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by
American Society
of Cinematographers
iV
PROGRESS -SPEED WITH SAFETY
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AMERICAN
CINEMATOGRAPHER
A Technical and Educational publication
of motion picture photography.
What to Read
CINEMATOGRAPHERS
Mourn Thalberg 413
JUST WHAT Is So Mysterious
About Color? 414
CAMERAMEN Pay
The Staff
Tribute to Blackburn 415
MY CAMERA Mileage Is EDITOR
Upwards of 500,000 Miles Charles J. VerHalen
By James B. Shackleford, A.S.C 416
TECHNICAL EDITOR
MATCHING Technicolor Emery Huse, A. S. C.
Exteriors with Artificial Light
ASSOCIATES
By Howard Green 418
Karl Hale
A. S. C. MEMBERS ADVISORY
EDITORIAL BOARD
On Parade 420
Victor Milner, A. S. C.
James Van Trees, A. S. C.
Fred Jackman, A. S. C.
S.
C.
C.
Dr. J. S. Watson, A. S. C.
• When the motion picture an-
industry Dr. L. A. Jones, A. S. C.
nounced that all studios and interests would Dr. C. E. K. Mees, A. S. C.
pool their Process Patents it created quite a Dr. W. B. Rayton, A. S. C.
Dr. Herbert Meyer, A.
stir in the Hollywood Technical Circles. We S. C.
Dr. V. B. Sease, A. S. G.
have dug into the details of this move and
next month will present it to you in an in-
teresting and authentic article.
FOREIGN REPRESENTATIVES
• New things
popping up constantly in
are Georges Benoit, 100 Allee Franklin,
the motion picture industry. We will tell you Pavillions-sous-Bois. Seine, France. Tele-
of them next month. We will also have ar- phone LeRaincy 13-19.
ticles about some of the leading men behind
the cameras. NEW YORK REPRESENTATIVE
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-
bers, 30c. Foreign single copies, 35c; back numbers, is responsible for statements made by au-
40c. COPYRIGHT 1936 by American Society of thors. This magazine will not be resporvsible
Cinematographers, Inc. for unsolicited manuscripts.
YOSEMITE NATIONAL PARK
HONORARY MEMBERS
Mr. Albert S. Howell
Mr. Edward O. Blackburn
Mr. George A. Mitchell
MEMBERSHIP COMMITTEE
George Folsey Dan Clark
Alfred Gilks
ENTERTAINMENT COMMITTEE
Elmer Dyer Frank B. Good
Charles 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, Farciot Edouart,
Emery Huse
GENERAL COUNSEL
Arthur C. Webb
412 American Cinematographer • October, 1936
scenes
titUng
'
FOR
AN EYEMO
VERSATILITY
If you have watched the Eyemo in use only convert it to a compact, portable, hand
on location, expedition, or newsreel work, camera. A host of accessories and adapta-
get acquainted with its many other uses. tions enable it to do professional work of
This multi-purpose camera is at home in every kind.
the studio, where you may equip it with Send for the Eyemo catalog, which
sound track mask, electric motor drive, gives complete information on regular
—
and external magazines or you can quickly and special purpose Eyemos.
emulsions, each one with the complete color correction that can only
be had through a formula which brings the Blue and Red C Fraun- G
hofer lines to the focal plane. In the Taylor-Hobson Cooke Speed
Panchros and Panfos, Bell & Howell offers the finest possible correc-
tion for the highly panchromatic emulsions now universally used. For
full information on T-H Cooke F 2 Speed Panchros, the 2 V4 " F 1.3
Special Speed Panchro, the new F 2.8 Panfos, and the Cooke Varo lens
for "zoom” shots, see our new booklet. Mail the coupon for your copy.
Address
October, 1935 • American Cinematographer 413
41
414 American Cinematographer • October, 1936
H
is
picture making. Confidences are not necessarily bared but This estimate of maximum source light can be but a
routine items of mechanical procedure are debated and general approximation. Reflected light — light actually
features and short-comings ruthlessly
their relative merits,
exposed from unbiased working viewpoints.
falling on camera lens — is seemingly impossible to measure
accurately at present; manifestly, one can’t take a meter
For some reason totally unknown to us, but not difficult
reading from every square inch of the many colors on cast,
to surmise, makers of some color processes endeavor to
wardrobe, props and set, nor from all the characters as they
shroud their practices in thick walls of smoke-screen. The
move to various points on the stage during the scene.
presumption is that such technical processes are beyond ordi-
With exposure set for what is considered a safe average
nary human comprehension and can be entrusted only to re-
cently sprouted graduates of prescribed scientific reading
— determined from theoretical laboratory tests — it is only to
be expected that certain of the colors will "pop out" while
courses.
As a matter af cold fact, the basic premises of color pho- others, reflecting less average quota of light,
than their
tography have long been in public domain. Almost any cur- wash out. It's a very involved situation. The marvel is
rently practising Director of Photography could, if sufficient- that the color processes get as good results as they average
urged, bat out a color photograph or two in short order. in the face of their present stages of growth.
Indeed, results would be limited only by the limitations of Constant alertness is maintained to keep these cunning
the particular process employed. colorsfrom stealing scenes. An extra name is added to the
Which brings us to consideration of these limitations camera crew salary roll. He is a sort of color script-clerk
under actual production conditions. Almost any of the color who makes a complete list of all colors appearing in the
processes now offered are capable of turning out splendid scene and where. This goes to the laboratory which tries
laboratory samples. But haw do they stand up in the face
to match these specifications with film, making such cor-
of actual firing?
rections on the film as are needed. But printing down, or
Wediligently remained away from proprietors of the in-
up, to correct one color affects all the others and unbalances
dustry's newest infant, color. Parents are notoriously un-
the delicate color composition.
reliable witnesses as to the behaviorism of their own off-
spring. Likewise, nursemaids whose acceptance of weekly
How much of the total pictorial value of a scene is lost
in these laboratory jugglings, by light cut-offs of camera
wages implies a commendable and layal blindness to unbe-
coming conduct. Rather, we sought out the youngster's prisms and filters, and such, is difficult to say. One di-
playmates —
the other kids in the neighborhood, so to speak rector is quoted one process conveys to
to the effect that
•
— to find out their straight-seeing observations. In other the screen only about sixty percent of the scene's total
words, men experienced in practical studio production meth- passibilities. In other words, forty percent of the scene's
ods with nothing at all at stake. production effectiveness is lost between lens and screen.
These are the studio men who have tackled the jabs of The process isn't equal to its job.
producing the half dozen or so color features that have Focusing by eye is practically an impossibility. With one
gone through the mill in the last year or more. For obvious type of color camera, ane squints through a peep-hole in
reasons of policy they don't care to be directly quoted. But
the rear of the machine and attempts focus through the
they talk over their experiences with color in the mutually
back of the negative that registers the green. There are
helpful spirit of trying to make something of it.
various and sundry instruments, measurements and calibra-
Tribulations are many. All of them are laid before the
tions which according to arbitrary charts, scales and for-
door of peculiarities of the processes. What follows is
mulae should provide focus determinotion. Under ideal
fairly general consensus.
canditions, it works.
At the present stage of development, there appear to be
Scratched negative is an ever-present hazard. Minute
many still unknown qualities of colors in terms of photo-
particles from the bi-pack and other sources gather at the
graphic negative. Colors clash and fight among themselves.
gate and invade other camera areas. It is distracting,
Strong colors trample over weak colors. Light absorption
putting it mildly, and costly, for director and cast to repeat
and reflection characteristics fluctuate with compositian of
a perfect performance merely because negative acquired
pigment, texture of surface, intensity of light falling upon
scratches. If scratches are not noticed on the spot, retakes
them and the angle from which it falls.
are in order upon viewing rushes.
Colors perform strange tricks at most unexpected times
In California, sunlight from intensely blue skies is often
and for no apparent good reason. One may suddenly decide
highly polarized, falsely exaggerating the blue values on
to stand up and cheer, or roll over and play dead. And
film. Pola-screens have not been used with any degree ot
the perverse little devil usually does it at just the wrong
success.
time.
Faces of players frequently come up unnaturally and un-
It isreported from one dYector, "Despite our best efforts,
flatteringly shiny. This is traced not so much to the make-
colors will suddenly pop up and bark at you."
up technicians who dig heavily into their resources to rem-
Admittedly, it's a tough job trying to make these colors
On edy the situation, as to the excess light which throws off
behave. Light readings are taken from light sources.
a noticeable sheen.
a set, with light pouring in from three directions, readings
Scene-taking is reported to run at least twenty-five per--
are taken of all three and the two highest are averaged.
Exposure is set from this mean figure. Continued on page 424
October, 1936 • American Cinematographer 415
lndu*ir
+K» \J«vdoT*.< ^oUmviop
30.i^3(
fine friendships among cinematographers. A large por- dered as a true expression of the feelings of the camera-
tion of these friendships were born of some of the splen- men toward Blackburn.
did deeds performed by Blackburn for members of the This dinner will long live In the memories of the men
camera profession; deeds which started some of the who attended. They will ever recognize it as one of the
men on bigger careers, placed them in more advan- sincere things done in this kaleidoscopic industry. It will
tageous positions, gave them a firmer foothold in their be pointed to as a testimonial motivated from honest
chosen work. They were deeds that could be definitely hearts and to Blackburn, we believe, it will be the crown-
pointed to as bringing concrete results; actions that ing event of a life time that has witnessed much that has
evidenced not only fine business ability but that had been called great and that has attempted to glorify
mixed with it motives that emanated from the heart. others.
Many could not attend the dinner, either because That it was a surprise Is certain; that Blackburn sin-
they were on distant locations or studio work prevented. cerely felt it was undeserved was evident from his
These men, more than a hundred, sent telegrams and Continued on page 423
416 American Cinematographer « October, 1936
My Cdmera
ity, negative will not dry. If you ever outfit for a trip
into tropics, by all means provide for air conditianing.
We started out with sixty-five thousand feet of negative
stock and used every inch of it. We wished we had more.
A good maxim is to estimate generously the film you will
need — and then take alang twice as much.
Lloyd's, of London, have worked out a very satisfactory
insurance covering negative on such expeditions. It's on
a sliding scale, protecting the raw stock value and then,
for a progressive amount, the exposed negative. Fire
and shipwreck must always be counted as a possibility, even
though a remote one.
On the Athene, we made Honolulu, Japan, China, Indo-
China, Malay Penisula and many parts thereafter en
route to London. We made innumerable treks overland
to secluded districts. Many of these had never before
seen a motion picture camera. In every instance we sought
scenes typically illustrative of the region and its people.
And we had eye, as well, for what Hollywood terms
"production value." In Tokio, for example, we got street
scenes of great magnitude. In one of them, we made a
James B. Schackleford, A.S.C. truck shot extending for a half mile. Such shots can not be
duplicated on studio back lots.
In China, in a community it is better not to name, we
secured scenes that are utterly unbelievable. If any di-
It took me around the world and is my eighth major Twenty thousand human beings living in a single city
expedition with motion picture camera into far cor- block. At the right, a river solid with junks and sampans
ners of the globe capturing and bringing back on cellu- all densely populated. Here are families who have never
loid scenes and sights seldom viewed by film-going eyes. put foot on shore. Humans are born, are married, live
When Toy Garnett's much-publicized yacht sailed west- their life spans and die —
on these boats.
ward November,
last was with it. On July first, this year,
I
In center, a street possibly twenty feet wide, seething
I got back ta Hollywood after shooting sixty-five thousand with unwashed humanity. When we dollied along it, the
feet of background transparencies. It would cost any studio mass silently split and then flowed together in our wake,
a million dollars and more to build sets for what filmed; I as the sea fluids around a ship.
and another half-million to hire extras to take the place At the left, a sidewalk thronged with overflow from
of natives. the surging street. Families make their homes on this side-
Equipment for such an excursion is not elaborate but it walk, in areas about eight by ten feet in size; their sleep-
must be precisely prepared. We took four cameras; a mats rolled against the shuffling feet that pass.
Mitchell, two Eyemos and an Akeley. And four still cam- Then the shops, indescribably small and dark and filthy.
eras; a Graflex, a Leica, a pocket-size Kodak and an Above them, frame structures serving as tenements. Dis-
eight-by-ten view camera. ease. Utter poverty. Defilement, moral and physical.
In a cabin aboard ship, approximately eight feet square, Human wreckage. If there's a sanitation system, my nose
I built a developing laboratory and loading darkroom. I was fooling me.
had a machine developer of my own making which han- Scenes like that can't be made artificially. They just
dled eight hundred feet of negative per haur. Chemicals can't be staged.
were kept in storage tanks and circulated through develop- Back in Japan, you find a nation of photographers. Set
ing tanks by means of thermostatic control. Storage tanks up a camera in any public place and you ore inundated by
held thirty gallons of solution and were imbedded in me- a wave of serious technical questions. They are courteous
chanical refrigeration units. Developing tanks were of four and polite questions, but pester you nearly to distraction.
gallon capacity. The temperature control system worked Picture production in Japan is at high tide. I'm told
so well that solution was maintained within variance of they are turning out more than six hundred features this
one degree regardless of range of outside thermometer year. Their photography is good; so is their sound. They
readings. work in long scenes which to us seem dreary, but the
We sailed before completed installation of a most es- technique pleases native audiences. Where we have fifty
—
I
sential item of equipment for a tropical camera an air cuts, they will use a couple. saw one domestic produc-
I
conditioning unit. With one hundred and ten degrees of tion of twelve reels duration which had at least two reels
heat in the atmosphere, and one hundred percent humid- given over to one long trucking shot broken only occasion-
111
October, 1936 • American Cinematographer 417
Mileage is
possibilities.
Most of these countries have their own strict rules and
regulations governing activities of foreign cameramen.
There is censorship and innumerable forbidden subjects.
Egypt is very strict. Film exposed there must be developed
Upwards of there and sumbitted for censoring. Jails are waiting for
those who don't.
Generally speaking, if the visiting cinematographer ap-
proaches the proper officials in dignified manner and tells
you shoot a street scene and a fortified mountain six miles have little more difficulty getting shots in foreign lands
away happens to show faintly — or if they imagine it
I
Sunlight
by
Howard Green
^
MlKM
II
j rj0m
Prliii
|i
•
w If m
zona. But our star, Marlene Dietrich, required a very defi- o reflector. And with a spotlight, you can control the
nite style of lighting —
one which Josef von Sternberg,
for which
spread and the intensity of the beam with the greatest
precision —which is something you can't do with sunlight
A.S.C., devised years ago to enhance the glamour
Miss Dietrich is famous. And while this lighting is sim- and reflectors. Moreover, we found the artificial light far
artificial light, extremely difficult to easier on the actors' eyes than reflectors. Even the most
plicity itself using it is
achieve with the less controllable natural sunlight. experienced players don't particularly enjoy facing a battery
So it was decided to make only the longer shots on loca- and there are some who simply cannot be nat-
of reflectors,
ural when they have to look into a glaring reflector. But
tion, ond to moke all of the closer shots in the studio, by
artificial light. using the new Mole-Richardson arcs for "boosters," we
Notwithstanding all the fears of the rumor brigade, this found that though we were throwing considerably more
worked to perfection.Our lighting problems were much
' light into the shadows than would be necessary in black-
easier. Miss Dietrich's close-ups were eminently satisfac- and-white, none of the actors seemed to notice it at all.
tory. And on the screen, even we who photographed them In making "The Garden of Allah" we also hod several
opportunitiesfor pioneering in Technicolor night-effects.
can hardly find any difference in the visual quality of the
arc-lit close-ups and their companion sunlit long-shots. Some of them, we did in the daytime, with natural light and
Matching up these two lightings was surprisingly easy. filters, much as one would make a filtered night-effect in
When we made the exterior shots we followed Technicolor's black-and-white. Only, of course, insteod of using the
Continued on page 426
familiar policy of recording accurate photometric readings
October, 1936 • American Cinematographer 419
B u 1 1 e
he use of color in feature productions has, almost
A.S.C MEMBERS
ON PARADE
tioned in Cleveland, in charge of newsreeling for Paramount
London.
favorites? Besides, the truth of the matter is I've been so
conjunction with Cinecolor of Hollywood according to latest
darn busy keeping up with the conventions and candidates.
reports. Between his Manila and London interludes Paul
I've never been in one place long enough to register. Even
made a series of color shorts in India for the Franklin-Gran-
if did like one candidate or party better than the others,
I
ville exhibition.
I couldn't vote!"
• William Daniels, A.S.C., has found a new meaning to
the term "arm chair Cinematographer." Bill, laid up with • E. O. Blackburn, A. S. C., has been hospitalized in the
on infected foot, refuses to let a little thing like that Good Samaritan Hospital. But he'll be out soon.
keep him off the sets where he is photographing Garbo
He's directing the photography
• John Boyle, A. S. C., with Al Gilks, A. S C., present ad-
in M-G-M's "Camille."
dress London, has joined forces in trying to find some sun-
from a wheel-chair! And they do say the rushes look as
beautiful as ever.
shine. A few months ago John oirplaned to Egypt in search
of old Man Sol. Now he has Gilks in his entourage in
• Leo Tover, A.S.C., has returned from location at Santa search of the elusive Violet Rays. This time the duo ore
Cruz, where he was shooting Claudette Calbert in "Maid week-ending in Knocke, Belgium, in search of a bit of Cali-
of Salem" for Paramount. The crew camped five miles fornia Sunshine. To prove it here is their picture on this
from location while shooting, which made those five page, twin-cycling around for what they claim was
. . .
o'clock calls something unanimous when the honk horn in search of sunshine. Pay particular note of the nice little
blew. recch of their left thumb.
bells within Do they have fun
jingling along the board walk.
• Merritt Gerstead, A.S.C., is fishing at June Lake be-
tween pictures at Universal Studio. If his story is good,
Below you have John “Sunshine” Boyle and Al
we'llpublish it next month but . . . it must be good. “Sunkist” Gilks, formerly of Hollywood, now of
London
• James VanTrees, A.S.C., and Lucien Andriot, A.S.C. , are
both shooting at the 20th Century-Fox lot.
SUPER X STARS
Hollywood.)
EASTMAN SUPER X
PANCHKOMATIC NEGATIAE
422 American Cinematographer • October, 1936
of Canady Sound on Film less wire-pulling, but scenes inevit- color,in atmosphere; it is only a sub-
ably find their way into the camera. stitute,however well done.
Recording Equipment Nor is the work devoid of thrills and Audiences ore Hollywood-wise. They
memorable experiences. A few years admire sets, but in tongue-in-cheek
back I was in the Gebi Desert with Roy reservation, for they recognize the stag-
Chapman Andrews on on expedition in ing. There can be no compromise with
behalf of the American Museum of Nat- reality.
est land mammal yet uncovered. He was its educational content, if you
will will
RESONANT filter. Dynamically backward, a pyramid reared its angu- sembled picture for release.
balanced driving motor. Im- lar peak. just happened to look at
I If cameramen ore to bring back
proved recording lamp holder. the ground at my feet. There, in loose workable transparencies, they must work
Positive door lock. Heavy alum- sand, saw pieces of flint that had been
I from script that is not being revamped
inum base — no vibration. SILENT worked
search.
on. Curious, extended my
Within two or three hours
I
I
during their absence. They must know
exactly what is wanted and how the
in operation. Beautifully finished
hod picked up fifty ancient flint arrow- scenes are to be used. Most disastrous
in black crackle enamel.
heads, tools and implements. Archeol- experiences of the post con be laid at
ogists soy they dote back fifty thousand the door, not of the cameramen, but of
years before building of the Pyramids. vacillating studio story policies.
Recording Amplifiers. These, os are the Gobi Desert discov- Cameras shot scenes for one story.
Re-Recorders (film-phonographs). eries, are in the American Museum of When they returned, an entirely dif-
Natural History, in New York. ferent treatment of the story was in
Canady Improved Recording
Lamps. (Patented). I am sadly aware that o number of work. Worth of transparencies should
studio efforts to acquire useful back- not, in oil fairness, be damned on this
Noise Reduction Equipment.
ground transparencies might be labeled score.
(Pat. Pend.)
museum pieces, also. 1 look o wider adoption of this
for
35mm. and 16mm. Recorders for It is painful think of, and need-
to method handling foreign settings
of
Portable and Studio use. enumerate, the costly junkets
less to among producers of important pictures.
Special Equipment designed and which traveled for and brought bock o It requires only o degree more of
built. hundred thousand feet of film of which thoughtful planning, of non-fluctuating
Some territory available.
still possibly one hundred found its way in- stories, of producer confidence in dis-
Write or coble to to the picture as ultimately edited. tant units.
From so sorrowful experiences many American audiences hove seen just
studio production heads ore loath to at- oil the available locations and the
Canady Sound Appliance tempt foreign background scenes, gamb-
about
imaginative creations of set builders.
on set construction which under
Company ling is
Foreign settings done in transparencies
direct eye and control. open an entirely new book of story fram-
19570 South Sagamore Road But this last trip has convinced me, ing. In my little black book hove I
Cleveland, Ohio, U.S.A. and the film itself is conclusive evi- hundreds of locations, in every corner
dence, that properly mode transparen- of the globe, prodigious with
that are
ETRANGER. PROFESSIONNELS—
AM ATEU RS— C N EASTES I
cies con not be equalled. They ore real, new pictorial possibilities and strange, —
convincing, authentic, abundant in liv- breath-taking sights.
Nous odresserons gracieusement
ing detail and true expression of native There is the island know that is in-
tous renseignements que vous I
of bipock,
free
and from the optical aberra-
1 —
— Filter sliding mechanism
Cdmeramen Pay Tribute to 6 baby spot lights
tions of the various reduced-image single 1 — Frame optical glass
Blackburn film processes. The print therefore
1 Stopmotor device with DC motor
and automatic clutch photograph-
Continued from page 415 should be better, regardless of how it is ing three color separation frames
2 Bell Gr Howell 430 ft. magazines
mode. With the print made on single-
rem.arks; but such always the viewpoint
is
coated positive stock, as it is, it, too is F.O.B. New York
of a big man, of a man who gives not
to receive, but to help; and who feels
measurably superior. onVV $2000 Complete
In addition, due to the control of Stand alone without B. & H.
and thinks that is his every day work. color-balance possible in the camera, the camera, lens and magazines..$1200
But Blackburn has given in greater meas- Photographs on request
color-balance in the print is more con-
ure than many; given more than cir- sistently normal, and requires less man- Motion Picture Camera Supply, Inc.
cumstances called for and assisted when ipulation in the printing. Due also to 723 Seventh Ave. New York City
it was really not his concern. It was this this control, and in a measure also to
creed of Blackburn's that makes him be-
lieve that such a testimonial was un-
warranted. UARIABLE AREA RECORDERS
PATOn’ NO. IHSSi*. OTHERS ftNOINC
As a lasting memory a diamond stud- FEARLESS CAMERA CO. 3S mm
ALSO
to 16 mm
ded watch was given to him by the men. Velocilator Camera Dollies, Camera REDUCTION SOUND PRINTER
The presentation was made by Hal
Mohr. Blackburn treasures this token
Blimps, Camera Motors, and com-
plete camera accessories and equip-
ment.
K SOUND EQUIPMENT
1
^^ CaMe address CRSCO
above all his worldly possessions. 8572 Santa Monica, Hollywood, Cal.
Eastern Representative, Motion Picture CR. SKINNER MFC. Co.
2M TURK STREET. PHONE OROWAV MM
Camera Supply Co., 723 7th Ave. N.Y.C.
San Francisco. California U. S. A.
is
everything
the colors used in printing, a markedly ducer has been exactly that of black-
greater range of color is obtainable, in and-white, except for the very slight cost
Fully Guaranteed some instances approaching a three-color of the extra negative film and its de-
result. velopment. And in the black-and-white
USED 35mm EQUIPMENT print made from the red-filter negative,
The cost of filming a production in
the producer has in every way a good,
this processis scarcely greater than that
•
Mitchell, Bell & Howell, Akeley,
of black-and-white —
and the element of
commercial black-and-white print of his
production. If he wishes to, he can have
chance has been wholly eliminated. The made
black-and-white release prints
DeBrie, Universal, Pathe Cameras. color-camera and its accessories are
from th's negative, and release his pic-
Portable Sound Recording Outfits. available at identically the same rental
ture in black-and-white without loss of
Eymo ond De Vry Spring Driven charges that are standard for black-and-
photographic quality, or added cost in
Cameras. white equipment. The camera work may
comparison to a normal black-and-white
safely be entrusted to any competent
Holmes Projectors, Sound and Si- picture.
Cinematographer as long as he ap-
lent. If, on the other hand, he wants to re-
proaches the task intelligently; certain
DeVry Suit Cose Model Projectors. lease his picture in color, the second
Cinematographers, including Ray Fern-
(blue-filter) negative can be cut, and the
We buy, sell and rent strom, A.S.C., and others, who have fa-
picture printed
in color. Due to the
anything Photographic. miliarized themselves with the process
and the operation of the equipment, are printing methods used, this is very eco-
• available at their prevailing salaries if
nomical. The positive stock used is
standard Eastman positive, and may be
the customer has no other preference.
Ca mera Supply Co.^ Ltd.
Thus the actual cost of shooting does
obtained on the open market at standard
1515 Na. Cahuenga Blvd. prices. The cost of making the color
not differ from that of black-and-white.
print is as low as can be found any-
Hallywood, Calif. The negative used at present is stand-
where.
Cable Address: CAMERAS ard Eastman Super-X Panchromatic. This
Therefore, the producer has a variety
may be bought on the open market;
of alternatives. He can make color-
twice as much negative is of course nec-
prints for the key runs of his picture,
essary for the color-filming.
with the rest of the releases in standard
This negative may be developed by any black-and-white, using the color where
reputable black-and-white laboratory. the returns will be greatest, and insuring
In fact, the Dunning laboratory does not himself with a good black-and-white
handle negative developing; on our own product elsewhere. He can make his
productions, the negative thus for has domestic releose entirely in color, send-
gone through the regular processing of ing a lavender of the red negative
the International Cinema Laboratory. abroad, for black-and-white printing for
Thus negative development, aside from the foreign releases. Or he can,
the extra footage involved, is on exactly
through the Humphries Laboratory in
the same basis as monochrome. London, a Dunning licensee, make all or
The rush-prints are generally printed port of his foreign releases in color. The
FRIED 35MM black-and-white, from the red-filter
in same system incidentally, will benefit
i.KpIit negative. This gives a print of abso- the foreign producer, as the second Dun-
In use by Hollywood Laboratories. lutely normal cost and quality. ningcolor camera is now in use at the
Price Complete $625.00 Up to this point, the cost to the pro- Humphries plant in England.
Fried Camera Ca»
6154 Santa Monica Blvd.
Hollywood, Calif.
/
cent slower than prevailing schedules. as Son Francisco, in all probability,
'
This exclusive of re-takes and despite simply couldn't be made by any current-
Used in Every Major Studio.
Illustrated Literature on request. the feverish speed camera crews are ly offered color process.
MOVIOLA CO. forced to work. The extra time is taken Studios are shooting color pictures
1451 Cordon St. Hollywood, Calif. up in light measurements, application outdoors as much as possible to avoid
of strange registering instruments, re- heart-stopping electric bills. Most of
threading of comeras, re-carboning ot Warner Bros.' "God's Country and the
lamps, tests, inspection of film for Woman" color shooting was done on an
Recording Machinery scratches, and what seems to be a mis- outdoor stage on their back lot. During
cellaneous puttering in abstracts. "Ramona," a scrim measuring some
llollywoofi^loiion l*ieture
Background transparencies are not eighty by one hundred feet was stretched
Equipiiiont
now usable because of inadequate light- over a stage. Plenty of fun was had by
645 Martel Ave. Cable Artreeves
ing. Apparent'y, miniatures are an im- all when breezes blew, as early-day pro-
Hollywood, California
possibility. Nothing smaller than a 35 ducers can easily imagine.
mm lens will fit into the camera. The Generally speaking, opinion is ex-
wide-angle 24mm and 25mm lenses re- pressed that if the color enthusiasts
SAC II I F
Variable area single system sound cam-
I c f: quired for given types of work can't be
employed. Nor are high-speed cameras
would turn over
practical
their processes intact to
production men, they
studio
era complete
condition.
all —
accessories
Write, wire
perfect
or
—
cable for
generally available. In making "The m'ght be able to iron out the kinks from
Trail the Lonesome Pine," Walter
of a practical angle and develop color's
prices and particulars.
Wanger had actually to blow up a bridge commercial application. It is pointed
Motion Picture Camera Supply, Inc.
and a steam shovel to include this item out that budding young scientists fresh
723 Seventh Ave., New York City
of business in his picture. Pictures such from campus lecture halls may know
October, 1936 • American Cinematographer 425
ll-l-ARC LIGHTING
MOI.E-niCIIABDSOX, luc.
fill No. Svcaiiiore Avenue
Hollywood, Calif.
Motion Picture Bombay
Lighting and Mole-Richardson, Radio Co. H. Nassibian
Equipment Co. (England), Ltd., Bombay, Cairo,
New York London India Egypt
426 American Cinematographer • October, 1936
J. E. BRULATOUR, Inc.
f i:
a.
There’s a difference in the scientific design and precision
/
—
construction of a Filmo a difference reflected in better pic-
tures and in constant, lasting dependability. There’s a differ-
ence in sharpness and in color correction when a Filmo’s
Taylor-Hobson lens takes your color movies. When you
buy, get this extra quality, this extra value. See Filmo first!
—
lens fastest offered in any amateur camera
fully corrected for color and all other aberrations
and interchangeable with telephoto lenses.
Price, $117.50. With F 2.7 lens, only $72.50.
OCTOBER
AGFA’S SPARKLING NEW FILM
GIVES ADDED SNAP AND BRILLIANCE!
GFA announces a brand new, brilliant tion of two important characteristics You’ll want to start using it at once. So
novie film . . . just made to order for out- speed plus brilliance. In speed Hypan is ask your dealer today for Agfa l6mm.
loor shooting during fall and winter but slightly slower than the ultra-fast Hypan Reversible Film. It is available in
(lonths! Agfa Superpan. Yet its balanced grada- lOO-foot rolls at $6.00, and in 50-foot
tion gives you sparkling screen results rolls at $3.25, including processing and
t’s Agfa l6mm. Hypan Reversible Film,
with added luster, snap and brilliance. return postage.
tnd the first time you use it, you’ll won-
High speed, increased contrast, fine
ler how you ever got along without it!
/
grain and wide latitude make this new
IT’S FAST YET BRILLIANT fully panchromatic Hypan the outstand-
nto this film Agfa has built a combina- ing 1 6mm. film for general outdoor use.
I
October, 1936 • American Cinematographer 431
AMATEUR
MOVIE
SECTION
Contents . . .
NEWSREEL Cameramen
In War Ridden Spain
By Arthur Menken 435
CINEFILMING Movement
CINEMATOGRAPHERS the Right Way
438
By Walter Blanchard
HERE'S How
By A.S.C. Members 439
BOARD OF REVIEW
NEW Agfa 16mm Film 440
John Arnold, President, A.S.C., Executive Direc-
tor of Photography, M.G.M. Studios
Studios
• If things come through in time, we will
give you another news reel scoop. You have
Dan Clark, A.S.C., Director of Photography, enjoyed the stories coming from the Para-
"Country Doctor," 20th Century-Fox mount newsmen, if your mail isany indication.
We'll give you more.
Newsreeling
the
Olympic Games
by
Lewis Buddy, Jr.
Manager, Paris Office — Paramount News
cameramen were permitted to operate in Germany which and the twice-weekly plane service to the Orient carried
is usual and was not a restriction instituted for the Games. the latest news in pictures to the Orient by way of Indo
Oddly enough it is difficult to inculcate into the minds of China, Hong Kong and Yokahama. A staff of assistants
those in power that a French, and English or an American was sent from the Paramount News offices in Paris and
camera reporter should have as much right to report the London especially for this one job.
Games as the English, French and American newspaper re- The camera crew of Paramount News, headed by Bruno
porters. Stindt, veteran of many years of headline hunting, numbered
All cameramen were obliged to wear a special uniform, six. They shot during the entire two weeks in excess of
light grey in color with a white linen beret. This was an 40,000 feet of negative. The other newsreels exposed ap-
instruction to which no one took exception because it cer- proximately the same although one or two probably ex-
tainlymade for harmony in the very impressive ceremonies ceeded this figure. It is estimated that Miss Riefenstahl, for
that punctuated the Games. Miss Riefenstahl, herself, her official picture, exposed approximately 250,000 meters
wore a feminine version of the same uniform. Continued on page 440
October, 1936 • American Cinematographer 433
all want to be photographed to best advantage. Particu- Hardly a single scene is photographed today in studio
larly is true concerning women.
this The studio cine- practice without the use of some type of diffusing screen.
matographer, of course, has greater lee-way in imparting In most of them, the diffusion is so delicate that it is no-
imaginary qualities to his subjects than does the amateur. ticeable only to the trained technician but is responsible
But many of the first principles of studio work ore directly for much of the charm, naturalness and "quality" of
applicable to the serious and advanced amateur's work. modern cinematography. In this regard, compare produc-
What painters call composition is the underlying element tion with newsreel photography.
of every scene. In short, a well-balanced and harmonious Corrective make-up in nominal application is not beyond
arrangement of the several factors comprising the picture. the amateur's province. Helpful handbooks are obtainable
Such a picture is pleasing to the eye. It contains no dis- from makers of screen make-up. It is used much the same
tracting items. The eye of its own volition flows to the way that lighting is used to model faces; undesirable
center of interest. features are shadowed from prominence.
Emphasis is placed where it should be. Details of sec- So, a broad nose would be thinned to the camera by
ondary value are kept at that level. There is a foreground highlighting the ridge with a lighter paint and shadowing
and a background to every picture, in proper relationship. the walls of the nose with a darker shade. Other structural
A woman's gown does not take attention from her face. defects can likewise be subordinated into shadow.
A setting does not overpower the focused figure. Most women like to dine at candle-lit tables. They know
Much can
be gained from a perusal of any good textbook the soft light is friendly and complimenting. In photo-
on this general subject of composition. You will find in- graphing them, you can use light correspondingly kindly.
numerable pointers that you can lift for your guidance. You can easily hang thin scrims of transparent silk or other
Simple rules that always apply; as, an horizon should al- delicate fabrics before your light units to take away the
ways be slightly above or below the center line of a pic- harshness of intense light.
ture, never at the center line. For the same end, use gold reflectors instead of silver
A deal of your filming will be of persons; members of for kicking light into faces when in the sun. It is softer
the family, relatives, friends. In this work your camera and more pleasing on film.
can well concoct a few flattering and complimenting dis- In close-ups, remember that eyes and mouth are the
tortions of drab fact. most expressive features. Light them accordingly and ar-
Generally speaking, all persons have their good photo- range your composition so they attract first interest.
graphic points and others not good. This applies to some The hair frames the face. Don't neglect it in your
of our most noted studio stars just as it does to those not lighting. Play with backlights and toplights to gain all
so famed. The job of the cinematographer is to classify the beauty that is resident. You will find this adds beauty
these points and in his work stress the good features to to the face also.
the eclipse of the others. Look upon persons coming before your camera rathe'
A variety of poses from a portrait photographer will il- as raw material for your photographic talents than as items
lustrate this point very well. Certain of the poses will be to be lensed as is. Get away from harsh definitive detail
so much kinder to the subject than others. They feature and strive for visual effects. Take artistic license with your
the best points. lights. Don't be afraid to break whatever rules you mav
Size up your circle of photographic subjects
and catalog have been given about one-source light. If you get a
Iheir best features. Study them in profile to full face, to better picture by having light play on your subject from
the other profile. Then, when filming them, use the most several angles, by all means cheat a bit and do so.
flattering angles as much as you can.
Continued on page 44Z
434 American Cinematographer • October, 1936
Newsree
FEW WEEKS AGO was up in Boston covering o making every effort to maintain neutrality in the Spanish
A
I
It was o Friday night and had situation and carrying on communication with our men on
Soap Box Derby. I
both sides of the war was difficult. Also arranging for the
just got back to the hotel to wash up and ship my
operator me that New York passage of men and planes regularly across the border in
film, when the telephone told
the face of French opposition had its difficulties.
was calling.
Brooks, and for that matter Paramount News, has worked
A few minutes later A. J. Richard, editor of Paramount
up almost a regular technique for covering a war. As a
News, got me on the phone and asked me if wanted to I
take an assignment covering the Spanish Civil War which matter of policy different men are bedded down with both
would mean catching the SS. Bremen sailing the following opposing sides and, while this is in line with the general
certainly did want the trip and you can be practice of newsreel fairness in any controversial issue, at
day at noon. I
passport, and even forgetting to make out my expense ac- essential that cameramen accompany both attacking and
defensive forces in order to stand a chance of getting a
count for the story had just been working on. Incidentally,
I
boat and told to expect radioed orders. But by the time about a year ago, got married and on the very first day of
his honeymoon received a cable to leave immediately for
the boat got to France it was inadvisable to be too specific
in wires, and my only radio was to report to the news editor
Abyssinia. He spent one year at Addis Ababa and returned
in July to spend his bonus on a postponed honeymoon. Two
of Paramount's Paris office.
Once off the boat, found a very tense situation pre-
I
weeks after he was back he received a wire to proceed to
Spain immediately. His wife who accompanied him safely
vailing in Europe with the possibility of a half dozen coun-
tries intervening in Spain. was instructed to leave im-
I
throughout the Abyssinian affair also started off with him
diately for Bordeaux and there report to Oswald Brooks,
and is now located on the French-Spanish border main-
taining communication between Dored and Brooks.) Jean
Paramount News special representative, wha had set up
secret headquarters near the Bordeaux airport for the op-
belong out of the Paris office is also with the Government
eration of Paramount's activities.
forces working hisway up along the southeastern coast.
map af the battle area in front With the pounding at the walls of San Se-
rebel forces
In Brooks's hideout with a
bastian the London office and with the
Jimmy Hart from
of me and a dozen wobbly pins representing the question- is
the other Paramount cameramen in rebel forces attacking Madrid is James MacGreggor also
able whereabauts of
became less confident. Brooks explained to me of the London office. Anthony Harding, out of the London
Spain, I
Camerdmen
in War
Ridden Spain
by
A rthur Menken
Feodor Fleurance of Paramount News, sadly look-
ing at a batch of negatives fogged by the censors
after he tried to smuggle the pictures out of
Spanish Morocco.
Probably it is the last war in which will be maintained up a doctor on later dates.
the good old Richard Harding Davis traditions. The Span- It then became a matter of somehow getting me across
ish just love it and of course there is a certain gang of
the border. Brooks picked the rebel side for me to bet on
cameramen who live only for it. That gang is all here, but instructed me to work south if possible into Seville.
men like Ariel Verges, whom Hearst advertised that they He had two planes running the border at this time, both
could start the Abyssinian War when he reached Africa, being sent over from England as France hod forbidden any
Pierre Luck, Movietone veteran war correspondent, and
French planes to enter Spain. One of these planes was
Dored, the third of the trio just back from Abyssinia.
based at Madrid with the Loyalists and the other was based
For nine months of the year they sit around the Euro-
at Burgos. It was an open question as to when the Burgos
pean cafes showing off their leather puttees and pass- plane would come through with the next shipment.
ports of a half dozen different countries, much to the scan-
After two days of waiting around Bordeaux and being
dal of the Home Office auditors. However, just about generally sick of the inactivity when every newspaper was
once a year this famous old time gang goes into play when
screaming picture news just across the border, our plane
a war breaks out in some country around the world. Then from Burgos finally came through. Unfortunately, how-
equipped with their folding bathtubs and entourage of por-
ever, in passing over the Loyalist lines a lot of machine
ters, and ten thousand feet of raw stock, and best of all,
gun bullets had been poured into one of the wings and the
their experience of fighting in a dozen countries, they get
pilot, Jimmy Ross,
through somehow, occasionally to jail —
but more often, to
a well known English stunt flyer,
brought the ship through on'y by a miracle. After giving
the picture.
it a casual examination, Ross decided that he would have
After going over the situation in considerable detail.
to run up to Paris for some repair parts and there went my
Brooks first supplied me with film, in Akeley rolls packed
hopes of getting to Spain for another three or four days.
five to a sealed container, and Eyemo rolls also in 1000-
However, while out at the airport looking over Boss'^
foot packages. Then came the matter of money, this I
onto the idea of letting me take the ship myself and fly
perhaps it would be safest if got a fresh batch as soon as
I
One Thrills
on an
African Holiday
by
Harry C. Pearson
S
1
as members of a typical big-game hunting
At intervals between bagging the conventional lions,
exposed several hundred feet of 16mm film in the usual
safari.
the animals have plenty of room to move about in without til Icould hold the camera amazingly steady. In fact,
having to tear each other to pieces: the fights seen in since the film has been printed, have had a number of
films have invariably been "staged" —
and not always in arguments with professional cameramen who have tried
I
Africa. Although we hunted, our film is not an orgy of to convince me used a tripod for shots
I know made I I
dying beasts. On the other side of the ledger is the fact with the camera in my hand! However, for ordinary use.
that we were able to photograph many animals and tribes I'd suggest that some device like the "Beltipod" would
never previously photographed. be extremely valuable in such situations.
From the technical viewpoint, our equipment was simple, Contrary to my expectations, got relatively little useI
but it proved itself ideal for the purpose. For moving pic- from my telephoto lenses. was able to get nearly all
I
ture work, we carried two Eyemos, one of which was fitted of my animal pictures with either a standard 2" lens, or
with external 400-ft. magazines and a battery-operated at most a 3" —
which can hardly be classed as a telephoto,
motor. Of course we had a complete battery of lenses for since its angle is wider than that of a 2" on 6mm. film. 1
each camera, ranging from the standard 2" lenses up to 6" And because
just was able to get good pictures of lions
I
telephotos; but we found relatively little need for the longer with a 2" lens, please don't misinterpret it as any claim
focal lengths. One of the Eyemos also had a Harrison color to excess heroism! The African lion is literally the King
unit, with which we shot what is,
color made in East Africa.
believe, the first natural
I
Provides
T
he outline for a picture based on indirect representa-
tion published in our previous issue
ceived, we hasten to offer
was so warmly
another skeletonized treat-
re- Filming
ment of a current topic which lends itself to this interesting
form of camera technique. by
We are in the midst of an exciting presidential campaign, Barry Staley
a unique and colorful national entertainment presented
each four years for our amusement and edification. Cam-
paigning this year is hot and heavy. Showmanship is not
being spared by the master minds of all parties. It is
SCENE — MEDIUM SHOT. —A
15. woman campaign-
worker handing out literature.
well worthy of filming.
current American scene.
It is a most engaging sector of the
SCENE 9. — LONG SHOT. A downtown theater front lest voter enters, casts his vote, emerges. The doors are
with blatant banner lettered POLITICAL RALLY THIS locked.
NOON. SCENE 27. —
INSERT. Fast flashes of election day news-
SCENE 10. — MEDIUM SHOTS of the crowd streaming paper headlines, favoring one candidate or the other.
SCENE 28. —MEDIUM SHOTS.
in. Evening, as the first re-
SCENE 1 1. — INSERT, a flash. Typical newspaper head- turns come in. Excited groups of people waiting announce-
line LANDON PLEDGES REFORMS. ments of outcome. The outdoor bulletin boards. The big
SCENE 12.— INSERT, a flash. Headline—THOUSANDS printed bulletins in front of newspaoer offices.
ACCLAIM ROOSEVELT. Follow with an insert of two of SCENE 29.— MEDIUM SHOT. Street scene. The mill-
typical banner-lines telling of other candidates. ing crowd. Excited newsboys hawking Election Extras.
—
SCENE 13. CLOSE SHOTS. A campaign button or badge SCENE 30. —CLOSE SHOT. A telegraph ticker or auto-
on a man's lapel. Throw-aways and circulars on a front matic printer newspaper
in a office bringing in returns.
doorstep. Two or three district headquarters, banners SCENE 31. —MEDIUM SHOT. Feverish scene in news-
rampant. Posters tacked ta trees and fences. Candidates' paper office as returns are tabulated.
pictures in store and home windows. SCENE 32. — MEDIUM SHOT. Truck speeding away
SCENE 14. — MEDIUM SHOT. A corner soap-box ora- from newspaoer office, heaped high with bund'es of freshly
tor holding forth wildly. With close-ups of colorful char- inked papers.
acters in his audience. Continued on pase 444
438 American Cinematographer • October, 1936
Way
!
of the plane. The image on the film was bigger, and its to some extent move across the frame, a good part of its
movement across the picture was tremendously magnified. movement is one of slow but progressive growth in size
Considering his relative closeness to the speeding plane, cs the ship comes nearer and nearer. The apparent move-
Gus admitted that with a Graflex he would have had to ment of the image in the camera is smaller, and less evi-
speed shutter to nearly
his /I .000 of a second. Ex-
1
dent. All told, this is probably the best angle to use
pecting any home-movie camera's shutter to stop such i'or all fast-moving action.
movement is downright cruelty to cameras. There is yet a third viewpoint, one which has the pecu-
But there are several ways that the average home- liar advantage of minimizing the blurring cross-film
movie camera can capture good pictures of such move- movement, yet at the same time giving a picture which
ment. The most obvious is simp'y to use a normal lens is a veritable crescendo of movement on the screen. This
(1 inch for 16mm. cameras, 12.5mm. for the eights), is from straight ahead. The only movement in the image
and to get back far enough from the plane so that the during the exposing of any individual frame is a fairly
image on the film is relatively small and slow-moving. gradual enlarging, which isn't nearly so noticeable or
The trouble with this idea, as Gus pointed out, is the fact likely to blur as movement across the frame. Yet when
that in accommodating things to the limitations of the the three or four hundred frames making up the scene
shutter, one gets so small an image that the picture on are projected in sequence, you get a thrilling rush of
the screen seems like an over-developed pinpoint. movement as the plane accelerates down the runway,
Another way to do it without sacrificing much from roaring apparently straight into the lens, and takes off
the picture, is to shoot the take-off from a three-quarter over your head. Out of respect for what can happen
angle, so that the image of the airplane moves diagon- Continu3d on pags 447
October, 1936 • American Cinematographer 439
HERE’S HOW
by A. S. C. Members
and its background, using the filter to lens is photographing only a small part
lighten one and darken the other (or of the area your meter'selectriceye takes
vice-versa), so that they don't both re- in when you point it at your distant sub-
produce in the same scale of intermediate ject, yau may very prabably overexpose
grays. Naturally, you can use a light-
if your shot. This will naturally flatten
FILTER-FACTORS IX er filter, you will be able to stop your lens the picture. The best remedy for this
MAZDA LIGHT down to a smaller opening, and you will is totake your meter-reading close to
gain in depth, definition and contrast. some nearby object similar in size and
“What are the filter-factors
coloring to your actual subject, assuming
Sometimes you will find that you can ac-
with artificial (IMazda) light
of course, you can't get close to the sub-
tually get better results without using a
for the
Kodak Superpan
following
film
filters, with
(35 mm.):
filter at all. ject itself —
and if you could get close to
it, you wouldn't need a telephoto lens.
But with telephoto lenses, several other
Aero 2, G, 23-A, and 3X5r factors come into the problem. One of A more contrasty developer and even —
— R. C. R., Calcutta, India. the most important is carefully shielding a more contrasty film —
may help; but it
the lens from all unwanted, scattered is always safest and —
commercially
Under incandescent
the factar of the Aero 2 filter
(Mazda)
is
light,
Vz'
light. Half the secret af successfullv wiser —
to stick to standard developer.
1
using long-focus lenses is to have a deep Incidentally, your developer, since you
the factor of the G filter, 2; that of are in a hot country like India, may be
sunshade that really shades the lens;
the 23-A, 2'/2; and that of the 3N5 is at too high a temperature, and this,
most of the so-called sunshades supplied
4. You will notice that while the too, would tend to flatten the resulting
with telephotos are woefully inadequate.
Mazda-light factors of the yellow fil- picture.
Since the angle cavered by the lens is
ters (Aero 2 and 3N5) are the same as
narrow, your sunshade can be deep, and To sum it up; make sure you really
their factors for daylight, those of the
it need not flare out widely; with a 12" need a filter; try a lighter ane like the
other two are slightly less than their re-
lens such as ycurs, it need not be much Aero 2, with a smaller diaphragm open-
spective daylight factors.
—
Ned Van Buren, A. S. C.
larger around than the diameter af the
front lens-ce!l. With a properly-made
ing; be sure your lens-shade
sunshade and nat just an ornament; be
is a real
sunshade, yau will notice a considerable sure your meter is used properly; and
VSJXG TELEPHOTO improvement in both contrast and defini- keep your developer at the right tem-
LENSES tion, due to the elimination of the flare perature. You are pretty certain to
or reflections of the scattered light-rays have better luck with yaur next tele-
'‘When using a 12" telephoto
on the big glass surface of the front ele- photo shot.
lens and taking, say, a shot of a
bird on a tree, partly in sun and
ment of the lens. —
Elmer G. Dyer, A. S. C.
Another factor that often flattens tele-
partly in shade, what is the most photo shots is atmospheric haze. This is
UNSTEADY PICTURES
suitable filter to use to get suffi- frequently invisible to the eye, but not to “If shots taken with a 35mm.
cient contrast, light being mild the film, which picks it up as a gray veil camera are slightly unsteady
sun? Using a 23-A filter and over the whole picture. This haze con- when projected on the screen
working at f:6, as indicated by sists of violet and especially ultra-violet (assuming the projector itself
a Weston dieter, 1 got a very light, and is most often caused by micro- is quite steady) is it due to gen-
scapic particles of dust, moisture, etc.,
flat result, using a Borax devel- eral wear-and-tear of the camera
oper similar to the Eastman
suspended in the air. Ordinarily, the
most effective filters for eliminating this
—assuming also that the clazu
”D-76’" formula. I used a Dall- invisible haze are the Aero filters, which
and pressure-plate are doing their
meyer f:5.6 "DalloU' telephoto were designed especially for this duty. job perfectly? That is, the claiv
lens, so that I was working my The Aero 2 is es.oecially good for this, is pulling smoothly and true, en-
emulsion.
contrast of the Hypan emulsion has been
No. 1 No. 2 No. 3
adjusted so that projected films show (in green (in red (in lavender
a brilliance much improved over other box) box) box)
soft. $2.00 $2.50 $3.50
fast panchramatic films. The high speed
lOOtt. 3.00 3.50 6.00
and sensitivity to all colors possessed by
All film is not only processed, but is
Hypan give this new film unusual ability SCRATCH-PROOFED FREE ot charge.
to make good movies under all outdoor
Hy- Send tor Booklet “D” and Prices
conditions, even when light is poor.
pan also has a fine-grain typeof emulsion Kl^-<»-LLX, Ino.
and an effective method of anti-halation 105 West 40th Street - - New York
protection which preserves image sharp-
ness and detail. Agfa 6mm. Hypan is 1
GOERZ
light laading spoals retailing at $6.00
CRYSTAL BEADED SCREENS for the 00 ft. length and $3.25 for
1
and Distributors.
MOTION PICTURE SCREEN condoned in the added pictarial values
• Mfr. of 16mm and 35mm Recording
of your screen.
Heads, Amplifiers, Developing Machines,
& ACCESSORIES CO., INC. Printers, Etc.
520 W. 26 STREET • NEW YORK, N. Y.
Newsreeling the Olympic CINEMA ARTS CRAFTS
Games 914 N. Fairfax HE-1984 Hollywood, Calif.
B
or oO-foot magazines or Packettes of Kodachrome, Type A, for color movies
action —there's no sight finer in Cine-Kodak Kodachrome Film. For at night with Mazda Photofloods. There
the world. Galloping horses tak- these there is not only the regular Koda- is an inexpensive color-correcting filter
ing a fence —a flock of wild geese against chrome for outdoor daytime filming, but permitting the u.se of daytime Koda-
the daybreak sky —a hunter and his set- chrome at night, and another filter
ter against a background of golden fields PRICES lending Type A Kodachrome the proper
and scarlet foliage Hi mm. Kodachrome, both reg- color balance for daytime filming.
onderfnl moments, these ones every ular and Type A — 50-foot rolls,
:
And owners of 8 mm. cameras taking
movie maker $4.75; 100-foot rolls, $9.00; '200-
will want in undiminished the standard !25-foot roll of CinGKodak
foot rolls, $18.00; 50-foot maga-
colors for his film library. Eight Kodachrome
zines and Packettes, $5.00. Cine- may mateh their IG
Xor need they escape him for full- — Kodak Eight Kodachrome, mm. contemporaries stride for stride.
colorKodachrome movies can now be $3.75 per roll. All prices in- Ask your nearby Cine-Kodak dealer to
made by all .standard Hi mm. cameras clude proeessing at Hollywood. show you Kodachrome movies. Eastman
loading with oO-, 100-, or i200-foot rolls Chicago, or Rochester, X. Y. Kodak Company, Rochester, X’. Y.
I
,
original negative not used or exported The American newsreel and still pic-
Of course this film is being paid for at ture services were successful in getting
Ftifo Sli4»|i lOiiiiii cost by Miss Riefenstohl. the Propaganda Ministry to arrange to
The men who spend Zeppelin,
FILM 82.10 their lives
of
being
all nev/sreels
places where news of
postpone the sailing
Hindenburg to New York for one day.
af the
2 10» ft. Rolls - - ^ l.Otl oil sorts takes place, took the Eleventh The Hindenburg was scheduled to sail
Olympic Games in their stride, using on the evening of August 15. The
cameras and wits to overcome the un- Games closed on the sixteenth. The
FOTO^IIOP IMIKFS usual obstacles and, as usual, turning Zeppelin was held for twenty-four hours
aro LOWEST! out for the people of oil the world a mir- to enable the American public to see
rored picture of the world's greatest the closing ceremonies within three days
By maintaining our own laborator-
sporting fete. They'll be doing it again after their occurrence on Sunday, Aug-
ies for the processing of CINE and in Tokyo in 1 940. ust 16th.
STILL films we can speedily and
efficiently fill your order at big
savings.
CINEQUE PRESENTS
Evidently he kept his promise because
twenty-four hours later protests
been lodged by the state and foreign
had
tion film and was lucky enough to se-
I
A NEW LINE OF land and France in all three of which reached San Raphael. En route, the car
countries Paramount
has a newsreel, in which my guard and were traveling I
RAPID PANCHROMATIC spends twenty-four hours a day trying managed to creep right up behind the
per 100 feet to work out little strategems permitting defenders' front line, and started grind-
ULTRA-RAPID one to be sent to the front. Actual- ing right behind the guns. I watched
PANCHROMATIC 50 fighting pictures are perhaps three per them recoil and could see the shells
per 100 feet . . ,$5 cent of the who'e. The rest is framed burst on the enemy only 400 yards away
Eastman SUPER-X Pan- up background material, women parad- I can you it was marvelous, the
tell
chromatic NEGATIVE ing, people grieving, battered buildings rattle of machine guns, the soldiers grim-
and POSITIVE
per 1 00 feet . . .
$7 50 after the action is over, the dead horses faced and daring, the fighting actually
or an occasional body that has to be the finest stuff could ever hope to I
DUPLICATING ENLARGING this material involves hundreds of miles chance like this in a lifetime and nat-
TITLING EDITING of traveling and day long wrangling with urally completely forgot all personal
I
Cineque Laboratories, Inc. I drove, bummed my way in army cars and turned around to see the command-
123 W. 64th Street and very nearly hitch-hiked three or four ing officer, virtually foaming at the
New York City hundred miles over territory that includes mouth, with his pistol in my ribs.
the sector around Marida. The best Snatching my camera, he tore it open.
VICTOR ^
Movie Cameras
are unmatched
for VALUE
Available in 3 MODELS
from ^65 up
(minus lenses) ,
^ Choice of Lenses
$27.50 up
444 American Cinematographer o October, 1936
managed to save.
(Trade Mark) tremely moderate price. This compact, short stay in Bordeaux.
REG. U. S. PAT. OFF.
easily set-up portable, mounted in an
Quality Screens for More than
a Quarter Century. attractive leatherette covered box, is
Bica
I
am quite sure they have been staged, but was considered a myth. The okapi
not in Africa, but in some forgotten with its puce-and-purplish coloring and LEICA, CONTAX, ROLLEIFLEX
corner of North America where the S.P. black-and-white striped hind quarters is
C.A. has no jurisdiction. The "boys" a most unbelievable-looking creature. EXAKTA and other cameras at
in Africa are forbidden by law to use The okapi is exteremely rare, and very
fire-arms; they may carry your guns for shy; none of the many other cameramen
Morg an Camera Shop
who have made pictures in Africa have 6305 Sunset Blvd., Hollywood, Calif.
you, but they must not shoot them. So
your "boys" are your responsibility. You ever been able to photograph one. We
simply let them get hurt;
must not if were able to only because the white
you both you and the White Hunter
did, guide who accompanied us had culti-
who served as your guide would un- vated the friendship of the Congo pyg-
doubtedly be run out of the country. mies, who helped us find one.
I think the real prize of our animal Another "first" was our very good
filming was the fact that we made the luck in getting pictures of the African
first moving pictures ever made of the wild dogs. There are plenty of these
Okapi in his natural habitat. Up to dogs, but they are so wily that no one
1901 the okapi was not only unknown. has ever before gotten within camera
—
ers.
ever seen. Tall almost beyond belief, FOR SALE Howell silent cameras. Bell & Howell mo-
superbly built —
and quite unabashedly
PRICES SLASHED! GREATER BUYS THAN
tors, Bell Gr Howell high-speed gear box,
Mitchell and Bell & Howell Friction head
naked —these natives have never before EVER.
Area Studio
—
LOOK RCA Photophone Variable
Recorders, brand new
tripods. Above equipment used but in per-
fect mechanical and optical condition at
been photographed. An adult Latuka bargain prices. Hollywood Gamera Ex-
$1495.00; Background Projection Screens,
under se\en feet tall is considered un- from $144.00; Fox Movieione Recording change, Ltd., 1600 No. Cahuenga Blvd.,
Cameras, $975.00; RCA Re-Recorders, Hollywood, California. Cable address:
dersized. They average well over 7 feet
$150.00; RCA Galvanometers, $75.00, Hocamex.
in height, and some we saw were very Western Electric Recording Amplifiers,
nearly eight feet from top-knot to toe. from $43.50; W. E. Gondenser Micro- GOOD AS COLD TO US— CHan House. We’ll
phones, $95.00. Send tor list. S.O.S., buy used cameras, lenses, recorders,
They are the finest dancers in Africa. 1600-F Broadway, New York. printers, splicers, tripods, cinemotors,
But our most unique experience among magazines, microphones, amplifiers, pro-
laboratory and studio equipment.
jectors,
Africon humankind was the chance we Trades taken —
bargains galore. S.O.S.,
had to film a ritual dance of the Snake WE BUY, SELL AND RENT PROFESSIONAL 1600-F Broadway, New York.
AND 16mm EQUIPMENT NEW AND USED,
Brotherhood. a secret fraternitv
This is WE ARE DISTRIBUTORS FOR ALL LEAD-
whose membarship is scattered among ING MANUFAGTURERS RUBY GAM- BELL & HOWELL CAMERA, Original B & H
ERA EXCHANGE, 729 Seventh Ave., N, “I” Shuttle adapted tor single or Bi-Pac
many tribes, and dedicated to a peculiar Y, G. Established since 1910. Negative, Complete with 40-50 & 75mm
b'otherliness with the snakes; each in- Hugo Meyer t:1.5 or Eausch & Lomb
given a new name, like "Brother
f:2.7 Lenses, B & H standard Tripod,
itiate is
magazines &
or "Brother of the Co-
YOU’LL FIND WHAT YOU WANT
in our large tinder, matt box,
of the Mamba," new Bargain Lists. Save on Cameras, carrying cases $1,000.00. Same equip-
bra." Each proves himself by catching Tripods. Recording Systems, Projectors, ment with Cunningham silenced shuttle
Printers, Moviolas, Motors, Magazines, $1,150.00. Or equipped with Hi-Speed
bare-handed, a specific venomous snake Animators, Galvanometers, new and used. movement $1,600.00. For guaranteed
selected by the high priest! We’ll trade. S.O.S., 1600-F Broadway, equipment. Camera Supply Co., Ltd., 1515
New York. Cahuenga Blvd., Hollywood, Calif.
This strange group staged a dance for
us. They prepared by anointing them- WANTED
selves with medicine made from a pe- LARGEST STOCK FIRST CLASS UP TO DATE
CAMERA EOUIPMENT IN THE WORLD
culiar herb, and then went forth to col- Rebuilt silenced and standard Bell & How- SILENCED Mitchell Camera, 40, 50 and 75mm.
lectany cobras, mambas, pythons, ad- ell —
170° Cameras Hi-Speed gear boxes Astro F2.3 Lenses, Upright Mitchell Finder,
Hi-Speed check pawl shuttles, new Fear- Mitchell Matt Box and Sunshade, two
ders, etc., theymight meet. When they less shuttles tor Bell Howell. Silent Mov-
& 1000 ft. Magazines, Friction Tripod Head
had collected enough, they held their iola Model D. Two
Single System cameras and Legs, complete equipment with Car-
complete with sound equipment. DeBrie rying Cases, $2600. Camera Supply Co.,
dance, gyrating wildly around the snakes, Model M, with 3 lenses, automatic dis- Ltd., 1515 No. Cahuenga Blvd., Hollywood,
picking them up and tossing them solve, complete outfit. Calif.
Bell & Hnwell rebuilt Splicers as new.
around with complete abandon. It is
Portable blimp with follow focus tor Mit'h-
native EYEMO CAMERA. State price and condition.
uncanny to see a bare-legged ell Camera. 100 ft. Used Holmes 35mm Write Box 265, American Cinematog-
struck repeatedly by an eight-foot cobra, Sound on Film Projector complete. Preci- rapher.
sion, DeBrie and Bell & Howell pan and
merely brush the snake away and go on tripods. Bell & Howell 100 ft., 400
dancing —
unharmed.
tilt
ft. magazines. Motors, sunshades, finders,
lenses and all accessories. Write, wire or
WANTED. We
pay cash for everything pho-
Sendfull information and low-
Photographically, conditions in East cable. MOTION PICTURE CAMERA SUP-
tographic.
est cash prices. Hollywood Camera Ex-
Africa aren't unlike those in California. PLY, INC., 723 SEVENTH AVE., NEW change, 1600 Cahuenga Blvd., Hollywood,
YORK CITY, N. Y. CINECAMERA.
Most of the time, we were at a fairly Calif.
Here’s How camera-movement are above suspicion, even wear in the film-moving sprockets,
your assumption that general wear and claw-fingers, etc., microscopic wear in
Continued from page 439
tear on pinions, bearings, etc., is to the film-channel, pressure-plate, etc.,
might affect the rest of the mechanism. blame, is correct. And do not forget and finally the possibility of a slight
that this general wear is likely to be stretching in the film itself in a hot, trop-
In other types, there is only a pressure-
plate, and reg'stration to a great extent cumulative —
an accumulation of small ical climate, and you have an accumula-
depends on the accuracy of the move- inaccuracies caused by inherently tion of inaccuracies which will make any
ment as a whole. Similarly, some types unimportant wear in many ports. For picture unsteady. I might mention, too,
of camera wear in one way, and other ins*'ance, your tripod-heod may be o that sometimes, though very rarely, in a
types wear differently; in some, a very trifle loose (this was more noticeable in camera equipped with registering-pins
little wear may have serious effects upon the old days of hand-cranked cameras); (or pilot-pins), after a great deal of
the steadiness of the picture. then add to this successive traces of use the pins themselves may wear enough
However, assuming broadly, as you do, play, back-lash, etc., in the gears and to throw the registration off a fraction
that the projector is steady, and that the pinions, looseness, caused by wear, in the of a thousandth of cn inch.
claw, pressure-plate and gate of your bearings, poss'bly infinitesimal and un- The remedy lies in a well-equipped
-
CineFilming Movement
Continued from page 438
The distance diminished the effect of is absolutely essential.” This is to be expected, since exposure latitude
motion. You may have noticed how is necessarily narrow in recording the delicate differences in shade
distonce slows up motion to the eye: which mean faithful color rendition.
it does so even more strongly to the Now, more than ever before, you need the dependable WESTON
camera. Exposure Meter. Use it on every color shot ... as well as for your
The only answer to this would be to black and whites. See the \^TISTON Exposure Meter at your dealer’s
get closer to the train, either by actu- today, or write for literature Weston Electrical Instrument Cor-
. . .
ally picking a closer viewpoint, or by poration, 598 Frelinghuysen Avenue, Newark, New Jersey.
making the scene with a telephoto lens.
In any event, the three-quorter angle,
with the train approaching the camera,
is
tures
by far the most effective.
Gussie's next trouble
he got of a parode.
was in the pic-
Instead of
We S TON &j,osu,^Mefer
seeming too slowly moving, his pictures
of this were too fast sketchy and —
blurred; largely a chaotic
ing legs
camera.
"I
plained, "I
and half-seen
dunno what
mode
I
it
smear
floats passing the
did wrong," he
a point to get there
of mov-
com-
in only a narrow angle.
small part of
the movement
it.
As a result, if
you get too close to a subject like a
parade, your camera can only "see" a
And being close, with
directly across the
CRAIG
SPLICER and REWINDS
early enough to get a place right in screen, you can't help getting a blurred
the first row, and I even used my tri- and confusing picture.
pod!" The best way to photograph a parade
is to pick o viewpoint where you have
That was just his trouble. He picked
such a good set-up for seeing the pa- that good,dependable three-quarter
rade that he got the worst possible one angle, with marchers approaching
the
the lens. is at all possible, choose CRAIG lUNIOR COMBINATION $8.50
for photographing it. He forgot that If it
Junior Splicer with two geared rewinds
where a person's eye is like an ex- a location where you can get above the all mounted on 21" board.
tremely wide-angle lens, the camera's parade, and look slightly down on it- — CRAIG MOVIE SUPPLY CO.
Los Angeles, Cal.
1053 So. Olive St.
eye —
even using a 1 5mm. lens takes — not straight down, but obliquely.
448 American Cinematographer • October, 1936
Amateur
MOVIE MAKERS CONTEST
Closes November 30th
I
a
HERE ARE THE RULES-READ THEM
The American Cinematographer a gold medal which will be given by
later than November 30, 1936. all entrants. By this we mean that an
The recognition of those who are lywood. Calif., not later than Novem-
gi\’en awards will be in the nature of ber 30, 1936.
Certified Photography
Is a combination of a Cameraman who knows his
Mitchell Cameras
Are the silent partners in more than Ninety-five Percent
of the Certified Photography made in the world’s studios
AGENCIES
BELL & HOWELL CO., LTD., London, Englond MOTION PICTURE CAMERA SUPPLY, INC., New York City
CLAUD C. CARTER, Sydney, Australia BOMBAY RADIO CO., LTD., Bombay, India
ARMINIO CONTI, Rome, Italy
D. NAGASE & CO., LTD., Osaka, Japan H. NASSIBIAN, Cairo, Egypt