Manchester Democrat. [volume] (Manchester, Iowa) 1875-1930, 1908-12-09

oe( MOVING.
ling twenty minute picture could have
remained belowthe surface long enough
for the photographs to be taken. 8
] In the case of the man the picture
80 made by the "arret." or stop IN
,t.xs of the siren the "fundu," or blend,
HIS employed. Botli of these are French
discoveries, and both are all impor-
tant in the making Of any moving pic
|ture films that are not strictly record
films. In the "arret'' the machine is
stopped at some definite point during
the exposure of the film and the shut
ter closed SO that registration is i'm
possible. A change in some portion of
the object being photographed is then
made. after which the operation Of THE
machine resumed. The "fundu' Is pro-
duced by a double exposure OF one Aim,
or by doubling the film by superimpos-
irr oro e,n, ,nor oro+h.r -. 1850
dno+,on ep1o
r,ho enc. t. a~o,,a, =. ~ ),
,.n,,n n,ot,,ra tha ..uan $500 =
A man falls asleep on the roadside and
hin, ond o,,ts ~, hoth Los :. ~. .s ~, w.
Tho notor,st a,.oo,ars hi. aa,a,s.s..ss -.
80 ,o.o h,,. .to,,. NJ, ..,,,-s -
ana h,rr,,,n, MI, - ar 80, ~
n,o,s I'M the sauaroa ' ,o.. .n., ~ .nun'
In. =. ~ M \, nAnus
49, $500 -. -, - .no ae.i-
~ I'D ,,,,.,. ~. 49,. enaA
,,n .La 49,. W
W -
fnotosraphs OF the impossible.
VI course the thing Is Impossible,
ridiculously SO, but the pictures shown
on the screen are>the reproductions Of
actual photographs, and the puzzle to
every one who sees the film Is how can
there be photograph of physical
impossibilityf The trick is not a diff
cult one after the Right man Is found
to pose for the photograph. A man
VINO mas Dotn legs on Mt the knee and
uses ar.inclal iess III their pace was
nue up ~ o '.A .no.her man
WIN .wo soou ,sss' unu tnese Two men
enaneu lnaNs - W. pAo.osIapn. Inc
49, soA IS. o .. ..ne s."ss nis. anu goes
~ sp ~ 'nv .oa's ine regis
.,a''on VI tue nun rs .aen stopped ana
.ne nun "ien .ne a,.ineiai less taxes
.ne ue.o. . p'ase' ueins careful % as
su.ne eAauuy 'ne sumo posi'ioh US .he
80. % 'ne nl"enlne 10 s'artea
"sa'n anu tne p'e'uie 10 lnaue Vi Tue
a.oDne son,ns uo" Tue .oao' run-
ing o..l .ne s'eep',s lnah' Tue MOTOR
10. se'.,us W. anu going oack ana
snins .ne ihJuiesa '.'a'k ms iegs. AT
.n.s pm. 'ne u'aenine 70 asaih Stop
peu' ene 'esiess uian sets out or tne
W., way anu .ne ac.or taxes nis place.
49, .ss.' u''on vi .ne niu ~ re-
suneu .neie 10 app '.Ie no break IN
.ne seen anu 'ue s, niue eiaseuy ~ M
.sn.u Mnuoue ui.acu.'y' nut tae er-
ICY. pioaueeu Ny .he TWO STOPS ID thor-
ousy qua. ts ~ .ne pciioiuer OF tne
'ep'ooue'io"
Fairy Pictures.
One way OF producing the blend is
doubling the film, and this Is the meth
cd most often adopted when surernat-
ural appearances or disappearances
are depicted. For example, a fairy ap-
pears to a child, talks moment, and
then disappears. First, a film of the
scene, With the child IN the foreground,
Is taken, the object being gradually
thrown out OF focus as the registration
proceeds. Next, film of the scene
and the child with the fairy is taken,
Iout OF focus at first and gradually
drought Into focus. Then the two Aims
Fare placed one upon the other SO that
they register exactly, and the result is
the apparent gradual naturalization
VI Ine larry oue VI Holnihg. Inc lalry
10 - eou,se' mueu sn.a1ei ..lah ,.he
80 -. asa,,. 'a a. p.s ID, ~ Az. .eul.s tnes
.,s.a go. ~ sou s.N. .ne appa.en.
sis.araas e ELL S.e t aae ~ .ne'i respective
"Ys .,.s I LIN .e sae
ep- ueAa1ise VI
Ia, suS 10 e.ones running
~ s nv open WIZ,
oe' -. p.se "As upon ene ceif
las ~ M, peu - uii-
800 ~ .hn ,,.,,., sApv T. are
san "a ~ - n s,one'
L. In -. ~" o" Gnu noii uoMi'
sas. III. a,,,,,,sa, pop.e Ma.A VI Tue
aos tn. TN asataan,a. n.'. WINE tney
.as.s,,..a e ~ .,,a,,. .,1a .nen tle
~ pae,,,,,, ravarsad r,n , n n.n,s 7are
:. 49, 10y ~, a. .oa.,I. ). .,'a as
- +ha act,on nort ~ +ha n,at,.a . ~, sa -
10 s,mn,o tr,cl anona,, NV =. hnis
~ undarstond nn,ass reu hana saa nai ;.
Sona and 10 ono ~ +ha NC. ' seem :.
~ ~, tho nav ,,,ms,ons - ,so1 .azN ~,
turos 5000 y -.ioA Ply