philip O'Connell, William
BOARD OF GOVERNORS Clark, Dan
L. Kelley, W. Wallace
Overbaugh, Roy F. Koenekamp, H. F.
lohn Arnold Frank Good Clarke, Charles G.
Bert Clennon Fred Jackman Corby, Francis
Dan Clark Ray June Cronjager, Edward Palmer, Ernest tLipp, Leo
Elmer Dyer Charles B. Lang, Jr. [Crosby, Floyd D. Peach, Kenneth Lipstein, Harold
Arthur Edeson Victor V'ilner Perry, Harry Lynch, Warren
George Folsey Joseph Walker tPerry, Paul P.
Daniels, William H.
Alfred Gilks James Van Trees tDavis, Charles J.
Planck, Robert H. Pollock, Gordon
Vernon . Walker de Grasse, Robert
Polito, Sol
Ries, Irving C.
Depew, Ernest S. Roberts, Irmin
Frederick L. Kley, Executive Business Manager DeVirina, Clyde
Ragin, David
tDored, John Rees, William A. Smith, Arthur
Draper, Lauron A. Reynolds, Ben F.
PAST PRESIDENTS *Dubray, Joseph A. Robinson, George Van Enger, Willard
tDuPar. E. B. Rose, Jackson J.
Philip E. Rosen Hal Mohr Dyer, Edwin L. Walker, Vernon L.
Rosher, Charles
Gaetano Gaudio Homer Scoti Dyer, Elmer G. Rosson, Horold Williams, William N.
James Van Trees John F. Seitz
tRuttenberg, Joseph Wrigley,Dewey
John W. Boyle Daniel B. Clark Wimpy, Rex
Fred W. Jackman Eagler, Paul
Edeson, Arthur Zech, Harry
Schneiderman, George
Schoenbaum, Charles
HONORARY MEMBERS Fernstrom, Ray Seitz, John F.
Mr. Albert S. Howell Fischbeck, Harry Shamroy, Leon
Mr. Edward O. Blackburn Folsey, George J., Jr. Sharp, Henry
^Shearer, Douglas Operative
Mr. George A. Mitchell Forbes, Harry W.
Freulich, Henry Sickner, Wm. A. Cinematographers
=!=Freund, Karl Siegler, Allen Albert, C. L.
Fryer, Richard tSilver, John Anderson, Don
PUBLIC RELATIONS COMMITTEE
Smith, Jack Anderson, Wesley
John Arnold Smith, Leonard Arling, Arthur E.
Joseph Ruttenberg, New York City Gaudio, Gaetano Snyder, Edward J.
Charles Bell, St. Paul, Minn. Gerstad, Merritt B. Soarkuhl, Theodor
Charles J. Davis, Washington, D. C. Gilks, Alfred tSteiner, William, Jr. Badaracco, Jacob
Georges Benoit, Paris, France Glennon, Bert Stengler, Mack Bader, Walter
Alvin Wyckoff, Mexico City Good, Frank B. Stout, Archie J. Ballard, Lucien
John W. Boyle, London, Englat.d Strenge, Walter Bell, Jack C.
Ariel Verges, Tokyo, Japan Struss, Karl Bennett, Guy M.
Edwin L. Dyer, Detroit, Mich. Haller, Ernest Bennett, Monroe
Stumar, Charles
Charles W. Herbert, New York City Halperin, Sol Stumar, John Bentley, Fred
Lloyd Knechtel, London, England tHarten, Charles Biroc,Joe
John Dored, Paris, France rHaythorne, Reed N. Blackstone, Cliff
Paul Perry, Manila, P. I. tHerbert, Charles W. Taylor, J. O. Booth, Frank H.
Max B. DuPont, Papeete, Tahiti Herrmann. John L. Tetzlaff, Ted Bradley, Wilbur H.
Philip M. Chancellor Hickox, Sid Thompson, Allen Q. Burks, Robert
Hickson, John T. Thompson, William C.
Howe, James Wong Tobey, Robert
MEMBERSHIP COMMITTEE Hunt, Roy Todd, Arthur Campbell, Arthur
Castle, Walter H.
George Folsey Dan Clark Toland, Gregg
Tover, Leo Chewning, Wallace
Alfred Gilks Robt. Pittack Ivano, Paul Clark, Roy
Bert Longworth Fred Terzo Towers, Richard
Trego, Chas. T. Clemens, Geo. T.
Cline, Wilfrid M.
Jackson, Harry Tutwiler, Tom Cohen, Edward J.
ENTERTAINMENT COMMITTEE June, Ray Collings, Russell D.
Elmer Dyer Frank B. Good Valentine, Joseph A. Cortez, Stanley
Charles B. Lang, Jr. Vernon Walker Kershner, Glenn *Van Buren, Ned
Arthur Edeson Kline, Ben Van Trees, James Davis, Harry
tKnechtel, Lloyd tVarges, Ariel Davis, Leland E.
Kohler, Henry N. von Sternberg, Josef Dean, Faxon
WELFARE COMMITTEE Krasner, Milton Diamond, Jas. R.
Ray June James Van Trees Kull, Adolph E. Drought, James B.
Fred W. Jackman Wagner, Sidney C. Dunn, Linwood G.
Walker, Joseph
Landers, Sam Warren, Dwight
Lang, Charles B., Warrenton, Gilbert
Esiick, LeRoy
GENERAL COUNSEL Linden, Edwin G.
Jr,
Estabrook, Edw. T.
Arthur C. Webb Wenstrom, Harold
Lloyd, Art Wetzel, Al.
Lundin, Walter Wheeler, William Fapp, Daniel L.
Lyons, Chet White, Lester Feindel, Jockey
RESEARCH COMMITTEE Wyckoff, Alyin Fetters, C. Curtis
Victor Milner, George A. Mitchell, Dr. Herbert Finger, Frank
Meyer, John Arnold, Farciot Edouart, Mackenzie, Jack Finger, John
Emery Huse, Dr. L. M. Dietrich tMacWilliams, Glenn tZucker, Frank C. Fitzgerald, Edward
August 1935 American Cinematographer 329
MEMBERS
Galezio, Len Ulm, William R. Foxall, William Slifer, Clarence Lacy, Madison S.
Garnett, Paul Unholz, George Fredricks, Ellsworth Sloane, James Leiber, Herman
Gertsman, Maury Smalley, Alfred E. Lippman, Irving
Gibbons, Jeff T. Vaughan, Roy V. Smith, H. C. Lobben, C. Kenneth
Garvin, Edward Soderberg, Edward F. Longet, Gaston
Glossberg, Irving Vogel, Paul Charles
Vogel, Willard I. Gaudio, Frank, Jr. Southcott, Fleet Longworth, Bert
Gordon, James Geissler, Charles R.
Gray, King D. Straumer, E. Charles Lynch, Bert
Gerstle, Arthur Strong, Glenn
Green, Kenneth Goss, James M., Jr.
Greene, Al M. Wester, Carl Strong, William M.
White, Ben Cough, Robt. J. MacDonald, Melvin A.
Guffey, Burnett Graham, Harold W.
Guthrie, Carl Wild, Harry Terzo, Fred MacLean, Roy D.
Wilky, Guy L. Grand, Marcel Manatt, S. C.
Grant, James Arthur Thomas, Jack
Williams, Al E. Tolmie, Rod Marigold, Mickey
Williamson, James Green, Don Martin, Shirley Vance
Hallenberger, Harry Tripp, Roy
Greer, John McAlpin, Hal A.
Harlan, Russell
Harper, James B. Miehle, John J.
Van Trees, James, Jr. Morrison, Talmage H.
Harris, Emil Hackett, James C. Van Wormer, John Pierce
Heckler, Wm. G. Haddow, Ledger
Henderson, Edward Assistant Hayes, Towne D.
Hoag, Robert Higgins, James Colman
Walsh, Mike Paul, M. B.
Cinematographers Ward, Lloyd
Huggins, L. Owens Higgs, Stuart P.
Abbott, L. B. Hoffman, Roswell Webb, Harry
Abramson, Melvin tHolcombe, Wolter Weddell, Paul K. Richardson, C. E.
B.
Jennings, Louis E. Adams, Eddie Weiler, Carl Richee, Eugene R.
Hoover, Russell C.
Jones, Allyn C. Adams, Ralph G. Weiler, John Robbins, Leroy S.
Horsley, D. S.
Ahern, Lloyd Weisbarth, Ted Rowley, Les
Hunter, Kenneth
Andersen, Jack tHyland, Edward
Weissman, Leonard
tKelly, Wm. J. Anderson, Eddie Wellman, Harold
Wendall, Jack E. Schafer, Adolph L.
Knott, James August, Joseph S.
Kauffman, R. King, Jr. White, Edward L. Schoenbaum, Emmett A.
Kearns, Edward Whitley, William Sibbald, Merritt J.
Landon, Theodore Babbitt, Royal F. Keller, Alfred S. Willis. Bert Sigurdson, Oliver
Lane, Al L. Baldwin, Herold Kelley, George F. Worth, Lothrop Six, Bert
Lanning, Reggie Barber, E. C. King, James V. Stone, Ed
LaShelle, Joseph Barth, Willard Klein, Irving
Laszio, Ernest Beckner, Neal Kluznik, Mart
Lawton, Charles C. Bergholz, Emmett Koffman, Jack Still Photographers Tanner, Frank
Lerpae, Paul K. Bessette, Raoul Kunkel, Lou E.
Thomas, Wm. E.
Alexander, Kenneth
tLevitt, Sam Boggs, Haskell Allan, Ted
Lindon, Lionel A. Bohny, Chas. R. Alsop, George
Love, Cecil Bourn, George
Lackey, Walter K. Van Pelt, Homer
Lane. Art Anderson, Bert
Bradford, Bill Apger, Virgil
Laraby, Nelson
Bridenbecker, Milton Autrey, Max
MacDonald, Joe Lathrop. Philip Walling, Will, J.
Brigham, Donald H. Leahy, Chas. P. Welbourne, Chas. Scott
Marta, Jack A. Bronner, Robert
Mayer, Fred Lebovitz. Alfred Wyckoff, Harold M.
Burgess, Frank Bachrach, Ernie
McCormick, John T. Lerpee, Carl
Burke, Charles Bjerring, Frank
Meade, Kyme Lewis. C. L.
Blanc, Harry
Merland, Harry Liggett, Eugene
Breau, Joseph F.
Metty, R. L. Cairns, Lawrence Lockwood, Paul Elwood
Bredell,
Mols, Pierre M. Caldwell, John C. Lykins, Vollie Joe
Brown, Milton
Myers, Albert Carter, Ellis W. Bulloch, Chas. E. Honorary Members
Citron, Joseph A. Mack, Robt. H. Bulloch, Malcolm Mr. E. O. Blackburn,
Clothier, William H. MacBurnie, John
Newhard, Guy J. Los Angeles, Calif.
Cohan, Ben MacDonneil, Stanley
Newhard, Robert Clark, Sherman JMr. George Eastman,
S. Cohen, Sam MacIntyre, Andy
L.
Nogle, Ceo. C. Coburn, Robert Rochester, N. Y.
Collins, Edward C. Marble, Harry
Novak, Joe Crane, Chas. M. Cooper, John JMr. Thomas A. Edison,
Margulies, Bill Cronenweth, W. E. Orange, N. J.
Crawford, Lee Martin, lohn
Crockett, Ernest J. Crosby, Warner N. Mr. Albert S. Howell,
Palmer, Robert Martinelli,Enzo Crowley, Earl Chicago, III.
Cronjager, Henry, Jr. Mautino, Bud
Pierce, Otto Crouse, John Mr. George A. Mitchell,
Pittack, Robert McDonald, Frank Los Angeles, Calif.
Cruze, Warner McEdward. Nelson C.
Pyle, Edward Curtiss, Judd Elliott, Mack
Meade, Kenneth Ellis, John
Mehl, John English, Donald A.
Ramsey, H. Clark Mohn, Paul Fstep, Junius D.
Daly, James Molina, Luis
Ramsey, Ray L. Dalzell, Arch R. Evans, Thomas Associate Members
Rand, William Moreno, Robert C. Evonsmith, Henry
Davenport, Gene L.
Morris, Thomas C. Mr. Louis A. Bonn
Redman, Frank Davis, Mark Mr. George Cave
Ries, Ray Davis, Robt. D., Jr.
Roberts, Albert C. Farrell David H. Dr. L. M. Dieterich
Davol, Richard S. Norton, Kay Mr. Fred Gage
Roberts, Josiah Dawe, Harry F'rulich Roman
Fryer, Elmer
Mr. Emery Huse
Robinson, Walter C. Dawson, Fred Dr. Lloyd A. Jones
Roe, Guy DeAngelis, Louis Orsatti, Alfred Dr. C. E. K. Mees
Rosenberg, Irving Cold, Milton
toe Cazstellaine, Paul r Dr. Herbert Meyer
a'"'c Claron'e “Stax"
Deverman, Dale Parkins, Harrv
Mr. Hollis Moyse
Diskant, George Craybill, Durward Dr. W. B. Rayton
Salerno, Charles, Jr. Dodds, Wm.
Perreault, Oliver D. Grimes, William H. Dr. V. B. Sease
Scheurich, Victor Doran, A. Richard Dr. J. S. Watson, Jr.
Schmitz, John J. Dowling, Thomas L. Rankin, Walter Head, Cordon C.
Schurr, William F. Dugas, Frank Reinhold, Wm. G. Hendrickson, Fred S.
Schoedsack, G. F. Dye, Ceo., Jr. Rhea, Robert Hester, Jerome E.
Shipham, Bert Riley, William Hewitt, Clarence B.
Smith, Ernest F. Rugg, Mavnard B. Hommell, Ceo. P. Inactive Members
Smith, Harold I. Eagan, J. P. Russell, John L., jr. Hoperaft, N. John
Smith, William Cooper Eason, Bert
Dunning, Dodge
Snyder, Wm. Eckert, John
DuPont, Max B.
Stine, Clifford R. August Sanford, S. A. Johnson, Roy Fildew, William
Elliott, J. L.
Sullivan, Wm. F. Epstein, Jack J. Sargent, Don Jones, Raymond H.
Clouner, Martin C.
Surtees, Robt. L. +Etra, Jack Scheving, Albert Julian, Mac
Graham, Stanley
Evans, Frank D. Schuch, William Jackman, Dr. Floyd
Seawright, Byron Lockwood, J. R.
Shearman, Roger C. Kahle, Alexander tPaul, Edward F.
Tappenbeck, Hatto Kling, Clifton Roos, Len H.
Thompson, Stuart Farley, Joseph L. Shirpser, C.
Fischer, Herbert J. Shorr, Lester Kornmann, Gene Stull, William
Titus, Frank
Photographic
direction
Thevibration of a light wave is not along the
at right angles
O UR
and
eyes respond naturally to differences in color
in intensity of light, and it is by these dif-
ferences that we are able to see the world around
us. There is another property in which light rays may dif-
fer, but our eyes, unaided, can not see those differences.
of the ray, as in the case of sound, but is
to the ray and usually in all possible directions, that is, up
The nature of light has long been a motter of specu- the string follows the slit. Light behaves in much the
same
lation. It was once generally held that perception of light way, except that the vibrations require the optical equiv-
depended upon the reception by the eye of small discrete alent of a mechanical slit. A light ray in which only one
particles shot off from the source of light; just os at one direction of vibration exists is said to be plane polarized,
time it was held that the perception of sound depended that is to say, polarized in one plane. The plane of polar-
upon the impact upon the ear-drum of small particles shot ization, that is, the plane parallel to the vibration of the
off from the sources of the sound. This theory of light has emerging ray, is definitely fixed in the polarizing device,
the advantage that it immediately explains reflections; just and is rotated when the polarizing device is rotated. A sec-
as an india-rubber ball bounces from a smooth wall, where- ond polarizing device, placed in the path of the ray leaving
as it will be shot in almost any direction by a heap of stones. the first polarizer, may or may not transmit the plane pol-
August 1935 • American Cinematographer 33 T
of Polarized component are still plane polarized, but the rays reflected
by
F. Tutlle and J. W. McFarlane""
'•=
Reprinted from july, 1935, journal of the Society of Motion
Picture Engineers as presented at the Spring, 1935, Meeting at
Hollywood, Calif.
Eastman Kodak Co., Rochester, N. Y.
Artifiicia
Fig. 1
the answer to the question, so frequently asked, why carbon of these specifications. Tests showed that such units pro-
arc lights are so universally used for color cinematography. duced an illumination-level of only 60 foot-candles at 15
Actually, almost any illuminant used in monochrome
feet —slightly over 25% of what was required. The dis-
tribution was far from even. The feeding mechanism, in
cinematography can be used for color-filming: but exper-
which a single solenoid system controlled both of the lamp's
ience has proven the white flame carbon arc to be the most
two arcs, allowed variations of from 20% to 40% in light
efficient light-source for this work. Almost all color pro-
flux during the burning period, and introduced mechanical
cesses take the spectral distribution of natural sunlight as
and electrical noises which were highly undesirable. The
the normal lighting, and balance their emulsions, compen-
carbon feed was intermittent, rather than continuous in
sating filters, and laboratory processes upon that basis.
its action. The best that could be said of the lamp was
Obviously, if the light used to illuminate interior scenes
that its light was of the ideal spectral distribution for
differs in color from this standard, a corresponding degree
color cinematography.
of modification must be made in either the photographing
or the processing of the color-film, if a normal color-rendi- The best way of correcting these shortcomings was to
tion is to be had. In general, corrective filters must be ap- design an entirely new lamp. Collaboration with the en-
plied either to the light-sources themselves or to the cam- gineers of the National Carbon Company produced a new
era —a practice which, in effect, results in wasting a con- type of carbon which gave an even more ideal spectral
The new carbon is 8mm. in diameter, as
siderable part of the light produced. It is much more de- distribution.
sirable employ light-sources which radiate
to light closely compared to the '/z-inch carbons previously used. Burned
comparable to natural sunlight. at the same amperage as the older type (40-45 Amperes),
The white-flame carbon arc does this excellently, as it gives a snow-white light of considerably greater intensity.
of light for economical use with color cameras, nor did sunlight.
they distribute it with the desired efficiency. In addition, A companion to this broadside is the "scoop," MR
the carbon feeding mechanisms of some of these units al- Type 27 (Fig. 2), used for overhead lighting. It is iden-
lowed a considerable variation in trim during the burning tical with the broadside except for the means used for its
period, resulting in noticeable changes in both the color physical support and the shape of its hood.
and the intensity of the light emitted. In some instances, For spotlight purposes, the 80 Ampere Ro-
familiar
this mechanism also produced mechanical noises (aside tary Arc spotlight is the most generally used unit. Though
from the electro-physical noises which can be eliminated it is not, judged by the most modern standards, an ideal
by the customary choke-coils and condensers) which could unit, it proved adequate for use with color cameras. In
not be tolerated in sound recording. most instances, the basic change necessary —
fitting fibre
The fundamental unit used for general lighting is the gears to silence the feed mechanism —
had already been
"side arc" or broadside. Technicolor's specifications for made. Careful attention to maintenance is, however, ne-
these units called for a lamp capable of producing an illum- cessary: pitted and soiled condensers will materially reduce
August 1935 • American Cinematographer 333
James Wong Howe, A.S.C. perfection should be so unassumingly perfect as not to pull
audience attention from the unfolding drama. It should
be as a well-dressed woman —
reticent, confident, unobtru-
sive in her appearance. It should not be conspicuous either
for being over-dressed nor under-dressed.
Jimmy wants a scene to look humanly and naturally
James Wong Howe real, rather than being only a demonstration of the scien-
tific perfection attained by chemists. With the new, faster
and better lenses, film and lights available, he can see
In other phrases, his mind and his hands are pure stead he is using close shots, catching the crowds in sec-
American; his eyes and his heart are of China. Plus the tion; cutting out these sections just as a newspicture cam-
item, as Richard Boleslawski aptly puts it, “There's plenty era might.
of Irish, too, in Jimmy." Continued on Page 341
—
Training
Cinematographers
in Russia
by
Vladimir S. Nielsen
President of the Faculty of Cinema Technique,
State Motion Picture Institute,
Moscow, U.S.S.R.
Vladimir S. Nielsen
F
in
Russia; today, the output of the Russian studios part of his time in self-supporting work); or he may come
equal, in volume at least, to that of Hollywood.
is
by equipping them with a thorough education in their spe- am myself an active Cinematographer, devoting six months
cialties before putting them to work. All our Directors of every year to photographing films directed by Alexan-
and Cinematographers must be graduates of the State Mo- drov, Eisenstein's former associate. Edvard Tisse, who pho-
tion Picture Institute, exactly as Doctors or Engineers ev- tographs Eisenstein's films, is likewise on the Cinema Tech-
erywhere must be graduates of accepted medical and en- nique Faculty.
gineering colleges. As a graduating examination or thesis, each student
The Russian Cinematographer prepares himself by four of the Cinematographer's course is required to make a shart
years of intensive study at the Institute. The course is film personally. He must write the story, cast the roles,
difficult,and the standards exacting: less than 65% of direct,photograph and edit the production, single-handed.
those who enter, graduate. But when one has completed The expense, of course, is borne by the school; after all,
the course, we know that he has both the theoretical what better proof could there be of our teaching, and of
knowledge and the practical experience to prove himself the student's ability?
a thorough master of his craft.
Continued on Page 342
336 American CinematoRrapher August 1935
PHOTOGRAPHY
of the MONTH
"ACCENT ON YOUTH" (Paramount)
Leon Shomroy, A.S.C., Directing Cinematographer
"MAKE A MILLION" (Monogram) Daily Variety (June 27, 1935); "Photography by Leon
Horry Neumonn, A.S.C., Directing Cinematographer Shomroy is eye-filling."
Daily Variety (June 19, 1935): "Photography by Harry
Neumann is considerably above average." "MAD LOVE" (Metro)
Hollywood Reporter (June 19, 1935): "Neumann's pho- Chester Lyons and Gregg Tolond, A.S.C., Directing Cinema-
tography is better than average." tographers
The Film Daily (July 9, 1935) "Photography, Good." :
Hollywood Reporter (June 27, 1935) "Lyons' photography :
"MEN WITHOUT NAMES" (Paramount) Daily Variety (June 27, 1935): "Camera sense is vividly
evident behind the excellent photography of Chester
Ben Reynolds, A.S.C., Directing Cinematgorapher
Lyons and Gregg Tolond. Photographic effects and
Daily Variety (June 19, 1935) "Ben Reynolds has handled
:
"THE GLASS KEY" (Paramount) James Von Trees, A.S.C., Directing Cinematographer
Henry Shorp, A.S.C., Directing Cinematographer Hollywood Reporter (June 28, 1935): "The photography
The Film Daily (June by James Van Trees very good."
15, 1935); "Photography, A-1."
Daily Variety (June 28, 1935): "Picture has been well
"MARY JANE'S PA" (First National) photographed by James Van Trees and adequately
Ernest Holler, A.S.C., Directing Cinematographer mounted."
The Film Daily (June 14, 1935): "Photography, A-1." "STRANDED" (Warners)
is class throughout."
raphy does full justice to the material."
tography contributing to sequences that held a crowded cial bow to Daniels for his photography."
house breathless. It's a workmanlike job throughout." Daily Variety (June 29, 1935) "Photography of William
:
of the great engineering effort by Frank Good is a pic- minor wonders with the photography."
torial delight." Daily Variety (July 5, 1935) "Sol Polito's photography
: is
The Film Daily (July 1, 1935) : "Photography, A-1." his usual workmanship accomplishment."
SENSATION
EASTMAN Super X Film was originally de-
EASTMAN SUPER X
PANCHKOMATIC NEGATIVE
338 American Cinematographer • August 1935
"SHE" (Radio)
J. Roy Hunt and Vernon Wolker, A.S.C., Directing Cinema-
tographers
Hollywood Reporter (July 2, 1935): "The credits for the
picture lie mainly with the photography of Roy Hunt
and Vernon Walker."
Daily Variety (July 2, 1935) "Picture's chief merits be-
:
tography is excellent."
Daily Variety (July 3, 1935) "George Folsey's photography
:
is swell."
The Film Daily (July 8, 1935) : "Photography, Fine."
is up to standard."
camera effectively."
L. W. O'Connell." is okay."
The Film Daily (July 5, 1935): "Photography, A-1." Daily Variety (July 1935): "Photography by Lester
6,
White and general technical contributions are of excel-
"ESCAPADE" (M.G.M.) lent quality."
Ernest Haller, A.S.C., Directing Cinematographer The Film Daily (July 9, 1935) : "Photagraphy, A-1."
Hollywood Reporter (July 2, 1935) "Ernest Haller's pho- :
tography equals anything he has ever done." "SILK HAT KID" (Fox)
Daily Variety (July 2, 1935): "Photography of Ernest Daniel Clark, A.S.C., Directing Cinematographer
Haller is a workmanlike job." Hollywood Reporter (July 6, 1935): "Daniel Clark's pho-
The Film Daily (July 6, 1935) "Photography, First Class."
:
tography and production standard."
Daily Variety (July 6, 1935) "Photography up to stand-
:
NEW 40 AMPERE
ACTIVE
RAYS
heat
A BETTER LIGHT
STUDIO CARBON ARC
Bronch Soles Offices: New York Pittsburgh Chicago « Son Francisco '
340 American Cinematographer • August 1935
subject with plane polarized light. sunrise the region of greatest effect is
the
Another such device at the camera lens north —
overhead —
south; at noon near —
permits photographing by the diffusely the horizon in all directions; and at sun-
reflected light alone, as is shown in Fig. set north —
overhead south —
again. The
3. This is desirable in many cases, be- arc swings from overhead to the west
cause the specularly reflected light or during the morning, from the east to
glare obscures more or less the detail overhead in the afternoon, passing
that it is desired to record. It is obvious through every part of the sky.
from Fig. 3 that if the Pola-screen at Ordinary objects, faces, blossoms,
the camera is rotated, some of the spec- trees, mountains, buildings, etc., can be
ular light will be allowed to pass through, made to stand out against the sky in a
so that the amount of reflection per- very beautiful manner. If desired, the
mitted is under the control of the pho- brightness of the sky may be increased
tographer. When the camera Pola- relatively to objects photographed against
screen is rotated so that its polarizing it, by rotating the Pola-screen to the
plane is actually parallel to that of the appropriate position. In black-and-
specular ray, this ray is transmitted even white photography, the Pola-screen can
more freely than is the diffuse ray, so serve as a filter of variable depth any- —
that the subject appears to have even thing from red filter effects (without
1515 Cahuenga Blvd., brighter reflections and more gloss than distortion on tone values) down to one
actually does have. filter effects may be obtained by rotat-
Hollywood, Calif. it
Plane polarized light, or light that is ing the Pola-screen to the desired posi-
Phone: GLodstone 2404
partially plane polarized, is very com- tion.
mon in nature, so that the photographer (2) Changing the contrast of var-
who is equipped with a Pola-screen only ious parts of a subject, without changing
on his camera lens finds that he has the lighting: This effect is very marked
rather considerable control over contrasts in the case of the walls and roofs of
ROy DAVIDGE in
to
even though he is unable
his subject,
change the lighting of his subject.
buildings, sunlighted water, and pave-
ments from above.
There are two sources of polarized (3) Photographing subjects in water,
FILM light in nature:
clear blue
(1) Light rays from
arriving at right
from above: When the angle between
lens axis and water surface is about 32
a sky,
6701 SANTA MONICA BLVD. act of reflection (see Fig. 4) There is . This effect can be used to produce
some effect at other angles, but more at double exposures by placing a thin pel-
GRanite 3108 zero or 90 degrees. licle mirror in front of the camera lens
These two sources, separately and in at the required angle, and rotating the
combination, polarize much of the light Pola-screen at the lens. The image re-
from natural things. Unaided, our eyes flected by the pellicle mirror appears or
1 do not detect polarized light, and so disappears according to the angle of the
i ^IOLA we have not seen until now that much of Pola-screen. Other more obvious appli-
AA-
Iy FILM VIEWING and
the light from our surroundings is polar-
ized. Many natural things, seen through
cations will suggest themselves, such as
photography of aquaria, through win-
J. A. REPRODUCING MACHINES dows, and so on.
the Pola-screen, assume a new and
ALL MODELS ON DISPLAY—
—
FOR SALE FOR RENT strange beauty.
B. Polo-screens over both lens and
Illustrated Literature On Request
(3) Increasing color saturation; By Various lightings are possible with one The intervals of this scale will be of
removing the surface reflection, which is Pola-screen over the lens and others at equal effectiveness in cutting down the
white, the colors of on object increase in the lights. It is possible to place a back polarized light entering the Pola-screen.
their saturation, that is, their purity. light so covered directly in the camera The Pola-screens have a slight scat-
The crossed arrangement produces such field. It is also possible to control the tering power, so that those for lens use
effects. light reflectedfrom any light so covered. must be screened from all extraneous
(4) Effects upon faces: The crossed A control, at the camera, is thus pro- light by a proper lens hood. The Pola-
position produces a strange matte effect, vided. It is therefore possible to photo- screens supplied for light-source use are
with no luster whatever, and the facial graph the same set with two cameras not suitable optically for lens use.
colors are exaggerated. The parallel and obtain quite different lighting ef- The novelty of this subject makes it
position has the opposite result a very — fects. what application will
difficult to say just
perspiry appearance, with the colors sub- be of most value in motion picture work.
Technical Data
dued. It is, however, a new tool, by which new
The Eastman Pola-screens have a effects may be achieved, and its limita-
(5)Photographing wet objects; The
spectral range of polarizing power from tions are imposed only by the imagina-
surface reflections from wet objects,
400-700mu. They absorb in the ultra- tion of
the user. We
are indebted to
such as clinical specimens, present a
violet, and transmit freely, without pol- Mr. H. Land for help and suggestions,
E.
severe problem, as they hide detail. These
arization, in the infrared. They can be and L. A. Jones for the demon-
to Dr.
reflections may be subdued as desired,
damaged by excessive heat, by placing stration film of polarization phenom-
or eliminated at the crossed position.
them within a few inches of a lamp enon in crystalline structure.
(6) Copying matte prints, pencil bulb, or imaging a lamp filament upon
sketches, newsprint reproductions, and them.
paintings: Matte prints reflect light The most suitable negative materials
specularly in all directions. When this are the panchromatic materials now in
James Wong Howe
specular component is removed the general use. While it is possible to use Continued from Page 334
blacks of the print become much black- the Pola-screens with orthochromatic or His close-ups are decidedly interest-
er, so that the use of crossed Pola- even with non-color-sensitized mater- ing. Seldom do they show the charac-
screens produces a brightness range in the exposure increase
ials, is very much ter's entire face. One may be cut off
the print that is even greater than that
greater. just above the eyes, another cut off at
af a glossy print viewed in the normal The exposure increase, for the Pola- the side. For close-ups, only that facial
manner. Likewise, the reflections can be screen over the lens alone, is about four area from eyes to chin are of value to
remaved from pencil graphite and ink times. For Pola-screens over both lens Jimmy, mainly the eyes. Sa why make
particles, producing intense blacks.
and lights, the exposure increase is ten portraits of the style set by artists of
(7)Animation cells: Reflection: times and upwards, depending upon the centuries back.^
from cells used in animation work build nature of the subject. When using a As with all great artists, Jimmy has
up with successive layers so that con- photoelectric type of exposure meter, the creative courage; he dares to do. He
trast is seriously affected, limiting the Pola-screen for the lens may be held has a scene where two characters discuss
number of cells which may be used. over the meter window at the intended their fear of the circus tiger. Instead of
These reflections may be greatly reduced angular position of the Pola-screen. The placing his characters in front of the
by the crossed arrangement of Pola- meter should always be used at the same tiger's cage and coming in with a close-
screens. angular position, as some of these meters up of them, he moved his characters
(8) Bi-refringent crystals and fi- are slightly polarizing in their sensitive far away from his camera, backed against
bers: The phenomenon known as bi- element. the tent sidewalls. And with his lights,
refringence causes any transparent ob- If calibrated angular scale is desired
ject, possessing the property, to light for repeating and recording settings used
up, frequently in vivid color, when placed for Lens Pola-screens, the following is
— —
1
Printing. variable
transmission of 80.5 //
5 Motion Picture Camera Supply, Inc.
two Pola-screens together suggests a 84 6 //
723 Seventh Avenue New York City
number of possibilities. Two Pola-screens 86.5 7 / /
Cable: “Cinecamera”
meant for lens used together constitute Crossed position 90 8
//
threw a dark shadow of that tiger rest- up his negative with multitude of detail,
Trainins Cinemctosraphers in
lessly pacing to and fro against the gray just because a thoughtful producer has
Russia
background. The characters tell of their furnished them in event of their being
fear and unknown to them, but very desired. Continued from Page 335
much known to the audience, the object James Wong Howe, thanks ta his birth
of their fear is stalking in shadow above and training, is an uncommon artist. He Graduating from the Institute, the
them. The scene holds intense dramatic has so fully mastered the mechanics of student goes into the field as a fully-
value. his profession as to realize their impor- qualified First Cinematographer. In the
Jimmy believes in photographing tance and to let them rest there. With Russian Cinema, we recognize four defi-
scenes, rather than talking people. He such instruments, he sets forth to make nite classes of Cinematographers: those
believes in photographing his story, rath- pictures that relate story, that unfold who are worthy of making the best and
er than sets and actors. He believes in drama, that are true and lifelike, that greatest films; those assignable only to
showing bits of action as they appear in are not photographically conspicuous, what you call "programme pictures";
life,not on studio stages. that are highest expression of art life. — those suited to short-subjects and com-
He doesn't work by set formulae. He To him, with his consummate artistry edies; and those fitted for newsreel and
is no rubber-stamp. On a recent tour and the searching philosophy of life he similar non-dramatic filming. The sal-
through the galleries in Europe, he not- has inherited from the earth's oldest aries the men receive, incidentally, are
iced the old portrait painters, the old civilization, Jimmy's professional future dependent upan their classification, with
masters so-termed, had all done their holds limitless promise. the men capableof turning out the best
subjects in studios with a north light And, between pictures, in this roust- work reaping the largest rewards. Stu-
coming down at a forty-five degree angle ing community calledHollywood, what dents at the Institute who fail to grad-
over the artist's left shoulder. Of hun- do you suppose he does for pastime? He uate become Second Cinematographers
dreds he saw, only three had light from goes to Chinatown and talks Chinese — ar Operatives, as you call them here.
the right. Jimmy's artistic heart fairly philosophy in his own native tongue with It is during these years at the Insti-
cried aloud for a portrait done with a fellow countrymen merchants. And he tute that the majority of our Director-
south light, from any angle other than travels, an business. To see nature and Cinematographer "teams" originate.
forty-five degrees and not coming over life, and to file those scenes in his mem- They are not formed by compulsion; we
either shoulder of the portraitist. ory to be used someday. realize that a Cinematographer (or Di-
His work is definitely tempered by his Cinematographic works by James rector) may be able to do brilliant work
ancestry and his study of Chinese art. Wong Howe rate an appraising and ab- with an understanding partner, while he
In China a splash of color and a line or sorbing eye. They invariably, possess the would be only mediocre with an unsym-
two creates a flower. A few deft lines inherent charm and appeal of a Ming . pathetic confrere. Let us say that I, as
creates a mountain. He never clutters vase. a Cinematographer, am a romanticist:
Speed Panchro
Lenses
caufiflit
Becky Sharp’
Specially modified for use on the Technicolor cameras which filmed
Becky Sharp,” 'I’aylor-Hobson Cooke F 2 Speed Panchro Lenses con-
trihuted materially to the remarkable color resnlts achieyed in this
now-famous picture.
Speed Panchros are the logical lenses for color work because they
comply fully with the color correction needs of modern production
j)ractice. Eleyen focal lengths, 24 to 108 mm.
men who
Like those of your American
are under contract to the var-
Camera-
7251 Seventh Ave.. A’ew York C’itv
ious studios, the Russian Cinematog- Telephone BRyant 9-7755 Coble Address: Cinecamera
rapher receives his salary throughout the
344 American Cinematographer • August 1935
year. There is, however, no rigid com- per day, except on occasions when the
pulsion that he must rush from one pro- entire troupe expresses a wish to work
• MOVIOLA
FILM EDITING EQUIPMENT
• duction to the next; he is expected to
work as continuously as possible, but to
longer
sequence.
in order to complete a scene or
Used in Every Major Studio. select stories that will enable him always Each Cinematographer receives a two-
Illustrated Literature on request.
to do his best work. month vacation each year. One month
MOVIOLA CO.
1451 Cordon St. Hollywood, Calif. By law, our production-units are for- of this period own, to do with as
is his
bidden to work more than seven hours he will; the other, he is required to be
in Moscow, attending the Institute, in
order to keep abreast of the latest de-
velopments of his Art. It may be men-
tioned, incidentally, that if he works in
Everything Photographic one of the more distant studios, and
for Professional and Amateur chooses to vacation at some resort which
New and Used, bought, sold, rented and will take a long time to reach, his trav-
repaired. Designers and manufac- elling-time is added to the vacation, so
turers of H. C. E. Combination that he gets his full time of rest.
lens shade and filter-holder
for any size lens.
Technically, our Cinema Industry in
Russia not too greatly different from
is
GLadstone 0243 The Hoefner four- Among some of the recent pictures on
inch Iris and Sun- which Charlie Stumar worked are in-
5319 Santo Monica Boulevard shade combination
is also a superior cluded "Werewolf of London," "Transient
LOS ANGELES, CALIF. product. Lady," "Manhattan Moon" and "Mr.
Dynamite."
m.
max factor’s
NEW
J. E. BRULATOUR, INC.
JJi a VLci
J_ J-
( f
J-
(
his issue
Common Sense Filtering
and Positive
Tricks With Negative
GFA 16 MM. Fine-Grain Plena- plete detail, even in large-size pro- AGFA 16 MM. FILMS
chrome Reversible Film brings jection. Agfa Fine-Grain Plenachrome
to your work an extra margin of 100-foot rolls $4.50
Insist on Plenachrome . . . get it from 50- foot rolls 2.75
quality that often distinguishes a Including processing and return postage.
your dealer. You will quickly see
photographic gem from "just an-
why it meets the requirements of most Agfa Panchromatic Reversible
other movie." 100-foot rolls $6.00
exacting cinematographers. Made 50- foot rolls 3.25
It gives you everything you could by Agfa Ansco Corporation in Including processing and return postage.
Binghamton, N. Y. Agfa Fine-Grain Superpan Re-
ask for in a general outdoor movie
versible :
film. Wide latitude . . . effective anti- Agfa Ansco processing laboratories 100-foot rolls $7.50
halation quality complete ortho-
. . .
in the United States and Canada are 50-foot rolls 4.00
Including processing and return postage.
chromatism and a speed that, in
. . .
located in New York, Chicago, Kan- Agfa Fine-Grain Panchromatic
daylight, is practically that of Pan- sas City, Los Angeles and Montreal. Negative
chromatic. And because of its
. . . 100-foot rolls $3.50
extreme fineness of grain ... it Developing not included.
200-foot and 400-foot rolls (laboratory-
brings to your screen the most com- packing) available.
August 193 5 American Cinematographer 349
AMATEUR
MOVIE
SECTION
Contents . . .
Next Month . . .
When You
Fig. 1
know what filters
definitely do, and why they do it, if we
are to know when and how to use them.
A photographic color-filter is, in the first place, a bit
of colored glass or gelatin placed between the film and the
object being photographed. The most convenient way to do
this is to fit the filter into a mount that can be attached to
the lens. But what does this bit of tinted glass do how —
and why does it work?
To understood we've got to know something about
this,
the nature of the films we use. To put it simply, a film
of any type —
consists of a strip of celluloid which forms o
base to hold the picture, and a coating of gelatin in which
is mixed a rather complicated chemical compound of silver,
i
ence; then certain researchers discovered that they could
I
produce emulsions which were not quite so color-blind,
as they were somewhat sensitive to yellow and green light,
all the ills that beset amateur cinematography. It's all very
"Panchromatic," as it is sensitive to all colors.
I
well meant, but often rather confusing to the fellow with Now, translating these facts into terms of photography,
an amateur cine-camera. There seems to be such a be- an Orthochromatic film sees red as black, green as a very
wildering array of filters —
and each writer boosts his per- dark grey —
almost black —
yellow as a light grey, and blue
what may Not at
sonal pet filters,
— "Always
regardless of his fellow-scribes as so pale a grey that
way our eyes would
it is virtually white.
some colors! A Panchromatic
all the
favor.
—
"Use K-2!"
"A 23-A
a one adjures
— "A 2x a 'G'!" says see the
on the other hand, approaches the interpretation of
another
—"An X-2
best results!"
is best!" advises a third
—and
is perfect!". so on, 'till
for
the
film,
our eyes much closer: the red is still the darkest, the blue
And
poor reader is as dizzy as a dervish. as if that weren't is a moderately dark grey, and the yellow is quite a light
enough makers
confusion, the various —
of filters especially grey. Fig. 1 shows how a typical Panchromatic film (East-
those catering ta theamateur —
trade vague
are equally in man regular Panchromatic) interprets a set of standard
their methads of designating their products. Between them colors.
all, experts and manufacturers together, the poor movie-
^
arate the bunk from the facts substitute understanding and gives us a well-exposed picture, in which the
strongly,
! and common-sense for ignorance and blind faith. We must weaker colors have registered more strongly than usual.
1
August 1935 ® American Cinematographer 351
Use to compensate
Now to apply
for the filter.
them to practice!
Suppose we have a landscape, with nice, fluffy clouds
against a blue sky in the background, and a girl wearing a
yellow dress in the foreground. We want to make the girl
Common-Sense stand out against the green grass, and we want the white
clouds to stand out against the blue sky. Ordinarily, the
yellow dress would be a little lighter than the green grass,
but the intense blue of the sky would photograph almost
white, and we would lose the clouds. So we can use a yel-
low filter: the girl's dress will become noticeably lighter,
by and the sky will darken enough to make the clouds stand
out rather well.
William Stull, A.S.C.
But suppose we want to carry this farther: a red filter
will darken the sky much more —even making it almost
Traveling
Stock Solution B.
W
of the watery
HEN
in
Israel marched through the
the Children of
"The Ten Commandments," it was the
Red Sea
"traveling matte" system of trick photography
that made the shot possible. A miniature shot was made
canyon through which they were to march;
Cold Water
Sodium Hydroxide (Caustic Soda
Cold water
)
then a seoarate shot of the marchers, against a plain black to avoid precipitation. For use, mix equal parts of A and
background. From this latter negative, two special mattes B, and develop two or three minutes at 65 F. Wash the
were mode, one, which we can call the "negative matte," in film thoroughly between development and fixing to prevent
which the moving figures were sharply silhouetted against stains and chemical fog.
a clear blank field, and a complementary "positive matte," So far, we have only one of the two mattes we need
in which the field was opaque while the figures were clear. the positive one, which protects the first scene. To make
The final scene was made in two printing operations: first the negative matte, we simply make a print from the matte
the bockground was printed through the negative matte, we've just m.ade, and develop it in the same developer for
which left the spaces occupied by the actors unprinted; maximum contrast.
next, the figures were printed in through the positive In making our "wipe," the first thing to do is to de-
matte, which shielded the background, but let the figures termine a definite starting-point in the raw positive, in our
print through normally. two negatives and in our two mattes, notching the edges
Cf course, while a shot like that could conceivably be of the film at this point, so they can be registered easily.
made in 16mm., it isn't quite the sort of thing that the
average amateur would find useful in his own pictures.
—
Then we place Matte No. 2 the"positive" matte in the —
printer. Over this, we put the negative of the first scene
Besides, getting an opaque matte from an ordinary nega- and, last of all, the raw positive for the print. The matte
tive requires some rather tricky developing and intensify- must never be between the negative and the positive, for
ing. But the travelling matte idea can liven up any home this would throw the print out of focus.
movie by putting in "wipes" and similar professional effects. After the first scene is printed, the positive film is re-
All that is necessary is a camera, a title-board, and a wound, and the "negative matte" —
the one we made first,
good printer. To get the best results, you really ought to
do the laboratory work yourself; but as you will seldom
which begins totally opaque —
is put in place. The matte,
the negative of the second scene, and the positive film are
be dealing with scenes more than ten feet long, this is a aligned by means of the starting notches we marked, so
simple matter. Of course, all of this presupposes the use that the two halves of the wipe are printed "in step with
of negative-positive, though once you've gotten your hand each other."
in, you could make dupe negatives from reversal-film shots After printing through the second matte, the wiped
and use the dupe like an original negative. scene is complete, and the positive is developed in the usual
To begin with, let's take the simplest sort of "wipe-off," manner. The same succession of operations is, of course,
and see how it's done. Scene A is on the screen; scene B followed in all types of travelling matte trickery.
appears at one side of the frame, and pushes A off to one Naturally, these basic wipes can be made in any direc-
side as scene B moves in. First, we make a matte. We tion — up, down, right, left or diagonally.
set up the title-board with a WHITE card in place, and The next type of wipe is logically one made with two
shoot the required footage of that; then we take a dead black cards which open or close like sliding barn doors,
BLACK card and slowly slide it in from the side while the pulling apart from the center of the frame, or closing the
camera grinds; and we continue to photograph the black same way. These wipes, too, can be made to go in any
card until the footage for scene B has run out. This pho- direction, and by varying the shape of the cards, quite a
tographing, incidentally, is best done on positive film, variety of effects can be had. For instance, if the two
which is cheaper —and more contrasty. For developing the cards are cut with V-shaped notches in their edges, the
matte, we need a developer which will give extreme con- effect will be adiamond-shaped iris-in or out.
trast, so that the black areas will be absolutely opaque. I Another interesting wipe, made with two cards, is made
August 1935 • American Cinematographer 353
the top edge oF the gloss. Gravity will do the rest, for as
the oil runs down the gloss, it will run irregularly, and give
you the melting matte you want. Two things you will
have to watch out for: first, that your lights are set where
they won't reflect in the glass or oil; and that the oil is
Matte Tricks black enough to be opaque. Sometimes you can use crank-
case drainings from your car; otherwise, you can use any
heavy machine oil. "Three-in-One" and similar household
oils are too light; they would flow too quickly. Incidentally,
vou can't get oil that is black enough, mix in some lamp-
with if
black.
Continued on Page 362
16 mm Negative
by
Paul Lerpee, A.S.C.
Pe o p e Wd n t to H i s
Th ese Th ings
Called
'Tricks''
by
Ed Ludes
NQUESTIONABLY
U
the greatest ambition of the aver-
age movie maker after learning to shoot straight pic-
tures is to master the art of “tricking." For no rea-
son that can possibly be expounded there beats within his them sincerely by pure trickery. So what to do about it
breast an insatiable desire to have his audience profess granting that tricks ARE all right IN THEIR PLACE? The
great curiosity about how it was done, and of course they answer is simple.
will — if they're Thot scene where Johnny, aged
polite. If Johnny MUST
jump four feet and land on a fence
5, seems toup onto
leap a four-foot fence is certainly give him a it. Have the story concern
reason for doing
mystifying but no more so than the one where Sally's doll some TARZAN
PILLS which he accidentally finds as buried
seems to get tired of sitting in one position ond decides treasure in the back yard. With this as a reason, you can
to put herself to bed. Ah, that one never failed to elicit let him do any number of tricks to the amazement of —
the usual “for goodness sake! Mow'd you do that?" the rest of the neighborhood kids and the amusement of
Great stuff! But positive proof that Mr. Movieshooter is your guests.
an amateur of the first rank —
with the accent on the last Take the case of Sally's doll. A very interesting pic-
word. Proof, you say? Well, let's recall some of the things ture could be made cut of some such idea as this:
most of us know, but seldom consider. Scene opens with Sally changing the dress on her doll.
Perhaps one of the greatest examples of professional A Fairy Tale book is prominently by Sally's side (high-
trickery was brought to the screen in “The Invisible Man." lighted, if possible, to make it prominent) . She finishes
“King Kong" was another, more pretentious example, and, dressing dolly and sets her at her side in the position in
praving complete trickery in feature length productions which the doll is to be left. Then she picks up the story
isn't new, we submit “The Lost World." book and starts to turn the leaves slowly ond thoughtfully.
“There," you cry, “doesn't that prove that tricks are Either dissolve, or cut to a closeup of Sally turning the
in good taste?" We agree, of course. We're not trying pages. A very few feet of this then change the angle shoot-
to say that tricks should not be attempted. It's the MAN- ing over Sally's shoulder ot the Sally leaves of the book.
NER in which they are presented that irks us. staps turning at a picture of a fairy touching a little girl
Take the above mentioned pictures for example. In no with her wand (Cinderella and the fairy would do nicely) .
instance did the story serve the trick. On the other hand, Allow time for the audience to grasp the idea then cut to a
without exception, the tricks served the story. See the medium shot of Sally as before, with her still looking at the
difference? Because these stories were so fantastic audi- picture page. She looks up with a far away look ond turn-
ences could not help but wonder how they were photo- ing to Dolly says:
graphed, BUT, (and this makes the difference), shortly TITLE: “I wonder if Dolls have Doll Fairies . .
.“
after the picture started, the audience lost interest in the Cut back to Sally as she finishes speaking then turns back
photography and became absorbed in the story. Theatre to her book. She closes it. Change angle slightly and
audiences would resent paying admission to see a lot of un- show Sally yawning. She turns ta Dolly again and says:
related camera tricks as an evening's entertainment ex- TITLE: “. . . Goodnight, Dolly."
cept, possibly, in the shortest of shorts. Tricks are nothing A long shot gets Sally out of the picture. Then, with an-
new them and cannot hold interest for any length of
to other doll dressed as a fairy, your animation begins and
time without story support. Your modern theatre audi- only ends when your patience is exhausted. But you have
ence (of which you are a part) is pretty blase. Why, given a reason and story to your trick. AND THAT MAKES
then, expect your guests to be different when seeing your THE DIFFERENCE BETWEEN ENTERTAINMENT AND
pictures? They'll be polite, of course, but you can't amaze BOREDOM.
356 American Cinematographer • August 1935
Making
14.
15 .
Pieces of scrap brass.
Heavy base of an old electric fan (E).
movie accessories, especially when the equipment is derived 16. Rear panel of a clock for brake rim (G).
from unique odds and ends such as are easily found around 17. Cap from a phonograph needle supply well (K).
the home and workshop. No special tools or materials are 1 8. A worm gear from a boy's Erector set.
required for assembling such homemade articles because
substitutions may easily be made for parts not easily avail- As my equiment and materials will vary from
readers'
able. the above undertake only to outline the assembly
list I will
This pan and tilt head, the construction and assembly of this tripod head rather than go into any detailed ac-
of which I am about
has completely satisfied
to describe, count. Alterations of design are easily effected as may be
my most rigid requirements.
rock-steady in perfor- It is noted from the diagram. In fact, if desired, the whole pan
mance and affords the photographer smooth working pano- locking mechanism (Insert No. 4) may be done away with
rama and tilt movements with quickly available controls if a gear wheel to suit is not easily found.
for locking the camera in any desirable position. Variable My step was to construct the base of the head.
first
tension facilities make it possible for one to set this head In a hole was drilled large
the center of the gear-wheel
to suit his own particular needs, and, as far as looks are enough admit a sawed-off tire valve-head which was
to
concerned, it can be easily mistaken for a product sold at bolted to the fan base weight E. The bottom of the base
retail.
was then filed smooth. Insert No. 4 shows the construction
Aside from the commonplace tools found in the home of the panorama lock mechanism. D is a lead shoe well
workshop the following list of tools will also prove useful; soldered onto the moving rod B. The brass arm C, actuated
one tap and die V4 " U. S. S. 20, one tap and die 8/32 by the engagement of the tooth A ond the worm gear,
M. S. S., hack-saw, file and hand-drill. causes the brake shoe to work back and forth slowly and
Before mentioning the materials used,
want to im- I powerfully through a hole drilled in the side of gear-wheel
press upon my reader and that is, the following
this fact, E. This shoe locks the panorama movements when it presses
list of materials is list of what
found most handy around
a I against the rim G which
permanently bolted to the fan is
the home. In building this tripod head you will find that base E. After some experimentation, found that a strip I
substitutions for parts you may not possess are easily made. of adhesive tape placed on the inside of the rim G pre-
August 1935 o American Cinematographer 357
d Tripod bolts well supported with four short pieces of brass tubing
as shawn at M. By means the bell panel D just cleared
this
the top of the worm-gear. A small perfume bottle cap, L,
hid from view the nut and spring adjustment of the base.
Head from
Underneath the base E a standard camera-mount thread
was tapped inta the small hale of the tire valve.
I have tried to make all the above explanations as brief
Odds and Ends cross-sectianal diagram will clear up any dubious or ques-
tionable points which may come up.
structing this amateur pan and tilt head, you first deter-
mine what available materials you have at hand and then
conform your subsequent construction as close as possible
to that as shawn in the crass-sectional diagram.
by
Louis A. Inserra
was bared large enough to admit the shaft anto which was
fastened a knurled knab.
The appasite end of the shaft was threaded ta fit a
small circular plug as shawn at A in Insert Na. 2. Insert
No. 2 illustrates the aid Edison pickup head permanently
secured inta a correspanding brass upright by the bait C.
Bolt C also permanently secures plug A. This campletes
the assembly of the uprights and fixed portions of the tilt
assembly.
The revalving parts of the tilt mechanism cansist of
the cap of a phonograph needle well K bolted to the phono-
graph pickup. K fits snugly aver the flange af J, thereby
affording a perfect revolving friction movement. The top
plate assembly was baited onto these two parts, as shawn
at lead filling X.The tap plate N was cut and shaped from
an old aluminum frying pan. This was bolted to the clock
base A in which a section was removed to admit the knurled
knab O. The diagram clearly illustrates all af the above
assembly.
the geysers, the bears, and the other things saw. I'm tell- I
U NTIL Gus brought outhis projector, hod been was one. Therefore, to tell it properly, he should have let
having a thoroughly enjoyable evening. Gus and
I
I
his camera show us Hawaii —
poking its lens into all the
unique beauty-spots, and showing us, not the tourists (who
are good friends; and he had been telling me
about his vacation in Honolulu, which is a place I've always ore the same everywhere), but the Hawaiians: how they
wanted to visit. Even when he threaded up the film, still I
live, and dress, and dance; how they eat poi and raw fish
had some hopes, for if all he had been telling me was true, and ride surfboards. He can film his wife and the rest of
he had a chance for some marvellous shots. the tourists at home; he simply can't avoid making a
if
As the projector started to hum, Gus began his mono- few shots of these pests while he is vacationing, he can at
logue: "Here we are leaving port —
that's Tillie, Uncle Ezra least have enough respect for good cine-narration to cut
them from the reel before showing it to anybody.
is justbehind the lifeboat, and Aunt Maggie is just out
of the picture . That's a little girl we met on the
. .
—
Now since Gus and his films are both imaginary
boat; she's awfully cute, even if she doesn't look it let's suppose he and his camera went on a fishing trip
This is Honolulu —
I'm afraid panned rather fast on that,
I
. . .
Kilauea Yes, that's Tillie beside the car, and the other portant as what he did. If you were to ask him questions
two are some school-teachers that we met in the hotel. I
Continued on Page 366
J
WHEELS
OF INDUSTRY
of photographic possibilities resulting Light entering the meter is restricted
from the use of super-sensitive film and to that within the usual lens angle by
high-speed lenses, using such settings as means of a new type of cell window of
F 2 and 1/10 second, is matched by the glass in the form of multiple lenses, o
New Lights of the new instrument. method which transmits a considerably
light-sensitivity
• Bell & Howell Company has assumed However, it is said to be more compact greater proportion of the light than is
exclusive photographic market distribu- and more simple to operate than those possible with the baffles previously
tion of the Aplonotic Reflectors for pho- previously available. standard for this purpose.
toflood bulbs which ore manufactured A feature of the meter is the rede- The photo-electric cell used in the
in Los Angeles and used extensively in signed light-value indicator, which ac- new meter is of the same "dry plate"
the Hollywood studios. The reflectors commodates on a single scale a range type first adapted to the photographic
distributed by Bell & Howell are small, of brightness values in which the max- exposure problem by the Weston or-
compact duplicates of the big studio re- imum indication is 4000 times the mini- ganization. The increased sensitivity of
flectors and comprise a complete line mum. This is accomplished without sac- the instrument has been obtained with-
of the sizes and types best suited to rifice of legibility by spocing out the di- out sacrifice of permanent electrical
ornaleur movie making and still pho- visions at the lower end of the scale characteristics, according to the manu-
tography. where exposure determination is most facturers, and the reaction of the cell
The mirror-like chromium surface of critical. The movement of the needle to light of various wave lengths is such
the Aplanatic Reflectors consists of over the scale is of sufficient magnitude that exposure data for color photography
many facets, each of which reflects the so that it need not be held close to the is accurately indicated.
lamp's filament, with full intensity, to- eye.
ward the subject. The degree of con- Universal application of the meter to
Prices Reduced
rentration or spreading of the light beam all types of still and motion picture cam-
may be contiolled by moving the reflec- eras provided by means of on open-
is
© It is announced by Victor Animato-
tor backward or forward on a sleeve en- face reference dial including aperture graph Corporation, that the following
casing the lamp socket. settings from F .5 to F 32, shutter
1
projector price reductions will become
Reflector bowls 5 ’/z inches and 7 ’/z speeds from 1/1000 second to 100 sec- effective onAugust 1, 1935.
inches in diameter have wire clamps in- onds, and a range of film speeds from 1
Victor Model 10 Regular (500-watt),
side the bowl which slip over a lamp to (Weston rating). Simplified ar-
64’ which previously listed ot $149.50 with
bulb in existing home fixtures. These rangement of the new dial gives a more No. 9 carrying case, will be reduced to
ore called Snap-on Reflectors. rapid and convenient indication of "nor- $132.50 complete with No. 8 Elite cen-
There are Hand-Clamp Reflectors in mal" exposure. However, a complete in- ter-opening case.
three sizes —
IVz inches, 8 '/z inches, and dication of the film-density range avail- Victor Model 20 Super-HiPower (750-
12 inches. A powerful, rubber-covered, able any particular photograph is
for watt) which heretofore listed at $187.-
spring hand clamp holds the reflector also shown at a glance, so thot the pho- 50 with No. 8 case, will be reduced to
firmly to a chair back, table edge, or tographer who wishes to depart from $148.00 with No. 8 case.
window sill. A ball-and-socket joint be- "normal exposure" to meet exceptional These reductions have been attributed
tween clamp and reflector permits the light conditions or to distort tone values to a tremendous increase in demand
lights to be directed as desired. which has made possible to effect
for artistic effect has all the information it
The three reflectors listed above may required. substantial reduction in production costs.
be had with folding stand rather than Continued on Page 364
hand clamp. Stands for accommodating
one and two reflectors are offered.
n't been spoiled by too much contact son, who was one of the most skillful of
\^^WchTalk / with men. The animals (and birds, too) silent-picture directors, is officially the
simply don't know what fear means; we Film Editor. He can keep his heart stony
can walk right among them, and make where I, who filmed the scenes, couldn't!
pictures to our heart's content. If we After we feel the picture is completed,
get too close, they simply move a foot it n'ust still pass inspection by a jury of
or so to let us by! As a result, I make the expedition's scientific experts.
most close-ups of the seals, sea ele- "As a rule, our films are first shown
phants, and so on, with a 15mm wide with only well-made main titles, for
angle lens. Even far the most difficult they are shown with a lecture in which
shots, such as scenes of seals or sea the speaker explains things as the film
elephants fighting in the water, have I progresses. This not only gives us the
never used a telephoto lens; have a I assurance that the films will be properly
nice collection of them, but the longest presented, but also gives us a more inti-
I have ever had to use is a simple 2". mate understanding of how audiences
I don't believe in tele-lenses for this react, and what explanation they want
work, anyhow; they make you use a tri- "In building our programs, which are
pod, sacrifice depth of focus, and restrict presented without charge, we try to
yau in a dozen ways you can't put up make them both entertoining and in-
with if you want the best pictures. structive. Wherever possible, the Han-
"As to film, we use regular reversal cock Expedition films are presented with
film, and when we want prints, we have the Velero Ensemble, a musical organ-
a cuplicate negative made, and print ization composed of Captain G. Allan
from that. The latitude of reversal stock, Hancock, as leader and 'cellist; John
combined with the marvellous control Gorth, pianist and entomologist; Arthur
the better laboratories have in their pro- Jensen, violinist and collector; Sterling
16MM SOUND-ON-FILM cessing, have proven invaluable to me, Smith, flutist and collector. They present
PROJECTORS for many af my most important scenes forty-five minutes of classical and semi-
Here
stood and
SOUND PROJECTION
SOUND ADVICE
is
is
fully under-
yours for the
have necessarily been made under the
most unfavorable light conditions. Often
classical music —
ensembles, solos, duets
asking. Your old apparatus taken in ex- and trios. After this comes forty-five
change at best appraisals. I'll catch a shot I've been trying to get minutes of pictures; three or four differ-
AMPRO SOUND includes the new RCA
amplifier, 15 watt, inertia balancer, 750
for three or four years — a shot that ent subjects, usually arranged on a single
m.ust be made in one special way, or else 2,000-foot reel. In this way, we provide
watt, powerful, clear, complete at $650.00
BELL & HOWELL FIMOSOUND — Several, be worthless — under conditions where a really well-balanced programme that
models, splendid tone, exquisite construc- only the finest of film and the best of
tion, complete ready to use, priced from
doesn't try to force information down
- $700.00 processing can turn the scale from fail- the audience's throat.
DEVRY 16mm SOUND-ON-FILfd Power- — ure to success. "Completely titled prints of most of
ful, brilliant. A thoroughly professional "When it comes to editing the film, our films are also available to schools
outfit. Complete
RCA New Model Ml -891 with its
$525.00
750 watt
we have to be very careful —and merci- and educational institutions for the bare
bulb, exquisite fidelity of tone. The most less. Each of our pictures has a definite cost of printing. The only proviso at-
compact instrument made. Price complete story to tell: the capture of a sea ele-
with amplifier - $500.00 tached to this by Captain Hancock is
VICTOR ANIMATOCRAPH MODEL 24B phant; birds which cannot fly; snake- that such prints must not be exploited
A powerful full tone instrument with 750 headed lizards; catching the huge 'sea commercially."
watt bulb, complete with all the Victor
with devil,' or manta ray; the birth and edu-
features, amplifier, ready to use. When Swett showed me some of his
Price $540.00 cation of a seal. Each must tell its whole
had no trouble at all in under-
HOLMES 16mm SOUND-ON-FILM
ually fine mechanism, no claws, remarkable
— U nus- story in one reel —
400 feet. It must
films, I
BASS
I
• • • •
esT foults of most travel and semi-edu- phases. There was, incidentally, not a
cational films, whether professional or single human shown in the entire reel
CAMERA COMPANY amateur. It's quite understandable, too: yet one was never for a moment con-
179 W.Madison St..Chicago if you've photographed the picture, it's scious of their absence, or bored by being
aw.'ully tempting to include shots that "taught something about seals." An-
Camera Headquarters for Tourists are actually unimportant, simply because other reel, showing the capture of a
they are your pictorial pets, or because two-ton sea elephant, contained some of
CINE-KODAK Special
C INE-KODAK
host
tains a
SPECIAL, as supplied, con-
of exclusive and unique pic-
ture-making refinements that stamp it as the
unchallenged leader of the 16 mm. field.
To list hut a few; Ground-glass focvxsing
with all focal length lenses, adjustahle-open-
ing shutter, reverse take-up, mask slot be-
tween lens and film, revolving lens turret, in-
terehangeahle 100- and 200-foot film cham-
hers, speed control dial offering a choice of
taking speeds from 8 to 64 frames per second,
single frame release button, one- and eight-
frame hand cranks.
Surely, here is a camera coupling a wide range of stu-
dio effects with 16 mm. economy. Yet, so many and
varied are the fields which have enlisted the aid of the
“Special,” that the instrument shop in which it is
fabricated has introdueed several new accessories to
even further widen its usefulness.
Some of these are show n and described below. Others,
highly specialized, do not warrant adoption as
standard aecessories. Rest assured, however, that
either the basic model or an adaptation w ill per-
form any task of picture making w ithin the scope
of 16 mm. cinematography. \ou are invited to
submit speeifications.
— AA lATERESTIAG ROOKLET
Generous in eopiously illustrated, a copy of “Presenting
size,
C.ine-Kodak Special” is yours upon request. rite to Eastman
Kodak Company, Rochester, IN. \.
A NEW ADDITION the most thrilling shots imaginable "Don't you ever make intimate shots
TO
magnificent close shots of a bottle-royal of the members of the party at play?"
FOTOSHOP CINE FILM between two of the beasts. In this film, I asked.
8 of course, the human element was evi-
dent; but although the human cast in- "Of course," was the reply. "But we
ULTRA RAPID
PANCHROMATIC 16mm FILM cluded scientists of world-wide renown, cut them out and make a separate reel
not a single scene called attention to for our personal pleasure. We may mat-
$4.25 100 ft.
them as personalities. Animate instru- ter to ourselves; but audiences at large
We
all
guarantee this film as fast under
conditions and as fine-grained as
ments in the capture of the sea-giant, —what do they care about who we are,
any supersensitive 16mm film now be- yes; but as conscious actors, never. orwhat we look like? All that matters is
ing sold.
There was not one close-up! what we do!"
OTHER FILMS as low as $2.19 100 ft.
All prices include processing.
Send For ’Circular.
Positive $ 3.00 mattes by animation. Ordinary 16mm made wipes, had this problem:
I In
lOO-ft. Pos. from 16mm Neg 2.25
^OO-ft. Comedies 10.00
cameras can often be oersuaded to ex- scene 1the movement of the people
,
Let us make copies from your precious pose only one or two frames at a time; was from left to right; in scene 2, the
films before they are ruined in projec-
tion. We make and insert titles. so if you have a very light touch on movement was from right to left. If I
the trigger, you may find it possible to made a straight wipe, these movements
CINEQUE LABORATORIES
123 West 64th
make some of these mattes even with- would conflict. How was the transition
St. New York, N. Y.
out a regular single-picture movement. to be made pleasing? I did it by ani-
First of all is the disc effect. This mating a straight push-off wipe from
most easily done if the title-board can
is
left to right —
but only up to the middle
be stood on end, so that the card is level. of the frame. Then revolved the matte
I
Take a number of black cardboard discs, front (by animation) around the center
and, when you have made the required of the frame —
and finished the wipe
footage of the white card, stop the cam- from right to left.
era, and drop one of the discs in. Take In Mae West's "Belle of the 90's," I
a few more frames, stop again, and drop used a rotary wipe to go from a close-
another disc in —
and so on until the shot of a riverboat's paddle-wheel to the
next sequence. Again, the matte was
entire field is blanked out by the over-
Morgan Camera Shop lapping discs. Don't bother to put the made by animation. Four dark bars
discs in regular order: half the charm of animated in, radiating from the center
Fine Crain Developing with Supersoup
on all miniature film. this effect is through the irregular ap- of the frame. These were progressively
pearance of the discs, scattered all over animated larger and larger, until the
Try our Mail Service
the field. You can do the same thing scene was wiped off. At the same time,
Wrife for Morgan Camera News the bars revolved clockwise around the
with cut-out musical notes, or any sort
6305 Sunset Blvd., Hollywood, Calit. of cut-out shape that fits the picture. center of the frame. This was done by
revolving the entire card around as the
Another stop-motion matte is the
veneticn-blind effect. This is made by
bars animated. To simplify the job, you
BOOK of TITLES — 50 Cents
O
beginning with half-a-dozen or more
could mark calibrations for the anima-
1052 captions written by professionals. tion of the bars, just outside of the cam-
Humor and
A
wit tor your old scenes.
wealth of suggestions tor your new
block lines across the white frame.
After two or three frames, the camera
era-field, and —
with the whole layout
done on a large disc, you could mark
films. is stopped, and the lines widened a bit.
« calibrations for revolving the whole.
Full length 16mm titles....! 8 cents each As the lines grow wider and wider, scene
your dealer does not carry the book, The two sets of calibrations need not be
It
« 2 will spread itself into the picture ex-
write the same, so that the two movements
actly as though you were looking through
CINEQUE LABORATORIES e the turning of the wipe, and the growth
123 West 64th St. New York, N. Y.
a shutter that was being opened.
'Peculiar Penguins"
I
—
mistake, you won't hove to do all the if you remember that normally the black
Beaded Screen De
bAITf-LITt
Luxe “A” 30x40" mUVISION
$1 5.00 List. Other portable projection
screens
WHEELS OF INDUSTRY
sizes in proportion.
Continued from Page 359
526 West 26th Street New York ten cents more than the minimum price;
fine technical quality in filming.
Specimen "Junior" titles or a com- Common-Sense Filtering
1
projection. believed that the greater eye-appeal and a slight darkening; the blue will be vir-
in
compact, measuring only 8’/2"xl3'/4"- To lighten red and make blue very
xl 6'/4", it is equipped with 600-ft. reel 1
much darker, we use a red filter.
16 mn. PRIXTEII 16 mm arms. When the
capacity is
full
utilized, a one-hour presentation may
film To
use a green
lighten green
filter.
and darken red, we
Professional Type for
SOUND and PICTURE be made without stopping to change In other words, the filter lightens its
A continuous printer —
Perfect Con- film. Smaller reels may be used if de- own color, and darkens its complemen-
tact —
steady, Semi-Automatic light tary colors, and the degree of effect is in
—
change motor driven.
sired.
ratio to the darker or lighter tint of the
Model A $295
Model B.- $175 filter-color.
16mm Light Testing Machine to de- The majority of filters sold for ama-
termine Printing Light intensity $145
teur use are yellow ones. Too many of
Fried Camera Co, them are designated simply by the mul-
6156 Santa Monica Blvd.,
used determine
I
Visual Instructian Supply Corp. The principal red filters are the Wrat- I
1757 Broadway Brooklyn, N. Y. ten 23A, A No. 25, and F No. 29. Sev-
eral of the leading makers of amateur
August 1935 • American Cinematographer 365
TON
mversai tposure eier
FOR INDOOR AND OUTDOOR USE! 7M
Dependable huilt hy
. . eston, the world’s largest
.
as being blue —
but often, especially in Seventh Avenue, New York City; Cable
Cinecamera.
l%"x2i^".
matographer.
Box 248, c/o American Cine-
pack-mule? Who went with him? Did be sure that the people around your lens way you can tell the story of the poi and:
he know where to go, or did a guide go are going to act reasonably natural in raw-fish eating episodes is in close-ups.
with him? the scene, by all means don't waste film But untrained actors almost always grow
You can answer every one of those on them. nervous when a camera is brought suffi-
questions in film. Done properly, the But in the films where people are ciently close for a revealing close-up,.
answer will not only be interesting to really necessary — give them something This is a problem for the telephoto lens;:
your friends and to fishermen in general,
but to the same audiences who snoozed
to
reason
do! Nine times out of ten, the
folks are foolish in front of a
snap a 2" —
or even a 3" into place,, —
and you can make your close-ups from
through your last vacation epic. movie - camera is because they don't an un-terrifying distance. Try it.
Amateur
Movie Contest
I'he annual American Cinematojirapher Amateur Movie Contest
will close this year on Novemher 30. That is, all entries must be in
$150.00.
It isn’t too late to start your picture now if you haven’t already
done so. If can be in as many reels as you wish, it can be either 16mm
or 8mm. Write for more information and Entry Blank.
CONTEST EDITOR
AMERICAN CINEMATOGRAPHER
6331 Hollywood Boulevard Hollywood, California
London Prefers Mitchells