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{"language": "eng", "scanningcenter": "capitolhill", "contributor": "The Library of Congress", "date": "1943", "subject": ["Aeronautics, Commercial -- United States", "Airplanes"], "title": "American air transport", "creator": "United States. Office of war information. [from old catalog]", "lccn": "43052420", "collection": ["library_of_congress", "americana"], "shiptracking": "ST009431", "call_number": "9267649", "identifier_bib": "00220408152", "boxid": "00220408152", "possible-copyright-status": "The Library of Congress is unaware of any copyright restrictions for this item.", "publisher": "[Washington, U. S. Govt. print. off.]", "description": "p. cm", "mediatype": "texts", "repub_state": "19", "page-progression": "lr", "publicdate": "2018-06-21 11:37:09", "updatedate": "2018-06-21 12:36:37", "updater": "associate-mike-saelee@archive.org", "identifier": "americanairtrans00unit", "uploader": "associate-mike-saelee@archive.org", "addeddate": "2018-06-21 12:36:40", "scanner": "scribe2.capitolhill.archive.org", "operator": "associate-richard-greydanus@archive.org", "notes": "No copyright.<br />", "tts_version": "v1.58-final-25-g44facaa", "imagecount": "70", "scandate": "20180625160258", "ppi": "300", "republisher_operator": "associate-jillian-davis@archive.org", "republisher_date": "20180626111043", "republisher_time": "4872", "foldoutcount": "0", "identifier-access": "http://archive.org/details/americanairtrans00unit", "identifier-ark": "ark:/13960/t3c03470z", "scanfee": "300;10;200", "invoice": "1263", "openlibrary_edition": "OL26464095M", "openlibrary_work": "OL17884962W", "sponsordate": "20180630", "backup_location": "ia906707_11", "external-identifier": "urn:oclc:record:1138692912", "ocr_module_version": "0.0.21", "ocr_converted": "abbyy-to-hocr 1.1.37", "page_number_confidence": "0", "page_number_module_version": "1.0.3", "creation_year": 1943, "content": "The Office of War Information issued a report on all phases of American air transport, covering the Army Air Force Air Transport Command, Naval Air Transport Service, and commercial air lines. Key points in the report include:\n\n1. The Army Air Force Air Transport Command is larger than all air transport organizations, civilian and military, in existence before the war.\n2. The Naval Air Transport Service and commercial air lines carry large quantities of cargo and personnel, primarily military, with steady operations.\nThe number and length of air routes expand constantly. These achievements are made in passenger and bomber planes, many of which have been converted for cargo-carrying needs. Not a single plane originally conceived solely to carry cargo is in service in the Western Hemisphere at present time, although several are in the process of design and manufacture. The Army and Navy air transport services have been greatly aided in their work by the past activities and personnel of the commercial air lines. This great wartime expansion of air transport is being accompanied by a vast, world-wide development of airways, communications, and airports which will be available to serve civilian air transport needs after the war.\nDuring 1943, the total production of the American aviation industry - cargo and combat planes combined - will reach $20.1 billion, which is a fourth of our war budget for the year and almost a seventh of the estimated national income. This contrasts with the automobile industry, which in 1941 reached only $3.7 billion at its peak. About 2.5 million trained workers are producing combat and cargo planes, and almost all airplane plants are capable of total conversion to the production of civil aircraft.\n\nHowever, the Civil Aeronautics Administration warns against extravagant claims regarding future peacetime air transport. High cost per ton-mile (not a prime consideration in military operations) and immense refueling problems are deterrent factors.\nIt is unlikely that the airplane will drive other forms of transportation out of business. The OWI report was prepared in consultation with the Civil Aeronautics Administration, the Civil Aeronautics Board, the War Production Board, the Air Transport Command, the Naval Air Transport Service, and other public and private organizations.\n\nPicture of Wartime Air Transport\n\nThe scope and regularity of air transport today, most of it devoted necessarily to the needs of war, are best illustrated by the recent but already celebrated complaint of a young Air Transport Command pilot in Washington: \"My laundry's in India \u2014 I can't get it till next week.\" A pilot on the Lisbon-New York run recently flew the Atlantic four times within three days. Another pilot recently.\nThe text crossed the ocean twelve times in thirteen days, making one round-trip in less than twenty-four hours. At ATC flying fields, self-assured youthful veterans of the Ferrying Division deliver lectures to still more youthful beginners, filled with the names of distant cities and island bases, and details concerning landmarks, airports, weather, communications, and other navigation aids. Together, the Army and the Navy air transport services are now averaging several hundred trans-Atlantic flights a week alone, and the number is steadily increasing.\n\nThe value of wartime air transport is not only in the bulk carried but also in the rapidity with which the stripped, camouflaged planes can complete each mission and be ready to start another. Large objects like light tanks and jeeps, for example, are transported efficiently.\nAir cargo is primarily transported across the ocean via ships, except in emergency situations and combat areas. The bulkiest objects commonly carried by air are airplane engines and plane parts. Speed is a key factor. An Air Transport Command plane recently flew from Australia to California in the record flying time of 33 hours, 27 minutes. Medical supplies and blood plasma, which are urgently needed, are flown to their destinations as quickly as possible. A complete hospital was flown to Alaska in 36 hours.\n\nPlanes that fly needed cargo out to combat areas and elsewhere return loaded whenever possible, often with strategic materials used in our war plants for the manufacture of goods that will be flown out in turn.\nBlock: mica has been flown in from India. Planes have brought back platinum from the Persian Gulf, beryl ore, quartz crystals, industrial diamonds, and mica from South Africa. Crude rubber has been air-freighted from Brazil, balsa wood from Central America. Twenty tons of rubber seeds were ferried from Liberia to the Western Hemisphere. Insecticides made from Brazilian roots are flown to various bases. A certain type of Fiji Islands beetle was flown to Honduras to check a root weevil attacking hemp.\n\nTonnages involved are often large for air freight. In eight weeks, 32 tons of bristles for the Navy, 70 tons of silk for parachutes, 47 tons of tin, and 70 tons of tungsten were moved from China to India. On another occasion, 98 tons of tungsten were flown out in ten days.\n\nPlanes returning from cargo-carrying flights to the [unknown]\nThe Bahamas have been bringing back agricultural workers to be employed on American farms. Planes returning from combat zones also bring back human cargo. Wounded enlisted men and officers, cases which require treatment only available here at home, are evacuated in transport planes converted into flying hospitals. A number of serious cases recently reached Bolling Field, Washington, from India in 5 days \u2013 a distance of over 10,000 miles. On the planes on such flights are air evacuation nurses \u2013 graduates of the Air Evacuation Nurses school at Bowman Field, Louisville, and also a medical sergeant with the rank of staff sergeant. All transport planes are being equipped to carry standard stretchers for the evacuation of wounded. Up to thirty may be carried in a plane, depending on its size; often they are brought directly to hospitals.\nrectly  from  the  battlefield  in  smaller  planes  and  moved  to  a  big  plane \nat  a  base. \nBattle-damaged  submarines  in  distant  waters  receive  repair  parts \nby  air  and  are  in  action  again  in  a  few  days  instead  of  being  idle  a \nmonth.  Auxiliary  fuel  tanks  are  flown  to  fighter  planes,  which  imme\u00ac \ndiately  begin  to  cover  larger  areas  than  previously  possible.  Every \nday  for  many  months  transport  planes  have  flown  supplies  to  Guadal\u00ac \ncanal  from  Pacific  bases.  Many  Guadalcanal  wounded  were  evac\u00ac \nuated  by  air. \nAmerican  Transport  Planes \nThe  accompanying  list  of  the  chief  models  of  transport  aircraft  now \nin  service  indicates  the  extent  to  which  America  is  making  use  of  her \navailable  planes  for  the  purposes  of  wartime  air  transport.  Begin\u00ac \nning  the  war  without  a  single  plane  specifically  designed  for  the  carry\u00ac \ning  of  air  cargo,  and  with  the  first  such  planes  still  in  the  experimental \nAt the present time, the impressive air cargo transport records being made by the Army, Navy, and commercial airlines are being achieved in passenger and bomber planes, remodeled or adapted for their new work.\n\nThis means that present-day cargo transportation is being accomplished with a degree of efficiency considerably below that which would conceivably characterize planes specifically built for cargo purposes. B-24s, for example, converted Liberator bombers, are doing excellent service as cargo planes; however, these bombers are so constructed as to require that their loads be carried in a concentrated location. Lack of available space for loading within balance limitations both fore and aft of the center of gravity greatly limits their cargo load capacity, and the weights and balance officers who supervise the loading must carefully manage the distribution of cargo to maintain optimal weight and balance.\nVise their loading, great care is required in distributing weight, particularly toward the tail. Planes originally designed for passenger transportation, even the newest models such as the C-54 and the C-46, although they have greater capacity and space than bombers, are still far from ideal for the cargo-carrying work they are performing so faithfully. Loading facilities, doors, and cargo hold-down facilities are afterthoughts. They are frequently at locations that interfere with maintenance, and in other instances are too high for truck platform loading and inefficient as to structural weight.\n\nPresent models of flying boats are particularly ill-suited to the carrying of bulky cargo. Due to the small size of their hatches and the division of the plane into compartments by bulkheads which, for structural reasons, cannot be removed.\nThe specifications of war cargo planes are geared towards general utility rather than maximum economical efficiency for a particular route. In general, a cargo plane can be converted to passenger use with the addition of seats and facilities with minimal loss in efficiency. Alternatively, it can be converted to a bomber or fortified plane through the installation of guns and armor. However, the reverse is not true. Current American air transport needs are being met through inventive methods but are not efficient from a modern cargo-carrying economic perspective.\nAmerica has assembled the greatest air transport fleet in the world today, despite its makeshift nature as a fleet for transport purposes. This country is fortunate for having had a high development of airline planes and operations at the beginning of the war.\n\nAir Lines and Other Civilian Flying\n\nIn 1941, the last normal year of operations for American commercial air lines, they carried 4,060,500 passengers, an increase of 45,000 percent over the approximately 800,000 carried in 1927. Between these years, air mail increased from 1,270,300 pounds to 44,595,300 pounds, and air express and freight from 45,860 pounds to 22,315,000 pounds. In 1941, domestic airline routes totaled about 30,000 miles. Before Pearl Harbor, a maximum of 434 planes was being operated commercially within and beyond the continental limits of the United States.\nDomestic: 358, Hawaii: 6, Transoceanic: 10, Alaska: 7, To Latin America: 53\n\nOn January 1, 1943, this number had been reduced to 256 (of which 166 were flying domestically). This remains approximately the number being flown commercially by the air lines at the present time. The rest have been taken over by the armed services, either outright or to be operated for them by the air lines under contract. Most of them have been stripped of their soundproofing and their upholstered chairs to make room for cargo, and equipped with folding metal \"bucket seats\" along the sides for the transport of paratroops and other combat units. In some, large doors have been cut for the loading of bulky freight, such as airplane engines and jeeps. Camouflaged in tones of olive drab or blue, they are being forced into military service.\nMore than when they were in airline passenger service \u2014 not only because they carry heavier pay loads but because with normal fuel consumption, an airplane covered with paint loses up to twelve miles an hour of the speed it flew when its gleaming aluminum was kept waxed and polished. All over the world, these ex-airline planes, along with many other transport planes built since the outbreak of the war, are being used for the transport of paratroops and other combat units, for glider towing, as ambulance planes, for the transport of staff, prisoners, mail, and important cargo of all kinds. Personnel transported in them are not as comfortable as airline passengers, and on night flights they and the flight orderlies rest as best they can on pads on the bucket seats, on the floor, or on top of crates and boxes.\nThe drastic reduction in the number of airplanes available for commercial use in domestic service made it necessary, for the first time, to exercise control over schedules. No schedule is continued in operation unless it can be shown to be essential for war-transportation purposes. The \"Service Pattern\" (the number of schedules to be operated on each authorized route, with stops to be made) set up by the Civil Aeronautics Board at the request of the Army is constantly revised. The 49-percent cut in air-line flight equipment has resulted in only a 29-percent cut in the number of schedules flown. The planes still operated commercially by the air lines are carrying only slightly fewer passengers than were carried by the whole fleet before the war, and more mail and express. In October 1942, air-line operations underwent a further reduction, with many routes being suspended entirely. The Army Air Forces took over control of most of the remaining commercial routes, using them to transport troops, supplies, and mail. Despite these challenges, the air lines continued to play a vital role in the war effort, adapting to new circumstances and finding innovative ways to keep the country connected.\nCargo express was up 123% from the same month in the previous year. These achievements have been made possible by greatly improved maintenance facilities and increased utilization and efficiency, including quicker turn-arounds. In November 1941, for example, the average daily mileage of a domestic airline plane was 1,070 miles; as of March 1943, it was 1,625 miles, and the figure is increasing. Recently, however, the air lines stated that if they are to continue to carry the increasing quantities of air mail, passengers, and air express, they will require more planes. The Army, after consultation with the CAB and the Post Office Department, has agreed to release some.\n\nFlying is the only form of passenger travel at present selling tickets on a straight priorities basis. Members of the armed forces and other essential personnel have priority over civilian passengers.\nGovernment officials take priority when traveling on government business. Remaining capacity is then sold to other passengers, except on the busiest routes, particularly to and from Washington. Sleeping accommodations have been removed from domestic airline planes that formerly had them. At present, three all-cargo commercial flights are operated by United States airlines on a regular schedule: New York to Miami, New York to Salt Lake City, and from the Canal Zone to Lima, Peru, and thence to Buenos Aires. These operations are being performed in passenger planes converted to transport use; no planes originally designed solely for air cargo are used.\nPrivate American flyers' 25,000 planes, not in regular service in the Western Hemisphere's Civil Aeronautics Administration, Bolivia, Colombia, and Central America. Inadequate rail transport due to difficult terrain led to the highest commercial air cargo transport development in the world. Most planes have been absorbed in the War Training Service (formerly Civilian Pilot Training Program), Army, or Civil Air Patrol. Industrial corporations, engaged in essential war production, own and operate their planes. Little other private flying exists.\nIn areas where permitted, a private flyer must obtain clearance from the clearance officer of the flying field from which he takes off. No flights may be made from uncertificated airports, such as flying fields on farms or private estates. In vital defense areas, private flying is permitted only upon clearance by Area Fighter Command.\n\nThe Air Transport Command (ATC) of the almost two hundred transport airplanes taken over from the commercial air lines by the armed services, many are being used by the Troop Carrier Command of the Army Air Force, whose function is the tactical delivery of troops and supplies into actual combat zones; others are used by the Air Transport Command, which engages in much more far-reaching domestic and international transportation, both of personnel and cargo.\n\nThe Air Transport Command (ATC), although it did not receive the recognition it deserved, played a crucial role in the war effort.\nThe majority of planes taken over from air lines have been assigned by far the largest proportion of transport airplanes produced in the United States since the outbreak of the war \u2014 planes manufactured under contract to the War Department and under the supervision of the Materiel Command. Like the ex-air lines planes, most of these are equipped not with comfortable accommodations but with sterner fittings for the transport of military freight and passengers. All are painted olive drab or otherwise camouflaged, and bear the global insignia of the ATC. The ATC is currently performing scheduled world-wide operations that far exceed all previous air transportation of personnel and cargo as to both route-miles flown and loads carried.\n\nThe function of the ATC may be said to be threefold:\n1. Its Ferrying Division delivers all combat aircraft from factories\n2. Its Transport Division carries troops, supplies, and other equipment to various theaters of war\n3. Its Air Mail Division transports mail and other light freight to both military and civilian destinations.\nTo tactical air-force units wherever needed, both within the United States and overseas, including planes being delivered to our Allies under Lend-Lease. Planes to be ferried are carefully serviced in ATC hangars or by the Air Service Command (the maintenance, service, and supply agency of the Air Force), before taking off. The Ferrying Division includes the Women\u2019s Auxiliary Ferrying Squadron (WAFS), which performs domestic ferrying operations.\n\nIn this country, with the cooperation of commercial air lines under contract to the War Department, the ATC conducts a Transition Transport Training Program. Army pilots, graduates of various flying schools maintained by the Flying Training Command, are put through a course in specialized training for the operation of various types of transport planes.\nThe ATC establishes and maintains air routes and bases wherever necessary. It is the War Department agency for the transportation by air of cargo, personnel, and mail both within the United States and abroad.\n\nAir cargo is prepared for ATC transport by the Air Service Command, which repacks manufacturers\u2019 and other goods to conserve weight and space, marks each object with a color indicating destination \u2013 which may be anywhere from Anchorage to Karachi \u2013 and holds cargo ready for loading in warehouses on ATC flying fields. The number of such fields scattered all over the globe must remain a secret of war, as must the number of planes operated by the ATC. The fleet is operating over more than 90,000 miles of transport routes, which are being extended as fighting-front requirements expand.\nAmong the world's air routes, the ATC established the first regular, scheduled services. These include the North Atlantic route from the northeastern United States to the United Kingdom, the South Atlantic route from the southeastern United States to North Africa, another trans-African route to the Middle East, a route from San Francisco to Hawaii and down the Pacific Islands to Australia, and routes to Latin America and Alaska. Military air transport in northwestern Canada is primarily handled by ATC. Due to cargo planes not yet being in service, ATC conducts its work in converted passenger planes and bombers. Its principal planes, as described in the accompanying catalogue, are the C-53, C-47, C-46.\nC-54, C-87, and the C-GO, C-49, C-48, and converted B-24 (C-87) are in use. Some are operated by Army pilots; others by airline personnel, who wear the uniform of the ATC but with special insignia denoting rank \u2013 the captain of a plane, who wears four bars, being the highest ranking officer in this branch of the service. Numerous personnel of the air lines have been taken over by the ATC and other commands, not only as pilots but for other operations.\n\nThe ATC is flying more than one million pounds of cargo each week within the Western Hemisphere alone, and if the war continues into 1944, its routes will probably be ten times as long as the combined routes of all the world\u2019s pre-war air lines. The ATC does as much of its flying at home as abroad. Over 50 percent of all cargo is transported domestically.\nMaterial destined for air shipment overseas is moved by air from inland United States bases to other points within the country for transshipment. Additionally, considerable cargo is carried domestically by the Air Transport Command \u2013 flown to army bases of all types throughout the country.\n\nFor the month of February 1943, losses in the ATC were only four hundredths of one percent, and they have never risen above one percent. In February, not a single plane was lost as the result of enemy action on the long Pacific route, although there have been several attempts to interfere.\n\nApproximately parallel to the operations of the Air Transport Command, albeit on a smaller scale and without the Ferrying Service, are those of the Naval Air Transport Service (NATS).\nThe Naval Air Transport Service operates several hundred planes, including many flying boats, over 50,000 route miles. Navy transport planes are flown by former airline pilots or graduates of Naval Aviation schools trained in transport flying. Like the Army, the Navy has absorbed much ex-airline personnel, many of whom perform the same duties in the same places\u2014but for the Navy and in Navy uniform.\n\nAircraft types used by the Naval Air Transport Service include the Douglas DC-3 in the form of the R4D-1 and R4D-3, corresponding to the Army C-47 and C-53; the Consolidated Coronado converted for use as a transport and designated PB2Y-3R; the Martin Mariner converted to a transport and known as PBM-3R; the Douglas DC-4 Skymaster, designated as R5D; the Lockheed Lodestar (R50), and others. The most marked difference between these aircraft and their army counterparts is unspecified.\nThe Army and Navy Transport Services is used by the Navy for flying boats for cargo and personnel transport, including the evacuation of wounded in amphibious warfare. The use of flying boats has been almost entirely relinquished by the Army.\n\nNATS operates in three main divisions: Atlantic, West Coast, and Pacific. The Atlantic command, with headquarters at Patuxent River, Maryland, consists of squadrons serving the Atlantic coasts and islands of North, Central and South America, from Argentia, Newfoundland, through various bases in the continental United States to Guantanamo, San Juan, Antigua, Santa Lucia (Trinidad), Natal and Rio de Janeiro, as well as to Portland Bight (Jamaica) and Coco Solo in the Canal Zone. The Atlantic Command also extends across the ocean to Europe and South Africa. From headquarters at Patuxent River.\nAlameda, California, squadrons of the West Coast Command operate schedules for the transcontinental service and serve western Canada and Alaska, flying specially equipped and winterized planes. Pearl Harbor is the headquarters of the Pacific Command, operating schedules in the Pacific Ocean area, primarily southwest through the Pacific Islands to Australia, with at least daily service to all points.\n\nIn contrast to the Air Transport Command, the vast majority of the operations of the Naval Air Transport Service take place between a point within the continental United States and an overseas destination.\n\nTo coordinate activities between the two services and to avoid unnecessary duplication of operations, a joint Army-Navy Air Transport Committee meets regularly in Washington. There are three representatives of the Army, three of the Navy, and the chairman.\nThe Civil Aeronautics Board. ATC and NATS continually transport each other's personnel and cargo as space permits. The Marine Corps does not operate a separate air-transport service, although its squadrons include a number of transport planes, especially in the Pacific. The Coast Guard does not include air-transport operations among its various aviation activities.\n\nThe Future of Air Transport\n1. THE EXPECTATIONS\n\nIn 1938, the total production of the aviation industry \u2013 cargo and combat planes combined \u2013 amounted to a mere $280,000,000. It soared to $1,800,000,000 in 1941 and made another huge jump to $6,400,000,000 in 1942, second only to the steel industry. During the present year, according to the latest WPB figures, it will be three times as large. It will reach the colossal total of $20,100,000,000.\nThe fourth part of our war budget for the year is nearly four seventh of our estimated national income. Automobile production, which significantly influenced every aspect of America and all of its institutions, traditional views, industrial technology, marketing practices, and general cultural patterns, reached its all-time peak in 1941 at $3.7 billion. President Roosevelt recently stated that, based on unit weight, aircraft production for 1944 is expected to be 55% larger than the enormous 1943 production. Over two and a half million trained workers are producing our cargo and combat planes, and almost all of our plants are capable of total conversion to the production of civil aircraft.\n\nNo definite figures can be given at present regarding the numbers of American transport planes due to wartime restrictions.\nMore than one-fourth of all twin-engined and 4-engined aircraft manufactured in 1943 will be transports. If all the cargo planes expected to be delivered to the armed services in 1943 could be imagined assembled in a single area and all taking off simultaneously for the same overseas destination, each carrying fuel for a 2,000-mile flight, they could have on board a total of over 20,000 tons of cargo.\n\nAn additional factor bearing upon the future of American air transport is the number of persons who will be air-minded after the war. This includes probably the majority of over 3,000,000 men who will be in the air forces by the end of this year as trained pilots, navigators, radiomen, airport engineers, traffic controllers, and the like. Furthermore, consider the numbers of military planes which, after the war.\nThe Civil Aeronautics Administration contemplates that before 1950, the United States may have half a million private, commercial, and military planes in active service. This may seem like a lot, but in planning future airways services, CAA considers it must count on this number. The National Resources Planning Board estimates that within the next decade or two, air travel in the United States will assume approximately 70% of present-day Pullman rail travel, or about 6 billion revenue passenger-miles. This means the transportation of approximately 20 million passengers a year. The Civil Administration.\nThe Aeronautics Board anticipates reaching this figure by 1946, and by the same year, transoceanic and international air passenger traffic under the American flag will increase sixfold, with mail and express traffic at least eight times greater than that carried during the year ending April 30, 1942. The Planning Board also estimates that all long-haul first-class mail will be transported by air, and there will be regular air freight lines, as well as feeder air lines to smaller cities and pick-up service in the villages. Post-war flights (by shortest routes) between Washington, D.C., and other cities of the world will be possible on the following schedules:\n\nLess than 7 hours to Mexico City.\nLess than 8 hours to Panama City.\n8 or 9 hours to Seattle.\n10 or 11 hours to Paris or London.\n16 hours to Moscow, Rio de Janeiro, or Istanbul.\n18 hours to Cairo or Buenos Aires.\n22 hours to Tokyo.\n24 hours to Shanghai or New Delhi.\n26 hours to Chungking or Cape of Good Hope.\n\nThe following are some expectations concerning air transport:\n\nPlanes: By 1945, it is expected that transport planes in the 100,000-120,000-lb. class will be flying in quantity. On trips the length of New York to Chicago, such airplanes would carry 15 tons at 250 miles an hour. This is a capacity of 3,750 ton miles \u2014 about ten times as much as the DC-3. Among planes at present flying, the Curtiss C-46 is credited with having done much to convince aeronautical engineers of the higher efficiency of larger planes, which can carry a higher percentage of load for the same proportion of horsepower. A powerful trend for commercial transport, therefore, will be toward these larger planes. It is expected that both two-engine and four-or-more-engine planes will be prevalent.\nengine types will continue to be built: the former, such as the C-46, for shorter hops, as the present C-47; the latter, like the C-54, with what is at present considered their greater safety factor, for longer and transoceanic work. The ATC, however, now uses the C-46 for transoceanic flights. A multi-engine plane has a greater \"one-engine-out\" horsepower; if one of four engines goes out, one-quarter, not one-half of the total horsepower is lost. Because the material is critical and because of various developments that are still in the experimental stage, it is not expected that any important production of cargo planes using magnesium can take place for at least two, and possibly three years. Such construction is, however, potentially sound and in long-range consideration may be important.\nAs to the place of flying boats in the future of air transport, varying opinions exist even within the Navy itself, where most are in service. Due to their present slow speed and difficulty in handling, there is wide objection to their use, particularly since swifter land planes are now commonly flown over water, and airports to receive them exist almost everywhere. But improved handling devices, already designed, would aid greatly in moving flying boats more expeditiously from water to land for docking purposes. Speed increase would be facilitated by the construction of sheltered, canal-like water runways, which would enable flying boats to rid themselves of some of the heavy equipment now carried for landings in comparatively rough water. At certain locations, it may well be impossible.\nTo build land runways of the great length required by some incoming models of land planes; in such cases, flying boats landing on water runways might offer a solution. Furthermore, in times of war, water surfaces are not vulnerable to bomb damage.\n\nAs mentioned earlier, the cut-up interior of present-day flying boats makes them unsuitable for the transport of bulky cargo; new designs are needed.\n\nIn smaller models, the construction of flying boats\u2019 landing gear makes them heavier than land planes of the same size class. However, the opposite is true for larger models. Landing-gear weight does not increase proportionately with the size of a flying boat, and large flying boats have greater cargo capacity than land planes of the same empty weight.\n\nIf the maximum load that a cargo plane can fly with is:\n(Note: This sentence seems incomplete and unrelated to the previous context, so it is not included in the cleaned text.)\nLimited by the plane's structural strength or cubic capacity, added carrying capacity can very well be supplied by the use of a glider in tow. Although gliders are advantageous in special cases and particularly in military use, their use is less important over long ranges in cargo carrying on a large scale. They are useful when an airplane wishes to drop a load without landing, and they can be picked up by planes in flight. In wartime they are good for one-way trips \u2014 landing in rough places and staying there. Although glider enthusiasts expect wide post-war use of this craft for freight- and passenger-carrying purposes, the entire aviation industry is not in agreement. Two companies have already filed applications with the CAB for cargo-carrying air service which will utilize glider towing by aircraft.\nThe nonstop pick-up system, for the collection and delivery of mail and light express in small cities and communities without adequate airport facilities, is in use at the present time, under government contract, on five routes totaling about 1,400 miles a day, in New York, Pennsylvania, Delaware, Kentucky, and Ohio. The operating center is Pittsburgh. The pick-up system is operated by releasing packages and picking them up by means of a lowered cable operated on a reel inside the airplane. There are now 25 applications for the establishment of similar services before the Civil Aeronautics Board, covering all parts of the country, with considerable added expansion expected.\n\nThree applications for Helicopter service have already been filed with the Civil Aeronautics Board; one, from an airline.\nA company requested helicopter service to transport air mail and express items to and from over 400 post offices and railroad stations in the six New England states and New York. Helicopters, or some form of rotating wing aircraft, are considered one of the coming types of craft for the post-war private use market. There is no production in this country at present of lighter-than-air craft of large-load-carrying rigid design such as the Zeppelins, the Akron, or the Macon. The possibilities of stimulating their production involve extensive problems, at least under present conditions. According to records, their ton-mile capacity per pound of critical material used is not impressive, although their long-range ability must still be considered of interest in special cases.\n\n2. Limiting Factors\nOther statements concerning the future possibilities of air transport, more far reaching than the official expectations and less firmly based on actual conditions, are frequently made in newspapers and magazines. \"The United States should immediately undertake to provide an air fleet designed to carry the bulk of the nation\u2019s and the world's cargoes.\" \"The airplane will be completely accepted as the only suitable means of intercontinental travel. It will drive other forms of transportation out of business.\"\n\nSuch is a frequent type of statement by aviation enthusiasts, and it is best answered, perhaps, in the words of C. I. Stanton, Civil Aeronautics Administrator: \"It is perfectly obvious that in the not too distant future, high-value cargo of all kinds will be commonly transported by air both domestically and overseas; planes will carry valuable and perishable goods where speed is essential.\"\nPassengers, mail, express, and freight in ever-growing quantities. But why stretch the facts? Why claim that air transportation will be the only form? Far from bringing about a decrease in surface traffic, expanded air traffic will increase it, as the fuel to keep the planes in the air will have to be hauled by surface craft.\n\nMore is required for a successful air transport system than merely the planes and pilots which America will have after the war. Availability and expense of fuel are limiting factors in air transport today, and will continue to be so as long as airplanes fly on gasoline. Original investment costs are also still relatively high. Present planes and planes being developed along the lines of present types are not ideally adapted to carry heavy freight long distances. Flights will continue to be limited by these factors.\nTechnically possible routes, such as Chicago to Calcutta via the Arctic Ocean and the North Pole, are often out of the question due to the lack of navigation facilities and inadequate airports, repair shops, and refueling facilities along the way. An ideal route on an air map might be shorter than the old shipping route via the Atlantic, Mediterranean, and Indian Ocean. However, the absence of navigation aids and refueling facilities poses a serious deterrent. Round-the-world commercial air routes will likely bear some relation to populated areas. If a worldwide air transport system is to develop, gasoline tanks will need to be more thickly scattered around the world than they are currently.\nA Clipper can carry 8.5 tons of freight from New York to England if it refuels in Newfoundland. In contrast, a 10,000-ton surface freighter can carry between six and eight thousand tons of cargo, along with fuel and stores for the round trip. Therefore, hundreds of Clipper trips would be required to handle the tonnage that one 10,000-ton water-borne freighter can manage in a single voyage. Furthermore, 8,500 tons of gasoline would need to be transported to England to fuel these Clipper trips back to Newfoundland, and 10,500 tons would need to be transported to Newfoundland to fuel them.\nBetween Newfoundland and England, and Newfoundland and New York. Thus, more than two surface freighter loads of gasoline must be carried to Newfoundland and England to permit the air delivery of a cargo which one freighter could carry across. This more than doubles the surface vessel cargo tonnage requirements. The more planes that fly, the more ships will have to sail.\n\nFurthermore, plane rates per mile are still considerably higher than those offered by truck, railroad, and steamship. \"For various perishable products,\" Mr. Stanton says, \"and for many products of a high per-unit value such as films, radios, precious metals, and women's clothes, speed of delivery may well pay for itself. But for heavy products, including raw materials, speed is less important than steady, voluminous flow. Even if air cargo costs could be cut from,\"\nThe present average of 40 cents a mile to 10 cents, they would still be enormously higher than those of railroads and steamships, which express their costs per ton-mile in mills, not cents. It is only logical to expect that the plane will greatly supplement \u2013 but that it will not supplant \u2013 other means of transport.\n\nThe time and expense required in the development of each new model must also be taken into account in any consideration of present-day aircraft. The remark often heard in aviation circles, \u201cby the time an airplane is perfected, it\u2019s obsolete,\u201d testifies to the rate of change in everything pertaining to flying today.\n\nThe Civil Aeronautics Board and the Civil Aeronautics Administration\n\nFederal responsibility for civilian flying is divided between the Civil Aeronautics Board and the Civil Aeronautics Administration, which together form the Civil Aeronautics Authority.\nThe Civil Aeronautics Board (CAB) is an independent quasi-judicial body of five members appointed by the President for six-year terms, serving under a Chairman and Vice Chairman. The Board is the Federal agency charged with the economic and safety regulation of all United States civil aviation. It lays down all major policies concerning the development of civilian flying and grants certificates of public convenience and necessity to the air lines, authorizing them to operate over certain routes. The Board establishes the rate of pay for mail carried by the air lines, exercises control over passenger fares, promulgates the Civil Air Regulations, and sets operational standards for American civil airplanes and pilots. Its Safety Bureau investigates all civil aircraft accidents for the purpose of ascertaining the probable causes and preventing their recurrence.\nThe Civil Aeronautics Administration (CAA) has a role in appropriate action and regulation. Unlike the CAB, which is a policy-making body, the CAA is an operating agency with four main divisions: Federal Airways, Airports, Safety Regulation (enforcing CAB standards), and the War Training Service. It tests and issues certificates to all civil airmen, not just pilots, but mechanics, radio operators, traffic controllers, meteorologists, and other aviation specialists. It checks the designs of all planes before they are put into commercial use, makes flight tests of representative models, patrols the airways, and acts as a consultant in the development of an adequate nation-wide system of airports. In general, the CAA is authorized \u201cto encourage and foster the development of civil aeronautics and commerce in the United States and abroad.\u201d\nThe CAA and CAB have no authority over military planes or military pilots, except when they use Federal Airways or other CAA air facilities.\n\nAirways and Navigation Facilities\n\nBy now, there are probably few people who believe that airline pilots flying passengers and cargo on schedule just climb into their planes, take off as they please, follow any route they choose, and land at their destination by simply coming down when they get there. In reality, before taking off, the airline transport pilot checks weather data and files a flight plan specifying proposed route, altitude, and speed, which is cleared by the proper airways traffic controls. In peacetime, such procedure was not necessary for the nonscheduled commercial operator or the private flyer, as long as they stayed off the Federal airways.\nToday, every transport plane flight is strictly controlled like a railroad train. Airways, the rights-of-way, are marked by radio beams and visual aids. The rule of the airway is \"keep to the right,\" as on the road. There is two-way radio communication with airports and control centers along the airways. At any time, the pilot can ask for weather information from any radio station along the airway. (Today, weather information is supplied in code for reasons of military secrecy.) Radio range markers, operating by remote control and serving airports as well as the airways, constantly send out directional beams by which the pilot keeps himself on course. A pilot may never see the ground from the time of take-off.\nA civil airway is the navigable air above a strip of the earth's surface between designated points - a strip set by CAA regulation at a width of 20 miles but during the present emergency cut to ten. The reason for this is the presence of Army, Navy, and other training fields located on or near airways. Hundreds of their short flights were constantly impinging upon small portions of the 20-mile-wide strips, and it was felt that filing and clearing individual flight plans for each of these flights would place an excessive burden on each training operation. Instead, the airways were narrowed. The Services have\nagreed  to  keep  all  training  planes  outside  of  the  airways,  except  when \nnecessary  for  landing  and  take-off  purposes  and  for  cross-country \nflights,  when  the  pilots  wfill  observe  regular  CAA  procedures.  This \nnarrowing  of  the  airways  also  provides  more  space  for  the  establish\u00ac \nment  of  military  danger  areas,  such  as  gunnery  ranges,  without  en\u00ac \ncroachment  on  the  airways. \nAt  present,  all  navigable  air  above  17,000  feet  altitude  is  reserved \nfor  military  traffic,  and  there  are  certain  air  space  reservations,  estab\u00ac \nlished  by  Presidential  proclamation,  that  must  be  detoured \u2014 as  for \nexample  over  defense  plants  and  Navy  yards.  The  CAA  designates \nairways  by  naming  definite  points,  such  as  radio  range  stations,  and \nextending  the  center  line  of  the  airway  through  the  center  of  the \npoints  specified.  Airways  are  direct  routes  (as  the  crow  flies)  except \nFor bends to take in population centers. All large population centers are located on one or more of the civil airways. Therefore, the airways often follow the routes of railroads and highways. However, in the case of the Alcan Highway across Canada to Alaska, it is the highway that follows the previously established airway. One future development visualized by the CAA is the bypassing of metropolitan centers, so that through air traffic will be able to avoid congestion over airports.\n\nThe civil airways of the United States now total over 35,000 miles, an increase of more than 700% since 1927 and almost 100% since 1932. A number of new airways have been established since the war primarily to meet Army and Navy requirements, both within the United States and leading to and from many of our insular possessions and bases.\nWithin the continental United States, along the Federal Airways system, the CAA operates 311 lighted intermediate (emergency landing) fields, 142 flashing beacons, and 2,098 rotating beacons. At the request of the armed forces, instrument landing systems \u2013 for use in fog and other bad weather \u2013 are being installed in more than 100 fields nationwide. The first fully developed instrument landing system was put into operation in 1940 at Indianapolis, where it was developed at the CAA Experimental Station.\n\nFor all airmen's benefit, the CAA maintains and operates 408 intermediate-frequency radio range and marker stations, 197 ultra-high frequency radio fan markers, and 72 ultra-high frequency radio range stations (expected to be increased to 143 during 1943). Additionally, in the airways system, there are 446 weather-reporting stations.\nThe meteorological conditions along the 54,000-mile airways are joined by a teletype circuit for quick reporting. Traffic from point to point is directed from 23 control centers, located at major airports strategically chosen to cover the entire U.S. The control centers use a 10,400-mile teletype circuit and a 35,745-mile interphone circuit to check and clear movements of swiftly traveling aircraft along the airways. At 74 designated fields, which include all principal air terminals in the country, the CAA operates airport control towers. This number is being increased, at the request of the military, to 120 or more this year. American aviation has come a long way from the first night transcontinental mail flight in 1921, made without benefit of airway aids, the pilots merely navigated by dead reckoning and visual landmarks.\nIn 1942, there were 6 million controlled aircraft movements along the airways, and for 1943, the estimate is 13 to 14 million, 95% of them military or semi-military. This is a contrast from 1938, when approximately 300,000 aircraft movements were handled by the CAA traffic control centers. By 1950, CAA expects 60,000,000 aircraft movements over the airways. With so many planes in the air, definite, pre-determined flight paths and procedures are vital to safety and efficiency. Planes flying the airways report their location at official reporting points - over radio stations along the airways and over each point marking the intersection of two or more airways. These reporting points are never more than 100 miles apart. Flight progress boards.\nPlanes are maintained at control centers, displaying the location of all flying on schedule in the area. According to Civil Air Regulations, eastbound and northbound planes maintain odd thousand-foot levels in the air, while westbound and southbound planes even thousand-foot levels.\n\nA plane arriving over an airport at which it wishes to land follows instructions sent out by radio from the airport control tower, telling the pilot when he may begin to decrease his altitude. Sometimes, his plane, along with others arriving over the airport at the same time, is obliged to keep circling in the air in a \u201cstack\u201d at designated altitudes for extended periods, until gradually the lower altitudes and finally the landing area become free of traffic and he is allowed to come in.\n\nThe most striking example of development of American air transportation.\nThe Alaskan system, since 1941, has been significantly improved and expanded. Today, Alaska boasts a fine network of airways and airports comparable to any section of the United States. In December 1942, the Civil Aeronautics Board granted operating certificates to 21 Alaskan air carriers, formalizing the existing air service pattern and bringing these operations under the economic provisions of the Civil Aeronautics Act for the first time. The Board authorized charter trips by any of the 21 certified carriers to any point in Alaska, thereby providing air service to every part of the state. The Canadian airways system across the border is closely integrated and coordinated with the United States and the Alaskan system, creating a virtually unified network.\nThe continental system north of the Rio Grande is the only one of its kind and the largest and most efficient in the world. It is the only airways system in the world designed to handle mass traffic safely, contrasting pre-war European airways where control types were not uniform but varied from country to country. Flights beyond the American-Canadian-Alaskan network require less accurate guidance, but present-day aids for transoceanic flying, such as improved compasses and direction finders in airplanes capable of picking up radio signals over long distances, are extensive compared to facilities existing even at the outbreak of the war. Even today, however, transoceanic flights present challenges.\nFlyers frequently resort to celestial navigation for their guidance, a combination of two or more means being desirable from the standpoint of safety. The Federal Airways Service operates six intercontinental superradio stations, capable of communicating with aircraft at any point on the globe. These stations are at New York, New Orleans, San Francisco, Seattle, Honolulu, and Anchorage. They have been of inestimable value to the armed forces, placing the United States several years ahead of any other country in the world in the development of intercontinental airways. They are used solely for the war effort, to provide weather and navigation information. In their combined range, they blanket the world, providing communication between this country and a plane in flight anywhere on the globe. Operated by CAA, with the Army providing security.\nCAA radio engineers are cooperating with the armed forces to establish a vast network of airway communications systems in the North Atlantic area, South America, Africa, Europe, Asia, and Australia. Due to the rapid development of facilities everywhere, world routes flown by aircraft are in a constant state of change. The immediate post-war problem of the airways, as seen by CAA, will be to rebuild the entire domestic airways system by substituting ultra-high frequency for the old standard intermediate frequencies ranging between 200 and 400 kc. Ultra-high frequency will eliminate static and provide a visual as well as an aural course, if not omnidirectional courses. Among the innovations will be: two voice channels on every radio range station, the employment of ultra-high frequency.\nfrequency for traffic control, ultra-high frequency localizers for all important airports, with glide path and ultra-high frequency markers to permit the pilot to land under instrument conditions.\nNew electronic control devices, including radar, will also play a large part in post-war aviation.\n\nAirports\n\nExcluding certain military airfields, there will be approximately 865 major airports in the United States by the end of 1943, all of them with paved runways of 3,500 feet or more, capable of handling the largest craft. Fewer than 100 such fields existed in 1940. In addition to these, there are well over 2,000 lesser fields.\n\nWith few exceptions, all major civilian airports belong to municipalities and other political subdivisions, which operate the fields as public facilities except insofar as their use is restricted at present time.\nAirports are constructed with Army and Navy requirements, funded by contracts. Most airports are built with Federal funds, under specifications drawn up by the Civil Aviation Authority (CAA). For the fiscal years 1941-43, Congress appropriated $399,333,050 for the National Defense Airport Development Program. Development is limited to sites within the United States and its possessions, designated by the Army and Navy as essential to national defense and the successful prosecution of the war.\n\nIn the past few years, numerous new airports for military transport and combat planes have been constructed with American and Allied funds throughout the United Nations. After the war, many of these fields will be available for civilian air transport use.\n\nThe CAA\u2019s Civilian Pilot Training Program, inaugurated late in [year].\nThe year 1938, which enabled young Americans to secure civilian pilot licenses of various grades through instruction in universities and at flying fields, is now known as the CAA War Training Service and forms a prelude to regular Army and Navy combat flight training. It has absorbed many civilian pilots as instructors. Many pilots flying both airline and military transport planes today are graduates of the Civilian Pilot Training Program.\n\nThere are four main categories of civilian pilot certificates: student, private, commercial, and airline transport. A commercial pilot, who is licensed to carry freight and passengers on a chartered but only on a nonscheduled basis, must be 18, a citizen, literate, and meet certain minimum physical requirements. He must pass a written examination on the theory and practice of flight and maintenance.\nA pilot for an airline must have a craft and engine, and must have logged a minimum of 200 hours of solo flight experience. The minimum age for an airline transport pilot is 23, and they must be a citizen and high school graduate or equivalent, as determined by the Civil Aviation Authority (CAA). They must possess sufficient general experience and aeronautical knowledge and skill. The pilot must pass a written examination covering all aspects of flight, navigation, meteorology, and Federal Airways operation. They must hold a commercial pilot's rating and have logged a minimum of 1,200 hours of solo flight within the previous eight years, with at least 500 hours on cross-country flights. The pilot must pass a flight test on take-offs, turns, landings, and routine maneuvers, as well as in radio tuning and use for communication with the ground and following radio range station directions.\nAt the end of 1941, there were 100,787 licensed pilots in the country, a significant increase from the 25,000 in 1938. Of these, 15,142 held commercial certificates and 1,587 had air-line transport certificates. Today, the number of pilots in the United States is a military secret. The Army and Navy have absorbed many commercial and air-line transport pilots and train their own for transport and other flying without issuing certificates. After the war, the hours military pilots accrued on transport craft in the Army and Navy will be accepted by the Civil Aviation Authority (CAA) as qualification for obtaining either commercial or air-line transport certificates. In all branches of the services, there is a serious deficiency of men with flying experience as measured by hours logged.\nCivil air regulations permit pilots of air-lines to fly a maximum of 100 hours a month, 1,200 hours a year, during the war \u2013 an increase of 200 hours a year over the pre-war limitation. The Air Lines Pilots\u2019 Association, the Flight Radio Officers\u2019 Association, and the Air Line Flight Engineers\u2019 Association are affiliates of the American Federation of Labor.\n\nA Catalogue of American Transport Aircraft\n\nThis list of the chief models of transport aircraft now in service has been compiled to show to what extent America is making use of her available planes for wartime transport.\n\nIn the following descriptions, it should be borne in mind that due to constant changes being made in the aircraft structure for various transport uses, such as the addition of winterizing equipment, etc.\n\nCertain models, such as the DC-3 and the C-47, have been produced in large numbers and are used extensively for both military and civilian transport. The DC-3, with a cruising speed of 220 miles per hour and a range of 1,500 miles, can carry a payload of up to 10,000 pounds. The C-47, a military version of the DC-3, is used primarily for troop and cargo transport and can carry a payload of up to 12,000 pounds.\n\nAnother model, the C-54 Skymaster, is a larger transport plane with a cruising speed of 200 miles per hour and a range of 2,500 miles. It can carry a payload of up to 21,000 pounds and is used for long-range transport of troops and cargo.\n\nThe Liberator, a four-engine transport plane, is used primarily for long-range cargo transport and can carry a payload of up to 30,000 pounds. It has a cruising speed of 180 miles per hour and a range of 3,000 miles.\n\nThe C-60 Lodestar is a twin-engine transport plane used for short-range transport of passengers and cargo. It has a cruising speed of 180 miles per hour and a range of 1,500 miles, and can carry a payload of up to 5,000 pounds.\n\nThe Douglas R4D, a military transport plane, is used primarily for short-range transport of troops and cargo. It has a cruising speed of 160 miles per hour and a range of 1,000 miles, and can carry a payload of up to 6,000 pounds.\n\nThe Curtiss C-46 Commando is a twin-engine transport plane used for short-range transport of troops and cargo. It has a cruising speed of 180 miles per hour and a range of 1,500 miles, and can carry a payload of up to 12,000 pounds.\n\nThe Consolidated B-24 Liberator is a heavy bomber that has been converted into a transport plane. It has a cruising speed of 180 miles per hour and a range of 2,000 miles, and can carry a payload of up to 25,000 pounds. It is used primarily for long-range transport of troops and cargo.\nAnd life rafts, all figures concerning weight can only be approximate. Average cruising speeds, computed on around 60 percent or less of horsepower of the engine, can also be only approximate; they depend on altitude, range to be covered, grade of fuel used, weather conditions, and the like.\n\nThe engines of all the planes in the list are radial air-cooled, due to the preponderance of this development in the United States.\n\nThe letter C, in Army designations, signifies cargo. In Navy designations, J signifies General Utility Transport; R, multi-engine; PB, patrol bomber.\n\nThe weight of one gallon of gasoline is approximately 6 pounds.\n\nCertain details of performance on some planes have been omitted because they come within the realm of secret military information.\n\nExcept where otherwise specified, all planes in the list are built of aluminum alloy or steel.\nThe aluminum alloy is used in the standard American production type of construction. The Chief Air-Lines planes include the Douglas DC-3, referred to as \"The workhorse of the air lines.\" No commercially delivered models were produced after January 1943; they are now being manufactured in large quantities only for military models with the following variations:\n\nArmy C-47, known as \"Sky train,\" features a large door for cargo loading, a metal floor, and reinforced landing gear.\n\nArmy C-53, also called \"Skytrooper,\" has a wood floor, benches for troops, and a tow cleat on the tail for glider towing.\n\nNavy designations for the same plane are R4D-1, 3, 4, and 5, depending on the structural details.\n\nGeneral specifications:\n- Two 1,200-hp engines.\n- Standard gross weight for commercial operations: 25,200 lbs.\n- The C-47 is frequently flown at 29,000 lbs. Empty weight: 17,000 to 18,000 lbs., depending on equipment.\n- Normal fuel capacity: 822 gals.\n- Average cruising speed: 170-180 miles.\nThe average cargo load is 4,500 to 5,000 lbs. on a 1,000-mile flight. This plane has a normal limiting range, without refueling, of not over 1,500 miles. It is seldom used for round-trip transoceanic work and is flown across the ocean chiefly when being delivered abroad or on island routes with minimum nonstop distances. However, the normal fuel capacity can be almost doubled by the installation of additional tanks in the fuselage for overwater long-range flights. Thus heavily loaded primarily with fuel, the plane can have a range of 3,000 miles, and has frequently flown from Hamilton Field, California, to Hickam Field, Honolulu \u2014 in some instances at an initial gross weight of 31,000 lbs.\n\nFirst used as a passenger plane on the airlines in 1936 to carry from 21 to 24 passengers and a crew of three, this plane rapidly became the most commonly used aircraft for commercial flights.\nThe DC-3 is the most popular American transport in the air. Factors such as passenger comfort, good-sized cargo and mail space, price, size, speed, and reliability due to extensive development and use have contributed to its widespread popularity. This plane formed the bulk of planes taken over from the air lines, and 203 are still operating commercially. The DC-3 has flown more airline passenger-miles than any other model in the United States. Some have accumulated up to 22,000 flying hours and many are currently used 12 hours out of the 24.\n\nFor military personnel and cargo transport, it is being used in greater numbers than any other model. It was used in the evacuation of Burma and Hong Kong, carrying as many as 74 light passengers at a time. (The C-53's troop-carrying capacity is normally 28, plus).\nThe crew consisted of 4 men. It flew American and British paratroops 1,500 miles from England to North Africa. Generalissimo Chiang Kai-shek is supposed to have said, \"Give me a hundred BC-3's and the Japanese can have the Burma Road.\" The C-47 holds two jeeps or three airplane engines in boxes.\n\nThis plane is now used for comparatively short-range operations - for carrying paratroops and airborne infantry, for glider towing, command use, and shorter and front-line cargo deliveries. For more extensive operations, it is rapidly being replaced by the longer-range and larger C-46, which at 1,500-mile range will carry almost twice as much cargo.\n\nBoeing 314 Flying Boat - \"Clipper.\" Several of these planes are being operated on schedule by a commercial air line on routes between the United States, Hawaii, the British Isles, and Africa. It was in a [...]\nThe Boeing 314 used by President Roosevelt for over-water hops during his Africa trip.\n\nGeneral specifications:\nFour 1,600 hp. engines of the Wright R-2600 model.\nStandard gross weight, 84,000 lbs., but used up to 88,000 lbs. with heavy cargo.\nNormal commercial \"useful load\" of 38,000 lbs. (i.e., cargo including passengers, fuel, and crew).\nAverage cruising speed, 143 statute miles.\nNormal fuel capacity, 5,448 gals.\nIn service since 1939, the Boeing 314 is still the largest airplane in general use, carrying the largest passenger loads over the longest distances.\nLicensed to carry 74 passengers and 15 crew, the Clipper did so on short hops only (as from New York to Bermuda); on transoceanic trips it averaged half as many, plus cargo and mail.\nThe capacity of a plane is determined by its range. The plane has flown up to 58 passengers across the ocean. It is capable of flying non-stop from New York to Foynes, Ireland, and has done so on occasion. However, such flights are uneconomical for any plane. The large quantities of fuel required greatly reduce the passenger, mail, and cargo load. Refueling stops are therefore made at intermediate points.\n\nOf the nine compartments in this plane, two are still equipped with six berths each, but seven have been stripped of about a ton of sound proofing and passenger seats and berths to make room for light cargo and mail. As with all flying boats, the size of the Boeing 314's doors and openings does not permit the loading of cargo as bulky as jeeps or airplane engines.\n\nLockheed 18 \u2014 \u201cLodestar.\u201d Army designations C-56A, B, C, D.\nThe Lodestar is another popular airline plane, smaller and faster than the DC-3. It stems from an earlier Lockheed 14, previously used by the airlines and in extensive private flying, but now superseded by the Lodestar. First used in 1940, thirteen are still in commercial operation.\n\nGeneral specifications:\n- Two 1,200-hp. engines.\n- Standard gross weight, 18,500 lbs., but used up to 21,500 lbs.\n- Empty weight, 12,075 lbs.\n- Average cruising speed, 180 miles.\n- Normal fuel capacity, 644 gals.\n\nDesigned to carry 14 passengers and 3 crew, the \"Lodestar\" is used by the armed services for personnel transport and small cargo-carrying jobs, but is being replaced by larger planes. It is used transoceanically only on short-hop, island stepping-stone routes.\n\nBoeing 307\u2014 \u201cStratoliner,\u201d C-75. The first airplane to introduce\n\nThe Lodestar is a smaller and faster airline plane, derived from an earlier Lockheed 14 model, which was previously used extensively by airline companies and in private flying but has now been replaced by the Lodestar. First introduced in 1940, thirteen of these planes are still in commercial operation.\n\nSpecifications:\n- Two 1,200-horsepower engines\n- Standard gross weight: 18,500 lbs.; maximum gross weight: 21,500 lbs.\n- Empty weight: 12,075 lbs.\n- Cruising speed: 180 miles\n- Normal fuel capacity: 644 gallons\n\nDesigned to accommodate 14 passengers and 3 crew members, the Lodestar is used by the military for personnel transport and small cargo carrying tasks, but is being replaced by larger planes. It is used transoceanically only for short-hop, island hopping routes.\n\nBoeing 307\u2014 \u201cStratoliner,\u201d C-75. The first airplane to introduce jet propulsion into commercial aviation.\nA pressurized cabin in actual use in air transportation. Pressurizing comes into use at altitudes of 8,000 feet. The ratio of the air in the pressurized cabin to the outside air increases proportionately with altitude. In flights up to 15,000 feet, air pressure equal to that at 8,000-foot altitude is maintained in the cabin; up to 20,000 feet, equal to 10,000-foot altitude; above 20,000, a pressure differential of 2.5 pounds per square inch.\n\nGeneral specifications:\nFour 1,100-hp engines.\nStandard gross weight, 45,000 lbs. Empty, 29,000 lbs. Cargo capacity about 8,000 lbs. on 1,000-mile flight.\nNormal fuel capacity, 1,700 gals.\nAverage cruising speed, 185 miles.\n\nFirst used in 1940, with a capacity of 33 passengers and 5 crew, this plane was formerly used considerably in establishing ATC services over routes to Africa and India. Three are being operated.\nThe Vought-Sikorsky VS-44A, also known as \"Flying Ace,\" is commercially operated in the Caribbean area, while others fly under Army contract airline services. The plane is no longer in production, and the C-54A, which is more efficient as a cargo plane, is replacing it in the Air Traffic Control (ATC).\n\nSpecifications:\nFour 1,300-hp engines.\nStandard gross weight: 59,225 lbs.\nNormal fuel capacity: 3,820 gals.\nAverage cruising speed: 142 statute miles (long-distance flights).\n\nThis plane entered service in 1942, carrying 28 passengers and 11 crew overseas or 44 passengers and 8 crew on short flights. Like the Clippers, and for the same reason, Flying Aces are preferably refueled at an intermediate point when flying between the United States and the British Isles.\n\nThe VS-44A is a flying boat with a longer range than the Boeing 314 and a faster cruising speed on short ranges.\n\nGeneral specifications:\nFour 1,300-hp engines.\nStandard gross weight: 59,225 lbs.\nNormal fuel capacity: 3,820 gals.\nAverage cruising speed: 142 mph (long-distance flights).\n\nThis plane entered service in 1942, carrying 28 passengers and 11 crew overseas or 44 passengers and 8 crew on short flights. Like the Clippers, and for the same reason, Flying Aces are preferably refueled at an intermediate point when flying between the United States and the British Isles.\n\nThe VS-44A is a flying boat with a longer range than the Boeing 314 and a faster cruising speed on short ranges.\n\nSpecifications:\nFour 1,300-hp engines.\nStandard gross weight: 59,225 lbs.\nNormal fuel capacity: 3,820 gals.\nAverage cruising speed: 142 mph (long-distance flights)\nOlder Model Airlines Planes\nSikorsky Flying Boats \u2014 \u201cClippers.\u201d S-42B, 4-engine, and S-43 (Amphibian; Navy JRS-1), 2-engine. Both these planes, as well as the Consolidated \u201cCatalina\u201d flying boat mentioned below, are being flown by an airline under contract to the Rubber Development Corporation, a subsidiary of the RFC operating under directive of the Office of the Rubber Director, to take personnel and critical materials to the Amazon Valley and to bring out personnel, rubber, and other materials. The S-43 is also being flown in Hawaii.\n\nMartin 130 Flying Boat \u2014 \u201cChina Clipper\u201d type. Three of these planes were built in 1935 and pioneered in scheduled trans-Pacific operations. One is still flying between Honolulu and San Francisco. 4-engine. Standard gross weight, 52,000 lbs. Normal fuel capacity, 4,077 gals. Average cruising speed, 130 statute miles.\nBoeing 247 series. Began in 1933, all older models of this plane were converted to the type of the 247-D, begun in 1934. This was the first of the modern, low-wing, all-metal transport airplanes. Designed by the Army as C-73, it is used in the ATC\u2019s Transition Transport Training Program. 2 engines. Standard gross weight, 14,000 lbs. Normal fuel capacity, 273 gals. Average cruising speed, 165 miles.\n\nLockheed 10 series. Several versions of this plane, beginning in 1934, led up to the Lockheed 10-E, built in 1935, with space for 10 passengers and 2 crew. Army C-36, but not in extensive use. 2 engines. Standard gross weight, 10,500 lbs. Normal fuel capacity, 250 gals. Average cruising speed, 150 miles.\n\nDouglas DC-2. The forerunner of the DC-3, first built in 1934 and now used here and there by the ATC under designations C-32A,\nC-33 and C-34, 19,000 lbs. standard gross weight. 510 gals, normal fuel capacity.\n\nBombers: Some bomber planes are used for transport purposes without any alterations. Bombers being ferried abroad for foreign service carry personnel and sometimes strategic cargo with them on the trip, and then go into combat service. Several types of bomber are used regularly in transport service, either in models individually converted for transport work by removing some armor or in models manufactured in converted design specifically for transport purposes. Converted bombers usually carry auxiliary gas tanks in their bomb bays.\n\nChief among the bombers being manufactured in converted design are:\n\nConsolidated C-87 \u2014 \"Liberator Express.\" The transport version\nThe B-24 \"Liberator Bomber\" is manufactured as a transport plane on a separate production line as the Navy PB4Y-1.\n\nGeneral specifications:\nFour 1,200-hp Pratt and Whitney R-1830 engines.\nStandard gross weight: 29 tons.\nAverage cruising speed as a transport: 191 miles.\nNormal fuel capacity: 2,650 gals.\nAverage cargo capacity: 10,000 lbs. on 1,000-mile flights; 6,000 lbs. on longest transoceanic ranges.\n\nWith its high wing, enlarged sidemoor, and tricycle landing gear, the C-87 is an easy ship to load. However, like all bombers, its volume of cubic capacity for freight is small. It will hold 20 passengers and 5 crew; no jeeps. With added gas tanks, the plane has a 3,000-mile range and is in constant transoceanic use, including company ferry operations in the Pacific. At present, more C-87\u2019s are being used by\nThe C-87 is surpassed by the C-54A as the best four-engine plane due to its better cargo facilities and more efficient performance. Wendell Willkie completed his around-the-world flight in a C-87, a fast plane with several records.\n\nConsolidated \"Coronado\" Flying Boat: A large patrol bomber, now being mass-produced on Consolidated's production line for Navy transport duties. Navy designation as bomber PB2Y-3; as transport, PB2Y-3R. Along with the PBM-3R (below), it will be the Navy's principal transport plane. Its equipment includes a large cargo door, cargo flooring, and cargo handling facilities. Four 1,200-hp Pratt and Whitney R-1830 engines. Standard gross weight, 66,000 lbs., with a cargo capacity of 20,000 lbs. on a 1,000-mile flight. Average cruising speed, 170 miles.\n\nMartin \"Mariner\" Flying Boat: Another Navy patrol bomber,\nTwo PBM-3R flying boats, each with two 1,700-liter Wright R-2600 engines, 24 tons gross weight, an average cruising speed of 150 miles, and a 3,000-mile range. One plane of this model has been loaned by the Navy to the Defense Plant Corporation for transporting vital cargo between Miami and Cuba.\n\nThe Consolidated \"Catalina\" Flying Boat and the smaller Navy patrol bomber and glider tower, PBY-5, also have amphibian models, PBY-5A. Several of both models have been modified for cargo-carrying duties. Like the Sikorsky Flying Boats, the \"Catalina\" is used for the Rubber Development Corporation in the Amazon Valley. Two 1,200-hp engines. Empty weight, 17,500 lbs; cargo capacity up to 15,000 lbs.; 3,000-mile range in military operations. Two newer aircraft designed for commercial passenger use.\nThe Douglas DC-4, named \"Skymaster\" in military use, was intended for commercial passenger transport with a capacity of 42 passengers over distances up to 1,000 miles. Introduced in 1942, this large aircraft, more than twice the size of the DC-3, also served as a cargo carrier with the designation C-54, a naval R5D, and a passenger transport for the Army. It could carry 54 hospital litters, a light tank, or a heavy truck, and featured an interior hoist for loading purposes.\n\nGeneral specifications:\nFour 1,350-hp engines.\nStandard gross weight: 65,000 lbs. (12,500 lb. payload) as C-54.\nAverage cruising speed up to 200 miles.\nFuel capacity: 3,700 gals, with four fuselage tanks.\n\nThe DC-4 is considered the most efficient plane for over 1,500-mile and transoceanic operations, supplanting the C-87.\nas  a  long-range  cargo  and  passenger  carrier. \nUurtiss-W right \u2014 \u2022\u201c Commando.\u201d  Army  C\u2014 46.  Originally  designed \nas  Model  CW-20  to  carry  30  passengers  and  4  crew,  and  first  operated \nin  1941  on  British  government  airways,  the  C-46  is  now  considered \nthe  most  efficient  two-engine  cargo  carrier  for  hops  under  1,500 \nmiles.  It  carries  40  paratroops,  or  several  jeeps,  or  two  fight  tanks  of \n4,000  lbs.  each.  It  can  carry  a  loading  ramp  and  hoisting  gear  and \nis  fitted  with  a  glider-towing  cleat. \nGeneral  specifications: \nTwo  2,000-hp.  Pratt  and  Whitney  R-2800  engines. \nStandard  gross  weight,  48,000  lbs. ;  up  to  50,000  lbs.  for  emergencies. \nEmpty  weight,  27,598  lbs.  Pay  load,  10,000  lbs.  on  1,000-mile  flight. \nNormal  fuel  capacity,  1,000  gals. \nThe  C-46,  the  largest  of  the  two-engine  land  transports,  is  rapidly \nreplacing  the  DC-3  as  a  cargo  carrier. \nPlanes  at  Present  Under  Development \nThree planes are being flight tested: Curtiss-Wright \"Caravan\" C-76. The first plane designed primarily as a short-route cargo carrier. Constructed entirely of plywood, using 50,000 sq. ft., the C-76 is being built in large part under subcontract with a Virginia plastics firm, a piano company in Ohio, and a Kentucky plant manufacturing tobacco hogsheads, Army bunks, and bodies for trucks and station wagons. This plane has tricycle landing gear, and the floor of the cargo hold is only 36 inches off the ground. It loads both at the nose and at the side, has an interior track hoist, and is fitted to tow gliders. General specifications: Two engines. Standard gross weight, 35,000 lbs. Empty, 20,000 lbs.\nThe Lockheed \"Constellation\" (C-69): Maximum fuel capacity, 600 gals; average cruising speed, 160 mph. Designed for long-range passenger transport with a pressurized cabin, capable of flying in the stratosphere at altitudes above 20,000 feet.\n\nGeneral specifications:\n- Four 2,200-hp Wright R-3350 engines.\n- Standard gross weight, 73,500 lbs.\n- Fuel capacity, 4,800 gals.\n- Average cruising speed: 255 miles at sea level, increasing to 300 mph.\n\nThe \"Constellation\" with its heavy weight (empty) is not intended for cargo carrying but is the newest development for post-war commercial passenger use, currently being tested as a troop carrier. Increased speed and economy result from flying \"above the weather\"; and at full power, at altitudes up to 30,000 and 35,000 ft., the \"Constellation\" achieves impressive performance.\nThe \"Constellation\" is designed to carry 55 passengers at a higher speed than a Jap Zero pursuit ship. It is designed to operate at 25,000 feet with three of its engines, if necessary, and at 16,500 feet with only two. Cabin pressure is kept as at 8,000 ft. The \"Constellation\" is the largest American land transport yet built, with a wing spread of 123 feet and a length of 95 feet (DC-3 wing spread 95 feet, length 64 feet). The wing of the \"Constellation\" was developed as a result of tests on the wing of the Lockheed \"Lightning\" military pursuit ship \u2013 the distinctive plane with twin tail booms.\n\nThe \"Martin Mars\" Flying Boat. \u2013 Navy JRM-1. Probably the largest aircraft in existence, the \"Mars\" was originally built as a Navy patrol bomber, but has been converted for cargo use, with a loading track and large hatches. It has four Wright 18-cylinder engines.\nEngines with over 2,000-hp each, three-blade propellers, 140,000 lbs. gross weight. Fuel capacity is \"about a tank-car load\"; wing span, 200 feet; length, 117 feet 3 inches.\n\nThree planes not yet at the flight-test state:\nWaco C-62. All wood. Two engines. 33,500 lbs. gross weight.\nFairchild C-82. Part-metal, 50,000-lb. cargo plane with a rear door that can be lowered as a ramp and an interior hoist.\nKaiser-Hughes HK-1 Flying Boat. All-plywood ship, 400,000 lbs. gross weight, being built primarily for cargo carrying. Static testing of some sections has begun. Eight engines, 8,000 gals fuel capacity, 120,000 lbs. cargo capacity. Average cruising speed, 174 miles. The largest aircraft actually under construction, with a 320-foot wing spread and a 218-foot length, the HK-1 is being built under contract to the Defense Plant Corporation, a subsidiary.\nof  the  RFC. \no ", "source_dataset": "Internet_Archive", "source_dataset_detailed": "Internet_Archive_LibOfCong"},
{"language": "eng", "scanningcenter": "capitolhill", "sponsor": "Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division", "contributor": "Library of Congress, MBRS, Moving Image Section", "date": "1943", "subject": ["Motion pictures -- Periodicals", "Cinematography -- Periodicals", "Cinematography", "Motion pictures", "Filmkunst", "CINE -- PUBLICACIONES PERIODICAS", "CINEMATOGRAFIA -- PUBLICACIONES PERIODICAS"], "title": "American cinematographer. (Vol. 24, 1943)", "lccn": "sf 77000199", "shiptracking": "ST011336", "partner_shiptracking": "IAPC015", "call_number": "11206144", "identifier_bib": "00075523051", "lc_call_number": "TR845 .A55", "volume": "24", "note_coverage": "1943", "holding856": "http://catalog.hathitrust.org/Record/000077329", "publisher": "[Hollywood, Calif.], [ASC Holding Corp.]", "associated-names": "American Society of Cinematographers; Rouben Mamoulian Collection (Library of Congress)", "description": ["volumes 30 cm", "Mamoulian Collection: Vol. 12, no. 10 (Feb. 1932)", "Supplements accompany some issues", "Issued by the American Society of Cinematographers"], "mediatype": "texts", "repub_state": "19", "page-progression": "lr", "publicdate": "2019-08-14 11:10:02", "updatedate": "2019-08-14 12:09:55", "updater": "associate-richard-greydanus@archive.org", "identifier": "americancinemato24unse", "uploader": "associate-richard-greydanus@archive.org", "addeddate": "2019-08-14 12:09:57", "operator": "associate-saw-thein@archive.org", "tts_version": "2.1-final-2-gcbbe5f4", "camera": "Sony Alpha-A6300 (Control)", "scanner": "scribe1.capitolhill.archive.org", "imagecount": "472", "scandate": "20190819163737", "notes": "<br />", "ppi": "300", "republisher_operator": "associate-melanie-zapata@archive.org;associate-richard-greydanus@archive.org", "republisher_date": "20190906151741", "republisher_time": "3624", "foldoutcount": "0", "identifier-access": "http://archive.org/details/americancinemato24unse", "identifier-ark": "ark:/13960/t1xd8qx2c", "scanfee": "300;10.7;214", "invoice": "32", "curation": "[curator]admin-andrea-mills@archive.org[/curator][date]20191101212632[/date][state]approved[/state][comment]invoice201909[/comment]", "year": ["1943", "1920"], "collection": ["libraryofcongresspackardcampus", "fedlink", "library_of_congress", "americana"], "sponsordate": "20190929", "backup_location": "ia906909_6", "oclc-id": "1479664", "ocr_module_version": "0.0.21", "ocr_converted": "abbyy-to-hocr 1.1.37", "page_number_confidence": "95", "page_number_module_version": "1.0.3", "creation_year": 1943, "content": "The Motion Picture January 1943, American Cinematographer:\n\nGood Shooting for 1943\nBest Wishes from du Pont\n\nSuperior Cine Film\nBetter Things for Better Living . . . Throgh Chemistry\n\nWar correspondents and other professional cameramen have to be ready for whatever breaks \u2013 good or bad \u2013 and they know from years of experience that the EYEMO 35mm. Camera never fails \u2013 it always gets the picture. Choose from the seven Eyemo models offered the one which best suits your requirements. Sold only direct.\n\nEYEMO Camera never fails, it always gets the picture. Choose the best model for your requirements from the seven offered, sold only direct. (American Cinematographer, January 1943)\nDECEMBER 7, 1941\nJap Planes Bomb Pearl Harbor\nLen H. Roos, A.S.C.F.R.P.S., Staff War Correspondent, Pathe News, films the action in Honolulu during the raid, with his EYEMO.\nBell & Howell Company, Chicago; New York; Hollywood; Washington, DC; London. Established 1907.\nEYEMO MODELS L and M. Three-lens turret head; \"sound\" field viewfinder is matched to six lens focal lengths by turning a drum. \"Sound\" aperture.\nEYEMO MODELS N and O. Three-arm offset turret permits a broader choice of lenses. Turret lock is particularly appreciated with long, heavy lenses. Visual, prismatic focuser with magnifier. Model N EYEMO.\nEYEMO MODELS P and Q. These are similar to Models N and O, respectively, except that P and Q are equipped for alternate, optional use with electric motor and external film magazines. External film magazines extend maximum scene length from 55 to\n400 feet. Offset finder eyepiece prevents interference.\n\"E\" FOR EXCELLENCE \u2014 A 10-minute sound motion picture showing how the Army-Navy Award for extraordinary performance is won and presented. Available on nominal service charge.\nBUY WAR BONDS\nMotion Picture Cameras and Projectors\nPrecision-made by\nBell & Howell\nBell & Howell Company\n1848 Larchmont Ave., Chicago, Ill. I\nPlease send complete details about:\n() Eyemo 35mm. Cameras; () Available Accessories for Eyemo Cameras.\nAmerican Cinematographer \u2022 January, 1943\nCONTENTS\nTechnical Progress in 1942 . 6\nThe Cameraman\u2019s Part in Television Production . By Edward Anhalt . 8\nGerman Propaganda Movies in Two Wars . By Staff Sgt. Alfred W. Rohde, Jr., USMC . 10\nCameramork on a Convoy . By Harry Perry, ASC . 12\nKeeping Kodachrome Color Rendition Under Control . By Alan Stensvold, SSC.\nAces of the Camera \u2014 XXIV: George Barnes, A.S.C.\nBy Walter Blanchard, 14. Editor\u2019s Finder, 15. A.S.C. on Parade, 16. Photography of the Month. U\nMake a Prize-Winning Film from Vacation \u201cLeft-Overs.\u201d\nBy John E. Walter, 18.\nA Camera on Skis. By W.G. Campbell Bosco, 19.\nEditing for Balance. By Wallace Campbell, 20.\nMake Your Old Films New by Making New Titles.\nBy Phil Tannura, A.S.C., 21.\nDoes Your Projector Grow Whiskers \u2014 \u2019l. By F.W. Pratt, A.A.C.S., 22.\nAmong the Movie Clubs.\nNew Photographic Books.\n16mm. Business Films.\nHome Movie Previews.\n\nThis month's cover shows Ray Renahan, A.S.C., in checkered sweater to the left of the camera, technicoloring a scene for Paramount\u2019s \u201cFor Whom the Bells Toll\u201d on location in the High Sierras. Note use of both arc and incandescent \u201cbooster\u201d lights, and overhead scrim. Still by Bob Coburn.\nStaff\nWilliam Stull, A.S.C. (Editor)\nEmery Huse, A.S.C. (Technical Editor)\nReed N. Haythome, A.S.C. (Washington Staff Correspondent)\nCol. Nathan Levinson (Military Advisor)\nPat Clark (Staff Photographer)\nAlice Van Norman (Artist)\nMarguerite Duerr (Circulation)\nFred W. Jackman, A-S.C. (Advisory Editorial Board)\nVictor Milner, A.S.C. (Advisory Editorial Board)\nJames Van Trees, A.S.C. (Advisory Editorial Board)\nFarciot Edouart, A.S.C. (Advisory Editorial Board)\nFred Gage, A.S.C. (Advisory Editorial Board)\nDr. Herbert Meyer, A.S.C. (Advisory Editorial Board)\nDr. V.B. Sease, A.S.C. (Advisory Editorial Board)\nS.R. Cowan (New York Representative)\n132 West 43rd Street, New York\nChickering 4-3278, New York\nMcGill, 179 Elizabeth Street, Melbourne, Australia (Australian and New Zealand Agents)\nPublished monthly by A.S.C. Agency, Inc.\nEditorial and business offices: 1782 North Orange Drive, Hollywood (Los Angeles), California\nTelephone: Granite 2135\nEstablished 1920. Advertising rates on application. Subscriptions: United States and Panama.\nJanuary 1943, American Cinematographer\n\nThe friction type head provides super-smooth pan and tilt action with a 360\u00b0 pan and 80\u00b0 tilt range. A generous-sized pin and trunnion ensure long and dependable service. \"Spread-leg\" design offers utmost rigidity and quick, positive height adjustments. A \"T\" level (like those used in heavy professional models) is built into this 14 lb. superfine tripod. The top-plate can be set for 16mm EK Cine, with or without motor; 35mm DeVry and B & H Eyemo (with motor).\n\"Many other features are graphically described in literature to be sent upon request. Tripod Head Unconditionally Guaranteed 5 Years. Write for Descriptive Literature! 'Professional Jr.' tripods are used by leading Newsreel companies, 16mm and 35mm motion picture producers, the U.S. Government \u2013 Signal Corps, Navy Department, and Office of Strategic Services \u2013 for important sound and silent work.\n\nFRANK C. ZUCKER\nG\n\nAbove \u2013 Collapsible and adjustable telescoping metal triangle. Extends from 26.2\". Has wing locking nuts for adjusting leg spread and stud holes for inserting points of tripod feet. Triangles prevent damage, ensure cameramen that their equipment remains in correct position and will not slip on or mar arty type of surface.\n\nLeft \u2013 35mm Eyemo with motor and 400 ft. magazines\"\nThe Cunningham Combat Camera was the major development in professional motion picture cameras in 1942. In common with almost every other part of our daily living, cinematography, both professional and amateur, has been dominantly influenced by America\u2019s participation in the war. In some respects, this influence has been a limiting factor; but in others, it has had the opposite effect of accelerating the development of both existing and new methods and equipment beyond anything which could have been expected otherwise. Anyone who attempts to chronicle the year's cinetechnical progress must be struck by the fact that his list will contain fewer mentions of new equipment and materials than has been the case in many a year. The necessity of diverting resources to the war effort has meant that manufacturers have had to focus on producing essential items, rather than on creating new gadgets for the film industry. However, this has not prevented some significant advances from taking place. For instance, the use of anamorphic lenses has become increasingly popular, as it allows for a greater image area to be captured on standard film stock. This technique, which was pioneered by the French company CinemaScope, enables cinematographers to shoot widescreen images with a greater aspect ratio than was previously possible. Another innovation is the development of synchronized sound-on-film technology, which eliminates the need for separate sound recordings and allows for a more seamless production process. The war has also led to the widespread adoption of color film, as it is seen as a more effective way of recording the vibrant hues of military uniforms and landscapes. Despite the challenges posed by the war, then, cinematography has continued to evolve at a rapid pace, with new techniques and technologies emerging to meet the changing needs of the industry.\nMetals, engineering ability, manufacturing capacity, and even film itself have been integrated directly into channels connected to the War Effort. On the contrary, these same shortages \u2013 rapidly being compounded by a shortage of trained technical manpower in studios \u2013 are leading to the development of professional methods and accessories that should prove valuable to the industry long after the war is won. In the same way, the technique and scope of 16mm films for educational and training purposes are advancing at an unparalleled pace.\n\nMethods\nThe methods of professional production are undergoing an almost revolutionary change. For nearly forty years, it has been an industry-wide tradition that \"film is the cheapest thing on the lot.\" Today, film has become one of the rarest and most valuable. Due to\nThe tremendous use of motion pictures by the Armed Forces has led to drastic reductions in the amount of film available for civilian use. Consequently, the keynote of today's production practice necessitates the conservation of every possible inch of film. Every studio has therefore placed definite limitations on the number of \"takes\" which can be made of any normal scene, and much more painstaking rehearsal of both dialog and action has become universal. A similar restriction on the number of \"takes\" which can be rush-printed is also generally applied. Both of these reforms, incidentally, have long been advocated by many in the industry.\n\nThe constantly increasing use of 16mm by the Armed Forces was one of the most significant developments of the year and greatly influenced conditions in both professional and amateur photography.\n\nTechnical\ntry's leading technicians and creators are not only valuable economies, but steps toward better production quality. Present experience seems to be bearing out these claims. Another step in conserving film has been a more drastic reduction in the number of pre-production tests made. In some studios, tests on motion picture film have been almost entirely eliminated and replaced by tests made under the lighting control of a director of photography, but employing still photographs as the visual medium. Due to the shortage of 16mm. film, especially Koda-chrome, the use of 16mm. for testing has fallen off sharply. In this connection, a suggestion made by Lee Garmes, A.S.C., is worthy of note. He has suggested \"pre-photographing\" complete productions in 16mm., preferably with single-system sound, and thereafter using the completed footage for reference during the production of the final film.\nThe edited 16mm version was used as a virtual blueprint for the production, allowing it to be photographed in its ultimate release footage with minimal superfluous scenes and overlaps. Mechanically, the use of automatic scene-slaters, which utilize footage consumed in bringing the camera up to speed to carry scene-identification data, has been extended. Several studios, sound engineers, and others have conducted studies on various systems for synchronizing and starting cameras and recorders, also in the interest of film conservation. Several less practical methods for film conservation were also proposed, but like the \"wide film\" trend of a decade ago, they progressed little past the conversational stage, for much the same reason.\nEnthusiasts aimed to save film-footage by reducing either the standard picture-frequency or the depth of the frame aperture, or both. A few advocated reducing the taking and projecting speed from the present 90 feet per minute to the former silent-picture speed of 60 feet per minute. Others suggested accompanying the reduction in linear film speed with a reduction in the frame's depth: one group favoring reducing the height of the frame from the present 4-sprocket standard to 3, and another group urging the even more extreme change to a frame only two perforations high. All of these expedients would undoubtedly have reduced the industry's consumption of film \u2013 especially release-print positive \u2013 significantly, but all of them would require the replacement of gearing, and in some cases intermittent movements and optics as well.\nOf the country's projectors, which obviously conserved film at the expense of critical metals and precision manufacturing plant capacity, as well as industry-wide confusion during the transition. Another significant change in the industry's methods was effected by the governmental limitation on the use of new materials in set-construction. Aside from the obvious problems in the construction of interior sets (to be discussed later), this limitation created new problems in filming exteriors. Several studios met this challenge by sending complete production units on extended location trips, where transportation conditions permitted, to film natural exteriors, as in the cast of Paramount\u2019s \u201cFor Whom the Bells Toll,\u201d where much of the exterior action, originally intended, was filmed.\nFilmed on stage-built exterior sets, this was photographed under difficult conditions in California's High Sierras. Where actual towns or buildings could be used in lieu of sets, several studios did so, as in the case of Universal\u2019s \u201cShadow of a Doubt,\u201d for which director Alfred Hitchcock and cinematographer Joseph Valentine, A.S.C., made use of an entire Northern California town in place of studio-built exterior sets.\n\nIn other, less spectacular instances, studios arranged to send their units to standing sets in other studios for such scenes. In one current production, exteriors are being filmed on standing exterior sets in no less than five other studios.\n\nWith the coming of wartime coastal dim-out regulations, the filming of night exteriors has become another added problem. In some instances, this is being solved by photographing these scenes during daytime and manipulating the film to appear as night.\nBy daylight with appropriate filters, in some instances on Infra-Red film, and in others on standard panchromatic negative with the popular 23A-56 combination filter. In other instances, where possible, such scenes are being photographed with artificial lighting, under canvas. This problem is not to be regarded as completely solved, however.\n\nWhat may in the long run prove the year\u2019s outstanding development in technical methods, however, is the amazing advance made in the professional use of 16mm. film \u2014 especially Kodachrome \u2014 for subsequent enlargement to 35mm. In addition to a number of excellent short-subjects made in this manner and released in 35mm, two outstanding featurettes \u2014 the Navy\u2019s \u201cThe Battle of Midway,\u201d and Walt Disney\u2019s \u201cSaludo Amigos!\u201d (live-action sequences) \u2014 have been made originally in 16mm.\n16mm and enlarged, at least one feature, Loew-Lewyn\u2019s \u201cMoon and Six-pence,\u201d has employed an enlargement from a 16mm Kodachrome original to provide a color sequence. Successful tests have also been made using enlargements from 16mm originals for process background plates.\n\nFilm \u2014 Professional:\nWith all of the nation's raw film producers straining their capacities to the utmost to meet an unprecedented demand for film, no new cinematic film products could be introduced during the year. However, recent reports from the Agfa Ansco organization indicate that this company, through one of its subsidiaries, has perfected the cellophane-like \u201cOzophane\u201d film-base material with which they have been experimenting for some time. Commercial introduction of this product naturally awaits the termination of the war.\nFilm is in manufacture with the total output being absorbed by the military for unrevealed special purposes. Film - Amateur. For the same reason, no new film products in 16mm. or 8mm. have been introduced. Due to the widespread use of 16mm. for military training films and for reduction prints of professional features for entertainment of troops, virtually no 16mm. positive film is available for civilian use. Substandard reversal film products remain available for civilian use, however, though in considerably restricted quantities. In general, manufacturers and dealers are voluntarily rationing substandard film, selling it only in reduced quantities and, in the case of regular commercial users, on a quota basis based on the customer\u2019s previous regular purchases.\n\nA new and important use of 16mm. has emerged.\nFilm is in the \"V. . . . - Mail\" service. This is an extension of the \"Airgraph\" system pioneered abroad by Eastman's British affiliate, Kodak, Ltd., to facilitate transportation of letters between soldiers overseas and their families at home. The letters are written on special blank forms, which are taken to a central depot and photographed on 16mm film. In this form, they occupy only a fraction of the space occupied by regular letters, which would normally weigh 85,000 letters, which would normally weigh a ton.\n\nThe portable, self-contained and almost wholly automatic Houston developing machine, developed for field service with the Army, was the 1942 highlight in laboratory advancements.\n\nThe rapidly expanding use of motion pictures, especially in 16mm, for military and industrial training is bringing enormous advances in visual education technique.\nBut 20 pounds when microfilmed, and a single 100-foot roll of 16mm film will record over 1700 letters. In this form, the letters can be flown to their destination, where they are photographically enlarged to readable size.\n\nColor.\n\nParadoxically, despite the restrictions on the availability of film, the use of color \u2013 notably, of course, Technicolor \u2013 in 35mm production has not lessened. If anything, it has increased, with a constantly increasing proportion of the industry\u2019s major features being enhanced by the use of color. It may therefore be very definitely concluded that color, properly photographed, has proven itself at the box-office, for otherwise it would certainly not be so widely employed under present conditions.\n\nThe Technicolor process in its three-strip form continues to enjoy its virtual monopoly of feature production. Some\nPotential competitors exist, but three-color Cinecolor has reached the commercial production stage, despite the drawback of inadequate three-film cameras beyond Technicolor's. Some use has been made of Technicolor's much-rumored single-film or Monopack process, which essentially involves a 35mm Kodachrome-type reversal original that is subsequently copied to create the necessary three-color separation negatives for regulation Technicolor imbibition printing. This process has been used for special scenes in a number of productions, particularly in instances where the bulk of the usual three-film camera was physically impractical or where camera-speeds higher than the rather limited speeds possible with three-film cameras were necessary. At least one feature film, Disney's picturization, has employed this method.\nThe completion of Seversky\u2019s \u201cVictory Through Air Power\u201d film has been achieved using Mono-pack for all live-action scenes. The successful adaptation of the Mono-pack principle to a negative-positive system and the production of natural-color stills with prints on an opaque base has been accomplished in Eastman's Kodacolor.\n\nAmerican Cinematographer \u2022 January, 1943\n\nThe Cameraman's Role in Television Production\nBy Edward Anhalt\nChief Cameraman, CBS Television Studios, New York\n\nOn May 12th of this year, the Federal Communications Commission amended its television regulations to \"permit licensees of commercial television stations to broadcast four hours of program service per week instead of the fifteen hours weekly, required heretofore.\" In explaining the new rules, the Commission stated that \"The step was taken to prevent overloading of the television receivers and to conserve scarce materials.\"\nThe rules will permit licensees to conserve the life of their equipment, particularly tubes, and will permit television stations to operate under conditions of greatly reduced personnel. Since that date, the channeling of television's technicians and equipment into war work has accelerated. Telecasters have had to reduce correspondingly the production value of their live programs and resort more and more to theatrical films or war-effort programs canned on film. Public interest in television consequently has dropped to a new low. Paradoxically, however, the deader the art looks to the public, the more lively it grows behind the locked doors of the laboratory and the conference room.\nFor some time, almost all television laboratories and personnel have been engaged in applying the electronic principles of television to war work of the most strategic and secretive nature. It is no military secret, however, to state that just as radio grew through World War I, significant technical advances have been made in television since the War emergency began. Out of them will come the technical base of the post-war industry: 1) Adequate screen size, 2) Network television, 3) Satisfactory rendition of picture detail, 4) Full-color television.\n\nFurther, careful evaluation of the overall national experiments in television production, plus our own practical experience at CBS, have led us to the conclusion that we now know how to put our own television programme service on a practical economic basis just as soon as the United Nations...\nThe victory's releases to us technical advances in telecasting, showcasing an Army Training Film production. The uppermost lighting units are 3 kw mercury vapors. Next, the main bank of fluorescents is rated at 7 kw but actually the equivalent of 21 kw due to the \"ike\"'s greater sensitivity to color temperatures approaching daylight. Overhead incandescent units are 1000-Watt totaling 5 kw. Spotlights are 5 kw. The total wattage on the set is 24 kw. Lens apertures, f:4.5. Iconoscope sensitivity equivalent to Weston 50.\n\nRegarding television, Standard & Poor's warns in its current survey of the motion picture industry that the industry's post-war outlook is \"generally favorable, though competition from other forms of amusement now restricted will probably hold earning power below recent high levels.\"\nFor some time, over the longer term, the industry faces the threat of commercial television. For all these reasons, it seemed to me that an account of television production might be timely, even though our minds and many of our bodies are currently occupied in the matter of winning the war. The following paper is, therefore, submitted with the reminder that it is necessarily a highly personal impression of a controversial subject about which there is no critical literature and little recorded history.\n\nAll television setups, outside of those encountered in mobile or non-studio pick-ups, are basically similar, although they may differ in details of construction. There is a stage area around which are mobile and fixed light-sources in varying combinations. Over the stage area are microphones on booms and other microphones.\nCables are located in front of the stage area with one to three television cameras on dollies, perambulators, or rolling tripods. These are connected through cables to a control room. The control room features monitor tubes or screens, which display the director the pictures picked up by each camera, as well as conventional audio monitors and control panels. Cuts, fades, or dissolves can be made between cameras, allowing the picture pick-up of any one camera to be transmitted over the air in preference to that of any other. The director, production people, and engineers communicate with cameramen and studio technicians via headphones. Cameramen signal back to the control room with hand signals as talking is minimal during a live show. The fundamental problem is effective pick-up.\nmaneuver cameras around cables, lights, sets and booms to miss none of the action, take effective shots and permit optically pleasant cuts between cameras. As in radio, the control over the show exercised by producers or directors can be measured almost exactly by the extent of the rehearsal and planning time available. But, regardless of the amount of preparation, television's primary quality of instantaneous transmission rules that much of the responsibility for the success or failure of the pick-up rests with the cameraman. This does not mean that skillful camerawork can pull a bad program very far out of the mud. As in the film industry and radio, (8 January, 1943) American Cinematographer Televising a demonstration of the New York Aircraft Warning Service (before Pearl Harbor). Program included mock air raid with film inserts for exteriors.\nBad material can only result in a poor show, no matter what the technical workers do to help it. Good material, however, can only be effectively carried to the television audience if the cameraman gets it there. He cannot save it if it is bad, but he can ruin it if it is good. Since the picture is transmitted over the air when he takes it, he must be right the first time. There are no retakes at CBS, and, so far as I know, at other studios as well. Life for the cameraman was harder than it will be when the industry is fully developed. The pressure of progressive experimentation, plus the fifteen weekly hours of programs required by the FCC, allowed for so little rehearsal and planning time that most of the action that occurred on the stage was actually unrehearsed.\nThe director's control over the action was not absolute as in pictures. His control over the cameras was limited by the instructions he could communicate succinctly to the cameramen. Due to the unpredictability and speed of the action, they had to be prepared to carry out these instructions before they were given if the pick-up was to be successful. We at CBS, particularly those of us who functioned both as cameramen and directors, recognized the heavy responsibility of the cameramen and tried to confine instructions to them, advancing warnings of actions to come or cues for camera treatments previously agreed upon.\n\nNote that this lack of rehearsal and technical planning did not mean that our programs were unprepared. The skeletons of all of them were laid out.\nWe were forced to develop competent personnel and techniques to carry out the general line of a programme with minimal attention to its execution before air time. The operation and coordination of cameras, lights, mikes, and properties was rarely rehearsed. The technical execution of the show was left to the mental agility of the director and the familiarity of the technicians and cameramen with the demands of the medium.\n\nWe have never assumed that dramatic shows or tightly written factual material could be presented in that way. However, we do know from our off-the-air experiments in formal television programmes that training in the off-the-cuff production methods of our informal shows will allow us to cut considerably the rehearsal time of formal material. It may seem unconventional.\nA wild statement to those accustomed to stage and motion picture rehearsals, but we think it will be entirely possible to air a one-hour dramatic show, complete with film inserts and rear-projection, with only three hours of technical rehearsal in the studio. As part of the experiments in this direction at CBS, I produced a rather elaborate forty-five minute report \u2013 a television \u201cdocumentary\u201d about the Training Film Unit of the U.S. Army Signal Corps. We did not have time for technical rehearsal \u2013 lights, cameras, booms, etc., were not used during the two-hour, off-stage run-through. We transmitted still pictures, slides, two training films, a re-enacted sequence of methods of training in World War I, a scenario story conference, a sequence covering animation methods, and the actual shooting of a film sequence with film cameras. Personnel on the show participated.\nTwenty-two officers and men. The element of short rehearsal time is common to both radio and television. In radio, it has produced two distinguishing conditions which will probably carry over to television. These are known as the \"repetitive beat\" or \"programme cycle,\" and the \"plot pattern.\" These phrases, recurring in the various current sociological surveys of radio, mean that a) most radio shows are aired regularly at the same time every day or every week, and b) the same continuity skeleton for variety or audience participation programs and the same plot situations and character delineations for strip shows are maintained week in and week out. This \"repetitive beat\" exists because radio's advertisers must have a continuing audience, and the plot \"pattern\" exists because...\nDuring the past year, we at CBS experimented with a daily or weekly cycle for television programming, following the radio pattern. Each Wednesday featured a square dancing show, Thursdays were for quizzes, afternoons hosted an illustrated children's fairy tale, and so forth. After a few weeks, we managed to create a television equivalent of the radio pattern, allowing for less and less rehearsal time for all \"pattern\" shows. We changed the material, questions, and personalities of programs like our quiz show each week, but the sequence of specific types of questions remained the same, resulting in the same basic skeleton of camera, lights, and sound coverage.\nOur vaudeville or variety show used different acts but received the same production treatment. Consequently, they could be divided into five or six categories for camera treatment: routine treatments for ballroom dancers, monologuists, acrobats, singers, and so forth. In short, we escaped the necessity of long rehearsals by following almost exactly the same routine as for continuity, setting, space relationships, and lighting, week in and week out.\n\nThe radio equivalent of our \u201cpattern\u201d show is recognized as good programming practice. As long as the actual material \u2013 plots, gags, songs, documentaries, quiz questions \u2013 is changed, the effect is not harmful. The Allen and Benny radio shows have the same basic skeleton week after week. (American Cinematographer \u2022 January, 1943)\nGerman Propaganda Movies in Two Wars\nBy Staff Sgt. Alfred W. Rohde, Jr., U.S.M.C.\n\nGerman propaganda movies are not a new invention of the present Nazi Germans. They began under the Imperial German Government during World War I. The Nazi propagandists of today have only streamlined and vastly expanded a tool left to them by their predecessors who lost the First War Against Democracy. It is a good omen that in both instances of the use of films as a weapon by the self-styled \u201csupermen\u201d of the Reich, their celluloid weapon has backfired upon its users.\n\nA soldier is better armed if he knows how the enemy uses his weapons. The writer, as a cinematographer in the United States Marine Corps, has tried to learn as much as possible about these enemy weapons.\nAt the outbreak of World War I, the Imperial Film Office of the German Government began making the first propaganda films to bring the reality of war to the German people. Their aim was to send German moviegoers from the theaters in a mood of glowing patriotic enthusiasm and, later, to inspire determination to \"stick to it\" and achieve victory at any cost.\n\n\"Direction\" in those early propaganda films:\nFilms seemed to have been naive, at least. The British were usually the villains (remember the famous \u201cHymn of Hate\u201d?). The makers of these films would round up a cast of laborers, farmers, and village youths. They would dress them in the uniforms of the British and German armies and stage their war scenes in the best Hollywood fashion. By these means, and often with the aid of ingenious mechanical devices, they could film any desired type of battle or victory over the hated English. One could stroll along a quiet country road and come upon a horde of yelling men whose spiked helmets and wicked-looking bayonets glistened in the summer sun as they charged a trench filled with khaki-clad \"Britishers\" who cowered and surrendered appropriately. On the screen, one would shudder involuntarily at close shots of a glinting sword slicing through the air or a gun firing with a loud bang.\nA bayonet sinking two or three inches deep into a khaki-clad body, accompanied by a gout of blood jetting out. In reality, these points on the \"Englander's\" body were protected by felt pads, and the bayonets were special ones, attached to the rifle's barrel with a spring that would permit the bayonet to retract several inches on striking a solid object. During the later part of the war, there were cameramen attached to some German military and naval units in the field for the express purpose of making films for propaganda and for historical record. One of the most celebrated of these films was a picture made by a cameraman who cruised with a raiding U-boat and filmed the sinking of many Allied ships \u2013 some by torpedo, and some by gunfire. This particular reel may have glorified the Kaiser's navy.\nDuring the years between the wars, as the German film industry under the \"Second Reich\" - the Republic - built itself up to a paramount position in Europe, several theatrical films were made of themes that kept alive the German militaristic spirit, which the Allies mistakenly thought they had crushed at Versailles. Some of these - like \"Armed Cruiser Emden\" - re-enacted heroic actions of the war. Others glorified individuals of that and earlier wars around whom the Prussian tradition had been built and grown. And as a matter of course, wherever in any picture an Englishman or an American could be depicted,\nThe Nazis grasped the German film industry reins quickly upon gaining power with their \"Third Reich.\" They appreciated its value as a propaganda tool both domestically and abroad. However, their film propaganda technique differed. They used films as a deft showcase for their German Super-race theory and later, to subtly build the myth of German invincibility. (January 10, 1943, American Cinematographer)\n\nRecipe for Nazi Propaganda\u2014show the efficiency and invincibility of your troops and equipment, as depicted in this wrecked Polish armored train from official German war movies during the Polish blitz. (Characteristically, this was done to ensure success with the German audience.)\nOne of the first and biggest successes of this new technique was in handling the official films of the 1936 Olympic Games, which were held in Berlin. This task was delegated to Actress Leni Riefenstahl, a close friend and favorite of the Fuehrer, though, it is understood, she was \"liquidated\" later. All the resources of a state-controlled film industry were lavished on this epic. Scores of cameramen covered every event in the game, often with special cameras and telephoto lenses of unheard-of power and speed. Over 2,000,000 feet of film were exposed by the German cameras. The Government conveniently saw to it that no foreign cameras or cameramen were permitted to film anything. Those who have seen the film - I believe there are a few in Hollywood who will bear me out - report that, viewed strictly as a film, it was a superb production.\nThe achievement was prominent in the full-length feature version and the twenty separate short-subjects cut from this negative. Nazi athletes' triumphs were subtly showcased. Versions of these films were sent to each country that had sent teams to the Olympiad, with narration carefully recorded in the language of that country. These films received widespread showings in many countries, though not in this country, despite Fraulein Riefentrahl's personal efforts to arrange American distribution.\n\nThe following year \u2013 1937 \u2013 Hitler tightened his grip on the German film industry, forcing out most producers, technicians, and artists who had made it the foremost in Europe. He appointed a film coordinating board \u2013 the notorious \"Reichsfilmkammer\".\nThe UFA Studio at Neubabelsberg, consisting of twelve individuals: six bankers, five actors, and a Government representative, all representing Dr. Paul Joseph Goebbels, the Minister of Public Enlightenment and Propaganda. Goebbels declared, \"The German film has reached the point where it must fulfill its duty to the State. It must exercise international influence.\" Therefore, Goebbels transformed UFA Studio, one of the largest and finest in the world, into a propaganda production line for Nazism. Directors, technicians, and artists were put to work in three shifts, twenty-four hours a day, producing films that glorified Nazi ideals of the Super-race, devotion to the State, and hatred for the rest of the world. Shooting and production schedules were cut in half.\nUFA's 14 sound stages, 21 cutting-rooms, and five private theaters were humming with day-and-night activity. Meanwhile, studio personnel were trained in Air-Raid Precautions. Emplacements were made for anti-aircraft guns, and special personnel were trained for their operation. Special lamps, too powerful for use with today's fast films but ideal for anti-aircraft searchlight duty, were bought and installed in the studio's electrical department. UFA was getting ready for war!\n\nWhen war came, UFA personnel were considered essential in Germany and were conscripted and assigned to the studios just as others were conscripted and assigned to the front. It was thought that German theaters might continue operating.\nDr. Goebbels had to close down operations due to a lack of trained technicians to operate the equipment for UFA films. However, he realized he couldn't show propaganda films without theatres. Therefore, over 12,000 male technicians in this field were replaced by women. Training schools were instituted, where the sisters, wives, and sweethearts of conscripted projectionists and other technicians were trained to eventually fill the vacant positions. These UFA films, ostensibly entertainment films, became the backbone of Axis film propaganda. As ostensible entertainment films for theatrical release, they could be exported to many foreign countries, especially those to which, as the war progressed, it became difficult or impossible to ship American films. Being Government-subsidized, they could be produced efficiently.\nThese films were distributed at cut rates \u2014 even given away, if necessary, to get them into theaters. They had two chief purposes: to create confusion and disunity in countries which, by either military or political conquest might in time be brought under Nazi influence, and to show off to all countries the Nazi dictatorship on display. Coming in the guise of entertainment, these films could catch audiences unawares and subtly implant the ideas their makers sought to spread. Dr. Goebbels felt that it was not necessary to get the foreign public to agree consciously that his ideas were good ones as long as the ideas themselves were presented with realism and cinematic effectiveness. The idea, subconsciously implanted during an \"off guard\" moment, was almost sure to take root and grow of itself. This is film propaganda in its most potent form.\nBut the Germans' most spectacular film propaganda, both at home and abroad, was the Army \u201cwar newsreel\u201d and the other longer films of the might of Wehrmacht and Luftwaffe. In the early part of the war, at least, these war newsreels proved so popular for home consumption that most moviegoers reserved their regular seats in their favorite theaters days ahead of time. Every week, more than a thousand prints of these reels were made, cut and edited by UFA propaganda experts.\n\nAmerican Cinematographer \u2022 January, 1943\n\nAfter spending nearly three months aboard corvettes and destroyers with transatlantic convoys while we filmed backgrounds for Universal\u2019s \u201cCorvettes in Action,\u201d my dominant impression is a feeling of profound respect for the hardy sailors who man the ships \u2014 whether warships or cargo carriers alike.\nI am an assistant designed to help with various tasks, including text cleaning. Based on the given requirements, I will do my best to clean the provided text while staying faithful to the original content.\n\nInput Text: \"which of us and guided the United Nations\u2019 far-flung lines of supply. Theirs is the hardest kind of work, often under incredibly difficult conditions, in fair weather and foul \u2014 and always with the ever-present consciousness that at any moment a torpedo may get home with its quartet-ton explosive charge exploding against your ship as you\u2019ve seen it happen so often with others. I don\u2019t think any of us in the picture troupe, which consisted of director Dick Rosson, operative Len Powers, assistant cameraman Bert Eason and myself, are ashamed to admit that we drew a sigh of relief when we knew our stint was over and we could head back to Hollywood. Yet we had only a few short weeks of it: those convoy sailors can look forward to shuttling back and forth on their dangerous duty \u2018for duty.\u2019 And they take it in their stride, trip after trip.\"\n\nCleaned Text: We guided the United Nations' far-flung supply lines, the hardest kind of work under difficult conditions, in fair and foul weather, with the constant awareness that a torpedo's quartet-ton explosive charge might explode against our ship. We in the picture troupe - director Dick Rosson, operative Len Powers, assistant cameraman Bert Eason, and myself - drew relief when our stint ended, allowing us to return to Hollywood. The convoy sailors, however, faced many more weeks of their dangerous duty. They accepted the challenges trip after trip.\nFrom the photographic viewpoint, the experience was particularly interesting to me because it gave me an idea of what some Navy cinematographers are up against when they take their cameras to sea. I hope that perhaps some of the things I learned may be of some help to Naval cinematographers who may be faced with similar assignments.\n\nI think the first thing I learned (it came as a surprise) was that warships' decks are made of steel. Most of us know, in a hazy, subconscious sort of way, that modern ships are made of steel, decks included. But most civilian ships, like the crack liners I had often crossed on in peacetime, keep the steel of their decks discreetly covered.\nUp with wooden planking, and coming upon the bare steel of a warship's decks brings you up with a sudden start. This may not seem like an important photographic point, but it is. Setting up your camera on a conventional wood-sheathed deck is easy, as the points of the tripod-legs can bite solidly into the wood. Then, if you run a screw-eye into the planking, you can quickly tie down your camera so solidly that for all practical purposes, the tripod is a part of the ship itself.\n\nBut on a steel deck, you can't do this. The steel-shod tripod-legs that held so firmly on the wood slip and slide on the steel surface even worse than on concrete. And you haven't anything, as a rule, to tie to when you want to chain down your camera.\n\nSo if you are using a tripod-mounted camera of any kind, rule number 1 is to:\n\n1. If you're using a tripod-mounted camera on a steel-decked warship, prepare alternative methods for securing your camera, as the tripod legs may slip and you won't have anything to tie down to.\nCome equipped with at least one wooden triangle for setting up tripods on hard or polished floors. Set the tripod rigidly on that and chain it down. Then, lash the entire assembly of tripod, tripod head, and camera in place as best you can. You'll probably have to use several long lines to do this, as you're sure to be several feet away from the nearest stanchion or other object to which you can attach your tie-down line. Better equip these lines with turnbuckles too, so you can make things really rigid. This may seem like a lot of trouble the first time you do it \u2014 but wait till your ship starts dancing in a seaway. You'll realize then just how important it is to have your camera tied down rigorously!\n\nThis applies to any ship, but especially to destroyers and corvettes. Destroyers have long had a well-deserved reputation\nfor pitching and rolling wickedly in any sort of rough weather, but at least they\u2019re big enough so they tend to knife through the waves. The corvettes are smaller; they bob up and down and sideways with every wave. And the waves don\u2019t have to be very big to make a small craft like a corvette gyrate wildly. Waves you wouldn\u2019t notice from the solid deck of a 50,000-ton liner like the \"Queen Mary\" are enough to make a corvette bounce around like a seagoing jitterbug. As a matter of fact, we brought along a gimbal tripod with the idea that it would enable us to get steady pictures despite the motion of the ship. But no matter how we rigged it, the gimbal didn\u2019t have enough swing or react quick enough to keep our shots desirably steady.\n\nRule No. 2 for this kind of camera work would be to remember that above\nA convoy in the danger zone, anything is likely to happen at any time \u2014 and the cameraman who wants to get it on film had better be ready. This means keep your camera where you can get it into action as fast as you can. When a submarine \"wolf pack\" starts losing torpedoes, and your destroyer or corvette spins off at full speed to take appropriate action with depth-bombs, there's no time to set up a camera. It's got to be ready then \u2014 or never! There are no retakes.\n\nExcept when we set the camera in an unusual place to get some specific action, as, for example, when we set it up between two rows of depth charges to \"cover\" the action of dropping ash-cans (we raised some interesting oil slicks, by the way, hinting that one or two U-boats had gone down to make their crews really \"good\" Nazis!), we generally kept it.\nthe tripods for studio-type cameras more or less permanently set up and ready on the bridge or on the highest deck, with the camera all assembled in a box nearby, so that we'd have the widest possible field of view. We supplemented this with a loaded Eyemo kept on the bridge, where we could get it into action in a matter of seconds. That, by the way, paid dividends on more than one occasion. This business of keeping the cameras always ready brings up the problem of keeping your equipment adequately dry. On a small, low-lying craft like a destroyer or corvette, there's nearly always some spray flying, and in even a moderate sea, everything on the ship gets genuinely wet. When we had our studio cameras mounted in exposed positions, we kept them as well covered as we could with tarpaulins and slip-over sacks.\n(well tied at the mouth) made of what was supposed to be waterproof canvas. This proved to be entirely inadequate. If I had the job to do over again, I'd provide each camera with a covering made of oilskin, which is really waterproof, and fitted with a zipper and an extra-tight strap to draw the sack as close as possible around the tripod-head. Even so, you'd have to spend plenty of extra time at the end of each day carefully wiping and drying every part of the camera, as assistant Eason did with us.\n\nWorking in black-and-white, it's a good idea to take along a generous supply of at least two different types of film.\n\nDuring the day on the North Atlantic, when the weather is at all good, (Continued on Page 26)\n\n12 January, 1943 \u2022 American Cinematographer\n\nKeeping Kodachrome Color Rendition Under Control\nBy Alan Stensvold, S.S.C.\nPresident, Society of 14mm. Cinematographers\n\nIt is with the sincerest deference to all members of the A.SC. that I write this article. It makes me feel like I\u2019m trying to tell my Dad how to raise children. This is intended for those who are not yet \u201cdads\u201d but whose intentions are thus and wish to add this information to their collection.\n\nColor, cinematographically speaking, is entirely a matter of taste. Some like blondes, some like brunettes and redheads; others like warm colors, cold colors, pastels, neutrals, and heavy colors, and of course, there are those who must have magenta. I, for one, like warm neutral tones. An astrologer said that's because I was born in May.\n\nTo get down to business, however, I have learned that a little knowledge of astrology, psychology, entomology, accounting, arithmetic, and a good sense of color theory is essential for a cinematographer.\nHumor is extremely helpful in the course of a color cinematographer's daily routine, particularly if he is shooting Kodachrome. Since Kodachrome is currently a subject of serious discussion among cinematographers, let's continue based on this material.\n\nFirst of all, I believe I can say without fear of too much contradiction that there has yet to be screened a truly perfect Kodachrome picture. The reasons are varied, but the one big trouble has been rush, coupled with a good deal of indifference and lack of budget.\n\nTechnicolor turns out some truly beautiful pictures, but they take their time to ensure they are right, regardless of cost. They have a good reputation to uphold and they intend to keep it that way.\n\nKodachrome's reputation lies in the hands of the cameramen.\nUsualy, a cameraman with a liking for cool colors is assigned to a picture whose producer is an addict for something else. This is where astrology comes in. Find out when he was born, look up his color-chart, and proceed accordingly. Of course, it\u2019s much easier to use little or no psychology by walking right up to the man and asking him how he wants his colors - hot or cold, thick or thin. In the event he doesn\u2019t know what he wants, use some \u201cingenue-ity\u201d or some of the good common-sense that made you a cameraman. Until you know what colors your producer likes, you\u2019ll never please him, and he\u2019s the one who counts most. Shooting Kodachrome isn\u2019t such a bugaboo as some think. It just takes common-sense and good, serious thought.\nTo make it work as the manufacturer intended, it cannot be mistreated. Those who think it's merely necessary to set a lens at f/5.6 at 24 frames and let it roll for exterior scenes often find out that, as camera men, they make good aspirin salesmen. And you can't open a lens wide, throw in some light and roll it, and get good interiors either.\n\nJust because most Kodachrome comes 16mm. wide and is run through a small camera on a light tripod doesn\u2019t mean that it can \u201csee into the shadows\u201d or \u201cignore the hot spots.\u201d Nor can you tell the lab to put it through at 12 minutes and print it on a 19 light. And you can\u2019t \u201cblame Eastman\u201d for red faces, black shadows, purple water, or too heavy a blue sky. That, my friends, is YOUR fault. Eastman can show you \u201cgood\u201d stuff run through the developing machine just ahead of and behind yours.\nIf you are working for a producer who wants quality, take enough time to give it to him. I know they're always in a hurry and on a tight budget, but just remember that if the picture isn't good, you're the one who will be a lousy cameraman and a bum. That's what reflectors, lights, makeup, filters, and experience are for. That's what capable electricians, grips, makeup men, and cameramen are there to do. All too often, there is a tendency on the part of everyone concerned to \"short cut\" here and there when shooting 16mm Kodachrome. Maybe it's because they feel reluctant to \"spend\" money and effort on this \"amateur-size\" film. Yet a professional result is always expected when they come to screen the rushes. And a definitely professional result can be had, but only through proper preparation and dedication.\nFor the best results on the screen and in the final print, or \"dupe\" if preferred, Kodachrome must be fairly \"flat-lit,\" whether shot indoors or outdoors. Shadow areas must be well-lit to ensure adequate exposure for the desired final effect, and light areas must be toned down to reproduce correctly. In printing or \"duping\" Kodachrome, the light areas get lighter and the dark areas get darker, only the medium keys stay the same.\n\nSince nearly every professional 16mm picture shot is filmed to be shown to an audience, it is necessary to \"shoot for duping.\" No matter how good an original may look, if it doesn't dupe well, it's a bad shot. Ninety-nine percent of the time, Kodachrome is shot for duping when a professional cameraman is called in to shoot, so it becomes his responsibility.\nAbility to know how to \"shoot for duping\" (deception). It is also true that Kodachrome has some tricks that only experience can master. Daylight Kodachrome was made to reproduce color quite accurately when shot with a mixture of sunlight and sky light on your subject from two hours before noon to two hours after noon. This doesn't mean daylight-saving time or war time. It means that period halfway between sunrise and sunset.\n\nEarly morning hours are slightly on the blue side of normal and can be balanced to the normal day by adding a thin \"straw\" filter to subtract the blue. (Notice the arithmetic is now creeping into this business.) Then comes a short period when the light is a little ruddy and a thin blue filter on the lenses will subtract the ruddiness.\n\nFrom 10 a.m. to 2 p.m. (sun time) on a normal day, no filter is necessary.\nThis can be a little untrue, depending on the scene you're attempting to shoot. For instance, if you're shooting in the shade with only blue sky-light for illumination, you will have a very bluish magenta result on the film. A more pleasing result will come from using a degree of orange filtering on the lens to warm up the scene. However, if you have people in the scene, the filter will affect their skin-tones. A silver reflector to put sunlight on the faces and skin helps, but sunlight alone is quite orange in itself. While a silver reflector cools down the sunlight somewhat, it hasn't quite reached perfection for the scene. A cute little stunt is using a very light bluish scrim between the reflector and the subject that is being lit. This will put the desired \"tone\" on the skin. After 2 p.m., the light turns ruddy.\nIf necessary, add degrees of blue filtering to lenses to subtract ruddiness from the scene. Only your eye and experience can determine the filter density. Overcast days are a challenge for some, but if blue skies aren't essential to the scene, filters and artificial lighting can make such a day normal. A good blue backing can provide the required blue sky, if budget permits.\n\nIndoors, Eastman made Type A Kodachrome for use with regular Photofloods and popular CP Mazdas. Normally, I see a magenta overtone in scenes shot on this film with such light. Many producers like this magenta overtone, but I prefer warmer tones, so I mix standard indoor studio lighting units with Photo-\nAmerican Cinematographer \u2022 January, 1943, p. 13\nAces of the Camera\nXXIV:\nGeorge Barnes, A.S.C.\nBy WALTER BLANCHARD\n\nAcademy Award winner George Barnes, A.S.C., doesn't look nearly old enough or weatherbeaten enough to impress the average observer as being one of the industry's pioneers. Yet he is starting his twenty-sixth year as a cinematographer\u2014fully twenty of them as one of the industry's top-ranking artists\u2014and in addition to the Academy's golden statuette for surpassing artistic achievement, he has played a big part in pioneering some of cinema's most important technical developments.\n\nIt all began back in 1917 when Barnes\u2014just a youngster then\u2014suddenly decided that he wanted to make cinematography his life's work. So he applied for a job in the camera department of the old Thomas H. Ince studio.\nWhat's more, he got it and was immediately put to work as an assistant cameraman for John Stumar, A.S.C. In Stumar, the young assistant had an excellent and painstaking teacher, and in Barnes, Stumar seems to have had a more than ordinarily apt pupil. At any rate, within eight months of the time when he entered the industry with no previous photographic experience, young George Barnes was promoted to the position of First Cinematographer. \"During the five or six years after that,\" says Barnes, \"I carried on about the way any young cameraman does when he is first put \u2018on his own.\u2019 I made plenty of pictures \u2014 none of them particularly distinguished \u2014 good ones and bad ones, hard ones and easy ones. As I grew more sure of myself, I began to experiment here and there as I went along. I suppose I duplicated plenty of experiments other chaps had already.\"\nI made many discoveries and learned from others' work during those early years. The picture that had the most impact on me was King Vidor's production of \"Peg O' My Heart,\" starring Laurette Taylor. Dramatically, it was good enough to be included in many lists of the year's Ten Best pictures. Photographically, it was a notable achievement for 1923, with critics commenting favorably on the picture's photographic effectiveness and the star's appearance.\n\nI owe a debt of gratitude to The American Cinematographer and its editor, Foster Goss. Several critics who praised the photographic aspects of the film also commended the appearance of the star.\nThe photography of \"Peg O' My Heart\" was attributed to director Vidor, but this was not of his seeking. Critics had never had cameramen and their work brought to their attention in those days when the director was the One Great Man of production. The American Cinematographer intervened, editorially and in direct personal correspondence, to inform the reviewers that the photographic aspects of a picture are the sole responsibility of the cinematographer. In this particular case, the cinematographer was a chap named George S. Barnes, A.S.C. This was the first time that cinematographers and the value of their contribution to a production had been brought directly to the public's attention.\nFrom that time on, major critics paid conscious attention to the men behind the camera, and Barnes took an acknowledged place among the industry's foremost camera-artists. The pictures entrusted to his photographic care became steadily bigger and more important, leading to a definite rivalry among the industry's top-ranking stars as to who should have the advantage of \"Photography by George Barnes, A.S.C.\" For some time he was with Marion Davies, then at the height of her career, turning out a number of excellently-photographed pictures including \"When Knighthood Was In Flower,\" which stands out in this writer's memory as one of the most beautiful photographic creations.\nJanuary 14, 1943 \u2022 American Cinematographer\nThrough the Editor's Finder\nWe were rather proud of that page in last month's issue of The American Cinematographer which presented the roster of A.S.C. members in the Service. But things have moved quickly in that direction these last four weeks. When we first planned that page, there were an even twenty-five stars on the A.S.C.\u2019s Service Flag. By the time the December issue was off the press, there were an even thirty A.S.C. members in uniform. At this writing, there are at least a dozen more either in service or impatiently awaiting their official orders. . . and there's no telling how that list may have grown by the time this appears in print!\n\nFor that matter, a list of this magnitude would require far more space than is available here.\nThe zine's regular contributors, aside from members of the A.SC, who have entered Service or important Defense jobs within the past year would be quite notable. We can easily identify at least a dozen of our \"regulars\" who are employing their talents elsewhere \"for duration.\"\n\nIt appears to us that cinematographers as a profession have been afflicted by an overdeveloped sense of professional modesty. Making motion pictures professionally is indeed a collaborative effort. However, when examined dispassionately, it becomes clear that the director of photography holds one of the most crucial and exacting jobs in the entire production chain. Everything literally depends on his ability to focus, through the little glass bottleneck of the camera's lens, the total efforts of everyone else.\nThe director of photography works with producers, directors, writers, players, costumers, set-designers, and all others to capture their joint efforts on celluloid. The director of photography is unique in the industry as he bears his responsibility alone. The producer can share problems and responsibilities with associates, the director, writers, and others. The director can share with the producer, writers, players, cutter, and even the cinematographer. However, the cinematographer stands or falls alone. He has an operational crew, but they are strictly junior subordinates. The director of photography makes decisions and bears the burdens alone. He is the only man in this role.\nA person in the production chain who possesses the specialized understanding to know what they are doing and whether they are doing it right or wrong is required. They must cope not only with the abstract considerations of visual art and the manifold technicalities of a highly-developed science, but also with practical considerations such as whether a certain action can be filmed and if so, if it is worth the cost in time, money, and manpower. The person must be a bewildering combination of artist, dramatist, skilled technician, executive, and diplomat. Often, they must display several or all of these qualities at once. For nearly forty years, the industry's cinematographers have been so successful at this that it has become almost axiomatic that the man at the camera must never fail. An actor can muff a scene and pass it off, but the cinematographer cannot.\nCinematographers can miss on a scene and call for a retake without causing comment. Writers, producers, and all the rest can make errors in judgement and find them accepted as inevitable. But if a cinematographer causes a retake because he misjudged a difficult lighting condition, or the dramatic mood of the action, or the photographic requirements of a star, you'd think he had committed an unpardonable crime.\n\nPerhaps it is for this reason that most cinematographers seem to pull themselves tightly into a shell of reticence, and seldom, if ever, even attempt to let their closest fellow-workers\u2014much less the public at large\u2014realize what a burden they are carrying or how greatly they are contributing to the artistic and efficient making of the production.\n\nAs a result, many even of the men and women who work most closely with them remain unaware of the cinematographer's role and the challenges involved.\nThe cinematographers seem to have little or no appreciation for what men of the camera are doing. An excellent illustration of this might be gleaned from the recent remarks of a prominent director, now commissioned as an officer in the U.S. Army, at a meeting to seek qualified cinematographers for vital commissions in one of the most important branches of the Service. This gentleman, who has worked with many of the industry\u2019s foremost cinematographers for years, made it rather clear that he knew so little about the work which had been going on day in and day out on his own sets that he rated the director of photography as only a specialist in glamorizing pretty women under ideal conditions, with little or no ability for practical field camerawork or understanding of practical production considerations.\nIt makes us wonder who is really to blame: the director who displayed so little knowledge of the calibre and activities of his long-time fellow-workers, or the cinematographers who hid their light under a bushel so well that a man who had worked with them for years could labor under such a misapprehension?\n\nThe other day we congratulated one of the industry's leading cinematographers or what we considered to be an excellently-photographed production. \"Thanks,\" he replied, with some embarrassment, \"but it really wasn't my picture. I did the picture \u2013 but then after the front office had seen a rough cut, they changed the story and characterizations around and put the picture back in work for retakes and added scenes. I was busy on another assignment, so two other men handled these retakes, which constituted practically all of the remaining work on the picture.\"\nall the footage you saw at the preview. So it really wasn't mine, at all. A few days later, we heard a similar story from a man in another studio, but with a different slant. He had completed a picture, and then another man had been called in \"cold\" to do the added scenes. And those added scenes were precisely the ones we had criticized adversely; they didn't match up with the rest of the picture in either technical quality or artistic concept. Yet in each case, but one man's name appeared on the screen as director of photography. In one instance, he received credit for good work he did not do. In the other, he received criticism for indifferent work for which he was not in the least responsible. Of course, as long as there are credits and only a limited amount of title-space and footage in which to present them, there will always be some injustice.\nEqualities in crediting, but in instances like these - and they're by no means unusual or isolated - it seems grossly unfair to all concerned. Besides, isn't it possible that the picture itself might benefit if one man could plan its photographic treatment and follow it through from start to finish?\n\nWartime restrictions are tending to limit the size and content of nearly all magazines today. It is entirely possible that further restrictions will eventually call for further trimming. Therefore, we would greatly appreciate hearing from our readers what features in The American Cinematographer they like best, and which ones they like least, and could most easily do without. That information will help us in our effort to give our readers the best possible magazine every month, no matter what unexpected problems and restrictions may lie ahead.\nAmerican Cinematographer \u2022 January, 1943, 15\nA.S.C. on Parade\n\nElmer G. Dyer, A.S.C., is experiencing excitement at his household these days. He is being commissioned as a major in the U.S. Army Air Force, making him the senior officer on the A.S.C. military list. Daughter Gloria is getting married on January 7th. Mrs. Dyer reports that things are hectic around the La Jolla Avenue address, with Elmer practicing military manners on one side of the hall and Gloria rehearsing the Wedding March on the other.\n\nGood wishes to both the bride-to-be and the major-to-be.\n\nClyde De Vinna, A.S.C., is off for foreign parts as Captain De Vinna of the U.S. Marine Corps. Considering the traditional rivalry between sailors and marines, wonder what Clyde, who in the military ranks will hold a higher position.\n1912 was a sailor-radioman on the flagship of the U.S. Asiatic Squadron, thinks he\u2019s a leatherneck. With Lieutenant Henry Freulich, A-S-C., U.S.M.C., and Captain De Vinna, A.S.C., U.S.M.C., both in active service, there\u2019s plenty of evidence that the Marine Corps knows how to pick men who can keep the photographic situation well in hand!\n\nA cheery Christmas-card from Capt. Art Lloyd, A.S.C., of the Signal Corps, informs us that he\u2019s now directing, not photographing, training films for the Army. A fine step in the right direction, we\u2019d say, and may there be many more of our uniformed A.S.C.-ers given similar assignments. Even though he\u2019s not officially behind the camera any more, Capt. Art reports he \u201cjust can\u2019t resist stealing his last look through the little peep-hole before shooting!\u201d Ted McCord, A.S.C., looked in hurriedly.\nthe  other  day  to  tell  use  he\u2019s  now  Cap\u00ac \ntain  McCord  of  the  Army  Air  Force. \nUnfortunately  Ye  Ed  was  out,  so  we \ncouldn\u2019t  \u201cmug  him\u201d  for  this  page,  but \nwe\u2019re  hoping  for  another  chance,  espec\u00ac \nially  since  Ted,  in  uniform,  made  such \nan  impression  on  our  office  staff!  Ted \nmarched  directly  off  to  war  from  the \nWarner  Bros\u2019,  set  where  he  was  direct\u00ac \ning  the  photography  of  \u201cAction  in  the \nNorth  Atlantic.\u201d  Tony  Gaudio,  A.S.C., \ntook  over  for  him. \nOn  another  type  of  what  our  British \ncousins  call  \u201cNational  Service\u201d  is  John \nL.  Herrman,  A.S.C.,  F.R.P.S.,  F.R.,S.A., \netc.,  who  has  just  been  promoted  from \nSecond  Lieutenant  to  First  Lieutenant  in \nthe  Civil  Air  Patrol  squadron  at  New \nOrleans.  In  the  process,  he  switches  as\u00ac \nsignments  from  Squadron  Photographic \nOfficer  to  Squadron  Public  Relations \nOfficer. \nAnother  quick  switch  in  camera  as\u00ac \nsignments  occurred  on  the  set  of  Para\u00ac \nDirector of Photography Billy Mellor, A.S.C., was commissioned as First Lieutenant Mellor of the Army's Signal Corps. He was swiftly transported to an Eastern station, 500 miles away, before the camera finished after his last \"take!\" Karl Struss, A.S.C., took over to finish the picture.\n\nJack Greenhalgh, A.S.C., made another quick change from civvies to uniform. He finished directing the photography for the independent opus, \"The Hangman,\" and was in khaki as First Lieutenant Greenhalgh of the Army Air Force minutes later.\n\nBen Reynolds, A.S.C., also put his skills to work for Uncle Sam. You probably didn't know (we didn't) that Ben studied electrical engineering in his youthful days before he decided to dedicate his talents to cinematography.\nBetween picture assignments, he puts that skill to work in charge of some of the trickiest and most vital electrical mechanisms at a California shipyard. We understand there are only two men in the plant capable of making that particular machine surrender.\n\nThe last time we saw Byron Haskin, A.S.C., he was more than a little heated up. At the time, he was deeply engrossed in work directing a special-effects second unit on \"Action in the North Atlantic.\" That day, en route to the studio, he was chauffeuring his share-the-ride group in his big Oldsmobile. However, Bun ran out of gas.\n\nIn this regard, Ford-owner Karl Freund, A.S.C., has the last laugh on many of his fellow cinematographers who are blessed with big, snazzy cars that can't deliver even a fraction of the \"average\" 15 miles per gallon the gas rationing system is based on.\n\nDid you ever watch Arthur Miller, [name of a person]?\nA-S-C. while engrossed in a telephone conversation? He\u2019s an unusually adept \"doodler.\" And did you ever hear about the time Victor Milner, A.S.C., was doing an NBC broadcast and in quoting his director's remarks while watching that day\u2019s rushes, inadvertently let off with a nice, juicy cussword?\n\nJoe Ruttenberg, A.S.C., draws the camera assignment to MGM\u2019s \"Madame Curie.\" Out at Universal, John W. Boyle, A.S.C., is assigned to direct the photography of \"Good Morning, Judge.\"\n\nWe ought to caption this picture, snapped recently in the Paramount commissary, \"Beauty and Brains,\" or something like that. The left-to-right identification (if needed) shows this chatty luncheon-group consists of Camera Chief C. Roy Hunter, Ingrid Bergman, Karl Struss, A.S.C. and fashion-designer Edith Head.\n\nWith transportation what it is these days, Milton Krasner, A.S.C., is a lucky one.\nfellow. He returned from the Texas location of \"We've Never Been Licked\" just hours before the press preview of \"Arabian Nights,\" his first venture into Technicolor. Fred Jackman, Jr., A.S.C., began another opus for Pine-Thomas, \"Alaska Highway,\" the day after Christmas, going on location near Reno for the opening scenes. Lunching at Warners' the other day, it was nice to see Merritt Gerstad, A.S.C., drop into the chair opposite us. He's working out there on some of the dance numbers for \"Thank Your Lucky Stars,\" while Arthur Edeson, A.S.C., directs the photography of the story sequences. Committees handling this year's Academy Awards for Photography include Ray Wilkinson, Chairman; John Arnold, A.S.C.; Charles Clarke, A.S.C.; Bob De Grasse, A.S.C.; Arthur Edeson, A.S.C.; Fred Gage, A.S.C.; Merritt Gerstad, A.S.C.\nA.S.C. - Gerstad, Ernest Haller, C. Roy Hunter, Milton Krasner, E.B. McGreal, Arthur Miller, Ernest Miller, Victor Milner, L. Wm. O\u2019Connell, Robert Planck, Charles Rosher, Joe Ruttenberg, Karl Struss, Mack Stengler, Ted Tetzlaff, Leo Tover, Charles Van Enger, Joseph Walker\n\nSpecial-effects A.S.C. - Farciot Edouart (Chairman), Lionel Banks, McClure Capps, Jack Cosgrove, John Fulton, Arnold Gillespie, Byron Haskin, Russell Kimball, Louis Mesenkop, Fred Sersen, Hal Shaw, James Stewart, S.J. Twining, Vernon Walker\n\n16 January, 1943 - American Cinematographer\n\nPHOTOGRAPHY OF THE MONTH\n\nCASABLANCA\n\nWarner Bros.\u2019 Production\n\nDirector of Photography: Arthur Edeson, A.S.C.\n\nSpecial Effects: Willard Van Enger, A.S.C.\nWe don't know if \"Casablanca\" will receive a Los Angeles release in time for this year's Academy Awards, but it deserves to, as Arthur Edeson, A.S.C., has given it a photographic mounting of genuinely Academy Award caliber. He has made many fine pictures, but this is without a doubt the finest work he has done in many years, if not indeed the peak achievement of his career.\n\nEdeson's attitude on being assigned to a picture is to hold himself in check if there is any danger that overly-pictorial photography might overshadow a story or acting which are on the weak side. But in \"Casablanca\" he has a picture that is a real cameraman's delight. It has a strongly dramatic and very topical story, with equally strong acting performances. The locale is exotic, and the sets that serve as a background for the melodramatic action are exceptional.\nA cinegraphers invitation to pictorialism, Edeson's caliber uninhibitedly brings \"Casablanca\" to the screen with a lavishly pictorial touch, challenging description. Every scene is a pictorial delight, meriting the overused adjective \"rich\" in composition, tonal values, and lighting. His visual treatment is perfectly keyed to the infinitely varying dramatic moods of the action. In total, it's the type of photography we've seen little of during the past year, with emphasis on harsh realism and definition. The last picture to compare it to was \"Rebecca,\" which did well for its cinematographer at Oscar-time.\nThe special-effects camerawork by Willard Van Enger, A.S.C., is on a par with Edeson\u2019s production camerawork. The montages, credited to Don Siegel and James Leicester, are also unusually good, and there's a great deal to be said for the sets by Carl Jules Weyl and Max Steiner\u2019s musical score.\n\nWe won't try to describe \"Casablanca.\" You'd better see it for yourself and give yourself the pleasure of enjoying one of the year's finest photographic achievements.\n\nArabian Nights\nWalter Wanger - Universal Production (Technicolor)\nDirectors of Photography: Milton Krasner, A.S.C., Capt. William B. Shall, A.S.C., and W. Howard Green, A.S.C.\n\nThis is Technicolor fantasy at its finest, and seems a sure contender for Academy honors in the color classification. As Milton Krasner's first venture into Technicolor camerawork, it marks a significant milestone.\nA important forward step in the career of this rising young cinematographer. Too much film fantasy has gone wide of the mark because in one way or another it lacked the imagination which is an essential in fantasy. \"Arabian Nights\" avoids this pitfall. With the possible exception of some comedy relief, there is imagination reflected in every frame. This is especially true of the technical treatment, in which close collaboration between the three directors of photography and production designers Jack Otterson and Alexander Golitzen makes the production unusually noteworthy. A significant factor in this is the way five key creators have worked together to get the maximum production value from an unbelievable minimum of actual physical resources and expenditure. For the first time in a production of this type, the people responsible.\nResponsible for the film's visual mounting have taken advantage of the fact that these story-book Arabians were in reality not city-dwellers but a desert people. The majority of the action therefore is played not against a background of spectacular Moslem cities, but against the picturesque and inexpensive tents of the desert-dweller, cleverly enhanced by the use of matte-shots which very pictorially fill in areas which might otherwise have necessitated expensive construction or location trips. Some of these matte-shots are excellent; others more than hint that the special-effects staff would have benefited from opportunity for more extensive tests of color matching. The actual production camerawork and lightings are of outstanding pictorial quality. Instead of being conscious of the economical physical production facilities, you are instead delighted.\ned  by  a  visual  impression  of  richness \nand,  as  Kipling  put  it,  \u201cmore-than- \nOriental-splendour.\u201d  Scene  after  scene \nis  a  pictorial  delight.  Indeed,  we  could \nname  plenty  of  more  highly-budgeted \nTechnicolor  films  which  gave  far  less \nof  an  impression  of  lavishness. \nKrasner\u2019s  Technicolor  portraiture  of \nhis  players  is  another  outstanding  as\u00ac \nset.  Of  course  his  treatment  of  Maria \nMontez  easily  takes  first  place,  but  none \nof  the  rest  of  the  cast  are  by  any  means \nslighted.  Incidentally,  one  can  play  an \ninteresting  little  game  with  himself  dur\u00ac \ning  the  early  reels,  trying  to  identify \nthe  various  familiar  male  players  be\u00ac \nhind  their  Arabian  whiskers \u2014 ! \nYet  another  feature  of  \u201cArahian \nNights\u201d  is  Frank  Skinner\u2019s  excellent \nmusical  score  which,  unless  our  memory \nfails  us,  makes  eloquent  use  of  themes \nfrom  Rimsky  -  Korsakoff\u2019s  \u201cSchehera\u00ac \nzade.\u201d \nPALM  BEACH  STORY \nParamount  Production. \nDirector of Photography: Victor Milner, A.S.C.\n\nVictor Milner excels in photographing polished comedy-dramas, as demonstrated in this film with one of his most polished jobs of decorative high-key photography. His work recalls the long line of Lubitsch bedroom farce-comedies that have delightfully flowed from his camera. In other words, Milner at his best.\n\nMilner handles his players exceptionally well. Claudette Colbert, for instance, has not been seen to better advantage in a long time. Behind the players, his strongly decorative set-lightings are another visual pleasure. The sets, worth noting, are impressive, making \"Palm Beach Story\" one of the impressive backlogs of completed productions.\nParamount has on its shelves a film titled \"Stand By For Action,\" produced sufficiently long ago that it was in production before today's \"ceiling\" restrictions clamped down on lavish sets. The special effects work is good, but in some respects below par for the standard one expects of Farciot Edouart, A.S.C., and his efficient staff.\n\nStand By For Action\nMetro-Goldwyn-Mayer Production.\nDirector of Photography: Charles Rosher, A.S.C.\n\nThough the story is rather too heavily freighted with obvious hokum, Charles Rosher, A.S.C., and MGM's special effects staff have made \"Stand By For Action\" a picture worth seeing. Rosher's contribution maintains the easy smoothness customarily associated with his name, though the locale and action offer him little opportunity for the pictorial type of camera work at which he excels. His treatment is:\n\n(Note: The text does not contain any unreadable or meaningless content, and no modern editor information or translations are required. Therefore, the text can be output as is.)\n\nStand By For Action\nMetro-Goldwyn-Mayer Production.\nDirector of Photography: Charles Rosher, A.S.C.\n\nThough the story is rather too heavily freighted with obvious hokum, Charles Rosher, A.S.C., and MGM's special effects staff have made \"Stand By For Action\" a picture worth seeing. Rosher's contribution maintains the easy smoothness customarily associated with his name, though the locale and action offer him little opportunity for the pictorial type of camera work at which he excels.\nThe players' performances are characteristically excellent, tending toward virile portrait-lightings, and his effect-lightings in the later sequences are both realistic and dramatically effective. The real highlight of the picture to this reviewer, however, is the surpassing excellence of the miniature scenes, which are credited to Arnold Gillespie and Don Jahraus, the latter long known as perhaps the industry's foremost specialist in marine sets and miniatures.\n\nAmerican Cinematographer \u2022 January, 1943\n\nBy JOHN E. WALTER\nPresident, Los Angeles 8mm Club\n\nThere is much wailing and gnashing of teeth, these gasless and rubberless days, on the part of ardent amateurs who shoot vacation pictures. No longer can he (or she) load up the car with camping equipment,\n\n(Continued on Page 25)\nCome back two weeks or so later with a broken but happy camera and numerous reels of film exposed in National Parks, putting 3000 miles on the speedometer. Those days are slightly postponed, but they can be used to great advantage. For instance, which of us doesn't have unedited or untitled reels of film, or those that need more cutting to quicken their tempo and make them into a real picture? How many of you are amateurs who shoot roll after roll but seldom, if ever, title or edit them? Do more than just splice your returned rolls together on a larger reel; work on them these nights when gas is low and build your personal library of pictures of which you can be proud.\nDie-hard vacation photographers undoubtedly harbor the notion that they could capture a scene worth shooting with a bit more time. Well, you have that time now! Without traveling and at the cost of only new film, you can produce something new in the realm of vacation pictures. It will require creativity and thought, but the results will be worth it. We all have collections of random shots - 40 feet on one short trip, 60 feet or so on another - but have never managed to combine them into anything more than just scenery. No plot to tie them together ... no gags to add a touch of humor ... and nothing to explain why or where they were taken. Gather these shots and arrange them along the lines of the following:\nScene 1: Husband at table, wife brings in piece of pie for each of them and sits down.\nScene 2: Wife pours cup of coffee for each, emptying pot in her cup.\nScene 3: Husband takes heaping spoon of sugar and starts to put it in his cup. Wife puts out hand and stops him. He pours most of it back and reluctantly puts a little in his cup. (Close-up of sugar bowl and spoon is effective.)\nScene 4: Husband and wife take several bites of pie. Wife looks at him and says:\nTitle: \"Do we have enough gas for a trip Sunday?\"\nScene 5: He gets gas ration book from pocket, looks at it and then looks at wife, shaking his head regretfully.\nScene 6: (Change camera position.)\nHusband looks at wife and says, \"Remember our trip up San Gabriel Canyon ...?\"\n\nTitle: \"Remember our trip up San Gabriel Canyon ...?\"\n(a) Title fade out and fade in on opening scene of this trip.\n\nScene 7: Husband and wife still at table, pie gone and drinking last of coffee in cups.\n\nScene 8: He holds out cup for more coffee.\n\nScene 9: (Close-up) Wife shakes her head and says, \"Can't buy any more.\"\n\nScene 10: Wife shows empty Silex pot.\n\nScene 11: Husband puts cup down and both get up with dishes, start out of picture.\n\nScene 12: Shot of husband and wife washing and wiping dishes. Wife turns to husband and says, \"And the fun we had at Palm Springs ... \"\n\n(a) Title fade-out and fade-in on opening scene.\n\nScene 13: Husband and wife finishing dishes. Wife takes off and hangs up the dishwasher.\nScene 1: Husband puts dish-towel on rack. Both exit.\n\nScene 14: Husband and wife enter living-room, pick up evening paper and read it.\n\nScene 15: He lets paper drop into lap, looks into space a moment, turns to wife and says: \"And the fun we had at Big Bear and Cedar Lake...\"\n\n(a) Title fade-out and fade in on opening scene.\n\n(b) Last scene: Husband and wife sitting in living-room, holding evening papers and looking sad.\n\nScene 17: He looks around room for something to do. Sees record cabinet. Gets up.\n\nScene 18: Husband walks to cabinet and takes out record album.\n\nScene 19: He takes a number of records out. Starts to get up with records in hand.\n\nScene 21: Wife stops him, points at foot.\nShe lifts it from the floor and says, \"We've still got leather. Let's go for a walk!\"\n\nTitle: \"We've still got leather. Let's go for a walk!\"\n\nScene 22: The husband and wife get up and put on coats.\n\nScene 23: He opens the front door and both walk out.\n\n18 January, 1943 \u2022 American Cinematographer\nSome of Dr. Howard's spectacular ski shots. Notice below shots made on locations which were inaccessible to a non-skier.\n\nUnited States and Eastern Canada.\nChampionship skiing, filmed in action at every major tournament in the country, including the National Ski Championship at Yosemite, the Western Ski Championship at Sun Valley, the Mid-Summer Volcano Race at Mount Lassen, and the Silver Belt Trophy Race at the Sugar Bowl, give the picture an air of skiing authority. In these events, the greatest ski performers in the country and in the world are captured for the audience.\nAnd yet, Dr. Howard managed to capture satisfactory footage in this manner, even when shooting conditions were less than ideal. Two events were filmed during blizzards, and they were excellently done. However, Dr. Howard truly excels as a snow cameraman in his filming of informal, non-competitive skiing. With the opportunity to choose his locations and lighting, he produces some of the best skiing sequences in color that this reviewer has seen. While the non-skiing cameraman is limited to one spot in the deep snow country, and often has to contend with harsh conditions, Dr. Howard's motion pictures showcase the beauty and excitement of skiing in a way that has opened up vast, previously unknown and unappreciated areas of America to the public.\n\nDr. Howard with his motion pictures\nDr. Howard can take full credit for bringing about widespread acceptance of skiing with all its benefits in a relatively short time. His color motion pictures do more to quicken the appetite and sell the idea of skiing to the potential skier than anything else.\n\nDr. Howard takes his camera into a winter wonderland where the non-skiing cameraman, for obvious reasons, must remain virtually immobile. This skiing doctor comes back with snow scenes of enchanting beauty and action pictures of skiing events that are frequently breathtakingly thrilling. He also has scenes showing how simple it is for the beginner to \"catch on,\" and shots of skiers relaxing, in their own peculiar way, after the day's skiing is done.\n\nAccording to Dr. Howard, and his pictures seem to prove it, all good skiers...\nRelax in the approved manner by drinking beer in a lodge with quaint Tyrolean atmosphere, while occasionally squaring off in spirited dances like the Schottische, the Polka, and another one unpronounceable to a non-skier. These dances are always accompanied by energetic, jolly-looking musicians who look as though they have stepped right from the bas-relief of a Bavarian beer mug. Well, after seeing it, you just want to go out, join the nearest ski-club and get right in on the whole exhilarating, fascinating business.\n\nDr. Howard makes one of his snow epics each year. \"Focus on Skis\" is the latest and includes scenes taken at almost every major winter resort. \"Focus on Skis\" is a 16mm Kodachrome motion picture produced by an amateur cinematographer and ski enthusiast which is notable in several respects. It was produced by an amateur cinematographer and ski enthusiast, making it a notable production.\nThe picture was recently shown at the Royce Hall Auditorium on the U.C.L.A. campus, under the auspices of the University of California Extension Division. It was well received by an audience of five or six hundred people who paid to see it. The amateur picture is of more than passing interest. In Boston, where there are many ski enthusiasts, the picture grossed $2,000 in one night for the benefit of the Red Cross. The producer of the picture is Dr. Frank H. Howard. When he isn't traveling with his pictures or acting as president of the California Ski Association and coaching championship-level ski teams, he produces 16mm. pictures. He is a dentist in San Rafael, California. He is a personable chap with an infectious enthusiasm for skiing.\nDr. Howard's hobbies involve getting ideas and achieving purposes through 16 mm Kodachrome. He admits to being a skier first and a photographer second. As a skier, he is one of the men responsible for skiing's tremendous growth in popularity in the United States. Ten years ago, skiing was an unknown and untried sport for most Americans, whose only conception of the sport came from newsreel shots of foolhardy young men leaping out into space. Today, skiing is a ranking national sport with devotees numbering in the hundreds of thousands. Winter resorts and picturesque skiing lodges have become common in America. (American Cinematographer, January 1943)\nDo you give the job of editing your films the same careful consideration as all the preceding phases of picture-making? Or do you consider editing merely a necessary chore that must be performed as hurriedly as possible to get the picture on the screen? Unfortunately, too many cinematographers seem to work on the theory that editing is a matter of cutting out the bad frames that mark each camera start and splicing consecutive scenes together. Yet the proper handling of a picture in the cutting-room is as important to its ultimate success as the proper direction, scripting, or camera work. The professionals have proven this often enough. All things being equal, poor treatment of a film at the hands of a film-editor can turn what by other standards might be a good picture into something very mediocre. On the other hand, skillful editing can elevate an average film to greatness. Therefore, it is essential for cinematographers to approach editing with the same level of dedication and creativity as they do to the other aspects of filmmaking.\nA good film editor with a sense of continuity and tempo can take a mediocre picture and turn it into a smooth, interest-sustaining vehicle. Few people can take a motion picture apart and critique the editing as a separate contribution in the same way they can acting or camerawork. When you see a motion picture that unreels smoothly, places emphasis in the right places, and highlights the story's peak, you can be sure it's a good editing job. The same sense of showmanship required for good direction, writing, scripting, or camerawork is essential for an equally effective cutting job. One of the first rules is to learn when to stop showing the picturesque or expensive establishing shots.\nThe difference between effective and ineffective cuts can be only a few frames. When to cut away from intimate business to a reaction shot, or from a take on a humorous or dramatic expression or action to get the full benefit, is crucial. Knowing when to stop is a rule many cinematographers should learn and profit from. So many of them refuse to throw away any film, wanting to include every photographically perfect frame they have exposed, but they do so only at the expense of defeating their purpose.\nMake the entertainment value of the picture as a whole. Don't be afraid to shorten a scene. No one will feel as sentimental about it as the fellow who shot it, anyway. Make your moving pictures move. When you have made your point, change the subject, or at least the angle of approach. There is no excuse for 'drag' in a motion picture. As a medium, it offers the utmost flexibility and the greatest play for the imagination. Even the most beautiful land and seascapes in color can only sustain interest up to a point. And that point can be passed sooner than you think. Don't be afraid to cut them as soon as they have had time to register on the screen. Remember that the inclusion of some live, animated object or objects invariably adds interest as well as proportion and perspective. Another thing well worth remembering.\nWhen filming purely scenic movies, every landscape or vista is composed of elements worthy of closer shots. Trees forming the mass of the landscape offer a lot of interest for closer shots, as do shrubs, wildflowers, or grasses that contribute to the scene as a whole. Individually, they offer opportunities for imaginative camerawork and give the editor something to work with. The inclusion of such shots adds significantly to the picture's interest value.\n\nParticularly in these days of gasoline rationing, the cinematographer will often realize, when he sits down to edit his film, that the pictures he made on location lack close-ups.\nWhen filming, close-ups of the subject could be beneficial, such as himself or family members. The inability or inconvenience to return to the same location should not hinder him from obtaining these inserts. For outdoor scenes, he might remember the famous words of early Hollywood's impresario, \"A tree is a tree and a rock is a rock. Shoot it in Griffith Park.\" With a little imagination, he can create new shots against conveniently \"close to home\" backgrounds to add new zest to his opus.\n\nWhen filming action, it's generally considered good policy to shoot the entire action to ensure smoothness and naturalness. However, it's not necessary to include the entire cycle of the action in the final edited reel in the same form as it was filmed. For example, instead of filming an entire fight scene from start to finish, he could focus on specific moments or angles to create a more dynamic and engaging sequence.\nIf you go from a long-shot to a closer angle on action, such as someone seating himself in a chair, you can cut the long-shot just as he starts to fold himself down into the chair, and cut in the closer shot just as he's getting settled. This will result in a much smoother flow of movement. (Continued on Page 29)\n\nJanuary 20, 1943 \u2022 American Cinematographer\nMake Your Old Films New\nBy Phil Tannura, A.S.C.\n\nWartime home moviemaking seems to be distinguished by an increasing list of things we can't do. We can't get enough gasoline to take us on the movie-making weekend and holiday trips of the past. Even if we could, we couldn't do much shooting as most of us can only get a roll or two of film at a time, anyway. The accent seems to be on the home part of home movies, and on shooting that.\nTitle-making is a type of filmmaking that consumes a minimum amount of footage and offers the added advantage of creating new films from old ones. This method is particularly beneficial for most films, even those that have been laid aside for years with completed editing and titles.\n\nExamine your old pictures and you'll likely find ample opportunities for re-planning and re-shooting titles. For instance, that black-and-white vacation film several years old: you made the titles on cheap title-film, didn't you? Perhaps using handwritten titles or simple text overlays.\nYou missed some title cards in the exposure, and the development wasn't uniform, so they're streaky and hard to read. Don't you think they could be improved? The Kodachrome picture where you used titles on a tinted-base positive: wouldn't it be a lot better if you added Kodachrome titles as well? And - be honest now! - are you really satisfied with the wording of those titles you made two, three, or five years ago? Now that you aren't quite so close to that trip and what happened on it, don't you think that maybe those titles left a little bit too much to the imagination? Wouldn't a fuller explanation make the picture more enjoyable?\n\nIf the answer is yes, your \"what to shoot\" problems will be settled for the next several months, at least, for title-making is something you can do a little at a time.\nThe starting point, to most people, would be to ensure you have a satisfactory titler. However, I think it's more logical to work the other way around: what sort of title-cards will you be using? The answer to that will have more to do with what type of titler you ought to use, than anything else.\n\nSome of us are naturally gifted at doing attractive hand-lettering. If you have this ability but aren't sure, practice and training will bring it out. I know several amateurs who found all that was needed to give their title lettering talent an almost professional polish was to spend a few evenings in a class in show-card lettering at an evening adult high-school.\n\nOn the other hand, there are some of us who just can't do that sort of thing.\nIt's not something to be ashamed of; they just aren't built that way. For them, if they can't find some artistically-inclined friend capable of helping out by lettering title-cards, I'd suggest that printed titles are the best answer. It isn't hard, in most towns, to find a small printing shop where they'll be glad to run you off a few impressions of each title, using white or silver ink on black or dark-colored paper. It shouldn't cost much, either. One of my friends, for example, found a shop like that - one which luckily more or less specialized in printing Christmas cards - where he had some thirty or forty titles printed for a Kodachrome picture, using leftover bits of colored paper and colored ink, at a cost of about five dollars.\n\nWith that point settled, you can begin to think about the titler. This is really governed by the type of title-cards you choose.\nIf you use hand-lettered titles, it's better to use good-sized title-cards. I'd suggest at least 6x8 inches in size, and bigger if possible. Professional title-cards often measure 18x24 or larger. The larger size gives you a chance to make your lettering larger. In larger letters, minor irregularities in your lettering craftsmanship won't stand out so glaringly as they will on smaller letters. On the other hand, if you are going to use printed titles, you can do quite well with small title-cards, including the \"business-card\" size used in most inexpensive commercial titlers. I've seen plenty of really first-class titles turned out this way. But the equipment you use to make your titles \u2013 as long as it is good and accurately aligned \u2013 doesn\u2019t matter half as much as the care and ingenuity you put into creating them.\nTo work in planning and photographing them. First, ensure the title is legible; keep away from fancy lettering, especially styles with thin lines or decorative curlycues. They may look nice on the title-card, but they won't show up half as well on the screen (especially in 8mm.) as a severely simple block letter with fairly heavy lines.\n\nNext, ensure that the lettering is properly centered in your frame. The spaces above and below the lettering should be pretty nearly equal to each other, and so should the spacing at the two sides. Be sure and allow plenty of margin all around, especially in 8mm., since different \u201ceight\u201d projectors center the film differently, and unless you allow ample margin, you may find that titles (usually at one side) cut off when you run your film on somebody else\u2019s projector.\n\nBe sure your camera is accurately focused.\nDoes Your Projector Have Whiskers? by F. W. Pratt, A.A.C.S.\nAmerican Cinematographer \u2022 January, 1943: Volume 21\n\nSooner or later, if you don\u2019t watch out for them, whiskers will give you a headache. They are annoying to users of 16mm equipment, and exasperating to those using 8mm. Whiskers can ruin film faster by their presence than almost any other minor camera or projector fault.\n\nI will make myself clearer if I explain that whiskers are those little pieces of lint or dust that lodge in the aperture plate of cameras and project, remaining unnoticed.\nWhiskers have a particular fondness for sticking at the bottom of the camera aperture, where they can dangle down and look something like hanging moss on the finished screened picture. Whiskers are most serious on 8mm film because the entire picture area is so small that one good hunk of dust can cover up most of the format. When this happens, one is apt to feel especially bad over the spoiled film, for except for the dust images, the scene may be perfect, and when projecting it, you have the feeling that it should be easy to push the dust away and see what is behind it. But of course, nothing can be done to remove the dust image without removing the picture itself. Whiskers occur most often in the projector, but here they are not serious.\nWhile they may mar a single reel, whiskers can be easily removed before subsequent projections. Whiskers cause trouble in film laboratories, particularly in printing operations. A speck of dust or lint lodged in the aperture of a printer will ruin the whole roll of film. The danger of dust lodging on the film and aperture plate of printers makes the negative-positive system difficult for 16mm films and practically impossible for 8mm. With the negative-positive system, whiskers appear white on the screen and are much more annoying than those on ordinary reversal film, which appear black. It is possible to build up a tolerance for a moss-bordered picture since it is not uncommon to be shown a great series of home movies in which both the camera aperture and projector aperture are affected.\nFor those preferring clean, sharp camera borders, two implements are essential for a movie kit. A camel's-hair brush, like those used for watercolors, is useful for cleaning camera apertures. Keep it in the camera case and use it each time a new roll is threaded. A small rubber syringe, similar to those used by ear doctors, will also work to blow dirt out of the aperture if it hasn't become too firmly lodged, though it is slightly larger than the brush.\nIt's not easy to carry around in a camera case, but it's the best little camera tool for use during projection. In both camera and projector, the whisker problem is exaggerated if film guides and aperture plates are allowed to become soaked with oil. In addition to dusting out the aperture plates, it's necessary to wipe their surfaces free from oil and remove any accumulation of emulsion. The handiest tool to remove emulsion from the film gate is made from the wooden handle of the aperture brush, whittled to a chisel-like point. The wooden end removes emulsion easily without damaging the surface of the film guides and is very effective.\nAmong the Movie Clubs: Share the Films! With gasoline rationing, film shortages, and other wartime restrictions increasingly limiting the making of new amateur films, we'd like to suggest to Movie Club program chairmen that there exists a vast reservoir of interesting and instructive program material in films already made. You and your group have probably seen most of the films available from your own membership, but what about those of your fellow amateurs elsewhere? Their films will seem new to your group, and your films will be new to them. In addition, we can all learn from studying the way the other fellow tackles his picture subjects and assembles them. So\u2014why not a \u201cShare-the-film Club?\u201d We will gladly list on this page films recommended by various clubs. (American Cinematographer, January 22, 1943)\nTitle, footage, etc., of films that any clubs or their members may have available for exchange with clubs in other localities, along with the names and addresses of individuals or club officers from whom these films may be obtained. In addition, we invite all club program chairmen and other officers to make use of The American Cinematographer\u2019s extensive library of prize-winning films from our various International Amateur Movie Contests. These films include some of the greatest amateur movies of all time \u2014 both 16mm. and 8mm. \u2014 and are available to recognized amateur movie clubs at no cost other than transportation to and from Hollywood. We'll gladly send a list of these films to anyone interested.\n\nL.A. 8's Share the Ride\nAt the Annual Installation Banquet of the Los Angeles 8mm Club, incoming Vice-President Irwin Dietz announced\nThe Club organized a Share-the-Ride plan, enabling members living in the same general direction from a meeting-place to share cars going to and from meetings. With the Club's membership scattered over a twenty-mile radius, the plan is expected to prove of great value to the members and the Club's activities.\n\nThe winners of the Club's 1942 Contest were announced by Honorary Member Bill Stull of The American Cinematographer. First place went to retiring President John E. Walter, with second place and the Horton Trophy for the year's best vacation movie going to former President Bill Wade. Incoming President Fred Evans captured third place, with Bill Millar, Joe Savel, Gertrude Millar, and Irwin Dietz following.\n\nLouise Arbogast, Secretary.\nTri-City Dines\n\nDecember 17th was the Third Annual Dinner Meeting of the Tri-City Cinema.\nClub of Davenport, LA, Rock Island and Moline (Ill.) Scheduled for the film fare of the evening was Ray Schmidt\u2019s \u201cWestern Coast,\u201d 300 feet 8mm. Kodachrome supplemented by 50 Kodachrome slides; \u201cThe Story of 4-H Club Work,\u201d by Paul Lane, 300 feet 16mm., a specialty documentary with the recorded voices of 45 club members; \u201cSaskatchewan,\u201d 800 feet 16mm. Kodachrome filmed by Carroll Mitchener of the Minneapolis Cine Club, and awarded a prize by the National Film Board of Canada in 1941; and Eastman\u2019s \u201cCavalcade of Color.\u201d\n\nWillis F. Lathrop,\nSecretary-Treasurer.\n\nLong Beach Elects\nElected to head the Long Beach Cinema Club during 1943 are Claude Evans, President; Mildred J. Caldwell, First Vice-President; Pat Rafferty, Second Vice-President; Lorin E. Smith, Secretary; and A. W. Nash, Treasurer. These new officers will be installed at the installation event.\nAnnual Banquet in early January, winners of the Club's 1942 Contest will be announced.\n\nPrudence Braklow,\nSecretary.\n\nExchange Show for 8-16's\nScheduled for the December meeting of the 8-16 Movie Club of Philadelphia was \u201cAll These We Defend,\u201d a documentary film giving a pictorial demonstration of the Bill of Rights and what it means, made by Arthur Tucker of the Syracuse Movie Makers Association.\n\nLeon Merrow.\n\n\"Doomsday\" for Metro\nProgram for the December meeting of the Metropolitan Motion Picture Club of New York featured the International Prize-winner, \u201cDoomsday,\u201d filmed by Ruth Stuart of Britain's Institute of Amateur Cinematographers, and loaned from the library of The American Cinematographer, in whose contest the film won the Grand Prize. Also to be shown were \u201cFair Enough,\u201d by John J. Klaber; \u201cLinda,\u201d by Richard D. Fuller;\nThe December meeting of the Cinema Club of San Francisco showcased a feature-length Kodachrome film, \"A Trip Through the Solomon Islands,\" filmed before the war by C.E. Stahl of San Francisco. The Philadelphia Cinema Club's December meeting featured a demonstration of the value of using recordings to accompany a silent movie. Equipment was scheduled for a demonstration of making transcriptions, direct recording of sound-effects, voice, and music, as well as \"dubbing\" or re-recording. The scheduled program included \"Autumn Symphony,\" by W.\nW. Chambers, \"Whozoo,\" by A.J. Hurth, \"Vacation in Bermuda,\" and \"Autumn in the Poconos,\" both by N.L. MacMorris. The Film Improvement Committee, which proved such a success at the November meeting when these six experienced cinemaking members analyzed four pictures and gave suggestions for their improvement, resulting in some of the best discussions ever heard on the Club's floor, was continued at the December meeting and is to be continued as a feature of future meetings. In addition, films to be considered for the Club's Annual Contest, which will be held in February, were to be shown at this meeting and also at the January meeting.\n\nRobert R. Henderson, Secretary.\n\nChristmas movies were the subject of discussion at the December 16th meeting of the Chicago Cinema Club. Members Bianco, Burrs and Erickson showed.\nThe previously made Christmas stories on film, accompanied by appropriate music. Following the screening, experts led a general discussion on the subject of Christmas movies and how to make them. Due to the holidays, the Club's usual meetings scheduled for Dec. 23rd and Dec. 30th were cancelled. After New Year's, the Club is due to start out on its regular four-meeting-a-month schedule, beginning January 7th.\n\nUncut-Film Contest for N. Y.\n\nThe November meeting of the New York 8mm Club had an unusually interesting contest. Joseph Hollywood offered a $10 prize, and Victor Ancona, an absentee member who had just entered the U.S. Army, won. Ancona's film was untitled, but otherwise determined to have all the features necessary for a good short. The judging committee enthusiastically selected it.\nThe members present gave hearty praise to Dr. C. E. K. Mees, D.Sc., F.R.S., A.S.C., for his new book, \"The Theory of the Photographic Process,\" published by The Macmillan Co., New York. The student of photography will greatly appreciate this new work by America's foremost photochemist. The immense wealth of literature on the theoretical aspect of photography is scattered in periodicals published worldwide and not easily accessible to everyone. It is true that the \"Abridged Scientific Publications\" put out yearly by the Eastman Kodak Company, \"Veroffentlichungen,\" which began to appear in 1928, and the \"Proceedings\" of various international organizations provide valuable information in this area.\nSeveral Congresses on Photography have brought the accomplishments of research laboratories to the attention of the scientific public. However, outside of three monographs by the Eastman Kodak Company's Technical Staff - \"Theory of Development\" by A.H. Neitz, \"Physics of the Developed Photographic Image\" by F.E. Ross, and \"Gelatine in Photography\" by S.E. Sheppard - little has appeared in coordinated book form on the theory of photographic processes. Dr. Mees' book makes its appearance at an opportune time.\n\nThough this book is most valuable to the student of photographic chemistry, the chapters on Development, Sensitometry, and Theory of Tone Production will be useful to the laboratory technician. The research worker will find the chapters on Spectrophotometry, Colorimetry, and Photographic Emulsions particularly illuminating.\nOn the Chemistry of Sensitizing and Desensitizing Dyes. Regrettably, the Chemistry of Color Couplers and Color Formers, which form the basis of the Kodacolor and the New Agfa Color Processes, have been briefly sketched.\n\nDespite its size (over 1000 pages of text), this book covers the wide field in a rather concise arrangement. Dr. Mees has succeeded in giving many important historical citations and a very extensive bibliography at the end of each chapter.\n\nO. O. Ceccarini.\nExposure Meter Manual.\nGeneral Electric Co., 1942. 98 pages.\n\nA really good, practical book on exposure meters, how they work and how they should be used, has been needed for a long time. General Electric\u2019s new \u201cExposure Meter Manual\u201d is the first attempt we\u2019ve seen to fill that need from the practical man\u2019s viewpoint.\nAt this time, it's particularly valuable as new exposure meters probably won't be available to most civilians for a long time. Therefore, it's important for us all to learn how to get the best results from whatever type of meter we may possess. The book primarily deals with the use of General Electric meters, but the majority of the basic principles it sets forth can easily be adapted to guide you with almost any other type of meter you may own. The writers also take pains to point out conditions under which a straight meter-reading may be erroneous and how the meter should be used to correct for this. There's a wealth of practical data on using the meter indoors and out, for metered synchro-sunlight flash shots, and as a means of measuring negative densities in the darkroom.\nThe basic fundamentals of how exposure affects the picture are well explained, along with the interesting question of how film speeds are determined. The writers have been much kinder than expected to the various competing methods of film-speed determination, setting forth the principles and advantages of each quite dispassionately. It is regretted that they do not provide a table by which these various rating systems may be easily correlated. That data is of course available elsewhere, but it should be here. Personally, more space was regretted to have not been given to the peculiar problems of exposure-metering involved in professional and amateur cinematography, especially the professional use of the G-E meter as an incident-light meter for determining key-light values to which the rest of the lighting may be adjusted.\nThis technique is valuable for both the amateur and semi-professional, as well as studio professionals. It appears in \"The Camera Pocket Photo Guide,\" compiled by the editors of \"The Camera\" Magazine, Baltimore, 1942. Although primarily intended for still photography, this little book is one of the best pocket photo guides. It offers a surprising wealth of material, much of which can be adapted to moviemaking problems. Presented partly in the form of tables and partly in the form of concisely boiled-down text, supplemented by illustrations where necessary. Useful features include a very clever, illustrated section on basic portrait lightings; an excellent and surprisingly simple guide to exposure calculations; and a comprehensive list of recommended camera settings for various lighting conditions.\nThis text primarily discusses a filter chart that quickly addresses the basic action of any filter on given colors, providing valuable technical data on exposure-meters and their use, Photo-flood and Photoflash information including a table showing the number of Photo-floods of any given size that can be used with a given line fusing, Kodachrome data and exposure guides, and specimen releases from models for commercial purposes or reproduction. An additional feature is the inclusion of a renewable memo pad in the back cover of the book. Intended primarily for still photographers, amateur movie enthusiasts are also urged not to overlook it.\n\n16mm Business Films\nDocumentary, 710 feet, 16mm. black-and-white, sound.\nPresented and Produced by the New York Central System.\nThis is one of the most interesting 16mm films.\n[16mm. commercials we\u2019ve screened in some time, and an excellent technical job. It deals with a little-known part of railroading \u2014 the operation of a big freight classification yard \u2014 and has a really worthwhile instructional value apart from its purely commercial value. Made under the supervision of Fred-rick G. Beach, it tells its story completely, and is an excellent example of movie-making technique. While precise data is lacking, we\u2019re inclined to consider that much, if not all of the footage is 16mm. negative. Certainly, it shows what 16mm. negative, with proper laboratory handling, can do, for it gave first-class picture quality even when viewed on a large screen. The sound \u2014 also direct-16, we believe- \u2014 is also excellent.]\nThe early and closing sequences of freight trains weren't consistent in keeping the movement in the same direction across the screen. We would have preferred closer close-ups of some records in the freight office and the action of the tonnage computer. If possible, a better shot of two cuts of cars approaching the camera and going to different sides of the Y-switch would have increased the sequence's effectiveness. Even if traffic didn't permit this, arranging the existing cuts with inserts of the towerman throwing his lever and switch-points changing would achieve this result. The musical score is interesting, but the picture would be better if the music volume were lowered during the sequences.\nThe narrated portions of the film.\nFor America We Save\nEducational, 1000 feet 16mm. black-and-white, sound.\nPresented by Firestone Tire & Rubber Co.\nProduced by Jam-Handy.\nThis unusually timely picture on tire conservation is a typically smooth Jam-Handy job, apparently a reduction from 35mm. In general, it is excellent in technique and treatment, and is incidentally, above average as reduction-prints go.\nOur chief criticisms are that in some of the animations used to show the effects of mistreatment on a tire, the action is so exaggerated that to some audiences it may produce a laugh where it should evoke a thought, and that the voices of the actors in the several sync dialog sequences seem a bit stiff and wooden.\nBut these minor faults to the contrary notwithstanding, \u201cFor America We Save\u201d\nA picture that should be widely circulated these days, for everyone to see. Home Movie Previews\" Scenario-Vacation, 200 ft., 8mm. Kodachrome. Filmed by John E. Walter.\n\nThis is a little picture we wish could be circulated among the nation's movie clubs. It shows how amateurs can keep their cameras working during wartime restrictions on travel and film and equipment shortages. The film's script, reproduced on Page 18 of this issue, is cleverly made up of odds and ends of film exposed on weekend and holiday vacation trips in the \"good old days\" when gasoline was available to go somewhere, and film to expose once there. The thread of continuity is provided by perhaps:\n\n(Script on Page 18)\nForty or fifty feet of tie-in shots featuring a husband and wife, played by Mr. and Mrs. Walter, discussing the impossibility of going anywhere that weekend and reminiscing over past trips. Photographically, as expected, the picture has its shortcomings. Some of the film had obviously been gathering figurative dust on the family shelves for several years and had faded until little remains except what might be a magenta-toned black-and-white image. But where the film is newer, Walter's photography and compositions are excellent. The cleverness of the continuity and editing makes it rise far above its shortcomings.\n\nDocumentary, 200 ft. 8mm. Kodachrome. Filmed by Fred Evans.\n\nTaking its title from that of a best-selling book by the director of one of America's largest zoos, this clever documentary.\nA little picture takes the filmer and his family through the zoo in perhaps the most complete fashion we've ever seen in an amateur film. Cinefilmer Evans informs us he started out by asking the cooperation of the zoo authorities, and as a result, he has some of the most interesting close shots of the zoo's birds and beasts we've ever seen on screen. Not only does he secure unusually intimate shots of these creatures; he also manages to get unconventional angles on even the most hackneyed subjects \u2014 the sort of things you wish you'd shot, but never remembered to do when you had the opportunity.\n\nThe picture is carried along with a pleasant little thread of story, in which the family is seen every now and then trudging through the zoo or reacting to the strange animals they see. It is livened up with well-made titles.\nOur only criticism is that the introductory scenes, made inside the family's home, where they decide to take their youngster to visit this \u201cman-made jungle,\u201d are poorly exposed. The maker explains that the reason for this is that he used outdated Kodachrome film. Realizing that outdated film loses speed, he allowed an additional half-stop exposure. This is not nearly enough in this case, however, and in addition, the color-balance is noticeably off. It's an accident, of course, but nonetheless a compelling demonstration of why it's unwise to hoard film these days!\n\nMovie Clubs (Continued from Page 23)\n\nA commendable effort by Member Koehler, entitled \u201cLemon Aid,\u201d and two Kodachromes, \u201cBoard of Trade,\u201d by Archibald MacGregor, and \u201cThe Portrait,\u201d by Member Roeskin.\nThe Club voted to buy a dual turntable to add to its equipment. The Committee reported on the progress of the Club Film. Other films shown included \"World's Fair,\" a masterpiece of technique and musical scoring by Mr. MacGregor; \"Alaskan Adventures,\" by Richard Mallory; and \"Summer Beach Shots\" by Member Cascio.\n\nThe December meeting was highlighted by a showing of the American Cinematographer's International Prize-winner, \"Doomsday,\" filmed by Ruth Stuart of England.\n\n(Continued from Page 17)\n\nThese marine miniatures take top rank as the best seen in many years. Most importantly, they're completely convincing and don't give the impression of being miniatures. At the preview, several picture-wise trade-paper representatives found it hard to believe that these scenes were not specially-made shots.\nThis unique four-reel featurette comprises four animated sequences in the best Disney manner, welded together by live-action scenes enlarged from 16mm. Kodachrome originals. Walt Disney and his associates photographed these live-action scenes during Disney's recent visit to South America. These live-action scenes do credit to ex-newsreel cinematographer Disney and the enormous possibilities latent in the enlargement of 16mm. Kodachrome to 35mm. Technicolor. They represent the first use of this enlarging process in a major feature and merit careful study from everyone interested in professional or amateur cinematography. They present an excellent cross-section of the potential.\nThe ties and limitations of the process are evident in some, where the original was of first-rate professional quality, while in others, the original was of no more than typical amateur Kodachrome vacation film quality. These differences are apparent on the screen, clearly indicating the professional care required for enlarging Kodachrome.\n\nThe animated sequences are pure Disney, which should be recommendation enough for anyone. Opinions may vary as to which of the four animated sequences is best. This writer's preference is for \"Aquarela do Brasil,\" which is considered one of the loveliest things ever put on the screen. This is said after seeing it three times, and I want to see it again.\n\nCOMMANDOS STRIKE AT DAWN\nLester Cowan-Columbia Production.\nDirector of Photography: Lt. William Mellor, A.S.C.\n\nCinematographer Mellor has treated this, his last complete production before going on active service with the U.S. Army Signal Corps, in much the same dramatized-documentary fashion as his previous \"Wake Island.\" The accent throughout is on realism and simplicity. Where necessary, he builds to significant visual-dramatic effectiveness, but he does it so subtly that one is scarcely conscious of the camerawork, but feels only the dominant note of documentary realism.\n\nDuring the early sequences, strictly photodramatic effectiveness is completely subordinated to the documentary simplicity necessary to convey the placid simplicity of life in pre-invasion Norway. One gets the impression that he is looking in on a little bit of real life in a quiet backwater where nothing ever happens, and life can be lived placidly.\nThe Nazi invasion and its effects are portrayed happily in the film, with a subtle, scarcely noticeable building-up of dramatic tension in the camera treatment, but not enough to dispel the impression of documentary realism. The climaxing sequences of the Commando raid are, of course, action-photography raised to the highest pitch, and an impressive editing job on the part of film-editor Anne Bauchens. Mellor's treatment of his players is particularly outstanding. The reappearance of Lillian Gish, for example, after so many years off the screen, is something to cause comment, and his treatment of her brings her back with no shattered illusions to those who remember the Lillian Gish of two decades and more ago. In his treatment of the male players, he gives a succession of virile performances.\nPortrait lightings that deserve the highest praise. That type of praise, however, does not accrue to the print we previewed. It was undoubtedly a first print and not a fully corrected release-print. But it was an unusually poor one, in some sequences making Mellor\u2019s camera work seem as uneven as that of an inexperienced amateur. We sincerely hope that the release-prints are better balanced than the one we saw, to do justice to a very fine job of photography.\n\nYou Were Never Lovelier\nColumbia Production.\nDirector of Photography: Ted Tetzlaff, A.S.C.\n\nTed Tetzlaff, A.S.C., is without doubt one of the foremost glamor specialists in the industry, and in this delightful film (we\u2019ve seen it twice and enjoyed it both times!) he is decidedly at his best. Some of his close-ups of Rita Hayworth could hardly be surpassed. In an Army production.\nWe liked his treatment of Fred Astaire's dance-numbers. They elicited \"oh's\" and \"ah's\" in any photographic group, and the audience would have whistled. We appreciated his unconventional lighting in the dance sequence on the porch to the tune of \"I'm Old-Fashioned.\" It was the first low-key dance sequence we had seen. \"You Were Never Lovelier\" is another picture we don't want to describe but urge you to see.\n\nTwentieth Century-Fox Production. Director of Photography: Edward Cronjager, A.S.C.\n\nThis is another excellent example of smooth cinematography by Eddie Cronjager. It may not be up to \"The Pied Piper,\" as the story and locale did not provide such opportunities for cinematographic experimentation.\neffectiveness and mood treatment, but it is none the less excellent. An epigrammatically-minded commentator might dismiss it by saying that he dealt excellently with Ida Lupino and Monte Woolley's beard, and let it go at that. But Cronjager has done a good deal more than that: in a picture which would have been dramatically harmed by obviously pictorial camera work, he has held himself in, and kept his camera-treatment perfectly attuned to the action and locale. Often that is a great deal harder to do than to turn out a spectacular example of \u201cpretty\u201d camerawork.\n\nGeorge Barnes\n(Continued from Page 14)\nachievements of the early 20's. Soon after this he joined the United Artists\u2019 organization, where he photographed Rudolph Valentino\u2019s two last productions, \u201cThe Eagle\u201d and \u201cSon of the Sheik.\u201d It was on the latter production that he pioneered in the use\nAmong the two most significant advancements in cinematographic technique were panchromatic film and incandescent lighting. With these developments now established as indispensable elements in picture making, numerous claimants emerge for the distinction of using them first. However, around 1926, the situation was different. It took genuine courage to risk one's reputation on the performance of such new and untried materials and equipment. Barnes was among the first - if not, in fact, the very first - cinematographers to utilize them throughout a top-flight major production.\n\nPanchromatic film introduced various disruptive alterations. Film speed underwent a change. Contrast was definitively altered. Additionally, the new emulsion presented unforeseen and unpredictable changes in its rendering.\nThe use of colors, both on costumes and in make-up was a challenge for cinematographers. Unless a cinematographer was confident in himself and his knowledge, he risked damaging his reputation by making his players appear worse instead of better due to the new film.\n\nIncandescent lighting presented another problem. General Electric had developed high-powered globes suitable for photographic use, but there were no lamps in which to use them. Barnes had to improvise his own solutions, using a simple parabolic reflector and, in some cases, a small barrel housing to eliminate stray light-rays. Additionally, it was discovered that the more red-sensitive panchromatic film was \"faster\" to the warmer light of the Mazda, but no one knew exactly how much or in what proportion to balance Mazdas and the usual bluish arc and mercury-vapor lighting.\n\nFurthermore, there were no exposure-meters.\nThose days! Barnes' success with these new materials on \"Son of the Sheik\" is high tribute to his technical skill, as well as to his technical progressiveness. For some eight years thereafter, Barnes spent most of his time with the Samuel Goldwyn organization, photographing the long series of romantic dramas co-starring Ronald Colman and Vilma Banky - pictures which were consistently distinguished by some of the finest pictorial camerawork of the climbing days of the silent picture. Indeed, pictorialism has always been the distinguishing feature of Barnes' camerawork - magnificent pictorialism and an unexcelled attunement of visual mood to dramatic mood. \"Rebecca,\" which so deservedly gained him the Academy Award for the year's best black-and-white photography of 1940, was perhaps the most spectacular example of this, with its remarkably innovative visual effects.\nTerlaced changes of mood and key, yet with a steadily mounting atmosphere of menace subtly dominating every scene and sequence. But almost any of Barnes\u2019 films will afford a worthwhile study in both cinematic mood and pictorialism. He approaches each assignment consciously seeking opportunities to make his camerawork and lighting enhance the dramatic mood of the action.\n\n\"My first step on being assigned to a production,\" he says, \"is to sit down and try to visualize the script as I read it. I try to analyze the dramatic values of each scene and sequence, and decide what visual treatment will suit each best. I break things down in my mind and decide which sequences will call for high-key treatment, which will benefit by low-key treatment, and where and in what scenes my photographic transitions between the two should come.\"\ngo over the script in the same way with the director, ensuring that we both see the dramatic values - visually at least - in reasonable agreement. From that point on, it's a matter of coordinating the physical details of production - sets, costumes, and so on - with this advance visualization.\n\nSome pictures can stand more of this mood treatment than others. A picture like 'Rebecca' is a delight to do, as it offers such great opportunities for mood and pictorialism. In contrast, a picture like 'Wake Island' requires going to the opposite extreme. The photographic opportunities aren't so obvious, but they're still there. Pictorialism - at least of the more noticeable kind - would be badly out of place. However, the need for keying your photography to the dramatic mood of the action is still there, more strongly than ever.\nGeorge Barnes' approach to his work includes a less discussed aspect: the thorough training he provides to his camera crew members. If you examined the list of men who have worked as operatives or assistants under him and later became directors of photography, you would discover an impressive list of renowned cinematographers. Notable alumni include Gregg Toland, A.S.C., Harry Wild, A.S.C., and Stanley Cortez, A.S.C. Barnes effectively trains his junior colleagues extensively. His past trainees' success is evident.\nFrom John Stumar, this text began, setting him on the cinematic path! End.\n\nConvoy (Continued from Page 12)\nYou've got enough light to make a slow, fine-grain film like Background-X fully satisfactory. But a lot of the crucial action is likely to occur in the early morning or late evening, when the light isn't so good. Then you'll appreciate a faster emulsion like Plus-X or Super-X. You'll find these faster films useful, too, for making interiors below decks. We hadn't expected to shoot interiors, but when we got there, we unexpectedly found it necessary to make a few shots.\n\nBest Motion Picture Film for every Professional Production Purpose\nEASTMAN\nDistributed and Serviced by\nJ. E. Brulatour, Inc.\nFort Lee, Chicago, Hollywood\n\nFor safety, security, satisfaction, and service, the best Motion Picture Film.\n\nJanuary 26, 1943 - American Cinematographer\n\nAgain, resolved, for:\nSAFETY\nSECURITY\nSATISFACTION\nand SERVICE\n\nThe best Motion Picture Film for every Professional Production Purpose.\n\nEastman\nDistributed and Serviced by\nJ. E. Brulatour, Inc.\nFort Lee, Chicago, Hollywood\n\nThis fine-grain film is satisfactory for most shooting conditions. However, when action is likely to occur in the early morning or late evening, when the light isn't so good, a faster emulsion like Plus-X or Super-X will be appreciated. These faster films are also useful for making interiors below decks. We hadn't anticipated shooting interiors, but when we arrived, we found it necessary to make a few shots.\nIn the engine rooms and living quarters, we managed quite well with the help of the ship\u2019s electrician and the Canadian Navy stillman assigned to work with us. We used Photofloods screwed into regular lighting sockets for illumination. On some ships with 110-Volt current, we could power the Photofloods from the ship\u2019s generators. Wherever this current was available, we also used it to power the camera-motors, as it gave a steadier current than batteries.\n\nIn closing, I'd like to express my appreciation to the officers and men of the Royal Canadian Navy, who cooperated so well with us, and helped make our pictures even better than we had hoped. I hope that when the picture is finished, they'll find we've done as well by them as they did by us.\n\nPropaganda Films (Continued from Page II)\nnarration translated into twenty different languages.\nThe making of reels for international distribution was based on one of Dr. Goebbels\u2019 pet ideas \u2014 to assign trained cameramen to keep pace with military units in the field. These cameramen were attached, along with other propaganda experts in radio and newspaper reporting, to the high commands of front-line units. When Hitler\u2019s mighty war machine rolled into Czechoslovakia, and later thundered across Poland late in 1939, over 40 of these ardent cameramen lost their lives. In this campaign, nearly all of the cameramen were civilians, and due to the losses they suffered, it was decided to make soldiers of them thereafter. They were sent to field training-schools upon induction, and taught the most important factors of modern warfare, since being a cameraman was usually a secondary duty for these technicians.\nThe Nicicans were promoted, most of them to the rank of non-commissioned officers, and a few received commissions, depending on their qualifications. Their films were used as a powerful weapon of propaganda and a means of training young officers and enlisted men in blitzkrieg technique. World War I filmmakers' methods were borrowed, with a focus on German victories and enemy blunders. If neither existed in reality, they were staged for the camera. Effective pictures were often obtained long after the actual capture of a town by carefully staging the action, and the might, courage, and overall invincibility of the Nazi superiors were always emphasized.\nMen and their war machine. The story of how one of these films - the feature-length picture of the blitz across Poland - paid off its makers has become familiar. Shown to selected audiences of neutral Scandinavian countries, the film is credited with doing much to \"soften up\" these queasy Quislings and making possible an almost bloodless invasion. Later films, including \"Victory in the West,\" the film record of the fall of France and the Low Countries, played similar parts in the Nazis\u2019 domination of other countries in central and southeastern Europe. But these excellent pieces of propaganda have backfired upon their makers. A great deal of this footage, en route to Latin American countries to begin a similar softening and pro-Nazifying process in our own hemisphere, was intercepted by the British Navy, and in due course became available to the film industry.\nmakers in this country and Canada. The March of Time used some of it most effectively in \u201cThe Ramparts We Watch\u201d; the Canadian National Film Board used much more of it in \u201cThis Is Blitz\u2019\u201d ... in each case with narration and audience-effect wholly unlike that which Dr. Goebbels intended \u2014 to arouse the people of the United Nations to an awareness of the enemy we are fighting, and to impress upon them the fact that these enemies are not supermen, but merely well-equipped gangsters who can be beaten if we \"git thar firstest with the mostest.\"\n\nFinally, you may be sure that prints from these negatives serving yet another vital purpose, one which will cause Dr. Goebbels and his master endless distress. Used in the training of officers and men of the United Nations\u2019 Armed Forces, they are giving a visual education in blitzkrieg to the men who will be fighting this war.\nWith most titlers, adequate provision for holding the camera rigidly in place is lacking. Spend a little time tinkering up an adapter to fit your camera into the same position every time for better titles. Shoot titles on the same type of film as the rest of your picture. For a Kodachrome picture, titles should be made on Kodachrome film, too. For a black-and-white picture, use the same make and type of black-and-white reversal film you used for the picture: if you shot the picture on Eastman film, make the titles on Eastman film; if on Agfa, make your titles on Agfa to avoid differences.\nIn contrast, and more importantly, the thickness of the title film affects how your titles appear in the picture. If the title film is thicker or thinner than the picture film, one or the other will be out of focus. Additionally, if your picture (black-and-white) is several years old, I strongly advise you to humidify it before attempting to add titles made on fresh film. The difference in moisture content can throw your titles out of focus. Using reversal film means having light letters on a dark-toned card. Yes, I'm aware that many professional films from the last few years have had main titles with dark letters on a light background, but these were always for introductory titles, never for subtitles cut in between.\nPicture scenes carefully, and you'll notice that even the light-toned background is generally a light gray rather than pure white. The light lettering on a dark background is more legible and provides a smoother visual continuity with the picture than dark letters on a light background. Besides, I've never seen a dark-on-light amateur title correctly exposed, and when these titles are underexposed, they're pretty horrible examples of what shouldn't be done.\n\nThe best way to calculate exposure is to take your meter reading beforehand using a sheet of neutral gray paper in the titler. This will give a reading that is usually the most satisfying balance between the dark tone of the background and the light tone of the lettering.\n\nAlways try to have a definite contrast between the letters and their background.\nIf working in black-and-white, use clear white or silver letters against a flat black background. If working in Kodachrome, ensure a definite color-contrast between background and letters. The best all-around combination is white letters on a deep blue background. If your picture has a color-scheme that will stand it, and your taste runs that way, I won't argue if you use a red background instead. You'll get some first-rate ideas for color combinations if you study the main titles of Technicolor pictures, especially some of Walt Disney's.\n\nFor most titles, other than main titles, a very simple, unobtrusive background is by far the best. For black-and-white, a plain, flat black or dark gray; for Kodachrome, a plain, solid color.\nTitles or decorations are generally imitating except for main titles and key subtitles which introduce a new sequence. After all, titles shouldn't draw attention to themselves, and next to inadequate titles and poorly made ones, probably the worst amateur title fault is using titles that too violently call attention to themselves. Finally, remember that what the titles say is every bit as important as how they look. There should be enough of them to give a clear explanation of everything you'd explain verbally if you were showing the picture, untitled, to a friend. And the wording of each title should be ample to make its meaning clear. I know some textbooks suggest trying to polish the wording of titles for brevity as though you were composing a telegram, but personally, I prefer\nMost amateur titles say too little. In a picture of Yosemite, for instance, the bare statement \"Mirror Lake\" in a title leaves half the story untold. A title such as \"We had to get up early to get this shot of Mirror Lake, for soon after dawn the daytime breeze ripples away the reflections\" not only carries your picture along better, but by telling something interesting about the coming scene, makes it more interesting to the audience.\n\nSimilarly, most pictures - especially travel and vacation films - would benefit from an introductory title between the main title and the initial scene, unless, of course, you've tied your picture together with staged action of a story nature. Most amateur travelogs jump into things much too fast. I recall, for instance, an entry in a recent club competition.\nThe picture illustrated a picturesque and off-the-beaten-path hamlet in Mexico, titled \"Primitive Patzcuaro.\" The image jumped directly into the main street of the village without explanation, leaving viewers wondering where Patzcuaro was and why it was primitive. A few sentences in an introductory title or an insert of a map would have clarified the situation and enhanced the enjoyment of the picture. It would have likely improved its rating in the contest as well. Yes, there are numerous film opportunities if one re-titles some films from yesteryear. It requires no gas and minimal film usage. However, upon completion of the task,\nYou'll find that well-edited films from the past will seem new to you and your audiences. Editing the screen saves footage, and this method benefits all types of actions. Spoken titles can also be edited in this way: cut them in after the character begins speaking and before they finish. The audience will mentally bridge the gap in pictured action and accept this treatment as more natural. Focus on the story by removing anything that doesn't contribute. To establish a fact that a character leaves:\n\nYou're moving forward with the story, the essential thing, when you lop off anything that doesn't contribute.\nOne room for another, it's not necessary to include the action that takes him to and through the door of one room and then picks him up as he emerges through the door in the next room. Once it has been established that he is going through that door, the next scene can cut in when he is well in the room. This illustration can have many applications. And while this cut involves only an inch or two of film, the sum total of such cuts in a picture can mean the difference between its being interest-sustaining or tedious.\n\nYou can use the same principle to speed things up and save footage in many other ways, too, especially if you know how to balance shots of the actual action with intercut shots of someone's apparent reaction to it.\n\nTake a horse-race movie for example. Excitement is added and there's no loss of realism if you build your sequence by intercutting between the race and the jockeys in the stands.\nBegin with a shot from the grandstand of horses getting away from the gate. Then cut to a long-shot (preferably from more or less of a reverse angle) of the crowd reacting to the always thrilling cry \u201cThey\u2019re off!\u201d Then cut to a long-shot of the horses at the first turn as they jockey for position on the rail. Then cut to a fairly close shot of only one or two people in the crowd, as each reacts to the way their nag and money are being handled. Next, cut in that follow-shot you made as they raced along the back-stretch. Follow this with more reaction-shots among the crowd \u2013 preferably from increasingly close angles. Next, cut back to the horses as they round the final turn into the home stretch. Follow it by a shot \u2013 maybe a succession of quick, close shots \u2013 of spectators anxiously urging their favorites on.\nCut to your shots of the actual finish, after which you can end your sequence with reaction shots of the spectators \u2014 the lucky ones gesticulating their joy and perhaps heading for the pay-off window, and the unlucky ones tearing up their tickets and tossing them away. You may not have shown all the race in the literal sense \u2014 probably your reaction-shots may have been made at another race, anyway \u2014 but in the more important picture sense, you\u2019ve really shown all the race, for you\u2019ve captured the spirit of thrills and uncertainty which make any race dramatic. And you can trust the imagination of the audience to fill in the blank spots in the actual coverage of the race itself. In a word, the best rule to follow in editing film is \u2014 cut it in when it becomes important or interesting . . . and when it has made its point, CUT IT. END.\nAs a consequence, Dr. Howard dons his skis, abandons his poles, and takes the camera skiing. Equipped in this manner, he is able to follow skiers in their fast-flying, downhill gliding and cross-country runs, bringing to the screen much of the real thrill and exhilaration enjoyed by the \"average\" or only moderately accomplished skier. All this amidst scenes of majestic grandeur seldom glimpsed except by the hardy sportsmen who strap \"barrel-staves\" on their feet and ski up to it. He does this, holding the camera in his hands. Somehow, he manages to keep it focused and steady while sliding downhill at a sometimes dizzying pace, past shrubs, trees, and other things that quicken the pulse of the aesthetic photographer but serve no purpose in this context.\nThis text describes the accomplishments of an amateur skier, Dr. Howard, who films himself skiing to create a movie that outshines industry newsreels. The film features sequences that trap and trip the unwary skier and is worth seeing due to Dr. Howard's skill. He also includes slow-motion shots of top-ranking skiers executing various turns, jumps, and bends for instruction and interest. Dr. Howard wears out four camera-motors annually while filming these slow-motion sequences.\nHe told us that his sole equipment consists of an inexpensive Eastman camera, probably of the magazine type. Anything else, he said, would be too cumbersome to manipulate during moving shots taken from skis. He turns in an excellent show. Dr. Howard mentioned that the many thousands of men (the exact number a military secret, but a considerable and formidable force) of the United States Mountain Troops (Ski Troops) were recruited in large part from ski enthusiasts who had learned their skiing in peacetime. For the record, we must report that Dr. Howard and his camera out of the snow do not turn in the same satisfying performance as they do in the snow. There are many things he could learn, some of them fundamentals, from amateurs whose pictures are excellent.\nThe opening sequences of his present film could be cut extensively or even done away with. There are some bad cuts here and there. However, his pictures are of such interest that it might pay the good doctor to equip himself with something more than his \"inexpensive Eastman\" for those shots, which form the bulk of the picture. He would improve the texture of a lot of shots if he used a coated lens and a more adequate lens-shade.\n\nBut these things are beside the point. The point is, despite these shortcomings, most of which are unimportant, the picture is a great success and fulfills its mission admirably. In sum and substance.\nThis text appears to be mostly readable and free of meaningless content. I will make some minor corrections for clarity and consistency.\n\nstance it represents a strong argument for any picture sincerely made by someone with complete knowledge and enthusiasm for the subject-matter. It is an endorsement of Dr. Howard\u2019s initiative, an entertaining and interesting cinematic treatment of a national pastime. In addition, it is further proof of the growing use to which the 16mm medium is being put and presents a challenge to other cine-amateurs with an idea and a purpose to put their ideas across and help achieve that purpose through a most convincing medium.\n\n[Scene 24: Front door closes, showing back of it]\nTitle: THE END.\nFade-out.\n\nThere are endless variations of this script, and the actions of the people who join in it with you. Get busy on a new-old film of this type; the fine results you get will surprise you as they surprised me. END.\nComplete tripod with durable fibre tripod cover. Finely constructed tripod provides rigid support and smooth pan and tilt movement for 16-35 mm spring or motor cameras, accommodating Eyemo, Cine Special or others at no extra cost. Camepa-Mart, 70 W.45ST.NYC.\n\nFilm cement for all still and movie films, flame proof \"Just Can't Burn\". Economical film insurance. Transparent green and welds all films, makes straight, permanent splices. Ask your dealer or write IWES Gotham Co.\n\n50c. Kodachrome. Floods and more filters on camera lenses to attain desired color-balance. Standard studio lights with a light blue filter on camera lenses and Type A Kodachrome deliver the same magenta-toned result.\nProducers often use photofloods and CPs without filters on the same film. However, many prefer the results obtained by using \"hard\" lights (arcs) with regular daylight Kodachrome. I also prefer the results from this practice. The colors seem to have more density (color saturation). If Mazda lights are used with arc lighting, MacBeth blue filters must be used over the lamp lenses (not the camera lenses). Even with MacBeth blue filters on the Mazda units, they seem to emit an excess of red which must be subtracted from the scene by using a green-blue filter on the camera lens. The density of such a filter can only be determined by the number of Mazda units in use and the color of the subjects they are lighting.\n\nOne of the big factors in favor of using daylight Kodachrome indoors is that the colors on a human subject appear more natural.\nBeing more accurate in terms of clothing and skin tones when shot outdoors with daylight and indoors with arcs. Another advantage of using daylight Kodachrome indoors is when it's necessary to mix daylight with artificial light, such as in factories, offices, homes, and other places where Kodachrome is required to bring perfect results. Usually, it's impossible to have arc lights on such occasions due to cost. Therefore, it becomes necessary to use Mazda with MacBeth blue filters. A very important precaution must be taken into consideration when setting up in the typical location. Mazdas covered with BacBeth blue filters still emit some red. The longer the electric feed lines are from the source to each unit causes a voltage drop to each lamp, which makes them emit even more red that must be subtracted.\nA green-blue filter of proper density on the camera lens. Another issue that nearly always arises in factory and office setups is the fluctuations in line voltages caused by the starting and stopping of elevators or other heavy electrical equipment. With industry under wartime production pressure, it becomes impossible for the assistant director to have a plant's production stopped long enough for a well-balanced \"take.\" There's no cure for this little problem. You've got to take it, even if you don't like it.\n\nThe easiest way out of all this trouble with mixing lights is to wait until after dark and use Type A with Photofloods and other Mazda units. The only minor fault will be that the colors will not match as accurately with exterior scenes of the same persons.\n\nIf people are being used outdoors.\nYour story will determine the best way to shoot. Shooting Kodachrome requires a little knowledge: astrology and psychology are important with your producer. Arithmetic to know what filters to add to the camera lens or light unit to subtract unwanted colors will keep you on the screen. Entomology (my dictionary's definition proves it is helpful in handling camera bugs). Accounting to know how to charge and collect for your ability. And above all, a sense of humor when clouds roll across the sun in the middle of takes, or elevators or motors start up to dim your lights just as the camera starts. Crew chatter about gin-rummy or football or blondes, just while you are figuring out what density of blue filter must be added to subtract some undesirable rust.\nTo do a good job with Kodachrome, take a little additional time and require the necessary accessories: lights, reflectors, diffusion, scrims, filters, and most importantly, a good crew. Your producer may complain about the costs, but he'll complain louder and longer if the results are bad. I apologize to those Kodachrome camera men who have been telling their bosses that \"Kodachrome can only be shot between 10 a.m. and 2 p.m. for best results.\"\n\nTelevision\n(Continued from Page 9)\n\nThe television audience, far from being bored by it, has come to anticipate its fun sequences sequence by sequence, as Rochester's telephone call and The Mighty Allen Art Players are announced.\n\nThe difference between the radio pattern show and the television pattern show has been simply this: in radio, the material within the continuity is presented in a linear fashion, while in television, it is presented in a non-linear fashion, with the ability to switch between different programs and commercials.\nA skeleton is carefully rehearsed, while in television it has been barely rehearsed at all. At CBS, our factual shows such as Red Cross instruction or art appreciation, although thoroughly prepared and documented, were completely ad-libbed; our entertainment shows were combinations of material from other mediums \u2014 mostly vaudeville and night clubs \u2014 which were placed on our stage with little alteration and less rehearsal.\n\nUnder these conditions, where the success of the weekly pattern depends on the televor\u2019s ability to pick up ad-libbed or unfamiliar material with little or no rehearsal, the cameraman's contribution is of obvious strategic importance. It is highly probable that, as in the early days of radio when the industry was still fumbling for the most profitable form of operation, the first post-war telecasters will continue to explore\nThe Houston 16 mm Reversal Film Processing Machine is automatic, processing at a rate of fifteen feet per minute with an output of 900 feet per hour. Thermostats control solution temperatures and drying rate in the drying cabinet, with a variable speed control for solution exhaustion. Portable and designed for processing 16 mm direct reversal film, operators will receive training at no cost from the Houston Company. For training and detailed information on Houston Developing Machines, write to the H. W. Houston Company.\nThe latest and most modern film processing machines for on-the-spot motion picture developing, already in use by the United States fighting forces, can be supplied with high preference ratings. Both machines are crated and shipped completely assembled. Power is adjusted to the needs of the area to which it goes.\n\n35 MM Negative and Positive Machines:\nBased on a normal negative developing time of 6 minutes, the Houston 35 MM negative machine will deliver within the range of 15 to 30 feet a minute for the negative, and 30 to 60 feet a minute for the positive. The machines are completely self-contained, requiring no additional equipment. Provisions are made to electrically heat and filter the air for the dry box compartment, automatically controlled at any temperature between 75 degrees and 100 degrees.\nTemperature control is provided for the developing solution, stop and hypo, through a self-contained refrigeration unit which is fully automatic. Replenishment of the development solution is by automatic gravity feed. The film is taken off on standard 1000 foot reels. The loading flange is provided with a follow reel which operates a buzzer, indicating when the end of the roll is near and the loading section allows stoppage of the film feed for splicing.\n\nH.W. Houston 5t Company (A Division of General Service Corporation)\n6625 Romaine Street\nHollywood, California\n\nAmerican Cinematographer \u2022 January, 1943, p. 31\n\nThe technical experience it can provide and its appeal to the audience, they will undoubtedly proceed to the more elaborate programs requiring memorization of lines and longer rehearsals. Until that change takes place.\nSignificant responsibility rests with:\n\nTELEFILM\nDirect 16mm\nSound\nUsed by:\n- Douglas Aircraft\n- General Elec. (Welding Series)\n- Boeing Aircraft\n- North American Aviation\n- U. S. Dept, of Interior\n- U. S. Dept, of Agriculture\n- Santa Fe Railroad\n- Washington State Apple Commission\n- Standard Oil of Calif.\n- Salvation Army\n- Many Others\n\nA Better Job Faster- More Economical!\n\nTELEFILM INCORPORATED\n603 Hollywood Blvd., Hollywood, CA\nGhadstone 5748\n\nThe success of the show will continue to depend on the camera crew's ability to shoot it correctly without having seen it before. When ad-libbed, informal material within the program is replaced by skillfully produced and rehearsed material, the status of the cameramen may be lessened. No one can accurately predict the percentage of that replacement at this date.\nI think we can assume that the main characteristic of television is its ability to transmit sound and picture instantaneously. A considerable amount of television air time will therefore be taken up with material to which this property of the medium can bring a unique service \u2013 namely mobile and studio sports, spot news and special events. These are by their very nature unrehearsed or barely rehearsed programs. They will demand the same sort of camera creativity that played the major part in informal studio programs. If we realize that the quality of unpredictability, common to sports and news events, occurs as well in other sorts of programs \u2013 quizzes, amateur hours, public discussions and debates, some educational, and all audience-participation programs \u2013 then we can only conclude that in the future, this unpredictability will be a common feature in television programming.\nmost of the time the cameraman will have to function very much as he does now. But what of the rest of the television schedule? That is again a guess.\n\nNO \"DIM-OUT\" IN NEW YORK-\nIF YOU require Lighting Equipment\nAs sole distributors East of the Mississippi, we carry the full and complete line of latest-type Inkie and H.I.-Arc equipment manufactured by Mole-Richardson, Inc. Hollywood - California\nYour requirements for interior or exterior locations taken care of to the last minute detail anywhere\n\nMOTOR GENERATOR TRUCKS RENTALS SALES SERVICE\nCHARLES ROSS, Inc.\n333 West 52nd St., New York, N. Y. Phones: Circle 6-5470-1\n\nI feel that just as the audience will love the spontaneity, the informality of its sports, news, and special events programs, so it will reject the deleterious effect of the over-cheap production.\nProduction methods associated with informality in dramatic, varied, or tightly written factual shows. The fact that a show is live instead of canned on film, making informality a virtue. However, the more informal a show appears, the more painstaking its production, longer its preparation, and more expensive its talent. As Henry Ward Beecher once put it, the best extemporaneous speeches are the ones which have been most carefully prepared. I do not think it is stating a fact with which the telecasters themselves will quarrel if I say that to date, much of the nation\u2019s television fare has not been consistently up to the entertainment standards set by the American public. This is understandable because the telecasters have been forced.\nTo spend most of their relatively small budgets in expanding their knowledge of the technical, social, and economic aspects of the new medium. They are aware that the faults in their studio programs have been due to inexperienced talent, unskillful production, or a virtual absence of production.\n\nAt CBS, we believe that experimental operations have taught us the \"feel\" of the medium plus considerable knowledge of its cost and future economic structure. We know that both talent and production value are purchasable at a price, and our current studio shows \u2013 both the informal, productionless ones and the production \"pattern\" shows \u2013 have given us a yardstick indication of what these costs may be.\n\nFor the non-mobile, non-special event operations, this evolution from the informal, unrehearsed, unproduced type of television program to the formal, rehearsed, produced type is underway.\nA skillfully rehearsed and produced television program can significantly alter a cameraman's role. Unfamiliar material, which once challenged his intelligence and ingenuity to create satisfactory pick-ups, will no longer be an issue. Television shows will no longer be a race between unpredictable stage action and the cameraman's divining powers. Instead, with production and rehearsals, there will be camera treatments planned in advance, equivalent to a film's shooting script. This implies that the studio-type program's primary task for the cameraman while on air will be the mechanical one of recalling a shooting treatment established in rehearsals and operating his camera skillfully. Nominally, he will function as the operational cameraman, contrasting his current approximation of\nSome duties of the Director of Cinematography in films.\n\nQuality\nOn location:\nLighting on location \u2014 indoors and out \u2014 is subject to less control than in the studio. But under the most trying conditions, cameramen and directors confidently depend on Eastman Negative Films, with their demonstrated ability \u2014 each in its own field \u2014 to invest each scene with the highest photographic quality.\n\nEastman Kodak Company, Rochester, NY\nJ. E. Brulatour, Inc., Distributors\nFort Lee Chicago Hollywood\n\nPLUS-X SUPER-XX\nfor general studio use when little light is available\n\nBACKGROUND-X\nfor backgrounds and general exterior work\n\nEastman Negative Films\nAmerican Cinematographer \u2022 January, 1943\n\n\"On the air.\" The introduction of production value will undoubtedly disturb this.\nThe ratio of rehearsal to air time is extensive in television. The time allotted for rehearsal and planning often exceeds actual air time. If the television cameraman aims to be just an operator, he will have a limited role in these non-air operations. However, to maintain his superior industry position, he must participate in, if not directly, the planning of camera-angles and movements, as well as lighting.\n\nUnfortunately, I do not believe it is feasible for him to perform these tasks and consistently operate the camera. Obstacles in the television production process hinder this. Describing the specifics of this process in general terms is challenging. For this reason, I have selected an actual sequence from a highly advanced show as an example of the cameraman's function.\nThe Ballet \"Billy The Kid\" starring Eugene Loring will serve you well with B&H Taylor-Hobson-Cooke Cine Lenses. These lenses anticipate future improvements in film emulsions and exceed current technical demands. Write for literature. Buy war bonds.\n\nBell & Howell Company\nExclusive world distributors\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. La Brea Ave.\nWashington, D.C.: 1221 G St., N.W.\nLondon: 13-14 Great Castle St.\n\nThe Ballet Theatre Group. I think it will show the cameraman's job more graphically than a generalized description. Although the rehearsal and planning time for \"Billy\" was relatively short, the camera, lighting, and sound treatment were definitely planned in advance. The result was a much greater coherency of production treatment than\nWe had previously been able to identify the subject. To a limited extent, therefore, \"Billy\" was probably more like the television shows of 1948. The horse-thief, stage right, struggled with a group of the sheriff's men in a medium-shot.\n\nA cut is made to a pick-up from Camera No. 2 (12\" tele lens, equal to 3\" lens with 35mm. camera). Billy and his mother, stage left, enter the frame, camera right. They are strongly lit and would fill the frame in a close two-shot if their shadows weren't observed on the faces of the other dancers standing behind them.\n\nCut back to Camera No. 1 as the horse-thief gains his freedom from his captors and pulls an imaginary gun. Meanwhile, a grip has pulled his 5KW floor spot to camera left and widened the beam.\nTo remove the shadows from the dancers behind Billy, ready for the next cut. As the struggle continues, Camera No. 1 trucks back to a long-shot of the entire stage. Camera No. 2 pulls back simultaneously, off the air, to avoid getting into the angle of the No. 1 shot. It stops at a full-length two-shot of Billy and his mother. The horse-thief shoots wildly about him, and a bullet strikes Billy\u2019s mother. As she falls, the cut is made to the waiting camera No. 2, which zooms into a medium-shot of Billy lowering the body to the ground, and then in for a close-up of the mother's face and limp arm. As Billy's feet move out of frame, camera left, walking slowly and ominously, the cut is made back to No. 1 on the frightened crowd. Billy enters, camera right, in a medium-shot.\nMeanwhile, off the air, No. 2 wheels into a close-up position on the horse-drawn rental cart. Rentals Sales Service Mitchell Standard, Silenced, NC, Hi-Speed, Process and Eyemo Cameras. Bell & Howell Fearless Blimps and Panoram Dollys \u2014 Synchronizers \u2014 Moviolas 35mm Double System Recording Equipment We specialized in REPAIR WORK on MITCHELL and BELL & HOWELL Cameras. Frank-Zucker Cable Address: Cinequip camera Equipment 1600 Broadway nyc Circle 6-5060 The thief's back and as Billy stabs him, the movement is seen in close-up. Cut back to Camera No. 1 on a waist two-shot, and truck back raising the crane arm to admit dancers in the foreground who crowd Billy. \"Billy the Kid\" ran thirty minutes and spilled over the 40x44 television stage in many different choreographic groupings with twenty dancers. I do not think I am exaggerating when I say that the.\nBallet came over nearly as effectively as it would have if shot, re-shot, and edited on motion picture film. Yet, only the director had seen the ballet before, and the cameramen and other technicians had only a sixty-minute rehearsal period with one dress rehearsal to feel the music, get to know the choreography, and design the camera treatment. Ninety minutes of rehearsal to thirty minutes of air time is a long rehearsal period in terms of current television practice.\n\nThe television cameraman's job is obvious. He must pan, tilt, truck, and compose in keeping with the demands of the subject. He must do this with one eye on his finder, the other on the next move, and a kind of third eye on what the other cameras are doing so that he does not get a shot which will produce a bad optical shock when the cut is made.\nHe must balance the demands of the individual shot with the all-over pace of camera treatment required by the mood of the show. He must keep the moving subject-area of the scene in focus or split focus between significant areas continuously and unnoticeably. He must do so by constantly adjusting a crank or wheel with one hand, panning or tilting with the other hand. Somehow he must push a self-propelled dolly or signal an assistant to push it for him. He must do this in the face of a depth of focus about exactly similar to that obtained with a Speed Graphic carrying either a 6-inch or a 12-inch lens, operating at apertures from 2.7 to 4.5. He is often cursed with an upside-down, inverted viewing screen or finder.\nThe camera operator must accurately use parallax correcting devices. The director's shouted corrections in the control room are little help. If the show has been rehearsed, the operator must follow the camera treatment exactly. If not, they must shoot \"off the cuff\" and do a good job. They must do this without error because the audience sees the picture as it is being shot.\n\nNo matter what kind of show it is - mobile or studio, rehearsed or unrehearsed - the basic fact is that the cameraman controls an instrument of selection and interpretation, which is the sole means of carrying the show to the audience.\n\nIn unpredictable television shows, the responsibility for that unpredictability lies with:\n\nThe cameraman must accurately use parallax correcting devices. The director's shouted corrections in the control room are little help. If the show has been rehearsed, the operator must follow the camera treatment exactly. If not, they must shoot \"off the cuff\" and do a good job. They must do this without error because the audience sees the picture as it is being shot.\n\nThe responsibility for unpredictability in television shows lies with the cameraman.\nThe selection and interpretation largely rests with him. For predictable, planned, and rehearsed shows, there will be more time to correct errors and plan shooting treatments. However, the skillful execution of those treatments still depends largely on the cameraman. This fundamental fact differentiates a television cameraman from a motion picture camera operator. In film, the director can screen rushes and reshoot and edit accordingly. In television, the director cannot. For predictable actions, he usually counts on the ability of the cameraman to provide the shots set in rehearsal for the air show. For unpredictable shows, he must rely almost entirely on the cameraman's creative ability. This is the basic reason why the television cameraman, regardless of the part he may or may not play in the nominal direction of the show, has a significant role.\nThe television cameraman holds much greater responsibility than a film camera operator. These are the operating functions of the television cameraman, which are vital to the art under the present informal, unrehearsed pattern technique. The ability to fulfill them skillfully should place the individual cameraman in the top ranks of those employed in the post-war television industry. However, as the industry changes to more rigid and elaborate production methods, the recognition of the value of this degree of spontaneous camera ingenuity and initiative will decrease. The cameraman will then have to function as a subsidiary to the director for at least half of all programs, or, as in the prophetic \"Billy,\" collaborate with the director in the advance shooting scheme of the show.\nRegardless of the trend toward elaborate, formal production in the studio, the cameraman will still find opportunity for creative activity in mobile sports and special events telecasts, which will make up about half or more of the television schedule. However, it will be in the economic interest of the telecasters to regard studio operations as the hallmark of the cameraman's value. I do not think he will be credited with any other value unless he follows in the steps of motion picture cinematographers in consciously and willfully emphasizing his importance to the art.\n\nThe importance is the job of visualizing the material placed before the cameras \u2013 not only the operating of the cameras, but that of the lighting technician, shooting script creator, and the cutter.\nAs seen from the description of \"Billy The Kid\" production, it is difficult to imagine a cameraman operating the camera as well as simultaneously designing the way it is to be used. For this reason, I think post-war television studios will have television camera operators, plus men with similar capacities to directors of cinematography, who will do or collaborate on lighting, shooting treatments, and cutting. The amount of credit and remuneration the operators will gain for themselves will depend entirely on their own abilities to convince telecasters of their importance. As to the position of the chief cameraman, or director of visualization, or whatever he may be called, assuming I am correct, it is impossible to predict whether he will function in that way alone, or whether he will combine these functions with those of a program director.\ndirector, whether he should combine them, he will more likely be a radio or film director who has picked up the necessary technical knowledge. A more detailed description of television production methods may allow the reader to make his own prediction.\n\nSound camera for 16 mm sound - on - film:\n\u2605 High Fidelity Sound\n\u2605 Self-contained in sound proof \"blimp\"\n\u2605 Minimum equipment; maximum portability. Camera and amplifier, complete, weigh only thirty-seven pounds.\n\u2605 Kodachrome or black and white pictures with Auricon sound track will reproduce on any sound-film projector.\n\u2605 Can be operated in the field from an Auricon Portable Power Supply.\n\nAuricon 16 mm Recorder:\n\u2605 Auricon Camera with type \"C\" lens mount (but without lens) and Amplifier complete with microphone, instructions, and cases.\nVariable-area sound on film for double system recording with a synchronous motor driven 16 mm camera. Amplifier has background-noise reduction and mixers for combining speech and music. With dynamic microphone, instructions and cases for Recorder, Amplifier, Accessories - $695.00\nAuricon 16mm sound-on-film recorders and cameras are serving the Nation's War effort with Military and Government Film Units, and with civilian organizations producing essential morale and industrial training films. If your work in such fields makes you eligible to purchase new equipment, we invite you to let our engineers show you how Auricon portability and professional performance will simplify your recording problems.\n\nAURICON CbioM,\nE. M. Berndt Corp.\n5515 Sunset Blvd., Hollywood, CA\nManufacturers of Sound-on-Film Recording Equipment Since 1931\nAnimated Cartoon Equipment.\nAMERICAN Cinematographer \u2022 January, 1943\n\n35MM 3 COLOR CAMERAS, I6-35MM BACKGROUND PROJECTORS, I6-35MM OPTICAL PRINTERS, 35MM CAMERA REPAIR\n\nACME TOOL & MFG. CO.\n2815 W. Olive Avenue, Burbank, California\n\nPHOTO LENSES are an American product, made by American labor in an American-owned factory. We have no connection to any other firm. Goerz lenses, because of their accuracy, are front-line photo-optical equipment in many fields of activity of our Nation at War. The utmost is being done to meet the demands of the Government for these photographic precision tools. From time to time, there may be available some of these fine anastigmats for civilian use. We invite you to write us about your requirements. There is a Goerz Lens for every purpose.\nTo help in the selection of the proper lens, our long experience is at your service. For detailed information and prevailing prices, see your dealer or Address Dept. AC-1, C.P. GOERZ AMERICAN OPTICAL CO., Office and Factory, 317 East 34th Street, New York. War Savings Bonds and Stamps help keep Axis Censors away from YOUR Camera!\n\nProgress (Continued from Page 7)\n\nThis process is at present strictly an amateur process for use in rollfilm cameras. Although available commercially, it is necessarily being exploited on a limited scale \"for duration.\" The present operations consist of scarcely more than pilot-plant production in comparison to the obvious potentialities of the process.\n\nReports of the perfection of Agfa Ansco's long-rumored Agfacolor process have also been officially confirmed, and the film is understood to be in production.\nThe process, though not stated whether it's a reversal or a complementary-color negative-positive system for this product. Both are known to have been under experiment. This restricted product is exclusively used for military purposes \"for duration.\"\n\nThe use of natural-color photography and cinematography, both 35mm. and 16mm., for military purposes is enormously increasing. In 16mm. form, it offers remarkable advantages in convenience and portability of equipment for combat cinematography, as shown by Commander Ford's film of the Battle of Midway. It is also proven valuable for aerial reconnaissance, as stated to be in many cases the most infallible method of penetrating camouflage.\n\nThe use of 35mm. enlargements from 16mm. Kodachrome originals has also been adopted.\nThe outstanding development in the 35mm. camera field was Harry Cunningham of RKO's creation of a radically new camera, primarily designed for military combat use. Built in gunstock form for hand-held operation in the field or in the air, it features an excellent pilot-pin movement of studio type, constructed to professional standards of precision. Interchangeable magazines, each containing its own movement, facilitate quick reloading under challenging conditions.\n\nCamera Supply Company\nART Reeves\n1515 North Cahuenga Boulevard\nHollywood\nCalifornia\nEverything: Buying, Selling, Renting\nNew and Used Equipment\nProfessional and Amateur\nControls are grouped for permitting operation even in high-altitude flying gloves or unfavorable conditions. The use of magnesium and similar lightweight metals reduces the camera's weight to nearly inconceivable figure of 13 pounds. It seems ideal for military use today and should revolutionize newsreel and expeditionary camerawork after the war.\n\nAnother interesting professional corner, apparently still largely in the experimental stage, is the \u201cElectroplane\u201d camera based on the designs of the late Dr. L. M. Dieterich, A.S.C., and P. Stanley Smith. This camera - or rather a special mechanico-optical system fitted to a standard Mitchell camera - is stated to produce a uniformly sharp image.\nEverything from four feet to infinity is captured through a lens developed from Dr. Dieterich\u2019s original \u201cDetrar\u201d design. In this system, one element of a special four-element lens oscillates constantly during the exposure of each film frame, moving the plane of sharp focus repeatedly from four feet to infinity and back without changing the image size. The oscillation is produced by an electrical mechanism, similar to a loudspeaker voice coil, and synchronized to the camera movement.\n\n16mm. and 8mm. Cameras\n\nHowever, a new substandard camera emerged during 1942. This is the Bemdt \u201cAuricon\u201d single-system 16mm. sound camera, which was designed before America\u2019s entry into the war and subsequently modified to minimize the use of critical materials, castings, etc. In its present form, the Auricon camera is housed in a wooden box.\nA sturdy metal plate serves as the framework for the mechanism. The film-carrying movement is essentially similar to that of our firm's Auricon recorder, with the addition of an excellent intermittent picture movement. An ingenious dual drive is employed, with an unusually small synchronous motor used to drive the camera itself, while a larger, nonsynchronous motor, governed by the camera-motor, powers the take-up. The recording galvanometer and amplifier are identical with those used in the Auricon recorder. The entire unit has been planned for simplicity, portability, and\u2014probably the first 16mm. sound-camera so planned\u2014for sale at a price within the reach of at least the more prosperous advanced amateur. As such, it seems certainly the forerunner of many others which we may expect to see after the war.\n\nLighting.\nThere were no particular advances in lighting or lighting equipment to be chronicled. With the increase in pictures with a war background, most of which require increasingly realistic photographic treatment, there has been a trend toward greater use of arc lighting in monochrome cinematography.\n\nAs for incandescent lighting, the recent reduction in the number of incandescent lamp types available, necessitated by the war, had little or no effect on studio lighting units other than Photoflood and Photoflash globes, which have been placed on a priority basis.\n\nConsiderable advances in optical design and materials have been made by American lens-makers during the year, but these have been channeled to the production of lenses.\nmilitary optical instruments give enormous promise of great advances in photographic optics after the war. Of an essentially mechanico-optical nature, the \u201cI-R\u201d system introduced by Dr. Alfred N. Goldsmith as a means of securing increased focal range is technically interesting, if not particularly practical for studio cinematography in its present development. Briefly, this system supplements or replaces the conventional camera shutter with one carrying supplementary lenses which correct the focus of the lens to different focal points within the field. This differential focuser or \u201cdiffo\u201d is synchronized with the lighting in such a way that during the exposure of each frame, the \u201cdiffo\u201d successively corrects the focus of the lens to the several key planes in the field, at which time that particular plane is illuminated by a synchronized flash.\nThe system uses light from any desired number of sources, while the lighting on the other planes of the field remains off until the \"diffo\" successively focuses the camera on each one and their synchronized illumination flashes momentarily to make the exposure. The system seems to work on a laboratory scale but is obviously too unwieldy for practical studio cinematography.\n\nSpecial-process cinematography is becoming increasingly important in production as a result of wartime restrictions on set-building, transportation, and the like. Miniatures are necessary for staging many types of battle and bombing scenes, as well as scenes of aircraft flying, landing, and taking off (the latter since private flying and aerial photography are naturally restricted).\nForbidden in the West Coast area, which is technically a Combat Zone, background projection or \"transparency\" process work has had to meet increasing demands. Not only in the quantity of scenes needed, but also in physical scope. In at least one instance, the recently perfected triple-head process projectors proved inadequate, and two of these super-powered units had to be used, with two screens placed side by side, giving a total background screen width of approximately 50 feet, for the Technicolored \"The Forest Rangers.\"\n\nFor the same production, Gordon Jennings, A.S.C., developed a very important accessory - a large mobile boom or crane - with which to manipulate miniature airplanes. This boom makes it possible to film action with miniature aircraft carrying out maneuvers which would have been impossible with conventional means of control.\nAnother important development in special-effects cinematography was a series of experiments made by Vernon L. Walker, A.S.C., and Carroll Dunning with the use of 35mm enlargements from 16mm Kodachrome originals for process background plates. While this method has not yet been used on actual production, the tests indicate that it should be satisfactory, at least for scenes with a moving-camera background in black-and-white, and probably in color as well. This should prove extremely advantageous in securing backgrounds where the bulk and weight of conventional 35mm camera equipment would be excessive. In addition, the greater focal depth obtainable in enlargements from 16mm originals should be of value in many other types of background shots if the question of registration can be adequately answered.\n\nA very practical accessory was developed.\nDeveloped by the Warner Brothers\u2019 Camera Department in their automatic scene-slater for use with Mitchell BNC cameras. This slater is built directly into the camera, rather than fitted externally. It is placed on the right side of the camera housing, so that if the camera is held in focusing position after starting the motor, and only racked over into photographing position after reaching operating speed, the slating is automatically done while the camera is speeding up.\n\nAnother practical accessory developed by the same studio was a camera cart which serves as a mobile locker in which two complete cinematic camera outfits and a still-camera outfit, with all necessary accessories, can be wheeled directly to the set.\n\nA.J. Kooken, of the same studio\u2019s Art Department . . . Rents . . . Sells . . . Exchanges Everything You Need for the Ruby Camera Exchange\nIN BUSINESS SINCE 1910, 729 Seventh Ave., New York City, Cable Address: RUBYCAM\n\nThis veteran organization of specialists provided production and projection of motion pictures. They developed an interesting accessory called the \"Heliocator,\" which determined the sun's angle for any given location, date, or hour. The value of this information in planning film development was significant. It indicated instantly the even-color and light value of a scene or object in the finished print before taking the picture.\n\nGraduated Filters:\n- *4 ISHC IMi\n- Fog Scenes. Diffused Focus. Other Effects\n- \u00aeWHIT1 rok tot Of* TW.n\u00ab.k. 2102\n- Geo. W. Colburn Laboratory\n\nOriginated: 1927, 8168 West 78th Street, Los Angeles, CA\n\nOriginator of Effect Filters: Geo. W. Colburn, 1927, 8168 West 78th Street, Los Angeles, CA.\nSpecial Motion Picture Printing, 995 Merchandise Mart, Chicago. Don't waste film! Get your picture - the first time and every time! Flash with a Kalart precision Speed Flash. New booklet gives interesting facts on how to put life in your film.\n\nThe Kalart Company, Inc.\nStamford Dept. 112, Connecticut\n\nMovola\nFilm Editing Equipment\nUsed in every major studio\nIllustrated literature on request\nMovola Co.\n1451 Gordon St., Hollywood, Calif.\n\nFaxon Dean, Inc.\nCameras\nBlimps-Dollies for rent\nDay, Normandie 22184\nNight, Sunset 2-1271\n4516 Sunset Boulevard\n\nAmerican Cinematographer \u2022 January, 1943, p. 37\n\nNearing sets and scheduling location shooting is obvious. Just before wartime restrictions clamped down on such developments \"for duration,\" Republic Studio completed a special camera-car which represents important improvements over anything of this nature previously available.\nThe Camera Equipment Co. of New York developed an excellent and much-needed shift-over device for use with the Bell & Howell Eyemo camera and its prismatic focuser, commonly used in military, newsreel, and documentary work.\n\nVery few new accessories for substandard cameras were developed. Two manufacturers in Minneapolis, however, created special gunstock mounts for various types of 16mm. and 8mm. cameras. Originally intended for use by sportsmen, these mounts should prove valuable in military combat camerawork, particularly given the extensive use of 16mm. cameras for this purpose.\n\nSet design was influenced primarily by the governmental order prohibiting the use of more than $5,000 worth of equipment.\nNew materials in constructing sets for any one production. The larger studios, especially those which had for some years been turning out the so-called \u201cB\u201d or low-budget films, had extensive resources in the form of stock or standing sets, and had for years made a practice of remodeling such sets for use in their lesser productions. The studios which had had a smaller output, or which had concentrated on \u201cA\u201d pictures, of course, could not do this. Consequently, a considerable inter-studio exchange of sets, especially specialized ones, grew up.\n\nSome studios which had previously always used hard-walled sets made increasing use of fabric-walled flats as a means of holding down set costs. Others experimented with the construction of so-called \u201cstandardized\u201d sets, which could be left standing and, with very little remodeling, serve repeatedly in various productions.\nIn the laboratory field, the H.W. Houston Co. designed a series of almost completely automatic developing machines for field service with the Army and Navy. Available in types for both 35mm. and 16mm. film, and for reversal processing as well as conventional negative and positive types, these machines are designed for ultimate simplicity and portability. Some of them are scarcely larger than an ordinary office desk and are, with the exception of their power and water supplies, completely self-contained, even including solution temperature control accessories and air-conditioning. The significance of such machines to commercial operators and expeditionary cinematography after the war is easily imagined.\n\nVery little can be chronicled under the sound-35mm. category.\nThis heading, though there were a number of technically interesting \"undercover\" developments. Sound \u2013 16mm. Probably the outstanding fact relating to substandard sound is the fact that during the past year, an increasing number of America\u2019s more advanced cinematographers have turned to 16mm. sound, not only on synchronized disc, but sound-on-film. Coupled with the appearance of moderately priced sound-film cameras like the Auricon and the volume production of 16mm. sound projectors for the military services, which will naturally lead to lower prices, this points to a definite trend toward the use of sound-on-film by post-war amateurs. In the professional 16mm. sound field, an important development was the introduction by J. A. Maurer, Inc., of their \u201cCertified Sound\u201d system. This is a further refinement of this firm\u2019s universally approved 16mm. professional sound system.\nRecording equipment, redesigned on a coordinated unit basis, considerably simplified with the addition of a volume-compressor circuit, ensuring nearly satisfactory results even in the hands of comparatively unskilled operators.\n\nProjection:\n\nThe most notable development in this field is undoubtedly the enormous use of 16mm sound-on-film by the military for both training and entertainment purposes. While little, if any 16mm sound projection equipment is available for civilian use, it is being produced at a vastly expanded rate for military use. Several manufacturers, including Bell & Howell, De Vry, and others, have announced \"Victory\" models making minimal use of critical materials. These \"ersatz\" designs and constantly increasing volumes are clearly indicating the way to improved and cheaper products after the war.\nAll civilian still photography has suffered from material shortages due to the war. The outstanding development in this field has been the introduction of the Kodacolor process.\n\nVisual Education\n\nEducational motion pictures and their use have been advancing by incredible leaps and bounds, due to the increasing use of instructional films for military and industrial training. With all of Hollywood\u2019s studios turning out military training films and civilian morale films, and with Walt Disney throwing almost the full force of his unique organization into the production of specialized training and propaganda films, it is certain that this year and those to follow are seeing advances in the educational film and the technique of its employment which not even the most optimistic visual education enthusiasts could have anticipated.\n[The Army's use of training films is advancing visual education twenty-five years at a single step. When the sum total of the nation's diversified uses of factual films is considered, this statement seems conservative indeed. END]\n\nClassified Advertising\nFor Sale:\nImproved Duplex 35MM Printer, with two Bell-Howell Cams and Shuttles. Perfect Registration for Color or Black and White, also process plates. Bell-Howell Standard Silenced Camera; Educational Blimp and Dolly; Sound and Silent Moviolas. Equipment slightly used at a big saving. Hollywood Camera Exchange, 1600 Cahuenga Blvd., Hollywood.\nDevry Single System Sound Recording Camera, Complete with 3 Lenses; View Finder; Amplifier; Noise Reduction; Power Supply; 3 Western Electric Microphones; Friction Tripod; 5 Magazines; Sunshade Matte-]\n[35MM SOUND AND PICTURE PRINTER $295.00\nDuplex 35MM Step Printer $350.00\nBerndt Auricon 16MM Recording System with Noise Reduction $595.00\nLike New, S.O.S. Cinema Supply Corporation, New York. We buy, sell and rent professional and 16mm equipment, new and used. We are distributors for all leading manufacturers.\nRuby Camera Exchange, 729 Seventh Ave., New York City. Established since 1910.\nNew Fearless interlock camera motor for NC Camera. W.E. interlock camera motor (door type I), Western Electric interlock motor for Standard Mitchell Camera (door type).\nCamera Equipment Company\n1600 Broadway, New York City\nCABLE: CINEQUIP\nFOR SALE: One model 500-D BM Recorder complete with Monitor Speaker, purchased in 1941, $3200.00. One Model Y Pre3to Professional Recorder $450.00. F.S. Yenowine, 660 Hulman]\nWanted: Hollywood Camera Exchange, 1600 Cahuenga Blvd., Hollywood, CA, pays cash for photos, graphic items. Wanted to buy for cash: cameras and accessories. Mitchell, B & H, Eyemo, Debrie, Akeley also laboratory and cutting room equipment. Camera Equipment Company, 1600 Broadway, New York City. Cable: Cinequip. Bell & Howell Standard, Mitchell cameras, lenses, motors, accessories. Camera Mart, Inc., 70 W. 45th St., NYC.\n\nJanuary 1943, American Cinematographer\n\nAirplanes made to fly faster and at greater heights present new problems to lens designers. Kodak's new glass, with a much higher refractive index than previously available in optical glass of the same dispersion, is now being applied to aerial lenses and is partly responsible for the effectiveness of aerial photography. The new glass's higher light-bending ability improves image clarity and sharpness in aerial photography.\nThe lens has twice the speed of the fastest lens previously used by our Army Air Force. The position of the pencil\u2019s image shows that Kodak\u2019s new glass (below) has greater light-bending power than old-type optical glass (above). Both have the same dispersion.\n\nB. Aerial lenses, made with new rare-element glass \u2014 the first basic discovery in 55 years:\nSand has always been a basic ingredient of optical glass. Now, for the first time, Kodak is making optical glass of \"rare elements\u201d \u2014 tantalum, tungsten, and lanthanum. No sand \u2014 to the optical scientist, it\u2019s \"almost as revolutionary as discovering how to make steel without iron.\n\nThere would be no point in it, of course, without the result which is obtained: A lens which gives greater speed without loss of definition and covering power.\n\nThe U.S. flyer equipped with an aerial lens made by Kodak, incidentally.\nThe new glass enables flyers to carry out their mission from a safer height and with a better chance of bringing back pictures. Faster, Farther, Clearer.\n\nBefore this, the fastest lens used by U.S. Army flyers was f/3.5. Now, night flyers are being supplied with a 2.5 lens as rapidly as possible. This is twice as fast and produces pictures of better quality with the same flash bomb at a greater height.\n\nThe greater light-bending ability of the new glass means that the lens can have less curvature, resulting in much better definition at the edges of the picture.\n\nPrior to Kodak\u2019s new glass, in 1941, the last basic discovery leading to radical improvement in optical glass was made by Kodak scientists in collaboration with Dr. G. W. Morey.\nThe U.S. Geophysical Laboratory spent four additional years perfecting its manufacture and computing new formulas for grinding lenses for the new optical elements. Fortunately, the work was completed in time, and the new optical elements are now in many cameras serving democracy. Eastman Kodak Company, Rochester, NY, through Photography - American Cinematographer. \"Show These Newest Films for factory!\" The new Filmosound \"V\" Projector is every way typical of the quality and precision associated with all Bell & Howell products. It is sturdy, precision built, easy to operate, and includes every feature essential to superb projection and film performance.\nThis war is every American's fight. The harder everyone fights on every front \u2014 the sooner the hour of Victory. You and your projector are in a position to render invaluable service, because with your projector and the B&H Filmosound Library, you can help bring the real meaning of the war right home to hundreds of your fellow men.\n\nBelow are a few of the latest Filmosound Library releases that will enable you to do this important job. There are thousands of other films available to you through the Filmosound Library \u2014 purchase or rental \u2014 covering every need and every subject. See your dealer for timely suggestions on how you can use your projector to hasten Victory.\n\nBell & Howell Company, Chicago; New York; Hollywood; Washington, D.C.; London. Est.1907\n\nMADE WITH MOVABLE TYPE.\nMake \"Letter Perfect\" Titles with Filmo Title Boards. Filmo Title Boards are neatly framed black fabric-covered backgrounds closely grooved to permit easy placing of the letters. The letters come in a special compartment box, making the entire outfit complete and professional.\n\nPrice (without letters): $8.25\nStandard set of letters: $8.00\n\nI Bell & Howell Company\nI 1848 Larchmont Avenue\nChicago, IL\n\nWithout obligation, please send me, free:\nJ ( ) Catalog of British Civilian Defense Films;\nBonds ( ) List of Available Accessories;\n( ) Detailed information on new Filmosound Model V;\n( ) Details on new films from Filmosound Library listed below.\n\nName : Address . City . State .\n\nFact: critical materials are restricted in its manufacture.\n\nWhile the new Filmosound \"V\u201d Model is available only to\nOur armed forces indicate better things to come from Bell & Howell craftsmen when peace is restored.\n\nAIR FORCE and NAVY films \u2013 for preflight and preinduction. High school train \u2013 North Africa \u2013 two new sound films by Count Byron de Prorok. Select films on every war at sea.\n\nGOOFER TROUBLE \u2013 a typical British Civilian Defense film. Over 200 British films available.\n\nOUR TOWN \u2013 Thornton Wilder\u2019s Pulitzer Prize play \u2013 a \u201cTen Best\u201d selection; cut for school.\n\nCIVILIAN DEFENSE \u2013 many films to meet vitally important problems of mass education.\n\n\u2018E\u2019FOR EXCELLENCE \u2013 shows how the Army-Navy Award for extraordinary performance is won and presented. One-reel; sound. Service charge 50c.\n\nThat Every Home Movie Enthusiast Should Own\n\nCHARACTER TITLER \u2013 for producing titles of any style, including fingers writing, animated titles, maps, etc.\nGraphs, diagrams, cartoon movies, miniature sets, small subjects (flowers, insects, etc.), and still pictures. The outfit includes an adjustable title card holder and reflector clamped to each spacer rod. Models for use with 16mm. and 8mm. Filmo Cameras.\n\nFor these, and other available Filmo Accessories, see your motion picture camera dealer. In many cases, accessories are still available from his stocks, even though they may be out of production for the duration.\n\nFILMO CARRYING CASES\n\nThere is a Filmo carrying case especially built for the model Filmo you own \u2013 and built to Filmo quality standards. Whether you want a sheath case that provides space for the camera only, or a compartment case that provides extra space for film, lenses, etc., you\u2019ll do better by choosing a genuine Filmo case that fits perfectly.\nYour camera dealer. Prices range upward from $3.20.\n\nThe Moron Picture.\nFebruary\n\nCopyright Deposit.\n\n\"That's no calling card!\u201d you say? You're right. It's only raw stock. But it's also a \"calling card\" for the du Pont technicians who offer you their skilled services. These men know their du Pont Film and how it will act \u2013 from camera exposure to projector, from raw stock storage to print shipment. They're always on hand to help you get the fullest performance from your du Pont Film. In your studio, on your location, in your laboratory \u2013 Du Pont men follow through!\n\nRic. u.s. pat.\n\"SUPERIOR\u201d CINE FILM\nBetter Things for Better Living\n. . . Through Chemistry\n\nSUPERIOR 1 (Type 104). Fine grain makes this film ideally suited for taking background negatives and for general photography.\nOutdoor use. It has a moderate speed and requires normal development.\n\nSuperior 2 (Type 126). A balanced film that combines high speed, fine grain, a long scale gradation, and a well-corrected panchromatic color response. An all-round film for general studio use.\n\nSuperior 3 (Type 127). The film to use for cinematography under adverse lighting conditions. Despite the fact it is approximately twice as fast as Superior 2, it retains remarkably fine grain size.\n\nE. I. du Pont de Nemours & Co. (Inc.)\nPhoto Products Department\nWilmington, Delaware \u2014 Smith & Aller, Ltd., Hollywood, CA\n\nFebruary 1943 \u2022 American Cinematographer\n\nEyemo Gets the Picture\nDeane Dickason\nfilming with his\nEyemo Camera near\nSurabaya, Java, just\nbefore the outbreak\nof war in the Pacific\n\nWhen your camera is an Eyemo, it\u2019s always ready to go into instant action.\nBecause of their versatility and dependability, Eyemo Cameras are the first choice for cameramen on news fronts around the world. Resolve to get an Eyemo for yourself when the war is over and Eyemos are again available.\n\nEYMO MODELS L AND M\nThese models have a compact three-lens turret. The viewfinder is matched to six lens focal lengths by turning a drum; it shows the \"sound\" field to match the camera's \"sound\" aperture plate. Operating speeds: Model L \u2014 4 to 32 frames per second; Model M \u2014 8 to 48 frames per second.\n\nBell & Howell Company, Chicago; New York; Hollywood; Washington, D.C.; London. Established 1907.\n\nSend coupon for complete information\n\nEYEMO MODELS P AND Q\nThese are the most complete of the seven standard models. They have a three-arm offset turret, prismatic focuser with magnifier, and other features.\nProvisions for electric motor and external film magazines. Speeds: Model P \u2014 4, 8. Buy War Bonds. Eyemo accessories include: carrying cases \u2014 each especially designed for certain Eyemo models and the accessories commonly used with them; Eyemo Heavy-duty Tripod \u2014 smooth-acting, light yet sturdy and steady; Alignment Gauge \u2014 permits parallax compensation with prismatic focuser models; lenses; filters; exposure meters; editing equipment; many others. Descriptive literature gladly supplied upon request.\n\nBell & Howell Company\n1848 Larchmont Ave., Chicago, Ill.\n\nPlease send complete details about: ( ) Eyemo 35mm. Cameras; ( ) Accessories for Eyemos.\n\nName .\nAddress.\n\nWill There Be Cameraman-Directors in Television Production? . . . ? By Edward Anhalt\nKodachroming the \u201cP-38\u201d in Action By Elmer G. Dyer, A.S.C.\nWhy I Want to Make Movies. by Leonard J. Shafitz, 50 From a Nazi Prison-Camp to a Signal Corps Camera. by Charles Sweeny\n\nAces of the Camera \u2014 XXV: Phil Tannura, A.S.C.\nWalter Blanchard\n\nThrough the Editor\u2019s Finder.\n\nEditor: William Stull, A.S.C.\nTechnical Editor: Emery Huse, A.S.C.\nWashington Staff Correspondent: Reed N. Haythorne, A.S.C.\nMilitary Advisor: Col. Nathan Levinson\nStaff Photographer: Pat Clark\nArtist: Alice Van Norman\n\nCirculation: Marguerite Duerr\n\nPhotography of the Month. 55\n\nI Made a 16mm. Sound-Camera. by Raymond L. Maker\nFree-Wheeling. by Stanley and Mary Jane Bean\nForty-eight Years of Home Movies. by William Stull, A.S.C.\nPointers on Using Telephoto Lenses. by Jack Smith, A.S.C.\nAmateur Movies and the War Effort. by W.G. Campbell Bosco\nHere\u2019s How.\nAmong the Movie Clubs.\nThe Front Cover.\nThis month's cover shows Lt. Leo Tover, A.S.C., filming the \"Old Glory\" number from Paramount's \"Star-Spangled Rhythm.\" Look closely, you'll find the camera about an inch below George Washington's jaw, shooting a close-up of Bing Crosby. Notice microphone used to check \"sync\" of Crosby's singing with playback of pre-recorded sound track from playback loudspeaker at left.\n\nAdvisory Editorial Board:\nFred W. Jackman, A-S.C.\nVictor Milner, A.S.C.\nJames Van Trees, A.S.C.\nFarciot Edouart, A.S.C.\nFred Gage, A.S.C.\nDr. Herbert Meyer, A.S.C.\n\nNew York Representative: S.R. Cowan, 132 West 43rd Street, New York\nAustralian Representative: McGill's, 179 Elizabeth Street, Melbourne, Australian and New Zealand Agents\n\nPublished monthly by A.S.C. Agency, Inc.\nEditorial and business offices: 1782 North Orange Drive, Hollywood (Los Angeles), California\nTelephone: Granite 2135\nEstablished 1920. Advertising rates on application. Subscriptions: United States and Pan American Union, $2.50 per year; Canada, $2.75 per year; Foreign, $3.50. Single copies, 25c; back numbers, 30c; foreign, single copies 35c. back numbers 40c. Copyright 1943 by A.S.C. Agency, Inc.\nEntered as second-class matter Nov. 18, 1937, at the postoffice at Los Angeles, California, under the act of March 3, 1879.\nFebruary 44, 1943 \u2022 American Cinematographer\nThe B & H Eyemo camera shown here mounted on the \u201cProfessional Jr.\u201d Tripod and Shiftover has been especially adapted for aerial use by the Office of Strategic Services, Field Photographic Branch, Wash. Unsurpassed in Quality, Versatility and Rigidity.\n+ The friction type head gives super-smooth pan and tilt action,\u2014 360\u00b0 pan and 80\u00b0 tilt. A generous sized pin and trunnion assures long, durable use.\nDependable service. \"Spread-leg\" design affords utmost rigidity and quick, positive height adjustments. A \"T\" level is built into this 14 lb. superfine tripod. The top-plate can be set for 16mm. EK Cine Special, with or without motor; 35mm DeVry and B & H Eyemo (with motor), and with or without alignment gauge.\n\nTripod Head Untouchably Guaranteed 5 Years\n\n\"Professional Jr.\" Tripods and Cameraquip Shiftover Alignment Gauges are used by the US Navy, US Army Air Bases, Signal Corps, the Office of Strategic Services and other Gov't Agencies \u2014 also by many leading Newsreel companies and 16mm and 35mm motion picture producers \u2014 for important work.\n\nShiftover Alignment Gauge\nThis Shiftover device is the finest, lightest, and most efficient available for the Eyemo Spider Turret prismatic focusing type camera.\n\nThe male of the Shiftover attaches to the cameras Eyemo Spider Turret.\nThe camera has a permanent base with a male dovetail that mates with the female dovetail base, allowing the camera to slide from focusing to photographing positions for parallax adjustment. The camera can be locked in the desired position by a positive locking device. The Shiftover has a \"stop-bracket\" that prevents the camera from sliding off the dovetail base and is provided with dowel pins that position it to the top-plates of tri-pods having YG or /S-20 camera fastening screws.\n\nWill there be cameramen-directors in television production?\nBy Edward Anhalt\nChief Cameraman, CBS Television Studios, New York\n\nThe four basic types of television shows can be described as follows:\n1. The Mobile Transmission. Excluding the temporary installation of pick-ups,\n2. The Studio Transmission. This type of show is produced entirely in a studio,\n3. The Film Transmission. This type of show is produced on film and then transmitted,\n4. The Combination Transmission. This type of show uses a combination of studio and mobile transmission techniques.\nEquipment in a remote location for the transmission of a formal presentation, such as a pick-up of a vaudeville show from Radio City Music Hall or a patriotic pageant from the Rose Bowl, will mainly be pick-ups of unrehearsed events, typically in the nature of \"spot\" news. The telecasters involved may have some prior knowledge of the routine of a news event, like a special message to Congress by President Roosevelt or a report to the nation on plane construction in the form of an actual visit to a plane factory. However, they could hardly rehearse them or write a shooting script for the cameras. In the case of news events such as the Normandie fire or sports coverage of football games and other athletics, the action is, of course, completely unpredictable.\n\nThe function of directorial personnel in such situations is to coordinate the various elements of the production, including camera crews, sound technicians, and talent, to ensure a smooth and effective broadcast. They must be able to adapt quickly to the changing circumstances of live events and make decisions on the fly to capture the best possible footage and audio. They may also provide guidance and direction to the talent, helping them to deliver their messages effectively to the audience. Overall, the role of directorial personnel in mobile shows is crucial in bringing live, unrehearsed events to viewers in a compelling and engaging way.\nIn each of these cases, analysis might follow:\n\nCongress: The placement of equipment largely depends on previous routine knowledge. Success hinges on cameramen for human-interest angles and the unexpected. As in informal studio technique or motion picture newsreel coverage.\n\nPlane Factory: Directorial activity involves creating effective continuity, considering spatial and human factors and technical limitations. In a fully developed television industry, continuity construction could be a specialist's job, leaving the director to function mainly as visualizer.\n\nThe difference between the director and cameraman in this case lies in:\n\n(The text ends here, no further content.)\nThe director must try to create a previously visualized shot by moving objects and personnel and creating situations, whereas the cameraman can only seize material ready-made for him and have little control over the action in front of the camera. This difference defines the first special quality television directors of mobile programs must have, which is not necessarily present in the cameraman or chief camera operator. He must try to control the action before the camera by selecting in the creative, non-technical sense, the elements of the show.\n\nTelevision's quality of instantaneous transmission demands a speedy, almost infallible sense of the dramatic element in its directors. The quickness in capturing the moment, in giving it the proper degree of emphasis, the ability to adapt to changing situations, and the skill to engage and hold the audience's attention are essential qualities for a successful television director.\nTo catch a fleeting, almost abstract overtone through the calm manipulation of mundanities like props, electronic video controls, and spotlights \u2014 this ability needed by the director \u2014 is not necessarily the property of the cameraman. True, good cameramen in all branches of visualization soon become bored with the mere control of material made available to them and begin to want to control or direct it themselves. But in television art \u2014 as in all photographic visualizations \u2014 the technique of visualization is a secondary process to the technique of placing the right combination of objects before the cameras \u2014 that is, the directorial technique. It is inevitably more difficult for the television cameraman with no directorial ability to acquire such ability than it is for the director to learn enough of the cameraman's business to function.\nIn mobile television operations, there is a need for one director overseeing both the material in front of the cameras and the cameras themselves. In unpredictable spot news coverage, quick perception and the mechanical aptitude to adjust the camera rapidly are the most important factors. In this type of coverage, one director is required for both duties. This is a categorical statement, and observing a mobile television crew for five minutes will likely convince the reader. Spot news coverage involves unpredictable events, and therefore, the ability to react swiftly to new perceptions and adjust the camera accordingly is essential.\nFor news, special events, and sports operations, which make up at least 50% of all television transmission: a) The chief camera person and director will be combined in one role, that of the director; and b) it will be easier for a director who is also an untrained cameraman to master the cameraman's art than for an untrained director to master the director's art.\n\nTherefore, for the 50% of all operations where direction is a one-person job, the cameraman will have little choice but to function as an operative unless they can qualify as a full director.\nIn the fifty percent of operations where action is rehearsed or predictable, I think there may be two, or even three, persons in control.\n\n2. Studio Operations:\nOther than the special events shows which may occur in the studio, studio shows can be divided into the pattern and non-pattern type. Quiz, Discussion, Educational and Audience-participation shows will, I think, be pattern shows. That is, as I have indicated, an economic necessity for the television industry, just as it is for radio.\n\nThe more patterned, the more repetitious the routine, the more money can be spent from week to week on the really important thing \u2014 novelty of material. If that material is good enough, the spine to which it is attached \u2014 Portland Allen\u2019s weekly entrance, \u201cHello, Mister Allen\u201d; Rochester\u2019s weekly phone call to Benny; the interminable repetition of the plot.\nThe pattern of all strips shows - is actually a familiar, pleasant cue for the enjoyment of that material. The pattern technique saves money and increases audience-appeal.\n\nThe motion picture variant of this is the use of actors, picture after picture, in the same general plot situations, like the \"Hardy Family\" and other \"series\" films. It works because the audience feels generally that the mere appearance of the familiar situation is a guarantee of good entertainment about to follow. The only difference between radio and motion pictures is that in radio the pattern recurs every week and in films it appears only thrice or so yearly, as the actor\u2019s new picture is released. That is why many people have the illusion that the motion picture industry operates on a higher level than radio. But back to television!\n\nBoth the pattern show and the smaller television programs employ this technique.\nThe percentage of non-pattern shows requires production, preparation, rehearsal. The pattern shows will be morning and afternoon strip programs, variety shows, documentaries, and all kinds of entertainment. Non-pattern shows will be evening dramatic shows that are not serials.\n\nThe action, continuity, dialogue of all these shows is completely predictable and controllable \u2013 they can be directed just as a film or play can be directed. Beyond that, and most significant, given a basic familiarity with the technical limitations and possibilities of the medium, they can be directed outside the television studio, without cameras and lights on a rehearsal stage.\n\nAt the British Broadcasting Company\u2019s studio at Alexandra Palace, the British telecasters were particularly successful in this respect. Studio space, telecasting equipment, and transmission facilities were all available for use.\nAt CBS, we aimed to incorporate the economics of British experiments into our production setup. Gilbert Seldes, the guiding spirit of the CBS experiment, produced an entire series of living art shows with the Metropolitan Museum in this manner. Later, I attempted it myself in producing the Signal Corps Training Film Unit show previously described. This was a special-event show treated as a documentary with all actions made as predictable as possible and the production made as effective as possible in a two-hour rehearsal period. I directed the production.\nRehearsals were conducted on the studio floor without the use of lighting, cameras, electronic controls, and other television devices. The entire rehearsal was carried out as it would have been in a bare rehearsal hall with no technical facilities whatsoever. Facilities were then hit, and a written outline of the entire action was given to the camera men and other technicians. At dress rehearsal, the chief electrician, sound man, video control operator, and director reported that there were only three minor bits of action outside the technical limitations of the studio.\n\nAs a result of this and subsequent experiments, I have come to the conclusion that for predictable material, the direction of action and the direction of television pick-up instruments, cameras, lights, sound, and electronic controls can be the work of two men. I do not know.\nI am inclined to believe that specialization and division of labor increase as an industry grows and becomes more complex. A control room director is too busy controlling the television mechanism to ever get the overall effect of his show as the audience sees and hears it. A director wants to see his show in this way, and unless it were recorded on film, he would have no way of doing so other than watching it. That is why I watched the Signal Corps show in an audition room, making changes by phoning instructions to the control room while the show was being transmitted. In this case, both the control room, or technical director, and I were thoroughly familiar with the advantages and limitations of our level of operations.\nThe significance of the experiment lies not in the fact that I was familiar enough with the medium's technicalities to prepare a show without physical recourse to them, but largely in the fact that the technical director, working individually, developed a shooting and lighting treatment almost exactly similar to the one I had visualized when planning the action.\n\nThis may seem strange to the film technician who may choose one of six or seven ways to shoot a scene. It is not peculiar in a television studio working under infinitely greater limitations of time and money, under technical conditions which forbid any great reliance on technique to make transmitted material tolerable.\n\nGenerally, our television experience has indicated that people wise to the ways of the medium will pick the same way of shooting the same prepared material.\nI. Approved of the camera and lighting treatment in the production, but couldn't change them during the dress rehearsal as I left, confident the agreed-upon direction would be executed. Readers can predict which method will prevail under the one-man system. The director must combine cinematography and dramatic directing functions, be familiar with electronic and audio controls, cameras, and lights, and have a strong nervous disposition for directing shows.\nThe text describes the role of a cameraman in television production, suggesting that a two-person system will be favorable for at least half of television operations involving predictable action due to the division of labor and efficiency. The cameraman may take on a more important role as the visualizer and executor of predictable programs. If the cameraman wishes to play an important role in mobile television, they can do so.\nThe unpredictable nature of television necessitates the director's role for the operator, as rapid action requires one person in control. If my prediction of the two-man system for predictable television is incorrect, the operator will also assume the director's status. Regardless of the importance of the operative camera role as outlined in the beginning of this paper, I do not believe it will achieve Top status for televising a 40-minute \"jam session.\" The camera operator never knew who would play, where, or what. A maximum test of the television camera-operator's ability.\n\nMiddle: \"On the air\" with a Red Cross instructional program for Civil Defense workers.\nBottom: Jack Dempsey referees an inter-Service fight, specifically staged in the CBS studio.\nThe more industry grows and develops specialization, the more the job of the operative will become a dead end for those without superior economic status. This is why CBS camera men have taken every opportunity to direct and produce in the experimental television setup.\n\nThe old-fashioned college bull-session pales in comparison to the discussions radio and film people can have regarding the probable relationship of their respective arts. Typical statements include:\n\n\"Most television programs will be canned on film. That is the only way to make them smooth.\"\n\n\"Television networks will be yoked together by wire (coaxial cable).\"\n\n\"Television networks will be linked together by automatic booster transmitters.\"\n\n\"The television audience will pay for programs as subscribers \u2014 as the BBC does.\"\nAfter twenty years of aerial movie-making, during which I flew in everything from old \"Jennies\" to the latest dive-bombers and exposed various types of film from Ortho of 1920 to today's Super-Panchromatic and Infra-Red, as well as Multicolor, three-film Technicolor, and Monopack, I thought I had done just about everything possible in professional aerial cinematography. Then, just a few weeks ago, I received a call to handle the aerial cinematography on a new project.\n\naudience pays for its radio programmes.\n\u201cThere will be no sponsors.\u201d\n\u201cSponsors will pay five or six times as much for television as for radio.\u201d\n\u201cTelevision will not injure the film industry because there is nothing like it in American Cinematographer \u2022 February, 1943\nBy ELMER G. DYER, A.S.C.\n\nAfter twenty years of aerial movie-making, during which I flew in everything from old \"Jennies\" to the latest dive-bombers and exposed various types of film from Ortho of 1920 to today's Super-Panchromatic and Infra-Red, as well as Multicolor, three-film Technicolor, and Monopack, I thought I had done just about everything possible in professional aerial cinematography. Then, just a few weeks ago, I received a call to handle the aerial cinematography on a new project.\nA training-film being made by Shirley Burden of Tradefilms, Inc., for Lockheed, to show Army Air Force pilots how to fly the P-38 \"Lightning.\" This was a new experience for me: not only was it my introduction to the kind of work commercial or industrial motion picture companies do, but it was my first experience with the professional use of 16mm. Kodachrome.\n\nThe first surprise came when I found out who my associates on the picture would be. I'd always thought that 16mm industrial movies were made on a shoestring basis \u2013 just some guy nobody ever heard of, who might even be overpaid if he got ten dollars a week, going off with an amateur camera and snapshooting whatever he could. However, this crew was quite professional, with experienced cameramen, sound technicians, and even a scriptwriter.\n\nWhat followed were a series of surprises and problems that made it one of the most interesting assignments I've ever had.\nBut not on this picture! The Director of Photography in charge of the production camerawork on the ground was Robert C. Bruce, A.S.C., with Alan Stensvold, S.S.C., his associate as Kodachrome specialist, and backed up by a full professional crew. I had charge of the aerial camerawork, and with me was my regular assistant, Ray Flinsky.\n\nWhen I mentioned my surprise at seeing a studio-trained crew like this on a 16mm. training film, Producer Burden replied, \"The phrase, \u2018training films in 16mm. Kodachrome\u2019 makes things sound simple and easy, but the truth is that training films these days present new and unusual problems that require practical solutions. Furthermore, there\u2019s usually very little time in which to reach those solutions. That\u2019s where fully trained, professional crews, with plenty of assistance, come in.\"\nPeople like cameramen, grips, and others earn dividends. It's obvious that many people can handle a 16mm movie or still camera and get satisfactory results when conditions are normal. However, making technical films is usually challenging. There are no pre-arranged conditions, no sets, only an emphasized time element, and a demand for perfection on the screen. For aircraft factories and the Army Air Force, the question 'When do you want it?' invariably has a two-word answer \u2014 'Right now!' And when the pressure is on and the going is tough, it's the time that 100 percent professional crews who truly know their business shine, while the fair-weather filmer would prove an expensive flop. I began to understand the truth of this as I watched Bruce and\nStensvold worked on their part of the picture. About 2% of their work was simple. The rest of the time, here's one of the simpler shots they had to make: visualize a P-38 cockpit, which isn't large anyway and is covered with a neatly streamlined enclosure.\n\nPlace one medium-sized pilot in the cockpit. Try to place the camera so you can see the pilot, control-stick, and instrument panel. Set up your lights.\n\nMake allowances for the knobs of the twin throttles in bright red, the sides of the cockpit in regulation grayish-green, and an instrument panel half covered by a hood, with the panel itself completely black \u2013 and almost the blackest, least reflective black you ever saw. Add to this panel the complex arrangement of dials and gauges.\nnents have white figures, warning markers in red and green, and each individual instrument dial covered with glass. Get your lights all set \u2014 perhaps so that with changing lighting you can suggest the interplay of sunlight and shadow as the plane turns, loops or rolls. Remember to have your pilot's hands made up so they won't \"wash out\" completely.\n\nFebruary 1943 \u2022 American Cinematographer\n\nAbove: Elmer Dyer, A.S.C., and Assistant Ray Flinsky at work in the air. Note Akeley matched-lens finder fitted to 14mm. Cine-Special. Right: Producer Shirley Burden (on ladder) tears her hair as Directors of Photography Robert Bruce, A.S.C., and Alan Stensvold, S.S.C., tussle with a technical problem. To right, top: Dyer and Flinsky at work in the \"Lodestar.\" Middle: a discussion of exposure at 10,000 feet. Bottom: Pro-\nBurden gives last-minute instructions to Pilot Milo Burcham. Ready to roll? Say, wait a minute! You\u2019ll have to start up the engines and rev up the propellers so that the engine instruments will register properly. This makes quite a bit of vibration, and a gale of wind from the two propellers. Now, just where were those lights you placed? And the camera?\n\nOkay, let's say everything is still set. All that has to be done now is to shoot the scene and move on to fulfill the required schedule of thirty-eight such set-ups per day. And remember \u2013 this was one of the easier ones. Do you see now why my hat is off to Bob Bruce and A1 Stensvold and their crew?\n\nMy own part of the job was easier. The first problem, after being duly \"mugged,\" fingerprinted, and issued a regular Lockheed identification badge,\nI was to get acquainted with Kodachrome film and the 16mm. equipment I was to use. I have shot a lot of 16mm. and Kodachrome for myself, but there's a world of difference between shooting Kodachrome for pleasure and shooting it, especially in the air, for professional use.\n\nThe basic problem was exposure. Of course, in shooting Kodachrome it's axiomatic that your exposure has to be correct; but \"correct exposure\" when you're shooting for duping (as is always the case professionally) is very different from \"correct exposure\" when you're shooting just to get a good original for home projection. Shooting for an original, giving the equivalent of a Weston 8 film speed means \"correct exposure\".\n\nBut when you shoot for duping, you'll get the best results if your original is on the soft side, both as to color and contrast. So you'll want to give it what\nThe easiest way to avoid slight overexposure when shooting for an original is to use the equivalent of a Weston 5 instead of Weston 8 in exposure metering. Following focus on exposure as the plane goes through combat maneuvers is another issue. Getting the correct exposure on the plane itself is easy, but when you pan down to follow it and capture the darker ground, you'll encounter underexposure. Panning up as the P-38 zooms upward provides plenty of sky for a background, but every inch of it is overexposed. With a 35mm outfit, following focus on exposure isn't a significant problem if you have a practiced assistant. However, in 16mm, it's more of a challenge due to the way the lens-mounts are made. I'd say it was a notable issue.\nIf you were working alone, it was impossible, but with a really good assistant like Ray Flinsky, it could be done satisfactorily - if the producer gave you some time for tests and practice, as Burden did. Equipment was also a problem. On the ground, Bruce and Stensvold generally used the Bell & Howell professional 16mm. camera, which was described in The American Cinematographer about two years ago. For our air shots, it was decided to use a Cine-Special, due to the advantages of its compactness and quickly interchangeable magazines. The Special is a honey of a camera, but to the 35mm. -trained professional, it has several disadvantages. The first of these is an inadequate finder. Personally, I'm used to either a Mitchell-type finder or the matched-lens arrangement of the Akeley for aerial work, and the Special's regular finder, while inadequate, was used.\nDuring these times, there are probably thousands of young artists, craftsmen, and technicians throughout the country \u2013 and for that matter, the entire world \u2013 who have delayed their plans and put off their course of study until the conclusion of the war. And it is right, for only in a free world can individual creative efforts flourish and have the right to grow.\n\nAs Sergei Eisenstein has said in his book, \u201cThe Film Sense,\u201d \u201cWar usually implies the subordination of all work in the field of art, especially art theory, to the needs of the military effort.\u201d\n\nWhy I Want To Make Movies\nBy Leonard J. Shafitz\n\nAll rights for ground work didn't suit me for the tricky problem of following one of the world's fastest pursuit planes going through the maneuvers of aerial combat.\n\nFinally, we managed to adapt an Ake-American Cinematographer \u2022 February, 1943 \u2022 Volume 49\nAnd all research work outside the limits of war needs is fully revealed and fully sounded. The definitive rise of an art of the cinema and a cinematographic method begins with the conclusion of the nightmare through which man now passes.\n\nSo it is with the many young photographers who are now in the service of the country or who, like myself, are about to enter it, and who in the future hope to embrace this medium which has become the popular art-form.\n\nI don't think that in either our pre-war dreams or our present ambitions for finding ourselves places in the industry after the war, many of us have been driven by reasons other than a genuine passion for this medium.\n\nWe've often discussed with college students interested in cinematography and, more recently, with young men trained as combat cinematographers for the Armed Forces, the reasons behind their interest and aspirations in this profession.\nA recent graduate, waiting for a call to Officers' Training for the Air Force, authored this article about cinematography. The young man's perspective has summarized the viewpoint of those attracted to cinema for its glamour or high earnings more clearly than before. Both the article and its ideas warrant careful consideration within the professional industry.\n\nWe are not drawn to cinematography because of its so-called glamor or the industry's comparatively high earnings. Instead, we have a genuine affinity for it, and some of us believe in motion pictures' power to influence people's lives and thinking, inspiring us to contribute to making it a more potent force for good in the world.\nThe full maturity the motion picture has reached in the last ten years has made it one of the greatest dramatic and informative mediums that have come out of our technological development. Aside from entertainment, the motion picture has proven to be not only an instrument of international concept, but one that will prove to be of immense value in the post-war world to tie nations together instead of making boundary lines that breed suspicion and distrust. The craftsmen and technicians who are working for the conclusion of the present world-wide nightmare will then start anew the task of absorbing the concept of this medium so that it will prove to be man\u2019s unifying effort in the world-to-be. They have faith not only in the technical heights of the film but in man\u2019s ability to use this potent force.\nSince I took my first picture with an old 4x5 still camera not so many years ago, I have sensed the possibilities in the photographic realm. But anyone who has produced a good still picture with a message realizes how much more important the motion picture is, and how much more moving and dynamic is the story that can virtually come to life for us.\n\nUnique as this achievement is for the engineering and scientific principles involved, it should be and is more \u2013 it is what all good scientific endeavor must be. The realization that technique is the servant of the artist, and that only by his full understanding and talent can a technical invention reach its fullest heights, especially in the field of universal appeal like the motion picture.\nI've wanted to make movies since I was getting started in high school. Then, perhaps, it was the fascinating technique that interested me, but now, in addition to a highly technical and skilled technique, the realization is that I can contribute in some humble way to a living, moving and forceful medium that is now more necessary for the good will of all men than at any other time in history. As in all art-forms, there are many subdivisions of the one all-over conception. The same is true for the film, where the documentary episode, the cartoon, the commercial reel, the newsreel, and of course, the entertainment film are established forms. All have their own particular problems and techniques which have been worked out by the cinematographers who have specialized in these particular forms.\nThe film branches are all artists of their own particular interest. The film can boast about these specialists who have concentrated on outstanding creative effort - no matter if it be the Disney cartoon or the fact-finding evidence of an Ivens documentary. The dramatic film represents a unique conception in the realm of screen art. Without the full cooperation, understanding, and ability of every worker involved, be it cinematographer, director, or producer, there is no truly great film. But when this happens, and the screen unfolds a story that has had the understanding touch of the director, the ability of the set designer, the dramatic impetus of the writer, and the experience and skill of the cinematographer - then the screen will rock with the dramatic impact. That is why I want to make movies. To be around the camera through which every element comes to life.\nI. All these human efforts must pass, and through which lies a valuable and almost endless art-form that the future will develop and expand into the post-war world's universal \"good will ambassador.\" That is why, once I've done my share for Victory with one of the Army's photographic units, I \u2014 and I suppose many others like me \u2014 will be beating a path to Hollywood, there to knock at the gates of the cinema until we find the place where we'll be most useful making movies for the uncharted new world of the future.\n\nII. February 1943 \u2022 American Cinematographer\nFrom Two and a half years ago I was a prisoner in a Nazi prison camp in France. Today I'm in Hollywood, waiting a call to active service as a cameraman in the Signal Corps of the U. S. Army. And I hope I draw an assignment to active combat camera work in the field, for I've a score to settle.\nI. Settling with the Nazis for some of the things I experienced myself, and for many more I saw them do before and after the fall of France. My story really begins several years before the war. I am an American, but I was born and raised in Paris. My father had flown with the Lafayette Escadrille in World War I and remained in France after the war.\n\nMy first active contact with professional cinematography came about a dozen years ago, when through some friends I got a job in the camera department of the French Paramount studio at Joinville. In time, as I learned more about the work, I found myself in charge of the department \u2013 which wasn\u2019t as much of a job as it sounds like on this side of the Atlantic, for even the biggest French studios are smaller than the smallest of Hollywood\u2019s \u201cindependent\u201d studios.\nThe Paris office of Paramount News pressed me into service as a newsreel cameraman when production slackened. Paramount's French studio activities stopped altogether, ending my job. At that time, French production had reached a very low ebb, so I decided to seek employment elsewhere. I knew they were making pictures in Berlin (before Hitler's rise), and I eventually decided to go there and find a job.\n\nI found it, but not in studio production. UFA officials learned I had been shooting in Paris for Paramount News and hired me on the spot as a newsreel cameraman for the 'UFA Wochenschau.' I went out and got to work. As the newest cameraman,\nThe greenest cameraman on the newsreel, I usually drew the least important, routine assignments - the kind that had to be covered, but could be handled by almost anyone. But even on routine assignments like that, luck has a way of creeping in and helping a fellow sometimes.\n\nIt did with me. One day I was assigned to cover an attempt at the World's auto speed record by one of Germany's leading race-drivers. It was partly a bona-fide sporting event, and partly a gesture to publicize Germany's recently-completed super-highway, the \"Autobahn.\" And I happened to be the only cameraman available for the job.\n\nIt started out in very routine fashion. The driver made several runs over the course, each time just missing the 300 mph record he was aiming at. I covered these runs in routine fashion, and was ready to pack up and go when\nHe said to me, \"Stick around a bit. Maybe I'll try one more run.\" I had my story, but there was one angle I thought I'd like to have to complete it. A few miles along the super-highway was an intersection where a secondary road crossed the \"Autobahn\" on an overpass bridge. I thought a shot from this overpass, as the racer came streaking down the long, straight highway directly toward the camera, would add a novel angle the editors would appreciate. I didn't realize then how much they'd appreciate it!\n\nSoon after I got my camera well set up on the bridge, I heard the whine of the racer coming toward me. As the car came into sight, I pressed the button and started the camera.\n\nAbove: Trains, road traffic, and especially ambulances are favorite targets of Nazi aviators. Below: One Heinkel that won't strafe and more ambulances.\nRight there, luck stepped into my picture in a big way. It was good luck for me, but bad luck for the driver. Just as the car got nicely into the picture, a tire blew out. At 300 miles an hour, a blow-out is more than a mere minor accident: for the next few seconds, the air was full of pieces of the car scattering themselves over several hundred meters of landscape. When it was all over, there was very little left of either the car or its unfortunate driver. And I had the whole thing on film.\n\nIt was pure and simple luck, but the newsreel editors didn't think so. They said a lot of very nice things about my skill and news sense. I became one of the bigger shots of the newsreel staff from then on.\n\nI stayed with this job all through the years while the Nazi government was building its power. I was one of them.\nthe official cameramen assigned to film the entry of Hitler and his Nazi troops into Austria. In this assignment, I even had the dubious pleasure of meeting and photographing the Nazi Fuehrer. Contrary to the prevailing impression, he is, or was at that time, a very pleasant person to meet. He can be friendly and agreeable, and my impression of him was that he was a man of more than ordinary force and brilliance. Frankly, I think it's a very unfortunate coincidence for us that his appearance (Aces of the Camera, February 1943, p. 51)\n\nA Nazi Prison Camp\nSignal Corps Camera\nBy CHARLES SWEENY, A.S.C.\n\nAces of the Camera\nXXV:\n\nPhil Tannura, A.S.C.\n\nPhil Tannura, A.S.C., literally grew up with the motion picture industry. Though only in his mid-forties, he can look back upon a career of thirty-five years in the industry.\nDuring which he had a broader and more varied experience with virtually every phase of production that had fallen to the lot of almost any other member of the camera profession.\n\n\"Little Phil's\" movie career began with the old Thomas Edison Studio back in 1908 \u2013 not as a cameraman. They were hiring cameramen young in those days, but not undersized eleven-year-olds in short pants. \"Little Phil\" began his career on the other side of the cameras, as a child actor.\n\nIn those days, a \"feature production\" was usually a split-reel, about 500 feet in length. Young Tannura starred in scores of these films, and he still remembers vividly the excitement that rippled through the industry when some ambitious producer decided to make pictures a whole thousand feet long!\n\nBut after four or five years of juvenile stardom, the \"awkward age\" overtook him.\nPhil left, as he had many adolescent luminary peers since. He retired from the screen to dedicate himself to the more serious business of growing up and going to high school. A readjustment like that isn't easy, and before long, young Tanura found himself itching to get back to work. He endured for two or three years, but eventually it was too much for him, and back he went into acting. But only briefly, as he was young; he decided that a career in the technical end of the industry would be not only much more interesting to him, but more lasting.\n\nSo he asked for a job anywhere in the photographic department of the Edison Company. He found it as an assistant in the still photographic darkroom. There he learned to mix chemicals, develop negatives, and make prints. And finally, he was sent out to work as one.\nIn the industry's earliest days, one still photographer was responsible for the whole studio. If there were only one or two companies working, the still man was in luck. But if there were four, five, or six companies working, he still had to shoot stills for all of them. In those early days, making silent pictures, as many as half-a-dozen companies would use the same stage simultaneously. There might be a troupe making a \"society drama\"; next to it, perhaps only five or ten feet away, would be one making a \"Western\"; and a few feet farther on might be one making a slapstick comedy, while a \"cops-and-robbers\" production was being filmed nearby.\nmelodrama  might  be  shooting  (very  lit\u00ac \nerally!)  over  in  another  corner.  The \nstill  man  simply  circulated  from  one \ntroupe  to  the  other,  shooting  his  stills \nimpartially  as  he  saw  fit  and  the  op\u00ac \nportunity  presented  itself.\u201d \nStill  work  was  an  improvement  on \nacting,  he  decided,  but  it  still  wasn\u2019t \nquite  what  he  wanted.  As  he  watched \nthe  studio\u2019s  cinematographers  (camera\u00ac \nmen,  they  were  called  then)  he  decided \nthat  there,  at  last,  was  the  sort  of  work \nhe  wanted  to  do.  So  he  went  to  the \nstudio\u2019s  technical  heads  and  asked  for  a \njob  that  would  lead  more  directly  to \ncine  camerawork. \nThat,  in  those  days,  meant  serving  an \n(Continued  on  Page  74) \nFebruary,  1943  \u2022  American  Cinematographer \nTHROUGH  the  EDITOR'S  FINDER \nTHE  recent  announcement  that  this \nyear  the  Academy  Award  for  the \nyear\u2019s  best  achievement  in  special-effects \ntechnique  will  be  recognized  with  a  Class \nI Award the \"Oscar\" statuette instead of the Class II plaque hitherto awarded is a step in the right direction. For many years, special-effects technicians have been playing an increasingly vital role in production, and it is about time they received full recognition.\n\nThis year especially, when special-effects camerawork, either in the form of miniatures, matte shots, or process background scenes, is literally making possible the production of pictures which could not otherwise be filmed in the face of arbitrary ceilings on set construction, transportation difficulties, and the many other restrictions of movie-making in wartime, the industry should bestow its highest awards upon the men who have most greatly achieved in this specialized field.\n\nBut while this present move is a welcome step in the right direction, it does not go far enough.\nNot in our opinion, the special-effects award should be jointly made for effects in picture and sound. We believe these two should be divorced, and two separate awards made. Too often, a remarkable achievement in picture special-effects may be coupled with an ordinary recording job. By the same token, brilliant achievements in sound effects may be yoked to photographic work that represents little beyond routine production camerawork. Under such conditions, the award may very well go to an achievement which, in picture or sound or both, represents less than the year's best achievement in one or the other of these fields. The Academy\nAwards should be too big for compromises or \"face-saving\" handouts for anything less than clear-cut superior achievement. In addition, it has never seemed fair to us that sound men should participate in the nominating and voting on an award which is so essentially cinematographic as that for special-effects photography. Neither is it fair to sound engineers that cinematographers or art directors, most of whom are certainly not trained recording engineers or anything like it, should be a dominant factor in singling out the best achievement in special-effects use of sound. We're glad that special effects have been raised to full \"Oscar\" status \u2014 but why not split it into two \"Oscars,\" and give both sound and picture their full due? A few days ago one of the industry's most distinguished cinematographers spoke out on this issue.\nA recent Academy Award winner and recipient of numerous other honors for his achievements in photographing many of the finest films made during the last twenty years dropped into the office for a chat. After a polite dalliance with such preliminaries as the weather, the latest war news, and similar topics, the conversation naturally turned to cinematography and to this magazine's reviews in particular.\n\n\"I like your reviews,\" he said, \"but I wish you would more frequently review 'B' pictures. That may sound strange to you, coming from a man who seldom does anything but really big 'A' productions. But honestly, I think the men who do a good job on the industry's little pictures usually deserve more credit than the 'big shots' who concentrate on more pretentious big pictures.\n\n\"On an 'A' production, the man at the helm has a team of assistants and a larger budget. He has more resources and more freedom to experiment. But the man on a 'B' picture, with a smaller budget and fewer resources, must make do with what he has. He must be more resourceful, more inventive. And yet, his work is often overlooked or undervalued. I believe that is a shame.\"\nThe camera has the best at its disposal: finest players, directors, stories, sets, and production designers. He has all necessary physical facilities and ample time. If he requires half a day for intricate camera movements or delays for specific lamps, it matters little in a schedule of two to three months, as long as the screen result is perfect.\n\nHowever, the man on the 'B' picture works with leftovers. His sets are remodeled from standing sets remaining from numerous films. His players are typically inexperienced youngsters on the rise.\noldsters on the way down. The less said about the stories, the better. His director may be a rank newcomer whom he must coach in picture making, and often carries. He is begrudged every minute that isn't spent on actual shooting, for his picture may have a schedule ranging from seven days to perhaps as much as three or four weeks, and a budget that wouldn't support a week's work on the more leisurely \"Anything the \u2018B\u2019 picture man puts on the screen, he must do absolutely by himself, and in the face of tremendous obstacles . . . often downright opposition. If he does a good job under such circumstances, it's more of an achievement than many an Academy Award job on a big-budget \u2018A.\u2019 Honestly, I've often thought that if I were lucky enough to win another \u2018Oscar,\u2019 I'd like to step down from the platform.\nwith  it  and  hand  it  to  some  one  of  the \nmen  who  do  good  work  on  the  industry\u2019s \n\u2018B\u2019s,\u2019  with  never  a  look-in  at  the  credit \nthey  really  deserve!\u201d \nWe\u2019re  rather  proud  that  this  opinion \nso  closely  coincides  with  our  own.  Un\u00ac \nfortunately,  we  can\u2019t  see  or  review \nnearly  all  of  the  industry\u2019s  production. \nBoth  the  space  available  for  reviews, \nand  the  time  we  have  available  for  at\u00ac \ntending  previews  are  too  limited  to  per\u00ac \nmit  that.  But  for  more  than  a  dozen \nyears  it  has  been  a  guiding  principle \nin  writing  our  reviews  that  as  between \na  man  who  has  done  an  excellent  job \non  an  \u2018A\u2019  production  and  one  who  has \ndone  an  adequate  one  on  a  \u2018B\u2019  picture, \nthe  man  on  the  program  film  is  likeliest \nto  deserve  more  credit,  because  of  the \nmerit  of  the  achievement  he  has  turned \nout  virtually  single-handed,  with  the \ncards  stacked  against  him. \nIT  ISN\u2019T  OFTEN  that  we  concern \nWe have no desire to engage with anything other than film techniques, and we would not suggest reviving a film from fifteen or sixteen years ago for general viewing. However, with all the discussion about motion pictures revealing a national viewpoint, the pros and cons of German character, and what they might do if the present Nazi Government was removed, we can't help but wish that someone would exhume the famous UFA silent film from 1926, \"The Last Laugh.\" We've seen it numerous times, and each viewing leaves us increasingly impressed by the lesson it imparts about the average German's devotion to a uniform.\n\nThe narrative is straightforward - it's merely the tale of an old man and his uniform as a hotel doorman. His loss of the right to wear that uniform transforms him overnight from an honored citizen.\nThe neighborhood turned him into a pariah, stripping him even of the incentive to live. In the American version, a synthetic 'happy ending' was provided; but in the original German production, the old man committed suicide because he could no longer wear his gaudy uniform. An American would feel uncomfortable in clothes that set him so apart from his fellows; the German felt lost without them.\n\nThe film's makers had no intention of highlighting this strange quirk of their national psychology, but it is present and powerfully portrayed. We wish that every American \u2013 and especially those who will make the peace to come \u2013 could see this film and learn its lesson. And we hope, too, that in that future time when American films play their destined part in re-educating the Axis peoples to civilized ways, we may produce films which will present equally compelling messages.\nWe pay tribute to the virtues and viewpoints of the Democratic way of life. American Cinematographer, February 1943, Vol. 53\nA.S.C. on Parade\n\nWe begin with a big salute to Captain Clyde De Vinna, A.S.C., U.S.-M.C.R., smiling as one of 20th-Fox's glamorizing still-men captured him before he departed for unknown locations for his leatherneck indoctrination and then active service as a Marine Corps photo unit captain.\n\nAnother salute to Leo Tover, A.S.C., now officially First Lieutenant Tover of the Army Signal Corps' big production center in Long Island.\n\nDid you know that Associate Member Wilson Leahy, A.S.C., is now Lieutenant Leahy of the Navy's Film Processing Unit, Photo Science Laboratory? He sent a cheerful note from his Eastern Station where he has an important job overseeing the processing of the Navy's training and combat films.\nLieutenant Henry Freulich, A.S.C., U.S.M.C.R., recently in town, shares his happiness as a leatherneck and anticipates returning to Hollywood soon to visit the A.S.C. for \"A.S.C. On Parade.\" Johnnie Mescall, A.S.C., praised an editorial in \"Through the Editor's Finder.\" Charles Marshall, A.S.C., heads to the Navy Air Base at Pensacola for an assignment to photograph an aerial training film for the Navy. The annual \"Best Film Achievements\" parade is underway. Film Daily initiated the poll of film critics, who chose the following as the five best photographic achievements of 1942: \"How Green Was My Valley,\" photographed by Arthur Miller, A.S.C.; \"The Magnificent Ambersons.\"\n\"sons\" photographed by Stanley Cortez, A.S.C, \"Reap the Wild Wind\" photographed by Victor Milner, A.S.C, and Capt. William V. Skall, A.S.C, \"Wake Island\" photographed by Theodor Sparkuhl, A.S.C, Lt. William C. Mellor, A.S.C, Harry Hallenberger, A.S.C, Elmer G. Dyer, A.S.C, W. Wallace Kelley, A.S.C, Gordon Jennings, A.S.C, and Farciot Edouart, AS.C. The Third Dimensional Society of England has pronounced \"Eagle Squadron\" and \"The Magnificent Ambersons,\" both photographed by Stanley Cortez, A.S.C, as the biggest achievements in three-dimensional photography during the year. Rudy Mate, A.S.C, goes to Columbia to photograph \"Sahara.\" On this one, Rudy's skill at glamorizing the femmes won't be called into play. The picture has a cast of seven men, and the \"love-interest\" is represented by a male cast.\nSent by a 30-ton tank. However, Colombia's glamour gals will get plenty of opportunity to look lovely for Rudy's camera. That studio has taken over his contract, which has a year or more to run, from Sir Alexander Korda. Captain John Alton, A.S.C., sends this picture himself with his present commander, Major General O.W. Griswold, on whose staff he is now serving as liaison officer between the Commanding General's office and the Signal Photographic Laboratories, and his former commander, Lt.-Col. Edward J. Hardy, under whose command Alton received his basic military training. John reports that he is attending General Griswold's staff school and was recently called upon to lecture to one of these classes on \"Motion Pictures \u2014 the New Weapon.\" He's enthusiastic about the way the Hollywood men in his outfit have taken to soldiering. \"You should see some of them.\"\nOur former executives, editors, directors of photography, sound engineers, and others command a battalion,\" he says. \"They march on a hike with full packs, tin hats, gas-masks, etc. It would make West Pointers envious! Reunion in the Pacific \u2014 Pathe News War Correspondent Len. H. Roos, F.R.P.S., and Lieutenant Philip M. Chancellor, A.S.C., F.R.G.S., A.R.P.S., U.S.N.R., meet \"somewhere in the Pacific Area.\" They hadn't seen each other for over eight years.\n\nWhile we're on Naval matters, Lt. Gregg Toland, A.S.C., U.S.N.R., recently took time off from the picture he's producing, writing, directing and photographing for the Navy to have his tonsils yanked. Gregg must be a smart producer; he scheduled the surgery for a Saturday, so he could be back on deck the following Monday, without having to \"shoot around\" himself! James Wong Howe, A.S.C., draws the attention of the audience.\nHarry Perry, A.S.C. directs the photography for Samuel Goldwyn's upcoming big production, \"North Star,\" with an enviable cast. Perry gets a nice break at Universal after spending three months shooting backgrounds and atmospheric scenes with Atlantic convoys for \"Corvettes In Action.\"\n\nHal Mohr, A.S.C. signs a new term contract at Universal. His first assignment is to direct the photography for \"Phantom of the Opera\" in Technicolor.\n\nCharles Schoenbaum, A.S.C. finishes a four-month Technicolor assignment for MGM's \"Salute to the Marines.\" He handled the big Technicolor project solo and did a swell job. We'll wait for the preview, Charlie.\nHenry Sharp, A.S.C., states that while the typical \"Hollywood wolf\" used to prefer a girl who met him halfway, now that gas rationing has taken effect, he knows one who insists on a girl who will meet him halfway \u2013 and has a \"C\" card to do it with.\n\nNick Musuraca, A.S.C., is doubling as a director at RKO, overseeing the photography of \"Fallen Sparrow,\" and also serving as the Italian language consultant.\n\nFebruary 1943, American Cinematographer\nPHOTOGRAPHY OF THE MONTH\nCHINA GIRL\n20th Century-Fox Production.\nDirector of Photography: Lee Garmes, A.S.C.\nOne expects interesting camerawork from Lee Garmes, A.S.C., and in this pleasant little melodrama, he delivers it. \"China Girl\" is not among Garmes' best work, but his mood and effect lighting, along with his character illumination, are undoubtedly the most distinguished parts of the production.\ntically  pictorial  compositions,  lift  the \npicture  decidedly  above  what  it  would  be \notherwise. \nTo  this  writer\u2019s  opinion,  Garmes  was \nprobably  at  his  best  in  the  extremely \neffective  opening  sequence.  This  is \ndramatic  cinematography  at  its  best, \nand  gets  the  picture  off  to  an  unusually \ngood  start.  But  throughout  the  picture, \nGarmes\u2019  camera  does  a  great  deal  more \nthan  either  actors,  direction  or  script  to \nestablish  and  maintain  a  dramatic  mood \nand  that  elusive  something  known  as \n\u201cproduction  value.\u201d \nThe  art  direction  of  Richard  Day  and \nWiard  B.  Ihnen  is  particularly  inter\u00ac \nesting,  and  gives  Garmes  excellently  pic\u00ac \ntorial  material  with  which  to  work.  It \nfurnishes,  too,  an  excellent  indication  of \nthe  inter-studio  cooperation  engendered \nby  the  wartime  limitation  on  new  set  con\u00ac \nstruction,  for  unless  we  miss  our  guess \nvery  badly  one  of  the  key  sets \u2014 the  big \nhotel lobby \u2014 was one built originally by MGM for \u201cThey Met In Bombay,\u201d apparently borrowed by 20th-Fox and very skillfully disguised. Henry Hathaway's direction was below par and seemed particularly amateurish in the unusual number of very bad cuts which furnished a constantly jarring note which ran through the entire picture.\n\nStar Spangled Rhythm\nParamount Production.\n\nDirectors of Photography: Lt. Leo Tover, A.S.C., and Theodor Sparkuhl, A.S.C.\n\nA big musical like this one, which is primarily a revue to showcase virtually all of Paramount\u2019s stars, isn\u2019t the sort of picture which offers its photographers the most outstanding opportunities. But Tover and Sparkuhl have given the picture an unusually effective photographic mounting. They\u2019ve done an unusually smooth job of it; it\u2019s almost impossible to tell where Tover\u2019s contribution leaves off and Sparkuhl\u2019s begins.\nThe picture covers an unusual range of photographic and dramatic moods, from extreme high-key \"filmusical\" and lighting to fine, extreme low-key effect-lit sequences. To our mind, the pictorial highlights were the \"Black Magic\" ballet number (photographed by John Seitz, A.S.C., though not credited), Rochester's zoot-suited \"Smart as a Tack\" number, and the concluding \"Old Glory\" number. The latter provides the final fade-out in most effective fashion by lap-dissolving from black-and-white to color. It is unfortunate that the black-and-white portion of this final shot was not, or perhaps could not have been, printed five or six lights darker to match better with the rest of the sequence.\n\nThe special effects staffs of Gordon Jennings, A.S.C. (Special Effects) and\nFarciot Edouart and A.S.C. (Transparency Projection) deserve high credit for their contributions to the picture, though they were not officially credited. Jennings' work in the \"Black Magic\" number was particularly fine, and in the jeep number -- \"I'm Doing It For Defense\" -- both he and optical printer expert Paul Lerpae, A.S.C., contributed outstandingly and with hilarious effect. Old-timers will recognize in this sequence Fred Jackman's famous old trick of submarining a car through a lake -- and it's still good for as big a laugh for Paramount today as it was for Mack Sennett twenty-five years ago.\n\nMoon and Sixpence\nUnited Artists\u2019 Release.\nDirector of Photography: John F. Seitz, A.S.C.\n\n\"Moon and Sixpence\" is one of the more interesting releases of the season, both dramatically and photographically. Director of Photography Seitz has a picture that is visually striking and captivating.\nThe text is already clean and readable. No need for any cleaning.\n\nThe text is replete with pictorially interesting atmosphere, aided by Gordon Wiles' deft production design. He takes full advantage of every bit of mood and atmosphere. The picture is interesting for its effective use of a three-color Cinecolor enlargement from a 16mm. Kodachrome original to provide a brief sequence in color. The central character is a painter, and Director A1 Lewin cleverly avoids showing any of his paintings. Even when he or his friends exhibit them to other characters, all the audience sees is the back of the canvas. The paintings themselves are never shown until just before the climax of the picture \u2014 and then they are shown in color, adding significantly to the dramatic effectiveness of the treatment.\n\nFrom the photographic viewpoint, this\nThe color sequence is very interesting. It is an exaggeration to say that it is as good as a direct-35mm color sequence, but considering its 16mm origin, the results on the screen are surprisingly good. In the first few scenes, I noticed that cinematographer Seitz was lighting with too much contrast for the Kodachrome-Cinecolor combination. Contrast is increased and shadow-detail is distorted in the enlarging process. However, when the scenes were lit rather flatly, the results proved excellent: the definition was satisfactory, and the color rendition was good, though it seemed the color-saturation was rather higher than we're accustomed to in Technicolor. However, in this instance, the bright coloring probably served well to heighten the desired dramatic result. The directorial technique employed in getting into and out of the scenes was not specified in the text.\nSEVEN DAYS' LEAVE (RKO Production)\nDirector of Photography: Robert De Grasse, A.S.C.\nRobert De Grasse brings this entertaining little musical to the screen with smoothness. It's not a cameraman's picture, but he does more with the material than expected. Where there's pictorialism, he provides it; where there aren't, he uses camera and lighting deftly, keeping the audience seldom conscious of photography. His treatment of the players presents them at their best.\n\nI MARRIED A WITCH (United Artists\u2019 Release)\nDirector of Photography: Ted Tetzlaff, A.S.C.\nSpecial Effects: Gordon Jennings, A.S.C.\nThis is an unusual picture in every way.\nThe cinematographer and special-effects technicians have ample opportunity to achieve spectacular results in this film. A significant portion of the picture requires strikingly dramatic mood lighting, which Tetzlaff handles masterfully and makes enjoyable for the photographically-minded.\n\nTetzlaff's effect-lighting and compositions make \"I Married a Witch\" a picture worth seeing multiple times. His treatment of the players is, as always, excellent. Veronica Lake has not been presented so well in some time, and Frederic March's portrayal deserves high praise.\n\nLike the \"Topper\" films with which it must be compared, \"I Married a Witch\" relies heavily on the contributions of the special-effects staff. In this regard, Gordon Jennings, A.S.C., and his associates excel.\nAmateurs have distinguished themselves. Their work, like Tetzlaff\u2019s camerawork, is spectacularly effective. The direction of Rene Clair deserves careful study, too, especially in the smooth way his scenes flow together visually. Unfortunately, \u201cI Married a Witch\u201d is one of the films made last year by Paramount. American Cinematographer \u2022 February, 1943, p. 55\n\nEvery amateur dreams of the time when he can make his movies \u201cin sound\u201d like the professional films he sees in theatres. And with most of the commercially marketed sound-film cameras and projectors priced well above the average amateur\u2019s reach, even in pre-priority days, most of us have looked to sound-on-disc as the simplest and most economical solution to the problem of sound. I did.\nBut after completing a successful feature-length amateur sound movie using sound-on-disc, I changed my mind. In \"sounding\" some sequences, I found myself using as many as seven turntables to handle the various discs carrying dialog, music, sound-effects, and so on. Even when these various records were dubbed together onto a single disc, synchronization was always a problem \u2013 especially if the film broke or had to be re-spliced. So I decided that it would be much easier \u2013 and a good deal better all around \u2013 if I switched to the method used by professionals \u2013 sound-on-film. Even if it necessarily meant making my own 16mm sound-film camera.\n\nLittle did I realize what I was letting myself in for!\n\nMy first step, of course, was trying to find out how to make a sound-on-film recorder. After a futile search, I decided to build one myself.\nI came to the conclusion that the published material available wasn't suitable for 16mm use. Although the material found was excellent, most of it dealt with 35mm or in extremely broad generalities concerning 16mm. It wasn't detailed enough to help the fellow who wanted to make his own 16mm sound-film camera. So I had to work things out for myself as I went along.\n\nFor the type of picture I make, and for the type of sound conversion I had in mind, I decided that the old, dependable Eastman Model A was the most suitable camera.\n\nThe first problems were to provide the proper separation \u2013 24 frames \u2013 between the sound and picture apertures, and to provide a smooth, continuous movement of the film past the sound-recording aperture. I decided that the most practical way to do this was to run the film through two separate cameras \u2013 one for picture and one for sound \u2013 and synchronize them later.\nA separate sound-head was mounted below the camera itself. Accordingly, a light-proof box was built, 6 inches deep, 514 inches wide, and 12 inches long, with a removable plate on the left-hand side for loading. A slit was cut in the base of the camera-box to correspond with a similar slit in the top of the sound-recording box. The two units were then attached together.\n\nA set of rollers and a flywheel were constructed along lines similar to those used in the Amprosound projector. Ray Maker and his home-built 16mm sound camera. The light-valve sound-recording unit is in the housing below the camera-head, which will be recognized as a modernized Model A Cine-Kodak.\n\nThe light-valve sound-recording unit was placed in the sound box in such a position to give the correct spacing between the picture aperture and the sound-recording slit. Directly behind the flywheel was inserted a light shield.\nPrevent any stray light from hitting the film. The recording unit was built as follows. A center-bracket was placed upon a base to hold the light-valve. This valve was made from two pieces of block steel lapped together with a horizontal slit, 0.001 inch deep and 0.260 inch wide.\n\nDirectly opposite, another bracket was installed to hold the vibrating unit, which was made from a rebuilt RCA phonograph pick-up. In place of a needle, a blade 0.001 inch thick, 1/16th inch wide, and 14 inches long was fitted, and honed to a razor edge on the striking side.\n\nThe top block of the light-valve was set back 0.002 inch. The blade was then adjusted in front of the slit and directly over the bottom block. Both blocks were given a razor edge and blackened so that no unwanted light reflected at broken angles.\nTo form the image of this slit:\nFebruary, 1943 \u2022 American Cinematographer\nFree Wheeling - The Story of a Bicycle-Movie Vacation\nBy Stanley and Mary Jane Bean\nWe had a car once. We drove often into New Hampshire, over and through the White Mountains. It was one of our favorite movie-making and hiking spots. The above sentences are in the past tense.\nLast summer we had a few vacation days available, three bicycles, and the desire to go into the mountains once more.\nThe above desire was intense!\nSo we loaded the wheels and the camera for what turned out to be one of the best vacation trips ever.\nTo know us better, here's Stan, Jr., seven last August. He was the pace-setter, riding his own bike with a bag of tools and spare parts and recording the speed and miles with a cyclometer.\nDouglas, the younger chap, 3 years old.\nThe day after Christmas, I rode on an air-cushioned seat behind Daddy (Big Stan). This seat was attached to the rear-carrier holder by a metal piece held by two thumb-screws fastened to two bolts set through the bottom of the seat itself. It was as firm as the bike itself but easily removed without a wrench. Sitting on the cushion, Douglas had a comfortable back, arm-rests, and straps slung under Big Stan\u2019s seat which served as stirrups for his feet. When traveling, he had a safety strap around his waist. It was not possible for Douglas to fall out or off. The only chance of getting a bump would be if Big Stan took a spill, which, luckily, he didn't. Maryjane carried the real load: movie camera, film, clothing changes, bathing suits, maps, and actual necessities (weight under 35 pounds). Our bikes were two-speed, carried lights, mirrors.\nBig Stan led, followed by Stan Jr., and Maryjane brought up the rear to keep an eye on the situation. Our pace was regulated accordingly based on Stan Jr.'s riding. He rode better in two-way traffic. We walked the upgrades and city traffic.\n\nWe began our trip early one morning from Amesbury, Mass., on our bikes for a ten-mile journey to Exeter, N.H., to catch the Mountain Train. We boarded the train with our bikes for a lift to North Conway, N.H., the Eastern Gateway to the mountains. There, we started filming our vacation in 16mm Koda-chrome.\n\nBig Stan and little Douglas in the lead.\nSetter in the middle, Maryjane bringing up the rear with the luggage and the precious movie camera. To the right: frame enlargements from the Beans' 16mm picture, showing how it was done. We rode as we wished, over delightful birch-bordered byways, across mountain streams, through rustic covered bridges, seeking out the natural wonders and beauties of that region. Stops were frequent, as blueberries were ripe and plentiful!\n\nAnother day another train carried us at a snail\u2019s pace through the Crawford Notch along the spectacularly engineered railroad-bed of the Maine Central, cut out of the granite sides of the Willey Range nearly 1,000 feet above the motor road.\n\nAt Twin Mountain station we unloaded our vehicles with the help of the train men, as no one was on duty at the station. Our journey began away from the rails through this delightfully healthy area.\nMost amateurs probably feel that home movies and substandard film are relatively new inventions, dating back to Eastman's introduction of the first substandard camera in 1895. For nearly twenty-eight years, inventors in both America and Europe struggled to bring home movies to the masses in a safe and simplified form. Along the way, they introduced professional refinements such as the first pressure-plate and the first pilot-pin registration.\n\nHowever, all of them failed to achieve widespread commercial success for three reasons: the excessive cost of the negative-positive system; the excessive danger of using inflammable, nitrate-base film in the home; and the excessive complication of hand-cranked cameras.\n\nOnce these three drawbacks had been overcome, home movie production became more accessible to the general public.\nThe introduction of reversal film coated on noninflammable acetate-base \"safety stock\" and the development of simple, spring-driven cameras led to the removal of brakes, making home movies a worldwide institution. The first substandard camera, which also appears to have been the first designed for home movie use, was the \"Kinetic\" camera introduced by Bert Acres of London in 1895. Edison was already using the 35mm. film made for him by Eastman, and Acres obtained his narrower, less expensive film by the simple trick of slitting standard 35mm. negative film lengthwise. This gave him a film 1714 mm. wide, perforated only on one edge, as shown in Figure 1, with a picture half the size of a standard 35mm. frame.\n\nHis camera is shown in Figure 2.\nunexposed film seems to have been carried in a small, closed magazine (C) attached to the hinged top door of the camera (A). From there, it fed forward and down through a long film-channel (D) past the taking lens (O) and past a sprocket (J) to the take-up magazine. There were no claws or sprockets to give the film its intermittent movement. This was done, instead, by a beater (H) which at each revolution jerked the film down through the aperture enough to move it down one frame.\n\nAs may be imagined, this movement was rather rough on the film, and it was rather noisy, besides. But it had the advantages of being simple and of getting around some of the patents which stifled early-day development in cinemachinery. According to contemporary reports, this movement worked well enough to give \u201cextremely steady pictures\u201d.\nThe \"Kinetic\" camera functioned as its own projector. You turned it around as shown in Figure 3, attached a lamp-house with a gas light, and the auxiliary projection lens (U) became the projection lens. The top of the camera-box hinged up and back to simplify the feed, and a neat little porthole at the opposite side of the box slid open so the projected image could continue on to the screen. The motive power, whether used as a camera or a projector, was provided by a hand-operated crank. Most early-day cameras were made in this way, allowing one mechanism to serve as a camera and a projector.\nThis person was both an actor and a printer. This was true even of much professional equipment, as it kept the cost down and allowed a single unit to do everything. People who have seen the center-perforated 9.5mm film so popular in STULL usually comment on the novelty of the idea of putting a single perforation in the center of the film, between each pair of frames, and ask if it isn't something new. Novel it may be, but new it certainly isn't, for a center-perforated 2mm film (shown in Figure 4) was brought out by Wrench & Son in London soon after the introduction of Acres\u2019 \u201cKinetic.\u201d\n\nFigure 5: The \"Biokam\" camera projecting its center-perforated W/itntn film.\n\nThis film was to be used with the firm's home movie camera, which was known as the \u201cBiokam,\u201d shown in Figure 5. Like the \u201cKinetic,\u201d it was also used.\nThis device was designed for photographing, printing, and projecting. As a camera, it was remarkably compact for its day, measuring 9.14x5.14x3.14 inches, and selling for approximately $33. Equipped with a German-made Rapid Rectilinear lens that worked at f/7.7, it was used as a camera. When used as a projector, the taking lens was removed and replaced with another Rapid Rectilinear lens, which worked at the remarkable aperture of f/2.5. The camera was attached to an enormous gas, acetylene, or oil lamp-house identical to those used in still enlargers. A bracket at the top held the unspooled roll of film to be projected, and the projected film ran out of the bottom of the box onto the floor or maybe into a wastebasket. In this, the \u201cBiokam\u201d projector followed the design of professional projectors of the period, none of which had take-ups.\n\nA very similar camera was made by [Omitted for the sake of the prompt]\nHughes, also of London, used a center-perforated 17.2mm film, but with a square perforation instead of a slot-shaped one. This was to permit better registration. Used as a projector, it was one of the first to be fitted with a take-up magazine.\n\nThe 1900 Reulos, Goudeau & Co., of Paris, put on the market an amateur movie outfit known as the \u201cMirograph.\u201d This used film 21mm wide which, instead of having perforations, had notches cut in its edges. The camera cost $50. The 58mm February, 1943 American Cinematographer featured the \"Mirograph.\" Forty-eight years of home movie film, including split-35mm, center-perforated 16mm, 21mm, 22mm (Edison), 22mm Pathescope, and today's 14mm and 8mm, all shown approximately actual size. Gas-lit projection lamphouse $16 extra.\n\nWith this illumination, the \u201cMirograph\u201d projected:\nForty-eight years of home movie film, including split-35mm, center-perforated 16mm, 21mm, 22mm (Edison), 22mm Pathescope, and today's 14mm and 8mm, all shown approximately actual size.\nProject a picture at least three feet wide, and with a more expensive arc lamp, it would even give a 12-foot picture. Around the same time, the large French professional firm, Gaumont, entered the amateur field with its \"Pocket-Chrono,\" which used a center-perforated film 15mm. wide and, of course, the Gaumont-Demeny beater movement. Around this time, in the early years of the century, Edison introduced a home movie system, though he seemed to have concentrated on a projector which would run special prints of professionally-made films rather than upon a real camera-projector home movie system. The projector was built along the general lines of the standard projectors of the period, but it was made to use a special film, 22mm. wide, with three rows of pictures and a row of perforations between each row, as shown in Figure 7.\nAfter cranking the film through the projector to show the first row of frames, the projection aperture was moved over to the next row, and the film was run through again, this time in the opposite direction. Finally, the aperture was moved over again, and the film run through a third time \u2013 forward, this time \u2013 to show the third row of pictures.\n\nFigure 8: The Wfamm. Ernemann \"Kino\" of 1903.\n\nIn Germany, Ernemann, of Dresden \u2013 already one of the big names in the still-camera field \u2013 made a strong fight to popularize home movies. In 1903, they introduced their first home movie camera, the \u201cKino,\u201d shown in Figure 8. This was a very compact little camera consisting of a box measuring 2.4x5.6x3.2 inches, and two detachable metal magazines which held 33 feet of center-perforated 17.14mm film. The film was moved by a claw-type intermittent mechanism.\nThe camera was held in register during exposure by a pilot-pin. It was hand-cranked, with both the standard eight-pictures-per-turn shaft and one-frame-per-turn \u201ctrick\u201d shaft common on professional cameras. The take-up was driven by a wire belt.\n\nThe following year, an improved model of the \u201cKino\u201d was introduced. In this model, the two single magazines were replaced by one double magazine, and the take-up was driven \u2013 independently of the hand-cranked operation of the camera \u2013 by a spring-powered clockwork mechanism. The claw intermittent was replaced by an intermittent sprocket driven through a Maltese or Geneva cross and cam like those used in 35mm projectors. Constant focus was ensured by a pressure-plate, which appears to have been the first one used in any movie camera. This model could be used interchangeably as a camera and printer.\nIn the latter use, it was placed on a special stand fitted with a fixed lamphouse. In 1912, the French firm, Pathe Freres, introduced their first substandard outfit \u2013 a projector known as the \u201cPathe K-O-K.\u201d Apparently in reference to their famous rooster trade mark, it was built to take a very special film, 28mm. wide with the professional standard of four perforations per frame on one side and two perforations per frame on the other, as shown in Figure 9. In creating this special film-size, the Pathe people seem to have been motivated less by a desire for economy than by a desire to keep the dangerous 35mm. nitrate film out of homes; the 28mm. Pathe was one of the first, if not actually the first, commercial users of non-inflammable acetate-base \u201csafety\u201d film. The special perforation, which was of a smaller size than the standard 35mm. perforations, allowed for the use of thinner film and reduced the risk of fire.\nThe patented \"K-O-K\" projector was a neat little safety guard to prevent Pathe films from being used on any projectors other than Pathe's. The firm built up a quite extensive library of these films - reductions from Pathe productions, both French and American-made - for use with these projectors.\n\nThe K-O-K projector itself was a self-contained unit. As electricity was not available in many parts of Europe in 1912, current for the projection lamp was generated by a small dynamo belted to the crank which drove the projector. A clever friction drive mechanism prevented the current generated this way from exceeding that which was safe for the lamp, no matter how fast the projector was cranked.\n\nA year later, this system was introduced in America under the name \"Pathescope.\" Here, the projector was made for use on the regular electric light circuits, and a camera for taking photographs was also included.\nIn the 1910s, 28mm. home movies on negative film were marketed. The 28mm. standard became popular in American home and educational circles, leading to the development of several American-made 28mm. cameras and projectors, which used 28mm. film with a regular four-perforation arrangement on both edges. In 1918, the Society of Motion Picture Engineers officially recognized this \"Safety Standard.\"\n\nThese \"Safety Standard\" 28mm. prints could be run on any Pathescope projector, while \"Pathescope Standard\" prints could only be run on Pathescope projectors. Both systems used acetate film but employed negative-positive. The only real advantage gained was safety, and there was little, if any, reduction in expense.\n\nIn 1912, another interesting little home movie outfit called appeared.\nThe \"Duoscope\" featured center-perforated 1714 mm. negative film with two perforations, side by side, between frames, as depicted in Figure 10. The mechanism consisted of a double arm moving the film onto and off from two fixed pilot-pins. The camera could be used as a projector, with light supplied by a pocket flashlight battery. Additionally, negatives could be enlarged onto a series of small paper prints, bound into pocket-sized books for viewing \u2013 in motion \u2013 by rapidly flipping the leaves through the hand.\n\nSoon after, Charles Urban, a well-known professional producer and designer of the time, introduced a short-lived but interesting system called the \"Spirograph.\" In this, the film was made in the shape of a disc, with the frames arranged spirally.\nThe spirally arranged cameras and projectors, resembling the grooves in a phonograph record, were part of a failed system. American Cinematographer, February 1943, p. 59. This system, which appeared to be designed for this configuration, prevented editing or even eliminating poor frames. Only a limited amount of action could be recorded on each disc.\n\nFigure II: The \"Movette\" of 1917.\n\nFrom Rochester in 1917 came a camera that can be considered a genuine ancestor of today's home movie cameras. It was the \"Movette,\" which used 17.15 mm film with two perforations per frame on each edge, almost identical to the silent 16mm film of today. The film, which was negative, came in a daylight-loading magazine with a 50-foot capacity. I believe it was also returned to a central laboratory for processing.\nThe camera was unusual with the magazine placed at right angles to the lens axis, as shown in the illustration. The camera was hand cranked, and a separate mechanism, also hand-cranked, was used for projection.\n\nThe following year, another American-made camera for 17.5mm film was introduced by the Wilart Instrument Co., of New Rochelle, NY. They were already known for making a professional camera modeled after the French Pathe Studio Camera. The Wilart 17.5mm outfit was called the \u201cActocranh.\u201d It was of virtually professional design, metal-bodied, with a Bausch & Lomb Tessar lens. The film was carried in double outside magazines, which were a miniature version of those used on professional Bell & Howell or Mitchell cameras, but only about the size of a shoebox.\nFigure 12: The 35mm. Wilart amateur camera, an enlarged version of the 1918 \"Actograph\". The same design was later enlarged to a 200-ft. capacity 35mm. outfit and known as the \"Wilart News Camera\". In this form, it was an excellent camera for the 35mm. beginner, as this writer can testify, having started his movie-making career with one. Still later, a much simplified 35mm. version of the design was marketed by the New York Institute of Photography for its students, under the name \"Institute Standard\".\n\nIn 1920, an Austrian firm introduced another 1714mm. camera known as the \u201cClou\u2019\u2019. It used film much like that used by the \u201cMovette\u201d except that the perforations were round instead of rectangular. It had a semi-circular shape.\nThe magazine in the rear used a single sprocket for feeding and taking up the film. The intermittent movement was driven through a heart-shaped eccentric cam, and would operate equally well either forward or backward.\n\nThe last two attempts at 35mm. amateur cameras came respectively from France and Germany. Around 1920, DeBrie, the big French professional camera-builder, introduced the \u201cSept,\u201d the first spring-driven, hand-held movie camera. It held slightly over 15 feet of 35mm. film in daylight-loading magazines essentially similar to those used today by the Leica and Contax 35mm. miniature still cameras. This footage could be exposed as 15 seconds of movies, or as 250 individual stills. It could be used as a camera, a printer, or a projector, and may be considered the forerunner of today\u2019s 35mm. hand cameras like the Eyemo and the [EYEMO].\n35mm. miniatures like the Leica and Contax. In Germany, the firm of Leitz, A. G. \u2014 now a part of the Zeiss-Ikon combine \u2014 brought out the \u201cMovex,\u201d a hand-cranked 35mm. home-movie camera which used 35mm. film in 33-foot magazines. It was the direct ancestor of the later Zeiss-Ikon \u201cKinamo S-10,\u201d several of which were sold in this country, and the more recent \u201cMovikon,\u201d occasionally seen here before the war. When the writer visited Germany in 1925, he saw 35mm. Agfa reversal film spooled for use in these \u201cMovex\u201d cameras. However, as this was after Eastman\u2019s introduction of 16mm. reversal film, it is likely that this 35mm. reversal was introduced in an attempt to compete with the then-growing popularity of 16mm.\n\nIn 1923, American ingenuity paved the way to the first genuinely successful system of home moviemaking. Eastman introduced the 16mm. standard.\nFigure 14 and the reversal film idea, coupled with a company-operated processing service, assured every user of uniformly perfect processing. This move drastically slashed the costs of amateur moviemaking. When this writer started out as a 35mm. amateur, more than twenty years ago, the bare costs of negative film, developing, and printing totaled about ten cents a foot. Eastman\u2019s first 16mm. reversal film sold for six cents a foot, including processing and return postage from the Rochester processing plant. And in 16mm., one foot of film gave the equivalent in screen time of 2.5 feet of 35mm., so that 16mm. judged on a basis of screen time, cost its user about a quarter of what an equivalent amount of 35mm. would. A 15-minute, 400-foot reel of 16mm. cost the equivalent screen time, which would cost a user.\nIt is hard to determine which of the three firms - Eastman, Bell & Howell, and Victor - pioneered 16mm., as they worked fairly closely together. Eastman's film was essential for the other manufacturers' cameras, while a variety of cameras in varying price ranges was necessary for the film's commercial value.\n\nThe sturdy old hand-cranked \"Model A\" Cine-Kodak is generally regarded as the grandaddy of all 16mm. cameras. However, the Victor people claim that their first 16mm - an adaptation of an earlier, hand-cranked 17mm. model - antedated the Cine-Kodak by a few months. The Bell & Howell \"Filmo\" was the first to introduce the simplicity of a spring-motor operation.\nAll of these cameras featured replacement of hand-cranking with motorization. Though it seems simple, this requirement takes practice and a firm tripod foundation. These cameras made history in another way as well: they were one-purpose devices. For almost the first time in the twenty-eight-year history of home movies, cameras were designed solely for photographing pictures, and separate units were provided for film projection.\n\nAfter twenty-eight years, home movies arrived. They arrived not just because big and powerful companies stood behind their development (this had happened before and failed).\n\nFebruary 1, 1943 \u2022 American Cinematographer\n\nPOINTERS ON USING TELEPHOTO LENSES\nBy Jack Smith, A.S.C.\n\nIf you want my best advice on using telephoto lenses, it can be summarized in the following three points:\n\"Don\u2019t use them.'' At least, not if you can possibly manage to get out of it and make your shot with a more normal, shorter-focus lens. A scene made with a telephoto can never be as satisfactory photographically as one made with a normal lens.\n\nIn the first place, it's characteristic of telephotos that scenes made with them are flatter than those made with shorter-focus objectives. The photographic contrast is a good deal flatter, and so is the visual perspective.\n\nFor instance, if you make a full-screen shot of a man with, say, a tree, a fence or a building perhaps a hundred feet behind him, and a hill maybe a quarter of a mile in the background, a shot made with a normal lens will give you a pretty good idea of the spatial separation between the three. A telephoto shot taking in precisely the same field will compress the scene.\nPress these planes or flatten them so that man, tree, and hill will seem much closer together, and perhaps hardly separated at all. There are special problems in mounting, focusing, and aligning telephoto lenses which you never encounter with ordinary objectives. Atmospheric conditions you'd hardly notice when shooting with a normal lens can give you all sorts of headaches when you start working with a telephoto. But of course, there are times when you've simply got to use a telephoto if you want to get the picture. We don't often run into them in studio camera work or in ordinary home moviemaking; but in field camerawork, making-newsreels, documentaries, films of wildlife, and so on, we do. And in today's military combat camerawork, the difference between using a telephoto and a short-focus lens may often be significant.\nIf you're using a telephoto lens, ensure it's a good one. Ordinary lenses have types that provide crisp, sharply-defined images, while others yield only soft pictures. Telephoto lenses require even more sharpness. Begin by obtaining a lens with the sharpest, wiriest characteristics. If a lens is too sharp, you can soften the image. However, if the definition is lacking, no amount of adjustment can improve the picture. My personal preference, if it matters,\nFor Zeiss telephotos, I happen to prefer, while many friends swear by Cooke telephots for 16mm. No complaints about Cooke or Kodak Anastigmat telephots for this length. In these days, when it's not easy to obtain lenses, here's a helpful fact: A true telephoto lens is designed to provide the angle of view of a long focal length lens without requiring the full separation from the focal plane that its equivalent focal length would ordinarily demand. For example, a twelve-inch telephoto may only require a separation of six or seven inches instead of the full twelve. However, if you don't mind a bulkier lens-mounting, you can mount any ordinary long-focus lens for use as a cine telephoto. A lens like that will provide:\nAlmost certainly designed to cover a picture larger than the movie frame you're using it on. Using it on a much smaller picture-area, you'll be using only a part of it.\n\nLeft: 12-inch Dalimeyer telephoto mounted on a Cine-Special.\nCenter: 40-inch \"Dallon\" telephoto mounted on a 35mm. Vinten camera.\nRight: 20-inch Cooke telephoto mounted on a magazine-type \"Filmo.\"\n\nNote: auxiliary reflex focuser included in lens-mount, and use of surveyor's transit as finder. The center of the image \u2014 the part where definition and optical correction are best. In this way, you can often make a lens which in itself isn't so hot give quite satisfactory results.\n\nThis is true when you take a lens originally intended for use on a 35mm. camera and remount it for use on 16mm. The editor of this magazine, for example, tells me he has a lens \u2014 a 3-inch, 1-9 Dalimeyer \u2014 which, when he used it, gave satisfactory results.\nIt was lacking in sharpness on his 35mm. camera, so he mostly abandoned it in favor of a much slower but sharper Goerz. However, since he had the /: 1.9 lens remounted for use on his 16mm. Filmo, it had suddenly turned into an excellently sharp lens. The reason is, of course, that on 16mm. he is using the lens on a picture-area only one quarter as large as that of a 35mm. frame, and by using only the center of the image, he is using just the very best part of the lens\u2019 image. The same thing is true when you take a much longer-focus lens off a Graflex or other still camera and use it on a cine-camera. Mounting a telephoto is a vitally important factor in getting good results. If you\u2019ve tried any telephoto work at all \u2014 even with the less powerful telephoto lenses \u2014 you know that the first essential of good telephoto camerawork is to properly mount the lens.\nFor a good, solid tripod, consider the action of a telephoto lens as that of a lever with its fulcrum at the center of the lens. The image is balanced at the tip of the short end of the lever, and the scene itself is balanced precariously at the end of an infinitely long lever-arm. Any tiny bit of motion at the end of the short arm will make the scene at the end of the long arm jump tremendously, resulting in a picture that jumps all over the screen. In the same way, any unsteadiness between the lens and the camera will be magnified enormously.\n\nFor lower-powered telephotos, up to approximately a six-inch focal length, ordinary screw or bayonet mounts used on good 16mm. or 35mm. cameras will usually be sufficient.\nBut beyond this, telephoto lenses need:\n\nAmerican Cinematographer \u2022 February, 1943, p. 61\nAmateur Movies and the War Effort\nBy W. C. Campbell Bosco\n\nSpeaking on the occasion of last year's Academy Awards Banquet, to an audience of film notables still trying to adjust the pattern of their thoughts to the reality of War, John Grierson, Film Commissioner for the Dominion of Canada, said:\n\n\"There is a duty which falls on all in this industry alike. It is humble, it is deeply ordinary. It carries no honors with it. Theatres will not applaud it: like private soldiering, it will go completely unnoticed.\n\n\"But it is none the less vital. It is the simple duty of helping the country with its every-day chores of war publicity and instruction.\n\n\"We can use the film to help the fighting services in their daily instruction.\"\nWe can help the thousand-one Civilian Defense Services to a better understanding of their sometimes quite local duties. We can aid industrial morale and speed the organization of new skills in the service of our country.\n\n\"We have the difficult duty - the most difficult of all from a mental point of view - of shaping from our war observation on every front, both military and civilian, the strategic pattern of highly complex events. Of helping the people to a broad and simple understanding of what is happening - of where they fit in - of what in duty is expected of them.\n\n\"Nothing is so certain as that men cannot give their best if they are bewildered, and particularly so in a democracy; and the greatest, perhaps, of all our film responsibilities is to give people, in simple dramatic patterns of thought and feeling, a sense of the true issues\"\n\"There is a contribution every film and technician can make to help everyone, on military and civilian fronts alike, do their job a little better and feel, however obscure they may be, a fighting force in the national effort. This sober and humble and unselfish duty of helping people, wherever they may be or organized, to effective citizenship and good soldiering, will be the best evidence that we have, in all reality, aligned our art with the public purpose and have dedicated it, in all realism, to the pressing needs of our United cause.\n\nA year has passed since these words were spoken. A year has seen the entire National effort reoriented to meet the demands of Total War.\n\nDuring this period, the people of the\"\nMotion pictures have met their wartime obligations enthusiastically and have produced countless evidences of the power of the motion picture as a weapon of modern war. The term \"the people of the motion picture\" cannot be restricted to Hollywood professionals alone. Their contribution has been enormous, but it is not all. The makers of 16mm educational and industrial films have also played an active, if unpublicized, part in this effort. America's amateurs have done the same. Some clubs and individuals have made films on Civil Defense subjects for their own communities, often at their own personal expense. Some of them, like the Long Beach Cinema Club's \"Fire From the Skies,\" are professional enough to merit national release. Many other individuals and groups have also contributed.\nThe Syracuse Movie Makers' Association and Long Beach Cinema Club provide motion picture entertainment for troops and civil defense meetings using 16mm films at Army posts and remote defense installations. These men, whose duties prevent them from accessing normal recreational facilities, are an enthusiastic audience regardless of whether the films are silent or sound, professional or amateur.\n\nAmateurs voluntarily engage in this service.\nTasks like this require patriotism to be done on one's own time with one's own gasoline and tires, using one's own equipment. However, they eventually encounter the problem of obtaining fresh program material. They have shown all worthwhile amateur films available to them and all professionally-made 16mm films they can afford to buy. But soldiers are still present, or civilian defense meetings are ongoing \u2013 and somehow, they must obtain film for them. New pictures are needed that these audiences haven't seen yet.\n\nFortunately, several Government agencies, in collaboration with civilian film-library organizations, are launching programs to help solve this problem.\n\nThe Office of War Information, for instance, is making available 16mm reduction prints (in sound) of its constantly increasing library of films made.\nTo inspire, instruct, and keep the people abreast of the War Effort in all its phases, these films are being made available for a service fee of fifty cents for the first subject on the program, and twenty-five cents for each additional subject.\n\nThese productions present visual evidence of what's going on in this country in this time of Total War. They show the increasing might of America's wartime production as the \u201carsenal of democracy.\u201d They show what the civilian can do \u2014 and also, in some cases, what he should not do.\n\nProfessionally made in every respect, the photography is by such men as Carl Pryer, A.S.C., Lt. Floyd Crosby, A.S.C. (probably America's outstanding photographer of documentaries), and by various outstanding studio cinematographers. The musical scoring is admirable, and the commentaries are written by.\nNotables such as Carl Sandburg, Eleanor Roosevelt, and others have read this series, which has also been read by professionals like Frederic March, Spencer Tracy, Katharine Hepburn, and Lt. James Stewart. The following series are available: \"Aluminum,\" \"Bomber,\" \"Building a Bomber,\" \"Building a Tank,\" \"Democracy in Action,\" \"Lake Carrier,\" \"Men and the Sea,\" \"Power for Defense,\" \"Ring of Steel,\" \"Safeguarding Military Information,\" and many others. In color is Walt Disney's epic \"The New Spirit,\" featuring Donald Duck making tax payment almost pleasurable. Five releases per month are planned for the future. In a similar manner, the Coordinator of Inter-American Affairs has released a series of pictures on the life of our Latin American neighbors below the Rio Grande. One to four reels in length, most of these subjects\n[ \"Our Neighbors Down the Road\", \"Bounteous Earth\", \"Patagonian Playground\", \"Sunday in the Valley of Mexico\", \"A Line from Yucatan\", \"Guatemala Sketch-book\", \"Americans All\"]\n\nFor many years, an important feature of The American Cinematographer\u2019s service to its readers has been the answering of technical queries.\n\n\"Our Neighbors Down the Road\" concerns the events and scenes of a motor trip through South America along the new Pan-American highway. \"Bounteous Earth\" records the festivities of Candlemas day in the ancient city of Cholula, Mexico. \"Patagonian Playground\"; \"Sunday in the Valley of Mexico\"; \"A Line from Yucatan\"; \"Guatemala Sketch-book\"; and \"Americans All\" are two-reel pictures showing intimate glimpses into the lives of those other Americans, our neighbors, who live in that vast and beautiful section of the earth which stretches from (Continued on Page 68)\n\nFebruary, 1943 \u2022 American Cinematographer\nQ: Recently I heard of an amateur who used a flexible cable between projector and recorder to lip-synchronize home movies. How is the camera connected with the recorder? \u2014 C. H. B., Chicago, Ill.\n\nA: According to John Leffler, Minneapolis movie maker, who devised the setup, only the Eastman 8mm Models 20, 25, and 60 cameras can be adapted successfully for simultaneous photographing and recording by this method. Leffler mounts a motor on the recorder to synchronize the sound and image.\nOn the camera with necessary gears and a flexible cable, which may be attached to most any recorder. To attach the motor, however, a slight alteration in the camera is necessary. Of course, the motor is readily detachable again.\n\nFRAME ENLARGING\n\nQ: I am an 8mm. fan, and some of my 16mm. friends tell me that they have had good success in enlarging their frames as \u201cstills\u201d for contact printing. Is an 8mm. movie frame enlarger available? \u2014 B. T., New York City.\n\nA: During 1941, the Craig Movie Supply Co. introduced a modification of their well-known \u201cProjecto-Editor\u201d film-viewer which permitted making enlargements from 8mm. frames. However, due to the war, only a limited number of these \u201cEnlargo-Editors\u201d were manufactured, and while some may yet be available, they are not easy to obtain. It is possible, though, to make 8mm. enlargements using alternative methods.\nEnlargements can be made with Eastman's 16mm. enlarger by masking off the part of the aperture not filled by the 8mm. film with opaque Scotch tape. Enlarged negatives can also be made by projecting the desired frame on a piece of cut film in a darkroom or in a pyramidal hood attached to the projector, and developing the copy negative in the usual manner. Exposure must be short, and focusing may be done on a white card of similar size before substituting the sensitized film. Our experience has been that the best results come from enlargements of fairly close shots, preferably Kodachrome, and using a film like Verichrome or Plenachrome for the enlarged negative.\n\nQuestion: I wish to get a camera that will permit me to lap-dissolve, fade, and double-expose. What do you suggest?\n- C. R., St. Mary's, Pa.\n\nAnswer: Only the more expensive cinematography cameras support lap-dissolve, fade, and double-exposure features.\nFits professional touches such as dissolves, fades, and multiple exposures. Some firms have specialized in rebuilding cheaper cameras to permit these effects. Even without these gadgets, lap-dissolves and double exposures are easy if you use a double-run 8mm camera. All that is necessary is to mark the starting-point of the first run accurately on the film and make an accurate record of the footage run off between that point and the point you start your dissolve or double-exposure. After making the first \"take\" of your dissolve or double, run the rest of the roll through the camera twice with the lens capped. This brings you back to the starting-point, after which (still with the lens capped) you can run off the necessary footage to bring you to the starting-point of the second \"take\" of the dissolve or double.\nAfter making that, finish the roll in the usual manner.\n8mm or 16mm?\n\nQuestion: Although I\u2019ve had the movie bug for some time, I\u2019m planning at last to buy a cinematography outfit. Shall I get 8mm or 16mm? \u2014 E.S., Billings, Mont.\n\nAnswer: The type of camera you get will depend on the amount you want to spend and the use to which it will be put. If you plan to shoot only for a personal record for home screening, the 8mm will do the job, but the 16mm will probably give you sharper pictures, thus permitting you to project them on larger-sized screens, and if you have the ability, to make some commercial use of your films. On the other hand, 8mm is cheaper to buy, and you can get nearly three times as much screen time in 8mm for the same money spent buying film. And as the Armed Forces are making constantly increasing use of 16mm.\nQ: How can I develop my own movies, specifically black-and-white ones, as 8mm. equipment is more readily obtainable?\n\nA: Assuming you mean black-and-white movies, sixteen millimeter negative film, and the positive film often used for titling in either 16mm. or 8mm., are developed like a still-camera negative. However, reversal film must be developed, \"flashed\" to reverse the image, and redeveloped. Many amateurs have proven this can be done at home, though until you've gained the necessary skill, the results are likely to be inferior to those obtained by sending your film to a regular Eastman or Agfa processing station.\n\nFull instructions, including a list of darkroom essentials, may be obtained from:\nThe methods and formulas recommended for Agfa's 35mm. Reversible Superpan, Dufaycolor, old Lumiere Autochrome, and Agfacolor color plates will work satisfactorily for reversing 16mm. film.\n\nQuestion: What speed would you suggest for taking movies at low altitudes from an airplane? - F. H., Duluth, Minn.\n\nAnswer: At several thousand feet altitude, normal 16 frames-per-second speed is sufficient. However, when below 1,000 feet, 32 frames will smooth out rough air and slow down fast-moving terrain. Ducks Unlimited observers report their best results filming waterfowl at 64 frames.\nframes while flying at 100 to 400 feet over duck-infested lakes. Much depends on the speed of the plane and the angle at which you shoot.\n\nQ: I have a passion for shooting color movies of parades. How should I vary my shots to prevent sameness throughout? \u2014 M. D., Los Angeles, Calif.\nA: Look for unusual angles. Try worm's eye and bird's eye views. Avoid head-on movies. Newsreel cameramen find that a fairly lofty camera position over the heads of the crowds and with the marchers coming diagonally into the camera gives a desirable effect. In filming a recent Ice Carnival, the St. Paul Amateur Movie Makers Club placed a high-walled empty furniture truck beside the line of march where lighting and shooting angle would enable members to photograph to best advantage without the usual crowd-jostling.\nYou can't do that these days. Try setting up on the protruding marquee of a theatre, hotel, or the like, so you can get above the crowd and fairly close to the edge of the sidewalk.\n\nQuestion: I have heard that some amateurs have successfully projected 8mm. movies to fill an 8x10 foot screen. Is this entirely satisfactory? - M. H. O., Starkville, Miss.\n\nAnswer: Two Minneapolis amateur movie clubs have already put on 8mm. shows in a theater-size auditorium, filling an 8x10 foot screen. Special equipment was used, however. An Eastman 8mm. Model 70A projector was fitted with a 750-watt lamp, with voltage boosted by transformers to 125 volts. A specially-shimmed Bell & Howell 1%-inch projection lens was used to give maximum brilliancy for the long throw. It is not advisable to use high-wattage lamps in some projectors, for damage to film or other reasons.\nAmong the Movie Clubs: Long Beach Installs\n\nAmerican Cinematographer \u2022 February, 1943, p. 63\n\nThe Long Beach Cinema Club held its annual Installation Banquet on January 6th, attracting over a hundred members. The Editor of THE AMERICAN CINEMATOGRAPHER hands the gavel to incoming President Claude Evans. From left to right: Treasurer A. W. Nash; President Claude Evans; Editor Stull; First Vice President Mildred Caldwell; Secretary Lorin Smith, and Second Vice President Pat Rafferty. Photos by Clifford Lothrop.\n\nHighlights of the January meeting of the 8-16 Movie Club of Philadelphia included a showing of James A. Sherlock\u2019s great film \u201cNation Builders,\u201d from the library of The American Cinematographer. Other highlights were a demonstration of the Club\u2019s new projector.\nThe system for rating films and a demonstration of how a film can gain or lose points based on the choice of a good or bad musical background. The meeting was planned and organized by Phil Oetzel and George Burnwood.\n\nFrank Heininger.\n\nSan Francisco Elects 1943 Officers\n\nThe January meeting of the Cinema Club of San Francisco was the first to be held under the guidance of the Club\u2019s 1943 officers, elected at the December meeting. They include Rudy Arfsten, President; L.M. Perrin, Vice-President; Adaline Meinert, Secretary; Jesse W. Richardson, Treasurer; and C.D. Hudson, D.L. Redfield, and F.C. Younberg as Directors.\n\nThe scheduled program included \u201cWedding at Stanford Chapel,\u201d an excellent 16mm. film by K.A. Meserole of the Peninsula Home Movie Club; \u201cIce Folies,\u201d filmed by Len Fogassy, the prominent skating instructor.\nThe January meeting of the Tri-City Cinema Club in Davenport, LA, and Rock Island and Moline, IL, featured a sneak preview of scenes by John Hoffman, a talk by Dr. James Dunn on \"What My Movie Camera Has Done For Me,\" and the projection of members' films including \"Animals and North Woods,\" a 400 ft. 16mm Kodachrome by Jacob Accola. All films shown before the Club's June meeting were announced as automatic entries in the Annual Contest, while later entries could be submitted by turning the film over to the Contest Committee.\n\nSecretary: Adaline Meinert.\nSpeaker: Willis F. Lathrop.\nColor Film in Philadelphia: In keeping with his reputation, this was to showcase ice skating technique and the comedy \"Careless Heiress,\" a work by Member Eric Unmack.\nRobert Crowther, producer of fine Kodachrome pictures, presented his latest film, \"Grand Manan,\" at the January meeting of the Philadelphia Cinema Club. The film appeared to lack the brilliant color of his previous works to the casual observer, but it accurately depicted the foggy atmosphere of Grand Manan and its sister islands in the Bay of Fundy. The complete story of the herring industry was captured by the energetic cinematographer, who sailed out into the bay at 4 a.m. and began filming as the fog lifted. The subsequent sequences showed fishermen laying their nets and bringing in a record catch, unloading it at the wharf, and the final smoking.\n\nMr. Robbins, a local Bell & Howell dealer's representative, offered helpful suggestions for indoor lighting. Two delightful films were contributed by Neil.\nMacMorris: \"Autumn,\" a beautiful picture taken in the Pocono Mountains, and a repeat showing of his colorful film, \"Bermuda.\"\n\"Boy Scout Camporee\" pictured an encampment of Boy Scouts in Fairmount Park. This was Adolph Pemsel's first effort in movie-making and shows promise of good pictures to come.\n\nFrancis M. Hirst.\n\nNew Officers In Indianapolis\n\nThe Indianapolis Amateur Movie Club held its annual election at the meeting of December 16th, and the results were as follows: G. A. Del Valle, President; A. J. Thomas, Vice-President; C. Watzel, Secretary; A. F. Kaufmann, Treasurer; and E. M. Culbertson, Corresponding Secretary. The installation of the new officers took place at the banquet on January 9th. The entire dining-room was scheduled to be lit to Super-X brilliancy to give any members who wished to take movies of the affair a chance to do so.\nThe Metropolitan Motion Picture Club's January meeting was planned as a party to honor Joseph J. Harley and Charles M. De Bevoise, the first- and second-place winners in the Club's Annual Contest. The event aimed to help the Club's thirty new members get to know each other and the old-timers. The screening featured \"Queens Is Ready,\" a dynamic portrayal of Air Raid Precautions in New York's largest borough, won by Member De Bevoise; \"How to Use Your Camera,\" from the Harmon Foundation; and \"Three Episodes,\" with which Wallace W. Ward won honors in a \"Photoplay Magazine\" contest.\n\nElmer M. Culbertson, Corresponding Secretary.\nThe January meeting of the Long Beach (Cal.) Cinema Club was the group's Annual Installation Banquet. In spite of a very bad cold, Honorary Member William Stull, A.S.C., Editor of The American Cinematographer, conducted the installation ceremonies. He presented the Presidential gavel to incoming President Claude Evans and introduced Presidents Mildred Caldwell and Pat Rafferty, Secretary Lorin Smith, and Treasurer A. W. Nash. He also announced the winner of the Club's Annual Contest and presented them with their Certificates of Award. In the 8mm. division, first prize went to Lorin Smith for \"Ceramics\"; second place to Mildred Caldwell for \"Behind the Scenes\"; and third prize to Earl Everley for \"A Trip to Dreamland\". In the 16mm. division, Pat Rafferty won first prize for \"Rebound Books with Brand-new Cover\".\nThe Club opened its January 20th meeting with the pledge of allegiance to the Flag and the singing of the National Anthem, accompanied by a sound picture with words and music. Mrs. Caldwell reported on the success of the showing of films to men in the service. President Evans, who is also Chief of the Fire Prevention Bureau, showed a film, \"Guardians of the Home,\" which pictured Long Beach in its infancy and fire equipment.\n\nFree Films for Movie Club Programs\n\nIn response to numerous requests from program chairmen and other officers of amateur movie clubs, we list below the films from the library of AMERICAN CINEMATOGRAPHER.\nAvailable for showings at meetings of recognized movie clubs in the United States are films from The American Cinematographer\u2019s International Amateur Movie Contests, which include duplicates of some prize-winning films and outstanding amateur films of all time. Winners of the Grand Prize are marked with an asterisk. Except where specifically designated as color, the films are in black-and-white from black and-white originals. Musical scores from phonograph records have been arranged for some films, and upon request, a listing of these records will be sent along with the films as a guide for clubs using this method of musical scoring. If the request is made sufficiently in advance, an analysis of the films will also be sent as a guide to study the factors which made each film outstanding.\nThese films are available to all recognized amateur movie clubs within the continental U.S.A., at no charge other than transportation from and to Hollywood by express or parcel post. The request for bookings should be made by the program chairman, president, secretary, or other responsible officer of the club. Due to the unavoidable delays in wartime transportation, such requests should reach us at least three weeks before the meeting at which the film is to be shown. It is advisable to give an alternate choice in case one or all of the requested films have been previously booked elsewhere or delayed in transit from another booking.\n\n- \"Red Cloud Lives Again\"\n- \"New Horizon\"\n- \"Cattle Country\"\n- \"Tarzan, Jr.\"\n- \"Prize Winner\"\n- \"Ritual of the Dead\"\n- \"Little Sherlock\"\n- \"Solar Pelexus\"\n- \"Nite Life\"\n- \"I\u2019d Be Delighted\"\n- \"The White North\"\n- \"Chronicle\"\n\nScenario Films (1 reel)\n(1 reel, \"Covered Wagon\" type Western with excellently-handled heavy drama of farm life, simple love-story in Western setting, movie-within-a-movie in a boy\u2019s camp, well-handled homespun comedy, horror melodrama with excellent acting and makeup, amusing melodrama in a movie-maker's home, H.G. Wellsian fantasy-satire on a mythical planet filmed largely in miniature, insomnia and a nightmare with trick photography, story of a polite seduction told in close-ups of hands and feet in sophisticated style, snow-country melodrama with excellent sets and acting, indifferent photography, biography of a boy from cradle to prison told in close-ups of hands and feet)\n\n\"Rice\"\n\"Beyond Manila\"\n\"To the Ships of Sydney\"\n\"Chicago, Vacation Center of the Nation\"\n\nTravel Films (16mm.)\n(Three reels, color)\n(Three reels, color) - This line is repeated, remove one of them.\n(One reel, color) - Life-story of a Korean peasant.\n(Little-known parts of Philippine Islands.)\n(Poetic presentation of harbor of Sydney, Australia in form of a ship-lover\u2019s will.)\n(One reel, color)\n- \"Nation Builders\"\n- \"Doomsday\"\n- \"In the Beginning\"\n\"Garden Life\"\nDOCUMENTARY FILMS (16mm.)\n(Three reels) - One of the greatest amateur films made; comprises entire history of Australia.\n(One reel) - Impressionistic film based on old superstition connecting solar eclipse with end of world.\n(Two reels) - Reverent account of creation, with titles from Genesis.\n(One reel, color) - Unusual film, in stop-motion, showing flowers actually growing.\n\"Early Summer\"\n\"Tender Friendship\"\n\"Vanishing Autumn\"\n\"Lullaby\"\n\"Mt. Zao\"\n\"The Brook\"\n\"Moods of Nature\"\n\"Happy Day\"\n\"Another Happy Day\"\n\"Life\"\n\"Mischief\"\n\"Two Kids and a Pup\"\n\"Santa Visits Elaine\"\n\"Jello Again\"\n\"200-inch Telescope\"\n[Four pictures made by Tatsuichi Okamoto of Japan. All have finest photography by an amateur, depicting Japanese life and thought. Extremely spectacular film of skiing in Japan. Pleasant scenic of Australian countryside, titled from Tennyson\u2019s poem. First film made by English documentary film maker Paul Burnford, A.R.P.S.\n\n16mm reel.\n16mm reel.\n16mm reel.\n16mm reel.\n8mm reel.\n16mm, color reel.\n\nEnglish child's holiday at seaside.\nEnglish child's Christmas.\n\"Barefoot Boy\" reminiscences of \"Life \u2014 As You Remember It.\"\nAmusing film of family pets \u2014 a cat, a Scottie, and a tame sparrow.\nSimple story of two children and their pet.\nVery clever Christmas film, with Santa Claus\u2019 visit highlighted by trick photography.\n\nMiscellaneous]\n(i/2reei, 16mm color) (Novelty, animated-cartoon made with Jello boxes.) (1 reel, \u2019l6mm.) (Casting of the 200-inch telescope mirror, filmed by a Corning Engineer.)\nAmerican Cinematographer \u2022 February, 1943, p. 65\nMovie Clubs\n(Continued from Page 64)\nThe film was presented with narration and musical background. A 16mm color-film on the launching of a Harbor Dept fire-boat was also shown. \"Sport Spellbinders,\" a fast-moving sound picture with action shots of various sports, was shown by Clarence Aldrich. Lorin Smith\u2019s \u201cYachting\u201d was also enjoyed.\nLA NELLE FOSHOLDT, Publicity.\n\nPatriotic Films in Chicago\nThe January 7th meeting of the Chicago Cinema Club featured two patriotic films made by members. \"Keep It Flying\" by Member Allen proved a fine Kodachrome subject any filmer could make from his miscellaneous shots.\nI. Vise's \"Victory Gardens\" in Kodachrome depicted his wife's hard-fought victory in her Victory Garden. Barbara Hubbard. Photography of the Month. Purchased for release by United Artists. The print we saw suggested that the camerawork and negative processing had been planned to align with Paramount laboratory's printing standards, but this coordination had been disrupted by printing in another laboratory.\n\nThe Glass Key\nParamount Production.\nDirector of Photography: Theodor Sparkuhl, A.S.C.\n\n\"The Glass Key\" is one of the best pieces of work we've seen from Theodor Sparkuhl, A.S.C., in some time. A melodrama, he photographed it in the crisp, modern manner, making significant use of the current increased-depth technique.\nThe technique seemed effective from both pictorial and dramatic viewpoints, despite it appearing that he carried his effect-lightings a bit too far in some sequences. His treatment of male players was excellent, providing opportunities to present them in virile and pictorially striking character-lightings. His treatment of Veronica Lake was uneven; it was excellent in some sequences, but could have been improved in others. In those scenes, both he and the player were not helped by the costumer, particularly regarding the hat Miss Lake was forced to wear.\n\nAdditional provision for rigidity is necessary for first-class results with telephotos, up to twelve or fifteen inches in power.\nA simple angle bracket, as illustrated to the left, functions as an auxiliary brace for a lens. One end screws rigidly to the lens and supports most of its weight, while the other end locks between the camera and the tripod head. For more powerful telephotos, especially when using a lightweight camera like the magazine-type Bell & Howell with a 20-inch lens, as shown in the right-hand picture, it's beneficial to mount the lens firmly on the tripod and then hang the camera onto the lens. For even more powerful telephotos, a mounting similar to the one shown in the middle picture is preferable. In this setup, a Vinten 35mm. camera is fitted to an /:8 Dallmeyer \u201cDallon\u201d telephoto of 40-inch focal length. In this arrangement, a long, extending mechanism is used.\nA tra-rigid mount, resembling a small lathe-bed, is fitted to the tripod. The lens is rigidly supported at one end of the mount, and the camera is at the other, with a light-tight tube in between. Personally, I prefer a small bellows like that on a still-camera instead of a tube for an extreme telephoto mount.\n\nFocusing and aligning telephoto shots present some more intriguing problems. With the ordinary one and two-inch lenses, which are considered normal for 16mm and 35mm work, at the distances typically encountered in telephoto work, and at the stops usually used for exteriors, we can be fairly safe, in a pinch, in setting the lens at infinity or better yet, at its hyperfocal distance, and shooting, with reasonable assurance that practically everything in the field will be adequately sharp.\nBut as the focal length increases, this depth of field decreases and decreases sharply. If you set a 25mm lens at 15 feet and stop down to f/8, everything from 4 feet to infinity will be acceptably sharp. With a 50mm lens set at 20 feet, everything from 9 feet to infinity will be adequately focused at f/8. But with a 6-inch lens at the same stop and focused at the hyperfocal distance (182 feet), the depth of focus has dropped off until your zone of acceptable sharp focus extends only from 90 feet to infinity. With a 10-inch lens focused at infinity and stopped down to f/8, anything nearer than 520 feet from the camera will be badly out of focus. Thus while with the lower-powered telephoto lenses you can work quite well by simply using the calibrated focusing scale on the lens-mount, for the higher-powered lenses, you will need to use the hyperfocal distance to ensure adequate depth of field.\nFor higher-powered telephotos, you'll require more accurate focusing methods. If your lens is calibrated accurately in the higher ranges, you can sometimes solve this problem with an optical rangefinder, provided it is calibrated to read accurately for telephoto distances. In at least one case, a cinematographer successfully built a Leica rangefinder into the finder of his Eyemo and interlocked it with the focusing of a 12-inch telephoto using gears and cams. However, your safest bet is to follow the professional method of focusing visually on a ground glass focusing screen, preferably through a magnifying eyepiece. With a 16mm camera like the Cine-Special or magazine-type cameras where you can replace the magazine with a ground glass focusing attachment, this is easy. For other cameras.\nUsing a reflex-type focusing device is a good idea for long-focus lenses. Insert this device in the long tube between the telephoto lens and the camera, like those sold for use with 35mm miniature cameras. A device like this will be helpful for framing stationary shots. However, if the subject is likely to be moving, you'll need an accurate finder to follow the action. I wouldn't advise masking down an ordinary finder for this purpose because while you may be able to mask it quite accurately, you'll end up having such a small finder image that it is very difficult to follow accurately, especially on fast-moving action. Your best bet is to use a positive type finder like those on Bell & Howell cameras, with finder lenses so matched to the telephoto lens that they cover the same field.\nA good view and still provide a large image. Sometimes, a surveyor\u2019s transit can be adapted for this purpose. An absolute essential to good telephoto camera work is a really good lens shade. Nine times out of ten, the one that comes already fitted to the lens is not nearly enough. Any lens shade should be just as narrow and as deep as possible, consistent with keeping it from cutting into the lens\u2019 field. This is especially necessary in the case of telephoto lenses. Most of them have front elements which are much larger than the front glasses of much faster ordinary lenses. These big glass surfaces \u2013 unless fully shaded \u2013 tend to pick up and reflect stray light-rays from outside the picture-area and kick them back into the picture in the form of scattered light which produces an effect on the image.\nThe reason why most telephoto scenes are flatter than scenes made under identical circumstances with ordinary lenses is because of the picture's resemblance to fog. An adequately deep lens-shade goes a long way in improving telephoto shots. Atmospheric conditions can cause trouble when shooting with a telephoto lens, especially in black-and-white. Ordinary aerial haze can be cut through with a filter, but the ripply effect caused by heat waves shimmering from the ground on hot days cannot. Back in the days when we all took vacations by motor, you may have noticed that the distant pavement seemed covered with water on hot days. This isn't just an optical illusion; it is caused by the road's heat waves. (February, 1943 \u2022 American Cinematographer) RELAX!\nMillions of people can relax under the magic of entertainment provided by MOTION PICTURES. The producer, exhibitors, and cinematographer can do so with the secure knowledge that it's the best in photography, recording, and prints. When the film is Eastman, distributed by J. E. Brulatour, Inc. - DISTRIBUTORS - the heat waves reflecting up from the hot ground actually move the air in the physically literal sense. You can sometimes see the same thing above a hot stove. Of course, it photographs, giving a good deal of the same effect as a diffusing screen would. Making pictures in Africa some years ago, I noticed this was particularly troublesome when we had to make telephoto shots with the camera comparatively close to the ground. If the camera was higher, shooting from a hill over open land.\nAs I've mentioned, heat-waves cause fewer problems when escaping or even resting on a tree or parallel surface. You can penetrate ordinary atmospheric haze with filters. In black-and-white photography, I suggest using the Aero filters, designed for this purpose. Heavier filters like the Cl and various red ones offer increased haze penetration and contrast, but at the cost of over-correction and distorted tonal rendering of color values. If you want telephoto scenes to intercut smoothly with normal shots or provide a strictly normal black-and-white color representation, avoid filters except for the Aeros.\n\nIn Kodachrome photography, rulebooks recommend using the so-called \"haze filter\" for penetrating haze in distant landscape shots. However, my personal preference is for the Pola-screen, which cuts through ordinary haze more effectively.\nAerial haze just as well, if not better, since much of this haze is merely scattered or polarized light. The polar screen doesn\u2019t change the color-rendition as the haze filter often does. Remember to keep your exposure correct and your lens clean, and you\u2019ll have a good start on the way to mastery of telephoto camera work.\n\nFilms for War Effort (Continued from Page 62)\n\nThe Rio Grande down to the Straits of Magellan.\n\nShowings of pictures like these, whether to Service or civilian audiences, provides entertainment \u2013 and a great deal more, for they will help foster the understanding which is needed to cement the growing friendship of the peoples of the two Americas, who really have so much in common, in spite of the differences in language and superficial customs.\n\nTo facilitate the distribution of these films\nPictures, Bell & Howell\u2019s Filmosound Library and other organizations throughout the country are swinging into action with their well-established 16mm. film distribution systems. In addition, most of these libraries have available 16mm. prints of outstanding British, Canadian and other War Films which show the War Effort on both the fighting and the home fronts. And 16mm. prints of the latest newsreels from all the war fronts throughout the globe are constantly being rushed into readiness to bring to the 16mm. audience the current aspects of the common struggle.\n\nYes, the motion picture has more than lived up to the expectations of those who hoped the most for it. And the amateur, with his camera and with his projector, is doing his part in making the motion picture's War Effort a truly vital part of this world-wide effort.\nwar for freedom. Prison Camp (Continued from Page 51) should be suggestive of one of America\u2019s favorite movie comedians; it leads us too much to underrate him. Unbalanced he may be in the psychiatrist\u2019s sense of the term, and undoubtedly funny-looking from the American viewpoint: but that shouldn\u2019t keep us from realizing that he is a very dangerous opponent, who will demand every bit of our own strength, force and intelligence to defeat.\n\nAfter this, I was one of the official news-camera crews assigned to cover first the Czechoslovak \u201cincident,\u201d and later the opening of the war in Poland. Though we were photographing military operations in the field, we worked as civilians; it was only later \u2014 after the Polish campaign \u2014 that the Nazi news cameramen became soldiers.\n\nInterestingly enough, for our work in the field we used largely American cameras.\nequipment \u2014 Taken over from various newsreels, and occasionally a DeVry. The Germans had developed some types of hand-held movie cameras, which, on paper at least, were excellent. However, they seemed to prefer the ruggedness and dependability of American cameras for their field work.\n\nIt was during the start of the Polish campaign that Nazi officials discovered I was an American. And let me assure you, Americans \u2014 particularly cameramen \u2014 were most decidedly not wanted as witnesses to what the Wehrmacht was doing. I was summoned to Berlin immediately. A year or so later, I have no doubt that even though I was an American, and presumably neutral, I would simply have disappeared into a concentration camp. As it was, I was given the choice of going to a concentration camp or getting out of Germany within eight hours.\nI left gladly and quickly. It gave me an excellent opportunity of doing something I'd wanted to do - but couldn't for some time.\n\nTraveling the usual roundabout route of the wartime refugee, I finally got back to Paris. There I began to try to find some way of doing my part in the war. As I've said, I had already seen enough in Czechoslovakia and Poland to make me want to even things up with the Nazis. I tried to enlist in the French Army. But no, I was an American, and that might cause international complications. Then I tried the Foreign Legion. Being an American was no bar there, but I found I would have to enlist for something like ten years, and once in, there was no guarantee I'd be sent against the Germans; much more probably, they said, I'd be sent off to North Africa, or Syria, or even to French Indochina for garrison duty.\nI. Duty. Somehow, keeping the Arabs or the Annamites in order didn\u2019t appeal. I learned that a Franco-American Ambulance Corps was being organized. Driving an ambulance is technically non-combatant work, and as such was a proper occupation for a citizen of then-neutral America. I'd be up at the front where the Nazis were, and, well \u2014 after all, one never knows what opportunities Lady Luck may bring. I enlisted as an ambulance-driver and went off to the front at the wheel of a nice, new Dodge ambulance.\n\nThe first several months of the war were called the \"Bore War,\" as France sat in supposed security behind her Maginot line, and the Germans mopped up unfinished business in the East. But there were skirmishes \u2014 little, unimportant actions that rated no more than a curt line or two in the newspapers.\nNewspapers reported only minor skirmishes. However, these provided work for the ambulance drivers. The job may have been technically non-combatant, but it was not easy or safe, especially with Nazis on the other side. Our first task when moving into a new sector was to learn the road between the front-line dressing stations where we picked up our wounded, and the field hospital where we turned them over to the doctors. We had to know the road both horizontally and vertically. Although the war was at that time in a fairly quiet stage, the road would be under shellfire from the German lines. We had to learn just where the shell-holes were and keep up with each day's new crop.\n\nWe did most of our actual work at night. The darker it was, the better for our purposes. We would load up our wounded, head the ambulance along the road.\nthe road and drive like Hell without headlights. If we showed a light, the Nazis were almost certain to shell us. Even if their sound-detectors picked up too much of the noise of our motors, they'd shell us on general principles. In some sectors, the roads were so close to the front lines that when they heard or saw us, the Nazis would turn their searchlights on us. In that glare of light, the big red crosses on the ambulances stood out prominently, and made a perfect target. In a case like that, all you could do would be to shove the accelerator to the floor and make the best speed you could, through and around the shell-holes, praying fervently that you'd manage to avoid getting in the way of a shell or piling up in an unseen shell-hole . . . and that the poor devils who were riding with you would get through alive.\nThe Three-Dimensional Meter that accurately measures all the light falling on the subject. (Incident-light reading)\n\nIn Military and Civilian Service with:\nU.S. Army Signal Corps Photographic Center, Astoria, L.I.\nSignal Corps Laboratory, Fort Monmouth, N.J.\nArmy Air Force, Wright Field, Ohio\nThe Engineer Board, Fort Belvoir, Va.\nM-G-M\nJohn Arnold, A.S.C.\nNorbert Brodine, A.S.C.\nMaximilian Fabian, A.S.C.\nGeorge Folsey, A.S.C.\nKarl Freund, A.S.C.\nCedric Gibbons\n\nAmerican Cinematographer \u2022 February, 1943\n\nNATIONAL CARBON COMPANY, INC.\nUnit of Union Carbide and Carbon Corporation\nDIO\nCarbon Sales Division, Cleveland, Ohio\nGENERAL OFFICES\n30 East 42nd Street, New York, N.Y.\nBRANCH SALES OFFICES\nNew York, Pittsburgh, Chicago, St. Louis, San Francisco\nFQPVICTORY\n\nR4\u00ae RWQ\u00ae Meter\n\nDespite the rough ride you had to endure in February, 1943, American Cinematographer\n\nNational Carbon Company, Inc.\nUnit of Union Carbide and Carbon Corporation\nDIO\nCarbon Sales Division, Cleveland, Ohio\nGeneral Offices\n30 East 42nd Street, New York, N.Y.\nBranch Sales Offices\nNew York, Pittsburgh, Chicago, St. Louis, San Francisco\nFQPVICTORY\n\nAmerican Cinematographer \u2022 February, 1943\n\nThe Three-Dimensional Meter that accurately measures all the incident light falling on the subject.\n\nIn Military and Civilian Service with:\n- U.S. Army Signal Corps Photographic Center, Astoria, L.I.\n- Signal Corps Laboratory, Fort Monmouth, N.J.\n- Army Air Force, Wright Field, Ohio\n- The Engineer Board, Fort Belvoir, Va.\n- M-G-M\n\nJohn Arnold, A.S.C.\nNorbert Brodine, A.S.C.\nMaximilian Fabian, A.S.C.\nGeorge Folsey, A.S.C.\nKarl Freund, A.S.C.\nCedric Gibbons\nCharles Lawton, Jr., A.S.C.\nWalter Lundin, A.S.C.\nHarold Marzorati, A.S.C.\nRobert Planck, A.S.C.\nJackson J. Rose, A.S.C.\nHarold Rosson, A.S.C.\nJoseph Ruttenberg, A.S.C.\nJack Smith, A.S.C.\nLeonard Smith, A.S.C.\nHarry Stradling, A.S.C.\nPaul C. Vogel, A.S.C.\nSidney Wagner, A.S.C.\nParamount Studio\nStandard Equipment (15 meters)\nU.S. Navy\nPhotographic Science Laboratory, Anacostia, Va.\nLt. Philip M. Chancellor, A.S.C., USNR\nLt. Floyd Crosby, A.S.C., USAAF\nLt. Jack Greenhalgh, A.S.C., USAAF\nColumbia Studio\nJoseph Walker, A.S.C.\n20th Century-Fox Studio\nAlvin Wyckoff, A.S.C.\nJohn Dored, A.S.C. (Paramount News, Brazil)\nGus Peterson, A.S.C.\nJames B. Shackleford, A.S.C.\nAetna Life Insurance Co.\nArmour Institute of Technology\nChilefilm, S.A., Chile\nConsolidated Film Laboratory\nInternational Variety and Theatre Agency of South Africa\nNorwegian Information Bureau\nUniversity of Wyoming\nF. S. Yenowine and Many others gave them. Later, as the Germans began their blitz against France, and the action became more fluid, we drove our ambulances day and night. Daytimes, German aviators made it a particularly difficult job. The big, red crosses on the tops of our trucks must have made unusually inviting targets to the Nazi pilots. Any time there was a stray Jerry in the air, you could expect almost any time to hear the unmistakable \"brrp-brrp-brrp\" of a BMW engine, followed by the rattle of his machine-guns as he strafed you, and maybe bombed you as well, if he had any bombs to spare. If you could, you'd stop and try to get your wounded passengers and yourself out and under the truck, where you had at least some protection. Some times you could do it. At other times \u2013 especially if your passengers were severely injured \u2013 it was impossible.\nI've badly been wounded and unable to get out, so I kept going as best I could, hoping. I've often seen ambulances come limping in, riddled with machine-gun slugs, and with a cargo of dead men. Sometimes you just found the ambulance standing in the road or lying in the ditch, its passengers and driver both dead. And it didn't seem to matter to the heroes of the Luftwaffe that often enough the wounded men in the ambulance might be Nazis as well as Poilus or Tommies. ... I guess any unresisting target was fair game to the supermen from beyond the Rhine. And then came the beginning of the end, when the Nazis broke through at Sedan. For us, there began what seemed a nightmare that would never end: retreat, retreat, retreat \u2013 each day amid greater confusion and a dull, gnawing spirit of hopelessness. Finally, I found my unit cut off from the rest.\nI was a Sub-Lieutenant in charge of twenty-five ambulances and their crews, serving an army heading towards Bordeaux. I wanted to get them there before the Germans arrived. We weren't far from our goal when we ran low on gas. We stopped to assess our situation. Together, we had enough fuel for one ambulance to continue to a city where we could obtain the necessary fuel. So, we drained the remaining fuel into the tank of one ambulance, and the rest crowded into it to press on. I stayed behind to guard the other trucks. I never saw any of those boys again. They likely encountered the Germans, who were in front of us as well as behind us.\non both sides of us. But in due time I saw the Germans and found myself a prisoner. So back to Paris I went, as a prisoner of the Nazis. Since I wore the uniform of a French officer, I was at first lodged in one of the city's criminal prisons. That wasn't too bad. Most of us military prisoners still had comparative luxury.\n\nFebruary, 1943 \u2022 American Cinematographer\n\nThis X-ray picture in minute detail shows Army physicians that his lungs are sound \u2014 free from tuberculous infection. It was made on Kodak X-ray Film in \"the greatest tuberculosis hunt of all time.\u201d\n\nRejected . . . serious tuberculous infection. Not only is a man unfit to fight kept out of the Army \u2014 for the first time, perhaps, he learns.\nYoung Americans undergoing military service are radiographed using X-ray film to detect tuberculosis, ensuring the armed forces remain tuberculosis-free. Army physicians' vigilance in this regard benefits not only the military but also civilians, as timely detection and treatment can cure tuberculosis, which often shows no symptoms without a radiograph. This practice represents a significant contribution since the introduction of flexible X-ray film by Kodak.\nTo replace cumbersome plates, in 1914. It prophesies the not-too-distant time when X-ray will make possible the examination of all our people \u2014 hundreds of thousands of industrial employees have been examined, as a matter of routine, for years. A good deal has been accomplished. X-ray pictures have already been a major factor in beating tuberculosis down from first place to seventh, as a hazard of life. Eastman Kodak Company, Rochester, NY. Serving human progress through Photography. American Cinematographer \u2022 February, 1943\n\nHad some of the money we had had with us before our capture\u2014 but we weren\u2019t allowed to buy anything with it. The French criminals, who remained in the prison with us, had the privilege of buying things through friends on the outside \u2014 but no money to do it with. The obvious solution was quickly reached; the French jailbirds bought us equipment using the money.\nWhat we wanted \u2014 with our money, of course \u2014 and saw to it that their own wants were taken care of as well. They were quite honest about it; I don't think they charged any of us more than three or four times the actual cost of our purchases. After all, one expects to pay more under such conditions for the little luxuries of life. But this comparative idyll was soon spoiled. The Nazis again discovered that I was an American. Obviously, then, I had no place among these French prisoners. So I was transferred to a prison-camp for English officers. The less said about this, the better. The Germans, you know, have no love for the English, and in this prison they made use of every opportunity to prove it. The winter of 1940-41 was one of the coldest in many years. Our sleeping quarters were well ventilated.\nBeds consisted of bare wooden benches. Such luxuries as blankets, pillows, and heating were much too good to be lavished on Englishmen. We slept uncovered on the bare benches and liked it. By way of food, our captors would bring us a bowl of colorless, lukewarm liquid. If it had a few potato peelings floating around in it, we knew it was supposed to be soup. If it had an occasional shred of meat of questionable antecedents in it, we understood it was supposed to be stew. It tasted the same either way and contained just as little nourishment. I don't know how we would have survived if the French villagers hadn't occasionally managed to smuggle us a few crusts now and then from their own all too scanty store. Eventually, through the efforts of the American Consulate and others, I found\nI myself returned in Paris, a free man. There's no room here to recount my battles with Vichy-French bureaucrats who obviously considered that although I might have been good enough to bleed and die for France, I most certainly wasn't good enough to obtain a ration card without which no one in France could eat or clothe themselves. But I eventually managed to make my way out of France and back to Free America. . . . I'll never forget what a sight the Statue of Liberty was as the ship steamed up the harbor towards New York's skyline.\n\nSince then, I've had to spend a good deal of my time building myself up. Before that prison camp episode, I wasn't such a bad physical specimen. Today, you'd probably take one look at me and mentally classify me as the perfect \"4-F.\" I'm not surprised that the Army doctors turned me down half-a-dozen times when I tried to enlist.\nlist: malnutrition and lack of vitamins do that to you. But finally, I managed to make the grade for enlistment in the Enlisted Reserve of the Signal Corps.\n\nThis last fall I passed through the training-school the A.S.C. and the Academy have been conducting for Signal Corps cinematographers. My past experience had given me a good deal of practical preparation for the job, but I found that men like John Arnold, A.S.C., and his staff could teach me a great deal which will make me a much better combat cameraman for Uncle Sam than ever I was for UFA.\n\nAnd now I\u2019m waiting my call to active duty as a U.S. Army cameraman. I don\u2019t know what sort of job it will be, or where: but I hope it will take me up to one of the fronts across which I\u2019ll again face the Nazis. If it does \u2014 well, an Army cameraman is a soldier first and a cameraman in consequence.\nHere we seemed quite alone \u2013 in the resort country with the high Presidential Range climbing into the sky. Untouched forests and grand mountain views greeted us on every hand as the miles rolled behind. Usually, at 11 a.m., it became necessary to stop for Douglas\u2019s nap. If we neglected to do so, very soon he would fall asleep in his seat! So, time out for rest for all, or to wander nearby \u2013 often to make movies.\n\nOff again, we entered the Franconia Notch Region not far from Bette Davis\u2019s Sugar Hill home, wound around mountain-held Echo Lake down to Indian Pond.\nWe headed to enjoy the comforts of cottages by a lake and stream. One day we pedaled only 11 miles, another 22. Our record day of 51 miles was accomplished in a little less than 12 hours. Another adventure came while hiking a long up-grade. A trucker engaged in hauling pulp logs asked us if we'd like a lift.\n\nWe accepted. So onto the empty truck we piled, bikes and all. You probably realize how well mountain folks know their own country. I need not mention that we slipped around some corners, rose off the \"deck\" often when rough spots rolled under the heavy dual wheels, and arrived at a junction in less than a half-hour, having 15 miles to our credit! We managed to thank our host but we did not feel fully gathered together for some time after his truck had rumbled out of sight!\n\nTurning off onto a spruce and balsam forest.\nlined road we filmed shots of ourselves pedaling along. After a bit of practice, it is not so difficult to take a scene or two from your bike, one-handed, of the rest of the party as you catch up or ride next to them.\n\nNO \"DIM-OUT\u2019' IN NEW YORK- \nIF YOU require Lighting Equipment\n\nAs sole distributors East of the Mississippi we carry the full and complete line of latest-type Inkie and H.I.-Arc equipment manufactured by Mole-Richardson, Inc. Hollywood - California\n\nYour requirements for interior or exterior locations taken care of to the last minute detail anywhere\n\nMOTOR GENERATOR TRUCKS RENTALS SALES SERVICE\nCHARLES ROSS, Inc.\n333 West 52nd St., New York, NY. Phones: Circle 6-5470-1\n\nFebruary 72, 1943 \u2022 American Cinematographer\n\nScenes of our sojourn on Lake Winnepesaukee and Winnisquam took us from wheels to boating, bathing and fun in the sun.\nIn two weeks, we rode 210 miles on bikes and 400 miles by train, bringing back a film record that keeps alive our summer of 1942 for the duration, and long years after. We discovered something we're sure many other filming cyclists will also learn as time goes on: when you tour the country in leisurely bicycle fashion, you really see more of the country than you do when you whiz through by motor at the usual pre-war touring speeds. You find yourself taking better advantage of picturemaking opportunities, too, for things you'd never notice (at least not enough to make you stop the car) when driving through at fifty or sixty per become much more evident when you approach them at bicycling speed\u2014especially as they offer an inducement to stop pedaling for a moment while you make pictures!\nA four-to-one reduction lens, mounted in a microscope adjustment rack, was placed between the slit and the sound roller. The recording lamp was mounted in a lamphouse fitted with suitable condensing lenses and placed at the back of the recording unit. A ruby pilot-light was mounted at the left-hand side of the box to indicate whether or not the recording light is working. To ensure constant speed, a sound-camera must be motor-driven. In houses, and in most industrial plants and offices, the regular 110-Volt alternating current from the city power lines is usually available, so a motor-driven sound-camera is used.\nA standard 110-Volt synchronous motor is generally used. However, making exteriors \"on location,\" this 110-Volt A.C. is not always available. Thus, a second motor, operated by direct current, was also provided. It is interchangeable with the A.C. motor. To get constant speed from this D.C. motor, a speed-control was mounted on one end of the shaft.\n\nOn location where 110-Volt power is not available, the D.C. motor is quickly put into place, and then two 12-Volt batteries supply all the power necessary to operate the camera, amplifier and exciter-light. A 6-Volt converter supplies the 110-Volt current necessary to operate the amplifier.\n\nAs will be seen from the illustrations, a belt-drive transmission is used to convey the drive from the motor to the camera. The motor is belted to a pulley on the side of the sound housing. From the motor, the drive is transmitted to the camera through a series of pulleys and belts.\nA second belt runs upward to a large pulley equipped with a flywheel and fastened to the camera's hand-crank shaft by a bracket that attaches to the screw sockets originally provided for auxiliary gearboxes, motor-drive unit, etc., on the Model A. From this point, a third belt extends upward to drive the take-up on the external, 300-foot magazines fitted to the top of the camera. The entire outfit \u2014 camera (including the recording assembly beneath it), motor, and all \u2014 are mounted on a rigid steel plate base which in turn is attached to the tripod. The tripod itself was constructed along professional lines and is as large and rigid as for a 35mm outfit. In order to give a solid support to the weight of the camera (60 lbs.) and to ensure steady panning, a heavy thrust bearing is used in the tripod-head.\nThis outfit lacks the streamlined professional finish of commercially marketed 16mm sound-camera outfits. With its various externally mounted gadgets, it has rather the look of some of the very early, more experimental 35mm single-system sound cameras. But even though a choosy industrial designer might find fault with its \"home-made\" appearance, it works\u2014successfully. We proved this in the making of a full feature-length Western picture in Kodachrome, with lip-synchronized dialog, sound-effects, and musical background. After all, audiences don't judge a picture by the appearance of the equipment that made it, but by the quality of the picture they see on the screen and the sound they hear from the loudspeakers. And when, as in this case, you can add to successful performance the pleasure of having planned and constructed it yourself.\n48 Years of Home Movies (Continued)\nBut they had the three essentials for home movies: the safety of acetate-base film, the economy of narrow-gauge film, and the reversal process. And they had the simplicity of almost foolproof design and spring-powered operation.\nAt the same time in France, another home movie standard was born, which also incorporated these essentials. This was the 9.5mm. \"Pathex\" system introduced by Pathe. This system also used reversal film, but of 9.5mm. width, and single-perforated, with the single perforation in the center of the film between frames, much like that of the earlier 17.5 M>mm. \"Biokam\" [Figure 4].\nDue to the still narrower width of the 9.5mm. film, the \"Pathex\" system was more efficient.\nThe 9.5mm. frame is even more economical than 16mm., yet slightly smaller due to the center perforation principle. This standard was introduced around the same time as 16mm. in this country, but its popularity here was limited due to the American Pathex organization's inability to provide adequate repairs or film supplies. In contrast, it has become extremely popular abroad, particularly in Europe, as well as in most other foreign regions including Asia, Africa, and Australia. A survey conducted in England two years ago revealed that there were more 9.5mm. outfits in use there than the combined totals of 16mm. and 8mm. equipments. It may surprise some American readers to know that European users of \"nine-five\" have for direct 16 MM film.\nSOUND USED BY: Douglas Aircraft, General Elec. (Welding Series), Boeing Aircraft, North American Aviation, U.S. Dept. of Interior, U.S. Dept. of Agriculture, Santa Fe Railroad, Washington State Apple Commission, Standard Oil of Calif., Salvation Army, and Many Others\n\nA BETTER JOB FASTER- MORE ECONOMICAL!\n\nTELEFILM INCORPORATED\n6039 Hollywood Blvd., Hollywood, CA\nGL adstone 5748\n\nAmerican Cinematographer \u2022 February, 1943, p. 73\n\nFor several years, color in the form of 9.5mm. Dufaycolor and sound-on-film have been available to them. The 17V2mm. standard has not died out either. You will remember that when the Pathe organization launched their \u201cPa the scope\u201d 28mm. standard, they were influenced by a policy of establishing a standard exclusively their own and one which would not only provide an outlet for their own films but also would compete with other film formats.\nPrevent the use of any films on their equipment except for Pathe films. As they saw the dawning possibilities of 16mm for educational use, Pathe executives dragged the old split-35 standard of 1714mm from its grave and established a system known as the \"Pathe Rural.\" This is strictly a matter of making projectors, and as far as we know, no 1714mm cameras have been marketed commercially for more than twenty years. Pathe successfully provided both educational and entertainment films for these projectors from their libraries.\n\nLenses for Today and the Future\nB&H-THC Cine Lenses are not merely ideally corrected for today's monochrome and color work; their design anticipates the possibility of future improvements in film emulsions. Thus, they are long-term investments. Write for details. Buy War Bonds. Bell & Howell Company. Exclusive world distributors.\n1848 Larchmont Avenue, Chicago: 30 Rockefeller Plaza, New York. 716 N. La Brea Ave., Hollywood. 13-14 Great Castle St., London. The notion has been propagated, at least on the home front, that the 1714mm. \"Pathe Rural\" is the standard of the French educational system, and Pathe, of course, holds a near monopoly on supplying both films and equipment. Consequently, since the emergence of 16mm. sound-on-film projectors and films twenty years ago, another amateur standard \u2013 8mm \u2013 has been refined. It brought about significant cost reductions, yet, due to a decade's advancement in camera, projector, and lens design, as well as emulsion chemistry, surprisingly little loss in photographic quality. Thus, today \u2013 almost exactly twenty years after the introduction of 16mm. as the \"ideal\" medium for home movies \u2013 we find\nA new and smaller film-standard taking its place as the home movie standard, while 16mm goes increasingly professional. And why not, since 16mm, with modern emulsions and modern high-powered incandescent and arc projectors, can compete on almost even terms with 35mm on even the biggest theatre-size screens, and if necessary be enlarged to 35mm prints for theatrical or commercial use, while 8mm reduces the costs of home moviemaking to less than one-tenth that of 35mm.\n\nPhil Tannura\n(Continued from Page 52)\n\nApprenticeship in the studio\u2019s motion picture film laboratory, learning how to mix chemicals, to wind and unwind film from the developing-racks and drying drums, and eventually how to develop negative and to make prints.\n\nAfter a thorough grounding in this, during which, in a brief period of a few months, he worked his way through all\nI. He felt ready to go out and learn how to operate a movie camera in the various departments of the lab. He began to pester his chief for a chance.\n\n\"You're a persistent little son-of-a-gun, aren't you?\" his chief replied unexpectedly the third or fourth time I asked for a camera job. \"I'm going to fire you... Come back tomorrow, and we'll see if we can make a cameraman out of you!\"\n\nThe next morning, I reported for work as an assistant cameraman. I spent about six months at that job, and then, in the middle of a picture, the cameraman I was assisting fell sick. In the ordinary course of events, another First Cameraman would have taken over and finished the picture. But the man I'd been assisting had other plans.\nIdeas were to give Little Phil a chance, he said. 'He'll finish the picture nearly as well as I would.'\n\nSo there I was, a full-fledged First Cameraman. I don't know if I finished the picture as well as my former chief would have, but at least I finished it, and everyone seemed pleased enough to keep me on as a First Cameraman.\n\nAt that time, the Edison Company had quite a variety of projects. One of them was making educational movies for Thomas Edison's close friend, Henry Ford. As the newest and youngest cameraman on the lot, making these pictures fell to me, in between grinding out my quota of the Edison Company's lesser features. Eventually, I was assigned almost exclusively to making the Ford Educational films.\n\nIn that job, I had a lot of interesting experiences. I traveled all over the places.\nI. Country: wherever material for these educational reels was to be found. I had the unique experience of being the only official cameraman assigned to cover the mission of the famous Ford 'Peace Ship.' This vessel, carrying a tremendous cargo of high-minded notables, went to Europe in 1915 with the altruistic hope of ending World War I in time to 'get the boys out of the trenches by Christmas.'\n\nII. Of course, that mission failed, just as a similar mission to end this war before the final defeat of Nazism and all it stands for would fail today. But I had chalked up several months of new and valuable experiences which were a liberal education to me.\n\nIII. American Red Cross\n74, February 1943 \u2022 American Cinematographer\n\nIV. I got back to the studio and found a new management in charge. The new managers were beginning to\nI. Realize that motion pictures were an art as well as a profitable form of money-making entertainment. They were all for new ideas in everything.\n\n\"That suited me right down to the ground. Ever since I\u2019d found myself as a First Cameraman, I had experimented constantly. Under the previous, more conservative management, that had gotten me in the 1915 version of the doghouse often enough. But with the new management, it set me solidly in favor. Almost before I knew it, I found myself the \u2018ace\u2019 cameraman of the studio, getting assigned to the biggest and best pictures.\n\n\"As the studio chief put it, \u2018I like you, Phil, because you\u2019re always trying for something new. When you fail, I\u2019ll admit it\u2019s sometimes pretty terrible \u2014 but when your experiment clicks, it\u2019s often brilliant. And you seem to succeed more often than you fail.\u2019\n\n\"Then came America\u2019s participation in\"\nI tried to join the Marine Corps but was turned down due to being a few inches too short for their standards, though I later learned it was because some studio executives pulled political strings to keep me out of uniform. I then tried the Signal Corps and was accepted. The following years were spent primarily operating a camera as a member of the Siberian A.E.F.\n\nUpon returning home after the armistice, I encountered a problem I hope our boys who have entered the Service in this war won't face: I couldn't secure a job. I had been off the screen for nearly three years, and everyone had forgotten me. Dressed in uniform, I visited studio after studio, and each reception made it clear they thought I was just another ex-soldier seeking employment.\nThe first job I got was as cameraman for an exploring expedition sent out by the Brazilian Government to find a fabled 'lost city'. I was on this expedition for more than six months and later told I was the only North American or European ever to have gone so far into the jungles. We penetrated even farther than Teddy Roosevelt did on his celebrated expedition to the River of Doubt. Starting from Manaos, we reached the Matto Grosso and then worked East and North and finally back to Manaos. When I got back to New York, I found I was still a forgotten man as far as the studios were concerned. Finally, I landed a job \u2013 as Second Cameraman for a man who before the war had been my assistant! Once I got that foothold, I managed in time to work my way up to the position.\nIn the early 20s, having worked as the first cameraman again, I moved to Hollywood as the industry shifted west. Another battle for recognition ensued. I worked on independent \"quickies\" and Westerns for producers and stars who are now forgotten. It was a time of long, heartbreaking hours with indifferent equipment, and for precious little money. The saying went that a \"quickie\" with a seven-day shooting schedule meant seven days and nights of shooting; this wasn't far from the truth. My fondness for experimentation eventually took me out of that class of work. In those days, a Western typically featured ultra-crisp photography with 64-definition and a soot-and-whitewash contrast which had to be seen to be believed.\nI believed. I tried the experiment of shooting for softer, more pictorial quality. I opened up my lens, even on exteriors. I used reflectors more, and played around with filters.\n\nOne day, Charles Ray \u2013 one of the big stars of the day, and at that time producing his own pictures \u2013 happened to catch one of my obscure little Westerns.\n\nThe next day, I got a call from him. \"If you can get that sort of quality in Westerns,\" he said, \"you're good enough to shoot for me.\" And up to the time he retired from the screen, I did.\n\nFrom there, Tannura went to FBO Studio, the forerunner of today's RKO. He stayed there until after the coming of sound killed the worldwide foreign market. Previously, all that had been necessary\nTo fit a picture for foreign distribution, the English titles had been replaced. Auricon SOUND CAMERA for 16 mm sound on film:\n\n* High Fidelity Sound\n* Self-contained in sound-proof \"blimp\"\n* Minimum equipment; maximum portability\n* Camera and amplifier, complete, weigh only thirty-seven pounds\n* Kodachrome or black and white pictures with Auricon sound track will reproduce on any sound-film projector\n* Can be operated in the field from an Auricon Portable Power Supply\n* Auricon Camera with type \"C\" lens mount (but without lens) and amplifier complete with microphone, instructions, and cases\n\nAuricon 16 mm RECORDER:\n\n* Variable-area sound on film, for double system recording with a synchronous motor driven 16 mm. camera\n* Amplifier has background-noise reduction and mixers for combining speech and music\n* With dynamic microphone, instructions and cases.\nAmplifier, Accessories ... $695.00\n\u2605 Auricon 16mm. sound-on-film recorders and cameras are serving the Nation's War effort with Military and Government Film Units, and with civilian organizations producing essential morale and industrial training films. If your work in such fields makes you eligible to purchase new equipment, we invite you to let our engineers show you how Auricon portability and professional performance will simplify your recording problems.\n\nAURICON\nE.M. Berndt Corp.\n5515 Sunset Blvd., Hollywood, California\nMANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931\nANIMATED CARTOON EQUIPMENT\nAcme 35MM 3 Color Cameras\nI6-35MM Background Projectors\nI6-35MM Optical Printers\n35MM Camera Repair\nAcme Tool & MFG. Co.\n2815 W. Olive Avenue\nBurbank, California\n\nAmerican Cinematographer \u2022 February, 1943\n\nPrecision Optics\nsince\nBecause of their accuracy, Goerz American photo-lenses are depended upon by our armed forces on land, on the sea, and in the air. The \"Goerz American\" lenses play an important part in the TV program and our production is now keyed to fill the requirements of our Government. With certain limitations, we may still be able to supply Goerz lenses of certain types and sizes for civilian use. We suggest making inquiries through your dealer or directly.\n\nDepartment AC-2\nC.P. Goerz American Optical Co.\nAmerican Lens Makers Since 1899\nOffice and Factory\n317 East 34th Street, New York\n\nAddress films in the language of the country where it is to be shown. This way, the silent screen could effectively \"speak\" any language \u2014 French, Swedish, Hungarian, Turkish, Arabic, or Bengali, and so on. But when the actors really began to speak, and the words came out in English.\nIn 1929, Tannura and Kane left Hollywood for Europe with a contract to make foreign-language versions of Paramount's Hollywood-made films. Tannura served as more than just a cameraman in this job. He was the Production Manager of the studio, overseeing its physical and financial operations. He scoured Europe for players to cast in the roles played in the Hollywood versions by Jeannette MacDonald, Buddy Rogers, and others.\nKay Francis, Paul Lukas, and Paramount's other stellar personalities. In his spare time, he directed and photographed the pictures. He often made as many as 14 different foreign-language versions of a single picture in Paris.\n\nKane and Tannura worked in one of the many French rental studios at first, renting stage space, offices, cutting-rooms, and everything else needed for production. But their work was so successful that before long, Paramount's foreign executives decided to build their own studio. Phil had the task of laying out and building Paramount's French studio at Joinville-sur-Seine, and of ensuring it was equipped with the best of modern production equipment. Then for several years, he oversaw the operations of the Joinville studio, which were constantly increasing in scale.\nIn the course of time, the physical and nervous strain of managing the studio, producing pictures, and in addition directing and photographing most of them proved too much for Tannura. He requested to be relieved, at least while he rested up.\n\nSo, as a form of vacation, he was sent to England to photograph one of Paramount's quota of English-made features, while someone else shouldered the responsibilities of producing and directing it.\n\nThis was a fortunate move for him, as two developments occurred while he was in England that eventually put a quietus to Paramount\u2019s foreign-version productions.\nOne of these developments was the technique of \"dubbing in\" voices. Other actors recorded the dialog in appropriate foreign languages to synchronize with the lip-movements of English-speaking Hollywood players. This was perfected to such an extent that even in a \"dubbed\" version of a film featuring players known to speak nothing but English, the illusion and synchronization were so perfect that one felt almost certain the actor had suddenly learned to speak flawless French, Hungarian, or Arabic.\n\nThe second development was Paramount's bankruptcy. Having over-expanded at home, Paramount was forced into bankruptcy and had to suspend its foreign production operations.\n\nTherefore, until shortly before the outbreak of World War II, Tannura remained in England as one of Britain's top cinematographers. He played an important role in this field.\nIn the planning and construction of Alexander Korda\u2019s big studio at Denham, and of several other modern British studios, he played an important role. He was part of a group of American cinematographers who played a significant part in the rebirth of the British film industry, and especially in the fight to bring technical standards and salaries for British cinematographers closer to those in Hollywood. In this, he remembers, one of the biggest obstacles was provided by German cinematographers. Some of them were refugees from the Nazi terror, but others, looking back on it, he wonders. They came to England from the studios of Berlin and were always ready to take any possible job away from an Englishman or American at half-price salaries. Since his return to Hollywood, Tanura has been almost constantly under employment.\ncontract to the Columbia Studio, and assigned to direct the photography of some of the firm\u2019s most important features. There's quite a bit of rivalry among Columbia\u2019s top female stars as to who should be photographed by Tannura. And in between the big pictures, he\u2019s received assignments to plenty of Columbia\u2019s short-schedule, low-budget program films. Some cinematographers try to dodge these \u201cB\u201d productions, but Tannura rather likes them. \"They\u2019re hard work,\" he says, \u201cbut they give you a chance to experiment in ways you can\u2019t do on the bigger \u2018A\u2019 productions.\"\n\nFebruary, 1943 American Cinematographer\n\nI don\u2019t mean by this that I take these less spectacular assignments as an opportunity to go hog-wild on photographic experiments. That wouldn\u2019t do at all, for a badly-photographed program picture stands just as much to a camera's reputation as a well-photographed feature.\nA man's discredit as a badly photographed 'A' production. But on the big productions, you know there's such an investment involved in production costs, stellar reputations, and the like, that you tend to be cautious. On 'B' pictures, it's different. There isn't nearly so much at stake, so once you've gotten an idea worked out in your head to the point where you feel it's practical, you can afford to try it out in actual production. If it works out as expected, you've added something valuable to your professional repertoire; if it doesn't quite ring the bell, there's not too much lost as long as the scene is still commercially usable. To my mind, the so-called 'B' pictures and short-subjects ought to be recognized as the industry's proving ground for new talent and new ideas. Plenty of 'A' picture acting and directing can be found in them.\nProducers, writers, directors, and cinematographers have already brought forth considerable talent from these industry stepchildren. However, we could all do more to make program films a proving ground for new ideas.\n\nWe made a C-shape adapter to attach the Special camera to it. The bottom of the C screwed onto the tripod in the usual way, and the Special was then fitted to this bracket. On the top of the C, we mounted my Akeley matched-lens finder with its pivoted eyepiece and magnifier. The mount was arranged so that the lens of the finder was accurately aligned.\n\nRuby Camera Exchange\nRents . . . Sells . . . Exchanges\nEverything You Need for the\nProduction & Projection of\nMotion Pictures\nProvided by a Veteran Organization of Specialists.\nSince 1910, 729 Seventh Ave., New York City. Cable Address: RUBYCAM. We worked at infinity focus, aligning the two units accordingly. Once infinity was achieved, we didn't need to concern ourselves with finder parallax. The bracket construction left the magazine side of the camera clear, allowing for easy magazine changes.\n\nMatching the lenses of camera and finder for this infinity-focus camera was fortunately straightforward. The horizontal angle of the 50mm lens, which is the \"normal\" lens in 35mm work, is 25 degrees. The angle of the 25mm lens, the correspondingly \"normal\" lens in 16mm work, is 21.2 degrees. For our purposes, a 50mm (2-inch) lens in the finder served quite satisfactorily when shooting with the 25mm lens on the Cine-Special. Similarly,\nWe used a 2-inch lens as a telephoto on the camera, and a 4-inch lens on the finder. This gave me, in terms of the finder, the same convenience of operation I'd been accustomed to in my 35mm work.\n\nThe choice of a tripod was another problem. I used my regular Akeley gyro head mounted on a high-hat which in turn was bolted to a wooden support rigged in the open door of the camera plane. However, the Akeley head was designed to work with a much bigger and heavier 35mm outfit. When the little Cine-Special was placed on it, there wasn't enough weight there to offset the pull of the counterbalancing springs, which were tensioned to hold a 35mm camera in perfect equilibrium. You had to watch it constantly or those overly-powerful springs would jerk the camera downward. And in starting and stopping the film.\nThe overpowered springs, designed to compensate for a heavier camera, would give you jerky pans if you weren't careful. A tripod designed for professional use with a lightweight camera would have been the perfect solution. However, one wasn't available. A lightweight friction head like Frank Zucker's \"Professional Junior\" would have made things easier. I kicked myself enthusiastically when I remembered that while I was in London before the war, I had seen and almost bought a lightweight gyro tripod specially made by Vinten to go with a lightweight camera like the Newman-Sinclair I brought back with me. Several times, after hops where we had to follow particularly difficult action, I had Flinsky deliver a couple of extra kicks on my camera.\nBut once these problems were resolved, the rest of the job was a pleasure. Lockheed and the Army provided us with everything we could ask for. Our camera ship was a speedy Lockheed \"Lodestar\" transport, the first cousin to the famous \"Hudson\" bomber. Our subject was the P-38 \"Lightning\" fighter, flown for us by Lockheed's Chief Test Pilot, Milo Burcham, who is without doubt the best P-38 pilot in the world. He ought to be \u2013 he's test-flown practically every P-38 that has come off Lockheed's busy production lines! The Army arranged for us to fly our scenes along the coastal airway between Los Angeles and San Diego, and inland into the Mojave desert, at any time we felt the weather was right for our purposes.\n[Producer Burden cooperated by letting us wait until we felt the weather conditions were just right for perfect shots. I've seen major-studio production executives with schedules and budgets twenty or thirty times as generous as his complain bitterly over that. But not Shirley Burden! He wanted things right \u2013 and he knew that having the right conditions was essential.\n\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n995 Merchandise Mart, Chicago\n\nDon't Waste Film!\nGet your picture \u2013 the first time and every time!\nFlash with a Kalart precision Speed Flash. New booklet gives interesting facts on how to put life into your film.\n\nThe Kalart Company, Inc.\nStamford Dept. 112, Connecticut\n\nMovola\nFilm Editing Equipment\nUsed in every major studio\nIllustrated literature on request\n\nManufactured by\nH. W. Houston & Company]\n1801 W. Olympic Blvd., West Los Angeles, CA\nFAXON DEAN, Inc.\nCAMERAS, BLIMPS-DOLLYS FOR RENT\nDay, 22184, Niglit, 2-1271, 4516 Sunset Boulevard\nAmerican Cinematographer \u2022 February 1943, vol. 77\n\nAtmospheric and cloud conditions made the difference between getting ordinary aerial scenes and getting perfect ones. His patience was rewarded. After the Christmas holidays, we had a little spell of rain, followed by several days of absolutely perfect weather for aerial camerawork \u2013 clear, blue skies with just the right amount of pictorially puffy, white clouds, so that we could get an accurate impression of the \"Lightning's\" speedy flight. We flew and shot like mad while the weather lasted, and got everything in the bag. I don't think the scenes could have been any better.\nIf we had Technicolor and a million-dollar budget. In this part of the work, I can't say enough about Milo Burcham. I always knew he was a fine pilot \u2014 but I didn't really appreciate just how good he was until I saw him put that P-38 through its paces. In all that we were helped immeasurably by having an intercommunicating telephone on the camera-ship, so that we could talk freely to our pilot, and two-way radio so that we could talk with Burcham while we shot. Of course, we always planned every evolution carefully before taking off \u2014 usually diagramming out each shot and making sure that everybody concerned knew where the camera-ship and the P-38 would be every second, and what flight path each would follow. I couldn't help thinking what a big improvement it was over the way we worked in the early days of air movies.\nWhen we strapped ourselves into open-cockpit planes, with no way to communicate with either our pilot or the pilot of the other ship, and had to trust solely to pantomime, planning, and big gobs of luck to get our shots and bring us back with a whole skin!\n\nYes, there's a lot of water gone under the bridge since those early days of \"Hell's Angels\" and \"The Great Air Mail Robbery.\" There's a difference in our movie-making materials and methods, and in the planes we fly. And there's no less of a difference between the reasons for making these various pictures. I was proud to have worked on Hollywood's first aerial entertainment movie, and on its biggest ones. But I'm a good deal more proud of this little 16mm. job which has the much bigger purpose of helping train the thousands of pilots coming from our Air Force training.\nschools how to fly an all-American pursuit ship which has already outflown and outfought the best Germany and Japan have to offer.\n\nTelevision (Continued from Page 47)\nTelevision collects thirty-five cents admission in cash at the box office. American business leaders know it. Television will not have this direct income and, therefore, will not challenge the superior film product.\n\nTelevision, in effect, collects its thirty-five cents in cash because no matter how excessive the cost, the sponsor will simply tag the extra cost onto the sale price of his product to the consumer.\n\nNo matter how good television gets, people will still be gregarious. They will still like to \u2018go out\u2019 to the movies.\n\nPeople will sit at home and drop a quarter in a meter and see a Metro, Fox, Universal, Paramount or Columbia picture transmitted from a central point.\n\"Television will injure the film industry just as radio has, by keeping people at home looking at television programmes without any apparent, immediate cost. Television day-time dramatic material will be on a low production level - like small film company programme features, only serialized. They will cut deeply into the female matinee film audience. Television evening programs, other than dramatic shows, will not be much more of a draw than similar radio programs are at present - which is plenty, even though it hasn't emptied the theatres. Evening dramatic shows will not try\"\nImitating film technique, these plays will be billed as television productions. The angle will be \"Television brings Broadway to your living room.\" I believe this angle may challenge the film industry.\n\nAnyone who has seen a live television play in a private home can attest to the effect. It could be that of the living quality of the theatre combined with the unique intimacy of film. A well-acted, well-produced two or three set play, aided by rear projection and film inserts, will be a devastating experience for the television skeptic.\n\nAs for television's treatment of news, it will be entirely possible to network each day's news-events on film. Film sequences and the live personalities connected with these sequences can be cut into a master-controlled presentation from twenty different locations, from coast to coast, and possibly continentally.\nIn conclusion, I believe television will significantly compete with the film industry. The film industry will adjust by entering the television field, as some sections have already begun. That's why I spent much time in this initial article on the potential functions of the cameraman in this new art. Television, I believe, can combine the special characteristics of radio, theater, and motion picture into an incredibly effective whole. END.\n\nClassified Advertising\nFor Sale:\nImproved Duplex 35MM Printer, featuring two Bell-Howell Cams and Shuttles. Perfect for Color or Black and White, also processes plates. Bell-Howell Standard Silenced.\nWE BUY, SELL AND RENT PROFESSIONAL AND 16mm EQUIPMENT, NEW AND USED.\nHollywood Camera Exchange, 1600 Cahuenga Blvd., Hollywood.\n\nNEW FEARLESS interlock camera motor for NC Camera.\nW.E. interlock camera motor (door type).\nWestern Electric interlock motor for Standard Mitchell Camera (door type).\n\nCamera Equipment Company\n1600 Broadway, New York City\n\nBell and Howell 3-phase Camera Motors, $135.00: RCA R-2 Studio Recorder.\nDevry Single System Camera, 3 Lenses, View Finder, Amplifier, Noise Reduction, Power Supply, 5 Magazines, Sun Shade, Mattebox, Cables, etc., $3,500.00.\n\nCINEQUIP\n1600 Broadway, New York City\nDuplex 35mm step printer $425.00\nBerndt Auricon 16mm recording sys with noise reduction Like New $595.00 S.O.S. Cinema Supply Corporation, New York.\nOne Model B-3 BM recorder (guaranteed perfect) 16mm, one model VD Canady recorder (brand new) 16mm, one blimp case for 200 ft. Cine special, amplifier, exciter for Canady unit, mike, phones, belts, cables and film Film Associates Co., Dayton, Ohio Complete sound recording equipment 35mm. Art Reeves Galvanometer, high gain amplifier, Dynamic Microphone, Power supply. Recording mechanism and B & H 1000 foot magazine $600.00. Photographs on request. John N. Spearing Commercial Sound Films 136 East Bay Street, Jacksonville, Fla.\n\nWanted\nWe pay cash for everything photographic. Write us today. Hollywood Camera Exchange 1600 Cahuenga Blvd., Hollywood.\n\nWanted to buy for cash Cameras and accessories.\nMITCHELL & H, EYEMO, DEBREIF, AKELEY\nLaboratory and cutting room equipment\nCamera Equipment Company\n1600 Broadway, New York City\nCABLE: CINEQUIP\nEYEMO, Single lens or turret models, Bell & Howell Standard, Mitchell cameras, lenses, motors, accessories.\nCamera Mart, Inc., 70 W. 45th St., New York City\nOne BM Model 500-D or 601-D recorder. Only.\nRay Arn, Normandy Lane, Dayton, Ohio.\nSpot cash paid for all makes 8mm and 16mm sound and silent cameras and projectors; lenses, exposure meters; Agfa, Eastman, and imported folding and miniature cameras.\nNational Camera Exchange, 11 So. Fifth St., Minneapolis, Minnesota.\nSpot cash waiting! 16mm Sound projectors; Rolleiflex Cameras, Cine Special (Cameras \u2014 Lenses). Moguls, 57 W. 48th, New York-City\n17 February, 1943 \u2022 American Cinematographer\nIn a great movie theatre, an audience of thousands.\nFrom the time Thomas A. Edison and George Eastman worked together on early motion pictures, the improvement of materials for professional film has been a chief field of Kodak research. Kodak has been the pacemaker and is by far the largest supplier of Hollywood.\n\nFrom \"the flickers\" to art, Kodak's original production of transparent roll film, the key to motion pictures.\nSpecialized negative and positive films . . . production of high-speed panchromatic materials . . . modern color phase, now rapidly expanding . . . important scenes in the advance from \"the flickers\u201d to today's work of art, in which Kodak has played a leading role . And there is another . . . The success of \"sound\u201d pictures hinged on making spoken words, or music, or \"sound effects, \u201d a basic part of the picture. That is what you have today, because . . . Sound, too, is pictured. With special fine-grain emulsions, Kodak \"sensitizes\u201d film for sound recording. In effect, sound is changed into light, and this light is recorded on the film, simultaneously with the recording of the scenes. Lips move \u2014 a voice speaks. Yet the voice is also a \"picture\u201d \u2014 an effect of light on film. The voice changes from a whisper to a shout.\nAn angry roar \u2014 each tone is a series of \"light\" pictures, different in quality. As you sit in the theater, the process is reversed \u2014 the \"light pictures\" on the sound track are changed back into sound. The \"sound\" newsreels are made in much the same way.\n\nMovies for everybody\nFor children, movies are education.\nFor normal men and women, they are the grandest form of entertainment, reaching almost everyone. For those distraught by worry or sorrow, they are wholesome escape. For our service men on ships or in distant camps, they are a little of everything that is needed to give a man a \"lift\".\n\nEastman Kodak Company, Rochester, NY\nServing human progress through Photography\n\nThis institutional advertisement is one of a series covering a wide variety of Kodak products and services. It appeared in December popular magazines read by millions.\nAmerican Cinematographer \u2022 February, 1943\n\nForecast to come... While we, the entire Bell & Howell organization, are concentrating all of our power today on war production \u2014 we know that some day the war clouds will lift, and are planning ahead for that time. Excellent evidence of these plans is the new Filmosound \"V\" Projector. It is available now only to our armed forces \u2014 but it is a forecast of better things to come when Victory is won, and new Bell & Howell products will be available to all.\n\nThere's a Fighting Job for Every Projector...\n\nYou and your projector, backed by the Filmosound Library, can render priceless educational and training assistance to hundreds of people, through OCD and similar group showings. The Filmosound Library offers almost unlimited selection of timely films.\nIf you don't know how to reach people who need to see and are eager to see these films, contact your B&H dealer. They will cooperate with you. Despite the fact that critical materials are restricted in the manufacture of the Filmosound \"V\" Projector, it is a fine-quality, precision-built Bell & Howell projector in every sense. Incorporated are all features essential to superb sound and picture projection as well as film protection. It is sturdy, compact, and easy to operate.\n\nNew Films for the Civilian Front\n\nThe U.S. Office of Education recently announced 15 new Industrial Training films, mostly on benchwork skills, and has 140 more in the making. From Army and Navy schools come the first 37 teaching films, now released for civilian Pre-Induction and Pre-Flight Courses.\n\nName: Precision-Made\nBy:\nAddress:\nCity\nState\nFilters \u2014 all B&H Color\nFilters are still available except Kodachrome Type A. These dyed optical glass filters have great stability and resistance to atmospheric conditions. They are attached to Filmo cameras by screwing them into the lenses. See your B&H dealer for selection.\n\nWanted to Buy-Filmosounds for Uncle Sam\nYour Filmosound Projector is urgently needed by Uncle Sam for use in military training programs. If you will sell yours, wire us at once giving model, serial number, and selling price including shipping charges to Chicago.\n\nMany still available\nSEE YOUR DEALER\n\nRoller BAXDAG-9\nPresident Barclay is featured in Emergency First Aid's new film, \"LIBERIA.\" The Aid Series, a Filmosound Library, has been completed.\n\nF for Excellence \u2014 how the Army-Navy Award for extraordinary filmmaking was presented.\nperformance is won and presented: one-reel sound film. Service charge: 50c.\nBuy War Bons. Bell & Howell Company, 1848 Larchmont Ave., Chicago, Ill.\nWithout obligation, please send me:\n( ) List of available accessories.\n( ) Send me the \u201cE\u201d for EXCELLENCE sound reel for use on [date].\n( ) Details on new Filmosound Library films listed below.\nB&H Focusing Alignment Gauge, for Filmo Turret 8 \u2014 permits use of Turret 8 Critical Focuser to the full extent of its capabilities. The gauge is mounted on your tripod and the Turret 8 Camera attached to sliding block on the gauge. A title card, map, or any subject may then be sharply focused and accurately composed within the film frame area and photographed with complete assurance.\nBell & Howell Company, Chicago; New York; Hollywood; Washington, D.C.; London. Established 1907.\nOWI issues at least four new films each month, including OCD defense training films. The Filmosound Library augments these official motion pictures with educational and recreational films, such as First Aid training and new releases on the new theaters of war, like North Africa, Liberia, and the Caucasus. Send coupon for complete list.\n\n20-year-old ex-airplane pertains to \"Women In Defense\" and other OWI films.\n\nB&H DIRECT VIEWER for 16mm film \u2014 ready to attach to your model 136 splicer. The viewer is an invaluable aid to editing because it makes it easy to spot the frame you wish to cut.\n\nMarch\n\nFighting Cameramen of the U.S. Armed Forces are shooting the action as it happens. They\u2019re filming history in the making and making photo history.\nDependable film is a must. Five Du Pont \"Superior\" Films for cinematography are helping Uncle Sam's front line photographers get the story in breath-taking pictures. This film has fighting quality. It defies swift changes in temperature. It retains full quality from exposure to development. Fine grain, latitude, contrast, speed \u2013 whatever the requirement, cameramen can depend on Du Pont \"Superior\" Films even under the most difficult working conditions.\n\nSUPERIOR CINE FILM\nBetter Things for Better Living\n. . . Through Chemistry\n\n82, March 1943, American Cinematographer\n\nSUPERIOR 1 (Type 104)\nA fine grain film especially suited for taking background negatives and for general outdoor use. Has moderate speed . . . requires normal development.\nSUPERIOR 2 (Type 126): High speed, fine grain, long scale gradation, and well-corrected panchromatic response. An ideal film for general use.\n\nSUPERIOR 3 (Type 127): Meets exacting requirements under adverse lighting conditions. Almost twice as fast as Superior 2, yet retains remarkable fine grain.\n\nE. I. Du Pont de Nemours & Co. (INC.)\nPhoto Products Department\nWilmington, Delaware \u2014 Smith & Aller, Ltd., Hollywood, California\n\nEYEMO Models L and M\nHave the compact type of three-lens turret. Viewfinder is matched to 6 lens focal lengths by turning a drum; shows \"sound\u201d field to match camera\u2019s \"sound\u201d aperture plate. Operating speeds: Model L \u2014 4 to 32 frames per second.\n\nSince their introduction seventeen years ago, Eyemos have been known as the cameras that really get the pictures \u2014 shots that are difficult or unusual.\nThe impossible feat is achieved with any other 35mm. camera. Eyemos have long been praised for their unfailing performance under trying conditions for both man and machine. Now, all seven Eyemo models are demonstrating their amazing stamina and versatility on the battle fronts of this global war. The need for our armed forces for Eyemos is so great that, for the duration, none can be made for civilian service. But when America\u2019s Victory makes them available for civilian service again, one of the seven models will suit your requirements or we will modify it to meet your exact needs. You will never have to accept a compromise in an Eyemo.\n\nBell & Howell Company, Chicago; New York; Hollywood; Washington, D.C.; London. Established 1907.\n\nEYEMO MODELS P AND Q\nThe most complete of the seven standard models have a three-arm offset turret and prismatic focuser with.\nI. Eyemo Cameras for Government Use\n\nWanted: Eyemo Cameras with magnifier, electric motor, and external film magazines. Speeds: Model P.\n\nBell & Howell Company\n1848 Larchmont Avenue, Chicago, Illinois\n\nGentlemen,\n\nI own an Eyemo Camera, Model [insert model number], Serial No. [insert serial number]. It has been modified as follows:\n\nI will sell this camera for $ [insert price]. Shipping and insurance to Chicago included.\n\nThe camera is in good operating condition.\n\nInoperative or damaged (give details): [blank]\n\nPrice above includes these lenses: [list of lenses]\nI offer the following additional lenses at the prices shown below.\n\nName . Address . City & State . AC 3.4\nDo Not Ship Until You Receive Instructions from Factory !\n\nContents\n\nShooting Action Movies in the African Desert . By Capt. Osmond H. Borradaile, 86\n\"Special Effects\" and Wartime Production . By Byron Haskin, A.S.C., 89\nTempo in Industrial Films . By Frank H. Kirchner, 90\nDirect-16mm. vs. 35mm. for Training-Film Production . By William A. Palmer, 91\nAces of the Camera \u2014 XXVI : Robert De Grasse, A.S.C . By Walter Blanchard, 92\nThrough the Editor's Finder, 93\n\nEditor\nWilliam Stull, A.S.C.\nTechnical Editor\nEmery Huse. A.S.C.\nWashington Staff Correspondent\nReed N. Haythome, A.S.C.\nMilitary Advisor\nCol. Nathan Levinson\nStaff Photographer\nPat Clark\nArtist\nAlice Van Norman\n\nA.S.C. on Parade, 94\nPhotography of the Month, 95\nA \"Model EE\" Grows Up. By Philip A. Jacobsen (96)\nProfessionalizing the Bolex. By William Stull, A.S.C. (98)\nThe Useful Hyperfocal. By Joseph Walker, A.S.C. (100)\nPractical Pointers on 16mm Sound Projection. By John W. Boyle, A.S.C. (102)\nAmong the Movie Clubs.\n\nMarguerite Duerr (Editor)\nFred W. Jackman, A.S.C.\nVictor Milner, A.S.C.\nJames Van Trees, A.S.C.\nFarciot Edouart, A.S.C.\nFred Gage, A.S.C.\nDr. Herbert Meyer, A.S.C.\n\nNew York Representative\nS. R. Cowan, 132 West 43rd Street\nChickering 4-3278 New York\n\n16mm Business Movies\n\nThe Front Cover\nThis month's cover shows Nick Musuraca, A.S.C. (left) and director Richard Wallace discussing the angle for a shot to intercut with the scene they have just filmed for RKO\u2019s \u201cThe Fallen Sparrow.\u201d On this page, at the left, we see them making that reverse-angle. Note characteristic RKO-style lighting.\n3 things to conserve film\n(Published monthly by A.S.C. Agency, Inc. \u2013 American Cinematographer, 1782 North Orange Drive, Hollywood (Los Angeles), California, Telephone: GRanite 2135. Established 1920. Subscriptions: $2.50 per year - United States and Pan American Union, $2.75 per year - Canada, $3.50 - Foreign. Single copies, 25c; back numbers, 30c; foreign, single copies 35c, back numbers 40c. Copyright 1943 by A.S.C. Agency, Inc.)\n\nCunningham's blimp and the use of \"Dinky Inkies\" and baby spots on the floor and behind the furniture. Stills by Alex Kahle.\nAustralian Representative: McGill's, 179 Elizabeth Street, Melbourne, Australian and New Zealand Agents.\n\nEditorial and business offices: 1782 North Orange Drive, Hollywood (Los Angeles), California.\n\nEntered as second-class matter Nov. 18, 1937, at the postoffice at Los Angeles, California, under the act of March 3, 1879.\n\n(84 March, 1943)\nWartime is no time to have to do retakes. Film must be used carefully. So remember these three suggestions: (1) Be doubly sure of your exposure before you start shooting. Extra care here will save your film and your money. (2) Be sure you\u2019re using the right film for the scene. For indoor shots or any changing light conditions, use an extra-fast film. You can\u2019t buy a faster film than Agfa Ansco Triple S Pan. In addition to its great speed, it has balanced contrast to provide desirable brilliance outdoors, yet avoid harsh effects under artificial light. It has plenty of latitude too. (3) If you have any technical photographic questions that we can help you with, send them in. We\u2019ve established an information service for you to use whenever you choose, and free of charge. Address your letter to Agfa Ansco Informational Services.\nShooting Action Movies in the African Desert, Binghamton, New York.\nAgfa Ansco Triple S Pan Reversible Film.\nAmerican Cinematographer \u2022 March, 1943\n\nCapt. Osmond H. Borradaie writes:\n\nI can add little to what has already been printed about military cinematography, but here are a few difficulties I experienced in trying to get a photographic war record. Although I held an Army commission, I was fortunate to have seen action in the three branches of the service, each of which offered different problems for the cinematographer. Those of the Army I consider the most numerous and varied. If the cinematographer is permanently attached to one unit, he is well established and his problems are fewer, for he has not to worry about such matters as rations, transportation, or winning the goodwill of his commanding officer. However, if he is attached to a mobile unit, he faces a different set of problems.\n\nIn the desert, for instance, the greatest difficulty was the sand. It was not only a problem for the troops, but for the equipment as well. The sand got into everything, clogging up the film magazines, fouling the lens, and making the focusing difficult. The heat was another problem. The temperature often reached 120 degrees in the shade, and the sun was relentless. The film stock, which was already sensitive to light, was further affected by the heat. The solution was to keep the film cool, but this was not always possible.\n\nAnother problem was the lack of water. The desert is a dry place, and water was a precious commodity. The troops carried canteens, but the cinematographer needed more than a man could carry. He needed a large supply of water to keep his equipment cool and to mix with the developer for processing the film. This was a constant worry, and it was not always possible to find a source of water.\n\nDespite these difficulties, the cinematographer's job was essential. He was recording history, and his work would be seen by millions of people around the world. It was a responsibility that could not be taken lightly, and the cinematographer had to be prepared to face any challenge that came his way.\n\nIn the Air Force, the problem was different. The cinematographer was not only a cameraman, but also an observer. He had to fly in the plane and record the action from the air. This required special equipment and training. The cinematographer had to be able to operate the camera while wearing a parachute and a oxygen mask. He had to be able to shoot through the plane's Perspex canopy, which was not always clear. And he had to be able to shoot from a moving plane, which was not an easy task.\n\nIn the Navy, the problem was the sea. The cinematographer was not only a cameraman, but also a sailor. He had to be able to operate the camera while on a moving ship, which was not always stable. He had to be able to shoot underwater, which required special equipment. And he had to be able to shoot in all kinds of weather, from calm seas to stormy conditions.\n\nDespite these challenges, the cinematographer's work was rewarding. He was recording history, and his work would be seen by millions of people around the world. It was a responsibility that required courage, skill, and determination, but it was also a privilege. The cinematographer was not just making a film, he was making history.\nThe senior officers' will is necessary for achieving much during a campaign, but their scope is limited. When a roving cinematographer, such as I, visits a unit - usually tipped off that interesting things might be happening there - he must first prove his identity and, secondly, convince the Commanding Officer of the value of propaganda and the importance of getting a historical record. A persuasive line I often found successful was that the folks back home may have a chance of seeing his men in action on their local screen.\n\nCaptain Osmond H. Borradaile, the author, was a member of the A.S.C. for many years while he worked in Hollywood studios before returning to England. Since the outbreak of the War,\nHe has been on active service as an officer in the British Army Film Unit. Seriously wounded filming a convoy en route to Tobruk while under siege in the fall of 1941, he has been invalided out of service and is now with the Canadian National Film Board.\n\nThis procedure is easier if the visitor can assure his host that he understands military behavior and will not unnecessarily jeopardize the lives of his men. Another point of importance is that the visitor is self-sufficient as to rations and transportation.\n\nTo give an idea of some of the problems the cameraman has to be prepared to face, I shall recall a typical Western Desert incident.\n\nThings had been comparatively quiet when suddenly the enemy broke through with two hundred tanks and three hundred supporting vehicles. I lost contact with the advance unit and had to make my way back through the chaos to rejoin them.\nWe collected thirty gallons of petrol, a week's rations, and twenty gallons of water. We packed all this, along with our bedding and equipment, into our open light truck, taking care to secure it well and protect it against the desert dust with tarpaulins.\n\nWe drove to a famous Armored Division where I was known and hoped to go into battle with their tanks. But they retired, hoping to coax the enemy into a more suitable place before giving him battle.\n\nThat night we slept under the bright stars, feeling confident that with the coming of dawn we would be busy, for surely the battle would be joined that day.\n\nInstead, dawn brought us signals that Jerry had already turned back to his own territory.\nlines.  No,  he  would  not  fall  into  our \ntrap!  This  was  bad  news  to  me,  so  I \ntook  leave  of  the  C.  0.  and  with  warnings \nand  the  latest  information  as  to  the \nenemy\u2019s  position,  we  set  out  on  a  compass \ncourse  into  the  desert. \nIt  was  a  hot  windy  day  with  poor \nvisibility  due  to  the  dust.  The  wind  was \non  our  tail  which,  together  with  the  soft \nsand  frequently  caused  the  old  bus  to \nover-heat  and  boil.  At  first,  I  was  gen\u00ac \nerous  with  our  precious  water  for  I  was \nanxious  to  reach  the  escarpment  where \nI  hoped  to  leave  the  dust  and  possibly \nsee  some  signs  of  Jerry.  But  we  soon \nfound  that  radiator  much  too  greedy,  so \nafter  filling  her  up  again,  we  tried  a  new \nsystem  of  driving  on  our  course  until \nshe  began  to  boil,  then  swinging  the  car \naround  into  the  wind.  Slowly,  she  would \ncool  off  enough  to  allow  us  another  run \nof  perhaps  a  mile.  This  was  slow  going \na tired and dusty pair of soldiers reached the escarpment and found a trail up just before sunset. Here we found tracks leading west; we identified them as British, so we followed them. As darkness overtook us, we drove into a wadi and were challenged by a friendly sentry. After I had established my identity to the satisfaction of the Intelligence Officer, I was paraded before the General \u2014 a plucky little fellow who a few weeks later was captured and succeeded in escaping, leading many of his men back through the enemy lines. After winning the General's confidence and assuring him that I had my own water supply and would not therefore encroach upon his \u2014 which was, at that time, nearly one half gallon per man per day for all uses: washing, cooking and drinking \u2014 it was agreed we would start off at dawn, hoping to find some evidence.\nA few miles beyond the wadi, we picked up German tank tracks. We followed these until climbing out of a little depression, where our two cars stopped short for, coming over a rise and bearing down on us were two armored cars: friend or foe? We grabbed our rifles. On seeing us, they separated, took up positions of advantage and stopped.\n\nWe scrutinized each other through our field glasses; satisfied we were friendly, they closed in on us. I grabbed some pictures of them as they came alongside, as they had a couple of Italian airmen prisoners aboard.\n\nThese armored car boys told us that our bombers had caught a concentration of Jerry tanks refueling at a point ten miles to the south, and it was in that direction that I stood the best chance of encountering them.\n\nMarch, 1943 \u2022 American Cinematographer\nmeeting up with some Jerries. The General was more interested in spotting new gun positions, so we parted company. Yes, the bombers had had a bit of sport; there lay one of Jerry's latest tanks, with its mutilated crew still smoldering away, giving off that strange, unpleasant smell so distinctive of human flesh. Besides the tank, there were two burnt-out petrol lorries, two ammo-carriers and a staff car. Too bad I didn't get a shot of that! But twice we had to \"lie doggo\" as enemy planes came over, though I could never resist a shot at them with my rifle.\n\nWhile we were trying to scrape together the remains of a German and bury them, another armored car drove up and told us that all the Jerries were now back behind their own wire except for a few more tanks which had been knocked out. So, feeling a bit disappointed, we set compass course and\nI. He headed for our wadi where the General treated me to a drink and what seemed a good meal at the time. The foregone days will give you some idea of those spent by those seeking action shots in the desert, but it fails to give all the problems. Had I been able to catch up with Jerry, the next thing would have been to get into a position from where I could photograph them without being spotted and knocked out. The shimmering heat waves, which so often prevail, make the use of long focal-length lenses impractical, and to make the job more difficult, desert warfare is a war of dispersal, and the camouflage boys are far too good at their jobs.\n\nLearning of our coming November offensive and believing it would be from low-flying bombers strafing Rommel's tanks, I managed to win myself a home.\nWith a South African Squadron who were at that time flying Martin Marylands \u2013 a four-crew medium bomber. At first, the CO would only allow me to go on test flights, as carrying me meant that one member of the crew would be left behind \u2013 an unpleasant and unfair situation for the pilot and other crew members in the event of an attack, as all members depend on each other to do their job and fight their way home. It was however agreed that I should be allowed to take a course in air-gunnery. If my score proved satisfactory, I would be allowed to ride as No. 4 (rear gunner), with the understanding that should we be attacked, the guns immediately took priority over the camera. This latter stipulation I planned to overcome by camera-mounts and remote controls, so that both guns and cameras could be worked together.\nLong years of pointing cameras helped me aim machine guns, as I was soon accepted as an air-gunner. The first few raids I went on were interesting, but not too spectacular. They were high-level shows around the 20,000 foot mark.\n\nWe were called before dawn, enjoyed a hot breakfast in the cool air, went to the briefing tent, were given all the details of the job on hand, including information from Intelligence gained by reconnaissance flights and other means; the latest weather reports and so on. We then piled ourselves and flying kit into trucks which drove us to our planes, which had already been revved up and taxied to the take-off point.\n\nAt the last minute, I pulled on my heavy kit and climbed into my kite, with my cameras. In an endeavor to protect them from the dust, I carefully wrapped them in silk which I had salvaged.\nFrom an Eyetie parachute which had not done its wearer much good, we then tested our oxygen supply and our intercommunication system, the latter a most important procedure for it furnishes the only possible means of contact between the forward members: No. 1, the pilot, and No. 2, the navigator bomb-aimer, and the rear members: No. 3, the radio operator, and No. 4, the gunner. For between the forward and aft stations is the bomb-bay with its unfriendly load.\n\nTo me, our take-off was always dramatic. As No. 1 opened the throttle and we slowly began to move, the ground crew always gave us a cheery smile and wave. As we collected speed, the huge plume of cream-colored dust blotted them from view. Tearing along, we would see, a few hundred yards beyond the starboard wing, our tents \u2014 our desert homes \u2014 with the boys watching, slide away.\n[American Cinematographer, March 1943]\n\nSpecial-Effects in Action.\n\nAbove: General Grant tanks advance on tank carriers; a direct hit on a German tank; R.S.A.A.F. \"Boston\" bombers take off from a desert airfield. Below: A Douglas \"Boston\" of the South African Air Force bombs enemy transport and strafes a Nazi supply-train. British Official Photos.\n\nSubmarine attack on a convoy from \"Action in the North Atlantic.\" (Note: burning ships and \"Liberty\" freighter attempting to escape.)\n\nTop row: miniature scenes of a submarine attack on a convoy.\n\nNote:\n- burning ships and \"Liberty\" freighter attempting to escape\n- filming a sinking in miniature\n- cameras mounted on motorboat, just above waterline, for low-angle shots.\n\nThird row:\n- left, filming a sinking in miniature\n- right, cameras mounted on motorboat, just above waterline.\nTwo miniature ships are loaded onto flat-cars for transportation to a location. Two of these \"miniature\" ships fill a 50-foot flat-car. Right, lowering the ships into the ocean from the pier at Santa Barbara. Note the size of the ship in comparison to men riding the crane beside it. Bottom: left, servicing the miniature freighter between takes; note the size of the ship as compared to a speedboat and rowboat alongside. Right, a burning cargo-carrier goes to the bottom \u2014 in miniature. Opposite Page: bombers and torpedo planes attack a Japanese convoy in miniature scenes for \"Air Force.\" Note torpedo wake (left) and airplane laying smoke-screen (right). The latter required the rigging of over 600 feet of wire to support the miniature plane.\n\nMarch 1943 \u2022 American Cinematographer 'Special-Effects' and Wartime Production\nBy BYRON HASKIN, A.S.C.\nSupervisor of Special-Effects,\nWarner Bros.' Studio.\nA few weeks ago, a group of our highest-ranking Naval officers assembled in a Washington projection-room for a private preview of a Hollywood film dealing with Naval matters, culminating in sequences of spectacular Naval battle. When the screening was over, this audience of Naval experts congratulated the studio representatives enthusiastically. \"Gentlemen,\" the highest-ranking Admiral present is reported to have said, \"I wouldn't have believed our forces on the West Coast had time to afford you such extensive and thorough cooperation, or that your cameras could so convincingly capture the atmosphere of Naval actions.\"\n\nThe fact is that, with the exception of a few sequences of action and background-scenes made in a West Coast Navy Yard, the Navy did not take time out from its vital business of conveying cargoes across the Pacific.\nThe scenes that won the Admiral's admiration were created in the studio by the organization's special-effects department. This incident clearly epitomizes one of the most important services special-effects cinematography is rendering to the industry today. With our country at war, stories hinging to a greater or lesser extent upon military, naval and aerial battles form a considerable portion of almost every studio's production schedule. And while the Army, Navy and Air Force gladly cooperate with the industry to the fullest extent possible under wartime conditions, they cannot cooperate to the extent they sometimes did in times of peace. They cannot afford to have two or three squadrons of fighting or bombing planes tied up for weeks at a time for picture-making purposes.\nLoaning a studio a battleship, a cruiser or two, or a flotilla of destroyers is obviously out of the question. These scenes must now be staged by the special-effects department.\n\nSimilarly, climatic scenes in which warplanes are crashed, tanks destroyed, or warships sunk \u2013 whether ours or the enemy\u2019s \u2013 must be done in miniature.\n\nIt may be pointed out that there are in existence documentary films photographed by military or naval camera men, which show these things occurring in actuality. In addition, under certain circumstances, it may at times be possible for a skeleton studio unit to accompany a naval convoy or to work with land or air troops in training areas to obtain background and cut-in scenes of documentary actuality.\n\nHowever, this argument brings up a fact which is often overlooked even by picture producers.\nstudio executives: The fundamental difference between scenes of actual battle and battle scenes that must fit into the dramatic and visual pattern of an entertainment movie. Not only must the action conform rather closely to the dramatic requirements of a pre-arranged story; it must also conform to the visual and psychological patterns of the entertainment film.\n\nThe action must, in a word, be compressed to fit the screen. Modern battles, generally speaking, are rather long-range affairs. At best, the camera can only focus on a small part of the action as a whole. A modern convoy, for example, may comprise from fifty to two hundred and thirty or even four hundred freighters, transports, and escort vessels; no less than 800 ships participated in transporting our forces for the recent invasion of North Africa.\n\nIt is much easier to write about a battle...\nYou cannot photograph a 200-ship convoy as a whole. Although you can paint word pictures of double or triple rows of ships extending as far as the eye can see in both directions, you cannot put it on the screen. When the ships are strung out over a distance of five or ten miles or more, no possible camera position or lens will enable you to put more than two or three ships - at most - on the screen at once. The images of the ships on the screen will be small, too small to convey the desired impression of actuality, and generally hidden by atmospheric haze.\n\nSuppose an aerial attack is made on the convoy. You've seen the real thing in the newsreels: it gives you a thrill because you know it is the real thing - but not, as a rule, because of anything you see on the screen. You see the black puffs of the anti-aircraft shells exploding around the ships.\nBursts. Maybe you see a tiny black speck weaving among them; the narrator tells you it is an attacking torpedo plane. You see another, slightly larger black speck in the distance, surrounded by tiny white specks. Only the narrator's voice tells you that the black speck is a 20,000-ton aircraft carrier being dive-bombed, maybe to death.\n\nTo conform to the pattern of the dramatic picture, this action must incite:\n\nAmerican Cinematographer \u2022 March, 1948 89\nTempo in Industrial Films\nBy FRANK H. KIRCHNER\nChief Photographer, Caterpillar Tractor Co.\n\nTempo can be maintained in any industrial film only if the producer can forget the \"run of mine\" scenes where \"the whistle blows and our 7,280 employees leave the plant\"; \"our shipping rooms\"; \"our testing laboratories.\" These scenes may mean much to plant heads and employees, but\nIn planning \"Caterpillar\" films, we keep in mind not what we'd like to show, but what others would like to see. Industrial film producers can follow the methods of circus entertainment or vaudeville's \"making 'em whistle the tune\" as they leave the theatre. Films, like preachers' sermons, can be ruined by failing to say \"Amen\" at the right time. It's better to have an audience wish for more than to have it \"serve on fatigue duty.\" Titles are important. A title should be easy to say and remember, allow some spot or relation in the subject, and let the title background be apparent.\nThe attraction and action are preferable in the title, ideally action, as it must immediately get attention and hold it. The title \"War Against Waste\" - our current film on industrial salvage - is easy to say and remember. Even if remembered as \"War On Waste,\" it hasn't departed from the original thought. The title is casually mentioned once during the narration and stressed at the finale in the narrator's concluding words. These words, followed promptly by martial closing music, emphasize to every loyal person in the audience the vital need for saving and salvaging scrap. The background action on the presentation and main titles might suggest using a booming cannon to fire the words \"War Against Waste\" off the screen. Our subject is a war.\nIn one sense, but reclamation is a war against inanimate things \u2013 a war against the waste of metal, tools, dies, rubber, wood, and paper. For a background, we used a pile of steel scrap upon which a huge electromagnet falls, dragging away all the metal that holds to the charge. The sight of that mound of homegrown, jagged pieces of precious metal makes one remember there's a scrap going on \u2013 suggests that the pile may contain pieces of the old lawnmower the spectator donated to his scrap drive \u2013 hints that now, at last, the donor will really see what becomes of scrap metal.\n\nCarrying on after our main title, we \"surprise\" the audience briefly with a few scenic shots depicting America, hitherto, as a peaceful land of plenty, with laden orchards, fields of grain, acres of cornfields, and herds of dairy and beef cattle. This leads quickly to the arresting image of... (The text is cut off)\nThe rivalry of war and the need to conserve the nation's resources. We then take the audience into the great \"Caterpillar\" plant to show how our reclamation department contributes to salvaging, reclaiming, and conserving war material. It is here that the film's action and interest gain momentum \u2014 tempo rises \u2014 action \u2014 speed \u2014 a big job to do \u2014 doing it.\n\nSince \"War Against Waste\" is a MOTION picture, only scenes and machines with action were selected. Scenes of the welder's sparks, grinders, moving gears, spilling oil, and flying chips from revolving cutters all stress the act of doing something necessary to speed the day of victory.\n\nThough our plant covers more than 166 acres of ground and offers splendid views of endless rows of machines in operation, there is little overall interest in such scenes. Therefore, the settings are held to CLOSE-UPS.\nIf necessary, the operator's hands may be included to show comparative size, but the main objective is machine action, photographed close enough to show the curling chips from the machined pieces actually \"falling into the lap\" of the audience. Effective lighting has much to do with bringing out the interest of any industrial operation. Incidentally, the lights used throughout the production were the simple spot floodlights, except in a few foundry scenes and the cupola charging room where we were obliged to use our 10 Mole Richardson lights. These small floods, fitted with clamp handles and built-in reflectors, were fastened to any projecting part on or near the operation, making it possible to get effects which would be impossible with larger lamps on rolling stands. Too, moving and using bulky equipment around a factory cuts deeply into valuable manpower.\nHours and a flat plain can drop the tempo of interest. Camera-angles were employed with care. Use of low angles wherever possible helped bring the operator's face into the frame and heightened and strengthened scenes when the ceiling or skylight appeared in the background. Odd angle scenes usually raise the question, \u201cHow did you do that?\u201d Any question as to \u201chow\u201d proves that attention has been paid, and interest has been held \u2013 and attention and interest are the goal in planning any film.\n\nHigh camera-angles have their place depending on the operation. The principal thought on any angle is to see the complete operation without a pan or tilt. Let the operation do the moving \u2013 but hold the camera still. A held position can be framed correctly, but a panned scene is \"pot luck.\"\n\nCamera dissolves always carry a significance.\nMarch, 1943 \u2022 Directing 16mm. vs 35mm. for Training Film Production by William A. Palmer\n\nSmoothness of action and go far toward eliminating \"dragged out\" footage. Short action scenes dissolved together gracefully and quickly cover any lapse of time or distance. Choppy breaks are eliminated, and interest is held.\n\nIn the last few years of peacetime, the showing of training films has been almost entirely on 16mm. projection equipment. At least as far as training films for war industry are concerned, it would be hard to find 35mm. projection equipment in use. The Army and Navy in some of their more permanent posts are still using the theatrical-size film, but all have 16mm. equipment as well. All outlying posts and bases are now using 16mm. equipment.\nThe 16mm projection equipment for their training films and entertainment features is no longer used. The production of these training films by the Army and Navy, as well as private concerns under contract to government agencies, is now almost entirely on 35mm film. To some who have seen the excellent results obtained by producers of \"direct-16mm\" industrial films, it may seem strange that more production isn't undertaken in the medium in which the release is made - direct 16mm. Why shouldn't various government agencies take advantage of the economies and simplicity of direct-16mm production? Or are there any economies and simplifications in direct-16mm production? If one were to sit down and make a theoretical comparison of the two methods of training film production, weighing the costs, problems, and quality of results of one method against that of the other.\nThe conclusions I believe would be that direct-16mm is the proper medium. But this is no time for theoretical considerations. The sudden demands for quantity production of visual aids to military, naval, and war industry training came without time for figuring an overall procedure. Immediate needs after December 7 were for hundreds of films in the shortest possible time.\n\nWhen the war broke, there were three main groups who were able to start on a large scale training film program: the Army Signal Corps, Hollywood theatrical producers, and the large industrial film producers. All three of these groups were completely geared to 35mm production and had personnel accustomed to that medium. So they immediately went ahead with full speed, producing tremendous numbers of training films.\nWith excellent technical quality, reasonable cost, considering their value to the war preparations, and the subject matter well handled, if this has been the case, one might be prompted to ask, why bring up 16mm. production? Isn't everyone concerned perfectly satisfied with the present 35mm. systems?\n\nThe answer to this is that the need is for many more training films, made much faster and under conditions where the lighter, fast-operating 16mm. equipment really shines. There is also the most important fact that 16mm. production has one ace-up-the-sleeve which can make all 35mm. abilities look in vain for a trump. That ace is Kodachrome.\n\nWell, how important is color in a training film? I believe color is all-important regardless of the subject. I believe that color alone can add enough, giving a clearer visual impression, to make black and white seem outdated.\nI believe a good training film is primarily a visual aid for teaching a skill or operation. I don't think any training film can be as effective as to make conventional methods unnecessary, although I'm aware of experiments showing educational films alone can do a better job on many subjects than a teacher without visual aids. The value of training motion pictures at present is that they can make up for the inability of available teachers to cope with the gigantic mass needs of war conditions.\nThe basic criticism I have had with most training films I have reviewed is that they cover too much or aim to complete a teaching job by themselves. Their makers considered both the visual side and the sound-track should be as complete as possible. I agree that the picture should be as complete as possible, but it has seemed to me that in many cases, the soundtrack has been so full of boiled-down information, well organized and presented, that it competes with, rather than aids, the visual side. Since the visual side of a talking picture is the most vivid, the mind is apt to discard information given audibly, which does not apply directly and immediately to the scene being shown. Time and again I have seen supplementary information put in a sound-track.\nInstructional films, like these, gain added value from Kodachrome's color-separation, providing a more realistic dimension to the audience. The same principle applies to training films. They must have the clearest visual presentation possible, and all other factors - sound-track, film effects, smooth technical work, and even cost - are secondary. Here is where the case for 16mm. production can be sold. In 16mm. Kodachrome and dupes therefrom, we have a color process rivaling anything in 35mm., and at reasonable costs in terms of both money and equipment. The only comparable color process, Technicolor, being prohibitive in cost even if equipment were available in sufficient quantity.\nThe presentation of subjects in Kodachrome is more natural than in black-and-white. By using color, many things can be shown that would be very difficult in black-and-white, even in subjects which at first would be considered to have no color possibilities.\n\nFor instance, a training film on lathe practice, several of which have already been produced in 35mm black-and-white, requires the use of extreme close-ups to show the operations clearly. However, because parts of the lathe, as well as the work being turned out, are metallic and shiny, it is very difficult to avoid confusing lights and shadows with the type of lighting demanded by good black-and-white photography.\n\nThe same film in Kodachrome would separate the grey shiny enameled parts from the work being turned out, making it easier to distinguish between them.\nRobert De Grasse, A.S.C. by Walter Blanchard\n\nRobert De Grasse, A.S.C., was practically born into the picture business. Four of his father's brothers were stage or film folk. One of them, his uncle Joseph De Grasse, was one of the most prominent and best-liked of silent-picture directors. Another, Sam De Grasse, was one of the foremost screen \u201cheavies\u201d of twenty-five years ago.\n\nBut young Bob, though he grew up in a theatrical atmosphere, paid little attention to the movies. He was much more interested in basketball.\nAmerica's entrance into World War I found him a student at the University of Southern California, studying occasionally, playing basketball energetically, and in general having a pleasant, carefree life. The war changed things for him, though. As soon as he was old enough to meet the age requirements, he enlisted and was accepted for Officer' Training in the Field Artillery of the U.S. Army. But the Armistice found him still in training, and with the need for officers gone, he was soon granted an honorable discharge and returned to civil life. After his Army experience, he found he wanted something with more serious purpose to it than the life of a conventional collegian. So he decided to forget college and go to work. As a starter, he hit his Uncle Joe for a movie job. What kind did he want? That was easy: he had decided that he wanted to be a filmmaker.\nI wanted to get into camerawork and work my way up to where, as a First Cameraman, I could be responsible for bringing feature films to the screen. In due time, I found myself on Universal's payroll as an assistant cameraman. This work suited me perfectly. There was endless variety in it, coupled with a purposefulness I could see as the picture progressed from the start to the finish of its shooting. Besides, the comparatively easy-going production methods of twenty-five years ago gave me plenty of time to devote to my first love\u2014basketball. I played on studio and semi-pro teams with distinction. One year my team even proved strong enough to be sent to the National Championship Tournament, in which it captured third place\u2014the first team from the Pacific Coast to place so high nationally.\n\n\"I guess I felt pretty good about it.\"\n\"he says, \"and I must have shown it. At any rate, my folks decided it was time to deflate me a bit. They began dropping hints that while they saw my name often enough in the sports pages in connection with basketball, they hadn't noticed anybody writing about my skill as a photographer.\n\n\"As those hints began to penetrate my consciousness, I suddenly made the discovery that there were a lot of things going on in the studio, and more or less directly related to the work I was doing, but about which I didn't know anything. I decided that if I wanted to get ahead in the business, I'd better forget basketball and begin learning about my own work!\n\n\"For instance, while I loaded and unloaded the camera, and took the exposed film to the laboratory every night, I realized I didn't know a thing about what happened to that film between the exposures.\"\nI reached the lab and the rushes hit the screen the next day. So I began to help the laboratory crews who developed and printed my film in my spare time. I learned not only what they did, but how and why they developed and printed the scenes as they did.\n\nNext, I realized that a whole succession of interesting things must be happening in the cutting rooms where the disconnected scenes we shot on the set were assembled into a smooth-running continuity. So I made it a point to get acquainted with the cutters and put in as much of my spare time as I could helping them. I learned how to cut film \u2013 not just how to splice it, but how to build the scenes and angles into a cohesive narrative.\n\nMarch, 1943 \u2022 American Cinematographer\nTHROUGH THE EDITOR'S FINDER\n\nDuring the past month, a little group of publicity-seeking Senators held hearings on the motion picture industry.\ntors  have  been  sniping  at  the  men  from \nHollywood  who  are  serving  as  officers \nof  the  U.  S.  Army  Signal  Corps.  From \ntheir  viewpoint,  this  is  probably  under\u00ac \nstandable,  for  any  attack  on  Hollywood \nand  its  prominent  personalities  is  auto\u00ac \nmatically  good  for  Page  1  publicity  for \nthe  attacker.  But  from  any  standpoint \nof  logic  or  of  common  decency  it  is \ndamnably  unfair \u2014 especially  when  they \ncharge  that  men  who  have  been  proving \ntheir  ability  and  courage  under  fire  are \nnot  worthy  of  the  uniforms  they  wear. \nLet\u2019s  examine  the  facts.  Long  before \nPearl  Harbor,  the  Army  knew  it  needed \ntraining  films  in  greater  quantity  and \nquicker  than  its  own  scanty  peacetime \nfacilities  could  produce  them.  It  knew, \ntoo,  that  when  war  eventuated,  it  would \nalso  need  motion  pictures  of  actual  com\u00ac \nbat,  made  both  for  strictly  military  ref\u00ac \nerence  purposes  and  as  documentary  re\u00ac \nThe Army sought ports for the public at large. To address these needs, the Army logically turned to America\u2019s motion picture industry and its people. The industry responded by producing hundreds of Army training films, some exceeding feature length, at rock-bottom costs with no charges for studio overhead or other items. The industry's best and highest-salaried executives, writers, directors, actors, and other creators competed for the opportunity to donate their services to the film production. In essence, the motion picture industry is the only industry in America that deliberately structured its government contracts to prevent making a profit nearly two years before Pearl Harbor.\nFor profit on its defense production!\n\nFor combat films and tactical or training films which had necessarily to be made within the Army organization, Hollywood bled itself white to provide its best manpower. Executives, directors, writers, and technicians voluntarily gave up the comforts of home and abundant salaries to step into uniform. The great majority of them, by reason of age or dependencies, did not really have to go \u2014 but they went, and asked for assignment to duty in combat areas.\n\nThe Army rewarded most of them with commissions, it is true: but these commissions are not so much a reward as the only possible means of giving these men the minimum military authority necessary to enable them to carry out their picture-making assignments. And whether these men were producers, directors, writers, or cinematographers, the author\nThe implied military commissions of individuals is in no way commensurate with the authority to which they were accustomed in their civilian positions. Let's take the case of the most prominently and unwarrantably attacked individual: Colonel Darryl F. Zanuck. In civil life, he was the production head of 20th Century-Fox Studio, with authority and responsibilities akin to those of a Major General in the Army. Based on proven performance rather than politics or \"pull,\" he stood unquestionably at the head of his profession.\n\nFor nearly a year before Pearl Harbor, and for many months thereafter, he was the guiding and coordinating spirit of the industry's Army training film production effort. In this capacity, he worked tirelessly: his days were devoted to his exacting studio job; but night after night, during the war effort, he dedicated his time and energy to this cause.\nhours when most men are at home with their families enjoying well-earned rest, he remained at the studio, personally supervising the editing of Army training films and the planning of new ones. When he was finally called to active Army service, he was commissioned as a Lieutenant Colonel. He did not have to go. He was well past the selective service age limit. He was the father of three children. And he had served with distinction as a member of the 163rd Division of the A.E.F. in France during World War I.\n\nBut he volunteered and went \u2014 giving up, in the process, a brilliant career and a salary of more than $5,000 per week.\n\nGoing into active service, he did not ask for an easy desk job in Washington or Hollywood. He requested active service. And in the few short months since he was called into active service, he has\nThe man has seen dangerous action on three fighting fronts. His first assignment took him to Alaska and the Aleutians, where he flew over Jap-held Kiska on reconnaissance for the Signal Corps. His next assignment took him to England, where he took commando training and participated in at least one hard-fought Commando raid. His latest assignment took him to North Africa, where he participated in both the preparation and the actual land fighting of the invasion, filming a complete motion picture record of this major American military campaign. Where his next assignment may be, no one can tell; but anyone who knew or worked with him in Hollywood can tell you that if he has anything to say about it, it will be wherever there\u2019s the hardest and most dangerous work to be done. And the pictures he brings back, like his African invasion film which is shortly to be released.\nWe haven't cited Col. Zanuck's record because of his former industry position, but because he has been the most spectacularly attacked, and because we believe his record is typical of those of the hundreds of trained picture-makers Hollywood has given to the Army. There may be some military misfits and pink-tea officers who have made Hollywood their home address \u2013 that's always likely when swift and tremendous military expansion is taking place. But we don't believe Senator Truman or anyone else can point to one man from Hollywood's film industry whose peacetime achievements indicated he had anything on the ball, who isn't more than pulling his weight in the Service.\n\nFor to us, Hollywood's attitude is typical.\nA cameraman visited us after Pearl Harbor, expressing concern, \"I'm not worried about a commission. I was an officer in the last war, but I'd join as a private in this one. I don't want an easy desk job; I want to take off my coat and work hard on making pictures. Rank or swank don't interest me, but I want a chance to use my skills for my country!\"\n\nUnheralded industry heroes are contact-men from raw film organizations. Their official duties include promoting sales, addressing technical complaints, and keeping cameramen informed about their film's technical performance.\n\nHowever, their unofficial contributions to the industry and camera profession are significant.\nThese individuals far exceed their roles. Without exception, they act as professional counselors and friends to men of the camera. They act as unpaid publicists and business agents for cinematographers, particularly for those who may be out of a job or \"between pictures.\" Times without number, they have secured jobs for cinematographers\u2014often for men who didn't even know they had such advocates working behind the scenes.\n\nAny one of them has alone done more for cameramen than all the agents and \"artist representatives\" who have ever attempted to secure jobs for cinematographers. Repeatedly, they'll go to executives and camera chiefs and tell them frankly they're making a grave mistake in letting this man get away from them, or not hiring that one. And these executives accept the film salesman's word because they know he has no axe to grind. He receives no ten percent from\nThe man sells to a studio; no gift or salary cut-back \u2014 often not even a word of thanks. It seems to us that it's about time these men received some tangible expression of the camera profession's appreciation for their untiring service to cinematographers, individually and collectively. The war has honors for those who give service \"above and beyond the call of duty.\" We who benefit by it should give honor, too, to these men \u2013 cinematographers \u2013 that same sort of service above and beyond the strict letter of their jobs as film-salesmen.\n\nAmerican Cinematographer \u2022 March, 1943, p. 93\nA.S.C. on Parade\n\nNow it's Major Ted Tetzlaff, A.S.C., U.S.A.A.F. Right in the middle of putting RKO's \"Free For All\" on film, the Army Air Force pinned a pair of gold maple-leaves on his shoulders and put him into training for active foreign service. Meaningless.\n\nMajor Ted Tetzlaff, A.S.C., U.S.A.A.F., was in the process of filming RKO's \"Free For All\" when the Army Air Force awarded him with gold maple-leaves and sent him for active foreign service.\nWhile Frank Redman, A.S.C. took over the completion of Major Ted's picture, and reportedly has everyone at RKO doing raves over the swell job he's doing. From the \"hot corner\" of the South Pacific comes word that Lt. Phil Chancellor, A.S.C., U.S.N.R., has received a well-earned promotion and is now Lieutenant Commander Chancellor, Photographic Officer on the Staff of the Commander of Aircraft in that busy area. Winton Hoch, A.S.C. is now in uniform as a Senior Lieutenant in the U. S. Navy. Among uniformed visitors in February was Capt. Wilfrid M. Cline, A.S.C., U. S.A.A.F., in town briefly from parts unknown, en route to more of the same. Another visitor was our Washington representative, Reed N. Haythorne, A.S.C., out here on a Government camera assignment.\n\nRoy Hunt, A.S.C., away from Hollywood on a military hush-hush note.\nspecial mission for the Army, according to Army announcement, is \"outside the continental U.S.A.\" And Bert Glennon, A.S.C., draws the prize plum of Technicoloring Irving Berlin's \"This Is The Army\" for Warner Bros., on a new contract that will keep him there for some time to come.\n\nShed a tear for A.S.C.-Prexy. Fred Jackman: his ration board let him get a brand new Buick and gave him a \u201cC\u201d card \u2014 and then Fred got laid up with intestinal flu and couldn't use either of them!\n\nWith three days of shooting left to finish \"Old Acquaintance,\" Sol Polito, A.S.C., had the bad luck to tumble off a camera-parallel and break his ankle. So Arthur Edeson, A.S.C., stepped into the breach to finish the picture. Here's wishing Sol a speedy recovery!\n\nOn the Warner lot we were startled by a lusty hail from a construction site.\nL. Wm. O'Connell (Connie), A.S.C. at Columbia, is filming \"Blondie Buys a Horse.\" It's now 1st Lieutenant Tom Tutwiler, A.S.C., who has been taken by the Army Air Force. Good luck, Tom, we'll miss you! Ernest Haller, A.S.C. has received the Director of Photography assignment on Warner's \"Saratoga Trunk.\" Congratulations to Ralph Staub, A.S.C., who has recovered from pneumonia and started his 11th year with Columbia, producing \"Screen Snap-shots.\"\nJohn Seitz, A.S.C., was bedded by \"flu,\" so Theodor Sparkuhl, A.S.C., pinch-hit for him filming Paramount's \"Five Graves to Cairo.\" Elmer G. Dyer, A.S.C., was just about to be sworn in as a Major in the Army Air Force. Those wings indicate he's the camera-toting member of the flying crew. At Universal, Paul Ivano, A.S.C., was assigned to film \"You Go To My Heart.\"\n\nOne of the town's better columnists tells us about Lt. Charles W. Herbert, A.S.C. Last year, when Herb went into the Army he decided to sell his photographic equipment, as he certainly wouldn't be using it \"for duration.\" When he got his assignment to active camera-duty, the Signal Corps issued him \u2014 you guessed it! \u2014 his own camera!\n\nAt MGM, Lester White, A.S.C., and others were working.\nHal Rosson, A.S.C. and others smile over new contracts at 20th-Fox. Dan Clark, A.S.C. and Eddie Snyder, A.S.C. are anchored for another year at 20th-Fox via contracts. George Robinson, A.S.C. heads the photography department of Universal's \"School for Jive.\"\n\nAt MGM, Harry Stradling, A.S.C. gets the nod to put the Ratoff-Pasternak epic, \"Russia,\" on film. For Sam Goldwyn, Jimmie Howe, A.S.C. is assigned to another Russky Kino, \"North Star.\" After that, Jimmie is due to report back to Warner's on a new term contract, unless an important Government assignment \"breaks\" first.\n\nRussell Metty, A.S.C. is busy at RKO filming \"The Sky's the Limit\" with Fred Astaire and Joan Leslie.\n\nMarch 94, 1943 \u2022 American Cinematographer PHOTOGRAPHY OF THE MONTH THE HUMAN COMEDY Metro-Goldwyn-Mayer Production.\nDirector of Photography: Harry Stradling, A.S.C.\n\nThis picturization of William Saroyan\u2019s much-discussed story must inevitably go down as one of the really great pictures of all time. In every phase, it has the simplicity and moving power of true greatness. There is not a scene nor an action which does not ring true, to bring to the screen the most sincere and realistic presentation of real America that we have ever seen.\n\nThis applies just as much to Harry Stradling\u2019s photography as to the rest of the picture. He contributes enormously to the production: his camera-treatment maintains a superb balance between documentary realism and a subtle \"different\" treatment in lighting and composition which enhance the dramatic values of the story without ever becoming theatrically obvious. Without doubt, it is his greatest camera achievement so far.\nWe could express our enthusiasm for this picture and its photography extensively, but it would all urge readers, especially those in foreign countries, to see this picture for themselves. It is the finest picturization of American life and ideals ever screened. If you miss it, you will regret it. \"The Human Comedy\"\n\nArnold Pressburger Production; United Artists\u2019 Release.\nDirector of Photography: James Wong Howe, A.S.C.\n\nThis melodramatic picturization of the Czech \"underground\" movement is unusually good entertainment. In addition to its timely anti-Nazi theme, it is a more than ordinarily good melodrama. Both the story and the direction of camera-wise Fritz Lang have afforded James Wong Howe, A.S.C., unusually good opportunities.\n\"fine opportunities for photographic effectiveness. His treatment is throughout a study in the dramatic use of composition and effect-lighting. In only one sequence can we find any serious criticism with his treatment: this is in the sequence in the cafe where Anna Lee starts the cleverly-motivated movement to trap Gene Lockhart. In the scenes where she and the waiter approach Lockhart, the composition in both long and medium-shots is seriously weakened by the inclusion at the right of the frame of the face of an extra girl which consistently distracts attention from the action of the principals. For the rest, \"Hangmen Also Die!\" is worth seeing as an example of fine melodramatic cinematography and for its interesting plot construction and presentation.\n\nUnited Artists\u2019 Release.\nDirector of Photography: Ronald Neame, A.C.T.\"\nNoel Coward's picturization of a British destroyer and its crew is another outstanding example of fine craftsmanship. Produced in England under wartime difficulties, it reflects endless credit upon all concerned. The photography by Ronald Neame, one of Britain's foremost cinematographers, is one of the finest pieces of camerawork ever to come out of England. It shows clearly how capably, and in what fine spirit Britain's A.CT. fellow-cinematographers are carrying on. Unfortunate space limitations prevent a more detailed review of this exceptionally fine production. We sincerely congratulate Cinematographer Neame and Producer-Director Coward on making one of the year's outstanding films, and one which we urge all our readers to see.\n\nThe Amazing Mrs. Holliday\nUniversal Production.\nDirector of Photography: Elwood Bredell, A.S.C.\n\nGiven the challenges during the production of this film - it was stopped and started four or five times, with directors changed and stories rewritten - it is impressive that \"Woody\" Bredell, A.S.C., achieved such a smoothly consistent piece of cinematography. It is not easy to produce a visually cohesive film when there are intervals of days and even weeks between bursts of shooting, during which story concepts and treatments are fundamentally altered. Yet Bredell managed it with surprising success. He provides the film with the required opulent visual mounting and handles the players well, including the now fully grown-up star. Occasionally, traces of the difficulties can be seen - a sequence here that might have been better photographed.\nThe scene or two in a higher key, which appear to have been printed down to the detriment of flesh values, yet Bredell's skill and adaptability brought him most successfully through what must have been a very trying assignment.\n\nTHE IMMORTAL SERGEANT\n20th Century-Fox Production.\nDirector of Photography: Arthur Miller, A.S.C.\n\nThey handed Arthur Miller an unusually difficult assignment when they gave him the task of photographing \u201cThe Immortal Sergeant.\u201d There are really two stories, which require diametrically opposite camera-treatment, but which are intercut as one. The story of Henry Fonda's pre-war life is told in flashback form. On the one hand, these pre-war sequences called for sparkling, high-key camerawork. On the other, the basic story of a British patrol lost in the Libyan desert calls for day exteriors.\nRugged documentary quality and a preponderance of virile night-effects characterize Miller's production in They Got Me Covered. His skillful blending of these conflicting elements into a coherent and relatively smooth film is a testament to his technical and artistic abilities, not excluding his Academy Award achievement of the previous year.\n\nDirector of Photography: Rudy Mate, A.S.C.\nSpecial Photographic Effects: Ray Binger, A.S.C.\n\nThe combination of typical Bob Hope ad-libbed comedy with a melodramatic story in this picture presented a challenging assignment for Director of Photography Rudy Mate, A.S.C. However, he has delivered his customarily fine performance at the camera. He keeps his players looking unusually well, particularly Dorothy Lamour, whose appearance in this picture is noteworthy.\nThis production of \"Stranger in Town\" by Metro-Goldwyn-Mayer features impressive performances, particularly from the actress, who is far better than in any recent black-and-white production. Mate's effect-lighting is noteworthy, such as the sequence in the abandoned factory that used a real abandoned gas-works as a background instead of a studio set. Art Director Perry Ferguson's contribution is another interesting aspect, especially how he and Mate managed to give the film significant \"production value\" despite current restrictions on set-construction. Ray Binger's special-effects work also deserves praise.\n\nMetro-Goldwyn-Mayer Production.\nDirector of Photography: Sid Wagner, A.S.C.\n\nThis unassuming little program offers more charm and entertainment than many \"A\" productions we could mention. Sid Wagner's cinematography is noteworthy.\nwork smoothly complements the rest of the production. His interiors are excellently handled, and his exteriors feature models of fine outdoor camerawork. He presents his players to unusually good advantage. This is particularly true of his treatment of Frank Morgan and Porter Hall, the latter appearing to better photographic advantage than we've ever seen him. All told, this picture is one we can recommend both as photography and entertainment.\n\nAmerican Cinematographer \u2022 March, 1943, p. 95\n\nA \"Model EE\" Grows Lip\nBy Philip A. Jacobsen\nTechnical and Research Director, Campus Studios, University of Washington\n\nNecessity is a good stepmother to Invention. She encourages honesty and does not bother with superficial refinements. She is not afraid of hard times and rough going. Necessity's adopted son seldom picks his haberdashery from Esquire and pragmatically solves problems.\ntechnically never rides in luxury, but those who know him best say that his homemade get-up belies his unusual performance and that the roads he travels with his \"haywire old buses\" and strange new rigs often get him there ahead of schedule. Hard-working and frugal, Necessity is not much like the romantic, generous and easy-going mother who bore most of today\u2019s crop of young movie-men but she is respectable and determined, and she has no intention whatsoever of abandoning her role as stepmother while it takes an AA-5 priority or better to put photoflood light in dark places. If your dreams of 16mm sync-motor driven cameras, dual-system recorders, Moviolas, batteries of film phonographs and lockers overflowing with \u201cNumber 4\u2019s\u201d and Kodachrome are suddenly interrupted by this strange woman calling you to breakfast in your war-stricken kitchen, you had better be prepared.\nI started calling Old Lady Necessity \"Mother\" in 1937 and she has been the recognized head of my family ever since. In that year, my plans called for sound-on-film by 1938 at the very latest. In 1938, I postponed the \"sound-where-it-belongs\" business until 1939. In 1939, I started shooting some backgrounds for the great sound-on-film job but put off the lip-sync stuff until 1940. In 1940, I rewrote the entire script, eliminating all sync sound, photographed everything \"silent\" on color ribbon but saved the post-film recording for 1941. In '41, Necessity, working overtime, figured out a way to get our Eastman Model EE into long pants. The scheme called for man-size 1,600-foot arms, a stilt to keep the new reel-holders off the deck, a threading light, and a fancy lever.\nOur studio technician objected to modifying a functional projector to create a new speed control and install a flashy neon speedometer. However, we persuaded him back to the workshop by promising that the hospital bill would be under thirty dollars and that he could gain recognition in The American Cinematographer if he succeeded. Building a few arms and spindles was not a difficult task for a skilled craftsman, but someone prevented him from completing the project by pointing out that the reel arms on an \"EE\" model were interchangeable with the 1,600-ft. arms on an Eastman FS-10.\nCloser inspection convinced us that the longer belts on the 1,600-foot capacity FS-10 would also fit the rearmed \u201cEE\u201d without the need for \"jimmy\", hack saw or torch. In Figure 1, the FS-10 arms grafted onto our grown-up \u201cEE\u201d are labeled \u201cA\u201d.\n\nAdditionally, we received good news from our purchasing agent. He smiled when he found out he wasn't expected to buy a complete FS-10 to get each set of arms requisitioned, so we took advantage of this by persuading him to buy new arms and belts for all the \u201cEE\u2019s\u201d on hand. We also added orders for several Eastman Model G threading lamp assemblies and start-stop-threading light switches. In our photographs, \u201cL\u201d designates the threading lamp unit.\n\nWhile we were at it, we decided to address the speed-control resistor on the \u201cEE\u201d. This control will\nTo completely stop the projector motor and cooling fan without switching off the 750-watt light and heat source, position them in the \"all in\" position. This results in extreme heat in the lamp house and around the picture gate, making the operator dumb enough to stall the motor and become quite angry.\n\nWe discovered that a fixed resistor of the correct value in parallel with the variable control rheostat would prevent the motor from completely idling. However, we had a nice Ward Leonard control with a higher dissipation rating and the exact resistance, which could be installed without excessive force. We couldn't resist using it. With this modification, the speed-control resistance in the \"EE\" component couldn't be forced to run at any speed.\n\n[Andrew B. Jacobsen (Now on RADAR research at M.I.T.).]\n\nMarch, 1943 \u2022 American Cinematographer\nTo keep the 1,600-foot reels from dragging, an extension bar was inserted between the base of the \"EE\" and the head of the projector. The backward rake of the piece is just enough to counterbalance the turning moment of a 1,600-foot reel when loaded. The fiber gear and brass pinion \"T\" with the associated handwheel were incorporated to make it easy to find the screen with the picture. Two rollers indicated by \"P's\" were installed to ensure smooth film feed and take-up from the larger reels. The final surgery was performed in the interest of speed control, accurate enough for semi-synchronization.\nAn abdominal operation was performed, and the shaft mounting the upper sprocket wheel was removed and replaced with a longer one to reach through the projector's inner cover. This view also shows a new bearing, complete with oil-hole and well, installed to prevent shaft wandering. Near this shaft, on a piece of bakelite, two terminal lugs were mounted to which a small neon lamp was directly soldered. Connections were made from the neon lamp to the 110-volt circuit at a point where full voltage was applied to the lamp whenever the motor turned over. A hole large enough for both the new shaft and the neon lamp head to protrude was carved in the soft metal cover-plate.\nA hollow cylinder with one end open was fashioned from thin tubing and sheet brass to form the stroboscope wheel. Forty holes were drilled in the cylinder face. We were told that this is just the right number to indicate when the Model EE is pulling film past the light gate at 24 frames per second. On the opposite page, the Model E in its original condition and as rebuilt to take 1600-ft. reels. Above, the details of the conversion. P indicates idling rollers added to smooth feed and take-up with extended reel-arms; S indicates the stroboscope drum; R, the extended shaft which revolves the \"strobe\"; B, its bearing; and N the neon lamp which illuminates the stroboscope.\n\nSomeone with a degree in mathematics figured the new shaft would turn three revolutions per second when the machine was turning up sound speed.\nThe sprocket on this shaft has eight teeth, so thirty revolutions would be twenty-four. Forty holes per revolution at three revolutions per second equals 120 holes per second. A neon lamp on a sixty-cycle source flashes on both peaks, meaning it gets bright 120 times per second. This is how a neon light behind a 120-hole-per-second stroboscope should blink to keep the \"strobo's\" spots still. We drilled forty evenly-spaced holes, but since all our pictures are taken for sound speed projection, we've never had the time to add an additional set of twenty-seven holes.\nThe cylinder indicated 16 frames per second. It may take years to make a set of 26 2/3 holes for exact 16 frames per second with our drill press. The outboard end of the new shaft was drilled and tapped for an 8-32 machine screw, along with a pin, to hold the stroboscope cylinder in place. (\"S\" represents stroboscope in the illustrations.) This completed the reconstruction, and the projector was named \"Model EE Series J\" by adding Kodascope oil to the oil holes. The launch followed a trial run with some crew holding their breath and others their noses.\n\nTo my great relief, the reincarnated \"EE\" treated a 1,600-foot film roll to as smooth a ride as a 16mm picture can get on any machine costing less than $1,200. Additionally,\nThe stroboscope proved to be a good indicator of \"out of bounds speed operation.\" Even lip-sync sound on disk could be handled by a patient and attentive operator. Our success braced us for our next and most precarious step.\n\nTo keep the adult series J company on trips, we built a transcription player with a frieze of functional white spots running around the rim of its turntable and a neon flasher to chase these spots forward and backward when the platter turner wasn't rolling on the nose at 33 1/3 RPM.\n\nBefore we finished everything necessary to force our cine-disk production on the audiences, our public relations director was trapping us. We had almost run out of days and nights tagged 1941.\n\nFinally, amid cat-calls and mud from both silent and sound-on-film armchair experts, and with some real misgiving on my part, we pushed the show.\nAnd we stepped out the alley door of the studio and onto the road. Immediately, that miserable \"going to get fired\" feeling enveloped us. We waited for over a month, we waited. I packed my bag and waited, fully expecting a telegram from the unfortunate operator sent out with our \"big mistake,\" telling us that he was closing the season with a special showing for his new schoolmates at the State Insane Asylum.\n\nInstead, to my utter astonishment, we finally received an entirely different kind of letter. It read: \"Hello Gang. Maybe they won't padlock the studio. Surprise!! Your kaleidoscope of unintegrated color, message and transcribed sound, 'University' is getting by in the best of yokel circles with nary a slur on your necessity-mothered sound-on-disk. So easy to operate that I fell asleep during last night's show and didn't come to until the end.\"\nfinish fades when someone turned on the house lights and the applause started.\n\nTitle: Professionalizing The Bolex\nAuthor: WILLIAM STULL, A.S.C.\n\nThe criticism most frequently levelled against most 16mm cameras for professional or advanced amateur use is that they do not provide for a professionally accurate method of ground glass focusing. One or two more or less custom-built \u201c16-pro\u201d designs do provide this feature. But most of the better-grade 16mm cameras of the types used by the majority of 16mm professionals and advanced amateurs do not. They may provide ground glass focusing, but not with the necessary precision.\n\nAbove, left, the \"professionalized\" Bolex; middle, camera in photographing position, and (right) in focusing position. Below, the camera in shooting position (above) and focusing position (below).\nThe lens in actual photographing position. Usually, the image is too small for precise work, and the focusing eyepiece is unhandily located. But William A. Palmer of San Francisco, one of America\u2019s foremost experts on 16mm., has recently remodeled a standard Bolex 16mm. camera to conform to standard 35mm. professional practice in this respect. Like a 35mm. studio camera, Palmer's professionalized Bolex has a handle-operated \u201cthrow-over\u201d which moves the camera-head to one side and away from the lens, bringing into place behind the lens a ground glass focusing screen with a suitable magnifying system. This enables him to focus on an enlarged and laterally correct image while the lens is in actual photographing position. In making this conversion, the original Bolex was left virtually unchanged. It can be removed from the device.\nThe foundation of Palmer\u2019s conversion is a shift-over mechanism he developed some years ago to eliminate parallax in the Bolex's visual focusing arrangement. This consists of a base on which the camera is mounted, and built up from two castings connected by a spring-tensioned cam and lever linkage. Originally, this was used to drop the camera downward and to the left so that the lens, when rotated on the turret to bring it in front of the Bolex\u2019s visual focuser at the upper right-hand corner of the camera, occupied the same position it would when shooting. For photographing, the shift-over handle was given a half turn, lifting the camera up and to the right so that with the lens in its new position, it aligned with the photographic focusing screen.\nin front of the aperture, it would occupy the same position as in focusing, eliminating parallax worries. This was an improvement, but it was by no means fully satisfactory, as the position of the camera\u2019s focusing eyepiece was inconvenient, and the magnification inadequate. The next step was to make the design fully professional, providing a means for moving the camera out of the way and swinging a focusing system into place without moving the lens from shooting position. The construction of the Bolex facilitated this. The Bolex happens to be one of the very few turret-equipped cameras in which the turret is not inset in the front-board of the camera. Instead, the turret is virtually a separate unit, mounted in front of the camera housing. This made it possible to remove the entire turret unit while keeping the lens in place. (March, 1943) \u2022 American Cinematographer (Continued on Page 108)\nIT'S UNANIMOUS.\nPROFESSIONAL JUDGES of PROFESSIONAL PHOTOGRAPHY have handed down their sweeping decree in favor of Eastman Negatives \u2014 nominated for the Academy Award for outstanding Photographic Achievement in 1942.\nALL 10 Photographed with Eastman Negatives \u2014\nPICTURES\n- King's Row\n- Magnificent Ambersons\n- Moontide\n- Mrs. Miniver\n- Pride of the Yankees\n- Pied Piper\n- Take a Letter Darling\n- Talk of the Town\n- Ten Gentlemen from West Point\n- This Above All\nCAMERAMEN\n- James Wong Howe\n- Stanley Cortez\n- Charles G. Clarke\n- Joseph Ruttenberg\n- Rudy Mate\n- Eddie Cronjager\n- John Mescall\n- Ted Tetzlaff\n- Point Leon Sfiamroy\n- Arthur Miller\nSTUDIOS\n- Warner Brothers\n- RKO (Mercury)\n- 20th Century Fox\n- Metro-Goldwyn-Mayer\n- Samuel Goldwyn Productions\n- 20th Century Fox\n- Paramount\n- Columbia\n- 20th Century Fox\n- 20th Century Fox\nTo these honorees,\non behalf of the cinematographic community,\nsincere appreciation is extended.\nFORT LEE.\nJ. E. Brulatour, Chicago Hollywood\nThe Useful Hyperfocal By Joseph Walker, A.S.C.\n\nHyperfocal Distances\nFocal Length of Lens.\n2 inches.\n3 inches.\nStop.\nHyperfocal Distance in Feet.\n1.5 ft.\n2.7 ft.\n\nCORRECT focus is an absolute essential to good photography. In some types of amateur and documentary filming, minor errors in exposure, composition, and lighting may at times be considered forgivable. But unless a scene is in good focus, it\u2019s of no use to either the professional or the amateur.\n\nThe professional cinematographer, of course, has a double check on his focus. First, he is able to study the actual image, right-side-up and highly magnified on a ground glass focusing screen. In addition, it is standard practice to measure the distance from camera to subject with a tape-measure before every shot and set the lens accordingly.\n\nBut the substandard cinematographer...\nDoesn't enjoy these advantages. Only a few 16mm. or 8mm. cameras permit any kind of ground glass focusing, and only a very few of these give the ground glass image magnification great enough and critical enough to permit absolutely precise focusing. Only a very few of the more careful-minded amateurs take the trouble to work professionally, running a tape before each scene. And while an interconnected rangefinder would be invaluable in substandard camerawork, thus far only one amateur camera so equipped has appeared on the market. So focus remains headache No. 1 of home moviemaking.\n\nTo some extent, the extreme focal depth of the short-focus lenses generally used on 16mm. and 8mm. cameras can cover up minor errors in focusing. But not always \u2014 as most users of focusing-mount substandard cameras can testify from sad experience! And even in good lighting conditions, the depth of field is often insufficient to keep the entire subject in focus. Therefore, precise focusing is essential for producing high-quality home movies.\nA scene where you've guessed wrong in adjusting the lens of a focusing-mount camera is usually worse than what you'd have gotten under the same circumstances with a simpler, fixed-focus lens. The answer is that the manufacturer of the cheaper, non-focusing lens has taken advantage of a very useful little optical fact and mounted the lens so that it is permanently focused at its hyperfocal setting. You can make this same optical fact work even better if you have lenses in focusing mounts. Especially when you're working under pressure, making scenes of the \"grab-it-quick\" type, where you want to minimize fiddling with and thinking about basic camera mechanics, you can often set a lens at its hyperfocal setting and then forget focus, confident that (at least on most normal shots) everything important in your picture will be in focus.\nTo achieve sufficient sharp focus, you need to understand the concept of hyperfocal distance. This distance is significant for two reasons. Firstly, it is the point at which all objects are in focus when the focus is set at infinity. Secondly, and more importantly, if you focus the lens at the hyperfocal distance, everything from half that distance to infinity will be sharply defined. For instance, if the hyperfocal distance is 25 feet, everything from that point to infinity would be adequately sharp with the lens at infinity focus. Alternatively, if the lens is placed at the hyperfocal setting of 25 feet, everything from 12.5 feet to infinity would be adequately sharp.\n\nThe hyperfocal distance depends on three factors: the focal length of the lens.\nThe aperture and circle of confusion in lenses: The term \"circle of confusion\" refers to the diameter of a lens's image of any given point in the subject. If lenses were perfect, the image of a point would also be a point. However, even the finest lenses cannot bring the images of all wavelengths or colors of light to a focus in the same plane. Instead, some wavelengths will come to a focus on the plane of the film, while others will be focused microscopically behind or in front of it. This results in an image on the film slightly larger than the actual point. Practically, the image of the point is reproduced as a circle rather than a point. Maybe it is microscopically larger.\nThe size of a circle of confusion, though small, is still measurable as a circle instead of a point. The size of this circle is a significant factor in image definition. Generally, the finer the lens, the smaller its circle of confusion. A lens used for less exacting work can be based on a larger circle of confusion than necessary for exacting work, such as cinematography. For still-camera work and some 35mm. cine work, a circle of confusion of 0.002 inches in diameter may be acceptable. However, for professional 35mm. cinematography, and for all 16mm. and 8mm. cinematography (where the relative enlargement in projection is greater), a smaller circle of confusion is required.\nThe permissible circle of confusion for 16mm is smaller than in 35mm. The permissible circle of confusion must be taken as 0.001 inch. The following table will give you the hyperfocal distances for the most commonly used substandard lenses over the general range of stops. It is easy enough to figure out the hyperfocal point for any lens and stop for yourself. The formula is:\n\nIn other words, the hyperfocal distance (H) equals the focal length of the lens (F) multiplied by itself and divided by the product of the f-stop (f) and the circle of confusion (C). For any one lens, two of these factors \u2014 focal length (F) and circle of confusion (C) \u2014 remain constant. The other two may vary, and therefore influence each other.\n\nNow let's see how this works in practice. Suppose we have a 2-inch lens and use it at f/2.5. Assuming the circle of confusion is 0.01 inch:\n\nH = F^2 / (fc)\nH = (2)^2 / (0.01 * 2.5)\nH = 16 / 0.025\nH = 640 inches\n\nSo, the hyperfocal distance for this setup is 640 inches.\nof confusion to be 0.001 inch, and substituting these numerical values into our formula, we have \u201cH\u201d equal to 2x2 / (2.5 * 0.001). This works down to 4 / 0.0025, and gives us 1600 inches or 133 feet. If the lens is focused at the 133-foot point, everything from a point about 65 feet from the lens to infinity will be sharp.\n\nNow, let's stop down the same lens to 100 f-stops.\n\n15024 Devonshire Street, San Fernando, California\n\nDear Arthur and Mike,\n\nA few hours ago I came out of the theatre where I saw your picture \"Casablanca.\" I am writing this because I want you both to know how I feel about the very fine job you have done together. Since I saw the magnificent work Jimmie Howe did in \"Transatlantic\"\nTwelve years ago, I have not seen a picture that impressed me with its realization of what fine camerawork can mean to a production as did your joint achievement in \"Casablanca.\"\n\nJudged by the yardstick used to measure the enduringly great pictures of all time, \"Casablanca\" may or may not be what the critics would call a \"great\" picture. But it is fine entertainment. And it is a truly great example of fine film craftsmanship and of teamwork between the director and the director of photography. As one film craftsman to another, I want to offer my sincere congratulations to both of you on this achievement.\n\nGenuine cooperation and craftsmanship are things we see all too little of these days... particularly the sort of understanding cooperation between director and cinematographer which made \"Casablanca\" so effective visually.\nThe director often ignores the camera entirely, using it only as a machine for recording scenes literally. Alternatively, he may become excessively conscious of the camera and overload his picture with \"arty\" tricks of focus and angles, which play no real part in advancing the story or building up dramatic moods. All cinematographers know that these jugglers' tricks are not good cinematography. But if his directorial partner shows so little understanding of the real meaning of his medium as to insist on filling his picture with out-of-place tricks, what can the poor cinematographer do but deliver them and grow discouraged in the process?\n\nTo you, Mike, I want to express my admiration for an artist who knows the value of legitimate cinematography.\nAlmost finally, the fine cinematography and you, as evidently shown on the screen not only in this picture but in all of your productions, are always willing to give your cinematographer a free hand to contribute outstandingly to the benefit of the production. To you, Arthur, I want to express my admiration for having risen so magnificently to the opportunities Mike and \"Casablanca\" gave you, and turning in the crowning achievement of a long and distinguished career. For too many years, you have been assigned to productions which did not give you any opportunity to demonstrate the skill your fellow-cinematographers know is yours. But when the opportunity came, your mastery of all the resources and subtleties of cinematography enhanced both the dramatic and the physical values of the production. I am sure that what I saw on the screen was put there by you.\nThere is no need to clean the text as it is already perfectly readable and free of meaningless or unreadable content. The text appears to be written in modern English and does not contain any introductions, notes, logistics information, publication information, or other content added by modern editors that obviously do not belong to the original text. Therefore, I will output the text as is:\n\nYour picture unfortunately is not up for the Academy Award this year, but you can have mine any time you want it. An achievement like yours deserves the highest recognition your fellow cameramen can bestow. I know you were backed up by a fine and far-seeing studio organization, from producer Hal Wallis right on down the line. But if there had not been outstanding ability, understanding, and cooperation on the set, I would not be writing this letter. You may wonder why I am doing it, anyway, since I am at another studio under a contract which still has four years to run. The answer is simple: I feel that now, perhaps more than ever before, our industry, and the world at large, need fine pictures. Above all, I want to acknowledge your skill in lighting and composition, which is far more important than anything that actually existed on the set.\nAll, we need the kind of understanding and sympathetic teamwork between director and cinematographer of which your picture was such an outstanding example. In the old days, this sympathetic understanding between the two key men of production used to be general; but of late, something \u2014 perhaps the perpetual rush to meet production schedules \u2014 has crowded it into the background of our daily work. I am sure I speak the sentiments of all the industry's cameramen when I say that we of the camera profession look forward to the day when that type of cooperation and craftsmanship will again be the rule rather than the exception. But until that day comes, it is only fair that those who show us, as you and Mike have, what can be achieved when cameraman and director work together as an understanding and brilliantly cooperative team, should be given recognition.\nOur heartfelt admiration and appreciation. I also want to extend my personal thanks to both of you for giving one cameraman a thoroughly delightful evening.\n\nSincerely,\nKARL FREUND, A.S.C.\n\n(Advertisement)\nAmerican Cinematographer \u2022 March, 1943\nPractical Pointers On 16mm. Sound Projection\n\nBy John W. Boyle, A.S.C.\n\nThe Editor tells me that quite a number of amateurs have written to The American Cinematographer lately, asking for advice on how to operate the 16mm. sound projectors they are called on to use in showing civil defense films or in helping put on U.S.O. shows for troops in their communities. They\u2019re thoroughly accustomed to operating 16mm. silent projectors, but sound, they feel, adds a new element which brings up unfamiliar complications.\n\nReally, though, there are fewer of these complications than you might anticipate.\nModern 16mm sound projectors have been designed with simplified operation. The sound reproducing part is almost as easily operated and durable as your phonograph or radio. Details and arrangement of various makes and models may differ, but once you understand the basic principles of sound-film reproduction, you'll find it easy to operate any type of projector.\n\nThough sound and picture are printed on the same strip of film, they are not placed together literally. The picture must go through its projection aperture with an intermittent movement. The sound must go through its reproducing aperture with a continuous movement. Therefore, the sound which synchronizes with any given picture frame is printed on the edge of the film, 25 frames ahead.\nThe picture's sound-track is about TV inches below its aperture. The sound pick-up is positioned such that there will be approximately 25 frames of film between the picture and sound apertures when properly threaded. The picture projecting mechanism is usually an old friend, identical to the same manufacturer's silent projectors and threaded and operated in the same way. Even in new designs like the Eastman sound projectors, you will still find enough similarities.\nThe picture component is easily understood when it bears a resemblance to this. Only upon passing the lower driving sprocket do issues arise. From this sprocket, the film makes a fairly taut loop around the drum where the sound pick-up is located. In most designs, it then passes over another sprocket and through various guiding rollers and idlers to the take-up. The most crucial factor in good sound reproduction is ensuring the film moves past the sound scanning aperture at a truly smooth rate. Consequently, the sound pick-up is almost always situated at a drum. This drum is not driven by the projector mechanism; instead, it is revolved entirely by the friction of the film passing over it. In turn, the drum is connected to a fairly heavy flywheel or some other form of movement - smoothing \"damper.\"\nThat once started, it tends to keep revolving at a smooth and uniform rate, and to keep the film's motion uniform as well. Therefore, the tension of the film around the sound drum must be just right. If it's too tight, it is likely not only to tear the sprockets but to transfer to the film at the pick-up point a flutter or irregularity as the teeth of the driving sprockets catch in engaging and disengaging the film sprocket-holes. If it's too loose, you lose the value of the flywheel action, and the film may bulge forward off the flywheel, and out of the focus of the sound-scanning beam. The result in either case is bad sound quality. Different manufacturers have devised different methods of getting this tension right. Some projectors use various systems of spring-tensioned idling rollers. Bell & Howell, in their Filmo-projectors, use a centrifugal-tension system.\nThe oscillatory stabilizer in projectors functions through an ingeniously simple mechanism. It comprises two spring-tensioned rollers: one bearing on film feeding onto the drum, and the other on film feeding off the drum. Both rollers are mounted at opposite ends of a single pivoting arm at its center. When the film tightens too much against one roller, this pivoted mount automatically slacks off tension on the other roller, ensuring surprisingly uniform film movement.\n\nWhen threading film over the sound drum, avoid pulling it too tight. Instead, ensure it makes good contact with the drum without binding. Most 16mm sound projectors come with comprehensive instructions, including a typical layout of components. The specific arrangement of components varies in different projectors.\nAll essential parts of a projector, as indicated in the illustration, can be found in all makes. A complete threading diagram, either marked on the projector itself or prominently printed inside the projector's carrying-case or blimp, should remove all mystery from its operation.\n\nHooking up the wires for the sound part of the projector has been simplified and made as nearly foolproof as possible. With some projectors, a single lead may serve to feed power to both the picture-projection mechanism and the amplifier; but in most designs, there are separate power inputs for projector and amplifier. In some of them \u2013 like the Filmosound \u2013 a single power cable divides at the end into two female connections, which are plugged into adjacent receptacles.\nAs a rule, it doesn't matter which plug goes into which power input, as long as both receive current of the proper voltage and frequency. In some sound projectors, the amplifier is built as a separate unit; in others, it is built right into the base or its blimp. If the amplifier is separate, you will usually need a short cable to connect the amplifier to the sound pick-up. Otherwise, you won't, as the connection will be built-in. Finally, there must be a cable connecting the amplifier with the loudspeaker, which is of course placed \"down front\" near the screen. These various outlets and inputs are always clearly labeled. And just in case someone might get careless about making these connections, most manufacturers have arranged their wiring so that the right plug can only be put into the correct input.\nThe right hole. For example, the line from projector to amplifier may have a four- or six-contact plug, like the base of a radio tube, with one of the round contact prongs slightly larger than the rest, so that it will only fit into its correct hole, automatically aligning the other contacts correctly. The line from amplifier to speaker may have terminals with a different number of contacts, or perhaps a rectangular plug.\n\nMarch, 1943 \u2022 American Cinematographer\nEight of the Ten Best Pictures\nOf the Ten Best Pictures, selected in the Film Daily's critics poll for 1942, eight were made on Eastman Negative Films. This gratifying result provides striking evidence of the strong preference for these high-quality films. Eastman Kodak Company, Rochester, NY.\n\nJ. E. Brulatour, Inc., Distributors\nFort Lee, Chicago, Hollywood\nPLIJS-X SUPER-XX\nFor general studio use when little light is available: BACKGROUXD-X\n\nFor backgrounds and general exterior work: Eastman Negative Films\n\nAmerican Cinematographer \u2022 March, 1943, p. 103\n\nAmong the Movie Clubs: \"New Horizon\" for Metro\n\nA \"bang up\" program of outstanding film fare, a discussion on continuity, and four examples of \"editing with the camera\" made the February meeting of the Metropolitan Motion Picture Club of New York an outstanding one.\n\nFilm fare started off with \"New Horizon,\" Randolph Clardy's famous 8mm. monochrome which won the Grand Prize in The American Cinematographer's International Amateur Movie Contest in 1936. This was followed by member Sidney Moritz's Kodachromed \"Sternwheeler Odyssey,\" as a prelude to Moritz's discussion on continuity. Then followed four camera-edited 8mm. films from the New York 8mm. Club's uncutted:\n\n(Assuming the last sentence is incomplete and should be included in the previous paragraph, as it seems to be describing the films that followed Moritz's discussion)\n\nFilm fare continued with the four camera-edited 8mm. films from the New York 8mm. Club's uncutted collection.\nFilm contest: 50 feet each from 8mm-ers. Victor Ancona, K. Koehler, A. McGregor, and E. Roeskin. The final feature of the excellent programme arranged by Joseph Hollywood was the new, Kodachromed version of \u201cIn The Beginning,\u201d by Fred C. Ells, one of 1942\u2019s best amateur films. Old-timers will remember that the original, black-and-white version of this picturization of creation, produced some years ago when Ells was living in Japan, won him international recognition as one of the world\u2019s foremost amateur filmers. The new version is interesting evidence of how much expertly-handled Kodachrome can add to a picture.\n\nLos Angeles Clubs Double Up\n\nDue to gasoline rationing and transportation difficulties in a sprawling city like Los Angeles, the city\u2019s two leading movie clubs \u2014 the Los Angeles Cinema Club and the Los Angeles 8mm Clubs \u2014 have combined efforts.\nThe club has decided to hold six meetings a year instead of twelve, meeting in alternate months and each inviting the other's membership to attend. The February meeting of the Los Angeles Cinema was well attended by 8mm members. The screen fare included \"War Against Waste,\" an outstanding 16mm sound-film documentary on industrial conservation produced by the Caterpillar Tractor Co., shown by Editor Wm. Stull of The American Cinematographer. This was followed by \"The Round-up,\" filmed by Guy Nelli; \"An Office-girl's Reverie,\" by Jacques Shandler; \"Yosemite,\" by Richard Orlow; \"This Wonderland of Ours,\" by C.F. Lenhart; \"Oregon-Columbia Road,\" by past-president William Hight; \"Sequoia and Arrowhead,\" by E. Pyle; and \"Beyond Yosemite,\" by Paul Kassen.\n\nAlice Claire Hoffman, Secretary.\n\nPrize Winners for 8-16mm:\nHighlights of the February meeting:\n\"War Against Waste\"\n\"The Round-up\"\n\"An Office-girl's Reverie\"\n\"Yosemite\"\n\"This Wonderland of Ours\"\n\"Oregon-Columbia Road\"\n\"Sequoia and Arrowhead\"\n\"Beyond Yosemite\"\nThe 8-16 Movie Club of Philadelphia presented two prize-winning scenario films from The American Cinematographer's library: \"White North\" and \"Prize Winner.\" Both films received premier honors in the Scenario-film division of the magazine's International Contests. The intricate set-building and costuming of the first film, and the homespun naturalness of the second, received much favorable comment.\n\nGeorge Burnwood\nTitle-Talk for Tri-City\n\nA practical demonstration on titles and title-making was the technical highlight of the February meeting of the Tri-City Cinema Club in Davenport, LA, Rock Island and Moline, IL. On the screen were \"Adventure At Six,\" a 200 ft. 8mm. Kodachrome film by Paul Severs; \"Alaskan Highway,\" a 400 ft. 16mm. Kodachrome film, shown through the courtesy of Elmer Jansen; and \"New York \u2014 the\"\nThe two-reel Kodachrome film \"Indian Summer\" by Carl Anderson, with musical accompaniment, won the Annual Contest of the Southern Cinema Club in South Gate, California. The officers for the coming year are Bill Fisher, President; Harold Robertson and Walter Cummins, Vice-Presidents; Enid Lindgren, Secretary; and C.C. Matheny, Treasurer. Ruth Fisher was the ex-Secretary. Washington was brought to Minneapolis for the February meeting.\n\nApproximately 14 films by members have been shown before the Club this season, all automatically entered in the Annual Contest, representing the largest number the Club has had entered in any Contest to date.\n\nWillis F. Lathrop,\nSecy.-Treas.\n\n\"Indian Summer\" (Southern Winner)\n\"Indian Summer\" is a two-reel Kodachrome film by Carl Anderson with musical accompaniment, which won the Annual Contest of the Southern Cinema Club in South Gate, California.\n\nThe officers for the coming year are: Bill Fisher, President; Harold Robertson and Walter Cummins, Vice-Presidents; Enid Lindgren, Secretary; and C.C. Matheny, Treasurer. Ruth Fisher was the ex-Secretary.\n\nA total of approximately 14 films by members have been shown before the Club this season, all of which have been automatically entered in the Annual Contest, representing the largest number the Club has had entered in any Contest to date.\n\nWillis F. Lathrop,\nSecy.-Treas.\nMinneapolis Cine Club. The vehicle was the camera of member Russ Duncan. He showed two films \u2013 \"This Is America,\" and \"Fire in Washington\" \u2013 the result, he says, of his long evenings and Sundays in Washington where, he claims, the days go twice as fast as anywhere else, and the nights and weekends are twice as long as they are in Minneapolis.\n\nRome A. Riebeoth.\n\nVaried Programs in Long Beach\n\nThe February 3rd meeting of the Long Beach (Calif.) Cinema Club had as its guest Jack Helstowski of the Whittier Cinema Club, who exhibited two films, \"Trials of Life,\" and a chiller-diller, \"Back From the Dead,\" both with sound made by a Presto synchronizer. Other films shown included \"White Water,\" by C.A. Willis of Merced, and three prize-winning films from The American Cinematographer's magazine.\nThe Philadelphia Cinema Club held its annual contest at the February meeting. Members of the Norristown and 8-16 Cinema Clubs were guests. Each film shown by a member receives a rating by vote of the members present. The following films were awarded: \"Library,\" by J. Kinney Moore; \"To the Ships of Sidney,\" by James A. Sherlock of Australia, and Randolph Clardy's \"Cattle Country.\" The work-meeting on February 17th focused on the initial stages of putting together members' unedited films. Story outlines were discussed for Robert Shoemaker's harbor films and Claude Evans' Boulder Dam pictures. Clarence Aldrich demonstrated title-making, and Myrtle Adams and Mrs. Everley served refreshments.\n\nLA NELLE FOSHOLT,\nPublicity.\nAt the end of the season, the six highest-scoring films are shown in competition. Former contest winners and members of the executive committee judged them. The prize-winners this year were:\n\nFirst Prize, \"Grand Manan,\" 16mm., by Robert Crowther;\nSecond Prize, \"New York Zoo,\" 8mm., by Dr. R. E. Haentze;\nThird Prize, \"Roaring Through the Rockies,\" 16mm., by President George Pittman;\nFourth Prize, \"Colonial Williamsburg,\" 8mm., by James Maucher.\n\nAlso shown was the runner-up, \"On the Vineyard,\" by Charles James.\n\nFrancis M. Hirst, Publications.\n\nHighlight of the February meeting of the Cinema Club of San Francisco was a demonstration-lecture on the \"V-Mail\" system by Director D. L. Redfield, illustrated by a short film prepared by the Eastman Kodak Co. He also showed Eastman's new \"Cavalcade of Color.\"\n\nLeon Gagne showed his 1200-ft. Kodachrome film.\n[Matt Draghicevich showed photographic slides of Lake County, a popular resort region, at various seasons. Past President John Smurr gave a talk on trick photography, which he had used effectively in several of his films. R.W. Arfsten, President. American Cinematographer, March 1943, 16 mm Business Films - The War Against Waste, Institutional documentary, 800 feet, black-and-white. Produced and presented by The Caterpillar Tractor Co. Photography by Frank H. Kirchner. Reduction-print and RCA 35mm recording by Chicago Film Laboratory. This picture is another excellent institutional film by the Caterpillar organization, which should be seen by the staffs of all America's war industries.]\nThis text describes a film called \"War Against Waste\" and praises its cinematography in depicting the material conservation methods in a great industrial establishment. Cinematographer Kirchner's use of lighting, camera angles, moving shots, and transitions make it an excellent example of modern industrial cinematography. The film maintains the rapid-fire tempo characteristic of Kirchner's earlier work while graphically showcasing the efforts taken in the Caterpillar plant to minimize waste of metals, cartons, and even paper. After watching the film, one feels inclined to view Chicago meat-packers in a different light, as they traditionally admit wasting parts of the pig.\nThe Caterpillar plant engineers would salvage that! The picture could be divided into two shorter productions. The first half of the present 800-ft. film deals with conservation of materials within the plant. The second half forms a virtually complete picture dealing with conservation of Caterpillar products in service, through salvaging worn or damaged parts by welding and similar repairs, which only a short time ago would have required complete replacements. Both parts are interesting, but it seems to us that as separate pictures, each could more actively serve its specialized audience. The film was photographed in 35mm. including an unusual number of excellent camera dissolves and other optical effects. The reduction print of both sound and picture by the Chicago Film Laboratory.\nThe story is a top credit to this organization. Using four or six rectangular bars \u2013 one of which is at right angles to the others \u2013 instead of round prongs for sound projection is an effective solution. In other words, as long as you don't try to force a plug into an input that won't accept it, you have very little chance of making a mistake.\n\nHowever, remember that both the projector and the amplifier require current, and a line must be established from the projector's sound pick-up to the amplifier, and from there to the loudspeaker, before the setup will project sound.\n\nSome sound projectors also have amplifiers designed to handle two sound projectors, allowing for professional changeovers without a break. In such cases, you'll see the two inputs prominently labeled \"Proj. 1,\" and \"Proj. 2,\" and a switch similarly labeled.\nMarked to control the changeover. Many amplifiers also have a couple of additional inputs, well labeled, for connecting a microphone or a disc turntable. On some better 16mm sound projectors, there is likely to be an additional control near the sound pick-up. It may be a little lever or a sliding knob or button. It is sometimes labeled \u201cFidelity.\u201d Its purpose is to alter the focus of the sound-scanning optical system, so that regardless of whether you have a reduction print from 35mm., which has the emulsion facing the lens, or a dupe from a direct-16mm. original, in which the emulsion is usually away from the lens, the sound pick-up will always be sharply focused, and the sound quality clear.\n\nThe sound controls of most 16mm sound-film outfits are no more complicated than those of your radio. You\u2019ll find.\nan \"off-and-on\" main switch, a volume control, and a tone control. Sometimes there may be two volume controls \u2014 one for sound-film volume, and the other for microphone or phonograph volume. These are clearly labeled. And sometimes you may find two tone controls, as in a fine radio, one to control the low frequencies, and the other the highs. These controls are used just as you would use the corresponding controls on your radio or phonograph at home. In some projectors, you\u2019ll find the tone control marked \u201clow\u201d and \u201chigh\u201d; in others, the high end will be marked \u201cvoice,\u201d as that is the setting that gives the best intelligibility, while the low end will be marked \u201cmusic,\u201d as that setting gives the stronger bass quality most folks like in recorded music.\n\nIt is important to realize that each individual projector, and each film, will have unique characteristics.\nEach reel has its own best settings for tone and volume. You can play the same reel on two different projectors, even of the same make, and find you'll require different tone and volume settings. Different reels will have different recording characteristics and will require different projector settings to get the best output. There is no fixed rule for making these settings; go by what sounds best to you, and don't be afraid to change tone or volume during a reel if you think you can improve sound quality. If possible, it is always a good idea to have a rehearsal before putting on a show to familiarize yourself with the projector's characteristics, the sound quality of the film, and the acoustical quality of the auditorium. In this connection, remember that if you rehearse in an environment different from the one where the show will be held, you may need to adjust your settings accordingly.\nIn an empty auditorium, increase the volume for the performance as the audience absorbs a significant amount of sound. Generally, maintain a volume level such that listening from the auditorium center results in appropriate sound. Avoid judging volume based on feedback from the projector, as it often results in excess loudness for the average audience.\n\nPlace the loudspeaker(s) on the floor below the screen for convenience, but for better sound quality and volume, position them higher up. The optimal location is behind and slightly above the screen, angled down towards the audience.\n\nThe actual operating controls of the equipment:\nA projector functions as a separate entity from sound controls, although they may be situated on the same panel in certain designs. There are distinct switches for turning the projector and sound on and off, a separate switch for the projection lamp, and in some machines, a control for running the projector at silent or sound speeds.\n\nWhen presenting a show, keep in mind that while the projector and projection lamp initiate simultaneously, the amplifier, similar to a radio, typically requires a minute or so for the tubes to warm up. Therefore, it is advisable to turn on the amplifier several minutes before the show commences. Some 16mm projectors feature a pilot light to signify when the amplifier is on and prepared to function; others do not. However, you can usually determine when the amplifier is ready by one or both of the following:\nIn many projectors, the exciter-light at the sound pick-up doesn't go on until all tubes are warmed up and operating. And, when the amplifier is on and everything is functioning, you'll hear a little hiss coming from the loudspeakers, caused by the glow from the exciter-lamp affecting the photocell of the sound pick-up and sending a little \"background noise\" through the reproducing system. Anyone who has ever given silent movie shows before an audience knows it is a \"must\" to have a spare projection lamp available at all times, in case the one in the machine burns out \u2013 as it always does at the most embarrassing moment. (Have you noticed they never seem to burn out when you're running your own film just for yourself?) Well, in sound projection, you should add to this a spare exciter-lamp.\nThe bulb is the shortest-lived component of the average sound projector. Without it, you cannot project sound. The photoelectric cells that translate sound into electrical impulses for the amplifier and loudspeaker are located here.\n\nTripod Head Unconditionally Guaranteed for 5 Years. Write for Descriptive Literature.\n\nThe friction type head provides super-smooth pan and tilt action with a 360\u00b0 pan and 80\u00b0 tilt range. A generous-sized pin and trunnion assure long and dependable service. \"Spread-leg\" design offers utmost rigidity and quick, positive height adjustments. A \"T\" level (like those used in heavy professional models) is built into this 14 lb. superb tripod. The top-plate can be set for 16mm. E.K. Cine.\nSpecial: 35mm. Devry and B & H Eyemo (with motor), and with or without alignment gauge. Many other features are graphically described in literature that will be sent upon request.\n\n\"Professional Jr.\" tripods are used by leading Newsreel companies, 16mm and 35mm motion picture producers, the U.S. Government \u2013 Signal Corps, Navy Department, and Office of Strategic Services \u2013 for important sound and silent work.\n\nAbove: Collapsible and adjustable telescoping metal triangle. Extends from 16.2\" to 26.2\". Has wing locking nuts for adjusting leg spread and stud holes for inserting tripod feet. Triangles prevent damage, ensure cameramen that their equipment remains in correct position and will not slip on or mar artistic type of surface.\nLeft: 35mm Eyemo with motor and 400 ft. magazines mounted on \"Professional Jr.\" American Cinematographer \u2022 March, 1943, page 107\nusually long-lived, but if you can carry a spare photocell, do it. In the same way, the amplifier tubes will take a good deal more use and abuse than those in a radio, but when they go, it helps to have a spare.\n\nHyperfocal (Continued from Page 100)\n\n11. This will give us 2x2 divided by 11 x .001, which evolves to 4 divided by .011, and in turn works out to a hyperfocal distance of 363 inches or 30 feet.\n\nAt this setting, everything from 15 feet to infinity will be adequately focused. For contrast, let's consider a very short-focus lens, like the 1214 mm. lenses used on 8mm. cameras. Working it wide open at :1.9, the formula would figure out as .5 x .5 divided by .0019, and gives us 131 inches.\nThe hyperfocal distance for this lens at wide-open aperture is 10.9 feet. Using the same lens stopped down to f/:11, we find the hyperfocal distance has moved up to 1.5 feet from the camera. No wonder we get such remarkable results with fixed-focus eight-inch lenses! However, there are times when we may want adequate focus on some secondary object or person nearer to the camera than the principal subject or the hyperfocal point. Or we may want to let our far limit of good focus fall short of infinity to eliminate a disturbing background. In such cases, it will be useful to know something about depth of field and how to make it work for us. Depth of field refers to the distance between the nearest and farthest objects in acceptably sharp focus. If you're mathematically minded, you can calculate it using the following formula: Depth of field = (Hyperfocal Distance x f-number) / (focal length x (circle of confusion diameter / image circle diameter)). By adjusting the f-number or the hyperfocal distance, you can control the depth of field and achieve selective focus.\nTo determine the near and far limits of good focus for an object, use the following formulas:\n\nD X H\n\nIn each case, D represents the distance from the camera to the object, and H represents the hyperfocal distance under the particular conditions of stop, focal length, and circle of confusion applying to that shot.\n\nFor instance, if we use a 2-inch lens at its maximum aperture of f/2.5, we've already found the hyperfocal distance for it is 133 feet. Assuming our object is 40 feet from the camera, we get the following equation:\n\nD = 5320 / (H + D)\n\nThis equals 5320 divided by 173, giving us approximately 30 feet as our near limit. In the same way, we find the far limit of good focus by applying the second formula:\n\nH = (D * (1 + (F/D)) / (F + 1))\n\nThis works out to be 4 * 133 / 133 - 40, or 5320 / 93, and gives us 57 feet as the far limit of good focus.\n\nSince the hyperfocal distance is a measure of the closest distance at which a camera can focus on an object and have objects at infinity appear sharp, knowing the near and far limits of good focus can help ensure that the entire desired scene is in focus.\nThe basic factor in these calculations is the focal length of the lens and the stop being used. A little work with pencil and paper will show you how and why the depth of field increases as the focal length decreases or smaller stops are used, and why with longer-focus lenses or larger apertures, the depth decreases. An understanding of these two simple optical factors \u2013 the hyperfocal distance and depth of field \u2013 can go a long way toward simplifying your focusing problems. As I said at the start, once you know how to put the hyperfocal distances to work for you, you will know how, and to what extent, you can make any cinematic lens serve in an emergency as a fixed-focus, though not always universal-focus lens. Familiarize yourself with the depth of field characteristics.\nYou'll find you can make this factor work for you in two ways with your lens. The professional does this. For \"pan-focus\" or extreme-depth effects, use a short-focus lens that is well-stopped down. For close-ups and similar situations where you want selective focusing, use longer-focus lenses and larger openings.\n\nNeither a hyperfocal setting nor depth of field can replace precise focusing on the subject. However, they can be very helpful in emergencies.\n\nThe figures derived from these formulas can be reduced to the form of handy charts or tables. In fact, they have been.\nProfessionally modifying the Bolex camera: In reference works such as Jackson Rose's \"American Cinematographer's Handbook,\" you may encounter situations where you need to solve a problem related to this equipment in the field, only to find that your reference chart is five miles away. In such instances, knowing how to calculate the answer yourself instead of relying on a hazy memory of figures in a casually glanced-at table will put you ahead.\n\nContinued from Page 98: To professionalize the Bolex turret and remount it in a false front-board as depicted in the illustrations, without altering the original separation between lens and film-plane. With this construction, the camera-head could be moved behind the lens on the shift, similar to a 35mm Mitchell.\nThe focusing system was provided by one of Bell & Howell's excellent visual focusing systems for use in their magazine-type \"Filmos.\" This was mounted on the left-hand side of the camera, positioned so that when the camera-head was shifted to the right and up by the shift-over mechanism, the ground glass of the focusing system was brought into place behind the lens, precisely in the focal plane. This provides a completely accurate focusing system, resulting in a highly magnified, right-side-up and laterally correct image.\n\nWhen the camera is shifted back into photographing position, the regular Bolex finder, mounted just above the focusing magnifier, is aligned with a rectangular opening in the false front-board. Another opening grants access to the front starting-button of the camera's spring motor.\nThe new base and front-board, which houses the camera and shift-over and mounts the turret, presented a perplexing construction problem under today's wartime conditions. Palmer's original plans called for casting, but both foundries and metal have more important purposes to serve these days.\n\nAs a substitute, he finally utilized Masonite \"presdwood\" composition board. This is non-strategic (and hence free from priorities), easily worked, and surprisingly strong. When painted with black crackle-enamel and baked for four hours at a temperature of around 200 degrees, it takes a crackle finish which makes it indistinguishable from metal.\n\nUsing the camera under the somewhat strenuous conditions of professional 16mm production has indicated that this Masonite construction is very nearly as strong as metal, and considerably lighter.\nPalmer uses the same material for the construction of the external, 400-ft. magazines depicted in the illustrations. These magazines are mounted on top of the camera, and a curved segment is cut away at the bottom to allow the magazine to fit snugly over the curving top of the Bolex camera-box. Each of the two film-chambers has an individual cover, held in place by two small spring clips, and completely removable. This construction is a convenience in the darkroom or when loading magazines in a changing-bag in the field, where it is not always easy to fit a screw-type cover-plate into its thread. The unexposed film is fed from the regular laboratory-packing core, which fits onto a spindle. The exposed film can be taken onto a similar core or onto a regular 400-ft. projection reel. Palmer.\nTop-notch studio cinematography calls for complete control of lighting under all conditions, even outdoors. G-E MAZDA lamps in inkie booster units provide it, according to Director of Photography Arthur Miller, A.S.C., and Gafifer Don Carstensens, as they prepare to shoot an outdoor scene. They say: \"MAZDA lamp 'boosters' are essential in exterior photography.\"\n\nThe only metal used in these ingenious magazines is that necessary for the spindles and take-up belt pulleys, the clips that hold the magazine covers in place, and the ingenious hinge-and-catch device that attaches the magazine to the camera. In this latter, a small bar or rod is attached to the front edge of the camera-housing, and a simple hook on the magazine aligns with it.\nCinematography enables precise control of shadow lighting as if working indoors on a stage. MAZDA lamps provide easier light for actors.\n\nFor complete control of lighting, indoors and outdoors.\n\nWith Arthur Miller, A.S.C., Director of Photography on \"The Moon is Down,\" Carstensen, Gaffer. 20th Century-Fox feature.\n\nIn the Studio and Outside. Lighting with G-E MAZDA LAMPS is flexible.\n\n- Compact\n- Clean\n- Quick starting\n- Convenient\n- Versatile\n\nG-E MAZDA LAMPS, General Electric. American Cinematographer, March 1943. The magazine is engaged with it. The magazine is then dropped down onto the camera and locked in place with a small lever catch. This entire conversion was effected at negligible cost from non-strategic materials and is easily emulated.\nBy any 16mm or 8mm professional or amateur who owns cameras of similar design: this sequence and the sequences into a complete picture.Meanwhile, I kept my nose to the grindstone on the set and did my best to learn everything I could about the how and wherefore of photography. I must have learned something, too, for it wasn't very long after that I found myself promoted to the rank of Second Cameraman.By this I don't mean that I did the work of the Second Cameraman of today. In those days, the Second Cameraman was the fellow who operated the additional camera that stood beside the First Cameraman's camera to record a second negative from which prints for foreign distribution were made. In addition, he shot inserts and any minor scenes such as we'd. (Bob De Grasse, continued from Page 92)\nI turned over the project to a second unit today. At times, the Second was called \"Associate Cinematographer\"; I think that's a more accurate term for what he did. I served my apprenticeship in this post, and finally, five years after I started as an assistant, I found myself shooting my first picture alone, as a full First Cameraman. It was a western for FBO (the forerunner of today's RKO), starring Harry Carey and entitled \"Miracle Baby.\"\n\nConsidering the title and the fact that at 23 I was probably the youngest First Cameraman in the industry, it would give this story a nice literary touch if I could say that I clicked from the start and was hailed all around as the \"miracle baby\" of cinematography.\n\nOnly it wouldn't be true. Quite the reverse! \"Miracle Baby\" was a decidedly difficult production.\nA small, insignificant picture - the kind a novice cameraman could safely start with, as long as he managed to capture a recognizable image on film. Such pictures earned money from small-town and juvenile audiences demanding a 'western' every Saturday night. However, they would never reach the notice of Hollywood's important production figures.\n\nI remained as a First Cameraman with Harry Carey for as long as he continued to star for FBO, which was approximately two or three more pictures. Then, I was merely switched to photographing other 'horse operas' with other cowboy stars.\n\nBy the time sound began to emerge around five or six years later, and FBO had transformed into RKO, I realized I was making little progress. I was a fully-fledged First Cinematographer.\nThe photographer was right, and had even gained membership in the A.S.C. But the pictures I was getting were steadily less and less important. And by the time they put me to photographing a dog star, I decided I'd better do something drastic while I was still young enough, so that with a fresh start I could work my way somehow into pictures that would in the long run give me more opportunity for advancement.\n\nSo I deliberately quit as a First Cameraman, and went back to the position of Operative or Second Cameraman.\n\nAnd right there, my luck began to change. Operative Cameramen weren't quite as scarce as they are now, but I guess they weren't very plentiful, either. Anyhow, I found myself getting assigned to operate for some of the best cinematographers in the industry, and on some of RKO's biggest pictures. I worked with Eddie Cronenberg.\nI. A.S.C. (Jager) worked on \"Cimarron\" with Roy Hunt (A.S.C.) on \"Dixiana\" and other top cinematographers like Leo Tover, A.S.C., Karl Struss, A.S.C., Nick Musuraca, A.S.C., and others on 'A' productions. I received a fine education in cinematography.\n\nIn 1931, I had the opportunity to go to England as the First Cinematographer for Basil Dean's Associated Talking Pictures. I spent nine interesting months there and then returned to Hollywood.\n\nAt RKO, I resumed my work as an Operative Cameraman. I was frequently teamed with Henry Gerrard, A.S.C., one of the studio's top-ranking cinematographers and one of the finest artists to use a camera.\nDuring those years, Henry Gerrard was particularly associated with RKO's biggest star, Katherine Hepburn. In fact, she had insisted on having a clause in her contract which specified that she was not to be photographed by any other cinematographer. After his tragic death in 1935, both Miss Hepburn and the studio felt that I was the man best fitted to carry on with them and give her the type of photographic treatment she had found so satisfactory. So once more I found myself a full-fledged Director of Photography \u2014 this time on top-flight \u2018A\u2019 productions. And thanks to the photographic polish I had gotten during those years as an Operator for so many of the industry\u2019s finest artists, I've remained as an \u2018A\u2019 picture cinematographer ever since. I did many pictures with Miss Hepburn up to the\nShe left RKO after \"Stage Door,\" where Ginger Rogers got her first straight dramatic part. I worked on that film, and she liked my photography. We did a long series of pictures together, not just the musicals with Fred Astaire, but also those where she starred alone, up to and including \"Kitty Foyle,\" for which she won the Academy Award two years ago. Since then, I've had my share of RKO's best pictures, and in the past year, I've also had the privilege of making several pictures for other studios. That's an experience I think every cinematographer ought to have. Of course, it's pleasant if your association with one studio can continue unbroken for year after year, as it has for many of us; but there's also the danger that you may slide too easily into the narrow confines of one place.\nThe little routine of one studio involves getting cut and making a picture on another lot. Seeing how other folks in other studios think and work can be a stimulating tonic. After seeing Barbara Stanwyck in 'Lady of Burlesque' for Hunt Stromberg, and Marlene Dietrich in 'Pittsburgh' at Universal last summer, I came back to my home lot with a fresh mental viewpoint, which couldn't help but show up in my work. My last assignment, photographing Barbara Stanwyck, was like that. And the last time I worked at that studio, nearly 23 years ago, it was as an obscure Assistant Cameraman. Looking back on it all, I believe one of the most important things I can pass on from my own experience to younger cinematographers is the importance of taking your time and choosing the right shots.\nIf this is your debut as a Director of Photography, be cautious about grabbing the first opportunity for advancement. It may lead you to work on 'B' pictures or westerns. Once you begin, expect a lengthy and heartbreaking struggle similar to the one you've just completed, as cinematographers can also be \"typed\" like actors. It's simpler to join these program films than to leave them for 'A' productions.\n\nFor 'B' pictures and 'horse operas,' cinematographers seldom have the opportunity to distinguish themselves. They are typically produced on the shortest schedules, with cheap or remodeled sets, and featuring relatively unimportant players. Once typed as a 'B' picture man, it's nearly impossible to convince the front-office executives.\nBut if you wait until you can make your start on at least a moderately good picture, you'll have a chance to show what you can do right at the beginning. If you have it in you, you won't have nearly as much trouble getting assigned to bigger pictures.\n\nThoroughly Tested Film Processing Machines by Houston\n\nThe Houston 35mm Special Purpose Film Developing Machine.\nThe Houston 16mm Negative, Positive, and Reversal Type Film Developing Machine\n\nSpecial purpose means that this machine was designed for use in a limited space. Its dimensions are 78 inches high, 48 inches long by 42 inches wide.\n\nEither negative or positive film can be developed on this machine. Suitable pumps have been arranged to facilitate loading and unloading.\nThis machine is suitable for developers, operating with white light and light-tight magazines. Equipped with a variable speed transmission, it offers a film footage range of 500 to 2000 feet per hour. The dryer compartment features infra-red lamps for film drying, with sections adjustable to suit atmospheric conditions. The electrical load is 13 K-VA at 220 volts. Designed and manufactured to serve three purposes - developing Negative, Positive, and Reversal film in one machine - provisions have been made to bypass film for any desired operations in a novel and practical way, ensuring comparable results to machines designed for single purposes.\nThe machine is of rigid construction and portable, set on casters for easy movement to any location. It is white light operated. All controls, including Electric, Heating, Exposure Lamps, pumps for turbulation of Developer, filtering of the Water, Chemicals, and Water Drains, are incorporated in this machine.\n\nElectrical load is 12 K-VA at 220 volts. Electrical specifications satisfy any power requirements. Excellent photographic results have been obtained from this machine.\n\nThese machines are completely self-contained, requiring no additional equipment. They are crated and shipped completely assembled.\n\nFor detailed information, write to H.W. Houston 5c Company (A Division of General Service Corporation), 6625 Romaine Street, Hollywood, California.\nOf course it\u2019s hard not to say yes the first time you have a chance to step up to a First Camera assignment. It seems terribly long, waiting for opportunity to give a better knock at your door. But it\u2019s a much longer and harder wait, trying to make your way up from the dead-end street of the program films. In my case, it took close to twelve years, and I had to swallow my pride and step down to operating and wait until the right opportunity came along. I'd have been years ahead if I had waited for the right opportunity in the first place.\n\nThe most outstanding single characteristic of De Grasse\u2019s work is the fact that regardless of whether or not story, settings and action afford him opportunities for strikingly pictorial camerawork, he manages always to create visually striking images.\nTo keep players appearing uniformly at their best and carry through even a routine assignment with effortless smoothness, a real master of the camera ensures the camera remains unobtrusively subordinated to story values. When assigned to a picture, Bob explains, I have no prearranged plan. Each picture is different; some offer a clear chance for photographic expression due to story values, setting, and cast. In others, one must hold back or the camerawork will dominate the picture to its detriment as entertainment. However, the players are what the studio is really paying me to photograph, what the public is really paying to see.\nYour first duty is to ensure the people are always favorably photographed. The method is individual. Some stars are virtually camera-proof, making this part of your lighting and camera job easy. Others demand specialized, even stylized, lighting and angles. When a player like this is the big star of the picture, you must ensure they receive that particular style of treatment first, even if it means sacrificing a bit here and there with the rest of the cast or the action. Then, you have the problem of working in the rest of your lighting around this essential and often tricky setup. Every picture presents a challenge to the cinematographer, especially under today's conditions with restrictions on this and shortages on others.\nThat - not mentioning rationed and many times made-over sets - it seems to me that almost every scene and setup stands there and gives you a nasty grin, as if to say, \u2018You can't do it.' Then you've got to figure out some way to do it - even if it seems impossible! Sometimes you can go back into your own past experience and find a similar problem you met and licked years ago, and use a similar solution on the present headache. Sometimes you may have to go \u2018way back and remember what some veteran First Cinematographer for whom you operated did it. And sometimes you've simply got to come up with something really new in order to get that shot on the screen as you and the director want it in spite of everything. Whichever way it is, you can find a lot of enjoyment trying to lick those obstacles. You may get tired.\nIn this business, you may grow weary, but new challenges to your ingenuity will keep you from being bored. Work. Color, in essence, can more accurately depict form and texture than monochrome, partially compensating for the two-dimensional limitations of the motion picture medium. Good monochrome photography can convey three-dimensional impressions, but they are not necessarily accurate ones. This very ability of monochrome photography to present things not quite as they are makes it a powerful entertainment medium. It can glamorize or detract at will, depending only on the skill of the photographer. However, when the primary requirement is to portray things as they really are, to accurately depict:\n\nIn other words, color has the uncontestable ability to portray form and texture in a more accurate way than monochrome in the motion picture medium. Good monochrome photography can convey three-dimensional impressions, but they are not necessarily accurate ones. This ability of monochrome photography to present things not quite as they are makes it a powerful entertainment medium. It can glamorize or detract at will, depending only on the skill of the photographer. But when the primary requirement is to portray things as they really are, to accurately depict form and texture, color is the superior choice.\nA person being instructed should be shown the real appearance of the device or situation through a training film. Color's value is so significant that I would prioritize it over a silent black-and-white film, even though I strongly believe in a good soundtrack. If color is the primary reason for considering 16mm. production, are there any other factors making it impractical?\n\nIf you speak to someone accustomed to the standard 35mm. production and who has undertaken direct-16mm. color production, you will likely receive a list of complaints about the problems color introduces. They will first mention that the equipment available is inadequate, and professional 16mm. cameras are as rare as new tires.\nHe will mention the problems arising from the short latitude of Kodachrome film, which makes necessary extremely precise exposure determination. He will complain of threadbare nerves obtained while waiting for the film to be processed, since Kodachrome is not handled on the super-fast schedule of overnight 35mm. service.\n\nFurther, he will complain of the difficulties in matching color in sequences when changing hours or days make skies and backgrounds look quite different.\n\nC. Ross\nFor Lighting Equipment\n\nAs sole distributors East of the Mississippi, we carry the full and complete line of latest-type Inkie and H.I.-Arc equipment manufactured by Mole-Richardson, Inc.\n\nHollywood - California\n\nYour requirements for interior or exterior locations taken care of to the last minute detail anywhere\n\nMotor Generator Trucks\nRentals Sales Service\nCharles Ross, Inc.\n333 West 52nd St. New York, N.Y. Phones: Circle 6-5470-1\nMarch 11, 1943 American Cinematographer\nHe will then go into the scarcity of editing equipment for theatrical production, the difficulty of making film effects except in the camera, the non-existence of 16mm sound-recording facilities for re-recording from more than six sound-tracks, or the problems of first-quality sound reduction prints. He may end up his case against 16mm color production by pointing out that, if you have lived through these problems, your final 16mm color prints will cost about five times as much as good black-and-white reductions from 35mm negatives.\n\nThis lengthy list of problems faced by some producers attempting their first 16mm color production is not so much a criticism of 16mm production as it is a result of attempting to produce high-quality color films with limited resources and technology.\nTo apply very specialized and advanced techniques to a new medium in which the tools are admittedly elementary. The producers have tried too hard in attempting to use all their usual slick techniques before really being prepared to do so.\n\nIt is true that 16mm. camera equipment does not conform to 35mm. studio standards, notably as regards accurate parallax correction on finders. But it is largely through the elimination of many studio camera features, large magazines, electric drives, etc., that the 16mm. cameras get their ease of operation under tough conditions. The one essential feature for precise cinematography, a parallax-free focusing device, is available on several makes of cameras and can be fitted to others without too much difficulty.\n\nAs for difficulty with latitude on Kodachrome, this should not be a great problem.\nIf the limits of the emulsion are not exceeded, it requires an entirely different type of lighting, both on exteriors and interiors. This lighting must be much flatter, with only the subtlest suggestion of the usual modeling and backlight. Any attempt to use conventional monochrome lighting will inevitably result in exposure troubles because the difference in brilliance between the highlights and shadows of good black and white lighting is too great for the Kodachrome emulsion to span. This does not mean that the professional appearance of the picture is lost with a flat lighting scheme, as modeling in light and shade is replaced by color contrast, providing equal opportunity for cinematic skill. This same factor applies almost as much to 35mm Technicolor as it does to 16mm Kodachrome.\nThe slight differences in lighting conditions, which are inevitable with outdoor shooting, and give rise to uneven color quality, are tough but can be overcome. A good training film will consist very largely of close-ups where minor variations in color-quality should not be noticed, especially if compensating filters are used. Furthermore, even if there are some color variations, they still do not destroy the ability of color to give a more accurate impression of the real thing.\n\nThe time involved in processing Kodachrome and then making a cutting print to review as \u201crushes,\u201d is bad when working on a tight schedule where retakes are very costly. Time can be saved by checking the original Kodachrome on a viewer like the Craig, which, if properly handled, cannot harm the film.\nCompletely substituting for a projection, but should reveal any requirement for retakes. At the same time, while checking the original, certain takes that are obviously unusable can be eliminated, making the editing job easier when it comes to matching back to the original and reducing the footage for work-printing for cutting purposes.\n\nJust as in lighting technique, editing 16mm. Kodachrome requires different handling than usual 35mm. practices. Although it is now possible to obtain 16mm. Kodachrome with key numbers, there are few duping facilities able to print the key numbers onto the cutting print. It is therefore desirable to keep a very careful slate record of every take and to retain the slate code-numbers on each scene whenever it is shortened. The usual 35mm. Moviola equipment has been converted to 16mm.\nIn a few instances, but these are very few, it is necessary to use intermittent viewers operated between rewinds on the cutting bench. Film effect work is another phase which has caused many to discard 16mm production as not suitable for real professional techniques. Dissolves, montages, and super-impositions often play a major role in making a training film tell its story. These effects are all being done successfully by several concerns specializing in 16mm production, and should be available for all essential training film uses. The fact that special-effects are not quite so easy to obtain might have the beneficial effect of holding them down to a minimum of really worthwhile contributions instead of allowing effects to be sprinkled in just to make the picture seem more polished. The less frills in a training film, the better it is.\nSpecial effects should not be used as \"window dressing.\" Along the same lines, spectacular sound-effects and musical theatrics are most out of place in a training film, regardless of their value in an advertising or entertainment picture. This eliminates most problems of sound-recording for direct-16mm. Sound leaves little to be desired for straight recording quality.\n\nTo summarize the case for 16mm production, let some of its superior abilities be emphasized. The camera equipment is more convenient to carry and use under the difficult shooting conditions which are the rule with training films. A setup can be made in a fraction of the time of typical 35mm practice, with improvised parallels sufficient for the 16mm equipment, offering little construction problems.\nThe depth of focus of the 16mm. camera lens equipment, even at wide apertures, is of tremendous advantage in many cases. \"Pan focus\" is almost automatic under good light conditions. There is a great saving in raw materials due to the shorter length of 16mm. for a given screen time, the instantaneous starting and stopping of the cameras, and the ability to discard bad takes even before the cutting print is made. Eclipsing all other advantages of 16mm. production is that it brings practical, first-rate color which enables the training film to do a better job. And finally, let us remember that despite the contention that direct 16mm. production might lose important 35mm. outlets, thanks to the inherently grainless CAMART PROFESSIONAL tripod, complete with DURABLE FIBRE TRIPOD COVER.\nA finely constructed tripod gives a rigid support and exceptionally smooth pan and tilt movement to a spring or motor-driven camera, ideal for 16-35mm cameras, including Eyemo, Cine Special, and others, at no extra cost.\n\nThe Camera Mart, 70 W. 45th St., N.Y.C.\nTelefilm\n(Incorporated! \nDirect 16 MM \nSound \nUsed by:\n- Douglas Aircraft\n- General Elec. (Welding Series)\n- Boeing Aircraft\n- North American Aviation\n- U. S. Dept, of Interior\n- U. S. Dept, of Agriculture\n- Santa Fe Railroad\n- Washington State Apple Commission\n- Standard Oil of Calif.\n- Salvation Army\n- Many Others\n\nA better job faster- more economical!\n\nTelefilm Incorporated\n603 Hollywood Blvd., Hollywood, CA\nGL adstone 5748\nAmerican Cinematographer \u2022 March, 1943\n\nThe structure of 16mm Kodachrome and 16mm is already being \"blown up\" to 35mm, in both monochrome and Technicolor.\nFor theatrical short-subjects and combat report-films publicly released by the Army and Navy, properly-handled direct 16mm. is the only medium capable of providing full-color release prints in both 16mm. and 35mm., without imposing the handicap of prohibitive cost.\n\nCamera dissolves are used effectively in all sequences of \u201cWar Against Waste.\u201d For instance, in one sequence, the thought \u201cWhere does all the waste paper come from\u201d is portrayed uniquely. We started with a caretaker and his pointed rod, which speared pieces of paper out of the flower bed in front of one of the offices. With the camera on the ground, one can see only the caretaker.\n\nB&H-THC LENSES\nExceeding current technical demands and anticipating future\nThese cinematic lenses are long-term investments. Write for literature.\n\nBell & Howell Company\nExclusive world distributors\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. La Brea Ave.\nLondon: 13-14 Great Castle St.\n\nThe taker's feet and action of the pointer dissolve into a waste basket near the legs of a lovely office stenographer. Pieces of waste paper were dropped into the basket, lapping up armsful of waste paper in the blueprint trimming department, a deluge of waste paper and boxes going into a large truck on its way to the paper baler, and finally, the neatly stacked piles of baled paper. Each scene is on the screen only long enough to let the audience know that paper gathered throughout the plant soon becomes a mountainous pile. With the dissolves, the scene moves at a swift and even tempo, and the full montage illustrates the accumulation of waste paper.\nThe measurement covered 50 feet of film. Dissolves are effectively used to show how 48-inch grinding wheels are used and recut several times until the 24-inch hub remains. Without dissolves, this action would be choppy and tempo would drag.\n\nAnother short, effective scene demonstrates how a large piece of scrap steel plate was salvaged, and two pieces of usable steel were obtained from the odd-shaped original that was once sent to the foundry. With the camera at a high angle, looking down on the original piece, the sections rapidly dissolve. The scenes are on the screen for only one second, but the operation is readily understood, and the tempo is maintained.\n\nThe procedure for salvaging wood from boxes, crates, etc., of incoming shipments is similarly handled through dissolves. Quickly and smoothly, the dissolves cover the many places where they are needed.\nThis scrap lumber is used and reused throughout the plant as spacers for pilings and storing material. Each use is important, but more than six feet of any one scene would become monotonous. It's true a cameraman can get into difficulties if a scene \"flops\" and that he must then start the dissolving sequences all over again. But as each scene is comparatively short, the operator was rehearsed and knew that \"the cream of the operation must be on at the count of eight.\" It is also true that dupe negatives and optical printing dissolves or wipes would solve the cameraman's difficulties. But the delay in getting the finished dupe, the expense of added retakes and optical dissolves, and loss of quality by printing from a dupe negative, we believe, offset the bugbear of a string of camera dissolving scenes. Just because a reel holds a thousand feet.\nFeet of film is no reason why it must have a thousand. If the tempo of a film can be better held with less footage, act accordingly. Industrial films are meant for an audience of potential prospects and buyers of one's products. Allowing \"padding\" through inclusion of uninteresting and draggy footage in the film will affect the tempo of the audience as well as the film.\n\nSpecial Effects (Continued from Page 89)\n\nSpecial effects inevitably be compressed, so that no words are necessary to tell the audience that this is a torpedo plane, or that is a carrier being dive-bombed.\n\nIn the documentary scene, you may see a downward-curving trail of black smoke. The narrator tells you it is a Jap plane which has been shot down. You seldom, if ever, see the actual hit or the plane's ultimate crash on the screen. One may have occurred.\nTwo or three miles above or to one side of the camera, there were two planes. Both of them far beyond actual camera range. In a motion picture intended for entertainment, the camera must show the entire sequence of action: the approach of the attacker \u2013 close-ups identifying the plane's crew as enemies \u2013 men of our own forces serving their anti-aircraft guns \u2013 the actual hit on the enemy plane \u2013 the fall \u2013 and finally the crash into the sea. For forty years, audiences have been conditioned to expect at least reasonable completeness of visual continuity in entertainment pictures. And while they may accept less in documentary films today, they would certainly feel something missing if that continuity were missing from an entertainment film.\n\nThe other day, I saw in a newsreel a similar sequence of events.\nMarch 1943, American Cinematographer: A sequence that thrilled me as a newsreel was a suicide dive by a Japanese bomber into one of our aircraft-carriers. It showed a trail of black smoke, far distant and small, heading waveringly toward the camera. Just as one could begin to distinguish a speck which might be a plane, the scene abruptly ended, as the camera-crew very prudently dashed for armored cover. The next shot was of the blazing wreck of the plane, which had crashed against the carrier\u2019s \u201cisland\u201d superstructure, close by the position of the cameramen when making the first shot, so the narrator said. As a news scene of genuine action, it thrilled me, for I knew it was the real thing. Cut into an entertainment film, it would have left me \u2013 or any audience \u2013 cold, because it left out the really dramatic parts of the action.\nOnly by shooting such scenes in miniature can we make them conform to the necessary pattern of entertainment-film continuity. We can compress a 200-ship convoy into the limits of our frame, showing the vessels trailing off into the distance as in reality, but making them big enough and showing enough of them in the scene so that we see and feel the dramatic impression of a real convoy. With miniature planes and ships, coupled with the use of miniature and full-scale projected background scenes, we can portray the drama of an aerial attack or the bomber\u2019s suicide dive in a way that brings the audience the whole story in correct \u2014 and complete \u2014 sequence.\n\nI am quite sure, for instance, that the Marines who actually defended Wake Island never saw as much of the Jap fleet which shelled them as Gordon Jennings' miniatures brought to the screen.\nThe recent portrayal of such events in the named picture failed to convey the dramatic importance of the actions in a manner comprehensible to the movie-going audience, due to the miniature sequence in the entertainment film. Our recent productions, \"Air Force\" and \"Action in the North Atlantic,\" encountered similar issues. In \"Air Force,\" we depicted the sinking of a Japanese battleship by a Flying Fortress, as well as phases of the Battle of the Coral Sea, which involved attacks on Japanese carriers and warships by torpedo planes, dive-bombers, and Flying Fortresses. In \"Action in the North Atlantic,\" much of the action takes place in an Atlantic convoy and culminates in an attack on the convoy by a Nazi U-boat \"wolf-pack,\" during which both surface ships and submarines were sunk.\nPictures depended on special-effects camerawork to an extent that they absolutely could not have been produced without it. In both instances, every trick of the trade had to be used to get the scenes on the screen \u2013 miniatures, process-projection backgrounds, matte-shots, optical superimpositions, and multiple combinations of all four.\n\nIn these pictures, as is the case in every studio with productions of comparable nature, a very considerable proportion of the films\u2019 ultimate release footage was handled by the special-effects personnel. In our case, this was immeasurably aided by the organizational setup of Warner Bros.\u2019 Special-Effects Department, which, as laid out originally by Fred Jackman, A.S.C., and since continued and expanded, is virtually a studio within a studio. Almost every department of the studio collaborated on these effects.\nThe department has its counterpart in the special-effects organization. We have our own designers, art-directors, and set-building facilities; our own camera and electrical equipment, personnel, and stage crews generally. The department has its own film-laboratory and cutting facilities, its own business office, and even writers. Most important, under today\u2019s conditions, is the unit plan of organization under which the department now operates. Instead of rigidly centralizing the entire department\u2019s output under a single head, the department, under my general supervision, has been organized into units. Each unit, under a capable special-effects director like Jack Cosgrove, who handled \"Action in the North Atlantic,\" Roy Davidson, who had charge of \"Air Force,\" and Lawrence Butler, is capable of handling all the varied special-effects work on a film.\nGroup of several productions. With these units are teamed the best specialists in different types of special-process camera work: Hans Koenekamp, A.S.C., Ed DuPar, A.S.C., Rex Wimpy, A.S.C., Willard Van Enger, A.S.C., and Warren Lynch, A.S.C. In my own position as Head of the department, this organizational plan includes:\n\nSOUND CAMERA for 16 mm sound-on-film\n- High Fidelity Sound\n- Self-contained in sound-proof \"blimp\"\n- Minimum equipment; maximum portability. Camera and amplifier, complete, weigh only thirty-seven pounds.\n- Kodachrome or black and white pictures with Auricon sound track will reproduce on any sound-film projector.\n- Can be operated in the field from an Auricon Portable Power Supply.\n\nAuricon 16 mm Recorder\n- Auricon Camera with type \"C\" lens mount (but without lens) and amplifier complete with microphone, instructions, and cases.\nVariable-area sound on 16mm film for double system recording with a synchronous motor driven camera. Amplifier includes background-noise reduction and mixers for combining speech and music. With dynamic microphone, instructions and cases for Recorder, Amplifier, Accessories - $695.00.\n\nAuricon 16mm sound-on-film recorders and cameras serve the Nation's War effort with Military and Government Film Units, and with civilian organizations producing essential morale and industrial training films. If your work in such fields makes you eligible to purchase new equipment, we invite you to let our engineers show you how Auricon portability and professional performance will simplify your recording problems.\n\nAURICON SbioMo+i,\nE. M. Berndt Corp.\n5515 Sunset Blvd., Hollywood, CA\nManufacturers of Sound-on-Film Recording Equipment Since 1931\nAnimated Cartoon Equipment.\n[ACME 35MM 3 COLOR CAMERAS, I6-35MM BACKGROUND PROJECTORS, I6-35MM OPTICAL PRINTERS, 35MM CAMERA REPAIR, ACME TOOL & MFG. CO, 2815 W. Olive Avenue, Burbank, California, American Cinematographer, March 1943\n\nPrecision optics, because of their accuracy, are depended upon by our armed forces on land, at sea, and in the air. \"Goerz American\" photo-lenses play an important part in the tear program, and our production is now keyed to fill the requirements of our Government. Within limitations, we may still be able to supply Goerz lenses of certain types and sizes for civilian use. We suggest your inquiries through your dealer or direct.\n\nADDRESS DEPT. AC-3\n\nLeaves me free to serve as a liaison between the department and the studio's executives and writers. In this way, perhaps for the first time in the industry,]\nSpecial-effects work can be planned long before it is needed. It is written into scripts before they have jelled into final form. This permits additional time for planning and staging difficult special-effects work, often making it possible to simplify production problems or strengthen dramatic values by integrating special-effects contributions with the script at birth, rather than as an afterthought. It makes for better scheduling and budgeting. This is increasingly important these days, as the shortage of skilled technical and craft talent in this specialized field has increased, driving up the costs of special-effects work to unprecedented levels. It is not uncommon for the special-effects sequences of an important major feature to include half a million dollars or more.\nTo two-thirds of a picture's release footage, and to carry a budget \u2014 for special-effects alone \u2014 a good deal higher than the entire cost of many an \"A\" production. While these unavoidably rising costs are unfortunate, they are doing special-effects work in general a good turn. Originally \u2014 and especially since the introduction of the projected-background process \u2014 special-effects work in general had been regarded largely as a means of either putting the impossible on the screen, or of getting a scene which would be prohibitively expensive if filmed conventionally, on the screen at a cost of only a few hundred dollars. Today the industry is being educated to realize that special-effects camerawork can be an increasingly valuable asset as it is given more time and money, and increased scope.\n\nFor example, in our recent productions:\nWe have been able to build miniatures on larger and larger scales, which have been considered impossibly expensive a couple of years ago. We had to expand the scope of the action in many instances, which outgrew the confines of studio tanks. For many of the \"Air Force\" and \"Action in the North Atlantic\" miniatures, we used the Pacific Ocean off Santa Barbara as a miniature location. Our miniature battleships were so big that two of them completely filled a 50-foot railroad flat-car en route to the location. Necessary mechanisms for maneuvering the ships, firing the guns, creating explosions, etc., could also be accommodated.\n\nCamera Supply Company\nART Reeves\n1515 North Cahuenga Boulevard\nHollywood\nCable Address \u2014 Cameras\nCalifornia\nEfficient-Courteous Service\nNew and Used Equipment\nBought \u2014 Sold \u2014 Rented\nEverything Photographic, Professional and Amateur\nNot operated in smaller-scale vessels. Under today\u2019s wartime restrictions, we are finding new uses for special effects techniques. For example, until transportation priorities eliminated all non-essential travel and coastals dim-out regulations eliminated making of night exteriors, we considered it a matter of course to send out a skeleton crew to photograph backgrounds wherever they might be. Today, we make backgrounds in the studio on matte paintings, backings, miniatures, or a combination of all three. We are finding that backgrounds made this way are even more suitable for our purposes than most actual exteriors. A very spectacular example of this occurred in the filming of \u201cMission to\u201d\nMoscow. One sequence showed Walter Houston, as Ambassador Davies, leaving Germany for Russia. In Germany, Nazi officials had striveingly attempted to impress upon him what an impoverished and peaceful country Germany was. But as his train pulled out of Hamburg, he looked from his car window and saw troops swarming on the station platform, mechanized troops on the roads, and the whole countryside an arsenal of warlike preparations.\n\nIt was impossible to send a camera crew to Hamburg to get these shots\u2014even if the R.A.F. had left enough of the Hamburg Bahnhof to photograph! So we created them on the stage, in miniature, using foreground miniatures with miniature backgrounds and forced-perspective backings, each of which was arranged to move past the camera at different speeds, so that the completed background shot gave the same differential perspective.\nThis technique involves creating movement in the different planes of a full-scale shot by using miniature figures in some instances and adding full-scale shots of actual people through multiple printing in others. This method has been highly successful, and we make almost all of our background plates this way. After the war and its restrictions have ended, I doubt we will return to the old method because it offers much more complete control over every aspect of the background plate, including action, composition, lighting, dramatic camera-treatment, and so on. Another challenge we face in special effects work, as well as in regular production work, is the restrictions imposed on new construction in sets, props, and the like during the war.\nCareful planning of special-effects scenes can go a long way to minimize this problem. However, I feel there is another step that should be taken for the benefit of the industry as a whole. For a number of years, there has been a certain amount of informal exchange of equipment and, to some extent, set-pieces and large props between the special-effects staffs of different studios. For instance, on \u201cThe Forest Rangers,\u201d Farciot Edouart, A.S.C., at Paramount rented the excellent triple-head background projector built by Vernon Walker, A.S.C., at RKO for sequences where two of these \u201ctriples\u201d were needed. In the same way, we have borrowed set pieces and equipment from other studios or loaned ours to them.\n\nBut it seems to me that this procedure could be carried a good deal farther than it has been at yet. Since the exchange of equipment and set pieces is beneficial to all, I propose that a central repository be established where such items could be kept and made available to all studios on a rental basis. This would not only save time and money for individual studios but would also encourage the development of new and better equipment and techniques. It would also prevent the duplication of effort and the waste of resources. I believe that such a central repository would be a great boon to the industry as a whole.\nYears ago, the major studios organized a special-process patents pool, in which all existing patents on special-effects processes were pooled. Any studio could contribute towards the development costs and make use of any new inventions in this field developed by other studios. I think a similar arrangement can and should be made with regard to pooling special-effects equipment, sets, props, and the like. A comprehensive index of these items could be organized, and a pooling arrangement worked out, with adequate provision for ensuring suitable care and maintenance when used by another studio. A year or so ago, if you taxed your budget to build some specialized prop like a submarine interior or a device for manipulating full-scale or miniature planes in production, this pool could have saved you the expense.\nRejection or miniature shots, and then found \u2014 too late \u2014 that some other studio had already constructed a similar item. It was only an irritation. Today, it is a waste of materials, money, and labor.\n\nRUBY CAMERA EXCHANGE\nRents . . . Sells . . . Exchanges\nEverything You Need for the\nProduction & Projection of Motion Pictures\nProvided by a Veteran Organization of Specialists\n\nIN BUSINESS SINCE 1910\n729 Seventh Ave., New York City\nCable Address: RUBYCAM\n\nWhich, in wartime, borders on the criminal. Let us hope that through some organization like the A.S.C. this problem can be constructively remedied before long.\n\nAs to the future of special-effects technique and its production utility, I believe we are only at the beginning of a chapter of tremendous potentiality. When the war is won, and the present crisis is past, this field will undoubtedly expand and develop in ways that will amaze us all.\nabnormally high material and labor costs of this specialized work drop back to more normal levels. I am confident that we will see an even greater use made of special-effects processes than is the case even under today\u2019s conditions. We have gotten over the idea that special-process photography is only a means of doing things cheaper; we are learning every day that it is a means of putting scenes on the screen better, with stronger pictorial and dramatic values, and with a more certain control over every element of the scene. And as this new concept takes hold and grows, I am certain that we will see the various special-effects techniques playing an increasingly great part in our constant aim to put better pictures on the world\u2019s screens.\n\nAfrican Desert (Continue from Page 87)\nAn old kite seemed heavy, and heavy it was, for our tanks were full.\nThe bomber usually carried eight 250-pound bombs. It was always a relief to me to feel her lift herself clear and see the dust settle in its tracks. We generally circled the field a couple of times, gaining height and getting into formation before running out to sea or into the desert, as the case might be, before crossing into enemy territory. As we climbed up into the freezing level, my position was not a comfortable one for the rear half of my turret was open, and it was my job to watch for possible enemy fighters coming from the rear or from above. With no heating appliance, my main concern was: \"Would the cameras freeze up?\" - a thought that made me feel even colder than the icy oxygen tube I held between my teeth. I was always glad to hear No. 2 telling No. 1 over the intercom that we had reached the position from which we were to attack.\nI would turn and run towards our target. It was always a thrill to hear No. 2 announce that he had spotted the target and to hear his quiet voice directing us into position. I would then start operating my camera, shooting the opening of the bomb doors and the bombs tumbling out. As the mount for following the bombs to the target was not complete \u2013 and besides, we were too high to make it a good shot \u2013 I used to lean out over the side and try to follow them down.\n\nAfter the flight, I always wondered at the great anxiety I felt from watching those deadly missiles sailing down on their mission of destruction, and at the great satisfaction I would have if the target seemed to be well plastered. With our bombs gone, the flak generally started; these black puffs appearing in the sky beyond our tail made a good shot.\n\nOur mission accomplished, we would return.\n[Turn and streak for the wire. Sometimes we would see the dust plumes of enemy tor DutirmU - THE ORIGINAL Scheibe's Monotone Filter I\n\nNDICATKS instantly how every color and light value of a scene or object will be rendered in the finished print before taking the picture. Always ready.\n\nGRADUATED FILTERS\nCWonfyVT mJ NiqMCfhel*\nFOG SCENES. DIFFUSED FOCUS AND OTHER EFFECTS\nviuri roe rotDte TWmoiks 2102\nGcorae H. Scheibo\nORIGINATOR OF EFFECT FILTERS\n1927 WEST 78\u2122 ST LOS ANGELES. CA\n\ng Enl*ged 16 Reduced g\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n995 Merchandise Mart\nCHICAGO\n\nBUY WAR BONDS TODAY\nfocus and flash with KALART tomorrow!\n\nWrite for literature\nTHE KALART COMPANY INC.\n114 Manhattan St. Stamford, Conn.\n\nMOVIOLA\nFILM EDITING EQUIPMENT\nUsed in Every Major Studio\nIllustrated Literature on Request\nManufactured by\nH. W. Houston & Company]\nA Division of General Service Corp.\n1801 W. Olympic Blvd., West Los Angeles, Calif.\nFAXON DEAN INC.\nCAMERAS\nBLIMPS-DOLLY FOR RENT\nDay: No. 22184-\nNight: Sunset 2-1271\n4516 Sunset Boulevard\nAmerican Cinematographer \u2022 March, 1943, 117\nfighters taking off from their fields. These did not worry us, for our old kite had a fair turn of speed and we had the advantage of plenty of altitude; our concern was for the fighters which might already be in the air.\nWhen we crossed the wire, No. B would be told to open up his sending set and notify our base that the target had been bombed and that all planes were returning. This signal sent, No. 1 would ask for music, and we would fly home with music in our ears, usually coming from Radio Rome. For us, it is well that Musso did not equip his army with violins instead of guns, for with the:\n\n(Assuming the last sentence is incomplete and should be removed)\n\nA Division of General Service Corp.\n1801 W. Olympic Blvd., West Los Angeles, Calif.\nFAXON DEAN INC.\nCAMERAS\nBLIMPS-DOLLY FOR RENT\nDay: 22184-\nNight: Sunset 2-1271\n4516 Sunset Boulevard\nAmerican Cinematographer \u2022 March, 1943, 117\nfighters taking off from their fields. These did not worry us, for our old kite had a fair turn of speed and we had the advantage of plenty of altitude; our concern was for the fighters which might already be in the air.\nWhen we crossed the wire, No. B would be told to open up his sending set and notify our base that the target had been bombed and that all planes were returning. This signal sent, No. 1 would ask for music, and we would fly home with music in our ears, usually coming from Radio Rome.\nThey would have been sure of victory! All flights were not as easy and pleasant as this, as a few notes from my diary will show: miles to sea; damn cold. 8:40: Reported to No. 1 twelve planes flying on parallel course between us and shore. They were about 8,000 feet below us. I checked my chute and cursed myself for having forgotten my Mae West.\n\nAs we turned and ran for target, they also cut in toward shore. I lost sight of them. Didn't like their movements. Bombed target at 9:30 exactly, from 17,500 ft. None of our protecting fighters in sight. (It was arranged that our fighters should meet us over the target and escort us back over the wire).\n\nAbout 9:30, I spotted what I thought to be four of our escort fighters over head. Reported same and decided to get some footage of them. Got camera into position.\nposition, but saw the planes were carrying black crosses.\n\"Told No. 1 fighters were Jerries; passed camera to No. 3, grabbed guns and fired at diving Jerry who was firing with cannon and machine guns. He levelled off below our tail. Other Jerries dove on squadron. They got a good reception from our guns. Squadron closed to very tight formation, nearly wing to wing.\n\"One German badly hit; he dove away. No. 3 plane of No. 3 flight attacked by two Jerries; port motor threw out oil and black smoke. Saw tracer bullets splashing on Jerry; he pulled up and turned over just above me; could clearly see pilot clawing at cowling before he fell off into a spin. Two remaining Germans broke off the fight.\n\"Our No. 3 plane unable to hold formation; he dropped away. No. 2 plane followed him. No. 3 plane landed at emergency field, badly shot up. Two rear guns jammed.\"\ncrew members were seriously wounded, gunner died on way to dressing station. All other planes of squadron landed safely. Army reported finding one German Me-109F just on our side of the wire. Very unfortunate as cameraman was not ready for flight; missed marvelous chance for sensational footage.\n\nYes, I missed a chance which never presented itself to me again, a few days later I received a signal from Cairo telling me to report back to Headquarters. So I said \"so long\" to my South African friends, a grand bunch of men, promising to return as soon as possible.\n\nAs I was leaving, a mount which carried my camera between the guns was completed. It gave a fine angle showing the muzzles of the guns and the course of the tracer bullets. A remote-control to operate the camera was fastened onto the gun handle near the trigger. The main equipment was now ready.\nThe difficulty was to get away from the vibration when the guns opened up. Another problem was to allow the camera to follow the bombs down to the target; it was to be operated by No. 2, the bomb-aimer. At H.Q. I was told they wanted me to go back to Tobruk for awhile, but promised to try to get me back in time for my low-flying strafing shots. Fearing they might fail, I was not altogether happy with this assignment, although Tobruk was always a thrilling place to be in during the siege \u2014 this I had learnt during a few weeks\u2019 stay in the early summer.\n\nWe left port before dawn on a very modern, beautiful new type of ship. It was a beautiful trip until 3 p.m. when a high-flying Italian plane came over and dropped six bombs. I was lucky to get three of these bombs hitting the water between us and a destroyer, really a good hit.\nI. Shot and as they caused no damage, I was very pleased. Things were again quiet until just after sunset when I think we were tacked by everything the Axis possessed: torpedoes, bombs from both high-level and dive-bombing planes, flare after flare. All this together with our ack-ack guns, which were many and varied, really made a spectacular display and provided me with enough light to get something worthwhile.\n\nInput Text: FOR SALE\nIMPROVED DUPLEX 35MM PRINTER, with two Bell-Howell Caras and Shuttles. Perfect Registration for Color or Black and White, also process plates. Bell-Howell Standard Silenced Camera; Educational Blimp and Dolly; Sound and Silent Moviolas. Equipment slightly used at a big saving. Hollywood Camera Exchange, 1600 Cahuenga Blvd., Hollywood.\n\nWE BUY, SELL AND RENT PROFESSIONAL AND 16mm EQUIPMENT. NEW AND USED. We ARE DISTRIBUTORS FOR ALL LEAD.\nING Manufacturers. Ruby Camera Exchange, 729 Seventh Ave., New York City. Established since 1910.\n\nNew Fearless interlock camera motor for NC Camera: Western Electric interlock motor for Standard Mitchell Camera (door type).\n\nCamera Equipment Company, 1600 Broadway, New York City.\n\nCABLE: Cinequip.\nBell and Howell 3-phase camera motors, $135.00: RCA R-2 studio recorder, Devry single system camera; 3 lenses; viewfinder: amplifier: noise reduction; power supply; Western Electric microphones; friction tripod; 5 magazines; sun shade; mattebox; gables; etc., $3,500.00.\n\nDuplex 35MM step printer. $425.00.\nBerndt Auricon 16MM recording system with noise reduction, Like New, $595.00. S.O.S. Cinema Supply Corporation, New York.\n\nI believe it was three rolls I exposed; however, it does not matter: the results are the same: no record, for a heavy [equipment].\nA bomb hit us and set our cargo of ammunition ablaze. I regained consciousness a few hours later in a destroyer. What grieved me more than my wounds was to learn that my cameras and negatives had gone down with the ship. All the foregone sounds like a mission that failed, mostly due to bad luck. War photography is largely a matter of luck; but it also calls for the right equipment for the job, advance information, and the full cooperation of the senior officers. The photographer with the Army should be as mobile as possible; his equipment must be light. Therefore, I have long-been an advocate for the man in this service to be supplied with 16mm equipment. The man with the Air Force must have his various camera-mounts to fit the types of planes from which he is likely to operate, and should also be a skilled aerial photographer.\nA fully trained air-gunner. The size and weight of the 16mm. camera have great advantages over standard 35mm. equipment. A man with the Navy is lucky, as his equipment can usually be standard 35mm., and when he gets action, it is generally spectacular. The war cinematographer must be keen on his job; he must have a cool head, an appreciation of danger, an understanding of maps and the use of the compass may prove to be of great value, and good deportment has never been a hindrance.\n\nWanted: 35mm film rolls, eye-mo type, supreme and plus X; date expired but guaranteed. $25.00.\n\nWanted: Development engineer wanted with practical experience in 8 and 16mm. cameras and projectors. Permanent employment with a large Chicago manufacturer now engaged in 100% war work, with assured post-war production.\nOpportunity and substantial salary for the right man. In the first letter, provide age, experience, education, present employment, and other qualifications. All correspondence held in strictest confidence. Our organization is aware of this ad. Box 1002. American Cinematographer.\n\nGuaranteed highest prices paid for:\n- 16MM. Cameras\n- Sound projectors 35MM\n- Eyemo Cameras, all models\n- Bell & Howell\n- Mit'hell\n- Akeley\n- Motors\n- Lenses\n- Accessories\n- Lab equipment\n\nWanted to buy for cash:\n- Cameras and accessories\n- Mitchell, B & H, Eyemo, Debrie, Akeley\n- Also laboratory and cutting room equipment\n\nCamera Equipment Company\n1600 Broadway, New York City\nCable: CINEQUIP\n\nWe pay cash for everything photo-graphic. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\nMarch 1943, American Cinematographer\n\nBefore the camouflage experts went to work, this factory - a model for test purposes - was photographed from the air on conventional panchromatic film. The bomber's eye would see what you see - a perfect setup for destruction.\n\nInfrared Film from Kodak spots the 'make believe' of enemy camouflage\n\nCamouflage is the highly developed art of pulling the wool over an enemy's eyes... an art which is finding old methods ineffective, in this war.\n\nThis is in part due to Kodak's development of a type of film whose vision goes far beyond that of the human eye.\n\nNatural grass and foliage contain chlorophyll - Nature's coloring matter. Camouflage materials lack this living substance. Chlorophyll reflects invisible infrared light rays, and Kodak Infrared Film registers them.\nThis invisible light makes natural areas look light in the picture, almost white. In stark contrast, \"dead\" camouflaged areas appear dark - almost black - in the picture. Infrared Film is capable of penetrating through the haze of a \"low-visibility\" day and returning from a reconnaissance flight with clear pictures. It far exceeds the power of the human eye in this regard. Working with our Army and Navy flyers and technicians, Kodak has taken this new technique of camouflage detection to high efficiency and, for our own use, has helped develop camouflage that defies detection. Eastman Kodak Company, Rochester, NY\n\nHowever, with camouflage materials such as false structures, netting, cloth streamers, paint, and anti-artificial trees, experts have managed to deceive both the camera and the bombardier. To the aerial observer.\nWith a camera loaded with panchromatic film, the marks of erosion on the slope by the railroad track have disappeared. But here it is again. With Kodak Infrared Film in the aerial cameras, pictures like this are brought back from an observation flight. On Infrared pictures, the false, \u201cdead\u201d camouflage materials look almost black. The natural landscape is unusually light. A trained camera man, with one look, knows where the bombs should strike.\n\nServing human progress through Photography\nAmerican Cinematographer \u2022 March, 1943, p. 119\n\nLow on Film Cameras and Projectors that have gone to war, and no more can be built for civilian use until the boys come marching home, you are probably feeling lucky to have purchased your Filmo home movie equipment while you could still get it. But we think you are to be congratulated for your good judgment.\nYou bought Bell & Howell precision-made home movie equipment because you wanted the finest personal movie equipment that advanced engineering and skill could produce. This decision was good judgment - not luck.\n\nYou bought a Bell & Howell Projector because you realized that not any one or two features of design or construction make this projector outstanding - but a combination of many fine, well-balanced features, plus years of experience in the precision manufacture of fine motion picture projectors.\n\nYou wanted uniformly brilliant, flickerless pictures. You wanted positive gear drive - not chains or belts - but precision gears to drive everything from motor to shuttle.\n\nYou wanted film protection that protects film all the way - and all the time.\n\nYou wanted uninterrupted programs . . . high fidelity of sound whether high or low pitched.\nYou wanted the greater illumination provided by Filmo for showing color movies at their best, and the critical sharpness, fine color correction, and brilliance of B&H projection lenses. You wanted the Filmo condenser that could be withdrawn instantly by its external handle for cleaning. You wanted the Filmo reflector, too, that was easily removed without tools for cleaning. You wanted an easily accessible micrometer reflector adjustment. You wanted to be able to remove the lamp by grasping its coolest portion \u2014 the base \u2014 and only Filmo offered that. You wanted all of these features \u2014 and many others \u2014 found only in Filmo Projectors. So you bought Filmo \u2014 and that was judgment, not luck.\n\nThe same is true of your Filmo Motion Picture Camera. While you cannot replace your Filmo home movie equipment for the duration, with reasonable care it will not need replacement.\nFor Filmo home movie equipment, the painstaking way is used to ensure fine performance long after the price is forgotten.\n\nMotion Picture Cameras and Projectors\nShare your projector with your neighbors and help your country, too! Give a movie party with a more important objective than merely entertaining your neighbors and friends. Use the magic of your projector to bring them a closer, clearer picture of what this global war is. Let them see the flaming inferno of modern battle. That will help them realize more fully that we can win only with the all-out effort of every American everywhere\u2014at home as well as on the battle fronts.\n\nSee your B&H dealer for films from the all-inclusive Filmosound Library.\n\nThe Filmosound Library offers you a practically unlimited selection of films.\nThousands of films available through this comprehensive source, purchase or rental. Films for every interest and audience taste, with or without sound, often in 16mm., some in 8mm. War films: \"Yanks Invade Africa,\" \"U.S. Carrier Fights for Life,\" \"Russia Strikes Back. Civilian Defense: \"Air Raid Warning,\" \"Emergency First Aid,\" \"Garden for Victory,\" and many more. Mail coupon for Filmosound Library Catalog detailing available subjects and recent releases. Two terrific battle actions in one film.\n[US Carrier Fights for Life\nShow this picture to your friends and neighbors and they'll know that this war is serious business! Here's a picture that will put the audience right in the thick of the fight.\n\nRussia Strikes Back\nShow them the flaming inferno of Stalingrad. Let them see what it means to defend one's home soil against invading Nazi gangsters!\n\nRent or sale \u2014 Filmosound Library.\nBell & Howell Co., Chicago; New York; Hollywood; Washington, DC; London. Established 1907.\n\nBell & Howell Company\n1848 Larchmont Avenue, Chicago\n\nPlease send me film catalogs. I have received some catalogs, but I am interested in renting or buying films for entertainment, education, war, and Civilian Defense.\n\nName.\nAddress.\n\nBuy WAR BONDS]\nDu Pont Films, America's ace camera men - in the air, on land, above and below the sea - are doing a swell job. They're getting pictures for posterity, pictures of every important battle step in this greatest of all wars. And Du Pont Films are helping them do it on every front.\n\nAt home, cameramen on the studio lot also have a wartime job to do. They're making pictures for pleasure... America's pleasure... to help maintain the high morale so vitally important in winning the war.\n\nDespite the need for footage straining all production facilities, Du Pont Films continue doing everything cameramen expect of them. Rigid tests control every manufacturing operation. Sharp-eyed experts inspect every inch of film before it is shipped. You can always rely upon Du Pont Films.\nA type for every requirement.\n\nSUPERIOR 1 (Type 104) - A fine grain film, especially suited for taking background negatives and for general outdoor use. Has a moderate speed and requires normal development.\n\nSUPERIOR 2 (Type 126) - Combines high speed, fine grain, long scale gradation, and a well-corrected panchromatic response. An ideal all-round film for general use.\n\nSUPERIOR 3 (Type 127) - Meets exacting requirements under adverse lighting conditions. Almost twice as fast as Superior 2, yet it retains remarkable fine grain.\n\nE. I. du Pont de Nemours & Company, Inc.\nPhoto Products Department\nWilmington, Delaware - Smith & Aller, Ltd., Hollywood, California\n\n\"SUPERIOR\u201d CINE FILM\nBetter Things for Better Living. . .\nThrough Chemistry\n\n122 April, 1943 \u2022 American Cinematographer\n\nThat\u2019s why there are no Eyemos for civilian use for the duration.\nEyemos have always been famous for their unfailing performance under conditions that put both men and machines to the supreme test. Good going or tough, Eyemo gets the picture. That is why our armed forces use the compact type of three-lens turret in Eyemo models L and M. The viewfinder is matched to six lens focal lengths by turning a drum; it shows the \"sound\" field to match the camera's \"sound\" aperture plate. Operating speeds: Model L \u2014 4 to 32 frames per second; we need every Eyemo we have or can build. The need is so acute that all Eyemos must go to the armed services. That's why we can't supply civilian demands for this famous 35mm camera. But this war won't last forever. When the boys come marching home, you'll again be able to get any one of the seven Eyemo models that best suits your needs. . . and then, as in the past, if your particular requirements call for a specific Eyemo model.\nCall for a special Eyemo. We will modify any model to suit you. You'll never have to accept a compromise in an Eyemo Camera.\n\nBell & Howell Company, Chicago, New York, Hollywood, Washington D.C., London. Established 1907.\n\nEyemo Models P and Q +\nMost complete of the seven standard models, have three-arm offset turret, prismatic focuser with magnifier, and provisions for electric motor and external film magazines. Speeds: Model P\u2014\n\nBuy War Bonds\nWill you mail this to us now?\n\nSpecial arrangements are being made in our service department to recondition for Government use all of the Eyemo Cameras we can obtain. You may have exactly the lenses needed for important military service. If you will sell, fill out the information blank in this advertisement.\n\nPrecision-made by Bell & Howell and Kodak.\n\nEyemos Wanted\nBell & Howell Company\n1848 Larchmont Avenue\nChicago, Illinois\n\nGentlemen.\n[I own an EYMO Camera, Model _, Serial No.,\nIt has been modified as follows: _,\nI will sell this camera for $ _ and will pay transportation and insurance to Chicago.\nThe camera is:\n- In good operating condition\n- Inoperative or damaged (give details): _\nPrice above includes these lenses:\n- I offer the following additional lenses at the prices shown below:\nName,\nAddress,\nCity & State,\nDo Not Ship Until You Receive Instructions from Factory!\n\nContents\nThe Staff\nIllumination Contrast Control. \"By Capt. Don Norwood, U.S.A.\" (126)\nConsistency in Cinematography. \"By Daniel B. Clark, A.S.C.\" (128)\nRKO Builds Biggest Boom for Shooting Aerial Miniatures. \"By William Stull, A.S.C.\" (130)\nRuttenberg and Shamroy Win Academy Awards (131)\nAces of the Camera \u2014 XXVII: Ray June, A.S.C. \"By Walter Blanchard\" (132)\n\nThe Staff\n\"Illumination Contrast Control\" by Capt. Don Norwood, U.S.A. (126)\n\"Consistency in Cinematography\" by Daniel B. Clark, A.S.C. (128)\nRKO Builds Biggest Boom for Shooting Aerial Miniatures. \"By William Stull, A.S.C.\" (130)\nRuttenberg and Shamroy Win Academy Awards (131)\n\"Aces of the Camera \u2014 XXVII: Ray June, A.S.C.\" by Walter Blanchard (132)\nThrough the Editor's Findings:\n133. A.S.C. on Parade\n134. Photography of the Month\n135. Making 16mm. \"Horse Operas\" in New Jersey\nBy Reginald McMahon\n137. Accent on Pantomime\nBy Stanley O. Bean\n138. There's a Job Overseas for Your 16mm. Sound Projector\nBy Carole Landis\n139. Take Care of Your Camera and Projector \u2014 They're Priceless\nBy James R. Oswald\n140. Among the Movie Clubs\n141. Here's How I Did It\nBy Our Readers\n142. Home Movie Previews\nThe Front Cover\nThis month's cover features Harry Perry, A.S.C. (center, wearing a dark hat and director Dick Rosson (right) aboard a Canadian corvette \"somewhere in the Atlantic\" filming a scene for Universal's \"Corvettes In Action.\" The cylindrical objects upon which Perry and Rosson are standing so nonchalantly are depth bombs. Note how the camera is chained down, and the depth charges are being dropped in the background.\n[Inclination of horizon as the corvette rocks. Uncredited official cameraman of the Royal Canadian Navy took the still.\n\nWilliam Stull. A.S.C. (Editor)\nEmery Huse, A.S.C. (Technical Editor)\nReed N. Haythorne, A.S.C. (Washington Staff Correspondent)\nCol. Nathan Levinson (Military Advisor)\nPat Clark (Staff Photographer)\nAlice Van Norman (Artist)\n\nFred W. Jackman, A.S.C. (Advisory Editorial Board)\nVictor Milner, A.S.C. (Advisory Editorial Board)\nJames Van Trees, A.S.C. (Advisory Editorial Board)\nFarciot Edouart, A.S.C. (Advisory Editorial Board)\nFred Gage, A.S.C. (Advisory Editorial Board)\nDr. Herbert Meyer, A.S.C. (Advisory Editorial Board)\n\nS.R. Cowan, 132 West 43rd Street, New York (New York Representative)\nMcGill's, 179 Elizabeth Street, Melbourne (Australian Representative)\n\nPublished monthly by A.S.C. Agency, Inc.\nEditorial and business offices: 1782 North Orange Drive, Hollywood (Los Angeles), California]\nEstablished 1920. Advertising rates on application. Subscriptions: United States and Pan American Union $2.50 per year; Canada, $2.75 per year; Foreign, $3.50. Single copies, 25c; back numbers, 30c; foreign, single copies 35c, back numbers 40c. Copyright 1943 by A.S.C. Agency, Inc.\n\nEntered as second-class matter Nov. 18, 1937, at the postoffice at Los Angeles, California, under the act of March 8, 1879.\n\nApril 1943 \u2022 American Cinematographer\n\nShift Over Alignment Gauge\nUnsurpassed in Quality. Versatility and Itityidity.\n\nIf this Shiftover device is the finest, lightest, and most efficient available for the Eyemo Spider Turret prismatic focusing type camera,\n\nIf the male of the Shiftover attaches to the camera base permanently and permits using the regular camera holding handle if desired. The male dovetail mates with the female dovetail base and permits the attachment of the Shiftover to the camera.\nThe camera shifts from focusing to photographing positions for parallax adjustment. It can be locked in a desired position by a positive locking-device. If the Shiftover has a \"stop-bracket\" which prevents the camera from sliding off the dovetail base, and is provided with dowel pins that position it to top-plates of tripods having 3/g or 1/s-20 camera, and fastening screw. The friction type head provides super-smooth pan and tilt action, 360\u00b0 pan and 80\u00b0 tilt. A generous-sized pin and trunnion assure long, dependable service. \"Spread-leg\" design affords utmost rigidity and quick, positive height adjustments. A \"T\" level is built into this 14 lb. superfine tripod. The top-plate can be set for 16mm. E.K. Cine Special, with or without motor; 35mm. DeVry and B & H Eyemo (with motor), and with or without alignment gauge.\nTripod Head Unconditionally Guaranteed 5 Years\nProfessional \"Jr.\" Tripods and Camera Equipment Company\nShiftover Alignment Gauges are used by the U.S. Navy, U.S. Army Air Bases, Signal Corps, the Office of Strategic Services and other Government Agencies, as well as by leading Newsreel companies and 16mm and 35mm motion picture producers, for important work.\n\nFrank C. Zucker (Film Equipment Manager)\n\nIllumination Contrast Control\nBy Captain Don Norwood, USA, (Ret'd)\n\nSuppose you were assigned to a picture which called for dramatic, high-contrast lighting throughout. Can you be absolutely sure that your first scenes will match up with those made six weeks later?\n\nSuppose you are shooting a star and discover an arrangement of lights and shadows on her face that gives a superb effect. Would you like to be able to reproduce that effect consistently?\nTo duplicate the effect with assurance, six weeks later, any number of times? Suppose you are going to shoot a natural-color picture. Would you like to proceed with assurance that contrast will always be within safe limits: no blocked-up shadows, no washed-out highlights? That contrasts throughout the picture will match perfectly?\n\nAll of the above are, to a large extent, functions of illumination contrast.\n\nIllumination contrast is easy to define. Let us imagine a subject outdoors facing south. The sun is in the west. The west side of the subject's face is illuminated by sunlight. The east side is illuminated by sky-light. The ratio of the intensity of sunlight, on one side, to the intensity of the sky-light, on the other side, constitutes the illumination contrast.\n\nHeretofore, illumination contrast has been somewhat loosely considered.\nContrast, high contrast, or in between. Such a method leaves much to be desired in the way of positive information. What one photographer considers low contrast might fit another photographer's idea of medium contrast, and so on. Even one individual's ideas on the subject might be subject to variations from time to time.\n\nIt is therefore obvious that it would be quite desirable to be able to label these various illumination contrasts with numbers which would definitely place them. Such a procedure would provide a common language on the subject which would have a definite meaning to all photographers.\n\nApril, 1943 \u00a9 American Cinematographer\n\nFor example, see Fig. 1-a (first picture). Here the sunlight intensity on one side is 16 times the intensity of the skylight on the other side. This gives us an illumination contrast ratio of 16:1.\nFig. 1-b displays an illustration contrast of 12 to 1, and so on throughout the series. A cinematographer could easily select an illumination contrast ratio from such a series suitable for the next picture they are going to shoot. With illumination contrast ratios reduced to manageable numerical values, the next step is to provide a means of measuring the actual illumination contrasts present or being established on any subject.\n\nThis has been achieved by means of an auxiliary attachment for the Norwood exposure-meter. It will be called the Norwood exposure-meter has a three-dimensional light-collector, which in effect represents the camera side of the subject, and evaluates the sum total of all photographically effective illumination falling on it.\nThe auxiliary attachment is in Fig. 5: Contrast ratio is indicated at the arrow (right), and juxtaposed figures on the dial indicate correct readings on the highlight (outer) and shadow (inner) illumination to maintain that ratio at any desired illumination level.\n\nLeft, Fig. 2, contrast-reading hood on Norwood meter. Center and right, Figs 3 and 4, show the method of taking selective readings of highlight and contrast illumination.\n\nThe hood's form is that of a hood with a lune-shaped aperture. (See Fig. 2.) This hood, in effect, permits selective measurement of any sector of the representative surface of the light collector. The reading obtained indicates the relative intensity of illumination falling on that particular sector.\n\nNow, if a reading is taken on the sun-lit side, as shown in Fig. 3, the meter needle might, for example, show 5.6:.\nA reading would be taken on the skylit side as shown in Fig. 4. This reading turns out to be 2.8. The ratio between the two illumination-intensity readings constitutes the illumination contrast.\n\nTo reduce meter readings to a simple numerical ratio, the Norwood computer has been designed. (See Fig. 5.) In the example started above, the higher reading, 5.6, has been located on the upper outside scale. The lower reading, 2.8, has been located on the upper inside scale and set adjacent to the higher reading. The index, at the right, below, then points to the answer on its lower scale, which in this case happens to be 1.8.\n\nSuppose a cinematographer assigned to a new picture looks over the story and decides that a contrast ratio of 4 to 1 will best promote the effect of the story.\nThe Norwood computer is set to 4-1. The Norwood meter with contrast hood is used to measure the brightest illumination. If it shows up as 4:, the meter head is turned to make a reading on the shadow side. The computer indicates that the shadow must be filled in until the meter needle shows 2:. When this point is reached, the illumination contrast on the subject is Jj-1. Throughout an entire picture, the illumination contrast can be kept under positive control. The cinematographer has assurance that scenes made last day of shooting will perfectly match those made on the first day. When making contrast readings, the hood aperture is moved a 180\u00b0 angle on the camera side of the subject.\nThe photographer is interested only in illumination falling on the camera side of the subject. However, when it is desired to make a record of some particularly attractive lighting setup for duplication at a later date, the Norwood meter with contrast hood may be used in a different manner. For this purpose, it is deployed differently.\n\nConsistency is, and must always be, one of the fundamental goals of professional cinematography. By this, I do not mean a standardization of artistic treatment which would rigidly standardize the lightings and compositions of every cinematographer on every picture to a monotonous sameness. What I refer to is a consistent application of the chosen artistic treatment throughout the entire production.\nThe phototechnical consistency which completely standardizes the factors of illumination, exposure, and film processing allows the director of photography to concentrate all of his attention on the artistic aspects of his work. Confident that mechanical details represented by negative densities and printing values will take care of themselves, the first scene and last one, as well as all those in between, will \"match up.\" In attaining this photomechanical consistency, three very closely inter-related factors are chiefly involved. First, the key illumination on the subject being photographed should be consistent. Second, the exposure-values reaching the film from this combination of illumination and subject must also be consistent.\nThe consistency in laboratory processing of both the negative film and the print derived from it should be equal. Consistency in any one of these factors is virtually useless, if not impractical, unless the other two are also consistent. The first and most important of these three factors is consistency in film processing. It does not matter much that exposure and illumination are held constant if the development given to the negative is not consistent. In the pioneer days of the industry, this consistency was not only unknown but virtually impossible. Too little was known about the depletion of solutions and the deterioration of chemicals. Additionally, since negative development was timed largely by visual means, the human element was introduced to produce another extremely unpredictable variable.\nModern advances in practical and theoretical photochemistry have enabled us to mix our solutions with infinitely greater consistency. Modern replenishment techniques make it possible to maintain them at consistent performance throughout their useful lives. Modern sensitometric control provides a constant, accurate check on performance, a feature unknown only a few years ago.\n\nHowever, the human element still remains. In laboratories where the so-called \"test system\" prevails, it can still defeat every effort, whether by the camera operator or laboratory technician, toward consistency. Under this system, at every important change of scene, setup, or lighting, a test is made. Upon reaching the laboratory, these tests are detached from the rest of the film and developed first, under \"normal\" conditions, and used as a guide to the development of the rest of the film.\nThe actual scenes. If, in the opinion of the negative-timer, the test of a scene seems thin and under-exposed, the negative of the scene itself is given additional development; if the test seems overly dense, the actual scene is short-developed. It does not matter whether or not the cinematographer may have been working deliberately for low- or high-key effects; the negative is given the development the timer believes ought to be \"right\" for what he reads from the test. As he is not a mind-reader, he can scarcely be blamed if he fails to appreciate that the director of photography may have had a definite reason for over- or under-lighting the scene to gain a specific effect. However, the system can be blamed, and should be.\n\nIf the director of photography were so inexpert or had so little control of his medium that he could not avoid inconsistencies, the negative timing process would only exacerbate the problem. The negative timer's role was to ensure that the negative received the optimal development for the desired visual effect, but their decisions were based solely on the test strip. If the test strip did not accurately represent the scene, the negative would be developed incorrectly, leading to inconsistencies in the final print. This issue could be particularly problematic when working with complex lighting setups or when trying to achieve specific visual effects.\n\nDespite these challenges, the negative timing process was an essential part of film production, as it allowed for greater control over the final look of the film. By carefully monitoring the development of the negative, filmmakers could ensure that their vision was accurately captured on screen. However, it was important for the negative timer to work closely with the director of photography and the lab technicians to ensure that the test strips were an accurate representation of the scenes and that the negative was developed correctly.\n\nIn summary, the negative timing process involved the use of test strips to determine the optimal development time for the negative based on the desired visual effect. The negative timer made these decisions based on the test strips alone, which could lead to inconsistencies if they did not accurately represent the scenes. Despite these challenges, the negative timing process was an essential part of film production, as it allowed for greater control over the final look of the film.\nScene-to-scene fluctuations in his lighting,\n\nDiagram of the 20th Century-Fox photo-electric lens-calibrating setup,\n\nThe author receives an Academy Award plaque for developing the photoelectric lens-calibrating system described here. Exposure and negative densities require admission that the additional check represented by this test system might be an invaluable life-saver. But today, any cinematographer worthy of the name is certainly sufficiently master of his medium, and has at his hand such efficient controls of lighting and exposure, that there is no excuse for the intrusion of this infinitely variable human element.\n\nMoreover, the effects of this error are cumulative. Leaving aside the experiences every cinematographer has had with night effects or effect lightings being misinterpreted by someone in the laboratory.\nThe answer lies in giving the cinematographer a definite standard:\n\nMost of us can recall times when we were shooting for a definite effect and the laboratory's negative-timer misinterpreted it. If the cinematographer attempted to handle his scene according to the laboratory's recommendation, it would mean abandoning effects he felt were artistically and dramatically necessary for his production. On the other hand, if he strove to obtain the effects he wanted in spite of the laboratory, it would mean he would be getting farther and farther off the beam every day. In either case, his attempts to obtain photo-technical consistency would degenerate into a mere attempt to outguess the laboratory, usually to the detriment of overall photographic quality and consistency.\nThe question of where to shoot, as represented by the time-and-temperature system of development, leaves contrast, negative density, and effects entirely in the control of the cameraman. If he misses, it is his fault; if he succeeds, it is by his merit. The man at the camera stands or falls on his ability, and one of the basic factors leading to phototechnical consistency has been reduced to scientifically standard practice.\n\nIts to the credit of Laboratory Superintendent Mike Leshing of the 20th Century-Fox Laboratory that he has standardized on this time-and-temperature system. He is one of the few laboratory chiefs who leaves control of photography strictly in the hands of the cameraman, and by eliminating tests and all that. (April, 1943 \u2022 American Cinematographer)\nWith him, he has achieved savings in film, time, effort and manpower which are increasingly important these days. This consistency in negative processing is not alone enough to guarantee photographic consistency, however. It would be futile if it could not be accompanied by consistency in illumination on the set and consistency in exposure on the film. It would only stabilize one out of three potentially variable factors.\n\nWith today\u2019s photoelectric exposure meters, obtaining consistency in illumination has become a relatively simple matter. It probably does not matter much what type of meter is used, or by what method, so long as the meters themselves are consistently accurate, and the method of using them gives consistent results. At 20th Century-Fox we pioneered in the use of meters and in establishing standards.\nThe accuracy of meters and standard methods for using them is important to us, as we believe our method is superior. Our method has consistently produced excellent results and has been approved by all outstanding cinematographers on the studio's camera staff.\n\nThrough exhaustive comparative tests, we selected the most consistently accurate photoelectric exposure-meter available. We then standardized on this meter and supplied studio-owned meters to all cameramen. These meters are regularly checked against a known standard of illumination on an optical bench and maintained in accurate working order.\n\nIn use, the meters are employed in a simple, standard method for incident-light readings on the key-light. The key-light illumination is adjusted to produce the desired exposure.\nA predetermined standard reading for normal and effect-lightings. With the key-light pegged to a normal standard, cinematographers can balance the rest of their lighting as they see fit, securely confident that their illumination is balanced to a standard which, with our standard time-and-temperature developing, should place their exposure and negative density in the desirable middle part of the film's characteristic curve and of the printing scale. This, however, is not enough to guarantee complete consistency under all conditions. All professional cinematographers\u2014and most advanced amateurs\u2014have learned from sad experience that exposure is governed not only by illumination and negative development, but by the individual light-transmitting abilities of the lenses used to make the picture. While in theory any given stop on one lens is supposed to deliver the same exposure, in practice this is not the case due to variations in lens transmission.\nThe mathematical formula used to calculate diaphragm openings in photographic lenses does not consider the type of glass, number of elements, their transmission factors, or the number of glass-air surfaces in the lens as a whole. This formula is mathematically expressed as:\n\nF = f / D\n\nIn this expression, \"f\" represents the numerical value of the f-stop in question, \"F\" represents the focal length of the lens, and \"D\" the diameter of the aperture at the stop indicated by \"f\". In other words, the value of the f-stop is determined by dividing the focal length by the diameter of the aperture. For example, if the focal length of the lens is 50mm, the diameter of the aperture at f/2 would be 25mm.\nIf the lens has a length of 50mm and the maximum opening diameter is 1 inch (25mm), the f-value at maximum aperture is :2. To calibrate the lens, use the same formula. For example, to determine the diaphragm-opening for a stop-value of :8 with the same 50mm lens, since \"D\" is unknown, \"f\" equals 8 and \"F\" equals 50, and 8 equals 50 divided by \"D,\" \"D\" must equal 50 divided by 8, which is 6.25mm or .2462 inches. Mark this point as representing :8 according to the traditional formula.\n\nThe author was testing lens transmission during his initial experiments. The current equipment in use has been modified since then.\nThe formula for calculating exposure does not account for a lens's transmission characteristics. It applies equally to the simplest single-element lens and the most complex objectives, which may consist of two, three, four, or more cemented or uncemented elements of several different types of glass. Each type of glass has unique transmission characteristics, and there is a definite loss of light every time light passes from air into glass or vice versa.\n\nIt is no surprise, then, that we have all had the unpleasant experience of making a long-shot with, for example, a 50mm lens, and then moving in for a close-up with a 3- or 4-inch lens.\nLens of different designs and found that although our key illumination and negative development were held at absolutely the same values, the scene made with one lens, though at the same indicated stop as the scene made with the other, might be as much as a stop or even more over or under the other in actual exposure and density. Accordingly, it seemed evident to us that the final step in securing consistent phototechnical quality must be to make use of some system of calibration which would be based completely upon the practical light-transmitting characteristics of each individual lens. The use of some form of photoelectric measurement of actual transmitted light, through the lens itself and from a known standard light-source, seemed obvious. Discussion of this idea with outstanding lens manufacturing firms, however, (Continued on Page 157)\nWith an avalanche of war-themed production under way, Hollywood's film industry, now more than ever before, requires new equipment to enable special-effects cinematographers to accomplish things they have never previously needed to do on such a scale. Yet due to wartime restrictions, the building of new equipment has become prohibitively difficult. In many instances, the question of building the equipment needed to make a special-effects shot possible has come to demand as much ingenuity as making the shot itself.\n\nAn excellent illustration of this is a new boom developed by Vernon L. Walker, A.S.C., and his staff at RKO. (Figure 1) Right: Close view of RKO's new camera-boom; note pneumatic winches, generator for camera-driving current, and rigidly-braced construction. Below: The boom in use; at bottom: dropping miniature bombs.\nSpecial-Effects Department of RKO Studio for filming miniature scenes representing aerial bombings and the like. With productions like \u201cBombardier,\u201d which centers around the training and combat action of Air Force bomb-aimers, in production or scheduled, such a device was obviously essential. At the same time, no new materials to make it were available.\n\nRKO Builds Biggest Boom for Shooting Aerial Minatures\nBy WILLIAM STULL, A.S.C.\n\nSo Walker and his designing engineer \"Marty\" Martin built a device which easily takes rank as Hollywood's largest camera-boom. And they did it without using a single scrap of new material!\n\nSomething of the design and construction of the big boom will be seen from the illustrations. The rectangular steel truss which forms the chassis was reclaimed from the underframe upon which marine sets were constructed.\nMounted on a massive ball-joint so that they could be rocked to simulate the natural rocking of a ship, beneath this truss were suitable brackets \u2013 also of reclaimed metal \u2013 bolted to carry four flanged railway-type wheels on suitable axles. These wheels carry the boom along a length of railway track some 350 feet long. The rails used were reclaimed from tracks laid in another outdoor set and were welded together to assure smooth operation. Due to the extreme height of the boom\u2019s superstructure, it was decided to widen the track to the full width of the steel chassis. Thus, with a gauge of 15 feet and a total length of 350 feet, Walker\u2019s RKO Railway may be said to rank as both the broadest-gauge and the shortest railway in the world!\n\nAcross the center of the underframe is bolted a heavy steel girder upon which the boom proper is mounted.\nThe superstructure comprises two boom arms, constructed of wooden poles each 90 feet in length, and two shorter poles forming the central supporting arm. All three of these upright members are strongly braced by steel cables, which were also reclaimed from previous uses.\n\nThe left-hand boom arm carries a mount for the camera and crew. The right-hand arm serves as a counterbalance and is weighted with lead counterweights to offset the weight of the camera and crew. When necessary, these two arms are raised or lowered together, so that each counterbalances the other.\n\nOrdinarily, the camera and its accessories are hoisted into position without lowering the boom, while the crew scrambles into their places along a ladder attached to the boom arm. The boom is generally counterweighted to maintain balance.\nApril 13, 1943, American Cinematographer: Ruttenberg and Shamroy Win Academy Awards\n\nJoseph Ruttenberg, A.S.C., made history with the presentation of the Academy Awards for the best photographic achievements of 1942. He became the first cinematographer to capture two awards for monochrome cinematography. Four years ago, he was awarded an \"Oscar\" for \"The Great Waltz\"; this year, he received a second golden statuette for making \"Mrs. Miniver\" the best black-and-white photographic achievement of 1942. In the color class, Leon Shamroy, A.S.C., with \"The Black Swan,\" broke tradition by being the first of the so-called \"production\" cinematographers to win an \"Oscar\" solo, without the collaboration of a Technicolor specialist. Tradition was also broken for the first time as one studio had a total of six awards.\nFour productions worthy of inclusion among the sixteen nominated for the two Camera Awards came from the cameras of 20th Century-Fox in the black-and-white division, with four of the ten nominees, and in the color division, two out of six. In the field of special-effects cinematography, Farciot Edouart, A.S.C., and Gordon Jennings, A.S.C., deservedly repeated their last year\u2019s win with their surpassing work on \u201cReap the Wild Wind.\u201d In the field of technical developments, Daniel B. Clark, A.S.C., and the 20th Century-Fox Camera Dept won a Class II (plaque) award for the development of a radically new system of lens-calibration based on actual transmission values.\n\nWhen we reviewed Ruttenberg\u2019s work in \u201cMrs. Miniver,\u201d we said, \u201cFrom start to finish, Ruttenberg\u2019s compositions and lightings command interest. They\u2019re very nearly flawless, and have an unity that is rare and valuable in the cinema.\u201d\nRuttenberg's camerawork plays a vital role in making \"Mrs. Miniver\" one of the great pictures of the year. Such a treatment is appropriately suited for a story like \"Mrs. Miniver,\" as it visually epitomizes the qualities that have made real-life England under the blitz a heroic saga. Ruttenberg himself says, \"In a year that has seen so many superlatively fine photographic jobs brought to the screen, I can only feel humbly thankful for the surprising honor that has been given to me. I want to express appreciation to my fellow members of the A.S.C. who voted my picture the year's best. With so many perpetually deserving artists among this year's nominees, and with such fine pictures, I feel almost embarrassed and enormously grateful.\"\nI am pleased that my fellow cinematographers deemed me worthy of being the first man to receive two awards. I want to express my appreciation to all those who helped me on the picture. Having a picture that is dramatically great, with many professionals wanting to see it for entertainment as well as photographic values, is a great help in getting an award. The producers, writers, directors, and players made \"Mrs. Miniver\" this kind of picture, and I wouldn't deserve the title of cameraman if I hadn't bent my every effort to make my work measure up to theirs. I owe a world of thanks to Joseph Ruttenberg, A.S.C., and Leon Shamroy, A.S.C. (right) as they receive the Academy Award.\nAward Statuettes for the year's best black-and-white and color cinematography, respectively, to James Wong Howe, A.S.C. and John Nickolaus\u2019 laboratory. A director of photography is no better than his crew and the lab behind him, and I want to give a very sincere \"thank you\" to Operative Cinematographer Herb Fischer, Assistant Cameraman J. King Kauffman, Jr., and all my friends and fellow workers on the set and in the laboratory. I didn't win that award alone, we did it, working together as a team. I sincerely wish there were some way of sharing the honor with every one of the many on the stage and in the lab who helped put me out in front.\n\nThe other nominees in the black-and-white division included \"Kings Row\" (Warner Bros.), photographed by James Wong Howe, A.S.C.; \"The Magnificent Ambersons\".\nAmbersons (Mercury - RKO), photographed by Stanley Cortez, A.S.C.\nMoontide (20th Century-Fox), photographed by Charles G. Clarke, A.S.C.\nThe Pied Piper (20th Century-Fox), photographed by Edward Cronjager, A.S.C.\nTen Gentlemen From West Point (20th Century-Fox), photographed by Leon Shamroy, A.S.C.\nThis Above All (20th Century-Fox), photographed by Arthur Miller, A.S.C.\nPride of the Yankees (Goldwyn-RKO), photographed by Rudy Mate, A.S.C.\nTalk of the Town (Columbia), photographed by Major Ted Tetzlaff, A.S.C.\nTake a Letter, Darling (Paramount), photographed by John Mescall, A.S.C.\n\nLeon Shamroy, A.S.C., and Edward Cronjager, A.S.C., share the honor of having productions nominated for awards in both the black-and-white and color divisions. When we reviewed his achievement in Technicolor, Shamroy and Cronjager stood out for their exceptional work.\noring  \u201cThe  Black  Swan,\u201d  we  said,  \u201cLeon \nShamroy,  A.S.C.,  very  decidedly  goes \nto  town  in  this  richly-Technicolored  pi\u00ac \nrate  story.  Indeed,  after  seeing  \u2018The \nBlack  Swan,\u2019  it\u2019s  hard  to  think  of  a  pi\u00ac \nrate  story  in  monochrome.  Shamroy \npaints  his  picture  in  broad,  vivid  strokes, \nas  becomes  a  story  in  which  colorful \nsettings  and  colorful  costumes  and  ac- \n(Continued  on  Page  153) \nAmerican  Cinematographer  \u2022  April,  1943 \nAces  of  the  Camera \nXXVII: \nRay  June,  A.S.C. \nBy  WALTER  BLANCHARD \nWHEN  a  music-lover  hears  a  re\u00ac \ncording  by  Fritz  Kreisler,  he \ndoesn\u2019t  need  to  be  told  who  is \nplaying:  an  indefinable  style,  and  a \nclear-cut  artistic  vigor  in  the  playing \ntell  him  that,  without  need  of  words.  In \nthe  same  way,  those  who  know  and  love \nfine  cinematography  don\u2019t  need  a  credit- \ntitle  to  tell  them  they\u2019re  viewing  a  pic\u00ac \nture  photographed  by  Ray  June,  A.S.C. \nFor like Kreisler, Ray has an indefinable style of his own - a clear-cut, vigorous artistry that makes his work unique. It is no wonder then, that his fellow professionals will describe him to you as that rare thing, a cameraman's cameraman. They admire the perfection of his work - even on routinely unimportant pictures. And they admire him even more for himself, for he is the finest of fellow-workers and friends.\n\nHe's a real veteran of the industry. This spring he is starting his twenty-eighth year as a First Cameraman. Which would probably seem incredible to the folks who, back in 1914, urged him not to go into any business so unstable as the movies.\n\nAs a matter of fact, when Ray informed his parents that he wanted to make cinematography his life's work, he met with objections on other grounds. People back in 1914 didn't rate film work highly.\nFolk were highly regarded, especially in terms of morals, in any way, particularly in a small town like Ithaca, New York, where Ray grew up. There was a studio in Ithaca in those days where Pearl White made her serials, and the ways of the film folk seemed strange and more than a little wild to many residents. Ray's parents put their foot down flatly against any thought of their son entering such a business.\n\nBut Ray diplomatically suggested that, as he would begin by working nights in the film laboratory, it wasn't likely he'd come in contact with any influence more contaminating than the pyro used to develop the film. He must have put his case very persuasively, for in November 1914, his parents grudgingly let him report for work as a helper in the studio's lab.\n\nHe didn't keep that job very long.\nIf the Ithaca folk weren't particularly happy about having the film people in their midst, some film folk, accustomed to life in a big city like New York, were just as unhappy being what they considered stuck out in the sticks. The laboratory chief was one of them. He was a temperamental Italian, and he longed for the bustle and excitement of life in New York.\n\nOne day, he just didn't come to work ... and there was the day's shooting to develop and print \u2014 and only me to do it! Luckily, I'd learned enough to know how to mix the chemicals right and how to dunk the film-racks into the developing tank. So I became the studio's laboratory-man on very short notice. I didn't spoil anything, so after a few days of natural doubt, the producers decided I might as well keep on running the lab.\nI wasn't many weeks after that, the cameraman of the company also found his yearning for the big town too strong. When one morning he didn't show up, my bosses asked me if I thought I could run the camera. I'd spent as much time as I could watching what the former cameraman did and how he did it, so I replied I thought I could do it.\n\nThis was just about three months after I'd first set foot in the studio. And there I was, a full-fledged First Camera-man! You might better put, \"There I was, a cameraman \u2014 period.\" There were no such things as Assistants in those days \u2014 much less Operatives or Still-men.\n\nAs a matter of fact, I was the whole photographic staff of that studio. During the daytimes I shot the pictures. In the evenings, I developed my negatives. Early the following morning, I'd print them.\nI'd load and unload the magazines, and keep the camera clean and in good condition. Outside of that, my time was more or less my own. Luckily for me, camerawork in those days was a good deal easier than it is now. Most of our scenes were shot outdoors. When we made interiors, we still used daylight: we worked on an open stage, glass-covered like a greenhouse, and with strips of muslin overhead to diffuse the light. Most of the time our sets were simple, with few electrical requirements. However, since the night of March 4th, at the Fifteenth Annual Academy Awards Banquet, the industry has suffered its supreme humiliation. In all sincerity, it seems to us that unless a vast and immediate change occurs, this may be the last Academy Banquet.\nfundamental change is made in the handling of these affairs, this year'squet should certainly be the last. In making this observation, we do not overlook the difficulties which annually face the Academy planners. We realize fully that with increasing world-wide publicity, this \"family party\" at which the people of the motion picture world gather to honor their own has grown increasingly out of hand. For the last ten years, no one - least of all the industry's technicians and the representatives of the press assigned to \"cover\" the event - has attended with any slight expectation of comfort. We have grown used to being shunted off to crowded tables in the more remote suburbs, so distant from the platform that we scarcely expect to see or hear anything of what is going on. We are becoming inured to this treatment.\nEnduring meaningless speeches by political prominents who know nothing about the industry and care less. We can even begin to understand why the actually important proceedings of the evening are often sidetracked so that these more or less distinguished orators may go on the air to help finance the proceedings \u2013 and incidentally to bore countless radio listeners who tuned in in the hope of hearing the actual presentation of Awards to their favorites. But there are a couple of things we cannot understand. First, why can't the proceedings be confined strictly to their announced purpose \u2013 a \"family party\" of, by and for the industry, in which the industry itself gathers to honor outstanding achievement by its own people? Everyone else \u2013 the newspapers, the radio, and the national government itself \u2013 recognizes that motion picture names are an integral part of the industry.\nAnd personalities are the most newsworthy drawing-cards in the world today. They call upon our actors to put over war-bond drives and to tell women in defense plants how to wear their hair; they call on our technicians to teach Army cameramen how to photograph pictures and record sound; on our art-directors to develop new and better methods of camouflage. Why then, do we need outsiders to tell the world what a great job our industry is doing for the war effort, or how significant are our honors for cinematic achievement?\n\nThe motion picture industry is one of the extremely few great arts based on creatively-applied science. The Academy itself includes \u201cSciences\u201d as well as \u201carts\u201d as a key part of its name. Why is it, then, that the representatives of the creative sciences - of which cinematographers are one - are excluded from the Academy?\nImportant group though not the only ones - given a poor relation's brush-off in the method of presenting the Awards? Why is it that the representatives of so many other groups - not only the actors, but also the writers, directors, producers, even musicians - were given a chance not only to read off the list of nominations, but often to expatiate on the contributions of their respective branches, and the recipients of the Awards to make speeches of acceptance (often much too patently prepared), while the Awards for cinematography, special-effects, sound-recording, and the like, which are the real foundation of the industry, were railroaded through with scarce a half-dozen words spoken in both presenting and receiving all of these Awards combined?\n\nWe will admit that the industry's technical people are neither as glamorous nor as publicly recognized as the actors and other creative personnel. However, their contributions are essential to the final product that audiences see on the screen. It is important to give them due recognition and allow them to share in the limelight during award ceremonies.\nThe problems in the text are minimal. Here is the cleaned text:\n\nThe problems in front of the cameras aren't as widely publicized as the players they bring to screen and their loud-speakers. Joe Ruttenberg doesn't have the glamour that his photographic skill invested in Greer Garson in \"Mrs. Miniver.\" Nathan Levinson doesn't cut as swashbuckling a figure as \"Yankee Doodle\" Cagney. But in each case, the patient efforts of the one helped bring the other his or her \"Oscar.\"\n\nThe glamour-folk in front of the cameras admit, as Rosalind Russell did so charmingly two years ago, that they owe their popular success as much to the patient skill of the unpublicized men who make them look and sound as they really don't, as they do to their own unaided efforts. And somehow, we've always figured that any organization which claimed to be devoted to the arts and sciences of the motion picture should, in all honesty, bend every effort to recognize and reward these unsung heroes.\nIt is an effort to publicize this fact, at least when it comes to giving public recognition of outstanding technical and artistic achievements. The last year has proven that no words could be too flattering, at least when spoken off the record, when some of these people found it necessary to wheedle the industry's technical people to do a job they'd promised to do but couldn't deliver on their own abilities!\n\nIt is an open secret that today there is a strongly supported move on foot for the industry's cinetechnical people to withdraw from next year's Awards and \u2014 regardless of studio or organizational affiliation \u2014 to create and present their own awards for the year's best achievements in monochrome and color cinematography and special effects. That is as it should be. And we have an idea that it will find a warm response among them.\nThe other arts and crafts of the industry's technical community, and among many members of the press, are gaining recognition. With thousands of laymen, both in and out of the industry, becoming increasingly aware of the vital role the industry's cameramen, sound engineers, special effects experts, and other technicians play in making screen entertainment possible, it is time that the industry's technicians stopped being the poor relations at the industry's annual back-slapping feast and stood as solidly on their own feet as they do every day on the set.\n\nSometimes we wonder if the industry isn't overlooking a very big bet in its special-effects specialists. We've known of productions which carried a budget of more than a half million dollars for special-effects work alone, and of which from half to three-quarters of the release footage \u2014 including important scenes \u2014 consisted of special effects.\nImportant scenes with the principals were planned, produced, and directed by unsung special-process cinematographers. These men are valuable where they are, but mightn't they prove even more valuable if placed in charge of complete productions instead of merely parts of them?\n\nA month or so ago, a cameraman remarked to us, \"You know, they say there's a shortage of cameramen \u2013 but I'll be darned if I see any evidence of it! Everywhere I go, they tell me they like my work, but there's nothing open now \u2013 come back next week, or maybe in two or three weeks.\" Meanwhile, I've a wife and a couple of kids to support. What am I going to do?\"\n\nA few weeks later, we saw him again \u2013 in the uniform of an Army lieutenant. He'd solved his problem. Uncle Sam may not pay his shavetails much, but that little, coming in fifty-two weeks.\nA year is a lot better than the much higher wage of a cameraman coming in perhaps half-a-dozen weeks or a month or so out of the year! As the industry ordinarily thinks of such things, that chap\u2019s enlistment wasn\u2019t exactly a crippling loss to the industry. He wasn\u2019t a spectacular camera-ace \u2014 just a sincere, efficient young man who had given fifteen or twenty years of his life to the industry, and had mastered his trade so well that everyone knew he could fit into any studio camera or special-effects department and carry on without losing an inch of film or a moment\u2019s time on even the most difficult shots. We\u2019ve got several score like him, all the way down the line from directors of photography to assistant cameramen and film-loaders. For years they\u2019ve been a tacitly recognized convenience \u2014 fellows you could call in for\nA day's work, or a week, or a whole production, with no question as to their dependability. The industry could afford to use them with no thought of offering them the security of a contract.\n\nCapt. Joe Valentine, A.SC. of the Army's Special Service Division is a man of his word. Last month, you'll remember, he promised to send us a picture of himself with his shiny captain's bars \u2013 and here it is. With this evidence, we're only too glad to apologize for inadvertently demoting him to a mere shavetail!\n\nLt. Harold, \"Winnie\" Wenstrom, A.SC., USNR, is in town on leave after two years' service with the Navy \"somewhere in the Pacific.\" We're going to have to lure him in front of a camera while he's here, for his two rows of campaign and service stars.\n\nAmerican Cinematographer \u2022 April, 1943 \u2022 Page 133\nA.S.C. on Parade\n\nCaptain Joe Valentine, A.S.C. of the Army\u2019s Special Service Division is a man of his word. Last month, you\u2019ll remember, he promised to send us a picture of himself with his shiny captain's bars \u2013 and here it is. With this evidence, we\u2019re only too glad to apologize for inadvertently demoting him to a mere shavetail!\n\nLt. Harold, \u201cWinnie\u201d Wenstrom, A.S.C., USNR, is in town on leave after two years' service with the Navy \u201csomewhere in the Pacific.\u201d We\u2019re going to have to lure him in front of a camera while he\u2019s here, for his two rows of campaign and service stars.\nservice ribbons are impressive to see. A big salute to our leatherneck cinematographer, Henry Freulich, A.S.C. A few months ago, we chronicled his enlistment in the Marine Corps as a private slated for Officers\u2019 Training. More recently, we reported he had been commissioned as a Lieutenant. And now, Henry is very deservingly a Captain and, so we hear, finding the Marine Corps one swell outfit.\n\nStanley Horsley, A.S.C. starts his military career the hard way, as a buck private in the Army. He makes the 42nd A.S.C. member in uniform to date.\n\nLt- Joe August, A.S.C., USNR, briefly in town en route from one military secret to another, looking younger and fitter than we\u2019ve seen him in years.\n\nAnd Capt. John Alton, A.S.C., of the Army, in town briefly. Thanks for your cheery phone-call, John \u2014 and here's hoping for a chance for a better talk next time.\nAnd Charlie Lang, A.S.C., assigned to film a family-full of ghosts in \u201cThe Uninvited.\u201d\n\nRay June, A.S.C., is laid up for a serious operation which will keep him in the Good Samaritan hospital for the next several weeks, away from the cameras for some time longer.\n\nRecent trade-paper reports suggest that \"Tony\" Gaudio, A.S.C., has asked for his release from his Warner Bros contract which was due to expire next October. We certainly hope this doesn't mean \"Tony\" is thinking of retiring. If he did, he would be universally missed... and Hollywood without Tony Gaudio wouldn't seem quite the same to any of us.\n\nLester White, A.S.C., Super-Chiefing East, where he's to direct the photography of Red Skelton's next, \"Whistling in Brooklyn.\"\n\nDid you know that George Barnes, A.S.C., is...\nA.S.C. - Sidney Hickox was an accomplished violinist. We didn't know this until Hedda Hopper reported it. We'd like to thank Hedda Hopper for the way she gives cinematographers nice breaks in her column.\n\nSid Hickox, A.S.C., praised for his work on \"Edge of Darkness,\" heads to Sun Valley for location work on \"To the Last Man.\" The thermometer there is averaging 20 below.\n\nCharley Clarke, A.S.C., works on T.C.F.'s ice-stage for Sonja Henie's \"Wintertime.\" He has a new contract that should keep him warm, as well as heartwarming praise for his recent pictures.\n\nKarl Struss, A.S.C., visited to collect stills we shot in our argument about reflected-vs.-incident-light metering, months ago. It was his 26th wedding anniversary.\nVersatile fellow Harry Hallenberger, A.S.C. was doing pick-up shots for Paramount the other day. He spent the morning shooting Technicolor and the afternoon shooting black-and-white. Dan B. Clark, A.S.C. and Stanley Cortez, A.S.C. were busy as a pair of birds co-chairman a committee representing Hollywood's cinematographers. They were laying plans for making a filmic record - perhaps in Technicolor - of the big pageant being staged for Mme. Chiang Kai-Shek. The print is to be presented to her as a gift from Hollywood's cameramen.\n\nJust after we left the office the other evening, Lt. Jack Greenhalgh, A.S.C., USAAF, came by to leave this picture and tell us he was leaving for an unannounced military jaunt. We talked the other day with a Fort Roach sergeant who seemed to indicate that the Air Force gang liked Jack as an officer and fellow-worker.\nHal Rosson, A.S.C., goes to Salt Lake City scouting locations for MGM's forthcoming \"America.\" Does this mean Hal is finally getting a chance at a Technicolor picture?\n\nBet John Boyle, A.S.C., was the only person at the \"Young Mr. Pitt\" preview to identify the narrator's voice as that of Carol Reed. Johnnie photographed Reed's first picture, you know.\n\nTheodor Sparkuhl, A.S.C., gets the sought-after assignment to photograph Jimmie Cagney's first United Artists' production, \u201cMcLeod's Folly.\u201d No folly to picking Ted for that assignment, anyway!\n\nBetween paragraphs note \u2013 nice to see the gentleman from Laguna, Gordon Pollock, A.S.C., up from his beach home for a visit.\n\nPaul Ivano, A.S.C., has reason to smile: with \u201cFlesh and Fantasy\u201d completed, he's signed to a fine new Universal term contract, and assigned to make a big special starring Jean Gabin, and\nDirected by Julian Duvivier.\nJohn Arnold, A.S.C., looking relaxed now that Signal Corps \"camera classes are over, getting up steam to instruct several classes of Marine Corps camera-men.\nApril 1943 \u2022 American Cinematographer\nPHOTOGRAPHY OF THE MONTH\nForever and a Day\nRKO-Radio Release.\nDirectors of Photography: Lee Garmes, A.S.C., Robert De Grasse, A.S.C., Russell Metty, A.S.C., and Nicholas Musuraca, A.S.C.\nThis is the picture which, over the past two years, a volunteer group including all but two or three of the British writers, directors and actors resident in Hollywood have cooperatively produced as a contribution to the charities of their two nations. Surprisingly,\n\"it emerges not as the patchwork one might expect, but as a surprisingly well coordinated piece of cinematic entertainment. The same is true of the photography, which was done by at least four officially credited directors of photography, with their work necessarily intermingled, and spread over a period of two years\u2019 shooting. So expertly have they done their work that it is almost impossible to tell where one\u2019s contribution leaves off and another\u2019s begins. As a matter of fact, if you try to pick each man\u2019s contribution, you\u2019re likely to guess wrong, as this reviewer did after the preview when he started to compliment one man on a sequence he thought he had surely identified \u2014 and found instead that it was done by two of the others!\n\n\"Forever And A Day\" is decidedly one of the most expressively-photographed of recent films. There were no \u201ccommercial\u201d interruptions.\"\n\"Cinematographers faced no \"cial\" restrictions inhibiting their use of extreme low-key effect-lighting. No \"star\" names were photographically protected. The result was a production in which photographic effect served solely to create dramatic mood, freeing cinematographers from the restrictions that often kept them in a rut of commercial safety.\n\nAIR FORCE\nWarner Bros. Production.\nDirector of Photography: James Wong Howe, A.S.C.\nAerial Photography by Major Elmer G. Dyer, A.S.C., and Charles A. Marshall, A.S.C.\nSpecial-effects by Rex Wimpy, A.S.C., and Hans Koenekamp, A.S.C.\n\n\"Air Force\" is one of those pictures you shouldn't miss. Dramatically, it's one of the most completely realistic air-war pictures ever screened; photographically, it will prove one of the outstanding camera-achievements of 1943.\"\nYou should see \"Air Force\" at least twice. The first time, the complete realism of the story, direction, and acting will probably overshadow your interest in the photography. Only on a second viewing will you realize how powerfully and self-effacingly Jimmie Howe's camerawork contributes to making \"Air Force\" the great picture it is. At first, you're conscious only of the realistic mood he maintains from start to finish; but later, you begin to realize how deftly his camerawork, compositions, and lightings have been used to strengthen the dramatic moods of the action. If there are such things as Academy Awards next year, \"Air Force\" will undoubtedly be one of the strongest contenders for the award for the year's best special-effects camerawork. A truly remarkable proportion of the production's release footage was shot under the direction of Jimmie Howe.\nDirect supervision of Byron Haskin and his special-effects staff. Haskin, the two special-effects cinematographers credited, and special-effects Unit Director Roy Davidson deserve endless credit for this work. Most spectacular is the miniature work, which shows the bombing of a Japanese fleet (presumably the Coral Sea battle), and some aircraft landings and take-offs. The perfection of the background-projection and optical-printer work will generally go unnoticed. Yet without them, and their excellent coordination with the \"production\" sequences, \"Air Force\" could not begin to tell its story.\n\nDirectors of Photography: Charles G. Clarke, A.S.C., and Allen Davey, A.S.C. With \"Hello, Frisco, Hello,\" Cinematographer Charles G. Clarke, A.S.C., makes.\nThis text appears to be in good shape and requires minimal cleaning. I will make some minor corrections for clarity and readability.\n\nan unusually auspicious debut in Technicolor. The picture itself is one of the familiar series of 20th Century-Fox Technicolored musicals, but Clarke and Davey have invested it with a more than ordinarily excellent photographic mounting. This, despite considerable handicaps; some scenes, like the opening one, offer extremely difficult problems in coordinating intricate moving-camera shots with changes of lighting, music, and action. At various times during production, some or all of the principals were in poor health.\n\nClarke and Davey have surmounted all these obstacles unusually well. They have kept the principals\u2014especially Alice Faye and Lynn Bari\u2014looking much more than ordinarily well. And where the opportunity has offered (as in the London stage sequence), they have achieved strikingly pictorial effect.\n\nNo comment on this picture would be out of place.\nShadow of a Doubt\nUniversal Production.\nDirector of Photography: Capt. Joseph Valentine, A.S.C.\nThis was the last production Joe Valentine photographed before entering the Army, and it is a very fitting swan song for him. When he told us of how he made the major part of this production on location in an actual Northern California town instead of under controlled studio conditions (See American Cinematographer, October 1942), some of us wondered if he could, under such unconventional conditions, do as well as he claimed his rushes proved. The completed picture provides a convincingly affirmative answer, for it is one of his very best achievements.\nThe text carries a note of realism that is refreshingly new. Valentine's handling of both the locations and the people is excellent. In the latter part of the picture, we felt that he did not present Teresa Wright as favorably as in the opening sequences. This, however, may have been more the fault of Miss Wright herself and of Director Hitchcock, in their concept of how she should portray the \"shadow of doubt,\" which necessitated expressions and angles that do not show this player at her best. Some scenes of Joseph Cotten seemed too obvious and strived for effect, carrying a touch of the Orson Welles influence we've never before seen in Valentine's work. We can't help wondering, too, if the obvious \"planting\" of Cotten as the murderer in the opening of the picture didn't weaken Hitchcock's usually suspenseful storytelling.\n[The treatment of the rest of the story. We have an idea it did.\n\nThe Desperados\nColumbia Production (Technicolor)\nDirectors of Photography: George Meehan, A.S.C., and Allen M. Davey, A.S.C.\n\nThis lavishly-Technicolored \u201cwestern\u201d is certainly worth seeing from the photographic viewpoint. The exterior sequences\u2014filmed, we believe, in Utah\u2014are spectacularly pictorial and certainly show the experienced hand of George Meehan, who is one of our favorite cinematographers of outdoor scenes.\n\nThe opening sequence, played entirely in night effects, gets the picture off to an interesting start. Some of the effect-lit interiors, however, particularly those in the stable, seemed to us to have been lit a bit sketchily. They showed a commendable imagination in lighting, but the extreme contrast between the fully-lit highlights and the completely empty shadows seemed unnecessary, and]\nApril, 1943 \u2022 American Cinematographer\n\n\"Would have benefited greatly by more conservative control of illumination contrast.\n\nMeehan and Davey have dealt unusually well with their players, with the exception of Evelyn Keyes, who was placed at an unfair disadvantage by an American Cinematographer (Continued on Page 146)\n\nBy Reginald McMahon\n\nDissatisfied with Hollywood\u2019s version of what constitutes a thriller, a group of Passaic, N.J., youths have organized their own movie company, Adventure Pictures. Production up to present has always been hard-ridden westerns or jungle mysteries.\n\nThe group was organized in 1936 by twenty-year-old Louis McMahon. Since he was a youngster, Lou has been going to the movies to see westerns and serials. He has studied them thoroughly and with this background, he gathered a group of like-minded individuals to produce their own films.\nHis friends came together to produce his own photoplays. But rather than imitate Hollywood's accepted formula, Adventure Pictures is striving to produce westerns in a manner far different from the usual grade \"B\" horse operas. They feel that this popular type movie story offers opportunity for more characterization and intrigue than has been realized. So far, they have succeeded in the successful elimination of heroines (which they consider a great step forward). Director McMahon, as well as the rest of the group, believe enough westerns have been ruined by inexperienced, overly made-up actresses. Another point they object to is the elaborate costumes worn by the hero. \"You can't create the atmosphere of the West by white hats, silk shirts, and crooning cowboys,\" is the young director's comment.\n\nAdventure Pictures travels to locations via the local bus line. For westerns:\nThe group uses the Parent Mountains in New Jersey for filming locations due to the boulders' resemblance to the west. Most early western films of the professional industry were made here before moving to Hollywood. Their bandits' stronghold is an abandoned rock quarry, featuring towering cliffs and crumbling old shacks. Every movie produced by Adventure Picture must include hair-raising thrills. For this, their own stunt man is brought in. In an upcoming production, a modern chapter-play, he will have a role similar to Richard Talmadge of the silent days. They plan to have fifteen chapters, each one hundred feet in length. Practically the entire group has joined the local YMCA to practice stunts.\n\nFilming a scene from \"Pals of the Plains\" above.\nThe backyard transformed into a Western town. On the opposite page, top, left to right: a dummy goes to its doom from a New Jersey cliff; middle: rearing horses are essential to \"Westerns\"; right: Adventure Pictures' stunt-man does his stuff. Middle, left: Scenic beauties in a favorite location; center: director-producer Louis McMahon gives last-minute instructions to the cast while cameraman John Maluda lines up his shot; right: Louis McMahon, who founded Adventure Pictures. Bottom: the troupe goes on location by bus \u2014 positively not chartered! Right: a miniature shot from \"Mars,\" science-fiction epic now in production. Photos by Reginald McMahon.\n\nAfter five years of movie making, three one-reel pictures, \"The Texan,\" \"Jungle Jim\" and \"Pals of the Plains,\" have been completed. These are simple films produced mostly for experience. Now the company is hard at work on the next project.\nThe finishing touches are being applied to \"The Black Rider,\" a more pretentious production that took four summers to complete at a cost of over $200. Of the three thousand feet of film shot on this three-reel picture, only twelve hundred will be used.\n\nDuring the filming of \"The Black Rider,\" ingenuity had to be exercised to keep expenses at a minimum and follow the elaborately-written scenario. Despite amateurs typically attempting something beyond their means, \"The Black Rider\" has so far worked out fairly close to the original conception.\n\nThe amazing acrobatics of Douglas Fairbanks, Sr., whose films are currently being revived at the Museum of Modern Art in New York City, inspired the boys to inject as many stunts into the film as they could do physically or by camera trickery.\n\nOne of the thrilling stunts at the filming involved...\nThe climax of \"The Black Rider\" required the hero to cut off the escaping outlaw by climbing up a fifty-foot rope hand over hand. In \"American Cinematographer\" (April, 1943), Stanley O. Bean wrote about choosing actors based on their ability to express emotions through their eyes, face, hands, and physical movements for both professional and amateur photoplays. The best of these productions could serve as living textbooks. However, note that I said the best of them. The heyday of the silent screen was often filled with features relying on printed titles rather than acting abilities.\nPopular names instead of portrayals of believable people in plausible human-life dramas. Too many talkies have been produced from poor stories and cast with players dependent on voice and noisy backgrounds to impress the audience, rather than on visual-minded acting for the camera. The amateur photoplay can't afford to fall into these pitfalls. Being amateur, it has to be more than just merely good in order to hold the interest of its audience sufficiently to be pronounced \"good\" by the average, non-moviemaking spectator. Perhaps the most important single factor in making an amateur photoplay dramatically effective is careful attention to visual pantomime in both acting and direction.\n\nLuckily, Hollywood's really fine cinema achievements - both silent and sound - offer us excellent examples of this to study and follow. We can benefit from their careful visual storytelling techniques.\nAmong recent big films, analyzing the methods of top-notch directors, writers, and cinematographers in putting over dramatic points visually can enormously benefit our own films. The players who hold our attention with convincing pantomimic performances should inspire us to lift our own films above the commonplace by making them truly live.\n\nI can mention Alfred Hitchcock's suspenseful \"Suspicion\" as an example. The principal players, Cary Grant and especially Joan Fontaine, demonstrated inner thoughts and fears so convincingly as to arouse the emotions of the audience to despise or sympathize. The motor trip along the winding road above the sea provided much footage for unspoken, appealing drama, played out only by the eyes and facial expressions.\n\nSimilarly, in \"The Invaders,\" the scene:\nThe Elder of the sect, who spoke to his people and the escaped Nazis, was primarily depicted visually. Much of the story was revealed to us as the camera sought out the many faces, each profound in its expression of defiance, hate, love, fear, hope, and understanding.\n\nA lesson in building up to an intense outburst of smoldering inward emotions began with excellent unspoken dialog from the Aunt in \"The Magnificent Ambersons.\"\n\nSensitive, deep, and tender emotions, so difficult to play with conviction, were ably demonstrated by Bette Davis and Paul Henreid in the unforgettable \"Now, Voyager.\"\n\nImportant critics of the legitimate films included some all-time great amateur films such as Randolph Clardy's 8mm \"New Horizon\" and Richard Lyford's Ritual of.\nThe dead should be studied as examples of forceful visual story-telling. Whether or not we amateurs have film \"for duration\" is no reason why our interest in this creative hobby need be rationed. When we have film, we should strive to make every foot count, not merely from the phototechnical standpoint of correct exposure, focus, and pictorial composition, but from the standpoint of telling a story visually by means of a correct photodramatic balance of long-shots, medium-shots, and close-ups which will center the attention of the audience on what our picture is trying to tell them, with a minimum of mental interruption from the mechanical means by which we are doing so. When we haven't film, we ought at least to spend some of our leisure time studying and planning how to achieve that technical and story-telling smoothness.\nFor those of us who enjoy creating photoplays, whether on silent or talkie film, we can make good use of spare moments spent planning the best way to present future stories. It isn't enough to have merely a story. April, 1943 \u2022 American Cinematographer\n\nThere's a Job Overseas\nFor Your 16mm. Sound Projector\n\nBy CAROLE LANDIS\n\nThe American boys who are fighting for you in Africa, in Alaska, on Guadalcanal and New Guinea \u2013 and in thousands of God-forgotten little Hell-holes all over the world that are only pinpricks on the map to most of us \u2013 need your 16mm. sound-film projector. They've got a job for it to do that's as important as any gun or tank. More important, for it's a job for them \u2013 something that will make it easier for them to endure all the hardships and privations they face on those faraway fronts.\nI can tell you first-hand that the boys in England and North Africa, even at the firing front, do not go physically hungry. The cooking may not be like mother's, and service may be interrupted by Jap or Nazi bullets, but there is food to eat and enough of it. However, our boys in foreign posts are starving for entertainment. They need entertainment to distract them from killing and from the interminable waiting for something to do, which is even worse. Entertainment to put them, for a blessed moment, in touch with home and the little routine things of life at home.\n\nYou and I, sitting comfortably at home surrounded by scenes and people all too familiar to us, do not realize this need.\nIf we consider it, we likely conclude those boys in the African forces are fortunate to be serving amongst all those strange and exotic scenes and peoples. We create mental images of all the \"Arabian Nights\" movie-sets we've ever seen and envision our boys encountering veiled harem beauties as exotic as Hedy Lamarr, or Sheikhs like Rudolph Valentino. New places, new faces, new experiences at every turn. Perhaps we grow a little envious.\n\nBut when you truly get there, as I did, you find it's something disappointingly different. Dirt \u2014 heat \u2014 dust \u2014 smells \u2014 your \u201cArabian Nights\u201d romance crumbles into a squalid and mighty uncomfortable reality. And above all, there's the maddening monotony that can drive men mad. There's fighting \u2014 yes, for some of them \u2014 but that only a part of the time. For thousands of them, there's only monotony.\nIn the day-to-day life, a truck driver's or tank or plane repairer's job leaves little time for anything else. When not on duty, there's nothing - absolutely nothing - to do. No books, magazines, radio, or soldiers to talk to. Even if assigned a \"soft\" billet in a base camp or city, there's still nothing to do during off-duty hours. The natives don't speak your language, and, even if they did, there are orders against mingling with them or entering their cafes or show-houses. The danger of breaking Moslem taboos, unknown to us, and insulting potential friends is too great.\nIf a foreigner roller-skated into church smoking a pipe, the answer is movies - American movies, the same pictures Joe Soldier might see if he was back home in Keokuk. The touch of home that Ty Power or Alice Faye or Mickey Rooney or the Aldrich Family bring. Something that takes your mind off real-life surroundings and hardships that are nearly driving you wild. Hollywood's studios - bless them for it - are making available to the Army and Navy prints of all their latest pictures - often weeks before they're released to the cash audiences here at home. Since shipping-space is such a problem, the prints for overseas use are in 16mm. Carole Landis packs her own 16mm sound projector for service at the front. (NOTE: This is not a publicity gag - Miss Landis' projector is really being shipped to entertain the men overseas. Ed.)\nYou can slip a couple of 1600-foot 16mm. reels into a cargo-bomber's load where there wouldn't be room for the eight bigger, heavier 1000-foot reels and their heavy steel shipping-cases needed for the same picture in 35mm. And once you get there, today's 16mm. sound projectors will do just as good a job of showing the film, with much less complication and trouble. I think it was General Vandegrift of the Marines who reported that as soon as a beachhead had been secured on one of the Jap-infested islands in the Pacific, one of the first things to come ashore was a 16mm. sound projector and films \u2014 if any were available. And how those boys revel in film entertainment! It doesn't matter if they've seen the picture four hundred times before \u2014 it's still something to take their minds off hardships and trouble. It's still a sight of normal American life.\nIn Africa, we four girls never got over our amazement at the way boys responded whenever we appeared \u2013 even if it was only riding in a jeep from one camp to another. Every soldier within eyeshot would drop whatever he was doing and stare at us, open-mouthed (and entirely reverent), with amazement. Sometimes you'd hear some of them whispering.\n\nWith wartime restrictions making film and other photographic supplies more and more difficult to obtain, it might be well to stop and think about how we are going to conserve our present equipment so that it will give maximum service and enjoyment.\n\nTo begin with, a good camera and projector are truly precision instruments. They require careful handling and regular maintenance to keep them in top condition. Here are some suggestions for taking care of your camera and projector:\n\n1. Keep your camera clean. Dust and dirt can damage the lens and affect the quality of your photographs. Use a soft brush or lens cleaning tissue to remove any dirt or debris.\n2. Protect your camera from moisture. Keep it in a dry place when not in use. If you must use it in the rain, cover it with a waterproof bag or wrap it in a plastic bag.\n3. Handle your camera carefully. Avoid dropping it or subjecting it to sudden shocks. Keep the lens cap on when not in use to protect the lens.\n4. Keep your film fresh. Store it in a cool, dry place. Use it before the expiration date printed on the film canister.\n5. Keep your projector clean. Dust and dirt can damage the film and affect the quality of the projection. Use a soft brush or lens cleaning tissue to remove any dirt or debris.\n6. Protect your projector from moisture. Keep it in a dry place when not in use. If you must use it in a humid environment, use a dehumidifier to keep the air dry.\n7. Handle your projector carefully. Avoid dropping it or subjecting it to sudden shocks. Keep it on a level surface when in use.\n8. Use good quality film. Cheap film can produce poor quality images and may damage your projector.\n9. Keep your projector properly aligned. Misalignment can cause the film to slip or tear, and can affect the quality of the projection.\n10. Regularly check your equipment. Inspect your camera and projector regularly for any signs of damage or wear. Make any necessary repairs promptly to prevent further damage.\n\nBy following these simple steps, you can ensure that your camera and projector will give you many years of faithful service. Remember, they are precious tools that require careful handling and regular maintenance.\nEvery camera and projector requires careful treatment, akin to a fine watch. We should take pride in them, just as a skilled carpenter or machinist does with their finest tools. Each camera and projector comes with an instruction manual, often overlooked but essential for their proper use. The instrument's service life and enjoyment depend on how closely these instructions are followed. Although every make and model varies, the fundamental rules for their care and maintenance are similar and can be briefly outlined here.\n\nFirst, the camera. The most crucial aspects to remember are utmost cleanliness and careful handling. The camera has likely endured more abuse than the projector, as it has been jostled here and there during your travels.\nAn entire film can be spoiled if the lens or aperture gate is covered in sand from a beach party or dust from a hot car. A soft or lint-free cloth must be used to clean these parts. Most home movie cameras are permanently oiled at the factory and require no attention in this regard. However, if your camera is an exception, keep the oil away from parts that touch the film and wipe off any excess to prevent dust accumulation. The same applies to the projector.\nThe projector and camera share similarities in their construction. Though the projector is handled less frequently than the camera, it demands more running service. A film is run through a camera once, but the same film is run through the projector multiple times, not including the professionally-made reels we rent or purchase for variety. Therefore, it is necessary to show consideration towards projector maintenance if we wish to continue being entertained by our films.\n\nAs with all mechanical apparatus that have revolving shafts and swiftly-moving parts, periodic lubrication is essential for smooth, quiet operation and minimum wear and tear.\nThe frequency of oiling depends on the projector's use. Once a month is sufficient if the machine isn't used excessively. Use a small oil-can and apply oil sparingly, wiping off excess. Lubricate upper and lower reel-spindles, sprocket-shafts, and other places with oil cups or moving parts. Use high-quality light oil.\n\nLamp adjustment varies in different makes and models, so nothing specific can be said. Proper adjustment is important for maximum brilliance and should not be overlooked. For best results, reflected images of the lamp filament should be thrown accurately.\nBetween the direct images. By holding a piece of white paper in front of the lens-mount with the lens removed, the lamp filaments are projected on the paper. If the projector has a \u201cstill\u201d clutch, this should first be thrown to stop the shutter from interfering. The paper is then moved back and forth until the filaments are clearly focused. Since the reflected images have to travel back to the reflector and then forward, the process requires patience and precision.\n\nApril, 1943 \u2022 American Cinematographer\n\nAMONG THE MOVIE CLUBS\n\nIndianapolis Listens to S.O.F. \u2014 Members of the Indianapolis Amateur Movie Club at the group\u2019s March meeting devoted almost entirely to amateur-made 16mm sound-on-film. From left to right: Lyons B. Ford, Dr. Arthur Richter, Dr. William E. Gabe, L. Dradfield, President (and Projectionist), G. A. delValle, Oscar.\nThe newly elected officers of the Philadelphia Cinema Club for the ensuing year are: President, George A. Pittman; Vice-President, Arthur J. Hurth; Secretary, James R. Maucher; Treasurer, Herbert L. Tindall, Jr. To further enlighten members in the art of movie-making, we are showing a series of educational films from the Harmon Foundation's library. This series will run into the fall meetings, and it is proposed that each film be augmented by a lecture to be given by one of our own members. A.L. 0. Rasch initiated the series with an enlightening talk on editing. A new feature, the door-prize, will be introduced.\nGeorge Pittman introduced the two winning members, each receiving $1.50 in War Stamps. Members were asked to donate 10c each for War Stamps to be drawn at the next meeting.\n\nWe were entertained on the screen with three professional sound films. Eastman Kodak Company\u2019s \u201cCavalcade of Color,\u201d a film of North Carolina showcasing Shenandoah National Park, the East Coast, and the Great Smokies, and a film of Virginia featuring the Luray Caverns and other beauty spots of this state.\n\nFrancis M. Hirst,\nPublications Chairman.\n\nPrize 8mm films from The American Cinematographer's library were screened at the March meeting of the Westwood Movie Club of San Francisco: \"Cattle Country\" and \"New Horizon,\" by Randolph Clardy, and \"Red Cloud Lives Again,\" by Dr. F. R. Loscher.\nThe program chair read excerpts from a letter by The American Cinematographer's editor, analyzing each film presented. Everyone appreciated this commentary, making the pictures more interesting and instructive. The film showing was a success, attracting many visitors due to San Francisco press publicity. Comments praised it as one of the best entertainment and education nights for the Club in months. We congratulate The American Cinematographer for this fine service to movie clubs. Showing outside amateur films stimulates our members to make better movies. Unusually fine elements in these pictures were noted.\nThe composition, camera angles, and lighting in all three films were notable. The acting in \"New Horizon\" was exceptional for amateur work.\n\nGeorge Loehrsen, Program Chairman.\n\nSound in Indianapolis\n\nThe March meeting of the Indianapolis Amateur Movie Club was originally planned as an all-sound meeting to show what other amateurs were doing with 16mm. sound-on-films. However, the plans were changed slightly when our Lyrical Medico, Lt.-Comm. Dr. Joe Sovine, now on duty at a West Coast Navy Hospital, sent in a reel of 350 feet of beautiful 8mm. Kodachrome, appropriately entitled \"Pacific Suite,\" which was greatly enjoyed by all the members.\n\nThe sound-film portion of the program included the Long Beach Cinema Club's celebrated \"Fire From The Skies,\" screened through the cooperation of The American Cinematographer and Vice President Mildred J. Caldwell of the Long Beach Cinema Club.\nLBCC. This film was unanimously claimed as the best picture of its type ever screened by the Club, and one of the best amateur films ever seen. After seeing it, we decided to take a few more pains with our own forthcoming 1943 Club Production! A film was also screened, loaned by Kenneth Hezzelwood and Joe Lucius of the St. Paul Amateur Movie Makers' Club. The subject was St. Paul\u2019s annual Winter Carnival, and the sound was post-recorded on the original film with Hezzlewood\u2019s \u201cAuri-con,\u201d after the picture was shot, but before the film was processed. There was no small amount of praise from the audience for both of these filmmakers for having done such a difficult job so well.\n\nElmer M. Culbertson,\nCorresponding Secretary.\nSound and Prize-winners.\n\nFurthering its educational program, the 8-16 Movie Club of Philadelphia highlighted its March meeting with:\nLecture by George Beggs, sound research engineer, spoke on the principles of recording and amplification. The following discussion conducted by Mr. Beggs proved particularly valuable in solving the problems of members who had advanced beyond the early stages of home record cutting and amplification.\n\nUpon completion of the educational phase of its meeting, the organization followed with its regular entertainment schedule, featuring a showing of \"Nite Life\" and \"Mt. Zao,\" secured from the film library of The American Cinematographer. The latter, especially, was pronounced a beautiful film.\n\nWalter J. Masters.\nAmerican Cinematographer \u2022 April, 1943, p. 141\n\nReaders of The American Cinematographer constantly write us for answers to their movie-making problems; the most interesting of their questions are published from time to time.\nFilming readers may find the following hints helpful in dealing with the slow speed of Kodachrome emulsion during the filming of ice revues. Kodachrome is a popular choice for colorful subjects like \"Ice Follies\" and \"Ice-capades,\" but its comparatively slow speed often forces the use of 8-frame camera speed, resulting in twice the normal speed of action. I've discovered a solution to this issue by hypersensitizing the film with mercury vapor after exposure but before processing. The length of the hypersensitizing process determines the film's increased sensitivity.\nYou can increase the speed of your film from 75% to 150% using this method. This means from a half-stop to a stop and a half. At the maximum, it turns your 2.5 lens into almost the equivalent of a 1.6 objective, and does this without harming the color-rendition, definition or graininess of the picture.\n\nIt's easy to do. I shoot 8mm, and I found a glass jar (originally a peanut-butter can) with a mouth just the right size to hold an 8mm camera spool edgewise, without it dropping through, and a vacuum-seal coffee-can large enough to hold the glass jar with a 25-foot spool of film in its mouth.\n\nIn the bottom of the glass jar, I put a small amount of mercury. Above it, standing on edge in the mouth of the jar, I put my film on its 25-foot camera spool, and with the little paper band.\nTo keep the film from unrolling, I placed a weight around it. I then put the entire setup into a tin coffee-can, replaced the metal cover, and sealed it with tape for an airtight seal. I let the hypersensitizer stand for at least 48 hours at room temperature before opening it and sending the film for processing. For spooled film, the maximum effect is achieved by leaving it in the mercury fumes for a week or ten days. If in a hurry, one can speed up the process by unspoiling the film, reducing the time to about 36 to 40 hours. Either way, one can obtain an increased stop or more from the film, allowing normal shooting speed where otherwise half-speed would be necessary, or the use of an f/1.9 (or faster) lens.\n\nFred Evans.\nBig-Screen 8mm.\nFor the information of those interested in showing 8mm movies on auditorium-size screens, I present my experiences with the subject. I have a new Keystone A-8 8mm projector and have found that it is well-suited to long throws. With the standard projection lens furnished with the machine, I am able to project a screen image 9 feet 7 inches wide at a distance of 56 feet. The projector has a 750-Watt lamp, and the screen image is as bright as I want it to be.\n\nOne point should be carefully noted, however. When blowing 8mm movies up to 9 feet or more, or anything larger than about 6 feet wide, it is necessary to keep the audience at least 20 feet from the screen. Closer than that, the image blurs out. Viewed from a distance greater than 20 feet from the screen, the image is just as sharp as on a small screen.\n\nJohn F. Meeker.\nI've noticed that in some instances, my professional 16mm camera was causing the film to \"breeze\" slightly in the aperture, resulting in the picture being out of critical focus. I cured this issue by placing a tiny piece of Scotch tape, the size of the 16mm frame, on the aperture-plate behind the picture-taking aperture. This holds the film flat in the focal plane and prevents it from breezing. I've shot hundreds of thousands of feet of film with my camera fixed this way, with no damage to the film.\nWilliam A. Palmer. Emergency Splices. It's embarrassing when the film breaks in your projector in the middle of a show, and a quickly-made emergency splice can help you keep the show running with a minimum of interruption. You can easily supply yourself with ready-made emergency splices by sticking a few short strips of Scotch tape, just the width of your film (less perforations), inside your projector-case. When the film breaks, just slap a couple of these ready-cut strips on the film \u2013 front and back \u2013 and you're ready to roll again. If the Scotch tape doesn't cover the perforations, these emergency splices will even go through the projector without breaking.\n\nC. William Wade. Cleaning Lenses. Even the best of the so-called \"lens cleaning\" tissue is rough enough to scratch fine lenses. In the studios, we never use it. Instead, when cleaning lenses, we use a soft, clean cloth.\nTo clean a lens, wrap a small tuft of cotton around the tip of one of the small wooden applicator sticks used by doctors. Dip the cotton in regular lens-cleaning liquid obtained from any optician's shop and clean the lens using a slow, gentle circular motion. Afterward, dry the lens with a dry cotton-covered applicator. Several things are important in this process. First, ensure there's enough cotton on the applicator to pad the end of the stick so the wood itself doesn't touch the lens. If you have trouble making the cotton adhere to the stick, moisten the stick with water or even saliva before twisting the cotton on. Second, don't use too much cleaning liquid; after dipping the cotton into the liquid, squeegee the excess liquid off against the mouth of the bottle. Lastly, never scrub the lens.\nThe lens: Do everything gently, and use a very soft camel's-hair brush or a small, rubber bulb syringe to remove dust. Always keep the lens capped except when you're shooting. S. L. Lenz.\n\nReplacing Photofloods: Now that Photofloods are frozen, everyone is looking for something to take their place. For black-and-white, several large-sized Mazda lamps, and particularly the different sizes of projector, stereoptican, and spotlight bulbs will do excellently. But they are too red for use with Kodachrome unless you use a filter. However, there are two ways of getting the brighter and whiter light we need for Kodachrome (when we can get it). One is to use regular house lamps with a step-up transformer which will increase the voltage by one-third to one half or more. This gives much the same effect as a Photoflood.\nA very intense, white light with about a 2-hour burning period. The other way is to use Photoflood bulbs as they originally did. There are special bulbs - usually rated at 60 to 64 volts - made for lighting railroad cars. Amateurs could get fine photographic light by burning these bulbs on regular 110-volt house current. If you live near a railroad center, you may be able to get hold of some of these bulbs, and they'll do today what they did years ago when the Photoflood idea accidentally started.\n\nA. Smith\nApril, 1943 \u2022 American Cinematographer\nUNITE with the Motion Picture Industry\nLABOR - GUILDS - CRAFTS\nGIVE NOW\n\nTo\nTHE AMERICAN\nRED CROSS\n\nj. E. Brulatour, Inc.\nDISTRIBUTORS\nEastman Films\nMM\nY\nLome Movie 1\nPreviews\nMM\nRe-Bound Books with Brand-New Looks\nDocumentary, 400 ft. 16mm. Kodachrome.\nFilmed by Pat Rafferty. The average amateur, in making a movie about his business, often overlooks two things. Firstly, a thread of story is usually necessary to make it appealing to audiences. Secondly, he should leave nothing untold \u2013 especially in close-ups \u2013 as details familiar to him may be entirely unfamiliar to audiences unfamiliar with that particular type of work. This picture nearly meets both requirements. Its storyline follows a book borrowed from a library by a youngster, accidentally torn apart in a dispute with a friend. From this point, it traces the book's journey from the library to the firm that rebinds it.\nThe mysterious operations of rebinding emerge looking like a newly-purchased volume. The major part of the picture consists of excellent interior scenes. Lighting and exposure are excellent, with graphically revealing close-ups and excellent explanatory titles. We couldn't find anything to criticize in this film, except for the lack of full-screen close-ups of the stitching operation.\n\nWhen October Comes\nScenic; 175 ft. 16mm. Kodachrome. Filmed by Ray Fowler.\n\nThis is one of the most vividly colorful presentations of autumnal coloring we've had the pleasure of screening. Photographically, in terms of exposure and composition, it is very nearly flawless.\n\nUnfortunately, the other aspects of production fall down badly. Filmer.\nFowler has made a praiseworthy start by showing three children gathering autumn foliage and keeping a logical and well-planned sequence of movement between one scene or sequence and the next. He fails, however, to tell a story. The story could be simple enough \u2014 perhaps a few introductory shots of the children's mother wishing she had some autumn foliage to decorate the home for Thanksgiving, or perhaps the children studying about autumn in school. This could be followed by scenes showing the children (with or without their parents) deciding to go out and get some. The actual \"going\" needn't be shown: in fact, it could be concealed by a gag, such as a close-up of an \"A\" sticker on the windshield of the family car, followed by a title \"\u2014 so we won't tell you how we got there!\" Following the shots of the actual gathering.\nThe gorgeous gold and orange leaves fill the picture, which could be completed with a few shots of the colorful leaves being used decoratively at home or school. Careful cutting is beneficial: actions are started and never finished, or overlapping between consecutive scenes. The pictures appear as if the filmer attempted to edit in the camera and almost did, but forgot to remove false starts and overlaps. More subtitles - colorful and perhaps poetically worded - would also be helpful.\n\nDocumentary, 299 ft. 8mm. Kodachrome. Filmed by Lorin Smith.\n\nThis is an interesting little picture about a man and his wife whose real-life hobby is making pottery. The film is structured around a visit to this couple by the filmer's wife, allowing them to explain their pottery-making process.\nThe text describes the pottery-making process of amateur potters, using the flash-back technique to show how they gather clay and create bowls, dishes, vases, and ornaments. The photographic and presentational techniques are excellent, with sufficient close-ups of various operations and clear titles. However, audiences might prefer to know how the rocky-looking clay transforms into the moist, plastic material used for molding. A better technique would be to not show shots of the husband at his wheel until the two ladies enter the workshop and bring the story to that stage of pottery making.\n\nThe Minor Miner.\nScenario-type home movie; 50 ft. 8mm. Kodachrome. Filmed by Wendell Taylor.\n\nA very clever approach to making a movie of Junior and giving him something dramatically interesting to do. Photographically, the picture has distinct shortcomings, but the cleverness of the staging lifts it well above these faults. The handling of the mine cave-in is one of the best bits of amateur direction and staging we\u2019ve seen in a long time.\n\nUnfortunately, the introductory and closing sequences could not have been filmed under more favorable lighting conditions. Kodachrome is never at its best when shot under such heavy shade, and in this case, the contrast between these scenes and the rest of the picture, which was shot under normally bright sunlight, puts the film at a decided disadvantage. These initial and concluding scenes should have been filmed under better lighting.\nThe editing and continuity of the picture could be improved by closer cutting and the removal of overlapping action. For example, in the long-shot where the youngster approaches the mine from the outside, followed by a reverse-angle shot of the same action made from inside the mine. The cut should have been made when the boy was at approximately the same spot in both scenes, rather than showing him walking right up to the entrance in one shot and then apparently bounding back ten or fifteen feet in the following scene, and going through the same action all over again. The picture could stand more footage and more titles. Perhaps an entire new sequence could be added at the beginning, showing the boy being repremanded for some minor offense as his punishment for exploring the mine.\nFather leaves for work in the morning. perhaps told he can't go to the movie, or some similar punishment which gives him reason for additional footage and for saying, via title, that he doesn't see any reason for living if he can't do so-and-so. This would furnish a needed dramatic contrast to his spoken title at the end of the film in which he says he is glad to be alive. This and other spoken titles should be intercut with close-ups of the person speaking.\n\nTitle: A Trip to Dreamland\nFormat: Scenario-travelogue, 150 ft. 8mm. Kodachrome.\nFilmed by Earl Everley.\n\nHere's another little picture which points the way to how you can, with very little new shooting, revise your last-season's vacation shots into an interesting picture. The story thread in this case is provided by an amateur who, coming home from work exhausted, decides to re-edit his old vacation footage to create a more engaging story.\ned sinks into his chair after dinner and starts to read of films that would have won national honors. He drifts off to sleep and dreams that his own vacation epic has done likewise. The picture is at its best in these intimate tie-in shots. The photography and lighting are good, and the planning and direction excellent, with many little \"human-interest\" touches which make the scenes come alive. (Continued)\n\nApril, 1943 \u2022 American Cinematographer\nNATIONAL CARBON COMPANY, INC.\nUnit of Union Carbide and Carbon Corporation\nCarbon Sales Division, Cleveland, OHIO\nGeneral Offices: 30 East 42nd St., New York, NY\nBranch Sales Offices:\nNEW YORK . Pittsburg . Chicago \u2022 St. Louis \u2022 San Francisco\n\nAmerican Cinematographer \u2022 April, 1943\nPhotography of the Month\n\n(Continued from Page 135)\n\nunusually poor (and greasy) make-up, which allowed the cinematographers no leeway for effective lighting or camera angles.\nThe closing action of the wild-horse stampede was spectacularly handled, both directorially and photographically. Some of these scenes brought forth spontaneous applause from the preview audience, and all who saw the picture will certainly look forward to seeing more of Meehan's work in Technicolor.\n\nEdge of Darkness\nWarner Bros.\u2019 Production.\n\nDirector of Photography: Sid Hickox, A.S.C.\nSpecial-effects: Willard Van Enger, A.S.C.\n\nThis picturization of the Norwegian \u201cunderground\u2019s\u201d strife against the Nazis offers both director of photography Sid Hickox, A.S.C., and director Lewis Milestone the best opportunities either has had in a long time. Realizing this, they have worked together to make \u201cEdge of Darkness\u201d one of those rare productions in which direction and photography seem working genuinely together for dramatic effect.\nHickox has kept a note of realism in his camerawork, which very artfully conceals the fact that when the dramatically significant moments arrive, his camerawork is excellently attuned to the necessary mood. At times, by deliberately underplaying his camera and lighting effects, he makes his treatment serve as an enhancing counterpoint to the dramatic values of the action. It is by far the most effective work we\u2019ve seen from his camera in a long time.\n\nThe special-effects work credited to cinematographer Willard Van Enger, A.S.C., and director Lawrence Butler is generally excellent, though there are two or three miniature scenes which are distinctly \"miniaturish,\" and do not help the picture.\n\nRay (Continued from Page 132)\n\nSets were L-shaped painted flats, with maybe a door or a window in them if necessary, but often just a couple of walls.\nBut there was one point which made up for all the other crudities. This was the trick work. Putting thrills in those old-time serials called for a lot of it, and there were no special-process departments in those days. The man at the camera did it all, right in the camera.\n\nThere was one advantage in using those old Pathes, though. When you had to do a double- or triple-exposure shot, you could develop a few frames of a test-strip and put the developed negative in the aperture of the camera. Then, you would line up the next part of your shot with it by focusing on it through the little peephole and magnifier at the back of the box.\n\nBut matching up action was another thing. There were no frame-counters on those early boxes, and the footage-counters weren't as accurate as the ones we have today.\nThey put on 8mm cameras today; if you were lucky, they might tell you within five or ten feet of where you actually were. Later on, some of the boys added Veeder type frame and footage counters. But at the time I\u2019m talking about, the best way to be sure of your footage was to count the crank-turns, for you knew that each turn of the crank exposed eight frames \u2013 one-half foot \u2013 and if something happened, say, ten feet from the start of a scene, you could hit it pretty accurately by beginning from a marked starting-point and counting off twenty turns of your crank. Another nice complication of those days was that often you\u2019d make the two or three different parts of a multiple-exposed trick scene several days or weeks apart, and in the meantime, you\u2019d have each trick-shot taped up in its own little can, with cryptic markings.\nI'll never forget the thrill I had when the studio finally splurged and bought me a Bell & Howell. It was so much more advanced, and so much more accurate for my trick shots, that I was in a cameraman's heaven!\n\nWhen World War I came along in 1917, I naturally enlisted, and just as naturally was assigned to the motion picture division of the Signal Corps. There, my professional experience stood me in good stead. I was assigned to the famous Signal Corps camera school at Columbia University, and spent my time training others \u2013 often men who had never seen a camera before \u2013 and seeing them shipped promptly overseas, while I remained at home, breaking in more photographic rookies, and occasionally \u201ccovering\u201d some news-event for\nHe was a good teacher in the Army. Many of the men he taught have since become well-known figures in the industry, some as cameramen, others as directors and even producers. After the armistice, he returned to his old job of shooting serials for the same producers. When they moved to California, so did he. But his first really important assignment on the coast was with a different producer \u2014 Marshall Neilan, who was in those days one of the industry's best-known producer-directors. On his first picture for Neilan \u2014 a silent-film version of Booth Tarkington's \u201cPenrod\u201d \u2014 he had an experience that amazed him. He and Neilan's regular cinematographer, Dave Kesson, were to handle the production camerawork. However, a specialist in trick photography was to have charge of the trick-work for \"Penrod.\"\ndreaming in school, imagine he had learned to fly, and float lazily up out of his seat and through the ceiling, only to return \u2013 suddenly \u2013 when his teacher addressed herself to his physical body in the classroom.\n\n\"Why,\" asked June, \"do you have to call in a trick specialist? On those serials we used to take people through brick walls, and do all sorts of much harder tricks, right in the camera.\"\n\nTo make a long story short, the work of the much-touted \u201cspecialist\u201d didn\u2019t come up to expectations, and June was given a chance to try doing the shot his way. His shot stayed in the picture \u2013 and he himself stayed with Mickey Neilan for several years.\n\nFinally, in 1929, his first big opportunity came. An independent producer named Roland West was making one of the first talkies for United Artists\u2019 release, and he hired Ray June to direct.\nIts photography. That picture, \u201cAlibi,\u201d introduced Chester Morris on one side and Ray June on the other. It was one of the best and most spectacularly successful of the early sound-films, not only as a box-office hit, but photographically, as well. For the following seven years, United Artists executives saw to it that Ray June stayed at their studio and entrusted their best pictures to his cameras. Among them was Samuel Goldwyn\u2019s \u201cArrowsmith,\u201d which, to this writer\u2019s mind, stands out as one of the two or three most perfect photographic jobs of the last dozen years, and along with Jimmie Howe\u2019s memorable \u201cTransatlantic\u201d \u2014 the first really well-photographed talkie \u2014 stands eternally to the discredit of the industry which failed to give them merited Academy Award recognition in their respective years.\n\nNearly seven years ago, June moved.\nAt Metro-Goldwyn-Mayer, he has remained one of the foremost artists, handling virtually every type of production from frothy musicals and parlour comedies to heavy dramas and mystery films. His versatility brought him another, less enviable assignment: whenever any of the studio's other cinematographers fell sick or encountered baffling photographic difficulties, Ray was sent in as the studio's unfailing pinch-hitter \u2013 and always delivered. One of these tasks was directing the photography for the celebrated \"A Pretty Girl Is Like A Melody\" number from \"The Great Ziegfeld\".\nThe timing of the camera-movement, changes of lighting, withdrawal of curtains, and intertiming with music and action in the studio were so complex that it was considered impossible - until Ray June did it. His approach to his work is characteristic of this. \"Like anybody else,\" he says, \"I study the script beforehand and try to plan out in my own mind the most suitable treatment for the story. April 1943. American Cinematographer. Just right. With the emphasis on getting the most out of every foot of available film, it is a big help to know that one of the three Eastman negative films is just right for every shot - in the studio or on location, indoors or out. Eastman Kodak Company, Rochester, N. Y. J.E. Brulatour, Inc., Distributors. Fort Lee, Chicago, Hollywood. Plus-X Super-XX.\nfor general studio use, the alien little light is available for backing grounds and general exterior work. BACKGROUND-X. American Cinematographer \u2022 April, 1943, 147. I try to come as close to that ideal as I can; usually, when I see the completed picture, I am only too aware of how far short I've fallen. But if you take your work seriously to heart, I suppose you can't help feeling that way.\n\nOne thing I try always to keep in mind: that a good cameraman must never let himself become willing to do things always the same way. It's one thing to develop an original style: it's something very different to let yourself fall into a routine and do things in routine fashion, just because it's easier or quicker.\n\nI think a big help in avoiding this is to study the work of other cinematographers, so that you can keep fully informed.\nIn step with the times, not only in the strictly technical things, but in thought \u2014 in your approach to your work. Progress in cinematography isn\u2019t merely a matter of advances in our equipment and materials: it is much more a matter of changes in our conception of what constitutes good photography.\n\nThere are certain fundamentals, of course, but we may put them together in new ways to gain effects that are more in keeping with the times. This applies equally to both technical and artistic treatment. Incandescent lighting, for example, is considered relatively modern. Yet the first artificially-lit scenes I ever filmed were made under incandescent lamps about twenty-eight years ago.\n\nWe used them differently. We would have a bank of half-a-dozen or so lamps \u2014 big blue ones \u2014 on the floor on one side of the camera, and a similar number on the other side.\nOn the other side, we'd have a flat, overall lighting from a third bank of 'inkies' placed overhead, with backlighting coming from a few arc spotlights behind and above the actors. Contrast that with a modern set, lit almost entirely with our modern Mazda spotlights, with scarcely a floodlight (and never a \u2018bank\u2019) in sight. It's the same with our ideas about definition, diffusion, and almost everything else. Maybe we're re-using ideas we used once before, but today we do it with a new twist that attunes it to contemporary thought.\n\nToday's popular increased-depth technique may be similar in principle to the 64 sharpness demanded of cameramen thirty years ago \u2014 but there's a world of difference, not only in the way it is used, but in why it is used. Then, we did it to conceal the limitations of our equipment.\n\"It's easy to talk about 'the good old days' and remember how much fun we had before the business grew so big and bustling. But the fun is still there, though it has changed to the very different enjoyment of trying constantly to keep ahead of the parade, both technically and mentally. That's a challenge worthwhile for all of us, especially as the scope of our work is so constantly growing in its effectiveness and in our ability to influence and help other people!\n\nHome Movie Previews (Continued from Page 144)\n\nThe action in the home movie previews rings true to most audiences. The actual vacation scenes, while excellently photographed, don't measure up to this introductory sequence. They lack the story-continuity which could\"\nThe text easily could have been improved, especially since the same cast went on vacation. The picture needs a stronger ending to emphasize that it was all a dream. This could have been achieved by adding a few scenes where the filmmaker appeared to receive the desired honors, only to be rudely awakened by his wife who needed help with household chores or similar tasks. A complete title would also benefit this picture.\n\nTitle: The Little Buccaneers\nScenario: Home movie; 140 ft. 16mm. Kodachrome.\nFilmed by Ted and Fay Geurts.\n\nThis is an excellent example of clever home movie production. Instead of just capturing a disconnected series of shots of the family's new sailboat and neighborhood youngsters, these filmmakers built a clever, yet simple, little story of juvenile pirates.\nNile piracy inspired by seeing Dad put finishing touches on the craft. This gives a valid excuse for putting youngsters in colorful costumes and getting plenty of close shots of all children. The thread of story, enhanced by a clever surprise ending, makes this home movie interesting to audiences beyond mere family or neighborhood group who know the young actors.\n\nTechnically, the picture is very well handled. Exposure and compositions are very good, though in the early scenes, the cameramen apparently forgot that cross-lightings and back-lightings \u2013 especially in color \u2013 usually require from a half-stop to a stop more exposure than a straight reflected-light meter reading. This, incidentally, can be avoided by using the meter for incident-light rather than reflected-light readings.\n\nContinuity is excellent, and the editing is seamless.\nThe titles are almost perfect. The simple camera-trick of animating a rope to spell out the main and end titles, achieved by placing the camera upside-down in relation to the title-card and then pulling the rope arranged to form the necessary letters, adds a cleverly professional touch to the film. Unfortunately, the same color-scheme - white lettering on a dark-blue background - was not used throughout the subtitles and the main title.\n\nR-K-O Boom (Continued from Page 130)\n\nBalance with the approximately 450-lb. load of a standard high-speed black-and-white film.\n\nFor Lighting Equipment\nAs sole distributors East of the Mississippi, we carry the full and complete line of the latest-type Inkie and H.I.-Arc equipment manufactured by Mole-Richardson, Inc.\nHollywood, California\nYour requirements for interior or exterior locations taken care of to the last minute detail anywhere\n\nMOTOR GENERATOR TRUCKS\nRENTALS SALES SERVICE\nCharles Ross, Inc.\n333 West 52nd St., New York, NY\nPhones: Circle 6-5470-1\n\nApril, 1943 | American Cinematographer\n\nUncle Sam Comes First\nFor \u00a9 Lighting Equipment!\n\n-- amt Pul AaijA, \"Well Done!\u201d IV Kcsgs* gP\u2019 as --\n\nSince 1939, the Army requested us to design and manufacture special, lightweight, portable searchlights and generators for military field use. For nearly four years, we have been doing it. The locations and uses of these units are military secrets, but they have been consistently leaving our shops, along with studio lighting equipment, for the motion picture sections of the Armed Services.\nFor complete control of Exposure Variables in Ground, Aerial and Mapping Photography, Mole-Richardson. inc. invites members of the Photographic Section of our Armed Services and allies to write for our new booklet on the use of the Norwood Exposure Meter in aerial, still, and motion picture photography.\n\nMole-Richardson. inc.\nELECTRICAL EQUIPMENT\nHollywood, California\n937 No. Sycamore Ave.\nAmerican Cinematographer \u2022 April, 1943, 149\n\nIfl\u00ae R\\WQ\u00ae Meter\nFor exposure control in ground, aerial, and mapping photography.\n\nWrite for our new booklet on the use of the Norwood Exposure Meter. (For members of the Photographic Section of our Armed Services and allies)\nThe boom is connected to the under-carriage of the tractor by steel cables fore and aft. These cables, passing through pulleys anchored to \"dead men\" at each end of the track, form a virtually endless-cable arrangement. When the tractor moves in one direction, the boom moves automatically in the opposite direction. Speeds up to 10 miles per hour can be obtained this way, and with a skillful operator at the controls of the \"Cat,\" the boom can be started and stopped with unusual smoothness. The camera is mounted so that it shoots straight down at the ground, upon which any desired type of miniature set may be constructed. When desired, bombings can be realistically simulated by dropping miniature bombs from beside the camera.\nWhen it's not necessary to follow the bombs to their target, electrically-controlled explosive charges planted in the set may be used instead. As designer Martin expressed, \"The boom is hardly the most finished piece of equipment in the industry, but it was constructed at an extremely low cost, almost entirely of reclaimed materials \u2013 and it does what we want it to. Moreover, when the steel underframe is wanted for another marine set, the boom can be disassembled within a few hours and reassembled again when needed. In our adaptation of the chassis, we haven't in any way lessened the usefulness of the steel frame for the purpose for which it was originally built. Every component we've added is attached by bolts, rather than welding or riveting, so what we have is really a dual-purpose unit which can quickly be converted.\nThe design serves either purpose, yet with no sacrifice of strength or efficiency in either use.\n\nThe and-white camera and two average-sized men. The design makes provision for the increased loads which may at times be necessitated if miniature planes, foreground-pieces, or additional operators are needed.\n\nThe cables which hoist the camera into position, and raise or lower the boom, are operated from compressed-air winches which are powered from a portable air-compressor. These units were reclaimed from other service in the studio.\n\nCurrent to power the camera is provided by a small gasoline-powered generator mounted on one corner of the boom\u2019s underframe. This supplies a much more constant power-supply than batteries, and since miniatures are shot.\nThe noise of the generator is not objectionable, silent. Originally, an electrically-powered winch was intended for moving the boom along its track. However, winches were not available, so a Caterpillar tractor was pressed into service. The tractor travels along a straight path beside the track.\n\nRegarding the camera, if the images on the white paper do not appear as bright as the direct ones, they will need to be properly distinguished. Once this is done, the lamp socket can be adjusted until the reflected filaments are between the direct filaments. This adjustment is rarely necessary, except when new lamps or lamps of different wattages are used. It's also worth mentioning that a bulb of the correct brilliance is almost equally important. One that doesn't provide enough illumination.\nSelect a proper illumination for your projectionist to avoid washing out the picture. The camera and projector rank next in importance, and your friends judge your cinematographic ability accordingly. There are various ways of arranging those reels, such as by dates, subject-matter, type, location, and so on. Whatever your choice, those pictures for the most part can never be replaced, are priceless, and become more valuable as time goes on. They will last indefinitely if given just a reasonable amount of care.\nDress them up in their finest form now, instead of considering them as potential prospects? To do this may require excessive use of the scissors, but be frank with yourself. Isn't it much more satisfying and interesting to look at 10 feet of properly-exposed action-shots on the screen than 100 feet of poorly-exposed, dull scenes that appeal to no one but are there just because they happen to be part of the reel? Maybe some friends will aid in giving an honest opinion, if you, like most of us, are biased in your own behalf, and can't stand scrapping so much film. At any rate, don't spare the scissors. If at all possible, some sort of sequence should be built up between individual scenes. This should have been taken care of at the time of filming, but a few titles here and there are a great help in bridging the gap between them.\nUnrelated scenes should be kept to a minimum. Brief, direct-to-the-point wording is sufficient and easier on the audience. A clever, humorous title adds snap to an ordinary scene, if used in the right place. A preview of all your films before editing is advisable, as it refreshes the memory and suggests proper sequences. Written or mental notes should be made of all shots worth considering for your new reels.\n\nOnce editing has begun, every precaution should be taken to keep scraps of film off the floor. There are many different ways for the amateur to go about this editing systematically. By placing the coils of film on a large table with an identifying piece of paper on each, much time is saved and the film is protected from dirt and fingerprints.\nTo assemble film pieces, arrange them in an organized manner by splicing them together using this method. For a more elaborate setup, drive nails into a piece of plywood, spaced about 3 or 4 inches apart. Hook the film over the numbered nails, which correspond to an index sheet listing each scene. Properly arrange the film, placing long leaders on the beginning and end of the reel to save wear and tear and enable starting from the beginning. Use unexposed, low-cost positive film for this purpose, or any old discarded film in a pinch. A good idea is to save leader film from laboratory reels for this purpose. Always use reels of the maximum capacity.\nIt saves time and boredom for an audience by ensuring the correct footage size for your projector. After completing the main editing job, clean films to remove dust. Use a reliable film cleaner following instructions. Label film containers for easy accessibility with a typewritten label covered in Scotch transparent tape. Some prefer labeling the film leader, especially with frosted or blank film, using India ink as an added precaution. Much is in favor of this procedure.\nPresenting films with a musical background supplied by a simple electric phonograph or a more elaborate automatic record changer or perhaps a dual-turntable assembly. If you have never tried playing records with your movies, you are in for a pleasant surprise when you do. You don't have to be a sound technician to handle the job properly. Common-sense will tell you the right type of music to select.\n\nDeVry \u2014 first manufacturers to receive the coveted Army-Navy \"E\" Award for high achievement in the production of 35 mm. Motion Picture Sound Equipment \u2014 assures you war-tested, war-proven DeVry precision projector and sound system developments far beyond previously accepted standards of excellence.\n\nWhen peace comes \u2014 watch DeVry! BUY U.S. 5. WAR BONDS FIRST\n\nFor each film. At the conclusion of each.\n\nAmerican Cinematographer \u2022 April, 1943\nFade out music gradually by turning off volume control and fade in new recording similarly, making for harmonious blending. Dual-turntable has advantage of continuous music without interruption by blending end of one selection with beginning of another, like lap-dissolve in a film. In conclusion, let us treat all photographic equipment deservedly. Learn to get most out of hobby, regardless of equipment's meager or elaborate nature. If we can do this, we have many pleasant hours of entertainment in store, not only in near future but for a lifetime.\n\nAccent on Pantomime (Continued)\nstage: admit the splendid training the cinema affords players who will study and absorb the successful effect they may achieve before the camera lens. Such a critic as Elliot Norton of the Boston Post had this to say of Paul Lukas, as Kurt Muller in the stage play, \"Watch on the Rhine,\" (which, by the way, has lately been made into a picture), \"But Mr. Lukas can tell you what his man is thinking and feeling, and even what he has thought and felt for the past years, with his eyes alone.\n\nBecause playhouses are big and gestures or vocal displays are generally considered more effective, most actors of the stage are not now masters of pantomime. Movie actors, on the contrary, compelled to face a curious and demanding camera, have a chance to develop pantomimic ability. It is perfectly possible that Mr. Lukas\u2019 incredible pantomime skills.\nThe successful use of it in this play is a matter of film training. Examples of excellent silent film pan-and-tilt technique are available to most of us through film rental libraries, most of which still carry 16mm. and 8mm. reductions of some of the better silent features. Organized film-study groups can also obtain 16mm. prints of the pictures in the library of the Museum of Modern Art, which is an unexcelled collection of the most magnificent professional productions from the very earliest experiments up to the more recent years of sound. In using any of these silent films, it is most important to remember that they were photographed for projection at the silent standard speed of 16 frames per second, and if run faster (as on sound projectors) they will seem laughable, and their action will appear exaggerated.\nGenerate the films at their correct speed, even though some of them might have a musical sound-track added. You'll get more benefit by viewing them silent, at the correct silent-picture speed, than by listening to the added music which necessitates speeding the projector. Charlie Chaplin has been heralded as the greatest of silent-film pantomimists; but you'll find much to learn from almost any of the outstanding players of the silent-picture days. If you can get hold of some of Charles Ray's old silents, you'll find a lot to study in his acting. Many actors have gone on record as considering him an even more expressive pantomimist. There's a lot to support this contention: in one of his pictures, I believe he held a single close-up for more than 200 feet (that's over 80 feet 16mm.) in which he not only kept the audience interested, but\nEvery frame played an important part in advancing the story, and he had to accomplish this solely through facial pantomime, as he had no dialog. Some of the Museum's German pictures, particularly \"Variety\" and \"The Last Laugh\" with Emil Jannings, are exceptional studies in pantomime. The latter picture, by the way, was told entirely in pantomime, without a single subtitle. Among the more easily available rental films, don't overlook films like \"The Covered Wagon.\" In it, especially among the character players like Alan Hale, Tully Marshall, and Ernest Torrance, you'll find plenty to study in putting over characterizations by visual means. Some outstanding amateur films have shown careful planning, combining story continuity with a player or players who understand audience appeal through their portrayals.\nJames Sherlock's \"Nation Builders\" was a fine example of a complete photoplay using silent art instead of elocution as their medium. A short, one-man production of utter simplicity impressed many at a Duncan Little Party a few years ago \u2013 a color reel too \u2013 from the lens of that serious, cinema-minded Fred C. Ells. Silent eloquence on the part of a man and his blossoms! Dr. Robert Loscher's \"Red Cloud Lives Again,\" and Randolph Clardy's \"New Horizon,\" both Grand Prize winners in The American Cinematographer's International Amateur Movie Contests, show that visual-minded acting and direction can be applied to 8mm. as well as to 16mm. or 35mm. Tarzan, Jr., with which William A. Palmer and Ernest Page won the first of these Contests ten years ago, is another worthy of study.\nChildren are just as capable as adults in projecting sincere, pantomimic characterizations. J. Kinney Moore's \"Prize Winner\" is another amateur film worth studying for characterization and story presentation. Those who saw the films turned out by Richard Lyford, Jr., before he joined the professional ranks of Disney Studio and later the Army's photographic service, can attest to the fact that there was at least one amateur who could create a chiller melodrama with almost as much force and convincingness as a professional Boris Karloff thriller. More recently, young David Bradley's feature-length films like \"Oliver Twist\" and \"Peer Gynt\" have been amateur productions with a definite accent on characterization.\nA look at almost any of these films is enough to make you want to get busy and try to turn out an equally fine picture of your own. Unfortunately, under today\u2019s conditions, not many of us can do that. It might be possible if a sufficiently organized and enthusiastic group banded together and pooled their film, transportation, spare time, and other resources. But after all, the most thoroughly satisfying pleasure enjoyed by all amateur movie producers is the realization that theirs is a hobby for combined talents and abilities, and which offers unlimited possibilities. And this pleasure can be enjoyed almost as much in its mental aspect of planning and anticipation as in the actual realization. During this crisis, time for relaxation is precious. Many of our friends have been called into uniform; others have been drafted.\nFollow the clock around in the War Industries, but make it a point to get together at our cinema club - at your house or at mine - and look over some of these old reels, talk over new ones, and plan outlines and scripts for future films. Maybe it will only be a matter of talk and paper planning, but it will prove a worthwhile relaxation and one which will help your future picture-making. Think in terms of camera angles and lighting, of cuts and transitions. Above all, think in terms of plain, direct acting and visual story-telling, not wholly dependent upon titled speeches or recorded words. Compare notes with your group; get up group parties to see the good movies at your local theatre, so that you can analyze the technique together, and in the inevitable post-party discussion, try to reduce it to terms of workable home-productions.\nAs you grow more actively conscious of the how and why of continuity and visual storytelling in movie practice, you'll find you've gained something that will make your own movies better in that longed-for day when, after victory, we can get back to our normal activities once more! A Job for Your Projector\n(Continued from Page 137)\n\"My God! An American girl!\" they'd exclaim, in an awed tone, when we put on our shows. How they devoured any little bit of entertainment we could give them! They were so starved for it, our jokes didn't need to be funny, our singing could be pretty bad (it was, too!), our dancing miles below the Fred Astaire class\u2014but they loved it just the same. You only had to open your mouth and they'd laugh and applaud as enthusiastically as though you were giving them the greatest show on earth.\nAnd if you could add \"home town\" references to your lines, like \"On our way from Hollywood we had to stop over in Scranton,\" you'd bring the house down. There'd be a boy from Scranton, or Okmulgee, or Hattiesburg in the crowd, and you could bet he'd yell out, \"Gee, that's my home town! How is the old burg, anyway?\" and feel a lot better for days because he'd seen somebody who had just been through his home town. I'll let you imagine how they'd go for really good humor dished out from a sound-track by Jack Oakie, or Laurel and Hardy, or Bob Hope or Red Skelton. The films - up-to-date and in 16mm. - are ready. But they aren't much good without projectors. And you know what it's like getting projectors - especially 16mm. sound projectors - these days. The Army and Navy have been buying all they could get.\nThe Army's Special Service Division uses hands-on training and entertainment with projectors for troops here and abroad. However, they don't have enough to cover all the forgotten posts from Iceland to Africa, Iran, India, the Solomons, and Alaska. The editor of this magazine and I asked General F. H. Osborn, head of the Army's Special Service Division, if American amateurs and 16mm professionals could lend or donate their projectors for overseas service. He replied, \"The Special Service Division will gladly accept as gifts 16mm sound projectors if they are not older than 1938 models. Projectors donated will be shipped to troops overseas. Shipping instructions may be secured through the Special Service Division of the Army Supply Force, Distribution Branch.\"\nIf you have a 16mm. sound-on-film projector, any make, there's a job for it overseas that's just as vital to the welfare of our boys as packing a gun. I know there are many amateurs who have sound projectors, and plenty of 16mm. professional who have two or three machines, of which they could spare at least one. I hope you'll see your way clear to sending these machines to the boys overseas, where they'll do such a very big job helping our own boys carry on with the happy, fighting spirit we know they've got.\n\nSure, I know 16mm. sound projectors represent an investment of several hundred dollars; I've got one myself, and a good one. But ask yourself, how much is your projector worth to you if the morale of our boys at the front cracks, and the Nazis and Japs win? How much is it worth to the boys who will be using it to maintain their spirits and keep fighting?\nYou, beside the knowledge that someone you know - your son, your husband, the kid next door - has gotten into that deadly rut of feeling nothing matters. Just because he's lost touch with the realities of being a normal American boy. Because he's had so little recreation, he just turns into an almost mindless machine that plods on and works and fights, with no outlet for the humor and relaxing happiness of a free man?\n\nI know what the answer is, as far as I'm concerned. My projector - it's brand-new; I got it just before I left for Africa - is going abroad. I've packed it up and sent it on its way, with only one string attached - that it must not stay in this country. It must go abroad, to the places where our boys are fighting to keep our country one in which we're free to own projectors if we choose.\nwe wish to shoot movies if we wish, and to live a life full of freedom and happiness. I hope mine is only the first of hundreds to go where our boys need them so badly! Academy Awards (Continued from Page 131) The Academy Awards ceremony combined so vividly. Yet upon analysis, you'll notice that much of the color is actually subdued. It is toned down in the actual set or costume, or toned down by Shamroy's careful use of effect-lighting. This reviewer particularly liked Shamroy's use of vigorous effect-lighting, even though some of them seemed to skate a bit close to the danger line of extreme low-key lighting. This treatment made possible the use of many very striking portrait-lightings in the closer shots of the principals. In-\nThe strongest recollection of 'The Black Swan' is of some effect-lit close-ups of Tyrone Power and Maureen O'Hara. Cinematographer Shamroy: an honor I deeply appreciate to have been associated with two productions - black-and-white and color - in one year, which gave me such opportunities that my fellow cinematographers twice felt my work worthy of nomination for our highest honors, and for selection as the year's best example of natural-color cinematography. The way the choice fell between my two pictures is, I think, extremely significant of the part natural-color cinematography, whether by Technicolor or by any other process, is coming to play in our work. In black-and-white cinematography, we have reached a saturation-point in artistic and technical achievement; most of us have done everything that can be done.\nWith light and lenses in black-and-white, we must constantly find something original in monochrome camerawork. But color adds a new dimension to our scope, whether for realism, for pictorial effect, or for dramatic strength. The simple fact of color adds something not even the best of us can achieve in black-and-white, and we have barely scratched the surface of the possibilities of this new and infinitely more expressive medium. Today, most studios consider color chiefly as an added attraction for musicals, but my experience has convinced me it can be even more valuable to almost every other type of production\u2014not only action pictures, but the heavily dramatic stories we have always done in monochrome. I am eagerly anticipating the exploration of this new medium.\nI'm looking forward to the day when I may have a chance to explore the creatively photodramatic possibilities of color for a dramatic picture. We've seen many great cinematographic achievements in monochrome in pictures of this type. But I am sure that once our greatest camera-artists have the opportunity to exercise their creative skill similarly in color, we will see them eclipse everything they, or the industry, have ever achieved before. It's significant that most of our \"production\" cinematographers have, like me, started their first color productions more or less under protest. And all of us, once we've found out what an expressive medium color is, hate to go back from color to monochrome again.\n\nIn closing, I want to extend my deepest appreciation to the men who composed my crew on 'The Black Swan' \u2014 to my Operative Cinematographer,\nBud Mautino; to Technicolor Technicians Capt. Clifford Shirpser (now with the Army Air Force in India) and Paul Hill; to Assistant Cameraman A1 Lebovitz (now Technical Sergeant Lebovitz of the U.S. Marine Corps), and to my Gaffer, Clarence Punter. Their unfailing collaboration played a very great part in making \u2018The Black Swan\u2019 a picture our fellow-professionals could be proud of.\n\nTelefilm (incorporated! 16mm \nSound \nUsed by: \n- Douglas Aircraft \n- General Elec. (Welding Series) \n- Boeing Aircraft \n- North American Aviation \n- U. S. Dept, of Interior \n- U. S. Dept, of Agriculture \n- Santa Fe Railroad \n- Washington State Apple Commission \n- Standard Oil of Calif. \n- Salvation Army \nand Many Others \n\nA Better Job Faster- More Economical!\n\nTelefilm Incorporated\n603 Hollywood Blvd., Hollywood, CA\nGladstone 5748\n\nAmerican Cinematographer \u2022 April, 1943, p. 153.\nThe other nominations in the color division were \"Arabian Nights\" (Universal), photographed by Milton Krasner, A.S.C., with Capt. William V. Skall and W. Howard Greene as Technicolor associates; \"Captains of the Clouds\" (Warner Bros.), photographed by Sol Polito, A.S.C., with Capt. Wilfrid Cline, A.S.C., as Technicolor associate, Major Elmer G. Dyer, A.S.C., Charles A. Marshall, A.S.C., and Lt. Winton Hoch, A.S.C., in charge of aerial photography, and special-effects photography by Byron Haskin, A.S.C., and Rex Wimpy, A.S.C.; \"Jungle Book\" (Korda-United Artists), for which the Academy slighted director of photography Lee Garmes, A.S.C., and named only his Technicolor associate, W. Howard Greene, A.S.C.; \"Reap the Wild Wind\" (Paramount), photographed by Victor Milner, A.S.C., with Capt. Wilfred Cline, A.S.C., as Technicolor associate.\nLiam V. Skall, A.S.C., Technicolor associate with special-effects photography by Gordon Jennings, A.S.C., and Farciot.\n\nB&H Taylor-Hobson-Cooke Cine Lenses do more than meet current technical demands. They exceed them, and their design anticipates future improvements in film emulsions. They are THE long-term investment lenses.\n\nWrite for literature.\n\nBell & Howell Company\nExclusive world distributors\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. LaBrea Ave.\nLondon: 13-14 Great Castle St.\n\nEdouart, A.S.C., and underwater camera work by Lt. Dewey Wrigley, A.S.C.; \"To the Shores of Tripoli,\" (20th Century-Fox), photographed by Edward Cronjager, A.S.C., with Capt. William Skall as Technicolor associate. It is an unusual and highly fitting climax to Capt. Skall's many years of specialization.\nThree of the six color productions nominated for the industry's highest photographic honor in 1942 were from H.C. Potter's final year's work before going on active service with the U.S. Army Air Force. Gordon Jennings, A.S.C., and Farciot Edouart, A.S.C., should comprise these nominations for special photographic effects.\n\nIn our review of \"Reap the Wild Wind\" a year ago, we stated, \"When next year's Academy Awards are passed out, we confidently expect to see Gordon Jennings, A.S.C., and Farciot Edouart, A.S.C., step forward to claim the one for special photographic effects.\" The film would lack both its wind and much of its wildness without the innumerable scenes in which these two artists brought sea and storm into the confines of a studio tank-stage. Their work, with the possible exception of one or two miniatures, significantly contributed to the film.\nThis year's win, which could have been retaken, is a convincing tribute to the skill of modern special-effects and transparency technicians. Their richly-deserved win makes it twice in a row for these redoubtable specialists in camera trickery - another tradition-breaking \"first,\" if our memory serves right.\n\nFour awards for scientific or technical achievement were made this year, all of them of Class II, which carries with it a plaque. It is extremely unfortunate that the committees in charge of making these awards tend traditionally to be ultra-conservative - perhaps because final decisions often hinge on debates between cinematographers, sound engineers, and laboratory technicians, neither of which may understand the full significance of the achievements so recognized.\nThe most significant technical advance honored this year was the development by Daniel B. Clark, A.S.C., and his associates at the 20th Century-Fox Camera Department, of a radically new system for calibrating photographic lenses using photoelectrically-metered measurements of the actual transmitted light. If implemented on a national scale, it should prove a revolutionary advance, not just in studio cinematography, but in all phases of both professional and amateur photography.\nAmateur motion picture and still photography.\n\nThe plaque awarded to Carroll Clark, F. Thomas Thompson and the RKO Art and Miniature Departments for the design and construction of a moving cloud and horizon machine recognizes a development of particular importance in these days where large-scale marine and air scenes must be filmed on a studio stage or not at all.\n\nThe same is true of the award made to Robert Henderson and the Paramount Studio Engineering and Transparency Departments for the design and construction of adjustable light bridges and screen frames for transparency process photography.\n\nThe award made to Daniel J. Bloomberg and the Republic Studio \u2013 Republic\u2019s first Academy recognition \u2013 for a device for marking action negative for pre-selection purposes is well-deserved recognition of a device and method.\nResults in worthwhile saving of film and laboratory expenditure, and improvement in the ultimate product. Other awards in the technical field include that for 1942\u2019s best sound recording, given to Col. Nathan Levinson and the Warner Bros., Sound Department for their recording of \u201cYankee Doodle Dandy\"; the two statuettes for the best achievements in both black-and-white and color art-direction, won by the American Cinematographer team of Richard Day and Joseph Wright; and the award for the best film editing, given to Daniel Mandell for editing the Goldwyn-RKO production \u201cPride of the Yankees\". An international note was added in the bestowal of four Special Awards (certificates) for achievement in documentary film production to the makers of documentaries from the U.S. Navy.\nAustralia, the US Navy, and the Special Service Division of the US Army. The honored pictures were respectively, \"The Battle of Midway,\" photographed in 16mm Kodachrome by Commander John Ford, Lt. Gregg Toland, AS.C., Photographer Sterling Barnett, and Photographer J.P. MacKenzie; \"Kokoda Front Line,\" filmed by Damien Parer for the Australian News Information Bureau; \"Moscow Strikes Back,\" photographed by ace cameramen I. Beliakov, Feodor Bunimovich, A. Krilov, B. Makesseyev, V. Soloviev, S. Schekutev, G. Burbov, P. Kasatkin, A. Lebedev, B. Nebilitsky, N. Schneiderov, S. Scher, A. Elbert and R. Carmen of the Central News Studios of Moscow, USSR; and \"Prelude to War,\" compiled by the Special Service Division of the US Army.\n\nThis year's Academy banquet was\nFifteen years of increasingly ill-managed functions culminated in an event that reduced the industry's major cultural occasion to small-time politics, affronting key men essential to the industry's success \u2013 directors of photography, recording engineers, production designers, and editors. The Awards program railroaded through their portions with less consideration for them, their achievements, or the fundamental significance of their contributions compared to short-subject makers, popular song composers, or set-dressers. Even industry giants voiced protests, fanning the resentment of the technical community at being overlooked.\nA rude brush-off. This breach won't be healed without sincere and positive action - not just words. Regardless of whether or not this year's Academy Awards banquet is the last one, as freely rumored, Hollywood's technical community will no longer attend. The cinematographers and other technical people of the industry will bestow their own awards in their own way thereafter.\n\n\"Horse Operas\" (Continued from Page 137)\n\nIn the scene where the horse actually climbed but slipped down, while the camera photographed the scene upside down, the scene was turned end for end in editing. As a result, the action was reversed, and our hero climbed up the rope in typical \"Fairbanks\" fashion. It's an old trick - but it works!\n\nAn interior sequence involved a stage-line office where the \"Rider\" had to escape by diving through a window.\nMade-to-order was Director McMahon's living-room and bedroom. Between these two rooms was a window. The camera shot from the bedroom through the window (framed in the foreground) into the living room, which was to be the stage office. After being discovered rifling the office, the \"Rider\" ran from the far end of the room and dove headfirst through the window onto the bed in the bedroom! The bed, of course, was just out of scene.\n\nLeaping boldly onto a riding academy horse is practically impossible, not because the rider wasn't capable, but that the horse wouldn't stand for it. As the masked and caped figure charged toward him to mount, the horse decided to move \u2013 fast. It soon became apparent the dashing outlaw wouldn't be able to mount in the necessary western manner.\nmy horses cost one dollar an hour, some way out of the problem had to be thought of, pronto, in order to save Adventure Pictures from bankruptcy. It became necessary to throw a saddle over a wooden saw-horse, framing just the cantle, seat, and horn in the foreground. Now the bandit could jump into the saddle in a manner as spectacular as desired by the director. Immediately upon entering the saddle, the film-editor cut to a long-shot of the \"Rider\" actually on a horse and just spurring forward. It's all in the editing! The boys view as many \"hoss operas\" as they can afford and consider \"The Adventure\" SOUND CAMERA for 16 mm sound - on - film \u2605 High Fidelity Sound \u2605 Self-contained in sound proof 'blimp.*' \u2605 Minimum equipment; maximum portability. Camera and Amplifier, complete, weigh only thirty-seven pounds. \u2605 Kodachrome or black and white pictures.\nAuricon 16 mm Recorder:\nAuricon sound track will reproduce on any sound-film projector. Can be operated in the field from an Auricon Portable Power Supply.\n- Auricon Camera with type \"C\u201d lens mount (but without lens) and Amplifier complete with microphone, instructions, and cases\n- Variable-area sound on film, for double system recording with a synchronous motor driven 16 mm. camera. Amplifier has background-noise reduction and mixers for combining speech and music. With dynamic microphone, instructions and cases for Recorder, Amplifier, Accessories - $695.00\n- Auricon 16mm. sound-on-film recorders and cameras are serving the Nation's War effort with Military and Government Film Units, and with civilian organizations producing essential morale and industrial training films. If your work in such fields makes you eligible to purchase new equipment, we invite you.\nYou are invited to let our engineers demonstrate how Auricon's portability and professional performance can simplify your recording problems.\n\nAURICON\nE. M. Berndt Corp.\n5515 Sunset Blvd., Hollywood, CA\nManufacturers of Sound-on-Film Recording Equipment Since 1931\n\nWe need 4-inch lenses for use on essential army equipment. We are in urgent need of highly-corrected camera lenses, from 90 to 10mm focal length, for use on specialized photographic equipment being made for the Motion Picture Services of the U.S. Army. Cine or 35mm miniature camera lenses capable of covering 35mm film field, including Ernemann 4-inch f : 1.8 Ernostar (as fitted to Ernemann \"Ermanox\" cameras) and E. Leitz \"Hektor-Rapid\" f : 1.4 27mm (as fitted to Bolex cameras), will be acceptable. We will pay top prices and can offer an AA-1 priority. Put your lens to work for Uncle Sam!\nACME TOOL & MFG. Co.\n2815 W. Olive Avenue, Burbank, California\nAmerican Cinematographer \u2022 April, 1943\n\"'tjoah%, Chnsuikmc\u2019\nPrecision Optics\nBecause of their accuracy, they are depended upon by our Armed Forces on land\u2014on the sea\u2014in the air.\n\"Goerz American\" Photo-Lenses\nPlay an important part in the tear program and our production is not keyed to fill the requirements of our Government. Within limitations, we may still be able to supply Goerz lenses of certain types and sizes for civilian use. We suggest your inquiries through your dealer or direct.\nADDRESS DEPT. AC-4\nC.P. Goerz American Optical Co.\nI American Lens Makers Since 1899\nOffice and Factory\n317 East 34th Street, New York\n\"Westerner\" with Gary Cooper - the best Hollywood has yet produced. The group is still trying to duplicate Gregg Toland\u2019s excellent \u201cdolly-shots\u201d and especially...\nThe boys particularly enjoy Gary Cooper in western roles. They even tolerated the heroine because she could act and her presence was logical. The boys are also fans of George O\u2019Brien and have seen almost every film he\u2019s been in, including the silents revived at the Museum of Modern Arts. A western without trick riding wouldn\u2019t be right. For \"Pals of the Plains,\" a short action western, a group of young boys ranging in age from fourteen to sixteen change horses, fall off, and rear their steeds. The backyard, where their horses are kept in barns, has recently been remodeled into a western town. \"Sheriff\u2019s Office,\" \u201cHotel,\u201d and \u201cLivery Stable\u201d signs; wooden awnings, hitchrails and wooden sidewalks have been added to give a frontier effect. \"Jungle Jim,\" the well-known newsreel star, appears in the film.\nThe \"comic\" strip is one of the group's favorite adventure tales. Studying the comic strips one day, they noticed Alex Raymond's drawings of Africa resembled the woods around a small brook nearby. Director McMahon promptly wrote a screenplay, casting himself as Jungle Jim.\n\nThe screenplay was written in best Hollywood tradition. When he had finished, little of the original story remained. This can be understood due to many properties and sets that could not be reproduced by Adventure Pictures meager budget. To create more thrills and suspense, shots of lions from a film-library were intercut with their own scenes. It's surprising how these stock-shots can be trimmed and inserted to fit the action so well.\n\nAnother feature of this group that Hollywood might study to advantage is a cooperative spirit and financial cooperation.\ntrol which makes for complete elimination of arguments about casting, directing or any of the hundreds of jealousies and \"studio politics\" which tear asunder friendships in the West Coast Cinema. Early in the organization of Adventure Pictures, it was decided that whoever finances a picture can play the hero.\n\nCamera Supply Company\nART Reeves\n1515 North Cahuenga Boulevard\nHollywood Cable Address \u2014 Cameras California\nEfficient-Courteous Service New and Used Equipment\nBought \u2014 Sold \u2014 Rented\nEverything Photographic Professional and Amateur\n\ncountered by the New Jersey boys. For instance, \"The Black Rider\" went through a transformation not unlike a story conference in Hollywood where a South Seas romance may emerge as a northern thriller after a dozen continuity writers.\nThe Rider's original script was written and financed by the hero of the previous picture, who wanted to be the villain in the new one. However, he was not considered the \"dastardly menace\" type, so he suggested wearing a mask until his face could be revealed in one carefully made close-up. As the plot developed, it became a \"guess who\" mystery, and it was then decided that the outlaw should wear a long, black cape as well as the mask. But since he was rather stout, the cape did not fully conceal his identity, and it was decided to change the villain into the comedian and choose a slimmer fellow for the dashing young outlaw.\n\nMusic plays an important part in the exhibiting end of the movie business, and it is only natural that Adventure Pictures should have its own musical director. It is his job to select the music.\nFor synchronized sound-effects, a home-made dual-turntable and amplifier are used. The music is chosen with a sensitivity to ear-appeal that might well be envied by Hollywood. The group, as well as the musical director, are all listeners to symphonic music and have found that many of Tschaikowsky\u2019s orchestral works provide the aural excitement which must match the thrills on the screen. In scoring \u201cThe Black Rider,\u201d a heavy thematic-type music was desired. It was finally agreed that Franz Liszt\u2019s \u201cFaust Symphony\u201d was the most appropriate that could be found on records. This symphony, with its different variations, is carried through the entire film wherever the \u201cRider\u201d appears. The National Broadcasting Company featured the boys\u2019 experiences over their popular hobby program, \u201cThe Bright Idea\u201d Club. Columbia Broadcasting System\nThe television studios reviewed dozens of amateur motion pictures and transmitted \"The Black Rider.\" The boys were honored as their film was the first amateur one to be televised. On the same program, they were interviewed by Gilbert Seldes. Mr. Seldes, known as Hollywood's \"best pal,\" thrilled the boys when he declared, \"The Black Rider is the best western since The Great Train Robbery of 1903.\" Their films are now featured on programs at places like the YMCA, Boys' Club, and Chambers of Commerce, bringing roaring cheers for the hero and hisses for the villain.\n\nEditor's Finder (Continued from Page 133)\nThey were forgotten when they weren't needed and remembered in between.\n\nBut those days are going fast. At a conservative estimate, more than one-third of all films produced in the United States during 1943 were for the armed forces.\nOne third of the industry's trained photographic talent has been removed from studios due to draft and enlistment. More are following. Others are making their way into the photographic departments of the aircraft industry and other defense plants. Good assistants and operatives are growing as scarce as hen's teeth \u2014 and a good deal more valuable. A few foresighted studios are even placing these men under contract to ensure their availability when needed. However, they are forgetting the \"fill-in\" directors of photography (and their crews) who have always been so handy when production momentarily exceeded the bare minimum that their usual contract camera staffs could handle. And unless all the signs are wrong, before the year is out, the once abundant supply of these \"fill-in\" men is going to be gone \u2014 and with them, many more of the contract \"regulars.\"\nThey'll be in uniform, making movies for Uncle Sam \u2014 and the studios will be begging for cameramen \u2014 any cameraman \u2014 to help them keep up the production, which the Washington powers-that-be consider so essential to morale and international propaganda. Unfortunately, there won't be anyone to answer those pleas. And we wonder what reply those camera executives who are now so proud of running an economical department will give their bosses when the bosses ask them why they didn't see what was coming and put a few extra cameramen under contract while they could?\n\nConsistency brought forth a considerable variety of objections which can be summed up by the statement that \"it can't be done.\" So we were forced to devise our own equipment and methods for doing it. The actual calibrating setup is simple.\n\nRuby Camera Exchange\nRents Sells Exchanges Everything for the Production & Projection of Motion Pictures Provided by a Veteran Organization of Specialists IN BUSINESS SINCE 1910 729 Seventh Ave., New York City Cable Address: RUBYCAM\n\nTo calibrate a lens, the light-source is brought to a known intensity using its voltage control and checked through a carefully preserved master calibration chart. The lens, in its standard mount, is screwed to one end of a light-tight tube. At the opposite end is mounted the photo-electric cell. With the lens' image accurately focused on the photo-cell, a suitable light-source is placed in front of the lens, mounted behind a ground glass diffusing panel, and wired through an accurate voltage control and meter. The photocell is in turn wired to an ultrasensitive microammeter.\nThe lens to be calibrated is substituted for the master lens, and the diaphragm is manipulated to produce a reading on the photocell-controlled meter corresponding to a setting of f/3.2 on the master lens. This point is calibrated as f/3.2. We then work both up and down in steps corresponding to the mathematically correct transmission-values of the usual stops above and below this median value. The stops are determined by their actual measured transmission.\n\nBy this method, every lens can be calibrated to identical -stop values, which, stop for stop, have absolutely identical transmission and hence exposure-producing values, regardless of the lens's design or construction. In the same way, coated and uncoated lenses can be calibrated to give identical transmission values.\nAt the same stops rather than leaving the coated objective a half-stop or even a full stop faster at a given aperture than the uncoated one. Using a master lens in adjusting the calibrating bench is an important safety guard. The entire system is based on accurate measurement of the actual transmission of the lens being calibrated. The incandescent lamp used as a light-source in these measurements can and does deteriorate, and its globe blackens, to a point where merely applying a known voltage to it is no guarantee that it is emitting the intended intensity of light. Introducing a master lens of known transmission into the system, and then bringing the light-source voltage to the point which gives a predetermined reading through the photocell-meter system eliminates this variable, and assures that all lenses will be calibrated to a known and accurate standard.\nCommencing the calibrating procedure at a median point, represented by 3.2, is an absolute essential step for accuracy in this system of calibration. In our earliest tests, we discovered that a lens being rated at 2.3 or 2.5 according to the conventional system does not necessarily indicate that its light-transmitting power is actually so high. Distressingly often, lenses conventionally rated by their makers at 2.5 and better transmitted no more light than an actual 3.2 value. Starting the calibrating procedure in this way, in the middle range, enables us to give each lens a truly accurate maximum-aperture calibration and also to keep all calibrations from maximum to minimum in their correct and genuinely accurate relationship. When other organizations, experimenting with this system, calibrate in a different manner, they may encounter inaccuracies.\nof calibration, have attempted to reverse this procedure and work downward from maximum aperture. The results have almost invariably proven inaccurate, and the ratios between stops misleading. A number of authorities have been kind enough to state that in their estimation, this system of lens-calibration is one of the extremely few basic advances in photography in many years, and should be adopted as at least a national standard. focus and flash with KALART tomorrow! Write for literature THE KALART COMPANY INC. 114 Manhattan St. Stamford, Conn. MOVIOLA FILM EDITING EQUIPMENT Used in Every Major Studio Illustrated Literature on Request Manufactured by H. W. Houston & Company.\nI am informed that steps are being taken to establish a standard for consistent accuracy of stop calibrations for all camera lenses. I sincerely hope this is the case, as my experience as a practicing cinematographer and head of a major studio's camera department has provided ample proof of the importance of such a standard. Looking forward to post-war photography, such a standard would seem even more valuable with newly-developed optical glasses.\n\n(Division of General Service Corp.\n1801 W. Olympic Blvd., West Los Angeles, Calif.\nFAXON DEAN, Inc.\nCAMERAS\nBEIMPS-DOIXYS\nFOR RENT\nDay: Normandie 22184\nNight: Sunset 2-1271\n4516 Sunset Boulevard\nAmerican Cinematographer \u2022 April, 1943)\nThe increase in light-transmitting power of lenses, along with improved coatings and other types, have become essential for both professional and amateur still and motion picture photography. Consistently correct exposure is the foundation of success in any type of photography, and this cannot be fully achieved unless the lens calibrations used to control exposure provide an accurate representation of the actual light reaching the film to make the exposure. Our cinematographers have been producing more uniform results under all conditions, in the studio and on location, than ever before, and they maintain this consistency regardless of the lenses used, to a degree unparalleled in photographic history. Application for a US Patent on this system of calibration.\nThe equipment and methods used in this system of calibration have been developed and are proceeding favorably. At least one major studio in Hollywood and several motion picture units of the U.S. Armed Services have employed this method for calibrating their lenses. However, as I mentioned at the beginning, this system of lens calibration is only one, though undoubtedly the most important, of three closely related steps toward ensuring consistently uniform phototechnical quality. It cannot develop its full value alone without the combination of a consistently accurate system of metering illumination on the set or the consistently accurate time-and-temperature processing the resultant negative receives in the laboratory. Neither can they develop their full worth without the consistency in exposure made possible by this system of calibration.\nThe three developments of uniformly accurate lens-calibration have enabled 20th Century-Fox cinematographers to maintain phototechnical consistency in their work. These developments have allowed for consistent negative densities and printing values across individual pictures and the studio's overall production. However, they cannot replace individual artistic skill on the part of the cinematographers. With these aids, cinematographers have more freedom from routine, mechanical problems, and can focus more on the creative aspects of their work. The cinematographers in my department have utilized these aids effectively, as attested by their record in this year's Academy Awards, where they received recognition for the first time.\nFOR SALE:\nImproved duplex 35mm printer with two Bell-Howell Cams and Shuttles. Perfect Registration for Color or Black and White, also process plates. Bell-Howell Standard Silenced Camera; Educational Blimp and Dolly; Sound and Silent Moviolas. Equipment slightly used at a big saving.\nHollywood Camera Exchange.\n1600 Cahuenga Blvd., Hollywood.\nWe Buy. Sell and Rent Professional and 16mm Equipment. New and Used.\nWe ARE Distributors For All Leading Manufacturers.\nRuby Camera Exchange. 729 Seventh Ave., New York City. Established since 1910.\nNew Fearless interlock camera motor for NC Camera; Western Electric interlock motor for Standard Mitchell Camera (door type).\nCamera Equipment Company.\n1600 Broadway, New York City.\nCABLE: CINEQUIP.\nRCA Mitchell or Bell and Howell 3 phase Camera Motors. $135.00; RCA R-2 Studio Recorder, $275.00; Two ELE.\nWanted: Development Engineer wanted with practical experience in 8 and 16mm cameras and projectors. Permanent employment with large Chicago manufacturer engaged in 100% war work, with assured post-war production. Excellent opportunity and substantial salary for the right man. In first letter, give age, experience, education, present employment, and other qualifications. All correspondence held in strictest confidence. Our organization knows of this ad.\n\nMent glowlamps $9.50\nDeVry single system camera at sacrifice\nDuplex 35mm step printer $425.00 : Berndt Auricon 16mm recorder with noise reduction, beautiful $595.00. S.O.S. Cinema Supply Corporation. New York.\n\nGuaranteed highest prices paid for:\n16mm cameras\u2014sound projectors 35mm.\nEyemo Cameras, all models; Bell & Howell \u2014 Mitchell \u2014 Akeley and motors, lenses, accessories.\nThe Camera Mart, 70 West 45th St., N.Y.C. wanted to buy for cash cameras and accessories. Mitchell, B & H, Eyemo, Debrie, Akeley also laboratory and cutting room equipment. Camera Equipment Company, 1600 Broadway, New York City. Cable: Cinequip. We pay cash for everything photo-graphic. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood. Cameras, Eyemo, Bell & Howell standard. Mitchell. Accessories. 16mm sound projectors. Any make. Recorders or what have you? S.O.S. Cinema Supply Corporation, New York.\n\nHistory looms over the ten films nominated for the year\u2019s best black-and-white cinematography award, all coming from one studio!\n\nContrast Control.\n\n(Continued from Page 127)\n\nIt is desirable to study the sources of illumination which may be arranged at any point in a 360\u00b0 circle around the subject.\nThe 360\u00b0 circle should be considered as being divided into six sectors, as shown in Fig. 6. The meter with hood is then held at the position of the subject. Readings are then taken in sectors A, B, C, D, E, and F, in turn, by means of rotating the meter-head. A record is made of the readings. This record may then be used at a later date as a prime aid in setting up a similar lighting arrangement.\n\nTo get back to the main purpose of the device, which is illumination contrast measurement and control, it is interesting to consider how useful it would be in connection with natural-color photography.\n\nThe limitations, with respect to contrast, of natural-color photography are quite well known. If the illumination contrast range is too great, the result is quite likely to be either blocked-up shadows or washed-out highlights.\nThe Norwood meter with contrast hood allows photographers to maintain pre-selected contrast ratios and keep within the film's natural latitude, enabling two valuable meters for exposure and illumination-contrast. The hood can be easily and quickly attached and removed, preserving the meter's exposure-meter functionality.\nAnd an illumination-contrast meter that will allow the pre-selection and then the maintenance of any chosen contrast ratio. When a layman sees a picture in a theatre, he usually does not consciously recognize the existence or lack of the smoothness provided by uniformly-exposed negatives and uniformly-balanced illumination of all scenes. However, if these things are lacking, he is sure to have a feeling that something about the picture was not as good as it should be. The experienced cinematographer is the one who appreciates the value of quality in these matters and will best visualize and understand how the above-described meters will assist him to secure such desirable quality.\n\nApril, 1943 \u2022 American Cinematographer\n\nThe British call this Vultee dive bomber the \u201cVengeance\u201d. . . In the U.S.\nArmy Air Force, known as the A-3, each ship gets its first bomb load months earlier due to the time originally saved by Kodak\u2019s Matte Transfer method. In scores of our aircraft factories, designers make their original drawings on metal coated with Kodak\u2019s fluorescent lacquer. These are then transferred, photographically, to structural metal \"sensitized\u201d by the Matte Transfer process \u2013 metal which may be used to build a full-scale test model plane. The human hand may err, or the mind may wander. But a photograph allows no mistakes. The hand, in transferring a tedious, detailed mechanical drawing, is slow \u2013 while a photograph is quickly made. These two facts are the key to another \"industrial revolution\u201d which has come within the last year \u2013 lopping from two to sixty days from planes going into production.\nFour months are required to produce an airplane with a new design. Kodak perfected Matte Transfer Paper, a method of applying photographic emulsion to other surfaces. At the aircraft factory, under \"safe\" red light, the transfer paper is cemented to a sheet of metal. The paper base is then stripped away, leaving the emulsion on the metal. If desired, this metal may be a sheet of structural aluminum used in constructing an airplane. The metal functions as a \"printing surface,\" capable of becoming a photographic print. Meanwhile, draughtsmen work on another sheet of metal, creating their mechanical drawing of an airplane part. The sheet on which they work has a coating of Kodak's fluorescent lacquer. This glows, with a blue light, in the presence of X-rays \u2013 except where the pencil lines black it out.\nThe finished drawing sheet is exposed to X-rays and placed in contact with sensitized aluminum. The result is a life-size photograph of the drawing on the metal. Another widely employed method is conventional photographic copying and enlarging \u2013 using Matte Transfer Paper to produce a printing surface on metal.\n\nWith either method, MatteTransfer Paper brings the speed of photography and no mistakes in transfer. Multiply the saving by the number of parts in an aircraft and you have the total saving, in time and money.\n\nFor test flight, experimental models have been made from the first photographic copy and flown with fragments of the mechanical drawings showing on the airplane parts. Normally, pattern plates \u2013 templates \u2013 are made from the photographic pattern, and from then on, parts are duplicated mechanically.\n\nIn any case, two to four months are required.\nSaved \u2013 and planes vital to victory roll much more quickly off the production line. Eastman Kodak Company, Rochester, NY. Serving human progress through Photography. American Cinematographer \u2022 April, 1943.\n\nB&H RECONDITIONING SERVICE PUTS IT IN FACTORY-NEW CONDITION.\n\nEvery projector that we can build today must go to the United States Government for service with the armed forces. This means no new projectors for civilians until the boys come marching home. Meanwhile \u2013 let B&H Reconditioning Service put your Filmo silent or Filmosound Projector in factory-new condition.\n\nThe work will be done by our factory-trained technicians who know every sprocket, gear, bearing, lamp, and lens in your machine and just exactly how it should be adjusted to make the projector function at peak efficiency.\nus for complete projector reconstruction. When you send your projector for this service, it is disassembled, lenses are cleaned, lubrication is applied to necessary parts, worn parts are replaced, refinished, reassembled, and adjusted. For more information, consult your B&H dealer who will provide estimates and assist with packing and shipping.\n\n\"Divide and Conquer\". A Warner Bros. Production distributed by the OWI; this film will make you furious when you witness the \"master race\" implementing their \"new order.\"\n\n\"American Handicrafts\". Details of textile, carving, and glass work are presented in this OWI motion picture.\n\n\"Henry Brown, Farmer\". Another OWI motion picture showcasing the equality of opportunity and freedom for every American citizen.\nTHE HUMAN BODY IN FIRST AID completes the \"Emergency First Aid\" series. BELL & HOWELL COMPANY 1848 Larchmont Avenue, Chicago, Illinois Please send me film catalog. I have .mm. projector, (sound) (silent) made by I am interested in renting, buying films for stimulating morale, Educational films, Civilian Defense films, Entertainment. Name Address City State PREC/SfOA MADE BY Team your projector with the FILMOSOUND LIBRARY to help speed Victory. You and your projector, teamed with the Filmosound Library, can render your country invaluable wartime service. The Filmosound Library offers a selection that eclipses anything we have ever before been able to achieve \u2014 and new films are being added almost daily. Many of these are pictures that every American should see. Morale is essential.\nThe \"armament of the mind\" \u2014 and when your friends and neighbors see some of these films that bring home to them the grim, stark realities of the job that American fighting men and their allies must finish before Victory can be ours, less mental energy will be wasted on trivialities of coffee and shoe rationing \u2014 and more of it focused on real war effort. Give a home movie party with a greater objective than entertainment. Show pictures like \"Russia Strikes Back,\" \"Yanks Invade Africa,\" \"U. S. Carrier Fights for Life,\" or \"Divide and Conquer,\" an OWI release, that portrays how the theories of the \"master race\" are expressed in atrocious brutalities. These \u2014 and many other films are available to you through your dealer and the Filmosound Library, on a purchase or rental basis.\nBell & Howell Company: Chicago, New York, Hollywood, Washington D.C., London. Est. 1907\n\"E\" for Excellence. This one-reel sound film shows how the Army-Navy Award for extraordinary performance is won and presented. Service charge: 50c.\nWar Bonds. Please remember - don't throw away old lamps. A new lamp can be supplied only when the burned-out lamp is turned in.\nLamps for the speed of emulsion. The keen-eyed physicist pictured here is measuring the candle-power of light bulbs. The purpose of his work is to standardize the lamps used for sensitometric testing of film coatings. Through these lamps, the characteristics of motion picture film emulsions are tested. The results from a series of sensitometric readings govern the maintenance of film uniformity. They permit expressing both the speed and contrast of the film in terms readily understood.\nWhen this film is used, it is one of many precision tests made in the Du Pont Research and Control Laboratories. It assures us, and you, that when your camera is loaded with Du Pont \"Superior\" Negative, its speed and contrast measure up to definite standards. When you specify the film, why not say \"Superior\" and be certain? However, war needs come first, and you may find that stocks of Du Pont Film are temporarily incomplete.\n\nE. I. du Pont de Nemours & Co. (Inc.), Photo Products Department, Wilmington, Del.\nSmith & Aller, Ltd., Hollywood, Calif.\n\nUS Pat Off-\nMotion Picture\nFilm\n\nBetter Things for Better Living\n...THROUGH CHEMISTRY\n\n162 May, 1943 \u2022 American Cinematographer\n\nWhen your camera is an Eyemo, it's always ready to go.\nInto instant action on any type of assignment... anywhere. Due to the versatility and dependability of Eyemo Cameras, mechanically and as to picture quality, they're the first choice with most cameramen on news fronts around the world. Resolve now to get an Eyemo for yourself when the war is over and Eyemos are again available.\n\nEYEMO MODELS L AND M\nThese models have the compact type of three-lens turret. Viewfinder is matched to six lens focal lengths by turning a drum; shows \"sound\u201d field to match camera\u2019s \"sound\u201d aperture plate. Operating speeds: Model L\u2014 4 to 32 frames per second; Model M \u2014 8 to 48.\n\nWill you sell your Eyemo?\nSpecial arrangements are being made in our service department to recondition for Government use all of the Eyemo Cameras we can obtain. You may have exactly the lenses needed for important military applications.\nIf you will sell a War Bond, fill out the information on the advertisement's War Bonds blank. Bell & Howell Company, Chicago; New York; Hollywood; Washington D.C.; London. Established 1907. EYMO Models P and Q. Most complete of the seven standard models. Has a three-arm offset turret, prismatic focuser with magnifier, and provisions for an electric motor and external film magazines. Pathe Cameraman, Howard Winner, with his Eyemo \"somewhere in Africa.\" At right is Capt. John D. LeVien, who distinguished himself in Algeria by leading the 90 troops who captured the Italian Armistice Commission.\n\nWanted: EYEMOS\nBell & Howell Company\n1848 Larchmont Avenue\nChicago, Illinois\n\nGentlemen:\n\nI own an EYMO Camera, Model [insert model number here]. Serial No. [insert serial number here]. It has been modified as follows:\n\nI will sell this camera for $ [insert price here] and will pay transportation and insurance to Chicago.\n\nThe camera is:\n[Lt.-Col. David MacDonald, Hon. A.S.C., \"Filming \u2018Desert Victory\u2019\" by Wm. Stull, A.S.C, 167\nHollywood Greets Four Soviet War Camera-Aces\nLeonard Smith Elected President of the A.S.C, 169\nExposure Control in Aerial Photography by Capt. D. W. Norwood, U.S.A.A.F., Ret, 170\nBritish War Camera Ace Wins Honorary Membership in the A.S.C, 171\n\nEditor: William Stull, A.S.C.\nTechnical Editor: Emery Huse, A.S.C.\nWashington Staff Correspondent: Reed N. Haythorne, A.S.C.\nMilitary Advisor: Col. Nathan Levinson\nStaff Photographer: Pat Clark]\nAces of the Camera \u2014 XXVIII: Milton Krasner, A.S.C.\nBy Walter Blanchard\n\nArtist: Alice Van Norman\nThrough the Editor\u2019s Finder.\nA.S.C. On Parade.\nPhotography of the Month.\nVegetable-top Follies. By Charlotte Anderson\nPutting Slang On the Screen. By Walter Blanchard\nHow to Care for 16mm. Sound-Films. By D. Lisle Conway\nPutting Sound-On-Film On a 16mm. Silent Projector. By Earl W. Abbott\nThe How and Why of Titles. By James R. Oswald\nAmong the Movie Clubs.\n\nThis month's cover shows a sergeant-cinematographer of the British Army Film and Photo Unit in action in the Western Desert of Africa filming a scene for \u201cDesert Victory.\u201d Note the cameraman\u2019s companion with tommy-gun at the ready, and shell-burst in near background. We regret that military regulations prohibit identifying either the cinematographer shown or the still-man who made the picture.\nPublished monthly by A.S.C. Agency, Inc.\nEditorial and business offices: 1782 North Orange Drive, Hollywood (Los Angeles), California\nTelephone: Granite 2135\n\nAdvisory Editorial Board:\nFred W. Jackman, A.S.C.\nVictor Milner, A.S.C.\nJames Van Trees, A.S.C.\nFarciot Edouart, A.S.C.\nFred Gage, A.S.C.\nDr. J.S. Watson, A.S.C.\nDr. Herbert Meyer, A.S.C.\n\nNew York Representative: S.R. Cowan, 132 West 43rd Street, New York, Chickering 4-3278\nAustralian Representative: McGill's, 179 Elizabeth Street, Melbourne, Australian and New Zealand Agents\n\nEstablished 1920. Advertising rates on application.\nSubscriptions: United States and Pan American Union, $2.50 per year; Canada, $2.75 per year; Foreign, $3.50.\nSingle copies, 25c. Back numbers, 30c; foreign, single copies 35c, back numbers 40c.\nCopyright 1943 by A.S.C. Agency, Inc.\nEntered second-class matter Nov. 18, 1937, at the post office, Los Angeles, California, under the act of March 3, 1879.\n\nMay 16, 1943 \u2022 American Cinematographer\nStars without 99 Stand-ins\nULTRA-SPEED NEGATIVE FILMS\nBinghamton\nAGFA ANSCO\nHollywood\nMADE IN U.S.A.\nNew York\n\nKeep out eye on -@ndco \u2022 7it4t with the *Time5t American Cinematographer \u2022\n\nFRAME ENLARGEMENTS FROM \"DESERT VICTORY.\"\nTop row, left: opening barrage at El Alamein, filmed by flare from the cannon's mouth. Right: sappers clearing a path through the mine-field before British advance.\n\nSecond row, left: \"Tommies\" drop as shell bursts in background. Right: infantry advance while their comrade receives first-aid in foreground.\n\nThird row, left: infantrymen take cover behind a tank while a shell bursts too close for comfort; right: accompanying infantry advance.\nThe tanks in action. Bottom row, left: Riflemen fire across a still-burning lorry. Right: Dive-bombing a road convoy; note foreground \"frame\" of helmets of riders in truck in which cameraman rode.\nMay, 1943 \u2022 American Cinematographer\nFilming 'Desert Victory'\nBy Lt.-Col. David MacDonald, Hon. A.S.C.\nOfficer Commanding, British Army Film and Photo Unit\nAs Told to WM. Stull, A.S.C.\n\nThe story behind the making of \u201cDesert Victory\u201d really began almost exactly three years ago, in the spring of 1940. At that time, the then War Minister and the Minister of Information, Sir Brendan Bracken, were persuaded by various figures in the British Film Industry that a well-organized motion picture and photographic reporting unit would be of value both to the Army and to the Nation's information service.\n\nIn due course, the nucleus of such a unit was formed, and I was commissioned as its officer commanding.\nI. Sionden took charge and began organizing the work. After completing some basic organizational tasks, I crossed to France to discuss practical arrangements with B.E.F. commanders and French military motion picture service officers. By the summer of 1940, things began to happen suddenly. Those of us who were lucky found ourselves back in Britain, tasked with re-equipping and rebuilding an army, with precious little resources.\n\nThis was the point where the A.F.P.U. (Army Film and Photographic Unit) building truly began. We faced a problem similar to what the U.S. Military and Naval photographic units encountered since Pearl Harbor. Like you, we in Britain had the foundation of an active and capable professional motion picture unit.\nWe had personnel in the truth industry, including cameramen, sound recording engineers, cutters, directors, winters, laboratory-men, and both studio and newspaper still-men. However, our experience in the Battle of France taught us that for front-line service, cameramen, like soldiers, must be young and fit to keep up with their fast-moving subjects. Our British studio technicians, on average, were younger than Hollywood's due to the younger industry there. However, they still averaged above the age when they would be most capable of going into the field and keeping up with combat units through day after day of grueling fighting. Additionally, they had a lot of work to do in the various kinds of educational and entertainment films to be made at home in the field and on the studio.\nSo much like some American military motion picture units, we had to go afield - beyond the ranks of the recognized professional cinema industry - for our combat camera crews. Starting with a nucleus of key professionals - cinematographers like Capt. Osmond Borradaile and H.W. Rignold, whose experiences have already been related in The American Cinematographer, sound engineers, unit managers, assistant directors, and the like - to provide the basic training and organizational staff, we recruited our actual combat camera personnel from other, younger groups both within and outside of the professional industry.\n\nSome of our cameramen had been assistants or film-loaders in the studios. Others had had a bit of picture-making experience as assistant directors, laboratory technicians, prop-men, and the like.\nin the studios. Others were recruited from among the amateurs\u2014very good chap, some of these, in both still and movie work\u2014and we got some excellent still photographers from among the news-paper still-men from both the London and provincial papers. Some of these men had had quite a bit of photographic experience before joining the Service;\n\nAction in the Desert! A remarkable series of frame enlargements from \"Desert Victory.\" Above, left, a shell bursts close to an anti-tank gun. Right: gun crew already feeding their piece, while wounded comrade is led to the side. Below: The gun in action, while wounded man (foreground) receives first aid.\n\nIn this connection, I\u2019d like to make it clear that none of the men in my unit were impressed or, as you say in America, drafted. Every one of the officers and men joined voluntarily.\nAnd men in the unit were volunteers. This fact justified itself very effectively by the courage and enthusiasm the men showed in doing their work\u2014often at extraordinary personal risk\u2014once they got under fire. In this organizing period, during the Battle of Britain and the Commando raids on Norway and other points, our chaps gained some experience working under fire. But it was not until last year, when the entire unit was sent out to North Africa and attached to General Alexander\u2019s Middle East Command, that we really got shaped into a cohesive military combat camera unit. Then our chaps learned to handle their cameras under actual battle conditions, and the commissioned personnel learned\u2014also under actual field-service conditions\u2014to cope with the problems of organization and supply which are so essential not only in getting films and photos to the front but also in maintaining the unit as a whole.\nHollywood Greets Four Soviet War Camera-Aces by William Stull, A.S.C.\n\nThe unusual vigor and reality of the documentary films recently coming out of Soviet Russia are clearer to several score of Hollywood's leading cinematographers who recently had the privilege of meeting and entertaining four of Russia's wartime camera-aces. These four Soviet cinematographers \u2014 Nicolai Litkin, Vladick Mikosha, Ruvim Khalushakov, and Vassili Soloviev \u2014 had all been serving continuously on the Soviet-Nazi fronts since the Germans invaded their country nearly two years ago. They had participated in the making of such notable films as \"The Battle for Moscow,\" \"Stalingrad,\" and \"Moscow Strikes Back.\"\nFour documentary filmmakers, decorated for their front-line achievements in productions such as \"Moscow Strikes Back\" and \"One Day of War,\" received the Soviet's highest cultural award, the Stalin Prize. Their Hollywood visit was a reward for their work documenting convoys transporting supplies from England and America to Russia. Attached to the Soviet Merchant Marine with lieutenant commander rank, they served as officers when not photographing. Similar to many Russian artists and engineers, these men were young.\nFour men in their early thirties and a fourth a few years older attended the banquet. Most Soviet film people entered the industry through the four-year course at their Government's Central Cinema Institute. Cinematographers, sound-engineers, film-editors, and other technicians, as well as directors, writers, and players, were trained there, much like doctors or lawyers in the country.\n\nDespite the language barrier, it was discovered that in matters of equipment, the Hollywood cinematographers and their Russian counterparts shared common ground. Most of the Russians' front-line camerawork was done with Russian-made versions of the familiar Eyemo and other equipment.\nDeVry hand-cameras were less common than DeBries in studio use. Lens-equipment was mainly the familiar Cooke objectives. Though some Soviet-made film was used, a great deal of work was done on the Eastman Super-X.\n\nAmerican and Russian cinematographers meet. Front row, from left to right, Soviet ace cameramen Nicolai Litkin, Ruvim Khalushakov, Vladick Mikosha, and Vassili Soloviev. Standing, in rear: Maj. Elmer Dyer, A.S.C., USA.A.F.; Lt. Harold Wenstrom, A.S.C., USN.R.; Al Brick, newsreel ace who \"covered\" Pearl Harbor; Lt. A. L. Gilks, A.S.C., USN.R.; Lt. Arthur Arling, A.S.C., USN.R.; Lt. Ray Flinsky, USA.A.F.; Capt. Gilbert Warrenton, A.S.C., USAF; Lt. Joe August, A.S.C., USN.R.; Sgt. Peverell Marley, A.S.C., USAAF. Photo by Roman Freulich.\nCinematographer Khalushakov specialized in documentaries for twelve years after graduating from the Cinema Institute. His most notable achievement before wartime was filming \"Sodov,\" a documentary showing Soviet ice-breakers near the North Pole. The filming conditions were complicated due to the three-month-long Polar night and temperatures of 50 degrees below zero. Despite these challenges, the production was successful and earned him a decoration from the government.\nIn his wartime work, Khalushakov has specialized to a considerable extent in filming the work of tank units. This work, he states emphatically, is particularly difficult for the cameraman. If one works inside a tank - as is necessary if he is to keep pace with the battle - there are smoke and vibration to contend with, and also an extremely restricted field of view. In the scenes he made for \u201cOne Day of War,\u201d he made his shots through the narrow vision-slit of the tank; the tank-commander stopping, whenever possible, to give him as nearly vibrationless a shot as possible, and then proceeding with his primary purpose of beating and destroying enemy armor and other troops.\n\nDangerous, but of course, he says. The life of any good front-line cameraman is risked at any moment, for he has to be where the most action is.\ntacular shots are to be had. That, in turn, means that the men who fight with cameras must be in the front lines, or even ahead of them. On one occasion he and the unit with which he was working got so far ahead of the lines that they were completely surrounded by Nazis, with many Stukas and Messerschmitts bombing and strafing them. It took twenty-five days to fight their way out of that encirclement. But, he adds with a ready grin, in doing it they reduced the strength of the German Army somewhat \u2014 and brought out spectacular photographic evidence of Soviet courage!\n\nCinematographer Mikosha has specialized largely in camerawork with the Russian Navy. Since the outbreak of the war he has been attached to all types of naval vessels, from cruisers to destroyers, PT boats and submarines.\nLeonard Smith was elected President of the American Society of Cinematographers. He succeeds Fred W. Jackman, who is now the Executive Vice-President and Business Manager. Arthur Edeson and Arthur Miller were elected Second and Third Vice-Presidents, respectively. Byron Haskin was re-elected Secretary-Treasurer, and George J. Folsey was elected Sergeant-at-Arms.\n\nThe Board of Governors for this, the Society's twenty-fifth year, consists of President Smith, Vice-Presidents Jackman, Edeson, and Miller, Treasurer Haskin, Sergeant-at-Arms Folsey, and John Arnold, John W. Boyle, Joe MacDonald, Sol Polito, Ray Rennahan, Charles Schoenbaum, Leon Shamroy, Ralph Staub, and Joe Walker.\n\nLeonard Smith is a veteran in the industry.\nMaking his start with Vita-graph studios in the pioneer days of movies, he has been an active member of various organizations on both the East and West coasts, leading to the present A.SC. The original Motion Picture Camera Club of New York, organized in 1911, the famous Static Club, the Cinema Camera Club of California, and so on. During World War I, he was a cinematographer in the Signal Corps of the U.S. Army, spending 14 months in overseas service. Much of this time was at the front; later, he was attached to General Pershing's staff, and finally to President Wilson, in which later post he filmed the signing of the Versailles Treaty. For the past sixteen years, he has been on the camera staff of Metro-Goldwyn-Mayer Studio.\nHe has distinguished himself as a leading director of photography in both black-and-white and color. He was one of the first, if not the first, production cinematographers to make a Technicolor picture single-handed, without the assistance of a Technicolor specialist, and several of his achievements in Technicolor have placed him in the Academy Award nominees exclusive circle.\n\nDiscussing his plans for his term as the A.S.C.\u2019s fourteenth chief executive, the new President said, \"I feel that I am taking this office at an unusually favorable time. The negotiations Fred Jackman started for divesting the A.S.C. of the responsibility of overseeing the economic welfare of directors of photography as a collective bargaining agent \u2014 an activity never intended by the Society\u2019s founders \u2014 are now virtually complete, and this important duty will be assumed by another organization.\"\nThe dispute within the craft will be placed in the efficient hands of Local 659, I.A.T.S.E. This will put an end to a long and sometimes unnecessary acrimonious dispute and give the camera profession greater strength by having all members from top to bottom represented economically by a single, all-encompassing agency.\n\nAt the same time, this move will enable the A.S.C. to revert back to its original function as a social and educational society or guild for directors of photography, as it did so successfully for the first fifteen years of its existence. We intend to make its activities for its members and the advancement of the camera profession generally much stronger and on a wider scale than ever before. The program of regular social and educational meetings, which had to be neglected during the dispute, will be resumed.\nThe period when economic considerations took up so much of officers\u2019 and members\u2019 time will be resumed. An active and widespread campaign in the interests of cinematography and cinematographers will be inaugurated. Personal business management will be available for members whose salaries are above the Union scale.\n\nAmerican Cinematographer \u2022 May, 1943\nEXPOSURE CONTROL IN AERIAL PHOTOGRAPHY\nBy CAPT. D. W. Norwood, U.S. A.A.F., (Ret.)\n\nCompensating for the effect of aerial haze as an exposure factor is one of the biggest problems of modern aerial camerawork, whether still or movie. A great part of modern operational flying, including bombing and photographic reconnaissance, is done at altitudes of 20,000 feet or more. At these altitudes, aerial haze significantly affects exposure.\nThese altitudes there is almost always a thick blanket of haze interposed between the camera and that part of the earth\u2019s surface which is being photographed. This haze consists largely of moisture in the air, with the addition of minute but innumerable particles of fine dust and smoke.\n\nThis blanket of haze acts in three ways in its effect upon exposure. In the first place, it absorbs a definite proportion of the light falling on the subject as the sun\u2019s rays go earthward through the haze; this absorption is dependent on the thickness of the haze blanket. Secondly, it absorbs an equal proportion of the light reflected upward from the earth to form the image in the camera. Thirdly, a portion of the light falling on the haze from the sun is reflected upward again \u2014 often so much that unless a filter (or sometimes a polar-screen) is used.\nThe resulting picture is likely to be more a picture of the haze itself than the terrain beneath it. Determination of correct exposure for stills or movies taken with the camera pointing straight down from the plane involves three factors: (1) the intensity of the light coming from the sun at the plane's photographing altitude; (2) the intensity of light actually falling on the terrain being photographed (i.e., factor 1 minus the absorption factor of the haze blanket); and (3) the amount of light finally reaching the camera-lens to form the picture (i.e., factor 2 minus the absorption factor of the haze-blanket, which is proportionally equal for light going either down or up). Any system of exposure-determination which does not take into account these three factors will be more than likely to fail.\nA simple measurement with a reflected-light meter pointing downward from the plane fails to account for the haze's reflected light and absorptive influence on both the direct and reflected light. Similarly, an incident-light measurement of the illumination aloft fails to measure or allow for haze absorption, reflection, and so on. However, a simple method for measuring these factors using the Norwood Exposure-meter has been devised, along with a system for deriving the true \"aloft exposure\" from it. The first step is to measure the incident-light illumination at ground level before taking off. Since the camera will be lifted above the haze, this measurement serves as a baseline for calculating the correct exposure settings.\nTo take accurate photographs, the meter should be held overhead, shooting straight down. This is done by reading the meter with its hemispherical light-collector pointing directly up. The exposure indicated by this reading is correct for taking pictures of the ground at low altitudes of 100 to 200 or 300 feet.\n\nThe next step is to take a second reading when the plane is in the air at approximately the altitude from which the pictures will be taken. This, too, is taken with the meter\u2019s light-collector pointing straight up.\n\nThe relative values of these two readings will indicate how much illumination has been absorbed by the haze blanket as the light makes its downward trip.\n\nObviously, the haze will absorb an equal proportion of the reflected, image-forming light on its upward trip to the lens. For this reason, it is necessary to modify the \u201cground exposure.\u201d\nFor the given input text, I will clean it by removing unnecessary line breaks, whitespaces, and meaningless characters. I will also remove the publication information and the unrelated text about the American Society of Cinematographers award. The remaining text is related to the topic of photography and haze, and is written in modern English, so no translation is required.\n\nCleaned Text: mined by the first reading, derived from the transmission characteristic of the haze, to arrive at the time \u201caloft exposure\u201d at which the picture should be made. For example, suppose the \u201caloft illumination\u201d is twice as great as the \u201cground illumination.\u201d This means that the haze blanket transmitted only one-half the light on its downward passage, and in turn will transmit only one half the light actually reflected from the subject on its upward passage to the camera.\nThe head of the British Army Film and Photo Unit, whose film of the British Eighth Army's pursuit of Rommel across the Western Desert of Africa, \"Desert Victory,\" received the most enthusiastic response and unparalleled standing ovation from the membership of the A.SC. In citing Colonel MacDonald for this highest honor within the A.S.C., President Leonard Smith and Executive Vice-President Fred W. Jackman stated that Honorary Membership in the American Society of Cinematographers is awarded only to those most outstanding individuals whose contributions to the progress of cinematography have had a basic and enduring effect on the camera craft. In the past, we have bestowed Honorary Memberships on:\nMen who invented the motion picture and made it a practical possibility, and upon those whose creative effort gave us perfected tools with which to work. Today, in giving this honor to Colonel MacDonald, we are honoring another man who has made a fundamental contribution to the progress of cinematography. Colonel MacDonald brilliantly pioneered the use of motion pictures as a dynamic part of the United Nations\u2019 War Effort. We are all the more ready to give him this honor because of his repeatedly expressed conviction that the real credit for his production belongs to the cameramen of his command who did the actual camera work at and beyond the firing front. That is what we would expect of a truly fine gentleman and soldier such as our new Honorary Member.\nWithout his own ability, vigor, and broad vision, Britain's Eighth Army cameramen could not have had the chance to do the magnificent work they have done in advancing the use of motion pictures in our united War Effort. We hope that many of our own members now in the film services of the United States' Armed Forces will be privileged to follow the paths he has pointed out. Meanwhile, we are proud to honor the man who has so brilliantly shown us all what can be done.\n\nIn accepting his honor, Colonel MacDonald stated that he was personally gratified almost beyond speech at the high and surprising honor done him. But, he said, \"I don't accept this so much in a personal way as I do as a tribute to those men in my command who actually did the work. We have some damn fine lads there in the West.\"\nThe distinction of honorary membership in the American Society of Cinematographers is so seldom bestowed that it has become internationally recognized as the highest honor for men who have gone through a deal of blood and toil to prove what motion pictures can accomplish in modern warfare. I know that this honor you have paid to all of us through me will inspire them to carry on even more valiantly to justify this very great compliment given them by you gentlemen to whom they look up as the greatest exponents of cinematography in the world. Since Tripoli, our chaps have photographed another 170,000-odd feet of battle films, and soon, as our united armies push Rommel finally into the sea, we\u2019ll be able to send you back another picture to show you how we\u2019re carrying on in our united effort.\nUp to the time Col. MacDonald received the golden card emblematic of his membership, five others had been honored. The first of these was the late Thomas A. Edison, \"the father of the motion picture.\" The next was the late George Eastman, without whose celluloid film Edison's invention would not have been possible. Some years later, the third of these honors was awarded to Albert S. Howell, A.S.C. Len Smith handed Lt.-Col. David MacDonald the gold card of honorary membership in the American Society of Cinematographers while Executive Vice-President Fred W. Jackman looked on. The Society's fourth Honorary Member was George Mitchell.\nWho designed and, with the collective cooperation of the membership of the A.S.C., perfected the Mitchell camera, which for nearly twenty years has won and maintained its place as the world\u2019s standard studio camera? The fifth Honorary Member was Edward O. Blackburn. He, during the many years he has represented the J.E. Brulatour organization in Hollywood, has endeared himself to the camera profession not only through aid in technical matters, but by his inestimable services as a guide, counsellor, and friend to all cameramen. The addition of Lt. Col. MacDonald to this select group \u2014 the first other than an American to be so honored \u2014 is a fitting tribute to equally great and timely achievement. As the organizer and head of the British Army Film and Photo Unit, he has pioneered in the latest and currently the most important fields.\nUse of cinematography as a vital instrument of modern warfare. As the coordinating genius behind the photographing and editorial completion of \"Desert Victory,\" he has given the United Nations a production which ranks as the greatest film document yet to come out of the war, and has brilliantly proven what all cinematographers - British, Russian, Chinese, and American alike - strongly believe: that motion picture film, correctly used, can be as valuable as bullets in our united effort toward victory.\n\nAmerican Cinematographer \u2022 May, 1943\nAces of the Camera\nXXVIII:\nMilton Krasner, A.S.\n\nBy Walter\n\nOne of the publicists' favorite cliches is the story (often only too true) of the little starlet or script-writer or director who grew up right across the street from a Hollywood studio, but just couldn't get a break.\nMilton R. Krasner, A.S.C., lived down the street from one of the biggest early studios, Vita-Blanchard, in New York. When he was fifteen years old, he marched down the street to the Vitagraph studio and got a job. However, the start was not easy, and it took him the better part of the following fourteen years to make his mark on the profession and emerge as a full-fledged director of photography. He started in the laboratory and then switched to another department.\nfor a while to cutting - just long enough, he says, so he knew how to make a good splice and have a slight idea of what goes on in the editing process. Then he got a chance to go out on a camera, as an assistant - a utility job which was just beginning to appear in the better studios. He carried the camera-cases, held the slate, loaded and unloaded the magazines, and so on, for about six months. And then he was promoted to the more important job of Second Cameraman which, despite its importance, has proven so much of a dead-end street for so many fond photographic hopes. But, he'll remind you, \"in those earlier days a Second Cameraman's job wasn't what it is today. I think Bob DeGrasse put it right a couple of months ago when he said that the Second Man's work then was more nearly like that of a First Assistant Cameraman.\"\nA cinematographer's associate. Most companies used two cameras on the set: the first one, operated by the First Cameraman, made the negative for printing the domestic release. The second one was operated by the Second Cameraman and made the negative used in making the foreign release-prints. I suppose that's how those titles developed.\n\nTwenty-odd years ago, the Second Cameraman had a wider scope of action than he does today. When the going got tough and the front office put on the pressure to hurry up to meet the release-schedule, the company would often split into two units. In those days, the Second Unit was in charge of a good Assistant Director and the Second Cameraman.\n\nAs laboratories found ways to make better dupe negatives for printing the foreign release, the need for the Second Unit diminished.\nThe old-time Second Cameraman dwindled. At the same time, however, the complexities of the First Cinematographer's job began to increase \u2013 especially as sound came in \u2013 and there grew to be a real need for an experienced man who could take full responsibility for operating the camera, while the First Cinematographer concentrated his full attention on lighting, composition, and the dramatic aspects of his job. So today's Operative Second Cameraman was born.\n\nBut those years I spent as Second and Operative were the best sort of training anyone could have. I worked on all kinds of pictures \u2013 big ones and little ones \u2013 with the very best cinematographers in the industry. I learned not only what one man would do, but what half-a-dozen really great cinematographers would do when confronted by some similar problem.\n\"That's why no 'school' of photography other than the old college of hard knocks can really turn out a studio cameraman. Just think of the tremendous investment represented not only by the big major-studio 'specials' I worked on with such masters as John Seitz, A.S.C., Hal Mohr, A.S.C., Lee Garmes, A.S.C., and the others, but also on the scores of tough little program quickies and westerns. May, 1943 \u2022 American Cinematographer Through the Editor's Finder There has been a growing tendency of late among the industry\u2019s so-called top-flight cinematographers to insist on 'limited-term' contracts. Instead of seeking hungrily (as may have been necessary in the past), they demand long-term commitments with high salaries and generous benefits.\"\nIn those earlier days when cinematographers' salaries were not what they are now, for the greatest possible number of weeks drawing salary on a studio's payroll, regardless of what type of picture he might be assigned to, more and more of today's ace cinematographers are asking \u2013 and getting \u2013 contracts which, while carrying top salaries, put a definite limit on the amount of time the producer can work the cinematographer. In some cases, that maximum is expressed in weeks \u2013 say from 30 to 36 weeks out of the year. In others, it is expressed in terms of productions \u2013 usually three or four top-bracket, long-schedule ones in the course of the year. In most instances, these new-day contracts give the cinematographer the vitally important right to choose or refuse productions, the same way an established star or director does.\nTo our mind, this is one of the great forward steps the cinematographer's status has taken in many a long year. It is a practice we believe should be encouraged, not only by cinematographers themselves, but by producers as well. For in the long run, it benefits both.\n\nTo start with, the director of photography is rightly regarded as one of the two or three key men of production. If the producer's responsibility is to see to it that script, casting, physical mounting and the myriad other details of production are well in hand before the picture reaches the shooting stage, and the director's is to see to it that the cast most perfectly tells the story handed to him, it is the cinematographer's responsibility to achieve perfection in the visual translation of the story from set to screen \u2014 and often enough to \u201ccarry\u201d the visuals.\nAn inefficient director, or to cover up deficiencies in the physical production mounting, the director of photography is expected to keep up, both physically and mentally, with directors, producers, and players who spread their vacations over three to six months a year. When the man of the camera has gone from picture to picture with only days, or even hours, in between, this isn't in the cards. When, as in too many cases we know, the cinematographer has been kept busy not merely the full 40 weeks of the traditional contract, but the year's full 52, and may have gone without any real vacation for three, four, or even five consecutive years, even the strongest of physical and mental stamina must break down. Under such conditions, he cannot give his best photographically; he must inevitably slip.\nAt least to some extent, photographers resort to routine \"formula\" treatments instead of more original lightings and compositions, which may conceal pitfalls for a tired man. He cannot provide his best cooperation to an experienced director nor offer professionally protective guidance to an inexperienced one. In other words, under such circumstances, the studio does not receive, and cannot receive, the full value of the photographic skill it is paying for.\n\nOn the other hand, entrusting a job of camerawork to a man who films only three or four pictures a year, with ample time for rest and relaxation in between, ensures that the man behind the camera will be physically and mentally fresher. He will serve more creatively at his job and exercise more alert care for the producer's interest regarding cooperation.\nThe producer works closely with the director and overlooks wartime production shortcomings, which are inherent to his role. In essence, the producer receives more value for his money on this basis than he ever can under the traditional get-the-most-work-possible policy for handling cameramen.\n\nIt can be contended that such a policy, given today's escalating shortage of trained camera personnel, particularly in the so-called top-bracket class, would lead to a significant shortage of what producers label \"A-picture cinematographers.\"\n\nIn fact, it wouldn't. It would instead reveal the opposite discovery: there are no \"B-picture camera men.\" There are numerous cinematographers who photograph only \"B-pictures\" \u2013 primarily because they've been pigeonholed as fast-working \"B-picture men\" and have never been given an opportunity at\nAfter putting any one of them on a production with greater values, longer schedules, and more generous budgets, you'd find you were getting \"A-picture photography\" on the screen. Recall when most of today's top camera stars were shooting \"B\" and \"C\" pictures and doing none too brilliantly. When Lee Garmes was doing \"quickies,\" and Ted Tetzlaff Westerns. When Charlie Lang was on the verge of being fired for inconsistent work on program pictures, and Gregg Toland and Bill Daniels were only hopeful assistants. There are plenty of men doing the same type of pictures today who need only a chance at a really major \"A\" to put them into the Academy Nominees circle.\n\nSo we hope this new trend toward \"limited term\" contracts spreads.\nit will keep the studios from killing off some of their biggest camera-assets through sheer overwork, and it will open up an entirely new field of new, but thoroughly experienced men already able and oh so willing to handle with distinction even the industry\u2019s biggest camera assignments. And given the chance, they\u2019ll do it well.\n\nSome day we hope someone will be able to sum up all the important jobs 16mm is doing in this global war. Among those we can think of immediately are the making of countless military and industrial training and research films \u2013 the latter using not only 16mm but even 8mm at times for super slow-motion studies of fast-moving machinery \u2013 to further the War Effort directly; the use of 16mm cameras and sound-recorders to record the data obtained in test-flying aircraft; its use in battle photography by our own Army.\nand Navy, and in camera-guns of both the British and American Air Forces to bring back a photographic record of the firing of each gun \u2014 and the results obtained. Don\u2019t forget the V-Mail service, which is entirely on a 16mm basis, and means so much in quick communication between men at the front \u2014 no matter how distant \u2014 and their folks at home. It seems to us that cinematographers throughout the industry should exert themselves to put a stop to what seems to us an unjust policy. There appears a growing tendency to give screen credit for special photographic effects partly, and in some cases exclusively, to\nNon-photographers in some studios credit is split between an art-director and cinematographer. In others, there's a three-way split between a special-effects director, art-director, and cinematographer. And in at least one studio, the special-effects cinematographer is never mentioned at all. Yet it is the man with the special-effects camera knowledge who really puts the scene on the screen. He could, as he has for many years in the past, carry on efficiently without the aid of either special-effects director or art-director. But they couldn't carry on without him, and the specialized knowledge and skill he has built up over a period of two or even three decades of intense specialization.\n\nWe're all for the principle of credit where credit is due\u2014so why not follow it? There is a limit to the number of people involved in film production.\nFor it being physically or economically possible to give credit on the screen, wouldn't it be fairest to give that credit to those who actually do the work?\n\nAmerican Cinematographer \u2022 May, 1943, p. 173\nA.S.C. on Parade\n\nFor several months, Capt. Ted McCord, A.S.C., of the Army Air Force, and we have inadvertently avoided each other. You see, we wanted his picture for this page, so we spent several Saturday afternoons here with a loaded camera, hoping for a chance to \"mug\" Capt. Ted. However, we missed him each time. He came up several times with similar intentions, only to find us elsewhere, dealing with printers, advertisers, and such. Finally, at the last A.S.C. meeting, about the middle of the third reel of \"Desert Victory,\" someone handed us a very official-looking Air Force envelope containing this handsome photograph.\nPicture of Capt. McCord in it. Both of us won out on the deal, as this portrait by an uncredited Air Force photog is probably better than we'd have done ourselves! Our sympathies to Past-Prexy John Arnold, A.S.C., bedridden with a very bad case of flu, verging closer toward pneumonia than any of us like to see. And the latest bedside report from Ray June, A.S.C., is encouraging: while still in the hospital, he's improving, and allowed to have visitors occasionally. By the way, did you hear the moniker our recent Russian guests pinned on Fred Jackman? He proved such a nice host they called him the Russian version of \"Comrade Santa Claus,\" but at first he thought it meant something to drink, for it was Tovarich Jackacola! Add to what we didn't know about A.S.C. members \u2013 Eddie Cronjager, A.S.C., is quite the piano virtuoso (classical variation).\nety. Now with Eddie\u2019s piano, George Barnes\u2019 fiddle, and Sid Wagner\u2019s very hot sax, we ought to have the makings of a pretty good A.S.C. orchestra! Anyone play the drums?\n\nDuring the last several weeks, a lot of folks have been asking us about that ad in the March issue, congratulating Arthur Edeson, A.S.C., and Mike Curtiz for their joint achievement in \u201cCasablanca.\u201d Our answer is that it\u2019s the real McCoy \u2013 conceived in Karl\u2019s brain and paid for (cash!) out of his pocket. We think it\u2019s a mighty fine gesture... and one worth emulating when you see a fellow cinematographer come up with a similarly swell piece of work.\n\nMiracles do happen \u2013 that perennially busy man, Byron Haskin, A.S.C., after directing we-can\u2019t-tell-you-how-much of \u201cAction in the North Atlantic,\u201d and performing endless special-effects chores on unspecified projects, found time to contribute an article to this issue.\n\"Air Force,' Mark Twain,' and other Warner bigwigs managed to secure a whole week's vacation. Went up to visit relatives in San Francisco, we hear. Congratulations to the A.S.C.'s new bridegroom \u2014 Master Sergeant Peverell Marley, A.S.C., USAAF, and his bride, the lovely Linda Darnell, who did a surprise elopement to Las Vegas a few days ago for the knot-tying. Pev, you know, shot Linda's first test when she arrived in Hollywood and then her first picture. thereby starting a friendship that grew naturally to mean much more as two swell people really got to know each other. The only thing we can't understand about the whole affair is where, in these rationed days, did they get the gas to drive that round-trip to Las Vegas? Wonder if this is the first 'second-generation A.S.C.' romance?\"\nI. Lieut. David P. Boyle, son of John W. Boyle, A.S.C., has asked Miss Betty Jane Huse, daughter of Emery Huse, A.S.C., in question. The sincere sympathies of the entire A.S.C. go out to Faxon Dean, A.S.C., on the recent death of his wife. Everyone is patting Johnny Boyle, A.S.C., for providing and operating the projectors at the last meeting when \"Desert Victory\" was shown. If they had seen the time and effort he put in beforehand to ensure they were in perfect condition for the meeting, they would give him a medal. Sol Polito, A.S.C., provided the large \"tarp\" used to black out the sky-light over the A.S.C. lounge. Thank you, Sol, from all of us.\n\nGeorge Blaisdell\nIt is with profound regret that we report the death on April 20th of George Blaisdell, former editor of The American Cinematographer, and a pioneer in motion picture journalism. A journalist and printer for over fifty of his nearly 80 very active years, he was credited with writing the first review of a motion picture in a \"legitimate\" newspaper when on the staff of the New York \"Sun\" over thirty years ago. Since then, he served for many years as editor of Motion Picture World, International Photographer, and The American Cinematographer, as well as on the staffs of The Billboard, The Hollywood Reporter, Variety, and many others. In ill health since he was struck by a paralytic stroke last November, he had been recovering to the extent that we hoped soon to have some articles from him again.\nGeorge Blaisdell will be missed by a remarkably wide circle of friends, not only those who knew him personally, but those who knew him only by correspondence or by what he made out of the magazines placed in his charge. His was a unique character: a man of very positive opinions and unshakable loyalty to his friends and to his concept of what was right, he was, as one friend expressed it, all pepper-and-salt on the outside, and beneath it, the finest of gentlemen and friends to those who got to know him well. As a friend and fellow-worker, he knew no peer. Above all, he was a man who loved life and who, during nearly four-score years, lived it to the full. The sincere sympathies of the A.SC. and this editor, as well as the world-wide circle of readers of this magazine, go out to his family and friends.\nTo Mrs. Blaisdell and his grandsons and great-grandchildren.\nMay 17, 1943 \u2022 American Cinematographer\nPHOTOGRAPHY OF THE MONTH\nDESERT VICTORY\nReleased through Twentieth Century-Fox.\nPhotographed by The Officers and Men of the British Army Film and Photo Unit, and the R.AF. Film Production Unit.\nIf there are such things as Academy Awards next year, our sincere advice to the Academy awarders would be to take all of the \u201cOscars\u201d\u2014especially those for the best production, best direction, cinematography, script-writing, film-editing, scoring, etc.\u2014and melt them down into one man-sized statuette to be presented to the makers of \u201cDesert Victory.\u201d Then they could forget the banquet, and put the twenty or thirty-thousand dollars these annual fests cost into War Bonds!\nFor \u201cDesert Victory\u201d is by long odds the picture of the year. It is indisputably.\nThe greatest film yet to come out of World War II, not only as cinematic reportage, but as an example of thorough-going film craftsmanship in every department. Yet \"Desert Victory\" is no piece of staged film entertainment. It is the actual documentary story of the British 8th Army's drive across North Africa, which first dislodged Rommel from his strong point at El Alamein in Egypt and then chased him nearly 1400 miles across the desert to Tripoli and into Tunisia. It was filmed at the front by a combat camera detachment of 26 enlisted photographers and six officers of the British Army Film and Photo Unit, with aerial camerawork by members of the R.AF.\u2019s Film Production Unit. During the making of the picture, these uncredited but heroic camera-crews kept so consistently with the front-line fighting that the majority of the time they were under fire.\nThe troops were closer to the Germans than to their own forces. Their losses amounted to four killed, seven wounded, and six prisoners. However, they brought back over 200,000 feet of negative film, along with some valuable footage captured from German combat-camera men.\n\nFrom \"Desert Victory,\" this material has been edited. In its final release length of 5400 feet, there are only 179 feet of staged scenes - night-effects, which could not be obtained under actual conditions.\n\nPhotographically, the picture is remarkably good considering the conditions under which it was made. However, the contrasty desert lighting conditions make some scenes too contrasty, and the flat subject, flat lighting, and dust and smoke of battle make some scenes too flat. Yet, a surprising amount of the picture is almost as good.\nThe photographic quality of the location scenes in the film is good, as expected of a studio production. The night effects at the start of the bombardment at El Alamein are enormously effective photographically. They were filmed entirely by the almost continuous flashes from Montgomery\u2019s artillery as it laid down a murderous barrage on the German lines. The cutting and scoring of this sequence is of incredibly fine calibre. It brings to mind some of the sharply dramatic cutting of Eisenstein and some of the early Russians. This sequence relies more upon brilliant, silent-picture editing for its impact than upon conventional sound-film technique. The construction of the film should long serve as a model for future war reporting pictures. There is no sentimentalizing; there are no phoney dramatics or flag-waving: but there is a tale told.\nFor the first time, I believe I have the complete story of the planning, execution, and victorious culmination of a major offensive. The film devotes sufficient footage to the issues of supply and transport, replacements of personnel and equipment, and physically toughening men from generals to privates. It then provides a clear explanation of the commanders' strategies and follows with nearly an hour of thrilling action scenes showing how these plans were carried out by all arms - tanks, artillery, air forces, and infantry. This coverage, when realized it was accomplished by a relatively small group of men dashing hither and thither on Jeeps with only Eyemo and DeVry hand-cameras, is truly excellent.\n\n\"Desert Victory\" will undoubtedly go down as the great picture of this war - and as such, we can only urge its continued success.\nYou are asked to see it \u2014 and see it again and again.\n\nChina\nParamount Production.\nDirector of Photography: Lt. Leo Tover, A.S.C.\nProcess Photography: Farciot Edouart, A.fS.C.\nSpecial-effects: Gordon Jennings, A.S.C.\nThis was the last production filmed by Leo Tover, A.S.C., before taking his present position as a Signal Corps cinematographer. It is decidedly one of his best. Essentially one of John Farrow's recent wartime action-dramas, \u201cChina\u201d offers more to the cameraman than any of its predecessors. As a great deal of the picture is played in night-effects, cinematographer Tover manages to get a great deal of mood and pictorial effectiveness into his work, without in the least lessening the dramatic \"guts\" of the story \u2014 in fact, rather heightening them. His treatment of the players is, of course, characteristically excellent.\nThe process and special-effects work by Farciot Edouart, A.S.C., and Gordon Jennings, A.S.C., is fully up to the high standards expected of these men and their capable staffs.\n\nTonight We Raid Calais\n20th Century-Fox Production.\nDirector of Photography: Lucien Ballard, A.S.C.\n\nThis picture, while probably ranking as a program effort, is an almost flawless example of melodramatic photography. It packs more of a dramatic wallop than many an \u201cA\u201d we could mention.\n\nLucien Ballard has done one of those jobs of camerawork that ought to be studied and re-studied for its perfection. With the exception of perhaps two scenes, his lighting, composition, and general treatment were perfectly in balance and well-attuned to the mood of the action, making it exemplary.\n\nAt the Front in North Africa\nWarner Bros. Release (Technicolor, from 16mm. Kodachrome).\nFilmed by uncredited Photographers of the U.S. Army.\n\nThis little four-reeler \u2014 the second of the battle films our Services have publicly released \u2014 is rather disappointing, especially when compared to \"Desert Victory.\" We've heard a good many conflicting stories as to why this is: some blame those who supervised its making; others hint their hands were tied by red tape and politics. But the picture as it stands serves at any rate to show rather impartially both the good and bad points of 16mm. for combat-camera use. Where the man at the camera was good, so are the enlarged-to-Technicolor results; where the man behind the camera was not adequately trained photographically, the result is such as even a third-rate amateur would blush to show. All of which leads to the inescapable conclusion.\nThis is a review for the film \"Aerial Gunner\" produced by Pine-Thomas and released by Paramount. The director of photography is Fred H. Jackman, Jr., A.S.C. The text warns against using unsteady camera work during combat scenes, praising Kodachrome film when handled by skilled individuals. The film is described as a less expensive and time-consuming version of \"Air Force.\" Director Jackman handled all photographic work on the production. (No continuation on page 184 in this text.)\n\nAerial Gunner\nPine-Thomas Production; Paramount Release.\nDirector of Photography: Fred H. Jackman, Jr., A.S.C.\n\nThe text advises against unsteady camera work during combat scenes, praising Kodachrome film when in the hands of skilled individuals. This film, \"Aerial Gunner,\" can be seen as a less expensive and time-efficient alternative to \"Air Force,\" with a difference of approximately $1,930,000 in budget and six to eight months in shooting time. Director of photography Jackman handled all photographic work on the production.\nAND THEN YOU CAN EAT THEM: Scenes from Carl Anderson's \"Vegetable Follies\"\n\nTop, left: Senor Cucumber wears a Scotch tape zape and his donkey is made of corn-husks; miniature cacti and a folded bath-towel form the background.\nRight: Carrot Ballerinas' faces painted in poster-paint, crepe-paper skirts. The chorines are attached to a paper-covered lath, hinged in the middle. The prima ballerina is animated by means of a plastic knitting-needle concealed in her head-dress.\nMiddle, left: \"Bubbles Banana,\" strip-teaser; face painted on peeled surface, hair made of red embroidery cotton with small paper flowers. . . . costume \u2013 well, you guess!\nRight: \"Carmen Miranda\" . . . otherwise a turnip with painted eyes and mouth, head-dress of beads, feathers and turnip tops.\nBottom, left: The Onion Sisters \u2013 four onions, two large and\n\n(Note: The text appears to be complete and does not require significant cleaning. However, some minor corrections have been made for grammar and punctuation.)\nTwo small women, with skirts and kerchiefs of cotton percale. Right: the group at work filming the red-cabbage \"Arabian Night.\"\n\n176, 1943 \u2022 American Cinematographer\nUsquials-labis-jof Louis L.\nBy CHARLOTTE ANDERSON\n\nIdeas are never rationed, and that's a happy thing. Gasoline is, so travelogues are \u201cout\u201d for the duration. Film is scarce, so it is necessary for film fans to confine their activities to smaller areas and less film-footage.\n\nIn view of the situation, we decided to film a table-top short, and concluded that vegetables would provide attractive and original models for an amusing \u201cFollies\u201d motif.\n\nWhen four congenial cinematographers with some talent for wielding paint brushes and creative tendencies toward presenting table-top entertainment get together, the fun really begins. We devoted some thought and planning to our project ahead of time, and an entire day was spent in the preparation of the sets and the selection and arrangement of the vegetables. The vegetables were painted and arranged with great care, and the lighting was adjusted to bring out their best qualities. The cameras were set up, and the filming began. The results were most satisfactory, and the short was well received by our audience.\nFour enthusiastic 16mm fans were essential for our weekend shooting: scissors, poster-paint, brushes, assorted vegetables, wire, and gay bits of cloth; 6 No. 2 Photofloods; an unlimited number of ideas for lighting, staging, and gags. While husbands focused on camera details and background setups, we girls wrote a short scenario or outline for our Follies idea, taking off a few well-known entertainers in vegetable form to intersperse with our own characters. The opening shot was of Carmen Miranda, whose intriguing smile was recorded on the smooth skin of a large turnip. Using natural foliage around which to build the well-known turban, we cut loose with plenty of imagination and decoration as she re-emerged.\nBefore a lavishly-designed background done in South American trend, we have a painter in the crowd who dashes off finished titles and smart backgrounds. All of which adds up to a snappy effect. The titles, incidentally, were lettered on black backgrounds and animated on and off in 2-frame wipes. Then the desired footage was run through the camera, and the backgrounds were reshot for the following scene. Such title phrases as The Carrot Ballerinas, Se\u00f1or Cucumber\u2019s Donkey Serenade, and Bubbles Banana, Strip Tease Artist, Takes Off, furnished us with inspiration for various characterizations.\n\nFor a bit of action south of the border, we used Se\u00f1or Cucumber to render his \u201cDonkey Serenade.\u201d The props in this scene were a corn-husk donkey, a grass hut, some miniature cacti, and our hero wearing a diminutive straw sombrero.\nAnd a tiny stage. We lacked something to use as a foreground on which to place our scene, so a fluffy dusty-pink bath-towel was laid in realistic slopes and bumps under the actors, providing a stunning contrast to the turquoise background. This is the \u201cutilizing what you have\u201d policy. We seldom use anything outside our own household gadgets for props.\n\nAfter working for awhile with our vegetable models, they seemed so real that we addressed them as \u201che,\u201d \u201cshe,\u201d \u201cCarmen,\u201d or \u201cBubbles\u201d without the slightest embarrassment, for after all they were celebrities and entitled to the consideration such highly-paid entertainers usually receive. All of the faces were applied to the vegetables with show-card colors, and we managed to create some amusing characteristics and expressions.\n\nWe have wondered ever since if the cast really got along, as they were fairly diverse.\nWhile we were shooting, behave well. Take it off! Hold a banana in place with a long nail and animate the skin down by single-frame animation. Then animate turning away from the camera\u2014place on curves\u2014animate back to position and continue stripping. Finally, animate turning away and dissolve in a red heart end-title. Except for a few fragile ones who would lose their heads! It's only fair to mention the lift a musical accompaniment gives to this type of production. We opened with one of Carmen Miranda's latest songs as she introduces the program. We gave the Carrot Ballerinas the \"Faust\" Ballet Music, and they were satisfied. The strip-teaser teased to the \"Strip Tease Polka,\" and other scenes were accompanied by charming incidental music. The whole proved twice as effective without appropriate melodies to help the moods along.\nThe cast included The Onion Twins, two shy little maids with sizeable, plump onions for bodies and smaller ones for heads, gowned in ruffled blue skirts and kerchiefs. Three coy lemon pigs with match-stick legs, paper ears, painted eyes, and wire tails added a comedy note. A demure artichoke couple also made a brief appearance, along with various other fanciful characters suggested by the material at hand, all found in local Victory Gardens, around the house, and in dime stores. Our next sequence was a ballet number.\na  graceful  array  of  carrot  ballerinas, \nwhich  we  garbed  in  yellow  crepe  paper \nskirts.  The  premiere  danseuse  wore \na  white  and  chartreuse  ruffled  effect. \nThe  chorus  was  literally  nailed  one \nat  a  time  to  a  long  lath  hinged  in  the \ncenter,  so  that  they  might  be  permitted \nto  do  a  V  formation,  forward  and  back, \nmanipulated  by  two  of  us,  holding  the \nends  of  the  lath  outside  camera-range. \nThe  soloist  pirouetted  and  toe-danced \nin  front  of  the  ensemble,  suspended  by \n(Continued  on  Page  198) \nAmerican  Cinematographer  \u2022  May,  1943 \nSQV3H  8I3H1  ISO!  A3H1 \naSHOHH  383M  A3H1\u2014 \n9NIH30  3Hi  1IH  3HS \nQNnOH  V  SVM  3H \nGUESS  WHAT  slang  phrases  these  frame-enlargements  from  Robert  Fels'  \"Cine  Whimsy\"  illustrate \u2014 without  turning  the  magazine  upside-down  to  see!  Just  to  give \nI. \"Whimsical\" is an unusual picture in several respects. It is unusual to have so many trick and double-exposure shots in a 16mm. film. It is also unusual to obtain perfect lip-synchronization in a film shot silently and recorded after editing. Even the idea behind the story is unusual. A great number of figures of speech or colloquialisms were assembled in logical sequence to tell a regular story, but these expressions were portrayed literally, just as a foreigner studying the American language might do if he only knew the dictionary meaning of the individual words and was not familiar with their colloquial usage.\n\nMay, 1943 \u2022 American Cinematographer\nPutting Slang On The Screen\nBy Walter I. Neumeyer\n\n\"Whimsical\" is an unusual picture in several respects. It is unusual to have so many trick and double-exposure shots in a 16mm. film. It is also unusual to obtain perfect lip-synchronization in a film shot silently and recorded after editing. Even the idea behind the story is unusual. A great number of figures of speech or colloquialisms were assembled in logical sequence to tell a regular story, but these expressions were portrayed literally.\nThe unfamiliarity with these slang expressions is surprising. For instance, if the expression used was \"He got hot under the collar,\" you would actually see clouds of smoke coming out of the actor's neck in the picture. This scene would only last a moment, making the sudden action all the more unexpected with a hundred such expressions.\n\nThe contrast between the accepted meaning of the colloquialism and the literal meaning, as depicted on the screen, is surprising, often comical, and frequently fantastic. The picture is a guessing game; the audience is challenged to guess the meaning of the figure of speech from its presentation on the screen. It's a novelty to ask for audience participation in a film that is also visual entertainment. It's amazing to see how well audiences enter into the experience.\n\nBlanchard.\n\"There is no need to be told that \u2018Cine Whimsy\u2019 was made by a Frenchman. One can feel the French touch in it right away.\" This was stated after the preview to Robert Fels, who conceived the original idea and directed the picture. However, Fels feels that it was particularly difficult for a Frenchman who had been in the country only a few years to understand the precise meaning of our American expressions. So an American friend, Alice Taylor, translated both the accepted and the literal meanings of hundreds of colloquialisms. At this point, two amateur filmmakers joined them. Newell Tune, of the Los Angeles Cinema Club, was the cameraman who took care of all the technical problems - trick-shots, special-effects, lighting, etc. Norman Johnson collaborated on the shooting script, and he is to be credited with the dialogue.\nAll the actors are amateurs. They do well, under Fels' direction, that we would never think they had never played in a motion picture before. Audiences have especially praised the two leads: Andree Rayburn as the girl, and Stephen Brantley as the young man, both of whom seem to have professional screen possibilities.\n\nMany of the trick-shots used in this picture would not be so difficult to do with a 35mm. camera, but may be considered an accomplishment in 16mm. For instance, a camera moves toward a bundle of magazines which was just thrown from a passing truck. In the close-up, a pair of hands cuts the rope, and we see a TIME Magazine with a picture of a stenographer at her typewriter. The camera travels closer and stops at an extreme close-up. Then the still picture comes to life and the girl begins to type.\n\nThis was accomplished by taking a photograph of the magazine cover and then filming Andree Rayburn typing in front of it, with the photograph carefully edited into the scene.\nThe still picture was taken from the same tripod position as the movie camera and later enlarged to fit the beginning action. The enlargement was glued on the front of Time Magazine, which was mounted upside-down on top of several other magazines on a traveling title-board.\n\nThe camera was started with the extreme close-up, which was checked in the reflex viewfinder to coincide with the enlargement of the beginning of the action in the scene following. During the exposure, the camera was moved back until the medium-shot was reached. When the film was returned from developing, it was turned end-for-end, making the action reversed and, also, the magazine turned right-side-up. This made a transition almost as smooth as in 35mm.\n\nAs the script called for several dolly-shots, including some on a sandy beach, a three-rail dolly-track was used.\nThe past few years have seen an enormous increase in the use of 16mm. sound-films and projectors. They are being used for visual education purposes not only by schools and health associations, but by our War Industries and by every branch of our Armed Services. In addition, a constantly increasing number of civilian amateurs are using 16mm. sound-films in various projects for bringing film entertainment to our troops, through YMCA, USO and similar organizations, and in putting on volunteer shows for men at isolated searchlight and anti-aircraft gun posts. (May, 1943)\n\nHow To Care For 16mm. Sound-Films\nBy D. Lisle Conway\nPresident, Syracuse Movie Makers Association\n\n16mm. sound-films and projectors can be put together or dismounted in three minutes. They are made out of 1x3's and bolts and wing-nuts. The center rail (Continued on Page 197)\nAmerican Cinematographer\nAs a result, workers in small or out-of-the-way fields are increasingly faced with the problem of taking 16mm sound-films and equipment to outside meetings for film showings, with little or no experience in the care and operation of this type of equipment. In the past, if film was damaged through accidental misuse or equipment broke down, it could be easily replaced. However, due to the war, much of this equipment cannot be replaced. Now, films, projection-lamps, amplifier tubes, photocells, and projectors themselves must be made to last as long as possible with the least wear.\n\nFrom a lecture delivered at the Convention of New York State Tuberculosis Associations. Many of the tubes used in sound-projector amplifiers are no longer available.\nThe article will mainly focus on conserving and protecting equipment and material we currently possess or can still obtain, due to scarcity of resources for projection lamps, sound projectors going to the Armed Services, and unavailability of electric cables, among other things. The importance to your audience lies in the clear picture on the screen and intelligible sound. Dirty, scratched pictures and hissy, uneven sound detract from their experience.\nThe show itself, but in many cases results in the message that the film tells being entirely lost through the audience's distraction. Therefore, the condition, storage, and handling of the films you show are of paramount importance. The rules to follow in helping to preserve your films are very simple, but nevertheless very important. Remember, once the film is badly damaged through careless handling or scratching, it cannot be repaired!\n\nKeep your films clean! Grease, oil, dust, and dirt are deadly enemies of motion picture film. Oil is sometimes spattered on the film by the projector, grease may have been gotten on the film from fingerprints. These result in blobs of off-tone grey on black-and-white film, and a change of color on Kodachrome or any other color film.\n\nThis grease and oil, unless removed, will serve as catchers and collectors of particles.\nDust and dirt in the atmosphere cause scratches on films. These impurities collect on the film and accumulate in the picture and sound gates of the projector. If not removed before each projection, they scratch whole sections of film, leaving long white streaks that cannot be removed. The picture area on the screen is likely to be fringed with a moss-like effect, making it look like grass is growing from the top and bottom of the picture. The sound will grow weaker in volume, and when the sound track of the film is scratched, it results in crackling, hissy, unintelligible speech.\n\nThe solution is simple: periodic film cleaning with an approved film cleaner, and cleaning the picture and sound gates before each projection. The latter will be discussed later. There are many approved film cleaners.\non the market. Eastman\u2019s Film Cleaner, put out by the Eastman Kodak Co., is one. However, let me stress here that only approved film cleaners should be used! Ordinary household \u201cspot removers\u201d should never be used, as the cleaning agents and solvents in them are most often deadly enemies of motion picture film. This is especially true of cleaners containing alcohol or benzene, and the like, which will not only ruin the dyes in Kodachrome, but will attack the film base as well.\n\nThe process of cleaning a film is very easy. With most cleaners comes a piece of lint-free, soft, plush cloth. This is moistened with a small amount of the cleaner and the film, as it is slowly drawn through the cloth. (1943-05-18)\n\nMay, 1943 \u2022 American Cinematographer\nPutting Sound-On-Film On A 16mm. Silent Projector\nBy Earl W. Abbott, Syracuse Movie Makers Association.\nA serious-minded amateur in possession of a 16mm projector has not wished at some time or other that he could run sound-film on his machine? I had always envied opulent amateurs who owned sound machines. But envy them was all I could do, for the little item of expense stood in the way. . . . unless maybe I could make my own.\n\nIn March, 1940, I purchased an Eastman EE series 2 Projector, and the first time that I examined it closely, I was struck by the ease with which this machine could be converted to sound-on-film. Being by profession a toolmaker, and having had some previous experience with sound, having worked on the old Fox-Case sound camera (now the Fox Movietone) all through the experimental stage until it was put into production, and also having built a sound-on-disc recorder, I decided maybe I could.\nI could make my own sound conversion. Well, to get back to the projector, I dragged it out one stormy night and with various tools and instruments proceeded to design a sound-head I thought would do the job. Taking into consideration the fact that there is a separation of 24 frames between the picture and the sound, I obtained a plate of cold-rolled steel 3% x 4% inches. I cut a semi-circle out of one end of this to fit around the boss on which the lower film sprocket is located. My next step was to remove 1 inch of steel from the bottom, left, and gradually flare it back to within 1% inches of the top of the plate. This will allow the machine to be tipped forward. Next, starting at the bottom of the plate, I cut a 90-degree included angle slot extending upward for 2.5 inches and located from the right hand side.\nThe plate is 1.5 inches to the center of the slot. This is to accommodate a Holmes Sound-lens. This is identified in the picture by No. 1 on the photograph.\n\nNext, 3 inches from the bottom of the plate to the center, and directly in line with the slot, I bored a -inch hole. To this, I fitted a piece of drill-rod which was 0.5 inches round x 2.5 inches long, and bored out to accommodate a peanut-type baseless photoelectric cell. A slit was machined in the bottom end for the beam of light from the sound-lens to travel through, and this end was a press fit into a -inch hole in the plate. This was then hardened and given a high polish. (No. 2.)\n\nThe author\u2019s Model \"EE\", as converted for sound.\n\nLeft: 1, sound-lens; 2, sound pick-up; 3, stabilizing-drum; roller to hold film against pick-up; 5, idler for tension against stabilizer. Dotted line indicates path.\nof film through sound-head. Right: note flywheel, extended reel-arms and amplifier in base. Next, 4 inches from the top and 1-inch from the right-hand side to center, I drilled and tapped a 1-inch 24-thread hole for the shaft bearing of the film stabilizing drum. This shaft is of 2-inch drill-rod and is 4.5 inches long, with a 32 thread on each end. The bearing for this shaft is of 1-inch bronze and is 3.5 inches long. Both ends are threaded with a 1-inch 24-thread. When the plate is fastened to the projector, the 1-inch 24-threaded hole is spotted through to the casting of the projector, and this hole is then drilled straight through the machine. At assembly, the bearing-shaft, which had of course a 2-inch hole through it, and the inside of this hole was relieved with a small boring bar to within 1-inch of each end, was pushed into place.\nthrough the hole in the projector and screwed into the hole in the plate. A knurled brass nut was then screwed onto the rear of the shaft, up tight against one back-plate. I then made up the film stabilizing drum of brass, 1-inch in diameter at the large end which is a flange 0.6-inch thick, the body being 0.5-inch in diameter, and the hole being 0.25-inch thick. This was mounted on the front end of the shaft, and the film stabilizing flywheel on the other end on the left side of the projector.\n\nThis flywheel was made of brass and is 2.5 inches in diameter and 0.25-inch thick. The machining of the stabilizing flywheel, film-drum, and bearing must be done very accurately as the slightest wobble will be enough to ruin the sound in the finished machine.\n\nThe next step was to remove the bottom take-up sprocket and to replace it.\nWith a precision machined sprocket that can be purchased from several companies specializing in replacement parts for 16mm sound-on-film projectors, nearly all 16mm sprockets are standard. After removing the take-up sprocket, I tested the shaft with an indicator and found it had a run-out of about 0.004-inch. I was able to straighten it with a brass hammer without removing it from the gear-box. The old sprocket was then put on an arbor and the teeth turned off. A film roller made from it was mounted at the left-hand corner of the plate. I purchased from the local Kodak dealer a film shoe the same as those mounted against the top and bottom sprockets. This is mounted against the roller as if it were a sprocket (No. 4). This roller is mounted to the left and directly in line with one photocell housing, with 1% inch between centers.\nWhen all parts are assembled, they:\n\nAmerican Cinematographer \u2022 May, 1943, p. 181\nOne weekend we drove out to see Lake Minnetonka \u2022\u2022\u2022\n\nFor main and end titles, decorative lettering with painted or photographic backgrounds are effective. For subtitles (third from bottom), a simple lettering, preferably in black, is preferable. Style of type shown is Kabel Bold.\n\nBy J. R. Oswald\n\nOne of the greatest faults of the average amateur movie is the absence of a pleasant blending of scenes or sequence arrangement. This continuity angle should always be taken into consideration at the time of filming, if it is at all possible to do so. Thus, a natural relationship can be built up between successive shots, with soothing transitions joining the scenes. Even the simplest home-movie camera is capable of producing fades\u2014 a fact which\nA fade-out is frequently overlooked in filmmaking. It is produced by gradually reducing the amount of light reaching the film. This is accomplished by rotating the lens-barrel with the camera running, from the point of proper exposure to the closing point of the diaphragm, which is simply a \"curtain\" that regulates the intensity of light entering the camera. A fade-in introduces a new sequence and is made in exactly the reverse fashion. That is, the diaphragm is gradually opened from a closed position to the point of proper exposure for the particular subject being filmed. Despite the neglect of continuity in filming, much can still be done with present, completed films. Don't be like many enthusiasts, leaving the reels in the exact sequence in which they were found.\nThey were shot. Rearranging individual shots in a more logical order will make a world of difference. Occasionally, this is not enough, however. If the scenes are totally unrelated and yet too good to be left out, a more drastic means must be used to \u201cbridge the gap.\u201d In such a case, it is a definite advantage to insert titles.\n\nTitles are used for identifying time, location, subject-matter, and a host of other things. They range from simple wordings on plain black backgrounds to complicated multiple-exposures with motion picture backgrounds. Obviously, each type title has its place, but for our purpose, we\u2019ll stick to two or three of the simpler types, which most amateurs are inclined to use.\n\nProbably one of the most clever and least boring styles of title is one which is hardly recognized as such: the \u201cnatural\u201d title. For example, a clock or a tree could serve as a natural title.\nSuch objects as calendars, road-signs, map sections, milestones, etc., are easily photographable without any special title-making equipment, save for a close-up or portrait lens. Next comes the regular printed or hand-lettered title. The wording is either typewritten or printed on a card or even a snapshot, and photographed with one of the many title-making apparatuses available. For those artistically inclined, there are no limitations to the possibilities of this type of title. Those who do not feel ambitious enough to do their own work can take advantage of the numerous professionally made \"stock\" titles in both 8mm. and 16mm. sizes. Made-to-order titles from your own copy can also be had at a nominal cost.\nIf you are adept at developing and printing your own snapshots, there is no reason why you shouldn't find enjoyment in making and developing your titles. Short lengths of movie film can be handled in your own darkroom, the same as roll film.\n\nThe How and Why of Titles\nMay 182, 1943 \u2022 American Cinematographer\n\nAmong the Movie Clubs\n\nFilms to Show to Service-Men\n\nAn increasing number of amateur movie clubs all over the country are putting on movie shows for service-men \u2014 sometimes in big camps and metropolitan USO Centers, and sometimes individually, to small, isolated groups like barrage-balloon, searchlight and anti-aircraft gun squads whose duty prevents leaving their posts except at long intervals, and which are too small to be reached by the regularly organized entertainment services.\nPatriotic movie-makers are providing a necessary service by showing films to troops on their own time and resources. They use their own projectors, gas, tires, and films, which they often purchase with their own money. The core issue is the scarcity of films, which the soldiers at these posts have not seen frequently. Most of these volunteer 16mm. showmen have built libraries of entertainment 16mm. sound-films. However, when a club screens films three to six nights a week at posts where men are stationed permanently, the films become depleted quickly. This problem would be simpler if various clubs and organizations throughout the country could exchange their films from time to time.\nThe urge is for those responsible for Syracuse and Miami film showings to send a list of their available 16mm. sound-films. If a sufficient response is received, a directory of these films and their sources will be published in an upcoming magazine issue. If the film supply does not warrant publication, complete listings will be sent to contributors.\n\n\"Victory Vacation\" for St. Louis\nA timely feature at the April meeting of the St. Louis Amateur Motion Picture Club was the screening of Member Rasmussen's 1942 vacation film, appropriately titled \"Victory Vacation.\" This 400-ft. 16mm. Kodachrome picture was filmed entirely within a 150-mile radius of St. Louis. Going a bit farther.\nF. B. Guerin showcased the much-admired Bolex 8 at the production titled \"Missouri State Parks and Springs,\" an excellent travelogue of the Ozarks. The members' appetites for post-war traveling were further stimulated by a 1200-ft. Kodachrome sound-film of the Rio Grande Valley in Texas, shown courtesy of the Missouri Pacific Railroad.\n\nA surprise feature was an unannounced screening of an unusual film from The American Cinematographer's library, \"Garden Life,\" by Eugene L. Ritzmann. This picture, in 16mm. Kodachrome, depicts flowers growing through stop-motion photography, and was met with hearty applause from the members.\n\nHoward B. Parsons, Vice-President.\n\nVaried Show for L.A. Cinema\n\nThe April meeting of the Los Angeles Cinema Club featured an exchange showing of two top winners from L.A.\nThe following films were shown at the Tri-City Cinema Club's recent Annual Contest: \"Those Were the Days\" by John E. Walter (\"American Cinematographer\", January 1943, p. 18), \"Two Weeks\u2019 Rest\" by Bill Wade, \"Wonder Film\" by Joe Hollywood, and \"Vegetable Follies\" by Carl Anderson. The latter two were loaned through the courtesy of The American Cinematographer's Editor.\n\nEarl Memory, President.\n\nIndoor Lighting for Home Movies\n\nThe April meeting of the Tri-City Cinema Club in Rock Island, Moline, Ill., and Davenport, Iowa, featured a talk on \"Indoor Lighting for Your Home Movies\" by Orrin Stribley. The screen showcased two films by Dr. Dunn: \"Sauk and Fox Indians\" and \"William Tell \u2014 the Dramatization of a Struggle for Liberty\".\nThis program piece consisted of two unrelated shorter subjects in 16mm. Kodachrome, mounted together on an 800-ft. reel and presented with a sound background from records. The latest OWI 16mm. sound-films, \"Conquer by the Clock\" and \"Paratroops,\" were shown courtesy of Harry Lytle.\n\nWillis F. Lathrop,\nSecretary-Treasurer.\n\nSynchro-Sound Program for the April meeting of the 8-16 Movie Club of Philadelphia included a demonstration of the Synchro-Sound device for keeping disc records in perfect sync with their pictures. Len Bauer, who conducted the meeting, has had considerable experience with this mechanism, having used it to excellent advantage in the picture with which he gained First Prize in the recent Gold Cup Contest.\n\nAs On Its Way.\n\nThose who might have suspected that actress Carole Landis\u2019 offer\nMiss Landis' new 16mm sound projector for entertaining troops overseas, as published in last month's issue of this magazine, has been presented to the 6th Armored Division of the U.S. Army and is on its way to where both the projector and the men it will entertain will do the most good.\n\nBauer's demonstration was a practical, \"how it works\" example. The second portion consisted of a demonstration of interesting new Kodachrome title-making ideas. \"Solar Pelexus\" and \"Moods of Nature,\" from The American Cinematographer's library, were shown on the screen.\n\nPlans are being made for an interclub movie-making contest. A story-idea will be chosen.\nThe Long Beach Cinema Club and various other clubs jointly conduct a contest. Each group will develop its own scenario from the basic idea and film it, with a suitable trophy awarded to the winning club. All movie clubs on the Long Beach (Cal.) Cinema Club's mailing list are invited to participate. They, or any others interested, may contact Secretary John Henrick at 2819 N. Warnock St., Philadelphia, for more information.\n\nAt the April 7th meeting of the Long Beach (Cal.) Cinema Club, a delegation from the Los Angeles 8mm Club presented the top three winners of their annual contest. This was a reciprocal visit following the Long Beach group's attendance at the 8mm Club's March meeting, with the top 8mm winners from the Long Beach Cinema Club contest shown. The films exhibited by the L.A. 8mm Club were \"Those Were the Days,\" by John E. Walter; \"Jungle Parade,\" by President Fred Evans; and [unknown title].\n\"Two Weeks\u2019 Rest' by C. Wm. Wade. Shown were \"Sun Valley,\" a 100-ft. 16mm. Kodachrome by L.B.C.C.-er Herbert Goodall; \"Grape Production,\" an 800-ft. 16mm. Kodachrome by Alfred Lion of Fresno, showing the workings of the grape and raisin industry; \"Wonder Film,\" by Joseph F. Hollywood of New York\u2019s Metropolitan and 8mm. Clubs, and a production sent by the Omaha, Nebraska, Amateur Movie Club.\n\nLORIN SMITH, Secretary. Lens Lecture in Indianapolis\n\nThe April meeting of the Indianapolis Amateur Movie Club featured a very enlightening discussion of testing projection lenses, accompanied by a well-planned lecture by member G. A. Del Valle. He also explained and demonstrated the difference between coated and uncoated lenses. On the screen he showed two direct-16mm. single-system sound-recorded films.\"\n\nAmerican Cinematographer \u2022 May, 1943\nThe films he had made included one showing his son Billie's second birthday party and another, a reel of the Club's recent Annual Banquet with a running commentary from the sound-track. The staff for the Club's 1943 production has been picked and includes: Director, E.M. Culbertson; Assistant Director, Roger Sneden; 16mm. camera-crew, Dr. W.E. Gabe, assisted by A1 Kaufmann; 8mm. camera-crew, Roger Sneden, assisted by C. Wetzel; Lighting, Paul Bradley, Carl Luethge, Oscar Peters; Properties, Bill Locey, W. Worl, Jim Makin, Dr. H. Collins and Dean Smith; Script-girl, Mary Culbertson; Editing, Members Culbertson, Sneden, Thomas and Gabe; Casting, Members Collins, Reynolds and Vic Maier. The production is tentatively titled \u201cYou Can\u2019t Win,\u201d and is scheduled to run 400 feet of 16mm. Kodochrome when finished.\n\nElmer M. Culbertson,\nCorresponding Secretary.\nThe April meeting initiated the Philadelphia Cinema Club's eighth year of movie-making activity. Following the election of officers, whose results were announced last month, the new administration announced three new committee chairmen: Program, Adolph Pemsel; Technical, Dr. Robert E. Haentze; and Membership, Herbert E. Moore. The evening's screen program featured several members' films and an excellent instructional picture from the Harmon Foundation titled \"Your Camera.\" This was followed by talks from several advanced members on camera equipment.\n\nThe Club was scheduled to visit the Norristown Club on April 19th and present the evening's program as part of the inter-club activities arranged among the several cinema clubs.\nThe Philadelphia area for the coming year.\n\nFrancis M. Hirst.\nPhotography of the Month\n\n(Continued from Page 175)\n\nCamerawork, but the aerial scenes and special-effects, as well. Judged in that light, he has done an exceptional job on this picture. The aerial camerawork \u2013 done in only two shooting days \u2013 ranks with the best; his \"production\" camerawork is as good as can be expected when he was given a ten-day schedule and sets that consisted almost entirely of flats and backings. His special-effects work is decidedly good. His treatment of the players is adequate, though not the best we\u2019ve seen him do, and his handling of the few scenes where he had anything like photogenic sets or locations to work with indicate this young cinematographer is rapidly approaching the time when he will be ready for a better \"break\" on a bigger production.\n\nSpitfire\nGoldwyn-RKO  Release. \nDirector  of  Photography:  Jack  Hildyard, \nA.C.T. \nThis  story  of  the  development  of  Eng\u00ac \nland\u2019s  most  famous  fighting  plane,  the \nSpitfire,  is  well  worth  seeing,  not  only \ndramatically  but  photographically.  For \nyears  we  have  come  to  expect  from \nEuropean  cinematographers  brilliant \nwork  on  individual  scenes,  but  a  definite \nlack  of  uniformity  from  scene  to  scene \nand  sequence  to  sequence  throughout  the \nproduction.  \u201cSpitfire\u201d  is  the  first  Brit\u00ac \nish  film  we\u2019ve  seen  that  cannot  be  sub\u00ac \nject  to  that  criticism,  and  it  marks  Jack \nHildyard  as  decidedly  the  coming  star \nof  British  cinematography.  His  work, \nas  shown  here,  would  be  \u201cA-picture\u201d \nphotography  in  Hollywood  or  anywhere \nelse. \nPILOT  NO.  5 \nMetro-Goldwyn-Mayer  Production. \nDirector  of  Photography:  Lt.  Paul  Vo\u00ac \nThis  is  one  of  those  typically-MGM \njobs  of  camerawork  that  are  so  smoothly \nAnd effortlessly done, these pictures by Paul Vogel, A.S.C., are likely to slip by unnoticed. As one of the last pictures Paul Vogel made before his enlistment as a Signal Corps cinematographer, it deserves more credit than that. This picture is excellent in every department. Vogel had a difficult assignment in this, as the story is told in cut-back form, beginning with a small group of fighting Americans and Dutch in those last, tragic days in Java, and cutting back ten or fifteen years to relate the story of \"Pilot No. 5.\" The picture has to coordinate a decidedly wide variety of moods and photographic treatment. Vogel does this so excellently that you're scarcely conscious of the photographic difficulties involved. At the climax, miniature-expert Don Jahraus and some uncredited special-effects cinematographers provide some more unusually fine marine battle miniatures.\nThey came to blow up America, 20th Century-Fox Production. Director of Photography: Lucien Andriot, A.S.C.\n\nA story like this of espionage and counter-espionage is a cameraman's meat, and Lucien Andriot takes full advantage of it. Throughout, he makes excellent use of the modern increased-depth technique and handles his predominantly strong, realistic lightings excellently. Some of his compositions are of particular dramatic effectiveness, too.\n\nIn a film like this, the players are, generally speaking, rather secondary to dramatic mood, but he does very well by them, as might be expected of a cinematographer of his taste and ability.\n\nThe Young Mr. Pitt, 20th Century-Fox Production (British). Director of Photography: Frederick Young, F.R.P.S., A.C.T.\n\nThis picture offers further evidence (if any is needed) of why Fred Young is an exceptional cinematographer.\nRated as the top British cinematographer, his lightings of sets and players, as well as his compositions, scarcely could be surpassed here in Hollywood. Some scenes of individual players, particularly in portrait-like closer shots, are delightful, while his long-shots offer a richly pictorial contrast to our own \"rationed\" sets.\n\nSome fault can be found with the slight scene-to-scene variation in densities and general mood, which was certainly not helped by the dupe released here. However, in view of the other excellences of the photography, these can be overlooked.\n\nThe crediting of the famed portrait photographer Cecil Beaton for set-design and decoration is interesting. Carol Reed's excellent, if slow-paced, direction is also noteworthy. However, we recommend reading up a bit on English history before seeing the picture.\n\nLUCKY JORDAN\nParamount Production.\nDirector of Photography: John F. Seitz, A.S.C.\n\"Lucky Jordan\" isn't particularly pretentious as a picture, but from the photographic viewpoint, director of photography John Seitz, A.S.C., has made it a joy to see. For years, Seitz has been recognized as one of the really great masters of the camera, but for some time he has not had many opportunities to distinguish himself. In \"Lucky Jordan,\" he has\u2014and he does so with a smooth, sureness which makes it a picture you'd like to see again, so you could concentrate on enjoying Seitz\u2019 compositions and lightings.\n\nDirector of Photography: Walter Lundin, A.S.C.\nIt's a nice thing to see the name of Walter Lundin, A.S.C., on the screen again in a major feature. Ordinarily, a Laurel and Hardy comedy isn't exactly the place you'd go looking for good cinematography.\nLundin's camerawork is surprising in Erawork. He manages to include pleasing shots between the stars' gags, particularly in close-ups of other players. Lundin's long experience making Harold Lloyd's famous laugh-makers benefits the comedy, ensuring not a single laugh is lost. The gags are worth studying; some are examples of the best silent-picture comedy from fifteen years ago, while others display the more modern (though less amusing) verbal comedy prevalent today. May, 1943 \u2022 American Cinematographer\nThe Better Pictures are photographed with Eastman Negatives. There will never be a Better Negative unless it's made by Eastman. J.E. Brulatour, Inc. Distributors of Eastman Films. Columbia Production's \"Something to Shout About\" had Director of Photography Franz Planer, A.S.C., who gave this thoroughly routine backstage musical a much better photographic mounting than it deserved. He had not had very much in the way of photogenic opportunities to work with, but when these opportunities arose, he did them abundant justice. Meanwhile, he treated the players very well indeed. Despite this, he was handicapped by one of the worst laboratory jobs we have seen in several years\u2014one which makes us wish we could see a really good print of the production.\nThat we could judge Planer's work more fairly, assuming we could bring ourselves to sit through the trite story and unnecessarily blatant sound-track and shouted dialog once more.\n\nTHE MEANEST MAN IN THE WORLD\n20th Century-Fox Production.\nDirector of Photography: Sgt. Peverell Marley, A.S.C.\nThis picture, one of the last photographed by Pev Marley, A.S.C., before he joined the Army Air Force, hardly represents his best work. However, throughout it shows clearly his photographic skill. He handles his camera and lighting with a deft smoothness which lifts the picture considerably above the usual conventional comedy treatment.\n\nMilt Krasner\n\n(Continued from Page 172)\n\nAnd no school could have afforded the huge production investment which gave me my real training in practical cinematography. And without that practical experience.\nI couldn't have gained the practical experience I couldn't have learned. None of us could.\n\nThat diversified training came in handy when I finally got my break as a First Cinematographer. Do you remember how, ten years ago, Charles R. Rogers was making himself unpopular on the Paramount lot by turning out, independently, program releases for them, using their stars and their studio facilities, but at a cost a good deal less than what they could do it for?\n\nI had worked with Mr. Rogers before, at the old First National and elsewhere, and he had confidence in me and what I could do. I worked for him on several of these pictures, as Operative Cameraman for Henry Sharp, A.S.C., and others, and finally Mr. Rogers decided I was ready for a chance shooting First Camera for him. So he promoted me \u2013 it was on an unimportant little picture called \u2018Strictly Personal\u2019.\nI stayed on as a First Cinematographer at Paramount after \"Sonal'.\" Looking back, I don't think I did too well, but it suited Mr. Rogers and was reasonably good and done very fast. So I stayed on at Paramount for several years. Then one day, when things were slack at Paramount, I received a call from MGM. I went out to the Culver City plant for one picture and stayed for more than ten months before leaving for Universal to answer a call from my old chief, Charles Rogers, who was then Universal's production head. I have been there ever since. My work there has included a good bit of everything from program films and chillers to some of the studio's biggest productions. I have taken it all in my stride, with a clearly perceptible professional growth. It was through my camera, for instance, that\nAbbot and Costello first appeared in \"Buck Privates.\" At one end of the photographic spectrum, they made films such as Frank Lloyd's \"Lady from Cheyenne\" and \"The Spoilers,\" the latter featuring Marlene Dietrich. Walter Wanger's \"We've Never Been Licked\" and the Technicolor \"Arabian Nights\" were also among their projects, competing strongly for the Academy Award for Color that year. Krasner believes it is a cinematographer's professional duty, once they become recognized and sought after, to ensure they do not have to work on too many films a year and have the freedom to choose their stories, at least as freely as a director or leading actor of equal standing.\n\n\"There's a double reason for that,\" he explains. \"First, it keeps me at my best creatively. Second, it allows me to maintain a work-life balance and continue to grow as an artist.\"\nI feel strongly about this point. My experience as an operator and a B-picture cinematographer has convinced me that there's an awful lot of good, first-string talent that gets overlooked. If I decline a picture because I don't like the story or need a break, someone else gets a chance at it. They might be itching for something better than they've been doing, but would never have had the opportunity without my refusal. This is likely to produce another 'A-picture' cameraman, or let them discover that ability in someone they've never given the chance to show it.\nTalent goes to waste in those categories, because most of the industry is afraid to give them a chance. Established photographic names monopolize the big pictures due to producer demands for security. However, over the last ten years, many established photographic names have been replaced by younger fellows, whether through promotion from operational jobs or from B-picture obscurity. These younger photographers have managed to do just as well, haven't they?\n\nOn the other hand, I don't mean that those who reach a position where they can pick and choose their pictures should try to specialize in any one type or work with any given star, director, or producer. Any cameraman worth the name should be able to do any sort of picture with equal facility.\nHe shouldn't let himself be scared away by the report that this star is hard to photograph, or that the director or producer is tough to work with. If he approaches the assignment open-mindedly and with the right kind of ability (not trying slavely to imitate what he's seen other cinematographers do with the same star), he's likely to find that the assignment he thought was going to be difficult is actually easy and pleasant. Instead of being unequal to it, he may even find himself being praised for having done better than many another fellow with a bigger name!\n\nBut about that business of specialization \u2014 I'll have to take part of it back. A few months ago I finished my first Technicolor picture, and before long I'm due to start another. And if I had to specialize in anything, I think I'd like it to be Technicolor.\nIt is to be about color. Despite all these years of rumors about the difficulty of color camerawork, I found it surprisingly easy \u2014 easier, even, than black-and-white. And it\u2019s so much more gratifying on the screen, and so much more filled with as yet unattained possibilities, that I'll admit I'd like to do more of it ... to explore more of the artistic and technical possibilities of what is, I am sure, the coming medium for truly expressive camerawork.\n\nDesert Victory (Continued from Page 167)\n\nThere are none the less of great importance in making the work of a combat camera unit of practical worth.\n\nOut in the Middle East, we had a rather large territory to cover. GHQ was in Cairo, and from there our territory extended west to the firing front in the Western Desert (which ultimately came to mean a distance of over)\nThe area covered, measuring over 2200 miles from east to west and 2000 miles from north to south, included an expanse similar to the Western part of North America from Los Angeles to Chicago. Responsibilities extended from Egypt to Eritrea and Ethiopia until Italian forces were removed, and filming was required along Turkish and Russian frontiers. Rommel was driven back 1400 miles westward to Malta, Cyprus, Jerusalem, Bagdad, and eventually Teheran in Persia. (May, 1943) American Cinematographer - The B & H Eyemo camera shown.\nThe \"Professional Jr.\" tripod and Shiftover head have been especially adapted for aerial use by the Field Photographic Branch, Office of Strategic Services, Washington. Unsurpassed in quality, versatility, and rigidity, this 14 lb. tripod features a friction-type head with super-smooth 360\u00b0 pan and 80\u00b0 tilt action, a generous-sized pin and trunnion for long, dependable service, and a \"spread-leg\" design for ultimate rigidity and quick, positive height adjustments. A T level is built into the tripod. The top-plate can be set for 16mm E.K. Cine Special, 35mm DeVry and B & H Eyemo (with motor), and with or without alignment gauge.\n\n\"Professional Jr.\" Tripods and Cameraquip Shiftover Alignment Gauges are used by the U.S. Navy, U.S. Army Air Bases, Signal Corps, and the Office of Strategic Services.\n\n\"Professional Jr.\" Tripod Head Unconditionally Guaranteed 5 Years.\nServices and other Government agencies, as well as leading Newsreel companies and 16mm and 35mm motion picture producers, use this Shiftover alignment gauge for important work.\n\nThis Shiftover device is the finest, lightest, and most efficient available for the Eyemo Spider Turret prismatic focusing type camera. The male of the Shiftover attaches to the camera base permanently and allows using the regular camera holding handle if desired. The male dovetail mates with the female dovetail base and permits the camera to slide from focusing to photographing positions for parallax adjustment. The camera can be locked in the desired position by a positive locking-device.\n\n\u2022This Shiftover has a \"stop-bracket\" which prevents the camera from sliding off the dovetail base\u2014and is provided with dowel pins which position it to top-plates of tripods.\nSeveral hundred miles into Mexico's Baja California, we couldn't be certain when newsworthy action might suddenly \"break\" at any point in or adjacent to this area. The solution was to station still movie camera crews at strategic points, planned so they could get quickly to any area where action was likely to occur. We backed these field units with a string of bases where replacements, still laboratory services, and the like could be set up. From these bases, stills and movies could be expedited to GHQ at Cairo, where they could be processed, and stills put on the radiophoto for quick transmission to London.\n\nThe laboratory bases were located at Malta and Cyprus in the Mediterranean, and at Beyrouth in Syria, Jerusalem in.\nPalestine, Bagdad in Iraq, and Teheran in Persia (Iran). From these bases, we had camera crews stationed farther out at Aleppo, Alexandria, and other advanced points as needed, including, at first, points in Eritrea, Italian Somali land, Ethiopia, etc.\n\nSo much for this basic coverage! Our main activity, like that of the 8th Army, was to be in the Western Desert as Generals Alexander and Montgomery tried conclusions with Rommel.\n\nIn this, our organization-plan was laid out along more strictly military lines. An army must have a fixed base of command, supplies, replacements, and the like; so did we. At GHQ in Cairo, we had our own headquarters base, with all that this implies. There was located my own headquarters and that of my staff officers, from which all the activities of the unit were directed. It was there that our motion picture films were developed.\nDeveloped, printed, and edited. For the laboratory work, the Cairo branch of the Eastman Kodak organization made available its entire 35mm. section. In addition to the 16mm. facilities usually found at Kodak branches, this plant had a completely equipped setup for developing 35mm. negative and positive (on an excellent machine, by the way), and for print-making, and the like. We simply moved in and took this section of the plant over, staffing it, where necessary, with our own technicians. I might add at this point that here, as elsewhere, the Kodak personnel gave us invaluable cooperation, even exceeding that to which most of us have been accustomed in normal civilian production. Also at Cairo GHQ were our still picture-editor, who functioned about like the editor of a big news picture service.\nDeciding which stills were newsworthy, providing captions, and getting them sent to the appropriate military and civilian outlets. Our staff of film-cutters, equipment office, clerical staff, projection facilities, and the like were also located here.\n\nFrom GHQ westward, our operational organization extended towards (and often beyond) the fighting front. The first subdivision, and the point where I generally made my headquarters, was at the Field Headquarters of the 8th Army, from which General Montgomery directed the battle. Here, in addition to any necessary commissioned officers, we kept a reserve of cameras to provide replacements for more advanced units. We also maintained our field repair-shop in mobile mechanics vans, staffed by two sergeant-mechanics, both highly skilled in the repair and maintenance of equipment.\nmaintenance of both cinematic and still cameras. We also kept Army H.Q. supplied with replacements of equipment and film. Hauling an Eyemo up to an observation tower for a long-shot of a port town just captured from the \"Eyeties.\" From this point, our line of photographic communications paralleled that of the Army, branching out and downward through the usual military command divisions. At each point were stationed men who could serve as replacements for front-line units when necessary, and who would ensure that film returned from the front was routed back to GHQ as fast as possible. At Division or Brigade HQ were our Section Leaders \u2014 commissioned officers whose responsibility it was to ensure that the men under their command from there to the front had everything they needed.\nFunction properly, and ensure that their film and movie negatives were gotten back to GHQ as fast as possible. For the front-line camerawork itself, our men worked in two-man teams - one cinematographer and one still photographer. At the start, we had tried to economize and have one man shoot both the movies and stills. It didn\u2019t work. If he did a good job on the movies, he would likely miss the really important still shots; if he got the stills, he was likely to slight the movies. Therefore, the two-man combat-camera teams of specialists.\n\nOne of the biggest factors in successful military camerawork, especially in regions where, as in the African Desert, operations are so extremely fluid, is transport for your front-line camera crews. It always is, for transport, next to water, is one of the most valuable things in desert warfare.\nAt the start, we had our full share of trouble in getting transport. But after a little while, when some of our first films had to come back to show the authorities how valuable they could be, we managed to make ourselves self-sufficient in this respect. Every combat-camera team, and all of the officers, had their own transport \u2014 a jeep or a truck \u2014 and that way we were able to keep up with the front-line operations of the army. From the front, exposed movie and still film was routed back to GHQ by the fastest possible means. Usually, this meant motorcycle riders for the first few laps of the trip, and then by plane to GHQ from Corps or Army headquarters. We did rather well at this, too. For example, when the battle started with the big barrage against the German positions at El Alamein, we got our first stills of the artillery firing at about 11:30 am.\nBy 9:30, the negatives were in the Cairo laboratory, and as soon as they were dry, they were put on the wire-photo and radioed to London, where the pictures appeared in the papers that same afternoon. Later on, as distances stretched out and operations became more fluid, this communications problem grew more troublesome, but our lads did remarkably well at keeping supplies, equipment and personnel replacements, and fresh and exposed films flowing constantly in both directions.\n\nFor field service, our camera equipment had to be light and rugged. Our still photographers were therefore supplied with Zeiss Ikontas, and our movie men with De Vrys and a few Eyemos. The Eyemos were scarce, so I would estimate that around 95% of \"Desert Victory\" was ground through our De Vrys, whose performance and ability to stand up under gruelling desert punishments were exceptional.\nWhen the big push started at El Alamein on the night of November 23 last, we had twenty-six enlisted combat cinematographers and six officer section-leaders spread out with the army along the front, in addition to the chap cooperating overhead in the R.A.F. Film Production Unit. When we reached Tripoli 80 days later, our chaps were still with or ahead of the army units. However, we suffered severe casualties: four of our cameramen had been killed \u2013 one officer and three enlisted photographers; one officer and six photographers had been wounded, and two officers and four photographers had been captured. In other words, seventeen good lads out of a starting force of thirty-two were lost. But those chaps, along with those who survived and the others who came forward as replacements, brought back 200,000 feet of film.\nOf absolutely authentic battle films, and innumerable stills to show the world what desert warfare is like. I want to make it very clear that the real credit for whatever merit \"Desert Victory\" may have is due entirely to those young chaps who filmed and fought and bled and died in the desert making it.\n\nEastman Negative Films, with their high degree of uniformity, make it easy to confine the \"takes\" to one for each scene, helping to close the gap between footage used and footage exposed.\n\nEastman Kodak Company, Rochester, N.Y.\nJ.E. Brulatour, Inc., Distributors\nFort Lee, Chicago, Hollywood\n\nPLCS-X Super-XX for general studio use when little light is available\nBACKGROUND-X for backgrounds and general exterior work\n\nEastman Negative Films\nAmerican Cinematographer \u2022 May, 1943\n\n\"Desert Victory\" may have is due entirely to those who filmed and fought in the desert.\nThe rest of us ensured they had the film, equipment, and personnel replacements they required, and that their exposed footage was returned for processing as quickly as possible. We edited their footage and formed the best parts into a cohesive picture. However, the men with the cameras at the front truly made \"Desert Victory.\" Those chaps were undoubtedly the bravest I've ever seen. They faced the enemy with both guns and cameras, and the material they captured with their cameras was priceless. Let me tell you, it takes more than just ordinary courage to keep filming calmly and efficiently with a camera when someone four or five miles away is sending over things that go off with a Hell of a bang when they land \u2013 and hurt, too.\n\nDuring the preliminary training, we emphasized two or three things rather.\nNot only essential photographic principles such as \"no panning,\" but other important maxims for combat camera work. For instance, we discouraged shots of our infantry from the rear. Occasionally, a shot like that might be useful to depict what our men were advancing into. However, generally, the rear elevation of one infantryman is much like that of any other. When the audience has seen the back of one soldier's neck, they have seen them all. The truly dramatic thing is to see our lads as the enemy does \u2013 coming at one head-on, with rifles at the ready and bayonets fixed. We emphasized the importance of getting the shots of action as close as possible. As we were rather short on telephoto lenses \u2013 the longest we had was a six-inch, and some cameras had only a four-inch lens.\nThe man with the camera needed to get close due to four subjects. When we issued camera-crews their side arms, which were .38 revolvers, we instructed them to use these short-range weapons against Jerry only when they were close enough. This was the time to start filming. We attempted to provide them with artistic suggestions for desert battle photography. Deserts are uninteresting photographically, presenting a drab outlook of sand, rock, and scrubby brush. A thousand yards out may contain a Jerry tank burning, which is dramatic but not very photogenic. However, if a foreground piece could be included to complete the composition, such as one of our guns firing or our chaps, the photograph would be improved.\nTaking cover behind a tank or even just a bit of a burned-out tank or lorry in the foreground \u2013 you'll have a much better picture. Putting all of these admonitions into action, our lads from the Film and Photo Unit necessarily had to spend a good deal of their time considerably nearer to the enemy than they were to our own forces. As a matter of fact, we beat the army into Tobruk by a matter of an hour and a half, and in the scenes that show the Swastika coming down and the Union Jack being run up, the \u201cactors\u201d were members of our camera unit. That, incidentally, meant going through minefields before our sappers had cleared a way. Those land-mines are nasty things at best. They're buried by the hundreds, just a few inches deep in the sand. Sometimes they go off the first time a man steps on them, or the wheel passes over them.\nA car or a tank rolls on one; sometimes the initial pressure simply starts off a clockwork mechanism which clicks off a mechanical count as man after man or vehicle after vehicle passes over unharmed \u2014 and then lets go explosively when the 39th or the 47th, or so, goes over.\n\nBooby traps are another unpleasant hazard. When Jerry leaves a place, he leaves something he knows is desirable, and wires an explosive charge to it. Binoculars, for example, are invaluable in desert warfare\u2014 and soldiers are soldiers no matter what uniform they wear. When Tommy glances into a building recently abandoned by the Jerries, and sees what looks like an excellent pair of Zeiss binoculars peering out from under an old coat, he's likely to appropriate them for his own use.\n\nWhen he picks them up, a nice little mine blows up \u2014 and with it, Tommy.\nMany of his friends were around. We lost several of our men with mines and booby traps. For instance, in Tobruk, we lost two fine lads. A mine blew up under one of our jeeps, and a Sergeant-Photographer was killed, while his driver was tossed 30 yards and very badly wounded. In connection with the way our camera-units preceded the army, I've been interested to note in a recent newspaper account of the first meeting between men of the British 8th Army and General Patton\u2019s Americans that the British representative was one of my own Sergeant-photographers! We encountered some of the German field cameramen as well \u2014 as our prisoners. We captured several of them, and quite a bit of undeveloped film from their cameras, and prints of some of their newsreels, as well. Cut into \"Desert Victory,\" they made the picture more valuable.\nThe text describes the author's experience of documenting both sides of the conflict during the advance and retreat of the Afrika Korps. Here's the cleaned version:\n\nThe text completes the account by showing what was happening on both sides of the lines. Close-ups of Rommel and his staff at the front, and at home in Berlin, receiving his Field Marshal's baton from Hitler; shots of the German ground forces in action, and of the Luftwaffe's \"Stukas\" peeling off and dive-bombing our chaps before the R.A.F. drove them out of the air. I even had the pleasure of meeting my \"opposite number\" \u2013 the head of Rommel's photographic unit. It was comforting to learn from him that his camera men had had the same difficulties we had in contending with the dust, the heat, and the monotonous terrain. It was also interesting to learn from him that while the Afrika Korps was advancing, he used from 30 to 40 cameramen to cover the action, but that after the German retreat began, he reduced his coverage to a mere half-dozen men.\nBy the time our forces had taken Tripoli, we had over 200,000 feet of excellent film, which told the whole story of the battle from El Alamein to Tripoli. I decided to take it back to London, where I could sit down and make a picture out of it. I was aided in this by J. L. Hodson, who collaborated with me on the script and did the commentary; Capt. Roy Boulting, Lt. Patrick Jenkins, and Sgt. Richard Best, who did the extraordinarily fine job of editing. William Alwyn composed and directed the musical score, and the recording was done on the unit's Western Electric recording equipment donated to us \"for duration.\" That, by the way, was quite a gift. They gave us a complete unit of their very latest recording equipment at no cost whatsoever, and royalty charges only on what footage might be given theatrical release.\nIn completing the picture, we tried to make it not so much an over-long news reel of battle shots or a personalized, sentimental story, but a realistic presentation of all that goes into a big modern military operation. This includes the first preparation in the shops and factories of the home front, and the training of soldiers. The battle itself is included with a good explanation of the strategy involved. The mission's accomplishment is shown by an insert of General Alexander's wire to Mr. Churchill, reporting that he had carried out the Prime Minister's instructions to drive the enemy from Egypt and adjacent regions.\n\nIn doing this, it may be interesting to note that we found it necessary to \"stage\" only a very few shots for cut-in purposes. The completed picture runs 5400 feet.\nThe \"staged\" or \"matched\" shots comprise only 179 feet. These comprised close shots made at night during the start of the bombardment at El Alamein. We tried for the real thing there, but shooting actually at night resulted in so little light that a great deal of our footage came from the developing-machine with no printable exposure. What we had that was printable went into the picture. The night-effects we had to stage for cutting purposes measured, as I have said, 179 feet. So I hope \"Desert Victory\" will be taken generally for the authentic document that it is. The picture is now complete and going into release in this country through 20th Century-Fox. I hope it will give the people of both our countries a better understanding of what our own chaps \u2013 Americans as well as British \u2013 are going through.\nThrough the African desert, the others in my unit have already gotten well along with a sequel to \"Desert Victory.\" They had more than 170,000 feet of film showing how our joint forces are pushing Rommel back from Tripoli into Tunisia. I hope I may get back to Africa before our joint forces push him into the sea. But whether I do or not, I know the boys with the cameras are carrying on very well, and the show is being directed very well by four very fine directors of such productions \u2014 Generals Montgomery, Alexander, Patton, and Eisenhower. With such resources, I am confident we will soon come back with another film which will justify all the nice things everyone in America, from the President down, has said.\nIn the \"Desert Victory\" era, increasing the \"ground exposure\" value by a factor of 2 is necessary for proper \"aloft exposure.\" A special computer identical to the Norwood contrast computer mentioned in the April 1943 issue of American Cinematographer (pages 126-127) is used for this correction. To use this computer for aerial exposure control, set the \"ground illumination\" value on the inner scale next to the \"aloft illumination\" value on the outer scale. Locate on the outer scale the value already found for \"ground exposure,\" which will be identical to the \"ground illumination\" value. The correct \"aloft exposure\" value will be found adjacent to this reading on the inner scale. At the same time, the bottom, or control, is located on the computer.\nThe transmission scale will indicate the light transmission of the haze blanket. In practical terms, let's assume the \"ground illumination\" reading is 8:8 and the \"aloft illumination\" is 11. The computer will then be set as shown in Figure 2, which is self-explanatory.\n\nSelecting a filter for aerial camera work is greatly aided by knowing the transmission factor of the haze through which the still or movie camera is seeking to penetrate. This information, gained through meter-readings and computations described above, when coupled with a knowledge of the characteristics of the film being used, will greatly simplify the matter of selecting the right filter for the job.\n\nThe same computer can then be used to make the necessary compensation between the unfiltered \"aloft exposure\" and the final, filtered exposure. Assumptions:\nIn the example cited, a filter with a 4x factor is chosen. After determining the correct, unfiltered \"aloft exposure,\" the computer index on the lower scale should be set to 4, as shown in Figure 3. Locate the unfiltered \"aloft exposure\" on the upper outer scale - in this case, 5.6. Adjacent to this on the inner scale will be found the correct (filtered) \"working exposure,\" which in this case is 2.8.\n\nThe same basic technique can be applied on missions where some considerable time may elapse from take-off to arrival at the point where the pictures are to be taken, during which the sun's intensity and angle may change significantly. An initial set of measurements made immediately before take-off and upon arrival at operating altitude will give readings for the ground illumination.\nIn making photographs, the aloft illumination, haze factor, and exposure under the prevailing conditions establish a known relation between the aloft illumination factor and the haze factor. Therefore, unless a significant visible lessening or increase of haze occurs between the start of the mission and the arrival at the photograph location, it may be assumed that the haze factor remains reasonably constant. A new measurement of aloft illumination, in addition to the known factors, will quickly provide the ground illumination and aloft exposure under the changed overall illumination conditions, enabling the correct exposure to be determined promptly. It may be mentioned incidentally that in making ground and aloft readings, it is advisable to take both readings from the cockpit or navigator's position.\nTo ensure identical local conditions for meter readings and prevent local error introduction, take readings with the meter in the same position for both readings, whether it's necessary to take readings through an overhead, transparent dome. If doing so, take one reading beneath the dome and another one in a nearly identical position outside to measure and compensate for any measurable light absorption by the dome material. Oblique shots from the air usually don't require the special technique outlined above for vertical air shots, unless the scene is taken from a high altitude and it's desired to show the ground in the distance through intervening haze.\nBut in most oblique shots, a single, simple measurement of light is necessary for compensation. This will be simply for aloft illumination, made with the meter's hemispherical collector pointing in exactly the opposite direction from that in which the camera's lens is pointed. Film is undoubtedly the most suitable for this type of title work. In addition to its high contrast, it comes in five different color bases at no extra cost. Titles made on these tinted stocks go very well with Kodachrome films. One thought must be kept in mind when using positive titles - C. Ross\n\nFor Lighting Equipment:\nAs sole distributors East of the Mississippi, we carry the full and complete line of latest-type Inkie and H.I.-Arc equipment.\nManufactured by Mole-Richardson, Inc., Hollywood - California Your requirements for interior or exterior locations taken care of to the last minute detail\n\nRentals Motor generator trucks Sales Service\n\nCharles Ross, Inc. 333 West 52nd St., New York, NY Phones: Circle 6-5470-1\n\nThis text discusses the production of title cards for films. For black-and-white films not developed using the reversal process, title card color values must be reversed for screen appearance. Black printing on a white background will appear as white printing on a black background, and vice versa. The most perfect titles are those made on reversal film of the same type used for the rest of the picture. This refers to Kodachrome titles for a Kodachrome picture and black-and-white reversal titles.\nFilm titles for a black-and-white picture should be shot on the same brand and type of monochrome reversal film used for the picture. If you've used Eastman \"Safety Film\" for your picture, don't try to use Super-X or Super-XX for the titles because it's faster to artificial light; instead, use the same film type. If you do, there's likely to be enough difference in film thickness to throw your titles out of focus when the projector is correctly focused for the picture, and there may be noticeable differences in contrast and sometimes in tone or coloring of the titles as well, especially if you use another brand of film, which may be processed in different solutions.\n\nMany cine-enthusiasts, even though they make good titles, don't seem to have a very clear idea of when to use the different film types.\nDifferent types of titles exist. Some prefer elaborate, \"arty\" titles throughout a picture, while others use the simplest possible titles from one end to the other. Neither approach is ideal. Elaborate titles, once referred to as \"art titles\" by professionals, belong only at the beginning and end of a picture, and occasionally as an introduction to a significant change in sequence. Inserted elsewhere, they risk interrupting the audience's concentration due to their \"artiness.\" However, for main and credit titles, end-titles, and instances where a substantial shift occurs - in time, space, or action - elaborate titles are effective. Titles can also be shot on, enhancing their appearance.\nWith painted or photographic backgrounds, double-exposures, animation, and striking lettering for opening credits, on the contrary, for subtitles which are inserted within a scene or sequence merely to make clear something your pictured action cannot or does not show, simpler styles of titles are by far the best. The lettering should be simple and very easily read - plain block lettering if done by hand, and a simple, plain typeface like the one printers call \"Kabel bold\" if using printed title-cards. The backgrounds should be just as simple. Regardless of whether you use color or monochrome, light letters (preferably white) against a black or at least dark-toned background will be best. Generally, a plain background will be better than a patterned one. In Kodachrome, a flat color which blends pleasantly with the overall coloring of the film is preferable.\nScenes before and after the title are best. Dark blue, for instance, with white letters, is always good. But warmer colors like red, purple, orange, and yellow, as well as the lighter or pastel shades of blue and green, should be avoided. Colored lettering, even though it furnishes a pleasing contrast with the background, should usually be avoided for subtitles, for it is visually distracting.\n\nYou can work up a nice argument among professional title-makers as to whether, in monochrome subtitles, a plain black background or a dark gray one is preferable. Some people even like a very slightly patterned or mottled background which is, or will at least photograph as, a dark gray. Speaking broadly, a very good rule to follow is, \u201cwhen in doubt, use plain black.\u201d\n\nIf you want to add a more or less distinctive touch to your pictures, like:\n\n(Note: The text after \"If you want to add a more or less distinctive touch to your pictures,\" is not a part of the original text and has been omitted.)\nA recurring trademark in old films, some silent-film producers used an old trick in the subtitles of their films, which you can use in yours. D.W. Griffith, for instance, had a little line border around his subtitles, with the line forming at one corner the initials \u201cD.W.G.\u201d Quite a few of the other top producers, directors, and stars of the silent days used a similar trick. Marshall Neilan, I believe, used his swastika trade-mark (remember, this was twenty years before Hitler made the Hindu good-luck sign so unpopular!), and I think Charlie Chaplin, Mary Pickford, Doug Fairbanks, Sr., Charles Ray, Norma Talmadge, and quite a few others used similar monogrammed subtitles. You can do the same thing easily enough by lettering your border and monogram on a sheet of clear celluloid or cellophane which can be placed over.\nSubtitle cards should have a medium gray background when photographing. This color is visible enough but not too strong to distract from the white subtitle letters. Titles should be kept minimal to avoid defeating their purpose and becoming distracting or boring. The wording should also be short, direct, and carefully edited, but not overly brief. For example, \"Lake Minnetonka\" may indicate a side trip from a visit to Minneapolis, but \"One weekend we drove out to see Lake Minnetonka\" tells the story more smoothly and completely. In summary, keep subtitle wording short but literate. In more elaborate titles, which are often harder to read due to decorative lettering and backgrounds, ensure the wording is clear and concise.\nYou need to be brief in titles for your audience to grasp the meaning quickly. This should be easy, as you typically use few words in main and credit titles. By the last scene in the picture, what is there to say in a title but \"The End\"?\n\nSmith, New A.S.C. President (Continued from Page 169)\n\nThese activities are beneficial for 'little fellows' in the profession as much as for those at the top. In fact, they may be more beneficial for those on top-bracket major-studio contracts, who don't need it as much. However, the others can improve their standing in the industry through the exchange of technical ideas, experienced business advice, and well-planned publicity that the A.S.C. is preparing to provide. The camera profession has advanced tremendously.\nIn the twenty-five years since the A.S.C. was founded, I have gained knowledge and standing. The aim of my administration is to advance these achievements further. With the loyal support of the officers, the Board, and the members, I am confident we will succeed.\n\nExecutive Vice-President Jackman, who declined re-election to the presidency because he believed that two consecutive terms were too long for one person to hold the office and because he felt the chair should be occupied by an active photographer, supplemented President Smith's remarks by saying, \"There is a definite need in the industry for organizations that provide opportunities for social and professionally educational activities. But the two don't mix; they cannot successfully be handled by a single organization. We can speak from experience in this \u2013 we've tried it.\"\n\"Ten years ago, unfortunate circumstances forced the duty of economically representing cinematographers upon the A.S.C. As one of the pioneer members, I can say that this was not the primary purpose of its founders, and it certainly was not a responsibility any of us sought. But when it was imposed upon us in May 1943, we carried on to the best of our ability. For a considerable period, the type of administration in the organization originally set up for this purpose made it very obvious that we must carry this burden.\n\n\"Today, things have changed. There has been a thorough house-cleaning in the I.A.T.S.E., and our personal contacts with both the local and international officials of that organization have convinced us that the directors of photography will get a square deal from them.\"\nThe negotiations to turn camera duties over to Local 659 are being finished by President Smith and myself. This will bring the American Society of Cinematographers (A.S.C.) back to its original purpose of bringing together progressive members of the camera craft for social and professional contacts. It will enable us to advance the professional interests of first camera operators, beyond purely labor-union interests, and further the technical progress of the industry as a whole. In the past, the A.S.C. and its members have played a vital, creative role in advancing both the artistic and technical phases of cinematography. The cameras we now use and the film upon which we shoot are testament to this.\nThe practical men of camera and designers, photochemists, and opticians, at meetings of the A.S.C., discuss mutual problems in a friendly, round-table fashion. The brilliant men on the engineering staffs of various manufacturing companies could not have achieved as much as they have during the last twenty-five years without the practical help of the first cinematographers in the A.S.C. It has been the cinematographers who have told them \"We want this... we need that,\" or even with friendly, frankness, \"You've got a good idea there, but here\u2014and here\u2014and here are practical bugs that must be eliminated.\"\nBefore it's really worthwhile for production use. And only in an organization like the A.SC. is that interchange possible.\n\n\"As a result, we have marvelous materials and equipment today. But improvements are still possible, and in many details, radical changes are on the way. And we in the A.SC. today have the privilege of taking again an active part in making them practical, and of being in on the ground floor of knowing how to use them when they are finally perfected for our use.\n\n\"So I think that now, as the A.SC. enters its twenty-fifth year, while it has great achievements to look back on, it has much greater achievements, both for its members and for the profession as a whole, to look forward to.\n\n\"In every way, there's photographic history to be made \u2014 and we're going to help make it!\"\n\nRussian Camera Aces (Continued)\nA large part of the action against the Nazis involved the Black Sea fleet. Naval filming, he explains, is no easy task when one is under attack from Nazi land, sea, and air forces, and one's own ship retaliates as well. It is during such times when one must know their camera and lenses so perfectly that their operation requires no conscious thought. You need all your mind, he says, to select the best and most spectacular action when things are happening so rapidly and both you and your subject change positions so quickly. Mikosha's preferred camera setup for filming this dangerous action was directly atop the spare torpedoes on a torpedo boat. With fifteen or twenty Nazi planes bombing and machine-gunning his boat, not to mention the 500 lbs. of TNT on board, this was no simple task.\nThe head of the torpedo and the 1500-lb. pressure in its air compartment made this an insecure camera position. At another time, filming a bombing raid on Sulin, he returned in a ship with no less than 64 bullet-holes, and in which one crew member had been killed, and the landing-gear so damaged that the big ship had to make a crash belly-landing. Mikosha was one of the last, if not actually the last, to be evacuated from the siege of Sevastopol. He left only because he was shell-shocked and wounded, and was evacuated over his own protests. Before that, he had been wounded twice, each time refusing hospitalization as he felt he had more important work to do at the front. Cinematographer Litkin, before the war, had done some production work in Moscow, and then spent five years in the war.\nyears as a special newsreel correspondent in the Far East. There, he served outstanding as a cameraman, director, and writer of news and documentary films. In his spare time, he hunted tigers to be sent back alive to the zoos of the larger cities.\n\nShortly before the war, he won the Stalin Prize for making the documentary film \u201cOne Day in the Soviet Union,\u201d and while in Hollywood, he learned that he had again participated in this highest award for his part in making \u201cOne Day of War.\u201d\n\nHis special advice to combat cameramen in the American forces is to remember always not only to not expose one's own life unnecessarily (that's one's own business) but always to be especially careful not to disclose or draw attention to the various units of the Army which may be disposed in his sector.\n\nThe wartime cameraman, he adds,\nA soldier must be completely familiar with his equipment and its use. The equipment must also be light and portable, allowing him to carry most of it in his shoulder-bags. He must have a lot of initiative, as he cannot wait for orders from someone else; instead, he must use his own judgment for the most part in choosing his shots. At the same time, he must keep in contact with officers in charge of military operations to ensure readiness with his camera at optimal photographic conditions and where the most spectacular action is likely to occur.\n\nOne of his most interesting experiences was a fortnight spent with guerillas operating behind Nazi lines, making life uncomfortable for the Germans, capturing Nazi officers and soldiers.\nDuring one of these guerilla skirmishes, Litkin took part in a forest battle where the Nazis were defeated and scattered through the forest. He himself followed one of the fleeing Nazis, photographed his escape attempts, and brought him back as a prisoner \u2013 though, he says, the Nazi is a much more savage beast than the tigers Litkin used to hunt!\n\nThis assignment was complicated by the fact that it was conducted during the Russian winter, which proved such an enemy to the Nazis. He and his camera crew had to travel light, carrying their cameras and about 900 feet of negative each. Due to the intense cold, they not only had to drain the oil from their cameras but also carry both cameras and film beneath their uniforms to keep the film from freezing.\n\nTELEFILM Incorporated\nDirect 16 MM\nSOUND\nUSED BY:\nDouglas, General Elec. (Welding Series), Boeing, North American Aviation, U.S. Dept. of Interior, U.S. Dept. of Agriculture, Santa Fe Railroad, Washington State Apple Commission, Standard Oil of Calif., Salvation Army, and Many Others\n\nA BETTER JOB FASTER- MORE ECONOMICAL!\n\nTELEFILM INCORPORATED\n6039 Hollywood Blvd., Hollywood, CALIF.\nGladstone 5748\n\nAmerican Cinematographer \u2022 May, 1943\n\nCameras from freezing and the film from crumbling.\n\nCinematographer Soloviev was another who in peacetime made documentary films both in the studios and in the field. But when war came, he went to the front, where he has remained since September, 1941, except for a three-month interval during which he was hospitalized for illness. During the making of the Academy Award-winning \u201cMoscow Strikes Back,\u201d he worked on the Central Front, filming not only tank battles but also the daily life of the soldiers.\nbattles but infantry attacks and aerial action, as well. And yet, with all these bloody and nerve-racking experiences behind them, these four cinematic musketeers had one unanimous answer when they were asked how they liked Hollywood. \"It's an interesting place,\" they said, almost together, \"and our fellow cinematographers here treat us wonderfully. But we're anxious to get back to our own country, for there, at the front, we've still got a job to do!\"\n\nA Long-Term Investment\nB&H Taylor-Hobson-Cooke Cine Lenses will serve you for many years, because they anticipate future improvements in film emulsions and exceed current technical demands. Write for literature. BUY WAR BONDS Bell & Howell Company Exclusive world distributors 1848 Larchmont Avenue, Chicago New York: 30 Rockefeller Plaza Hollywood: 716 N. La Brea Ave. Washington, D.C. r 1221 G St., N.W.\nWhen unwinding film on a rewind device, apply only slight pressure to allow it to run through without touching the cloth near the reel. For Kodachrome or color films, squeeze as much cleaner from the cloth before cleaning. Inspect the cleaning cloth after cleaning a hundred feet or so of film to see how much oil and dirt has been removed. The image and sound quality on the screen will show noticeable improvement. The cleaning frequency depends on the film conditions.\nIt is shown and how it has been stored. If it has been shown in a dusty room or projected under dusty conditions, it should be cleaned often. The same applies if it has been stored loosely wound for any length of time elsewhere than in a dustproof container. An examination of the film on a rewind or editing device that reveals spots of oil, grease, fingerprints, pieces of loose emulsion, or dust is a sure indication that it needs cleaning.\n\nFilms with torn or broken sprocket perforations should be repaired as soon as possible. This is especially important in the case of 16mm sound-film, as there is only one row of perforations for the sprockets and claw to engage. Projection of these films with broken or torn perforations is inviting trouble in the form of ripped and scratched films, and the loss of much value.\nvaluable footage. These breaks will show up many times when you are cleaning your films, as the cleaning cloth will catch in them. Whenever this occurs, immediately stop and repair the break. It is also a good idea to occasionally inspect the film on a rewind device by allowing the film to run slowly through your fingers; holding it only by its edges. If your film has any places where it has been previously broken and joined together (spliced), inspect these places and look for any breaks, tears, or loose edges between the splices.\n\nMITCHELL\nStandard, Silenced, NC, Hi-Speed, Process, and Eyemo Cameras.\n\nBELL & HOWELL\nFearless Blimps and Panoram Dollys \u2014 Synchronizers \u2014 Moviolas\n35mm Double System Recording Equipment\n\nWe specialize in REPAIR WORK on MITCHELL and BELL & HOWELL CAMERAS.\n\nFrank-Zucker\nCABLE ADDRESS: CINEQUIP\nCamera Equipment.\n1600 Broadway, n, yc \\\nCircle 6-5080 with perforations. At the same time, inspect the joint by twisting it slightly to see if it is in good condition. If it appears loose, open it or cut it out and re-splice it. Repairs on torn film are made by a very simple process known as splicing. The making of a good splice, however, requires the use of an instrument known as a splicer or splicing block. There are a number of good makes of these on the market, to be had in all price ranges. If you project your film only once in a while, I would suggest that you have your photographic dealer make any repairs that might be necessary. However, if you handle a lot of film, then a good splicer is a most essential item for your use. Bell & Howell puts out a diagonal splicer that makes a diagonal splice across the film,\nFor professional use, where invisible splices are required or for Kodachrome originals to be duped or enlarged to 35mm, use the Griswold splicer, the only 16mm splicer that makes the narrow, \"negative\" splice, which measures .05\" wide compared to .072\" or wider for most 16mm splices. These splicers are only obtainable on a priority basis. The type and cost are a matter of personal choice and budget limitations. Essentially, making a good splice is the same regardless of the instrument used. The damaged sections of the film must be removed.\nThe emulsion or picture-carrying material on the dull side of the film is scraped away by the splicer's scraper from one end. The shiny side of the unscraped end is overlapped onto the scraped end so that both dull surfaces of the film face upwards. The ends are separated slightly, film-cement is applied to the scraped end, and the two ends are clamped together by the splicer for about thirty seconds. At the end of this time, the splice is completed and may be removed from the splicer. The whole operation is very simple. If a little water is applied to the end that is to be scraped, the emulsion may be removed easier, though perhaps not so neatly. It might be stressed that. (1943, May; American Cinematographer)\nall of the emulsion must be removed from the area covered by the scraper if the splice is to hold permanently. It is also a good idea to roughen the film base after the emulsion has been removed so that the welding action of the film-cement will be better. The registration pins of the splicer will hold the film in correct registration during these operations so that the splice will be perfect.\n\nAfter the splice has been removed from the splicer, test it to make sure that it won't come apart by twisting it slightly. Bad splices will come apart during projection and may cause film damage. These bad splices are caused by: (1) the emulsion not being thoroughly scraped off; (2) an insufficient amount of cement being put into the splice; (3) too much cement on the splice which will dissolve the film base and make the film unstable.\nUse only good, fresh film-cement and keep the cover on tight at all times when not using it. Weak and brittle films, as well as old cement that has lost its welding-power, can cause the film to become stiff, hard, and buckle on projection, usually breaking between the sprockets. On sound-films, a sudden pop or blurp from the loudspeaker may occur whenever a splice passes through the sound gate. This can be avoided by making a wide \"V\" with legs spread far apart across the sound-track area of the splice with black water-color paint or other opaque material that will not readily rub off at the time of making the splice. You can get special paint for this, known as \"blooping paint,\" from most theatre-supply stores. This \"V\" will prevent the interruption of the sound-track by the splice.\nTo gradually extinguish the track and eliminate the sudden, objectionable pop. As mentioned earlier, motion picture film should be kept in dustproof containers at all times. Immediately after the film has been projected, return it to its can and cover, and then as soon as possible, rewind it onto the original reel for the next projection. In rewinding your film, do not rewind it too tightly or too loosely. Maintain a fairly even pressure on the rewind brake or supply reel when winding onto the take-up reel. This will assure the film is wound smoothly and with an even-tensioned flow, and will keep the dust from settling into it when the cover is replaced.\nStore films in a cool, dry place, especially Kodachrome or color films. Keep films away from heat sources such as furnaces, radiators, hot-air registers, steam pipes, etc. In hot weather, do not leave films in a closed automobile as the temperature can build up and damage the film. If your film has been wound too loosely on its reel, rewind it again. Never take the film by its end and pull it tight as this can cause \"cinch marks\" or scratch marks on the film.\nMay ruin your film if the car is left in the sun for any length of time. Black-and-white film which has been stored for a long period of time in a very dry place is liable to become quite brittle and break repeatedly on projection due to loss of its moisture content. This happens quite frequently in office-buildings heated by steam radiators, where the air is liable to be very, very dry. If this is the case, the film should be humidified before use. In the bottom of most film cans is a small blotter, covered by perforated metal or wire mesh. This should be dampened and the film stored in the closed can for from twenty-four hours to three days. Do not allow any water to touch the film as it will mildew and be ruined. If the films have to be stored in an excessively dry place where they are liable to dry out, dampen the blotter in the can instead.\nMoisten the humidification-pads or blotters every four to six months. For 16 mm sound on film:\n\n* High Fidelity Sound\n* Self-contained in sound-proof \"blimp\"\n* Minimum equipment; maximum portability\n* Camera and amplifier, complete, weigh only thirty-seven pounds\n* Kodachrome or black and white pictures with Auricon sound track will reproduce on any sound-film projector\n* Can be operated in the field from an Auricon Portable Power Supply\n* Auricon Camera with type \"C\" lens mount (but without lens) and amplifier complete with microphone, instructions, and cases\n\nAuricon 16 mm Recorder:\n\n* Variable-area sound on film, for double system recording with a synchronous motor driven 16 mm. camera\n* Amplifier has background-noise reduction and mixers for combining speech and music\n* With dynamic microphone, instructions and cases for recording.\nAmplifier, Corder, Accessories ... $685.00\n\u2605 Auricon serves the Nation's War effort with Military and Government Film Units and civilian organizations producing essential morale and industrial training films through 16mm. sound-on-film recorders and cameras. Eligible purchasers are invited to let our engineers demonstrate how Auricon's portability and professional performance simplify recording problems.\n\nAuricon Corporation,\nE.M. Berndt CORP.\n5515 Sunset Blvd., Hollywood, CA\nManufacturers of sound-on-film recording equipment since 1931\nAcme Optical Printers\n\nWe are now going into production with the first optical printer designed as a single, coordinated unit. Printer-head has automatic take-ups (1000-ft. capacity), Bell & Howell.\nHowell  Type  pilot-pin  movement,  and  is  interchangeable  with  16mm.  head.  Camera-head \nis  an  integral  part  of  printer,  Bell  &  Howell  type  movement,  170-degree  shutter  and \nMitchell  magazines,  with  instantaneous  visual  focusing  and  provision  for  registering  of \nline-up  film.  Camera-base  provides  for  magnified  and  zoom  shots.  F:4.5  four-inch \nanastigmat  lens,  specially  corrected  and  mounted  with  lateral,  side  and  cross  movements. \nIllumination  from  1000-Watt  diffused  projection-lamp,  interchangeable  with  other  types \nas  necessary.  Operating  speeds  10,  20,  30  and  60  ft.  per  min.,  with  reverse  for  fast \nrewinding  and  reverse  printing \nAvailable  on  Priority  or  Lend-Lease \nACME  TOOL  &  MFG.  CO. \n2815  W.  OLIVE  AVENUE  BURBANK,  CALIFORNIA \nAmerican  Cinematographer  \u2022  May,  1943 \nGOERZ \nClmsLkimn!\u2019 \nCRAFTSMEN \nahSL  dainty. \nUiujUl.  AhahSL\u2014 \nThe  production  line  of  \"GOERZ  AMER\u00ac \nICAN\"  is  formed  by  skilled  men,  who \nThrough painstaking work, we create high-grade photo-lenses and optical units for military instruments used by our armed forces on Land, on the Sea, in the Air. These precise optical units are of the greatest importance to our armed forces, as without accurate military instruments for sighting, fire control, and photographic aerial reconnaissance, their fighting machinery would be of little value to them. Optical science, along with our craftsmen, do their duty on the production line, hastening victory. Our production is keyed to fill the requirements of our Government. Within limitations, we may still be able to supply \"GOERZ AMERICAN\" lenses of certain types and sizes for civilian use. We suggest your inquiries through your dealer or direct.\n\nAddress Dept. AC-5\nC.P.GOERZ AMERICAN OPTICAL CO.\nOffice and Factory.\nPrecision Optics:\n\nUpon the atmospheric conditions. Koda-Chrome or color films should never be humidified. With them, the humidification process will fade their colors over time.\n\nThreading your films into your projector:\n\nAlways hold the film by its edges, being careful not to get your fingers or hands on the picture area. Provide a long enough leader. For most cases with sound-films, this should be about six feet in length. This will enable you to thread and check the running of the machine on the leader, thus relieving the picture proper of the strain of starting and stopping.\n\nIf at any time the projector does not sound right, or you should lose the loop in the projector, stop it immediately and re-check the threading. Continual loss of loops usually indicates a film which either is shrunk or has broken.\nPerforations need repair. When handling films during repairs, ensure hands are free of grease or oil that might transfer to the film. Purchase cheap cotton gloves and wear them when handling film. So much for your films. Follow these rules to extend their useful life.\n\nSound on Silent Projector (Continued from Page 181)\nAll parts must align with the lower sprocket on the machine.\n\nNow we come to the exciter-lamp, which is a standard 814-volt lamp. I purchased the socket from a local auto accessory store and mounted it on a bracket about 5 inches below the sound lens. I then fitted a metal shield with a hole about 1 inch in diameter for the light to travel through to the sound lens. This shield was fitted with the hole aligned to the sound lens.\nmade so that it could be slid on and off, should it be necessary, to change the exciter-lamp. This covers everything up to assembly, which is really quite a precise job. I made everything that would need adjusting with plenty of leeway for adjustment. Three holes were drilled through the top of the plate for 10 x 32 fillister-head screws. These were spotted into projector and then drilled through with a No. 21 drill and then tapped. The plate was then mounted on the projector and the sound-lens was put into place and fastened with a clamp made of thin brass held by small screws which, when loosened, would allow the lens to be removed.\n\nCAMERA SUPPLY COMPANY\nART REEVES\n1515 North Cahuenga Boulevard\nHOLLYWOOD\nCable Address \u2014 Cameras CALIFORNIA\nEfficient-Courteous Service\nNew and Used Equipmnt\nBought \u2014 Sold \u2014 Rented\nEverything Photographic Professional and Amateur\nThe bearing for the film drum shaft is adjusted for focusing. Next, the shaft is pushed through the projector's holes and screwed into the plate. Once in place, it fits inside the drive belt, clearing it on both sides. The drum and flywheel pulley are put on the shaft and secured with nuts on both ends.\n\nThe photocell is pushed into its housing and wires soldered to the tube's leads. These wires must be shielded and grounded to avoid a heavy hum when the amplifier is started. A cap is then fitted over the housing, and leads are also fastened to the exciter lamp socket.\n\nWe are now ready for the amplifier. I will describe it next.\n\nThe amplifier is versatile. It was built to my specifications by my friend, Wm. R. Stanmyre, who is a sound engineer. I had on hand:\nI. Amplifier I used for recording and playback of sound-on-disc; he dismantled this amplifier and salvaged what parts he could, building an amplifier with the correct frequency curve for sound-on-film. This amplifier has six plug-in jacks: one for microphone, one for recording, two for dual phono reproduction, one for photocell, and one for exciter-lamp supply.\n\nWhen the projector is set on the amplifier, it is secured to it by a knurled screw that goes through a hole in the projector-base and into a threaded bushing in the top of the amplifier. The amplifier is crackle finished, as is the sound plate, matching the finish on the projector. The working parts mounted on the plate were given a coat of bright nickel.\nThe outfit appears to have been made by the Eastman Kodak Co. The next issue was more challenging than the previous tasks. I was faced with the problem of extending the arms to accommodate 1600-ft. reels. Initially, this seemed simple, but when I began, I realized I had a significant task at hand. After numerous trials and errors, I eventually devised a solution. If I were to do it again, I would create a pattern and have them cast, which would be easier and neater. The photo will provide a better description than my words. To drive the take-up reel, I turned up a pulley from bronze and counterbored it enough to set the regular pulley into it, centering it. I then turned up a small pulley, \u00bd-inch in diameter, and positioned it where the arm makes its first bend.\nI hooked one side of the belt over this pulley. The belt was purchased from a local store as part of a make-it-up kit, coming in assorted sizes and cut off any length desired. It's necessary to obtain the same size belt that comes on the projector or it won't pull enough to take up a large reel.\n\nAt the end of the bottom arm, I bored it out to accept the spindle that came with the machine. The top arm was simpler to elongate; I merely cut the regular arm in two and fitted a four-inch piece into the center. The arms were then crackle-finished to match the rest of the projector.\n\nWhen using 400-ft. reels, the belt is run on the small pulley, and when using 1200 or 1600-ft. reels, the belt is run on the larger pulley.\nThe large pulley. The belt easily stretches the extra length. The speaker is a General Electric with a 12-inch cone. The speaker-case also accommodates the amplifier for carrying purposes. There are 25 feet of wire connected to the speaker for average home use, and I carry another extension of 40 feet to couple on for hall or auditorium work.\n\nAfter carefully adjusting the machine, I threaded it up with a musical cartoon, and with heart beating somewhat faster than normal, I adjusted the controls and started the machine. To my great satisfaction, I heard music\u2014not quite right yet, but better than I had hoped to hear when I first started the machine! I adjusted the sound-lens for focus and also the exciter-lamp, but the sound was still a little choppy.\n\nFinally, I took a pencil and started holding it at different points against the cartoon.\nI have cleaned the text as follows:\n\nRents, sells, and exchanges everything you need for the production and projection of motion pictures. Provided by a veteran organization of specialists. In business since 1910. 729 Seventh Ave., New York City. Cable Address: RUBYCAM.\n\nHalfway between the photo cell housing and the film stabilizing drum, the sound smoothed out and was as nearly perfect as any 16mm sound I had ever heard. I made a small roller and mounted it to hold the film up closer against the photocell housing. No. 5 on the photo.\n\nI threaded the machine up again, started and adjusted it to sound speed, and settled down to enjoy the picture and hear as good a sound as I had heard from any factory-tailored job.\nI had done it! I had added S-O-F to my previously silent projector. In ending this article, I wish to note that the motor supplied with the projector will run the projector at sound speed through full 1600-ft. of film at a constant speed. It does not speed up and slow down as do those on most silent projectors.\n\nCost:\nHolmes sound-lens: $9.00\nPhotoelectric cell: $2.95\nExciter-lamp: $60\nLamp socket: $20\nFilm shoe: $0.65\nParts to rebuild amplifier: $10.00\n\nThe price would run up to something that would be pretty well on par with a professionally-made job if Stanmyre and I had figured in proper charges for our time spent in making the conversion. But that would take it out of the amateur class \u2013 and our interest in the whole thing was as amateurs who wanted 16mm sound-on-film.\nIn order to make films without purchasing factory-made S-O-F projectors, which we couldn't afford or buy at any price today, we didn't use them.\n\nSlang On the Screen (Continued from Page 179)\n\nThe camera was adjusted so the dolly could move the entire length of the boards. Several shots required double exposure, and for this, black flannel was preferred over conventional black velvet. Velvet has too much sheen in one direction and it is sometimes difficult to arrange the lights to avoid reflection. Black cotton fleece is also better and can be sprayed over any irregular surface, but as it requires a varnish base, it can only be removed with paint remover or lacquer thinner. However, as the actors could hardly be painted with varnish and fleece, they were covered with black flannel for some scenes.\n\nIn one place in the script, the action called for:\ncalled them to \"Paint the town red.\" The scene fades in on a skyline of New York City at night. Dance music fades in slowly and then the camera dollies back from the New York City skyline, revealing itself as being a picture hanging on the wall of a nightclub. The young man and the girl come skipping in in front of the picture. By this time, the camera has dollied back far enough to show the bar of the nightclub. They order a drink, and then, to show the passage of time and drinks, a close-up is shown of two highballs being brought by the bartender's hands. The liquor rapidly empties itself out of the glasses, which are quickly replaced with two more \u2013 and two more \u2013 each larger than the previous. This was done by a single-tmr dllflemlt \u2013 THE ORIGINAL Scheibe's Monotone Filter. Indicates instantly how even-colored and uniform the filter is.\nLight value of a scene or object will be rendered in the finished print, taking the picture. Graduated filters.\nIMIL mi\nFog scenes, diffused focus and other effects.\nWMJTt FOU Tw.iih 110\\*\nGcorqo H. Scheibo\nOrigator of effect filters\n1927 West 78\\({}^{\\text{o}}\\) St. Los Angeles, CA\n8 Enlarged 1 C Reduced O\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n995 Merchandise Mart\nChicago\nBuy war bonds today\nFocus and flash with KALART tomorrow!\nWrite for literature\nThe Kalart Company Inc.\n114 Manhattan St. Stamford, Conn.\nMovola\nFilm editing equipment\nUsed in every major studio\nIllustrated literature on request\nManufactured by\nH. W. Houston & Company\n(A Division of General Service Corp.)\n1 1801 W. Olympic Blvd., West Los Angeles, Calif.\nFaxon Dean\nINC.\nCameras\nBlimps-dollies for rent\nDay, Normandie 22184-\nNiglit, Sunset 2-1271.\nSunset Boulevard, American Cinematographer, May 1943, p. 197:\n\nDuring one-half ounce of liquor's removal from a glass between exposures, frame animation was used. The bartender's hands replacing the glasses were shot at 12 frames per second to accelerate the action.\n\nAfter the young man and girl had started to feel the effects of the drinks, \"They lost their heads.\" A medium-shot of them, somewhat tight, ensues. Suddenly, their heads leave their bodies by rising in the air and eventually disappear, while one actor tries to drink and the other to smoke without finding their heads. Then the bartender returns to the scene with a tray, which he drops when he sees them headless and exclaims, \"My gosh, they lost their heads!\"\n\nThis trick was accomplished through double exposure. A target for aiming the camera using the cross-hairs in the Cine Special's reflex finder was employed.\nThe bar was set up. The background and the two actors' bodies were covered with black flannel. Their heads looked at each other in amazement as they floated away from their bodies. The camera was panned during the action, causing the heads to float out of the picture. To return the camera to the same spot after rewinding the film, a target was set up on the bar and ori--\n\n[FOR SALE]\nIMPROVED DUPLEX 35MM PRINTER, with two Bell-Howell Cams and Shuttles. Perfect registration for Color or Black and White, also process plates. Bell-Howell Standard Silenced Camera; Educational Blimp and Dolly; Sound and Silent Moviolas. Equipment slightly used at a big saving. Hollywood Camera Exchange, 1600 Cahuenga Blvd., Hollywood.\n\nWe buy, sell and rent professional and 16mm equipment, new and used. We ARE distributors for all leading manufacturers. Ruby Camera.\nRCA MITCHELL or Bell and Howell, 729 Seventh Ave., New York City, established since 1910.\n3 phase CAMERA MOTORS: $135.00; RCA R-2 STUDIO RECORDER: $275.00; TWO ELEMENT GLOWLAMPS: $9.50; DEVRY SINGLE SYSTEM CAMERA: $_[unknown]; DUPLEX 35MM STEP PRINTER: $425.00; BERNDT AURICON 16MM RECORDER WITH NOISE REDUCTION: $595.00. Cinema Supply Corporation, New York.\n\nDUPLEX 35mm. DOUBLE HEADED PRINTER (25): No. 363, excellent condition, used by private party, in storage for six years. Box 1004, American Cinematographer.\n\nWILART 35mm. CAMERA: new automatic dissolving shutter, four-lens turret front (one wide-angle, one 2-inch, one 3-inch, one 6-inch telephoto lens), one 400-foot magazine, one 200-foot magazine, masks, special finder, carrying case, tripod, complete outfit cost over $800.00.\nDrafted for $550.00. Will ship subject to examination. Entitled by the cross-hairs in the reflex finder. The camera, with no movement of the actors' bodies during this time (you'll remember their heads only turned and looked at each other), is now in a position to record the bodies so they fit to the heads. This time only the actors' heads are covered with black flannel while their hands bring a cigarette and a glass up to where the heads should be but cannot be located. Then the headless bodies get up and start to stagger out of the scene.\n\nIn the next scene \"They got hitched\" \u2013 still headless, of course. Outside of a parsonage at night (shot on infra-red film), the two actors are seen in front of a preacher as he pronounces them man and wife \u2013 during which the camera is dollying back and we see that\nThey are hitched to a gig which they start pulling away. The parson says, \"In other words, you are hitched.\" As we see only the backs of the couple, it was easy for them to lean their heads forward and raise the shoulders of their overcoats so you can see no trace of their heads while they trot down the country road. This imaginative way of portraying a marriage scene is typical of the kind of humor shown in the picture.\n\nWanted: Development Engineer Wanted\nwith practical experience in 8 and 16mm. cameras and projectors. Permanent employment with a large Chicago manufacturer now engaged in 100% war work, with assured post-war production. Excellent opportunity and substantial salary for the right man. In the first letter, give age, experience, education, present employment, and other qualifications. All correspondence held in strictest confidence.\nOur organization knows of this ad.\n\nBox 1002, American Cinematographer.\nGuaranteed highest prices paid for:\n16MM. Cameras\u2014 sound projectors 35mm.\nEyemo Cameras, all models; Bell & Howell\u2014Mitchell\u2014Akeley and motors, lenses, accessories.\nLao equipment. Write us first.\nThe Camera Mart, 70 West 45th St., N.Y.C.\nWanted to buy for cash:\nCameras and accessories\nMitchell, Bell & Howell, Eyemo, Debrie, Akeley\nAlso laboratory and cutting room equipment\nCamera Equipment Company\n1600 Broadway, New York City\nCable: Cinequip\nWe pay cash for everything photo-graphic.\nHollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\nCameras, Eyemo, Bell & Howell standard. Mitchell, accessories. 16mm sound projectors. Any make. Recorders or what have you? S.O.S. Cinema Supply Corporation, New York.\n\nCine Kodak special and accessories.\nWestern Master Exposure Meter. Cash. Norman Rosen, 304 Lancaster Avenue, Monroe, North Carolina.\n\nProfessional, amateur. Laboratory equipment, accessories for 8mm, 16mm, 35mm. Mogull\u2019s, 57 West 48th Street, New York.\n\nCine Kodak Specials, lenses, motors, 16mm, 35mm sound, silent projectors, automatic Rolleiflexes. Griswold 16-35mm splicers, film counters, synchronizers, 35mm motion picture cameras, Weston, General Electric meters, raw film 8-16-35 all grades. Mogull\u2019s, 57 West 48th, New York.\n\nIn another shot \"She hits the ceiling\"\n- This was done with the help of plenty of black flannel and tilting the camera down while she is supposed to rise and hit the ceiling, superimposed on a second, stationary-camera shot of the room alone. A quick cut to a close-up of the girl's head bumping against the ceiling with an expression of pain on her face.\nThe sound of bumping resulted in a very realistic effect. The most difficult trick took a long time to figure out as Director Fels kept asking for a close-up of an eye lying on a man's hand, alive and blinking to portray \"She gave him the eye.\" After asking five or six times how it could be done, he finally asked for an eye in the hand! The cameraman replied, \"Oh, that's easy, why didn't you ask it that way before?\" The matte-shot with male and female cut-outs mounted on glass placed in front of the lens worked out quite satisfactorily. The thing about the picture that surprises most professionals is the excellent synchronism of the post-recorded sound. After finally editing and cutting the film, the actors, the narrator Gordon Bradley, and the sound team synchronized the sounds perfectly.\nEffects man and amateurs, too, gathered. They practised their parts while the film was projected through a glass window. All the sound-effects required by the action were devised and rehearsed to give the proper illusion. After about six rehearsals, the group went to a recording studio where the entire sound was recorded at a moderate cost.\n\nVege-Table-Top Follies (Continued from Page 177)\n\nA long plastic knitting-needle was concealed by her feathery foliage. Finally, on the stage alone, she bowed a graceful close and remained away despite our admiring applause. All of this action took place on a large mirror, reflecting the entire ballet quite effectively.\n\nAh! \"A Follies\" wouldn't be worthy of the name without the naughty strip-teaser. Therefore, Bubbles Banana.\nwe used a stand-in for her, as we couldn't risk a change of complexion while arranging the spotlight and backdrop that would display all her creamy loveliness. When ready to shoot, we saw the fair Bubbles with glamour plus, wrapped up to her chin in her natural attire (satiny yellow skin) slowly drop her robe and emerge \u2014 not quite as you are used to seeing her, to be sure, for we saw fit to add a few luscious curves here and there. Her banana-skin wrapper was peeled down bit by bit, during which time her additional curves were added and shot with single-frame action. As a spectacular climax to our star's performance, we dissolved the End Title in a red heart right across her little... er... ah... well, you know what they always say at the finish! END.\n\nClassified Advertising\n19th May, 1943 \u2022 American Cinematographer\nWithin the hour, through L_ and Wirephoto, you see the news happen. It's a \"hot news\" photograph. It is wrapped around a cylinder, locked in a machine about the size of your cabinet radio. The flick of a switch, and the cylinder begins to turn. The same switch starts similar cylinders, each with a wrapping of photographic film, in scores of other cities, where newspapers use the Wirephoto service.\n\nHave you seen the cylinder record revolving under the needle in a modern dictating machine? That illustrates how the cylinder in the Wirephoto sending machine spins under its recording \"needle\". But the needle is a noiseless ray of light. It lights a tiny path around the spinning cylinder. Over and over, 200 turns to an inch. And the reflection of this light from the picture is actuating a photoelectric cell.\nwhich converts the reflected rays into electric impulses in each receiving machine. These electrical impulses control a neon light through a powerful lens, focusing it to a pinpoint path around the film. As the film is exposed to the light, it becomes a practically perfect negative of the positive picture in the sending machine.\n\n\"EXTRA! EXTRA!\u201d If the event is big enough, and censorship permits, within the hour you see in your home-town paper the pictures which a news photographer snapped hundreds or thousands of miles away. Associated Press Wirephoto, with Kodak\u2019s help, within a few short years has brought the electrical transmission of photographs from comparative crudity to its present near-perfection.\n\nKodak\u2019s part was to produce a photographic film with qualities unlike any other, which would \"process\" in\n\n(Note: The text appears to be complete and does not contain any meaningless or unreadable content, or any introductions, notes, logistics information, publication information, or other content added by modern editors that obviously do not belong to the original text. There are no ancient languages or obvious OCR errors to correct. Therefore, no cleaning is necessary.)\nA fraction of the usual time . . . and a lens of sufficient power to focus the faint gradations of \"cold\" neon light on a pinpoint of spinning film, with complete fidelity. The job has been done so well that you can see little difference in quality between a picture snapped in North Africa and transmitted by wireless and wire, and a picture made in your city and delivered to your newspaper on the original film. Portable sending machines \u2014 the size of a suitcase \u2014 have recently been perfected. They can send out a photograph or map over any telephone or radio transmitter.\n\nWhat does this mean toward fighting the war? News pictures for us at home, of course, with all the importance to public morale of getting the news while it's new. Plus the vital new \"time\" factor in strategy \u2014 the ability of those in our Command, with today's battle plans.\nScenes and maps before their eyes, to direct next movements of troops and ships and planes. The details are confidential, but you can be sure that our Army and Navy are using this \"weapon against time\" to the limit. Eastman Kodak Company, Rochester, NY. Serving human progress through Photography. American Cinematographer \u2022 May, 1943, p. 199\n\nThink of tolerances that can be measured only in thousandths of an inch. That's how your Filmo Projector was built. It is a precision machine \u2013 built, assembled, and adjusted with all of the painstaking care you expect in a fine watch. It deserves B&H Precision Reconditioning Service when reconditioning is needed.\n\nB&H servicemen are Filmo technicians. They know how every gear, sprocket, bearing, lens, and lamp should be adjusted to make your projector perform optimally.\nfunction at peak efficiency. They take it completely apart. Lenses are cleaned. Parts requiring lubrication are properly oiled. Worn parts, if any, are replaced. Then it is refinished, adjusted, and returned to you in factory-new condition.\n\nFor complete details on this service, estimates, etc., see your B&H dealer.\n\nDon't forget. A new lamp can be supplied only when the burned-out lamp is turned in. So don't throw away burned-out lamps.\n\nBuy\nWar Bonds\n\"E\" For Excellence\n\nHow Army-Navy Award for extraordinary performance is won and presented is shown by this one-reel sound film. Service charge 50c.\n\nShow These Films to Help Speed Victory\nThese and thousands of other films quickly available to you\nthrough the FILMOSOUND Library\n\nYour projector is a weapon that can multiply your personal fighting power a hundredfold. Use it to give a morale boost.\nUse your projector to host events for friends and neighbors, displaying motion pictures that encourage individuals to contribute to the fight for Victory. Utilize it for civilian defense training, assisting friends with war contracts, and training new people for new jobs. For assistance in contacting those in need of your projector's help, consult your B&H dealer. Through them, you can acquire the appropriate films from the Filmosound Library, available for purchase or rental. With thousands of options, you'll find a film for every subject, including new Government films. Mail the coupon for the Filmosound Library Catalog and recent bulletins.\n\nBell & Howell Company, Chicago, New York, Hollywood, Washington D.C., London. Established 1907.\n\nPrecision-made by Bell & Howell.\nThe Noxi issue is addressed in our OWI film, revealing solutions. All Government films are accessible through our Filmosound Library at reasonable service charges. One response to Axis attacks is this B&H \"original\" production, which demonstrates how to grow food for your family. Another film, \"Gardens of Victory,\" explains why.\n\nI, Bell & Howell Company\n1848 Larchmont Ave., Chicago, Ill.\nPlease send me film catalog. I have a .mm. projector, (sound) . (silent) . manufactured by . I am interested in renting or buying films for stimulating morale, educational, civilian defense, and entertainment purposes.\n\nName.\nCity.\n\nThe Motorpicture Magazine\nJUNE\n\nGateway to the Tropics\nStep over the threshold and experience the sultry atmosphere of an equatorial jungle! Behind this door, Du Pont's \"Supreme\" stability and heat resistance ensure...\nFilm are subjected to determination in the Du Pont Research and Control Laboratories, one of many such chambers. Film placed in the \"oven\" is allowed to remain for various periods of time, during which an artificially created climate rapidly ages the film. Hundreds of observations are made, resulting in refinements designed to give Du Pont Film the longest possible life under adverse conditions. Improvements have also been made in packing methods, enabling Du Pont Films to withstand climate wherever used, be it by armed forces in the tropics or by cinematographers on the home front. Here is another example of extensive research and control resulting in a film you can rely upon at all times. However, war needs take precedence, and you may find that stocks of Du Pont film are limited.\nE. I. du Pont de Nemours & Co. (Inc.), Photo Products Department, Wilmington, Del. and Smith & Aller, Ltd., Hollywood, California.\n* US. PAT. Off.\nMOTION PICTURE FILM\nBETTER THINGS FOR BETTER LIVING . . . THROUGH CHEMISTRY\nJune, 1943, American Cinematographer\nPrecision-made by\nand\nTHIS\nEYEMO\nncAiiL 'Harbor*\nWar correspondents and other professional cameramen must be ready for whatever breaks\u2014good or bad. These men have learned from experience that when their camera is a 35mm. EYEMO, they never fail. EYEMO gets the picture!\nToday, EYEMO Cameras have gone to war. The armed forces need more than we can supply. That is why EYEMOS are not now available to civilians. The armed forces must be served first\u2014we know you agree. When Victory is won, EYEMO Cameras will be back in civilian clothes.\nThen, as formerly, if a stock model is desired.\n[EYEMO does not meet your exact requirements. We will modify or change it for you. You will never have to accept a compromise in an EYEMO.\n\nEYEMO Models L and M ...Three-lens turret head; \"sound\" field viewfinder is matched to six lens focal lengths by turning a drum. \"Sound\" aperture plate. Model L has speeds of 4, 8, 12, 16, 24.\n\nDecember 7, 1941 \u2014 Jap planes bomb Pearl Harbor. Lt. H. Roos, AS C, FRP S, Staff War Correspondent Pathe News, films the action with his EYEMO.\n\nBUY WAR BONDS\n\nEYEMOS WANTED FOR WAR SERVICE\n\nBell & Howell Company\n1848 Larchmoot Avenue\nChicago, Illinois\n\nGentlemen:\n\nFor the purpose of aiding the war effort, I am willing to sell my EYEMO Camera, Model [], Serial No. []. It has been modified as follows: [] I will sell this camera for $ [] and will pay transportation and insurance to Chicago.\n\nThis camera is:]\n\nEYEMO Camera, Model [], Serial No. [], has been modified with []. Selling price is $ [] and includes transportation and insurance to Chicago.\nIn good operating condition. Inoperative or damaged (give details): -- Price above includes these lenses: I offer the following additional lenses at the prices shown here:\n\nName Address City & State\n-- AC 6-43\nDo Not Ship Until You Receive Instructions from Factory!\n\nEYEMO Models N and O. ... Three-arm offset-^- turret permits broader choice of lenses. Turret lock is particularly appreciated with long, heavy lenses. Visual, prismatic focuser with magnifier. Model N -EYEMO Models P and Q. ... These are similar to Models N and O, respectively, except that P and Q are equipped for alternate, optional use with electric motor and external film magazines. External film magazines extend maximum scene length from 5 ft 5 in to 400 feet. Offset finder eyepiece prevents interference.\n\nBell & Howell Company Chicago, New York, Hollywood, Washington, D.C., London. Established 1907.\nThe Staff\nHints On Outdoor Camerawork for Army Combat and Training Films. By Russell Harlan, A.S.C.\nRussia\u2019s Newsreel Cameramen At the Front. . . By Roman Karmen\nShooting the War In New Guinea. An interview with Frank Prist\nBy Wilma Madden\nUnseen Camera-Aces \u2014 I: Maximilian Fabian, A.S.C. By Walter Blanchard\nPreparation Pays A Profit. By Victor Milner, A.S.C.\nAces of the Camera \u2014 XXIX: Sol Polito, A.S.C. By Walter Blanchard\nThrough the Editor\u2019s Finder\nEditor: William Stull, A.S.C.\nTechnical Editor: Emery Huse, A.S.C.\nWashington Staff Correspondent: Reed N. Haythorne, A.S.C.\nMilitary Advisor: Col. Nathan Levinson\nStaff Photographer: Pat Clark\nArtist: Alice Van Norman\nCirculation: Marguerite Duerr, A.S.C.\nA.S.C. on Parade\nPhotography of the Month\nPlanning Club Programs. By Francis M. Hirst\n\"Cheating on Camera-Angles. By Rudy Mate, A.S.C. (217)\nCare and Operation of 16mm Sound Projectors. By D. Lisle Conway (218)\n\nAdvisory Editorial Board:\nFred W. Lackman, A.S.C.\nVictor Milner, A.S.C.\nJames Van Trees, A.S.C.\nFarciot Edouart, A.S.C.\nFred Gage, A.S.C.\nDr. Herbert Meyer, A.S.C.\n\nBetter Pictures with Less Film. By Hal Hall (219)\nMore About \u201cStrobo-Sync\u201d. By S. Jepson (222)\nAmong the Movie Clubs. (224)\n\nCover:\nThis month's cover shows Harry Wild, A.S.C. (to the right of the camera, wearing a hat), shooting a reverse-angle \"reaction shot\" while Gypsy Rose Lee does her \"Star and Garter\" strip-tease for Sol Lesser's \"Stage Door Canteen.\" Note \"flags\" used to shield the camera from lamps, and \"barn door\" on the baby keg at right.\n\nNew York Representative:\nS. R. Cowan. 132 West 43rd Street\nChickering 4-3278 New York\n\nAustralian Representative\"\nMcGills, 179 Elizabeth Street, Melbourne. Australian and New Zealand Agents Published monthly by A.S.C. Agency, Inc. Editorial and business offices: 1782 North Orange Drive, Hollywood (Los Angeles, 28), California Telephone: Granite 2135 Established 1920. Advertising rates on application. Subscriptions: United States and Pan American Union, $2.50 per year; Canada, $2.75 per year; Foreign, $3.50. Single copies, 25c; back numbers, 30c; foreign, single copies 35c. back numbers 40c. Copyright 1943 by A.S.C. Agency, Inc. Entered as second-class matter Nov. 18, 1937, at the postoffice at Los Angeles, California, under the act of March 3, 1879.\n\n20 June, 1943 \u2022 American Cinematographer Make every foot count These days \u2014 with less film available \u2014 you don\u2019t want to muff a single scene. So \u2014 try a film that amateurs have long relied on for clear, sharp images.\nAgfa Ansco Hypan Reversible. Hypan is panchromatic. It has plenty of speed for average outdoor shooting, or for much of the indoor work you may do. In addition, its fine grain and anti-halation coating both contribute to the final gem-like brilliance characteristic of Hypan when it is projected on a screen.\n\nNext time \u2013 try Hypan. Meanwhile, if you have any technical questions on films or emulsions, ask us. We\u2019ll do our very best to answer them for you.\n\nAddress your letter to: Agfa Ansco Information, Binghamton, N. Y.\n\nAgfa Ansco\nHYPAN\nREVERSIBLE FILM\n\nKeep Your Eye on Ansco \u2013 First with the Finest\nAmerican Cinematographer \u2022 June, 1943, p. 205\n\nHints on Outdoor Camerawork for Army Combat and Training Films\nBy Russell Harlan, A.S.C.\n\nAgfa Ansco Hypan Reversible film: Hypan is a panchromatic film with sufficient speed for average outdoor shooting and much indoor work. Its fine grain and anti-halation coating contribute to the gem-like brilliance of the film when projected on a screen. Try Hypan next time. For technical film or emulsion questions, contact Agfa Ansco Information, Binghamton, N. Y. American Cinematographer, June 1943, p. 205. Russell Harlan, A.S.C., shares hints on outdoor camerawork for army combat and training films.\n\"black-jack to me: \"Russ, we get a lot of letters from Army camera men asking us advice about camerawork in the field. With nearly fifty of Harry Sherman's 'Hopalong Cassidy' Westerns and numerous Army Training Films under your belt, why not sit down and give the boys some of the benefit of your experience in exterior camerawork?\" Well, I don't know just how much benefit there is to be gained from anything I might say on the subject, for shooting studio exteriors - even on Westerns - is quite different from shooting an Army Training Film, and even more different from combat camerawork under fire. In an entertainment picture, your camerawork centers on the story and the players. In a training film, the \"star\" of your production is the gun, or tank, or hand-grenade, the use of which film is supplie.\"\nIn a combat film, your main job is to get an accurate photographic record of what happens and how and where. In making studio exteriors, we have the advantage of being able to control our photographic effects a lot with reflectors, booster-lights, scrims, and so on. But I suppose Bill is right, as there are certain basic fundamentals that all three types of exterior camera work have in common. One of the first of these is the necessity of absolute simplicity in your camerawork. Whether you\u2019re trying to sell a story, a piece of necessary military information, or an actual battle, any photographic trickery that calls attention to itself \u2013 and so diverts attention from the main purpose of the photograph.\nPicture is bad. Filtering is one of these tricks that is best forgotten except in very unusual instances. Whether you\u2019re shooting Bill Boyd and his pals galloping across the foothills of Mt. Whitney, or the prosatic operation of unlimbering a 155mm gun, or real \u201cfor keeps\u201d action in Africa or New Guinea, you want the scenes you put on the screen to look real, and the action to be clearly distinguishable. And one of the easiest ways to \u201clouse up\u201d an exterior scene is to try and improve it by using a filter. Ninety-nine times out of a hundred you\u2019ll make it worse, instead of better \u2014 and the hundredth time is open to question, too. First of all, you see, a filter tends to distort the color-rendition of whatever you\u2019re photographing. This may not be so objectionable in an entertainment picture if it is only a mild distortion.\nIn filming, tinting but in a picture for any military purposes it's murderous. For instance, suppose you're shooting a training film with soldiers in summer khaki uniforms. Suppose you use a yellow-orange filter like the G or the 21, or a red filter: you're going to make those already light tan uniforms whiten out like freshly-laundered Navy \"whites.\" And unless the background has been summer-burned to almost exactly the same shade of tan, your filtering is going to make those soldiers stand out in front of it much more prominently than they actually do to the eye. If the background is normal greenery, they'll stand out as prominently as many snowballs in a coal-scuttle. In the same way, if you're shooting men in camouflaged outfits like those the Marine Raiders and similar units wear, any filtering will give an untrue rendition of the coloring of their camouflage.\nFlag and its relation to the background.\n\nBy careless filtering, you can give an absolutely erroneous impression of a camouflaged soldier or a camouflaged gun-position blending or not blending with its surroundings. Either way, you're off the mark, as staff officers who study such films want to know precisely how things are, rather than what can be revealed or concealed with photographic manipulation.\n\nMoreover, most filters \u2013 even gelatin ones \u2013 tend to make the image softer.\noptically.  In  plainer  words,  they  cut \ndown  definition \u2014 when  definition  is  one \nof  the  prime  requisites  of  most  out\u00ac \ndoor  photography,  whether  it\u2019s  on  West\u00ac \nerns,  or  on  military  films  of  any  kind. \nIn  either  case,  the  people  who  will  see \nthe  films  are  more  interested  in  know\u00ac \ning  exactly  what  is  happening  than  in \nhow  \u201carty\u201d  a  cameraman  you  may  be. \nOf  course  there  are  always  exceptions \nwhich  prove  the  rule.  In  shooting  ex\u00ac \nterior  night-effects  for  studio  films,  or \nin  some  types  of  reconnaissance  and \nmapping  photography  where  you  have  to \npenetrate  haze  to  accomplish  your  end, \nyou  may  have  to  use  filters,  and  some\u00ac \ntimes  Infra-Red  film.  But  in  that  case \nyour  distortion  of  color-rendition  is  done \ndeliberately,  and  you  can  expect  the \nfolks  who  study  your  pictures  to  under\u00ac \nstand  that,  and  make  allowances  for  it. \nBut  otherwise,  my  sincere  advice  to \nThe military cameraman would forget that filters were ever invented and do all his work without them. I have really expert confirmation in a comment made to us recently by the ASC's newest Honorary Member, Lt.-Col. David MacDonald, of the British Army Film and Photo Unit. He found what handy filters could be for battle camera work in the African Desert and issued an order to all his men to throw away their filters!\n\nNext comes the question of exposure. This must be right on the beam, not only to get the best print out of your negative, but to get the most accurate tonal value and the best definition. Exposure must be keyed to the normal processing of the laboratory that handles your negative, so I'd say the first thing would be to find out what that is.\nSome professionals ensure their experience and meter film-speed settings conform to the correct illumination. An exposure meter can fool you unless you make it read on the most important area. Note careless use of exposure meter; reading would be much more accurate if the meter were shielded from sun and scattered light by the user's hands. Camera angles are important. Note how the upper picture, with tanks approaching, shows much more detail than the lower picture where they are moving in opposite direction and half hidden by dust-cloud. The exposure is determined by the illumination on the ground glass of the camera \u2013 assuming, of course, it's a studio-type camera with a ground glass. But with today's fast films, that's a pretty deceptive assumption. (June 20, 1943, American Cinematographer) Above: a shot where your exposure-meter can fool you unless you make it read on the most important area. Center: note careless use of exposure-meter; reading would be much more accurate if the meter were shielded from sun and scattered light by the user's hands. Right: Camera-angles are important. Note how the upper picture, with tanks approaching, shows much more detail than the lower picture where they are moving in opposite direction and half hidden by dust-cloud. Exposure is determined by the illumination on the ground glass of the camera \u2013 assuming, of course, it's a studio-type camera with a ground glass. But with today's fast films, that's a pretty deceptive assumption.\nThe safest thing is to use a meter for taking photograph exposures, as several of us have discovered to our sorrow at one time or another. I don't much care what kind, as long as it is accurate and dependable, and you really know how to use it.\n\nThere is a definite trick to using a meter properly. With a reflected-light meter like the Weston and most others, there's more to taking a meter reading than just standing up and pointing it in the general direction of your subject. Doing it that way, you can not only get miles off the beam, but you can also trick the meter into giving almost any reading you think is right!\n\nThe biggest margin for error in the way most people take meter readings outdoors is that if you just hold the meter and point it at your subject, the meter is not only likely to give an incorrect reading due to stray light reflecting off nearby objects, but it can also be fooled by the subject's own reflectivity. To get an accurate reading, you should take into account the reflectivity of your subject and the surrounding environment, and use techniques like spot metering or incident light metering to ensure the most accurate exposure possible.\nTo see a different area from what your camera covers, particularly to see more sky than your lens takes in, but the sky is highly reflective. Even if the meter reads only on the actual sky-area of your shot, the excess light is likely to boost your reading higher than the correct exposure for the part of the shot in which you're really interested.\n\nThe first step in getting around this is to make it a practice always to point the meter downward - at about a 30\u00b0 angle - so that you deliberately include more of the usually darker foreground and less of the sky. This in itself will give you more consistently accurate meter-readings.\n\nBut there's another step, a little trick that makes the reading even more effective, and about which surprisingly few, even of the professionals, know. Most photographers know that to get a correct exposure, they should not point the meter at the brightest or darkest parts of the scene, but rather at the mid-tones. However, this trick involves pointing the meter at a specific part of the scene - the darkest part - to get an accurate reading for the entire scene. This technique is particularly useful when photographing landscapes with large areas of bright sky. By pointing the meter at the darker areas, you can ensure that the exposure is balanced and the sky does not appear washed out.\nTo take really good pictures, uninfluenced by scattered light around the subject area and not contributing to the actual picture, you need a good, tight sunshade on your lens. The same applies to exposure meters. Scattered light reflected from outside the picture field, such as from the sky and from almost every object to one side and the other of your actual field, kicks into the meter's photocell and naturally tends to boost your reading. For a really accurate reading, you'll need to shield your meter's \"eye\" from this unwanted light.\n\nThe simplest way I've found is to make it a habit when taking meter readings to fold your hands over the meter. The palms of your hands, projecting at each side, and the fingers, at the top, make a little sunshade for your meter. I've known a few people who do this.\nwho  have  even  made  neat  little  matte- \nboxes  for  their  meters;  and  when  you \nuse  a  studio  camera,  you  can  often \nplace  the  meter\u2019s  cell  directly  behind \nthe  camera\u2019s  matte-box,  and  use  that \nfor  a  sunshade  for  your  meter.  The \nrear  opening  on  the  wider-angled  lenses \n(from  35mm.  down  to  24mm.)  is  usu\u00ac \nally  almost  exactly  the  size  of  the  \u201ceye\u201d \nof  a  Weston  meter,  so  if  you  use  a  cam\u00ac \nera  like  that,  there\u2019s  a  useful  tip.  But \u2014 \nyou  always  have  your  hands,  and  I\u2019ve \nfound  that  little  trick  of  using  your \npalms  and  fingers  for  a  sunshade  is \nusually  quite  enough  in  most  cases  to \ngive  a  perfectly  accurate  reading. \nIt\u2019s  a  good  thing  to  remember,  too, \nthat  by  manipulating  the  speed-setting, \nyou  can  place  the  exposure  on  any  de\u00ac \nsired  portion  of  your  film\u2019s  character\u00ac \nistic  curve.  If  you  want  to  favor  the \nshadows \u2014 and  especially  in  shots  where \nFor any reason, including bullets, you can't get a reading on those shadows - you can do so by using a film-speed one, two, or even three or more points slower than you'd use under normal circumstances. The exact slower setting to use depends on the density of the shadows, and particularly on what proportion of the total picture-area they form. In general, if the action you're interested in occurs in the shadows, you won't go wrong exposing by the old photographic formula of \"expose for the shadows, and the highlights will take care of themselves.\" I've made pictures among California's \"big trees\" - the Sequoias and Redwoods - and I've found nobody complained if, when the action was mainly in the heavy shade under those trees, I exposed for that and let the sunlit part \"burn up\" if I needed to.\nI have to. It's the same issue with Army films in New Guinea jungles. I've been asked about controlling exposure when you have very \"hot\" highlight extremes, such as on a brilliantly sunlit, sandy desert or at the beach. Your normal exposure reading is likely to be close to the top of the meter's scale and probably at or below the smallest stop on your lens. Some people suggest using Neutral Density filters to control exposures in such conditions, but personally, I avoid them. While they do reduce exposure, they also tend to flatten out your picture. And as a rule, you don't want any flattening when striving for the best and crispest definition. Instead, I prefer to cut the aperture of my shutter. This is possible with studio-type cameras, though not with all types.\nEyemo and DeVry hand-cameras can be done all right in 16mm, especially if using a Cine-Kodak Special or a Bolex, both of which have adjustable shutters. Speaking of 16mm, due to its compactness and the very surprising results you can now get enlarging 16mm Kodachrome to 35mm in either black-and-white or Technicolor, seems to be coming more and more into use for combat camerawork. Most of what I've said about 35mm black-and-white applies just as well to 16mm and Kodachrome. Exposure, for instance, has to be right on the old button for the best results in color rendition and definition. However, there's one exception: if you know your Kodachrome is to be used as an original only, give the correct, \"rule-book\" exposure; if you know it is going to be duped or enlarged to 35mm, it's a good idea to overexpose it slightly.\nIdea to give an exposure outdoors, based on a speed of Weston 6 or even 5, to soften contrasts and get better into the shadows, so that there will be a smoother transition between light and dark areas.\n\nAmerican Cinematographer \u2022 June, 1943\nRussia's Newsreel Cameramen At The Front\n\nFor a number of years, Soviet newsreel cameramen had been accustomed to filming the peaceful life of our country. Documentary film and Soviet newsreel mirrored the onward march, the happy life, the constructive and joyful labor of millions of people.\n\nBut there came a day when Hitler flung his divisions against our towns and villages. Upon the country and the people that was giving an example of the actual realization of the great march of humanity toward democracy and social justice, there descended the full force of the Hitlerite hordes. And the Soviet people entered into battle \u2014 everyone to the last.\nA man rose up to wage a sacred patriotic war. We took upon ourselves the brunt of the blow. For the first time in the present war, the march of Hitler's hordes across the territories of European countries was halted \u2013 by the Red Army. On the very day of the war's outbreak, newsreel cameramen departed for the Front.\n\nNow, with eighteen months of war behind us, we can sum up certain results of our front line work. Scores of thousands of feet of film have been taken. Each of us has run great risks and been not infrequently bombed, trench-mortared, and shelled by the Germans. Many of our comrades have perished at their post, camera in hand, and many have been wounded, returning to active work immediately upon recovery. Digging into the earth, they have been subjected to fierce enemy bombardment, together with plucky sharpshooters they have lain.\nWaiting for the enemy, enduring trials and hardships, we have all grown accustomed to the feel of civilian clothes and learned to appreciate the supreme law of the soldier's front line camaraderie, which is \"Help one another.\"\n\nCameraman Pechul charged into the attack, side by side with his Red Army comrades, rifle and grenade in hand. The detachment broke through the encirclement. In this action, Pechul died a hero's death.\n\nAnother cameraman, Slavin, was wounded twice and immediately returned to the front once he recovered.\n\nCameraman Boris Sher spent ten weeks with a guerilla detachment, causing panic among the Germans in an unnamed district near the Valdai Hills.\n\nThis account of the heroic work of Russia's newsreel cameramen at the front comes to us through the courtesy of \"The Cine-Technician,\" the official organ of Britain's Association of Cinematograph Technicians.\nThe author, Roman Karmen, is a young ace newsreel cameraman who won the Stalin Art Prize for his work on \"One Day in Soviet Russia\" and \"Moscow Strikes Back.\" He later filmed \"Leningrad Fights.\" Before the war, he and his camera served in Madrid (1936), China (1937), and the Arctic Circle during night flights over the Pole in search of the lost Soviet airman Levanevsky. He also acted as a war correspondent for \"Pravda\" at home and abroad.\n\nBy Roman Karmen\n\nWhen he had gathered sufficient material covering the activity of this detachment and planned to make his way back across enemy lines, the guerillas did not want to part with this plucky young man. They had come to consider him as one of their own, and he had won their strong affection\u2014the affection of grim and courageous men who look death in the eye.\nThe guerillas sent a letter to the studio, from which we learned much about our comrade, Boris Sher. They wrote that Boris Sher participated in several daring and dangerous operations as a guerilla trooper. At night time, when filming was impossible, he took up a rifle and accompanied the detachment into battle. Boris Sher, like many another front-line cameraman, now wears the Order of the Red Banner and continues his newsreel work.\n\nCameraman Mark Troyanovsky was among the last batch of Red Army men to leave Odessa \u2013 that same Mark Troyanovsky who accompanied Papanin on his flight to the North Pole (His film was shown in England under the title Conquerors of the North). Troyanovsky filmed scenes of the heroic defense of Odessa and the exploits of its defenders.\nCameraman Vladick Mikosha filmed the glorious defense of Sevastopol, a heroic page in the struggle of progressive mankind against bloody Hitlerism, until the last hour. In the last days of Sevastopol's defense, Mikosha was badly shocked but continued working.\n\nThe work of cameramen filming in besieged Leningrad deserves special mention. Cameramen Uchitel, Fomin, Stradin, and others did not stop filming for a minute. In rigorous frosts, under fierce bombing, and incessant shelling, under conditions of blockade and hunger, they created for future history truly priceless cinematic documents of the life and struggle of the hero-city. Like all Leningraders, the cameramen received a meager ration of bread, were emaciated, and could hardly walk, but each day they plodded on.\nTo the city carrying heavy tins of film and kept constantly taking shots. We are grateful to them for preserving for us the inimitable features of proud, indomitable and plucky Leningrad, for perpetuating the unforgettable scenes of the winter of 1941-42. They filmed in the factories, on the streets and in the advanced front lines. The episodes they filmed now show the whole world what the Soviet people are capable of, cherishing deep faith in their victory and profound hatred of the enemy, and, in the name of this faith and hatred, ready for all privations and exploits.\n\nAt Stalingrad, too, cameramen worked filming the fierce battles wherein the glorious city\u2019s defenders mauled the German divisions, and where, for every foot, for every inch of soil, Hitler paid with the lives of thousands of his soldiers.\n\nStalingrad will shortly be shown in cinemas.\nBritain. One Day of the Soviet War depicts an ordinary day in this country which, at the call of their great leader, Stalin, the whole Soviet people have turned into one mighty war camp. That day, from sunrise to sunset, 160 cameramen filmed numerous episodes both at the fronts and in the interior. This film has recently been shown in Britain and in America through \u201cThe March of Time.\u201d Soviet film workers engaged at the front know that each foot of film taken in battle is of historical value. It will afford an edifying narrative for future generations. Humanity\u2019s future is being born in today\u2019s battle, let our descendants know the great cost of their happiness, which is today being won for them by the Red Army men defending Stalingrad, by the Cossacks of the Kuban, Terek and Don, by the sailors of the Baltic.\n\nWe have seen some splendid pictures.\nmade by gallant English cameramen, filming battles in the air, in the Libyan desert and on the Atlantic Ocean, we have seen newsreels about brave R.AF. men making death-dealing raids deep behind the enemy\u2019s lines. We applauded the work of the heroic cameraman, Tom Tanner, who filmed the Malta convoy. A while ago we saw a new newsreel about Malta and admired the skill and gallantly of the cameramen filming the plucky fight of the island\u2019s residents, AA men, R.AF. men and sailors.\n\nWe Soviet cameramen are proud that in these grim days we wear trench-mud stained military uniform. And on behalf of all Soviet newsreel cameramen, in giving greetings to our British and American colleagues, I should like to say with all my voice: \u201cFriends! It is with blood and tears, children, brothers, fathers and mothers that the Soviet people pay for their victory.\u201d\nYour country has not yet suffered all the horrors of an enemy invasion. But man-eating Hitler also wants his killers and marauders to lay their bloody trail of rapine and conflagrations across your country too.\n\nAbout 200 cameramen work on various sectors of our front. A further 1,000 directors, assistants, editors, laboratory workers, cutters are engaged in producing newsreel issues that appear in American Cinematographer.\n\nJune 1943 \u2022 Shooting The War In New Guinea\nAn Interview With FRANK PRIST\n\nMaking pictures in the South Pacific theater of war is certainly a hazardous and difficult proposition, but it\u2019s all in a day's work, according to Frank Prist. Frank is one of Acme Newspictures war photographers and the first American civilian to return.\nsoldiers took over the major role in pushing the Japanese across the mountains and jungles of New Guinea and down to the sea at Buna. Blond, blue-eyed and beaming in his War Correspondent's army officer's uniform, Frank spoke cheerfully of dirt, discomfort, and disaster.\n\nBullets whizzed. There were near misses. Treks through jungle swamps where the going was so hard, and time so limited, that there was little time for rest, and none for sleep.\n\nI turned to Mrs. Prist. \"It must be hard for you to realize those awful things really happened to Frank. I can hardly believe such things take place even with the war news.\"\n\nFrank answered for her. \"I know how it must sound to you, because although I was in the thick of it just a short time ago, even to me, it seems like a crazy kind of nightmare. Everything is so much the same here at home.\"\nSeems hard to believe it's still going on down there! Frank spent eleven months \"down under.\" Seven months of the time he was stationed at Port Moresby, New Guinea. From this base, he made many trips overland on foot, by canoe, and plane to obtain his pictures. More than three weeks were spent in the front lines when the \"Battle for Buna\" was at its peak.\n\nThe enemy bombed Port Moresby constantly. Many of the 200 houses which comprise the city were wrecked during the bombing raids, adding to the scene of desolation surrounding the evacuated town. Port Moresby was the springboard for our successful drive on the Japanese, and many thousands of American and Australian boys who arrived at this little port will never forget it.\n\nAmong them is the little company of writers and photographers who kept records.\nus informed on the progress of the war. Frank Prist made the photographs of Vern Haugland when General MacArthur presented him with the Silver Star for bravery. Vern, an Associated Press correspondent who once covered Hollywood, bailed out of a damaged plane, and spent forty-two terrible days in the jungle, \"The morale of our soldiers is magnificent! The war correspondents stacked up pretty well, too. Every man\u2019s a hero down there, though they\u2019d hate to admit it. Sometimes, after hours in a slit trench, or when dreaming over Mother\u2019s cooking, there was a little good-natured griping, but that seemed to be mostly for the fun of thinking up wisecracks.\" When at the front, a correspondent must carry along the full equipment of a soldier \u2013 except for weapons \u2013 as well as his photographic equipment. Soldier equipment consists of half a shelter tent.\ntent, mosquito netting, blanket, toilet articles, water canteen, and \"C rations.\" Frank saved \"C rations\" \u2013 which consist of tinned pork and beans. At top of page, left: Newsman Prist's quarters in New Guinea; center, Prist's photo of a friendly \"fuzzy-wuzzy\"; right: Shooting native belles \u2013 with a compact 16mm. camera. Above, Frank Prist with weapons, helmets, and flag which are no longer of use to their original Jap owners. vegetable, meat, and hash \u2013 for special occasions, usually eating the front-line rations of bully beef and hard-tack. Every two or three months Frank would fly back to Australia, on business. When on these trips he enjoyed the cleanly comfortable \"War Correspondents Convalescent Home.\" This establishment was maintained by all the war correspondents from the States. The boys rented a beautiful home in the suburbs of Melbourne, hired servants, and lived in comfort. Frank would often return from these trips with new stories and photographs, which he would file with his newspaper.\nA cook painted a large sign in this manner. Every correspondent or visitor of their profession was given a pair of crutches and photographed by the sign, but the boys were afraid to send these pictures home for fear friends and relatives wouldn't believe they were only spoofing. A few days at the \"Home\" was something to look forward to during the hard days at the front. Frank was enthusiastic over the cooperative spirit evident by all men at the front.\n\n\"Shooting the pictures was not so much of a problem. There is no red tape at the front, and everyone is ready to cooperate from buck privates to high-ranking officers. Weather conditions and lack of equipment for processing presented the major difficulties.\"\n\nThe war photographer is his own boss. He decides what to shoot and writes his own captions. Frank organized.\nI. Feb 17, 1942. Made pictures of convoy en route to Australia. Processed in Australia.\nII. Arrived and made many pictures of General MacArthur, family, and Army personnel. Processed in Melbourne.\nIII. Troubles began at Darwin. Film couldn't be processed due to ruined Army chemicals.\nIV. Unseen Camera-Aces\nV. Hollywood's finest cinematographers unknown to public. Sometimes industry.\nVI. Maximilian Fabian, A.S.C.\nVII. By Walter Blanchard.\nIn some instances, they may receive screen credit under vague appellations concealing their contribution to the picture. In others, they work anonymously, with never a line on the screen to direct credit toward a job well done. They are almost never publicized, for the studio chiefs have the opinion that doing so would disillusion the public. Yet, without these men and their quiet contributions to production, modern production would be impossible. It is with great pride that we commence what we hope will be a lengthy series of articles on the screen\u2019s unsung heroes \u2013 the special-effects cinematographers.\nThis shy man with graying hair and the sensitive face of an artist, frequently the subject of friendly ribbing from his fellow cinematographers, enjoys it quietly. If you were a stranger and introductions were in order, you would respond at once to names like Joe Ruttenberg, Bob Planck, George Folsey, Len Smith, and the others. But when your host introduced Maximilian Fabian, A.S.C., your mental reaction would be the equivalent of a blank stare, as it has been over eighteen years since he received screen credit. Yet without his patient, tireless efforts, many of MGM\u2019s biggest and finest productions could never have reached the screen. Remember that memorable scene in \u201cMrs. Miniver\u201d \u2013 to many minds the emotional climax of the whole film \u2013 in which that hardy little fleet of motor-boats appears.\nBoats assembled by night along sleepy British rivers to plough fearlessly into the Hell that was Dunkirk, to rescue an army? His camera made it possible. Do you remember those thrilling scenes of naval battle in \"Stand By For Action,\" which made the rest of the film endurable? They came to the screen through his skill and patience. Do you remember that memorable scene of the interminable lines of trucks carrying soldiers to a World War I front in \u201cThe Big Parade\u201d eighteen years ago? His camera did it! Do you remember the earthquake in \u201cSan Francisco\u201d? It came to you through his lens and lighting!\n\nFor Max Fabian is a specialist in that most difficult of arts \u2014 photographing miniatures, and doing it so that even the camera-minded in the audience are unaware that they're not looking at the real thing. Perhaps the finest tribute he received was...\nA gold-braided admiral in Washington remarked, after seeing \"Stand By For Action,\" that he hadn't realized the West Coast Naval Forces had enough strength to spare from wartime duties to cooperate so fully with the motion picture industry. Those destroyers and battleships\u2014the entire convoy, for that matter\u2014were miniatures manipulated before Max's magic camera.\n\nHe didn't start out with the deliberate intention of becoming a miniature specialist. His first film job was, in fact, as far removed as possible from trick-camera work. He began as a projectionist in the old Garrick theatre in Los Angeles, some twenty-five years ago. But as he peered through his little porthole to watch the pictures unwind on the screen, some latent artistic instinct told this young Polish boy that he must explore the world of filmmaking.\nInquiry told him that the path to camerawork in those days was through the laboratory. He secured a job at the old Pacific Laboratory and learned photography from the wet end. He learned quickly, and before long, he was considered qualified to go out on a camera. He rose rapidly to the position of First Cameraman. This was before the era of strict specialization; however, he became what we would consider an ace production cameraman, photographing for John M. Stahl and other top-ranking directors of the day, and working for Fox, Metro, and other leading studios of two decades ago.\n\nBetween pictures one day at Metro, he received a sudden call to go to one of the stages to attend to a little job that had to be done. Upon arrival, he found\nIt was the task of photographing a film in June, 1943. By Victor Milner, A.S.C.\n\nFor years, a small group of us in the industry have argued that a system of more completely detailed preparation, not only of scripts but of all the physical details of production, would give us better pictures and much more efficient production. The majority of the industry, however\u2014including most directors and producers\u2014have taken the \"practical\" viewpoint: that such a system would be too Utopian to be practical, and that the potential benefits would not outweigh the costs.\nEconomies were vastly overrated, yet these \"practical\" men of production wondered how Cecil De Mille could turn out big, spectacular productions with such economic efficiency. They were even more puzzled by his ability to bring these productions in ahead of schedule and below budget. The answer is that De Mille utilizes to the full the principle of exhaustive, cooperative pre-production planning, which the \"practical\" men of industry dismiss as visionary. He realizes that the truly heavy costs of production are incurred during the period of actual shooting. During this period, any loose planning or lack of coordination between the members of his key production staff will be reflected in mistakes and delays on the set. And with modern production methods, this period is becoming increasingly shorter and more critical.\nProduction costs mount up at the rate of shooting day, an avoidable delay of even a few minutes is prohibitively costly. Therefore, De Mille preparations for each production as carefully as a good general would prepare for the opening of a second front. He and his production staff \u2014 the director of photography, the art director, the costumer, the first assistant director, the special-effects experts, and others \u2014 literally live with the picture for months before the camera turns on the first take. Once the picture goes actually into production, everyone concerned knows precisely what each scene and setup is and equally important, just when, where, and how each is to be filmed. For this reason, there is almost no lost motion on a De Mille set, and virtually every inch of film included in the OK\u2019d takes goes into the final cut of the picture.\nThere are no retakes: in nine years' association with Mr. De Mille, I can remember retaking only a single scene. With such coordinated staff work, there should be less surprise that his productions are brought to completion so quickly and economically. To name only two recent instances, \"North West Mounted\" was finished 14 days under schedule, and \"Reap the Wild Wind,\" for all its technical difficulties, 12 days ahead of time. With a little figuring, you'll see that this in itself resulted in a direct saving of something in the neighborhood of a quarter of a million dollars on each production. To this add the additional savings brought about by the fact that the surplus scenes, \"protection-shots,\" and the like, usually considered as part of the inevitable wastage of normal production, are never made for a De Mille production.\nThe sets for them are never built; the players never engaged; shooting time and effort never expended, as they have been eliminated from the script weeks or months before shooting started.\n\nAs a specific example of how this method of pre-production planning works, let's consider the case history to date of De Mille's forthcoming production, \u201cThe Story of Dr. Wassell.\u201d It's scheduled to go before the camera about June 15th; but the script-writers started their work on it last July. As soon as the first draft of the script began to jell\u2014some time in August\u2014De Mille's assistant, Eddie Salven, started his phase of the planning. In September, art director Roland Anderson, costume-designer Natalie Visart, and I, as director of photography, joined the staff conferences on the picture. Transparency expert Farciot also became part of the team.\nLeft and center: Two of art director Roland Anderson's preliminary scene-sketches for \"The Story of Dr. Wassell.\" You won't see these scenes in the picture, as they were eliminated before the sets were built. Right: actual shooting is the easiest part, agree the author (left) and Cecil DeMille, as they line up for a well-prepared take.\n\nEdouart, A.S.C., special-effects specialist Gordon Jennings, A.S.C., and Camera Department Chief C. Roy Hunter were not far behind us.\n\nFor the seven months since September, we have all participated in the many budget and story conferences which are such important parts of getting a big picture ready for production. At many of these meetings, nothing directly affecting one's own phase of production may come up. But when such questions do arise \u2013 and they sometimes do with unexpected suddenness \u2013 everyone's input is essential.\nDenness \u2014 De Mille wants an authoritative answer to it immediately. In this connection, I'd like to mention, for the benefit of those who do not know Cecil De Mille, that despite all the publicity about his being constantly surrounded by \"yes-men,\" he will accept a well-founded \"no\" better than many another producer or director. But you must be prepared to back it up with cold facts! If you do, he will defer to your judgment. But woe betide the man who gives him a \"yes\" for politeness when the answer really should be \"no\" or \u2014 worse yet \u2014 takes refuge in an evasive \"maybe\"! Polite answers like that beforehand are usually forerunners of unnecessary mistakes and delays on the set. And these can't be tolerated ... especially with production costs increased over 100% in the last year.\n\nAs the story and its treatment begin\nTo solidify, several things begin to happen simultaneously. The first of these is research \u2013 especially on the part of Salven, art director Anderson, costume-designer Visart, and the studio\u2019s research staff. De Mille has always been a stickler for absolute technical accuracy in his pictures, and this is no exception. All concerned have delved deeply into everything available concerning the locations (China and Java) of the historical events the picture chronicles, and into the events themselves. In addition to the personal collaboration of Commander Wassel himself, every conceivable source of printed reference material, including eyewitness accounts and innumerable photographs, have been consulted. (American Cinematographer \u2022 June, 1943, p. 211) There were no camera blimps: the.\ncamera and its operator were locked together in a big soundproof booth about the size of a grocery-store frigidaire. There they stayed until the scene was shot.\n\nPlanning lightings and compositions for six or eight cameras, shooting from as many different angles, was a real problem. Doing that well, and at the same time operating one's own camera proved impossible. So I went to the front-office executives, explained my problem, and asked that I be relieved of the task of running my own camera, so that I could more efficiently direct the work of the crews manning the other cameras.\n\nMy request was granted. In practice, it worked out so successfully that the idea spread quickly throughout the industry. And though in time we all learned to cut the sound and picture with the same facility we had known in.\nThe idea of the Operative Cameraman and Director of Photography in silent-picture production has continued to hold significance, benefiting cinematographers and cinematography. Since then, Polito has been a leading member of the camera profession. This year marks his thirtieth anniversary as a cinematographer. For the last fifteen years, he has been responsible for the camera work on some of the industry's largest and best productions. Every year since the inception of the Academy Awards, he has had a picture placed high among the nominees for the Photography Award, and sometimes for the Color Award as well. He has pioneered many important innovations and developments, including the making of big exterior scenes on an indoor stage (which, by the way, has saved his studio tens of thousands of dollars on many a picture).\nAnd in the development of the wave and ripple machine which made possible the filming of marine exteriors indoors, without the use of process-backgrounds. How did he get his start in the industry? Let him tell it: \"My first job in the picture business was back in 1912, when I got a card as a duly licensed projectionist \u2013 I still have it, by the way \u2013 and with it, a job grinding the projector in that now forgotten Nickelodeon. And I do mean grinding: those were the days when the projectors, even in the most deluxe-equipped houses, were operated solely by hand power. It didn't take very long watching the pictures I ground through my projector to make me decide I wanted to become a cameraman, and create the pictures, rather than just run them. So I began to cast around to find a way to get into the production end of the industry.\"\nBy Walter Blanchard\n\nThe term \"Director of Photography\" owes its origin in part to Sol Polito, A.S.C. He was the one who, during the early-Vitaphone days of sound films, convinced Warner Bros. studio executives that the cinematographer in charge of photographing a picture could be more valuable in a supervising or directorial capacity than while actually operating his own camera.\n\nBack in those days, the first cinematographer on a production actually operated his own camera. If there was such a thing as a second cameraman, he assisted the first cinematographer. Polito's argument was that having the cinematographer focus on the overall visual look of the film would lead to better results than having him solely focused on operating the camera.\neraman was with the troupe, simply to operate an additional camera. \"Then came sound ... and in those early days they didn't think they could cut the sound-track as flexibly as they cut the picture-film. This was particularly true at Warner Bros., where the sound was at first recorded on disc instead of film; but it applied equally throughout the industry, regardless of the method of recording. In order to avoid having to cut the sound-track (or disc record, in our case), we had to shoot every cut and angle of a whole sequence at one take. This meant using six or eight cameras, shooting from all angles at once, getting close-ups, long-shots, medium-shots, and everything else simultaneously.\n\nSol Polito, A.S.C.\nJune, 1943 \u2022 American Cinematographer\nTHROUGH the EDITOR'S FINDER\n\nAces of Cinematography\nWhile we were sitting in a major studio camera department the other day, the phone rang. After several minutes of conversation, the camera-chief turned to us and remarked, a bit wearily, \"That was my opposite number at the so-and-so studio. He called and asked if we could loan him four lenses he needed urgently. We loaned them to him, first having our shop check them carefully to make sure they'd fit any standard mount. Now he calls to tell us that though he uses the same kind of cameras we do, three out of the four lenses won't fit into his mounts ... and he swears his mounts are 'standard,' too. Why hasn't somebody set up real, industry-wide standards on these pieces of equipment we all use?\"\n\nThis isn't an isolated occurrence. It happens almost every day, and in every studio, major and independent alike.\nEvery type of photographic equipment and accessory encounters these issues. If one studio is at a production peak and needs to borrow a camera from another where production is momentarily slack, the question immediately arises: will the camera from studio A fit into the blimps used by studio B? Assuming a blimp is required, will the blimps from one studio fit onto the tripod boom and dolly heads of the other? Moreover, would the borrowed camera and blimp combination meet the borrowing studio's standards for silent operation? We could name several studios\u2014even those using the same sound system\u2014where the answer would be a firm \"No.\"\n\nEven if all these hurdles were adequately cleared, there's the problem of driving motors. The motor on the borrowed camera might not operate on the other lot: it might be a different type or require a different voltage.\nThe wrong motor type. The current frequencies in the two plants might be different... or the systems for synchronizing, or power distribution. Leaving aside the question of availability of a spare motor in the second studio (which would be doubtful, at best, if all that studio's \"production\" cameras were tied up), it is very probable that a motor built to coordinate with studio number two's cameras and sound or process synchronizing systems actually could not be physically applied to a camera from studio number one. We've known, too, of instances where a rented process projector had to undergo what amounted to a major rebuild before it could be operated satisfactorily under the standards of another studio. Before the war, this might not have been a matter of particular importance. Regarding photographic equipment, most\nMajor studios were self-sufficient with basic equipment such as cameras, lenses, motors, and the like. Lending and renting of big camera-booms and unusual equipment occurred, but most studios had enough and to spare. In case of emergency needs, new equipment wasn't hard to obtain, and the emergency might serve as an excuse to add something lastingly useful and charge it to the production's budget instead of the camera department's. But those days are gone. It would be letting a military secret out of the bag (even if we knew the exact figure - which we don't!) to reveal how many camera outfits and lenses Hollywood's studios have supplied to the Armed Services. However, it is known fact that major studio camera equipment has been pared down.\nAnd yet, we are uncomfortably close to a bare minimum. The purchase of new equipment is an impossibility for obvious reasons. Therefore, the borrowing and renting of camera equipment between major studios, and even between major and independent studios, has increased to an amazing extent. We are finding out what industry-wide standardization for such equipment would be worth \u2013 if we had it.\n\nDiscussing a solution now may seem like suggesting to lock the stable after the horse has been stolen. And so it is, if you are thinking about complete standardization of every detail, small and large. However, it seems to us that a great deal can be done in this direction in the studios' own camera machine-shops, through simply correcting and standardizing minor details as can be managed under today's conditions, and progressively.\nProviding, of course, that the industry's camera, special-effects, and sound experts can sit down together and face the questions realistically, without too much prejudice in favor of the individual studio or executive preferences which were the original cause of most of this lack of standardization. And in view of present experience, isn't the thought of achieving real-industry-wide standardization of photographic equipment a tempting one for post-war planning?\n\nHave you ever noticed - whether in a world-famous professional organization like the A.S.C., or in the smallest of amateur movie clubs - that it's the members who don't often bother to show up at meetings who put up the biggest howl about how little they're getting out of the organization, while those who pitch in hardest to help make things work?\nThe meetings seem to derive the greatest pleasure from their club's activities, feeling they're getting the most out of it. As we begin to get into the period when various studios are announcing their production programs for the coming season, it's gratifying to note that there is a very general tendency among most of them toward producing fewer pictures but allotting bigger budgets and presumably longer shooting schedules to those they do make. A paramount reason for this change is that while all pictures are making money today, productions given the extra time and money which makes them more than ordinarily adequate can command sufficient additional playing time in the theatres. A comparatively few genuine \"A's\" can earn a larger total profit than the conventional program of a few \"A's\" and a larger number.\nA very important by-product of this policy is that it should almost guarantee better photography on such pictures as are made. Very likely, as this policy begins to take hold, executives in every studio will look at the rushes with the comment, \"Migosh! What's got into that cameraman that he becomes a genius overnight?\" The answer will be simple. The longer schedule has given him an opportunity to do things he always knew how to do, but was never given time to put into practice. On the average B-picture schedule, which may range from ten days to three weeks, your cameraman has inevitably had to sacrifice quality to speed. With from twenty to fifty or more set-ups to be photographed each working day, he daren't do anything that would slow down production.\nIf it's a choice between using unimaginative (but safe and quick) compositions or positions and lighting, and taking the few extra minutes necessary for getting a better composition - perhaps by juggling some props, moving a wild wall, changing to a different camera position, or adding a lamp to cast a decorative shadow, or rearranging a couple of others to get a more perfect effect - he'll find himself forced to take the safe \"B-picture\" course. But give that same man those few additional minutes per setup represented by a few added days or a week or two in the schedule, and he'll delightedly make use of it to give his picture better photography. The benefit of those few minutes per setup may not turn a Joe Doakes into a Gregg Toland - but you can bet your last dollar they'll make a difference.\nImprove his camerawork as much as if the producer had called in a cameraman whose salary was a couple of hundred dollars a week higher.\n\nAmerican Cinematographer \u2022 June, 1943, p. 213\nA.S.C. on Parade\n\nA very special salute from all of us goes this month to Capt. Ray Fernstrom, IL&.A.C., the first of the 43 A.S.C.-members now in service to be wounded in action. We\u2019ve just received two V-Mail letters from him which are well worth reading.\n\nThe first, dated April 23rd (Good Friday), says, \"Dear Bill and Fellow Members \u2013 Into the second year of Army life, and I'm really enjoying it. Tent living is healthy and I eat like a wolf, for our food is really good. Grand opportunities for movies, and I hope you'll see them all. I still have my old luck and am riding it hard. Yes, as you have noticed, I'm in the Air Corps now with wings, ribbon and double bars.\"\nI. Letter one:\ngives me a chance to use all my varied camera experience. I really feel \u2018on the beam\u2019 at last and am trying hard to do a good job of it. Drop in, Bill, on my brother Carl at Technicolor, and give my best to Dr. Kalmus, Mrs. Kalmus, Jerry, Rackett, George Cave, Bob Riley and the boys. Say hello to Cinecolor and all our old Hollywood pals. Drop me a line V-Mail. As ever, Ray.\n\nII. Letter two:\nGood Friday came along. I was busy as usual -- in the air -- good movies -- and got them over the German lines. But my left leg where the thigh muscle is the hardest and deepest caught a hunk of steel from one of their anti-aircraft shells that popped close enough for the lens but too close for my leg. So now it\u2019s time out for a week or so in a grand British field hospital.\nI have fresh eggs for breakfast, tea at ten and four, and a ration of whiskey each evening. These British X-rays and field stations, their immediate anesthetic with no after-effects, and their skilled, tireless surgeons positively astound me. I can never live long enough to sing enough praise of the British I have come to know well. Regards to all, Ray.\n\nThe sincerest sympathies of the A.S.C. and its members go out to James C. Van Trees, A.S.C., on the death of his younger son, Lt. Don Van Trees, who was killed in line of duty while serving with the Army.\n\nOur sympathies, too, to Robert C. Bruce, A.S.C., on the recent passing of his wife.\n\nBest wishes likewise to Dan Clark, A.S.C., reported as convalescing satisfactorily from a recent operation.\n\nAt the last A.S.C. meeting, Archie Stout, A.S.C., happily back in town to attend.\nAfter disposing of his tungsten mine, Staying behind with a visit from his son, Junius, on leave from Navy service.\n\nMonths ago, when Henry Freulich, A.S.C., entered the Marine Corps as a buck private, we asked for a picture. Since then, Henry has been busy going through Officers\u2019 Training and getting out into active service. But the other day, Henry\u2019s uncle, the dependable Roman Freulich, sent us this picture of Capt. Henry Freulich, A.S.C., U.S.M.C. As Henry puts it, he's gotten rid of that Stage 4 pallor and loves the life of a leatherneck.\n\nNick Musuraca, A.S.C., gets the lighting assignment on RKO\u2019s chiller, \u201cThe Seventh Victim.\u201d What well-known director of photography is so fond of gambling that he daily matches nickels with the waitress at a very major studio commissary to see whether or not he pays for his bets?\nLunch \u2014 and what Marine Corps captain took him for five bucks by the same route the other day \u2014?\n\nEven in Washington, The American Cinematographer and its staff are well-known. A letter from Reed N. Haythorne, A.S.C., encloses an envelope addressed simply \"Reed N. Haythorne, A.S.C., Staff Correspondent, American Cinematographer, Washington, D.C.\" And it reached him just fine! The contents, he tells us, was a letter from Carl Pryer, A.S.C., who, it seems to us, is overdue for another article for these pages.\n\nAnd over at Warners, Sol Polito, A.S.C., after Technicoloring the stage numbers for \"This Is The Army,\" switches over to complete the story part of the pic, as well.\n\nThe other day, United Artists producer Harry Sherman held a big celebration over the starting of his 50th \"Hopalong Cassidy\" western. Above you see Russell Harlan, A.S.C., expressing his excitement.\nTony Gaudio, A.S.C. was surprised to receive a trophy for his outstanding work photographing all fifty of them. As soon as he finishes \"Corvette K225\" for Universal, he moves over to RKO for \"Revenge,\" their big Russian epic. Meanwhile, Vern Walker, A.S.C., hurries to Utah to get snow scenes for the same picture while the snow is available.\n\nWe regret to chronicle the passing of another of the profession's pioneers, the well-liked veteran William C. Marshall, A.S.C., who died recently at the age of 58, after a long period of ill health.\n\nBilly Marshall was a veteran of the industry, with innumerable notable achievements to his credit. He was one of the first, if not actually the first, American cinematographers employed by Pathe Freres when they opened their American studio in 1912. He photographed numerous films for them.\nThe first production made by the Fox Film Company was for more than a decade the ace cameraman for Adolph Zukor's famous Players Company, later Famous Players-Lasky and now Paramount. During this period, he photographed virtually all of the foremost stars of the early period, including Mary Pickford, Wallace Reid, and Rudolph Valentino, whose most famous picture, \u201cThe Sheik,\u201d he photographed. During his many years of studio activity, Marshall not only lived through the period when cinematographic history was being made, but helped make a great deal of it himself. In recent years, Marshall had been comparatively inactive professionally due to injuries received in an automobile accident en route to location. But his friendly presence at A.S.C. meetings will be missed by all who knew him. The sincerest sympathy of the industry.\nA.S.C. and its members go out to his wife and friends.\nJune 21, 1943 \u2022 American Cinematographer\nPHOTOGRAPHY OF THE MONTH\nPRELUDE TO WAR\nProduced by the Special Service Division, Distributed by The Motion Picture Industry.\n\nThis is the first of a series of \"orientation\" pictures being prepared by Col. Frank Capra, originally for Army use, but now to be released theatrically to the American public. It should be a \"must\" on everyone's list, for it shows in unforgettable visual form why we are at war.\n\nThe picture is made up almost entirely of authentic newsreel shots of the events leading up to the war, with a sparse sprinkling of staged inserts and close-ups to tie the action together. There are authentic shots of ten- and twelve-year-old Axis youngsters engaging in military maneuvers with guns, gas masks, and gas. These alone are enough to illustrate the reasons for our conflict.\nTo make any sane-minded viewer burn to wipe totalitarianism from the earth. There are intimate shots of Hitler, the clownish Mussolini, and the bloated Jap warlords which speak volumes about the kind of insanity our world is fighting against. Technically, the picture is of surprisingly good newsreel quality, and the most magnificent job of editing this country has yet produced. Capra employs filmic rhythm to build emotional effects in a way we thought only the Russians, and a few Englishmen like Lt.-Col. MacDonald's British Army Film and Photo Unit, understood. It is by long odds America's most powerful documentary.\n\nAction in the North Atlantic\nWarner Bros. Production.\nDirector of Photography: Capt. Ted McCord, A.S.C., USAAF.\nSpecial-effects cinematography by Edwin B. DuPar, A.S.C.\n\n\"Action in the North Atlantic\" is one of\nof  the  season\u2019s  best  war  films,  and  a  dis\u00ac \ntinguished  credit  to  those  cinematogra\u00ac \nphers  publicly  credited.  They  have \nachieved  greatly.  But  \u201cAction  In  The \nNorth  Atlantic\u201d  neglects  crediting  the \none  man  who  really  deserves  the  most \ncredit  for  what  is  one  of  the  outstanding \ncinematic  achievements  of  the  year: \nByron  Haskin,  A.S.C.,  who  served  as \nvirtually  the  uncredited  producer-direct\u00ac \nor-editor  of  the  film\u2019s  most  spectacular \nportions.  As  head  of  the  Special-effects \nDepartment,  Haskin  personally  directed \nand  edited  what  we  would  estimate  as \nroughly  two-thirds  of  the  production. \nFrom  what  we  personally  observed  on \nthe  set  and  in  the  cutting-room,  his \nwork  went  far  beyond  conventional  spec\u00ac \nial-effects  scenes:  he  dealt  with  whole \nsequences,  which  included  the  principals \nand  spectacular  special-effects.  These \nsequences  make  the  picture \u2014 and  in  them \n[Lady of Burlesque, a Huntington Stomberg production; United Artists Release. Director of Photography: Robert de Grasse, A.S.C.\n\nDespite varying opinions regarding the entertainment and dramatic value of this murder-mystery set in a backstage environment, there is no debate that Robert de Grasse, A.S.C., has provided it with a compelling photographic presentation. At times, his camera work may seem excessive through the use of unusual angles, striking compositions, and dramatic lighting. Nevertheless, his overall treatment of the film makes it vibrantly unconventional. His flattering portrayal of the actors, despite their crisp treatment and melodramatic lighting, is as smooth as ever.]\nings  he  employs.  All  told,  \u201cLady  of \nBurlesque\u201d  is  a  picture  which  should  en\u00ac \ntitle  him  to  an  even  firmer  hold  on  his \nacknowledged  place  as  one  of  the  rising \ngeneration  of  masters  of  the  camera. \nFIVE  GRAVES  TO  CAIRO \nParamount  Production. \nDirector  of  Photography:  John  F.  Seitz, \nA.S.C. \nThis  highly  topical  production  marks \nanother  upward  step  on  the  path  of  cine\u00ac \nmatographer  Seitz  on  his  way  back  to \nthe  heights  after  several  years  of  being \nburied  on  unimportant  pictures.  It  is,  in \nits  harshly  realistic  treatment,  quite  a \ndeparture  from  his  usual  pictorial  style, \nbut  from  start  to  finish  you  can  see  the \nhand  of  a  master  behind  every  scene  and \nset-up.  His  camerawork  and  lightings \nare  beautifully  attuned  to  the  moods  of \nthe  action  and,  as  we\u2019ve  remarked  on \nother  occasions,  Seitz  seems  to  have  an \ninimitable  technique  for  projecting  tropi\u00ac \ncalms heat visually, without ever seemingly doing so.\n\nMission to Moscow\nWarner Bros. Production.\nDirector of Photography: Bert Glennon, A.S.C.\nSpecial-effects cinematography by Hans F. Koenekamp, A.S.C.\n\nThanks to its subject-matter, this is a picture everyone will want to see, regardless of how he stands in his opinion of Soviet Russia. To what degree the picture answers the average American\u2019s questions about Russia, only our readers in Russia can answer; but the documentary quality in the direction and general treatment of the production make it a notable departure in American entertainment films.\n\nPhotographically, \u201cMission to Moscow\u201d is rather disappointing. Almost wholly lacking\u2014except in the newsreel stock-shots generously intercut with the dramatic action scenes\u2014is the documentary photographic quality needed to complete the air of authenticity.\nMichael Curtiz's direction and excellent writing and performances made this production stand out, except for Glennon's recurring use of long-shots. He highlights the middle distance and background but puts too much front-light on the foreground, making it wishy-washy instead of silhouetted or balanced.\n\nDU BARRY WAS A LADY\nMGM production (Technicolor)\nDirector of Photography: Karl Freund, A.S.C.\n\nThis picture is \"gloriously Technicolored\" according to publicists, but we don't understand why. A few sequences, particularly Gene Kelly's speeches, are noteworthy in this otherwise forthright and vigorous treatment of the dramatic aspects of the production.\nThis is one of the best pictorial opportunities for Sidney Wagner, A.S.C., and he rises excellently to it in \"Cabin in the Sky,\" an all-negro fantasy. Wagner invests the production with excellent pictorial quality, and his personal lightings, particularly of Ethel Waters, add greatly to the dramatic values.\n\nDirector of Photography: Sidney Wagner, A.S.C.\n\"Cabin in the Sky\" Production.\nWe found it enjoyable, though the musical aspects were a severe disappointment.\n\nDr. Gillespie's New Assistant\nMGM Production.\nDirector of Photography: George Folsey, A.S.C.\n\nThis little program is a gem of photographic pictorialism, as might be expected in anything from George Folsey's camera. We strongly recommend it as a first-class study in decorative lighting and in Folsey's facile interpretation of the film's varying dramatic moods.\n\nAmerican Cinematographer \u2022 June, 1943: 215\nPlanning Club Programs\nBy Francis M. Hirst *\nPhiladelphia Cinema Club\n\nWhy should we keep our movie project going; why not discontinue for the duration? It is difficult to obtain film, and if you are able to buy it, you can't use your car or take trips to make movies. Where are you going to get speakers? Where are the supplies?\n\"You going to get people to put on interesting demonstrations or anything else to hold a club together? I'm surprised to hear a fellow like you say such things. Don't you know that movie clubs are a great morale booster? Where else can one spend such a pleasant evening with so little effort? Don't you think it would be an awful let-down for any of the fellows to come home on leave and find the club doors closed? By the way, I don't recall having seen any of your films at the club. You must have some to show. Well, I guess I do have some from the last trip I took, but I don't go in for it as seriously as you fellows do. I only use my camera to make a record of my trip. My films are still on the reels that came back from the processing station. I don't have any titles and I don't bother to cut anything out.\"\nThat was our trip - why throw part of it away? I can't say that I agree with you on that score. Why not bring your film to the next meeting of the club? We can view it and offer constructive criticism. We can go further than that. I will bring a splicer, and with your permission, we can start to edit right at the meeting. This will give everyone an opportunity to see how it is done, and that which we do not complete at the meeting, you can finish at home. We can also give suggestions for titles.\n\nThe author of this article writes on the subject of planning club programs from a basis of practical experience - not theory. For more than five years he has served as Program Chairman of the very active Philadelphia Cinema Club with results which require only a glance at reports of P.C.C. activities as published in our \"Among Other Cinema Lovers.\"\nThe Movie Clubs' page speaks eloquently for themselves. In reading these reports prior to publication, we've wished we could participate in Philadelphia. You can shoot and add to the film, and I think you will be pleasantly surprised at the result. We have planned a complete meeting with very little effort.\n\nIt is not necessary to have guest speakers. Undoubtedly, you have hidden talent among your own club members. How many times have you heard an argument between club members on the correct way to expose film? Surely, the man who can give a good argument is capable of expressing his ideas at some meeting. Pick at random any phase of movie-making, and undoubtedly, someone in the club will be versed sufficiently on the subject to give a talk \u2014 and someone else, equally expert, can disagree.\nI would like to propose a very instructive pro-and-con technical program with him. Any club could initiate these discussions right now, and they would continue long after the war has ended. I could guarantee that each talk would captivate the members to such an extent that attendance at meetings would increase. All concerns regarding guest speakers are unnecessary. Our club has held two quiz contests between eights and sixteens, and another would be appropriate. It is surprising how easy it is to find interesting questions to ask. Have each member submit a question for the contest. On the night of the meeting, call for volunteers - about four 8mm fans and four 16mm fans. Establish rules in advance and designate someone as quiz master. You will find that a lot of humor develops spontaneously, and everyone benefits by the experience.\nI suggest using 32 questions for a quiz, giving each contestant four questions to answer, taking between 30 and 45 minutes. One intriguing aspect of movie-making is titling. Few people engage in this aspect due to some quirk in our nature that finds it too difficult, time-consuming, or uninteresting. However, once you begin, you'll become fascinated with this part of the hobby. There are no set rules, as each film must be treated individually. Why not have three or four members handle the titling process?\nWho are adept at making titles collaborate and give a discussion at one of the meetings? Each could show his own film and explain how he went about making his titles. One learns more quickly by doing rather than by seeing or hearing, so it would be well to have one or two titlers at the meeting. The opportunity of being able to assemble and shoot titles will overcome the chief obstacle in title making, namely, the start. When one is convinced of the ease and simplicity of this operation, better films will result. It may be arranged for those who have never made titles to bring their cameras to the meeting and shoot some. At the present time our club is running a series of educational films obtained from the Harmon Foundation, entitled \"You Can Make Good Movies.\" Each film covers a specific phase of movie-making and shows in detail.\nMany problems facing movie-makers and their solutions. One film could be shown in conjunction with your title meeting. Prepare a talk on this subject and you will find that one of the most interesting meetings of the club has ended enthusiastically.\n\nDo you have members who cut their own records? We do at our club, and several demonstrations have been given. At one of our former meetings, a member spoke into a microphone, adding narration as his film was shown on the screen. Immediately, the film was shown again and the recorded voice played back. The ease with which this was accomplished surprised and delighted the club.\n\nHowever, hours of work are required to make a complete musical accompaniment for a film, selecting the proper music and sound-effects and the correct synchronization.\nHere is the cleaned text:\n\nnarration. Each film must be treated individually for records must be carefully chosen to complement the mood of the film. It is not my purpose to discuss the method of dubbing in music and sound effects, but I think it sufficient to show the possibilities for a club meeting. Some time ago our club was in need of a new screen. One school of thought favored the beaded screen, while the other considered the halftone most desirable. To settle all arguments, two screens were procured, one beaded and the other halftone. A film was selected and shown, first on one screen and then on the other. We then butted the screens, side by side, and projected the film again. A white light was next played. (June, 1943) Rudy Mate, A.S.C. (standing at left in lower picture)\nMaking two of the angle-shots discussed in \"Pride of the Yankees.\" Length, and threading the shank with the correct screw thread to fit your tripod. For higher shots, with the lens pointing vertically downward, that is also easy. They make quite a variety of tilt-heads for still-cameras; you\u2019ve probably seen them in your dealer\u2019s shop. Wooden or metal affairs which can be screwed to any tripod, and which are hinged so as to permit the camera 90\u00b0 up or down, locking in place with a slotted brace and a knurled-headed screw. The commercial types don\u2019t cost much, or if you\u2019re handy with tools you can make your own. Replace your regular tripod head with one of these and you will find little trouble in making most vertical shots. If your shot demands more height than your tripod will afford, or if your lens-height requirement exceeds the capabilities of your current tilt-head, consider investing in an extension tube or a longer monopod or tripod.\nBy Rudy Mate, A.S.C.\n\nIf the angle is such that you would be likely to include the front legs of the tripod in your scene, there is a little trick you can borrow from professional practice. First, plan your shot so it can be shot in or very close to a door. Then, mount your tilt head using one of those methods.\n\nOne evening, not long ago, one of my 16mm amateur friends said to me, \u201cRudy, I wonder if you professionals realize how we amateurs envy you and the resources you have to work with? Take the matter of angle-shots, for instance. When you professionals want to make a shot from an unusually low camera-angle, you think nothing of calling in a couple of carpenters and tearing a hole in the floor big enough so you can get your lens right down to floor-level. If you want to make a straight-down shot from above, you simply rent a crane or a helicopter. But we amateurs don't have those luxuries. We have to make do with the equipment we have, and often it means getting creative with our angles.\"\nYou've got big camera-booms for high angle shots and special tripods and heads that allow you to point the lens straight downward. Amateurs can't do that. Unless we try to get by with a hand-held shot - which are just as bad form in serious amateur circles as they are among professionals - we're restricted by the fact our tripods will only go so low or so high, or that our tilt-heads have a very restricted vertical arc. This surprised me, as I told him most professionals feel the shoe is on the other foot. We rather envy some of the characteristics of 16mm. and 8mm. cine-cameras, such as the extreme focal depth of substandard lenses, which give the amateur \"pan-focus\" possibilities 35mm. can't even approach, and the compact handiness of even the larger amateur 16mm. cameras which let them get into positions from which you couldn't work a studio camera.\nAn amateur can obtain or build several small accessories at a low cost to achieve angles equivalent to high-end equipment for unusual low or high shots with large Mitchell cameras. For instance, if one desires shots from a very low camera position, consider obtaining a small, round metal mount used by dealers for displaying home movie cameras in showcases. These mounts, not much larger or thicker than a pancake and fitted with a standard tripod screw, can be easily obtained. Detach the tilt head from your tripod and screw it onto this base to create a low-angle mount or \"high hat\" for your camera.\nIf your camera doesn't balance properly on this mount when tilted to the upward extreme, you can usually cure this by nailing or screwing the flat display base to a pair of crossed LX4's long enough to extend about a foot beyond the base. Sometimes these bases have holes already drilled in them through which you can put your nails or screws (the bases of \"Dinky Inkies\" do), but if they haven't, a few minutes' work with a small metal drill will correct the omission.\n\nIf you want to mount your camera at \"baby tripod\" height \u2013 say one or two feet above the floor, but lower than your regular tripod will go \u2013 you can make use of the same principle, but use a thicker block like a section of 4x4 or 6x6 under the display base.\n\nAt this point my friend interrupted to remark that in extreme low setups, the handle of most amateur tripods gets in the way.\nSixteen millimeter motion picture sound-projectors, like any other precision-made instruments, must be handled carefully and given good attention. If they are abused by being banged around, allowed to become dirty or grimy, and not lubricated properly, they will set up the most ungodly noise in a room full of quiet people that can be imagined.\n\n(By D. Lisle Conway, President, Syracuse Movie Makers Association, American Cinematographer, June 1943, Volume 21, Number 6, pages 217)\nKeep your projector clean. Cleanliness is a paramount rule with projection equipment. The lens should be cleaned periodically or whenever dust or fingerprints appear on its surfaces, with lens tissue or better yet, cotton moistened with lens cleaning fluid. Both the fluid and the tissue may be obtained from any optical house or optician. Avoid using harsh cloths for lens cleaning.\nThe projector picture gate should be cleaned before each projection to eliminate any dust or bits of hardened emission. This gate can be cleaned using a soft brush, which will take out most of the dust. The edges of the picture aperture may be carefully scraped with a piece of bone or an orange stick. Never use a piece of metal in doing this as you are liable to scratch the surface of the gate. If the gate becomes gummy from a collection of oil or grease, a strip of lintless cloth, moistened slightly in alcohol or film cleaner and rubbed up and down over the deposit lightly, will dissolve and remove it.\nThe turntable and sound gate of the projector should be cleaned by the same method, as they too will collect dust, oil, and dirt particles. The sound gate's dirt and oil accumulation will not only lower the volume of the sound but also distort its quality. Dirty sound gates can scratch the sound tracks of films, causing the sound to become crackly, noisy, hissy, and unintelligible, even when played on perfect projectors. Some sound drums, like those on Victor projectors, can be easily detached for cleaning using a thumbscrew. Others with ERPI-type gates, such as the Holmes, are opened up and cleaned differently. Consult your instruction manual for information.\nMake sure all sprockets and external points are kept free from oil or grease so they don't dirty the film. Most projectors need only a little oil, but they do need it at regular intervals. This is most important! Correct lubrication of moving parts in all mechanisms is essential if the mechanism is to run smoothly and quietly. Over-oiling can do as much damage as under-oiling in many instances, so consult the lubrication chart of your projector and follow its instructions religiously. When oiling, be careful not to get any oil on the belts, picture gate, or sound drum. Again, let me stress that the lubrication of your projector is most important \u2013 learn to do it right and when necessary.\n\nProjection bulbs are becoming increasingly important. (Continued on Page 230)\n218, June 1943 \u2022 American Cinematographer\nWith vacation time approaching, amateur movie enthusiasts are concerned about their film supply for summer vacations films. Film shortages for civilian use have put a crimp in home movie making, with little hope for relief. However, the film shortage should not cause significant worry for intelligent users of 8-mm. and 16mm. cameras. In fact, the wartime film shortage might prove a blessing to many amateur movie makers, making them more careful and perhaps showing them that they have wasted many hundreds of feet of film on unnecessary shooting. From my own experience, I sincerely say it is possible for any amateur to come up with just as much material using less film.\nedited footage during this year\u2019s vacation period, but with only one-half the usual amount of film actually exposed, as in prewar years. If the home movie maker adopts the slogan, \u201cmore finished picture on less film,\u201d he will not only come back from his vacation with better pictures but also at considerably less cost.\n\nThe secret of getting plenty of excellent pictures with less film lies wholly in careful planning. The ordinary vacationer starts on his trip with no thought of what he is going to film. In prewar days, he went to his photographic dealer, bought a vast amount of film, and started out prepared to shoot anything and everything that suited his fancy; he would come upon a beautiful and breathtaking vista: out would come the camera and he would grind and grind and grind, with no thought of footage. Around the next turn of the road, he might see a quaint village scene or a picturesque group of people, and again out came the camera, and more film was used. With careful planning, however, the vacationer can limit his subjects and expose only the necessary footage to tell the story he wants to tell.\nOur cameraman would stumble across another scene still more gorgeous, and again he would over-shoot. Throughout his entire vacation, he would expose endless feet of film whenever he turned his lens upon an interesting subject.\n\nVacation over, he would then set to work editing his film. Only then would he discover that he had to throw away hundreds of feet of film or else have a slow, dragging, boring film to show his friends.\n\nMy suggestion is to edit your pictures before you shoot them. If you do that, you will find you will not need half the film you have used in the past. It is a simple thing to do if you make up your mind to it. And it will save you money.\n\nA good way to set about this is to write down on paper the things you want to include in your vacation film. You should have a general idea of where you will be going and what you will be doing.\nYou are going and deciding what you are likely to see. It should not be difficult to roughly lay out your \"scenario\" or plan. Next, decide the length you think your completed film will run. Get this definitely in mind before you start out. Then, when you discover a bit of scenic beauty you want to shoot, decide how much footage you will want of it in your edited picture before you start shooting. If you decide on fifteen feet, ten feet, or twenty-five feet, shoot just that and no more. If you happen to be planning to attend a rodeo on your trip, plan carefully and watch your footage. In the excitement of the occasion, you are likely to overshoot greatly. Most amateurs at such an event are prone to shoot too much long-shot material. Most of the long-shots are eventually thrown on the cutting room floor \u2014 so why shoot them?\nAt a rodeo, I suggest checking the events ahead of time. Decide which you think will be the most interesting. Prepare your shooting outline as follows: 15-foot pan shot showing the crowd. 10-foot medium-close shot of horses in corral. Eight-foot medium-close shot of riders sitting on corral fence. If you see a small child peeking through the fence, get a 4-foot close-up of him for human interest. If there is a particularly ferocious bull nawing up dirt and snorting in a corral, try to get about 10 feet of him as close as possible. If you can\u2019t get close, don\u2019t shoot it. Get close to the chute out of which horses come into the arena and make five to ten-foot action shots as they start into their first and wildest bucking. If you see a rider is fairly good, hold your shooting until the horse really bucks.\nGet the camera ready and focus on the rider. Aim for about ten to fifteen feet of action. The rider will typically be thrown within this distance if you wait for the horse to get seriously bucking. Don't start shooting from the moment the horse and rider appear until the action is over. Be prepared for accidents, and if a rider is down and about to be trampled, swing your camera and capture that, but don't continue shooting after he is rescued.\n\nIn all your shooting, whether scenic or action, reduce long-shots and take more close and medium-close shots. You should have noticed by now that in the making of professional films, long-shots are only used to establish the action or locale, after which the cutter \"moves in\" to closer angles. Follow the same procedure in making your films.\n\nIt is very feasible to determine this.\nThe length of each shot is proven daily among smaller independent film producers. A sequence like this tells a story of a chuck-wagon lunch perfectly, and with a little planning, you can shoot it without wasting an inch of film! Hollywood, compelled to make their pictures on a small budget, first used this system in this writer's experience in directing a series of one-reel pictures released by the well-known Tiffany Company in 1926. We used the old two-color Technicolor process and made the pictures on almost a shoestring budget. In those days, the negative was hyper-sensitized in Hollywood and had to be shipped in iced containers wherever it was to be used. The negative cost fifty cents a foot, which was significant on a limited budget.\nfigure to the foot almost, or you would lose money. You ordered just what you needed. If you had any left over, it stood a good chance of spoiling unless you kept it packed in ice all the time.\n\nWhen I prepared to make the first of American Cinematographer \u2022 June, 1943 CAMERA EQUIPMENT COMPANY IT Si 2 IP \u00a9 \u00ae With Removable field Developing Kit and \"The New Type Removable H \u2605 The new removable head feature \"Professional Jr.\" Tripod. It is now a detachable head from the tripod legs base by a simple nut. The tripod head can then be removed for low setups.\n\nThe friction type head gives super-smooth 80\u00b0 tilt. A generous-sized pin and three spread-leg design affords utmost stability. A \"T\" level is built into this 16mm E.K. Cine Special, with or without a motor, and additionally guaranteed for 5 years. More <\nWith a Removable Head, this kit is contained in The Field DT. The kit serves as a portable darkroom for motion picture film in the field or on location, and 1000 ft. Mitchell, Bell & Howell AI are available for Cineflex magazines. The size of thermos bottles for developer and hypo will be sent upon request. \"Professional Jr.\" Tripods, Developing Camera Equipment Co., are used by Strategic Services and other Government agencies and 35mm motion picture producers.\n\nFR\n(Tflni\u20acRfl\nAnnounces the New Type\nC. Zucker\nDUIPm\u20ac(lT (o.\nThis head, the \"Professional Jr.\" Tripod, offers great flexibility to the versatile film crew. It allows for easily removing the friction-type head and attaching it to a \"Hi-Hat\" low-base adaptor. The kit is equipped to take 400 ft. magazines. A special adaptor is furnished with the kit for 3.\n\nTherefore, the cleaned text is:\n\nWith a Removable Head, this kit is contained in The Field DT. The kit serves as a portable darkroom for motion picture film in the field or on location, and 1000 ft. Mitchell, Bell & Howell AI are available for Cineflex magazines. The size of thermos bottles for developer and hypo will be sent upon request. \"Professional Jr.\" Tripods, Developing Camera Equipment Co., are used by Strategic Services and other Government agencies and 35mm motion picture producers.\n\nFR\n(Tflni\u20acRfl\nAnnounces the New Type\nC. Zucker\nThis head, the \"Professional Jr.\" Tripod, offers great flexibility to the versatile film crew. It allows for easily removing the friction-type head and attaching it to a \"Hi-Hat\" low-base adaptor. The kit is equipped to take 400 ft. magazines. A special adaptor is furnished with the kit for 3.\nid: water. More complete and tilt action \u2014 360\u00b0 pan and quick, positive height adjustment. A tripod with a top-plate set for 35mm DeVry and B & H Eyemo cameras. The tripod head is uncrowned. About the \"Professional Jr.\" Tripod. Hi-Hats and Shiftover Alignment Gauges made by S. Navy, Army Air Bases, Signal Corps, Office of the Chief Signal Officer, many leading Newsreel companies and 16mm.\n\nIllustrated is the B & H Eyemo camera mounted on the Shiftover Alignment Gauge and \"Hi-Hat\" low-base adaptor. The \"Hi-Hat\" low-base adaptor takes the \"Professional Jr.\" tripod head for setups where the tripod legs cannot be used. The Shiftover device (designed by Camera Equipment Co. and patent applied for), is the finest, lightest, and most efficient.\nThe Eyemo Spider Turret camera is available for parallax correction. The male part of the Shiftover attaches permanently to the camera base, allowing the use of the regular camera handle if desired. Further information about the \"Hi-Hat\" and Shiftover will be sent upon request.\n\nVJfl inquires about \"Sthobo-SipUL\".\n\nBy S. Jepson,\nSecretary, Amateur Cine Society of India\n\nIn recent issues of The American Cinematographer, I have read articles by D. Lisle Conway and others regarding the stroboscopic method of synchronizing 16mm and 8mm films with sound-on-disc. This method has greatly interested me, as we have accomplished quite a bit of successful work with this easiest and least expensive method of adding sound to silent amateur films in Bombay. And since Mr. Conway requested any further information on the subjects from other amateurs who have implemented it.\nInvestigated this system, here are a few practical tips from our experience which may help other amateurs overcome their difficulties. For example, with some of the lighter recorders put up in portable form, there is a difference between the recording and play-back times. This is obviously due to the fact that during recording, the steel needle is cutting, but when playing, the needle is, of course, merely riding in the groove. I have found this cutting lag (shall we call it?) to vary as much as 10% to 20% over the play-back timings. There is also a slight variation between the lag on the outside and inside of the disc, though for practical purposes this may be disregarded, provided you do not cut right into the middle of the disc near the label. I have therefore found it desirable to take time with a stopwatch when cutting.\nWith a strobo-synced disc. The playback time is then noted, and I keep an assortment of strobo-discs. I can work out mathematically from the lag what disc will be required for synchronization in playing.\n\nThis sounds a little complicated, but in reality, it is not, and will enable exact synchronization to be achieved even when there is this irritating difference between cutting and play-back time. I have found that a difference of three bars in the play-back stroboscope meets the case, and if, for instance, I cut with a 39-bar strobe, I can play-back on 36 bars to the circle. I had an artist make me up a set of master strobe discs ranging from 35 to 42 bars, and made negatives of these so that I can make photographic prints either by contact or enlargement to stick onto the records.\n\nIf you don't want to go to the trouble of making your own strobe discs, you can purchase pre-made ones from various record companies. Alternatively, some record players come equipped with built-in strobe lights for synchronization purposes.\nWhen photographing the drawing, you can have it made with India ink on tracing-paper, which can be used as a negative for printing. Another method of compensation is to cut at 80 rpm and play back at, for example, 76 rpm, by adding a spare pulley for the friction drive of the recorder transmission below the plate. I have arrived at this method and find that if I cut at 80 rpm, I get a correct voice pitch. If the voice seems too high, the playback time is too fast, of course. When using two turntable-speeds in this way, one keeps the same strobe disc. However, another uncertain factor is that after playing some scores of times, the playback time increases with these soft acetate discs. Therefore, it's necessary to put the original playback time on the label and check it after some months. All one has to do then is to fit a strobe disc.\nA disc that allows a slightly slower playing rate for synchronization. I assume this difference is due to the fact that the grooves become polished by the needle. I have had some discs for over a year and played them hundreds of times (they are still very good except where scratched with side-slipping). After I have altered the strobe for this wear-and-tear adjustment, I have not found it necessary to do so a second time. The weight of the pick-up head is important, as if it is too heavy, the needle will not travel on these discs or may damage the grooves, while the wear on the disc will almost certainly be increased. This weight can be reduced either by a small spring at the end of the pick-up arm or by a counterpoise weight to lighten the weight of the pick-up end of the arm. Trailer needles, which have a bend in the middle, will help prevent damage to the disc.\nTrack heavier pick-ups without trouble. Thorn or cactus needles are good for drawing-room work, but lack the volume of metal needles for large halls. The thorn must also be of the right shape and not too finely pointed or it will break.\n\nMr. Conway illuminates his strobe by a mirror near the projector\u2019s gate. If the light spilled from the gate does not come through the shutter movement, this idea will not work. And in some projectors in which the shutter is placed in front of, rather than behind the gate, the light is spilled from the gate, but not through the shutter. (The old Eastman \u201cModel A\u201d is an example of this.)\n\nA better idea is to place a piece of optical glass (an old negative, perfectly clean) in front of the lens. The picture can then go through to the screen, while an image reflected from the front of the lens is blocked.\nGlass can be thrown onto the turntable, providing sufficient light for lighting the disc. If the optical quality of the glass is good, the focus of the projected picture should not be affected, and there should not be any noticeable loss of light in the projected image. If the focus or illumination is affected, this glass can be placed so it can be removed or merely placed in position now and again to test synchronization or to resynchronize if the speed has been altered to make up lost time through picture and record getting out of step. This method is simple and very effective. The phonograph turntable can even be placed at the side. In a small room, the turntable can be illuminated from screen flicker itself, and can thus be placed near the screen.\nJune 1943, American Cinematographer: Fewer Pictures and Better Pictures are photographed with EASTMAN NEGATIVES. There will never be a BETTER NEGATIVE unless it's made by EASTMAN. J. E. Brulatour, Int. DISTRIBUTORS, EASTMAN FILMS. Among The Movie Clubs, seven clubs met jointly in L.A. On Tuesday evening, May 11th, the Los Angeles 8mm. Club held a joint meeting with the Water & Power Camera Club, a group composed entirely of employees of the Los Angeles Dept of Water & Power. The spacious Southern California Edison Auditorium had been donated for the evening and invitations extended to neighboring clubs, including the L.A. Cinema Club, the Cine Club of Glendale, the La Casa Moviemakers of Alhambra, the Southwest 8mm. Club, and the Long Beach Cinema Club, all of which sent sizeable delegations.\nIn a packed house. The meeting opened with the singing of our National Anthem. Following this, visiting fellow members' prize-winning films were screened. Shown were: \"South Sea Island Fever\" by Newell Tune; \"American Indians\" by Mrs. Mildred Zimmerman; \"Ten Gallons of Gas\" by Leo Caloia; all members of the Los Angeles Cinema Club. \"Utah \u2014 Land of Enchantment\" by D.A. Powell, of the La Casa Movie Club of Alhambra; \"Mr. X\" by Norman L. Brown, President of the Cine Club of Glendale; \"Calumet's Xmas Contest\" by Mrs. Jean Holbrook of the Southwest 8mm. Club. The program wound up with the showing of two professional 16mm. sound films in Kodachrome: \"Railroadin'\", a thrilling picture on the railroads of the nation, produced by Jack Boland, who was introduced, and \"Curves of Color,\" by General Electric, depicting the latest color processes.\nThe development of matching and recording color graphically:\n\nA. W. Apel, Secretary-Treasurer.\nPhilly, Norristown, Exchange Honors\n\nThe old adage \"Variety is the Spice of Life\" works for movie club programs. Adding variety to a neighboring club's program is not as difficult as it seems. Last month, the Philadelphia Cinema Club arranged a program for our Norristown neighbor. The Cinema Club of Norristown reciprocated with a program at the May meeting of the P.C.C. Highlights of the evening's entertainment included \"Nassau,\" 8mm., by President Julian W. Barnard; \"This Is Florida,\" 16mm., by Vice-President and Mrs. Oscar Rahn; \"Christmas,\" 8mm., by Merrill Bean; and \"Scenes of Pennsylvania,\" 16mm., by Linford Umstead.\n\nThe fine films shown at our meeting justify the pride Norristown has in her amateur movie group.\nter-club cooperation has resulted in a program for each club with the minimum of effort, better club relations, new friendships formed and above all, an interesting meeting which will long be remembered and perhaps become an event to look forward to annually.\n\nOne of the problems which faces all movie clubs is that of obtaining members\u2019 films to show at meetings. Most members seem to have the same obsession \u2014 fear of criticism. A member may say, \u201cI would like your criticism of my film.\u201d The sad part of it is that he wants your help but receives instead a hurt to his pride. A solution to this problem may be found in a film rating sheet, wherein a member receives an average and will try for a better score on his next film. The technical committee could use this sheet in an informative manner to aid the filmer in improving his work.\nThe Philadelphia Cinema Club has a sheet that has worked out quite well for our club and we would be happy to cooperate in standardizing a film rating plan among all movie clubs. If interested, please contact George Pitt-man, 1808 E. Tulpehocken St., Philadelphia, Pa.\n\nFrancis M. Hirst Prize Films in Syracuse\n\nThe May 4th meeting of the Syracuse Left: Long Beach Cinema Club officials christen the first sound-projector owned by an American amateur club. Left to right, President Claude Evans, \"Assistant-secretary\" Pat Smith, Clarence Aldrich, Treasurer A. W. Nash, Vice-President Mildred Caldwell, and Secretary Lorin Smith; photo by Cliff Lothrop. Right, above, officers of the Norristown Cinema Club who conducted the May meeting of the Philadelphia Cinema Club. Left to right: Vice-Pres. Oscar Rahn; President John W. Barnard, and Secretary-Treasurer.\nWilbur Harris. P.C.C. officials: Francis M. Hirst, Publications; Dr. Robert Haentie, Technical; Adolph Pemsel, Program; William Brink and Wilmer Coles, Executive; Herbert E. Moore, Membership. Seated: Secretary James R. Maucher; President George Pittman; Vice-Pres. Arthur Hurth, Treas. Herbert L. Tindall. Movie Makers' Assn. Members' cameras were compared and tabulated, similar to how projectors were compared and tabulated at a recent meeting. At the May 18th meeting, three films from The American Cinematographer's library were screened: \"Solar Pelexus,\" \"Ritual of the Dead,\" and \"To the Ships of Sydney,\" all International Prize-winners from A.S.C. amateur contests. The Club is also launching its own publication, a 4-page mimeographed journal.\nThe Indianapolis Amateur Movie Club announced and chronicled its activities in \"The Viewfinder.\" Dr. Wm. E. Gabe hosted the April 21st meeting, showcasing several films. He presented \"Right and Wrong,\" an 800-ft. Kodachrome (16mm.) film demonstrating incorrect methods for exposing Kodachrome followed by the correct way. \"Potpourri\" was another intriguing film showcasing creative uses of film scraps. Lastly, \"Spring Mill Park\" was a beautiful depiction of the park. (June, 1943) American Cinematographer\n\nManufacturing motion picture lighting equipment and accessories has been our business in the past. During the war, we will manufacture the same equipment for Uncle Sam.\nOur friends should know that we are still in Hollywood and operating on a bigger scale than ever, but dedicating our entire facilities to the production of war materials. Final victory and the peace which follows will find us carrying on with the same service to our friends and clients.\n\nBardwell & McAlister, Inc.\nDESIGNERS AND MANUFACTURERS\n7636 Santa Monica Boulevard\nHollywood\n\nAmerican Cinematographer \u2022 June, 1943: 225\n\nMovie Clubs (Continued from Page 224)\n\nOne of Indiana's most photogenic parks was shown, demonstrating it isn't necessary to travel long distances to get a picture with audience appeal. Also shown was the new 16mm sound-film, \u201cA Day at War in Russia.\u201d\n\nElmer M. Culbertson,\nCorresponding Secretary.\n\nPie and Ice in Pittsburgh\n\nThe April meetings of the North End Cinema Club of Pittsburgh were featured by Jerry Miller and William Hager.\n\nJerry Miller presented an interesting program.\nMr. Miller's program was timely as we must take care of our cameras and projectors more than ever during these times. \"The Ice Follies of 1943\" was William Hager's presentation, a picture in 16mm. Kodachrome, with which he collaborated with another member, Frank Rimolt. Mr. Hager also showed his hilarious comedy, \"The Modern Pineer,\" a black and white film on \"How not to bake a pie.\" A baker by trade, he should know, and has put it very nicely on film. Several of the club members are making \"Victory Garden\" pictures and Jerry Miller has consented to write a script.\n\nGUS WOLFF\nSol Polito\n\n(Continued from Page 212)\n\nThe old Victor Company, which was a subsidiary of his Universal. There were no such things as Assistant Cameramen back in those days, but Tony was generous enough to take on an ambitious young\nAn Italian boy acted as my protege-apprentice, and I taught him the camera business. I didn't have any official standing with the company. If I could help Tony for free while learning about camerawork, that was acceptable. But the company didn't pay me a salary or give me any official consideration.\n\nMost pictures were made outdoors, on location, in those days. Since I wasn't a regular troupe member, there wasn't a place for me in the company cars. Sometimes, when I was very lucky, I might be allowed standing room on the running board. More often, I paid my own way to the location.\nI. trolley-car and supplied my own box-lunch into the bargain. Sometimes I even hitch-hiked.\n\"But I learned! And it wasn\u2019t so very long before I had learned enough so that \u2014 by the easy-going standards of 1913, at least \u2014 I was a fully-qualified cameraman.\n\"Then I got my first pay job, as a cameraman for the IMP (Independent Motion Picture) Company, which was the producing branch of the Universal organization. Andre Barlatier, A.S.C., was the company\u2019s Chief Cameraman, and I stayed there for about a year.\n\"The reason for my leaving the IMP Studio sounds funny today, but it was deadly serious then. We had been making our interiors with Cooper-Hewitt mercury-vapor floodlights. Then some of the first arcs were introduced \u2014 the old \u2018Aristo\u2019 overhead arc floodlights, and some of the pioneer arc spotlights. On one scene, I decided to try what we would call key lighting with the arcs. The result was disastrous. The arcs flickered and produced an uneven light. The mercury-vapor lights, on the other hand, produced a soft, even light. I knew that if I continued to use the arcs, the footage would be unusable. I couldn\u2019t compromise the quality of the film. So, I left the IMP Studio and went to work for another company that used mercury-vapor lights exclusively.\"\nI used one arc to create strong shadows on the set during filming. When the rushes came through, the executives were furious. They argued that the shadows distracted attention from the actors and ruined the scene. As a result, I was fired. However, today it's a tradition among cinematographers that they're paid more for the shadows they create than for the highlights.\n\nBut if IMP didn't want me, Biograph - the foremost of those early-day producing organizations - did. I stayed there for some time and had a very pleasant association.\n\nWhen Biograph moved to the Coasts, I stayed in New York, joining the World Film Co., founded by David O. Selznick's father, the late Lewis J. Selznick. Among the interesting experiences I had there was photographing a picture starring Lillian Russell.\nAfter a while, around 1918 or 1919, I decided to come out to Hollywood as more and more studios were moving to the coast. My first job after reaching Hollywood was a little ten-day \"quickie\" starring Lew Cody. It was actually a twenty-day picture made in ten, as we worked day and night to get it out in time to \"beat\" a rather sensational divorce trial then monopolizing the headlines, and upon which the picture was based. I was nearly a wreck when that picture was finished. But the hard work proved profitable. Jack Pickford saw the picture and decided that if I could do that well on a ten-day \"quikie,\" I could certainly do much better on the longer schedules his pictures offered. So my first major job on the coast was, oddly enough, with the First National Company.\nThe pan company, now part of Warner Brothers' organization, released Jack's pictures through it. After this, we spent a few years free-lancing. I worked for a while at the old Metro studio, then spent several years with Edwin Carewe, who released through First National. Then more free-lancing on both big and small pictures until I made a connection with Hunt Stromberg, who had just started producing on a very thin shoestring. After a while, Stromberg was joined by Charles R. Rogers, and our organization became more stable.\n\nIn due time, Rogers' producing unit moved over to First National, and when, after a time, he left First National, I stayed on there, doing all kinds of pictures, big and little. Among them were a number of westerns with Ken Maynard, who was one of First National's contract players.\nI. Al's top box office stars. The experience I gained in making those pictures was invaluable nearly twenty years later, when I made such Deluxe super-modern westerns as 'Dodge City' and 'Gold Is Where You Find It' for Warner, in Technicolor, and other similar pictures in black-and-white with Errol Flynn.\n\nII. As time went on, sound came in, and then Warner Brothers absorbed First National \u2014 and I've remained on the same lot. All told, since I came to First National with Jack Pickford, I've been just twenty-three years with First National and Warner Bros., which I believe comes pretty close to a record for staying at one studio. It's interesting to look back on those old pictures I did twenty years ago, and on the still earlier 'flickers' I did with IMP and Biograph, and compare them with a big, modern picture like 'Sergeant York' or\n\"This is the Army, which I\u2019m now photographing in Technicolor. Things have certainly changed, and I think that we cinematographers have, on the whole, managed to keep pace with those changes as well as, or maybe even better than any other group in the industry. For example, while quite a few men who had been front-rank cinematographers in silent pictures dropped back professionally when sound came in, and a proportionate number of new camera talent came to the top as a result of the change, I think that cameramen, as a class, suffered less by this transition than did the actors, directors, writers and others. And certainly we all agree today that the foresight and courage the Warner brothers showed in championing sound as they did lifted the entire industry out of the doldrums, both artistically and as a medium of entertainment.\"\nYou have only to try and visualize how empty any of today\u2019s pictures would be if the element of sound were removed, to realize how much sound has meant to the motion picture. But at the time of transition, it was a hard and bitter dose to swallow, for it meant unlearning a lot of what we thought was unchangeably basic technique, and learning a lot of new and strange facts and methods of working. In some ways, this change was hardest for the cinematographers, for they had to accustom themselves not only to the medium of sound itself, but to new types of film, new lamps, new methods of lighting, and, in fact, an entire new system of camerawork. I\u2019m convinced that a very important part in this has been played by the various organizations through which cinematographers have been brought together to interchange ideas and techniques.\nJune 1943, American Cinematographer\n\nOnce only, Eastman Negative Films, with their high degree of uniformity, make it easy to confine \"takes\" to one per scene. Eastman Kodak Company, Rochester, NY. J.E. Brulatour, Inc., Distributors - Fort Lee, Chicago, Hollywood.\n\nPLIJS-X Super-XX, for general studio use. A little alien light is available.\nBackground-X, for backgrounds and general exterior work.\n\nEastman Negative Films (continued from previous page)\nachievement. I was a member of the old Cinema Camera Club in New York \u2013 the pioneer organization which first attempted to bring cameramen from different studios together to develop professional fellowship. When I came to California, I can\u2019t lay claim to:\nI have been one of the Charter Members of the A.S.C, but I am proud that I was admitted to membership very soon after, in the summer of 1919, and have been a member ever since. I know my own work is the better for what I\u2019ve learned from my fellow cinematographers at A.S.C meetings, and for the improvements in equipment and materials which have resulted directly or indirectly from the forward-pressing influence of the Society and its members. After more than twenty-four years, I think that influence is only just beginning to bear its full fruit, for there are greater problems to be met, and greater improvements to be made, than ever before.\n\nPreparation (Continued from Page 211)\n\nAlmost all who were available have been interviewed personally; cinematographers will probably be interested to know that even 8mm. equipment was used during the evacuation of Java.\nKodachrome movies of Java, including scenes of the evacuation, shot by a Dutch merchant marine captain, have been repeatedly studied. An incredible number of detailed files on every possible phase of the entire subject have been painstakingly built up, analyzed, and broken down by Salven to provide us with the most authentic data possible concerning every detail of the picture.\n\nMeanwhile, art director Anderson and costume-designer Visai't have also been studying the data concerning their specialties. Anderson, for example, had to master a detailed knowledge of the Chinese and Javanese locations\u2014towns, roadsides, docks, homes, and even ships. Miss Visart studied not only the costumes of the natives, Dutch, and other civilians and the American military and naval personnel who participated, but even the precise, clinical details.\nDetails of the bandages worn by the wounded under Dr. Wassell's care. Few people other than doctors and nurses will probably notice it on the screen, but as the actors who play the parts of wounded sailors and civilians progress through their parts, they will appear in surgically correct reproductions of the bandages real wounded men would wear at the same stage of their progress from field dressing-station to field hospital to base hospital, and thence through the various stages of convalescence and recovery. At the same time, working closely with Mr. De Mille, Anderson, Salven and I begin breaking each scene and sequence of the script into its component camera set-ups. Anderson first draws a master sketch of the scene \u2013 usually embracing the basic long-shot angle. Then he breaks this down into the component closer angles. These sketches are smaller.\nBut quite detailed. Arranged in their proper order, they show the entire visual progression of the sequence. In the case of boom or dolly shots, of course, only the start and finish, and perhaps a few key intermediate positions are sketched out. These form what might be called a rough working blueprint of the scene as it will appear on the screen. They are not followed slavely; perhaps actual, physical conditions on the set may lead to minor deviations from the planned sketch. An actor cast for a certain part may be taller or shorter than we had visualized when we made the final sketch, or it may be more convenient or dramatically better to place him or the camera a bit differently from the way we had planned. But in general, those sketches serve as a remarkably accurate guide to what all of us.\nThis method allows us to study the picture in advance, and in the many conferences that thrash out each scene and setup in detail, we can and do eliminate unnecessary scenes, sets, and actions - sometimes eliminating them entirely, and sometimes telescoping that action into parts of other scenes. All this is done before the sets are actually built.\n\nWhen actual construction starts, Anderson knows how I am planning to light and photograph each scene and setup, while I know to a nicety what sort of set I am going to be working on. Thus we can coordinate our efforts. We have one sequence, for example, played in a Dutch hospital. It probably won't be shot for a month or so yet, but already we know just how it will be executed.\nAnderson knows the directions of my basic lighting and how I will orient my closer shots. I know there will be open windows and skylights, opaque walls, removable ceiling-panels, solid walls, and \"wild,\" probably fabric, walls to facilitate lighting. In one setup, I will have to shoot at an extremely low angle, from underneath a cot. The three-film Technicolor camera is big, so we've provided a special cot with telescoping extension legs to clear it. By removing a couple of pins, the cot separates into two pieces, allowing us to dolly right up to and past it.\nThese sketches are made not only in color but in the actual set and prop colors. De Mille wants to know how everything will look on the set and turns to me constantly with the question, \"How will this photograph?\" whether we're working in monochrome or color. Under this system, there are no waits on the set while details are spray-painted and the overhead mounts merrily up. At the same time, Roy Hunter and I are working out the strictly photographic problems. For instance, we have some low-angle shots for which the lens must be lowered to the floor, which is usually not possible with a Technicolor outfit. Therefore, a special underslung setup is required.\nThe boom-head is being obtained. In another scene, we have a regular Gregg Toland \"pan-focus\" shot to be done on an extremely big set. With the necessity of obtaining sharp definition in a close shot of Gary Cooper \u2013 less than eight feet from the lens \u2013 and carrying equally sharp definition to action around a huge Buddha more than sixty feet from the lens. In black-and-white, this might be done by over-lighting and stopping down a short-focus lens until the desired depth was obtained. In Technicolor, with its slower emulsions, this can't be done. The nature of the scene prohibits split-screen double-exposure. So we are designing a special bifocal lens \u2013 on precisely the same principle as a pair of bifocal spectacles \u2013 in which the lower segment will be comparatively long-focus objective \u2013 say a 3-inch \u2013 to give us the big-head shot of Cooper in the foreground.\nThe ground will be the wider-focus segment, while the upper segment will be a shorter-focus lens focused on the background. The position and shape of the blend between the two will be suited to the nature of the scene's action.\n\nThis preparation makes the actual shooting of the picture the easiest part of the job. Every day, we and everyone else on the set know precisely what each setup is to be, how it is to be treated, and when it will be photographed. As Salven points out, ordinarily, a lot of valuable production time is wasted because, in making one shot, a lot of unused lamps, furniture, props, and the like from the previous setup may be piled indiscriminately to one side\u2014and then, on the very next setup, it is found that they must be moved again as either action or camera may have to occupy that spot. On a De [sic] set, however, this issue is minimized.\nMille and his crew know precisely what shot is going to be made next throughout the day for everyone from \"C. B.\" down to the lowest member of the stage crew. Small wonder that De Mille and his team consistently surprise the \"practical men\" of the industry with their all-around efficiency on big productions. The real wonder is that more directors and executives haven't learned from his example of the practical profits preparation can pay.\n\n\"Strobo-Sync\" (Continued from Page 222)\nThough it is not desirable as it involves a second person to look after the phonograph and some means of signalling to the man at the projector, the best method is a blinking electric light through a commutator. Cinematographers couldn't make use of modern arc lighting.\nKKCTOR's Buys Sir 2s. National Carbon Company, Inc. Unit of Union Carbide and Carbon Corporation Carbon Sales Division, Cleveland, OH General Offices: 30 East 42nd St., New York, NY Branch Sales Offices: New York Pittsburgh, Chicago, St. Louis, San Francisco American Cinematographer June 1943 fitted near the shutter of the projector, and a small neon bulb fixed in a cigar-shaped tin hanging over the disc. This means the record-player can be anywhere \u2014 even behind the projector, which is a very good place for it. I find this electric method simple and satisfactory. In spite of the advantages of being able to show one reel and play one 33 1/3 rpm record with it, I think most amateurs will prefer the standard phonographs of 78 rpm and two turntables played through one amplifier. Especially as 78 rpm turntables.\nThough hard to get, 33 1/3 rpm records are more easily obtained than those at 33 1/3 rpm! This is perfectly simple. All you do is switch over from one turntable to the next when the sync-mark flashes onto the screen. In this way, I have given shows in Bombay \u2014 sometimes to several hundred people \u2014 and with two projectors running, one can carry on quite comfortably, while many in the audience think they are listening to sound-on-film.\n\nBetter Pictures \u2014 Less Film\n(Continued from Page 219)\n\nI very carefully went over the shooting script and figured the exact footage for each scene. In other words, I cut the picture before shooting. If I figured I wanted only six feet for a close-up, I shot only seven feet, giving a foot over for cutting waste. When I had figured the footage, we telephoned for that amount of film, and no more.\nThe picture had to be shot at that length. The Technicolor cameraman who arrived in New York to photograph the picture had just finished shooting the Technicolor sequences in Cecil B. DeMille\u2019s spectacle \u201cThe King of Kings,\u201d where footage knew no bounds. So, you can imagine his look of wonderment, almost dismay, when I told him how our picture was to be shot. He shook his head and said that pictures weren't shot that way. I told him ours would be. When the shooting was done, the picture was already edited. All that was necessary was to splice in the silent titles of those days.\n\nI recall one of those films which received much favorable reaction from critics all over the country. It was a picture called \u201cMemories.\u201d In it was a beautiful young girl named Anita Fremault. She is now known to picture lovers as Anita Louise. When we had finished filming, Anita was just starting her acting career. She went on to become a successful actress, appearing in many films throughout the 1930s and 1940s.\nfinished making the final shot on that picture. We had exactly three feet of negative left over. The system must have been all right, for \"Memories\" played one week at the New York Paramount theater and, to my personal amazement, was praised by the film critics of the New York papers ahead of the feature picture. It then ran 12 consecutive weeks with a Harold Lloyd picture in New York, and did its 14th week in Times Square at Loew's.\n\nWhy not try this system of preshooting editing and save work, film, time, and money \u2013 and remove the worries of wartime film shortage.\n\nProjector Care (continued from Page 218)\n\nProjector bulbs are increasingly hard to get now, and, in many parts of the country, your old bulb must be turned in if you want to receive a new one. This means that it is most important that we lengthen the lives of these lamps as much as possible.\nOperate projection lamps without exceeding their rated voltage. For instance, a 750-Watt lamp rated from 100 to 110 Volts should not be burned at 120 Volts. Doing so will significantly reduce its life. It's better to sacrifice some light on the screen and have it last longer. If you use your projector in a factory district or where electrical voltages are liable to be irregular due to the starting and stopping of large electric motors, put a 120-Volt bulb in your projector for use on the 110-Volt line. This will reduce light efficiency somewhat, but it will also protect the projector from sudden surges caused by large electrical motors.\nWhich projector inputs might not strain the lamp as much. Some projectors have voltage control rheostats, allowing the lamp voltage to be lowered, prolonging its life. Second, if your projector has separate motor and light switches, switch the motor on first, then the light to lessen the peak voltage surge the filament bears when starting the motor. Third, do not over-power your projector. Use only the recommended 500 or 750 Watt lamp, not a 1000 Watt lamp for extra light. The projector's cooling capacity likely isn't sufficient for the larger lamp, resulting in an early lamp death.\nHandle film carefully during projection, as the extra heat from the lamp can damage it, especially Kodachrome. Fourth, handle projection lamps, amplifier tubes, and exciter-lamp with care when transporting projectors over long distances or rough roads. Remove lamps first and put them in a box lined with soft material to prevent filament damage. Remember, projection bulbs and amplifier tubes have a limited lifespan. Treat yours carefully and keep a spare lamp with your projector at all times. Even with the best care, they can burn out, often at the most inconvenient times. The exciter-lamp of your projector provides the light that passes through the sound-track to the photo-sensitive material.\nFor the electric cell, as this bulb is for lighting on Eastern production -- C. Ross, For Lighting Equipment. As sole distributors east of the Mississippi, we carry the full and complete line of latest-type Inkie and H.I.-Arc equipment manufactured by Mole-Richardson, Inc., Hollywood - California. Your requirements for interior or exterior locations taken care of to the last minute detail anywhere. Motor Generator Trucks, Rentals, Sales, Service. Charles Ross, Inc., 333 West 52nd St., New York, NY. Phones: Circle 6-5470-1. June 23, 1943. American Cinematographer. Photograph from Official British Army Film \u201cDesert Victory\u201d Released through 20th Century Fox. War\u2019s Howling Hell. DeVRY Cameras Took It Too. Into the toughest kind of punishment man or mechanism could be asked to take \u2014 with those 26 men and six officers who filmed \u201cDesert Victory\u201d, went DeVRY motion picture equipment.\nCameras. And they took it! Heat! Sand! Hour-on-hour, day-in, day-out grueling, grinding performance at the hands of men who were out to make the picture of pictures \u2014 even though four did. DeVry cameras caught LI. Col. David, who directed \"DESERT\" and \"friend,\" Model A, the grimmest as well as the grandest detail of sheer, thundering, howling hell \u2014 the British 8th Army\u2019s history-writing rout of Rommel from El Alamein to Tripoli. You want to see \u201cDESERT VICTORY.\u201d You want the best in war-born motion picture sound equipment \u2014 cameras or projectors. When peace comes, keep your eye on DeVry! DeVry Corp., Armitage Ave., Chicago, USA. BUY WAR BONDS NOW! MacDonald the Diming VICTORY a DeVry Camera. \u2014 for Excellence in the Production of Motion Picture Sound Equipment World's Most Complete Line of Motion Picture Sound Equipment.\nIt is wise to keep a replacement for the machine as standard equipment, as it is subject to occasional burning out. The voltage adjustment on the photoelectric cell should be set such that the sound from the loudspeaker at the screen is about normal with the volume control halfway open. If it is too loud or too soft at this point, the voltage adjustment should be changed to allow normal volume with the volume control halfway open. This will provide extra power for additional speakers if needed while keeping the sound quality normal in terms of frequency response. Consult your manual for the location of this adjustment. Whenever the sound drum is removed and the exciter lamp is open for cleaning, clean its surface of any dust or dirt that may have collected on it. At the same time, remove the grid.\nCover the photoelectric cell and clean its surface, as well as the lens that focuses light from the exciter-lamp onto the sound-track. Clean and check the lens occasionally for proper focus. Your instruction manual will provide directions on how to do this. It's crucial with any sound optical system that the optical unit is focused sharply on the sound-track at all times, as the sound may be fuzzy and indistinct otherwise. Some projectors have an adjustment to compensate the sound pick-up's focus for reversal originals and 35mm reductions, where the emulsion-side faces the lens, and for reversal dupes (including Kodachrome). Use this adjustment for the best sound quality if your machine has it.\nThe photoelectric cell may gradually lose its output over time. A spare should be kept on hand for replacement. Always keep a spare projection lamp and a spare exciter lamp with the projector. If either lamp fails, the light on the screen or sound from the speaker will cease, requiring a replacement and stopping the show. The projector's sound amplifier uses tubes similar to those used in radios and public-address systems. Therefore, they should be checked by a competent radio service man or dealer every six to eight months to ensure optimal performance. Due to the war, a complete set of spare tubes, some of which are no longer in production, should be obtained.\nyour  radio  dealer  does  not  have  them \nor  cannot  get  them  for  you,  order  them \ndirect  from  the  manufacturer  of  your \nprojection  equipment;  he  may  still  be \nable  to  obtain  them  or  locate  some  for \nyou,  or  suggest  substitute  types  which \nare  obtainable. \nAmplifier  troubles  are  usually  indi\u00ac \ncated  by  a  sudden  loss  of  volume, \ncrackling  in  and  out  of  volume  levels, \nsevere  distortion,  hum,  hiss,  etc.  When \nthis  occurs,  or  the  sound  ceases  entirely, \ncheck  over  your  entire  system,  making \nsure  that  the  exciter  lamp  is  not  burned \nout,  the  photoelectric  voltage  is  being \nsupplied  to  the  photoelectric  cell,  the \namplifier  fuse  is  not  burned  out,  and \nthat  the  path  of  light  between  the  ex\u00ac \nciter  lamp  and  photoelectric  cell  is  not \nblocked.  Also  check  the  wiring  connec\u00ac \ntions  to  amplifier  and  speaker  to  be \nsure  that  they  have  not  pulled  loose. \nIf  you  are  operating  your  projector \nCheck the voltage supplied to your projector is correct and 60 cycle alternating current for your amplifier, unless your equipment is built for other frequencies. If the sound still cannot be properly heard, have your tubes checked and try replacing the photoelectric cell with a spare. Parts in an amplifier sometimes break down. Your radio service man will be able to replace these. Your photo-supply dealer maintains a service to check anything wrong internally; consult him about your troubles. He will advise you what to do \u2014 maybe send the machine back to the factory, or he will be able to refer you to a reliable radio service man who will be able to help you.\n\nA word about fuses. Fuses are the safety valves of your projector's electrical system.\nMost calibration systems require AC current. If they malfunction, there may be a misconnection or incorrect voltage outlet. Most 16 mm sound-projectors have universal AC-DC motors, but amplifier units must have AC current of the 60-cycle type unless otherwise specified. Most power companies supply 110-Volt, 60-cycle current as standard. Occasionally, 110-Volt, 30-cycle or 50-cycle current is supplied in small towns. Additionally, some institutions that generate their own power supply 110-Volt DC current. Amplifiers rated for 110-Volt, 60-cycle current will not typically operate on 30 or 50-cycle AC.\nUse equipment only with rated voltages. Using an amplifier or projector with unrated voltages can cause a blown fuse or damaged components. If a fuse blows when plugging into an electric outlet and turning on the switch, check the voltage rating and type. Contact the power company for information about power supplied to institutions and outlying communities if uncertain. Always carry an extra fuse. If a second fuse blows after verifying the cause of the first was not wrong voltage values or misconnections, do not operate the equipment.\nTry operating your equipment, but see your photo dealer or repairman if you encounter issues. Chances are something is wrong internally.\n\nFor scheduled showings, try to set up and completely check your equipment regarding the picture on the screen and sound volume before your audience arrives. Load the film into your projector and run off a few feet to properly focus the picture and determine sound and tone levels.\n\nSome projectors require thorough warming up several minutes before use to run steadily. If taken in, set up, and started with the picture immediately without a warm-up period, they may \"wow\" or waver in tone, and music, if any, will sound \"sour\" as it comes from the screen. Additionally, speech may be affected.\nAllow time for your projector and amplifier tubes to warm up if they exhibit abnormally low and slow performance. Most amplifier tubes require half a minute or so to transmit sound after warming up. Position the loudspeaker of your equipment high and to the side of the screen for optimal sound distribution to your audience. Placing the speaker on the floor will cause your audience's bodies to absorb a significant amount of volume, necessitating a higher volume setting than required. Never place the speaker behind the screen unless using a specially perforated sound screen. Regular amateur screens will cut off high-frequency sounds, resulting in muffled and indistinct speech.\n\nIf you have the opportunity to select the room for your presentation, choose one with minimal echo and good acoustics. Ensure that the room's dimensions are appropriate for the size of your audience and equipment. Properly insulate the room to prevent external noise interference. Adjust the room's lighting to create an optimal viewing experience, avoiding direct light sources behind the screen. Consider using curtains or blinds to control the amount of natural light entering the room. Additionally, ensure that the room temperature is comfortable for your audience.\nShow your films and try to select a room that is \"dead\" or will not reverberate and echo sounds. Rooms with flat, hard, bare walls, smoothly finished, are likely to be very \"live\" and thus give the sound a very boomy effect, making it hard for the audience to understand. In addition, there may be dead spots where sound echoes tend to cancel each other out and the volume will appear to be very weak at these points. The converse is also true. If you are compelled to show sound-films in a room of this type, set your tone control so that as much bass is removed from the sound as is needed to make the speech clearly understandable. Quite often, what appears to be loud enough volume at the projector is really too loud for the audience. The sound from the speaker has to compete with the noise from the projector and this can make it difficult for the audience to distinguish dialogue from background noise.\nResults in the operator setting the volume-control high enough so that he can understand the speech beside the projector. However, the speaker\u2019s sound may be too loud for those away from the projector and thus become objectionable. You cannot accurately pre-set your volume by listening before your audience is seated, for their bodies will absorb quite a bit of the sound. So a volume setting which is right for an empty room may be too low for one that is filled with people. Therefore, after your show is started, quietly walk around the back of your audience and check on the volume. The sound should be heard distinctly, but not blarey; let the picture on the screen carry the main interest and the sound supplement it. In addition, loud sounds are more likely to set up objectionable echoes, resulting in a distortion of what is heard.\nIf you have to show your films in a large hall or auditorium, plan to use two speakers. Most amplifiers make provision for the use of additional speakers, and you will find that the quality and clarity of the speech will be better if you use two or more of them. One speaker cannot carry much of a load and when forced to do so will distort the sounds and may even cause internal injuries to itself, necessitating expensive repairs.\n\nSummary:\n\nCertain definite rules might be restated as follows:\n\nFilms:\n1. Keep them clean.\n2. Repair any broken perforations or splices as soon as possible.\n3. Keep your films in dust-proof cans only.\n4. Store them in a cool, dry place.\n5. Handle them only by the edges, never by the picture area.\n6. Never pull the film tight on the reel by hand.\n7. Provide a long enough leader.\nKeep projectors and amplifiers clean:1. Lubricate them according to manufacturers' instructions.2. Clean the picture gate before each projection.3. Keep the sound gate and lens clean.4. Do not overvolt your projection lamp.5. Do not use a lamp of greater power (Wattage) than specified.6. Keep a spare projection lamp, bulb, and extra fuses with your equipment.7. Keep a spare photoelectric cell and a spare set of amplifier tubes on hand.8. Do not operate your equipment on the wrong current frequency or voltage.9. Have your equipment completely set up, focused, and checked for sound volume and tone before audience arrival.\n\nIf you observe these simple rules, your equipment will function properly.\nYou will eliminate many embarrassing stoppages or breakdowns in your performances by doing the following: \"Cheating\" (continued from page 217) Display bases on a good, sturdy plank \u2013 about a 1x4 unless you have a very heavy camera \u2013 long enough to span the opening of the door. Borrow a pair of large C-clamps from your woodworking hobbyist friend and use these clamps to hold your board across the opening of the door, at the required height. In some instances, it may be a good precaution to add a vertical brace made from a 2x2, running from the floor straight up to your board-mount at a point just under the camera. It can be nailed or held in place with a smaller C-clamp. This is an added safeguard and will give greater rigidity. My friend interrupted, \"This was all very well for most shots,\" he said.\nBut how about angles like some in your picture 'Pride of the Yankees'? I remember a sequence where Gary Cooper and Teresa Wright, as Lou Gehrig and his bride, engaged in a friendly little scuffle, wrestling all over the floor and ending up with Mrs. Gehrig pinning her husband's shoulders to the mat. There were some angles there, where you shot past Cooper's head and shoulders, looking upward at Miss Wright, that you couldn't have gotten without dropping the camera into a pit in the floor \u2014 and which even an 8mm amateur couldn't have gotten by the means you suggested.\n\nThis was accomplished by \"cheating.\" We put the camera as low as we could get it on a \"high hat\" surmounted by the regular tilthead. Of course, this put the lens two or three feet above floor-level.\n\nSo we simply built our action up to this height.\nThe necessary height for our shot. Instead of being actually on the floor, Cooper lay on some planks, supported by stout boxes, which brought his head and shoulders to a point where we could get them in the foreground of our shot. Miss Wright \u2014 also on the planks \u2014 went through her action, pinning his shoulders to the planks, rather than to the floor. On the screen, the result was exactly the same as though we had placed the camera\u2019s lens at or below the actual floor-level, and shot the scene that way. It was intercut with other shots that showed the couple wrestling around on the floor, so the audience accepted this particular cut as showing them still on the floor. But from our point of view, the scene was much easier to stage as we played it. Similar scenes should be just as easy for amateurs who use the same method of \u201ccheating.\u201d\nI don't recall at the moment whether the composition in that particular shot made it necessary to include in the background portions of any tall furniture, like the cabinet in which Gehrig kept his baseball trophies. If it did, we probably \"cheated\" with that as well, raising the cabinet to the necessary height by putting blocks under the legs. This type of \"cheating\" is carried out every day in the studios. For instance, suppose we have a medium close-shot of a man sitting at a desk, and want the desk to figure prominently in the foreground, but yet don't want to drop the camera as low as would ordinarily be necessary for this effect. Well, we simply put the desk on block lifts of the desired thickness, and there is our effect, very easily obtained, and without distorting the perspective on the actor. In the same way, if we have a player sitting in a chair and want to make the chair appear larger than life, we might use a similar technique, elevating it on a platform or stand.\nIn a scene, a player is seated in a chair during close-angle shots, playing a sequence with another player. Reverse-angles are used, with the player being spoken to in the foreground or background of each shot. The chair is raised using \"lift\" blocks, which are not visible in close shots and are removed for long shots. Study the March magazine cover for an example. In sequences of this kind, one actor can frequently be played in a position several feet to the side of the position he occupied in the establishing long-shot, if necessary for compositional or dramatic reasons. The whole subject of \"cheating\" in filmmaking.\nOnce you've established a basic relationship between players and set in long-shots, you can move them about to a quite unreal-seeming degree in making closer angles. The audience never sees what is outside of the camera's field and takes it for granted that a relationship or position established in long-shot angles continues throughout the closer ones. Remember this, and you will find it easy to add a very pleasing variety of camera-angles to your pictures \u2014 with much less difficulty than you anticipate.\nThe members were continually moving about the room, viewing the pictures from all angles and receiving an education about screens and their light-reflecting properties. This should prove an interesting experiment for any other club.\n\nHave you ever discussed the principles of composition? In most movie groups, there are some members who are artists or who have had art training. All that is needed is a blackboard and a piece of chalk \u2013 let your artist go to work with simple line drawings. A demonstration of this kind will hold the interest of the whole club. It is very practical and need not be too elaborate to prove its effectiveness. The pointers learned in a simple demonstration of grouping in the form of triangles, rectangles, etc., will help all who see it to select better compositions and angles for their future pictures.\nWhile we are on the subject of composition from an art perspective, a follow-up meeting on color would be in order. Color exerts such a strong influence on our daily lives that we dare not overlook this important subject. Picture, if you can, a colorless world, and how drab it would be! The food we eat, the clothes we wear, our immediate surroundings, trees, flowers, sky, water \u2014 all that we see \u2014 is distinguishable by virtue of its color. Here is food for thought and good material for a lecture \u2014 the harmony of color in its simplified form, how it can be applied to our movie making, what constitutes good color composition, and how we may attain more perfect color balance in our films. The majority of us use color film, and a meeting devoted to this especially interesting subject should be a \"must\" on all movie club programs.\n\nIn the past, we were often extended.\nThe courtesy of lectures by various manufacturers of light meters inspired many of us to purchase these useful instruments. It would be a splendid idea for some members who own various makes and styles of meters to plan a discussion. A movie-making equipment with which the user develops his own style of handling, there is nothing mysterious about this. Some photographers are able to achieve better results than others, but experience in using one's own pet meters would be valuable to the club as a whole. The more we talk about our hobby, the more proficient we become. Don't hide your light meter under a bushel. Bring it to the discussion.\nDid it ever occur to you that each time a contest is held, many very fine films are shown and we very seldom see them afterwards? Why not have a revival of these prize-winning pictures? Those who were unable to be present at the various contests would more than welcome the opportunity to see these splendid films. Those who have seen them would hardly be averse to seeing them again, for all of us can bring to mind some beautiful picture we have seen in the past and hope that it might be shown again. Why not a contest to select the best of the contest films of yesterday?\n\nI have heard remarks while pictures were being shown that this or that shot was made by a telephoto lens. \"You can usually pick them out for they seem to be overexposed,\" some folks say\u2014and are often proved wrong. No matter.\nWhich lens is used, there should be no difference in the quality of the picture. Another subject that can be discussed for the enlightenment of our club members is determining the different types of lenses that your members possess. Have them displayed on a table for all to see and examine. There are members in all clubs who are well experienced in telefilm.\n\nDirect 16 mm\nSound\nUsed by:\n- Douglas Aircraft\n- General Elec. (Welding Series)\n- Boeing Aircraft\n- North American Aviation\n- U. S. Dept, of Interior\n- U. S. Dept, of Agriculture\n- Santa Fe Railroad\n- Washington State Apple Commission\n- Standard Oil of Calif.\n- Salvation Army\n- Many Others\n\nA Better Job Faster- More Economical!\nTelefilm Incorporated\n403 Hollywood Blvd., Hollywood, CA\nGladstone 5748\nAmerican Cinematographer \u2022 June, 1943 \u2022 p233\nI. Illustrating the Use of Various Lenses in a Lecture\n\nThe use of all kinds of lenses and who could talk intelligently on the subject can be vividly illustrated by projecting a still picture on the screen. Mask off areas indicating the use of various lenses. This can be accomplished by cut-out masks placed in front of the projection lens. By moving the projector farther back and filling the screen with each masked area, the startling results of the use of each lens are quickly and dramatically brought to the screen. In this manner, the lecturer can illustrate the use of each lens as he talks about it. The possibilities of developing this into a full and interesting meeting need no further explanation.\n\nA suggestion for what can be done in your own club: with a little thought and planning, any meeting can be turned into an engaging event.\nShooting in New Guinea: The water was so hot it was impossible to do anything with it. Water was brought overland 40 miles through a steel pipe. The hot sun beating down on that pipe was better than an electric heater, and a shower would literally cook a person. Drinking water was obtained by sinking a large metal container (about the size of a large garbage can) in deep holes in the ground and covering it over. In two or three days, the water was quite cool and pleasant to drink. The water in the pipe began to cool off after dark, and about two or three hours later, the boys would roll out for a swim.\nFor three and a half months, I had no idea how my pictures were coming out. I didn't know how my film was holding up (it was not tropical pack), or if my cameras were in adjustment. I would wrap up the day's take and look for a plane bound for GHQ in Australia. There the film was inspected and re-wrapped for shipment to Washington, D.C., where it was developed. Finally, I was able to make a test. I located a makeshift darkroom in a basement and was able to prove, to my great satisfaction, that my pictures were coming out all right.\nI left the States with a 4x5 Speed Graphic and a 5%-inch/4.5 lens, a Rolleicord with a 3.5 lens, and a Leica with a 6-inch lens. For all-around work, I found this equipment very satisfactory. I also took along three cases - 30 doz. to the case - of 4x5 cut film and 48 rolls of No. 120 rollfilm.\nFrank described having two dozen film-packs of Eastman Super-XX, each with 12 exposures, and five rolls of 35mm film. All the film was regular pack, and he had no tropical pack until six weeks before leaving the South Seas. Frank recounted an unusual experience in New Guinea with a roll of Super-XX film. He had exposed the film and placed it in a canvas duffle-bag, which was accidentally dumped in the water where a stream emptied into the Pacific Ocean. He quickly dove to retrieve his precious bag. Later, at base camp in Port Moresby, Frank decided to develop the film for fun. He assumed it had been ruined by the salt water, but to his surprise, all twelve negatives were in excellent condition.\n\n\"When I arrived at Port Moresby, our base camp on New Guinea, the work\" (omitted as it does not belong to the original text)\nThe conditions were somewhat better than at Darwin. All civilians had been evacuated, and we had the best house in town for our quarters. Rainwater was collected in a huge vat for piped to the house. There, I was able to do some processing.\n\nOne fine day, the Signal Corps set up portable darkroom equipment, and an ice-making machine to keep the solutions cool, and I had no more trouble processing my negatives.\n\nI sent out my negatives whenever possible. Sometimes I had only two or three ready. Other times, I sent out as many as I could.\n\nIn the jungle, I shot most of my pictures at 1/25 to 1/10 of a second, wide open. All the pictures I shot at Port Moresby were made with K-2 filter. This was possible because there were fewer trees than in the jungle country, and the air was drier. In the jungle, it was not feasible to use filter.\nThe fog rolled in, causing issues during aerial shoots. I applied a dark red filter to penetrate the haze and enhance contrast. \"The extreme humidity presented the worst problems. I encountered significant trouble with film-packs. The safety paper between the films would sweat, causing the films and paper to adhere. I also faced challenges with cut film. Due to the moisture in the air, perspiration does not evaporate, resulting in consistently damp hands. The confined space in the changing bag exacerbated hand perspiration, and damp hands left fingerprints. \"The primary issue with light was not due to the light itself, but from the lens fogging over because of the humidity. It was difficult obtaining good pictures in the jungle, but that was not the sole cause.\nTo a deficiency of light, not of the film. If you can imagine going out to take pictures in a tunnel without flash-bulbs, you can visualize the problem of shooting pictures in the jungle. We were unable to use flash-bulbs because that would reveal our position to the Japanese. Additionally, there was a question of weight. One travels very light in the jungle. Every unessential ounce of weight and every inch of bulk has to be eliminated due to the hard going.\n\nI soon learned how to make the best use of my equipment under the conditions down there. The Speed Graphic was good for layouts and pictures I could plan at least slightly in advance. The Leica came in handy for shooting bombing planes and other long distance shots. On the actual fighting front, I used the Rolleicord most of the time.\nThis camera gave excellent service for several reasons. It was small in weight, easy to carry and handle, and valuable when it was necessary to make a number of quick pictures before taking time out to change films. The Rolleicord can also be used as an aerial camera by closing the Reflex hood and using the frame viewfinder.\n\nI didn't spend much time sitting around base camp, but exercised my prerogative as a war correspondent to move from camp to camp, meeting the men, and making pictures of their activities. When you do this, you really learn what is meant by 'living under field conditions.'\n\nTo make a bed in the jungle, for instance, you cut a couple of six-inch poles, then laid branches and twigs across them to keep you off the soupy ground. With half a shelter tent strung above, you achieve a slight protection from the elements.\nThe rains weren't sufficient for your camera. The best way I found to protect my equipment in such a situation was to wrap it in my rain coat and suspend the bundle by rope from a tree. This kept it a good deal drier than I usually was!\n\nWhen the Japanese pushed to within 35 airline miles of Port Moresby last fall, we all waited impatiently for marching orders. There was plenty to do around the port, which was teeming with activity. Supplies had to be unloaded and distributed. Our men had to be trained to adapt themselves to the mountain jungle conditions they were soon to meet.\n\nThe natives of New Guinea helped greatly; they unloaded supplies, etc. Most native women and children had been evacuated inland, but there were a few around Port Moresby. The natives lived in a little village on stilts at the edge of the port.\nThe women were mostly remarkable for their lack of clothes. They wore unattractive, bulky grass skirts, and many of them were tattooed. The men went in for sarongs and fancy hair ornaments of flowers, or shell and bone. For state occasions, they daubed themselves in fancy patterns with some sort of sticky yellow substance.\n\nThey dressed up in this swanky manner to greet new arrivals. But these same \"sport-model darkies\" were very useful in leading our men through the jungles.\n\nGetting lost in the jungle is very simple. Just step off the trail, and it is accomplished. One day I was twenty feet from the trail and hopelessly lost.\n\nJap air raids were a daily occurrence. On land, the Australians were driving them back through the mountains. Meanwhile, our U.S. engineers were building roads through the jungle.\nWe journeyed through jungles to reach our jumping-off place. Many of our Engineers were Negroes, and I often marveled at their good humor and ready courtesy. Cutting jeep trails through the virgin jungle is extremely hard work, and the workers were constantly besieged by mosquitoes, flies, ants, and other insects, as well as having to contend with incessant rains and oppressive heat. Yet those Negro boys sang and laughed, and kidded the jungle in a way that was truly admirable. They were always ready to stop and help with heavy loads, free a bogged jeep, or help in any way required of them.\n\nFinally, we received our marching orders, and at the jumping-off place we had to struggle with the jungle in a hand-to-hand battle that was no small thing in itself. The jungle is a slimy, dank, dark-green hell of its own without the menace of the Nips. Every creature in it seemed to be hostile.\nThe foot of the way had to be hacked out on our overland trip to the front. The Fuzzie-Wuzzies were a great help. Some of them showed great bravery and were dependable guides and leaders. Many of our soldiers who made that first trek across the island from Port Moresby to Buna were saved from probable death when the natives took over their heavy packs during the worst of the trip. The natives trotted up and took my camera and field pack into camp when I thought I could not take another step.\n\nThese boys are crazy about American ACME Professional 16mm. Camera with Pilot-Pin Movement and Professional Erect-Image Finder\n\nAvailable on Priority or Lend-Lease\nACME TOOL & MFG. CO.\n2815 W. Olive Avenue, Burbank, California\n\nAuricon\nSound Camera\nfor 16 mm sound - on - film\n\n\u2605 High Fidelity Sound\n\u2605 Self-contained in sound proof \"blimp.\"\nAuricon 16 mm Recorder and Camera\nMinimum equipment, maximum portability. Camera and amplifier, complete, weigh only thirty-seven pounds.\nKodachrome or black and white pictures with Auricon sound track will reproduce on any sound-film projector.\nCan be operated in the field from an Auricon Portable Power Supply.\nAuricon Camera with type \"C\" lens mount (but without lens) and Amplifier complete with microphone, instructions, and cases\nVariable-area sound on film, for double system recording with a synchronous motor driven 16 mm. camera. Amplifier has background-noise reduction and mixers for combining speech and music. With dynamic microphone, instructions and cases for Recorder, Amplifier, Accessories ... $695.00\nAuricon 16mm sound-on-film recorders and cameras are serving the Nation's War effort with Military and Government Film Units, and with civilian orchestras.\nOrganizations producing essential morale and industrial training films. If your work in such fields makes you eligible to purchase new equipment, we invite you to let our engineers show you how Auricon portability and professional performance will simplify your recording problems.\n\nAURICON, E.M. Berndt Corp.\n5515 Sunset Blvd., Hollywood, CA\nManufacturers of sound-on-film recording equipment since 1931\n\nGOERZ CRAFTSMEN\nDoing this and that\u2014\n\nThe production line of \"GOERZ AMERICAN\" is formed by skilled men, who through painstaking work create high-grade photo-lenses and optical units for military instruments used by our armed forces,\n\nOn Land,\nOn the Sea,\nIn the Air,\n\nThese precise optical units are of the greatest importance to our armed forces, for without accurate military instruments, they would be unable to function effectively.\ninstruments for sighting, fire control and photographic aerial reconnaissance were essential to their fighting machinery. Optical science, along with our craftsmen, contributed to the war effort by doing their duty on the production line, hastening victory. Our production was geared to meet government requirements. Within limitations, we may still be able to supply \"GOERZ AMERICAN\" lenses of certain types and sizes for civilian use. We suggest placing inquiries through your dealer or directly.\n\nDepartment AC-6\nC GOERZ AMERICAN OPTICAL CO\nOffice and Factory\n317 East 34th Street, New York, 14, N. Y.\n\nPrecision Optics\n\nCigarettes, and a single smoke or candy bar were considered sufficient reward for very considerable services.\n\nThat first trip to the front was something to remember. Men hacked and chopped through the matted vines.\nand we struggled through heavy underbrush. Sometimes we fought our way through thick, sharp Kunai grass, seven or eight feet high, which disagreeably stings the face and hands. We pushed through dangerous, foul-smelling swamps, and crossed crocodile-infested rivers. A mile in two hours was making good time. At the start, we were given ten minute rest periods every sixty. That was soon changed to ten minutes\u2019 rest every thirty, and that still wasn\u2019t enough.\n\nOn the last advance up coast, our contingent got lost in the jungle. We forded one river fifteen times, and the going was extraordinarily tough. We were down to C rations, and they eventually gave out. Finally we solved our problem by following the river down to the sea. At a small mission we found another unit who gave us our first meal in three days.\n\nWe were now close to Buna. We had\n\n(Note: The last sentence appears to be incomplete and may require further context to fully understand.)\nI have cleaned the text as follows:\n\nlicked the jungle and were ready for the Japs. So far, our advance had not been detected by the enemy.\n\nAt the advance post, we were greeted festively by the Fuzzie-Wuzzies who had donned their best yellow paint to greet us. Chanting happily, they helped us stack and cover supplies.\n\nI made a quick trip back to Port Moresby by plane to process my pictures and get them underway, then I flew back to the front in a plane that was hauling badly needed supplies.\n\nHeavy winds tumbled the storm clouds which obliterated the Owen Stanley Mountains. After several attempts, the pilot decided to \u2018blind\u2019 fly it. That was quite a moment! We hit raging winds over the ridge, but we made it and wound up in a little place only a few miles from the front lines. We soon advanced to within two miles of Buna. The jungle hid us, fortunately.\nfor we were not far from the main body of Japanese troops. Our bombers were giving the Japs a heavy pounding to soften them up before the final drive for Buna. The Australians joined our air attack, and I saw plenty of Zeros crash into the sea. Only a few minutes later, the Japs drew blood at our position. Time after time the Zeroes circled, low, firing at our men. By that time we were all pretty good at digging slit trenches.\n\nOne morning the Japs gave us our worst bombing. They came in from the sea, 30 strong, circled our position, then out again to swoop down to sea level where they could mark our position under the trees, then the\nbombing began. They would circle low, and we would get a rain of machine-gun bullets. I was flattened in a slit trench. Bombs burst closer and closer. My back was covered with dirt, sand, and mud. Finally, a bomb explded near enough to throw me completely out of my slit trench.\n\nWe dug our trenches, \"New Guinea Coffins,\" we called them, with our mess kits and helmets. I have seen our boys lie in them for 24 hours at a stretch, unable to smoke, soaked with mud and rain, just waiting for a chance to advance.\n\nAfter our successful battle for Buna, I came back to the States on leave. I'll be shipping out again soon. Where? I won't know that until I'm on my way.\n\nTo anyone who expects to be sitting pictures in the South Pacific area, Frank suggests taking the same equipment he carried.\n\nThe Speed Graphic and supplies.\nFor picture taking at the base camp, leave the Rolleicord with its regular 1:3.5 lens and the Leica with a 6-inch lens. Ensure you take plenty of rollfilm, preferably a tropical pack. When questioned about the challenges faced by a motion picture cameraman, Frank shared this anecdote.\n\nA motion picture photographer for March of Time (an Englishman) had recently finished shooting a planned picture - a short on the alertness of pilots in the field. When we received a real alert, he realized and rushed to the top of a hill to capture pictures of the bombing. He reached the hill in time to get some good shots but discovered he was out of film when he began shooting. By the time he reloaded, all the bombs had been dropped.\nHe would have had among the most spectacular pictures if he had obtained them in Port Moresby. It seems that a 35mm. camera is too large and difficult to handle, and it is almost impossible to carry an adequate amount of film. I traveled at the front with Martin Barnett of Paramount News, and I saw some of the problems he had to contend with regarding movies. He carried a 35mm. Eyemo camera. I believe his lenses were a 2-inch and a 6-inch focal length, and he would take along about 2,000 feet of 35mm. negative. But while actually shooting at the fighting front, he could take along only four or five hundred feet.\n\nIf he had been equipped with 16mm., his camera-outfit would have been rather less than half as big and half as light. With the lighter and more manageable 16mm., he could have taken along more film and captured more footage.\nCompact 16mm. film, he could carry enough footage to give him five times the screen time of the bulkier 35mm. stock he carried \u2013 enough to give him the equivalent in screen time of 1500 to 2500 feet of 35mm. And of course, using Kodachrome he could have gotten 35mm. enlargements that would compare very favorably with anything he could shoot with 35mm. under field conditions. In a word, he could go farther from his base, stay longer, and bring back much more in actual picture using 16mm. than was possible with 35mm.\n\nAnd I think that both the official war films and the commercial short-subjects made in 16mm. Kodachrome and released in 35mm. blow-ups, whether black-and-white or Technicolor, have pretty well proved that 16mm. is just as good as the man behind the camera. In the hands of a capable, cool-headed cameraman.\n\"professional experience in New Guinea taught, the newsreel crowd and A.SC-members in military and naval photographic services, 16mm can pay big dividends compared to 35mm for front-line camerawork. Take best possible care of all equipment. New equipment not easily obtained, especially if 6000 miles from home office. Want to keep making pictures, got to 'make do' with outfits started with. Lightweight equipment essential. Carry it yourself in real front. Bad enough when going gets tough. Thousand times worse when dodging bullets too. Compact, lightweight equipment easier to protect, too, when weather conditions unfavorable.\"\nRUBY CAMERA EXCHANGE\nRents Sells Exchanges\nEverything You Need for the Production & Projection of Motion Pictures Provided by a Veteran Organization of Specialists\n\nIn Business Since 1910\n729 Seventh Ave., New York City\nCable Address: RUBYCAM\n\nConditions get bad, as they always do, at the front. And\u2014remember that a man trying to use a big camera of any kind in the field makes a lot bigger target than the same man using a smaller, lighter camera!\n\nAt the Front\nContinued from Page 208\n\nRegularly every three days, including war news shots, aeroplanes, trains, and dusty khaki-colored bullet-punctured front line lorries delivered to the Central Newsreel Studio in Moscow their tins of films. One winter morning, a car containing tins of film drove up to the Central Studio as usual. Inside the vehicle lay the dead body of our colleague, camera operator.\nErman Pavlov. He had been filming the Red Army taking a town in the front line and had been killed by shrapnel. At the precise moment of this heroic cameraman's burial, the studio was mixing the sound track for its next newsreel issue, which showed the actual scenes of our troops retaking Malo-Yaroslavets, the very same battle in which Pavlov had met his death.\n\nThe war of the Soviet people against Hitler's hordes knows many instances of sublime heroism and valour. It would be difficult today to say where Soviet newsreelmen could not be found filming this war throughout the vast expanse of the front stretching from the Black Sea to the Arctic Ocean.\n\n\"The war of the Soviet people against Hitler's hordes knows many instances of sublime heroism and valour. It would be difficult today to say where Soviet newsreelmen could not be found filming this war throughout the vast expanse of the front, from the Black Sea to the Arctic Ocean.\"\nsubmarines will always be found at their posts in infantry units, even in the most strenuous moments of enemy charges; they film guerilla action far behind the enemy\u2019s lines. The cameraman often becomes the Red Army man, laying aside his camera and taking up a machine-gun or tommy-gun.\n\n\"I should very much like to bet you, my friends, cameramen of Great Britain and America, that we shall meet you working and fighting hand in hand with us when the Second Front is at last opened.\n\n\"Then, firmly gripping each other in a handshake, in close creative cooperation, we shall film the final shots and make the great historic film of the decisive battle and victory of freedom-loving, progressive mankind.\"\n\nOutdoor Camerawork (Continued)\n\nThe increase in both visual and lighting contrasts in the dupe or enlargement should be less.\nIn Kodachrome, little is required in filtering, except for filters made to correct Type A Kodachrome for exterior use and occasionally to penetrate haze in extreme long-shots. In the first instance, you merely need to use a filter. In the second, you can use either the Eastman \"Kodachrome Haze Filter\" or, and I think this is better, a Pola-Screen. The Haze-filter frequently tends to distort color-rendition in the distance. The Pola-Screen gets through distant haze just as well and has the advantage of keeping the background color-rendition unaffected. For that matter, I've found the Pola-Screen useful at times in 35mm black-and-white, not only to eliminate unwanted glare or reflections, but also to \"pull down\" the sky without affecting the color-rendition elsewhere. So if you feel you need it.\nArmed with at least one filter, I'd recommend making that one a Pola-Screen, and forgetting the rest.\n\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n995 Merchandise Mart, Chicago\nBUY WAR BONDS TODAY\n\nFocus and flash with KALART tomorrow!\nWrite for literature\nThe Kalart Company Inc.\n114 Manhattan St., Stamford, Conn.\n\nMovolia\nFilm Editing Equipment\nUsed in every major studio\nIllustrated literature on request\nManufactured by\nH. W. Houston & Company\n(A Division of General Service Corp.)\n11801 W. Olympic Blvd., West Los Angeles, Calif.\n\nFaxon Dean Inc.\nCameras\nBlimps-dollies for rent\nDay, Normandie 22184\nNight, Sunset 2-1271\n4564 Sunset Boulevard\n\nMax Fabian\n(Continued from Page 210)\n\nminiature battlefield for a relatively unimportant little program picture.\nDirected by King Vidor and photographed by John Arnold, A.S.C, the film was called \"The Big Parade.\" I was assigned to this project, having never photographed a miniature before. I confess I wasn't at all sure how to go about it. But somehow I managed to get the shot filmed, and everyone was surprisingly pleased with my efforts. So I kept doing miniatures, which were then just beginning to come into general use.\n\n\"Oh, in between, I'd do a production now and then - went over to Fox for some of them - but all the time Metro kept calling me back to do more miniatures. So finally I just stuck to it . . . and they've kept me busy at it ever since.\n\n\"I'm not sorry, either. Once you get into it, there's a strange fascination about making miniatures look real on the screen.\n[Besides, now that production camerawork has become more complicated and nerve-racking, I figure I get out of a lot of headaches letting the other boys handle the production work.\n\nFOR SALE\nIMPROVED DUPLEX 35MM PRINTER, with two Bell-Howell Cams and Shuttles. Perfect registration for Color or Black and White, also process plates. Bell-Howell Standard Silenced Camera; Educational Blimp and Dolly; Sound and Silent Moviolas. Equipment slightly used at a big saving.\n\nHollywood Camera Exchange.\n1600 Cahuenga Blvd., Hollywood.\n\nWE BUY. SELL AND RENT PROFESSIONAL AND 16mm EQUIPMENT, NEW AND USED.\nWE ARE DISTRIBUTORS FOR ALL LEADING MANUFACTURERS.\n\nRUBY CAMERA EXCHANGE, 729 Seventh Ave., New York City. Established since 1910.\n\nRCA MITCHELL OR BELL AND HOWELL 3 phase CAMERA MOTORS, $135.00; RCA R-2 STUDIO RECORDER, $275.00; TWO ELEMENT GLOWLAMPS, $9.50; DEVRY SINGLE]\nSYSTEM: CAMERA AT SACRIFICE; DUPLEX 35MM STEP PRINTER. $425.00. Berndt Auricon 16MM Recorder with Noise Reduction, Beautiful. $595.00. S.O.S. Cinema Supply Corporation, New York.\n\nFor sale: Cine Special only with Auricon Recorder $975. Fine lenses available to buyer. Auricon alone $525. Trade 16mm lenses for Filmo Sportster. Box 1006. American Cinematographer.\n\nLighting Equipment for Sale: 12 Broadsides complete with cables, plugs and diffusers $40.00 each. 12 Converted 18-inch spots. Fresnel lenses, stands, cables and plugs $40.00 each. 18-inch spots complete $25.00 each, without stands $15.00 each. Sold only in lots of six or more. Crating extra. Don Malkames, 40 Standish Ave., Tuckahoe, N. Y.\n\nOne pair Craig 16mm. Film Winders for 2,000-foot reels $15.00. One Beaded Screen on tripod 36 x 48 inches, like new $15.00.\nOne Kleigl floodlight, 2000 watts, no reflectors or cable, $37.50. One Kleigl 5,000-watt floodlight, $75.00. Will take also 1,000-watt lamp. Photos of Kleigl lights sent for 25 cents. Box 1005, American Cinematographer.\n\nSPEED Graphic, 3% x 4 inches, F:4.5 Zeiss TE3-SAR, rangefinder, speed-gun, pack and film-holders, case, etc., $200. Bell & Howell f :2.5 8mm camera, new condition, $75. Thalhammer tripod, $20. Box 1006, American Cinematographer.\n\nAt MGM, I have a pretty free hand. I work in friendly, cooperative fashion with the directors and art directors of the miniature department. But in the actual shooting, I\u2019m pretty much on my own. They may provide the set and indicate how they want the action played, but it\u2019s my \u2018know how\u2019 that puts the shot on the screen. And I\u2019m not always harried.\nas production men urge one to hurry and get the overhead over with, I've recently turned down chances to try production camera work. I'm quite content to be the biggest photographic frog in my own small puddle. \"Besides, I like miniature work. Every shot is different, and has its own challenging problems. Sometimes, my miniatures are for a big picture, and I have weeks of time and a six-figure budget to do them with... so that I can use large-scale, three-dimensional miniatures, and take my time getting the best possible results. At other times, usually for less important shots or pictures, I have to work comparatively fast and with the sketchiest of materials. Then I'll use cut-outs, and play around with lighting, perspective, and camera-speeds to create the illusion I'm after.\nWanted:\n\nGuaranteed highest prices paid for:\n16MM. Cameras\u2014 Sound projectors 35MM. Eyemo Cameras, all models; Bell & Howell \u2014 Mitchell \u2014 Akeley and motors, lenses, accessories, lab equipment. Write us first.\nThe Camera Mart, 70 West 45th St., N.Y.C.\nWanted to buy for cash:\nCameras and accessories\nMitchell. B & H, Eyemo, Debrie, Akeley\nAlso laboratory and cutting room equipment\nCamera Equipment Company\n1600 Broadway, New York City\nCable: Cinequip\nWe pay cash for everything photo-graphic. Write us today.\nHollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\nCameras, Eyemo, Bell & Howell standard. Mitchell, accessories. 16mm Sound projectors, any make. Recorders or what have you? S.O.S. Cinema Supply Corporation, New York.\n\nWanted: D.C. motor for Debrie Parvo camera. Please give full details in air.\nG. O. Russell, 136 E. Bay Street, Jacksonville, Fla.\n\nErker Bros., 610 Olive St., St. Louis, Mo.\n\nHighest prices paid for 16mm silent and Sound projectors. Give complete details including make, model, condition and price.\n\nThose 'Miniver' miniatures were cut-outs, and so were the shots of the Jap fleet in 'Wake Island'. But if you can make them look real, it doesn't matter what they may actually be.\n\nThat's the big thing about shooting miniatures or any other kind of special-effects shot: make it look real. Once you've done that, bend every effort to making your composition and lighting artistic. And with that combination, you've the whole sum and substance of successful miniature work.\n\nIn all of it, none of us today are trying to fool the public. Instead, we're trying to create realistic and artistic special effects.\nA new kit of 336 aircraft identification silhouettes in 2\" x 2\" miniature slides, prepared by \"Flying\" magazine, is being distributed exclusively through the Society for Visual Education, Inc. The kit has been tested with excellent results in approximately 150 aircraft identification courses in high schools, colleges, and among various units of the Armed Forces. Material for this kit was prepared by a highly specialized staff of experts and is specifically designed for group instruction. It includes 110 different types of aircraft used by the world's major air forces.\nThe kit includes three silhouettes for each type of aircraft, showing side, bottom, and front views on separate slides. Six introductory slides display front and bottom views of various wing types. The kit comes with an indexed case, slides, and an instructor's manual. Each slide is labeled with its corresponding guide number and aircraft type on the case cover. The instructor's manual includes an alphabetical index of aircraft types and usage suggestions. The standard kit costs $35.00 in cardboard Eezeemounts, while the De Luxe Kit, with slides mounted between glass in S.V.E. Slide Binders, sells for $55.00. Smaller units of supplementary slides will be available from the Society.\nVisual Education, Inc. obtains detailed information about new military aircraft types and prepares new drawings as quickly as Flying magazine's staff secures them. This material, including the original kit, will also be made available on slide-films for those without projectors for miniature slides. For more information on these effective training aids, contact the Society for Visual Education, Inc., 100 East Ohio Street, Chicago.\n\nClassified Advertising\n238, June 1943, American Cinematographer\nAided by Recordak System\n\nOur Navy \"came back\" after Pearl Harbor to engage in the bitterest series of Naval engagements in history. Critically wounded ships had to fight again and again. The Nation's life depended on miracles of repair. . .\nA set of blueprints for a destroyer covers a quarter of an acre and may be filed in Washington. Quick reference to these plans and specifications on the spot is essential for a workmanlike repair job. After the hell of Pearl Harbor, the Navy isn't waiting for tons of blueprints to be shipped. Little rolls of 35-mm. microfilm can cut priceless weeks from the time required to send a battered ship back into action.\n\nThrough Kodak's Microfile Recordak System, the photographic method behind V-J Day, the Navy condenses, on microfilm, the bulky original plans. These can be flown halfway around the world within hours or are already on hand at distant repair bases. They may even be on a \u201cmother ship,\u201d for repairs at sea.\n\nThis is only one of many instances where Recordak is increasing the effectiveness of America's war effort.\nRation banking was originated to duplicate, on microfilm, every check cleared through a bank - safeguarding depositors and simplifying banking. It was revolutionary, but no one could have foreseen its manifold destiny.\n\nYour ration coupons have become as essential as money. They are turned in by your dealer to his bank. The larger banks - 90% of them - have Recordak machines, which photograph the record of their ration transactions with dealers and wholesalers.\n\nOfficial U.S. Navy Photographs\nAbove - Fantastic patterns of flame and smoke at the moment the magazine exploded on the bombed destroyer Shaw at Pearl Harbor. The end of the Shaw?\nRight - This is the same Shaw. She was floated and repaired in San Francisco ... showing what repair can do!\n\nOur fighting forces, in new offensives, carry Recordak duplicates of available maps and photographs.\nIn Selective Service, Recordak made error-proof copies of each of the 9,000 numbers \u2013 critical in the lives of 17,000,000 young Americans \u2013 as they were drawn. In our war industries, engineering drawings and shop orders that could occupy acres are reduced by Recordak to \u201ccapsule\u201d size. Your Social Security records and your War Bond purchases are microfilmed by Recordak. The U.S. Census \u2013 going back to 1790 \u2013 is now in this condensed, time-proof form. The accessibility of these records has enabled the Government to issue \"Certificates of Citizenship\" to thousands without birth certificates \u2013 put them into war-production jobs. Your food rationing problems? Think of the bookkeeping job that your dealer, his bank, wholesalers, and the Government must do to keep their records straight! At the bank, Recordak does much of this work.\nIn fateful days of 1939, when war clouds were bursting over Europe, Recordak machines worked tirelessly without error, duplicating priceless manuscripts and volumes of the British Museum and records of great British banking houses and insurance companies. Miniature duplicates were stowed away beyond reach of bomb and fire - they're not among the missing. In its greatest crisis, civilization found a way to condense and perpetuate its culture - its \"heart\" as well as its \"hard business head.\" Realize this as you read your son's V-Mail letter, his own writing, flown to you on a thumbnail bit of film halfway around the world.\n\nEastman Kodak Company, Rochester, N.Y.\nServing human progress through Photography\nAmerican Cinematographer \u2022 June, 1943, p. 239.\nHelp train First Aiders for your local Red Cross Unit or show new releases, \"Battle for Tunisia\" and \"Surrender at Stalingrad,\" at your next OCD meeting. Assist a local war plant in addressing a personnel problem. You can perform these and other essential tasks for your community by making your Filmo Projector available when needed and teaming up with the Filmosound Library. In this vast collection of films are the ones your community may need for morale-building, instructing war workers, or providing relaxation. Let the Filmosound Library team up with you and your Filmo Projector. Give your town, neighborhood, or children's school a powerful new weapon in the home-front fight.\n\nTo do this important work, make your Filmo Projector available.\nYour projector must be at its peak of efficiency. Send it to us for complete reconditioning. Trained factory technicians examine, clean, oil the mechanism, repair or replace worn parts, and return your projector in factory-perfect working order. Your camera dealer will get estimates for you and help you pack your projector for safe shipment to us. Which important home-front job will you and the Filmosound Library tackle first?\n\n\"SURRENDER AT STALINGRAD\u201d \u2014 Captured German film shows the blasting attack on the Russian stronghold. Then, on Russian film, the thrilling end of this historic siege.\n\nHere's a MUST for your next OCD meeting:\nTwo terrific battle actions in one film\n\"BATTLE FOR TUNISIA\u201d \u2014 Actual battle scenes filmed during the campaign in North Africa. The most amazing tank action ever filmed. Opposing forces in full camera range!\nThese will record a Victorious America for you.\n\nFilmo \"Companion\" 8 Camera:\n\"Drop-in\" loading - no sprockets.\nFour speeds plus single-frame control.\nInterchangeable F3.5 lens.\nFinder masks for all lenses.\nBuilt-in exposure chart.\nPrecision-made and Lifetime Guaranteed.\n\nFilmoarc Projector:\nEngineered as an arc projector, this 16mm. machine provides sufficient light for large auditoriums.\nHigh output amplifier and two high-fidelity permanent magnet dynamic speakers included.\nShows sound or silent films.\n\nFilmo Auto Load Camera:\nColor or monochrome film instantly interchangeable in mid-reel with pre-threaded film cartridge.\nFour speeds plus single-frame exposure.\nF2.7 lens and brilliant finder.\nBuilt-in exposure chart for both color and monochrome.\n\nEyemo Camera:\nThe \"tailor-made\" camera. Your needs dictate its specifications.\nSeven standard models and a complete selection of precision-engineered accessories give you a wide selection of ideal equipment for almost every camera job.\n\nFilmo 70-D Camera\nLong-time favorite of serious workers, it gives you theater-quality pictures. Loads with 50- or 100-foot spools of 16mm. color or monochrome film. Operates at seven speeds. Three-lens turret head equipped with your selection of fine lenses.\n\nFilmo \u201cMaster\" 16mm. Projector\n750 watt lamp. Fast FI. 6 lens, instantly interchangeable. Equipped with clutch, reverse, and two-way tilt. 'Safe-lock' sprockets prevent incorrect film threading and damaged film. Famous B&H all-gear drive.\n\nThose home movies of yesteryear\u2014\nYou\u2019ll be showing them more than ever, these days when your youngsters are in uniform far away. Your precious films will look better \u2014 and keep better \u2014 if you let us help you.\nClean and \"Vap-O-rate\" films for moisture and oil resistance, increasing scratch and heat resistance. Bell & Howell Company, Chicago, New York, Hollywood, Washington D.C., London. Established 1907.\n\nSend this coupon for a list of new Patriotic Films and information on the Peerless \"Vap-O-rate\" Film Treatment.\n\nBell & Howell Company\n1848 Larchmont Avenue, Chicago, Illinois\n\nWhen you order new lamps, remember to return the old ones. New lamps can only be sold when old lamps are turned in.\n\n\"BONDS \"E\" FOR EXCELLENCE\"\u2014 -this one-reel sound film shows how the Army-Navy Award for Extraordinary Performance is won and presented. Service charge: 50c.\n\nMotion Picture Cameras and Projectors\nPlease send me Supplement 1943-C. I have a .mm projector, sound and silent, made by .\nI'm interested in buying or renting films for stimulating morale, educational films, civilian defense films, and entertainment. I'd like to know more about the Peerless \u201cVap-O-rate\u201d Film Treatment.\n\nName.\nAddress.\nCity, State\n\nPrecision-Made By\n<ArsfcrasfcaH -'rj JS-rn* . r JLyV JT>\nJuly\n\nA jury with an electric decision\n\nThe pH meter is an instrument commonly used for measuring acidity and alkalinity. You will see it in use in chemical laboratories and a great many industrial establishments.\n\nIn making Du Pont Motion Picture Film, emulsions must be of the right pH. They must be within a certain small, well-defined range. Excess acidity or alkalinity of the emulsion will affect its characteristics. And so, with the aid of a pH meter, an electric decision is obtained.\n\nChemists at the Du Pont Research and Control Laboratories also use pH meters.\nmeters to check the accuracy of developer and fixer formulae. This assures that their routine experiments and laboratory tests meet the most exacting standards of uniformity. Such careful attention to detail enables Du Pont to produce a film that gives you uniform results, results which you may rely upon at all times.\n\nE. I. du Pont de Nemours & Co. (Inc.), Photo Products Dept., Wilmington, DE; New York Office: Empire State Bldg.; Smith & Aller, Ltd., 6656 Santa Monica Blvd., Hollywood, CA.\n\nMotion Picture Film\n\n242 July, 1943 | American Cinematographer\n\nBETTER THINGS FOR BETTER LIVING...THROUGH CHEMISTRY\n\nThat\u2019s why there are no Eyemos for civilian use for the duration. Eyemos have always been famous for their unfailing performance under conditions that put both men and machines to the supreme test. Good going or tough.\nEyemo gets the picture. Our armed forces have the compact type of three-lens turret with a matched viewfinder. The viewfinder is matched to six lens focal lengths by turning a drum and shows the \"sound\" field to match the camera's \"sound\" aperture plate. Operating speeds: Model L \u2013 4 to 32 frames per second; Model M \u2013 most complete of the seven standard models, has a three-arm offset turret, prismatic focuser with magnifier, and provisions for an electric motor and external film magazines. Speeds: Model P \u2013 undisclosed. Special arrangements are being made in our service department to recondition for Government use all of the Eyemo Cameras we can obtain. If you have exactly the lenses needed for important military work and wish to sell, fill out the information on the War Bonds blank in this advertisement. Precision-made by [owedl] (missing name)\nFor the war effort, we need every Eyemo camera we have or can build. The need is so acute that all Eyemos must go to the armed services. That's why we cannot supply civilian demands for the famous 35 mm. camera. But this war won't last forever. When the boys come marching home, you'll again be able to get any one of the seven Eyemo models that best suits your needs. And then, as in the past, if your particular requirements call for a special Eyemo\u2014 we will modify any model to suit you. You'll never have to accept a compromise in an Eyemo Camera.\n\nBell & Howell Company\n1849 Larchmont Avenue\nChicago, Illinois\n\nGentlemen,\n\nFor the purpose of aiding the war effort, I am willing to sell my Eyemo Camera, Model [Serial No.]\nI will sell this camera for $ [amount] and will pay transportation and insurance to Chicago. This camera is:\n- In good operating condition\n- Inoperative or damaged (give details): [details]\nPrice above includes these lenses: [lenses]\nI offer the following additional lenses at the prices shown:\nName [Name]\nAddress [Address]\nDo Not Ship Until You Receive Instructions from Factory\n\nThe Staff\nMaking A Documentary Film At Sea - By Edouard Buckman\nWith the Advancing Army - By Roman Karmen\nScreen Tests Aren't Necessary - By Charles E. Rogers\nThe Rhapsodic Technique - By E. S. Rooberts\nHollywood's Own War Plants - By William Stull, A.S.C.\nAces of the Camera \u2014 XXX: Virgil Miller, A.S.C - By Walter Blanchard\nUnseen Camera-Aces \u2014 II: Linwood Dunn, A.S.C - By Walter Blanchard\nThrough The Editor's Finder\nA.S.C. On Parade.\n\nAmerican Cinematographer \u2022 July, 1943\n\nContents\nThe Staff\n[...]\n\nMaking A Documentary Film At Sea - By Edouard Buckman\n[Article text]\n\nWith the Advancing Army - By Roman Karmen\n[Article text]\n\nScreen Tests Aren't Necessary - By Charles E. Rogers\n[Article text]\n\nThe Rhapsodic Technique - By E. S. Rooberts\n[Article text]\n\nHollywood's Own War Plants - By William Stull, A.S.C.\n[Article text]\n\nAces of the Camera \u2014 XXX: Virgil Miller, A.S.C - By Walter Blanchard\n[Article text]\n\nUnseen Camera-Aces \u2014 II: Linwood Dunn, A.S.C - By Walter Blanchard\n[Article text]\n\nThrough The Editor's Finder\n[Article text]\n\nA.S.C. On Parade.\n[Article text]\nPhotography of the Month\n\n16 mm Movies For Our Soldiers. By La Nelle Fosholdt\nProps: The Secret of Really Natural Home Movies. By James R. Oswald\nDo Your Mistakes Teach You What Not To Do? By Phil Tannura, A.S.C.\nIncident-light Readings With Your Exposure-meter. By William Stull, A.S.C.\nStrobo-Sync Sound Quiz. By S. Jepson\nAmong the Movie Clubs.\nHome Movie Previews\n\nCover: A unit from Canada's Associated Screen Studios films a French-language short, \u201cUn de Vingt-deuxieme,\u201d for the Canadian Film Board. Behind the camera (with earphones) is the late Lucien Roy, recently killed in line of duty. Note use of newsreel-type Wall single-system sound-camera, and microphone concealed behind the gate.\n\nEditor: William Stull, A.S.C.\nTechnical Editor: Emery Huse, A.S.C.\nWashington Staff Correspondent: Reed N. Haythome, A.S.C.\n[Col. Nathan Levinson, Military Advisor\nPat Clark, Staff Photographer\nAlice Van Norman, Artist\nMarguerite Duerr, Circulation\nFred W. Jackman, Victor Milner, James Van Trees, Farciot Edouart, Fred Gage, Dr. Herbert Meyer, Advisory Editorial Board\nS. R. Cowan, New York Representative, 132 West 43rd Street, New York, Chickering 4-3278\nMcGill's, 179 Elizabeth Street, Melbourne, Australian and New Zealand Agents\nPublished monthly by A.S.C. Agency, Inc.\nEditorial and business offices: 1782 North Orange Drive, Hollywood (Los Angeles, CA) 28, California. Telephone: Granite 2135\nEstablished 1920. Advertising rates on application. Subscriptions: United States and Pan-American Union $2.50 per year; Canada $2.75 per year; Foreign $3.50. Single copies, 25c; foreign, single copies 35c.]\nBack numbers: 40c. Copyright 1943 by A.S.C. Agency, Inc. Entered at the post office at Los Angeles, California, November 18, 1937, under the act of March 3, 1879.\n\nJuly 24, 1943 \u2022 American Cinematographer\nIllustration from the Walt Disney Feature \"Victory Through Air Power.\" Major Alexander P. de Seversky\u2019s best-selling book.\n\n\"Fantastic!\" would have been the word for the Douglas B-19 in 1903. For the Wright Brothers\u2019 epochal flight was only 120 feet \u2014 92 feet less than the wing span of the B-19. Yet, with a tail as high as a three-story building, this plane is only a promise of the mighty achievements still to come in aviation.\n\nProduction of aircraft equipment used on the B-19 and nearly every leading United Nations' military plane was an evolution of ADEL\u2019s original plans for\nMaking cinematographic equipment. A unique lens focusing device led to the development of a carburetor dual control mechanism, which in turn, led to the manufacture of other aircraft devices. While ADEL's efforts are now devoted 100% to the aviation industry, future plans include advanced cinematographic equipment utilizing the engineering and designing skills that created ADEL's international acceptance in aviation. Hasten the day of Victory by taking Mickey Mouse's good advice.\n\nMickey Mouse\nSAVS* \"Bonds Witt\nBUY BOMBS-\nPLANES LIKE\nTHIS WILL DELIVER THEM*\"\n\nOffices: Dallas, Texas \u2022 Detroit, Michigan \u2022 Dayton, Ohio \u2022 Huntington, West Virginia \u2022 Hagerstown, Maryland \u2022 Toronto, Canada\n\n*Trade Mark Copyright 1943 ADEL Precision Products Corp.\n\nAmerican Cinematographer \u2022 July, 1943\n\nMaking a Documentary Film At Sea\nBy Eduard Buckman\n\nAfter our shooting was over and the ship sailed away.\nWe were in Halifax on our way back to the studios of the National Film Board in Ottawa. Something happened that reflected our experience making documentary films on East Coast fishing in Canada. Cinematographer Sinclair had to buy a pair of shorts. I went into the store with him. When we came out, he'd found not only shorts but a suit and a sport jacket, and I'd gotten a top-coat. That was just the way with our films. We'd come expecting to find one thing\u2014something quite ordinary like shorts\u2014and we'd run across something unique\u2014like Bond Street clothes. It had happened before on our documentary expeditions. No one without first-hand knowledge of a section can sit miles away and expect to write a script about the section which will be correct. Research never seems to turn up just those things which bring a film to life.\nFor instance, we went up to the James Bay area to do a film on trapping with the expectation that there were white trappers and kindly, bearded Hudson's Bay company factors. What we found were Indian trappers and a Scotsman in a business suit who, as post manager (not factor), took pride in his store being as up-to-date as any city establishment.\n\nWhen we were assigned to the Nova Scotia fishing front last summer and fall, our ideas were mixed. We were to feature the fishing cooperatives, \"marvels,\" we were told, of communal achievement, where the humble fisherfolk, banding together in the face of the depression and the oppression of industrial magnates, had literally pulled themselves up to prosperity by their own sea-boot straps! Another member of the Film unit.\nThe board staff had completed the preliminary research. When it was determined that the Sinclair-Buckman Unit, due to its experience in roughing-it locations, was best qualified to make the film, his files were turned over to us. Of his tentative scripts, one was found to be almost a word-for-word transcription of a chronological account of a day on a fishing boat, as presented, for children, in a Nova Scotian grade-school textbook (published, if we recall correctly, all of this has only reinforced the attitude Douglas Sinclair and I have always had about making documentary films. You have to go to the section in question, live among the people, gain their confidence, and then report photographically what is there, not what you wanted or hoped to find, if the film is to have validity and truth. I intentionally write validity and truth.\nThey do not necessarily mean that the documentary will, as a film, be good or interesting. Had we consciously done the cooperatives, our film, if true, would have been depressing. Our survey showed the cooperatives to be such in name only: a few fishermen with a little capital and encouraged by a religious or organization with a government grant, had, in a given community, set up businesses and were themselves \u2014 not the community as a whole \u2014 receiving such meager profits as there were. In Little Dover (where it was suggested we work because social logical sermonizers had cited it, in book after book, as Nova Scotia\u2019s finest cooperative effort), we found that, three months after the inhabitants had built and operated their own lobster-canning factory, over ninety percent of the families were again on relief! Such conditions, if re-enacted for documentary production.\npurposes,  might  provide  good  propa\u00ac \nganda,  but  wouldn\u2019t  make  good  publicity. \nAnd  our  films,  however  documentary  in \nintent,  were  designed  to  show  Canada \nfavorably  on  educational  screens  outside \nthe  Dominion. \nI  write  \u201cdocumentary  in  intent\u201d  with\u00ac \nout  scruple  or  reservation.  Having,  as \na  unit,  produced  four  films  for  the  Na\u00ac \ntional  Film  Board,  Douglas  Sinclair  and \nmyself  certainly  have  the  right  to  call \nourselves  documentary  film  makers.  But \nalthough  we  were  trained  in  the  school \nunder  John  Grierson,  the  dynamic  Scots\u00ac \nman  who  personally  promoted  the  docu\u00ac \nmentary  from  a  sporadic  and  unrecog\u00ac \nnized  occurrence  to  its  present  estab\u00ac \nlished  place  on  the  screens  of  the  world, \nneither  of  us  are  able  to  define  exactly \nwhat  a  documentary  is.  To  those  who \ngrew  up  in  the  Grierson  school  in  Eng\u00ac \nland,  documentary  undoubtedly  suggests \npropaganda.  But  to  those  of  us  who \nI grew up in a new country like Canada, it is impossible to place old-world ideas upon new-world realities. So when the two of us were faced with tangible realities, like the North or the Nova Scotian fishing scene, we just had to discard preconceived ideas and go to work on what we found about us.\n\nWhat we finally found about us in Nova Scotia was Lunenburg. In our survey of the cooperative ground we'd driven through, we were entranced with its photographic possibilities. Furthermore, as it was the most important fishing center in the area and as, after all, our film was to treat the fishing industry, we decided to make our picture there.\n\nWith a town like Lunenburg, which is a Scandinavian dream come to roost on North American soil\u2014every ornate gable, dormer, roof-tree of the wooden houses brilliant with paint (Lunenburg)\nCounty uses as much water as the entire province. With the waterfront a floating forest of tall, spare masts, fishermen in sea-clothes shoulder great bundles of sails, carry them past patient oxen hitched to carts of dried fish before loading platforms; with schooners themselves, each a world of its own, a community going by itself far out into the Atlantic; with many of the fishermen coming from adjacent villages where tiny houses vividly dot the rugged grey-blue rolling rocks washed by the green-blue sea: with all these things, is it any wonder that, as documentary film makers, we hardly knew on what to focus our cameras?\n\nBesides, we were working in Kodachrome. And color, in a way, is a handicap to documentary treatment. It itself requires special consideration.\nCreating effects that could draw the spectator's attention away from the ideas behind a propaganda documentary in color was decidedly difficult. It seemed an impossibility in Lunenburg, where the rigged ships, fishermen, ox-carts, all seemed to belong to another age, having no connection with the effect World War II had on Canadian fishing, the revised theme of our film. However, the guiding principle behind any documentary was what actually made our decision for us: featuring the most important thing. That, of course, was fishing. But it was a pretty all-inclusive subject. There were the little in-shore boats that worked the waters a few miles off-shore, and there were the schooners that went a couple of hundred miles out to the Banks. And there was the human side, too: the way the fishermen lived and worked.\nfishermen lived in the villages and aboard the vessels. We drew up a tentative outline script, calculated to show a little of the life in a typical village \u2014 we chose Blue Rocks \u2014 then follow its men, first the in-shore fishermen, then those who did the deep-sea fishing on the schooners.\n\nAny documentary film-maker has to beware of delusions of grandeur. I\u2019m not speaking in the color sense. I mean he is definitely limited as to the amount of material he can hope to include in a two-reeler. With Kodachrome the price was (and is more so now), anything longer than two reels isn\u2019t acceptable to the average budget of a 16mm film library. But the more we saw of the life about us, the more we wanted to include in our film. Besides, there literally seemed no end to the color possibilities.\nThe farther away we went, the colder the counsel we received about economic wartime fishing, which the documentary was intended to reveal. We began with the village. The material presented no difficulties except for certain essential interiors necessary to suggest the social life in the village. This breaks out sporadically in big get-togethers, known in summer by the misleadingly refined name of \"garden parties\" and in winter by the more plebian and accurate appellation of \"chowder suppers.\" The main feature of the evening is a continuous supper \u2014 served from nine to midnight \u2014 at long tables facing the walls of the hall where the gatherings are held. With inadequate power supply for our lights, our problem was to photograph the extent of these fifty-foot tables, something which had to be done if the film were to accurately document the scene.\nCinematographer Sinclair solved the problem by mounting the camera on a three-wheel collapsable dolly and making a dolly-shot down the table. His camera covered a field of some 8 feet, while the power company electrician and I walked on either side of the camera, each keeping a No. 4 Victor focused on its field.\n\nOur illusions of grandeur came up against the most aggravating inhibitions on the \"Flora Alberta.\" She was a deep-sea fishing schooner, one of the newest vessels in the Lunenburg fleet. A craft of some 100 tons, about 125 feet in length, her lines were long and rakish in the best Bluenose style. She had just been repainted and had become something a color cinematographer might dream about for the troubled nights of a lifetime, and never expect to behold in his waking moments. Above the hull, black with gold trim.\nThe mings' decks were green and red, with a white pilot-house, hatches, bulwarks, and railings. Two thick masts, varnished yellow, rose to hold white sails. Up forward were stacked the dories - small, 18-foot flat-bottomed boats from which the men did the actual fishing. One stack of six was yellow with green trim, the other, red with white. The dory gear - line tubs, high-flyer buoys, masts, and sails - was multicolored. Given such a background, the men themselves supplied the final touch of color perfection through their yellow oilskins and vivid checked shirts. Cinematographer Sinclair claims all one had to do was stand anywhere on the deck and focus the camera, and composition automatically resulted. Naturally, that's exaggerating. But certainly, for anyone knowing what they wanted, everything was at hand on the deck of the \"Flora Alberta.\"\nDelays are inevitable when making documentaries. Before sailing on the \"Flora Alberta,\" we had to wait for the paint to dry. Much of our time was spent in the captain's cabin, obtaining details about the fishing routine for the week to ten days. In documentary work, our method has always been to get an idea of what is to happen and obtain information from those who do it, rather than from those who merely write about it. We then try to cast this information into film form on paper. Before doing any actual shooting, we check everything against actual performance and make script revisions accordingly. So, while waiting for the paint to dry and then waiting for the weather to clear - we had three days of torrential rain, September 21st, the equinox! - we drew up a tentative shooting script for deep-sea fishing.\nFinally, the sun came out, and with our shooting notes, an Eastman Cine-Special, two Filmo 70-DA's, 20 100-ft. reels of Kodachrome, a Leica, an Exakta, and still film, we set sail one fine high noon. How beautiful it was sailing through the harbor narrows! But the open sea wasn't so beautiful. From equinoctial storms, the waves were running high. A Bluenose schooner may be seaworthy, but she can roll.\n\nAbove and on the opposite page are scenes from the film director Buckman and cinematographer Sinclair made of Nova Scotia's \"Bluenose\" fishing fleet. Above, top, the \"Flora Alberta\" at her dock and at sea; center, crew members on watch while dories are out setting lines; bottom, loading in the catch. Photos by the author.\n\nWhen we decided to get a shot of the vessel from the aft cabin roof, we learned the precarious angle of which a Bluenose deck is capable. No tripod and camera equipment could be used.\ncould have stayed on the pitching roof. Then the crew, whose sea-legs were the steadiest things aboard, came to our help. Three of them lying flat on the cabin roof each held a leg of the tripod, and a fourth, his arm hooked around a guy-rope, held the cinematographer while he somehow got his meter-reading (which, because of the brilliance, required that he shield the \u201ceye\u201d with his cupped hands).\n\nAmerican Cinematographer \u2022 July, 1943, p. 247\nWith The Mincing Awg\nBy ROMAN KARMEN*\nTranslated from the Russian\nBy George Krainukov\n\nThe offensive began at daybreak. Our Soviet infantry broke through the fortified line of German defense. On the very first day of the advance, our troops, by direct frontal storming and by clever flanking attacks, dislodged the Germans from many populated points. And on the following day, the snowstorm which had started...\nmade the camera work impossible for my comrade cinematographer Bobrov and myself. The battle died down. It was rolling in waves, farther away from us to the west. And following in the footsteps of yesterday's bloody fighting, the reserves were moving forward - infantry and tanks coming up, and artillery moving forward to batter the retreating enemy.\n\nWe, too, followed in the footsteps of the battle. Among the fields scattered with dead heaps of burned-out German tanks, Nazi corpses, and disabled German cars, guns and cartridge-cases were many a mute tableau which at a glance told its silent story of victory and defeat. Here, in front of an anti-tank gun destroyed by our shells, are piles of spent cartridges . . . several Nazi corpses . . . and on all of these are the imprint of the heavy treads of a Soviet tank. Wordlessly these told their story.\nThe Germans had shot at the tank, firing with increasing speed and desperation as the advancing monster drew nearer; but the tank, like our now-advancing Allied armies, relentlessly overpowered the Fascist bandits, ground them into the earth, and plowed farther on, to repeat its job again and again on other enemies. As we finally reach the front of the little sector to which we are assigned, we see the field in front of the German fortifications covered by the fire of dozens of machine-guns, light guns, and automatic rifles. Our troops, without giving the Germans a moment's rest, storm these fortifications. Our artillery covers the German ramparts with a murderous fire. Our bombers drop their deadly cargo. Our mortarmen add their thunderous salvos to the hail of explosions which seem to make earth and air alike tremble with the force of the fire.\nOur warriors of all arms deluge our enemies. For a cameraman working on this sector of the Central Front is a problem. Our duty is to film the action of the Red Army as it conducts an advancing battle. Against us, we have not only the fire of the enemy and sometimes the speed of his retreat, but also our ally \u2013 militarily good but often photographically very bad \u2013 the Russian winter. Yesterday, on the first day of the attack, we battled a snowstorm; the soft, fresh snow covered our lenses like a clinging, white paste, and swirled through the air so thickly that one could not see objects only a few yards away. But today, with a clear, blue sky and the sun sparkling over the valley in which the battle is unrolling, we have better conditions.\n\nThrough a remarkable coincidence, we learned that the author of this article, Cinematographer Roman Karmen, is with us.\nKarmen (left) and translator Cinematographer George Krainukov (right) were personal friends. This picture, made in 1938 in Hankow during the early stages of the Sino-Japanese war, where they were covering the events for the Soviet Kino-Journal and Universal Newsreel respectively, shows them looking eagerly forward to getting some fine scenes.\n\nTo make our way up to the front lines is not an easy job. At 10 A.M. sharp, our artillery again begins a preparatory softening-up barrage. Over our heads screams the continuous din of the endless flight of our shells towards the enemy positions. Around us, guns of all calibers are barking. Long ago we had left our shelter of the night before. Now our job is to go as far as we can \u2013 close to the enemy, where we can see and photograph his positions in the village toward which our attack is progressing. We must be\n\n(Note: The text appears to be complete and readable. No significant cleaning is necessary.)\nIn the range of our artillery bursting shells, close enough to film the waves of our infantry advancing and the work of our dive-bombers overhead, pouring down their rain or bombs. The farther forward we go, the more often we have to crouch or even throw ourselves on the ground. Not all of the enemy's artillery is destroyed yet, and German guns are replying quite strongly across the valley. When we hear the familiar, disgusting shriek of an approaching German shell, we, with cameraman Bobrov, duck hastily into what only yesterday had been German trenches. Beyond the original first line of Nazi defense, breached yesterday by our troops, on every hand we see either a dugout, a gun-emplacement, or trenches. As we move forward, we must keep strictly on the trail, for elsewhere at every step.\nOne is likely to tread upon a hidden German landmine which our sappers have not yet had time to dig out and render harmless. At last, we reach the observation-post of one of the farthest-advanced companies. From here, we can survey the battlefield like the palm of one's hand. Over there is the village toward which our troops are advancing. At last, we can begin our shooting! But good war films cannot be entirely long-shots. We must get closer yet to the village . . . closer yet to the battle we see progressing . . . right into the thick of things, where we can get really close shots of the action!\n\nBobrov and I discuss our plans with the commander of the unit here, requesting permission to get into a tank and roll ahead with it to a point where we can get the real battle-shots that are our aim. This permission granted, we proceed.\nA 19-year-old girl named Peggy O\u2019Neill visited my office in July 1943, seeking a film career. Her agent, Leon Lance, accompanied her. Peggy had no film experience or screen test, having never appeared before a motion picture camera. We conversed about her background, education, and stage appearances at the San Francisco Community Playhouse. She read lines from a script, and I signed her to a long-term contract without a screen test.\n\n\"But you don't mean to say you signed her without making a screen test?\" my friend questioned upon hearing about Peggy.\nI do not believe it is necessary to make a screen test in selecting talent because Directors of Photography in Hollywood have become such masters of their art that you have no fears over how a man or woman is going to look on the screen. Especially is this true when your own eyes tell you that the girl you are looking at is photogenic. So why waste film, particularly in these days when it is so scarce, on a \"test\" that will only tell you something that your eyes and your past experience with cinematographers have already told you?\n\nAs a matter of fact, there are some very positive arguments against making screen-tests of talent, anyway. For one thing, a player, even an experienced one, making a test for a contract or an important part is almost certain to be nervous and may not perform at his or her best. It is often better to judge talent from their previous work or from recommendations.\nNervous, so nervous, often, that he or she won't perform as freely as on the actual production. There is also likely to be some tendency among the crew \u2013 the director, the make-up man, the stage crew, and sometimes even the cinematographer \u2013 to more or less \u201cwalk through\u201d a test because it is \u201conly a test,\u201d and they will know that both they and the player can and will do better when the production itself starts. You need only look into the files of any of our studios to find condemnatory verdicts on tests of players other studios later signed and built into stars, to realize how unfair and unnecessary such tests can be. There have been, and still are, many stars who owe their screen glamor to the cinematographers. These players recognize the fact and in many instances no screen test is necessary to tell you that Peggy is talented.\nO'Neill and Harald Ramond are good screen bets, particularly when photographed by Hollywood cinematographers. Demand only certain cameramen photograph their pictures. It would not be fair to mention names in this article, but we in the picture industry know that the art of our cinematographers hides even scars and blemishes on the faces of some of our stars. Some feminine noses that are anything but beautiful become actually glamorous on the screen because of the manner in which our cinematographers can photograph them. Some eyes that are actually \"washed out\" and lusterless take on vivacity and sparkle because of our cinematographers' tricks of lighting. These cinematographers are artists in the use of lights and shadows, using the highlight to accentuate the best features and soft shadows to subordinate them.\nI. The less favorable ones. I have seen some of these artists, lighting a close-up of a not particularly glamorous girl, blend in decorative shadow-patterns on the back-wall with the lights and shadows on the subject, giving his composition a delightful softness that made the girl seem gorgeously beautiful. Our photographers have developed a technique which I call \"suggestion.\" A suggestion of glamor is given\u2014and the imagination of the audience does the rest.\n\nFor a number of years, many stage stars who knew they were not glamorous shunned films for fear they would not be able to compete with what was known as the typical film glamour-girl. There were some producers, too, who preferred the glamorous stars.\n\nAmerican Cinematographer \u2022 July, 1943\n\"The (ZkapMdic \"Technique\"\nBy E. S. Roberts\nThe Office of War Information\nhas accepted \u201cThe Thousand\nDollar Suitcase\" for release.\nThis Canadian-produced motion picture, titled \"The Thousand Days,\" was the first to be added to the United States' list of War Films for War Use. Recommended for use in programs promoting United Nations unity, it was produced by Associated Screen Studios of Montreal. The film, independently produced for original theatrical release, is the first authentic motion picture record by Canadians of Canada's war years, covering the first thousand days since September 1939, when Canada declared war on Germany. Of greater interest is the technique used by the producer to tell the story of Canada's first three years of war. Gordon Sparling, production supervisor for Associated Screen Studios, directed the two-reeler and coined the term \"rhapsodic\" to describe it.\nThe technique used in this Canadian cameo production suggests a new form in motion picture expression. It has been termed \"rhapsodic\" since the story is told by linking otherwise disconnected bits and pieces. Visually and orally, there are a large number of disconnected sequences. Each sequence by itself has little or no meaning, yet blends in a natural relationship in the complete composition.\n\nAs in musical expression, the rhapsodic treatment uses recurring themes to carry the pattern with sweep and flow. Visually, characters may be introduced repeatedly to provide conjunctive individual scenes. Recurring words or voices also serve this purpose, as do repeated individual sounds. Repetition of musical themes builds an emotional climax from these seemingly disconnected bits. The rhapsodic technique has been employed in various film productions.\nEmployed experimentally in a number of Associated Screen pictures, \"The Thousand Days\" was the first two-reel film making use of this style throughout. As with any new variation in artistic treatment, there is an understandable reluctance to venture away from tried and proven methods. It was not until the producer had partially proven the effectiveness of the technique in previous films and had a vehicle which seemed ideally suited to the new style, that it was given a fair chance to prove itself.\n\nGordon Sparling does not look on \"The Thousand Days\" as an example of the perfection of the rhapsodic technique, but does feel that much has been done to crystallize the basic factors employed, and particularly that it hints at the possibilities for developing an interesting and powerful form of film expression.\n\nMany of the effects are admittedly subtle.\nThe first use of the rhapsoic technique in experiments was approximately ten years ago in the production of \"Rhapsody in Two Languages\"... an interpretation of bi-lingual Montreal from dawn to dawn. Since then, it has been utilized for sequences in various other pictures, such as \"The Kinsmen,\" produced for The Canadian Wheat Board. The rhapsoic technique was effectively employed in one sequence to depict the period of suspense from the spring days when the seed had been planted until it was safely harvested. The days between are filled with concern for the prairie farmer. Three common elements are repeated: farmers looking at the sky.\nFarmers listen to daily crop reports at their radios as wheat grows to maturity. Whispering voices are heard in a slow rhythm, saying \"No frost\" . . . \"Enough rain\" . . . \"No hail\" . . . The passage of time is indicated by a vibrant voice punctuating the sequence with \"June\" . . . \"July\" . . . \"August\" . . . An orchestral score starts with tremolo violins and gradually builds up to a crescendo of strings and woodwinds, interrupted by stabbing trumpet notes expressive of the farmers' thoughts and worries.\n\nThe rhapsodic technique differs from the dramatic or the documentary in that there is less obvious progression. In the dramatic treatment, the plot is developed through words and actions of the characters used. In documentary, a commentator delivers a lecture illustrated by images.\nIn the new rhapsodic technique, seemingly unrelated bits of action are used. Eavesdropping on snatches of conversations, only the key bits of scenes are employed, but with some sort of bridging, either visual, vocal, or musical. No one commentator carries the main theme, but many voices may be used, some of them by visible characters, others merely as thoughts.\n\nIn \u201cThe Thousand Days,\u201d a newspaper editor lifts a phone to reveal a thread that carries the story. Overhearing his conversation with an assistant, we learn something important is happening. The editor answering the phone, and the hammering teletype, give us the answer.\n\nTwo quick scenes dramatize that answer. First, a storm cloud obscuring the sun, and then a quiet hospital room.\nSeptember third, 1939. In Europe, a storm broke. In Canada, a child was born. Into what sort of a world?\n\nA new era dawns with the declaration of war, and what came out of it is represented by that baby. Its later appearances in the picture hold double symbolism: Canada's growing war effort and its impact on the character of the new era. The second appearance of the infant, in its mother's arms, at the end of the first year, adds to the symbolism of the war effort and its development. It also provides the basis for an emotional change as we bring in the idea of 'women without men' carrying on.\n\nThe inactive first winter of the war.\n\n(July, 1943 \u2022 American Cinematographer)\nWith its conflicting opinions and uncertainties, the scene of two stock-brokers examining a ticker tape that reads \"December, 1939 . . . Nothing to Report\" is treated rhapsodically in the play. One stock-broker says, \"Funny kind of war this is,\" and the other replies, \"Funny war? It\u2019s a phony war, if you ask me.\" The elements of this scene not only plant a mood in the audience's minds but supply a pictorial theme for providing continuity for the sequence. In other words, the war is a thing far off. It touches people only indirectly, as when the news comes over their ticker tape.\n\nAnother flash of the tape says \"January, 1940 . . . Nothing to Report.\" A flash of our newspaper editor amused by a dispatch showing the ponderous pace of the war machine.\n\nThe ticker tape again: \"February, 1940 . . . Nothing to Report.\" A businessman reads the tape.\nA man, symbolic of the complacent attitude of the Chamberlain regime, comments: \"Well, I think we've got Hitler bluffed. He doesn't dare risk a first-class war.\" Again, the ticker tape. \"March, 1940... Nothing to Report.\" For contrast, the thoughts of a working man who, on average, was not as sure of the \"good\" state of affairs. A machinist or a lathe- or milling machine-operator could have been used, but in the final script, a figure symbolic of them all, yet logical, evolved \u2014 a blacksmith.\n\nHe is used to bringing to a climax those days when the war seemed to be a waiting stalemate. The blacksmith at his anvil stops with hammer poised to say to a friend: \"All this talk of Hitler making peace proposals is the bunk. He's getting ready... and when he's ready, he's gonna strike!\" That last word is emphasized by his tone.\nhammer striking the anvil. The scene immediately following is of a news boy shouting \"Hitler strikes!\" as he holds up his papers. The headline reads \"Norway Invaded.\" The anvil rings again to complete the conjunction of the two sequences. Other newspaper headlines flash by: \"Denmark Bows,\" \"Holland Overrun,\" \"Belgium Surrenders.\" The anvil is heard again. The rhapsodic use of the image, visual or auditory, of \"striking\" thus not only advances the story but plants an idea which will be used for the final climax of the picture. It is the spirit of the ordinary man and woman which will win the final victory. So it is natural that the blacksmith should appear for the picture's tagline. A number of types set the scene, as one after the other they appear, in big close-ups, to speak a short phrase or just a word: \"We have stood up to it.\"\n\"We can strike back harder... longer. Now it's our turn to choose when and where we strike. And, when we do, watch out! The repetition of the hammer on the anvil carries through the fadeout into the end-title music. A few other instances might demonstrate how symbolism can be employed in the rhapsodic technique and how unrelated scenes can be integrated in logical sequence.\n\nClose-up of an alarm clock. Time: 7:35. As a voice says, \"At dawn on war's eight hundred and twenty-fifth day,\" the alarm commences to ring violently, coming to extreme close-up, showing the words \"MADE IN JAPAN.\" The ringing of a telephone bell blends with that of the alarm clock. A man\"\n\"answers: \"Hello... yes, Washington and Ottawa... to the West Coast.\" A babble of voices and flashing scenes \u2014 Soldiers marching, \"To the West Coast.\" Planes in the air, \"To British Columbia.\" Destroyer at sea, \"To Alaska.\" \"To the West Coast.\" Quiet scenes of the Japanese fishing-fleet interned, and a voice saying, \"Now the democracies knew! At last the masks were down, and friend and foe stood clear\" \u2014 thus was told the story of Japan's entry into the war on the side of the Axis, in rapid tempo, in rhapsodic style.\n\nAnother example: Newspaper headline: \"Hitler attacks Russia!\" Scene in a club, one man reading a paper looks up to say: \"So another stab in the back gives us a new friend.\" Another man: \"Looks bad. I suppose it will be the same thing again. The Germans will go in all out.\"\nThrough them, a rather smug scene in a men's club is replaced by a woodworking shop and a factory worker using a buzz-saw. But as long as they can tie up Adolph's armies, they are giving us the chance of a lifetime. There is no ordinary continuity between these two brief flashes, yet they are made to bear a logical relation in the rhapsodic treatment. By taking two conversations - one between two men in their club, the other between two factory workers - and cutting them in such a way and at such a point that one seems to answer the other, there is achieved a continuity typical of the rhapsodic technique. The rhapsodic technique is particularly suitable as a means for compressing much into a short-length film. It is\nNot a suitable style for leisurely development of a story, but, like its musical namesake, is rather a treatment for telling a story in which contrasts and rapid emotional changes are required. It is useful in bridging wide gaps in time and place. Rhythm is important in the successful use of the rhapsodic technique. This applies not only to the action, the sounds, and the music, but especially to the actual cutting. The dramatic and climactic effect of a sequence may often be heightened by \"rhythmic cutting\" \u2014 that is: where the physical lengths of scenes are exactly the same, regardless of the actual content between them.\n\nAbove, several disconnected thematic visual elements interwoven to make \"The Thousand Days.\" On the opposite page, a photomontage of some of these elements which were used, however, as straight cuts rather than as superimpositions.\nIn individually selecting scenes, careful choice is necessary to retain the most significant portions. This can result in a sequence composed of 3-foot (2-second) scenes, creating a mechanical and subconscious rhythm for the audience. If desired, scene lengths can be gradually reduced to increase tempo towards a climax. This principle is not new, but its application to the rhapsodic technique is particularly effective. In \"The Thousand Days,\" 80% of its scenes were not more than five seconds long. This required careful writing to ensure every spoken word was significant to the point being made, and painstaking rehearsal and shooting to achieve the proper tempo. (American Cinematographer, July, 1943)\nHelium >c4 A Om War Plant 6\nBy William Stull, A.S.C.\nIt isn't revealing any military secret when one admits proudly that the many major firms which have long supplied Hollywood's studios with cameras, film, lenses, sound equipment, and the like are now diverting all, or at least a major part, of their production to the War Effort. But it is not well known that many smaller organizations located directly in the film capital and which have provided the industry with specialized equipment such as lighting units, studio cameras, and the like, are doing an even more spectacular job in turning their production and designing facilities to the service of the Nation at war. Some of them are turning out, in vastly increased quantities, their regular or similar products. Others have in addition taken over the production of essential items for the military.\nThe development and manufacture of specialized items in allied fields, but for wartime uses. The most spectacular and varied record is that of Bardwell & McAlister, peace-time manufacturers of the \"Keglights,\" \"Dinky Inkies,\" and other lighting units familiar in every studio. A relatively new and highly progressive competitor in the studio lighting field before the war, this firm has expanded both its plant and products, now turning out an amazing variety of vital wartime products. Months before Pearl Harbor, the expanding aircraft industry began to draw upon Bardwell-McAlister's \"know how\" to speed and simplify the production of hard-to-shape sheet-metal subassemblies for Axis blasting aircraft. Today, these products are streaming out in constantly heavier quantities.\ntruck-loads of men did their part on the fighting fronts. B and M ingenuity, too, had developed a radically different, quickly changeable pilot-light for instrument panels, which slashed the time for changing these tiny but necessary units from over an hour to a minute or less. Since then, the firm's specialized experience in designing and building lighting equipment has brought forth an amazing variety of specialized instrument and desk illuminants for planes which are in action on all our fighting fronts. Meanwhile, the production of studio-type lighting equipment for the Army, Navy, Air Force and Marine Corps training film studios has swelled to match the expanding needs of these Service cinematographic branches.\n\nSmall wonder it is, then, that only last month Bardwell & McAlister became the first Hollywood firm of those normally involved.\nCecil Bardwell receives the Army-Navy \"E\" Award for excellence in War Production. Mole-Richardson, Inc. supplies the film industry with awards for excelling in production. Nearby, they produce regular photographic lamps and special, highly secret portable searchlight and generator equipment for spotting enemy planes. High officials of the Services commend their performance in combat zones. Most Hollywood studio cameras come from the Mitchell Camera Corp.'s plant. Today, Mitchell cameras of all types are being turned out for the industry.\nThe greater quantity of military camera units are anxiously awaited by Uncle Sam's military cameramen worldwide. Other devices, secret and very special, are being produced on a scale even the most optimistic would have considered impossible for such precision equipment just a few years ago. Bell & Howell's Hollywood plant, once a service center for specialized equipment and the starting point for many a design for revolutionary studio and laboratory equipment, is now working at full pressure and on an expanding scale, producing and developing intensely specialized cinemachinery for the photographic sections of many of the united nations to crush the Axis and record it on film in the process. Art Reeves is another supplier of camera, laboratory, and sound equipment.\nA man who has found his regular products in heavier demand than ever before, as adjuncts to the varied uses of military photography today. So too is Eric M. Berndt\u2019s \u201cAuricon\u201d 16mm single- and double-system sound recording equipment. It is hardly a secret that one of our most distinguished actors \u2013 incidentally a 16mm filmer of note and ability \u2013 is using this equipment to make special instructional films for the Air Force in overseas combat areas.\n\nNo listing of Hollywood\u2019s cinetechnical firms and branches\u2019 War Effort contributions could be complete without mentioning the work being done by Emery Huse, A.S.C., and his staff in the Eastman Kodak West Coast Technical Department in the joint A.S.C.-Academy projects of training combat cameramen for the Signal Corps and Marine Corps.\nFor it is under Huse's tutelage that these students get their grounding in the theoretical side of phot chemistry, sensitometry, optics, etc., before passing on to John Arnold and other A.S.C. members for their practical instruction in camera-handling. The total of these trainees is probably a military secret, but it is considerable, and the graduates are already distinguishing themselves on all our combat fronts, as well as in training film production.\n\nIn a brief summary like this, it is inevitable that some of the firms making distinguished contributions to the War Effort are left out \u2014 in some cases deliberately, because of the confidential nature of their work. But all of them are responding vitally to the Nation\u2019s call of need, turning their specialized skills and their knowledge of how to solve intricate and often unconventional technical problems.\nVirgil E. Miller, A.S.C. is a versatile cinematographer with a 27-year career. He has proven his artistry and technical skill on over 200 productions, including super-specials and program-pictures. He is equally adept at working in black-and-white, Technicolor, or professional 16mm. Koda-chrome. Beyond this, he is also a capable executive, having headed the Camera Departments of two major studios. (Walter Blanchard, \"Aces of the Camera: Versatility is the Word for Virgil E. Miller,\" American Cinematographer, July 1943)\nDios, a skilled electrical engineer and capable writer of both prose and verse, was also a talented artist with pencil and brush in his spare time. He has a notable string of cinetechnical \"firsts\" and a great deal of important cinematographic research to his credit.\n\nVirge Miller did not start out specifically to be a cameraman. He grew up as a farm boy in southern Illinois and, after completing high school, business college, and a year at a neighboring college, he decided he needed to work for a while to build up a war-chest to help take him through college. For some reason, he decided to come out to Southern California to do the working. His first job was with a crew running the first electric power-line between what are now Hollywood and Burbank; today, it's a well-populated residential district, with several studios like Warner's, Universal, and Columbia.\nYoung Miller was fascinated by electrical work along the route of Universal and Walt Disney\u2019s \u201cmouse-factory.\u201d Thirty years ago, it was a bare desert. He learned so much about it that he became the foreman of one of the crews and gained excellent practical knowledge of electrical installation. Realizing electrical engineering was the profession he wanted, Miller enrolled as a student in electrical engineering at Kansas State College once he had sufficient funds. His practical experience in electrical work greatly helped him in college, as one professor recommended him after a short period of the usual working-through-school occupation of dishwashing.\nFor a post in the college's electrical maintenance department, and only a short time later, when the head of that department retired, he recommended young Miller over the heads of many senior students to be his successor. Thereafter, Virge remained as college electrician until graduation, staying on in the summer-time not only to help his bankroll, but also to gain more experience. He re-wired most of the buildings on the campus, and ran laboratory and practical tests on electrical equipment for various of the State\u2019s departments. In his Senior year, he was called upon, too, to serve as an instructor in electricity for junior engineering students, and the following year, while he waited for the girl who is now Mrs. Miller to graduate, he served on the faculty as a full-fledged instructor. After his wedding, he decided that.\nCalifornia would be a good place for a young man to make his future and raise a family. He was right on both counts, as he quickly found an excellent position as a resident engineer for one of California's first big power-plants, tucked away in the High Sierras beyond Bishop. Some months later, he found that the first of his five sons was on his way to join the family. And as an isolated power-plant high in the mountains isn't exactly the best place in the world for an expectant parent, Virge decided to move back to Los Angeles and civilized conveniences.\n\nThis move \u2013 though he didn't realize it at the time\u2014 marked the major turning-point in his life. Scouting around for jobs at which an aspiring young electrical engineer could be useful, he learned that the Universal Studio (then still in Hollywood) was looking for an electrical engineer.\nDuring 1913 and 1914, Virgil Miller installed and headed the first electrical department in any West Coast studio. This was a revolutionary departure for those days. Movie companies had come to California originally because of the sunshine, allowing them to make pictures all year round without relying on the faint winter sunlight of the East or expensive artificial light for making pictures during the winter. Plenty of people laughed at Universal for putting in an electrical department, deeming it like carrying coals to Newcastle to use lamps when they had the famous California sunshine to light their sets for free. However, one by one, all the studios came to do the same, \"blacking out\" the glassed-in stages.\nThey originally used old 'glass stages' and built new ones with opaque walls when new stages were needed. One or two of those old 'glass stages' still remain as scene docks and prop-storage lofts. However, the last one in Hollywood, at the old Fox Western Avenue Studio, was torn down only a few weeks ago. Maybe another link with the past is gone. But when you think of the tremendous strides cinematography has made since we first started using artificial light for our pictures, rather than half-controlled sun light, you couldn't wish those 'good old days' back.\n\nAfter heading Universal's electrical department for two years, during which he participated in the planning and much of the installation for Universal's new ranch-studio, Universal City, Miller began to develop an interest in cameras and camerawork. In time, he was transferred to this department.\nAmerican Cinematographer \u2022 July, 1943, p. 253\nUnseen Camera-Aces II:\nLinwood Dunn, A.S.C.\nBy Walter Blanchard\nOccasionally, on the credit titles of RKO productions, you may come across the line, \u201cOptical Effects by Linwood Dunn, A.S.C.\u201d You only see that credit line on rare, spectacular occasions, for Lin Dunn is an optical printer expert, and optical printing is one of the industry's prime \"trade secrets.\" But Lin is not only one of the most valued members of Vern Walker's RKO Camera Effects Department, but indisputably one of the foremost, if not actually the foremost, optical printer virtuosos in the industry.\n\nMany people, even within the industry, don't have a very clear idea of what an optical printer really is, except that it seems to be a photographic magician's hat out of which a skilled specialist can produce various visual effects.\nA photographic miracle can be achieved by using an optical printer. According to Lin, an optical printer, or its fundamental principle, is simple. It's a device that aligns a camera-head with a lensless projector-head. Equipped with a pilot-pin movement, the projector-head moves a developed film past a diffused light-source. The film in the camera-head records the image frame by frame as the two movements work in synchronism. The basic concept can be enhanced with various gadgets for creating special effects. The movements can be geared to operate at different frame frequencies, allowing you to print every second, third, or fourth frame, or to print a single frame on an indefinite footage in the camera-head. The action of the film in the printer can be printed either forward or backward.\nAlter the separation of the two heads during a shot or use a \"zoom\" lens and make a stationary-camera shot into a dolly-shot, or vice-versa. You can add mechanical and optical gadgets which permit an almost endless variety of wipes, fades, melts, and tricky transitions and superimpositions. When you begin to ask an optical printer to do these tricks, you find yourself in need of an optical specialist like Lin Dunn.\n\nStrangely enough, in view of the intensely technical work which he is now doing, Lin didn't, at the outset, care for technical studies. In fact, during his school years in Brooklyn, he tried to avoid them as much as possible, preferring to study music. He's still an accomplished musician, playing the saxophone, clarinet, violin, and a variety of other instruments, and for a long time retained his membership in the Musician's Union.\nI became interested in motion pictures because my uncle, Spencer Bennet, was a director on Pathe serials. But there was no opening with his unit at the time. I worked for two years as a projectionist in the non-theatrical field for the American Motion Picture Corp. When I finally got a chance with my uncle's unit, I began as an Assistant Cameraman and worked my way up to Second Cameraman and finally to First Cameraman. And when my 'break' as a First Cinematographer finally came, it forced me to make a heart-wrenching decision. I had wanted that chance for years. I had also wanted a chance to make a trip around the world. And both opportunities seemed mutually exclusive.\nopportunities were presented at the same time \u2014 the latter, as musical director on one of the Dollar Line\u2019s globe-girdling cruisers. That was a tough choice to make \u2014 but I chose camerawork, and I\u2019m not sorry I did. By a strange coincidence, I started my first picture as a full-fledged First Cinematographer, not only on the same day the ship sailed, but on location less than two blocks from the pier!\n\nGetting back to pictures, I\u2019ve always felt that the training I received making serials was invaluable to me. Serialscover almost every variety of cinematography, and under all sorts of conditions, both good and bad. Serialsgive a cameraman an all-round practical training that can only be compared to theatrical stock company work for an actor. After you\u2019ve put in a few years photographing serials, you feel as though\nYou could tackle anything. This confidence was tested when finally the Pathe Serial Unit was disbanded. Lin spent some time freelancing in both the major studios and the independent or \"quickie\" field. Finally, he joined RKO in 1929, when the studio\u2019s trick department was just being established ... and got his first look at an optical printer. Since then, he has done almost every type of trick and special-process photography, but he likes optical printing best, for he feels that good optical printing is one of the mainstays of any well-organized trick department. Modern special-effects camerawork, as he points out, embraces a remarkably wide variety of specialized processes and operations. In some studios, the staff working with each of these processes forms a more or less separate department; in others, as with Vern Walker\u2019s.\nA month ago in this space, we discussed the need for greater standardization of studio camera equipment and accessories. This need is not limited to professional 35mm cinemachinery. A letter we received soon after from the president of one of the most progressive amateur cinema clubs on the east coast echoed this sentiment. He stated, \"Your plea for standardization of studio equipment resonated with our amateurs as well. As you know, the same deviation in regard to lens-mounts, etc., exists to an even greater extent in amateur equipment. I can name at least\"\nTwo major manufacturers put out products with essential units that should and could be standardized but are not interchangeable between different models of the same make and size of equipment. For example, two different cameras of the same make and size \u2013 either both 16mm., or both 8mm. \u2013 are fitted with lens-mounts which are not interchangeable. Even the frame-lines of some identical models of a product will not match up, nor can you be sure film will be aligned the same way in two otherwise identical projectors of the same make. Of course, as you say, there\u2019s nothing much that we can do about it now; but after the war, if something could be pushed through along these lines to make some of the manufacturers see the light, amateurs in this country would surely appreciate it!\n\nThis need for greater standardization.\nIn the substandard field, equal importance is extended to the 16mm. professional field. Although we have well-established dimensional standards for film, perforations, frame-sizes, and soundtracks for 16mm. (we have all except the latter for 8mm. as well), these standards are not always adhered to, and some badly needed ones don't even exist. For instance, in starting a professional 16mm. production, the first thing any experienced 16mm. cameraman or producer considers is whether more than a single camera will be used and if the scenes shot with all the cameras (or magazines) used frame up identically. Interchangeability of lens-mounts, sound drives, etc. \u2014 or the lack of it \u2014 is another problem. And the lack of uniformity between 16mm. sound projectors is a perpetual hazard to the producers, recorders, and sponsors of professional 16mm. films.\nEven if a picture sounds perfect on the producer's or sponsor's machines, there is no guarantee that it will sound that well or even be acceptable on machines in the field, even of the same make. There seems little doubt that substandard cinematography \u2013 both 16mm. and 8mm., professional and amateur \u2013 will experience an even greater boom after the war. Today, our makers of cinemachinery, while they are of course busy with war production, are unquestionably giving thought to vastly improved post-war equipment. And while they are now mentally or otherwise \"tooling up\" for post-war production, let us hope that they are also giving due thought to increasing the standardization and interchangeability within the industry.\nWe would ensure a wide scale of compatibility for these basic elements and their products. Not all substandard cameras, lenses, and projectors would be identical in all features and performance. However, the assurance that any 16mm.-mounted lens would fit on any 16mm. camera, or any 8mm.-mounted lens on any 8mm. camera, and that film shot in a camera of any given type would align with film shot in any other camera and on any projector, would significantly advance substandard cinematography, whether as a hobby or as a profession.\n\nWe wish someone would explain the logic of how some studios too often preview their pictures. They spend hundreds of thousands, sometimes millions, of dollars making a production. They invest a significant portion of this in glamorous acting personalities and in scripts, direction, and acting that combine to produce a definite result.\nThey spend many thousands of dollars and great care in selecting a director of photography whose work will showcase the players to the best advantage and contribute most powerfully to establishing and building emotional responses in audiences. They then show the film to the press, often in the form of a work-print that is scratched and dirty, with fades and other transitions or effects not yet in place. Or they show what appears to be a first composite print, where scene densities are not yet balanced perfectly and with 1000-foot reel-units temporarily spliced to 2000-foot projection reels with embarrassingly obvious tape splices. Sometimes they may show a print made for low-intensity projection on a high-intensity projector.\nIntensity projectors refer to those designed for high-intensity projection on low-intensity machines. The press, with few exceptions, are unable to make allowances for these technicalities and the improvements that can be expected when a properly-balanced print is shown under normal projection conditions. From the producer's perspective, it doesn't matter significantly if unfavorable photography reviews are given based on what they see on the screen under these generally unrecognized handicaps. However, it should matter greatly to the producer if, for this reason, which is entirely within his control, critics claim that his star does not look well or that his picture failed to evoke the expected emotions.\nThe American Cinematographer is one of the most extensively read and quoted cinetechnical journals in the world. We were informed that this is one of the \u201clearned journals\u201d selected by the U.S. State Department for microfilm transmission to China.\nOfficial cinetechnical visitors from distant lands such as Russia, Britain, Australia, China, India, and Latin America are familiar with our magazine and its staff, as if they lived across the street from us in Hollywood. We were flattered when within a few days, the postman brought us cinetechnical and phototechnical journals from Australia and England, in which articles from The American Cinematographer were reproduced in whole or in part. Permission to reproduce another article on 16mm. sound projection was sought almost simultaneously by a national magazine for professional projectionists and by the visual-education departments of two of our foremost universities. Letters from officers in charge of training-film work among our Armed Services also told us.\nMany articles designated as \"required reading\" for men in their commands cannot be overlooked. One manufacturer of a rather expensive professional instrument, who has been in business nearly two years, has advertised exclusively in this magazine and sold hundreds of these costly instruments not only in this country but also in Latin America, England, South Africa, and extensively among the photographic sections of our Armed Services. This is recognition... but it is also irrefutable evidence of a responsibility we do not take lightly. Despite all the difficulties of getting out a technical magazine in times like these, we will strive to continue bringing the best cinetechnical information to the worldwide circle of readers who have so flatly.\nA.S.C. on Parade, July 1943, p. 255\n\nAppreciation expressed for our efforts on their behalf.\n\nHats off again to our favorite Swede, Air Force Capt. Ray Fernstrom, A.S.C. Last month, we printed his letters telling how he was wounded in action over the German lines. This month, word comes officially that he has become the first A.S.C. member to be decorated. On May 26th, in the African base hospital where Ray is recuperating from his wound, Major General Lewis H. Brereton, U.S. Middle East Commander, pinned not only the Purple Heart Medal but also the Air Medal with bronze Oak Leaf Cluster, indicative of a second Air Medal award, on Ray's tunic.\n\nSketch of Capt. Fernstrom above was made by Lt. Atkins, of the Air Force, and sent to us with a cheery note from Ray.\nWe hope he is now discharged as cured. Nice going, Ray, we're proud of you!\n\nCongratulations to Navy Lieutenants Joe August, A.S.C., Harry Davis, A.S.C., A1 Gilks, A.S.C., Sol Halprin, A.S.C., A1 Siegler, A.S.C., Gregg Toland, A.S.C., and Harold Wenstrom, A.S.C., on receiving well-earned promotions to the rank of Lieutenant Commander. Most of them have been on active duty since months before Pearl Harbor, and doing exceptional \u2014 if unpublicized \u2014 work all over the world. We're proud to learn they're now \"two-and-a-half-stripers.\"\n\nWe're sorry to report that Charles Rosher, A.S.C., has been absent from his usual haunts out MGM way, due to serious illness. But the latest bulletin is that he's getting better fast.\n\nRay June, A.S.C., is also reported as improving, but not yet able to receive visitors. We wish both of them a speedy recovery.\nWhen things happen to Bob Burks, A.S.C., they don't happen singularly. He signed to direct the photography for Warner's \"In Our Time,\" his first venture into production cinematography after long experience with special-process work. Around the same time, he became a father \u2013 also, we believe, his first. To cap it off, a slip on the set landed him in the hospital with a broken leg. As we go to press, reports indicate that he is recovering as comfortably as possible, with a big cast on his injured leg. . . . Well, we'd rather have a cast on our leg than some casts we've known on our hands!\n\nA note from Capt. Osmond Borradaile, A.S.C., up in Canada recuperating from injuries received in North Africa, asks us please to correct the statement made some time back that he was decorated for his achievements. 'Tain't so.\nThe brass hats praised him for his actions in Abyssinia and North Africa. We had an unexpected visit from Reggie Lyons, an early member of the A.S.C., who now works as a civilian cinematographer with the Signal Corps Training Film Lab at Wright Field, Ohio. He has been to 18 locations from Brooklyn to California in the past few months, shooting training films for the Army Air Force. He promises an article on training film production as soon as he has time to write it. An unexpected visitor this month was genial Len H. Roos, A.S.C., F.R.P.S., representing the Newsreel Pool in the Hawaiian area. He visited his bosses in New York and possibly to share his hush-hush experience.\n'covering' Pearl Harbor on memorable Dec. 7th, we were lucky enough to grab the above shot of War-Correspondent Len being welcomed home camera-shy by A.S.C.-Prexy Len Smith. We don't intend to be corny, but we're tempted to caption the pic \"Two swell Lens-ers.\" Congratulations to Associate Member E. P. \"Ted\" Curtis, A.S.C. For the past several months, he's been doing a whale of a job on General Spaatz's Air Force staff in North Africa, and now word comes from Washington that he has been promoted to Brigadier General. Way back in 1940, Ted took leave of his job as head of Eastman's Motion Picture Film Sales Dept., and went on active duty as an Air Force Major \u2014 the same rank he held at the end of World War I, from which he came home as one of America's leading \"aces\" and a Squadron Commander.\nClimb from that rank to Brigadier general is something anyone who ever knew the genial, efficient General Curtis could have easily foretold, a achievement in which all his friends can take sincere pride. Thanks to Russell Harlan, A.S.C., for inviting us to bring our ten-year-old son to visit his set . . . and a double portion for the fine way he and the whole \u201cGun Master\u201d troupe went out of their way to give a youngster the thrill of his life.\n\nMerritt B. Gerstad, A.S.C., draws a nice assignment at Warners\u2019, filming \u201cConflict.\u201d\n\nNice to see Norbert Brodine, A.S.C., coming to roost at 20th-Fox, directing the photography of \u201cDancing Masters,\u201d with Laurel and Hardy.\n\nMonogram briefs: Marcel Le Picard, A.S.C., finishes \u201cOutlaws of Stampede Pass.\u201d While Jackson Rose, A.S.C., starts \u201cI Was a Criminal.\u201d\n\nAnd Ira (\u201cJoe\u201d) Morgan, A.S.C., is busy making \u201cTiger Fangs\u201d for PRC.\nAt Paramount, Charles Lang, A.S.C., starts \"Standing Room Only\"; Victor Milner, A.S.C., gets rolling on De Mille\u2019s \"The Story of Dr. Wassell\"; and Theo - (Continued on Page 268)\n\nJuly 1943 \u2022 American Cinematographer\n\nPHOTOGRAPHY OF THE MONTH\nCRASH DIVE\n20th Century-Fox Production (Technicolor)\n\nDirector of Photography: Leon Shamroy, A.S.C.\n\nThe first few reels of this picture are Technicolored in adequate but thoroughly routine fashion. But thereafter \u2014 from the time the submarine first submerges and the dramatic effect-lightings begin \u2014 one can see why Leon Shamroy, A.S.C., was the first \u201cproduction\u201d cinematographer to capture an Academy Color Award single-handed. Without the visual drama his camera and lightings \u2014 especially the undersea ones making vivid dramatic use of projected color \u2014 give to the production, \u201cCrash Dive\u201d would probably be considered less effective.\nBut Shamroy's artistry creates emotional responses in pretty banal entertainment, not just in heavily dramatic moments, but also in love-scenes, particularly some night-effects in the car and outside the girls\u2019 school. The picture takes on a dramatic stature it wouldn't otherwise have enjoyed. Some special-effects work is excellent, such as the explosions in the Nazi U-boat base. However, much of the rest is mediocre. The process backgrounds, in particular, were considered poor. In many of them, a pronounced \"hot spot\" was noticeable, which shouldn't be there with today's technique. In others, the background plates were unduly grainy and looked as though they had either been photographed in very indifferent monopack or unnecessarily printed down. Despite this, \"Crash Dive\" is worth seeing.\nIf you want to see what a fine cinematographer can do in the dramatic sense, watch \"Background to Danger.\"\n\nWarner Bros. Production. Director of Photography: Tony Gaudio, A.S.C. Special-effects by Warren Lynch, A.S.C., and Willard Van Engen, A.S.C.\n\nThis mystery-melodrama ranks very close to \"Casablanca\" as one of the season's most spectacularly pictorial jobs in black-and-white cinematography. Against a similar background, providing ample opportunity for pictorial effect-lighting, \"Background to Danger\" suffers, in our opinion, from direction inclined too much toward action and too little toward cooperation with the cameraman, and from less photogenic sets than its predecessor.\n\nHowever, within these limitations, cinematographer Tony Gaudio, A.S.C., has done a magnificent job.\nHis pictorial compositions are delightful, with first-rate treatment of players and effective lightings that make one want to see the picture again. The special-effects work by Warren Lynch, A.S.C., and Willard Van Enger, A.S.C., is another outstanding part of the production. Much of it is unrecognizable as special-effects camerawork, all handled in an unusually capable manner. We cannot help wishing, though, that optimal printing had been done on one railroad scene to smudge out a boldly painted name across an engine, drawing a train out of a station, which made it painfully obvious that the scene had been shot at Victoria Station, London, rather than in Ankara.\n\nConey Island.\n[20th Century-Fox Production (Technicolor). Director of Photography: Ernest Palmer, A.S.C.\n\nAnother delightful Technicolored 20th Century-Fox musical. With the exception of the first couple of reels where the contrast seemed abnormally high in the print we saw, Ernest Palmer's camera work makes the picture doubly a delight. The further the picture progresses, the more delightful become his camerawork and lightings. Art directors Richard Day and Joseph Wright have, as usual, given Irving almost perfect sets to photograph, and the costuming completes a picture that needs only the inspired camera artistry of a man like Palmer to make a perfect gem of frothy Technicolor pictorialism.\n\nIf by any chance you don\u2019t want to see \u201cConey Island\u201d a second time to enjoy again its breezy entertainment and music]\n\n20th Century-Fox produced this Technicolor musical. Director of Photography was Ernest Palmer, A.S.C. The print we saw had high contrast in the first few reels, but Palmer's camera work and lighting made the picture more delightful as it progressed. Richard Day and Joseph Wright provided almost perfect sets for photography, and the costumes completed the picture, requiring only Palmer's inspired camera artistry to create a perfect gem of Technicolor pictorialism. If you don't wish to see \"Coney Island\" again for its breezy entertainment and music.\nTo mention the excellently colored Betty Grab'), you'll want to see it once more for the pleasure of enjoying its photographic beauty and the almost flawless combination of color-design and camerawork.\n\nBataan\nMetro-Goldwyn-Mayer Production.\nDirector of Photography: Sidney Wagner, A.S.C.\n\nIn \"Bataan,\" Sidney Wagner, A.S.C., offers not only the finest photographic achievement from his camera in many a long moon, but what we'd like to predict as a strong candidate for Academy Award honors. You may or may not care for its theme of heavy war drama of an heroic rear-guard action on Bataan, but if you care at all for great cinematography, you'll want to see \"Bataan\" more than once.\n\nBoth story, action, and locale call for a very difficult combination of realism, effect-lighting and photographic mood treatment. Wagner provides this visual experience.\nThe setting is magnificently presented, enhancing the production's dramatic values enormously. Some extreme night-effect scenes should perhaps have been toned down to provide a more visually and dramatically effective impression of nocturnal menace. However, \"Bataan\" is filled with visual impressions that will remain in your memory after seeing the film. We won't mention which ones, as tastes differ: there are enough of them to cater to every taste, making \"Bataan\" one of the year's most spectacular photographic achievements. The special-effects, particularly the miniatures, assumedly the uncredited work of Maximilian Fabian, A.S.C., are another notable aspect of the film.\nThe Bronislau Kaper's superior musical score highlights this Harry Sherman Production, released by United Artists.\n\nDirector of Photography: Russell Harlan, A.S.C.\n\nYou cannot dismiss this well-budgeted \"Western\" with the remark that it is a collection of Russell Harlan exteriors, and that he is \"tops\" in this type of camerawork. While this is true, in \"The Kansan,\" Harlan handles interiors so excellently that he disproves any thought that he is strictly a \"Western\" specialist. This reviewer, who is partial to smoothly-photographed exteriors (which, incidentally, Harlan has provided in abundance, subject to fluctuating weather conditions on location), also favors some interior scenes, particularly the effect-lit scenes in the saloon.\nHarlan's treatment of the players was exceptional, particularly in the case of Richard Dix. Despite all the years he has spent in pictures, Harlan's camera makes an actually believable romantic lead for Dix, though his appearance would have been even better with a slightly thinner application of the make-up artist's cosmetic retouching. We'd also like, by the way, to see some producer give Victor Jory a part in which a camera could give him extreme dramatic lighting \u2013 something, perhaps, like those Pev Marley used on Charles Laughton in \u201cLes Miserables\u201d \u2026 any way, some which would take better photodramatic advantage of his mobile features than we've ever seen done.\n\nDIXIE\nParamount Production (Technicolor)\nDirector of Photography: Lt. William C. Mellor, A.S.C.\nAmerican Cinematographer \u2022 July, 1943, p. 257\nBy LA NELLE FOSHOLD, Long Beach Cinema Club\n\nWe've bounced around in everything from an Army Jeep to a two-ton searchlight truck since we started showing movies to the Army Camps\u2014and we love it. If you want to have the time of your life and be doing something the boys in the service really appreciate, start showing them movies, as we are doing.\n\nA few months ago, when civilians were being urged to help entertain the soldiers, the Long Beach Cinema Club volunteered their services through the Recreation Division of the Long Beach Council of Defense, which is the coordinating agency for military and civilian recreation efforts in this area. Midge Caldwell was appointed chairman of a volunteer group to show 16mm films as entertainment to the boys in camps stationed near us.\nThe first night we went out, we wondered what type of films the boys would enjoy most, so we took along an assortment to find out their reactions. They sent an Army truck for us and we were soon rambling along, feeling rather proud as we noticed the envious looks from pedestrians on the street. It took us about twenty-five minutes to get there, and going over a few rough places we * The Long Beach Cinema Club was one of the first American amateur movie groups to volunteer to put its members and projectors to use in entertaining servicemen. With the project under the guidance of Vice-President Mildred Caldwell, it is well in the lead as one of the most active in this worthwhile work. Other clubs, including the Syracuse Movie Makers\u2019 Association, the Metropolitan Motion Picture Club of New York, and others, were also involved.\nThe Amateur Cine Society of Sydney, Australia, have also actively worked to bring film entertainment to servicemen. I wondered what condition our fellow projectionist would be in, as he was riding in the back with the equipment \u2013 really bouncing around.\n\nWe arrived at the Mess Hall in time to see the cook slicing thick steaks, bacon, and pork chops. For a minute, we feasted our eyes and wished we were in the Army as the meat shortage was very bad at that time. While we set up the screen near the officers' entrance, the boys came in the back door in groups, anxiously asking, \"You aren't going to show us training films are you?\" We gave them a list of the pictures we had.\nThey began picking out the films in the order they wanted to see them. They selected a 400-ft. sound comedy first, \"Run Sheep Run.\" Then a silent amateur picture, \"Father's Time,\" by Ray Fosholdt, a club production, \"Fire from the Skies,\" followed by two fast-moving professional shorts, \"Here Comes the Circus\" and \"Ice Follies.\" The boys enjoyed the pictures so much we decided to line up members of our group to make a trip each Friday evening.\n\nThe following week, we found out they were very much interested in the latest sound newsreels. We had hesitated about taking any of these films along, thinking that with war continually on their minds they would enjoy films on other subjects. That evening, the show consisted of \"Coral Sea,\" a newsreel in sound, and two highly entertaining sport sound pictures, \"Ride 'em Cowboy,\" and \"Sport\"\nClarence Aldrich's productions \"Ranch Romance\" and \"Bathing Beauty Parade\" concluded the evening. The Bathing Beauty Parade received whistling, clapping, and stamping feet from the audience. Members of the Long Beach Cinema Club presented a 16mm. show for soldiers at an isolated gun-battery, using the mess-hall as a theater. They also filmed a 16mm. sound-film (note blimped Cine-Special and Auricon) of a show put on by soldiers at another battery. The soldiers were elated to learn the Parade was staged annually, but were disappointed when we informed them it had been discontinued \"for the duration.\" We traveled in one of their largest trucks, which had running-boards several inches from the ground. When it was time to leave, Midge and I hesitated, trying to decide.\nTo decide the best way to reach that high running-board gracefully with an audience looking on, they suddenly decided to send us back in a reconnaissance car which was much easier to get into. We stopped in our tracks as a voice boomed through the darkness, \"Halt! Who goes there?\" The sergeant said, \"Come on, that's just a sentry over on the landing field. He wants to make sure he's heard before he starts shooting!\"\n\nThe next Friday night, Pat and Nora Rafferty went along with Midge. I called afterwards to see how everything went. A sergeant picked them up in a captain's jeep and going up-hill, Nora became doubtful if they would make it. The sergeant soon assured her the jeep could go through sand, mud, or up the side of a building.\n\nThe pictures were shown in the bar-(Continued on Page 274)\n\nJuly 1943 \u2022 American Cinematographer\nBy James R. Oswald\n\nIn the midst of a very gala occasion, which was literally a movie maker's paradise, I overheard someone make an impertinent comment concerning the many cinematography fans present at this affair. The remark implied that it was pointless and showed a lack of judgment to ever \"waste\" valuable film on unfamiliar objects and places, seemingly of little interest, and on \"unimportant\" persons who were total strangers, even to the photographer. Since footage was being shot at a rapid rate with cameras grinding all around me, it became still more obvious that the implication was unfounded and without basis. Likewise, it became apparent that the person making it had little knowledge of, or interest in, photography, either still or motion picture. Little did this individual realize...\nA person may not know or understand what truly comprises a good picture. He little realized that these insignificant objects, as well as human beings, were merely part of the picture and a very small part at that. They were nothing more than \"accessories,\" carefully chosen by the cameraman, to make a worthwhile scene out of an ordinary, commonplace setting.\n\nThe advanced amateur is all too familiar with the tendency of people to \"freeze up\" and become stiff the moment a cinema camera is pointed their way. Individuals, who might otherwise be the life of the party, immediately become self-conscious when asked to act in a movie scene. It's indeed surprising how they suddenly can't find anything to do while in front of the buzzing camera. Such scenes usually elicit quite a laugh from future audiences, but they don't show the subject as he is.\nEveryone knows the value of a natural, seemingly unposed scene of a person as he really is in everyday life. People also have the ability to recognize good composition when they see it, whether they can define the term or not. How can we attain this naturalness so desirable in human subjects and in material subjects, such as backgrounds, etc.? The answer is quite simple. Every little detail within the camera field should be closely watched. These minor incidentals, some placed in the hands of the actors, others merely a part of the picture, will dress up the scene in general, making the result more attractive. The minor incidentals which I refer to as accessories are professionally known as \"photographic props.\"\n\nProps are little more than common objects.\nEveryday objects included in the picture area enhance its value. Props such as a tea-set give actors something to do. Above, left: The scene's naturalness is given by the tea-set props, which allow the actors to interact. Right, top: Without props, the girl is still and self-conscious; below, given a letter to write, she relaxes and is natural. Middle: A simple drink of \"coke\" makes this scene more natural. The bottle in the foreground should be removed, as it distracts from the main action. Bottom: A $1 Venetian blind on a bare wall, along with a vase on a stand, make this shot more natural. A darker vase would be better, as it wouldn't stand out so prominently.\n\nPhotos above by James R. Oswald; at left by Wm. Stull, A.S.C.\n\nEveryday objects in the picture area add value. Props like a tea-set enable actors to do something. Above, left: The scene's naturalness is enhanced by the tea-set props, which allow the actors to engage. Right, top: Without props, the girl is motionless and self-conscious; below, given a letter to write, she relaxes and is natural. Middle: A casual drink of \"coke\" makes this scene more natural. The bottle in the foreground should be eliminated, as it draws attention away from the main action. Bottom: A $1 Venetian blind on a blank wall, together with a vase on a stand, make this shot more natural. A darker vase would be preferable, as it wouldn't stand out so much.\nThe new removable head feature is offered on the \"Professional Junior\" Tripod. This type head detaches from the tripod legs' base, featuring a fastening nut. The tripod head can adapt for low setups with an appropriate adapter. The friction-type head provides superb control with a tilt range of 80 degrees. A generous-sized pin for servicing is included. The \"Spread-leg\" design allows for easy adjustments. A \"T\" level is built-in for setting up 16mm EK Cine Special, B & H Eyemo (with motor), and other cameras.\nThe \"Professional Junior\" tripod with removable head is guaranteed for five years. The kit serves as a portable darkroom for motion picture film in the field or on a 35mm and 1000ft Mitchell. A Bell & Howell adaptor is available for Cineflex mag with three special size thermos bottles. Complete descriptive data will be sent.\n\n\"Professional Junior\" tripods, develop gauges made by Camera Equipment, Bases, Signal Corps, Office of Strategic Services also by many leading newsreel corporations.\n\nNotices the new type\nC. Zucker\n\n\"Hi-Hat\" and Shiftover Alignment Gauge\nThe B & H Eyemo camera is mounted on the Shiftover Alignment Gauge and \"Hi-Hat\" low-base adaptor. The \"Hi-Hat\" low-base adaptor takes the \"Professional Junior\" tripod head for setups where the tripod legs cannot be used. The Shiftover device (deactivated).\nsigned by Camera Equipment Co. and patent applied for this, the finest, lightest, and most efficient parallax correction for the Eyemo Spider prismatic focusing type camera. The male of the Shiftover attaches to the camera base permanently and permits using the regular camera handle if desired. Further data about the \"Hi-Hat\" and Shiftover will be sent upon request.\n\nProfessional Junior Tripod\n- great flexibility to the versatile\n- easily removable friction\n- can be unscrewed, a finger-grip head\n- mounted on a \"Hi-Hat\" low-base\n- allows pan and tilt action, 360\u00b0 pan\n- union assures long, dependable rigidity and quick, positive height adjustment\n- tripod. The top-plate can be removed without motor; 35mm DeVry and opening kit contained.\n- developing hand tests of 35mm.\nThe kit is equipped to take 400 and 35mm magazines. A special developing kit is furnished with developer, hypo, and water. Kits \"Hi-Hats\" and Shiftover Alignment are used by the U.S. Navy, Army Air Services and other Government Agencies for 16mm and 35mm motion picture cameras.\n\nThere\u2019s a story told about a prize fighter who once walked squarely into Joe Louis\u2019 Sunday punch ... and when, considerably later, the birds stopped singing, remarked philosophically, \u201cWell, at least that taught me what not to do!\u201d\n\nThis may seem like a rather negative way of accumulating knowledge, but it is undeniably effective. Besides, there are always two aspects of learning how to do anything: what to do, and what not to do. Of the two, I think the \u201cnots\u201d are more important.\nThe more important and harder to learn mistakes are often overlooked, possibly because we want to forget them in haste. However, if we examine them, they can be just as instructive as our most cherished successes.\n\nConsider the mistakes we've all made in moviemaking. Regardless of whether we shoot for pay or pleasure, we generally don't revisit our errors frequently. But with film becoming scarce, every mistake can \u2013 or should \u2013 serve as a lesson to avoid wasting precious film. Therefore, before embarking on any more shooting, why not dig out all your \"horrible examples\" you can find and spend a quiet evening with your projector, studying and analyzing the things you shouldn't do?\n\nAnd while you're unearthing that film, let's discuss a few common mistakes.\nthings  you  shouldn\u2019t  have  done  (but  did) \nand  suggest  a  few  simple  remedies  for \nthem. \nFirst  on  almost  anybody\u2019s  list  of  home \nmovie  \u201cshould  nots\u201d  is  over-fast  panning. \nMost  experienced  amateurs  will  probably \nchime  in  at  this  point  that  they  learned \nall  about  that  long  ago \u2014 and  learned \nthat  the  simplest  and  safest  cure  was \nsimply  not  to  pan.  That\u2019s  all  right  as \nfar  as  it  goes:  but  even  if  (unlike  the \nunlucky  professional)  you  don\u2019t  have  a \npan-mad  director  working  with  you  and \ninsisting  on  moving  the  camera  all  over \nthe  room  or  landscape,  you\u2019ll  still  find \noccasions  when  you\u2019ve  just  got  to  pan. \nIn  a  case  like  that,  your  first  remedy \nis  to  set  the  tension  on  your  tripod\u2019s  pan\u00ac \nhead  tight  enough  so  it  offers  enough \nresistance  to  hold  you  down  to  a  decently \nslow  pan  .  .  .  and  then  remember  to  pan \neven  slower  than  that.  But  this  remedy \nIsn't hand-held shooting problematic when you need to take a shot or have questionable choices, causing you to use the camera without a tripod? In such cases, speeding up the camera can be beneficial. For 16-frame-per-second silent projection, increase the speed to 24 frames; for 24-frame sound-speed projection, raise it to 32 frames per second. Although this consumes more film, it doesn't add to the film used when panning at the correct speed. It will magically slow and smooth your pan.\n\nAnother essential consideration is having a valid reason for panning. Generally, there are only two genuine reasons for panning: first, to follow a moving object; second, to display a panorama that cannot be shown or effectively shown otherwise.\nIn a single, stationary-camera shot or a series of such shots, a familiar and instructive mistake occurs. The long-shot was filmed unfiltered, while the filter used on the close-up to darken the sky made the red dress several shades lighter and \"washed out\" the face-tones. In the first instance, follow your moving object as smoothly as possible, keeping it constantly centered in your finder so it won't weave back and forth on the screen. In the second instance, remember that a pan should be like a crescendo of interest, leading from something less interesting to something else more interesting. There has been much debate - verbal and printed - in amateur circles as to whether horizontal pans should properly be made from right to left or from left to right, and if vertical pans should ever be made to descend.\nBegin with the least interesting part of your scene and pan to the more interesting part. Direction be damned! Ensure both begin and end on a good composition. Review the panning in some of your less satisfactory pictures and see how much it would be improved by following these few simple hints.\n\nMissed exposure is another \"should not\" you can find a cure for by re-analyzing your old films. If, like nine out of ten of us today, you use some sort of a meter, you'll probably discover when you study your incorrectly-exposed scenes, that the reason you went wrong on them was either that your exposure-meter didn't \"see\" the same area your camera did, or that it took simply an inaccurate reading.\nIn general, when reading the entire scene, if you were particularly interested in a specific portion that didn't receive special treatment, the issue was likely that you merely held up the meter and pointed it in the scene's direction without further thought. In most exterior scenes, you'll include a significant amount of sky, which reflects a lot of light and enhances your reading. However, you're more interested in the landscape and the people in the scene. To obtain a more accurate reading, tilt the meter down about 30\u00b0 so it doesn't capture as much sky. Additionally, make a small shade over the meter with your hands, especially in backlight, to further shield it.\nTaking exposure-meter readings by incident, rather than reflected light, has become the universal practice among studio cinematographers. Regardless of what type of meter they use, all of them, especially on interior scenes, have found that they get more accurate results by pointing their meter's \"eye\" at the light illuminating the subject. This method is particularly important when dealing with complex lighting situations, such as those found in the \"hot\" area of a set. The problems listed below may require special exposure treatment: a person or object in the shade against a strongly-illuminated background, or out in the sun in front of a large, shady foreground, or a dark-clad person against a light background, or vice-versa. In such cases, while your overall exposure may be strictly on the beam, the exposure for the subject may not be. Therefore, it is essential to take incident light readings to ensure accurate exposure for each element in the scene.\nThe subject is measured by pointing it at the subject itself. Nearly all articles on exposure metering from the professional cinematographer's perspective published in The American Cinematographer over the past several years have focused on incident-light metering. Consequently, an increasing number of letters from amateurs and 16mm professionals have inquired about the same fundamental question: \"Since expensive professional meters like the Norwood and the British-made Smethurst-Avo are unavailable for the duration, how can an ordinary civilian protect exposures using the incident-light method? Is it even possible to do it with my (you fill in the name!) meter?\"\n\nThe answer is yes \u2014 and almost always, regardless of the make of meter you may be using, as long as it is of acceptable quality.\nThe photoelectric type results may not be perfect with a meter designed solely for this type of reading. But once you get the hang of using your meter for incident-light readings, you're almost certain to get better results than those you ordinarily get with reflected-light readings, especially under difficult conditions.\n\nThe easiest of the commonly-used meters to adapt to the incident-light method is the new-type General Electric. This meter, as most G-E users know, has a removable hood and a three-range calculator dial. If you look at that calculator, you'll notice three pointers on the lower part of the outer dial. The one at the left is marked \"cover closed\"; the one in the middle is marked \"cover open.\"; and the third, which you've probably more or less ignored, is labeled \"incident light.\"\nWhen you take off the hood of this meter and make your exposure calculations with this right-hand pointer, the G-E meter is intended to be used as an incident-light meter. Using it this way, simply place the meter in subject position (preferably close to the face of your principal subject), point the photo cell toward the camera, and take your reading. The General Electric engineers note in their Exposure Meter Manual that \"This incident-light method of measuring exposure is highly dependable.\"\n\nBut this is only for the generally lower illumination levels you encounter. Above, left, Rudy Mat4, A.S.C., takes an incident-light reading with his G-E meter; note reducing matte in meter. Right, this meter can be used for incident-light readings indoors by removing the hood and using the \"Dim Light\" pointer (top of the meter).\nFor calculations with incident light using any meter, place a bond paper diffuser with 10% transmission over the photo cell and use the calculator as usual. In filming interiors, use the same technique on exteriors and point the meter at the camera on an average sunny day when shooting in more or less flat front-light. You'd probably shoot the needle up to the top of the scale and then (figuratively, at least) wrap it a couple of times around the peg. With older G-E models or meters of other makes, you may experience similar readings.\n\nSecretary, Amateur Cine Society of India\n\nDue to the increasing interest in the simple, but effective method of putting sound to silent 16mm. and 8mm. films by the stobocopically-sync method, American Cinematographer presents a quiz.\n\nAmerican Cinematographer \u2022 July, 1943\nStrobo-Sync Sound Quiz by S. Jepson.\nQ: If the film breaks, what should I do?\nA: Try and stop both projector and phonograph together. Do not lift the needle; otherwise, you might find it difficult to find the place again. After splicing or sticking the film together temporarily with Scotch tape, start them both together. If the phonograph has gone on for quarter of a minute or so, start it for a few seconds to get the commentary and then stop it with the needle in position. Then, start the projector, and when the picture arrives at the commentary place where the needle is, start the phonograph.\nIf the record gets out of synchronization, what should I do? There are several possibilities. First, ensure the sound is not in front of the picture or vice versa, otherwise, you will make the matter worse. If the sound is in front of the picture, speed up the projector until the film has overtaken the record, then return to the proper speed by watching the strobo-disc. Alternatively, you can stop the record (turning down the volume before and after to avoid noise) by pressing the electric switch (never touch the needle). Restart the record as soon as the picture has overtaken the last few words and the gap is closed. It is not desirable to increase the speed of the record to overtake the picture because this will give a high pitch.\nPitch tone to the voice, but there is no objection to slowing down the record slightly to bring the commentary back to the picture. A simple and effective way of doing this is by applying a handkerchief loosely to the edge of the turntable. The advantage is that when the handkerchief is removed, the speed goes back to what it was formerly, i.e., the correct speed. If you set the speed correctly according to the stroboscopic disc, there should be no need to vary it much, and the simplest way is to alter the speed of the projector.\n\nQ: Is it necessary to have two record-playing turntables?\nA: No, though the effect is better with no break. With one turntable, you can allow an interval of 15 seconds, during which the phonograph can be stopped, the record changed, the needle put on the first groove, and the record replaced.\nQ: If the voice is too high, what should I do?\nA: This means that the phonograph speed is too fast. About 76 to 78 rpm is the best speed. If the voice is too low, it means the speed is too slow. In case of doubt, you can check a turntable\u2019s revolutions by actually counting the revolutions with a stopwatch.\n\nQ: Is it necessary to project at 16 frames per second?\nA: No, what is necessary is that the ratio originally established between projector (or camera) and turntable in the recording must be maintained in projecting. You can make your record with projector and turntable operating at any speed, but you must always maintain those relative speeds thereafter.\n\nQ: Why is the playing time put on the record?\nA: As a guide, the length of a record's playtime can be determined by the number of grooves. After some months, check if the grooves have become polished, and if the disc appears to revolve to the right, a disc with more bars is required. Fifteen seconds, or one complete clockwise revolution, equates to a difference of two bars, and 30 seconds, or one bar.\n\nQ: How can I easily remember how to synchronize the disc?\nA: If the disc appears to be moving clockwise, increase the speed, and vice versa. Remember the formula: \"down to the right; up to the left.\"\n\nQ: Are the records breakable?\nA: No. However, the acetate surfaces are soft and very susceptible to fingerprints. Never touch the face of the disc before or after recording.\nQ: What needles should I use?\nA: This is important, as using hard needles or the wrong kind, or old ones that are worn, can cause records to wear out. \"Translation needles,\" which are soft, are the best and give the best tone, though trailer needles bent at an angle are also good. Wooden fiber needles are good but do not last, and if they become blunt, they will give an echo. They should be resharpened with a knife or patent sharpener. The Indian Babul bush thorn of the right shape makes a good needle, as do cactus spines, but they will not give as much volume as the metal needle.\n\nQ: What are the different methods of synchronization?\nA: The record has a stroboscopic disc, and if the record is started when the white circle sync-mark flashes on the screen, then sound and picture are synchronized.\nAmong the Movie Clubs: Post-War Cameras (July, 1943, American Cinematographer)\n\nDespite being engulfed in war production, the creators of American home movie cameras are still planning improvements for their post-war designs. They require the assistance of users of substandard cinemachinery. Recently, J. Harold Booth, Vice-President of Bell & Howell, sent a letter to most American amateur movie clubs, inquiring about their desired features in post-war cinemachinery. For the benefit of clubs that may not have received this letter and of individual cinematographers, we reprint some highlights of Mr. Booth\u2019s letter:\n\nWhat type of lens equipment do you consider ideal for home movie making? How long should the \u2018spring run\u2019 be, remembering the importance of quick focusing? What improvements would you suggest for the design of the reflex viewfinder? What features would you like to see in a post-war projector? What type of film would you prefer for home movie making? What improvements would you suggest for the design of the camera body? What type of motor would you prefer for the camera? What improvements would you suggest for the design of the film transport system? What type of lighting equipment would you consider ideal for home movie making? What improvements would you suggest for the design of the sound system? What type of accessories would you like to see available for home movie making? What improvements would you suggest for the design of the tripod? What type of film splicing equipment would you consider ideal for home movie making? What improvements would you suggest for the design of the film developing equipment? What type of film processing chemicals would you prefer for home movie developing? What improvements would you suggest for the design of the film processing equipment? What type of film editing equipment would you consider ideal for home movie making? What improvements would you suggest for the design of the film editing equipment? What type of film projector would you prefer for home movie screenings? What improvements would you suggest for the design of the film projector? What type of film projector lamp would you prefer? What improvements would you suggest for the design of the film projector lamp? What type of film projector bulb would you prefer? What improvements would you suggest for the design of the film projector bulb? What type of film projector speaker system would you consider ideal for home movie screenings? What improvements would you suggest for the design of the film projector speaker system? What type of film projector remote control would you prefer? What improvements would you suggest for the design of the film projector remote control? What type of film projector safety features would you consider essential? What improvements would you suggest for the design of the film projector safety features? What type of film projector maintenance features would you consider essential? What improvements would you suggest for the design of the film projector maintenance features? What type of film projector power source would you prefer? What improvements would you suggest for the design of the film projector power source? What type of film projector cabinet would you consider ideal for home movie screenings? What improvements would you suggest for the design of the film projector cabinet? What type of film projector lens would you prefer? What improvements would you suggest for the design of the film projector lens? What type of film projector focus system would you consider ideal? What improvements would you suggest for the design of the film projector focus system? What type of film projector film gate would you prefer? What improvements would you suggest for the design of the film projector film gate? What type of film projector film transport would you consider ideal? What improvements would you suggest for the design of the film projector film transport? What type of film projector film threading would you consider ideal? What improvements would you suggest for the design of the film projector film threading? What type of film projector film tensioning would you consider ideal? What improvements would you suggest for the design of the film projector film tensioning? What type of film projector film cleaning would you consider ideal? What improvements would you suggest for the design of the film projector film cleaning? What type of film projector film lubrication would you consider ideal? What improvements would you suggest for the design of the film projector film lubrication? What type of film projector film advance would you consider ideal? What improvements would you suggest for the design of the film projector film advance? What type of film projector film threading guide would you consider ideal? What improvements would you suggest for the design of the film projector film threading guide? What type of film projector film gate tension would you consider ideal? What improvements would you suggest for the design of the film projector film gate tension? What type of film projector film gate pressure would you consider ideal? What improvements would you suggest for the design of the film projector\nThat power for extra footage means extra weight? What gadgets are really useful, compared to gadgets that are actually used only infrequently and simply complicate your movie making? Would you be interested in making sound-on-film movies in 16mm? A few movie clubs have already had sessions with 'The Camera of the Future' as their topic. They report these sessions were outstanding. We suggest that at one of your early meetings you plan a similar program. Then send us a brief summary of the general ideas suggested by your members for the movie camera of tomorrow. We at The American Cinematographer would also welcome suggestions from our readers along these lines, for we would like to set forth not only what we personally feel is possible in post-war camera design, but what our readers want. All of us, as practical filmmakers.\nusers of substandard equipment, have our ideas of what should consist of the ideal home movie camera or projector. We have complained over the shortcomings of existing models. Now \u2014 while the manufacturers are laying plans for post-war designs \u2014 we at last have a chance to make our desires and opinions heard effectively. Let's make the most of it!\n\nThe Editor.\n\nN. Y. Metro Elects\n\nFollowing the balloting at the May meeting of the Metropolitan Motion Picture Club of New York, the following were announced elected as directors of the club for a three-year term: George A. Ward, Annette C. Decker, George Mesaros, and Joseph J. Harley. At the May 25th Board Meeting, the new board elected the following officers for the coming season: President, Leo Heffernan; 1st Vice-President, Joseph J. Harley; 2nd Vice-Pres., Frank E. Gunnell; Secretary.\nThe Secretary-Treasurer is Sidney Moritz. As Bob Coles, the club's perennial Secretary, has been called into the Armed Service, it was decided to combine the offices of Secretary and Treasurer \"for duration plus six months,\" with the hope that military life may have hardened Bob for another long term of club office.\n\nScheduled for the June 10th meeting, which closes both the club's season and Joe Hollywood's term as program chair, are the following: \"Sun Valley,\" by Harry Groedel; \"Winter Holiday\" and \"Manhattan,\" by George Serebrykoff; and \"Mars,\" a fantasy-film made by Adventure Pictures, of Passaic.\n\nFrank E. Gunnell.\n4 Hits for L.A. Cinema\n\nThe June meeting of the Los Angeles Cinema Club was made memorable by the presentation of four of the most outstanding 16mm. films the club has ever screened. First was \"Old Mexico,\" 16mm. Kodachrome by Russell B. Mullin.\nFred Ells' Kodachrome remake of his classic \"In the Beginning\" was accompanied by phonograph records. Third was \"Cine Whimsy,\" a black-and-white sound-on-film by Member Newell Tune and Robert Fels (See American Cinematographer for May, p. 179). The fourth was a surprise feature, sent by the Indianapolis Amateur Movie Club to William Stull, A.S.C., of The American Cinematographer, and brought to Los Angeles specifically for the meeting by its director, Dr. (now Lieutenant Commander) J. W. Sovine, now serving with the Navy Medical Corps in San Diego. Titled \"Amateuriana,\" and running 800 feet of 16mm. Kodachrome, this film proved to be an unusually clever satire on the making of club productions. At its conclusion, a hearty vote of appreciation was extended to the Indianapolis Amateur Movie Club and Dr. Sovine for going to so much trouble.\nThe June 22nd meeting of the Minneapolis Cine Club turned political as nominees for the club's 1943-44 offices were to be elected. Nominated for President were Dr. Leonard Martin and Earl Ibberson; for 1st Vice-President, Bill Weber and Oscar Haertel; for 2nd Vice-President, Steve Boyles and Dr. Kenneth Miner; for Secretary, Al Anderson and Ralph Bowman; and for Treasurer, Oscar Berglund and Charles Beery. For the two vacancies on the Board, there were three nominees: Falconer Thomas, Rev. Henry Lewis, and Fred Grabow. Following this meeting, the club will take its usual vacation adjournment until next September.\n\nUtah Cine Arts Club (Salt Lake City) June meeting scheduled.\nAn unusually varied program, including \"Down Mexico Way,\" 16mm. Kodachrome by Mr. and Mrs. Vern; \"Western Wildlife,\" 16mm. Kodachrome by Frank E. Gunnell of New York's Metropolitan Motion Picture Club; \"Riding My Hobby,\" by G. Van Tussenbroek, and a demonstration of moviemaking by an expert.\n\nVirginia Smith,\nSecretary-Treasurer.\n\nLadies Win in Syracuse\n\nIt's no longer \"the boys from Syracuse\" with the Syracuse Movie Makers Association. During the nine years of the organization's life, it had maintained a strictly bachelor existence\u2014excluding women not because we wanted to, but because there had been no demand from the fairer sex. However, due partly to an editorial remark in the club's new paper, \"The Viewfinder,\" and partly to pressure from some members' wives, the by-law was amended and women amateur cinematographers are now given full membership.\nMembers became active in the club upon joining. Five did so and attended their first meeting on June 1st. The screen displayed a dual sneak preview of the club's completed production, \"The Hollow Idol,\" in both its 16mm. and 8mm. versions. Following a general discussion, suggestions to alter the 8mm. copy to match the 16mm. version were documented. It was disclosed (to the dismay of the 8mm. members) that the 16mm. group had executed a superior editing and titling job. An exchange film from the Philadelphia 8-16 club, featuring their journal production, was exhibited, and we (once we obtain the film!) were inspired to create a similar comedy about the production of our own club paper.\n\nOn June 29th, the club is hosting an outing and picnic supper at one of the locations.\ncity parks and three films from the library of The American Cinematographer \u2014 \u201cNite Life,\u201d \u201cRed Cloud Lives Again,\u201d and \u201cGarden Life\u201d \u2014 will be shown. A summer of outdoor meetings in parks and on members\u2019 lawns is planned, as a substitute for the out-of-town outings and vacations of pre-gasoline-rationing days.\n\nD. LISLE CONWAY,\nPresident.\nAmerican Cinematographer \u2022 July, 1943\n\nHOME MOVIE PREVIEWS\nAMATEURIANA\n\nScenario film, 800-ft. 16mm. Kodachrome. Filmed by the Indianapolis Amateur Movie Club.\n\nHere\u2019s a picture that every movie club \u2014 and particularly those whose form of the hobby is making scenario productions \u2014 ought to screen. It is a delightful satire on the making of a club production, deftly directed by Dr. Joe W. Sovine and excellently Kodachromed (in the 16mm. version viewed).\n\nThe story is very cleverly told.\nIt seemed to us that a few more close-ups and spoken titles could have been used in some sequences. Improvement might be possible in the way these spoken titles were cut into the action scenes. Few amateurs remember how this technique was used in the days of silent professional films. Then, the best practice was to cut to a close shot, if not an actual close-up, of the player beginning to speak; then, as soon as his mouth started moving, cut in the title, and thereafter cut back to the same action scene as before, but just at the end of the actor\u2019s lip-movement. This made it absolutely clear who was speaking at all times \u2013 an important consideration in silent pictures, and doubly so when using amateur actors.\n\nDr. Gabe's camerawork is generally excellent, though here and there one remembers a scene in which \u2013 probably...\nFor very good reasons, the background intruded somewhat on the more important foreground action. His handling of the interiors was uncommonly fine, especially the difficult task of lighting for a Kodachrome long-shot in the large room used for the club meeting scenes. In this, it may be that a scarcity of lighting units (not to mention bad moments with the fuse-box!) made his lighting a good deal more sketchy than some of Eastman\u2019s experts would probably recommend. However, the result was an effect-lighting which would win the praise of any studio cinematographer, and which was vastly more realistic than any technically perfect, flat, overall lighting ever could be. The film we saw was a duplicate, made by Geo. W. Colburn\u2019s laboratory, and an excellent one throughout.\n\nDocumentary, 125 ft. 8mm. Kodachrome.\nFilmed by Joseph F. Hollywood. Joseph Hollywood has an exceedingly clever technique of putting unpictorial, abstract ideas into visual form on the screen, in this case, the remarkable performance of 8mm. film. An 8mm. frame measures 4.8 x 3.5mm., or a total area of 16.80mm. Projected onto a six-foot wide screen with an area of 2,430,000mm., the original 8mm. image is magnified 144,643 times. You begin to have an appreciation of what 8mm. can do when you see this pictorially illustrated for you, as Hollywood does it. As usual, Hollywood\u2019s photographic technique is excellent, especially in the effect-lit scenes showing the performance of 8mm. film.\nThe projector apparently runs, and others show the picture apparently on the screen. His cutting and titling are up to his customary standard, enhanced considerably by the use of color. However, as he admits, the closing part of the picture does not quite seem to \"jell.\" My suggestion for remedying this would be to show, after the shots of the 8mm. camera, a succession of breath-takingly beautiful Kodachrome scenes showing what 8mm. at its best can put on the screen, as well as a few \"homey\" shots of the typical home movies for which 8mm. is so extensively used. This, preceding the film's present ending (beginning with the silhouette shots of the projector running), should bring \"Wonder Film\" to a climax befitting its subject matter and medium.\n\nTravelogue, 150 ft. 8mm. Kodachrome.\nFilmed by William Peterson. One of the hardest things to do is make a home movie reel which really typifies your home town. Photographically, this little picture is excellent, especially if one makes allowance for the moist climate of the Pacific Northwest. But as a picture, it could stand a bit of improvement.\n\nThe first things for anyone who wants to make a picture of this type to do is to sit down and try and list\u2014on paper\u2014the various details which make his particular town different from others. And there\u2019s always something\u2014even though you\u2019re so accustomed to it that you\u2019re likely to pass it by unnoticed. In Portland, of course, it\u2019s the roses and the celebrated Rose Festival. But that isn\u2019t in itself quite enough material upon which to hang a picture really representing your town.\n\nIn this reviewer's estimation, the scene of the children playing in the rain, the old houses with their gabled roofs, and the streetcars are the things which give this picture its individuality and make it a true representation of Portland.\nThis picture fails to capture the unique aspects of Portland. It shows the city, but focuses on features common to all cities of its size. Most such cities have tall buildings and bustling streets, and most, except in dim-out areas, have spectacular neon signs. An abundance of neat, typically-American homes is also a common trait. However, none of these details sets Portland apart from other cities of its size.\n\nThis reviewer does not know Portland, so it is up to filmmaker Peter Gessler to find the answer in detail. I noticed one such little detail, however, which was deliberately panned away from in the too close attention given to other elements.\nThis detail was a commonplace sight for Mr. Peterson - an electric-trolley-bus rolling down one of Portland's main streets. Portland is one of the few cities in America that uses trackless trolleys. A complete sequence could be built up on this detail alone. Similar sequences could be built up on other similarly exclusive details, not only of scenery, but of family life and customs. The result would be a real picture of Portland as it would appear to a visitor's eyes, seeking the unusual, culminating in the excellent scenes of the Rose Festival, minus, we hope, the short shot of the float with Japanese children waving the rising sun flag.\n\nScenario: 800-ft. 16mm. black-and-white.\nThis is a clever picture of nearly professional quality, filmed by Robert Fels and Newell Tune. Based on the amusing idea of presenting literal current slang expressions, its chief faults are the need for a faster tempo in both cutting and action, and the use of black-and-white negative instead of Kodachrome. The latter is excusable in these days of film-shortages. The former could possibly be remedied through quicker re-cutting. A remarkable feature of the picture is the excellence of the trick camera work and how well the post-recorded dialog matches the lip movements of the players. All told, while the film may not quite reach the mark at which its director aimed, it is nonetheless a very worthy short.\n[California Washday, 100 ft. 8mm Kodachrome, filmed by Dr. Joe Sovine. This amateur movie deserves wide distribution. It features a little girl's washday and her careful laundering of her \"Dumbo\" doll. Dr. Sovine's excellent Kodachrome camerawork, perfect exposure, and keen sense of continuity result in an almost perfect example of real photography.]\n\nObjective\u2014\nSmooth \u2014 Pleasing \u2014 Uniform\nPhotography\n\nAmmunition\u2014\nLights \u2014 Camera \u2014\nEastman Negatives\nDailies \u2014 Master Prints \u2014\nPreview \u2014 Release Prints \u2014\n\nMission Accomplished\nJ. E. Brulatour, Inc. Distributors Eastman Films\n\nWe seldom see a home movie that exhibits better continuity. Slight rearrangements of scenes might be advisable in some places, such as grouping more closely the various shots of young Miss Sovine dunking her doll in the tub. However, in general, Dr. Sovine has produced a picture that should be studied by most home filmers we know. The performance of his young star is also worthy of an amateur Oscar.\n\nPhotography of the Month (Continued from Page 257)\n\nMellor, photographed before entering the Army, is another example of Technicolor film musicals at their picturesque best. In this case, the locale is the antebellum South, and the birth of the minstrel type of entertainment serves as the background.\nCinematographer Mellor's contribution is his best job of color camerawork yet, making \"Dixie\" worth the price of a repeat admission. Uncredited special-effects work by Gordon Jennings, A.SC, and transparency-projection process work by Farciot Edouart, A.SC, and his capable staff, are further highlights. Some of Edouart's process-shots, particularly on the river-boat, are unusually fine examples of the intricate perspective-matching between set and background at which he excels.\n\nA.S.C. On Parade (Continued from Page 256)\n\nDor Sparkuhl, A.S.C., is assigned to \"Ministry of Fear.\" Thanks to Charlie Lang, Karl Struss, and Camera Chief C. Roy Hunter for their courtesy to our friend, Lt.-Cmdr. Joe Sovine of the Navy Medical Corps, when we took photographs.\nWe visited William Sickner, A.S.C., at Universal to see how movies (other than 8mm) are made. We spent pleasant fifteen minutes there the other day to say \"Hello.\" He was busy putting another Universal serial on film. We hope we didn't disrupt his work... he only managed to shoot two set-ups in that time!\n\nOther pleasant surprises: the other day we walked on Johnny Fulton's big process stage at Universal, and who should we see working there but Eddie Linden, A.S.C., and Harry Zech, A.S.C. And Harry's spare cigar was a godsend when we found ourselves out of cigarettes with errands yet to do on the lot!\n\nDid you know Major Ted Tetzlaff, A.S.C., has a double rating in the Army Air Force? He's not only a cinematographer (everyone knows that!) but holds a Service Pilot's rating as well.\n\nHollywood's War Plants.\non a few minutes' notice, and the wildly inconceivable to be accomplished over night, have given Hollywood's cinetechnicians the ideal training for wartime production. The normal, peace-time work of their daily lives has convinced them that there are no such words as 'impossible' or 'it can't be done' to a fellow who, like these men, combines sound technical engineering with the fertile ingenuity of the motion picture industry. The unsung engineers, technicians and workmen in the many big and little plants which have so long served the film industry are rolling up their sleeves and accomplishing the impossible.\n\nLin Dunn\n\nasserts that may be grouped together in a single, centralized organization. In any event, optical printing can do a great deal to simplify and supplement\nThe work of all these specialists is brought together by combining their individual contributions to a trick shot. For instance, the background plate for a back-projection process shot may require a scene that combines full-scale \"live action\" with a miniature and topped by a matte-shot. The optical printer can blend these various separately-photographed components together to produce a wholly natural-looking scene, which is then used as the projected background for the process shot. The optical printer may again come into play to begin or end the composite process shot by blending it into another scene using optically-produced wipes, fades, or dissolves. Furthermore, the optical printer can significantly enhance conventional \"production\" scenes in ways the director, producer, or cutter may not consider.\nFor example, dolly-shots can be made into stationary camera shots, and stationary shots into dolly-shots through skilled optical printing. If the set crew dollied too close in, or not close enough, or at the wrong level, this can be corrected in the printer. Optically-made dollies, if done perfectly, cannot be distinguished from those made on the set by experts. Dunn has used his printer to \"doctor up\" many a scene that otherwise would have had to be retaken. One of this writer's favorites was when, some years ago, the rushes disclosed that in an oil field location scene, a truck bearing all too prominently the name of a well-known oil company on its side drove nonchalantly through the scene. Working carefully, frame by frame, Dunn completely obscured the objectionable lettering and saved the day.\nAnother occasion a crashing airplane was supposed to come to rest, upside down, and the injured pilot dropped out and crawled away just as the wreck enveloped itself in menacing flames. Everything went off perfectly on the set \u2013 except that the flames failed to start until the actor was well out of the scene. Dunn\u2019s printer obligingly moved the flames ahead, so that in the final print they seemed to burst out at precisely the most suspenseful moment \u2013 and a retake was neatly avoided.\n\nDunn\u2019s first really spectacular achievement in optical printing was in \u201cFlying Down to Rio,\u201d in which, some years ago, RKO introduced not only Fred Astaire but the striking trick effects an optical printer could produce for transitions. The picture included a dazzling display of wipes, melts, and other transitions, carefully synchronized to music and action, and never since excelled.\nFor some years, every studio tried to do optical transitions before settling down to accept such transitions as a complement to, rather than a substitute for conventional scene-changes like fades and dissolves, which latter, of course, are now made optically too. But by no means all optical printer work is of such \"trick\" nature. \"Citizen Kane,\" for instance, was one of my recent pictures which employed optical tricks to the limit. The picture was about 50% optically duped, some reels consisting of 80% to 90% of optically-printed footage. Many normal-looking scenes were optical composites of units photographed separately and which could have been handled completely by straightforward methods. One such scene was a pan down from a statue of a man to live action at the base of the statue. The statue itself.\nA miniature and the full-scale action at its base were photographed as separate, stationary shots. The two scene-components were joined by a traveling split-screen, and the vertical panning movement was also added on the optical printer.\n\nAnother scene of the same type was the shot of the camera rising from the opera-house stage to show two men in the flies, far above, expressing their disgust at an indifferent performance below. This was photographed in three sections. First, the camera rose on an elevator from a full-scale stage; second, a miniature of continued upward movement through ropes, curtain, and sets; finally, another elevator-shot, full-scale, up to the two men in the flies.\n\nThis differed from the previous example in that the upward camera motion was originally photographed, of course.\nWith carefully matched camera-speeds of the miniature and full-scale components, the scenes had to be fitted together in the optical printer using a synchronized, soft-edged downward wipe-off, blending and aligning certain matched parts of the three sets. The final composite scene created a feeling of long travel from the stage to vast heights.\n\nBoth of these illustrations are examples of how optical printing can create a scene which has no appearance of being a trick-shot, because to most people\u2014even studio technicians\u2014it appears as a seamless and realistic transition.\n\nJuly, 1943 \u2022 American Cinematographer\nMore than ever, the mainstay of the motion picture industry, with every foot contributing its full share of exceptional quality.\n\nEastman Kodak Company\nJ. E. Brulatour, Inc., Distributors\nFort Lee, Chicago, Hollywood\nAmerican Cinematographer \u2022 July, 1943\nThere is no obvious reason for it to be made by other than straightforward production methods. By making these scenes as outlined, certain production difficulties were overcome, resulting in a sizable saving to the studio, but possibly a few headaches for the optical man.\n\nThere are certain essential fundamentals to successful optical printing which cannot be overlooked. One is the design of the printer: it must be practical from the operator's viewpoint. Too often, mechanically excellent machines are unnecessarily awkward or slow to operate. Such machines were probably designed by mechanical engineers who took little or no time to consult, let alone collaborate, with the optical printer cameraman. Even so simple a detail as high-speed rewind may save as much as an hour or more.\nThe importance of dedicating sufficient time for routine operations in a single day is equal to that of thorough cooperation between the optical man and the laboratory. Even the simplest optical work requires the making of duplicate negatives, and more complicated shots may necessitate the creation of double and triple dupes. If laboratory operations are not perfectly consistent and coordinated with the requirements of the optical man, the results cannot be perfect. Several years ago, I developed a special strip to aid in this laboratory control. It is now used throughout all our trick laboratory work, and has been adopted at the Consolidated Film Industries\u2019 Laboratory as one of their checks on density, contrast, definition, flare, fluctuation, and other factors in both negative and positive processing, particularly where trick work is involved.\nI. Dunn's Work and Hobbies at RKO Cameia Effects Department\n\nFortunately, for me, the cooperation I've received from Vernon Walker, A.S.C., head of the RKO Cameia Effects Department, from my assistants and other co-workers in both this and the editing department, and from the Consolidated Film Lab has made my work most interesting and enjoyable.\n\nIn his spare time, Dunn is designing special optical printers for the U.S. Navy, Signal Corps, and Air Force, which are being built by the Acme Tool and Mfg. Corp. in Burbank. His hobbies are his three small girls, music, and 16mm cinematography. He is an active member of the Los Angeles Cinema Club.\n\nHe has recently completed the first truly professional 16mm-to-16mm optical printer, as judged by major studio standards.\n\n\"The big problem in this,\" he says, \"is to find the time I would like to spend in 16mm experimentation, for I feel that\"\nAfter the war, 16mm. is certain to take the place of 35mm. in practically all professional uses, except for major studio production \u2014 and possibly in some types of studio work. The time when we could regard 16mm. as a mere hobbyist's toy is definitely over. The big job it is doing in military and industrial training films is evidence enough of that. The greatest obstacle now in the way of 16mm. is carelessness in those who use it. When 16mm. is photographed and processed with the same standard of care and accuracy that 35mm. now enjoys, we're going to see vastly improved results which will surprise many of us.\n\nVirge Miller\n\nTo the Studio's camera machine shop, he served, first as an assistant and later as chief, until 1916. There he found plenty of problems to interest his active and mechanically-inclined mind.\nThe cameras we used in those days, not only at Universal but at any other studio, were probably the most motley collection of photographic machinery ever assembled. The studio had some cameras, but many of the best men prided themselves on having their own outfits. About every imaginable kind of camera was represented: there were French Gaumonts and Eclairs (we called the latter 'Gillons' for some reason nobody ever could tell), DeBries and the old, dependable Pathe Professionals; there were English Prestwiches, Moys and Williamsons; and the aristocrats of the camera stable were a few of the then ultra-modern Bell & Howells.\n\nKeeping those old babies in working order was an assignment that would make many a modern camera-mechanic acutely sick. No two of them \u2014 even of the same make \u2014 were likely to be quite identical.\nThe problems weren't only in the big, obvious things like movements, film-magazines, and lens mounts, but also in irritating little things like screws, bolts, and threads. Some were built to metric standards, others to British or American standards. Replacing a lost or damaged screw often required cutting a new one, and most cameras were built by rule of thumb and guesswork rather than precision engineering. Adding to the problem were the numerous gadgets each cinematographer tacked onto his individual camera. Some were workable, some weren't; most were designed to eliminate 'static,' which was the big bugaboo of cinematography until the early '20s, when Eastman brought out their 'X-back' negative. Until then,\nfilm had one side coated with emulsion, and the other just bare celluloid. In cool weather, a charge of static electricity would build up in the film, and as the negative unrolled in the magazine or went through the camera, blue electric sparks would crackle along the film, like sparks from a cat's fur, or from an amber rod that's been rubbed in a piece of silk. The result on the negative was something like a crooked, many-limbed tree-trunk.\n\nFor Lighting Equipment:\nAs sole distributors East of the Mississippi, we carry the full and complete line of latest-type Inkie and H.I.-Arc equipment manufactured by Mole-Richardson, Inc., Hollywood - California. Your requirements for interior or exterior locations taken care of to the last minute detail anywhere.\n\nMotor Generator Trucks\nRentals Sales Service.\nCharles Ross, Inc.\n333 West 52nd St., New York, N. Y. Phones: Circle 6-5470-1, 70\nJuly, 1943 \u2022 American Cinematographer\n\nAutomatically compensates for the photographic value of all the light falling on the subject, regardless of its angle. Extensively used by the photographic sections of the U.S. and Allied Armed Services, and by leading directors of photography in Hollywood's major studios.\n\nWe regret that \"for the duration\" civilian orders for NORWOOD meters can only be filled on a priority of AA-3 or better, or when a Weston \"Master\" (Model 715), Model 650, Universal, Leicameter or 819 Cinemeter in good condition is offered in part exchange.\n\nPhoto Research Corporation\n15024 Devonshire St., San Fernando, California \u2022 Telephone San Fernando 3352\n\nMiddle of the frame. Probably caused by friction against the bare celluloid.\nThe amber rod in the luloid and felt light-traps in magazines likely helped reduce static problems for cameramen. The wooden camera housings, insulated by wooden tripod legs and camera-crank handles, were also factors. Every cameraman had a gadget for eliminating static. Some used spirit-lamp heaters attached to the camera, while others had intricate wiring systems and various non-static pressure plates of felt, rubber, glass, and polished wood. Some of these gadgets may have been effective.\nFilm experienced issues with quick changes of temperature in cold weather, but Eastman's 'X-Back' solved it. This consisted of some kind of coating on the back of the film. In the early days, we encountered another problem, which was more in my domain. Boys shooting interiors under artificial light often found their fades, all made in the camera, flickering inexplicably. The fade would start normally as the cameraman began to cut his shutter-opening, and then suddenly there would be a completely black frame, or an irregular succession of them, which made the fade flicker in and out most unpleasantly.\n\nThis was an easy one to solve, though. We were using 50-cycle Alternating Current then, and I knew that an arc operated on AC goes completely out at each cycle-change. I knew that the flicker was caused because the decreasing voltage during each cycle change was not providing enough power to maintain a steady image.\nI. Introducing aperture adjustments of the shutter, the fade would sometimes align with the dark period of the arcs illuminating the scene. This synchronization could still occur with modern professional cameras or a 16mm Cine-special, producing shutter fades on a set lit with A.C.-powered arcs. I resolved this issue by implementing diaphragm fades, necessitating the rebuilding of the diaphragms on all studio lenses to achieve complete blackout, similar to those on some amateur cameras like the Pilmo 8s. This approach did not sync with the arc-flicker, thus proving an effective remedy. Other studios addressed it differently, transitioning to Direct Current instead of A.C., which significantly reduced the arcs' flicker, though not entirely.\nFlickerless arcs didn't come until a few years ago, when they were developed for use with Technicolor. As Virge got closer and closer to cameras and camerawork through his camera-shop experience, he began to learn more and more about cinematography. Before long, he was making photographic tests of cameras and equipment. Then he began to help various cameramen out with intricate multiple-exposure and other trick shots, in which his engineering experience proved valuable. And now and then in an emergency, he would go out on the set and grind an extra camera when one was necessary.\n\nFinally, a real emergency came. One of Universal's troupes had to do some work at night in order to finish up with an important player who had to start another picture elsewhere the next day. The cameraman for some reason couldn't work that night, and at 7 P.M. came.\nA hurried call for Miller to go out and \"fill in\" as the First Cameraman for the night's work. Feeling he had at least half the world's responsibilities resting on his shoulders, Virge grabbed a camera and kept the troupe going.\n\nA day or so later, after seeing that night's rushes, the director came to Miller with a request that he finish the picture. At first Virge refused, unwilling to displace another man; but later the other cinematographer, established as one of the studio's ace camera men, insisted on stepping off the picture so that Virge could have a chance at camerawork. And Virgil Miller became a full-fledged First Cameraman.\n\nAs a First Cameraman or Director of Photography, he has stayed since that day in 1916. Ten full years he spent at Universal, where he photographed 110 films.\nThe producer worked on various feature productions, including the memorable silent version of \"Phantom of the Opera,\" and many others that covered the entire range of camera-worthy material, from westerns to mystery melodramas and drawing-room comedies. It's no surprise he became one of the very earliest members of the A.S.C.\n\nFor the next three years, he worked at Warner Bros and RKO. In 1929, he was appointed head of Paramount's camera department. During his six-year tenure in this position, he pioneered many phototechnical developments that helped the industry adapt its camera technique to sound. Paramount directors of photography captured the Academy Award for six consecutive years during this period.\n\nLeaving Paramount, he paused long enough to photograph one picture before becoming head of the Selznick Studio's camera department, where he also added other responsibilities.\nHis administrative duties he served actively behind a camera on special-effects and other sequences for several productions, including the Technicolored \u201cGarden of Allah.\u201d After this came a year of freelancing, including some time spent on special color research, and finally a six-years\u2019 association with 20th Century-Fox, during which time he has done just about everything from \"Charlie Chan\" and \u201cMr. Moto\u201d whodunits, with their always intriguing opportunities for effect-lighting, to conventional program films and pinch-hitting on important Technicolor specials.\n\nMiller\u2019s approach to his work is to strive first and foremost for visual smoothness, with pictorial effectiveness dependent on story values. Photography, in his estimation, should be always held subservient to the story; and so well does he adhere to this that often players working with him for the first time have remarked upon it.\nexpressed amazement that while he keeps his camerawork so generally unobtrusive, he manages also to make them appear to such advantage on the screen. Yet when story and action permit, his camerawork can be as spectacularly pictorial as that of almost any man in the profession. His camerawork, in fact, reflects his personality to a striking degree, for while genial and friendly, he tends also to be somewhat shy and retiring until he has something to say: then he says it, and with a clarity that leaves you in no doubt that this man Virge Miller has plenty to offer.\n\nStrobo-Sync Quiz\nIncrease or decrease speed of projector for a while.\n\nWhen the stroboscopic disc appears to be stationary, it is synchronized, and the disc has to be illuminated by the projector flicker. This can be done in several ways.\n1. By lighting it from the screen, near the screen.\n2. By putting the running projector light on the revolving disc before starting and keeping projector and phonograph steady afterwards. This does not allow you to compensate for loss of sync.\n3. By throwing some light on the stroboscopic disc from the front of the lens. Do this by allowing the projector ray to pass through any piece of optical glass (an old cleaned negative will do) tilted at the right angle found by experiment. This is recommended as it is simple and effective.\n4. By linking projector electrically with a neon bulb fixed over the phonograph. This is complicated but best of all.\n\nMistakes Teach the person or object in which you're most interested will be over or under, depending on that subject's relation to the rest of the scene. The answer is simply to adjust the focus.\nBarge right in close to the subject and make your meter-reading from a point so close that the meter \"sees\" only that and misses the \"hot\" background or shadowed foreground. In such a way, although your overall exposure may suffer, you'll be on the beam as far as your truly important subject is concerned.\n\nMoreover, since Kodachrome has become a scarcity, many of us will have to shoot black-and-white \u2013 and like it \u2013 instead of the color film to which we've grown accustomed. This implies that we must pay attention to monochrome tonal values and let tonal and lighting contrasts replace color-contrasts in creating the separation we need to make a subject stand out from its background.\n\nFor instance, in Kodachrome, you can shoot a girl in a dark-blue dress standing in front of a dark-green hedge and be assured that the difference in tonal values will make her stand out distinctly.\nThe color contrast between the blue dress and green foliage will make your girl stand out pleasantly from her background. However, in black-and-white, the dark blue of the dress and the green of the shrubbery will likely come out in the same tone of dark gray, causing girl and hedge to merge together in your shot. The solution to this is to change your viewpoint so that you get your girl in front of a different background which, from a black-and-white rendition perspective, is either darker or lighter in tone or illumination than your girl and her costume. Alternatively, if conditions permit, you can shoot the scene in back-light, which would produce an outlining highlight around the girl and separate her from the similarly toned background.\nIf your moviemaking goes back before the days of Kodachrome, run a few of your black-and-white scenes - good and bad - and you'll be able to figure out a lot of little tricks to help you make the transition back to monochrome without wasting film. Another fault we see too often is cropping off foreheads or shoulders in close shots. This is simply because the man at the camera forgot that the finder, necessarily removed at least slightly from the position of the lens, and the lens itself do not cover quite the same field when the subject gets within about ten feet of the camera. Technically it's called finder parallax, and if you want to, you can work up all sorts of interesting gadgets to offset it, including alignment gauges which permit you to slide the camera so that for lining up, the finder aligns with the lens.\nThe same position the lens will occupy in shooting and interchangeable, or even automatically moving mattes in the finder, indicate the correct framing for closer shots. The simplest way to do this is to fit onto your finder a little mask of colored cellophane or Scotch tape, which will indicate the direction and approximately the proportion of the cropped area on the closest shots you usually make. If your finder is directly above the lens, the mask should trim off a strip at the top of the finder; if it is directly beside the lens, the finder mask should be at the side; if the finder is above and to one side of the lens, the mask should indicate both top and side. This way, the finder is perfectly adequate for long shots, while for close-ups, a little transparent colored mask is necessary.\nIf you don't want to waste film, allow for finder parallax. Plenty of other film-wasting faults can be found in old films, especially the bad ones. Each mistake will tell you something you shouldn't do to get the maximum usable footage. In many cases, you may be able to rig up simple gadgets like cellophane finder-masks as reminders. By looking along your celluloid back-trail, you can find \"should nots\" that, coupled with other things you've since learned, will lead to better pictures on less film.\n\nIncident-light metering (Continued from Page 263)\nYou can't use this system at all. The answer here is to reduce the exposure.\namount  of  light  affecting  the  meter\u2019s \ncell  to  a  proportion  which  won\u2019t  over\u00ac \nload  the  cell,  but  which  will  still  give \nyou  an  accurate  reading.  There  are  sev\u00ac \neral  ways  of  doing  this. \nStudio  cinematographers,  who  use \nboth  G-E\u2019s  and  Westons  for  incident- \nlight  readings  while  making  interiors, \ngenerally  make  this  compensation  by \n272  July,  1943  \u2022  American  Cinematographer \nusing  a  little  metal  matte  with  a  hole \nin  the  center  which  will  admit  only  10% \nas  much  light  as  would  reach  the  photo\u00ac \ncell  without  the  matte.  This  is  a  step \nin  the  right  direction :  the  proportion \nis  correct,  but  using  a  matte  which  em\u00ac \nploys  only  a  comparatively  small  part \nof  the  photocell\u2019s  total  sensitive  area  is \na  chancy  matter.  The  meter-makers \nthemselves  will  admit \u2014 if  pressed \u2014 that \nwhen  turned  out,  as  they  must  be,  on  a \nmass-production  basis,  it  is  impossible \nTo ensure that every section of every photocell has uniform sensitivity to light, it's crucial that you don't concentrate the 10% of the cell-area you're using into a single section. Introducing errors in this way can significantly affect your readings.\n\nA more effective method is using a matte perforated with small holes, evenly distributed over the cell area but covering only 10% of its total area. However, this approach comes with mathematical challenges for most of us.\n\nA simpler and more practical solution is to cover the cell with a translucent diffusing screen, reducing transmission to the desired 10%. This diffuser can be made of opal or ground glass, but a simple sheet of white bond paper with the required 10% transmission, cut to size, is the easiest way to create one.\nTo determine the correct size and shape for your photocell cover, mount it at the end of a suitable cardboard tube.\n\nFinding the transmission factor is straightforward. Use a comparatively low-powered light source for this test to avoid overloading your photocell. Take an incident-light reading on the light source, then try different pieces of glass or paper until you get a reading one-tenth of the initial reading, keeping the light source and meter in the same relative positions. For example, if your initial reading is 50 on the meter's scale, a diffuser with a 10% transmission will give you a reading of 5 with the same distance from the lamp both times.\n\nOnce you have identified the diffuser with the desired transmission, you can use your meter (whether it's a Weston, G-E of any model, or any other type) for incident-light readings indoors or out.\n\nThe exposure readings you'll obtain using this method are:\nThe meter's calculator-dial is valid for incident-light readings as well as reflected-light readings, with greater accuracy in the normal way, unless used without ordinary expertise. Reflected-light readings can be inaccurate due to various factors. On interiors or exteriors, a reflected-light reading can be affected by differences in illumination or reflectivity between the subject and the background. For instance, a reflected-light reading of a girl in a white dress against a background of dark foliage will be inaccurate due to the larger area of dark background, making the girl likely to be overexposed. Similarly, a dark-clad person in front of a light background, whether it's a light-colored wall or a bright sky, can also cause inaccurate readings.\nA white stucco wall or the vast, reflective expanse of the Grand Canyon on a sunny day \u2014 will probably be underexposed due to the greater area of more highly-reflective background. The same thing applies to subjects or backgrounds, one or the other of which is in the shade. Indoors, under lights, your meter reading is likely to be thrown off the same way unless you take your reading with the meter only three or four inches from your subject's face. Even then, it's subject to error, for you're all too likely to read on the shadow your meter holding hand casts from one of the front-lights. If you use any back-light or cross-light, your reflected-light meter reading is always likely to be boosted because one or more of these lamps may be shining directly into the meter's eye. Using the meter as outlined above for incident-light readings, you eliminate the need for a reflected-light reading.\nMost of these variables are important. The most crucial aspect in most shots is the tonal (and color) rendition of the subject's face. Fortunately, it is typically one of the middle tonal values in a picture. If you get the face-exposure right, the other parts of the picture will take care of themselves, adjusting up or down from this median tone as they naturally should. Therefore, whether in black-and-white or color, if you balance your exposure to the illumination on the subject's face, you're almost certain to have a correctly-exposed picture, even when shooting in a hot backlight without reflectors, or with your subject in dappled shade under a tree. The same is true for interiors, but even more so.\n\nHowever, there are some common-sense points to observe when making incident-light readings this way.\nIf you want complete accuracy, place the meter in the position of the subject's face and point the photocell at the camera in a flat light, either indoors or out. However, most of us who have advanced beyond the novice stage prefer modeling in our lighting, with a highlight side and a shadow side to our subject. A meter revamped as I've outlined does not have Norwood's patented hemispherical diffuser, which automatically compensates for the angular quality of every bit of light falling on the hemisphere, representing the subject's face. Since you're working with a flat light-collecting surface, you'll need to make common sense meter-handling take the place of the rounded collector in making this compensation. If you want to favor the shadow side a bit, simply adjust the meter accordingly.\nTilt your meter a bit to that side when you take a reading, so that about the same proportion of the meter's light-collecting surface is shaded. With a little practice, you can learn how to do this so that you can \"balance\" your shadows and highlights to any degree. In other words, make your meter read on the illumination falling on the part of the subject you're most interested in, and your overall exposure will take very good care of itself.\n\nProps are not wasted, as results will show. Even in long-range, outdoor movies, simple props are often beneficial to lend perspective to a scene. For example, by gently waving a small pine branch a few feet in front of the lens, a striking third-dimensional effect is obtained in a distant mountain view. Such a shot would otherwise be flat and perhaps not effective.\nThis text is already clean and readable. No need for any cleaning.\n\nInteresting, but the use of this simple prop definitely gives it that \u201clift\u201d out of the ordinary. Although props are important in giving depth to many distant scenes, they play their leading role in semi-closeups and close-ups. These are the kind of pictures you or I take around home, many times indoors, with limited equipment. We don't have the expensive sets and props of professional studios, but that needn't stop us. Props can make or break an amateur movie as well as a professional one. That is why special attention must be given to every minute detail which appears in the viewfinder. Possibly, you may have to choose between a number of interesting articles that would serve almost equally well as props. Since there are no hard and fast rules regarding what is right and what is wrong, let your eye be the judge.\nYou'll find it surprising how often people see things alike in this respect! When a decision is reached and the desired props are selected, don't be content to \"throw\" them into the scene. Moreover, do not overdo a good thing by seeing how many objects can be squeezed into one scene. They should appear natural, as though they belong there, and not as if they were put there just \"to\".\n\nTelefilm Incorporated\n603 Hollywood Blvd., Hollywood, CA\nGL adstone 5748\nAmerican Cinematographer \u2022 July, 1943, p. 273\n\nPeople often agree on this point! Once the desired props are chosen, do not simply place them in the scene without consideration. Overloading a scene with too many objects can be detrimental. Instead, ensure they appear natural and belong there, rather than being added unnecessarily.\n\nTelefilm Incorporated\n603 Hollywood Blvd., Hollywood, CA\nOnce arranged, shift the camera for the best effect. Props are useful for covering and eliminating unwanted portions of rooms, providing free choice of camera-angles for desirable backgrounds. Those in the distance may not be distinguishable in close-up views due to the short depth of focus from large lens stops used in this type of work. However, they add \"that certain something,\" even though partially out of focus. Remember, props are important but should not dominate the picture or divide attention from the main subject.\n\nB&H-THC Cine Lenses are not only ideally corrected for today's monochrome and color work; their design ensures excellence for future projects as well.\nAnticipates the possibility of future improvements in film emulsions. Thus, they are long-term investments. Write for details. BUY WAR BONDS.\n\nBell & Howell Company\nExclusive world distributors\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. La Brea Ave.\nLondon: 13-14 Great Castle St.\n\nThey are not usually the principal interest.\n\nIn color movies, added precaution should be taken in this respect, else props may appear too prominent because of color, even though they would be considerably subdued were the scene in black-and-white. If good balance is maintained both in color and composition, nothing will look ridiculous or out of place. How much more natural the results will be than with the stiff, unnatural close-ups which are all too common among cinema fans.\n\nA trip to your nearest movie theater.\nAnalyze each changing scene carefully on the screen. Notice how every detail is true-to-life. Observe the actors' hands. Props give them something to do and put them at ease by taking away any trace of self-consciousness. Flip through your favorite magazine. Note the naturalness of the outstanding pictures that attract you as favorites. Chances are that props are present there too, though you might not have noticed at first glance. They can bolster your own pictures in the same way. Professional studios maintain a special department for this purpose, but in your own home, if you will but glance around, you will find your own collection of props - a fountain pen, a book, or better, some curtains or a Venetian blind.\n\"dress up an otherwise bare wall - anything to make your scenes more natural, or give your actors something to do to overcome camera-fright. Yes, you will see that your own property department can more than fill the bill for any average movie such as you may want to take. You may be just a casual cinematographer with no aim for \u201csuper\u201d productions. But remember, any movie, inside or out, is a better movie with suitable props!\n\n16mm Movies For Soldiers (Continued from Page 258)\n\nRacks where the elite rated loge seats on their cots. If they found the picture boring, they could go to sleep. That night they saw, \"Thrill a Second,\" \"Run Sheep Run,\" \"Yanks in Africa,\" Pat Rafferty\u2019s \"Bull Fight,\" and Ted Phillips\u2019 \"Bathing Beauty Parade.\"\n\nThe following Saturday we received a call from the Chaplain of a detail near\"\nOne of the airports where we had shown pictures three weeks prior asked us to dinner. He said he wanted us specifically that day because they were having steaks. We were seated at the officers' table, which was set with china plates. They admitted rushing around to find some for us so we wouldn't have to eat from mess-kits.\n\nWe asked those around us if they liked the type of pictures we had been showing. They said the boys thought they were very entertaining, and their only suggestion would be for the showing of 35mm features that have been reduced to 16. They mentioned some old pictures they would like to see again such as \"Lives of a Bengal Lancer,\" \"Lost Horizon,\" \"Rio Rita,\" and some Pete Smith Shorts. During that meal, I lost any ideas I might have had that our soldiers were not being fed properly.\n\nThe camp had two dogs and a pet.\nAfter dinner, Midge asked permission to take pictures of the boys and their pets. They enjoyed this almost as much as seeing the movies and suggested we might find material for a newsreel-type picture made up of the pets of the various camps. Sometimes the posts had no chairs and the boys would sit on a concrete floor, but they were generally our most receptive audiences. They are stationed where their duties keep so many of them occupied that it is impossible to get a large enough group together to rate one of the regular \"live shows\" sent out from Hollywood. Most of our shows have been for small units - sometimes just a squad or two stationed at an anti-aircraft or searchlight battery, and sometimes for larger units; our largest audience so far has numbered an unexpected 250. One thing all of these groups have in common.\nThey are constantly on active duty, guarding our coast or one of the strategic war plants in our area. Usually, they are so isolated that the boys can get only a few short hours' leave in a matter of weeks, or even months. This means that on the rare occasions they get into town, there is only time for essential business, and none for moviegoing or other recreation. One outfit we visited told us that our was the first entertainment they'd had in eight months! At others, we found that only half or perhaps one-third of the men can be away from their guns at one time. So we've given our show to half the men on one evening, and then repeated it another evening for the other half.\n\nThe next Friday, the group that went out found the camp they had been assigned to was wired for 60 cycles. The turntables which furnished the synchronization were not functioning properly.\nSome music for some silent pictures was for 50 cycles. Midge Caldwell's Hawaiian Kodachrome pictures couldn't be shown with sound. The boys were disappointed and ran a special wire from the house across the street to request a special showing. The committee was tired of seeing the same pictures and sent down \"Tarzan, Jr.\", \"Jungle Trails\", a comedy, and \"Jack Frost\". Afterwards, the boys entertained our group with an accordion and sang for us. We were informed they had just acquired a new mascot, so we went out to see it expecting anything from a duck to a St. Bernard dog. We were due for a surprise.\nThe bawling, flapping baby seal they obtained turned out to be named Flipper. Upon learning the circumstances of their acquisition, Midge sensed a good story for a picture and invited the boys and their mascot for scenes the following Sunday. She and Ray Fosholdt and Clarence Aldrich spent the next three Sundays completing a clever picture titled \"The Government Seal.\" The boys invited them to dinner and worked enthusiastically with them, making it an added pleasure to produce the film. Incidentally, as the frequency of our showings has increased, our projection-units have become more accustomed to eating \u2013 and well! \u2013 at Army, Navy and Coast Guard mess-tables. Often they are invited to dine with the officers or men before the show, and afterwards, the boys nearly always do.\ninsists on serving a special supper of coffee, fresh rolls and fruits before taking us home. We can certainly testify that the American Soldier and Sailor live well, and that they are unendingly appreciative of anything like this that we civilians can do for them.\n\nLast week, we were invited to see a comedy melodrama skit entitled, \"Wild Nell, the Pet of the Plains,\" or \"Her Final Sacrifice.\" The cast included soldiers from a searchlight battery of a Coast Artillery Anti-Aircraft battalion where we had shown pictures. The boys took both masculine and feminine parts. The play proved so entertaining, that Clarence Aldrich took his sound camera out the following week and with the help of Midge and Ray photographed the play so that the boys could show it to other batteries.\n\nNext to live talent, motion picture equipment was also used.\nEntertainment is rated first above all other forms at the camps. At our club's last meeting, members volunteered for a certain night each week to show full-length sound pictures being sent down by the Los Angeles U.S.O. Mobile Unit, with which we are now officially affiliated. So, pictures will be shown at a different camp every night of the week. These films are reduced from current 35mm. pictures playing in theaters\u2014or sometimes not even released yet\u2014and are kept up-to-date.\n\nWe are all deriving a deep and joyous satisfaction from the knowledge we are bringing entertainment to our armed forces through the movies that have long been a hobby and pleasure to us. We hope other Clubs are doing the same for the Army and Navy Posts stationed near them. We hesitated to start with just our own members\u2019 films, but we soon realized...\nWe found full cooperation from motion picture magazine editors, the U.S.O. Mobile Unit, business firms, and war production plants who possess entertaining films and are willing to loan them. The men - from commanding colonels down to buck privates - show warm appreciation for our efforts (even with our silent, amateur films). This sends an indescribable, warm glow over one, which simply can't be put into words. But we hope lots of other amateurs and clubs throughout the country will give themselves a chance to experience it!\n\nRhapsodic Technique (Continued)\n\nThe limits of time allowed required changing staccato scenes with careful editing to select significant bits of action that would highlight the story to be told. It required accurate cueing of voice,\nThe rhapsodic technique is not to be used indiscriminately or carelessly. Producers of \"The Thousand Days\" consider it a style that lends itself to further development and offers extremely interesting possibilities as an important form of motion picture expression.\n\nAuricon\nSOUND CAMERA\nfor 16 mm sound-on-film\n- High Fidelity Sound\n- Self-contained in sound-proof \"blimp\"\n- Minimum equipment; maximum portability\n- Camera and amplifier, complete, weigh only thirty-seven pounds\n- Kodachrome or black and white pictures with Auricon sound track will reproduce on any sound-film projector\n- Can be operated in the field from an Auricon Portable Power Supply\n- Auricon Camera with type \"C\" lens mount (but without lens) and amplifier complete with microphone, instructions, and cases\nAURICON 16mm RECORDER\nVariable-area sound on film, for double system recording with a synchronous motor driven 16mm camera. Amplifier has background-noise reduction and mixers for combining speech and music. With dynamic microphone, instructions and cases for Recorder, Amplifier, Accessories ... $695.00\nAuricon 16mm sound-on-film recorders and cameras are serving the Nation's War effort with Military and Government Film Units, and with civilian organizations producing essential morale and industrial training films. If your work in such fields makes you eligible to purchase new equipment, we invite you to let our engineers show you how Auricon portability and professional performance will simplify your recording problems.\nAURICON\nE.M. Berndt Corp.\n5515 Sunset Blvd., Hollywood, CA\nMANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931.\nACME PROFESSIONAL 16mm. CAMERA with PILOT-PIN MOVEMENT and PROFESSIONAL ERECT-IMAGE FINDER. Available on Priority or Lend-Lease. ACME TOOL & MFG. CO. 2815 W. Olive Avenue, Burbank, California. American Cinematographer \u2022 July, 1943, p. 275\n\nGOERZ\nCbwhkanl' CRAFTSMEN\ncuts, doimf. ahahSL\u2014\n\nThe production line of \"GOERZ AMERICAN\" is formed by skilled men, who through painstaking work create high-grade photo-lenses and optical units for military instruments used by our armed forces,\n\non Land,\non the Sea,\nin the Air,\n\nThese precise optical units are of the greatest importance to our armed forces, for without accurate military instruments for sighting, fire control and photographic aerial reconnaissance, their fighting machinery would be of little value to them.\n\nOptical science together with our craftsmen, doing their duty on the job.\nthe production line will hasten victory. Our production is keyed to fill the requirements of our Government. Within limitations, we may still be able to supply \"GOERZ AMERICAN\" lenses of certain types and sizes for civilian use. We suggest your inquiries through your dealer or direct.\n\nAddress Dept. AC-7\nC.P. GOERZ AMERICAN OPTICAL CO.\nOffice and Factory\nChmJimnl'\n\nPrecision Optics\n\u2605 AncsL 1S99\n\nWith the advancing army,\n(Continued from Page 248)\n\nThe tank's commander and the tank start forward.\n\nInside the tank, one feels confidently assured, for to the tough armor of the tank, bullets, fragments of shells, and mines, and the like, are like so many peas tossed against a stone wall. There is but one inconvenience: taking pictures is possible only from the open hatch. The regular vision-slits of the tank are so narrow that while they give a fair view, they are inadequate for photography.\nThe view of the countryside is too small for our camera lenses. We must stand and manually operate the Russian-built \"Eyemos\" through the open hatch at the top. Before we had even advanced, a German shell hit a truck pulling a field gun forward for closer positioning. The truck, loaded with shells, caught fire. The fighters saved the gun, quietly and methodically unhooking it from the inferno and rolling it away. In a few minutes, the gun was uncoupled from the blazing truck and attached to a new one, continuing forward. We documented this little episode of unsung heroism on film. Our tank moved straight toward the village. Nearby, other tanks waited for the order to attack the Germans.\nWho are putting up a stubborn resistance. Our own tank moves a little to give us a good camera-angle. We begin shooting again. Our subject at last is the village.\n\nThe spectacle must be immortalized! The village, which has become the base-point of the German defense, literally seethes with explosions and shell-bursts from our artillery. Every minute thunderous volleys of our shells crashing into it send thick billows of smoke and flame toward the sky. A group of our dive-bombers appear, and they too, unload their lethal cargoes upon the Germans in the village.\n\nQuickly we reload our cameras. Our cameras are working fine. What a difference from our experience last year! Last winter we suffered plenty from having cameras freeze up in the intense cold. The only way to keep them warm was through the Camera Supply Company, ART Reeves.\n1515 North Cahuenga Boulevard, Hollywood, California\nEfficient-Courteous Service. New and Used Equipment. Bought, Sold, Rented. Everything Photographic, Professional and Amateur. We carried them constantly against our chests, under our heavy winter coats. Consequently, many interesting shots were lost. But now we are completely free from this trouble, thanks to cinematographer Dobronitsky, who invented a non-freezing method of lubricating cameras. Our cameras are working like fine watches!\n\nThe tanks begin to advance. We take close shots of the caterpillar treads throwing fountains of snow as the tanks move rapidly over the field. Now the Germans are putting up a heavy counter-barrage in front of the village. We film the bursts of the German shells. We film chains of our fighters advancing toward the village. They advance.\nLike ghosts in their winter-white camouflage robes, pulling heavy machine-guns behind them, we didn't stop shooting for a second. When I paused to wind or reload my camera, close by my ear I could hear the steady purr of Bobrov\u2019s camera.\n\nDuring the few days of this battle, we photographed over three thousand feet of film. Over in the next sector, cinematographer Verov was doing much the same thing, covering his part of the battle. Our negative was rushed back from the front, and our shots were included in the next issue of our National newsreel \u201cSKJ,\u201d the Soviet Kino-jounal.\n\nMaking such films enriches our cameramen with battle experience, but it does more than that. We plan to make many more such scenes from a tank, for films like this give our Soviet home-front audiences an opportunity to be\u2014if only vicariously\u2014right in the middle\nof  a  present-day  battle  in  which  the \nmen  of  our  heroic  Red  Army  inflict \ndevastating  blows  against  the  Hitlerite \ntroops.  These  pictures  show  our  peo\u00ac \nple  what  their  own  soldiers  and  airmen \nare  doing  against  the  Nazi  bandits  who \nhave  sought  to  despoil  our  country.  We \nare  happy  to  see  also  the  films  that  are \nbeginning  to  reach  us  which  show  our \nAmerican  and  British  allies  in  action. \nAnd  we  who  man  the  Soviet  cameras \nwill  be  most  happy  when  the  day  comes \n\u2014 and  come  it  must \u2014 when  our  advanc\u00ac \ning  armies  and  we  can  clasp  the  hands \nof  our  comrades  who  man  the  cameras \nof  the  American  and  British  Armies  in \na  world  where  Fascism  is  no  more!  END. \nScreen  Tests \n(Continued  from  Page  249) \nwho  did  not  want  those  stars,  for  the \nsame  reason.  They  had  become  accus\u00ac \ntomed  to  having  nothing  but  the  most \nbeautiful  women  as  their  stars.  How \ncould  a  distinctly  homely  woman,  no \nBut no matter how great an actress she might be, or how glamorized for the screen, producers need not worry about how she looks. Our cinematographers, always in the lead in perfecting motion pictures, eventually proved this. All producers need to worry about is how her voice sounds and whether she can act \u2013 the cameramen will put her on the screen in a manner that makes everyone happy.\n\nThe producer and director must give the cinematographer cooperation and let him be more than just a mechanical camera-cranker if the finest results are to be accomplished. If a director or producer insists on photographing a subject from a bad angle, then the cameraman cannot be blamed for bad results. If the director does not convey to his cameraman the mood and meaning he wants to capture, then the cameraman cannot be expected to achieve the desired effect.\nThe cameraman's ability to convey mood through a picture raises a question: how can he achieve this on screen? If a producer or unit manager persistently urges the cameraman to \"stop wasting time fooling with lights,\" they are denying themselves the benefit of the lighting expertise for which they hired the cameraman.\n\nRegarding the selection of talent without screen tests, I have recently signed another player whom I have never seen on screen. He is a young French actor named Harald Ramond. After fighting with the French Army against the Germans in the Great Battle of France, he managed to escape occupied France and came to America. Upon meeting him, I felt that this man would create a sensation on the screen and signed him to a contract within ten minutes. As in the case of Peggy O'Neill,\nI never gave a thought to how he would photograph, for I knew our American cameramen would place him on the screen to advantage. In the case of Peggy O'Neill, I had a story called \u201cPeggy O\u2019Neill\u201d filed away for several years, waiting until the right red-headed Irish type of girl came along to fit the title role. The moment Peggy walked into my office, I knew she was the girl I had been looking for. Why bother to wait for a screen test which I knew would be good! Perhaps while waiting she might be signed by someone else. Beautiful of face and figure, five feet and five inches.\n\nRuby Camera Exchange\nRents . . . Sells . . . Exchanges\nEverything You Need for the Production & Projection of Motion Pictures\nProvided by a Veteran Organization of Specialists\n\nIN BUSINESS SINCE 1910\n729 Seventh Ave., New York City\nCable Address: RUBYCAM\nPeggy: tall, gorgeous brown eyes, red hair, engaging smile, excellent breeding, education, graceful motion, pleasing speech. Ramond: tall, dark-complexioned, black-haired, beautifully chiseled features, manly to the extreme, flashing white teeth. They will make a grand screen couple. I am sold on Peggy and Ramond, as are Hollywood's Directors of Photography. I know from experience they are tops.\n\nDocumentary At Sea (Continued)\n\nThe crew member handed me the footage and then used the Special on what later became part of the film's opening sequence - the schooner plowing through heavy seas with the men holding on.\nOn deck, with that rolling gait peculiar to sailors the world over, we found ourselves not overly troubled by direct spray, though it was always present minutely in the air, and we had to regularly go over our equipment with watchmaker's oil to remove the incrusted brine that gradually built up on every surface. Incidentally, we also learned that lenses used continually in the brightness and salt spray of sunlit seas lose their life. But we didn't have to worry about that - our two weeks on the ocean were too short: the thing that troubled us most was keeping the camera both level and steady on the rolling deck. When the sea was calmer - as it was during our week on the Grand Banks, some three hundred miles offshore - we found we could use ropes, guy-wires, and other devices attached to railings and other fixtures to help stabilize the camera.\nparts of the vessel to hold the camera down. And a good part of the time, of course, the deck was steady enough to permit a setup without auxiliary assistance, especially on the homeward voyage when we passed and photographed a convoy outward-bound. But it wasn't the calm that really helped our film. It was the rough weather. We have both found that people always work much better with us once they see we are willing to adapt ourselves to their way of life. Only after the dog-team trail up North were we really accepted. And only after the gale, which, figuratively and literally, we stood out, did the \u201cFlora Alberta\u2019s\u201d crew so unhesitatingly do everything for us. They never knew how near we were to deserting ship on the third day when another fishing vessel, on its way back to Lunenburg, chanced to pass.\n\nGood sailor that he was, Cinematographer on the \"Flora Alberta\"...\nReporter Sinclair had recently come from a hospital bed and an operation. Our sleeping accommodation was the captain\u2019s bunk. It had the dimensions of an oversize herring-tin, and the aroma surrounding it was that of a tin long opened. To a fishing schooner\u2019s usual olfactory orgies \u2014 oil fumes from the diesel blended with the bilious bilge stench of fish from voyages innumerable \u2014 a new focus and flash with KALART tomorrow! Buy war bonds today. Write for literature THE KALART COMPANY INC. 114 Manhattan St. Stamford, Conn. Ur dlffrmlt ukmU \u2014 THE! ORIGINAL Scheibe's Monotone Filter NDICATES instantly how even, color and light value of a scene or object will be rendered in the finished print. Always ready. Graduated Filters FOG SCENES, diffused focus and other effects. Georno H. Scheibe Originator of effect filters.\n1027 WEST 78T~ ST LOS ANGELES CAL\n8 Ented 16 Refeed 8\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n995 MERCHANDISE MART\nCHICAGO\nMOVIOLA\nFILM EDITING EQUIPMENT\nUsed in Every Major Studio\nIllustrated Literature on Request\nManufactured by\nH. W. Houston & Company (A Division of General Service Corp.)\n1801 W. Olympic Blvd., West Los Angeles, Calif.\nFAXON DEAN\nINC.\nCAMERAS BLIMPS-DOLLIES FOR RENT\nDay, Normandie 22184\nNight, Sunset 2-1271\n4516 Sunset Boulevard\nAmerican Cinematographer \u2022 July, 1943, p. 277\nThe stomach-turning perfume was added: the cloying, sickly emanations of freshly-dried paint. It wouldn't have been so trying if we'd been able to get on deck; but a gale blew, the vessel was laying-to, and we had to keep to the cabin. It lasted for three days and two nights. In the rolling moments of the second dawn, Sin-\nClair, unable to do what he most wanted \u2014 be sick or die \u2014 gasped, \"Ted, I can't stand it. I've got to get back to Lunenburg. I'm sick. They can row me to the other vessel. It's still near enough. It laid-to all night.\"\n\n\"Okay, Doug,\" I said, \"but I'm staying. Leave the camera and I'll finish the job!\"\n\nIf steadying shock were possible on the pitching schooner, my words provided it. And if haughty indignation were possible in the embryo-like posture the herring-tin bunk enforced, Sinclair achieved it when he told me he'd rather die than leave the job to me. My face was turned away from him so he couldn't see my gleeful grin. My suggestion \u2014 untenable to me \u2014 had worked the desired end. Afterwards, on deck, he never even glanced at the other vessel, still laying-to within rowing distance on a sea that was perceptibly abating.\nHalf the battle in making any documentary successful is to get people to forget that you are strangers and that your camera is a strange thing. Once people are your friends, they do not feel you as a stranger; but the camera can still make them self-conscious, especially at close range. That's why many documentary makers \u2013 notably Robert Flaherty \u2013 use telephoto lenses up to 12 inches so that they may be distant from a subject while actually taking a close-up. With us, it was impossible to get very far away from our fishermen on the deck of the \"Flora Alberta\"; and besides, we had nothing larger than a 3-inch lens \u2013 all the studio had been able to furnish us.\n\nHowever, after the gale brought us together, the crew did anything we asked them. They were especially good about not staring at the camera.\nWe couldn't tell them not to act naturally in documentary shots, as \"mug\" meant to eat in Blue-nose sea-talk. They went about their daily tasks as if no camera were present, possibly because the work required full strength and concentration. In their fo'c's'l quarters, where they were relaxing in a poker game, they continued in the same natural way, making it seem as if the game went on just as it would have without our lights. We managed to take interior shots when the boat was at the fish plant dock and a power hook-up could be made with the town circuit. At sea, the Delco lighting plant had insufficient current for any size photoflood, let alone our five No. 4 Victor lights.\nWe encountered a technical difficulty in photographing the men at work in the dories. These are dropped from the vessel cruising over a three-mile fishing ground. From them, the men set their lines, then return to the vessel (usually for a meal), and afterwards return to the line buoy to haul the fish aboard the dory.\n\nCinematographer Sinclair was able to set up the Eastman Special in the bow of one of the dories and photograph the vessel as it slid past during the launching. He was further able to photograph the man pulling in the 300-foot lines laden with cod.\n\nHowever, to get the fisherman setting the lines \u2013 playing them out over the side of the dory \u2013 was something that the angle from the dory itself did not satisfactorily cover. Pulling up the fish, the fisherman's face was continually turning towards the bottom of the dory where the fish were being pulled in.\nThe fisherman tossed the lines but faced out to sea once he set them. The shot was necessary; the lines had to be shown set in order for the later scene to make sense when pulled up. We finally discovered that if the fisherman went through the motion of setting the lines - they were tossed out rhythmically over the end of a short stick - while standing in the top dory of the stack on deck and the camera angle was low, from the deck upward, a perfect illusion of reality was created. The vessel happened to be rolling nicely, so the clouds were photographed in motion behind the fisherman. In the black-and-white duplicate, from which the cutting copy was edited, these unfortunately didn't register. Criticism immediately arose because the scene looked static; but the point was cleared up the moment a few feet of the master were run through a viewer.\nOn the \"Flora Alberta,\" our documentary illusions of grandeur momentarily got the better of us. We had an unusual opportunity and sufficient film; and the color everywhere was amazing, wonderfully suited to Kodachrome because blues, reds, and yellows predominated, with scarcely any green, always the most unsatisfactory tone register in Kodachrome.\n\nCinematographer Sinclair expanded our tentative shooting script as he caught every phase of the colorful fishing around him. We sailed through a convoy; he recorded it. We discovered the men hated the sharks which infested the Banks, would lure them to a noose at the ship's stern, then lasso them; he got this.\n\nFor once, our pretended grandeur was practical. When we returned to the Film Board studio and the rushes were screened, it was decided our material warranted two films: a single-reeler on the fishing techniques and a feature-length film on the shark hunting.\n[in-shore fishing and village life, and a two-reeler on the fishing schooner. We completed and recorded these two films before we left the Board. Due to the color being so unusual and guiding the form of the film and the words of the commentary, we are hoping wartime restrictions on Kodachrome prints will not prevent the release of these films.]\n\nClassified Advertising\n\nFOR SALE\nIMPROVED DUPLEX 35MM PRINTER, with two Bell-Howell Cams and Shuttles. Perfect registration for Color or Black and White, also process plates. Bell-Howell Standard Silenced Camera; Educational Blimp and Dolly: Sound and Silent Moviolas. Equipment slightly used at a big saving. Hollywood Camera Exchange, 1600 Cahuenga Blvd., Hollywood.\n\nWE BUY. SELL AND RENT PROFESSIONAL AND 16mm EQUIPMENT, NEW AND USED.\nWE ARE DISTRIBUTORS FOR ALL LEADING MANUFACTURERS.\n\nRUBY CAMERA EXCHANGE. 729 Seventh Ave., New York City. Established since 1910.\nSPEED GRAPHIC: 3% x 4%, F:4.5 Zeiss TE3- SAR, rangefinder, speed-gun. Pack and film-holders, case, etc., $200. Bell & Howell f:2.6 8mm camera, new condition, $75. Thalhammer tripod, $20.\n\nProduction Equipment Available For Rental: Camera Dolly, Lights, Reflectors, Animation crane. Animation tables, 16mm blimp, synchronizer (sound). Cutting and editing equipment, etc.\n\nWrite: H. Abbard Hunt, 475 Santa Anita, Pasadena, California.\n\nRCA Galvanometer String Vibrators, $5.00; 16mm Film Phonograph, similar to Maurer, $995.00; Cannon Four Prong Plugs, 65c; 3-Phase 1/12 HP Synchronous Motors, $14.35; with gearbox, $19.50; RCA Mitchell or Bell and Howell 3-phase Camera Motors, $135.- 00; RCA R-2 Studio Recorder, $275.00; Two-element Glowlamps, $9.50; Duplex 35MM Step Printer, $425.00. S.O.S Cinema Supply Corporation. New York.\nWanted: Two Single-lens Eyemo cameras, one with a 2\" lens and the other with a 6\" lens. Factory rebuilt: $350. Excellent condition: $300. R.S. Spearing, Box 544, Jacksonville, FL.\n\nGuaranteed highest prices paid for: 16mm cameras\u2014 Sound projectors 35mm, Eyemo Cameras, all models: Bell & Howell\u2014Mitchell\u2014Akeley and motors, lenses, accessories, lab equipment. Write us first.\n\nThe Camera Mart, 70 West 45th St., NYC.\n\nWanted to buy for cash:\nCameras and accessories: Mitchell, Bell & Howell, Eyemo, Debrie, Akeley.\nAlso laboratory and cutting room equipment.\n\nCamera Equipment Company, 1600 Broadway, New York City.\n\nCable: CINEQUIP.\n\nWe pay cash for everything photo-graphic. Write us today.\n\nHollywood Camera Exchange, 1600 Cahuenga Blvd., Hollywood.\n\nWanted: 16mm sound projectors, any make. Cameras, 35mm projectors, recorders or what have you? S.O.S. Cinema Supply Corporation, New York 18.\nPreclude a few being made of our tribute to the Nova Scotian fishing fleet. To be continued.\n\nJuly 27, 1943 \u2022 American Cinematographer\n\n(These pictures illustrate methods used \u2013 have no connection with actual enemy spy activities)\n\nSpies\u2019 Meeting Place... To get evidence that will convict, investigators may conceal a Cine-Kodak in an adjacent room, make thousands of feet of movies of such \"business conferences\" as that shown here.\n\nHow the Cine-Kodak is sound-proofed and arranged to \"see\" through an innocent-looking wall ... and other photographic details necessary for satisfactory results ... can\u2019t be told now.\n\nSecret Agents not so Secret to IS[dlaIk9\u00a7] special-purpose films\n\nA casual letter loses its \"innocence\" when a Kodak film, with the aid of ultraviolet rays, discloses the real message \u2013 in invisible ink.\n\nBurning an incriminating document\nno longer safeguards an enemy agent\nKodak Infrared Film makes fragments of charred paper readable.\nMugging\" the criminal \u2014 taking his picture \"full figure, full face, and profile\" \u2014 is the widest use of photography by the police. But first, catch him. . . . be sure he's the wanted man. . . . get evidence no jury can question. These are counter-espionage activities which photography has made an exact science.\nA jury will believe what it sees with its own eyes. Photography makes this possible. Cameras are often on the alert near the meeting places of suspected enemy agents \u2014 even their \"casual\" meetings on the street.\nKodak special-purpose films find unseen fingerprints on surfaces dusted with a fluorescent powder. . . . unseen chemical erasures, or blood stains on cloth, when illuminated by infrared or ultraviolet rays. . . . tells\nTale differences in ink or ink strokes on a document which has been tampered with can even photograph a man in absolute darkness, with the aid of invisible infrared \"light.\" Photography isn't finished with the enemy agent when he's trapped. Through Kodak's Recordak System, the \"records . . . photographs, fingerprints, and police history . . . \" of 3,000 criminals can be condensed on one small roll of 16-min. film \u2014 for future reference. Eastman Kodak Company, Rochester, N.Y.\n\nServing human progress through Photography\nAmerican Cinematographer \u2022 July, 1943, p. 279\n\nOn public Z*n\u2018e*. - Guarani\n\"pic -HcH^Uag\n\nFILMOSOUND V... \u2022 \u2014 Fulfills every requirement of traditional B&W performance yet is built with limited critical materials. It is available now only to the armed forces. The same skill which perfected the Filmosound V will produce even finer results.\nMotion picture equipment for you... after Victory. You be the boss. Build the kind of movie program you'd like. Travel... sports... late Hollywood hits with big name stars... battle pictures filmed at the front... almost any sort of picture you could want... all from the Filmosound Library.\n\nThis great store of entertainment and instruction has thousands of motion pictures on a vast array of subjects. It is being called on constantly by the Army and Navy for specific educational subjects... by industry for job training and morale films... by schools for help in educating children... by Civilian Defense groups for special films about their important work... and by thousands like you, who enjoy home movies and like to share that enjoyment with their friends.\n\nWhat kind of movies would you like to show at home?\nYou'll find them in the Filmosound Library's thousands of subjects. A Beauty Treatment for Your Irreplaceable Movies. You'll be showing your own movies more, now that new film is harder to get and you'll want them in top condition. The exclusive B&H Vap-O-rate film process will do wonders in protecting your precious movies. Your films come out of this proven professional treatment clean and clear \u2013 impervious to moisture and oil \u2013 amazingly resistant to scratches and heat. They're ready for all the extra times you'll be showing them. These will again be yours to own... when the war is won. Filmo-Master \u201c400\" 8mm Projector. This large-capacity model is the ace of \"eights.\" All-gear drive and 6 rewatt lamp. Fast FI. 6 lens is interchangeable. Full 400-foot reels permit half-hour uninterrupted show.\nThe Eyemo Camera: A tailor-made solution with seven standard models and precision-engineered accessories. Ideal for various needs, from quick field work to exacting studio projects.\n\nEyemo Camera: Seven standard models and a complete range of precision-engineered accessories. Suitable for diverse requirements, from quick field work to intricate studio projects.\n\nFilmoarc Projector: Engineered as an arc projector, this 16mm model provides ample light for large auditoriums. Features a high-output amplifier and high-fidelity permanent magnet dynamic twin speakers. Projects both sound and silent films.\n\nFilmo 70D Camera: Long-time favorite of serious workers due to its ability to produce true theater-quality pictures. Loads spools of 16mm color or monochrome film. Capable of seven speeds. Equipped with a three-lens turret head featuring your choice of fine lenses.\n\nFilmo Turret 8 Camera: Mounts three lenses and matching finders. The critical focuser displays a full frame through the lens. Offers four speeds, including slow motion, and single-frame capture.\nBuilt-in exposure calculator. Footage dial resets automatically. Showmaster Projector. Ideal Filmo for silent home movies. Shows up to 80 interrupted films. Has many fine refinements like Safe-lock sprockets, power rewind, fast FI .6 interchangeable lens, Magnilite condenser increases screen brilliance 32%, for clearer, sharper images. *Trademark Registered. Save and return old lamps when ordering new ones. New lamps can be shipped only when old lamps are turned in. FranrH^R EXCELLENCE. How the Army-Navy Award for Excellence is won and presented is shown in this one-reel sound film. Service charge 50c. The combined sciences of Optics and Electronics. Bell & Howell's simultaneous research and engineering in these and the mechanical sciences have brought important advantages to our fighting forces. Optics will bring.\nMany new things for American living, after the war. Motion picture cameras and projectors. How long since your projector had a checkup? Gradually, intricate projector parts wear, making your projector operate smoother. At Bell & Howell, trained technicians check every mechanism, oil and adjust, repair and replace until your Filmo Projector is as fine as the day it was made. Your B&H dealer can tell you the standard charge for the type of checkup you want and help you pack Filmo for safe shipment to the factory. Bell & Howell Company, Chicago; New York; Hollywood; Washington, D.C.; London. Established 1907. Send this coupon for a catalog and recent supplements of Filmosound Library releases, and for information on the Peerless \u201cVap-O-rate\u201d Film Treatment.\nI'd like to build my own Home Movie Program. Send me the Filmosound Library Catalog and Supplements.\nName:\nPrecision -\nMade by:\nAddress\nCity\nState\n\nI have a .mm projector, sound . silent, made by [blank].\nSeeing double ... for a single reason.\nThe chemistry of film manufacture embraces many activities.\n\nThe chemist is using a double microscope in comparing film emulsions at the Du Pont Research and Control Laboratories. In \"seeing double\" he is making a visual comparison of the emulsion grain in two Du Pont Motion Picture Film specimens. One specimen is a control sample already approved. The other represents a new emulsion, and the silver grains of each specimen are compared. The control emulsion thus provides a basis for comparison.\nMeasurement for the other. Research and control operations assure users of Du Pont \"Superior\" Negative that these films are dependable and uniform in quality at all times.\n\nE. I. du Pont de Nemours & Co. (Inc.), Photo Products Dept., Wilmington, DE; New York Office: Empire State Bldg.; Smith & Aller, Ltd., 6656 Santa Monica Blvd., Hollywood, CA.\n\nMotion Picture Film\nBetter Things through Chemistry\n\nMonths before Tunisia...before Casablanca fell...Eyemos had already helped win the \"Desert Victory.\" On earlier battle fronts, Eyemos, in skilled hands, had filmed the strategies and tricks and methods of the enemy...had recorded ways to meet and squelch those tricks.\n\nAnd in military camps a thousand miles away, grim young men watched those films.\nEyemo films studied them relentlessly and learned the lessons they held. I used these lessons well to win a vital \"Desert Victory.\" Eyemos filmed \"Desert Victory\" as well, in preparation for future victories on other battlefields. Every victory plants the seeds of more and more, until the enemy is finally and completely smashed. Bell & Howell Company, Chicago, New York, Hollywood, Washington D.C., London. Est. 1917.\n\nYour Eyemo is needed. For other victories! Special arrangements are being made in our service department to recondition for Government use all the Eyemo Cameras we can obtain. You may have exactly the lens needed for an important military operation. If you will sell, fill out this information blank and send it to us.\n\n1. British Army cameraman filming bombardment in Libyan battle zone.\nProtected from surprise attack by a Bren gunner.\n2. Eyemo goes aloft. Camera man climbs to bird\u2019s-eye view on observation post in Tobruk and hoists his equipment up after him. \u2014\n3. The man and his weapon. He fights alongside his buddies as a regular soldier \u2014 and does the extra job of filming battle actions. Many of these men have long civilian experience as news photographers or in British and American film studios.\nEYEMOS MODELS P AND Q\u2014 Three-arm offset turret permits broader choice of lenses. Visual prismatic focus with magnifier. Equipped for optional use with electric motor and external film magazines. Finder is offset to avoid interference.\nBuy War Bonds\nEYEMOS Wanted for War Service\nBell & Howell Company\n1848 Larchmont Avenue\nChicago,  Illinois \nGentlemen: \nFor  the  purpose  of  aiding  the  war  effort,  1  am  willing  to  sell  my \nEYEMO  Camera,  Model . Serial  No . \nIt  has  been  modified  as  follows: . \n*Opti-onics  is  OPTIcs  .  .  .  electrONics  .  .  . \nmechanics.  It  is  research  and  engineering  by \nBell  &  Howell  in  these  three  related  sciences \nto  accomplish  many  things  never  before  ob\u00ac \ntainable.  Today,  Opti-onics  is  a  WEAPON. \nTomorrow,  it  will  be  a  SERVANT  ...  to  work, \nprotect,  educate,  and  entertain. \n^Trade-marl:  registered \nI  will  sell  this  camera  for  $ . and  will  pay \ntransportation  and  insurance  to  Chicago. \nThis  camera  is: \n. In  good  operating  condition \n. Inoperative  or  damaged  (give  details) : . \nPrice  above  includes  these  lenses: \nMOTION  PICTURE  CAMERAS  AND  PROJECTORS \nPRECISION-MADE  BY \nand \nI  offer  the  following  additional  lenses  at  the  prices  shown \nhere: . \nName . Address . \nDo Not Ship Until You Receive Instructions from Factory\nAmerican Cinematographer, August 1943\n\nIllumination on Walls by Karl Freund, p. 286\nCommentary: Writing for Documentary Films by Eduard Buckman, p. 287\nThe Russian Influence in Hollywood by Peter Furst, p. 288\nBurlesque in Swing, p. 291\n\nEditor: Hal Hall\nTechnical Editor: Emery Huse, A.S.C.\nWashington Staff Correspondent: Reed N. Haythome, A.S.C.\nMilitary Advisor: Col. Nathan Levinson\n\nThe New Fastax High Speed Camera by C. L. Strong\nUsing \u201cStrobo-Sync\u201d by Edward J. Kingsbury, Jr.\nAces of the Camera \u2014 XXX: Lee Garmes by Hal Hall, A.S.C.\nA.S.C. on Parade\n\nAmong the Movie Clubs\nThe Floral Spectrum by F. M. Hirst\nRemarks on Cine Speeds for Amateurs by Everett Marsh\nEditorially Speaking\n\nCover: A shot of players and crew on the set of [unknown]\n[The Girl From Leningrad, a Gregor Rabinovitch production. Eugene Frenke, associate producer. Fedor Ozep, director. John Mescal, A.S.C., director of photography. Katherine Frye, star Anna Sten. Don Brodie, script, dialog director. Hank Kessler, assistant director. Archie Lowrance, grip. Pliny Goodfriend, operating cameraman. Jack Kenny, assistant cameraman. Guy Gilman, electrician. Alexander Granach, important role. James Doolittle, still photographer.\n\nPat Clark\nAlice Van Norman\n\nMarguerite Duerr\nFred W. Jackman, A.S.C.\nVictor Milner, A.S.C.\nJames Van Trees, A.S.C.\nFarciot Edouart, A.S.C.\nFred Gage, A.S.C.\nDr. Herbert Meyer, A.S.C.\n\nAustralian Representative\nMcGill's\n179 Elizabeth Street, Melbourne]\nAugust 1943 \u2022 American Cinematographer\nFANTASY OF FACTS...\n\n\"DON'T DUCK YOUR DUTY,\" SAYS DONALD SAYS TBONDS\n\nIllustration from Walt Disney's Feature, \"Victory Through Air Power\"\nMajor Alexander P. de Seversky's best-selling book\nIn 1911, Calbraith P. Rodgers made the first transcontinental flight in 59 days with 69 stops and 15 crash-ups, accompanied by a freight train. In 1937, Howard Hughes set the current record with a flight lasting 7 hours, 28 minutes, 25 seconds. Much of our household and industrial equipment will be just as radically different in the ADEL-AGE of tomorrow. Skills currently dedicated to mass production of electric, hydraulic, hydro-electric, and mechanical accessories for every leading American and Canadian aircraft will be redirected to new products with similar advantages of light weight, small size, and superior performance. Accelerate the path to Victory by heeding Donald Duck's advice!\n\nCopyright 114, ADEL Precision Products Corp.\nAML\nPrecision Products Corp.\nOffices: Dallas, Texas. Detroit, Michigan.\nWalls of one type or another form the background for a large majority of the scenes a cinematographer is called upon to shoot. These walls may range in tone from something very dark that just soaks up the light, to an obtrusive white that is very hard to hold down. The wall, forming as it does a background, is strictly of secondary importance in a scene. Nevertheless, its influence on the effectiveness of the scene is quite marked. For this reason, the illumination on it must be very carefully arranged by the cinematographer. I have found it advantageous to always consider how the eye will adapt to any combination of illumination levels such as that at the position \u2013 Karl Freund, A.S.C. (August, 1943, American Cinematographer, 285) Illumination on Walls\nFor example, if the subject is normally lit, the background should be a medium tone that appears darker. This is the most general arrangement. In such a scene, the eye is naturally drawn to the principal subject. In this case, the eye adapts to the subject's illumination level. The neutral background tone does not modify eye adaptation.\n\nFor such a scene, I use my Norwood meter in the normal position, at the subject's location. If I want to use a lens aperture of f/2.3, I bring up the lights on the subject until the meter indicates f/2.3. This takes care of the principal subject. Then, I step back and visually note the relatively bright background.\nThe correct visual balance is essential for the subject and background in photography. When the scene appears visually balanced, we are ready to shoot because the camera will capture the scene as the eye sees it.\n\nAnother type of scene involves walls that appear lighter than the subject (see Fig. 2). This type of scene is more about effect lighting. It is not as common as the first type of scene described above, but it can be very effective photographically. However, great care is required in the illumination arrangement.\n\nIn such a scene, the eye is naturally drawn to the principal subject. The eye begins to adapt to the illumination level of this subject but is now significantly influenced by the greater brightness of the background. When the eye has become adapted to the illumination level\nThe subject appears darker in this background, so the Norwood meter is modified. The meter is placed at the position of the principal subject. To create a subjective impression of a darker subject, a differential is set up between the illumination level on the subject and the lens aperture setting. I find it most convenient to accomplish this by changing the \"film-speed\" mattes in the meter. For instance, if the background wall is moderately brighter than the subject, I estimate a differential of about one-half an f-stop is required.\nI. Writing for Documentary Films by Eduard Buckman (August, 1943)\n\nThe use of different filters is essential for achieving the desired contrast in a scene. I employ a film speed of Weston 32 for interiors. For this particular scene, I remove the No. 32 matte and replace it with the No. 50 matte to create a 54-stop differential.\n\nHowever, brilliant cinematography in a color documentary, natural \"performances,\" or clever cutting are not enough. The commentary plays a crucial role in the film's final impact. If there is one aspect of films for which there seems to be no handbook, it is commentary. It is more than important not because it can save a film, but because it can easily ruin what would otherwise be a clear and interesting one. When writing commentary, we must constantly remember that pictures, if they are to be effective, must be accompanied by clear, concise, and insightful narration.\nGood, words register more quickly and sharply than spoken words. Words accompanying a color documentary require careful handling. Color invariably reveals more to an audience than black-and-white. Color film commentaries must be underplayed, kept as a reinforcing complement. A good color film is built on color sequences, each with its own rhythm. The narrative should catch this rhythm and never lose it, changing easily and imperceptibly whenever the sequences do. Silence is golden. I believe in a color film that is not only gold but can take on all the colors possible in Kodachrome because it adds measurably to each. We writers love to talk. Most of us once thought a two-reeler meant twenty minutes for us to have our continuous say. We always.\nA film, being pictures after all, is able to say more than we ever could. We should, therefore, become as frugal in our remarks and as simple in language as possible. Our sentences should be divided by periods of silence, allowing the scenes to register their color meaning undiluted and intensified, if appropriate, through music.\n\nThe function of commentary is to provide details that further a complete understanding of the picture on the screen, not merely reiterate what it already shows. For instance, the time element. It can often be conveyed filmically, but sometimes it is not practical and the hour is not absolutely set by the color or action on the screen.\n\nWhen, in our fishing film, we faded in on men working over their lines under brilliant sunlight, our commentary should provide additional details to enhance the viewing experience.\nIt is almost noon. The men have been working since three. Now they are baiting up for the second time. The men were doing what, when, and why - things which the average, non-fishing audience would not be able to gather from the scene. The how of the operation was self-evident, and the commentary did not need to tell how the lines and hooks were attached, how the bait was put on, and how skillful the men were at the work: these, the picture did. The commentary continued: \"Each two men have 55 lines - over 3,000 hooks to bait with substantial hunks of frozen mackerel from the 15,000 lbs. on ice in the vessel\u2019s hold.\" This is the function of the commentary: to supply any data the film can\u2019t itself fluently project. Indicating 55 lines, 3,000 hooks and 15,000 lbs. of bait lying on ice in the hold.\nOne effective way to use commentary is in counterpoint. I can't word it better, though it may sound a bit highbrow. What I mean is that we often want to emphasize something which the picture implies but doesn't show, or else we want to divert the audience's attention, in part, away from the picture and soften the effect on screen.\n\nIn our fishing film, I believe a perfect example of the first type is where the fishermen are in the dories. We were shooting in what obviously was summer weather, and the men were apparently hauling up fish effortlessly. But the work actually was hard and back-breaking. There are three miles of line to pull aboard. Furthermore, what gives the scene point is that the men do it.\nyear-round, all through the winter months when the Atlantic is chill and cold. To give the work its fullest documentary meaning, this had to be indicated. And so while the film flows on in its obvious summer colors \u2014 fishermen hauling fish over wheel, close-up; fisherman's face, close-up; fisherman hauling fish into dory, medium-shot; bottom of dory piled with fish \u2014 the commentary (and in this particular sequence, commentary is imperative because the scenes have an inherent similarity) was made to say: \"To haul steadily, over the wheel, with bare hands, the three miles of fish-filled lines, is hard, hard work. Though it is not so bad in summer. It is in winter, in piercing cold, in sleety squall, in 'thick-fog,' that the fisherman's hours in the dory are most cruel.\"\n\nI can think of one particular spot in William Stull.\nWe regret to inform readers that William Stull, editor of this magazine for the past two years, passed away on July 10th after a five-day battle with pneumonia. To this writer, Bill was more than just a friend and brilliant editor and technical writer. He seemed like a son, as I was the one who discovered Bill and started his career. It was in May 1929 that I met Bill. I was then the editor of this magazine. Bill was a shy, retiring young chap with a vast amount of technical knowledge. I asked him why he didn't write a piece for the magazine. He said he didn't believe he could write well enough. I finally persuaded him to try. From the start, he showed brilliance, and he went on to become perhaps the outstanding writer of technical articles in Hollywood. It was only logical that, after his success here, he was offered a position in a larger publishing company.\nI. Writing for the American Cinematographer for many years, he eventually became its editor. And he won countless friends in that position. The world of cinematography has lost a truly magnificent reporter of its achievements in the passing of Bill. The magazine lost a great editor, the cameramen have lost a real friend who was the first to give them recognition, his wife and two children have lost a wonderful husband and father, and his mother a devoted son.\n\nOne of the peculiar twists of life is the fact that I, who started Bill on his writing career, should have the honor of jumping in and completing his work in presenting this issue of the magazine to its readers. If the contents of this issue do not measure up to those of the past, you will know it is because Bill is gone.\n\n\u2014Hal Hall.\n\nthe fishing film where we wished to take (unclear)\nThe audience's attention needed to be diverted from what was happening on the screen, and commentary was necessary to achieve this. This was during the shark sequence. The men had lassoed the killer fish and hauled it up. They then proceeded to cut it in two. They hated these sharks that ravaged the cod, continually cutting the baited lines. And so the men savagely killed the shark by severing head from body. In the film, the colors of the guts exposed by the knife were superb. It is paradoxical that such a brutal dissection should have had such breath-taking pictorial beauty.\n\nThis was why we felt the film would suffer if it were excluded; but once we included it, we had to use commentary to soften its reality, and we decided (Continued on Page 310)\n\nAmerican Cinematographer \u2022 August, 1943, p. 287\nBy Peter Furst\nProduction or preparation in Hollywood today may seem staggering to outsiders and may even prompt some to mutter dark things about \"Hollywood plots\" and \"destructive propaganda.\" Indeed, there are some who would have Hollywood make only anti-Russian films. But that is neither here nor there. It is true that there are many Russian stories in the making. However, there are also many dramatically inspiring things happening on the 2000-mile Russian front every day, and there are few movie makers who cannot recognize good melodrama when they see it. Besides, Hollywood has made many screen epics around fronts that are not half as vital to the Allied cause as is the bitter Soviet-Nazi struggle from Leningrad to the Black Sea. Remember the many commando stories and the flood of Norwegian films which hit the nation\u2019s screens not so long ago?\nWhen examined carefully, there aren't many Russian films in Hollywood. Besides \"Mission to Moscow,\" there is the more recent \"Boy from Stalingrad,\" which has been shown in New York and has aroused good comment there, although it did not hit the first-run houses on Broadway but only some small out-of-the-way theaters. Samuel Goldwyn's production of Lillian Hellman's \"North Star,\" with Anne Baxter and Dana Andrews, is now completed. The film will be unusual in that the only accents in the film are those of German soldiers, while most other Hollywood versions of Russian stories have utilized as many foreign-accented actors as possible. Miss Hellman explains that she wanted to make her story not only completely authentic down to the smallest detail, but at the same time applicable.\nShe wanted American audiences to identify easily with Russian peasants and fighters on the screen and believed that if these peasants had foreign accents, the average theatergoer would not feel at one with his Russian ally. Therefore, only men and women with American accents were cast in the film, leaving those with accents disappointed who had hoped for their big chance. Almost everyone associated with the picture was American: Anne Baxter as a young Russian peasant girl; Dana Andrews as a Red aviator; Jane Withers as a misunderstood young village girl; Walter Brennan as a farmer; Walter Huston as a Soviet scientist; Lewis Milestone, the director; and James Wong Howe, A.S.C., the cameraman. Even the Germanic-looking extras were American.\nEric Von Stroheim is an American citizen. Stroheim, incidentally, plays the role of a German doctor who despises the Hitler gang yet does their dirty work in Russia and is shot by Walter Huston because, as Huston says, \"those who do the work of Fascists and yet despise them, they are the real danger.\" The really memorable lines, however, are spoken by Anne Baxter at the end of the film: \"Wars do not leave people the same. All people will learn that, and come to see that wars do not have to be. They will make this the last one, a free world for all men. The earth belongs to us, the people, if we fight for it. And we will fight for it.\" M.G.M. has completed \"Song of Russia,\" R.K.O. is producing \"Revenge,\" and a new outfit, R. & F. Productions, is releasing through United Artists.\nI. Working on the American version of Art-kino's \"Girl from Leningrad.\" The Russian film also differs from the typical run of Russian stories, but for reasons different than Goldwyn's \"North Star.\" \"Girl from Leningrad\" is not a story of guerrillas or soldiers but of women at war with the enemy; Soviet nurses in a field hospital on the Leningrad front. Both the director, Fedor Ozep, and the star, Anna Sten, have had ample experience with Soviet movie technique since they both worked on Russian films before coming to the United States.\n\nThese, and the other war pictures completed or in production, have left their indelible mark on American cinema production, and this is not meant politically, as some isolationist senators and Hollywood critics in the editorial offices of certain newspapers would have people believe.\nOne of the most important aspects of this influence is that producers must compete with Soviet films in portraying Russian life under battle conditions. Since Russian films, famous for their realism since the revolutionary \"Potemkin,\" producers of American versions of Soviet life are forced to adopt some of that realism. One needs only to go and see a fairly good Russian movie such as \"Diary of a Nazi\" to realize immediately where Hollywood has always fallen short in its presentation of the more violent phases of life. What has been overlooked in even the most recent war films is not technique - Heaven only knows that ours is the most perfected in international film history - but the irrevocable fact that the American cinema-going public, long accustomed to our films, is not prepared for such raw depictions.\nTo the often brutal realism of the news reel coverage of this war, we cannot react sharply any more to death. Not when it is presented in a beautiful studio setting, with soft lighting and camera work and makeup which tend to flatter the actor's physiognomy even in death. It isn't that the American movie-going public has become calloused and brutalized, but simply that we have become war-conditioned. We know now what war and death look like, and we know that it is not like their movie versions.\n\nWe are used to realism in its extremes. We have seen what a fire can do to an entire city and what a sailor looks like after he has spent sixty days on an open raft. We know now that a man who has been hit by a fifty-caliber machine-gun slug or a piece of shrapnel does not die quietly, sinking slowly to the ground.\nThe ground and whispering last messages into the ear of the nurse he loves or his comrade. We know that he bleeds and screams. We don't have to see that on the screen, of course \u2013 as a matter of fact, we won't. The Hays Office takes care of that.\n\nBut we don't have to see that. All that is really necessary is that the movie soldiers look like real soldiers, that the movie workers look like real workers, that the movie towns and the movie battlefields look like real towns and real battlefields.\n\nThe Soviets never had to worry about that sort of thing. They are used to a hard, eventful life over there. And despite that, the Russians asked that their struggle be portrayed faithfully in Soviet pictures. Let no one mutter \"dictatorship\" and \"they were forced to.\"\nPeople find a way to express their feelings about movies, mostly by avoiding them in large numbers, regardless of high-pressure publicity campaigns or government appeals. Hollywood has caught on to this. Moviemakers realize that workers and soldiers don't want to go to a movie theater and sit through the antics of the idle, sophisticated, and carefree. They want to see their struggle portrayed on the screen.\n\nTop: A scene from \"The Girl From Leningrad\" with Anna Sten reading to a group of wounded soldiers in a field hospital.\nSecond: Another scene from \"The Girl From Leningrad\" with Miss Sten as a Russian nurse tending to Kent Smith, who plays the role of an American aviator.\nBottom: Irish Mary Lou Harrington in \"The Girl From Leningrad\"\nRington appeared as a Russian girl in \"The Boy From Stalingrad.\" Opposite is a scene from \"North Star,\" produced by Samuel Goldwyn. \"The Girl From Leningrad\" is a Gregor Rabinovitch production, with Eugene Frenke as associate producer. They were motivated by their own efforts and wanted to look at a picture and come out feeling, \"We're doing a great job, let's get on with it!\" Applause spurred them on. The Russians understood this and gave him applause.\n\nIt's worth noting that as Russian stories, producers, and directors invade the Hollywood scene, they turn to Hollywood cinematographers to put the stories on the screen. Russian technicians and cameramen are not brought here by Russian producers.\nAmerican cameramen have the happy faculty of thoroughly understanding the wants of any type of producers and can photograph the mood of the Russian story just as readily as the American. Currently, John Mescall, A.S.C., is handling the photography on \u201cThe Girl from Leningrad,\u201d which has Russians producing, directing, and acting in the film. Director Fedor Ozepl is enthusiastic about Mescall. \"No camera man in Russia ever grasped my ideas better than Johnny,\" he told this writer.\n\nAmerican Cinematographer \u2022 August, 1943\nBarbara Stanwyck in a scene from \"Lady of Burlesque.\"\n\nJohn LeRoy Johnston, Stromberg publicist, is handling most of the interior shots within a theater and principal players for Hunt Stromberg\u2019s \u201cLady of Burlesque.\u201d\nJohnston closely watched still photography. Since most backgrounds were static, he urged still photographers James Doolittle and Fred Parrish to keep production stills active, unposed, and full of swing. Consequently, the final set of production stills contained more 4x5 grab shots than 8x10 posed ones. A few Ikon 2x2% negatives even made it into the set of action \"selling\" stills. Nearly all the stills used in advertisements for this motion pictue were action shots. For years, Johnston has argued that still photographers should capture more action shots of the outmoded posed variety. An advertising artist himself before he entered the film studio publicity field, Johnston knows what's required for effective selling art. In fact, among amateurs, he believes the best pictures they produce are action shots.\nThe five photographs shown on these pages were shot by Doolittle and Parrish during the filming of \"Lady of Burlesque.\" All are action shots with life and sparkle that could not be obtained in posed shots.\n\nUpper left on this page is a shot of Pinky Lee, Michael O\u2019Shea, and Barbara Stanwyck doing a snappy dance routine. It was a Parrish shot from the floor line. Lower right is a shot of Miss Stanwyck fighting with a policewoman. It was made by Doolittle. Center right, Miss Stanwyck concludes a comedy blackout called the \"pickle persuer,\" with a slap that took O\u2019Shea off his feet. It was made by Doolittle. Upper right shows Gerald Mohr in the midst of a little fistic action that could not be obtained by a pose. Doolittle made it.\n\nOn page 290 is Miss Stanwyck dancing to the tune of \"Take It Off the E String, Play It on the G String,\" a high-energy swing number.\nThe August 1943 issue of American Cinematographer features an article on the new high-speed motion picture camera, named \"Fastax,\" developed by Bell Telephone Laboratories in New York and manufactured by Western Electric. Capable of speeds up to 8,000 frames per second, this camera has already been utilized by war contractors for analyzing fast-moving parts and high-speed action. The Fastax is the result of years-long efforts to create a high-speed analytical tool for engineers. Early attempts with non-intermittent film drives, limited to about 250 frames per second, led to the well-known Eastman-Kodak issues.\nThe ERPI camera could record approximately 2,500 frames per second, ideal for detailed mechanical cycle studies. Frame timing allowed for determination of motion to the thousandth part of a second using a special Western Electric split-second clock photographed on each frame's edge. However, the Eastman-ERPI camera's top speed was insufficient for many desired telephone engineer studies. For instance, they aimed to understand why a certain type of electrical relay, used in telephone circuits, developed poor contact conditions leading to improper operation. Additionally, there were fast-moving operations like dial central office switching devices, whose rapid movements were difficult to observe visually.\nThe result of the engineers' search for a camera capable of sufficiently high speeds to study these and similar problems is the Fastax. Rugged, small, and compact, the Fastax has proven itself valuable as an aid to telephone research. The camera does not look too dissimilar to a conventional motion picture camera. Two models are available which make pictures respectively of the standard 8mm and 16mm sizes. In each model, either 16mm or the so-called \u201cdouble eight\u201d film may be used. The film comes off the 100-foot supply reel at the top, under an idler, around the 20-tooth driving sprocket, and onto the take-up reel. The lens is a standard 2\".\n\nCamera in operation.\n\nAbove, Fig. 4.\n\nEIGHT SlOCO COMPENSATING PRISM for 8 MM CAMERA\nFOUR 5\u20180C0 COMPENSATING PRISM FOR 16 MM CAMERA\n\nThe film comes from the 100-foot supply reel at the top, under an idler, around the 20-tooth driving sprocket, and onto the take-up reel. The lens is a standard 2-inch.\nF/2.0 cinematic lens in screw mount. Framing and focusing are accomplished by a prismatic finder, eliminating parallax by picking up the image at the focal plane through a hole in the sprocket; the image is seen erect and correct from left to right on a ground glass screen at the rear of the camera.\n\nThe rotary shutter of the conventional motion picture camera is missing in the Fastax. In its place, between the lens and the film plane, is a four or eight-sided glass prism, with opposing faces parallel; an exposure slit is provided ahead of and behind the prism. The prism rotates at a high rate of speed (60,000 r.p.m. while taking pictures at top speed) and acts both to provide a steady image on the fast-moving film and to perform the functions of a shutter. Figure 5 illustrates how this is done: the light rays picked up by the lens pass through the prism, which refracts them so they strike the film at a consistent angle, ensuring a clear and focused image.\nFig. 2. In the Fastax camera, lenses focus on the film surface as it rests on the face of the sprocket. When photographing the vocal cords, the light beam is directed by the large mirror into the mouth and then down the throat to the larynx using a small laryngeal mirror held near the soft palate. The camera shoots through the hole in the center of the large mirror and down onto the vocal cords. When the prism is at rest, the image is projected along the dotted lines. However, as the prism rotates in synchronism with the film sprocket, the image is displaced by the refraction and rotation of the prism, traveling in step with the film across the exposure slit. As soon as the prism has rotated to the point where the light rays might strike the larynx or the vocal cords, it is necessary to stop the rotation to avoid damage.\nThe adjoining prism faces of the housing perform the functions of a barrel shutter, blocking light from the film and forming the frame line. The viewfinder is attached to the camera door, as shown in Fig. 3. One of the two prisms of this finder fits inside the sprocket behind the viewing hole in the sprocket's rim. A microscope objective in the finder tube is focused through the two prisms directly onto the film plane. A light trap, operated by an external lever, prevents light from the finder from fogging the film while the camera is in operation. Film travel in the Fastax reaches an amazing speed of seventy miles per hour while the camera is running at its highest taking rate. The camera speed is governed by the voltage applied to the two motors and ranges as slow as 150 feet per minute.\nFrames per second; a one-and-a-half to twenty-five second film length is used, depending on the camera speed. Double-perforated film is employed to evenly distribute strain on the sprocket holes. In the 16mm camera, which features a four-sided prism, frames are of the standard 16mm size. In the 8mm camera, with an eight-sided prism, the frame size is cut to one-quarter the larger size. A strip is exposed down one side of the film, and the film is reversed and exposed down the other side, as in standard double-eight millimeter amateur cameras. Film travel and prism rotation speeds are identical for 16mm images at 4,000 frames per second and for Double-Eight images at 8,000 frames per second. The increase in frame speed in the smaller picture is supplied by the latter.\nThe larger number of prism faces causes a difference in exposure duration. The four-sided (16mm) prism requires about 83 millionths of a second, while the eight-sided (8mm) prism requires approximately 33 millionths of a second. To take fully illuminated pictures with available lenses and Super XX film at such minute fractions of a second, extreme light intensity is necessary. However, keeping the photographed area small allows focused, overvolted filaments of a few 150-watt show window spotlights, with sealed-beam reflectors, to provide full exposure at 8,000 picture-per-second speeds. It's worth noting that natural outdoor lighting is too weak for speeds above 2,000 frames per second.\nThe versatility of the Fastax has enabled it to be used in many unusual applications. Since it does not depend on the gaseous discharge lamp for illumination, Kodachrome has been used successfully. Notable are the natural color high-speed pictures of the production of speech by the vocal cords. Polarized light has been used in some applications.\n\nAmerican Cinematographer \u2022 August, 1943, p. 293\nBy Edward J. Kingsbury, Jr.\n\nWhen amateurs accompany their films with music on records, it is generally stressed that each sequence be accompanied by music that matches its mood and is consistent with the type of film and other selections. Less\n\n(Continued on Page 297)\nOne method of matching a sequence's running time to its accompanying selection's playing time is to vary the projector's speed. If a particular selection is a few seconds longer than the sequence it accompanies, the sequence can be stretched by slightly reducing the projector's speed, allowing it to fade out at the same moment as the last chord of the music is played. Conversely, if the selection is too short, the projector's speed can be increased to reduce the film's running time and avoid unnecessary fade-ins or fade-outs. It's important to ensure that the music reaches its climax and isn't faded out at random to maintain a good effect and do justice to the composer. When music is faded out without reaching a climax, a desirable effect is lost. It's also worth noting that timing selections to begin and end with fade-ins and fade-outs can be effective, as the music fits the picture more efficiently in this way.\nHaving several seconds of silence. These different speeds can be synchronized with the music by an adaptation of the \"strobo-sync\" method discussed in recent issues of The American Cinematographer. Although this method was designed originally to synchronize special sound-on-disc accompaniment, the setup, illustrated in Figure 1, is the same in both cases.\n\nWith sound-on-film, the only way to match a sequence to a given recording is to add or remove film before it is combined with the sound track. Amateurs can use this method with their silent films, but generally, it is difficult to add footage and often undesirable to remove it from an edited film. If the film were edited to fit a particular selection, it would probably have to be re-edited if a better selection were substituted. This method of varying the speed of silent projectors are especially valuable with silent films that use optical soundtracks.\nPurchased subjects and films, which are typically challenging to re-edit. This method is actually less difficult than using one speed, as each cue comes from the end of the preceding selection rather than from a specific point on the film that must be noted. Likewise, experience has shown that with a fairly good library of records from which to choose, the necessary variations in projector speed are so slight that they are seldom, if ever, perceptible to the audience. Extreme variations from the normal speed are undesirable.\n\nTwo formulas are quite useful in determining the required number of dots (or bands or sectors, as the case may be), on the stroboscopic disc. To synchronize a particular film at the approximate speed desired, we must know the relationship between the number of dots and the speed of the projector. Then, when we synchronize the film, we can calculate the necessary number of dots based on the desired speed.\nThe running time of the sequence and the playing time of the music require determining the number of dots for the speed that makes them equal. The following symbols will be used: B - Number of blades on the shutter D - Number of dots on the disc t - Time of sequence (seconds) v - Projector speed (frames/second) m\\_, With music s\\_, Silent\n\nThe relationship between the number of dots and the projector speed is based on the fact that if the dots are to appear still, the number of dots must equal the number of light flashes during one revolution of the disc, or light flashes per revolution.\n\nUsing a time of one minute for ease in figuring:\n\nLight flashes per minute = Revolutions per minute\n\nThe number of light flashes per second is, of course, the product of the projector speed in frames per second and:\n\nLight flashes per second = Projector speed (frames/second)\nThe number of blades on the shutter. The speed of the turntable on which the disc is placed is 78 rpm.\n\nD B\n\nThe relationship between time and the number of dots is fairly obvious \u2014 their product is a constant. The proof is based on this elemental formula:\n\nLength Speed = - Time\n\nSince the length of the sequence is constant, Length =vt = constant\n\nBut from the first formula, Dr = v x constant\n\nor jDt = constant\n\nor DA = Dmtm\n\nThe figures for the first formula are tabulated in Figure 2. But no tabulation is made for the second formula, since it is easier to use a slide rule for each individual case.\n\nA stroboscopic disc for each speed can be made by tracing on a blank card the outline of a gear with the proper number of teeth and then making large dots in this outline. For general use, however, it is easier if several consecutive speeds are combined on one disc.\nLee Garmes, A.S.C.\ndots are combined on one disc, the dots being of contrasting colors or types: clear, solid, shaded, or with sectors of different sizes. For quick identification, the key can be entered on the music cue sheet as well as on the center of the disc itself.\n\nLee Garmes, A.S.C.\nBorn in Peoria, Ill., in 1893, Garmes had an uneventful life until his parents moved to Oakland, California, in 1906, just in time to avoid the San Francisco earthquake. Garmes is a man who refuses to be satisfied with success. He believes you are going backward if you are not moving forward. To him, there is no such thing as standing still. That undoubtedly is why he has become one of the greatest directors of photography in the business.\nThe family lived in the midst of the disastrous San Francisco earthquake and fire. They immediately moved out of the state, going to Denver, Colorado. Garmes was always intensely interested in motion pictures, attending every possible picture and reading everything available on the subject. His interest was so intense that in 1915, when he had finished school in Denver, he persuaded his family to move with him to Hollywood, so he could try for a job in films.\n\nShortly after arriving in Hollywood, young Garmes learned through a friend that a job was open at the Thomas Ince Studios. He dashed out and, after being stalled for a time, finally got into the studio and talked himself into the job as a property-boy and all-round handy man. Garmes was quick to make friends, and soon caught the eye of Cameraman John Leezer who started teaching him.\nThe art of photography. When Leezer moved to another lot to photograph Dorothy Gish and Richard Barthelmess, he took Garmes along as his assistant. Director Elmer Clifton spotted him as directorial material and tried to persuade him to become an assistant director. Garmes finally decided to stick to the camera, and after several years as an assistant cameraman, was given the job of first cameraman on a series of Gale Henry 2-reel comedies. Following these, he photographed a full-length picture with moderate success. Then came the turn that led Garmes to cinematographic fame, and also brought fame to Director Mai St. Clair and Adolph Menjou. He was assigned to photograph a film called \u201cThe Grand Duchess and the Waiter.\u201d The story was considered more or less of a lemon, and Menjou was considered a second-rate actor because he had \u201cbags\u201d under his eyes.\nYoung Garmes began experimenting with eliminating \"bags\" under the eyes using mazda bulbs instead of carbans. He used two mazda bulbs with empty tomato cans as reflectors, and to everyone's amazement, he wiped out the dark splotches the bags had always caused on Menjou's face. When he saw that this worked, he rigged up a lot more mazda bulbs, hanging them around the set. The result was a picture with a wide range of tone values instead of the sharp blacks and whites of arc-lit pictures. It can truthfully be said that by introducing mazda lights in this film, Garmes made one of the most important contributions ever developed in motion picture photography.\n\nWhen \"The Grand Duchess and the Waiter\" was finished, studio executives praised Garmes for his innovation.\nThe lighting was considered too radical and the picture was almost shelved twice. It was eventually released during Christmas week when business was usually slack. To the surprise of the producers, the film drew capacity crowds and became one of the box office sensations of the year. Garmes, Menjou, and St. Clair gained fame overnight. From then on, Garmes had the pick of the pictures. He went to France and later to Algiers for Rex Ingram to make the first \"Garden of Allah.\" He followed this with picture after picture in rapid succession, and continued experimenting with mazda lights. In one picture, the budget for lighting was set at $12,000, but Garmes cut the cost to only $3,000 with his homemade mazda light contraptions. When the Academy of Motion Picture Arts and Sciences was formed in 1927, one of the first things the technical division did was\nwas advised all cameramen to visit Garmes on the set in order to study his methods of using Mazda lights. Besides pioneering lighting, Garmes was also one of the first cameramen to use panchromatic film. Despite objections from his directors, Garmes managed to \"sneak\" a lot of shots in on the new panchromatic film. When the directors commented upon the fine quality of those scenes, he would tell them the truth, and they would then accept panchromatic film.\n\nIn 1932, Garmes reached the absolute top in his photographic profession by being given the Academy Award for his photography on \"Shanghai Express.\" Besides this distinction, Garmes by then was considered one of the highest paid cameramen in the industry, with a weekly salary reported in the four-figure class.\n\nBut this man from Peoria wasn't satisfied. He would not rest on his photo-achievements.\nHe wanted to direct pictures, so in 1933 officials at Fox Studios gave him a contract as a director. This almost turned out to be the ruination of Garmes\u2019 career, as on the very day he started his contract, the famous cameramen's strike broke out in Hollywood. The studio officials suggested that Garmes photograph his own pictures. He firmly refused to do so. For months, Garmes came to the studio daily, read story after story, received his weekly check but \u2014 was given no directing assignment. Finally, Garmes' sincerity and the fact he was in the right were recognized by the studio, and he was again back in favor.\n\nAmerican Cinematographer \u2022 August, 1943, page 295\nA.S.C. on Parade\nTwo directors of photography were talking at an A.S.C. meeting the other night. \"This last year,\" said one of them, \"I made sixteen pictures\"\n\"\u2014 twelve features ranging from top-budget \u2018specials\u2019 to ten-day quickies.\" Said the other, \"Last year I made about three and a half features, putting in just as much work and worry as I want to \u2014 maybe a little more. It seems to us that there would be a lot gained if a happy medium could be found between these two extremes. Three or four really big pictures probably represent as much in earning-time, work and worry for a director of photography as half-a-dozen smaller \u2018quickies\u2019. We've never seen any logic in assigning a major-studio feature cameraman to a short merely to get a few days\u2019 extra work out of him while he's on payroll. Despite the increasing number of cinematographers going into the Armed Forces, the industry still has a generous over-supply of trained directors of photography. Why not, therefore, spread the work among them?\"\nThe industry's production should be more equally distributed between them. Cinematographers should support this move, as they can provide better (and potentially higher-priced) photography for each picture, allowing them to come to each project physically and mentally fresher. Producers should support it for these reasons and because it would enable them to conserve their trained manpower against the ceaseless drain by the Armed Forces and the overwork that has killed off so many valuable cinematographers lately.\n\nThe following members of the A.S.C. are directing photography on the following pictures:\n\nAt Columbia Studios: Rudolph Mate, \"Cover Girl\"; Philip Tannura, \"There's Something About a Soldier\"; Franz Planer, \"Tropicana\"; L.W. O'Connell, \"Doughboys in Ireland\"; Ernest Miller, \"Is Everybody Happy?\"\nAt Metro-Goldwyn-Mayer Studios: Karl Freund, \"A Guy Named Joe\"; Hal Rosson, \"America\"; William Daniels, \"The Heavenly Body\"; George Folsey, \"The White Cliffs of Dover\"; Robert Surtees, \"Meet the People\"; Len Smith, \"Broadway Rhythm\"; Charles Lawton, \"See Here, Private Hargrove\"; Les White, \"Andy Hardy\u2019s Blonde Trouble.\nAt Paramount Studios: George Barnes, \"Frenchman's Creek\"; John Seitz, \"Hail the Conquering Hero\"; Victor Milner, \"The Story of Dr. Wassell\"; Henry Sharpe, \"Ministry of Fear\"; Charles Lang, \"Standing Room Only\"; Fred Jackman Jr., \"Timber Queen.\"\nAt RKO Studios: Tony Guadi, \"Revenge\"; Jack McKenzie, \"Gildersleeve on Broadway\"; Nick Musuraca, \"An American Story\"; Frank Redman, \"Government Girl\"; Russell Metty, \"Around the World.\"\nAt Samuel Goldwyn Studios: James Wong Howe, \"The North Star\"; Ray Rennahan, \"Up in Arms.\nUnited Artists: John Mescal, \"The\"\nAt 20th Century-Fox Studios: Charles Clarke (\"Guadalcanal Diary\"), Joseph LaShelle (\"Happy Land\"), Ernest Palmer (\"Pin-Up Girl\"), Leon Shamroy (\"Buffalo Bill\").\n\nAt Universal Studios: Charles Van Enger (\"Crazy House\"), George Robinson (\"Ali Baba and the Forty Thieves\"), Elwood Bredell (\"His Butler's Sister\"), Hal Mohr (\"Man of the Family\"), William Alton (\"The Professor Goes Wild\").\n\nAt Warner Bros. Studios: Carl Guthrie (\"In Our Time\"), Merritt Gerstad (\"Conflict\"), Arthur Edeson (\"Shine on Harvest Moon\").\n\nLucky Karl Struss, A.S.C., is an internationally famed still photopictorialist. Preparing for Paramount\u2019s \u201cAnd The Angels Sing,\u201d he and stillman \u201cWhitey\u201d Schaefer shot all the costume and make-up tests in stills, rather than movies.\n\nJohn F. Seitz, A.S.C., and his assistant.\nHarlowe Stengel, Erich von Stroheim (as Field-Marshal Rommel in \"Five Graves to Cairo\"), acted as double technical advisers. Von Stroheim, playing the real Rommel, was an enthusiastic mini-camera user. So \"Von\" added a Leica to his uniform accessories and sought expert advice on handling it authentically.\n\nStanley Cortez, A.S.C., after over a year on loan, finally worked for his own boss, D. 0. Selznick, photographing Shirley Temple's \"Since You Went Away.\" Thank you, Stan, for the highly complimentary letter about the May issue. We appreciate it sincerely.\n\nLeon Shamroy, A.S.C., finished \"Claudia\" successfully and went to his ranch for a well-deserved rest.\n\nCan anyone identify the well-known cinematographer who, according to rumor, always gets too seasick to go on board a ship?\nJohnny Arnold and Emery Huse, A.S.C., teach a class of Leatherneck cameramen with Captain Henry Freulich, A.S.C., U.S.M.C., assisting. Aces of the Camera (Continued from Page 395)\n\nBen Hecht and Charles MacArthur decided to make pictures in New York. They asked David O. Selznick to find them a man who would be both a good cameraman and a director. Selznick, who had never met Garmes, recommended him. Garmes secured his release from Fox and went to New York. There, Garmes photographed, directed, edited, and turned out three films, two of which were big box office successes \u2014 \"Crime Without Passion\" and \"The Scoundrel.\"\n\nMeanwhile, Garmes met Alexander Korda and told him of all the originals.\nGarmes wanted to do certain things in films but studio heads were afraid, so after finishing his third picture for Hecht and McArthur, Korda cabled him from England to go and do all he had talked about. He accepted. For three and a half years, he worked in England as cameraman and director. During this period, he advanced British films by introducing American techniques. However, life wasn't easy for ambitious Mr. Garmes. He had an opportunity in England to do \"Wings of the Morning,\" one of the biggest technicolor pictures ever made in England, but had to give it up due to his contract with Hecht and McArthur. They called him back to New York to make a picture. He sat in New York and drew salary but the picture never was made. And then came a bitter disappointment.\nGarmes was signed to direct \"Pygmalion.\" At the last minute, George Bernard Shaw learned he was not a British subject and refused to let him work on the picture. Garmes drew his salary for directing the film, but spent the time touring Italy and Southern France.\n\nThe final act in the British interlude came when Garmes formed his own producing company in England. He had everything lined up when the bottom dropped out of the British financial market and his prospective backers had to withdraw.\n\nAlthough Garmes hoped to remain in England permanently and had even bought a home there, he was lured back to Hollywood by an offer to photograph \"Gone With the Wind.\" He returned, lensed the picture for several weeks until a studio shakeup took place which saw a new director, new cameraman and practically an entire new technical crew on the film.\nUnattached again, he began toying with the idea of becoming an independent producer. With screen writer Adele Comandini as his partner, he made a picture for release through RKO. The venture was not a financial success.\n\nAugust 13, 1943 - American Cinematographer\nAmong The 8 mm. Club's July meeting was held that evening at the Bell & Howell auditorium. It was \"Contest Night,\" and brought forth some excellent entries. Prize winners were: first prize, \"Billy's Big Adventure,\" an amazing film by Fred Evans, based on his young son's first haircut; second prize, \"Studio Programs and Camera Cruises,\" by Irwin Dietze; third prize, \"Nitwit News,\" by W. D. Garlock.\n\nRating honorable mention were \"Ice Capades,\" by Stanley Clemens; \"The Mischa Auer Radio Hour,\" by C. W. Wade, Jr.; and \"Los Angeles Floods,\"\nThe Utah Cine Arts Club sponsored a special showing at the State Capitol Building in Salt Lake City on July 14, featuring club films to acquaint the public, particularly newcomers and men in uniform, with Utah's scenic attractions. All films were made by members, and the program lasted one hour and forty-five minutes, deemed a real success. The following 8 mm. pictures were showcased:\n\n\"Cheating the Dentist\" by A.L. Longema\n\"Mesa Verde\" by Virginia Smith\nThe July meeting of San Francisco's Cinema Club was held at the Women's City Club on the evening of the 20th. The event began with a pre-meeting dinner. Dr. J. Allyn Thatcher, the chairman of the club's education program, provided an engaging demonstration of creating disc recordings that incorporate narrative and musical backgrounds. Mr. A. Olson amazed the audience with his apparatus for recording sound on wire, which also synchronizes the sound with 8 mm. film. He then presented an excellent 8 mm. Kodachrome film, \"Mountain to Seashore.\"\n\nDr. C. Elmer Barrett - \"Roamin\u2019 Holiday\"\nF. K. Fullmer - \"Rodger\"\nElmo H. Lund - \"Some Western Color\"\nGeorge Brignand - \"Dog Daze\"\nBishop C. E. Schank - \"Canyon Trails\"\nMr. and Mrs. A1 Morton - \"The Utah Trail\"\n\nDr. J. Allyn Thatcher's demonstration of disc recording creation\nMr. A. Olson's presentation of sound recording on wire and 8 mm. film with \"Mountain to Seashore\" film.\nMovie Clubs: Southern Cinema Club starting July, the Southern Cinema Club instituted a policy of holding meetings at members' homes. The first of these was on July 25, at Ben Gale's home.\n\nThe meeting was divided into two sessions, afternoon and evening. Members brought their lunches. Afternoon was a technical session with some picture filming. In the evening, uncut films were displayed in a special contest conducted by the club.\n\nNote: We are always pleased to print news about the activities of the various Amateur Cinema Clubs. From letters received, we know amateurs throughout the country like to read about what the other clubs are doing. So, publicity directors of the many clubs, why not send in more news to this magazine? We can use pictures too, of your events.\nIf you are organizing gatherings and activities, send us photos of your group in action. If a club member develops a new idea, send it along for the benefit of other clubs. Many times, a particular activity of a club is worthy of a special feature story. If you have a good writer in the club, have him do a feature and send it to us with photographs, and we will be happy to print it. Remember, this is your magazine, so take advantage of it.\n\nThe Editor\n\nThe New Fastex: High Speed Camera\n(Continued from Page 293)\n\nThe Fastex undergoes tests, particularly in studying stress and impact conditions in transparent materials. It is also possible to take high-speed pictures of self-luminous objects, such as the filaments of incandescent lamps under test.\n\nMany of the current applications of the Fastex are on highly restricted projects.\nProjects and naturally cannot be discussed at this time. However, high-speed analysis is here to stay, and its application to tomorrow's research will play a big part in making the mechanical servants of the post-war civilian more efficient, less costly, and more widely distributed.\n\nAmerican Cinematographer \u2022 August, 1943\n\nIllustrated is the B & H Eyemo camera mounted on the Shiftover Alignment Gauge and \"Hi-Hat\" low-base adaptor. The \"Hi-Hat\" low-base adaptor takes the \"Professional Junior\" tripod head for setups where the tripod legs cannot be used. The Shiftover device (designed by Camera Equipment Co. and patent applied for), is the finest, lightest, and most efficient available for parallax correction for the Eyemo Spider Turret.\nprismatic focusing type camera. The male of the Shiftover attaches to the camera base permanently and permits using the regular camera handle if desired. Further data about the Hi-Hat and Shiftover will be sent upon request.\n\nAbove, left \u2014 the \"Hi-Hat\" ready for the friction type \"Professional Junior\" tripod head to be affixed. Under it is the finger-grip head fitting nut that firmly holds the removable tripod head onto either the \"Hi-Hat\" or tripod legs base. Center\u2014 the new friction type \"Professional Junior\" removable tripod head that fits both the \"Hi-Hat\" and Camera Equipment Company tripod. Right \u2014 the tripod legs base ready for the friction type head to be affixed.\n\nThe Netv Removable Head for Professional Junior 99 * Tripod\n* The new removable head feature adds great flexibility to the camera equipment.\nThe Professional Junior Tripod allows for easy removal of the friction type head from the tripod legs base by unscrewing a finger-grip head fastening nut. The tripod head can then be mounted on a Hi-Hat low-base adaptor for low setups. The friction type head provides super-smooth pan and tilt action, with 360\u00b0 pan and 80\u00b0 tilt. A generous-sized pin and trunnion assure long, dependable service. The spread-leg design offers utmost rigidity and quick, positive height adjustments. A T level is built into this superb tripod. The top-plate can be set for 16mm EK Cine Special, with or without motor; 35mm DeVry and B & H Eyemo (with motor), and with or without alignment gauge. The tripod head is unconditionally guaranteed for 5 years. More data about the Professional Junior Tripod.\nmovable  Head  is  contained  in  literature  that  will  be  sent  upon \nreuqest. \nTripod  Head  Unconditionallif \nGuaranteed  5  Years \n\"Professional  Junior\"*  Tripods,  Developing  Kits,  \"Hi-Hats\"  and  Shiftover \nAlignment  Gauges  made  by  Camera  Equipment  Co.  are  used  by  the  U.  S. \nNavy,  Army  Air  Bases,  Signal  Corps,  Office  of  Strategic  Services  and  other \nGovernment  Agencies \u2014 also  by  many  leading  Newsreel  companies  and \n16  mm  and  33  mmmotion  picture  producers. \nAbove  \u2014  Collapsible  and  adjustable \ntelescoping  metal  triangle.  Extends  from \nM>Y2\"  fo  26!/2\".  tfas  wing  locking  nuts \nfor  adjusting  leg  spread  and  stud  holes \nfor  inserting  points  of  tripod  feet.  Tri\u00ac \nangles  prevent  damage,  insure  camera\u00ac \nmen  that  their  equipment  remains  in  cor\u00ac \nrect  position  and  will  not  slip  on  or  mar \nany  type  of  surface.  Further  particulars \non  request. \n~Tke  JUral  spectrum \nBy  F.  M.  HIRST \nA  CAR  rambling  over  the  hard \nPacked dirt roads of Cape Breton came to a slow stop. It seemed as if some strange power had prevented it from going on. Two people stepped from the car and paused to breathe in the heavily scented air. They had come upon one of nature's glorious flower gardens. Wild flowers, in never-ending profusion, covered the hillsides and carpeted the fields in glowing colors. Here, indeed, was a paradise for the wild flower lover and manna for the camera enthusiast. It was irresistible! Until then, the idea of taking movies of wild flowers were far from our thoughts, but soon we had enthusiastically exposed two rolls of film. That was six years ago, and since then we have been shooting wild flowers at every opportunity. Each new trip brings to light different varieties of flowers. While motoring through Cape Breton,\nOur attention was attracted to deep yellow flowers lining both sides of the road and forming a golden trail, ever leading us onward. At first, we thought it was goldenrod, but it was too early in the season for this flower. Upon closer examination, we found the plants to be about two feet tall and the flowers about the size of wild asters, growing in heavy clusters. They are richer in hue than the goldenrod\u2014more of an orangey yellow. There was no one to ask its name as Cape Breton is very thinly populated. But some time later, we stopped and inquired of a farmer. \"It is known only as stinkin' Willie.\" This endearing appellation did not satisfy us and made us more determined than ever to know its true name. Days later, we came upon an old monastery, founded early in the 17th century by a band of monks from Europe. It was abandoned more than a century ago.\nA century ago, a few remaining monks rebuilt the monastery. The monks who were rebuilding at the time of our visit had recently arrived from Germany. The Father Friar in charge was the only one who could speak English, and it was from him that we learned the name of the flower. He told us it was called senecio and was foreign to Cape Breton. No one could recall how it came there. It seems that cattle will not eat it while it is growing, but if it should be accidentally cut with the hay, then it poisons the cattle. However, sheep can eat it while it is growing, with no harmful effects.\n\nThese yellow flowers suggested \"Golden Trail\" as a title for our film of Cape Breton. Long shots of golden fields and close-ups against the backdrop.\nThe golden senecio's richness was enhanced by the sky and the blue of the lakes. Another flower of Cape Breton is the thistle, identical to that in Scotland. Scotland left an indelible mark in this new land. Most of the population have a marked Scottish accent, and I suspect they brought the thistle as a gentle reminder of their homeland. It has a large fragrant flower, rich in purple hue, with bold prickly leaves. We couldn't resist a shot of this for the flower we chose had a butterfly resting upon it. The best angle for picturing the thistle is downward to bring out the true color against its green background. Shooting such a flower against the sky would be a mistake, for the blue of the sky would absorb all the blue out of the purple, leaving it wash in tone. A bee visited the thistle.\nOn another thistle next claimed our attention. The camera was placed in an Eastman titler and the title easel placed over the flower without disturbing the bee. As a result, one thistle and a busy bee, sharp in every detail, fills the screen. Small titlers are excellent for such close-up work. If I had stopped to use a telephoto lens, perhaps I would have lost the bee and missed centering the flower, due to parallax.\n\nNot far away, large masses of bouncing bet were dancing in the breeze. It is easy to see why it was so named, for these heavy clusters of rose-pink flowers literally bounce up and down. They are also known as \u201csoapwort.\u201d They are spicy fragrant and the juice in the stem is sticky and suds in water. Here again we took a medium shot and used the titler for a close-up.\n\nAt our feet we found the bell flower.\nThese bell-shaped purple flowers have five lobes and grow on one side of the stem. They are small flowers and require the use of a title in photographing them. Our first impulse on seeing a field of wild roses was to shoot the whole field. The result is very disappointing, for you see nothing but a mass of green covered by pink dots. A medium shot of one bush followed by a close-up is far better. To have one full-blown wild rose with its yellow center fill the screen will bring exclamations of delight from your audience.\n\nBunch berries seemed to spread a scarlet mantle over the hillsides of Cape Breton. These bunches of vivid scarlet remind one of holly at Christmas time. They grow in heavy clusters close to the ground, each cluster surrounded by its symmetrically grouped leaves. If you are partial to scarlet, here is some.\nA thing that will set your screen aflame: don't forget to use your small titler. Another showy plant is the fire weed. In some sections, this beautiful orchid colors the landscape as far as the eye can see with its pink hue. This is one scene that calls for a long shot, but don't neglect your medium shot and close-up for the final punch. Most people would pass the turtle head by, but to see a close-up on the screen is to really appreciate its beauty. It is of the figwort family and has sharp-toothed leaves and white clustered flowers which open in stages, starting at the bottom with white and gradually tapering off in green buds at the top. As we were driving by a lake, a frightened crane rose from the water. Hoping for a shot, we stopped the car and walked to the water's edge. Our quarry never returned, but we were rewarded by shots of lovely water lilies.\nWe discovered an orchid growing in a secluded nook and captured its delicate tints with our camera. I had heard that there were orchids in Cape Breton, but I couldn't picture them growing so far away from the tropics. On several occasions, I have been fortunate to find flowers growing by a still pool. Shooting at a slightly downward angle from the opposite side of the pool gives a delightfully mysterious effect. Eliminate the sky and show the pool with its colorful reflections. The simple procedure of dropping a pebble in the center of the pool, after the camera starts, adds the needed animation and surprise element. The common milk weed is a flower that seems to be passed by more than any other. Its flowers are more like berries growing.\nin  clusters  with  a  rosy  hue.  It  photo- \n(Continued  on  Page  302) \n300  August,  1943  \u2022  American  Cinematographer \nWILLIAM  STULL,  a  sc \nTHE  STAFF \nJ.  E.  BRULATOUR,  INC. \nAmerican  Cinematographer  \u2022  August,  1943  301 \nREMARKS  ON  CINE  SPEEDS \nFOR  AMATEURS \nBy  G.  EVERETT  MARSH \nAFTER  the  cine  amateur  has  be\u00ac \ncome  on  familiar  terms  with  his \ncamera  and  can  operate  it  with \nmuch  the  same  ease  as  his  still  camera, \nhe  may  aspire  to  shooting  races,  to  slow \nmotion,  to  animation,  or  to  lapse  time \nphotography.  An  understanding  of  the \nprinciples  underlying  these  adaptations \nis  essential  and  they  are  herewith  briefly \npresented. \nWe  have  to  deal  with  three  cine  speeds, \nnamely: \u2014 \n1.  Normal  speed,  16  frames  per  sec\u00ac \nond,  (16  f.p.s.).  This  is  the  usual  ama\u00ac \nteur  camera  speed  and  it  is  the  amateur \nprojector  speed  invariably.  In  this  case \nthe  speed  of  action  on  the  screen  (screen- \nspeed is the same as the speed of the subject or object (object speed).\n1. Superspeed: a speed greater than 16 frames per second (f.p.s.). Since the projector speed is constant, the screen-speed will be less than the object-speed, resulting in \"slow-motion.\"\n2. Subspeed: a speed less than 16 f.p.s. The screen then portrays a scene taking place at a rate above the natural or normal one. The projector speed, SP, will be assumed constant at all times. If it is above or below the normal value of 16 f.p.s., the action on the screen will be unnatural, and when it drops a point or two, flicker arises. When the camera speed, Sc, equals the projector speed, SP, the screen speed, Ss, will be the same as the object speed, S\u00f8. That is, when Sc = SP, we have S\u00f8 = Ss, and the picture correctly presents the action.\nIn the matter of movement rate, a rapidly moving scene, such as a race, increases our interest if the action is slowed down on screen. The camera operates at a speed greater than 16 frames per second (f.p.s.), and the screen speed equals (S0xSP/Se) or Ss = 16S\u00bb/Sc. Thus, if the camera speed is 64 f.p.s., the action on the screen will appear slower than the actual scene. The added interest provided by the shot comes at the cost of extra film. The film's transit time through the camera is one-fourth of the usual time, and 100 feet of film rushes madly from one spool to the other in a minute and a couple of seconds. Due to the decreased time of camera operation, the need for exposure accuracy is increased, and a keener consideration of all photographic factors is required.\nTo illustrate, let us assume we are going to \"slow motion\" a high dive of two seconds duration. What should be the camera speed if the screening time is to be six seconds? From the relation, Sc = 16 Ts/To, where Ts, T represent the durations of screening and performance, the camera speed should be 48 fps.\n\nIf the camera speed is subnormal for slow moving events, the screen speed is equal to S0xS/Sc. As an example, using the slowest speed that the ordinary camera has, a shot was made of a turtle race at 8 fps. The screen speed is So x 16/8, or 2So, that is, twice the actual speed. For lower speeds, special methods of camera control must ordinarily be used.\n\nThis last relation holds for lapse time photography, the filming of events that progress so slowly that they require long periods of time from the cinestand.\nThe term \"tachygraphy\" (to write rapidly) has been suggested for this procedure, which is the opposite of slow motion. Here's an illustration: A rosebud requires 24 hours to open, and we wish to display it on the screen in one minute. The number of frames comprising the shot is 16 times the duration of screening in seconds, or 16 x 60, 960. Assuming the bud unfolds at a uniform rate throughout the 24 hours, the rate at which the frames are exposed is given by dividing the duration of the scene in seconds by the number of frames. The duration is 24 x 60 x 60 = 84,400 seconds; therefore, the camera speed is every 1.5 minutes. In general, with T\\_(screen time) = 60 and T\\_(object time) = 24 x 60 x 60 = 84,400, the camera speed is given by the formula: camera speed = T\\_screen / T\\_object.\nIn a problem of this kind, screening time is the controlling quantity and should be settled first. The other variables can then be calculated. As well-known, there is a particular and proper duration for screening a particular shot, the duration that evokes the maximum entertainment value with no suggestion of tedium. This duration is the one to aim at and attain by adjusting the others to fit. A clear understanding of the simple principles expressed above will contribute to the success of your cinematic performances.\n\nThe Floral Spectrum (Continued from Page 300)\n\nGraphs well and should be on the film of all who seek wild flower pictures. Return to it in the fall when its pod has burst open and you will be surprised at the beauty which you find there. Shoot it through your titler and you will find beauty.\nCharmed with the result. It may seem, by this time, that I am harping unnecessarily about the use of a title, but until you have used this instrument for this kind of work, you are missing a great deal. Try it on violets and you will see a richness of color and texture that is astonishing.\n\nHigh on the slopes of Mt. Rainier, about 5,506 feet above sea level, is a mountain meadow known as Paradise Valley, and covered with over 600 varieties of wild flowers. Here we find the lovely alpine lily with its white bell and yellow center, growing in profusion. It is about ten inches tall, and the best way to photograph it is to lie flat on the ground. A long shot to set the locale is desirable, but close-ups will bring out the full beauty of this charming flower.\n\nClose by one will find the purple heather, the same variety as seen in.\n\n(Note: The text appears to be complete and free of meaningless or unreadable content. No corrections or translations are necessary.)\nScotland. Here and there, a little white heather mingles with the purple. Here, it is possible to photograph great expanses of blue lupine, prevalent throughout the west. Use care in choosing your angle. A low angle is most desirable, shooting just over the top of the flowers. If you shoot it against the sky, it will lose its color. Indian paintbrush or scarlet painted cup makes a fine show on Mt. Rainier. If one can stand the climb up to the snow line, this brilliant scarlet flower can be photographed growing within six feet of the snow. Choose a low angle and shoot with the glacier and blue sky as a background. The shot that seems to please most audiences is one that shows it actually growing close to the snow.\n\nThe dainty harebell, more commonly known as the bluebell, dances merrily on its thin stalk. It is easy to photograph.\nThe Indian pipe is an interesting little plant, despite being a parasite. It is all white, both flower and stem, and has small scales instead of leaves. The tiny, bell-shaped flowers usually grow singly at the end of each thick stem. One need not travel all the way to Mount Rainier to photograph the wild carrot or Queen Anne's lace; it seems to grow everywhere. Its fine white lacy texture is brought out in all its delicate beauty when shot against a blue sky.\n\nMoving eastward to Glacier National Park, one can photograph bear grass at its best. It is not generally known how it received its name, as bears will not touch it. Its stalks are sometimes cut down by ground squirrels for food.\n\nAugust, 1943 \u2022 American Cinematographer\nJust Right\nWith the emphasis on getting the most from your photography, consider capturing the Indian pipe's ethereal beauty and the delicate texture of bear grass against the backdrop of a clear blue sky.\nEvery foot of available film is helped by knowing that one of the three Eastman negative films is suitable for every shot, whether in the studio or on location, indoors or out. Eastman Kodak Company, Rochester, NY. J.E. Brulatour, Inc., Distributors, Fort Lee, Chicago, Hollywood. PLIJS-X SUPER-XX for general studio use. A little light is available for BACKGROUND-X. For backgrounds and general exterior work. Eastman Negative Films.\n\nThe floral spectrum (Continued from Page 302)\nThe long leaves of this flower are used by Indians for making baskets. This very showy flower is a delicate creamy yellow and grows five feet tall. It blooms profusely during the early part of July and is outstanding in any setting. It photographs well against the deep forest background or the distant glaciers. At the end of June or the beginning of July.\nThe alpine meadows on Mt. Clements are golden with glacier lilies in July. In any direction one looks, nature has provided an interesting background for the photographer. One may shoot freely without fear, as good composition is abundant. Don't hesitate to lie down amongst these fragrant flowers for close-ups. It is a spot that makes one reluctant to leave.\n\nAnother lovely yellow flower can be found in Glacier Park, growing amongst rocks or in gravel. It grows close to the ground in heavy clusters and has a bluish-green leaf. Early prospectors believed its presence indicated silver deposits, hence the name silver plant.\n\nThe wild geranium is plentiful here. Its flower is a light pinkish-purple, growing singly or a few in clusters. It grows about as tall as the cultivated geranium.\nGeranium is very attractive. Horse mint is deeper in hue than the wild geranium and has a strong pleasant odor. Its flowers are very hairy, somewhat courser than the thistle and more open. The heavy clusters make a very colorful display. It grows about a foot tall. Photographing at a slightly downward angle will bring out its full beauty.\n\nThe Blackfeet Indians use cow parsnip or sacred rhubarb in some of their ceremonials. It is a white flower resembling Queen Anne\u2019s lace, but much bolder in appearance. Growing three to six feet high, its massive leaves support a heavy stem. It is very striking when photographed against a blue sky. Throughout this vast area, brown-eyed Susan grows in wild profusion. It is similar in appearance to its sister, the black-eyed Susan, but has a rich brown center instead of black.\nIn the meadows at the base of Grinnell Glacier, one can see the beautiful pink spiraea. Care must be taken not to overexpose this lovely flower or it will register on the film as white. In the immediate vicinity, the dainty moss rose is to be found growing close to the ground. Its brilliant yellow flower will add warmth to a wild flower film. Growing from the damp woody banks, the rose-colored monkey flower adds cheer to its dark surroundings. A fast lens is required to capture the color of this forest-bound beauty.\n\nTraveling further to the south, we find one of America\u2019s most beautiful wild flowers growing close to the geysers. It is the fringed gentian \u2014 official flower of Yellowstone National Park. This lovely violet-blue flower should be shot at a slightly downward angle to bring out its true rich coloring and form. The sandy soil of the geyser basin.\nThe yellow iris and Indian pink grow in marshy spots. Wild flowers number 600 in Yellowstone National Park, satisfying even the most ardent lover. The wild iris and Indian pink make excellent color contrast as a background. The yellow stonecrop grows in small clusters and has a rich orangey yellow hue. One may get feet wet making close-ups, but the result is worth the effort. The elk thistle, an odd-looking plant, grows on a straight prickly stem. Its flower is mostly green in color, tipped with very pale lavender, nearly white. Its oddness creates a place for it in any wild flower film. One of the loveliest pictures is that of the yellow stonecrop.\nI have cleaned the text as follows:\n\nEver saw was a greatly enlarged photograph of the oxeye daisy. It was not in color but very striking in its appeal. The angle was low, slightly above the height of the flower, bringing the full plant in close-up. It may have been taken on slightly sloping ground for the daisies extended as far as the eye could see. In the distant background, a mountain rose majestically into a sky of fluffy clouds, without distracting from the close-up of the daisy. Mother nature provides many interesting backgrounds for her lovely flower gardens. We may not all be so fortunate as to find such a setting, but with a little care in the choice of angles, all our flower shots can be enhanced. A film of wild flowers, although lovely in itself, requires a theme to lift it from the monotony of one flower shot after another. There are several methods to do this.\nPursue an interesting treatment of such pictures by using the theme of the seasons. Show winter as the opening sequence, leading into the first greens of spring and its budding flowers. Continue through the summer with all its brilliant flowers and end the picture with milk weed pods and falling leaves. The personal touch might incorporate a class in botany, showing the teacher explaining the varieties of flowers as they walk through the fields and woods. Flora and fauna would make an interesting film. Shots of bird life and smaller wild animals will add zest to wild flower pictures. If one were really ambitious and cared for research, an interesting story could be developed.\ncould be told of the use of certain wild flowers in the field of medicine. Our grandparents depended upon the roots of flowers and herbs to cure their ills. Why not revive this interesting topic on film? Poets have always been inspired by the beauty of the wild flowers. What could be more appropriate than the use of poems as titles for a wild flower film? It is never too late in the season to start a film on this interesting subject. Begin collecting your shots now -- long shots, medium and close-up, particularly the latter, and a theme for uniting them into a complete whole will suggest itself to you.\n\n\"Any man that walks the mead,\nIn bud or blade, or bloom may find\nAccording as his humours lead,\nA meaning suited to his mind.\"\n-- Tennyson\n\nAugust 1943 \u2022 American Cinematographer\nNATIONAL CARBON COMPANY, INC.\nUnit of Union Carbide and Carbon Corporation.\nFor Film Weston 32 Speed Under Artificial Light\n\nType of Scene Matte\nNormal \u2014 Background slightly darker than principal subject. No. 32\nEffect \u2014 Background slightly lighter than principal subject. No. 40\nEffect \u2014 Background moderately lighter than principal subject. No. 50\nEffect \u2014 Background much lighter than principal subject. No. 64\nEffect \u2014 Background very dark. No. 24\n\nIllumination on Walls\n\nI want the lens aperture to be f/2.3.\nSo I use the meter at the position of the subject and adjust the lighting until the meter indicates f/2.3. Then I step back and have the lights on the wall adjusted until the scene balance appears.\nThe text is already clean and readable. No need for any cleaning.\n\nJust follow the same procedure when dealing with a very bright background. I arrange a full f-stop differential by using, for example, the No. 64 matte when 32-speed film is being used. This procedure gives exactly the desired effect. It is scientifically correct because it causes the camera's aperture to adapt exactly as the human eye does.\n\nWhen an extremely bright background is encountered, one that will appear much brighter than the subject, the same visual reaction described above will occur, only to a greater degree. To handle this situation, I follow the same procedure outlined earlier, but I figure on a greater differential being required. Therefore, I use a larger f-stop differential, such as a full stop, by employing, for instance, the No. 64 matte when shooting with 32-speed film. This technique achieves the desired result. It is scientifically sound because it adjusts the camera's aperture in the same manner as the human eye adapts itself for each scene.\nDifferent types of illumination balance in a scene. Sometimes I encounter a scene with an unusually dark background. It may be a wall made up of dark wood panels (See Fig. 4). A mean proposition \u2013 but there it is, and I have to light it.\n\nFirst, I consider how the eye adapts to the scene. The eye, in this case, adapts primarily to the principal subject but is influenced to some degree by the very dark background. Such a background causes the eye to open its iris a little more than usual. The result is that the principal subject will appear subjectively brighter than usual.\n\nNow, to faithfully record this appearance with the camera, I find it advisable to set up a differential, only in the opposite direction. In this case, where I am using 32-speed film for example, I select a No. 24 exposure.\nI. Measuring illumination: I measure the meter for the principal subject. If I desire a lens aperture of 2.3, I bring up the illumination on the subject until the meter indicates 2.3. I then step back and bring up the illumination on the dark wall until it provides visual balance. I do not mean to over-light the dark wall, resulting in a light wall. A dark wall was intended, and the camera result will represent the subjective visual effect.\n\nIllumination on walls poses a significant challenge for cinematographers. However, I have discovered that I can analyze each scene and consider how the eye will naturally adapt to the scene. I then follow the indicated process.\nProcedure for setting up a differential and selecting the appropriate matte for the Norwood meter:\n\nBy this simple method of using a matte for a higher than normal film-speed when I want the back-wall to appear brighter than the subject, or one of lower than normal speed when I want the background to appear darker, and then in either case taking my meter reading in the normal way, from subject-position, and visually balancing the background-lighting to this standard, I do not have to give any more attention to lighting the background to produce the differential brightness-contrast I want between subject and background. The meter does that for me automatically, with no further thought on my part.\n\nThe accompanying table, set up for film of Weston 32 speed, is of assistance in selecting the correct matte. This system causes the camera lens aperture to:\n\n(End of Text)\nThe human eye automatically guides this method, resulting in quite gratifying screen results. Aces of the Camera (Continued from Page 296) Garmes returned to photography. He photographed \"Lydia\" and \"The Jungle Book\" for Alexander Korda. Then he did a number of films for 20th Century-Fox. Now he is under contract to Hunt Stromberg, who has just loaned him to Samuel Bronston Productions to photograph \"Jack London,\" the life story of that famous writer. When the war is over, don't be surprised to see Garmes back in the producing field. It is this writer's guess that Garmes will never be satisfied until he gets an Academy Award for producing the best picture of the year to set alongside his photographic \"Oscar.\" For Lighting Equipment -- C. Ross\nAs sole distributors East of the Mississippi, we carry the full and complete line of latest-type Inkie and H.I.-Arc equipment manufactured by Mole-Richardson, Inc., Hollywood - California. Your requirements for interior or exterior locations taken care of to the last minute detail anywhere. Motor Generator Trucks Rentals Sales Service. Charles Ross, Inc., 333 West 52nd St, New York, N.Y. Phones: Circle 6-5470-1. August 30, 1943. American Cinematographer. War tolerates no failures of neither man nor machine. DeVRY equipment stands up! Takes War's most grueling punishment, say the men who use it. Today this equipment serves the Armed Forces. Projecting with enviable fidelity for United Nations High Commands the most minute details of battle action \u2014 caught by durable DeVRY cameras on the fighting fronts. Giving 24-hour, trouble-free service, too.\n\"Theaters of Morale.\" Keep your eye on DeVRY, the first manufacturers of 35mm Motion Picture Sound Equipment, for the significant Army-Navy \"E\" DeVRY CORPORATION, 1111 Armitage Avenue, Chicago, U.S.A. New York \u2022 Chicago \u2022 Hollywood MOTION PICTURE SOUND EQUIPMENT BUY MORE WAR BONDS\n\nUsing Strobo-Sync (Continued from Page 294)\n\nSince it is possible to use discs with a multiple of the required number of dots, those made for a four-bladed shutter can also be used for one with two blades. For the same reason, the disc shown on page 402 of the September, 1942 American Cinematographer, which has 60, 90, and 120 bands, can be used for 30, 40, and 45 bands as well. Large phonograph supply houses can furnish stroboscopic speed checkers for turning equipment.\nTables with 77, 92, 180, and 216 bands that can be used for several different projector speeds. Generally, these are less satisfactory, but they can be used for experimental work or for work to a fine degree, such as using 77 as an intermediate between 38 and 39.\n\nFigure 2: Relationship between number of dots and projector speed\n\nDots Speed (fps)\nDots Speed (fps)\n3-bladed shutter 4-bladed shutter\n\nFigure 3: Music Cue Sheet\n\n\"THE WHITE MOUNTAINS\"\n1. Clock\n3. Sequence\ntm\n4. Record\nReading\nsecs.\nMark dots secs.\nAirplane view Oxford Street Mount Washington Nutcracker Suite March Merrymakers Aerial Tramway Tambourin Flume The Old Man and Sunset | Mayfair\n\nA music cue sheet like the one shown in Figure 3, on which all information can be entered, provides the most orderly method of matching sequences to the music.\n1. Select the correct stroboscopic disc from the table in Figure 2 for the approximate speed desired, and enter the number of dots (Ds) in the upper left corner of the cue sheet.\n2. Using a setup like that shown in Figure 1, project the film at the proper speed so that the dots appear still. Note in column 1 the clock reading in minutes and seconds that each sequence begins (and also the end), and in column 3 a brief identification of the sequence.\n3. Figure and enter in column 2 the running time in seconds (ts) of each sequence. For accuracy, check the total with the difference between the last and first clock readings in column 1.\n4. For each sequence, select a suitable record that requires approximately the same running time.\nEnter name in column 3 and time in seconds (tm) in column 7. Find appropriate selections quickly by listing suitable records in your library according to playing time, perhaps in groups of ten seconds. In addition to regular sources like Victor and Columbia, special records of mood and background music are available. Thomas J. Valentino, Inc., 1600 Broadway, New York City, can provide a catalog of selections with actual playing time and mood classification. The BC series in this catalog is not currently available, but the BH series can be obtained now.\nUse more than one record for a long sequence, or use one record for two or more related short sequences. Sometimes an entire short sequence can be moved to combine it properly with another. Use only a portion of a record if it is fairly complete in itself. A mark can be made in soft chalk on the record to indicate where to start. A safer way is to use a numbered strip like that in Figure 4, in which case the proper starting mark is entered in column 5 of the cue sheet.\n\nUse the second formula to figure the number of dots for the speed that will match sequence and music, and enter in column 6 the number and, if necessary, the proper dot identification.\n\nProject the film with the music.\nUsing the speeds given in column 6. If the music is too short, increase the figure for Dm, and if too long, decrease it. With the corrections made in step 6, project the film with the music again. The music should now fit perfectly, but if not, repeat the procedure. (Columns 1, 2, and 7 can now be cut off the cue sheet if desired.) Now that it is more difficult to make new films, these suggestions may keep one busy for several evenings on the old ones. There is quite a thrill in projecting a film when the accompaniment fits so perfectly that it seems to have been composed especially for it. If the audience does not seem especially aware of the music, then one can be sure that it is a good score.\n\nFigure 4. Starting Indicator\n---------------------------\n| Sixty--- | /---Fifty--- | /---Forty--- | -Thirty- | /-Twenty-| /--- Ten --- | /--- One --- |\n308 August, 1943 \u2022 American Cinematographer\nSignal Laboratory technicians develop combat pictures within a few feet of the enemy's guns during a recent maneuver. The problem was to develop pictures without a generator and using only a small bulb for printer lights. Technicians shown are Sgt. Malcolm C. Bulloch, Sgt. William Claridge, and Sgt. William Robertson.\n\nAURICON 16 mm Recorder\n\u2605 Variable-area sound on film, for double system recording with a synchronous motor driven 16 mm. camera. Amplifier has background-noise reduction and mixers for combining speech and music. With dynamic microphone, instructions and cases for Recorder, Amplifier, Accessories ... $695.00\n\u2605 Auricon 16mm sound-on-film recorders and cameras are serving the Nation's War effort with Military and Government Film Units, and with civilian organizations producing essential morale.\nIf your work is in industrial fields and makes you eligible to purchase new equipment, we invite you to let our engineers show you how Auricon's portability and professional performance will simplify your recording problems.\n\nAuricon Corporation,\n5515 Sunset Blvd., Hollywood, CA\n\nOur men need:\n- Books -\nSend all you can spare\n\nDuring night maneuvers, the 4th Signal Photographic Laboratory Unit recently found itself faced with the problem of developing and printing film \u2013 both motion and still \u2013 without disclosing position by use of a noisy generator. This required a bit of improvising. The problem had them right under the enemy guns, and the pictures had to be ready for study by the high command before dawn.\n\nUnable to use a generator, the lads were forced to substitute an automobile engine instead.\nheadlight bulbs for the regular printer lights. This was necessary because they were using a storage battery in place of the generator and the automobile lamps consumed less voltage. A standard printer was used and a small watchman's electric lantern placed inside a cardboard box provided a satisfactory safelight.\n\nThe enemy would have had to walk right into the Army truck which housed the improvised laboratory in order to discover it. No light showed and there was no noise.\n\nThroughout the night, film was developed without interruption and the pictures were ready on time, completed within easy pistol range of theoretical enemy positions.\n\nThe improvision of the mobile laboratory also gave the men an opportunity to practice for an emergency. Basically, the same system would be used in the event regular laboratory equipment was destroyed in battle.\nMany members of this Signal Photographic Unit are Hollywood technicians, formerly in the Signal Corps Enlisted Reserve. Officers of the Unit include Captain Gordon S. Mitchell, manager of the Research Council of the Academy of Motion Picture Arts and Sciences, Lt. Raymond R. Windmiller of the Williams Laboratory, and Lt. August W. Klein of the Bell and Howell Company. Enlisted men include many Hollywood top technicians in every branch of the motion picture industry.\n\nAuricon\nSOUND CAMERA\nfor 16 mm sound - on -film\n\u2605 High Fidelity Sound\n\u2605 Self-contained in sound proof \"blimp.\"\n\u2605 Minimum equipment; maximum portability. Camera and Amplifier, complete, weigh only thirty-seven pounds.\n\u2605 Kodachrome or black and white pictures with Auricon sound track will reproduce on any sound-film projector.\n\u2605 Can be operated in the field.\nAuricon Portable Power Supply.\nAuricon Camera with type \"C\" lens mount (but without lens) and Amplifier complete with microphone, instructions, and cases\nManufacturers of Sound-on-Film Recording Equipment Since 1931\nAmerican Cinematographer \u2022 August, 1943, p. 309\nCommentary Writing for Documentary Films (Continued from Page 287)\n\nThe story of the pilot-fish would do this: \u201cThe shark hanging in air means that, unseen, in the sea, one small fish now swims alone. A little white-blue fish with stripes on its back like peppermint candy. It is hardly over a foot in length. It is the pilot-fish which has always accompanied the shark \u2026\u201d\n\n[I made a statement in brackets when I detailed the first instance above. Here, I think, I've condensed something which any commentary writer for documentary or non-fiction films should constantly bear in mind. When our scenes show a]\n\nWhen scenes show a shark suspended in the air, it implies that, unseen in the water, a solitary pilot-fish swims. This small, white-blue fish, adorned with stripes resembling peppermint candy on its back, is barely longer than a foot. It is the pilot-fish that has always accompanied the shark.\nParticular detailed operations often allow for full commentary because audiences understand better. However, commentary should not be self-evidently banal (\"This is the fisherman at work in the dory. Watch him pull up his lines. Every hook has caught a fish. Boy, there's a beauty!\"). On the contrary, when scenes have a broader character, such as a ship sailing on the high seas or a close-up to focus on a character's face, spoken commentary is rarely necessary. Music (for the ship, a sea chanty) effectively heightens the picture as no word ever could.\n\nRegarding when to use words, there is always a point in a given sequence where commentary should begin. This cannot be taught. To some people, it comes naturally.\nIntuitively, others acquire it through practice and performance; some never seem to learn it. It's not unlike knowing how to \"time\" a speech on the stage. Usually, it does not come the moment a sequence begins. An audience likes to have the chance to grasp the scene before a voice blares out at them what it is. But after a little time, most audiences begin to feel that there is something they want explained, and here is the psychological moment when the commentary must start.\n\nAll this seems to have brought me right back to the first and most important point I made about commentary. The best effect is obtained not through how much but through how little commentary we use, and how we can most tellingly space and place that little. Only by so doing, will we find our words worthy of the best in cinematography.\n\nIf a documentary-maker could become an expert in this art of sparse and effective commentary, they would truly enhance the viewing experience and elevate their work to new heights.\n[The invisible man could make a documentary about the making of a documentary that would really be a documentary. It is when the documentary film-maker is working with people his film will feature \u2013 I don\u2019t mean when he is shooting them; I mean when he is living with them, getting to know them \u2013 that they usually show their most human side. It\u2019s generally something that can\u2019t be put into the finished film, especially if it\u2019s to be a straight documentary in the factual propagandists mold. I think both Douglas Sinclair and myself carried away certain scenes from the North and from Lunenburg that, in memory, are far more vivid than much we recorded.]\n1848, Larchmont Avenue, Chicago: 30 Rockefeller Plaza, New York. 716 N. La Brea Ave, Hollywood. 13-14 Great Castle St, London. On film. We like to remember the noon we set sail on the \"Flora Alberta.\" The captain and crew had been wetly celebrating the fine, dry day. The captain kept telling us:\n\n\"Now, you, you can snap what you like, you. You see, you ...\" His use of \"you\" as a name was a Lunenburg colloquialism, indicating friendliness, however it sometimes sounded hostile.\n\nFired on one of our vessels, they did, you! By God, you, if a submarine's anywhere near me, you, I'll ram it, you! We've a gun aboard. Bring it here, Fred.\n\nA sailor produced a rusty shot-gun. \"See, you. We'll ram her, you, and you can snap her, you. Hope we do, you.\"\n\nWe hoped so too. We were, after all, going out into the submarine zone, not just for a photographic opportunity, but for the real thing.\nThe steamer-ferry \"Caribou,\" a few weeks later, was sunk from the mainland to Newfoundland. The captain never took our names until we returned to Lunenburg. If we had encountered a submarine, there would have been two unknown documentary film-makers missing, as cameras are now considered tools of war. However, the only signs of war we saw were the destroyers and corvettes accompanying a convoy, which we passed late one afternoon. \"It's a hard life,\" was the constant refrain of the fishermen, and the convoys made it even harder. On foggy nights, when the little dories were at their lines, the convoys often came over the fishing grounds, and the dories were decidedly vulnerable. But the hazards of war, submarine or convoy, did not keep the Nova Scotian fishermen away.\nfishermen at home. While the vessels of the other nations which formerly fished there are kept at home by submarine menace or Nazi occupation, the Lunenburg schooners like the \u201cFlora Alberta\u201d still go out to the Banks. The attitude of the men is that of the captain: \u201cBy God, if a submarine's anywhere near me, I'll ram it.\" We both realized we were witnessing something that belonged to these war-time days, heroic in its own way, just as it was heroic even in peacetimes. But we could not foresee the course of war-time events. We could not know that this vessel, which we came to love and which we hope we recorded with the full sincerity of our feelings for her, should herself become a wartime casualty.\n\nOn April 22, 1943, the Canadian press carried a headline:\n\nSchooner Sliced in Two\n20 Out of Crew of 28 Trapped Below\n\"And the story below the headline began: 'Sliced in two by a merchantman off the coast of Nova Scotia, the schooner \u2018Flora Alberta,\u2019 a 'high-liner' of the Lunenburg fishing fleet, has been lost.' 310 August, 1943 \u2022 American Cinematographer\n\nWestern Electric announces retirement of Harry B. Gilmore as secretary in September, after 41 years of service. Norman R. Frame will succeed him, having served as assistant secretary for 20 years.\n\nJ. Harold Booth appointed Vice-President at Bell & Howell Company, manufacturers of motion picture equipment and optical devices.\"\nThe following industries are under Mr. Booth's management at Bell & Howell Company since 1938: War Expediting, Employee Training, Subcontracting, Personnel and Public Relations, Industrial Relations, Sales, Service and Advertising.\n\nMr. Booth joined Bell & Howell Company in 1927 and has been the General Sales Manager in charge of service and advertising since then.\n\nMeter\nThe incident-light exposure meter automatically compensates for the photographic value of all the light falling on the subject, regardless of its angle. It is extensively used by the photographic sections of the U.S. and Allied Armed Services, as well as by leading directors of photography in Hollywood's major studios.\n\nCompletion of the feature film, \u201cWe\u2019ve Come a Long, Long Way,\u201d was announced this month by Negro Marches On, Inc., the film's producers. This picture is a cavalcade of the Negro race and was directed by Jack Goldberg.\nFor twenty years, a leader in the production and creation of all-Negro films.\n\nRegrettably, \"for the duration\" civilian orders for NORWOOD meters can only be filled on a priority of AA-3 or better, or when a Weston \"Master\" (Model 715), or Model 650, Universal, Leicameter or 815 Cinemeter in good condition is offered in part exchange.\n\nThis Is War\n\nDue to wartime shortages in materials, various and sundry devices have been developed in the Hollywood film studios. One of the most interesting is a contraption that picks up bent nails and straightens them for use. Before the war, countless pounds of nails were lost, as no one thought of picking up a dropped or bent nail. But today, it is different.\n\nPhoto Research Corporation\n15024 Devonshire St., San Fernando, California \u2022 Telephone San Fernando 3352\nAcme Professional 16mm. Camera\nThe Red Cross\nWITH PILOT-PIN MOVEMENT and PROFESSIONAL ERECT-IMAGE FINDER\nGoes Where Your Boy Goes\nAvailable on Priority or Lend-Lease\nACME TOOL & MFG. CO.\nGIVE!\n2815 W. Olive Avenue, Burbank, California\nAmerican Cinematographer \u2022 August, 1943, p. 311\nGOERZ\n\u2018Chsthiami' Craftsmen\nahl sldainty.\nihsuA. AkahSL\u2014\nC.P. GOERZ AMERICAN OPTICAL CO.\nOffice and Factory\n\u201cCbmhiam!\u201d\nPrecision Optics\nFill r\u2019/ orict/hj jieaLuuj\nThe production line of \"GOERZ AMERICAN\" is formed by skilled men, who through painstaking work create high-grade photo-lenses and optical units for military instruments used by our armed forces,\non Land \u2014\non the Sea \u2014\nin the Air \u2014\nThese precise optical units are of the greatest importance to our armed forces, for without accurate military instruments for sighting, fire control and photographic aerial reconnaissance, their fighting machinery would be of little use.\nValue to them. Practical science together with our craftsmen, doing their duty on the production line, will hasten victory. Production is keyed to fill the requirements of our Government. Within limitations, we may still be able to supply \"GOERZ AMERICAN\" lenses of certain types and sizes for civilian use. We suggest your inquiries through your dealer or direct.\n\nAddress Dept. AC-8\n\nFate plays peculiar tricks. A few days ago I had no idea of ever editing this magazine again. I lunched with Bill Stull, the editor, and promised him I would write a piece for the August issue. And now, here I am sitting at Bill\u2019s desk getting the magazine out, and Bill has passed on. Such is life.\n\nI say \u201cBill\u2019s desk.\u201d Actually, this desk was bought for me way back in 1929 when I became editor of the Cinematographer for two and a half years.\nTo those who read the magazine, I send greetings; to those who do not know me, \"Hello.\" It has always been my contention that a magazine should contain the material and stories that readers desire. It is my contention, also, that unless readers tell us what they want, we just have to guess. Here and now, the readers of Cinematographer are requested to send in suggestions as to story material you would like to see. We will try to give you what you want, if you ask for it.\n\nLately, we've been reading in the trade-papers and even to some extent in the daily newspapers about how essential motion picture entertainment is proving to our soldiers at the fighting fronts. This is a fact in which the motion picture industry can rightfully take pride.\nGreat pride, and one which should by all means be brought home to the American people and to the Nation's policy and lawmakers in Washington. We can't help wondering, therefore, why the motion picture industry as a whole doesn't arrange to send camera-crews out with light, portable, single-system sound-and-picture cameras (they could even be 16mm., if the utmost portability be needed) to the fighting fronts, to bring back a genuinely documentary record \u2014 unembellished by any \"Hollywood touches\" \u2014 of what motion pictures are actually doing for Johnny Doughboy at the front, and to record the actual, un-scripted comments of servicemen.\n\nCamera Supply Company\nArt Reeves\nHollywood\n1515 North Cahuenga Boulevard\nCable Address \u2014 Cameras\nCalifornia\nEfficient-Courteous Service\nNew and Used Equipment\nBought \u2014 Sold \u2014 Rented\nEverything Photographic Professional and Amateur\nAn amateur complained bitterly the other day about not being able to buy desired equipment for his vacation. That man doesn't yet realize we're fighting a global war, and camera equipment manufacturers are pitching to provide equipment for fighting men saving this world. Our hats are off to photographic manufacturers for their magnificent efforts. Let's stop complaining and buy more bonds.\n\nWhat happened to the once overworked term \"camera angles\"? You never hear it anymore, and with its passing, motion picture photography has reached heights of perfection once never dreamed of. Whereas at one time, good photography was a laborious process.\nThe type that made audiences gasp with sheer amazement, today the finest photography on the screen is that which makes an audience forget they are looking at a picture. Directors of Photography have developed their art to a point where the picture becomes a reality. That is photographic art.\n\nWhat are you doing to help win the war? Have you ever stopped to ask yourself that question? Just because you are paying your taxes unwillingingly and are investing ten percent of your paycheck in war bonds does not mean that you are doing enough. When making that deposit in your savings account, have you ever thought of those boys of ours wallowing in the mud and slime of the South Pacific, burrowing like wild animals in the mud to escape the bullet of a Jap sniper? Or have you visualized other boys over in Europe riding out through the chaos and destruction?\nThe darkness of the night in bombers, wondering which of them will come back and which will go down in flames? The next time you take a hundred dollars to the bank to put away in your savings account, take half of it and buy an extra war bond. Maybe our boys will be able to come back sooner and in greater numbers. They aren't asking for pay increases or luxuries. They are only asking for more guns, tanks, planes, and bullets. Buy more war bonds.\n\nAugust, 1943 \u2022 American Cinematographer TELEFILM\ndirect 16 mm\nSOUND\nVISED BY:\n- Douglas Aircraft\n- General Elec. (Welding Series)\n- Boeing Aircraft\n- North American Aviation\n- U. S. Dept, of Interior\n- U. S. Dept, of Agriculture\n- Santa Fe Railroad\n- Washington State Apple Commission\n- Standard Oil of Calif.\n- Salvation Army\nand Many Others\n\nA BETTER JOB FASTER\nMore Economical! Telefilm Inc.\n403 Hollywood Blvd., Hollywood, CA\nGladstone 5748\nRuby Camera Exchange\nRents, sells, exchanges\nEverything you need for the production & projection of motion pictures provided by a veteran organization of specialists\nIn Business Since 1910\n729 Seventh Ave., New York City\nCable Address: Rubycam\nClub would exploit film sources, pix simultaneously\nGeorge Macy, New York book publisher and head of the Limited Editions Club, the Heritage Club, and the Readers Club, is in Hollywood to form a revolutionary new type of book club. He plans to publish only books that have been used in motion pictures.\n\nMacy\u2019s idea is to bring his books off the press simultaneously with the release of the pictures that have been made from the books, thus bringing about an exchange between the book and film industries.\nMy new club will not cost picture producers a single penny, explains Macy. I have nothing to sell them, but those who cooperate will have the advantage of the announcement that the book they are filming has been selected as one for the members of \u2018The Modern Masterpieces Book Club.\u2019 Members all over America will be reading the book at the time when it suggests they ought to see the picture. Macy has 177,500 members in his Readers Club and expects at least 100,000 to enroll in the new club.\n\nEstimated that Frances Langford has sung before a total of five million servicemen during her coast-to-coast tour of the army.\nArgentina asked for 42,000,000 feet of raw film stock and received a limited allotment of 7,200,000 feet for 1943. The reversal of governmental policies from a pro-Axis stand will gain consideration for a substantial increase in footage available. The local film industry, with strong complaints against the inequitable division of film between various producers and distributors, has been able to secure governmental consideration for a complete reshuffle. Unless the new government can secure a concession from the United States for a substantial increase of film footage for the year, the local industry will be in dire straits.\n\nBob Hope's chanteuse appears in \"Shows.\"\n\nArgentina requested 42 million feet of raw film stock but only received 7.2 million for 1943. A change in governmental policies from pro-Axis to against will potentially lead to more film footage. The local film industry is complaining about an unfair distribution of film between producers and distributors, with newcomers and opportunists using quotas to promote new companies. The government is considering a reshuffle. If the new government doesn't secure more film footage from the United States, the industry will struggle.\n\nBob Hope's chanteuse is featured in \"Shows.\"\n\nArgentina requested 42 million feet of raw film stock but only received 7.2 million for 1943. The government's change in policies from pro-Axis to against will potentially lead to more film footage. The local film industry is complaining about an unfair distribution of film between producers and distributors, with newcomers and opportunists using quotas to promote new companies. The government is considering a reshuffle. If the new government doesn't secure more film footage from the United States, the industry will face difficulties.\n\nBob Hope's chanteuse is showcased in \"Shows.\"\n\nArgentina requested 42 million feet of raw film stock but only received 7.2 million for 1943. The government's change in policies from pro-Axis to against will potentially lead to more film footage. The local film industry is complaining about an unfair distribution of film between producers and distributors, with newcomers and opportunists using quotas to promote new companies. The government is considering a reshuffle. If the new government doesn't secure more film footage from the United States, the industry will encounter difficulties.\n\n[Bob Hope's chanteuse stars in \"Shows.\"]\n\nArgentina requested 42 million feet of raw film stock but only received 7.2 million for 1943. The government's change in policies from pro-Axis to against will potentially lead to more film footage. The local film industry is complaining about an unfair distribution of film between producers and distributors, with newcomers and opportunists using quotas to promote new companies. The government is considering a reshuffle. If the new government doesn't secure more film footage from the United States, the industry will face challenges.\n\n[Bob Hope's chanteuse is the star of \"Shows.\"]\n\nArgentina requested 42 million feet of raw film stock but only received 7.2 million for 1943. The government's change in policies from pro-Axis to against will potentially lead to more film footage. The local film industry is complaining about an unfair distribution of film between producers and distributors, with newcomers and opportunists using quotas to promote new companies. The government is considering a reshuffle. If the new government doesn't secure more film footage from the United States, the industry will be in trouble.\n\n[Bob Hope's chanteuse headlines \"Shows.\"]\n\nArgentina requested 42 million feet of raw film stock but only received 7.2 million for 1943. The government's change in policies from pro-Axis to against will potentially lead to more film footage. The local film industry is complaining about an unfair distribution of film between producers and distributors, with newcomers and opportunists using quotas to promote new companies. The government is considering a reshuffle. If the new government doesn't secure more film footage from the United States, the industry will face hardships.\n\n[Bob Hope's chanteuse stars in \"Shows,\" an Argentine production.]\n\nArgentina requested 42 million feet of raw film stock but only received 7.2 million for 1943. The government's change in policies from pro-Axis to against will potentially lead to more film footage. The local film industry is complaining about an unfair distribution of film between producers and\nSergeant Bob Wallace, former Hollywood magazine photographer, directed one of the three crews credited with the successful 'photographic' invasion of Sicily for American newspapers. RKO, by utilizing locations a short distance from the studio and building exteriors on the stages at Pathe instead of at the ranch, has cut its truck mileage 20 percent for the first six months of 1943, compared to the mileage of the same period during the previous year.\n\nIn 1942, RKO's trucks traveled 80,526 miles in the period from Jan. 1 to June 30. In contrast, in 1943, this figure dropped to 59,654 for the corresponding period.\n\nBUY WAR BONDS TODAY\nfocus and flash with KALART tomorrow!\nWrite for literature\n\nThe Kalart Company Inc.\n114 Manhattan St. Stamford, Conn.\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n\n(Note: The text does not contain any unreadable or meaningless content, and there are no introductions, notes, logistics information, publication information, or other modern editor additions. There are no ancient languages or OCR errors to correct. Therefore, the text is already clean and perfectly readable as it is.)\n995 Merchandise Mart, Chicago\nMovola Film Editing Equipment\nUsed in Every Major Studio\nIllustrated Literature on Request\nManufactured by H. W. Houston & Company (A Division of General Service Corp.)\n1801 W. Olympic Blvd., West Los Angeles, CA\nFaxon Dean Inc.\nCameras\nBlimps-Dollies for Rent\nDay: Normandie 22184\nNight: Sunset 2-1271\n4516 Sunset Boulevard\nAugust, 1943 - American Cinematographer 313\nA boy and his dog enjoy summer. So does a girl and her dog.\nClassified Advertising\nFor Sale\n16mm Sound Projectors for immediate delivery. We have a few Bell-Howell, Ampro, Victor, and DeVry 16mm sound machines, factory reconditioned, available. Write for description and prices. Also available, Bell-Howell 2000-foot reels, Royal and President tripods, Victor Model 4 cameras, focusing finder for Eastman Magazine Eight, Bell-Howell projectors.\nCameras: 8mm. Bolex, new, with Laack 1.3 lens, $250.00; Bell-Howell Model 70, 16mm. with Cooke 3.5 lens and case, very fine, $59.50; 16mm. Agfa, variable speeds, 3.5 lens, very fine, $39.50; 8mm. Bolex, new, with Howell Companion 1.9 lens and wind-bak, 3.5 lens, very fine, $55.00. Lenses: 1-inch Dallmeyer .099, like new, $79.50; 15mm. Hugo Meyer Plasmat, inch 3.5, Hugo Meyer, like new, $49.50. Projectors: 16mm. Bell-Howell Diplomat, new, $229.50; 16mm. Bell-Howell Showmaster, like new, $199.50; Bell-Howell Model 57, 500-watt, very fine, $59.50. We also have a fine stock of roll film and plate cameras, miniatures, and graphics. National Camera Exchange, Established 1914, 86 So. Sixth St., Minneapolis, Minnesota.\nWE BUY, SELL AND RENT PROFESSIONAL AND 16mm EQUIPMENT, NEW AND USED.\nWE ARE DISTRIBUTORS FOR ALL LEADING MANUFACTURERS.\nRuby Camera Exchange, 729 Seventh Ave., New York City.\nEstablished since 1910.\nRCA Galvanometer String Vibrators. $5.00; 16mm Film Phonograph. Similar to Maurer, $995.00; Cannon Four Prong Plugs, 65c; 3-Phase 1/12 H.P. Synchronous Motors. $14.35; with gearbox, $19.50; RCA Mitchell or Bell and Howell 3-phase Camera Motors, $135.- 00; RCA R-2 Studio Recorder, $275.00 ; Two-element Glowlamps, $9.50; Duplex 35MM Step Printer, $425.00. S.OS Cinema Supply Corporation, New York.\nImproved Duplex 35MM Printer, with two Bell-Howell Cams and Shuttles. Perfect Registration for Color or Black and White, and process plates. Also Bell-Howell Step Printer with Registration Pins ideal for duplication.\n35 MM Holmes and DeVry Portable Sound Equipment.\nHollywood Camera Exchange, 1600 Cahuenga, Hollywood\nTrading Offers:\n- TARGET: pistols, revolvers, automatics (accepted in trade for all types of photographic equipment)\n- NATIONAL CAMERA EXCHANGE: Est. 1914, 86 South Sixth St., Minneapolis, Minnesota\n\nWanted to Buy for Cash:\n- Cameras and accessories\n- MITCHELL, B & H, EYEMO, DEBrie, AKELEY\n- Laboratory and cutting room equipment\n\nCamera Equipment Company, 1600 Broadway, New York City (CABLE: CINEQUIP)\nWe pay cash for everything photographic. Write us today.\n- 16mm sound projectors, any make\n- Cameras, 35mm projectors, recorders or what have you?\nSOS Cinema Supply Corporation, New York\nWe buy\u2014sell\u2014trade all motion picture equipment, sound and silent.\nSend your list.\nThe Camera Mart, 70 West 45th St., New York City\n\nHave you bought?\nTHAT EXTRA BOND: To Trap a Jap (August, 1943) - American Cinematographer\n\nMore than ever, the mainstay of the motion picture industry, with every foot contributing its full share of exceptional quality.\n\nEastman Kodak Company\nJ. E. Brulatour, Inc., Distributors\nFort Lee, Chicago, Hollywood\n\nFilmo Sportster\u2014 Popular 16mm. and 8mm. camera with F2.5 lens, magazine loader with 3-lens turret. Four speeds, including slow turret head. Single-frame controller. Film footage dial resets four speeds include sound automatically. Sportster is film speed and slow motion the economical precision \u201c8\u201d\u2014 has single-frame control.\n\nThese war weapons will be yours...WHEN PEACE IS WON\n\nAPIS CALLING, Universal\u2019s timely filming of intrigue and high adventure in the French underground movement, has:\n[Just released for showing at approved non-theatrical locations through the Filmosound Library. It's a great war-time thriller that will keep you and your friends enthralled from start to finish. Get Paris Calling for your next feature and then for fun and spice, choose a group of shorter Filmosound Library films to complete your program. You'll find almost any sort of movie you can think of in this great collection - cartoons, sports shorts, travel, battle films, OCD subjects, first aid training ... and on and on through thousands of titles. Plan the movie program you've always wanted to see ... Filmosound Library has the very films you'll want. Put Your Projector to Work for Victory. Your projector is a victory weapon ... and so is every other projector in your collection. Beluhowell Opti-onics is optics ... electronics... mechanics.]\nIt is research and engineering by Bell & Howell in these three related sciences to accomplish many things never before obtainable. Today, Optics is a WEAPON. Tomorrow, it will be a SERVANT ... to work, protect, educate, and entertain. In any town, whether owned by school, club, or industry, these projectors can help train warworkers and teach first aiders and Civilian Defense groups. Seek out these idle projectors. Team them up with Filmosound Library\u2019s extensive collection of special-purpose training films. Put them to work for Victory. Projectors are not available now for civilian purchase, yet there need be no shortage if all civilian equipment is shared when the need is greatest.\n\nThere is no shortage of expert servicing. Don\u2019t be satisfied with less than perfect projector efficiency. Bell & Howell factory experts inspect, adjust, repair, and service.\nReplace your Filmo projector until it is in factory-perfect working order. Your dealer can tell you the standard costs of repairs your Filmo may need and will help you pack it for safe shipment to the factory.\n\nThe peerless Vap-O-rate film treatment protects your irreplaceable home movies. It makes them impervious to oil and moisture, resistant to scratches, heat, and finger marks which mar so many good films. The coupon below will bring you information on this proven professional process. Bell & Howell Company, Chicago; New York; Hollywood; Washington, D.C.; London. Established 1907.\n\nFilmomarc Projector\u2014Engineered throughout as an arc projector, this 16mm model has ample light for large auditoriums. It includes a high output amplifier and dynamic twin speakers. Shows sound or silent film.\n\nEyemo Camera \u2014 The \"tailor-made\" 35mm camera.\nSeven standard models and precision-engineered accessories make Eyemo adaptable to any task, from quick field work to complex studio projects.\n\nFILMO 70E Camera\u2014 Features include a single-lens seat for quick lens changes, an accurate spyglass viewfinder, and four speeds, including sound and slow motion, with an accurate speed governor.\n\nFILMO Diplomat Projector\u2014 This 750-watt machine can handle up to 400 feet of 16mm film. It boasts B&H all-gear drive and power rewind, as well as a FI. 6 lens and magnilite condenser that enhance screen brightness. It shows both sound and silent films, though sound is not audible.\n\nBurned-out projector lamps must be returned when ordering new ones.\n\n\"E\" For Excellence\u2014 This one-reel sound film explains how the Army-Navy \"E\" award is won and presented.\nI. Bell & Howell Company\n1848 Larchmont Ave., Chicago, Ill.\n\nPlease send catalog and supplements of Filmosound Library titles.\n\nTrademark registered\n\nMotion Picture Cameras and Projectors\n\nI'd like information on the \"Vap-O-rate\" Film Treat- Precision-\n\nMade by Precision in a blackout\n\"The Lights were turned on to illustrate this story, but actually both the Du Pont Research and Control Laboratory assistant and the machine she controls work in a darkroom. The operation is one of controlling a precision apparatus that coats test batches of emulsion on the base used in making Du Pont motion picture film. While this is an experimental coating machine, it exactly duplicates full-scale coating procedure. The film so produced is subjected to laboratory tests to determine the speed, contrast and other characteristics of the film.\nIn this manner, the emulsions used in coating Du Pont \"Superior\" Negatives are first approved by laboratory control methods before large-scale production of the film takes place. E. I. du Pont de Nemours & Co. (Inc.), Photo Products Department, Wilmington, Delaware. In New York: Empire State Building. In Hollywood: Smith & Aller, Ltd.\n\nMotion Picture Film\nBetter Things For Better Living . . . Throgh Chemistry\n\nSeptember 1943 \u2022 American Cinematographer\n\nWhen your camera is an Eyemo, it's always ready to go into instant action on any type of assignment...anywhere. Because of the versatility and dependability of Eyemo Cameras, mechanically and as to picture quality, they're first choice with most cameramen on news fronts around the world.\n\nResolve now to get an Eyemo for yourself when the war is over.\nEyemos Over and Eyemos are available.\n\nEYMO Models L and M\nThese models have the compact type of three-lens turret. Viewfinder is matched to six lens focal lengths by turning a drum; shows \"sound\u201d field to match camera\u2019s \"sound\u201d aperture plate. Operating speeds: Model L \u2014 4 to 32 frames per second; Model M \u2014 8 to 48.\n\nEYMO Models P and Q\nMost complete of the seven standard models. Have three-arm offset turret, prismatic focuser with magnifier, and provisions for electric motor and external film magazines.\n\nPathe Cameraman, Howard Winner with his Eyemo \"somewhere in Africa.\" At right is Capt. John D. LeVien, who distinguished himself in Algeria by leading the 90 troops who captured the Italian Armistice Commission.\n\nBUY MORE WAR BONDS\n\nEyemos Wanted for War Service\nBell & Howell Company\n1848 Larchmont Avenue\nChicago, Illinois\n\nGentlemen:\nFor the purpose of aiding the war effort, I am willing to sell my EYEMO Camera, Model . Serial No .\n\nIt has been modified as follows:\n- Opti-onics is OPTICS . . . electronics . . . mechanics. It is research and engineering by Bell & Howell in these three related sciences to accomplish many things never before obtainable. Today, Opti-onics is a WEAPON. Tomorrow, it will be a SERVANT ... to work, protect, educate, and entertain.\n- I have a registered .lace-mark\n\nI will sell this camera for $ . and will pay transportation and insurance to Chicago.\n\nThis camera is:\n- In good operating condition\n- Inoperative or damaged (give details): [blank]\n\nBell & Howell Company, Chicago; New York; Hollywood; Washington, D.C.; London. Established 1907\n\nPRECISION-MADE BY\n\nPrice above includes these lenses: [blank]\n\nI offer the following additional lenses at the prices shown here: [blank]\n\nName .\nAddress .\n[September 1943]\nVolume 24, Issue 9\nNude But Not Lewd - by Hilda Black, page 323\nFighting With Film - by Hal Hall, page 324\nHollywood and Minorities - by Peter Furst, page 326\nIowa's Health in 16 mm - by D. H. Bonnie and W. H. Schultz, page 328\nEditor: Hal Hall\nTechnical Editor: Emery Huse, A.S.C.\nAssociate Editor: James Pyle, Jr.\nWashington Staff Correspondent: Reed N. Haylhorne, A.S.C.\nMilitary Advisor: Col. Nathan Levinson\nMitchell 35 mm. Single System Sound Camera - by E. J. Tiffany, page 330\nOn With the Show - by Edward Pyle, Jr., page 331\nPost-War \u201cDream Camera\u201d - by James R. Oswald, page 332\nFilming an \u201cIncident\u201d - by LaNelle Fosholdt, page 334\nHome Movie Previews, page 336\nAmong the Movie Clubs, page 340\nCover: A shot of glamorous Rita Hayworth.\nDirector of Photography Rudy Mate and camera crew making Columbia Pictures \"Cover Girl.\" From left to right: Miss Hayworth, Rudy Mate A.S.C., Allen Davey, assistant cameraman, Julian Hilson and Kenneth Hunter, Technicolor staff, Burney Guffey, operative cameraman. Cover photograph by Ned Scott.\n\nStaff Photographer: Pal Clark\nArtist: Alice Van Norman\nCirculation: Marguerite Duerr\nAdvisory Editorial Board: Fred W. Jackman A.S.C., Victor Milner A.S.C., James Van Trees A.S.C., Farciot Edouart A.S.C., Fred Gage A.S.C., Dr. Herbert Meyer A.S.C.\nAustralian Representative: McGill's, 179 Elizabeth Street, Melbourne.\nAustralian and New Zealand Agents\nPublished monthly by A.S.C. Agency. Inc.\nEditorial and business offices: 1782 North Orange Drive, Hollywood (Los Angeles, CA 28), California\nTelephone: Granite 2135.\nEstablished 1920. Advertising rates on application. Subscriptions: United States and Pan-American Union, $2.50 per year; Canada, $2.75 per year; Foreign, $3.50. Single copies, 26c; back numbers, 30c; foreign, single copies 35c. back numbers 40c. Copyright 1943 by A.S.C. Agency, Inc. Entered as second-class matter Nov. 18, 1937, at the post office at Los Angeles, California, under the act of March 3, 1879.\n\nSeptember 1943 \u2022 American Cinematographer\nIllustration from Walt Disney's Feature, \"Victory Through Air Power,\" Major Alexander P. de Seversky's best-selling book.\nFantasy of Facts ...\n\nWorld War 1 - a 25-pound bomb was news! Tossed by hand from an open plane, if it raised its little cloud of debris - and spoke of things to come, today's huge blockbusters, which are precision-released from giant bombers with devastating effect. ADEL assists in\nADEL's delivery with highly-efficient hydraulic, electric, and hydro-electric equipment. ADEL equipment on leading United Nations planes was an evolution of original plans for making cinematographic equipment. From a unique lens focusing device came a carburetor dual control mechanism, which, in turn, led to the development of other aircraft products. ADEL's peacetime plans include advanced cinematographic equipment, made with the engineering skills that created ADEL's international acceptance in aviation. Hasten the day of Victory by taking Pluto's good advice.\n\nPLUTO SAYS:\nSIC 'EM.\nLICK 'EM,\nGUY MORE BONDS\nDUCTS CORP.\nPRECISION P\n\nOffices: Dallas, Texas \u2022 Detroit, Michigan - Dayton, Ohio \u2022 Hagerstown, Maryland \u2022 Seattle, Washington - Toronto, Canada\n\n\u00a91943 TRADEMARK COPYRIGHT ADEL PRECISION PRODUCTS CORP.\nAmerican Cinematographer \u2022 September, 1943\nSeptember 1943, American Cinematographer\nBy Hilda Black\nTake it from Maurine, a pretty-red-haired, glamorous-looking woman, there's more to photographing nudes than meets the eye. In fact, what meets the eye is usually where all the trouble begins. Any photographer who has studied nudes will agree.\n\nMaurine continued, \"They are the most difficult of any camera studies to photograph. This would be true even without the strict rules of what is 'proper' and what is 'improper' in nude photography.\"\n\n\"Nudes,\" Maurine supposed, \"have fallen into disrepute because there have been so many bad ones. Poorly posed, poorly executed. The reason for that is simple: every avid 16mm fan thinks he is going to be a great cameraman. And he starts thinking in terms of...\"\nEvery photographer's thoughts turn to nudes. Why does this happen? I don't know, unless it's because intuitively we all know that there is nothing more beautiful than the human body. We naturally turn to the most beautiful thing we can think of to photograph. But does the new camera addict consider the difficulties ahead? He does not. 'Nothing to it,' is usually his attitude. And so, with only the sketchiest knowledge of his subject, the novice sets out to photograph the most intriguing \u2013 and most difficult \u2013 of all subjects \u2013 nudes.\n\nNude study on opposite page took 7 hours to light. Maurine, who made it, says it is her best work.\n\nTop of this page is another Maurine study. Here is a picture of Maurine herself. She is one of Hollywood's top portrait photographers.\n\nAmerican Cinematographer \u2022 September, 1943, p. 323.\nIn the current global war, fighting enemies isn't solely done with guns, bombs, and bayonets. Motion picture cameramen, some from Hollywood, are marching and flying alongside fighting men, filming instead of firing bullets.\n\nSpecially trained, these combat cameramen, part of the Army Air Forces, have a significant role. Their task is to record on film anything that:\n\n(1) Aids in saving the lives of our men.\n(2) Exposes any weaknesses in our planes and machines, enabling improvements.\n(3) Photographs the enemy's war machines, allowing us to learn.\nThe unit responsible for training cameramen for aerial filming in the Army Air Forces is called the First Motion Picture Unit, headed at Hal Roach Studios in Culver City, California. There are units of 20 to 25 cameramen who undergo rigorous training, not just in the mechanics of their job but also in physical training to ensure they are in peak condition. Their lives often depend on their individual stamina and proficiency in using small arms. These men must possess a high degree of skill and courage. Major Elmer G. Dyer oversees aerial cinematography for the Army Air Forces' First Motion Picture Unit.\nAmerican Society of Cinematographers. For years, one of Hollywood's outstanding cameramen. Some of the most spectacular aerial cinematography to come to the motion picture screen in the past years has come from Major Dyer's camera. So, when Major Dyer trains a cameraman for aerial work, that man is learning the tricks Major Dyer has acquired.\n\nUpper left: Major Elmer Dyer, Officer in Charge of Aerial Cinematography, Army Air Forces First Motion Picture Unit, in ship ready for flight with camera.\nTop: Lt.-Col. Paul Mantz, Commanding Officer of the Unit.\nBottom: Lt.-Col. Owen Crump, in charge of production.\n\nIt took Major Dyer many years to acquire these skills.\n\nA clarification of the three important jobs of the aerial cameraman mentioned above might be in order. We quote from information furnished by the Public Relations Officer of the unit:\n\nUpper left: Major Elmer Dyer\nTop: Lt.-Col. Paul Mantz, Commanding Officer\nBottom: Lt.-Col. Owen Crump, Production Chief\nIn analyzing these operations, it's better to explain them individually. In the work of saving lives, our men fly in combat planes in the thick of the fighting, busy photographing not only the enemy but our own men and planes as they fight. They photograph our planes as they are hit; they learn the weaknesses, however small they may be. Emphasis is especially placed on these weaknesses, particularly as they affect our combat crews. In one short fight, they can learn that more armor plate is needed to protect the crews on certain vulnerable parts of the planes from the enemy's attacks and the resulting wounds, if any. If they show that more leg wounds are occurring, then armor can be added to prevent this; if body or head wounds, the same thing applies. Films will show just how long pilots can last under fire. (September, 1943 - American Cinematographer)\nA pilot can fly at peak effort before nervous tension sets in or he becomes too tired to do his best. The figures showing that we lose one plane to five or more of the enemy's losses confirm our superiority. We intend to keep it thus.\n\nExposing the enemy's operations further aids in defeating them. For instance, it might take one pilot or gunner ten to twenty bursts of fire to bring down one plane, while another plane goes down from one burst. In the heat of the fight, the gunner doesn't have time to notice which vulnerable spot he hit to bring the plane down. All he knows is that he hit it. But when recorded on film, our men can easily see what happened and the next time will know a particularly vulnerable spot to aim for. This has happened more than once and will happen again.\nThis applies in reverse to our own planes, we take steps to prevent it happening. Our units not only fight in the air but also on the ground, doing the same thing for ground forces. \"Some people may think that being in the Motion Picture Unit of the Air Forces is just a soft berth for the duration. Such is not the case. The men in this unit realize that as soon as they are ready for it, they will see overseas action. For they are needed badly. And as training goes, they undergo a great deal more than the average. For they have to double in brass. They are thoroughly trained in the firearms they will come in contact with: rifles, revolvers, sub-machine guns, and anti-aircraft guns. They can take them apart and put them together again, in addition to being experts at firing them, and feel equally confident with all.\"\nat home in their gas masks. Each man is also given a thorough course in Judo. In addition, these men are equally proficient behind the camera and with (Continued on Page 346) Major Dyer, L. to R., Lieut. F. H. Nolta, Pfc. D. B. Dickerson, Cpl. A. B. Canfield, Captain O. S. Lovering, Director, and Major Dyer, preparing for ground aerial shots. Upper left, Major F. L. Clarke, pilot, discusses problems with Major Dyer. Upper right, Capt. Gilbert Warren supervising photographing of aerial machine gun in action. Standing below him is Captain Richard Mayberry. Bottom, Lieut. T. E. Tutwilder, cameraman, and Lieut. Russ Saunders, director, await take-off orders. All photos from Army Air Forces.\n\nAmerican Cinematographer \u2022 September, 1943, p. 325\nHoijiood and twinfitaA\nBy PETER FURST\n\nThe movie industry has come in\n\n(Note: The text appears to be mostly clean and readable as is, with only minor formatting issues. No major corrections or translations are necessary.)\nFor years, there have been plenty of slander, hitting below the belt, and distorted accusations, all undeserved, from sources such as the Chicago Tribune, the New York Daily News, isolationists in Congress, some movie columnists, and a few disgruntled members of the industry itself. Their reasons were often Hollywood's alleged interventionist propaganda and general liberal policies. Recently, Hollywood was visited by a young lady reporter from a Chicago paper. She may not have found much evidence of \"communism\" among our producers, but she must have been supplied with plenty of dirt by the wrong people, because the series of \"exposes\" she wrote were among the nastiest pieces of mud-slinging this writer has seen in a long time. Reading those pieces, one would think that none of us correspondents have a nose for real news.\nNone of us seems able to get on those wild things the Chicago paper and its hirelings want us to believe go on in the world's movie capital. Judging from all these violent outbursts on the part of these groups, one would think that Hollywood is a liberal's paradise. To tell the truth, Hollywood, at least since the beginning of this war, has not given liberals too much cause for complaint. Our movies may not have said all they might have or could have said, but at least they didn't play ball with \"the wrong side\" either. On the contrary, in a good many cases, Hollywood has tried to show the way, only to be frustrated in its attempts by official or unofficial censorship, such as the State Department or religious groups, to which Hollywood is still very susceptible. The one legitimate complaint liberals have is\nHave had issues against the movie industry, but the question is the treatment of minorities in films. This article is not written with the intent to criticize without giving a fair trial to everyone. It is not written as a pure condemnation of those who have not recognized the Negro on the screen as an American working for victory. Nor is it intended to be a defense of the appeasement policy, nor does this writer necessarily endorse all methods used by those who want to see the Negro get a new deal on the screen.\n\nBecause, while there has been much too much delay, there has also been action. There have been many setbacks, but also advances. There have been disappointments, yes, but we have also found much cause for rejoicing. We have come a long, long way since.\nD.W. Griffith's \"Birth of a Nation,\" released in 1914, caused riots and disturbances nationwide due to its depiction of Negroes as terrorists. We've had \"Gone with the Wind\" portraying Negroes as dull, plodding servants with no ambitions or desires of their own. However, we also have had Warner's \"In This Our Life,\" with its beautiful portrayal of a young Negro aspiring to become a lawyer as the best way for him to fight discrimination. Recently, we have had films like \"The Ox-Bow Incident\" with its indictment of lynching and its portrayal of a colored preacher, and Columbia's \"Sahara,\" featuring Humphrey Bogart and Rex Ingram, the colored actor.\n\nOf course, there are other minorities who have protested against their screen treatment. The Russians, Latin Americans, Chinese, and others.\nThe Filipinos have all received their share of cinematic slurring. Today's problem, however, is the Negro. There are thirteen million Negroes in the United States, hundreds of thousands in the armed forces and behind the work benches of the war factories. Lena Horne, the colored singer and actress, star of \"Stormy Weather,\" has this to say about the portrayal of the colored man on the screen as practiced by most of our studios:\n\n\"We are not asking for any special favors for the Negro performers. But why always cast them as superstitious, cringing, singing, dancing, carefree, crapshooting characters? That is both distasteful and untrue and helps further anti-Negro propaganda.\n\n\"All we ask is that the Negro is portrayed as a normal person, with normal emotions, ambitions, and desires. Let's portray him as a human being.\"\nSee the Negro as a worker at a union meeting, a voter at the polls, as a civil service worker or an elected official. Perhaps I am being naive when I voice such desires. Some people do not think Miss Horne is so very naive when she voices these opinions. There's one group in Hollywood that looks toward the all-Negro film for salvation. There you show the great talents of the colored entertainers, you accustom people to seeing Negroes on the screen. A person who has seen \"Stormy Weather\" or \"Cabin in the Sky\" might conceivably more readily accept a colored person when he appears among white people on the screen other than as a servant. That may be true, and this group has many followers.\nThe colored screen actors. No story on Hollywood\u2019s treatment of the Negro would be complete without praise where due. And praise is certainly due in the case of Columbia\u2019s \u201cSahara.\u201d This picture is Hollywood\u2019s worthiest effort to date as far as the Negro on the screen is concerned. This is at last a picture that comes up to all expectations and has already been duly recognized in liberal publications such as the New York newspaper PM and in Negro news papers all over the country.\n\n\"Sahara\" is the story of an American tank commanded by Humphrey Bogart in the North African desert during the battle against the Nazi Afrika Corps. Rex Ingram, the distinguished Negro character actor, plays the part of a British Sudanese sergeant who is picked up by the tank, together with his Italian prisoner of war, portrayed by J. Carrol Naish.\nNaish, who has played more nationalities on the screen than anyone else in Hollywood, Ingram, who knows the desert and its treachery, is made a full-fledged member of the crew, already composed of Americans, Australians, and Englishmen. Even the Italian is taken along, despite the lack of water. Ingram, the Negro, is accepted as a complete equal by everyone including an American Southerner, played by Bruce Bennett. During the tank's wanderings across the desert, there is an attack by a Nazi Messerschmitt which is shot down by the tank's guns. The pilot is saved and taken prisoner by Bogart, who orders Ingram to search him. The Nazi protests vehemently.\n\n\"No Negro is good enough to touch an Aryan,\" he explodes. But Sergeant Bogart knows a truly democratic answer to that one:\n\n\"Search him,\" he says, \"your forefathers were Pharaohs when his were still monkeys.\"\nroaming the jungles of Europe. We don't believe in his kind of racial superiority. When the tank finally reaches a lone Berber well in the desert, Bennett the Texan, and Ingram the Negro, climb down in search of water. In the depth of the well, surrounded by the Fascist enemy, they discover they can be friends. \"I guess we have a lot to learn from each other,\" says Bennett. Ingram is later killed in an attempt to get water for the others during a Nazi attack. Those are the kind of pictures all those interested in real unity want to see on the screen today. What is needed on the screen is a much clearer understanding:\n\nSomewhere in Sahara. Bennett and Ingram in a scene from the same picture.\nTop right, Humphrey Bogart as a Yankee tank commander. (Continued on Page 347)\nMander and Pat O'Moore wait for the oncoming Nazis. Center, Naish watches the disappearing tank that failed to take him to safety. Bottom, Naish becomes Ingram's pack mule.\n\nAmerican Cinematographer \u2022 September, 1943, p. 327\nDouglas & Health produce 16mm.\n\nBy D.H. Bonnie* and W.H. Schultz **\n\nOnce, borrowers of the Iowa state health department\u2019s 16mm. library were content to show whatever pictures were included on the film list. But now, if they don\u2019t see what they want, they ask the department to produce a picture on the specific subject in which they are interested.\n\nA case in point is that of the woman who telephoned this spring and asked for a film on smallpox to be shown on an undetermined but approximate date next winter. Undaunted when informed that the department does not have such a picture, she said:\nI've heard that you create your own pictures. Can't you make one on smallpox? She was told that the film could and would be made, but her picture will have to wait until previous requests are met. Ahead of it on the production schedule are a picture on cancer, now nearing completion, and a story about emergency medical care in flood disasters. Fighting for position are two additional requests, one on home sanitation and housing, the other on restaurant sanitation.\n\nWhat started out modestly three years ago with a magazine Cine Kodak and a theory that Iowa faces and places would increase the demand for health films has become one of the department's leading educational activities. The only casualty has been the Photographer.\n\nIowa State Department of Health Public Relations Director.\nThe Kodak magazine has been replaced by a Cine Kodak Special, which comes with equipment for making sound pictures from raw film to release prints. In the early days, when the magazine camera was in use, the department's role in film was limited to writing, shooting, and editing. Recording and printing were done externally. Those were the \"proving\" days, and the first film, a story about the importance of milk in nutrition, gained popularity despite its imperfections with the strong grip of a healthy infant. Entitled \"Modern Magic\" and made in color, the film has had wide distribution in Iowa and other states, with copies sold at cost.\n\nThis marked the beginning, and it came quite easily. From then on, the program progressed.\nThe growing department faced the demand for films after the original picture. Several division heads requested their own films, leading to a compromise. A motion picture description of the health department's purposes and work, complete with thumbnail portraits of each division, filled the gap. The Cine Kodak Special arrived at this stage, offering solutions to issues with its predecessor. Frame lines varied less, and dissolves, fades, and other trick effects became possible.\nThe new camera gave rise to smoother transitions and more cohesive stories. The camera was the least of the problems, though probably the first. Sound was the big issue on the limited budget available and was the largest single expenditure on the milk film. It was apparent that the budget wouldn't last many blasts, such as it took for the 35mm reduction which was used. With the advance demand for pictures already laid down, it was decided that if the money could be raised, it would be cheaper in the long run to purchase a 16mm recorder than to continue with reductions.\n\nThe money was provided with less argument than anticipated, indicating how well the first film had proved itself. An Auricon recorder with synchronous camera motor was purchased, but it was to be some time before lip synchronized sound would be attempted.\nAs no projector with a synchronous motor was available, a method had to be developed to synchronize offstage narration with the picture. This was solved by making a new face for an electric clock and dividing it into 36 places to coincide with the sound speed of film. The scenes are measured, and the narrator's script is marked with the corresponding numbers on the clock. The narrator, usually obtained from local radio stations, either reads on cue from someone else according to the clock numbers on the recording script or by watching the clock himself. Before recording, the narrator sees the film several times to familiarize himself with the action. After recording, the sound negative is checked by running through a sound projector but without going through the picture aperture. Extreme care is taken to prevent damage to the sound negative.\nThe aperture is dodged for further reason as the film goes over the sound drum. The machine is stopped at the beginning of each scene, and the corresponding clock number is written on the film with ink. Previously, the entire picture has been edited and scenes cut to the required footage. Then comes the final synchronizing of the sound against the picture. With the two spools taped together on the rewind to ensure even takeup of both films, the sound track and pictures are run together over the sprockets of the measuring device. This locks the films together, and the numbers marked on the sound track are checked against the scenes. If further cutting is necessary, it is quite simple to know where it should come.\n\nThe Iowa health department has its main offices in a house which once was\nthe  governor\u2019s  mansion.  About  the  only \nspace  left  for  a  sound  room  after  this \nprogram  was  started  was  in  the  attic. \nTwo  rooms,  a  recording  room,  8x10,  and \na  control  room,  6x10,  were  built.  Enough \nspace  was  allowed  in  the  control  room \nfor  two  dual  turntables  for  music,  one \ndisc  recorder,  a  niche  in  the  walls  for  a \nprojector  to  show  films  through  the  di\u00ac \nviding  glass  window  into  the  recording \nroom  which  is  also  used  for  previews, \nand  a  bench  for  the  film  recording  equip\u00ac \nment. \nThe  sound  room,  because  of  its  small \nsize,  is  far  from  ideal  acoustically  but  it \nis  serviceable.  Though  it  was  deadened \nwith  Celotex,  rock  wool  and  an  air  space, \nthere  were  echoes  at  first.  This  was \novercome  by  draping  monk\u2019s  cloth  over \ntwo  of  the  walls. \nAt  the  outset  of  the  program  and  un\u00ac \ntil  war  came,  reversal  film  was  used  for \nthe  original  photography.  When  the  war \nIt was next to impossible to buy reversal stock; tests were run on negative film. Results were better than earlier obtained by reversal process and more gratifying was the fact that it was cheaper and possible to do developing and printing in the department. A further savings was made as a result of this change, because work prints could be made from odds and ends of film editing, thus protecting the negative from undue handling.\n\nPast experience with negative film in days long gone by was discouraging, but with recent developments in film emulsions and developing agents, surprisingly good results are obtainable now. Diamine glycin developer is used and while this developer requires more exposure, an increase in exposure of one lens stop has been found to produce better results.\npensates  for  the  difference.  The  grain \nis  just  as  fine  as  reversal  film  of  the \nsame  speed.  When  prints  are  made  on \nfine  grain  release  positive,  there  is  little \nloss  of  quality. \nTwo  printers  are  used \u2014 for  the  pic\u00ac \ntures  a  step  printer  converted  from  a \nModel  A  Eastman  proiector  and  for  the \nsound  a  printing  head  of  an  old  con\u00ac \ntinuous  printer  mounted  on  the  frame \nof  an  obsolete  35mm.  projector.  The  35- \nmm.  sprockets  have  been  replaced  by \n16mm.  sprockets  with  an  extra  takeup \nadded. \nEsthetically  the  sound  printer  doesn\u2019t \nhave  much  in  its  favor,  but  the  impor\u00ac \ntant  thing  is  that  it  does  the  work  and \nhas  taken  the  film  program  a  long  dis\u00ac \ntance.  Offstage  narration  was  employed \nexclusively  on  the  second  film  complet\u00ac \ned \u2014 the  one  which  describes  the  depart\u00ac \nment \u2014 and  also  was  sued  on  the  next \nfour  films  produced. \nFollowing  the  second  effort,  which  was \n[Title: \"For Iowa's Health\"]\n\n\"For Iowa\u2019s Health\" was followed by \"Eyes for Safety,\" a color film on supervised safety and health in swimming, and \"Wells, Health and Wealth,\" a color film on sanitation of private wells. In six months, \"Wells, Health and Wealth\" rose to the top of the list.\n\nOpposite page: Scene from the Iowa health film. Right: Illustration showing \"bomb\" used for safe storage of radium capsules. Upper left: Iowa Health Commissioner, Walter L. Bierring, M.D., demonstrates method used to record his voice for the health film. D. H. Bonine operates recording controls. Top right: W. H. Schultz registers Kodaloid drawing for animated scene in Iowa cancer film. Right, center: Synchronization marks for Iowa health film are marked with ink on film. Sync number h written in before next scene is run. Bottom:\nSeptember, 1943. American Cinematographer:\n\nSynchronization of sound track and picture is ensured.\n\nTwo views of the new Mitchell camera.\n\nMitchell 35 mm Single System Sound Camera\n\nThe Mitchell Camera Corporation has announced a new revolutionary 35mm single system sound motion picture camera, now available only for war needs. This outstanding single system camera was developed two years ago with the goal of producing a camera of the highest quality, containing both sound and pictures for newsreels, travelogues, commercial advertising, and educational purposes.\n\nSince the entry of the United States into the war, this camera has been in great demand by various departments.\nThe Government now allows one compact unit to photograph high-quality sound in its entirety. The entire unit, including the camera, camera case, friction head, and case, as well as the tripod, is extremely lightweight.\n\nThe camera features an adjustable focus tube, filter slide, veeder counter, buckle trip, revolving four-lens turret, and a shutter opening of 175 degrees. It has the silent Mitchell compensating link movement and a recording impedance drum. The film threading is comparable to any sound camera or recorder. A 24-volt or 12-volt motor can be mounted on the side of the camera, controlled by a rheostat to manage any battery voltage variation. The standard 110-volt variable speed Mitchell motor can also be used on the camera. A tachometer is mounted on it. (MITCHELL Camera Corporation Engineer. - TIFFANY)\n\nThe camera, in addition to the stand-focus tube, filter slide, veeder counter, buckle trip, revolving four-lens turret, and shutter opening of 175 degrees, has the silent Mitchell compensating link movement and a recording impedance drum. The film threading is comparable to any sound camera or recorder. A 24-volt or 12-volt motor can be mounted on the side of the camera, controlled by a rheostat to manage any voltage variation in the batteries. The standard 110-volt variable speed Mitchell motor can also be used on the camera. A tachometer is mounted on it. (MITCHELL Camera Corporation Engineer. - TIFFANY)\nThe rear of the camera features a matte box and sunshade with a pola screen holder, bellows, a three-inch filter gauze holder, capable of handling a 24mm lens. An opening on the side of the sunshade allows the finder to be installed close to the lens, reducing parallax and enabling both close and distant objects to remain in the finder's field of view without adjustments. Standard Mitchell magazines, friction head, and tripod can be used with the camera. An erect image viewfinder with adjustable built-in mattes is mounted on the upper left-hand corner of the camera on a support bracket, equipped with an adjustable screw to set the finder in any position. A new feature of this finder is its mounting type, allowing for quick removal.\nThe Mitchell single system sound camera lifts upward to allow the door to be opened for threading the camera. After threading, the finder is returned to the photographing position without any adjustments. This is done by releasing the lock lever, which enables the finder to be swung upward and automatically locked. By releasing the lock lever, the finder automatically returns to its normal photographing position.\n\nAnother new feature of the Mitchell single system sound camera is the new rack-over installed on the side of the camera. By forward motion, the camera is racked over to permit viewing through the door finder the object to be photographed. It is pulled backward to permit photographing of the scene on the film.\n\nThe single system sound camera is constructed to handle either one thousand foot capacity or four hundred foot capacity standard Mitchell magazines.\nwind guards prevent the belt from being blown off the pulley by excessive pressure while flying in an airplane and protect it in stormy weather. The camera is constructed so that either RCA or Western Electric sound systems can be mounted on it without alteration. An RCA galvonometer is mounted on the first of these cameras. The galvonometer is installed at the rear of the camera and is operated from a (Continued on Page 343)\n\nSeptember 1943 \u2022 American Cinematographer\nOn With The Show\nBy Edward Pyle, Jr\nVisual Aids Specialist\n\nThe increasing use of 16mm. so-called \u201cnon-theatrical\u201d motion pictures emphasizes the importance of applying showmanship and skill in their presentation. These 16mm. sound films can be broadly classified into three groups \u2014 Educational, Advertising and Entertainment.\n\nKnowledge of some of the fundamental techniques for effective presentation of these films is essential for the success of the enterprise. This article will discuss some of these techniques, with particular emphasis on the Entertainment group.\n\nThe first essential is a good print. A print that is scratched, dirty, or otherwise imperfect will not only detract from the value of the production, but will also make it difficult for the audience to follow the story. A good print is essential for the success of any motion picture presentation.\n\nThe second essential is a good projectionist. A projectionist who is not familiar with the equipment and who does not understand the importance of maintaining a good image will not only detract from the value of the production, but may even ruin it. A good projectionist is essential for the success of any motion picture presentation.\n\nThe third essential is a good sound system. A sound system that is not properly adjusted or that is not in good working order will detract from the value of the production and may even make it difficult for the audience to understand the dialogue. A good sound system is essential for the success of any motion picture presentation.\n\nThe fourth essential is a good screen. A screen that is not properly set up or that is not in good condition will detract from the value of the production and may even make it difficult for the audience to see the picture clearly. A good screen is essential for the success of any motion picture presentation.\n\nThe fifth essential is a good projector. A projector that is not properly adjusted or that is not in good working order will detract from the value of the production and may even ruin it. A good projector is essential for the success of any motion picture presentation.\n\nThe sixth essential is a good speaker system. A speaker system that is not properly adjusted or that is not in good working order will detract from the value of the production and may even make it difficult for the audience to hear the sound clearly. A good speaker system is essential for the success of any motion picture presentation.\n\nThe seventh essential is a good microphone. A microphone that is not properly adjusted or that is not in good working order will detract from the value of the production and may even make it difficult for the audience to understand the dialogue. A good microphone is essential for the success of any motion picture presentation.\n\nThe eighth essential is a good recording. A recording that is of poor quality or that is not properly synchronized with the picture will detract from the value of the production and may even make it difficult for the audience to follow the story. A good recording is essential for the success of any motion picture presentation.\n\nThe ninth essential is a good editing job. A poorly edited film will detract from the value of the production and may even make it difficult for the audience to follow the story. A good editing job is essential for the success of any motion picture presentation.\n\nThe tenth and final essential is a good performance. A poor performance by the actors or by the narrator will detract from the value of the production and may even make it difficult for the audience to follow the story. A good performance is essential for the success of any motion picture presentation.\n\nIn conclusion, the application of these essential techniques will not only enhance the value of the production, but will also ensure its success. By following these guidelines, the presenter of non-theatrical motion pictures can be assured of a successful and enjoyable presentation for his audience.\nThe limitations and control of 16mm film and presentation equipment are crucial for avoiding obvious comparisons with 35mm theater showings. The smaller 16mm film size, less than one fourth the area of regular theater film, necessitates significant enlargement to cover a six-foot wide portable screen. To avoid distortion and ensure clear and brilliant projection, the operator must keep projector lenses perfectly clean. Accurate focusing is most important, as 16mm projectors warm up considerably during projection, causing occasional focus variation, necessitating focus adjustment during the showing. The cooling system on most 16mm projectors limits the lamp size to 750 or 1000 watts, resulting in a maximum lamp size.\nThe optimal screen size for a clear reflected image is about eight feet wide. However, a six-foot portable tripod screen is large enough for most gatherings. The screen brilliance and picture sharpness on such a screen, illuminated with a 1000 watt lamp, compares favorably with 35mm theater projection from arc projectors. Although 16mm arc projectors have successfully matched 35mm projection in many cases, they are not considered portable and will not be discussed here.\n\nThe favorable comparison only applies to that portion of the audience who can sit close to the line of projection. This limitation of view position is due to the natural characteristics of the glass-beaded screen's reflective quality. To compensate, glass crystals are applied to the flat-white screen surface to increase its reflectivity.\nThe reflective quality of the screen helps compensate for the comparative weakness of the 16mm projector lamp. The glass beads function similarly to a mirror, reflecting the projected light directly back from the screen surface. To be aware of the significant \"fall-off\" in light reflection towards the sides of the audience, stand first directly behind the projector and look at the screen, then move to either side. If possible, arrange the audience in a long narrow group, projecting down the length so that most can view the films to the best advantage. A helpful expedient in a crowded banquet room is to project diagonally across the room to afford a favorable viewing angle for everyone. The actual placing of the screen, speakers, and projector are most important. Anticipate the size of the audience and adjust accordingly.\nUse a screen size to fit the audience. A 52-inch screen is wide enough for groups up to about fifty, whereas a six-foot screen is suitable for larger meetings. This latter size is the largest that is easily portable, based on a tripod. Place the screen at the narrowest end of the room, or diagonally in a corner. In most cases, it is not wise or safe to leave the screen elevated during preparations, so mark the tested position of the tripod legs on the floor with thumbtacks or white chalk. The bottom of the screen should always be a little higher than the tops of the heads of the seated audience. Better visibility can often be provided by mounting the screen tripod on three chairs.\n\nNext in importance is the position of the projector. Have a choice of several lenses, for instance, a 2-inch, 3-inch, and 4-inch lens. This flexible selection allows for greater versatility.\nTo ensure optimal viewing experience, the projector should be positioned so that its light fills the entire screen without obstructing anyone's view. If necessary, raise the table or use chairs to elevate its legs. Avoid using a center aisle as it offers the best viewing position and maximum screen reflection. Remember, the principle of screen reflection diminishing towards the sides of a room applies to the vertical plane as well. If the screen is placed at the correct height for best visibility, the projector should be adjusted accordingly.\nPlace the screen as high as possible, allowing maximum reflection to the audience. This principle is often overlooked, and it's common to see a screen placed too high with the projector sitting on a low table, shooting up at the screen, providing ideal viewing from the balcony if present. Remember, the beaded screen necessary to enhance the brilliance of 16mm projection is like a mirror, so set up the equipment accordingly.\n\nPlacing speakers efficiently requires an understanding of some acoustical engineering. There are two important \"don'ts.\" Never set the speaker or speakers on the floor or on a nearby piano. The floor is too low, and a piano often picks up reflections from the speaker and distorts the sound. For groups over fifty,\nTwo speakers are advisable, one on each side of the screen. It is simple to mount a jack in the back of the first speaker to permit use of a second, and some makes of projectors come with the speaker attachment provided. This permits a better spread of the sound and helps to make up for the usual miserable acoustics of the average meeting place. Speakers should be mounted about as high as the middle of the screen. If no portable speaker stand is carried, mount the speakers on a chair on top of a table, or find a hat rack or clothes tree to hang from. Sometimes a small chain and strong picture hook can be used to hang them against the wall. While on the subject of speakers, let's mention that most places where \"non-theatrical\" films are shown have no acoustical qualities whatsoever. As mentioned above, two speakers will help.\nMost movie makers have probably at one time or another visualized in their mind what they feel constitutes the ideal camera and projector. Manufacturers of motion picture equipment are already planning their post-war products, so now is the time for the amateur cine fan to make known his views in the matter. John Jones, for instance, with whom movie making is just a newly acquired hobby, says: \"I like the compactness and simplicity of operation found in my magazine loading camera. There is no chance of the film becoming jammed because of improper threading, and all adjustments and 'gadgets' are kept at a minimum.\"\nA lot is necessary to ensure good results. That means a lot to me! His advanced amateur friend, Bill Brown, who has been taking it all in with a grin, finally says: \"All well and good, but wait until you really get wrapped up in this fascinating pastime! Only then will you know the value of a turret front, single frame device, and back winding feature. Yes, simplicity is alright in its place, but if you care to go at this thing seriously, if you demand those truly professional results, you need a camera that is versatile. Whether or not this versatility necessitates \"gadgets,\" depends upon how you define the word \"gadget,\" but a certain amount of accessories are essential, of course.\" And so it goes down the line... each cin\u00e9 fan having his own personal likes and dislikes... each forming his own viewpoint of the ideal, post-war \u201cdream\u201d\nFrom the typical comments of John Jones and Bill Brown, it isn't difficult to surmise that there is no such thing as a real, all-around, ideal, \"dream\" camera. While you might give your right eye for a 6 inch telephoto lens that I have no use for, I, on the other hand, might give my right arm for that certain wide-angle lens which would be of so much value to me. Things that one person considers important to his movie making endeavors, are frowned upon as a handicap or a nuisance by another. The needs of each individual cinematographer are so different, the uses to which a cinematography camera can be put so varied, that a tailor-made job would almost be necessary to construct what each one considers as the \"ideal\" outfit.\n\nAlthough I have pointed out that you can argue pro and con any make or model, there nevertheless ARE certain distinctions.\nfeatures  which,  I  am  sure,  EVERYONE \ndesires  in  a  movie  camera.  Economy  is \nalways  a  big  item  .  .  .  but  not  at  the  sac\u00ac \nrifice  of  quality  ...  we  ALL  like  a  de\u00ac \npendable,  precision  instrument.  When  I \n.  OSWALD \nspeak  of  economy,  I  mean  not  only  in \nthe  original  cost  of  the  product,  but  more \nso  in  the  cost  of  the  many  attachments \nand  accessories  that  usually  augment \nour  equipment  from  time  to  time. \nHaving  discussed  the  importance  of \neconomy  and  quality,  let\u2019s  turn  now  to\u00ac \nwards  weight,  size,  and  shape.  We  all \nlike  our  cine  cameras  as  durable  and  light \nas  possible,  which  probably  suggests \ntheir  construction  of  some  sort  of  alumi\u00ac \nnum  alloy,  as  in  many  models  of  the \npast.  Weight,  to  a  large  extent,  is  de\u00ac \ntermined  by  the  number  of  features  built \ninto  the  instrument,  and  of  course  is \nmuch  greater  in  16mm.  models  than  in \n8mm.  Since  there  is  so  much  room  for \nIn our requirements, we prioritize LIGHTNESS with STRENGTH. In terms of size and weight, we prefer not to carry unnecessary, cumbersome apparatus. When weight is minimized, size must also be. Here, 8mm. consistently outperforms 16mm. in compactness. Two or three basic shapes have dominated amateur motion picture cameras before the war and are likely to continue in post-war models. The rectangular, box-shaped design, favored by one manufacturer in particular, has proven popular for many years. Its main advantage is its ability to rest flat on a table or other smooth surface.\nThe benefit of a tripod. Most magazine loading cameras belong to this group. These \"box\" varieties usually have \"waist-level\" viewfinders in addition to the regular \"eye-level\" type. A distinct aid in making angle shots with the camera placed on the ground, aimed skyward.\n\nAnother basic shape which has been equally popular is the oblong type camera. Among different manufacturers, there have been many modifications of this basic oblong pattern, but the general shape has remained the same throughout the years. This design also has its good points, one of which is its \"straight line\" threading feature, enabling both reels to be placed on the same plane, without sacrificing maximum footage capacity.\n\nLest we become like John Jones and Bill Brown in discussing the ideal post-war \"dream\" camera, from here on you\u2019re\u2026\nI. Personal Preferences in Camera Selection\n\nThe issues of film capacity, speed range, lens types, and so on, are solely a matter of personal preferences. These preferences differ from one person to another, and the best I can do is voice my own views on the subject. I've taken the lead in the discussion so far, but since there have been no objections, I might as well share my thoughts further. If you disagree with me, remember that these are just my thoughts towards my ideal post-war camera.\n\nAs an average home movie enthusiast, my \"dream\" camera of the future would be designed as follows: In addition to the features we previously discussed, it will have a capacity of 100 feet (I use 16mm.), be easily adapted to 400-foot magazines, and run at least 25 feet with one winding. It will have a range of about 4 f-stops.\nSpeeds, including 24 frames per second, for synchronizing sound. Provision will be made for back-winding the film in lap-dissolves and double exposures, with an accurate frame counter for this work. A single frame device might be included, but would only be used occasionally. More important is a timing device or delayed action release, permitting the cameraman to get into the picture himself. As to lenses, I rather prefer to select my own, but since indoor movies fascinate me so much, a fl.5 or f1.9, in focusing mount, would be my start. For the same reason, I would select a wide-angle lens before a telephoto. Were great depth of field required, an additional f3.5, fixed focus lens, would be of value for more limited work, where a slower lens speed would fill the bill. A turret front on the camera to accommodate these.\nWhen it's impossible to get what you want, when it's difficult to find what you need, remember you can still have Eastman negatives. Actually, Eastman negatives are better than ever. Filming an incident by Lannelle Fosholdt\n\nShooting a \"war\" on a football field. Shooting \"wild\" is too mild a name for it. Incendiary bombs dropping, fire engines missing.\nYou experienced inches-worth disturbances caused by gas alarms and sirens during a recent air raid incident filming. The chaos didn't fully register until the rushes were returned. The Emergency Services Administrator of the 0.C.D., Mrs. Vella Finne, requested the Long Beach Cinema Club's vice president, Midge Caldwell, to enlist members for a solution to one of their significant issues: revealing personal errors.\n\nThe following Sunday, an \"Incident Drill\" was scheduled on a football field. They would provide the film if we supplied the cameramen. The Civilian Defense group had previously staged several \"Incident Drills,\" simulating bombing conditions and evaluating various units.\nfire, police, medical, gas squads, air raid warden, messengers and a control center went into action to combat them. The only trouble afterward when mistakes were mentioned, everyone was sure they hadn't made any or it must have been someone else. Mrs. Finne called a meeting and Midge Caldwell took charge of the photographic plans. Charts were studied where the control, police and medical centers were mapped out on them. Five cameramen were placed in strategic spots to photograph all action in their location, with Midge Caldwell and Vella Finne directing their attention to errors. They kept one cameraman near them to cover anything extra and assigned two still cameramen to cover the entire territory. Sunday arrived with not too favorable weather. Cine-cameramen called in were Clarence N. Aldrich, Ray Fosholdt, Frank Tallant, Pat Rafferty and Cliff.\nLothrop: Bombs fell. Wardens, auxiliary police, firemen, ambulance crews, and decontamination squads went into action. Department heads looked on critically for mistakes but the fast shooting camera men actually recorded them. Some excellent work was filmed, a lot of minor mistakes revealed, and many laughs were had over some unusual circumstances. The air raid wardens took such good care of the casualties in one instance that when the first raiders arrived, there was nothing but transportation left for them. None of the drills were rehearsed in any part, so the film is an actual recording of the action.\n\nSightseers who were actually on the program and supposed to cause confusion by picking up bomb fragments and poking around collapsed buildings where people were trapped, put on such a good act that they created lots of amusement.\nThe cameramen had been warned to stay away from gas areas, but one overzealous chap moved in for a close-up and was last seen being hauled away by the decontamination squad, who took their practice seriously. Luckily, it was near the end of the incident and he had all his pictures.\n\nIowa's Health in 16mm. (Continued from Page 329)\n\nDemand: \"A Challenge to Infection,\" a color film on sanitation in barbering which has been referred to by a national barber organization as marking an epoch in barber education, and \"Open This Door,\" a short supplementary film to the latter.\n\nThen \u2014 the first go at synchronized lip narration. It was the early winter of 1942 and the chairman of the Iowa Infantile Paralysis Committee was readying plans for the annual infantile paralysis campaign.\nThe campaign requested a 16mm sound trailer for personalized meetings throughout the state. Scenes presented no difficulty, but lip synchronization with the short talk was problematic. How to deaden the camera sound was a large issue as funds hadn't allowed for a blimp with a synchronous motor. One solution was enlisted: the aid of the state carpenter. In short order, a satisfactory blimp was constructed. A plywood box was made with a layer of rock wool inside and out. It was held in place by cloth covering. A removable glass frame in front gives access to the lens, and a similar frame on top allows for focusing. One side of the box is removable for camera entrance.\nThe trailer was completed in three weeks and got in just under the deadline for the beginning of the campaign. However, when the campaign was over in late January, the trailer was only getting started. In fact, it is still being shown now and then, campaign or not. With this success came the courage to try direct synchronization on location. At this time, a script was being written for a film on rural school nutrition, which was to be called \u201cLunch for Johnny.\u201d Short speeches for Johnny and his teacher were written into the copy. Later, they were successfully filmed in the school room. Lacking a mike boom, it was necessary to hide the microphone in some other way. For the scene in which Johnny talks, the microphone was placed in the ink well in his desk and hidden from sight by the student who sat in front of him.\nHis teacher talked at her desk with a microphone placed behind her books when she spoke. A mike boom would have made shooting much easier, so now a projector stand has been converted with the use of electrical conduit pipes to serve as a boom. The change was made by removing the center pipe of the stand and replacing it with a seven-foot section of the same-sized conduit. A 12-foot section of three-quarter inch conduit, divided into two six-foot lengths, is used for the arm.\n\nSeptember, 1943 \u2022 American Cinematographer\nFOR ALL TO SEE\nThe outstanding beauty of modern screen productions effectively demonstrates the high quality of Eastman negative films, the industry's favorites. Eastman Kodak Company, Rochester, NY. J.E. Brulatour, Inc., Distributors Fort Lee Chicago Hollywood EASTMAN NEGATIVE FILMS\nWe are pleased to announce that Edward Pyle, Jr., Visual Aid Specialist, has joined our staff as an Associate Editor. Mr. Pyle will supervise the reviewing of commercial, educational, and amateur motion pictures sent in for comment. Mr. Pyle's background in Visual Education, technical experience, and active avocation of many years as a leader in various filming groups, offers much to constructive analysis of films submitted by our readers. We consider it a pleasure to offer this service at no charge to our readers, and trust you will continue to take advantage of it.\n\n\"ACME OIL CASE,\" 500-foot black and white scenario film.\n\nThis appears to be a group production of the Indianapolis Movie Club, though no such credit is given. Directory is missing.\nThe crew and cast of \"ACME OIL CASE,\" led by Dean Smith, is too extensive to mention. This is a genuine Sherlock Holmes double-murder mystery with Holmes and Watson cleverly solving \"who done it.\" The title job is excellent, featuring impressive opening titles with the large cast introduced on flip-over cards. The titles are a notable weakness in many scenario films, especially when a lot of dialogue is attempted. However, \"ACME OIL CASE\" is an exceptional case. Sub-titles for the dialogue were frequent and well-integrated, indicating that the editors were well-versed in the titling of old-time silent movies. Several scenes required night-time filming.\nThe exteriors were effectively handled, likely with the use of a chemical fade for daylight scenes. Perfect chemical fade-ins and fade-outs separated various sequences appropriately. The film has only two minor imperfections. First, the 500-foot, 8mm length could be reduced. Second, the illumination on many light-colored interior walls was excessively \"hot.\" The actors were usually lit well, but overly bright walls detracted from the action. The importance of wall illumination is thoroughly explained and illustrated in the August issue of American Cinematographer, so it won't be repeated here. Aside from these two points, \"ACME OIL CASE\" is one of the best amateur scenario films viewed in some time, and the makers can be proud of such a finished product.\n[Documentary film, 400-foot, black and white, home-processed on Dupont sound recording positive, filmed by G.B. Burnwood. The outstanding feature of this reel is the excellent quality of Mr. Burnwood's home-processing, equal to the best laboratory work. Clear photography, good composition and camera angles, well edited throughout. However, the use of very inferior titles definitely detracts from the good points of the reel. There are plenty of titles, all well worded and of about the right number of words. However, the size of the letters is so small that they are most difficult to read. The camera could easily have been moved in closer to the title board to provide larger and legible letters. Either bad luck in processing or underexposure made most of the titles barely discernible.]\n\n\"Documentary film, 400-foot, black and white, home-processed on Dupont sound recording positive, filmed by G.B. Burnwood. The film boasts excellent home-processing quality, on par with professional lab work. Clear photography, good composition, and camera angles are present throughout the well-edited reel. However, the use of small, illegible titles detracts from its strengths. Despite their well-chosen words and appropriate length, the titles' letters are difficult to read due to their size. The camera could have been moved closer to the title board to improve legibility.\"\nThe small letters on the screen hindered the readability of the titles. Historically significant are the numerous views of homes, buildings, and other structures in and around Philadelphia. These scenes are well-exposed, with the exception of some close-ups of inscriptions on statues and buildings, which tended to be overexposed. In filming historical edifices, we often forget that we are using MOTION pictures. Like most such films, this one includes many static, motionless \"postcard\" shots. This effect can usually be avoided by having people, cars, etc., in some or most of the scenes. He may have intentionally avoided such action if he thought the costumes or cars would \"date\" the film. Nevertheless, this reviewer would prefer fewer \"postcard\" scenes. Despite the misfortune of inferior image quality.\nThis film, titled \"HUBBY FINDS A HOBBY,\" is generally well-handled. Scenario film, 300-foot, 16mm, black-and-white. Filmed by C. H. Benjamin.\n\nThis is a good example of planning a film, following the plan with generally good results. The story begins with husband and wife in the living room discussing the bare wall space over the radio. She notices an ad for an art exhibit. She goes downtown to Greenwich Village to look over various sidewalk displays of paintings. Hubby is seen at home unwrapping a large box of oil paints, brushes, easel, etc., and proceeds to engage in his new hobby, applying paint to a canvas on an easel. Wife comes home, carrying apparently a painting she had purchased. She sets it down and then proceeds to hold up several paintings, one after another.\nThe husband was supposedly painted in these frames while the wife was downtown. The film abruptly ends. Mr. Benjamin skillfully uses double exposed titles and lap dissolves. Effective filming of the wife in close-up within a picture frame, and himself in the same frame. These close-ups are well photographed with a jet-black background, and he carefully fades in good white letters across the bottom of each introduction the names \"Hubby\" and \"Wife.\" Let's hope the husband has not forsaken his home-movie hobby for painting and can find time for both.\n\n\"SUMMERTIME.\" Travelogue, 250-foot, 16mm. Kodachrome. Filmed by C. H. Benjamin.\n\nThis reel shows views of a lake and scenes of flowers growing in the fields. In general, the photography is good, with exposure a little on the high side.\nThis effect is offset by the filmer's use of excellent double-exposed titles. He frequently applies smooth lap dissolves effectively. The reel would have more interest if it had more genuine close-ups, which handicaps many films.\n\n\"Rails Across the Country.\" Documentary film, 400-foot black and white. By C. H. Benjamin.\n\nThis reel is just a series of views of trains passing, some shots of a round-house and switching yard, and numerous sky and cloud shots. General photography is consistent, but all too dark, indicating under-exposure or excessive use of dark filters without allowing for the same by opening up the lens. The title does not seem appropriate, as most of the views of trains appear to be in what seems to be one location.\nFilmer apparently was fascinated by trains, but needs a little more variety of locations and camera angles to make his film interesting to others. Consistent with other films he has made, Mr. Benjamin is a past master in the making of titles. He has a splendid opening title and excellent sub-titles, using clear white letters double-exposed on a good neutral dark scenic background without too much detail. He avoids the weakness of many title makers, of using too elaborate backgrounds for sub-titles. His fine titles largely make up for the film's dark monotone subject.\n\nFor outstanding performance with production economy\nSUPREME NEGATIVE FILM\nAGFA ANSCO\nBINGHAMTON \u2022 HOLLYWOOD \u2022 NEW YORK\nMADE IN U.S.A.\n\nKeep your eye on \"Annico\" - \"Titbit\" with the \"Timeit\"\nAmerican Cinematographer \u2022 September, 1943 \u2022 337\n\"The strict taboos placed on commercial photographers regarding the subject are largely due to amateurs whose efforts often result in an unlovely picture. But Maui'ine has little patience for these amateurs, and even less for the nasty-minded people who insist the only reason for wishing to photograph nudes is to see a \"beautiful young girl with her clothes off.\" It's too ridiculous,\" she says. \"Photographers do not feel that way about it at all. Faces speak to you. So should bodies. They should express moods, temperament, animation. Many of them do not because the person has various inhibitions, frustrations, complexes. Many people have been trained from childhood to regard the body as something to hide,\"\nThe body should be a beautiful thing, like the fluid, graceful lines of a beautiful painting or the lines of music, poetry, or any of the arts. Nudes are not easy to light and are difficult mainly because one wants to capture the charm of the figure as a whole. Limiting it to one angle usually fails to convey the beauty of the whole. Occasionally, the beauty of pleasing lines is sufficient in itself. But not always. I strive for a pleasing composition of the figure and then try to express through it a feeling of life and animation. There is a finely drawn line between warm, stirring beauty and suggestiveness of an unpleasant nature. It is the photographer's business to sense this difference, and the slightest change of pose can easily alter what would be a beautiful image.\nI particularly like the body to assume a natural attitude. Weird positions, with neck drawn out of line and body apparently resting on nothing more substantial than thin air, are silly. It isn't a pose one would naturally adopt sans benefit of a camera, then it shouldn't be in the picture. Natural lines and feeling are best. Doing things you would not naturally do make an awkward picture.\n\nThe above nude is also by Maurine, who says it is exotic but not well-lit, because it was made from the red negative of a color shot.\n\nI have no preference as to beauty. If it's beautiful - that's good enough for me. However, I do think that, for photographic purposes, dusky, deep-toned skins are best. Blondes with strikingly fair skin are lovely to look at, but less photogenic.\nAt least, that's my personal opinion. That's why many of my studies are of the native or island type. Photographing nudes is really a challenge to one's ability. It's a game to see if you can get the proper lighting and pose. Frankly, nudes are not commercial. Where can you sell them? For calendars, posters? Very few places, really. And then there are such strict regulations as to just how the anatomy may be exposed, and what portion of it must be in light and which in shadow. It really doesn't pay for all the effort involved \u2014 if you consider it from a dollars-and-cents viewpoint.\n\nSeptember, 1943 \u2022 American Cinematographer\nTHE NEW\nWITH\nREMOVABLE\nHEAD\nThe B & H Eyemo camera shown here mounted on the \u201cProfessional Jr.\u201d Tripod. Shiftover has been especially adapted for aerial use by the Office of Strategic Services.\nField Photographic Branch, Wash Patent JVo. 2318910\nUnsurpassed in Quality, Versatility and Rigidity\nThe friction type head gives super-smooth pan and tilt action, 360\u00b0 pan and 80\u00b0 tilt. A generous-sized pin and trunnion assures long, dependable service. \"Spread-leg\" design affords utmost rigidity and quick, positive height adjustments. A T level is built into this 14 lb. superfine tripod. The top-plate can be set for 16mm EK Cine Special, with or without motor; 35mm DeVry and B & H Eyemo (with motor), and with or without alignment gauge.\nTripod Head Unconditionally Guaranteed 5 Years\nProfessional Jr. tripods and Cameraquip Shiftover Alignment Gauges are used by the U.S. Navy, U.S. Army Air Bases, Signal Corps, the Office of Strategic Services and other Gov't Agencies \u2014 also by many leading Newsreel companies.\nIf this Shiftover alignment gauge is the finest, lightest, and most efficient available for the Eyemo Spider Turret prismatic focusing type camera, the male of the Shiftover attaches to the camera base permanently and permits using the regular camera holding handle if desired. The male dovetail mates with the female dovetail base and permits the camera to slide from focusing to photographing positions for parallax adjustment. The camera can be locked in the desired position by a positive locking device. The Shiftover has a \"stop-bracket\" which prevents the camera from sliding off the dovetail base and is provided with dowel pins that position it to top-plates of tripods having \u00bc or \u215c camera screws.\nTwo interesting films were shown at the August meeting of the San Francisco Cinema Club: \"King\u2019s River Canyon \u2014 on the Skyline Trail,\" a 16mm Kodachrome film loaned by the Sierra Club, and \"Listen to Britain,\" a 16mm black and white film. The Kodachrome feature proved to be a color sensation, with most members declaring they would never be happy until they had a chance to film the beautiful and awe-inspiring Sierra scenery. \"Listen to Britain,\" made by the British Information Service, highlighted the sights and sounds of the British people working, playing, and fighting in a country at war, making a tremendous impression on the club members. The well-attended meeting was held at the National Defenders\u2019 Room.\nWomen's City Club met on August 17. The technical group held a discussion on \"Composition\" on August 24. Syracuse Movie Makers: Members of this club were active during August, holding three meetings. One was for reviewing member films, another for election of officers, and the third a special lawn party showing at member Arthur E. Tucker's home. Long Beach Cinema Club: Members met at Quality Laboratories of Sam E. Tate on August 18. Tate gave them a tour through the processing plant and explained in detail each evolution in the processing of a motion picture the club had filmed at their August 4th meeting. It is believed this is the first time any amateur club took its members into a plant to watch the development of its picture. The affair proved extremely interesting. Utah Cine Arts Club.\nThe August meeting of the Utah Cine Arts Club featured the following films: \"A Trip Through Yellowstone,\" Kodachrome, by G. Van Tussenbroek; \"The Sea Gulls,\" Kodachrome, by Raymond B. Hollbrook; \"In the Beginning,\" by Fred C. Ells; and \"Early Summer,\" by Tatsuichi Okamoto. The most outstanding film was \"In the Beginning,\" a reverent account of creation with titles from Genesis. This picture won a Grand Prize in a competition sponsored by the American Society of Cinematographers. After the film showings, members participated in an interesting open forum.\n\nFilm: \"Spikes Becomes a Scout,\" 1000-foot Kodachrome, silent with accompanying narration synchronized on three 33 1-3 speed records.\nIt was supervised by Mr. Conway and intended as an enlistment film to encourage boys to join the Boy Scouts. The members of Troup 5, Onondaga Council, Boy Scouts of Syracuse, New York, contributed their splendid acting ability and other assistance.\n\nBriefly, the story shows \"Spike,\" a city tough kid, being taken along on a summer camping trip with the Scouts. Spike is skeptical of the benefits of Scouting, but after various demonstrations by the Scouts is finally convinced and joins up.\n\nThe film is an excellent culmination of a worthwhile project. Photographic treatment, direction, acting, story, and narration are each indicative of the skill and a lot of hard work of the Scouts, leaders, and others contributing their efforts. Synchronizing the descriptive narration on three recordings presented many complications, but\nthe  results  are  exceptionally  good.  Mr. \nConway  supplied  a  specially  prepared \nstroboscopic  disc  about  four  inches  in \ndimater,  to  enable  16mm.  projectors  to \nbe  run  at  the  normal  speed  used  when \nthe  recordings  were  made.  Another \n\u201cstrobe\u201d  was  supplied  to  set  the  record \nspeed  to  exactly  33  1-3  rpm. \nThe  plan  was  to  charge  a  fee  of  $7.50 \nper  showing  before  various  civic  groups, \nto  attempt  to  reimburse  the  sponsoring \ngroup  for  the  cost  of  production.  A  good \nsum  was  taken  from  the  first  local \n(Continued  on  Page  345) \nVacation  Days \n340  September,  1943  \u2022  American  Cinematographer \nOff  on  a  Great  Adventure  . . . \nThis  little  man  is  having  a  new  experience.  He\u2019s  going  to \ndiscover  things  he  never  knew  before.  You\u2019ll  have  a  new  and \nenlightening  experience,  too,  the  first  time  you  try  Ansco  Hypan \nReversible  Film. \nWhether  it\u2019s  fast-moving  outdoor  action,  or  Junior  playing \nWith indoor projectors, you can depend on Ansco Hypan Reversible for brilliant, sparkling, life-like projection. Hypan Reversible's high speed, fine grain, and fully panchromatic emulsion provide everything you want in a movie film. Its high resolving power and effective anti-halation coating are added insurance of best results.\n\nNext time, load your movie camera with Ansco Hypan Reversible. This 16mm film comes in 50 ft. and 100 ft. rolls. \"Twin Eight\" Hypan Reversible is available in 25 ft. (double width) rolls.\n\nAgfa Ansco\n8mm and 16mm\nHYPAN REVERSIBLE FILM\nKEEP YOUR EYE ON ANSCO \u2014 FIRST WITH THE FINEST\n\nAmerican Cinematographer \u2022 September, 1943, p. 341\n\nRCA-Equipped Land Cruisers Help Navy Recruit Waves\nIowa's Health in 16mm.\n\n(Continued from Page 334)\n\nfastened to the upright with a metal sleeve bolted to an old Simplex idler.\nThe wheel turns to raise the arm and can be swung in any direction. By pulling out the main upright and replacing the original pipe, the stand can be converted back to its intended purpose. The microphone boom will be used for the first time on an outside semi-long garden shot in the cancer picture currently being filmed. This isn't the only innovation in this picture, however. In it, for the first time, animated drawings will also be included.\n\nThe script calls for animation to show the growth of both normal and malignant cells as well as the spread of the latter throughout the body. For these scenes, a solid rack has been built with pins to register the drawings. Kodaloid was used to make the drawings.\n\nScripts for the department's films are written by a layman, but for technical accuracy, an outline of the central facts is provided.\nThe desired outline is first drawn up by the doctor, nurse, engineer or other professional person for whom the picture is being produced. The major difficulty in this regard is reconciling the natural differences of treatment between the lay writer and professional personnel. Before the outline is prepared, a conference is held and agreement reached on the nature of the precise audience before which the film will be shown.\n\nThe nutrition film, \u201cLunch for Johnny,\u201d illustrates the process. It was quickly conceded by both the nutritionist and the lay writer that the film had to be given a rural slant. Further breakdown was necessary. The film was to serve one purpose, that of stimulating school lunch programs. The strongest impetus for good lunches comes from rural women, students and teachers, so the final decision was to focus on this audience.\nThe nutritionist prepares her outline with the central audience in mind, considering their varying reactions to lunch programs. She aims her points according to their mode of thinking to provide a solid base for the script. Similar selection of audience and direction of outline are practiced with all pictures. The script is written from the outline, which is only of points and not of continuity. After the first draft, successive drafts are worked out jointly by the lay writer and division head involved. Briefly stated, the policy for both outline and script is: begin with what the audience is familiar with.\nThe three-way sound reproduction equipment, specially designed and produced by the RCA Victor Division of the Radio Corporation of America for use in Navy Recruiting Cruisers of the truck-and-trailer type, has proven highly successful in a year's operation of eight such land cruisers in various parts of the country. Adapted for broadcasting phonograph recordings, radio pickups and live talent and speakers at a microphone, the equipment allows the audience to put themselves in agreement with the film, nodding in affirmation and saying, \"Yes, that's the way it is.\" New ideas the film is to relay to them are superimposed with the hope that the positive \"yes\" will continue. This cooperation has ironed out much of the grief that would arise if both parties were to go their own ways. It also makes it easier to hold to the original purpose of the film.\nActing talent is readily available. A doctor, nurse, or public health engineer is needed. The department has all three. A farm woman, school teacher, lifeguard, or pharmacist is wanted. They're not hard to find. Most people still like to see themselves in pictures and when there is sound, too, making it a double feature. It's true that to date neither a Spencer Tracy nor a Bette Davis has been discovered, and it's also true that Hollywood isn't passing out any Academy Awards for these pictures. But Iowa exhibitors are holding out their hands for bookings and coming back the second time. That's all the state health department wants.\n\nSeparately or mixed, the installation in each cruiser includes four loud speakers.\nTwo 15-watt amplifiers power the unit. Each one comes with a gasoline-driven generator producing 110-volt AC current. Cables run to standard local power services with available outlets, and storage batteries are included for emergency use. Telephones, operating on low-voltage current self-generated by the speaker's voice on the diaphragm, provide communication between cab and trailer, whether parked or in motion.\n\nStoll Anniversary\n\nThe week ending August 7, 1943, marked Clarence G. Stoll's fortieth anniversary with the Western Electric Company.\n\nStoll began working for Western Electric in 1903, joining as a student apprentice in its Clinton Street Shop in Chicago after graduating from Pennsylvania State College. After a series of promotions, he reached this significant milestone.\nThe manufacturing department head became vice president in 1926 and was elected president in 1940. He was in charge of the Company's factory in Antwerp, Belgium, during the World War year of 1914. Today, after more than 25 years of executive responsibility in operating the world's largest telephone equipment business in peacetime, he is once again directing a great establishment committed to furnishing more than a third of America's production of military communications for the Allied Nations.\n\nSeptember, 1943 \u2022 American Cinematographer\nOn With the Show\n(Continued from Page 331)\n\nTone control on the high side is necessary. Most normal \"highs\" are lost on 16mm sound tracks, particularly on reductions from 35mm. Hence, the excess low tone must be compensated for by proper projector tone control.\n\nIt is a good plan to tie all cables at the connection points.\nTo conclude this treatise, I will list the accessories I have found necessary and frequently useful. A normal 50-foot speaker cord is often too short if you want to make it inconspicuous by running along the sides of a room. I carry a spare 75-foot cord. Three 25-foot electrical extension cords, heavy enough to carry the load of a 1000 watt lamp, enable you to reach any outlet with the shortest possible length of cord. Several different types of double plugs and adapters come in handy. A couple of extra 30 amp house fuses, and of course, extra projector fuses, exciter lamps, and projector lamps are needed. Two pieces of small link chain enable the speakers to be hung from a clothes tree or from some strong picture wall hooks also carried. A roll of extension cord is essential.\nAn ordinary picture wire has various uses, such as tying the speaker cord to a pillar in case of stretching it overhead, or wiring cables to chair legs to prevent tripping damage. Useful gadgets include four ordinary dime store rubber door wedges. These can be used under the projector table to level it up, or under the projector itself to provide greater tilt. A pencil flashlight in the pants is handy for emergencies.\n\nFor daytime shows, try to darken the meeting room as much as possible. If this is not entirely possible, project a smaller image on the screen so that the picture brilliance can be normal. Arrange with an audience member to turn the lights off and on at a signal.\n\nThe exhibitor must apply sufficient measures to ensure that the \"non-theatrical\" audience can fully absorb the visual message without being aware of the technical limitations of the film and equipment.\nMitchell's 35mm Single System Sound Camera: A portable unit with efficient presentation. It comes with a portable amplifier having two microphone connections, two mixing pads, and one main gain pad. The amplifier, a push-pull Class B type, results in automatic noise reduction. The sound track is positioned a standard distance ahead of the picture aperture. The Mitchell single system sound camera is a compact, portable unit suitable for field use by fighting forces, enabling instant recording.\n\nColonel MacDonald and Friend used a 35mm Model A DeVry camera for filming. For field service, our cameras had to be light and rugged. I would estimate that around 95% of 'DESERT VIC-' (if this is a reference to a specific production, it is incomplete and needs context).\nTory was ground through Devrys, whose performance and ability to stand up under grueling desert punishment constantly surprised us.\n\nSona Equipment\nAn Outstanding Name in the Cinematic World for Lighting - East of the Mississippi\nC. Ross\nFor Lighting Equipment\nAs sole distributors east of the Mississippi, we carry the full and complete line of the latest-type Inkie and H.I.-Arc equipment manufactured by Mole-Richardson. Inc., Hollywood - California.\nYour requirements for interior or exterior locations taken care of to the last minute detail anywhere.\n\nMotor Generator Trucks\nRentals Sales Service\nCharles Ross, Inc.\n333 West 52nd St., New York, NY. Phones: Circle 6-5470-1\n\nThe text describes Tory's impressive performance in the desert and introduces C. Ross as a supplier of lighting equipment and motor generator trucks.\nBefore time has had an opportunity to dim the memory. The camera is also suitable for photographing from airplanes, explaining the tactics used by the enemy. This camera has a great post-war future which will enable the studios, newsreel photographers, and commercial advertising men to go on extremely difficult locations without being burdened with an excess amount of equipment and still maintain the high quality picture and sound.\n\nBuy More Bonds\n\nAmerican Cinematographer \u2022 September, 1943, p. 343\n\nNude But Not Lewd\n\n(Continued from Page 338)\n\nEvery prospective buyer knows exactly what he wants\u2014or thinks he does. He has his own individual concept of beauty, and you can\u2019t swerve him from it. Add to the regulation difficulties of nudes the whims of a buyer, and you can plainly see that our problems are multiplied a thousandfold.\nTo begin, there are very few perfect bodies. And, of course, we seek perfection, even though we seldom find it. It's often amusing to see how a model looking for a job will try to hide her defects. If she has a tummy - and most otherwise beautiful girls do - she doesn't want you to suspect. So she 'lifts' the body. Draws the abdomen in, raises the breasts, takes a deep breath and holds it. Then calls your attention to it - 'See, I have no stomach at all - I'm perfectly flat.' She is, too, until she forgets for a moment and relaxes. And then that tell-tale tummy heaves into unsightly view.\n\nTo correct this flaw, the photographer must be extra careful of pose and lighting. He will usually have the model reach heavenward - that pull draws the stomach muscles up and in. But it's only a camouflage, and we know it.\n\"It's really amazing what things you discover when you look into the ground glass and note with desperation things you hadn't noted till then. What appeared perfection at a casual, appreciative glance, on closer analysis discloses a little knob on each hip and an unpleasant dip above the thigh, one bust distractingly smaller or larger than its mate, protruding, knobby ankle bones. Then there's always that abdomen we mentioned a moment ago, and that must be kept trim by stretching the torso up and holding the breath as long as possible. Elbows have their own unique manner of acquiring sharp points when viewed through the ground glass. And hands and feet, too, often look like something the model forgot to remove with the rest of her clothing. If you can manage to forgive these failings and convince the model that\"\nYou are thoroughly pleased with her, then you're off to a good start. You've created a spirit of confidence and cooperation. This is really important. The model must be relaxed and capture your own enthusiasm to create a 'thing of beauty.' This is not possible if there is friction between model and photographer; if there is strain, it will show.\n\n\"It is fatal if you are critical and the model knows it. She will never be relaxed, and gone are your chances for getting a good picture.\n\n\"My favorite nude took me seven hours to get. (See why I insist nudes are not commercial?) I was determined to have it right. And so was my model.\n\n\"Luckily, she has an almost perfect body, so there were no weighty problems of camouflaging to consider.\n\n\"However, the lighting was difficult. What I desired to achieve was just the suggestion of feminine line and contour.\"\nEvery line must be perfectly aligned for the model to maintain her modesty during the tour. Any slight movement would disrupt the harmony of the ensemble and ruin its beauty.\n\nWe posed, changed lights, worried, and worked. Several times, just as I thought I had it right, the model grew tired and needed to rest. But we persevered, and eventually achieved our goal.\n\nThe result was everything I had hoped for. Every line, from head to foot, is perfect. There is just a subtle suggestion of a feminine face, neck, arm, breast, abdomen, well-rounded hip, thigh, calf, and foot. In its simplicity of line and tonal quality, it resembles a woodcut. I consider it my best nude.\n\nDid you know that I do all the makeup for my subjects? I learned this skill when I stood in for Jeanette MacDonald a few years ago.\nBefore I became interested in photography, I first became interested in it. I pestered the cameraman to explain certain shots to me. Got them to tell me why and how they did thus-and-so until they nearly went mad. And when I told them that in five years I would be the best photographer in Hollywood, they howled and brushed me aside. But they did teach me all their tricks, for which I'm grateful.\n\nAnother thing \u2013 I show my subjects what I want them to do, what I'm trying to achieve. I'm not an actress, so when I go into one of my poses to get the idea across, they probably think, \u2018Well, if she doesn't mind making herself ridiculous, why should I?\u2019 That's one reason that most of my studies seem relaxed and at ease.\n\nSo when I make them up and pose them exactly as though they were really...\nBefore the critical eye of the motion picture camera, each finished photo is like a little frame.\n\nOn the Spot\n1712 Connecticut Ave.\nWashington, D.C.\nTtYRObJ Inc.\nThe Most Complete 16mm Sound Motion Picture Studios in the East\nFrom Script to Screen\nSeptember, 1943 \u2022 American Cinematographer\n\nDeVry Asks Amateur Aid for New Camera Design\n\nJust as the radio industry turned to the world's \"hams\" on certain television problems which had \"stumped the experts,\" one of the world's leading manufacturers of motion picture equipment is giving the amateur and professional \"movie maker\" an opportunity to contribute to the redesigning and mechanical refinement of the 8mm motion picture camera and projector, which it is believed will be tomorrow's home movie unit.\nInvitation to take part in a general 8mm motion picture camera and projector design competition has been issued by Wm. C. DeVry, president, Devry Corporation. This is son of the late Dr. Herman A. DeVry, inventor and manufacturer of the first portable motion picture projector. The invention brought motion pictures to classrooms and crossroads of the world.\n\nThe design competition starts September 1 and closes December 31, 1943. Awards of $1500 in U.S. War Bonds will be made for camera design and mechanical ideas, including overall redesigning of both camera and projector and suggestions as to the mechanical refinement of both units\u2014ideas that make filming and projecting simpler, easier\u2014ideas that may reduce the cost of manufacturing this equipment, thereby increasing its market size.\n\nOf the competition, Mr. DeVry says:\nMr. DeVry responds to numerous letters from movie makers inquiring about mechanical advancements in motion picture equipment due to the war. Many letters include voluntary suggestions based on writers' experiences. Mr. DeVry states that for amateur motion picture enthusiasts, there may be a complete redesign of both camera and projector to meet their needs and desires. He hopes for their cooperation in equipment development, as received from Hollywood camera men and theater projectionists for the professional line. Regarding mechanical improvements, Mr. DeVry mentions specific requirements such as shutter, view finder, film safety devices, and lamp house ventilation.\nThe 8mm camera and design competition is receiving wide publicity from DeVry and its distributors and dealers. Anticipated announcement of awards by February 1, 1944. Any new models developed from the competition will have to wait till the war's end, as DeVry's facilities are now fully devoted to producing vital war material. For excellence in motion picture sound equipment, DeVry has been awarded the Army-Navy \"E.\" Home Movie Previews.\nMr. Conway faced difficulties in exploiting the film after its initial showings, with subsequent bookings being almost nonexistent. He sought suggestions on how to recover costs for the filmmakers and secure some income for Troup 5. Having already shown it locally and largely exhausted its commercial value there, he considered its potential use in other districts. However, technical difficulties limited the film's use to a select few amateur projectionists who owned a 33 1-3 rpm record player and were interested enough in the Scouting movement to properly present the film and keep records synchronized. This reviewer found the problem more challenging than anticipated.\n\nFirstly, 33 1-3 rpm record players are hard to find. Moreover, an average amateur's 16mm projector would not suffice.\nTake the 1600-foot reel on which the film is mounted. Sound projectors will take the large reels, of course, but only a few older models have the variable speed control needed to synchronize the projector speed with the record player. The stroboscopic disc supplied for attaching to a projector would not fit either of the two projectors available for this reviewing, hence the synchronizing had to be done by guesswork, and I mean work \u2014 constantly adjusting the projector speed to attempt exact synchronization. This strobe disc probably only is readily attachable to the particular make and model of the producer\u2019s machine.\n\n(Continued on Page 350)\n\nAuricon\nSOUND CAMERA for 16 mm sound on film\n\u2605 High Fidelity Sound\n\u2605 Self-contained in sound proof \"blimp.\"\n\u2605 Minimum equipment; maximum portability. Camera and Amplifier, complete,\nAuricon 16 mm Recorder:\nThirty-seven pounds. Compatible with Kodachrome or black and white pictures and Auricon sound track. Operate in the field using an Auricon Portable Power Supply. Includes Auricon Camera with type \"C\" lens mount (lens not included) and Amplifier, complete with microphone, instructions, and cases.\n\nFeatures:\n- Variable-area sound on film or double system recording with a synchronous motor driven 16 mm. camera.\n- Amplifier has background-noise reduction and mixers for combining speech and music.\n- Dynamic microphone, instructions, and cases for Recorder, Amplifier, Accessories. $695.00\n\nAuricon 16mm sound-on-film recorders and cameras are serving the Nation's War effort with Military and Government Film Units, and with civilian organizations producing essential morale and industrial training films.\nwork  in  such  fields  makes  you  eligible \nto  purchase  new  equipment,  we  invite \nyou  to  let  our  engineers  show  you  how \nAuricon  portability  and  professional  per\u00ac \nformance  will  simplify  your  recording \nproblems. \nAURICON  jbuu4io*t, \nE.  M.  BERNDT  CORP. \n5515  SUNSET  BLVD.,  HOLLYWOOD,  CALIF. \nMANUFACTURERS  OF  SOUND-ON-FILM \nRECORDING  EQUIPMENT  SINCE  1931 \nAmerican  Cinematographer  \u2022  September,  1943  345 \nFighting  With  Film \n(Continued  from  Page  325) \nsound  equipment.  If  one  man  is  killed, \nanother  takes  his  place  immediately, \neach  man  being  trained  to  operate  any \nof  the  cameras  in  use.  He  can  load  the \ncamera  and  operate  it  himself,  and  also \noperate  the  sound  apparatus  if  he  has \nto  as  there  must  be  no  waste  or  loss  of \ntime  in  recording  on  film  all  that  can  be \nof  use.  And  they  will  do  more  and  more \nin  each  succeeding  month.  Just  recently \na  throat  microphone  was  developed  that \nThe wearer will enable him to be in the thick of combat, his voice recording all that is going on around him, unaffected by the sounds of guns, motors or explosions. This will be put to good and expert use, and it will probably not be known to the general public until after the war what THIS JJnL sees into the future.\n\nB&H Taylor-Hobson-Cooke Cine Lenses do more than meet current technical demands. They exceed them, and their design anticipates future improvements in film emulsions. They are THE long-term investment lenses.\n\nWrite for literature.\n\nBell & Howell Company\nExclusive world distributors\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. LaBrea Ave.\nLondon: 13-14 Great Castle St.\n\nBuy war bonds.\n\nFor the purposes our units are being put to, but they are fighters, all of them.\nFilm production in the Air Forces' First Motion Picture Unit involves making training films for its flying cadets. Precise and accurate films are necessary, so great care is taken in personnel selection. Leaders and many helpers are recruited from Hollywood studios. Lt. Colonel Owen Crump is in charge. Hollywood's Aces of the Camera and production geniuses play an important role in the world struggle. Captain Clark Gable and Major R. W. Seawright discuss camera angles during filming of \"Wings Up.\" Princeton Additions: Recent additions to the editorial, production, and executive personnel of the unit.\nPrinceton Film Center, Princeton, New Jersey, includes A. E. Milford and LeRoy G. Phelps, formerly with the domestic film production unit of OWI, and Gates Ferguson, recently a member of the public relations staff of N. W. Ayer & Son, Inc., and former advertising manager of B. F. Goodrich and International Telephone and Telegraph Corporation.\n\nFilming Rainbows\n\nThere's nothing quite so breathtaking in a color film as a gorgeous rainbow glowing either in the sky or shining in the spray of a waterfall. The colored band seems completely polarized as evidenced by the fact that it will appear and disappear when viewed through a rotating polarizing filter.\n\nThis curious fact becomes very useful when it is noticed that the background of the sky is actually suppressed in tone when the rainbow appears at its brightest. This points to a way of making the rainbow more vivid and striking in films.\nShooting a rainbow more brilliantly involves photographing it with the handle of a polarizing filter parallel to the middle of the bow. Record with dazzling intensity by allowing a filter factor of approximately one stop. The spectrum band appears brighter through a properly oriented polarizing filter, enabling the observation of secondary rainbows, even though they are invisible to the unaided eye. This fact may prove valuable to meteorologists. I have filmed rainbows in color using a polarizing filter, and this method is extremely effective. Try it next time you see one.\n\nCharles H. Coles.\n2nd Lt., Sig. Corps.\nSeptember 1943 \u2022 American Cinematographer\nHollywood and Minorities.\nof the issues involved in this war and our common aim in destroying Fascism with all of its theories, including that of racial superiority. Pictures such as \"Gunga Din\" and \"The Lives of a Bengal Lancer\" contributed much to the friction between whites and colored in India. \"Four Feathers\" vilified African natives. \"Down Argentine Way\" and certain Westerns in which the villains were Mexicans antagonized our Latin-American neighbors. Films showing only Negro servants or caricatured Native Americans certainly do nothing to contribute to unity at home between the white and black man who is fighting side by side. We must never lose sight of the fact that there are hundreds of millions of people on our side who are colored, and Fascist bullets aimed at the fighters for democracy are not marked \"white\" and \"colored.\" Fascism is against all people.\nWhite or black or red or yellow. An article of this sort would not be quite fair if it did not give due recognition to the fact that Hollywood as such is not the deciding factor in these matters. On the contrary, the studios have done a great deal toward eliminating racial discrimination and prejudice. But more often than not, their honest efforts are stymied by censorship. The finest example of Hollywood's attitude on racial questions was exemplified several years ago when at the Academy Awards Dinner, Hattie McDaniel was acclaimed for the greatest supporting performance of the year for her work in \"Gone With the Wind.\" Over 10,000 members of the creative personnel of Hollywood voted her that honor over all the white actresses, and never in the history of the Awards has such an ovation been given a player as was given that splendid actress.\nActress in color that night.\nFortress in the Sky\nThe Princeton Film Center of Princeton, New Jersey, has been appointed distributors of FORTRESS IN THE SKY, a three-reel Kodachrome film documenting the Boeing Flying Fortress. This announcement was made by Harold J. Mansfield, Boeing's Director of Public Relations.\nDeVry Corporation will award $1500 in US war bonds to you who help design the 8mm motion picture camera and projector of tomorrow. You have thought a lot about the perfect 8mm motion picture camera and projector. How they should look. How their operation might be improved and simplified.\nDeVry will pay $1500 in US War Bonds (maturity value) for your overall design ideas. For your suggestions as to how the camera and projector mechanism can be improved.\n\nDesign: Submit your ideas \u2014 in rough or finished drawing \u2014\nYou're asked to share thoughts on the design of a new 8mm motion picture camera or projector. Include drawings and comments if desired. Submit working models, mechanical drawings, or rough sketches. The focus is on simplifying, improving, and perfecting either camera or projector operation.\n\nFor projectors: ventilating system (lamp house), optical system, film movement, reel arms, tilting device, film safety devices, take-up, framing, focusing, and shutter mechanisms, etc. Can you propose developments for these features?\n\nFor cameras: (single or turret lens mount) viewfinder, shutter, footage indicator, loading mechanism, winding key, exposure guide, lens mount, focusing, single frame release mechanism, etc.\n\nDesign ideas must be original and practical. Mechanical suggestions must be:\n\nYou're asked to share your thoughts on designing a new 8mm motion picture camera or projector. Include drawings and brief comments if desired. Submit working models, mechanical drawings, or rough sketches. The goal is to simplify, improve, and perfect either camera or projector operation.\n\nFor projectors: ventilating system (lamp house), optical system, film movement, reel arms, tilting device, film safety devices, take-up, framing, focusing, and shutter mechanisms, etc. Suggest improvements for these features.\n\nFor cameras: (single or turret lens mount) viewfinder, shutter, footage indicator, loading mechanism, winding key, exposure guide, lens mount, focusing, single frame release mechanism, etc. Propose original and practical design ideas.\noriginal and contribute to the overall simplicity and effectiveness of operation of either camera or projector mechanism. Art or design ability not essential! You don\u2019t have to be an artist to enter this competition. You may supplement your designs, drawings, or models with written explanations. You may get an artist or designer to help you.\n\nFOR FULL PARTICULARS & OFFICIAL ENTRY BLANK\u2014 MAIL COUPON TODAY\n\nHere are the 26 awards\nFOR CAMERA DESIGN FOR PROJECTOR DESIGN\n\nlit Prize. $200.00 in War Bonds* 1st Prize. $200.00 in War Bonds\n2nd Prize. $100.00 in War Bonds 2nd Prize. $100.00 in War Bonds\n3rd Prize. $0.00 in War Bonds 3rd Prize. $0.00 in War Bonds\n\nFor Mechanical Refinements:\nCAMERA: PROJECTOR:\nfor the six best individual mechanical ideas. mechanical Ideas.\n\n$25.00 bonds for the 4 $25.00 bonds for the\nFour best supplemental designs for the overall Camera or Projector sign and operation. Contest entries must be submitted in the closet by Midnight, December 31st, 1943. Awards will be announced on or before February 1st, 1944. Do not contribute anything without full particulars of the competition and a signed and returned Entry Blank. All War Bond amounts or maturity values are acceptable. In case of ties, duplicate awards will be paid. Do not send us your design suggestions or mechanical ideas until you have carefully read the competition conditions. Simply send your name and address, and we will send you complete information, the Official Entry Blank, and certain suggestions from our Engineering Department without any obligation.\nAN OUTSTANDING NAME IN THE CINEMATIC WORLD\nWm. C. D. Vry, Pr.sid.nl DeVry Corporation\n1111 Armitage Ave, Dept. AC, Chicago 14, IL.\nWithout obligation, please send me complete details concerning your 8MM Motion Picture Camera A Projector Competition.\nName:\nWHILE DeVry Gives 'Em\u2014 Let's You Keep On\nBuying those U.S. War Bonds and Stamps!\nACME FOR RENT\nThe Red Cross\nANIMATED CARTOON EQUIPMENT\nGoes Where\n35MM. SUCCESSIVE FRAME THREE-COLOR CAMERAS\nYour Boy Is\nACME TOOL & MFG. CO.\nGIVE!\n2815 W. Olive Avenue, Burbank, California\nCraftsmen\nThe production line of \"GOERZ AMERICAN\" is formed by skilled men, who through painstaking work create high-grade photo-lenses and optical units for military instruments used by our armed forces, on Land.\non the Sea, in the Air, these precise optical units are of greatest importance to our armed forces. Without accurate military instruments for sighting, fire control, and photographic aerial reconnaissance, their fighting machinery would be of little value to them. Optical science, along with our craftsmen, do their duty on the job in production. Our production is keyed to fill the requirements of our Government, and of others on orders with priority certificates. \"GOERZ AMERICAN\" lenses for civilian use will again be available after Victory.\n\nTo hasten Victory:\n\u2022 INVEST IN WAR BONDS\nC.P. GOERZ AMERICAN OPTICAL CO.\nOffice and Factory\n\"Postkop, CbmhkatC\"\nPrecision Optics\n* Ancillary 1999\nFilming an Incident (Continued from Page 334)\nSeveral others were chased out of bomb zones by air raid wardens who\nOne interesting part of the film shows a bomb crater situation with hydrants and water mains out, and the fire department utilizing its suction hose to drain the crater and put out fires. The gas incident was well photographed. The air raid wardens reported to the gas reconnaissance officers who came and made a test with their sniff-kit and pronounced it mustard gas. This brought out the area decontamination squad dressed in rubber suits and looking like men from Mars, followed by the human decontamination squad who came and took care of the victims. We wondered why one scene of first aiders putting an injured victim into an ambulance feet first always brought a laugh. We were informed that was the correct procedure to prevent the victim from inhaling any gas that may have collected in the crater.\nThe way dead victims were transported. Of course, there was always one camera pest in every location, and we had one that day who tried to be in every picture and mug the camera as much as possible. Fast film was used and the photographic perfection of the picture was sacrificed for speed in catching the action. After the film was edited and titled, it was shown to various heads of the different departments in Civilian Defense and was considered excellent as an educational picture. The mistakes were pointed out to each group so they could be prevented from making the same error. All those who worked on the picture enjoyed it and felt they were helping in a small way towards the war effort. We know Cine fans all over the United States have been very eager to do something for their country and we hope this may suggest to others an interesting way to contribute.\nContribuing their photographic ability to our \"Home Army.\"\n\nCamera Supply Company\nART Reeves\n1515 North Cahuenga Boulevard\nHollywood Cable Address \u2014 Cameras California\nEfficient-Courteous Service New and Used Equipment\nBought \u2014 Sold \u2014 Rented\nEverything Photographic Professional and Amateur\nNew Non-Metal Screen\nA new full line of projection screens designed to supply all civilian, educational and visual training needs, yet made of non-critical material, has just been announced by Radiant Manufacturing Corp. of Chicago. The major part of whose production is now going to the Armed Forces.\n\nPortable, table, wall and ceiling screens in a variety of sizes, all with the famous Radiant \u201cHy-Flect,\u201d glass-bead coated screen surface, will be available for immediate delivery. Many outstanding features of former Radiant lines have been incorporated again in the new line.\nAll new models are available without priorities.\n\nS.V.E. Projectors Available for Pre-Induction Training\n\nThe Society of Visual Education, Inc., manufacturers of S.V.E. projectors, has been granted permission by the WPB to release a limited quantity of the Model DD Tri-Purpose projectors to schools giving pre-induction training courses.\n\nThe Model DD shows both single and double slide films and 2x2-inch miniature slides in black and white or Kodachrome. It is a Tri-Purpose projector of high quality, being equipped with a 150-watt lamp, Anastigmat lens, S.V.E. rewind take-up, and is especially suited for use in classrooms or small auditoriums.\n\nFor prompt delivery, S.V.E. requests that schools submit orders with a priority rating. The automatic rating procedure under CMP-Regulation 5A may be used on orders for less than $100.\nOrders must be accompanied by a certification stating that the school has pre-induction training courses, signed by the officer in charge of the courses. Further information may be secured from any S.V.E. dealer or from the Society for Visual Education, Inc., 100 East Ohio Street, Chicago (11), Illinois.\n\nSeptember 1943 \u2022 American Cinematographer\nP.S.A. Salon\n\nThe P.S.A. International Salon of Photography has been announced for October 25 to November 13 in the de Young Museum, Golden Gate Park, San Francisco, California. Closing date for entries is September 30. C. Stanton Loeber, of San Francisco, is Salon Director. Judges are: Floyd Evans, Pasadena, California; Shirley Hall, San Marino, California; Fred Herrington, San Francisco, California; Jack Wright, San Jose, California; and William E. Dassonville, San Francisco.\nCisco, California.\nRuby Camera Exchange\nRents, sells, exchanges. Everything you need for the production & projection of motion pictures. Provided by a veteran organization of specialists. In business since 1910.\n729 Seventh Ave., New York City. Cable Address: Rubycam Telefilm.\nIncorporated.\nDirect 16 mm. Sound.\nUsed by: Douglas Aircraft, General Electric (Welding Series), Boeing Aircraft, North American Aviation, U.S. Dept. of Interior, U.S. Dept. of Agriculture, Santa Fe Railroad, Washington State Apple Commission, Standard Oil of California, Salvation Army, and many others.\nA better job faster- more economical!\nTelefilm Inc.\n403 Hollywood Blvd., Hollywood, CA. Glodstone 5748.\nCarlsen Promoted.\nMr. J. H. McNabb, President of the Bell & Howell Company, makers of motion picture equipment and optical devices, announces.\nT. C. Carlsen appointed Superintendent of Parts Manufacturing at Rockwell Plant in Chicago. He joined the company in 1927 as a tool and die apprentice, then became assistant to the Plant Engineer, Chief Methods Engineer, and acquired the necessary directive ability for his current post.\n\nKnute Petersen promoted to Assistant Production Manager, also Wage Coordinator, Assistant Secretary to the Company, and Secretary of the Central Control Planning Committee.\n\nHarold J. Peterson promoted to Chief Tool Engineer.\n\nPost-War Dream Camera\n\nWhat makes an ideal projector for our movies, through proper exhibition? I don't think it's necessary to go into detail.\nMuch detail here, as most movie makers aren't as finicky about projecting their movies as they are about filming them. Nearly everyone agrees, as in the case of the camera, that economy coupled with dependability are the main items looked for. A precision machine with a lamp of proper brilliance to suit individual needs is a valuable asset, as is a projection lens of the correct focal length to fill the entire screen surface. Pre-war projectors were well on the road to perfection, and there is little criticism to offer, and few suggestions to make, on that score, for the post-war product.\n\nWell, I guess that about covers my subject of \"dream\" cameras and projectors. Whether your name is \"John Jones\" or \"Bill Brown,\" I happen to be Jim Oswald, and if our views coincide ... all well and good. If not. . . each one is entitled to their own opinion.\ntitled to his own opinion. Whether or not the manufacturers will lend any of us an ear in designing their future cameras and projectors, remains to be seen. At any rate, we can dream, can't we?\n\nDeVry \"Movie News\" No. 1 of Volume XV\nThe 12-page DeVry \u201cMovie News\u201d is fresh off the press. It is packed with interesting pictures, comments, and data relevant to Audio-Visual Education.\n\nFor a free copy, address your request to DeVry Corporation, 1111 Armitage Avenue, Chicago 14, Ill.\n\nNew Precision Products from KALART\nAvailable on suitable priorities\n\nNEW Model \"E-l\" Range Finder with war-time improvements. New FOCUSPOT for automatic focusing in the dark. And improved Master Automatic Speed Flash.\n\nWrite for full information. The Kalart Company, Inc., Dept. 19, Stamford, Conn.\n\n8 Enlarged 1 Reduced O\nGeo. W. Colburn Laboratory Special Motion Picture Printing.\n995 Merchandise Mart, Chicago\nMoviola\nFilm Editing Equipment\nUsed in Every Major Studio\nIllustrated Literature on Request\nManufactured by General Service Corporation\nMoviola Division\n1449-51 Gordon Street, Hollywood, CA 28\nFAXON DEAN Inc.\nCameras\nBlimps-Dollies for Rent\nDay: Normandie 22184\nNight: Sunset 2-1271\n4516 Sunset Boulevard\nAmerican Cinematographer \u2022 September 1943, Vol. 349\n\nNude, Not Lewd\n\nMaurine, who looks a great deal like Greer Garson and has the same striking coloring of red hair, green eyes, and fair skin, has very definite ideas about what she wants to do.\n\n\"I'd rather do nudes than anything else,\" she says. \"Of course, as I've already told you, they're not commercial. But I've an idea \u2014 call it my ambition, if you will.\"\n\nMaurine's ambition, if she ever has enough money to do exactly as she pleases \u2014 and she promises herself that she will.\nOne day she will create books of nudes. Of all things, she wants to create the mythologies of the world. For years, she has longed to do so. The Greek mythology, the story of Adam and Eve, the Icelandic sagas, folklore of all nations.\n\n\"Wouldn't it be wonderful,\" she asks, her green eyes alight, \"to see those things really take form and come to life? Nobody has ever done just that. It would be a thing of rare beauty, and, I believe, a definite contribution to the culture of the world.\n\n\"Of course, it wouldn't be easy finding just the right type. What an undertaking! But, big as the task is, I mean to try it some day. Meantime, I jot down notes and catalog as I go along \u2014 so I'll be ready for the opportunity when it comes.\"\n\nWe certainly hope for Maurine's sake \u2014 and our own \u2014 that those promised mythologies and fables see the light of day.\nI. Day, I've trained my camera and have favorite stories to suggest. I see myself walking down Hollywood Boulevard, scanning faces and forms for a possible Apollo, Passas Athena, or Aphrodite. Not to mention Siegfried, Thor, and Brunnhilde!\n\nNew Slides for Plane Identification Kit\nThe Society for Visual Education, Inc. has announced the readiness for distribution of a supplementary unit of 15 new aircraft silhouettes in 2x2-inch miniature slides for Flying magazine's Aircraft Identification Kit.\n\nThe following aircraft and numbers assigned to them in the kit: 113. Hawker Typhoon IB, 114. De Havilland Mosquito, Heeck-Vega Ventura, 117. Lockheed Constellation. Three individual silhouettes.\nIn separate slides, show side, bottom and front views of each type of aircraft. Home Movie Previews (Continued from Page 345) The complications involved in keeping the projector in perfect synchronization are beyond the average projectionist. This limits its use to a few amateurs with the proper equipment, willing to spend the necessary time for experimentation and rehearsal. In the opinion of this reviewer, the film has little actual commercial value. Sound-on-film is the only practical way to present this kind of subject, and the extra cost of recording and printing the projection dupe would be offset by wider distribution possibilities. Incidentally, the central Boy Scout organization now has a good commercial 16mm Kodachrome film.\nFor sale:\n16mm sound projectors available for immediate delivery. We have a few Bell-Howell, Ampro, Victor, and DeVry 16mm sound machines, factory reconditioned. Write for description and prices. Also available: Bell-Howell 2000-foot reels, Royal and President tripods, Victor Model 4 cameras, Bell-Howell projection lenses, projection lamps for all slide and motion picture machines, Bell-Howell Turret 8 cameras, Revere 8mm cameras, and screens.\n\nCameras:\n8mm Bolex, new, with Laack 1.3 lens - $250.00\n16mm Agfa, variable speeds, 3.5 lens - very fine - $39.50\n8mm Bolex, new, with 1.9 lens and 0.35 inch f/3.5 lens - $285.00\nBell-Howell Companion with wind-bak, 3.5 inches, very fine - $55.00\n\nLenses:\n0.35 inch Cooke for 8mm - $75.75\n1.9 inch Dallmeyer - 1.9\n\nProjectors:\n16mm Bell-Howell Diplomat, new - $229.50\n16mm Bell-Howell Showmaster -\n[Bell-Howell Model 57, 500-watt, very fine, $199.50. We also have a fine stock of roll film and plate cameras. Miniatures and graphics. National Camera Exchange. Established 1914, 86 S. Sixth St., Minneapolis, MN. We buy, sell and rent professional and 16mm equipment. New and used. We are distributors for all leading manufacturers. Ruby Camera Exchange, 729 Seventh Ave., New York City. Established since 1910. RCA Galvanometer String Vibrators, $5.00; 16mm Film Phonograph, $995.00; Cannon Four Prong Plugs, 65c; 3-phase 1/12 HP Synchronous Motors, $14.35 with gearbox, $19.50; RCA Mitchell or Bell and Howell 3-phase Camera Motors, $135.-00; RCA R-2 Studio Recorder, $275.00; Two-element Glowlamps, $9.50; Duplex 35MM Step Printer, $425.00. S.O.S Cinema Supply Corporation, New York.]\nTwo Bell-Howell Cams and Shuttles. Perfect for Color or Black and White, and process plates. Also Bell-Howell Step Printer with Registration Pins ideal for duplication.\n35mm Holmes and Devry Portable Sound Projectors. Hollywood Camera Exchange, 1600 Cahuenga, Hollywood.\nFord 1.4 ton Sound Truck equipped with latest Blue Seal noiseless variable area recording equipment, 220 volt, 3 phase generator for motors, battery charger, RCA and W.E. microphones. Complete, ready for operation. Also stock of synchronous and Selsyn motors. Blue Seal Sound Devices. 305 East 63rd Street. New York, N. Y.\nThe same purpose, and is sent anywhere for FREE use. This reel is along the same lines as \u201cSPIKE\u201d and presents a lot of competition.\nThe above sounds discouraging, but this film could have wider use if the makers would recut it as a silent.\n[Appropriate titles should be added. In such a case, it would be best to shorten several long scenes showing Scout leaders talking. Most groups or organizations before which such films could be shown can get any number of industrially sponsored entertainment films free of charge. Hence, they are seldom interested in paying a fee for viewing a film. Sponsors send out films and paid professional projectionists. A film on the Boy Scout movement, either sound or silent, would have little income possibilities and should necessarily be sponsored by headquarters, who could distribute it nationally.\n\nWillard DeLuxe 35mm. Camera, 4 lens turret front, special finder, Goertz wide-angle, 2-inch and 3-inch lenses, Zeiss Tessar 6-inch telephoto lenses. Regular and trick crank; automatic dissolving shutter, 200-foot, 400-foot magazines]\n[pan tripod, masks, outfit case. New condition. $585. Bell-Howell, 35mm professional Camera, special No. 341, Goertz f:3.5, magazines, B-H pan tripod, 32 volt motor, inverted finder, 4 cases, outfit. $2965. 8-10-35mm. Equipment bought, sold, exchanged. Mogull\u2019s, 57 West 48th (Radio City), New York 19. Trading Offers. Target pistols, revolvers, automatics, accepted in trade on all types of photographic equipment. National Camera Exchange, Established in 1914, 86 South Sixth St., Minneapolis, Minnesota. Wanted. Wanted to buy for cash. Cameras and accessories. Mitchell, B & H, Eyemo, Debrie, Akeley. Also laboratory and cutting room equipment. Camera Equipment Company. 1600 Broadway, New York City. Cable: Cinequip. We pay cash for everything photographic. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.]\n16mm SOUND PROJECTORS, ANY MAKE.\nCAMERAS, 35mm PROJECTORS, RECORDERS or WHAT HAVE YOU? S.O.S. CINEMA SUPPLY CORPORATION, NEW YORK 18\nWe buy\u2014 sell\u2014 trade ALL MOTION PICTURE EQUIPMENT, SOUND AND SILENT. Send your list. The Camera Mart, 70 WEST 45TH ST., NEW YORK CITY.\n16MM. FILMS. Projector: Bolex 16mm. camera. Eymo Camera with turret front. 16mm sound projector. No dealers. Sam\u2019s Electric Shop, 35 Monroe Street, Passaic, N.J.\nClassified Advertising\nSeptember, 1943 \u2022 American Cinematographer\nWith time-saving, light-saving movies... outgrowth of pioneer Teaching Films... the Army and Navy are giving millions the know-how of war... historical note \u2014 Back in 1923, having perfected \u201csafety\u201d film \u2014 making classroom projection practical \u2014 Kodak made available 16-mm. movie cameras and projectors... and shortly afterwards pioneered a professional 16mm film industry.\nYou receive a gram of teaching films for schools. Imagine being one of these young men. You've been accepted into the Army or Navy. What do you know about this war of 2,000-horsepower aircraft motors, bazookas, submarine detectors, and so on? Our Army and Navy Commands recognize this lack of experience. They understand that you may face battle-wise troops, ship crews, or flyers. They have taken on the worrying for you. They will turn you out as a better man \u2013 more competent in the use of your weapons, able to take care of yourself \u2013 than any \"trainee\" who ever went before you. Training Films are a great and growing part of their system. The Army and Navy have made thousands. Don't get the idea that you're just \"going to the movies,\" though. These movies are different. Each teaches you to do a part of your job in the Service \u2013 do it exactly right.\nIn an Army and Navy comprised largely of \"specialists,\" thousands of films are not too many. You'll see and hear battle in these training movies to make your new life and work \"second nature\" under all conditions. You'll be hardened, ready to \"dish it out and take it.\" Up to 40% sooner because of Training Films. After this war is won, you and millions like you who have learned so much, so easily, through training films, will want your children to learn the Arts of Peace this way. Teaching through motion pictures and slide film - steadily growing.\nImportance during the twenty years since Kodak made its first teaching films available, the ostwar camera will truly come into its own. Eastman Kodak Co., Rochester, NY, Serving human progress through Photography. American Cinematographer \u2022 September, 1943, p. 351\n\nThe \"Bombay Clipper\" - a Universal stirring tale of Axis espionage aboard the \"Bombay Clipper\" will hold you on the edge of your seat. Non-theatrical locations should team this full-length feature with a selection of \"shorts\" from the Filmosound Library's collection of thousands of professionally made films. The coupon below will bring a complete catalog and recent supplements.\n\nOld projector lamps must be returned with your order for new lamps. The bases are made of critical material and have real value.\nGuide to Finer Movie Equipment After Victory\nFilmosound V... \u2014 16mm Projector\nFilmo Auto Load 16mm Camera\nFilmo Companion 8 Camera\nFilmo Master \"400\" 8mm Projector\nFilmoarc 16mm Projector\nFilmo Master 16mm Projector\n\nYou're designing it today... You have been ever since you shot your first movie scene! You wished for a better viewfinder, perhaps, or wanted an \"8\" with a turret head... or a speedier camera that would get a scene before it was gone forever... or an easier-loading camera... or the list is endless.\n\nThese hopes, multiplied by thousands, became realities in Filmo Cameras. Famous realities like the \"Positive\" viewfinder, drop-in loading, built-in exposure calculator, turret models with interchangeable lenses and matched finders, the unique film speed governor, and a host of other practical features.\nYour increasing skill has long been a vital force in Filmo Design. During all these months while our entire production has been helping win a war, you haven't stopped thinking about the new things you want in your next camera. B&H Research hasn't stopped interpreting your hopes in logical, workable, necessary improvements. Those improvements will be a part of the BEST postwar camera \u2013 the camera you are designing now.\n\nIt will be a Filmo Camera, made by Bell & Howell Co., Chicago, New York, Hollywood, Washington, D.C., London. Est. 1907.\n\nOpti-onics is OPTICS, electronics, mechanics. It is research and engineering by Bell & Howell in these three related sciences to accomplish many things never before obtainable. Today Opti-onics is a WEAPON. Tomorrow, it will be a weapon of greater power and versatility.\nbe a SERVANT... to work, protect, educate, and entertain.\nBell & Howell Company\n1848 Larchmont Ave., Chicago, Illinois\nPlease send me the complete Filmosound Library Catalog and recent supplements.\nSame.\nPrecision-\nMade by\nCameramen in Uniform\nArtistic Pictures\nOctober\nHonest Weight\u2014 0.000,000,000,001 gram\nThe chemist pictured here is measuring the quantities of silver ion concentration in Du Pont \u201cSuperior\u201d negative emulsion.\nVariations of silver ion amounting to only a millionth of a millionth of a gram per liter have a profound effect upon the characteristics of film emulsions. Even these infinitesimal weights must be accurately determined.\nThis is another precision study conducted at the Du Pont Research and Control Laboratories. It is a routine operation.\nImportant in the manufacture of all Du Pont Motion Picture Film to assure dependable quality and uniform results at all times.\n\nE. I. du Pont de Nemours & Co. (Inc.), Photo Products Department, Wilmington DE\nIn New York: Empire State Building\nIn Hollywood: Smith & Aller, Ltd.\n\nMotion Picture Film\nBetter Things for Better Living . . .\nThrough Chemistry\n\nBack the Attack with War Bonds\n354 October, 1943 \u2022 American Cinematographer\n\nThat's why there are no Eyemos for civilian use for the duration.\nEyemos have always been famous for their unfailing performance under conditions that put both men and machines to the supreme test. Good going or tough \u2014 Eyemo gets the picture. That is why our armed forces need every Eyemo we have or can build. The need is so acute, in fact, that all Eyemos must go to the armed forces.\nBut we cannot supply civilian demands for the famous 35mm. Eyemo camera. However, this war won't last forever. When the boys come marching home, you'll be able to get any one of the seven Eyemo models that best suits your needs. And if your particular requirements call for a special Eyemo, we will modify any model to suit you. You'll never have to accept a compromise in an Eyemo Camera.\n\nBell & Howell Company, Chicago; New York; Hollywood; Washington, D.C.; London. Established 1907.\n\nOpti-onics is optics . . . electronics . . . mechanics. It is research and engineering by Bell & Howell in these three related sciences to accomplish many things never before obtainable. Today Opti-onics is a WEAPON. Tomorrow, it will be a SERVANT . . . to work, protect, educate, and entertain.\n\nTrade-mark registered EYEMO MODELS P AND Q.\nFor the purpose of aiding the war effort, I am willing to sell my EYEMo Camera, Model -- Serial No. --. It has been modified with a three-arm offset turret, prismatic focuser with magnifier, provisions for electric motor and external film magazines. Speeds: Model P. Bell & Howell Company is reconditioning all EYEMo Cameras for Government use. You may have the exact lenses needed for important military service. If you will sell, please fill out the information blank in this advertisement.\n\nProducts combining the sciences of optics, electronics, and mechanics. Precision-made.\nBUY MORE WAR BONDS\n\nEYEMOS WANTED FOR WAR SERVICE\n1848 Larchmont Avenue\nChicago, Illinois\nI will sell this camera for $ . I will pay transportation and insurance to Chicago.\n\nThis camera is in good operating condition.\n\nPrice above includes these lenses:\nI offer the following additional lenses at the prices shown here:\n\nName:\nAddress:\nCity & State\n\nDo Not Ship Until You Receive Instructions from Factory\n\nAmerican Cinematographer \u2022 October, 1943\n\nOctober, 1943\n\nContents\nThe Evolution of Transparency Process Photography . By Farciot Edouart, ASC\nThe Sixth Sense in Film Mechanics . By Hal Hall\nCameramen in Uniform . By Lieut. Arthur E. Arling, USNR\nThe New Mitchell Background Projector . By E. J. Tiffany\nMarines Learn Photography in Hollywood .\nHands Are Nice to Hold \u2014 That\u2019s All . By James N. Doolittle\nThird Dimensional Films in Soviet Union... By Michael Kalatozov\nKeep on Filming \u2014 Economically . By James R. Oswald\nArtistic Pictures by F. W. Pratt, Saving Film in Wartime, Among the Movie Clubs.\n\nThis month's cover takes us somewhere in the South Pacific with combat cameramen. It shows a camera crew in action, photographing whatever is going on right then up in the skies. Behind the camera is Lieut. Arthur E. Arling, USNR, member of the American Society of Cinematographers, who has an article in this issue. At his left is Keith Wheeler, Chicago Times war correspondent.\n\nEditor: Hal Hall\nTechnical Editor: Emery Huse, A.S.C.\nAssociate Editor: Edward Pyle, Jr.\nWashington Staff Correspondent: Reed N. Haythome, A.S.C.\nMilitary Advisor: Col. Nathan Levinson\nStaff Photographer: Pat Clark\nArtist: Alice Van Norman\nCirculation: Marguerite Duerr\nAdvisory Editorial Board: Fred W. Jackman, A-S.C., Victor Milner, A.S.C.\n[James Van Trees, A.S.C., Farciot Edouart, A.S.C., Fred Gage, A.S.C., Australian Representative, McGill's, 179 Elizabeth Street, Melbourne, Australian and New Zealand Agents, Published monthly by A.S.C. Agency, Inc., Editorial and business offices: 1782 North Orange Drive, Hollywood (Los Angeles, CA 28), California, Telephone: Granite 2135, Established 1920. Advertising rates on application. Subscriptions: United States and Pan-American Union, $2.50 per year; Canada, $2.75 per year; Foreign, $3.50. Single copies, 26c; back numbers, 30c; foreign, single copies 35c, back numbers 40c. Copyright 1943 by A.S.C. Agency, Inc., Entered as second-class matter Nov. 18, 1937, at the postoffice at Los Angeles, California, under the act of March 3, 1879, 356 October, 1943 \u2022 American Cinematographer *Fantasy of Facts...]\nFritz had bad luck with the first aerial machine gun in World War I as it shot off his propeller. Then, a synchronizing device was developed that sent bullets between the blades. Twenty-five years later, turret gunners were damaging their tail assemblies. ADEL engineers developed a reversing hydraulic valve which automatically swings turret guns beyond danger points in 0.2 seconds. ADEL equipment on leading United Nations' planes was an evolution of original plans for making cinematographic equipment. From a unique lens focusing device came a carburetor dual control mechanism, which in turn, led to the development of other aircraft products. After Victory, look to ADEL for new and superior cinematographic equipment, made with the engineering skills that gave ADEL international acceptance in aviation. Hasten that Victory with Mickey.\n[TRADE MARK COPYRIGHT 1943 Adel Precision Products Corp.\nEngineering Offices: Dallas, Texas \u2022 Detroit, Michigan \u2022 Dayton, Ohio \u2022 Hagerstown, Maryland \u2022 Seattle, Washington \u2022 Toronto, Canada\nAmerican Cinematographer \u2022 October, 1943 \u2022 Volume 357\n\nVendor\nBy Maureen\n\nOctober, 1943 \u2022 American Cinematographer\n\nThe Evolution of Transparency Process in Photography\nBy Farciot Edouart, A.S.C.\n\nIt's like Topsy, it just grew, and from an engineering viewpoint, the transparency or projected-background process of special-effects cinematography got off to an unfortunate start. It was never invented, in the strict sense of the word\u2014much less engineered. It just simply happened. And from its earliest beginnings, it had to take off its coat and go to work, with no opportunity for being engineered into a technologically streamlined coordination of methods and equipment.\nFor a number of years before it became a reality, many of us in the industry who had specialized in what used to be called 'trick photography' had been thinking how valuable it would be if we could project a moving picture onto a translucent screen behind our set and actors, and rephotograph these two elements in such a way as to produce the illusion that the projected background was as real and much a part of the composite scene as the actual foreground and actors. But we could only dream of it. Three key factors were lacking to make the dream into reality. We needed a simple, non-mechanical method of synchronizing the background projector and the foreground camera. We needed negative emulsions of sufficient sensitivity to enable us to record the back-projected picture. And we needed optics.\nAnd we gained light sources of increased power to enable us to get a brighter image through our background screens. About twelve or fourteen years ago, all of these things were, in relatively quick succession, introduced to us. The advent of sound gave us a variety of simple electrical hook-ups for interlocking camera and projector. The first \"super-sensitive\" panchromatic emulsions gave us the increased film speed we needed. The projection requirements of increasingly large theaters improved the optics and light sources available for projection, and the still greater projection requirements of the wide film flurry of eleven years ago completed the development.\n\nWe had what we wanted!\n\nIndividuals in several different studios threw these various units together as best they could and started making back-to-back projection shots. The results were successful.\nThe skillful craftsmen's expertise is more likely to account for the success of this pioneer equipment than any enduring merit of the equipment itself. The idea worked so well that the transparency or back projection process immediately became a crucial addition to production. It eliminated long location-trips, with their increased costs and hazardous delays. It minimized the need for hiring a full-sized ship and, with technicians and cast aboard, cruising expensively up and down the seas in search of the right backgrounds and weather. It completely eliminated the technical difficulties and not infrequent dangers involved in making scenes showing our actors riding horses, autos, airplanes, speedboats, and the like by straightforward methods.\nThe process afforded complete control of lighting on all scenes, ideally conforming to the industry's constant ideal of obtaining the best possible picture under the most controllable conditions, with a minimum of time, expense, and danger. Since then, the industry's use of this process has continually increased. In 1930, my own department made 146 composite process shots. The following year, using the projection process, this figure was more than doubled, while cost per scene was reduced. Within two years, this figure was again doubled, with economy and effectiveness advanced. Every year since then, we have had to make more and more transparency shots. Today, hardly a picture goes out without some of these scenes in it.\nProducers and directors continually urged us to provide greater scope through larger screens. When the process was first employed, a scene inside a closed car with a six or eight-foot wide screen was noteworthy. However, demand soon compelled us to discover methods for utilizing screens that were 12, 15, 18, and 20 feet wide. Yet, the call for even more scope persisted. When we managed to use a 24-foot screen, demands arose for shots requiring a 36-foot screen. My most recent scenes employed twin screens with a combined width of 48 feet. The end is not yet in sight.\n\nFrom an engineering standpoint, this was undesirable. Our equipment was not designed for this work, and the various components were certainly not engineered to function together as a cohesive unit.\nAll of us in this field necessarily had to build our own equipment. We would usually take the best projector-head we could get and equip it with a camera-type pilot-pin movement. Some of us used Bell & Howell movements, some used Mitchells; all were readapted to this service as best we could. It was the same way with projection lenses\u2014projector lamphouses\u2014electrical control systems, and everything. Though finely made, the best equipment in any studio was an engineering makeshift. It is an everlasting miracle that they performed as well as they did.\n\nThe manufacturers of the various components produced for the film industry were:\n\n% Jiltn ftteckanicJ\nBy Hal Hall\n\nWe present here the news about an invention that may revolutionize film music and open a new era in this field.\nThe unexplored realms of dormant organic beauty. The greatest artists, such as Leonardo da Vinci, Michaelangelo, Durer, and others, were unanimous in realizing that all forms of art spring from the same purpose and are subject to a common law. The knowledge of this law permits the establishing of a link between diverse manifestations of art. Savants, such as Helmholtz for example, believed it would be possible to establish rules analogous to those of counterpoint in drawings and architectural structures.\n\nWith the scientific attempts of Fischer to interpret music by forms, we now associate a new effort by Dr. Dmitri Marianoff, former son-in-law of Professor Albert Einstein, and his collaborator, Engineer A. van Hulm, to capture music from visible forms.\n\nArt and music share similarities: architectural designs, paintings, and sculpture are also subject to these principles.\nDr. Mai'i-anoff explains the laws of counterpoint: \"The transformation of complicated architectural designs into film registration would necessitate a synthesis of sound waves. The music obtained would be but a synthesis of the real music inherent in the work of art it represents. Although this would leave the composer a certain freedom for creation, he would, however, always have the given form as a point of departure. Thus, his music would always retain the inspiration of the work of art it represents.\n\nHelmholtz already had the idea of 'sonore ornament'; he had discovered it mathematically but had no means at his disposal for representing sound graphically. He was able to make the connection between architecture and the fundamental bass, but was unable to base this on physical facts.\n\nToday, by the use of the new inventions, we can accomplish what Helmholtz could only imagine.\"\nThe mystery of music's relationship to architecture and paintings has been sensed throughout the ages. Proof of ancient affirmations of this connection can now be seen on film. The concept of \"geometrical music\" in the works of Leonardo da Vinci, Durer, Rembrandt, and others can now be explained. Pythagoras' methods of establishing harmony theory provide evidence that even the ancients showed similar tendencies, as evidenced by the repetition of certain proportions.\n\nDuring the Renaissance, Leonardo's \"Treaty of Painting\" and Durer's work on the art of measurements and proportions of the body were the focus of theoretical studies.\n\nDr. Marianoff and Hulm plan to create a series of films demonstrating how music can be extracted from forms. They intend to illustrate the composition process.\nThe discussion revolves around Raphael's masterpiece, \"Sixtin Madonna,\" which is based on the pentagram and other perfect proportions. Along with the graphic development, or grapho-tectonic development, one would elicit the corresponding sounds as the geometrical figures were constructed. The first film planned by the inventors will be named \"The Song of the Modern City.\"\n\n\"Film music as it exists today is not organically tied to the collective film arts,\" Dr. Marianoff explains. An arranger, guided by the mood of individual scenes and the general theme of a picture, typically draws freely from the world music library in his imagination, which in his mind is linked to the plot or scenery of the picture. Disregarding the logical unity with which the original composer constructed his creation, the arranger takes a part of such a composition.\nPosition blends it with parts of works of other composers and makes the musical background for the film. This professionally well-prepared and pleasant accompanying music does not disturb the spectator's ear and helps him digest the pictorial food. Lai'ge studios, when making an expensive picture, often put into the hands of a notable composer the writing of his own music. In most cases, this is only a finer 'illustration' of the plot. It happens rarely, as in the case of George Gershwin and a few other composers, that a composition is of cinematic nature; but through its own dominating value, this music comes to the foreground as an independent factor. Instead, music should be an organic part of the motion picture in 'natural' unison with acting, sound, color, photography, etc.\n\nJust as thoughts are voiced through the spoken word, so the silent forms of expression in film should be in harmony with the visuals.\nTop of page: Raphael's famous painting, \"Sistine Madonna.\" Opposite page: this drawing shows the graphic delineation of geometric figures symbolizing Raphael's philosophy, and is the first step toward the musical transposition of the master's eternal creation. Above: Tchurlanis' painting \u2014 \"Sonata of Pyramids.\" Here, the noted artist painted music on canvas. Nature, architecture, painting, and all the visible lines of the universe that lie before our eyes \u2014 can be heard. The marble blocks of a Greek Temple, its ornaments, dancing priestesses, Egyptian pyramids, landscapes, the colonnades of Rameseum \u2014 all this can be heard. Music, dormant in the architecture of Islam, India and China, in the Gothic domes and windows and facades \u2014 can be awakened to reveal their hidden melodies.\n\nThe noted Lithuanian artist, Tchurlanis, believed that the painted music on his canvas could be heard, not just seen.\nI. American Cinematographer \u2022 October, 1943\n\nBy LIEUT. ARTHUR E. ARLING, U.S.N.R. (Member American Society of Cinematographers)\n\nThis is not an eye-witness account of the Battle of the Coral Sea or the Battle of Midway. Those battles have been covered by more able writers than myself and at a time when they were headline news. Instead, I shall endeavor to pass along for what interest and value they may be my experiences with the photographic equipment used in covering these battles.\n\nWhile engaged in making a factual photographic report for the Navy Department on the damage inflicted on our Hawaiian military and naval establishments by the Japanese attack of December 7, 1941, I received orders from my commanding officer, Comdr. John Ford, to board a heavy cruiser.\nI was bound for the Coral Sea area in the South Pacific, where the Japs were still making unchecked progress in their invasion of the Solomons and other South Sea Islands. I reported aboard with one photographic specialist, Stephen M. Newmark, Splc(P), USNR, to assist me. Our camera gear consisted of one Mitchell camera, one Eyemo and two 16mm. magazine-loading Cine-Kodaks, with accessories and film.\n\nAs soon as we were quartered, I began a tour of the ship seeking suitable camera positions. It was at once apparent that a modern battle cruiser, bristling as it is with anti-aircraft batteries, provides little space for possible camera setups. After trying several crowded places, I finally decided to place the Mitchell on a machine gun platform high on the mainmast above the flying bridge and just below the sky lookout.\nIn a space where four 50 cal. machine guns had been replaced by two new 20mms., I found just room to set my tripod and command an angle of view of about 220 degrees. To be ever ready for that call to general quarters that came when we were in enemy waters several times a day, we kept the Mitchell threaded at all times, merely removing it intact from the tripod, which was left standing, and stowing it as a unit in a ready ammunition box, which being of double compartment construction, provided protection from the tropical heat as well as the tropical showers. To cover action as it might occur at other parts of the ship, I relied on the Eyemo and the two Cine-Kodaks. One Cine and the Eyemo I kept in the chart room on the bridge, and the other Cine I kept in my quarters, the object always to have a camera at hand.\nThe Navigation Officer was kind enough to give us space to stow our film in the chart room, heavily insulated and remaining quite cool even when other parts of the ship were sweltering hot. I preferred the even temperature of this room to the extreme cold of the only available refrigerators. We dehydrated both our 35mm. plus X and our 16mm. Koda-chrome, and experienced no trouble, although our film was not developed until several weeks later. An empty powder bag container from the 8 inch guns made an ideal dehydration chamber. It was just the right size to take the 400 ft. roll and could be sealed airtight. Incidentally, the ship used these containers to stow emergency rations aboard the life rafts.\n\nMy selection of lenses proved adequate; the wide angle 25mm. and 35mm. being invaluable when shots involving large scenes were required.\nmen in action aboard our own ship were desired. The long focal 18 inch lens when reaching for action far away. The Akeley head proved its worth particularly when under fire. When the 5 inch ack-ack batteries let go, supplemented by the 1.1 pompoms and the 20 mms., you think all hell has broken loose. The camera does a dance (incidentally don't tie your camera down tight or the concussions will splinter the tripod), the noise penetrating the cotton stuffed in your ears rises to a deafening crescendo, and the concussions seem to hit you in the chin with such rapidity that you feel as though you were a punching bag being pummeled by an expert. At such times the good old Akeley gyro head pays off as a stabilizer. The 16mm. Cine-Kodaks proved best for following dive bombing because the planes coming as they do from right\nOver head and usually directly out of the sun are out of reach with a camera on a tripod. Hand-held and using lenses up to a 4 inch, usable film was secured. Shooting Kodachrome in the 16's and later blowing the shots up to 35mm gave image size equal to a 10 inch lens. Much good can be said for the use of the 16mm. equipment for combat photography. Namely, its compact size and light weight. The 2% to 1 ratio between 16mm and 35mm film means less weight and bulk, so that a greater supply can be carried. This same 21/6 to 1 ratio also applies to the focal length of lenses, resulting not only in the reduced size and weight but making possible shots with hand-held cameras that would be impossible with 35mm cameras directly. In spite of the customary news story in which the news correspondent describes battle action with planes crashing and explosions, the use of 16mm equipment for combat photography has its advantages.\nships sinking right under their noses, it has been my experience that a sea battle may be scattered over several hundred square miles of ocean. October, 1943 \u2022 American Cinematographer\nBy E. J. T. Ffan\n\nThe Mitchell Camera Corporation has just completed its first complete portable background project and has delivered it to the U.S. Naval Science Laboratory, Anacostia, DC; another is under construction for the Russian Government. One of the outstanding features of the Mitchell background projector is the silent operation which eliminates the use of a booth or a blimp. Another one of the many advantages of the Mitchell background projector is the compensating link movement. When the projector is operated at a normal distance from the backdrop, this movement compensates for any slight movement of the projector, ensuring a sharp image on the backdrop.\nThe ground screen receives no noise from the sound system. The projector head includes a film moving mechanism, upper and lower 1000 foot magazines, and interlocking motor drive system, all mounted on the base plate of the stand. The projector head can be rotated 180\u00b0 from the vertical position during operation. A 1000 foot roll of film is used. In front of the film mechanism is a gate, opened by releasing the locking lever. The projector head is fitted with Bausch and Lomb new series f/2 super cinephore lenses. The lens can be focused remotely by the cameraman via a Selsyn motor. It can also be manually focused by the projector operator. The projector and camera shutters are synchronized by releasing the lock lever at the base of the projector and rotating the ERPI.\n\nProjector head components: film moving mechanism, 1000 foot magazines, interlocking motor drive system, Bausch and Lomb f/2 super cinephore lenses, gate, remote focus control (Selsyn motor), manual focus control.\n\nThe projector head can be rotated 180\u00b0 while in operation. It uses a 1000 foot roll of film. The lens can be focused remotely or manually. The projector and camera shutters are synchronized. The projector head consists of a film moving mechanism, upper and lower 1000 foot magazines, interlocking motor drive system, and Bausch and Lomb f/2 super cinephore lenses. The lens can be focused remotely or manually. The projector and camera shutters are synchronized by a lever at the base of the projector.\n220-volt interlocking motor. The threading of the projector head is comparable to the threading of any Mitchell sound camera. The movement can be released by two levers, removed and replaced by an auxiliary aperture plate for lining up the arc and size of the picture to be produced on the screen. The magazines are equipped with a reverse clutch which allows the projector to be operated both backwards and forwards. The clutch can be adjusted to the proper tension to take up a film.\n\nA condenser-water-cooled cell is constructed to eliminate excessive heat on the film. There is a four-way matte.\n\nAmerican Cinematographer \u2022 October, 1943\n\nMarines Learn Photography in Hollywood\n\nUnder the sponsorship of the Research Council of the Academy of Motion Picture Arts and Sciences,\nHollywood's ace cameramen have trained combat cameramen for the Signal Corps and the Marine Corps. Specially selected men of the service are sent to Hollywood and receive a thorough course of instruction before going back to the battle fronts on their assignments. Recently, a class of Marine cameramen were graduated from this school, and here are some photographs of their school activities: Top left: Technical Sergeant Alfred W. Rohde, Jr., is being congratulated by John Arnold, A.S.C., head of the MGM Camera Department. Left center: A studio technician shows the class how lenses should be cleaned. Bottom left: John Arnold instructs the class in the use of a 35mm professional camera. Top right: John Arnold and Alvin Wyckoff, A.S.C., give class instructions for the day's shooting. Bottom right: Mr. Wyckoff gives instruction with the aid of a slide projector.\nCameramen  of  our  armed  services  who  have  been  trained \nin  the  Hollywood  studios  by  Hollywood  cameramen,  under \nthe  sponsorship  of  the  Academy,  are  now  seeing  action  at \nevery  fighting  front.  And  reports  show  that  they  are \ndoing  a  magnificent  job. \n364  October,  1943  \u2022  American  Cinematographer \nHANDS  ARE  NICE \nTO  HOLD-THAT  S  ALL \nBy  JAMES  N.  DOOLITTLE \nTHROUGH  a  couple  of  decades  of \nassociation  with  what  we  faceti\u00ac \nously  refer  to  as  \u201cthe  Industry,\u201d  I \nhave  probably  photographed  most  of  the \ngreat  names.  If  you  want  a  brief  bio\u00ac \ngraphical  note,  I  was  by  diligent  appli\u00ac \ncation,  inducted  about  the  time  Gail \nHenry  was  a  popular  commedienne  and \nLarchmont  Boulevard  furnished  the  locale \nfor  systematic  wrecking  of  automobiles. \nThey  hadn\u2019t  yet  torn  down  the  \u201cIntoler\u00ac \nance\u201d  sets  at  Sunset  and  Santa  Monica. \nC.  B.  DeMille  was  still  wearing  his  Lasky \nGuard  uniform  and  was  signing  edicts  on \nThe Otto K. Olson lot labeled \"by order of the Director General.\" I go back a long way. But who cares! Those were the good old days when we worked fifteen or twenty hours and were usually laid off around Christmas. The Collector of Internal Revenue stamped our returns \"No Sale.\"\n\nThe \"great names\" have either grimaced, grinned, or glowered at my lens. Each has reflected the weight of some thousands \u2013 even millions \u2013 of dollars. I have known many of them in pre, pro, and post-glamour days, and their secrets are as secure in the archives of my memory as in the columns of Winchell or Fidler.\n\nEach individual had some good reason for taking up my time \u2013 most had several good reasons, chiefly facial and ambulatory! We mustn't turn this into a clinical dissertation, but for the moment, let's dissect the feminine assembly. Easily and:\n\n(Note: The last sentence seems incomplete and may not make much sense without additional context. It is unclear if \"Easily and\" is meant to be part of the previous sentence or the beginning of a new one. Therefore, I will leave it as is without making any assumptions or changes.)\nThe girl's face, legs, and Hays office are completed. The girl has a face, a area for various advertised unguents, salves, balms, or facial cocktails. On top, there's a growth supporting an industry, often with a loose interpretation of the noun, \"hat.\" Just south of the chin is the neck - noun, not verb.\n\nContinuing southward, we encounter the International Hays Line, distributed in an easterly and westerly direction in two parts. Manufacturers of sweaters may have a mercenary interest in this circumstance.\n\nContinuing in the geographical analysis, \"Approaching the tropics is the lower torso.\" The gals wear girdles. From it sprouts a couple of appendages used to encase Rayon, Nylon, or Duco, depending on priorities.\nseniorities or just \"orities.\" We call them legs for want of a more poetic nomenclature. Then, way down beyond the tropic of Capricorn comes feet. Feet are tremendously necessary. They are used to put shoes on and take shoes off. I forgot to mention that no two masses can occupy the same space at the same time. Outward from just below the chin extend two tentacles terminating in certain digital appurtenances known as hands. As a photographer, I wish I could forget them. Hands are nice to have and to hold \u2014 but not to obstruct my view during a photo shoot.\nAmerica is the birthplace of the greatest art of all times \u2014 cinematography. In its \"infancy,\" it possessed the science of vision, but was deaf; it had a plastic tongue, but had no sound. In due time, the child grew up and started to speak, still anemic and pale. But when it reached the next phase of development, the child acquired color in which the best things on earth are appearing now. This magnificent creation became instrumental in greater knowledge of science and upbringing. Now this art can afford to be wise and silly, gay and serious.\nThe tragic art form of cinema has absorbed all that is good and bad in all human-inspired creations. One issue, however, remains unresolved: the problem of space. It is still confined to two dimensions and yearns for freedom. This issue of space has long troubled inventors. But now, it is solved. Soviet inventors have developed third-dimensional films. Today, without the aid of optical devices, stereopic movies are practically developed for the mass audience in the Soviet Union.\n\nWhile research in the sphere of stereoscopic movies was ongoing in the rest of the world with the aid of eye glasses, Soviet inventors held out that the most progressive road would be in liberating the spectator from any kind of optical aid. Therefore, the leaders of the industry.\nSoviet movies supported inventor Semen Ivanov, who discovered a screen with a curve of special geometric form. The screen's unique feature is that its elements, in size, are located beyond the \"solving abilities\" of the human eye. On this screen, we show stereoscopic film, which are photographed by a special method for unlimited numbers of spectators.\n\nSemen Ivanov solved the problem in principle as early as 1930, but the first stereo screen, seven meters square, was built in 1938 when Ivanov demonstrated it to a large audience, showing separate short experimental films.\n\nFrom this time on, the stereo-movie in the Soviet Union went beyond the limits of laboratory experiments. In 1940, in Moscow, a special movie house was opened where on a large screen (approximately 20 meters square) was installed.\nThe first full-length stereo-film was shown, photographed by Director Alexander Andrievsky by Kalatozov. This film was successfully shown for six consecutive months, with hundreds of thousands of spectators witnessing the unusual sight: birds flying in space all around the auditorium; the juggler's tricks with playballs, bunches of flowers flying over the heads of the orchestra and over the aisles and disappearing in the depths of the screen. The flatness of the screen had gone out of existence.\n\nThe \"first night\" audience consisted of the consulate staff and the diplomatic corps. The unanimous feeling at this presentation was the recognition of the fact that this was the beginning of a new epoch in the art of cinematography.\n\nThe Soviet Government, in recognition of this achievement, awarded Semen Ivanov an honorable title of Laureate of Stalin's Award.\nThe brutal attack of Germany on the Soviet Union in June 1941 prevented Soviet Industry from continuing work on building special movie houses in large cities throughout the Soviet Union and handicapped director Andrievsky in shooting new stereofilms. Despite these factors, work on technical developments and improvements continues during the war.\n\nIn October 1942, Semen Ivanov and Alexander Andrievsky completed work on a new \"illuminated stereo-screen.\" This intensified the brightness of images nine times, eliminating all shortcomings of the previous type screen. The new invention improved projected images and provided the possibility of mass production of this new kind of screen at a comparatively low cost and which requires real estate.\nThe technological process for the new \"light and powerful\" screen of Ivanov-Andrievsky was highly praised and evaluated by many scientific institutions. The outstanding academic, Kopitza, praised it highly. Important work was being done in the field of \"shooting\" for stereo-screen. People familiar with the difficulties of stereo-screen know that in published works on this subject, they encounter the complaint that space cannot be controlled. For instance, objects intended to project behind the screen suddenly become visible in the auditorium and vice versa.\nMr. Kalotozov is one of the Soviet's noted film directors, having directed many films of artistic and documentary merit. Best remembered in America is the film about the famous Soviet flyer, V. Chkalov, who first flew over the North Pole to the United States, titled \"Wings of Victory.\" Due to his varied abilities and engineering knowledge, Mr. Kalotozov has participated in practically every phase of motion pictures, from cinematography to directing and producing. For the last few years, he has been the supervising director of the Leningrad Studios. During the siege of Leningrad, he, along with all the citizens, took part in the defense of the city. His greatest ambition is to bring about one hundred percent cooperation between the film industries of his country and all of the Americas.\nThe editor discusses cooperation between our film industry and that of his country. Reversely, producers face issues with unwanted content in the audience's projects. Separate reels distort space and cause eye fatigue, but these are common complaints. I state without exaggeration that the Soviet Union now has a fully developed science of stereoscopic filming. For instance, Director Andrievsky shot the first full-length film without seeing it during production. He relied solely on calculations, which he couldn't verify on the stereo-screen since the work was completed a few days before the \"first night.\" Despite this, the film had no mistakes.\nUsing the clever construction of Mr. Schwartzman's new invention, Director Andrievsky developed a new method for drawing multiple films. This method allows for its use as a weapon in the service of multiple cinematography and provides new effects in this sphere. This successful beginning of a new development will undoubtedly progress in the future and result in new achievements.\n\nIvanov and Andrievsky are only waiting for the appropriate moment, with the end of the war, for conditions to permit them to construct stereoscopic movie houses and produce pictures for these theaters. Their experiences will be helpful to inventors in this field.\n\nHere in the United States, brilliant results have been achieved in space-sound. We in the Soviet Union follow up on the success of American technical workers and musicians who also work in this field.\nIt is highly desirable that the achievements of Soviet pioneers in stereoptic movies and American specialists in space-sound combine and mature this field, forecasting a new era in cinematography. New steps in cinematography will likely lay the foundations for a lasting friendship between the two workers in cinematography - the Soviets and the Americans.\n\nOctober, 1943 \u2022 Keep On Filming ... Economically\nBy J. R. Oswald\n\nA vast army of home movie enthusiasts, particularly those using 16mm equipment, still contend that their hobby is expensive. An even greater number of would-be movie makers find the utmost enjoyment in it.\nIn their friends' home movies, but refrain from the pleasures of making their own, because they believe doing so is far more costly a proposition than they can afford. It isn't so much the original cost, they argue, it's the upkeep. Economy of operation is always an important item to consider in the use of any mechanical apparatus, but today there is still a greater problem that confronts many home movie fans who are determined to keep their cin cameras grinding for the duration. Yes, even money won't always produce, for the average individual, a supply of those standard reversal films which have proved most popular throughout the years, and are now so rapidly disappearing from the civilian market. How then, can the ordinary home movie fan, who has no priority ratings whatsoever, hope to stay supplied?\nCan I provide a solution to keep cinematographic interests engaged at home, while being more economical than ever believed possible, as long as the camera isn't of the magazine loading type? I believe I have a solution for this, at least for those content with black-and-white filming. Are you with me?\n\nFortunately, there's one type of film on the market with which few home movie makers are familiar. This film doesn't come in the customary brightly colored carton, and it isn't processed for free. Due to this lack of familiarity, there's little demand for it by the amateur, leaving a plentiful supply available on most dealers' shelves. This film is not new. Motion picture laboratories, for whom it was really designed, have used it.\nThe film I refer to is well-known in professional circles. It is put out by all manufacturers of reversal types, such as Eastman, Agfa, and Du Pont, and is called Positive film. The name derives from its chief laboratory use in making Positive prints for projection from Negative movie films, comparable to ordinary snapshot negatives. Due to its low cost of less than one cent per foot in either 16 or double 8 millimeter size, Positive film has been the cause of much experimentation on my part. I have been intrigued for years with the possibilities of this type of film, during which time I have gone deeply into its characteristics, advantages and disadvantages, and its practicability for home use. In my opinion, Positive film has remained out of the limelight entirely too long.\nThrough this article, I hope to share some findings with interested readers who wish to experiment. Four photos above are enlargements from frames shot on positive stock by Mr. Oswald. Since positive film is intended for laboratory use, it isn't spooled, and the user must spool it themselves. But, like a person endures the inconvenience of a streetcar or bus to save cab fare, so must the movie maker be willing to sacrifice the convenience of regular daylight loading film to cut shooting expenses in half. It isn't much trouble at all to take the projector into a darkened room, slip a discarded reel on the rewind shaft, and spool the entire bulk of positive film, emulsion side in.\nA man with a camera, cinematic or otherwise, covers vast interests. He observes ocean surges, forest paths, blossoming Spring, brilliant Autumn, sheep pastures, and farm life generally. Outdoors, his field is far more limited than that of the artist who, painting the same subject, may omit something.\n\nThe red safe-light, if available, may be used to facilitate handling without affecting the film. The camera must always be loaded in a darkroom if the film is wound on a projection reel. If wound on a solid type camera reel, however, loading may be carried on in daylight, if preferred. The first few feet of film, which ordinarily serve as a protective leader, will naturally become fogged.\n\n(Continued on Page 372)\nAmerican Cinematographer \u2022 October, 1943, p. 367\nArtistic Pictures\nBy F. W.\nHe disapproves of some effects seen elsewhere, but not in the scene before him. Despite this drawback, the proper grouping of materials in photographic or screen reproduction is one of the many factors that must be considered by every serious cameraman. For without an understanding of the principles of composition, his filming must fail from the artistic standpoint.\n\nThe term \"composition\" was originally used in reference to the manner painters \"composed\" pictures by bringing together natural objects \u2014 architecture, figures, etc. \u2014 to produce a subject. The result was a good \"composition\" or otherwise.\n\nAs a result of this practice, photographers are often advised to get their ideas of \"composition\" by studying the work of painters. This must be done with discretion. The best pictures by any medium do not advertise the fact that they have been influenced by paintings.\nNow, if we study and compare photographs that please and satisfy us, we begin to recognize certain common factors. In other words, it becomes evident that there are definite means of securing things like center of interest, harmony, balance, mood, and so on. These are the common laws of composition, and professional painters study them carefully, resulting in \"every prospect pleases.\"\n\nNow take center of interest for instance. First of all, we must understand the aim of a picture or photograph. Take a landscape with a single figure. The landscape may be beautiful, interesting, well-arranged, and the figure well placed, but is definitely subordinated to the landscape.\n\nThus, the picture is a landscape with an incidental figure. Make the figure larger and it dominates the landscape.\nYou make it a figure in a landscape setting. It is neither a landscape with a figure nor a figure with a landscape. The result is mental irritation, and you condemn the composition. Similarly, we mentally resent compositions that are lop-sided, top-heavy, over-crowded, confused, vague, empty, formal, and so on. What are the laws of composition? They are simply the foundation on which you build up your picture to make it pleasing and symmetrical, just as an architect builds his artistic home on a strong framework and solid foundation.\n\nThese laws of composition embrace different forms according to the type of picture we wish to construct and its general characteristics. For instance, there is the circular, triangular, pyramid, diagonal, horizontal, and vertical form. A picture, whether it moves or is still, employs one or more of these forms.\nForms are essential in the construction of various types of artistic pictures. To my way of thinking, artistic grouping in movie work can be most effectively arranged and greatly enhances the quality of the film. Professionals are adepts in this direction.\n\nNow let's look at the construction of various pictures.\n\nScenic pictures are probably of most importance to the average movie-goer. Fig. 1 shows the picture space divided into nine equal rectangles; the dividing lines have four points of intersection, and it is generally found that the main object or mass is best placed about one of these points while a secondary balancing mass may fall on one of the opposite points. The horizontal \"thirds\" suggest approximate positions for the horizon line, visible or imaginary. The horizon line should not bisect the picture.\n\nMany a landscape subject which looks unbalanced when first framed will assume a pleasing appearance when the principles here outlined are applied.\nAttractive to the eye is a failure on the screen, lacking main interest. Interest in a picture depends largely on the lines of the subject matter, and if interest is to be held, which is essential, the lines should guide the eye into the picture gradually up to the main point of interest. The \"lead in\" is usually to the extreme right or left of the bottom third spaces. The \"lead in\" may be cleverly disguised, but is generally a track, a guide.\n\nOctober, 1943 \u2022 American Cinematographer\n\nIf you think twice about negative films, you'll think Eastman both times, because \u2014 Eastman is the best by test, by practice, and by performance \u2014 J. E. Brulatour, Inc. Distributors\n\nThe above two pictures of film newcomer Early Cantrell serve as excellent examples of how to save film in wartime.\nEveryone worried over negative shortage. The two photographs are from one negative. Seigfried Levi, Hollywood still photographer, shot the full-length portrait of Miss Cantrell. Instead of using another negative to make the close-up, he simply cropped it out of the other negative with his enlarger, thus producing two excellent pictures with but one precious negative.\n\nNew Mitchell Projector (Continued from Page 363)\n\nThe New Mitchell Projector is controlled by a lever on the side to cut down the size of the projected arc light to the desired size of the projector aperture. A fire shutter is installed in this same mechanism, which operates when the projector machine is turned off and on. A threading light is installed between the water cell and matting device for lining up the film in frame in the aperture.\n\nThe Mitchell projector is equipped with these features.\nThe peerless high-candescent lamp house, capable of 120-180 amperes, is equipped with two condensers and controlled by a switch on the side of the base. An ammeter is supplied for controlling and stabilizing the desired amperage, along with an auxiliary resistor control panel.\n\nThe projector head and lamp house are mounted on a base plate that can be rotated 360 degrees and tilted 10 degrees up or down, operated by two control wheels. The lens height is fifty-eight inches in the low position and can be raised to seventy-two inches from the floor by the control wheel.\n\nOn the base plate is mounted a control panel that permits the projector to be operated forward and backward independently of the distributor and also to interlock with the distributor. The projector speed can be controlled by a rheostat while out of interlock.\nThe projector is mounted on a sturdy base, which is mounted on four casters for mobility for different projection distances. The base is equipped with a telescope handle for easy movement. When not in use, this handle is concealed under the base. When the desired projection distance is obtained, the casters can be jacked up and the entire unit rests on sturdy screw jacks. The base of the projector is approximately 6.2x4.2 feet. The height of this unit is 7.5 feet and weighs approximately two thousand pounds.\n\nThis Mitchell background projector is constructed of the same high-grade workmanship as all other Mitchell products, embodying the latest engineering developments.\n\nRare film prints from the Library of Congress archives in Washington are assisted by the Congressional Library.\nThis text appears to be primarily about a Shiftover device for use with a camera, specifically for the Eyemo Spider Turret prismatic focusing type camera. The text describes the device as the finest, lightest, and most efficient available, and explains how it attaches to the camera base and permits sliding for parallax adjustment, with a locking mechanism to secure the camera in place. It also mentions a stop-bracket and dowel pins.\n\nHere is the cleaned text:\n\nThis Shiftover device is the finest, lightest, and most efficient available for the Eyemo Spider Turret prismatic focusing type camera. The male of the Shiftover attaches to the camera base permanently and permits using the regular camera holding handle if desired. The male dovetail mates with the female dovetail base and permits the camera to slide from focusing to photographing positions for parallax adjustment. The camera can be locked in desired position by a positive locking-device. The Shiftover has a \"stop-bracket\" which prevents the camera from sliding off the dovetail base and is provided with dowel pins which position it.\nTo the top-plates of tripods with 3/4 or f/4-20 camera fastening screw.\n\nUnsurpassed in Quality. Versatility and Precision.\nThe IS et al Removable Head \u201cProfessional Junior\u201d Tripod.\n\nThe new removable head feature adds great flexibility to the versatile \"Professional Junior\" Tripod. It is now possible to easily remove the friction-type head from the tripod legs base by simple unscrewing a finger-grip head fastening nut. The tripod head can then be mounted on a \"Hi-Hat\" low-base adaptor for low setups.\n\nThe friction-type head gives super-smooth pan and tilt action, 360\u00b0 pan and 80\u00b0 tilt. A generous-sized pin and trunnion assures long, dependable service. \"Spread-leg\" design affords utmost rigidity and quick, positive height adjustments. A \"T\" level is built into this superb tripod. The top-plate can be set for 16mm E.K. Cine Special, with or without motor; 35mm DeVry and other film cameras.\n\"Professional Junior\" tripods, developing kits, \"Hi-Hats\" and Shiftover Alignment Gauges made by Camera Equipment Co. are used by the US Navy, Army Air Bases, Signal Corps, Office of Strategic Services and other Government Agencies, as well as by leading Newsreel companies and 16mm and 35mm motion picture producers.\n\nOutdoor Exposure Guide for Use with Positive Movie Film\n\nLighting Conditions\n\nBright\nHazy\nCloudy\nDull\nDistant landscapes, water, mountain and snow scenes\nOpen landscapes, groups, sporting events, etc., with no heavy shadows\nPicnics, games, back-yards scenes, etc., in light shade\nMiscellaneous scenes in deep shade\n\n8 frames per second\n\nFl.9 for bright, hazy, cloudy, dull, distant landscapes, water, mountain and snow scenes, open landscapes, groups, sporting events, picnics, games, back-yards scenes, miscellaneous scenes.\n\nFl.9 for scenes in light shade.\n\nFl.9 for scenes in deep shade.\nFigures are given for normal speed filming, 16 frames per second, unless stated otherwise. This exposure chart is for the period from 2 hours after sunrise until 2 hours before sunset, using flat lighting.\n\nFor side-lighting, increase lens opening 1 stop. For back-lighting, increase lens opening 2 stops.\n\nAlthough positive film is intended to be developed \"straight,\" and not processed by the usual reversal method, I have found that it can be successfully reversed, just as in the case of the regular type film the average movie maker has been accustomed to using. I have noticed on several occasions a third-dimensional quality in positive film which is not duplicated in any of my other black-and-white films. Certain scenes take on depth just as did the old stereoscope view cards.\nA familiar part of every living room, in years past. I have been unable to explain this strange phenomenon in movie shots, unless it can be attributed to the high contrast and fine grain of the positive emulsion. The benefits of this contrasty, fine-grained emulsion in making titles, copying maps, line drawings, etc., are well known to motion picture laboratories everywhere.\n\nIn comparison to the regular reversal type, positive film has its limitations, of course, but generally speaking, for outdoor use it rates favorably with the regular orthochromatic type films. Because its speed is somewhat slower, however, the use of positive film requires opening the lens a trifle wider than normally. As a general rule, a difference of about one stop will be sufficient, over that necessary when using an average film.\nMedium speed film. The following exposure chart may prove helpful as a guide, although the figures are only intended to be approximate:\n\nWhen it comes time for processing, there are many independent laboratories who will undertake to reverse the positive film, usually at a very nominal fee. The charge for such a service is often less than the original film cost of one cent per foot. The Superior Bulk Film Co., 188 W. Randolph St., Chicago, IL, and the Fromader Genera Co., Davenport, IA, are but two concerns which operate laboratories equipped for reversal processing. Those desiring to slash expenses still further and who have ample time and patience may be interested in carrying out this procedure themselves. Many fine home processing outfits are available, several of which may be obtained from the above-mentioned companies.\nWhen a reasonable amount of care is exercised, home movies aren't very difficult at all, especially for those already familiar with dark room methods. Considering that 100 feet of 16 or double 8 millimeter positive film can be shot at a total cost of less than two dollars, home movies need not be so expensive. In no other type film have I found the same combination of economy and quality. Everyone knows how movies far surpass ordinary snapshots in terms of entertainment value. By using positive film, cinematography can compete with still photography from an economy standpoint.\n\nTo be sure, movie making can be an expensive hobby; it need not be.\nRoad, river, log, and so on. Lead in at the side and do not center your main object, but place it about one of the intercepting points according to requirements. We are often dragged to mountain tops for famous views, but most are very disappointing. The part is more interesting than the whole, concreteness, nearness \u2013 a picture about a particular thing. These are the elements of good shots. In distant views, there should be somebody or something in the foreground.\n\nIf you look at a possible subject for a photograph, you should form the habit of framing it with your eyes. You will soon find yourself marking out thousands of artistic scenes. If there is any action about you, may as well have an artistic setting for it.\n\nScenic pictures are mostly based on elliptical or circular construction. Many of the world\u2019s greatest pictures are on these lines.\nThe same pleasing lines. The elliptical arrangement is a safeguard against the eye wandering out of the picture, which can easily happen with other more rigid constructions. This is the reason why we frame views with trees and branches \u2014 they help to keep the eye about the main interest. Look around at good pictures, paintings and drawings, etc., and see how often these points occur. The drawings reproduced with this article will give readers a good idea of what to do and what to avoid in making artistic pictures. Acknowledgment is made for using them to Mr. W. L. F. Wastell, Past President, R.PS. (England), whose authoritative contributions and drawings on \"Composition\" to \"Amateur Photographer\" are widely known.\n\nIn Fig. 4, we have the vanishing point of the street in the center of the picture. This allows divided interest. There\nThe New Filmosound Library releases: Riders of Death Valley (Universal). Fifteen episodes, thirty reels, $3 per episode. Vigilantes battle claim-jumpers in search of the fabled lost Aztec mine. After it is found, there is a thrilling see-saw battle to hold it. Every type of action thrill known to the chapter-play is lavished on this super-serial. The cast alone is a guarantee of its extraordinary quality: Dick Foran, Leo Carrillo, Buck Jones, \"Big Boy\" Williams, Charles Bickford, Jeanne Kelly. Available for approved non-theatrical audiences.\n\nButch Minds the Baby (Universal). Eight reels, $17.50. Virginia Bruce, Broderick Crawford, Dick Foran.\n\nThe story centers around Crawford. One more conviction will send him back to Sing-Sing for life. Crawford decides to give up his \"profession\" of safe-cracking, and works as a janitor.\nThe baby and he become great pals. Then his old mob moves in and attempts to force him to pull one \u201clast\u201d job. He gets away with it, providing suspense, laughs, and more than a few moments of genuine pathos. Virginia Bruce as the widowed mother of the baby, and Dick Foran as the police parole officer contribute a love interest. Approved for non-theatrical audiences after September 20, 1943.\n\nShould be in the vicinity of one of the converging lines of Fig 1.\n\nFig. 5 shows the corrected view of Fig. 4. The vanishing point is well to the side and a little lower. There is variety and shape in the picture, and it becomes more pleasing. A human figure increases the interest and leads towards the vanishing point.\n\nIn Fig. 2 we find straight lines across the picture. While the house may have some architectural interest, it is not significant.\nThe article is not pictorial and lacks good composition. A change of viewpoint, as in Fig. 3, is more satisfactory. The road leads in from the side and suggests not one particular cottage, but many similar buildings.\n\nNote: This article is reprinted from Movie News.\n\nOctober, 1943 - American Cinematographer\n\nThe American Standards Association has completed the first standards for the ten sizes of amateur roll film in most common use for snap shots.\n\nAmerican Cinematographer - October, 1943\nEighteen dimensional standards cover ten sizes. One spool standard applies to two sizes of film, and one film standard is used with two different spools. Nine standards apply to film spools, and nine apply to the film itself and its backing paper. Two other photographic standards approved at the same time apply to the dimension of photographic paper \u2013 centimeter-size sheets and rolls, and inch-width rolls.\n\nAmateur roll film consists of a length of sensitized photographic film attached to a continuous strip of backing paper which is substantially longer than the film. The film and the backing paper are wound on a flanged spool to provide a unit which can be loaded into a camera and removed, after exposure, in daylight.\n\nThis familiar article of commerce and\nThe sentiment and art in a camera are used to produce on the film strip a series of negatives. The position of each negative is governed by centering a series of numbers \u2014 printed on the backing paper \u2014 within a small window in the back of the camera.\n\nThe first daylight-loading roll film was introduced to the photographic world as early as 1895. It represented a major step in the field of amateur photography. The growth of film photography has progressed to a point where substantially more than a hundred million rolls of film were being produced annually by American manufacturers before war-time necessities compelled a reduction. Some of the film sizes included in these standards date back almost to 1895, although many minor dimensional changes have been made in them as production methods have improved and as camera designs evolved.\nDesigns have dictated more rigid tolerances. In some cases, film lengths have been increased to permit more pictures to appear on a roll. No published data have been available throughout the years on the dimensions used by any manufacturer. Consequently, camera-makers, particularly those who were not also film-producers, had to rely, in designing new cameras, on their own measurements of spools and film purchased on the market. It is little wonder, therefore, that some cameras did not function properly or performed satisfactorily with the film of one manufacturer and not with that of another \u2013 due to slight differences in the tolerances used by the manufacturers. Dimensional limits, minimum and maximum, had to be set up for the various spools in order to ensure interchangeability in cameras and also to provide standardization.\nAdequate protection for the film against unwanted light. The films covered by the standards are those which give pictures of the following sizes and are manufactured as indicated:\n\nManufacturer | Nominal Picture Size\n--- | ---\nAgfa, Ansco | B-1\nEastman, Kodak | 35mm\n\nThese standards, as finally approved, give film manufacturers the assurance that, if the film conforms to the standards, it will function satisfactorily in cameras currently in use. They also point the way for designers of new cameras and new accessories, and they will serve as a basis for other standards under consideration by other ASA subcommittees.\n\nTwo standards have been approved for the dimensions of photographic papers. They cover centimeter-size sheets and rolls and inch-width rolls. The centimeter sizes are of relatively little interest to consumers in this country, but they are of substantial importance for international use.\nThe importance of the following standards to manufacturers engaged in export business is significant, particularly for those dealing with countries utilizing the metric system. These standards provide specifications for the dimensions of inch-width rolls, including width, length, and splice allowance. This information is crucial for designers of recording equipment and other apparatus utilizing photographic paper in roll form. All of these standards can be obtained from the American Standards Association, located at 29 West 39th Street, New York, NY 18. The 18 standards for roll film and backing paper dimensions are published together in a single document. The helpful reference use of photographic magazines has been facilitated by the Photographic Society of America's publication of \"Photographic Work of Jayne O. Quellmalz,\" which is set to be published in the September, December, March, and June issues of the \"P.S.A. Journal.\" This resource proves invaluable for both amateur and professional photographers.\nA professional photographer locates outstanding articles in camera magazines. They list articles and authors' names related to articles published in still and motion picture camera magazines, professional journals, and trade papers. Many references are to the \"Journal of the Royal Photographic Society,\" a British publication. In many cases, important articles are listed both by author's name and subject.\n\nGevaert, Macy, Sears-Roebuck titled \"American Standard\"\nDimensions for Amateur Roll Film, Film, and Backing Paper (Z38.1.7-1943 through Z38.1.5-1943) and American Standard Dimensions of Photographic Papers\u2014Inch-Width Rolls (Z38.-1.6-1943) and American Standard Dimensions of Photographic Papers\u2014Centimeter-Size Sheets and Rolls (Z38.1.6-1943) are available at 10 cents each.\n\nThe Red Cross Needs Your Help \u2014 GIVE!\nOctober, 1943, American Cinematographer\nFOR ALL TO SEE\n\nThe outstanding beauty of modern screen productions effectively demonstrates the high quality of Eastman negative films, the industry's favorites. Eastman Kodak Company, Rochester, N.Y. J.E. Brulatour, Inc., Distributors - Fort Lee, Chicago, Hollywood\n\nEastman Negative Films\nAmerican Cinematographer, October, 1943\n\nAmong the Movie Clubs\n\nLast year, several hundred avid movie makers flocked to the Westwood Movie Club's Gadget Exposition in San Francisco. Those who attended were more than pleased with both the educational and entertainment features of the program. For obvious reasons, it will be impractical to duplicate the Exposition this year on the same scale. However, for the real gadget lover, the program this year will be even more exciting.\nThe first meeting of the Utah Cine Arts Club's fall season was held September 15th at the Salt Lake City Art Center. Highlights included Dr. C. Elmer Barrett's talk on \"What to Do With Summer Footage\" and F. K. Fullmer's demonstration on \"Step By Step Editing.\" Dr. Barrett offered helpful suggestions for members planning to use their summer footage. All interested movie makers are cordially invited to attend the open meeting at the Westwood Movie Club's room, San Fernando Way and Ocean Avenue, San Francisco, California, October 29th.\nThe footage from the upcoming award competition will include material from an uncut 8mm film by Jack Andrews. Mr. Fullmer discussed editing this film, which will be edited for the October meeting according to his suggestions.\n\nNew officers for the Syracuse Movie Makers, chosen at the recent election, are: Nedford S. Olney (President), Robert F. Kimber (Vice-President), Walter Kellogg (Secretary), Seymour C. Ratter (Treasurer), Roy Pannenborg (Sound Technician), and D. Lisle Conway (Corresponding Secretary). Archibald D. Rodger, Maurice H. Schwartzberg, and Earl Abbott were named to the newly created Advisory Board.\n\nAt the club meeting on September 7th and 21st, plans were discussed for producing another club picture.\n\nSyracuse Movie Makers:\nNew officers: Nedford S. Olney (President), Robert F. Kimber (Vice-President), Walter Kellogg (Secretary), Seymour C. Ratter (Treasurer), Roy Pannenborg (Sound Technician), D. Lisle Conway (Corresponding Secretary). Advisory Board: Archibald D. Rodger, Maurice H. Schwartzberg, Earl Abbott. Metropolitan Motion Picture Club: Production plans for another club picture discussed.\nThree outstanding films were on the program of the September meeting of the Metropolitan Motion Picture Club, held in the Victoria Room of the Victoria Hotel, New York City. Pictures shown were, \"New Hampshire On Parade,\" by Fred Ells, \"The Animals' Country\" by Frank E. Gummell, and \"Ether Bound Spirit\" by Leo Hoffernan. Eleven new members were added to the club rolls in the past month: Alfred J. Colombo, Mrs. Hazel Colvil, Arthur J. Devine, Edwin A. Ehlers, Lt. Col. Frank J. McLaren, Jr., Carol Pansky, W. T. Petersen, Arthur H. Schwartz, M. S. Cashman, and Charles S. Licht. Alice Burnett was elected secretary of the club, replacing Bob Coles, who is in the armed service.\n\nThe Los Angeles 8mm Club\nThe Los Angeles 8mm Club held its regular meeting on Tuesday, September 14th in the Bell and Howell Auditorium. It was \"Gadget Night\" and the members presented various film equipment and techniques.\nThe displayed devices included titlers, spotlights, iris fading arm, focusing tube and alignment gauge, cable release, editing stand, dual turn tables, sound equipment, and a \"Dream Camera\" complete with motor drive and brake for slowing down to 1 frame per second.\n\nThe film fare consisted of \"Caught Short,\" a contest-winning film by Mrs. Merle Williams, a vacation film by J. G. Hogue, and \"Seeing is Believing,\" a reverse motion film by Fred Evans.\n\nLong Beach Cinema Club\n\nTwo interesting meetings were held by the Long Beach Cinema Club during September. At the first meeting, on September 1, 1200 feet of films were shown. They included five 100-foot reels from Val Pope, \"The Quadrangle,\" an 8mm black and white film by Mr. and Mrs. Frank Kallenburg, and a 300-foot 8mm Kodachrome, \"Super Women.\"\nMr. and Mrs. Kallenburg, along with Hal Hall, editor of the American Cinematographer, attended the club meeting on September 15th. Hall spoke about the role cinema clubs can play in the war effort and post-war reconstruction.\n\nSan Francisco Cinema Club members from the Westwood Movie Club were guests at the San Francisco Cinema Club meeting on September 21st. After a joint dinner at the Women's City Club, seven films were shown. The program included \"Visiting Nurse\" by Dr. J. Allyn Thatcher and Jesse Richardson, \"My Garden\" by Ed Franke, \"Fantastic Formations\" by R. Arfsten, \"The Artist and the Model\" by Ed Sargent, \"Kodachrome Slides\" by Leon Gagne, Henry Swanson and Eric Unmack, \"Apartment Victory Garden\" by Clyde Wortman, and \"San Francisco - the Story Book City\" by Lt. Russell Hanlon.\n\nSaint Louis Club\nFollowing  are  the  newly  elected  officers \nof  the  Amateur  Motion  Picture  Club  of \nSt.  Louis:  Paul  G.  Scholz,  President; \nWarren  R.  Becker,  Vice-president;  Ver\u00ac \nnon  L.  Rasmussen,  Vice-president;  Lee \nWheeling,  Treasurer;  Neil  W.  Butteiger \nSecretary;  Ben  E.  Betts,  Director,  Wal\u00ac \nter  L.  Michener,  Director. \nTri-City  Cinema  Club \nPREPARING  for  an  active  fall  and \nwinter  season,  President  Georgia  T. \nFirst  of  the  Tri-City  Cinema  Club  has \nappointed  the  following  to  the  program \nand  membership  committees:  Program, \nTom  Griberg,  chairman;  C.  F.  Smick, \nRobert  Spitznas  and  A.  R.  Bruns.  Mem- \nbeiship,  Jesse  W.  Nutting,  chairman; \nBirger  Swenson,  Elmer  Jansen,  W.  w'. \nWalker,  Peter  De  Vos  and  John  E. \nHoffman. \nColor  Slide  Salon \nOf  interest  to  the  many  movie  makers \nwho  also  make  color  slides  is  the  an\u00ac \nnouncement  of  the  First  Annual  Ameri\u00ac \ncan  Color  Slide  Salon,  which  is  spon\u00ac \nsored  by  the  Photographic  Society  of \nAmerica. \nThis  salon  is  the  first  ever  held  for \ncolor  slides  and  will  give  the  public  an \nopportunity  to  see  the  best  work  being \ndone  in  this  field.  Slides  will  be  ex\u00ac \nhibited  by  panel  and  by  projection,  at \nthe  Art  Center  Chicago  from  Dec.  6 \nthrough  Dec.  18.  Deadline  for  entries  is \nNov.  29,  1943.  Entry  forms  may  be \nobtained  from  Blanche  Kolarik,  2824  S. \nCentral  Park  Ave.,  Chicago,  Ill. \n376  October,  1943  \u2022  American  Cinematographer \n(Zailrca4  tfatitblingA \nBy  F.  M.  HIRST \nREMEMBER  the  days  when  the \ncry  of  \u201cAll  Aboard!\u201d  sent  a  rip\u00ac \nple  of  joyous  excitement  surging \nthrough  your  veins?  When  the  clicking \nrails  sang  their  song  of  adventure \u2014 of \nfar-off  mountains  and  tumbling  water\u00ac \nfalls  and  torrential  streams,  of  sunny \ndays  on  the  beaches  and  visits  to  the \nfolks  back  on  the  farm? \nSince  early  childhood  we  have  been \nFascinated by the sights and sounds of these fiery steeds, our imagination has kept pace with the mad rush of the engine, and our thoughts have wandered off like the graceful streams of smoke in its wake. To hear a distant train whistle on a rainy night quickens the pulse and causes a restlessness and a longing to be on the move. It conjures up fond recollections of the trips we used to take before the war. Though trips are \u201cout\u201d for the duration, we can re-live our adventures with projector and screen, and hope for the day when we can again make movies of trains. We have a penchant for shooting train movies. The old adage \u201cOnce bitten, twice shy\u201d does not apply to railway movies, for the bite of this bug is infectious. If the first bite takes (and it generally does), endless hours will be spent making movies of trains.\nThe desire to shoot more of these \"behemoths of the rails\" is insatiable, and before long, another railroad filmmaker has joined the already long list. Ten years have passed since we first shot movies of trains, and we can well recall our first scene. From the crest of a hill, a peaceful landscape spread below us \u2014 gently rolling farmlands and wooded slopes, with a stream in the lowlands. The shadow of a cloud moved across the face of a distant hill, adding just enough movement for pictorial interest. Then it happened! A train raced into our scene and was gone as quickly as it came. From that day on, we have been lured into waiting in strange places, hoping for trains to appear. Like fishing, the best ones always get away. Many times we have waited, camera in hand, longing for action, and when no action occurred, put the camera away.\nMoving trains add significantly to landscapes but become monotonous due to repetition. The challenge is to utilize such scenes effectively. Should we scatter them throughout a scenic film to add animation, or build them up and create a railway film packed with action? Personally, we have employed both methods but prefer the latter. A film containing continuous and satisfying action, progressing from scene to scene, should be the goal of all movie makers. Railroading is ideal for such a film. It lacks a plot (plots seem to be a stumbling block for most amateurs), but its action can be continuous and engaging. Its actors are the numerous and ever-present railroad employees, passengers, and spectators. It abounds in human interest.\nThis text describes an exciting and thrilling action that takes place on a station platform. The sequence of events when a train enters a station or the preparations before it enters offer human interest and good entertainment value. This material is suitable for a good film. It has been used frequently by news photographers and amateur movie makers, appearing in illustrated magazines, travelogues, and advertisements. Anyone aspiring to make a complete film will find railroading a fitting subject with universal appeal.\n\nTo add realism, sound effects are necessary.\nRecords of all kinds of train noises can be obtained to enhance pictures. The choice of film is optional, but our preference is Kodachrome. One may think it is a waste of money to use color on a black engine, but this shiny monster will reflect the blue of the sky in its highlights and polished surfaces. The brass bell gleams in sunlight, and the blue overalls of the train crew as they work on the engine are also visible. A casual glance fails to reveal the seemingly hidden colors that will be brought to light by the use of color film. For natural beauty and fuller enjoyment of railway pictures, use color film.\n\nIn the past, movie makers who traveled on transcontinental trains had wonderful opportunities for shooting this subject. These trains are serviced at regular intervals.\nEvery 250 miles, mechanics wield enormous grease guns. While this is happening, other crew members climb over the engine, each doing a specific job. There is so much to shoot that one should take his movie camera up front at each service stop to photograph the action for a complete sequence.\n\nAfter the sequence of servicing the engine is completed, there are many other interesting activities to be filmed. Blocks of ice on trucks are ready to be loaded into the cooling systems of the various cars. On a sunny day, with a blue sky overhead, ice reflects blue tinged with green, and along the broken edges can be seen the colors of the solar spectrum as the light rays are decomposed or dispersed by refraction through these prisms of ice. On the top of the car, the crew is busily lowering these.\nPassengers and crew members perform tasks on the platform. Pullman porters place blocks while chopping ice for cooling drinking water. Don't miss the opportunity to capture a pullman porter pausing on the step with a big smile. A rich chocolate-colored skin and smile will bring a cheerful reaction from any audience. Further along the platform, window washers clean away dust from the recent journey. Baggage is loaded and unloaded, and cars are added to the train. Passengers board, and a congenial conductor poses as if giving the signal to start. Try for shots of other trains at these various stops to fill in gaps for continuity, such as an engineer pulling the train. (American Cinematographer, October 1943) Railroad Ramblings (Continued from Page 377)\nThe whistle cord should be pulled before starting the engine, signaled by the first puffs of exhaust from the stack. The bell rings, steam spurts from the piston, and the driving wheels begin to turn. Take shots of the train moving past the camera, capturing a view of the back end as it pulls out of the station and recedes. Edit these shots in order to begin a thrilling cinema journey.\n\nGood train shots, particularly those taken from a moving train, can only be made with the aid of a tripod. Before the train leaves the station, place the camera and tripod on the observation platform. Ensure the camera is level and the horizon is straight, then lock the tilt and pan head securely. As the train is pulling out of the station, start the camera running. The filmer will find it impossible to look through the viewfinder while operating the tripod.\nThe finder while the train is in motion, due to the vibration and movement. This vibration does not seem to register on the film, although some filmers prefer to run the camera at a higher speed as an added precaution. Personally, we prefer normal speed, for it gives a more natural effect on the screen. The fact that the camera has been centered on the track will ensure the correct perspective. As the train gains momentum, brace yourself and keep the tripod pressed firmly to the floor of the car. When interesting scenery passes by, press the lever for a normal length shot \u2013 you need not bother with the viewfinder once the camera is set, but do not neglect your exposure. I find that the best meter reading is obtained by tilting the meter slightly downward and avoiding too much sky light. In this way, the browns of the earth and the greens of the foliage are more accurately captured.\nThe trees and fields will be properly exposed. You may find that your sky is not as blue as you like, but the scenery which you enjoy will register correctly. Should you be as fortunate as we were, to be on the observation platform of a 26-car train, it is simple to vary your shots. Each time the engine made a turn, it was possible to photograph nearly the whole train as it rounded curves and crossed bridges. Allegorically, it was a slow-moving red serpent twisting its way in an S turn to enter a hole in the side of the mountain. From the tunnel on the other side, it emerged to follow its tortuous route through the Fraser and Kicking Horse canyons, till the mountains were rosy-tipped by the setting sun. A sequence of sunset-colored mountains growing progressively darker until the rails disappeared in golden ribbons ended the picture.\nWe photographed the Canadian Rockies in this manner, from Vancouver to Banff. After the war, when military restrictions are lifted, we hope to continue railroad movie making. Do not misunderstand and think one must take a transcontinental trip to make a good railroad movie. Nothing is further from the truth. All that is required is a movie camera and a railroad, and a little imagination. Why not go to a local station and photograph several trains as previously described? This will be your start, to which more shots can be added over time. It would be a mistake and very disappointing to try and complete such a film with one attempt. The next step would be to board a train, even if only to the next station stop, and shoot your scene of the station receding in the background.\nShoot distances and try a few shots along the way to be included later. Carry your camera with you when out for a ride in the car. Shoot head-on views of trains from low angles, trains crossing bridges over streams, through scenic stretches, passing grade crossings. Shoot from bridges looking down on the train, trains rounding curves. The possibilities of views and angles are too numerous to mention. Bring your train back into the station, showing it coming in from a distance to a full stop.\n\nA movie contest was held some time ago in which each contestant was to produce a complete picture on 25 feet of 8mm. or 50 feet of 16mm. film. The subject matter was left to the choice of the individual. A new blue and silver streamlined train had just started to run. Here was just the right subject for a film. We planned a short scenario and\nWe obtained the necessary shots. With two opportunities each day as the train passed through early in the morning and at noon, work prevented the noontime shots, resulting in several trips into the countryside. It seemed like a hardship but the results were worth the effort. Once a sufficient number of railroad shots had been acquired, only a few actors were required to finish the picture. We asked our maid if she could press a few children into service to play the parts. The next day, we received a response: \"Lawsee,\" she said, \"you'd have to hire a bus to hold all the children that want to act in your movies.\" Upon arriving to pick up the children, we noticed dark faces and the whites of inquisitive eyes peering from windows and doorways.\nOur destination was a seldom-used railroad track. The film was titled \"Perils of Paul.\" The story opened with two colored boys thumbing a ride on the roadside. (Continued on Page 381)\n\nFor lighting equipment, as sole distributors east of the Mississippi, we carry the full and complete line of latest-type Inkie and H.I.-Arc equipment manufactured by Mole-Richardson, Inc., Hollywood - California. Your requirements for interior or exterior locations taken care of to the last minute detail anywhere. Motor generator trucks rentals sales service. Charles Ross, Inc. 333 West 52nd St., New York, N. Y. Phones: Circle 6-5470-1\n\nOctober, 1943 \u2022 American Cinematographer\n\nComing: A book on the principles of exposure that establishes new horizons in photography. A new approach to exposure control.\nUntil you have read this book, you do not understand exposure. The first book to show all factors concerned in exposure control. The book with all the answers regarding exposure principles. Now being printed. Release date about October 15 (including postage). Place order now for early delivery. PHOTO RESEARCH CORP. 15024 Devonshire St., San Fernando, Calif. Manufacturers of the Norwood Exposure Meter. Lorivood. Hands are nice. Tried to get her to either do something with her hands or hide them plausibly? Simple portraiture is the matter of studying one's subject, then shoving lights around until the general effect accomplishes a result which pleases the photographer at the moment and stimulates the hope that he will be accorded some agreement when she looks at the proofs. Up to this point, the problem is not too great.\nComplicated. One meets varying interpretations of cooperation, depending upon whether the situation takes place off stage between takes or in the gallery after a long day on the sets. Amazingly, most of our film girls take punishment under certain circumstances that would tax the physical, if not the temperamental, stamina of more robust males. But portraiture is not always simple, even with most of the elements in one's favor. Photography of the human form divine discloses the distressing fact that divinity represents an ideal which is but loosely interpreted in substance! A young girl, who has survived a screen test, is known to possess most of the physical attributes which correspond to the current appraisal of \"pulchritude.\" The less tangible but more important quality, charm, is one that cannot be measured.\nCultivated consciously, nor any director in the world can wheedle, cajole, or shout it into existence. The amazing thing is that even when these girls possess charm, as well as other qualities of beauty, most of them do not know what to do with their hands when they get before a still camera.\n\nIn actual operative practice, lighting of the face takes priority. Posing the subject is a cross between what the photographer wants and what he gets. Results are a compromise, limited to only three considerations \u2014 time, disposition, and the boundaries of eight by ten. Disposal of hands is therefore a problem of either not showing them at all or including them in such a way that they shall appear either expressive or attractively functional. Expressive hands need not be actually beautiful from a purely physiological view. They can reflect emotion.\nA person should reflect any character they have, and I've found the least difficulty in photographing girls with dance training. Not the \"rug cutters,\" but genuine disciples of Terpsichore. They have learned that \"every little movement has a meaning.\" One need only think of Ruth St. Denis to understand what I mean.\n\nWhen a hand must be shown as an accessory, my aim is to minimize its breadth. This is achieved by never allowing it to be shown \"full face.\" It is usually comfortably or naturally dropped in the lap, palm uppermost. Or it can be draped at the waist, with most of the fingers backstage, or positioned to show it \"on edge.\"\n\nHands should never intrude into a picture beyond the point of offering the consciousness that they are a part of it.\nI cannot ignore the circumstance that the Hays censorship office has never deleted pictures of seductive hands.\n\nBuy More Bonds\n\nNew AFGA Ansco recently announced War Production Board approval of the erection of a new $1,000,000 addition to its film plant in Binghamton, NY. Construction has already begun and schedules call for the new plant to be in production late next spring.\n\nThe addition, 25 x 450 feet, in three and four story sections, will house a new film coating unit which will materially increase coated production and enable the company to supply still larger quantities of film to the Army and Navy.\n\nAmerican Cinematographer \u2022 October, 1943, p. 379\n\n(Continued from Page 359)\n\nComponent units could hardly be blamed that they did not produce the specialized equipment.\nA group of us, under the general sponsorship of the Research Council of the Academy of Motion Picture Arts and Sciences, decided to attempt to get the industry's process specialists and various manufacturers and engineers involved together, to address the issue of the small market and individualized preferences in film equipment production. The market was too small, and customers had unique preferences that did not permit even pseudo-volume production, common in the manufacture of ordinary professional cameras and projectors. One studio might prefer Bell & Howell type movements for their projectors, while their neighbor across the fence might demand Mitchell-type registration. What one expert liked in a lamphouse or lens, the next man might condemn. The manufacturer simply could not afford to assume the expense of engineering a product of which they might sell only two or three single units.\nWe should attempt to establish industry-wide standards and specifications for transparency-shot equipment. This would enable manufacturers to produce equipment suitable for the majority of specialists in the industry. However, achieving this was not an easy task. Numerous personalities, professional suspicion, and \"trade secrets\" were involved. Eventually, we gathered all the leading process-shot specialists in the industry, along with the best engineering brains from the firms manufacturing cameras, projectors, lenses, arc and incandescent lamp-houses, and so on. Initially, the committee sessions were akin to a gathering of rival and highly suspicious tomcats. No one wanted to make the first move, and no one wanted to be the first to withdraw.\nBut finally, as one or two of us began to make completely frank statements about our methods, plans, and problems, the others saw the advantages of wholehearted cooperation, and the committee became a fully cooperative unit. We threshed out each problem extensively from every angle. I reported to a previous convention some two years ago that we set up a series of specifications for equipment. These specifications included basic specifications, which represented definite requirements; auxiliary specifications, which were desirable methods of meeting these requirements; and accessory specifications, which indicated desirable, but not indispensable, features. Up to this point, the project represented over 2,000 man-hours of technical effort and combined the views of approximately 50 experts in the field of process projection cinematography.\nThe specifications were beyond our immediate requirements, seeming over-optimistic for completion. The project began in 1938, with approvals in 1939. This year, the first complete equipments built to these specifications have been delivered and placed in service. Details of this equipment will be presented later. I would like to state here that manufacturers have met all specifications and exceeded them in some instances. At Paramount Studio, we now operate four of these Academy Standard equipments. Several more are on order, but their delivery may be delayed \"for duration.\" Each equipment forms a complete unit for conventional single-head transparency.\nThe encyclopedia projection offers illuminating power and convenience absolutely unknown hitherto. Any one of these \"singles\" permits us to make shots \u2013 either in black-and-white or in Technicolor \u2013 that previously required double- or triple-head projection. For scenes demanding greater scope, any three of the new heads and any three of the new lamphouses can be assembled into an extraordinarily efficient triple-head equipment by removing them from their usual bases and attaching them to our new standard triple-head base. In this triple-head work, as I believe has been explained in papers presented at previous conventions, three complete projection mechanisms are used. The center one faces directly toward the screen; the two outer ones face inward, and their images are reflected to the screen.\nThe text describes a process of projecting three superimposed images onto a screen using front-surface mirrors, increasing the intensity of illumination. Manipulating the intensities of the light sources or background prints allows for control over the composite image's intensity. The text also mentions the elimination of image problems and the third annual still photography show of the Academy of Motion Picture Arts and Sciences in October 1943.\n\nCleaned Text:\nThe three images are accurately superimposed on the screen using front-surface mirrors, effectively tripling the intensity of illumination. By manipulating the respective intensities of the three light sources or the densities of the three background prints, a very considerable degree of control over the intensity of the projected composite image is possible. The superimposition of the three images also tends to eliminate image problems.\n\nThe third annual Still Photography-Show of the Academy of Motion Picture Arts and Sciences will be held in October 1943.\nHeld Nov. 26, 27, 28. As in the past two shows, only industry film lensers will be qualified to enter pictures. At a meeting of still photographers and Academy and union officials, the following classifications were agreed upon: Best portrait, male (close-up), female (close-up), of more than one person (close-up), best character study, male, female, best posed production still, in a studio with studio control of conditions and lighting, outdoors, predominantly natural light. Best action production still: posed in studio with studio lighting; unposed in studio, with studio lighting, posed outdoors, unposed outdoors; best glamour picture, best candid shot, best poster art, best fashion study, best pin-up art of the year, best picture in relation to the War effort. All still pictures photographed between January 1, 1942, and December 31, 1942, will be eligible for competition.\nEligible for consideration. Announcement of various committees, prizes, and location of the exhibit will be announced later.\n\nNew B. & H. Superintendent\nThe Bell & Howell Company announces the appointment of a new General Superintendent for their Larchmont Avenue Plant in Chicago. He is Mr. I.G. Wilcox, recently the Superintendent of Parts Manufacture at the Rockwell Plant, formerly engaged in time study, fixture sketching, inspection, and production work. Mr. Wilcox has been with Bell & Howell continuously since 1926.\n\nRailroad Ramblings (Continued)\nCars passed them by, so they wandered off to the railroad and started to walk the rails. The larger of the two made the best progress and was soon leaving the smaller boy behind. The smaller boy stumbled and caught his foot in a switch, and the trouble started. While he was pulling frantically and calling for help, the larger boy continued on.\nThe scene changed for him. We see the new streamliner starting from the station and gaining momentum as it travels through each scene. Cutting back, we find the larger boy racing to aid his companion. The train is roaring through successive scenes as we cut back and forth between the struggling boys and the train. Finally, the larger boy, unable to free his companion, puts his arm around the smaller boy and raises his other arm to cover his eyes. In the next scene, we see the train rushing head-on toward the camera, and, as it comes upon us, a title flashes on the screen, \u201cWill he get free?\u201d \u2014 then the next title, \u201cContinued next contest.\u201d\n\nWell! What did you expect on 25 feet of 8mm film \u2014 a full-length thriller?\n\nTHIS HANDY COUPPON BRINGS YOU FULL PARTICULARS WITH YOUR ENTRY BLANK $\n$ ideas IDEAS 8MM MOTION PICTURE CAMERA &\nPROJECTOR DESIGN COMPETITION\n\nYou who know what you want in the next motion picture camera you buy - what you think will simplify and perfect the operation of your next 8MM motion picture camera & projector - this is YOUR OPPORTUNITY to share $1500.00 in U.S. War Bonds (maturity value) that DeVry Corporation will award those who contribute the best and most practical ideas for TOMORROW'S 8MM MOTION PICTURE CAMERA & PROJECTOR.\n\nWhat should this camera look like? How should it be equipped? What style projector do you prefer? How may its operation be simplified, perfected?\n\nPROJECTOR: ventilating system (lamp house); optical system; film movement; reel arms; tilting device; film safety devices; take-up framing, focusing and shutter mechanisms, etc. Can you suggest particular developments of these features?\n\nCAMERA: (single or turret lens mount) view finder.\nfinder: shutter, footage indicator; loading mechanism; winding key; exposure guide; lens mount; focusing; single frame release mechanism\nSubmit YOUR IDEAS in rough or finished drawing \u2014 with brief comments if you desire. You may want to enter working model of a part. Drawing or designing skill is secondary. the IDEA is what counts. But mail the coupon today for complete details \u2014 award amounts \u2014 Official Entry Blank. No obligation. Competition closes midnight, Dec. 31, 1943. DeVry Corporation, 1111 Armitage Ave., Chicago.\n\nBUY WAR BONDS!\n\nSound Equipment\nAilva\nFOR 30 YEARS AN OUTSTANDING NAME IN THE CINEMATIC WORLD\nW.C. DeVry, President DeVry Corporation\n1111 Armitage Ave., Dept. AC Chicago 14, USA\nName _\nAddress _\nThe Radiant Manufacturing Corporation have caught the spirit of the times with the illustration on the front cover of their new catalog, which is shown above. The company announces that the WPB has permitted them to release a limited number of metal screens for essential activities.\nBuy More Bonds\nAmerican Cinematographer \u2022 October, 1943\nBuy More Bonds\nA Long-Term Investment\nB&H Taylor-Hobson-Cooke Cine Lenses will serve you for many years, because they anticipate future improvements in film emulsions and exceed current technical demands. Write for literature. Buy War Bonds\nBell & Howell Company\nExclusive world distributors\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. La Brea Ave.\nWashington: 1221 G St., N.W.\nLondon: 13-14 Great Castle St.\n\nEvolution of Transparency (Continued)\n\nThe grain, which is further minimized by the use of fine-grain film stocks in making these prints, is significantly reduced. Some idea of the advantages we have gained through this triple-head technique and the more recent addition thereto of the greatly increased efficiency of the Academy Standard units, can be gained from the following figures. A few years ago, when we first required extremely powerful process-projection equipment for use in a Technicolor picture, we used what was then the most powerful single projection unit in the industry, the very fine one owned by Selznick Productions. This was so outstanding that it had received an Academy Award.\n\nBy actual measurement, this outfit enabled us to give our screen an illumination of 1,200 foot-lamberts, while the same scene, when photographed with the new triple-head system and projected with the Academy Standard units, gave an illumination of 2,500 foot-lamberts. This represents an increase of 1,300 foot-lamberts, or approximately 108 percent. The improvement in color rendition is even more striking. The old unit, which was capable of producing 120,000 colors, was surpassed by the new system, which is capable of producing 250,000 colors. This represents an increase of 117 percent in the number of colors that can be reproduced.\n\nThe triple-head system, which is used in making the final prints, consists of three separate heads, each of which is capable of recording and reproducing the three primary colors - red, green, and blue - with a high degree of accuracy. The Academy Standard units, which are used for projection, are equipped with three separate lamps, each of which is capable of producing the primary colors with a high degree of purity and intensity. The combination of these two systems results in a final print that is not only brighter and more colorful, but also more faithful to the original negative.\n\nThe use of the triple-head system and the Academy Standard units has revolutionized the Technicolor process, making it possible to produce pictures of unprecedented brilliance and clarity. The advantages of this system are not limited to Technicolor pictures alone, but are also applicable to black-and-white pictures, which can be made to look better than ever before by the use of fine-grain film stocks and the increased illumination provided by the Academy Standard units.\n\nIn conclusion, the evolution of transparency in motion pictures has been a long and fascinating process, marked by many important milestones. The development of fine-grain film stocks, the triple-head system, and the Academy Standard units have all played a crucial role in this evolution, enabling us to produce pictures of unprecedented brilliance and clarity. The future of motion pictures looks bright indeed, and we can look forward to many more exciting developments in the field of transparency.\nWe developed our own first triple-head equipment, comprised of the best units available before the present Academy Standard equipment became available. This allowed us to work successfully on a 24-foot screen with an illumination of some 50,000 lumens in black-and-white. Today, with the Academy Standard triple-head equipment, we have worked successfully on a 36-foot screen in black-and-white and on a 24-foot screen in Technicolor, with a screen-illumination of 24,000 lumens for black-and-white and 50,000 lumens for Technicolor. It would seem that this would represent an ideal condition in transparency projection process work. However, the demand for greater and still greater scope keeps crowding the heels of technical developments, making it already inadequate in at least one instance. In making several recent productions, we have had the problem.\nIn some highly important, large-scale sequences, we used a projected background in Technicolor. Due to the demands of stories, action, and setting, screens of 24 feet in width - or even 36 feet, the largest available - would have been inadequate.\n\nFor instance, consider the case of a Forest Fire picture we were making in color. We finally compromised on a total spread of 48 feet of background-screen width! More would have been desirable, had we been able to obtain it.\n\nTo achieve this, I believe one of the largest projected process-shots thus far attempted, in either monochrome or color, we used two triple-head equipments, projecting onto adjoining screens each 24 feet wide. For one of these, we employed our own Academy Standard triple unit. Since we did not have enough of the new heads to assemble it completely, we had to use a combination of old and new technology.\nTo assemble another complete triple, we used another triple, constructed by R.K.O., largely to the new standards. With these, we obtained our shot, most successfully. However, the demands for future productions are already urging us to surpass these. We have just completed a number of dual-triple color shots.\n\nIn making these shots, the projectors are never less than 70 feet from the screen, and often 100 to 150 feet distant. This fact may help to explain to those of you who have not been so intimately associated with studio transparency process-projection work, something of the need for extreme precision in designing equipment for this service. When you magnify a single-frame motion picture image 1x1.5 inches in size to fill a screen 27x36 feet, you are at the same time magnifying every mechanical and optical imperfection in the equipment.\nThat projects it. In effect, this enormously-magnified picture is at the long end of a lever-arm 100 feet or more in length. Any irregularity of film-registration and the like in the original film or its passage through the projector will be disproportionately enlarged on the screen. It will show up as doubly defective in comparison to the steadiness of the actual foreground action as photographed by a modern studio camera. With the foreground steady, and the projected background portion of the scene badly unsteady, all illusion of reality would be lost in the composite scene.\n\nIt is a pleasure to report that even though at the start of the project some of our specifications and tolerances seemed almost unattainably high to the manufacturers involved, they have in every case been equaled.\nThe convenience and precision of operating these new units should not be overlooked. The design has been developed to give as nearly as possible foolproof, and in some instances automatic operation in every way possible. Synchronizing of camera and projector, for instance, is automatically assured. Focusing is effected from camera position, by remote control. (Octobex-, 1943) Mr. J. P. J. Chapman, Bournemouth, England, shares his ideas regarding what is needed in an ideal post-war camera and projector. We sincerely hope other readers will pass along their ideas too, for publication in this magazine.\n\nDear Sir,\n\nI read with interest your remarks on the new units. The design should provide foolproof and in some instances automatic operation. Camera-projector synchronization is automatically assured, and focusing is controlled remotely from the camera position.\nLens Equipment: Four mounted on a revolving head, designed so the longest doesn't shadow any other. Quickly demountable with optical units arranged for lenses to be cleaned inside.\n\nSpring Run: One hundred feet at the very least.\n\nDirect Image Focusing: A better system required, with provision for cleaning the ground glass screen.\n\n\"Gadgets\": All those found on most good cameras, such as the Kodak Special.\n\nGate: Easy of access, quickly demountable for cleaning.\n\nFilm Track: Without excessive bends and twists.\n\nFinish: Good and serviceable hard.\nWearing a surface. Chrome-plating is not suitable in sea atmospheres. There are plenty of other metals; a dull finish is better.\n\nTripods: \u2014 An important extra, it can well be included. They are usually expensive and flimsy. A really good one, with a non-sticky head, is greatly desired.\n\nS.O.F: This would appear to be already well catered for.\n\nProjectors: \u2014 Nearly all substandard machines have many faults.\n\nFrame or Body: \u2014 Generally made of aluminum or Dow metal, frequent demounting wears out threads. There should be hard brass inserts.\n\nMachine Parts: \u2014 Could be of more suitable material, and where steel is concerned, harder. Too great an effort has been made to produce a highly compact \u201cpretty\u201d result, with consequent sacrifice of efficiency and quality. Design has not been considered, too many parts have to be taken adrift to replace.\nA faulty unit. Film track: feed in and out should have as few sharp bends and twists as possible. Take-up: slipping belts are a poor compromise. A clutch which can be adjusted while running should be incorporated. Gate: rapid demounting and reassembly, with 100% accessibility to all parts. Edge grip on film. Picture shift mechanism, this covers the gate remarks equally. Single claw is not sufficient; I favor the octa-cross. Volt or ammeter: should not be in lamp-house, but mounted at side with pea light. Provision should be made that this is not overloaded if lamp blows, i.e., when machine is fed through a resistance from a high voltage line. Blower: this soon dusts up, and cleaning is difficult. It should be de-mountable so that it can be washed in a suitable fluid. Controls: need individualization. General: as 16mm. has passed the.\nThe nursery stage will result in a design revolution, incorporating 35mm features. The 8mm cannot be easily incorporated at present. The final decision rests with demand and production costs. This is intended as a letter, not an article, so many aspects have been glossed over. Improvements are needed in 16mm sound. Sound Heads and Amplifiers require attention.\n\nWith best wishes,\nJ. P. J. Chapman\n\nWarners opens Syrian office\nA new branch office is opening by Warners in Beyrouth, Syria, managed by George Mamri. The territory is under the supervision of E. De Leon, manager of Warners Cairo office.\n\nAuricon\nSOUND CAMERA for 16mm sound - on - film\n\u2605 High Fidelity Sound\nSelf-contained in sound proof \"blimp.\" Minimum equipment; maximum portability. Camera and Amplifier, complete, weigh only thirty-seven pounds. Kodachrome or black and white pictures with Auricon sound track will reproduce on any sound-film projector. Can be operated in the field from an Auricon Portable Power Supply. Auricon Camera with type \"C\" lens mount (but without lens) and Amplifier complete with microphone, instructions, and cases\n\nAuricon 16 mm Recorder\nVariable-area sound on film, for double system recording with a synchronous motor driven 16 mm. camera. Amplifier has background-noise reduction and mixers for combining speech and music. With dynamic microphone, instructions and cases for Recorder, Amplifier, Accessories ... $695.00\n\nA Auricon 16mm. sound-on-film recorders and cameras are serving the Nation's War effort with Military and Government applications.\nFilm Units and civilian organizations producing essential morale and industrial training films. If your work in such fields makes you eligible to purchase new equipment, we invite you to let our engineers show you how Auricon portability and professional performance will simplify your recording problems.\n\nAuricon Corporation.\nE.M. Berndt Corp.\nS515 Sunset Blvd., Hollywood, California\nManufacturers of Sound-on-Film Recording Equipment Since 1931\nFor Rent\n\nAnimated Cartoon Equipment\n35MM. Successive Frame Three-Color Cameras\nAcme Tool & MFG. Co.\n2815 W. Olive Avenue, Burbank, California\n\nAmerican Cinematographer \u2022 October, 1943\nGlamour in Industry\n\nCraftsmen\nJoin these skilled men\nThe production line of \"GOERZ AMERICAN\" is formed by these skilled men, who through painstaking work create high-grade photo-lenses and optical units for photography.\nmilitary instruments used by our armed forces,\non Land, on the Sea, in the Air,\nthese precise optical units are of great importance to our armed forces, for without accurate military instruments for sighting, fire control and photographic aerial reconnaissance, their fighting machinery would be of little value to them.\nOptical science together with our craftsmen, doing their duty on the job in the production line, will hasten victory.\nOur production is keyed to fill the requirements of our Government, and of others on orders with priority certificates.\n\"GOERZ AMERICAN\u201d lenses for civilian use will again be available after Victory.\nTo hasten Victory,\nINVEST IN WAR BONDS,\nC.P.GOERZ AMERICAN OPTICAL CO.\nOffice and Factory\nPrecision Optics\nSixth Sense in Film Mechanics\n(Continued from Page 361)\nThe sketch of a landscape can be \"heard\" now. Musical harmonies are based on mathematical proportions present in the lines of Michaelangelo's masterpieces. Leonardo da Vinci and all the great masters of the Renaissance expressed their perception of the inner harmony of their works, as if they were touching the strings of some unknown musical instrument. The creations of these old masters give us the key to the golden door of a new sound world.\n\nFrom Egypt's pyramids, obelisks, temples, and statues along the centuries, down to the modern structures of Paris, London, Amsterdam, and New York, sleeping melodies, symphonies, reveal the secret that the creation of human genius can not only be seen, but also heard.\n\nThere is a sacred pastoral melody in the mountain ranges of California.\nThere is a song... not as the composers envision it in their inspiration, but of the music that the architects, engineers, and brick-layers left in the lines of Manhattan's skyscrapers. They shall be heard.\n\nSpencer Announces New Test Chart\n\nThe Spencer Company, Mount Vernon, New York, announces a new photographic test chart. This chart measures 16x22 inches and is printed in the full color scale. It can be used anywhere to test lenses of any type, focal length, or speed, for any of the usual faults. The chart sets up tests for determining resolving power, color rendition, and accuracy of speed ratings. Tests for flatness of field, linear and spherical distortion, astigmatism, and other lens faults can be made. With this chart, optimum aperture (the best opening to use) may be found for each lens.\nFilters: factors can be established, along with filter characteristics determined. Effects of supplementary lenses can also be checked. A monochrome step-wedge on the chart may be used for making grey scales, as well as for checking exposure and developers, and for measuring gamma with sufficient accuracy for practical photography.\n\nCamera Supply Company\nArt Reeves\n1515 North Cahuenga Boulevard\nHollywood, Cable Address \u2014 Cameras, California\nEfficient-Courteous Service\nNew and Used Equipment\nBought \u2014 Sold \u2014 Rented\nEverything Photographic, Professional and Amateur\n\nHollywood has no corner on beauty and glamour \u2014 this is proven by the accompanying picture of Stella Pecelj. M-G-M likes it so well, they've asked Stella to come in for a screen test!\n\nStella's picture inaugurated a new feature \u2014 the Pin-Up Girl \u2014 in the July issue of the Finder, the employee magazine of\nThe Bell & Howell Co., makers of motion picture equipment and optical devices, are now producing 100 percent for war efforts. The magazine is mailed regularly to the hundreds of Bell & Howell former employees who are now in the armed forces.\n\nStella works in the Purchasing Department at Bell & Howell - one of the women on the home front, fighting the battle of production - one of the women behind the men behind the guns.\n\nOur Men Need\n* Books *\nAu You Can Spare\n\nOctober, 1943 - American Cinematographer\n\nHenriksen Promoted\nCarl Henriksen, of the Bell & Howell Company, Chicago, Illinois, has been promoted to the Chief Production Methods Engineer post at their Rockwell Plant.\n\nMr. Henriksen started with the Bell & Howell Company in 1922 as a toolmaker, in which capacity he served for six years. A transfer to the tool designing department followed in 1928. He then became a production foreman in 1933, and was later promoted to the position of production superintendent in 1937. Mr. Henriksen was appointed as the manager of the Rockwell Plant in 1941.\nThe department was established in 1928, and from there, he was promoted to Chief Tool Engineer in 1932.\n\nRuby Camera Exchange\nRents, sells, and exchanges everything you need for the production and projection of motion pictures. Provided by a veteran organization of specialists.\n\nIn Business Since 1910\n729 Seventh Ave., New York City\nCable Address: RUBYCAM\n\nTelefilm\nDirect 16 mm\nSound\nUsed by:\n- Douglas Aircraft\n- General Electric (Welding Series)\n- Boeing Aircraft\n- North American Aviation\n- U. S. Dept, of Interior\n- U. S. Dept, of Agriculture\n- Santa Fe Railroad\n- Washington State Apple Commission\n- Standard Oil of California\n- Salvation Army\n- Many Others\n\nA Better Job Faster- More Economical!\n\nTelefilm Inc.\n6039 Hollywood Blvd., Hollywood, CA\nGladstone 5748\n\nCameramen in Uniform\n\nActual contact made only by aircraft.\nThe case in the Coral Sea battle was such. An attack is sudden and short-lived, especially if your own fighter planes are on the job. An exciting dogfight is out of camera range in seconds. The crash of a Zero is just a plume of smoke on the horizon. Several days after the Coral Sea battle, the admiral in command of our Task Force ordered my ship to proceed to an Australian port. But for a bit of luck, I would have ended up there instead of returning to Pearl Harbor as I had planned. Our ship had a badly damaged plane, and a replacement from a sister cruiser was ordered. Since a boat would return the aviator to his ship, I quickly received permission to transfer to the ship which would return to Pearl Harbor. With but minutes to strike the cameras and pack, I found myself bobbing around in the none too calm waters.\nand sub-infested waters of the South Pacific in a boat no larger than a cockle shell, or so it seemed, loaded to the gunwales with the returning aviator, a news correspondent, my enlisted man, the boat crew, and all our camera and personal gear. It wasn't until after we had been hoisted safely aboard that I learned that just a few weeks before, a boat from this same ship had engaged in a similar transfer and had capsized, spilling two new photographers into the drink and losing their equipment.\n\nOn my return to Pearl Harbor, I learned that Comdr. John Ford had stolen a march on us and with one photographic specialist had personally photographed the Jap bombing raid on Midway Island. With his film and that shot by Lieut. Kenneth Pier, the battle of Midway, I was flown via Clipper to Hollywood to prepare for the Navy Department a blowup to 35mm.\nThe 16mm Technicolor Kodachrome film's first screening revealed a disturbing fault. The violent concussion of exploding bombs caused the film to jump out of the camera aperture, but fortunately, it regained its normal frame after a few feet. At first, the film didn't seem usable, but since no other film of the explosions was available, we put them in as they were. The result, as seen in the public release of \"The Battle of Midway,\" caused considerable comment by several Hollywood technicians who thought we had done this optically to produce the effect. Combat photography is extremely difficult and trying. The cameraman in uniform must be patient yet ever alert, for when things happen, they happen fast and with no chance of a second take. You risk your neck and at best, the footage may be ruined.\nResults on the screen are not likely to be as spectacular as the effects produced every day in Hollywood. As one old Naval Officer put it, \"You guys must be braver men than we, or else just plain nutz.\" I am sure the latter part of the quotation was his opinion. But photography has proven its strategic value and is playing an ever increasing part in the winning of the war.\n\nGraflex owners! Now you can enjoy speed flash photography! Kalart engineers have perfected a method of synchronizing the focal plane shutter of your Graflex camera at speeds above 1/500th second. Write for full information and costs.\n\nThe Kalart Company Inc.\nDept. 110 Stamford, Conn.\n\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n995 Merchandise Mart\nChicago\n\nMovolia\nFilm Editing Equipment\nUsed in Every Major Studio\nIllustrated Literature on Request\nManufactured by General Service Corporation Moviola Division 1449-51 Gordon Street Hollywood, CA 28\n\nEvolution of Transparency (Continued from Page 362)\n\nMay be panned and tilted with the freedom of a camera, and with perfect precision.\n\nWhere hitherto these background projectors have been at least as noisy as the average theatre projector, and necessarily had to be operated only from within a bulky, soundproof booth when shooting sound, the new Academy Standard units have been silenced to a degree comparable to the noise-output of a modern, blimped studio camera. Taking noise measurements at the usual 45-degree positions about the projector, at:\n\n4516 Sunset Boulevard\nAmerican Cinematographer \u2022 October, 1943, p. 385\n\nThe evolution of transparency continues. The new Academy Standard projectors, which have been causing quite a stir in the industry, offer several advantages over the old-fashioned background projectors. Not only can they be panned and tilted with the freedom of a camera, and with perfect precision, but they have also been silenced to a degree comparable to the noise-output of a modern, blimped studio camera. This means that they can be operated in the same room as the camera during sound recording, a significant improvement over the bulky, soundproof booths required for the older projectors.\n\nNoise measurements taken at the usual 45-degree positions about the projector reveal that the new Academy Standard units are a vast improvement over their predecessors. The reduction in noise levels will undoubtedly make film production a more efficient and less stressful process for cinematographers and sound technicians alike.\nA distance of 6 feet, using a meter with a 40 dB ear loudness weighing characteristic, calibrated with respect to the standard reference noise level of 10-16 watts per square centimeter, the noise level of one of these new machines is below 34 dB. These are not mere conveniences in operation. They add significantly to the productive capacity of the machines. With less convenient types of transparency process projectors, with their less convenient controls and the added bulk and complication necessitated by the large soundproof booths, we could not work particularly fast; two or three set-ups of \"A-picture\" quality were a good day's work. Today, with the new units, we find we can work our projectors with all the speed and facility of any camera! Even with two triple-head projectors and in Technicolor, our work progresses swiftly.\nThe production record demonstrates that we produce five to a dozen sets up daily. In other words, despite the added complications of triple-head operation, the new equipment has enabled us to produce two to three times as many shots per day as was previously possible. Looking to the future, the fact that the fifty members of this committee were able to cooperate in drawing up industry-wide standards, and that the executive heads of several studios (not least of which were the officials of my own studio, Paramount), had sufficient confidence in the judgment of their technicians to back that judgment with large orders for the actual equipment, so the manufacturer could find it economically possible to engineer and build units to these high new standards, is bound to have a significant impact.\nThe proof of incalculable value to the industry in the years ahead. The war's effect on production is long-established. Location trips are less and less practical. All coastal areas are in restricted combat zones, and photography, even under strict military supervision, is virtually impossible. The demands of the military services have already made a very noticeable drain on our trained studio personnel, and this drain will increase. Yet we must make pictures; they are vital and essential to the preservation of civilian morale in wartime. In the production \"For Whom the Bell Tolls,\" we made most of the medium and close-up shots, comprising over 286 set-ups, most of which are in the finished release print. We recently had five out of eight companies shooting in one day doing transparencies, and utilized altogether eight equipment.\nThe answer is partly to be found in constantly increased use of transparency process-shots, and of a constantly-expanding scope. Speaking with the utmost conservatism, it is safe to say that the fact that we now have this perfected equipment available in at least some studios has proven to be one of the industry's most valuable assets in continuing production during the difficult days we are going through and that are ahead.\n\nClassified Advertising\n\nFOR SALE\n16 mm Sound Projectors: Bell Howell Model 130, 1200-watt Auditorium, very fine, $425; several other Bell & Howell and Ampro machines, write for literature and prices.\n\nCameras: 16mm Bolex equipped with ret 8, new, with case, $150.00; 8mm Bell-Howell Companion, with f :1.9 lens and wind-\n\n(Note: The above text has been cleaned of meaningless or completely unreadable content, as well as modern editor additions. The original text structure has been preserved as much as possible.)\n[Bak device, $75.00; 8mm. Bolex, equipped with Laack f:1.3 lens, new, $250.00; Bell-Howell Model 70 with Cooke f:3.5, having spider turret, $1.50; Eastman 3\" f:4.5 for Cine Special, $48.00; Wide Angle lens for any 8mm camera, with view finder, new 1%\" f:3.5 Wollen optics with adapter for all 8mm cameras, $45; 14\" Dallmeyer f:4, new, for 8mm cameras, $50.00. We have Bell-Howell 2000' reels, 1600' reels and other makes 1200' and 800' reels for immediate delivery. Also a few view finders for 8mm and 16mm Bell-Howell cameras. Complete stock of Bell-Howell filters, Bell-Howell 3x4 and 4\" projection lenses, and projection lamps for 8mm and 16mm projectors and slide projectors. Immediate delivery of new 314X4x4 Speed Graphics, and many other fine still cameras. Write today for what you need.\n\nNational Camera Exchange. Established]\nEstablished at 86 South Sixth Street, Minneapolis, Minnesota. We buy, sell, and rent professional and 16mm equipment, new and used. Distributors for all leading manufacturers. Ruby Camera Exchange, 729 Seventh Ave., New York City, established since 1910.\n\nImproved duplex 35mm printer, with two Bell-Howell Cams and Shuttles. Perfect registration for color or black and white, and process plates. Also Bell-Howell Step Printer with Registration Pins ideal for duplication.\n\n35mm Holmes and DeVry Portable Sound Projectors. Hollywood Camera Exchange, 1600 Cahuenga, Hollywood.\n\nFord 1% ton Sound Truck equipped with the latest Blue Seal noiseless variable area recording equipment, 220 volt, 3 phase generator for motors, battery charger, RCA and W.E. microphones. Complete, ready for operation. Also stock of synchronous and Selsyn motors. Blue Seal.\nFOR SALE\nOPTICAL SOUND REDUCTION PRINTER, $1075.00\nPICTURE REDUCTION PRINTER, $1250.00\nBELL-HOWELL SINGLE PHASE SYNCHRONOUS CAMERA MOTOR, $100.00\nRCA GALVANOMETER STRING VIBRATORS, $5.00 (3 PHASE CAMERA MOTORS)\n35 mm OR 16 mm SOUND PROJECTORS, CAMERAS, PRINTERS, RECORDERS: RCA MITCHELL, MENT GLOWLAMPS, $9.50\nDUPLEX 35MM converted sound and picture printer, $425.00. S.O.S. Cinema Supply Corporation, New York\nDUPLEX 16mm converted sound and picture printer, 16mm continuous sound and picture projector, Holmes Auditorium 16mm sound projector on pedestal. Trades accepted.\nCamera Mart, 70 West 45 Street, New York City. Trading Offers\nTarget Pistols, revolvers, automatics, accepted in trade on all types of photographic equipment. National Camera Exchange.\nEstablished in 1914, 86 South Sixth St, Minneapolis, Minnesota.\n\nWanted:\nWanted to buy for cash:\nCameras and accessories\nMitchell, B & H, Eyemo, Debrie, Akeley\nAlso laboratory and cutting room equipment\nCamera Equipment Company\n1600 Broadway, New York City\nCable: Cinequip\nWe pay cash for everything photo-graphic. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\nWe buy\u2014sell\u2014trade all motion picture equipment, sound and silent. Send your list. The Camera Mart. 70 West 45th St., New York City.\n\nOctober 1943 \u2022 American Cinematographer\n\nBetter than ever\nThe high quality and exceptional uniformity of Eastman motion picture films have not only been maintained but have been improved under the tremendous pressure of wartime production\u2014a real triumph of precision manufacturing. Eastman Kodak Company, Rochester, N. Y.\nJ. E. Brulatour, Inc., Distributors Fort Lee Chicago Hollywood Eastman Films American Cinematographer October, 1943, p. 387\n\nOpti-onics is... optics... electronics... mechanics! It is the employment of all three to accomplish many things never before obtainable. It is the combination of three sciences to bring mankind new and untold extension of the senses of sight and hearing.\n\nToday, Opti-onics is a weapon! Tomorrow, it will be a servant \u2013 to work, protect, educate, and entertain. Opti-onics at Bell & Howell is a fitting development by an organization which pioneered in the design and manufacture of precision motion picture equipment \u2013 and was the first to give fine moving picture cameras and projectors to the amateur. Today, Bell & Howell Filmosound Projectors are used in training millions of fighting men and Bell & Howell.\nmovies cameras preserve the record of victory. Bell & Howell Company, Chicago, New York, Hollywood, Washington D.C., London. Established 1907.\nWhat Electronics gets, Bell & Howell lets you see... that\u2019s OPTI-ONICS.\n\nOpti-onics\nBell & Howell Bonds\nCopyright 1943. Bell & Howell Company, Chicago\nTrade-mark Registered\n\nThe morphone Picture\nA film soldiers want\nLapse-time for the Amateur\nNovember\n\nNov. -9 igy\nII wink tells the story\nHow Du Pont raw film stands up\nduring the period between manufacture and exposure\nis determined by aging tests conducted at the Du Pont Research and Control Laboratories.\n\nHere we see laboratory assistants operating a Stroboscopic Photo-electric Densitometer, an apparatus that simplifies and automatically improves the accuracy of density measurements used in determining speed and contrast.\nAn electric eye controls the winking of a stroboscopic lamp which shows the density readings on a calibrated disk revolving at high speed. The disk appears to be standing still because each flash of the lamp lasts long enough. The speed of the procedure is limited only by the operator's ability to note the reading.\n\nThe sensitometric properties of Du Pont \"Superior\" Motion Picture Film are constantly checked to assure a product of dependable uniformity.\n\nE. I. du Pont de Nemours & Co. (Inc.), Photo Products Department, Wilmington 98, Delaware.\nIn New York: Empire State Bldg.\nIn Hollywood: Smith & Aller, Ltd.\n\nDu Pont\nMotion Picture Film\n(fliPDjg) Better Things For Better Living . . . Through Chemistry\n\nThree. The man and his weapon.\nHe fights alongside his buddies as a regular soldier.\nAnd the extra job of filming battle actions is done by Eyemo Cameras. Many of these men have civilian experience as news photographers or in British and American film studios. Your eyemo is needed. ...for other victories! Special arrangements are being made in our service department to recondition all the Eyemo Cameras we can obtain for government use. You may have exactly the lens needed for an important military operation. If you will sell, fill out this information blank and send it to us.\n\n1. British Army cameraman filming bombardment in Libyan battle zone \u2014 protected from surprise attack by a Bren gunner.\nMonths before Tunisia ... before Casablanca fell ... Eyemos had already helped win the 'Desert Victory.' On earlier battle fronts, Eyemos, in skilled hands, had filmed the strategies and tricks and methods of the enemy.\nAnd in military camps a thousand miles away, grim young men watched and studied Eyemo films relentlessly, learning the lessons they held and later using them well to win vital \"Desert Victory.\" Eyemo filmed \"Desert Victory\" as well, in preparation for future victories on other battlefields, and every victory would plant the seeds of more and more, until the enemy was finally and completely smashed. Bell & Howell Company, Chicago; New York; Hollywood; Washington, D.C.; London. Est. 1907.\n\nEyemo goes aloft. Camera man climbs to bird's-eye view on observation post in Tobruk and hoists his equipment up after him.\n\nAll pictures courtesy of Official British War Film \"Desert Victory,\" released through 20th Century-Fox.\n\nEyemo Models P and Q\u2014 Three-arm\nFor the purpose of aiding the war effort, I am willing to sell my EYEMOS Camera, Model _, Serial No _. It has been modified as follows:\n\n* Optics is OPTICS . . ELECTRONICS . . MECHANICS. It is research and engineering by Bell & Howell in these three related sciences to accomplish many things never before obtainable. Today, Opti-onics is a WEAPON. Tomorrow, it will be a SERVANT ... to work, protect, educate, and entertain. ^Trade-mark registered\n\nI will sell this camera for $ _ an J pay transportation and insurance to Chicago.\n[This camera is: In good operating condition, Price above includes these lenses: Motion Picture Cameras and Projectors, Precision-made by Eastman Kodak and Leitz, I offer the following additional lenses at the prices shown here: Name and Address, Do Not Ship Until You Receive Instructions from Factory, American Cinematographer \u2022 November, 1943, Contents, Production Still of the Month by James N. Doolittle, Films Soldiers Want by Pvt. Peter Furst, Lapse-Time for the Amateur by Cooper Jenkins, Cinematographers Responsible for Agent\u2019s Success by Leon O. Lance, Invaders Learn to Surrender by Dr. Dimitri Marianoff, Matching Lens Diaphragm Settings by Charles H. Coles, 2nd Lt. A.C., Diary of a 10-Year Movie Maker by James R. Oswald, Electronics in Photometry by G. B. Harrison, Ph.D, F.R.P.S.]\n[Editor: Hal Hall, Technical Editor: Emery Huse A.S.C., Associate Editor: Edward Pyle, Washington Staff Correspondent: Reed N. Haythorne A.S.C., Military Advisor: Col. Nathan Levinson, Staff Photographer: Pat Clark, Artist: Alice Van Norman, Circulation: Marguerite Duerr, Advisory Editorial Board: Fred W. Jackman A.S.C., Victor Milner A.S.C., James Van Trees A.S.C., Farciot Edouart A.S.C.\n\nImproving Amateur Projection Technique by F. C. Moultrie (p. 410)\nAmong the Movie Clubs (p. 412)\n\nCover: Cinematographer Victor Milner A.S.C. and Director Cecil B. De Mille filming a scene for \"The Story of Dr. Wassell\" with Gary Cooper. The scene depicts a section of the waterfront at Tjilatjap, Java.\n]\n[Fred Gage, Dr. Herbert Meyer, Australian Representative, McGill's, 179 Elizabeth Street, Melbourne, Australian and New Zealand Agents, Published monthly by A.S.C. Agency, Inc., Editorial and business offices: 17S2 North Orange Drive, Hollywood (Los Angeles, CA), California, Telephone: GRanite 2135, Established 1920. Advertising rates on application. Subscriptions: United States and Pan American Union, $2.60 per year; Canada, $2.75 per year; Foreign, $3.50. Single copies, 25c; back numbers, 30c (foreign), $6e (back numbers), 40c. Copyright 1943 by A.S.C. Agency, Inc. Entered as second-class matter Nov. 18, 1937, at the postoffice at Los Angeles, California, under the act of March 3, 1879.\n\nNovember, 1943 \u2022 American Cinematographer\n\nTHE WORLD OVER\nand wherever free men fly to victory\n\nADEL stands for Design Simplicity]\nPETTM Simple Ontwarp 4-del' Seli Banawat 4-del' Khubsurat SINGAPORE DARWIN BA BA MAN HA CALCUTTA 4-del' JOHANNESBURG I BOMBAY 1 cJrUv OELRI add Prostota Konstrukcsii MSBOURNg SHANGHAI Omsk SYDNEY CAP6TOWN CAIRO BRISBANE Vladivostok MOSCOW Rabaul Tokyo 4-del' Nugrook Imalucktuk (n Einfeldni Uppdratfarim t) 4-del' Designer simple WEUINGTON Wake 4del' LONDON ACCRA KISKA 4deF Hea-oa lola hikt vale no NOME :klano Rhoenix t Fairbanks Honolulu Winnipeg SAN FRANCISCO A ADEL tos Angeles CHICAGO Dallas REYKJAVIK Frederiksdal Botwood Halifax o BOSTON o NEW YORK BERMUDA | WASHINGTON LISBON Azores Casablanca DAKAR 4-del' Feito sendlhamente NATAL Belem Monterrey Miami o HAVANA PORTO RtCO CARACAS 1/1 RIO JANEIRO a-aei Hecho senctUaraeme MEXICO CITY PANAMA BOOOTA Design Simplicity sums up in two words ADEUs\npolicy of (1) Reducing to simplest terras (2) Standardizing manufacturing with greatest precision. The result of this policy is top performance of ADEL equipment under every conceivable flying condition throughout the globe.\n\nSkills now 100% war-directed to mass production of electric, hydraulic, hydro-electric and mechanical accessories. After Victory, he turned to new and immeasurably better household, cinematographic and industrial equipment with the ADEL Trademark.\n\nVICTORY. tSAo a d e l * a g e\nBUY BONDS FOB VICTORY\nENGINEERING Offices Dallas. Texas \u2022 Dayton. Ohio \u2022 Detroit, Michigan \u2022 Hagerstown. Maryland \u2022 Seattle. Washington \u2022 Toronto. Canada\nAmerican Cinematographer \u2022 November, 1943\nPRODUCTION STILL OF THE MONTH By James N. Doolittle\nThis striking photograph is a scene from Three Russian Girls, starring Anna Sten and Kent Smith. Miss Sten was assisting a wounded soldier (Jack Gardner) from a field hospital being bombed when Mr. Doolittle got the shot. Three Russian Girls will be released by United Artists. It is a Gregor Rabinovitch production. It was directed by Fedor Ozep and Henry Kessler. Eugene Frenke was associate producer, and John Mescall, A.S.C., photographed it.\n\nNovember 1943 \u2022 American Cinematographer\n\nA foot-weary platoon of Medical Department soldiers, including this writer, was pitching tents under the burning noon-day sun in a Texas bivouac area. The men were carrying full field equipment, gas masks, pitol belts, water canteens, full packs, steel helmets. They had marched twelve miles.\nThrough dusty terrain that morning, sweat from their bodies formed an almost solid cake with the dirt from the road. Periodically, when the going got rough, they tore off their helmets and poured warm water from their canteens over their heads. They hadn't taken much of this water, even though they were thirsty, because before they left that morning at six, the lieutenant had put two salt pills into their canteens. Their breakfast, after an hour's marching, had consisted of the army's celebrated K ration, \"dog biscuits,\" a fruit bar, coffee powder, concentrated egg yolk and pork. By the time they had finished their lunch, also K ration, and had gone through an afternoon of tear gas attacks, litter bearing, collecting \"wounded\" from an imaginary battlefield, and bandaging \"broken\" bones.\nAnd more gas attacks, the men dropped where they stood and went to sleep. These men, note, weren't old soldiers. They were green \u2014 rookies \u2014 and for most of them, this was the toughest day they had ever had in their lives. But when someone yelled, \"Mail,\" and the truck from camp drew up with the men's letters from home, these soldiers came alive faster than on a Saturday afternoon when the passes are given out at the company office for the nearby town.\n\nThus, if you made up a list of things that go toward keeping up the morale of the American soldier training for battle, his mail from home would be way up at the top. Second in importance, without a doubt, as a morale factor, is entertainment. Mail is the main link between the soldier and his home \u2014 his family, his girl, his friends. Mail and entertainment together form a powerful boost to soldier morale.\nA soldier's connection to the life he will one day return to, and perhaps sooner than expected upon entering the army. One could discuss for hours about mail and its significance to the soldier, how he feels when standing in line for a letter from home, hearing everyone's name called except his own. However, this is a magazine primarily concerned with the motion picture business, and thus this article will focus on entertainment. Anyone who has ever been to a Saturday afternoon matinee in a neighborhood theater can easily imagine what transpires in an army camp theater. The men yell, whistle, and laugh like a bunch of kids, their day's worries and hard work forgotten completely. Because, on the screen before their eyes, they see the things they dream about. They see the girls they used to go out with \u2013 a little more beautiful, a little more alluring.\nThe more sophisticated, but their girls \u2013 they see their home towns and themselves walking along the street. That boy on the bench with the pretty blonde in his arms, that's you, soldier. The fellow in the smart, gray flannels, that's you too \u2013 or will be, soon, we hope. And in a war film \u2013 that guy at the controls of a Fortress, that might have been you, soldier, if the army hadn't decided otherwise. Some of this might make him, the individual soldier, feel a little homesick, but that's really the way he wants it. He wants to be reminded, that's why he talks about home at the PX, on a march, in the barracks. That's why listening to some song on the radio, or the mention of his home town, or, for that matter, even of his home state, makes him feel a little sad and lonely. Quite apart from all that, he wants\nHe desperately wants to be entertained. He wants, if possible, to forget about the dust and dirt, and orders and reveille and full packs on his aching back. This, however, should not be taken as an indication that the men training for tomorrow's battles do not want to see a good war film. Even though they may again see the dust and dirt of their own drill fields, it is others doing the working and sweating, and it makes them feel good. The civilian movie makers should hear the howls of delight that go up when soldiers in army camps see other soldiers on the screen, whether they are on KP or drilling on a dusty field or marching along a road with full field equipment. But this writer, as much as a buck private as a former Hollywood correspondent, would just once like the movie maker who puts out those combat films to include some combat.\nYou can't fool a soldier about army life. He will ask why the character on screen doesn't get a haircut, as he would be on KP duty for three straight days with such long hair on this post. How did that fellow's sergeant stripes come so quickly when it takes us GIs months to make Pfc? And how do they get furloughs and passes easily, with their girls or someone else's always around, and they always meet a pretty skirt so easily? Why is the guard house always treated as a joke when the army authorities, in charge of making disciplined soldiers out of easy-going civilians, are always trying to impress?\n[US soldiers,] with the extreme seriousness of breaking army rules and regulations? A court-martial isn't funny \u2014 it's tragic, and might mean a lot more than merely a few days or weeks in the guard house. It might mean a dishonorable discharge, a ruined life, shame. There have been films in which every conceivable army regulation was broken; in which soldiers went AWOL, damaged government property, sang and danced and generally raised hell in their barracks \u2014 in other words, did not act like soldiers at all, but like a bunch of South Sea islanders who had never heard of discipline or army regulations.\n\nAmerican Cinematographer \u2022 November, 1943\n[The 16mm camera, with extended trigger, mounted on the lapse-time device, ready for action. Exposure results. To make this quick action easier, a two inch extension, resembling]\nA trigger was added to the original starting lever. This trigger extends down into the housing that contains the timing mechanism. The camera is secured to the housing with a tripod screw. On the panel of the housing is an inexpensive self-starting electric clock which governs the time-lapse between exposures. This is done by a simple brushing contact between the second hand and a contact point located at the six on the dial of the clock.\n\nThis timing arrangement is limited to actions requiring one or more exposures per minute. The actual time-lapse is determined by the number of contact points around the dial.\n\nLapse-Time for the Amateur\nBy Cooper Jenkins\n\nLapse-time is one of those processes which has its definite place in industry but its counterpart is sheer enjoyment, novelty and entertainment.\nAs a serious amateur interested in movie photography, you may have pondered over the miracles of lapse-time movies but hesitated due to the belief that it's a realm for the wealthy. This assumption is incorrect. While there are \"store-bought\" methods for photographing storm clouds gathering and rose buds opening, which are typically designed for higher-priced cameras that most of us cannot afford, there are alternative ways to engage in lapse-time photography that are accessible.\n\nWhat is Lapse-Time Photography?\n\nIn essence, lapse-time photography involves capturing an action that takes a considerable amount of time to complete, with a time-lapse between exposures. When projected at normal speed, these images create the illusion of fast motion.\nThe action will be accelerated to complete in seconds on the screen, opposite of slow motion. The length of this time-interval between exposures is determined by (1) the time required for the action to be completed and (2) the speed at which the action should take place when projected.\n\nTo accomplish this, a lapse-time device should provide a mechanical means for operating the camera to make single-frame exposures and a method for presetting the time-interval between exposures, such as one frame per second, one frame per minute, etc.\n\nAnother desirable but not entirely necessary feature is an electric switch in connection with a photoflood to provide momentary illumination of the subject only during the exposure. This feature is a lifesaver.\nThe camera used for lapse-time experiments was an Eastman Model K, which lacks the benefits of a \"single-frame bulb.\" However, by quickly pressing and releasing the starting lever, a single exposure can be achieved. When the second hand touches the contact point, a small source of electricity from two flashlight batteries closes a relay, allowing 110 volts to actuate the solenoid. This relay circuit prevents the contact points on the clock dial from burning out. The solenoid, when charged, draws a lever past the long trigger fast enough for just one frame to be exposed. The spring motor in the camera is wound tight at the beginning of each experiment. As soon as the lever is pressed, the process repeats.\nThe micro-switch is triggered when the leaf moves from its resting position, illuminating a No. 2 photoflood lamp for a second or two during exposure. Consistent illumination is essential, but when outdoor subjects are shot in good even light, artificial illumination is unnecessary. After exposure, a ratchet permits the lever to slide past the trigger back to its normal position.\n\nBeside the clock on the panel are two switches. The master switch turns on the entire mechanism, including the clock. The other switch activates the photoflood only, for lining up the subject, focusing, and taking light readings. On the back of the housing, a push button manually closes the armature.\nThe relay should be adjusted so that tests can be made without waiting for the second hand of the clock to reach the contact position. This is a time saver. The lapse-time model shown in the photograph is capable of producing many interesting sequences, but it is strictly an experimental model. A great improvement would be a more versatile timing system, entirely separate, leaving only the actuating mechanism (remotely controlled), connected to the camera.\n\nShooting a Typical Lapse-time Subject\nA variety of intriguing subject matter is available for the lapse-time enthusiast, and most of these subjects are outside the forbidden realm of restrictions imposed by wartime regulations. To get started, let's photograph the unfolding of a rose bud.\n\nNovember, 1943 \u2022 American Cinematographer\n\nFirst, set the camera.\nSet up a timing device on a firm tripod, table, or bench and secure it rigidly. Align the camera and focus on a \"stand-in\" of some kind, similar in size to the subject you will later place before the camera. The purpose of the \"stand-in\" is that when a fresh bud is brought from a cold refrigerator into a warm room, it immediately begins to unfold, and if it is used to focus on in the warm light of a photoflood, there is likely to be some movement in that first minute or two that the camera will miss. Do not bring the bud in until you are ready to start shooting. The bud should be placed on a separate table or stand from the camera to limit its vibration to a minimum.\n\nNext comes the pencil work. Determine the amount of time the rose bud will take to fully open, and then decide how long you want the time-lapse sequence to be.\nTo project an action on the screen at a rate of sixteen (or twenty-four) frames per second, follow these steps:\n\nFor instance, if a tight bud takes ten hours to open, shooting one frame per minute for ten hours results in 600 frames or fifteen feet of film. At normal silent projection speed, this can be screened in approximately thirty-seven seconds. If you prefer the action faster, shoot one frame every two minutes and view the same action in about eighteen seconds. A flexible timing device offers numerous possibilities.\n\nAfter making all calculations and determining the time interval, bring in the rose bud (in water, of course) and position it exactly where the \"stand-in\" was. Take the usual meter reading and turn on the switch for the mechanism to operate. That's all you need to do until the flower has opened.\nThe performance is finished. Another subject captivating the lapse time photographer is the formation of storm clouds, and the best among these are thunderheads. With the naked eye, upper left, \"To make this action easier, a two-inch extension, resembling a trigger, was added to the original starting lever.\" Upper right, interior of experimental lapse-time model showing the relative position of solenoid, lever, trigger, and clock. Right, Fig. I shows trigger, lever, and solenoid armature in resting position between exposures. The micro-switch is in \"off\" position. Fig. 2 shows the position of trigger and lever with solenoid armature at the extreme end of its pull. The micro-switch is now \"on\" and exposure is being made. Fig. 3 shows armature and lever returning to normal resting position. Micro-switch is about to go \"off\". Note ratchet action at end.\nA lever allowing it to slide past a trigger. It is possible to observe the turbulent action taking place within the cloud, but it is infinitely more impressive when the action has been stepped up to four times its normal speed. This action is much faster than plant growth and must be photographed with considerably less time-lapse between exposures. Most cloud formations are best shot at one to four frames per second. They will produce amazing results on the screen. Some of the simplest things produce unexpected but welcome results. The writer once photographed a burning cigarette, supposedly placed on a living-room mantel and forgotten. This action took about eight minutes and the time-lapse between frames was three seconds. Shot in Kodachrome, it produced some unexpected results, showing the resin melting around the cigarette.\nas it charred its way along the pine board. An easy subject on which to test your equipment is an old-fashioned tallow candle. Secure the base into the neck of a bottle and light the candle, allowing the tallow to drip down the sides of the candle and bottle till the candle is expired. When this film is projected, it will show the candle rapidly becoming shorter as the melted tallow builds its shapeless formations. This natural action is interesting to observe in reality but when stepped up by the lapse-time camera, it becomes extremely fascinating.\n\nAmerican Cinematographer \u2022 November, 1943, p. 397\n\nEarly Cantrell, discovered by the author while doing an outstanding role at the Pasadena Playhouse, is at left. She has dark auburn hair and will soon be given a screen test. Lance expects her to succeed.\nMy business is finding new talent for the screen and presenting it to motion picture producers. I represent both new and recognized players. Hollywood calls me an agent. There are many agents in Hollywood because it is practically impossible for a player to obtain a role or a contract with a motion picture company without an agent to speak for them. A player cannot walk into a producer's office and brag about themselves or tell what a great actor they are. Likewise, a new player who has never faced a camera cannot tell a producer about their abilities.\n\nGet a contract for KeAponMe, the cinematographer.\n\nCinematographer: KeAponMe\nAgent: Jor LucceAA\nBy LEON O. Lance\n\nKeAponMe is a cinematographer. Jor LucceAA is his agent. This is by Leon O. Lance.\nHollywood agents are necessary for identifying new talent and securing screen tests. I, as a Hollywood agent, want to highlight the crucial role of cinematographers in Hollywood's success. Cinematographers are responsible for 90% of an agent's success in introducing a new face on the screen. They conduct the tests that determine whether a new player receives a contract or a role in a picture. Agents may not fully appreciate the debt they owe to cinematographers.\nself-satisfaction on their faces and tell their friends, \"Well, I put over a big deal today. I sold a brand-new girl to such and such a studio on a seven-year contract.\" The agent should look up the cameraman who photographed the test of his discovery and say, \"Buddy, I can't tell you how much I appreciate the great work you did in testing my client. Your work got that young girl a seven-year contract, and I'll get ten percent of her earnings during the life of that contract. But you, not I, are responsible for that contract, Buddy. Sure, I found the girl and had faith in her ability, but if you hadn't put her on the screen in the way you did, she would be taking a train back to Podunk tomorrow.\" I, in particular, am extremely grateful to Hollywood cameramen, for they have meant a great deal to me inasmuch as I am constantly seeking new talent.\nI get more satisfaction from bringing new personalities to the screen than from getting more jobs for established players. Consequently, I lean more heavily on the art of cinematographers than I would if I didn't bother to bring out new talent. I want to emphasize that the cameramen have never let me down. Whenever I had a new player whom I felt had ability and secured a screen test, that test has always been beautiful.\n\nTesting a newcomer who has never been in front of a camera before is more difficult than photographing a player who is camera-wise. The newcomer is naturally nervous, doesn't know what she should do with her hands, how she should walk or turn her head. She has heard so much about the screen that she is often intimidated by it.\n\nNovember, 1943 \u2022 American Cinematographer\nTesting a newcomer who has never been in front of a camera before is more difficult than photographing a player who is camera-wise. The newcomer is naturally nervous and doesn't know what to do with her hands, how to walk or turn her head. She has heard so much about the screen that she is often intimidated by it.\n\nTesting a new actress who has never appeared before the camera is more challenging than photographing an experienced actress. The newcomer is usually nervous, unsure of what to do with her hands, how to walk or turn her head. She has heard so much about the screen that she is often intimidated by it.\nA technique that she is certain she is getting wrong. So, if he wants to do a good job, the cameraman must be doubly careful with lighting and other details. In other words, he must have the desire to make this new girl look her best. I find that cameramen are all anxious to see a newcomer succeed, and they really go out of their way to give her a chance. After a player is signed to a contract, the agent still depends on the cameraman for her continued success. A good screen test gets a new player a job, but it is still the cameraman who has a great deal to do with her keeping that job, as the girl must continue to look glamorous in all her pictures. It is the cameraman who attends to that.\nWhile the agent smiles and collects his commissions, forgetting the man whose art means so much to the player's and the agent's success. Many women have thanked the cameramen for their glamour. There are many feminine stars who, in real life, do not look glamorous but on the screen are simply gorgeous, due to a cameraman's ability to devise the lighting that will hide their defects and bring out the charm of the actress. That is why some actresses insist on having the same cameraman photograph them in every picture in which they appear. Age creeps up on actresses just the same as on women in any other walk of life, but Hollywood's cameramen have a way of keeping the stars looking young. And don't think this doesn't mean something to the agents. If an agent has a star getting $5000 a week.\nthat means $500 a week income for that agent. Shouldn't he be grateful to a cameraman who by his lighting skill can prolong the screen life of that client by many years? When a double chin begins to be visible on a leading man, and the cameraman can continue to wipe it out by his lighting, shouldn't that agent feel that his success lies in the hands of the cameraman?\n\nOnly recently, a former feminine star came back to films after many years. (Continued on Page 417)\n\nUpper left is Laurie Hayden, another Lance discovery. She, too, will soon face the cameras for a screen test, and Lance says he has faith in both her and the cameramen, so expects her to get a contract. Upper right is red-headed Peggy O'Neill, under contract to Charles R. Rogers. Lance discovered her, but Rogers didn't bother with a test for he said he has\nThe enormous power of the American film industry has been almost entirely unhampered by this war. Entertainment pictures of all kinds, big propaganda features, training and documentary films are a part of the war effort, a part of our constructive policy down the entire line of our national culture. It is remarkable how at this time of war, which takes all our attention and strength in the struggle against the diabolic aims of the enemy, the American film industry continues to produce.\n\nBy Dr. Dimitri Marianoff\n\nAmerican Cinematographer \u2022 November, 1943\n\nenough faith in Hollywood's cinematographers to know they'll keep her glamorous. Lower right is Jeanne Newport, also under contract to Rogers. She is said to have a sensational singing voice, but not until she had been screen tested was she signed. She is grateful to the cameraman who photographed her.\nstory we hold human value, we safeguard our spiritual Front for farther development of our science, technique and art. Although European countries have always worked toward the development and growth of their own film productions, they have shown enthusiasm and respect for ours\u2014the pictures from Hollywood. True, we also have applauded many European motion pictures, and already after War I we used to invite various great actors and directors of Europe to our film capital.\n\nAn amazing thing happened after the war. America, master of a great technical event, was praising European pictures; good-natured Americans were sincere in their nearly childish enthusiasm for things that appealed to them. European producers and directors quickly responded to this American sentiment, and they, as many people believed, \u201cinvaded\u201d American film production. But only the following:\n\n---\n\nNote: The text appears to be complete and does not contain any meaningless or unreadable content, line breaks, or other meaningless characters. It also does not contain any introductions, notes, logistics information, publication information, or other content added by modern editors that obviously do not belong to the original text. The text is written in standard English and does not require translation. Therefore, no cleaning is necessary.\nThose who took it for granted were near-sighted. In the Twenties, German, Russian, Swedish, Austrian, and other producers took the lead and established themselves as outstanding and successful American filmmakers. Yes, American\u2014not European. They have lost their European attitude and have \"surrendered\" to the American way of life.\n\nWe witnessed the greatness of the American spirit that generously gave place to those who wanted to create on our soil. Many of them have been with us now for years. They have adopted our attitude toward life, creativeness, ideals, and traditions, and we have gladly \"naturalized\" them. If their work were an example of foreign culture only, they would remain strange to us and isolated, but they have lost their foreign coloring and became members of our American family.\n\nGerman pictures made up a major portion of it.\nThe majority of European films that came to America after the World War aimed to impress all countries, breaking the cold-shoulder-feeling of their former enemies. Germany sent her best films, including those of Lubitsch, Murnau, Dupont, and Von Stroheim. Enthusiastic responses followed, as we were captivated by their great artistic and technical effects. Fine French productions such as \"J'accuse\" and \"The Passion of Joan of Arc\" also arrived, and Russia began sending its profound and brilliant productions. From 1919 to 1929, there was a gigantic boom in American life, and motion pictures reflected it. However, reasonable voices began to protest.\nAfter an era of European influence on our films, and admiration for Continental tendencies, the American industry began to search for its new way back to common American sense in the late 1920s. Foreign stimuli, such as the underlining of lust, greed for luxury, and adoration of gangster heroism, began to vanish from the American screen. This nation's sound thinking reared up against very obvious germs of poisonous intoxication - a natural result of its overfeeding with un-American doctrines. Now what about European films today? They have lost their effect on Hollywood movie makers due to the emergence of new trends in American cinema.\nGreat difference in our attitude, methods, and principles. Technically, we, like the Russians, understand that cinema must be absolutely independent of the stage. European films, however, are still influenced by the stage. Famous actors and directors of European theatre are creators of films. They seem to think that cinema must borrow from the stage its basic principle of acting. Here, we know from experience that sometimes the best stage actors are helpless before the camera, and most successful playwrights are of no use in writing a film story. We make so many pictures that in search of a new film theme, we do take popular plays and novels. But we take their theme and melt and mold it into the plot of a screenplay.\n\nIt is generally a mistake to compare theatre with film or to try to expose their differences.\nThe theatre did not die as rivals due to the maturing of cinema. These two arts have divergent natures; cinema as a collective art includes the actor but gives him a new form and meaning of expression. Both arts have their right of existence without rivalry. The film actor must be truthful and natural before the lens of the camera, whose angles and distances are steps for gradual building up of a situation. For the theatre actor, the different angles of the camera are only technical moments.\n\nThe sudden revolution of sound film production had an amazing effect on millions of movie-goers, manifesting itself in a way advantageous to cinema art. Theatre again tried to influence the screen. The first prevailing opinion was that after the birth of cinema, theatre would disappear. However, this was not the case.\n\nDespite the initial belief that theatre would fade away, it continued to thrive alongside cinema. Both arts offer unique experiences and cater to different audience preferences. Theatre provides a live, immersive experience, while cinema offers the ability to reach a larger audience and tell stories through various techniques, such as special effects and sound design.\n\nIn conclusion, the relationship between theatre and cinema is not one of rivalry but of coexistence and complementarity. Each art form offers distinct advantages and caters to different audience preferences. The evolution of cinema did not lead to the demise of theatre, but rather paved the way for a more diverse and dynamic cultural landscape.\nFilm sound would encroach upon movie art like a polyp and throttle its right of self-existence. But in Hollywood, sound film proved to be a phoenix in art. It demanded new creators, and most astounding, it created them by itself. American movie production entered a very definite independent artistic road.\n\nEuropean pictures that are made on a high artistic standard, even too much so, often bring naked realism to the screen; sexual feelings are demonstrated to the extreme. In their mysteries and dramas, evil wins without being punished. These things are strange to us. Though we have no specific rules about how much we can or cannot show or express, there exists an unspoken understanding between our cinema industry and our audience. We also have an ideological difference in our conception of themes for the screen. Our philosophy\nPhilosophy is to destroy evil and see good triumph. The most striking difference between European and American cinema art lies in the way the screen actor manifests his performance. In Europe, he plays his roles with a certain flair. Exposure is defined as the product of the intensity and time that light operates upon a sensitive surface. The intensity of light that strikes a film is strongly affected by the lens through which all of it must pass. The combination of the diaphragm, focal length, and transparency of the lens controls the total amount of light that strikes the film. The diaphragm is usually quite accurately set at the factory, as is the focal length, which is built into the lens during manufacturing.\nThe only remaining unknown is the transparency, or more accurately, the lens transmission. This transmission depends on the number of lens elements in an objective and the degree of discoloration of the cement and lens surfaces. Discoloration may increase with age, so it is a factor that varies gradually over time. A lens with its elements treated with an anti-reflection coating may have a lens transmission as high as 95%. An untreated lens may drop as low as 35% for an old, multi-element, discolored objective. This represents a range of over one whole stop in the diaphragm setting. Errors in marking diaphragm indexes are very infrequent, but another possible source of trouble. All in all, a method of testing the lens transmissions is a valuable one, particularly where many objectives are involved.\nLenses are being used in one organization and the results must be uniform.\n\nTheory\n\nIf a lens is directed at a uniformly illuminated screen whose area is greater than the angular field covered by the objective, the light will be fairly evenly distributed over the film aperture. The intensity of this light at the film plane will be controlled by the intensity of the source, the diaphragm, and the lens transmission. The light source, once a convenient one is selected, can be kept sufficiently constant for our purposes. The lens transmission remains constant over a considerable period of time, leaving the diaphragm as the only variable factor.\n\nMeasuring Apparatus\n\nTo aid in standardizing the diaphragm markings of a group of lenses, a lens transmission measuring device was constructed as shown in the photographs. It consists of a tube mounted on a base.\nThis pedestal houses standard Mitchell lenses, which fit securely with a set screw. An aperture is located at the focal distance behind the lens to limit its field to a specific solid angle. In the initial design of this apparatus, the aperture was rectangular, the size of a motion picture frame. However, this shape was impractical due to the vignetting effect of the lens under test, causing a loss of light at the picture edges. A circular aperture, 1 inch in diameter, replaced the rectangular opening to yield a more uniform response. For wide-angle lenses where light fall-off at the edges is more pronounced, a smaller diaphragm, 0.5 inch in diameter, was created. Being half the diameter of the larger aperture, it covers one-quarter of the area. Readings taken with this diaphragm in position necessitate multiplication.\nThe author uses a tester above the lens, with a meter plied by four to make comparisons with observations made with a % inch diaphragm. The other end of the horizontal tube has a clip to hold a Weston Master Exposure Meter with the low reading door open. Any exposure meter may be used with equally effective results. The only reason for using the Weston was that it was on hand at the time of design.\n\nThe light source is a Dinky Inky equipped with a piece of flashed opal glass over the front. The opal glass should be placed fairly close to the front of the lens under test \u2013 about two or three inches away.\n\nThe first requirement of any measuring system is a standard to which unknown units may be compared. In the case of lenses, a relatively new 2 inch focal length standard is used.\nObjective should be chosen that hasn't changed with age yet. The lens is placed in the tube, and the aperture set to the next to the largest diameter, say f/2.8. Make this the standard aperture. Now adjust the Dinky Inky focusing lever until the Weston Meter reads 25. Set the lens diaphragm to its lowest figure and read the meter. The readings will be directly proportional to the light passing through the lens. Each diaphragm stop down:\n\nAmerican Cinematographer \u2022 November, 1943, p. 401\nDIARY OF A 10-YEAR MOVIE MAKER\nBy James R. Oswald\n\nDear Diary: This is my tenth anniversary... tenth anniversary as a movie maker, I mean. Many things, both encouraging and discouraging, have happened during all this time, but I still keep grinding away. What on earth ever possessed me to... (Continued on Page 413)\nI cannot resist the allure of movie making. Let's delve into the past and understand what captivates me about this business. I've found an affordable movie camera advertised in the newspaper. Anxious to try my hand at filmmaking, I'll use this opportunity to create a test reel and familiarize myself with the camera's operation. The Century of Progress Exposition in Chicago provides a perfect chance to capture historic souvenir shots later on. Excitedly, I await the return of my first film from the processing laboratory.\nPeek at those opening scenes before I set up the projector. The suspense is terrible. Hmmm, not bad; not bad at all, for a beginner! Better show the film now before the reel is all unwound. Exposures are about 75 percent perfect, thanks to careful following of the guide in my manual. Must remember, though, to use a tripod for all scenes and to avoid panning. I'm going to like this game!\n\nThe exposure problem is pretty well licked now, and the pictures are rock-steady on the screen. Any motion is furnished by the \u201cactors\u201d and not by the camera. I must try, however, to build up some kind of a storytelling sequence in the future. The pictures are much more enjoyable that way. More frequent use of close-ups is advisable too, because everyone likes to see things at close range.\n\nMy 400-foot vacation film is one of\nThe most painstaking things I've yet attempted. The importance of changing camera angles often is brought out here. All in all, it's a good reel. With a little editing here and there and perhaps a title or two, it can be made into a really nice movie. At any rate, I'm steadily improving. It takes a little experience to learn just how long each scene should appear on the screen, though. Filters certainly would have helped those scenes with the blank sky!\n\nThe series of illustrations on this and the opposite page are taken from film shot by the author starting in 1933 and up to now. Above is from a 1942 film. Left is from one of his films of this year.\n\nThe Eastman Kodak Company has just introduced a new color film to the 16mm. field which they call Kodachrome. It's supposed to be really sensational... no special filters or other attachments are required.\nMentions are required for either the camera or projector. I want to be among the first to try a roll, but it will surely put an awful hole in the pocketbook. It costs twice as much as the black and white film I'm accustomed to using! It seems there's a new lighting and exposure problem encountered here. Only flat lighting with the sun directly behind the camera is recommended because, unlike with black and white film, contrast is furnished by COLOR rather than by lights and shadows. A somewhat larger lens stop is necessary as well. I guess I under-exposed a good part of this reel. But the naturalness of the colors... it's remarkable! A black and white film looks sick by comparison, so without a doubt, there's a whole new broad horizon beginning to open up for the movie maker, with possibilities unlimited and realness undreamed of.\nBy this time, my friends and relatives are commencing to take an interest in my movies. They see something rather fascinating about this hobby of mine, especially now that I\u2019ve included them in some of my scenes. They look forward to the return of the films from the processing station almost as eagerly as I do. Filming is going on as usual, the movie camera always being an essential part of my vacation luggage, of course. Both the camera and myself get our biggest workout on our trip to the North Woods.\n\nProjection, too, is becoming quite an art with me. I\u2019ve learned the importance of smooth flowing presentation, especially when guests are invited. My films are always rewound, ready to go. The best reels are saved, 'till the last. Threading is done quickly and accurately.\n\nOlder reels are more valuable than new ones.\nNovember, 1943 \u2022 American Cinematographer\nMy latest Kodachrome film is an improvement over my first attempt at color photography. I've adhered more closely to the proper lighting technique and learned the fallacy of side lighting. The exposure angle has been fairly well mastered now that I have become more accustomed to the latitude of the film. There's no trick at all to this work if good judgment is exercised before shooting... if it is remembered that COLOR is making the picture and NOT shadows. This doesn't mean that every conceivable color, no matter how gaudy, should be crammed into the scene just to take advantage of the fact that it is color.\nSo much for my accomplishments with this increasingly popular color film. True, Kodachrome is capable of recording all those colors in the most lifelike manner imaginable. However, good, harmonious blending of the hues should be maintained. A documentary record of a trip to Canada is the highlight of this year's cinematographic endeavors. This film, in the form of a travelogue, offers diversity since the territory covered is all new and unfamiliar to me. For that reason, in a movie of this sort, there cannot be much advance planning because of the impossibility of knowing ahead of time what conditions will be encountered. All shooting is rather on the spur-of-the-moment.\nOne thing is advisable on a journey of this kind: include situations as they arise. Intermittent road scenes and interesting side glances taken en route are wonderful for bridging the gap between towns and main points of interest. It is preferable in such shots to include views of the car driving through the camera field to furnish a little action to the scene and add a personal touch by making future audiences imagine they are also making the trip. Pictures of road signs showing route numbers and approaching town limits afford a very excellent, clever method of titling on location. Nothing out of the ordinary happening in movie making this year . . . just routine filming. I started, though, what is to be a portion of\nA 400-foot Kodachrome \"epic\" depicting the elegance of nature's handiwork throughout the four seasons. This will take at least a full year to complete. Probably longer if any retakes are necessary. A new projector has been added to my paraphernalia which cut a deep hole in my budget. There won't be many new \"productions\" under way for a while. I'm afraid, for obvious reasons.\n\nSubject: The impact of electronics in photography. Inevitably, most, if not all, applications involve a photo-cell of one kind or another.\n\nBy G. B. HARRISON, Ph.D., F.R.P.S.\n\nAmerican Cinematographer \u2022 November, 1943\n\n(Continued on Page 414)\nThe human eye is a remarkable instrument, but it was not developed for making photometric measurements. It is not surprising then that in certain respects, the photo-cell has advantages. Most of its advantages are of convenience only, and its only real property which makes it capable of performing operations of which the human eye is quite incapable is that its sensitivity may extend into regions in which the eye is totally insensitive, such as infra-red and ultra violet. Most photometric measurements are made by comparing brightness, and the photo-cell, in certain circumstances, has an apparent advantage in that it is capable of making absolute measurements in the absence of a direct comparison. In dealing with this subject in such a short time, it is quite impossible to cover all aspects in detail.\nThe earliest applications of electronics, aside from sound, involved using photo-sensitive elements for measuring density. The early visual instruments were tedious and slow, leading to the pursuit of a more objective method. The first photo-sensitive element used was the selenium cell, which changed its resistance upon illumination. However, these were soon replaced by photo-emissive cells. The photo-emissive cell had many advantages, including the ability to construct various densitometers that differed mainly in detail. Some of these have been made commercially available. The appearance of the barrier-layer type densitometers.\nThe photo-cell's creation has resulted in a surge of new densitometers utilizing this new sensitive element. This element offers both advantages and disadvantages compared to the photo-emissive cell. I do not believe, however, that the barrier-layer cell will completely replace the photo-emissive type; its main advantages lie in simplicity and low cost.\n\nNearly all densitometers have been designed to operate via a null method, with the density to be read compared to a known density, and the cell used to detect equality. Consequently, the operator must not only insert the density but also perform the operation of adjusting the comparison density until the same value is inserted in its light beam. This process takes time and to a lesser extent, skill.\n\nOne reason for this method's operation is that density is a logarithmic function of the fraction of incident light transmitted, and before a measurement can be taken, the light must be stabilized.\nUniform direct reading density scale can be obtained by introducing a logarithmic relation. This has been done in various ways, none of which has been entirely satisfactory until recently. One of the most important developments in this field is the means of producing logarithmic amplifiers, providing a straight line relationship between log input and output over a considerable range.\n\nAt the same time, means are available today for producing DC amplifiers of much greater stability than was possible some years ago. Several densitometers employing this principle have been described in the literature, their principal feature being that they are direct reading. This principle considerably simplifies recording densitometers. I see in the near future small, compact instruments into which you feed a sensitometric strip, exposed to light.\nTo a continuously varying exposure instead of a stepped exposure, and accept a characteristic curve in a few seconds, not only plotted, but completely drawn in ink on printed graph paper.\n\nScreen Brightness\nMore attention is being paid today to screen brightness, no doubt due to the incident of color film. Instruments for measuring screen brightness are usually based on the barrier-layer photocell. Other types of photocells are primarily suitable for matching and their use would require the inclusion of a standard comparison source in the equipment.\n\nThe accuracy required in screen brightness measurement is not high, and while an average brightness only is required, the present systems are adequate. If brightness readings are required in different regions of the screen, difficulties of sensitivity appear if a robust measuring instrument is not used.\nThis instrument is used to measure the screen illumination. This difficulty may resolve itself in the future with an increase in cell sensitivity and perhaps an improvement in screen brightness, thus raising the limiting brightness it is required to measure.\n\nMeasurement of the screen illumination is, of course, easier. However, to obtain the brightness, the reflection factor must also be determined, and this presents difficulties of its own.\n\nExposure Meters\n\nThe problem of estimating the camera exposure and the printing exposure required for a given negative is very similar. This is only to be expected because the negative is a record of the subject with tones reversed.\n\nThe use of the barrier-layer cell for camera exposures is well known, and any defects in the results are due to the method of use rather than the instrument.\n\nTo estimate exposures accurately, it is essential to:\n\n1. Ensure the cell is at a uniform temperature.\n2. Use a neutral density filter to prevent overexposure.\n3. Use a calibrated cell.\n4. Measure the incident light, not the reflected light.\n5. Account for the spectral sensitivity of the cell.\n6. Use the correct time and aperture settings.\n7. Compensate for the exposure latitude of the film.\n8. Consider the development process and the characteristics of the developer.\n\nBy following these guidelines, accurate exposure measurements can be made.\nnecessary  to  know  the  maximum  and \nminimum  brightness  in  the  subject  so \nthat  the  brightness  range  can  be  located \nas  desired  in  the  negative  characteristic. \nExposure  meters  which  integrate  the \nlight  reflected  from  the  subject  or  trans\u00ac \nmitted  by  the  negative,  or  give  the  value \nof  the  light  flux  falling  on  the  subject \ngive  readings  which  are  proportional \nneither  to  the  maximum  nor  minimum \nbrightness.  The  fact  that  the  readings \nare  of  any  use  at  all  is  due  to  the \nrelatively  small  difference  in  subjects \nand  the  latitude  in  exposure  of  the  mod\u00ac \nern  emulsion.  If  anyone  should  think \nit  worth  while,  an  exposure  meter  could \nbe  made  which  scans  the  scene  and  gives \nan  indication  of  the  maximum  and  mini\u00ac \nmum  brightness  values. \nThe  direct  control  of  aperture  by \nphoto-electric  means  has  been  successful\u00ac \nly  achieved,  but  all  systems  use  the \nThe integration method is necessary in a simple instrument, applying the same remarks as for the exposure meter. The difference between the meter to be read and the direct meter is mechanical only.\n\nFilm Examination\n\nWith the introduction of panchromatic film and its rapid increase in speed, handling the film in the darkroom became more challenging. It was no longer possible to use a safelight of such a color that its light affected the eye but not the film, even with prolonged exposure. It was necessary to use a small amount of light of the color to which the eye is most sensitive, i.e., green. However, panchromatic films today have become so fast that the amount of light that can be used safely is so small that it is barely enough to see by. In ordinary film handling, it is quite practicable to operate.\ntotal darkness, but one operation in the manufacture of film cannot be so easily accomplished. This operation is the examination of the film for faults. It is obvious from the enormous footage of film used and the comparatively rare appearance of a fault that faults are not frequent. However, faults are costly, and it is important that they should be \"examined out.\" The speed of the fastest panchromatic film today is such that a fault has to be approximately equivalent to a black circle several mm. in diameter before it can be detected with certainty. The situation is of course likely to get worse rather than better, but the difficulty has been solved by the use of electronics.\n\nNovember, 1943 \u2022 American Cinematographer\nPermanent Charities Committee of the Motion Picture Industry urges all cinematographers, directors of photography, operative cameramen, assistant cameramen, and special effects cameramen to give now to The Los Angeles War Chest through the 1943-44 Motion Picture Campaign. Y, Frank Freeman, Chairman. Space contributed by J.E. Brulatour, Inc. Distributors: Eastman Films, A.S.C. on Parade.\n\nAs this issue of The Cinematographer goes to press, ASC members are photographing the following pictures:\n\nColumbia Studios\n- None Shall Escape, Lee Garmes.\n- Curly, Franz Planer.\n- Ten Percent Woman, Joseph Walker.\n- Swing Out the Blues, Arthur Martinelli.\n\nMGM Studios\n- The Canterville Ghost, Robert Planck.\n- Gaslight, Joe Ruttenburg.\n- Mr. Co-Ed, Harry Stradling.\n- Kismet, Charles Rosher.\n- Two Sisters and a Sailor, Robert Surtees.\n- Dragon Seed, Sidney Wagner.\n\nParamount Studios.\n\"Frenchman's Creek\" - Charles Lang\n\"Going My Way\" - Lionel Lindon\n\"Our Hearts Were Young and Gay\" - Theodor Sparkuhl\n\"The Man in Half Moon Street\" - Henry Sharp\n\"Rainbow Island\" - Karl Struss\nRKO Studios\n\"Tender Comrade\" - Russell Metty\n\"The Falcon in Texas\" - Harry Wild\nRepublic Studios\n\"Casanova in Burlesque\" - Reggie Lanting\n\nKnowing the average Hollywood product and what results Hollywood, with all its technical skill and knowledge, could so easily achieve with a little bit of serious thinking. I do not believe that these mistakes are unavoidable. Even a green rookie, who has been in the army less than a month, could pick out a dozen obvious deletions, mistakes or faults in practically every Hollywood portrayal of army life.\n\nThose soldiers who have read \u201cSee Here, Private Hargrove,\u201d that excellent book.\nAnd amusing piece of G.I. prose about the experiences of one of us are looking forward with great anticipation to MGM\u2019s film of Hargrove\u2019s book. They are hoping for once to see a G.I. haircut where there should be one, and army life in general treated with a sense of humor, yes, but with a great deal of attention and discipline. What is more, they do not want army life portrayed correctly for themselves alone. They want their home folks to be able to recognize them in these pictures:\n\n20th Century-Fox\n- \"Home in Indiana,\" Edward Cronjager.\n- \"The Sullivans,\" Lucien Andriot.\n- \"The Eve of St. Mark,\" Joseph La Shelle.\n\nUnited Artists\n- \"Four Jills in a Jeep,\" Peverell Marley.\n- \"The Purple Heart,\" Arthur Miller.\n\n\"Since You Went Away,\" George Barnes.\n\"Knickerbocker Holiday\" by Phil Tanner, \"Bridge of San Luis Rey\" by John W. Boyle, \"Timber\" by Russell Harlan, \"It Happened Tomorrow\" by Archie Stout, \"Gung Ho!\" by Milton Krasner, \"When Ladies Fly\" by Hal Mohr, \"The Imposter\" by Paul Ivano, \"Three Cheers for the Boys\" by David Abel, \"Phantom Lady\" by Elwood Brendell, \"Gypsy Wildcat\" by George Robinson, \"Her Primitive Man\" by Charles Van Enger, \"Patrick the Great\" by Frank Redman (Universal Studios), \"Passage to Marseille\" by James Wong Howe, \"Uncertain Glory\" by Sid Hickox, \"Outward Bound\" by Carl Guthrie, \"Mr. Skeffington\" by Ernest Miller, \"Animal Kingdom\" by Bert Glennon (Warner Bros. Studios). These films demonstrate the challenges they face. They do not want their \"best girls\" to watch an army comedy and then write to their soldier-sweethearts, \"Bill, the army really isn't tough at all \u2014 Why, I saw a picture last night and . . .\" Remember RKO's \"Private Smith,\"\"\nUSA, of the \"This Is America,\" series or \"Stage Door Canteen.\" They had what it takes to show the home folks what it's all about. Of course, there is another kind of army entertainment. These films, however, are not shown to the soldier for relaxation and amusement. They are deadly serious, these pictures, and they serve as part of the soldier's training. These information films are perhaps what some of our senators would label as \"propaganda.\"\n\nPropaganda they are, yes, but propaganda for that very rare commodity known as truth. They are produced by the war department with the help of such expert Hollywood directors as Lt. Col. Frank Capra and Lt. Col. Anatole Litvak. The \"Why We Fight\" series of seven information films about our enemy, the first of which was shown in civilian theaters all over the country under the title, \"Prelude to War,\" is a favorite.\ntopic of discussion among soldiers who are wide awake to the problems of the international scene. Films such as \u201cThe Nazis_Strike,\u201d and \u201cDivide and Conquer,\u201d both of the \u201cWhy We Fight\u201d series, are excellent sources of information to the young trainee who is getting ready for the final battle and who wants to know the answers to some questions in his mind regarding the war and its causes.\n\nProf. Max Lerner, in an editorial in the newspaper PM, said recently:\n\n\u201cOur soldiers ... are moved by two primary drives. One is not to let down the folks at home, to do them proud. The second is their instinct of craftsmanship. They have a job to get over with, and they want to do it quickly and well.\n\n\u201cBut they will need more before they are wholly through, these youngsters. The soldiers in a great army must have a belief in themselves and their world.\u201d\nThey need a knowledge of what enemies threaten their world, and above all, they must understand the enemy principle. They need a belief in the superiority of their world to others, a confidence about its chances for growth and about their own opportunities in it. The army today realizes fully that an informed soldier\u2014a man who knows how to use the weapons issued to him, as well as why they were issued to him\u2014fights better than a soldier who simply goes into battle because someone ordered him to. The modern, well-disciplined, enlightened army of the United States is getting all the benefits of Hollywood's great experience in the making of motion pictures in the war department's training films. Soldiers can well do without cheap little comedies about Hitler, Hirohito, and Mussolini.\nSolini being captured in a mystical land by shipwrecked American sailors with the help of native magicians. The war is much too serious, much too deadly, for these things. The men who direct the armies that fire bullets and grenades at our comrades at the front are too vicious and brutal to be leading characters in low-budget comedies. Their antics may have once looked funny to us when we saw them speak in newsreels, but we've grown up since then.\n\nWhy not take a tip from the army\u2019s training films? The enemy who is killing our men at the front and the soldiers of our Allies is not a comical figure anymore. He is cunning and brutal and clever. His Lives and Loves are not important. It is the Lives and Loves of the men he kills that count.\n\nAmerica\u2019s 22 months of war have passed.\nUnchanged in number and content, group films continue to be made in Hollywood, with series pictures being the only aspect that has changed. Here and there, a few interlockers have fallen by the wayside after passing their peak. However, others have taken their place as studios find characters with a fresh pull.\n\nNovember, 1943\nAmerican Cinematographer\n\nFrank C. Zucker\n\nCamera Equipment Co. provides \"Professional Junior\" tripods, developing kits, \"Hi-Hats\" and shifter alignment gauges for the U.S. Navy, Army Bases, Signal Corps, Office of Strategic Services and other Government Agencies, as well as for leading Newsreel companies and 16 mm and 33 mm motion picture producers.\n\nAbove - Collapsible and adjustable telescoping metal triangle. Extends from\nL6/2\" to 26/2\". Has wing locking nuts for adjusting leg spread and stud holes for inserting points of tripod feet. Triangles prevent damage, ensure camera men that their equipment remains in correct position and will not slip on or mar any type of surface. Further particulars on request.\n\nLeft \u2014 B. & H. Eyemo mounted upon the \"Professional Junior\"* Tripod.\nTripod Head Unconditionally Guaranteed 5 Years\nThe New Removable Head\n99 Professional Junior99* Tripod\n* The new removable head feature adds great flexibility to the versatile \"Professional Junior\"* Tripod. It is now possible to easily remove the friction type head from the tripod legs base by simply unscrewing a finger-grip head fastening nut. The tripod head can then be mounted on a \"Hi-Hat\" low-base adaptor for low setups.\n\nThe friction type head gives super-smooth pan and tilt action, \u2014\n360\u00b0 pan and 80\u00b0 tilt. A generous-sized pin and trunnion assure long, dependable service. \"Spread-leg\" design affords utmost rigidity and quick, positive height adjustments. A \"T\" level is built into this superb tripod. The top-plate can be set for 16mm EK Cine Special, with or without motor; 35mm DeVry and B & H Eyemo (with motor), and with or without alignment gauge. The tripod head is unconditionally guaranteed 5 years.\n\nMore data about the \"Professional Junion\" Tripod With Removable Head is contained in literature, sent upon request.\n\nAmerican Cinematographer \u2022 November, 1943, p. 407\n\nNew Television Patents\nMay Broadly Expand Screen\n\nPerfection of new television projection apparatus which will make large screen television for motion picture theatres, homes and churches, both in black and white and natural color, available commercially soon after the war.\nThe announcements of electricity ceasings were made yesterday by Arthur Levy, president of Scophony Corporation of America. The latest television developments are incorporated in two US patents, issued in Washington, covering the Skiatron system, an expansion of Scophony's basic methods. Scophony is associated with Television Productions, Inc., a subsidiary of Paramount Pictures, and General Precision Equipment Corp., which is associated with Twentieth-Fox and Time magazine. Levy described the new system as having characteristics in common with cinematography, making it possible for the first time to project a large screen television picture up to full-size theatre screen with brilliance equal to motion picture standards. The new inventions, the work of Dr. A. H. Rosenthal, director of research and development, will answer the need for high-quality television.\nDefinition of television pictures in any desired size in black and white and color, Levy said. Scophony\u2019s basic large screen methods Supersonic and Skiatron hold vast significance for the motion picture and radio industries and will undoubtedly influence the future of television, he declared. The system is similar to motion picture projection technique, and a theatre projectionist can learn to operate the Scophony projector in a few hours. The home set is said to be no more difficult to operate than a radio receiver.\n\nNegro Newsreel Seen By\n\nE.M. Glucksman, producer of All-American Newsreel, estimated a weekly attendance of four million yesterday and said an OWI survey reveals that 85 percent of negroes in five large cities get most of their news on negro affairs from the newsreel. Four million weekly attendance, he said.\nlarger  than  the  combined  circulation  of \nthe  nation\u2019s  242  negro  newspapers. \nThe  All-American  reel,  a  year  old  this \nweek,  is  now  seen  regularly  in  365  of \nthe  451  civilian  negro  theatres,  he  said. \nMany,  if  not  most,  of  these  theatres  use \none  or  more  of  other  reels  also.  The \nnegro  reel  appears  once  weekly,  and  is \ndistributed  by  AMPS  to  70  military \ncamps  in  this  countx-y,  some  of  them \nwith  three  and  four  theatres  to  a  camp, \nand  is  shown  also  in  Africa.  About  ten \npercent  of  the  footage  for  the  first  year \nwas  directly  on  military  subjects \u2014 either \nactual  combat  or  training \u2014 with  much \nof  the  rest  of  the  footage  concei'ning \nimportant  home  -  front  topics  such  as \nbond  sales,  collection  campaigns  and \nothers. \n408  November,  1943  \u2022  American  Cinematographer \nTWO \nALL-TIME  1114. IIS \nWITH  millions  of  feet  required  by  our \nArmed  Forces  for  training  and  other  mili\u00ac \nWith wartime restrictions affecting the supply of raw film stock, many amateurs may seek means of \"keeping their hands in\" film activities that do not require the making of new films. One such activity could be more frequent showings of films we have made in the past. This would seem an appropriate occasion to brush up on our projection technique and consider the factors involved.\n\nEastman Films\nAmerican Cinematographer \u2022 November, 1943\n\nF.C. Moulrie\nDmprctiinq Amateur Projection Technique\nWhen peacetime returns and brings an eagerly-awaited abundance of supplies, we may have found this \"breathing spell\" of benefit, which will be reflected in our future movies. It will be readily admitted that the greater percentage of us conduct our film showings in a very haphazard manner. Although we do not possess the conveniences that enable us to duplicate the ideal conditions obtained in a theater, most of us could nevertheless approach those conditions more closely.\n\nThere are three prime considerations: (a) what is shown, (b) the conditions under which the showing is made, (c) the manner in which it is carried out. The actual preparation of the film itself is of utmost importance and requires volumes to itself, so only a word may be said here to remind us:\n\n(a) The selection of the film itself is crucial. The film must be appropriate for the audience, and the content must be of high quality.\n\n(b) The conditions under which the film is shown are essential. The theater should be dark, quiet, and free from distractions. The projector and sound system should be in good working order.\n\n(c) The manner in which the film is carried out is also important. The film should be shown at the correct speed and brightness. The operator should be attentive and able to handle any technical difficulties that may arise.\n\nTherefore, it is essential to give careful consideration to all three aspects to ensure a successful film showing.\nWe should not exhibit films to friends until they have been carefully edited, cut, titled, all splices made, damaged portions removed, brittleness and shrinkage guarded against by suitable humidification, and opaque or \u201cend\u201d trailers placed at finishing ends. A good way to approach the matter and endeavor to effect improvements is to ask ourselves, \"What have I usually experienced from other movie makers, and what have I usually offered my friends in the shape of movie showings that I would consider much in need of improvement?\" Excluding the fortunate minority who possess properly fitted out recreation room theaters, most of us have given a show somewhat along the following lines. We have trotted out our projection apparatus among a group of friends variably.\nWe drape a room, which has grown stuffy with cigarette smoke, with a screen at one end and mount the projector at the other, likely on an unstable foundation that allows the machine to sway or vibrate. The enlarged frame on the screen will magnify these motions, adding to our guests' discomfort. After mounting the projector in this manner, we begin experimenting while guests are in the room. When we announce that we're ready, they gather around on anything they can find, in uncomfortable positions, not considering \"head room.\" We call for \"lights out\" since we haven't provided a convenient way to turn off and on the room lights from our projector vantage point. Someone then rises, snaps off the room lights.\nWith our film already running, he stumbles back to his seat, tripping over legs and feet and entering the projection beam in the process. He is \"on the beam\" all right \u2014 but the wrong beam! Of course, we have also neglected to prepare our film or the projector, or to focus on the screen ahead of time. As a result, adjustments of focus, framing, etc., are only made after the main title has gone on its way to oblivion. The series of stoppages caused by lost loops, breaks, and the like, which have sadly come to be an expected feature of many amateur shows, then follows. Frame lines keep appearing at the top or bottom edges of the picture. This may be caused by film shrinkage \u2014 in which case the fault may be our own \u2014 unless different makes of film have been spliced together. Additionally, film taken in different makes or batches may cause inconsistencies.\nModels of cameras and spliced together will often exhibit similar characteristics in respect to frame line troubles, which is another factor for which we cannot assume responsibility. However, it is attributable to us if we fail to adjust the projector frame immediately when frame lines appear.\n\nAnother common fault of our shows may be nearly blinding our guests at the end of each reel by running right through to a glaring blank screen. The avoidance of the foregoing and a great many other annoyances can easily be ensured with a little forethought and preparation, requiring no expensive equipment. We mentioned earlier in this article THREE prime factors. Do not invite friends to see our films unless we have first prepared them.\nOur next prime consideration was the matter of conditions under which we display our films. Let us make our audience as comfortable as possible. Use only a beaded or aluminum surface screen and place it so that the lower portion of the picture will be above their heads when they are seated. Try and arrange all this, as well as the seating, focus of the picture, etc., beforehand, as well as means of ventilation of the room and adequate darkening of the same.\n\nNovember, 1943 - American Cinematographer\n\nThere is a simple piece of apparatus we should resolve to equip ourselves with, and that is a SOUND and LIGHT-proofing BLIMP. Have we ever stopped to consider how disconcerting it would be to witness a regular theater movie if the projection machines were parked out amongst the audience, in the open?\nEnjoyment of the film, most would agree, would be practically reduced to nil in the case of substandard movies. Yet, this is invariably done. To say nothing of the noise from even the quietest machines, they universally leak streaks of light which play on walls and ceiling and are reflected onto the screen. Hence our sound and light-proof BLIMP. We will build it of wood and line it with the best sound-insulation material we can currently secure. Suitable light-trapped vents will be provided \u2013 a large one at the top rear for the exit of the heated air flow from the lamp house and a row of intake vents around the base. In front, there will be a good piece of plate glass as a window through which to project the picture. This window will be covered with a hinged flap. Perhaps we may, if ambitious, include additional features.\nA holder for color filters to provide special effects: blue for night scenes, red for fires or explosions, green for deep pastoral or river scenes. Mechanically inclined individuals can fit extensions to the projector controls, which may be carried to the exterior of the \"BLIMP.\" If this cannot be done, a quickly removable panel must be cut, enabling immediate access to the controls and instantly replaceable. Mount the projector inside the blimp on sound-proof material, such as rubber or felt, ensuring it does not sway or vibrate excessively. Select a rigid and secure table or stand on which to mount the \"ensemble.\" If the little woman objects.\nOur use of her best end table, even though it is a nice, solid one, we had better save up our pennies and purchase something of our own. Here again, if we are handy, we can construct something to our own design. There is room for quite a degree of ingenuity to be displayed in this. For example, the \"blimp\" and stand could be all built as one integral unit. One other item we must prepare: if we cannot reach existing stand, table, or room light switches from our projection vantage point, let us provide ourselves with an extension line and switch of some kind. Since our \"blimp\" is for the purpose of both sound AND light suppression, our aim will be largely defeated if fog marks and shadows from stray light from other sources than the projector are reaching the screen. It would be advantageous to set up our screen at\nConveniently, at some point, conduct a test to discover if any stray light crosses it. Street lights or passing vehicles may be sources, or there may even be light passing through cracks around doors from other lights in the house. Such stray light may not reach the screen directly, but may be reflected from walls, ceiling, mirrors, or other shiny surfaces. Cheap \"needle\" paper (obtainable from Kodaks) or other opaque material, fitted with sticky tape, may be used to cover windows or shield the screen from points where such stray light is being transmitted. These precautions will reward us many times over in securing unbelievably improved results. If we use an amplifier to provide musical and/or spoken accompaniment in the presentation of our films, the use of a \"blimp\" will be doubly appreciated, as the clatter of an \"open\" projector is eliminated.\nThe addition of music worsens the situation as a solo. The combination only seems to add to the confusion when the projector noise is intermingled with it. Regarding sound, we should ensure that everything is in order beforehand and all experimentation is carried out in advance. We should also arrange our selection of recordings in the correct sequence and cover our script, if any, with a hooded light. One man I know types and arranges his script on a continuous roll (adding machine refills), which he winds off from full to empty using a hand control knob as he reads. The script has \"cues\" for music, etc., tune-ins, fades, and so on, noted in the margin at the appropriate point. Such a script can be covered.\nThe entire arrangement is excellent. This man presents his films so well and with such meticulous care that he is in demand everywhere. He exhibits the same care throughout - in his choice of subject material, treatment, planning, editing, cutting, and titling. He is a credit to all amateurs. Yet, when analyzed, his work is only the application of common sense and employs that which everybody knows or should know if they take an interest in their hobby.\n\nThe cleaning and oiling of the projection machine take place with the other pre-show preparations. Particular attention should be given to the cleaning of the gate apertures to free them from unsightly accumulations of dust and fluff, which will be much magnified when projected onto the screen. To prevent recurrence of this.\nDuring projection, only films that have been periodically cleaned should be projected. And now, we come to the last of our \"prime consideration\" \u2013 the manner in which the film is shown. We have already dealt with much of the material affecting this, and there is no need to review what we have said about being \"on our toes\" to immediately correct misalignments of frame lines, focus, control of room lights, and smoothness of presentation of music and speech accompaniment (if any). One thing of great importance, however, may be said in connection with avoidance of \"running off\" the end of a film onto a blank screen. It will be recalled that we included, in the recommendations concerning preparation of the film itself, the advice to attach opaque or \"end\" trailers to the end of the film.\nends  of  all  films.  This  is  for  the  pur\u00ac \npose  of  giving  time  to  lower  the  flap \nover  the  \u201cblimp\u201d  window  before  the  film \nruns  out.  A  far  smoother  way  to  finish, \nhowever,  is  by  a  kind  of  fade-out,  ac\u00ac \ncomplished  by  lowering  the  window  flap \nat  a  medium  rate  of  speed,  just  as  the \n\u201caction\u201d  part  of  the  film  is  drawing  to \na  close.  One  or  two  frames  near  the  end \nof  the  film  are  pierced  with  a  few  pin \npricks  or  minute  punch  holes.  Knowing \nthey  are  somewhere  near  the  finish  of \n(Continued  on  Page  415) \nGrandeur \nAmerican  Cinematographer  \u2022  November,  1943 \nAMONG  THE  MOVIE  CLUBS \nMetropolitan  Club \nFOUR  films  were  shown  at  the  Octo\u00ac \nber  meeting  of  the  Metropolitan  Mo\u00ac \ntion  Picture  Club,  held  at  the  Victoria \nHotel,  New  York  City.  They  were  \u201cGaspe \nPeninsula,\u201d  by  J.  0.  Van  Tassell;  \u201cThe \nSouth  Wind  Whispers,\u201d  also  by  Van \nTassell;  \u201cWhite  Tail  Trails,\u201d  by  Joe \nArthur Gale wrote the scenario for the \"Broomstick Gymnasium\" picture. Leo Heffernan photographed it, and George Ward handled the commentary.\n\nNew members joining the club were Thelma Hensiek, Ann R. Ahern, Grace Bolman, Otto Heinemann, Ann Holzapfel, Evelyn Lawrence, and Wilbur Krimpen.\n\nThe showing of the film, \"Filters and Their Use,\" completed the Harmon Foundation series, at the October meeting of the Philadelphia Cinema Club. An enlightening talk on this subject was given by H.E. Moore, adding emphasis by means of illustrations on a blackboard.\n\nA new principle in third dimensional movies was demonstrated by its inventor, E.H. Bickley. He displayed the instrument called a swing mount and projected a film showing the results.\n\nThe club also saw a travelogue on South America by Walt Disney.\n\n(Saint Louis Club)\nThe Amateur Motion Picture Club of St. Louis highlighted three films at its October meeting: \"Yes Sir, That's My Baby\" by Lon Wadman, \"Florida In 1941\" by Joe Epstein, and \"The St. Louis Zoo\" taken at the Annual Picnic. A demonstration of various types of film splicers and splicing methods was also helpful to many members.\n\nThe San Francisco Cinema Club showcased the October meeting with the screening of A. O. Olson's motion picture with sound through \"magnetized wire.\" It was a forty-minute Kodachrome film titled \"Come to the Fair.\"\n\nK. A. Meserole presented an 800-foot black and white travel film titled \"Travelogue of the Philippines,\" which he filmed ten years ago.\n\nThe monthly meeting of the Minneapolis Cine Club was held at the Covered Wagon on Tuesday, October [unknown].\n19th. Featuring the program was a Honeymoon film made by the Club President, Len Martin, during his honeymoon. New members announced are Lawrence T. Anderson, Warren H. Reynolds, George H. Meyers, C. J. Elison, Allan H. Pahr, and Dr. W. E. Proffitt. Utah Cine Arts Club\n\nFour films featured at the October meeting of the Utah Cine Arts Club, held at the Art Center on October 20th. They were \"Vacation Time,\" by W. L. F. Samuelson; \"Dinner Party,\" by Mrs. Frank Thomson; \"Rodeo Thrills,\" by Jack Andrews; and \"Royal Visit,\" by T. J. Courtney, a record of the British King and Queen\u2019s visit to Canada.\n\nAring Doane, Hollywood film producer, spoke before the Washington Society of Amateur Cinematographers at its recent meeting, giving them the outline of the many details that go into making a professional picture.\nTwo meetings of the Long Beach Cinema Club were held in October, on the 6th and 20th. At the first meeting, Carl Weldin screened 400 feet of 16mm. Kodachrome showing Easter sunrise services and other miscellaneous scenes. Dr. and Mrs. McCoy showed a Kodachrome picture of Old Mexico and another on Sequoia National Park.\n\nThe Walt Disney film, \"South of the Border,\" was featured at the October meeting of the Tri-City Cinema Club. Tom Severs, of Moline Ill., showed an 8mm. film \"National Championship Hill-climb,\" which was extremely interesting. Ray Schmidt, of Davenport, Iowa, screened 200 feet of unedited film, asking for suggestions from the members as to editing.\n\nThe Syracuse Movie Makers held their meetings that month.\nTwo meetings in October. A Boy Scout film featured the meeting on October 5th. The meeting on October 19th was turned into an evening of pro and con discussions on titles, using the positive and reversal method. Club members have started a series of home study meetings. The home study group meets the fourth Tuesday of each month.\n\n(November 4, 1943, American Cinematographer)\n\nMatching Lens\nDiaphragm Setting\n\n(Continued from Page 401)\n\nThe reading should be cut in half. If it does not, the stops are not accurate. Turn the diaphragm ring until the meter reads half as much as for the last diaphragm stop. The reading on the ring will now be exactly one stop from the previous setting.\n\nTo check the transmission of one lens against another, set the standard lens to one stop below maximum aperture and observe the reading on the meter. Now set the other lens and compare the readings. If they match, the lenses are transmitting correctly.\nChange the unknown lens and rotate the diaphragm until the meter returns to the same reading. This will indicate the same amount of light passing through the lens and hence the position of the diaphragm will correspond to the setting of the standard lens. If the transmission of the lens is identical to the standard, the diaphragm should read the same as the standard lens. Any variation will show up instantly. In large studios, a standard aperture is usually used in connection with a standard key light level. With the same film used in all the cameras, a constant exposure is assured provided the lenses are all matched for transmission. The lens transmission tester is invaluable for such cases.\n\nAnglers:\nJoseph S. Friedman, prominent photographic chemist of Irvington, N.J., has joined the Research staff of Agfa.\nof  Agfa  Ansco,  America\u2019s  oldest  manu\u00ac \nfacturer  of  photographic  products,  ac\u00ac \ncording  to  a  recent  announcement  made \nat  the  company\u2019s  main  offices  in  Bing- \nhampton,  N.  Y. \nDr.  Friedman,  who  received  his  Ph.D. \ndegree  from  Harvard  University  in  1921, \nis  a  popular  writer  and  experimenter  in \nthe  field  of  color  photography.  As  a \nmember  of  the  Agfa  Ansco  Color  Re\u00ac \nsearch  Department  he  will  be  engaged \nin  the  further  development  of  Ansco \nColor  Film  and  Ansco  Color  Paper. \nA  member  of  the  American  Chemical \nSociety  and  the  New  York  Academy  of \nScience  and  a  fellow  of  both  the  Ameri\u00ac \ncan  Institute  of  Chemists  and  the  Amer\u00ac \nican  Association  for  Advancement  of \nScience,  Dr.  Friedman  has  played  an \nimportant  role  in  the  development  of \nnumerous  color  reproduction  processes \nand  has  made  important  contributions \nto  the  science  of  photographic  chemistry. \nIn  1928  he  conducted,  with  Edwin \nLand is the fundamental research in the field of polarized light, which was the basis for patents later used by the Polaroid Corporation.\n\nSparkling Waters\nAmerican Cinematographer \u2022 November, 1943\nDiary of a 10-Year Movie Maker\n\nMovies take on new sparkle with this fine precision instrument. Much of my time now will be devoted to re-editing odd scenes which hadn't been brilliant enough with the old outfit. Lucky thing I've saved those old films! Many very fine professionally made movie subjects are now on the market. Best of all, at reasonable prices. They're just the thing to round out a home movie program, and the quality is excellent! A complete variety of selections are available in 8mm., 16mm. silent and 16mm. sound editions. I for one am glad that some far-sighted individuals have awakened to the fact that\nThere's a demand for these really modern pictures. Who wants to look at those old-fashioned reductions made from 20-year-old 85mm. releases, heretofore available? Other alert individuals are forming rental libraries where the latest prints can be rented at a very nominal cost. Those who do not care to purchase the subjects outright may still enjoy them by renting one of these libraries. Still, others offer an exchange service. In this service, the first reel is purchased outright at regular rates and may be exchanged later for a completely different one. The new film, in turn, then becomes the property of the customer for as long as he desires to keep it. In this manner, the movie addict always has possession of a choice subject. The charge for this service is, likewise, usually very reasonable.\nI'm making my first serious attempt at indoor movies, and surprisingly, I haven't tried this before. It's simple - sensitive film, two or three photofloods in reflectors, a 10 cent exposure guide, and a firm determination. The results are surprising. I've decided to try my hand at outdoor night movies. A brightly lit central business district, such as Chicago's Loop, is the ideal subject. My 3.5 lens stop is sufficient for such scenes. Several shots filmed at 8 frames per second are even better, but the action is ridiculously sped up. Something else has caught my fancy lately - the processing end of the game. A true movie fanatic should be a little curious.\nI about what goes on after his films are rushed to the finishing lab. I can't hope to compete with the professionals, but at least I can experiment with developing shorter lengths of film. This pew developing rack I bought is just the thing! Besides, I'm already familiar with darkroom work, and fundamentally the principles involved are the same as in still photography.\n\nThis certainly looks like an eventful year! I think last year more was accomplished than in any previous period. I dabbled in just about everything. Took more Kodachrome than ever before. Learned many new tricks of the trade and gained the most prized reels of all my movie making activities. The importance of using some sort of a script and the ability to organize one hastily are now prime requisites. Sometimes conditions are such that a previously prepared script must be discarded and a new one concocted on the spot.\nPreparing a script is impossible in which event, one must learn to recognize good continuity instantly while \"on location.\" This requires fast thinking and usually takes considerable training, but isn't really difficult. Much of my time is now being spent making \"stills\" from my favorite movie scenes. The addition of a special enlarger to my equipment makes this possible. The advantage here is that the film doesn't have to be cut. Any choice frame may be enlarged, and there certainly is a choice on a movie film! With the film clamped in a special \"gate,\" the enlarger, which resembles a folding camera, is exposed to a bright lamp, thereby forming a negative image of the movie frame on a regular roll film. This enlarged negative can then, in turn, be used to make a photographic print either by contact or further enlargement.\nIt's fascinating... nice to have \"stills\" from favorite movies to pass around. War restrictions on photographic supplies are playing havoc with movie making aspirations this year. With more and more equipment being rationed or production being drastically reduced for civilian consumption, the cine fan has to be more conservative than ever. They say that money talks, but there are times when even money cannot replace a broken lens, a defective exposure meter or a burned-out photoflood lamp. Film, though sharply curtailed, is still available for occasional use. Owners of magazine load cameras will find their film type unobtainable most of the time, however. This all means that each exposure should be checked and rechecked before it's too late.\n[scene should be worth the footage devoted to it. Discretion must be used in war-time filming. Many good subjects are taboo. Time flies! It's incredible how much time has passed since I first cast an eager eye towards a cinematic camera, anxiously peered through the viewfinder, and hopefully pressed the shutter. For Lighting Equipment, as sole distributors east of the Mississippi, we carry the full and complete line of latest-type Inkie and H.I.-Arc equipment manufactured by Mole-Richardson, Inc., Hollywood - California. Your requirements for interior or exterior locations taken care of to the last minute detail anywhere. Motor Generator Trucks Rentals Sales Service, Charles Ross, Inc., 333 West 52nd St., New York, NY. Phones: Circle 6-5470-1]\n[It's here! A book on the principle of exposure that establishes new horizons in photography. A new approach to exposure control. Until you have read this book, you do not understand exposure. The first book that shows all factors concerned in exposure control. The book that has all the answers regarding principles of exposure. Now on sale (including postage). Send your order to Photo Research Corp., 15024 Devonshire St., San Fernando, Calif., Manufacturers of the Norwood Exposure Meter. A Practical Application. If you are practical, try a practical experiment. It is said that photoflood bulbs, like people, become weak in their old age. Here's an experiment that will tell the story... Place an exposure meter in front of a gray card that is directly illuminated.]\nBring the No. 1 photoflood bulb close enough to the card for the meter to show a fairly high reading. Place a small clock near the meter and set its hands at twelve o'clock. Adjust the lapse-time camera for an extreme close-up of the meter and clock, and set the interval timer for two exposures per minute. Start the camera on its first exposure and also start the clock for this experiment. The light must remain on constantly as it supplies the necessary illumination and acts as the guinea pig for experimental purposes.\n\nSince the average life of a No. 1 photoflood bulb is approximately two hours, this sequence will use about six feet of film. Thus, the bulb's life span can be tested in about fifteen seconds.\nMinutes indicated by the clock and the intensity of its illumination throughout its life will be indicated by the meter reading. A newsreel firm applied lapse-time photography practically to show the progress made in righting the capsized steamship Normandie. Entomologists and nature lovers will find sufficient subject matter to keep their lapse-time cameras clicking full time. Building of ant hills, cocoons, and other insect habitats are just the beginning. Each subject presents its own lighting and time-lapse challenges, but is generous in its reward when completed and projected. The amateur's results with lapse-time depend entirely on the extent to which they delve into its possibilities. This extent need not be limited by expensive equipment, as shown in the foregoing.\nWhen you begin lapse-time photography, there is no limit. You will never be satisfied. Each setup will make you want to do the next one a little different, and you will consistently make improvements with each trial. It will work on you like a drug, and as a result of your all-out effort, you will produce movies with an allure you have never experienced before.\n\nImproving Amateur Projection (Continued from Page 411)\n\nAs you improve the film, you keep a watchful eye for scratches on the screen. When they appear, they serve as your \"cue\" to commence closing off the lens. Should you accidentally \"miss your cue,\" however, the opaque trailer at the film end will still save you from running off onto another reel.\nAmerican Cinematographer \u2022 November, 1943\n\nPhotos at One-Millionth Second Exposure Claimed\n\nPhotographs with an exposure of but one-millionth of a second can now be made using a new high-speed electronic light equipment developed by engineers in General Electric's laboratory, the company has announced. This device, using a small mercury lamp no bigger than a cigarette, consists of a small portable box, 10 inches square and weighing less than 20 pounds. On the front is the light source, resembling a small auto headlight, which can be operated manually by means of a push button, or automatically by electrical contacts or a phototube and preamplifier. It will illuminate 20 square feet of area with sufficient intensity to photograph the fastest moving objects.\nin tests has \"stopped\" a wheel at 70,000 revolutions per minute. The fastest camera shutters of the usual type, with blades moving between the lens elements, ordinarily operate at a minimum of 1/300th second. Focal plane shutters, consisting of slits in a curtain moving immediately in front of the film, cut this down to 1/1200 second. Recently published high-speed photographs of athletes, etc., have been made with a lamp giving exposures of 1/30,000 second, but 1/33 as fast as the new G-E unit.\n\nThe new device uses standard and easily replaceable electrical parts and a single electronic tube, with a 100-watt Mazda mercury lamp as the light source. Such a lamp is now used as a high-intensity light for illuminating airports.\n\nINCORPORATED\n712 Connecticut Ave.\nWashington, D.C.\nThe Most Complete 16mm Sound Motion Picture Studios in the East.\nFrom script to screen, in the Nation's Capital, television and motion picture studios use this. Its brightness is one-fifth that of the sun's. The ordinary 115-volt AC household lighting circuit operates the unit. The current is rectified by an electronic tube and then used to charge a capacitor, an electrical storage tank. In three seconds, enough power is accumulated to operate the lamp at full flash intensity.\n\nAt approximately 2000 volts and 2000 amperes, it reaches a maximum of some 4,000,000 watts. Since current flows for only about a millionth of a second, the total energy in each flash is very slight. It is only enough to light a 40-watt lamp for a tenth of a second.\n\nDue to the pressure of war work for which the unit was made, we have not been able to experiment fully with it.\nS. Lawrence Bellinger stated that they focused on studying high-speed machinery using the device, such as turbine and supercharger parts. The small mercury lamp has a life of only one second but can last a newspaper photographer 500 years, as it is capable of 1,000,000 exposures. Bellinger, 27 years old, was born at Glens Falls, NY, and attended Cornell University. He served as a photographer for the War Department in the Canal Zone before joining the G-E General Engineering Laboratory in December 1941.\n\nThe Bell & Howell Company announced the following two new releases of the Filmosound Library:\n\n\"Saboteur\" (Universal), 11 reels; Priscilla Lane, Robert Cummings, Otto Kruger.\nAlfred Hitchcock's most significant screen achievement is \"Saboteur\" (1942), which stars Priscilla Lane and Robert Cummings. This timely story of wartime America follows a young aircraft factory worker falsely accused of sabotage as he tracks down the real saboteurs. The fast-moving plot spans thirteen states in just five days. \"Saboteur\" is available for approved non-theatrical audiences.\n\n\"Hell Below Zero\" (1933), a ten-minute sound film, offers thrilling scenes of a blinding snowstorm in equatorial Africa. Narrated and photographed by Carveth Wells, the world-famous traveler, this one-reel black-and-white film captures the little-known \"Mountains of the Moon\" for the first time.\n\nNovember, 1943 \u2022 American Cinematographer\n\nCinematographers Responsible for Agents' Success (Continued from Page 399)\n\nHollywood wondered what she could do.\nCameramen have meant a great deal to me in bringing new faces to the screen, particularly in the last year and a half. Through their artistry in making screen tests, I have signed Kim Hunter to a contract with David O. Selznick; Louise La Planche to Paramount Studios; Rosemary La Planche to RKO Studios and Jeanne Newport to Charles R. Rogers. Peggy O'Neill, as well, is a result of their work.\n\nThe star, despite being older and less glamorous in appearance, continues to be beautiful and glamorous on screen. However, it was the art of the cinematographer that achieved this. I wonder if the star and her agent realize this. I wonder if they have thanked the cameraman. The star probably has, but I'll bet the agent hasn't. The star was still beautiful and glamorous, but it was the cinematographer's skill that brought it about.\nI was signed by Charles R. Rogers under contract without a screen test, surprising as it was, as he had faith in Hollywood cameramen and their art. He believed the girls looked photogenic enough without a test. Soon, I will rely on cameramen again as I plan to introduce two new girls to the screen: Early Cantrell with dark auburn hair, and Laurie Hayden, a blonde. I discovered Miss Cantrell at the Pasadena Community Playhouse, where she gave an outstanding performance. Miss Hayden plays the leading feminine role in [unknown].\n\"One in Every Family' at the Pasadena Playhouse laboratory theatre. I am certain they will both secure contracts in films, as I have faith in them and I have faith in the cameramen who will make their tests coming shortly. Cinematographers, I thank you.\n\nSanta Fe Films\n\nThe Princeton Film Center has been named distributor of Santa Fe Railway\u2019s two new 16mm color motion pictures, \u201cLoaded For War\u201d and \u201cTank Destroyers.\u201d They are available by writing to Princeton Film Center, Princeton, N.J.\n\nNeither mechanical genius, industrial designer, nor professional cameraman or projectionist has any priority on the $1500.00 DeVry Corporation will pay for IDEAS as to 'Tomorrow\u2019s 8mm Motion Picture Camera and Projector. From these experienced groups are bound to come important, practical contributions to the industry.\"\nWhat is desired in the next motion picture camera for purchase? How should it look, load, and operate? What is desired in a postwar motion picture projector? How can its operation be simplified? Do you have an idea for its appearance that has merit and appeal?\n\nIt is the users' answers to these questions, whether professional, amateur, or just a \"tinkerer with an idea,\" that DeVry is looking for.\n\nDrawing, designing, or modeling skills are secondary.\nSubmit your Ideas \u2014 in rough or finished drawing \u2014 as to how you think the new 8mm Motion Picture Camera or Projector should look. Supplement designs with brief comments. Enter as many drawings as you wish.\n\nMECHANICAL OPERATION: You may submit working models, mechanical drawings, rough sketches. The idea is the thing \u2014 how to simplify, improve, perfect either camera or projector operation:\n\nPROJECTOR: Ventilating system (lamp house); optical system; film movement; reel arms; tilting device; film safety devices; take-up, framing, focusing and shutter mechanisms, etc. Can you suggest particular developments of these features?\n\nCAMERA: (single or turret lens mount) viewfinder; shutter, footage indicator; loading mechanism.\nHow do you think these can be simplified, perfected: winding key, exposure guide, lens mount, focusing, single frame release mechanism, etc.\n\nEntries Must Be Mailed\nThe World\u2019s Most Complete Line of Motion Picture Sound Equipment\nThe Better We Back the Attack with Our Bond Buying \u2014 The Sooner the Victory\n\nGriffis Advises 'Russia' for Public\nStanton Griffis, new chief of the OWI motion picture bureau, has strongly recommended to the WAC that the Col. Frank Capra film, \u201cBattle of Russia,\u201d be released for public showings. It is very likely that his advice will be followed.\n\nBuy More Bonds\n\nAmerican Cinematographer \u2022 November, 1943\nTor dtltrmlt this \u2014 THE ORIGINAL Scheibe Monotone Filter\nIndicates instantly how even-color and light value of a scene or object will be rendered in the finished print before taking the picture. Always ready.\n\nGraduated Filters\nNiqMEf feels fog, diffused focus and other effects\n\u00aevk iti roe oldee TWmoih 2102\nGcorqe H. Scheibo, 1 Origator of effect filters\n1927 West 78th St, Los Angeles, CA\nBuy War Bonds\nth/s\"EYE\" sees into THE FUTURE\nB&H Taylor-Hobson-Cooke Cine Lenses do more than meet current technical demands. They exceed them \u2014 and their design anticipates future improvements in film emulsions. They are THE long-term investment lenses.\nWrite for literature.\nBell & Howell Company\nExclusive world distributors\n1849 Larchmont Avenue, Chicago, IL\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. LaBrea Ave.\nLondon: 13-14 Great Castle St.\nNaval Technicians Supervise Optical Movies\nMotion picture on \"Fine Grinding,\" third of series under production at Bell & Howell Chicago plant for training of optical craftsmen, being supervised by representatives of the Navy and U. S. Office of Education.\nA series of visual education units on \"Optical Craftsmanship\" is now in production, consisting of a ten- to fifteen-minute 16mm. sound motion picture, a 35mm. film strip, and a sixteen-page learner\u2019s manual. The project is being jointly overseen by the Navy and the United States Office of Education. Commander E.B. Oliver of the Bureau of Ships, Navy Department, and other officers visited the Bell & Howell optical plant in Chicago to consult on the progress of the films being produced by the company for this project. They saw the third of the series.\nWe specialize in repair work for Mitchell and Bell & Howell Cameras. Rentals, sales, and service are available. Our offerings include the Mitchell Standard, Silenced, NC, Hi-Speed, Process, and Eyemo Cameras. Bell & Howell provides Fearless Blimps, Panorama Dollies, Synchronizers, and Moviolas for 35mm double system recording equipment.\n\nFrank Zucker Cable's address is Cinequip at 1600 Broadway, NYC, Circle 6-5080. The completion of \"Fine Grinding\" series on \"Pitch Buttoning and Blocking,\" \"Polishing,\" and \"Centering and Cementing\" is already under the cameras. The films dealing with spherical surfaces will be made at the Chicago plant, while those on flats and prisms will be made in New York.\n\nIn response to a question regarding the extensive fostering of this field,\nCommander Oliver explained that the end of the war had made necessary the immediate large-scale expansion of American production of precision optics. \"Optics are the 'eyes of the Navy,' and you can't fight very well without eyes,\" he said. Every manufacturer he had approached to take on the production of naval optical devices complained of a lack of skilled manpower. Furthermore, there was practically no material available for training the new unskilled hands that had to be drawn by the thousands into the infant industry.\n\n\"In the Navy itself, we are now teaching almost everything by means of 16mm motion pictures,\" the Commander continued. \"So why not teach optical craftsmanship by means of such visual aids?\"\n\nThe U.S. Office of Education reached the same conclusion after consultation.\nWith the War Manpower Commission, it was decided to add this vital new field of manpower training to the machine-shop, shipbuilding, welding and other crafts in which the USOE films have rendered noteworthy aid.\n\nBuy More Bonds\n\nNovember, 1943 \u2022 American Cinematographer\n\nInvaders Learn to Surrender\n(Continued from Page 400)\n\nIn America, he does not play, he acts most naturally, unencumbered, unsophisticated \u2014 we feel that he is himself. Life, atmosphere and education in our country inoculate this \u201cnatural\u201d art, obvious if I may say so, already in the American screen child\u2019s performance.\n\nAnother striking difference in film conception between the two worlds is our sense of humor. A divine gift of America\u2019s people, unparalleled on this globe, deeply wholesome in its beneficency,\nHealing wounds like the soft caressing hand of a doctor magician. European humor is entirely different \u2014 it springs onto the surface of life and art, sharp, whipping, often bitter as acid, full of sarcasm and ailing irony. This may be the explanation of the fact that American humor has swept all over the world like a torrential flood. In Europe, educational systems are large. We have fewer of them, but we know that our movie is a gigantic medium of expression for our healthy American spirit. We believe that we should give our youth the courage to meet life's struggles, with the assurance that honest effort is not futile, and that the power of good is victorious in the end. This is the attitude of our democratic nation. We are loyal and tolerant to the opinions and actions of others, but we don't wish defeatism.\nEuropean films portray life with deep resignation. In our nature, optimism is the fundamental view. Things don't get us down easily \u2014 chin up \u2014 regardless. And that is what will help us win this war, too. It will be our American films that will lighten the screens of Europe on her convalescent but peaceful tomorrow!\n\nElectronics in Photometry (Continued from Page 404)\n\nThe method is to pass the film in the roll past a point where scanning means for the film are located. The scanning beam consists of infra-red radiation or any radiation to which the emulsion is insensitive and to which a photo-cell will respond. The radiation from the scanning beam is picked up by a photo-emissive cell, with which is preferably associated an electric circuit.\nThe tron multiplier amplifies the signal further if necessary. In regions where the film has no faults, the output is constant. However, if a fault is traversed by the scanning spot, the small change in illumination of the photo-cell is passed on as a pulse to the amplifier, which finally operates a thyratron circuit. In turn, this triggers a relay. The relay may then perform anything required, such as stopping the machine, punching the film, or giving an audible warning. A variety of electronic circuits can be used as accessories, for example, to prevent the scanning spot from running over the edge of the film and recording a major fault. In practice, this method of examining film proves greatly superior in sensitivity to the human eye. The eye can just detect a black circle stuck on a piece of film, while the photo-electric examining machine will detect a short, faint pencil mark.\nRecords on microfilm, we have 85 miles in a fire and bombproof vault. This preserves the maps, records, and deeds accumulated since 1852 in the Los Angeles County recorder's office, the largest of its kind in the world. The microfilm reels require only three percent of the space needed for the original documents.\n\nMiss M. Beatty, recorder of the Los Angeles County office, reports that the cameras took over 7,000,000 individual exposures. In total, 13,186,056 pages of documented material \u2014 including 25,000 maps \u2014 were microfilmed. Over 450,000 feet of Du Pont Safety Micro-copy film was used on the project.\n\nA sound camera for 16 mm film\n- High Fidelity Sound\n- Self-contained in sound proof \"blimp\"\n- Minimum equipment; maximum portability. Camera and amplifier, complete, weigh only thirty-seven pounds.\nAuricon 16 mm Recorder and Camera: Kodachrome or black and white pictures with Auricon sound track can be reproduced on any sound-film projector. Operate the Auricon Portable Power Supply in the field with the Auricon Camera featuring type \"C\" lens mount (lens not included) and Amplifier. Complete set includes microphone, instructions, and cases.\n\nProduct Description:\nVariable-area sound on film for double system recording with a synchronous motor driven 16 mm. camera. Amplifier includes background-noise reduction and mixers for combining speech and music. Comes with dynamic microphone, instructions, and cases for Recorder and Amplifier, as well as accessories. $695.00\n\nAuricon 16mm sound-on-film recorders and cameras are serving the Nation's War effort with Military and Government Film Units, and with civilian organizations producing essential morale and industrial training films.\nWork in such fields makes you eligible to purchase new equipment. We invite you to let our engineers show you how Auricon portability and professional performance will simplify your recording problems.\n\nAuricon Building,\nE.M. Berndt Corp.\nS515 Sunset Blvd., Hollywood, California\nManufacturers of Sound-on-Film Recording Equipment Since 1931\nFor Rent\n\nAnimated Cartoon Equipment\n35MM. Successive Frame Three-Color Cameras\nAcme Tool & Mfg. Co.\n2815 W. Olive Avenue, Burbank, California\n\nAmerican Cinematographer \u2022 November, 1943\n\nGoerz\nCraftsmen\nThe production line of \"Goerz Americar\" is formed by skilled men, who through painstaking work create high-grade photo-lenses and optical units for military instruments used by our armed forces,\n\nOn Land,\nOn the Sea,\nIn the Air.\n\nThese precise optical units are of the highest quality.\nThe greatest importance to our armed forces is the availability of accurate military instruments for sighting, fire control, and photographic aerial reconnaissance. Precision science, along with our craftsmen, contributes significantly to this effort on the production line. Our production is geared towards fulfilling the requirements of our Government, as well as those with priority certificates. \"GOERZ AMERICAN\" lenses for civilian use will once again be available after Victory.\n\nTo hasten Victory:\nINVEST IN WAR BONDS\n\nC.P. GOERZ AMERICAN OPTICAL CO.\nOffice and Factory\nOmshkanl'\nPrecision Optics\nAmerican Television Uses Canadian Pix in Programs\n\nFor the first time in American television, Canadian documentary films are being seriously televised on a large scale by radio networks in the United States.\nThe National Film Board announced the following Canadian documentaries have been televised by the National Broadcasting Company: \"Road to Tokyo,\" \"Hot Ice,\" \"Forward Commandos,\" \"Mask of Nippon,\" and \"Quebec, Path of Conquest.\"\n\nCameras: Our Men Need Books. All You Can Spare.\nCamera Supply Company, Hollywood\nART Reeves\n1515 North Cahuenga Boulevard\nCable Address \u2014 Cameras\nEfficient-Courteous Service\nNew and Used Equipment\nBought \u2014 Sold \u2014 Rented\nEverything Photographic, Professional and Amateur\n\nNovember 420, 1943 - Diary of a 10-Year Movie Maker (Continued from Page 414)\n\nSince then, many fleeting moments of pleasure have been permanently recorded ... to be re-lived at any time on the screen. All the time and effort spent in making these movies is well repaid in viewing once again.\nThose never-to-be-forgotten scenes. Yes, movie making is one of those things that gets in your blood. It\u2019s a condition that\u2019s difficult to remedy. But after all, who wants a remedy?\n\nRuby Camera Exchange\nRents . . . Sells . . . Exchanges\nEverything You Need for the Production & Projection of Motion Pictures Provided\nby a Veteran Organization of Specialists\n\nIN BUSINESS SINCE 1910\n729 Seventh Ave., New York City\nCable Address: RUBYCAM\nTelefilm\nIncorporated\n\nDirect 16 mm\nSound\nUsed By:\n- Douglas Aircraft\n- General Electric (Welding Series)\n- Boeing Aircraft\n- North American Aviation\n- U. S. Dept, of Interior\n- U. S. Dept, of Agriculture\n- Santa Fe Railroad\n- Washington State Apple Commission\n- Standard Oil of Calif.\n- Salvation Army\n- Many Others\n\nA Better Job Faster- More Economical!\n\nTelefilm Inc.\n6039 Hollywood Blvd., Hollywood. CA\nGL adstone 5748\nThe 54th Semi-Annual Conference of the Society of Motion Picture Engineers was held in Hollywood. Papers were presented by experts on practically every phase of motion pictures. Among the papers presented were:\n\n\"The Flat Spiral Reel For Processing 50-foot Lengths of 35mm. Film,\" by C. E. Ives and C. J. Kunz of the Eastman Kodak Company;\n\"The New Acme-Dunn Optical Printer,\" by Linwood Dunn of RKO Pictures;\n\"A High Speed Method of Controlling Kelvin and Light Intensity for Motion Picture Printers,\" by Prof. Irving E. Dyatt, Oregon State College;\n\"The New DuPont Photo Products Control Laboratory,\" by William P. Hillman, E. I. DuPont de Nemours & Co.;\n\"Like This,\" by Lt. Commander Patrick Murphy, Chief of Visual Training Section, U.S. Coast Guard, Washington, D.C.;\n\"A New Studio and Location Sound Recording System,\" by F. W. Thomas, Fox Film Corporation.\nRecording Unit, by J. L. Fields, RCA-Victor Division, Radio Corporation of America, Hollywood.\n\nSymposium on Paramount Color Still Background Projection System:\n1. \"Duplication of Kodachrome Original, with Enlargements, Reduction and Color Correction,\" by Earle Morgan and Roy Peck, Paramount Pictures.\n2. \"Transfer of Kodachrome Emulsion to Lantern Slide Glass,\" by Barton H. Thompson, Paramount.\n3. \"High Efficiency Stereoptican Projector for Color Background Shots,\" by Farciot Edouart, A.S.C., Paramount.\n\n\"What To Expect of Direct 16mm.,\" by Lloyd Thompson, vice-president of the Calvin Company, Kansas City.\n\"16mm. Color to 35mm. Black and White,\" by Carroll Dunning, Dunningcolor Corporation, Hollywood.\n\"Improvements in 16mm. Equipment,\" by Lt. Commander Alfred Gilks, Office of Strategic Supplies.\nPlies, Field Photographic Branch, Navy Department; \"Post-War Television Planning and Requirements,\" by Klaus Landsberg, Television Productions, Inc., Hollywood; \"Cunningham Combat Camera,\" by H.G. Cunningham; \"Monopack Processes,\" by Joseph S. Friedman, American Photography, Binghamton, NY; and many other papers dealing with sound and laboratory problems of the armed services.\n\nEnglish night fighters in war zones are reported to have been ordered to see at least two pix weekly to condition their eyes, according to Capt. Kuttenwascher, who visited Warner's recently. British government optometrists have found that the combination of darkness and intent watching of visual images is ideal for the eyes for the work demanded by night bombing expeditions.\n\nRemember the Red Cross.\nGIVE !\nNew Precision Products from KALART.\n[NEW Model \"E-l\" Range Finder with war-time improvements: New FOCUSPOT for automatic focusing in the dark. Improved Master Automatic Speed Flash. Write for full information. The Kalart Company, Inc., Dept. 19, Stamford, Conn. 8 Enlarged 16 ReK/ced 8 Geo. W. Colburn Laboratory Special Motion Picture Printing 995 Merchandise Mart Chicago Moviola Film Editing Equipment Used in Every Major Studio Illustrated Literature on Request Manufactured by General Service Corporation Moviola Division 1449-51 Gordon Street Hollywood 28, Calif. FAXON DEAN INC. CAMERAS RIMPS-DOLLYS FOR RENT Day, Normandie 22184 Night, Sunset 2-1271 4516 Sunset Boulevard American Cinematographer \u2022 November, 1943 421 Statement of the Ownership, Management, Circulation, etc., Required by The Acts of Congress of August 24, The American Cinematographer, published]\nThe following is the cleaned text:\n\nFor October 1912, at Los Angeles, California:\n\nState of California\nCounty of Los Angeles\n\nBefore me, a Notary Public in and for the State and county aforesaid, personally appeared Hal Hall, who, having been duly sworn according to law, deposes and says that he is the Editor of the AMERICAN CINEMATOGRAPHER and that the following is, to the best of his knowledge and belief, a true statement of the ownership, management (and if a daily paper, the circulation), etc., of the aforesaid publication for the date shown in the above caption, required by the Act of August 24, 1912, as amended by the Act of March 3, 1933, embodied in section 537, Postal Laws and Regulations, printed on the reverse of this form:\n\n1. The names and addresses of the publisher, editor, managing editor, and business manager are: Publisher, A.S.C. Agency, Inc.\nA.S.C. Agency, Inc., 1782 No. Orange Drive, Hollywood 28, Calif., a non-profit corporation wholly owned\nOfficers of the American Society of Cinematographers, Inc.: President: Leonard Smith, 1782 N. Orange Dr., Hollywood, CA 28; First Vice-President: Charles G. Clarke, 1782 N. Orange Dr., Hollywood, CA 28; Second Vice-President: Arthur Edeson, 1782 N. Orange Dr., Hollywood, CA 28; Third Vice-President: Joseph Walker, 1782 N. Orange Dr., Hollywood, CA 28; Secretary-Treasurer: Byron Haskin, 1782 N. Orange Dr., Hollywood, CA 28; Executive Vice-President and Business Manager: Fred W. Jackman, 1782 N. Orange Dr., Hollywood, CA 28\n\nNo known bondholders, mortgagees, or other security holders own or hold 1% or more of total amount of bonds, mortgages, or other securities.\nThe two paragraphs above provide the names of the owners, stockholders, and security holders, including those appearing as trustees or in other fiduciary relations, with the names of the beneficiaries. These paragraphs contain not only the lists of stockholders and security holders as they appear in the company's books but also statements of my full knowledge and belief regarding the circumstances and conditions under which those who do not appear as trustees on the company's books hold stock and securities in a capacity other than that of a bona fide owner. I have no reason to believe that any are otherwise.\nother person, association, or corporation has any interest, direct or indirect, in the said stock, bonds, or other securities than as stated by him.\n5. The average number of copies of each issue of this publication sold or distributed, through the mails or otherwise, to paid subscribers during the twelve month preceding the date shown above is. (This information is required from daily publications only.)\n\n(Signed) HAL HALL, Editor.\n\nSworn to and subscribed before me this 8th day of October, 1943.\n(Seal) OLIVE M. BERREAU,\nNotary Public in and for the County of Los Angeles,\nState of California.\n(My commission expires August 6, 1944.)\n\nMany Army bids for \"Disney\" Victory\nThe impact of Walt Disney\u2019s \u201cVictory Through Air Power\u201d is being felt in high military circles throughout the globe, as indicated by the number of requests being made to the Disney studio for prints.\n[Studio rushes a 16 mm. print for the U.S. Army Pictorial Service overseas for important military purposes. Air Marshal Sir Sholto-Douglas in the Middle East requests a print for showing to British Navy Admirals and top military leaders in the Middle East Theatre. The British Air Ministry wants the picture for historical records and to show it at the Royal Air Force Staff College.\n\nFor sale: Optical Sound Reduction Printer, $1250.00; Bell-Howell Single Phase Synchronous Camera Motor, $100.00; RCA Galvanometer String Vibrators, $5.00; 3-Phase Camera Motors, RCA Mitchell, $47.50; Bell-Howell, $77.50; Two Element Glowlamps, $9.50; Duplex 35MM Step Printer, $425.00. S.O.S. Cinema Supply Corporation, New York.]\nWE BUY, SELL AND RENT PROFESSIONAL AND 16mm EQUIPMENT: NEW AND USED.\nDISTRIBUTORS FOR ALL LEADING MANUFACTURERS.\nRuby Camera Exchange, 729 Seventh Ave., New York City. Established since 1910.\nIMPROVED DUPLEX 35MM PRINTER: with two Bell-Howell Cams and Shuttles. Perfect Registration for Color or Black and White, and process plates. Also Bell-Howell Step Printer with Registration Pins ideal for duplication.\n35 MM Holmes and DeVry Portable Sound Projectors. Hollywood Camera Exchange, 1600 Cahuenga, Hollywood.\nFORD 1.4 ton Sound Truck equipped with latest Blue Seal noiseless variable area recording equipment, 220 volt, 3 phase generator for motors, battery charger, RCA and W.E. microphones. Complete, ready for operation. Also stock of synchronous and Selsyn motors.\nBlue Seal Sound Devices, 305 East 63rd Street, New York, NY.\nFried 16mm continuous printer for sound and picture with meters for color. Fried light testing machine. Complete $1,150. Film Associates Co., 429 Ridgewood Drive, Dayton 9, Ohio.\n\nFor Bell & Howell Camera, synchronous motor, aluminum frame, 90' minute, $125.00. Bell & Howell, Cooke, Astro, Zeiss, Goertz Lenses: wide angle, telephoto FI. 4, etc., 16, 35 Sound Projectors, Cine Specials, Accessories. Bell & Howell. Turrets, Eyemos. Finest Domestic and Imported Candid, Reflex Cameras: Automatic Rolleiflexes, Leica, Contax, Speed Graphics \u2014 Studio and Copying Cameras. Screens, Recorders, Playbacks, Photo Cells, Slide-Picture Projectors, Exposure Meters.\n\n\"Debrie 16mm ARC Sound Projector $895, Two Speakers, Rectifier, Amplifier.\" Trades accepted, bought. Get Our Prices and Offers. We Pay Highest Prices for Professional and Amateur Equipment, Film and Accessories. Mogull\u2019s.\n57 West 48th Street, New York\nRadiant Daytime Shadow Box Projection Screen Unit held for senior officers. Wherever possible, the Disney Studio is cooperating with the armed forces of the Allies.\n\nFor Sale\nWestern Electric Double System 35mm Sound Editor; Holmes 16mm Sound Projector, 1000-watt Booth Auditorium type; duplex 35mm Printer for picture and sound track; 16mm Continuous Contact Sound and Picture Printer; Akeley camera, 35-50-100-150-300-425mm lenses; 5 magazines; motor, tripod, many attachments; DeBrie camera, Model L, new tachometer; friction and crank tripod; 110-volt motor; Mitchell type mounts; magazines.\n\nWe Buy\u2014 Trade\u2014 Send Us Your Lists.\nCamera Mart, 70 W. 45th St., New York City\n\nWanted\nWanted to Buy for Cash\nCameras and Accessories\nMitchell, B & H, Eyemo, Debrie, Akeley\n\nAlso Laboratory and Cutting Room Equipment\nCamera Equipment Company\n1600 Broadway, New York City\nCABLE: Cinequip\nWe pay cash for everything photo- graphic and graphic. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\nWe buy\u2014sell\u2014trade all motion picture equipment, sound and silent. Send your list. The Camera Mart. 70 West 45th St., New York City.\nMogull\u2019s is on a buying spree and pays top cash for photographic, cinematic items. Cameras, projectors, public address systems, enlargers, splicers, lenses, accessories, film, etc. Complete and partial units considered! Liberal appraisals, immediate cash. Bring or write frankly, describing items in full detail.\nClassified Advertising\nNovember 1943 \u2022 American Cinematographer\nBasic aeronautical research in the laboratories of the National Advisory Committee for Aviation Technology and fuel combustion in aircraft engine cylinders. These movies, showing...\nThe Committee at Langley Field, Va., uses Cine-Kodak to study unseen problems in aircraft and engines through \"smokeflow movies\" made in wind tunnels, which reveal foils and air currents when guns fire or bombs hit their targets.\n\nKEY TO SECRET WEAPONS: trying to prove a plane, gun, or projectile that moves too fast to see... is a slow, fumbling business. In times of war, not good enough. Fortunately, in 1932, Kodak made available to our best engineering and scientific minds a new kind of eye - a movie camera for taking in the unseen in our mechanized, electrified world.\nThousands of pictures a second, which could then be shown at a normal movie speed of 16 pictures a second. It \"magnified time.\" In the resulting movies, action which had actually occurred in a split-second was stretched into minutes. Research scientists used these cameras to help develop faster airplanes, more powerful motors. And, with the approach of war, to find out why a machine gun jammed\u2014 and fix it; to \"take the bugs out\" of the recoil mechanisms of bigger guns; to pack a more effective \"train of bullets\" in machine guns. Not \"Old Faithful,\" but \"stills\" enlarged from movies made at 2500 pictures a second, showing the comparative efficiency of two designs in fuel injection jets. The superior distribution of fuel from the jet at the right-hand side is the type of small improvement which helps our men write America's fighting record in the air.\nFire a contact bomb... Examples number in the hundreds. Your 16-mm home movie Cine-Kodak was the jumping-off place in designing Eastman's super-speed movie camera, which takes 3,000 pictures a second\u2014 the film streaking through at over 50 miles an hour. The \"shutter\" is a spinning \"prism\"\u2014 speed 90,000 r.p.m. At this incredible speed, this Cine-Kodak makes good movies\u2014 with standard 16-mm films, Kodachrome included\u2014 and has become a most effective military tool. Eastman Kodak Co., Rochester, N. Y.\n\nRemember Major Henderson?... How Major Lofton Henderson, USMC, flew his crippled bomber right down onto the Jap carrier's deck? And how his name was given to that bomb-scarred field on Guadalcanal? It is a stern example for us at home.\n\nBuy more war bonds.\n\nServing human progress through Photography\nAmerican Cinematographer \u2022 November, 1943\n\"Victory will bring back for home movie fans \"SAPS AT SEA\" starring Laurel & Hardy in a series of sidesplitting adventures. It\u2019s a Universal Picture now available from the Filmo-sound Library for showing at approved non-theatrical locations. \"Riders of Death Valley,\u201d another Universal hit, features Dick Foran as the hard-riding hero and Leo Carillo and Big Boy Williams as his cronies. A 15-chapter serial\u2014 and a dozen thrills per chapter. Kids love it! They're signing on with \"Captain Caution.\" It'll be a dangerous voyage, full of dark intrigue. That's the grand part of owning a Filmosound Projector ... and having the B&H Filmosound Library at your command. They'll turn your familiar living room into a sea-lashed pirate ship or a musical comedy stage...\"\nFor a football gridiron or an African jungle, or a Norwegian fishing village, among the thousands of films waiting for you in the Filmosound Library. Buy more War Bonds. Filmosound V-*-\u2014 is an example of B&H engineering which maintained all the refinements of B&H performance in this great projector despite shortages of critical materials. Filmosound V*-- -- is now produced exclusively for the Armed Forces. Opti-onics is optics, electronics, and mechanics. It is research and engineering by Bell & Howell in these three related sciences to accomplish many things never before obtainable. Today, Opti-onics is a weapon. Tomorrow, it will be a servant... to work, protect, educate, and entertain. Trade-mark registered. When you order new projector lamps, be sure to return your old projector lamps. Travel movies... historical films.\nsports shorts . cartoon comedies . Hollywood features like \"Captain Caution,\u201d \"Saps at Sea\u201d starring Laurel and Hardy, and \"Riders of Death Valley,\u201d the good old hard-riding \"cliff-hanger\" (serial to you). Send for the Filmosound Library Catalogs and make the most of your Filmosound. Home Movies are great for the important relaxation that helps you do your daily job better. Bell & Howell Company, Chicago; New York; Hollywood; Washington, D.C.; London. Est. 1907. Products combining the sciences of optics \u2022 electronics \u2022 mechanics BELL & HOWELL COMPANY 1848 Larchmont Ave., Chicago 13, Ill. Please send me the Filmosound Library Catalog and recent supplements.\n\nName\nDecember\nFont Motion Picture Film\nF. I. du Pont de Nemours & Co. (Inc.), Wilmington DE\nIn New York: Empire State Building\nIn Hollywood: Smith & Alter, Ltd.\nFilm Products Division, Better Things for Better Living . . . Through Chemistry, American Cinematographer, December 1943\n\nWar correspondents and other professional cameramen must be ready for whatever breaks\u2014good or bad. These men have learned from experience that when their camera is a 35mm EYEMO, they never fail. EYEMO gets the picture!\n\nToday, EYEMO Cameras have gone to war. The armed forces need more than we can supply. That is why EYEMO cameras are not now available to civilians. The armed forces must be served first\u2014we know you agree. When Victory is won, EYEMO Cameras will be back in civilian clothes.\n\nThen, as formerly, if a stock model EYEMO does not meet your requirements exactly, we will modify or change it for you. You will never have to accept a compromise in an EYEMO.\n\nDecember 7, 1941 \u2014 Jap planes bomb Pearl Harbor.\nHarbor.  Lett  H.  Roos,  A.  S.  C,  F.  R.  P.  S.,  Staff \nWar  Correspondent  Patbe  News,  films  the  action \nwith  his  EYEMO. \nA  PROMISE  TO  EVERYONE  WHO\u2019S  WAITING \nTO  BUY  POSTWAR  FILM  EQUIPMENT \nThe  new  cameras  and  projectors  that  Bell  &  Howell \nwill  produce  after  Victory  will  not  be  hurriedly \nassembled  from  leftover  parts.  They\u2019ll  be  improved \nby  the  discoveries  we  have  made  in  producing \nsecret  devices  for  the  armed  forces.  You\u2019ll  buy  them \nand  use  them  with  the  same  pleasure  and  confidence \nyou\u2019ve  always  had  in  Bell  &  Howell  equipment. \nCAN  OPTI-ONICS  OFFER  YOU  A  FUTURE? \n\u2666\u25a0EYEMO  MODELS  L  AND  M  .  . .  Three-lens  turret \nhead;  \"sound\u201d  field  viewfinder  is  matched  to  six \nlens  focal  lengths  by  turning  a  drum.  \"Sound\u201d  aper\u00ac \nture  plate.  Model  L  has  speeds  of  4,  8,  12,  16,  24, \nEYEMO  MODELS  P  AND  Q  .  .  .  These  are  simi\u2014 >\u2022 \nlar  to  Models  N  and  O,  respectively,  except  that \nP and Q are equipped for alternate, optional use with electric motor and external film magazines. External film magazines extend maximum scene length from 5.5 to 400 feet. Offset finder eyepiece prevents interference.\n\nThree-arm offset turret permits broader choice of lenses. Turret lock is particularly appreciated with long, heavy lenses. Visual, prismatic focuser with magnifier. fps.\n\nBell & Howell Company\nChicago, New York, Hollywood, Washington, D.C., London. Established 1907\n\nYes, if you\u2019re an expert engineer experienced in electronic or mechanical design, we need your help in exploring the broad peacetime horizons of Opti-onics. It\u2019s a big job for big men.\n\nIf we\u2019re talking your language, write us your whole story and enclose your photo. We\u2019ll set up an interview for you.\n\nAddress: Chairman, Opti-onics Development\n7100 McCormick Road, Chicago 45, Illinois\nMotion Picture Cameras and Projectors\nPrecision-Made by\nOpti-onics is OPTICS . . . electronics . . . mechanics. It is research and engineering in these three related sciences to accomplish many things never before obtainable. Today Opti-onics is a WEAPON. Tomorrow, it will be a SERVANT ... to work, protect, educate, and entertain.\nBUY WAR BONDS \u2666Trademark registered\nAmerican Cinematographer \u2022 December, 1943\nContents\n(Courtesy of Journal of British Kinematograph Society)\nRecent Developments in Sound-Tracks.\nBy E. M. Honan and C. R. Keith, 440\nIt's Fun to Develop and Print Your Movies. . . .\nBy James R. Oswald, 444\nAmong the Movie Clubs . . .\nThe Stafi\nEditor: Hal Hall\nTechnical Editor: Emery Huse, A.S.C.\nAssociate Editor: Alvin Wyckoff, D.Sc., A.S.C.\nEdward Pyle, Jr.\no Battle\nWashington Staff Correspondent\nReed N. Haythorne, A.S.C. - Military Advisor\nGlenn R. Kershner, A.S.C.\nCol. Nathan Levinson - Staff Photographer\nPat Clark - Artist\nAlice Van Norman - Circulation\nMarguerite Duerr - Advisory Editorial Board\nFred W. Jackman, A.S.C.\nVictor Milner, A.S.C.\nJames Van Trees, A.S.C.\nFarciot Edouart, A.S.C.\nFred Gage, A.S.C.\nDr. J. S. Watson, A.S.C.\nDr. Herbert Meyer, A.S.C.\n\nOn the cover this month is Stanley Cortez, A.S.C., Director of Cinematography on David O. Selznick's production of \"Since You Went Away.\" It is one of those rare shots of its kind where no one in the picture knows they are being photographed. The actor in naval uniform is Joseph Cotten. The film is being produced for United Artists release.\n\nAustralian Representative:\nMcGill's, 179 Elizabeth Street, Melbourne.\nAustralian and New Zealand Agents.\nDecember 1943, American Cinematographer\nGross: Wl. WingSpan Horsepower Speed Useful Load\nMARS: 140,000 lb. 200' 8,000 (Restricted Information)\n\n\"BUY BONDS, DON'T DUCK YOUR DUTY.\" - Donald\n\"FANTASY OF FACTS...\"\nIllustration from Walt Disney's Feature, \"Victory Through Air Power,\" Major\nAlexander de Seversky's best-selling book shows how far aviation has progressed in the three short decades separating Glenn H. Curtiss' Flying Fish and Glenn L. Martin's Mars. The Navy's first flying boat had little need for anti-icing or hydraulic systems, but today, the Mars and every leading American and Canadian aircraft is equipped with ADEL products, known for their Design Simplicity\u2014 their light weight, small size, and superior performance. Skills now completely war-directed will, with peace, be turned to new products for home and industry with similar advantages resulting from the ADEL Policy of Design Simplicity. Take Donald Duck's advice. Buy Bonds now so you will be able to buy these exciting new and immeasurably better products with the ADEL trademark.\n\n\u2666TRADE MARK COPYRIGHT 1943 ADEL Precision Products Corp.\nPsychological Photography by Steve O'Donnell\n\nAmerican Cinematographer, December 1943, p. 429\n\nPsychological photography is the new expression used to describe the strange and subtle, yet highly effective, manner in which Stanley Cortez is playing upon the mind and emotions with his camera as he shoots \"Since You Went Away\" for David O. Selznick. This technique is something new and yet not. It combines everything that is good in that which is old with some extremely good new ideas.\n\nCortez has always been known as a bold adventurer into the realm of new camera techniques. Yet he has never been a radical thinker, intent simply upon doing something in a new way, rather than building upon the foundation of the past.\nHe has reverence for tradition and the ways of doing things proven sound by time and his experience as a craftsman. When Cortez presents something new, it is guaranteed to be better than what we had before. The psychological photography that has everyone talking about \"Since You Went Away\" is a treatment of emotional situations that unconsciously takes the onlooker through the emotional experience of the actors, as if they were living the part. To understand it, one must first understand Cortez. He is a man to whom moods are of great importance. For instance, he loves music not only for the relaxation he finds in it but because he can create, intensify, or even change his own mood with it.\nThe right kind of music. Certain combinations of sounds affect him, as they do most sensitive people, emotionally. Now he has slowly come to the realization that sound and light are but different aspects of the same thing, as far as the effect on human emotions is concerned. We have long been familiar with the fact that, as a general rule, allegro passages produce sensations of lightness and gayety; largo passages, sensations of depression and sadness. Cortez has long thought that if cinematographers could come to regard the use of light as musicians regard the use of sound, motion picture photography would take a long step forward on the road to artistic maturity. In the past, he has experimented often but has been restrained by various considerations from giving his dynamic concept of cinematography full reign.\nHe was first assigned by Mr. Selznick to shoot \"Since You Went Away.\" Cortez determined to explain in detail his newly developed theory of psychological photography. To his vast delight, Selznick quickly sensed the tremendous values in Cortez's idea. With characteristic daring, the man who sank $4,500,000 in \"Gone with the Wind,\" while critics shook their heads, and who emerged with the greatest smash hit in motion picture history, told Stanley to give his ideas free play. The results, seen thus far only by a select few who have been permitted to view the rushes, are truly astonishing. As you watch scenes from \"Since You Went Away\" on the screen, you are unable to understand at first why they effect you so profoundly. In fact, the entire picture is a slice of life today, a cross-section of America under the impact of total war.\nThe sequences are dramatic, but they are the same experiences through which most of us are living. It would be natural to suppose that they would lose something in being translated from real life to the screen. Instead, they gain something and strike us with greater emotional impact than the things we see around us in these tense, historic days in which we are living.\n\nIt is Stanley Cortez, at work with his lights and his lens, finally working with a producer of Selznick\u2019s boundless imagination. Where the average man would lay restraining hands upon Cortez, Selznick is urging him on, or, to be more exact, leading him on. Selznick has grasped the implications of the psychological technique so firmly that he frequently makes suggestions on the use of lights and lens that are in advance of Cortez\u2019s own thoughts.\nA complete telling of the development of cinema photography in relation to \"Since You Went Away\" would reveal much of the effective material. Selznick, despite opposing the practice of giving away story angles or technical details, has graciously permitted description of one scene. In this scene, Claudette Colbert, Jennifer Jones, and Shirley Temple, playing Anne Hilton and her two teenage daughters Jane and Brig, enter a big hotel lobby. The lobby is crowded, as all such lobbies are today. They are happy and gay, anticipating a long-awaited reunion with the family's husband and father.\nWho has waived his 3-A draft status to enlist?\n\nCortez makes you feel the gayety of the three without letting you know how. There is plenty of light on this scene and plenty of motion. This brightness is infectious and seems to enter your own spirit as you watch (or, rather, experience) the scene.\n\nThey walk up to the desk and make an inquiry. A telegram is handed to Claudette. It is bad news. Tim Hilton will not be able to keep the rendezvous.\n\nYou next see the three - Claudette, Jennifer, and Shirley - slowly retracting their steps down a long hotel corridor.\n\nIn place of the scores of bright lights which he used in the lobby scene, Cortez now uses but one, and that one light casts three long shadows, sad shadows, December 1943 \u2022 American Cinematographer shadows that seem to be great weights, each weight fastened to the ankles of\nThe owner of this feels the sadness typically associated with dusk, the end of the day, the finish, the frustration, in those shadows. You experience the emotional drag and the scene leaves you limp. This is just one small trick in psychological photography.\n\nAnother trick involves the Hilton home. We all know that stage sets came before motion picture sets. Too often, pictures followed the stage tradition blindly, doing things the way they had to be done on the stage, with the obvious limitations of the stage, which frequently did not apply to motion pictures.\n\nThus, on a stage, a room is not a room, it is three walls of a room with the fourth wall left off, so that several hundred people can look in. Thus, on the stage, it is impossible to create the effect of having the observer in the room.\nThe best he can hope for is to get the effect of being in a room. When David O. Selznick planned \"Since You Went Away,\" he decided that much of the effect depended on taking the audience into the Hilton home. So, he built the home on two adjoining stages. He built a house so substantial and permanent in appearance that you are tempted to move right in when you see it. The fireplaces are practical, as is the plumbing.\n\nBut that isn't all.\n\nAs the action proceeds, the camera is placed not where it is most convenient to place a camera, but where the maximum emotional effect can be created. And one of the prime emotional effects is the effect that you are in this house. You aren't looking into it as you would on a stage. You are in it.\n\nThus, when Monty Woolley and Shirley Temple play a comic scene with a relic from the past, you feel as if you are in the room with them.\nA reluctant turtle is in the tiny bathroom room. The scene is hilarious - as are many of the scenes between this pair in the picture - and they gain much of their power from the effect mentioned. Any cinematographer will appreciate the difficulties involved in getting the camera into some of the cramped spaces of the Hilton home, but the results are worth it. An additional sense of reality derives from a lens treatment by which Cortez creates the illusion of a third dimension on the screen. Although lay observers are not fully aware of it, frequently when one person is in focus on a screen, others in the same scene are not sharply in focus if they are standing in different planes of depth from the camera. In \"Since You Went Away,\" by artful use of lighting and unusual lens treatment, Cortez overcomes this difficulty.\nCultivating depth on the screen, Selznick is approaching the $2,000,000 mark on this picture. Many have struggled to comprehend the reason for the substantial expense in his latest production. This article will clarify it for technical minds, at least. There are no masses of extras as in the capture of Atlanta, though there are some large scenes, such as the hangar dance sequence. \"Since You Went Away\" did not begin as a detailed story like \"Gone with the Wind.\" What drives up the cost is the pursuit of perfection, particularly in the portrayal of moods. Effects that seem insignificant to many producers are being meticulously developed by Selznick as if they were rare, precious flowers.\n\"Each nuance achieves its full beauty and power. As for Stanley Cortez, he is in the cinematographer's heaven. For once in his life, he is being permitted full play for an imagination of great range. His work on \"The Magnificent Ambersons\" made cinematographic history. \"It was good,\" says Stanley, \"and I'm proud of my part in making it and grateful for the opportunities that were offered to me at that time to try some of these ideas experimentally. But this time I am working with a man whose imagination and courage seem to know no bounds. Believe me when I say that in Since You Went Away, the motion picture camera will take its place as one of the greatest instruments for artistic creations ever invented by man.\"\n\nJohn K. Kirston, formerly with Paramount Pictures and Walter Wanger Productions, has joined The Prince's film center.\"\nFilm Center, Princeton, New Jersey, I have worked as production manager. Kirston has had extensive experience in the production of training films, having completed a lengthy production assignment with the U.S. Army Signal Corps, as civilian motion picture expert, before joining the Film Center.\n\nThree striking examples of lighting effects achieved by Stanley Cortez, A.S.C., in photographing the David O. Selznick production of \"You Went Away.\"\n\nAmerican Cinematographer \u2022 December, 1943\n\nIt had been one of those hot days, sultry and sticky, that began with the slow rising of a coppery sun in the morning. What circulated around us during the day floated in from the Gulf to settle around rank vegetation in the back country. With the scantiest clothing we could wear, we had labored.\nand he puffed around all day with it sack ing to us like an uncomfortable plaster. We sat out in front of our headquarters tent at the far edge of the airfield watching that coppery sun crawl down under the horizon of the Gulf, fanning ourselves into thinking the action induced a cooling effect when the conversation turned to the subject of \"Snow.\" Jack Smith had been up in the air most of the day -- \"twenty thousand feet,\" he said, \"where it was really cool\" -- and now, as he wiped his face and neck dry, he remarked, \"I could be cooler in Africa than down here on this Florida Coast of the Gulf of Mexico.\"\n\nSomebody snickered and exclaimed, \"Africa! -- don't be silly -- it's hot in Africa -- any place!\"\n\n\"Well,\" Jack replied as he wine away at the gathering perspiration, \"I've been on location in Africa where it was as cold as snow.\"\nComparing locations here at home and abroad reminds me of some of my experiences in the snow, any of them as cold and shivery as the atmosphere twenty thousand feet up. One of them I call to mind was in Africa.\n\nThe group stopped fanning themselves and looked at him. What was the use? Africa! It was too hot to argue.\n\n\"It's a fact,\" he continued, \"I know it sounds rather odd to associate snow with Africa but nevertheless, there is considerable snow up in the Kabyle Mountains.\n\nFrequently I find myself comparing the great differences in personal comfort and the mode of travel to and from locations here in our own country as opposed to the discomforts and crude methods I have had to contend with in foreign travel. Africa has only meager facilities.\"\ntransportation facilities were limited for expedition purposes. In fact, they wereextremely limited, and my personal mode of travel in the Kabyle Mountains was by the slow and stubborn acceleration of a streamlined African donkey, belly deep in snow. My camera equipment was transported on the heads of natives, who moved slowly, knee deep in snow without the protective covering of boots or shoes \u2013 just a piece of automobile casing cut to the shape of a sandal and strapped on their feet. At that, they seemed quite happy and contented.\n\nAnother snow location where I encountered plenty of trouble was in central China, en route to Tibet, crossing the famous Lu Pan San Pass at an altitude of 17,000 feet. At one crossing of a rushing stream of ice-cold water, it required the combined force and efforts of the motor and forty coolies pulling and pushing.\nPushing, to the accompaniment of shrieking shouts of blasphemy, before we could get the trucks across, and there were ten of them in the caravan. A route cut through snow seven to ten feet deep preceded the caravan's arrival at the crest of the pass. The deep snow, the high altitude, and practically no road other than a trail worn by countless camel trains consumed a full day and into the night to overcome. Tough going? Yes! But such are the difficulties to be overcome following trail-roads to locations in that part of the world.\n\nWhat a contrast to the facilities enjoyed in traveling to locations here at home. For instance, compare the last two winters I traveled back and forth to locations in Sun Valley, Idaho, where I enjoyed almost every comforting luxury any traveler could wish for.\nEveryone knows, and those who don't have read about it, the luxurious winter comforts of Sun Valley Lodge. Above, Jack Smith, A.S.C. At left, result of 3N5 filter. Shadows net blocked. Detail clear. Glare of sunlight on snow held back. Sky tones almost evenly with shadows.\n\nDecember, 1943 \u2022 American Cinematographer\n\nUpper left, result of No. 5$ green filter.\nSky overcorrected. Upper right, No. 21 Mohrbom filter used with pleasing results of dark water, soft snow detail.\n\nWe started out in the morning and loaded into heated motor cars. Even the transporting trucks had heated cabs for the drivers. No mushing, no shivering porters, no barefooted transport carriers, no noise, no straining of muscles, cursing and yelling; just lovely, smooth going in grand easy comfort.\nOur location was at Galena Mountain, a place that crystallized in a temperature hovering around the 40 below zero mark most of the time, day and night. But 40 below is plenty cold for anyone to work in, trying to get snow scenes. We had to be particularly careful with our cameras and accessory equipment. Before going into this location, the cameras had to be drained of every drop of oil; otherwise, the oil would have congealed and added to the load on the motor, slowing up the normal speed of 24 frames per second. Another important factor that had to be considered was the use of filters; the intense cold caused the jellies, inside filters, to become very brittle, necessitating utmost care in their handling. Incidentally, filters are an important factor in the accomplishment of effective snow scenes.\nAt high altitudes, the sky is reflected as a deep blue through the crystal-clear thin air. Careful judgment is necessary when using filters to avoid overcorrection and ruining the scene's realism. I use a 3N5 filter, a combination of the No. 1 and a 50 N.D. factor 4. With a general overall light standing constant at a Weston reading of around 25, little effort is required to compute the correct P value.\n\nIf the sky appears murky, it might be advisable to use a Monobrom filter; be sure to compute the correct factor for the film it is to be used with. Since this filter is less dense than the 3N5, it is possible to cut the shutter to about 90 degrees rather than stopping the diaphragm too far.\n\nThere are many other conditions that arise from time to time that will require specific adjustments.\nSki troops wear reversible outer clothing. White outside when traveling through snow country to eliminate detection from the air, changing to olive-drab when approaching and entering wooded areas, blending with the very dark greens of the mountain forests and dark shadows on the snow. In such a condition, I use a green filter No. 56, factor 3. This procedure calls for careful, experienced computing to arrive at the correct exposure for the dark greens and shadows.\nThe overall brilliance is influenced by the considerable glare and reflection of the snow, which dominates the area, to prevent under-exposure. The olive-drab of the uniforms is a much lighter shade of green than the green of the foliage and shadows that mingle with the troops. Therefore, the green No. 56 filter lightens the olive-drab uniforms, separating the troops from the darker foliage and shadows, revealing action in excellent detail. With characters garbed in such colors that blend into their surroundings, it is better to avoid the use of a filter of the red end of the spectrum. Such a filter would entirely block and dull the action of the troops. The effect would be a blending of the troops with the foliage and shadows, with an increasing contrast of the snow. The effect of a brilliant scene.\nA plane lands at an American air base in North Africa. A corporal runs out, takes a package from a crew member and immediately scurries to a nearby shelter. In a few minutes, he emerges with most precious military information, battle zone pictures, developed and printed.\n\n\"Pictures for the General,\" shouts the corporal as he hands the package to a waiting messenger.\n\nIn using the green No. 56 filter in snow photography, better results will be obtained by avoiding the sky as much as possible. The scene will be depressed by a sky out of all normal relation to the scene. Pola Screens must be used with caution too. There have been occasions when I have had to overcome the terrific glare of back-light resting on a huge mound of snow between me and the scene. (Continued on Page 450)\n\nAmerican Cinematographer \u2022 December, 1943, p. 433\nThe early stage of most American drives involves rapidly changing strategy. Troops, planes, and mechanized units make no major moves without first photographing the potential battle area, the enemy's placement, and movement. The prelude to attack on all battlefronts is a complete review of these aerial photographs by the strategy staff.\n\nThe prominent role of aerial photography in the present conflict has brought about increased interest in the development of photographic equipment, including cameras, developing processes, and printing methods.\n\nThe Center for development of Army Air Forces aerial photographic equipment is the Photographic Laboratory of the Material Command, Wright Field, Ohio. Here, the increasing war needs for greater quantities of specialized photographic equipment are reflected in developments that may revolutionize photography.\nAerial photography's field. One of its outstanding developments by the Photo Lab is the continuous strip printer. By this new photographic printing mechanism, it's possible to produce 1,000 prints per hour. This development was made in response to increasing demands from battle areas for quick aerial reconnaissance prints.\n\nAerial Photography\nFirst Step to Battle\nAmerican Cinematographer\nAces of the Camera\nJohn Boyle\n\nBenedict Bogeaus, as owner of Genesis Service Studios, has had a better opportunity than most to study at first hand the complex business of picture making. Through his portals have passed some of Hollywood's most outstanding talents and some of the screen's biggest hits were created on his lot.\n\nIt's not surprising then that Mr. Bogeaus, having decided to become a professional photographer, began his career in this thriving industry.\nProducer in his own right, should have assembled a sure-fire combination for his initial effort. The story, \"Bridge of San Luis Rey,\" a tale of romance and high adventure in 18th century Peru; a stellar cast which includes Akim Tamiroff, Lynn Bari, Louis Calhern, Francis Lederer, Nazimova, etc.; Director Rowland E. Lee; and Ace Cameraman John W. Boyle, A.S.C.\n\nIt is a tribute to add to a distinguished career, as well as an indication of his own sagacity, that Mr. Bogeaus should choose to trust his maiden effort to John Boyle's camera. Perhaps he took the cue from Samuel Bronston who made his bow as a producer with the recently completed \"Jack London\" on which Mr. Boyle also officiated. A producer needs to have a lot of confidence in his cameraman. John Boyle inspires confidence.\n\nJohn Boyle\u2019s career as a cameraman.\nJohn started his career in New Orleans, where he owned and operated the \"Item Animated Weekly\" newsreel in connection with the New Orleans Item, in 1913. I was everything to that newsreel, besides the cameraman, John told us. The newspaper would tip me off about what was happening and going to happen, and I would dash off and shoot it. Then I came back and did the lab work, shot titles and edited. And, he added with pardonable pride, all the news up to Sunday evening was on the screen by Monday morning. Thomas Dixon brought me to California in 1915. He was the man who, needing a place to work, went out into the country and bought a lemon grove for ten thousand dollars and built what is now Fox Studios at Sunset and Western.\n\nWorking for Fox, John trained his lens on Theda Bara and William.\nFamouz filmmaker F.W. Murnau and Cameraman Charles Rosher helped cinematize history. It was during the filming of the \"Queen of Sheba,\" starring Betty Blythe, that Murnau became famous for his chariot races, leading eventually to his assignment to film \"Ben-Hur.\n\nDuring the filming of these chariot races, Murnau conceived the idea of mounting a Bell and Howell camera over an Akeley. It was a great idea, as it turned out, providing insurance, eliminating a lot of retakes by making it possible for the cameraman to get both long shots and close-ups at the same time, and permitting him to follow the entire 360 ft. course of the action without having his view cut off by another camera.\n\nHollywood was an exciting place in those days. An infant industry was becoming a lusty adolescent. About its growth...\nJohn Boyle wasn't satisfied with the glamour and fame on the streets of the entertainment world in the early 1920s. He took his camera and joined the first production unit to go to the South Seas. They discovered Tahiti cinematically speaking on that trip and presented it to an admiring world. This may have influenced Boyle's remarkable career. He was fascinated by the world and what he had seen of it, so he decided to see all of it that opportunity offered. The next year, he went out to the Far East, spending seven months in the jungles of the Dutch East Indies making an adventure film among the cannibals.\nUpon his return, Sam Goldwyn sent him to Italy for a year as chief cameraman on \"Ben-Hur.\" Returning from Italy, he spent December planning fun at his house for the upcoming Christmas. Wondering if you are doing the same, the universal day is but a few days away. After the holiday, will you have movies and photographic records of the day's events, family, tree, lights, decorations, and above all, the youngsters? Christmas revolves around them. Their smiles are worth millions as they rush to the tree, catching up packages and gifts, flinging ribbons and wrapping paper, then the hugs and kisses. Strange how years can slip by before we realize it. Children can grow up.\nTo become men and women, get married, and bring their children home. Many will have gone over seas. Then these photographic records, if you have made them on Christmas day, will become your most prized possessions. They had no cameras at our house.\n\nWhen I was a youngster, I always wondered why Dad and Mother and the grandparents sat around talking and trying to remind each other of things that happened years before. Now I can understand. They had no cameras; they could only talk of memories. Many times I have watched them get out the old family album of faded, humorously posed photos, each made under such crude conditions. The folks had to leave the plow standing idle or lay aside the ax and travel many miles in an old wagon.\n\nMaking Christmas Movies\nBy Glenn R. Kershner, A.S.C.\nOne of the outcomes of this war, particularly as a result of our close association with modern American methods, will undoubtedly be the tremendous stimulus to the application of electronic art to ordinary industry and ways of life, to a degree not dreamt of by even the most imaginative engineer \u2014 and electronic engineers are on the whole the most imaginative and optimistic crowd.\n\nA rough definition of an electronic tube is a device for controlling energy, generally with the expenditure of a minute amount of control power. Hence the British name of Valve. In addition, the controlled electrical energy can be directly converted into light output from the tube.\n\nThe Thyratron\nThe most astonishing electronic tube is the Thyratron.\nmeeting  this  definition  is  the  Thyratron \nor  gas  control  tube,  in  some  models  of \nwhich  powers  of  several  hundreds  of \nhorsepower  are  controlled  with  ease  and \nsmoothness  by  the  expenditure  of  only  a \nfew  watts  of  energy. \nRemote  control  and  gradation  of  light\u00ac \ning  in  theatre  installations  has  been \nbrought  to  a  fine  art  by  the  use  of \nThyratron  circuits,  which  are  particu\u00ac \nlarly  advantageous  as  all  the  controls \ncan  be  brought  to  one  point,  and  the \npower  regulation  is  effected  without  the \nloss  of  power  as  heat  in  resistances. \n*  Cinema  Television,  Ltd.,  England. \nIn  general  the  Thyratron  is  a  three \nelectrode  valve  in  which  gas  or  mercury \nvapor  has  been  introduced  after  pump\u00ac \ning,  the  characteristics  being  consider\u00ac \nably  altered  thereby.  Very  much  higher \ncurrents  will  pass  in  the  tube  than  in  a \nvacuum  tube,  and  the  current  will  either \nThe tube passes current at full strength or not at all, depending on the potential on the control electrode. The current is limited only by the impedance of the output circuit or the cathode emission and can be of the order of amperes for even very small tubes.\n\nUnder DC conditions, the tube acts as a switch. If a negative potential is applied to the control grid, emission of electrons from the cathode is suppressed, and nothing happens. But when the control potential is reduced so that the tube starts conducting, the current instantly jumps to its maximum value, and nothing short of breaking the circuit can stop the current. This effect is used in alarm circuits with thousands of applications.\n\nWith AC conditions, the tube automatically extincts on each cycle, and conduction will take place when negative DC is applied to the control electrode.\nThe proper relative values of grid and anode voltage must occur for conduction to take place for all or part of the half-cycle as desired through slight alteration of control potential. Fig. 2. RCA Electron Multiplier. The amount of current, and hence the energy handled, is not dependent on the input control power but solely on potential. I can picture the control bridge of a large electrically driven ship of say 50,000 HP. The captain himself handles the whole power control from any one of a number of small control boxes. In addition, he steers the vessel by altering the ratio of power supplied to the port or starboard motors by turning small radio knobs, one for each motor. Turning now from high-powered electronic tubes to the other end of the scale, we have the photo-electric cell.\nI cannot visualize the time when we shall derive our electrical power directly from the conversion of light energy through photo-electric cells, though we may utilize solar radiation to heat our boilers under the control of photo-electric focusing devices to keep the installation directed at the sun. There seems very little possibility of increasing by a large factor the conversion factor of light energy into current of the photo-electric cell, which is about 20% efficiency. However, considerable development has recently been made to the sensitivity of the cells to various color ranges of the incident light, to which I will shortly refer. This efficiency refers to the quantum yield, which for a caesium cell.\nThe cell is 50% efficient, but for new antimony cells, at the optimum spectral illumination, this is estimated at 20%. Most are familiar with the caesium photo-cell, which has long been used for film sound reproduction. We have all been contemptuous of selenium barrier type cells, which, although useful in photometry and exposure meters, have not proven satisfactory for sound film reproduction due to poor frequency characteristics. The manufacturing technique of these cells has recently been modified, allowing for the production of small cells with very reduced capacities. Thousands of these are reportedly being made in the U.S.A. since the war began.\n\nDecember 1943 \u2022 American Cinematographer\nFig. 3. Baird Projection type Cathode Ray Tube.\nThe  size  found  satisfactory  is  6mm.  x \n4mm.  There  are  many  obvious  advan\u00ac \ntages  in  the  use  of  this  type  cell,  such  as \nthe  low  impedence  of  its  output  which \nenables  long  lines  to  be  connected  direct\u00ac \nly  to  the  cell  without  appreciable  loss  of \ncharacteristic  or  without  the  pick  up  of \ninterference.  The  immediate  future  may \nsee  the  development  of  sound  equipment \nwithout  a  head  amplifier  on  the  projector. \nColor  Sensitivity \nReturning  again  to  the  vacuum  types \nof  cells:  we  have  now  produced  cells \nof  three  different  types  with  respect  to \nspectral  or  color  sensitivity.  These  differ \nin  the  preparation  of  the  light-sensitive \ncathodes  in  an  interesting  manner  shown \nin  Fig.  1.  It  will  be  seen  that  for  the \nlight  of  the  tungsten  lamp  the  new  sur\u00ac \nfaces,  types  A  and  B  give  considerably \nincreased  outputs  over  the  old  caesium \ncell  marked  S  on  the  diagram,  in  spite  of \nThe fact that the peak is in an unfavorable position with regard to the color output of the lamp. For daylight application, the new A type cells are 10 to 20 times as sensitive as the S type because the peak emission of the sun is much nearer the blue end of the spectrum than that of an incandescent lamp. Due to this fact alone, these cells have many important war time applications. The B type approximates very closely to the response of the eye and can be used for photometry of colored light sources and for measurements of the physiological effect of various illuminations on the eye.\n\nSecondary Multiplication\n\nThe sensitivity of the photo-cell can be increased by what I regard as dodges, such as gas filling or secondary multiplication of the photo-electric current. We had a good exposition of this latter process by Dr. Van den Bosch at a recent meeting.\nB.K.S.  meeting,  and  the  Baird  Television \nCompany  have  made  and  described  multi\u00ac \nplier  photo-cells  for  television  studio \nwork  which  have  been  of  great  value  for \nProjection  screen  Sk/atron  tube-,  ^Crystal screen \n*  Protection  lens  /  /  j \nJL^. \n-Light  source \nN \u2014 Cathode  ray \nbeam \nModulato / - _3 \nFig.  4.  Principle  of  Skiatron. \ncolor  discrimination  purposes.  More  re\u00ac \ncently  they  have  been  used  in  applications \nwhere  very  feeble  illuminations  have  to \nbe  detected.  These  tubes  employed  the \nprinciple  of  having  several  stages  of \nsecondary  multiplications  in  one  glass \nvessel,  the  stages  consisting  of  permeable \ngrids  on  which  the  electrons  impinge,  the \nincreased  number  of  secondary  electrons \nbeing  attracted  through  the  holes  in  the \ngrid  in  a  manner  similar  to  that  de\u00ac \nscribed  by  Dr.  Van  den  Bosch. \nThe  RCA  have  recently  produced  a  new \ndesign  of  multiplier  cell  which  is  shown \nFig. 2 shows electrons being guided by carefully shaped plates at different potentials, resulting in streams that pass from stage to stage with increasing concentrations. These cells are operationally stable and seem mass-produced. This tube design is of particular interest to electronic engineers due to the plates' shape, which was determined experimentally in large-scale models in electrolytic troughs.\n\nThermionic Valves\n\nThe method of basing electrode designs on large-scale models has been used in the production of beam power valves. In these, electron emission from the cathode is directed into definite beams between the control grids and the anode. Although the mutual conductance or slope, stated in terms of milliamperes, is:\n\n(This text appears to be mostly clean and does not require extensive cleaning. A few minor corrections could be made for clarity, but the overall content and meaning are clear.)\nThe efficiency of power valves has been significantly improved by new designs, resulting in a reduced tail of characteristics. This enables a longer load line or greater power output for a given power dissipation. Little information has been disclosed recently on valve design trends, making it difficult to predict future developments. The demand for high slope amplifying valves, particularly for television receivers, has always existed. Three potential development paths are: the space charge tube, which requires precise voltage setting on the electrodes and is prone to aging; the conventional tetrode design with closely spaced electrodes and tightly wound grids, which presents manufacturing challenges.\nThe last class of energy convertors I wish to discuss is the cathode ray tube, where electrical energy is converted directly and instantaneously into light. Unfortunately, the demands of war halted the development of television in this country, terminating the promising progress being made with high-power cathode ray tubes for kinema television.\n\nThe Baird Company had operated in the laboratory a glass-metal projection tube, which was continuously evacuated in operation. An illumination was obtained, giving a brightness of 5 foot candles on a screen 15 x 20 feet.\nThis tube produced an image by the electron bombardment of a fluorescent screen. Research was progressing along lines of improving the fluorescent powder to control its color and increase the brightness over several hundred hours' life. The images produced on the fluorescent screen were directly projected onto the screen by lenses of large aperture.\n\nThe Diavision Principle\nIt was always felt that another line of attack for kinema projected pictures would be by means of a light control in which the electronic device acted as a variable medium interposed in a beam of light, in the same way as the slide or film.\n\nRecent Developments in Sound-Tracks\nBy E. M. Honan and C. R. Keith\n\nThe considerable number of types of sound-tracks that have come into use in the past few years manifest:\n\nAmerican Cinematographer \u2022 December, 1943\n439-442\nIt is desirable to agree upon standard dimensions and nomenclature to avoid confusion in motion picture apparatus. Steps in this direction have been taken with the publication of \"Dimensional Standards for Motion Picture Apparatus\" (S.M.P.E. Journal, November, 1934), and in a Bulletin of the Research Council of the Academy of Motion Picture Arts and Sciences, \"Standard Nomenclature for Release Print Sound-Tracks\" (November, 1937).\n\nHowever, in the several years since the publication of these standards, the number of types of sound-tracks in common use has considerably increased. Therefore, the purpose of this paper is to publish illustrations and brief descriptions of the most commonly used tracks and some experimental tracks in order that suitable dimensions and nomenclature may be agreed upon and adopted as standards.\n\nThe accompanying illustrations show twenty types of sound-tracks:\nThe text provides information on sound-tracks and their combinations used in 35mm films. Illustrations are grouped according to track type, with descriptions primarily for identification. A comprehensive discussion of the relative merits of various types would require an extensive paper. References are given for more complete descriptions. All illustrations depict positive prints.\n\nThe first group of tracks measures 100 mil in width. The terms \"100-mil\" and \"200-mil\" refer to the width of film allotted to one or more tracks. Descriptions of \"squeeze-track\" and \"push-pull\" features can be found in references associated with tracks of these types. The use of noise-reduction in variable-density recording is also mentioned.\ning  may  be  observed  on  the  film  as  an  increase  in  average \ndensity  in  those  portions  having  low  modulation,  although \nthis  is  not  apparent  in  the  small  sections  shown  in  the  ac\u00ac \ncompanying  illustrations. \n(a)  Single  Variable-Density  (100-mil). \u2014 This  is  a  stand\u00ac \nard  release  track  and  is  the  same  as  Fig.  1  of  the  Academy \nBulletin.1.2.3 \n(b)  Single  Variable-Density  Squeeze. \u2014 This  is  the  same \nas  track  a  except  that  the  width  is  varied  to  increase  the \nvolume  range.  It  is  the  same  as  Fig.  2  of  the  Academy \nBulletin.  The  width  may  be  varied  by  bringing  the  two \nouter  margins  closer  together,  as  shown;  by  keeping  the \nouter  margins  fixed  and  inserting  a  black  centerline  of  vary\u00ac \ning  width,  or  by  a  combination  of  the  two  previous  methods. \nSince  the  maximum  track  width  is  76  mils,  the  amount  of \nsqueeze  illustrated  represents  a  reduction  of  sound  level  of \nonly about 3 or 4 db. (c) Push-Pull Variable Density: The two tracks are similar to a push-pull system, but are each 47.5 mils wide and 180 degrees out of phase. This is the same as figure 7 of the Academy Bulletin.6 (d) Push-Pull Variable-Density Squeeze: This is the application of squeeze-track methods to the push-pull track, c. It is the same as Fig. 8 of the Academy Bulletin.5 The next group are of the 100-mil variable-area type. Each is \u201cClass A\u201d unless otherwise noted. (See track h.) (e) Unilateral Variable-Area: Noise-reduction is indicated by the change in width of the right-hand black margin. It is the same as Fig. 4 of the Academy Bulletin.7, 8, 6, 10, 11 (f) Bilateral Variable-Area: Noise-reduction is indicated by the change in average width of the clear center portion of the track. It is the same as Fig. 5 of the Academy Bulletin.11, 12.\nDuplex-Variable-Area. Noise-reduction in this case is indicated by a variation of the distance between the two black borders. It is the same as Fig. 6 of the Academy Bulletin.\n\nTwo\nAll-Time Highs\n\nWith millions of feet required by our Armed Forces for training and other military purposes, the total production of Eastman motion picture films has pushed into new high ground. And the all-around quality of this huge output has never been excelled.\n\nEastman Kodak Company, Rochester, N.Y.\nJ.E. Brulatour, Inc., Distributors\nFort Lee, Chicago, Hollywood\n\nEastman Films\n\nRecent Developments in Sound Trucks (Continued from Page 440)\n\nPush-Pull Variable-Area, Class A. The term \u201cClass A\u201d means that each half of the push-pull record is complete and may be separately reproduced with comparatively little loss.\nIn the example given, each half is a unilateral track, and the out-of-phase relation is indicated by a dark projection on one side being exactly opposite a white indentation on the other. The same effect is obtained if each half of the push-pull track is recorded as a bilateral variable-area track. Noise-reduction is indicated by a variation in the distance between the two black borders. This is the same as Fig. 9 of the Academy Bulletin.13\n\n(i) Push-Pull Variable-Area, Class B: In this case, one half of the push-pull record represents only the positive half of the original wave, and the other half represents the negative half. Therefore, the two halves must be reproduced with equal amplitudes and in opposite phases to avoid distortion. Since the print is opaque except where modulated, the usual bias type of recording cannot be used.\nThe individual tracks may be bilateral or unilateral. (j) Push-Pull Variable-Area, Class A-B: In this type of track, low modulation is recorded as Class A (each track records both halves of the original wave), but as the modification is increased, it is changed to Class B by recording the additional amplitude with the positive waves on one track and the negative waves on the other. Noise-reduction is not used in this type of sound-track.\n\nThe next group of tracks occupy a width of 200 mils and are consequently not used on present standard combined sound and picture prints.\n\n(k) 200-Mil Variable-Density: This is the push-pull combination of two 100-mil variable-density tracks.\n\n(1) 200-Mil Variable-Area Center Shutter: This consists\nTwo 100-mil bilateral Class A variable-area tracks operate in push-pull relation. Noise-reduction is accomplished by blocking out a portion in the center of each track. Each of the remaining track combinations includes a \"control-track\" with one or more sound-tracks. The control-track is generally used to vary the sound level in the reproducing system in such a manner as to increase the volume range or the signal-to-noise ratio or both. It may be amplitude- or frequency-modulated, and may be distinguished in the illustrations by its resemblance to a constant-frequency record. The term \"comprex\" refers to a system in which automatic volume compression and expansion are used.\n\n100-Mil Variable-Density Complex. \u2013 Both sound and control-tracks are 50 mils wide and occupy the space normally used for a standard single 100-mil track. Track\ndimensions are the same as for track e.10\n(n) 100-Mil Unilateral Variable-Area Comprex. \u2014 This is a combination of two half-width variable-area tracks which may be scanned by the same equipment as is used for track m.16\n(o) 200-Mil Bilateral Variable-Area Comprex. \u2014 This track is intended for the same type of sound system as tracks m and n but utilizes a width of 200 mils.\n\nDecember, 1943 \u2022 American Cinematographer\nFig. o\n\nRemovable Head.\nFriction type head. Gives super-smooth 360 pan and 80\u00b0 tilt action. Removable. Can be easily mounted on our \"Hi-Hat\" low-base laptor. The large pin and trunnion assure long, dependable service. \"T\" level is attached. The top-plate can be set for 16 mm EK Cine, with or without motor; 35 mm DeVry and B & H Eyemo (with motor).\nThe tripod has a sturdy tripod base with or without alignment gauge. The \"spread-leg\" design provides utmost rigidity and quick, positive height adjustments. The complete tripod weighs 14 lbs. Low height, at normal leg spread, is 42 inches. Extended height is 72 inches. All workmanship and materials are of the finest quality. The head itself is unconditionally guaranteed for 5 years. Heavy fiber carrying cases are also available.\n\nCable: CinEQUIP\nCircle 6'5080\n\nFrank C. Zucker\n1600 BRQHDLUHy R\u20acUJ York city\n\nIt's fun to develop and print your movies\nBy James R. Oswald\n\nThe amateur home movie maker, or his co-hobbyist, the still photographer, should not consider himself a veteran in the field until he has tried developing his own pictures. A little knowledge of what goes on between the time the exposed film leaves the camera and is threaded into the processor is essential for the true movie enthusiast.\nThe projector, ready to show, does no harm to anyone. But, you say, \"Movie film is much more difficult to develop than ordinary roll film, isn't it? Besides, why should an amateur take the time and trouble and run the risk of doing his own developing, when the processing cost is included in the price of the film, which will be finished by the laboratory without further charge?\"\n\nThe answer to the first question is definitely, no. Fundamentally, the darkroom procedure for handling movies is quite the same as with still pictures, and anyone already acquainted with the principles of developing will have little difficulty in this respect. Because movie film is necessarily so much longer than roll film, it is not advisable to try to handle long lengths, unless a special rack is made or purchased, capable of accommodating more film.\nMany such fine outfits are available on the market at reasonable prices, but it's best to wait and see how much home processing appeals to you before investing in one. I will say at this time that the job requires patience! As for the reason an amateur should take the time and trouble and run the risk of doing his own developing, when the processing cost is included in the price of the film, which will be finished by the laboratory without further charge, there is a point there! This article is intended for the curious, serious-minded person who likes to learn what makes things \u201ctick,\u201d especially so far as his movie making hobby is concerned. Other readers, not so inclined, will do well to stop reading right here, as it is a sheer waste.\nIt is not necessary to clean the text as it is already clear and readable. Here is the text with minor corrections for grammar and spelling:\n\nThe process requires a considerable amount of time and patience to continue. There are many discouragements and disappointments in home processing. As stated before, it is a job preferably for the advanced amateur, determined to see it through successfully. Anyone taking the time and effort to do this will be amply rewarded by the pleasure and satisfaction derived from knowing that the movies they projected are the result of their own work, from start to finish.\n\nHowever, it is false economy to home-process the regular reversal film, which is handled by the film manufacturer's laboratory. As most everyone knows, this type of film is first developed into a negative, comparable to snapshot negative, and then reversed to a positive.\nThe print is made for projection due to the name \"REVERSAL\" film. This method is the most popular for home movie fans because the same film is eventually run through the projector as was run through the camera. Needless to say, this reduces cost because only half the footage is required, unlike if the print was made on a different film, comparable to a snapshot print on paper.\n\nIf many duplicates are to be made, however, the negative-positive (two films) system has the advantage. In this method, the negative is run through a printing machine in contact with an unexposed positive film, thereby making a print for projection. This positive film is very cheap, compared to the regular type, and is extremely fine-grained with high contrast. For these reasons, it is ideally suited for home experimenting, using a camera or projector as the printer.\nWe will discuss later. All theatrical releases are prints from a master negative, as many copies must be distributed throughout the country. The master negative is afterwards safely stored away in the studio for future use. Because of the intensely complicated manner in which Kodachrome must be processed, it is absolutely out of the question to even consider carrying on this procedure at home, even if one has the ambition to do so.\n\nAs referred to a short while ago, your own movie camera or projector will serve as a printer for making duplicate copies of favorite scenes. I prefer to use the CAMERA, since it is already light-tight and hence only the loading operation need be carried on in the darkroom. The projector has the advantage of accommodating longer lengths of film, but it is wiser and less costly to conduct the process in a laboratory.\nexperiments on a smaller scale at least until the technique is mastered. Mentioned before was the fact that Positive film is ideally suited for home experimenting. Although there are many other fine types of moderately priced films on the market equally suitable for home-processing, which includes regular NEGATIVE stock, the aforementioned Positive type film remains the lowest in price, costing approximately one cent per foot.\n\nTop: a flat developing rack holds 25 feet of 14 or double 8mm film in a standard size tray. Next, the film is wound spirally around the rack. Adjoining film loops should be kept from overlapping by pins or grooves. Third from top: a contact print is made by threading the two films in the camera, emulsion to emulsion, with the shiny side of the raw film facing the back of the camera. Bottom: making titles.\nDecember 1943, American Cinematographer\nHit it right\u2014 the first time\nConsider Agfa Ansco Triple S Pan Film for straight development. It has great speed and balanced emission, providing brilliant results with outdoor shooting while avoiding harsh effects under artificial light. The film is sensitive to all colors and is exceptionally fine-grained for its phenomenal speed. In projection, you get depth and clarity down to the smallest details. Agfa Ansco Triple S Pan is sold in both 8mm. and 16mm. sizes. Agfa Ansco, Binghamton, New York.\nAgfa Ansco\nTRIPLE S PAN FILM\nKeep your eye on Ansco\u2014 first with the finest\nIt's Fun to Develop Movies\n(Continued from Page 444)\nThe film is sold per foot in both 16mm. and double 8mm. size.\nThe economy angle should not be overlooked because there will be waste. Although positive film is intended to be developed straight, it may be reversed. The practice of which we will take up later. The straight developing method is simpler and therefore better to begin with.\n\nAssuming then, that a favorite scene, but one not too valuable to be used in experimenting, has been selected for duplicating, we will proceed with printing. It is taken for granted that the original film to be duplicated was properly exposed in the first place, thus it will act as a sort of guide for our future efforts in this field. In fact, from now on, it will be found very wise indeed to keep an accurate written statistical record of all variables - film type, source of illumination, distance from camera, etc. All these things are best recorded.\nThe first operation in the darkroom is loading the film. Bulk film is not daylight loading like reversal type, so it must only be opened in the darkroom. Since it is not spooled, it should be wound onto an empty projection reel for convenience. Positive film does not belong to the panchromatic group, which means it can be safely handled in a regular red safe-light. Wind the scene to be duplicated, along with the unexposed bulk film, emulsion to emulsion, in such a way that the shiny side of the film faces each other.\nORIGINAL  will  be  facing  the  camera \nlens,  leaving  the  shiny  side  of  the  RAW \nfilm  to  face  the  back  of  the  camera. \nThe  next  step  which  is  threading,  is  done \nin  the  usual  manner,  making  doubly  cer\u00ac \ntain  that  the  sprocket  teeth  engage \nBOTH  films.  The  customary  loops,  be\u00ac \nfore  and  after  the  film  enters  the  aper\u00ac \nture  gate,  should  be  a  trifle  larger  than \nnormally.  The  exposure  button  is  then \npressed  a  few  times  before  the  camera \nis  closed,  to  see  that  everything  is  run\u00ac \nning  properly. \nIt  is  safe  now  to  light  the  white  light, \nor  to  bring  the  camera  outside,  if  the  ex\u00ac \nposure  is  to  be  made  by  daylight.  Arti\u00ac \nficial  light  is  preferred,  however,  as  it  is \nalways  uniform,  which  simplifies  matters \nin  that  respect. \nIn  order  to  have  at  least  some  idea  of \nhow  to  start,  I  will  set  down  some \nfigures  to  go  by,  based  on  my  own  per\u00ac \nsonal  experiences.  This  information, \nWith the camera running at normal speed, hold it 6 to 8 inches from the light source for satisfactory results. I use a 7% or 10 watt bulb in a lamphouse removed from an old enlarger. In front of the bulb is an opal diffusing glass to spread the light evenly. Remove the lens from the camera before making the exposure, or open it wide if using daylight. For daylight exposure, point the camera towards the blank sky instead of directly into the sun. If using a projector instead of a camera as a printer, employ a different lighting technique.\nTo adapt the projector for fogged films, construct a small, light-tight box. The front side should be funnel-shaped; a regular tin funnel can be taped on. Remove the projection lens and insert the neck of the \"funnel box\" in its place, approximately the same diameter as the lens. Though the printing light only reaches the film through the aperture gate, remember the entire operation must be carried out in a darkroom. Thread the film with the same precautions as before.\nAfter the exposure, the film is removed and immersed in a tray containing the developing solution. Use regular D-72 developer for this process, following the manufacturer's prescribed time and temperature. For higher contrast, particularly when titles are to be reproduced, use D-11. The film is then rinsed in plain water or a short-stop bath and then in the hypo solution. Once completely \"fixed,\" it is placed in the final wash water until all traces of hypo have been removed. It is important to keep the film agitated throughout the entire process. The final wash should be in running water if possible. After washing, hang the film up to dry in the usual manner or, if excessively long, place it on a drying rack, which we will discuss shortly.\nWhen the film is completely dry, it should resemble a regular snapshot negative of normal density. If it doesn't, there is no use going any farther until it is remade. An exceedingly dense negative indicates over-exposure; a light, washed-out one, under-exposure. With the attainment of a perfect negative, the projection print is made in exactly the same way, by repeating the entire process. The reversal method does away with this repeat step, as the same film that was once the negative is made into the positive projection print. However, a somewhat different developing procedure must be followed, which is considerably more painstaking. After the film leaves the developer, instead of placing it into the fixing solution as is customary, it is first transferred to a bleaching bath which leaves a positive image but dissolves away the image already developed.\nThis latent positive image, still light sensitive, is re-exposed to the light of a Mazda bulb and then put back into the developer, causing the latent positive image to become visible. From here, the film is placed in plain water or short-stop bath and then in the hypo solution, as before. I referred earlier to developing equipment capable of handling longer lengths of film. For doing this, some sort of rack is necessary upon which the film can be wound, taking up a minimum amount of space and providing easier manipulation. There are several such racks on the market or, if you wish, you can construct one of your own. The simplest one of these is flat and rectangular in shape, around which the film is wound spirally, and held in place by grooves or guide pins. Resembling a picture frame, it can be made of wood, to any desired size.\nA rack, 11 x 14 inches, accommodates up to 25 feet of 16 mm. or double 8mm. film and is convenient due to its ability to fit a standard size developing tray. The wood must be given a protective coating of chemically resistant lacquer.\n\nAnother type of rack is round and resembles a drum. This kind may also be constructed of wood, making only the skeleton framework of a drum and a support upon which it can revolve, out of wood strips. The film is wound around the rack in spiral fashion, with guides to keep the adjoining loops from overlapping. A rack of this sort, because of its large circumference, accommodates much longer lengths of film than the previously described, flat type rack. The revolving drum rack is usually made to take full 50 or 100 foot rolls of 16 or double 8mm. film.\nWhich of the two kinds of racks is better is a subject for debate. The flat type is argued to use a minimum of solutions, and the film being completely submerged doesn't run the risk of aerial fog. The drum rack, on the other hand, accommodates long lengths of film and provides easy agitation due to its rotating feature. For this reason, it is much preferred for reversal processing, as more uniform exposure is possible when the film is subjected to light for the second printing, which brings out the latent positive image. No matter which type of rack is used, the film should always be wound emulsion side out to prevent scratching those parts that come in contact with the framework. Because film expands somewhat when wet, some arrangement ought also to be made to prevent its slackening.\nFM. Hirst spoke at the November meeting of the Philadelphia Cinema Club on \"In Search of Beauty.\" He emphasized that the creation of a beautiful picture depends primarily on material selection, imagination, and design sense, using sketches to illustrate these principles in American Cinematographer, December 1943, p. 447.\nPrinciples of composition. He then screened one of his own films, \u201cGloucester.\u201d\n\nUtah Cine Arts Club\nTwo 8 mm. Kodachrome films and two 16 mm. Kodachromes were the features of the November meeting of the Utah Cine Arts Club, Salt Lake City. Outstanding were \u201cCougar Hunt,\u201d by M. W. Robbins; \u201cSkiing,\u201d by Norman Schultz, and \u201cSnow White and Rose Red,\u201d by Theo. M. Merrill.\n\nMembers of the club are getting excited over the club\u2019s 1943 Awards, and members have been urged to hurry their entries.\n\nLong Beach Cinema Club\n\"The Beginning,\" noted film by A. Fred C. Ells, was featured at the November 3rd meeting of the Long Beach Cinema Club. This film was given an award by Movie Makers as one of the ten best pictures of 1943. Incidentally, burglars broke into Mr. Ells' home recently and stole his entire movie equipment, amounting to something like $1500.\nThe worth of his equipment he cannot replace due to wartime restrictions. Minneapolis Cine Club. Embers of the Minneapolis Cine Club are focusing their all on the annual holiday meeting which will be held at the Leamington Hotel on the evening of December 14. There will be a turkey dinner, followed by showing of films and other entertainment in the hotel ballroom. Sounds like a good party is in the offing.\n\nInteresting idea highlighted the November 16th meeting of the Syracuse Movie Makers. Members brought their light meters and had a session of comparing meters, data etc. Program of films followed the meter session.\n\nAmerica. NE of Joe Epstein\u2019s \u201cSeeing America\u201d films highlighted the November meeting of the Saint Louis Amateur Motion Picture Club. It was a picture covering the Black Hills in South Dakota, Yellowstone National Park and other scenic spots in the western United States.\nThe film was shown at the National Paik in Estes Park and Seattle, Washington. The film was on Kodachrome and was a hit with the members. \"Let's Go Fishing,\" by Gordon R. Rader, was one of the films featured. It was a beautiful example of Kodachrome photography and scenic beauty. Another film on the program was a war film showing the bombing of Pearl Harbor, the Battle for Egypt, and many other authentic war scenes.\n\nThe November meeting of the Metropolitan Motion Picture Club featured four films: \"The Pageant Bubble,\" by Leo Heffernan; \"Riches From the Sea,\" by T. J. Courtney; \"Food For All,\" by Helen Loeffler; and \"Desert Life,\" by Henry Hird of Ridgewood.\n\nThe quality of the films was exceptional. \"Desert Life\" was considered one of the best 16 mm. films of 1941. \"The Pageant Bubble\" was a film about\nthe  Atlantic  City  bathing  beauties \u2014 but \nwas  in  black  and  white. \nBrooklyn  Club  Sees  Four \nFOUR  films,  secured  through  the  film \nservice  of  the  American  Cinema\u00ac \ntographer,  were  shown  at  the  two \nNovember  meetings  of  the  Brooklyn \nAmateur  Cine  Club.  They  were:  \u201cNew \nHorizons,\u201d  \u201cGarden  Life,\u201d  \u201cThe  Brook,\u201d \nand  \u201cSanta  Visits  Elaine.\u201d  Last  named \npicture  contained  much  trick  photog\u00ac \nraphy. \nRations  Disturb  Frisco  Club \nDUE  to  ration  difficulties  the  monthly \npre-meeting  dinners  of  the  Cinema \nClub  of  San  Francisco  have  had  to  be \nmoved  from  the  Women\u2019s  City  Club. \nThe  November  dinner  was  held  at  the \nStewart  Hotel.  Highlighting  the  after- \ndinner  program  were  two  pictures  of \nMexico,  filmed  by  Rodgers  Peal.  One \nshowed  Mexican  ruins,  the  other  a  bull \nfight  .  .  .  speaking  of  ration  troubles! \nFOLLOWING  officers  were  elected  at \nthe  November  meeting  of  the  Los \nAngeles 8 mm. Club: M. R. Armstrong, President; John N. Elliott, Vice-President; W. D. Garlock, Treasurer; Merwyn Gill, Secretary. Five films were shown at the conclusion of the election.\n\nFilm Review\nReview of \u201cThe Adventures of Lightning Zezall, or the Dope Wins a Contest.\u201d 400 ft. Silent with narration on records. Kodachrome.\n\nThis was an attempt by the Chicago Cinema Club members to make a group film. The story and continuity were of the type that is undoubtedly of interest to the particular group who participated in filming it, but has no general appeal to outsiders. Consequently, we will only comment on the photographic treatment.\n\nThe credit titles indicate that several members were responsible for the photography and other technicalities, which in general were well handled. Most of the scenes were interiors in which the photography was excellent, with good use of light and shadow, and a pleasing color palette. However, there were some exterior scenes which suffered from uneven exposure and lacked the same level of detail and clarity as the interior shots. Overall, an interesting experiment in collaborative filmmaking, with some impressive photographic moments.\nThe exposure was good and surprisingly uniform, considering the various club cameramen displayed their skill. The opening titles were hand lettered, legible, and well centered. Camera angles were carefully chosen, and effective use was made of lap-dissolves and fades. Three phonograph records were supplied, intended to accompany the film with music and narration. The usual difficulties were experienced in reviewing, trying to synchronize the projector speed with the turntable. Playing a recorded narration and dialogue in synchronization with a film is unsatisfactory, unless considerable time can be spent viewing the film and hearing the records repeatedly. Probably the group making such a production can obtain good results, after frequent rehearsals, but someone else using different equipment and unfamiliar with the records and film finds accurate synchronization difficult.\nA group production such as this would be of use to more club members if it was made without records and well titled. The process of wording, making, and cutting in properly titled films is a splendid group undertaking from which any member participating can derive considerable benefit and learn how to turn out well-titled films of his own.\n\nEdward Pyle, Jr.\nDecember 1943 \u2022 American Cinematographer\n\nOfficial Photographs, U.S. Army Air Forces\n\nFor America\u2019s bombsights\u2014which have shown our enemies the bitter meaning of \u201chigh-altitude precision bombing\u201d\u2014most of \u201cthe optics\u201d are made by Kodak.\n\nFor our Army and Navy, Kodak also makes 29 of the most complex cameras.\nTypes of optical systems for fire control \u2013 the sighting of guns \u2013 include the famous height finder for anti-aircraft. Germany has enjoyed a reputation for world leadership in lens making. However, as often happens, reputation outlived performance.\n\nWell before Pearl Harbor, Kodak optical research was developing lenses superior to any ever made anywhere. A major advance has been the perfecting of new, finer cameras of a revolutionary new optical glass which gave lenses greater speed and definition or could more than double the \"field of view\" of a fire control periscope.\n\nThis glass was immediately incorporated in instruments for fire control. Effective fire power \u2013 hits, not \"tries\" \u2013 is the result of sighting through a series of lenses, an optical system which locates, magnifies, and \"ranges on\" the target.\nArmij Ordnance experts report: We have examined captured German sights and periscopes, and element for element, we are turning out better material. The effectiveness of American fire power is making history. Eastman Kodak Company, Rochester, NY.\n\nRemember Corregidor... and the last words over their radio \u2014 \"Just made broadcast to arrange for surrender ... everyone is bawling like a baby ... I know how a mouse feels. Caught in a trap waiting for guys to come along to finish it up.\" Corregidor is a stern example to us at home. Buy More War Bonds. Serving human progress through photography and optical systems for fire control. Destroy the legend of \"German supremacy\" in lens making.\n\nAmerican Cinematographer \u2022 December, 1943, p. 449\n\nSnow Photography (Continued from Page 433)\n\nscene of action. The only filter I have been able to neutralize such a glare is\nThe Pola Screen set at ninety degrees to the sun. It is best to include as little of the sky as the composition of the scene permits. There are many combinations of filters that can be used successfully by the experienced photographer in the snow country. The combinations are endless. Like artists who paint pictures, the instinct, intuition, inspiration, and knowledge and experience of one man is not that of any other. For example, in snow where there is high contrast, beautiful results can be obtained with several filters, depending upon the effect desired. If the desire is to soften the contrast of white snow and dark shadows, it can be effected with a combination of the light red 23A and the 56 green, computing and combination factor of 7. If the desire is to enhance the contrast, a combination of the orange 25A and the blue 21A, computing and combination factor of 5, can be used. These are just a few examples, and the possibilities are endless.\nThe effect should be that of a night scene; stop down an additional 1.2 stops. For contrast, the 29F of the dark red end of the spectrum, with its overall daylight transmission of 7 percent, requires a factor of 10, stopped down another 1M: stops will render a beautiful night effect. Snow is so very deceptive at times. I do most of the aerial photography required by our studio, and I recall one time when I was covering an assignment to get some scenes of flying through clouds. I was sitting beside the pilot and suggested, \"Just over there floated a beautiful cloud formation.\" The pilot smiled and asked if I'd like to get a close-up, and I nodded \"yes.\" Upon getting closer to what had appeared as a beautiful cloud bank, I found it to be a snow-covered mountain. Snow-covered mountains that project up through a sea of clouds have a very close resemblance.\nTo the white clouds they are engulfed in, when viewed from a distance at high altitude. There are moments during the shortest winter days in the snow latitudes when beautiful effects can be obtained with various filters during the morning and afternoon half hour period of cross light with its long shadows resting on smooth and rough snow or casting shadows on the surface of quiet pools with ice-fringed edges. Here a K3 filter will render water of a dark texture with transparent shadows crossing the snow. A yellow-red filter will render darker water and soft shadows of the snow contours. Beautiful effects can be obtained via this method where frozen-crested snow has a broken surface glinting the sunlight.\n\nThis matter of filterage when working in the snow latitudes is strictly a technique whereby an individual endeavors.\nTo manifest his own interpretation of the scene spread out before him, to express his personal impression; this is not a rule to be followed hard and fast. The result obtained depends upon the knowledge applied to the individual filter selection for the effect he is trying to put into the photographic quality of his interpretation.\n\nThe rule of filterage is not one of \"thumb\" but one of expression, dependent upon the artistic imaginative sense of the individual photographer, the creativity of his mental ability, achieved through a long experience of observation and extensive study of the problems pertaining to his profession.\n\nMany times, filters can be dispensed with. The color corrective quality of the film emulsion of the standard brands will compensate adequately for the non-use of filters by rendering a truer expression.\nPressure than could be obtained through the use of any filter. This result has been manifested many times when working in wet, thawing, slush-snow that is not so glaring white because it is old snow that has accumulated a dust covering since its formation. Delicate reflections of sparkling light are glinted from the many little trickles of water given off by the melting snow and the darker patches of wet earth.\n\nFor me, the winter season in the snow country offers more opportunities for \u201cmood\u201d pictures than any other time of the year. Low hanging snow clouds can add a subtle mystery to a landscape or seascape, lifting the dramatic effect of the story into better suspense.\n\nGround fog, early morning fog, low-flying scud-mists are wonderful creators of \u201cchills\u201d and dramatic effect.\n\nThe snickery voice yawned an interruption.\nAerial Photography: First Step to Battle (Continued)\n\nTwo major projects are under development at the Photo Laboratory: night photography and color photography. The Army Air Forces use specialized night equipment, including \"canned daylight,\" to take aerial photographs from 30,000 feet at night. Increasing demands for color photographs useful in camouflage detection have led to concentrated development of color photographic equipment. One of the latest examples is Jack Smith, an ace director of photography and chief aerial cinematographer with Metro-Goldwyn-Mayer Studios, who has made scenes for feature productions in almost every country and added nearly 20,000 hours of service in the air. Editor.\nProjects developed by photographic manufacturers in collaboration with the Photo Laboratory make color aerial photographs taken at night possible. Through the work at the Wright Field Aerial Photographic Laboratory, the enemy is finding it increasingly difficult to keep secrets from the Army Air Forces aerial photographers. Their pictures may frequently save lives and mean the difference between victory and defeat on many battle fronts.\n\nFor Lighting Equipment:\nC. Ross\nFor Lighting Equipment\nAs sole distributors East of the Mississippi, we carry the full and complete line of the latest-type Inkie and H.I.-Arc equipment manufactured by Mole-Richardson. Inc.\nHollywood - California\n\nYour requirements for interior or exterior locations taken care of to the last minute detail anywhere.\n\nMotor Generator Trucks\nRentals Sales Service\nCharles Ross, Inc.\n333 West 52nd St, New York, N.Y.\nPhones: Circle 6-5470-1\nDecember, 1943, American Cinematographer\nRecent Developments in Sound Trucks (Continued from Page 442)\n\n(p) Three-Channel Stereophonic Comprex: This arrangement consists of three 100-mil bilateral variable-area sound-tracks, one for each of the three stereophonic channels, and a fourth 100-mil bilateral variable-area track on which are recorded the compression and expansion controls for all three channels. (16, 17, 18)\n\n(q) 100-Mil Variable-Density, 5-Mil Control: This consists of a single variable-density track having the dimensions of a standard 100-mil release print track, with the addition of a 5-mil-wide control-track located in the black region between sound-track and picture. In practice, the control-track is variable-density, frequency-modulated.\nThe control track does not interfere with the playing of a film on a reproducer not equipped for control-track reproduction. (r) 100-Mil Variable-Area, Sprocket-Hole Control-Track: This consists of a standard 100-mil variable-area track, along with a variable-area control-track approximately 100 mils wide, located in the sprocket-hole area. The width of the control-track determines the volume change and may also be used for switching loud speakers.\n\nFig. R\n\nThree nails for each of the three sound-tracks. The sound-tracks and control-track are all variable-density, the control-track being frequency-modulated.\n\nFig. s\n\n(t) Three-Channel, \u201cFantasound\u201d: This arrangement employs four 200-mil variable-area push-pull tracks, three of which are used for sound, while the fourth carries signals for controlling the sound volume in various loud speakers.\n\nFig. T\n\nReferences.\n(1) Technical Bulletin, Academy Research Council, \"Standard Nomenclature for Release-Print Sound-Tracks.\" Journal of the Society of Motion Picture Engineers, November 24, 1937.\n(14) Cartwright, C.H., and Thompson, W.S., \"Three-Channel Stereophonic Control-Track.\" Journal of the Society of Motion Picture Engineers, September 1939, p. [unknown].\n(18) Wente, E.C., Biddulph, R., Elmer, L.A., and Anderson, A.B., \"Three-Channel Stereophonic Sound,\" Journal of the Society of Motion Picture Engineers, August 1941, p. 147.\n(20) Levinson, N., and Goldsmith, L.T., \"Three-Channel Stereophonic Control-Track,\" Journal of the Society of Motion Picture Engineers, August 1941, p. 147.\nThree-Channel Stereophonic Control-Track: In this case, three 22-mil stereophonic sound tracks occupy the space normally required for a single 100-mil track. A 5-mil control-track is in the same position as in track q and records control signals.\n\nElectrical Research Products Division, Western Electric Company, Inc., Hollywood, Calif.\nElectrical Research Products Division, Western Electric Company, Inc., New York, N. Y.\nThis article reprinted from August issue of S.M.P.E. Journal. American Cinematographer \u2022 December, 1943 Making Christmas Movies (Continued from Page 437)\n\nHundreds of miles on horseback to a photographer with his slow wet plates, long exposures and torturous iron head braces. Surely a picture was a rare and great event in their lives. But for you and me with all the fast films and modern photographic equipment at our fingertips, we have no excuse for not making pictures on this great day.\n\nWe have made stills and motion pictures for over a period of some thirty years and the other night while Mrs. Kershner and I were making our Christmas plans, we projected these films for a few hours. Time was swept away and we were whisked back to the cradle days of Robert... we saw Tom on his first sled riding in a blizzard.\nWe laughed again when Norbert spilled turkey gravy all over his first suit, and three Christmases later, we watched Beverly with her sticky candy hands hugging the little kitten, wondering why pieces of tissue paper stuck to its fur and feet. These and hundreds of other enjoyable incidents, photographed at various places over America, came to life again on the screen and refreshed fond memories. All are the visible records of the children from birth to maturity to be looked at again and again, and who knows, someday perhaps the children will be showing them over and over to their own children.\n\nLeafing through the albums of snapshots and photos, we saw many funny ones because we had nothing better than flash powder. Into this, we would place a long fuse, light it, and run for our position, hoping to get there before it flashed, but generally, we were just a blur.\nAnd they moved all the others around us. If not this, we had our eyes closed as tight as blind people. But not today. Now we have photo bulbs of high intensity for quick exposure or flash bulbs whose peak of light is so brilliant we can stop down the lens for greater depth of focus and so instantaneous that the slightest move will not be seen, all without the old-time results of blackening the ceiling or of burning holes in the rugs or carpet.\n\nIn preparing for our Christmas day, we have made plans just where we will set the tree with the miniature winter scene around it right next to the fireplace where all the stockings will hang. By pushing the table over in the dining room, we can set up the camera and shoot through the arch and get the children running to the tree and finding their stockings all in one scene. Then\nWhen we have dinner, we take the camera into the living room and shoot through the arch for a good picture of the folks at the table with plenty of headroom. The chairs and tables in both rooms that prevent us from shifting our lights will be removed ahead of time to prevent confusion. We have set up the camera already and know what will have to be moved and where we will place it and how much of the back walls we will get in the picture. Colorful shawls and tapestries will be hung at the right places to make a good color balance. Green branches will be broken off the garden shrubs, stuck in cans of sand, and set at places to cover up bare spots or help in the compositions.\n\nNext, we make sure all the light extensions are in shape, and the main one is long enough to reach the ironing plug.\nAnd then we bring in the lights and try them out for reflections. We will need some cardboards nailed on sticks to keep the lights from shining into the lens. We nail these on sticks and stand them in cans of sand. We find the photo floods from last Christmas are all right and repack them in a box and set it in the closet ready for use. In the meantime, we have had a lot of fun deciding on what colored dresses, shirts, and neckties we will wear and the color of flowers, candles, favors, and dishes we will use to make a color-balanced picture when the turkey is carried in on the big platter.\n\nWith all this planned ahead of time and prepared, confusion will be eliminated and you will get good pictures as well as having time to help the wife in the kitchen. And don't forget, making a few shots of the turkey going into the oven.\nWhen the oven is brought out, shiny and brown, with the wife smiling as you make it, there are two suggestions I would like to make. One is to place the tallest people farthest away from the camera at the dinner table. By doing this, you will give the younger generations a chance to be seen, and after all, they are the ones we are mostly interested in. The other suggestion is not to forget a group picture with the parents, children, and grandparents grouped nicely outdoors in a pretty setting for the family record. If using ordinary black and white, place the group in the shade so the eyes will be natural and faces not all squinted up. But if color is used, plan the time of day so that the sun is behind the camera and place the group so that the sunlight falls on three-quarters of the face, and you will then have a good photograph.\nRecord of the family on this Christmas day of 1943. If they are worth making at all, they are worth planning well ahead of time, and more so if you expect to be showing them to your children's children thirty years hence.\n\nBetter shop early and not put off too long the buying of your films and photo flood lights.\n\nLantz's 'Wally Walrus'\nWalter Lantz will introduce a new character he developed in his forthcoming cartoon, \u2018Beach Nut.\u2019 New member of the Woody Woodpecker family will be known as Wally Walrus. Shooting of the Turner film which Universal releases starts this week.\n\nAces of the Camera (Continued from Page 436)\nNext few years in Hollywood making pictures for M.G.M., who during his stay in Rome had taken over the old Goldwyn company, and First National Studios. Then in 1931, the travel-bug got him again. This time he headed for the Scandinavian countries.\nBoyle used a Mitchell bi-pack camera with Mrs. Boyle as business manager and Ray Fernstrom as his assistant to make the first color travel pictures in Scandinavia, covering Denmark, Sweden, and Finland. Discovering for cinema audiences places little known at the time, such as Lake Ladoga, which have since transformed into vital links with the world's future.\n\nBack in Hollywood, Boyle broke the monotony of the next few years in studio routine with trips to Hawaii and Alaska before being called to England in 1935 for a year. He arrived in England in Jubilee Year, which was all the more to his liking, to take over the camera assignment for Carol Reed's first directorial effort, \"Midshipman Easy,\" the great adventure story and perennial favorite by Captain Marryat. At Weymouth on location, the company was fortunate in getting the permission of\nThe Admiralty requested the use of a large-scale model of Nelson's famous flagship \"Victory\" for creating a picture in connection with the jubilee celebrations. John shared an amusing incident regarding this sequence. We had realistic action, with men hidden inside the ship shooting pistols through designated points to simulate cannon fire while the ship was being towed on a course that wouldn't bring the modern battlewagons anchored in the bay into the camera field. However, there was hardly a place on the horizon without a modern battleship obstructing the view. Someone then suggested shooting against the land with the hills as a backdrop. That sounded like a good idea until I realized no one would believe it. The hills around Weybridge.\nThey don't look like England at all. They look just like California. While in England, Boyle received a rather unusual request from the Mitchell Camera Company. They had sold a couple of their cameras to Misr Studios in Cairo, Egypt's government-subsidized film studio, but when the cameras arrived, no one knew how to make them work. So the call went out to Boyle, who flew to Cairo and showed them how.\n\n\"They were very nice to me in Egypt,\" Boyle recalled, \"and they made me many flattering offers to stay. The Government officials and everyone I met were most enthusiastic about the future of motion pictures in the Near East. But I had to get back to England.\" (Continued on Page 454)\n\nDecember, 1943 \u2022 American Cinematographer\nLAST CHANCE TO ENTER COMPETITION\nCLOSES MIDNIGHT FRIDAY, DECEMBER 31st\nWhat do you want in your postwar movie equipment? Neither mechanical genius, industrial designer, nor professional cameraman or projectionist has priority on the $1500. DeVry Corporation will pay for ideas for Tomorrow's 8mm Motion Picture Camera and Projector. From these experienced groups are bound to come important, practical contributions to the overall design and mechanical improvement of postwar\u2019s 8mm equipment. But the amateur and the \"home tinkerer\" are certain to have ideas \u2014 ideas that may revolutionize an industry! What do you want in the next motion picture camera you buy? How should it look, load, operate? What do you want in your postwar motion picture projector? How can its operation be simplified, projected? Do you have an idea as to your projector's appearance that you believe has merit and appeal?\nIt is your answers to these questions, in rough sketch or finished drawing \u2014 with or without supplemental explanation, as you may desire \u2014 that DeVry is looking for.\n\nEntries Must Be Mailed By:\nIt is the User\u2019s desires \u2014 whether you be professional, amateur, or just a \u201ctinkerer with an idea\u201d \u2014 that will share these $1500.00 War Bond awards.\n\nDrawing, designing or modelling skill is secondary. It is the IDEA that will win.\n\nWrite today for Official Entry Blank and its suggestions and conditions.\n\nThese hints may help you design:\nSubmit your Ideas \u2014 in rough or finished drawing \u2014 as to how you think the new 8mm MOTION PICTURE CAMERA OR PROJECTOR should look. Supplement designs with brief comments. Enter as many drawings as you wish.\n\nMechanical Operation:\nYou may submit working models, mechanical drawings, rough sketches. The idea is the focus.\nThe thing is, how to simplify, improve, and perfect either camera or projector operation:\n\nPROJECTOR: Ventilating system (lamp house), optical system, film movement, reel arms, tilting device, film safety devices, take-up, framing, focusing, and shutter mechanisms, etc. Can you suggest particular developments of these features?\n\nCAMERA: (Single or turret lens mount) viewfinder, shutter, footage indicator, loading mechanism, winding key, exposure guide, lens mount, focusing, single frame release mechanism, etc. How do you think these can be simplified, perfected?\n\nDevry Corporation, 15 Armitage Avenue, Chicago 14, Illinois\nStar awarded for continued excellence in the production of motion picture sound equipment.\n\nDistributors in World's Principal Cities\nWorld's most complete line of motion picture sound equipment\nThe better we back the attack with our equipment.\nIt's fun to develop movies and solving the problem of film overlapping guide pins or grooves can be done effectively by looping a rubber band through itself, over the starting point on the rack. Attach the film to the other end by looping it through the rubber band and securing it with a paper clip or two. The tension of the stretched rubber band will keep the film taut and take care of any expansion or slackening later on. Secure the other end of the film to the rack in the same manner. In this way, any length film up to the maximum capacity of the rack can be handled, with the assurance that it will remain tightly in place throughout the entire process.\n\nIn drying, a different rack is usually used, though not absolutely necessary.\nThe drum-type rack is different in drying, resembling it closely but more loosely constructed. The film is supported in not more than 4 places as it circles the rack's circumference. The main reason for using a different rack in drying is for cleanliness. A fresh, clean rack in clean surroundings ensures a spotless film. The film is wound onto a reel and ready for projection only when thoroughly dry. Fresh chemicals give the best results, but for economy's sake, solutions may be used more than once. If stored in a cool, dark place in well-corked bottles.\nThe Fromader General Company of Davenson, Iowa, is one concern that can supply all necessary chemicals for reverential processing, as well as the developing and drying racks, for those desiring to purchase rather than construct their own equipment. Developing and printing your own movies opens the door to many new tricks, heretofore thought impossible. Your patience and ingenuity is the limit. For instance, a negative scene can be run through the camera in contact with an unexposed positive film to provide a motion picture background for a title, photographed in the usual manner. This also enables one to superimpose wording over previously made movie scenes, by first making a negative of them and then following the procedure outlined above. Similarly, an endless series of titles or other superimpositions can be created by repeating this process.\nA variety of trick fades, wipes, and dissolves are possible, limited only by the cameraman's imagination and ability. These transitions, and many new ones that will suggest themselves, may also be employed in scenes where they are not already present, by clever manipulations and double exposures. Those who for one reason or another do not care for the printing stage of the work may still find enjoyment in the developing end. Titles, especially, are frequently made on economical positive film and developed \"straight\" - that is, without reversing the film and without making a contact print for projection. When used for this purpose, the camera is loaded the regular way, with the emulsion side of the single film out and facing the lens. It should be recalled here that the film, when developed, will be in negative form. Therefore, all title cards should be prepared in negative form as well.\nThe following text has some modern additions that do not belong to the original content, such as advertisements and publication information. I will remove those parts while keeping the original text as intact as possible. I will also correct some minor OCR errors.\n\nThe result is:\n\nalso have their color values reversed from the way they are to appear on the screen. In this way, the result will be a positive projection print, the same as in one case of the other methods. Bear in mind, however, that this system only holds true for titles. Regular filming cannot be carried on using only a single film, developed \u201cstraight.\u201d\n\nAmerican Cinematographer \u2022 December, 1943\n\nCine Lenses from B&H, Taylor-Hobson-Cooke exceed current technical demands and anticipate future improvements in film emulsions. They are THE long-term investment lenses.\n\nWrite for literature.\n\nCine Lenses from B&H exceed current technical demands and anticipate future improvements in film emulsions. They are THE long-term investment lenses.\nI. But I was very impressed with the country and told them I would be back. At the time, I had no idea it would be so soon. In England, I found myself slated to do the camera work on Walter Futter's Capitol Films production \"Jericho,\" starring Paul Robeson, Henry Wilcoxon, and Wallace Ford, and released here under the title \"Dark Sands.\" Part of the location shots had been planned for the company in Algeria. But when we got there, things didn't pan out right. Remembering my Egyptian connections, I asked for help which was graciously given, and off we went to the Egyptian Sudan. Which was the location called for in the story anyway.\n\nThe shooting of \"Jericho,\" or \"Dark Sands,\" was one of the biggest adventures in Boyle's colorful career. The story concerned itself with one of the following: (no further text in the input)\nThe annual trek of Nigerian natives covering two thousand miles of Equatorial Africa to obtain salt. Banding together for defense against the marauding Taurogs, the caravan assumes tremendous proportions. Fifteen thousand camels were in the caravan, which Boyle photographed.\n\nThe original plan was to follow them in motor trucks, equipped for the desert. But it didn't work out that way. After only a few hundred miles, even the specially equipped trucks refused to go any further. So we followed the caravan the rest of the way, riding camels ourselves. John Boyle took it all in stride. But nearly 2000 miles by camel! And if you know anything about camels! Incidentally, even the reviewers who usually take the camera kindly to Boyle's work found this journey particularly challenging.\nA man who was often taken for granted or ignored wrote paeans of praise about Boyle's spectacular desert sequences, brilliantly photographed despite primitive conditions. Boyle's intended year in England stretched into three. He worked at Ealing, Denham and Pine Wood before returning once more to Hollywood. \"One can't afford to stay away too long. They forget you,\" he observed. But he wasn't back for long. In 1939, he was approached by Mr. Lawrence Thaw, a New York banker, who had planned a most pretentious motor expedition from Paris to India. Preparations for the trip had been going on for two years. Foreign governments through whose territory the expedition must pass had promised their cooperation, and the prospect of adventure beckoned. On the other hand, the threat of war was becoming increasingly ominous. But the temptations of the expedition were strong.\nThe trip was too tantalizing. Boyle cast all other considerations aside and went. It turned out to be one of the most spectacular assignments ever covered by a motion picture cameraman. From Paris to Munich, then across Europe to Vienna, Budapest, Belgrade, Sofia, and thence into Turkey, then to Syria, which they reached on September 3rd, the day war was declared. From Beyreuth they went on to Bagdad, through Persia into Afghanistan and entered India through the storied Khyber Pass.\n\nDuring the course of the trip, Boyle photographed a Bedouin desert feast, the exquisite mosaics of the Pearl Mosque, and in India, where the party was entertained by nine Maharajahs, Boyle recorded with his camera the exotic splendors of Durbars, palaces, treasures, and silk-robed courts of these feudal potentates, many of which had never been photographed before. The National Geographic Society\nThe graphic Magazine featured a large spread of Cameraman Boyle's pictures, accompanied by the story of the expedition. Life Magazine of November 25, 1940, dedicated seven pages to the photographs and praise of the film John Boyle had returned with. \"His pictures,\" Life stated, \"not only make a series of gorgeous travelogs, they constitute a documentation of Oriental civilization that may never again be duplicated.\"\n\nWe inquired of Boyle, was there any specific reason he enjoyed traveling so much. \"Well,\" he replied after a moment's thought, \"it's a good idea to get a fresh viewpoint. If you keep doing the same thing, you get in a rut.\" \"Even in Hollywood?\" we asked. \"Especially in Hollywood,\" he countered. \"And besides, I think it's most important that we learn, at first hand, just what the rest of the world is like. Here in Hollywood we...\"\nMake pictures with story locations in all parts of the world. It stands to reason that we can be more authentic and add to the sincerity of the story while lessening the possibility of offending native sensibilities if we have personal knowledge of the country in question. The influence of the motion picture is so great that movie makers should feel a greater responsibility in presenting factual things factually. This will be particularly true in the post-war era when international cooperation will depend on international understanding.\n\nDecember, 1943 \u2022 American Cinematographer\n\nGirl's Idea\n\nBinocular\n\nFor keeping her bright blue eyes open and her mind in the same condition, June B. Burhans, 461 Avenue D, has been given a $430 check by the Bausch & Lomb Optical Co.\n\nMiss Burhans, a slim young blonde, is\nA woman believed to have won one of the largest awards ever given to a woman for technical suggestions. She tops any previous woman worker with the company in this regard. She took advantage of the company's suggestion system to submit an idea for combining operations on certain optical parts, which substantially increases production.\n\nObjectives and eyepieces for binoculars are made of two elements cemented together and aligned optically. Normally, these lenses are matched, cemented, cleaned, and inspected, then transferred to another section where they are reheated, trued on an optical truing machine, cleaned and inspected again.\n\nMiss Burhans conceived the idea that all these operations could be done at the same time and on the same bench. One girl could clean, then heat the lenses, cement them together and true them while still warm. A small plunger could be used for this purpose.\nA fixture was designed and built in the company's machine shop for the truing operation. The basic idea worked well. In practice, a team of two girls working together was found to be better than one, but the basic idea remained - one heating, cementing, and truing on the same bench.\n\nSlipped into a little plunger lathe, the cemented elements are quickly trued. Light striking the surface of the trued lens quickly discloses a reflected image, which tells whether the lens elements are optically trued.\n\nThe new system raises the production of binocular eyepieces and objectives to as many lenses in two-and-a-half days as were formerly produced in six.\n\nIncreases Lens Output\n\nIn Memoriam.\n\nAndre John Raphael Barlatier, A.S.C. Born in Paris, France, August 28, 1882. Died in North Hollywood, Calif., November 7, 1943. A beloved member of the American Society of Cinematographers.\nThe Society has mourned the passing of one of its members for many years. His widow and daughter have received the sympathy of each Society member.\n\nElectronic Tubes (Continued from Page 439)\n\nThe film acts as a variable medium between the arc lamp and the screen in the cinema. This principle is covered by the title of a Diavisor, and many proposals have been put forward to achieve the desired results.\n\nThe cathode ray, for instance, has been used to operate small mechanical shutters, to cause the orientation of small colloidal particles, and to produce birefringence in suitable substances.\n\nThe advantage of such a system compared to direct viewing of the fluorescent screen can only be obtained efficiently if the varying transparency values of the medium can be maintained practically unchanged over substantially the picture repetition period.\n\nSuch a tube is known as a Skiatron.\nFig. 4 illustrates the operation principle, which is similar to a cathode ray tube, except the crystal screen is not luminous but exhibits an electron opacity effect. Opaque areas become transparent again after a short time under heat influence. Research focuses on producing suitable materials.\n\nSound Camera for 16 mm sound on film\n\u2605 High Fidelity Sound\n\u2605 Self-contained in sound-proof \"blimp\"\n\u2605 Minimum equipment; maximum portability\nThe camera and amplifier, complete, weigh only thirty-seven pounds.\n\u2605 Kodachrome or black and white pictures with Auricon sound track will reproduce on any sound-film projector.\n\u2605 Can be operated in the field from an Auricon Portable Power Supply.\nAuricon Camera with type \"C\" lens mount (no lens) and Amplifier complete with microphone, instructions, and cases\nAUR/CON 16 mm Recorder\n- Variable-area sound on film, for double system recording with a synchronous motor driven 16 mm. camera\n- Amplifier has background-noise reduction and mixers for combining speech and music\n- With dynamic microphone, instructions and cases for Recorder, Amplifier, Accessories\n$695.00\n\nAuricon 16mm sound-on-film recorders and cameras are serving the Nation's War effort with Military and Government Film Units, and with civilian organizations producing essential morale and industrial training films. If your work in such fields makes you eligible to purchase new equipment, we invite you to let our engineers show you how Auricon portability and professional performance will simplify your recording problems.\nAURICAN: EM Berndt Corp.\n5515 Sunset Blvd., Hollywood, California\nManufacturers of Sound-On-Film Recording Equipment Since 1931\nFor Rent\nAnimated Cartoon Equipment\n35MM. Successive Frame Three-Color Cameras\nACME Tool & MFG. Co.\n2815 W. Olive Avenue, Burbank, California\nAmerican Cinematographer \u2022 December 1948, Vol. 455\n\nCraftsmen\nAt Goerz American's production line, skilled men create high-grade photo-lenses and optical units for military instruments.\n\nOn Land.\nOn the Sea.\nIn the Air.\n\nThese precise optical units are of great importance to our armed forces. Without accurate military instruments for sighting, fire control, and photographic aerial reconnaissance, their fighting machinery would be of little value to them.\nPicture science and our craftsmen, doing their duty on the job in the production line, will hasten victory. Production is keyed to fill the requirements of our Government, and of others on orders with priority certificates. \"GOERZ AMERICAN\" lenses for civilian use will again be available after Victory.\n\nTo hasten Victory \u2014\nINVEST IN WAR BONDS\n\nAbbott \u2014 \u201cPutting Sound-on-Film On a 16mm. Silent Projector\u201d: 181.\nAccent on Pantomime: 138.\nAccessories: 37; 38.\nAces of the Camera:\nXXIV \u2014 George Barnes, A.S.C.: 14.\nXXV\u2014 Phil Tannura, A.S.C.: 62.\nXXVI \u2014 Robert de Grasse, A.S.C.: 92.\nXXVII\u2014 Ray June, A.S.C.: 132.\nXXVIII\u2014 Milton Krasner, A.S.C.: 172.\nXXIX\u2014 Sol Polito, A.S.C.: 212.\nXXX\u2014 Virgil Miller, A.S.C.: 253.\nXXXI \u2014 Lee Garmes, A.S.C.: 295.\nXXXII\u2014 John Boyle, A.S.C:\nAmateur Movies and the War Effort: 62.\nAnderson \u2014 \u201cVege-tab\u2019.e-top Follies\u201d: 177.\nAnhalt \u2014\n\"The Cameraman's Part in Television Production\": 8, 46.\nAiding, A.S.C. - \"Cameramen in Uniform\": 362.\nArtistic Pictures: 368.\nBean - \"Accent on Pantomime\": 138.\n\"Free-Wheeling\": 57.\nBetter Pictures with Less Film: 219.\nBlack - \"Nude But Not Lewd\": 323.\nBlaisdell, George: 174.\nBonnie - \"Iowa's Health in 16mm.\": 328.\nBorradaile, A.S.C. - \"Shooting Action Movies In the African Desert\": 86.\nBosco - \"A Camera on Skis\": 19.\n\"Amateur Movies and the War Effort\": 62.\n\"Editing for Balance\": 20.\nBoyle, John, A.S.C. - \"Practical Pointers on 16mm. Sound Projection\": 102.\nBritish War Camera Ace Wins Honorary Membership in the A.S.C.: 171.\nBuckman - \"Commentary-Writing for Documentary Films\": \"Making a Documentary Film at Sea\": 246.\nBurlesque in Swing: 291.\nC\nDiary of a 10-Year Movie Maker: 402.\n91. Direct-16mm. vs. 35mm. for Training Film Production\n22. Do Your Mistakes Teach You What Not to Do?\n22. Does Your Projector Grow Whiskers?\n365. Doolittle \u2014 \"Hands Are Nice to Hold \u2014 That's All\"\n394. Production Still of the Month\n359. Edouart, A.S.C. \u2014 \"The Evolution of Transparency Process Photography\"\n404. Electronics in Photometry\n359. Evolution of Transparency Process Photography\n292. Fastax High Speed Camera, The New\n324. Fighting With Film\n167. Filming \u201cDesert Victory\u201d\n334. Filming an \u201cIncident\u201d\n395. Films Soldiers Want\n300. Floral Spectrum, The\n68. Forty-eight Years of Home Movies\n258. Fosho\u2019dt \u2014 \"16mm. Movies for Our Soldiers\"\n334. \"Filming an Incident\u201d\n57. Free-Wheeling\n286. Freund, A.S.C. \u2014 \u2018Illumination on Walls\u2019\nFrom Nazi Prison-Camp to Signal Corps:\n51. First - Films Soldiers Want: 395. \"Hollywood and Minorities\": 326. \"The Russian Influence in Hollywood\": 288.\nGerman Propaganda Movies in Two Wars: 10.\nHall, Hal- Aces of the Camera: Lee Garmes, \"Better Pictures with Less Film\": 219. \"Fighting with Film\": 324. \"The Sixth Sense in Film Mechanics\": 361. \"Hands Are Nice to Hold - That's All\": 365.\nHarlan, A.S.C. - \"Hints On Outdoor Camerawork for Army Combat and Training Films\": 206.\nHarrison, F.R.P.S. - \"Electronics in Photometry\": C.P. Goerz American Optical Co. Office and Factory \"SosA^. CbmMccuv\" Precision Optics. Camera on Skiis: 19. Cameraman's Part in Television Production: 8. Cameramen in Uniform: 362. Camerawork on a Convoy: 12. Care and Operation of 16mm. Sound Projectors. Cheating on Camera-Angles: 217. Cinematographers Responsible for Agent's Success:\nClark, A.S.C. - \"Consistency in Cinematography: 128\"\nColes - \"Matching Lens Diaphragm Settings\"\n\"Commentary- Writing for Documentary Films\": 287\nHasin, A.S.C. - \"Special Effects and Wartime Production\": 89\nHints on Outdoor Camerawork for Army Combat and Training Films: 206\nHirst - \"Planning Club Programs\"\n\"Railroad Rimming\": 377\n\"The Floral Spectrum\": 300\n\"Hollywood and Minorities\": 326\n\"Hollywood Greets Four Soviet War Camera-Aces\"\n\"How and Why of Titles, The\": 182\n\"How to Care for 16mm. Sound-Films\": 180\nI Made a 16mm. Sound-Camera: 56\nIllumination Contrast Control: 126\nIllumination On Walls: 286\nImproving Amateur Projection Technique: 410\nIncident-light Readings with Your Exposure-\n\"Invaders Learn to Surrender\": 400\nIowa's Health in 16mm.: 328\nJacobsen \u2014 \"A 'Model EE' Grows Up\": 96.\nJenkins \u2014 \"Lapse-Time for the Amateur\": 396.\nJepson \u2014 \"More About 'Strobo-Sync' \": 222.\n\"Strobo-Sync Sound Quiz\": 264.\nKalatozov \u2014 \"Third Dimensional Films in Soviet Cinema\" :.\nKarmen \u2014 \"Russia's Newsreel Cameramen at the Front\" :\n\"With the Advancing Army\": 248.\nKeep On Filming \u2014 Economically: 367.\nCamera Supply Co.\nArt Reeves\n1515 North Cahuenga Boulevard\nHollywood, Cable Address \u2014 Cameras\nEfficient-Courteous Service\nNew and Bought \u2014 Sold \u2014 Rented\nEverything Photographic Professional and Amateur\nCalifornia\nUsed Equipment\n\nKingsbury \u2014 \"Using 'Strobo-Sync' \": 294.\nKirchner \u2014 \"Tempo in Industrial Films\": 90.\n\"Kodachroming the 'P-38' in Action\": 48.\nLance \u2014 \"Cinematographers Responsible for Agent's\":\nLandis \u2014 \"There's a Job Overseas for Your 16mm.\"\nSound Projector: 139\nLapse-Time for Amateur: 396\n\nMacDonald, Hon. A.S.C. \u2014 \"Filming 'Desert Victory'\": 167\nMadden \u2014 \"Shooting the War in New Guinea\" (Interview): 209\n\nMake a Prize-Winning Film from Vacation: \"Left- Make Your Old Films New by Making New Titles\"\nMaker \u2014 \"I Made a 16mm. Sound-Camera\": 56\nMaking a Documentary Film at Sea: 246\nMaking 16mm. \"Horse Operas\" in New Jersey:\n\nRuby Camera Exchange\nRents . . . Sells . . . Exchanges\nEverything You Need for the\nProduction & Projection\n\nMarch \u2014 \"Remarks on Cine Speeds for Amateurs\":\nMarianoff \u2014 \"Invaders Learn to Surrender\": 400\nMarines Learn Photography in Hollywood: 364\nMatching Lens Diaphragm Settings: 401\nMate, A.S.C. \u2014 \u201cCheating* on Camera-Angles\u201d :\nMcMahon \u2014 Making 16mm. \"Horse Operas\" in New Jersey: 137\nMi\u2019ner, A.S.C. \u2014 \u201cPreparation Pays a Profit\u201d: 211\nMiniatures: 130\nMitchell 35mm. Single System Sound Camera: More About \u201cStrobo-Sync\u201d: 222\nMoultrie \u2014 \"Improving Amateur Projection Tech\" : 363\nThe New Mitchell Background Projector: 363\nNorwood \u2014 \u201cExposure Control in Aerial Photography\u201d: \u201cIllumination Contrast Control\u201d: 126\nNude But Not Lewd: 323\nOn with the Show: 331\nOswald \u2014 \u201cDiary of a 10-Year Movie Maker\u201d: 402\n\u201cKeep On Filming \u2014 Economically\u201d : 367\n\u201cPost-War \u2018Dream Camera\u2019\u201d: 332\n\u201cProps \u2014 The Secret of Really Natural Home Movies\u201d: 259\n\u201cTake Care of Your Camera and Projector \u2014 They\u2019re Priceless\u201d : 140\n\u201cThe How and Why of Titles\u201d : 182\nof Motion Pictures Provided by a Veteran Organization of Specialists\nIN BUSINESS SINCE 1910\n729 Seventh Ave., New York City\nCable Address: RUBYCAM\nThey Came!\nThey Saw!\nThey Learned!\n16 mm. Sound Motion Pictures teach our Armed Forces NOW. The public will be taught to use new products.\nI. Film\nTE FILM\nIN CD RPD RATED\n6039 Hollywood Blvd. Hollywood, CA 28\nGladstone 5748\n\nPalmer \u2014 \u201cDirect-16mm. vs. 35mm. for Training\u201d : 91\nPerry, A.S.C. : \u201cCamerawork on a Convoy\u201d : 1.\nPanning Club Programs: 216.\nPointers on Using Telephoto Lenses: 61.\n\"Post-War Dream Camera\u201d: 332.\nPractical Pointers on 16mm. Sound Projection: Pratt, A.A.C.S. \u2014\n\u201cArtistic Pictures\u201d : 368.\n\u201cDoes Your Projector Grow Whiskers \u2014 ?\u201d : 22.\nPreparation Pays a Profit: 211.\nPrist \u2014 \u201cShooting the War in New Guinea\u201d, an Interview: 209.\nProduction Still of the Month : 394.\nProfessionalising the Bolex : 98.\nProps \u2014 The Secret of Really Natural Home Movies : 259.\nPutting Sound-On-Film On a 16mm. Silent Projector:\nPutting Sound On the Screen : 179.\nPyle \u2014 \u2018On With the Show\u2019: 331.\n\nRailroad Ramblings: 377.\nRemarks on Cine Speeds for Amateurs: 302.\nRhapsodic Technique: 250, RKO Builds Biggest Boom for Shooting Aerial Miniatures: 130, Roberts -- \"The Rhapsodic Technique\": 259, Rogers -- \"Screen Tests Aren't Necessary\": 249, R-hde -- \"German Propaganda Movies in Two Russian Influences\": 288, R-ssia's Newsreel Cameraman at the Front: 208, Ruttenberg and Shamroy Win Academy Awards, Saving Film in Wartime: 370, Scenarios: 18, Schultz -- \"Iowa's Health in 16mm.\": 328, Screen Tests Aren't Necessary: 249, Shafitz -- 'Why I Want to Make Movies': 50, Shooting Action Movies in the African Desert, Shooting the War in New Guinea: 209, 16mm. Movies for Our Soldiers: 253, Sixth Sense in Film Mechanics, The: 361, Smith, Jack, A.S.C. -- \"Pointers on Using Telephoto Lenses\": 61, Smith, Leonard, A.S.C., Elected President of the \"Special Effects\" and Wartime Production: 89, Stensvold, S.S.C. -- \"Keeping Kodachrome Color\"\n\"Rendition Under Control: 13. Strobo-Sync Sound Quiz: 264. Strong - \"The New Fastax High Speed Camera\": William Stull, A.S.C.: 287. Red Cross Remember GIVE! ISeiv Precision Products from KALART available on suitable priorities. NEW Model \"E-l\" Range Finder with war-time improvements. New FOCUSPOT for automatic focusing in the dark. And improved Master Automatic Speed Flash. Write for full information. The Kalart Co., Inc., Dept. 112, Stamford, Conn. 8 Enroed 16 ReTOed 8 Geo. W. Colburn Laboratory Special Motion Picture Printing 995 Merchandise Mart CHICAGO MOVIOLA FILM EDITING Equipment Used in Every Major Studio Illustrated Literature on Request Manufactured by GENERAL SERVICE CORPORATION Moviola Division 1449-51 Gordon Street Hollywood 28, Calif. FAXON DEAN LC. CAMERAS BLOIPS-DOLLYS FOR RENT Day, Normandie 22184 Night, Sunset 2-1271 4516 Sunset Boulevard\"\n\"Forty-eight Years of Home Movies\": 58, \"Hollywood Greets Four Soviet War Camera-\": 252, \"Incident-light Readings with Your Exposure-\": 98, \"Professionalizing the Bolex\": 98, \"RKO Builds Biggest Boom for Shooting Aerial Miniatures\": 130, \"Sweeny \u2014 From a Nazi Prison-Camp to a Signal Corps Camera\": 51, \"Take Care of Your Camera and Projector \u2014 They\u2019re Priceless\": 140, Tannura, A.S.C. \u2014 \"Do Your Mistakes Teach You What Not To\": 21, \"Make Your Old Films New by Making New Titles\": 21, \"Technical Progress in 1942\": 6, \"Tempo in Industrial Films\": 90, \"There\u2019s a Job Overseas for Your 16mm. Sound Projector\": 139, \"Third Dimensional Films in Soviet Union\": 366, \"Through the Editor\u2019s Finder\": 15, 53, 93, 133, Tiffany \u2014 \"Mitchell 35mm. Single System Sound Cam-\": \"New Mitchell Background Projector, The\":\nUnseen Camera-Aces:\nI: Maximilian Fabian, A.S.C.: 210\nII: Linwood Dunn, A.S.C.: 254\nUseful Hyperfocal: 100\nUsing \u201cStrobo-Sync\u201d: 294\n\nV\n\nVegatable-top Follies: 177\nVisual Education: 38, 91; 418\n\nWalker, Joseph, A.S.C. \u2014 \u201cThe Useful Hyperfocal\u201d:\nWalter \u2014 \u201cMake a Prize-Winning Film from Vacation \u2018Left-Overs\u2019\u201d: 18\nWhy I Want to Make Movies: 50\nWill There Be Cameraman-Directors in Television Production?: 46\nWith the Advancing Army: 248\n\nPictures to Teach Spanish to Troops\nAmerican troops stationed in the Antilles will see Hollywood motion pictures with super-imposed Spanish titles to assist them in learning the language, Colonel Smathers, in charge of special services for that area, told foreign managers at a luncheon meeting at the Harvard Club yesterday. At the request of the Colonel, all the majors agreed to supply a special collection of Spanish-titled films.\nThe Department of the Army's special service, titled \"Antilles,\" will now receive three prints of all pictures directly from New York. The Antilles department oversees Puerto Rico, Cuba, the Dutch Islands of Aruba and Curacao, and other areas. Previously, U.S. bases in the region were serviced directly from company exchanges in San Juan, Puerto Rico. Servicing of prints from New York will be on the same paid basis but will expedite showings and ensure earlier screenings for the troops. A film man, likely George Barnett, will be appointed to handle the Army's Antilles department from New York.\n\nWalt Disney was elected a trustee of the Museum of Modern Art at the annual meeting of the board of trustees. Disney was one of the first sponsors of the Museum Film Library and one of the first to donate his films to it.\n\nThe American Standards Association\nThe War Production Board has made a public request, on behalf of the armed services, for the setup of a War Committee on Photography to develop specifications for various types of photographic and cinematographic equipment used by the armed forces. This followed action taken by a committee in New York where representatives of the armed services and manufacturers of photographic and cinematographic equipment thoroughly discussed the advisability of undertaking such a job. The committee recommended: (1) the immediate setup of a War Committee on Photography; and (2) the formation of a subcommittee of armed forces representatives to outline the order of work so that the most important jobs can be undertaken first.\n\nCLASSIFIED ADVERTISING\n\nFOR SALE:\n- Optical Sound Reduction Printer, complete: $1250.00\n- Bell-Howell Single Phase Synchronous Camera.\nMOTOR: $100.00\nRCA Galvanometer\nSTRING VIBRATORS: $5.00\n3-PHASE CAMERA MOTORS, RCA Mitchell: $47.60\nBell-Howell: $77.60\nTwo Element Glowlamps: $9.50\nDuplex 35MM Step Printer: $425.00\nS.OS. Cinema Supply Corporation, New York 18 _\nWe buy, sell and rent professional and 16mm Equipment, new and used.\nWe are distributors for all leading manufacturers.\nRuby Camera Exchange, 729 Seventh Ave., New York City.\nEstablished since 1910.\n\nImproved Duplex 35MM Printer, with two Bell-Howell Cams and Shuttles. Perfect Registration for Color or Black and White, and process plates. Also Bell-Howell Step Printer with Registration Pins ideal for duplication.\n35 MM Holmes and DeVry Portable Sound Projectors.\nHollywood Camera Exchange, 1600 Cahuenga, Hollywood.\n\nFord 1% ton Sound Truck equipped with the latest Blue Seal noiseless variable area recording equipment.\n220 volt, 3 phase generator for motors, battery charger, RCA and W.E. microphones. Complete, ready for operation. Also stock of synchronous and Selsyn motors. Blue Seal Sound Devices. 305 East 63rd Street, New York, NY.\n\nLights\u2014 Super Kliegel Sun 5000 watt. Clear Beam Super Spots 2000 watt. 2000 watt CP and 3200 K Bi-Post Bulbs. 5000 watt CP Bi-Post Bulbs. Film Associates, Dayton 9, Ohio.\n\nMole-Richardson Microphone Boom, Model No. 103B, Serial No. 37. Excellent condition, cannot be told from new. $1425.00 f.o.b. Glenview, Ill.\n\nFried Lite Tester. In like new condition.\n\nCamera Equipment Company. 1600 Broadway, New York 19, NY.\n\nBerndt-Mauer Projector, 16mm. camera, portable recorder, main channel, 2 film phonographs, RCA 70-B turntable and other equipment. Irving B. Dyatt, Corvallis, Oregon.\n\n35mm. Parvo Model L DeBrie all metal.\nFor sale: motor-driven camera with motor, five lenses, gyro tripod, and other extras - $1,500.00. Len Galezio, 5914 Melrose Ave., Hollywood, Calif. Phone: HO-1767.\n\nSale: Eyemo single and turret cameras, B & H Standard Complete Camera outfits, 12, 32, 110 volt motors, tripods, 16mm high-speed printer - $750.00. Hard-to-get equipment in stock. Try us. Trades accepted, bought.\n\nFor sale: Western Electric Double System 35mm Sound Editor, Holmes 16mm Sound Projector, 1000-watt Booth Auditorium type, Duplex 35mm Printer for picture and sound track, 16mm Continuous Contact Sound and Picture Printer, Akeley camera with 36-50-100-150-300-425mm lenses, five magazines, motor, tripod, many attachments, DeBrie camera. Model L, new tachometer, friction and crank tripod, 110 volt motor, Mitchell type mounts, magazines.\nWE BUY/TRADE/SEND US YOUR LISTS.\n\nCamera Mart, 70 W. 45th St., New York City\n\nSTOLEN!\n\n1 Bell & Howell Utility Model SOF projector and Loudspeaker, No. 304071.\n1 3\" projector lens, extra equipment.\n1 1,000 watt lamp, extra equipment.\n50' rubber-covered leader.\n1 Eastman Cine Special Camera, has my name, Fred C. Ells, engraved on a plate on the underside of the lens mounting. Usual 1\" lens and adapter.\n1 Eastman carrying case for same, blue velvet lining.\n1 Eastman metal tripod, for Cine Special.\n1 15mm Wide Angle Eastman lens.\n1 2\" 1.6 Eastman Te'ephoto Lens.\n1 4V2\" 4.5 Eastman Telephoto Lens.\n1 6\" 4.5 Eastman Telephoto Lens.\n2 Kodachrome filters.\n\nAnyone having information of above equipment contact Fred C. Ells, 844 Toyopa Dr., Pacific Palisades, Calif. Phone: Santa Monica 52628, or AMERICAN CINEMATOGRAPHER. An ample reward will be paid for its recovery.\nWanted:\nCameras and accessories for cash. Mitchell, B & H, Eyemo, Debrie. Also laboratory and cutting room equipment.\nCamera Equipment Company\n1600 Broadway, New York City\nCable: Cinequip\nWe pay cash for everything photo-graphic. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\nWe buy\u2014sell\u2014trade all motion picture equipment, sound and silent. Send your list. The Camera Mart. 70 West 45th St., New York City.\nDecember 1943\nAmerican Cinematographer\nToday\nZornow\nThe Logical Combination\nJ.E. Brulatour, he.\nFort Lee \u2022 Chicago \u2022 Hollywood\nMary Pickford, Charles Rosher, A.S.C. (Charles Rosher, Director of Photography)\nKismet\nIn Technicolor for Metro-Goldwyn-Mayer (Tony Gaudio, Director of Photography)\nDays of Glory\nFor Casey Robinson \u2014 R.K.O. Pictures\nMore than a Quarter of a Century of Faithful Performance \u2606\nFilmo-Master \"400\"\n8mm projector. Film Companion. Cmm camera. Film Auto Load. 16mm camera. Film Master. 16mm projector. Film 70-E. 16mm camera.\nHe may be half a world away from you and the things that mean Christmas to him, but in some strange part of the world, there's one familiar bit of home. One thing you both have shared and enjoyed together.\nThere are MOVIES!\nAnd again this Christmas, you'll be sharing them - overseas on every battlefront and battleship, in camps and bases. Film-sound Projectors will be clicking off movies, reminding your fighting man that the spirit of Christmas still lives in the world he's fighting for. And you may share these same films with him and feel less lonely for the sharing.\nB&H Filmosound Library offers you and him a great selection of special Christmas films.\nFilmosound V - An achievement in B&H engineering which maintains high performance standards despite restrictions of critical materials. This projector is now made only for the armed forces. Then, for pure holiday fun, there are thousands of Hollywood comedies, cartoons, shorts to build into a memorable Christmas home movie program. And if you want to see what your fighting man in Africa or Italy is doing, get Battle for Tunisia, Axis Crushed in Africa, Italy Surrenders, or Allies Move In. Let Filmosound Library help you share Christmas with the boy you love... who's far away this Christmas. Bell & Howell Company, Chicago, New York, Hollywood, Washington D.C., London. Established 1907. films. There's Scrooge, which is Charles Dickens' immortal Christmas Carol brought to life. There are A Saviour Is Born and Child of Bethlehem, beautiful filmings of the First Nativity.\nChristmas. Perhaps you can help us plan the future of Opti-onics. We need expert engineers experienced in electronic and mechanical design to help us explore the broad peacetime horizons of Opti-onics. This is a big job... it takes big men. If we're talking to you, write us your whole story and send your photo. We'll set up an interview.\n\nAddress: Chairman, Opti-onics Development, 7100 McCormick Road, Chicago 45, Illinois.\n\nOpti-onics is Optics . . . electronics . . . mechanics. It is research and engineering by Bell & Howell in these three related sciences to accomplish many things never before obtainable. Today Opti-onics is a WEAPON. Tomorrow, it will be a SERVANT. protect, educate, and entertain. \u00aeOpti-onics is Optics . . . electronics . . . mechanics. A registered trademark, these famous B&H products and the new ones you'll see after the war won't be \"emergency-assembled\" from leftover parts. They'll be as well-made as ever.\nYou'll buy them and use them with the same pleasure and confidence you've always had in equipment built by Bell & Howell.\nBell & Howell Company\n1848 Larchmont Ave., Chicago 13, 111.\nPlease send me Filmosound Library Catalog and supplies. Reserve the following Christmas films:\n[date]\nName .\nAddress\nReturn old projector lamps when ordering new ones.\nProducts combining the sciences of optics \u2022 electronics \u2022 mechanics\nPrecision-made by", "source_dataset": "Internet_Archive", "source_dataset_detailed": "Internet_Archive_LibOfCong"}
]